Schools Prom 1978

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Contents

Introduction

Introduction page 1 The Schools Prom 3 Back to the Beginning 7 Into the Dazzling Lights and Looking into a Sea of Faces 9 The National Festival of Music for Youth 10 Programme Notes 11 Greater Twin Cities Youth Symphonies 23 Concert Programmes 24 Front and Back Stage 26 List of Performers 28 Friends of the Schools Prom Back Cover

The fourth year of the Schools Prom, with three concerts instead of last year's two, reflects the continuing growth and excellence of music in our schools. So many fine musicians are playing today, in so many styles, that the platform they merit never seems large enough.

To all those who perform at the Albert Hall this year, great credit is due, as it also should be given to the teachers, parents and local authorities without whose faith, encouragement and enthusiasm the present musical renaissance would not be happening.

Last year the hope was expressed that the visit of international guests to appear on the same great concert platform as the children of our own country would precede other such collaborations. In 1978, we are delighted to welcome an orchestra from America, for music is truly an art which speaks across national barriers and can only work towards the civilising harmony of nations.

That two newspapers, The Times and The Times Educational Supplement, should be joined in sponsorship of the Schools Prom this year by Commercial Union Assurance marks a further step in the progress of the event. Such sponsorship affirms that the encouragement of all music is important to any civilised society and that the encouragement of young people particularly nurtures the seed without which there can be no future harvest.

Those beliefs are surely also symbolised by all those Friends who support the Schools Prom, and by the work of the National Festival of Musicfor Youth which has been the starting-point for so many splendid musicians who go on to play in these concerts at the Albert Hall.

Director

Derek J ewell

Deputy Director

Humphrey Metzgen

Sir Denis Hamilton Chairman and Editor-in-Chief Times Newspapers Ltd.

Producer

Larry Westland

Administrator

Nancy WolfPapadopoullos

Production Assistant

Alex Hackett

Secretaria t

Jennifer Littley Kathy Hennessy

Publicity & External Relations (Childs-Greene Associates Ltd)

Linda Lane

International Advisors (Central Bureau for Educational Visits and Exchanges)

Anthony Male

Front cover photograph of Julian Leaper, Catherine RusseJl and Louise Mc CleJland of the Watford School of Music Youth Orchestra

Sir Francis Sandilands Chairman Commercial Union Assurance

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The Schools Prom by Derek Jewell Earlier this year, a British jazz musician told me, during a radio interview, about his early life: the university degree in English he'd taken, his exploration of Europe, and then, hesitant playing with trad jazz bands. He was unsettled, uneasy, didn't know what to do.

In 1960, he heard the great jazz trumpeter, Miles Davis, playing a modern classic called All Blues. "It was a revelation. It just changed my life.

I decided there and then to become a musician, to devote my life to making sounds like he made on the trumpet." And he did, and he has, and today he is at the top.

People who have those short, sharp, almost miraculous moments which change or decide them - visions on the road to Damascus, as it wereare to be envied, for it surely makes living easier.

In one way, the Schools Prom happened like that; but in another sense, the road was much longer.

The Schools Prom can only be, in the end, a reflection of the condition of the schools music which gives it birth - the hours of work (and pleasure) of the players themselves; the encouragement of parents; the dedication of teachers and coaches. Who would have believed, even ten or fifteen years ago, that schools music would be in its present state of astonishing ferment and diversity?

At the school I went to in the 1940s I was, I'm sure, exceedingly fortunate. Our music teacher loved Duke Ellington as much as Bach. So our choir sang Handel, but also Swing Low, Sweet Chariot (even Solitude) and Borodin's Polovtsian Dances. That, we realised, was not like other schools where hymns, Sweet Lass of Richmond Hill, a string orchestra (maybe) and making noises on triangles, mini-drums and tambourines were the limit, and even Debussy's Claire de Lune was thought of as very modern.

Schools music seemed very stuck in that kind of groove even in the 1950s. Only in the 1960s did the loosening up begin. One milestone on the road for me was around 1965 when an enthusiastic young teacher urged me to hear a schools' jazz orchestra he'd formed in London.

Behind it, he explained, lay spare-time classes, with professional musicians arriving to reveal their secrets. The band was pretty good

3 then; it's even better now, and the teacher - Bill Ashton - has led the National Youth Jazz Orchestra to the Soviet Union as well as through America and Europe.

Do not imagine (although good jazz is among my loves) that the renaissance in schools music - since this is whatit surely is -is specifically to do with jazz or pop. It is not. The point in recalling the Bill Ashton story is this. If jazz is now happening in schools, one thought at the time, what far more widespread revolution in taste, attitudes and teaching must it signal?

It was, as soon became obvious, a renaissance of stunning magnitude. Its causes are so many one can only suggest a random selection. A new generation of teachers who had been inspired by more concerts, more variety in radio and television music, more liberal ideas and less prejudice was certainly one factor. Popular music' had helped too - even the post-Elvis establishment of the guitar as the prime pop instrument. Guitars aren't too difficult to pick up; many young people learned it was fun to play themselves, and their ambitions swiftly moved beyond three-chord strumming to other instruments, more advanced ambitions. Having music in the air around one so much more freely also ignites appetites for musicmaking. The accessibility to different musical traditions nowadays - children going abroad, or immigrants coming in - has radically changed the horizons of music-making.

Those are only a few random reasons, to which you could probably add many more of your own. In sum, however, the renaissance was on and blazing, and music-making in schools was more widespread and catholic in style -like music in the world beyond school- when the 1970s arrived and the National Festival of Music for Youth was launched, under the direction of LaITY Westland, backed by the Association of Musical Instrument Industries.

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The Schools Prom continued The Times Educational Supplem.ent became sponsors of the festival in 1974, and that summer, at Fairfield Hall, the final step to the Schools Prom was taken. Listening to the hugely talented groups there, from infant percussionists to lOO-strong symphony orchestras, it seemed so wasteful for all these musicians to have just this one national platform. Shouldn't the world beyond know? Were not they worth a concert at the musical mecca of the nation, the Albert Hall?

When the idea was put to other people - at Times Newspapers Limited, the National Festival and elsewhere - the response was immediate and enth usiastic. In November, 1975, the first Schools Prom took place. It was a sell-out and the event has been growing ever since. It was intended as a show-case for some of the best of British schools music of every possible kind. It was hoped it would help set standards of skill and ambition to be aimed at everywhere; would offer horizons; would encourage children, teachers and parents alike 路 and would, too, especially salute the achievements of those who care for and raise our musicians of the future, whether professional or amateur. The Prom was, equally intended to bring down the barriers between styles of music, to discourage musical snobbery, and to suggest that there are only two kinds of music: good and bad.

How far all those goals have been achieved is scarcely for us to say. Everyone connected with Schools Prom has however, been much encouraged by the kind things which have been said. We have also tried to take note of some perfectly justified criticisms, but have stuck to our guns where catholicity is concerned.

It's been said - and it seems to be true - that the event is unique in the world. Nowhere else, within the compass of one concert do you get up to, perhaps, a dozen ensembles of every conceivable size playing in almost every conceivable style known to western music.

Thus, in the three years of the Prom's existence, we have had symphony (up to 150 trong) and string orchestras; chamber and percussion groups; recorder bands, swing bands steel bands, accordion bands, brass and wind bands. Bellringers there have been medieval and avant-garde and guitar ensembles - all the way to four-yearolds singing simple nursery rhymes. The composers have been Purcell and Stan Kenton Elgar and Shostakovich, Schubert and Gershwin, and so many more. That catholicity is well illustrated again this year, a a glance at the musical programmes (Pages 24-25) will show.

The mixture of young musicians has been spiced with established artists appearing as guest soloists or comperes. In the first year, JohnDankworth and Antony Hopkins came. In 1977, when the Prom grew to two nights, Humphrey Lyttelton and Robin Ray were the guests; last year, Michael Aspel was there and the great Yehudi Menuhin played Vivaldi with two separate school orchestras.

This year, the demand for tickets, together with the ever-rising quantity and quality of schools music. has decided us to try three nights.

Tim Rice and Andrew Lloyd Webber (who began by writing their J oseph for schoolchildren and whose Evita is surely t he stage musical event of 1978) will be involved as also, we hope, will Rick Wakeman of Yes. The great guitarist John Williams. will play with (mother schools group, while tne clarinetist, Michael Collins - one of the BBC's

Young Musician of the Year finalists -will perform in some Rimsky-Korsakov.

There will also be one of America's leading organisations involving young music-makers, the Greater Twin Cities Youth Symphonies, from Minneapolis/St. Paul, a vist stemming from 1977's innovation of inviting a group from overseas to appear. Last year the first (as far as we know) ensemble of Russian school-and-college folk artists to appear in London joined us at the Albert Hall, all the way from the distant and barren republic of Komi, in which Archangel lies.

So, the stage is set for the fourth and most ambitious series of the Schools Prom, which will probably be seen by even more millions on BBC TV than have so far watched the programmes carefully put together by director Ken Griffin in previous years. This is the juncture at which the Commercial Union company is joining The Times organisation as co-sponsors to help ensure the flourishing continuance of the event and thereby, we hope, contribute to the health of music in our nation's schools. With both companies having a substantial role already in patronage ofthe arts, it seems an appropriate and beneficial conjunction.

We could scarcely still be keeping our fingers crossed for this year's concerts had not the company on our road to Damascus been so good.

That the Schools Prom has travelled so far and so hopefully is due to more people than can possibly be named here. The National Festival itself, and both AMII and Times Newspapers Limited are plainly crucial; so are the many friends of the Schools Prom, a group of companies (listed on the back cover) great and small who have given welcome aid in both cash and kind; so, too, are the Central Bureau for Educational Visits and Exchange, who helped so much in arranging for our overseas visitors to come, and individuals like the deputy director, Humphrey Metzgen, and his staff, and Larry Westland; so (most obviously) are the musicians, the teachers, the parents who are the seedbed of our hopes - and, too, the audiences who sustain us all.

If you haven't b~en yet to a Schools Prom, then I think the audiences will surprise you. Someone once told me the Albert Hall atmosphere on Schools Prom nights was like a cross between a concert and the Cup Final. I knew what he meant.

The enth usiasm of the promenadel's is like a storm: cheers, banners, scarves, balloons and a ll that. Except when the music's playing; then it's rapt concentration, with a massi ve loosening up if they are invited tohandclap with, say, a steel band .

If enjoyment is one touchstone of musical health, then I dare say the future looks good.

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Back to the Beginning by Tim Rice I was a fully paid-up schoolboy from September 1950 until end of 1962, and for much of that time participated with enthusiasm in various musical enterprises at various places of education.

At Lancing College I was the lead singer of a pop group named the Aardvarks. This combo, although virtually guaranteed top billing in any alphabetical list of performers, never made any great impact on 20th century culture during their two years' existence. Their farewell concert got off to a less than rousing start when the previous act (two prefects in a horse suit) put a foot (or hoof) through most of the one amplifier that gave the Aardvarks their unique sound, and I have always felt that the seeds of the group's demise were sown at that grim moment. I played the handbells (or two of them) in serveral performances of Britten's Noye's Fludde in 1959, and for a few months tried my hand (or two of them) at the ringing of much larger bells at a church in nearby Shoreham-bysea. I had a few piano lessons at various stages of my school career; I sang lustily on many school occasions, many religious, although no choir ever asked me to join their ranks.

This is not a very impressive list of youthful musical achievements. I was no Lloyd Webber (Andrew or J ulian). I had mastered no instrument, nor had I written and produced any musicals before I had taken my 0 levels. I never approached the truly marvellous standard of musical skill, application, appreciation and interpretation displayed every year by so many students at these Schools Proms, which I have enjoyed as a member of the audience.

But in the end it turned out to be schools music that changed my life. In late 1967 Andrew Lloyd Webber and I had been writing together for well over two years and had given very few indications that our partnership was one with a glittering future; rather the reverse. Our first show together had not been performed in the West End or anywhere. Hardly any of our other songs had been recorded, and the few that had been were not giving Lennon and McCartney sleepless nights.

It was then that the late Alan Doggett, a music teacher of great originality and imagination asked this less than successful team to write a piece for his pupils (at that time schoolboys from the ages of 7 to 13) to perform in a school concert.

Alan simply wanted 15 or 20 minutes of music which, when performed, would involve as many of the boys as possible; otherwise he gave us a free hand. Until our acceptance of Alan's commission we had been writing for the world - for Broadway, for the West End, for the top ofthe charts. We were therefore setting our sights somewhat lower by writing for a small group of schoolchildren whose one and only scheduled performance of our work was to be at half past two on a Tuesday afternoon before a small audience of parents not necessarily favourably disposed towards school productions.

The work we handed over to Alan in early 1968 was entitled "Joseph and the Amazing Technicolor Dreamcoat" and we called it a pop oratorio. It lasted just under 20 minutes, and was a continuous piece of music (although we were quite happy to allow the singers to pause for a few seconds at any point in the piece should there be a threat of applause) based on the story of Joseph and his coat of many colours as it appears in the book of Genesis. The only chance that "Joseph" had of outliving its extremely limited run of one afternoon was that other schools might also wish to perform it, so we tried hard to write something that would appeal to teachers as well as to children,

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and something that would not become out of date within a year of its first appearance. A good Bible story obviously fitted the bill in these respects.

Above all, we wanted it to be entertaining, both musically and lyrically. Finally, we had to remember Alan's most important request that as many singers and musicians as possible should be able to take part.

I think that more than ten years after that first performance, I am entitled to claim that we succeeded on all of those counts. "Joseph" from its humble debut, went from strength to strength, from school to school, to amateur and professional theatres, and even to the West End and to many foreign countries. And all this because we abandoned our complex plans for an onslaught upon the pinnacles of the commercial theatre, and followed one golden rule - try to entertain. Schoolchildren taught us that this was the right approach by their instant enthusiasm for "Joseph" - and schoolchildren are the most honest, least pretentious critics in the world.

Some older critics may not believe this, but we have tried to follow the same rule in our subsequent work together. Even though "Jesus Christ Superstar" and "Evita" were not written with schools particularly in mind, I hope that one day they will be played and sung there, and even though their commercial success leads many to believe that they can only have been written in order to achieve that commercial success, I can assure them that they were written to entertain -in the spirit of "Joseph".

So clearly I owe a great deal to schools music. For that reason alone I would be delighted to play a part in helping to present the 1978 Schools Proms, but there is a more important reason why I am glad to be here. The standard and variety of music I shall hear will be truly magnificent.

"Into the Dazzling Lights and Looking into a Sea of Faces" Brian Adams aged 7V2, Jennifer McKaye aged 14 and Michael Bell aged 19, performed last year at the Schools Prom and have written about their experiences.

When I heard we were chosen to play at the Royal Albert Hall, 1 was very pleased and a little scared. We all went there by coach. We walked into the Royal Albert Hall and I thought it very big and frightening.

Before our item we had to sit on seats on the platform. I was very excited. I looked out at all the crowds in the arena and the faces watching us. I could see my Mummy and Daddy, Nanny and Sister. The bright lights made me feel a little warm.

In the first half we saw some very good Russian dancers. At last our turn came to pJay. I played my violin in "Little Bo-Peep" and "Pussy Cat, Pussy Cat" . It was very exciting, after all our hard practising. Then I played the tambourine in the "Ecossaise" - I liked that the best.

I felt very big and important when everyone clapped us. My Mummy said she had a little proud cry. It was good when all the people at the front called for more and clapped us. I enjoyed listening to all the other music everyone was so quiet when it was being played. Then after they had finished all the people clapped and shouted for more.

Another exciting time I had was when I had to give flowers to one of the conductors. The conductor I gave my flowers to was very kind, he ruffled my hair and said thank-you.

Then we sang "Land of Hope and Glory".

This was the most exci ting part, everyone stood up and sang, the people in the arena jumped up and down. We have the tape at home and I still feel the excitement now.

When it was all over I was very tired but happy. Mummy and Daddy met us outside, they said they were very proud of us.

Brian Adams St. Dominic's Infants ' School

We were collected at the Cults Music Centre at 8.30 a,m. on Sunday the 27th of November, tired after a night of sleepless anticipation. The bus was already there and almost loaded with our instruments. We left on time and were soon out of Aberdeen and on our way to London, our stomachs warm with hot Aberdeen rolls from Susan's mum.

We arrived in London at 10 p.m. aftel" a dozy day of greasy chips and cold custard. We slept well that night after the long journey and were ready for our rehearsal on the Monday morning. During Monday afternoon we went shopping in London to leave things clear for the big day Tuesday.

Tuesday morning was frantic with last minute ironing and hair-washing. We were eventually ready to go, and the bus set offfor the Albert Hall. We were driving past the Albert Memorial when we saw it - a huge, magnificent, red-bricked building rising majestically out of the busy crowded London streets.

Once inside we were led down a long corridor to our dressing room where we deposited our kilts and jumpers. Then we were taken mto the arena, it was so immense that I felt like an antin the bottom of a swimming pool. After our instruments were brought in we had a few practises. It was then I realised that this was the last chance we would have to play before the concert. Once we had practised and the television cameras had arranged their positions we were told that there was a meal for us. The thing was that the meal was right at the top of the building and we had to go along so

many corridors and up so many stairs to get to it.

By the time tea was finished and we had got downstairs again it was about 6.30 p.m. We were beginning to feel excited. We made our way into the corridor in which our dressing-room was and at 7.00 p.m. we emerged full clad in long tartan kilts and thin polo-necked jumpers.

The people were pouring into the Hall and stage was being set up for the first group. 7.30 p.m. came and the concert began. Michael Aspel introduced the first group and the music began. We stood on a staircase, our hearts beating furiously, clenchi~g and un路 clenching our hands, waiting to go on . The first group finished, we clapped and Michael Aspel introduced us - The Cults Music Centre Percussion Ensemble.

I don't remember what he said, I was trying to keep as calm as I could. We began walking through the crowd of interested faces to the rostrum. Whether it was the steps up to the rostrum shaking or me shaking I don't know.

Silence filled the Hall as Mr Forbes raised his arm and we began to play. I was shaking all over, it was such a fantastic experience, but I made no mistakes I don't think. We played well and the silence in the Hall was incredible. The sound of our music carried up to roof. It was wonderful.

When we had finished I felt on top of the world. The Hall was filled with applause as we bowed and left the arena. It was a marvellous feeling and stayed with us for a long time.

Wednesday was a terrible anti-climax with the long journey through Britain and Britain's weather. However we still have the memory of that glorious evening and that will never disappear.

J ennifer McKaye Cults Music Centre

The Dwr-y-Felin School Orchestra appeared at the Schools Prom on the first of the two concerts in November 1976. We were the last ensemble of the evening, playing the Finale fr om Dvohik 's "New World" Symphony under our conductor Alan Good, and we had the great honour of playing Elgar's Pomp and Circumstance March No. 1 under the baton of Antony Hopkins.

Trying to write about such an occasion is a n extremely difficult task for no words (and the same applies to a television broadcast) can entirely recall the magical atmosphere of an evening at the Schools P rom.

A Schools Prom has a unique a tmosphere and anyone who has p ar ticipated in one of these concerts will surely wish to participate in another.

We were the only Welsh ensemble playing on this evening, so in fact we were not only representing our school and town of Neath, but the whole of Wales.

There is a great feeling of friendshi p amongst all the performers. It is an incredible experience just to walk onto the stage, into the dazzling lights and looking into a sea of faces.

It was a tremendous emotional experience to have played "Land of Hope and Glory", to hear the audience singing, to see the banners waving and hear the almost deafening shouts and applause at the end.

For all of us at Dwr-y-Felin, like all other performers, our night at the Schools Prom was something we will remember for the rest of our lives.

Michael Bell Dwr路y路Felin School

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10 The National Festival of Music for Youth

By Larry Westland Director, National Festival of Music for Youth.

Sponsors: The Association of Musical Instrument Industries The Electronic Organ Distributors Association The Piano Manufacturers Association The Times Educational Supplement Regional Auditions presented by BBC Local Radio The rich harvest of music at these Schools Prom concerts provides a public summary of the best and newest in British youth music. Finding the newest and best may sound a tall order, but The Times Educational Supplement, joint sponsors of the event, are also joint sponsors of the National Festival of Music for Youth - an immense threeday festival of young talent from all over the country. It is from the National Festival that the Schools Prom performers have been selected.

Some ten thousand young musicians took part in the preliminary stages of. the Festival, of which 2400 appeared at the National event in Croydon in July - 1000 ofthese are performing at the Royal Albert Hall. The Schools Prom is an added bonus to the assessment of developments in young people's music, which the Festival covers in greater depth. Both events, however, reflect the success of the emphasis on music as something to be enjoyed and the triumphant flowering of talents and styles this has helped to create.

Since its founding in 1971 by the Association of Musical Instrument Industries, the Festival, now in its ninth year, has favoured a largely noncompetitive approach to youth music. The success of this philosophy can be seen in the astonishing breadth of repertoire and high standards of performance displayed at the National Festival. This emphasis on music as something to be enjoyed has had, over the years, a marked effect on performer

initiative, imaginative choice of material and performing morale.

The concept of youth ensemble music as a community activity in which all may participate is at the very roots of the Festival's success, notably in its encouragment of new music composed with the special needs of young performers in mind, and not simply for the purpose of displaying competitive qualities. Freedom from the "set piece" and from the need to win above all else has, for many years, motivated a more adventurous approach to both repertoire and performance. This deliberate move towards experimentation embraces new compositions, fresh idioms and new techniques in both teaching and presentation.

Much of this imaginative and innovative work will be heard at these three concerts, some for various practical reasons will not. One such group is the glorious performers of Cerddorion Osbwyn Wyddel from Harlech, breaking completely new ground with the colourful presentation of medieval music, dance and traditional Welsh songs. Another group from the Weston Park Boys School in Southampton impressed the Festival audience and adjudicators alike with their complex patterns of electronic music. So too the wizardry of the tiny musicians from Ambleside County First School, amazing their audience with imaginative and gripping performances of percussion improvisations.

Over the three days of the Festival, works were presented by 19 mixed instrumental ensembles, 8 jazz and big bands, 7 brass bands, 12 chamber music groups, 14 school and country youth orchestras, 6 wind bands and 13 recorder ensembles. Of the 154 different works presented at the Festival, at least ten were new compositions.

Nowhere in the Festival was the phenomenal development in school music more clearly to be seen than in the Chamber Music class on Saturday, July 15. It was music that surpassed anything ever heard at the Festival before, and fully illustrated the standards of British school music that are the envy of music educators in Europe and the United States. The Festival ended on a triumphant note on the Sunday with thrilling performances from orchestras from Northampton, South Nottinghamshire, Watford and Brighton who gave a remarkable performance of the Mozart Bassoon Concerto with young bassoonist Simon Couzens.

The three-day Festival in July was stretched to breaking point and with the number and quality of entries, it would have been possible to have mounted a week-long event. Plans for 1979 include extending the National event from three to five days and providing a greater number of regional venues for the preliminary stages of the Festival.

BBC Local Radio have announced their intention to present the regional auditions of the Festi val in the S pring of 1979, and it is hoped that this move wiU make it easier for even more schools to take part. For 1979 we are making provisions for increasing the numbers taking part in the National event to at least 3500 young musicians.

Details and entry forms for the Festival are distributed through local authority education departments and through BBC Local Radio stations.

All of us connected with the National Festival wish you an enjoyable and exciting evening at the Schools Prom, and hope that these two events will clearly show the importance of nurturing and encouraging the musical talent of our younger generation.

11

Programme Notes

BARN ET SCHOOLS BRASS ENSEMBLE Conductor: David Honeyball Fanfare and National Anthem arr.Gordon J acob La Mourisque Tylman Susato Macarthur Park Jim Webb, arr. Adrian Drover The BarnetSchools Brass Ensemble is becoming recognised as one of the finest gt"oup of its kind in the London area - and much of the credit for that must belong to the ensemble's unique versatility. in addition to the conventional instruments oft he brass ~and, the jp"oup ~ses fTench horns, and trumpets in its extenSlve repertoIre, whLCh stretches from the fifteenth century to the present day. The players, who comefromsixteen schools and colleges in and around Bamet, perform in many guises' from a quartet to a 32-piece band of great power. They have appeared at London' s major concert venues, including the Royal Albert Hall, the Royal Festival Hall and the Fairfield Halls and appear on record with soloist John Fletcher, of the London Symphony Orchestra, in Gregson's Tuba Concerto.

Fanfare and National Anthem路 Jacob This fanfare and arrangement of the National Anthem was written for the Coronation of Queen Elizabeth II and was originally scored for full orchestra, organ and ch'oir. Jacob subsequently arranged it for brass band .

La Mourisque - Susato Tylman Susato was a well known trumpeter in Antwerp before he set himself up as a publisher of his and other people's music in 1547. It is from his "Danserye" published in 1551 that this dance is 18 ken. No specific instrumentation is mentioned in the original score; however it was fashionable at that time to perform music on any instruments available. In this arrangement trumpets, french horns, trombones, tubas and a tom-tom are employed.

Macarthur Park - Webb Macarthur Park - the longest tune in the history of pop music路 was an enormous hit when first recorded by Richard Harris.

In this shortened all-brass arrangement plus rhythm section Droverhas substituted french horns for saxophones, and the solo "part written for Ferguson has been divided between flugel horn and tenor tuba (euphonium).

CROMWELL SUNDAY NOON GROUP London, N6 Leader, director and first violin soloist: Benjamin Buckton Harpsichord Continua: Sheila Nelson Vivaldi Concerto in E minor for 4 violins and strings The Cromwell Sunday Noon Group is one of six string groups which meet at 66 Cromwell Avenue, Highgate, each weekend with their t.eacher Sheila Nelson. The members sing and play together, gIve regular concerts of solos and chamber music,

and work on different aspects of stl;ing technique. Most of the upper strings study individually with Miss Nelson, and the cellists are friends who join in to form quartets.

This particular gt"oup has won competitions for singing as well as playing, and was invited this year to take part in the first Helsinki Children's Festival.

Concerto in E minor for 4 violins and strings - Vivaldi It is conceivable that Vivaldi's Concerto inE minor, the fourth of the Op. 3 set entitled "L'Estro Armonico", was first performed by a young ensemble. Vivaldi was responsible for giving the girls at a Venetian orphanage a thorough musical training, and doubtless many of his concertos received their first performances with the maestro himself directing the orphanage orcestra from the first solo violin part. In this piece, the solo parts are only slightly dominated by the first violin, and the work is divided into four short movements.

CEREDIGION CHAMBER ORCHESTRA Dyfed, Wales Conductor: Alan Wynne Jones Soloist: Helen Jones Suite in A minor Telemann Despite only having a school population of just over 10,000 nearly 10% of these pupils receive instrumental tuition in various centres in the Ceredigion district of Dyfed. The Ceredigion Chamber Orchestra draws its members from Cerddorfa Ceredigion, the secondary schools' orchestra serving the district. It was formed in 1977 to give the older and more experienced members of the full symphony orchestra greater opportunity of playing music from the Baroque and Classical repertoire. The orchestra gained national acclaim when it won the Open Chamber Orchestra competition at the 1977 Royal National Eisteddfod of Wales a Wrexham.

Helen Jones is a third form pupil at Penglais Comprehensive School, Aberystwyth. She has been principal flute of Cerddorfa Ceredigion and the Chamber Orcheslraior the past two years.

She began her study of the flute at the age of eight and has been studying with Douglas TowIlsend in Cardiff for the past eighteen months.

Suite in A minor - Telemann It is the effecti ve co-ordination of the various characteristics of the early 18th century French and Italian forms together with the briskness of invention, which lends this suite for Flute its special charm. Telemann provided one of the movements with the title 'Air in the Italian Style' and gave it special emphasis through rich and significant harmonic treatment. The movement follows the pattern of a Da Capo aria with the opening slow section, very Handelian in character, being followed by a contrasting Aliegt"o middle section which requires the soloist to demonstrate a nimble technique and this in turn is followed by the return of the opening 'Largo'.

12 Programme Notes Over the past two years, the Consort has developed a considerable working repertoire ranging from the 16th to the 20th century. The Consort has been invited to take part in many concerts in Herefordshire, Worcestershire and Gloucestershire. Successes in the Herefordshire Competitive Festival (1978) and the Cheltenham Competitive Festival (1977 and 1978) have been enjoyed with complimentary adjudications from Jeanette and Marguerite Dolmetsch.

A Toy - TomlUns Originally written for the Virginals, the polyphonic nature of this piece lends itself to the display of the individual characteristics of each instrument.

Children's Dance No. 9 - Kodaly This charming little character piece shows the instruments in a more aggressi ve mood and Kodaly in a particularly Hungarian style.

St. OSWALD'S R.C. PRIMARY SCHOOL RECORDER GROUP Gateshead Conductor: John Mallan Country Gardens trad.

Rando from "Fairy Queen" Purcell St. Oswald 's has built up a fine reputation for its high standard of choral singing and now adds to this one for its recorder playing.

The children. not only take part in competitive Festival Work but also take Trinity College of Music Recorder Examinations.

Of the group on view, six ha ve achieved their Grade IV, the rest are preparing to take this examination.

They are in much demand by local concert organisers and have two L.P's. to their credit. They take great pride in the fact that they shared a programme wi.th BiT).g Crosby when taking part in a live broadcast on Hospital Radio 'l'yneside.

AYLESTONESCHOOLRECORDERCONSORT Hereford Director: Patricia Dollins A Toy Thomas Tomkins Children's Dance No. 9 Zoltan Kodaly The Aylestone School Recorder Consort was formed in September 1976 with the aim of creating a grouy of specialist performers. Each member ofthe Consort plays al the standard instruments - sopranino, desCStDt, treble, tenor and bass - and often play different parts in a performance.

YOUNG RECORDER PLAYERS OF LONDON Conductor: Brian Davey Solo Descant: Brendan McCarthy Moonlight Serenade Glenn Miller Young Recorder Players of London began life in Au~st 1970 as a small group of Primary School enthusiasts meetmg in the Blessed Sacrament School, Islington on Saturday mornings under the direction of Brian Davey. Later, aided by his sister Mrs. Janet Gray, the group expanded to its present form路 60 nine - to nineteen路year-olds,l . and now meets regularly in The White Lion Youth Centre, Islington.

The group has given concerts in London's Purcell Room and Queen Elizabeth Hall and recently tra velled to Bristol to gi ve a concert to 400 school children. A continental tour is being planned for the group next year which will include Ham.burg in It itinera ry.

Moonlight Serenade路 Glenn Miller In his early years Glenn Miner played jazz trombone and made many arrangements for swing orchestras. His band, formed in 1938, .reached phenomenal heights of popularity after a series of hit records, among them Little Brown Jug, In The Mood, and the Band's signature tu~e\ Moonlight Serenade. Brian !?avey's arrangement of Moonlignt Serenade attempts to bring the "Big Band" sound to recorders. The Ensemble is divided into two eq ual halves, each consisting of Descant, Treble, Tenor I, and Tenor H . With the addition of a Descant Solo, Piano and String Bass the eleven independent parts recreate the characteristic "rich" Miller Sound.

13

•

WELLS CATHEDRAL SCHOOL STRING DUO

ELMWOODSTEELBAND

Mozart Duet for Violin and Viola, K.423 1st movt.

There has been a Cathedral School in Wells, educating choristers, since the thirteenth century. Today, the School is coed ucational and has over six hundred day and boarding pupils.

In 1970 a scheme was undertaken to provide outstandingly gifted musical children with intensive instrumental and musical training of a standard worthy of their talent. The intention is not so much to enhance achievement in 'school music', as it is generally known, as to start at an early age the process of e~uipping certain individuals for a demanding professional life - a process which, it is generally recognised,is usually begun too late in this country. Great care has been taken, however, that these studies should be pursued within the framework of a b.roadly-based education of high academic standard.

The student& give many public performances in various forms; the symphony.Orchestra performed at the 1977 Schools Prom with Yehudi Menuhin as Soloist, and the Chamber Orchestra has twice given concerts at the Bath Festival. Jeremy WiJliams, born in 1960,is now a studen t at the Guildhall School of Music; Robert Salter, aged 17, has added tobis experience by playing with the National Youth Orchestra.

Duet for Violin and Viola, K.423 - Mozart Mozart himself an excellent violinist and violist, wrote the duets K.423 and 424 to help out his friend Michael Haydn, who was unable through illness to fin ish a set of six which he was required to compose for the Archbishop of Salzburg. Mozart was more ambitious for the viola than Michael Haydn; the lower instrument enjoys full equality and partnership with the violin.

Croydon Conductor: Brenda Davis Paloma Blanca The Breeze and I arr. Russell Henderson When the Saints come marching in Elmwood Junior School, situated in West Croydon, offers varied musical opportunities to its pupils whose ages range from 7 to 11 years.

The first steel Band was formed at the school in 1971 under the tutorship of Russell Henderson. Each July the Band loses its eleven-year old players when they transfer to High Schools and a new group is formed.

Elmwood Steel Band has appeared on television on several occasions, has been heard on radio and has played at concerts at the Royal Albert Hall, Royal Festival Hall and Fairfield liall, Croydon. Other engagements have included playing at Colleges, Schools and Charity Performances.

In both 1974 and 1975 the Band gained an Outstanding Performance Award and in 1978 a Highly Commended Performance Award at the National Festival of Music for Youth which led to its taking part in the 1975, 1976 and 1978 Schoo j s Proms.

,. "

KING EDWARD VI COLLEGE ORCHESTRA Stourbridge Conductor: John Griswold "Catherine Howard" from The Six Wives of Henry VIII Symphony No. 6 in F, "Pastoral", 1st movement

Soloist: Rick Wakeman Rick Wakeman (Monday) Beethoven (Wednesday),

Stourbridge, before local government re-organisation, was in Worcerstershire and is now part of the Dudley Metropolitan Borough in the County of West Midlands, and King Edward VI College is in its third year of transition from Boys' Grammar School to co¡educational Sixth Form College.

Music plays an important part in the life of the College.

Students are encouraged to take part in a wide range of activities, both instrumental and vocal. Apart from the Orchestra there is also a Chamber Orchestra, Wind Band, C\loral Society, Special Choir, Brass Ensemble and many Chamber Music Groups. There are six concerts a year in the College, and the Chamber Orchestra and various other small groups give many concerts locally.

Symphony No. 6 in F, "Pastoral" - Beethoven Beethoven's 6th Symphony was given the title "Pastoral" by the composer himself. It was first performed in December 1808 and at the same concert the 5th Symphony was also given its premiere. In contrast to the 5th's daemonic energy, however, the " Pastoral" is gentle and reflective and imbued with a sunny warmth. The subtitle for the first movement is "Awakening of happy feelings on arriving in the countryside".

DARLINGTON YOUTH BIG BAND Conductor: AIf Hind Hipflask D. Runswick The Magic Flea S. Nestico The Darlington Youth Big Band was founded in 1970 to give young musicians the opportunity to play big band jazz. They have been successful on three occasions in the National Festival of Music for Youth and feel very honoured that the Band has been invited to play for the third time at the Royal Albert Hall. The Band has done a 3-week tour in America in 1976, and this year visited Mulheim in Germany (Darlington's twin town), doing several concerts ana playing for the Festi val Ball.

14 Programme Notes

Cromwell Sunday Noon Group

Elmwood Steel Band

15 DWR-Y-FELIN BRASS CHOIR Neath Conductor: Idris Rees Canzon a 12 Giovanni Gabrielli Dwr-y-Felin Comprehensive School has a long tradition of fostering fme brass instrumentalists, assisted both by the brass band tradition in thesUIToundingcommunjty andbythe school's own fine orchestral tradition. The history of brass ensemble work in the ~chool! however, dates back only six years when a brass penpatetIc teacher was appointed to the school.

.

allied to the nature of the canzona form,lent itselfparticulariy to experiment with antiphonal effects.

In "Canzon a 12", Gabrielli experiments in two ways: firstly by expanding the number of choir from 2 to 3, and secondly by creating 3 unequal choirs. Thus, Choir I has 4 parts, Choir II has 3 parts, and Choir III has 5 parts, the " Golden Square" so much in evidence in music of this and other periods. This expansion gives additional opportunity for creating contrasts of texture as well as volume, space, rhythm and time.

The present large brass cho.i r has been together for 12 months, a period during which works studied have ranged from very early brass music through to such modern composer as McCabe and Woollen, and original compositions by mem bel'S of the Choir. In recent years many ex-members of the brass ensem hie have successfully embarked upon musical careers, and a significant number of the present ensemble are prep.aring to follow them into universities and colleges of musIC. Canzon a 12 . Gabrielli Giovanni Gabrielli was organist at St Mark's Cathedral, at a time when Venice was the music capital of the world. He delighted in experimentation and the structure of St Mark's,

William Rhodes Secondary School Brass Band

16 Programme Notes WATFORD SCHOOL OF MUSIC YOUTH ORCHESTRA Conductor: Adrian Leaper Borodin Polovtsian Dances Pomp and Circumstance March No. 1, "Land of Elgar Hope and Glory" The Watford School of Music is part of the provision made by the County Education Department for musical education in Hertfordshire. Over six hundred school children and about two hundred adult students attend weekly for individual instumental lessons and supporting theoretical studies.

Exhibitioner, '0' and 'A' level and diploma courses are available and a full range of graduated choral, chamber music and orchestral training is also provided. The Youth Orchestra gives regular cnncerts at the Watford Town Hall, nl)d in schools and churches in the area. It is also in demand at local festivals and music societies.

Polovtsian Dances - Borodin Alexander Borodin 1833 - 1887 was the distinguished professor of chemistry in the University of St. Petersbourg and an eminent researcher in that science. He found time to write a small number of magnificent musical works, many of which are still in the concert repertory. His vast historical operatic pageant 'Prince Igor' contains a wonderfully colourful set of Polovtsian Dances. These are the dances of the wild Polovtzi tribes from East of the Caucasus who invaded Russia and Eastern Europe in the Middle Ages, as conceived by a late nineteenth centu'r y master of symphonic orchestration. The haunting melody that opens the suite is the opening of the prisoners' chorus 'Flyaway on the wings ofthe wind" in Act 2 of the Opera Land of Hope and Glory - Elgar The Pomp and Circumstance Marches form a series of five military marches for orchestra, four of which date from between 1901 and 1907, and the lastfrom 1930. The celebrated patriotic words of A.C. Benson were added later to the first march in D major, for a special Gala performance given to COmmemorate the Coronation of Edward VII.

WILLIAM RHODES SCHOOL BRASS BAND Chesterfield Conductor: David Windle Men of Harlech trad., arr. Gordon Langford Hootenany trad., arr. Harold Waiters The Band was formed in 1968 under the direction of David Windle, and is now recognised as one ofthe outstanding Youth Bands in the country. Over the years, the Band has visited Darmstadt, Chesterfield's twin-town, on three occasions, and appeared twice in the national Schools Brass Assooiation Festival. It has made reguJar TV ~pearances and radio broadcasts and also p layed before HM The Queen on her visit to Chesterfield. Three LP records have been pr:oduced, and recently the Band visited Belgium to play at the Weize Oktober Festen.

Men of Harlech - arr. Gordon Langford One of the many brilliant arrangements by Gordon Langford, one of the most prolific composers and arrangers for brass bands.

Hootenany - arr. Harold WaIters This is a folk festival for brass and encompasses many American folk melodies.

too severe to practice their art of campanology in the tower.

They therefore had manufactured a set of bells small enough to hold and ring in their hands allowing practice to take place in the far more convivial atmosphere of the local hostelry. They would often sit on long benches and take the bells off one another's lap - hence the lapping method.

In this demonstration the children will produce the exact sounds one would hear pealing from a tower with 8 bells playing Plain Bob - a simple form of change ringing. Here the bells take the lead in turn apd plain hunt down and back the line. All 8 bells will eventually return to their starting position, only after 112 entirely different mathematical patterns have been formulated with continous precision and accuracy.

SURREY COUNTY WIND ORCHESTRA Conductor: David Hamilton Soloist: Michael Collins Concert Piece for clarinet Rimsky-Korsakov and wind orchestra The SURREY COUNTY WIND ORCHESTRA is one of Surrey's two County orchestras, (the Surrey County Youth orchestra played a prominent part in last year's Schools' Prom). It was founded in 1975 and immediately made a successful name for itself at a local level. Within two years it had gained the 'Outstanding Performance Award' of the National Festival of Music for Youth, during the Silver Jubilee Celebrations at the Royal Festival Hall. At this year's N.F. M.Y., the S.C.W.O. were highly commended in their class and their Wind Quintet took first place in the Chamber Music section. They are also appearing at the Schools' Proms.

Michael Collins路 comes from Feltham, Middlesex. he is a student at the Junior Department ofthe Royal College of Music where he studies the clarinet with David Hamilton. In April this year he took first place in the Woodwind section of the BBC's <Young Musician of the Year' competition. He is a member of the National Orchestra and is also an accomplished pianist.

Concertpiece for Clarinet and Wind Orchestra Rimsky-Korsakov This work dates from 1878 and was one of a number of compositions for wind orchestra which Rimsky-Korsakov wrote during his years as Inspector of Bands for the Russian Imperial Navy. This position gave him full scope as a composer for imaginative experimentation with the sonorities of massed wind instruments, a field in which he was an acknowledged pioneer and which contributed to his later recognition as a master of orchestration. The present edition of this Concenpiece is by Gregor Fittelberg who, with the composer's consent revised and embellished the solo part in order to emphasise the virtuoso aspect of the work.

PATCHWAY C.E. SCHOOL HANDBELL RINGERS Bristol Tutor: A.W.D. Hayes A Touch of Plain Bob Major trad.

During the past six years the School has had a succession of successful and well known handbell teams. In 1973, the School celebrated the wedding of Princess Anne and Captain Mark Phillips by ringing a Touch of Plain Bob Royal on BBC Radio Bristol and local television's "Points West:' The Handbell Ringers received a {Irivileged invitation in 1976 wben they were chosen by the Handbell Ringers of Great Britain to ring at the N atiop,al Rally in the Simon de Montfort Hall, Leicester. This was a particular honour for the children, as only a few teams are chosen each year to represent the best of handbell ringing in the country. In 1977, the Handbell Ringers rang in a performance of "The Song of Caedmon" under the baton of Donald Swann in Wells Cathedral.

A Touch of Plain Bob Major - trad.

Handbells were first used in the 16th. and 17th. centuries by tower bell ringers, who found the rigours of the English winter Surrey County Wind Orchestra

17

COED EV A INFANT SCHOOL RECORDER GROUP ..

Cwmbran, Gwent Conductor: Mrs. Colleen Fleischmann Medley of Folk Songs There are nearly 400 children in Coed Eva Infant School and they all bave the opportunity of learning to play the recorder.

The childl:en start to play in their first year in the Infant school, so the group performing here have been playing together for nearly three years. The children have been trained by a team of three teachers. The group is composed of 17 children. 15 girls and 2 boys. They are all seven years of age.

The group is playing a medley of folk songs which form a part of the music in general use in the school.

\

/; I St DOMINIC'S RECORDER ENSEMBLE Conductor: Marian Leetch Viennese Waltz Francis Chagrin The players in this recorder ensemble are aU members of the St Dominic's Music Group. which meets every week in the Infants' School. and areaH past pupils of the school. The Music Group is now 26 years old, and 7 ye.a rs ago a recorder ensemble was formed so that the more advanced players could meet to play chamber music. and to play early English music as a consort.

The Viennese IN altz by Francis Chagrin. the Anglo路Rumanian composer, is scored for descant and treble recorders with piano.

MARDEN BRIDGE MIDDLE SCHOOL RECORDER CONSORT Whitley Bay Almayne A. Holborne Masquing Ayre J. Adson Marden Bridge Middle Schoolis a 9 to 13 co路educational middle school situated in the coastal holiday resort of Whitley Bay. The school has established an excellent musical reputation. particularly in the field of recorder playing. Already this year the school's Recorder Consort has been chosen to take part in many important musical events including the Schools Music Association Concert in Cumbria in May . the Decca路sponsored "Florilegium Early Music Project" in York in July and. of course, the National Festival of Music for Youth in Croydon.

The Consort specialises in music of the 16th and early 17th centuries and the composers represented toni~ht are the most popular of the many to be found in this penod. their music being both tuneful and challenging. espeCIally for a group of this age.

Almayne . A. Holborne Written in the late 16th century, this piece is of German origin and is a stately dance.

Masquing Ayre - J . Adson John Adson was a composer and musician at the Court of James I of England. This Masquing Ayre, published in 1621, could well have been the entry music to the Court masque and is in two sections. an almayne in 4/4 followed by a closing tripla in 3/4.

LONG RIDINGS JUNIOR SCHOOL ORCHESTRA Conductor: Malcolm Timms "Hillside Day"路 3rd movement M. Timms of The Countryside Suite Age of performers ranges from 8 to 11 years.

This orchestra comes from a locaJ authority junior school. The full orchestra practices twice each week and the differen t sections of players have lessons in lunch time and after-school groups. All the groups are tra in ed by the conductor.

Hillside Day is a musical narra ti ve of a series of events which take place on a hillside during the course of a day. The opening bars in a whole-tone scale depict the hillsi de in darkness. The Sun rises and the hillside is bathed in sunshine. As the activity increases, we witness the morning bustle in 5/ 4 time. The Afternoon Canter in 12/ 8 is followed by the church bell calling the congregation to evening service. During the second vers e of the hrtpn. the Sun sets. The piece finishes with the Hillside in Starlight.

18 Programme Notes BURTON YOUTH BIG BAND, "Music Live" Burton·on·Trent Musical Director: Jim Baxter Opening Time Dick WaIter Tracy's Trip Tony Russell The band was furmed about two years ago and centered around a few members of the Burton Youth Centre Wind Band. The band grew in size but maintained its independence as a "fun" group with no connections with the education authorities.

In October of last year, the band achieved high praise for its efforts in the Musicians' Union Midlands Rehearsal Band Contest in Coventry, and won itself recognition by the Burton M.U. Branch who obtained a small grant to help it on its way· hence its "Music Live" title.

At this time, it became apparent that nearly all of its members were. or had been , pupils of the Music Departmentofthe Abbot Beyne School of Burton·on·Trent, and. its affiliation with the school is strong. as is now its approval by the Staffordshire County Music Department.

Whilst the band enjoys playing the recognised "Big Band" standards, it ambitIOn are dire ted towards more progressive jazz · along the lines of the National Youth Jazz Orchestra, ....':ith whom it has close liaison in a number of its members.

The two numbers inc.1uded in the programme are from the Library of the National Youth Jazz Orchestra. "Opening Time" is a feature for Drummer Richard Brutter, and "Tracy's Trip" features the Tenor Saxophone of Tracy WiUiams.

CHELMER VALLEY HIGH SCHOOL OBOE QUARTET Chelmsford Oboe Quartet, K.370 Mozart Adagio and Rondo Chelmer Valley High School Chelmsford was established in 1975 by the amalgamation of a SecQnnary School with a Technical High School. Already it has developed a fine music tradition, with three orchestras, a choral society and choirs, together with a madrigal group and a large number of chamber and recorder groups. It was in fact a recorder trio from the school that was a warded the Silver Jubilee Trophy for the most outstanding perfomance in the Recorder Ensemble class at this year's National Festival of Music for Youth.

Oboe Quartet· Mozart Mozart wrote the Quartet for Oboe during the early part of 1781 for his 'friend the Munich oboistFriedrich Ramm. The two movements that are to be played at this year's Prom are the beautiful slow second movement and the bubbling dance-like final Rondo.

FITZNELLS SCHOOL OF MUSIC ORCHESTRA Ewell, Surrey Conductor: Vivienne Price Soloist: John Williams Rodrigo Concierto de Aranjuez, 2nd movt.: Adagio Fitznells is a privately·run music chool in Ewe11, Surrey and is financed entirely by the efforts of its members and their p. arents. The Orchestra, which is run voluntarily, meets for one hour once weekly in cramped quarters which do not allow for sectional rehearsal, so i·t is greatly to the credit of these children that the Orchestra has reached so bigh a tandard.

The Orchestra has always been conducted by Vivienne Price, who founded it while she was still at the Royal College of Music.

Concierto de Ar.anjuez . Rodrigo J oaquin Rodrigo was born in Spain in 1902. Though blind from early childhood he studied music in Valencia and later went to Paris, as had other Spanish musicians. There he studied v.<ith Dukas and de Falla. He travelled extensively in Europe but with the outbreak of the Spanish Civil War in 1936, returned permanently to his homeland.

The Concierto de Aranjuez1 first performed in 1940, brought Rodrigo immediate fame. At that time it was regarded as a curiosity, a-pparently because of the seeming incongruity of pitting a gm tar against an orchestra. The work, however, has remained one of the most popular concertos written for any instrument in this century. The 2nd movement is celebrated for its lyricism. The guitar begins in the role of accompanist to the cor anglais, which states the theme. Then the guitar repeats the theme, adding embellishments of its own . The movement draws to a close with an extended cadenza in which motifs of the theme provide the basis for a variety of figuration , and ends with an orchestral tutti.

Long Ridings Junior School Orchestra

19 1907, and the last in 1930. The first, and most famous, was first performed by the Liverpool Orchestral Society in October 1901.

A year later, Elgarwas invited to compose a Coronation Odeto be sung at a Gala Performance at the Opera House. Oovent Garden, to commemorate the Coronation of Edward VII. He allied the tune from the Pomp and Circumstance March No. 1 to A.O. Benson's words, to produce the imposingly patriotic "Land of Hope and Glory".

SOUTHAMPTON FLUTE QUARTET

Fitznells School of Music Orchestra

NORTHAMPTONSHIRE COUNTY YOUTH ORCHESTRA Conductor: Malcolm Tyler Overture: William Tell Rossini Pomp & Circumstance March Elgar No. 1, "Land of Hope and Glory" The Northamptonshire County Youth Orchestra has been in existence for only about four years and is basically a Schools' Orchestra in that its members are of school age rather than in Further Education.

The County organises at present eight music centres throughout the Authority which involve about 2,000 children, and County based orchestras and bands are fed from these centres as well as from the instrumental teaching in schools. In 1977 the Brass Band won its class in the National Festival of Music for Youth and did a concert tour in France whilst the orchestra visited Germany.

Overture: William Tell· Rossini For all its present day popularity and almost hackneyed character thiS Overture was written with serious intent, for its subject was a great national hero.ltis a miniature symphonic poem in four sections The lyrical opening depicts a sunrise in the mountains · nature at her most peaceful. The second section provides a complete contrast as it portrays a storm in all its fury . This is followed by a pastoral song of thanksgiving from the shepherds, and finally comes the fanfare and grand march of the Swiss soldiers with all the verve, splendour and excit-ement imaginable.

Land of Hope and Glory· Elgar The ''Pomp and Oircumstance" marches form a series of five military marches for orchestra. They were composed during two widely separated periods, the first four between 1901 and

Jour d'He a la montagne,2nd, Euglme Bozza 3rd & 4th movements This quartet is the current flute section of the Southampton Youth Orchestra. It was formed last February to play some of the excellent music which was written for such a gro up. In the 19th Century many families could boast at least one flute player, hence at musical evenings flute duets, trios and quartets were frequently played. Unfortunately, much of this music has been neglected in recent years, and so their flute teacher, Mr. Robin Soldan. felt that the quartet could rekindle an interest in the repertoire.

The four girls feel they owe everything to Robin Soldan (peripatetic flute teacher with Hampshire Education Department), whose enthusiasm and dedication never fails to inspire them.

The quartet received an award for Outstanding Performance at this year's National Festival of Music for Youth.

Jour d'ete a la montagne · Bozza These three movements from Bozza's quartet (written in 1953) use the ex.pressive powers of the flute to the full, with rapid chromatic runs in the ' rushing torrent', mysterious harmonies in· the "Song of the Forest", and exu berantrhythms in the final Rondo, giving contrasting impressions of "A Summer' Day in the Mountains".

20 Programme Notes CROYDON SCHOOLS' CENTRE FOR WIND PLAYERS, 1st Orchestra Conductor: David Kendall Fanfare and National Anthem arr. Gordon Jacob Incantation and Dance John Barnes Chance The Croydon Schools' Centre for Wind Players was opened in 1969 by the Croydon Education Committee as part of a compreben ive music development plan . Over a hundred players fTom 26 schools now attend its weekly rehearsals and ar formed into two wind orchestras.

Both orchestra rehearse for two hours and, in addition, members of the second orchestra attend classes for aural training and theory while great importance is attached to providing members of the first with regular coaching in the many and varied forms of wind c.hamber music.

The 1st. Orchestra has gained awards at six National Festivals of Music for Youth and performed at the 1976 Schools Prom. It recently broadcast a programme of mu sic by Graingel; and Chance on Radio 3.

Fanfare and National Anthem· Jacob This fanfare and arran.gement of the National Anthem was written [or the coronation of Queen E ljzabeth 11, and was originally scored for ful l orchestra, organ and choir. Jacob sub equently arranged it for brass band.

Incantation and Dance · John Barnes Chance Incantation and Dance is one of a number of fine works for wind by the American composerJohn Barnes Chance. It opens with a quiet flute melody which contain the germ of th e exciting Dance sectioD. The whole piece is most effectively scored with pa rticularly colourful use being made of a large percussion section.

The New At/antis Jazz Band Francis Bacon. ('hool

THE NEW ATLANTIS JAZZ BAND FRANCIS BACON SCHOOL st. Albans Tutor: John Knott Livery Stable Blues R. Lopez & A. Nunes Free 'n Easy B. AmsteJl The New Atlantis Jazz Band hails from Francis Bacon School inSt. Albans and took its name from the book ' N ew AtJantl '

by Sir Francis Bacon. Th e members are all orchestral players of some distinction.

After some earlier experiments in the Jazz idiom t he band, in its pr sent form, began about 2'/~ years ago. Since that time it has played for a number of functions a nd dances, gained honour and distinctions in local music festivals and attracted warm appreciation from 'The Professionals' in the Musicians' Unio n Club.

The highlight of their career, until now, was a trip to Worms in Germany last J an uary. Going prepared for a series ofhalf·hou r performances they found themselves advertised througbout the town for a full concert the following evening. This extended their repertoire a nd end urance beyond their tutor's belief. But they made 21/~ hours getting stronger and stronger and ended with ' Encore' ·till being ca lled.

The two items in toni-ght s programme are 'Livery Stable Blue ',whlch Lo uis Armstrong and others ha, • made famous, a nd 'Free 'n Easy', a 1946 composition in the TIixieland' style,

by Billy AmsteU . thi ' features the tenor saxophone.

Do/waster Youth Jazz Orchestra

21 SURREY WIND QUINTET Carl Nielsen Quintet in E, Op. 43 The Surrey Wind Quintet was formed by five young Surrey instrumentalists in November 1977 with the intention initially of playing chamber music solely for pleasure. The players met weekly. coachingthernselves, and after a short while were being invited to play at various venues throughout the South East inoluding two guest appearances with the Surrey County Wind Orchestra, to which all five belong. The quintet is entirely selffinancing and since its formation its members have travelled over 6,000 miles to rehearsals and concerts. During 1978, engagements have included public concerts, invitation appearances, and a ' workshop-concert' for middle-school children. 10 Ju ly, at the National Festival of Musicfor Youth, the quintet gained the coveted M aurice Jacobson Award for the most outstanding performance in the hamber Music class.

Quintet in E , Op. 43 - Nielsen Although Nielsen 's reputation was largely achieved through his symphonic writing, his Quintetin E is justly regarded as a very major work, representing a ubstantial landmark in the development of the wind quintet and marking the start of a revival of interest in writing for this particular ensemble. The first movement is in sonata form, the ba soon stating the opening subje t as a solo. The other instruments join, flute and oboe playing the second su bject, and after the development and recapitulation ,whose poise and wit is typical of the whole work, the movement finishes with a delicate cod a which moves through each of the instruments to the final chord.

CULTS MUSIC CENTRE PERCUSSION ENSEMBLE Aberdeen Conductor: Ron Forbes Polymers Ron Forbes Circles The Cults Music Centre Percussion Ensemble was formed five years ago from some of the pupils of Ron Forbes, their conductor. They have since taken part in the Natio.nal Fe tival of Music for Youth on four occasions, gaining awards on each of those occasions.

In May of this year they were invited to play at a music festi val in Erlangen, Germany and they have receiv d yet another invitation to Europe in 1979, this Lime to play at a music festival in Autun, France.

The group are appearing at their third Schools Prom and they will be playing two pieces composed by Ron Forbes, "Polymers" and "Circles".

Cults Music Centre Percussion Ensemble

SOUTH NOTTINGHAMSHIRE MUSIC SCHOOL ORCHESTRA

DONCASTER YOUTH JAZZ ORCHESTRA Conductor: John Ellis Corazon Carole King, arr. Bill Stapleton Introduction and Allegro Dominic Spera The Doncaster Youth Jazz Orchestra is just one facet of a rapidly xpanding Jazz Education Programmel administered

by Doncaster Further Education and hosted oy Northcliffe Comprehensive School in Conisbrough, where rehearsals take place four times a week Thanks mainly to the undying efforts of a Parent Fund Raising Group, th e orchestra has enjoyed successful concert tours. around the country, and these trips have become a major source of motivation.

Th e mus ical policy is one of variety a nd creativity whereby the orchestra enjoy playing standards from the 'Swing Era' alongside the more challenging material of today's modern composers. They look upon enjoyment and spontaneity as an integral part of their music, but count disciplin e as of paramount importance.

Tn July of this year Ooncaster Youth Jazz Orchestra received the Outstanding Performance Award at the National Festival of Music for Youth (Jazz Orchestral Section) for the second year in succession . .

Corazon - Carole King, arr. Stapleton This modern jazz/ rock ch ar ~ from the current Woody Herman library is on the orchestra's first L.P , " DoncasterYouth Jazz Orchestra Live at Northcliffe". Jonty Stockdale(15) is featured over the band on soprano saxophone.

Introduction and Allegro - pera This particular composition is typical of the type of material with which the orchestra is experimenting at th e momen t. The piece is difficult to perform because of the complex rhythms changing meter, dynamks and added instrumentation. It's refreshing to find com posers thinking seriously about jazz education programmes a nd moving into the realms of good symphonic writing for modern jazz orchestras.

The soloists are David Hopkins (18) on alto saxophone and Tony Garish (16) on trumpet.

Conductor: Malcolm Nabarro Symphony No. 8 in G, Op 88, Dvorak 1st movement "Any Dream Will Do" from Andrew Lloyd Webber Joseph and the Amazing Technicolor Dreamcoat Pomp and Circumstance Elgar March No. 1 "Land of Hope and Glory" The outh Nottinghamshire Music School is one of four Saturday morning music schools run by the County Council.

At South otts about 300 pupils meet each week in term time.

One third of these receive individual tuition on one or more instruments, plus general musicia nship. All take part in orchestral, band and choral rehearsals leading to a large number of public performances in the Nottingh am area. The Orchestra's first visit to the National F estival of Music for Youth this year gained them Outstanding Performance Awards in both the Open Orchestra class and the Concerto class.

Symphony No. B in G 路 Ovol'ak Five year elapsed between the preceding D major .vmphony and the appearan 'e of th e 8tb in G major, kn own fI~ the "E n~lish" ymphony, for.no better reason th an that is was pu blished, after much haggling with Simrock, by No' 路ell o. It i actually by far the most national in fl avour o r a ll Dmrak's symphonies, and in point of form, at least as regards the first two movements, the most original.

Land of Hope and Glory路 Elga r The Pomp and Circum 'tance Marches form a serie or five military marches fur orch estra, four of which dale fr om between 1901 and 1907, and t he last from 1900. The c-cleb rated patriotic words of A.C. Bensol1 were added la tcr La the first march in D major, for a sp ecial Gala performance given to commemorate the Coronation of Edward VII.

South NO/tin"halllshire

MUSIC

Schuol Orchestra

INTERNATIONAL CONTACT THROUGH MUSIC

CONGRATULATIONS 1978 Schools Proms to all participants in the

The Council for International Contract has been pleased to assist in the arrangements for overseas visits and exchanges of the following groups in the countries listed .

1978 America Austria Belgium Canada Denmark France

City of Hull Youth Orchestra

Germany

Hastings Youth Orchestra

Italy

West Sussex Youth Orchestra

Hong Kong

County of Avon Schools Orchestra

Romania

Swindon Youth Orchestra

Sweden

Goffs School Orchestra

Yugoslavia

Leicester Youth Orchestra

Sutton Schools Orchestra Hackney & Islington, "The Blues" British Youth Wind Band Stow market Schools Concert Band S. Mary's Church Choir, Cheshunt

and in 1979 Australia

Hampshire Youth Orchestra

Japan Nigeria

Essex Youth Orchestra

Portugal

Brighton Youth Orchestra

Hunto Steel Band

For further information please visit us in Box Number 38 on the Grand Tier during the Interval or write for information to

The Council for INTERNATIONAL CONTACT 9 Grosvenor Gardens London SW 1 Telex: 916452 TeJ : 01- 828 7554

Greater Twin Cities Youth Symphonies

23

Greater Twin Cities Youth Symphonies In 1972, a unique music organisation was formed with the Twin Cities of Minnesota and St. Paul in the United States. Its purpose was to provide an opportunity for young musicians up to the age of eighteen to become members of symphony orchestras comprised of other young musicians of comparable skills and interest. It replaced several diverse music groups to which schoolage musicians could belong. The organisation was called the Greater Twin Cities' Youth Symphonies (GTCYS).

Today GTCYS is the largest independent youth symphony grouping in America with more than 700 young musicians partici pating and performing in more than 60 concerts throughout Minnesota each year. It has received international recognition and has been studied by other cities as a model for the formation of similar groups.

This year 100 members of GTCYS will be playing for the first time at the Schools Prom under the direction of Dr. William L. Jones, Music Director.

Under his leadership GTCYS has achieved international recognition for its successful approach in providing quality orchestral experience for young musicians.

Parents.

The ideal

Christmas gift for your child.

Antony Hopkins

John and the Magic Music Man & A Child's Guide to the Orchestra Narrated and conducted by the Composer with the Philharmonia Orchestra For 25 years Antony Hopkins' BBC programme Talking About ~Iu,ic ha, b('Cn fascinating and compelling lislcning for cou ntless people in 44 counlries Hen.' he brings his unique gift of musical co mmunication to young people through this delightful story .. All the groups of instrumc nts aTC introduced and on Side 2 :\nlOn~ Hopkins develops his absorbing narrati on to concentrate on lhe charaCleristic. . of the various instruments individually and in short exct"rpl~ from some of the Rn.'at 'classics .' The cha rming full colour skt"\c design \\'a5 commiss ioned from childr('n\ book illustrator Cara Lockhan -Smith, and a leafl('l is prmidcd with llw reco rd which includt-s photographs of a ll the principal in'inumC' nl 5. ('te

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Programme 1

24

Monday 27th November

1. BARNET SCHOOLS BRASS

ENSEMBLE

Conductor· David Honeyball Fanfare & National Anthem La Mourisque Macarthur Park

arr, Cordon Jacob Ty/man Susato J im. Webb. arr. Adrian Drover

2. CROMWELL SUNDAY NOON GROUP, LONDON Leader, director alldfirst violin soloist - Benjamin Buckton Harpsichord continua - Sh eila Nel!;un Concerto in E Minor for 4 Viualdi violins and strings

3. CEREDIGION CHAMBER ORCHESTRA, DYFED Conductor- Alan WynneJones Soloist - HelenJones "Air a l'Italienne" from Suite Telemann in A minor tor flute and st.rings

4. ST. OSWALD'S R.C. PRIMARY SCHOOL RECORDER GROUP, GATESHEAD \

•

Conductor-John Mallan Country Gardens Rondo from "Fairy Queen"

trad, Purcell

5. AYLESTONE SCHOOL RECORDER CONSORT, HEREFORD Director - Patricia Dollins Children's Dance No. 9 A Toy

Kodaly Tomkins

6. YOUNG RECORDER PLAYERS OF LONDON Conductor- Brian Davey Moonlight Serenade

Land of Hope and Glory Dear Land of Hope, thy hope is crowned, God make thee mightier yet!

On Sov'ran brows, beloved, renowned, Once more thy crown is set.

Thine equal laws, by Freedom gained, have ruled thee well and long;

By Freedom gained, by Truth maintained, Thine Empire shall be strong.

Land of Hope and Glory, Mother of the Free, How shall we extol thee, who are born of thee?

Wider still and wider shall thy bounds be set; God who made thee mighty, make thee mightier yet, God who made thee mighty, make thee mightier yet, Repeat chorus Thy fame is ancient as the days, As Ocean large and wide; A pride that dares, and heeds not praise, A stern and silent pride.

Not that false joy that dreams content With what our sires have won; The blood a hero sire hath spent Still nerves a hero son.

Repeat chorus twice, as before.

Bluthner Grand and Welmar Upright Pianos kindly supplied by Welpdale Maxwell and Codd Ltd. Continuo Harpsichords kindly supplied by Robert Morley & Co. Ltd. Double basses kindly supplied by Boosey & Hawkes (Musical Instruments) Ltd. Drum Kit and Timpani kindly supplied by the Premier Drum Co. Ltd. Communications system kindly supplied by Burndept Electronics (E.R.) Ltd.

GlennMiller

7. WELLS CATHEDRAL SCHOOL STRING DUO Duet for Violin and Viola.

K.423,lstmovement

Mozarl

8. GREATER TWIN CITIES' YOUTH SYMPHONIES Conductor-Dr. WilliamJones Francis Key Star Spangled Banner Copland Hoe-Down from Rodeo Symphony No. 2, 4th and 5th lues movements

INTERVAL -20 MINUTES (Warning bells will sound 5 minutes before the end of the interval)

9. DARLINGTON YOUTH BIG BAND Conductor- Air Hind Hipflask The Magic Flea

Daryl Runswick Sammy Nestico

10. ELMWOOD STEEL BAND, CROYDON Conductor- Brenda Davis PaJoma Blanca The Breeze and I W hen the Sai n ts come marching in

arT. Russell Henderson

11. KING EDWARD VI COLLEGE ORCHESTRA, STOURBRIDGE Conductor - John Griswuld Soloist - Rick Wakeman Rick Wakeman

"Catherine How a rd " from

The Six Wives of Henry VIII

12. DWR-Y-FELIN BRASS CHOIR, NEATH Conductor- Idris Rees Canzona 12

C. Gabrielli

13. WATFORD SCHOOL OF MUSIC YOUTH ORCHESTRA Conductor- Adrian Leaper Po)ov tsian Dances Borodin Pomp & Circumstance March EIgar No. 1 - "Land of Hope and Glory"

Programme 2 Thesday 28th November

1. WILLIAM RHODES SCHOOL BRASS BAND, CHESTERFIELD Conductor-David Windle Fanfare & National Anthem Men of Harlech Hootenany

arr. GordonJacob trod. arr. Gordon Langford trad arr. H. Waiters

2. ELMWOOD STEEL BAND, CROYDON Conductor- Brenda Davis Paloma Blanca When the Saints come marching in

an: Russell Henderson

3. PATCHWAY C.E. SCHOOL HANDBELL RINGERS, BRISTOL Thtor-A. W D. Hayes "A Touch of Plain Bob Major" trad.

4. SURREY COUNTY WIND ORCHESTRA Conductor- David Hamilton Sowist - Michael Collins Concert Piece for clarinet and Rimsky-Korsakov wind orchestra

5. COED EVA INFANT SCHOOL RECORDER GROUP, CWMBRAN, GWENT Conductor-Mrs. Colleen Fleischmann trad.

Medley of Folk Songs

6. MARDEN BRIDGE MIDDLE

SCHOOLRECORDERCONSOR~

WHITLEY BAY Almayne Masquing Ayre

(

25

Programme 3

A. Holbome Adson

Wednesday 29th November

1. CROYDON SCHOOLS' CENTRE FOR WIND PLAYERS, 1ST ORCHESTRA Conductor- David Kendall Fanfare & National Anthem Incantation and Dance

arr. GordonJacob John Bames Chance

2. THE NEW ATLANTIS JAZZ BAND, ST.ALBANS Tutor - John Knoll Livery Stable Blues Free'n Easy

Ray Lopez & Alcide Nunes arT, Paramor B. Amstell

3. SURREY COUNTY WIND ORCHESTRA Conductor- David Hamilton Sowis t - Michael Collins Concert Piece for clarinet and Rimsky-Korsakov wind orchestra

4. WNG RIDINGS JUNIOR SCHOOL

ORCHESTRA, BRENTWOOD

Conductor- Mateolm Timms "Hillside Day" 3rd movement from "The Countryside Suite"

Malcolm Timms

5. SURREY WIND QUINTET Quintet in E

Carl Nielsen

6. GREATER TWIN CITIES' YOUTH SYMPHONIES Conductor-Dr. WilliamJones Overture to "The Barber of Rossini Seville" Symphony No, 2 (Romantic), Howard Hanson 3rd movement Stars and Stripes For Ever Sousa, arch. Stokowski

7. ST. DOMINIC'S RECORDER ENSEMBLE, LONDON Conductor - Manan Leetch Viennese Waltz

F Chagrin

8. WNG RIDINGS JUNIOR SCHOOL

INTERVAL路 20 MINUTES (Warning bells will sound 5 minutes before the end of the interval)

ORCHESTRA, BRENTWOOD Conductor-Malcolm Timms "Hillside Day" - 3rd movement from "The Countryside Suite"

Malcolm Timms

9. GREATER TWIN CITIES' YOUTH SYMPHONIES Conductor-Dr. WilliamJones Fanfare for the Common Man Cop14nd Afro-American Symphony, William Grant Still 3rd movement Academic Festival Overture Brahms

7. DONCASTER YOUTH JAZZ ORCHESTRA Conductor-JohnEllis Corazon Introduction and Allegro

8. CULTS MUSIC CENTRE PERCUSSION ENSEMBLE, ABERDEEN Conductor - Ron Forbes "Circles" "Polymers"

INTERVAL路 20 MINUTES (Warning bells will sound 5 minutes before the end of the interval)

MusicalDirector-JimBaxter Operung Time Dick Waiter 'fracy 's 'frip Tony Russell

11. CHELMER VALLEY HIGH SCHOOL OBOEQUARTET,CHELMSFORD Oboe Quartet. K.370, Adagio and Rondo

Mozart

R . Forbes R . Forbes

9. KING EDWARD VI COLLEGE ORCHESTRA, STOURBRIDGE Conductor-John Griswold Symphony No. 6 in F (Pastoral), 1st movement

10. BURTON YOUTH BIG BAND, "MUSIC LIVE"

Carole King, arr. B. Stapleton Dominic Spera

Beethoven

10. SOUTH NOTTINGHAMSHIRE MUSIC SCHOOL ORCHESTRA Conductor - Mateolm Nabarro Symphony No. 8 in G Dvofdk "Any Dream Will Do" from Lwyd Webber Joseph and the Amazing Thchnicolor Drea mcos t Pomp & Circumstance March Elgar No. 1 - "Land of Hope and Glory"

12. FITZNELLS SCHOOL OF MUSIC ORCHESTRA, EWELL, SURREY Conductor- Vivienne Price Sowist-John Williams Concierto de Aranjuez, 2nd movement

Rodrigo

13. SOUTHAMPTON FLUTE QUARTET

'et,,.

Jour d la montagne, 2nd, 3rd and 4 th movements

Eugene Boua

14. NORTHAMPTONSHIRE COUNTY YOUTH ORCHESTRA Conductor- Mateolm Tyler Overture to "William 'fell" Rossini Pomp & Circumstance March Elgor No. 1 - "Land of Hope and Glory"

Smoking is not allowed in the auditorium The use of cameras and tape recorders is strictly forbidden

26 Front and Back Stage

Michael Collins: Guest Soloist Michael Collins was born in 1962 and began playing the clarinet at the age of ten. In 1974 he became a student at the RCM Junior Department where he studies with David Hamilton. In April 1978, he won 1st prize in the Woodwind Class of the BBC TV 'Young Musician of the Year' Competition.

He has recently returned from a recital tour of France, Germany and Holland to play at the Schools Prom.

x

Antony Hopkins, CBE: Guest Conductor Antony Hopkins' interest in the young has been amply demonstrated in many of his compositions and his work. He has been associated with the Schools Prom from the first and finds both performers and audience an inspiration. This autumn he began his 25th year of Talking About Music on Radio 3, a programme that has been sold in 44 different countries. His eighth book 'Understanding Music' is due out next spring, while his child's guide to the orchestra 'John and the Magic Music Man' has just been released on the Unicorn Label, recorded by the Philharmonia Orchestra.

Antony Hopkins wrote both words and music, tells the story and conducts the orchestra!

Humphrey Metzgen: Deputy Director Humphrey Metzgen has been the organiser of the Schools Prom since it was first launched in 1975, and has been the chief architectin helping to 'internationalise' and expand the event from one evening to its present three. He has since combined this role with his new responsibility of Deputy Director.

Within Times Newspapers Limited he is the Marketing Manager for the Times Educational Supplement, Times Literary Supplement and the Times Hig her Education Supplement. In addition he is also a Director of the National Youth Jazz Orchestra.

Derek Jewell: Director and Presenter Derek J ewell is Publishing Director of Times Newspapers Ltd. His business life there during the course of which he and his team launched the Schools Prom in 1975 - has ranged from managing newspapers, including The Times Educational Supplement to developing new ventures for the company: book-publishing, micropublishing, reader offers, records and cassettes and The Sunday Times Wine Club among them.

He has been a writer for many years, and Jazz and Popular Music Critic of The Sunday Times since 1963. His radio and TV performances include the weekly Radio 3 programme on popular music, 'Sounds Interesting', which has been running since 1972. He is a member of the BBC's Central Music Advisory Council, and Artistic Director of the Sanyo Jazz Festival which was launched at the Chichester Festival Theatre last month. His latest book, Duke, the first biography of Duke Ellington, was published last year and appeared in paperback two months ago. Among previous books were two business thrillers, Come In Number One Your Time is Up and Sellout. His journalistic experiences included five years as Deputy Editor of The Sunday Times Magazine .

Tim Rice: Presenter Tim Rice was born in 1944. His musicals (with Andrew Lloyd Webber) include Joseph and the Amazing Technicolo r Dreamcoat . Jesus Chrt:st Superstar and Euita. Books: Guiness Book of Hit Singles (co-author) and Evita (co-a uth or). He is a fanatical cricketer and enthusiastic broadcaster.

He is married to J ane, has two children and lives in Oxfordshire. Tim Rice and Andrew Lloyd Webber won three Ivor Novello Awards for Don't Cry For Me Argentina in the following categories: 1. Most performed British work 1977/78. 2. International hit of the year. 3. The best song musically and lyrically.

27 Larry Westland: Producer Larry Westland, producer of the Schools Prom, has been closely associated with youth music for many years. In addition to presenting a number of concerts involving young musicians, he is Director of the National Festival of Music for Youth, the British Marching Band Championships and the Melody Maker Rock and Folk Contest.

Rick Wakeman: Guest Musician At 16, Rick Wakeman decided to become a concert pianist, and attended the Royal Academy of Music for 18 months to study piano and clarinet and subsequently taught music.

In 1971 he joined forces with 'Yes' and stayed with this highly acclaimed band until May 1974, when he left to pursue a solo career. His album "The Six Wives of Henry VIII" met with thunderous critical and popular acclaim and in the intervening years he has produced three additional solo albums, "Journey to the Centre of the Earth", "The Myths and Legends of King Arthur and the Knights of the Round Table", and "No Earthly Connection".

In N ovem ber 1976, he rejoined 'Yes' and today, both as an integral part of 'Yes' and as a solo artist, Rick Wakeman enjoys the status of an international superstar.

John Williams: Guest Soloist John Williams was born in Melbourne, Australia in 1941 and began playing the guitar at the age of seven. In 1952 he began studying with Segovia and, on his recommendation, undertook a full musical education and entered the Accademia Musicale Chigiana in Siena where Segovia himself teaches. In England he attended the Royal College of Music studying piano and musical theory.

The superb skill and accuracy of his playing has been acclaimed throughout the world and his artistry and musicianship have built for him an incredibly wide audience of differing musical tastes.

John has become very well-known to television viewers in Britain through his many appearances in a wide variety of programmes.

Andrew Lloyd Webber: Guest Conductor Andrew Lloyd Webber was born in 1948. He is the eldest son of W. S. Lloyd Web ber who is the principal of the London College of Music. He was a Queen's Scholar at Westminster School and a history exhibitioner at Magdalen College, Oxford.

However he left Oxford in 1966 after one term to study music at the Guildhall School of Music and the Royal College of Music. His first music to be published was a piano suite of excerpts from musicals he wrote for his toy theatre which appeared when he was nine. In 1965 he met Tim Rice and he collaborated with him on a musical based on the life of Dr Barnardo. Subsequently, with Tim Rice as lyricist, he has written the music for Joseph and the Amazing Technicolor Dreamcoat (1968), Jesus Christ Superstar (1970) and Evita (1976). He composed the score to Alan Ayckboum's book and lyrics for Jeeves (1975) and the film scores for Gumshoe (1971) and The Odessa File (1974). Andrew Lloyd Webber's first solo album Variations was issued in February 1978 and was certified a gold record within five weeks of release.

28 List of Performers BARNET SCHOOLS BRASS ENSEMBLE

AYLESTONE SCHOOL RECORDER CONSORT

Music Adviser: Maxwell Pryce, BA, ARCM Musical Director and Conductor: David Honeyball Coaches: Paul Ruby, John Clark and Marcus Edwards.

Director: Patricia Dollins Age of performers ranges from 11 to 14 years

Cornets/Trumpets Principal Cornet/Trumpet Stephen Sid well Solo Comets/Trumpets Patrick Peiro Neil He.keth Piers Cornelis8on Trumpet Eb/Bb Robert Sankey Repiano Trumpet Michael Clayton 2nd Cornets David Lusardi Stephen Probert 3rd Cornets Claire Moriarty

~~Ct~~rin~L~~rlThomas

Horns French/Tenor Peter Saundera French/Tenor Tom Duckham Gary Copnall French/Tenor Adam Raff Martin Mullany

1st Baritone David Purdy 2nd Baritone Michael Sharpe

Tubas

T a nya Huehns (13)

Basses Frances Wright Caroline Booth Sussn Cleaver Chri.topher Ludwig Timpani Paul Rookwood Ages from 11-18 years

Tutti Violin's Celia Waterhouse (14) (leader) Philippa Beale (12) Rebecca Scott (11) Lucy Waterhouse (12) Kyra Humphreys (10) Violas Belinda Peake (12) Camilla Deakin (11) Cello Catherine Fell. (15)

CEREDlGION CHAMBER ORCHESTRA Co-Leaders: Heulwen Thomas and Jane Watts Conductor: Alan Wynne Jones Soloist: Helen Jones, Flute Tutors : Strings: Elaine J ames, Arwyn J ones, Peter Kingswood, Renallt Morgan; Woodwind: Sian Sansbury, Elizabeth Jacoby, Brian Sansbury; Horns: T. Noble First Violin8 Jane Watts (18) Heulwen Thomas (18) Penelope Poole (16)

~~;!~t~~~,,;;~W8)

Gillian Curwen (17) LAwri Morri. (16) Lucy Fo.ter (14) Second Violins Richard Bate. (14) Su.an John (15) Ann Griffiths (16) Mari Ffion William. (18) Mark J one. (14) Deborah Schlenther (13) Lucy Huw. (17) Thor Sinclair (14) Viola Claire Jone. (16) Kevin John (17) Sian Davie. (17) Andrew Byrt (13) Eleri Kirkman (16)

Cello.

Catrin Hall (18) Jane Curwen (14) Simon Poole (15) Sian Evan. (15) Catrin Thoma. (15) Double Basses Martin Bate. (15) Alison Edwards (17) Flute.

Helen Jone. (14) Anne Parker (15) Oboe.

Nery. Ann Jone. (16) Jane Trudgill (16) Clarinets Nicholas Foster (15) Grace Davie. (15) B88800ns

f:;;tr%~. ~~~)e. (17)

Horns Deborah Slay (18) Helen Rudeforth (14) Harpsichord Christopher Jone. (18)

St. OSW ALD'S R.C. PRIMARY SCHOOL RECORDER GROUP Conductor: John P. Mallan JiIl Mu llen (10) Fiona Domsn (1 0) Elizabeth Wak e (10) Sa.ah .rulie Falcon (11 ) Clair. Martin (ll) Paula Scat! (ll ) Clain Bren.kley (1l) Mane Mulh ollo.nd (U) Ann .. Marie Juke. (10) Carol.nn. Young (11) Nieol. Rney (10) Liea Greenwell (IO) Donns Fald... (10)

~~~~~~~ ~~~et~~ (10)

YOUNG RECORDER PLAYERS OF LONDON Conductor: Brian Davey Solo Descant: Brendan McCarthy LTCL (Aged 17) Accompanist: P eter Gill String Bass: John Rees-Jones

Euphoniums

Keith Edwards Anthony Sca nnel

L eader, director and first violin soloist: Benjamin Buckton (14) Harpsichord continuo: Sheila Nelson (Teacher)

Solo Cellos Andrew Beale (13) Robert M a x (10)

Linda Davies Clare Law80n Beverley Helme

Flu~el/Trumpet

Jes81ca Rabin Trombones J ames Vickers Ralph Peareon Neil Sidwell Amends Rowlatt Bas8 Kenneth J anes

THE CROMWELL SUNDAY NOON GROUP

Second Solo Violins Hilary Sturt (14) Colin Huehns (1 1) Third Solo Violin's Catherine Albernan (14) Richard Bratman (13) Fourth Solo Violins Paul Bradbury (13)

Helen Bemand Joanne Fitz·Gerald Sarah Farr Tina Gray

BAND I Descant Paul Dorrian (13)

X~;e': UeU;~:(19)4)

Carol Fairweather (15)

~r::!oC~~:!1 A W

Katie Pittel (11) Meris Lancaster (12) Denise Parker (13) Anna·Karin Saxena (11) Treble Gerard LAnergan (17) Francesca Hutchings (11) Te •• a Hill.on (12) Maria Roger. (I 5) Sonia Panchen (12) Ann How.e (12) Caroline Davis (12) Jane Lei~h (13) Carol Gnmes (14) Tenor I Caron Bishop (15) Anna Savino (15) Amanda Howard (13) Peter Roger. (19) Suzanne Barr (17) Tenor II J ennifer Tennant (15) Marl(Br~1 G.llagher (13)

f:~=~~tP;'E,a:e:nI6)

Hannah Scriven ef (17) Richard O'Connor (1 3)

BAND II Descant Kathleen Gallagher (11) Shaun Gallagher (10) Shirley Con way (14) Emma Jane Walker (11) Siohhan Curran (11) David Caldethank ( 11) Andrew O'Connor (11) Simon Smith (11) Caron Crompton (IS) .Joa nna Honigm a nn (9) Katherine McAIli.ter (9) Amand. Smith (11) Annabel Crook (10) Treble Grainne Sorners (11) Geraldine O'Neill (12) Sharon Ward (12)

r!~~~eR~:"SkUl~tt (12) Samantha Rivers (13)

Amenda Simmons (13)

Tenor I Luciana Solari (12) Sharon Rowe (11 ) Le.lie Guddard (11 ) Lucy ~crivener (15) Caroline Davy (12) Tenor II Mandy Reilly ( 12)

~:.Ca~:sm) (12)

Debol'8 h ~mith (13) Janet Harper (13)

WELLS CATHEDRAL SCHOOL STRING DUO Taught by: Yfrah Neaman, Mark Knight, Drew Lecher Jeremy Williams (18) Robert Salter (17)

DARLINGTON YOUTH BIG BAND Conductor: AIf Hind Trumpets David Connolly Martin Wright Sean Eland Anthony Hind Andrew Fox

Trombones

Francis Macura Paul Taylor Shaune JohnBon

b~!~C ~ri~~8

Alto Sax Philip BuTton

~~~~aaT~I~~ment

Tenor Sax Geoffery Shutt Christopher Wright

Baritone Andrew McNiff Drums Stephen Hewitt Congas Graeme Robinson Bass Stuart Davi8 Guitar Paul Dobson Piano Julie Evans French Horn Antony Whittam Tuba Steven Petty

ELMWOOD STEEL BAND Conductor: Brenda Davis Tutor: Russell Henderson Sharon Brooks Claire Gibbons

~:~d;a°\rc:8ey

David Bi.land

Neville Hall Robert Malcolm Colin Stevens Paul Townsend All 11 year. old

DWR- Y -FELIN BRASS CHOIR Trumpets Andrew Gearge (17) Scat! Pickrell (16) Dafydd Gough (15) David Stanhury (15) Kevin A,tell (15) Howard Webber (13)

Trombones John Davies (17) Philip Doddridge (17) Roger Argente (17) Nigel Hopkin. (17) Meinir Gough (16) Tuba Robert Owen (16)

29 KING EDWARD VI COLLEGE ORCHESTRA

WILLIAM RHODES SCHOOL BRASS BAND

Conducto r: John Griswold

Musical Director: David Windle Tutor: Ernest Woodhouse Ages range from 11 . 19

First Violins Ruth Lawrence (IS) (leader) Adri an Hobbs (17) Lynne Jordan (18) Kath arin e L.co ( 17) Sarab B.,ker (18) Kieran Aahworth (15) C.therl n e MalpaJl8 (17) Anthonll Bridgewater (1S) Second Violins Andrew crivr:ner (17) Peter Jon •• (16) R088lind Cyphu. (17) Ste pnen Hurton (17) Clare BuUer (7) Margaret Fomr (I6) Rachel Glbson (6) Andrew Hamson (15) Adri.n Budd (15) Gabrielle Horn< (18) Violas Valerie Hopkins (1S) Peter Thomas (l B) Rachel Farmer (IS) Michael Horton (15) Helen Cartwright (16) Cellos Georgina Wilkes (8) CI.ire Wood house (17) Richard Buck (15) Elizabeth Brown (17)

Basses Barbara B1ackham (IS) Mal colm Partridge (17)

Flutes Susan R08coe (18) Christine Sage (16) Ann Glynn (17) Oboes J ulie Tranter (17) Mandy Elcock (18) Mark Bebbington (16)

Clarinets Judith Webb (IS) Julian Selby (17) W_ndy Thoma. (1S) Christopher Hamson (IS) Paul Hawker (17) Ba8800Ds

John Sutton (17) Lesley Jeynes (1S) Nicho1as Harrieon (15) Horns lan Bailey (17) Vanes88 Owen () 8) Trumpets Gabrielle Hom e (1S) Simon Buck (16) Oliver Carpenter (17) Trombones Tracy Watson (17) Mark Anderson (15) Robin Alien (15) Percu8sion John Fenton (17) Frank Hamngton (15) Stephen BaITatt (16)

WATFORD SCHOOL OF MUSIC YOUTH ORCHESTRA Conductor: Adrian Leaper Tutors: Adrian Leaper, H ead of Strings John Fish er, Second Violins Harold Geller, Violas Patricia Cartwright, 'cellos Malka Cossack, Woodwind John Rcynolds, Brass Colin Rac, Percussion Charles Fullbrook Age of performers 12 to 19 First Violins Julian Leaper (IS) (leader) Karen Kerslake (16) Gerard Wimpenny (17)

Lyn Woodhouse (17) Roland Appel (14) lan Patient (16) Michael Sills (I7) Daniel Merson (16) Susan Dunn (16) Conone Price (15) Clair_ Ca nn (IS) Antoinette Cann (15) Robert Turner (15) Teresa Bailon (IS) Jonathan McClelland (15) Maeve Jenkinson (14) Second Violins Jane McClelland (IR) Julian Groves (19) Susan Doughty (17) Deidre Rooney (17) Jennifer Sills (15) Rich a rd White (17) Sarah Fogg (17) Paula Revell (IS) Cha rlotte Nightingale (17) Claire Pyw_1I (IS) Christine Jacks on (13) Sarah Goward (14) Suzanne Tribe (14) Aiicia Hulbert (14) Ian ·Claydon (15) Ca roJine Dryburgh ( 1;» Violas Wendy Bowler (17) Susan Appel (17) Teresa Pamplin (19) Robert Paisley (19) Stefanie Kuhn (IS) David Liffen (17) Jenny Brown (16)

David Greaves (19 ) Odilia Kirst (17) Rosema ry Avis (13) Flutes Catharine Russell (15) Wend y Rawlinson (17) Nicola Bolster (14) Timothy Marton (l4) (piccolo) Oboes Joan~ Green (18) Dunean Brown (15) (cor anglais) Louis_ Williams (17) Gail Crawford (18) Clarinet8 Derek Walker (I S) Stephen Hussey (16) Robert Durant (17) (bass) Timothy Gibson (17) Nicolette O'Neill (16) Bas800n8 Jeremy Gaggins (18) J ulian Kcrshaw (8) Katherine Fletcher (1S) Timothy Fletcher (14) Horns Clive Atkins (17) Kevin Pritchard (12) Alan Jones (IS) Eric Barnaby (14) Tim othy Rooney (14) Tim othy Swan wi ck (18)

Trumpets Micha_1 Hurford (19) Lynda Gates (15) Pel., Judg< J 16) C hri sUlI,h.r Morton (16) Mork Bmdlcy (14) Timothy B.nwel1 (15) Trombones Anita Morton (IS) Bridget Atkins (15) Mi chael Alien (16) Martin Smith (14) Chris topher Lawrence (I 6) Tuba Alan Birch (16) Timpani Pa ul Cameron (16) Percussion William Pampli n (14) Jam .. P ickrord (15) Roy Woo ll en (I :;) Moreu. H.wkin . (15) Anne Johnston (15) Cellos Louise McClelland (17) Rachel Starer (16) Paul Woodmansterne (I8 )

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Stlrah Robert. 18 T. , . Pigo!1 (14 Ma tthew Penros. (16) .Jul iAnPevne (16) Jennifer fHtsh.chman (14) DnnB M ereo n ( 12)

Joanna Finoh (14) Janel Smith ( 1'1) Double Bass Lyn~a Houghton (19) MiCh...1 p•• d (19) Sid h u·r Singh (15) Holen Ca tchpole (17)

Solo Cornets David Lefl_y Paul Fenner Martyn Swaun Linda Hed ien Da Yid Bucklow Flugal Horn Dawn Jepson Repiano Cornets Carol Lowe Caroline Bell Second Cornets Joanne Newsman Nigel Turner Beverly Bennett Third Cornets Amende Shaw Julie Bellfield Solo Horns lan Dakin Joanna Wallace First Horns Catherine MelIor Karen Hopkinson

Second Horns Adrian Nicholson

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Mark Wilcockson Tracy Marshall Baritone Christopher Siach Jonathan Hardwich Trombones Margaret Moore Rachel Buxlon Robert Feuner Eb Basses Steven Revell David Revell Anthony Power lan Elli.

Bb Ba8ses Peter Smith Patrick Power Percussion Malcolm Fedrick Jeremy Newman

PATCHWAY C.E. SCHOOL HANDBELL RINGERS Tutor: Mr. A. W, O. Hayes Treble Carole Hewitt (10) Ruth Loney (9) Nicholas Exon (9) Roger Stokes (ll)

SURREY COUNTY WIND ORCHESTRA Conductor: David Hamilton Tutors: Brass Gerry AlIitt, Steven Wassell, Bernard Curtis·Williams Woodwind Hugh Freer, Patricia Hopkins, fan Peters Percussion William Kitto.

Administrative Assistant: Jeremy Bennett Flutes Heleo Duffy (\6) Andrew Sentinella (18) Jonathan Myon (20) Lynn Peter8 (! 7) (Piccolo) Sa.... h Johnstan (16) Alison Webb (17) Jane Benfield (15) Caroline Howard (14) Yvette Bass (19) Oboes Susan Ford (17) Catherine Lyon (15) Harriett Hayes (16) JesBica Martin (15) Michael Gordon (15) Alan Garner (IS) Clarinets Michael Collins (16) (leader) Sally Doncgani (19) liel.n Alder •.on (16) Surah ScolL·M. lden (17)

~~~\~ ~i~:\''':r~Zl17)

Bridget Wilcox (13) J udy Ireland (17) Julia lnce (16) lan Lansborough (17) Ann. Wb it" (18) Sally Ann Sherwood (16) Amand. Dixon U1) Caroline Ha rdwick (17) Anne Oimmock (1 6) Somh Adorns (17) Helen Cox (! 5) Karen Daly (19) Ba8soons

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Elizabeth ffutchinson (17)

~:~loM:~i'ee(IS) Double Ba8ses lan Towson (17) Vicki Lay ton (IS)

Horns Christopher Gue.t (15) Sheila Martin (17) Mark Penny (15) Francis Pteedy (15) Richard Evans (17) Carolyn Barber (16)

~:~~;;'R~e"!r~J: (16) Joanna Hatfield (15) Trumpets/Cornets Karen Andrews (17) Paul Blowes (17) JwiY DcbM <l (171 'Phifil' Mayhew (16) Wen<l,i' Paw •.• y (15)

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Oavid White (I 6) Robert Cook (17) Lorraine Reed (13) Trombones Phillip Wright (19) Victor Gilder (16) Sara Gilding (20) Juiie Lowe (15) Clive Guy ton (I5) John Mea rs (15) Euphoniums David Stowe (16) Jeremy Ebdon (1:1) Mark Pawsey (14 ) Tubas Andrew Noble 20 Trudi Lade (16) Andrew Hibberd (161 Andrew Potterton (15) Percussion Richard Cartmale n:')) RU8sell Widdecombe I J 7, Herbert Williams n6.

Stephen Hisscock 115!

Neale Marshallll.=Jr

St. DOMINIC'S RECORDER ENSEMBLE Conductor: Marian Lee tch Descants: Marie-Th erese Lynch (IS} Geraldine Hayes (14)

~o~i:;h~::~~6~~~~ (12)

Treble8 Ann Haves (1 6 ) Angela Rodriguez (1.?1 Bernadette Crowley cJ 51

MARDEN BRIDGE MIDDLE SCHOOL Teach er: Mr. R. Chapple Elizabeth Bas. (12) Tony Dixon (12) Sophie Hall (12) Clare Ketteridge (12) Susan McGregor (12) Sand,a Reynolds (12)

30 List of Performers continued COED EVA INFANTS' SCHOOL RECORDER GROUP

SOUTHAMPTON FLUTE QUARTET

Trained by: Mrs. Colleen Fleischma nn, Mrs . Janice Spooner Mrs. Elizabeth Dewsnap

Teacher: Robin Soldan

~iCh~11~E1Ii:n8

Elizabeth Comford (17) Hazel Comber (17) Ioabelle C~ (16) Clare Cowhig (16)

Jane Freeman Helen Marshall Frances Rees Samantha Mead Helen ROBS Claire Davies lain Henderson

Matthew Bulpin Claire Rsybaud Beverley Rumens

AHeon Parker Hayley Howells Karen Oakley Elizabeth Lawrence Claire Marsh

LONG RIDINGS COUNTY JUNIOR SCHOOL ORCHESTRA Conductor: Malcolm E . Timms

FITZNELLS SCHOOL OF MUSIC ORCHESTRA Conductor: Vivienne Price Tutors: Mary Stratford, Gillian Williams First Violins Susan Ford (17) (leader) Anna Knowles (14) hior

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J:~~O&!~~~ Melodic8s

Tamsin Green 18t Descants Clare Steddon Simon Steddon Elizabeth Comben Simon Hearn

Alison Cold well Frances Speed Nancy Chatten 2nd Soprano Melodicas 8arah Lindsell Eleanor Elliott Ist Alto Melodica Annabel Platt 2nd Alto Melodica C arol Double Mandolins Tara Watts Susan Herding Corelle Mears Pen elope Edwards Guitars Nichola Edwards

Sussn Roast

2nd Descants Nicholas Sharman Eleanor ElIiott Samia Abdi Mary Easman Sussnnah Wells Geraldine Crook 1st Trebles Andrew Hearn

Helen Stevens Annabel Platt Amanda Knight Dawn Chambers Tamsin Green 2nd Trebles COTalie MeaTs

Suzanne Jollyman Tars Watts Bosede Kumuyi

§~~:~o\7a~3i~:rds 18t Tenors Michelle Handy Frances Speed

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Nichola Edwards Nancy Chatten Barbara Rieckenberg 2nd Tenors Sarah Lindsell Janet Davies Alison Cold well Caroline Wool more Anne Mowatt Mark ElIiott Bass Recorders Christine Johnson Elizabeth Harding Carolyn Woods Carol Double

t~i~ii~ili~t~y

Robert Comben Helen Block Banjo Nichola Edwards Autoharps Julia Neal Jane Colley Double Ba8s Robert Rieckenberg Mini-Glockenspiel Julie Bubbers 1st Glockenspiel Deborah Jowett 2nd Glockenspiel Su zanne Jollyman Soprano Xylophone Nicola Dyball Alto Xylophone C hristine Beazley

::::m~~oSi~~~e Bas8 Metallophone Julie Bubbers Piano Andrew Hearn Percussion Rupert Nelson Michelle Farrant Clare Steddon

BURTON YOUTH BIG BAND

Flute

(17)

Mark Street (17) Lesley Blant (16)

Tenor Sax

Tracy WilIiams (16) Christine Bassett (16) Bar. Sax. Robert Hiley (17)

Trumpets Martin Orgill (17) Gerard Garbutt (17) Phil Chatfield (17) Andrew Bendall (14 ) Julian BasBett (14) Trombones Steven Morrieon (17)

Y~h~ ~~~b.:'t~ IW

Lee Goddard (14) Duncan Harris (14) French Horn Andrew Last (16)

Tuba Adrian Lenton (17) Drums Richard Baxter (17) 2nd Percussion, Vibes Robert Wyer (15) Ba8s Guitar Antony Franklyn (16) Rhythm Guitar Steve Maguire (18) Keyboards Diane Johnstone (15) Reserves All Sues Rod Mason (18)

~';.i~l:tDawn (13) Trombone John Newman (15) Key Boards Andrew Street (19)

CHEl.MER V ALLEY HIGH SCHOOL CHELMSFORD Director of Music: Howard Dove Tutors: Oboe Michael Dobson, Violin Thomas Geradine, Viola Patricia Beckett, Cello Geoffrey Thomas Oboe Imogen Triner (17) Violin Mary-Anne Honeyball (16)

(13)

Viola Andrew Smith (16) Cello Pauline Dowse (15)

~~t~:~aH~~~!f~e (15)

Cor Anglais Susan Ford (?)

Clarinets Mark Norris (14) Tracy Slatford (13) Hugh Andrews (14) Robert Barugh (15)

Ba8800ns

Janet Lane (16) Jane Rudlin (16) Horn8 Melinda Truelove (14) Emma Palmer (12) Timothy Clackson (13) Trumpets Kenneth Lawrie (16) Robert Dyson (13) Robert Meredith (9) Trombone Katie Meredith (Il) Percu8sion Jennifer Chapman (14) Jacqueline de Bourcier (1 7)

Andrew White (12) Amanda Hart (13)

NORTHANTS COUNTY YOUTH ORCHESTRA Ages of performers from 12 - 20 First Violins Charles Jennings (Leader) Janet Bates Toni Britten Linda Cart Roger Hall

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Eileen O'Malley Teresa Peck TIm Perkins

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Caroline Stayton Clare Steward Helen Steward lan Treadgold Ruth Turner Second Violins

Musical Director: Jim Baxter.

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W4f

Caroline Su~lritt (ll) Lisanne Melchior (10) Susan Donaldson (15) JilI Gregory (16) Anthony Gibbs (13) Katherine Green (10) Sarah Bland (13) Helen Coli ins (15) Second Violins Elizabeth Nowtony (17) Judith Carpenter (14) Toni Wilson (17) Lucy Hall (13) Zoe Whitten (10) Neil Edwards (13) Ru ••ell Wallis (12) Christine John.on (ll) David Snell (14) Nicola WiltBhire (16) Joanna Hayward (15) Violas Elizabeth Smith (14) Caroline Hamson (13) SUBan Thomas (15) Ashley Drewett (10) Belen Domingo (11) Cellos Katherine Osborn (15) Yivienne Hogg (14) Achim Azeez (10) Sarah Fisher (14) Nell Wiltshire (11) Abigail Rimmer (12)

Double Basses Stuart Jamieson (10) John Mears (15) Flutes Carole Bull (15) Melanie Page (15) Piccolo Felicity Carpenter O:J) Oboes Catherine Christmas (14)

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Louis8 Bharali Tiffany Brown J udith Crisp Maria Dunne Rachel ElIingham Robert For.yth Paul Humphrey SUBan Jelley Alieon O'Connor Lorinda Peasland John Richards Margaret Smith Charles Turner Sarah Wilkinaon Marc Wood Lynne Wooding

Violas Jane Alien (Principal) Cathy Bowker Julie Brown Nigel Cliffe Jenny Glaniater Richard Malthouse Sarah Nurser Denise Peas land Ross Watson Cellos Deirdre Summerlin (Principal) Philip Bell Jane Budd Robin Clarke

~~:~~ ~~~~{lan

Martin Palmer Joanne Pinnock Sussn Rhodes Mark Stirland Michael Sturgess Philip Westlake

Double Basses Lee Wong (Principal) Clive Beasley David Bellham Stephen Chapman James Dean Flutes Helen Townsend Peter Jones Piccolo Susan Bowen Oboes Mandy Clare Sarah Dangerfield J ames Thomas Cor Anglais Graham Williams Clarinets Zen a Clarke N eville Smith Neil Warren Bassoons David Chapman Alison Townsend Horns Kay Johnson Andrew Fletcher

~~~t~~~~n Trumpets Steven Lee Mark Higham Trombones Andrew Berryman Alexander Crutchley Colin Hart Malcolm Wood Percussion

~~~~e:wCC~~~~

Richard Coles Stuart Davis

31 CROYDON SCHOOLS' CENTRE FOR WIND PLAYERS 1st ORCHESTRA

SURREY WIND QUINTET

Director of Music: David Kendall Tutors: Woodwind David Pugh, Helen ~taple~n, Richard Walthew Brass Colin Craft, Wesley Warren, DaVld Wh,tson Percussion Peter Thorpe General Musicianship f'rances Bird

Flute Andrew Sentinella (18) Oboe Alan Garner (18)

Ba88 Clarinet

Piccolo

Richard Bradley Sally Manders Alto SaI Roger Davison Rosalind Bateman Trumpet Peter Bond Sharon Davies Matthew Dunkley

Siobhan Lamb Flute Elizabeth May Clare Brennan Alice DalloBBo

r~~:!OO~S~I~:~~nd

Erica Scatt, Stacey Thomson

Oboe Lesley Mitcham Christine Fidler Malcolm McCulloch

ft:ti~fI:~R:onnden David Mowll Dennis Slater

Bas800n

Horn

Mark Humphreys Robert Turner Paul Atkinson Solo Clarinet Graham Elliott 1st Clarinet Christopher Cartwright

Simon Taylor Andrew Pearce Vanessa Price Philip Gunstone Trombone Gary Davies Nasser Pervez Colin Perryman

~~~~~ak~ld8worth

Euphonium

Da Yid Seymour 2nd Clarinet Jean Cockbum Richard Groves David May Roger Treweek Mary Weller 3rd Clarinet Lucy Blows SU8sn Kelly

lan Brown Gary Bevan Tuba Sanjay Patel Miles Stanyard Percussion Matthew Hackett Allan Curtis Andrew Davison Grahame King Trevor MiHer

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Beverly Patterson Dawn Stollery

Michael Turtle Mark Christoper Age of performers ranges from 12 to 19

NEW ATLANTIS JAZZ BAND (FRANCIS BACON SCHOOL)

Hilary Waterworth (17) Maria Weekes (15)

Tenor Saxophone Jonathan Cooper (13)

'ftik:'8~:sta (18) Chris Wagg (18)

Trombone

Bob Staten (18) Piano Stewart Pepper (18)

Bass

Stephanie Brodrick (17)

Drums

Bill Johnson (18)

SOUTH NOTTINGHAMSHIRE MUSIC SCHOOL ORCHESTRA Conductor: Malcolm Nabarro Violin 1 Harry Saunders (leader) Steven Smith Sarah West Celia Barstow

~:~d~aSW!1k~r

Katharine Ellis Shirley Dawson Philip Ellis J ane Overton Claire Camell Janet Gudgeon Violin 2 Rachel Welpton (Principal) Alison Carver Paul Carruthers Miriam Martin Trevor Lee Claire Ewing Teresa Lewandowska Nancy Lewis Christol'her Bucknall Jacquehne Pate Tereflce Need Anne Pilkington Neil Sharpe Dawn Simms Viola Rosemary Collinson (Principal) Linda Frearson Sarah Barratt Paul Goodrnan Chnstopher Antcliff Miriarn Todorovic Charlote Grimley

Celli Catherine Partington (Principal) Susan Forster Slmon McKeatlng Ko,tbryn Moon

~~o:il';;dk

Anthony Robinson Neil Barton Robert Grimley

Helen Alder_on (16)

Double Bass Joanne Russell·Smith (Principal) Lindsy Tomlinson Mary-Ann Richards Flutes

~'::i"l:~:

Keron McDonald Oboes Sandra Hall Vicky Trotman

Clarinets

Christopher Horril Suzanne Hall Kevin Hall

Bassoons Lizbeth Elliot Michael Allton Mark Price Horns Sarn Paechter Robert Maniura Simon Burley Andrew Gibbs Katherine McKeating Perry Wood Trumpets Sarah Cliff Robert Calderbank Marc Brearley

Trombones

Darren Webster John Aram Kevin Harvey Tuba Adrian Norman

Tymps and Percussion Graham Hall

~i~~a~rDS:ran

Nichola. Holland

Andrew McConachie (18)

Bassoon

Christopher Card (17) Manager: Tony Rydet

CULTS MUSIC CENTRE PERCUSSION ENSEMBLE Conductor and Coach: Ron Forbes

~~i\,e~~~s(i

W)

Rhoda Beddie (17) Carol Coutts (17) Jennifer McKay (15)

GREATER TWIN CITIES' YOUTH SYMPHONIES Music Director: Dr. William L. Jones Violin Ann Bauer (17) Sarah Chambers (15) Lesli Chinnock (17) James Chlebecek (14) Matthew Faust (17) Ruth Hoff (15) Alice Holland (15) Rena Isbin (14) Sandra Lason (17) Jean Macheledt (18) Anders McCarthy (13) Diane McGinni_ (18) Mary Mellgren (16) David Moke (15) Rebecca Nelson (18) Deborah Nelson (18) Margaret Nelson (17) Vincent Netz (18) Kari Newquist (15) S tn"",\' N.wBLrum (ID)

~Ih~:~nNO;;:~'IW) (16)

Ann Ovorland (15) Ann. Marie PCl"1I.o n (16) Anila Poltan~ 08) B!l~rbar. R"il.back (17) Andr.a. Re .... (14) Shopi", (13) Lie.le Sieb"" (17) ' SharDn Smith (17) Valen. Soine (18) Pomel. Storn ..d (17) K"tbleen Thornson (17) Viola Cindy Adamson (17) Deborah Bloom (16) Charles Clay (17) Mary Cullen (17) Sabina Hashmi (15) Allyson Morgan (17) Terry Niesen (17) Cyn thia Ryan (17) Su•• " Saliny (17) Mnry Seabloom (18) Ann Serreyn (16) SUBIlDne Stellmac.h (?)

Cello Thomas Cound .(17) Eric Dahlin (17) Mary Beth Davi. (17) Kalbl",," M"Tovi.h (16) Kevin Miller (18) Mary MucU .. (16) Barbara Nel ••" (16) Eric Slos_.r (17) Eric Sodersi;rom (17) Mary Wornu (16)

Ann

Tutor: John Knott Clarinets

Clarinet

Horn

Bass Laura Campbell (17) Mark Carlson (16) Jeffrey Grothe (17) Paul Macheledt (16) Maura Richard_on (17) Maribeth Robb (18) Flute Lisa Becker (16) Sylvia Davis (17) Patrick DilIery (16) Joy Kairies (17) J essica Lewis (17) Oboe Suzanne Green (17) Beverly Larson (18) Suzanne Tearse (17) Holly Swaning_on (18) Clarinet Lisa Davis (17) Thomas Erickson (17) John Hunter (16) Gwen Kinnamon (18) Kennelh Koch (18)

Bassoon !;luBon Bloom (16) Marjone Purdie (17) Mar,'! R"wling. (16) Wilh.m Wood (171

Horn Jane Eide1l6) Jan Golden (17) Alisa. Nelson (16) I;laniel Nortwen (16 ) Andrew Ps.<1ui (I?) Maria Scribner (15) Trumpet Mark Farlcy (14 ) Timothy MDke (17) Shanlel NelBon (16) Stephen Pel1body (17) Trombone Charles Betz (16) Johannes Pfannkuch (17) Henry Charles Smith (17) Todd Weinman (16) Tuba Richard Yeager (17)

Percussion

Cynthia Leaf (16) Veronica Pauison (17) Carole Saboe (17) Brett Smith

Harp Sunita Slaneslow (16)

DONCASTER YOUTH JAZZ ORCHESTRA Musical Director: John S. M. Ellis Project Director: Keith Jowett Sound Engineer: Dave Haythorn Assistant Musical Director: Philip Gibbons Staff: Kay Hartley Trump:eta David Sturdy (Orchestra Leader) Martin Bradley Russell Cooke

~~~r IfdO!i:~ds

David Grace David Lee Mark White Trombones Christopher Fidler Peter Beachill Brian MOrTell Andrew Gurnhill Derek McCrystal . B.Trom .

Christopher CaIder . Tuba French Horns Keith Alderson Karen Morris

Reeds

~:li~dcra~~~i~~it~l\?enor

Jonty Stockdale . Tenor Soprano Steven Gibbons· Tenor Carl Collins - Bari.

Karen Huntington - FIt Rona Gilchrist - Fit Rhythm And ..- Vinler ' Pno F.1~·lnc Pno John Campbell - Guitar Glenn Muscroft Bass Bass Guitar And\" Barron . Drums I?a\ id ~ettleton - Timpani Perc

Age of Performers ranges from eiel'en to eIghteen .\ears

We care about the things you care about Commercial Union St. Helen's, 1Undershaft, London EC3P 3DQ

RICK WAKEMAN'S CRIMINAL RECORD Stglue of Ju,tice Crime Of Ponion Chamber Of Horron • 8irdmon Of AlcolrOt • The Breotholyser ' Juda~ I,eariot AMLK 'CKM 64660

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Congratulations and best wishes to all those taking part in the Schools Prom .â&#x20AC;˘â&#x20AC;˘ from the Musicians' Union The Musicians' Union welcomes the upsurge of interest in music making of all kinds by young people. Professional musicians play a large part as teachers, in helping to develop the skills of young performers, and a large and well-informed body of amateur music makers is one of the surest guarantees of audiences for the work of the professional musician as a performer.

The world of music today is beset with many problems but we know from past experience that they will not deter many of tonight's participants from entering into a professional career. When they do so we are ready to welcome them into our ran ks and to assure them that the Musicians' Union will continue to fight as hard as it has done in the past to maintain and expand the employment opportunities available, in order that their exceptional talents will not be wasted.

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synonymous with quality.

Amodern fleet of coaches of all sizes to meet every need.

Armchair Passenger Transport Co. Ltd., Brent Way, Brentford, Middlesex. TW8 8ES. Telephone: 01-568 8227/3282 Telex: 885204 Suppliers of coaches to Greater Twin Cities' Youth Symphonies during their London visit.

In tune with Teachers every week

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Flute Lesson: drawn by Peter Logan

IBM United Kingdom Limited

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Please register me to receive The TImes at half price. I will order it from my newsagent,pay for it at the full price,and from time to time send you my receipt bills (for any period up to one year) to claim the rebate to which I am entitled.

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L __________________________ ~a~I~~F~e~7~ Please send the above form to: The Subscription Manager,TheTlmes Student Scheme,TheTlmes,l'.O. Box 7,New Printing House Square, Gray's Inn Road,London WCIX 8EL.

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The Greater Twin Cities ' Youth Symphonies wishes to thank the Metropolitan Arts Council, the Minneapolis Chamber of Commerce, the St P a ul Chamber of Commerce and the many companies and individuals of the twin cities whose financial support helped to make their appear ance at this year's Schools Prom possible.

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OCCi~~,'dental Internation aI O· , I Ine

Allied C of Brrtarn IncorpOrated hemlcalS(Great Britain) Ltd.

6:~mson North Sea Ltd.

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Selective Market Place~ _ _---~~

Ltd Thornson Publications .

MUSiCians' Union

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RANKS B~_' (O~V~IS~M:~:=~____----~~~l

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AUSTIN ft/EISD On behalf of the young musicians, the &hools Prom thanks the above companies and associations for their generous donations and guidance in helping to make possible this year's concerts.

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