GUILDFORD
PHILHARMONIC
ORCHESTRA
1983-84 Season
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THE WINTER SERIES
CONCERTS
30 November &
1 December 1983
IGOR OISTRAKH
Violin, with Natalia Zertsalova, piano
Tickets: £50 inclusive
Mozart, Brahms, Khrennikov, Dvorak,
Wieniawski
13 & 14 December 1983 PHILIP JONES BRASS ENSEMBLE
Tickets: £40 inclusive
Two trumpets, horn, trombone, tuba
Music from the Renaissance
Addison, Scheidt, Maurer, Salzedo
1 & 2 February 1984
ISRAEL PIANO TRIO
Violin, cello, piano
Haydn, Shostakovich, Brahms
Ticket: £40inclusive
15 & 16 February 1984
ORLANDO STRING QUARTET
Tickets: £40 inclusive
Two violins, viola, cello
Mozart, Wolf, Schubert
11 & 12 April 1984
JEFFREY SIEGEL
Tickets:
£40 inclusive
Piano
Schubert, Mozart, Barber, Schumann
25 & 26 April 1984
JEAN-PIERRE RAMPAL
Flute, with David Owen Morris, piano
Handel, Telemann, Beethoven
Tickets: £50 inclusive
Prokofiev, Bartok Arr. Arma
Tickets include a Reception, the Concert, and a three course Supper
in the Long Gallery
YOUNG PERFORMERS SERIES
18 January 1984
BRODSKY STRING QUARTET
Tickets: £12 inclusive
Two violins, viola, cello
Mozart, Lutoslawski, Schumann
7 March 1984
SOPHIE LANGDON
Tickets: £12 inclusive
Violin with Christopher GreenArmytage, piano
Pugnani-Kreisler, J S Bach, Bartok,
Cowell, Brahms
21 March 1984
PAUL COKER
Tickets: £12 inclusive
Piano
Schubert, Tippett, Beethoven, Schumann
Tickets for these informal evenings will include Wine
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66th Enterprising Concert
GUILDFORD BOROUGH
COUNCIL CONCERTS
1983/84
CIVIC HALL, GUILDFORD
SATURDAY § MAY 1984 at 7.45 p.m.
Leisure Learning Weekend
Guildford
Philharmonic
Orchestra
Associate Leaders
Vernon Handley was for twenty-one years Guildford
Borough Council’s Director of Music and under his
direction the Guildford Philharmonic Orchestra has
HUGH BEAN
JOHN LUDLOW
developed into a highly successful professional body of
major
VERNON HANDLEY, Conductor
HUGH BEAN, Violin
importance, now firmly established as the
Orchestra of the South East. Vernon Handley’s work in
Guildford has been recognised for its championship of
British Music and an established series of enterprising
and stimulating programmes which have been acclaimed
nationally.
JOHN LUDLOW, Violin
Vernon Handley is widely respected as one of Britain’s
leading conductors. Born in London, he studied English
PETER KNAPP, Baritone
PHILHARMONIC CHOIR
at Balliol College, Oxford, before going on to the
Guildhall School of Music and Drama.
This concert is promoted by Guildford Borough Council with financial
He regularly works with all the major orchestras in
London and in the provinces. In September 1983 he was
appointed Associate Conductor of the London Philhar-
support from the South East Arts Association.
monic Orchestra and Principal Guest Conductor of the
BBC Scottish Symphony Orchestra. The London
Philharmonic Orchestra Associate Conductorship has
CORPORATE MEMBERS
The
Guildford
Philharmonic
Orchestra and
Guildford
Borough
Council are very grateful to MARKS
& SPENCER PLC and IND COOPE FRIARY MEUX
LIMITED who by their membership are supporting the
Guildford
Philharmonic
Orchestra
in
the forthcoming
season.
Four Corporate Membership schemes are available which
provide tickets in various parts of the Civic Hall and adver-
tisement in all the programmes for Guildford Borough
Council’s series of concerts in the Civic Hall.
If you are interested in further information, please contact:
Concerts Manager
Guildford Philharmonic Orchestra
The Lodge
Allen House Grounds
Chertsey Street
Guildford GU1 4HL
been especially created for Mr Handley in recognition of
his long and enormously successful association with the
orchestra. He has also been appointed Artistic Director
of the Norfolk and Norwich Triennial Festival.
Vernon Handley has gained particular praise for his
championship of British music and often undertakes the
world premiere of new works. He has worked with
many foreign orchestras, including the Stockholm
Philharmonic, Berlin Radio Symphony Orchestra and
the Amsterdam Philharmonic. In the autumn of 1982 he
toured the U.K. with the Strasbourg Philharmonic winning outstanding reviews.
Vernon Handley has made many memorable recordings
and in 1981 he was the recipient of the annual Audio
Award presented by Hi-Fi News. His records range
throughout the orchestral repertoire from Dvorak and
Tchaikovsky to Vaughan Williams and Tippett.
The Guildford Philharmonic Orchestra is delighted to
welcome Hugh Bean and John Ludlow, the Orchestra’s
Associate Leaders, as soloists at this evening’s concert.
Hugh Bean was born in 1929. After first being taught by
his father he was accepted as a pupil of the violin by the
late Albert Sammons, with whom he studied for nearly
twenty years. During this time he was also a student at
the Royal College of Music. Later, whilst studying at the
Brussels Conservatoire with Andre Gertler, he won a
double Premier Prix for both solo and chamber music
playing. He then became Professor of Violin at the
Royal College of Music and in 1957 was appointed
Leader of the Philharmonia Orchestra, which he later
left to become Leader of the BBC Symphony Orchestra.
In 1969 he resigned from the orchestra to devote his
time to solo and chamber music, performing with the
Music Group of London which is now one of Britain’s
leading chamber ensembles. In 1969 Hugh Bean was
awarded the Cobbett Gold Medal for services to
chamber music. He has made many records and has a
number in the current catalogue including ‘The Lark
Ascending” with Sir Adrian Boult and the London
Philharmonic Orchestra, Elgar’s Violin Concerto with
Sir Charles Groves and the Royal Liverpool Philharmonic Orchestra, Schubert’s Trout Quintet and Elgar’s
Violin Sonata. In 1971 he accepted an invitation to lead
the Guildford Philharmonic Orchestra because of its
unique qualities. He was awarded the CBE in 1970.
During the past couple of seasons Hugh Bean has
toured extensively in the Far East and Middle East with
the Music Group of London, and has visited China
several times where he enjoys teaching as well as
playing.
John Ludlow was born in Birmingham and educated at
King Edward’s School. He was original Leader of the
National Youth Orchestra, from its first meeting in
1948, for two years. He helped to deter the foes of the
realm by playing the French Horn; on leaving the army,
he began a career of sordid commerce which lasted four
months. He then succumbed to more enterprising, if less
wise, interests, and in 1952 a Scholarship to the Royal
College of Music brought tuition under Henry Holst
and, later, Manoug Parikian.
In 1955 John Ludlow joined the Royal Philharmonic
Orchestra under Sir Thomas Beecham for two-and-ahalf exhilarating and very demanding years, which included three delightful seasons at Glyndebourne. There
followed four years as Leader of the Sadlers Wells
Opera Orchestra and two less enlightening years with
the BBC Symphony Orchestra: a further five years of
opera as Sub-Leader at Covent Garden, then freelancing, which included four years as Co-Leader of the
London Mozart Players.
John Ludlow is currently still freelancing, as well as
teaching at the Royal College of Music and leading
various orchestras, including the London Concert
Orchestra, the London String Orchestra and the ex-
tremely enterprising Guildford Philharmonic Orchestra,
where he shares the leadership with Hugh Bean.
Philharmonic Choir
Vernon Handley, who as Guildford Borough Council’s
Director of Music, was responsible for the training of
the
Philharmonic Choir, resigned his position in
September last year. Kenneth Lank, who was Vernon
Handley’s assistant for many years, now takes over the
role as Chorus Master of the Philharmonic Choir for the
current season. The Choir’s accompanist is Christopher
Mabley.
The Choir made its first recording of “Intimations of
Immortality” by Gerald Finzi in 1973 with the Guild-
ford
Philharmonic Orchestra and in 1976 recorded
Hadley’s “The Trees So High” with the Philharmonia
Orchestra. It performs regularly with the Guildford
Philharmonic Orchestra in its series of concerts in
Guildford Civic Hall.
In next season’s Guildford programmes the Philharmonic Choir will be singing under Norman del Mar
(Berlioz
—
Te
collaboration
Deum),
Brian
Wright,
with
in
a
joint
the Goldsmiths Choral Union
(Brahms — A German Requiem) and in the final concert
of the season Walton’s Belshazzar’s Feast under Vernon
Handley.
After graduating from Cambridge, Peter Knapp studied
singing privately in London and in Italy under Tito
Gobbi.
He made his operatic debut with the Glyndebourne
Touring Company as the Count in “The Marriage of
Figaro”. He then worked for a number of seasons with
Kent Opera, singing the title roles in “Don Giovanni”,
Monteverdi’s “Orfeo”, (filmed by BBC Television), and
“Eugene Onegin”. With the New Opera Company he
sang
King
Roger
in
the
British
premier
of
Szymanowski’s Opera and with the English National
Opera he again sang Don Giovanni and The Count.
As
a
prizewinner
in
the
International Opera
Competition at Sofia he was invited back to Bulgaria to
give performances as Di Luna in “Il Trovatore”, a role
he has also sung in Frankfurt, and further engagements
abroad followed; Marcello in “La Boheme” in Zurich,
Tarquinius in “The Rape of Lucretia” in France and the
title role of “Rigoletto” in Hong Kong.
Apart from his operatic success, Peter Knapp also en-
joys
a
distinguished
career
as
concert
singer
and
recitalist. In 1977 he won the first Benson & Hedges
Gold Award at Aldeburgh and in 1980 undertook a ma-
jor tour of Australia at the invitation of the Australian
Broadcasting Commission. He has sung in many
Festivals and with major orchestras both at home and
abroad
including
the
Philharmonia,
the
St
Louis
Symphony and the Berlin Philharmonic, and he performed with the Guildford forces in 1976. (Sea
Symphony) and Elgar’s “The Kingdom” in 1977.
He broadcasts regularly on BCC Radio and has record-
ed the Monteverdi “Vespers” for EMI and Da Falla’s
“Master Peter” for Decca.
Recently he was featured in the South Bank Show’s
programme about a new production of “Don Giovanni”
and also this year he created the role of Maxim de
Winter in Wilfred Josephs’ new opera “Rebecca”.
The Choir welcomes singers to rehearsals for the Berlioz
Te Deum in the Methodist Hall, Wharf Road, Guildford
on May
14 and 21. For further information, please
telephone Guildford 573800.
Delius, Elgar and Holst
Delius, Elgar and Holst all died in 1934. Three very
different men whose music is so diverse that it puts to
flight for ever the criticism that all English music is the
same. The three men knew one another’s work. Delius
and Elgar became friends later on in life, Elgar profess-
ing an admiration for Delius’s work and Delius a more
guarded one for Elgar’s. Holst admired “The Song of
the High Hills” and spoke of wanting to bicycle to
Worcester to “victimise” Elgar, evidently having a
profound admiration for the older man. Elgar argued for
the inclusion of Holst’s “Hymn of Jesus” at the Hull
Festival of 1921. It would be interesting to know what
Delius thought of a work like “The Planets”. Yet each
could not have written anything like the music of the
other two. This programme has been chosen not from
amongst the greatest works of each (such a programme
would
be too long) but to find works that are
characteristic of all of them. Thus it is easier to choose
an
extended
work
of
Delius’s
which
will
contain
characteristics that one might find in his shorter pieces
than it is with Holst and Elgar, so Elgar is represented
by a public utterance, a tuneful Overture and a deep per-
sonal agony; Holst by an obviously brilliant showpiece
and a strange, remote Concerto and Delius by what
many consider to be the most intense expression of the
emotions he was a master at commanding, namely
nostalgia and passionate regret. In reference to the last
work, it should be remembered that the beginning of the
work speaks entirely of idyllic happiness and expectancy
and the end of the work of rapturous past happiness. It
is
unfortunate
chromatic
that
many
harmonies
performances
drag
from
the
that
outset
so
the
the
different characteristics of Delius’s work are obscured.
Froissart Concert Overture
Elgar 1857—-1934
Froissart was written in Spring and early Summer 1890
and conducted by Elgar at Worcester in Autumn of that
year. Michael Kennedy in his “Portrait of Elgar” asserts
that in this early work and in the String Serenade, Elgar
first became himself and one can only agree with this
assessment. Froissart originates from Scott’s “Old Mortality” in which one of the characters speaks
enthusiastically about Froissart’s romantic stories and
the importance in them of kingship, pure faith towards
religion, hardihood to the enemy and fidelity to woman.
On the title page of the score, Elgar wrote a line from
Keats — “when Chivalry lifted up her lance on high”.
The lifting of the lance can be heard in the first leaping
figure on the full orchestra and Elgar’s ability to express
in thematic terms the qualities expressed by Scott’s
character is unfolded in tune after tune. Indeed they
follow one another with such rapidity that one is
reminded that this ability to create melody was the thing
that later confused critics in the early assessments of
Falstaff. Here the themes are not so complex, nor is
their treatment, but all Elgar’s brilliant touches of
orchestration and his care in distributing singing lines
between first and second violins is as mature as in the
symphonies and the violin concerto. It is true that the
tunes are rarely developed as in the later works, but their
freshness and vigour makes one wonder how this music
could ever have been described as “monotonous” and
the placing of the episodes and the final stringendo has
the command of the composer of the Pomp and Circumstances marches.
Double Concerto for Two Violins and Orchestra
Holst 1874-1934
Scherzo
Lament
Variations on a Ground
Only seven years separates The Perfect Fool from the
Double Concerto and although Holst’s characteristics
are plain in both works, the moods could not be more
different. Where sheer brilliance of orchestration is
almost an end it itself in the ballet, everything in the
Double Concerto is ‘subservient to the capturing of
strange and subtle emotions. Thus the tune in the first
movement of the ballet which is in seven in a bar, has
the manner of an ostinato and the Scherzo of the Double Concerto begins with an ostinato. The tune in the
ballet is a tune, the ostinato in the Double Concerto
becomes a tune when the soloists take it up. Both show
Holst’s insistence on economy of material and
procedure, the first depicts a colourful fairyland, the
second a strange restless reality. It is noticeable in the
careers of many composers that they proceed from a
luxuriance to an austerity as their life progresses. In
Holst, austerity and remoteness set in rather early and
he proceeded to a subtle sort of warmth as he developed.
Although the eerie landscape of the first two movements
of this Double Concerto cannot be described as warm,
there is a yearning about the Lament which finds
warmth in the jocular and virile variations.
The ostinato is set up by the cellos, basses and timpani
and after a strange bi-tonal rise from clarinet and
bassoon and then the upper strings, the soloists take up
their fugally announced material but development is
afoot straight away with an inversion of the ostinato and
a smooth variant of one of its intervals announced
before the listening ear has accepted all the fugal entries
from the orchestra. The shifts of mood and variety of
construction are as rapid as in a Mozart Rondo, Holst’s
lifelong habit of compressing ideas and overlapping
them here projecting a restless urgency. Scarcely has he
hinted at the second movement Lament and given us a
six bar second subject than the ostinato starts again and
all the material so far heard undergoes development.
With formal grace, however, he gives us the second sub-
ject and then the hint of the Lament in reverse order so
as to lead straight into the second movement. This is
a long duet for the two soloists in 5/4. Two subjects
make up its mood, the first, which is entirely given to the
soloists, shows the need for warmth previously mentioned and the second, which develops the hint given in the
first movement, denies the warmth although a moment
of strange soothing is reached when the orchestra creeps
in spread over four octaves. Strange moods indeed, as
strange in their way as anything being written by the
Avant garde of the 80’s. There has been enough
restlessness and denial. The Variations on a Ground,
although still characteristically Holstian in its uneven
rhythms, is in an emotional world that all can understand. The Ground which starts with the first soloist is in
2/2 but is found to go rather well by the second soloist
in 3/4. This happy quarrel continues until the orchestra
takes it up and decides that the variations should go in a
Holstian 5 and then, more humourously still in a
Holstian 7. The composer cannot leave those strange
moods entirely behind and as one of the bars of 7 winds
itself down, it is found to be a relation of the first tune of
the Lament and this is quoted by the two soloists while
the timpanist reminds them that we are in the last
movement. He gradually wins the conversation and a
furious coda stating the Ground emphatically finishes
the work.
The Perfect Fool — Ballet Music
Holst 1874—1934
Holst wrote his opera “The Perfect Fool” between 1918
and 1922, and it was first produced in Covent Garden in
1923. Vaughan Williams pointed out had the brilliant
ballet music been written by a composer from the continent, it would immediately have given him a European
reputation.
The opera begins with the ballet in which a wizard summons the spirits of earth, water and fire to help him concoct a magic potion that he needs to win the hand of a
beautiful princess. Each group of spirits is assigned a
dance. First, we hear the wizard’s call on the trombones;
then the earth bound spirits have a clumsy 7/8 dance;
the spirits of water, invoked by the wizard’s call on the
viola, have a cool woodwind, celesta and harp tune, and
the spirits of fire a crackling onward rush from the
brass. All the dances are economically fashioned from
the same musical phrase, and this unity, together with
the brilliant orchestration, has made the ballet one of the
most popular British orchestral pieces.
Unfortunately, like so much of this composer’s music,
this work has been given many performances where
INTERVAL
Guildford Philharmonic Orchestra key rings are on sale
in the foyer this evening at 75p, also Herb bags at £1.
Sospiri
Elgar 1857-1934
Elgar’s was a complex personality given to extreme con-
trasts of mood, and naturally his music reflects this. In
its out-going phases it can be grand, opulent, brilliant,
boisterous or filled with what Elgar himself called ‘a
massive hope in the future’. But equally, perhaps even
more characteristic of the man and his art, is the reverse
side of that coin. As a late Romantic he felt deeply the
transience of mortal creatures; time and again in his
music we encounter a vein of passionate regret. Typical
of this aspect of Elgar are the slow movement and accompanied cadenza of the Violin Concerto composed in
1910. Sospiri (sighs), which was written four years later,
can be regarded as a sort of pendant to the concerto.
The composer dedicated this short but masterly piece
for strings and harp to his close friend, W.H. Reed, who
was Leader of the London Symphony Orchestra and
had helped with technical advice about the solo part in
the concerto. The score was completed in February
1914, and the piece received its first performance on
15 August at the first Promenade Concert of the season
in the Queen’s Hall, London. Henry Wood conducted.
Although there is no evidence that Sospiri uses actual
material left over from the concerto, it expresses the
same mood of sorrowing nostalgia. The violin part,
hovering around the interval of a seventh, muses with a
poetic beauty akin to that of the cadenza in the larger
work. To borrow a description that Mahler coined for a
very different work, this music might be called ‘the cry
of a deeply wounded heart’.
© Eric Mason
Sea Drift
Delius 1862-1934
only the most obvious emotions have been exaggerated,
and where every striking harmony or beautiful phrase
has been lingered on without any reference to the context. The most extraordinary characteristic of Delius’s
music is the one which many critics hold he does not
possess at all: that is to say, his wonderful formal control of a style that seems superficially to be rhapsodic.
Sea Drift seems to the listener to flow from beginning to
end, but this is only achieved by the most careful
organisation of sections, and even individual phrase
lengths. It is not coincidence that the first bars of the
piece are reiterated bass intervals with descending scales
on the woodwind instruments above, and that in the
middle of the work these bass intervals and their
attendant chords return to form the basis of some of the
baritone’s narrative, and that the last main section of the
work begins with falling scales on the strings and
woodwind, which lead in turn to the reiteration of the
bass intervals. Nor is it coincidence that the first two of
the three sections mentioned above precede sections of
liting triplets or sections in six-four time. Although
critics never mention the fact, can it be coincidence that
the first animato section, the ecstatic “Shine! Shine!
Shine!” of the chorus begins with the same interval
followed by the same shaped phrase as the agonised
ecstasy of the wlo unaccompanied “O rising stars”?
The narrative is shared by the chorus and the baritone,
and at times the two overlap. In the text printed below,
words that are sung by the baritone and chorus
simultaneously are bracketed.
CHORUS:
Once Paumanok,
L
When the lilac-scent was in the air and Fifth-month
grass was growing.
Up this seashore in some briers,
Two feathered guests from Alabama, two together,
And their nest, and four light-green eggs spotted with
brown.
BARITONE:
Sea Drift, completed in 1904, is a setting for baritone
solo, chorus and orchestra of the first of the Walt
Whitman poems, which are published under that title in
“Leaves of Grass”. The words have been selected from
the poem “Out of the Cradle Endlessly Rocking”. It-was
And every day the he-bird to and fro near at hand
And every day the she-bird crouch’d on her nest, silent,
story the poem relates is an intensely moving and tragic
one. The words quite clearly give us pictures of the two
birds nesting by the sea shore, their happiness in sharing
this season, and the tragic blow that comes when the
hen is killed. The accuracy of Whitman’s observation
conveys the feeling of bafflement that the remaining hebird experiences, and poetically interprets the bird’s actions as conveying anguish. The agony, anguish, love,
hope, and finally a firm unsentimental acceptance of the
heart-rending situation are conveyed in strong and
Shine! Shine! Shine!
first performed, like several of Delius’s works, in Germany in 1906, and the first British performance took
place at Sheffield in 1908 under Sir Henry Wood. The
passionate music by Delius.
with bright eyes,
And every day I, a curious boy, never too close, never
disturbing them,
Cautiously peering, absorbing, translating.
CHORUS:
Pour down your warmth, great sun!
While we bask, we two together,
Two together!
Winds blow south, or winds blow north,
Day come white, or night come black
Home, or rivers and mountains from home,
Singing all time, minding no time,
While we two keep together.
BARITONE
(
Till of a sudden,
CHORUS:
O rising stars,
May-be killed, unknown to her mate,
One forenoon the she-bird crouched not on the nest,
Nor returned that afternoon, nor the next,
Perhaps the one I want so much will rise, will rise with
some of you.
[ O throat, O trembling throat!
Nor ever appeared again,
And thenceforward all summer in the sound of the sea,
And at night under the full of the moon in calmer
weather,
Over the hoarse surging of the sea,
Or flitting from brier to brier by day,
I saw, I heard at intervals the remaining one, the he-bird,
The solitary guest from Alabama.
Sound clearer through the atmosphere!
Pierce the woods, the earth,
Somewhere listening to catch you must be the one I
want.
Shake out carols!
Solitary here, the night’s carols!
Carols of lonesome love! death’s carols!
Carols under the lagging, yellow waning moon!
O, under that moon where she droops almost down into
CHORUS:
| the sea!
Blow! Blow! Blow!
Blow up sea-winds along Paumanok’s shore;
I wait and I wait till you blow my mate to me.
[~ O, reckless, despairing carols.
BARITONE:
|_But soft ! sink low!
BARITONE:
Yes, when the stars glistened,
All night long on the prong of a moss-scalloped stake,
Soft! Let me just murmur,
And do you wait a moment, you husky-noised sea,
Down almost amid the slapping waves,
For somewhere I believe I heard my mate responding to
Sat the lone singer, wonderful, causing tears.
me,
He called on his mate,
He poured forth the meanings which I of all men know.
So faint, I must be still, be still to listen,
But not altogether still, for then she might not come im-
Yes, my brother, I know,
The rest might not, but I have treasured every note,
mediately to me,
Silent, avoiding the moonbeams, blending myself with
With this just-sustained note I announce myself to you,
For more than once dimly down to the beach gliding,
the shadows,
Recalling
This gentle call is for you, my love, for you.
now
the obscure shapes, the echoes, the
sounds and sights after their sorts,
The white arms out in the breakers tirelessly tossing,
I, with bare feet, a child, the wind wafting my hair,
Listened long and long.
Listened to keep, to sing, now translating the notes,
Following you, my brother.
CHORUS:
Soothe! Soothe! Soothe!
Close on its wave soothes the wave behind,
And
Hither, my love!
Here I am! Here!
again
another behind embracing
That is the whistle of the wind, it is not my voice,
L That is the fluttering, the fluttering of the spray,
Those are the shadows of leaves.
BARITONE:
O, darkness! O, in vain!
O, I am very sick and sorrowful.
O brown halo in the sky near the moon, drooping upon
and lapping,
everyone close,
But my love soothes not me, not me.
Low hangs the moon, it rose late,
|_Itis lagging — O, I think it is heavy with love, with love.
O madly the sea pushes upon the land,
With love, with love.
BARITONE:
O, night! Do I not see my love fluttering out among the
breakers?
What is that little black thing I see there in the white?
Loud! Loud! Loud!
Loud I call to you, my love!
High and clear I shoot my voice over the waves.
Surely you must know who is here, is here,
| You must know who I am, my love.
CHORUS:
Do not be decoyed elsewhere.
the sea!
O troubled reflection in the sea!
O throat! O throbbing heart!
And I singing uselessly, uselessly all the night.
O past! O happy life! O songs of joy!
In the air, in the woods, over fields,
Loved, loved, loved, loved, loved!
But my mate no more, no more, with me!
We two together no more.
GUILDFORD PHILHARMONIC ORCHESTRA
GUILDFORD PHILHARMONIC ORCHESTRA
Tonight’s concert is the last in the current season and
the first season in which the orchestra has performed
with a number of guest conductors, as well as its former
First Violins:
Musical Director, Vernon Handley. The Orchestra has
responded with its usual enthusiasm, and has continued
to receive loyal support from concertgoers during this
challenging
season, which is acknowledged with
appreciation by all concerned in the management of the
Guildford Philharmonic Orchestra.
Orchestra will undertake an increasing number of conoutside
Guildford
Borough
Associate Leaders: Hugh Bean, John Ludlow
Sheila Beckensall
Susan Croot
John Davis
Charlotte Edwards
Judith Edwards
Barbara Moore
Plans being formulated for next season indicate that the
certs
Artistic Adviser — Vernon Handley
Council’s
season.
Susan Penfold
Alec Suttie
Susan Thomas
Oboes:
James Brown
Ann Greene
Peter Wilkins
Cor Anglais:
Deirdre Lind
Clarinets:
Aaron Tighe
Hale Hambleton
ford will include Sir Charles Groves, Norman Del Mar,
Howard Walsh
Victor Slaymark
John Forster, Brian Wright and Vernon Handley who
will conduct the orchestra in four performances. For the
Second Violins:
Guest conductors appearing with the orchestra in Guild-
first time, Guildford Borough Council is promoting a
Christmas Family Concert with Ron Goodwin and the
Orchestra (December 8).
Nicholas Maxted Jones
Harold Nathan
Andrew Bentley
Marilyn Downs
Peter Fields
Next season’s concert programmes will be available
from the Guildford Philharmonic Orchestra’s Office,
Ruth Knell
The Lodge, Allen House Grounds, Chertsey Street,
Guildford GU1 4HL from the middle of June, together
Francesca Smith
with details of the forthcoming Subscription series.
Rosemary Roberts
Geoffrey Smith
Adrienne Sturdy
Pamela White
Ginny Wray
FESTIVAL CONCERT
SATURDAY 14 JULY
CIVIC HALL 7.45 p.m.
Violas:
Jeremy White
Simon Rawson
Frederick Campbell
JOHN GEORGIADIS will take the baton for the final
John Harries
be
Julius Bannister
Linda Court
concert in the Guildford Festival 1984 on July 14. It will
a Grand Viennese Evening and will include a
selecuon of the most popular polkas and waltzes of the
Strauss family. Tickets £5.50; £4.50; £3.50 and £2.50
will be on sale from the Civic Hall and ticket agencies
(in person only) A & N Travel and Pickfords Travel,
Simon Aspell
Leonard Lock
Cellos:
Michael Farnham
Bass Clarinet:
Paul Allen
Bassoons:
Nicholas Hunka
Anna Meadows
David Nissen
Contra Bassoon:
Val Kennedy
Horns:
Ronald Harris
Dennis Scard
David Clack
George Woodcock
Jason Crouch
Tony Gray
Trumpets:
Cliff Haines
Pat Reid
Peter Goy
Susan Bishop
Trombones:
Guildford, from June onwards.
Geoffrey Thomas
John Stilwell
Guildford Borough Council acknowledges with very
grateful thanks the help it has received in the promotion
John Hursey
Bass Trombone:
Robin Turner
Society, pupils of the County School and members of
the Red Cross organisation.
John Kirby
Robert Hoppe
Marian Balkwill
of this concert season from the Guildford Philharmonic
Tina Macrae
Basses:
Colin Paris
Peter Hodges
Jeremy Gordon
Ian Eyres
R Andall Shannon
Mary Scully
Flutes:
Henry Messent
Ian White
Chris Guy
Tuba:
Stephen Wick
Timpani:
Simon Archer
Percussion:
John Colbourne
Heather Steedman
Cecil Kearney
Harps:
Mariam Keogh
Anthea Cox
Ruth Faber
The audience may be interested to know that the violin
Piccolo:
Celeste:
sections are listed in alphabetical order after the first
desk because a system of rotation of desks is adopted in
Simon Hunt
this orchestra so that all players have the opportunity of
playing in all positions in the section.
Callum Ross
Administrator:
Kathleen Atkins
There’s so much to do in Guildford
GUILDFORD SPORTS CENTRE,
Bedford Road. For sauna,
For
°%
€
solarium, squash, swimming, keep
fitand much more! Tel: 571651/3
or 505027 after 5pm and weekends
* SPORT
* PARKS
* MUSIC
YEOMANS BRIDGE SPORTS
HALL, Manor Road, Ash. For all
types of dry sports. Tel: Aldershot
25484 evenings and weekends
* ART
GUILDFORD LIDO, Stoke Road.
* HISTORY
setting from May to September
Heated swimming pool in parkland
Tel: 505207
CIVIC HALL, London Road. For all
kinds of family entertainment —
plus facilities for your own events.
Tel: 67314 or 502866 evenings and
weekends
GUILDFORD MUSEUM, Castle
Arch, Quarry Street. For a
fascinating trip into local history
Tel: 66551
GUILDFORD HOUSE GALLERY,
High Street. Varied art exhibitions
throughout the year. Tel. 505050 or
503406 evenings and Saturdays
PARKS AND OPEN SPACES for
relaxation and pleasure
GUILDFORD PHILHARMONIC
throughout the borough.
concerts and recitals at the Civic
Tel: 505050
ORCHESTRA. A full range of
Hall
Tel: 573800
... why not make the most of it!
The finest
classical
collection.
Hi-Fi ® Television ® Video ®
VIERROW SOUND
22 Tunsgate, Guildford. Tel. 33224
45 Commercial Way, Woking. Tel. 66600
28 Queen Street, Horsham. Tel. 69329
SURREY COUNTY
WIND ORCHESTRA
National Festival Music For Youth Prize Winners
1977 (1st), 1978 (2nd), 1979 (1st), 1980 (1st), 1982 (2nd)
New Members Welcome
REHEARSALS: FRIDAY EVENING IN GUILDFORD
STANDARD: ASSOCIATED BOARD VI-VIII
AGE LIMIT: 21 YEARS
FREQUENT CONCERTS
For information contact:
DAVID HAMILTON, Director S.C.W.O.
COUNTY MUSIC CENTRE, WOKING COLLEGE, RYDENS WAY, WOKING, SURREY
Telephone WOKING (04862) 61039
University of Surrey Bookshop
UNIVERSITY
OF SURREY
Guildford Surrey GU2 5XH tel. 570679
THE UNIVERSITY BOOKSHOP
DEPARTMENT OF MUSIC
is open to all members of the general
pub lic. We stock a wide range of
This Department has gained for itself an
.
.
:
;
4
enviable reputation for its high quality of
general and literary titles, as well as
being H.M.S.0O. agents and Open
Universlty stockists:
performance. Members of the public are
most welcome at all our concerts — these
take place during term-time every
Wednesday at 1.15 pm and on selected
Sunday evenings.
We are open Monday to Friday from
9.00 a.m. t0 5.00 p.m. and are also
open on Saturday mornings during
term-time from 9.00 a.m. to 12.30
p.m
Why not pay us a visit next time you
Further information is obtainable from:The Secretary
Department of Music
University of Surrey
Guildford, Surrey
(Tel: Guildford 571281)
are in the area?
We have everything the music lover needs, including
compact discs, records, cassettes, pianos, orchestral instruments,
etc., and probably the widest selection of sheet
music in the South of England.
We operate a postal service or you may order by telephone
quoting your Access or Barclaycard Account Number.
So pay us a visit and browse at your leisure.
54 HIGH STREET, HASLEMERE, SURREY
Tel.: HASLEMERE 2696
24 hour Answering Service
Marks and Spencer is delighted to give support
to the Guildford Philharmonic Orchestra
as part of its involvement in the Arts.