Guildford Philharmonic Choir
Max Bruch:
Violin Concerto No 1
Antonin Dvorak:
Requiem
Saturday 26 October 2002 at 7.30pm
Guildford Cathedral
Guildford Philharmonic Choir
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President: Sir David Willcocks CBE MC
Bruch: Violin Concerto No.1
Chloé Hanslip
Solo Violin
Dvorak: Requiem
Patrizia Kwella
Soprano
Catherine Denley
Contralto
Paul Badley
Tenor
Robert Rice
Baritone
Brandenburg Symphony Orchestra
Jeremy Backhouse
Financially assisted by
CUILDFORD
-
B
OROUGCH
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
Max Bruch (1838-1920)
Concerto No. 1 in G Minor for Violin and Orchestra, Op. 26
&
Prelude: Allegro moderato
2.
Adagio
3.
Finale: Allegro energico
Max Bruch was born in Cologne on 6 January 1838. His father was a
lawyer, his mother a soprano and his first music teacher. Bruch began his
musical studies as a pianist and his precocious talent was recognised very
early on - in 1852, he was awarded the Mozart Foundation Prize at only 14
years of age. Thirteen years later, in 1865, Bruch held his first important
post, in Koblenz as Music Director. Bruch continued to have a
distinguished career as composer, teacher and conductor, which took him
to every major city in Germany, and finally to the Musikhochschule in
Berlin as a professor of composition (1891-1911). (It was there he taught
Ralph Vaughan Williams on whom he obviously had a significant
influence.) Bruch accepted the post of conductor of the Liverpool
Philharmonic in 1880, remaining in England for 3 years. In 1893, in the
distinguished company of Grieg, Saint-Saéns, and Tchaikovsky, he
received an honorary doctorate at Cambridge.
The famous Violin Concerto No. 1 in G Minor is one of nine works Bruch
composed for violin, the others being the Second and Third Concertos
(both in D Minor), the Scottish Fantasy, Serenade, Konzertstick, In
Memoriam, Romance and Adagio appassionato.
The G minor Concerto was started in the summer of 1864 and completed
in October 1867. Bruch then revised the work, with the help of the
Hungarian-born violinist Joseph Joachim, who gave the premiere of the
definitive edition in Bremen on 7 January 1868.
Bruch had originally called the first movement Introduzione-Fantasia but
changed the title to Vorspiel (Prelude). Orchestral chord sequences and
solo violin flourishes alternate: it is a lyrical variant of the opening of
Beethoven’'s Emperor Concerto. The contrasting second subject,
introduced by the violin, is a long, cantabile melody that slowly climbs
through the instrument’s higher register via a series of trills. The material is
then developed, culminating in a rich passage for full orchestra. Bruch
then brings back his opening chords and flourishes, using them this time
to provide a transitional link to the central Adagio, the soul of this
perennially fresh and touching concerto. The adagio unfolds as a string of
lyrical themes which reappear throughout the movement, sometimes
transformed by the orchestra and often in decorated versions played by
the soloist.
4
Guildford Philharmonic Choir
The
crackling,
gypsy-tinged
finale
is
a
sparkling,
dance-like
Allegro
energico with a strong Hungarian flavour, possibly a tribute to Joachim.
After a few preparatory bars, the soloist enters with the main theme, much
of which calls for ‘quadruple stopping’ (ie playing all four strings at once).
The main theme of the movement is a soaring, triumphant melody given
first by the full orchestra and then by the soloist, before moving towards
the concerto’s exciting presto finale.
Antonin Dvorak (1841-1904)
Requiem in B flat minor, Op. 89
PART |
1
Requiem aeternam (soloists and chorus)
.3
Graduale (soloists and chorus)
3
Dies irae (chorus)
4.
Tuba mirum (soloists and chorus)
5.
Quid sum miser (soloists and chorus)
6.
Recordare, Jesu pie (solo quartet)
&
Confutatis maledictis (chorus)
8.
Lacrimosa (soloists and chorus)
INTERVAL
PART I
9.
Offertorium (soloists and chorus)
10.
Hostias (soloists and chorus)
11.
Sanctus (soloists and chorus)
12.
Pie Jesu (soloists and chorus)
13.
Agnus Dei (soloists and chorus)
Antonin Dvofak was born on 8 April 1841 at Nelahozeves, a quiet village
on the Moldau, not far from Prague. Passionately fond of music, the boy
received some rudimentary lessons in singing and violin playing from
Josef Spitz, the village schoolmaster. At the age of 12 he was sent to live
with an uncle at Zlonic, where he began to study the organ. In October
1857, aged 16, he entered the Organ School in Prague.
Guildford Philharmonic Choir
5
For three years he worked very hard at his studies and lived in poverty,
joining a small band of performers and earning a meagre pittance at the
cafés and restaurants of the city, and on Sundays, playing the viola at a
private chapel. Despite all his hardship, he worked on with enthusiasm,
and in 1860 he graduated as a prize-winner from the Organ School.
In 1862 he became a member of the orchestra of the National Theatre at
Prague, where he was helped by Smetana, who held the conductorship
from 1866 to 1874. Upon obtaining the appointment of organist of St.
Adalbert's Church, Prague, in 1873, Dvofak gave up his orchestral post
and aged 32, began to earn his living as a composer. He produced one
work after another with rapidity, and his genius, together with his poverty,
became known. He was granted a pension from the Kultusministerium, a
timely and well-bestowed pecuniary aid that brought him the recognition
and help of Brahms. The publication in 1878 of a series of ‘Slavische
Tanze' for pianoforte duet spread his fame far and wide, after which
Dvorak became a frequent visitor to most of the capitals of Europe.
The name of Dvorak first appeared in an English concert programme on 15
February 1879, when the Slavonic Dances for orchestra were performed at
Sydenham. The Musical Times, in a notice of the concert, said:
'Three Slavonic Dances by Antonin Dvoifdk, a composer new to this
country, concluded the concert. These interesting little pieces are
somewhat similar in style to Brahms' Hungarian Dances, the national
characteristics
being
strongly
prominent.
They
are
excellently
orchestrated, and produced a favourable impression'.
On 10 March 1883, the London Musical Society gave the first performance
of Dvorék’s ‘Stabat Mater’ in England. So greatly was it appreciated that
the composer accepted an invitation to conduct the work at the Albert Hall
on 13 March 1884, his first visit to this country.
On subsequent visits to England, he spent his time between fulfilling
commissions and conducting his own works for the great choral festivals.
The Requiem, written in 1890, was first given at the Birmingham Festival
of 1891, with the composer conducting. In the same year the University of
Cambridge conferred upon him the honorary degree of Doctor of Music.
Dvorak’s Requiem is a setting of the conventional portions of the ancient
Roman Catholic Mass for the Dead. The whole work revolves round its
motto theme, stated and expanded by the orchestra from the outset;
hence careful listening to these opening bars is vitally important for its
appreciation. The Dies Irae’ is, unusually, divided into six separate
sections (3-8), and in Part |l there is an additional item, with the closing
words, ‘Pie Jesu’, being repeated to link the exultation of the ‘Sanctus’and
the final ’Agnus Der'.
6
Guildford Philharmonic Choir
1.
REQUIEM AETERNAM
Requiem aeternam dona eis,
Domine
Grant them eternal rest, Lord,
And may perpetual light shine on
Et lux perpetua luceat eis.
them.
Te decet hymnus, Deus, in Sion,
Thou, Lord, art praised in Sion,
Et tibi reddetur votum in
Jerusalem.
Exaudi orationem meam, ad te
omnis caro veniet.
And a vow shall be paid to Thee in
Jerusalem.
Hear my prayer, to Thee all flesh
shall come.
Kyrie eleison.
Lord, have mercy upon us.
Christe eleison.
Christ, have mercy upon us.
2.
GRADUALE
Requiem aeternam dona eis,
Domine
Grant them eternal rest, Lord,
And may perpetual light shine on
Et lux perpetua luceat eis.
them.
In memoria aeterna erit Justus: Ab
The righteous man shall be in
auditione mala non timebit.
everlasting remembrance. He shall
not be afraid of evil tidings.
3.
DIES IRAE
Dies irae, dies illa
Day of wrath, that day
Solvet saeclum in favilla.
Will dissolve the earth in ashes
Teste David cum Sybilla.
Quantus tremor est futurus
As David and the Sibyl bear witness.
What dread there will be
Quando Judex est venturus
When the Judge shall come
Cuncta stricte discussurus.
To weigh all things strictly.
4.
TUBA MIRUM
Tuba mirum spargens sonum
A trumpet, spreading a wondrous
Per sepulcra regionum
sound
Coget omnes ante thronum.
Through the graves of every land,
Mors stupebit et natura
Will drive all before the throne.
Cum resurget creatura
Death and Nature will be astonished
Judicanti responsura.
When all creation rises again
Liber scriptus proferetur
To answer to the Judge.
In quo totum continetur
A book of writing will be brought forth
Unde mundus judicetur.
Containing everything for which the
world shall be judged.
Guildford Philharmonic Choir
Judex ergo cum sedebit
Therefore when the Judge takes his seat
Quidquid latet apparebit
Whatever is hidden will appear.
Nil inultum remanebit.
Nothing will remain unavenged.
5.
QUID SUM MISER
Quid sum miser tunc dicturus
What then shall | say, wretch that | am,
Quem patronem rogaturus
What advocate entreat to speak for me,
Cum vix justus sit securus?
When even the righteous are hardly
secure?
Rex tremendae majestatis,
King of dread majesty,
Qui salvandos salvas gratis,
Who freely savest the redeemed,
Salva me, fons pietatis.
Save me, fount of pity.
6.
RECORDARE, JESU PIE
Recordare, Jesu pie,
Remember, merciful Jesu,
Quod sum causa tuae viae,
That | am the cause of Thy pilgrimage,
Ne me perdas illa die.
Do not forsake me on that day.
Quarens me sedisti lassus,
Seeking me Thou didst sit down weary,
Redemisti crucem passus,
Thou didst redeem me on the cross,
Tantus labor non sit cassus.
Let not such toil be in vain.
Juste Judex ultionis,
Just and avenging Judge,
Donum fac remissionis
Grant remission
Ante diem rationis.
Before the day of reckoning.
Ingemisco tamquam reus,
| groan like a guilty man,
Culpa rubet vultus meus,
| blush for my wrong-doing,
Supplicanti parce, Deus.
Spare a suppliant, God.
Qui Mariam absolvisti
Thou who didst absolve Mary
Et latronem exaudisti,
And hearken to the thief,
Mihi quoque spem dedisti.
To me also hast given hope.
Preces meae non sunt dignae,
My prayers are not worthy,
Sed tu bonus fac benigne,
But Thou in Thy merciful goodness,
Ne perenni cremer igne.
Grant that | burn not in everlasting fire.
Inter oves locum presta,
Place me among Thy sheep
Et ab hoedis me sequestra,
And separate me from the goats,
Statuens in parte dextra.
Setting me on Thy right hand.
Guildford Philharmonic Choir
7.
CONFUTATIS MALEDICTIS
Confutatis maledictis
When the wicked are confounded
Flammis acribus addictis,
And consigned to bitter flames,
Voca me cum benedictis.
Call me with the blessed.
Oro supplex et acclinis,
| pray in supplication on my knees,
Cor contritum quasi cinis,
My heart contrite as ashes.
Gere curam mei finis.
Take care of my end.
8.
LACRIMOSA
Lacrimosa dies illa
Tearful that day
Qua resurget ex favilla
When from the dust shall rise
Judicandus homo reus.
Sinful man to be judged.
Huic ergo parce, Deus.
Therefore spare him, God.
Pie Jesu Domine,
Merciful Jesu, Lord,
Dona eis requiem.
Grant them rest.
Amen.
Amen.
INTERVAL
Part Il
9.
OFFERTORIUM
Domine Jesu Christe, Rex gloriae,
Lord Jesus Christ, King of glory,
Libera animas omnium fidelium
defunctorum de poenis inferni
Deliver the souls of all the faithful
departed from the pain of hell
Et de profundo lacu.
And from the deep pit.
Libera eas de ore leonis,
Deliver them from the lion’s mouth,
ne absorbeat eas tartarus ne
That hell may not swallow them up,
cadant in obscurum;
Sed signifer sanctus Michael
and may they not fall into darkness;
But may the holy standard-bearer,
repraesentet eas in lucem sanctam, Michael, lead them into the holy light;
Quam olim Abrahae promisistiet
semini ejus.
Guildford Philharmonic Choir
~ Which Thou didst promise of old to
Abraham and his seed.
9
perform again for the Duke of Edinburgh at the Royal Naval College,
Greenwich in May 2002.
In October 2001 Chloé performed at the Royal Albert Hall with the
Philharmonia Orchestra and at New Year she gave two performances of
the Mendelssohn Concerto as soloist with the London Symphony
Orchestra at the Barbican. In 2001/02 she performed the Bruch Concerto
No.1 with both the London Mozart Players and the City of London
Sinfonia, Mendelssohn with the Senderjyllands Symfoniorkester and
performed with the St Gallen Sinfonieorchester to great acclaim. Future
plans include her Wigmore Hall evening recital debut in November 2002,
concerto performances with The Royal Liverpool Philharmonic, the BBC
Philharmonic and the Royal Scottish National Orchestra. Chloé will make
her concerto debut in Japan, with the Tokyo Philharmonic, in 2003.
Patrizia Kwella
Patrizia Kwella studied at the Royal College of Music,
where she achieved the unusual distinction of being
selected for three subjects, winning the McKenna
scholarship for singing, and a separate bursary for
the 'cello and the piano. Her first live broadcast was
a performance of "impassioned eloquence” (the Daily
Telegraph) of Monteverdi's great solo Lamento della
ninfa under Sir John Eliot Gardiner from the Royal
Albert Hall during the BBC Promenade Concert
season. She has since returned often to the Proms
and sung at many of Europe's greatest festivals,
including Salzburg, Edinburgh, Bath and Aldeburgh, collaborating with
conductors such as Sir Charles Mackerras, Christopher Hogwood, Phillipe
Herreweghe, Harry Christophers and Richard Hickox.
After her US debut with the San Diego Symphony Orchestra, of which the
San Diego Tribune said "the solo performances of one voice lifted this
beyond the ordinary .. with a tenderness that was riveting®, she has sung
with the San Francisco, Houston and Washington Symphony Orchestras.
The South China Morning Post noted her "stunningly beautiful voice" after
the Fauré Requiem with the Hong Kong Philharmonic Orchestra under
Patrizia Kwella also sang the title role in Handel's
David Atherton.
Theodora at a gala performance in the British Embassy in Paris.
12
Guildford Philharmonic Choir
Though best known for the baroque and classical masterpieces, Miss
Kwella’s wide repertoire ranges from the 16th to the 20th century. She
gave the world premiéres of Colin Matthews' Night's Mask and Pli de Lin,
with the Nash Ensemble at the Aldeburgh Festival, and the Allegri String
Quartet, respectively. With the Nash Ensemble she subsequently recorded
Night's Mask and at the Prague Spring Festival sang the world premiere of
David Matthews' The Sleeping Lord, repeating the performance at the
Bath Festival and in London's Wigmore Hall. She also gave the first
performances of Holst's song cycle Dream City, orchestrated by Colin
Matthews.
In May 2001 she gave the first performances of Handel's Gloria in excelsis
Deo following its discovery in the archives of the Royal Academy of Music.
Other recent appearances have included Haydn's Creation, the first UK
performance of Samuel Wesley's Messa di Spiritu Sancto, Vaughan
Williams' Sea Symphony, Tippett's A Child of Our Time, solo Bach
cantatas at the Madrid Early Music Festival and Mahler's Symphony no.2.
Future engagements include appearances with the Ulster and Royal
Scottish National Orchestras, Mozart's Davidde Penitente and Requiem in
London's Barbican Hall, Beethoven's Mass in C, Mozart's Requiem and
Regina Coeli with the London Mozart Players and on Maundy Thursday,
St Matthew Passion in St John’s Smith Square, London.
Her
many recordings include the title role in Esther (Handel) with
Christopher Hogwood and the Academy of Ancient Music, L’Allegro, il
Penseroso ed il Moderato (Handel) with Sir John Eliot Gardiner, St John
Passion with Harry Christophers and Colin Matthews' orchestration of
Holst's The Dream City with Richard Hickox. The Coronation Mass K.317
from Patrizia Kwella's Mozart series for EMI was recommended by Radio
3's Building a Library series as the recommended version, citing "the
outstanding soprano Patrizia Kwella".
As part of the trio TREmusici, Miss Kwella gives many shared recitals of
17th and 18th century music with ‘cellist Jenny Ward Clarke and
harpsichordist Laurence Cummings. She still awaits the opportunity to
sing some 21st century music, but her commitment to the contemporary
does extend to a website at www.kwella.co.uk!
Catherine Denley
Catherine Denley has devoted most of her long and successful career to
the oratorio repertoire. She studied at Trinity College of Music, and after a
brief time with the BBC Singers, embarked on a solo career which has
taken her all over the world. She has worked with all of the major British
orchestras.
Guildford Philharmonic Choir
13
Notable highlights have included the premiere of
| Europera by John Cage in London,
Paris and
Berlin;
with
Britten’s
Nagano;
Spring
Handel's
Symphony
Messiah
with
the
Kent
Boston
Symphony Orchestra at the Tanglewood Festival,
Beethoven’s 9th Symphony with Sir John Eliot
Gardiner
in
Japan;
Mabhler's
Resurrection
Symphony in Odessa and Kiev and his Symphony
of a Thousand for TV in Dublin, and Mozart’s
Requiem in the Salzburg Mozartwoche and at the
BBC Proms.
Most recently she has sung Schumann’s Scenes
from Faust with Sir John Eliot Gardiner in New
York
and the Proms; Britten’'s Spring Symphony for Dutch Radio;
Handel's Hercules and La Resurrezione with Marc Minkowski in Paris and
Lyon; concert tours with Ton Koopman; and Bach’s Easter Oratorio and
Vivaldi solo cantatas with the Israel Camerata. On stage, she has taken
part in the Halle Opernhaus productions of Semele and Ezio by Handel,
and many other such roles, primarily from the baroque repertoire.
Catherine Denley has over 40 recordings to her credit. She has recorded a
wide ranging repertoire from Monteverdi to Copland and Messiaen, with
conductors such as John Eliot Gardiner, Roger Norrington, Neville
Marriner, Robert King, Trevor Pinnock, Richard Hickox and Harry
Christophers. Recent additions include Haydn’s Paukenmesse; the
Requiem by Michael Haydn; Schubert Songs with the Songmaker’s
Almanac; three highly acclaimed volumes of Sacred Music by Vivaldi, and
Mendelssohn’s version of Bach’s St Matthew Passion, recorded in the
Gewandhaus, Leipzig.
Paul Badley
Paul Badley began his musical career at Wells
Cathedral as a Lay Vicar Choral; following this he
won a scholarship to the Royal Northern college
of Music, where he studied singing with Nicholas
Powell. He then spent time at St Paul’'s Cathedral
@
P
since when his career has encompassed both
opera and oratorio. In 1986 he was chosen to sing
at the centenary Solistenpresentatie of the
Koninklijke Christelijike Sangersbond in Holland,
later singing the Evangelist in J.T.Rhomhildt’s
Matthew Passion in
Innsbruck,
which
was
broadcast on Austrian Radio. He has also recorded as a soloist with
14
Guildford Philharmonic Choir
Christopher Hogwood and the academy of Ancient Music.
In 1999 Paul added three new roles to his operatic repertoire, namely Don
Curzio in Le Nozze di Figaro, Turiddu in Cavalleria Rusticana and Calisis
in Rameau’s Les Boreades. He also performed Alfredo in La Traviata in
ltaly and Almaviva in I/ Barbieri in England. Most recently he sang the role
of Ben F Pinkerton Ill in Mr Butterfly at the Edinburgh Festival.
Paul's operatic roles have included Jacuino in Fidelio and Tamino in Die
Zauberflote for Richard Hickox, /I Viaggo di Rheims for the European
Centre for Opera, Belmonte in /| Seraglio at the Azuriales Opera Festival
and /I Duca Di Mantura at the Bermuda Festival.
His Oratorio repertoire performed with choral societies throughout Great
Britain,
is exceptionally wide - over 50 works - ranging from all the
standard works of Bach and Handel through to Carmina Burana, Nielsen’s
Springtime on Funen and Leighton’s Columba Mea.
Recent concert works highlights include Purcell with the King’s Consort,
Bach B Minor Mass with Richard Hickox and Johannes Passion with
Trevor Pinnock, and Haydn’s Die Schépfung at the Singapore Festival of
Arts. Paul sang in a performance of Beethoven’s Ninth Symphony at the
Queen Elizabeth Hall broadcast on Radio 3.
Robert Rice
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 the prestigious DipRAM, having studied
under Mark Wildman and won 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 wellknown 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
Birmingham. Recent engagements have included Mozart's Requiem at St
John’s
Smith
Square
Cambridge.
and
Orff's
Carmina
Burana
in
Oxford
and
On stage,
his experience includes much contemporary repertoire; he
made his South Bank debut as the King in Peter Maxwell Davies’ Eight
Songs for a Mad King, shortly thereafter appearing in Gyérgy Ligeti's
Guildford Philharmonic Choir
15
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 has also appeared in The
Martyrdom of St Magnus, also by Peter Maxwell Davies, for The Opera
Group.
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 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. Their list of CDs
is lengthening annually; their recording featuring premieres of works by
Marcel Dupré and released on the Guild label, received outstanding
reviews and was selected as an Editor's Choice CD of the Month in the
October 2001 edition of Gramophone. In February 2002 the Vasari
Singers performed the UK Premiere of Dupré’s oratorio La France au
Calvaire, followed by a World Premiere CD recording, also for Guild, which
was released in July 2002.
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
16
Guildford Philharmonic Choir
concerts with the 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 30year history of the choir, following Richard Hickox and most recently,
Stephen Jackson.
The
Brandenburg
Symphony
Orchestra
is 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 Symphony Orchestra is also in great demand abroad
and has recently visited France, USA, Bermuda, the Channel Islands,
Barbados and St Petersburg. Future tours include,
USA, Japan, Hong Kong and Barbados.
France, Germany,
In 1999 the orchestra established major concert series at both St Martinin-the-Fields 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, Michael Thompson and Gordon Hunt.
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 Symphony Orchestra including First Act
Opera, London City Opera, Opera Holland Park, London Opera Players
and Central Festival Opera.
Guildford Philharmonic Choir
17
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
grew to
prominence under the batons of such eminent British musicians as Sir
Charles Groves, Vernon Handley and Sir David Willcocks. Sir David
remains in close contact with the Choir as its current President, and the
Choir is now independent from the Borough of Guildford.
In March 1999 the Choir gave a widely acclaimed performance of two
works which must surely rank among the greatest choral works of all time,
Mahler's Symphony No.2 — Resurrection and Bruckner's Mass in E minor.
The Choir enjoyed a challenging and exciting concert programme for the
2000/01 season, with Mozart’'s Mass in C minor, Brahms’ Ein deutsches
Requiem and Vaughan Williams’ Sea Symphony.
The 2001/02 season included a performance of Handel's Messiah, a
charity concert for the Guildford Prostate cancer project (Mozart's
Vesperae Solennes de Confessore and Haydn’'s Nelson Mass); Mendelssohn’s Elijah and a patriotic and thrilling concert to celebrate the Queen’s
Golden Jubilee. Last season the choir also performed with the tenor
Russell Watson in two concerts, at the Royal Albert Hall, London, and at
Brighton.
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 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.
18
Guildford Philharmonic Choir
Guildford Philharmonic Choir
Sopranos
Altos
Marion Arbuckle
Tenors
Jacqueline Alderton
Joanna Andrews
Sally Bailey
Bob Bromham
Anna Arthur
Iris Ball
Douglas Cook
Noreen Ayton
Penny Baxter
Anthony Cooksey
David Baxter
Elizabeth Claire Bazin
Evelyn Beastall
Tony Cousins
Helen Beevers
Iris Bennett
Bob Cowell
Mary Broughton
Miranda Champion
Jane Brooks
Mary Clayton
Klaus Graner FBC
Elaine Chapman
Anna Cowell
Leslie Harfield
Alex cope
Hilary Davenport
Oliver Hinterlang FBC
Sara Dann
Margaret Dentskevich
Michael Hope
Rachel Edmondson
Andrea Dombrowe
lan Landsborough
Mandy Freeman
Nick Manning
Ingeborg Frese FBC
Carolyn Edis
Valerie Edwards
Katrin Gotz FBC
Celia Embleton
Pierre Sager FBC
Josephine Field
Valerie Garrow
John Trigg
Hanspeter Graner FBC
Chris Robinson
Rena Hadji-Cheykh FBC
Ingrid Hardiman
Angela Hall
Angela Hand
Susan Hinton
Katy Hood
Calli Hayes
Carol Hobbs
Dan Adderley
MiriamHeupel-Reuter FBC
Sheila Hodson
Peter Andrews
Stephen Arthur
Basses
Peter Allen
Helga Kaiser FBC
Monica Jost
Jane Kenney
Valerie Leggatt
Roger Barrett
Mo Kfouri
Julia Marmon FBC
Alan Batterbury
Judith Lewy
Main McCuish
John Britten
Julia Maitland
Kay McManus
Norman Carpenter
Krystyna Marsden
Julia McNeill
Philip Davies
Gayle Mayson
Christine Medlow
Rosalind Milton
Mary Moon
Michael Dudley
Terence Ellis
Susan Norton
Brenda Moore
James Garrow
Robin Onslow
Jean Munro
Michael Golden
Alison Palmer
Penny Muray
Nick Gough
Margaret Parry
Jacqueline Norman
Peter Herbert
Kate Peters
Penny Overton
Laurie James
Hilary Minor
Heide Muller-Optiz FBC
Geoffrey Forster
Rosalind Plowright
Vivienne Parsons
Michael Jeffery
Alison Rawlinson
Anneli Petrak FBC
Stephen Jepson
Tim Keller
Kate Rayner
Anne Philps
Gillian Rix
Lesley Scordellis
Alec Leggatt
Jill Scott
Tony Macklow-Smith
Ann Sheppard
Catherine Shacklady
Gillian Sharpe
Maureen Shortland
Rima Skold
Maxwell New
Dawn Smith
Prue Smith
Chris Newbery
Judy Smith
Alex Stevens
Armin Optiz FBC
Maggie Smith
Rosey Storey
Michael Taylor
Kathy Stickland
Jane Sweaney
John Parry
Carol Terry
Hilary Trigg
Roger Penny
Daniela Topolarova
Maralyn Wong
Chris Peters
Ursula Weltzien FBC
Beatrice Wood
Nigel Pollock
Tessa Wilkinson
Pamela Woodroffe
Christine Wilks
Jing Yuan FBC
Neil Martin
David Ross
Philip Stanford
Michael Taylor
Kieron Walsh
FBC = Freiburger Bachchor
Hans-Ulrich Weltzien FBC
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Guildford Philharmonic Choir
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ehen s howrgom | n the South is now op S
22
Guildford Philharmonic Choir
Guildford Philharmonic Choir
Registered as a Charity No. 1026337
President: Sir David Willcocks, CBE, MC.
Chorus Master: Jeremy Backhouse
Accompanist: Jeremy Filsell
The Choir is a separate organisation from the Guildford
Philharmonic Orchestra, and the Guildford Philharmonic’s publicity
material does not list all our concerts. If you would like to receive
full details of the Choir’s future programmes, please complete the
details below and place in box provided or post them to:
Bob Cowell
1 Penhurst
Woking
GU21 4HP
GPC Mailing List
Guildford Philharmonic Choir
23
President:
Sir David Willcocks, CBE, MC
Chorus Master:
Jeremy Backhouse
Accompanist:
Jeremy Filsell
®
0 O
Guildford Philharmonic Choir
Registered Charity No. 1026337
How did you hear about this concert?
Please tick the appropriate box(es)
R0NeT93
A choir member told me
An orchestra member told me
Saw an advertisement in a newspaper
Please give the newspaper name
Heard an advertisement on the radio
Please give the radio programme name
Saw a poster
Please say where you saw the poster
Picked up or was handed a leaflet
Please say where you received the leaflet
Attended a previous GPC concert
Please give details
Another reason not listed above
Please give details
My Details
Name:
Address:
E-mail:
To be entered into a prize draw for a pair of free tickets for our next
concert, please post the completed form to:
Guildford Philharmonic Choir, c/o 1 Penhurst, Woking, Surrey, GU21 4HP
Or e-mail details to:
Info @ GuildfordPhilharmonicChoir.org.uk
We would like to keep you informed of future Guildford Philharmonic Choir concerts. If you do not
wish to receive this information, please tick this box:
24
Guildford Philharmonic Choir
Ooo0ps...!
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Fax:
0870 770 4117
Email:
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For details ofloristry courses from the complete beginner to the
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Or visit our web site www.merristwood.ac.uk
Guildford Philharmonic Choir
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Dates for your Diary
Sunday 15 December 2002
The Mayor of Guildford’s
Christmas Family Concert
Guildford Civic Hall
Promoted by Guildford Rotary
Saturday 15 February 2003
Verdi: Requiem
Guildford Cathedral
Promoted by Guildford Borough Council, GPO
Saturday 17 May 2003
Mahler: Symphony No 8
Guildford Cathedral
Promoted by Guildford Philharmonic Choir
Programme production by ARCS Desktop Publishers
tel: 01483 239139, email arcs @btinternet.com
26
Guildford Philharmonic Choir
Friends and Patrons of Guildford Philharmonic Choir
Guildford Philharmonic Choir is extremely grateful to all Patrons and
Friends for their financial support.
Honarary Patrons
Mr Bill Bellerby MBE & Mrs Doreen Bellerby MBE
Patrons
Dr J B R Arbuckle
Mr Laurie James
Dr R C Barrett
Nora Kennea
Mrs E A Batterbury
Mr & Mrs Michael Kilkenny
Mr & Mrs Peter Bennett
Mrs Helen Lavin
Mrs | Brockdorff
Mrs & Mrs Michael Longford
Mr & Mrs R H R Broughton
Mr & Mrs Ron Medlow
Mr H J C Browne
Mr & Mrs Maxwell S New
Neil & Amanda Clayton
Sue O'Connell
Mrs Maryel Cowell
Opticians Penny and Hayter
Mrs P A Cousins
Dr. Rodney Cuff
Mr. Michael Dawe
Ms Margaret Dentskevich
Mr & Mrs John Parry
Mrs Jean Radley
Mr & Mrs B Reed
Dr & Mrs M G M Smith
Mr & Mrs G Dombrowe
Michael Shortland
Dr Simon Doran
Mrs Y M L Tiplady
Executive Presentation
Enid Watson
Golden and Associates
Mrs Carol Hobbs
Friends
Dega Broadcast Systems
Mr lan Rayner
Geof Edge
Mrs Joyce Feather
Mrs Jean Shail
Mrs K C Stickland
Mrs Suzanne Pickerill
New Patrons and Friends are always welcome.
If you are interested in supporting the choir financially, please contact
GPC Patrons’ Secretary Bob Cowell 01483 770896 for details.
MAHLER 8 COMES TO GUILDFORD
“Imagine that the Universe bursts into song. We hear no longer human
voices, but those of planets and suns which revolve.” These were Mahler’s
own words to the revered Dutch conductor Willem Mengelberg on the
subject of his Eighth Symphony. Widely regarded as the crowning
achievement of his career, Mahler’s Symphony No.8 received overwhelming
recognition at its first performance in 1910. It is scored for a huge orchestra
(including quadruple woodwind with eight horns, as well as mandolin, piano
and harmonium), off-stage brass of four trumpets and three trombones, eight
soloists, a double symphonic chorus, a boys’ choir and organ. In fact, at its
first performance, the impresario who mounted Mahler’s “Barnum and
Bailey” work (Mahler’s epithet) advertised it as “The Symphony of A
Thousand” owing to the fact that one thousand performers took part. The
work is in two parts: Part I is a stunning setting of the Latin Hymn “Veni
Creator Spiritus”; Part II is an intensely dramatic setting of the final part of
Goethe’s “Faust” which ends with an hugely powerful, glorious and
uplifting peroration.
Because of the sheer scale and size of the work it is seldom programmed, so
the performance staged by the Guildford Philharmonic Choir in Guildford
Cathedral on 17 May next year will be a rare opportunity to hear the work
performed in all its magnificence. You may have been thrilled by the
performance given by Sir Simon Rattle at the Proms this year — if so, come
and be thrilled again. And if you came to the GPC’s memorable and
exhilarating performance of Mahler’s Symphony No.2 in 1999, you cannot
fail but be elated by this work.
This will be a day to remember in the musical life of Guildford.
Don’t miss it!