1990/91 SEASON
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Guildford Philharmonic
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RECORD CORNER
Records — Tapes —CD’s
Classical — Jazz — Popular
Spoken Word
Separate Specialised Depts
with listening facilities
PIANOS
PROBABLY THE MOST
COMPREHENSIVE RANGE OF
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Sheet Music including:
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ie Strings, Recorders etc
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an
MUSICAL IINI\TIH§'UI;RUMENTS
Approximately 150 Violins
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Closed Wednesdays except during December
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from £99 to £3,000
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Approximately 80 Pianos
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UNIVERSITY OF SURREY
[E]
DEPARTMENT OF MUSIC w
Members of the public are most welcome at alll
our concerts, which take place during term-time
in the Performing Arts Technology Studios on
campus. Wednesday Lunchtime Recitals start
at 1.15 pm and are admission free. Concerts are
also held on selected Thursday and Sunday
evenings and afternoons.
Please call the Department if you would like to be
placed on our mailing list.
NOTARY PUBLIC
Further information is available from: -
The Secretary
Department of Music
University of Surrey
17/18 QUARRY STREET,
GUILDFORD, GU1 3XA
Tel: (0483) 65244
Guildford, GU2 5XH
(Tel: Guildford 509317)
WE PROVIDE A COMPREHENSIVE SERVICE
TO PRIVATE AND CORPORATE CLIENTS
RESIDENTIAL/COMMERCIAL CONVEYANCING
LICENSING LAW - TOWN & COUNTRY PLANNING
1990-91 Term Dates
Autumn Term: 8 October to 14 December 1990
Spring Term: 7 January to 15 March 1991
Summer Term : 22 April to 28 June 1991
GENERAL COMPANY & PARTNERSHIP LAW - EMPLOYMENT LAW
DIVORCE - HIGH COURT & COUNTY COURT WORK
PROBATE & TRUSTS - INVESTMENT & FINANCIAL PLANNING
LANDLORD & TENANT LAW - DEBT COLLECTION
PERSONAL INJURY
o
Y
Guildford Philharmonic Society
\‘@\\“
)
&
(Charity Registration 288295)
Guildford
Philharmonic
Choir
SEASON 1990/91
Handel : MESSIAH
Verdi : REQUIEM
Bach : ST JOHN PASSION
Elgar : DREAM OF GERONTIUS
Rossini : PETITE MESSE SOLENELLE
Patterson : GLORIA
All concerts with the Guildford Philharmonic Orchestra
CONDUCTORS:
Neville Creed
Mrs K Atkins, Guildford Philharmonic Choir Office,
7
New Members’ Reception in Civic Hall Restaurant
31st October:
Members’ Evening, Guildhall, High Street, Guildford
Cathy Beynon (harp) Emily Beynon (flute)
8th December:
Members’ Reception following concert
6th January 1991:
New Year ‘Wine and Mince Pie’ Party to follow the New Year
Concert
Tickets: Members £1.50; Non Members £2.00; Childern £1.00
16th February:
A String Quartet (details and venue to be confirmed)
Members’ Reception following Concert
17th April:
ANNUAL GENERAL MEETING
MEMBERSHIP RATES are:
Details from:
]
MEMBERS EVENTS 1990/91
23rd September:
Methodist Church Hall, followed by a Piano Recital
CHORUS MASTER:
Surrey GU1 4HL
Tel:0483 444666
special Members’ Evenings.
9th March:
Sir Charles Groves
Vernon Handley
The Lodge, Allen House Grounds
Chertsey Street, Guildford
The GUILDFORD PHILHARMONIC SOCIETY, for the Friends of the
Guildford Philharmonic Orchestra, is Guildford’s foremost musical
appreciation group. It was founded primarily to encourage both its
own members and the public at large to be aware of, and to enjoy,
the Orchestra’s season of concerts in the Civic Hall, the Hall
originally built for Guildford’s own orchestra. And it provides
opportunities to enjoy a wide variety of first class musical events at
With financial support from
Guildford Borough Council
BURGHALTS
-~ farm barn
AWARD WINNING RESTORED
GEORGIAN BARN
AT STOKE PARK, GUILDFORD,
Annual Subscription (minimum)
Joint Subscription (husband and wife)
Persons under the age of 18 (minimum)
Retired pensioner (minimum)
£6.00
£10.00
£4.00
£4.00
Apply to: Mrs Iris Bennett, Applegarth, Cranleigh, Surrey GU6 7LY
SUPPORT YOUR ORCHESTRA!! IT NEEDS YOU!
Serving Surrey Music Lovers for over 130 years
1. ANDREWS & GO LTD.
(Established in Guildford in 1857)
SURREY
THE NEW VENUE FOR:
FUNCTIONS
CONFERENCES
RECEPTIONS
PIANOS
and
Agents for leading makers
Pianos for sale, hire and concert use
For full details on Burchatts Farm Barn contact
Len Dando, Principal Parks and Amenities Officer,
Guildford Borough Council, Millmead House, Millmead,
Guildford, Surrey GU2 SBB.
Telephone 0483 - 444701.
62 MEADROW, GODALMING
Telephone: Godalming 22459 and 6414
GUILDFORD BOROUGH
COUNCIL CONCERTS 1990/91
Jennifer Smith, soprano
CIVIC HALL, GUILDFORD
in Europe and made several records for Erato, Phillips
and DGG Archiv. Additional to her regular work in
SATURDAY 2 FEBRUARY 1991
Before arriving in Britain in 1971 from her native
Portugal, Jennifer Smith had already sung extensively
Britain she is a frequent visitor to Europe (where her
fluency in French, German, Portuguese,
Italian, and English is of great benefit).
at 7.30 p.m.
appeared with
Guildiord
Philharmonic
Orchestra
such
conductors
as
Spanish,
She has
Boulez,
Inbal,
Rozhdestvensky, Rattle, Willcocks, Leppard, Hickox,
Leonhardt, Pinnock, Gardiner, Sir Charles Mackerras,
Herreweghe and the late Rudolf Kempe.
Jennifer has recorded over forty discs for more than ten
different labels including works by Bach, Handel,
Haydn,
Monteverdi and Purcell.
Her most recent
recordings have been — Bach B minor mass for Phillips
with Frans Bruggen, Rameau’s Platée, Handel’s Il
Trionfo Del Tempo and Amadigi and Marin Marais’
Alcione for Erato.
Her operatic
Associate Leaders:
Figaro”;
HUGH BEAN, JOHN LUDLOW
production
roles include
Gluck’s
of
“Orfeo”;
Mozart’s
David
Monteverdi’s
“Marriage of
Freeman’s
“Orfeo”
for
new
ENO;
Rameau’s “Les Boréades” and “Hippolyte et Aricie”;
Handel’s
“Hercules”;
Frangois
Rochaix’s
production
of
“The
of
Britten’s
Rape
new
Lucretia”
(Female Chorus); Monteverdi’s “L’incoronazione di
JENNIFER SMITH, Soprano
Poppea” with Gustav Leonhardt, Mozart’s “Il Re
NIGEL SHORT, Counter-Tenor
ANDREW KING, Evangelist
Pastore” (Aminta) in Lisbon, and Lully’s Atys
(Cybelle) at the Opéra Comique, Paris and in New
RUFUS MULLER, Tenor
York.
STEPHEN VARCOE, Bass
Jennifer Smith has made many television appearances
SIMON KEENLYSIDE, Jesus
including
PHILHARMONIC CHOIR
Scarlatti’s
“Salve
Regina”
with
George
Malcolm, Handel’s “Judas Maccabaeus” with Roger
NEVILLE CREED, Conductor
Norrington and Purcell’s “Come, Come Ye Sons of
Art” for the BBC.
She is well known throughout
Europe for her many concert and oratorio perfor-
mances and her repertoire is extensive, covering works
ST.
JOHN PASSION
BACH
from
Bach,
Handel,
Purcell,
Mozart,
to
Berlioz,
Janacek, Poulenc and Britten; her performance of
Berlioz’s “Les Nuits dEté” with Sir Charles Mackerras
and the Philharmonia received critical acclaim. She
works regularly with such orchestras as the CBSO,
ECO, CLS, London Bach Orchestra, English Concert,
and the Orchestra of the Age of Enlightenment.
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
MAJOR SPONSORS: HART BROWN & Co., Solicitors, BOC,
NATIONAL WESTMINSTER BANK AND TESCO
THE GUILDFORD PHILHARMONIC ORCHESTRA &
SOUTH EAST MUSIC TRUST ACKNOWLEDGE THE
GENEROUS SUPPORT OF THE MUSICIANS’ UNION
The
Orchestra
is
pleased
to
acknowledge
Memberships of:
BOC
HART BROWN & CO, Solicitors
HUTSON POOLE & CO
LOVELL CONSTRUCTION GROUP
PLASTIC COATINGS LTD
the
Corporate
As a song recitalist she has performed in Portugal,
France, Belgium, Hong Kong and the UK. Several of
her recitals have been broadcast by the BBC and she
has recorded Schubert Lieder for HMV Lisbon.
Future engagements include performances in France
with Les Musiciens de Louvre, La Chapelle Royale and
La Petite Bande (with whom she will record Mozart’s
C minor Mass), in Austria with Handel Baroque
Ensembie of Halle, and in London at the Royal Festival
Hall and her solo recital at the Wigmore Hall. She will
also be appearing with Opera Atelier in Toronto
singing The Queen of the Night in Mozart’s “The Magic
Flute”; for the ENO she will sing in their productions of
Monteverdi’s “Ulysses” and “Orfeo” and for Opéra
Comique in Paris she will repeat her performances of
Cybelle in Lully’s “Atys”.
Nigel Short, counter-tenor
Nigel Short is widely recognised as one of Britain’s most
outstanding young counter-tenors. He began his
training at the Royal College of Music, leaving after
only one year to make his operatic debut in Italy sharing
performances with James Bowman. Other operatic
engagements have taken him to Germany, Spain and
most recently understudying the role of Arsamenes in
Handel’s Xerxes for English National Opera’s tour of
Russia.
In recital and oratorio Nigel has sung extensively
throughout the UK and Europe, including concerts
with the Academy of Ancient Music, the English
Chamber Orchestra, Manchester Camerata with
Meredith Davies, the City of London Sinfonia with
Richard Hickox at the Barbican and the English
Concert with Trevor Pinnock. He has also appeared at
the Royal Albert Hall with Sir David Willcocks
(Messiah from scratch), the Frankfurt Alte Oper, the
Festivals of Bath, Aldeburgh, Aix-en-Provence and the
Music at Oxford Series. Other performances in London
include performances with the Song Makers Almanac
at the Wigmore Hall and as a soloist with the BBC
Singers at the Proms ’89.
Future engagements include performances of Jacques
Loussier’s “Messe des Lumieres” in France (Nigel has
sung this work several times including its World
Premiere). In the UK he is to make his debut with the
King’s Consort (directed by Robert King) in two
concerts at the Wigmore and Queen Elizabeth Halls
and in a recording of Purcell Royal and Ceremonial
Odes for Hyperion. He is to sing in performances of
Bach’s St. Matthew Passion in King’s College Chapel,
Cambridge and St. John’s Smith Square, London, and
next year he is to make a recording of counter-tenor
Baroque arias with Ex Cathedra Baroque Chamber
Orchestra and their conductor Jeffrey Skidmore.
Andrew King, tenor
Andrew King enjoys a busy career both as a soloist and
performing in “early music” with leading specialists. He
has given many world premiers and first modern performances of forgotten or newly-discovered works, such as
the opera “Una Villa di Tusculo” by Alessandro
Scarlatti. His oratorio engagements have taken him
throughout Western Euerope, to Israel and the Philippines.
Recent concerts have included several performances of
Bach’s St. Matthew Passion as Evangelist in England
and Northern Ireland, arias in the St. John Passion in
London’s Barbican with George Malcolm and the
English Chamber Orchestra and performances with the
City of London Sinfonia of Bach’s Christmas Oratorio.
Other engagements have taken him to Israel, the USA,
Denmark, West Germany and Finland. He has been
heavily involved in activities on the South Bank in
London performing with the Medieval Ensemble of
London, New London Consort and Consort of
Musicke, including an all-night performance at the
Queen Elizabeth Hall and a televised concert from the
Proms. Other festival appearances have been in York,
Bruges and Utrecht.
Since 1978 Andrew has been a member of the Consort
of Musicke, with whom he has made many records and
remains committed to the fine art of ensemble singing.
Future plans include return visits to many of the
European festivals and recordings for Harmonia
Mundi, Virgin Classics, Decca and Westdeutsche
Rundfunk.
Rufus Miiller, tenor
Rufus Miiller was born in Kent, and he spent the years
1977-81 as choral scholar at New College, Oxford.
After two years in Germany he came to London to
study singing and the Alexander Technique with
Ronald Murdock. In 1984 he sang the role of Bastien in
Mozart’s “Bastien and Bastienne” with Kent Opera,
and in 1985 won first prize in the English Song Award in
Brighton. His interest as a recitalist encompasses a wide
range of styles from mediaeval monody, through the
renaissance lute-song, German Lied, French mélodies
and twentieth century repertoire. He has twice given
recitals at the Wigmore Hall in London, as well as
elsewhere in Britain and Germany.
Rufus recorded Bach’s “St. John Passion” with John
Eliot Gardiner for Archiv, and was tenor soloist on
Roger Norrington’s recording of Beethoven’s “Choral
Fantasia” (shortly to be released by EMI). His oratorio
appearances have taken him to Germany, France, Italy
and Norway. He has appeared in recitals in the Utrecht
Festival and Tokyo; recorded “Die Zauberflote” with
Roger Norrington for EMI and performed at the BBC
Proms last August. Future plans include concerts and a
recording of Stravinsky’s “Cantata” in France; and
Bach’s “St. Matthew Passion” for Phillip Herreweghe
in Holland.
Stephen Varcoe, baritone
Stephen Varcoe has established a reputation as one of
Britain’s leading concert baritones. His work takes him
as far afield as Singapore and the USA, and throughout
the continent of Europe, performing a large and diverse
repertoire in concerts, recordings and operas. Two of
these recent operatic appearances have been in
Haydn’s “Infedelta Delusa” in Antwerp, and
Debussy’s “Fall of the House of Usher” in Lisbon and
London.
He is especially known for his performances in baroque
and contemporary music, and as a song recitalist, often
with The Songmakers’ Almanac. He is frequently to be
heard on BBC Radio, and seen on television
performing, for example, Bach cantatas, Schubert
songs or Victorian ballads. His list of more than fifty
recordings gives a fair indication of his versatility:
Purcell, Handel and Bach with Gardiner; Handel and
Haydn with Kuijken; Mozart with Marriner; Fauré
with Rutter; Holst and Britten with Hickox; Bergman
and Osborne with the Endymion Ensemble. There are
recitals of Finzi songs with Clifford Benson, of French
songs with Graham Johnson and a disc for Hyperion’s
complete Schubert series also with Johnson. A recent
success has been “If there were Dreams to sell”,
English orchestral songs with Hickox for Chandos
Records: a sequel is due this year. Another planned for
1991 is Fauré songs with Johnson.
Through personal experience Stephen and his wife
founded The Breath Fund in 1988, a charity helping Cot
Death research. They live in an old farmhouse in East
Anglia with their four children.
Simon Keenlyside, bass
Simon Keenlyside was born in London and studied with
George Guest at St. John’s College, Cambridge and
with John Cameron in Manchester.
appointed Chorus Master in 1987 and he is assisted by
Peter White. Lynette Newman is the Choir’s accompanist.
On Saturday 27th April Vernon Handley will conduct
the Philharmonic Choir in a performance of Elgar’s
“The Dream of Gerontius”. The Choir’s plans for this
Summer include the performance of opera choruses
with the Royal Philharmonic Pops Orchestra in
Petworth Park on Sunday 30th June.
In 1986 he won the Richard Tauber Competition and
the following year the Walther Gruner International
Lieder Competition, enabling him to further his work
on the song repertoire in Germany and in London with
Geoffrey Parsons, Eric Sams and in major venues
including the South Bank Centre and the Wigmore
Hall. Last year he gave the first of the new series of
lunchtime recitals at the Royal Opera House, Covent
Garden, and went on to win the 1990 Elly Ameling
Lieder Prize.
Simon Keenlyside began his operatic career in Graz,
Austria
and was subsequently invited by Rolf
Liebermann to join the Hamburg State Opera where he
made his debut as the Count in “Le Nozze di Figaro”.
His British debut was as Marcello in Scottish Opera’s
“La Boheme”, followed by Silvio (“Pagliacci”) at the
Royal Opera House, Covent Garden. With Scottish
Opera he has subsequently sung Danilo in “Die Lustige
Witwe” and Guglielmo in “Cosi fan tutte”.
Recently he scored a great success with his return to the
Royal Opera House for Ping in “Turandot”, which
opened Covent Garden’s 1990/91 season, as well as
making his debut with the English National Opera as
Guglielmo. Future engagements include Schaunard
(“La Boheme”) and Figaro (“Barber of Seville”) for
Scottish Opera and his debut with the Welsh National
Opera as Dr Falke (“Die Fledermaus”) and then as
Oreste in a new production of “Iphigenie en Tauride”
conducted by Sir Charles Mackerras. Recent concert
work has included performances with the Scottish
National and Bournemouth Symphony Orchestras.
Neville Creed, conductor
Neville Creed began his conducting career whilst a
choral scholar at Trinity College, Cambridge. He then
became Director of Choral Music at Tiffin School in
Kingston-upon-Thames,
several
highly
providing
acclaimed
the
recordings
choirs
for
for
radio,
television and disc. The Tiffin Boys’ Choir recording of
Mahler’s 8th Symphony with the London Philharmonic
Guildford Philharmonic Choir
The Guildford Philharmonic Choir was formed in order
Orchestra under Klaus Tennstedt gained a nomination
to
for
perform
Guildford
the
major choral
Philharmonic
repertoire
Orchestra.
As
with
the
well
as
performing
well-known choral works, the choir
specializes in twentieth century British music and this
has led to recordings of Gerald Finzi’s “Intimations of
Immortality”
with
the
Guildford
Philharmonic
Orchestra and Patrick Hadley’s “The Trees So High”
with the Philharmonia Orchestra, both recordings
being conducted by Vernon Handley.
The choir is conducted by some of the most eminent
British
Musicians
including
Sir
Charles
Groves
(Principal Conductor), Vernon Handley and Sir David
Willcocks.
As well as giving frequent concerts in
Guildford, the choir occasionally visits other British
cities. In 1988 the Guildford Philharmonic Choir visited
a “Grammy” Award. During thie time, Neville
was also conductor of the Milton Keynes
Creed
Chorale and became Assistant Chorus Master of the
London Philharmonic Choir. In 1986 he was awarded a
scholarship to study conducting at The Guildhall
School of Music where he won the Ricordi Conducting
Prize. Whilst at the Guildhall he conducted the second
British staging of the opera “Julietta” by Martinu. Since
completing his studies, he has founded the London
Musici Singers, gained the posts of Conductor of the
Bournemouth Symphony Chorus and the Guildford
Philharmonic Choir, as well as being invited to return to
The Guildhall as a conductor. He has been invited to
return this year to conduct the Royal Philharmonic
“Pops” Orchestra in a concert in Petworth Park and the
Royal Philharmonic Orchestra at the Exeter Festival.
Paris and last year joined forces with the Freiburger
Bach Choir in Freiburg Miinster.
In September 1988 he won the second prize in the First
The Choir is trained by Neville Creed, who was
Italy.
International Choral Conducting Competition held in
Chorale
St. John Passion
Bach 1685-1750
Bach
took
up
his
appointment
of Cantor
at the
Thomasschule in Leipzig in 1723 and during his
27 years there he wrote the majority of his 300 Cantatas
and Motets to Latin texts, the Christmas Oratorio to a
German text, the Passions, the four so-called “short”
Masses, the great Hohe Mass and a number of other
Church works. The greatness of the St. John Passion
has never been questioned and it is largely due to this
greatness that the work has survived and still survives
various treatments which different singing traditions
impose upon it. Regardless of which of these traditions
one has been brought up in (and most of them have at
their core some worthwhile characteristics), there can
be little doubt that the dramatic force of the St. John
Passion in Bach’s day was much more obviously
realised than it is today. Roughly 250 years of sophistication is not necessarily the best training for mankind if
the full force of “Jesu, turn to look on me” is to be
appreciated. The vicious howling of “Crucify”, where
B flat and D in two parts of the choir is penetrated by
the G and E flat of the two other parts, must have been
as shocking to Bach’s contemporaries as some of the
sounds of Stravinsky and the serial composers have
been to our own. Successive generations have produced
beautiful tone and a lack of conviction to these sounds
until their horror has almost disappeared. Yet perhaps
the greatest moments of the Passion are not realised
through harmonic or contrapuntal means, but through
the single superbly judged lines of the Recitatives, for
in them Bach expressed more concisely and more
movingly the feelings and thoughts which orchestral or
choral treatment, even in the hands of expressive
masters like Strauss or Britten, would only obscure.
PART ONE
Betrayal and Capture (St. John 18: 1-14)
Oh great and boundless love, which set you on this path
of martyrdom. I lived amid worldly joy and happiness,
whilst you must suffer.
Recitative
Evangelist: This was to make good his words. “I have
not lost one of those whom thou gavest me”.
Thereupon Simon Peter drew the sword he was wearing
and struck at the High Priest’s servant, cutting off his
right ear. The servant’s name was Malchus. Jesus said
to Peter: Jesus: Sheathe your sword. This is the cup the
Father has given me; shall I not drink it?
Chorale
Thy will be done, Lord God, on earth as in heaven.
Give us patience in times of suffering, obedience in
both joy and sorrow, strengthen and guide all flesh and
blood which rebels against your holy will.
Recitative
Evangelist: The troops with their commander, and the
Jewish police, now arrested Jesus and secured him.
They took him first to Annas. Annas was father-in-law
of Caiaphas, the High Priest for that year — the same
Caiaphas who had advised the Jews that it would be to
their interest if one man died for the whole people.
Aira (Alto)
To release me from the bonds of my sins my Saviour is
bound. To heal me fully from the sores of my depravity
he gives himself to be wounded.
da capo
Denial (St. John 18: 15-27, St. Matthew 26: 75)
Recitative
Evangelist: Jesus was followed by Simon Peter and
another disciple.
Aria (Soprano)
I likewise follow you with joyful steps, and I will not
forsake you, my light and my life. Ease my path and do
not cease to urge me, cajole me and draw me onwards.
da capo
Chorus
Recitative
Lord, our master, whose glory is celebrated in all the
earth, show us, by your Passion, that you are the true
Son of God, glorified through all ages, even in the
depths of humiliation.
da capo
Evangelist: This disciple, who was acquainted with the
High Priest, went with Jesus into the High Priest’s
courtyard, but Peter halted at the door outside. So the
other disciple, the High Priest’s acquaintance, went out
again and spoke to the woman at the door, and brought
Peter in. The maid on duty at the door said to Peter:
Maid: Are you another of this man’s disciples?
Evangelist: He said: Peter: 1 am not. Evangelist: The
servants and the police had made a charcoal fire,
because it was cold, and were standing round it
warming themselves. And Peter too was standing with
them, sharing the warmth. The High Priest questioned
Jesus about his disciples and about what he taught.
Jesus replied: Jesus: I have spoken openly to all the
world; I have always taught in the synagogue and in the
temple, where all Jews congregate; I have said nothing
in secret. Why question me? Ask my hearers what I told
them; they know what I said. Evangelist: When he said
this, one of the police, who was standing next to him,
struck him on the face, exclaiming: Servant: Is that the
way to answer the High Priest? Evangelist: Jesus
replied: Jesus: IfI spoke amiss, state it in evidence; if I
spoke well, why strike me?
Recitative
Evangelist: Jesus went out with his disciples, and
crossed the Kedron ravine. There was a garden there,
and he and his disciples went into it. The place was
known to Judas, his betrayer, because Jesus had often
met there with his disciples. So Judas took a
detachment of soldiers, and police provided by the
chief priests and the Pharisees, equipped with lanterns,
torches, and weapons, and made his way to the garden.
Jesus, knowing all that was coming upon him, went out
to them and asked: Jesus: Who is it you want?
Evangelist: They answered: Chorus: Jesus of Nazareth.
Evangelist: Jesus said: Jesus: I am he. Evangelist: And
there stood Judas the traitor with them. When he said
“I am he”, they drew back and fell to the ground. Again
Jesus asked: Jesus: Who is it you want? Evangelist:
They answered: Chorus: Jesus of Nazareth. Evangelist:
Jesus said: Jesus: I have told you that I am he. If I am
the man you want, let these others go.
Chorale
Recitative
My Saviour, who has struck you and mistreated you
thus? You are not a sinner as we and our ch.ldren are.
Evangelist: Thus they ensured the fulfilment of the
words by which Jesus had indicated the manner of his
countless as the grains of sand in the sea, who has
summoned Jesus, and asked: Pilate: Are you the king of
You are innocent of evil deeds. It is I with my sins, as
brought down on you this misery, these blows, this host
of sorrows.
Recitative
Evangelist: So Annas sent him bound to Caiaphas, the
High Priest. Meanwhile Peter stood warming himself.
The others asked:
death. Pilate then went back into his headquarters and
the Jews? Evangelist: Jesus said: Jesus: Is that your own
idea, or have others suggested it to you? Evangelist:
Pilate said: Pilate: Am I a Jew? Your own nation and
their chief priests have brought you before me. What
have you done? Evangelist: Jesus replied: Jesus: My
kingdom does not belong to this world. If it did, my
followers would be fighting to save me from arrest by
Chorus
the Jews. My kingly authority comes from elsewhere.
Are you another of his disciples?
Chorale
Recitative
Evangelist: But he denied it and said: Peter: I am not.
Evangelist: One of the High Priest’s servants, a relation
of the man whose ear Peter had cut off, insisted:
Servant: Did I not see you with him in the garden?
Evangelist: Peter denied again; and just then a cock
crew. Peter remembered what Jesus had said and he
went outside and wept.
Aria (Tenor)
Where, oh where, are my senses leading me, where
shall I find relief? Should I stay here or wish myself
beyond the hills and mountains. There is no help for me
in the world, and my heart is filled with the pain of my
evil deed, for the servant has denied his Lord.
Chorale
Peter, without a moment’s reflection, denies his God.
Now a severe look causes him to weep bitterly. Jesus,
look at me when I am unrepentant, touch
conscience when I am guilty of wrong-doing.
my
Oh great and mighty king, whose greatness is eternal,
how can I adequately testify to this faith, for no human
heart can find a gift fit to offer you. Nor can I
contemplate anything to compare with your mercy.
How then can I show forth your loving deeds by my
work?
Recitative
Evangelist: Pilate said: Pilate: You are a king, then?
Evangelist: Jesus answered: Jesus: “King” is your word.
My task is to bear witness to the truth. For this was I
born; for this I came into the world, and all who are not
deaf to truth listen to my voice. Evangelist: Pilate said:
Pilate: What is truth? Evangelist: And with those words
he went out again to the Jews, and said, Pilate: For my
part, I find no case against him. But you have a custom
that I release one prisoner for you at Passover. Would
you like me to release the king of the Jews? Evangelist:
Again the clamour rose: Chorus: Not him; we want
Barabbas! Evangelist: Barabbas was a bandit. Pilate
now took Jesus and had him flogged.
Arioso (Bass)
INTERVAL
My soul, consider with anxious comfort, with bitter joy
and with an oppressed heart, that Jesus’ suffering is
your greatest treasure. See how the heavenly cowslips
PART TWO
bloom amid the thorns which pierced him, how you can
Interrogation and Flagellation (St. John
19:1)
18: 28-40;
Chorale
Christ who is all our joy has done no wrong. For our
sakes he was seized as a thief in the night, taken before
unbelievers and falsely accused. He was mocked, spat
upon and laughed to scorn, as the Scripture tells us.
find sweet fruits growing amongst the wormwood, and
fix your gaze unerringly on him.
Aria (Tenor)
Consider how his bloodstained back in all its aspects
resembles Heaven; how, when the deluge of our sins
has passed away, then the most beautiful rainbow
appears in the heavens, a sign of God’s blessing.
da capo
Recitative
Evangelist: From Caiaphas Jesus was led into the
Governor’s headquarters. It was now early morning,
and they stayed outside the headquarters to avoid
defilement, so that they could eat the Passover meal. So
Pilate went out to them and asked: Pilate: What charge
do
you
replied:
bring
against
this
man?
Evangelist: They
Chorus
If he were not a criminal we should not have brought
him before you.
Recitative
Evangelist: Pilate said: Pilate: Take him away and try
him by your own law. Evangelist: The Jews answered:
Chorus
We are not allowed to put any man to death.
Condemnation and Crucifixion (St. John 19: 2-22)
Recitative
Evangelist: And the soldiers plaited a crown of thorns
and placed it on his head and robed him in a purple
cloak. Then time after time they came up to him,
crying:
Chorus
Hail, King of the Jews!
Recitative
Evangelist: And struck him on the face. Once more
Pilate came out and said to the Jews: Pilate: Here he iss
I 'am bringing him out to let you know that I find no case
against him. Evangelist: And Jesus came out, wearing
the crown of thorns and the purple cloak. And Pilate
said: Pilate: Behold the Man! Evangelist: The chief
priests and their henchmen saw him and shouted:
Recitative
Chorus
Evangelist: Where they crucified him, and with him two
others, one on the right, one on the left, and Jesus
between them. And Pilate wrote an inscription to be
fastened to the cross; it read, “Jesus of Nazareth, King
of the Jews”. This inscription was read by many Jews,
because the place where Jesus was crucified was not far
from the city, and the inscription was in Hebrew, Latin,
and Greek. Then the Jewish chief priests said to Pilate:
Crucify! Crucify!
Recitative
Evangelist: Pilate said: Pilate: Take him and crucify him
yourselves; for my part I find no case against him.
Evangelist: The Jews answered:
Chorus
We have a law; and by that law he ought to die, because
he has claimed to be the Son of God.
Recitative
Evangelist: When Pilate heard that, he was more afraid
Chorus
You should not write “King of the Jews”, write, “he
claimed to be king of the Jews”.
Recitative
Evangelist: Pilate replied: Pilate: What I have written,
than ever, and going back into his headquarters he
asked Jesus: Pilate: Where have you come from?
Evangelist: But Jesus gave him no answer. Pilate said:
Pilate: Do you refuse to speak to me? Surely you know
that I have authority to release you, and I have
authority to crucify you? Evangelist: Jesus replied:
Jesus: You would have no authority at all over me if it
had not been granted you from above; and therefore
the deeper guilt lies with the man who handed me over
In the depths of my heart it is your name and your cross
alone which glow brightly at all times, and they are my
consolation. Comfort me in my misery with the image
of you, Lord Christ, so patiently bleeding to death on
the cross.
to you.
The Death of Jesus (St. John 19: 23-30)
Evangelist: From that moment Pilate tried hard to
release him.
Chorale
By your captivity, Son of God, we are set free. Your
prison is the throne of grace, the refuge of all believers.
If you had not accepted the yoke of bondage, then our
bondage would have been eternal.
Recitative
Evangelist: But the Jews kept shouting:
I have written.
Chorale
Recitative
Evangelist: The soldiers, having crucified Jesus, took
possession of his clothes, and divided them into four
parts, one for each soldier, leaving out the tunic. The
tunic was seamless, woven in one piece throughout; so
they said to one another:
Chorus
We must not tear this; let us toss for it.
Recitative
Chorus
Evangelist: When Pilate heard what they were saying,
he brought Jesus out and took his seat on the tribunal at
the place known as ‘The Pavement’ (‘Gabbatha’ in the
language of the Jews). It was the eve of Passover, about
noon. Pilate said to the Jews: Pilate: Here is your King.
Evangelist: And thus the text of Scipture came true:
“They shared my garments among them, and cast lots
for my clothing”. That is what the soldiers did. But
meanwhile near the cross where Jesus hung stood his
mother, with her sister, Mary wife of Clopas, and Mary
of Magdala. Jesus saw his mother, with the disciple
whom he loved standing beside her. He said to her:
Jesus: Mother, there is your son; Evangelist: And to the
disciple. Jesus: There is your mother.
Evangelist: They shouted:
Chorale
Chorus
In his last hour he made all his preparations. He
thought of his mother and gave her someone to protect
If you let this man go, you are no friend to Caesar; any
man who claims to be a king is defying Caesar.
Recitative
Away with him! Away with him! Crucify him!
Recitative
Evangelist: Pilate said to them: Pilate: Crucify your
king?
her. Oh man, you should act justly, loving God and
mankind, so that you may die untroubled and free from
SOTTOW.
Recitative
Evangelist: The Jews replied:
Chorus
We have no king but Caesar.
Recitative
Evangelist: Then at last, to satisfy them, he handed
Jesus over to be crucified. Jesus was now taken in
charge and carrying his own cross, went out to the
‘Place of the Skull’, as it is called (or, in the Jews’
language, ‘Golgotha’).
Aria (Bass) with Chorus
Hurry, you tormented souls, leave your lives of
martyrdom and hurry — where —to Golgotha. Put on the
wings of faith and fly — where — to the hill of the cross.
There is your salvation.
da capo
Evangelist: And from that moment the disciple took her
into his home. After that, Jesus, aware that all had now
come to its appointed end, said in fulfilment of
Scripture: Jesus: I thirst. Evangelist: A jar stood there
full of sour wine; so they soaked a sponge with the wine,
fixed it on a javelin, and held it up to his lips. Having
received the wine, he said: Jesus: It is accomplished!
Aria (Alto)
It is accomplished. On comfort for suffering souls. The
night of sorrow is in its final hour. The hero of Judah
conquers with mighty power and concludes the battle.
It is accomplished.
Recitative
Evangelist: He bowed his head and gave up his spirit.
Aria (Bass) and Chorale
Bass: My dearest Saviour, let me ask you while you are
on
the
cross
and
have
yourself
said
“It
is
at the place where he had been crucified there was a
garden, and in the garden a new tomb, not yet used for
burial. There, because the tomb was near at hand and it
accomplished”, am I set free from death? Can I gain the
was the eve of the Jewish Sabbath, they laid Jesus.
kingdom of Heaven through your suffering and death?
Chorus
Is the whole world redeemed? You cannot speak for
agony, yet incline your head and say a silent “Yes”.
Chorus: Jesus, who was dead, now lives for ever. Guide
me in the moment of my death to your side, you who set
me free, my dear Lord. Give to me what you have
gained. I could not wish for more.
Rest in peace, sacred body. I will weep for you no
longer. Rest in peace, and bring me likewise to my rest.
The grave destined for you holds on further suffering. It
opens for me the gates of Heaven and closes those of
Hell.
da capo
Burial (St. Matthew 27: 51-52; St. John 19: 41-42)
Chorale
Recitative
Oh Lord, send your dear angel in my last hour to carry
my soul to Abraham’s bosom. Let my body rest in
Evangelist: At that moment, the curtain of the temple
was torn in two from top to bottom. There was an
earthquake, the rocks split, and the graves opened and
many of God’s saints were raised from sleep.
peace, free from pain and torment, until the day of
judgement. Then wake me from death, so that my eyes
may see you in all your joy, oh Son of God, my Saviour
and my throne of grace. Lord Jesus Christ, hear my
Atrioso (Tenor)
My heart, the whole world shares the suffering of Jesus,
prayer. I will praise you eternally.
the sun mourns, the curtain is torn, the rocks split, the
earth quakes and the graves open because they see the
Creator dying. What will you do?
Translation: Biblical Text New English Bible
Non-Biblical Texts © R.J. Smith 1991
Atria (Soprano)
My heart, dissolve in floods of tears to honour the AllHighest. Tell the earth and the heavens of your distress.
Your Jesus is dead.
The copy of the translation of the non-Biblical texts in
this work belongs to Mrs. R.J. Smith and may not be
used without her permission.
da capo
Recitative
Evangelist: Because it was the eve of Passover, the Jews
were anxious that the bodies should not remain on the
cross for the coming Sabbath, since that Sabbath was a
day of great solemnity; so they requested Pilate to have
the legs broken and the bodies taken down. The
soldiers accordingly came to the first of his fellowvictims and to the second, and broke their legs; but
when they came to Jesus, they found that he was
already dead, so they did not break his legs. But one of
the soldiers stabbed his side with a lance, and at once
there was a flow of blood and water. This is vouched for
by an eye-witness, whose evidence is to be trusted. He
knows that he speaks the truth, so that you too may
believe; for this happened in fulfilment of the text of
Scripture: “No bone of his shall be broken”. And
another text says: “They shall look on him whom they
pierced”.
GUILDFORD PHILHARMONIC ORCHESTRA
Principal Conductor: SIR CHARLES GROVES
First Violins:
Hugh Bean
’
John Ludlow ~ Associate Leaders
Sheila Beckensall
Emer Calthorpe
Hywel Davies
Patricia Lovell
Peter Newman
.
Oboes:
Deirdre Dods
Janice Knight
Alex Suttie
Bassoon:
Paul Buxton
Rosemary Roberts
:
Organ:
Robert Aldwinckle
Stephen Dinwoodie
General Manager:
Second Violins:
Timothy Callaghan
Ruth Dawson
Nicholas Hunka
Ruth Knell
Violas:
Kathleen Atkins
Music Administrator:
Concert Assistant (SEMT)
Linda Mowat
wrongdoing, to be truly mindful always of your death
Justin Ward
Ben Pollani
Frederick Campbell
and its cause, and to bring you offerings in gratitude for
Violas d’amore:
Chorale
Oh help us Christ, the Son of God, through your bitter
suffering,
to
remain
your followers
and
to
avoid
it, however poor and weak we may be.
Recitative
Evangelist:
After
that,
Pilate
was
approached
by
Joseph of Arimathaea, a disciple of Jesus, but a secret
disciple for fear of the Jews, who asked to be allowed to
remove the body of Jesus. Pilate gave the permission;
so Joseph came and took the body away. He was joined
by Nicodemus (the man who had first visited Jesus by
night), who brought with him a mixture of myrrh and
aloes, more than half a hundredweight. They took the
body of Jesus and wrapped it, with the spices, in strips
of linen cloth according to Jewish burial-customs. Now
John Meek
Christopher Wellington
Elizabeth Watson
Viola da Gamba:
Richard Campbell
Cellos:
Shuna Wilson
John Stilwell
Christina Macrae
Basses:
Michael Lea
Jeremy Gordon
Flutes:
Kate Hill
Simon Hunt
Peter Holt
GUILDFORD PHILHARMONIC CHOIR
First Sopranos
Louise Barnfield
Marion Blackburn
Jilly Bradshaw
Mary Broughton
Claire Butcher
Elaine Chapman
Lesley Cowey
Rachel Crookenden
Maura Dearden
Celia Embleton
Josephine Field
Rita Frith
Jenny Hakim
Angela Hand
Ruth Joad
Second Sopranos
Jacqueline Alderton
Kat(})leen Aldridge
Penny Baxter
Caroline Bennett
Sue Bevan
Mary Brown
Amanda Bruce
Margaret Dare
Andrea Dombrowe
Rachel Edmondson
Elaine Harre
Sheila Hendy
Susan Hinton
Rita Horton
Nora Kennea
Judith Lewy
First Altos
Helen Archibald
Janet Baumgart
Iris Bennett
Jean Brown
Juliet Butler
Amanda Clayton
Mary Clayton
Janet Critchley
Fiona Davis
Sheila Davidson
Valerie Edwards
Diana Forder
Maggie Guilfoyle
Ingrid Hardiman
Lesley Haugh
Rosamund Herington
Marilynn Hill
Joy Hunter
Claire Ingram
Sue Maddox
Elizabeth McCracken
Alison Munro
Margaret Mylchreest
Susan Norton
Lady Onslow
Margaret Parry
Jean Radley
Susan Ranft
Joan Robinson
Judy Smith
Marie Sprott
Enid Weston
Clare Williams
Caroline Winfield
Joanna Lobo
Evelyn Macmillan
Jane Norman
Alexandra Palmer
Vivienne Parsons
Rosalind Plowright
Patricia Quirk
Gillian Rix
Jean Shail
Maureen Shortland
Dawn Smith
Kathy Stickland
Margaret Strivens
Susan Taylor
Christine Wilks
Tessa Wilkinson
Helen Lavin
Mary Laws
First Tenors
Second Tenors
Chris Anderson
David Bennett
Adrian Buxton
Geoffrey Forster
George Fordham
Leslie Harfield
Alfred Knowles
Nick Lamb
Andrew Reid
Peter Wilford
First Basses
Second Basses
Michael Allen
Chris Blatchford
Bob Cowell
Geofrey Edge
Maggie van Koetsveld
Peter Lemmon
Elizabeth Lyon
Christopher Morris
Roy Price
Christopher Robinson
Andrew Ross
John Trigg
David Wilkinson
Jeni Young
Graham Barwick
Norman Carpenter
Walter Chattaway
Neil Clayton
Douglas Corr
Paul Crosfield
Michael Dawe
Brian Doherty
Laurie James
Michael Longford
Stewart Lyon
Neil Martin
Rory McKimm
Martin Monier-Williams
Peter Pearce
Roger Penny
David Ross
John Schlotel
Don Skipper
Philip Stanford
Donald Walden
Andrew Whitehouse
Ralph Whitehouse
John Yeomans
Peter Andrews
Roger Barrett
Geoff Boyt
Michael Bradbeer
John Britten
Henry Carew
Arthur Croker
Rodney Cuff
Terence Field
Peter Herbert
Michael Jeffery
Roy Miles
Maxwell New
Barry Norman
John Parry
Nigel Pollock
Bernard Preston
Christine Medlow
Noel Monier-Williams
Fiona Moore
Sheila Morris
Cynthia Pepler
Susan Pope
Grace Price
Grace Rose
Catherine Shacklady
Gillian Sharpe
Judy A. Smith
Margaret Tingley
Hilary Trigg
Pauline Vince
Carol Wyllyams
FRIDAY 22
FEBRUARY 1991 at 12.30 pm
Guildhall, Guildford
THE CHARIVARI WIND QUINTET
Works by Bizet, Handel, Haydn & Mozart
Reserved seats, bookable at the Guildhall
Tel: (0483) 444035 or at the door
Fiona Yeomans
SATURDAY 9 MARCH 1991 at 7.30 pm
Civic Hall, Guildford
Second Altos
Iris Ball
Evelyn Beastall
Alison Bosley
Jane Brooks
Kathryn Day
Sally Donaldson
Gina Eason
Claire Edwards
Jenny Goy
Pamela Harman
Carol Hobbs
Sheila Hodson
Kathleen Isaac
Pandina Kwong
Sarah Madden
Hilary Marsden
Brenda Moore
Jean Munro
Anne Philps
Fay Richardson
Carol Rowe
Prue Smith
Rosemary Smith
Jean Whitehouse
Beatrice Wood
This concert forms part of the International Music Festival *91
NIGEL KENNEDY, Soloist
SIR CHARLES GROVES, Conductor
Pre concert conversation at 6.15 pm in the Civic Hall with Sir
Charles Groves and Prof. Sebastian Forbes for ticket holders
PLEASE NOTE: THIS CONCERT IS SOLD OUT
SUNDAY 24 MARCH 1991 at 3.00 pm
Civic Hall, Guildford
Piano Concerto No.1
Symphony No.6 in F (Pastoral)
Brahms
Beethoven
JOHN LILL, Piano
VOLKER WANGENHEIM, Conductor
Tickets: £7.00, £6.00 from the Civic Hall Box Office, Tel. 0483
444555
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