i
(GUILDFORD
PHILHARMONIC
1995/ 1996 SEASON AT GUILDFORD GIVIC HALL
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, past
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performance.
BOC Gases and the Guildford Philharmonic Orchestra have
traditions spanning 109 years and 51 years respectively.
May the way we both perform — today and for many years
to come — continue to attract and satisfy those customers
and concert goers whom it is our privilege to serve.
Head Office:
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) BOC GASES
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Guildford
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Guildford has one of the finest
Season 1995/96
professional orchestras in the
South East of England and
has now an exciting new,
young dynamic conductor —
Parry
Blest Pair of Sirens
Willcocks
Great is the Glory
Dvorak
Stabat Mater — with the
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O Captain! My Captain!
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career
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Applegarth, The Drive, Cranleigh, Surrey GU6 7LY.
Tel. 01483 276131
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GUILDFORD
PHILHARMONIC
JONATHAN WILLCOCKS
Conductor
JAMES OXLEY
Tenor
ALEXANDER BAILLIE
Cello
GUILDFORD PHILHARMONIC
The GUILDFORD PHILHA
CHOIR
RMONIC ORCHESTRA ackn
owledges with grateful thanks
the
generous support of
its SPONSORS and
CORPORATE MEMBER
S:
BOC GASES
ENGLISH SPEAKING UNI
ON
HART BROWN SOLICITOR
S
LLOYDS BANK
MORISON STONEHAM
RECORD CORNER
UNIVERSITY OF SURREY
MUSIC DEPARTMENT
All concerts in the current seas
with financial assistance from
on are funded by [&§ GUILDF
ORD BOROUGH
“ South East Arts Board the
the South East Music Trust and
Guildford Philharmonic Socie
the fi Musicians’ Union.
ty,
Jonathan Willcocks was born in Worcester and,
after being a chorister at Kings College
Cambridge and an Open Music Scholar at
Clifton College, took an Honours degree in
Music from Cambridge University where he
held a choral scholarship at Trinity College.
He combines his role as Director of the Junior
Academy, Royal Academy of Music in London,
1995/96,
including
further appearances
at
Carnegie Hall, New York, where he made his
debut in 1990. He is closely associated with the
Southern Pro Musica with whom he appears in
annual orchestral concert series.
As a composer, Jonathan Willcocks’s music 1s
published principally by Oxford University
with extensive freelance work as a conductor
Press in England and by Lorenz in USA. Major
choral works in addition to ‘Great is the Glory’
and composer. He is conductor and musical
dirertor of the Portsmouth Choral Union and of
the Chichester Singers and appears regularly as
Choirs
a guest conductor, both of his own music and of
the general choral and orchestral repertoire.
This work has taken him recently to France,
Belgium, Germany, Australia and USA, where
he will be returning on several occasions in
include ‘Voices of Time’, ‘Images of Youth” and
‘“Worcester Mass’ (commissioned by the Three
Festival) while other works have
included such diverse music as a Brass Quintet,
‘The Theatre Ghost’ for symphony orchestra
and narrator, la cappella’ choral works for the
Bournemouth Sinfonietta Choir and the Open
University.
Overseas
Baillie
regularly
visits
Germany,
France, Austria, Scandinavia, the Far East and the
Americas. Last year he spent a month in the Far
East including a British Council appearance in
Beijing with Elgar’s concerto, a visit to Hong
Kong and a rare guest appearance in Indonesia.
His committment to contemporary music is well
documented. During the last decade his visits to
the BBC Proms have included premiéres of Colin
Matthews concerto (1984) and Henze’s Sieben
Liebeslieder
(1988).
In
1989
he
played
Takemitsu’s “Orion and Pleiades”. A recently
released CD on the NMC label features premiere
recordings of works by Colin Matthews, Gordon
Crosse,
Alexander
Goebhr,
Roger
Smalley,
Michael Finnissy and Mark Anthony Turnage.
He is a visiting guest professor at the R.C.M.
London and Professor at the Musikhochschule,
Bremen, Germany.
JAMES OXLEY - Tenor
James Oxley trained initially as a ‘cellist at the
Royal College of Music and he later read Music at
Oxford. In 1992, he won First prize at both the
ALEXANDER BAILLIE - Cello
Alexander Baillie began playing the cello aged
twelve as a result of seeing the BBC’s memorable
documentary about the late Jacqueline du Pre.
Inspired by her playing he left school early and
studied at the Royal College of Music, London
with Joan Dickson and Anna Shuttleworth. He
continued
his
Navarra.
Formative
musicianship
studies
have
in Vienna
with Andre
influences
been
the
music
on
at
his
the
Aldeburgh festivals during 1970’s.
Baillie
regularly
Orchestras.
appears
Conductors
with
with
Mary
whom
he
has
worked include Simon Rattle, Sir Charles Groves,
and
the
Great
Grimsby
prize at the renowned International Vocalisten
Concours at ‘s- Hertogenbosch.
While continuing his studies with Rudolf Piernay,
James has pursued an increasingly demanding
solo career as a singer. In 1991, he made his solo
debut at the Royal Albert Hall under the baton of
Sir David Willcocks; in the following year he
sang Les Illuminations at St Johns’s Smith Square
and
major British
Garden
International competitions and in 1994 took First
he
was
a
soloist
in
Roger Norrington’s
Brahms Experience on the South Bank. He has
appeared in concerts all over the country, notably
in the Cathedrals of Chichester, Hereford and
Sir John Pritchard, Vernon Handley, Mark Elder,
Canterbury,
Andrew Litton, Roberto Benzi, Richard Hickox
Philharmonic Hall, Liverpool and at the
Edinburgh Festival.
and Matcus Stenz. He can frequently be heard as
soloist and recitalist and with different ensembles
around
the country.
During summer
1993
he
visited the Edinburgh, Blair Atholl, Fishguard and
Harrogate festivals. Apart from the main cello
repertoire he is often heard playing less familiar
works such as K.H.Gruber’s Concerto and the
Sonata Notturna by Nicholas Maw. Last year he
gave the world premiére of a concerto by the
octogenarian composer Minna Keal.
at
Symphony
Hall,
Birmingham,
1993
Recent engagements include Messiah with the
City
of
Birmingham
Symphony
Orchestra,
Handel’s Alexander’s Feast with the Brandenburg
Consort at the Three Choirs Festival, Hereford,
Gounod’s Messe Solennelle with the Bach Choir
at
the
Royal
Festival
Hall,
Handel’s
Dixit
Dominus and Bach’s Cantata 147 with the Israel
Camerata and Messiah at St John’s Smith Square,
London.
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
Philharmonia
The
Trees
Orchestra,
So
both
High
with
recordings
the
being
conducted by Vernon Handley.
The Choir is conducted by some of the most eminent
musicians, and as well as giving frequent concerts in
Guildford, the Choir occasionally visits other British
cities.
In
1988
the
Guildford
Philharmonic
Choir
visited Paris, in 1990 joined forces with the Freiburger
BachChor in Freiburg Munster and in November 1993
gave
an
outstanding
performance
of Brittens
War
Requiem
also with the Freiburger BachChor under
Neville
Creed.
Jeremy
Backhouse
was
appointed
Chorus Director in January of this year, succeeding
Neville Creed who held the post for seven years.
e =teDEC =
——
BLEST PAIR OF SIRENS (At a Solemn Music)
Parry (1848-1918)
Parry’s setting of “Blest Pair of Sirens” for eight-
part chorus and orchestra was written for the Bach
Choir in 1887 and dedicated to C. V. Stanford.
Parry had been very impressed by Milton’s works
He has appeared frequently in opera, playing
and in 1867 had set the opening of the ode, “At a
Tamino in Durham Independent Opera’s Magic
Solemn Music”, for men’s voices in four parts.
Flute, Ottavio in Don Giovanni, Rodolfo in La
The
Bohéme and Alfredo in La Traviata. He recently
opening section embraces the first sixteen lines of
took the title role in Kent Opera’s production of
the ode; the second section, beginning “That we
Britten’s Prodigal Son and this Spring makes his
debut with Le Concert Spirituel in performances
of Purcell’s King Arthur in
Paris, Dijon and
Orleans.
Plans
performances
of
Messiah
in
Halifax, Leicester and Hereford and with the
Sicilian Symphony and Ulster Orchestras, the role
(Barber of Seville)
in
Southern
England, Tippett’s Child of our Time in Oxford
and Sweden, Bach’s St Matthew Passion with Le
Concert Spirituel and performances of Britten’s
Les Illuminations with the BT Scottish Ensemble.
sentence, and the final section, which unites the
two
previous
sections,
by
opens
strings
with
alone,
sopranos,
stating
the
beautiful melody heard at the outset of the work.
(1)
Blest pair of Sirens, pledges of heav’n’s joy.
Sphere-born harmonious sisters, Voice and
Verse,
Wed your divine sounds, and mixed pow’r
employ,
Dead things with inbreathed sense able to
pierce.
And to our high-raised phantasy present
GUILDFORD PHILHARMONIC CHOIR
That undisturbed song of pure content,
Vernon Handley (President)
Aye sung before the sapphire-coloured
Jeremy Backhouse (Chorus Director)
throne
Jeremy Filsell (Accompanist)
To Him that sits thereon,
The Guildford Philharmonic Choir was formed by
The
on earth,” continues to the end of Milton’s first
accompanied
include
of Almaviva
work falls into three main sections.
With saintly shout and solemn jubilee;
Guildford Borough in order to perform the major choral
Where the bright Seraphim in burning row,
repertoire with the Guildford Philharmonic Orchestra.
Their loud, uplifted angel-trumpets blow,
As well as performing well-known choral works, the
And the cherubic host in thousand quires,
Touch their immortal harps of golden wires,
With those just Spirits that wear victorious
palms.
Hymns devout and holy psalms
Singing everlastingly:
(i1) That we on earth with undiscording voice
May rightly answer that melodious noise;
As once we did, till disproportioned sin
Jarred against nature’s chime, and with
harsh din
Broke the fair music that all creatures made
To their great Lord, whose love their motion
swayed
In perfect diapason, whilst they stood
In form the Concerto is unusual, having four
movements instead of the usual three, and is
considered one of the finest ’cello concertos ever
written. It is certainly in the repertoire of every
solo “cellist of note. Unlike most other works for
this instrument, it is a very personal and almost
introvert work, although the introversion is not
self-pitying, but rather more an honest inspection
of the serious side of the composer, just as the
finale of the Enigma Variations is an inspection
of the more optimistic Elgar. It is also a very
original piece technically and there are pages
which defy the hunter of influences.
In first obedience, and their state of good.
(ii)) O may we soon again renew that song,
And keep in tune with Heav’n, till God ere
long
INTERVAL
To His celestial concert us unite,
To live with Him, and sing in endless morn
of light.
s 0o—
T
John Milton.
’CELLO CONCERTO IN E MINOR
Elgar 1857-1934
Adagio - Moderato
Lento - Allegro molto
Adagio
Allegro ma non troppo
This work is judged by many critics to be
amongst Elgar’s finest, ranking with the
Introduction and Allegro for Strings and the
Symphonic Study “Falstaff”. Certainly no work
that he wrote is more penetrating and although it
has, of course, the thumbprint of the popular
marches, it stands apart from the other works in
style.
It was written in 1919, the year before Lady
Elgar died, and after she died he wrote nothing
of note. He died in 1934. The work was first
performed by Felix Salmond and the London
Symphony Orchestra at a Queen’s Hall Concert
in London. The public found it a strange work,
though beautiful, glimpsing the Elgar that they
knew from the slow movement of the First
GREAT IS THE GLORY
Jonathan Willcocks
‘Great is the Glory’ was commissioned and first
performed
by
the
Chichester
Chichester
Cathedral
with
Philharmonic Orchestra in July 1991. The text is
singing the daily services as a boy chorister at
Kings College, Cambridge.
The work is arranged in three movements and is
scored
for
tenor
deeply moving.
mixed
choir
and
which anticipates some of the harmonic features
to
come,
the
opening
setting
of “Hear
my
prayer” makes use of the augmented interval,
with its resultant mild dissonance, to convey the
anguish of the text. This contrasts strongly with
the first three verses of Psalm 105, “O give
thanks unto the Lord” in which syncopated
rhythm is a more dominant musical feature.
The second movement, drawn from psalms 3, 22
and
music and had found a tranquility that was
soloist,
symphony orchestra. After an orchestral prelude
accompaniment
follows it, Elgar was looking back over his
which the
composer came to know and love in the course of
surprised by the passion of the slow section of
and in the echo of the third movement which
in
Guildford
drawn from the Psalms of David,
Symphony and parts of the Violin Concerto, but
the last movement. It seems that in this section
Singers
the
23,
sets
the
tenor
against
a
soloist
with
simple
homophonic
string
choral setting of “The Lord is my shepherd”.
Rhythmic muscularity returns for the settings of
excerpts from the triumphant psalms 130 and 138
which sing the praises of the Lord. Although
predominantly
a
choral
movement,
the tenor
soloist, with the plea “Lord, hear my voice”,
Yea, though I walk through the valley of the
joins to lead the singers to the climax ‘“Yea, they
shadow of death, I will fear no evil: for thou art
shall sing that great is the glory of the Lord”
with me, thy rod and thy staff comfort me.
from which the work takes its title.
Tenor: Psalm 22
Jonathan Willcocks
My God, my God, look upon me, why hast thou
Psalm 102 (v.1-3, 9-12)
forsaken me:and art so far from my health and
Hear my prayer, O Lord, and let my crying come
from the words of my complaint?
unto thee.
O my God I cry in the daytime, but thou hearest
Hide not thy face from me in the time of my
not; and in the night season also I take no rest.
trouble; incline thine ear unto me when I call O
Choir:
hear me and that right soon.
Thou shalt prepare a table before me against them
For my days are consumed away like smoke: and
that trouble me: thou hast anointed my head with
my bones are burnt up as it were a firebrand.
oil, and my cup shall be full.
For I have eaten ashes as it were bread: and
mingled my drink with weeping.
And that because of thine indignation and wrath:
for thou hast taken me up and cast me down.
My days are gone like a shadow:
and I am
withered like grass.
But thou, O Lord shalt endure for ever: and thy
rememberance throughout all generations.
Psalm 105 (v.1-3)
O give thanks unto the Lord and call upon his
name: tell the people what things he hath done.
O let your songs be of him and praise him: and let
your talking be of all his wondrous works
Rejoice in his holy name: let the heart of them
Tenor: from Psalm 3 (v5-8)
I rose up again; for the Lord sustained me.
I will not be afraid for ten thousands of the
people; that have set themselves against me round
about.
Up, Lord, and help me O my God: for thou
smitest all mine enemies upon the cheek bone.
Salvation
belongeth
unto
the Lord:
and
thy
blessing is upon thy people.
Choir:
But thy loving kindness and mercy shall follow
me all the days of my life: and I will dwell in the
house of the Lord for ever.
rejoice that seek the Lord.
MOVEMENT 2
Tenor solo:
Psalm 3, vv 1-5.
Lord, how are they increased that trouble me:
many are they that rise against me.
Many one there be that say of my soul, there is no
MOVEMENT 3
Psalm 138 (v.1-5)
Choir:
I will give thanks unto thee O Lord, with my
whole heart: even before the gods will I sing
praise unto thee.
help for him in his God.
I will worship toward thy holy temple, and praise
But thou, O Lord art my defender; thou art my
thy name because of thy loving kindness and
worship, and the lifter up of my head.
truth: for thou hast magnified thy name, and thy
I did call unto the Lord with my voice, and he
word above all things.
heard me out of his holy hill.
When I called upon thee, thou heardest me: and
I laid me down and slept.
enduest my soul with much strength.
Choir:
Tenor: Psalm 130 (v. 1)
Psalm 23.
The Lord is my shepherd; therefore can I lack
Out of the deep have I called unto thee O Lord:
Lord hear my voice.
nothing.
Choir:
He shall feed me in a green pasture: and lead me
All the kings of the earth shall praise thee O Lord:
forth beside the waters of comfort.
for they have heard the words of thy mouth.
He shall convert my soul: and bring me forth in
Yea, they shall sing in the ways of the Lord: that
the paths of righteousness for his name’s sake.
great is the glory of the Lord.
RECORD CORNER
Pound Lane, Godalming, Surrey GU7 1BX.
TOM & SUE BRIGGS (GPO Supporters for 25yrs)
invite Concertgoers to take advantage of:-
A SPECIAL OFFER
With this programme you need pay no more than
£12.99 each maximum for ANY number of standard full price CDs.
(£8.99 Mid price).
Also stocked:- 100s of Second Hand and New CDs for £7 and below.
Wide Selection of Classical Tapes.
We offer friendly advice on ALL kinds of music.
Easy Parking nearby or Mail Order on 01483 422006
9.15 — 5.15 Monday to Saturday
DEPARTMENT OF MUSIC
University of Surrey
Promoting Excellence in Education and Research
e
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BURCHATTS
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The Department promotes regular concerts,
b am
AWARgEgEg&GBRAFfNFORED
celebrity recitals, masterclasses and workshops,
AT STOKE PARK, GUILDFORD,
all of which are open to the public.
SURREY
THE IDEAL VENUE FOR:
Major diary dates for the 1995-96 academic year:
5 October 8 pmn
farm
e
FUNCTIONS
\
CONFERENCES
The outstanding Russian pianist, Nikolai Demidenko,
RECEPTIONS
plays Brahms & Schumann
26 November 7.45 pm
University Symphony Orchestra
Mahler Symphony No 4 & de Falla Three Dances
® Scats up to 70 for formal dinner
® Range of conference facilities
® Modern kitchen equipped for commercial catering
17 February 7.30 pin Guildford Cathedral
® Patio and marquee
University Symphony Orchestra & Choir
® Car parking and access for the disabled
Orff Carmina Burana
® Competitive hire prices
WedneSday Lunchtime Recitals
weekly student performances starting at 1.15 pm
(admission free).
For full details on Burchatts Farm Barn contact
Miss ] Boothroyde
Guildford Borough Council, Millmead House, Millmead,
Guildford, Surrey GU2 5BB. Telephone 01483 — 444701
Please call the Department for further details
or if you would like to be placed on our mailing list:
01483 259317
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