1987/SEAON :E"
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PINKHAM
PIANOS
B
[
UNIVERSITY
OF SURREY
_
DEPARTMENT OF MUSIC
This Department has gained for itself an
enviable reputation for its high quality of
performance. Members of the public are
most welcome at all our concerts —these
take place during term-time every
Wednesday at 1.15 pm and on selected
Sunday evenings.
Further information is obtainable from:—
The Secretary
MANUFACTURERS OF PIANOS
5 TUNSGATE SQUARE
(0483) 578711
GUILDFORD
MUSICAL
INSTRUMENTS
Department of Music
University of Surrey
Guildford, Surrey
(Tel: Guildford 509317)
Nemasns:
e
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Tel 576277
GUILDFORD BOROUGH
COUNCIL CONCERTS 1987/88
CIVIC HALL, GUILDFORD
SATURDAY 14 NOVEMBER 1987
at 7.30 p.m.
Guildford
Philharmonic
Orchestra
Associate Leaders: HUGH BEAN, JOHN LUDLOW
SIR CHARLES GROVES
ALFREDA HODGSON
PHILHARMONIC CHOIR
THIS CONCERT IS PROMOTED BY GUILDFORD
BOROUGH COUNCIL WITH FINANCIAL SUPPORT
FROM THE SOUTH EAST ARTS ASSOCIATION.
THE GUILDFORD PHILHARMONIC ORCHESTRA
GRATEFULLY ACKNOWLEDGES THE SUPPORT OF
ITS SPONSORS OF INDIVIDUAL CONCERTS
THROUGHOUT THIS SEASON.
Alfreda Hodgson
Charles Groves was born in London and spent his
boyhood as a chorister in St Paul’s Cathedral.
After leaving the Royal College of Music, he joined
the BBC Opera Unit; from the age of 28 until he
relinquished the English National Opera in 1980, he
was Director of his own orchestra or Opera Company.
His years with the BBC Northern Symphony Orchestra
(now the BBC Philharmonic), the Bournemouth
Symphony Orchestra, Welsh National Opera and the
Royal Liverpool Philharmonic Orchestra were full of
tremendous achievements, many first performances
and
much
encouragement
to0
young
CcOmpOSers,
conductors and soloists. The RLPO made many fine
recordings and foreign tours and Sir Charles accepted
the title of Conductor Laureate in 1985.
Charles Groves is loved by choirs all over the world
and has a large choral repertoire. He regularly
conducts all the London orchestras and many in
America and Europe.
Since 1967 he has been Associate Conductor of the
Royal Philharmonic Orchestra and appears with them
regularly in London and abroad, as well as in the
recording studio. In 1987 he accepted the position of
Principal Conductor of the Guildford Philharmonic
Orchestra. His schedule is very full and adventurous
including many new works and constant travel around
the world.
He still finds time to show a great interest in the
training of young musicians and is proud to be
President of the National Youth Orchestra and serves
on the councils of a number of colleges.
He was knighted by the Queen in 1973.
Alfreda Hodgson was born in Morecambe and now
lives in Manchester with her husband and two young
daughters. From an early age her father, a professional
trumpeter, encouraged her musical activities. After
studying the ’cello for a time, she became a student
at the Royal Northern College of Music where she
began to study singing and graduated with the School’s
highest singing award. She later won the most coveted
prize for British singers — the Kathleen Ferrier
Memorial Prize. She is now recognized as a leading
international contralto.
Alfreda Hodgson works with all the leading British
orchestras each season. She performs regularly with
the Philharmonia Orchestra: since her debut with this
orchestra under Klemperer she has sung with Giulini,
Maazel, Haitink, Ozawa, Andrew Davis, Fruehbeck,
Mata and Rattle. She has performed with the London
Symphony
Orchestra
under
Claudio Abbado,
Svetlanov, Rozhdestvensky and Sir Colin Davis. She
is also a popular guest at the BBC Promenade
Concerts.
Alfreda Hodgson travels abroad frequently and there
are few European centres where she has not sung. She
took part in the first performances of The Messiah in
Israel with Zubin Mehta and the Israel Philharmonic
Orchestra. In North America she has sung with the
Chicago and Pittsburgh Symphony Orchestras, in
Cleveland with Maazel, in Toronto with Andrew
Davis, and at Meadowbrook with Gunther Herbig and
the Detroit Symphony.
Alfreda Hodgson made her operatic debut in London
with the English National Opera, and she made her
Covent Garden debut in the 1983/84 season.
Alfreda Hodgson is particularly noted for her Mahler
Tiffin
performances, and significantly her London debut was
acclaimed recordings on radio, TV and disc. During
singing Mahler 2 with Klemperer and the Philhar-
this time he was also Conductor of the Milton Keynes
monia. In recent years she has sung in Mahler’s Eighth
Chorale and the Tudor Singers of London.
Symphony
in
the
Royal Albert
Hall
and
at
the
Edinburgh Festival; she renewed her association with
Simon Rattle and the CBSO, giving performances of
both Mabhler 2 and Das Lied von der Erde. Last season
she worked again with Simon Rattle, performing songs
from Des Knaben Wunderhorn and then Mabhler 2 at
the Brighton Festival; she sang Das Lied von der Erde
with James Conlon and the Rotterdam Philharmonic,
and performed the same work at the Prague Spring
Last
season
Miss
Hodgson
sang
Beethoven 9
in
Dresden and the Royal Festival Hall with Colin Davis
and the Dresden Staatskapelle, and recorded for BBC
providing
choirs
for several
highly
In 1986 he decided to pursue a conducting career and
in that year he was awarded a scholarship to study
conducting at the Guildhall School of Music. Whilst
a student he conducted the second British staging of
the opera Julietta by Martinu and various orchestral
concerts. He now works on the staff as a conductor
at the Guildhall.
| As well as taking up his new appointment in Guildford
he
Festival.
School,
has recently been appointed conductor of the
Bournemouth Symphony Chorus. He also frequently
conducts many of the main London choirs and will be
conducting in Denmark next summer.
TV Berlioz’s Berlioz and Benedict with Simon Rattle.
She also made a trip to Tokyo with Claudio Abbado
and the Vienna Philharmonic, and appeared at the
Three Choirs Festival. The 1987/88 season includes
The Kingdom with Slatkin and the LPO, and concerts
Symphony in G minor
with the LSO and Fruehbeck de Burgos and the
Ernest Moeran (1894-1950)
Toronto Symphony and Andrew Davis.
Allegro
Lento
Vivace
Lento — Allegro molto
Moeran was the son of Anglo-Irish parents and was
brought up in Norfolk, where his father was the
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
of Finzi’s Intimations of Immortality with the Guildford
Philharmonic, and in 1979 recorded Hadley’s The Trees
So
High
with
the
Philharmonia
Orchestra,
both
Anglican rector of Bacton. In 1913 he went to the
Royal College of Music, but his studies were cut short
by the War, in which he served as an army officer.
Subsequently he studied with John Ireland and became
actively interested in the folk-song heritage. A fine
song-writer, he was mainly successful as a miniaturist,
and his early works had begun to attract attention by
the mid-1920s. One result of this was a request in 1926
recordings being conducted by Vernon Handley.
from Sir Hamilton Harty, at that time the conductor
The Choir has been trained for tonight’s performance
of the Halle Orchestra, to compose a symphony.
by Neville Creed who was appointed Chorus Master
However,
to the Philharmonic Choir in September this season,
daunting a task, and it was nearly ten years before he
when Lynette Newman, the Choir’s new accompanist
was also appointed.
Further performances by the Philharmonic Choir this
season include Berlioz’s Grande Messe des Morts under
Brian Wright, Beethoven’s Choral Symphony with
Moeran
did
not
yet
feel
ready for
so
changed his mind. In fact he worked on the symphony
between 1934 and 1937, and it was premiered on 13th
January 1938 by the Royal Philharmonic Orchestra
under the direction of Leslie Heward.
The work is scored for an orchestra consisting of
Richard Armstrong and in December this year the
double woodwind with piccolo, four horns, three
Rotary Carol Concert in the Civic Hall conducted by
trumpets, three trombones, tuba, timpani, percussion
Neville Creed.
(cymbals, bass drum, side drum, triangle, tam tam,
tambourine), harp and strings. Moeran handles these
forces
with
confident
assurance,
showing
a keen
awareness of the relationship between instrumental
groups,
the
balance
of tuttis,
solo
opportunities,
peaceful repose, and well-built climaxes. There is,
accordingly, a full contrast of rugged power and poetic
Neville Creed
Neville Creed began his conducting career whilst a
choral scholar at Trinity College, Cambridge where he
conducted a variety of opera, choral and orchestral
music.
Since 1981 he has been Director of Choral Music at
lyricism, plus a high level of melodic inspiration. Parts
of the work show the influence of other composers,
especially Sibelius, but Moeran’s friend Patrick Hadley
believed that specific places and events were crucial.
For instance, the peacefulness of East Norfolk is
evoked in the slow movement, and the slower music
of the first movement was linked with Ranmouth
Broad. Moreover, Hadley related many of the more
energetic passages to the composer’s passion for
railways: the first movement’s development section,
for example, has a sense of striving against the odds
that was inspired by one of the old-time Norfolk
expresses battling up Brentwood bank under the
power of one of the Great Eastern’s blue ‘Claud
impressive final ‘gesture comprising six shattering
chords.
Terry Barfoot.
Hamilton’ locomotives.
The symphony’s opening subject is strongly distinctive
and is given a unison statement on violins over a simple
rhythmic accompaniment; it is then repeated by the
lower strings against a violin counterpoint. A climax
is constructed out of two elements of this theme: a
rising seventh and subsequent fall, and a little twisting
figure from the very end. To these is added an energetic
motif based on thirds and fourths, and the effect is
enhanced by the rich and varied scoring. The second
subject has more flowing lines and its glorious string
textures bring a new dimension to the music. But with
the (railway!) development the mood changes, for the
rhythms become aggressive and the orchestration
more emphatic. The violins introduce a hectic fugato
whose progress is challenged by brass and percussion,
until relaxation comes through a slow presentation of
the first theme, on horns and bassoons over active
figurations on woodwind and strings. Naturally this
contrast leads to another climax, but it is followed by
a recapitulation whose structure is quite regular.
The slow movement is much influenced by Sibelius,
through the bare fifths on horns and the divided lower
strings, over which a gloomy theme circles around the
minor scale. The other ideas are based on more folklike material, but the mood of inwardness and
reflection is the music’s most notable characteristic.
The themes are combined and contrasted with the
utmost subtlety, and the general shape of the
movement allows a central climax with more peaceful
outer sections.
The triumph of the Vivace is its Clarity of scoring:
note, for instance, the effective role given to the
humble triangle. Pert rhythms are brilliantly combined
with more lyrical ideas, and the beautiful central trio
is cunningly moulded into the structure.
The finale has an extended introduction which is for
the most part passionate and intense: the full string
body contrasts against the horns and more pastoral
woodwind figurations. Eventually the Allegro begins
as the violas present a jig-like rhythm, and though the
woodwind are given a smoother theme, the strings
and brass take up the rhythm which consequently
builds in power. The second subject is heard on oboes
and bassoon, soon joined by harp and strings. But the
development makes the stronger impression: a long
string passage has that same brooding intensity that
Sibelius achieved in Tapiola, and although the
derivation of this passage seems all too easy to identify,
it enhances considerably the range of the work and is
extremely effective in its own right, culminating in a
strong climax with powerful brass. After this a solo
horn leads into the reflective coda, but this does not
move to a peaceful conclusion, since there is an
INTERVAL
The Music Makers Op.69
Edward Elgar 1851-1934
The first decade of this century saw Elgar’s creative
genius at its height. Following the increasing success
of his choral masterpiece The Dream of Gerontius (1900)
and the reception accorded to his First Symphony,
Elgar planned a choral trilogy of which the oratorios
“The Apostles” (1903) and “The Kingdom” (1906)
formed the first two parts. These works were enthusiastically received in the first few years of the decade but
did not in the years up to the First World War retain
their initial popularity. Elgar found this dispiriting and
was discouraged from writing further large-scale choral
works although he composed parts of the last oratorio
of the projected trilogy. This period he devoted largely
to instrumental composition. The second Symphony
was completed in 1910. It confirmed his position at
the forefront of English music and enhanced his
standing in Europe (the jibe “Das Land ohne Musik”
being finally silenced). He was honoured with the
Order of Merit in the same year and provided music
for a masque, “The Crown of India”, to celebrate King
George V’s visit to that Country as Emperor. That
work was subsequently recast as an orchestral suite,
Elgar making use, significantly, of earlier material.
The mystical side of Elgar’s character had been
apparent from his earlier compositions, notably his
sympathetic yet fervent treatment of Cardinal
Newman’s text of The Dream of Gerontius. The profound
contrast between this and the “imperial” aspect of his
character evidenced by his Pomp and Circumstance
Marches has long been noted. He was by nature a
spiritual man, capable through his music of displaying
great insight, tenderness and nobility. His occasionally
other-worldly vision doubtless led him to choose
Arthur O’Shaughnessy’s Ode “The Music Makers” as
the text for his last significant choral work. He felt a
clear affinity with the “dreamer of dreams”, and, as
a man of his time, with the “shakers of the world”.
O’Shaughnessy’s light-weight verses are lifted by
Elgar’s music onto a more substantial plane and
endowed with a spiritual strength which outweighs
their mawkish sentiments. Elgar’s concept of the work
ends sombrely, the soloist lamenting “a singer who
is best expressed by the words he wrote on a copy of
the score belonging to his friend and biographer W.
sings no more” over the orchestra playing the
“Novissima hora est” motif from Gerontius. A brief
H. Reed, “Musicians thinke our Soules are harmonies”
silence is broken by the choir, like distant bells tolling
quoting from the Elizabethan mystical poet Sir John
Davies.
in remembrance, restating again the main theme.
© Philip Jones.
The Music Makers was sketched by Elgar over a period
of four years.
It was completed in 1912 and first
performed
1Ist
on
October
of
that
year
at
the
Birmingham Festival. A visionary piece, at once as
moving and noble as Gerontius and as stirring and
patriotic as his ceremonial pieces, it has been much
criticised for its re-use of “old” themes and material
of other composers. No apology was ever necessary
for
a
work
which
is
homogeneous
and
whose
popularity has outlived Elgar’s preferred oratorios
referred to above. One view has it that “The Music
Makers” represents a collation by the composer of his
most cherished themes, a theory born out by the
reiteration of themes from the “Enigma” Variations
(Op.36 1899) and notably the use of the Nimrod
Variation to highlight the words “but on one man’s
soul it hath broken... wrought flame in another man’s
heart”. Here is not only a well loved theme but Elgar’s
own acknowledgement of his friendship with the “one
man” to whom the variation alludes. Other works from
which the composer quotes include Sea Pictures, The
Violin Concerto and both his symphonies.
The work opens with a sweeping prelude which ushers
in the first choral passage. This is the touchstone of
the whole piece, an indicator of its mystical emphasis.
“The
desolate
streams”
are
underpinned
by
a
quotation from Gerontius before the music sweeps to
the climax “movers and shakers of the world” and a
con fuoco passage “with wonderful deathless ditties”.
The words “we fashion an empire’s glory” are aligned
with
a phrase
from the Marseillaise before quiet
emphasis is given to the “dream”. The succeeding
passage relating the building of Nineveh and Babel is
characterised by brilliant choral and orchestral writing
in a compelling 9/8 time. The section ends with the
poignant setting of “for each age is a dream that is
dying” and a return to the opening statement.
O’Shaughnessy’s fourth verse provides one of the
emotional climaxes of the work. An ethereal setting
of the words “unearthly, impossible seeming” tempt
We are the music makers,
And we are the dreamers of dreams,
Wandering by lone sea-breakers,
And sitting by desolate streams;—
World-losers and world-forsakers,
On whom the pale moon gleams:
Yet we are the movers and shakers
Of the world for ever, it seems.
With wonderful deathless ditties
We build up the world’s great cities,
And out of a fabulous story
We fashion an empire’s glory:
One man with a dream, at pleasure,
Shall go forth and conquer a crown;
And three with a new song’s measure
Can trample a kingdom down.
We, in the ages lying
In the buried past of the earth,
Built Nineveh with our sighing,
And Babel itself in our mirth;
And o’erthrew them with prophesying
To the old of the new world’s worth;
For each age is a dream that is dying,
Or one that is coming to birth.
A breath of our inspiration
Is the life of each generation;
A wondrous thing of our dreaming
Unearthly, impossible seeming—
The soldier, the king, and the peasant
Are working together in one,
Till our dream shall become their present
And their work in the world be done.
They had no vision amazing
us to revert again to Gerontius and the Angel of the
Of the goodly house they are raising;
Agony. Here surely in Elgar’s mind “our Soules are
They had no divine foreshowing
Harmonies”. The author’s “wondrous thing” is majes-
Of the land to which they are going:
tically treated before the contralto soloist enters with
But on one man’s soul it hath broken,
“they had no vision amazing” (again a quotation,
A light that doth not depart;
tellingly used, from Gerontius) and the choir sings the
And his look, or a word he hath spoken,
Nimrod Variation. As ever, the change of pace is abrupt
Wrought flame in another man’s heart.
and sure through an insistent allegro molto (“Today
is thrilling”) to a forceful and declamatory restatement
And therefore to-day is thrilling
of the title. The music subsides to return to an earlier
With a past day’s late fulfilling;
6/8 theme in a different key, “with our dreaming and
And the multitudes are enlisted
singing”, which heralds the more reflective, prophetic
In the faith that their fathers resisted
and mystical conclusion of the work, but not before
And, scorning the dream of to-morrow,
the chorus incisively assures us that “once more God’s
Are bringing to pass, as they may,
future draws nigh” and the soloist welcomes “the
In the world, for its joy or its sorrow,
comers from the dazzling unknown shore”. The work
The dream that was scorned yesterday.
But we, with our dreaming and singing,
Sunday 29 November 1987 at 3 pm
Ceaseless and sorrowless we!
Civic Hall, Guildford
The glory about us clinging
The Perfect Fool — Ballet Music
Of the glorious futures we see,
Our souls with high music ringing:
O men! it must ever be
That we dwell, in our dreaming and singing,
A little apart from ye.
For we are afar with the dawning
Holst
Violin Concerto in D
Tchaikovsky
A Song of Summer
Delius
Hary Janos Suite
Kodaly
John Forster
Conductor
Barbara Gorzynska
Soloist
Tickets: £6.50, £5.50, £4.40, £3.70
And the suns that are not yet high,
And out of the infinite morning
Intrepid you hear us cry—
How, spite of your human scorning,
Saturday 12 December 1987 at 7.30 pm
Once more God’s future draws nigh,
Civic Hall, Guildford
And already goes forth the warning
RAVEL/GERSHWIN
That ye of the past must die.
50th ANNIVERSARY
CONCERT
Great hail! we cry to the comers
Sponsored by Lovell Construction (Southern) Ltd.
From the dazzling unknown shore;
Bring us hither your sun and summers,
[/l
And renew our world as of yore;
You shall teach us your song’s new numbers,
And things that we dreamed not before:
La Valse
Yea, in spite of a dreamer who slumbers,
And a singer who sings no more.
Arthur O’Shaughnessy.
The words are printed by permission of the Rev. Canon
Deacon.
Ravel
Piano Concertoin F
Gershwin
Mother Goose Suite
Ravel
Pavane Pour Une Infante Defunte Ravel
An American in Paris
Gershwin
Brian Wright
Conductor
Philip Martin
Soloist
Tickets: £7.00, £6.00, £5.00, £4.40
(Children aged 16 and under half price)
Box Offices: Civic Hall, Guildford. Tel: 67314
Orpheus & Bacchus, Chapel Street, Guildford.
Tel: 576277
Sunday 13 December 1987 at 3 pm
Holy Trinity Church — Guildford
Civic Hall
Saturday 21 November at 7.30 pm
AN ORPHEUS & BACCHUS CONCERT
¥
‘POPULAR’ BAROQUE
Sy
Concerto Grosso Op 6 No 11in A Handel
Brandenburg Concerto No Sin D Bach
COME ALONG AND SING
with the Philharmonic Choir
CAROLS FOR ALL THE FAMILY
in association with the Rotary Club of Guildford
GUILDFORD PHILHARMONIC ENSEMBLE
Conductor: Neville Creed
Clare McFarlane
Violin
Emily Beynon
Flute
Canon
Pachelbel
Children and Senior Citizens — half price
Air from Suite No. 3in D
Bach
Tickets available now.
Concerto for 2 Violins in D minor Bach
Guildford Philharmonic Ensemble
John Forster — Director
Tickets: £5.00. Half price for students 21 and under, &
Senior Citizens.
Available from: Orpheus & Bacchus, Chapel Street,
Guildford. Tel: 576277 and the Guildford Philharmonic
Orchestra Office Tel: 573800 and in the Foyer during
the interval of tonights concert.
Tickets: £2.50 & £2.00
GUILDFORD PHILHARMONIC ORCHESTRA
Principal Conductor: SIR CHARLES GROVES
Conductor Emeritus: VERNON HANDLEY
First Violins
Associate Leaders:
Hugh Bean, John Ludlow
Philip Augar
Julia Atkinson
Christopher Bearman
Sheila Beckensall
Julia Bishop
Suzie Borrett
Ian Brignall
Peter Hemborough
Clive Hobday
Alex Suttie
Rosemary Van Der Werff
Sarah Walton
Cellos:
Horns:
Geoffrey Thomas
Peter Clack
John Stilwell
George Woodcock
Christina Macrae
John Hursey
Duncan Hollowood
John Franca
David Johnstone
Christine Jackson
Basses:
Michael Lea
Jeremy Gordon
Duncan Allen
Peter Box
Paul Moore
Timothy Amherst
Flutes:
Second Violins:
Nicholas Maxted Jones
Ruth Dawson
Stephen Dinwoodie
Marilyn Downs
Peter Fields
Oboes:
James Brown
Deirdre Dods
Cor Anglais:
Diane Forde
Janice Knight
Ruth Knell
Alan Pook
Hale Hambleton
Adrienne Sturdy
Violas:
John Graham
Justin Ward
David McCreadie
Jean Burt
Frederick Campbell
Paul Morris
Karen Demmel
Sally Parfitt
Michael Hinton
Clifford Haines
Trombones:
Ian White
David Whitson
Bass Trombone:
Martin Nicholls
Michael Daniels
Simon Hunt
Clarinets:
Paul Hilliam
Patricia Reid
Katharine Hill
Rosemary Roberts
Concerts Assistant:
Kevin Abbott
Henry Messent
Andrew Bentley
Kathleen Atkins
Trumpets:
Tuba:
Piccolo:
Timothy Callaghan
Gordon Carr
Administrator:
Percussion:
Charles Fullbrook
Keith Bartlett
Felicia Lane
Harp:
Louise Martin
Timpani:
Christopher Nall
Victor Slaymark
Bass Clarinet:
William Green
Bassoons:
Nicholas Hunka
Anna Meadows
Andrew Stowell
Contra Bassoon:
Nicholas Reader
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.
(Charity Registration 288295)
ESTRA
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psf
gfg
C!;
R
O
riE ORCHE:
I
-1-EAST
This
Season in addition to its Guildford
Concerts the GUILDFORD PHILHARMONIC
ORCHESTRA will perform in Canterbury,
Rye, Dorking, Folkestone, Chatham. etc.
under the management of the SOUTH EAST
MUSIC
TRUST
In
this
the
Trust
acknowledges with gratitude the generous
support of the MUSICIANS’ UNION.
The Guildford Pnilharmonic 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 finances
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 payment by this method also ensures
that the
subscription is not raised for four years. Members 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
® Certain discount facilities at Record Corner, Godalming
on records
and cassettes
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.
The membership rates are as follows:
Annual Subscription (minimum)
Husband/Wife-Joint Subscription (minimum)
Persons under the age of 18 (minimum)
Retirement Pensioner (minimum)
£5.50
£9.00
£3.75
£3.75
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:
Mr R A Forrow
Flat No 3, 6 Mareschal Road,
Guildford, Surrey GU2 5JF Tel: Guildford 575274
Alternatively you may enrol at the Society’s stand in the
foyer of the
Civic Hall on concert days.
SUPPORT YOUR
ORCHESTRA!!
IT
NEEDS YOU!
FIRST CLASS SERVICE FOR CLASSICS
FROM A FIRST CLASS MUSIC SHOP
PRINTED MUSIC EXPERTS
Large modern shop with printed music wall to wall. 2,000
of the most requested items always
in stock. Constantly changing “browse” stock. Rapid service
for non-stock items — typically
7-10 days. Mail Order Dept has moved t 0 new premises
to cope with heavy demand.
Ring Dot Freeman on Byfleet 54898.
MUSICAL INSTRUMENTS
We stock all leading makes. Rental scheme with option
to purchase. Extensive experience of
school requirements. Sensible advice for parents if needed.
Comprehensive accessories. Repairs.
Records/Cassettes/Compact Discs. Yamaha Keyboards stocked
and demonstrated.
Access, Visa, American Express, Diners Cards.
Large cheap car parks, free on Saturdays.
SRITTEN’S MUSIC L
3 Station Approach, West Byfleet, Surrey KT14 6NG. Tel:
Byfleet 51165 (24hrs) and 51614
Open Monday-Saturday 9-5.30 (Saturday close 4.30)
Mail Order Dept now at: 3 Claremont Road, West
Byfleet, Surrey KT14 6DY
Tel. Byfleet 54898 (24 hrs) Mon-Fri 9-5.30
join the
Guildford
Philharmonic
Choir
HUTSON POOLE AND CO
SOLICITORS
NOTARY PUBLIC
*
WE
Philharmonic Orchestra — The Professional
Orchestra of the South East
PROVIDE
*
*
Work with conductors Sir Charles Groves, Brian
Wright and Richard Armstrong on such celebrated
works as The Music Makers, Elgar: Grande Messe
des Morts, Berlioz: Symphony No 9 in D minor
‘Choral’, Beethoven: also a Christmas Carol Concert
TO PRIVATE AND
CORPORATE CLIENTS
*
Chorus Master, Neville Creed, is also Chorus Master
of the Bournemouth Symphony Orchestra Chorus,
Assistant Chorus Master of The London
Philharmonic Choir and Director of Music of Tiffins
School
Rehearsals Monday Evenings (7.30pm — 9.45pm)
at Methodist Hall, Woodbridge Road, Guildford
10 QUARRY STREET,
GUILDFORD, GU1 3XA.
Further details from the Choir’s Office:
The Lodge, Allen House Grounds
Chertsey Street, Guildford
With financial support from
Surrey GU1 4HL
Guildford Borough Council
Tel: 0483 573800
Tel: 65244
feisute
Enjoy performing in First Class venues including
Guildford Civic Hall, Guildford Cathedral
A COMPREHENSIVE SERVICE
"— * »
Take partintop quality concerts with The Guildford
o'c S leasure>
{I
tom
gutldfo'cd oBotoug/r. Council
The top professional
R
O
GUILDECRONIC
HIL
gRCHESTRA
.
orchestra of the South
East performing a full
2 at the Civic
o Hall.
recitals
range of concerts and
Tel: G. 573800.
Varied art exhibitions
GlllldfOl'd
S po rts
Centre
Bedford Road
Parks, gardens and open
Mon-Sat. Admission
open
and interests. Tel: G.
503406 after 5pm and
weekends.
Spaces
The
London Road
b
spaces throughout the
For all kinds of family
mll
‘J“e p"seste:‘: day. 5099"
11am - opm.
on-sSat
Admission
free. Tel: G.
i
Pa rks &
free. Tel: G. 505050 or
155 High Street
Quarry Street
Items relating to Surrey
dating from prehistory to
throughout the year.
Open 10.30am to 4.50pm
House
Guildford
Museum
Castle Arch,
entertainment — plus
own events. Tel: G.
facilities to hire for your
o
1
borough for all tastes
505050 ext. 3501 for full
details and to book
outdoor sports facilities.
Open air heated
@
swimming pools set in
rolling lawns and
beautiful gardens. Open
May to September 11am
67314
Stoke Road
For sauna, solarium,
ASh Manor
At Manor Road Ash. For
fit and much more! Open
Sports
full details.
squash, swimming, keep
now new 50 metre water
Centre
.,
Wi
Tel:
o
7
all types of dry sports.
Tel: Aldershot 25484 for
shute. Tel: G. 571651/3
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. )
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[
“Do you know that our soul is
composed of harmony?”
Leonardo da Vinci (1452-1519)
At Knowle Park Nursing Home we know about
the harmony of dignity and lifestyle for all our guests
both long and short stay.
This beautifully refurbished historic house in
lovely grounds has - single and double rooms with
bath en suite, telephone and TV. Every modern
facility, magnificent communal rooms, with lift and
comprehensive clinical facilities.
24 hour SRN supervision by friendly attentive
staff.
Inclusive and affordable fees.
The Guildford Philharmonic Orchestra
-
.
& South East Music Trust
acknowledges the generous
support of the
Musicians’ Union
for the 1987/88 Season