GUILDFORD
PHILHARMONIC
Saturday 20 November 1999
Guildford Civic
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Guildford Camera
soprano
77 Gav in Rogers—BaH
alto
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Will iam Kendall
tenor
Matthew Hargreaves
bass
Stephen Fare
Box Office
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01483
onductor
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GUILDFORD PHILHARMONIC
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All concerts in
the current season are funded by
M
CUILDFORD
Lto;
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The orchestra is grateful to the following for financial assistance:
T
o e TIY
South East Arts Board
oreneLaND
South East Music Trust
THROUGH
Major corporate sponsors in the 1999/2000 season:
BOC Gases, Borax Europe Ltd, Coutts & Co, The Guildford Nuffield Hospital,
Hart Brown Solicitors
PART ONE
N
10.
Introduction: Representation of Chaos (Orchestra)
Recitative with Chorus: In the beginning (bass and tenor)
Aria with Chorus: Now vanish before the holy beams (tenor)
Recitative: And God made the firmament (bass)
Chorus with Solo: The marvellous work (soprano)
Recitative: And God, said, let the waters (bass)
Aria: Rolling in foaming billows (bass)
Recitative: And God said, let the earth (soprano)
Aria: With verdure clad (soprano)
Recitative: And the heavenly host (tenor)
i Chorus: Awake the harp
5
13.
14.
Recitative: And God said. let there be light (tenor)
Recitative: In splendour bright (tenor)
Chorus with Trio: The heavens are telling
PART TWO
15.
16.
17.
Recitative: And God said, let the waters (soprano)
Aria: On mighty pens (soprano)
Recitative: And God created great whales (bass)
18.
Recitative: And the angels (bass)
20.
Chorus with Trio: The Lord is great
19 Trio: Most beautiful appear
INTERVAL
Recitative: And God said, let the earth (bass)
22 Recitative: Straight opening her fertile womb (bass)
23. Aria: Now heaven in fullest glory shone (bass)
21.
24.
25,
Recitative: And God created Man (tenor)
Aria: In native worth (tenor)
Recitative: And God saw everything (bass)
2L Chorus: Achieved is the glorious work
26.
27a. Trio: On Thee each living soul
27b. Chorus: Achieved is the glorious work
PART THREE
28.
Recitative: In rosy mantle (tenor)
Duet and Chorus: By Thee with bliss (soprano and bass)
30. Recitative: Our duty we have now performed (soprano and bass)
29
31.
Duet: Graceful consort (soprano and bass)
Recitative: O happy pair (tenor)
3 Chorus with Trio: Sing the Lord
32.
JOSEPH HAYDN (1732-1809)
In 1761 Joseph Haydn entered the service of the Esterhdzy family, and
he remained in their salaried employment for thirty years. In the first
years of this service he had charge of an orchestra which probably
comprised at least six violins, three violas, three cellos and two doublebasses, together with pairs of oboes and horns, other instruments being
added on an occasional basis, as required. These conditions were not
dissimilar to those he experienced in his previous appointment, to the
Austrian nobelman Count Morzin’s palace at Lukavec, in whose he
employ he worked from 1759.
His long relationship with the Esterhdzy establishment, first at
Eisenstadt and then at Esterhdza (which was modelled on the Palace
of Versailles), enabled Haydn to develop the range of his creative work.
He viewed his relative isolation at the court in positive terms: ‘I was
cut off, and I was therefore forced to become original.’
Haydn visited Vienna regularly, and his musical development was one
of the most extraordinary features in the evolution of the new classical
style. For although he did not invent the symphony, it was he more
than any other composer who nurtured and developed the genre from
its infancy to the full glories of its maturity. And the same might be
said of his role in the development of the string quartet. It is hardly
surprising, then, that he proved to be a great influence on Mozart.
When, after the death of Prince Nikolaus Esterhdzy in 1790, Haydn
was given his contractual freedom, he settled immediately in Vienna.
And such was his international reputation that the London-based
impresario Johann Salomon travelled in person, on a journey taking
some three weeks, in order to invite him to give concerts in the English
capital. Haydn agreed, and was in London at the end of 1791 when he
learned of Mozart’s death. The two visits Haydn made to London were
hugely successful, and when he returned to Vienna permanently in the
mid-1790s, it was clear that he had gained creatively from the
experience. In his final years, however, the misfortune of ill health
meant that Haydn composed less and less. He died in Vienna on 31st
May 1809, aged seventy-seven.
THE CREATION
After the death of Prince Nikolaus Esterhdzy in September 1790,
Haydn’s regular commitments evaporated. Within three months of this
date, the violinist-impresario Johann Salomon was accompanying him
across Europe, en route for London.
The new Prince had retained
Haydn on full pay, but his duties were so nominal that at the age of
fifty-eight he was able to challenge the world. The exhilaration of the
trip to London, which included the experience of seeing the sea for the
first time in his life, released from him a new flow of creativity; and
after his return to Vienna in 1792 it became clear that his music had
entered a new phase as a result of the London experience. Such was
Haydn’s success in London that he was invited to return, and he did so
in 1794.
These London visits brought a transformation of Haydn’s musical
experience. No longer was he ‘cut off from the world’, as he had been
at Esterhdza; now he was an international celebrity, and this is reflected
in the music he wrote after his final return to Vienna. His two oratorios,
The Creation and The Seasons provide the clearest examples of this
change, as well as of the intensity of Haydn’s vision.
He confessed
that he prayed every day while composing them.
Although he was a devout Catholic, Haydn used as the basis of The
Creation a libretto from Protestant England. This was given to him
during 1794-5 by the impresario Johann Salomon and adapted by
Thomas Linley from an original which had probably been written for
Handel, though never set by him. Haydn took this back to Vienna in
1795 and gave it to the wealthy dilettante and baroque music enthusiast
Gottfried van Swieten, who shortened it and translated it into German;
he also gave useful advice on how the text might be set.
When the
score was published in 1800, the text appeared in both German and
English. There is no doubt that the music was composed ‘bilingually’,
since the first edition had alternative notations where necessary,
according to the language to be used in performance.
From the first
the work achieved a notable success: during its first ten years there
were no fewer than forty-five Viennese performances, and this
popularity soon became international.
The Creation is conceived on an extensive scale and using the largest
forces Haydn employed.
His model was the Handelian oratorio,
examples of which had much impressed him while he was in London,
and his subject an account of the creation of the universe, using a
combination of narrative, description and glorification. The sources
for the text and the imagery beyond were the Book of Genesis, Milton’s
Paradise Lost and verses from the Psalms.
The Creation is constructed in three parts, using numbered movements
which are based on the prevailing principles of recitative, aria and
chorus. Parts I and II describe the six days of the biblical Creation,
using recitative to announce the dawn of each new day, aria to describe
its particular imageries, and concluding with choruses of praise.
Swieten supplied three soloists whose names he took from Milton: the
archangels Gabriel, Uriel and Raphael. Part III is less dramatic and
therefore has less recitative, being an evocation of the Garden of Eden
on the seventh day. The soprano and bass soloists take on the roles of
Adam and Eve, while the music develops through a mixture of solo,
duet and chorus, ending with a general chorus of praise.
In his music Haydn drew on his rich and diverse experience. The
orchestral writing is both subtle and, when necessary, dramatic, while
in terms of pacing, balancing and vocal writing his deep understanding
of all the prevailing styles of opera was an invaluable asset. Is there,
for instance, a more dramatic moment in the choral-orchestral repertory
than that depicting the appearance of light?
But it is above all in the choruses that Haydn reached a new peak of
achievement. Never before had he been given the opportunity to write
for such large or talented choral forces, and the range and power he
achieved are remarkable. The Creation is therefore a worthy successor
and companion to the great oratorios of Handel, the composer whom
Haydn described as ‘the master of us all’.
At that time . . ..
The English chemist Humphry Davy produced laughing gas (nitrous
oxide), finding it ‘absolutely intoxicating’ when inhaled; he therefore
suggested its use as an anaesthetic in minor surgery. At the Battle of
Aboukir in 1799, the French under Napoleon defeated a combined TurkishBritish force. George Washington died at Mount Vernon, aged 67.
© Terry Barfoot.
En Shao - conductor
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 fifth 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
Halle and the 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.
Joanna Cole - soprano
Joanna Cole was born in New South Wales and is a graduate
of the Queensland Conservatorium of Music. Her success
has led to several scholarships and awards with which she
continued studying in Italy and Germany.
In 1993 she
represented Australia in the Cardiff Singer of the World
Competition and in 1994 was a finalist at the Metropolitan
Opera Auditions in New York.
In 1996 her spectacular performance in the role of Lucia in Lucia di Lammermoor
with Australian Opera, when she stepped into the role at two hours notice, led to
further performances and the invitation to sing the role in Perth with West Australian
Opera Company in 1998. In 1997 Joanna Cole made a sparkling debut with Canterbury
Opera in Christchurch, New Zealand as Gilda in Rigoletto, returning in 1998 to play
Mimi in a new production of La Bohéme. In Autumn 1998 she sang Gilda in Rigoletto
for Opera Australia at Sydney Opera House to great acclaim and in spring 1999 sang
her first performances of Adina in L’Elisir d’amore in Melbourne.
Joanna Cole has also established an excellent reputation on the concert platform and
has broadcast for Australian Broadcasting Company many times. She has performed
Canteloube’s Songs of the Auvergne on several occasions and brought them to the
London Coliseum with Australian Balletin 1995. Conductors Joanna Cole has worked
with include Sir Charles Mackerras, En Shao, Markus Stenz, Peter Robinson, Nicholas
Cleobury and Richard Bonynge with whom she performed at the Australia House,
London, 70th Birthday Gala for Joan Sutherland in 1996.
Future operatic engagements include performances of Constanze in Die Entfiihrung
aus dem Serail, the Italian Singer in Capriccio and Gilda in Rigoletto with Opera
Australia in Sydney and Melbourne and Aminta in /I Re Pastore at St John’s Smith
Square. She will perform Messiah with Richard Gill and the Sydney Philharmonia
Choir in the Sydney Opera House Concert Hall this December and in February 2000
she will sing Mimi in La Bohéme for the Spier Festival, Cape Province, South Africa.
2 Matthew Beale - tenor
Matthew Beale was a choral scholar at New College, Oxford
where he completed a degree in psychology. Following this
he spent three years as a lay clerk at St George’s Chapel,
Windsor Castle. He is currently studying at the Royal College
of Music as a senior exhibitioner, supported by the Veronica
Mansfield Scholarship. His singing teacher is Margaret
Kingsley.
Other choral work includes performing with The Sixteen,
:
:
* The King’s Consort, The Academy of Ancient Music and
Polyphony. In addition to his choral singing he regularly gives recitals, and performs
in opera and oratorio. His oratorio work ranges from Bach’s Passions to Arvo Part’s
Johannespassion and includes such classics as the Messiah, The Creation, and Elijah.
His operatic roles include Paulino in Cimarosa’s The Secret Marriage, Ferrando in
Mozart’s Cosi fan Tutte, Berengario in Handel’s Lotario, Sir Philip in Britten’s Owen
Wingrave, Don Ottavio in Swayne’s Le Nozze di Cherubino, and the title role in the
world premiere of Francis Grier’s St Francis of Assisi. As arecitalist he has specialised
in English Song appearing in Japan, London and Oxford. He was the soloist in the
Warlock Society centenary concert and has recently performed Schumann’s
Dichterliebe at the Royal College. He last appeared with the Guildford Philharmonic
in Carmina Burana last November
Future engagements include Carmina Burana with the Liverpool Philharmonic,
Handel’s Messiah at Worcester Cathedral, and Bach’s B minor Mass at St John’s
Smith Square.
He is grateful for support from the Countess of Munster Musical Trust and the Ian
Fleming Charitable Trust.
Andrew Foster - bass
Andrew Foster was born in Lancashire and studied at the
Royal Academy of Music where he won many prizes
including the Oratorio, Lieder and English Song Prizes. He
won second prize in the 1998 Kathleen Ferrier Awards and
currently holds a Fellowship position in the Vocal
Department.
Andrew’s recent opera engagements have included Podesta
The Thieving Magpie for Opera North, Don Alfonso Cosi
fan tutte for British Youth Opera, Farasmane Radamisto
and Marziano Allessandro Severo for the London Handel Society and Hortensius
The Daughter of the Regiment for English Touring Opera. His repertoire also includes
Sarastro and Papageno Die Zauberflote, Dr Bartolo Le Nozze di Figaro, Pistol Falstaff,
Bottom A Midsummer Night’s Dream and Superintendent Budd Albert Herring.
Andrew has sung Haydn’s Nelson Mass in Guildford Cathedral and at the Queen
Elizabeth Hall with Ivor Setterfield, Haydn’s Creation at the Gloucester Three Choirs
Festival, Mozart Requiem at St Martin-in-the Fields and at St John’s Smith Square,
Handel’s Messiah at Dundee Caird Hall and Hanover Square, Bach at The Usher
Hall, Edinburgh and he recently made his Barbican debut singing Bach’s St Matthew
Passion with Nicholas Kraemer and The City of London Sinfonia. A busy concert
artist, his repertoire also includes Bach’s St John Passion and B Minor Mass, Handel’s
Acis and Galatea and Solomon, and Rossini’s Messa Di Gloria. He last sang with the
Guildford Philharmonic in a performance of Mozart’s Requiem in May 1998 in
Guildford Catheral.
Andrew recently made his Purcell Room début in recital in Schumann’s Dichterliebe.
His future engagements include Doctor in Debussy’s Pelleas and Melisande for
Glyndebourne Touring Opera, Garibaldo Rodelinda with Nicholas McGegan at the
Géttingen Handel Festival, and Bach’s St Matthew Passion with the Aalborg
Symphoniorkester in Denmark.
Guildford Philharmonic
The Guildford Philharmonic is at the heart of music-making in the south east, with a
huge repertoire extending from the 17th century to the present day. The main concert
season runs from October to July in a variety of venues including the Guildford
Civic, Guildford Cathedral, the Electric Theatre, Holy Trinity Church, the Yvonne
Arnaud Theatre, and, for the first time this season, Guildford Castle grounds. In
addition, the orchestra is invited to give 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 St Albans.
The Guildford Philharmonic’s scope ranges from concerts for children and with
children, via chamber concerts in more intimate venues, to large-scale choral and
orchestral works. The repertoire covers everything from jazz and light music to new
music, and the emphasis is to work with young soloists at the outset of their careers.
En Shao was appointed Principal Conductor in 1995, following in the illustrious
footsteps of Crossley Clitheroe, Vernon Handley, Sir Charles Groves and Sir Alexander
Gibson. The orchestra continues its work of attracting new audiences for all types of
classical music and of making concert-going an exciting experience.
Guildford Borough Council has funded and managed the Philharmonic as part of its
arts provision for the Borough since the orchestra’s inception in 1945 (when it was
the Guildford Municipal Orchestra). The Council is grateful to the South East Arts
Board, South East Music Trust and to its major corporate sponsors BOC Gases,
Borax Europe Ltd, Hart Brown Solicitors, The Guildford Nuffield Hospital and Coutts
& Co for financial assistance towards the costs of running the orchestra during the
1999/2000 season.
First violins:
Violas:
Oboes:
Trombones:
David Towse
JustinWard
Neil Black
Jeremy Gough
:
Maurice Brett
Christopher Wellington
Paul Buxton
Anne Rycroft
John MZek
Emer Calthorpe
Martin Palmer
Peter Newman
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Hale Hambleton
Alan Andrews
Cellos:
Bassoons:
Phillip Augar
George Ives
Peter Williams
Erica Cottrell
John Cullis
Tamsin Rowlinson
Second violins:
Nicholas Boothroyd
Contra Basson
Christine Read
Clive Dobbins
Duncan Moulton
Donald Weekes
Chrlstlne CIUtton
Jennifer Buxton
Basses:
Peter Hembrough
Andrew Bernardi
Michael Lea
Maurice Neal
Ruth Knell
Peter Hamilton Box
Catherine Belton
Stephen Rossell
Nicholas Levy
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Sarah Voigt
Flutes:
-
S
Anna Pyne
Jane Koster
Caroline Marwood
Clarinets:
DaVid Cha[terton
Horns:
Martin Heppell
Jane Hanna
John Edney
Bass Trombone:
Andrew Waddicor
Tlmpam:‘
Roger Blair
Keyboard:
Leslie Pearson
Gfeneral Manager
Nicola Goold
Music Administrator:
Peter Holt
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Music Development
Trumpets:
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Gareth Bimson
Andrew Dunn
Officer (SEMT):
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Clare Lister
Stage Assistant:
Kenneth Davidson
Guildford Philharmonic Choir
Guildford Philharmonic Choir was founded in 1947 by the Borough of Guildford to
perform major works from the choral repertoire with the Guildford Philharmonic
Orchestra.. The Choir is now independent from the Borough of Guildford but still
maintains close links with the Guildford Philharmonic Orchestra with joint performances
such as the one this evening.
The Choir grew to prominence under the batons of such eminent British musicians as
Sir Charles Groves, Vernon Handley and Sir David Willcocks. Sir David remains in
close contact with the Choir as its current President and Jeremy Backhouse has been
Chorus Director since 1995.
Notable achievements in recent years include Handel’s Israel in Egypt with the Freiburger
Bachchor in Freiburg in May 1998 and a rousing performance of Elgar’s Dream of
Gerontius at the Guildford Civic Hall in March 1998. Last season’s highlights included
Philip Moore’s De Profundis and Poulenc’s Gloria in collaboration with the University
of Surrey choir and orchestra. In March 1999 the Choir gave widely acclaimed
performances of Mahler’s Second Symphony - Resurrection and Bruckner’s Mass inE
Minor.
The Choir has a challenging and exciting concert programme for the 1999/2000 season.
On 19 December 1999 the choir is singing in the Carol Concert at Guildford Civic. On
March 11 2000 the Choir is hosting a Gala Concert to celebrate the Millennium and 20
years of the twinning of Guildford and Freiburg with a performance of Bach’s St Matthew
Passion in Guildford Cathedral with the Freiburger Bachchor and the Brandenburg
Sinfonia. On June 10 the Choir will perform Walton’s Belshazzar’s Feast at Guildford
Civic. There will also be another concert in collaboration with the University of Surrey
Choir and Orchestra at Guildford Cathedral on 12 February 2000, when the programme
will include A Prayer by Frank Bridge.
The Choir is always searching for new members to maintain its high standard and
auditions are held throughout the year. For further details about joining the Choir or for
any information about any of our future concerts, please contact Noreen Ayton on 01932
221918. Rehearsals are held on Monday evenings throughout term time in central
Guildford and prospective members are most welcome to attend rehearsals on an informal
basis before committing to an audition.
If you would like to find out more about how you can support the choir by becoming a
Benefactor, please contact Susan Ranft (Tel:01306 888870)
Sherwoods
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Guildford Philharmonic Choir
Sopranos
Altos
Tenors
Jacqueline Alderton
Marion Arbuckle
Bob Bromham
Olivia Ames-Lewis
Sally Bailey
Douglas Cook
Joanna Andrews
Iris Ball
Tony Cousins
Noreen Ayton
Mary Anne Barber
Bob Cowell
Penny Baxter
Evelyn Beastall
Leslie Harfield
Sally Bayton
Elizabeth-Claire Bazin
Elizabeth Blake
Mary Broughton
Elaine Chapman
Maura Dearden
Rachel Edmondson
Josephine Field
Angela Hand
Nora Kennea
Jane Kenney
Mo Kfouri
Judith Lewy
Gayle Mayson
Pat McCully
Jacqueline Norman
Susan Norton
Robin Onslow
Alison Palmer
Margaret Parry
Susan Ranft
Alison Rawlinson
Kate Rayner
Gillian Rix
Iris Bennett
Andrew Reid
Jane Brooks
Chris Robinson
Amanda Clayton
John Trigg
Mary Clayton
Maggie van Koetsveld
Margaret Dentskevich
Andrea Dombrowe
Valerie Edwards
Basses
Celia Embleton
Peter Allen
Mandy Freeman
Ingrid Hardiman
Jo Harman
Susan Hinton
Carol Hobbs
Sheila Hodson
Joy Hunter
Carol Jones
Helen Lavin
Peter Andrews
-
Richard Austen
Roger Barrett
Alan Batterbury
John Britten
Norman Carpenter
Neil Clayton
Philip Davies
Valerie Leggatt
Simon Doran
Krystyna Marsden
Michael Dudley
Lisa McCully
Terence Ellis
Kay McManus
Geoffrey Forster
Christine Medlow
Michael Golden
Rosalind Milton
Nick Gough
Mary Moon
Peter Herbert
Jill Scott
Brenda Moore
Laurie James
Jean Munro
Maureen Shortland
Michael Jeffery
Judy Smith
Sue O’Connell
Penny Overton
Caroline Starck
Tony Macklow-Smith
Anne Philps
Vicki Steele
Kate Plackett
Neil Martin
Kathy Stickland
Lesley Scordellis
Claire Strudley
Enid Weston
Catherine Shacklady
Gillian Sharpe
Tessa Wilkinson
Prue Smith
Christine Wilks
Hilary Steynor
Elisabeth Willis
Rosie Storey
Lucinda Wilson
Hilary Trigg
June Windle
Maralyn Wong
Pamela Woodroffe
Stephen Jepson
Barry Norman
John Parry
Roger Penny
Nigel Pollock
David Ross
Philip Stanford
Mr and Mrs Ayres
Mr and Mrs Davidson
Honorary Freemen Bill &
Mr DA Fogwill
Doreen Bellerby MBE
Mrs J Rooke
Gold Subscribers 1999/2000 Season
Mr J C Allison
Mr and Mrs G E Mills
Ms M Allison
Miss Wendy Nalson
Miss H Austin
Mr, Mrs and Miss Phillips
Mr J Bayton and
Mrs 1 Poole
Mr R Bayton
Mrs Jackie Biggs
Mrs Mary Bostock
Mr and Mrs Francis
Mr A B Rhodes
Mr and Mrs F Shepherd
Dr and Mrs G D Starte
Councillor Lynda
Mr and Mrs R H Franks
Strudwick
Mrs J Garland
Mrs J Truefitt
Mrs P E Harding
Mrs ] M Waldron
Mr and Mrs R D Hope
Mr and Mrs F Webster
Mrs Johnston
Mrs P R Willey
Mrs E Logan
Mr and Mrs B Williams
Mr and Mrs J Lyon
Mr and Mrs Wood
o
GUILDFORD
7
PHILHARMONIC
Friday 28 January 2000 7.30pm
.,
]ohn Bradbury
G
Guildford Civic
conductor & soloist
Ann Mackay
soprano
Maurice Murphy
trumpet
Box Office: (01483) 444555
/ Guildford Philharmonic Choir presents \
Saturday 11th March 2000 7.00 pm
Guildford Cathedral
GALA CONCERT
To celebrate the Millennium and 20 years
of the twinning of Guildford and Freiburg
Bach: Mattheus-Passion
Guildford Philharmonic Choir
with Freiburger Bachchor
Brandenburg Sinfonia
Helen Neeves
Jeanette Ager
Stephen Douse
Jeremy Backhouse
Tickets at £10 and £14 (with concessions) available
from Guildford Civic on (01483) 444555 or
Roger Penny on (01483) 564076
Forthcoming Concerts
A Christmas Fanfare
by Candlelight
Wednesday 15 December 8.00pm
Handel’s Messiah
Saturday 18 December 7.30pm
Guildford Cathedral
Guildford Cathedral Choir
SOLD OUT
Holy Trinity Church, Guildford
Guildford Camerata
Stephen Farr conductor
The Magic of Vienna
Friday 28 January 2000 7.30pm
Guildford Civic
Ann Mackay soprano
Maurice Murphy trumpet
John Bradbury conductor & soloist
Mozart, Beethoven and
Schubert by Candlelight
Friday 18 February 7.30pm
The Mad Hatter’s
Musical Tea Party
Friday 25 February 2.30pm
SOLD OUT
Holy Trinity Church, Guildford
Guildford Civic
John Wilson conductor
Alasdair Malloy presenter
The Tallis Scholars
From Taverner to Tavener
SOLD OUT
Friday 10 March 7.30pm
Holy Trinity Church, Guildford
Russian Romantics
Friday 17 March 7.30pm
Guildford Civic
Jorge Luis Prats piano
En Shao conductor
Tchaikovsky Symphony No.5 in E minor
Rachmaninov Piano Concerto No.2 in C minor
Faure and Rutter Requiems
Saturday 8 April 7.30pm
Guildford Cathedral
Guildford Camerata
Guildford Chamber Choir
Ruth Holton soprano
Dr Barry Rose conductor
Tickets: (01483) 444555
Two of life’s essentials
Boron is an element we all depend on, but one which we
will never see.
It is one of nature’s vital elements; it is essential to life
and it is all around us.
Plants cannot live withofit it; the healthier our diet, the
more boron we take in. For borates are found in healthy
vegetables, fruit, nuts and wine.
In our homes, borates are found in crockery, cookware,
ceramic tiles, fire retardant materials, insulation
materials and even humble light bulbs.
Gentle skin lotions, eye drops and medicinal ointments
all contain derivatives of boron.
So boron, like music, touches all our lives. Like music,
boron is essential for life.
BOR\,4/
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Borax Europe Limited
170 Priestley Road
Guildford, GU2 5RQ
A member of the Rio Tinto Group