A LETTER FROM THEEDITOR
Ladies and gentlemen, one and all, welcome to the Haileybury Musician! This is the debut publication of a hopefully annual journal documenting the incredibly busy musical life of Haileybury College, while bringing to light the musical passions of those pupils - even if not always in the limelight. So whether this copy has been thrust upon you by a pupil, is laying aesthetically on a coffee table in the department, or is lying open on a desk: lock in and continue reading whoever you may be or else we'II find you
Music has been a vital vertebra in the spine of Haileybury's cultural life for many decades, providing escape and means of expression for the thousands of pupils it has seen through its halls. Indeed, this past year has been no different. Ably directed by Mr Bland, and supported by Mr Rowlands with a good dab of traditional British wit from Mr Deveson, music has arguably been more lively than ever. Popular music is emerging to become more respected and more, well, popular at Haileybury, with a healthy growth in pupil-led musical groups. This is in direct partnership with Haileybury's exceptional choral tradition with the Chamber, Lower School and Chapel Choir going from strength to strength. Mr Rowlands' authentic approach is directly responsible for this boom in choral quality, with Chamber Choir retaining its much celebrated reputation with an upcoming tour to Italy this summer. Our Symphony Orchestra, Big Band, Concert Band, String Quartet and a myriad of other instrumental ensembles have never enjoyed such popularity as they have this year. Mr Deveson has overseen the academic side of our department, with GCSE and A Level results reflecting the continuing level of excellence in his teaching and leadership - but not losing sight of his signature humour and eccentricities.
However, it cannot be denied that it is Mrs Woodrow who keeps the music department afloat. She schedules 600 peripatetic music lessons a week, juggling the seemingly infinite amount of music groups in the chockablocked Haileybury timetable and always providing ample snacks in the music foyer (a place in which I have spent countless days procrastinating in). For this and so much more, Mrs Woodrow has my thanks, along with every musician in Haileybury for always being ten steps ahead and being unfailingly kind. Thank you from us all for all that you do.
AUTUMNCONCERT REVIEW
As a new pupil at Haileybury, getting to play alongside my peers and a professional orchestra and choir was definitely a new and interesting experience for me and what better way to begin but with these beautiful works.
The school's Symphony Orchestra was able to portray their hard work, with the support of professionals, on the pieces 'Overture to Magic Flute' by Mozart and Britten's Simple Symphony, which we had worked on over the course of the winter term. Even without many rehearsals, we were able to play to an impressively high standard, showcasing the growth and improvement made throughout the busy first term.
After their performance, the Chamber and Chapel Choir, alongside the formidable Haileybury Choral Society comprised of staff, OHs and friends of Haileybury, sang another one of Britten's works, St Nicholas, while also being accompanied by the instrumentalists that came in and the Bradby String Quartet. This well-sung rendition of St Nicholas allowed the audience to engage with the performers and have a go at singing along during small parts of the whole piece, which definitely made it a night to remember. Elizabeth was impressive as the Soprano soloist as was Joshua, our Australian organ exchange student, with his musicianship being on full display.
Being able to play beside many talented musicians of different levels and in such a beautiful location like our school chapel has made the Autumn Concert, in my opinion, one of the highlights of music this year so far, along with the Spring Concert (Jazz and Pop), and I am excited to hear more about the events and concerts coming up soon in the last term of this academic year!
Maira (L6, Melvill)
BLAND...THANK YOU FOR THE MUSIC
This School owes much to Mr Bland. This cannot be understated. He is not only a visionary, but truly a wonderfully kind human being. I, and, I know, so many others, owe much to this man. Mr Bland joined in 2018, and his regeneration of the music department has been extraordinary. Whether it be the rejuvenation of choral and spiritual music in chapel, or the explosion of popular music, Mr Bland is a musical force. Indeed, as the Master pointed out, 'He is universally recognised' - and I believe the key to his success has been 'Placing music on a broader footing.'
He assumed the role just before Covid and is responsible for the remarkable recovery of the department, returning it to its former glory, from its hibernation. Many believe it has never been stronger, with the Master commenting: 'It is a very well functioning department!' I met with the Master to discuss Mr Bland and his legacy at Haileybury, and we spoke of how Mr Bland had inherited the department just before the extraordinary events of the Covid-19 pandemic, when he was 'putting building blocks in place'. It was his leadership which kept music as a central aspect of cultural life at school. He embraced technology in ways that no other head of department would have thought to have done, organising Haileybury's first live broadcasted concerts, emphasising community through social media, and promoting the study of music technology with Mr Royall. We spoke of how on our return to campus, Chapel, a universally adored aspect of Haileybury life, was vastly diminished as result of masks and Covid restrictions. Mr Bland and his glorious fanfare of "Good Morning my Friends!,, in Congers not only resurrected Chapel's unanimous appeal but have become an inseparable part of its identity in the eyes of many. Mr Bland has made Chapel for everyone. 'Congers' on a Friday is something that everyone looks forward to. By extension, he has made music for everyone. Popular music radically transformed during his reign since the Jazz and Pop Gala became an annual institution. He has championed pupil voice and initiative, like no other head of department with pupil-led ensembles making their debuts at awe-inspiring concerts. The Master noted the brilliance of Mr Bland sculpting a department with so many genres and sections, making the music department so much more diverse than it has ever been with music being available to pupils in a far 'broader sense'.
RISHI'SCRITICAL ANALYSIS OF 'MASTER OF PUPPETS'
On3 March 2024, it was the 38thanniversaryof Master ofPuppets. Although that date may seem quitefar away, at thetimeof writing, it ismysister'sbirthday(13 March), so it is in factalotmore relevantwhen I amwritingthis. Fora longtime, I wasstruggling to decide what towriteabout. Do I do asongranking? Or do I perhapstalkabouthow this album immortalised thrashmetalasagenre. Well, thefirstone isquitesubjective, and it'dimply that the songs that areranked lower down aresongs that I dislike. So instead, Ithought, what if I just talkabout every songon Master ofPuppets? What isgood? What is bad? That iswhat thisarticlewill beabout.
Battery
The album opens out with acoustic. Play the beginning for any non-metal head, and they will probably think that this is just a soothing track. But, nope. They are in for a surprise. Similar to 'Fight Fire with Fire,' the album opener for Ride the Lightning, 'Battery' begins with an acoustic intro, lulling all the non-metalheads into thinking that this isjust a calm, acoustic song. But they'd be wrong, because 38 seconds later, the drums and guitars come descending in, before the band sets a precedent that this song, and the rest of the album will be as fast and 'thrashy' as this song. The energy in this song is incredible, and it is said that this song is supposed to represent the control that one's anger has over their behaviour. The song title also comes from the club that Metallica used to play at, which was at 444 Battery Street. This song also happens to be the shortest song on the album at 5:13.
Master of Puppets
Ah yes. The title track. Popularised from Stranger Things and the most streamed song on Spotify. The song is the longest on the album, yet it never gets repetitive. It never veers off-course either. This song is about drug addiction. The lyrics and chorus are really long, but after the second chorus, the song suddenly goes into a long guitar solo, which starts off really calm and relaxing, just like how someone would feel when on drugs (not that I'd know). And then the side effects kick in as the betrayal finally kicks in. The drug, referred to as 'Master' during the song, is accused of promising only lies. The Master has forced the victim to suffer, and the victim pleads for the Master to "fix them", and now an epic guitar solo kicks in. At 6:19, a riff from Bowie's song 'Andy Warhol' is used as homage to Bowie, since he was a huge inspiration to the band. The song then returns back to the third verse, and the song ends with a sinister riff. No wonder this is the 3rd most popular Metallica song.
HAILEYBURY PRESENTSCHICAGO
This last term hosted this year's school musical of Chicago which, thanks to the dedication of the drama, music and dance departments, the events and technical teams and all students involved, was a great success. Set in 1920s Chicago, the story primarily follows Roxie Hart and Velma Kelly who are both involved in murder scandals and are desperate for fame. Roxie shoots her secret lover, Fred Casely, within the first number of the show and so seeks the help of Chicago's finest lawyer, Billy Flynn, who not only wins her case, but turns her trial into a sensational spectacle propelling her fame. Velma, a Vaudeville star also represented by Billy Flynn, faces her own trial but is swiftly overshadowed by Roxie's new found attention. Throughout the show, the pair are seen battling for stardom which, through themes of manipulation and betrayal, manages to highlight the corrupt judicial system of the time The unique style of Bob Fosse, demonstrated primarily through the ensemble, helps to captivate the audience and propel the story forward.
Our excellent director, Mr Thomas, played an essential role in helping us as pupils to bring these iconic characters to life with a focus on unpacking the complexity of each individual's moral compass alongside their unrelenting thirst for fame. Not only did this help pupils in portraying the characters of the piece but served as a valuable exercise in character development which can be applied to any and all parts students may need to portray in the future. Our musical director, Mr Rowlands, was also crucial in the success of the show. Not only was he able to bring to life the iconic songs of the musical and conduct the orchestra brilliantly, but he was a leader in building a key sense of teamwork and togetherness among the cast which was essential due to the ensemble-driven nature of the production. Finally, our wonderful choreographer, Louise Masters, did an incredible job at helping pupils grasp the intricate and isolated nature of Fosse-style choreography. The focus on Fosse helped pupils explore a very specific style of physicality that many had not experienced before and so served as excellent training in such a distinctive style.
Dressing the Broxbourne Spotlight Theatre as a 1920sjazz club through round tables and dim red lighting helped the audience to immerse themselves into the world of 1920s Chicago, which is all thanks to the wonderful Events team. Backstage, the tech team worked tirelessly to bring the production together, accompanied by a group of students who helped design the brilliant lighting.
Finally, all pupils involved including those from the cast, orchestra and lighting team were essential to the show and worked really hard to produce what they did The production was a truly incredible opportunity and experience for all involved and, being a part of the cast myself, I am certain that lasting memories and friendships were made in the process.
Jemima (L6, Albans)
FIRST DAY OF MY LIFE
Contrastingly, lyrics have an unparalleled power to soothe and inspire listeners and guide them into happier experiences. 'First Day of My Life' by American alternative/indie rock band Bright Eyes is a luminary piece, which offers renewal amidst complex relationships. Lead singer, Conor Oberst creates this heartfelt piece to demonstrate the benefits of letting go and embracing new beginnings. As we delve into the intricacies of Oberst's journey the path to self discovery and true internal peace is illuminated. It is important to note that this song could potentially allude to an earlier track, 'Entry Way Song', where Oberst vows to achieve all his aspirations through the medium of music.
The narrator in this piece is slowly uncovering the beauty of walking away from a detrimental situation. The opening lines read: 'This is the first day of my life, swear I was born right in the doorway' and serve as a profound metaphor encapsulating the narrator's transformation. The imagery of being 'born right in the doorway' demonstrates the emotional benefits of stepping out of the confines of this metaphorical and stagnant 'doorway'. By framing the experience as the birth of a new life, the narrator suggests that this step away has granted them purity like that of birth, and highlights the chances of renewal and possibility to the narrators. As the track progresses the narrator is expecting life away from the relationship to be tormenting and tough, however he is awoken by a new found life. One line reads: 'I went out in the rain, suddenly everything changed, they're spreading blankets on the beach'. In Conor's lyrical tapestry, stepping into the rain represents the confrontation of the aftermath of a relationship's end and embracing the potential despair. However the revelation is not characterised by devastation, but a newfound clarity and appreciation of life's inherent beauty. Through this lens, the song becomes more than just lyrical composition and emerges as a mediation on the cyclical nature of human experience and the undefinable capacity for hope and growth despite adversity.
This song deeply resonates with listeners due to its profound lyrical authenticity and the support the art offers. Oberst's depiction of embracing new beginnings will connect with listeners who have experienced the complexities of modern relationships and they can find shelter in the acknowledgement that adversities can lead to growth and beauty. Overall, through both works and the exploration of lyrical authenticity in this intimate genre reveals profound impact on listeners. As the genre continues to develop it places a distinctive voice on the music landscape, and authenticity remains an integral part of it. As listeners navigate their own paths throughhuman experience, the support and guidance in these songs reminds them of the universality of the struggles and the enduring hope found in the beauty of genuine expression.
Henry (L6, Batten)
So far this academic year, we have enjoyed informal performances from lots of pupils as part of our lunchtime Soundbites recitals. These recitals usually take place on a Thursday lunchtime in the atrium of the Music School, and are open for all to attend. Since September, we have had pupils performing from LS1 to Upper Sixth, from grade 1 to diploma level, from musical theatre to impressionism, from soloists to groups of 20+. It is this diversity that is the beauty of Soundbites. Not only do these recitals provide an opportunity for more experienced performers to practise pieces for larger performances and exams, but they also provide a forum for less experienced performers to play to an audience - often for the first time. These performers have the invaluable opportunity to experience the excitement of performing, in a more relaxed setting than Bradby or Big School. Performers also get the opportunity to inspire each other - many have discovered new genres, or learned new things about their friends by seeing them perform.
So what's next for Soundbites? I suppose the answer is twofold. We tend to have quite a good contingent of teachers coming along to support, but I'd like to see more pupils doing the same. As well as being a good opportunity for pupils to perform for the first time, it's also a great place for people who might not regularly attend concerts to give being an audience member a go The recitals are usually no more than 25 minutes long (and often less), and you might discover a new piece of music that you really like. Or, if nothing else, it's a relaxed way to spend a short period of your lunchtime and a good opportunity for reflection. I would also love to see musically inclined pupils getting involved in new ways - putting themselves forward for performances rather than waiting for a teacher to do so, maybe trying out a piece in a new style or getting together with a friend to put together a duet. Really, the options for these recitals are endless - what we need is for you to decide what you want them to look like, and work with us to make it happen!
Miss Bryan, Music Teacher
THESCIENCEOF THEPICKUP... BYTHELEAST SCIENTIFIC GUYINTHESCHOOL STATISTICALLY...SAVED BYATHENA
I know what you 1 re thinking, dear reader: Joe doesn1t know a thing about science, (but Athena does, and will be trying to course-correct this article) and you're right, I have my GCSE result in Physics and Chemistry to prove it. But, one of the few things I know about in the scientific field is the innovation of the guitar pickup, and its monumental impact on popular music and culture in the 20th century So, my dear reader, let's get locked in and take a knee deep wade in the world of Guitar Pickups...get excited!!
Right, cast your minds back to the roaring twenties. This was a time of great cultural and scientificadvancements, with the rise of Hollywood and Jazz tradition being firmly established as the cornucopia sonically for a whole new generation. However, by the late 30s, as music got louder and more raucous as the angst of the new generation shaped a new form of popular music, traditional instruments became increasingly difficult to hear.
Thus, the dawn of amplified music began!
The first guitar featuring pickups, the "Frying Pan" slide guitar, was created by George Beauchamp and Adolph Rickenbacker in 1931. The first solid-body guitars would also feature pickups, with their lack of resonance made up for with their ability to be amplified through external speakers, known as 'Amps' (funny enough).
The Fender Telecaster, realised 1951, changed the face of music forever- however, it was not certain that such innovation would be embraced; indeed, some scoffed and laughed at the Telecaster when it was officially released at the industr/s largest U.S. trade show (NAMM), calling it as a 'boat paddle' (kinda see it) and a 'snow shovel.' This guitar featured two 'single coils1 , in the neck, and bridge positions. But I bet, my esteemed reader, you want some science, so here you are
TIRENI
Understated and classy,Tireni delivers with the bass.The driving musical force behind the band, his rendition of Hysteria crowned the concert for Hearts and Wings. He's a founding father of the band and always provides their relentless groove.
CHARLIE
Also known as the fastest right hand in school, Charlie shredded the thrash solos of the evening such as 'Dread' and 'The Fugitive Mind'. A guitar has only lived if it's been in his hands...
ATHENA
Whatever you think of her, it's undeniable: Athena is, without a doubt, the shortest member ofTong'sTongs - but for what she lacks in height she makes up for in rhythm and zest. She's the zig to Charlie's zag and the soloist for the classic 'Hotel California'.
TOM
Tom founded the original band with Seb and the unforgettableTireni. He may "only" be the drummer, but those dreamy eyes and wavy hair and full lips when he calls that 1 2 3 4.........
JOE
Spats, steampunk, scars; shirt drenched in blood and eyes shrouded in mascara; impeccable black tie... Whatever he is wearing, Joe is the frontman, with his antics in the crowd and fearsome voice the highlight of any of his shows.
HUGHROWLANDS: "THESUPREMEOVERLORD OF THE CHAMBER CHOIR' WITHYOURSTRULY
'But Joe, you ruggedly handsome bastion of intersectional musical virtuosity,' I hear you say... 'you need to have an interview with Mr Rowlands for this publication to be any good!'
Don't say I don't give you what you want...
Mr Rowlands. A person synonymous with 'authentic' organ improvisation, Uniqlo fashion, divisive haircuts (I've always been a fan), and musical proficiency that makes Jacob look like a first team Haileybury rugby player. It is difficult to imagine a time that Haileybury didn't have his presence to make things that much more interesting. He has been the 'Supreme Overlord' (self proclaimed! we've always thought of ourselves as a democracy) of Chamber Choir, transforming it into something completely different and of a completely incomparable level of quality. He, along with an exceptional cohort of choristers, have guided the choir into something more thanjust a 'school choir' but a serious, recording group worthy of your attention dear reader - shameless plug! Buy our CD or Mrs Woodrow will find you. In this truly professional interview you'll find out his plans as a freelance musician, he will share with us his wisdom (?) and his music tastes as well as advice for us to become better musicians...stay tuned dear reader...
It is a rainy Wednesday morning! Mr Rowlands is casually sipping upon a coffee, a volumous mullet protruding from his head. The interview begins...
You1ve been in Haileybury now for 3 years and I want to know when you first came to the role what was the vision you had for what you1d bring to the school?
We/11 that's a good questionjoe1 I didn't really know what I was doing with my life. I can safely say that Mr Bland swooped in as he does and took mefrom a position of uncertainty. I hadjust left university in 20211 and I didn't have a clear career plan in mind. But I got a text from someone saying there's an organjob coming up at Haileybury, would you be interested?A smashed glass of champagne later and I had thejob!
EDIT THANK Y
AND '
It would be impossible for this publication to exist if it weren't for help of many. Indeed, it is the nature of music, in performance and recording, for the listener to only truly know the 'tip of the iceberg'. The same is true in this instance. Here are some of the people whom I beleive deserve credit and gratitude for both this journal but the musical life at Haileybury...
• My team of Lucy and James Lucy has helped in so many ways this year, being one of my dearest and closest friends, but her work on the front cover of this publication (as I'm sure you can agree) is brilliant. Thank you so much Lucy! As well as Lucy, I thank the ever elusive James who has waded through the seemingly endless grammatical errors of my writing - a task considerably easier said than done. If we missed one or two write to Mr Bland to express your disapproval-we await your responses eagerly. Thank you both so very much for making this publication a reality! Lots of love to you both!
• The exceptional writers who have graced this publication, their passion for music being a inspiration to me. Thank you so much Henry, Arwen, Amy, Maira, Tom, Rishi, Jemima, Ty , Sean and Athena. Your contributions to the musical life at Haileybury cannot be overstated.
• Our brilliant photographer Mandy Davis who has captured these stunning shots for many years, showing many at their best and happiest. Thank you for everything these past few years. James makes some photographic contributions on pages 73 and 74-what a well rounded chap...
• Those who have helped me directly or indirectly in getting this publication released and making my time at Haileybury as awesome as it has been: Jess, Maya, Wendy, Ava, Roland, Matty, Max, Tireni, Allyson, Seb, Lilibet, Zoe, Tom, Dan, Emma, Dylan, Domi, Georgia, Joey, Sophie, Suzy, Jack, Josh and Dona - this really has become an Oscar speech... you know me x
