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Contemporary Choral Classics Cycle: Year 1
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Guildford Philharmonic Choir’s plans for the future?
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to your company and the choir.
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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.
Financially assisted by
suumow
=
S
5 O RO UCH
Guildford Philharmonic Choir
President Sir David Willcocks CBE MC
Holst: Mars, The Bringer of War
from The Planets, Op 32 (1919)
Vaughan Williams: Dona Nobis Pacem (1936)
Karl Jenkins: The Armed Man: A Mass for Peace (2000)
Sally Barber
Soprano
Martin Johnson
Baritone
Muezzin Jameel
Muezzin
Forest Philharmonic Orchestra
Jeremy Backhouse
14 May 2005
Guildford Cathedral, 7.30 pm
Guildford Philharmonic Choir
3
Vaughan Williams compiled his text from Books of the Bible, poetry by the famous
19th century American poet Walt Whitman (1819 — 1892) and by John Bright
(1811 — 1889) a British politician and noted orator who was a founder of the Anti-
Corn Law League (1839). Bright was also a member of the Peace Society; his
most memorable speech,
The Angel of Death, was delivered on 23 February
1855, denouncing the Crimean War (1854 — 1856) as un-Christian, contrary to the
principles of international free trade, and harmful to British interests.
Agnus Dei begins with the urgent cry of the solo soprano for peace. The tension
builds and bursts out in the second movement, a violent depiction of war.
This is a setting for choir of Whitman's Beat! Beat! Drums!, heralded by volleys
of brass and rattling percussion. Schools, churches, brides, farmers, sleepers, old
men and children are in turn swept aside by the warring sounds. the movement
fades into the lapping, tranquil rhythms of ...
Reconciliation, a tender lullaby for all the dead and the heart of the work. In this
heart-wrenching poem, also by Whitman, Vaughan Williams changes his music to
reflect the emptiness of grief in the grand tradition of melancholic English song,
sung by the commanding yet gentle voice of the baritone. As the soldier left alive
bids his enemy — and fellow human being — farewell, the soprano again intones on
their behalf, Dona nobis pacem.
The music moves on to the powerful and haunting Dirge for Two Veterans. The
drums return, no longer a march of war, but a funeral procession as Whitman
describes two veterans, son and father, who "dropped together, and the double
grave awaits them". Although it starts at a moderate level, the choir channels
the
words into a colossal paean of hope, before delivering a final hymn of peace,
farewell and love.
The fifth movement begins with the famous lines by John Bright: The Angel of
Death has been abroad throughout the land... giving way to a lament for the
death of peace itself. This also passes and we hear a strong call for peace.
O man greatly beloved, the final movement, is a forerunner of the passacaglia of
Symphony No. 5, and begins in Vaughan Williams' 'pastoral' manner. But the final
message of the composer is optimistic. It breaks into a blaze of glory, and fades
as the solo soprano leads the serene final prayer for peace, as in the beginning:
Dona nobis pacem. Grant us peace.
Agnus Dei
Agnus Dei qui tollis peccata mundi
Lamb of God, who takes away the
sins of the world
Dona nobis pacem.
6
Grant us peace.
Guildford Philharmonic Choir
Beat! Beat! Drums!
Beat! beat! drums! — blow! bugles! blow!
Through the windows — through the doors — burst like a ruthless force,
Into the solemn church, and scatter the congregation,
Into the school where the scholar is studying;
Leave not the bridegroom quiet — no happiness
must he have now with his bride,
Nor the peaceful farmer any peace, ploughing his field or gathering in his grain,
So fierce you whirr and pound, you drums — so shrill you bugles blow.
Beat! beat! drums! — blow! bugles! blow!
Over the traffic of cities — over the rumble of wheels in the streets:
Are beds prepared for the sleepers at night in the houses?
No sleepers must sleep in those beds,
No bargainers' bargains by day — would they continue?
Would the talkers be talking? would the singer attempt to sing?
Then rattle quicker, heavier drums — you bugles wilder blow.
Beat! beat! drums! — blow! bugles! blow!
Make no parley — stop for no expostulation,
Mind not the timid — mind not the weeper or prayer,
Mind not the old man beseeching the young man,
Let not the child's voice be heard, nor the mother's entreaties,
Make even the trestles to shake the dead where they lie awaiting the hearses,
So strong you thump O terrible drums — so loud you bugles blow.
WALT WHITMAN
Reconciliation
Word over all, beautiful as the sky,
Beautiful that war and all its deeds of carnage must in time be utterly lost,
That the hands of the sisters Death and Night incessantly, softly,
Wash again and ever again this soiled world;
For my enemy is dead, a man divine as myself is dead,
I look where he lies white-faced and still in the coffin — | draw near,
Bend down and touch lightly with my lips the white face in the coffin.
WALT WHITMAN
Guildford Philharmonic Choir
7
Dirge for Two Veterans
The last sunbeam
Lightly falls from the finish’d Sabbath,
On the pavement here, and there beyond it is looking
Down a new-made double grave.
Lo! the moon ascending,
Up from the east the silvery round moon,
Beautiful over the house tops, ghastly, phantom moon,
Immense and silent moon.
| see a sad procession,
And | hear the sound of coming full-keyed bugles,
All the channels of the city streets they're flooding
As with voices and with tears.
| hear the great drums pounding,
And the small drums steady whirring,
And every blow of the great convulsive drums
Strikes me through and through.
For the son is brought with the father,
In the foremost ranks of the fierce assault they fell,
Two veterans, son and father, dropped together,
And the double grave awaits them.
Now nearer blow the bugles,
And the drums strike more convulsive,
And the daylight o’er the pavement quite has faded,
And the strong dead-march enwraps me.
In the eastern sky up-buoying,
The sorrowful vast phantom moves illumined,;
'Tis some mother’s large, transparent face,
In heaven brighter growing.
O strong dead-march, you please me!
O moon immense, with your silvery face, you soothe me!
O my soldiers twain! O my veterans, passing to burial!
What | have | also give you.
The moon gives you light,
And the bugles and the drums give you music,
And my heart, O my soldiers, my veterans,
My heart gives you love.
WALT WHITMAN
8
Guildford Philharmonic Choir
The Angel of Death
The Angel of Death has been abroad throughout the land; you may almiost hear
the beating of his wings. There is no one, as of old... to sprinkle with blood the
lintel and the two side-posts of our doors, that he may spare and pass on.
JOHN BRIGHT
Dona nobis pacem.
We looked for peace, but no good came; and for a time of health, and behold,
trouble! The snorting of his horses was heard from Dan; the whole land trembled
at the sound of the neighing of his strong ones; for they are come, and have
devoured the land... and those that dwell therein...
The harvest is past, the summer is ended, and we are not saved.
..
Is there no balm in Gilead? Is there no physician there? Why then is not the health
of the daughter of my people recovered?
JEREMIAH VIII. 15-22
O Man Greatly Beloved
O man greatly beloved, fear not, peace be unto thee, be strong, yea, be strong.
DANIEL X. 19
The glory of this latter house shall be greater than the former... and in this place
will | give peace.
HAGGALI II. 9
Nation shall not lift up a sword against nation, neither shall they learn war any
more. And none shall make them afraid; neither shall the sword go through their
land. Mercy and truth are met together; righteousness and peace have kissed
each other. Truth shall spring out of the earth, and righteousness shall look down
from heaven. Open to me the gates of righteousness, | will go into them.
Let all the nations be gathered together, and let the people be assembled; and let
them hear, and say, it is the truth. And it shall come, that | will gather all nations
and tongues, and they shall come and see my glory. And | will set a sign among
them, and they shall declare my glory among the nations.
For as the new heavens and the new earth which | will make, shall remain before
me, so shall your seed and your name remain for ever. Glory to God in the
highest, and on earth, peace, good-will toward men.
Adapted from MICAH IV. 3; LEVITICUS XXVI. 6; PSALMS LXXXV. 10 and
CXVII. 19; ISAIAH XLIII. 9 and LXVI. 18-22 and LUKE 1l. 14.
Dona nobis pacem.
~INTERVAL ~
Guildford Philharmonic Choir
9
Karl Jenkins 1944 —
Karl Jenkins was born in the small Welsh coastal village of Penclawdd on the
Gower Peninsula, west of Swansea. Karl is the only child of his father David and
his mother Lily, who was of Swedish extraction. His father, a school teacher, was
also an organist and choirmaster of the local Tabernacle Chapel and it was he
who began teaching his son the piano when Karl was 6 years old. During these
formative years, apart from being introduced to the classical world by his father
via recordings and the occasional concert, he was also, as part of chapel life,
exposed to the unigue sound of Welsh hymn singing, echoes of which were to be
heard in future compositions.
On entering Gowerton Grammar School aged 11, Karl began to play the oboe and
within the next few years progressed through the Glamorgan Youth Orchestra and
the National Youth Orchestra of Wales, Cardiff, where he read music, taking a
Bachelor of Music degree. During his school and university years he became
increasingly interested in jazz, which was to have a significant bearing on his
compositional style in later years. After graduating, he continued post-graduate
studies at the Royal Academy of Music, London.
Following his studies he won awards as a jazz oboist and and took up the
saxophone, working with, amongst others, Ronnie Scott. He co-founded Nucleus
in 1972, winning first prize at the Montreux Jazz Festival, before joining the
progressive rock band Soft Machine. When, in 1995, he started writing for the
concert hall, he was writing what he calls "polystylist" work — for example, the
finale of his second string quartet races through pastiches of Hollywood music
and hoe-down — but he says: "l think my style now is more amalgamated, more
cohesive." That said, "I'm still drawing from different elements, different cultures.”
Karl Jenkins was awarded an OBE for Services to British Music in this New Year's
Honours List.
THE ARMED MAN - A MASS FOR PEACE
BCOFDNLh0yu
The Armed Man
The Call to Prayers (Adhan)
Kyrie
Save Me from Bloody Men
Sanctus
Hymn Before Action
Charge!
Angry Flames
Torches
10.
Agnus Dei
11.
Now the Guns have Stopped
12.
Benedictus
13.
Better is Peace
10
Guildford Philharmonic Choir
To mark the millennium, Britain's Royal Armouries commissioned the composition
of a mass which would reflect on war and peace in a multi-cultural, global society.
In a manner reminiscent of Britten's War Requiem, The Armed Man interpolates a
number of different texts within the usual Mass form. Classical poets, including
Dryden, Tennyson and Kipling, biblical verses and text from Muslim, Hindu and
Japanese sources contribute to a compelling account of the descent into and
terrible consequences of war.
According to Guy Wilson, former Master of the Armouries at the Tower of London
Royal Armouries, "The theme that 'the armed man must be feared' seemed to me
painfully relevant to the 20th century and so the idea was born to commission a
modern 'Armed Man’ mass. What better way both to look back and reflect as we
leave behind the most war-torn and destructive century in human history, and to
look ahead with hope and commit ourselves to a new and more peaceful
millennium.”
The Armed Man received its world premiere in April 2000 at London's Royal
Albert Hall.
Reviews described it as "a firebomb of orchestral and human
voices" (The Times) that drew "prolonged shouts of approval from the
audience" (The Independent). This hour-long piece has been performed
constantly since its first appearance. Large scale in both scope and scale, The
Armed Man is a profoundly moving yet very accessible work which uses the most
traditional of means to explore an all too contemporary subject. As Jenkins
explained, "When | started composing The Armed Man, the tragedy of Kosovo
unfolded. | was thus reminded daily of the horror of such conflict and so | dedicate
this work to the victims of Kosovo."
The work starts in a six-century-old tradition of 'Armed Man' masses that take the
15th century French song L'Homme Armé
as their starting point. This is
introduced with a marching drumbeat and a simple tune played on whistles. The
choir falls into the marching rhythm and strengthens it. The song is a strong call to
arms and establishes the darkness to follow.
The second movement is the traditional Muslim Call to Prayers. This contrasts
with the more elaborate Kyrie, which requests divine blessing in the Christian
tradition.
This ecclesiastic contemplation is invaded by the dark sounds of the fourth
movement, Save Me from Bloody Men, based on text from the Psalms. This
starts out sounding like a traditional Gregorian chant for male voices, perfectly in
line with the religious songs preceding it. The twist comes in the final phrase,
where a sudden drumbeat and ominous notes invoke a sense of doom, and the
voices sound more angry than afraid.
Sanctus is a hymn of praise, but at this point in the work overshadowed by its
context. It is followed by the first two verses of the ominous poem Hymn Before
Action (1896) by Rudyard Kipling (1865 — 1936), which establishes the mindset
needed for battle, giving both motivation for the fight and encouraging the soldiers
to sacrifice themselves for the greater good.
Guildford Philharmonic Choir
11
Charge! establishes the start of battle with powerful cries, trumpets and drums (all
of which are also mentioned in the text, taken from A Song for St. Cecilia’s Day,
written in 1687 by John Dryden (1631 — 1700) and interspersed with the line How
blest is he who for his country dies from To the Earl of Oxford by Jonathan Swift
(1667 — 1745). The motivation and encouragement of the previous movement are
thematically repeated and towards its conclusion, the abstract screams of the
battle unfold. This is followed by silence, then the sounding of the Last Post.
Angry Flames starts with the sound of a lone trumpet followed by the ringing of a
bell, a slow melody, and then the quiet, sad solos, sometimes supported by the
chorus. The text is translated from the Japanese of Toge Sankichi (1921 — 1953),
and clearly reflects the violence of the nuclear explosions of 1945, powerfully
describing the horrors left behind as a city lies in flames.
The ninth movement Torches continues the mournful mood, using ancient text
from The Mahabharata and describing the sad fate of the victims of war. The
melody, instrumentation and singing are all quite subdued, as if fearful of
disturbing the dead. Only the final word, torches, is sung loudly and angrily. This
is followed by the Agnus Dei, using the traditional Latin text of the Mass and
asking for divine peace.
Now the Guns have Stopped uses text by the former Master of the Royal
Armouries, Guy Wilson, and is a song of mourning and loneliness sung by a
weary battle survivor. This beautiful, sparse, chilling threnody describes the horror
of war at a very intimate level.
Benedictus starts out quietly with the orchestra, followed by the choir, sounding
as if in the distance. Upon the entry of the horns, the chorus becomes a powerful
song of praise with a strong melody.
The final movement, Better is Peace begins with text by Sir Thomas Malory (? —
1471) from Le Morte d’Arthur, (1469 — 1470) and continues with the same melody
that started the piece — The Armed Man. Optimism comes with encouraging
words by Tennyson (1809 — 1892) from In Memoriam A. H. H. (1850) and is
completed by biblical text from the Book of Revelations. Using joyful
instrumentation and choral text, the movement establishes a new beginning, with
hopes for a brighter future.
The Armed Man
L'homme armé doit on douter;
On a fait partout crier
The Armed Man must be feared;
Everywhere it has been decreed
Que chacun se veigne armer
That everyman should arm himself
d'un haubregon de fer.
With an iron coat of mail.
ANON. TRAD. ¢1450 — 1463
32
Guildford Philharmonic Choir
The Call to Prayers (Adhan)
Allaho-Akbar-U'llaho-Akbar
Allah is great, Allah is great
Ash-Hadu-Anlaa-llaha llI'Allah
| bear witness that there is no God but Allah
Ash-Hadu-Anna-Muhammadan
| bear witness that Muhammad is the
Rasoul-U-Llah
Messenger of Allah
Ha-Ya Ala-Ssalah
Come fast to prayer (turning the face to the
Ha-Ya Ala-Lfalah
right)
Allaho-Akbar-U'llaho-Akbar
Come fast to success (turning the face to the
Laa-Ilaha Il'Allah.
left)
Allah is great, Allah is great
There is no God but Allah.
Kyrie
Kyrie eleison.
Lord have mercy upon us.
Christe eleison.
Christ have mercy upon us.
Kyrie eleison.
Lord have mercy upon us.
Save Me from Bloody Men
Be merciful unto me, O God:
For man would swallow me up;
He fighting daily oppresseth me.
Mine enemies would daily swallow me up;
For they be many that fight against me,
O thou most high.
PSALM 56
Defend me from them that rise up against me.
Deliver me from the workers of iniquity,
And save me from bloody men.
Sanctus
Sanctus, Sanctus, Sanctus
Holy, Holy, Holy
Dominus Deus Sabaoth,
Lord God of Hosts,
Pleni sunt coeli et terra gloria tua.
Heaven and Earth are full of Thy glory.
Hosanna in excelsis.
Hosanna in the highest.
PSALM 59
Guildford Philharmonic Choir
13
Hymn Before Action
The earth is full of anger,
The seas are dark with wrath,
The Nations in their harness
Go up against our path:
Ere yet we loose the legions
Ere yet we draw the blade,
Jehovah of the Thunders,
Lord God of Battles, aid!
High lust and froward bearing,
Proud heart, rebellious brow;
Deaf ear and soul uncaring,
We seek Thy mercy now!
The sinner that forswore Thee,
The fool that passed Thee by,
Our times are known before Thee,
Lord, grant us strength to die!
RUDYARD KIPLING
Charge!
The trumpet's loud clangor
Excites us to Arms,
With shrill notes of anger,
And mortal alarms.
How blest is he who for his country dies.
The double double beat
Of the thundering drum
Cries Hark! the Foes come,;
Charge, 'tis too late to retreat!
How blest is he who for his country dies.
Charge, charge.
SWIFT/DRYDEN
14
Guildford Philharmonic Choir
Angry Flames
Pushing up through smoke
From a world half-darkened
By overhanging cloud,
The shroud that mushroomed out
And struck the dome of the sky,
Black, red, blue,
Dance in the air,
Merge,
A
Scatter glittering sparks,
Already tower over the whole city.
Quivering like seaweed, the mass of flames spurts forward.
Popping up in the dense smoke,
Crawling out
Wreathed in fire,
Countless human beings on all fours.
In a heap of embers that erupt and subside,
Hair rent,
Rigid in death,
There smoulders a curse.
TOGE SANKICHI, translated by RICHARD H MINNEAR
Torches
The animals scattered in all directions, screaming terrible screams.
Many were burning, others were burnt.
All were shattered and scattered mindlessly, their eyes bulging.
Some hugged their sons, others their fathers and mothers,
Unable to let them go, and so they died.
Others leapt up in their thousands, faces disfigured
And were consumed by the fire, everywhere were bodies
Squirming on the ground, wings, eyes and paws all burning.
They breathed their last as living torches.
from THE MAHABHARATA, translation edited by GUY WILSON
Agnus Dei
Agnus Dei qui tollis peccata mundi
Lamb of God, who takest away the
Miserere nobis.
sins of the world, have mercy upon us.
Agnus Dei qui tollis peccata mundi
Lamb of God, who takest away the
Dona nobis pacem.
sins of the world, grant us peace.
Guildford Philharmonic Choir
Now the Guns have Stopped
Silent, so silent, now,
Now the guns have stopped.
| have survived all,
I, who knew | would not.
But now you are not here.
| shall go home, alone;
And must try to live life as before
And hide my grief.
For you, my dearest friend,
Who should be with me now,
Not cold, too soon,
And in your grave,
Alone.
GUY WILSON
Benedictus
Benedictus qui venit in nomine Domini.
Hosanna in excelsis.
Blessed is he who cometh in the name
of the Lord.
Hosanna in the highest.
Better is Peace
Better is peace than always war. (Lancelot)
And better is peace than evermore war. (Guinevere)
SIR THOMAS MALORY
L'homme armé doit on douter...
The Armed Man must be feared...
Ring out the thousand wars of old.
Ring in the thousand years of peace.
Ring out the old, ring in the new,
Ring happy bells, across the snow:
The year is going, let him go,
Ring out the false, ring in the true.
Ring out old shapes of foul disease.
Ring out the narrowing lust of gold;
Ring in the valiant man and free,
The larger heart, the kindlier hand.
Ring out the darkness of the land,
Ring in the Christ that is to be.
ALFRED, LORD TENNYSON
16
Guildford Philharmonic Choir
God shall wipe away all tears.
And there shall be no more death,
Neither sorrow nor crying,
Neither shall there be any more pain.
Praise the Lord.
REVELATIONS 21:4
Some of the printed music for this evening'’s concert
has been hired from SCC Performing
Arts Library, Boosey & Hawkes Hire Library and Yorkshire
Libraries.
The Shah Jahan Mosque, at Woking, is
Britain's first purpose-built mosque — built
in 1889 by Dr Gottleib Wilhelm Leitner,
the first mosque to be built in
and
Northern Europe. It was primarily built to
cater
to
the
spiritual
needs
of
Muslim
students at the Oriental Institute and any
others who were within reach. It is one of
the key mosques in the United Kingdom. It
played a vital role in the establishment of
Islam in Great Britain and it became
known throughout the world on account of
its publications and missionary work in the
early part of this century.
The architect for the original Mosque was W.I.
Chambers and its design was
based on Indian rather than Arabic mosques.
The Mosque was paid for by
donations and the most generous benefactor was
Her Highness Shah Jahan, The
Nawab Begum of the princely state of Bhopal,
which is why the Mosque is
officially named after her.
The Mosque and its adjoining building the Salar
after yet another benefactor the Nizam (Ruler) of
Jung memorial house — named
the princely state of Hyderabad
in British India — presently houses the Imam's residenc
e. The buildings are of an
Indian style and set in grounds of about 1 hectare.
Although the Mosque itself is
small, having space for approximately 60 worshipp
ers, the site as a whole is
majestic and creates a sense of peace and tranquilli
ty.
For
further
information,
Guildford Philharmonic Choir
please
visit
the
Mosque
website
at
7
Sally Barber
Sally Barber studied oboe and singinig as part of her
degree at the University of Exeter. She has studied with
Tim Penrose and,
more recently,
Cathy Denley and
sung, broadcast and recorded with a variety of highly
acclaimed groups including the Tallis Chamber Choir
and Vasari Singers, touring extensively in the UK and
overseas.
.. Solo work includes Handel's Messiah, Dixit Dominus
Acis
and
Galatea,
® Crucifixus
. and
pro
Nobis,
Vivaldi's
Darke's
Gloria,
As
the
Leighton’s
Leaves
Fall,
aughan Williams' Mass in G Minor, Mozart's Mass in C
Minor
and
Missa
Brevis
in
D,
Brahms'
Liebesliederwalze, Haydn's Kleine Orgelmesse and Francis Pott's My Song is
Love Unknown.
She is currently singing with the New London Chamber Choir in a UK tour of
Hildegard — a Spectacle of Sound and Light, a new work by James Wood which
explores the life and visions of the celebrated 12th century nun, writer, composer
and mystic, Hildegard of Bingen.
——
Martin Johnson
Martin Johnson has been involved in making music ever
since he was a youngster. He first started singing with
Sir
David
Cambridge.
Willcocks
at
King's
This
to
a
led
music
College
School,
scholarship
at
Shrewsbury School, where his main instruments were
piano and viola, and he played for several years with
The National Youth Orchestra of Great Britain. As a
young adult he returned to singing and was awarded a
Choral Scholarship at Durham University, where he read
English Literature in his spare time.
After graduation he moved to London where he took up a singing post at Handel's
church, St. George’'s, Hanover Square, at which time he performed for many
years as a soloist in the London Handel Festival. He has always enjoyed a wide
spectrum of music and his singing activities have embraced everything from
Handel to Light Opera to Close Harmony (and back again), with several
recordings as well as appearances on BBC Radio and BBC TV. He also now
sings with the BBC Singers.
He is a passionate devotee of live music and tries to combine as much performing
as possible with a busy lifestyle of work and raising a family. Martin is delighted to
be singing again with the Guildford Philharmonic Choir.
18
Guildford Philharmonic Choir
RPYA—,
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 5 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 from April 1990 he combined
his work as a Consultant Editor for EMI Classics with
his career as a freelance conductor. In November 2004,
he took the post of music editor at Boosey & Hawkes
Music Publishers.
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, Here-
ford, 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
was released by Signum Records in January 2004, and a CD of Brahms' Ein
deutsches Requiem, in a piano duet version with Jeremy Filsell, will be released
later this year on the Guild label.
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; in May 2003, 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 Soci-
ety (for Ronald Corp) and the Brighton Festival Chorus (for Carl Davies). From
September 1998 to the end of 2004, Jeremy was 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.
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s from [Italian Inspirations, 12 March 2005:
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;'; The choir was in tremendous form. It was the best concert I've heard in 3%
* the cathedral for ages — and I've been to quite a few!
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Guildford Philharmonic Choir
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19
The Forest Philharmonic Orchestra
The Forest Philharmonic Orchestra was fcunded in 1964, and has since become
one of the country’s leading community orchestras, rivalling the highest professional standards. Members are drawn from diverse backgrounds and include music students, teachers, freelancers and amateurs. The orchestra thereby fulfils its
aim of helping train the musicians of tomorrow while providing a forum for the
leading amateur players of today. Many of this country’s major professional orchestras have, in their ranks, players who have trained with the Forest Philharmonic.
The orchestra is based in Waltham Forest, the London borough centred on
Walthamstow, Leyton, Leytonstone and Chingford. The forest in question is the
famous Epping Forest, which belongs to the Corporation of London, and which
extends from within the borough of Waltham Forest out into Essex.
The Forest Philharmonic 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. 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 Sarah Walker.
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 Wiliams’' Sea Symphony, Mendelsohnn’s Eljjah, and a tremendous performance of Mahler's Symphony No 8 in
May 2003. The orchestra provided the challenging and lively accompaniment for
the choir's concert of American music in March 2004, and made a second visit in
May for the ‘Russian Spectacular. The 2004 — 2005 season started with The Forest Philharmonic joining us in a highly acclaimed performance of Elgar's The
Dream of Gerontius.
i*%*************************#********%#i
3%
% from ltalian Inspirations, 12 March 2005:
**e ..how much we enjoyed the concert. | think it will be one of the mosti
% memorable. We felt that the harmony and tone of the choir was particu- %
larly outstanding ... absolutely breathtaking, in fact! We had never heard
s the Rossini ‘Stabat Mater' before — more opera than oratorio — but hugely 3%
3% enjoyable nonetheless. Such wonderful music!
eN6
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...The unaccompanied singing was exquisite, especially in the Verdi; Ii
thought | was in heaven.
2 2 2 2 2 2 2 2 3 2
Guildford Philharmonic Choir
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20
Guildford Philharmonic Choir
The Guildford Philharmonic Choir was founded
in
1547 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, but the
Choir is now independent from the Borough of Guildford.
The Choir enjoys a challenging and varied concert repertoire, performing works
spanning the last five centuries — some well-known,
but also many rarities
deserving to be heard by a wider audience. Tonight's concert is the first in our
Contemporary Choral Classics Cycle, a projected 4-year cycle and innovative
series of choral works from the late 20th and 21st century — classics of the future
paired with established masterpieces.
The 2002/03 season started with a performance of Dvorak’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.
The 2003/04 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 season concluded with highly
acclaimed
performances
of
Borodin’s
Polovisian
Dances
and
Prokofiev's
Alexander Nevsky (both in Russian), and Rachmaninov’'s Piano Concerto no 3,
performed by the choir’s outstanding accompanist, Jeremy Filsell.
The current season began with a glowing performance of Elgar's The Dream of
Gerontius, followed by the unusual and much-appreciated /talian Inspirations —
non-operatic works by famous composers of Italian opera.
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 Choir’s website can be found at www.guildfordphilharmonicchoir.org.uk
Guildford Philharmonic Choir
23
Guildford Philharmonic Choir
FIRST TENORS
FIRST SOPRANOS
FIRST ALTOS
Gemma Allred
Marion Adderley
Bob Cowell
Joanna Andrews
Penny Baxter
Chris Robinson
John Trigg
Noreen Ayton
Monika Boothby
Helen Beevers
Jane Brooks
Mary Broughton
Valerie Edwards
Miranda Champion
Celia Embleton
Bob Bromham
Sara Dann
Ingrid Hardiman
Tony Cousins
SECOND TENORS
Gemma Davis
Susan Hinton
lan Landsborough
Claire Day
Valerie Leggatt
Stephen Linton
Rachel Edmondson
Kay McManus
Calli Hayes
Christine Medlow
FIRST BASSES
Mo Kfouri
Rosalind Milton
John Britten
Tony Bundy
Hilary Minor
Mary Moon
Susan Norton
Robin Onslow
Penny Muray
Michael Dudley
Jacqueline Norman
Geoffrey Forster
Margaret Parry
Penny Overton
Vaidotas Gerikas
Margaret Perkins
Marjory Rollo
Michael Golden
Emma Purvis
Gillian Rix
Lesley Scordellis
Catherine Shacklady
Laurie James
Judy Smith
Jane Sweaney
Chris Newbery
Carol Terry
Hilary Trigg
Chris Peters
Nikki Vale
Pamela Woodroffe
David Ross
SECOND SOPRANOS
SECOND ALTOS
Jacqueline Alderton
Valerie Adam
Anna Arthur
Marion Arbuckle
SECOND BASSES
Lucy Foster
Sally Bailey
Dan Adderley
Mandy Freeman
Evelyn Beastall
Peter Andrews
Judith Lewy
Iris Bennett
Roger Barrett
Krystyna Marsden
Mary Clayton
Alan Batterbury
Keith Hester
Philip Stanford
Kieron Walsh
Lois McCabe
Andrea Dombrowe
Norman Carpenter
Alison Newbery
Carolyn Edis
Emma Odell
Valerie Garrow
James Garrow
Michael Jeffery
Alison Palmer
Barbara Hilder
Stephen Jepson
Kate Peters
Carol Hobbs
Neil Martin
Rosalind Plowright
Sheila Hodson
Maxwell New
Alison Rawlinson
Yvonne Hungerford
John Parry
Ann Sheppard
Brenda Moore
Roger Penny
Maggie Smith
Jean Munro
Nigel Pollock
Kathy Stickland
Kate New
Michael Taylor
Christine Wilks
Prue Smith
Rosey Storey
Elisabeth Yates
Guildford Philharmonic Choir
22
Choir Functionaries
Jeremy Backhouse
Chorus Director
Jeremy Filsell
Accompanist
The Committee
John Trigg
Chairman
email: chairman@GuildfordPhilharmonicChoir.org.uk
Bob Cowell
Hon. Treasurer
email: treasurer@GuildfordPhilharmonicChoir.org.uk
Patrons Liaison
email: patrons@GuildfordPhilharmonicChoir.org.uk
Miranda Champion
Hon. Secretary
email: secretary@GuildfordPhilharmonicChoir.org
uk
.
Noreen Ayton
Membership Secretary
Tel. 01932 221918
email: membership@GuildfordPhilharmonicChoir.org.uk
Stephen Jepson
Projects, Staging overview
Jackie Alderton
Fundraising
Social events
Ladies’ uniforms
Mailing List
Tel. 01932 343625
email: mailing@GuildfordPhilharmonicChoir.org.uk
Michael Taylor
Website coordinator
Rachel Edmondson
Alison Rawlinson
Hilary Trigg
Publicity
email: publicity@GuildfordPhilharmonicChoir.org.uk
Other responsibilities
Christine Medlow
Michael Taylor
Music Librarian
Ticket Sales
Tel: 07958 519741
email: tickets@GuildfordPhilharmonicChoir.org.uk
Stephen Arthur
Orchestra and soloist liaison
Front of House
Chris Alderton
Guildford Philharmonic Choir
e
23
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
Golden and Associates
Dr. Roger Barrett
Mrs. Carol Hobbs
Mrs. E.A. Batterbury
Mr. Laurie James
Mr. Bill Bellerby MBE
Mr. Ron Medlow
Mrs. Doreen Bellerby MBE
Mrs. Christine Medlow
Mr. & Mrs. Peter Bennett
Dr. Roger Muray
Mr. G.S. Blacker
Mr. & Mrs. Maxwell S New
Mrs. J. G. Blacker
Mr. & Mrs. John Parry
Mrs. Ingrid Brockdorff
Penny & Hayter Opticians
Mr. & Mrs. R.H.R. Broughton
Mr. Robert Plowright
Mr. H.J.C. Browne
Mr. & Mrs. B. Reed
Canon Patricia Cousins
Mr. Michael Shortland
Mrs. Maryel Cowell
Dr. & Mrs. M.G.M. Smith
Mr. & Mrs. Philip Davies
Mrs. Y.M.L. Tiplady
Mr. Michael Dawe
Miss Enid Weston
Mrs. Margaret Dentskevich
Mr. & Mrs. G. Dombrowe
Friends
Dega Broadcast Systems
Mrs. Jean Shail
Maggie van Koetsveld
Mrs. K.C. Stickland
As a Patron, you will be kept informed of future concerts and given priority
booking at our own concerts. You may book an unlimited number of reserved
seats at the Cathedral where the concert is sponsored by the GPC.
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.
24
Guildford Philharmonic Choir
ANNA ARTHUR & ASSOCIATES
SOLICITORS
FIERE FACIAS HOUSE, HIGH STREET, RIPLEY,
SURREY GU23 6AF
TEL: 01483 222499 - FAX: 01483 222766
THE GRANGE CENTRE
Housing & Training for people with disabilities
Friends & Family Fund Day
Saturday 16" July 2005 from 12 noon to 4pm
Jazz band, Games, Raffle, Hog Roast, Bar,
Strawberries & Cream and lots to buy and do
The Grange Centre provides housing and training to 50 adults with physical and/or
learning
and locally.
The aim
disabilities in residential care or living support as tenants in flats on site
is for progress towards independent living and an active role in the community.
The Grange Centre, Rectory Lane, Bookham, Leatherhead, Surrey KT23
Telephone: 01372 452608
Guildford Philharmonic Choir
.
4DZ
Website: www.grangecentre.org.uk
25
ok 0 Jazz ¢ Biucs 0 Fotko Films & Shows
¢ Research & Special 5>\xi
¢ All Major Credit Card
Mon-Sat 9am to
5
TEL (01483) 422006
Why not let me ‘orchestrate
I
your decorating?
Interior and exterior work
Tel: 01932 343625
i******************i
% from ltalian Inspirations:
*
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of %
singers, to hear a choir with such
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For Comp]ete
Family Eyecare
Extensive range of frames
1 \'\'()i\i*\' Walk, Wok ing GU21
with many designer names
Tel: 01483 766800
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Lens Practitioners
Guildford Philharmonic Choir
*
Forthcoming Programmes
Dates for your Diary
Saturday, 22 October 2005: Guildford Cathedral 7.30pm
Hymns and Psalms
Elgar:
Give unto the Lord (Psalm 29)
Holst:
Mendelssohn:
The Hymn of Jesus
Symphony No. 2 in B flat major
‘Lobgesang’ (Hymn of Praise)
Lord, who hast made us for thine own (Psalm 148)
Holst:
Sunday, 11 December 2005: Holy Trinity 6.30pm
Christmas Family Concert
Organised by the Rotary Club of Guildford, in aid of the Mayor’s charities
Saturday, 25 March 2006: Guildford Cathedral 7.30pm
Pillars of the Baroque
Handel:
Handel:
Handel:
Zadok the Priest
Water Music (extracts)
Let God Arise (Chandos Anthem No. 11)
J.S. Bach:
Magnificatin D
J.S. Bach:
J.S. Bach:
J.S. Bach:
Cantata No. 50 ‘Nun ist das Heil und die Kraft’
Air on the G string from Suite No. 3 in D, BWV 1068
Menuet and Badinerie from Suite No. 2
Saturday, 20 May 2006: Guildford Cathedral 7.30pm
Contemporary Choral Classics Cycle: Year 2
Trials and Tribulations
Walton:
Francis Pott
Belshazzar’'s Feast (1931)
A Song on the End of the World (1999)
Programme production:
Programme: Brenda Moore
Advertising: Ann Sheppard
Printed by Alison Rawlinson at ARCS Desktop Publishers
Email alison@arcs-dtp.com