1985/86 SEASON
Take a weekend break
with Leisure Learning.
weekends cover a
fascinating choice of
subjects. You stay in
excellent hotels with
good food and accommodation and visit places
Of interest Wlth experts to
® Country Gardens ® Countryside
a%es @ Country Photography ® Cities of
TM Britain ® British Heritage ® Music
® Fine China ® Fine Wine ® Opera
\ ® famous People ® Folklore
® \Yesterday's World ® Vanishing
(.
tell you all there is to know.
=
(=8
hiere are 60 Leisure
Learning weekends this
year, from £75 inclusive.
I
o
i
)
LEISURE
I
T
LEARNING |
l A fascinating way to spend a weekend.
Il
I
I
I
D
D
O
I
O
Britain ® Historic Houses
W
Pl
-
@ Kaleidoscope.
Post coupon to: Leisure Learning, Embassy
Hotels Ltd., Station St., Burton-upon-Trent,
Staffs., DE14 1BZ. Tel: 0283-66587.
Telex: 34533
Please send me the 1985/6 Leisure Learning Brochure
E
I
S
I
B
N
B
BN
B
BN
e
B
B
.
Address
N
N
O
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 e
CLASSICAL AND EDUCATIONAL SPECIALISTS
3 Station Approach, West Byfleet, KT14 6NG. Byfleet (09323) 51165/51614 (Autophone 51165)
é::f:dg; 'I'?E::k
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
Conveyancing
Commercial
Town Planning
Tax
Litigation and Family Matters
Office hours: 9 am — 5 pm Mon. — Fri. but
we can adapt to suit your needs
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 guestsan 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.
Sunday Afternoon Series
Concert Series
BRODSKY STRING QUARTET
Wednesday 2 October and 6 November
KENNETH VAN BARTHOLD
Wednesday 23 October, using a
Clementi forte piano
Wednesday 4 December, using an
Erard grand piano
6 October
13 October
3 November
24 November
1 December
LONDON SERPENT TRIO,
BARRY DOUGLAS, piano,
KRZYSZTOF SMIETANA,
SCHUBERT ENSEMBLE,
PATRICIA ROZARIO
Christmas
Concert
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.
GUILDFORD BOROUGH COUNCIL
CONCERTS 1985/86
GUILDFORD CATHEDRAL
SATURDAY 3 MAY 1986
at 7.45 p.m.
(By kind permission of the Dean and Chapter)
Guildford
Philharmonic
Orchestra
Associate Leaders:
HUGH BEAN
JOHN LUDLOW
SIR CHARLES GROVES
Conductor
JO ANN PICKENS
Soprano
LINDA STRACHAN
Alto
TAN CALEY
Tenor
MATTHEW BEST
Bass
PHILHARMONIC CHOIR
GOLDSMITHS CHORAL UNION
This concert is is promoted by Guildford Borough Council with
financial support from the South East Arts Association.
Sir Charles Groves
Charles Groves was born in London and spent his
boyhood as a chorister at St Paul’s Cathedral. His
exceptional musicianship was early recognised as a
pianist, organist and conductor, and while still a
student at the Royal College of Music he accompanied
Toscanini’s choral rehearsals for the BBC.
On leaving the Royal College of Music he joined the
BBC Opera Unit and when 29 was appointed
conductor of the BBC Northern Symphony Orchestra.
In 1951 he left Manchester to become Music Director
of the Bournemouth Symphony Orchestra and after
ten years he became Music Director of Welsh National
Opera, with whom he had been associated for many
years.
IN 1963 he moved to the Royal Liverpool Philharmonic Orchestra where he spent fourteen productive
years including the first complete cycle of Mahler’s
symphonies by a British conductor, and conducting
much contemporary music as well as encouraging
many young conductors and artists. He made
numerous records for EMI with the Orchestra, and
took them on regular foreign tours.
In 1977 he became Music Director of English National
Opera, a post he relinquished in 1980 to devote more
time to freelance opera and orchestral concerts both
here and abroad.
Since 1967 he has had an affectionate relationship with
the Royal Philharmonic Orchestra as their Associate
Conductor and early in the 1983/84 season conducted
a complete cycle of the Beethoven symphonies with
them in London.
Sir Charles enjoys a regular association with the Los
Angeles Philharmonic Orchestra, and other
forthcoming overseas engagements include concerts
in West and East Germany, Holland, Israel, Hungary,
Japan and Hong Kong.
In 1985 Sir Charles celebrated his 70th birthday and
during the weeks surrounding this anniversary he
appeared in London with the Royal Philharmonic
Orchestra, the London Symphony Orchestra, the
Philharmonia, the BBC Symphony Orchestra and for
the Royal Philharmonic Society.
Sir Charles Groves conducted the Guildford Philharmonic Orchestra in Guildford last month and we are
delighted that he is continuing his association with the
orchestra.
Festival; London’s Barbican Centre in a Beethoven
programme
and
“Requiem”,
this
Guildford
the
Royal
latter
Philharmonic
Festival
Hall,
performance
Orchestra,
Verdi
with
the
Philharmonic
Choir and Goldsmiths Choral Union.
In
1985
alone
she
appeared
with
the
City
of
Birmingham Symphony Orchestra in Berlioz’ “Nuits
d’Eté” under the direction of Okko Kamu — the concert
was such a success that she was immediately re-invited
to take part in a Grand Opera Gala; at the Festival
Hall; in Leicester for a performance of “Elijah”; in
Guildford, a Verdi “Requiem”; Malvern Festival, “A
Child of Our Time”; return visits to the Aldeburgh
Festival;
St
John’s
Smith
Square;
another
recital
recording for the BBC; and a return visit to the
Bournemouth Symphony Orchestra for performances
of the Verdi “Requiem” and “A Child of Our Time”.
Further engagements this season for Jo Ann Pickens
include
“War
Requiem”
in
Bournemouth;
Verdi
“Requiem” performances at the Royal Albert Hall
(the Malcolm Sargent Birthday Concert) and Fairfield
Hall.
Engagements
Beethoven
Ninth
Sanderling
and
abroad
include
Symphony
the
Los
a
concerts
Angeles
series
with
of
Kurt
Philharmonic
Orchestra; a series of Mozart Requiems in France,
and appearances at the Aréne at Nimes in Verdi’s “Il
Corsaro”.
In
this
country,
most
exciting
is
the
forthcoming complete performance of Berlioz’ “The
Trojans” at the Portsmouth Festival, in which she will
Jo Ann Pickens
Jo Ann Pickens started her singing career in Chicago
where
she was associated with the Chicago Lyric
Opera, presenting roles such as Mimi in “La Bohéme”
and Annina in “La Traviata”. She also participated in
the Santa Fe Opera Program. Her operatic repertoire
includes The
Countess,
Donna
Elvira,
Fiordiligi,
Madame Lidoine, the Leonoras in “Forza” and “Trovatore”, and various roles in “Porgy and Bess”.
Since winning the Concours International de Chant
de
Paris,
the Benson & Hedges Gold Award for
Concert Singers and the Metropolitan Opera Regional
Auditions in New York, she has become recognised
as a world-class artist in both her native USA and
particularly in Europe. Important concerts in the USA
include a performance of “Elijah” at the Carnegie
Hall; Britten’s “War Requiem” also in New York; a
recital at the Merkin Concert Hall and an appearance _
with the
Chicago Symphony
Orchestra
under the
direction of Sir Georg Solti. In France she gave a
highly
praised
series
of Verdi
“Requiem”
mances
with
Michel
Plasson
after
perfor-
winning
the
Concours International, and is now much in demand
as a recitalist.
She made her German debut in 1984 with concert
performances of “Porgy and Bess” and the Verdi
“Requiem”.
In Britain she has appeared at the Benson & Hedges
Festival, replacing Teresa Berganza in Rossini’s “Petite
Messe Solonelle”; the Aldeburgh Festival in Britten’s
“War Requiem” conducted by Simon Rattle; Britten’s
“War Requiem” again, with Richard Hickox and the
Bournemouth Symphony Orchestra at the Portsmouth
take the role of Cassandra.
It was at the Guildhall that Linda Strachan began her
work with Margaret Lensky with whom she still
studies. She was a finalist in the 1981 Kathleen Ferrier
Memorial Scholarship and in 1982 a Peter Stuyvesant
Scholarship enabled her to further her studies at the
National Opera Studio.
Linda Strachan has given many concerts throughout
Scotland, including Prokofiev’s “Alexander Nevsky”
with the Scottish National Orchestra and Chorus in
the City Hall, Glasgow. She returned to the Scottish
National Orchestra in April 1984 for performances of
Mahler’s “Lieder eines Fahrenden Gesellen”
conducted by Sir Charles Groves.
Linda Strachan has appeared in the Queen Elizabeth
Hall with the Chelsea Opera Group and other recent
engagements have included a broadcast recital in
Jerusalem and concerts for both the 1982 and 1983
Dartington Summer Schools. Her interpretation of the
role of Lucretia in Britten’s “The Rape of Lucretia”
has been broadcast on BBC Radio London.
Linda Strachan won first prize in the 1983 Grimsby
International Competition for Singers.
Engagements in 1984/85 included a series of London
concerts with the Orchestra of St John’s Smith Square
and concerts with the Scottish National Orchestra, the
City of Birmingham Symphony Orchestra and the
Royal Liverpool Philharmonic Orchestra.
Amongst the forthcoming engagements in 1986, she
has been invited to take part in Benjamin Britten’s
“Spring Symphony” at the Aldeburgh Festival.
Born in Preston, he studied at the Royal Manchester
College of Music, entering as a pianist and turning
subsequently to singing.
Ian Caley’s work covers opera and operetta, concerts,
recitals and recordings and his repertoire covers music
ranging from the pre-classical to the contemporary.
Ian Caley sings as a guest with a number of opera
companies. In Britain, he made his Royal Opera
House debut in 1978 in Verdi’s Otello and sings
regularly with the English National Opera, Opera
North and Scottish Opera. Abroad he has been
acclaimed for his performances in the title roles of
Tom Rakewell in Paris, Benedict in Beatrice et
Benedict at the Festival Berlioz in Lyon, Idomeneo
in Palermo and Albert Herring in Geneva. He has
also performed in many other major houses including
La Fenice, Venice, and the operas of Rome, Lyon and
Marseilles.
His concert work has taken him to most European
countries, to Israel and Japan, and to Eastern Europe,
and has led to his working with many distinguished
conductors, including Barenboim, Boulez, Giulini,
Groves, Ozawa and Rattle. Ian Caley sings regularly
with the London and provincial orchestras and has
taken part in important recitals series in the Paris
Opera and the Theatre de la Monnaie in Brussels.
As well as regular television and radio broadcasts,
both in Britain and abroad, Ian Caley has made several
recordings, the most important being Hippolyte et
Arcie (Rameau) conducted by Jean-Claude Malgoire
and The Seven Deadly Sins (Weill) conducted by
Simon Rattle.
Current and future engagements include major
productions in Bordeaux and Luzern and this month
he will make his German operatic debut by singing
the leading tenor role in the world premiere of Hanz
Zenders opera “Stephen Climax” at the Frankfurt
Opera.
Matthew Best
Matthew Best was born in 1957 and educated as a
choral scholar at King’s College Cambridge and at the
National Opera Studio where he worked with
Elisabeth Schwarzkopf and Tito Gobbi among others.
Between 1977 and 1980 he was a pupil of the late
Otkar Kraus and at present studies with Robert Lloyd.
While at University Matthew Best made his opera
debut as Seneca in the Coronation of Poppea which
brought him immediate recognition in the national
press. After appearing in the 1980 Aldeburgh Festival
production of A Midsummer Night’s Dream, he joined
the Royal Opera as a Principal Bass in September of
that year and has since appeared in many productions
under such conductors as Muti, Davis, Mackerras,
Mehta, Haitink and Svetlanov. In 1982 he made his
debut with the WNO as Count Ribbing in Un Ballo
in Maschera and returned there in spring 1984 to sing
Colline in La Boheme. In 1983 he made his debut
choral repertoire with the Guildford Philharmonic
Orchestra. The choir made its first recording in 1973
of
Finzi’s
Guildford
“Intimations
of Immortality”
Philharmonic, and in 1976
with
the
recorded
Hadley’s “The Trees So High” with the Philharmonia
Orchestra, both recordings being conducted by Vernon
Handley. Simon Halsey was appointed Chorus Master
in 1984 and in this he acknowledges the assistance of
Neville Creed and the choir’s accompanist Christopher
Mabley.
The
Guildford
Philharmonic
Orchestra
and
the
Guildford Philharmonic Choir previously joined forces
with the Goldsmiths Choral Union in performances
of Brahms Requiem and Verdi Requiem - this latter
work being performed in Guildford Cathedral in 1984
and repeated in the Royal Festival Hall last year.
Concert programmes given this season have included
works
by
Bach,
Handel,
Britten
and
Holst with
conductors Sir David Willcocks, Simon Halsey and
Brian Wright.
In November this year the Philharmonic Choir will
perform Berlioz Te Deum in Paris in collaboration
with the University of Warwick Chorus under Simon
Halsey.
The choir welcomes young singers with good sight
reading ability. Applications to the Choir’s Office for
audition: The Lodge, Allen House Grounds, Chertsey
Street, Guildford, GU14HL. Telephone: 0483 573800.
This season Matthew Best has sung Sparafucile in the
Welsh National Opera’s production of Rigoletto and
in Covent Garden’s productions of Turandot, Salome
and Barber of Seville. Future engagements include
Arabella, Eugene Onegin, Fidelio, and concert performances of Semiramide at the Royal Opera House.
Matthew Best also appears regularly on the concert
platform
and
concerts
last season
included Missa
Solemnis with the London Philharmonic Orchestra
conducted by Jesus Lopez-Cobos, the Messiah also
with the LPO in the Royal Albert Hall, the Verdi
Requiem with the Brighton Philharmonic conducted
by Heltay and the Messiah and Petite Messe Solenelle
with the Philharmonia Chorus in Istanbul.
Future engagements include concert performances of
The Trojans at the Portsmouth Festival, and the Missa
Solemnis in Salisbury Cathedral.
Goldsmiths Choral Union
Goldsmiths Choral Union was founded 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 choir won the UK final of the Large Choirs section
in the BBC’s Let the Peoples Sing Competition and
appeared
in
Tony
Palmer’s
documentary
about
Sir
award-winning
William
Walton,
‘At
ITV
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
Also involved in conducting and composing, Matthew
the Royal Philharmonic Society to take part in a
Best
performance of Delius’s “Requiem” at their Sir John
founded
Orchestra in
the
Croydon
Singers
and
Chamber
1973 and has since directed them in
numerous performances and commercial recordings
including a concert of the St Matthew Passion in the
1983 Sevenoaks Festival. He also conducted two performances
of his own
opera
“Alice”
at
the
1979
Aldeburgh Festival.
Barbirolli concert.
Recent
concerts
have
included
performances
of
Handel’s “Messiah” at the Fairfield Hall, Croydon,
two
performances
of
Elgar's
“The
Dream
of
Gerontius”, one of which was in celebration of the
100th Anniversary of the Brompton Oratory, Delius’s
“Sea Drift” with Brahms’s “A German Requiem” at
the Royal Festival Hall and a Barbican performance
Guildford Philharmonic Choir
of Bach’s “Mass in B Minor”.
Guildford Philharmonic Choir (formerly the Festival
Sir Charles Groves currently holds the position of
Choir) was formed in order to perform the major
Patron of the GCU.
Symphony No.1 in C Major
Beethoven 1770-1827
Adagio molto — Allegro con brio
Andante cantabile con moto
Menuetto
Adagio — Allegro molto
Beethoven’s First Symphony had its début in 1800 and,
unlike some of his later symphonies, poses no
problems at all. It is predominantly bright and full of
good humour, relying a good deal on the examples of
Mozart and particularly Haydn in its formal procedure.
Tovey describes the introduction to the first movement
as “mysterious and groping”, but the first theme of
the Allegro con brio, says the same writer, is a “quietly
energetic business-like proposition”. There is nothing
experimental about this sonata movement, but it is
beautifully controlled, and the sforzandos, later to
become such a feature of Beethoven’s symphonic style,
are liberally used. The beginning of the Andante might
have come straight out of Haydn, but soon the texture
becomes much heavier than that composer would have
allowed, and an idea which is very characteristically
Beethoven follows the first theme. It is an insistent
rhythm, first heard low in the strings and bassoons,
and then taken over by the timpani. Probably the most
original movement in the symphony is the Menuetto
which is really a full scale Scherzo in all but name,
and must have served as a trial run for the third
movements of the Third and Fourth Symphonies.
The finale, once again with a slow introduction, is a
cheerful rondo very reminiscent of Haydn.
INTERVAL
A Child of our Time
Sir Michael Tippett (Born 1905)
That Sir Michael Tippett is the greatest living British
composer is beyond dispute. When he celebrated his
80th birthday, that year the commemorations reached
far beyond his native land, confirming his status in
world music.
But, we had to ask ourselves, could the man really be
80? Spritely of step, bright of eye, always abreast of
events in conversation, Sir Michael’s enduring youth
defies statistics.
This zestful spirit also characterises the music, which
has always been notable for its stimulating joy of
discovery. Ideas proliferate but discipline ensures logic
in their succession. One senses a razor-sharp intellect
progressing from one point to the next, yet Sir Michael
is never out of touch with his audience.
There is a line towards the end of “A Child of our
Time” which itself is a clue to much of Sir Michael’s
work. The tenor sings “I would know my shadow and
my light, so shall I at last be whole”. These words in
an early Tippett success surely describe the self-examinations of “The Midsummer Marriage” (staged so
splendidly by the Welsh National Opera in 1976) and
the dilemmas of “The Knot Garden”. It surely foretells
the motivations of Jennifer and Mark, of Thea and
Faber. So Sir Michael’s music seems to follow a charted
road.
He has never been a composer in the ivory tower, or
an artist watching events from the sidelines. He is
intensely involved in the world around. It was, then,
natural that he should be deeply disturbed by the
increasisngly cruel persecutions which darkened the
1930s. “A Child of our Time” was based on an actual
incident, but that incident is simply the basis from
which springs a general protest against man’s
inhumanity.
In 1938, a young Jewish boy who had found refuge
with an uncle and aunt in Paris, driven to distraction
by the appalling treatment of his people by the Nazis
at home in Germany, shot and killed the German
diplomat von Rath. In France, he was sent to prison.
In Germany, the Nazis seized on the murder as an
excuse for even more savage treatment of the Jews
and wreaked a terrible vengeance. So his action
unwittingly increased the dreadful oppression of a
whole community.
The oratorio, completed in 1942, balances the
particular against the universal. Sir Michael wrote his
own text and has explained that Part One deals with
“the general state of affairs in the world today as it
affects all individuals, minorities, classes or races who
are felt to be outside the ruling conventions — man at
odds with his shadow.” Part Two introduces the child,
his action and the resulting vengeance, but Part Three
ends with a message of consolation, perhaps even of
hope.
Sir Michael’s design resembles that of Bach in the “St
Matthew Passion”. The soloists sometimes narrate,
sometimes comment, the chorus do the same, and
sometimes participants in the drama.
Bach interspersed the “St Matthew Passion” with the
chorales of his day. Sir Michael provides a parallel in
negro spirituals, five of which are blended into the
score with hauntingly beautiful and tenderly poignant
effect.
PART ONE
1.
Chorus
The harsh opening bars suggest the cruelty out of
which events arise, the answering strings tell us we
shall learn about compassion as well. Sir Michael’s
pattern is characteristically rich as the chorus sing “The
world turns on its dark side... it is winter”.
2.
Contralto. The argument
“Man has measured the heavens with a telescope,
driven the gods from their thrones.”
3. Chorus and contralto
Following a trio for two flutes and a viola, the chorus
demand, almost in desperation “Is evil then good? Is
reason untrue?” The contralto answers “Reason is true
to itself, but pity breaks open the heart.” The choral
outburst “We are lost” cuts dramatically across the
tranquility of the repetition of the flutes-viola trio.
4.
Bass. The narration
A recitative describing how in all nations the outcast
is the scapegoat, made to suffer for the general
wrong.... “pogroms in the east, lynchings in the
west”.... “A great cry went up from the people”....
5.
Chorus of the oppressed
...and that cry asks “When shall the usurer’s city
cease”, and is treated fugally.
6. Tenor
An agitated area in tango rhythm describes the plight
of the poor child. “I have no money for my bread, I
have no gift for my love. I am caught between my
desires and my frustrations as between the hammer
and the anvil. How can I grow to a man’s stature?”
7.
Soprano
The plea is echoed. “How can I cherish my man in
such days, or become a mother in a world of destruction?”
8. Chorus, soprano and tenor
Here Sir Michael introduces the first of the spirituals.
The luminous line of the soprano soaring over the
chorus in “Steal Away” makes this one of the most
beautiful episodes in a score which contains many.
PART TWO
9.
Chorus
In Part Two we move to the specific, and the scapegoat
already prophesied in No.4 appears. The chorus tells
us “A star rises in mid-winter. Behold the man. The
scapegoat. The child of our time!”
10.
Bass. The narration
“And a time came when in the continual persecution,
one race stood for all.”
11.
Chorus of persecutors and persecuted
The music becomes more agitated as the persecutorss
demand “Away with them.... curse them.... Kkill
them....” and the victims cry “Why, why?”
12.
Bass. The narration
“Where they could, they fled from the terror. And
among them, a boy escaped secretly, and was kept in
hiding in a great city.”
13.
Chorus of the self-righteous
“We cannot have them in our empire.... let them starve
in No-Man’s Land.”
19.Chorus. The terror
An almost hysterical fugue tells us what the vengeance
was. “Burn down their houses. Beat in their heads.
Break them in pieces on the wheel.”
20. Bass. The narration
Sorrow is implicit. “Men were ashamed of what was
done. There was bitterness and horror.”
21.
Chorus and bass
The third spiritual, this time combining a dignified
plea with mounting anger. “Go down Moses, way down
to Egypt land. Tell old Pharaoh to let my people go.”
22.
Tenor. The boy sings in his prison
An eerie figure high in the violins gradually descends.
The boy’s music is heavy with disillusionment. “My
dreams are all shattered in a ghastly reality.” The high
violins return. Despairingly, he cries “Mother!”
23.
Soprano
The mother mourns. “What have I done to you my
son?”
24.
Contralto
“The dark forces rise like a flood. Men’s hearts are
heavy. They cry for peace.”
25.
Chorus and soprano
Hope answers despair. Soprano (another glorious line)
and chorus sing the fourth spiritual “O by and by, I'm
going to lay down my heavy load.”
PART THREE
26.
Chorus
“The cold deepens. The world descends into the icywaters wherein lies the jewel of great price.”
27.
Contralto
The music quickens and becomes syncopated. “This
soul of man is impassioned like a woman. Her face
will be illumined like the sun. Then is the time of his
deliverance.”
28.
Chorus and bass
Questions and answers between chorus and bass
culminate in the choral demand “What of the boy,
then?” The bass replies “He too is outcast, his
manhood broken in the clash of powers. God
overpowered him, the child of our time.”
14.
Bass. The narration
“And the boy’s mother wrote a letter saying”....
29.
Chorus and soloists
A peaceful interlude for two flutes and a cor anglais
15.
Quartet
The mother (soprano) “O my son, in the dread terror,
begins the build-up to the oratorio’s climax. The tenor
sings “I would know my shadow and my light”, and
after the chorus have dealt with this music, the soloists
they have brought me near to death.” The boy (tenor)
declares he will defy the world to save her. His aunt
(contralto) and uncle (bass) urge caution, but he is
determined.
16.
Chorus, soprano and tenor
The second spiritual. “Nobody knows the trouble I
see, Lord.” In a jaunty rhythm. Again the setting of
the solo voices against the chorus is most effective.
17. Bass and contralto
Recitatives describe how the boy becomes “desperate
in his agony” and when authority meets him with
hostility “he shoots the official”.
18.
Bass. The narration
A single comment tells the result of his action. “They
took a terrible vengeance.”
have an elaborate wordless passage.
30.
Chorus and soloists
Now the oratorio climbs to its radiant peak, as tragic
lamentation gives way to consolation and hope. The
soloists continue to weave patterns over the chorus in
the fifth and last spiritual, Deep River, the soprano line
is ecstatic, then the music fades on a final whispered
choral “Lord”.
Kenneth Loveland
(author’s copyright)
GUILDFORD PHILHARMONIC ORCHESTRA
Tonight’s concert marks the end of the 1985/86 season
and Guildford Borough Council acknowledges with
very grateful thanks the help it has received in the
promotion of this concert season from the Guildford
Philharmonic Society, pupils of the County School and
members of the Red Cross organisation.
During the season, the orchestra undertook a large
number of engagements throughout the South East
and will be appearing for the first time in the
prestigious St David’s Hall Cardiff next week when
tonight’s programme will be repeated with the same
artists.
GUILDFORD PHILHARMONIC ORCHESTRA
Artistic Adviser: Vernon Handley
First Violins:
Associate Leaders: Hugh Bean, John Ludlow
Arthur Price
Sheila Beckensall
Andrew Davies
Charlotte Edwards
Judith Edwards
Susan Kinnersley
Barbara Moore
Peter Newman
Alex Suttie
Philip Sutton
Oboes:
Deirdre Dods
Ann Greene
Cor Anglais:
Janice Knight
Clarinets:
Hale Hambleton
Plans for next season are nearing completion and guest
conductors will include Sir Charles Groves, Sir David
Willcocks, John Forster, Simon Halsey, Bramwell
Tovey, Nicholas Cleobury, Brian Wright and Vernon
Handley, the orchestra’s Artistic Adviser.
Second Violins:
Full details about the season and subscription series
benefits will be available from the Guildford Philharmonic Orchestra’s office early in June.
Stephen Dinwoodie
Peter Fields
Contra Bassoon:
Nicholas Reader
Martin Gill
Horns:
Ruth Knell
Peter Clack
Susan Thomas
Nicholas Maxted Jones
Rosemary Roberts
Andrew Bentley
Jane Platt
Alan Pook
Claire Sansom
Thursday 8 May 1986 at 7.30 pm
St Davids Hall, Cardiff
A Child of Our Time
Sir Michael Tippett
John Graham
Ian Caley, Tenor
Matthew Best, Bass
Philharmonic Choir
Goldsmiths Choral Union
Information: Tel: 0222 371236
Saturday 12 July 1986 at
Civic Hall, Guildford
FESTIVAL CONCERT
GUILDFORD’S LAST NIGHT OF THE PROMS
Tam O Shanter
Malcolm Arnold
Gershwin
Rhapsody in Blue
Ravel
Bolero
Pomp and Circumstance No.l
Elgar
Excerpts from the Nutcracker Suite
Tchaikovsky
Sea Songs
Henry Wood
Pomp and Circumstance No 4
Elgar
Parry
Jerusalem
Ronan O’Hora, Pianoforte
Brian Wright, Conductor
Tickets available from Civic Hall Box Office from June
— £6.00, £5.00, £4.20, £3.60.
Tel: 0483 67314/5
Anna Meadows
David Clack
George Woodcock
Ronald Harris
Matthew Hart-Dyke
Violas:
Linda Strachan, Alto
Nicholas Hunka
Trumpets:
Beethoven
Jo Ann Pickens, Soprano
Bassoons:
Geoffrey Smith
Adrienne Sturdy
Symphony No 1 in C
Sir Charles Groves, Conductor
Victor Slaymark
James Walker
Frederick Campbell
Paul Appleyard
Celi Azulek
Patricia Reid
Simon Chaney
Trombones:
Ian White
Arthur Wilson
Justin Ward
Bass Trombone:
Paul Morris
Martin Nicholls
Daniel Lyness
Timpani:
Cellos:
Simon Archer
Geoffrey Thomas
Martin Thomas
Percussion:
Tina Macrae
John McCrae
Charles Fullbrook
Administrator:
John Franca
Kathleen Atkins
John Kirby
Robert Hoppe
Concerts Assistant:
Paul Hilliam
Basses:
Peter Hodges
John Holt
Jeremy Gordon
Martin Myers
Paul Moore
Peter Box
Flutes:
Henry Messent
Simon Hunt
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
INCORPORATING
William Eve & Sons
of Guildford
&
Rating & Valuation Consultants
to Local Authorities
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:
® 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
amember you are also helping to ensure the continued success
of the Guildford Philharmonic Orchestra.
The membership rates are as follows:
9 Harley Street
London W1N 2AL
Telephone 01-637-8471
TELEX 27157 WIHEVE G
Annual Subscription (minimum)
Husband and Wife-Joint Subscription (minimum)
Persons under the age of 18 (minimum)
Retirement Pensioner (minimum)
£5.00
£8.50
£3.50
£3.50
Ifyou 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:
Mr R A Forrow
Flat No 3, 6 Mareschal Road
Guildford Surrey GU2 5JF Tel: Guildford 575274
S UPPORT YOUR
ORCHESTRA!!
IT
NEEDS YOU!
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
Guildford Civic Hall
Handel Dixit Dominus
Guildford Civic Hall
15 December 1985
Carol Concert
Guildford Civic Hall
1 February 1986
Holst’s The Planets Suite
Guildford Civic Hall
Holst’s The Planets Suite
Leas Cliff Hall
Britten War Requiem
Conductor: Simon Halsey
Warwick
Britten War Requiem
Guildford Cathedral
TippettA Child of Our Time
Guildford Cathedral
Conductor: Simon Halsey
24 November 1985
Bach Magnificat
Conductor: Sir David Willcocks
Conductor: Simon Halsey
(Ladies Chorus)
Conductor: Vernon Handley
9 February 1986
(Ladies Chorus)
Conductor: Vernon Handley
7 March 1986
8 March 1986
Conductor: Simon Halsey
3 May 1986
Conductor: Sir Charles Groves
The Philharmonic Choir meets on Monday evenings from 7.15
young singers (all voice parts) with good
Folkestone
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.
r
1
UNIVERSITY
OF SURREY
DEPARTMENT OF MUSIC
This Department has gained for itself an
most welcome at all our concerts — these
enviable reputation for its high quality of
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)
ey
Aren’t
you luCky
ltS your
local
&
Robert Shaw & Partners
Rs
il
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
v
| HELP ONHAND
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
guildfotd
Sports
Centre
For sauna, solarium,
squash, swimming, keep
fit and much more! Tel:
G. 571651/3 or 505027
after 5 pm and
the present day. Open
Mon-Sat 11am - 5pm.
Admission free. Tel: G.
weekends.
Bedford Road
weekends.
For all kinds of family
The
Varied art exhibitions
155 High Street
503406 after 5pm and
Givic
fl. ll
entertainment — plus
throughout the year.
Open 10.30am to 4.50pm
Mon-Sat. Admission
free. Tel: G. 505050 or
a
facilities to hire for your
own events. Tel: G.
67314 or 502866 eves
GUl[dfOVd
orchestra of the South
London Road
.
:
Philharmonic
Orchestra
503497.
Parks &
Open
Spaces
Guildford
House
:
Items relating to Surrey
dating from prehistory to
O
1
Parks, gardens and open
spaces throughout the
borough for all tastes
and interests. Tel: G.
505050 ext. 3501 for full
details and to book
outdoor sports facilities.
Open air heated
@
:
swimming pools set in
rolling lawns and 2
beautiful gardens. Open
May to September 11am
- 7pm. Tel: G. 505207.
and weekends.
Stoke Road
The top professional
Yeoman S
At Manor Road Ash. For
B rldge
Sports Hall
full details.
East performing a full
range of concerts and
recitals at the Civic Hall.
Tel: G. 573800.
’
=
all types of dry sports.
Tel: Aldershot 25484 for
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.)
-Do "t
Guildford Borough Council Concerts 1985/86
GUILDFORD
PHILHARMONIC
ORCHESTRA
Artistic Adviser: Vernon Handley
PHILHARMONIC CHOIR
GOLDSMITHS CHORAL UNION
in
GUILDFORD CATHEDRAL
(by kind permission of the Dean and Chapter)
SIR CHARLES GROVES
Conductor
JO ANN PICKENS
LINDA STRACHAN
IAN CALEY
MAT:HEW BEST
Soprano
Alto
Tenor
B
ass
. gsc;;g?;‘“
prIlL HE
RM 'SOL
A
SATURDAY, 3RD MAY, 1986 AT 7.45 P.M.
Admission by this programme
=
West Gallery
£6.00
5
A
SYMPHONY NO1inC
-
Beethoven
A CHILD OF OUR TIME
Tippett
JO ANN PICKENS
Soprano
LINDA STRACHAN
Alto
IAN CALEY
Tenor
MATTHEW BEST
Bass
PHILHARMONIC CHOIR
GOLDSMITHS CHORAL UNION
Conductor:
SIR CHARLES GROVES
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 Cathedrai 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
Phitharmonic 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