GUILDFORD FESTIVAL
CONCERT
HOLY TRINITY CHURCH
SUSAN HAMILTON - Soprano
SIMON BIRCHALL - Baritone
HELEN TUNSTALL - Harp
JEREMY FILSELL - Organ
NEVILLE CREED - Conductor
Sponsored by The National Grid
Company plc & Gordon Hakim
PROGRAMME
Fauré
Cantique de Jean Racine
Grandjauy
Aria in Classic Style
Gounod/Bach
Ave Maria
Haydn
Little Organ Mass
Kyrie : Gloria : Credo : Sanctus : Benedictus : Agnus Dei
Interval
Fauré
Requiem
Introit and Kyrie : Offertory : Sanctus :
Pie Jesu : Agnus Dei : Libera me : In Paradisum
The Guildford Philharmonic Choir wishes to acknowledge with
grateful thanks sponsorship received from the National Grid plc
and Gordon Hakim Chartered Accountants.
The Choir wishes to dedicate this concert to Sir Charles Groves
who died on 20th June 1992.
The Cantique de Jean Racine was written for a competition in 1865 when
Fauré was 20. It took first prize and has remained one of Fauré’s most admired
shorter works.
Word of God, one with the Most High,
in whom alone we have our hope,
Everlasting light of heaven and earth,
We break the silence of the peaceful night;
—T
Saviour divine, cast thine eyes upon us!
Pour on us the fire of thy mighty grace,
That all hell may flee at the sound of thy voice;
Banish the slumber of a weary soul,
That brings forgetfulness of thy laws!
O Christ, look with favour upon thy faithful people
Now gathered here to praise thee;
Receive their hymns offered to thy endless glory;
May they go forth filled with thy gifts.
Aria in Classic Style is one of Marcel Grandjauy’s most attractive compositions
for harp. He was born in France in 1891 but settled in America and became
highly influential as a harp teacher and notable as a composer of solo and ensemble
harp music.
Ave Maria is probably one of the most well known songs ever written. Gounod
spotted the melodic potential in Bach’s first Prelude from the "Well-Tempered
Clavier’ - ‘48 Preludes and Fugues’ and created a graceful melody to adorn Bach’s
arpeggiated accompaniment.
Hadyn’s ‘Missa Brevis Santi Joannis de Deo’ is more generally known as the
Little Organ Mass owing to its modest scale and the florid organ obbligato
in the ‘Benedictus’. The mass dates from 1775 and was written for the ‘Order
of the Brothers of Mercy’ who maintained a hospital in Eisenstadt and whose
patron saint was ‘St. John of God’. As in other Masses of the period, both
the ‘Gloria’ and the ‘Credo’ employ the device of the telescoped texts with the
different clauses set simultaneously. The ‘Gloria’ is drastically compressed into
only 30 bars which must be a record! In the ‘Credo’ Haydn becomes more expressive
at the words ‘Et incarnatus - Crucifixus’ Between the bustling outer sections.
Elsewhere the music is more expansive, notably in the ‘Benedictus’ with its
elaborate soprano solo. Paradoxically, where there is least text, as in the
‘Benedictus’, a tradition developed of lengthy treatment. Both the Kyrie’ and
‘Agnus Dei’, marked “perdendos:”, fades to silence - a haunting close to Haydn'’s
gentlest and most intimate mass.
Fauré’s Requiem, completed in 1887, was his only large scale setting of a religious
text.
“It has been said that my ‘Requiem’ does not express the fear of death and
somebody has called it a lullaby of death: but it is thus that I see death; as
a happy deliverence, an aspiration towards happiness above rather than as a
painful experience.”
Fauré said this in response to some criticism of his work in 1902. He detested
the histrionics of many of the dramatic nineteenth century works and intended
his ‘Requiem’ to be intimate, peaceful and loving.
In selecting the text, Fauré used the Mass for the Dead, the Order of Burial
and the Sequence for the Dead, and in assembling the movements he used material
already written in memory of his father, some that was being written at the
time of his mother’s death and both the ‘Offertoire’ and ‘Libera Me’ which
had been written ten years earlier. The diversity of source might have caused
disunity, but Fauré moulds the whole work with the subtle harmony and carefully
balanced textures. There is also a reprise of the opening ‘Requiem aeternam’
towards the end of the ‘Agnus Dei’ which gives the work balance. The final
movement ‘In Paradisum’ is far removed from any notion of a last judgement
and the warmth, mystery and tenderness of this movement characterizes the
whole work. It is these qualities that give it its universal appeal and make it
one of the most popular works in the choral repertoire.
Neville Creed
Introit and Kyrie
Agnus Dei
Rest eternal grant them, Lord our God,
we
pray
to
thee:
and
light
perpetual
forever shine on them.
Thou, O God, art worshipped in holy Sion:
unto thee the vow shall be performed in
Jerusalem.
Hear us, Lord: Lord, hear thy servants’
prayer: Lord, unto thee all flesh shall come.
Kyrie eleison. Christe eleison. Kyrie
Lamb of God, who takest away the sins
of the world: O grant them rest for
evermore. Hear us, hear us, O Lamb of
God: we pray thee, Saviour of all the world,
O grant them eternal rest.
Lamb of God, who takest away our sins,
O grant them eternal rest; peace be with
them evermore.
Light perpetual shine upon them, Lord,
we pray: with all thy saints in endless
glory, for thy tender mercy’s sake.
Rest eternal grant them, Lord our God,
eleison.
Offertory
Lord Jesus Christ, thou that rulest in
majesty, O free the souls of thy faithful
departed from torment eternal, and from
the fathomless waters:
we pray to thee: and light perpetual
forever shine on them.
Libera me
Lord Jesus Christ, thou that rulest in
Lord, I pray, deliver me from death’s
majesty, O free the souls of thy faithful
everlasting fire on
departed from out of the lion’s jaw, lest
judgement, on that last dreadful day:
they drown in the depths of hell:
When the earth and heav’ns shall shake
Lord Jesus Christ, thou that rulest in
and tremble, and thou shalt come with
that great day of
majesty, O save them from utter darkness.
thy mighty flaming fire of judgement.
Hear our prayer and l;et our cry come unto
Trembling, trembling I stand before thee
thee; God our Father, bow thine ear: we
in fear and dread: thy wrath shall decend
pray this day for all the souls departed;
on the earth and bring all flesh to
O remember them, Lord, we pray.
desolation.
Grant them, Lord, deliverence from death
Day of trial, day of judgement, death and
unto life, we pray thee, as of old thou hast
promised to our fathers, Abraham and his
destruction, torment and distress: day of
anger, day of vengeance, day of mourning,
seed.
of woe and bitter grief.
Rest eternal grant them, Lord our God,
Lord Jesus Christ,
thou
that rulest
in
majesty, free the souls of thy faithful
departed from torment eternal, and from
we pray to thee, and light perpetual shine
ever on them.
the fathomless waters.
Save them, O Lord, from the darkness of
In Paradisum
hell. Amen.
God’s holy angels lead you to paradise:
Sanctus
your journey's end, guiding your footsteps
may saints in their glory receive you at
Holy, Holy, Holy, Lord God of hosts,
into the Holy City Jerusalem.
Heaven and earth are full of thy glory,
Choirs of angels sing you to your rest: and
O Lord.
Hosanna in the highest. Holy.
Pie Jesu
Blessed Jesu, Lord I pray in thy mercy grant
them rest.
O blessed Jesu, Lord, I pray in thy mercy
grant them everlasting rest.
with Lazarus raised to eternal life, may
you evermore rest in peace.
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 lead to recordings of Finzi’s
‘Intimations of Immortality’ with the Guildford Philharmonic Orchestra and
Hadley’s ‘The Trees so High' with the Philharmonia Orchestra, both recordings
being conducted by Vernon Handley. The choir regularly performs with leading
conductors and as well as giving frequent concerts in Guildford often travels
abroad. In 1993 the choir will be making its second trip to Freiburg, Guildford’s
twin town in Southern Germany. The works to be performed next season include
Brahms' ‘Requiem’, Walton's ‘Belshazzar’s Feast’ and Haydn's ‘Paukenmesse’.
Details about joining the choir and future concerts may be be obtained from
Kathy Atkins, Guildford Philharmonic Orchestra, The Lodge, Allen House
Grounds, Chertsey Street, Guildford, Surrey. Tel. 0483 444666.
Neville Creed
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, providing choirs for several highly-acclaimed
recordings on radio, television and disc. The Tiffin Boy’s 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 Conductor
. of the Milton Keynes Chorale and 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, been appointed
Musical Director of the Bournemouth Symphony Chorus and the Guildford
Philharmonic Choir, as well as being invited to return to the Guildhall to conduct.
In 1988 he won the second prize in the First International Choral Conducting
Competition held in Italy and in 1991 won a Semi-Final prize in the Leeds
competition for Orchestral Conducting.
Last summer he conducted the European Community Chamber Orchestra in
France and he regularly conducts in Denmark. He has given concerts with the
Bournemouth Sinfonietta, Bournemouth Symphony Orchestra, Guildford
Philharmonic Orchestra, The Royal Philharmonic ‘Pops’ Orchestra and The Royal
Philharmonic Orchestra.
Susan Hamilton - Soprano
Susan Hamilton was born in Edinburgh and also educated there at St. Mary's
Music School. She began singing when she was eight as a chorister in St. Mary’s
Cathedral Choir. Her operatic roles include Mrs Sew in “Noyes Fludde”, Jenny
in “William Tell” and the First Boy in “Magic Flute”. As a soloist, Susan has
sung with the London Symphony Orchestra, Scottish Chamber Orchestra, Scottish
Ensemble and the Scottish Early Music Consort. She has also worked with Rafael
Friibeck de Burgos and Witold Lutolowski. Last year she was involved in her
first recording with the Kings Consort directed by Robert King.
Simon Birchall - Bass Baritone
Simon Birchall began his musical training as a chorister in Oxford. He became
a choral scholar at Trinity College, Cambridge where he staudied with John
Carol Case, then did a Post-Graduate Course at the Guildhall School of Music,
where his teacher was Bryan Drake. He was a prize-winner in the Alec Redshaw
Memorial Competition in Grimsby in 1986, and at the English Song Award
in 1987.
His repertoire ranges from Bach and Handel to the present day. His performances
of Bach'’s Passions, with the London Handel Orchestra, have been much acclaimed
and he has recently performed Messiah with Richard Hickox. He made his debut
at London’s Royal Festival Hall in 1989, with the City of London Sinfonia under
Simon Joly, and he has also sung for John Eliot Gardiner and for Harry
Christophers. His oratorio work has taken him to many choral societies throughout
Britain and his membership of a number of vocal consorts has enabled him
to travel widely, singing in places as far afield as Japan, Malaysia and East Africa.
His recordings include Monterverdi’s Vespers with Harry Christophers and the
Sixteen and Handel's Dixit Dominus for Simon Preston with the choir of
Westminster Abbey.
Helen Tunstall - Harp
Helen Tunstall was born in London and studied at the Royal College of Music.
She is principal harpist with the London Sinfonietta and is a very busy freelance
harpist playing regularly with all the major British Orchestras, as well as travelling
to concert dates around the world, both as an orchestral player and as a soloist.
Helen has played principal harp for the Guildford Philharmonic Orchestra since
1982.
Jeremy Filsell - Organ
Jeremy Filsell was educated as organ scholar at Keble College Oxford and the
Royal College of Music where he studied piano performance under David
Parkhouse and Hilary McNamara. At the age of 19 he was awarded the FRCO
with the Limpus prize for the highest marks. He taught full-time at Cranleigh
School from 1986 - 1988 and a year of freelance work in London accompanying
individuals and groups such as the BBC Singers, European Contemporary Music
Ensemble and Pimlico Opera preceded his appointment as Assistant Organist
at Ely Cathedral. Since July 1991 he has been freelance once again, working
primarily as a pianist and combining this work with being Director of Music
at St. Luke’s Chelsea.
7/92 TSGPO74A
GUILDFORD PHILHARMONIC ORCHESTRA
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1992-93 SEASON
Artists include:
e WILLARD WHITE e STEVEN ISSERLIS o
FREDERICK KEMPF BBC YOUNG MUSICIAN OF THE YEAR 1992
e CHRISTIAN LINDBERG e JOHN LILL e
¢ MAYUMI FUJIKAWA e
Conductors:
¢ VERNON HANDLEY e
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® JACEK KASPSZYK e BRIAN WRIGHT e
e NEVILLE CREED e MEIR MINSKY e
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Highlights
Belshazont's Boast ...l ihtohn Walton
ShvoiHcDaNEes = o i Dvorak
Symphony No. 9 (Great) ..............cc.c....... Schubert
SRR PUPRBARE o cvcsiiin s s s i incan Stravinsky
BRI o ecioiiisiosin
vt rmbaabavpssd D Brahms
PROGTORERI L. voticd Sl it it Schumann
“Evoics Sympbony ... cinaais
i Beethoven
Brochure and Full Details:
GPO Office, The Lodge, Allen House Grounds,
Chertsey Street, Guildford, Surrey GU1 4HL
Telephone: 0483 444666
5152 TSGROTOA