TABU
AT
OTT
e
1984-85 Season
Friday 28th September
£4.00
Flowers at Sutton Place
Saturday 29th September
£3.00
A Festival of Flowers in aid of the NSPCC,
Sunday 30th September
£2.00
staged by The Surrey Area of NAFAS
CONCERTS
Thursday 29th November
CARA CLARISSIMA with
Felicity Lott, Gabriel Woolf,
Roger Vignoles
The story in music and words,
of Clara Wieck in the life of
Robert Schumann
Tickets: £50 inclusive
Thursday 13th December
LAVERNE WILLIAMS
Tickets: £50 inclusive
Mezzo Soprano and piano
accompaniment
Schubert, Brahms
Three songs by black American
composers
Sunday 16th December
THE PHILIP JONES BRASS ENSEMBLE
Sold Out
Tickets include a Reception with wine, the concert and a three course supper
in the Long Gallery,
YOUNG PERFORMERS SERIES
Wednesday 14th November
FABER TRIO
Flute, harp, viola
Telemann, Ravel, Bax,
Mathias and Debussy
Tickets: £12 inclusive
Wednesday 21st November
VIRGINIA BLACK
Harpsichord
Couperin, Rameau, Seixas
and Scarlatti
Tickets £12 inclusive
Wednesday 5th December
RICHARD MARKHAM AND
Tickets: £12 inclusive
DAVID NETTLE
Four hands on one piano
Onslow, Walton, Bowen,
Bridge and German
Wednesday 12th December
MARIUS MAY AND
Tickets: £12 inclusive
JEREMY MENUHIN
Cello and piano
Beethoven, Schumann and
Franck
Tickets for these informal evenings will include a Finger Buffet and Wine
Sutton Place is open to the public between October and April on two days a week.
For bookings to visit the house and ticket enquiries,
please telephone the Booking Manager on Guildford (0483) 504455.
The finest Peking Restaurant in Surrey
Laurence Evans
CATERERS TO THE CIVIC HALL
Buffets/Dinner Dances/Weddings/Seminars
Sree.
ormagctormns
PEKING CUISINE
Numbers to 400
* Enjoy the best
All enquiries welcome
food and attentive
Guildford (0483) 39663/68939
service at very
reasonable prices
WWW WWII
OS
Immaculately
served in elegant
AND FOR EATING IN GUILDFORD
surroundings
Castile Restaurant
Ideal for pre and
after Theatre dinner
Guildford 63729
* Free Parking opposite
and the
(Farnham Road Car Park)
Yvonne Arnaud
Theatre Restaurant
Guildford 69334
after 6.00 pm
OPEN 7 DAYS A WEEK
12.00 pn —
2.30pm
6.00 pm — 11.30 pm
14 Park Street, Guildford, Surrey GU1 4XB
Tel: Guildford 61458/63902
PRINTED MUSIC
We supply schools, choirs, teachers and individuals all over the U.K. and abroad.
Large modern shop. Extensive stocks. Rapid order service for non-stock items.
Postal despatch available -quote your Access/Mastercard, Barclaycard/Visa number.
MUSICAL INSTRUMENTS
We stock all leading makes — Boosey and Hawkes, Yamaha, Bundy, Aulos,
Dolmetsch, Premier etc. 3—6 months Rental scheme — payments deducted from
price if purchased. Extensive experience of school requirements. Sensible advice for
parents. Records/cassettes. Accessories. Repairs.
Ring or visit:
BRITTEN’S MUSIC ome
CLASSICAL AND EDUCATIONAL SPECIALISTS
3 Station Approach, West Byfleet, KT14 6NG. Byfleet 51165/51614 (Autophone 51165)
Large cheap Car Parks.
Open Monday-Saturday 9—5.30 (Saturday close 4.30)
CORPORATE MEMBERS
The Guildford Philharmonic Orchestra and Guildford
Borough Council are very grateful to MARKS &
SPENCER PLC and MERROW SOUND who by their
membership are supporting the Guildford Philharmonic
Orchestra in the forthcoming season.
Six Corporate Membership schemes are available which
provide tickets in various parts of the Civic Hall and advertisement in all the programmes for Guildford Borough
Council’s series of concerts in the Civic Hall.
GUILDFORD BOROUGH COUNCIL
CONCERTS 1984/85
CIVIC HALL, GUILDFORD
SUNDAY 25 NOVEMBER 1984
at 3 p.m.
Guildiord
Philharmonic
Orchestra
Associate Leaders:
HUGH BEAN
JOHN LUDLOW
MARTIN ANDRE
Conductor
DEBORAH THORNE
Cello
This concert is promoted by Guildford Borough Council with
financial support from the South East Arts Association.
Martin André
Martin André was born in 1960. He began his musical
education at the age of six by taking up the piano. A
year later, he was offered a place at the Yehudi Menuhin
School, where he also learnt to play the violin. After
three years of intensive tuition there, he joined the Junior
Department of the Royal College of Music, and in addition to the piano and violin, took up percussion.
At the same time, at the age of ten, he joined the
National Youth Orchestra as a percussionist. It was
here that he became interested in conducting. He was a
member of the orchestra for seven years, four of them as
Principal Timpanist.
In 1973 he won a Music Scholarship to Eton College,
which gave him the opportunities to start conducting. At
first he directed ensembles and took sectional rehearsals,
but he soon began organising his own concerts, and also
conducted the school chamber orchestra. Whilst still at
school, he passed the Piano Performers ARCM and
played Brahms’ First Piano Concerto at two concerts.
In 1979 he was awarded a Music Scholarship to
Cambridge University, and studied music at Corpus
Christi College for three years. He formed his own
orchestra, the Mozart Chamber Ensemble, which gave a
series of concerts in different Cambridge Chapels. In
1980 he was appointed Conductor of the Second
Orchestra of the Cambridge Union Musical Society.
The following year he became assistant Conductor for
CUMS First Orchestra and Chorus. With CUMS, he
conducted Holst’s The Planets, and deputised at short
notice for Vernon Handley in a concert which included
Elgar’s First Symphony.
In 1982 he conducted five concerts with the University
Chamber Orchestra in the Fiesole Festival in Italy, and
was the Guest Conductor for the Western Counties
(Northern Ireland) Youth Orchestra on their summer
course.
Just before he left University, he was invited to join the
Music Staff of the Welsh National Opera. In his first
season 1982/83 he was principal coach for Verdi’s Un
Ballo in Maschera, Giordano’s Andrea Chenier and
Janacek’s The Cunning Little Vixen. At the end of the
season he made his WNO conducting debut with a
chamber version of Verdi’s Aida, rescored for wind,
brass and percussion, and scaled down so that it could
be performed around the theatres in Wales. Also in
1983, he appeared with the Cambridge University
Chamber Orchestra at the Edinburgh Fringe Festival,
and made his first appearance with the Guildford
Philharmonic Orchestra, with John Ogdon. Last sason
1983/84,
he
was
principal
coach
for
Wagner’s
Rhinegold — the start of the WNO Ring Cycle — and
Verdi’s La Traviata. He conducted the Drama of Aida
on the 1984 Welsh tour, and more recently conducted
three performances of Janacek’s Jenufa in Cardiff,
Southampton and Llandudno.
He is currently conducting the revival of Verdi’s Ernani
for the Welsh National Opera.
Overture ‘The Barber of Seville’
Rossini 1792—1868
Most people would accept the claim of The Barber of
Seville to be the greatest farce in all opera.
Astonishingly, the 23-year-old Rossini composed it in a
fortnight, a feat which drew from another composer,
Donizetti, the comment: ‘Yes, Rossini always was a lazy
fellow!’ The first performance, which took place at the
Teatro Argentina in Rome in February 1816, wasa disaster for various reasons, one being that supporters of
Paisiello, who had composed a successful opera on the
same subject, were determined to sabotage the new one.
But the merits of the piece could not be denied. The
second performance, from which Rossini stayed away,
was a big success, and after the third the young composer was given a triumphant torchlight procession back
to his lodgings.
In deference to the famous Spanish tenor, Manuel Garcia, who was singing the role of Count Almaviva for
three times the composer’s fee, Rossini put together for
these performances an overture based on Spanish
themes supplied by the tenor. This was then mysteriously (perhaps deliberately) lost, and Rossini replaced it
with the present overture, which had already done duty
for two other operas: the unsuccessful Aureliano in
Palmira (1813) and Elizabeth, Queen of England
(1815). The latter is still performed occasionally, but this
nimble, good-humoured overture seems most happily
fitted to introduce the comic intrigues of The Barber.
Its opening Andante hasa tip-toe first subject and an
eloquent singing melody for the violins. Following this,
the main Allegro contrasts a witty principal theme with
a more lyrical second subject and is rounded off by one
of those long crescendos that were Rossini’s special
trademark.
Deborah Thorne
Deborah Thorne was born in Surrey in 1960 and won a
junior exhibition to the Royal College of Music at the
age of ten. She studied cello with Prudence Ashbee and
won the Marjorie Humbie prize for the most promising
junior performer. Her studies continued with the late
Thomas Igloi, and then with David Strange. For five
years she was a member of the National Youth
Orchestra of Great Britain. Deborah gained the ARCM
and LRAM diplomas while still at school, and in 1979
won an instrumental exhibition to Cambridge University, where she read music at Clare College.
Having participated in masterclasses at the International
Menuhin School in Switzerland with the distinguished
Romanian cellist Radu Aldulescu, she took up a
scholarship to the Royal Academy of Music for a year’s
postgraduate study with David Strange. After being
awarded the Recital Diploma and Carnegie Prize,
Deborah received further awards from the Countess of
Munster and Myra Hess Trusts to study with Radu
Aldulescu in the Netherlands. She was also a winner of
the South East Arts Young Musicians Platform 1982
and has subsequently given many recitals in the area.
She also performs with Lorraine McAslan (violin) and
John Blakely (piano) in varied concerts including solo,
duo and trio repertoire.
Copyright Eric Mason.
Variations on a Rococo Theme for cello and orchestra
Tchaikovsky 1840-1893
This work, dedicated to the German cellist Fitzenhagen,
was composed in 1876 which was a time of feverish activity in Tchaikovsky’s composing career for from this
year also date the Third String Quartet, the Slavonic
March, Swan Lake and Francesca da Rimini, and people who complain of the sparseness of development in
Tchaikovsky’s music could surely not argue against the
power of an imagination which embraces these diverse
subjects. Add to this list the fact that the Third
Symphony was composed in the previous year and the
Fourth Symphony in the following year, and one has the
picture of a composer working almost at fever pitch.
This, in fact, was the case, for a few years later he succumbed to a mood of intense depression. This, however,
is not foreshadowed in the wonderful cello work which
he wrote for his friend. Lightly scored and with many
touches of chamber music style: this is how
Tchaikovsky solves the cello and orchestral balance
problem.
The work starts moderato quasi andante, which is merely a twenty bar introduction, and then the soloist announces the theme, moderato semplice. From there the
Symphony No. 6 in D
Dvorak 1841-1904
variations run as follows:
Adagio
Var.1
Tempo del tema
Triplets for the soloist, accompanied by pizzicato
chords for the strings.
Var.2
Tempo del tema
Runs for the soloist, and the first few notes of the theme
scattered over the whole orchestra.
Var.3
Andante sostenuto. Three-four
A straightforward version of the theme for the soloist,
with comments from oboe and clarinet; the second half
a decoration by the woodwind instruments of the
soloist’s tune.
Var.4 Andante grazioso. Two-four
The soloist’s line becomes more florid, the accompaniment simpler, and passages for the soloist alone
begin to appear.
Var.5
Allegro moderato
The soloist now decorates a version of the theme on the
flute, and after a loud tutti the soloist is given a
decorative passage before the flute returns with the tune.
A large cadenza for the soloist completes this variation.
Var.6
Andante
Although melodically simple, the version now given to
the soloist is charged with expression, and a great deal
of the accompaniment is for off the beat pizzicato
strings.
Var.7
Allegro vivo
This is, in fact, the finale. Running passages of extraordinary difficulty for the soloist, and the accompanists’
ability to interject their tiny phrases strained to the utmost. The whole variation is a miracle of lightness, the
fortes being quickly interchanged with piano and
pianissimos.
INTERVAL
Guildford Philharmonic Orchestra key rings are on sale
in the foyer this afternoon at 75p, also Herb bags at
£1.00.
Allegro non tanto
Scherzo (furiant). Presto
Finale — Allegro con spirito
Dvorak’s ebullient Sixth Symphony was the first of his
symphonies to be published, and had come about as a
result of a request from Hans Richter in 1876 to the
composer to produce a symphony for his next season in
Vienna. Dvorak had visited that city to hear his third
Slavonic Rhapsody, conducted by Richter, and
afterwards had dined with the great conductor, and been
prevailed upon to promise him a symphony. In the next
year the work was written between August and October.
Richter liked the work, but a crowded season in Vienna
meant that it could not be done then. There was opposition to performing the work by certain members of
the Vienna Philharmonic and so the first performance
was given by the Prague Philharmonic. It was an immediate success and eventually Richter gave a performance at a London Philharmonic Society concert in
May 1882. All that is good in the Fifth Symphony is improved in the Sixth. It is unfair to Dvorak to draw too
much attention to the possible influence on the first
movement of the first movement of Brahms’s Second
Symphony. Both are lyrical, and both are in D major
and three-four time, but Dvorak’s sonata form is looser
and at no point becomes as emotionally severe as that of
Brahms. Although the movement is long, it nowhere has
the weaker episodes of the first movement of the Fifth,
and one can feel between that latter symphony and the
finest first movement of all, in the Seventh Symphony,
that the present one is the link. Argument is here more
important than mood and, considering Dvorak’s need
for lyrical episodes, he is remarkably successful in containing this. No need to contain himself in the Adagio,
which is very typically Czech in spirit, and moves
episodically around two main themes, the first announced by violins after the woodwind have set the scene, and
the second of contrasted material stated by the oboes,
followed by all the strings. The third movement,
Scherzo, had to be repeated at the first performance,
and is one of the great series of symphonic relief movements that Dvorak wrote. The Fifth, Sixth and Seventh
Symphonies all contain magnificent scherzi and the
series culminates in that of the ‘New World’ Symphony.
Here, the first four bars of rhythm in the second violins,
violas and cellos turns out to enclose a skeleton of the
first three bars of the tune proper. It is all attack and
sforzando, is repeated formally and then gives way to a
more lyrical second theme high on the strings. Once
again, a formal repetition, but this time the two ideas are
mixed together and tossed from strings to woodwind
before the Trio is reached. The fourth bar of the scherzo
provides the introduction to the trio, and then a climbing
theme on the piccolo, which falls back only a step from
its highest note is used as a contrast to the rhythmic
element of the introduction.
They live happily side by side until the recapitulation
sends the orchestra flying through to the finale. It is in
the fourth movement that Dvorak’s improvement on the
finale of the Fifth Symphony is most apparent. That
work’s explosive final movement was perfectly judged in
Saturday 8 December 1984 at 7.45 p.m.
mood, but too long winded in statement. The pianissimo
Civic Hall, Guildford
opening to the finale of the Sixth Symphony is expectantly hushed, and not allowed to reach full statement of
the triumphant theme until 38 bars have passed. Even
then a further accelerando is saved so that the impetus
of the rich development is held in check until the first
fortissimo is well past. In no matter what form it
appears, the very first falling phrase that we hear on the
violins, cellos and basses is the dominant idea of the
A Street Corner Overture: Rawsthorne
Piano Concerto No. 2 in C Minor: Rachmaninov
Symphony No. 5 in E Minor: Tchaikovsky
Philip White, Conductor
Anthony Goldstone, Pianoforte
Wednesday 12 December 1984 at 8 p.m.
movement: expanded, decorated with triplets, in hushed
Holy Trinity Church
octaves from clarinet and bassoon, in fortissimo scales
Zadok the Priest: Handel
on violins and energetic crotchets from trombones and
double basses, it reappears again and again, no matter
how much of the dotted phrase which followed it is
developed.
Eventually,
loud
chords
on
the
whole
orchestra halt the onrush of the movement, the falling
phrase reappears in diminution on clarinets, bassoons
and
violins
and
leads logically
and
naturally to
a
Toccata and Fugue in D Minor: Bach
Beatus Vir: Monteverdi
I was Glad: Parry
Carillon-Sortie: Henri Mulet
Five Mystical Songs: Vaughan Williams
Soloists: Hugh Bean, John Forster,
John Stilwell.
recapitulation. Even in the long and vital coda, it is this
Mark Peterson — Baritone
phrase which sounds again and again and propels the
Christopher Mabley — Organ
work to a triumphant conclusion.
Simon Halsey — Conductor
Tickets: £1.50 (£1.00 senior citizens and students)
Available from Choir Members and Guildford Philharmonic
Guildford Opera Company
The Gipsy Baron
by
Johann Strauss
at the
Orchestra’s Office, The
Lodge, Allen House
Grounds, Chertsey Street, Guildford. Telephone Guildford 573800
:
Saturday 15 December 1984 at 7.45 p.m.
Civic Hall, Guildford
SPECIAL CHRISTMAS FAMILY CONCERT
(Sponsored by Lloyds Bank)
CIVIC HALL, GUILDFORD
RON GOODWIN and the GUILDFORD PHILHAR-
Wednesday 28th November
MONIC ORCHESTRA with music from shows, films,
until
Saturday Ist December
at 7.30 p.m.
Tickets available from:
Christmas carols, etc.
Tickets: £5.50, £4.50, £3.50 and £2.50 (children aged
16 and under £2.75, £2.25, £1.75 and £1.25) obtainable
from the Box Office, Civic Hall, Guildford, telephone
67314/5, and A & N Travel Dept, Market Street, Guildford, telephone 68171
Guildford 232106 or the Civic Hall
Sunday 16 December 1984 at 3 p.m.
Civic Hall, Guildford
ROTARY CAROL CONCERT
CAROLS FOR CHOIR AND AUDIENCE
Philharmonic Choir
Conductor Simon Halsey
Guildford Philharmonic Orchestra
GUILDFORD PHILHARMONIC ORCHESTRA
To-day the Orchestra is pleased to welcome Martin
André to the Guildford rostrum following his successful
debut with the Guildford Philharmonic Orchestra in
March last year at Eton College. Still in his early twenties, Martin Andre is the youngest conductor to perform
with the Guildford Philharmonic Orchestra this year.
The second of the young conductors included in the
Orchestra’s schedule for the current season, Philip
White, takes up the baton on Saturday 8 December. His
programme contains two of the most popular works in
the musicai repertoire — Rachmaninov’s Second Piano
Concerto and Tchaikovsky’s Fifth Symphony. Philip
White regularly conducts the Insurance Orchestral
Society but he is also known for his work as a com-
Artistic Adviser — Vernon Handley
poser, and in fact the world premiére of his Violin
Concerto will be performed in the Royal Festival Hall
next February by the Insurance Orchestral Society who
have commissioned the work for their Diamond Jubilee.
On the 15 December, Ron Goodwin will conduct the
Orchestra in its first ever Christmas Gala Concert. This
event has been made possible through generous spon-
sorship from Lloyds Bank. The programme will contain
many popular tunes from the shows and films as well as
carols for audience participation and Christmas music.
After the concert the Philharmonic Society will be
holding a repeat of its successful Wine and Mince Pie
Party. Tickets for this event are on sale today £1.50
(£1.00 for Society Members).
Violins:
Associate Leaders:
Hugh Bean, John Ludlow
Christopher Bearman
Sheila Beckensall
Susan Borrett
Judith Edwards
Linda McLaren
Jeremy Metcalfe
Peter Newman
Alec Suttie
Philip Sutton
Andrew Thurgood
Susan Thomas
Second Violins:
Michael McMenemy
Harold Nathan
Andrew Bentley
Ruth Dawson
Marilyn Downs
Peter Fields
John Forster
Daryl Griffith
Oboes:
Deirdre Dods
Bridget Alexander
Clarinets:
Hale Hambleton
Victor Slaymark
Bassoons:
Nicholas Hunka
Anna Meadows
Horns:
Peter Clack
Dennis Scard
David Clack
George Woodcock
Ronald Harris
Ruth Knell
Michael Hinton
Rosemary Roberts
Clifford Haines
Trombones:
Violas:
Ian White
Stephen Shingles
Michael Crowther
John Meek
for Christmas in Holy Trinity Church on Wednesday 12
Frederick Campbell
December at 8 p.m. Hugh Bean the Guildford Philharmonic Orchestra’s leader, John Forster and John
Stilwell (cello) will accompany Monteverdi’s Beatus Vir
and ‘local’ baritone Mark Peterson will join the Choir
for a performance of Vaughan Williams’s Five Mystical
Songs. Christopher Mabley, the Choir’s able accom-
Julius Bannister
Tickets £1.50 (£1.00 for Senior Citizens and full-time
Katharine Hill
Trumpets:
Simon Halsey — the Philharmonic Choir’s energetic new
chorus master will conduct a concert of Joyful Music
panist will be playing a selection of music for organ.
Henry Messent
Hywel Jones
Howard Walsh
Philharmonic Choir
Flutes:
Jean Burt
Bass Trombone:
Martin Nicholls
Tuba:
Paul Appleyard
Stephen Wick
Leonard Lock
Timpani:
- Celi Azulek
Roger Blair
Cellos:
Percussion:
Eldon Fox
John Cave
John Stilwell
Tina Macrae
Students) are available from members of the Philharmonic Choir and from the Guildford Philharmonic
Orchestra’s Office — The Lodge, Allen House Grounds,
Chertsey Street, Guildford GU1 4HL.
John Hursey
Simon Halsey has agreed to conduct this year’s annual
Double Basses:
Rotary Concert in the Civic Hall on December 16 at
Michael Lea
3p.m. This concert again features the Philharmonic
Choir with accompanist Christopher Mabley. Also
appearing with the Choir will be a children’s choir from
Colin Paris
Jeremy Gordon
Judith Kleinman
Bellfields County Middle School with their conductor
Ian Eyres
Veronica Johnson.
Mary Scully
John Franca
John Colbourne
Administrator:
Kathleen Atkins
John Kirby
Robert Hoppé
Admission to this event is free, but there will be a
collection in aid of the Mayor’s Christmas and local distress fund.
The audience may be interested to know that the violin
sections are listed in alphabetical order after the first
desk because a system of rotation of desks is adopted in
this orchestra so that all players have the opportunity of
playing in all positions in the section.
Over 125 years of service to
Surrey Music Lovers
(Established in Guildford
The Guildford Philharmonic Society is the ‘Supporters Club’
of the Orchestra and was originally founded with the prime
object of encouraging not only its members but also the
general public to attend the season of concerts in the Civic
Hall by the Guildford Philharmonic Orchestra. It still has this
prime object but also the Society assists with the provision
of the finances for considerable extra publicity for the concert season, but its members also receive certain benefits in
return for a very modest subscription. These facilities include:
in 1857)
PIANOS
and
@ Priority booking at the beginning of each concert season
@ An additional discount on Subscription Series Tickets
@ The Society’s newsletter
MUSIC
@ Special Events such as visits to other concert venues,
musical evenings in members’ homes and certain social
gatherings during the season
@ Discount facilities at Merrow Sound Tunsgate Guildford
on records and cassettes
Illustrated — Steinway Grand
See these and
other
new fine grand
and
upright pianos, or browse in our unrivalled
sheet
music
department.
We
are
always
pleased to heip or advise.
@ The opportunity to attend rehearsals of the Orchestra by
—"
once
;
By being a member you are also helping to ensure the con-
tinued success of the Guildford Philharmonic Orchestra.
The membership rates are as follows:
Annual Subscription
Husband and Wife—Joint Subscription
Persons under the age of 18
Retirement Pensioner
v
Pianos for hire, music by post
T. ANDREWS & CO. LTD.
62 MEADROW, GODALMING
Tel: 22459 (Pianos) or 6414 (Music)
£5.00
£8.50
£3.50
£3.50
If you would like to join the Society please send your remittance together with your name and address to:
Mr RA Forrow
Flat 3, 6 Mareschal Road
Guildford Surrey GU2 5JF Tel: Guildford 575274.
or alternatively you may enrol at the Society’s stand in the
foyer of the Civic Hall on concert days.
SUPPORT YOUR
ORCHESTRA!!
IT
NEEDS YOU!!
for
a total service
encompassing typesetting,
artwork, photography, platemaking,
lithographic and letterpress
printing
all under one roof
CRADDOCKS, GREAT GEORGE STREET, GODALMING, SURREY
TELEPHONE GODALMING 6552
Guildford Philharmonic Choir
CHORUS MASTER — SIMON HALSEY
The Choir performs regularly with the fully professional Guildford Philharmonic Orchestra
in its annual series of concerts.
PROGRAMME FOR 1984/85 SEASON:
13 October 1984
Te Deum
Berlioz
Conductor — Norman Del Mar
December 1984
Christmas Concert
Conductor — Simon Halsey
2 March 1985
German Requiem
18 March 1985
Requiem
4 May 1985
Belshazzar’'s Feast
Walton
Conductor — Vernon Handley
Brahms
Conductor — Brian Wright
Verdi
Conductor — Brian Wright
Guildford Cathedral
Guildford Cathedral
Royal Festival Hall
Guildford Civic Hall
The Philharmonic Choir meets on Monday evenings from 7.15 p.m. to 9.15 p.m.
The Choir welcomes applications from young singers (all voice parts) with good sight reading ability.
Enquiries: Administrator, Guildford Philharmonic Choir Office,
The lodge, Allen House Grounds, Chertsey Street, Guildford, GUI 4HL.
UNIVERSITY
OF SURREY
DEPARTMENT OF MUSIC
THE UNIVERSITY BOOKSHOP
is open to all members of the general
public. We stock a wide range of
This Department has gained for itself an
enviable reputation for its high quality
of
:
performance. Members of the public are
most welcome at all
t :
our
concerts — these
donuns ie oe .
Be PIGS CUNY LOrTia hii Ovary
Wednesday at 1.15 pm and on selected
Sunday evenings.
Sethe and literary titles, as well as
aing
45.0.
agents
and
Open
University stockists.
We are open Monday to Friday from
9.00 a.m. to 5.00 p.m. and are also
open on Saturday mornings during
term-time from 9.00 a.m. to 12.30
p.m.
Why not pay us a visit next time you
Further information is obtainable from:-
are in the area?
A classic
collection of
the classical
Go to Guildford for probably the
finest collection of Classical music,
on tape or record, outside London.
Expert knowledge, advice
and guidance is all freely
available. “Out of the ordinary”
or “out of stock” selections
we'll order for you.
Sound us out soon. If we
can't help you no one can.
Merrow Sound
21-22 Tunsgate,
Guildford, Surrey. Tel: 33227
Record Department direct line
MERROW
SOUND
GUILDFORD
for a classical service
Marks and Spencer is delighted to continue its
support for the Guildford Philharmonic Orchestra
as part of its involvement in the Arts.