GUILDFORD
PHILHARMONIC
1996 /1997 SEASON
A proud tradition gained over many years is a valuable asset
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performance.
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traditions spanning | 10 years and 52 years respectively.
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to come - continue to attract and satisfy those customers
and concert goers whom it is our privilege to serve.
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GUILDFORD PHILHARMONIC
The Guildford Philharmonic, a professional orchestra of
75 players, is at the heart of music-making in the south east,
with a huge repertoire extending from the 17th century to the
present day. Its main concert season runs from September to
May in two venues: the Civic Hall, Guildford, and Guildford
Cathedral; and as well as this it gives concerts throughout
London and the south of England in a number of venues
which include Kenwood Park, Royal Festival Hall,
King's College Cambridge, St George’s Chapel Windsor, and
the cathedrals of Winchester, Chichester, and Canterbury.
As well as the more mainstream orchestral concerts, the
orchestra is involved in a wide range of educational projects,
both in schools and concert halls, involving young composers,
instrumentalists and singers.
The young Chinese conductor En Shao was appointed Principal
Conductor in 1995, following in the illustrious footsteps of
Crossley Clitheroe (who founded the orchestra in 1944),
Vernon Handley, Sir Charles Groves and Sir Alexander Gibson.
With En Shao, the orchestra continues its work of attracting
new audiences for all types of classical music, and of blending
the traditional and familiar with the new and challenging.
The orchestra is funded and promoted by Guildford Borough,
with assistance from the South East Arts Board,
South East Music Trust, the Musicians’ Union, and the
Friends of the Philharmonic. It is grateful to corporate
sponsors, both local and national, and looks forward to many
more such mutually beneficial relationships in the future.
GUILDFORD CATHEDRAL
SATURDAY 3 MAY 1997 at 7.30pm
Principal Conductor: EN SHAO
Associate Leaders: Hugh Bean, John Ludlow
Beethoven
Choral Fantasy
INTERVAL
Beethoven
(5 minutes)
Symphony No.9 “Choral”
- LUCY PARHAM (piano)
JULIET BOOTH (soprano)
BRIDGET BUDGE (contralto)
JOHN OAKMAN (tenor)
EDWARD CASWELL (bass)
GUILDFORD PHILHARMONIC CHOIR
EN SHAO (conductor)
All concerts in the current season are funded by
Guildford Borough
The orchestra is grateful to the following for financial assistance:
South East Arts Board
The Friends of Guildford Philharmonic
South East Music Trust
K
Musicians’ Union
Royal Scottish National Orchestra. He made his
London debut with the London Symphony
Orchestra in 1992, and with the Royal
Philharmonic Orchestra in 1994.
En Shao has completed four major tours with
the ABC orchestras in Australia. He has worked
with the Toronto Symphony, the Colorado
Symphony, and the Vancouver Symphony; and
with the National Symphony Orchestra in
Johannesburg. Future engagements include
visits to Australia, the United States,
Scandinavia and the Far East.
En Shao has a wide range of interests including
Chinese cooking, contemporary interior design
and architecture, ballet and jazz. He takes a
particular interest in environmental issues.
En Shao was born in Tianjin, China, in 1954. He
started to play the piano at the age of four,
and the violin at five. In 1966 he was forced to
stop his music studies for four years because of
the Cultural Revolution. Gradually, however,
he was able to return to these studies, and by
the age of 18 was working as a composer,
pianist and percussionist with a local orchestra.
After graduating from the Beijing Centre Music
Conservatory, he became second Principal
Conductor of the Chinese Broadcasting
Symphony Orchestra, and Principal Guest Conductor of the Central Philharmonic Orchestra
of China and the National Youth Orchestra.
He came to England in 1988, having been
awarded the Lord Rhodes Fellowship at the
Royal Northern College of Music. In 1989 he
won the Sixth Hungarian Television International Conductors’ Competition, resulting in
engagements with the Hungarian Radio
Orchestra and State Symphony Orchestra. In
January 1990 he became Associate Conductor
of the BBC Philharmonic, a post created
specially for him. From 1992-1995 he was
Principal Conductor of the Ulster Orchestra,
with whom he made his Proms debut in
August 1995. He is now Principal Guest
Conductor of the Euskadi Orchestra in Spain.
This is his second season as Principal Conductor
of the Guildford Philharmonic.
In the UK,
En Shao has worked with the
Bournemouth Symphony Orchestra, the BBC
Orchestras, The Northern Sinfonia, the Royal
Liverpool Philharmonic, the Hallé and the
Lucy Parham came to prominence when she
won the Piano Class of the BBC Young
Musician of the Year in 1984. Since then, she
has performed with many of Europe’s leading
orchestras and conductors. In recent seasons
she has appeared and toured with the Polish
National Radio Symphony Orchestra, the Sofia
Philharmonic, L'Orchestre National de Lille, the
Bergen Philharmonic and the Russian State
Symphony Orchestra.
Lucy Parham studied at the Guildhall with
Joan Havill where she won all the major prizes.
Further successes include the 1988 NFMS/Esso
Award, the 1990 London Philharmonic Pioneer
Young Soloist of the Year, and First Prize in the
Concert Artists
of Music and Drama where she won the Gold
Competition. In 1989 she gave a highly success-
1989
International
Young
Medal for Singers, the Schubert Prize for
ful debut recital at the Wigmore Hall and has
since appeared regularly at all the major
London venues and at numerous international
music festivals. In 1996 she adjudicated the
final of the BBC Young Musician of the Year.
As a concerto soloist, she has performed with
the London Philharmonic, Royal Scottish
National Orchestra, London Mozart Players,
BBC Philharmonic, and the Royal Philharmonic
Orchestra — with whom she has also toured in
the UK and abroad.
In
1996
Lucy
Parham
commemorated
the
centenary of the death of Clara Schumann
with a Wigmore Hall recital and a series of
broadcasts for BBC Radio 3's Composer of the
Week. Her latest recording includes concertos
Lieder, the Ricordi Opera Prize and scholarships from the Countess of Munster Musical
Trust and the Craxton Memorial Trust.
She made her operatic debut with
Opera
North as Frasquita (in Carmen) in the 1987/88
season and has since returned for Ninetta
(Love of Three Oranges), Xenia (Boris
Godunov), Norina (Don Pasquale), Arminda
(La Finta Giardiniera), Lauretta (Gianni Scicchi),
Gilda (Rigoletto), and Musetta and Mimi (La
Boheme). Other roles include the Countess (Le
Nozze di Figaro) for Welsh National Opera and
Glyndebourne Touring Opera, Morgana in
Handel's Alcina (her Covent Garden debut),
and Helena (A Midsummer Night’s Dream) at
the Aix-en-Provence Festival.
by Robert and Clara Schumann and was voted
Juliet
1996 Critics’ Choice of the Year by BBC Music
repertoire, and recent performances include
Booth
has
an
extensive
concert
Magazine. Later this month she will present
Gorecki’s Third Symphony, Paul McCartney’s
two feature-length programmes about the
relationship between Brahms and Clara
Liverpool
Schumann for Classic FM.
Ulster Orchestra, and Birtwistle’s The Mask of
Orpheus with the BBC Symphony Orchestra
and Andrew Davis to open the South Bank'’s
Birtwistle Festival. Her recordings include
Other recordings include Gershwin'’s Rhapsody
in Blue with the BBC Concert Orchestra, a solo
Chopin Disc, and concertos by Ravel, Franck
and Faure with the RPO.
Oratorio,
Beethoven’s
Choral
Symphony and Bruckner’s Te Deum with the
L’Incoronazione di Poppea for Virgin Classics
and Bruckner’s Mass in F for Hyperion.
Television appearances include Dennis O’Neill
and Friends,
and Carmina Burana at the
Edinburgh Festival with Neeme Jarvi. In recital
she has performed at the Aldeburgh and Aixen-Provence Festivals, the Chatelet in Paris,
and
at
St
John’'s
Smith
Square
and
the
season
include
Tatyana
Wigmore Hall.
Engagements this
(Eugene Onegin) at the Wexford Festival,
Micaela (Carmen) at the Royal Albert Hall,
Tatyana at the Holland Park Theatre, a Puccini
gala concert at the Barbican and her first Verdi
Requiem.
z
Juliet Booth was born in London and studied
at Bristol University and the Guildhall School
Elgar's Sea Pictures conducted by the late
Norman Del Mar and recorded for Capital Radio.
Bridget Budge has recently been working in
Germany, performing concerts and oratorio in
a variety of venues. These include a recording
of Stravinsky’s Mass for WDR Cologne, and a
CD of Russian music by Mordechai Seter.
Bridget Budge began her singing career as a
choral exhibitioner in Trinity College Choir,
Cambridge, graduating in 1985 with an
honours degree in music. She studied at the
Guildhall School of Music and Drama and the
Royal College of Music where she was made
the Opera Scholar. She was the recipient of a
number of prizes (including the RCM Albani
Prize for female vocalists and a Countess of
Munster Scholarship), and reached the semifinals of the Shell International Opera
Competition in 1988 whilst still a student.
Operatic roles have included Ericlea (The
Return of Ulysses) in Cambridge, Florence Pike
(Albert Herring), Madame de la Haltiere
(Cendrillon), and the Sorceress (Dido & Aeneas)
at the Royal College of Music, Mamma Lucia
(Cavalleria Rusticana) for Scottish Opera Go
Round, and Dardano (Amadigi) for the
Cambridge Handel Opera Group. She has also
covered the roles of Sosostris (Midsummer
Marriage), Suzuki (Madam Butterfly) and
Jocasta (Oedipus Rex) for Scottish Opera.
Her oratorio experience is extensive, ranging
from works by Bach and Handel to Verdi and
Tippett. She has performed alongside such
distinguished artists as Benjamin Luxon and
Neil Jenkins. Highlights have included a performance of the Verdi Requiem conducted by Sir
David Willcocks in the Royal Albert Hall, and
John Oakman studied at Trinity College of
Music with James Gaddarn and Elizabeth
Hawes. This was followed by the Opera Studio
where his teachers included Hans Hotter. Since
then he has sung regularly with Kent Opera
and Glyndebourne Festival Opera. His major
roles include Don Jose (Carmen), Cavaradossi
(Tosca), the title role in The Tales of Hoffmann,
and Rodolpho (Boheme).
He enjoys a wide and varied repertoire in
oratorio, notably Verdi's Requiem, Rossini’s
Stabat Mater and Handel’s Saul. As a founder
member of the Gratis Singers he gives concerts
throughout the country.
He has recently made two CDs, for IMP
Classics, of Gilbert & Sullivan arias and of
operatic arias.
Minster, and Beethoven’s Missa Solemnis for
U.E.A.
Future plans include Mozart’s Requiem in
Romsey Abbey, Richard Blackford’s Mirror of
Perfection with the Bournemouth Symphony
Chorus in Israel, Brahms's Requiem with
Woking Choral Society, and the roles of Timur
(Turandot) for Kentish Opera, Ramphis (Aida)
for Surrey Opera and Sarastro (Magic Flute)
for Court Opera.
He is currently studying with Robert Dean.
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 specialises
in 20th-century, particularly British, music. It
recorded Gerald Finzi's Intimations of
Edward Caswell was born in Bournemouth in
has
1964. He was a chorister at Exeter Cathedral
Immortality with the Guildford Philharmonic
and Patrick Hadley's The Trees So High with
the Philharmonia Orchestra, both recordings
and
after attending
Bournemouth
School
went to Christ Church, Oxford, where he read
Music and sang in the Cathedral Choir. As a
postgraduate he studied with Norman Bailey
at the Royal College of Music and later with
Edward Brooks.
Oratorio engagements have included Israel in
Egypt for the London Handel Festival; Haydn's
Creation at the Sheldonian Theatre, Oxford;
Tippett's A Child of Our Time in Canterbury
Cathedral; Mozart's Requiem in St John's
Smith
Square, Paris, Amiens and Rouen;
Dvorak’s Stabat Mater and Requiem in York
Minster; Beethoven’s Mass in C in St James's
Piccadilly; and Alexander’s Feast for the BachChor, Luneburg.
conducted by Vernon Handley.
The choir has worked with many eminent
conductors, and as well as giving concerts in
Guildford, it visits other British cities. Guildford
is twinned with Freiburg, and in 1990 the choir
joined forces with the Freiburger Bachchor in
Freiburg Munster, and then in November 1993
gave an outstanding performance of Britten’s
War Requiem with them under Neville Creed.
The
choir's Chorus Director is Jeremy
Backhouse, who was appointed to the post in
January 1995 and who is also conductor of the
Vasari Singers with whom he has made several
notable recordings. The choir’s new President
In opera he has taken the roles of Colline,
Angelotti and Sparafucile for Opera East;
is Sir David Willcocks, this country’s
distinguished choral conductor.
Mozart’s Figaro for Park Opera; Herman
Augustus (Candide) for Musica nel Choistro,
Batignano; and Sir Richard Cholmondeley (The
If you would like more details about singing in
the choir, please telephone: 01932 221918.
Yeomen of the Guard) for Surrey Opera.
Recent engagements have included Rossini’s
Petite Messe Solennelle,
Brahms's Requiem,
Beethoven’s Choral Symphony at the Barbican,
The Dream of Gerontius in
Guildford
Cathedral, the St Matthew Passion in York
most
what
proved
to
be the
last subscription
concert in which he himself performed. The
concert introduced the Fifth and Sixth
Symphonies, but just a few days beforehand, a
last-minute addition was announced in the
press: ‘A Fantasia for the Pianoforte which
ends with the gradual entrance of the entire
orchestra and the introduction of choruses as
a finale.’
Beethoven intended the Fantasia as a piano
concerto
containing
two
entirely
novel
features, and the addition of a chorus was
only one of them. In due course he also
planned an overture with the addition of
and in the 1820s he brought the
chorus into his celebrated final symphony. In
chorus,
traditional choral works, such as oratorios,
LUDWIG VAN BEETHOVEN
masses and operas, the orchestra was in many
respects subservient to the voices, whereas
(1770-1827)
Beethoven
is
as central
to
our
music
as
Shakespeare is to our literature. He was a key
figure in the 19th century artistic consciousness, the very type of the ‘artist as hero’; and
the myth of the tempestuous romantic genius,
wrestling with his stormy creations in his silent
world, remains a potent image.
When Beethoven arrived in Vienna in the early
1790s, he soon made a strong impression with
the musical public, but as pianist rather than
composer.
Contemporary
evidence
that
improvisations
at
his
abounded
in
brilliant
the
suggests
keyboard
ideas and
featured
sudden changes of mood; but despite his
individuality Beethoven did not seek to break
with the tradition of the Viennese classical
style, the tradition which had drawn him to
the city. Rather his intention was to modify the
formal procedures of the time, in order to suit
his own expressive needs.
This development can clearly be traced in his
celebrated series of nine symphonies which
span the years from the turn of the century to
the 1820s, and which have remained at the
very heart of western musical consciousness to
this day.
Beethoven's new concept involved reversing
these priorities, to focus upon his favoured
approach, the instrumental drama.
Unusually for Beethoven, the Fantasia was
written almost without interruption, as if in
the white heat of inspiration; certainly it is a
most original conception. For rather than a
conventional three-movement concerto, the
work
is
planned
as
a
substantial
course of composing it, Beethoven managed
to anticipate both Ravel’s Bolero, with the
gradual growth towards a powerful tutti
fortissimo, and Britten’s Variations on a Theme
of Purcell (The Young Person's Guide to the
Orchestra), in introducing the orchestral instruments, individually and by section.
However,
the Fantasia begins with a large-scale piano solo,
which Beethoven improvised at the first performance, and only wrote down subsequently.
There is only one theme of any significance,
which is introduced by the piano before being
developed in a series of variations. He had
composed it as a song more than ten years
before, but now it was set to new words, most
probably by Christoph Kuffner. The choral
treatment is varied and dramatic, bringing the
Fantasia to an exciting conclusion.
FANTASIA in C major, opus 80
for piano, orchestra and chorus
On
22nd
single
movement using semi-variation form. In the
December
1808
Beethoven
gave
Schmeichelnd hold und lieblich klingen
unsers Lebens Harmonien,
Und dem Schénheitssinn entschwingen
Blumen sich, die ewig bluhn.
Fried" und Freude gleiten freundlich
wie der Wellen Wechselspiel;
Was sich dréngte rauh und feindlich
ordnet sich zu Hochgefiihl.
Wenn der Téne Zauber walten
und des Wortes Weihe spricht,
Muss sich Herrliches gestalten,
Nacht und Stiirme werden Licht.
brother Joseph was installed as King of Spain.
It was this struggle that inspired Goya to
complete his famous painting The Execution
of the Citizens of Madrid. Other famous
contemporary
paintings
included
Friedrich’s
The Cross on the Mountain and Ingres’s La
grande baigneuse. In Britain, the Dome and
Royal Pavilion were constructed at Brighton.
Auss're Ruhe, inn're Wonne
herrschen fiir den Glucklichen.
Doch der Kinste Friihlingssonne
SYMPHONY no. 9 in D minor,
Crosses, das in's Herz gedrungen,
1. Allegro ma non troppo, un poco maestoso
2. Molto vivace
Hat ein Geist sich aufgeschwungen,
3. Adagio molto e cantabile - Andante
opus 125 - ‘Choral’
lasst aus beiden Licht enstehn.
bliht dann neu und Schénempor.
hallt ihm stets ein Geisterchor.
Nehmt denn hin, ihr schénen Seelen,
froh die Gaben schéner Kunst.
Wenn sich Lieb’ und Kraft vermahlen,
lohnt dem Menschen Gotter-Gunst.
Soft and sweet through ether winging
sound the harmonies or life,
The immortal flowers springing
when the soul is freed from strife.
Peace and joy are sweetly blended
like the waves alternate play;
What for mastery contended,
learns to yield and to obey.
When on music’s mighty pinion
souls of men to heaven rise,
Then both vanish earth's dominion,
Man is native to the skies.
Calm without and joy within us
is the bliss for which we long.
If the art of magic wins us
joy and calm are turned to song.
With its tide of joy unbroken,
music’s flood our life surrounds.
What a mastermind has spoken,
through eternity resounds.
Oh! Receive ye joy invited,
all its blessings without guile.
When in love and strength united,
man earns the gods’ approving smile.
HISTORICAL CONTEXT
In March 1808 French forces under the
command of General Murat occupied Madrid,
and after a prolonged struggle Napoleon’s
moderato - Adagio
4. Presto - Allegro ma non troppo - Allegro
assai - Allegro assai vivace - Alla marcia Andante maestoso - Allegro energico,
sempre ben marcato - Allegro ma non tanto Poco adagio - Prestissimo
‘I am that which is. | am all that was, that is,
and that shall be.” It is said that Beethoven
kept this quotation from Eastern philosophy
framed and before him on his desk. Certainly
the sentiments implied therein are crucial to
an understanding of the creative processes of
his final years, since during some fifteen years
before his death in 1827, Beethoven lived in a
silent world, completely deaf and able to
communicate only through his conversation
books
and,
more
importantly,
through
composing his music, having long since ceased
to perform in public. In his later compositions
he was forced to withdraw
into
himself,
creating music of a spiritual depth scarcely to
be found elsewhere in the literature of music.
If Beethoven had extended the range of the symphony in the celebrated Fifth Symphony, with
its imagery of triumph over fate, in the Ninth,
his final symphonic composition, he moved on
to a conception profounder still: the brother-
hood of all mankind. For in no work of art is
the philosophical spirit which developed out
of the French Revolution more clearly expressed.
The popular title ‘Choral Symphony’ is
misleading, however, as Beethoven'’s own title
reveals: ‘Symphony with Final Chorus on
Schiller's Ode to Joy’. The choral forces, who
provide the culmination and resolution of the
work, take part only in the second half of the
finale; up to that point the music is purely
instrumental. Yet despite its revolutionary
aspects, which must have made a powerful
impression in 1824 when the work was new,
the Ninth Symphony still owes much to the
classical tradition, especially in its overall structure and pacing. The expressive and technical
demands extend the scale of the classical symphony, but the instruments are never allowed
the indulgence of virtuosity, and solo passages
quickly merge again into ensemble. Thus the
orchestral writing directs the listener’s
attention towards the strength of the musical
argument rather than to superficial effects.
The opening of the first movement is an immediate revelation of Beethoven's powers. It is as if
the preoccupation is with the act of creation
itself, for the music seems to grow from
nothing, taking the form of a huge crescendo.
The celebrated analyst Donald Tovey went so
far as to suggest that this first subject had the
deepest and widest influence of any single
theme upon later musical developments. And
certainly those who know the symphonies of
Bruckner, for example, would hardly disagree.
At its best symphonic music is intensely
dramatic, and here Beethoven achieves a
drama of unparalleled proportions. The music
evolves on an extended scale, with a second
subject group which at once finds richness,
diversity and continuity, the moods alternating in the evocation of consolation and doubt.
In the closing phase of the movement, the selfsufficiency of the main material (the first
subject) is emphasised by the way that it is
extended and brought to its close with a
statement which has such unequivocal finality.
The second movement exudes a quite
different personality, for it is a striking
intensification of the possibilities of the
scherzo and its predecessor the minuet. The
chord of D minor is thrown back and forth,
and the basic rhythm strongly projected, not
least by the explosive contributions of the
timpani. When the strings begin a five-part
fugue, the woodwinds point up the start of
each bar; but this movement too is a sonata
form, and the second subject has a more
flowing contour above the active strings. This
symphonic scherzo is an extraordinary
example of the possibilities of scale, energy
and economy; so it is that the trio section, for
which Beethoven left a very leisurely metronome marking, is played once only rather than
twice, as was his usual preference. Now, the
sheer scale of the movement allows just a
passing reference to a second statement,
immediately prior to the emphatic conclusion.
In his famous essay, Tovey writes of ‘the
broadest and most spacious processes set side
by side with the tersest and most sharply
contrasted statements’. Thus there were good
reasons for placing the slow movement after
the scherzo, and before the clamorous
introduction to the finale. The Adagio is a
theme and variations, with the addition of
two interludes whose pulse is slightly more
rapid. The lyricism of the music could hardly be
further removed from the dynamism of the
scherzo, though towards the close there are
martial outbursts which show that there is
more than a single dimension to the movement. The effect of the storm, however, is to
make the closing bars seem more serene still.
Beethoven had known and loved Schiller’s Ode
to Joy (written in 1785) for more than thirty
years, and he had always intended to set it to
music. But the idea of a choral ending to the
Symphony had not been present from the first;
rather it emerged in response to the evolution
of the whole project. Schiller’s words, with their
focus on the emotion of joy, made the ideal
solution to the symphonic problem Beethoven
sought in his finale to resolve. His approach was
to precede the vocal entry with a substantial
prelude consisting of purely instrumental
music. A powerful recitative introduction
contrasts against quotations from the previous
movements, out of which emerges the famous
‘joy’ theme, whose character has elements of
hymn, folk tune and symphony. The sublime
simplicity of this theme was surely the result of
long labours on the composer’s part.
When the baritone enters, his words speak for
Beethoven (who did, after all, write them himself): ‘Oh friends, not these sounds! Let us strike
up something more pleasing and more joyful!’
The choral finale begins with the ‘joy’ theme,
which becomes the basis of variations and
developments setting Beethoven’s rearranged
selection from Schiller's Ode. The music has
both diversity and unity, with the four soloists
and chorus delivering treatments of the theme
which range through many moods and presentations, from the awestruck to the delirious.
No wonder, then, that the influence of this
work has been so profound and so enduring.
Beethoven’s funeral procession, Vienna 1827
HISTORICAL CONTEXT
Vienna remained a leading musical centre
throughout Beethoven'’s lifetime. The city
numbered
some
quarter of a
million
inhabitants — more than Berlin but fewer than
Paris or London - and was one of the focal
points of European artistic and political life.
© Terry Barfoot.
O Freunde, nicht diese Téne!
O friends, not these sounds!
Sondern lasst uns angenehmere anstimmen,
Und freudenvollere.
Let us rather take up a more pleasing
and more joyful refrain.
Ode an die Freude
Freude, schéner Gétterfunken,
O joy, glorious spark of the gods,
Tochter aus Elysium,
Wir betreten feuertrunken
Ode to Joy
daughter of Elysium,
Himmlische, dein Heiligtum.
intoxicated by the flame, we enter,
celestial one, your sacred shrine.
Deine Zauber binden wieder,
Was die Mode streng geteilt;
what rigorous convention sets apart;
Alle Menschen werden Brider,
Wo dein sanfter Flugel weilt.
Wem der grosse Wurf gelungen,
Eines Freundes Freund zu sein,
Wer ein holdes Weib errungen,
Mische seinen Jubel ein!
Ja, wer auch nur eine Seele
Sein nennt auf dem Erdenrund!
Und wer’s nie gekonnt, der stehle
Weinend sich aus diesem Bund!
Freude trinken alle Wesen
An den Brusten der Natur;
Alle Guten, alle Bésen
Folgen ihrer Rosenspur.
Your magic powers reunite
all men become brothers,
there, where your gentle wing comes to rest.
He who enjoys the blessed fortune
of mutual friendship,
he who has won a loving wife,
let him partake of the rejoicing!
Yes, and if he has but one other soul
in this world to call his own!
And who has not accomplished this, let him steal
weeping from this company!
All creatures drink in joy
at Nature’s breast;
good and evil together
follow her rosy trail.
She gave us kisses and the vine,
a friend proven unto death;
the worm too feels love’s pleasure,
and the cherub stands before God!
KUsse gab sie uns und Reben,
Einen Freund, gepruft im Tod;
Wollust ward dem Wurm gegeben,
Und der Cherub steht vor Gott!
Joyously, as His suns race
Froh, wie seine Sonnen fliegen
Durch des Himmels pracht’'gen Plan,
Laufet, Briider, eure Bahn,
Freudig, wie ein Held zum Siegen!
joyfully, as a hero toward victory!
Freude, schéner Gotterfunken, etc.
O Joy, glorious spark of the gods, etc.
Seid umschlungen, Millionen!
Diesen Kuss der ganzen Welt!
Bruder, GUberm Sternenzelt
Muss ein lieber Vater wohnen!
Be embraced, ye millions!
This kiss to all the world!
Brothers, there above the firmament
a loving Father surely dwells!
Ihr starzt nieder, Millionen?
Ahnest du den Schopfer, Welt?
Such’ ihn Uberm Sternenzelt,
Do you fall prostrate, ye millions?
Do you divine your Creator, world?
Seek Him beyond the firmament,
Uber Sternen muss er wohnen!
He surely dwells beyond the stars!
Freude, schéner Gotterfunken, etc.
Seid umschlungen, Millionen!, etc.
O joy, glorious spark of the gods, etc.
Be embraced, ye millions!, etc.
through Heaven'’s resplendent plains,
brothers, run your course,
Friedrich von Schiller (1759-1805)
GUILDFORD PHILHARMONIC ORCHESTRA
EN SHAO - Principal Conductor
First Violins
John Ludlow
Maurice Brett
Sheila Beckensall
Violas
John Meek
John Graham
Justin Ward
Nick Barnard
Jean Burt
Peter Newman
Martin Palmer
Paul Appleyard
Bob Winquist
Avril Maclennan
Emma Calthorpe
Phillip Augar
R Van Der Werff
Second Violins
Nicholas Maxted Jones
Cellos
Douglas Cummings
John Stilwell
Michael Ronayne
John Kirby
Nicholas Boothroyd
Rosemary Roberts
Julia Brocklehurst
Basses
A Sturdy
T Callaghan
Peter Hembrough
Carl Beddow
Ruth Dawson
Flutes
Sarah Newbold
Alexa Turpin
Piccolo
Horns
Percussion
Christopher Nall
Kevin Elliott
Jane Hanna
Chris Blundell
Richard Wainwright ~ Nigel Shipway
Christine Norsworthy
Simon Hunt
Trumpets
Oboes
Neil Black
Caroline Marwood
Gareth Bimson
Patricia Reid
General Manager
Nicola Goold
Trombones
Clarinets
Keith Pudey
Victor Slaymark
lan White
Michael Crowther
Music
Administrator
Peter Holt
Bass Trombone
Michael Lea
Jeremy Gordon
David Jones
Paul Moore
Bassoons
Robin Kennard
Anna Meadows
Contra Bassoon
lan Fasham
Secretary
Shirley Ewen
Timpani
Roger Blair
Stage Assistant
Ken Davidson
Martin Field
If you would like further information about the work of the Guildford Philharmonic or if you are interested
in sponsorship opportunities please contact the Guildford Philharmonic office on 01483 444666.
PRIZE DRAW
The winner of the bottle of champagne in the recent subscribers’ survey was Mrs J. Rake of Avington Close,
Guildford. Congratulations to her, and many thanks to everyone who filled in and returned survey forms.
GUILDFORD PHILHARMONIC CHOIR 1996-7
Sopranos
Rosalind Plowright
Amanda Clayton
Prue Smith
Jacqueline Alderton
Susan Ranft
Mary Clayton
Jana Stepankova
Norman Carpenter
Kathleen Aldridge
Elizabeth Redford
Andrea Dombrowe
Hilary Trigg
Walter Chattaway
Olivia Ames-Lewis
Gillian Rix
Valerie Edwards
Jorien van Gulik
Neil Clayton
Joanna Andrews
Joan Robinson
Celia Embleton
Janice Wicker
Rodney Cuff
Philip Davies
John Burrows-Watson
Noreen Ayton
Maureen Shortland
Mandy Freeman
June Windle
Penny Baxter
Judy Smith
Rebecca Greenwood
Maralyn Wong
Michael Dawe
Sally Bayton
Kathy Stickland
Liz Hamilton
Beatrice Wood
Simon Doran
Mary Broughton
Carol Terry
Ingrid Hardiman
Elaine Chapman
Sally Wallington
Jo Harman
Tenors
Terence Ellis
Sandra Docker
Enid Weston
Carol Hobbs
Adrian Buxton
Geoffrey Forster
Rachel Edmondson
Christine Wilks
Sheila Hodson
Douglas Cook
Michael Golden
Angela Hand
Elizabeth Willis
Joy Hunter
Bob Cowell
Nick Gough
Susan Hinton
Lucinda Wilson
Helen Lavin
Leslie Harfield
Peter Herbert
Kay McManus
Bob Holland
Laurie James
Nora Kennea
Michael Dudley
Judith Lewy
Altos
Krystyna Marsden
Andrew Reid
Michael Jeffery
Elizabeth McCracken
Sally Bailey
Christine Medlow
Chris Robinson
Stephen Jepson
Margaret Mackie
Iris Ball
Mary Moon
John Trigg
Tony Macklow-Smith
Jacqueline Norman
Mary Anne Barber
Brenda Moore
Maggie van Koetsveld
Neil Martin
Susan Norton
Evelyn Beastall
Jean Munro
Robin Onslow
Iris Bennett
Nikki Paige
Basses
John Parry
Barry Norman
Penny Overton
Jane Brooks
Anne Philps
Peter Andrews
David Ross
Alison Palmer
Jean Brown
Lesley Scordellis
Roger Barrett
Philip Stanford
Margaret Parry
Barbara Buck
Catherine Shacklady
Michael Bradbeer
Keith Torbet
Jessica Pires
Juliet Butler
Gillian Sharpe
John Britten
Ralph Whitehouse
FRIENDS
\
OF GUILDFORD
97/98 Season of the
Guildford Philharmonic
opens on 10 October
PHILHARMONIC
New season includes:
% Candlelight Concerts in Holy Trinity
If you would like
% Large-scale orchestral music in the
to be more involved in the
% Some of the greatest choral music
work of the
ever written
Guildford Philharmonic
% Late-night concerts in the Electric
and be part of our
Theatre
exciting development plans,
% Special events for children and
families
Full details from
Don’t miss out! Phone for our
Norman Carpenter:
01483 714634
% Music & Theatre Gala at the
Yvonne Arnaud
do join the Friends!
B
Civic Hall
full-colour brochure and join the free
el
mailing list: 01483 444666
Dates for your diary
'H'viv/‘
September 20th
~€'
4 September 28th
Chobham Festival
Saturday 21 June 1997
at 7.30pm
Holy Trinity Church, Guildford
Festival Cabaret Evening
Saturday September 20th
Summer Concert by the
Children’s Workshop:
Rhythm & Percussion
Guildford Philharmonic Choir
Flower Festival & Exhibition
Gershwin Highlights from
Sunday September 21st
Friday 26th — Sunday 28th
Porgy & Bess
Brass Band Concert
Lambert The Rio Grande
Friday September 26th
Festival Concert
Saturday September 27th
K
Songs of Praise
Sunday September 28th
Conductor Jeremy Backhouse
J
Information & tickets 01276 855461
Ticket information:
01306 730383
Saturday 10 May 1997
Saturday 12 July 1997
at 7.30pm
at 8.00pm
St John's Smith Square, London SW1
Shalford Park, Guildford
Mozart Requiem
Summer Concert with
Stanford Magnificat in B flat
Fireworks Finale
Parry Songs of Farewell
A perfect evening out
for all the family!
Vasari Singers
Guildford Philharmonic Orchestra
Guildford Philharmonic Chamber
Conductor Jeremy Backhouse
Orchestra
Conductor Jeremy Backhouse
Tickets: 0171-222 1061
Tickets:
Adults £12 (if booked in advance),
£15 (on the day); Children £2
Phone: 01483 444555
Secielly
GROWERS SINCE 1908
Secretts of Milford are delighted to donate the floral
bouquets to this seasons soloists
Secretts Flower Shop for stunningly orchestrated flower arrangements
Weddings * Decoration of Homes, Churches and Marquees
Bouquets * Gift Baskets * Floral Tributes * Accessories
Secretts — on the Milford to Godalming Road just outside Milford
Telephone: 01483 427971
Secielty
Full of lovely Surprises
Serving Surrey Music Lovers for over 130 years
T. ANDREWS & (0. LTD.
(Established in Guildford in 1857)
R ECO R D
CO R N E R
(TOM BRIGGS)
POUND LANE, GODALMING
Tel: 01483 - 422006
CD’s, Cassettes, Videos
CLASSICAL SPECIALIST
(Gramophone Blue Riband Dealer)
Rock, Pop, Jazz, Blues, Spoken Word
Sheet Music inc. Associated Board
Musical accessories, Storage Systems
Agents for leading makers
Second Hand LPs, Tapes, CD’s
Pianos for sale, hire and concert use
Trade-in Service available
62 MEADROW, GODALMING
Mail Order (Access, Visa, Mastercard)
Telephone: 01483 422459
Mon—Fri 9.15-5.15, Sat 9-5.30
DEPARTMENT OF MUSIC
University of Surrey
r—%;\ @47
Promoting Excellence in Education and Research
The Department promotes regular concerts,
celebrity recitals, masterclasses and workshops,
all of which are open to the public.
Major diary dates for the 1996-97 academic year:
IN THE ARTS
( & HUMANITIES
3 October, 19 January, 11 July (with Jack Brymer)
Medici String Quartet
can now be pursued at
24 October, 4 May
university level through
Nikolai Demidenko, piano
the University of Surrey’s
24 November, 15 February (Guildford Cathedral)
open-access, part-time and
occasional courses
University Symphony Orchestra & Choir
13 December (Holy Trinity Church)
University Chamber Orchestra
Wednesday Lunchtime Recitals
weekly student performances during semesters,
starting at 1.15 pm (admission free).
Please call the Department for further details
or if you would like to be placed on our mailing list:
For details please ring the
Centre for Continuing Education
. ‘fig
s,/[.5 ”p 3 &.
:
&
01483-259752
“Ustry v
Promoting excellence in teaching and research
01483 259317
(e
BURCHATTS
-~ farm barn
AWARD WINNING RESTORED
GEORGIAN BARN
AT STOKE PARK, GUILDFORD,
SURREY
mail ordering service.
= 1000 musical instruments in
bl
stock woodwind, brass,
THE IDEAL VENUE FOR:
strings, percussion,
FUNCTIONS
digital pianos.
=
CONFERENCES
|nstrument
RECEPTIONS
rental scheme
and cash sales
at best price.
= 1000 accessories,
musical gifts.
= 300 different types of
reeds and strings.
= Instrument repair service.
= Teachers register.
For full details on Burchatts Farm Barn contact
Miss] Boothroyde
Guildford Borough Council, Millmead House, Millmead,
Guildford, Surrey GU2 5BB. Telephone 01483 — 444701
Tel: 01932 351165 (24 Hrs) / 351614
G
Mail Order Music: 3 Claremont Road, West Byfleet, Surrey KT14 6DY
Sl
and 136 George Lane, South Woodford, London E18 1AY Tel: 0181 530 6432
Tel: 01932 354898 (24 Hrs)
CUILDFORD
8
O
R
O
UG
H
Borax opera
Borax works
Borax is a natural form of the element boron (B).
Borax and other borates are virtuoso performers in
glassmaking and detergency; they deliver an essential
composition to agriculture; and they harmonise creatively in
concert with metals, textiles, plastics, organic compounds,
and many other materials - to enhance or modify their
properties.
Members of the RTZ-CRA Group, Borax Europe Limited in
Guildford and U.S. Borax Inc. in California, conduct the
world’s leading programme for the production and supply of
boron compounds - for manufacturing, farming,
environmental protection, and the arts.
Borax Europe, which has recently transposed its operations
to the Surrey Research Park, is delighted to support the
Guildford Philharmonic.
AN
BoRAX’II\\
e
QY
170 Priestley Road
Guildford, GU2 SRQ
solicitors
Hart Brown are proud
to support The Professional Orchestra
of the South East
2 &4 Jenner Road
-
01483 887766
1 South Street
01483 887766
7&
8 Guildford Road
01483 887766
FARNHAM
Sovereign House 17 South Street
01252 737303
COBHAM
33 High Street
01932 864433
CRANLEIGH
2 Bank Buildings 147 High Street
01483 273088
68 Woodbridge Road
101483 887766
\ GUILDFORD
.