SIR HuBERT PARRY Centenary CelebrationS 5pm | Sunday 28 October 2018 with performances from eton College Chapel Choirs and twyford School Senior Choir
Royal College of Music, London
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Sir Hubert Parry: Centenary Celebrations Richard Farnes, David Hall, Tim Johnson and Mark Messenger conductors David Goode organ Nicholas Salwey piano RCM String Band
Eton College Chapel Choirs Twyford School Senior Choir Charlotte Bowden, Laura Hocking, Judith le Breuilly, Ted Black and Hugo Herman-Wilson RCM soloists John-Luke Addison score and part preparer
Programme Parry I was glad
Eton and Twyford Choirs, Richard Farnes, David Goode, RCM String Band
Introduction
Professor Jeremy Dibble
Parry Long since in Egypt’s plenteous land from Judith
Twyford School Senior Choir, David Hall, RCM String Band
Parry He delivered the Poor from Hear my words, ye people
Twyford School Senior Choir, David Hall, Nicholas Salwey
Parry The Owl
Twyford School Senior Choir, David Hall, Nicholas Salwey
Parry The wind has such a rainy sound
Twyford School Senior Choir, David Hall, Nicholas Salwey
Parry Sorrow and Song
Twyford School Senior Choir, David Hall, Nicholas Salwey
Parry You’ll Get There from 3 Unison Songs
Twyford School Senior Choir, David Hall, Nicholas Salwey
Parry Ode to Music
Eton and Twyford Choirs, RCM soloists, Richard Farnes, David Goode, RCM String Band
Interval [20 mins] Parry My soul, there is a country
Eton College Chapel Choirs, Tim Johnson
Stanford Beati quorum via
Eton College Chapel Choirs, Tim Johnson
Stanford For lo, I raise up
Eton College Chapel Choirs, Tim Johnson, David Goode
Parry ‘Lady Radnor’ Suite
RCM String Band, Mark Messenger
Parry Blest Pair of Sirens
Eton and Twyford Choirs, Richard Farnes, David Goode, RCM String Band
Parry Jerusalem
Eton and Twyford Choirs (including audience), Richard Farnes, RCM String Band
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SIR Hubert Parry: from schoolboy to composer laureate Professor Jeremy Dibble is an expert on 19th and 20th-century British music and the author of C. Hubert H Parry: his life and Music. Below, he charts the extraordinary transition of Parry, from his formative years at Twyford, Eton and Oxford, to his knighthood and eventual evolution into England’s unofficial ‘composer lauereate’. Scoring a success with Judith Stanford’s Latin introit, Beati quorum via, written for the choir of Trinity College, Cambridge, dates from 1888, the same year as Parry scored a success with his first oratorio Judith at the Birmingham Triennial Festival under the direction of the great Austrian conductor, Hans Richter. Although Judith is less well known today, Meshullemeth’s ballad Long since in Egypt’s plenteous land has remained popular, largely through its posthumous use as the tune for Dear Lord and Father of Mankind. England’s ‘composer laureate’ and the new RCM Director
Parry (right) and his close friend Anselm Guise (left) in 1860. Photo courtesy of Twyford School archives
Parry has left an indelible mark on the musical life of this country. The culture of Anglican church music and the tradition of the choral festival were influences from his days as a schoolboy at Twyford and Eton, as well as the important formative years at Oxford. During the 1870s, when he was taking piano lessons from his mentor, Edward Dannreuther, he learned to love the choral music of Bach. Dannreuther also taught him to admire the music of Schumann, Brahms and Wagner. It was from Dannreuther, too, that Parry obtained tickets to see the second cycle of The Ring at Bayreuth in 1876, and both of them heard Parsifal when it was performed for the first time at Bayreuth in 1882. Blest Pair of Sirens and a peculiary ‘English’ voice It was this particular alchemy of English cathedral music, Bach and 19th-century German modernism that informed Parry’s peculiarly ‘English’ voice and which came to fruition in Blest Pair of Sirens. Parry wrote the choral work in his 39th year, and it was first performed in London by the Bach Choir under the baton of his friend and colleague, Charles Villiers Stanford on 17 May 1887. Blest Pair of Sirens undoubtedly consolidated Parry’s reputation as one of this country’s leading composers, a reputation he shared incidentally with Stanford who was also enjoying national renown for his ‘Irish’ Symphony (1887) and for his church music.
During the 1890s Parry became a figure of national prominence, arguably this country’s unofficial composer laureate. Having been appointed Professor of Musical History at the Royal College of Music in 1883, he was elected unanimously to succeed Sir George Grove as Director and assumed the post in 1895. That year he directed his substantial verse anthem Hear my words, ye people for the Diocesan Festival in Salisbury Cathedral from which the verse ‘He delivered the poor’ is taken. He also brought before the public his enchanting neo-Baroque work for string orchestra, the ‘Lady Radnor’ Suite, written for the 72 instruments of an amateur ladies’ string orchestra conducted by Helen Pleydell-Bouverie, Countess of Radnor, and first performed at the St James’s Hall on 29 June 1894. Parry pictured aboard his yacht. Anonymous, taken ‘off Sark’, c 1900. Photo courtesy of RCM collections
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School songs and suffrage As an individual deeply committed to music and its educational benefits, Parry happily contributed to the burgeoning demand by publishers for school songs. The Owl (Tennyson) and Sorrow and Song (Hedderwick) were written for the Year Book Press in 1909, and The wind has such a rainy sound was one of Three Songs for Kookoorookoo (Christina Rossetti) published in 1916.
Drawing of Parry by Sidney Kent, courtesy of RCM collections
On the other hand, You’ll Get There, from 3 Unison Songs of 1913, was written for his friend, Millicent Garrett Fawcett, leader of the National Union of Women’s Suffrage Societies, as part of her campaign to grant women the vote. After its original purpose as a morale-boosting song for the Fight for Right movement in 1916, the choral song Jerusalem became the women-voters’ hymn when it was sung for a suffrage demonstration concert in 1918. As a passionate supporter of Fawcett’s cause, Parry rejoiced at the association.
A knighthood and a coronation anthem Parry was knighted for his services to British music in 1898. In the year of Queen Victoria’s death in 1901, he produced the Ode to Music to mark the opening of the new concert hall at the RCM and the inauguration of the new organ, which he had purchased as a personal gift to the College. It was performed twice at the College on 13 June and 23 July, to much acclaim. The text of the ode was provided by Arthur Benson, the distinguished essayist, poet, author and housemaster at Eton who would later become famous for his words for Elgar’s Coronation Ode, notably ‘Land of Hope and Glory’ which, at the bidding of Edward VII, was set to the trio of the first Pomp and Circumstance march (1901). The following year, Parry produced one of his greatest pieces of choral architecture, the coronation anthem I was glad, an experimental piece of choreography in the form of a march and trio. It surely remains, with Handel’s Zadok the Priest, one of the greatest ceremonial works of all time.
‘One of his greatest pieces of choral architecture, the coronation anthem I was glad, was an experimental piece of choreography in the form of a march and trio. It surely remains ... one of the greatest ceremonial works of all time.’
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The 1902 manuscript of I was glad, from the RCM collections
Songs of Farewell The motet My soul, there is a country, a setting of Henry Vaughan’s metaphysical poem Peace, was completed in 1914 and eventually became the first of Parry’s cycle of six motets, the Songs of Farewell, all of which were published by 1918. Parry, who died on 7 October 1918 from septicemia and the effects of the Spanish flu, did not live to hear all of them sung together. Stanford, whose war anthem, For lo, I raise up, dates from 1915, outlived Parry by another six years. By Professor Jeremy Dibble PhD, MA
a true polymath: parry as composer, director and teacher While Parry’s contribution as a composer is now widely recognised, RCM Director Professor Colin Lawson CBE honours the equally significant contribution he made as a teacher and director. In his centenary year the variegated legacy of Sir Hubert Parry continues to resonate within the walls of the Royal College of Music. His pupil Herbert Howells regarded him as the greatest man he ever knew, yet wisely observed that ‘for historians Parry may still be an unresolved problem’.
great personal generosity both to the RCM as an institution and to a number of its members, notably Howells. The critic Robin Legge went so far as to remark that ‘maybe he was potentially a greater man than musician’.
Much of Parry’s music has never made the sort of impact on the general public achieved by Elgar or by Royal College of Music composers Vaughan Williams, Holst, Britten and Tippett. Even Parry’s most ardent advocates would have to admit that to many his music lacks the vitality or quality of invention characteristic of these younger composers. Yet his finest works -- the Songs of Farewell, the Fourth and Fifth Symphonies, the Symphonic Variations and the grand choral anthems such as I was glad and Blest Pair of Sirens -- demonstrate a vivid and original compositional voice, which often has the widest of appeals.
‘Parry exuded a sense that music had a high moral purpose ... his history lectures were seen as significant events.’
Parry was still an underwriter at Lloyds when he was taken up as a musical scholar by George Grove, first as his assistant editor for the new Dictionary of Music and Musicians. His subsequent appointment as Professor of Musical History at the RCM coincided with creative successes in the 1880s that led Stanford to describe him as the greatest English composer since Purcell, and he soon also became a prolific, forward-thinking writer on music. When Grove retired as Director of the RCM, Parry succeeded him at the beginning of 1895 and held the post until his death. Whereas Grove’s many achievements had earned him a place amongst the upper echelons of Victorian professional life, Parry was born into it. He must have seemed an ideal appointment as a musician of high social status acknowledged to be in the forefront of contemporary British compositional achievement. Some critics (notably the composer Harold Darke) argued that his artistic potential was stifled by the Directorship. Furthermore, as something of an idealist, Parry inevitably found some duties somewhat mundane. On the other hand, he thrived on a heavy workload. As Director, he came to represent a new-found confidence in English composition and education, while enhancing the RCM’s standing as a dominant national institution. His extraordinary charisma engendered immense loyalty and esteem; he showed
Parry exuded a sense that music had a high moral purpose, which greatly influenced the College atmosphere; he was much admired for his learning and his history lectures were seen as significant events. Influenced by his teacher Dannreuther’s interest in chronologically distant music, he effectively staged ‘early music concerts’ during his lectures, requiring students (for example) to sing Thibaut de Champagne and to play extracts of Lully. Though he believed passionately in holistic education, Parry seems to have been less socially flexible in his relations with musicians outside the drawing room culture of his own sphere, such as rank and file orchestral players. He was indeed fortunate that, during his Directorship, Stanford took charge of the orchestral and operatic programmes, to great effect. International and cosmopolitan in outlook, Parry held German music and its traditions to be the pinnacle of music. He was certain that Britain and Germany would never go to war against each other, and was in despair when WW1 broke out, delivering an especially moving Director’s address in 1914. A true polymath – and described by his daughter as ‘a radical, with a very strong bias against conservatism’ – Parry deserves to be known by the general public for far more than the setting of Jerusalem. Only two years after it was composed he contracted Spanish flu during the global pandemic and passed away on 7 October 1918 aged 70. Parry remains the only one of the RCM’s ten Directors to have died in office.
By Professor Colin Lawson CBE, FRCM
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featured musicians Eton College Chapel Choirs
© Gillman and Sloame
The foundation of Eton College in 1440 by King Henry VI provided 10 men and 16 boys to sing chapel services and, with a few breaks, the choir has been singing in Eton College Chapel from then until the present day. Although singing for services in the College Chapel remains the choir’s principal duty, increasingly the choir can be heard further afield. Each year the choir embarks on an international tour, with recent destinations including China, Japan, India, Germany and Latvia. The choir performs regularly in the UK
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and has recently performed with the Philharmonia Orchestra, Fretwork, the Academy of Ancient Music and The Sixteen. In March 2019 the choir will travel to Hong Kong for two performances of Bernstein’s Chichester Psalms with the Hong Kong Philharmonic under Leonard Slatkin. Today, the choir are joined by members of Eton’s Lower Chapel Choir. This choir involves boys in lower year groups with changed voices, with the soprano and alto parts provided by local professional singers.
Eton College Chapel Choir
Eton Lower Chapel Choir
Armaan Banerjee
James McLean
Elinor Bishop
Chenyang Li
Adam Banwell
Alexander Meyrick
Roland Bourne
Henry Liu
Luke Barron
James Midgley
William Briggs
Henry Ludlam
Thomas Barry
Sam Napier-Smith
Marco Bulat
Tom Manners
Tristan Betts
Orlando Oliver
John Chang
Christian Naydenov
Edward Boileau
Marc Pagani
Ebube Chiana
Freddie Newland
Henry Butlin
Roland Peel
Sam Chichester-Clark
Ernest Newland
Louis Capstick
Theo Peters
Julius Chu
Cenk Oguz
Connor Carnathan
Binath Philomin
Ben Cole
Joe Roger Blair
Alexander Coley
Tom Pickard
Isobel Collyer
Parth Shahir
Rudyard Cook
Samuel Reason
Tom Daniel
Eleanor Sharpe
Isaac Cowley
Max Reddy
Cosmo de Bono
Harry Sinclair
Wilkinson Dent
Thomas Roberts
Will Dewhurst
Freddie Small
Arran Fearn
Adrien Rolet
Michael Doyle
Luca Stevens
Alexander Finlayson- Brown
Hugo Shilson
Chrissie Eastwood
James Tcheng
Alexander Smith
Harry Edey
Arthur Tollit
Albert Soriano
John Gallant
Alexander Tomkinson
Joshua Taylor
Felix Gibbons
Toby Trusted
Fergus Trower
Taran Glazebrook
George Vyvyan
George Vines
Isobel Hammond
Angus Wolrige Gordon
Finn Whiteley
Wilf Hardwick
Ethan Wong
Mugamba Wilkins
Theo Harper
Zhenglong Wu
Robert Winter
Edward Hilditch
Tingshuo Yang
Thomas Hilditch
Lucas Zhang
Nicholas Hill
Rick Zhou
Penny Homer
George zu Wied
Jack Finnis James Francis Toby Galbraith William Harris Benedict Harvey William Hobbs Thomas John Vimal Kamath Sanuda Kariyawasam Tom Law Ian Leung Leo Lim Timothy Manley Lucas Mathews Andrew Maynard
Seongho Hong Rufus Hornyold-Strickland Teo Hughes Monty Jones Hin Tak Law
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Richard Farnes
David Goode
Richard Farnes read music at King’s College, Cambridge and went on to study at the National Opera Studio, Royal Academy of Music and Guildhall School of Music. On completion of his studies he gained valuable experience working on the music staff of the Glyndebourne Festival, Scottish Opera and Opera Factory and he won the 1990 British Reserve Insurance Competition for Young Conductors.
David Goode is organist at Eton College and combines this post with a flourishing performance career. David was sub-organist at Christ Church, Oxford from 1996–2001 and won major prizes at the 1997 St Alban’s and 1998 Calgary competitions. From 2003–5 he was organist-in-residence at First Congregational Church of Los Angeles.
Richard was Music Director of Opera North from 2004–16 and during his time with the company he launched the ambitious Ring project, performing Wagner’s classic across the UK from 2011–2016. The project won the 2017 Royal Philharmonic Society Opera and Music Theatre award, and Richard was named Conductor of the Year. Richard has also worked with Scottish Opera, Glyndebourne Festival, the Royal Opera House, English National Opera, New Israeli Opera, English Touring Opera and Birmingham Opera Company. Concert engagements have included the City of Birmingham Symphony Orchestra, BBC Philharmonic, BBC Scottish Symphony, Russian National Orchestra, Royal Northern Sinfonia and RTÉ National Symphony Orchestra.
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David has been a regular presence at the BBC Proms since 1999 and made his Royal Festival Hall and Symphony Hall debuts in 2002, and performed in the gala re-opening concert of the Royal Festival Hall organ in 2014. He has appeared with several of the UK’s top orchestras and also has an established partnership with trumpeter Alison Balsom. His recording of Bach’s complete works for Signum Records is now being gradually released. David is also known for his Reger recordings, and has now released seven CDs. He was on the jury for the 2017 St Alban’s competition, and plays at the 2019 International Organ Festival of Caen.
David Hall
Tim Johnson
David Hall MA (Cantab) FRCO is a versatile musician who is equally at home playing cathedral evensong, running a children’s choir or directing a big band. David studied the organ with Anne Marsden Thomas at the Royal Academy of Music and was then appointed organ scholar at Corpus Christi College, Cambridge. In 1999, he joined the music staff at Chelmsford Cathedral and then became Assistant Director of Music at Felsted School in Essex.
Tim Johnson is Precentor and Director of Music at Eton College, where he directs the College Chapel Choir and College Symphony Orchestra and manages the 90-strong music team.
David is now the Director of Music at Twyford School. Under his leadership, the children at Twyford have taken part in seven critically acclaimed operas at Grange Park and have recorded two CDs. At Twyford, David directs and composes for the Senior Choir, Junior Choir, Orchestra, Jazz Band and various chamber music groups. David has spent many thousands of hours at the piano accompanying soloists and choirs. He has accompanied and conducted the National Children’s Choir of Great Britain as well as several choral societies and his own chamber choir, Viva Voces. David is the Musical Director of Finchcocks Piano Courses.
Choral highlights of Tim’s first six years have included two CD recordings; a performance of Bach’s St John Passion with the Academy of Ancient Music; international choir tours; and a performance of Mahler’s Symphony no 8 in the Royal Festival Hall with the Philharmonia under Lorin Maazel. Tim has directed the choir on two episodes of BBC’s Songs of Praise and recorded a number of performances for BBC’s Music and Monarchy. During his time at Eton, Tim has also developed and enhanced the reputation of orchestral music, establishing regular international tours which have taken the orchestra to venues such as the Rudolfinum in Prague and the Kursaal in San Sebastian. Tim was previously Director of Music at Westminster School, where he regularly directed the choirs and orchestra in venues such as Westminster Abbey and the Barbican. Recent freelance conducting engagements have included a performance of Beethoven’s Symphony no 9 with the Royal Philharmonic Orchestra.
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Mark Messenger
RCM Singers Ted Black (tenor) Ted Black is the Douglas and Hilda Simmonds Scholar, supported by the Mason Scholarship. He was awarded the Governors’ Recital Prizes for both singing and chamber music and his extensive concert work has included Bernstein’s Chichester Psalms at the Edinburgh International Festival, with Marin Alsop and the São Paulo Symphony Orchestra.
Charlotte Bowden (soprano)
Mark Messenger’s fascination with sound has grown from a total immersion in Italian opera when he was an infant and has been realised variously through his career as a string quartet player, recitalist, soloist, conductor and teacher. His love of music and the human connection it offers has brought him into contact with some remarkable musicians. Mark has had the honour to work with some of the world’s greatest artists, including Lord Yehudi Menuhin, Ivy Gitlis, Maxim Vengerov, Bernard Greenhouse, Natalie Clein, Raphael Wallfisch, Thomas Carroll, Yonty Solomon, Howard Shelley, John Lill, Dame Thea King, Michael Collins, Chris Garrick and Sir John Dankworth. Teaching and sharing knowledge as a conductor and a teacher has become a consuming passion. This coming year sees concert appearances in the Middle East, China, New Zealand, Chile, Dominican Republic and throughout Europe. As well as his current post of Head of Strings at the Royal College of Music, Mark is consultant for the Norwegian Academy in Oslo and visiting professor in conservatoires in Italy and Spain.
Charlotte Bowden is the Linda Beeley Scholar, a Help Musicians UK Ian Fleming Award holder and a Britten-Pears Young Artist who is also supported by the Josephine Baker Trust. Charlotte has been a regular soloist in the Royal Academy of Music/Kohn Foundation Bach Cantata Series and was awarded First Prize in the Marjorie Thomas Art of Song Prize.
Judith Le Breuilly (alto) Judith Le Breuilly graduated from the Royal Conservatoire of Scotland this summer, where she was awared first place in the Govenors’ Recital Prize. She is now a Helen Marjorie Tonks Scholar at the RCM studying with Dinah Harris. Previous performances have included Mother Goose and The Rake’s Progress (BYO) and The Fiery Angel (Scottish Opera).
Hugo Herman-Wilson (baritone) British baritone Hugo Herman-Wilson read Theology at the University of Cambridge where he held a choral scholarship at King’s College. He is currently supported by the Aldama Scholarship at the RCM, where he studies with Dinah Harris, generously supported by the Josephine Baker Trust and the Help Musicians UK Maidment Award.
Laura Hocking (soprano) Laura Hocking is supported by the Helen Marjorie Tonks Award, the Mario Lanza Educational Foundation and a Countess of Munster Award. Laura’s recent concert work has included Bach’s St John Passion, Mozart’s Requiem and Sousa’s Non-Commital Declarations, which was recorded for Naxos. Operatic experience includes the title role in Dido and Aeneas (Hurn Court Opera) and Amastre in Cavalli’s Xerse (Ensemble Orquesta).
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RCM String Band
RCM Orchestra Violin I
Oboe
Elif Cansever
Russell Coates
Lena Segal
Robert Schina
Polina Makhina Birgit Born Zea Hunt Sofia Gomez Alberto Chenmei Jiang Hanna Thiesen Hana Mundiya
Violin II The core of the Royal College of Music String Band comprises new undergraduate bowed string players, bringing together the most talented students from a wide variety of backgrounds. Within this, the ethos of chamber musicianship and of being a soloist within an ensemble is explored. Rehearsal periods are short and intense, standards and expectations are high and individual responsibility is a key component. Since its creation, the RCM String Band has been much in demand and now has a busy concert schedule. The String Band is invited annually to perform at the Worshipful Company of Musicians’ evensong at St Paul’s Cathedral.
Nicholas Salwey
Vera Beumer Eliza Nagle Thibaut Pesnel Natasha Humphries Melody Lau Daniela Guillen Garcia Ariane Plantive Elvina Auh
Viola Helena Bartlett Otoha Tabata Susie Choi Toby Warr Jesse Francis
Nicholas Salwey graduated from Oxford University in 1990 with a First Class degree in Music, and also has performance diplomas from the Royal College of Music and the Guildhall School of Music. After completing a Masters in Politics and working at the European Commission in Brussels, he soon returned to music, teaching at Eton, Winchester College and Oxford. He completed his doctorate in 2001and has published articles for academic journals in the UK and Austria; performed on BBC Radio 3, Classic FM, ITV and Channel 4; and written reviews for various publications. In 2002 he joined the staff at Winchester College, where he is Deputy Master of Music and Head of Piano.
Clarinet Sarah Brienza Josh Pyman
Bassoon Ashby Mayes Julia Flint Amy Thompson (contrabassoon)
Horn Joel Ashford Ollie De Carteret Emma Edwards Leo Glenister Beatriz Vila
Trumpet Amy Ronson Mia Plummer Greg Rose Edward Sykes Gong Chen Lucas Makinen
Anastasia Sofina
Trombone
Cello
David Griffiths
Max Calver Anna Crawford Eun Kim
Gemma Riley Thomas Williams (bass trombone)
Izabela Stefanska
Tuba
Leland Ko
Barnaby Slade
Bass
Timpani
Ketan Curtis
Andre Soares Camacho
Phoebe Clarke
Harp
Frances Emery
Flute
Henriette Poos
Nika Pinter
Personnel correct at the time of going to print.
Isabelle Ashton
Italics denote section principals.
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Twyford School Senior Choir
The Twyford School Senior Choir is the jewel in the crown of a school which celebrates the arts, and music, in particular. The Senior Choir leads the worship in the chapel on weekday mornings as well as for special services throughout the year. The choir comprises 50 outstanding singers from Years 6, 7 and 8, many of whom take singing lessons and learn instruments. The choir has an eclectic repertoire that ranges from traditional Anglican choral music to pop hits and songs from the shows. It is also developing a strong tradition of commissioning music. In recent years, the Senior Choir has performed new music by Malcolm Archer, Julian Bond, Alexander L’Estrange and Lin Marsh. The choir has recently returned from a tour of the Champagne region of France, performing in Laon Cathedral, Reims Cathedral and Lille Cathedral.
Twyford School Senior Choir Members
Theo Culshaw (Head Chorister) Poppy de Laszlo Ben de Laszlo Alice Denby Jazzy Finney Amelia Frost Poppy Greville-Collins Lucas Hall Milly Hart (Head Chorister)
Olivia Palser Louisa Paterson Antonia Paterson Hugo Paterson Lucy Perkins Charlotte Pfiffner Inigo Russell Finn Rydon Bella Sankey Evie Smither
Poppy Harvey
Clara Stannah
Freddie Hayes
Maisie Steel
Matilda Henry
Hector Taggart
Lottie Heyman
Jonty Thoms
Flora Bailey
Anthony Cloke Browne
Josh Kileff
Alexander Timmis
Jack Bristowe
Alfie Cochrane
Isla Knatchbull
Ted Umbers
Willa Carter
Alex Cooper
Nina Loudon
Jack Warner
Alexander Claisse
Poppy Corbett
Ben Mercer
Alice Wilson
Isaac Claisse
Lara Crorie
Beatrice Morgan
Alice Clegg
Cameron Crorie
Cecily Morrogh
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