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CIVIC HALL
SATURDAY 31 OCTOBER 1992
at 7.30 p.m.
Guildford
Philharmonic
Orchestra
Associate Leaders
HUGH BEAN, JOHN LUDLOW
ANNETTE ROBBERT
Soprano
KLAUS HAGER
Baritone
GUILDFORD PHILHARMONIC
CHOIR
FREIBURGER BACHCHOR
HANS MICHAEL BEUERLE
Conductor
Hans Michael Beuerle and the Freiburger Bachchor wish to
dedicate tonight's performance of the Brahms Requiem to
the memory
of Sir
Charles
Groves.
The
Freiburger
Bachchor sang under Sir Charles for a peformance of
Beethoven’s Missa Solemnis in Guildford Cathedral in
1990 to celebrate his 75th birthday.
This Concert is promoted by Guildford Borough 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
& the financial
Foundation.
assistance
received
from
The
Bax
The Guildford Philharmonic Orchestra & South East
Music Trust acknowledge the generous support of the
Musicians’ Union.
The Orchestra is pleased to acknowledge the Corporate
Memberships of:
BOC
HART BROWN & CO, Solicitors
HUTSON POOLE WILLIAMSON, Solicitors
KNOX CROPPER
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Hans Michael Beuerle was born in Berlin in 1941. He
went to the University of Frankfurt, where he studied
music, conducting, musicology, German literature and
philosophy and took his PHD with a dissertation on the acapella choral music of Johannes Brahms.
He taught choral conducting at the conservatoires of Tros
— singen and Karlsruhe and accepted the offer of a chair
iat the “Musikhochschule of Freiburg” in 1980, where he
‘has been teaching and performing with the academic
choir and orchestra.
He is also the conductor of two well-known choirs:
the first of these is the “Anton-Webern-Chor of
Freiburg” (formerly the “Frankfurt Kammerchor”) a
semi-professional ensemble with a large repertoire from
the Renaissance to the avant-garde.
The second well-known choir is the “Freiburg Bachchor”
(accompained by the “Freiburg Bachorchester”), which
he conducts as the successor of their founder Theodor
Egel.
. With both ensembles Beuerle went on tour — among
' others — to France, Italy. Switzerland and the Ukraine.
' With the “Freiburg Bachchor” and numerous members
of the Guildford Philharmonic Choir Beuerle performed
' Handel’s “Messiah” in Freiburg Cathedral at the jubilee
of the twinning of Freiburg and Guildford.
In addition to his regular activities as a conductor and
university teacher Beuerle often runs holiday classes in
conducting and works in radio and television.
Annette Robbert
Annette Robbert was born in Berlin and studied singing
in her home-town at the “Hochschule der Kiinste”.
Having won two scholarships (“Fulbright” and DAAD)
she was given the opportunity to undertake further
studies in Salzburg (Mozarteum) and the U.S.A.
In 1990 Klaus Higer won first prize in Berlin in the
National Singing Competition. He was also prize winner
of the International Mirjam-Helim Singing Competition
in Helsinki and of the Venice-Prague-Vienna Interna-
(Oberlin Conservatory of Music).
tional Mozart Competition.
Since her first engagement at the opera-house in
Saarbriicken she has concentrated on the opera
repertoire. Her main roles include “Pamina” (Magic
Flute), “Constanze” (Abduction from the Seraglio),
(Tales of
(Rosenkavalier), “Antonia”
“Sophie”
Hoffmann), “Gilda” (Rigoletto) and Anne Trulove (The
Meanwhile he has also received invitations to take partin
concerts both at home and abroad many of which have
been recorded for television and radio.
Since the 1991 Season Klaus Hager has been a member of
the Hamburg State Opera.
Rakes Progress).
At the moment she is a member of the opera ensemble in
Freiburg. As a guest she has sung at the Staatsoper
Munich, Cologne, Dusseldorf, Wiesbaden and others.
She regularly appears in concerts and gives recitals.
Klaus Higer
Klaus Higer was born in Wuppertal. At school he studied
piano, organ and cello and was also busy as Choir Master
and Organist. After leaving school he first studied music
theory at the Cologne Music Academy but then concentrated on his singing studies with Professor Doctor Franz
Heuser and Professor Ingeborg Most. Master classes
Freiburger Bachchor
We are delighted to welcome the Freiburger Bachchor to
Guildford this evening.
The “Freiburger Bachchor” originates from a very
courageous project of Theodor Egel to perform St
Matthew Passion in the Cathedral of Freiburg on March
5th 1944 after profound rehearsing with a group of
enthusiastic university students and Freiburgian citizens.
Due to Theodor Egel’s hard work and zest the choir soon
| became a highly qualified representative of choral music
in Freiburg and abroad.
. Though focused on Johann Sebastian Bach its repertoire
comprises the most important choral music up to the 20th
century.
Several reviews of performances in Berlin, Frankfurt,
Basle, Vienna, Paris, Milano and recordings of the “Sudwestfunk” praised the high standard of the choir.
The Freiburger Bachchor successfully took part in
several European international music festivals like
Settimane musicali di Stresa and — lately — the international Bach Festival of Strasburg, and even went on a tour
to the USA.
In 1983 Theodor Egel retired, handing the choir over to
Hans Michael Beuerle, professor of the Freiburgian conservatoire. Hans Michael Beuerle’s performances in
Germany and abroad have proved that he is able to
continue the demanding tradition of “Freiburger
Bachchor”.
He has performed a great number of the most important
oratorios from the 17th up to the 19th century: Monteverdi’s “Vespro della beata Virgine”; Bach’s St.
Matthew Passion, St. John Passion, Christmas Oratorio
Mass in B minor; Hédndel’s “Messiah” and “Israel in
Egypt”; Haydn’s “Creation”; Mozart’s “Requiem” and
Mass in C minor; Beethoven’s “Missa Solemnis”; Verdi’s
“Missa
da
Requiem”;
Brahm’s
“Ein
Deutsches
,Requiem” and Schonberg’s “Moderner Psalm”.
‘During the last two years tours were made to Stresa
'(Settimane musicale di Stresa) and the music festival of
Lviv (Ukraine). In 1990 members of the Freiburger
Bachchor sang Beethoven’s Missa Solemnis with the
Guildford Philharmonic Choir conducted by Sir Charles
¢ Groves .
In 1992 the Choir’s First CD — Brahm’s Requiem — will be
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 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 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.
In 1990 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.
roduced, conducted by H M Beuerle.
(bgq
4
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
musicians, and as well as giving frequent concerts in
Guildford the choir occasionally visits other British cities.
In 1988 the Guildford Philharmonic Choir visited Paris
and in 1990 joined forces with the Freiburger Bach Choir
in Freiburg Munster.
ve
fil
“
C
The Choir is trained by%, who was
appointed Chorus Master in 19§and he is assisted by
Peter White. Jeremy Filsellis the Choir’s accompanist.
e choir’s future plans include a summer concertin the
Guildford Festival in July and next season a return visit to
Freiburg.
Further details about the choir may be obtained from:
Kathleen Atkins
The Lodge, Allen House Grounds
Chertsey Street, Guildford, Surrey GU1 4HL
Tel: 0483 — 444666
REQUIEM
Johannes Brahms
1833-1897
In 1867 when Karl Reinthaler decided to perform “Ein
Deutsches Requiem” (A German Requiem) by Johannes
Brahms for the first time in the cathedral of Bremen, he
was persuaded of the outstanding value of the composition, but he had one objection.
He wrote to Brahms that in this work the centre of the
Christian Faith was missing: the redeeming death of the
Lord. He asked Brahms to add a movement to make
good this deficiency. ...“Anyway you say in the last
movement ‘Blessed are the dead which die in the Lord
from henceforth’ does this not mean only after Christ has
fulfilled the redemption?...”
Brahms’ answer is clear:... “As to the text I want confess
that I would like to drop the “German” [in “German
Requiem| as well and replace it simply by ‘man’, and I
would deliberately and voluntarily do without passages
like John.3.16 (‘For God so loved that world that he gave
his only begotten son...”). On the other hand I might have
chosen some parts because I am a musician, because I
needed them and because I cannot deny or omit even a
“henceforth” of my honourable poet”..
Thus title and choice of texts mean a contrast to the
catholic requiem — not in the sense of a protestant
counterpart but as an attempt of an independant
statement; a statement within the Christian tradition but
emphasizing the humane element instead of the liturgical
and dogmatic aspect.
It was not for the first time that experiments of this kind
were called “Requiem.” Brahms knew the “Requiem
after an old catholic poem” by Schumann and his
composition of the “Requiem for Mignon from Goethe’s
“Wilhelm Meister”. There are striking anologies of
central text ideas of these two compositions to the bible
passages that Brahms chose for his “Requiem”.
But the development of the “German Requiem” is much
more influenced by Brahms’ close relationship to Robert
Schumann. During the illness of Schumann in 1854
Brahms was composing a sonata for 2 pianos. Later on he
failed in his attempt to transform it into a symphony, but
finally in 1860 he merged it into the first piano concerto
op.15. In this process Brahms separated the slow Scherzo
with the rhythm of a march-like Sarabande and — most
probably under the impression of Schumann’s death in
1856 — combined it with the words from the 1st epistle of
Peter “Behold all flesh is as grass”. This movement
become the spiritual and musical embryo of the
Requiem. In 1860/1 Brahms extended his movement,
adding the later introductory chorus and putting down
the text for two further movements. In 1866 he extended
this scheme of a 4-movement-mourning-cantata into an
oratorio-like composition.
His intention to deepen the message of his work and not
just to to make it monumental is clearly manifested by the
use of the text. By means of a bible concordance he chose
passages for the 2nd part that symmetrically correspond
like a mirror image to those of the first movements. The
equivalent of the blessing of “them that mourn” (1st
movement) is the blessing of the dead (7th movement),
the prohecy of the victory over death (II) corresponds to
its fulfillment (VI), and the individual lamentation (III) is
opposed by its comfort. (V).
The pattern of the composition confirms this symmetrical
architecture: the most striking passage is the nearly exact
return of the introductory blessing
at the end of the last
movement. The march rhythm is common to the 2nd and
6th movements-here the image of the danse macabre,
there the vision of the migrating mankind who “has no
continuing place here on earth”. Then in the 3rd and 5th
movements, opposed to the choir, the soloist dominates
as a sign and means of the subjectivity of lamentation and
encouragement. In contrast to this individual element as
well as to the the worldliness of those images the central
movement (IV), with its lovely pastoral tune, symbolizes
the floating lightness of the heavenly Elysium.
This plain symmetrical pattern of the composition,
however, does not simply serve the aesthetical drive for
balance and harmony but strives to integrate and form
the strong inner movements and tensions, discord and
decline as well. The hymn-like melody that Brahms
inserted into the 2nd movement (“Behold all flesh is a the
grass) already contains a typical contrast of expression:
there are clearly two models of songs: “Wer nur den
lieben Gott last walten” (They who only let God do as he
pleases) and “Es ist ein Schnitter, heist der Tod” (There
is a mower whose name is death). Gestures of confidence
and fear, comfort and terror, protest and resignation are
interlinked again and again within the whole requiem.
E.g. in the large final fugues of the 2nd and 6th
movements where joyous certainty is increase to
triumphant pathos, the symphonic élan is often
interrupted by moments of alarm, astonishment or
retreatment to contemplation. This individual interruption is already present in the very themes of the fugues,
for they are so obviously imitating baroque models that
their self-confidence has more an effect of a quotation
than of a personal confession.
This process of individual reflection on the background of
conventional models is there throughout the whole
composition and determines it. A most typical example
of the ambivalence caused by this method is found in the
5th movement, which Brahms added later. In the first
performance at Bremen the aria of Handel’s “Messiah”
“I know that my Redeemer liveth” had been at this place.
Instead of such certainty Brahms composed comfort that
—attached to the worldly image of the mother —frees itself
by moaning. Most typical the moaning motif at the
passage “Ich will euch trosten” (I will comfort youTM).
But such a change of precedence by composition not only
happens by relating to conventional figures and patterns
but also by a metamorphic process of motifs which
creates a most delicate and dense texture of allusions and
structures. The rocking triad motion opening the Trio
part of the 2nd movement (Now, therefore be patient, o
my brethren, into the coming of Christ) eg. consolidates
into the theme of the final fugue of the same movement.
(“The Redeemed of the Lord shall return again”). The
shape of this theme reappears in the 6th movement,
where the soloist speaks of the mystery of change (Lo, I
unfold unto you a mystery”) But now — with the very
word “mystery” the glorious octave of the fugue theme is
diminished to a seventh — the seventh that —in the 2nd bar
of the work — had already made the sham secure base of
the tonic insecure, at the same time opening the sound to
development and metamorphosis.
Numerous similar allusions of structure and meaning
could be found between the two “corner movements”.
E.g. the spacious melody at the beginning of the last
movement, the blessing of the dead, is an extended
variation of the moderate motif gesture that promised
comfort to the morning at the end of the first movement.
It is important to realize that Brahms, returning once
more to this motif at the final part of the last movement,
develops the comforting gesture from a melodic figure
that is combined with the words “That their works follow
after them”. Thus the meaning of this comforting gesture
is extended. The return to the beginning of the
composition does not only appear as a symbol of human
birth and decline but also as a symbol of hope that
something of this working process of life will continue.
H.M. Beuerle (translated)
Ein deutsches Requiem
A German Requiem
1. Chorus
Selig sind, die da Leid tragen,
denn sie sollen getrostet werden.
Blessed are they that mourn:
for they shall be comforted.
Matthew V. 4
Die mit Trénen sden,
werden mit Freuden ernten.
Sie gehen hin und weinen.
und tragen edlen Samen,
und kommen mit Freuden
und bringen ihre Garben.
They that sow in tears
shall reap in joy.
He that goeth forth and weepeth,
bearing precious seed,
shall doubtless come again with rejoicing,
bringing his sheaves with him.
Psalm CXXvi. §5,6.
2. Chorus
Denn alles Fleisch es ist wie Gras
und alle Herrlichkeit des Menschen
wie des Grasses Blumen.
Das Gras ist verdorret
und die Blume abgefallen.
For all flesh is as grass,
and all the glory of man
as the flower of grass.
The grass withereth,
and the flower thereof falleth away.
I. Peter i.24.
So seid nun geduldig, lieben Briider,
bis auf die Zukunft des Herrn.
Siehe ein Ackermann wartet
auf die kostliche Frucht der Erde
und ist geduldig dariiber,
bis er empfahe den Morgenregen
und Abendregen.
So seid geduldig.
Be patient therefore, brethren,
unto the coming of the Lord.
Behold the husbandman waiteth
for the precious fruit of the earth,
and hath long patience for it,
until he receives the early
and later rain.
Be patient therefore.
James V. 7.
Denn alles Fleisch es ist wie Gras
und alle Herrlichkeit des Menschen
wie des Grases Blumen.
Das Gras ist verdorret
und die Blume abgefallen.
Aber des Herrn Wort bleibet in Ewigkeit.
For all flesh is as grass,
and all the glory of man
as the flower of grass.
The grass withereth
and the flower thereof falleth away:
But the word of the Lord endureth for ever.
I. Peter i. 25.
Die Erloseten des Herrna werden wieder kommen
und gen Zion kommen mit Jauchzen;
ewige Freude wird iiber ihrem Haupte sein,
Freude und Wonne werden sie ergreifen,
und Schmerz und Seufzen wird weg miissen.
And the ransomed of the Lord shall return,
and come to Zion with songs
and everlasting joy upon their heads:
they shall obtain joy and gladness,
and sorrow and sighing shall flee away.
Isaiah xxxv. 10.
3. Solo Baritone and Chorus
Herr, lehre doch mich.
daB3 ein Ende mit mir haben muB,
und mein Leben ein Ziel hat,
und ich davon muB.
Siehe, meine Tage sind einer Handbreit vor dir,
und mein Leben ist wie nichts vor dir.
Ach, wie gar nichts sind alle Menschen,
die doch so sicher leben.
Sie gehen daher wie ein Schemen,
und machen ihnen viel vergeblinche Unruhe;
sie sammeln und wissen nicht
wer es kriegen wird.
Nun, Herr, wes soll ich mich trosten?
Ich hoffe auf dich.
Lord, make me to know mine end,
and the measure of my days, what it is;
that I may know how frail I am.
Behold thou hast made my days as an handbreadth;
and mine age is as nothing before thee:
verily every man at his best state
is altogether vanity.
Surely every man walketh in a vain shadow:
surely they are disquieted in vain:
he heapeth up riches, and knoweth not
who shall gather them.
And now, Lord, what wait I for?
my hope is in thee.
Psalm xxxiv.4-7.
Der Gerechten Seelen sind in Gottes Hand,
und keine Qual riihret sie an.
But the souls of the righteous are in the hand of God,
and there shall no torment touch them.
Wisdom iii.1.
4. Chorus
Wie lieblich sind deine Wohnungen,
Herr Zebaoth!
Meine Seele verlanget und sehnet sich
nach den Vorhofen des Herrn;
mein Leib und Seele freuen sich
in dem lebendigen Gott.
Whol denen, die in deinem Hause wohnen,
die loben dich immerdar!
How amiable are thy tabernacles,
O Lord of Hosts!
My soul longeth, yea, even fainteth
for the courts of the Lord:
my heart and my flesh crieth out
for the living God.
Blessed are they that dwell in thy house:
they will still be praising thee.
Psalm Ixxxiv. 1,2,4.
5. Solo Soprano and Chorus
Ihr habt nun Traurigkeit;
aber ich will euch wieder sehen
und euer Herz soll sich freuen,
und eure Freude soll niemand von euch nehmen.
And ye now therefore have sorrow:
but I will see you again,
and your heart shall rejoice,
and your joy no man taketh from you.
John xvi.22.
Ich will euch trosten,
wie einen siene Mutter trostet.
As one whom his mother comforteth,
so will I comfort you.
Isaiah Ixvi. 13.
Behold with your eyes,
how that I laboured but a little,
and found for myself much rest.
Ecclesiasticus li.27.
Sehet mich an:
ich habe eine kleine Zeit
Miinhe und Arbeit gehabt
und habe groBen Trost funden.
6. Solo Baritone and Chorus
Denn wir haben hie keine bleibende Statt,
sondern die zukiinftige suchen wir.
For here have we no continuing city,
but we seek one to come.
Hebrews xiii. 14.
Siehe, ich sage euch ein Geheimnis.
Wir werden nicht alle entschlafen,
Wir werden aber alle verwandelt werden;
und dasselbige plétzlich in einem Augenblick
zu der Zeit der letzen Posaune.
Denn es wird die Posaune schallen
und die Toten werden auferstehen unverweslich,
und wir werden verwandelt werden.
Behold, I shew you a mystery;
We shall not all sleep,
but we shall all be changed,
in a moment, in the twinkling of an eye,
at the last trump:
for the trumpet shall sound,
and the dead shall be raised incorruptible,
and we shall be changed.
Dann wird erfullet werden das Wort,
Then shall be brought to pass the saying that is written,
Death is swallowed up in victory.
das geschrieben steht:
Der Tod is verschlungen in den Sieg.
Tod, wo ist dein Stachel?
Holle, wo ist dein Sieg?
O death, where is thy sting?
O grave, where is thy victory?
I Corinthians xv. 51-52, 54-55.
Herr, du bist wiirdig zu nehmen
Preis und Ehre and Kraft,
denn du hast alle Dinge erschaffen,
und durch deinen Willen haben sie das Wesen
und sind geschaffen.
Thou art worthy, O Lord, to receive
glory and honour and power:
for thou hasted created all things,
and for thy pleasure they are
and were created.
Revelation iv. 11.
7. Chorus
Selig sind die Toten,
die in dem Herren sterben, von nun an.
Ja, der Geist spricht,
daB sie ruhen von ihrer Arbeit,
denn ihre Werke folgen ihnen nach.
Blessed are the dead
which die in the Lord from henceforth:
Yea, saith the Spirit,
that they may rest from their labours;
and their works do follow them.
Revelation xiv. 13.
GUILDFORD PHILHARMONIC CHOIR
First Sopranos
L. Barnfield
J. Bradshaw
M. Broughton
E. Chapman
J. Hakim
S. Maddox
E. McCracken
M. Mylchreest
S. Norton
R. Onslow
J. Radley
S. Ranft
J. Robinson
J. Smith
M. Sprott
E. Weston
F. Worpe
L. Compton
Second Sopranos
J. Alderton
K. Aldridge
P. Baxter
S. Bevan
M. Brown
M. Dare
S. Hendy
S. Hinton
R. Horton
N. Kennea
J. Lewy
R. Plowright
G. Rix
M. Shortland
K. Stickland
M. Strivens
D. Smith
C. Wilks
T. Wilkinson
A. Hand
O Ames-Lewis
L. Wilson
P. Walker
P. Smith
First Altos
J. Brown
J. Butler
M. Clayton
J. Critchley
F. Davis
S. Davidson
I. Hardiman
M. Hill
J. Hunter
H. Lavin
C. Medlow
S. Pope
C. Shacklady
G. Sharpe
J. A. Smith
H. Trigg
C. Wyllyams
J. Shail
M. Mcturk
B. Buck
K. Plackett
A. Clayton
V. Edwards
M. Picton
A. Newell
K. Macmanus
R. Greenwood
L. Jackson
C. Pepler
A. Perez De Leon
C. Embleton
P. Vince
Second Altos
1. Ball
A. Bosley
I. Bennett
S. Donaldson
C. Edwards
C. Hobbs
S. Hodson
B. Moore
J. Munro
A. Philps
P. Smith
R. Smith
J. Whitehouse
B. Wood
F. Richardson
E. Beastal
L. Haugh
J. Brooks
L. Searle
P. Charlwood
M. Freeman
C. Sinclair
P. Harman
M. Moon
P. Usher
E. Snell
J. Frampton
First Tenors
C. Blatchford
B. Cowell
M. van Koetsveld
P. Lemmon
E. Lyon
C. Morris
C. Robinson
J. Trigg
D. Wilkinson
J. Young
A. Reid
A. Ross
Second Tenors
A. Buxton
G. Forster
G. Fordham
L. Harfield
N. Lamb
First Basses
N. Carpenter
W. Chattaway
N. Clayton
M. Dawe
L. James
S. Lyon
N. Martin
P. Pearce
R. Penny
D. Ross
J. Schlotel
P. Stanford
D. Walden
A. Whitehouse
S. Jepson
R. Whitehouse
M. Longford
V. Escribano
M. Dudley
Second Basses
M. Allen
P. Andrews
M. Bradbeer
J. Britten
H. Carew
R. Cuff
P. Herbert
M. Jeffery
M. New
J. Parry
N. Pollock
D. Hardy
R. Barrett
FREIBURG BACHCHOR
Battenberg, Andreas
Bauer, Werner
Becker, Susanne
Beims, Marcus
Bertram, Claudia
Beuerle, Angelan
Binder, Marcus
Brandt, Eva
Bucher, Sigrid
Bungers, Andre
Bussiek, Tim
Claben, Irmgard
Craner, Hans Peter
Craner, Klaus
Eble, Esther
Fabry, Goetz
Fischer, Peter
Franck, Peter
Fritzen, Barbara
Geiger, Erika
Goeze-Krahl, Martin
Goeze-Krahl, Monika
Gottschall, Eva
Gottschall, Klaus
Grisebach, Cornelia
Gronarz, Wolfgang
Gumpper, Esther
Hadji-Cheykh, Rena
Hahn, Ingeborg
Hartl, Oliver
Hartman, Adelgunde
Hartman, Reinhold
Herfort, Dr. Peter
Heupel, Miriam
Hochmeister, Ursula
Hund, Johanna
Jager, Christine
Kaiser, Helga
Kenneweg, Heidi
Klubmann, Bettina
Knall, Dorte
Knippes, Inge
Koch, Christian
Koch, Erika
Krahl, Heiner
Koéttgen-Schwannhaiiser, B
Kiigelgen, Susanne
Lange, Ilse
Lange, Sabine
Lehmann, Thies
Lieth, Inge van der
Liichtroth, Ulrike
Matmon, Julia
Matmon, Markus
Mellinghoff, Christopher
Metzner, Irmgard
Moenig, Gertrud
Miinster, Barbara
Neudorf-Schmidt, Gesa
Petrak, Anneli
Pfeffer, Ursula
Rixmann, Volker
Sacherer, Helga
Schenck, Juliane
Schniewind, Paul
Scholz, Leonard
Schweizer, Alexander
Steiner, Magdelena
Stenzel, Dorothea
Tewinkel, Christine
Thalmann, Dagmar
Tochter, Myriam
Verbeek, Albrecht
Vergas, Ana
Wagner, Eva Maria
Weinert, Annegret
Wenzel, Elke
Bass
Bass
Alto
Bass
Soprano
Soprano
Bass
Soprano
Soprano
Bass
Tenor
Alto
Tenor
Tenor
Soprano
Bass
Bass
Bass
Alto
Bass
Soprano
Bass
Alto
Bass
Soprano
Soprano
Soprano
Bass
Soprano
Tenor
Bass
Soprano
Alto
Alto
Soprano
Soprano
Soprano
Soprano
Alto
Alto
Tenor
Soprano
Bass
Alto
Soprano
Soprano
Soprano
Bass
Alto
Alto
Alto
Tenor
Tenor
Soprano
Alto
Alto
Soprano
Alto
Soprano
Bass
Alto
Soprano
Tenor
Tenor
Bass
Alto
Alto
Alto
Alto
Alto
Bass
Soprano
Alto
Alto
Alto
Wiltzien, Hans Ulrich
Wiltzien, Ursula
Wodraschke, Karin
Wohlfarth, Gisela
Wolfing, Angelika
Zimpfer, Wolfram
Zinn, Martin
Bass
Soprano
Alto
Alto
Alto
Bass
Tenor
GUILDFORD PHILHARMONIC ORCHESTRA
First Violins:
HughLudlow
Bean
Jobn
$
;
Associate
Leaders
Kathy Adams
Phillip Augar
Sheila Beckensall
Hywel Davies
Flutes:
Lynda Coffin
Alexa Turpin
s
5
Avril Maclennan
Linda McLaren
Martin Palmer
Dayle Stephens
Oboes:
James Brown
Janice Knight
e
John J Davies
Rachel Ives
Piccolo:
Simon Hunt
Rosemary Van Der Werff ~ Clarinets:
Philip Winter
Lee Stephenson
Second Violins:
Nicholas Maxted Jones
Rosemary Roberts
Julia Atkinson
Carl Beddow
Catherine Belton
Paul Collen
Ruth Dawson
Peter Hembrough
Christopher Horner
Ruth
Knell
Nicholas Levy
William Green
Bassoons:
Brian Sewell
Anna Meadows
Contra bassoon:
Timothy Mallett
Horns:
Peter Clack
James Buck
SATURDAY 14 NOVEMBER 1992 at 7.30.pm
CIVIC HALL, GUILDFORD
THE CROSSLEY CLITHEROE MEMORIAL CONCERT
A Night on the Bare Mountain
Mussorgsky
Violin Concertoin D
Tchaikovsky
Symphony No 3 (Eroica) in Eb
Beethoven
SERGIU SCHWARTZ
Violin
MEIR MINSKY
Conductor
Tickets: £9.50., £8.50., £7.50.,
available from Box Office, Civic Hall (0483) 444555
FRIDAY 20 NOVEMBER 1992 at 12.30.pm
GUILDHALL, GUILDFORD
LUNCH TIME RECITAL
VENT ELATION
(Wind Trio)
Programme includes Works by:
Tansman, Mozart, Serocki, Francaix
Tickets: £4.00. available from Guildford Guildhall Tel: (0483)
444035
SATURDAY 29 NOVEMBER 1992 at 3.pm
CIVIC HALL, GUILDFORD
Introduction and Allegro Op.47
Elgar
Trombone Concerto
Bourgeois
(World premiere orchestral version)
Winter Legends
Bax
David Clack
performed with financial support from the Arnold Bax Trust
Lyn Evans
CHRISTIAN LINDBERG
Trombone
Anne Lucas
Trumpets:
MARGARET FINGERHUT
Piano
Sohn Meek
Simon Smith
VERNON HANDLEY
Conductor
John Graham
David McCreadie
Ann Rycroft
Paul Appleyard
Michael Newman
Trombones:
Ian White
Malcolm Frammingham
Sally Parfitt
Tuba:
Violas:
David Hirschman
Andrew Mitchell
Bass Trombone:
Stephen Wick
Geoffrey Thomas
John Stilwell
Julia Walker
Timpani:
Roger Blair
Harp:
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Rachel Masters
John Franca
General Manager:
Basses:
Music Administrator:
Maurice Neal
K/Etcfilralglol’éa ge
Timothy Amherst
Paul Moore
Duncan Allen
Tickets: £9.50., £8.50., £7.50.,
available from Box Office, Civic Hall (0483) 444555
Kathleen Atkins
Peter Holt
Cpncerts Assistant (SEMT):
Linda Mowat
Secretary:
Shirley Ewen
The audience may be interested to know that the violin sections
are listed in alphabetical order after the first desk because a
system of rotation of desks is adopted in this orchestra so that
all players have the opportunity of playing in all positions in
the section.
For further information contact:
GUILDFORD PHILHARMONIC ORCHESTRA
THE LODGE
ALLEN HOUSE GROUNDS
CHERTSEY STREET, GUILDFORD
GUI 4HL. Tel: (0483) 444666
Handley
Martin Nicholls
Calloi:
Maryon Balkwill
Pre-concert talk at 2.00.pm in the Civic Hall with Vernon
IS YOUR COMPANY
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A full range of opportunities
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Contact:
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Guildford Philharmonic Orchestra,
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Tel: 0483 — 444666
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ORDONBHAKIM
CHARTE
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Members of the public are most welcome at all
our concerts, which take place during term-time
TUNSGATE SQUARE
in the Performing Arts Techn_ology St_udios on
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Ulidrera,
1992-93 Term Dates
Autumn Term. 12 October to 18 December 1992
Spring Term: 11 January to 19 March 1993
Summer Term : 26 April to 2 July 1993
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Tel. 071-978 5318
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