AN AMERICAN
CELEBRATION
SATURDAY 20TH MARCH
GUILDFORD PHILHARMONIC CHOIR
THE FOREST PHILHARMONIC ORCHESTRA
CONDUCTED BY JEREMY BACKHOUSE
®
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Guildford Philharmonic Choir
®00
President Sir David Willcocks CBE MC
An American Celebration
Copland
Fanfare for the Common Man
Morten Lauridsen
O magnum mysterium
Barber
Adagio for Strings
Stravinsky
Symphony of Psalms
Copland
Old American Songs
Randall Thompson
Alleluia
Bernstein
Chichester Psalms
Robert Stephen
Treble
Jeremy Filsell
Piano
Forest Philharmonic Orchestra
Jeremy Backhouse
Saturday 20 March 2004 at 7.30pm
Guildford Cathedral
The staging for this concert is
owned by the Association of Surrey
Choirs. To hire, please contact
Bl
Stephen Jepson, tel: 01306 730383.
It was purchased with financial
assistance from the Foundation for
Sport and Arts, PO Box 20, Liverpool.
e
inancisily assisted by
GUILGFOAD
;
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O
R
©
4P
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Aaron Copland 1900-1990
Aaron Copland was the pioneer of American music — he showed the world how to
write classical music the American way. The young Copland went to Europe for
serious study and, in the 1920s, wrote pieces with a strong jazz influence. But he
was soon to move on to compose strictly classical yet modernist works.
With the great depression of the 1930s, when millions of Americans were unable
to find work, the appeal of abstract music began to wane. So beginning in 1938,
Copland produced a series of ballets that were to be widely heard and musically
influential:
Billy the Kid (about the legendary western outlaw,
complete with
cowboy songs), Rodeo (another Wild West ballet, about a cowgirl's search for a
man)
and
Appalachian
Spring (commissioned
by the
choreographer
Martha
Graham).
Fanfare for the Common Man was composed in support of the Allied effort in
World War Il. Eugene Goossens, the British conductor who was then music
director of the Cincinnati Symphony Orchestra, requested a series of fanfares
from American composers to open the concerts of the 1942-43 season. Since its
premier on 12 March 1943, Fanfare for the Common Man has been one of the
most frequently performed works in the orchestral repertoire. Scored only for
brass and percussion, Copland wanted everyone to know from the outset that this
composition was written to announce the importance of all people in the world.
After the strong opening statement from the bass drum and gong, Copland
composed a powerful, robust theme for the trumpets; this theme is then repeated
with the horns. The third time we hear the theme, Copland adds the trombones
and tympani, which give the fanfare more strength, and the tubas appear on the
fourth repetition.
Morten Lauridsen b.1943
Modern choral music for amateur singers may be America's biggest musical
underground. That's the only explanation of why composer Morten Lauridsen,
nominated in 1999 for a Grammy Award, can claim that his works are some of the
most often-performed new pieces in years. Like the similarly popular John Rutter,
Lauridsen inhabits an extremely conservative style directed simply and single-
mindedly at showing off the beauty of choral singing while it illustrates inspiring
texts. Unlike many of his fellow neo-Romantic conservatives, Lauridsen displays a
brand of conservatism that is completely convincing and sincere.
Lauridsen
is now professor and chair of the composition department at the
University of Southern California Thornton School of Music. He has served as
Composer/Artist-in-Residence at Westminster Choir College, Trinity University,
Houston Baptist University, Washington State University, the Liederkranz Choral
Consortium and the University of Nevada. He has held this post twice at Cambirillo
College, in 1999 and 2002, and is scheduled to be Artist-in-Residence at the
University of New Mexico in 2004.
Lauridsen’s love of poetry, inextricably linked to his love of vocal composing, is
profound. This passion for poetry dictates that Lauridsen always chooses his own
texts for composition. O Magnum Mysterium was first performed in Los Angeles in
December 1994. The stark, evocative beauty of the text, describing the birth and
adoration of Jesus, concentrates on the religious and symbolic aspect rather than
on more secular imagery.
2 Guildford Philharmonic Choir
O magnum mysterium
O magnum mysterium
O great mystery
et admirabile sacramentum,
and wondrous sacrament,
ut animalia viderent Dominum natum,
that animals should see the newborn
jacentem in praesepio.
Lord lying in their manger.
Beata virgo, cujus viscera meruerunt
Blessed is the Virgin whose womb was
worthy
portare Dominum Christum,
to bear the Lord Jesus Christ.
Alleluia!
Alleluia!
Samuel Barber (1910-1981)
Samuel Barber was one of the outstanding products of the Curtis Institute of
Philadelphia. He won a number of awards, including the Prix de Rome in 1935.
One year later, in 1936, he published a String Quartet in B Minor, the slow
movement of which almost immediately won separate fame as the Adagio for
Strings. It was indeed published in that form in 1938.
On a technical level, its wonderfully effective layout shows fine understanding of
the string medium. The skill with which its gently winding main theme passes from
one voice to another, preserving for the whole texture a superbly eloquent forward
momentum,
proclaims the
restraint of true
mastery.
This
is
an
emotionally
charged piece, ideally suited to a religious occasion and used as an American
national anthem at sombre occasions.
Igor Stravinsky (1882-1971)
The American connection here is that the Symphony of Psalms was the outcome
of a commission received by Stravinsky in 1930 from Serge Koussevitzky, at that
time conductor of the Boston Symphony Orchestra, to mark the orchestra's 50th
anniversary. Although intended for Boston, the work in fact received its first
performance in Brussels on 13 December 1930, with Stravinsky's friend Ernst
Ansermet directing the Brussels Philharmonic Orchestra. Kossevitzky and the
Boston Symphony gave the US premiére 6 days later. The piece is profoundly
spiritual and stemmed from Stravinsky's own recent religious reawakening. In the
mid-1920s he went through a personal crisis that culminated in his return to the
Russian Orthodox Church
in
1926, after a gap of some 26 years. For the
Symphony of Psalms, Stravinsky drew on the Latin of the Vulgate, but even so,
the whole ethos of the work is Eastern Orthodox.
The work consists of three movements played without a break. The first is a
setting of verses 13 and 14 of Psalm 38 (in the Vulgate numbering), the second
sets Verses 2-4 of Psalm 39, and the third sets
Psalm
150 in its entirety.
Stravinsky explained his reason for calling the work a ‘symphony’ by stating that
"the order of the three movements presupposes a 'periodic' scheme and in this
sense realizes a 'symphony'.
For a periodic scheme is what distinguishes a
'symphony' from a collection of pieces with no scheme but one of succession, as
in a suite."
Guildford Philharmonic Choir 3
The work opens with a prelude-like section in which Stravinsky's predilection for
rhythm
is
immediately
apparent.
An
accompaniment
of
flowing
decorative
figurations is punctuated irregularly by urgent E minor chords. The choral singing
of the psalm is led out by the altos, chanting a melody comprising basically only
two notes (E and F) a minor second apart. This interval proves to be a defining
characteristic of the whole movement. The chorus sings out its lines mainly in
slow block chords (with passing notes) over a busy, running accompaniment.
Stravinsky described this first movement as "the prayer of the sinner for divine
pity".
The
second
received",
is
movement,
a
which
double fugue,
he
described
as
"the
recognition
of grace
one subject assigned to the accompaniment,
characterised by wide leaps, the other to the chorus, less angular in structure but
complementing the first perfectly.
The final movement is a "hymn of praise and glory". It begins with a slow Alleluia
that leads straight into an allegro full of quirky rhythms. After an instrumental
section,
the
choir enters with
the
word
"Laudate"
("Praise
ye").
This
final
movement is an almost hypnotic dance. Towards the end we hear an echo of the
introductory Alleluia, and the work finishes on a radiant chord of C major.
Symphony of Psalms
Psalm 39, verses 12 and 13
Exaudi orationem meam, Domine,
Hear my prayer, o Lord,
et deprecationem meas;
and give ear to my cry;
auribus percipe lacrimae meae.
hold not thy peace at my tears.
Ne sileas, quoniam advena ego sum apud
For | am thy passing guest,
te,
et peregrinus, sicut omnes patres mei.
a sojourner, like all my fathers.
Remitte mihi,
priusquam abeam et amplius non ero.
Look away from me,
before | depart and be no more.
Psalm 40, verses 1-3
Expectans expectavi Dominum,
| waited patiently for the Lord;
et intendit mihi.
he inclined to me and heard my cry.
Et exaudivit preces meas,
He drew me up from the desolate pit,
et eduxit me de lacu miseriae et de luto
out of the miry bog,
faecis.
Et statuit super petram pedes meos,
And set my feet upon a rock,
et direxit gressus meos.
making my steps secure.
Et immisit in os meum canticum novum,
He put a new song in my mouth,
a song of praise to our God.
carmen Deo nostro.
Videbunt multi, et timebunt,
et sperabunt in Domino.
Many will see and fear,
and put their trust in the Lord.
4 Guildford Philharmonic Choir
Psalm 150
Alleluia.
Praise the Lord.
Laudate Dominum in sanctis ejus;
Praise God in his sanctuary;
Laudate eum in firmamente virtutis ejus.
Praise him in his mighty firmament!
Laudate eum in virtutibus ejus;
Laudate eum secundum multitudinem
Praise him for his mighty deeds;
magnitudinis ejus.
Praise him according to his
Laudate eum in sono tubae;
exceeding greatness!
Laudate eum in psalterio et cithara.
Praise him with trumpet sound;
Laudate eum in tympano et choro;
Praise him with lute and harp!
Laudate eum in chordis et organo.
Praise him with timbrel and dance;
Laudate eum in cymbalis bene
Praise him with strings and pipe!
sonantibus;
Praise him with sounding cymbals;
Laudate eum in cymbalis jubilationis.
Praise him with loud clashing cymbals!
Omnis spiritus laudate Dominum!
Let everything that breathes praise the
Lord!
Alleluia.
Praise the Lord!
~ INTERVAL ~
Aaron Copland (1900-1990)
The OIld American Songs were published as two sets each of five songs and
encompass a wide variety of styles. The first set (published 1950) comprises:
Boatman's Dance, The Dodger, Long Time Ago, Simple Gifts and | Bought Me A
Cat.
The second set (published 1952) comprises: The Little Horses, Zion's Walls, The
Golden Willow Tree, At The River and Ching-A-Ring Chaw. Five of the collection,
a selection from both sets, are being performed this evening:
no. 5.
| Bought Me a Cat [SATB] (Children's song)
no. 9.
Atthe River [SATB] (Hymn Tune)
no.4.
Simple gifts [SA] (Shaker folk song)
no. 3.
Long Time Ago [SATB] (Ballad)
no. 10.
Ching-a-ring Chaw [SATB] (Minstrel song)
Randall Thompson (1889-1984)
The
American composer, conductor and teacher Randall Thompson was
educated at Harvard University, where later he was on the staff for a number of
years. His compositions include orchestral and instrumental music, but he is best
known for his choral works. They are written in an uncomplicated, immediately
comprehensible style, and frequently evoke an amiable and patriotic vision of
American history.
Guildford Philharmonic Choir 5
Alleluia for unaccompanied four-part choir was written at the request of Serge
Koussevitzky for the
inauguration
of the
Berkshire
Music Center in
Massachusetts, and first performed there by a student choir on 8 July 1940. This
setting of the repeated word 'Alleluia’, with a concluding 'Amen', begins quietly,
very slowly building up to a loud climax before dying away again to a quiet close.
Leonard Bernstein (1918-1990)
Leonard Bernstein occupies an important place in American music as conductor,
pianist and composer, a triple career he pursued with flamboyant vigour
throughout the five decades of his professional life.
As a composer, Bernstein was best known for his stage musical West Side Story
(1957), which was filmed in 1961. He also produced the scores of several other
shows for both stage and screen, notably the great Gene Kelly movie On the
Town (1949). But he was more than a populist. He produced three powerful
symphonies, a sparkling opera on the subject of Voltaire's Candide and a very
unconventional Mass, among other works.
It is rather misleading to classify his compositions as either popular or serious,
since his overall style is both deeply American and very eclectic. It draws on the
influences of Stravinsky and — no doubt partly via his teacher Aaron Copland — of
traditional and popular sources. In particular it owes much to the song styles of
American musicals. Yet most of his large-scale non-theatrical works deal with
religious themes and include settings of Biblical or liturgical texts.
The Chichester Psalms were commissioned by the Very Rev. Walter Hussey,
Dean of Chichester, for the 1965 Southern Cathedrals Festival. The work was
written with an all-male choir in mind, and the first performance of this version was
given in Chichester Cathedral on 31 July 1965. However, the world premiére had
already taken place in New York on 15 July, with the composer conducting the
New York Philharmonic Orchestra and a mixed choir.
The work consists of three movements, each an affirmative setting of the original
Hebrew text of one complete psalm, together with one or more verses of a second
psalm. The piece is always performed in Hebrew: Bernstein never sanctioned an
English translation.
Part I: The first movement begins with a short introduction in the form of a slow
yet forceful chorale-like setting of Psalm 108 verse 2. The main part of this
movement is an exuberant and joyful setting of Psalm 100 in 7/4 time. At the end
an instrumental interlude and a short section lead to a resounding coda.
Part Il: The second movement begins with a setting of the first part of Psalm 23
for alto solo, followed by the sopranos and altos in canon. The music is
recognisably that of the composer of West Side Story. Its 'bluesy’ feel signals the
influence of American popular music. Yet Bernstein is careful to direct that it be
sung "without sentimentality" by a boy or an alto.
This gentle music, which is in 3/4 time, is suddenly interrupted by an agitated and
menacing setting for tenors and basses of the first four verses of Psalm 2. This
angry music is in common time, and yet Bernstein contrives to combine these two
elements as the upper parts join in to sing the remainder of Psalm 23.
Part Ill: The final movement begins with an extended instrumental prelude based
on the music of the opening chorale of the whole work, and on a rising motif that
forms the basis of much of the subsequent setting of Psalm 131.
6 Guildford Philharmonic Choir
As in the opening movement, the rhythm of this setting uses an
asymmetrical time
signature (in this case bars of ten beats divided into two halves
of five). Yet the
mood is quite opposite to the exuberance of Movement I, and carries
the direction
"peacefully flowing". Much of the choral writing is in two parts, the
upper voices
answering the lower. At the end, the opening chorale of the
first movement
returns, this time slowly and quietly, set to the first verse of
is one of awe and resignation.
Psalm 133. The mood
Chichester Psalms
Part |
Psalm 108, verse 2
Urah, hanevel, v'chinor!
Awake, psaltery and harp!
A-irah shahar!
| will rouse the dawn!
Psalm 100
Hariu I'Adonai kol haarets.
Make a joyful noise unto the Lord all ye
Iv'du et Adonai b'simha.
Serve the Lord with gladness.
Bo-u I'fanav bir'nanah.
D'u ki Adonai Hu Elohim.
Hu asanu, v'lo anahnu.
lands.
Come before his presence with singing.
Know ye that the Lord, He is God.
It is He that hath made us, and not we
ourselves
Amo v'tson mar'ito.
We are His people and the sheep of His
Bo-u sh'arav b'todah,
Enter into His gates with thanksgiving,
Hatseirotav bit'hilah,
Hodu lo, bar'chu sh'mo.
pasture.
And into His courts with praise.
Be thankful unto Him, and bless His
name.
Ki tov Adonai, I'olam has'do,
V'ad dor vador emunato.
For the Lord is good, His mercy is ever-
lasting.
And His truth endureth to all generations.
aaanaaaaaaaaananaaaananaaaaanananun
ag
From the Baroque evening:
& “This was a lovely programme. | didn't really think that
large
97 choirs should go in for music of this type, but | was proven
& wrong. | especially enjoyed Handel's 'Dixit Dominus', which
& had such vitality and rhythm.”
<
J’
.
ARRANBRRRRRRRRRRRRNRRRRRRRRRRRRZRIBEG
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Guildford Philharmonic Choir 7
Part Il
Psalm 23
Adonai ro-i, lo ehsar.
The Lord is my shepherd, | shall not
want.
Bin'ot deshe yarbitseini,
He maketh me to lie down in green
pastures,
Al mei m'nuhot y'nahaleini,
He leadeth me beside the still waters,
Naf'shi y'shovev,
He restoreth my soul,
Yan'heini b'ma'aglei tsedek,
He leadeth me in the paths of
righteousness,
L'ma'an sh'mo.
For His name's sake.
Gam ki eilech
Yea, though | walk
B'gei tsalmavet,
Through the valley of the shadow of
death,
Lo irara,
| will fear no evil,
Ki Atah imadi.
For Thou art with me.
Shiv't'cha umishan'techa
Thy rod and Thy staff
Hemah y'nahamuni.
They comfort me.
Ta'aroch I'fanai shulchan
Thou preparest a table before me
Neged tsor'rai
In the presence of mine enemies,
Dishanta vashemen roshi
Thou annointest my head with oil,
Cosi r'vayah.
My cup runneth over.
Ach tov vahesed
Surely goodness and mercy
Yird'funi kol y'mei hayai
Shall follow me all the days of my life,
V'shav'ti b'veit Adonai
And | will dwell in the house of the Lord
L'orech yamim.
Forever.
Lamah rag'shu goyim
Why do the nations rage,
Psalm 2, verses 14
Ul'umim yeh'gu rik?
And the people imagine a vain thing.
Yit'yats'vu malchei erets,
The kings of the earth set themselves,
V'roznim nos'du yahad
And the rulers take counsel together
Al Adonai v'al m'shiho.
Against the Lord and against His
annointed.
N'natkah et mos'roteimo,
Saying, let us break their bonds asunder,
Yoshev bashamayim
He that sitteth in the heavens
Yis'hak, Adonai
Shall laugh, and the Lord
Yil'ag lamo!
Shall have them in derision!
RARBRRRBRNRBRARRBRRRNRRNBRERNRNRERNREEA
g About Mahler’s 8th Symphony:
7 g wonderful, thrilling performance. We were part of the
&3 standing ovation, & everyone really deserved it."
L2l
el
bBbvfRv
L2 "The magnificent sounds that came down the cathedral will
L2l stay with me forever; the choir was superb. This performance g
% deserved a larger venue in London."
3
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8 Guildford Philharmonic Choir
Part Il
Adonai, Adonai,
Lo gavah libi,
V'lo ramu einai,
V'lo hilachti
Big'dolot uv'niflaot
Mimeni.
Im lo shiviti
V'domam'ti,
Psalm 131
Lord, Lord,
My heart is not haughty,
Nor mine eyes lofty,
Neither do | exercise myself
In great matters or in things
Too wonderful for me to understand.
Surely | have calmed
And quieted myself,
Naf'shi k'gamul alei imo,
As a child that is weaned of his mother,
Kagamul alai naf'shi.
My soul is even as a weaned child.
Let Israel hope in the Lord
Yahel Yis'rael el Adonai
Me'atah v'ad olam.
Hineh mah tov,
Umah nayim,
Shevet ahim
Gam yahad.
From henceforth and forever.
Psalm 133, verse 1
Behold how good,
And how pleasant it is,
For brethren to dwell
Together in unity.
The notes in this programme include material supplied through the
Programme
Note Bank of Making Music, the National Federation of Music Societies.
Authors
acknowledged with thanks include William Gould (Stravinsky) and Kingsley
G Boulton (Thompson).
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About the choir in general:
% "l would like to say how much | have enjoyed singing with GPC
over the past 6 years - it has been a really valuable experien
ce
& that has enriched my life and has given me a new appreciation of
92 choral music that will stay with me. | also realise what a great
& conductor Jeremy Backhouse is - both for his musicality
and his
3 calm, funny, unassuming manner and clear direction. Other
% conductors just don't compare!"
J3 (from Peter Allen, one of our basses, who recently moved away
g from Guildford)
TUHYBG548
L2
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Guildford Philharmonic Choir 9
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
Consultant Editor for EMI
has
combined
Classics with
his
work
as
a
his career as a
freelance conductor and record producer.
Jeremy is also the conductor of the Vasari Singers, widely acknowledged as one
of the finest chamber choirs
in
the
country.
Since winning the
prestigious
Sainsbury’s Choir of the Year competition in 1988, they have performed regularly
on the South Bank and at St John’s, Smith Square in London, as well as in the
cathedrals
of
Canterbury,
Chichester,
Winchester,
Hereford,
Ely
and
Peterborough. In 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, and now conducts the majority of the choir’'s concerts. In March
1999, Jeremy gave a “masterly” performance of Bruckner's Mass in E minor and
Mahler's
Symphony No.2 in
Guildford
Cathedral;
last season
he significantly
extended his Mahler repertoire with a performance of Mahler's Symphony No.8, the
monumental Symphony ofa Thousand.
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 history of the choir, following Sir Richard Hickox (who
founded the choir in 1967) and most recently, Stephen Jackson.
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 of its up-and-coming music
students. The orchestra has been joined by many international artists, such as
pianists John Lill and Ronan O’Hora, violinists Gyorgy Pauk and Tasmin Little,
cellists Robert Cohen and Natalie Clein, and singers Lesley Garrett, Della Jones
and Patricia MacMahon.
The Forest Philharmonic Orchestra is also regularly invited to perform around the
country, acting as an
ambassador for the Borough of Waltham
broadening the orchestra’s repertoire of orchestral and choral works.
Forest and
Guildford Philharmonic Choir warmly welcomes the orchestra back for their sixth
concert in what is becoming an eagerly anticipated and challenging annual event.
10 Guildford Philharmonic Choir
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,
Mendelsohnn’s Elijah,
and culminated in last season’s tremendous performance of Mahler's Symphony
No 8.
Guildford Philharmonic Choir
The
Guildford Philharmonic Choir was founded in 1947 by the Borough of
Guildford to perform major works from the choral repertoire with the Guildford
Philharmonic Orchestra. 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,
which included 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) and a patriotic and thrilling concert to
celebrate the Queen’s Golden Jubilee. The choir also performed with the tenor
Russell Watson in two concerts: at the Royal Albert Hall, London, and at Brighton.
The 2002/03 season started with a performance of Dvorak's rarely heard and
beautiful Requiem and was followed by a powerful performance of Verdis
Requiem, having combined forces with Wokingham Choral Society for the annual
Guildford Borough concert. Undoubtedly, the climax of the season was Mahler's
Symphony No 8, where the choir combined forces with Lewisham Choral Society,
the South West Essex Choir and the Grey Coat Hospital Girls Choir.
This season opened with an evening of Baroque music, followed by the last
Christmas Carol concert to be held in Guildford Civic. In February the choir sang
Haydn's
Te Deum and Beethoven's Symphony No 9, with
Philharmonic Orchestra for the annual Guildford Borough concert.
the
Guildford
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.
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About Mahler’s 8th Symphony:
g
Jy 'l can't get over the last section in particular, the build up from virtually nothing to
Iy
43 experience such as I've rarely had before — & certainly not since your
2]
43 a climax that made my spine tingle. It was both magical and earth-moving; an
performance of Mahler 2!"
iy
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Guildford Philharmonic Choir 11
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% About Mahler’s 8th Symphony:
3 "I'm not normally a fan of Mahler but | was tremendously impressed,
§ not only by the sheer size of the production , but by how all the
# different groups came together to produce such a glorious sound. |
# was also very pleased to see that the concert was a sell-out , and
7 felt it was no less than you all deserved; | will be coming to more of
gyour concerts, & bringing my friends!"
7
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The 0id Orleans Restaurant in Bedford
Road, Guildford, (next to the Odeon
Cinema) wishes the choir every
success with this evening’s concert.
Present this programme tonight after
the concert to receive 29% off your
restaurant hill.
12 Guildford Philharmonic Choir
HYGTIOL
Guildford Philharmonic Choir
FIRST SOPRANOS
FIRST ALTOS
Joanna Andrews
FIRST TENORS
Marion Adderley
Bob Cowell
Noreen Ayton
Penny Baxter
Helen Beevers
lan Landsborough
Monika Boothby
Nick Manning
Mary Broughton
Jane Brooks
Miranda Champion
Chris Robinson
Valerie Edwards
John Trigg
Elaine Chapman
Rachel Edmondson
Calli Hayes
Mo Kfouri
Hilary Minor
Susan Norton
Robin Onslow
Celia Embleton
Ingrid Hardiman
Susan Hinton
SECOND TENORS
David Baxter
Valerie Leggatt
Bob Bromham
Kay McManus
Tony Cousins
Christine Medlow
Leslie Harfield
Rosalind Milton
Rachel Owen
Mary Moon
Margaret Parry
Lesley Peek
FIRST BASSES
Penny Muray
Stephen Arthur
Margaret Perkins
Jacqueline Norman
John Britten
Penny Overton
Philip Davies
Gillian Rix
Lesley Scordellis
Judy Smith
Catherine Shacklady
Carol Terry
Hillary Trigg
Pamela Woodroffe
Michael Dudley
Geoffrey Forster
Vaidotas Gerikas
Michael Golden
Keith Hester
SECOND SOPRANOS
Jacqueline Alderton
Anna Arthur
SECOND ALTOS
Laurie James
Valerie Adam
Chris Newbery
Marion Arbuckle
Josephine Field
Sally Bailey
Chris Peters
Abby Freeman
Evelyn Beastall
Philip Stanford
Kieron Walsh
Mandy Freeman
Iris Bennett
Anna-Maria Gross
Mary Clayton
Angela Hand
Andrea Dombrowe
Judith Lewy
Carolyn Edis
Krystyna Marsden
Lois McCabe
Alison Palmer
Valerie Garrow
Barbara Hilder
Carol Hobbs
David Ross
SECOND BASSES
Dan Adderley
Peter Andrews
Roger Barrett
Alan Batterbury
Kate Peters
Sheila Hodson
Rosalind Plowright
Norman Carpenter
Yvonne Hungerford
James Garrow
Susannah Priede
Brenda Moore
Alison Rawlinson
Jean Munro
Ann Sheppard
Kate New
Maggie Smith
Michael Jeffery
Stephen Jepson
Neil Martin
Prue Smith
Kathy Stickland
Maxwell New
Alex Stevens
Rachel Wheldon
Christine Wilks
John Parry
Suleen Syn
Roger Penny
Elizabeth Wilde
Nigel Pollock
Maralyn Wong
Michael Taylor
Beatrice Wood
Elisabeth Yates
Guildford Philharmonic Choir 13
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ANNA ARTHUR & ASSOCIATES
SOLICITORS
WISH THE
GUILDFORD PHILHARMONIC CHOIR
EVERY SUCCESS FOR THIS EVENING
FIERE FACIAS HOUSE, HIGH STREET, RIPLEY, SURREY GU23 6AF
TEL: 01483 222499 - FAX: 01483 222766
14 Guildford Philharmonic Choir
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Guildford Philharmonic Choir 15
VERDI REQUIEM
in
Guildford Cathedral
on
Saturday 27" March, 7.30 pm
with
Wimbledon Choral Society
New Queen’s Hall Orchestra
Ben’s Collectors’ Records
5 Tunsgate Guildford GU1 3QT
01483 534562
Classical, Jazz
,
And Popular Music
|
* CDs * Records * Tapes
*
bought and sold
Monday—Saturday 10 am—6 pm
Sunday 11am—5 pm
Visit our web-site: www.bensrecords.co.uk
16 Guildford Philharmonic Choir
¢ (“iaflsgimé Specialists ¢
Hui)‘; E}X I)a& mei
¢ Separate Classical Department
¢ Listening Facilities
¢ Sheet Music
¢ Research & Special Orders
¢ All Major Credit Cards Accepted
Man Sat Qam to 5.30pm
BACH
MASS IN B MINOR
Saturday 8" May at 7.30pm
Guildford Cathedral
THAMES PHILHARMONIC CHOIR
Thames Festival Orchestra
Conducted by John Bate
Box Office: 020 8998 3529 or 01483 444334
0
Guildford Philharmonic Choir 17
Guildford Philharmonic Choir Functionaries
President
Sir David Willcocks CBE MC
Chorus Director
Jeremy Backhouse
Accompanist
Jeremy Filsell
The Committee:
Chairman
John Trigg
Hon. Treasurer
Bob Cowell
Patrons Contact and
Tel: 01483 770896
Mailing List
Hon. Secretary
Membership Secretary
Miranda Champion
Noreen Ayton
Tel: 01932 221918
Projects and
Stephen Jepson
staging overview
Fundraising,
Jackie Alderton
social events and
ladies’ uniforms
Minutes Secretary
Carol Terry
Website coordinator
Michael Taylor
Members
Hilary Trigg
Rachel Edmondson
Alison Rawlinson
Other responsibilities:
Publicity
Alan Batterbury
Music Librarian
Christine Medlow
Ticket Sales
Roger Penny
Tel: 01483 444334
Orchestra and
Stephen Arthur
soloist liaison
Front of House
18 Guildford Philharmonic Choir
Chris Alderton
Patrons and Friends of Guildford Philharmonic Choir
Guildford Philharmonic Choir is extremely grateful to all Patrons
and Friends for their financial support.
Honorary Patrons
Mr.Bill Bellerby MBE and Mrs.Doreen Bellerby MBE
Patrons
Dr. J.B.R. Arbuckle
Mrs. Carol Hobbs
Dr. Roger Barrett
Mr. Laurie James
Mrs. E.A. Batterbury
Mr. & Mrs. Michael Kilkenny
Mr.& Mrs. Peter Bennett
Mr. & Mrs. Michael Longford
Mr. G.S. Blacker
Mr. Ron Medlow
Mrs. J.G. Blacker
Mrs. Christine Medlow
Mrs. Ingrid Brockdorff
Dr. Roger Muray
Mr. & Mrs. R.H.R. Broughton
Mr. & Mrs. Maxwell S. New
Mr. H.J.C. Browne
Sue O'Connell
Canon Patricia Cousins
Mrs. Maryel Cowell
Penny & Hayter Opticians
Mr. Michael Dawe
Mrs. Jean Radley
Mrs. Margaret Dentskevich
Mr. & Mrs. B. Reed
Mr. & Mrs. John Parry
Mr. & Mrs. G. Dombrowe
Mr. Michael Shortland
Dr. Simon Doran
Dr. & Mrs. M.G.M. Smith
Executive Presentation
Mrs. Y.M.L. Tiplady
Golden and Associates
Miss Enid Weston
Friends
Dega Broadcast Systems
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, Tel: 01483 770896 or
email: patrons@guildfordphilharmonicchoir.org.uk.
Guildford Philharmonic Choir 19
Last concert for this season:
‘A Russian Spectacular’
Borodin:
Polovtsian Dances
Rachmaninov:
Prokofiev:
Piano Concerto No.3 in D minor
Alexander Nevsky
Jeremy Filsell (piano)
Teresa Shaw (mezzo-soprano)
Guildford Philharmonic Choir
Forest Philharmonic Orchestra
Conductor Jeremy Backhouse
Guildford Cathedral, Saturday 22 May
Tickets £18, £15, (Student Concessions)
Tel: 01483 444334
Future concerts:
30 October 2004
Elgar:
The Dream of Gerontius
March 2005
Programme to include
Rossini:
Stabat Mater
May 2005
Vaughan Williams:
Dona nobis pacem
Karl Jenkins:
The Armed Man
(A Mass for Peace)
29 October 2005
Holst:
Mendelssohn:
The Hymn of Jesus
Symphony No 2 in B flat major
‘Lobgesang’ (Hymn of Praise)
20 Guildford Philharmonic Choir
Programme production:
Cover design by Kate Peters
Text by Jo Andrews, Brenda Moore and Anne Shepard
Printed by Alison Rawlinson at ARCS Desktop Publishers