.&\“Vwo:mh8
BOC wishes you an enjoyable event
BOC is delighted to be supporting the Guildford Philharmonic — as
we have done for 14 years.
Like music and its live performance,
we hope that we add to the quality
of life in the communities we serve.
From steel making, welding, refining and chemical processing,
semiconductor manufacture, vacuum pumps and technology,
environmental protection and waste management, food processing and
distribution, drinks dispensing and balloon-filling, glass production and a
host of medical applications, BOC is present in so much around us.
We provide products for almost every hospital department: from
nitrous oxide for anaesthetics, to post-operative therapeutic gases, to
the helium used to cool the magnets of MRI machines.
Environmentally, BOC leads the field in gas-based eco-innovation. From
simple oxygen and ozone systems to advanced oxidation processes,
BOC provides biological treatments to reduce air pollution, cleanse
wastewater and effluent, purify water and recycle waste.
Guildford remains the focal point of a strong and successful BOC.
Long may it prosper as a centre of musical excellence!
Local enquiries:
BOC, The Priestley Centre, 10 Priestley Road,
The Surrey Research Park, Guildford, Surrey GU2 5XY.
Tel: (01483) 579857. Fax: (01483) 50521 1.
©
_
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GUILDFORD PHILHARMONIC
arr. Britten
Handel
ice
Handel
Walton
inster
Vierne
Parry
Interval
Parry
- Walton
erial
The orchestra is grateful to the following for financial assistance:
South East Music Trnst and South East Arts
Major corporate sponsors in the 2001/2002 season:
BOC, Borax Europe Ltd, The Guildford Nuffield Hospital,
Stevens & Bolton Solicitors
;
‘xi
5
Programmes Notes
GEORGE FRIDERIC HANDEL (1685-1759)
Zadok the Priest
From the time Handel settled in England in 1712, his achievement was such that he
attained a position of some eminence in the cultural life of the nation. In 1713, for
instance, he provided a Birthday Ode for Queen Anne and a Te Deum and Jubilate
to celebrate the peace of Utrecht, and ten years later he wrote his impressive set of
Coronation Anthems for the new King George II. While he remained first and
foremost a man of the theatre, Handel’s role as ‘composer laureate’ was maintained
for the rest of his life.
During the year 1727 Handel became a British subject, and on the death of King
George I, the composer began planning four anthems for the coronation of his
successor, George II. The resources made available certainly confirm the majesty
of the occasion: it seems there were more than 200 performers, including 160
instrumentalists and 47 singers, the latter being the members of the Chapel Royal.
But the performance standards did not match up to expectation, as the Archbishop
of Canterbury, William Wake, noted in his diary: ‘The anthems in confusion; all
irregular in the music.’
Zadok the Priest is the first of the four anthems which were introduced at the formal
ceremony of the coronation of King George II in Westminster Abbey on 11th October
1727. Handel took the libretto from the Book ofKings, which recounts the story of
when David crowned Solomon as King: ‘And Zadok the Priest took the horn of oil
from the sacred tent, and annointed Solomon.” This work has proved so successful,
not least because of its direct musical impact, that it has been played at every British
coronation ceremony, from 1727 to the most recent, in 1953.
SIR WILLIAM WALTON (1902-1983)
Coronation March: Orb and Sceptre
Walton’s two marches were specifically written for the coronations of George VI in
1937 and Elizabeth I in 1953. They are similar in form, though Crown Imperial is
the more straightforward harmonically: it is firmly diatonic, whereas Orb and
Sceptre, the later of the two, is luxuriously chromatic. After the fashion of Elgar,
both Walton marches have a highly memorable long tune as their contrasting trio
section, the sort of committed melodic gesture which in his time, Walton alone
seemed capable of inventing.
HANDEL
The King Shall Rejoice
The King Shall Rejoice uses vocal writing in six parts, with sub-divided altos and
basses, an imaginative and distinctive feature. The opening phase, with its uniquely
Handelian rhythmic verve, is particularly arresting, while there is an equally striking
concluding section, which takes the form of a double fugue.
SIR CHARLES HUBERT PARRY (1848-1918)
Blest Pair of Sirens
Parry was one of the leading figures in the development of British music and musical
life in the later part of the 19" century and the early years of the 20" century. This
phenomenon was significant enough to gain the description the ‘British Musical
Renaissance’, meaning that another golden age had been achieved. Parry contributed
to that renaissance in two particular ways: as one of the finest composers of the
period, whose work has endured, and as a leading figure in musical education, who
was responsible for encouraging the development of the next generation of
musicians.
Parry’s ode for chorus and orchestra, Blest Pair ofSirens, was dedicated to Charles
Villiers Stanford and the Bach Choir, who gave the first performance in May 1887.
This setting of words by John Milton uses an eight-part chorus and is generally
elevated in tone, building to an resplendent climax which fulfils expectations.
Moreover the thrilling opening passage made an immediate impression, and the
music has maintained its popularity ever since. The verses treat the central theme
of Man’s struggle and hopes.
LOUIS VIERNE (1870-1937)
Carillon de Westminster, Opus 54 No. 6
Louis Vierne studied with César Franck and was also the most important pupil of
Charles Widor.
From 1900 he was organist at Notre Dame in Paris, and his
performances there brought him widespread fame. Poor health and near-blindness
did not restrict his creative impulse, though after 1914 he had to resign his regular
position.
After the First World War, however, he embarked on a new career as a
concert organist, performing throughout Europe and in the United States.
Vierne’s music, though ranging through many different genres, is dominated by his
compositions for organ, and the Carillon de Westminster comes relatively late in
his output.
One of a group of Piéces de Fantaisie, it is dedicated to ‘mon ami
Henry Willis, Facteur d’orgues & Londres’.
Based on the famous Westminster
Chimes, the music builds from a quiet beginning to a powerful conclusion.
PARRY
Coronation Anthem: I was Glad
Parry composed the anthem 7 was Glad for the coronation of Edward VII in 1902,
and its spirit of noble confidence proved perfect for the occasion at the dawn of the
new century. That initial success is also reflected in the fact that the music has been
performed at every coronation ceremony since then. And deservedly so, since Parry’s
command of resources and technique delivers a true and uplifting vitality of
inspiration, which communicates as directly today as it did at the first performance
a hundred years ago.
WALTON
Coronation March: Crown Imperial
Crown Imperial, the first of Walton’s two coronation marches, was written for the
coronation of George VIin 1937. He received the commission to write ‘a symphonic
march for Coronation Week’ from the BBC, and took as his model the great Pomp
and Circumstance marches of Elgar, both in terms of form and mood. Therefore
the resplendent rhythmic writing of the outer sections provides the foil for the
memorable and noble melody which broadens into the work’s magnificent climax.
SIR EDWARD ELGAR (1857-1934)
Coronation Ode, Opus 44
k:
Introduction: Crown the King
2
The Queen
3.
Daughter of Ancient Kings
4
Britain, ask of thyself
5
a) Hark, upon the hallowed air
b) Only let the heart be pure
o
Peace, gentle Peace
7.
Finale: Land of Hope and Glory
Jeremy Backhouse - conductor
Jeremy Backhouse began his musical career in Canterbury Cathedral
where he was Senior 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 as a freelance conductor.
Between 1991 and 1995, he was Music Director of both the Streatham Choral
Society and the BBC Club Choir.
Jeremy Backhouse is 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 1996, they gave their first
recital at the Wigmore Hall. For many years on Christmas Eve, the choir has sung
Midnight Mass at Westminster Abbey. Jeremy and the Vasari Singers have broadcast
frequently on BBC Radios 3 and 4, and have made a number of recordings on both the
EMI Eminence, United and Guild labels.
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.
In April 1995 he was invited for the first time to conduct the BBC Singers, 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. Subsequent work with the BBC Singers
has included a programme of music by Phyllis Tate and Arnold Bax.
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 Davis). In September 1998,
he 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.
Jeremy Filsell - organ
Jeremy Filsell is acknowledged as one of only a few virtuoso
performers on both the piano and the organ. Appearing as a solo
pianist across the UK and regularly at St John’s Smith Square and
the Wigmore Hall in London, his concerto appearances in Mozart,
Beethoven, Rachmaninov and John Ireland have been in both the
UK and USA. In recent years, he has recorded for Guild, the solo
piano music of Eugene Goossens, Herbert Howells and Bernard Stevens and the Sonatas
of Liszt’s pupil Julius Reubke.
As an organist, his nine weekly recitals encompassing the complete organ works of
Marcel Dupre in 1998 brought great critical acclaim and of the recordings of the entire
oeuvre for Guild in the USA, released throughout 1999 and 2000, Volumes 7 & 11
were Gramophone Critics’” Choices in 2000 and 2001. He has recorded extensively for
BBC Radio 3 in solo and concerto roles and has championed the music of Dupre,
Grunenwald and Cochereau on CD and in concert during the past year in the UK,
France (recent recitals of Dupre have been given in St Sulpice Paris and Chartres
Cathedral), Norway, Finland and the USA.
Awarded the Limpus prize for FRCO as a teenager, his formative teachers included
Nicolas Kynaston and Daniel Roth. He studied Music as Organ Scholar at Keble College
Oxford and thence Piano Performance under David Parkhouse at the Royal College of
Music. He currently teaches at the Royal Academy of Music and Eton College and is a
Lay Clerk in the Choir of St George’s Chapel Windsor.
Susan Rann - soprano
Susan was born in Guildford but was brought up in Grimsby where
she trained as a violinist. After graduating from Liverpool University
with a BA (Hons) in Music, Susan decided to embark on vocal training
| and won a postgraduate scholarship to the Royal Academy of Music
T | where she studied with Patricia Clark and the late Mary Thomas.
Bl Whilst at the RAM, Susan was a prize-winner in both opera and
oratorio competitions.
Susan has extensive experience in concert/oratorio repertoire as well as involvement
with many professional consort groups including the BBC Singers and London Voices.
She has recorded Messiah for Meridian TV under the direction of David Hill and has
undertaken tours of the same work for Raymond Gubbay. Susan is also a permanent
soprano at St Etheldreda’s Church in the City of London.
Opera roles have included Dorabella, Cosi fan Tutte, Susanna and the Countess,
Marriage of Figaro, Ilia, Idomeneo, First Lady, Magic Flute, Jessie, Mahagonny
Songspiel, and Diana, Iphegenie en Tauride. Susan has also sung for Raymond Gubbay’s
Albert Hall and touring productions of Carmen and Madam Butterfly. She also appeared
in Handel’s Theodora and The Marriage of Figaro for Glyndebourne Festival Opera
and in Rossini’s Le Comte D’'Ory and Mozart’s Die Entfiihrung aus dem Serail for
Glyndebourne Touring Opera.
Susan has worked extensively for English National Opera since 2000 where she has
appeared in Verdi’s Requiem, Puccini’s Suor Angelica and Prokofiev’s War and Peace.
She is currently working at ENO in a production of Spontini’s rarely-performed opera
La Vestale.
2NN
Jean Rigby - mezzo-soprano
Jean Rigby studied at the Birmingham School of Music and
subsequently at the Royal Academy of Music with Patricia Clarke,
with whom she still studies.
She has a long association with English National Opera, where her
many roles have included Penelope The Return of Ulysses, Jocasta
“* Oedipus Rex, Carmen, Octavian, Britten’s Lucretia, Rosina, Helen
of Troy King Priam, Hyppolyta A Midsummer Night's Dream, Maddalena Rigoletto,
Amastris Xerxes and Nicklausse The Tales ofHoffimann.
She is a regular guest at the Glyndebourne Festival, where her roles have included
Irene Theodora, Genevieve Pelleas et Melisande, Eduige Rodelinda and Emilia Otello.
For the Royal Opera, Covent Garden she has sung Nicklausse and Dryade Ariadne
aufNaxos. She has sung Isabella L Ttaliana in Algeri for the Buxton Festival and both
Angelina La Cenerentola and I1damantes /domeneo for Garsington Opera. Abroad,
she has appeared with the Netherlands Opera in Stravinsky’s Biblical Fragments, the
Flanders Opera Suzuki, Seattle Opera Charlotte and San Diego Opera Nicklausse.
Jean Rigby appears with the major orchestras and is a regular soloist at the BBC
Promenade concerts. Recent engagements have included concerts with Sir Neville
Marriner, Trevor Pinnock, Mikhail Pletnev, Matthias Bamert, Robert King, Richard
Hickox, Sir Andrew Davis, Sir Charles Mackerras and Leonard Slatkin.
Jean Rigby’s extensive discography ranges from Bach, Vivaldi and Handel to Britten,
Janacek and Birtwistle and includes her acclaimed recordings of the title role in the
Rape of Lucretia (with Richard Hickox) and Mahler’s Das Lied von der Erde with
Mark Wigglesworth.
This season her engagements include Walton’s Troilus and Cressida with the
Philharmonia Orchestra and Hickox, Mahler’s Symphony No 2 with the Royal
Philharmonic and Andrew Litton and she sings Eduige Rodelinda at the Chatelet, Paris
conducted by William Christie.
Andrew Murgatroyd - tenor
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.
Andrew’s extensive repertoire ranges from Monteverdi, whose 1610
Vespers he recorded for Harry Christophers on Hyperion and Rene
Jacobs on Harmonia Mundi and most recently performed in the Barbican Hall, Bath
Abbey and Istanbul, 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 Hall 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;
Britten’s War Requiem in Belfast and a number of Christmas Gala Concerts at the
Royal Festival Hall, Barbican and Symphony Hall Birmingham.
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 Rachmaninov for the
BBC Scottish Symphony Orchestra, Mozart and Britten with the BBC Philharmonic
and Weill, Pizzetti, Coleridge-Taylor, Spohr, and most recently Britten’s Paul Bunyan
with the BBC Concert Orchestra.
Darren Jeffery - bass
Darren was born in Fordham, Cambridgeshire.
He studied at the Royal Northern College of Music in Manchester
with Patrick McGuigan, and is a Peter Moores Foundation major
scholarship winner. He is also the recipient of the prestigious Curtis
Gold Medal for Singing, the Anne Ziegler Prize, and the Frederick
Cox Award. Whilst at the RNCM Darren performed the title role in
an award-winning production of Falstaff, and Sprecher in Die
Zauberflote.
Darren has worked with Glyndebourne Festival and Touring Opera companies, covering
the roles of Keeper of the Madhouse in 7he Rake’s Progress, Matthew in The Last
Supper, and Don Fernando in Fidelio.
In September 2001 he began the first of two years as a member of the Vilar Young
Artist Programme at the Royal Opera, Covent Garden. His future engagements for the
Royal Opera will include Sciarrone in 7osca, Rambaldo in La Rondine, and Fourth
Shepherd in Daphne. He will also cover the roles of Masetto in Don Giovanni and
First Shepherd in Daphne. Other work includes the cover of Superintendent Budd
in Albert Herring for Glyndebourne Festival Opera and performances of Verdi’s
Requiem.
Guildford Philharmonic
In 2000, the Guildford Philharmonic sold out all of its concerts making it one of the
most successful musical organisations anywhere. It is at the heart of music-making in
the south east, with a huge repertoire extending from the 17th century to the present
day. The main concert season runs from October to July in a variety of venues including
the Guildford Civic, Guildford Cathedral, the Electric Theatre, Holy Trinity Church,
the Yvonne Arnaud Theatre, and, for the first time this season, Guildford House
Courtyard. In addition, the orchestra is invited to give concerts throughout London
and the south of England in a number of venues which include Kenwood Park, Royal
Festival Hall, King’s College Cambridge, St George’s Chapel Windsor, and the cathedrals
of Winchester, Chichester, Canterbury and St Albans.
The Guildford Philharmonic’s scope ranges from concerts for children and with children,
via chamber concerts in more intimate venues, to large-scale choral and orchestral works.
The repertoire covers everything from jazz and light music to new music, and the
emphasis is to work with young soloists at the outset of their careers. En Shao was
appointed Principal Conductor in 1995, following in the illustrious footsteps of Crossley
Clitheroe, Vernon Handley, Sir Charles Groves and Sir Alexander Gibson. The orchestra
continues its work of attracting new audiences for all types of classical music and of
making concert-going an exciting experience.
Guildford Borough Council has funded and managed the Philharmonic as part of its
arts provision for the Borough since the orchestra’s inception in 1945 (when it was the
Guildford Municipal Orchestra). The Council is grateful to the South East Arts Board,
South East Music Trust, and to its major corporate sponsors BOC, Borax Europe Ltd,
The Guildford Nuffield Hospital, and Stevens & Bolton for financial assistance towards
the costs of running the orchestra during the 2001/2002 season.
First Violins
Karen Demmel
David Towse
Maurice Brett
Jean Burt
Sarah Pope
Paul Buxton
Donald Weekes
Cellos
Emer Calthorpe
Avril Maclennan
Peter Newman
Martin Palmer
Anthony Short
Ginny Wray
Second Violins
Maurice Cavanagh
Jennifer Buxton
Clive Dobbins
Carl Beddow
Ruth Knell
Catherine Woehrel
Nicholas Levy
Elizabeth Binks
Violas
Justin Ward
Christopher Wellington
John Meek
Peter Esswood
John Stilwell
Christine Clutton
Nicholas Boothroyd
Sharon Beale
Basses
Michael Lea
David Jones
Peter Hamilton Box
Mark Thistlewood
Flutes
Jane Pickles
Anna Pyne
Piccolo
Jennifer McHale
Oboes
Victoria Walpole
Janice Knight
Clarinets
Hale Hambleton
Colin Courtney
Bass Clarinet
Paul Allen
Bassoons
Robin Kennard
Rebecca Menday
Tim Mallett
Horns
Kevin Elliott
Clare Hutchings
David Clack
Christine Norsworthy
Trumpets
Joe Atkins
Giles Liddiard
David Ward
Richard Fomison
Trombones
Robert Price
Geoffrey Nash
Robin Turner
Tuba
Stephen Wick
Timpani
Scott Bywater
Percussion
Tony Lucas
Fabian Baird
David Tosh
Graham Reader
Harp
Thelma Owen
General Manager
Nicola Goold
Music Administrator
Peter Holt
Secretary
Shirley Ewen
Music Development
Officer
Clare Lister
Stage Assistant
Kenneth Davidson
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. 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 Matthew 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’ 4 Sea Symphony.
In June last year the choir was asked to provide a small chamber choir to sing Vivaldi’s
Gloria at St Martin’s-in-the-Fields, and in October the whole choir had the opportunity
to sing at the Royal Albert Hall accompanying the tenor, Russell Watson.
The 2001/02 season has included a performance of Handel’s Messiah, and two charity
concerts, one for the Mayor of Guildford’s Charity (a carol concert) and the other in
aid of the Guildford prostate cancer project. For this the choir performed Mozart’s
Vesperae solennes de confessore and Haydn’s Nelson Mass.
To complete this season the choir is to perform Mendelssohn’s Elijah on Saturday
25TM May in Guildford Cathedral. Joining them for this concert will be The Forest
Orchestra and soloists Caroline Lenton-Ward, Jeanette Ager, Michael Bundy and
Eugene Ginty.
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 ‘o come along to rehearsals on a Monday evening in central
Guildford on an informal basis, before committing to an audition.
Guildford Philharmonic Choir
First Sopranos
Alison Rawlinson
Second Altos
Noreen Ayton
Gillian Rix
Marion Arbuckle
Michael Dudley
Sally Bailey
Terence Ellis
First Basses
Mary Broughton
Jill Scott
Miranda Champion
Ann Sheppard
Elaine Chapman
Dawn Smith
Sara Dann
Maggie Smith
Alison Blenkinsop
Rachel Edmondson
Kathy Stickland
Mary Clayton
Tim Keller
Mo Kfouri
Tessa Wilkinson
Hilary Davenport
Alec Leggatt
Christine Wilks
Carolyn Edis
Chris Newbery
Valerie Garrow
David Ross
Carol Hobbs
Philip Stanford
Julia Maitland
Susan Norton
Robin Onslow
First Altos
Margaret Parry
Penny Baxter
Kate Rayner
Jane Brooks
Judy Smith
Margaret Dentskevich
Iris Ball
Evelyn Beastall
Iris Bennett
Sheila Hodson
Joy Hunter
Brenda Moore
Jean Munro
Geoffrey Forster
Michael Golden
Laurie James
Kieron Walsh
Second Basses
Carol Terry
Valerie Edwards
Sue O’Connell
Dan Adderley
Enid Weston
Celia Embleton
Anne Philps
Peter Andrews
Ingrid Hardiman
Gillian Sharpe
Roger Barrett
Second Sopranos
Jo Harman
Prue Smith
Alan Batterbury
Marian Adderley
Lucy Hatcher
Alex Stevens
John Britten
Jacqueline Alderton
Susan Hinton
Josephine Field
Valerie Leggatt
Mandy Freeman
Kay McManus
Iris Bennett
Christine Medlow
Angela Hall
Rosalind Milton
Tenors
Nora Kennea
Penny Overton
John Bawden
Rosey Storey
June Windle
Maralyn Wong
Beatrice Wood
Norman Carpenter
James Garrow
Nick Gough
Peter Herbert
Michael Jeffery
Stephen Jepson
Jane Kenney
Lesley Scordellis
Bob Bromham
Tony Macklow-Smith
Judith Lewy
Catherine Shacklady
Douglas Cook
Neil Martin
Krystyna Marsden
Rima Skold
Tony Cousins
Maxwell New
Gayle Mayson
Jane Sweaney
Bob Cowell
John Parry
Lois McCabe
Pamela Woodroffe
Alison Palmer
Vivienne Parsons
Rosalind Plowright
Geof Edge
Leslie Harfield
Michael Hope
Wayne Pitt
Rob Sherwin
John Singleton
Roger Penny
Nigel Pollock
Mendelssohn
With the Forest Philharmonic Orchestra
Conductor Jeremy Backhouse
7.00pm Saturday 25 May 2002
Guildford Cathedral
Forthcoming Concerts
Uncorked!
The wines and music of Italy
Last Night of the .
Proms
Status Quote, ng
Queen & Tina Ball
in tribute to Tina Tu
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