LeSR
Guildford Philharmonic Choir
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VVY
President Sir David Willcocks CBE MC
Russian Spectacular
Borodin: Polovtsian Dances
Rachmaninov: Piano Concerto No 3 in D minor
Prokofiev: Alexander Nevsky
Jeremy Filsell
Piano
Teresa Shaw
Mezzo Soprano
Forest Philharmonic Orchestra
Jeremy Backhouse
Saturday 22 May 2004 at 7.30pm
Guildford Cathedral
The staging for this concert is owned by
the Association of Surrey Choirs. To
G
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
Financially assisted by
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Guildford Philharmonic Choir
Alexander Borodin (1833 — 1887)
Borodin was born in St Petersburg, the illegitimate son of a Georgian Prince,
who had him registered as the son of one of his serfs. He received a good
education, including piano lessons, but it was chemistry in which he
specialised, and he did not receive any formal lessons in composition until
1863, when he was taught by Balakirev.
Borodin was a member of 'The Mighty Handful', also known as 'The Five' in
English-speaking countries. This was a group of the principal nationalist
composers, brought together under the leadership of Balakirev (the other
members were Cui, Rimsky-Korsakov and Mussorgsky) with the aim of
producing a specifically Russian music, rather than imitating older European
music, and following the example of Glinka, their forerunner. Collectively
they influenced and taught many of the great Russian composers who were
to
follow,
including
Shostakovich.
Sergei
Prokofiev,
Igor
Stravinsky
and
Dmitri
Although he was the last member of 'The Five', and acknowledged himself
as a musical dilettante, Borodin was in the first rank as a scientist, winning
distinction as a professor of chemistry at the Academy of Medicine in
St Petersburg. He was also a frequent speaker at seminars and conferences
all
over
Europe.
His
busy
professional
life
meant that
he
composed
somewhat irregularly — his total output was only 21 works and at his death
he left a number of scores unfinished, to be completed by his friend RimskyKorsakov and others.
Polovtsian Dances (from Prince Igor)
Borodin's greatest work, the opera Prince Igor, remained unfinished at his
death in 1887, after 18 years on the drawing board. It was finally completed
and orchestrated by his friends Rimsky-Korsakov and Glazunov. The
libretto, by Borodin himself, is based on a 12th-century epic which tells how
Prince Igor defended Russia against the invading a barbarous and nomadic
people known as the Polovtsi. After Prince Igor and his son are captured in
battle by the Polovtsi, their leader, the magnanimous Khan Konchak,
entertains his prisoners lavishly as guests with the exotic spectacle known
as the
Polovisian Dances. The warriors and slaves, boys and young
maidens of the Khan's retinue sing and dance in sequence before him,
bringing the second act of the opera to a spectacular conclusion.
The first dance is introduced by the percussion. Its strong, heavy rhythm
wonderfully depicts the barbarous character of the Polovtsian people. This is
followed by a quicker, bouncier dance. Four descending notes on strings
provide an atmosphere of intrigue, which then dissolves into the gentle and
lyrical Maidens' Dance, from which came the lovely melody known as
A Stranger in Paradise. And finally, brief echoes from preceding sections
and singing the praises of Khan Konchak, the set is brought to a momentous
climax.
Guildford Philharmonic Choir
3
Sergei Rachmaninov (1873 - 1943)
Rachmaninov's place in Russian music puts him outside the national school
initiated by Glinka and followed by 'The Mighty Handful'. They were mainly
associated with St Petersburg, whereas Rachmaninov’'s sympathies were
almost entirely with the Moscow musical group, who leaned strongly to the
west, especially Germany, for their musical forms. Tchaikovsky (1840-93)
was the most brilliant of these, and gave considerable encouragement to the
young Rachmaninov who, in turn, much admired his older compatriot.
Although an outstanding pianist, Rachmaninov considered himself mainly a
composer and by the age of 22, had tackled that most challenging of forms,
the symphony. Behind him already were his Piano Concerto No 1, a one-act
opera, some songs and a Suite for two pianos. Rachmaninov continued to
compose
prolifically
until
he
left
Russia
in
exile
after the
Communist
Revolution of 1917. He then toured the world extensively as one of the most
distinguished pianists of the day, an activity that enabled him to support his
family but left less time for composing. For practical reasons he eventually
based himself in the United States, and died in Beverly Hills in 1943.
Piano Concerto No. 3 in D minor, Op. 30
Allegro ma non tanto
Intermezzo: Adagio
Alla breve
The third piano concerto, which is the most complex and interesting of the
four that Rachmaninov wrote, was first performed in New York in 1909. In
the first two bars, the orchestra establishes a basic rhythm which recurs
persistently throughout the work in various forms. The piano enters at Bar 3
with the first theme, which is developed by the strings. The second subject
appears as a dialogue between piano and orchestra which, after a solo
statement on the piano, is extended, leading to the development section.
This features the original rhythmic figure and the first phrases of the opening
theme. An exceptionally brilliant cadenza follows and leads the movement to
a hushed and mysterious close with the original version of the second
subject.
In the main, the second movement consists of a set of variations based on
the opening theme played by the solo oboe. The piano states the theme in
several increasingly impassioned, contrasted versions which finally reach a
climax for piano and orchestra. A passage in faster tempo follows, with the
piano concentrating on brilliant decorative passages while the woodwind
play on an elusive phrase derived from the main theme of the first
movement. A sorrowful adagio theme is presented by the orchestra which,
just as it appears to be approaching the depths of despair, is interrupted by
the piano heading dramatically into the finale, which follows without a break.
The first and last movements of the concerto are closely linked and the
majority of the material in the finale derives from themes that have already
been exploited in different forms. The opening theme, by the piano, is based
4
Guildford Philharmonic Choir
on the rhythm of the first theme in the first movement, as is the second
subject. These two themes are developed more and more emphatically and
brilliantly until a climax is reached. A downward octave run on the piano
leads
to
the
final
variation
for
piano
and
orchestra;
this
makes
this
conclusion all the more effective as it is the focal point of a work where
nearly all the material is interrelated.
~ INTERVAL ~
Sergei Prokofiev (1891 - 1953)
Prokofiev was given piano lessons at the age of 3 by his mother, who
encouraged him to compose. He studied privately with Gliere from 1903-4,
and entered the St Petersburg Conservatory in 1904, studying harmony and
counterpoint with Lyadov and orchestration with Rimsky-Korsakov.
In
1918,
when
life
under the
Bolsheviks
began
to
interfere
with
his
composing, Prokofiev left Russia for America and France. When he returned
to the Soviet Union in 1936, he was well-established in the West as a
composer-pianist-conductor,
the
widely-hailed
creator
of
the
Classical
Symphony and Scythian Suite, the first three piano concerti and the first for
violin, the Love For Three Oranges, and much more. He said of his decision
to return to Stalin's Russia "In Europe, we all have to fish for performances,
cajole conductors and theatre directors; in Russia they come to me - | can
hardly keep up with the demand...".
However, he was almost immediately trapped in a situation from which he
could not extricate himself. Although he wrote many works glorifying the
regime, he was resented for his international past and connections, his
foreign manner and arrogance. In 1948 Prokofiev was accused by the Soviet
authorities of anti-democratic tendencies,
and
his artistic freedom
was
permanently curbed, although he continued to be productive almost until the
day he died, only hours before the death of his principal persecutor, Joseph
Stalin.
The Nevsky score was not Prokofiev's first for the medium. His credits show
such fine prior efforts as the music for Lieutenant Kije (1933-4) and The
Queen of Spades (1936). However, a concert tour abroad (1937-8) included
a visit to Los Angeles, where several visits to local film studios seemed
especially stimulating to the composer as he noted the sort of musical
techniques being used in Hollywood at the time. He hoped deeply that a film
assignment would come to him soon after his return home.
That assignment did come quickly, in the form of the musical score of Sergei
Eisenstein's
grand
spectacular
and
patriotic
film
Alexander
Nevsky,
produced in 1938. Eisenstein was already established as one of the greatest
cinema directors of the world,
and the film had an overt propaganda
Guildford Philharmonic Choir
5
purpose: to raise the morale of the Russia populace in the likely event of a
war with Germany. Eisenstein wrote a screenplay about a medieval hero,
Grand Duke Alexander of Novgorod, who in 1240 (at the age of 20) had
defeated a Swedish army in a battle on the River Neva (for which feat he
was dubbed "Alexander of the Neva" or "Alexander Nevsky"). The film
depicts the victory of Nevsky over a large force of invading Teutonic knights
2 years later, in a battle on the frozen surface of Lake Chudskoye.
Although the film was motivated purely by the propaganda needs of the
Soviet state, it is nonetheless one of the great achievements in the history of
film, an astonishing fusion of image, dialogue, sound effects and music, and
one of those very rare occasions when a great film is accompanied by a
superb score. Hardly any later scenes of armies in hand-to-hand combat
could exist without the example of Eisenstein's great battle on the ice.
Soon after it was released, to unprecedented acclaim, the film was
withdrawn from circulation upon the signing of the German-Soviet pact of
1939. Possibly this fact motivated Prokofiev to salvage his excellent score
by turning it into a cantata for concert use. It remains one of his finest
symphonic scores. Every musical cue in the film is substantially rewritten for
the cantata to provide greater continuity and a clearer musical shape. Still,
the sections of the cantata follow the sequence of events in Eisenstein's film.
The music therefore provides a 'mind's eye' illustration of the story.
Alexander Nevsky Op. 78
Cantata for Chorus (with mezzo-soprano solo) and Orchestra
T
Russia Beneath the Yoke of the Mongols
URSM.Ll
Song About Alexander Nevsky
The Crusaders in Pskov
"Arise, Ye Russian People"
The Battle on the Ice
The Field of the Dead
Alexander's Triumphal Entry into Pskov
1. Russia Beneath the Yoke of the Mongols
The film opens on a scene of desolate empty steppe land littered with signs
of the ravages wrought by the Mongols. Prokofiev's musical equivalent of
this desolation is a keening melody played in unison, four octaves apart, with
nothing but emptiness in between. The oboes' lamenting tune suggest
poignant loss, while the muted violas and violins provide an image of the
feather-grass blowing on the hillside — the only thing moving.
6
Guildford Philharmonic Choir
2. Song About Alexander Nevsky
A tranquil lake scene; Alexander and his comrades are fishing with extended
nets. This is basically a male chorus, although with some alto reinforcement,
celebrating Alexander's victory over the Swedes 2 years earlier.
A i bilo delo na Nevereke
na Nevereke, na bolshoi vode.
Tam rubili mi zloye voyinstvo
It happened on the Neva River,
On the Neva, the great water.
There we cut down our foe's pick of
fighting men,
Zloye voyinstvo, voisko shvedskoye.
Their pick of fighting men,
the army of Swedes.
Oh! Kak bilis mi, kak rubilis mi!
Ah! How we did fight, how we
Oh! Rubili korabli po dostochkam!
Ah! We smashed their ships of war
routed them!
into splinters!
Nashu krovrudu ne zhaleli mi,
za velikuyu zemliu russkuyu.
In the fight our red blood was freely shed
For our great land, our native
Russian land.
Ey! Gde proshol topor, bila ulitsa,
Hey! Where the broad-axe swung was
an open street.
gde letelo kopyo, pereulochek!
Through their ranks ran a lane where
polozhili mi shvedov nemchinov,
We mowed down the Swedes, the
kak kovil travu, na suhoi zemle.
Just like feather-grass, on the dry earth.
Ne ustupim mi zemliu russkuyu.
Kto pridiot na Rus, budet na smert bit!
We shall never yield native Russian land,
They who march on Russia shall be
spears ran!
invading troops;
put to death.
Podnialasia Rus suprotiv vraga,
podnimis na boi, slavnii Novgorod!
Rise against the foe, Russian land, arise!
Arise for battle, glorious Novgorod!
3. The Crusaders in Pskov
The town of Pskov has fallen to the invading Teutonic knights. The
conquerors, representatives of the Roman form of Christianity, prepare a
pyre on which they threaten to burn any citizen of Pskov who fails to convert
to their religion. They execute the priests accompanying them, intoning a
grimly Latin piece of pseudo-Gregorian and hypocritical self-righteousness
while this gruesome activity is going on. A warlike theme suggestive of
aggression and invasion blares in the brass of the orchestra, the heavy
brass and dissonant chords mainly in a minor key starkly depict the
invaders, as does their heavy tread and ecclesiastical Latin. Prokofiev
created his own plainsong melody and evidently assembled the Latin
sentence too, with scant attention to sense or grammatical correctness:
Peregrinus expectavi
Pedes meos in cymbalis.
Guildford Philharmonic Choir
A foreigner, | expected
My feet to be shod in cymbals.
7
4. "Arise, Ye Russian People"
This stirring call to battle speaks for itself and accompanies the enthusiastic
preparations of the citizens of Novgorod to defend the Motherland. In this
heroic chorus of defiance, Prokofiev evokes the spirit of Russian composers
stretching in an epic Russian style back through Mussorgsky to Glinka. The
melody of the contrasting middle section — almost folk-like in directness —
becomes the single most important theme of the film score.
Vstavaite, ludi russkie,
na slavnii boi, na smertnii boi,
vstavaite, ludi volniye,
za nashu zemliu chestnuyu!
Arise to arms, ye Russian people;
In battle just, in a fight to death.
Arise ye people free and brave,
Defend our fair native land!
Zhivim boitsam pochiot i chest,
a miortvim slava vechnaya!
To living warriors, high esteem;
Immortal fame to warriors slain.
For native home, for Russian sail,
Arise ye people, Russian folk!
Za otchyii dom, za russkyii krai,
vstavaite, ludi, russkie!
Na Rusi rodnoi, na Rusi bolshoi ne
In our great native Russia no foe
bivat vragu:
shall live:
Podnimaysia, vstan, mat rodnaya Rus!
Rise to arms, arise, native mother
Vragam na Rus ne hazhivat,
Russia!
No foe shall march across
Russian land,
polkov na Rus ne vazhivat,
putei na Rus ne vidivat,
polei Rusi ne taptivat.
No foreign troops shall raid Russia;
Unseen are the ways to Russia
No foe shall ravage Russian fields.
5. The Battle on the Ice
Pictorially in the film, and equally spectacularly in the music, this is the most
extended and climatic experience, and one of Prokofiev's finest
achievements, a virtuosic musical depiction of the course of battle.
Although it is April, Lake Chudskoye is still frozen solid; the Russian
peasants and townspeople await the invasion in the bitter cold. Edgy but
quiet strings suggest the dawn mist over the lake. Faintly, the Teuton
invasion theme echoes in a muted trombone. A sinister ostinato figure
signals their distant approach, the hoofbeats of their horses trotting
implacably forward and the re-singing of their arrogant chant. A tuba theme
hints at the brutal power of the attacking forces. Of the Russians, we hear
first an echo of Arise, Ye Russian People, then a strangely lively optimistic
theme. Suddenly, the whole tempo quickens. The two armies meet; the
themes clash dissonantly, with slashing musical gestures in trumpets and
violins. Although the Teutons have the advantage of weight and armour, the
Russians hold their ground more bravely than expected.
8
Guildford Philharmonic Choir
Eventually Alexander challenges the leader of the Teuton knights to single
combat and defeats him. Now the course of battle changes, and the
peasants' folk-like marching song begins to dominate the action.
Suddenly, in the spring sunshine, the ice of the lake cracks under the heavy
armour of the mounted knights, and the invading army sinks to its death in
the icy waters. The battle has ended unexpectedly; the astonished peasants
looking out at what little remains of the enemy force, as the orchestra
reiterates a poignant phrase from the fourth movement:
Peregrinus expectavi
Pedes meos in cymbalis est
A foreigner, | expected
my feet to be shod in cymbals.
Vincant arma crucifera!
Hostis pereat!
Victory for the arms of the crusaders!
Let the enemy perish!
6. The Field of the Dead
This is a moving lament for mezzo-soprano with an accompaniment of little
beyond strings. Night is falling; many Russians lie dead or wounded where
they have fallen. A young woman is heard, singing of her search for her
brave lovers. She has vowed to marry whichever of two men has proven the
bravest in battle.
Ya poidu po poliu belomu,
polechu po poliu smertnomu.
Poishiu ya slavnih sokolov,
zhenihov moyih, dobrih molodtsev.
| shall go across the snow-clad field,
| shall fly above the field of death.
| will search for those glorious falcons,
Kto lezhit, mechami porublenyii,
kto lezhit, streloyu poranenyii.
Napoyili oni krovyu aloyu
zemlu chestnuyu, zemliu russkuyu.
Here lies one felled by the sword,
Here lies one impaled by an
arrow shaft.
With their blood they have watered
Our native soil, our Russian fields.
Kto pogib za Rus smertyu dobroyu,
potseluyu tovo v ochi miortviye,
He who died a noble death for Russia,
Shall be blessed by my kiss on his
My betrothed, the brave young men.
dead eyes.
a tomu molodsu, shto ostalsia zhit,
And to the brave young man
budu vernoi zhenoi, miloi ladoyu.
| shall be a true wife, and
a loving friend.
Ne vozmu v muzhya krasivovo:
krasota zemnaya konchayetsa.
I'll not be wed to a handsome man:
Earthly charm and beauty fast fade
A poidu ya za hrabrovo.
Otzovitesia, yasni sokoli!
Guildford Philharmonic Choir
who still lives,
and die.
But | will go to a valiant man.
Heed my words, bold falcons!
7. Alexander's Triumphal Entry into Pskov
Alexander's troops return to Pskov in triumph, brining their captives with
them. Weddings are arranged, the dead are mourned, and traitors are
punished. But most of all, everyone celebrates the end of the fighting in a
choral hymn of thanksgiving with song, bells and dances.
Na velikyii boi vixodila Rus
To a great battle Russia went forth,
Russia has vanquished the foe.
Voroga pobedila Rus.
Na rodnoi zemle ne bit vragu.
In our native land no foe shall live.
Kto pridiot, budet nasmert bit!
Foes who come shall be put to death!
Vesilisia, poi, mat, rodnaya Rus!
Ne vidat vragu nashih russkih syol:
Celebrate and sing, mother Russia!
In our native land no foe shall live.
The enemy will not set eyes on our
Kto pridiot na Rus, budet nasmert bit!
They who march on Russia will be put
Na Rusi rodnoi, na Rusi bolshoi ne
to death!
In our native Russia, our great Russia,
bivat vragu!
no foe shall live!
Vesilisia, poi, mat, rodnaya Rus!
Celebrate and sing, native mother
Na velikyii prazdnik sobralasia Rus!
For the great celebration all Russia
Vesilisia, Rus, rodnaya mat!
has gathered.
Celebrate and rejoice,
Russian motherland!
Na rodnoi Rusi ne bivat vragu.
Russian villages:
Russia!
The notes in this programme include material supplied through the
Programme Note Bank of Making Music,
the National Federation of Music Societies.
NRANRRARRRRRRRRRARRRRRRARRARRRIRRARIRARRARRRIRARIRARNARARRAIRAIRE
ibvB|e
Bouquets 1
From the American Celebration:
‘What
a
versatile
programme,
with
group
you
some fiendish
are
-
music
this
was
a
sung
with
passion,
lovely
balanced by the quiet, beautifully reflective a capella pieces, &
the fun of Copland's Old America.”
)bevSy
AARRRARRARRIZIRRRRBRNRNRNRRIBRABRRRNRIREIRPRIRIERNRRIRERIRREIRIER
10
Guildford Philharmonic Choir
Jeremy Filsell
"Filsell's astonishing interpretative and
technical skills make for compulsive
his series sets the
listening...
standard for Dupré interpreters of the
future and is a landmark in the history
of organ recordings... few British
players can match his flair... superbly
insightful... truly distinguished,
compelling and unquestionably
authoritative performances." So
commented Gramophone magazine
on the 12 CDs comprising the premiere recordings of Marcel Dupré's
complete organ works for Guild in 1998-99: volumes 7 and 11 were
nominated as Gramophone magazine's Critics' Choices in 2000 and 2001.
Jeremy Filsell has established a concert career as one of only a few virtuoso
performers on both the Piano and the Organ. He has performed as a solo
pianist in Russia, the USA and across the UK, appearing regularly at
St John's, Smith Square and the Wigmore and Conway Halls in London, and
has broadcast and recorded with the BBC Singers and Stephen Cleobury,
the BBC Symphony and Concert Orchestras under Pierre Boulez and Barry
Wordsworth, the New London Orchestra and Ronald Corp. His Concerto
repertoire encompasses Mozart and Beethoven through to Rachmaninov,
Shostakovich and John Ireland. In recent years, he has recorded for Guild
the solo piano music of Eugene Goossens, Herbert Howells, Carl Johann
Eschmann, Bernard Stevens and the two Sonatas of Liszt's pupil Julius
Reubke. Classic CD magazine commented that in his pianism "he does not
attract for his virtuosity but for his ability to make the music unfold with
irresistible logic and clarity: music-making of the highest calibre."
As an organist, his acclaimed discography comprises solo discs for Guild,
Signum, Herald and ASV. He has recorded regularly for BBC Radio 3 in solo
and concerto roles and an extensive solo career has seen recent recitals
and masterclasses given in the UK, USA, Germany, France, Finland and
Norway.
A Limpus prize winner for FRCO and Silver Medallist of the Worshipful
Company of Musicians as a teenager, he was an Organ Scholar at Keble
College Oxford University and subsequently studied Piano as a postgraduate under David Parkhouse and Hilary McNamara at the Royal College
of Music. Jeremy Filsell teaches at the Royal Academy of Music, London
and Eton College, and is a Lay Clerk in the choir of St George's Chapel,
Windsor Castle. Forthcoming recital engagements are in the UK, USA,
Switzerland and Germany, and later this year he will record the six Organ
Symphonies of Louis Vierne in France for Signum. He is also engaged on a
Doctoral thesis in analytical and contextual study of the music of Marcel
Dupré.
Guildford Philharmonic Choir
11
Teresa Shaw
Teresa Shaw was born in London and studied at
Manchester University and the Royal Academy of
Music, winning many major awards and scholarships.
Since completing her studies she has developed an
international career in opera, oratorio and recitals,
performing at all the major London venues, and visiting
many British and international festivals.
WE8
Teresa has appeared with English National Opera
(Hope, On‘eo) Opera North (Second Lady, The Magic Flute) Castleward
Opera (Komponist, Ariadne Auf Naxos) and City of Birmingham touring
Opera (2nd Witch, Macbeth). Her roles include Dorabella, Cherubino,
Rosina, Carmen, Mercedes, Suzuki and Sesto. Her repertoire includes a
number of contemporary operas, with recent performances including
Hagomoro by Jo Kondo, which she has also recorded with the London
Sinfonietta. She appeared in Nixon in China with the London Symphony
Orchestra, and in John Woolrich’'s The house of Cross Desires in Stuttgart.
She has performed a number of world premiers including The Wild Man by
Nicola Lefanu at the Aldeburgh Festival, East and West by lan McQueen at
the Almeida Fesival and The Death of Klinghoffer by John Adams in Vienna
and Lyon. Other roles include Helen (King Priam), Beauty (Beauty and the
Beast) and Woman (Triptych by Alexander Goehr).
Recent concert performances have included Castiglioni's Cantus planus with
the London Sinfonietta, Berio’'s Sinfonia with the Berlin Philharmonic
Orchestra, and Stravinsky's Cantata and Kurt Weill's Der Silbersee for the
proms. Engagements during last season included Tagebuch by Eisler with
the London Sinfonietta, La Demoiselle Elu by Debussy, Messiah with the
Huddersfield Choral Society and concerts with the 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 Eliot Gardiner,
a CD of English Choral music with Sir Richard Hickox and a Christmas CD
with the Taverner Consort.
12
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. 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’ recent 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. Their CD of Howells' Requiem and
Frank
Martin's Mass For Double Choir has been released by Signum Records
in
January, and a CD of Brahms' Ein deutsches Requiem, in a piano
duet
version with tonight's soloist Jeremy Filsell, will be released later this
the Guild label.
year on
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 Symphony
No 8, the monumental ‘Symphony of a 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.
Guildford Philharmonic Choir
13
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
Forest and broadening the orchestra’s repertoire of orchestral and choral
works.
Guildford Philharmonic Choir warmly welcomes the orchestra back for their
second concert this season. 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 last season’s tremendous
performance of Mahler's Symphony No 8. In March of this year, the
orchestra provided the challenging and lively accompaniment for the Choir's
most recent concert of American music.
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
14
Guildford Philharmonic Choir
Hall, London, and at Brighton. The 2002/03 season started with a
performance of Dvofak’s rarely heard and beautiful Requiem and was
followed by a powerful performance of Verdi's 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 the Guildford
Philharmonic Orchestra for the annual Guildford Borough concert. This was
followed in March by a concert of American music, featuring works by
Barber, Bernstein, Copland, Stravinsky and others.
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.
RARRRRRRARRRRR
AR RRARRRRRARRBARIRA
RRRRRRI
RRFARRARRIRRRR
RR
SUOGILTBY
S9Gay
Bouquets 2
From the American Celebration:
“Well done! | thoroughly enjoyed the entire concert. And you
needn't have worried about your Hebrew pronunciation; it was
spot on (whenever the music was slow and quiet enough to
hear it!). | was most impressed.” [From a member of the audi-
ence, fluent in Hebrew]
“This was a super programme, & the piece that really made it
for me was unexpected & from a totally unknown composer
[Randall Thompson] — the beautifully simple 'Alleluia’. The
choir was so 'together' & it sounded just perfect.”
ARNARRRRRRBBRBRRBRRINRRRRRRRBRIBRBRRRIRRIRBIRRIRBREIRIREEE
Guildford Philharmonic Choir
SULGY
15
Guildford Philharmonic Choir
FIRST SOPRANOS
Noreen Ayton
Helen Beevers
Mary Broughton
Sara Dann
Rachel Edmondson
Calli Hayes
Mo Kfouri
Hilary Minor
Susan Norton
Robin Onslow
Rachel Owen
Margaret Parry
Lesley Peek
Margaret Perkins
Gillian Rix
Judy Smith
Carol Terry
SECOND SOPRANOS
Jacqueline Alderton
Gemma Allred
Josephine Field
Mandy Freeman
Angela Hand
Judith Lewy
Krystyna Marsden
Lois McCabe
Alison Palmer
Kate Peters
Rosalind Plowright
Susannah Priede
Jill Scott
Ann Sheppard
Maggie Smith
Kathy Stickland
Christine Wilks
FIRST TENORS
Bob Cowell
lan Landsborough
Nick Manning
John Trigg
FIRST ALTOS
Marion Adderley
Penny Baxter
Monika Boothby
Jane Brooks
Valerie Edwards
Celia Embleton
Ingrid Hardiman
SECOND TENORS
David Baxter
Valerie Leggatt
Bob Bromham
Kay McManus
Leslie Harfield
Christine Medlow
Rosalind Milton
FIRST BASSES
Penny Muray
John Britten
Jacqueline Norman
Penny Overton
Lesley Scordellis
Catherine Shacklady
Philip Davies
Michael Dudley
Terence Ellis
Geoffrey Forster
Jane Sweaney
Hilary Trigg
Vaidotas Gerikas
Michael Golden
Pamela Woodroffe
Keith Hester
Laurie James
SECOND ALTOS
Sally Bailey
Evelyn Beastall
Chris Newbery
Iris Bennett
Chris Peters
David Ross
Philip Stanford
Mary Clayton
Andrea Dombrowe
SECOND BASSES
Carolyn Edis
Valerie Garrow
Barbara Hilder
Dan Adderley
Roger Barrett
Alan Batterbury
Carol Hobbs
Norman Carpenter
Alex Curtis
James Garrow
Nick Gough
Michael Jeffery
Stephen Jepson
Sheila Hodson
Yvonne Hungerford
Brenda Moore
Jean Munro
Kate New
Prue Smith
Alex Stevens
Rosey Storey
Suleen Syn
Maralyn Wong
Neil Martin
Maxwell New
John Parry
Michael Taylor
Elisabeth Yates
16
Guildford Philharmonic Choir
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
Staging overview
Fundraising,
Stephen Jepson
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
Michael Taylor
Tel: 01483 444334
Orchestra and
soloist liaison
Stephen Arthur
Front of House
Chris Alderton
Guildford Philharmonic Choir
17
Patrons and Friends of Guildford Philharmonic Choir
Guildford Philharmonic Choir is extremely grateful to all
Patrons and Friends for their financial support.
Patrons
Dr. J.B.R. Arbuckle
Dr. Roger Barrett
Mrs. E.A. Batterbury
Mr. Bill Bellerby MBE
Mrs. Doreen Bellerby MBE
Mr. & Mrs. Peter Bennett
Mr. G.S. Blacker
Mrs. J. G. Blacker
Mrs. Ingrid Brockdorff
Mr. & Mrs. R.H.R. Broughton
Mr. H.J.C. Browne
Canon Patricia Cousins
Mrs. Maryel Cowell
Mr. Michael Dawe
Mrs. Margaret Dentskevich
Mr. & Mrs. G. Dombrowe
Dr. Simon Doran
Executive Presentation
Golden and Associates
Mrs. Carol Hobbs
Mr. Laurie James
Mr. & Mrs. Michael Kilkenny
Mr. & Mrs. Michael Longford
Mr. Ron Medlow
Mrs. Christine Medlow
Dr. Roger Muray
Mr. & Mrs. Maxwell S New
Mr. & Mrs. John Parry
Penny & Hayter Opticians
Mrs. Jean Radley
Mr. & Mrs. B. Reed
Mr. Michael Shortland
Dr. & Mrs. M.G.M. Smith
Mrs. Y.M.L. Tiplady
Miss Enid Weston
Friends
Dega Broadcast Systems
Mrs. Jean Shail
Mrs. Joyce Feather
Mrs. K.C. Stickland
New Patrons and Friends are always welcome. If you are interested in
participating, please contact GPC Patrons Secretary Bob Cowell,
Tel: 01483 770896 or email: patrons@guildfordphilharmonicchoir.org.uk.
18
Guildford Philharmonic Choir
Future concerts:
30 October 2004
Elgar:
The Dream of Gerontius
12 March 2005
Rossini:
Stabat Mater
28 May 2005
Vaughan Williams:
Dona nobis pacem
Karl Jenkins:
The Armed Man
(A Mass for Peace)
29 October 2005
Holst:
The Hymn of Jesus
Mendelssohn:
Symphony No 2 in B flat major
‘Lobgesang’ (Hymn of Praise)
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Bougquets 3
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‘I very much enjoyed the concert - it's always interesting to
hear from the other side a few things I've sung in (Stravinsky,
Bernstein and some of the Copland songs).”
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Guildford Philharmonic Choir
19
L'Integrale des Symphonies
Pour Orgue
JEREMY FILSELL
{Organ)
St George's Chapel Windsor Castle
Saturday 10 July 2004
Entrée libre
Anillustrated talk on the life and Works of Louis Vierne
by DAVID GAMMIE
10.15 am Symphonles 1 & 2
12 noon lllustrated Talk
2.30pm Symphonies 3 & 4
5.15pm Choral Evensong
6.30pm Symphonies 5 & 6
For free tickets please apply in writing to
Theé Chapter Office, TheClc
;
with the names of those who wish to attend and a <1am;)ed addres
Hlease affow time forsecunty procedures at Windsor Castle which opens at J) B0am
Entry and re-entry to the Castie may involve the preduction of photographic 1D
{(such as a passport or driving licence) in addition 16 a ticket.
Research & S
All Majorw
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20
Guildford Philharmonic Choir
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After the concert why not complete your
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Guildford Philharmonic Choir
23
Programme production:
Cover design by Kate Peters
Coordinator: Jo Andrews
Advertising: Ann Sheppard
Notes and editing: Brenda Moore
Printed by Alison Rawlinson at ARCS Desktop Publishers