GUILDFORD
PHILHARMONIC
ORCHESTRA
1984-85 Season
SVTTON PLACE.
THE AUTUMN AND WINTER SERIES
Friday 28th September
£4.00
Saturday 29th September
Sunday 30th September
£3.00
£2.00
Flowers at Sutton Place
A Festival of Flowers in aid of the NSPCC,
staged by The Surrey Area of NAFAS
CONCERTS
Thursday 29th November
CARA CLARISSIMA with
Tickets: £50 inclusive
Thursday 13th December
LAVERNE WILLIAMS
Tickets: £50 inclusive
Felicity Lott, Gabriel Woolf,
Roger Vignoles
The story in music and words,
of Clara Wieck in the life of
Robert Schumann
Mezzo Soprano and piano
accompaniment
Schubert, Brahms
Three songs by black American
composers
THE PHILIP JONES BRASS ENSEMBLE
Sunday 16th December
Sold Out
Tickets include a Reception with wine, the concert and a three course supper
in the Long Gallery
YOUNG PERFORMERS SERIES
Wednesday 14th November
Wednesday 21st November
Wednesday 5th December
FABER TRIO
Tickets: £12 inclusive
VIRGINIA BLACK
Harpsichord
Couperin, Rameau, Seixas
and Scarlatti
Tickets £12 inclusive
Flute, harp, viola
Telemann, Ravel, Bax,
Mathias and Debussy
= RICHARD MARKHAM AND
DAVID NETTLE
Tickets: £12 inclusive
Four hands on one piano
Onslow, Walton, Bowen,
Bridge and German
Wednesday 12th December
MARIUS MAY AND
JEREMY MENUHIN
Cello and piano
Beethoven, Schumann and
Franck
Tickets: £12 inclusive
Tickets for these informal evenings will include a Finger Buffet and Wine
Sutton Placeis open to the public between October and April on two days a week.
]
“
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GUILDFORD BOROUGH COUNCIL
CONCERTS 1984/85
GUILDFORD CATHEDRAL
Brian Wright
Brian Wright is acknowledge as one of Britain’s leading
younger conductors. He was a Gulbenkian scholar,
studying in London and Munich and with Jascha
Horenstein. In 1975, following successes in conducting
competitions in London and Milan, he was appointed
SATURDAY 2 MARCH 1985
at 7.45 p.m.
for a year as Assistant to André Previn and the London
Symphony Orchestra
Guildford
Philharmonic
Orchestra
Associate Leaders:
From 1976-1984 Brian Wright was conductor of the
BBC Symphony Chorus, an appointment which led to
extensive broadcasting with all the BBC orchestras. He
toured Switzerland and Belgium with the BBC Symphony Orchestra and in 1981 conducted the final Royal
Festival Hall concert of their 50th anniversary season.
He relinquished his position at the end of the 1983/4
season to concentrate on the increasing number of his
guest conducting engagements.
Brian Wright is a regular guest conductor with many of
Britain’s major orchestras. In the 1983/84 season London engagements included concerts with the London
HUGH BEAN, JOHN LUDLOW
Philharmonic, London Symphony, Royal Philharmonic, Philharmonia and BBC Symphony Orchestras.
BRIAN WRIGHT
Overseas engagements have taken him to Germany,
Conductor
Italy, Portugal, Belgium and Switzerland.
He has received critical acclaim for his many performances in a repertoire which stretches from Bach to
SHEILA ARMSTRONG
Soprano
Penderecki and he is noted for his interpretations and
control of large musical structures and forces. He conducted Berlioz’s “Grande Messe des Morts” at the 1982
DAVID WILSON-JOHNSON
Baritone
GOLDSMITHS CHORAL UNION
PHILHARMONIC CHOIR
Promenade Concerts and in recent seasons has given
first British performances of two major works of Liszt,
his “Missa Solemnis” and magnum opus, “Christus”.
British premiers have included works by Penderecki
and Lutoslawski. In the autumn of 1984 his nine concerts with the Royal Liverpool Philharmonic Orchestra
included the world premiére of Robert Simpson’s Sym-
phony No. 7.
Brian Wright is currently Music Director to Goldsmiths
Choral Union, one of London’s foremost choirs, and
This concert is promoted by Guildford Borough Council with financial support from the South East Arts Association.
Artistic Director of the chamber orchestra, Musicians
of London
He conducts the Guildford Philharmonic Orchestra &
Choir in a performance of Verdi’s Requiem in February
last year, and on 18 March he will conduct this work in
the Royal Festival Hall with the Guildford Philharmonic Orchestra & Choir and the Goldsmiths Choral
Union.
CORPORATE MEMBERS
The
Guildford
Philharmonic
Orchestra
and
Guildford
Borough
Sheila Armstrong
membership
Sheila Armstrong studied in Newcastle and at the
Royal Academy of Music. She won both the Kathleen
Council are very grateful to MARKS &
SPENCER PLC and MERROW SOUND who by their
are supporting the Guildford Philharmonic
Orchestra in the forthcoming season.
Six 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:
The Administrator, Guildford Philharmonic Orchestra, The
Lodge, Allen House Grounds, Chertsey Street, Guildford
GU1 4HL. T/N 0483 573800.
Ferrier Memorial Award and the Mozart Prize in the
same year and from then onwards has become a major
international artist, appearing in almost every important musical centre.
In the operative field, Miss Armstrong has sung regularly at Glyndebourne (Zerlina, Pamina), for Scottish
Opera (Norina, Donna Elvira) and at Covent Garden
(Marcellina, Nanetta). She has also made frequent
television appearances including a lavish BBC
TV pro-
duction of Die Fledermaus — an opera in which she
appeared with Opera North.
Miss Armstrong appears regularly with all the major
orchestras and festivals both in Europe and the USA
and Canada. Recent Concerts range from Messiah at
the Concertgebouw, performances of Fidelio with
Barenboim in Paris, Haydns’ Creation with the Boston
Symphony and Ozawa, and a tour of the Far East with
the Bach Choir. Her major London appearances in
recent seasons include concerts with Haitink, Dorati,
Rozhdestvensky, Ozawa, Previn and Ashkenazy. She
commenced last season in London with a performance
of Strauss’ Four Last Songs, with the BBC Symphony
Orchestra. Other engagements last season took her to
Paris, Madrid, Israel, San Francisco, Toronto, Bergen,
and Rome. Her appearances in London this season
include concerts and recordings with the London
Philharmonic Orchestra under Haitink and Tennstedt.
Sheila Armstrong is also an accomplished recitalist and
has' given many recitals both in the UK and abroad,
including one at L’Athenee in Paris. Last season she
gave recitals in Lisbon and at the Divonne Festival and
undertook a short recital tour in the UK with John Shirley-Quirk.
Miss Armstrong is a prolific recording artist and has
recorded with conductors such as Barenboim, Bernstein, Boult, Guilini, Haitink, Leppard, Previn, Karl
Richter, Mackerras and Stokovsky.
Autumn 1984
David Wilson-Johnson
David Wilson-Johnson was born in Northampton, and
read French and Italian at Cambridge before studying
singing at the Royal Academy of Music. In 1977 he won
the National Federation of Music Societies Award for
Young Artists, and was elected to a Music Fellowship
by the Gulbenkian Foundation the following year.
He now sings regularly with all the major british
orchestras, and works frequently for the BBC. In 1981
he made his Promenade Concert debut on the ‘last
night’ in ‘Belshazzar’s Feast’, and his 1983 appearances
included the televised performance of Penderecki’s ‘St.
Luke Passion’ conducted by the composer. Recent
recordings for the BBC have included Mussorgsky’s
‘Songs and Dances of Death’ and several Lieder recitals. He is an accomplished recitalist, and has toured
the United Kingdom with performances of Schubert’s
‘Winterreise’ (specially arranged in the order of the
poet) accompanied by David Owen Norris on an 1824
Broadwood piano, and their recent recording of the
work for Hyperion Records has met with considerable
critical acclaim. David Wilson-Johnson has also
recorded for Erato, CBS and Decca, including the
award-winning recordings of Tippett’s ‘King Priam’ and
Birtwistle’s ‘Punch and Judy’.
Mr. Wilson-Johnsons concert work abroad has
included appearances at the Festivals of Bergen, Helsinki and Holland. He has made television appearances in Paris and Brussels, sung in the war Requiem in
Jerusalem, and in 1982/83 he made his debut in Vienna
in Handel’s ‘Alexander’s Feast’ under Harnoncourt,
which resulted in an invitation to sing in a Webern Festival at the Vienna Musikverein the following season.
He has appeared in the Concertgebouw, Amsterdam
under Edo de Waart, and in Switzerland and Denmark.
He has worked with nearly all the major British orchestras and Festivals. He took part in the world premiere
of Michael Berkeley’s ‘Or Shall We Die?’ with the London Symphony Orchestra, which was subsequently
recorded, and which has also recently been seen on
Television.
Mr. Wilson-Johnson’s engagements 1984/5 include
work with the Royal Philharmonic, English Chamber,
Scottish Chamber, Royal Liverpool Philharmonic, Ulster, Hallé, Bournemouth Symphony and London
Philharmonic Orchestras, the London Sinfonietta, and
the London Choral Society. He sings Bartok’s ‘Cantate
Profane’ and Zemlinsky’s Lyric Symphony in Paris,
Bach’s Christmas Oratorio in Basle, and he records a
series of Pfitzner songs for the BBC. He returns to
Covent Garden in 1984/85 for Shchelkalov (‘Boris
Godounov’) and Der Sprecher (‘Die Zauberflote).
Goldsmiths Choral Union
Goldsmiths Choral Union was founded in 1932 by the
late Frederick Haggis and now ranks as one of London’s finest amateur choirs. Under its present conductor, Brian Wright, it has performed at all the capital’s
major concert venues and has broadcast frequently. In
1981, the GCU won the UK final of the Large Choirs
section in the BBC’s Let The People Sing Competition
and appeared in Tony Palmer’s award-winning ITV
documentary about Sir William Walton, At the
Haunted End of the Day. In 1982 the GCU celebrated
its Golden Jubilee and made its first appearance at the
Barbican Centre. In 1983 the choir gave Royal Festival
Hall performances of Beethoven’s Mass in D, Carl
Orff’s Carmina Burana, and Constant Lambert’s Rio
Grande, and Barbican performances of Beethoven’s
Mass in C and Bruckner’s Mass in E Minor. In January
1984 the GCU were invited by the Royal Philharmonic
Society to take part in a performance of Delius’s
Requiem at their Sir John Barbirolli Concert. Other
concerts last year included Handel’s Messiah at the
Fairfield Halls, Croydon, and two performances of
Elgar’s The Dream of Gerontius, one of which was in
celebration of the 100th Anniversary of the Brompton
Oratory.
Philharmonic Choir
The Guildford Philharmonic Choir performs regularly
with the Guildford Philharmonic Orchestra in its series
of concerts. The Choir made its first recording of ‘Intimations of Immortality’ by Finzi in 1973 with the
Guildford Philharmonic Orchestra and in 1976
recorded Hadley’s ‘The Trees so High’ with the Philharmonia Orchestra.
Simon Halsey was appointed Chorus Master to the
Choir at the beginning of this season. He is currently
Director of Music at Warwick University and Chorus
Master of the City of Birmingham Symphony
Orchestra.
Future
performances
by
the
Philharmonic
Choir
include its first appearance in the Festival Hall on
March 18 when the Choir again collaborates with the
Goldsmith’s Choral Union in a performance of Verdi’s
As there is NO interval in tonight’s performance there
will be a short pause before the performance of Brahms’
Requiem.
Requiem with conductor Brian Wright and soloists Jo
Ann Pickens, Jean Rigby, Stuart Kale and Donnie Ray
Albert. In May the Choir will perform Walton’s Belshazzar’s Feast in the Civic Hall with conductor Vernon
Handley.
Requiem
Brahms 1833-1897
Guildford Borough Council acknowledges with thanks
the assistance given in training the Choir by Mr Neville
Creed and the Choir’s accompanist Mr Christopher
Mabley.
The Choir welcomes applications from young experienced singers. Please apply to the Choir’s Office, if you
have some singing experience, good sight reading and
would like to
audition: The Lodge, Allen House
Grounds, Chertsey Street, Guildford, Gui 4HL. Telephone: 573800.
Brahms’ Requiem, which was composed during the
years 1857-68, is not essentially church music for like
Beethoven’s Mass in D it is equally suitable for concert
performance. Brahms’ conception was unorthodox in
that he discarded the liturgical text of the Mass and
built up a mighty contrapuntal texture on words of his
own choice from some of the finest and most impressive passages in the Bible and the Apocrypha.
The emotional urge behind this Requiem was the
death of Brahms’s mother and of his great friend
Robert Schumann. Brahms testified to the fact that the
soprano aria, ‘Ye who now sorrow’, which was added a
Fantasia on a Theme by Thomas Tallis
Vaughan Williams 1872-1958
year after the score was completed, was inspired by his
mother’s death. Indeed, the long phrases and the high
Thomas Tallis (about 1505-1585) was a ‘Gentleman of
register of the vocal line in this area seem to give an
1 and Elizabeth 1. Vaughan Williams’ Fantasia is based
ever, the intimate relationship of the work as a whole
the Royal Chapel’ under Henry viir, Edward vr, Mary
on material from the third of eight tunes that Tallis
wrote in 1567 for the metrical psalter of Mathew
Parker, the then Archbishop of Canterbury. ‘Fantasia’
has come to mean something quite different from the
form that was popular in the time of Tallis, and which
was undoubtedly in Vaughan Williams’ mind when he
wrote this work, and although the word carried the
idea of fancy, it did not necessarily mean something
uncontrolled in form. Vaughan Williams’ work does
not contain a single bar that is not directly related to the
material he chose. The work is laid out for a solo string
quartet and two string orchestras, the second much
smaller than the first (it becomes a sort of echo) and
directed to be placed some distance from the orchestra.
The whole group is subject to a great deal of divisi writ-
ing, and the two orchestras are variously subdivided
antiphonally as the work proceeds. The work begins
with a setting of the scene harmonically on long held
quiet chords. Then the theme is played pizzicato; the
first orchestra takes up the tune, and the Fantasia
begins to unfold. Another phrase of the tune receives
treatment
on
the
solo
quartet,
and
the
different
phrases are brought together in a huge climax, which
shows Vaughan Williams’ understanding of the string
medium. Indeed, it is as much because of the writing
for strings in this work, as for the worth of the material
itself, that the piece has been such a success, for it is
another example of an English composer writing mag-
nificently for string orchestra, and takes its place beside
the Elgar ‘Introduction and Allegro’ as one of the most
remarkable string works in the literature.
ethereal expression of comfort and consolation. How-
with the death of Schumann is strongly suggested in a
letter to Joachim, after a performance of the Requiem
had fallen through at the Schumann memorial concerts
in Bonn. “You ought to know,” said Brahms, “how
much a work like the Requiem belongs to Schumann.
Thus I felt it in my inmost heart to be quite natural that
it should be sung for him.”
In a letter to the orgz;nist of Bremen Cathedral Brahms
gave some indication of what was in his mind when he
composed the music. He said that he had the whole of
humanity in mind and that he selected his text from
those parts of the Bible and Apocrypha that would be
the
most suitable for his particular musical and
philosophical purposes. In other words it was not his
own personal
experiences that he was seeking to
express — these were merely the fertile soil which pro-
duced the luxuriant plant — but he sought to write a
work of universal appeal.
Ernest Newman has said that the more we study works
like Brahms’ Requiem the more they seem “inconceiv-
ably to give voice to all our own profoundest thought
upon life and death. And the appeal of such works can-
not diminish until humanity itself alters; philosophy of
this kind endures like the noble metals and the hills.”
Johannes Brahms
SELIG SIND, DIE DA LEID TRAGEN
Chorus
Blessed are they that mourn: for they
shall be comforted.
Selig sind, die da Leid tragen, denn sie
sollen getrostet werden.
S. Matthew v, 4
They that sow in tears shall reap in joy.
Who goeth forth and weepeth, and
beareth precious seed, shall come again.
rejoicing, and bring his sheaves with him.
Sie mit Tranen saen, werden mit Freuden
ernten. Sie gehen hin und weinen, und
tragen edien Samen, und kommen mit
Freuden und bringen ihre Garben.
Ps cxxvi, 5-6
DENN ALLES FLEISCH ES ISTWIE GRAS
Denn alles Fleisch es ist wie Gras und
alle Herrlichkeit des Menschen wie des
Grases Blumen. Das Gras ist verdorret
und die Blume abgefallen.
Chorus
Behold all flesh is as the grass, and all the
glory of man is as the flower of the field.
The grass is withered, and the flower
thereof is fallen.
1 Peter, i, 24.
So seid nun geduldig, lieben Bruder, bis
auf die Zukunft des Herrn. Siehe ein
Ackermann wartet auf die kostiche
Frucht der Erde und ist geduldig daruber,
bis er empfahe den Morgenregen und
Abendregen. So seid geduldig.
Now therefore be patient, O my brethren,
unto the coming of the Lord. See how
the husbandman waiteth for the precious
fruit of the earth, and hath long patience
for it, till it receive in time the early and
the latter rain. So be ye patient.
Behold alles Fleisch....
Behold, all flesh....
Aber des Herrn Wort bleibet in Ewig
keit.
Die Erloseten des Herrn werden wiederkommen, und gen Zion kommen mit
Jauchzen,; Freude, ewige Freude wird
uber ihrem Haupte sein; Freude und
Wonne werden sie ergreifen, und
Schmerz und Seufzen wird weg mussen.
HERR, LEHRE DOC MICH
James v, 7-8.
But yet the Lord’s word standeth for
evermore.
1 Peter i, 25.
And the ransomed of the Lord shall
return again, and come with singing unto
Zion. Everlasting joy shall be upon their
heads alway, gladness and joy
everlasting shall they obtain, and sorrow
and sighing shall flee away.
Isaiah xxxv, 10.
Baritone Soloist and Chorus
Herr, lehre doc mich, dass ein Ende mit
mir haben muss, und mein Leben ein Ziel
hat, und ich davon muss. Eiehe, meine
Tage sind einer Handbreit vor dir, und
mein Leben ist wie nichts vor dir. Ach,
wie gar nichts sind alle Menschen, die
doch so sicher leben. Sie gehen daher
wie ein Schemen, und machen ihnen viel
vergebliche Unruhe; sie sammein und
wissen nicht wer es kriegen wird. Nun
Herr, wes soll ich mich trosten? Ich hoffe
auf dich.
Lord, let me know mine end, and the
number of my days; let me know how
frail I am, that I be made sure how long I
have to live.
Surely, Thou has made my days as an
handbreadth before Thee: And my
lifetime is as nothing to Thee: Verily
every man living is altogether vanity.
For surely man walketh as a shadow: and
he disquieteth himself in vain, yea, all in
vain: his riches, he knoweth not who
shall gather them.
Now, Lord, what then do I hope for? My
hope is in Thee.
Ps. xxxix, 4-7.
Der Gerechten Seelen sind in Gottes
Hand und keine Qual ruhret sie an.
But the righteous souls are in the hands
of God, and there shall no torment touch
them.
Wisdom i, 1.
WIE LIEBLICH SIND DEINE WOHNUNGEN
Wie lieblich sind deine Wohnungen, Herr
Zebaoth! Meine Seele verlanget und
Chorus
How lovely are Thy dwellings fair, O Lord
of hosts!
sehnet sich nach den Vorhofen des
Herrn; mein Leib und Seele freuen sich
in dem lebendigen Gott. Wohl denen, die
in deinem Hause wohnen, die loben dich
immerdar!
My soul longeth, my soul ever longeth
and fainteth for the courts of the Lord.
My heart and flesh do cry to God, cry to
the living God.
Blessed are they that dwell in Thy house
they praise Thee, Lord, evermore.
Ps. Ixxxiv, 1, 2, 4.
IHR HABT NUN TRAURIGKEIT
Soprano Soloist and Chorus
Ihr habt nun Traurigkeit; aber ich will
euch wieder sehen und euer Herz soll sich
freuen, und eure Freude soll niemand
von euch nehmen.
Ich will euch trosten, wie einen seine
Mutter trostet.
Ye now have sorrow: but I will again
behold you, and your heart shall rejoice,
and your joy shall no man take from you.
S. John xvi, 22.
Thee will I comfort, as one whom his
mother comforts.
Isaiah Ixvi, 13.
Sehet mich an: ich habe eine kleine Zeit
Muhe und Arbeit gehabt und habe
grossen Trost funden.
Now behold me, ye see how for a little
while labour and toil were my lot, yet
have I found much rest.
Ecclesiasticus, li, 27.
Siehe, ich sage euch ein Geheimnis. Wir
werden nicht alle entschalfen, wir werden
aber alle verwandelt werden;
und dasselbige plotzlich in einem
Augenblick zu der Zeit der letzten
Posaune. Denn es wird die Posaune
schallen und die Toten werden
auferstehen unverweslich, und wir
werden verwandelt werden. Dann wird
erfullet werden das Wort, das geschrieben
steht: Der Tod ist verschlungen in den
Sieg. Tod, wo ist dein Stachel? Holle, wo
ist dein Seig?
Herr, du bist wurdig zu nehmen Preis und
Ehre und Kraft, denn du hast alle Dinge
erschaffen, und durch deinen Willen
haben sie das Wesen und sind geschaffen.
Behold, I shew you a mystery: We shall
not all sleep, but we shall all be changed,
in a moment, in the twinkling of an eye,
at the sound of the last trumpet: for
behold, the trumpet shall sound, and the
dead shall be raised incorruptible, and
we shall be changed.
Then shall be brought to pass the saying
that is written, Death is swallowed up in
victory.
O grave, where is thy victory? O death,
where is thy sting?
1 Corinthians xv, 51-52, 54-55.
Worthy art Thou, Lord, of praise and
glory, honour and power: for Thou,
Almighty, hast created all things, and
because of Thy will they were, and were
created.
Revelation iv, 11.
SELIG SIND DIE TOTEN
Chorus
Selig sind die Toten, die in dem Herren
sterben, von nun an. Ja, der Geist
spricht, dass sie ruhen von ihrer Arbeit,
denn ihre Werke folgen ihnen nach.
Blessed are the dead which die in the
Lord from henceforth: even so, saith the
Spirit; for they rest from their labours;
and their works follow after them.
Revelation xiv, 13.
A Busy Month for the
Guildford Philharmonic
On Monday 18 March the combined Guildford forces
in collaboration with the Goldsmiths Choral Union
and conductor Brian Wright will be appearing in the
Royal Festival Hall for a performance of Verdi’s
Requiem. An interesting quartet of soloists will take
part in this event: Jo Ann Pickens (soprano), Jean
Rigby (alto), Stuart Kale (tenor) and Donnie Ray
Albert (bass). Jo Ann Pickens is rapidly becoming recognised as ia world class soprano — Jean Rigby is a
member of English National Opera, Stuart Kale is principal tenor at English National Opera, and this performance marks the debut in England of Donnie Ray
Albert following appearances at Chicago Lyric Opera,
the Houston Grand Opera and with orchestras which
include the New York Philharmonic and Los Angeles
Philharmonic. Enquiries about tickets for this prestigious event for the Philharmonic Choir and Orchestra
should be made to the Orchestra/Choir Office.
On Saturday 23 March, a Chamber size Guildford
Philharmonic Orchestra will be giving a concert in the
newly refurbished Staines Town Hall. This will be the
first of a series which that organisation is planning to
promote with the assistance of the South East Arts
Association. John Forster will conduct Boyce’s attractive Symphony No. 4 in F, the famous Boccherini
Minuet, Handel’s The Arrival of the Queen of Sheba
and Symphony No. 44 (Trauer) of Haydn. Mozart’s
Fifth Violin Concerto will be performed by the
extremely talented violinist Bradley Creswick. Many
Guildford concertgoers will remember him as a
member of the Orchestra’s first violin section. He is
now Leader of the Northern Sinfonia. Tickets £3 and £4
will be available from Staines Town Hall (Staines
52144), Council Offices (Staines 514499) Staines Pool
(Staines 53171) and, depending upon availability, at the
door on the night.
On Sunday 24 March, Vernon Handley will again step
on to the Civic Hall rostrum with the exciting young
cellist, Felix Schmidt, to conduct a programme which
comprises Jeux d’Enfants, Bizet — Cello Concerto
No. 1in A minor, Saint-Saens and Symphony No. 4in
F minor, Tchaikovsky. Tickets for this concert are
obtainable from the Civic Hall (tel 67315) and A. & N.
Travel Guildford (68171).
The Orchestra travels to Eastbourne for its last March
engagement (27) when it will again perform with Norman Del Mar and Cristina Ortiz. Elgar’s ‘In the South’
opens the programme, Cristina Ortiz plays Cesar
Franck’s Symphonic Variations and excerpts from
Smetana’s Ma Vlast will bring the concert to a close.
Full details of all the foregoing events can be obtained
from The Lodge, Allen House Ground, Chertsey
Street, Guildford GU1 4HL (0483 573800).
Monday 18 March 1985
at 7.30 p.m.
Royal Festival Hall
Requiem
Verdi
Brian Wright, Conductor
Jo Ann Pickens, Soprano
Jean Rigby, Mezzo Soprano
Stuart Kale, Tenor
Donnie Ray Albert, Bass
Goldsmiths Choral Union
Guildford Philharmonic Choir
Saturday 23 March 1985
at 7.45 p.m.
Staines Town Hall
Symphony No. 4in F
Minuet
Boyce
Boccherini
Mozart
Violin Concerto No. 5
Handel
Arrival of the Queen of Sheba
Haydn
Symphony No. 44 in E minor
(Trauer)
John Forster, Conductor
Bradley Creswick, Violin
Tickets at £4.00 and £3.00 available from Staines Town
Hall (0784 52144), Council Offices (0784 51499), Staines
Pool (0784 53171) and, depending on availability, at the
door on the night.
Sunday 24 March 1985 at 3 p.m.
Civic Hall, Guildford
Bizet
Jeux d’Enfants
Saint-Saens
Cello Concerto No. 1 in A minor
Tchaikovsky
Symphony No. 4 in F minor
Vernon Handley, Conductor
Felix Schmidt, Cello
GUILDFORD PHILHARMONIC ORCHESTRA
Artistic Adviser — Vernon Handley
First Violins:
Associate Leaders: Hugh Bean, John Ludlow
Sheila Beckensall
Camilla Allison
Cellos:
Geoffrey Thomas
Susan Borrett
Hywel Davies
John Stilwell
Judith Edwards
John Hursey
Linda McLaren
Robert Hoppe
Barbara Moore
John Kirby
Roland Roberts
John Macrae
Alex Suttie
Charlotte Ward
Susan Thomas
Rosemary Van Der Werff
Basses:
Michael Lea
Michael Fagg
Contra Bassoon:
Administrator:
David Chatterton
Kathleen Atkins
Horns:
Concerts Assistant:
Peter Clack
Paul Hilliam
Dennis Scard
David Clack
George Woodcock
Ronald Harris
Trumpets:
Michael Hinton
Second Violins:
Arthur Price
John Bass
Rosemary Roberts
Jeremy Gordon
Trombones:
Philip Auger
Stephen Mair
Ian White
Timothy Callaghan
Ruth Dawson
Marilyn Downs
Peter Fields
John Forster
Rachel Cowans
David Hissey
Flutes:
Bass Trombone:
Henry Messent
Martin Nicholls
Alexa Turpin
Ruth Knell
Piccolo:
Geoffrey Smith
Simon Hunt
Violas:
John Meek
Jonathan Welch
Jean Burt
Frederick Campbell
Julius Bannister
Celi Azulek
Tuba:
Stephen Wick
Hywel Jones
Adrienne Sturdy
Clifford Haines
Oboes:
James Brown
Janice Knight
Clarinets:
Hale Hambleton
Victor Slaymark
Bassoons:
Sara Bolton-Smith
Nicholas Hunka
Leonard Lock
Anna Meadows
The audience may be interested to know that the violin
sections are listed in alphabetical order after the first
desk because a system of rotation of desks is adopted in
this orchestra so that all players have the opportunity
of playing in all positions in the section.
Timpani:
Roger Blair
Harp:
Helen Tunstall
Organ:
Christopher Mabley
Over 125 years of service to
Ssurrey Music Lovers
(Established
in
Guildford
in
The Guildford Philharmonic Society is the ‘Supporters Club’
of the Orchestra and was originally founded with the prime
1857)
object of encouraging not only its members but also the
general public to attend the season of concerts in the Civic
Hall by the Guildford Philharmonic Orchestra. It still has this
prime object but also the Society assists with the provision
PIANOS
of the finances for considerable extra publicity for the concert season, but its members also receive certain benefits in
return for a very modest subscription. These facilities include:
and
® Priority booking at the beginning of each concert season
® An additional discount on Subscription Series Tickets
® The Society’s newsletter
® Special Events such as visits to other concert venues,
musical evenings in members’ homes and certain social
gatherings during the season
MUSIC
lllustrated — Steinway Grand
See
these
and
other
new
fine
® Discount facilities at Merrow Sound Tunsgate Guildford
grand
on records and cassettes
and
® The opportunity to attend rehearsals of the Orchestra by
upright pianos, or browse in our unrivalled
sheet
.
music
department.
We
are
app.'y'ng i Dl s wolfics
By being
always
pleased to help or advise.
The membership rates are as follows:
Annual Subscription
Husband and Wife-Joint Subscription
Persons under the age of 18
Retirement Pensioner
Pianos for hire, music by post
T
ANDREWS & CO
°
MEADROW’
&
£5.00
£8.50
£3.50
£3.50
If you would like to join the Society please send your remit-
LTD
[
62
;
a member you are also helping to ensure the con-
tinued success of the Guildford Philharmonic Orchestra.
tance together with your name and address to:
0
Mr R A Forrow
Flat 3, 6 Mareschal Road
Guildford Surrey GU2 5JF Tel: Guildford 575274
GODALMING
.
Tel: 22459 (Planos) or 6414 (MUSIC)
or alternatively you may enrol at the Society’s stand in the
foyer of the Civic Hall on concert days.
SUPPORT YOUR
ORCHESTRA!
IT
NEEDS YOU!!
for
a total service
encompgassing typesetting,
artwork, photography, platemaking,
lithographic and letterpress
printing
all under one roof
CRADDOCKS, GREAT GEORGE STREET, GODALMING, SURREY
TELEPHONE GODALMING 6552
Guildford Philharmonic Choir
CHORUS MASTER — SIMON HALSEY
The Choir performs regularly with the fully professional Guildford Philharmonic Orchestra
in its annual series of concerts.
PROGRAMME FOR 1984/85 SEASON:
13 October 1984
Te Deum
December 1984
Christmas Concert
Conductor — Simon Halsey
2 March 1985
German Requiem
18 March 1985
Requiem
4 May 1985
Belshazzar's Feast
Conductor —
Berlioz
Norman Del Mar
Brahms
Conductor — Brian Wright
Verdi
Guildford Cathedral
Guildford Cathedral
Royal Festival Hall
Conductor — Brian Wright
Walton
Conductor — Vernon Handley
Guildford Civic Hall
The Philharmonic Choir meets on Monday evenings from 7.15 p.m. t0 9.15 p.m.
The Choir welcomes applications from young singers (all voice parts) with good sight reading ability.
Enquiries: Administrator, Guildford Philharmonic Choir Office,
The Lodge, Allen House Grounds, Chertsey Street, Guildford, GUT 4HL.
I
UNIVERSITY
OF SURREY
y
DEPARTMENT OF MUSIC
3| University of Surrey Bookshop
Guildford Surrey GU2 5XH tel. 570679
THE UNIVERSITY BOOKSHOP
is open to all members of the general
public. We stock a wide range of
This Department has gained for itself an
enviable reputation for its high quality of
performance. Members of the public are
most welcome at all our concerts —these
take place during term-time every
general and literary titles, as well as
being H.M.S.0. agents and Open
University stockists.
We are open Monday to Friday from
9.00 a.m. t0 5.00 p.m. and are also
open on Saturday mornings during
Wednesday at 1.15 pm and on selected
term-time from 9.00 a.m. to 12.30
Sunday evenings.
p.m.
Further information is obtainable from:The Secretary
Department of Music
University of Surrey
Guildford, Surrey
(Tel: Guildford 571281)
il
A classic
collection of
the classical
Go to Guildford for probably the
finest collection of Classical music,
on tape or record, outside London.
Expert knowledge, advice
and guidance is all freely
available. “Out of the ordinary”
or “out of stock” selections
we’ll order for you.
Sound us out soon. If we
can’t help you no one can.
Merrow Sound
21-22 Tunsgate,
i
—
Guildford, Surrey. Tel: 33227
Record Department direct line
MERROW
SOUND
GUILDFORD
for a classical service
Large selection of Compact Discs.
Marks and Spencer is delighted to continue its
support for the Guildford Philharmonic Orchestra
as part of its involvement in the Arts.
Guildford Borough Council Concerts 1984/85
GUILDFORD PHILHARMONIC ORCHESTRA
Artistic Adviser: Vernon Handley
PHILHARMONIC CHOIR
GOLDSMITHS CHORAL UNION
BRIAN WRIGHT
Conductor
SHEILA ARMSTRONG
Soprano
DAVID WILSON JOHNSON
Baritone
in
GUILDFORD CATHEDRAL
(by kind permission of the Dean and Chapter)
SATURDAY, 2ND MARCH, 1985 AT 7.45 P.M.
Admission by this programme
Front Nave
083
£5.00
FANTASIA ON A THEME BY
THOMAS TALLIS
Vaughan Williams
Brahms
REQUIEM
SHEILA ARMSTRONG
Soprano
DAVID WILSON JOHNSON
Baritone
Conductorr
BRIAN WRIGHT
GUILDFORD CATHEDRAL - CAR PARKING
Car Parking at the Cathedral is limited to 300 cars. When this
number is accommodated, drivers will be directed by Stewards
to other areas around the Cathedral where cars may be parked.
On no account can the limit of 300 be exceeded.
Since
car
parking
space
at
the
Cathedral
'
may
prove
inadequate for all those attending the performance, patrons
are kindly requested to share cars with as many others as
possible, to park away from the Cathedral unless absolutely
necessary and, in any event, to time arrival so as to be able to
take seats by 7.30 p.m.
THANK YOU
GUILDFORD PHILHARMONIC ORCHESTRA
(Artistic Adviser: Vernon Handley)
PHILHARMONIC CHOIR
(Chorus Master: Simon Halsey)
Information about the Guildford Philharmonic Orchestra and
Philharmonic Choir can be obtained from the Administrator at
the Orchestra's office
The Lodge,
Allen House Grounds
Chertsey Street
GUILDFORD
Surrey GU1 4HL
Telephone (0483) 573800