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(Tel: Guildford 509317)
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Guildford Borough Council, Millmead House, Millmead,
Guildford, Surrey GU2 5BB.
—
Telephone 0483 - 444701
GUILDFORD
B
O
R
0O
el
1993-94 Term Dates
Autumn Term: 11 October to 17 December 1993
Spring Term:
10 January to 18 March 1994
Summer Term:
(h
25 April to 1 July 1994
J
Ifyou enjoy musicjoin the
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«\"9
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For a full programme of events
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Conductors: NEVILLE CREED
VERNON HANDLEY
SIR DAVID WILLCOCKS
Contact
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Details from:
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Mrs Kathleen Atkins,
TEL: 0483-276131 —
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CIVIC HALL, GUILDFORD
SATURDAY 7 MAY 1994 at 7.30 p.m.
Guildford
Philharmonic
Orchestra
Associate Leaders
HUGH BEAN, JOHN LUDLOW
TINUKE OLAFIMIHAN
Soprano
PETER HALL
Tenor
MICHAEL PEARCE
Baritone
ROYAL GRAMMAR SCHOOL
BOYS’ CHOIR
GUILDFORD PHILHARMONIC
CHOIR
SIR DAVID WILLCOCKS
Conductor
Sir David Willcocks began his musical training as a
chorister at Westminster Abbey, later winning scholarships
to
Clifton
College
and
King’s
College
This Concert is promoted by Guildford Borough with
Cambridge. After a five-year period of war service he
financial support from the South East Arts Association.
was elected a Fellow of King’s College Cambridge, and
appointed Conductor of the Cambridge Philharmonic
The Guildford Philharmonic Orchestra gratefully
acknowledges with thanks the support of its major
Society.
Subsequently
he
became
Organist
of
sponsors:
Salisbury Cathedral, and later of Worcester Cathedral,
HART BROWN & Co., Solicitors
conducting at the Three Choirs Festival from 1950 to
BOC
1957. From 1957 to 1974 he was Director of Music of
and the financial assistance received from
King’s College Cambridge, University Lecturer in
the Sir Charles Groves Endowment Fund and the
Music, and Conductgr of the Cambridge University
Guildford Philharmonic Society
Musical Society. He was Director of the Royal College
The Guildford Philharmonic Orchestra & South East
of Music from 1974 to 1984 and has been Musical
Music Trust acknowledge the generous support of the
Director of The Bach Choir since 1960.
Musicians’ Union.
The Orchestra is pleased to acknowlege the Corporate
Memberships of:
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
Knox Cropper Chartered Accountants
Smith System Engineering
including a recording of Howard Blake’s Benedictus
with the Bach Choir and the Royal Philharmonic
University of Surrey and
Orchestra.
Record Corner
He was knighted in 1977 Silver Jubilee Honours List,
and holds honorary degrees in the USA and Canada as
0%A
SOUTH-EAST ARTS
MUSICAN®
well as at the Universities of Bradford, Bristol, Exeter,
Leicester and Sussex.
He has worked with the GPO and the Philharmonic
Choir on several previous occasions. We are pleased to
welcome him to Guildford again this evening.
PETER HALL - Tenor
Tinuke Olafimihan began her vocal studies at the
Formerly
Colchester Institute She joined Morley Opera and in
Cambridge, Peter Hall studied Law for several years
a
Choral
1988 was awarded the Peter Stuyvesant Foundation
before
Scholarship for advanced study at the National Opera
Studio in London. Born in London and holding British
engagements have taken him all over the British Isles,
to Europe, Israel, North America, the Caribbean,
nationality, she spent the early years of her life in
Hong Kong, Australia, and to New Zealand. The
Nigeria, returning to England with her parents when
range of his work is very broad, extending as it does in
embarking
Scholar
upon
at
King’s
a career in
College,
singing.
His
she was seven to live in Somerset. She continues her
the recording field from plainchant to Ferneyhough, by
vocal studies with Kayode Olafimihan.
way of Cavalli, Holst, Tippett and Messiaen, and in the
Tinuke Olafimihan has won numerous prizes and
scholarships
including the
Walter Legge/Elisabeth
Schwarzkopf Appreciation Society Award in 1987 and
an English Speaking Union award to work with
Elisabeth Schwarzkopf in Zurich and to take partin a
televised masterclass on French TV. With awards from
the Edward Boyle Trust, the Britten-Pears School and
the Royal Society of Arts she was able to work with
Ileana Cotrubas.
In 1992 Tinuke made her debut in Amsterdam for the
Netherlands Opera in Snatched by the Gods by Param
Vir, produced by Pierre Audi and repeated in the
Munich Biennale. She created roles in Nigel Osborne’s
The Terrible Mouth, produced by David Pountney and
conducted by David Parry in the Almeida Opera
Festival and La Baltasara for the Scottish Early Music
Consort in the 1992 Glasgow Early Music Festival.
Concert engagements have included Viennese Gala
concerts with the East of England Orchestra, Haydn’s
Nelson Mass with the London Festival Orchestra,
Mozart Concert Arias with the finalists of the
Donatella Flick Conducting Competition, Mendelssohn’s Elijah in Harlow, Brahms’ German
Requiem with the CBSO, and concerts of music by
Purcell and Vivaldi in Sao Paolo, Brazil with the
Northern Sinfonia conducted by Stephen Darlington.
concert hall from Passion settings by J.S. Bach and
Schiitz
through
the
standard
concert
repertory,
including Stravinsky’s Les Noces and Renard in the
original Russian, Ravel’s L’enfant et les Sortileges,
Janacek’s
Glagolitic Mass, Carl Orff’s Carmina
Burana (a work with which he is particularly
associated, and which he has recorded) and on to first
performances of works by contemporary composers.
Notable recent engagements include world premieres
in
Aarhus,
Turin,
Huddersfield
and
concerts
at
the
the
Venice
Biennale
Donaueschingen
Aldeburgh,
Leeds
and
the
Festivals,
and
and
Almeida
Festivals and in France, Belgium, Spain, the Netherlands, Italy, Germany Switzerland and Scandinavia. A
rare foray on to the operatic stage occurred at the
personal invitation of Luciano Berio
to participate in a
revival of his opera La Vera Storia at the Maggio
Musicale,
Florence,
with
repetitions
platforms in Amsterdam and Rome.
on
concert
Future plans
include visits to the Salzburg festival and the United
States, and concerts on the South Bank as well as in
Birmingham,
Northampton
and
various
other
locations in Great Britain.
MICHAEL PEARCE - Baritone
In January 1993 she recorded Saint-Saens’ Requiem
Michael Pearce was a choral scholar at St. John’s
with the London Philharmonic Orchestra, conductor
College Cambridge. In 1984 he won the first English
Song Award which led to a critically acclaimed debut
Geoffrey Simon, and in February, the role of Maria in
Bernstein’s West Side Story.
Tinuke represented England in the BBC Singer of the
World competition in Cardiff in June 1993.
recital later that year.
Michael has performed many operatic roles including
Old Sam in the British premiere of Bernstein’s A Quiet
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.
In
visited
Paris and in
1988 the Guildford Philharmonic Choir
1990 joined forces with the
Freiburger Bach Choir in Freiburg Munster.
The Choir is trained by Neville Creed, who was
Place, The Herald in Britten’s The Burning Fiery
appointed Chorus Master in 1987 and he is assisted by
Furnace for Kent Opera and Becket in Oper Bergen’s
Peter White. Jeremy Filsell is the Choir’s accompanist.
production of Pizzetti’s Murder in the Cathedral. In
The Choir made a highly successful visit to Freiburg in
January 1991 he sang at Covent Garden in Strauss’
November
1993
where
it
gave
an
outstanding
Capriccio and subsequently returned to work on
Birtwistle’s Sir Gawain and the Green Knight and
performance of Britten’s ‘War Requiem’. Future plans
Offenbach’s Contes d’Hoffmann. He also made his
debut with Music Theatre Wales in 1991, singing the
Further details of the Choir may be obtained from:
title role in Michael Nyman’s The Man who mistook his
Wife for a Hat, at the Vale of Glamorgan Festival.
Michael sings the role of Ortel in Wagner’s Die Meistersinger at Covent Garden in the 1993/94 season.
include a summer concert in the Guildford Festival.
Kathleen Atkins, Guildford Philharmonic, Millmead
House, Millmead, Guildford GU2 5BB.
Tel: 0483 444666.
Current
concert
engagements
include
Bach’s
Christmas Oratorio in London and Cambridge,
Brahms Requiem in the Queen Elizabeth Hall, Bach’s
St John Passion in Newcastle, and Beethoven’s Christ
on the Mount of Olives in the Bamboo Organ Festival
in Manila where he will also give a recital of British
music.
NEVILLE CREED - Chorus Master
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’
THE ROYAL GRAMMAR SCHOOL-
Award. During this time he became Conductor of the
BOYS’ CHOIR
Milton Keynes Chorale and Assistant Chorus Master
The Royal Grammar School Boy’s Choir normally
of the London Philharmonic Choir.
works as the treble line of the school’s main SATB
In
Choir which has performed many of the major works
conducting at the Guildhall School of Music where he
of the choral repertoire. Recently they have performed
won the Ricordi Conducting Prize.
Verdi’s Requiem, Mendelssohn’s Elijah and Carmina
Guildhall he conducted the second British staging of
1986
he
was
awarded
a
scholarship to
study
Whilst at the
Burana, and in 1992 they joined with the Guildford
the opera “Julietta” by Martinu. Since completing his
Philharmonic Choir and Orchestra to perform Howard
studies he has founded the London Musici Singers,
been appointed Musical Director of the Bournemouth
Blake’s Benedictus in Guildford Cathedral.
Peter White was born in Kent and educated at the
King’s School Canterbury and New College, Oxford.
Having been on the music staff at Ampleforth College
he came to be Director of Music at the Royal Grammar
School in 1984. In addition to his work with the
Guildford Philharmonic Choir, he is presently
conductor of the Guildford Sinfonia and the Guildford
Opera Company, and in July of this year he will be
conducting the first production of the new Loseley
Opera Company.
Symphony Chorus and the Guildford Philharmonic
as well as being invited to return to the
Choir,
Guildhall to conduct and worked as Assistant Chorus
Masters with the Philharmonic Chorus. 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 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.
Variation 8. (W.N.) A graceful, charming and quietly
marked variation which Elgar was painstaking enough
to mark quaver = 104, so that conductors would not
play it too slowly. It is, if played at the correct speed, a
fine salute to the gentle Winifred Norbury, and also a
perfect foil to the next variation to which it is joined by
a single note.
Overture “Coriolan” Op.62
Beethoven 1770-1827
“Coriolan” comes from the same source as Shakespeare’s play “Coriolanus”. Beethoven wrote his work
in 1807, which is the same year as the Fifth Symphony.
It is concerned with emotions and sufferings,
describing the character of Coriolanus, imperious and
revengeful, intent on attacking his own people.
Although he rejects all appeals to be merciful, his
resistances are finally broken down when his mother,
wife and child come to plead with him. The spiritual
agony of Coriolanus is the stuff of which this overture
is made. Beethoven finds it easy to illustrate the
harsher side of his story, but modern listeners often
find the melodic element of the overture rather
limited.
Variation 9. This solemn movement is Elgar’s tribute
to his great friend A.J. Jaeger of Novello & Co. Jaeger
is German for hunter: hence the allusion to Nimrod.
Also quite clearly marked as to speed though often
played much slower, thus sentimentalising what is
supposed to be a noble section.
Variation 10. (Dorabella). This is headed Intermezzo
which is demanded by the form of the work after the
climax of Nimrod. It is an intimate delicate portrait of
Miss Dora Penny.
Variation 11. (G.R.S.) Dr. George Sinclair was
Catheral organist at Hereford. He owned a dog, and
was an energetic performer and walker.
Variation 12. (B.G.N.) Basil Nevinson was meditative
and played the cello.
Variation 13. Romanza. This variation contains the
famous the famous allusion to Mendelssohn’s
Overture “Calm Sea and Prosperous Voyage”. It commemorates a journey undertaken by Lady Mary
‘Enigma’ Variations
Elgar 1857-1934
It is as well not to bother about the tune to which the
‘Enigma’, the theme, is said to be a counterpoint. It is
much better to listen to this set of variations simply as
music. The amazing thing about it is that the dedication
“To my friends pictured within’ has not caused the
composer to take ridiculous pictorial liberties with his
theme. Instead, he pictures them with brilliant
variation writing. The theme itself is built on two contrasting, though interwoven, ideas. The first is in the
minor, and is a sequence pattern over a rising bass; the
second is in the major, and more flowing and
rhapsodic. The theme which is adagio, though often
played andante, leads into:
Variation 1. (G.A.E.) These are the initials of Lady
Elgar. The theme is treated with great tenderness.
Treffusis.
Variation 14. (E.D.U.) Finale. The initials refer to a
nickname of Elgar’s. This finale is cumulative and does
not rely quite so much on the sequence patterns which
were one of Elgar’s mannerisms. Great climaxes rise
out of the development of the final variation itself, then
as Elgar paints his own portrait, he finds it cannot be
complete without a reference back to Lady Elgar’s
variation, and finally with great strides the theme rides
triumphant and glorious on the superbly scored accompaniment that supports it.
The Engima Variations was played for the first time in
1899 and, although modern critcism will not admit it,
its great success all over the world proves that that day
was great one in English musical history.
Variation 2. (H.D.S.P.) A very quick three-in-a-bar
beat as one. The theme appears in the bass. H. D.
Steuart-Powell must have been a quick fingered
pianist.
Variation 3. (R.B.T.) A mazurka-like variation in
which the reedy voice of R.B. Townshend is parodied.
Variation 4. (W.N.B.) How can W. Neath Baker have
been anything other than an energetic and forthright
man?
Variation 5. (R.P.A.) R.P. Arnold was the son of
Matthew Arnold, and a quiet contemplative scholar.
Variation 6. (Ysobel) Miss
charming and played the viola.
Ysobel
Fitton
was
Variation 7. (Troyte) The great blocks of sound which
the music hammers out are a fitting illustration of the
character of Arthur Troyte Griffith, a well-known
Malvern architect.
o
)
N
N
s
,
S
Carmina Burana (Cantiones Profane)
Carl Orff 1895 — 1982
Collection
Manuscript
the
from
Songs
of
Benedictbeuern
Carl Orff, who was born in Munich, learnt the craft of
musical theatre before and after the Great War, as
Kapellmeister in theatres in Munich, Mannhéim and
Darmstadt. In 1924 he co-founded the Giintherschule
for gymnastics, music and dance in Munich, an
institution formed to explore and teach new relationships between movement and music. His interest in
education can be seen in his creation of tuned and
untuned percussion instruments and in his composition
Schulwerk (first performed in 1933) which shows his
obsession with primitive and evocative rhythm. These
ideas, together with perference for formal melody, are
developed further in Carmina Burana, which was first
performed in Frankfurt in 1937. The words and music
(originally with action and dance) was intended to
make
an immediate impact and is scored with
prominent and important percussion parts. In addition
to the soloists there is an adult and a children’s choir
(Ragazzi).
The Carmina are mediaeval poems or songs written in
French, Low German and a dog-Latin by wandering
scholars and vagrant monks in the late 13th century.
They were collected into a manuscript anthology by a
monk in the Benedictine monastery of Beuern in the
Bavarian Alps and lay hidden until the monastery was
dissolved. The manuscript was published in 1847 in
FORTUNA IMPERATRIX MUND
1.
Munich by Johann Andreas Schmeller. The vagrant
monks were religious believers but, stemming from
their peripatetic way of life and necessary skirmishes
with the ways of the world, their songs ranged in style
and content from earthy simplicity to sophisticated
symbolism and mysticism and from devoted religious
contemplation to unabashed cynical worldliness.
The original manuscript bears a cover design which
acts as a motto for the entire collection. The Wheel of
Fortune inscribed with the legend (verse 2 of the
second chorus): ‘Fortuna rota volvitur: descendo
minoratus, alter in altum tollitur, nimis exaltatus’. The
three sections within the framework of the Wheel of
Fortune
(O Fortuna opens and closes the work)
describe: the joys of the return of spring (Primo Vere);
the delights of gambling and drinking — but arising
from inner frustation (In Taberna) and the delights of
love (Cours d’Amour).
FORTUNE EMPRESS OF THE WORLD
O FORTUNA
Chorus
O Fortuna,
O Fortune,
velut luna
statu variabilis,
semper crescis
aut decrescis;
vita detestabilis
nunc obdurat
et tunc curat
ludo mentius aciem,
variable
as the moon,
always dost thou
wax and wane.
Detestable life,
first dost thou mistreat us,
and then, whimsically,
thou heedest our desires.
egestatem,
As the sun melts the ice,
potestatem
so dost thou dissolve
dissolvit un glaciem.
Sors immanis
et inanis,
rota tu volubilis,
status malus,
vana salus
semper dissolubilis,
obumbrata
et velata
michi quoque niteris;
nunc per ludum
dorsum nudum
both poverty and power.
Monstrous
and empty fate,
thou, turning wheel,
art mean,
voiding
good health at thy will.
Veiled
in obscurity,
thou dost attack
me also.
To thy cruel pleasure
fero tui sceleris.
I bare my back.
Sors salutis
Thou dost
withdraw
et virtutis
michi nunc contraria,
est affectus
et defectus
semper in angaria.
Hac in hora
sine mora
corde pulsum tangite;
quod per sortem
sternit fortem
mecum omnes plangite!
my health and virtue,
thou dost
threaten
my emotion and weakness with torture.
At this hour,
therefore, let us
pluck the strings without delay.
Let us mourn
together,
for fate crushes the brave.
2. FORTUNE PLANGO VULNERA
Fortune plango vulnera
stillantibus ocellis,
quod sua michi munera
subtrahit rebellis.
Verum est, quod legitur,
fronte capillata,
sed plerumque sequitur
Occasio calvata.
Chorus
I lament Fortune’s blows
with weeping eyes,
for she extorts from me
her gifts
now pregant
and prodigal,
now lean
and sear.
In Fortune solio
Once was I seated
sederam elatus,
on Fortune’s throne,
prosperitatis vario
flore coronatus;
quisquid enim florui
felix et beatus,
nunc a summo corrui
gloria privatus.
crowned with a garland
of prosperity.
In the bloom
of my felicity
I was struck down
and robbed of all my glory.
Fortune rota volvitura:
descendo minoratus;
alter in altum tollitur;
nimis exaltatus
rex sedet in vertice —
caveat ruinam!
nam sub axe legimus
Hecubam reginam.
At the turn of Fortune’s wheel,
one is deposed,
another is lifted on high
to enjoy a brief felicity.
Uneasy sits the king —
let him beware his ruin,
for beneath the axle of the wheel
we read the name of Hecuba.
I
I
PRIMO VERE
IN SPRINGTIME
3. VERIS LETA FACIES
Small Chorus
mundo propinatur
The bright face of spring
shows itself to the world,
hiemalis acies
driving away
Veris leta facies
victa iam fugatur,
in vestitu vario
Flora principatur,
nemorum dulcisono
que cantu celebratur.
Flore fusus gremio
Phebus novo more
risum dat, hoc vario
iam stipatur flore.
Zephyrus nectareo
spirans in odore.
Certatim pro bravio
curramus in amore.
Cytharizat cantico
dulcis philomena,
flore rident vario
prata iam serena,
salit cetus avium
silve per amena,
chorus promit virginum
iam guadia millena.
4. OMNIA SOL TEMPERAT
Omnia sol temperat
purus et subtilis,
novo mundo reserat
faciem Aprilis,
the cold of winter.
Flora reigns
in her colourful robes,
praised in the canticle
of sweet-sounding woods.
Phoebus laughs
in Flora’s lap again.
Surrounded by flowers,
Zephyrus breaths
the fragrance
of their nectar.
Let us compete
for the prize of love.
The sweet nightingale
begins her song,
the bright meadows
laugh with flowers.
Birds flit about
the pleasant woods,
the maidens’ chorus
brings a thousand joys.
Baritone Solo
The sun, pure and fine.
tempers all;
a new world is opened
by the face of April.
menus amicus?
Hinc equitavit,
eia, quis me amabit?
Floret silva undique,
nah mine gesellen is mir we.
Gruonet der walt allenthalben,
wa is min geselle alse lange?
Der ist geriten hinnen,
o wi, wer sol mich minnen?
. CHRAMER, GIP DIE VARWE MIR
Chramer, gip die varwe mir,
die min wengel roete,
damit ich die jungen man
an ir dank der minnenliebe noete.
Seht mich an,
jungen man!
lat mich iu gevallen!
Minnet, tugentliche man,
minnecliche frouwen!
minne tuot iu hock gemuot
unde lat iuch in hohen eren schouwen.
Seht mich an,
jungen man!
lat mich iu gevallen!
Wol dir, werlt, daz du bist
also freudenriche!
ich will dir sin undertan
durch din liebe immer sicherliche.
Seht mich an,
jungen man!
lat mich iu gevallen!
REIE (Round Dance)
Where is my lover?
He rode away on horseback.
Alas, who will love me now?
Everywhere the forest is in bloom;
I am longing for my lover.
If the wood is green all over,
why does my lover not return?
He has ridden away
Woe is me, who will love me?
Soli (Sopranos) and Chorus
Shopkeeper, give me colour
to paint my cheeks,
that young men
mayu not resist my graces.
Young men,
look here,
do I not charm you?
Make love, good men
and gracious women.
Love wil ennoble you,
and you will stand in high respect.
Young men,
look here,
do I not charm you?
Hail, O world
so rich in joys.
I will obey you always,
and accept your bountiful gifts.
Young men,
look here,
do I not charm you?
Orchestra
SWAZ HIE GAT UMBE
Chorus
Swaz hie gat umbe,
daz sint alles megede,
die wellent an man
Here are maidens
in a circle;
allen disen sumer gan!
they’d like to be without a lover
all the summer through.
CHUME, CHUM, GESELLE MIN
Small Chorus
Chume, chum, geselle min,
ih enbite harte din,
ih enbite harte din,
I wait for thee,
[ wait for thee.
Come, come, my pretty maid,
chum, chum, geselle min.
Come, come, my pretty maid.
Suzer rosenvarwer munt.
chum unde mache mich gesunt,
Sweet rosy mouth,
come and heal my longing.
Come and heal my longing.
sweet rosy mouth.
chum unde mache mich gesunt,
suzer rosenvarwer munt.
SWAZ HIE GAT UMBE
Chorus
Swaz hie gat umbe,
daz sint alles megede,
Here are maidens
in a circle;
they’d like to be without a lover
all the summer through.
die wellent an man
allen disen sumer gan!
10. WERE DIU WERLT ALLE MIN
Were diu werlt alle min
von deme mere unze an den Rin,
des wolt ih mih darben,
Chorus
Were the world all mine,
from the seat to the Rhine,
I should gladly forsake it
daz diu chiinegin von Engellant
lege an minen armen.
for the Queen of England
in my arms.
II
II
IN TABERNA
11. ESTUANS INTERIUS
Estuans interius
ira vehementi
in amaritudine
loquor mee menti:
factus de materia,
cinis elementi,
similis sum folio,
de quo ludunt venti.
Cum sit enim proprium
IN THE TAVERN
Baritone Solo
In rage
and bitterness
1 talk
to myself;
made of matter,
ash of the elements,
I am like a leaf
which the wind plays with.
If a wise man
viro sapienti
builds
supra petram ponere
his house
sedem fundamenti,
stultus ego comparor
upons a rock,
1, fool,
fluvio labenti,
sub eodem tramite
am like a gliding river
nunquam permanenti.
no straight path.
Feror ego veluti
sine nauta navis,
like a pilotless ship,
ut per vias aeris;
vaga fertur avis;
non me tenet vincula,
non me tenet clavis,
quero mihi similes
which follows
I am swept away
like a bird floating aimlessly
through the air.
No fetters, no locks,
hold me;
I am looking for my like,
et adiungor pravis.
and I join the depraved.
Mihi cordis gravitas
The burdens of the heart
weight too heavily on me.
res videtur gravis;
iocus est amabilis
dulciorque favis;
quicquid Venus imperat
labor est suavis,
que nunquam in cordibus
habitat ignavis.
Via lata gradior
more iuventutis,
inplicor et vitiis
immemor virtutis,
voluptatis avidus
magis quam salutis,
mortuus in anima
curam gero cutis.
12. OLIM LACUS COLUERAM
Cignus ustus cantat:
Olim lacus colueram,
olim pulcher extiteram,
dum cignus ego fueram.
Miser, miser!
modo niger
Jesting is lovely
and sweeter than the honeycomb.
What Venus commands
is suave labour;
love never dwells
in cowardly hearts.
On the broad road I move along
as youth is wont to do.
I am entangled in vice,
and unmindful of virtue.
Greedy more for lust
than for welfare,
dead in soul,
I care only for my body.
Tenor Solo and Male Chorus
The roasted cygnet sings:
Once I dwelt in the lakes,
once I was
a beautiful swan.
O miserable me!
Now I am
et ustus fortiter!
roasted black!
Girat, regirat garcifer;
The cook turns me on the spit,
the fire roasts me through,
me rogus urit fortiter:
propinat me nunc dapifer,
and I am prepared for the feast.
Miser, miser!
modo niger
et ustus fortiter!
I miserable me!
Nunc in scutella iaceo,
et volitare nequeo,
dentes frendentes video:
I am borne upon a platter
and can no longer fly.
I catch sight of gnashing teeth.
Miser, miser!
modo niger
et ustus fortiter!
Now I am
roasted black!
13. EGO SUM ABBAS
roasted black!
O miserable me!
Baritone Solo and Male Chorus
Ego sum abbas Cucaniensis
et consilium meum est cum bibulis,
et in secta Decii voluntas mea est,
et qui mane me quesierit in taberna,
post vesperam nudus egredietur,
et sic denudatus veste clamabit:
I am the Abbot of Cucany,
Wafna, wafna!
Wafna, wafna!
Nostre vite gaudia
abstulisti omnia!
all the pleasures of this life.
IN TABERNA QUANDO SUMUS
Male Chorus
In taberna quando sumus,
non curamus quid sit humus,
When we are in the tavern,
unmindful of the grave,
ubi nummus est pincerna,
over which we sweat.
If you want to know
what happens in the tavern
quid fecisti sors turpissima?
14.
Now I am
sed ad ludum properamus,
cui semper insudamus.
Quid agatur in taberna,
hoc est opus ut queratur,
and I meet with my fellow-drinks
and belong to the sect of Decius.
Whosoever meets me in the tavern over dice
loses his garments by the end of the day,
and, thus denuded, he cries:
what hast thou done, O infamous fate?
Thou hast taken away
we rush to the gaming tables,
(where money gets you wine),
si quid loquar, audiatur.
then listen to my tale.
Quidam ludunt, quidam bibunt,
Some men gamble, others drink,
others shamelessly indulge themselves,
quidam indiscrete vivunt.
sed in ludo qui morantur,
ex his quidam denudantur,
quidam ibi vestiuntur,
quidam saccis induuntur.
Ibi nullus timet mortem,
sed pro Baccho mittunt sortem:
and of those
who stay to gamble,
some lose their garments,
and others are in sackcloth.
There no one is in fear of death,
throwing dice for Bacchus:
Primo pro nummata vini,
ex hac bibunt libertini;
semel bibunt pro captivis,
post hec bibunt ter pro vivis,
quater pro Christianis cunctis
quinquies pro fidelibus defunctis,
sexies pro sororibus vanis,
septies pro militbus silvanis.
First, the dice are thrown for wine,
which the libertines drink.
Then they toast the prisoners twice,
then they toast the living thrice.
Four times wine is drunk for Christians,
five times for the faithful departed,
six times for the boastful sisters,
seven times for the forest soldiers.
Octies pro fratribus perversis,
nonies pro monachis dispersis,
Eight times for the sinful brethen,
nine times for the dispersed monks,
decies pro navigantibus,
undecies pro discordantibus,
duodecies pro penitentibus,
tredecies pro iter agentibus.
Tam pro papa quam pro rege
bibunt omnes sine lege.
Bibit hera, bibit herus,
bibit miles, bibit clerus,
bibit ille, bibit illa,
bibit servus cum ancilla,
ten times for the navigators,
eleven times for men at odds,
twelve times for the penitent,
thirteen times for the travellers.
We drink for Pope and King alike,
and then we drink, we drink.
The mistress drinks, the master drinks,
the soldier and the clergyman.
This man drinks, that women drinks,
the servant the the maid.
-
bibit velox, bibit piger,
bibit albus, bibit niger,
bibit constans, bibit vagus,
bibit rudis, bibit magus.
Bibit pauper et egrotus,
bibit exul et ignotus,
bibit puer, bibit canus,
bibit presul et decanus,
bibit soror, bibit frater,
bibit anus, bibit mater,
bibit ista, bibit ille,
bibunt centum, bibunt mille.
The quick man drinks, the lazy drinks,
the white man and the black.
The sedentary drinks, the wanderer drinks,
the ignorant and teh learned.
The poor man drinks, the sick man drinks,
the exiled and the unknown.
The youngster drinks, the oldster drinks,
the Bishop and the Deacon.
The sister drinks, the brother drinks,
the old woman and the mother.
Women drink and men drink
by the hundreds and the thousands.
Parum sexcente nummate
Six hundred coins are not enough
durant, cum immoderate bibunt
for this aimless
omnes sine meta.
and intemperate drinking.
Quamvis bibant mente leta,
Through our drink is always gay,
there are ever those who nag,
and we shall be indigent.
sic nos rodunt omnes gentes
et sic erimus egentes.
Qui nos rodunt confundantur
et cum iustis non scribantur.
May they who nag us be confounded
and never be inscribed among the just.
III
III
COUR D’AMOUR
15. AMOR VOLAT UNDIQUE
THE COURT OF LOVE
Soprano Solo and Boys’ Chorus
Amor volat undique,
The God of Love flies everywhere
captus est libidine.
and is seized by desire.
Iuvenes, iuvencule
coniunguntur merito.
Siqua sine socio,
caret omni gaudio
tenet noctus infima
sub intimo
cordis in custodia:
fit res amarissima.
16. DIES, NOX ET OMNIA
Young men and young women
are rightly joined together.
If a girl lacks a man
she misses all delight;
darkest night
is at the bottom
of her heart:
This is the bitterest fate.
Baritone Solo
Dies, nox et omnia
Day and night and all the world
michi sunt contraria,
virginum colloquia
are opposed to me,
and the sound of maidens’ voices
me fay planszer,
Oy suvenz suspirer,
makes me weep.
Alas, I am filled with
plu me fay temer.
sighing and fear.
O sodales, ludite,
vos qui scitis dicite,
and speak as you please.
michi mesto parcite,
grand ey dolur,
Spare me, a sad man,
for great is my grief.
attamen consulite
Counsel me,
by your honour.
per voster honur.
O friends, amuse yourselves
me fay planszer milies,
Thy lovely face
makes me weep a thousand tears
pectus habet glacies.
because thy heart is made of ice.
Tua pulchra facies,
a remender,
Thy single kiss
statim vivus fierem
would bring me
per un baser.
back to life.
17. STETIT PUELLA
Stetis puella
rufa tunica;
si quis eam tetigit,
tunica crepuit.
Eia.
Stetit puella,
tamquam rosula;
facie splenduit,
os eius floruit.
Eia.
18. CIRCA MEA PECTORA
Soprano Solo
There stood a maid
in a red tunic;
when it was touched
the tunic rustled.
Eia.!
There stood girl,
like a rose;
her face was radiant,
her mouth bloomed.
Eia.!
Baritone Solo and Chorus
Circa mea pectora
My heart is filled
multa sunt suspiria
de tua pulchritudine,
que me ledunt misere.
I am longing for thy beauty.
Manda liet,
manda liet,
min geselle
chumet niet.
Manda liet,
manda liet,
my sweetheat
does not come.
Tui lucent oculi
sicut solit radii,
sicut splendor fulguris
lucem donat tenebris.
Thine eyes shine
like the sun’s rays,
like lightning flashes
in the night.
Manda liet,
manda liet,
min geselle
chumet niet.
Manda liet,
manda liet,
my sweetheart
does not come.
Vellet deus, vellent dii,
quod mente proposui:
ut eius virginea
reserassem vincula.
May the Gods look with favour
Mandaliet,
manda liet,
min geselle
chumet niet
Manda liet,
manda liet,
my sweetheart
does not come.
19. SI PUER CUM PUELLULA
Si puer cum puellula
moraretur in cellula,
felix coniunctio.
Amore suscrescente,
pariter e medio
propulso procul tedio,
fit ludus ineffabilis
membris, lacertis, labiis.
with sighing.
My misery is great.
on my desire
to undo the bonds
of her virginity.
Soli (3 Tenors, Baritone, 2 Basses)
When a boy and a maiden
are alone together,
happy is their union.
Their passions mount,
and modesty disappears.
An ineffable pleasure
pours through
their limbs, their arms, their lips.
20. VENI, VENI, VENIAS
Double Chorus
Veni, veni, venias,
ne me mori facias,
hyrca, hyrce, nazaza,
do not let me die.
Come, come,
trillirivos....
Hyrca, hyrce, nazaza,
trillirivos....
Pulcra tibi facies,
oculorum acies,
capillorum series,
Pretty is thy face,
the look of thine eyes,
the braids of thy hair;
o quam clara species!
O how beautiful thou art!
Rosa rubicundior,
Redder than the rose,
lilio candidior,
whiter than the lily,
omnibus formosior,
more beautiful than all the rest;
semper in te glorior!
always I shall glory in thee.
2. IN TRUTINA
In trutina mentis dubia
fluctuant contraria
lascivus amor et pudicitia.
Sed eligo quod video,
collum iugo prebeo;
ad iugum tamen suave transeo.
22, TEMPUS EST IOCUNDUM
Soprano Solo
I am suspended
between love
and chastity,
but I choose
what is before me
and take upon myself the sweet yoke.
Soli (Soprano and Baritone),
Chorus, and Boys’ Chorus
Tempus est iocundum,
0 virgines,
modo congaudete
VOS iuvenus.
Oh, oh, oh,
totus floreo,
iam amore virginali
totus ardeo,
novus, Novus amor
est, quo pereo.
Mea me confortat
promissio,
mea me deportat
negatio.
Oh, oh, oh,
totus floreo,
iam amore virginali
Pleasant is the season,
O maidens;
now rejoice,
ye lads.
Oh, oh, oh,
with love
1 bloom
for a maiden,
my new, new love,
of which I perish.
Yielding
gratifies me;
refusing
makes me grieve.
Oh, oh, oh,
with love
I bloom
totus ardeo,
for a maiden,
novus, NOvUs amor
est, quo pereo.
of new, new love,
of which I perish.
Tempore brumali
In winter
vir patiens,
animo vernali
man’s desires are passive;
the breath of spring
lasciviens.
makes him lascivious.
Oh, oh, oh,
Oh, oh, oh,
with love
totus floreo,
iam amore virginali
totus ardeo,
I boom
for a maiden,
novus, novus amor
my new, new love,
est, quo pereo.
of which I perish.
Mea mecum ludit
virginitas,
mea me detrudit
simplicitas.
Oh, oh, oh,
totus floreo,
iam amore virginali
My maidenhood
excites me,
but my innocence
keeps me apart.
Oh, oh, oh,
with love
I boom
totus ardeo,
for a maiden,
novus, novus amor
my new, new love,
of which I perish.
est, quo pereo.
Veni, domicella,
cum gaudio,
veni, veni, pulchra,
iam pereo.
Come, my mistress,
come with joy,
come, my beauty,
for 1 die.
Oh, oh, oh,
totus floreo,
iam amore virginali
Oh, oh, oh,
with love
novus, NOvus amor
I bloom
for a maiden,
my new, new love,
est, quo pereo.
of which I perish.
totus ardeo,
23. DULCISSIME
Soprano Solo
Dulcissime,
Sweetest boy,
totam tibi subdo me!
I give my all to you!
BLANZIFLOR ET HELENA
24. AVE FORMOSISSIMA
Ave formosissima,
gemma pretiosa,
BLANZIFLOR AND HELENA
Chorus
Hail to thee, most beautiful,
most precious gem,
ave decus virginum,
hail, pride of virgins,
virgo gloriosa,
ave mundi luminar,
most glorious virgin.
Hail, light of the world,
ave mundi rosa,
hail, rose of the world.
Blanziflor et Helena,
Blanziflor and Helena,
Venus generosa!
Venus generosa!
FORTUNA IMPERATRIX MUNDI
25. O FORTUNA
FORTUNE, EMPRESS OF THE WORLD
Chorus
O Fortuna,
O Fortune,
velut luna
statu variabilis,
variable
semper crescis
aut decrescis;
vita detestabilis
as the moon,
always dost thou
wax and wane.
nunc obdurat
Detestable life,
first dost thou mistreat us,
et tunc curat
and then, whimsically,
ludo mentis aciem,
thou heedest our desires.
egestatem,
As the sun melts the ice,
potestatem
so dost thou dissolve
dissolvit ut glaciem.
both poverty and power.
Sors immanis
et inanis,
Monstrous
and empty fate,
rota tu volubilis,
thou, turning wheel,
status malus,
art mean,
vana salus
semper dissolubilis,
voiding
good health at thy will.
Veiled
in obscurity,
thou dost attack
me also.
To thy cruel pleasure
I bare my back.
obumbrata
et velata
michi quoque niteris;
nunco per ludum
dorsum nudum
fero tui sceleris.
Sors salutis
et virtutis
michi nunc contraria,
est affectus
et defectus
semper in angaria.
Hac in hora
sine mora
corde pulsum tangite;
quod per sortem
stermit fortem,
mercum omnes plangite!
Thou dost
withdraw
my health and virtue,
thou dost
threaten
my emotion and weakness with torture.
At this hour,
therefore, let us
pluck the strings without delay.
Let us mourn
together,
for fate crushes the brave
GUILDFORD PHILHARMONIC ORCHESTRA
First Violins:
Hugh Bean
John Ludlow
Basses:
Neal
iAssociate Leaders Maurice
David Jones
Percussion:
General Manager:
Christopher Nall
Keith Bartlett
Kathleen Atkins
Katherine Adams
Paul Moore
Sheila Beckensall
Rachel Knowles
Nicholas Ormrod
Ian Berridge
Adam Precious
Julian Walton
Ian Brignall
Roy Sinclair
Music Administrator:
Peter Holt
Christopher Blundell
John J Davies
Projects Consultant (SEMT):
Avril Maclennan
Flutes:
Peter Newman
Tony Robb
Celeste:
Liz Partridge
Jane Koster
John Forster
Nick Bomford
Alex Suttie
Secretary:
Rosemary Van Der Werff
Shirley Ewen
Philip Winter
Piccolo:
Pianos:
Ginny Wray
Simon Hunt
John Forster
Katherine Rockhill
Second Violins:
Horns:
Nicholas Maxted Jones
Richard Berry
Rosemary Roberts
George Woodcock
Carl Beddow
David Clack
Catherine Belton
Jane Hanna
Andrew Bentley
Steven Bentley-Klein
Andrew Bernardi
ORCHESTRA
MILLMEAD HOUSE
MILLMEAD, GUILDFORD
GU2 5BB. Tel: (0483) 444666
Trumpets:
Julia Brocklehurst
Gareth Bimson
Ruth Dawson
John Pickles
Stephen Dinwoodie
Alastair Mackie
Ruth Knell
Alan Merrick
Adrienne Sturdy
For further information contact:
GUILDFORD PHILHARMONIC
Trombones:
Ian White
Jeremy Gough
Violas:
John Meek
GUILDFORD PHILHARMONIC CHOIR
Soprano:
Margaret Parry
Jacqueline Alderton
Vivienne Parsons
Kathleen Aldridge
Rosalind Plowright
Olivia Ames-Lewis
Jean Radley
Jill Baker
Susan Ranft
Louise Barnfield
Gillian Rix
Penny Baxter
Joan Robinson
Sue Bevan
Maureen Shortland
Mary Broughton
Dawn Smith
Justin Ward
Bass Trombone:
Elaine Chapman
Anne Rycroft
Martin Nicholls
Judy Smith
Rachel Edmondson
Pamela Smith
John Jezard
Jenny Hakim
Kathy Stickland
Jean Burt
Angela Hand
Margaret Strivens
Susan Hinton
Philippa Walker
Paul Appleyard
Tuba:
Karen Demmel
David Powell
Michael Newman
Timpani:
Cellos:
Roger Blair
Denis Vigay
John Stilwell
Christina Macrae
John Hursey
John Franca
John Kirby
Nora Kennea
Enid Weston
Judith Lewy
Christine Wilks
Anne Lyon
Elisabeth Willis
Margaret Mackie
Lucinda Wilson
Elizabeth McCracken
Tessa Wilkinson
Susan Norton
Frances Worpe
Robin Onslow
Alto:
Sally Bailey
Janet Critchley
Fiona Davis
Carolyn Richards
Iris Ball
Evelyn Beastall
Karen Deering
(Guildford Philharmonic Society
Nicolette Bell
Valerie Edwards
Playing Scholar)
Iris Bennett
Celia Embleton
Jane Brooks
Joanne Frampton
Jean Brown
Mandy Freeman
The audience may be interested to know that the violin
Barbara Buck
Rebecca Greenwood
sections are listed in alphabetical order after the first desk
Juliet Butler
Ingrid Hardiman
because a system of rotation of desks is adopted in this
Pamela Charlwood
Pamela Harman
orchestra so that all players have the opportunity of
Amanda Clayton
Carol Hobbs
playing in all positions in the section.
Mary Clayton
Sheila Hodson
s
———
|
e——
Joy Hunter
Susan Pope
Lyn Jackson
Catherine Shacklady
Gillian Sharpe
Helen Lavin
Kay McManus
Christine Medlow
Brenda Moore
Mary Moon
Jean Munro
Alison Newell
Arabella Onslow
Amor Pérez-de-Léon
Anne Philps
Kate Plackett
Judy A. Smith
Prue Smith
Rosemary Smith
Liz Snell
Hilary Steynor
Hilary Trigg
Pamela Usher
June Windle
Maralyn Wong
Beatrice Wood
Carol Wyllyams
Adrian Buxton
Peter Lemmon
Bob Cowell
Geoffrey Forster
Leslie Harfield
Maggie van Koetsveld
Nick Lamb
Elizabeth Lyon
Andrew Reid
Christopher Robinson
John Trigg
Bass:
Michael Jeffery
Peter Andrews
Graham Barwick
Roger Barrett
Stephen Jepson
Michael Longford
Michael Bradbeer
Norman Carpenter
Walter Chattaway
Neil Claytqn
Robert Coe
Rodney Cuff
Michael Dawe
Michael Dudley
Terence Ellis
Vicente Escribano
Nick Gough
John Hart
Peter Herbert
Laurie James
Next
season Guildford Borough’s music scheme
celebrates its 50th anniversary and features a number
of exciting works.
Highlights are Elgar’s Second Symphony (Vernon
Handley), Holst’s The Planets (Grant Llewellyn),
Rachmaninov’s Second Symphony (En Shao); this
concert also includes the second Sir Charles Groves
Endowment Fund artist, Lucy Wakeford, a young
Tenor:
John Britten
To-night’s concert is the final concert in the 1993/4 subscription series of concerts and Guildford Borough and
the Guildford Philharmonic aknowledge with most
grateful thanks the assistance of the Guildford Philharmonic Society and the Red Cross in the promotion of
the series.
Stewart Lyon
Neil Martin
Chris New
Maxwell New
Barry Norman
harpist who will play the Concerto for harp and
Orchestra by Ginestera. A rare performance of
Scriabin’s Prometheus — A Poem of Fire — complete
with special lighting effects — forms part of the
Guildford International Music Festival 1995. (Brian
Wright). This programme will require massive forces
as it also includes Berlioz’ Te Deum for which the
Philharmonic Choir will be joined by the Goldsmiths
Choral Union.
In December, Neville Creed conducts Bach’s
Christmas Oratorio, and The Apostles by Elgar — one
of his greatest achievements — conducted by Vernon
Handley, the orchestra’s conductor emeritus, brings
the season to a close.
John Parry
All of us associated with the promotion of the concerts
Peter Pearce
wish
Roger Penny
Nigel Pollock
David Ross
to thank concertgoers for their support.
Guildford Borough acknowledges the assistance given
to the orchestra by the Philharmonic Society, the
South East Arts Association, South East Music Trust,
sponsors and corporate members.
John Schlotel
Philip Stanford
Martin Unwin
Donald Walden
concerts will be available in June from the Guildford
Andrew Whitehouse
Ralph Whitehouse
Guildford. (Tel. 0483 444666). Current subscribers will
The
brochure giving full details of next season’s
Philharmonic’s office at Millmead House, Millmead,
receive the new brochure automatically.
THE ROYAL GRAMMAR SCHOOL
BOYS’ CHOIR
James Ballentine
William Blagbrough
Jonathan Lippiatt
Ben Bridger
James Lofting
Dominic Bridgewater
John Carter
Oliver May
SATURDAY 4 JUNE 1994 at 7.30pm
Edward Mitchinson
GUILDFORD CATHEDRAL
Oliver Cooper
Alastair Morton
Piers Cox
KINGSTON CHORAL SOCIETY
Matthew Ollier
WEST SURREY PHILHARMONIC CHOIR
Richard Craig
Andrew Cunliffe
Robin Patteron
Andrew Linton
with the
Sebastian Dance
Duncan Peel
Leon Rossiter
GUILDFORD PHILHARMONIC ORCHESTRA
ROBIN PAGE conductor
Alexander Dawe
Parijat Roy
BEETHOVEN - MISSA SOLEMNIS
Adrian Der Gregorian
Paul Dorrell
Matthew Sims
Ben Stanley
Programmes of admission available from
Morgan Evans
Ronald Stewart
and TOURIST INFORMATION CENTRE
Guildford Cathedral Box Office
GUILDFORD 0483 444008
Matthew Fernando
Matthew Swain
Nicholas Horne
Jem Tercan
and 081 977 8665/0403 267175
Matthew Hilton
James Varah
Edward White
£12.50 and £8.00
Graham Kirby-Smith
Birinder Lally
Students concession tickets £8 for £5
P=
The Hog's Back Hotel, situated high upon the Hog's Back
ridge, with superb views of the Downs and valleys. Set in
2 acres of beautiful gardens and
grounds. A traditional country
RECORD CORNER
house hotel with modern
facilities, comforts
SPOT POR and decor. Including
POUND LANE, GODALMING
Tel: 0483 — 422006
CD’s, Cassettes, Videos
CLASSICAL SPECIALIST
(Gramophone Blue Riband Dealer)
89 luxury bedrooms,
And the Cedar suite, a
versatile suite of one, two or LO
each with
C AI
private
bathroom.
three rooms which can be
used for meetings large
and small, conferences
and gatherings.
Rock, Pop, Jazz, Blues, Spoken Word
Sheet Music inc. Associated Board
Musical accessories, Storage Systems
Second Hand LP’s, Tapes, CD’s
Trade-in Service available
The Cedar Suite is
—
self-contained, with its own private bar, and opens onto the —
gardens. Facilities for projection and syndicate work are
amongst the refinements. 150 people can be seated in comfort.
For a business lunch, family meal or entertaining clients, the
Mail Order (Access, Visa, Mastercard)
Mon—Fri 9.15-5.15, Sat 9-5.30
Henley’s Restaurant has an excellent reputation locally for fine
food and wine, with its mouthwatering spread of Hors
d’Oeuvres.
JarvisaHotels
Health & Leisure Club, Summit
SEALE, FARNHAM, SURREY GU10 1EX
and car parking for 150 vehicles completes
TEL: 0252 782345 FAX: 0252 783113
the scene at the Hog's Back Hotel.
The delightfully appointed Henley's Bar,
HOG’S BACK HOTEL
GHl
IS YOUR COMPANY
INTERESTED IN
SPONSORING THE
PHILHARMONIC?
A full range of opportunities
available for the
1994/95 Season.
50th Anniversary Year
Contact: Kathleen Atkins,
Guildford Philharmonic Orchestra,
Millmead House,
Millmead, Guildford
Tel: 0483 — 444666
Conference rooms, facilities for the disabled,
1 OR DONBHAKIM
¢k
R
T
R
E
D
A€
QU
N
T
AN
TS
TUNSGATE SQUARE
98/110 HIGH STREET
GUILDFORD - SURREY
GU13HE
TELEPHONE: 0483304147 - FAX: 0483303635
THE MICHAEL JEFFERY PARTNERSHIP
Chartered Architects
Orchard Cottage
Broadstreet Common
Guildford, Surrey
GU3 3BN
Tel. (0483) 62007
Fax: (0483) 304801
Educational, Church, Commerical,
Hotel and Home, conservation, new work,
alteration, extension,
design and building advice.
uuuuuuu
~~~~~~
~~~~~~
E
HARTER
ACCOUNTANT
CROPPER
HARTERED
ACCOUNTANT
s
CHARTERED ACCOUNTANTS IN LONDON AND HASLEMERE
The Partners and Staff are pleased
to be able to continue their support for
The Guildford Philharmonic Orchestra
and wish them well for the 1993/94 Season.
16
NEW
24
PETWORTH
BRIDGE
STREET
ROAD
LONDON
EC4V
6AX
HASLEMERE
GU27
2HR
Serving Surrey Music Lovers for over 130 years
(Established in Guildford in 1857)
SAAB HONDA
CLASSICAL
Agents for leading makers
NAME S
Pianos for sale, hire and concert use
62 MEADROW, GODALMING
y
Telephone: 0483 422459
BELL & COLVILL
Epsom Road, West Horsley, Nr. Leatherhead, Surrey.
Telephone : 0483 - 281000
The
eritage
Club
Special
Interest
Weekends
indow to
New Interests
Music & Opera; Towns and Cities
Gardens; Countryside
Famous People; Historic Houses
China & Porcelain; Literary Landscapes
Canals and Railways
and many more ...
For further information, Please return the form below to:
P.O.Box 31, Moss House, King Street,
Belper, Derbyshire, DE56 1YN
Name
CP/93
Address
Town
County
Postcode
Daytime
Telephone
Telephone
Evening
Hart
Brown
& Co
SOLICITORS
. . . proudly supporting
The Professional
Orchestra of the South East
68 Woodbridge Road, Guildford, Surrey GU1 4RE Tel: (0483) 68267
Jenner House, 2 Jenner Road, Guildford, Surrey GU1 3PW.Tel: (0483) 68267
West Bank, 4 Jenner Road, Guildford, Surrey GU1 3PW Tel: (0483) 68267
2 Bank Buildings, High Street, Cranleigh, Surrey GU6 8BE Tel: (0483) 273088
33 High Street, Cobham, Surrey KT11 3ES Tel: (0932) 864433
7 & 8 Guildford Road, Woking, Surrey GU22 7PX Tel: (0483) 729991
1 South Street, Godalming, Surrey GU7 1DA Tel: (0483) 426866
Sovereign House, 17 South Street, Farnham, Surrey GU9 7QU Tel: (0252) 737303
50 years of professionalism!
Next season is the Guildford Pmlharmomcs SOth anmversary season and ,
;
‘
'
your support can makeit spec1a1
“The South East Musxc Trust Wthh has supported the orchestra for over 20 ,' ;
- years, is raising funds to ensure that the 1994/ 95 season .is partlcularly'
memorable Events plannedinclude:
—
=
:
¢ A work to be ‘commissioned for chlldrcns voices and professmnal "
orchestra by Howard Blake.
‘®o0
'
Aperformance of Scriabin’s Prometheus with specml hghtmg effectsin
Guildford Cathedral.
A celebration ofJack BrymerS 80th bu'thday (and Mozart s 239th') on
the day.
:
SOth blrthday concert for John Lnll
Performances ofHolst’s Planets Elgar Second Symphony, Rachmamnov |
Second Symphony
Agrand open-axrspectacular commemoratmg the end of World‘War IL
Jubilee Patrons
~ This is a unique opportumty for you to contnbute to the orchestras
Jubilee season by becommg a Jubilee Patron.For just £25 your name will
~ be mentioned in every programme produced for- the Gu1ldford :
Phflharmomcs 1994/95season.
:
:
»
_
.,
Please send your donation to
’I'he Treasurerof the South East Music Trust (Mr G. Mussett) e
~
Millmead House, Millmead, Guildford GU2 SBB
=
(Reglstered Charity No 313625)
To: The Treasurer, South East Music Trust,
Millmead House, Millmead, Guildford GU2 5BB.
I enclose my donation of £25 in'favourof the South East Music Trust.
Name (pleasepflrim)_,f St
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