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Classical Music. Gilding the lily [1991-02-23]

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Subject:

Classical Music. ‘Gilding the lily’. Article on GPO. GPC mentioned. Photo of Sir Charles Groves. Photocopy

Classification:

Concert

Sub-classification:

Press

Sub-folder:

Location:

E1 Newspaper Cuttings

Year:

1990

Date:

February 23rd, 1991

Text content:

Guildford Phllharmon ic

CLASSICAL MUSIC 23 FEBRUARY 1991

Gilding the lily
Not only does the Guildford Philharmonic Orchestra enjoy a unique position as a high-standard
professional orchestra supported by a country town — it also has a strong policy combining old
favourites and new works, and this season presents a major South East Arts commission by
Sebastian Forbes. Terry Barfoot reports

hat makes the Guildford

\’\/ Philharmonic Orchestra
unique as a professional

freelance orchestra is that it is cen-

tred on and supported by a relatively small country town, and that

under Vernon Handley and now Sir
Charles Groves, it achieves such
consistently high standards of performance. Its success is due in no
small meaaure to the efficient and

friendly management team led by
Kathy Atkins.’
The words of Victor Slaymark,

the orchestra’s second clarinet and
one of its longest-serving members,
are typical of the affection and commitment which surround the GPO,

as it has inevitably become known.
It came into being in 1945, when
Crossley Clitheroe became administrator and conductor; he lobbied
the council that the orchestra
ahould have its own concert hall
rather than perform in the Technical College or the Odeon cinema.
His wish was eventually granted
when the Civic Hall opened in

1962, but tragically Clitheroe had
died just three weeks beforehand.
Since then his memory has been
preserved each season by a concert

bearing his name.
Vernon Handley was appointed
in 1962, and during his stay of more

than 20 years he revolutionised the
structure, until the orchestra became fully professional using

It was in 1986 that Sir Charles

of the musicians. Then the orches-

enterprising musical policy.’

players from the London freelance
pool. During those years Handley

Groves took up the position of principal conductor, and their work

tra is supported by a small but admirable administration whose

secured both his own and the or-

together gives him enormous satis-

head, Kathy Atkins, is a manager of

Hugh Bean and John Ludlow act
as co-leaders. Bean, who joined the
Philharmonia as leader 36 years

chestra’s reputations, especially in

faction: ‘I am extremely pleased to

greatexperience completely trusted

ago, holds Guildford in special es-

the British repertoire which, says

be so closely associated with the

by the players. And lastly we are

general manager Kathy Atkins, still

Guildford Philharmonic Orchestra

teem. He believes the strong artistic policy is an important factor in

forms a central feature of artistic

for a number of reasons, the first

fortunate indeed that Guildford Borough Council has supported both

policy.

being the excellence and dedication

financially and philosophically the

generating such loyalty from the
players. ‘There’s a balance be-

CLASSICAL MUSIC 23 FEBRUARY 1991

THE REPERTOIRE GUIDE

an area overplayed in Villa-Lobos’s work this,

and the Trés poemas indigenas (1926), settings
for contralto and orchestra of three tribal songs,

stand as landmarks in the establishment of
a distinctive Amerindian spirit in concert music.
Although Villa-Lobos was no piano virtuoso,

style with the idealised grandeur of the

his works for the instrument present, in micro-

film, although he drew heavily on

cosm, a vision of the whole glittering Brazilian

authentic Hispanic and Amerindian

scene, while taking on board influences and tech-

musical sources for material. Suites 1,

niques of Debussy, Ravel, and Milhaud. The

2, and 3 are orchestral, using music
from different scenes in the film: the

Suite Floral (1916-8) and Simples Coletanea
(1917-9) are collections of delightful Brazilian
vignettes: gardens, dances, a singing country girl,
and an enchanted cradle. Villa-Lobos’s friendship with Rubinstein prompted the composition

labys and children’s themes on to impressionis-

bined duration is 45 minutes, but selec-

tic piano textures — the various dolls of a young

tions may be made.
Villa-Lobos

composed

throughout his career. Deserving special

makes a delightful and unusual addition to any

mention, because of their succinct stylisa-

recital.

tions of all manner of Brazilian musical
types, are the Modinhas e Cancoes

a ‘piano portrait’ of Rubinstein himself. It is tu-

songs

favourite Rubinstein encore, but the whole work

By contrast, the vast Rudepoema (1921-26) is

Suite No 4 is an apotheosis depicting
in dramatic choral colours the intro-

duction of Christianity in the form of
the First Mass in Brazil. The Suites’ com-

child. From this, O policinello (Mr Punch) was a

—

sailing of the caravels, the sailors’
moods, celebrations, and despairs.

depicts — by superimposing simple Brazilian lul-

of the suite A Prole do Bebé No 1 (1918), which

(1936-43), a collection for voice and piano

multuous, violent, and devastatingly honest. The

(later with orchestra) of re-creations of the ar-

cascades of glissandi, hammered ostinati, and
few brief passages of tenderness place Rude-

chaic Ibero-Brazilian song form modinha interspersed with masterly imita-

poema among the most original and provocative

tions of music from vari-

piano works of its time, and certainly among the

ous periods of Brazilian

most difficult.

history.

neglected

The piano suite Carnaval das Criancas (1919)

Evoga is a popular

, but light

again inhabits a childhood world, this time that

song from the 1930s,

opera com-

panies

of Rio’s celebrated pre-Lent Carnival, seen

while Lundu da Mar-

through children’s eyes. Villa-Lobos later ex-

queza de Santos inha-

panded this accessible and melodic work, and

bits the courtly world of

novelties

added orchestral accompaniment, in which form

1822 — the year of Brazil-

should con-

it is known as Momeoprecoce. This later version

ian independence. A similar

provides an effective and attractive showpiece

collection, though concentrating more on raw

sider

Mag-

turns raw and lyrical, a depiction of the folklore
of Brazil’s arid north-east.

and Brazilian folk music, resulted in the compo-

for piano with orchestra, rich in instrumental so-

folkloric elements, is the Cangoes tipicas brasileiras (1919), ten songs with piano, also existing

Momoprecoce is ideal ‘Saturday moming young

in orchestral versions. Sopranos should investi-

persons’ concert’ material: an opening or simul-

gate the Suite for Voice and Violin (1923), by

In his attempt to stylize Brazilian music, Villa-

for

searching

dalena (1947), a musical in all but name, with
catchy, singable, stereotypical Latin American
melody throughout, centred around an amusingly absurd plot. It has recently been recorded.
Villa-Lobos’s early love of Bach, and a feeling
that there are affinities between this composer

nority and in its patchwork use of nursery themes.

taneous narration could easily be devised.

The Discovery of Brazil. The film, made in Brazil
in 1937, was an idealised epic depicting Cabral’s
voyage of discovery in 1500, and the landing in
the new world of Brazil. Villa-Lobos’s music
was opulent and romantic, splendidly in

Lobos seized upon the spirit of Rio’s improvis-

Villa-Lobos’s sets of 12 Studies (1929) and §

sition (1930-45) of nine suites with the untrans-

ing street musicians (the choroes) as a starting-

Preludes (1940) are staple fair for all guitarists,

point for a series of 14 works for widely differ-

but his Concerto for the instrument, written for

latable title Bachianas brasileiras, an attempt to
synthesise the spirit of choros with that of Bach.

ing forces entitled Choros (1920-29). To the

Segovia in 1951, deserves greater currency. It is

The works, like the Choros, are for different in-

simulated sound of the choro Villa-Lobos added

effective and typically Latin American in its

strumental combinations, from wind duo (No 6)

negro and Amerindian elements to obtain a total

rhythms and orchestral pastel shades. It could

vision of Brazil. Choros No 1 is a brief ‘impro-

provide welcome relief if promoters considered

to full orchestra (Nos 2, 7, and 8). The celebrated
No 5, for soprano and orchestra of cellos, is un-

doubtedly Villa-Lobos’s best loved work but No

visation’ for guitar, while No 11 is a huge con-

it in place of Rodrigo’s more celebrated counter-

certed work for piano and orchestra of great

part as the 20th century guitar concerto. Villa-

1, for cello orchestra alone, contains equally

concentration and beauty, lasting almost an hour.

Lobos’s late commissions brought forth a stream

ravishing moments, particularly in the Modinha,

The chamber works in the series (Nos 2,3, and 7)

of concertos for neglected instruments, the most

and could sensibly be programmed alongside its

would all lie well in a programme with the Nonet,

attractive of which are those for Harp (1953),

and the doleful No 5 in a piano rectial. Choros

and for Harmonica (1955). Both are entirely

more famous companion, as may also the luminous transcriptions of Bach Preludes and Fugues

No 4 should be taken up by brass ensembles: it

idiomatic for their instruments, and are immedi-

for orchestra of cellos which Villa-Lobos made

is an amusing quartet redolent of a badly or-

ately approachable.

ganised but well-meaning Latin American band.

String quartets should all draw at least one of

Choros No 10, for chorus and orchestra, best

in 1940. The orchestral Bachianas No 2 contains

Villa-Lobos’s 17 works in this genre into their

a wonderful imitation of an antiquated locomotive, The Little Train of the Caipira, and No 9, a

demonstrates the moods and techniques of the

repertoire. Into his quartets Villa-Lobos consist-

complex prelude and fugue, conveniently exists

series. A magnificent orchestral jungle evocation

ently poured the private reflections of his ex-

in versions for string orchestra and for a cappel-

leads into a choral rhapsody which fuses Amerin-

perimental, public music. A sensible plan may be

la voices.

dian incantation with a genuine popular song

to contrast the lyrical, jovial, and satirical Quar-

from turn-of-the-century Rio.

tet No 1 (1915) with the intense final work in the

Organisations seeking unusual choral and or-

series (1957), music first performed in Washing-

chestral repertoire should consider the four suites

ton as its composer lay dying in Rio de Janeiro.

which Villa-Lobos assembled from his film score

Villa-Lobos’s operatic works have long been

The Repertoire Guide is a fortnightly service for
programmers, performers and the public
In the next issue:
Peter Dickinson on Sir Lennox Berkeley

CLASSICAL MUSIC 23 FEBRUARY 1991

GUILDFORD PHILHARMONIC

~ tween box office favourites and

providing musical experiences of a

worthwhile new works, and much

diverse nature, such as day schools

care goes into planning the season.

and workshops, schools concerts

Sir Charles has works he particular-

and pre-concert talks. Young artists
give monthly lunchtime recitals in

Saturday
9 March

Fanfare - Bliss
Enter Spring - Bridge

Sinfonia3 (world premier) - Forbes
Violin Concerto - Elgar

at 7.30pm

Sir Charles Groves conductor
ALL TICKETS SOLD

Nigel Kennedy violin

ly wants to conduct — for example

GUILDFORD PHILHARMONIC ORCHESTRA
Principal Conductor:

SIR CHARLES GROVES

he wanted to do Beethoven’s Missa

the wonderful setting of the medie-

Solemnis in Guildford Cathedral
near his 75th birthday. In the or-

val Guildhall, while Hilary Davan
Wetton directs the Classical Road

chestra there’s a family atmosphere

Show series for family audiences,

Sunday

Piano Concerto No 1inDminor ~ Brahms

24 March

Symphony No6inF (Pastoral)

which is absolutely unparalleled.’

discussing the music before the in-

at 3.00pm

John Lill piano

There are regular principals

terval, performing it after. In No-

throughout the orchestra, and in the

vember 1989 the ‘Adopt a Player’

Sunday

HOMAGE TO MOZART

14 April
at 3.00pm

Symphonies 39, 40 and 41
Sir Charles Groves conductor

Saturday

The Dream of Gerontius

27 April

Linda Finnie, Arthur Davies, Michael Pearce

woodwind and brass sections they

scheme was set up to introduce

have the task of recommending

young people to the musicians and

players. The string players are fixed

their instruments, by presenting

from the office, and since there is

workshops in the schools and link-

~ Beethoven

Volker Wangenheim conductor

at 7.30pm

Philharmonic Choir Vemon Handley conductor

no firm contract involved, a rela-

ing them to concerts at which spe-

tionship of trust becomes crucial.

cial family tickets are available.

Saturday

Symphony No. 1 InBb Spring Schumann

11 May
at 7.30pm at

Symphony No.1inD Mahler

According to Kathy Atkins, ‘those

The South East Music Trust,

people who receive dates and sche-

founded in 1972, is responsible for

dules are not bound by them, but we

this and other aspects of develop-

hope they can do them and they

ment, such as taking the orchestra

generally do.” There is no strict

out into the wider region of the
south and east.

auditioning system, and therefore a
sense of teamwork prevails, Sir

In 1975 South East Arts adopted

Charles regularly meeting with the
J4eaders and manager to discuss pro-

the orchestrain thisrole, and Atkins
is happy to see engagements de-

gress and planning.

velop. ‘We appear regularly in

Atkins became general manager

Crawley and in Folkestone and

— her official title is ‘music admin-

Eastbourne. I’d like to do annual vi-

. istrator for the Borough of Guildford’ — when Vernon Handley left

course we need to keep the right