1985/86SEASON
Take a weekend break
with Leisure Lea
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There are 60 Leisure
Learning weekends this
year, from £75 inclusive.
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ATM Britain ® British Heritage ® Music
® Fine China ® Fine Wine ® Opera
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eV
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Post coupon to: Leisure Learning, Embassy
Hotels Ltd., Station St., Burton-upon-Trent,
Staffs., DEM 1BZ. Tel: 0283 66587.
Telex: 34533.
LElSURE
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Please send me the 1985/6 Leisure Learning Brochure
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LEARNING | @
I A fascinating way to spend a weekend.
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subjects. You stay in
excellent hotels with
good food and accommodation and visit places x ¥4
tell you all there is to know. }
I
_—=3 5L Canals of Britain ® Churches
St A
® Country Gardens ® Countryside
THTT
Il
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Il
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Address
S
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First Class Servicefor Classics
PRINTED MUSIC
We supply schools, choirs, teachers and individuals all over the U.K. and abroad.
Large modern shop. Extensive stocks. Rapid order service for non-stock items.
Postal despatch available -quote your Access/Mastercard, Barclaycard/Visa number.
MUSICAL INSTRUMENTS
We stock all leading makes — Boosey and Hawkes, Yamaha, Bundy, Aulos,
Dolmetsch, Premier etc. 3—6 months Rental scheme — payments deducted from
price if purchased. Extensive experience of school requirements. Sensible advice for
parents. Records/cassettes. Accessories. Repairs.
OFFICE
MAIL ORDER
} MONDAY - FRIDAY 9-5.30
IBRITTEN’S MUSIC wanne
CLASSICAL AND EDUCATIONAL SPECIALISTS
3 Station Approach, West Byfleet, KT14 6NG. Byfleet (09323) 51165/51614 (Autophone 51165)
é:trug:d(;;%rl:irk
Open Monday—Saturday 9—5.30 (Saturday close 4.30)
HUTSON POOLE AND CO
SOLICITORS
A FRIENDLY LOCAL FIRM PROVIDING A
COMPREHENSIVE
SERVICE
TO
PRIVATE
AND
CORPORATE CLIENTS
Company
Commercial
Town Planning
Conveyancing
Tax
Litigation and Family Matters
Office hours: 9 am — 5 pm Mon. - Fri. but
we can adapt to suit your needs
10 QUARRY STREET, GUILDFORD, GU1 3XA. Tel: 65244
and
LEE HOUSE, HIGH STREET, CRANLEIGH, GU6 8AQ. Tel: 275423
SUTTON PLACE
Built between 1520 and 1530 by Sir Richard Weston, Sutton Place is one of the finest examples of
the English Renaissance Period. The Mansion now contains a magnificent collection of works of art
of all periods.
A series of Concerts are held throughout the year, offering guests an opportunity to hear both internationally acclaimed and younger talented artists, within the unique setting and atmosphere of
Sutton Place. All tickets prices include Dinner and Wine for evening events, or Tea for afternoon
events.
AUTUMN SERIES 1985 |
Gala Evening with GEORGE MALCOLM, harpsichord. Saturday 16 November
Ticket price includes Champagne Reception, Dinner and Firework Display.
Concert Series
Sunday Afternoon Series
BRODSKY STRING QUARTET
LONDON SERPENT TRIO,
6 October
Wednesday 2 October and 6 November
KENNETH VAN BARTHOLD
BARRY DOUGLAS, piano,
KRZYSZTOF SMIETANA,
13 October
3 November
Wednesday 23 October, using a
SCHUBERT ENSEMBLE,
24 November
Clementi forte piano
PATRICIA ROZARIO
Wednesday 4 December, using an
Erard grand piano
Christmas
Concert
1 December
with
the
PHILIP
JONES BRASS ENSEMBLE, 17 & 18 December
Contact Sutton Place for details of Concerts in 1986.
For further information and reservations contact: The Bookings Manager
Tel. Guildford (0483) 504455, 10am-5pm, Weekdays.
The Sutton Place Heritage Trust, Sutton Place, Guildford, Surrey, GU4 7QV.
I
GUILDFORD BOROUGH COUNCIL
CONCERTS 1985/86
CIVIC CONCERT
CIVIC HALL, GUILDFORD
The Guildford Philharmonic Orchestra welcomes the
Mayor
and
the
members
of
Guildford
Borough
SUNDAY 24 NOVEMBER 1985
at 7.45. p.m.
Council to its annual Civic Concert, recognising at this
concert the work of the Council without whose consistent support and enlightened attitude it would not have
been
possible
to
achieve
the
orchestra’s
present
national standing or maintain the quality and variety of
concerts which remain an example to concert promoters throughout the country.
Guildford
Philharmonic
Orchestra
Leader:
JOHN LUDLOW
SIR DAVID WILLCOCKS
Conductor
LORNA ANDERSON
Soprano
CAROLYN PRIDE
Soprano
CATHERINE WYN-ROGERS
Alto
ROLAND VERNON
Tenor
STEPHEN ROBERTS
Bass
JOHN FORSTER
Harpsichord
PHILHARMONIC CHOIR
This concert is promoted by Guildford Borough Council with
financial support from the South East Arts Association.
Lorna Anderson
Sir David Willcocks began his musical training as a
Lorna Anderson was born in Glasgow and began to
chorister at Westminster Abbey. He subsequently won
study singing after winning an entrance scholarship to
scholarships and studied at Clifton College and King’s
the Royal Scottish Academy of Music in 1979 where
College, Cambridge. After a five-year period of war
she studied with Patricia MacMahon. She remained at
service he was elected a Fellow of King’s College, Cam-
the R.S.A.M. for four years, during which time she
bridge and Conductor of the Cambridge Philharmonic
won several prizes, including that for the most distin-
Society.
successively
guished student of the year. In 1983 she reached the
Organist of Salisbury Cathedral, and of Worcester
final of the Kathleen Ferrier Memorial Scholarship
Subsequently
he
became
Cathedral, conducting at the Three Choirs Festivals
Competition and was awarded a Foundation Scholar-
from 1950 to 1957. During this time he was also Con-
ship for postgraduate study at the Royal College of
ductor of the City of Birmingham Choir and conducted
Music where she was a pupil of Marion Studholme.
many concerts with the City of Birmmingham Sym-
During 1984 she was awarded first prize in both the
phony Orchestra. From 1957 to 1974 he was Director of
Peter Pears’ and Royal Overseas League Singing Com-
Music at King’s College, Cambridge, University Lec-
petitions and studied at the R.C.M. Opera School
turer in Music and Conductor of the Cambridge Uni-
aided by the Boise Award and the Caird Scholarship.
versity Musical Society; and from 1974 to 1984 he was
She was also awarded the R.C.M’s Tagore Gold Medal
Director of the Royal College of Music. He has been
for the most distinguished student.
Musical Director of The Bach Choir since 1960.
Lorna’s repertoire is extensive and she performs regu-
Under his direction, The Bach Choir, King’s College
larly for music clubs and with choral societies. She has
Choir and the Royal College of Music Chamber Choir
broadcast on radio, recorded for schools and with the
have made many recordings with leading orchestras of
Scottish Early Music Consort, with whom she has also
great choral and orchestral works. He holds Honorary
toured Poland. In December 1983 she took part in the
Degrees at the Universities of Bradford, Bristol, Exe-
10th anniversary ‘Messiah—from—Scratch’, conducted
ter, Leicester and and Sussex and at Westminster Choir
by Sir David Willcocks at the Royal Albert Hall. She
College, Princeton, USA, and he is an Honorary Fel-
has sung on the South Bank at the Queen Elizabeth
low of King’s College, Cambridge.
As well as his regular appearances in the UK, his con-
ducting engagements during 1985 will take him to
USA, Canada, Australia, New Zealand and many
European countries.
Hall, at St James’s Piccadilly and this summer made her
début as soloist at the Edinburgh International Festival. Future plans include a series of recitals in Spain.
Catherine Wyn-Rogers
Catherine Wyn-Rogers made her London recital debut
in 1982 at the Purcell Room for the Park Lane Group’s
Carolyn Pride is currently studying at the Royal Col-
series “Young Artists and 20th Century Music”. Since
lege of Music as a post-graduate student with Margaret
then she has sung with the Bach choir numerous times
Kingsley.
under their director Sir David Willcocks and has made
She has appeared as a soloist with various choral
societies throughout Great Britain, including the Bach
Choir on their tours of the West and South East of England and in Hong Kong. Recently, she was nominated
by the R.C.M. to take part in the Boise Scholarships
and Maggie Teyte Singing Prize.
She is now studying at the College Opera School.
recordings with them and with the London Symphony
Orchestra. She has scored successes in her performances of Messiah with the London Philharmonic
Orchestra, with the Bach choir at the Royal Albert
Hall, in York Minster, Bath Abbey and in Hong Kong.
Her performance in the traditional Malcolm Sargent
Cancer Fund “Messiah” last year has resulted in an
invitation to return next year. On the South Bank,
appearances in the Royal Festival Hall include “Israel
in Egypt” and a performance of Bruckner’s “Te Deum”
with the Philharmonia.
Last season saw Catherine Wyn-Rogers’ first recording
for Television and Radio. She has given broadcast performances of Howell’s “Missa Sabriensis” from the
Royal
Festival
Hall,
Mozart’s
“Requiem”
from
Swansea and the Durufle “Requiem” from Kings College Chapel. She has recorded “Messiah” on BBCTelevision from Chester Cathedral and she appeared on
BBC TV on the occasion of the Royal College of
Music’s Centenary Gala Concert which was broadcast
live.
Miss Wyn-Rogers has given three concerts in Israel this
year, singing Handel’s Israel in Eygpt and the Verdi
Requiem with the Bach Choir, and also in a concert of
works by Bach, with the Israel Philharmonic Orchestra
conducted by Zubin Mehta. She also recently sang in a
performance of the Messiah on Handel’s birthday at
the Royal Albert Hall.
Stephen Roberts
Roland Vernon was born in 1961 and began singing at
an early age, performing as a boy chorister and a tenor
recitalist. In 1979 he won a choral scholarship to King’s
College, Cambridge where he spent three years singing
in the Chapel choir and working for his degree in Art
History.
He took part in many recordings, broadcasts and international tours with the choir.
In 1983 he entered the Royal College of Music and now
studies at the College Opera School. During the past
two years he has appeared frequently as an oratorio
and opera soloist at home and in Europe.
Stephen Roberts is now recognised as one of the most
outstanding young baritones of his generation.
Already well- known in this country both for his recitals and oratorio performances, he is rapidly establishing an international reputation, having appeared in
recent seasons in Lucerne, Bordeaux, Barcelona,
Israel, Holland, Belgium, Buenos Aires, Germany and
Canada. He has also sung at the Carnegie Hall in New
York and the Kennedy Center in Washington with the
Steinitz Bach Players and made a tour of the Far East
with the Bach Choir.
He has regular engagements in all the London concert
halls and has made many BBC Promenade appearances.
His television appearances, include the joint BBCTV
and East German TV production in Dresden of the War
Requiem and, most recently, a BBC Promenade Concert performance of Penderecki’s St Luke’s Passion.
Stephen Roberts has already acquired a formidable list
of recording to his credit including the prize-winning
recording of Harrison Birtwistle’s Punch and Judy, Tippett’s King Priam, both conducted by David Atherton,
and Gluck’s Armide for EMI. In BBC recordings, he
has given many first performances of contemporary
works, some of which have been written specially for
him. His most recent recording is Carmina Burana for
Decca, with the Berlin Symphony Orchestra conducted by Riccardo Chailly. He has also recorded Kurt
Weill’s Seven Deadly Sins for Granada TV.
He made his London operatic debut in the Spitalfields
Festival’s production of Gluck’s Armide and sang the
role of the Count in Opera North’s Marriage of Figaro
last season. He returned to Leeds this season to sing
Falke in Die Fledermaus. He has also sung with the
Royal Ballet at Covent Garden.
Guildford Philharmonic Choir
other turned in the opposite direction; he looked into
Guildford Philharmonic Choir (formerly the Festival
Choir) was formed in order to perform the major
choral repertoire with the Guildford Philharmonic
Orchestra. The choir made its first recording in 1973 of
Finzi’s
“Intimations
of
Immortality”
with
the
Guildford Philharmonic, and in 1976 recorded Hadley’s
“The Trees So High” with the Philharmonia
Orchestra, both recordings being conducted by Vernon
Handley. The Philharmonic Choir (in collaboration
with the Goldsmiths Choral Union) made its debut
with the Guildford Philharmonic Orchestra in the Festival Hall in March this year in a performance of Verdi’s
Requiem, conducted by Brian Wright. A further collab-
oration with this Choir will take place in May next year
in a performance of “A Child of Our Time” by Sir
Michael Tippett
to
be
conducted
by
Sir
Charles
Groves. The Philharmonic Choir will also join forces
with the University of Warwick Chorus in a performance of Britten’s War Requiem which will be per-
formed in Warwick Arts Centre on 7 March, and in
Guildford Cathedral on 8 March next. Both performances will be conducted by Simon Halsey, who was
appointed Chorus Master to the Choir in 1984 and in
this he acknowledges the assistance of Neville Creed
and the Choir’s accompanist Christopher Mabley.
The Philharmonic Choir welcomes young singers with
good sight reading ability and applications for audition
should be made to the Choir’s office at The Lodge,
Allen House Grounds, Chertsey Street, Guildford,
Surrey GU1 4HL Tel: 0483 573800.
Dixit Dominus (Psalm 110), HG XXXVIII:53
George Frideric Handel (1685-1759)
1985 has been a year of notable anniversaries: the
quatercentenary of Schiitz, the tercentenary of Handel
and Bach, of Domenico Scarlatti and John Gay, the
bicentenary of De Quincey and Grimm, the centenary
of Berg and Varese, of D.H.
Lawrence and Ezra
Pound, of Pavlova.
Assessing Handel in his book Music in Western Civilisa-
new valleys, and showed new vistas to his colleagues
and followers . . .
the long period of baroque art
ended with these two.”
Dixit Dominus is a work of Handel’s youth: the autog-
raph, in the British Library, is dated Rome, April 1707.
He was then just twenty-two. A product, a vigorously
inspired, highly coloured, vibrantly imagined product,
of his Italian period, we are not sure for what purpose
it was composed, nor when it was first performed. One
theory is that it may have been written for Easter (both
the opening and closing choruses incorporate a Gregorian plainchant cantus firmus associated with Easter), to
be sung on Easter Sunday 1707, possibly at the Church
of St. John Lateran (where Handel, according to one
Roman diarist of the time, enjoyed “universal admiration” as an organist and as “an excellent harpsichordist
and composer”). Another view is that it may have been
commissioned by Cardinal Ottoboni for performance
at Vespers on the Feast of Our Lady of Mount Carmel
(16 July). The Vespers association is not a new idea.
Vincent Novello last century suggested such a link,
pointing out further the curious fact that, like Dixit
Dominus, two other Handel works contemporary with
it — Nisi Dominus (13 June) and Laudate pueri Dominum
(8 July) —are also coincidentally settings of psalms similarly appointed for the Vespers service.
Dixit Dominus is laid out for five solo voices (two sopranos, countertenor, tenor and bass), five-part chorus,
and an orchestra of strings with continuo. John Eliot
Gardiner (1978) describes it as “a grand concerto” for
these forces. “Handel is pitiless,” he writes, “in the
demands he makes of his musicians . . . : he requires
energy and breadth, phenomenal agility and precision,
declamatory vigour and a lyrical expressiveness. All
this gives the psalm its feeling of ebullience and breath-
less exhilaration, almost as though this young composer, newly arrived in the land of virtuoso singers and
players, was daring his hosts to greater and greater
feats of virtuosity. The work is masterful for all its bold,
naive assumptions that voices function like violins, and
violins like the manuals of an organ . . .”
tion (1941), Paul Henry Lang says: “[his] art embraces
In G minor, the whole is divided into eight movements.
the scintillating forms, colours, and figures of a gigantic
The first, with its tutti and solo exchanges recalls the
creative imagination, the chief characteristics of which
concerto grosso model of Corelli, while the second and
are a wholesome power of form, monumental dramatic
third (respectively in B flat, with continuo, and C
conception, and a flowing, poetic inspiration, abandon-
minor, with orchestra) are elaborated coloratura arias in
ing itself in the contemplation of nature and its crea-
the
tures. Where Pope and his colleagues saw man only in
“Juravit Dominus” contrasts a grave of astonishing
his rational acts, Handel, together with John Gay,
chromaticism with an allegro fugato of broad diatonic
Allan Ramsey, and James Thomson, discovered the
reference and athletic strength. Its closing six orchest-
existence of the universe in which man is only a parti-
ral bars are remarkable for the precision of their
style of the Neapolitan, Alessandro Scarlatti.
cle. The same tenderness which impresses us in Thom-
dynamic gradation: “piano, pianopiano, ppp, pianiss,
son’s Seasons — a work particularly close to the musi-
pianiss”.
cian’s heart —emanates from many a page of Handelian
polyphonic study in the German manner. For Gar-
music. To him nature is a great drama, the individual
diner, the sixth (in D minor) “is the most boldly experi-
scenes and episodes of which furnish the poet and musi-
mental, revealing Handel’s excitement at the rich pos-
The
fifth
section
(in
B
flat)
is
a fluent
cian with his materials . . . Bach and Handel appeared
sibilities offered by virtuoso singing (and playing) in
at a time when Western music was at the crossroads.
several parts for building a choral drama”. Its pic-
One became the embodiment and final monument of a
torialism and imagery looks fascinatingly to Mon-
conception and practice which looked back from the
teverdi. If Vivaldi’s spirit seems to inform the penulti-
last peak of baroque polyphony to the distant past. The
mate F major “Judicabit in nationibus”, it is a synthesis
essentially of Handel’s own making which characterises the final Gloria, a triple fugue of compelling
climax and conclusion, comparable dimensionally and
conceptually with things to come in the B minor Mass.
Nowhere in early Handel do we find a more brilliant
fusion of grand German severity with flamboyant Italian extravagance.
1. Chorus, soprano/alto/tenor soli
Dixit Dominus Domino meo:
‘Sede a dextris meis:
donec ponam inimicos tuos
scabellum pedum tuorum.
The Lord said unto my Lord:
Sit thou on my right hand,
until I make thine enemies
thy footstool,
2. Aria (alto)
Virgram virtutis tuae emittet
Dominus ex Sion:
dominare in medio
inimicorum tuorum.
The Lord shall send the rod of
thy power out of Sion:
be thou ruler, evenin the
midst among thine enemies.
3. Aria (soprano)
Tecum principium in die
virtutis tuae in
splendoribus sanctorum:
ex utero ante luciferum
genuite.
In the day of thy power shall
the people offer
the free-will offerings with an
holy worship:
the dew of thy birth is of the
womb of the morning.
4. Chorus
Juravit Dominus, et non
The Lord sware, and will not
poenitebit eum:
repent:
5. Chorus
Tu es sacerdos in aeternum,
secundum ordinem
Melchisedech.
Thou art a Priest for ever
after the order of
Melchisedech.
6. Chorus, 5 soli
Dominus a dextris tuis;
The Lord upon thy right
hand;
confregit in die irae suae
reges.
Judicabit in nationibus;
day of his wrath.
He shall judge among the
heathen;
he shall fill the places with the
conquasabit capitain
and smite in sunder the heads
dead bodies:
over divers countries.
7. Chorus, 2 soprano soli
De torrente in via bibet;
He shall drink of the brook
propterea exaltabit caput.
therefore shall he lift up his
in the way:
head.
8. Chorus
Gloria Patri et Filio
Glory be to the Father and to
the Son
Et spiritui Sancto
And to the Holy Ghost
Asit was in the beginning,
et nunc et semper
and is now
Sicut erat in principio;
Etin saecula saeculorum.
Amen
and ever shall be: world
without end. Amen.
© Ates Orga 1985 Department of Music, University of Surrey
INTERVAL
Bach 1685-1750
Bach wrote the great Magnificat to celebrate Christmas
1723. It was originally in the key of E flat major, but
about 1730 he transposed the whole into D major, and
altered some details. Although critics have pointed out
that Bach was probably aware of other Magnificats by
Italian composers like Albinoni, all are convinced of
the striking originality in Bach’s setting. Some of the
choral passages have an impetuosity not found in the
Italian masters, and the arias and ensembles are much
more concentrated in their emotional messages.
Although this concentration was due to the fact that
Bach had to compress the composition to the moderate
time scale which public worship imposed, the work in
fact gains in impressive power through this concentration.
1. CHORUS
2. AIR
3. AIR
4. CHORUS
5. AIR
6. AIR
7. CHORUS
8. AIR
9. AIR
shall wound even kings in the
implebit ruinas,
terra multorum.
Magnificat
10. CHORUS
11. CHORUS
12. CHORUS
MAGNIFICAT
(My soul doth magnify the Lord)
ET EXULTAVIT SPIRITUS MEUS
(And my spirit hath rejoiced)
QUIA RESPEXIT
(For He hath regarded)
OMNES GENERATIONES
(For behold, all generations)
QUIA FECIT MIHI MAGNA
(For He that is mighty)
ET MISERICORDIA
(And His mercy is on them)
FECIT POTENTIAM
(The Lord hath shewed strength
DEPOSUIT POTENTES
(He hath put down the mighty)
ESURIENTES IMPLEVIT BONIS
(He hath filled the hungry)
SUSCEPIT ISRAEL
(His servant Israel)
SICUT LOCUTUS EST
(Even as He promised)
GLORIA PATRI
Glory be to the Father)
Friday 6 December 1985 at 8.p.m.
GUILDFORD PHILHARMONIC ORCHESTRA
Staines Town Hall
Artistic Adviser — Vernon Handley
Divertimento in D
Chanson de Matin
Mozart
Elgar
First Violins:
Timpani:
Chanson de Nuit
Elgar
Leader: John Ludlow
Brook Green Suite
Roger Blair
Holst
Arthur Price
The Four Seasons
Vivaldi
(Soloist: HUGH BEAN)
John Forster
Sheila Beckensall
Harpsichord:
Hywel Davies
John Forster
Linda McLaren
Conductor
Peter Newman
Tickets: £4.00., and £3.00.,
Administrator:
Alex Suttie
Town Hall Tel: (0784) 52144
Kathleen Atkins
Andrew Thurgood
Staines Pool Tel: (0784) 53171
Concerts Assistant:
Second Violins:
Saturday 14 December 1985 at 7.45.p.m.
Civic Hall, Guildford
Rosemary Roberts
Timothy Callaghan
CIVIC CONCERT
Ruth Dawson
Petite Suite
Debussy
Hywel Jones
Piano Concerto No 27 in B flat (K595)
Pavane pour une Infante defunte
Mozart
Adrienne Sturdy
Symphony No 39 in E flat
Mozart
John Forster
Ravel
Violas:
John Meek
Director/Soloist
John Graham
Jean Burt
Sunday 15 December 1985 at 3.00.p.m.
Frederick Campbell
Civic Hall, Guildford
ROTARY CAROL CONCERT
Cellos:
CAROLS FOR CHOIR AND AUDIENCE
Steven Milne
GUILDFORD BRASS ENSEMBLE
Peter Esswood
Christina Macrae
Roger Blair
Timpani
Philharmonic Choir
Simon Halsey
Conductor
ADMISSION FREE - COLLECTION IN AID OF
THE MAYOR’S CHRISTMAS AND
LOCAL DISTRESS FUND
Saturday 4 January 1986 at 7.45.p.m.
Civic Hall, Guildford
NEW YEAR STRAUSS GALA CONCERT
(Sponsored by Lloyds Bank)
Programme includes Radetsky March,
The Blue Danube, Gipsy Baron Overture,
Polkas, Marches, Waltzes etc by the Strauss family
John Georgiadis
Paul Hilliam
Nicholas Maxted Jones
John Hursey
Basses:
Michael Lea
Colin Paris
Flutes:
Simon Hunt
Alexa Turpin
Oboes/oboe d’amore
Deirdre Dods
Ann Greene
Bassoon:
Nicholas Hunka
Conductor
Trumpets:
Tickets: £5.50., £4.50., £3.70., £3.10.,
Michael Hinton
(Children aged 16 and under half price).
Clifford Haines
Box Office: Civic Hall, Guildford. Tel: 67314
Patricia Reid
A & N Travel, Guildford, Tel: 68171.
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.
Guildford Philharmonic Society
(Charity Registration 288295)
Wilks Head & Eve
The Guildiford Philharmonic Society is the ‘Supporters Club of the
Guildford Philharmonic Orchestra and was originally founded
with the prime object of encouraging not only its members but
also the general public in the awareness of and to attend the
season of concerts in the Civic Hall by the Guildford Philharmonic
Orchestra. It still has this main object but also the Society assists
with the provision of the fiances for considerable extra publicity
for the concert season. The Society is a registered charity and
welcomes the payment of subscriptions by a Deed of Covenant, as
the Society can claim from the Inland Revenue tax at the basic rate
for the time being in force. Payment by this method also ensures
that the subscription is not raised for four years but members also
receive certain benefits in return for a very modest minimum
annual subscription and these facilities include:
INCORPORATING
William Eve & Sons
of Guildford
&
® 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
® The opportunity to attend rehearsals of the Orchestra by
applying to the Orchestra’s Office
® New Members to the Society are always welcome and by being
a member you are also helping to ensure the continued success
of the Guildford Philharmonic Orchestra.
Rating & Valuation Consultants
to Local Authorities
The membership rates are as follows:
Annual Subscription (minimum)
Husband and Wife—Joint Subscription (minimum)
Persons under the age of 18 (minimum)
Retirement Pensioner (minimum)
9 Harley Street
London W1N 2AL
£5.00
£8.50
£3.50
£3.50
If you would like to join the Society, Covenant forms are obtainable
from the General Administrator below or you may send a cheque
for your subscription together with your name and address to:
Telephone 01-637-8471
Mr R A Forrow
Flat No 3, 6 Mareschal Road
Guildford Surrey GU2 5JF Tel: Guildford 575274
TELEX 27157 WIHEVE G
SUPPORT YOUR
ORCHESTRA!
IT
NEEDS YOU!
for
a total service
encompassing 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 profes?ional Guildford Philharmonic Orchestra in its annual series
of concerts.
PROGRAMME FOR 1985/86 SEASON:
12 October 1985
Schubert Songs
Conductor: Simon Halsey
Guildford Civic Hall
24 November 1985
Handel Dixit Dominus
Bach Magnificat
Conductor: Sir David Willcocks
Guildford Civic Hall
15 December 1985
Carol Concert
Conductor: Simon Halsey
Guildford Civic Hall
1 February 1986
Holst's The Planets Suite
Guildford Civic Hall
== 9 February 1986
Holst's The Planets Suite
(Ladies Chorus)
Conductor: Vernon Handley
Leas Cliff Halll
Folkestone
7 March 1986
Britten War Requiem
Conductor: Simon Halsey
Warwick
8 March 1986
Britten War Requiem
Conductor: Simon Halsey
Guildford Cathedral
3 May 1986
TippettA Child of Our Time
Conductor: Sir Charles Groves
Guildford Cathedral
(Ladies Chorus)
Conductor: Vernon Handley
The Philharmonic Choir meets on Monday evenings from 7.15
young singers (all voice parts) with good
p.m. The Choir welcomes applications from
sight reading ability.
Enquiries: Administrator, Guildford Philharmonic Choir Office,
The Lodge, Allen House Grounds, Chertsey Street, Guildford, GU1 4HL. Tel: Guildford 573800.
UNIVERSITY
OF SURREY
DEPARTMENT OF MUSIC
Aren,t
enviable reputation for its high quality of
you luCky
ltS your
This Department has gained for itself an
most welcome at all our concerts —these
performance. Members of the public are
take place during term-time every
Wednesday at 1.15 pm and on selected
Further information is obtainable from:The Secretary
Department of Music
University of Surrey
Guildford, Surrey
(Tel: Guildford 571281)
R
local
frs
Robert Shaw & Partners
LU
L S
e
e
Andrew D. Macvean, B.Sc. Est.MaN) F.R.I.C.S. pIP.CON.
Consultant: Robert O. Shaw, F.R.I.C.S.
3TUNSGATE
COMMERCIAL HOUSE
GUILDFORD. GU13RF
CHAPEL STREET, WOKING. GU21 1BY
(0483) 572915
(04862) 61026
An independent firm established in 1936 offering consultancy especially in
BUILDING SURVEYING & DESIGN
PLANNING APPLICATIONS & APPEALS
COMMERCIAL PROPERTY
We wish Guildford Philharmonic Orchestra, Choir,
\_
Society and audiences an inspiring and enjoyable season
)
HELP ON HAND
available now.
If you think that this system could be of assistance to you or your family then call
David Thew on
GUILDFORD 505050
who will be happy to talk to you about HELP ON HAND
Guildford Borough Council
Millmead House, Millmead, Guildford GU2 5BB
&
Castle
-GroundsN
"3.‘< Museum
\
f'com
J leasure
w
Luildford aBo'coag/z Council
For sauna, solarium,
squash, swimming, keep
fit and much more! Tel:
G. 571651/3 or 505027
after 5 pm and
Sports
Centre
weekends.
Bedford Road
Varied art exhibitions
Guildford
House
throughout the year.
Open 10.30am to 4.50pm
Mon-Sat. Admission
free. Tel: G. 505050 or
s
“
London Road
r
GLll[dfO}’d
s
3
Philharmonic
Orchestra
Parks &
Parks, gardens and open
spaces throughout the
borough for all tastes
For all kinds of family
The
own events. Tel: G.
67314 or 502866 eves
and weekends.
:
Stoke Road
orchestra of the South
The top professional
Yeoman S
recitals at the Civic Hall.
Sports Hall
facilities to hire for your
fl‘ ll
503497.
weekends.
entertainment — plus
‘vlc
Castle Arch,
East performing a full
range of concerts and
Tel: G. 573800.
Items relating to Surrey
dating from prehistory to
the present day. Open
Mon-Sat 11am - 5pm.
Admission free. Tel: G.
Quarry Street
Open
Spaces
503406 after 5pm and
155 High Street
Guildford
Museum
A
1
details and to book
outdoor sports facilities.
Open air heated
@
’
=
B I'Idge
and interests. Tel: G.
505050 ext. 3501 for full
swummmg pools set in
rOIIIngflalwnsdand i
beautiful gardens.
Open
May to September 11am
- 7pm. Tel: G. 505207.
At Manor Road Ash. For
all types of dry sports.
Tel: Aldershot 25484 for
full details. _
For full details of these and other places and events, contact:
Tourist Information Centre, Civic Hall, Guildford. Tel: G. 67314.
(Open 9.30am - 5pm Mon - Fri; 9.30 - 4.30pm Sat. Closed 12.30 - 1.30pm Mon - Sat.)