The key of B
]B) orax: a natural mineral of the element boron (B). Borax and
)
other borates touch all our lives - by making glass tougher,
fibreglass more consistent, detergents more effective, and helping
Crops to grow.
]B) orax Europe Limited: the European headquarters of this
)
global, high-technology company based on the Surrey Research
Park, orchestrating the world's foremost repertoire of borate
mining, refining, research and distribution.
]B) orax in Guildford: a centre of excellence where scores of
)
highly-qualified scientists explore the properties of one of the
world's most versatile minerals, in one of the world's few
borate-dedicated R&D laboratories.
]B) orax: a member of the Rio Tinto Group; and once again
>
.
proud to support the current season of the Guildford
Philharmonic.
A Y
BORA
W
170 Priestley Road
Guildford, GU2 5RQ
Guildford Philharmonic Choir’s
YOUNG SINGER OF THE YEAR COMPETITION 1997
Tonight’s concert is a celebration of youth. The work that occupies the second
half of the programme this evening is Britten’s ever-popular cantata Saint
Nicolas, which depicts the life and works of the Patron Saint of children.
Joining the Guildford Philharmonic Choir [GPC] for this performance will
be the choirs from two local schools: Howard of Effingham and Ash Manor.
The GPC is delighted to welcome them for this special occasion.
In the first half we are celebrating another aspect of youth. Over the past few
months the GPC has been running a competition to seek the best young singers,
both boy and girl, in the area; this evening is the culmination of that search.
The Final, which took place in the Civic Hall this morning, involved three
boys and three girls, from which were chosen a winner and two runners-up in
each group. At the beginning of the concert the winners will be announced
and presented with their prizes and certificates; the winning singers will then
take a leading role in the music of the first half as well as prominent parts in
the second. All the Finalists from the competition will be performing in the
concert.
In staging this event, it was the wish of the GPC to involve as many of the
region’s young singers and alert them to the excitements that performing
either solo or in a choir can bring. We wanted them to experience the fun of
amateur music-making and break down any barriers that might exist between
our youngsters and today’s amateur performers. The project has received
support and air time from BBC Southern Counties Radio, for which we are
most grateful, and, along with our massive circulation of leaflets, we were
able to reach out to every school, church choir, musical group or establishment
* in the area and beyond. The response has been most encouraging, eliciting a
number of entries of the highest quality. The hope and ultimate aim of the
GPC is to promote youth singing by establishing this competition as an annual
event and, by drawing from the entrants and others, setting up a Youth Choir
that would be run under the GPC umbrella, performing alongside the main
choir as well as giving its own concerts in and around Guildford.
If you are interested in any of these plans and would like further information
on this or any of the Choir’s activities, please write to the Secretary, Guildford
Philharmonic Choir, 3 Brewhouse Road, Tanners Meadow, Brockham,
Betchworth, Surrey RH3 7NL
The finalists: Catherine Bosher, Becky Grosvenor-Taylor, Jennifer Hay,
Laurence Bartlam, Joss Paddick, Graham Ross.
PROGRAMME NOTES
Peter Warlock 1894-1930
Capriol Suite
I
Basse-Danse
II.
Pavane
III.
Tordion
IV.
Bransles
V.
Pieds-en-1’air
VI.
Mattichins
Philip Heseltine was born into a wholly unmusical family. His father
died when the boy was only two and his mother subsequently
had
married a
wealthy Welsh landowner. It was whilst at Eton that his interest was
awakened.
In 1910, he was introduced to Frederick Delius by an uncle, who
lived near
Grez-sur-Loing. That initial contact grew into a lifelong friendshi
p and the
elder composer was instrumental in encouraging Philip to pursue a
career in
music. That career revolved principally around journalistic work:
writing
critiques in newspapers and magazines articles, publishing books
(most
notably on the music of Delius in 1923), researching and editing Elizabeth
and Jacobean music, and composition. His critical work, which was
an
often of
a highly acerbic nature, had made him sufficiently unpopular, if not
infamous,
for him to feel the need to adopt a pseudonym for his compositional
work;
his choice of the name Peter Warlock reflected his fascination in all matters
occult. It is said that the division of his life and work into two personalit
ies
characterised the split in his mind, the one (Heseltine) being the more
introverted, melancholy side of his nature, and the other (Warlock) bein g the
extroverted, manic side. Whatever the conflict that existed within, it is
widely
regarded as having contributed to his early (probably suicidal) death
by gas
poisoning.
His most popular and famous work, the Capriol Suite, demonstrates most
strongly his debt to music of times past. It was composed in October
1926 in
versions for piano duet and string orchestra; a less well-known version
for
full orchestra was later published. Earlier in the year his friend Cyril Beaumont
had been working on a translation of a treatise entitled Orchésog
raphie, a
work dated 1588 in which a lawyer named Capriol is instructed in all aspects
of dance by one Thoinot Arbeau. For the English translation Warlock wrote
a preface and copied out all the musical illustrations. It was the tunes contained
therein that provided the melodic material for all but one ( ‘Pieds-en-1’air’)
of the six movements of the Capriol Suite. Although heavily reliant on the
16th-century examples in terms of structure and melody, the harmony is highly
original giving each movement the distinctive Warlock style. Broadly, the
six movements alternate slower, more reflective music with that of extrovert
high spirits and occasional astringent harmonies, the final movement being a
boisterous Sword Dance.
Felix Mendelssohn 1809-1847
Hear my Prayer
In considering Mendelssohn’s choral output, one is perhaps drawn initially
towards his large-scale works such as the oratorios St Paul (1836) and Elijah
(1846). Certainly these works were to make him a household name in this
country around the middle of the nineteenth century. His reputation as a
composer of large-scale choral compositions is strengthened with the
employment of a chorus in the last movement of his Second Symphony, the
Lobgesang or ‘Hymn of Praise’ (1840). Yet throughout his tragically short
life he wrote many choral pieces on a smaller scale: there are the ‘Six Seasonal
Motets’, Op.79 (1843-46), the ‘Three Psalms’, Op.78 (1848), numerous
miniatures and, most popular of all, his ‘Hear my prayer’.
This extended motet was written on 25 January 1844 to words by William
Bartholomew, dubbed by Mendelssohn as “the translator par excellence”. It
was he who was later to translate a German text of Elijah by the composer’s
friend Carl Klingemann into the English for Mendelssohn to set. After the
opening soprano solo, the chorus enters and the mood changes to one of
restlessness. An impassioned plea to God subsides and leads to a recitative
passage for soprano solo with choral support. Then follows the famous solo
“O for the wings of a dove”. The theme is taken up and developed by chorus
and soloist, the work ending in peaceful contemplation.
Samuel Sebastian Wesley 1810-1876
Blessed be the God and Father
Born just one year later than Mendelssohn, Wesley’s contribution to liturgical
choral music is no less significant and stylistically owes much to his German
contemporary. Their respective backgrounds, however, have little in common.
Named after his father and his father’s hero, J.S. Bach, Samuel Sebastian
Wesley began his musical immersion at a young age becoming a chorister in
the choir of the Chapel Royal; he also sang at St Paul’s Cathedral. In 1823,
egL
he sang a solo in the Royal Chapel in Brighton, delighting King George IV.
His musical education came from his father and from the age of sixteen held
posts as organist in various London churches. In 1832 he was appointed
organist of Hereford Cathedral where the first of his now well-known church
anthems were composed. A succession of cathedral appointments followed:
Exeter (1835-1841), Leeds Parish Church (1842-1849), Winchester (18491865), and Gloucester (1865-1876).
It seems that most of these appointments began with mutual excitement and
enthusiasm from both Wesley and the cathedral chapter, but in time the
relationships deteriorated into suspicion and acrimony. Matters were not
improved by his publishing two pamphlets (in 1849 and 1854) on the parlous
state of cathedral music in which he pulled few punches. His career was
spent entirely in the cathedral cloister; all attempts to secure academic posts
failed, not due to his lack of musical suitability, but largely because of his
abrasive personality. He was however, appointed a professor of organ
at the
Royal Academy of Music in August 1850. He played the organ in public for
the last time on Christmas Day in 1875 and died on 19 February the following
year. He is buried in the old cemetery of Exeter Cathedral. Despite his
controversial nature, he was widely respected as an organist and composer,
and as a man keen to reform and improve cathedral music.
Blessed be the God and Father was written between 1833 and 1835 whilst
Wesley was at Hereford. It was composed for an Easter Day service at which
“only Trebles and a single Bass voice” were available. The structure of the
piece is a mirror image, the central section being a beautiful treble solo, with
full treble/soprano interjections (“Love one another with a pure heart
fervently”). Either side of this passage are recitative-like sections for men’s
voices (possibly a bass solo in the original performance). The work begins
and closes with sections for full choir (presumably, extra voices were brought
in for the first performance). This extended anthem has been compared to a
Purcell verse anthem in form and utterance. Agree or not, one cannot fail to
be struck by the sincerity of the setting, the dramatic contrasts and the beauty
and strength of the music.
Ben
Benjamin Britten 1913-1976
Saint Nicolas - Cantata, Op.42
From the Introduction to the Vocal Score:
St. Nicolas, Bishop of Myra, Patron Saint of Children, Sailors,
and Pawnbrokers. Feast Day:
Travellers
December 6th.
Nicolas was born at Patara in Asia Minor and died during the first
half of the
fourth century, having long served as Bishop of Myra, the capital
of his native
country Lycia. He is the hero of many popular legends,
but few facts
of his
life are certain. In 1087, his relics were captured from his
tomb and carried
away to the Italian city of Bari, where a new church was
built to enshrine
them. Here they continued, as at Myra, to work miracles: the shrine,
is said to exude a miraculous, sweet-smelling oil, became a place
from all parts of Europe.
which
of pilgrimage
In the Middle Ages, four hundred churches were dedicate
d to his honour in
England alone. He is the Patron Saint of Russia and Greece, and
universally
known to children in his disguise of ‘Santa Claus’ (a Dutch dialect
his name).
form of
Nicolas was born of wealthy parents. From his babyhood,
he showed signs
of exceptional grace and refused to feed on canonical fast-days
. He was
taught by the Church in boyhood and youth, and when his
parents died of the
plague, he gave all his wealth to charity and went on pilgrima
ge to the Holy
Land. Coming back to the city of Myra, he was chosen Bishop,
accordi
ng to
a revelation made before his arrival, and served his diocese
faithfully until
his death.
During the persecution of the martyrs (303-311), Nicolas
was imprisoned
under Diocletion. Later, he was one of the three hundred and
eighteen bishops
summoned to attend the first great Church Council at Nicea
in 325 , where he
is said to have disgraced himself, but gave great glory to God,
by striking the
founder of the Arian heresy, although there is little evidenc
e to corroborate
this.
Most legends of Nicolas are concerned with his care of the poor
and with his power of appearing from great distances to
and oppressed,
rescue those who
called on him. His emblem, the three golden balls, that he
carries in statues
and pictures, symbolises the purses of gold he secretly gave
girls of noble family from prostitution; as Patron Saint of
emblem has come to be used for a sign outside a Pawnbro
to rescue three
Pawnbrokers, his
kers shop.
The Cantata is scored for tenor solo and choir, with strings, organ, piano duet
and a sizeable battery of percussion instruments. It was composed in 1947/
48 as a result of a commission from Lancing College (Peter Pears’ old school)
for a work to celebrate its centenary. Its official first performance took place
there on July 24th of that year, although it was heard at the opening concert
of the Aldeburgh Festival six weeks earlier. It was his first extended work
written specifically with amateurs and children in mind and the composition
gave him much joy, coming as it did after the comparatively arduous work on
Peter Grimes (1945), The Young Person’s Guide to the Orchestra and The
Rape of Lucretia (1946), and Albert Herring (1947). The libretto, by Eric
Crozier, was drawn from the legends that surrounded the life and work of
Saint Nicolas.
1. Introduction. The orchestral prelude sets the scene: the present day; a
congregation is assembled at church to celebrate St Nicolas’ feast day when
the Saint appears in a vision. They implore him to speak. He tells them of the
Faith that his followers showed in his lifetime sixteen hundred years ago and
that this Faith is still surviving and must be preserved in them. The
congregation prays for help and strength.
2. The Birth of Nicolas. This movement tells of the birth and early years of
Nicolas. At each stage of his young life, we are told, from his birth, the
swaddling-bands of the crib, the bath-tub, to his baptism and his growing up
in grace, he glorified God. At the end of each particular stage of the music,
the boy Nicolas sings “God be glorified”. The movement closes with the
neighbours crying, “Nicolas will be a Saint”, to which Nicolas, now a young
man, again replies “God be glorified”.
3. Nicolas devotes himself to God. His parents die and he is confronted by
the miseries of Man, “solitary, racked by doubt ... hopeless, faithless, defying
God”. In devoting his life to God, Nicolas gives all his wealth to the poor
and calls on God to purge his soul, begging him for “sweet humility”.
4. He journeys to Palestine. This is a vivid portrayal of a sea voyage. The
waters are calm, but Nicolas, kneeling in prayer, prophesies, to the jeers of
the sailors, that a storm will arise. Having erupted, the storm is only calmed
when the sailors fall on their knees and offer up a prayer, led by Nicolas. In
the ensuing calm of night, Nicolas weeps for the love of God when he looks
to Heaven and sees the Angels smiling down on him.
5. Nicolas comes to Myra and is chosen Bishop. The ceremony of the
Enthronement of Nicolas as Bishop of Myra is under way. The congregation
call on him to be their bishop to which Nicolas
responds with a pledge to
serve his people faithfully. The ceremony
is described by the semi-chorus,
punctuated by the chorus “Amen”. This leads
to a fugal section to the words
“Serve the Faith and spurn his enemies”, which
in turn leads to the hymn
“All people that on earth do dwell”. The compos
er writes that you, the
audience, should stand and join in with the singing
of this hymn:
All people that on earth do dwell,
Sing to the Lord with cheerful voice:
Him serve with fear,
His praise forth tell,
Come ye before Him and rejoice.
O enter then His gates with praise,
Approach with joy His courts unto,
Praise, laud and bless His name always,
For it is seemly so to do.
For why? the Lord our God is good:
His mercy is for ever sure;
His truth at all times firmly stood,
And shall from age to age endure. Amen.
6. Nicolas from prison. At the time of the Roman
persecution, Nicolas
finds himself imprisoned. From his cell, he gives
an impassioned plea for
Man to renounce the “wilderness” of Sin and to
turn to God in holiness.
7. Nicolas and the Pickled Boys. The land is
racked with famine. Three
mothers weep for their missing sons Timothy, Mark
and John. In desperation,
the boys have been killed and pickled to be used
as food in exchange for
gold. But Nicolas, hearing the mothers’ cries,
brings the boys back to life
and at this miracle all cry “Alleluia”.
8. His piety and marvellous works. This beautif
ul movement, reflective
in mood, opens by describing Nicolas’ life with his
people over a forty-year
period. The people keep his memory alive by
recalling the legends that
surround him: feeding a crowd from one sack
of food: saving three noble
girls from prostitution by giving them each a purse
as a dowry for marriage;
saving three men from execution: walking on
the water to save men in a
sinking boat; and boxing the ears of the heretic Arius
at the Church Council.
9. The Death of Nicolas. In moving terms, Nicola
s sings of his readiness
for death and of his longing to “come to life, to
final Birth”, leaving the
misery of earth for eternal Grace. Accompanying
his prayer, the choir’s
increasingly prominent plainsong Nunc Dimittis leads back to a restatement
of the opening orchestral material; the organ announces the final hymn, “God
moves in a mysterious way”’ with which the Cantata ends. Again, the composer
asks that the audience should stand and join in with the singing of this hymn:
God moves in a mysterious way,
His wonders to perform,
He plants his footsteps in the sea,
And rides upon the storm.
Deep in unfathomable mines,
Of never-failing skill,
He treasures up His bright designs,
And works His sovereign will.
Ye fearful Saints, fresh courage take,
The clouds ye so much dread
Are big with mercy, and shall break
In blessings on your head. Amen.
MUSICAL INSTRUMENT
RENTALS & SALES
Main Agents for
YAMAHA
BOOSHY
& nAWKIS
ISRITTEN’S MUSIC Ltd
3-4
Station Approach, West Byfleet, Surrey KT14 6NG
Tel: 01932 351165 (24 hrs) / 351614
Mail Order Music 01932 354898 (24hrs)
Open 6 days a week 9am
- 5. 30pm
(Sat Closed 4. 30pm)
Jeremy Backhouse was Head Chorister at Canterbury
Cathedral and later studied music at Liverpool University.
He spent five years as Music Editor at the RNIB, transcribing
print music to Braille, before moving to EMI Classics to work
as a Literary Editor.
Since 1990 he has been a Consultant
Editor for EMI and other companies and a freelance musician.
In 1981 he became the first Conductor of the Vasari Singers,
the chamber choir with whom he has made several successful
recordings.
photo: Gerald Place
From 1991 to 1995 he was Music Director of
Streatham Choral Society and the BBC Club Choir.
In January 1995 he was appointed Chorus Director of the Guildford Philharmonic
Choir. In April 1995 he conducted the BBC Singers for the first time in a programme
of music by Lennox Berkeley broadcast on Radio 3, and has since conducted them in
broadcast programmes of Holst, Rubbra, Massenet and Delibes.
James Oxley
James Oxley trained initially as a cellist at the Royal College
of Music and he later read Music at Oxford. In 1994 he took
first prize at the renowned International Vocalisten Concours
at ‘s-Hertogenbosch.
In 1991, he made his solo debut at the
Royal Albert Hall under the baton of Sir David Wilcocks; in
the following year he sang Les Illuminations at St John’s Smith
Square and was a soloist in Roger Norrington’s Brahms
Experience on the South Bank.
Recent engagements have included Messiah with the City of
Birmingham, Sicilian Symphony and Ulster Orchestras,
Tippett’s Child of our Time in Oxford and Sweden, Berlioz’s L’Enfance du Christ in
Valencia and Alicante, Britten’s War Requiem in San Sebastian and Amiens, and
performances of Britten’s Les Illuminations with the BT Scottish Ensemble.
James has appeared frequently in opera, playing Tamino in Magic Flute, Ottavio in
Don Giovanni, Rodolfo in La Boheme and Alfredo in La Traviata. He recently took
the title role in Kent Opera’s production of Britten’s Prodigal Son. Last Autumn he
took the title role of Werther at the Wexford Festival.
Current engagements include music by Percy Grainger conducted by Stephen Layton,
and Mozart’s C minor Mass with Tamas Vasary, both with the Bournemouth Sinfonietta,
Britten’s Serenade for tenor, horn and strings at the Huntington Festival in Australia,
Bach’s Christmas Oratorio with the Amsterdamse Bach Solisten conducted by Marc
Minkowski, St John Passion with the Melbourne Symphony Orchestra, and Handel’s
Messiah with the City of Birmingham Symphony Orchestra. Future plans include Lurcanio
Ariodante at the Covent Garden Festival and Hylas Briseis with the Opera de Rennes.
GUILDFORD PHILHARMONIC
The Guildford Philharmonic, the Borough’s own professional orchestra, 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 October to July in
a variety of venues: including the Civic Hall Guildford, Guildford Cathedral, the
Electric Theatre, Holy Trinity Church, The Yvonne Arnaud Theatre, and, for the first
time this season, Guildford Lido!
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, Canterbury and Saint Albans.
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 PHILHARMONIC ORCHESTRA
EN SHAO - Principal Conductor
First violins:
John Ludlow
John Graham
Anne Rycroft
Joan Atherton
Pat Humphreys
Piano:
Donald Weekes }
Cellos:
Jeremy Filsell
Martin Palmer
Nick Barnard
George Ives
John Stilwell
Nicholas Ansdell-Evans
Michael Ronayne
General Manager:
Avril Maclennan
Peter Newman
Phillip Augar
Second violins:
Paul Buxton
Duncan Moulton
Music Administrator:
Maurice Neal
Secectacy:
Bosses:
David Jones
Tinioent
Sarah Voigt
Percussion:
Violas:
John Meek
Nicola Goold
(Friends Sponsored Player 1995/96)
e
Peter Hembrough
Carl Beddow
Ginny Wray
Organ:
Malcolm Hicks
Peter Holt
Shirley
: Ewen
o Bl;lir
g
Music Development
Officer: (SEMT)
Christopher Nall
Stage Assistant:
Christopher Blundell
Clare Lister
K Pravidson
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 has recorded Gerald Finzi’s Intimations of Immortality
with the Guildford Philharmonic and Patrick Hadley’s The Trees So High with the
Philharmonia Orchestra, both recordings 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 is Sir David Wilcocks,
this country’s most distinguished choral conductor.
If you would like more details about singing in the choir, please telephone: 01932 221918.
Guildford Philharmonic Choir
Sopranos
Gillian Rix
Lucy Hatcher
Jacqueline Alderton
Joan Robinson
Carol Hobbs
Basses
Peter Andrews
Joanna Andrews
Maureen Shortland
Sheila Hodson
Roger Barrett
Noreen Ayton
Judy Smith
Joy Hunter
Michael Bradbeer
Penny Baxter
Kathy Stickland
Helen Lavin
John Britten
Sally Bayton
Carol Terry
Kay McManus
Norman Carpenter
Elizabeth-Claire
Bazin
Enid Weston
Christine Wilks
Krystyna Marsden
Christine Medlow
Neil Clayton
Rodney Cuff
Mary Broughton
Elisabeth Willis
Mary Moon
Philip Davies
Viv Chamberlin-Kidd
Lucinda Wilson
Brenda Moore
Michael Dawe
Elaine Chapman
Frances Worpe
Jean Munro
Simon Doran
Rachel Edmondson
Altos
Anne Philps
Michael Dudley
Angela Hand
Marion Arbuckle
Lesley Scordellis
Terence Ellis
Jenny Hasnip
Sally Bailey
Catherine Shacklady
Geoffrey Forster
Susan Hinton
fris Ball
Gillian Sharpe
Nick Gough
Nora Kennea
Mary Anne Barber
Prue Smith
Peter Herbert
Mo Kfouri
Evelyn Beastall
Hilary Trigg
Laurie James
Michael Jeffery
Barbara Lack
fris- Beanstt
Janice Wicker
Judith Lewy
Jane Brooks
June Windle
Stephen Jepson
Jacqueline Norman
Amanda Clayton
Maralyn Wong
Tony Macklow-Smith
Jane Norman
Mary Clayton
Beatrice Wood
Neil Martin
Susan Norton
Margaret
Tenors
Maxwell New
Penny Overton
Alison Palmer
Margaret Parry
Dentskevich
Andrea Dombrowe
Valerie Edwards
Douglas Cook
Bob Cowell
Leslie Harfield
Barry Norman
John Parry
Roger Penny
Jessica Pires
Mandy Freeman
Chris Robinson
David Ross
Ingrid Hardiman
Maggie van Koetsveld ~ Keith Torbet
Vivienne Parsons
Rosalind Plowright
Susan Ranft
Kate Rayner
Celia Embleton
Rebécea Greenwood
Jo Harman
Andrew Reid
John Trigg
Nigel Pollock
Phl_llp Stanford
Guildford Philharmonic Choir will be performing Elgar’s Dream of Gerontius
on 7 March 1998, 7.30pm at the Civic Hall. Box Office: 01483 444555
Ash Manor School
Howard of Effingham School
Sopranos
Sopranos
Christopher Miller
Emma Barrow
Nicole Allison
Tanja Miller
Georgina Bell
Yvonne Cunningham
Rosemary Fenge
Frances Ferguson
Julie Hollis
Hannah Bibby
Joanna Walters
Laura Brown
Katy Butcher
Amy Callaghan
Jo Chinn
Tenors
Robert Egginton
Doug Eve
Dominic Stichbury
Katy Deadman
Laura Egginton
Bradley Thomas
B
Sarah Rosewell
Catherine Clifford
Haley Shrubb
Natalie Lewis
Altos
Adrienne Swaddling
asses
Gemma Ganderton
.
Andv B
3
ndy
Beatty
Gillian Bayes
Caroline Paradise
David Bowes
Erin Belcher
Rachel Cassar
Lawrence Fripp
Healise ROHS
S
ZHTMY Yoo
Edward Hewett
Jasmine Gentleman
Victoria Barnes
Alison Edgley
James O’ Carroll
Matthew Willis
Altos
Claire Holland
Heather Ganderton
Lisa Lucas
Jenny Goodheart-Smithe
Tabitha Nelson
Laura Matthews
Carly Stone
Lucy Webb
SINGING LESSONS
i
PHILHARMONIC
& VOCAL STUDIES
Join the Friends of Guildford
Whether you are singing for
Philharmonic and help to support young
fun. or auditionin g for
orchestral players at the outset of their
PrOfeSSIC)naI WOI’k, SChOOIS’
Each year, for the past seven years, the Friends
careers.
colleges, universities, choirs
have sponsored a new string player in the
or choral societies, we can
her the opportunity to gain valuable
T
help you develop your singing
.
.
technlque and achieve your
musical ambitions.
For further details and an
z
introductory lesson,
2
Phone S e
01483 532997
orchestra for a whole season, giving him or
experience working with a professional
orchestra. The Friends would be delighted to
hear from anyone who would like to
contribute towards the scolarship, and to find
out more about this, and other asoects of the
work of the Friends, please contact:
R
-
orman
o
Carpenter,
Chairman
Friends of Guildford Philharmonic
01483 714634
DIAMOND SUBSCRIBERS 1997/98 SEASON
Mrs M Allison
Mrs K Hewkin
Mrs K I Apsion
Mrs R Horton
Miss H Austin
Mrs O Humphrey
Mr J Bayton
;
Mrs E Logan
Mrs & Mrs J Bayton
Mrs M Maple
Hon Freeman Bill Bellerby MBE
Mrs P Page
Hon Freeman Doreen Bellerby MBE
Mr F H Pullen
Mrs M Bostock
Mrs J Rooke
Mr & Mrs R Cowell
Miss J Scott
Mr & Mrs K Davidson
Dr & Mrs G D Starte
Mrs V Davison
Mr J Wedgbury
Mrs V A Denny
Smith Systems Engineering
Mr D A Fogwill
Mrs P R Willey
Mr & Mrs P Gautrey
GOLD SUBSCRIBERS 1997/98 SEASON
Mr & Mrs G E Bavin
Miss W M Nalson
Mr & Mrs P M Bennett
Mr P N O’Brien
Mrs E Butler
Mr & Mrs M Phillips
Mrs B Corben
Mr P D Pile
Miss K E M Dixon
Councillor J Powell
Mr & Mrs R H Franks
Mr & Mrs A Preskett
Mr & Mrs L Garland
Mr & Mrs J M Price
Mr & Mrs E F Greene
Mrs J P Radley
Mrs P E Harding
Mrs B E Spagnoletti
Dr R G Harlow
Miss M E Tingley
Mrs A M Michie
Mrs A Wood
Mr & Mrs G Mowat
As at time of going to press
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 achievements are no substitute for present day
performance.
BOC Gases and the Guildford Philharmonic
Orchestra have traditions spanning | 10 years and 52
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:
BOC Gases, The Priestley Centre, |0 Priestley Road,The Surrey Research
Park, Guildford, Surrey GU2 5XY.
Tel:01483 579857.Fax:01483 50521 1.
Guildford Agent:].TWarsop Jnr & Co. Ltd, DeltaWorks, Midleton Industrial
Estate, Guildford, Surrey GU2 5XW. Tel: 01483 534222
Godalming Agent: Hunter Tool Company, 6 | Brighton Road,
Godalming, Surrey GU7 INT. Tel: 01483 423610
&y BOC GASES
Saturday 6 December
Guildford Cathedrak’.
idow)
Fledermaus)
:
solicitors
Hart Brown are proud
to support The Professional Orchestra
of the South East
2 &4 Jenner Road
01483 887766
I South Street
01483 887766
7&
8 Guildford Road
01483 8877606
FARNHAM
Sovereign House 17 South Street
01252 737303
COBHAM
33 High Strecet
01932 864433
CRANLEIGH
2 Bank Buildings 147 High Street
01483 273088
GUILDFORD
68 Woodbridge Road
01483 887766