Music

flowers and feel they should be there, will you consider whether you could help a little? Please! You don't have to 'do' them alone. We'll always help and show you around. And it's not as difficult as you may imagine — truly! If you cannot come and arrange, perhaps you could bring in some greenery or flowers, or pot plants occasionally, or a contribution towards buying some. A 'flower' book hangs in the cupboard in the Chapel lobby. Please just put your name down for your choice of Saturday, or contact me personally or via the School office (and one small P.S. to those who have the job of moving the flowers before and after Communion: many of the arrangements do have a back and a front!). Though, to be fair, we've all had our difficulties lately, what with making sure we don't obscure the choir, or the visiting clergy, that we don't get in the way of the mike or the Communion rail or the extra instruments, and that we don't let water drip down the sentry boxes or on to the piano!

Despite all this the Chapel has certainly looked beautiful on a number of occasions, particularly for the Carol services and for Harvest, and we do thank all who have helped. As always the organists and their protégés frequently turn the chore of topping-up during the week into a series of mini-recitals, a very pleasant bonus. Finally I would like to record my personal thanks to Arthur Ellery and to Joyce. Joyce regularly came down specially at the beginning of term and other awkward times to do flowers, however involved she was in other activities. Arthur not only gave us much practical help but was always willing to consider with us how best we could improve our efforts to beautify the Chapel in keeping with the changing furnishings and services. His kindly encouragement and advice on these matters will be much missed.

S.M.N.

MUSIC

The Orchestra and Band have had a most successful year, each reaching new heights. In March the Band gave a concert in Drama Centre directed by Mr. Riley who brought in many other school musicians to make a varied and interesting programme. The organization was most professional and although only one performance was scheduled, the demand for tickets was such that the final rehearsal was converted into an open recital which was also fully subscribed. Following this came an invitation to play at a private reception for the Architects' Association to be held in the Railway Museum in June. Our first public engagement outside School was not entirely helped by the Associated Board's selection of the same day for their examinations, but we grow used to their knack of choosing a day we don't want, and the event was widely acclaimed as a success.

The orchestra's triumph received much less public support, (people won't come unless you make them go to the trouble of obtaining a ticket!) but was none the less an event in the School's musical history. The concert in June included the Haydn Military Symphony and we think this is the first time a complete symphony has been played by the 23

School orchestra. The concert also included the first movement of the Borodin Quartet which the School Quartet had played at a reception of the St. Andrew's Society earlier in the year.

Christmas term saw the St. Cecilia concert (which included Elgar's Serenade for Strings), "Trial by Jury" and the Carol Services. The Epiphany Service took place after a rehearsal which was made difficult by some uncertainty about the administrative arrangements. Later in the term, a music-drama, "The Bird-Catcher in Hell", composed by Old Peterite Robin Walker was performed.

In Summer, the Music Prize Competition threatened itself by its own success. The largest number of entries ever made it necessary to split the Junior Section for 3rds and 4ths from the Seniors and hear them on the previous evening. Even so we had a three hour session, adjudicated with skill and helpful advice by Ronald Perrin. The standard of playing was very pleasing.

K.R.P.

ASSOCIATED BOARD RESULTS

Name Grade Instrument

P. V. Aagaard R. M. Addinall C. J. E. Bird C. G. Broadbent R. D. E. Brown 6 Cello 8 Piano Distinction 3 Piano 5 Piano 5 Piano

M. L. Chippendale A. P. Copley F. A. Craig D. Fallow P. G. Fender

G. A. Flintoff 1 Piano 6 Viola 4 Cello 1 Piano 5 Piano Merit 8 Violin Distinction 6 Organ Distinction 8 Piano

J. Guy T. A. Heap M. J. Heywood R. P. Jemmett D. J. Johnson 5 Piano 5 Piano 5 Trumpet 6 Piano 5 Piano

R. S. P. Litten S. J. Mawby P. Moayyedi A. J. Nichols

5 Trumpet 5 Violin 4 Piano 5 Piano M. Pearson 4 Clarinet D. N. C. Pemberton 3 Horn Distinction 6 Violin 7 Violin N. C. H. Pemberton 7 Cello Merit 8 Piano Merit

J. R. C. Taylor R. C. Young 4 Violin 3 Trumpet Merit

Theory of Music — Grade 6: D. N. C. Pemberton, W. W. Stancer. Grade 5: 0. J. Bird, N. Clayton, A. P. Copley, T. A. Kaner, J. A. Lethem, A. G. Slater, A. G. Whipp.

ST. CECILIA CONCERT

November 24th, 1977

I must say that I had never before heard anything like Hummel's "Champions on Parade" in Chapel, but it did serve to capture the attention of the somewhat modest audience, or perhaps I should say congregation, and the obligatory foot-tapping helped revive the circulation which laboured in the arctic climate of this November evening. Latecomers didn't quite know whether to march to their places in time with the music or attempt to slide in as unobtrusively as possible, followed by the 'icy' stares of those already present. The piece achieved a pleasing blend of woodwind and brass with percussion solo albeit for only a few bars at a time—St. Cecilia must have felt invigorated by this overture.

A change of mood now, with Chopin's "Ode to Music." The band, though competent, failed to display the same self-confidence in this slower work, which required more deliberation and less dash—the sustained notes presented some problems but confidence blossomed with the imminence of the final crescendo.

I must say that I found "Pacific Grandeur" (Olivadoti) lacking in that particular commodity; for me, it seemed to take too long to establish its identity—then, like the coming of dawn the visual image suddenly became clear—I could almost see the Drum Majorettes striding brashly down the aisle, as if mistaking the occasion for an American Presidental Convention. I was pleased I'd sorted that out, since I could then settle back and simply listen to the music.

Having boarded the "time machine" we were transported back two centuries to the American War of Independence. The strains of "Yankee Doodle" were immediately recognisable and I could clearly picture the splendid bright uniforms of the drummers marching into battle. This romantic mood was not to last, the sinister rumblings of war were soon to be heard and the piece reached its climax in a well-orchestrated discordent crescendo.

Then came the still quiet of the Evening Song and Last Post. I have always found the mellow brass so well suited to this sombre poignant work—the soothing, comforting tuba, the powerfully strident trombone and the controlled dominance of the trumpet, so ably played that the mood was not disturbed in the least—eyes closed, thoughts drifted into the oft-forgotten past—trying so hard to remember, praising, thanking, honouring those whose sacrifice had so recently been commemorated; then suddenly the peace was shattered by the shrill intrusion of the woodwind, which for me at least was so out of place—perhaps it served well to jar us back to reality. Then it was over.

Having reached broad agreement in the pitch of "A", the clarinet quintet entertained us with a magnificent rendering of Mozart's Quintet (K. 851), during which the initial concordance was generally maintained.

Like home-made wine, the work matured with the passage of time, the violinists playing with great dash and confident attack, rarely put a foot, or should I say finger, wrong. In this they were ably supported by competent viola and cello, and throughout a long piece, during which mistakes could so easily have multipied and inaccuracy given rise to tedium, 25

I was aware of neither of these faults, as all involved played with flair and authority. It must have given them as well as the audience, much satisfaction.

The string orchestra got under way with "Rhosymedre" (Vaughan Williams). The first impression was one of delight to see so many accomplished players making music together. The orchestra, like the chorus, offers a haven for those who are not confident enough to "go solo"—each member is assisted by, and in turn assists those around him, and finally the individual sounds merge in pleasing harmony, leaving only the quiet passages to expose the individual uncertain contributions. This largely well-orchestrated piece ended with a well sustained note with all players in broad agreement.

Bach's Suite in D started with a lively gavotte and visions of a Royal Ball. The Air conjured up a less pleasant atmosphere due to its frequent misuse as background music for a television cigar commercial—there ought to be a law against it. The sometimes uncertain bowing of the violins was punctuated by the seemingly less demanding pizzicato of the cellos, played with a degree of sensitivity unexpected from frozen fingers. There were occasions when some players displayed a lack of musical awareness of those around and the sound began to fragment and lose some of its cohesion; in this respect the orchestra had lost a little of its literal meaning—"a company of musicians playing together".

However these mild (unlike the chapel climate) criticisms must be seen in the general context of a most enjoyable evening, during which it was so gratifying to see such a large number of musicians in our midst.

How pleasant it would have been to hear at least one piece with brass, woodwind, strings, percussion in short, the lot, all together. They are not rivals to be seen in earnest competition, though they can exist separately as we have heard, but equally they can co-exist to mutual benefit and to the further enjoyment of the audience.

D.H.H.

Concert, March 17th.

The concert, held in the Drama Centre, contained an unusually wide range of items, many of which were of a more popular nature.

The opening was enthusiastic and the three items played by the band pointed the way to the rest of the evening's enjoyment. The faster melodies were were well balanced and showed some good ideas whilst Harold Walter's Deep River Rhapsody was played with great feeling, which more than countered the odd technical error.

The contribution by Philip Burton, Robin Jones and Michael Bowstead with an unusual combination of instruments provided us with some interesting sounds, particularly the Japanese Tune. I hope that we shall hear more from them. Sandy Day's guitar solos showed his command of the instrument and although the Maple Leaf Rag was a little fast for my taste, the selection and execution of the material was excellent. The con- 26

trast provided by the Angelic Host with their glee club and barber shop singing was most marked. Their enthusiasm and skill showed the hidden talents of some colleagues.

Peter Fender with his violin solos, particularly Copeland's Ho Down, excited us all with his talent and total rapport with the music and it is always a pleasure to hear him. In the band's next selection the mood had been changed and they handled the material chosen well, though I felt they found the strict tempo of The Entertainer a little difficult. Perhaps it was where I was sitting but I was very disappointed that I was unable to hear clearly Mark Burn and Paul Rushbrook's guitar items. The balance between the guitars was pleasant and the individual playing was good, but the vocal part was lost. A great pity.

The piano and vocals by Patrick Crowley were difficult to put over but I found Patrick's performance most exciting and his talent is obvious. My only regret about "Benny and the Crets" is that they showed my age. Their evocation of my youth with Buddy Holly, Craig Douglas and many others was for me the high spot. Who will or could forget Teenangel.

The band brought us to a rousing conclusion with "A Glen Miller Tribute." It is always ambitious and dangerous to emulate someone as well known and unique as Glen Miller but Bill Riley and the band managed to capture his style very well. Perhaps the mellowness of Glen Miller was not there, but then many have tried to reproduce Miller and nobody has succeeded.

Altogether a most enjoyable evening during which a large number of performers showed a wide range of varying talents. On behalf of all of us in the Drama Centre that night I congratulate Bill Riley and the band and all the other performers on a most enjoyable evening.

R.H.H.

Concert in Hall, 1st June.

What a wealth of musical talent there is in the the school, and how appropriately it was used on this warm early summer evening. For anyone wishing to forget for a short time the clamorous world of terrorists and "freedom fighters" and the stridency of the World Cup, here was sweet- ness and joy.

The two chamber pieces were not only of remarkably high standard in performance, but so exactly right for the half-way stage in a long term: the pause before the onslaught of exams and other intrusions. The '1st Movement of the Borodin Quartet: evocative, peaceful; and the last movement of the Mozart Trio: a sort of quiet conversation between three gentle instruments, kept together by that astonishing tranquillity which Mozart draws from the piano in a way yet unsurpassed.

Haydn's Military Symphony made us all realise that we have an orchestra of which any community could be proud. It is in the Allegretto that the military metaphor is fully sustained. The "off duty" life of assembly rooms and park, with the occasional reminder of sterner things 27

when the drum was used with disciplined effect; then the call to from the trumpets,

"And silken dalliance in the wardrobe lies."

A happy poem of the variety of the martial life : and the joyous grandeur of the big Finale brought a sudden reminder : we were enjoying this music on the very eve of the 25th Anniversary of the Coronation.

All who came to this memorable concert would like to thank the players and their Conductor; a school cannot but thrive as long as it has this richness in music.

D.G.C.

PROGRAMME

1st movement of Quartet in D

Peter Fender, Roderick Craig, Ruth Addinall, Nigel Pemberton. Last movement of Trio in Eb K497

Peter Fender, Ruth Addinall, Nigel Pemberton. Symphony No. 100 in G (The Military) Borodi

Mozart

Haydn

Adagio—Allegro Allegretto Minuet and Trio Finale—Presto 1st Violins: P. G. Fender,* P. W. M. Crowley, D. A. Kaner, A. G. Whipp

C. R. Bronk, R. D. E. Brown. 2nd Violins: M. B. Anderson, R. M. Craig, D. N. C. Pemberton,* S. J. Mawby

T. A. Kaner, A. J. Nichols, G. J. M. F. Winder. Violas: Ruth Addinall, A. P. Copley,t Mr. H. J. Finch. Cellos: P. V. Aagaard, A. D. Leckenby, L. G. Bleasdale, F. A. Craig. Flute: Sarah Marsh (Queen Anne G.S.). Oboe: Mr. E. Vyner. Clarinet: J. R. Markwick-Smith.* Bassoon: Mr. C. Allison. Horns: R. E. Craig, A. J. Collinson. Trumpets: Mr. W. Riley, M. R. Heywood.*t Trombones: W. A. Barnish, D. R. Marsh (St. Olave's). Timpani: Mr. M. R. Hotton. Bass Drum and Cymbals: R. C. Barker. Triangle: J. C. Neal. Piano Continuo: N. C. H. Pemberton.* Conductor: Mr. K. R. Pemberton. *Indicates this year's Music Prize winners. tlndicates Award winne r;; 28

The Gymnasium, 1895, becomes