Messiah
-G F Handel
7.00 pm Saturday, 3rd November, 2001 Guildford Cathedral
— Dates for your Diary -
Concert Season 2001-2002
Sunday December 16th 2001 2.30 pm
Guildford Civic
Mayor of Guildford's Christmas Concert
Saturday February 2nd 2002 7.30 pm
Guildford Cathedral
Mozart....... Vesperae solennes de confessore, K.339
Mendelssohn........... Symphony No 5 (Reformation)
Haydn ... Nelson Mass
Saturday April 6th 2002 7.30 pm
Guildford Cathedral
Concert to celebrate the Queen's Golden Jubilee
Saturday May 25th 2002 7.00 pm
Guildford Cathedral
Mendelssohn......... ... Elijah
Guildford Philharmonic Choir
President Sir David Willcocks CBE MC
Handel
Messiah
with the
Brandenburg Sinfonia
and
Ghislaine Morgan
Soprano
Charles Humphries
Countertenor
Andrew Murgatroyd
Tenor
Colin Campbell
Bass
Jeremy Backhouse
Conductor
Handel and the history of 'Messiah’
George Frederick Handel was born in Halle, Germany, in the year 1685. His parents
decided to put him to Law, and in his early years he was educated to that end. But Handel
had no taste for Law. He was born a musician, and finally he was permitted to develop
his latent talent. German Law missed nothing in its denial of Handel, but English music
would have suffered an irreparable loss had his genius been denied it.
For a while he travelled Europe, enjoying considerable success from the various operas
he composed. In the year
1711, he emigrated to England, becoming, in 1726, a
naturalised British subject. Successful in music, he was a failure in business, and a
financial loss in 1737 brought on an attack of paralysis. It led to him forsaking opera for
the great oratorios for which he is now particularly known. In 1741, he was presented
with a libretto from Scripture, which fired his imagination, and ultimately led to the
composition of ‘Messiah’. He worked on the music at great speed, and though it seems
incredible, the whole oratorio was sketched and scored, within three weeks.
On the 13th April, 1742, the music hall in Dublin resounded to the applause of an
enthusiastic audience. For the first time in history, the great musical oratorio, ‘Messiah’,
had been presented, and the conductor on that occasion was none other than the composer
himself. The initial performance was extremely successful, raising the amazingly large
sum (for that time) of 400 Pounds Sterling for charity. However, its premiere production
in London during Lent in 1743 did not garner quite as enthusiastic a reception; it was
given in Covent Garden theatre and some, apparently, were not quite ready to accept
sacred music delivered in a secular venue.
After directing several performances of ‘Messiah’, Handel left the score, a set of the
parts, and the ‘proprietary’ or copyright property to the Foundling Hospital in England, a
charity that benefits orphaned children; it is known today as The Thomas Coram
Foundation.
The score of ‘Messiah’ has seen many changes and alterations over the years, not the
least of which were Handel's own changes, whenever he wanted to adapt his score to
different voices or to different orchestral parts. The Novello and Co. edition, which the
Guildford Philharmonic Choir is using for this concert, is a compilation of all the versions
that Handel himself is known to have used, and was edited by Watkins Shaw. In his work
entitled “The Story of Handel's Messiah’, Shaw points out that the original manuscript of
the oratorio, now in the British Museum, is a marvellous document to examine; it is
complete with blotches, changes, and even the odd mistake, which shows Handel's
impatience to get his thoughts down in writing.
Since that first performance, ‘Messiah’ has been performed time and again, in all parts of
the world, and thousands of people have sat enthralled by the majestic choruses, and
moving solos, of this wonderful oratorio. The music is thrilling, rising to heights of drama
and pathos that stir to the innermost being those who listen to it.
Why Oratorio?
Oratorio means ‘oratory by music’. Oratorios were originally designed to educate people
in significant portions of the Bible. They date back to the time when Bibles were so
expensive that few could afford them, and of the few who could, fewer still were
sufficiently educated to be able to read them. To overcome the barriers of ignorance, or
unavailability of the Scriptures, the great texts of the Bible were set to music, and men
were taught to learn and sing them. At the conclusion of the first performance at Dublin, a
friend approached Handel. "I must congratulate you upon such a beautiful piece of
entertainment,” he said to the composer. "Entertainment!" exclaimed Handel, "That was
not written for entertainment, it was written for education".
Who Is The Messiah?
‘Messiah’ is a Hebrew word, usually translated in the New Testament as ‘Christ’. It
means ‘the Anointed’ of God. The Oratorio aims to present an outline of the life and
mission of Christ taken from Scripture, for all the words sung during the course of this
work are taken from the Bible. It opens with some of the Old Testament prophecies that
proclaim the coming of the Messiah; then follows with his birth, his mission, the Jewish
rejection of his teaching, his death upon the cross, his ascension into heaven, the
proclamation of the Gospel to all nations by the disciples, the second advent of Christ, the
resurrection and glorification of his followers. The Oratorio thus dramatises the two
advents of Christ. Firstly, when he appeared as the Lamb of God for the sin of the world
(John 1:29), and secondly, when he shall again appear to set up on earth the Kingdom of
his Father, and to reign at Jerusalem over a world at peace (Acts 1:11; 3:19-21). The wellknown and universally acclaimed ‘Hallelujah Chorus’ celebrates this latter event.
PART THE FIRST
The Oratorio is divided into three main sections. The first part dramatises the great
expectancy in Israel for the promised Messiah. It draws upon some of the prophecies of
the Old Testament that foretell his coming, and the work he will accomplish. He will
comfort Jerusalem, cause its warfare to cease, subdue its enemies. Nothing will be
permitted to impede his path: "Every valley will be exalted, and every mountain and hill
made low, and the crooked straight, and the rough places plain”. In other words, every
difficulty to the development of His power will be removed, every hindrance overcome,
and as a result "the glory of the Lord will be revealed, and all flesh shall see it together,
for the mouth of the Lord hath spoken it”.
Birth of Messiah
The beautifully haunting melody of the Pastoral Symphony so suggestive of calm peace,
as shepherds tend their flocks on the hillside of Judea, introduces this portion of the
Oratorio.
But the peace is suddenly broken. The music dramatises the fear and
amazement of the shepherds, as there appeared before them an angel, and they heard
words proclaiming the momentous news: "Fear not, for behold I bring you tidings of
great joy which shall be to all people. For unto you is born
this day, in the city of David, a
saviour which is Christ the Lord”. The music rises
to a crescendo of excitement,
culminating in the angelic chorus: "Glory to God in
the highest, and peace on earth,
goodwill towards men". The first part ends by words
suggestive of the Lord’s ministry.
trouble to come unto him, to learn of him, and accept
were heavily laden with sin and
his yoke, if they would find true
He travelled throughout Judea, calling upon those who
rest and peace.
PART THE SECOND
But the Jewish people were not satisfied with a meek
and lowly Messiah. Their minds
were filled with prophecies of the Old Testament
that promised national greatness for
Israel, when Jerusalem would be the Metropolis of the
world, and a divine law would
proceed therefrom to all nations, filling the earth
with peace and goodwill. They had
ample Scriptural testimony to support their anticipat
ions, but they failed to appreciate the
twofold mission of the Messiah. They did not understa
nd that the cross must come before
the crown, that the Messiah must first appear as the Lamb
of God for the sin of the world,
and, after ascending to heaven, return to take up his
power and reign. They expected a
mighty military leader; they were disappointed to find
a lowly Nazarene, a humble
carpenter, proclaiming a doctrine of non-resistance
wrong and place their trust in God.
to evil, calling upon men to submit to
He explained His mission to His disciples, telling them
that his first advent was not the
time of glory promised by the prophets, but that in due
time he would come again, in
order that he might fulfil the prophecies of glory of which
the Scriptures are full. He tried
to explain this to his disciples, but even they did not
understand. The tragic and sorrowful
experiences endured by the Messiah are told in some
of the choruses and solos in the
second part of the Oratorio: "He was despised and rejected
of men; a man of sorrows and
acquainted with grief". He possessed the nature common
to all mankind; one that has a
bias to sin, and whose destiny is the grave. He had to
conquer the former that he might
snap the chains of the latter, for apart from a resurrect
ion there is no hope for man; the
doctrine of an immortal soul that ascends to heaven after
support in the Bible. The hope consistently set forth
grave to life eternal upon the earth at Christ's coming.
the death of the body, finds no
therein, is in a resurrection from the
Christ’s mission was to open a way from sin and death for
all who would accept him. To
do that, he himself submitted to its power: "He was
bruised for our iniquities, the
chastisement of our peace was upon him" declares the chorus,
quoting from Isaiah 53.
But though man forsook him in the time of his humiliati
on, God did not. He received
strength from on high to conquer. Though he was put
to death, his perfect obedience
ensured his resurrection on the part of a just Creator,
and the world saw the amazing
spectacle of a man brought again from the dead, and
raised immortality. The solemn,
grave
tones of the Oratorio in the early portion of the
Second Part, suggest the
tremendous burden carried by him as he was misunder
stood by friends and foe alike. The
drama of the music becomes intense, as it suddenly changes
to portray the derision and
scorn that people heaped upon him as they rejected his claim to be the Messiah. “All they
that see him laugh him to scorn," sings the soloist. It is followed by a chorus that echoes
the mocking words of unbelieving Jews as he hung upon the cross: "He trusted in God
that He would deliver him; let Him deliver him, if He delight in him”. Even the disciples
deserted their Lord at this time: "He looked for some to have pity on him, but there was
no man”. And so, bearing a tremendous load of sorrow, sufficient to break his heart, "he
was cut off out of the land of the living". He died upon the cross.
But there is a note of joy in the music, as the words are sung proclaiming that God
brought Jesus again from the grave. He triumphed, not only over the Jews and Gentiles
who crucified him, but over the power of death itself. And this triumph makes possible
the fulfilment of all the prophecies that tell of his ultimate glory. Thus the Oratorio bursts
into the glorious chorus: "Lift up your heads, and the King of Glory shall come in". The
risen Christ became the symbol of hope to his disciples. It became the basis of the gospel
of peace which the disciples carried into all the world, as sections 37-39 of the Oratorio
portray, telling the news of Christ's second coming, and the hope of eternal life in him.
For as Christ triumphed, so also can others.
Hallelujah Chorus
The word "Hallelujah" (or ‘Halleluyah’) is compounded of two words, hellel to praise
and Yah - a contraction of the Hebrew name for God, Yaweh. ‘Hallelujah’ therefore
means ‘Praise ye Yahweh’. This magnificent chorus is a glorious combination of words
and music which rises higher and higher: a majestic crescendo of sound, proclaiming
glory to the Lord God of heaven and earth, and to His own son, the Messiah. The setting
of these words tells the triumph of the Messiah as "King of kings and Lord of lords,"
It is the custom of people in English-speaking countries to stand whilst this chorus is
sung. The custom dates from the time of King George I. So moved was he by the
sentiments expressed in the chorus, and by the fact that if Christ is to reign, then all
earthly monarchs are necessarily subordinate, that he rose to his feet, and the audience
rose with him.
PART THE THIRD
The Oratorio passes on to solemn matters of personal concern. These relate to things of
individual hope and the personal triumph of those who have accepted the message of the
Lord Jesus Christ, and have taken his yoke upon them. The words of Scripture are
quoted, that though a man might die, yet he can have hope in the resurrection when, "at
the latter days,” the Redeemer shall "stand upon the earth" (Job 19:25). This solo is
followed by quartet and chorus, which proclaim the hope of the Apostle Paul: "Since by
man came death, by man came also the resurrection of the dead. For as in Adam all die;
even so, in Christ, shall all be made alive”. Here is a personal triumph. As Christ rose
from the dead, and was clothed with immortality, so also can those be who are his. The
succeeding duet, chorus and solo speak of the great personal victory that will be the lot of
those who come unto the Messiah in the way appointed. It will be a victory over sin and
death, a moral and physical victory which will find reward for them in the bestowal of
immortality by their Lord, when he comes to reign on earth as King.
The Chorus, "Worthy is the Lamb", is taken from Revelation 5, and is part of a number of
divinely inspired songs. The language is symbolic, depicting Christ in the fullness of his
glory, when he reigns in Jerusalem as King. This is the song of the Redeemed, the song
of men and women who have not merely listened to the glorious music of ‘Messiah’, but
have taken heed to the message of its words.:" Worthy is the Lamb that was slain to
receive power, and riches, and wisdom, and strength, and honour, and glory, and
blessing. Blessing and honour, glory and power, be unto him that sitteth upon the throne
and unto the Lamb for ever and ever". With that in mind, we can surely enter into the
spirit of the final majestic chorus of the Oratorio--"AMEN”.
H.P. Mansfield: From his booklet entitled ‘The Gospel In Song’
PART I
OVERTURE
RECITATIVE (Tenor)
Comfort ye, comfort ye My people, saith your God. Speak ye comfortably to Jerusalem
and cry unto her that her warfare is uccomplish'd, that her iniquity is pardoned. The voice
of him that crieth in the wilderness, "Prepare ye the way of the Lord, make straight in the
desert a highway for our GodTM.
AIR (Tenor)
Ev'ry valley shall be exalted, and ev'ry mountain and hill made low, the crooked straight,
and the rough places plain.
CHORUS
And the glory of the Lord shall be revealed, and all flesh shall see it together: for the
mouth of the Lord hath spoken it.
RECITATIVE (Bass)
Thus saith the Lord of Hosts: “yet once, a little while and I will shake the heavens and the
earth, the sea and the dry land: and I will shake all nations; and the desire of all nations
shall come. The Lord, whom ye seek, shall suddenly come to His temple, e'en the
messenger of the covenant, whom ye delight in; behold, He shall come”, saith the Lord of
Hosts.
AIR (Bass)
But who may abide the day of His coming? And who shall stand when He appeareth? For
He is like a refiner's fire.
CHORUS
And He shall purify the sons of Levi, that they may offer unto the Lord an offering in
righteousness.
RECITATIVE (Alto)
Behold! a virgin shall conceive and bear a Son, and shall call His name Emmanuel: "God
with us".
AIR (Alto) and CHORUS
O thou that tellest good tidings to Zion, get thee up into the high mountain; O thou that
tellest good tidings to Jerusalem, lift up thy voice with strength; lift it up, be not afraid;
say unto the cities of Judah, Behold your God! Arise, shine, for thy light is come, and the
glory of the Lord is risen upon thee. O thou that tellest good tidings to Zion, good tidings
to Jerusalem, arise; say unto the cities of Judah, Behold your God! Behold; the glory of
the Lord is risen upon thee.
RECITATIVE (Bass)
For behold, darkness shall cover the earth, and gross darkness the people; but the Lord
shall arise upon thee, and His glory shall be seen upon thee. And the Gentiles shall come
to thy light, and kings to the brightness of thy rising.
AIR (Bass)
The people that walked in darkness have seen a great light; and they that dwell in the land
of the shadow of death; upon them hath the light shined.
CHORUS
For unto us a Child is born, unto us a Son is given, and the government shall be upon His
shoulder; and His Name shall be called Wonderful Counsellor, the Mighty God, the
Everlasting Father, the Prince of Peace.
PASTORAL SYMPHONY
RECITATIVE (Soprano)
There were shepherds abiding in the field, keeping watch over their flocks by night. And
lo! the angel of the Lord came upon them, and the glory of the Lord shone round about
them, and they were sore afraid.
RECITATIVE (Soprano)
And the angel said unto them, "Fear not; for behold, I bring you good tidings of great joy,
which shall be to all people. For unto you is born this day in the City of David a Saviour,
which is Christ the Lord".
RECITATIVE (Soprano)
And suddenly there was with the angel a multitude of the heav'nly host, praising God, and
saying:
CHORUS
"Glory to God in the highest, and peace on earth, goodwill toward men".
AIR (Soprano)
Rejoice greatly, O daughter of Zion; Shout, O daughter of Jerusalem! Behold, thy King
cometh unto thee. He is the righteous Saviour and He shall speak peace unto the heathen.
RECITATIVE (Alto)
Then shall the eyes of the blind be open'd, and the ears of the deaf unstopped. Then shall
the lame man leap as an hart, and the tongue of the dumb shall sing.
AIR (Alto, or Alto and Soprano)
He shall feed his flock like a shepherd, and He shall gather the lambs with His arm, and
carry them in His bosom, and gently lead those that are with young. Come unto Him, all
ye that labour. Come unto Him, ye that are heavy laden, and He will give you rest. Take
His yoke upon you, and learn of Him, for He is meek and lowly of heart, and ye shall find
rest unto your souls.
CHORUS
His yoke is easy, and His burden is light.
~INTERVAL ~
PARTII
CHORUS
Behold the Lamb of God that taketh away the sins of the world.
AlIR (Alto)
He was despised and rejected of men, a man of sorrows, and acquainted with grief.
He gave His back to the smiters, and His cheeks to them that plucked off the hair. He hid
not his face from shame and spitting.
CHORUS
Surely He hath borne our griefs, and carried our sorrows! He was wounded for our
transgressions. He was bruised for our iniquities; the chastisement of our peace was upon
Him.
CHORUS
And with His stripes we are healed.
CHORUS
All we like sheep have gone astray; we have turned ev'ry one to his own way. And the
Lord hath laid on Him the iniquity of us all.
RECITATIVE (Tenor)
All they that see Him, laugh Him to scorn; they shoot out their lips, and shake their
heads, saying:
CHORUS
"He trusted in God that He would deliver Him, let Him deliver Him, if He delight in
Him".
RECITATIVE (Tenor)
Thy rebuke hath broken His heart; He is full of heaviness. He looked for some to have
pity on him, but there was no man, neither found He any to comfort Him.
AIR (Tenor)
Behold, and see if there be any sorrow like unto His sorrow.
RECITATIVE (Tenor)
He was cut off out of the land of the living; for the transgression of Thy people was He
stricken.
AIR (Tenor)
But Thou didst not leave His soul in hell, nor didst Thou suffer Thy Holy One to see
corruption.
CHORUS
Lift up your heads, O ye gates, and be ye lift up, ye everlasting doors, and the King of
Glory shall come in.
Who is this King of Glory? The Lord strong and almighty, the Lord mighty in battle.
Lift up your heads, O ye gates, and be ye lift up, ye everlasting doors, and the King of
Glory shall come in.
Who is this King of Glory? The Lord of Hosts, He is the King of Glory.
RECITATIVE (Tenor)
Unto which of the angels said He at any time, Thou art my son, this day have I begotten
thee.
CHORUS
Let all the angels of God worship Him.
AIR (Alto, Soprano or Bass)
Thou art gone up on high. Thou hast led captivity captive and received gifts for men, yea,
even for Thine enemies, that the Lord God might dwell among them.
CHORUS
The Lord gave the Word. Great was the company of the preachers.
AlIR (Soprano)
How beautiful are the feet of them that preach the gospel of peace, and bring glad tidings
of good things.
-CHORUS
Their sound is gone out into all lands and their words unto the ends of the world.
AIR (Bass)
Why do the nations so furiously rage together, and why do the people imagine a vain
thing? The kings of the earth rise up, and the rulers take counsel together against the
Lord, and against His anointed.
CHORUS
Let us break their bonds asunder and cast away their yokes from us.
RECITATIVE (Tenor)
He that dwelleth in heaven shall laugh them to scorn; the Lord shall have them in
derision.
AIR (Tenor)
Thou shall break them with a rod of iron; Thou shall dash them in pieces like a potter’s
vessel.
CHORUS
Hallelujah: for the Lord God Omnipotent reigneth. The kingdom of this world is become
the Kingdom of our Lord, and of His Christ; and He shall reign for ever and ever. King of
Kings, and Lord of Lords. Hallelujah!
PART III
AIR (Soprano)
[ know that my Redeemer liveth, and that He shall stand at the latter day upon the earth;
and though worms destroy this body, yet in my flesh shall I see God. For now is Christ
risen from the dead, the first-fruits of them that sleep.
CHORUS
Since by man came death, by man came also the resurrection of the dead. For as in Adam
all die, even so in Christ shall all be made alive.
RECITATIVE (Bass)
Behold! I tell you a mystery; we shall not all sleep; but we shall all be changed in a
moment, in the twinkling of an eye, at the last trumpet.
AIR (Bass)
The trumpet shall sound, and the dead shall be raised incorruptible, and we shall be
changed.
RECITATIVE (Alto)
Then shall be brought to pass the saying that is written: Death is swallowed up in victory.
DUET (Alto & Tenor) and CHORUS
O death, where is thy sting? O grave, where is thy victory? The sting of death is sin, and
the strength of sin is the law.
But thanks be to God, who giveth us the victory through our Lord Jesus Christ.
AIR (Soprano or Alto)
If God be for us, who can be against us? Who shall lay anything to the charge of God’s
elect? It is God that justifieth. Who is he that condemneth? It is Christ that died, yea,
rather that is risen again, who is at the right hand of God; who makes intercession for us.
CHORUS
Worthy is the Lamb that was slain, and hath redeemed us to God by His blood. To
receive power, and riches and wisdom and strength and honour and glory and blessing.
Blessing and honour glory and power be unto Him be unto Him, That sitteth upon the
throne and unto the Lamb, for ever and ever.
CHORUS
Amen.
The notes in this programme were based on material supplied through the Programme
Note Bank of Making Music, the National Federation of Music Societies, to which this
society is affiliated. No part of this material may be reproduced or published by any
organisation not affiliated to Making Music without prior permission.
Ghislaine Morgan
Ghislaine Morgan has gained a considerable reputation as
both a singer and singing teacher. She read Music at Oxford,
then trained at the Royal College of Music where she was
awarded the Sacher Scholarship.
She has performed throughout Europe, Asia and the USA;
recent engagements including a tour of South Africa singing
Mahler’'s Resurrection Symphony and Das Knaben
Wunderhorn and recording the title role in Handel’s Deborah
for German radio. She has given concerts at the Mathieson
Music School, Calcutta 2nd International Festival, the Tel
Aviv Festival for Vocal Music and the Zaarlouis Festival, as well as numerous appearances in
London and the provinces. Stage appearances include Mrs Japheth in Britten’s Noye’s Fludde,
3rd Norn in Wishart’s Nornagest and Polly in Wilson’s The boyfriend. She has also performed
with Aix- En-Province Opera, Bath festival Opera and opera Du Lyon. Ghislaine is as equally
at home with the early music as more contemporary genres, having sung for ten years with
such groups as the Tallis Schollars the Sixteen and the Monteverdi Choir before pursuing a
solo career. Ghislaine can be heard regularly on Classic FM and also on the EMI, Gimell,
Naxos, Richmond and Regent labels.
Ghislaine is widely sought after as a coach of individual choirs, and her driving passion is
encouraging others to be expressive with confidence. She is advisor to the Finchley Children’s
Music group and the Mathieson Music School, Calcutta, director of workshops in Britain,
Holland and Spain, and is a member of the faculty of the Charles Wood Summer Music
School, the Lacock Summer School, Oakham International Summer School and the Saeculum
Festival of Early Music.
Charles Humphries
Having graduated from the royal Academy Of Music,
Charles Humphries has become recognised as one of the
most foremost countertenors of his generation. He studied
and trained with Charles Brett, Michael Chance and James
Bowman and is now continuing his training with Paul
Farrington. Charles appears regularly as a soloist not only
alongside the recognised baroque ensembles of Britain, but
also in his own right throughout the UK and across Europe.
These appearances include venues such as the Barbican,
The Queen Elizabeth Hall, the Wigmore Hall, the Palaise des Beaux Artsin Brussels, the
Concertgebouwin Amsterdam, Prague, Warsaw, Copenhagen, Oslo and the Festival of
La Chaise Dieu in southern France.
Highlights of the last years’ season include: soloist in the celebratory Bach Cantata
pilgrimage with Sir John Eliot Gardiner, the role of the Sorceress in Dido and Aeneas for
the King’s Consort and Robert King, Jephtha in the Handel Hall¢ Festival under Nicholas
McGegan, and the final concert of the Lufthansa Festival in Westminster Abbey during
the summer. As a soloist, Charles has recorded Handel’'s Messiah,
Jephtha, Judas
Maccabeaus and, for the radio, Solomon.
As well as Charles’ concert and recital work, he is also sought
after within the world of
opera. Roles range from the title role in Handel’s Tamerlano, Delfa
in Cavalli’s Giasone,
and roles in The Fairy Queen and King Arthur to the Sorceress
in Purcell’s Dido and
Aeneas. Future operatic appearances include the title role of Cavalli’s
Pompeo Magna in
Zagreb in the 2001/02 season. Future concert engagements this year
include Passions and
recitals in Copenhagen, Lo Spozolizio with The King’s Consort, solo
Spanish music with
the Orchestra of the Renaissance and cantatas of J S Bach with
Tom Koopman and
Amsterdam Baroque. Charles also directs the new vibrant chamber
ensemble
Kontrabande, performing music of the 17th and 18th centuries. Their
debut recording will
be released on the Claudio label at the beginning of 2002, containing
solo Bach Cantatas
and instrumental items ofJ S Bach.
Andrew Murgatroyd
Andrew Murgatroyd was born in Halifax, West Yorkshire
and first studied singing with Barbara Robotham, while
reading music at Lancaster University. He subsequently
spent two years as a Lay Clerk at Christ Church Cathedral
Oxford, furthering his vocal studies with Rudolf Piernay.
j
Andrew’s extensive repertoire ranges from Monteverdi,
(whose
1610 vespers
he
has recorded
for Harry
Christophers on Hyperion and Rene Jacobs on Harmonia
Mundi) to the most demanding contemporary scores,
working with conductors such as Richard Bernas, Martin
Brabbins, Odaline de La Martinez and Robert Ziegler.
Notable performances include Bach’s St Matthew Passion, Elgar’s Coronation
Ode and
Mozart’s C Minor mass with Sir David Willcocks and the Bach Choir
at The Royal
Festival Hall; Beethoven’s Missa Solemnis for the RTE in Dublin,
Elgar’s Dream of
Gerontius in Wells, Guildford and Ripon Cathedrals and York Minster: Verdi’s
Requiem
in Salisbury and Canterbury Cathedrals, the Barbican and at both the
Brighton and
Flanders Festivals; John Tavener’s We shall See Him As He Is with
Richard Hickox and
the BBC Welsh Symphony Orchestra at the proms and subsequently
recorded for
Chandos; a concert performance of Andrea Chenier in the Concertgebouw
for VARA and
Britten’s War Requiem in Belfast.
Andrew broadcasts regularly with the BBC Orchestras. He has
performed Britten,
Stravinsky, and Howells with the BBC Symphony Orchestra; Mozart,
Haydn and John
Tavener with the National Orchestra of Wales; Handel, Nono and Rachmanin
ov for the
BBC Scottish Symphony Orchestra; Mozart and Britten with the BBC
Philharmonic and
Weill, Pizzetti, Coleridge-Taylor and, most recently, Spohr’s Day of Judgement
with the
BBC Concert Orchestra.
Colin Campbell
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, Royal Albert Hall, St John's Smith Square and
the
Barbican;
Snape
Maltings,
Symphony
Hall,
Birmingham and in numerous festivals on the continent,
the USA and the Far East. 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 Gramaphon
labels. Under the baton of Sir John Eliot Gardiner, Colin has sung the bass solos in
Monteverdi's Vespers in Cremona and Milan and the Voice of Christ in John Tavener's
The World is Burning, recorded by Philips Classics. Recent recordings include the awardwinning Grainger collection entitled The Londonderry Air, again with Gardiner and
Philips, and Howells' A Spotless Rose with Stephen Layton and Polyphony for Hyperion.
Concert engagements have included several appearances with the Gabrieli Consort, City
of London Sinfonia, Trevor Pinnock and The English Concert, Collegium Musicum '90
under Richard Hickox, Christopher Hogwood and The Academy of Ancient Music, the
viol consort Fretwork, 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; Handel's Atalanta at the
Hallé Festival; Christus in Bach's St Martthew Passion in Tampere, Finland;
Mendlessohn's Elijah at the Trondheim Festival, Norway; Brahms' Requiem at the St
Endellion Easter Festival; Bach's B Minor Mass in Japan and Korea with the English
Baroque Soloists under Gardiner and Handel's Judas Maccabaeus in*Vilnius, Lithuania
with Nicholas McGegan.
Jeremy Backhouse
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
career
conductor
as
a
freelance
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 choir and orchestra alike. In
1998, he conducted the choir in 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 Mabhler’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.
Q D U’l@
D)l
O
@n
ur
-
W CSIHFOHIG
The Brandenb.urg Sinfonia i.s one of 'the
most dynamically versatile musical
organisations
in
the
country.
It
is
renowned for its special quality of sound
and poised vivacity in performance. The
Orchestra
performs
regularly
in
the
majority of the major venues across the
country, and in London at the Barbican, Royal Albert Hall, Queen Elizabeth Hall,
Fairfield Hall and St John's Smith Square.
The Brandenburg Sinfonia is also in great demand abroad and has recently visited France,
USA, Bermuda, the Channel Islands, Barbados and St Petersburg. Future tours include,
France, Germany, USA, Japan, Hong Kong and Barbados.
In 1999 the orchestra established major concert series at both St Martin’s-in-the-Field and
Crystal Palace Bowl. In Autumn 2001 the orchestra undertook a major Classical Music
cruise on the QE2.
A large number of artists of international standing have worked with the orchestra
including Emmanuel Hurwitz, Lesley Garrett, John Georgiadis, John Wallace,
Thompson and Gordon Hunt.
Michael
Its repertoire ranges from Bach to Lloyd Webber and its members give around three
hundred performances of orchestral, chamber, choral and operatic music during the year.
The orchestras for a number of touring companies are formed from members of the
Brandenburg Sinfonia including First Act Opera, London City Opera, Opera Holland
Park, London Opera Players and Central Festival Opera.
"What made it actually rather enjoyable was the playing of the chamber orchestra which
was consistently well shaded and nuanced”
THE TELEGRAPH
"Some of the most stylish Mozart playing for some time"
"An ensemble of distinguished players...
THE TIMES"
"THE INDEPENDENT
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 once a year. The Choir grew
to prominence under the batons of such eminent British musicians as Sir Charles Groves,
Vernon Handley and Sir David Willcocks. Jeremy Backhouse, appointed in 1995, holds
the
position
of conductor
at
the
present
time,
with
Jeremy
Filsell
as
rehearsal
accompanist. Sir David remains in close contact with the Choir as its current President.
The Choir enjoyed a challenging and exciting concert programme for the 1999-2000
season, including Haydn’s Creation and (together with members of its twin choir, the
Freiburger Bachchor), a gala performance of Bach’s St Martthew Passion,
sung in
German. In the 2000-01 series, the choir continued to perform major works, among them
Mozart’s Mass in C minor, Brahms’ Ein deutsches Requiem and Vaughan Williams’ A
Sea Symphony.
'
In June this year the choir were asked to provide a small chamber choir to sing Vivaldi’s
Gloria at St Martin-in-the-Field’s, and in October the whole choir had the opportunity to
sing at the Royal Albert Hall accompanying the tenor, Russell Watson.
If you would like any further information about the choir and its forthcoming season,
please
contact
Noreen
Ayton
on
01932
221918
or
visit
our
website
at
www.guildfordphilharmonicchoir.org.uk, where you will find full details. The choir is
always looking for new members, especially sopranos and tenors; prospective members
are welcome to come along to rehearsals on a Monday evening in central Guildford on an
informal basis, before committing to an audition.
GUILDFORD PHILHARMONIC CHOIR
SOPRANOS
TENORS
Marian Adderley
Alison Palmer
Jacqueline Alderton
Margaret Parry
Bob Bromham
Joanna Andrews
Vivienne Parsons
Douglas Cook
Tony Cousins
Paul Bielatowicz
Noreen Ayton
Kate Peters
Mary Broughton
Rosalind Plowright
Bob Cowell
Elaine Chapman
Alison Rawlinson
Geof Edge
Sara Dann
Kate Rayner
Leslie Harfield
Rachel Edmondson
Gillian Rix
Chris Robinson
Josephine Field
Ann Sheppard
John Trigg
Angela Hand
Maureen Shortland
Nora Kennea
Dawn Smith
Mo Kfouri
Judy Smith
Dan Adderley
Judith Lewy
Vicki Steele
Peter Allen
BASSES
Julia Maitland
Kathy Stickland
Peter Andrews
Krystyna Marsden
Carol Terry
Roger Barrett
Gayle Mayson
Christine Tollman
Alan Batterbury
Lois McCabe
Enid Weston
John Britten
Hilary Minor
Tessa Wilkinson
Philip Davies
Susan Norton
Christine Wilks
Robin Onslow
Michael Dudley
Terence Ellis
James Garrow
ALTOS
Christine Medlow
Michael Golden
Marion Arbuckle
Rosalind Milton
Nick Gough
Sally Bailey
Mary Moon
Peter Herbert
Iris Ball
Brenda Moore
Laurie James
Penny Baxter
Jean Munro
Michael Jeffery
Evelyn Beastall
Jacqueline Norman
Stephen Jepson
Iris Bennett
Sue O’Connell
Alec Leggatt”
Kate Blackman
Penny Overton
Tony Macklow-Smith
Jane Brooks
Anne Philps
Neil Martin
Mary Clayton
Lesley Scordellis
Chris Newbery
Margaret Dentskevich
Catherine Shacklady
Roger Penny
Andrea Dombrowe
Gillian Sharpe
Chris Peters
Nigel Pollock
Valerie Edwards
Rima Skold
Celia Embleton
Prue Smith
David Ross
Mandy Freeman
Alex Stevens
Philip Stanford
Valerie Garrow
Hilary Steynor
Jody Tranter
Ingrid Hardiman
Rosey Storey
Jim Watterson
Joanna Harman
Jane Sweaney
Lucy Hatcher
Hilary Trigg
Carol Hobbs
Barbara Watterson
Sheila Hodson
June Windle
Joy Hunter
Maralyn Wong
Valerie Leggatt
Beatrice Wood
Kay McManus
Pamela Woodroffe
Presentation flowers designed and prepared by
Floristry students at Merrist Wood College
For details of floristry 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
@ Guildford
.. Opera
.. Company
Friday Z5th &
Saturday 26th
January 2002
solicitors
HartBrown
Geraldine Morris, family law partner.
Head Office:
20 Bedford Rd, Guildford, GUI 4TH
Tel: 01483 887766
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RITTEN’S MUSIC Ltd 01932 351165(24Hrs)/351614
3-4 Station Approach, West Byfleet, Surrey KT14 6NG
Stevens & Bolton wishes
The Guildford
Philharmonic Choir
every success with this
evening's performance
STEVENS
S—0—"
1
1
&
o=l
BOLTON
0
R
The Billings, Walnut Tree Close
Guildford, Surrey GU1 4YD
Tel: (01483) 302264
Fax: (01483) 302254
www.stevens-bolton.co.uk
S
The choir would like to thank
Debenhams
For their generous support in this concert
Tonight's Soprano Soloist has been sponsored by Debenhams.
Her evening dress has also been kindly provided by Debenhams.
G
Financially assisted by
GUILDFORD
BOROUGH
The staging for this concert is owned by the
Association of Surrey Choirs.
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.
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
Friends
Dr. J.B.R. Arbuckle
Mr. & Mrs. Peter Bennett
Bill & Doreen Bellerby MBE
Britten's Music Ltd.
,
Mrs J Brooks
Dega Broadcast Systems
Mr. & Mrs. R. H. R. Broughton
Mrs. Joyce Feather
Mr. & Mrs. Neil Clayton
Mrs. Carol Hobbs
Mrs. P. A. Cousins
Mrs. Suzanne Pickerill
Mrs Maryel Cowell
Mr. lan Rayner
Dr. Rodney Cuff
Mrs. Jean Shail
Mr. Michael Dawe
Mr. Michael Shortland
Ms. Margaret Dentskevich
Mrs. K C Stickland
Executive Presentation
Mr. Henry Friend
Mr. Laurie James
Mr. & Mrs. Michael Kilkenny
Mrs. Helen Lavin
Mr & Mrs Michael Longford
Ron and Christine Medlow
Mr. & Mrs. Maxwell S New
Mr. & Mrs John Parry
Opticians Penny & Hayter
Mrs. Jean Radley
Mr & Mrs. M G M 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
President: Sir David Willcocks, CBE MC
Conductor: Jeremy Backhouse
Registered Charity No. 1026337
‘
.