GUILDFORD PHILHARMONIC ORCHESTRA
1991/92 SUBSCRIPTION SERIES CONCERTS
SUNDAY 29 SEPTEMBER 1991 at 3.00pm
THE HART BROWN CONCERT
Overture: Carnival
Violin concerto in E minor
Symphony No.2 in Eb
Dvorak
Mendelssohn
Elgar
GYORGY PAUK
SIR CHARLES GROVES
violin
conductor
SUNDAY 19 JANUARY 1992 at 3.00pm
Overture: Marriage of Figaro
Piano Concerto No.2 in C minor
Symphony No.9 in E minor
(From the New World)
Mozart
Rachmaninov
NIKOLAI DEMIDENKO
JIRI STAREK
piano
conductor
Dvorak
Sponsored by Hart Brown & Co., Solicitors
SUNDAY 2 FEBRUARY 1992 at 3.00pm
SATURDAY 12 OCTOBER 1991 at 7.30pm
CIVIC CONCERT
Purcell/Britten
Haydn
Brahms
Chacony in G minor for strings
Symphony No.104 in D (London)
Piano Concerto No.2 in Bb
PETER FRANKL
SIR CHARLES GROVES
48,
Hosted by the Mayor of Guildford. &
piano
conductor
Overture: Leonore No.3
Piano Concerto No.5 in Eb (Emperor)
Symphony No.7 in A
Beethoven
Beethoven
Beethoven
JOHN LILL
SIR CHARLES GROVES
piano
conductor
SATURDAY 7 MARCH 1992 ar 7.30pm in
GUILDFORD CATHEDRAL
Sponsored by BOC. ##// BOC
SATURDAY 26 OCTOBER 1991 at 7.30pm
Fantasia on a Theme of Thomas Tallis
Oboe Concerto
Vaughan Williams
Strauss
MALCOLM MESSITER
oboe
Benedictus
Blake
Pavane pour une infante defunte
Clarinet Concerto in A (K.622)
Symphony No.1(Winter day-dreams)
Ravel
Mozart
Tchaikovsky
MARTYN HILL
tenor
GUILDFORD PHILHARMONIC CHOIR
SIR CHARLES GROVES
conductor
MICHAEL COLLINS
JACEK KASPSZYK
clarinet
conductor
Pre-concert talk in the GUILDHALL at 10.30am with
HOWARD BLAKE, for ticket holders.
Pre-concert talk in the Civic Hall at 6.15pm with JACEK
KASPSZYK, for ticket holders.
SATURDAY 9 NOVEMBER 1991 at 7.30pm
Israel in Egypt
Handel
RUTH HOLTON
NICOLA JENKIN
MICHAEL CHANCE
PHILIP SHEFFIELD
STEPHEN ADLER
GRAHAM TITUS
GUILDFORD PHILHARMONIC CHOIR
NEVILLE CREED
soprano
soprano
alto
tenor
bass
bass
conductor
SUNDAY 24 NOVEMBER 1991 at 3.00pm
Suite: Midsummer Night's Dream
Trumpet Concerto
Symphony No.1 in Bb minor
Mendelssohn
Horovitz
Walton
GARETH BIMSON
VERNON HANDLEY
trumpet
conductor
SUNDAY 29 MARCH 1992 at 3.00pm
Concerto Grosso Op.6 No.2
Concerto for Two Violins
(Soloists: Hugh Bean and John Ludlow)
Serenade for Strings
Holberg Suite
Two Aquarelles
Simple Symphony
Handel
Bach
HUGH BEAN
director
Dag Wiren
Grieg
Delius
Britten
SUNDAY 12 APRIL 1992 at 3.00pm
Ballet Suite: Rodeo
Konzertstuck for Snare Drum
and Orchestra
Symphonic Dances from 'West Side Story'
Copland
EVELYN GLENNIE
BARRY WORDSWORTH
percussion
conductor
Masson
Bernstein
SATURDAY 2 MAY 1992 at 7.30 pm
SATURDAY 7 DECEMBER 1991 at 7.30pm
CROSSLEY CLITHEROE MEMORIAL CONCERT
Lieutenant Kije
Violin Concerto No.1in D
Pictures from an Exibition
DAVID NOLAN
MATTHIAS BAMERT
Prokofiev
Prokofiev
Mussorgsky
(orchestrated by ravel)
violin
conductor
Pre-concert talk in the Civic Hall at 6.15pm with Terry Barfoot
for ticket holders.
National Anthem
Cello Concerto in E minor
Symphony No.1 (Sea Symphony)
arr. Britten
Elgar
Vaughan Williams
FELIX SCHMIDT
ALISON PEARCE
BRIAN RAYNOR COOK
GUILDFORD PHILHARMONIC CHOIR
SIR CHARLES GROVES
cello
soprano
baritone
conductor
Pre-concert talk in the Civic Hall at 6.15pm with
SIR CHARLES GROVES, for ticket holders.
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Members of the public are most welcome at all
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
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1991-92 Term Dates
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Guildford Philharmonic Society
(Charity Registration 288295)
Guildford
Philharmonic
Choir
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 special Members’
Evenings.
Your opportunity to join this exciting choir in
performances with Sir Charles Groves and the
Guildford Philharmonic Orchestra
Chorus Master: Neville Creed
SEASON 1991/92
Fauré : REQUIEM
Blake : BENEDICTUS
IN EGYPT
Handel : ISRAEL
Vaughan Williams : SEA SYMPHONY
Choral Workshop
Christmas Carols
Following the outstanding success of the choir’s visit to
Freiburg — Guildford’s ‘twin town’ in Germany —the Freiburg
Bach Choir will visit Guildford in 1992 and the Guildford
Philharmonic Choir will tour Southern Germany in 1993.
Details from:
Mrs K Atkins,
The Lodge, Allen House Grounds
Chertsey Street, Guildford
Surrey GU1 4HL
Tel: 0483 444666
MEMBERS EVENTS 1991/92
1991
29th September, Civic Hall Restaurant
New members’ RECEPTION
21st November, Methodist Hall
Evening with Kate Hill (flute) (GPO)
1992
12th January, Civic Hall Restaurant
New Year Party
26th February, Guildford Guildhall
Quartet (details to follow)
29th March, Civic Hall Restaurant
Meet the Orchestra
8th April, Methodist Hall
AGM & Karen Downs
MEMBERSHIP RATES are:
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
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GUILDFCRD BOROUGH CONCERTS SEASON 1991/92
GUILDFORD CATHEDRAL
SATURDAY 7 MARCH 1992 at 7.30 p.m.
Guildford Philharmonic
Orchestra
The Guildford Philharmonic Orchestra is very grateful to Sir David Willcocks for undertaking today’s
concert owing to the indisposition of Sir Charles Groves.
SIR DAVID WILLCOCKS, Conductor
MALCOLM MESSITER, Oboe
MARTYN HILL, Tenor
JOHN MEEK, Viola
JEREMY FILSELL, Organ
REVD DR KENNETH STEVENSON, The Voice of St Benedict
GUILDFORD PHILHARMONIC CHOIR
GUILDFORD CHAMBER CHOIR
ROYAL GRAMMAR SCHOOL BOYS’ CHOIR
This Concert is promoted by Guildford Borough with
financial support from the South East Arts Association.
The Guildford Philharmonic Orchestra & South East
The
Musicians’ Union.
Guildford
Philharmonic
Orchestra
gratefully
acknowledges the support of its major sponsors:
HART BROWN & Co., Solicitors
BOC
Music Trust acknowledge the generous support of the
The Orchestra is pleased to acknowledge the Corporate
Memberships of:
BOC
HART BROWN & CO, Solicitors
HUTSON POOLE & CO
PLASTIC COATINGS LTD
Malcolm Messiter — Oboe
Sir David Willcocks began his musical training as a
chorister at Westminster Abbey, later winning scholarships to Clifton College and King’s College
Cambridge. After a five-year period of war service he
was elected a Fellow of King’s College Cambridge, and
appointed Conductor of the Cambridge Philharmonic
Society. Subsequently he became Organist of
Salisbury Cathedral, and later of Worcester Cathedral,
conducting at the Three Choirs Festival from 1950 to
1957. From 1957 to 1974 he was Director of Music of
King’s College Cambridge, University Lecturer in
Music , and Conductor of the Cambridge University
Musical Society. He was Director of the Royal College
of Music from 1974 to 1984 and has been Musical
Director of The Bach Choir since 1960.
Under Sir David’s direction, The Bach Choir and
King’s College Choir have made many recordings with
leading orchestras of great choral and orchestral works
including a recording of Howard Blake’s Benedictus
with the Bach Choir and The Royal Philharmonic
Orchestra.
He was knighted in 1977 Silver Jubilee Honours List,
and holds honorary degrees in the USA and Canada as
well as at the Universities of Bradford, Bristol, Exeter,
Leicester and Sussex.
Sir David has recently returned from an extensive tour
of America, lecturing and working with the Bach
Choir.
He has worked with the GPO and the Philharmonic
Choir on several previous occasions.
Malcolm Messiter began playing the oboe when he was
15. Two years later he won a scholarship to the Paris
Conservatoire and this was followed by an Exhibition
to the Royal College of Music in London. He has won
a number of important awards including the Joy
Boughton prize and the RAOS medal.
His career began as principal oboe with the BBC
Concert Orchestra but increasing numbers of solo
engagements soon forced him to leave regular
orchestral playing. His London solo debut was
described by The Times as “Phenomenal” and since
then he has performed regularly throughout Europe,
North and South America, and the Far East.
Messiter is an exclusive RCA artist, and has just
released a series of baroque concerti with the
company.
In spite of this busy performance schedule, Malcolm
Messiter still finds time to run his own computer
software business. While on tour in Rio in October
1989, he received a phone call in his hotel bathroom to
say that he had sold a further 70,000 copies of his
Personal Computer Communications programme
“TRANS-SEND PLUS”.
Guildford Philharmonic Choir
The Guildford Philharmonic Choir was formed by
Guildford Borough in order to perform the major
choral repertoire with the Guildford Philharmonic
Orchestra. As 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
Phiharmonic 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 ag
giving frequent concerts in
Guildford, the choir
Ofcasionally visits other British
cities.
Quildford Philharmonic Choir
In
1988 the
visited Paris, in 1990 joined forces with the Freiburger
Bach Choir in Freiburg Munster, and will be returning
to Freiburg in 1993.
The Choir is trained by Neville Creed, who was
appointed Chorus Master in 1987 and he is assisted by
Peter White. Lynette Newman is the Choir’s accom-
panist.
The choir’s future plans include a performance of
Vaughan Williams’ ‘Sea Symphony’, and a summer
concert in the Guildford Festival.
Further details about the choir may be obtained from:
Kathleen Atkins
The Lodge
Allen House Grounds
Chertsey Street
Guildford
Surrey
GU14HL
His repertoire in recital, concert and opera is large,
Tel: 0483 — 444666
ranging from the Baroque to contemporary music: his
operatic
roles include
Idomeneo,
Belmonte
(Die
Entfithrung aus dem Serail), Ferrando (Cosi fan tutte),
Flamand (Capriccio), and Tom Rakewell (The Rake’s
Progress), while recent concert performances have
included
BerliozZ
Grande
Messe
des
Morts,
Bruckner’s Te Deum, Tippett’s A Child of our Time,
Britten’s War Requiem, Serenade, Spring Symphony
and Nocturne, and Beethoven’s 9th Symphony and
Missa Solemnis.
Martyn
Hill
has
made
some
90
gramophone
recordings, including most recently Britten’s Spring
Symphony
with
the
LSO
and
Hickox,
Britten’s
Neville Creed — Choir 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-acclaimed
providing
recordings
choirs
on
for
radio,
television and disc. The Tiffin Boys’ Choir recording of
Mahler’s 8th Symphony with The London Philharmonic under Klaus Tennstedt gained a nomination for
a
‘Grammy’ award.
During this time he became
Keynes Chorale and
Serenade with the RPO and Ashkenazy (his second
Conductor
recording of this work) and a Schubert recital with
Assistant Chorus Master of the London Philharmonic
Graham Johnson as part of Hyperion’s 10 year project
to record all of the composer’s songs.
Future
engagements
include
Beethoven’s
programme
Orchestra
of
with
the
Washington,
9th
National Symphony
Beethoven’s
Missa
Solemnis in Frankfurt, Cologne and Munich with The
Hanover Band, and Rimsky-Korsakov’s opera Mozart
and Salieri in Frankfurt.
the
Milton
Choir.
In
Symphony with the Scottish Chamber Orchestra, a
Mozart
of
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,
been appointed Musical Director of the Bournemouth
Symphony Chorus and the Guildford Philharmonic
Fantasia on a Theme by Thomas Tallis
The three movements are played without a break and
Vaughan Williams 1872-1958
although
Thomas Tallis (about 1505-1585) was a ‘Gentleman of
the Royal Chapel’ under Henry VIII, Edward VI,
Mary I and Elizabeth I. Vaughan Williams’ Fantasia is
based on material from the third of eight tunes that
Tallis wrote in 1567 for the metrical psalter of Mathew
Parker, the then Archbishop of Canterbury. ‘Fantasia’
has come to mean something quite different from the
form that was popular in the time of Tallis, and which
was undoubtedly in Vaughan Williams’ mind when he
wrote this work, and although the word carried the
idea of fancy, it did not necessarily mean something
uncontrolled in form. Vaughan Williams’ work does
not contain a single bar that it not directly related to the
material he chose. The work is laid out for a solo string
quartet and two string orchestras, the second much
smaller than the first (it becomes a sort of echo) and
directed to be placed some distance from the
orchestra. The whole group is subject to a great deal of
divisi writing, and the two orchestras are variously
subdivided antiphonally as the work proceeds. The
work begins with a setting of the scene harmonically on
long held quiet chords. Then the theme is played
pizzicato; the first orchestra takes up the tune, and the
Fantasia begins to unfold. Another phrase of the tune
receives
treatment
on
the
solo
quartet,
and
the
different phrases are brought together in a hugh
climax, which shows Vaughan Williams’ understand-
ing of the string medium. Indeed, it is as much because
of the writing for strings in this work, as for the worth
of the material itself, that the piece has been such a
presenting
nevertheless
are
a
linked
contrast
with
thematically.
each
other
Particularly
important is the unassuming figure on the ’cellos with
which the concerto opens. The oboe’s long solo which
enters almost at once seems to grow from this seed, but
also there is scarcely a bar in which the motif is not
heard in the accompaniment. After an orchestral Tutti
(the scoring is for small orchestra) and a short bridge
passage from the solo, the first theme of the second
subject is played by the orchestra. This lyrical theme,
which starts with four repeated notes, plays an
important part in later movements. It is followed by
another given out by the solo which is easily recognised
by its rapid descending scales and wide leaps. Worth
noticing here is the imitation on the clarinet. A short
development leads to a return of the principal material
which eventually gives way to the ’cello motif of the
opening. This makes a natural transition to the slow
movement and an expansive tune on the oboe. The
tempo quickens slightly for a middle section based on
material from the first movement after which the oboe
tune is heard again.
A short cadenza leads directly into the Finale.
This lively movement, cast in quasi Rondo form, also
has links with previously heard material — not least in
the final section after a further cadenza. Here the
initial "cello motif is extended under a chirpy oboe
theme until it eventually takes over, upside down, to
bring the concerto to a satisfying conclusion.
Christopher Slater.
success, for it is another example of an English
composer writing magnificently for string orchestra,
and takes its place beside the Elgar ‘Introduction and
Allegro’ as one of the most remarkable string works in
the literature.
SHORT INTERVAL
Concerto for Oboe
Richard Strauss (1864 — 1949)
The repertory of concertos for oboe is not large and so
it was particularly fortunate that a certain American
soldier found himself in Garmisch toward the end of
the second world war where the 81 year old composer
of ‘Der Rosenkavalier’ was endeavouring to preserve
some stability in his life following the upheaval of the
collapse of Germany. The soldier, John de Lancy, just
happened to be principal oboist of the Philadelphia
Orchestra and he seized this opportunity to request a
concerto from Strauss.
Howard Blake
Howard Blake originally trained as a pianist and
composer on a scholarship to The Royal Academy of
Music of which he is now a Fellow. One of his most
recent works is a new piano concerto commissioned by
The Philharmonia to celebrate the birthday of Her
Royal Highness The Princess of Wales, which he
himself played for the premiére in May last year at The
Royal Festival Hall. This work has recently been
released on anew Sony C.D. on which he also conducts
The concerto was completed in 1945 in Switzerland
whither Strauss had retreated, but shows no signs of
his dazzling cello work “Diversions”, with Robert
Cohen as soloist, and a virtuoso work for symphony
further he had been in no way affected by the Second
orchestra, simply called “Toccata”. Other works on
record include his dramatic oratorio “Benedictus”
conducted by Sir David Willcocks with The Bach Choir
the turmoil that had been raging in Europe. Strauss’s
technique had been consolidated decades before and
Viennese School of Schoenberg and Webern. In this
sense then the concerto looks back, and those who are
familiar with earlier works of Strauss will no doubt
recognise familiar fingerprints.
and The Royal Philharmonic Orchestra; “Festival
Mass” recorded by The Worcester Cathedral Choir
under Donald Hunt; the “Concerto for Clarinet” with
Thea King and The English Chamber Orchestra; and
two much-loved records of music for children —
“Granpa” and “The Snowman”, both conceived and
made as animated films for television but standing up
in their own right as concert pieces. His music is
enthusiastically published by Faber and his output
covers a wide spectrum. There are the “Shakespeare
Songs” for tenor and strings, the “Serenade for Wind
Octet”, the “Sinfonietta” for eight brass as well as
prolific work for piano, voices, film, theatre and ballet.
Howard Blake’s success as a composer proves that it is
possible to create exciting, new classical music, which
the public really want to hear. Three vital attributes are
present: a strong, underlying rhythmic compulsion,
harmonic richness based on tonality, and a prodigious
gift for melody.
Benedictus
tions for BENEDICTUS is the Psalms, which are sung
by the monks every day, and so it was only natural to
begin this third section with the marvellous Psalm “O
Lord, Thou hast searched me out and known me”. The
choir, singing in Latin, give way to the Novice, who
repeats “Suscipe me, Domine..” three times, the
whole community then bursting into the Gloria, and
the joyous Psalm “Bless the Lord, O my soul”.
Having finished the work, Blake felt that he needed a
prelude to express the way the work travels through
many states of mind, and he decided that a sola viola
could best portray the aloneness of the central
character. He doesn’t give the instrument any of the
exact themes which occur later, but this lonely, moving
viola hints at them all, leading the listener into the
work, and finally bringing it to its conclusion on a single
high, questioning note.
The circle is closed;
commitment is not the end, but the beginning.
Howard Blake (b 1938)
“A work that belongs to all centuries” is how the
conductor Sir David Willcocks has described Howard
Blake’s large-scale choral work BENEDICTUS.
Preparing the work for the first time at the beginning of
1986, Sir David suggested that it took one right back
through the centuries, combining plainsong and
mediaeval music with modern devices. Although one
can detect many influences on Howard Blake’s style,
the work is very interesting because of its contrasts, not
only in the forces used, but in the styles which are
unified within it.
In 1978, while living in Sussex, Howard Blake had
written a cantata, THE SONG OF SAINT FRANCIS,
for the nearby Benedictine monastery, Worth Abbey,
and the building’s acoustics had greatly interested him.
The fact that 1980 was the 1500th anniversary of St.
Benedict led him to discover ‘The Rule of Saint
Benedict’, which is the keystone of the Order.
Although written in the 6th century, Blake felt that its
guidance on how to live sounded as though it had been
written yesterday, and his imagination was fired.
Because he finds that he thinks of words and music
almost simultaneously, the composer compiled his
own text. He took the idea of a Novice (the tenor
soloist), who hears the words of St. Benedict as in a
vision, and is drawn towards becoming a monk.
The work falls into three parts. In Part 1 the Novice’s
despair is countered by affirmations of faith voiced by
the chorus. In Part 2 the Novice examines his
innermost soul in words from Francis Thompson’s
great mystical poem, THE HOUND OF HEAVEN,
with interjections from the chorus, who mysteriously
become the internal voice of conscience, or the voice of
God. In fact, Blake points out, the whole work can be
looked at as though the Novice is “Everyman”, representing each one of us, with the choir becoming the
thoughts of our inner life. Part 3 brings the Novice to a
point of decision and commitment. After his moments
of anguish and soul-searching, he now feels able to
embark on his initiation into the Benedictine order.
For this, Blake has taken the service as it has been used
unchanged for 1500 years. One of the many inspira-
GUILDHALL, GUILDFORD
FRIDAY 20 MARCH 1992 at 12.30.pm
LUNCHTIME RECITAL
WOLFGANG LENDLE
Guitar
Reserved seats £3.00. Bookable at the Guildhall
Tel: Reservations (0483) 444034 or (0483) 444666 or
(0483) 444999 OR AT THE DOOR
CIVIC HALL, GUILDFORD
SUNDAY 29 MARCH 1992 at 3.00pm
CONCERTO GROSSO Op6No2
CONCERTO FOR TWO VIOLINS
HANDEL
BACH
(Soloists: HUGH BEAN
and JOHN LUDLOW)
SERENADE FOR STRINGS
HOLBERG SUITE
TWO AQUARELLES
SIMPLE SYMPHONY
DAG WIREN
GRIEG
DELIUS
BRITTEN
HUGH BEAN
Director
Tickets £9.00., £8.00., £7.00. available
from the Box Office (0483) 444555
SATURDAY, 11 APRIL 1992
GUILDHALL, GUILDFORD
10.30 - 4.30.
‘From the New World’
(American Music)
A DAY SCHOOL
Tutors: TERRY BARFOOT, PETER DICKINSON
and CHRISTOPHER HEADINGTON
Tickets £6.00., (Virtuoso Card Holders £5.00.)
Available from Guildford Philharmonic Orchestra
Office, The Lodge, Allen House Grounds, Chertsey
Street, Guildford GU1 4HL Tel: (0483) 444666
a
GUILDFORD PHILHARMONIC ORCHESTRA
Principal Conductor: SIR CHARLES GROVES
First Violins:
Cellos:
John Ludlow — Leader
Peter Esswood
Maurice Cavanagh
Julia Walker
Phillip Augar
Christina Macrae
Sheila Beckensall
John Hursey
Emer Calthorpe
John Franca
Ysabel Danks
Karen Downs —
Sponsored by the
Guildford Philharmonic Society
Malcolm Frammingham
Timpani:
Neil Hitt
John Kirby
Percussion:
Joseph Kirby
Christopher Nall
Basses:
Harp:
Jeremy Gordon
Isobel Frayling Cork
Maurice Neal
Patricia Lovell
Trombones:
Ian White
Piano/Celeste:
Avril MacLennan
Peter Box
Peter Newman
Martin Palmer
Duncan Allen
Michael Fagg
Alex Suttie
Mark Thistlewood
Kathleen Atkins
Flutes/Piccolos:
Music Administrator:
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John Forster
General Manager:
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Jane Pickles
Peter Holt
Second Violins:
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Oboes:
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Nicholas Maxted Jones
Rosemary Roberts
Deirdre Dods
Julia Atkinson
Janice Knight
Carl Beddow
Timothy Callaghan
Clarinets:
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Victor Slaymark
Ruth Dawson
Peter Hembrough
Christopher Horner
Bassoons:
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Richard Skinner
Anna Meadows
Anne Lucas
Elizabeth Ovenden
Richard Quick
Horns:
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George Woodcock
Violas:
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Trumpets:
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Gareth Bimson
John Jezard
Patricia Reid
Frederick Campbell
Jean Burt
Paul Appleyard
Karen Demmel
Leonie Gershon
The audience may be interested to know that the violin
sections are listed in alphabetical order after the first
CIVIC HALL, GUILDFORD
SUNDAY 12 APRIL 1992 at 3.00pm.
BALLET SUITE:
RODEO
ADAGIO FOR STRINGS
desk because a system of rotation of desks is adopted in
COPLAND
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Second Basses
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Susan Barton
Marion Blackburn
Jilly Bradshaw
Helen Archibald
Janet Baumgart
Iris Bennett
Jean Brown
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Bob Cowell
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Celia Embleton
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Sheila Morris
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Grace Price
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Morag Walling
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Helen Lavin
Mary McTurk
Gillian Sharpe
Margaret Tingley
Hilary Trigg
Pauline Vince
Carol Wyllyams
Fiona Yeomans
Second Altos
Iris Ball
Evelyn Beastall
Alison Bosley
Sally Donaldson
Gina Eason
Claire Edwards
Pamela Harman
Carol Hobbs
Sheila Hodson
Maurice Barton
David Bennett
Adrian Buxton
Geoffrey Forster
George Fordham
Leslie Harfield
Nick Lamb
Andrew Reid
Peter Andrews
Roger Barrett
Geoff Boyt
Michael Bradbeer
Rodney Cuff
Maxwell New
Barry Norman
John Parry
Nigel Pollock
Bernard Preston
Peter Sayers
First Basses
Graham Barwick
Norman Carpenter
Walter Chattaway
Neil Clayton
Douglas Corr
Michael Dawe
Clive Dunkley
Terence Ellis
Laurie James
Michael Longford
Stewart Lyon
Neil Martin
Michael Pearce
Roger Penny
David Ross
John Schlotel
Don Skipper
Philip Stanford
Donald Walden
Andrew Whitehouse
Ralph Whitehouse
John Yeomans
Kathleen Isaac
Pandina Kwong
Brenda Moore
Jean Munro
Anne Philps
Fay Richardson
Prue Smith
Rosemary Smith
Jean Whitehouse
Beatrice Wood
For further information contact:
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THE LODGE
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“The Night Mozart Died”, Guildford Chamber Choir
Conductor: Sir Charles Groves
12 January 1992, Civic Hall Guildford
Ron Goodwin in Concert
1 February 1992, The Hawth Crawley
Piano: John Lill, Conductor: Sir Charles Groves
23 February 1992, Leas Cliff Hall Folkestone
Piano: John Lill, Conductor: Owain Arwel Hughes
21 March 1992, Petersfield Festival
Petersfield Festival Choir, Conductor: William Llewellyn
28 March 1992, Chichester Cathedral
The Chichester Singers, Conductor: Jonathan Willcocks
11 April 1992, The Hexagon Reading
Reading Festival Chorus, Conductor: Jonathan Grieves Smith
30 May 1992, Guildford Cathedral
GUILDFORD
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4 December 1991, Holy Trinity Church Guildford
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16 November 1991, Leisure Centre Worcester
Worcester Choral Society, Conductor: Donald Hunt
23/24/25 April 1992, Leith Hill Festival
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GUILDFORD PHILHARMONIC ORCHESTRA
Sunday 10.00-17.00
1October-30 April, Mon-Sat 10.00-17.00
Kingston & West Sussex Choral Societies
Conductor: Robin Page
13 June 1992, Fairfield Halls Croydon
The Chichester Singers, Belshazzar’s Feast (Walton)
11 July 1992, Chichester Cathedral
The Chichester Singers, Messiah (Handel)
15 August 1992, Kenwood Concert Bowl London
Flute: William Boustany, Conductor: Sir Charles Groves
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BENEDICTUS
Chorus
Thou, Lord, knowest all my somow.
Thou, Lond, wilt listen 10 me.
Compiled by Howard Blake
Such is my prayer. in Thee | trust;
PART ONE
Novice
PRELUDE: Selo Viola
Thy rebuke, Lord. not Thy vengeance;
be my refuge. my delence, O Lord my God.
Thy chastisement not Thy condemnation.
1. ST. BENEDICT and CHORUS
Thy arrows picree me. Thy hand presses me hand.
(from the Proiogue to The Rule of St. Benedict)
Thy anger has driven away all health from my
St. Benedict
body.
Hearken. my son, to the precepts of the master,
My bones have nore<t, so grievous are my sins.
and incline the ear of thy heart: freehy accept and
So spent. so crushed. so beaten and bowed.
faithfully fulfil the instructions of a i--ving father,
that by the labour of obedience thou mayesi
3. CHORUS (Texts quoted by St Benedictin the
return to Him from whom thou hast strayed by
l’ruloglw to “The rule’)
the sloth of disobedience. To thee are my words
Chorus
nowmddressed, whosoever thou mayest be that
We have piped unto you and you have not
reacuncing thine own will. to fight tor the true
danced.
King, Christ dost takc up the strong and glorious
We have mournced unto you and you have not
wcapons of obedience.
lamented.
Chiorus
(Matthew 11 v 17)
Ausculta o fili praccepta magistn et inclina
aurem cordis tui et admonitionem pii patris
Knowest thou not that the patience of God inviteth
libenter excipe ct efficaciter compic: ut ad cum
thee 1o repentance (Romans 2 v 4)
per obedientiac laborem redeas. a quo per
inobhedicntiac desidiam recesseras. Ad te ergo
For the Lord wills not the death of a sinner, but
nunc mihi sermo dirigitur, quisquis abrenuntians
that he be converted and live. (Ezekicl 33 v 11)
propriis voluntatibus. Domino Christo vero Regi
If thou wilt have true and everiasung life.
militaurus, obedientiae fortissima atyue praeciara
keep thy tongue from evil.
arma sumis.
Tum away from evil and do good.
seek peace and pursue it. (Psalm 34 v [2-14)
2. TENOR SOLO and CHORUS (from psaim 38)
Novice
Come ye children. hearken 1o me: harden not your
Thy rebuke, Lord not Thy vengeance:
hearts.
Thy chastisement, not Thy condemnation.
I will teach vou the fear of the Lord. Harden not
Thy arrows pierce me, Thy hand presses me hard:
your hearts.
Thy anger has driven away all health from my
What man is he that desireth life? I am He.
body,
What man would fain see good days?
-
my bones have no rest, so grevious are my sins.
Come ye children. hardken 1o me: harden not vour
My wrong-doing towers high above me,
hearnts. (Psalm 34vi1)
hangs on me like a heavy burden;
from my own folly my wounds agonisc me.
Now is the hour for us to rise from sleep.
I go mourning all day iong. my whole body
Cast off the works of darkness.
broken;
Let us put on the armour of light. (Romans 13 v 11-12)
Se spent, so crushed, so beaten and bowed.
Chorus
:
Harden not your hearts.
Thou, Lord. knowest all my longing:
no sighs arc hidden from Thec.
Run while you have the fight of life.
Novice
lest the darkness of death overtake vou.
Restless my hean, gone my strength:
tJohn 12 v 35)
the very light that shone from my eyes is mine no
more.
We have piped unto vou and vou have not
Chorus
danced.
No sighs are hidden from Thee.
We have moumed unto vou and vou have not
Thou, Lord, knowest all my longing.
lamented.
Novice
(Matthew 11 v 17)
My friends and companions tum their backs,
ill wishers grudge me life itself.
They lay snares for me. They plan death for me.
My God, my God, make hastc to heip mc.
He that hath cars to hear. let him hear. (Mark 4 v 9)
4. TENOR SOLO AND CHORUS (from Psaln 15)
Novice
Lord, who shall dwell in Thy house?
Lord. who shall rest upon thy holy hill?
Chorus
He that
FFor the Lord is runparnt and shield,
For the Lord gives favour and honour.
O Lord God of Hosts.
Blessed is the man who puts his trust in Thee.
Novice
walketh without blemish
And doth thar which is right.
He that speaks the truth from his heart
Aued has not skndered with his iongue.
Novice
My soul has a desire and longing
to enter in the house of the Lonl. the living God!
At His name my whole being thrills with joy.
My heart and soul G with pleasure
Lord hear my prayer.
Ford, who shall dwell in Thy house?
Lowd. who shall rest upon Thy holy hill?
PART TWO
Chorus
He that has done no evil 1o his neighbour
And has not skuxdered his friends,
In whose eve the worthless have no honour
But he makes much of those that fear the Lord.
Novice
Ford, who shall dwell in Thy house?
Chorus
Lord, who shall rest upon Thy holy hill?
Fie who heeps his word, come what may,
Fle who gives freely.
6. ST BENEDICT AND CHORUS (from Chapter 6 of‘the
Rule’)
St Benedict
When anyone newly cometh 10 be a monk, let him not be
granted an casy admittance: Test the spirits to see whether they
come from God. 16 such 2 one persevere in his knocking, then
let admittance be granted to him: let him be told all the hardships and trials through which we travel to God. If he promise
to persevere in his purpose. let him be addressed thus: **Behold
the law under which you wish to serve: if you can observe it,
He who cares more for others than himself.
enter: if cannot, freely depart
TM,
e that doeth these things shall never fall.
Chaorus
(Worth Abbey Psalier)
5. CHORUS AND TENOR SOLO (from Psalin 84)
Chorus
How lovely is Thy dwelling place., O Lord God of Hosts.
How lovely is Thy dwelling place. O Lord my God.
Novice
8y soul has a desire and longing
Naoviter veniens guis ad conversationem, non ei facilis tribuatur
ingressus; probate spiritus si ex Deo sunt; probate, probate
spiritus. Si veniens perseveraverit pulsans, annauatur ei ingressus: pracdicantur ei omnia dura et aspera per quae itur ad Deum.
Si primiscrit de stabilitate sua perseverantiam. dictuar ei: Ecce
lex sub qua militare vis; si potes observare, ingredere; si vero
non potes, liber discede. Ecce lex sub qua militare vis.
fo enter in the house of the Lord. the living God.
7.
At His name my whole being thrills with joy,
Heaven’ by Francis Thompson)
my heart and soul [l with pleasure,
Novice
TENOR SOLO AND CHORUS (from ‘The Hound of
Where clse should the sparrow build her nest?
I fled Him, down the nights and down the days;
Where else should the swallow find her home
I fied Him, down the arches ofthe years;
bt at Thy zhtar my King and my God?
I Ned Him, down the labyrinthine ways
O my own mind; and in the mist of tears
Blessed are they who ever dwell with You,
I hid from Him, and under running faughter.
Up vista'd hopes 1 sped:
Chorus
And sholt, precipitated,
They will always be praising You.
Adown titanic glooms of chasmed fears,
Novice
Bessed is the man whose strength is in You.
Chorus
In whose heart are the highways 1o heaven.
Novice
Who going thiough the valley of thirt
Fds there a spring trom which to drink
Till the sumumn gains shall clothe it with blessings.
Chorus
They go from strength 1o strength, they appear
ev'ry one ol them. before the God of
Gods in Zion.
One day in Your counts is better than a thousand.
I would rather stand at the threshold of the house
ol my God.
than dwell in the temis of ungodiiness.
From those strong Feet that tollowed, followed after.
. But with unhurrying chase,
And mnperturbed pace
Deliberate speed. majestic instancy,
They beat - and a Voice beat
More instant than the Feet:
Chorus
**All things betray thee, who betrayest Me.TM”
Naovice
I pleaded. outlaw-wise,
By many a hearted casement. curtained red,
Trellised with intentwining charities;
(For, thought | knew His love Who followed,
Yet was | sore adread
Lest. having Him, | must have naught beside)
But. if onc little casement paried wide,
The gust of His approach would clash it to,
Fear wist not to evade, as Love wist to pursuc,
His name 1 know. and what his trumpet sayeth.
That voice is round me like a bursting sca:
Chorus
**Rise, clasp My hand. and come.
TM
Across the margent of the workd 1 [led,
And troubled the gold gateways of the stars,
Smiting for shelter on their clanged bars:
PART THREE
Fretted to dulcet jars
And silvern chatter the pale ports of the moon.
I said to Dawn: Be sudden - to Eve: Be soon:
With thy young skicy blossoms heap me over
From this tremendous Lover!
Float thy vague veil about me, lest He sce!
To all swift things for swifiness 1 did suc:
Clung to the whistling manc of very wind.
But whether they swept. sioothly flcet,
The long savannahs of the blue;
Or whether, Thunder-driven,
They clanged his chariot ‘thwart a heaven,
Plashy with flying lightnings round the spum of
their feet;
Fear wist not to evade as Love wist to pursuc.
Still with unhurrying chase,
8. CHORUS (from Psalim 139)
Chorus
Sominc. scrutaris me o novisti. W novisti me., cum sedeo
ot cum
surgo.
Intellegis conzitationes meas ¢ linginguo: cum ambulo
ct cum recumba, tu perspicis. et ad omnes vias meas advertis. Si
ascendam in caclum, illis es: si apud inferos me sterman. ades.
Si sumam pennas aurorac, si habitem in termino maris: ctiam
illic mantus tua ducet me. et tenebit me dextera tua. (Lord. 1 lie
open to Thy scrutiny. Thou knowest me: knowest when 1 sit
down and when I rise up again, can read my thoughts from far
away. Walk I, or sleep 1. thou canst tell: no movement of mine
but Thou art watching it. IfI should climb up to heaven, Thou
art there; if I sink down 10 the world bencath. Thou an present
still.
I T could wing my way eastwards. or find a dwelling
beyond the westem sea, still would 1 find Thee beckoning me.,
Thy right hand upholding me.)
And unperturbed pace,
Deliberate speed, majestic instancy,
Came on the following Feet,
9. TENOR SOLO AND CHORLUS
(from Chapter 38 of “The rule’ - the admission of the Novice)
And a Voice above their beat:
Novice
Chorus
Suscipe me, Domine. sccundum eloguium tuun. et vivam: et ne
**‘Naught shelters thee, who wilt not shelter Me.
TM
Novice
My mangled youth lies dead beneath the heap.
My days have crackled and gone up in smoke,
Have puffed and burst as sun-starts on a stream.
Yea, faileth now even dream
The dreamer. and the lute the lutenist:
Even the linked fantasics, in whose bloomy twist
I swung the earth a trinket at my wrist,
Arc yeilding: cords of all too weak account
For earth with heavy griefs so overplussed.
ah! is Thy love indeed
A weed, albeit an amarathine weed.
Suffering no flowers except its own to mount?
Ah! must - Designer infinite!-
Anl must Thou char the wood ere Thou canst limn
with it?
My
freshness spent its wavering shower i’ the dust:
And now my heart is as a broken fount,
Wherein tear-drippings stagnate, split down cver
From the dank thoughis that shiver
Upon the branches of my mind.
Such is; what is to be?
The pulp so bitter, how shall aste the rind?
I dimly guess what Time in mists confounds:
Yet ever and anon a trumpet sounds
From the hid battlements of Eternity;
Those shaken mists a space unsettle; then
Round the half-glimpsed turrets siowly wash again:
But not ere him who summoneth
I first have seen. enwound
With glooming robes purpureal. cypress-crowned:
confundas me ab exspectatione mea. (Be my stay. O Lord,
according to Your word. that | may live: and do not disappeoim
me in my hope.)
Chorus
Suscipe me, Domine, secundum eloguium tuum. et vivam: et ne
confundas me ab exspectatione mea.
Gloria Patri et filio et spiritui sancto. (Glory be to the Father. and
to the Son, and to Holy Ghost.)
10. CHORUS (from Psalm 103)
Chorus
Bless the Lord. O my soul: All that is within me.
Bless his holy name.
Bless the Lord, O my soul; and forget not all
His benefits
Who forgiveth all thine iniquities: Who healeth all
thy disecases:
Who redcemeth thy life from destruction:
Who crowneth thee with loving Kindness and
lender mereies:
Who satisfies thy mouth with good things,
so that thy outh is rencwed like the cagle’s.
The Lord executeth rightcousness and judgement.
for all that are oppressed.
He made known his ways unto Moses:
His acts unto the Children of Israel.
The Lord is merciful and gracious:
Slow to anger and plenteous in merey.
He will ot always chide, Neither will He keep His
anger for ever.
Hie hath ot dealt with us after our sins:
Nor rewartked us according (o our iniguitics.
For as the heaven is high above the canth,
o great is His merey towand them that tear Hime:
As Lar as the eastis from the west
so far hath He removed our trmsgressions from
us.
Like as a Gather piticth his children:
sathe Faord piticth them that fear Him.
For Tle hnoweth our tame: He remembereth that
W e s dust.
The days of man are as grass: As a Hower ol the
ficld he fourishes: lor the wind passes over il
and it is gone. and the place thereol knoweth it no
moe,
But the merey ol the Lowd is trom everlasting (o
everfasting upon them that fear Hin,
And His aghteousness unto children’s children
to such as heep His covenant:
and 1o those that remember His commandments
to them.
11.ST. BENEDICTUS and CHORUS
(from the Epilogue to The Rule)
St. Benedict
So. brethren, we have asked the Lord about the
dwellers in His tabernacie and have heard what is
the duty of him who would dwell therein: it
remains for us to (ulfil this duty. Qur hearts and
bodies must be made ready 1o fight under the holy
obedience of His commands: fet us ask God that
He be pleased. where our nature is powerless, 10
give us the help of His grace. And if we would
escape the pains of hell and reach eternal life,
then must we - while there is time, while we are
in this body and can fullill all these things by the
light-of this lifc - hasten to do now what may
profit us for ctemity. As we pProgress in our
monastic life and in faith. our heans shail be
enlarged. and we shall run with unspeakable
sweetness of love in the way of God's
commandments: so that never abandoning His
ruie but perscvering in His teaching in the
monastery until death we shall share by patience
in the sullerings of Christ, that we may deserve 10
be partakers also of His Kingdom.
L
Chorus
Processu conversationis et fidei. dilatato corde,
inenarrabili dilectionis dulcedine curritur via
mandatorum Dei. ut ab ipsius
nunquam magisterio discedentes, in ejus doctrina
usque ad mortem in monasterio perseverantes.,
The Lord hath prepared His throne in the
heavens: aad His Kingdom ruieth over all.
passionibus Christi per patientiam participemur,
Bless the Lord. all ye His hosts.
Bless the Lord. O my soul.
Amen.
Bless the Lord. ye His angels.
Bless the Lord. O my soul: All that is within me.
Bless His holy name.
Bless the Lord. O my soul: and forget notail His
benelits:
Whao foreiveth all thine iniquities:
Who redeemeth thy life from destruction:
Who crowneth thee with loving Kindiess and
lender mercies:
Who satisfies thy mouth with good things,
so that thy youth is renewed like the eagie’s.
The Lond excemetl righteousness and judgement.
tor all that are oppressed.
He made known His ways unto Moses:
His aicts unto the Children of Isracl.
Benedictus!
Naorice
Pray for me.
Pray for me.
Pray for me.
ut ct regni cjus mereamur €sse CONsones.
POSTLUDE: Solo viola
(Text reprinted by permission of Faber M usic Lid)
GUILDFORD BOROUGH COUNCIL
CONCERTS 1991/92
(with kind permission of the Dean and A hapter)
SATURDAY 7 MARCH 1992 at 7.30 p.m.
Please note:
Admission by this programme ONLY
Front Nave
241
£9.00
GUILDFORD
CATHEDRAL
- CAR PARKING
Car Parking at the Cathedral is limited to 300 cars. When this
number is accommodated, drivers will be directed by Stewards
to other areas around the Cathedral where cars may be parked.
On no account can the limit of 300 be exceeded.
Since car parking space at the Cathedral may prove inadequate
for all those attending the performance, patrons are kindly
requested to share cars with as many others as possible, to
park away from the Cathedral unless absolutely necessary and,
in any event, to time arrival so as to be able to take seats by
7.15 p.m.
THANK YOU
PROGRAMME
FANTASIA ON A THEME OF
VAUGHAN WILLIAMS
THOMAS TALLIS
BLAKE
BENEDICTUS
STRAUSS
OBOE CONCERTO
MALCOLM MESSITER
MARTYN HILL
Oboe
Tenor
GUILDFORD PHILHARMONIC CHOIR
SIR CHARLES GROVES conductor
GUILDFORD
PHILHARMONIC
ORCHESTRA
Information about the
Guildford Philharmonic Orchestra
and Philharmonic Choir
can be obtained from the Administrator
at the Orchestra’s office.
THE LODGE
ALLEN HOUSE GROUNDS
CHERTSEY STREET
GUILDFORD
SURREY GU1 4HL
Telephone (0483) 444666