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Britten War Requiem [1993-11-06]

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Subject:

Britten: War Requiem

Classification:

Concert

Sub-classification:

Programme

Sub-folder:

Location:

A1 Programmes

Year:

1993

Date:

November 6th, 1993

Text content:

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GUILDFORD CATHEDRAL
(By kind permission of The Dean & Chapter)
SATURDAY 6 NOVEMBER 1993
at 7.30 p.m.

Guildford
Philharmonic
Orchestra
Associate Leaders
HUGH BEAN, JOHN LUDLOW

ZORA JEHLICKOVA

Soprano

IAN BOSTRIDGE

Tenor

KLAUS HAGER

Bass

CHORISTERS OF GUILDFORD CATHEDRAL

GUILDFORD PHILHARMONIC CHOIR
NEVILLE CREED

Conductor

This Concert is promoted by Guildford Borough with
financial support from the South East Arts Association.
The Guildford Philharmonic Orchestra gratefully

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 for radio, television and
disc. The Tiffin Boys’ Choir recording of Mahler’s 8th
Symphony with the London Philharmonic Orchestra
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.

acknowledges with thanks the support of its major

sponsors:

conducting at The Guildhall School of Music where he

HART BROWN & Co., Solicitors

won the Ricordi Conducting Prize. Whilst at the

BOC

Guildhall he conducted the second British staging of

and the financial assistance received from

1986

was

awarded

scholarship

study

the opera ‘Julietta’ by Martinu. Since completing his

the Sir Charles Groves Endowment Fund and the
Guildford Philharmonic Society

studies, he has founded the London Musici Singers,

The Guildford Philharmonic Orchestra & South East

Symphony Chorus and the Guildford Philharmonic
Choir, returned to the Guildhall to conduct and

been appointed Chorus Master of the Bournemouth

Music Trust acknowledge the generous support of the
Musicians’ Union.

worked as Associate Chorus Master with the Philhar-

The Orchestra is pleased to acknowlege the Corporate

monia Chorus. In 1988 he won the second prize in the

Memberships of:

First International Choral Conducting Competition

Knox Cropper Chartered Accountants

held in Italy and in 1991 won a Semi-Final prize in the

Smith System Engineering
University of Surrey and

Leeds competition for Orchestral Conducting.
He has conducted the European Community Chamber

Record Corner

gfi _
SOUTH-EAST ARTS

10N

MUSICANS® 5\‘.\
[~

Orchestra

Denmark.

France
has

and
given

regularly
concerts

conducts

with

the

Bournemouth Sinfonietta, Bournemouth Symphony
Orchestra, Guildford Philharmonic Orchestra, The
Royal Philharmonic ‘Pops’ Orchestra and The Royal
Philharmonic Orchestra.

former Czechoslovakia’s leading
doubtless in dramatic soprano field.

opera

singers,

She started to take piano lessons at the age of seven
and seven years later she added singing to her piano as
well. She studied then at the Prague Conservatory
under Professor Rohan. She won her entry
competition at the Prague National Theater Opera
Company in 1973 — one year before graduating from
the Prague Conservatory. She was awarded many
prizes in Czechoslovak competitions. In 1977, she won
the Bronze Medal in the International Song Contest in
Geneva. She has been studying with Professor Zikova,
a former world-known Czech soloist at the State Opera
in Vienna. Soon she became the mainstay of her opera
company. As to the Czech opera repertoire, she has
sung in Smetana’s The Bartered Bride (the role with
which she made her debut in 1973 in the Prague Spring
Festival.) She has also performed in many operatic
roles in other operas by Smetana, Dvofak, Mozart as
well as Puccini’s Madame Butterfly and Verdi’s
operas. Last spring she was a celebrated star of the new

production of Otello in Prague State Opera, with the
conductor M Turnovsky.

Zora Jehlickova is regularly applauded in foreign
opera houses. In 1982/83 she was invited to the Teatro
alla Scala as Lauretta in Puccini’s Gianni Schicchi, and
Stravinsky’s Mavra (director Sir P Ustinov) and to the
Teatro Olimpico with a concert repertory. She sang in
Mannheim, Hannover, Berlin (both State and Comic
Opera Houses), Ludwigsburg, and festivals in
Wiirzburg, Ludwigsberg, Wiesbaden, Savonlinna/
Finland, Edinburgh and in the former Soviet Union.

Ian Bostridge studied at Oxford University and
currently studies singing with Diane Forlano. Since
moving to London, Ian has sung in concerts and
recitals all over the UK and was the 1991 winner of the
National Federation of Music Societies/Esso award.
He was a finalist in the Richard Tauber competition in
1991, and the televised anniversary Kathleen Ferrier
competition in 1992. He sang Idomeneo in the Oxford
Playhouse production and appeared in Mozart
“Zaide” at the Queen Elizabeth Hall with the
Orchestra of the Age of Enlightenment.
Increasingly in demand as an oratorio and concert
soloist, his recent projects have included performances
of “Messiah”, Rossini’s “Petite Messe Solenelle”,
and Vaughan“Saul”
Handel’s
“Magnificat”,
Williams’ “On Wenlock Edge” at Holkham Hall with
Julius Drake and the London Concertante. Future
engagements include Haydn Masses at Durham
Cathedral and the Queen Elizabeth Hall; Tipett’s “A
Child of Our Time”, the Evangelist in Bach’s “St John
Passion” (in Hamburg and Schleswig-Holstein) and
“St Matthew Passion”, Haydn’s “The Creation” and
Britten’s “Serenade for Tenor, Horn and Strings”.

Ian Bostridge recently recorded a debut recital of
Schubert and Wolf songs for BBC Radio 3, was a
recent participant in Graham Johnson’s Young
Songmakers at St John’s Smith Square, and will
present a variety of recitals in the future throughout
Europe. In April he made his Wigmore Hall debut
singing Mabhler’s “Lieder eines fahrenden Gesellen”
accompanied by Roger Vignoles and this summer sang
Britten’s “Serenade for Tenor, Horn and Strings” with
the Academy of St. Martin-in-the-Fields at the

Schleswig-Holstein Festival. He has recently made his
debut with Decca Records in Michael Nyman’s “The
Princess from Milan” and participates in Hyperion’s
Complete Schubert Edition. Future projects include
the Shepherd/Sailor in “Tristan und Isolde” with the
London Philharmonic Orchestra under Frans WelserMoest, Britten’s “War Requiem” in Feiburg and his
debut with Geneva Opera as Arbace (“Idomeneo”) in
their 1994/95 season.

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
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
musicians, and as well as giving frequent concerts in
Guildford, the choir occasionally visits other British
cities.

visited

Paris

1988 the Guildford Philharmonic Choir
and in

1990 joined forces with the

Freiburger Bach Chor in Freiburg Munster. The Choir
is trained by Neville Creed, who was appointed Chorus
Master in 1987 and he is assisted by Peter White.
Jeremy Filsell is the Choir’s accompanist.
In October 1992 the Philharmonic Choir and the
Freiburger Bach Chor joined forces to sing Brahms’
Requiem conducted by Hans Michael Beuerle. Next
weekend, the Choir will perform Britten’s War
Requiem with the Freiburger BachChor and soloists
Zora Jehli¢kova, Ian Bostridge, and Klaus Hager, and
conducted by Neville Creed.

GUILDFORD CATHEDRAL CHOIR

The Choir of Guildford Cathedral was formed in 1961
under Barry Rose, the Cathedral’s first Organist and
Choirmaster. Since the Consecration of the Cathedral,
the Choir has maintained a daily Sung Evensong, and
Klaus Héager 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 followed with Sena
Jurinac,

Ernst

Haeflinger

and

Dietrich

Fischer-

Dieskau.
In 1990 Klaus Héger 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-

has built up an enviable reputation for its singing. The

boys of the choir (20), are drawn from Lanesborough
Preparatory school in Guildford and some of the older
ones attend the Royal Grammar School. The lower

parts are sung by professional layclerks and choral
scholars from the University of Surrey.

During its relatively short history, the choir has made
numerous recordings, including an album of Christmas
Carols which won a ‘Gold Disc’ award for the sale of
over five hundred thousand records, and just recently
a ‘Platinum Disc’ for over a million records sold. The
choir has toured widely in Britain and Europe and in
1988 undertook an extensive tour of Canada, singing to

Vienna International Mozart Competition.

capacity
Victoria

Meanwhile he has also received invitations to take part

regularly on BBC Radio 3, and has made several TV

in concerts both at home and abroad many of which

appearances.

have been recorded for television and radio.
Sinced the

1991

In 1974 Barry Rose moved to St. Paul’s Cathedral, and

season Klaus Hiager has been a

member of the Hamburg State Opera.
Requiem

conducted

he was succeeded by Philip Moore He was appointed
to York Minster in 1983 and the post is now occupied

In 1992 Klaus Hager was a soloist in a performance of
Brahms’

audiences from Ottawa in the East, to
BC in the West. The choir broadcasts

Hans

Michael

Beuerle and the combined forces of the Guildford
Philharmonic Choir and the Freiburger Bachchor.

by the present Organist and Master of the Choristers,
Andrew Millington.
The choir covers a large repertoire from plainsong to
contemporary

music,

including a

wide variety of

European styles. In addition to service music, the choir
occasionally performs larger works with orchestra. In
recent years, these have included Handel’s ‘Messialy’,
Bach’s ‘St. John Passion’ and Haydn’s ‘Nelson Mass’.

Boys

Te decet hymnus, Deus in Sion: et tibi reddetur votum in
Jerusalem; exaudi orationem meam, ad te omnis caro
veniet.
Chorus
Requiem....

WAR REQUIEM
Benjamin Britten 1913-1976

On the title page of Britten’s War Requiem is a
quotation from Wilfred Owen:
My subject is War, and the pity of War.
The Poetry is in the pity...
All a poet can do today is warn.

The War Requiem was commissioned for the Festival
to celebrate the Consecration of the newly-built St
Michael’s Cathedral, Coventry, and it was first
performed in that Cathedral on 30th May 1962.
In keeping with the spirit of reconciliation which
pervaded that Festival Britten had written the
Requiem with three particular soloists in mind: they
were Galina Vishnevskaya (soprano), Peter Pears

(tenor) and Dietrich Fischer-Dieskau (baritone), but
at the first performance, conducted by Meredith
Davies, the soprano soloist was Heather Harper.

The text of this highly original, dramatic and
provoking work consists of the Latin Office for the
Dead interspersed with nine of Wilfred Owen’s antiwar poems which were written during 1914-18. Wilfred
Owen served as a soldier throughout the War; he was
killed, in his twenty-fifth year, on 4th November 1918
— just a week before the Armistice.
The music is organised on three levels and the effect is
as if the drama is being enacted on three separate,
adjacent stages. The Chorus accompanied by Full
Orchestra sing the Latin words of the Office for the
Dead whilst the soprano soloist combines with the
Chorus as a kind of Recording Angel. An ethereal
remoteness is provided by the Choir of Boys’ Voices
which sings certain sections of the Mass with Organ
accompaniment. The Wilfred Owen poems are divided
between the tenor and bass soloists and they are
accompanied by a Chamber Orchestra. It is not until
the close of the final poem that the whole forces are
involved together: “Let us sleep now” the German
soldier says to his friend; they have recognised each
other as former enemies but now they are reconciled.
As the words “Let us sleep now” are repeated, the
Boys’ Choir begins “In Paradisum” and the Requiem
ends with the Chorus singing “Requiescant in pace.
Amen.”

Today, as the shadow of war and strife still darkens
parts of the world, this work, alas, has an on-going
poignancy.

There will be no interval during this performance
I. REQUIEM AETERNAM
Chorus

Requiem aeternam dona eis, Domine: et lux perpetua
luceat eis.

Tenor solo — Anthem for Doomed Youth

What passing-bells for these who die as cattle?
Only the monstrous anger of the guns.
Only the stuttering rifles’ rapid rattle
Can patter out their hasty orisons.
No mockeries for them from prayers or bells,
Nor any voice of mourning save the choirs,—
The shrill, demented choirs of wailing shells;
And bugles, calling for them from sad shires.

What candles may be held to speed them all?
Not in the hands of boys, but in their eyes
Shall shine the holy glimmers of good-byes.
The pallor of girls’ brows shall be their pall;
Their flowers the tenderness of silent minds,
And each slow dusk a drawing-down of blinds.
Chorus

Kyrie eleison. Christe eleison. Kyrie eleison.

II. DIES IRAE

Chorus
Dies irae, dies illa.

Solvet saeclum in favilla;
Teste David cum Sibylla.
Quantus tremor est futurus,
Quando judex est venturus,
Cuncta stricte discussurus!
Tuba mirum spargens sonum
Per sepulchra regionum,
Coget omnes ante thronum.
Mors stupebit et natura.
Cum resurget creatura,
Judicanti responsura.
Baritone solo — Voices

Bugles sang, saddening the evening air,
And bugles answered, sorrowful to hear.
Voices of boys were by the river-side.

Sleep mothered them; and left the twilight sad.
The shadow of the morrow weighed on men.
Voices of old despondency resigned,
Bowed by the shadow of the morrow, slept.
Soprano solo and chorus

Liber scriptus proferetur,
In quo totum continetur,

Unde mundus judicetur.
Judex ergo cum sedebit

Quidquid latet, apparebit:
Nil inultum remanebit.
Quid sum miser tunc dicturus?
Quem patronum rogaturus

Cum vix justus sit securus?

Rex tremendae majestatis,

Qui salvandos salvas gratis,
Salva me, fons pietatis.

Always it woke him, even in France,
Until this morning and this snow.

Tenor and baritone solos — The Next War

If anything might rouse him now
The kind old sun will know.

Out there, we’ve walked quite friendly up to Death;

Think how it wakes the seeds,—

Sat down and eaten with him, cool and bland,—
Pardoned his spilling mess-tins in our hand.

We’ve sniffed the green thick odour of his breath,—

Our eyes wept, but our courage didn’t writhe.

He’s spat at us with bullets and he’s coughed
Shrapnel. We chorused when he sang aloft;
We whistled while he shaved us with his scythe.
Oh, Death was never enemy of ours!
We laughed at him, we leagued with him, old chum.
No soldier’s paid to kick against his powers.

We laughed, knowing that better men would come,
And greater wars; when each proud fighter brags

Woke, once, the clays of a cold star.
Are limbs, so dear-achieved, are sides,

Full-nerved - still warm — too hard to stir?
Was it for this the clay grew tall?

— O what made fatuous sunbeams toil
To break earth’s sleep at all?
Soprano and chorus
Lacrimosa. ..

Chorus

Pie Jesu Domine, dona eis requiem. Amen

He wars on Death — for Life; not men — for flags.

Chorus

III. OFFERTORIUM

Recordare Jesu pie,

Boys

Quod sum causa tuae viae:
Ne me perdas illa die.

Quaerens me, sedisti lassus:
Redemisti crucem passus:

Domine Jesu Christe, Rex gloriae, libera animas
omnium fidelium defunctorum de poenis inferni, et de

profundo lacu: libera eas de ore leonis, ne absorbeat eas
tartarus, ne cadant in obscurum.

Tantus labor non sit cassus.

Chorus

Ingemisco, tamquam reus:

Sed signifer sanctus Michael repraesantet eas in lucem
sanctam: quam olim Abrahae promisisti, et semini ejus.

Culpa rubet vultus menus:
Supplicanti parce Deus.

Tenor and baritone solos — The Parable of the Old Man

Qui Mariam absolvisti,

and the Young

Et latronem exaudisti,

Mihi quoque spem dedisti.
Inter oves locum praesta,

Et ab haedis me sequestra,
Statuens in parte dextra.

Confutatis maledictis,
Flammis acribus addictis,
Voca me cum benedictis.

Oro supplex et acclinis,
Cor contritum quasi cinis:
Gere curam mei finis.
Baritone solo — Sonnet on seeing a piece of our artillery

brought into action

Be slowly lifted up, thou long black arm,
Great gun towering toward Heaven, about to curse;
Reach at that arrogance which needs thy harm,

So Abram rose, and clave the wood, and went,
And took the fire with him, and a knife.
And as they sojourned both of them together,
Isaac the first-born spake and said, My Father,
Behold the preparations, fire and iron,
But where the lamb for this burnt-offering?

Then Abram bound the youth with belts and straps,
And builded parapets and trenches there,
And stretched forth the knife to slay his son.

When lo! an angel called him out of heaven,
Saying, Lay not thy hand upon the lad,
Neither do anything to him. Behold,
A ram, caught in a thicket by its horns;
Offer the Ram of Pride instead of him.
But the old man would not so, but slew his son,—
~ And half the seed of Europe, one by one.
Boys

And beat it down before its sins grow worse;

Hostias et preces tibi Domine laudis offerimus: tu
suscipe pro animabus illis, quarum hodie memoriam

But when thy spell be cast complete and whole,

facimus: fac eas, Domine, de morte transire ad vitam.

May God curse thee, and cut thee from our soul!

Chorus

Soprano solo and chorus

Quam olim Abrahae...

Dies irae...

Lacrimosa dies illa,

Qua resurget ex favilla
Judicandus homo reus:
Huic ergo parce Deus.
Tenor solo - Futility

Move him into the sun —

Gently its touch awoke him once,
At home, whispering of fields unsown.

IV. SANCTUS
Soprano solo and chorus

Sanctus, Sanctus, Sanctus Dominus Deus Sabaoth.
Pleni sunt coeli et terra gloria tua.
Hosanna in excelsis. Sanctus. ..
Benedictus qui venit in nomine Domini.

Hosanna in excelsis. Sanctus...

Baritone Solo — The End

After the blast of lightning from the East,
The flourish of loud clouds, the Chariot Throne;
After the drums of Time have rolled and ceased,
And by the bronze west long retreat is blown,
Shall life renew these bodies? Of a truth
All death will He annul, all tears assuage?—
Fill the void veins of Life again with youth,
And wash, with an immortal water, Age?
When I do ask white Age he saith not so:
“My head hangs weighed with snow.”
And when I hearken to the Earth, she saith:
“My fiery heart shrinks, aching. It is death.
Mine ancient scars shall not glorified,
Nor my titanic tears, the sea, be dried.”
V. AGNUS DEI
Tenor solo — At a Calvary near the Ancre
One ever hangs where shelled roads part.
In this war He too lost a limb,
But His disciples hide apart;
And now the Soldiers bear with Him.
Near Golgotha strolls many a priest,
And in their faces there is pride
That they were flesh-marked by the Beast
By whom the gentle Christ’s denied.
The scribes on all the people shove
And bawl allegiance to the state,
But they who love the greater love
Lay down their life; they do not hate.

The hopelessness. Whatever hope is yours,
Was my life also: I went hunting wild
After the wildest beauty in the world.

For by my glee might many men have laughed,
And of my weeping something had been left,
Which must die now. I mean the truth untold,
The pity of war, the pity war distilled.
Now men will go content with what we spoiled,
Or, discontent, boil bloody, and be spilled.
They will be swift with swiftness of the tigress,
None will break ranks, though nations trek from
progress.

Miss we the march of this retreating world
Into vain citadels that are not walled.
Then, when much blood had clogged their chariotwheels
I would go up and wash them from sweet wells.
Even from wells we sunk too deep for war,
Even the sweetest wells that ever were.

I am the enemy you killed, my friend.
I knew you in this dark; for so you frowned
Yesterday through me as you jabbed and killed.
I parried; but my hands were loath and cold.”
“Let us sleep now...”
Boys, soprano solo and chorus

In paradisum deducant te Angeli: in tu adventu
suscipiant te Martyres, et perducant te in civitatem
sanctum Jerusalem. Chorus Angelorum te suscipiat, et
cum Lazaro quondam paupere aeternam habeas
requiem.
Boys

Chorus

Agnus Dei, qui tollis peccata mundi: dona eis requiem.
Agnus Dei, qui tollis peccata mundi: dona eis requiem

Requiem aeternum dona eis, Domine: et lux perpetua
luceat eis.
Chorus

sempiternam.

Requiescant in pace. Amen.

Tenor solo

Dona nobis pacem.
VI. LIBERA ME
Soprano solo and chorus

Libera me,

Domine, de morte aeterna, in die illa

What is an ophicleide?
How is it related to a serpent?

tremenda:

Quando coeli movendi sunt et terra:
Dum veneris judicare saeculum per ignem.
Tremens factus sum ego, et timeo, dum discussio

Find out at

venerit, atque ventura ira.

Dies illa, dies irae, calamitatis et miseriae, dies magna et
amara valde. Libera me, Domine...
Tenor and baritone solos — Strange Meeting
It seemed that out of battle I escaped

Down some profound dull tunnel, long since scooped
Through granites which titanic wars had groined.
Yet also there encumbered sleepers groaned,
Too fast in thought or death to be bestirred.
“Then, as I probed them, one sprang up, and stared
With piteous recognition in fixed eyes,
Lifting distressful hands as if to bless.
And no guns thumped, or down the flues made moan.
“Strange friend,” I said, “here is no cause to mourn.”
“None,” said the other, “save the undone years,

GUILDFORD MUSEUM
Castle Arch, Quarry Street

Open 11am - Spm (closed Sundays)
Entrance Free

Telephone:

(0483) 444750

GUILDFORD PHILHARMONIC CHOIR

Bass:

Peter Andrews
Soprano:

Jacqueline Alderton
Kathleen Aldridge

Olivia Ames-Lewis
Jill Baker

Louise Barnfield

Penny Baxter
Sue Bevan
Mary Broughton
Elaine Chapman

Rachel Edmondson

Jenny Hakim
Angela Hand

Susan Hinton
Nora Kennea

Judith Lewy
Anne Lyon
Margaret Mackie
Elizabeth McCracken

Susan Norton
Robin Onslow

Stephen Jepson
Michael Longford

Graham Barwick
Roger Barrett

Margaret Parry

Michael Bradbeer

Vivienne Parsons

John Britten

Rosalind Plowright

Norman Carpenter

Jean Radley

Walter Chattaway

Susan Ranft
Gillian Rix

Neil Clayton
Robert Coe

Joan Robinson

Rodney Cuff

Maureen Shortland

Michael Dawe

Stewart Lyon
Neil Martin

Chris New
Maxwell New
Barry Norman
John Parry
Peter Pearce

Dawn Smith

Michael Dudley

Judy Smith

Terence Ellis

Roger Penny
Nigel Pollock
David Ross

Pamela Smith

Vicente Escribano

Kathy Stickland

Nick Gough

Margaret Strivens
Philippa Walker

John Hart

John Schlotel

Philip Stanford
Martin Unwin

Donald Walden
Andrew Whitehouse
Ralph Whitehouse

Peter Herbert

Enid Weston

Laurie

Christine Wilks

Michael Jeffery

James

Elisabeth Willis
Lucinda Wilson
Tessa Wilkinson

Frances Worpe

GUILDFORD PHILHARMONIC CHAMBER

ORCHESTRA

First Violin:

Alto:

Sally Bailey
Iris Ball

Helen Lavin

Evelyn Beastall

Christine Medlow

Nicolette Bell

Iris Bennett
Jane Brooks
Jean Brown
Barbara Buck

Juliet Butler
Pamela Charlwood
Amanda Clayton

Mary Clayton
Janet Critchley

Fiona Davis
Karen Deering

Valerie Edwards

Celia Embleton
Joanne Frampton
Mandy Freeman

Rebecca Greenwood
Ingrid Hardiman
Pamela Harman

Carol Hobbs
Sheila Hodson
Joy Hunter
Lyn Jackson

Kay McManus

Brenda Moore

Mary Moon
Jean Munro

Oboe:

Hugh Bean

Graham Salter

Second Violin:

Nicholas Maxted Jones
Viola:

Clarinet:
Hale Hambleton
Bassoon:

Justin Ward

Nicholas Hunka

Cello:

Horn:

Alison Newell

John Stilwell

David Clack

Arabella Onslow

Bass:

Percussion:

Amor Pérez-de-Léon

Michael Lea

Anne Philps

Flute:

Kate Plackett

Susan Pope

Christopher Nall

Evelyn Frank

Harp:

Thelma Owen

Catherine Shacklady
Gillian Sharpe

Judy A. Smith
Prue Smith
Rosemary Smith

Liz Snell
Hilary Steynor
Hilary Trigg
Pamela Usher

June Windle
Maralyn Wong
Beatrice Wood
Carol Wyllyams

SUPPORT
YOUR

ORCHESTRA
For further information
Contact: Kathleen Atkins,

Tenor:

Adrian Buxton
Bob Cowell

Geoffrey Forster
Leslie Harfield

Maggie van Koetsveld
Nick Lamb

Peter Lemmon

Elizabeth Lyon
Andrew Reid

Christopher Robinson
John Trigg

Guildford Philharmonic Orchestra,
Millmead House,

Millmead, Guildford
Tel: 0483 — 444666

GUILDFORD-PHILHARMONIC ORCHESTRA

First Violins:

John Ludlow — Leader
Maurice Brett

Kathy Adams
Philip Augar
Sheila Beckensall

Bassoons:

Emer Calthorpe
Hywel Davies

Peter Bennett

Avril Maclennan
Peter Newman
John Parsons

Alex Suttie
Philip Winter
Second Violins:

Anna Meadows
Contra bassoon:

SUNDAY 28 NOVEMBER 1993 at 3.00.pm
CIVIC HALL, GUILDFORD
Russian Easter Festival Overture

Rimsky Korsakov

Piano Concerto No.2in C
Symphony No 6 in B minor

Prokofiev
Shostakovich

AMANDA HURTON

Piano

(Sponsored by the Sir Charles Groves Endowment Fund)
JOHN FORSTER
Conductor

Tickets: £10.00., £9.00., £8.00., available from the Civic
Hall Box Office Tel: (0483) 444555)

Timothy Mallett
Horns:

Andrew Antcliff
(Guest Principal)
Peter Widgeny

SUNDAY 5 DECEMBER 1993 at 3.00.pm
CIVIC HALL,GUILDFORD

James Buck

CAROLS FOR CHRISTMAS TIME with the
PHILHARMONIC CHOIR in association with the

Peter Civil

Rotary Club of Guildford

Lyn Evans

Celebrity Presenter:

MICHAEL BUERK

Ruth Dawson
Christopher Horner
Ruth Knell
Vivienne Ronchetti
Adrienne Sturdy
Timothy Wilford

Trumpets:

NEVILLE CREED

Conductor

Violas:

Jeremy Gough

Joan Atherton
Prunella Sedgwick
Carl Beddow
Timothy Callaghan

Gordon Carr

Gareth Bimson
Patricia Reid
William Stokes
Nicholas Betts
Trombones:

Eric Sargon

Arthur Wilson

Philip Heyman

Bass Trombone:

Anne Rycroft

Ron Bryans

Paul Appleyard

Tuba:

Jean Burt

Robert Winquist
Karen Demmel
Cellos:

Douglas Cummings
Martin Robinson
John Hursey
John Franca
John Kirby
Carolyn Richards
(Guildford Philharmonic
Society playing scholar)
Basses:

Maurice Neal
John Hill
Michael Fagg
Paul Moore

Stephen Wick
Timpani:

Matthew Dickinson
Percussion:

CIVIC HALL, GUILDFORD
CIVIC CONCERT
NEW YEAR FAMILY CONCERT

Overture Rosamunde

Beethoven
also featuring delightful music from Old Vienna
including Pizzicato Polka, Emperor Waltz, Blue
Danube, Thunder & Lighting Polka

Robert Kendall

In the presence of The Mayor of Guildford.

Piano:

Tickets: £10.00., £9.00., £8.00. available from
Civic Hall Box Office. Tel: (0483) 444555

John Forster

CHRISTIAN BLACKSHAW