Guildford Philharmonic Choir
bSAL
Mahler
Symphony no 8 in E flat major
‘Veni Creator Spiritus’
Saturday 17th May 2003, at 7.30pm
Dates for your Diary
Saturday November 29th 2003
Guildford Cathedral
Bach: Brandenburg Concerto No. 3
Handel: Dixit Dominus
Albinoni: Adagio for strings and organ
Vivaldi: Gloria
Sunday December 14th 2003
Guildford Civic
Mayor of Guildford’s Christmas Concert
Saturday March 20th 2004
Guildford Cathedral
Programme to be announced
Saturday May 22nd 2004
Guildford Cathedral
Programme to be announced
Financially assisted by
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Al
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O UILCFORD
L
O RO
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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
Guildford Philharmonic Choir
280
NOO
RAAN
President Sir David Willcocks CBE MC
Mahler Symphony No 8 in E flat major
‘Veni Creator Spiritus’
Claire Seaton
Magna Peccatrix
Soprano
Diane Atherton
Una Poenitentium
Soprano
Helen Neeves
Mater Gloriosa
Soprano
Vanessa Williamson
Mulier Samaritana
Alto
Teresa Shaw
Maria Aegyptiaca
Alto
Lee Hickenbottom
Doctor Marianus
Tenor
Colin Campbell
Pater Ecstaticus
Baritone
Michael Bundy
Pater Profundus
Bass
Guildford Philharmonic Choir
Lewisham Choral Society
South West Essex Choir
Grey Coat Hospital Chamber Choir
The Forest Philharmonic Orchestra
Conductor: Jeremy Backhouse
Guildford Philharmonic Choir
3
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Guildford Philharmonic Choir
ar
ST MARTIN IN THE FIELDS
TUESDAY 17 JUNE 2003
A programme of all-Italian composers from Lotti and Allegri to Verdi
and Puccini, and including:-
SCARLATTI
Stabat Mater
PIZZETTI
Requiem
Conducted by Jeremy Backhouse
Tickets: St Martin in the Fields Box Office 020 78539 8362
(Monday to Saturday 10am — 5pm)
Guildford Philharmonic Choir
5
Gustav Mahler (1860 - 1911)
Mahler was born in Kalischt, Bohemia, on 7 July 1860. At the time,
Bohemia (later to form a major component of Czechoslovakia, and
later the Czech Republic) was part of the Austro-Hungarian empire,
then enduring its final crumbling decades, and the region where
Mahler spent
his youth was strongly associate with the Czech
independence movement.
Mahler was one of the most important and influential conductors of
the period. Although he had originally studied piano and composition,
he was not a virtuoso pianist and his student and youthful works were
already too forward-looking for him to win the conservatively judged
composition contests of the time. As a result, Mahler was forced into
a conducting career, the early part of which was spent at a series of
regional opera houses.
He rose to prominence after his appointment
in 1897 as Musical Director of the Vienna Opera, which reached its
zenith under his leadership. In 1907 Mabhler left Vienna to continue
his
conducting
career
in
the
USA,
serving
with
Toscanini
as
conductor of the Metropolitan Opera. He conducted two seasons,
and then accepted a 2-year contract from the Philharmonic Society
(now the New York Philharmonic). However, Mahler’'s time in New
York was not an enjoyable experience — he had a low opinion of
American concertgoers and musicians, did not get along with the
New York critics, and fought with the management of both the Met
and the Philharmonic Society.
As Mahler was forced to spend most of the year conducting, he was,
throughout his career, a summer composer. He conducted during the
autumn, winter and spring, and then retreated to the country to
compose. Mahler thus limited his composing to only two genres — the
symphony and lieder. He completed ten symphonies (nine numbered
works and Das Lied von der Erde) and died leaving sketches and two
completed movements of a tenth numbered symphony. Mahler is
known for the length, depth and painful emotions of his works. He
loved
nature
and
life
but,
based
on
early
unhappy
childhood
experiences, had a fear of and preoccupation with death. His music
drew heavily on Bach, Beethoven and Wagner (all three probably
having more influence than Bruckner, who is most consistently cited
as being Mahler's main influence).
The
Eighth
Symphony was written
in
an
extraordinary burst of
creativity, during 8 weeks in the summer of 1906 (it was orchestrated
the following year). For 4 years he withheld this most gigantic of all
symphonic scores from an increasingly curious world of musicians.
6
Guildford Philharmonic Choir
Not until
1910 did he finally yield to the wishes of his concert
representative Gutmann and agree to its premiere. At its legendary
Munich
premier,
on
12
September
1910,
with
Mahler
himself
conducting, the Eighth proved to be the greatest and perhaps the
only unqualified triumph of his life, in front of an audience including
Erich
Wolfgang
Korngold,
Siegfried
Wagner,
Anton
Felix
Webern,
Leopold
Stokowski,
Willem
Mengelberg,
Weingartner,
Bruno
Walter, Clemenceau, Thomas Mann, Max Reinhardt and Henry Ford.
Mabhler's triumph as a composer was not to be repeated in his
lifetime. His health had steadily declined during his stay in the United
States, his attacks of angina being exacerbated by his conflicts in
New York, and he was already seriously ill with endocarditis at the
premiere; he died only months later in 1911.
The symphony is scored for huge a orchestra (including quadruple
winds with eight horns, as well as mandolin and harmonium), offstage brass of four trumpets and three trombones, eight soloists, a
double choir,
a childrens choir and concert organ. At the first
performance, there was an orchestra of 171 (including 84 strings)
and a chorus of 850, giving a total of 1029 performers — hence the
sobriquet ‘Symphony of a Thousand’ ascribed to the work by Emil
Gutmann, the impresario who mounted this ‘Barnum and Bailey’
affair (Mahler's epithet, he being unimpressed by Gutmann’s title).
The Eighth was the most immediately accepted of all Mahler's works
and, as he himself predicted to Willem Mengelberg, also the most
understandable. It is a statement of Mahler's personal
easily
aspirations: a belief in the ability of the inspired spirit to lift mankind to
the highest plain of achievement through love in all its aspects and
embodied specifically in ‘The Eternal Feminine’ which, for Mahler,
meant his wife Alma, to whom the work is dedicated. Within that
scheme there are other interconnecting ideas to do with faith, belief
and theology which find resonance in the texts chosen and the way
they compare and contrast.
Part | is a tight symphonic setting of the Latin Hymn ‘Veni Creator
Spiritus’; Part Il a more rhapsodic setting of the final part of Goethe's
Faust. These two texts fuse religion and humanism together, with
Faust symbolising mankind redeemed from wrongdoing through love.
In that sense, Part Il answers Part | both philosophically and also
musically, since there are thematic links to be found between the two.
Guildford Philharmonic Choir
7
Part |
Hymnus: Veni, Creator Spiritus
Veni, creator spiritus,
Come, creator spirit,
mentes tuorum visita.
visit our souls.
Imple superna gratia,
Fill them with grace,
quae tu creasti pectora.
Thou that didst create them.
Qui Paraclitus diceris,
donum Dei altissimi,
Thou, that are called Counsellor,
gift of God most high,
fons vivus, ignis, caritas,
living fount, fire, love,
et spiritalis unctio.
and unction of the spirit.
Infirma nostri corporis
Endow our weak flesh
virtute firmans perpeti;
accende lumen sensibus,
with perpetual strength,
infunde amorem cordibus.
pour Thy love into our hearts.
kindle our senses with light,
Hostem repellas longius,
Drive the enemy far from us,
pacemque dones protinus;
grant us lasting peace.
ductore sic te praevio
So, beneath Thy guidance,
vitemus omne pessimum.
we may avoid all ill.
Tu septiformis munere,
Thou, seven-fold in gifts,
dexterae paternae digitus.
finger of the Father’s right hand.
Per te sciamus da Patrem,
Grant us knowledge of the Father
noscamus Filium,
and of the Son
Spiritum credamus omni tempore.
through Thee, Spirit, grant that we
may always believe.
Da guadiorum praemia,
Grant us joy,
da gratiarum munera;
Grant us the gift of grace;
dissolve litis vincula,
loosen the chains of contention,
adstringe pacis foedera.
bind fast the covenants of peace.
Gloria Patri Domino,
Glory to God the Father,
Deo sit gloria et Filio
Glory to the Son
Natoque, qui a mortuis surrexit,
who rose from the dead,
ac Paraclito in saeculorum saecula.
and to the Paraclete for evermore.
Guildford Philharmonic Choir
Part Il
Closing Scene of Goethe’s Faust, Part 2
CHOIR & ECHO
(Mountain ravines, forest, cliffs, wilderness. Holy Anchorites dwell
among clefts in the mountainside.)
Waldung, sie schwankt heran,
Felsen, sie lasten dran,
Wurzeln, sie Klammern an,
Forest sways towards us,
rocks weighing down heavily,
roots grapple their flanks,
Stamm dicht an Stamm hinan.
trunk close to trunk, pushing upward.
Woge nach Woge spritzt,
Wave chasing wave, foaming,
Héhle, die tiefste, schiitzt;
Léwen, sie schleichen stumm,
freundlich um uns herum,
ehren geweihten Ont,
heiligen Liebeshort.
deepest cave affords shelter.
Lions stalk silently,
amicably around us,
honouring the sacred place,
holy sanctuary of Love.
PATER ECSTATICUS
(soaring up and down)
Ewiger Wonnebrand,
glihendes Liebesband,
siedender Schmerz der Brust,
schaumende Gotteslust
Pfeile, durchdringet mich,
Lanzen, bezwinget mich,
Keulen, zerschmettert mich,
Blitze, durchwettert mich;
dafB ja das Nichtige
alles verfluchtige,
glanze der Dauerstern,
Eternal flame of bliss,
glowing bond of Love,
seething agony in the breast,
sparkling delight in God.
Arrows, pierce me!
Lances, subdue me!
Clubs, shatter me!
Lightning bolts, flash through me;
so that all vain things
should vanish,
that the everlasting star may shine
forth;
ewiger Liebe Kern!
kernel of everlasting Love!
PATER PROFUNDUS
(deep region)
Wie Felsenabgrund mir zu FiBen
auf tiefem Abgrund lastend ruht,
wie tausend Béache strahlend flieBen
zum grausen Sturz des Schaums der
Flut;
Guildford Philharmonic Choir
As the rocky precipice at my feet
rests heavily in the deep abyss;
as a thousand streams flow radiantly
toward the dread falls of the surging
flood;
wie strack, mit eig’nem Kraft'gen
as straight upward, of its own might
Triebe,
urging,
der Stamm sich in die Lifte tragt:
the tree trunk raises itself into the air:
So ist es die allmacht'ge Liebe,
So it is almighty Love
die alles bildet, alles hegt.
who shapes all things, cherishes all
things.
Ist um mich her ein wildes Brausen,
als wogte Wald und Felsengrund!
Though all about me is wild roaring, as
if woods and rocky base were in
tumult!
Und doch stirzt, liebevoll im Sausen
Yet, full with love in its rushing,
die Wasserfille sich zum Schlund,
the mass of water hurls itself into the
berufen gleich das Tal zu wassern;
as though ordained to water the valley,
der blizt, der flammend niederschlug,
the lightning bolt flaming downward
gorge,
die Atmosphare zu verbessern,
to purify the atmosphere
die Gift und Dunst im Busen trug:
that bore poison and vapour in its
Sind Liebesboten, sie verkiinden,
These are Love’s messengers, they
bosom:
was ewig schaffend uns umwallt.
proclaim the ever-creating force that
surrounds us.
Mein Inn’res még’ es auch entziinden, O may it kindle my innermost being,
wo sich der Geist, verworren, kalt,
where now my spirit, confused and
chilled,
verqualt in stumpfer Sinne Schranken, languishes in the confines of my dull
scharfangeschloss’nem
senses,
Kettenschmerz.
locked fast in fetters of pain.
O Gott! beschwichtige die Gedanken, O God! calm my thoughts,
erleuchte mein bedurftig Herz!
enlighten my needy heart!
ANGELS
(soaring in the higher atmosphere, bearing Faust’s immortal soul)
Gerettet ist das edle Glied
Saved from evil is the noble limb of the
der Geisterwelt vom Bosen:
spirit world:
Wer immer strebend sich bemiht
Who ever ceaselessly strives,
den kénnen wir erlésen;
him we have power to redeem.
und hat an ihm die Liebe gar von oben And if love from on high
has also taken its part,
Teilgenommen
the blessed host
begegnet ihm die sel’'ge Schar mit
will greet him
herzlichem Willkommen.
with heartfelt welcome.
10
Guildford Philharmonic Choir
CHOIR OF BLESSED BOYS
(circling around the loftiest peaks) singing with the angels
Hande verschlinget euch
freudig zum Ringverein,
the circle of union;
regt euch und singet
bestir yourselves and let your song add
heil'ge Gefihle drein!
Clasp one another’s hands joyfully in
holy sentiments thereto!
Géttlich belehret,
Divinely instructed,
durft ihr vertrauen;
you may rest assured;
den ihr verehret,
Him you worship
werdet ihr schauen.
you will behold.
THE YOUNGER ANGELS
Jene Rosen, aus den Handen
liebend-heliger BiiBerinnen,
halfen uns den Sieg gewinnen
Those roses from the hands
of loving-holy women penitents
helped us to achieve the victory
und das hohe Werk vollenden,
diesen Seelenschatz erbeuten.
to capture this treasured soul.
Bdse wichen, als wir streuten,
Teufel flohen, als wir trafen.
Evil gave way as we strewed them,
devils fled as we hit the mark.
Statt gewohnter Hollenstrafen
fihlten Liebesqual die Geister,
selbst der alte Satans-Meister
was von spitzer Pein durchdrungen.
Jauchzet auf! es ist gelungen.
and fulfill the lofty purpose,
Instead of the accustomed
punishments of Hell
the spirits felt pangs of love;
even the old Satan-master himself
was pierced by sharp pain.
Shout for Joy! it is accomplished.
THE MORE PERFECT ANGELS
Uns bleibt ein Erdenrest
To us remains an earthly residue
zu tragen peinlich.
painful to bear.
Und war er von Asbest
And though it were of asbestos,
er ist nicht reinlich.
Wenn starke Geisteskraft die
Elemente an sich herangerafft.
kein Engel trennte geeinte Zwienatur
der innigen beiden;
die ewige Liebe nur vermag’s zu
scheiden.
Guildford Philharmonic Choir
yet it is not pure.
When the great might of the spirit
has clutched fast the elements to itself.
No angel could rend apart the dual
nature intimately conjoined;
everlasting Love alone is able
to divide it.
11
THE YOUNGER ANGELS
Ich spur soeben, nebelnd um
| perceive at this moment,
Felsenhoh,
like a mist round the rocky heights,
ein Geisterleben, regend sich in der
a stir of spirits bustling nearby.
Nah'.
Seliger Knaben seh ich bewegte
Schar,
| see a stirring host of Blessed Boys,
los von der Erde Druck,
im Kreis gesellt,
freed from earth’s burden,
die sich erlaben am neuen Lenz
delighting in the new springtide and
und Schmuck der obern Welt.
adornment of the upper world.
in a circle joined,
Sei er zum Anbeginn,
Let him at first be joined to these
steigendem Vollgewinn
until finally he attain the highest gain!
diesen gesellt!
CHORUS OF BLESSED BOYS
singing with the younger angels
Freudig empfangen wir
Joyfully we welcome
diesen im Puppenstand;
this man in chrysalis form;
also erlangen wir
thus do we receive
englisches Unterpfand.
an angelic pledge.
Loset die Flocken los,
Free him of the tufts
die ihn umgeben!
which envelop him.
Schon ist er schén und gross
He is already tall and beautiful
von heiligem Leben.
with sanctified life.
DOCTOR MARIANUS
(in the loftiest, purest cell)
Hier ist die Aussicht frei,
Here the view is unobstructed,
der Geist erhoben.
the spirit exalted,
dort ziehen Frauen vorbei,
there women are passing by,
schwebend nach oben;
soaring toward the heights;
die Herrliche, mittenin,
im Sternenkranze,
the All-Glorious One in their midst,
with a coronet of stars,
die Himmelskonigin,
the Queen of Heaven’
ich seh’s am Glanze.
| behold her by her radiance.
Hochste Herrscherin der Welt!
Highest Mistress of the World!
Lasse mich im blauen,
Let me, in the blue, outspread vault of
ausgespannten
Heaven,
Himmelszelt dein Geheimnis schauen! behold thy mystery!
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Guildford Philharmonic Choir
Bill'ge, was des Mannes Brust
ernst und zart beweg't
und mit heil'ger Liebeslust
dir entgegen tragt!
Unbezwinglich unser Mut,
wenn du hehr gebietest;
plétzlich mildert sich die Giut,
wenn du uns befriedest.
Accept that which moves the heart of
man earnestly and tenderly,
and which, with the joy of holy love,
he offers up to thee!
Indomitable our courage
when thou, sublime, commandest;
at once the raging heat subsides
when thou givest us peace.
DOCTOR MARIANUS and CHORUS
Jungfrau, rein im schénsten Sinne,
Mutter, Ehren wiirdig,
uns erwahlte Konigin,
Géttern ebenblrtig.
Virgin, pure in the fairest sense,
Mother, worthy of honour,
over us chosen Queen,
equal to gods.
(Mater Gloriosa wafts into view)
CHORUS
Dir, der Unberthrbaren,
ist es nicht benommen,
Thou, unassailable,
daf die leicht Verfihrbaren
those easily led astray
traulich zu dir kommen.
In die Schwachheit hingerafft,
sind sie schwer zu retten.
Wer zerreif3t aus eig’ner Kraft
der Geliiste Ketten?
Wie entgleitet schnell der Fu3
schiefem, glattem Boden?
dost yet allow
in intimacy to approach thee.
Seized into weakness,
they are difficult to save.
Who, of his own strength,
can break apart the chains of desire?
How swiftly does the foot slip
on smooth, sloping ground?
CHORUS OF PENITENT WOMEN and UNA POENITENTIUM
Du schwebst zu Hohen
der ewigen Reiche,
Thou dost soar to the heights
vernimm das Flehen,
hear the supplication,
Du Gnadenreiche!
Du Ohnegleiche!
Guildford Philharmonic Choir
of the everlasting realms;
Thou, rich in grace!
Thou, unequalled!
13
MAGNA PECCATRIX
Luke 7:36
Bei der Liebe, die den FuBen
deines gottverklarten Sohnes
Tranen lie3 zum Balsam flieBen,
trotz des Pharisaer-Hohnes;
beim GefaBe, das so reichlich
tropfte Wohlgeruch hernieder;
bei den Locken, die so weichlich
By the love that at the feet
of thy divinely transfigured Son
let tears flow as balm,
despite the Pharisee’s scorn;
by the vessel which so richly
dripped down sweet fragrance,
by the tresses that so softly
trockneten die heil’gen Glieder.
dried the holy limbs.
MULIER SAMARITANA
John 4
Bei dem Bronn, zu dem schon
weiland Abram lie3 die Herde fihren;
bei dem Eimer, der dem Heiland
kihl die Lippe durft’ bertihren;
bei der reinen, reichen Quelle,
die nun dorther sich ergiefBet,
Gberflissig, ewig helle,
rings, durch alle Welten flief3t.
By the well, to which once of old
Abram drove his flock;
by the water-vessel which was suffered
to touch with its coolness
the Saviour’s lips;
by the pure rich spring
which pours forth from that place
overflowing, eternally bright,
coursing roundabout through all
worlds.
MARIA AEGYPTIACA
Acts of the Saints
Bei dem hochgeweihten Orte,
wo den Herrn man niederliB3,
bei dem Arm, der von der Pforte
warnend mich zurlcke stief3;
bei der vierzigjahr'gen BuBe,
der ich treu in Wisten blieb;
By the sublime and holy place
where the Lord was laid to rest,
by the arm which from the gate
warning, thrust me back;
by the forty years’ penance
to which | remained faithful in
the deserts;
bei dem sel'gen ScheidegruB3e,
den im Sand ich niederschrieb.
14
by the blessed farewell
| wrote in the sand.
Guildford Philharmonic Choir
MAGNA PECCATRIX, MULIER SAMARITANA and MARIA
AEGYPTIACA
Die du groBen Siinderinnen
deine Néhe nicht verweigerst,
und ein bussendes Gewinnen
in die Ewigkeiten steigerst,
gonn auch dieser guten Seele,
die sich einmal nur vergessen
die nicht ahnte, dass sie fehle,
dein Verzeihen angemessen!
Thou, who dost not deny thy presence
to women who have sinned greatly
and the reward gained by penitence
dost raise to eternity,
grant also to this good soul,
who forgot herself but once,
not suspecting that she erred,
thy just pardon!
UNA POENITENTIUM
(elsewhere called Gretchen, entreating the Virgin)
Neige, neige,
du Ohnegleiche,
du Strahlenreiche,
dein Antlitz gnadig
meinem Gliick!
Der frih Geliebte
nicht mehr Getriibte,
er kommt zuriick.
Incline, incline,
Thou unequalled,
richly-radiant,
thy countenance favourably
upon my happiness!
The beloved of my youth,
no longer tarnished,
is returning.
BLESSED BOYS (circling near)
Er Gberwachst uns schon
an macht'gen Gliedern,
wird treuer Pflege Lohn
reichlich erwidemn.
Wir wurden friih entfernt
von Lebechéren,
doch dieser hat gelernt:
er wird uns lehren.
He outstrips us already
on mighty limbs;
he will richly repay
our faithful care.
We were taken away early
from the choir of the living,
but this man has learned:
he will teach us.
UNA POENITENTIUM
Vom edlen Geisterchor umgeben
Surrounded by the noble choir of
spirits,
wird sich der Neue kaum gewahr
the newly arrived is scarcely aware of
er ahnet kaum das frische Leben,
barely perceiving the fresh life within
himself,
him,
Guildford Philharmonic Choir
15
so gleicht er schon der heil'gen Schar. so much does he already resemble the
Sieh, wie er jedem Erdenbande
der alten Hulle sich entrafft,
und aus atherischem Gewande
hervortritt erst Jugendkraft!
sacred host.
See how, of all the earthly bonds
of his former husk, he divests himself,
and from the ethereal raiment
steps forth in the pristine strength of
youth!
Vergénne mir, ihn zu belehren!
Noch blendet ihn der neue Tag!
Allow me to instruct him!
He is still dazzled by the new day!
MATER GLORIOSA
Komm! Hebe dich zu héhern
Come! Raise yourself to higher
Sphéren!
spheres!
When he apprehends you,
Wenn er dich ahnet, flogt er nach.
he will follow.
DOCTOR MARIANUS
(bowing in worship)
Blicket auf zum Retterblick,
alle reuig Zarten
euch zu sel’'gem Glick
dankend umzuarten!
Werde jeder bess’re Sinn
dir zum Dienst erbdtig;
Jungfrau, Mutter, Konigin,
Géttin, bleibe gnadig!
Lift your eyes to the redeeming gaze,
all beings, repentant, frail,
that in gratitude you may be
transformed to blessed destiny!
May every nobler thought
be in readiness to serve you;
Virgin, Mother, Queen,
Goddess, ever be merciful!
CHORUS MYSTICUS
Alles Vergangliche
ist nur ein Gleichnis;
das Unzuléangliche,
hier wird’s Ereignis;
das Unbeschreibliche,
Everything transitory
is but an image;
that which is imperfect
here takes place;
the inexpressible
hier ist’s getan;
here is seen;
das Ewig-Weibliche
zieht uns hinan.
the Eternal-Feminine
draws us upward.
16
Guildford Philharmonic Choir
Claire Seaton
Claire was born in Staffordshire and studied at the
Birmingham School of Music and later in London at
the Royal Academy of Music with Kenneth Bowen.
¢ Her operatic
roles include the Countess in The
Marriage of Figaro, Metella in La Vie Parissienne and
Ellen in Peter Grimes. Claire made her Glyndebourne
debut
in
1999
singing
Clemenza Di Tito.
the
role
of
Vitellia
in
La
She has worked in opera and as an oratorio soloist all over Europe
and in Singapore and Korea. Claire recently made her debut at
London’s Barbican Hall singing Strauss’ Four Last Songs. Claire has
just performed the world premiere of The Far Theatricals of Day by
Jonathan Dove and is in the middle of recording that and other works
by Dove, as well as a new piece by Tim Jackson.
Future engagements include Mahler's Symphony No 8 in the Usher
Hall, Edinburgh and Mozart's C Minor Mass in Newcastle.
Diane
has sung in almost every major concert
. hall in the British Isles. From London's Barbican
$ and Royal Festival Hall to Belfast's Waterfront
B and
B
Manchester's
Bridgewater
Hall.
Career
highlights include Mendelssohn's A Midsummer
# Night's Dream with Tamas Vasary and the
Bournemouth
Sinfonietta,
with
whom
she
subsequently sang Handel's
Messiah and
Bach's Christmas Oratorio; Italian debut in Aldo
Clementi's Rhapsodia in Naples; Purcell's Fairie Queen touring in
Spain (also recorded for Naxos); Carmina Burana with Mark Ermler
and the London Philharmonic Choir at the QEH; Handel's Messiah
for HTV and a recording of Janacek's The Diary of One who
Disappeared for EMI, with lan Bostridge. Diane has sung extensively
in opera, most notably in Verdi's Rigoletto as Gilda in the Linbury
Studio, Royal Opera House. Other performances include Tytania at
the Hampton Court Festival; Helena under the baton of Steuart
Bedford at Aldeburgh; Susanna in the Linbury Studio and at Holland
Park; Adele in France with ECO; 32 concerts on a UK tour as guest
soloist with Christopher Warren Green and the Strauss Gala. Future
performances include Despina in Ireland, and Haydn's The Creation
in Oxford.
Guildford Philharmonic Choir
17
Helen Neeves
Helen Neeves gained a BA (Hons) in Music at
the University of York, where she became a
member of the Yorkshire Bach Choir. Having
completed a two-year postgraduate course at
the Royal College of Music, she is now based
in London, where she is currently studying with
B
5] Julie Kennard.
fl
Helen has experience as a solo and consort
singer embracing concert work, CD recordings
and
radio
Dbroadcasts.
engagements
and
Mozart's
Vespers with the
include
Guildford
Recent
Haydn’s
solo
Nelson Mass
Philharmonic
Choir in
Guildford Cathedral, and a Christmas concert in the Blackheath
Concert Halls with the
English Cornett and
Sackbut
Ensemble.
Having performed and recorded works by Dupré with the Vasari
singers to critical acclaim, Helen joined them earlier this year to sing
Brahms’ Requiem in St John’s Smith Square.
Helen regularly works with Yorkshire Baroque Soloists and Corona
Coloniensis, with whom she recently recorded early English verse
anthems for West German Radio. She will be joining the group again
in July at the York Early Music Festival.
Other
recording
includes
Handel
Cantatas
and
Duets.
Having
recently made a CD recording with the Clerks group, Helen will be
joining them in September for a late night prom.
Vanessa Williamson
Vanessa Williamson
studied at the Royal
Northern College of Music in Manchester, and
won
prizes
for opera,
Lieder,
French
and
English Song. She remains the only singer to
have graduated with
degree.
a first class
honours
Vanessa has an extensive concert
and oratorio repertoire which
encompasses
familiar and less familiar works from the early
Baroque to the present. She has been a soloist with many major
orchestras including the Royal Liverpool Philharmonic, the City of
Birmingham Symphony and the Bournemouth Symphony. A popular
soloist with choral societies throughout Britain, she sings
18
Guildford Philharmonic Choir
regularly in major venues and has performed in several summer
music festivals including Bath, Chester and Cheltenham. She has
appeared at the Three Choirs Festival and sung with the Performing
Arts Symphony Orchestra at their outdoor classical concerts held at
historic country houses.
Vanessa often performs throughout Europe. With Pro Cantione
Antiqua, she has toured in Poland, France and Italy, singing the
Sorceress in Dido and Aeneas. Vanessa has travelled throughout
Israel on a tour with the Israel Camerata and sang the Verdi Requiem
at the Church of the Madeleine in Paris. She is a soloist on a CD of
Messiah on the Carlton label and has performed it at the Flanders
Festival in Bruges.
Vanessa also performs with the Kegelstatt Trio in concerts with viola
and clarinet. At the Purcell Room they recently premiered Voices in
the Tide, a specially commissioned work by Paul Drayton.
Recent
engagements have included Dvorak’s Requiem in Nimes,
concerts with the Kegelstatt in The Midlands and Scotland, Elgar’s
Sea Pictures for Malvern Festival Chorus and The Music Makers for
the Leeds Philharmonic Society at Leeds Town Hall. Future dates
include Tippett's A Child of our Time in Exeter Cathedral, Bruckner's
F minor Mass, Mozart's Solemn Vespers in Aberdeen and Bach’s
B Minor Mass in Malvern.
Her latest CD release is of Haydn choral works for Meridian.
Teresa Shaw
Teresa studied at Manchester University and the
Royal Academy of Music, winning many makor
awards and scholarships. Since completing her
studies she has developed an international
career in opera, oratorio and recitals, performing
in all the major London venues, and visiting many
British and international festivals.
Teresa has appeared with English National
' Opera playing Hope in Orfeo, with Opera North
as the second Lady in The Magic Flute; for
Castleward Opera, Komponist from Ariadne auf Naxos, and with the
City of Birmingham Touring Opera playing the second witch in
Macbeth. Her other operatic roles include Dorabella, Cherubino,
Rosina, Carmen, Mercedes, Suzuki and Sesto. Her repertoire
Guildford Philharmonic Choir
19
recently
includes a number of contemporary operas and she
appeared in Nixon in China with the London Symphony Orchestra,
and in John Woolrich’s The House of Crossed Desires in Stuttgart.
She has performed a number of world premiers including The
Wildman by Nicola Lefanu at the Aldburgh Festival, East and West
by lan McQueen at the Almeida Festival and The Death of
Klinghoffer by John Adams in Vienna and Lyon. Other roles include
Helen in King Priam, Beauty in Beauty and the Beast and Woman in
Triptych by Alexander Goehr.
Recent concert performances have included Castiglioni's Cantaus
Planus with The London Sinfonietta, Berios’ Sinfonia with the Berlin
Philharmonic Orchestra, Stravinsky’s Cantata and Kurt Weil's Der
Silbersee for the Proms. Engagements for last season included
Tagebuch by Eisler, La Demoiselle Elue by Debussy, Messiah with
the Huddersfield Choral Society and concerts with Electric Phoenix in
Strasbourg and Hannover.
Teresa’s concert repertoire is wide-ranging and includes The Dream
of Gerontius, St Matthew Passion, B Minor Mass, A Child of our Time
and the Glagolitic Mass. She broadcasts regularly for BBC Radio 3
and has made a number of recordings including Dido and Aeneas
with John Elliot Gardiner, a CD of English Choral music with Richard
Hickox and a forthcoming Christmas CD with the Taverner Consort.
Engagements during the forthcoming season include Mozart's
Requiem with the London Mozart players, Verdi's Requiem with the
Nottingham Philharmonic Orchestra and The Christmas Oratorio with
the Britten Sinfonia. Teresa will also be undertaking a solo vocal
cantata, Hagomo, with the London Sinfonietta.
Teresa is a lecturer in Voice at Trinity College of Music, an examiner
for the Associated Board of the Royal Schools of Music and a regular
voice coach for choral societies and summer schools.
20
Guildford Philharmonic Choir
Colin Campbell
Colin Campbell was born in London and
studied at the Royal Northern College of
B
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
Grammophon 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 Taveners The World is
Burning, recorded by Philips Classics. Recent recordings include the
award-winning 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 Matthew Passion in
Tampere, Finland; Mendlessohn's Eljjah 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.
Guildford Philharmonic Choir
21
Michael Bundy
@
Michael
was
educated
at
Trinity
College,
Cambridge, where he gained an honours degree
in music, and at the Guildhall School of Music and
Drama, London, studying on the post-graduate
singing and opera courses. Further study was
undertaken at the
Britten-Pears school
in
Aldeburgh,
with
Hugues
Cuenod,
and
subsequently with the late Erich Vietheer.
Since turning professional he has performed
widely in very diverse genres, ranging from the early Baroque period
to musicals, from grand opera to contemporary music. He has
appeared as soloist with groups as varied as The Sixteen, The
Orchestra of the Age of Enlightenment and the Futurum Ensemble of
Sweden, and was for nearly five years a member of the BBC Singers.
With an operatic repertoire in excess of forty roles, he has travelled
extensively, appearing twice at the opera house in Mauritius, as
Escamillo and Germont Pere, and he has been under contract to
English National Opera, Kent Opera and the Royal Opera House,
Covent Garden. More recently he sang the roles of Maestro (in
Salieri’'s Prima la Musica, Poi le Parole) and Buff (in Mozart’'s Der
Schauspieldirektor) - alongside the renowned Fenella Fielding - in a
production which opened the new opera house in Spitalfields Market,
East London.
As a recitalist he has appeared at a number of English festivals and
at St. John’s, Smith Square, specialising in the French mélodie; he is
shortly to release two series of commercial recordings featuring
songs of Parisian organists: The Songs of Saint Sulpice covers the
songs of Widor, Vierne and Dupré and The Songs of Sainte Clotilde
those of Franck, Pierné and Tournemire.
In the field of oratorio he has a wide and varied repertoire, and has
sung in most of the cathedrals and major concert halls in this country,
including all the venues in London’s South Bank, Symphony Hall
Birmingham (narrating
Tubby the Tuba) and the Liverpool
Philharmonic Hall, in such works as Beethoven’s Choral Symphony,
Elgar's The Dream of Gerontius and The Kingdom and Walton's
Belshazzar’s Feast. He recently broadcast for BBC Radio 3 (as part
of their Choir Works series) the oratorio Poéemes Franciscains by the
organist-composer Bonnal (one-time organist of Sainte Clotilde), a
recording which will shortly be issued as a commercial CD. Future
22
Guildford Philharmonic Choir
engagements include performances of Mahler's Symphony No 8 in
The Usher Hall, Edinburgh. Work with Trevor Pinnock and The
English Concert recently has included performances of the arias from
Bach’'s St Matthew Passion in concerts around Europe and also
Istanbul and Japan. In June of last year he sang Handel's Israel in
Egypt for Sir John Eliot Gardiner with the Monteverdi Choir and The
English Baroque Soloists (repeated as a BBC Promenade Concert
last summer) and toured Spain with this same conductor in a
programme of Bach Cantata’s and Lutheran Masses. Recent work
with these same musicians has included performances of Haydn's
Nelson Mass in Athens and the Barbican Concert Hall. Other
recordings include the 2001 Ravenna Festival performance of
Purcell’'s The Fairy Queen, with the Accademia Bizantia conducted
by Ottavio Dantone.
He recently appeared with Theater Basel in Actus Tragicus - a new
staging of some of Bach’s church cantatas by the renowned director
Herbert Wernicke, and will be returning for further stagings of
baroque oratorios.
Michael maintains a strong interest in contemporary music, and was
involved in the Contemporary Music Network tour of Jonathan
Harvey’s opera-oratorio Passion and Resurrection. He premiéered the
chamber opera Flowers, by the composer John Hardy, which was
widely and favourably reviewed by the National press, and recently
undertook a tour of Helen of Braemore, by the Scottish composer
Eddie McGuire.
On a lighter note, he frequently broadcasts for BBC Radio 2, and, in
addition to once singing a duet with Sarah Brightman, has performed
the roles of Olin Britt (Music Man) and Mr. Lindquist in Stephen
Sondheim’s A Little Night Music as part of their series of Great
American Musicals. He makes regular appearances on the longrunning variety show Friday Night is Music Night as a ‘Star Singer’.
He is currently researching and writing two books: One covers the
unknown French song repertoire (outlined above) and the other, by
way of complete contrast, the organs constructed by the 19th century
builder William Thynne.
Lee Hickenbottom
Born in Nottinghamshire, Lee followed his
musical education as a church chorister by
studying BA (Hons) at the Birmingham
Conservatoire
under
John
Wilbraham
(Trumpet) and Dr Elizabeth McKay (Piano).
Having maintained an interest in singing
throughout his youth he regularly participated
.
in choral concerts in the Midlands with the
City of Birmingham Symphony Chorus and, upon relocating to
London, joined the London Symphony Chorus and BBC
Symphony Chorus. After embarking on a professional
freelance singing career Lee now regularly sings with the
chorus of the Royal Opera House, BBC Singers, London
Voices, European Festival Chorus, and the Geoffrey Mitchell
Choir.
He has performed and recorded with the leading
conductors and orchestras, both in the United Kingdom and
abroad and appears regularly in the South East and Midlands
as a soloist with the Regions’ Music Societies. He is also
frequently in the recording studios as a backing singer for film
soundtracks and for Opera Rara and Chandos’ Operas in
English series.
Highlights of the last year have been appearing in the chorus
of Macbeth, Simon Boccanegra, Il Trovatore and Queen of
Spades at Covent Garden, in addition to being an Apprentice
in Die Meistersinger.
T
I
I
I rrrrrrrrrrr
Yy
Bouquets 1
“A fantastic experience... not sure why we ever bother
going to the South Bank when such goodies are
available at home.”
(from an audience member, Alto with Guildford Chamber
Choir, after Mahler 2 concert)
24
Guildford Philharmonic Choir
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.
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, on the Guild label. As a new departure, the
Vasari Singers’ latest Guild label CD, Our love is here to stay is a
collection
of close
harmony,
blues
and jazz numbers,
including
several arrangements by Ward Swingle, their Patron.
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
a
memorable
performance
of
Elgars
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.
Jeremy 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.
Guildford Philharmonic Choir
25
The Forest Philharmonic Orchestra
The
Forest
Philharmonic Orchestra was founded
in the London
Borough of Waltham Forest in 1962 and has since become this
country’s
leading
community
orchestra.
Rivalling
the
highest
professional standards, it uniquely combines the talents of London’s
best amateur musicians with those
students.
The orchestra
has
of
its
been joined
up-and-coming
music
by many international
artists, such as pianists John Lill and Ronan O’Hora, violinists Gyorgy
Pauk and Tasmin Little, cellists Robert Cohen and Natalie Clein, and
singers Lesley Garrett, Della Jones and Patricia MacMahon.
The
Forest
Philharmonic
perform
around
Borough
of
the
Orchestra
country,
Waltham
acting
Forest
and
is
also
regularly
as
an
ambassador for the
broadening
the
invited
to
orchestra’s
repertoire of orchestral and choral works.
Guildford Philharmonic Choir warmly welcomes the orchestra back
for their fifth concert in what is becoming an eagerly anticipated and
challenging annual event. Since our first joint and memorable concert
of Mahler's Symphony No 2 ‘Resurrection’ in May 1999, subsequent
programmes
comprised
Walton’s
Belshazzar's
Feast,
Vaughan
Williams’ Sea Symphony and last season, Mendelsohnn’s Eljjah.
The Guildford Philharmonic Choir
Director: Jeremy Backhouse
The Guildford
Borough
of
Philharmonic Choir was founded
Guildford
to
perform
major
in
1947 by the
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 programme for the
2000/01
season,
with
Mozart's
Mass
in
C minor,
Brahms’
Ein
deutsches Requiem and Vaughan Williams’ Sea Symphony.
26
Guildford Philharmonic Choir
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) and,
most recently, 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. This season started with a powerful
performance of Verdi's ‘Requiem’, having combined forces with
Wokingham Choral Society for the annual Guildford Borough concert.
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.
The Grey Coat Hospital Chamber Choir
Director: Caroline Lenton-Ward
The Grey Coat Hospital Chamber Choir has a busy performance
schedule. Its members are selected specially from the school’s four
choirs and they regularly sing mass at the school's services in
Westminster Abbey and St. Margaret's Westminster. They have
performed at the Royal Albert Hall, the National Eisteddfod
Llangollen, for LWT, Radio 2, the Lord Mayor of London and Her
Majesty the Queen. The girls recently sang in the National Festival
for Youth and Music, where the judges commented on their
"impressive performance” and ‘“excellent attention to detail".
Caroline Lenton-Ward is Head of Vocal Studies at The Grey Coat
Hospital, Westminster, where she is responsible for rehearsing and
conducting the school's choirs as well as teaching singing. She
rehearses some 200 girls each week and has conducted all
of the choirs in Westminster Abbey, the Royal Albert Hall, at the
Eisteddfod in Llangollen, as well as on tour in the USA. Caroline
also has a very successful career as a soprano and is in great
demand as a soloist, as well as performing regularly with the Royal
Opera and BBC Singers.
Guildford Philharmonic Choir
27
Lewisham Choral Society
Director: Stefan Reid
The biggest and brightest choir in Lewisham Borough, and rapidly
becoming one of the most renowned in London, Lewisham Choral
Society traces its origins back to 1950.
Under the direction of Stefan Reid, the choir tackles many diverse
and
challenging
works,
from
contemporary compositions.
Recent
Renaissance
polyphony
concerts
included
have
to
the
world premiere of Jonathan Rathbone’s Requiem for the Condemned
Man, sell-out performances of Messiah and Britten’s Saint Nicolas,
and
an
exceptionally
successful
rendering
of
Paul
Patterson’s
Magnificat.
As well as performing in venues throughout the borough and outside,
the choir has established relationships with the South West Essex
Choir and the Maitrise Sainte Marie from Antony, Lewisham’s twin
municipality in Paris.
Lewisham
Choral
Society
Ensemble,
one
the
of
works
most
regularly
well-known
with
the
professional
Aurelian
orchestral
groups in the London area. More recently the choir has also formed a
close connection with the Orchestra of St Bartholomew, the resident
orchestra at the newly refurbished Broadway Theatre in Catford.
In addition to three principal concerts each year, a variety of other
musical and social events are organised.
The choir has almost 100 members, many of whom found us through
the Lewisham Library and Arts Service information database. We
don’t audition, so even if you're a beginner, or haven’t sung for years,
come and try us out.
We rehearse on Monday evenings from 8.00
pm prompt to 10.00 pm in the Methodist Church, 123/125 Stanstead
Road, Forest Hill, London SE23 1HH.
Interested in joining us? Contact Penny Berryman (020 8852 1329)
or Brenda Scanlan (020 8692 3988).
Visit our website at www.lewishamchoral.org.uk
South West Essex Choir (SWEC)
Director: Stefan Reid
The South West Essex Choir is a large and well-respected choir with
a membership of over one hundred, drawn mainly from South Essex
and the London Boroughs of Redbridge and Waltham Forest.
28
Guildford Philharmonic Choir
Established over 60 years ago in Leyton, the choir has seen many
changes. However, the last 15 years have provided a period of
consolidation and expansion under just two gifted Musical Directors,
David Temple, who was appointed in 1987 (when Tessa Wright also
became
SWEC’s
accompanist),
and
now
Stefan
Reid,
who
succeeded David in 1996.
The
spirit
of
innovation
and
adventure,
begun
under
David’s
leadership, continues with Stefan. To mark the Millennium the choir
commissioned a work, Requiem for the Condemned Man by
Jonathan
Rathbone,
and
gave a very successful
premier
performance in July 2000. SWEC demonstrates its commitment to
choral development by arranging workshops open to non-members,
and is also working to establish its own Youth Choir. This began in
2001 when SWEC obtained a grant to run a series of free workshops
for 11- to 15-year-olds — ‘The Big Sing’.
Highlights of the choir's 2001-2002 season were a sparkling opera
gala evening and a very successful performance of Bach’s Mass in
B Minor. This season, as well as its usual three concerts at local
venues in North East London, SWEC is spreading its wings. In
addition to joining forces with the Guildford Philharmonic Choir,
Lewisham Choral Society and the Grey Coat Hospital Chamber to
perform Mahler Symphony No 8, in the summer SWEC travels to
Derbyshire to give a second performance of Brahms’ Ein deutsches
Requiem with the Derbyshire Singers, following its own performance
of the work on 5th July at Walthamstow Assembly Hall.
If you would like more information about the South West Essex Choir
please contact our General Secretary Janice Wilson, telephone 020
8923 4416.
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dfox details offloxistry coutses from the complete beginnex to the professional,
contact student sexvices at:
Merrist Wood College, Worplesdon, Guildford GU3 3PE
tel: 01483 884040
Or visit our web site: www.merristwood.ac.uk
Guildford Philharmonic Choir
29
GUILDFORD PHILHARMONIC CHOIR (Choir 1)
FIRST SOPRANOS
FIRST ALTOS
FIRST TENORS
Joanna Andrews
Noreen Ayton
Marion Adderley
Bob Cowell
Penny Baxter
Dan Burgess
Helen Bates
Jane Brooks
lan Landsborough
Nicola Balzar
Anna Cowell
Nick Manning
Helen Beevers
Margaret Dentskevich
Chris Robinson
Mary Broughton
John Trigg
Elaine Chapman
Linda Duncalf
Valerie Edwards
Victoria Cross
Ingrid Hardiman
David Baxter
Sara Dann
Lenelle Davis
Susan Hinton
Bob Bromham
Monika Jost
Douglas Cook
Rachel Edmondson
Valerie Leggatt
Tony Cousins
Christine Hagge
Mairi McCuish
Calli Hayes
Mo Kfouri
Kay McManus
Christine Medlow
Fiona McWilliams
SECOND TENORS
Mary Moon
Leslie Harfield
Kristian Hoejland
FIRST BASSES
Stephen Arthur
Hilary Minor
Penny Muray
John Britten
Susan Norton
Robin Onslow
Jacqueline Norman
Penny Overton
Philip Davies
Margaret Parry
Kirstene Sandoe
Margaret Perkins*
Lesley Scordellis
Michael Dudley
lan Duncalf
Geoffrey Forster
Kate Rayner
Catherine Shacklady
Jane Sweaney
Vaidotas Gerikas
Michael Golden
Jacquie O’'Reilly
Judy Smith
Carol Terry
Hilary Trigg
Laurie James
Tessa Wilkinson
Chris Newbery
Daniela Topolarova
Pamela Woodroffe
Chris Peters
SECOND
Elisabeth Yates
David Ross
SOPRANOS
Jacqueline Alderton
SECOND ALTOS
Marion Arbuckle
Kieron Walsh
Anna Arthur
Sally Bailey
Josephine Field
Iris Ball
Evelyn Beastall
Mandy Freeman
Philip Stanford
SECOND BASSES
Dan Adderley
Peter Andrews
Simon Backhouse
Angela Hall
Iris Bennett
Angela Hand
Mary Clayton
Roger Barrett
Tracey Huggins
Andrea Dombrowe
Alan Batterbury
Jane Kenney
Judith Lewy
Carolyn Edis
Valerie Garrow
James Garrow
Nick Gough
Peter Herbert
Michael Jeffery
Stephen Jepson
Lois McCabe
Alison Palmer
Kate Peters
Rosalind Plowright
Carol Hobbs
Sheila Hodson
Julia McNeill
Brenda Moore
Neil Martin
Alison Rawlinson
Jill Scott
Jean Munro
Maxwell New
Anne Philps
John Parry
Ann Sheppard
Kathy Stickland
Gillian Sharpe
Roger Penny
Prue Smith
Alex Stevens
Nigel Pollock
Michael Taylor
Christine Wilks
Rosey Storey
Suleen Syn
Beatrice Wood
30
Guildford Philharmonic Choir
LEWISHAM CHORAL SOCIETY (Choir 2)
SOPRANOS
ALTOS
TENORS
Sally Al-Zaidy
Gabrielle Allen
Tim Collard
Helen Ball
Rosalyn Atkins
Trevor Jarvis
Annette Barker
Zanna Bloomfield
Desmond Sandford
Penny Berryman
Marg Charlesworth
Ted Vincent
Jonathan Williams
Leah Blakelock
Joan Collis
Anne Burrows
Tania Cordeiro
BASSES
Patrizia Collard
Henrietta Englefield
Clifton Alden-Jones
Kate De Cala
Rachel Errington
John Allinson
Sam Galt
Sarah Goudge
Nicky Hayes
Christopher Brasted
Gabriel Holland
Kate Holland
John Giriffith
Christina Jarvis
Stella Jeffrey
John Howard
Barbara Kern
Jane Knight
Rosemary Kibblewhite
Brenda Lloyd
Geoffrey Johnson
Robert Kaye
David Lawes
Stephanie Hewlett
David Dennis
Barbara Luscombe
Lorraine Mack
Pauline Matkins
Ania Manser
Ben Leslie
Nadja Mayow-Coyne
Miriam McLeod
Claud Le Merle
Katie Mills
Pamela Osborn
Eleanor Orr
Daniel Mack
Wanda Polaszek
Edna Palian
Brenda Scanlan
Colin Nash
Mark Symons
Bridget Sam-Bailey
Gemma Smith
Michael Wadsworth
Rose Savinson
Anne Vincent
Sue Schiavi
Kathryn Seys
Kate Williams
Frances Shilling
Judith Smith
Marion Watson
Sheena Webb
GREYCOAT HOSPITAL CHOIR
Alice Afflick-Mensah
Vienna Francis-Mullins
Zainab Afolabi
Lucy Greene
Emma Penrose
Emma Allinson
Clare Harding
Lucy Penrose
Jordan Loughran
Camille Bain
Holly Harris
Hannah Robbins
Pheobe Campbell
Sarah Harvey
Jessica Simmonds
Alice Smith
Natalie Wakenell
Eliza Conlon
Kahra Horsford-Osborne
Kaylee Davis
Georgina Howitt
Emma Deane
Martha Kilpatrick
Nicola Wakenell
Natalia Eyres
Simone Wetherell
Rachel Finegan
Laetita Wheeler
Stevie Finegan
Guildford Philharmonic Choir
SOUTH WEST ESSEX CHOIR (Choir 2)
SOPRANOS
Doris Barham
Edwina Barker
Valerie Barker
Marion Campbell
Jennifer Cant
Brenda Chopping
Brenda Cusworth
Magaret Filier
Joan Fraser
Clare Gillett
Joyce Hill
Jane Holmes
Susan Hurley
Mavis Leach
Alison Ratcliffe
Kathy Robbins
Josephine Rose
Edwina Simpson
Julia Stanley
Christine Stephens
Judy Sutton
Pauline Warmer
Janice Wilson
Nina Young
ALTOS
Alma Batty
Marjorie Church
Maureen Galloway
Glenis Gurney
Margaret Halford
Marilyn Hickie
Betty Huckell
Joyce Hussey
Jean Jackson
Monica Janowski
Liz Jones
Mary McElarney
Pauline Moir
Catherine Pallet
Carolyn Palmer
Mary Porter
Eilis Rafferty
Evelyn Renton
Penny Rolfe
Avril Smith
Anita Styles
Carla Templer
Mavis Wilson
Tessa Wright
Joan Youldon
TENORS
Ann Brennan
Susan Daniel
Eric Doig
John Edwards
Janet Elphinstone
Brian Gracey
Malena Liedholm
David Mears
David Moir
Rachel Moore
Brian Morris
David Rolfe
Robert Young
BASSES
Colin Bott
John Bridger
Tony Cunningham
Stephen Fellows
Norman Goodeve
Ken Howland
Mike McKinley
Tom Rozee
Allen Shiel
David Shilito
Peter Sinfield
Howard Stoller
David Sutton
lain West
4
Farnborough Symphony Orchestra
At the Princess Hall
On Saturday 7th June 2003 at 7.45pm
Present an evening of all American Favourites
Including Bernstein, Gershwin, Barber,
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Conductor John Forster
Soloist Ruth Rogers
Box Office 01252 329155
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Guildford Philharmonic Choir
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“The Guildford Philharmonic Choir under Jeremy
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(audience member after Dvorak Requiem concert)
Guildford Philharmonic Choir
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Guildford Philharmonic Choir
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“The sound of your choir is amazingly uniform: at no
time any single voice penetrated through. This is
unusual, because in many choirs you can hear
particularly strong voices coming through. In fact
when, during the Requiem, severalparts of the choir
came in at the same time while I had my eyes shut, I
heard only one sound and needed to open my eyes to
see which parts of the choir were singing. Ifound this
most amazing and wonderful.”
(from an audience member, after the Dvorak Requiem)
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Guildford Philharmonic Choir
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Guildford Philharmonic Choir
37
GUILDFORD PHILHARMONIC CHOIR
President: Sir David Willcocks CBE, MC.
PATRONS
Dr. J.B.R. Arbuckle
Mrs. Carol Hobbs
Dr. Roger Barrett
Mr. Laurie James
Mrs. E.A. Batterbury
Mr. & Mrs. Michael Kilkenny
Mr. Bill Bellerby MBE
Mr. & Mrs. Michael Longford
Mrs. Doreen Bellerby MBE
Mr. Ron Medlow
Mr. & Mrs. Peter Bennett
Mrs. Christine Medlow
Mr. & Mrs. G.S. Blacker
Dr. Roger Muray
Mrs. Ingrid Brockdorff
Mr. & Mrs. Maxwell S. New
Mr. & Mrs. R.H.R. Broughton
Sue O’Connell
Mr. H.J.C. Browne
Mr. & Mrs. John Parry
Canon Patricia Cousins
Opticians Penny & Hayter
Mrs. Maryel Cowell
Mrs. Jean Radley
Mr. Michael Dawe
Mr. & Mrs. B. Reed
Mrs. Margaret Dentskevich
Mr. Michael Shortland
Mr. & Mrs. G. Dombrowe
Dr. & Mrs. M.G.M. Smith
Dr. Simon Doran
Mrs. Y.M.L. Tiplady
Executive Presentation
Miss Enid Weston
Golden and Associates
FRIENDS
Dega Broadcast Systems
Mr. lan Rayner
Geof Edge
Mrs. Jean Shail
Mrs. Joyce Feather
Mrs. K C Stickland
Mrs. Suzanne Pickerill
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If you are interested in participating, please contact Bob Cowell on
01483 770896
38
Guildford Philharmonic Choir
Produced by ARCS DeskTop Publishers, tel. 01483 239139, email arcs @ btinternet.com
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presents
MAHLER: SYMPHONY No.8 in E flat
(The 'Symphony of a Thousand’)
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Guildford Philharmonic Choir, Lewisham Choral Society
and South West Essex Choir
Forest Philharmonic Orchestra
Conductor Jeremy Backhouse
Guildford Cathedral
£18.00 - Reserved (Front Nave)
Saturday 17th May 2003 at 7:30 pm
Ticket No. O
{ Qp
Car Parking
Space at the Cathedral is very limited. You are advised to come early and use the
Surrey University Car Parks 1 & 2.
Take the Surrey University exit from the roundabout. Car park 1 is about 100m on the
left. Follow the road further around to reach Car Park 2 marked on your left.
After parking, follow the (pedestrian) Campus road opposite from CP1, or the path
from CP2 past Austin Pearce Building and then follow signs to the Cathedral (400m).
This is not suitable for disabled people.
Dates for your Diary
Saturday August 30" 2003, Hever Festival Proms - Fauré Requiem etc.
Saturday November 29" 2003, Guildford Cathedral - Berlioz Programme
Sunday December 14th 2003, Guildford Civic - Mayor of Guildford’s
Christmas Family Concert