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Bruckner Mass in F minor [1986-10-25]

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Subject:

Liszt: Psalm 13; Bruckner: Mass No 3 in F minor

Classification:

Concert

Sub-classification:

Programme

Sub-folder:

Location:

A1 Programmes

Year:

1986

Date:

October 25th, 1986

Text content:

1986/87 SEASON

1986/87 Concert Season

Sunday 1 February 1987 at 3pm
Crossley Clitheroe Concert

Sunday 21 September 1986 at 3pm
Brahms
Haydn
Sibelius

Academic Festival Overture
Cello ConcertoinC
Lemminkainen Legends
Lemminkainen and the Maidens of Saari
The Swan of Tuonela
LemminkaineninTuonela
The return of Lemminkainen

Schubert
Paganini
Dvorak

Mendelssohn
Mozart
Mozart
Mendelssohn

Hebrides Overture (Fingal’'s Cave)
Piano Concerto No 20 in D minor (K466)
Concert Rondo in A (K386)
Symphony No 4 (Italian)

Nicholas Cleobury Conductor

Embassy Hotels Ltd, Leisure/Learning Weekend

Sunday 15 February 1987 at 7.45pm
Walton
Beethoven
Rachmaninov

Saturday 28 February 1987 at 7.45pm
Civic Concert

Howard Shelley Conductor/Soloist

Recital: Holywell Piano Quartet
Admission free to Subscription Ticket Holders,
£1.00 GPS members and £1.50 non members,
obtainable from the GPO Office and at the door

Saturday 25 October 1986 at 7.45pm
in Guildford Cathedral
Liszt
Bruckner

Philip Fowke Soloist

Saturday 14 March 1987 at 7.45pm
Haydn
Elgar
Stravinsky

6.15 pm Civic Hall Restaurant
“Consultthe Conductor” Pre-concert

Sunday 29 March 1987 at 7.45pm
Moeran
Walton
Elgar

Hindemith

Beethoven
Schumann

Symphonic Metamorphosis of Themes by
Carl Maria von Weber
Piano ConcertoNo 4in G
Symphony No 3in Eb (Rhenish)
Sir Charles Groves Conductor
Lucy Parham Soloist
Sponsored by Friary Meux

Overture fora Masque
Viola Concerto

Symphony No2inEb

Vernon Handley Conductor
Rivka Golani Soloist

Sunday 12 April 1987 at 3pm
An afternoon with Nigel Kennedy
Bach
Bach
Vivaldi

Violin Concertoin Aminor
Violin Concertoin E
The Four Seasons

Nigel Kennedy Director/Soloist

conversation with Norman Del Mar.

Sunday 23 November 1986 at 3pm
Friary Meux Young Musician’s Concert

Mass in Bb (Harmoniemesse)
for Strings
Serenade
Symphony of Psalms
Simon Halsey Conductor
Charlotte de Rothschild Soprano
Gaynor Keeble Alto
Joseph Cornwell Tenor
Mark Peterson Bass
Philharmonic Choir

Overture ‘Faust’
Burleske for Piano and Orchestra
SymphonyNo 1inD

Norman Del Mar Conductor
Angela Hewitt Soloist

Festival Overture
Piano Concertoin Aminor
Symphony No 5in E minor
Vernon Handley Conductor

Mass in Fminor (Grosse Messe)

Saturday 8 November 1986 at 7.45pm
Wagner
Richard Strauss
Mahler

Shostakovich
Schumann
Tchaikovsky

Psalm 13

Brian Wright Conductor
Wendy Eathorne Soprano Susan Mason Alto
John Mitchinson Tenor Peter Rose Bass
Philharmonic Choir
Goldsmiths Choral Union

Crown Imperial: Coronation March
Triple Concerto for Piano, Violin & Cello
Symphony No 2in E minor

John Forster Conductor
Music Group of London

Embassy Hotels Ltd, Leisure/Learning Weekend

Saturday 11 October 1986 at 11am
in the Civic Hall

“Rosamunde”
ViolinConcertoNo 1inD
Symphony No 7 in D minor

Jean-Jacques Kantorow Soloist

Bramwell Tovey Conductor
Raphael Wallfisch Soloist

Saturday 11 October 1986 at 7.45pm

Overture, Entr’acte and Ballet music

Saturday 2 May 1987 at 7.45pm
in Guildford Cathedral
Holst
Mozart
Duruflé

Hymn of Jesus

Clarinet Concertoin

A (K622)

Requiem

Sir David Willcocks Conductor
Jack Brymer Soloist
Margaret Cameron Mezzo Soprano
Gerald Finley Baritone
Philharmonic Choir

Ticket Booking Guildford Civic Hall Tel: 67314 & The Army & Navy Tel: Guildford 68171
Programmes and artists may be subject to alteration. These concerts are promoted by Guildford Borough Council with financial support from South East Arts Association.

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GUILDFORD BOROUGH

COUNCIL CONCERTS 1986/87
GUILDFORD CATHEDRAL
(By kind permission of the Dean and Chapter)

SATURDAY 25 OCTOBER 1986
at 7.45 p.m.

Guildford
Philharmonic
Orchestra
Associate Leaders:

HUGH BEAN

JOHN LUDLOW

BRIAN WRIGHT

Conductor
WENDY EATHORNE

Soprano
SUSAN MASON
Alto

JOHN MITCHINSON
Tenor

PETER ROSE
Bass

GOLDSMITHS CHORAL UNION
PHILHARMONIC CHOIR

THIS CONCERT IS PROMOTED BY GUILDFORD
BOROUGH COUNCIL WITH FINANCIAL SUPPORT
FROM THE SOUTH EAST ARTS ASSOCIATION.

Brian Wright

Brian Wright who has worked with the Guildford
Philharmonic Orchestra and Philharmonic Choir on
several previous occasions, studied conducting in
London and Munich and with Jascha Horenstein. He
sang as a tenor before turning to full-time conducting
and has since gained a considerable reputation in Great
Britain as a symphonic and choral conductor.

After winning conducting prizes in Milan and London
in 1975, he spent a year as Assistant Conductor to the
London

Symphony

Orchestra.

1976

was

appointed Conductor of the BBC Symphony Chorus
which led to extensive broadcasting with all the BBC
orchestras. He is currently Principal Conductor of the
chamber orchestra the Southern Pro Arte and of
Goldsmiths Choral Union in London.

Brian Wright conducts most of the major British
orchestras, including the Philharmonia, Royal Philharmonic, London Philharmonic and London Symphony
Orchestras. He toured Switzerland and Belgium with
the BBC Symphony Orchestra and conducted the final
Royal Festival Hall concert of their 50th Anniversary
season. He made his Henry Wood Promenade Concert
debut in 1978 with a much acclaimed performance of
Liszt’s “Christus” and won particular praise for
Berlioz’s “Grande Messe des Morts” in 1982. Later in
a series of ten concerts with the Royal Liverpool
Robert
Philharmonic Orchestra he premiered
Simpson’s Seventh Symphony and gave the second
performance of Hugh Wood’s Symphony.
Regular broadcasts for the BBC include performances
with the Bournemouth Symphony and Sinfonietta,
Ulster, BBC Symphony, BBC Welsh Symphony, BBC
Scottish Symphony and BBC Concert Orchestras. He
presented and conducted several “Robert Mayer”
Concerts for the BBC and in a recent television concert
from Wales he introduced, conducted and sang in the
same concert.

Brian Wright is particularly noted though for his
interpretations and control of large musical structures
and forces and has received outstanding critical notices
in repertoire from Bach to Penderecki.

“Les Troyens”. She will shortly be appearing at the
Royal Festival Hall in a Grand Opera Gala.
On the operatic stage, Wendy Eathorne has appeared
at Glyndebourne, for Welsh National Opera, English
National Opera and at the Royal Opera House, Covent
Garden; she has also sung many leading roles with
Handel Opera Society, and made her Italian debut in
“Ariadne auf Naxos”. Wendy Eathorne has a wideranging recital repertoire, which she presents with the
pianist, Geoffrey Pratley. Programmes include groups
of songs from Purcell to composers of the 20th century
— many of which have been recorded by the BBC. She
has made many commercial recordings and has sung
with such conductors as Boult, Boulez, Haitink,
Horenstein, Davis, Leinsdor(, Meredith Davies and
Pritchard. Her most recent recording is of Frank
Bridge’s “The Christmas Rose”.

Wendy Eathorne

The Cornish singer, Wendy Eathorne is well known
as one of the most versatile soprano soloists in Britain,
her busy career takes her all over Europe and to many
other countries and capital cities. Last season saw
Wendy in Canada, where she made her debut with the
Vancouver

Chamber

Choir

Bach’s

“St

John

Passion”; she travelled throughout France, appearing
in works by Bach and Handel, and to Lisbon, where
she performed works as diverse as Verdi’s “Requiem”,
Rossini’s “Stabat Mater”, Vaughan Williams’ “Sea
Symphony”, Canteloube’s “Songs of the Auvergne”
and Ravel’s “Scheherezade”. Recently she saved the

Three Choirs performance of Michael Berkeley’s “Or
Shall We Die?” by learning the work at incredibly
short notice, and receiving wide critical acclaim.
Wendy has been featured in many BBC Promenade
concerts, including the 1982 First Night performance
of “Les Troyens”, singing with Jessye Norman and
conducted by Rozhdyestvensky. She has been much
praised for her Baroque interpretations; her many
BBC

recordings

this

field

include

the

first

performance of the recently discovered “Comus” by
Handel. She has frequently appeared as soloist with
the London Bach Society, the Bach Choir, the Royal

Choral Society, the LSO, LPO, RPO, BBCSO, Halle,
CBSO, BSO, ECO and many other choral and
orchestral societies throughout the UK. She has given
many first performances and broadcasts of contemporary works, including a televised performance of a
new work by John McCabe. Other television guest

appearances include the BBC TV programme, “Face
the Music” and “Star Brass”. Next season this versatile
singer will appear in such works as Tippett’s “A Child
of Our Time”, Mozart’s “Requiem”, Handel’s “Dixit
Dominus”, Beethoven’s Ninth Symphony and Berlioz’s

Susan Mason

Susan Mason was born in York. She has received
numerous prizes and awards, particularly for her
singing of Bach and Handel. For her recent work on
the concert and oratorio platforms she has received
considerable critical acclaim.
She has performed under several notable conductors
including Sir Charles Groves, Sir David Willcocks,

Jane Glover, Brian Wright and Maurice Handford in
many of the country’s leading Cathedrals and concert
halls.

She made her South Bank debut in 1981 performing
works by Schubert and Mozart at the Queen Elizabeth
Hall; her most recent return to that hall being for
performances of Handel’s “Hercules” with the Chelsea

Opera Group under Brian Wright. Her Royal Festival
Hall debut followed in 1982 in the world-premiere
performance of John McCabe’s “Music Empire” with

the Halle Orchestra under James Loughran. She has

of opera which, as well as Tristan, have included

since returned to the Festival Hall for performances

“Oedipus Rex”, “Idomeneo” and “Dalibor” for the

of Handel’s “Messiah”; a work she has also given at

English National Opera, “Peter Grimes” in Prague,

the Barbican Centre and Royal Albert Hall. Her first

“Aegisthus” and “The Greek”.

performance at the Henry Wood Promenade Concerts
came in 1984, again under James Loughran’s baton.

Success on the concert platform led to a highly

John Mitchinson has recently returned from Basel

where he was singing “Peter Grimes” and has also
recently recorded “The Dream of Gerontius” with

acclaimed Wigmore Hall recital in the series for young

Simon Rattle and the CBSO. Future engagements

musicians under the sponsorship of the Incorporated

include “Das Lied von der Erde” in San Diego and

Society of Musicians. She makes regular broadcasts

Janacek’s

for BBC Radio 3, including two performances in the

Opera.

live “Concert Hall Series”;

“The

House of the Dead” for Scottish

and has appeared on

television. During the 1986/87 season she will give a

series of recitals as one of a small number of musicians
selected for sponsorship by the Eastern Arts Association.

Peter Rose was born in Canterbury and educated in
Kent.
John Mitchinson

John Mitchinson’s portrayal of Tristan for the Welsh
National Opera, both on stage and on a highly
successful disc recording, have established him as one
of the world’s leading dramatic tenors. His fine voice

has been heard in many international festivals both in
concerts and opera.
Born in Lancashire, John Mitchinson studied at the

Royal Manchester College of Music. After leaving

Manchester, he concentrated on a concert career and
appeared in most of the musical centres of the world.
The most memorable of his concert performances

include Bach’s “B Minor Mass” with Klemperer, “Il
Pesebre” with Pablo Cassals, “Oedipus Rex” with
Antal Dorati, “Missa Solemnis” with Giulini, “Lied
von der Erde” with Jascha Horenstein, Mahler’s “8th
Symphony” with Leonard Bernstein and many other
such rewarding musical experiences.
During the last few years he has taken on performances

won

choral

scholarship

Norwich

Cathedral, read music at the University of East Anglia
and studied at the Guildhall School of Music and the

National Opera Studio. He won the 1985 Kathleen
Ferrier Memorial Scholarship, the Guildhall Gold
Medal and is the holder of the Glyndebourne 1986
John Christie Award.

He made his debut as the Commendatore with Glyndebourne Festival Opera at the Hong Kong Arts
Festival earlier this year, and is currently repeating the
role with Glyndebourne Touring Opera.
He has performed extensively in oratorio throughout
Britain, making his South Bank debut in the title role
of Handel’s “Hercules,, at the Q.E.H., and at the
Aldeburgh Festival in a piece written for him by

Imogen Holst.

Other recent engagements include

Verdi’s “Requiem” with Jane Glover and the RPO at
the Barbican, Stravinsky’s “Pulcinella” in Guildford

Cathedral

and Beethoven’s

“Ninth

Symphony”

Canterbury Cathedral. He joins Welsh National Opera
in December.

Goldsmiths Choral Union

with the University of Warwick Chorus under Simon

Goldsmiths Choral Union was founded by the late
Frederick Haggis and now ranks as one of London’s

Halsey.

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 People’ Sing Competition and

appeared

documentary

Tony
about

Palmer’s award-winning ITV
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.
Recent

concerts

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.

Psalm 13 (Sung in German)

Franz Liszt 1811 - 1886

Mention the name of Liszt in musical circles and the
image that most often emerges is of a rather too
worldly

and

flamboyant

pianist

who

composed

somewhat in the same manner. Publicity surrounded
him from an early age and the legend of this “pop
star” lifestyle has tended to survive in basic musical

biographies to this day. In this centenary year of his

death much of the sensationalism has, thankfully,
taken second place to a reappraisal of the mature Liszt

as teacher and visionary.
have

included

performances

Handel’s “Messiah” at the Fairfield Hall, Croydon,
two
performances of Elgars
“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

of Bach’s “Mass in B Minor”.

In 1849, in his late thirties, he settled in the small town

of Weimar as musical director to the Prince. Over the
next ten years Liszt established himself as the catalyst

for all the newest thought in music. As a composer,
he developed a new form in the symphonic poem.
Here the musical development relies more on the
dramatic use of thematic metamorphosis and on mood

painting than on sheer classical structure. Many of
Liszt’s other experiments were even more radical,

The Goldsmiths Choral Union and the Guildford
Philharmonic Choir have collaborated successfully on

opening the doors to the 20th century worlds of impre-

several previous occasions.

ssionism and even atonality.
Philharmonic

Liszt’s choral music is almost totally neglected, yet his

Orchestra’s recently appointed Principal Conductor,

output was vast with full scale oratorios, masses and

currently holds the position of Patron of the GCU.

hundreds

Sir

Charles

Groves,

the

Guildford

smaller

works

including

five

psalm

settings. Of these, Psalm 13 is by far the most
important. The text caught his mood at a time when
Guildford Philharmonic Choir

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

Finzi’s

Guildford

“Intimations

Philharmonic,

Immortality”
and

1976

with

the

recorded

Hadley’s “The Trees So High” with the Philharmonia

his musical principles were under attack. “It was
written in blood from the depth of my heart”, he wrote
to a friend, and in it he applied all those dramatic
elements evolved for the symphonic poems. Written

in 1855, it has little in common with other religious
music of the time, looking forward in feeling more to
Verdi and in spirit it is approached next perhaps only

in our century by the “Psalmus Hungaricus” of Kodaly.

Orchestra, both recordings being conducted by Vernon

The theme given out at the beginning dominates the

Handley. Simon Halsey was appointed Chorus Master
in 1984 and in this he acknowledges the assistance of

work. Anguished solo recitatives, answered mysteriously by the chorus, lead to a chromatic fugato in 6/8.

Neville Creed and the choir’s accompanist Christopher
The

Guildford

The chorus winds tortuously upwards to exclaim “How
long shall mine enemy be exalted over me?” and

Mabley.
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 in 1985. Both
Choirs collaborated again for a performance of
Tippett’s “A Child of Our Time” in May this year which
was repeated in St David’s Hall, Cardiff.

In November this year the Philharmonic Choir will
perform Berlioz’s “Te Deum” in Paris in collaboration

Wagnerian

woodwinds herald the first section of
repose. A fragmented, but beautiful, melody in 6/4.

to the words “Consider and hear me, O Lord my God”,
is extended with flowing lines by the sopranos. An
almost

military

bombast

returns

before

another

generous theme of great tenderness at “But I have

trusted in thy mercy”. Liszt then juxtaposes themes
before piledriving to another strong fugato in 3/4. It
sounds like a real fugue this time, but it never develops
properly, plunging, with almost Mahlerian harmony
over four bars into the real and joyful climax of “I

will

sing

unto

the

Lord,

because

hath

dealt

bountifully with me”. This leads to a typical Lisztian
apotheosis, touching, yet building to a powerful
conclusion.

Psalm 13 (German text)

1. Herr, wie lange willst du meiner so gar vergessen?
Wie lange verbirgst du dein Antlitz vor mir?
2. Wie lange soll ich sorgen in meiner Seele
und mich dngstigen in meinem Herzen taglich?
Wie lange soll sich mein Feind iiber mich erheben?

3. Schaue doch und erhore mich Herr mein Gott!
Erleuchte meine Augen, erleuchte meine Seele,
dass ich nicht im Tod entschlafe.

4. Dass nicht mein Feind rithme,
er sei meiner méchtig geworden.
Und meine Widersache sich nicht freuen,
dass ich niederliege.

5. Ich aber hoffe darauf, dass du so gnadig bist.
Mein Herz freuet sich, dass du so gerne hilfts.

Bruckner is linked with Wagner, in method if not effect,
and Wagner said it would not have been possible for
him to write “The Ring” without knowing Liszt’s
symphonic poems. Likewise, Bruckner knew these
and, more importantly, Liszt’s church music. The
perceived late flowering, in Bruckner’s 1st and 3rd
Masses, of the “Cantata-mass”, in length and style
more suited to the concert hall than the liturgy, wasn’t
just a harking back to the world of Schubert and
Beethoven. It was prompted by Liszt, who in 1855
broke the 30 years of silence in the form with his
“Missa Solemnis” or “Gran” Mass. As in Psalm 13,
Liszt in part used his “new” symphonic treatment of
themes and moods, together with short-breathed
“Gregorian” phrases, huge blocks of sound and contrapuntal lines that never fully develop. In effect it’s
embryonic Bruckner, tempered with a more popularist
style owing much to Berlioz. Add the lyricism
Bruckner inherited from the older Viennese masters
and the bones are very much there.

1. How long wilt thou forget me, O Lord?
how long wilt thou hide thy face from me?

Bruckner was 13 years younger than Liszt. By the time
he wrote this F minor Mass in 1867, these Lisztian
principles were beginning to take on their true
symphonic shape with the first of his mature
symphonies. The sound of Bruckner needs space to
bloom. Often in a modern concert hall the harmonies
die too soon and this Mass was written for the great
space of a cathedral. Bruckner sets the full text of the

2. How long shall I take counsel in my soul,
having sorrow in my heart daily?
How long shall my enemy be exalted over me?

The “Kyrie” is dominated by a descending four note
theme, prophetic of the opening to Verdi’s “Requiem”.

6. kch will dem Herrn singen,
dass er so wohl an mir gethan.

English translation
(after the Authorised version)

3. Consider and hear me, O Lord my God;
Lighten my eyes, lighten my soul,
lest I sleep the sleep of death.
4. Lest mine enemy say

I have prevailed against him;
and those that trouble me rejoice
when I am moved.

5. But I have trusted in thy mercy;
my heart shall rejoice in my salvation.

6. I will sing unto the Lord,
because he hath dealt bountifully with me.

INTERVAL - 10 minutes approximately

Mass No.3 in F minor
Anton Bruckner 1824 - 1896

Superficially there might seen little to link Liszt, the
perceived extrovert and prodigy, with Anton Bruckner,
the perceived introvert and slow developer. But, in
his more rarified atmosphere in the organ loft,
Bruckner was no less a virtuoso in his early years. It
took both men a long time to get to grips with their
compositional techniques and both were around 40 by
the time they wrote their first important works.
Musically, parallels have rarely been drawn. Yet often

Mass.

The “Christe” introduces wide melodic leaps with
consolation from the scales of solo strings. The “Kyrie”
returns before an intense unaccompanied section for
the chorus brings a beautiful and contrite end to the
movement. “Gloria” blazes out. The “sins of the
world” are taken away almost hesitatingly, tonality
shifting major to minor. A symphonic return of the
“Gloria” then heralds the most extraordinary double
fugue to end the section. Its tortured lines show particularly the suffering Bruckner was experiencing at
the time. He had to enter a sanatorium for three
months in the summer of 1867.

The “Credo” is the most extended movement. As with
Liszt’s Mass, the theme is from plainsong. Composers
were much influenced by the principles of the Cecilian
movement which held sway in church circles at the
time. They held that only the pure themes of plainchant
should be used in services. The devout Bruckner and
Liszt were on dangerous ground with their symphonic
thoughts. In the slow and moving “Incarnatus” and
“Crucifixus” sections, tenor and bass soloists combine
intensely with the chorus. The climax of the movement
comes with a majestic double fugue, “Et vitam
venturi”, punctuated with great chordal cries of
“Credo”. A vehemently powerful effect.

“Sanctus” is a short section, the opening based on the
“Christe” theme leading to an almost Mozartian
“Osanna”. “Benedictus” brings true Bruckner in a
series of short drawn phrases which add up to a flood
of continuous melody. The “Agnus dei” announces a

tragic orchestral theme which forms a counterpoint to

the ensuing vocal ideas. At “Dona nobis pacem”, as
with Liszt, we have an “apotheosis” of the work’s

themes. Elements of the “Kyrie”, “Gloria” and
“Credo” appear, ending the work in a vision of tranquility, but also, musically, in a vision of the symphonic
mission which Bruckner was to continue.
He never wrote another Mass setting, but the text
became the inspiration for the wordless, absolute
music of his enormous symphonies.

us. Lord, have mercy upon us.

Gloria
Glory be to God in the highest. And on earth peace
to men of good will. We praise Thee. We bless Thee.
We adore Thee. We glorify Thee. We give Thee thanks

for Thy great glory. O Lord God, heavenly King, God
the Father almighty. O Lord Jesus Christ, the onlyFather. Who taketh away the sins of the world, have

Kyrie

mercy upon us. Who taketh away the sins of the world,

Kyrie eleison, Christie eleison. Kyrie eleison.

receive our prayer. Who sitteth at the right hand of

Gloria

the Father, have mercy upon us. For Thou alone art

Gloria in excelsis Deo. Et in terra pax hominibus

voluntatis.

Laudamus

te.

Benedicimus

te.

Adoramus te. Glorificamus te. Gratias gaimus tibi
propter magnam gloriam tuam. Domine Deus, Rex
coelestis,

Deus

Pater

ominpotens.

Domine

Fili

unigenite, Jesu Christe, Domine Deus, Agnus Dei,
Filius Patris. Qui tollis peccata mundi, miserere nobis.

Qui

Kyrie

Lord, have mercy upon us. Christ, have mercy upon

begotten Son. Lord God, Lamb of God, Son of the

The Ordinary of the Mass

bonae

The Ordinary of the Mass

tollis

nostram.

peccata

mundi,

suscipe

deprecationem

Qui sedes ad dexteram Patris, miserere

nobis. Quoniam tu solus sanctus. Tu solus Dominus.

Tu solus Altissimus, Jesu Christe. Cum Sancto Spiritu,
in gloria Dei Patris. Amen.

art most high. Together with the Holy Ghost, in the
glory of God the Father. Amen.
Credo
I believe in one God, the Father almighty, maker of
heaven and earth, and of all things visible and invisible.

And in one Lord Jesus Christ, the only-begotten Son
of God. Born of the Father before all ages. God of

God, light of light, true God of true God. Begotten,
not made; of one substance with the Father: by whom
all things were made. Who for us men, and for our
salvation, came down from heaven. And was made

Credo
Credo

holy. Thou alone art Lord. Thou alone, O Jesus Christ,

flesh by the Holy Ghost of the Virgin Mary: and was
in

factorem

unum
coeli

Deum,

Patrem

terrae,

visibilium

omnipotentem,
omnium,

invisibilium. Et in unum Dominum Jesum Christum,

made man. He was also crucified for us, suffered under
Pontius Pilate, and was buried. And on the third day
rose again, according to the Scriptures. And

Filium Dei unigenitum. Et ex Patre natum ante omnia

ascended into heaven: He sitteth at the right hand of

saecula. Deum de Deo, lumen de lumine, Deum
verum de Deo vero. Genitum, non factum, con-

the Father. And He shall come again with glory to
judge the living and the dead; and of His Kingdom

substantialem Patri: per quem omnia facta sunt. Qui

there shall be no end. And in the Holy Ghost, the

propter nos homines, et propter nostram salutem

Lord and Giver of life, who proceedeth from the

descendit de coelis. Et incarnatus est de Spiritu Sancto

Father and the Son. Who together with the Father and

ex Maria Virgine; et homo factus est. Crucifixus etiam

the Son is adored and glorified: who spoke by the

pro nobis; sub Pontio Pilato passus, et sepultus est.

prophets. And in one holy, catholic and apostolic

ascendit in coelum: sedet ad dexteram Patris. Et

Church. I confess one baptism for the remission of
sins. And I expect the resurrection of the dead. And

iterum venturus est cum gloria, judicare vivos et

the life of the world to come. Amen.

resurrexit tertia die,

secundum Scripturas.

mortuos: cujus regni non erit finis. Et in Spiritum
Sanctum,

Dominum et vivificantem:

Filioque

procedit.

adoratur,

et conglorificatur; qui locutus est per
Et unam sanctam catholicam et apos-

prophetas.
tolicam.

Ecclesiam.

Qui

cum

Patre

Confiteor

qui ex Patre
et

unum

Filio

simul

baptisma

Sanctus
Holy, Holy, Holy Lord God of hosts. Heaven and
earth are filled with Thy glory. Hosanna in the highest.

Benedictus
Blessed is He that cometh in the name of the Lord.

remissionem peccatorum. Et expecto resurrectionem

Hosanna in the highest.

mortuorum. Et vitam venturi saeculi. Amen.

Agnus Dei

Sanctus
Sanctus, Sanctus, Sanctus Dominus Deus Sabaoth.
Pleni sunt coeli et terra gloria tua. Osanna in excelsis.

Benedictus
Benedictus qui venit in nomine Domini. Osanna in
excelsis.
Agnus Dei

Agnus Dei, qui tollis peccata mundi, miserere nobis.
Agnus Dei, qui tollis peccata mundi, miserere nobis.

Agnus Dei, qui tollis peccata mundi, dona nobis
pacem.

Lamb of God, who taketh away the sins of the world,
have mercy upon us. Lamb of God, who taketh away

the sins of the world, have mercy upon us. Lamb of
God, who taketh away the sins of the world, grant us
peace.

Saturday 8 November 1986 at 7.45 p.m.
CIVIC HALL, GUILDFORD

Overture ‘Faust’

Wagner

Burleske for Piano and Orchestra

Richard Strauss

Symphony No 1inD

Mahler

Norman Del Mar

Conductor

Angela Hewitt

Soloist

GUILDFORD PHILHARMONIC ORCHESTRA
Principal Conductor: Sir Charles Groves CBE
First Violins:

Associate Leaders: Hugh Bean and John Ludlow
Philip Auger

Sheila Beckensall

6.15 p.m. Civic Hall Restaurant
“Consult the Conductor”

Pre-concert conversation with Norman Del Mar —

Susan Borrett
Charlotte Edwards
Judith Edwards
Brian Gaulton

(All Concert Ticket Holders Welcome).

Kenneth King

Tickets: £6.50, £5.50, £4.60, £4.00, £3.20

Alexander Suttie

(Children aged 16 and under half price)

Box Office: Civic Hall, Guildford. Tel: 67314
Army and Navy (A & N Travel) Guildford. Tel: 68171

Oboes:
James Brown

Deirdre Dods
Clarinets:
Hale Hambleton

Susan Thomas
Aaron Tighe

Victor Slaymark

Rosemary Van Der Werff

Bassoons:

Second Violins:
Nicholas Maxted Jones

John Potts

Deirdre Dundas-Grant

Sunday 23 November 1986 at 3 p.m.

CIVIC HALL, GUILDFORD

Rosemary Roberts
David Burton

Horns:

FRIARY MEUX YOUNG MUSICIANS CONCERT

Timothy Callaghan

George Woodcock

Symphonic Metamorphosis of
Themes by Carl Maria von Weber

Piano Concerto No4in G

Symphony No 3 in Eb (Rhenish)

Hindemith

Beethoven

Schumann

Sir Charles Groves Conductor
Lucy Parham

Soloist

Tickets: £6.00, £5.00, £4.00, £3.40
(Children aged 16 and under half price)

Box Office: Civic Hall, Guildford. Tel: 67314
Army and Navy (A & N Travel) Guildford. Tel: 68171

Ruth Dawson

David Clack

Marilyn Downs

Duncan Hollowood

Peter Fields

Ronald Harris

Hywel Jones
Ruth Knell

Jane Platt

Claire Sansom
Frances Walsh

Violas:
John Meek
John Forrester
Jean Burt

NOW BOOKING!

Frederick Campbell

Saturday 3 January 1987 at 7.45 p.m.
CIVIC HALL, GUILDFORD

NEW YEAR VIENNESE GALA CONCERT

Programme includes a popular selection of pieces by

the Strauss family, Lehar, Suppé, etc.
Jill Gomez

Soprano

Barry Wordsworth

Conductor