IBRADITION
A proud tradition gained over many years is a
valuable asset for an Orchestra or an Industrial
Company.
Yet in the eyes (and ears) of our respective
audiences, it is no substitute for present day
performance.
BOC Gases and the Guildford Philharmonic
Orchestra have traditions spanning 108 years
and 50 years respectively.
May the way we both perform - today and for
many years to come - continue to attract and
satisfy those audiences whom it is our privilege
to serve.
Head Office:
BOC GASES, The Priestley Centre, |0 Priestley Road,
The Surrey Research Park, Guildford, Surrey, GU2 5XY
Phone: (0483) 579857 Fax: (0483) 50521 |
Local Agent:
] T WARSORP Jnr & Co. Ltd, Delta Works,
Midleton Industrial Estate, Guildford, Surrey, GU2 5XW
Phone: (0483) 34222 Fax: (0483) 304 347
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providing an impartial consulting service to help our customers
make effective use of science and technology,
is committed to enhancing the quality of life
through sponsorship of the Arts
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Smith System Engineering, Surrey Research Park, Guildford GU2 5YP
BURCHATTS
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DEPARTMENT OF MUSIC
University of Surrey
Members of the public are most welcome
at all our concerts.
Wednesday Lunchtime Recitals
feature student performances: admission is free
and the recitals start at 1.15 pm.
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A series of four Sunday afternoon concerts in
November in Studio One, starting at 4 pm.
6th: Nikolai Demidenko, piano (Schubert, Clementi, Liszt)
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plus
performance
a 1st
of a new work by Sadie Harrison)
® Competitive hire prices
For full details on Burchatts Farm Barn contact
Miss J Boothroyde
Guildford Borough Council, Millmead House, Millmead,
Guildford, Surrey GU2 5BB.
Telephone 0483 - 444701.
CUILDFORD
—
B
O
RO
UCGCH
University Symphony Orchestra and Choir
Sunday 11 December 7.45 pm
Dvorak Symphony No 9, From the New World and
works by Charles Ives, Villa-Lobos and Ravel
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GUILDFORD LONDON SWINDON CHELMSFORD
i
o09wa8t4n
50th Anniversary Season
The GUILDFORD PHILHARMONIC
JUBILEE PATRONS
ORCHESTRA acknowledges with thanks the
Mr. & Mrs. P. C. Allam
Mr. J. C. Allison
Anon (3)
generous support of its MAJOR SPONSORS,
JUBILEE SPONSORS,
CORPORATE MEMBERS
and JUBILEE DONORS.
The SOUTH EAST MUSIC TRUST acknowledges
with thanks the generous support of the
JUBILEE PATRONS and MUSICIANS UNION.
MAJOR SPONSORS
& BOC GASES
ERICSSON Z
Hart Brown & Co., Solicitors
€% National Westminster Bank
JUBILEE SPONSORS
@ Cargill
Miss Wynne Bartlett
Bill & Doreen Bellerby
Bhagat & Caines Ltd
Mr. F. Brocklehurst
Norman & Jean Carpenter
Mr. & Mrs. K. Chard
Hon. Alderman Elizabeth Cobbett
J. A. Collyer
Mrs. B. Corben
Mr. Richard Cownden
Michael Dawe
Mr. & Mrs. N. Dimmock
K. E. M. Dixon
Mrs. Louise Fulda
Record Corner
Jean & Leonard Garland
N. J. Hobbs
Councillor Andrew Hodges
Barbara Jones
Peter & Pam Levell
Mr. Stewart & Mrs. Elizabeth Lyon
Sound Barrier
Mrs. M. Maple
“@ National Grid
Morison Stoneham (BSIS award winner)
CORPORATE MEMBERS
Smith System Engineering
University of Surrey Music Department
JUBILEE DONATIONS
CableTel
Colgate-Palmolive Limited.
Lloyds Bank plc
All concerts in the current season are funded by
Councillor D. A. R. May
Mrs. Jill Mussett
Mrs. K. M. Sehmer
Dr. K. M. Urwin
Mr. & Mrs. John Wedgbury
Dr. P. D. Wickenden
Mr. & Mrs. M. J. Williams
Lilian G. Willis
Mrs. Jeni Young
GUILDFORD BOROUGH
with financial assistance from ‘:fl South East Arts,
the Guildford Philharmonic Society and the South East Music Trust
and the fi Musicians’ Union.
The financial support of all those listed above has made possible the ambitious programming of the anniversary season.
GUILDFORD CATHEDRAL
SATURDAY 4 MARCH 1995 at 7.30pm
Associate Leaders: Hugh Bean, John Ludlow
BRIAN WRIGHT
conductor
WILLIAM KENDALL
tenor
NIKOLAI DEMIDENKO
piano
Recognised as “one of the most talented and musically
imaginative of our conductors” (Daily Telegraph), the
British conductor Brian Wright studied as a Gulbenkian
scholar in London and Munich, winning second prizes
CHORISTERS OF GUILDFORD CATHEDRAL
& SOUTHWARK CATHEDRAL
in the Guido Cantelli conducting competition at La
Scala, Milan, and in the Rupert Foundation competition
with the London Symphony Orchestra. In 1975, he was
appointed Assistant to André Previn and the LSO and
then spent ten years as a Conductor to the BBC in
London, conducting concerts and broadcasts with all
GOLDSMITHS CHORAL UNION
GUILDFORD PHILHARMONIC CHOIR
the BBC Orchestras. He won particular praise at the
BBC Proms for his performances of Berlioz and Liszt
with the BBC Symphony and Royal Philharmonic
Orchestras and for premieres of Penderecki and Robert
Simpson.
Since 1985, Brian has conducted all the major British
The Guildford Philharmonic acknowledges with grateful
orchestras, giving London South Bank and Barbican
thanks the sponsorship received for this concert from
concerts
Alberts Music Shop Ltd. and the South East Music Trust.
Philharmonic,
bsis
[T
e
Matching Arts
Sponsorship
Albert’s Music Shop Ltd. of Guildford, Dorking &
Twickenham is an award winner under the Business
Sponsorship Incentive Scheme for its support of the
soloists in this concert. The BSIS is a Government Scheme
administered by ABSA (Association for Business
Sponsorship of the Arts).
with
the
LSO,
BBCSO,
Philharmonia
and
RPO,
London
English
Chamber
Orchestras. He has toured in Belgium and Switzerland
with the BBCSO and in Greece for the RPO. During the
1993/4 season, Brian conducted a highly successful
concert at the prestigious Sofia Music Weeks in
Bulgaria, celebrated his twentieth year as Music
Director of one of London’s finest symphonic choirs,
Goldsmiths Choral Union, and gave London concerts
with the ECO and RPO. He has recorded for the
American Crystal label and last season conducted a CD
of Spanish contemporary music with the London
Philharmonic.
In December 1994 Brian made his debut in Canada
with the Calgary Philharmonic and has been invited to
return for concerts with Yo Yo Ma in the 1995/6 season.
The present,
performances at the Hollywood Bowl; Philharmonic
1994/5, season also brings concerts in
Hall, Berlin with the Berliner Symphoniker; the Royal
Switzerland, at the Tonhalle in Zurich, in Mexico with
Festival Hall with the Royal Philharmonic Orchestra
the Mexico Philharmonic and in Bari, Italy. In July, he
and Yuri Temirkanov and in Edinburgh, Stirling and
conducts the 60th anniversary Royal Gala concert for
Aberdeen with the Scottish Chamber Orchestra. He
the National Federation of Music Societies at the Royal
gives
Albert Hall.
Luxemburg for the Haskil-Kempff Festival, Cardiff and
In addition to his conducting, Brian is well known as a
writer, contributing articles on conducting to “Classic
CD”, and as a broadcaster. He currently presents “Choir
Works” on BBC Radio 3.
recitals
in
Toronto,
Hilversum
for
NCRY,
St John’s, Smith Square for the BBC and at the Belfast;
Chester and Ribble Valley Festivals. In February 1995
he collaborated with the distinguished Russian bass
Anatoli
Safiulin
for performances
of the
complete
Mussorgsky song cycles in St John’s Smith Square and
Rouen. This programme will be repeated at the 1995
Verbier Festival and will be recorded for Hyperion.
In the 1995/96 Season Nikolai Demidenko is invited to
perform the Scriabin Concerto with the Netherlands
Radio Philharmonic, in the Concertgebouw and the
Odense Symphony Orchestra; the Prokofiev Second &
Third
Concertos
with
the
London
Philharmonic
Orchestra in the Royal Festival Hall all conducted by
Alexander Lazarev; the Beethoven Third Concerto with
the BBC Philharmonic
and Vassili
Sinaiski
and in
March 1996 he returns to the Israel Philharmonic.
Following
the
success
of the
series
Masterworks”
recitals
at
Wigmore
the
of six
Hall
“Piano
from
January to June 1993 (which offered a personal insight
into 250 years of keyboard music, instrumental technique and the development of modern piano resource),
Nikolai Demidenko was invited to take part in the
International Piano series at the Royal Festival Hall in
January 1995; the Wigmore Hall Gramophone Awards
Winner Festival in November 1995 and the Barbican
Celebrity Recital series in February 1996.
Under an exclusive contract with Hyperion Records,
Nikolai
Demidenko
has
released
albums
of Bach-
Busoni, Chopin, Liszt, Medtner and Rachmaninov. For
his recording
of Medtner Second
and Third Piano
Concertos with the BBC Scottish Symphony Orchestra
and Jerzy Maksymiuk, he received a 1992 Gramophone
Award. Recent releases include a Two Piano album of
Rachmaninov and Medtner with Dmitri Alexeev and
Nikolai
Demidenko
studied
at
the
Moscow
Conservatoire with Dmitri Bashikirov. A medallist in
the 1976 Concours International de Montreal and in the
1978 Tchaikovsky International Competition, he made
his British
debut in
1985 with the
Moscow Radio
Symphony Orchestra. Resident in the UK since 1990,
Nikolai Demidenko holds a teaching appointment at the
Menuhin School and a Visiting Professorship at the
University of Surrey.
Recent
engagements
have
included
recitals
in
the
Concertgebouw, Amsterdam; De Doelen, Rotterdam;
the Wigmore Hall Masterconcerts Series; the Mann
Auditorium, Tel Aviv; Milan; Lyon; The City Hall,
Sheffield; Brighton & Verbier Festivals and concerto
appearances
with
Symphoniker;
the
Israel
English
Philharmonic;
Chamber
Berliner
Orchestra;
Ulster
Orchestra and Indianapolis Symphony Orchestra.
Highlights
of
the
1994/95
Season
for
Nikolai
Demidenko include his ninth tour of Japan; concerto
Tchaikovsky First and Scriabin Piano Concertos with
the BBC Symphony Orchestra and Alexander Lazarev.
The
Weber
Concertos
with
the
Scottish
Chamber
Orchestra and Sir Charles Mackerras will be released in
Spring 1995 followed by a Clementi Album.
with
the
Royal
Liverpool
Philharmonic,
Beethoven
Missa Solemnis with the Warsaw Philharmonic and
with the Royal Scottish Orchestra/Walter Weller, Bach
Cantatas with the Scottish Chamber Orchestra, Nono
Canti di
Vita e d’Amore with the Suisse Romande
Orchestra,
The
Bournemouth
Jandcek’s
Dream
of
Symphony
Sarka
at
the
Gerontius
Orchestra,
1993
with
the
Cstirad
in
Edinburgh
Festival,
Mozart’s Requiem in France with the Orchestra of the
Academy
of St
Martin
in
the
Fields/Marriner and
Bach’s St Matthew Passion/Willcocks, he also sang
Florestan in a concert version of Leonora with the
Scottish
Chamber
Alexanderfestes
Haydn’s
in
Orchestra/Mackerras,
Berlin,
Harmoniemesse
Mozart
with
Handel’s
Mass
Simon
in
C
and
Halsey
and
I’Ecole d’Orphee in the Symphony Hall Birmingham,
and a recording of Jomelli, La Didone Abbandonata
with the Kammerorchestra in Stuttgart conducted by
Friedrich Bernius.
His
future plans
Handel
Festival,
include Messiah
Berlioz’
Te
at the
Deum
and
Gottingen
Bach’s
St.
Matthew Passion in Finland, a performance of J. S.
Bach’s Magnificat with the Hanover Band and record-
ing of Blow’s Anthems with David Hill/Hyperion.
GOLDSMITHS CHORAL UNION
Patrons:
Sir Charles Mackerras CBE
Dr Elisabeth Schwarzkopf DBE
William Kendall was born in London and gained a
music degree at Cambridge University. After further
scholarship study with the tenors Robert Tear and Sir
The Worshipful Company of Goldsmiths
Music Director:
Peter Pears, he quickly established himself on concert
Brian Wright
and recital platforms throughout the UK, Europe and
Accompanist:
North America.
He made his London Festival Hall
debut and BBC Promenade Concerts appearance in
1981.
Equally familiar with the works of contemporary composers as with the baroque, William Kendall has
formed
under
Hogwood,
Harnoncourt,
per-
Mackerras,
Willcocks, Tippett, Taverner, Boulez and Penderecki,
the latter in the world premiere of his Polish Requiem.
He also performs and records regularly with John Eliot
Gardiner
and
the
English
Baroque
Soloists;
their
recording of Beethoven Missa Solemnis with Deutsche
Grammophon
won
overall
first
prize
in
the
1991
“Record of the Year” awards in London. He also sang
The Evangelist St Matthew Passion in the “Berlin 750”
celebrations with Gardiner for which he received wide
critical acclaim.
Engagements also include The Evangelist in Bach’s St
John
Passion
for the
BBC
live
transmission
from
London’s Westminster Abbey and Britten’s Serenade
for Tenor, Horn and Strings in two concerts with the
Stockholm Philharmonic Orchestra, with a further per-
formance of the same work in Sydney, Australia, with
the Australian Chamber Orchestra directed by Barry
Tuckwell.
Recent engagements include European tours with the
Monteverdi Choir/Gardiner, Mendelssohn Lobgesang
Stephen Jones
Goldsmiths Choral Union is ranked as one of London’s
finest amateur choirs. As an independent, self-financing
organisation GCU works hard to ensure that it can
continue promoting concerts in London’s major concert
halls with professional soloists and orchestras, perform-
ing a broad spectrum of music, as it has done since its
foundation in 1932.
GCU’s performances of the traditional choral reper-
toire, ranging from Handel’s Messiah to Elgar’s Dream
of Gerontius, have been praised for their freshness,
clarity and emotional commitment. Equally, GCU seeks
to promote and perform lesser known or rarely heard
works such as, in recent seasons, Liszt’s Christus and
Sir Michael Tippett’'s Mask of Time. UK premieres
given over the years include Stravinsky’s Les Noces,
Mahler’s Das Klagende Lied and the first broadcast
performance of Carl Orff’s popular Carmina Burana.
Last year they celebrated their 60th Anniversary season,
and the 20th anniversary of their Music Director, Brian
Wright, with a performance of Walton’s Belshazzar's
Feast’, and took part in The Royal Concert, singing
Beethoven’s
Choral
Symphony
with
Sir
Charles
Mackerras and the Royal Philharmonic.
GCU is proud to support young musicians: Felicity
Lott, Ann Murray, Patricia Rozario, Catherine Wyn-
Rogers, Kathleen Ferrier, Peter Pears and Thomas Allen
all sang with GCU at the outset of their careers as well
as subsequently; and GCU has performed regularly
with the Royal Philharmonic Orchestra, Young
Musicians
Symphony
Orchestra
and
the
Orpington it became necessary to recruit more widely.
Nowadays the boys attend many different schools and
travel in from all parts of London, singing four services
each week. The lay-clerks are a combination of profes-
NCOS
Symphony Orchestra.
sional singers and volunteers who work in many different professions such as teaching or banking.
The choir welcomes new singers: for further details
please contact David Hayes, 25 Featherbed Lane,
Southwark has been the home for many renowned professional musicians including Harry Bramma, Director
Addington, Croydon, Surrey CRO 9AE. Telephone: 081
657 1726.
of the Royal School of Church Music, John Scott, the
present
Director of Music
at
St
Paul’s
Cathedral
London and Andrew Lumsden of Lichfield Cathedral.
GUILDFORD PHILHARMONIC CHOIR
Over the years the choir has made several recordings
and undertaken tours to the United States of America
and Continental Europe. In the summer of 1990 they
Vernon Handley (President)
Jeremy Backhouse (Chorus Director)
Jeremy Filsell (Accompanist)
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 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
visited Rouen and Caen and were invited to sing as part
of the Nuits Musicales en Bourbonnais near Vichy, and
the following year toured Germany and Switzerland. In
1993 they undertook a highly successful tour to
Normandy and Paris where they sang mass in NotreDame and Saint-Eustache (performing the Vierne mass
for two organs and choir). Back home they broadcast
frequently for the BBC; this includes Choral Evensong
on Radio Three. The choir has also recorded the titlemusic for Thames Television’s Mr Bean series and
provided the church music for the film, The Mystery of
Edwin Drood.
musicians, and as well as giving frequent concerts in
Guildford, the Choir occasionally visits other British
In 1988 the Guildford Philharmonic Choir
cities.
visited Paris, in 1990 joined forces with the Freiburger
BachChor in Freiburg Munster and in November 1993
gave
an
outstanding
Requiem also with
performance
of Brittens
War
the Freiburger BachChor under
Neville Creed.
Jeremy Backhouse was appointed Chorus Director in
GUILDFORD CATHEDRAL CHOIR
Andrew Millington (Organist & Master of The Choristers)
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
has built up an enviable reputation for its singing. The
boys of the choir (20), are drawn from Lanesborough
January of this year, succeeding Neville Creed who
held the post for seven years.
Preparatory School in Guildford and some of the older
SOUTHWARK CATHEDRAL CHOIR
scholars from the University of Surrey.
Peter Wright (Director)
During its relatively short history, the choir has made
ones attend the Royal Grammar School. The lower
parts are sung by professional
Although music has always played a part in the life of
layclerks and choral
numerous recordings, including an album of Christmas
Southwark, little is known about the choir either from
Carols which won a ‘Gold Disc’ award for the sale of
the monastic period or later when the building was a
over five hundred thousand records, and just recently a
parish church.
Despite the fame of St Paul’s Cathedral and its music,
London’s other Anglican Cathedral on London Bridge
has a great musical tradition with its own men and boys
choir.
It was in 1897 that Dr Alfred Madeley Richardson was
appointed organist of the newly established Collegiate
Church which later became the Cathedral in 1905, and
it was at this time that the present choral foundation was
established with the help of Sir Frederick Wigan, a local
hop merchant who gave money to pay for the education
‘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
capacity audiences from Ottawa in the East, to Victoria
BC in the West. The choir broadcasts regularly on BBC
Radio 3, and has made several TV appearances.
In 1974 Barry Rose moved to St. Paul’s Cathedral, and
he was succeeded by Philip Moore. He was appointed
to York Minister in 1983 and the post is now occupied
by the present Organist and Master of the Choristers,
Andrew Millington.
of choristers at St Olave’s School at Tower Bridge.
The choir covers a large repertoire from plainsong to
(More recently the widow of Oscar Hammerstein, play-
contemporary
wright and lyricist, gave a memorial donation and the
European styles. In addition to service music, the choir
two head choristers are now known as Hammerstein
occasionally performs larger works with orchestra. In
Chanters.) Until 1968 the choristers were largely drawn
recent years, these have included Handel’s ‘Messiah’,
from
Bach’s ‘St. John Passion’ and Haydn’s ‘Nelson Mass’.
St
Olave’s,
but
when
the
school
moved
to
music,
including
a
wide
variety
of
TE DEUM
GIUSEPPE VERDI (1813 - 1901)
Verdi’s Te Deum is most often performed as the last in
a set of choral compositions entitled Four Sacred
Pieces, but the four were not meant to be performed
together and are not musically related. The Te Deum,
composed in 1895-96, was Verdi’s last completed
work but one. At first he intended to let it ‘sleep
without seeing the light of day’, according to a letter
he wrote to Boito when it was almost finished, and he
had to be persuaded to allow its performance. He had
nevertheless taken great pains with it, and the first performances in Paris and Turin in 1898 were much
acclaimed.
Although Verdi first studied what earlier composers
like Purcell and Victoria had done with this text, he nat-
urally went his own way in the end, guided by the
words. The Te Deum, he observed, was ‘usually sung at
great solemn festivals celebrating a victory or a corona-
tion’, and he conceded that at the beginning Heaven and
Earth rejoice. But towards the middle he noticed a
change of tone, and he thought the closing prayer
showed distress approaching terror. ‘All that’, he concluded, ‘has nothing to do with victories and coronations.” Grand in praise and fervent in prayer, Verdi’s
setting reflects that thinking.
It is scored for double chorus and large orchestra but
begins with only male voices intoning an ecclesiastical
cantus firmus and very softly the lines immediately fol-
lowing. The full forces burst forth at Sanctus, and there
are splendid proclamations of Divine majesty and
kingship. Other expressions of faith are couched in
gentler sounds, and there are echoes of the word ‘holy’
as if from angels afar. The acknowledgement (Judex
crederis) that “Thou shalt come to be our Judge’ leads
to humanity’s prayer for salvation. After Dignare,
Domine, to be sung ‘with a sorrowful expression, a veil
over the voices’, comes the realisation that mankind is
made up of individuals. In te speravi (In Thee have 1
trusted) strikes a none too certain note. Soprano voices
repeat the words three times with growing confidence,
and shifting orchestral harmonies below an E floating
high aloft on violins bring the work to its close.
© Eric Mason
Te Deum laudamus, te Dominum
We praise Thee, O God, we acknowledge
confitemur;
Thee to be the Lord,;
Te aeternum Patrem omnis terra
All the earth doth worship Thee,
veneratur.
the Father everlasting.
Tibi omnes Angeli, tibi coeli et
universae Potestates:
To Thee all Angels cry aloud, the
heavens and all the powers therein:
Tibi cherubim et seraphim
To Thee cherubim and seraphim
incessabili voce proclamant:
continually do cry:
‘Sanctus, Sanctus, Sanctus, Dominus
‘Holy, Holy, Holy, Lord God of
Deus Sabaoth. Pleni sunt coeli et
Sabaoth. Heaven and earth are full of
terra majestatis gloriae tuae.’
the majesty of Thy glory.’
Te gloriosus Apostolorum chorus,
The glorious company of the Apostles,
Te Prophetarum laudabilis numerus,
Te Martyrum candidatus laudat exercitus.
the goodly fellowship of the Prophets,
the noble army of Martyrs praise Thee.
Te per orbem terrarum sancta confitetur
The Holy Church throughout all the
Ecclesia, Patrem immensae majestatis;
world doth acknowledge Thee, the
Father of an infinite majesty;
Venerandum tuum verum et unicum Filium;
Thine honourable true and only Son;
Sanctus quoque Paraclitum Spiritum.
also the Holy Ghost, the Comforter.
Tu, Rex gloriae, Christe,
Thou art the King of Glory, O Christ,
Tu Patris sempiternus es Filius.
Thou art the everlasting Son of the Father.
Tu ad liberandum suscepturus hominem,
When Thou tookest upon Thee to deliver
non horruisti Virginis uterum.
man, Thou didst not abhor the Virgin’s womb.
Tu devicto mortis aculeo, aperuisti
When Thou hadst overcome sharpness
credentibus regna coelorum.
of death, Thou didst open the Kingdom
Tu ad dexteram Dei sedes
Thou sittest at the right hand of God
in gloria Patris.
in the glory of the Father.
Judex crederis essee venturus.
We believe that Thou shalt come to be our Judge.
of Heaven to all believers.
Te ergo quaesumus tuis famulis subveni,
We therefore pray Thee, help Thy
quos pretioso sanguine redemisti.
servants, whom Thou hast redeemed
with Thy precious blood.
Aecterna fac sum Sanctis tuis,
Make them to be numbered with Thy
in gloria numerari.
Saints in glory everlasting.
Salvum fac populum, Domine, et benedic
O Lord, save Thy people, and bless
hereditati tuae; et rege cos, et
Thine heritage; govern them and lift
extolle illos usque in aeternum.
them up for ever.
Per singulos dies benedicimus te; et
Day by day we magnify Thee; and we
laudamus nomen in saeculum saeculi.
worship Thy name, ever word without end.
Dignare, Domine, die isto sine peccato
Vouchsafe, O Lord, to keep us this day
nos custodire.
without sin.
Miserere nostri Domine.
O Lord, have mercy upon us.
Fiat misericordia tua, Domine, super nos
O Lord, let Thy mercy lighten upon us
quemadmodum speravimus in te.
as our trust is in Thee.
In te speravi; non confundar in aeternum.
In Thee have I trusted; let me never be confounded.
In te, Domine, in te speravi.
In Thee, Lord, in Thee have I trusted.
LIGHTING FOR PROMETHEUS
dance and conference work. Freelance work includes
When Scriabin composed “Prometheus” he wanted to
do more than influence his audience with music — he
envisaged creating a work encompassing all areas of
sensory experience. He therefore visualised communicating the emotion and passion in his work through
another medium and it is with this in mind that Scriabin
wrote a “light score” for an instrument of his imagination: clavier a luce.
This production of “Prometheus” finally introduces this
element of Scriabin’s work as he intended it to be. An
extravaganza of moving and swirling light, underpinned by vast sweeps of colour flooding the Cathedral
are all dictated by Scriabin’s score both in their choice
of colour and in their movement. The complex light
show has been designed to aesthetically and technically mirror the visions of its composer and stay true to his
vision of “Prometheus” as both an aural and visual
pop videos for Indie band “Wasp Factory”, assistant to
Jon Howard on the Imagination project for Arthur
Anderson Consultants at Alexandra Palace, lighting
designer for “Leader — the Gary Glitter Story” and also
for Eddie Izzard (Edinburgh Festival 93, West End
residency Spring 1994 and U.K Tour Spring 1995). In
her spare time she also holds down a job as Technical
Manager at the University of Surrey.
ALEXANDER SCRIABIN
(1872 - 1915)
“I will ignite your imagination with the delight of my
promise. I will bedeck you in the excellence of my
dreams. I will veil the sky of your wishes with the
sparkling stars of my creation” — Scriabin
Alexander Scriabin was born in Moscow on 6 January
spectacular.
1872 — Christmas Day old style. Intended for a military
career, he studied piano privately with Tchaikovsky’s
LIGHTING DESIGNERS - JONATHAN
HOWARD AND AMANDA GARRETT
composition with the Director of the Moscow
Conservatoire, Sergei Taneyev. At the Conservatoire
friend, the Henselt/Dubuc disciple Nikolai Zverev, and
Jonathan is a graduate of London University where he
gained degrees in both Theatre and Architecture, and in
1989 was awarded the Arts Council Lighting bursary.
As a freelance designer his credits include the London
premieres of the musicals “The Vackees” and “Roll Up!
Roll Up!”, the Fringe First winning production of
Beckett’s “Company”, and most recently, the British
stage production of “Star Trek”. He spent four years at
the London-based design and communication company
“Imagination”, where his work included new musicals
(“Tutankhamun”), exhibitions (the Dinosaur Gallery at
the Natural History Museum and “Me & My Body” at
Halifax’s Eureka!), product launches and television
specials (“Joy To The World IV and V on BBC). Earlier
this year he moved to “Design Services”, the lighting
design arm of David Hersey’s company DHA, where he
continues to work in theatre, architecture and exhibitions.
Amanda first began lighting at school and after extensive design work at London University, took an
Advanced Diploma in Lighting at the Central School of
Speech and Drama. Since graduating in July 1993, she
has worked in a wide range of lighting disciplines from
television and video, through theatre and rock‘n’roll to
between 1888 and 1892 he continued piano lessons
with Safonov (formerly a student of Leschetizky and
Brassin) and composition additionally with Arensky. As
a composer, championed from the outset by Safonov
and Taneyev, his place in the annals of Russian music is
special: a true original, his, from the beginning, was a
voice unusual and different.
Harmonically, Scriabin stands among the great post-
Wagnerian innovators: through his travels abroad (as
far afield as New York in 1906), and through the availability in Russia of much new music circulated by his
publishers Belayev (Leipzig) and Jurgenson (Moscow),
he was better informed than most about current trends
and developments. With his “synthetic/mystic/Promethean”
chord system (C-F sharp-B flat-E-A-D) derived from
the upper partials of the harmonic series and based on
futuristically unsettling 4ths rather than traditionally
stabilising 3rds (a Lisztian conception perfected by the
time of the Fifth Piano Sonata and Prometheus, 190710), he can be said to have pioneered a method of pitch
organisation at least as important as Schoenbergian
dodecaphony.
Scriabin’s aural sense was acute: offering us impressions of the visible no lesss than the invisible, his music
is alive with vertical and linear combinations that are as
dense as they are transparent, as tangible as they are
mirage-like. His climaxes, surging from peak to peak
like waves on an incoming tide, essay the strange, the
extraordinary, the crazed. To know them is to be both
elevated and disturbed. Some, urgent in thrust, rapid of
aftermath, are short and impulsive. Others — most strikingly Vers la flamme (1914) — deal in a totality.
Scriabin believed that “melody is harmony unfurled,
harmony is melody furled”. A composition, he once
wrote, “is many-facetted ... (it is) alive and breathes on
drafts for the micro-detail of themes and images. Most
are in musical notation. Some, however, are purely
literary — poems of exotic language (difficult even for
Russians to understand) on subjects to be crystallised
later in the sound-world of works yet unborn.
“Villers de I’Isle, Adam Huysmans, the whole company
of the *decadents’ were [Scriabin’s] rages,” Stravinsky
told
Robert
Symbolism,
Craft
and
in
in
1958.
“It
was
[post-1900]
the
Russia
age
he
of
and
Konstantin Balmont were its Gods. He was [from 1905]
a follower of Mme [Helena] Blavatsky, too, and a
serious and well-considered Theosophist himself. I did
its own. It is one thing today, and another tomorrow,
like the sea ...” “The purpose of music is revelation.
not
What a powerful way of knowing it is!” His detractors
Blavatsky was already very demodée, but I respected
— of whom there have been any number, Cecil Gray not
least — have labelled him many things. Their accusa-
tions — for instance that he was a neurotic musicine —
continue to enjoy currency, no doubt because defamation and vitriol have always made a good read. But they
rarely
stand
up
to
close
examination.
Certainly,
Scriabin was never neurotic in the pathological understanding of the term. If his music seems abnormal, by
comparison
with
what
contemporaries
like
Rachmaninov and Medtner were writing, it’s not because it’s any less “healthy” but because its nervosity is
heightened and its tolerance is more extreme. In his
work Scriabin plays with our expectations, his ideas are
elusive, his ground-plans are unpredictable, he gives us
a tenth of the information we need to know. Conjuring
with the elements to alchemise new alloys of experience, often to points just short of destruction, was what
he liked doing best. 2 + 2 = 4 may have satisfied other
composers, it never did him. In the ambience, phrasing
and cadence of his music we meet with a world almost
without skin, a world of nerve-ends where the slightest
contact can bring pain. No, Scriabin’s music is not
neurotic. But it is patently about over-exposed senses,
about a different kind of nervous chemistry, about fan-
tasies and reflections flying in the face of opposites.
Fanciful verbal descriptions, often in esoteric French
(according to Artur Rubinstein, not a language the
composer spoke with any fluency), strew the pages of
Scriabin’s music. Each underlines sentiments or sensations meangful to him: desire, flight, shadows and
shades of colour, love as an elaboration of feeling rather
than
physical
action,
ecstacy,
exultation,
understand
this,
for
in
my
generation
Mme
his beliefs...”” Scriabin’s art was a reflection of his environment and culture. Like his fellow-Russian poets,
writers, painters and sculptors, he breathed an air of
crash and disintegration, of spiritual and material
disharmony, an air of poison and death clouds.
Aged 43, Scriabin died in Moscow on 27 April 1915,
from septicaemia. In appearance, he was a man of tiny
physique and small hands (he could only stretch an
octave, a fifth less than Rachmaninov): a dapper man,
highly strung, prone to sickness, given to drink and
seduction; a visionary, decadent, soft-spoken spendthrift incapable, it’s been said, of knowing how to
shout. By any standard he was a strange personality, a
forgotten
hot-house
luminary
of another
Russia,
another time, around whom strange things happened.
His mother succumbed to consumption in his second
year; his second son, just eleven, died (various sources
have it) either by drowning in the Dnieper or by a lightning strike in Kiev City; and Moscow was never to
witness a more fashionable society occasion than his
own funeral. In the Mahlerian understanding, his philosophy, spiritual and physical, was an embracement of
the world. He spent his hours in mystic contemplation,
in psychic transcendence. He spent his days looking for
ecstacy, the “highest rising of activity ... the summit”.
He spent his years loving womankind. He spent a whole
life worshipping the private misterium of an astral
neosphere only he knew about. Lord-keeper of the
shrine, his like will not come again.
© 1995 Ates Orga & Nikolai Demidenko
Adapted by kind permission of Conifer Records Ltd
agitation,
langour ... As an atmospheric suggestion, as a pictorial
aid, they can be helpful — but only to a certain point.
Like analysis (theoretical, applied, programmatic) the
trap is that their emphasis, broadly speaking, is always
going to be more selective than comprehensive. Titles
in Scriabin tell us little more than his descriptions or
programmes — often they are just a dispensable luxury.
Scriabin’s apartment in Moscow (a museum since the
1920s) is a place of special magic. Here, watched over
by a portrait of his mother and surrounded everywhere
by the feeling that he has only just gone out for a walk,
One of the many quirks in Scriabin’s nature was his
association of colours with musical tonalities. His cor-
relation was not the simplistic one of A.W. Rimington
(one of the inventors of the “colour organ” and other
predecessors
and contemporaries who equated the
colour spectrum (red, orange, yellow, etc., through
violet) with the chromatic semitones of the octave, C, C
sharp, D, etc., through B. Scriabin’s colour/tonality
associations were made via the circle of fifths with a
few non-spectrum colours thrown in for good measure.
to return mysteriously after you’ve left, you will find
C
red
F sharp/G flat
intense blue
his clavier a lumiéres and his Bechstein. And here, you
G
orange-pink
C sharp/D flat
purple
will find his sketches. Scriabin’s sketches are distinctive — not so much blueprints for infrastructures as
D yellow
G sharp/A flat
red-purple
A
D sharp/E flat ~ “steely”
green
E
whitish-blue
A sharp/B flat
“with a metalic shine”
psychology.
B
similartoE
F
dark red
yearning for life, of will-power, of creative force, of
The “tastieéra per luce” [or clavier a lumieres] part in
Promethus, set in traditional musical notation at the top
of the score, is played continuously throughout the
piece. No explanation of the colour-to-pitch relationships
is given:
one must read
Sabaneyev or other
Scriabinists to find this information. The part is limited
usually
to
two
pitches
(or
colours):
one
always
“doubled” in the orchestral writing, changing metrical-
Here
we
find
motives
of languor,
of-
dreams, and so on. In The Poem of Ecstasy Scriabin is
said to have first discovered the luminous quality of
certain harmonic combinations. Scriabin was peculiarly
sensitive to the association of sounds and colours. He
intended in Prometheus that the symphony of sounds be
eventually accompanied by a symphony of colour-rays.
To this end he invented a tastiéra per luce, or keyboard
of light.
ly with the music; the others, lasting over very long
Prometheus is, so far, Scriabin’s most advanced and
durations (colour organ pedal points?), expressing the
complete effort to embody this particular ideology in
breathing in and out of the Cosmic Life Force. There
musical terms. The legend of Prometheus as presented
are programmatic colour correlations as well as those
in this Symphony differs very widely from the version
relating to pitch. The opening depiction of chaos is
with which we have been familiarized by Aschylus and
blue-green,
Shelley. The Promethean myth is much older than even
as
though
the
soulless
creatures
were
drifting about in a vast ocean. Just before the awarding
Hesiod, who relates it. It belongs, indeed, to the dawn
of fire, a “steely” metallic colour is seen, followed
of human consciousness. The design on the cover of the
immediately by a green glimmering at the instant of
score, by M. Jean Delville, the leader of the theosophist
fire-giving. The voluptuous passages are associated
cult in Belgium, shows us no ordinary conception of the
with dark red and red-purple. As we are swept toward
Titan, ‘rock-riveted and chained in height and cold’, but
one of the “victorious” climaxes the sun-colour, yellow,
one of that class of adepts symbolized at a much later
prevails. Only one attempt was made — and an unsatis-
date by the Greeks under the name of Prometheus.
factory one at that — to perform the “luce” part during
These
Scriabin’s lifetime. This was at the American premiere
closely allied with the purely spiritual side of man, were
in
Carnegic
Hall
on
20
March
1915
by
Modest
Altschuler and the Russian Symphony Orchestra.
‘Sons of the Flame of Wisdom’, who were
alone able to impart to humanity that sacred spark
which expands into the blossom of human intelligence
© Lowell Cross
and self-consciousness.
According to the teaching of theosophy the nascent
PROMETHEUS (THE POEM OF FIRE)
races
Alexander Scriabin, the most gifted and beloved of con-
of
mankind,
not
yet
illuminated
by
the
Promethean spark, were physically incomplete, pos-
temporary Russian composers, died on 27 April 1915,
sessing only the shadows of bodies; sinless, because
at the age of forty-three. His last words were a touching
devoid of conscious personality — in theosophical terms
tribute to the admiration he felt for this country. At a
‘without Karma’. From this condition they were liber-
moment of great suffering and nervous collapse preced-
ated
ing his end, he clenched his hands and said to those
awakened man’s conscious creative power. But among
around him: ‘Now I must be calm and self-controlled
those
like an Englishman.” The whole of his artistic life was
prepared to receive the spark than others. The more
by
the
gift
shadowy
of Prometheus
entities
some
—
were
the
fire
already
which
more
one continous aspiration to enlarge the boundaries of
advanced understood the value of the gift, and used it
musical
friend
on the higher spiritual planes; they became the Arhats,
Brianchininov, written in November 1914, he speaks of
or Sages, of succeeding generations. The less highly
his ‘long-contemplated idea’ of the possibility of awak-
organized turned it to gross material uses, involving
expression.
In
a
letter
to
his
ening in humanity the latent capacity to respond to
suffering and evil. Thus the Promethean gift assumed a
vibrations of a finer and more subtle kind than those of
dual aspect: on the one hand it proved a boon, on the
which they had so far been conscious. He believed that
other a curse.
the war would shake the souls of men and render them
more receptive and inquiring as regards spiritual things.
His later works,
The Poem of Ecstasy,
The Divine
Poem, Prometheus, and many of his pianoforte pieces
were appeals to these more subtle intuitions. His first
Symphony is a hymn of praise to Art as Religion. The
second Symphony celebrates the emancipation of the
soul from its fetters — the self-expression of personality.
The third Symphony, entitled
The Divine Poem, deals
with the problem of artistic creative power,
which
Scriabin sees as one phenomenon of the universal
We have here the elements of a fairly definite and infinitely varied psychological programme: the crepuscular,
invertebrate
state of Karma-less
humanity;
the
awakening of the will to create, in both its aspects; the
strange moods of bliss and anguish which follow the
acquistion of self-consciousness; probably also the last,
fierce rebellion of the lower self preceding the final
ecstasy of union, when the human mingles with the
divine — with Agni, the fire which receives into itself all
other sparks in the ultimate phase of development.
creative spirit: an eternal, unresting, activity which can
Scriabin’s harmony is the outcome of a long search for
therefore never attain to a state of contented accom-
such harmonic combinations as could best express his
plishment.
This
Symphony
is
divided
three
psychical experiences. As a result he bases his harmony
sections — ‘Strife’; ‘Sensuous Pleasures’; ‘The Divine
to a great extent upon a six-note scale derived from a
Activity’.
The
series of overtones. These notes, with their disposition
Poem of Ecstasy, is a still further advance in musical
in fourths, give him a considerable variety of intervals:
His next important orchestral
into
work,
the perfect fourths E to A and A to D; the augmented
fourths C to F sharp and B flat to E; and the diminished
fourth F sharp to B flat. Scriabin regards the chords thus
obtained
as
self-sufficing
and
consonant,
because,
when all the notes of the above scale are struck simultaneously, it gives the effect of a chord which ‘consonates’. A harmonic combination which he uses as
being peculiarly ‘luminous’ is the chord of the ninth
with the augmented fifth.
The design of Prometheus approximates to sonataform, but the treatment is very free. The scoring is for a
large modern orchestra including bells (campanelli and
campani), celesta, harp and organ. There is an impor-
The piano replies with the theme of ‘rapturous
emotion’, now given in a broken rhythm, suggesting a
state of strange fascination. The recurrence of the
motive of creative will (the Promethean theme, No. 2)
almost invariably heralds some marked emotional
change in the music. By and by it ushers in the theme
of rapture, which now assumes a sudden sense of joy
and gentleness. This mood is submerged in a section
headed ‘Defiant, bellicose, stormy’. There is a climax
of great brilliancy before the conflict closes with a
passage ‘piercing as a cry’. After this, tenderness, and a
soft and radiant animation resume their sway.
tant part for the piano, said to personify the Microcosm
As the music grows more joyous and ecstatic, a theme
in octaves is introduced by violins, wood-wind, and
represented by the
triumphant
man in contrast to the Macrocosm of the Cosmic Idea,
orchestra. There
is a chorus ad
libitum which lends some additional colour to the score;
but it only enters — as do the bells — at the culmination
of an ecstatic climax.
piano, and soon afterwards we reach one of the great
climaxes of the work. From this point
onward we are met by a series of emotional waves, of
no great volume of sound, but apparently intended to
give an impression of intense effulgence and quivering
Prometheus opens lento, in an atmosphere described as
nebulous (‘brumeux’), with a characteristic ‘mystical’
chord — the ninth with the augmented fifth. Sustained
light. The effects broaden and become increasingly
dazzling until we reach the final Prestissimo with its
dance-theme, which grows more and more vertiginous,
and the roll of drums suggest the immaterial, shadowy
and works gradually up from pianissimo to a huge
climax on the sustained triad with which the work ends.
‘void and without form’, emerges an important theme
These notes were approved by Scriabin during his visit
tremolos for strings, long-drawn notes for wood-wind,
condition of primitive humanity. From this background,
for the horns, marked ‘Calm and contemplative’.
Primordial chaos persists until the will of the creative
spirit rings out imperiously in a motive, given by the
trumpets. Afterwards the vague, brooding atmosphere
creeps back, but now it is informed with steadily
ROSA NEWMARCH
to London in 1914, when he played the pianoforte part
under Sir Henry Wood, Queen’s Hall, 14 March. The
first performance of Prometheus was given in Moscow
by Scriabin and Koussevitsky, 15 March 1911.
increasing vitality. Another theme of contemplation,
‘increasingly animated’, in flutes and horns, begins to
INTERVAL
alternate wth No. 2, which by this time has passed in a
somewhat modified form to the piano. The awakening
process has commenced, and presently a figure heard
from the pianoforte suggests a sense of joy. Now we
follow the gradual stirrings of self-consciousness in
man. But hardly has he learnt the meaning of this fresh,
crystalline gladness,
when
he
begins
to experience
languor, and a vague thirst for more intense vitality.
This is seen in a short motive heard from the pianoforte,
cor anglais and clarinet. The piano continues to express
the growing development of body and soul in animated
and glittering passages. Human love and desire follow
in the wake of the gift of ‘Manas’ (the Promethean
spark). Joy is soon mingled with pain, for the conflict
between the physical and the spiritual starts almost at
once. The piano has a passage labelled ‘Voluptuous,
almost
with
anguish’.
To
this
succeed
phrases
of
TE DEUM
BERLIOZ 1803 - 1869
This work was written for the opening of the Paris
Exhibition of 1855 and belongs therefore to a mature
period of its composer’s creative activities. It is scored
for three choirs, orchestra and organ. The third choir
consists of sopranos and altos, and was originally
intended to be composed of children only.
There are eight numbers in the work, two of which, the
third (‘Praeludium’) and the eighth (‘Marche pour la
présentation des drapeaux’) are entirely instrumental,
and the composer has directed that the ‘Pracludium’
should be omitted unless the work is being performed
for a thanksgiving after a victory or for another like
‘delight’ and ‘intense desire’. Reminders of the themes
military occasion.
very
The opening number, ‘Te Deum’, is a double fugue,
written for the most part in a solid and downright style
of contemplation often interrupt these erotic moods. A
important
motive,
which
fequently
recurs,
is
divided between solo flute, cor anglais, viola and harps,
and indicated ‘with rapturous emotion’. The develop-
ment of this idea continues for some time. We hear it
passed to and fro in the wood-wind against the soft trills
of the strings, while kettledrums and bass-drum answer
each other in muffled tones. The effect is veiled and
mysterious. A fresh theme then appears in the violins,
but its ardour is soon checked by a sinister phrase for
the brass and a dull menacing tremolo in the strings.
which we hardly associate with Berlioz and which is
doubtless an echo of his studies at the Conservatoire. It
leads straight into the next number, ‘Tibi omnes’, which
opens with
a flowingly melodious organ solo. The
words, ‘Sanctus, Sanctus, Sanctus’ are first accompanied by arpeggios for flutes, oboes and clarinets. At the
conclusion of this number the opening organ solo is
repeated very quietly on
entering at the tenth bar.
the strings,
the woodwind
The ‘Praeludium’ has been already referred to.
No 4 (‘Dignare’) is called a Prayer. It is mostly subdued
in style, and part of it is accompanied by short, broken
GUILDFORD 95
figures suggesting entreaty.
MUSIC FESTIVAL
internationa
b %
In the fifth number (‘Christe rex gloria’) the organ is
silent. The opening theme, given out by the voices, is a
descending scale passage with a counter-subject in
contrary motion on the violins. A change of mood occurs
at the words, ‘ad liberandum suscepturus’ but the quicker
tempo is resumed at “Tu ad dexteram Dei sedes in gloria’
and the movement ends in triumph.
In No 6 (‘Te ergo quae sumus’) a tenor soloist is
employed. The sopranos enter quietly at the words, ‘Fiat
super nos misericordia, Domine’ which are immediately
taken up by the soloist. This movement ends very quietly
with an unaccompanied passage for chorus.
The seventh number (‘Judex crederis’) opens with six
bars for organ followed by the entry of brass instruments
and a kind of fugal subject given out by the basses of the
chorus. A new and quieter melody begins at the words,
‘Salvum fac populum’, the opening phrase of which (a
descending scale) being subsequently made much use of
in the orchestra as a figure of accompaniment. The
original ‘Judex crederis’ theme is soon heard sung quietly
by the basses and worked up to a big climax, ‘Speravi’,
and the music thenceforward becomes ever more
dramatic and exciting, ending with a real flourish of
Sir Georg Solu KBE
Phil Collins
Tonight’s Concert forms part
of the Guildford 95
International
Music ‘Festival’
g
trumpets.
Te Deum laudamus, Te Dominum confitemur.
Te aeternum Patrem omnis terra veneratur.
Tibi omnes Angeli, Tibi Coeli et universae Potestates:
Tibi Cherubim et Seraphim incessabili voce proclamant,
Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth;
Pleni sunt coeli et terra majestatis Gloriae Tuae,
Te gloriosus Apostolorum chorus,
Te Prophetarum laudabilis numerus,
Te Martyrum candidatus laudat exercitus.
Te per orbem terrarum sancta confitetur Ecclesia,
Patrem immensae Majestatis:
Venerandum Tuum verum et unicum Filium:
Dignare Domine die isto sine peccato nos custodire.
Aeterna fac cum Sanctis Tuis in Gloria numerari.
Miserere nostri Domine: miserere nostri.
Tu Rex Gloriae, Christe:
Tu Patris sempiternus es Filius.
YOUR COMPLETE MUSICAL SERVICE IN THE
CENTRE OF GUILDFORD
ALSO AT DORKING & TWICKENHAM
THE DIRECTORS & STAFF
ARE PLEASED TO SUPPORT
THIS CONCERT
INSTRUMENTS MUSIC REPAIRS
ACCESSORIES
Tu ad liberandum suscepturus hominem non horruisti
Virginis uterum.
Tu devicto mortis aculeo aperuisti credentibus regra
coelorum.
Tu ad dexteram Dei sedes in Gloria Patris.
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Te ergo quaesumus, famulis Tuis subveni, quos pretioso
sanguine redemisti.
Fiat misericordia Tua Domine super nos, quemadmodum speravimus in Te.
Judex crederis esse venturus.
Salvum fac populum Tuum Domine, et benedic haereditati Tuae.
Per singulos dies benedicimus Te:
In Te Domine speravi: non confundar in aeternum.
9 MARKET STREET, GUILDFORD, SURREY RH1 4LB
TEL: 01483 440188
FAX: 01483 440823
138-140 HEATH ROAD, TWICKENHAM, MIDDLESEX TW1 4BN
TEL: 0181 892 7634
FAX: 0181 891 1781
GUILDFORD PHILHARMONIC
First Violins:
Basses:
Hugh Bean — Associate Leader
Maurice Neal
John Ludlow — Associate Leader
Phillip Augar
Sheila Beckensall
John J. Davies
Tim English
David Jones
Steven Rossell
John Hill
Trombones:
Ian White
Malcolm Frammingham
Arthur Wilson
Flutes:
Bass Trombones:
Jane Pickles
Martin Nicholls
Anna Pyne
Avril Maclennan
Claire O’Neill
Peter Newman
Piccolo:
Anthony Short
Simon Hunt
Tubas:
Steven Wick
Kevin Morgan
Martin Palmer
Oboes:
Timpani:
Alex Suttie
Victoria Walpole
Scott Bywater
Philip Winter
Philip Harmer
Second Violins:
Nicholas Maxted Jones
Rosemary Roberts
Carl Beddow
Juliet Lewis
Cor Anglais:
Caroline Marwood
Clarinets:
Hale Hambleton
Percussion:
Christopher Nall
Christopher Blundell
Timothy Palmer
David Tosh
Catherine Belton
Victor Slaymark
Jackie Kendall
Andrew Bernardi
Steven Pierce
Julian Poole
Julia Brocklehurst
Bass clarinet:
Timothy Callaghan
Paul Allen
Harps:
Ruth Dawson
Bassoons:
Peter Hembrough
Joanna Graham
Alan Merrick
Anna Meadows
Violas:
John Meek
John Graham
Justin Ward
Simon Chiswell
Isobel Frayling-Cork
Charlotte Seale
Organ:
Charles MacDonald
Contra bassoon:
Celeste:
Timothy Mallett
John Forster
Horns:
General Manager:
Kevin Elliott
Kathleen Atkins
Anne Rycroft
George Woodcock
Paul Appleyard
David Clack
Ellen Jackson
Peter Widgery
Peter Holt
Kevin Preskett
Projects Consultant
Karen Demmel
Michael Newman
Cellos:
Douglas Cummings
John Stilwell
Michael Ronayne
Christine Norsworthy
Richard Kermedy
Nick Bomford
Trumpets:
Secretary:
Gareth Bimson
Shirley Ewen
John Franca
John Kirby
John Young
Ian Burdge
(SEMT):
Kevin Abbot
William Stokes
Nicholas Boothroyd
Music Administrator:
Alistair Mackie
David Ward
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
Forfurther information contact:
GUILDFORD PHILHARMONIC ORCHESTRA, MILLMEAD HOUSE, MILLMEAD, GUILDFORD GU2 5BB
Tel: (01483) 444666
Sunday 26 March 1995
Sunday 23 April 1995
at 3pm
at 3pm
Civic Hall, Guildford
Civic Hall, Guildford
The ERICSSON Concert
The Crossley Clitheroe Concert
Carnival in Paris
Svendsen
Piano Concerto
Grieg
Symphony No. 1
Nielsen
Jorge Luis Prats
Piano
Thomas Dausgaard
Conductor
Overture: Prince Igor
Borodin
Violin Concerto
Tchaikovsky
Symphony No. 5§
Prokofiev
Andrea Cappelletti
Violin
Edward Warren
Conductor
Sponsored by ERICSSON Cellular Systems and
Special Networks Division
Tickets £11.00., £10.00., £9.00.
Tickets £11.00., £10.00., £9.00.
available from
available from
Civic Hall Box Office: 01483 44455
Civic Hall Box Office: 01483 44455
Wednesday 22 March* and
Thursday 23 March 1995
at 7.30.pm
Guildford Cathedral
Vaughan Williams
Overture “The Wasps”
On hearing the first cuckoo
in Spring
Delius
Animal Cantata (World premiere*)
Howard Blake
Nutcracker Suite
Tchaikovsky
Excerpts from ‘Swan Lake’
Tchaikovsky
Surrey Youth Music Singers
(massed choirs from Surrey Schools)
Howard Blake
Conductor
The Kid Brother
starring Harold Lloyd & Jobyna Ralston
An Unseen Enemy
with Lillian and Dorothy Gish
and Guildford Philharmonic
Music composed & conducted by Carl Davis
Many of the greatest movies ever produced were made in the silent era ~
the cinematography and stunts are still amazing today ~ but the films
were never actually silent, every musical resource was used to enhance
the action and emotion of the film. Guildford Philharmonic presents the
Tickets £12.50 (front nave) £10.00 (rear nave)
world premiére of new Carl Davis music to accompany The Kid Brother, a
sensational addition to a revitalised art-form.
Concessions
Saturday 8 April 1995, 7.30pm
*Comissioned by Guildford Philharmonic with
Book now to be sure of a good seat for this special
funds from South East Arts, Guildford Borough,
Surrey County Council and South East Music
occasion: £12.50 and £10
Civic Hall box office: 01483 444555
ERICSSON =
Combined expertise in switching,
radio and networking makes Ericsson
a world leader in telecommunications
Ericsson is delighted to support
the combined talent of the
Guildford Philharmonic Orchestra
Ericsson Limited
Cellular Systems & Special Networks Division
Building 3, Guildford Business Park
Guildford, Surrey GU2 5SG
Tel: 0483 303666
Fax: 0483 303537
ERICSSON
\
=
Independeg
Classical £
Music
Retailers N
COMPACT DISC CENTRE
FOR THE WIDEST RANGE OF CLASSICAL MUSIC
ON COMPACT DISC.
Composers from Adam to Zemlinsky, with several
hundred in between.
Famous Labels such as Deutsche Grammophon, EMI, Philips and
Decca, mingle with dozens of specialists like Hyperion,
Chandos, Nimbus and Collegium.
Personal Service, Listening Facilities, Catalogues. Penguin Guides,
Magazines, (some on music) all contrive to provide that ambience, that
conducive atmosphere, so essential in the serious business
of selecting Classical Music.
So Come on Down.
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Gramophone
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24 TUNSGATE, GUILDFORD, SURREY GU1 3QS
TEL: 0483-300947
FAX: 0483 575153
RECORD CORNER
POUND LANE, GODALMING
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Tel: 0483 — 422006
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CD’s, Cassettes, Videos
GUILDFORD - SURREY
98/110 HIGH STREET
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GU13HE
(Gramophone Blue Riband Dealer)
TELEPHONE: 0483304147 - FAX: 0483303635
Rock, Pop, Jazz, Blues, Spoken Word
Sheet Music inc. Associated Board
Musical accessories, Storage Systems
THE MICHAEL JEFFERY PARTNERSHIP
Chartered Architects
Alterations, conversion and conservation work as
Second Hand LP’s, Tapes, CD’s
well as new design. Domestic and ecclesiastical,
Trade-in Service available
possibilities (first consultations free). Planning and
health,
Mail Order (Access, Visa, Mastercard)
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and
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Exploring
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control within budget.
Orchard Cottage, Broadstreet Common, Guildford,
Mon—Fri 9.15-5.15, Sat 9-5.30
Surrey GU3 3BN Tel: (0483) 62007
Also at: 33-37 St. John’s Hill, Clapham, London, SW11 3TT
Please telephone if you would like to arrangg a visit
or to receive one of our brochures.
The National Grid
Company plc is pleased
to give its support
Technology and Science Division
The National Grid Company plc
Burymead House, Portsmouth Road
Guildford, Surrey GU2 5BN
\
-
Cargqill is delighted to sponsor the
Guildford Philharmonic Orchestra’s 50th
Anniversary and wishes everyone a
successful and enjoyable Jubilee Season.
g
Serving Surrey Music Lovers for over 130 years
T. ANDREWS & G0. LTD.
(Established in Guildford in 1857)
CARGILL PLC
Knowle Hill Park
Cobham
KT11 2PD
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The Professional
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68 Woodbridge Road, Guildford, Surrey GU1 4RE Tel: (01483) 68267
Jenner House, 2 Jenner Road, Guildford, Surrey GU1 3PW Tel: (01483) 68267
West Bank, 4 Jenner Road, Guildford, Surrey GU1 3PW Tel: (01483) 68267
2 Bank Buildings, High Street, Cranleigh, Surrey GU6 8BE Tel: (01483) 273088
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1 South Street, Godalming, Surrey GU7 1DA Tel: (01483) 426866
Sovereign House, 17 South Street, Farnham, Surrey GU9 7QU Tel: (01252) 737303