Guildford Philharmonic Choir
GPC
Gala Concert
To celebrate the Millennium and 21 years of
the twinning of Guildford and Freiburg
J S Bach
St Matthew Passion
Freiburger Bachchor
Surrey County Youth Choir
Helen Neeves Jeanette Ager Colin Campbell
Stephen Douse Jon English Adrian Peacock
Brandenburg Sinfonia
Jeremy Backhouse
Saturday 11" March 2000
Guildford Cathedral
£1.50
onight’s Gala Concert is being held as part of Guildford’s
Millennium Celebrations. It also celebrates 21 years of the
twinning of Guildford and Freiburg and 10 years of the twinning
between the Freiburger Bachchor and the Guildford Philharmonic
Choir. We welcome our many friends from Freiburg and thank them
for contributing over the years to making the relationship such a
success.
The Guildford Philharmonic Choir would like to thank the following
organisations whose kind donations have helped to enable this
concert to take place:
Guildford Borough Council Millennium Committee
Borax plc
The Guildford Freiburg Association
The Guildford Philharmonic Choir would also like to express its
thanks to the many people, members and friends, whose hard work
and commitment have contributed towards making tonight’s concert
possible.
The staging used for this concert is owned by the Association of
Surrey Choirs. To hire, please contact Stephen Jepson, (01306)
730383. It was purchased with the generous aid of a grant from the
Foundation for Sport and the Arts, P O Box 20, Liverpool.
Thank you also to Rod Cuff for his generous assistance in compiling
this programme.
Guildford Philharmonic Choir
President: Sir David Willcocks CBE, MC.
JeanetteAger
Jon Enghsh
Adrian Peacock
=
Bass
Surrey County»»«-» outh hoir
There will be a short interval of ten minutes between the First and
Second Parts. You are kindly requested to return promptly for the
start of the Second Part.
The Guildford Philharmonic Choir’s next concert will be a
performance of Belshazzar’s Feast by William Walton on 10 June
2000 at Guildford Civic. The Forest Philharmonic Orchestra will
be playing. Tickets can be obtained from Guildford Civic (01483)
444555 or Gill Sharpe (01306) 882456.
Johann Sebastian Bach (1685-1750)
St Matthew Passion
The St Matthew Passion was written for St Thomas’ Church, Leipzig, where Bach
held the post of Kantor from 1723 until his death in 1750. Two years before Bach’s
arrival it became customary to incorporate Passion settings into the Vespers service
at Leipzig on Good Friday. Recent evidence strongly suggests that the St Matthew
Passion was composed for Good Friday 1727, placing it between the St John Passion
(1724) and the St Mark Passion (1731, for which only the libretto has survived).
The St Matthew Passion was conceived on an extraordinarily large scale, its use of
double chorus and orchestra setting it apart from his other sacred music. Like the
longer cantatas, however, it was written to be performed in two parts either side of
the sermon (which probably lasted about an hour!)
The work was repeated on Good Friday 1729, and again in 1736 and the late 1740s.
Unlike the St John Passion, however which underwent extensive revision for later
performances, the St Matthew appears to have been little altered. For the 1736
performance the original closing movement of Part 1, a simple four-part setting of
the chorale ‘Jesum lass ich nicht von mir’, was replaced by the elaborate chorale
fantasia ‘O Mensch, bewein dein Siinde gross’ taken from the second version of the
St John Passion. In addition, the continuo instruments were divided into two distinct
groups and a third organ was added to the chorale line sung by the ripieno chorus in
the opening and closing movements of Part 1. It is this 1736 version which has
come down to us in Bach’s autograph score, a fair copy in which the Gospel text is
written in red ink.
The libretto for the St Matthew Passion is by Christian Friedrich Henrici, known as
Picander, with whom Bach had collaborated before. It is probable that Bach was
involved in preparing the literary text, which, like the music, reveals considerable
concern with creating a unified work. Picander’s text, which was published in 1729,
divides the action up in numerous sections, each of which ends with a passage of
free poetry reflecting on the previous action. The chorales, whose texts and melodies
would have been familiar to the Leipzig congregation, provide further points of
articulation to the drama. Six of Picander’s contemplative sections are conceived as
dialogues between ‘The Daughter of Zion’ and ‘The Believers’ (nos. 1,25 & 26, 33,
36, 69 & 70, 77 & 78) — something which must have suggested to Bach the antiphonal
use of two choirs or of a single soloist and chorus which is found in all six sections.
The biblical text from Chapters 26 and 27 of St Matthew’s Gospel is set in a variety
of ways. The words of the Evangelist (the narrator) are set as recitative accompanied
by the continuo alone, as are those of Peter, Pilate, Judas and the other minor
characters. Those of Christ, however, follow the example of various earlier German
Passion settings in using string accompaniment, the music at times breaking into a
4
more melodic arioso style. The only point at which Christ’s words lose this halo of
strings is for his despairing cry on the cross ‘Eli, Eli, lama sabachthani?’, something
which underlines Christ’s human aspect at this moment. The words of the crowd,
and on occasion of the disciples, are set for the chorus. These are sometimes just
short interjections, as in the single shout of ‘Barrabas’ to a dramatic diminished
seventh chord in no.54, and sometimes more substantial pieces in motet style. The
two choruses ‘Let him be crucified” which frame the moving soprano aria with flute
and oboes da caccia (n0.58) use the same music, but the transposition of the second
chorus up a tone into B minor heightens the dramatic tension. For the line “Truly,
this was the Son of God’, spoken in the Gospel by the centurion and his companions,
Bach uses both choruses in unison, suggesting that this is a comment on behalf of all
humanity.
As well as providing reference points for the congregation and a commentary on the
action of the Passion story, the chorales in the St Matthew Passion serve a unifying
function.
Many of them share a common melody; the Passion chorale ‘O Sacred
Head’ is used five times, while nos. 3,25 & 55 and nos. 16 & 44 also use the same
tune. Bach however often varies the harmonisations; the most obvious example of
this is the version of the Passion chorale directly following Christ’s death (no. 72),
where the extraordinary chromatic harmonies movingly reflect the dramatic situation.
Most of Picander’s free texts are set for solo voices, generally a short arioso
introducing a contemplative aria often in the da capo form that was so popular in
contemporary opera. Both ariosos and arias make use of a wide variety of scorings,
often exploiting obbligato instruments such as the violin (nos. 47 & 51) and viola da
gamba (nos. 41 & 66). The alto arioso ‘Ah, Golgotha!’ (no. 69) is particularly
interesting from a harmonic point of view, as nearly every chord contains a
dissonance. Some arias dispense with the introductory arioso; this is the case for the
two arias using solo violin, which describe the despair and guilt felt by Peter and
Judas.
The other free texts supplied by Picander are those of the opening and closing
choruses. In the first case Picander’s words are set as a dialogue between the two
choirs in E minor, but this tonality contrasts with the more optimistic G major of the
chorale ‘O Lamb of God’ sung by the ripieno chorus. The final chorus, as in the St
John Passion, is a gentle C minor sarabande, whose falling arpeggios in the orchestra
and sighing vocal phrases create an appropriately solemn atmosphere for the work’s
close.
This note is copyright and has been supplied through the Programme Note Bank of the National
Federation of Music Societies, to which this society is affiliated. No part of this material may be
reproduced or published without permission by any organization not affiliated to the National
Federation of Music Societies.
Jeanette Ager, who was born in Dorset, began her singing
studies at the age of 12.
She was awarded an Exhibition to
study at the Royal Academy of Music, also supported by the
Michael James Music Trust, where she won many prizes. She
is now continuing her studies with Linda Esther Gray.
She is a diverse performer and has performed widely.
In
oratorio her notable performances include Haydn’s St Nicholas
with the London Mozart Players and the Choir of St John’s
College, Cambridge, and Handel’s Messiah in the Barbican
Concert Hall. Her operatic work has included chorus for Glyndebourne Opera and
solo roles for Kent Opera, Broomhill Opera and Diva Opera, with whom she has
performed Cherubino in England, the Channel Islands and France.
For Hyperion Jeanette Ager has recorded five pieces by Lili Boulanger as mezzo
soloist with the New London Chamber Choir conducted by James Wood. She was a
soloist in a Deutsche Grammophon recording of three songs for women’s choir by
Ruth Crawford, called To An Unkind God.
Future engagements include this summer’s Glyndebourne Festival Opera Chorus,
Mabhler’s 2TM Symphony at Salisbury Cathedral and Elgar’s Music Makers and
Brahms’ Alto Rhapsody at Chichester Cathedral.
Helen Neeves studied music at the University of York.
She
became a member of Yorkshire Bach Choir and performed with
Yorkshire Baroque Soloists.
Now based in London, she continues singing professionally
whilst studying at the Royal College of Music with Margaret
Cable. At College Helen has participated in masterclasses with
Jane Manning, Wolfgang Holzmair and Michael Chance, with
the last of whom she recently studied while attending a summer
school in Greece.
Helen also performed in this year’s Edinburgh Festival Fringe
with Amphion Anglicus, winners of the 1997 Century Fund Prize. Recent solo
recordings include Italian cantatas and duets by Handel, which Helen performed in
this year’s York Early Music Festival and subsequently broadcast live on Radio 3’s
“In Tune” programme.
Forthcoming engagements include Handel’s Messiah, and a concert of music by
Tallis with Chapelle du Roi in St John’s, Smith Square. In May next year Helen will
also be recording music by Sweelinck with Corona Coloniensis for West German
Radio.
6
Colin Campbell was born in London and studied at the Royal Northern College of
Music. He has appeared as a concert soloist throughout the UK, including London’s
South Bank, the Royal Albert Hall and St John’s , Smith Square, and also in numerous
festivals on the continent, the USA and the Far East. His operatic repertoire is
extensive, having sung principal roles with companies including English Touring
Opera, Pavilion Opera, Kent Opera and the English Bach Festival. He has broadcast
on RTE Television, BBC Television, Radios 2 and 3 and Classic FM. His discography
is growing, having recorded on the Hyperion, Decca, Naxos, Philips and Deutsche
Grammophon labels.
Concert engagements have included several appearances with the Gabrieli Consort
and Players as Cold Genius in Purcell’s King Arthur; the arias in Bach’s St John
Passion with Trevor Pinnock and The English Concert, Messiah with Christopher
Hogwood and The Academy of Ancient Music and appearances with the King’s
Consort in Purcell programmes at the Wigmore Hall and at the BBC Proms.
Recent performances include Messiah in Israel and Poland; appearances in
Beethoven’s Leonore at the Lincoln Center, New York, the Salzburg Festival and
the Amsterdam Concertgebouw; Mozart’s Requiem in Santiago de Compostela;
Mendelssohn’s Elijah at the Trondheim Festival, Norway; Brahms’ Requiem at the
St Endellion Easter Festival; and Bach’s B Minor Mass in Japan and Korea with the
English Baroque Soloists.
Stephen Douse was born in Nottingham and studied voice and
piano at the Royal Academy of Music.
He is pursuing a very diverse and varied career. He has appeared
regularly with the London Savoyards, Kent Opera, the D’Oyly
Carte Opera Company and Welsh National Opera.
Stephen was the first soloist to be heard in Messiah For the
Hospice broadcast on Radio 2 from the Llangollen International
Arena in 1997.
In April this year, he performed at the Queen Elizabeth Hall in a newly composed
piece Now Comes the Dragon’s Hour with the ‘world music’ jazz ensemble The
Grand Union Orchestra (broadcast on Radio 3 in November 1999). In October
1999 Stephen recorded the role of the Evangelist in the St Matthew Passion with the
National Youth Choir and this will be released on video in the near future.
Stephen also has an active career teaching singing to actors, and is presently working
at East 15 Acting School and The Academy of Live and Recorded Arts.
Jon English studied Music and French at the University of
Sheffield.
He has been taught by many professional singers
over the years and currently studies with Richard Smart.
Jon’s career as a soloist has involved him with ensembles and
choral societies nationwide.
He has appeared as a soloist in
the Cheltenham International Festival and recorded for Dutch
television with the Corydon Singers. He has also been involved
in recordings with many choirs, both professional and amateur.
He has recorded with the BBC Singers, and has undertaken
chorus work for English National Opera, as well as singing for
the Monteverdi Choir, Polyphony and Collegium Musicum 90. Jon is a member of
the choir of St Paul’s Cathedral London, and the versatility and flexibility of his
voice and musicianship enable him to combine this post with a busy solo career at
venues around the country.
Jon’s most recent oratorio performances include Rossini’s Stabat Mater, Bach’s B
Minor Mass, Finzi’s Dies Natalis, Haydn’s Creation, Stabat Mater and Nelson Mass,
Puccini’s Messa di Gloria and Verdi’s Requiem. His future engagements reflect this
variety of styles and repertoire.
Adrian Peacock’s early musical training was as a chorister at Lichfield Cathedral,
from where he won a music scholarship to Wellington College, and then went on to
graduate from the University of Surrey. He moved to London to pursue a freelance
career, and was appointed to the choir of Westminster Cathedral in 1988. Soon he
was to appear with all of the early music groups based in London — The Tallis Scholars,
the Monteverdi Choir, Pro Cantiore Antiqua and The English Concert among others,
while further afield he became a member of the European Vocal Ensemble based in
Paris under the direction of Philippe Herreweghe.
Also a keen exponent of
contemporary music, Adrian is frequently to be found with the BBC Singers — during
the coming series of Proms he will take part in the newly commissioned Havoc by
Giles Swayne, following the success of Cry in 1994.
Adrian runs a vocal group, Seicento, which exists to provide hand-picked groups of
singers for instrumental ensembles — current projects include plans with His Majesty’s
Sagbutts and Cornets, and also with the The Parley of Instruments.
Adrian is now also much in demand as a record producer. Recent highlights have
included the making of a record of medieval plainsong for the Feast of St Peter in
the Sala Constantina in the Vatican Palace, and the recording of the complete organ
works of Marcel Dupré played by Jeremy Filsell in Sarasota, Florida. This twelve
CD set was made in eleven days(!) — Volume I was Disc of the Month in Classic CD
of June 1999.
8
Jeremy Backhouse began his musical career
in Canterbury Cathedral where he was Head
Chorister, and later studied music at Liverpool
University. He spent five years as Music Editor
at the Royal National Institute for the Blind,
where he was responsible for the transcription
of print music into Braille. In 1986 he joined
EMI Records as a Literary Editor and since
April 1990 he has combined his work as a
Consultant Editor for EMI Classics with his
GPelracd
career as a freelance conductor and record
producer.
In January 1995, he was appointed Chorus
Master of the Guildford Philharmonic Choir,
working closely with conductors such as Jonathan Willcocks, En Shao and Vernon
Handley, as well as regularly conducting concerts with the choir and orchestra
alike. Most recently he conducted a memorable performance of Elgar’s The Dream
of Gerontius in Guildford’s Civic Hall, the first public performance to be promoted
by the choir itself. In November 1998 he conducted Orff’s Carmina Burana,
Saint-Saéns’ Carnival of the Animals and Lambert’s Rio Grande with the Guildford
Philharmonic, and in March 1999 gave a “masterly” performance of Bruckner’s
Mass in E minor and Mahler’s Symphony No.2 in Guildford Cathedral.
Jeremy is also the conductor of the Vasari Singers, widely acknowledged as one
of the finest chamber choirs in the country. Since winning the prestigious
Sainsbury’s Choir of the Year competition in 1988, they have performed regularly
on the South Bank and at St John’s, Smith Square.
In April 1995 he was invited for the first time to conduct the BBC Singers, “the
country’s leading professional choir”, in a programme of music by Lennox
Berkeley, broadcast on BBC Radio 3; since then he has conducted them in
broadcast programmes of Holst, for the BBC’s ‘Fairest Isle’ celebrations, Rubbra,
Massenet and Delibes.
Most recently he has been working with the Brighton Festival Chorus as an
assistant conductor, and in September 1998 became the Music Director of the
Wooburn Singers. With this choir and the Hanover Band he conducted a
“magnificent” performance of Bach’s Mass in B minor in October 1999.
GUILDFORD PHILHARMONIC CHOIR
The 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.
Since this time, the Choir has grown
both in stature and reputation and can now rightly claim its place as one of
the foremost Choruses in the country.
The Choir is now independent from
the Borough of Guildford but still maintains close links with the Guildford
Philharmonic Orchestra.
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.
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 a widely acclaimed performance of two works
which must surely rank among the greatest choral works of all time, Mahler’s
Second Symphony (Resurrection) and Bruckner’s Mass in E Minor.
The Choir has enjoyed a challenging and exciting concert programme for the
1999/2000 season. On 20 November 1999 it performed The Creation by
Haydn with the Guildford Philharmonic Orchestra, and on June 10 2000 the
Choir will perform Walton’s Belshazzar’s Feast at Guildford Civic.
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 our future concerts, please contact
Noreen Ayton telephone number 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 themselves 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 on (01306) 888870.
11
1** Sopranos
Olivia Ames-Lewis
Joanna Andrews
Noreen Ayton
Sally Bayton
Elizabeth-Claire Bazin
Elizabeth Blake
Mary Broughton
Ursula Camplisson
Elaine Chapman
Maura Dearden
Rachel Edmondson
Mo Kfouri
Susan Norton
Robin Onslow
Margaret Parry
Kate Rayner
Judy Smith
Claire Strudley
Carol Terry
Enid Weston
Elisabeth Willis
Frances Worpe
2TM Sopranos
Jacqueline Alderton
Penny Baxter
Josephine Field
Nora Kennea
Jane Kenney
Judith Lewy
Gayle Mayson
Jacqueline Norman
Vivienne Parsons
Rosalind Plowright
Susan Ranft
Alison Rawlinson
Gillian Rix
Jill Scott
Caroline Starck
Vicki Steele
Kathy Stickland
Tessa Wilkinson
Christine Wilks
Lucinda Wilson
12
15T Altos
Mary Anne Barber
Jane Brooks
Amanda Clayton
Margaret Dentskevich
Valerie Edwards
Carole Elliott
Celia Embleton
Mandy Freeman
Ingrid Hardiman
Susan Hinton
Joy Hunter
Isabel Hyde
Carol Jones
Helen Lavin
Valerie Leggatt
Kay McManus
Christine Medlow
Rosalind Milton
Penny Overton
Kate Plackett
Lesley Scordellis
Catherine Shacklady
Hilary Trigg
Pamela Woodroffe
2P Altos
Marion Arbuckle
Sally Bailey
Iris Ball
Evelyn Beastall
15T Tenors
Bob Cowell
Johnny Larssen
Chris Robinson
John Trigg
Maggie van Koetsveld
15T Basses
Peter Allen
Richard Austen
Neil Clayton
Philip Davies
Simon Doran
Michael Dudley
Geoffrey Forster
Michael Golden
Laurie James
Alec Leggatt
Tony Macklow-Smith
Chris Newbery
Roger Penny
David Ross
Philip Stanford
2" Tenors
Bob Bromham
Douglas Cook
Tony Cousins
Leslie Harfield
Iris Bennett
Mary Clayton
Andrea Dombrowe
Carol Hobbs
Sheila Hodson
Krystyna Marsden
Lisa McCully
Mary Moon
Brenda Moore
Jean Munro
Sue O’Connell
Anne Philps
Gillian Sharpe
Prue Smith
Hilary Steynor
Rosie Storey
Maralyn Wong
Anne Gorath
2NP Basses
Peter Andrews
Roger Barrett
Alan Batterbury
John Britten
Norman Carpenter
Nick Gough
Peter Herbert
Michael Jeffery
Stephen Jepson
Neil Martin
Max New
Barry Norman
John Parry
Nigel Pollock
THE FREIBURGER BACHCHOR
The Freiburger Bachchor was founded by Theodor Egel during the winter
semester of 1943/44 as the student choir of Freiburg University. After intensive
rehearsals during the semester, the choir sang Johann Sebastian Bach’s St
Matthew Passion in Freiburg Cathedral on 5 March 1944. Thirty-nine years .
later Theodor Egel conducted the same work in the same place for the last time.
The years between these two performances saw a rich and acclaimed succession
of musical achievements and artistic successes. The Freiburger Bachchor not
only became an impressive institution in the cultural life of its home town and
the surrounding area, but also earned high regard through numerous concerts in
other European countries and in the USA.
In 1983 Theodor Egel handed over the direction of the Freiburger Bachchor to
Hans Michael Beuerle. The many concerts that the choir has given since then,
both locally and abroad (Switzerland, France, Italy, Great Britain, The Ukraine),
show that Hans Michael Beuerle has succeeded in carrying on the ambitious
tradition of the choir.
The works that Hans Michael Beuerle and the choir have performed since then
encompass a major portion of the significant works in the choral repertoire of
the 17" to 19" centuries: Monteverdi’s Vespers of the Holy Virgin; Bach’s
Passions, and the Christmas Oratorio as well as the B Minor Mass; Handel’s
Messiah and Israel in Egypt; Haydn’s Creation and The Seasons; Mozart’s
Requiem; Brahms’ Ein deutsches Requiem, Schicksalslied and Ninie;
Schoenberg’s Modern Psalms op. 50c and Penderecki’s Dies irae. The choir has
recorded Haydn’s The Seasons and Brahms’ Ein deutsches Requiem. In
November 1996 in Freiburg Cathedral the Freiburger Bachchor celebrated a great
success with the first performance of Wolfgang Rihm’s oratorio maximum est
unum at the opening concert of the 71* Bach Festival of the New Bach Society.
Hans Michael Beuerle was born in Berlin in 1941. He went to the University
of Frankfurt, where he studied music, conducting, musicology, German literature
and philosophy. He taught choral conducting at the conservatoires of Trossingen
and Karlsruhe and accepted the offer of a chair at the Musikhochschule of
Freiburg in 1980 where he has been teaching and performing with the academic
choir and orchestra. In addition to the Freiburger Bachchor, he is also the
conductor of the Anton-Webern Choir, a semi-professional ensemble with a large
repertoire from the Renaissance to the avant-garde. With both ensembles, Hans
Michael has toured in France, Italy, Switzerland, the Ukraine and Japan.
13
1* Sopranos
g%fibor(% Frese
Gumpper
sther
Hadji-Cheykh
Rena
Ingeborg Hahn
Hanna Heinbockel
Edda Henseleit
Helga Kaiser
Jessica Kohl
Christine Lauck-Bauer
Slabfl?le Reclslenndbacg ,
SELIL 0N Macaany
Ursula Weltzien
1% Altos
1* Tenors
2" Altos
Daniel Valerius
Susanne Kruse
Iris Bechtold
5
Knall
Dorte
Peter Graner
.
Kon.rad Lust{g
:
Julia Marmon.
Brigitte Schneider
1* Basses
Annegret Verbeek
Werner Bauer
Markus Binder
Martin Goeze
2" Tenors
Weida Daniel
Peter Hill
Andreas Kautzsch
Matthias Will
Werner Voss
2" Sopranos
Irmgard ClaBen
Hanna Fritzsche
Cornelia Grisebach
Jutta Gussmann
Wiebke Bendrath
Antonia Egel
Monika Goeze-Krahl
Dimka Herms
2" Basses
Werner Knall
Mathias Alfons Pflumm
Barbara Kottgen-Schwanhiuser
Gertrud Monig
Sophla.L_auterbach
Uta Reinicke
Hans-plrlch YVeltzwn
Benedikt Zwolfer
E;a%er}ihp;{éfrholzer
Barbara Miinster
Ilse Lange
Christoph Reith
Albrecht Verbeek
Gudrun SaBe
Carmen Wagner
Anneli Petrak
Inge van der Lieth
Carmen Ziircher
CHRIS ALDERTON
A WARM WELCOME TO
DECORATOR
FREIBURG CHOIR
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GUILDFORD PHILHARMONIC CHOIR
President: Sir David Willcocks CBE, MC.
PATRONS
Honorary Freemen Bill and Doreen Bellerby MBE
M/s Annie Chatterley
Dr Rodney Cuff
Mr Michael Dawe
M/s Margaret Dentskevich
Dr and Mrs William Dodds
Carole Harding Roots Executive Presentation (Staines)
Mr Laurie
James
Dr Michael Kearsley
Mr Ron Medlow
Mr and Mrs Maxwell New
Mr Claud Parry
Penny and Hayter, Opticians
PRR Partners (Management Consultants, Westcott)
Mrs Jean Radley
Mrs Jean Shail
FRIENDS
Mr PM Bennett
Britten’s Music Ltd
Dega Broadcast Systems
Mrs Joyce Feather
Mrs Carol Hobbs
Mr and Mrs Michael Kilkenny
Management Simulations
Mr and Mrs John Oliver
The Earl of Onslow
Miss Elizabeth Ranft, Shakespeare’s Globe
Mr and Mrs James Ranft
Mr Ian Rayner
Miss Suzanne Rix
Mr Michael Shortland
Mr Edward Varley
If you are interested in participating please contact
Susan Ranft (01306) 888870
16