The Christmas 'Concert

characters were clearly audible, the groupings and movements were well thought-out, and the players did a commendable best with thedifficulties of this macabre little play. M. Willstrop deserves especial mention for the gallant way in which he deputised for the originallychosen 'Mr. White' almost at the last moment, and played the part with great success. Willstrop, M. I. L. Rice, as Mrs. White, and T. E. Thomas (Sgt.-Major Morris) were perhaps the best of a well-chosen cast. Care had been taken with make-up and costumes, most of which had been improvised from available sources within the School.

We hope that the example of the School House "Middles" will be followed by other groups in the School and that "The Monkey's Paw" will be the fore-runner of other such private ventures; though may we suggest more originality in the choice of play?

The full cast was as follows :-

Mr. White ... Herbert Mrs. White ... Sergeant-Major Morris Mr. Sampson

M. WILLSTROP

P. W. MIDDLEBROOK M. I. L. RICE

T. E. THOMAS

G. RIDLEY

Owing to the increasing numbers of the School, and to the fact that Big Hall stage has to be extended to accommodate a chorus of about 50 and an orchestra of about 20, there is not now room for the whole School and visitors at one and the same time. The Concert was, therefore, given on two successive nights, for School and parents respectively, with the Junior School present at the final rehearsal.

The School performance (for which the programme had been constructed), relied for its effect not only on the exertions of the chorus, orchestra, and solo performers, but also on the hearty participation (for which preparation had been made) of the audience, in this case, those members of the School who were not on the stage. During the first part, those present were invited to imagine the hungry carol singers arriving out of "the bitter weather", and singing for their supper, with occasional changes from secular to sacred, and vice versa, providing opportunities for the orchestra strings to play a sweeping melody in unison (What child is this?) and for the flute and percussion to have an innings (Guillaume, take thy tabor), but usually coming back to the topic of food before long. After No. 6 it was to be assumed the Choral Society got what it wanted, and the audience was invited to partake of a normal Musical Society Concert while the Carol singers were being regaled with an imaginary feast. In Part III, the singers were supposed to emerge, satisfied at last, and sing a few 32

more carols, in which "thanks to the master of this house" was a predominant sentiment, and move off. Here once again the audience played a most important part, and the opportunity was taken of giving another section of the orchestra, this time the clarinets, a chance to show their mettle in "Under Bethlem's Star".

On the second night, the problem was how to get the audience, whose part was so vital, singing. In the end we relied on the School Monitors, who were, anyhow, present as stewards, and between 20 and 30 volunteers, who, sitting at the back of the audience, were to lead the singing. The account of this performance by one of the "claqueurs" (to strain the meaning of that word not a little) appears below :-

The first part of the Concert, under the title of "The Carol Singers arrive", proved to be an appropriate beginning of very varied scope, in fact many parents in the audience were professing ignorance of the majority of the carols. But this need be no deterrent to the planning of future concerts of this kind because the mixture of the strange with the well-known proved agreeable. The atmosphere conjured up by flute, side drum, tambourine and treble voices in "Guillaume, take thy tabor", was of an age past. It was in this piece that the diction of the trebles, who had it to themselves, was noticeably poor. It was fortunate that the senior part of the chorus ably reconciled this weakness in the other carols.

In part two, the Music Society Concert, we were ably entertained by two orchestral pieces and various instrumental solos and sonatas. The choice of music was said by many to be at fault in that it was too difficult. This may be so of some of the numbers, but many were extremely well and effectively played. The musicians must be congratulated on their concentration and fidelity to the music. A well-balanced vocal octet, blending extremely well, was greatly appreciated in their short repertoire.

The third part was once again carols, though now many were familiar, and "the Carol Singers, refreshed", proved to be in much better form than originally. The audience, becoming less shy, took a more vigorous part in the singing. As far as the singing of the audience was concerned, it was felt that the twenty raucous voices at the back on the second night would have done their job more effectively and efficiently if they had been scattered. The programme was heartily brought to a close, and so ended a successful Christmas Concert.

For this success we must offer our sincere congratulations and thanks to Mr. Waine, who devised the programme, organised the rehearsals and conducted the concert; to Mr. Walker to whose enthusiasm and leadership was due the fine spirit in the orchestra; and

33

to Mr. Wicks for his brilliant piano realisations of the varied moods of each carol. More especially, however, we are deeply indebted to the individuals who spent so much time practising and rehearsing, for their enthusiasm and high-quality performance and for the cheerful and pleasant atmosphere that they created.

J.C.O.

PROGRAMME OF CHRISTMAS CONCERT

BIG HALL Friday and Saturday, 14th and 15th December, 1951, at 7 o'clock.

PART I

THE CAROL SINGERS ARRIVE

1. We've been a-while a-wandering Traditional, Yorkshire 2. Wassail, all over the town Traditional, arr. Ralph Vaughan Williams 3. What Child is this? Tune: Greensleeves 4. Guillaume, take thy tabor Old French Flute and Percussion

5. On Christmas night 6. A Merry Christmas Traditional, Sussex Traditional, West Country

PART II THE MUSIC SOCIETY CONCERT 1. Piano Solos (a) Pastorale in D. minor

J. A. SUTTON Scarlatti

(b) Song without words

R. SHEPHERD Tchazkovsky

2. Orchestra Minuet and Trio from Symphony in G (Military) Haydn .3. Sonata for Violin and Piano : No. 3 in F-2nd Movement Handel Violin—R. ATKINSON Piano—R. B. ATKINSON 4. Flute Solo Adagio and Allegro from Sonata in G Flute—J. FORD Piano—MR. E. A. WICKS 5. Piano Solos (a) 2 Minuets and Gigue from Partita No. 1 in B flat Handel

7. S. Bach

A. BLOOMFIELD (b) Study in E. Op. 10 No. 3

R. B. ATKINSON Chopin

'6. Orchestra Allegretto from Symphony in G Haydn

7. Sonata for Piano and Violin in A—Finale Cesar Franck Violin—W. B. HAWKINS Piano—MR. E. A. WICKS S. Part Songs (a) Legend Tchaikovsky (b) "Christmas is coming" Anon

THE OCTET: Treble: D. K. HODD, G. P. BURDEN, R. J. CATCHPOLE Alto: M. A. BUTTERWORTH, M. J. BADDELEY Tenor: J. E. FAWCETT Bass: C. R. ACKROYD, P. L. BARDOETT '9. Sonata for 2 Violins and Piano in G minor-1st Movement Handel Violins—R. ATKINSON, E. TURNER Piano—R. B. ATKINSON

PART III

THE CAROL SINGERS, REFRESHED, PREPARE TO MOVE OFF

1. Deck the Hall Old Welsh

3. (a) Shepherds shake off (b) Under Bethlem's Star so bright Clarinets 4. Good King Wenceslas Swedish King—J. T. ANKERS Page—D. K. 5. Past Three o'clock 6. Furry Day Carol 7. Here we come a-wassailing Melody, 13th Century

HOOD

London Waits Old Cornish Traditional, English

THE NATIONAL ANTHEM

CHORAL SOCIETY

Trebles:

P. B. Clayton, E. Davey, A. G. Hall, D. K. Hodd, R. N. Worsley, S. M.

Badham, L. T. Beaumont, P. L. Bellwood, K. Brown, G. P. Burden,

J. Burdon, R. T. Burdon, P. H. C. Burn, H. B. Burnett, R. J. Catchpole,

F. H. Dimmey, J. R. Fletcher, W. Gibson, A. Gomersall, P. Goolden,

J. K. Hick, T. M. Jenkinson, J. M. Lynch, D. C. Mayson, C. J. Partridge,

D. R. Procter, C. J. Quickfall, J. G. Spink, T. G. Tomlinson, F. F. Watson,

T. Watson, M. R. Wood. Altos:

M. J. Baddeley, M. A. Butterworth, J. R. Dawson, C. B. Hardie, B. M.

Nendick, J. A. Sutton. Tenors:

D. J. Bird, M. W. Bolton, Mr. K. G. Chilman, J. E. Fawcett, D. A. Haxby,

J. A. Hunter, W. R. Ibberson, I. E. F. Morton. Basses:

J. T. Ankers, M. J. F. Everitt, Mr. A. T. Howat, J. N. T. Howat,

G. B. Hudson, M. J. Quarmby, G. W. Riley, D. N. Simmons, S. H. Storey,

J. 0. Walton, J. B. Weightman. Librarian—J. N. T. Howat.

ORCHESTRA

Violin I:

Mr. C. J. Walker (leader), W. B. Hawkins, B. Potter. Violin II:

Mrs. Hawkins, G. B. Pullan, R. Atkinson, E. H. N. Turner. Viola:

Mr. W. H. C. Cobb, Miss J. Macaulay, M. R. Leonard. Violoncello:

Mrs. Procter, P. L. Bardgett, D. Pfluger. Flute:

J. Ford, A. M. Marsh. Clarinet:

R. D. Welch, J. H. Macdo nald. Trumpet:

Mr. C. Martin. Timpani:

M. J. F. Everitt. Percussion:

J. M. Holt, C. G. Howat, R. Shepherd. Pianoforte:

Mr. E. A. Wicks, R. B. A tkinson. Librarian—J. Ford Conductor—Mr. F. Waine.