Programme November 2016 draft 2

At the halow project we believe young adults with a learning
disability are entitled to the same life choices and chances as any
other young person; we are committed to developing creative
opportunities and removing social barriers for our young people.
halow is based in Guildford and offers support throughout
Surrey.

halow offers a unique and innovative program of activities, giving
our young people the chance to enjoy an active social life, make new friends, and find further
educational and employment training through our various initiatives. The services we provide
offer our young people the opportunity to: Become part of the community Build
relationships Find meaningful employment And have a home of their own

Social activities: halow social activities take place locally and in the wider community

supported by volunteers. The young people engage in events of their own choosing and help
with the planning and organisation in their monthly Youth Committee meetings. Past activities
include bowling, theatre trips, club nights, outings, paintballing, canoeing and much more.

Building Futures: Over this year-long programme, young people develop a Circle of

Support and will also develop a Person Centred Plan outlining their life goals. Person Centred
Planning allows the young people to learn more about themselves and explore what they want
their future to look like.

A Reason to Get Up!: ARTGU! engages our young people in meaningful daytime activities

within the community. The project helps young people gain practical and personal skills and
helps them make a positive contribution to their community. ARTGU! activities promote
healthy living, vocational pursuits, creative arts and recreational pursuits.

The Buddy service: This unique and innovative service is provided by halow care, a social

enterprise company and forms part of the halow organisation. We employ Buddies to support
young people on a 1:1 basis based on personality, interests and age. The Buddies help to
promote life skills, social skills, independence and help young people to access the local and
wider community.

Guildford Chamber Choir is delighted to be performing in support
of the halow project.

For many years the Guildford Chamber Choir has combined its
enjoyment of singing with fund raising and over the last ten years has
raised more than £20,000 for local charities.

The choir was founded in 1980 with the express desire of performing Reg Charity No 1074661
choral music of the finest quality from the 16th century to the present

day, and it has remained loyal to this aim for more than 30 years, gaining an enviable

reputation for the high standard of its singing and for performing varied and often unusual

repertoire. At the forefront of Guildford music-making, the choir’s reputation stretches

beyond the town and county boundaries, with performances in venues further afield: Salisbury,

Southwark, Chichester and Winchester Cathedrals, St George’s Chapel, Windsor and St

John’s Smith Square, as well as many tours throughout Europe.

Coronation anthem: My heart is inditing George Frideric Handel (1685 - 1759)

Suite No.3 in D Johann Sebastian Bach (1685 - 1750)

INTERVAL

Motet: Fürchte dich nicht Johann Sebastian Bach

Magnificat in D Johann Sebastian Bach

Guildford Chamber Choir

Steven Grahl conductor

Elisabeth Rauch soprano Jeremy Jepson alto
Jonathan Hanley tenor Robert Haylett bass

Instruments of Time and Truth

Coronation anthem: My heart is inditing George Frideric Handel

There are relatively few pieces of music which in the space of a few bars are capable of
evoking the mood of ceremony and patriotism associated with England’s great State occasions.
Elgar’s Pomp and Circumstance marches and Walton’s Orb and Sceptre and Crown Imperial
marches come to mind, but Handel’s four magnificent Coronation Anthems were amongst the
earliest to capture the true spirit of such events.

The coronation of George II took place in Westminster Abbey on 11th October 1727. (It had
been planned for October 4th, but was postponed for a week because of the threat of floods
in the area). At the King’s insistence, it was Handel who was invited to compose the anthems
for this momentous state occasion rather than Maurice Greene, recently appointed as
Organist and Composer to the Chapel Royal in succession to William Croft, who had died
that August. It must have come as a shock to Greene to hear that he had been passed over in
favour of Handel, a German renowned at that time primarily for his Italian operas (it was
another ten years before Handel, faced with bankruptcy from the increasing losses incurred by
his Italian opera company, turned his attention instead to oratorio). No doubt Greene would
have assumed, quite reasonably, that as composer designate to the Chapel Royal he would be
commissioned to write the music. Not surprisingly, a considerable degree of ill-feeling ensued
between the two men. The story clearly reveals the immense standing that Handel enjoyed at
Court. He was even allowed to select his own texts, rather than have that task performed for
him by the Archbishop of Canterbury.

The music was planned on a grand scale. From contemporary documents we know that 47
singers and at least 92 instrumentalists, possibly as many as 160, were assembled for the
Coronation - an exceptionally large group of musicians by any standards.

My heart is inditing sets a text based on verses from Psalm 45 and the Book of Isaiah.
Noticeably more reflective in character than its companion pieces, it was sung after the
coronation of the King’s consort, Queen Caroline.

My heart is inditing of a good matter:
I speak of the things which I have made unto
the King.
Kings daughters were among thy
honourable women
Upon thy right hand did stand the Queen in
vesture of gold
and the King shall have pleasure in thy
beauty.
Kings shall be thy nursing fathers
and queens thy nursing mothers.
(after Psalm 45: 1, 10, 12 Isaiah 49:23)

Suite No.3 in D Johann Sebastian Bach

Ouverture – Air – Gavotte I & II – Bourrée – Gigue

Bach’s first important musical appointment was in 1708, when he became court organist to
Duke Wilhelm of Weimar. He was already famous as a virtuoso organist, and the music he
composed at Weimar include some of his finest organ pieces. In 1717 he left Weimar to
become court Kapellmeister to Prince Leopold of Anhalt-Cöthen, remaining there for six
years. During this period Bach’s compositions were principally instrumental and orchestral,
reflecting the Prince’s chief musical interests. The violin concertos and the Brandenburg
Concertos were written here. In 1723 Bach moved to Leipzig as Kantor of St Thomas, with
responsibility for the music at the city’s five Lutheran churches. Some of his greatest works
were composed here, including the St Matthew Passion and the Goldberg Variations.

The original manuscripts of Bach’s four orchestral suites are missing and so the precise
circumstances of their composition are not known, but it is probable that they were written
whilst Bach was at Cöthen. It was Jean-Baptiste Lully who conceived the idea of performing a
selection of dance movements from an opera or ballet as a separate concert suite. These sets
of pieces always began with an overture, followed by dance movements such as the sarabande,
gavotte or minuet, and the suite would usually finish with a gigue or some other lively dance.
Bach took Lully’s pattern as his starting point, developing it further with a greatly expanded
overture and much more demanding orchestral writing. In two of the suites Bach wrote
virtuoso solo parts - notably in the Suite No.2 in B minor with its irresistible badinerie for flute
and strings - clearly modelling them on the solo concerto style of the great Italian master,
Vivaldi. In the third and fourth suites he added trumpet parts, giving both these works a
particularly festive character.

Bach used some musical forms that were unrelated to the dance, such as the air that appears
as the second movement of the Suite No. 3 in D. In this inspired piece a succession of octave
leaps in the bass, simulating the pedal part of many organ compositions, accompanies one of
the most sublime melodies that Bach ever wrote.

© John Bawden

Motet: Fürchte dich nicht Johann Sebastian Bach

Fürchte dich nicht, ich bin bei dir; Do not fear, I am with you; do not recoil,
weiche nicht, denn ich bin dein Gott! for I am your God; I will strengthen you,
Ich stärke dich, ich helfe dir auch, and help you as well, I sustain you with the
ich erhalte dich durch die rechte Hand right hand of my righteousness.
meiner Gerechtigkeit.
Isaiah 41:10 Do not fear, for I have redeemed you;

Fürchte dich nicht, denn ich habe dich I have called you by your name, you are
erlöset; Mine.
Isaiah 43:1a
Lord, my Shepherd, fount of all joy!
ich habe dich bei deinem Namen gerufen, You are mine,
du bist mein! I am Yours,
Isaiah 43:1b no one can part us.

Chorale:
Herr, mein Hirt, Brunn aller Freuden,
du bist mein,
ich bin dein
niemand kann uns scheiden.

Ich bin dein, weil du dein Leben I am Yours, since Your life
und dein Blut and Your blood,
mir zu gut for my sake,
den Tod gegeben. You have given to death.

Du bist mein, weil ich dich fasse You are mine, since I seize You
und dich nicht, and do not,
o mein Licht, O my light,
aus dem Herzen lasse! let you out of my heart!

Laß mich hingelangen, Let me, let me arrive there,
da du mich where You
und ich dich and I
lieblich werd umfangen. will lovingly embrace each other.

Magnificat in D Johann Sebastian Bach

In May 1723 Bach was appointed Kantor of St Thomas, Leipzig - we would probably call him
the Director of Music - where he remained until his death in 1750. It was a hugely demanding
post, involving teaching at the church school, playing the organ, training the choir and
composing the music for the city’s two principal Lutheran churches as well as supervising and
training the musicians at three others. Despite this enormous workload and recurrent
disputes with the city authorities, Bach composed some of his greatest music during this
period. His choral compositions alone include such towering masterpieces as the St John and St
Matthew Passions, the Magnificat and the Mass in B minor, as well as the Christmas Oratorio and
some 250 church cantatas.

The Magnificat - the canticle of the Blessed Virgin Mary (Luke I: 46-55) - traditionally formed
part of the ancient Roman Catholic service of Vespers. After the Reformation it was
incorporated into the evening services of the Lutheran and Anglican churches, in which it was
linked with the Nunc Dimittis. The Magnificat has been set to music more often than any
liturgical text other than the Mass itself, in settings that vary enormously in style, from the
purity of Palestrina’s exquisite four-part unaccompanied compositions to Monteverdi’s grand,
dramatic settings written for St Mark’s, Venice, and later the almost symphonic conception of
Mozart’s Vesperae Solennes de Confessore, of which the Magnificat forms the final movement,
composed in 1780 for use in Salzburg Cathedral.

Bach’s Magnificat was written in Leipzig for the 1723 Christmas Vespers. This original version
was in E-flat and included several additional Christmas texts inserted at various points in the
piece. Some years later he revised it, removing the Christmas interpolations to make the piece
suitable for use throughout the year and transposing it into D, a much brighter key and more
satisfactory for the trumpets in particular.

The extraordinary impact of Bach’s great choral works derives essentially from his remarkable
ability to balance, yet at the same time to exploit to the full, the spiritual and dramatic
elements of each text, whether it be one as concise as the Magnificat or as monumental as the
St Matthew Passion.

The Magnificat is conceived on a grand scale, requiring five soloists [four are used this
evening], a five-part choir and, for its time, an unusually large orchestra consisting of two

flutes, two oboes, three trumpets, timpani, strings and continuo. In its splendour and jubilation
the piece anticipates the great choruses of the later Mass in B minor. It begins with a brilliant
orchestral introduction in which the trumpets feature prominently. This leads directly into an
equally impressive chorus, ‘Magnificat anima mea Dominum’ (My soul doth magnify the Lord).
The ten verses and Gloria that comprise the Magnificat canticle form a continuous and
homogenous whole, in contrast with the libretto of an oratorio or Passion with its wide
variety of extracts from many different Biblical and poetical sources. For this reason there are
no recitatives in the Magnificat. Instead, each verse receives extended treatment, the chorus
supplying appropriate emphasis to sections such as ‘Fecit potentiam in brachio suo’ (He hath
showed strength with his arm), while the more reflective verses are assigned to the soloists. In
the trio [sung by the upper voices of the chorus this evening], ‘Suscepit Israel’ (He hath holpen
his servant Israel), Bach gives the oboes a plainsong melody traditionally associated with the
Magnificat. It appears as a cantus firmus, i.e. a melody in greatly extended notes, against which
the three soloists weave decorative vocal lines. For the final verse, ‘Sicut erat in principio ….
Amen’ (As it was in the beginning …. Amen), Bach appropriately mirrors the words by
recalling the music that was heard ‘as it was in the beginning’, the Magnificat therefore ending
as exuberantly and dramatically as it began.

© John Bawden

Chorus Magnificat anima mea Dominum My soul doth magnify the Lord.
Soprano Et exultavit spiritus meus in Deo And my spirit hath rejoiced in God my
salutari meo. Saviour.
Soprano Quia respexit humilitatem ancillæ Because he hath regarded the humility of his
suæ: ecce enim ex hoc beatam me dicent handmaid: for behold from henceforth
Chorus omnes generationes. all generations shall call me blessed.
Bass Quia fecit mihi magna qui potens est, et Because he that is mighty hath done great
sanctum nomen eius. things to me: and holy is his name.
Alto and tenor Et misericordia eius a progenie And his mercy is from generation unto
in progenies timentibus eum. generations, to them that fear him.
Chorus Fecit potentiam in brachio suo, He hath shewed might in his arm: he hath
dispersit superbos mente cordis sui. scattered the proud in the conceit of their
heart.
Tenor Deposuit potentes de sede et exaltavit He hath put down the mighty from their seat
humiles. and hath exalted the humble.
Alto Esurientes implevit bonis et divites dimisit He hath filled the hungry with good things:
inanes. and the rich he hath sent empty away.
Trio Suscepit Israel puerum suum recordatus He hath received Israel his servant, being
misericordiæ suæ, mindful of his mercy.
Chorus Sicut locutus est ad patres nostros, As he spoke to our fathers: to Abraham and
Abraham et semini eius in sæcula. to his seed for ever.

Chorus Gloria Patri, et Filio, et Spiritui Sancto: Glory be to the Father, and to the Son: and
to the Holy Ghost;
Sicut erat in principio, et nunc, et semper, et As it was in the beginning, is now,
in sæcula sæculorum. Amen. and ever shall be: world without end. Amen.

STEVEN GRAHL enjoys a varied career as both keyboard
player and conductor, and took up the post of Director of
Music at Peterborough Cathedral in September 2014. Prior
to this, he spent seven years as Assistant Organist at New
College, Oxford, and twelve years as Organist & Director of
Music at St Marylebone Parish Church, London. He is a
guest conductor for New London Chamber Choir and the
Eton Choral Course, and has been Principal Conductor of
the Guildford Chamber Choir since 2006.

Recent concerts include directing Handel's Messiah and
Monteverdi's 1610 Vespers with the Guildford Chamber
Choir, playing Bach's Brandenburg Concerto V in Oxford's
Sheldonian Theatre, and giving organ recitals in St Paul's
Cathedral, London and Bath Abbey. Steven has given
numerous live performances on BBC Radio, made a number
of CD recordings, and is regularly responsible for commissioning new works, and directing
their first performances. He is also active as a teacher, composer and arranger.

A prize-winning graduate of Magdalen College, Oxford and the Royal Academy of Music,
Steven gained the top prizes in his FRCO examination and is also a holder of the Worshipful
Company of Musicians’ Silver Medallion. In 2010 Steven was elected an Associate of the Royal
Academy of Music, and he is currently a Junior Fellow in Choral Direction at Birmingham
Conservatoire. Steven was an interpretation finalist in the International Organ Competitions at
St Albans (UK) in 2011, and in Dudelange (Luxembourg) in 2013.

For more information, please visit stevengrahl.com

ELISABETH RAUCH currently studies at the Guildhall
School of Music and Drama under Susan Waters in a Master
of Performance programme. She completed a Bachelor of
Music at the Felix Mendelssohn Bartholdy College of Music in
Leipzig, where she also took part in a two years Masters in
Opera Course. 2015 she made her debut as Agathe in the
university production of Carl Maria von Weber’s `Der
Freischütz’. This June the singer had one of the leading roles
in the production of Richard Wetz’s `The Eternal Fire’ with
the Hofoper Jena. Elisabeth also performs on a regular basis
in concerts and oratorios in Germany and in and around
London.

Besides her studies she participated in several masterclasses with Frieder Bernius, KS Julie
Kaufmann, Janice Watson, Graham Johnson and Peter Rose to name a few. Elisabeth is a
Britten-Pears Young Artist and a Bayreuth Scholar of the Richard Wagner society. She was
awarded a Guildhall School of Music and Drama scholarship and currently receives ongoing
support from the John Wates Trust.

JEREMY JEPSON studied singing at the Royal Scottish Academy of Music & Drama with
Eric Ibler and Elizabeth Izatt and subsequently went on to postgraduate studies at the Royal
College of Music, where he studied with Ashley Stafford and Robin Blaze. He has performed

with several eminent musicians and groups including Robert King,
Peter Schreier, The London Handel Orchestra and Charivari
Agréable. Recent engagements include Handel Israel in Egypt with
Royal Leamington Spa Bach Choir, Bach Matthew Passion with
Southwell Choral Society and solo and duet recitals in venues
across the UK.

As a choral singer, Jeremy has sung in and with the choirs of St
George’s Chapel, Windsor Castle, St Mary’s, Edinburgh, Carlisle
Cathedral, Peterborough Cathedral, Gloucester Cathedral and
Southwell Minster, and his work with these choirs has taken him
to the USA, Norway, Germany, Sweden and France. He has sung
on several commercial recordings and has appeared on ITV, BBC TV, Radio 3 and Radio 4.

Jeremy is also a freelance organist, choral conductor and teacher. He is an Alto Lay Clerk in
the choir of Peterborough Cathedral and conducts various choirs in and around
Peterborough.

JONATHAN HANLEY is currently a Lay Clerk at
Peterborough Cathedral and studies with internationally
renowned tenor, Richard Edgar-Wilson. He regularly performs
with vocal ensembles such as the Yorkshire Baroque Soloists and
is a member of the prestigious 'Genesis Sixteen’ programme.

As a soloist, Jonathan has appeared at the Malcolm Arnold
Festival, and the Beverley and York Early Music Festivals. He has
given recitals in programmes of English song and lieder across the
country. He has recently performed solos in Bach’s St Matthew
Passion, Purcell’s Fairy Queen and Dido and Aeneas, Handel’s Saul
and Messiah, The Creation by Haydn, Britten’s Serenade for Tenor,
Horn and Strings, Malcolm Arnold’s Song of Simeon, and
Beethoven’s 9th Symphony.

ROBERT HAYLETT studied at Girton College, Cambridge,
where he was a choral scholar and member of the University
Chamber Choir. He has sung several operatic roles, including The
Traveller (Britten, Curlew River), Doctor P (Nyman, The Man Who
Mistook His Wife For A Hat), and, in world premieres, Dudley
Ward and Frederick Kelly (David Earl, Strange Ghost), and Israelite
Father (Rhiannon Randle, Temptations). As a concert soloist he has
also given the world premiere of Randle’s Kalthertzige and the UK
premieres of Jeremy Thurlow’s Over The Frost and Brahms’
arrangement for strings of JS Bach’s Cantata BWV 42.

A keen recitalist, he has recently performed works by Barber, Beethoven, Brahms, Britten,
Debussy, Eisler, Fauré, Gurney, and Schubert, in venues across the UK. Upcoming projects
include an appearance with Stamford Choral Society in Vaughan Williams’ Fantasia on Christmas
Carols and Saint Saëns’ Christmas Oratorio, a performance of JS Bach’s Christmas Oratorio in
Essen, Germany, and, in 2017, several performances of Pärt’s Passio, and the title role in
Mozart’s Don Giovanni.

INSTRUMENTS OF TIME AND TRUTH was founded in 2014 by Gabriel Amherst and
Judith Evans to provide a platform for international performers resident in and around
Oxford, many of whom hold Principal positions with groups such as the English Baroque
Soloists, the Academy of Ancient Music and the Orchestra of the Age of Enlightenment .

The founders envisaged the orchestra as a resource for Oxford, available to amateur and
college choirs, schools and entrepreneurs. Although having only completed two seasons, IT&T
has already performed at Garsington Opera at Wormsley, the Holywell Music Room, SJE Arts,
the Sheldonian and the University Church. The orchestra has appeared with the choirs of
New College and The Queen’s College, the Oxford Pro Musica Singers, the Summertown
Choral Society and The London Chorus, as well as with its own choir, Voices of Time and
Truth.

In October 2015, Instruments of Time and Truth was the only purely instrumental group to
take part in Martin Randall’s ‘Divine Office Festival’ and a further appearance for Martin
Randall Travel is expected in Salzburg in June 2017. In December 2015 IT&T made its
European debut in the extraordinary Palau de la Musica Catalana in Barcelona, which was
hailed in El Pais as, ‘exemplary. . . A delicacy.’ Orchestra in Residence at St Edmund Hall, IT&T
has initiated a coaching series for students from the University and has performed a
collaborative concert with their baroque ensemble, The Bate Players. IT&T has also run a
GCSE project entitled ‘Deconstructing Mozart 40’ for nearly 300 students in and around the
city, facilitated by a grant from the University Community Fund and on June 27th performed in
the Magdalen Arts Festival with pupils they coached from Magdalen College School.

Future plans for Instruments of Time and Truth include performances with Merton College
Choir, in the Keble Early Music Festival, its own concert series in Oxford and a tour of Spain
in December 2017.

Friends of Guildford Chamber Choir

Vicky and Sam Barlow, Margaret and Tony Hennessey-Brown,
Peter and Joan Clifford, Richard and Sandi Fox,

Andrii Kaplanvskyi, Peter and Pam Levell, Bill and Christine Ward,
A J Bennewith & Co – Chartered Accountants
and two anonymous donors

Will you support us in these days of ever-rising costs by joining our newly formed group of
Friends? An annual donation of at least £25 (or £40 for joint members) will help us to
continue providing concerts of great music with superb orchestral accompaniment. You will
get cheaper tickets too, as well as a complimentary programme and entry into an annual prize
draw. Other benefits include a yearly newsletter to keep you in touch with the Choir’s
activities and an invitation to a special Friends’ event. If you are interested in becoming a
Friend, further details are on our website www.guildfordchamberchoir.org.uk, or write to us
at FOGCC, Octave House, Boughton Hall Avenue, Send, Woking GU23 7DF

Luthier Nate Tabor makes fine Baroque string instruments.
We are grateful for permission to use the photograph of the scroll of his baroque viola

after Carlo Antonio Testore in our publicity.
Many examples of Nate’s brilliant craftsmanship may be seen at www.taborviolas.co.uk.

Guildford Chamber Choir

Sopranos Altos Tenors Basses
Anita Eccleston Shenka Christmas Jong Chong Stephen Arthur
Heather Hurrell Sue Couldery Michael Clarke Richard Fox
Miranda Johnson Kat Finch Ian Landsborough Jim Godwin
Lesley Meyer Tessa Forbes Mark Lee David Greenwood
Katy Offord Sarah Gall Iain MacLeod Arkadii Kostenko
Gillian Pickering Emma Humphreys David Pallett Roger Miller
Helen Pritchard Roz Marshall Simon Phillips
Pat Wood Alice Phillips Peter Terry
Ingrid Terry Mike Winterbotham
Di Thrush

Instruments of Time and Truth

Violin 1 Bojan Cicic Violin 2 Elin White Viola Aliye Cornish
Cello Gabriel Amherst Bass Elizabeth Harré

Flutes Guy Williams, Rachel Helliwell Oboes Jane Downer, Belinda Paul
Bassoon Noel Rainbird

Trumpets Stephen Cutting, Neil Brough, Adrian Woodward Timpani Matt Farthing
Organ Gavin Roberts

Forthcoming Events

Tuesday The halow project Christmas Concert
13th December 7:30pm
St Nicolas’ Church, Sebastian Forbes conductor
Guildford, GU2 4AW Matthew Rickard organ/piano

Saturday Chœur et Orgue
11th March 2017 7:30pm
St Nicolas’ Church, French music for choir and organ
Guildford, GU2 4AW Choral music by Debussy, Françaix, Poulenc and
Ravel Organ music by Vierne
Steven Grahl organ
In support of the Rainbow Trust

Sunday We will be singing services at Winchester Cathedral.
2nd April 2017
Winchester Cathedral,
Hampshire SO23 9LS

Saturday Music to Hear
17th June 2017 7:30pm
Guildford United Music for choir and jazz trio
Reformed Church, Rutter Birthday Madrigals, Shearing Music to Hear
Guildford, GU2 4BS Will Todd Songs of Peace
with James Buckham piano, Marianne Windham bass
and Ben Handysides drums
In association with Guildford Jazz
In support of the Number Five Project

Acknowledgements

Guildford Chamber Choir would like to acknowledge and thank the following:

• The Rector and PCC of Holy Trinity for permission to hold tonight’s concert in the
church.

• The Headteacher of Queen Eleanor’s School and the Vicar and PCC of All
Saint’s Church, Onslow Village for rehearsal space.

• Richard Fox for scrutinising the annual accounts.
• All contributors and donors from the Audience, Sponsors, Advertisers and

Members of the Choir who enable the Choir to continue its policy of giving high
quality performances and raising substantial funds for local charities.

If you would like to make a donation to the Choir, sponsor a concert or part of a concert, or
advertise in the programme, please contact the appropriate individual as shown below and on the
Website.

Organisation

Chairman: Roger Miller; Vice-Chairman and Charity Liaison: Lesley Meyer; Hon. Secretary:
Emma Humphreys; Hon. Treasurer: Ian Landsborough; Committee Member (Joint Publicity
Co-ordinator): Di Thrush; Committee Member (Joint Publicity Co-ordinator): Tessa Forbes
Committee Member (Librarian): Arkadii Kostenko Committee Member (Tours): Helen
Pritchard Committee Member (Platform Manager): Mike Winterbotham

If you need to contact any of the Officers or committee members please visit the Website for the
most appropriate email address. www.guildfordchamberchoir.org.uk

Poster and programme design: Roger Miller

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