Guildford Philharmonic Choir
with the
Forest Philharmonic Orchestra
Mendelssohn Overture: The Hebrides
Rachmaninov Piano Concerto No.2
Vaughan Williams A Sea Symphony
Saturday 12 May 2001
Guildford Cathedral
s1.50
Dates for your Diary
Saturday 30 June 2001
Brandenburg Sinfonia/Guildford Philharmonic
Chamber Choir
Vivaldi: Gloria, St Martin-in-the-Fields, London
Saturday 3 November 2001
Handel: Messiah, Guildford Cathedral
Sunday 16 December 2001
Mayor's Christmas Concert, Guildford Civic
In Memory of Marcel Dupré
L'Eglise Notre Dame de France
Leicester Square, London
30 May 2001, 7.00pm
Jeremy Filsell (organ)
Programme:
Marcel Dupré (1886 - 1971)
Poéme Héroique Op. 33
Annonciation Op. 56
Extracts from Le Chemin de la Croix Op. 29
Prelude et Fugue en Si (B) majeur Op. 7 No.1
Cortége et Litanie Op. 19
Souvenir Op. 65 bis
J S Bach (1685 - 1750)
Passacaglia and Fugue in C minor BWV §
Guildford Philharmonic Choir
President Sir David Willcocks CBE MC
Mendelssohn
Overture: The Hebrides (Fingal’s Cave)
Rachmaninov
Piano Concerto No.2 in C minor
Jeremy Filsell
Piano
Interval
Vaughan Williams
A Sea Symphony
Caroline Lenton-Ward
Soprano
Robert Rice
Baritone
Forest Philharmonic Orchestra
Jeremy Backhouse
Financially assisted by
CUILDFORD
<
B
OROUCH
The staging for this concert is owned by the Association of Surrey
Chaorrs. To hire, please contact Stephen Jepson, tel: 01306 730383. It
was purchased with financial assistance from the Foundation for
Sport and Arts, PO Box 20, Liverpool.
Felix Mendelssohn (1809-1847)
Overture: The Hebrides (‘Fingal’s Cave’), Op. 26
Mendelssohn found his inspiration for the Hebrides Overture during a holiday in
Scotland in 1829. After spending some time in Edinburgh, where he began the
composition of his Scottish Symphony (No.3), he went on a walking tour, going
up to Fort William and then across to the lonely Hebridean islands of Iona and
Staffa.
There
he
watched
the relentless Atlantic
waves pounding into the
shoreline and could appreciate the grandeur of Fingal’s Cave on the island of
Staffa. In August
1829 he wrote,
‘In order to make you understand how
extraordinarily the Hebrides affected me, the following came into my mind
there’, and he quoted the opening theme of the overture. The short, restless figure
with which it opens runs through the entire composition and evokes the ceaseless
pounding of the waves upon the seashore. The noble grandeur of the scene is
found in the rich second subject, heard first in the cellos and bassoons, but the
pounding waves always return to haunt the listener.
Sergei Rachmaninov (1873-1943)
Piano Concerto No. 2 in C minor, Op. 18
Allegro moderato
Adagio sostenuto
Allegro scherzando
Rachmaninov’s place in Russian music puts him outside the national school
initiated by Glinka and followed by the ‘Mighty Handful’ of five composers under
the leadership of Balakirev (1837-1910). They were mainly associated with St.
Petersburg, whereas Rachmaninov’s sympathies were almost entirely with the
Moscow musical group who leaned strongly to the west, especially Germany, for
their musical forms, mixed with their own individuality. Tchaikovsky (1840-93)
was the most brilliant of these and gave considerable encouragement to the young
Rachmaninov who, in turn, much admired his older compatriot.
Rachmaninov believed that music ‘should be the product of the sum total of a
composer's experience” including his emotional life, religion, books read and
pictures seen. He lived well into the 20th century but remained uninfluenced by
the new Viennese school and believed that, in music, melody should rule. As the
composer himself said ‘What I try to do, when writing down my music, is to make
it say simply and directly what is in my heart when I am composing. Whether
4
there is love, or bitterness, or sadness or religion, these feelings become a part of
my music and it becomes either beautiful or bitter or sad or religious’.
Although an outstanding pianist, he considered himself mainly a composer and
when only twenty-two tackled that most challenging of forms, the symphony.
Behind him were already his Piano Concerto No.l, a one-act opera, some songs
and a Suite for two pianos. The first performance of the Symphony No.l took
place in March 1897 in St. Petersburg and was a disaster. Rachmaninov was
appalled
by the
ragged
performance and
the conductor’s
(Glazunov)
poor
understanding of the music. The St. Petersburg critics played havoc with the
Moscow composer in their reviews and Rachmaninov, his confidence undermined,
was unable to compose anything else of importance for two years. To encourage
his return to composing, his friends introduced him to Dr Nikolei Dahl, who
specialised in treatment by hypnosis. It appears that hypnosis was less important
in the treatment than the conversations about music that took place between the
two men, Dahl being an accomplished amateur musician. This was in 1900 and
the treatment was so effective that Rachmaninov’s creative powers returned,
enabling him to start work on several projects, including the Piano Concerto No.2.
It was duly completed and was a great success when first performed in Moscow in
November 1901, with the composer at the keyboard. In gratitude he dedicated it to
Dahl. His confidence restored, Rachmaninov went on to compose prolifically until
he left Russia in 1917.
The concerto is introduced with opening bell-like tollings, repeated over and over
again. These chords grow in harmonic tension and dynamic force until the strings
take over with the main theme, lifting off from the piano as though from a
springboard. An unusual feature in the opening movement is the piano's role as
accompanist to the orchestra. The orchestra is silent far less often than the soloist,
and the piano plays in a concertante role with the orchestra, adding to the
orchestral presence rather than holding the spotlight itself.
In the second movement, a tender intermezzo, the piano again begins as an
accompanist, first to the flute, then to the clarinet. The music builds to a brief
scherzando, allowing the piano a short cadenza before the flutes return to the
opening theme. The closing moments, with the piano gently accompanying the
full strings, also playing softly, is perhaps the loveliest passage of the concerto.
The third movement opens with a quick march, which acts as a bridge between the
second movement and the grand entrance of the piano. Momentum builds as piano
and orchestra toss the march theme back and forth, interspersed with appearances
of the second theme, before the movement builds to an impassioned conclusion.
Ralph Vaughan Williams (1872-1958)
A Sea Symphony (No.1)
A Song for All Seas, All Ships — Andante maestoso
On the Beach at Night, Alone — Largo sostenuto
Scherzo: The Waves — Allegro brillante
The Explorers — Grave e molto adagio
A Sea Symphony consists of a setting of words taken from ‘Leaves of Grass’ by
the American poet Walt Whitman. Vaughan Williams was introduced to
Whitman’s poetry in 1892, the year of the poet’s death, and he remained a lifelong admirer of the man and his work. Whitman was an unconventional thinker, a
humanitarian with spiritual vision that appealed to many British composers at the
turn of the century, among them Stanford, Harty, Holst, Delius and Vaughan
Williams.
A Sea Symphony is a homage to the English late Romantic choral tradition of
Parry and especially of Elgar. Yet, the final movement, which describes mankind's
voyage of the soul, points to something new in British music — a vision of the sort
that Holst pursued so successfully.
A Sea Symphony had a long and difficult gestation, and was finally written for
soprano, baritone, mixed chorus and orchestra. Although the traditional fourmovement plan is adhered to, the outer movements are far removed from the
traditional structure.
This work comes across as a hybrid — a mixture of cantata (as it was at the
beginning of the century) and symphony. The composer said, in 1913: ‘The plan
of the work is symphonic rather than narrative or dramatic, and this may be held
to justify the frequent repetition of important words and phrases which occur in
the poem. The words as well as the music are thus treated symphonically. It is also
noticeable that the orchestra has an equal share with the chorus and soloists in
carrying out the musical ideas.’
To many, this piece is a flawed masterpiece, full of over-indulgence and revelling
in the beauty of sound for its own sake. This is not a criticism as such since, in this
way, it fully realises the implications of the Whitman text. The flavour of the sea
is everywhere, but in the second and fourth movements in particular, there are
moments for philosophical reflection. Whitman’s text answers its own questions
but Vaughan Williams’ music dies away uneasily resolved (just as Strauss ends
6
Also Sprach Zarathustra or Ives his Unanswered Question, both written within
seven years of the commencement of A Sea Symphony).
The opening is dramatic, with a brass fanfare preceding the entry of the choir and
the broad swelling passage illustrating the sea itself, on which the ships of all
nations sail. The soloists and chorus then contemplate the sailors and the perils of
the sea.
The second movement is a brooding nocturne, in which the baritone soloist and
chorus contemplate the enormity of the universe, while in the scherzo, the chorus
describes the exhilaration of a stormy sea and the thrilling sight of a fine ship
carving her way through the waves.
The lengthy last movement is a complete contrast, beginning with a rapturous and
hushed vision of the planet ‘swimming in space’, progressing to the creation of
man and reaching a climax with the arrival of the true Son of God. The soloists
then sing a duet in which philosophy, spirituality and human love interact. Then
comes the long, final voyage of the soul, concluding with a quiet coda which fades
gently into the distance.
Just for interest: The premiere of A Sea Symphony was given as part of the Leeds
Festival in 1910, with Vaughan Williams conducting. In the first part of the
concert he conducted a performance of the Rachmaninov Piano Concerto No.2,
with the composer at the piano!
The notes in this programme were based on material supplied through the Programme
Note Bank of Making Music, the National Federation of Music Societies.
A Song For All Seas, All Ships
Behold, the sea itself,
And on its limitless, heaving breast, the ships;
See, where their white sails, bellying in the wind, speckle the green and blue,
See, the steamers coming and going, steaming in or out of port,
See, dusky and undulating, the long pennants of smoke.
Behold, the sea itself,
And on its limitless, heaving breast, the ships.
To-day a rude brief recitative,
Of ships sailing the seas, each with its special flag or ship-signal,
Of unnamed heroes in the ships — of waves spreading and spreading far as the eye
can reach,
Of dashing spray, and the winds piping and blowing,
And out of these a chant for the sailors of all nations,
Fitful like a surge.
Of sea-captains young and old, and the mates, and of all intrepid sailors,
Of the few, very choice, taciturn, whom fate can never surprise nor death dismay,
Picked sparingly, without noise by thee, old ocean, chosen by thee,
Thou sea that pickest and cullest the race in time, and unitest the nations.
Suckled by thee, old husky nurse, embodying thee,
Indomitable, untamed as thee.
Flaunt out, O sea, your separate flags of nations!
Flaunt out visible as ever the various flags and ship-signals!
But do you reserve especially for yourself and for the soul of man one flag above
all the rest,
A spiritual woven signal for all nations, emblem of man elate above death,
Token of all brave captains and of all intrepid sailors and mates,
And of all that went down doing their duty,
Reminiscent of them, twined from all intrepid captains young or old,
A pennant universal, subtly waving all time, o’er all brave sailors,
All seas, all ships.
I1. On The Beach At Night Alone
On the beach at night alone,
As the old mother sways her to and fro singing her husky song,
As I watch the bright stars shining, I think a thought of the clef of the universes
and of the future.
A vast similitude interlocks all,
All distances of space however wide,
All distances of time,
:
All souls, all living bodies though they be ever so different,
All nations, all identities that have existed or may exist,
All lives and deaths, all of the past, present, future,
This vast similitude spans them, and always has spanned,
And shall forever span them and compactly hold and enclose them.
8
III.
The Waves
After the sea-ship, after the whistling winds,
After the white-gray sails taut to their spars and ropes,
Below, a myriad, myriad waves hastening, lifting up their necks,
Tending in ceaseless flow toward the track of the ship,
Waves of the ocean bubbling and gurgling, blithely prying,
Waves, undulating waves, liquid, uneven, emulous waves,
Toward that whirling current, laughing and buoyant with curves,
Where the great vessel sailing and tacking displaced the surface,
Larger and smaller waves in the spread of the ocean yearnfully flowing,
The wake of the sea-ship after she passes, flashing and frolicsome under the sun,
A motley procession with many a fleck of foam and many fragments,
Following the stately and rapid ship, in the wake following.
IV.
The Explorers
O vast Rondure, swimming in space,
Covered all over with visible power and beauty,
Alternate light and day and the teeming spiritual darkness,
Unspeakable high processions of sun and moon and countless stars above,
Below, the manifold grass and waters,
With inscrutable purpose, some hidden prophetic intention,
Now first it seems my thought begins to span thee.
Down from the gardens of Asia descending,
Adam and Eve appear, then their myriad progeny after them,
Wandering, yearning, with restless explorations,
With questionings, baffled, formless, feverish, with never-happy hearts
that sad incessant refrain,
‘Wherefore unsatisfied soul?
Whither O mocking life?’
Ah who shall soothe these feverish children?
Who justify these restless explorations?
Who speak the secret of impassive earth?
Yet soul be sure the first intent remains, and shall be carried out,
Perhaps even now the time has arrived.
After the seas are all crossed,
After the great captains have accomplished their work,
After the noble inventors,
Finally shall come the poet worthy that name,
The true son of God shall come singing his songs.
O we can wait no longer,
We too take ship O Soul,
Joyous we too launch out on trackless seas,
Fearless for unknown shores on waves of ecstasy to sail,
Amid the wafting winds (thou pressing me to thee, I thee to me, O Soul)
Caroling free, singing our song of God,
Chanting our chant of pleasant exploration.
O Soul thou pleasest me, I thee,
Sailing these seas or on the hills, or waking in the night,
Thoughts, silent thoughts, of Time and Space and Death, like waters flowing,
Bear me indeed as through regions infinite,
Whose air I breathe, whose ripples hear, lave me all over,
Bathe me, O God, in thee, mounting to thee,
I and my soul to range in range of thee.
O thou transcendent,
Nameless, the fibre and the breath,
Light of the light, shedding forth universes, thou centre of them.
Swiftly I shrivel at the thought of God,
At Nature and its wonders, Time and Space and Death,
But that I, turning, call to thee O Soul, thou actual me,
And lo, thou gently masterest the orbs,
Thou matest Time, smilest content at Death,
And fillest, swellest full the vastnesses of Space.
Greater than stars or suns,
Bounding O Soul thou journeyest forth;
Away O Soul! hoist instantly the anchor!
Cut the hawsers — haul out — shake out every sail!
Sail forth — steer for the deep waters only,
Reckless O Soul, exploring, I with thee, and thou with me,
For we are bound where mariner has not yet dared to go,
And we will risk the ship, ourselves and all.
O my brave Soul!
O farther, farther sail!
O daring joy, but safe! are they not all the seas of God?
O farther, farther, farther sail!
10
Jeremy
Filsell
is
one
of only
a
few
virtuoso
performers on both the piano and the organ and
¢njoys an extensive concert and recording career on
both
nstruments.
pranist
He
has
performed
as
a
solo
an Russia, the USA and across the UK,
appeanng regularly at St John’s Smith Square and
the
Wigmore
repertoire
Hall
in
encompasses
London.
Mozart
His
and
concerto
Beethoven
through to Rachmaninov, Shostakovich and John
lreland. His compelling advocacy of early twentieth
century Bntsh repertoire has led to particular renown as an interpreter of the
prano music of Ireland, Moeran and York Bowen. In recent years, he has recorded
(for the Guild label) the solo piano music of Eugene Goossens, Herbert Howells
and Bernard Stevens, of which Classic CD magazine commented “Filsell
extremely accomplished technically.
is
He nonetheless does not attract for his
virtuosity but for his ability to make the music unfold with irresistible logic and
clarity; music making of the highest calibre.”
As an organist, during the summer of 1998 Jeremy performed the complete organ
works of Marcel Dupré in nine critically acclaimed weekly concerts in London.
This was a UK first, and a project committed to CD (Guild) in the USA in October
1998, subsequently released throughout 1999 and 2000. Classic CD featured
Volumes 1 & 2 as Discs of the Month in June 1999, adding “... a definitive series
— superbly insightful playing and outstanding recording”. Jeremy has recorded
extensively for the BBC Radio 3 in solo, concerto and accompanist roles and has
championed the music of Dupré and Grunenwald on CD and in concert in the UK,
France, Germany, Russia and the USA. In 1992 a disc of Vierne and Widor
Symphonies (Herald) was a Gramophone Critic’s choice that year and more
recently the same accolade was awarded the Dupré Integrale Volume 7 (Guild) in
2000.
Jeremy was an FRCO Limpus prize-winner aged
19, his formative teachers
including Nicholas Kynaston and Daniel Roth. An Oxford graduate (Organ
Scholar at Keble college), he subsequently studied Piano Performance under
David Parkhouse and Hilary McNamara at the Royal College of Music. He
currently teaches at the London Oratory School, is an Academic Studies Lecturer
at the Royal Academy of Music, London, and a Lay Clerk at St George’s Chapel,
Windsor Castle.
11
Caroline Lenton-Ward was educated in Leeds and
continued her studies at the Royal Academy of
Music where she was awarded the Charles Norman
Prize.
On
awards
from the Countess of Munster Musical
leaving
the
RAM,
she
was
granted
Trust for further studies with Jessica Cash, with
whom she still studies.
Caroline has appeared with the Royal Opera, Opera
North,
Kent Opera and the D’Oyly Carte, and
performs regularly with many leading ensembles,
including the BBC Singers, Sinfonietta Voices and
London Voices.
Recent concert appearances have included performances at the Bridgewater Hall
and the Philharmonic Hall with the Royal Liverpool Philharmonic Orchestra, the
Royal Festival Hall with the London Philharmonic conducted by Kurt Masur,
Mozart’s Mass in C minor at the Barbican, Messiah with Sir David Willcocks, the
role of the Virgin in Honeggar’s opera Joan of Arc and Poulenc’s Stabat Mater
(both with the RLPO, conducted by Libor Pesek), Verdi’s Requiem in Ely
Cathedral, and Rossini’s Petite Messe Solennelle for the BBC. She recently
completed a second tour of the USA performing music for soprano and organ, and
was the soloist in TV Times’ Christmas with the Stars at the Royal Albert Hall.
Caroline also pursues a busy teaching career and finds time to run her own
business in providing musical entertainment for any and every occasion! Her
future plans
include numerous performances of her Songs from the Shows
programme,
Verdi’s
Requiem
and
a
recording
of
Rossini’s
Petite
Messe
Solennelle.
Robert
Rice
was
educated
Kingston-upon-Thames
and
at
at
Tiffin
School,
King's
College,
Cambridge, where he held a choral scholarship. In
1997 he graduated from the Royal Academy of
Music
with
studied
under
the
prestigious
Mark
DipRAM,
Wildman
and
won
having
many
prizes. He now studies with Richard Smart.
Robert
is
in
great demand
as
a concert artist
throughout the British Isles and abroad. He has
worked
as
soloist
with
many
distinguished
conductors, including Sir David Willcocks, Tamas Vasary and Walter Weller, and
with such well-known orchestras as the CBSO and the Philharmonia. Last year he
made his debut at London’s Royal Festival Hall and gave recitals in London and
12
Birmingham. This season’s engagements have included Mozart’s Requiem at St
John’s Smith Square, Orff’s Carmina Burana in Oxford and Cambridge, and
Walton’s Belshazzar’s Feast for the Guildford Philharmonic Choir.
On stage, his experience includes much contemporary repertoire; he made his
South Bank debut two years ago as the King in Peter Maxwell Davies’ Eight
Songs for a Mad King, shortly thereafter appearing in Gyorgy Ligeti’s
Aventures/Nouvelles Aventures at the Bonn Chance festival. In 1999 he also
covered the role of Borilee in Les Boreades (Rameau) for the Salzburg Festival
under Sir Simon Rattle. He will shortly appear in The Martyrdom of St Magnus,
also by Peter Maxwell Davies, for The Opera Group.
In addition to his many radio appearances, Robert recently took part in a BBC
Masterclass recording with Barbara Bonney, to be televised in the autumn, whilst
in May of this year he sang 2nd rock baritone in a live broadcast of Leonard
Bernstein’s music theatre work Mass for BBC Music Live. Robert is also
increasingly in demand as an arranger of vocal music, which is shortly to be
published by Novello.
Jeremy Backhouse began his musical career in
Canterbury
Cathedral
where
Chorister, and later studied
he
was
Head
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 career as a freelance conductor
and record producer.
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 London, as well as in the
cathedrals
of
Canterbury,
Chichester,
Winchester,
Hereford,
Ely
and
Peterborough. In 1998, he took the Vasari Singers on a fascinating and highly
successful tour of Tuscany, singing in churches and cathedrals connected with
Giorgio Vasari, performing in the church in Arezzo in which Vasari is buried and
in the Duomo in Florence.
In
January
1995,
Jeremy
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
13
choir and orchestra alike. In 1998, 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, and in March 1999 gave a
“masterly” performance of Bruckner’s Mass in E minor and Mahler’s Symphony
No.2 in Guildford Cathedral.
He has worked with a number of the leading choirs in the country, including the
Philharmonia Chorus (preparing for Sir Colin Davis), the London Choral Society
(for Ronald Corp) and the Brighton Festival Chorus (for Carl Davies). In September
1998, Jeremy became the Music Director of the Wooburn Singers, only the third
conductor in the distinguished 30-year history of the choir, following Richard
Hickox and most recently, Stephen Jackson.
The Forest Philharmonic Orchestra was founded in the London Borough of
Waltham Forest in 1962 and has since become this country’s leading community
orchestra. Rivalling the highest professional standards, it uniquely combines the
talents of London’s best amateur musicians with those of its up-and-coming music
students. The orchestra has been joined by many international artists, such as
pianists John Lill and Ronan O’Hora, violinists Gyorgy Pauk and Tasmin Little,
cellists Robert Cohen and Natalie Clein, and singers Lesley Garrett, Della Jones
and Patricia MacMahon.
The Forest Philharmonic Orchestra is also regularly invited to perform around the
country, acting as an ambassador for the Borough of Waltham Forest and
broadening the orchestra’s repertoire of orchestral and choral works.
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, 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.
Notable achievements in recent years include Handel’s Israel in Egypt with the
Freiburger Bachchor in Freiburg in May 1998 and an outstanding performance of
Elgar's The Dream of Gerontius at the Guildford Civic Hall in March 1998. In
March 1999 the Choir gave a widely acclaimed performance of two works which
14
must surely rank among the greatest choral works of all time, Mahler’s Symphony
No.2 — 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 Haydn’s Creation with the
Guildford Philharmonic Orchestra and in March 2000 it held a gala performance
of Bach’s St Matthew Passion with its twin choir, the Freiburger Bachchor. In the
2001 series, the choir has continued to perform major works, such as Mozart’s
Mass in C minor and Brahms’ Ein deutsches Requiem.
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, tel: 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.
Philip Dart
stringed instruments
= repair = restoration = tonal adjustments
= bow rehairing & lapping
= instruments & bows bought and sold
30 Peperharow Road,
Godalming, Surrey GU7 2PH
= 01483 424046
15
GUILDFORD PHILHARMONIC CHOIR
SOPRANOS
BASSES
ALTOS
Marion Arbuckle
Marian Adderley
Jacqueline Alderton Sally Bailey
Rima Skold
Dan Adderley
Prue Smith
Peter Allen
Peter Andrews
Joanna Andrews
Iris Ball
Alex Stevens
Noreen Ayton
Penny Baxter
Hilary Steynor
Alan Batterbury
Mary Broughton
Evelyn Beastall
Rosey Storey
John Britten
Vanessa Burrow
Iris Bennett
Hilary Trigg
Norman Carpenter
Elaine Chapman
Kate Blackman
June Windle
Neil Clayton
Rachel Edmondson
Jane Brooks
Maralyn Wong
Philip Davies
Josephine Field
Anne Clausing
Beatrice Wood
Michael Dudley
Angela Hand
Mary Clayton
Pamela Woodroffe
James Garrow
Jane Kenney
Hilary Davenport
Terence Ellis
Mo Kfouri
Margaret Dentskevich
Geoffrey Forster
Judith Lewy
Andrea Dombrowe
Lois McCabe
Valerie Edwards
Hilary Minor
Celia Embleton
Paul Bielatowicz
Laurie James
Susan Norton
Mandy Freeman
Bob Bromham
Stephen Jepson
TENORS
Michael Golden
Peter Herbert
Robin Onslow
Valerie Garrow
Tony Cousins
Alec Leggatt
Alison Palmer
Ingrid Hardiman
Bob Cowell
Tony Macklow-Smith
Margaret Parry
Jo Harman
Leslie Harfield
Maxwell New
Vivienne Parsons
Lucy Hatcher
Chris Robinson
John Parry
Rosalind Plowright
Susan Hinton
John Trigg
Roger Penny
Alison Rawlinson
Carol Hobbs
Maggie Van Koetsveld
Nigel Pollock
Kate Rayner
Sheila Hodson
David Ross
Gillian Rix
Carol Jones
Philip Stanford
Jill Scott
Valerie Leggatt
Dawn Smith
Kay McManus
Judy Smith
Krystyna Marsden
Vicki Steele
Christine Medlow
Kathy Stickland
Rosalind Milton
Carol Terry
Mary Moon
Enid Weston
Clare Strudley
Tessa Wilkinson
Jean Munro
Christine Wilks
Jacqueline Norman
Elisabeth Willis
Sue O’Connell
Lucinda Wilson
Penny Overton
Lesley Scordellis
Catherine Shacklady
Gillian Sharpe
16
MUSIC LOVERS ...
You'll find what you want at the
RECORD CORNER
VAST SELECTION OF CDs & CASSETTES
Cla:sical Mus'iac Sp;:cl:alists
ock — Jazz —
Pop -
Spoken Word Tapes
Open 9.15am — 5.15pm
=+
Monday - Saturday
Fo
Separate Pop — Classical Departments
Listening facilities
Music Accessories — Sheet Music
S TABLISHED
40 YEARS
For enquiries or our mail order service
(01483) 422006
Pound Lane, Godalming, Surrey
Most Helpful Staff and Best Customer Service
MUSIC INDUSTRY AWARDS 1999*
i2
MUSICAI. INSTRUMENT SALES AND RENTALS
* Woodwind = Brass = Strings * Guitars = Keyboards
* Digital Pianos * Accessories = Gifts
® Largest Printed music display in the area
with next day mail order service
Best Printed Music Retailer in UK* ()",
Yamaha Music School for
;
Piano and Keyboard
o
Easy Parking = List of Teachers = Instrument Repairs
» Classical and Educational Specialists = Established 26 years
I3RITTEN’S MUSIC Ltd 01932 351165(24Hrs)/351614
3-4
Station Approach, West Byfleet, Surrey KT14 6NG
John Harwood —i
OPTOMETRISTS & CONTACT LENS PRACTITIONERS
4
. LONG ESTABLISHED INDEPENDENT PRACTICE
01483 766800
Richard Broughton FCOptom DCLP
Resident Partner
A
.
also at Camberley, Fleet and Guildford
-
FOR COMPLETE FAMILY EYECARE
GARDEN DESIGN
Make the most of your garden:
Designs for gardens new and old
Flanting Schemes
Garden Consultancy
g
Anne Rhodes-Davies
012706 BHHOHAR) (Chobham)
0 (NMos)
27P PR
0771
West Surrey IVC is a non-profit making club for graduates and
professional people, aged 21-39 years.
Open the door to an active social life!
NEW ASHGATE GALLERY
Wagon Yard, Farnham, Surrey, GU9 7PS. 01252 713208
Changing exhibitions of work by contemporary artists and
makers. Craft gallery, jewellery gallery and studio.
Slide library and commissioning service by appointment.
(Illustrated: ceramic jugs by Gilda Westermann)
19
FRIENDS AND PATRONS OF
GUILDFORD PHILHARMONIC CHOIR
Guildford Philharmonic Choir gratefully acknowledges financial support of all Patrons and
Friends, and benefactors who wish to remain anonymous.
Patrons
Dr. J.B.R. Arbuckle
Bill & Doreen Bellerby MBE
Mrs. J S M Brooks
Mr. & Mrs. R. H. R. Broughton
Mr. & Mrs. Neil Clayton
Mrs. P. A. Cousins
Dr. Rodney Cuff
Mr. Michael Dawe
Ms. Margaret Dentskevich
Executive Presentation
Mr. Henry Friend
Friends
Mr. & Mrs. Peter Bennett
Britten's Music Ltd.
Mrs. Maryel Cowell
Dega Broadcast Systems
Mrs. Joyce Feather
Mrs. Carol Hobbs
Mrs. Suzanne Pickerill
Mr. lan Rayner
Mrs. Jean Shail
Mr. Michael Shortland
Mrs. K C Stickland
Mr. Laurie James
Mr. & Mrs. Michael Kilkenny
Mrs. Helen Lavin
Ron and Christine Medlow
Mr. & Mrs. Maxwell S New
Mr. Claud Parry
Opticians Penny & Hayter
Mrs. Jean Radley
Mr. & Mrs. P. R. Ranft
Mrs. Judy Smith
Mrs. Y M L Tiplady
New Patrons and Friends are always welcome. If you are interested in
participating, please contact Marion Arbuckle, tel: 01483 572621
Presentation flowers designed and prepared by
Floristry students at Merrist Wood College
For details offloristry courses from the complete
beginner to the professional, contact student services at:
Merrist Wood College, Worplesdon, Guildford
GU3 3PE
tel: 01483 884040
or visit our web site: www.merristwood.ac.uk