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GUILDFORD CATHEDRAL
SATURDAY 2 MARCH 1996 at 7.30pm
Leader
JOHN LUDLOW
HANS MICHAEL BEUERLE
Conductor
CAROLINE LENTON-WARD
Soprano
* MARGARET McDONALD
Alto
* NICHOLAS BUXTON
Tenor
JEFFREY CARL
Bass
FREIBURGER BACHCHOR
GUILDFORD PHILHARMONIC CHOIR
* Please note change of soloists
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All concerts in the current season are funded by
with financial assistance from
GUILDFORD BOROUGH
South East Arts Board, the Guildford Philharmonic Society, the South East Music
Trust and the ‘A Musicians’ Union.
CAROLINE LENTON-WARD
The Guildford Philharmonic Orchestra welcomes Hans
Michael Beuerle ona return visit to Guildford. He was
born in Berlin in 1941. He went to the University of
Frankfurt, where he studied music, conducting,
musicology, German literature and philosophy and took
his Ph.D. with a dissertation on the a cappella choral
music of Johannes Brahms.
He taught choral conducting at the conservatoires of
Trossingen and Karlsruhe and accepted the offer of a
chair at the “Musikhochschule of Freiburg” in 1980,
where he has been teaching and performing with the
academic choir and orchestra.
He is also the conductor of two well-known choirs:
the first of these is the “Anton-Webern-Chor of
Freiburg” (formerly the “Frankfurt Kammerchor’) a
semi-professional ensemble with a large repertoire from
The London-based soprano Caroline Lenton-Ward was
educated in Leeds and continued her studies at the
Royal Academy of Music, where she was awarded the
Charles Norman Prize. In 1986 and 1987 she was
granted awards from the Countess of Munster Musical
Trust for further studies with Jessica Cash with whom
she is still working.
Caroline has sung with many leading ensembles
including the BBC Singers. She has appeared with the
Royal Opera Chorus, Opera North, Kent Opera and the
D’Oyly Carte, and as a student sanga role in the British
premiere of Kurt Weill’s Street Scene.
Recent concerts have included appearances at the Royal
Festival Hall with the London Philharmonic, conducted
by Kurt Masur, Mozart C Minor Mass at the Barbican,
Messiah with Sir David Willcocks, the role of the Virgin
in Honeggar’s Opera Joan of Arc with the Royal
Liverpool Philharmonic Orchestra conducted by Libor
Pesek, Verdi’s Requiem, Rossini’s Petite Messe
the Renaissance to the avant-garde.
Solenelle for the BBC, as well as a recital tour of the
The second well-known choir is the “Freiburg
Bachchor” (accompanied by the “Freiburg Bachorchester”), which he conducts as the successor of their
USA.
founder Theodor Egel.
With both ensembles Beuerle has toured in France, Italy,
Switzerland and the Ukraine.
With the “Freiburg Bachchor’” and numerous members
of the Guildford Philharmonic Choir Beuerle performed
Handel’s “Messiah” in Freiburg Cathedral at the jubilee
of the twinning of Freiburg and Guildford; and a
performance of Brahm’s “Requiem” in Guildford Civic
Hall in 1992.
In addition to his regular activities as a conductor and
university teacher Beuerle often runs holiday classes in
conducting and works in radio and television.
Caroline pursues a busy teaching career and also finds
time to run her own business in providing musical
entertainment for any and every occasion!
NICHOLAS BUXTON
Nicholas Buxton studied at the Royal Northern College
of Music and the National Opera Studio. His operatic
Born in Grimsby, Margaret studied singing at the Royal
roles include Don Jose (Carmen) for Scottish Opera and
Northern College of Music, where she was awarded the
English Touring Opera, Valzacchi (Der Rosenkavalier)
Curtis Gold Medal and the Elsie Sykes Fellowship.
for English National Opera, Don Carlos at the Teatro
Milan,
Margaret
spent three
Sociale in Mantova, Guglielmo Ratcliff by Mascagni in
Glyndebourne
Festival
Opera
and
Livorno, and Otello for Folhsperan in Stockholm. He has
wide
and
After further study
seasons
with
in
sung many other roles in the dramatic tenor repertoire
Glyndebourne Touring Opera.
Margaret’s
career
has
encompassed
a
impressive range of opera and concert commitments.
For Opera North she has sung the role of April Showers
in the Premiére of Playing Away, The Mermaid Oberon,
Beatrice Rebecca, Carmen La Ciesca Gianni Schicchi;
for the City of Birmingham Touring Opera, she has
appeared as Meg Page Falstaff, for Scottish Opera Go
including
Florestan
Cavaradossi
(Fidelio),
(Tosca),
Cario
Max
(Der Freischutz),
(Pagliacci)
and
Calaf
(Turandot). His concert appearances include the Verdi
Requiem,
Mendelssohn’s
Elijah,
the
Dvorak
Stabat
Mater and Beethoven’s Missa Solemnis. Future plans
include returning to Italy with Isabeau by Mascagni and
Ballo in Maschera in Livorno, Lucca and Mantova.
Round, Eboli Don Carlos; for Chelsea Opera Group
Ascanio Benvenuto Cellini and the title role of Bizet’s
Djamileh; and she has also worked for English National
Opera,
the
English
Bach
Festival
and
the
Buxton
Festival.
A recognised exponent of the works of Elgar, she is now
a regular performer at the Three Choirs’ Festival. She
has appeared at the Quimper Festival, the Spitalfields
Festival, the Saintes Festival (with Graham Johnson),
the Dublin Contemporary Festival; she has performed
with Walter Siisskind, Norman del Mar, Simon Rattle
and Jane Glover; she sings regularly at all major London
venues and in cathedrals throughout the UK ... and her
oratorio
repertoire
(over
standard
works,
well
as
40
as
all
the
contemporary pieces
works)
spans
by
Boulez, Henze, Greaves, Barber.
Margaret’s recordings include the Mozart Requiem and
the Vespers
in
Germany,
Haydn’s
Paukenmesse
for
Berlin Radio, Isoletta in La Straniera (Bellini) with the
Northern Sinfonia, and the She-Ancient in Tippett’s The
Midsummer Marriage for Nimbus Records.
This summer she returns to the Three Choirs Festival in
Canadian baritone Jeffrey Carl received his BMusic in
Worcester and sings with the RPO in a Gala Evening.
voice performance and modern languages from McGill
University while studying with the eminent baritone Louis
Quilico.
He
was chosen
as
a soloist for the Winter
Olympics Arts Festival in 1988. His studies took him to the
Accademia di Musica Chigiana in Siena and here to
England at the Britten-Pears School where he concentrated
on the Bel Canto with Ileana Cotrubas. Following graduate
studies at the University of Toronto he won a Canadian Arts
Council Grant to move to Europe.
He has recorded Kurt Weill’s The Fire Brand of Florence,
conducted by John
McGlinn together with American
baritone Thomas Hampson, and has just sung a part in La
Boheme with Alagna, Hampson, Ramey and Leontina
Vaduva, both for EMI. He has just recorded two parts for
Richard Bonynge in Léhar’s The Czarevich with Jerry
Hadley and Nancy Gustavsen for Telarc. For Phillips he
will
record Britten’s
Curlew River with
Sir Neville
Marriner.
His concert career began in Montréal singing Fauré’s
Requiem, Bach’s Magnificat and Mozart’s Requiem, and
with Sir David Willcocks in the Messiah in 1991 at the
Royal Albert Hall, as well as Elijah, Beethoven Ninth
Symphony
(Montréal),
Carmina
Burana,
the
Verdi
Requiem and all the Back Passions (Société de la Musique
Ancienne de Montréal), The Creation at the Barbican. He
has sung in Les Mamelles de Tiresias for Sir Simon Rattle,
Festival of Strasburg, and evne went on a tour to the USA.
In 1983 Theodor Egel retired, handing the choir over to
Hans
Michael
Beuerle,
professor of the
Freiburgian
conservatoire. Hans Michael Beuerle’s performances in
Germany and abroad have proved that he is able to
continue
the
demanding
tradition
of
‘“Freiburger
Bachchor’.
He has performed a great number of the most important
oratorios
from
the
17th
up
to
the
19th
century:
Monteverdi’s “Vespro della beata Virgine”: Bach’s St.
Matthew Passion. St. John Passion. Christmas Oratorio
Mass in B minor: Handel’s “Messiah” and “Israel in
Egypt”: Haydn’s “Creation”: Mozart’s “Requiem” and
Mass in C minor: Beethoven’s “Missa Solemnis”: Verdi’s
“Missa da Requiem”: Brahm’s “Ein Deutsches Requiem”
and Schénberg’s ‘““Moderner Psalm’”’.
Tours were made to Stresa (Settimane musicale di Stresa)
and the music festival of Lviv (Ukraine). In 1990 members
of the Freiburger Bachchor sang Beethoven’s Missa
Solemnis
with
conducted
by
the
Guildford
Sir Charles
Philharmonic
Groves
—
the
Choir
Guildford
Philharmonic Musical Director between 1986 and 1992.
In 1992 the Choir’s First CD — Brahm’s Requiem — was
produced, conducted by H.M. Beuerle.
A Child of Our Time for Sir Michael Tippett in Holland for
In
the D-Day celebrations, Leider Recital at St. Martin in the
Philharmonic in a performance of Britten’s War Requiem
1993 the Freiburger Bachchor hosted the Guildford
Fields and a live recital on Classic FM with pianist
in Freiburg Miinster conducted by Neville Creed.
Malcolm Martineau.
Plans include Don Giovanni, Carmen, The St. Matthew
Sopranos:
Elisabeth Hierholzer
Passion, Verdi evening at Blackheath Concert Halls, Lucia,
Esther Eble
Inge Knipper
Carmina Burana, Puccini Messa di Gloria, Macbeth, and a
Eva Maria
Barbara K6ttgen-
Percy Granger concert in Gutesloh, Germany, Belshazzar’s
Feast — Liverpool Philharmonic, Five Mystical Songs,
Bach Magnificat.
FREIBURGER BACHCHOR
We are delighted to welcome the Freiburger Bachchor to
Guildford this evening.
The
“Freiburger Bachchor”
originates
from
a
very
Faller-Schaefers
Schwanhauser
Ingeborg Frese
Kwella Mechthild
Monika Goeze-Krahl
Gertrud Monig
Christine Gronski
Irmgard Moser
Rena Hadji-Cheykh
Anneli Petrak
Adelgunde Hartmann
Christiane Pohl
Hanna Heinbockel
Dagmar Sartorius
Edda Henseleit
Brigitte Schneider
Helga Kaiser
Barbara Scholz
Gertrud Keil
Dorothea Stenzel
Erika Koch
Mechthild TheBeling
Karina Kulbach-Fricke
Cordula Thalmann
Passion in the Cathedral of Freiburg on March 5th 1944
Ilse Lange
Dagmar Thalmann
after profound rehearsing with a group of enthusiastic
Annegret Lippky
Annegret Verbeek
university students and Freiburgian citizens.
Gertraud Mickel
Annette Vetter
Due to Theodor Egel’s hard work and zest the choir soon
Irmgard Metzner
Inge Van der Lieth
became a highly qualified representative of choral music in
Margrit von Médersheim
Ursula Von Hochmeister
Freiburg and abroad.
Heide Miiller
Eva Maria Wagner
Daniela Nieden
Friederike Weber
Gabi Rechenbach
Karin Wodraschke
courageous project of Theodor Egel to perform St Matthew
Though focused on Johanne Sebastian Bach its repertoire
comprises the most important choral music up to the 20th
century.
Several reviews of performances in Berlin, Frankfurt,
Basle, Vienna,
Paris, Milano and recordings of the
“Sudwestfunk”’ praised the high standard of the choir.
Uta Reinicke
Gudrun SaBe
Tenors:
Ursula Weltzien
Zamir Bar-Lev
Hilde Menze
Wolfgang Berweck
Friedemann Bulher
The Freiburger Bachchor successfully took part in several
Altos:
European international music festivals like Settimane
Irmgard GlaBen
Giinter Fritz
Klaus Graner
musicali di Stresa and — lately — the international Bach
Cornelia Grisebach
Peter Graner
Reinhold Hartmann
Oliver Hartl
Enid Weston
June Windle
Andreas Kautzsch
Peter Herfort
Tessa Wilkinson
Maralyn Wong
Heiner Krahl
Christine Wilks
Beatrice Wood
Basses:
Jorg Kiinstle
Barbara Williams
Andreas Battenberg
Armin Opitz
Elisabeth Willis
Tenors:
Werner Bauer
Karl Reuter
Frances Worpe
Adrian Buxton
Frank-Uwe Dill
Volker Rixmann
Gotz Fabry
Erich Seidelmann
Altos:
Geoffrey Forster
Peter Fischer
Hans Ulrich Wéltzien
Sally Bailey
Leslie Harfield
Martin Goeze
Alexander Schweizer
Iris Ball
Nick Lamb
Bob Cowell
GUILDFORD PHILHARMONIC CHOIR
Vernon Handley (President)
Jeremy Backhouse (Chorus Director)
Guildford
Philharmonic
Choir
was
formed
by
Guildford Borough in order to perform the major choral
repertoire with the Guildford Philharmonic Orchestra.
As well as performing well-known choral works, the
choir specializes in twentieth century British music and
this has led to recordings of Gerald Finzi’s /ntimations
of Immortality with the Guildford Philharmonic and
Patrick
Hadley’s
Philharmonia
The
Trees
Orchestra,
So
both
High
with
recordings
the
being
conducted by Vernon Handley.
The Choir is conducted by some of the most eminent
musicians, and as well as giving frequent concerts in
Guildford, the Choir occasionally visits other British
cities. In 1988 the Guildford Philharmonic Choir visited
Paris,
in
1990 joined
forces
with
the
Freiburger
BachChor in Freiburg Munster and in November 1993
gave
an
outstanding
Requiem also
Neville
with
Creed.
performance
the
Jeremy
of Brittens
Freiburger BachChor
Backhouse
was
War
under
appointed
Chorus Director in January of this year, succeeding
Neville Creed who held the post for seven years.
Sopranos:
Jacqueline Norman
Jacqueline Alderton
Susan Norton
Kathleen Aldridge
Robin Onslow
Olivia Ames-Lewis
Peter Lemmon
Iris Bennett
Andrew Reid
Tamsin Bennetts
Chris Robinson
Jane Brooks
John Trigg
Jean Brown
Maggie van Koetsveld
Barbara Buck
Jeni Young
Juliet Butler
Jeremy Filsell (Accompanist)
The
Evelyn Beastall
Amanda Clayton
Basses:
Mary Clayton
Peter Andrews
Valerie Edwards
Roger Barrett
Celia Embleton
Michael Bradbeer
Mandy Freeman
John Britten
Rebecca Greenwood
Norman Carpenter
Ingrid Hardiman
Walter Chattaway
Pamela Harman
Neil Clayton
Lucy Hatcher
Rodney Cuff
Carol Hobbs
Michael Dawe
Sheila Hodson
Simon Doran
Joy Hunter
Michael Dudley
Lyn Jackson
Terence Ellis
Helen Lavin
Thomas Gildon
Kay McManus
Michael Golden
Elisabeth Martin
Nick Gough
Christine Medlow
Peter Herbert
Mary Moon
Laurie James
Brenda Moore
Michael Jeffery
Jean Munro
Stephen Jepson
Nikki Paige
Michael Longford
Anne Philps
Anthony Macklow-Smith
Susan Pope
Neil Martin
Clare Ranger
Barry Norman
Lesley Scordellis
John Parry
Catherine Shacklady
Nigel Pollock
Gillian Sharpe
Alison Palmer
David Ross
Judy A. Smith
John Schlotel
Prue Smith
Philip Stanford
Noreen Ayton
Margaret Parry
Louise Barnfield
Vivienne Parsons
Penny Baxter
Vicky Payne
Mary Broughton
Jessica Pires
Elaine Chapman
Rosalind Plowright
Andrea Dombrowe
Erin Polster
Rachel Edmondson
Susan Ranft
Angela Hand
Gillian Rix
Sheila Hendy
Joan Robinson
Susan Hinton
Judith Rossetti
Shelagh Jeffreys
Maureen Shortland
Nora Kennea
Dawn Smith
Judith Lewy
Judy Smith
Margaret Mackie
Kathy Stickland
Elizabeth McCracken
Carol Terry
Vanessa Mumford
Sally Wallington
Rosemary Smith
Keith Torbet
Hilary Trigg
Andrew Whitehouse
Miriam Walsh
Ralph Whitehouse
Janice Wicker
a>
_
=
2
cod
PROGRAMME==s+—
STABAT MATER, OPUS 58
speed. Yet there are many pages of remarkable loveliness in
this
ANTONIN DVORAK (1841 - 1904)
Soloists: Soprano, Mezzo-Soprano, Tenor, Bass
Choir
grave and tender setting of the
devotional
text.
Numerous woodwind phrases in the accompaniment are
very typical of their composer, and the manipulation and
development of simple themes and motives are admirably
The Stabat Mater is a 13th-century poem describing and
resourceful and imaginative. The four soloists and choir are
vicariously sharing the anguish of the Virgin Mary as she
accompanied by an orchestra of double woodwind (plus
witnessed the Crucifixion.
cor anglais), horns, brass, timpani and strings. An organ
It is believed to have been
written by the Franciscan layman, Jacopone da Todi (1230
appears in the fourth movement.
- 1306), and has been officially accepted since 1727 as a
sequence in the Roman Catholic liturgy. Josquin des Prés
and Palestrina were early composers who set the poem to
music. Haydn composed a setting and several modern
composers have done so, but perhaps the best known
versions are those by Rossini, Dvorak and Verdi.
Dvorak’s Stabat Mater, his earliest surviving religious
composition and the work which more than any other
established his reputation in England, has been described
as ‘the first oratorio of modern Czech music’. In 1875 the
composer’s second child, Josefa, died three days after her
birth, and that tragedy turned his thoughts towards setting
this text. he sketched the work between February and May
1987, then laid it aside to compose the more urgently
needed Piano Concerto and Symphonic Variations. Another
two of his children died in the summer of 1877, and in
October he took up the Stabat Mater again, completing it
on
13 November. The first performance took place in
Prague
on
23
December
1880
under
Adolf Cech.
Originally numbered Opus 28, the score was published as
1. Stabat Mater
Solo Quartet and Chorus
Dvorak’s setting of the poem is in ten self-contained
movements, of which only the first and last share the same
themes. The work begins with a long orchestral prelude,
Andante con moto in B minor, the initial widely-spaced
pianissimo octaves suggesting the grief-stricken mother
gazing at the Cross. At length the chromatic Stabat Mater
theme enters softly and undergoes continual changes of
melodic shape through the first choral section. The tenor
soloist enters at the end of this passage and is given the next
lines as a D major solo. All four soloists and chorus share
the
lines
beginning
recapitulation
of the
O
quam
principal
tristis
and
theme,
varied
the
movement to a quiet close in B major.
Stabat mater dolorosa
The sorrowing mother stood
Juxta crucem lacrymosa
weeping beside the cross
Dum pendebat Filius.
where hung her Son.
Opus 58.
Cujus animam gementem,
Contristatam et dolentem,
saddened and lamenting,
Joseph Barnby, a well-known choral conductor, introduced
Pertransivit gladius.
a sword had pierced.
the work to this country at a London Music Society concert
O quam tristis et afflicta
Oh how sad and afflicted
Fuit illa benedicta
was that blessed
on 10 March 1883, and such was its success that Dvorak
a_
bringing
Her groaning spirit,
was invited to come to England the following March and
Mater, Unigeniti.
Mother of the Only-begotten.
conduct a performance by the Albert Hall (now Royal)
Quae moerebat et dolebat
She mourned and sorrowed
Choral Society. According to his report on this event the
Et tremebat dum videbat
and trembled as she saw
choir numbered over 800 and the orchestra was based on
Nati poenas inclyti.
the sufferings of her glorious Son.
92 strings. ‘As soon as I appeared, I received a tempestuous
welcome from the audience ... The English are a fine
people, enthusiastic about music, and it is well known that
they remain loyal to those whose art they have enjoyed.
2. Quis est homo
Solo Quartet
God grant that it may be so with me.’
Six bars for woodwind and strings precede the entry of the
A few months later Dvorak paid his second visit to
contralto soloist with the main theme of this E minor
England, this time to conduct the Stabat Mater at the Three
Andante sostenuto. Tenor, bass and soprano follow in turn
Choirs Festival in Worcester. Again it was greeted with
with the same theme, each
great enthusiasm by press and public. ‘Dvorak’s Stabat
melodies from the preceding singer(s). The central episode,
accompanied by counter-
Mater is undoubtedly an original effort of great power,’
Pro peccatis, in G major is a canonic treatment of a new
wrote The Times, ‘all the more worthy of notice at a time
subject. Then the first theme returns for a more elaborate
when the clever repetition of platitudes is too frequently
reprise.
mistaken for genuine inspiration.’ Another performance
Quis est homo qui non fleret
Who is the man who would not weep
under the composer’s direction was given in Cambridge in
Christi matrem si videret
if he saw the Mother of Christ
1891 when he received an honorary doctorate from the
In tanto supplicio?
in such distress?
university.
Quis non posset contristari
Who could not sorrow
Piam matrem contemplari
contemplating the gentle Mother
Dolentem cum Filio?
grieving with her Son?
Much sacred music offered at that time to English
audiences was by pale Victorian imitators of Mendelssohn,
Pro peccatis suae gentis
For the sins of His people
Vidit Jesum in tormentis
she saw Jesus in torment
Et flagellis sobditum.
and subjected to the scourge.
sweet and easy-going at times for modern taste,a little
Vidit suum dulcem natum
She saw her sweet Child
Moriendo desolatum
dying in desolation
long-winded for an age that puts a high value on power and
Dum emisit spiritum.
as He gave up the spirit.
and it is clear that Dvorak’s truly original work provided a
refreshing change. Nowadays performances of his Stabat
Mater in our concert halls are infrequent; probably it is too
3. Eja Mater
7. Virgo virginum praeclara
Chorus
Chorus
This is a devotional C minor Andante con moto chorus in
Beginning in the preceding movement’s B major, the
march form with outer sections based on a motive given
orchestral
out by the orchestra in the first bars. The middle section has
pianissimo entry of the chorus with a tender Largo theme,
the choir in four-part harmony with a new melody led by
which Dvorak treats with numerous variations of melody
the sopranos.
introduction modulates
to A
major for the
and rhythm.
Eja Mater, fons amoris,
Ah Mother, source of love,
Virgo virginum praeclara,
Virgin supreme among virgins,
Me Sentire vim doloris
let me feel the force of grief
Mihi jam non sis amara,
do not now be harsh to me,
Fac, ut tecum legeam.
that I may weep with Thee.
Fac me tecum plangere.
let me weep with Thee.
8. Fac ut portem
4. Fac ut ardeat
Soprano and Tenor
Bass and Chorus
The solo bass with accompaniment from woodwind, horns
and strings has the first section of this B flat minor Largo,
which takes on the character of a slow Slavonic dance. At
Sancta
Mater
the
female
voices
of
the
chorus,
accompanied only by an organ, make their entry with an E
flat passage which has a wonderful sweet ethereality. A
varied reprise of the bass solo leads to the return of the
ethereal voices, a semitone sharper in E major until the
choir’s male voices join in and the key returns toB
flat
minor. The soloist is allotted the closing section.
Fac ut ardeat cor meum
Make my heart blaze
In amando Christum Deum
with love of Christ God
Ut sibi complaceam.
that I may please Him.
Sancta Mater, istud agas,
Holy Mother, grant this,
Crucifixi fige plagas
stamp the wounds of the Crucified
Corde meo valide.
firmly on my heart.
A two-bar motive given out by the clarinets in the opening
bars
is
the germ-cell
of this
D major duet.
It
runs
recognisably — although in various guises — through the
vocal and instrumental parts and dies softly away at the
end.
Fac ut portem Christi mortem,
Grant I may bear Christ’s death,
Passionis fac consortem,
grant me a share in His Passion,
Et plagas recolere.
and remembrance of His wounds.
Fac me plagis vulnerari,
Let me be wounded with His wounds,
Cruce hac inebriari,
by this cross be filled
Ob amorem Filii.
with love for Thy Son.
9. Inflammatus et accensus
Contralto
Another short motive, introduced at the outset by oboes
and first violins, and a persistently trudging bass are the
principal features of this movement, an alto solo marked
Andante maestoso. Cast in ternary form, it has outer
5. Tui Nati vulnerati
sections in D minor and a central episode in F major.
Chorus
After so much in the minor mode Dvorak provides a
necessary musical contrast with a lovely E flat major
chorus in a flowing 6/8 time marked Andante con moto,
quasi allegretto. The slightly quicker and more strongly
accented middle section, treated fugally, is in E flat minor,
but a varied reprise of the first part brings the movement to
a tranquil conclusion.
Inflammatus et accensus,
Inflamed and afire,
Per te, Virgo, sim defensus
through Thee, Virgin, let me be
defended
In die judicii.
on the Day of Judgement.
Fac me cruce custodiri,
Let me be guarded by the cross,
Morte Christi praemuniri,
protected by the death of Christ,
Confoveri gratia.
sheltered by His grace.
10. Quando corpus morietur
Tui Nati vulnerati,
Thy wounded Son,
Tam dignati pro me pati,
who deigned to suffer for me,
Poenas mecum divide.
share with me His sufferings.
Solo Quartet and Chorus
As already mentioned, the final movement returns to the
thematic ideas of the first, though the working out is
different. Beginning softly in B minor, Andante con moto,
6. Fac me vere
the music blazes up at the reference to the glory of
Tenor and Male Chorus
Paradise. Then follows a big contrapuntal Amen chorus in
This B major Andante con moto is built on two themes. The
Handelian style, Allegro molto in D major. After a powerful
first, given alternately to the solo tenor and the male chorus
climax the first violins usher in a tranquil coda. There is
in three and four-part harmony, is not perhaps one of
one last loud Amen before the work comes to a peaceful
Dvorak’s
close.
best
inspirations
but avoids
monotony
by
constantly changing in small melodic details. Its beautiful
Quando corpus morietur,
When my body dies,
accompaniments, too, are skilfully varied. The second
Fac ut animae donetur
grant that my spirit may be given
theme at Juxta crucem makes a marked contrast with its
Paradisi gloria.
the glory of Paradise.
quite different
Amen.
Amen.
melodic and
rhythmic character.
Both
themes are repeated, the first more briefly than before.
Fac me vere tecum flere
Make me truly weep with Thee
Crucifixo condolere
grieve with Thee for the Crucified
Donec ego vixero.
as long asIlive.
Juxta crucem tecum stare
Beside the cross to stand with Thee
Te libenter sociare
to join Thee willingly
In planctu desidero.
in mourning I desire.
English translation © by Eric Mason, 1982
GUILDFORD PHILHARMONIC ORCHESTRA
EN SHAO-— Principal Conductor
Trombones
First Violins
Violas
Flutes
John Ludlow — Leader
John Meek
Jane Pickles
Ian White
Maurice Brett
John Graham
Simon Hunt
Arthur Wilson
Christopher Guy
Sheila Beckensall
Justin Ward
Emer Calthorpe
Jean Burt
David Giardino
Paul Appleyard
Vicky Walpole
Bass Trombone
Avril Maclennan
Karen Demmel
Janice Knight
Martin Nicholls
Peter Newman
Michael Newman
Prunell Sedgwick
Angela Bonetti
Clarinets
Timpani
Nicholas Bucknall
Scott Bywater
Oboes
Anthony Short
Dayle Stevens
Christopher Gradwell
Cellos
Organ
Sarah Voigt
Peter Esswood
Helen Ward
John Stilwell
Bassoons
Michael Ronayne
Nicholas Huaka
Second Violins
John Hursey
Anna Meadows
Nicholas Maxted Jones
John Kirby
Rosemary Roberts
Duncan Moulton
Horns
Andrew Antcliff
Music Administrator
Andrew Bernardi
Basses
George Woodcock
Peter Holt
Julia Brocklehurst
Michael Lea
David Clack
Timothy Callaghan
Maurice Neal
Anthony Catterick
Projects Assistant
Ruth Dawson
Martin Myers
Peter Hembrough
Matthew Coman
Trumpets
Nick Bomford
Ruth Knell
Paul Moore
Julian Brewer
Jeremy Filsell
General Manager
Kathleen Atkins
Catherine Belton
(SEMT)
Andrew Hendine
Alan Merrick
Secretary
Shirley Ewen
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
For further information contact:
GUILDFORD PHILHARMONIC ORCHESTRA, MILLMEAD HOUSE, MILLMEAD, GUILDFORD GU2 5BB
Tel: (01483) 444666
Sunday 24 March 1996 at 3.00pm
Sunday 21 April 1996 at 3.00pm
Civic Hall, Guildford
Civic Hall, Guildford.
Overture “Portsmouth Point’
Songs of the Fleet
Stanford
Two songs from Songs of the Sea
Symphony No. 4.
Walton
Stanford
Brahms
Jeremy Huw Williams
Baritone
Guildford Philharmonic Choir
Edward Warren
Conductor
Overture to ‘La Fedelta Premiata’
Haydn
Symphony No. 6. (The House of The Devil)
Horn Concerto No. 3.
Concerto Grosso Op 3, No. 2.
Concert Rondo
Symphony No. 34
Sarah Willis
Robert King
Tickets: £11.50., £10.50., £9.50 (concessions)
from Civic Hall Box Office: 01483 444555.
Boccherini
Mozart
Handel
Mozart
Mozart
Horn
Conductor
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THE IDEAL VENUE FOR:
Major diary dates for the 1995-96 academic year:
FUNCTIONS
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CONFERENCES
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University Symphony Orchestra
Mahler Symphony No 4 & de Falla Three Dances
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