My Trinity Spring 2024

Alumni in the News - page 4

Alumni in the Spotlightpage 10

Memory Lane - page 38

Welcome to the eagerly anticipated spring edition of our alumni newsletter! This edition is dedicated to honouring the remarkable career of David Swinson, our outstanding Director of Music for over two decades, who will be retiring from his full-time post at Trinity in the summer. We will be celebrating all that David has achieved in the months ahead. We are delighted that he will continue to work part-time with the Trinity Boys Choir and the department, and that his current Assistant Director, Liz Regan, will become the new Director of Music in September 2024.

Throughout his tenure, David has been the heart and soul of our musical community, leaving an indelible mark on the Trinity Boys Choir and beyond. His passion, dedication, and unwavering commitment to excellence have inspired countless young choristers to reach for the stars and discover the magic of music within themselves.

In tribute to his extraordinary contributions,

we’ve embarked on a journey through time, delving into the archives and interviewing former Head Choristers and musical alumni from across the generations. These are Robert Jones (Class of 1975), Ken Burton (Class of 1988), André Flemmings (Class of 2002), Freddie Benedict (Class of 2014) and HannahLouise Vine (Class of 2017). Their passion and joy for music leaps off the page and certainly warmed the hearts of the alumni team when we read their first drafts.

Memory Lane explores the history of the Trinity Boys Choir, famed for their roles in Britten’s A Midsummer Night’s Dream They’ve appeared in 11 global productions of A Midsummer Night’s Dream, collaborated with top London orchestras, and recorded with the BBC Symphony Orchestra and London Philharmonic Orchestra to name but a few. Notably, they featured in Bing Crosby’s last TV show in 1977 and have since appeared in various UK TV programmes and film soundtracks, such as The Hunger Games

and Fantastic Beasts. We are also excited to announce that musical archive material is now available to view on our digital archive platform. Details on how to access this can be found on page 39.

And if you wondered why we look better than usual in this edition’s team picture, it’s all down to Kjellon Morris (Class of 2019), whose artistic prowess has transformed our team photo into cartoon versions of ourselves. Click on the ad opposite to find out more about the work Kjellon does and maybe even commission him yourself!

Welcome to the spring edition – may it bring a spring in your step and a song in your heart!

Sixth Former Adeel Imtiazi breaks bench press record

Congratulations to Adeel who recently competed in the British Bench Press Championships and triumphed, breaking the national U18 British record in his weight class.

Adeel has been training in the school’s gym for two to three years, but only started seriously powerlifting in the past six months. He says, “I started the gym to improve my overall mental and physical health, but during Covid I became deeply interested in it, and it became an integral part of my day-to-day life. LINK

Kieran Logendra interviews Paralympians for Nickelodeon

Second Year Drama scholar Kieran has had an exciting few weeks. As well as handling a busy school schedule, Kieran works professionally as an actor and presenter. Recently, he has been working with the kids’ channel Nickelodeon (or Nick) on an exciting series in the run-up to the Paralympic Games in Paris this summer. LINK

A Trinity first: Ethics Cup finalists!

Congratulations to the team of Sixth Form students, Ayaan Ratnayaka, Barney Sayburn, Abi Watkins, Fred Turpin, Tom Wilmer, Sophia Wan and Rahul Mehan who not only entered the Ethics Cup regional tournament for the first time, but won it!

They will now compete in the final at St Andrews University on Thursday 23 May. A total of 12 schools will compete for the coveted Ethics Cup trophy.

Star rugby players selected for England Lambs

Congratulations to two Upper Sixth students who have been selected to represent the U18 England Lambs this year. Teddy Wilkie and Fred Wezbell, both in the 1st XV, were nominated by the Head of Rugby, Mr Roberts. After outstanding performances at a development day, the students discovered they had been selected. LINK

Fred Wezbell

Teddy Wilkie

Josh Bellamy, Class of 2023

Josh Bellamy, Fly Half, was part of the winning England Rugby U20s Squad. A brilliant display from England in Pau earned them the U20 Men’s Six Nations title as they beat a powerful French side 45-31 at the Stade du Hameau.

We’re looking forward to seeing where his glittering rugby career takes him next.

Olly German, Class of 2023

Olly is studying at the University of Nottingham and recently competed in the North Midlands Nottinghamshire Open. Olly competed against lifters from the universities of Nottingham, Nottingham Trent, Leicester and Loughborough.

He was placed 1st as an U93kg Sub Junior (u18), and 5th out of the junior U93kg (19-23). Well done Olly!

Nithaar Zain, Class of 1986

Le Le, Singapore’s first Giant panda cub, flew from Singapore to Chengdu in a special Singapore Airlines (SIA) Boeing 747-400F freighter aircraft in January. The chief pilot for the trip was our very own Nithaar who said: “It was my privilege to be the pilot who flew Le Le to Chengdu. His comfort and safety were our priority throughout the flight.”

Watch Nithaar’s interview on CNA here.

Caragh Haspel, Class of 2023

Caragh played in the recent Cambridge University 2nd XV Varsity Match. They won 14-7 against Oxford and Caragh scored 10 of Cambridge’s points, including an interception try where she ran the full length of the pitch. She finished off with a conversion!

Owen Harries, Class of 2019

Owen left Trinity to pursue a degree in biology at Bristol. Initially enrolled in the integrated Masters course, Owen underwent a change of heart during his third year. He resolved to delve deeper into the practical aspects of biology, ultimately leading him to embark on an MSc in Biorobotics—a cutting-edge field that seeks to amalgamate biological principles into the design of computational and robotic systems. Keen to apply his newfound knowledge, Owen aspires to contribute to groundbreaking areas, such as utilising AI to streamline the process of drug discovery. Despite the valid concerns surrounding certain applications of AI, Owen remains enthusiastic about its potential to enhance biotechnology in the years to come.

Theo Flanagan, Class of 2021

Congratualtions to Theo for achieving a returning Cambridge Blue in his recent Varsity match.

Tom Petty, Class of 2017

Tom was part of Cambridge University’s record-breaking 56-11 win over Oxford University in the Men’s Jefferies Varsity Match at Saracens’ StoneX Stadium.

Gabriel Ibitoye, Class of 2016

Gabs, one of the Gallagher Premiership’s most devastating backs, has committed his future to Bristol Bears, signing a long-term extension with the club. He has scored eight tries in all competitions this season and tops the Premiership statistics for defenders beaten (43), and is fourth for metres made (660)!

Kieran Kenlock, Class of 2010

Kieran was asked to write and perform a spoken piece that captured the essence of the Africa Cup of Nations tournament.

Kieran said “It has currently been viewed over 10 million times across Confederation Africaine de Football’s platforms, which has honestly floored me. But the most beautiful thing I’ve received from this year’s AFCON is being a part of a legacy and the changing perception of Football in Africa.” Watch it here.

Kieran recently came back to Trinity as part of national Careers Week (page 33). To see the video he made about his return, click here.

Varun Sharma, Class of 2006

Varun recently went on an epic trip, visiting countries such as Kazakhstan, Kyrgyzstan and Uzbekistan, covering 27,000km in less than a month. This puts him in the top 20 most travelled men in the UK of his age (according to the Most Travelled People website) –quite an achievement!

Asked if he’d recommend others to travel that intensely, he said: “Definitely! But with the caveat that it should not be treated as a holiday per se, because that intensity of travel is not the same as a two-week vacation in a static location – so if the expectations are adjusted, then of course! I would also add that given where things are regarding climate change, one needs to be reflective of the impact of travel. This is also where I was keen to minimise any repeating of routes (in terms of air travel) to be able to maximise the places I got to experience.”

Richard Jackman, Class of 1986

Richard, who is the Head of Community Relations at HMP High Down in Sutton, recently met Fatima Whitbread as part of a collaboration he’s been working on for more than five years with the police, probation, local authorities, sports clubs, charities and other community organisations. The goal is to help create a community hub for young people who have experienced living in care, and those who have found themselves within the criminal justice system.

The hub will offer programmes with a focus on sport, music and digital technology. It will offer mentors, support and training to move these young people into safe housing and employment, and to help reduce the number of these vulnerable individuals who offend and end up in custody.

Fatima’s campaign to support young people who have experienced care can be seen here.

Zain Mirza, Class of 2023 and Bilal Ismail, Class of 2022

“Kickstart began in August 2021 as an education service run by older students for younger peers applying to local independent and grammar schools,” said Zain. “We redefined exam preparation as an engaging journey rather than a mundane task. Departing from traditional tutoring, we integrated sports like football and cricket into sessions, attracting attention and witnessing significant academic improvements among participants.”

“In August 2023, we approached Chelsea FC to offer educational support to their student-athletes. After a monthlong pitch process and a five-week pilot, we began weekly sessions with their U9-14 age groups. This was a huge milestone, and an incredible opportunity to show how valuable our educational model is for enhancing the academic growth of young learners. We plan to see the adoption of Kickstart’s services in other sporting academies soon.” “As first-year undergraduates at LSE, Bilal and I, both integral to Kickstart’s inception, are committed to its continuous evolution, prioritising academic excellence and personal development.”

Ken Burton, Class of 1988

We are delighted to share the news that Ken has been appointed the Composer-in-Residence for the Voces8 Foundation.

Ken said: “I am honoured and thrilled to spend the next two seasons as Composer-in-Residence for the Voces8 Foundation, which I hold in the highest regard, and I am looking forward to working with all the amazing musicians and educators who do so much to inspire and thrill audiences and singers, both young and old.”

https://www.kenburton.com/

Stop Press!!!

Laurence Marks, Class of 1972

Laurence has been awarded a Fulbright US Scholar Fellowship by the US Department of State and the Fulbright Foreign Scholarship Board. This prestigious fellowship offers unique opportunities for scholars to teach and conduct research abroad, build new relationships, and contribute to finding solutions to local and global challenges.

Read more here.

The Wasia Project have played a sell-out headline UK tour and will be supporting Tom Odell in Europe and Laufey in North America,

To catch Will Hardy (Class of 2021), Luca Wade (Class of 2021) and Tom Pacitti (Class of 2018), click on the following link for tickets: LINK

Hannah-Louise Vine, Class of 2017

Hannah’s journey from Trinity to her current role as the hire library and archive manager at Stainer & Bell is a testament to her unwavering passion for music and languages.

Drawn to Trinity by its strong Classics department, Hannah found her love for Ancient Greek alongside her linguistic pursuits in Latin and Spanish.

University life at Exeter was marked by musical adventures, from playing lead roles in operas to winning choral scholarships.

Now, at Stainer & Bell, Hannah’s role blends her love for music and her professional responsibilities.

What initially drew you to Trinity School, and how did your experience in the Sixth Form shape your passion for music and languages?

I was drawn to Trinity by the strength of its Classics department, which offered a more collaborative working

environment than I was used to. I was also offered the chance to study Ancient Greek alongside my other A Levels, which particularly complemented my other linguistic subjects of Latin and Spanish. My path after I left Trinity was absolutely influenced by the experiences I had there, both through my academic study and in extracurricular opportunities. My time at Trinity inspired a much deeper passion for languages, as shown by my further study; my passion for music exploded when I went to university. There was every music society under the sun, which became the foundation of my social life, and eventually led me to the career I have now.

Can you tell us about any teachers or mentors at Trinity who had a significant positive influence on your musical and linguistic journey?

Mr Allison fostered my interest in Hispanic culture, beyond studying Spanish itself, which led me to choose Modern Languages at university. I had not previously considered this option, and that decision changed the course of my life since! From a musical perspective, I owe a lot of the confidence I now have when performing to Mr Evans and

Ms Fuge. Throughout my A Level studies, they helped to nurture my belief in my own abilities, and I am definitely a stronger performer for it.

How did your involvement in singing and music at Trinity contribute to your personal and academic development?

It was very important for me to strike the balance between investing myself fully in my academic study, and maintaining my enjoyment of music beyond the classroom. I had some fantastic experiences while at Trinity, including singing at Ronnie Scott’s - both with the Big Band and with the Jazz Octet and Close Harmony - as well as being part of Little Shop of Horrors in the

Lower Sixth. These experiences encouraged me to develop my versatility as a performer, and to push myself beyond what I think I’m capable of, both in a personal and academic sense.

Transitioning to university, you pursued a degree in German and Spanish at Exeter. How did your musical background influence your university experience and vice versa?

My university experience was absolutely defined by the musical opportunities I had there; I often joke about spending more time in the music building than I did at my lectures! Music at Exeter allowed me to try things I never thought I would, such as learning the saxophone, occasionally conducting

our concert band, and even playing lead roles in the Opera Society’s productions of The Marriage of Figaro and Dido and Aeneas. I was given the space to become more adventurous, which helped my confidence when approaching the more outward-facing elements of my degree, such as speaking exams and presentations. It also gave me the push I needed to decide to work rather than study for my year abroad, which led to me becoming a British Council language assistant in rural Austria. My academic study of languages and my extracurricular commitments to music were always inextricably intertwined!

Could you share some memorable moments from your time in choirs at Exeter University and how it furthered your passion for music

alongside your language studies?

At the end of my first year, I went on tour with the Exeter University Singers to Rome, where we sang Mass at the basilica where Palestrina studied music. The significance of singing in this venue was not lost on me, and is definitely one of the most special services I’ve sung!

In my second year, I won a choral scholarship at St Michael and All Angels Church. I remember the sense of community and belonging I felt when I donned the cassock and surplice for the first time, which I feel every time I sing there, as I am

lucky enough to still be invited to sing whenever I visit Exeter.

I even managed to join a choir while working in Austria. As the only native speaker, I became the de facto English dialect coach for the choir, who were preparing for a performance of Handel’s Israel in Egypt. Telling a choir of 60 people that they’re pronouncing words wrong every week was initially quite daunting, but thankfully they were very receptive to the feedback!

After completing your undergraduate degree, you pursued a MA in translation studies. How do you perceive the

intersection of music, languages, and translation in your academic and professional journey?

I took every opportunity to draw my passion for music into my studies, particularly in my Master’s. There’s no better example than my dissertation: I chose the practical translation option, allowing me to create a functional, singable translation of the opera Faust by Louis Spohr from German into English. Being able to combine my theoretical knowledge of crafting a fluid and comprehensive translation with my practical experience of singing, and all of the skills I’ve developed therein, was a dream come true, and definitely made the project seem less like hard work!

As the hire library and archive manager at Stainer & Bell, how do you integrate your love for music into your professional responsibilities?

The joy of working for a classical music publisher is that everyone around me loves music as much as I do! I’ve developed generally applicable skills in a field that holds so much interest: I now proofread

new engravings of hire library works, and catalogue records of music going back as far as the 19th century. It’s also a job with many perks, as I often get free tickets to see performances of our works, including at Anna Lapwood’s Late Night Prom and the NYCGB 40th anniversary concert at the Albert Hall! Last Christmas, I was even asked to sing in the music video for one of our composer’s Christmas carol!

We understand you recently performed at Westminster Abbey. Can you describe how your experiences in school and university prepared you for such prestigious performances?

I was very lucky, both at Trinity and in Exeter, to perform with, observe, and learn alongside musicians of such a high calibre. Being surrounded by so many talented peers constantly pushed me to always give my absolute best, and instilled in me very exacting standards to strive towards. Singing at Westminster Abbey was an opportunity I was offered through Exeter University’s Chapel Choir, and it was the culmination of years

of dedication and growth as a performer. It’s certainly an experience I will never forget!

What advice do you have for current students at Trinity who are passionate about music and languages, considering your journey from student to professional?

You have to have a genuinely vested interest in the subject to really get the most out of it; fully immerse yourself in it, go above and beyond the curriculum, and make your learning as interactive as possible! I’ve always found that watching a film, or listening to music or a podcast in my target language is much more enjoyable than poring over verb tables (though this is equally important!). The same applies to music: don’t just listen to recordings of your set works, find live performances of them if possible, as this is a much more engaging way of interacting with the material. However, the best advice I’ve received is to say “yes” to every possible opportunity, as you may be surprised by where it takes you!

Lastly, what are your future plans regarding your career in music, languages, and archives management, and how do you envision continuing to balance these passions in your professional life?

Although I am still relatively early in my professional journey, I have been lucky to have a real breadth of experiences in a variety of fields, including music, translation, and education, so I’m not ruling anything out! I try to keep my mind open about any opportunities that come my way, as it has made for an interesting career path until now. At the moment, I’m focusing on exploring my passions outside of the academic environment; I’m now learning Italian, I play the flute in a wind band and sing in a choir, and I’m working towards a singing diploma. I’m really enjoying having so much time to devote to my interests, and it really helps having a sense of a work-life balance!

Freddie Benedict, Class of 2014

Freddie’s journey from Trinity to versatile musician and performer is a testament to resilience and passion. Initially grappling with learning difficulties, Trinity became his transformative haven,

particularly through music. Under the guidance of mentors like David Swinson, he blossomed. Trinity instilled in Freddie the belief that music could be his career. As Head Chorister, he learnt valuable leadership lessons, shaping his approach to teamwork and mentorship. David’s mentorship was pivotal, equipping Freddie with technical prowess and the ability to sightread, essential for his later accomplishments. From performing at Carnegie Hall to voice acting, Freddie’s career spans diverse genres.

Can you share some insights into your time at Trinity and how it shaped your journey as a musician and performer?

Arriving at the school

with learning difficulties, I initially struggled with many aspects of academia. Trinity helped me to grow through music. The music department, spearheaded by David Swinson, gave me tuition, I joined bands, went on tour, and had the opportunity to play in some of the most iconic venues around the world: Ronnie Scott’s, the Royal Festival Hall, the Madinat Jumeirah hotel in Dubai, and the Royal Opera House (to name a few). I learnt that this hobby might become a career. I even started a jazz band with some fellow students, which went on to professional success. My time at Trinity was incredibly positive. I’m very lucky to be doing what I’m doing now!

As Head Chorister, what experiences do you believe were most formative in preparing you for your diverse career in music?

As a child, I was often teased for being slow or “dopey”, so when David entrusted me to become Head Chorister, I began to believe in my organisational skills. I developed leadership skills that I didn’t think I had in me. Head Choristers don’t turn up late – they arrive early - a brilliant lesson for all work later in life. As Head Chorister, I helped the J-Bugs to find their feet on the Choristers’ courses –it taught me about empathy, and

sharing your own experience to put others at ease.

The main lesson I learnt is that leadership isn’t about holding authority over someone else. It’s about positively influencing people to reach new heights, and being a hard-working example for your peers.

How did figures like David Swinson and your experiences with Trinity Boys’ Choir shape your artistic identity and approach to your craft?

David helped me to develop technicality as well as musicality. I could play instruments, but I looked too often into my copy without understanding it; I had neither theoretical knowledge nor sight-reading skills. He promised my parents on Open Day that he would guarantee that I could sight-read music within three years. Well, Mr Swinson, you delivered! Having the power to sight-read can distinguish

jazzers in the professional world where there is little to no rehearsal time! I owe David more than I could pen now. He is surely the greatest musical director Trinity School could ever have asked for, and I will forever be indebted to his mentorship.

Reflecting on your journey from Trinity to your current accomplishments, what do you consider to be your biggest professional achievements so far?

In music, to play the Carnegie Hall, New York with my acappella group NoVI, was pretty cool! We were selected as a wildcard to perform at the ICCA’s competition. That venue is the stuff of dreams! Although we didn’t win, that night will be forever etched in my memory.

In voice-acting, to play the young Diego Maradona in the documentary on his life was the perfect gig combination of my love of film and football. When casting, they sought a young man who

had an understanding of football, could speak convincing Argentinian Spanish, as well as a decent level of Italian. Diego’s language was perhaps too colourfully expressive to repeat in this interview, but it gave me such insight into one of football’s treasured icons.

How has your training and experience as a classical soloist influenced your approach to jazz singing, and vice versa?

I have learnt to interchange the techniques of both genres, without ruining any of my vocal technique. The learning of that discipline I owe to my two singing teachers at Trinity, Kathy Fuge and Timothy Penrose (sadly no longer with us), as well as Bertie Rice who became my teacher when I was a choral scholar at King’s College, London. The refined and structured way of classical music enabled me with the discipline and precision to be more spontaneous and free-flowing in jazz. Both genres are about patterns, form, and feeling. Jazz is

perhaps about breaking rules, but classical training helps to know what the rules are in the first place. I’m sure the same could be said for innovation in physics, not that I was ever good at that. In acting, the great teacher Constantin Stanislavski called it “rigorous rebellion”.

With such a broad range of vocal styles in your repertoire, from classical to jazz to acappella, how do you balance and navigate between them creatively?

I am inspired by the great trumpeter and educator Wynton Marsalis, who has succeeded in both! He says the first listener is not the audience, but the player. The principles of music are the same however you want to express yourself. I look at Grammy awardwinning jazzer Jacob Collier, who like my brother, Leo, started his singing career as Miles in Britten’s The Turn of The Screw. It is important to have a practice routine, and to find the practice techniques that cross over in both genres. Practising more advanced harmony and modes applies to both classical and jazz music. This helps me to improve my improvisatory skills, and keep my sightreading agile.

Could you elaborate on your experiences performing with renowned ensembles like the National Youth Jazz Orchestra and NoVI? How have these collaborations influenced your artistic growth?

The National Youth Jazz Orchestra, or as we call it NYJO, gave career

starts to Amy Winehouse and Sam Smith, shortly before I was there. They taught me to understand my voice as an instrument, rather like a trumpet playing lead in a horn section. It’s not easy sometimes with 25 musicians accompanying you, but any jazz singer will tell you to play with a big band is the coolest feeling! I also became much more conscious of how using a microphone alters how I project my baritone sound. With NoVI, as all the members come from different musical backgrounds, I’m constantly discovering new repertoire. It has helped me to trust my inner metronome, as without instrumentalists and percussionists, I have had to be more rigorous at keeping time.

You’ve ventured into acting and ADR (automated dialogue replacement) work alongside your music career. How do these different creative outlets complement each other, and what challenges do they present?

Music and acting both demand precision, intuition and involve acting and reacting. As much with acting as with music, sometimes things are notated, sometimes improvisatory (particularly in jazz). Having a musical ear helps when I re-voice characters, dub into foreign languages and use a variety of British accents. My musical experiences have helped me to see the rhythm of certain words sung and unsung; music and acting both tease this out. They bring a greater awareness of sounds. Working to replace dialogue in films and TV means I have had the chance to work on some really cool projects like Bob Marley: One Love, Vikings, The Crown and even being a Scouser in the BAFTA awardwinning series, The Responder.

How has being proficient in multiple languages enriched your performances and collaborations in different cultural contexts?

I travel with my work and I wouldn’t have had as many gigs abroad had it not been for my linguistic competence in French, Spanish, and Portuguese. This started at Trinity,

when I participated in a public Spanish-speaking competition at the Spanish Embassy, when I was placed 4th in the UK. Music, like language, is about pronunciation, vocabulary memory, listening skills. And crucially relaxing into the process of failure! They are very emotive media too, so they have helped me develop awareness here too. Being able to

mimic famous people also keeps fellow musicians amused, much as it did when I was at Trinity and could imitate some of the teachers! I have learnt that the ability to laugh at yourself and with others can keep you sane in the unpredictable world of the freelancer!

What are some of your upcoming projects or aspirations in music and

other creative endeavours?

Last year, I recorded seven tracks with my band and soon I will release my first album! My late father, when I was at Trinity, always said to me: “Write your own ticket, kid!” and he mentioned it again in my birthday card, four years ago, shortly before he died. I owe it to him and the rest of my family to honour his request! I look forward to sharing it with you all.

André Flemmings, Class of 2002

André joined Trinity as a J-Bug in 1994 and, in his first year, became part of Britten’s A Midsummer Night’s Dream,

performing at the London Coliseum and the Ravenna Festival in Italy. He was made Head Chorister by the departing David Squibb in 2001, making him David Swinson’s first. After Trinity, André studied Philosophy & German at Brasenose College, Oxford, before working in the City.

You were part of the Trinity Boys Choir and David Swinson’s first Head Chorister. How did these achievements influence your personal and professional development?

Being involved in music at Trinity exposed me to so many experiences, opportunities and places that shaped my understanding of teamwork, leadership and professionalism. The choirs and orchestras showed me the importance of communities in which each person’s unique talent - or sound - contributes something valuable to the whole. Working under different conductors and performing different genres of music enabled me to adapt to new environments or circumstances. Regular sight-reading increased my ability to think on my feet and perform in dynamic situations.

Regular performance opportunities

helped my presentation skills and reminded me to think about what my audience was feeling, rather than solely what I was singing or playing. Performance brought me out of myself as, at times, I did not feel comfortable in my own skin. Intellectually, music gave me windows into other moments in history, different cultures and strains of philosophical thought, which contributed to my decision to study modern languages and philosophy.

Involvement in music eventually led to me, my wife Alexandra, and closest mates, travelling the world and organising albums, tours and TV appearances with Out of the Blue, an a cappella group at university. It even inspired a yearlong career break working for an NGO in the slums of Buenos Aires.

Were there any specific teachers at Trinity who had a significant impact on your life or career?

All my teachers influenced me, but a couple had a significant impact. My German teacher and Sixth Form tutor, Gary Powell, was a real support. Had it not been for him (and Chris Tarrant, the headmaster), I might have left Trinity after the financial burden became too much for my family. He

inspired me to pursue Philosophy & German at Oxford.

The music department was the place I felt most relaxed. David Squibb was ever-present, and cello and vocal lessons with James Halsey and Tim Penrose were therapeutic. It was in these lessons that I was most open about how I felt. Other important teachers included Stuart Robertson, the Head of Strings, and David de Warrenne, whose rhapsodic composition lessons were a joy.

One great thing was the sense that teachers genuinely loved their subjects. Seeing them balance that with other aspects of school life - music, drama, or sport - instilled a sense that education was more than getting good grades. Trinity was academic and fairly sporty, but it had the reputation for being the “soft” or “nice” school. I think it championed well-being long before it became fashionable.

Could you share some memories from your time in the choir?

As a J-Bug, travelling to London to perform on stage was an unforgettable experience. In

particular, being part of A Midsummer Night’s Dream, where I dressed up as a bellboy with blue hair, was pretty magical. Working with choreographers like Catherine Malone, and conductors like Steuart Bedford, as well as Gary Bertini, gave me a sense that opera-houses, major music venues, and even radio stations like Radio 3 could be for someone like me, who grew up on a council estate, as much as the reggae, garage, jungle and house I was listening to at home, if I wanted them to be.

My first Choristers’ course to Kuala Lumpur was special. My voice broke at the end of J-Bugs and I was the youngest member of the alto/tenor/ bass section. It was where I got to know my best mate, Chris Price. We roomed together and it was the start of a friendship that has seen us buy a property together, be best men at each other’s weddings,

and be godfathers to each other’s eldest children. Who’d have thought jumping off TV sets onto king-sized beds would bond you to someone!

Singing for Prince Philip’s visit to school in 1996, and then with Her Majesty the Queen in 1998, were highlights.

As Head Boy, what challenges did you face and how did you overcome them?

It was an honour to be selected as School Captain but it was awkward as the other person in the running was my best friend, Chris, who became Vice-Captain. We were a kind of double-act. I was then asked

by David Squibb to

become

Head

Chorister, which I nearly declined for fear of being overloaded.

I felt a bit of pressure holding both roles, as they demanded a lot of time, organisation of others, and some unpopular decisions. As a scholarship and bursary boy, and one of the first people of colour in that role, I felt the need to represent my people in the best way possible and to “do the most”. I can say now this was unnecessary pressure because, in that community, most people saw me as just me. But few looked like me in those positions - a fact amplified when I got to Oxford. The best challenge was setting up an initiative that the choir inspired.

I was used to working alongside people in other year groups, so setting up a mentoring programme that invited prefects to “buddy” classes at the major entry points for new students ensured that they acted more as mentors and “big brothers” than proxy-teachers. I’m glad the peer-to-peer support framework is now an integral to the school’s pastoral network.

Do you see any connections between your musical background and your academic pursuits at Oxford?

As a baritone, much of the repertoire I used to sing with Mr Penrose was in German. Much

as I love my Croydon roots, the local twang was not conducive to speaking German properly. The vowel work that Tim did with me, singing Schubert and Schumann Lieder, and that David Swinson did with the choir, helped immensely when I got to Oxford. The language course is very literature-focused and those Lieder introduced me to musical repertoire, styles and applications to literature that would inform my essays on Thomas Mann and Heinrich Heine.

What advice would you give to current students at Trinity, particularly those interested in academic and extracurricular interests?

Academically, I excelled the most when I engaged in activities outside my studies - especially at Oxford. My thinking was clearer, the connections I made were deeper, and my thinking was more original.

Diary-wise, my music provided natural boundaries to my work. It allowed my brain to rest and be engaged in a different way. That left me much more energised and focused when I returned to academic work. The performing, arranging, gig organising, as well as the sport and fitness I did, also reminded me that it was OK not to be good at something . . . yet.

How did your experiences at Trinity prepare you for the City?

I’ve enjoyed two careers in the City: the first as a PR specialist for private equity and hedge funds; the second as a diversity, inclusion and well-being specialist. Currently, I ply my trade at a US-based international law firm, overseeing their inclusion efforts in London, Germany and Asia.

Trinity helped me talk to anyone and find common ground. Nestled between the more metropolitan parts of South London and leafier suburban Kent and Surrey, its catchment is culturally and socially more mixed and integrated than many other grammar or

independent institutions.

These skills helped when bringing disparate populations together for mutual benefit. In my first role it might be journalists, who tended to be liberally minded, with more conservative financiers. In my second, it might be a young talented person who is a carer with a hirer from an affluent European background.

Since Trinity, what role has music played in your life?

Music continued to be a major part of my university life. I turned down the opportunity to join Magdalen College Choir to pursue the little-known genre of contemporary a cappella. I got into a group called Out of the Blue and became its Business Manager. I organised a selffunded tour to the US West

Coast and Rockies and established the group’s now annual, sold-out run at the Edinburgh Fringe summer concert in Oxford. We also performed for Bill Clinton and appeared at Nelson Mandela’s 90th birthday celebrations in London.

Without singing, I might not have met my wife, Alex. We got together in my final year, but had actually met two years prior at one of

Oxford’s “garden parties” when Out of the Blue serenaded one of her friends. As if it could not get more cheesy, she sang in “In the Pink”, an all-girl group. We like to think that the film Pitch Perfect was a documentary about our experience!

Ken Burton, Class of 1988

Ken arrived at Trinity on a music scholarship in 1981. He went on to study music at Goldsmith’s University, where he made history by becoming the first music

student to gain 100% in an aural examination, which won him a prize. He works as a choral and orchestral conductor, composer, performer, producer, presenter, arranger, and judge,

and is widely known for his appearances on UK television programmes, particularly BBC1 Songs of Praise.

He has conducted and directed choirs for major films, including

the multi Oscar-winning and Grammy-winning Marvel film Black Panther and Black Panther 2: Wakanda Forever.

Can you share with us your journey into the world of music, from your school days to now? How did your experiences shape your career path?

Music was a tripartite experience for me, involving home, school, and church. Each played its part not only in my musical development, but in my passion for music.

I went through the formal route of piano lessons, grades, music degree, and ongoing professional development. From an early age, I have been regularly active in my church, playing piano and organ, and I have directed my church choir since 1985 - a year before doing my O Levels.

I am from a rather small familythere were only ten of us! Being the “baby” of the family, I was exposed to a lot of sounds as many family members learnt instruments. An essential part of my upbringing in a West Indian Christian home was morning and evening family worship, where singing featured strongly. We had our mini choir, with lots of harmonies, and spontaneity, and a real sense of joy. I maintain that this helped instil my passion for music, as well as skills such as improvising.

Throughout your musical journey, who were the teachers or mentors that had the most significant impact on you, and what lessons did you learn from them that you carry with you today?

My first main piano teacher, the late Margaret Carr Singh, gave me a solid education, in the true sense of the word, meaning “drawing out of”. One memory is her musical doorbell. She would change its tune every week, and before allowing me into her house I had to identify the tune’s key. Fortunately, I was never left out in the cold.

The music staff, and experience, at Trinity School were excellent. I had the privilege of learning under David Squibb (classroom music), John Shepherd (organ), Stewart Robertson (violin), David De Warrenne (piano and classroom music), Simon Marriott (A Level) and Stephen Johns (A Level). If I’ve missed anyone, blame the head and not the heart! They truly helped shape me academically. Mr De Warrenne had his own choir, which did lighter music, and he used to get me to play for it. His arrangements were incredible, and I still use some of his harmonic progressions. One of my greatest university influences was the conductor Mark Shanahan.

As a conductor, composer, performer, producer, and presenter, you wear many hats in the music industry. How do you balance these distinct roles, and what do you find most fulfilling about each of them?

I did some secondary school teaching. I enjoyed it, but realised my mind is too restless for routine. I prefer a life where no two days are the same. I see all I do as spontaneous creativity, I always like to be present in the moment, and I treat whatever I’m doing as an holistic experience.

Your work spans various mediums, from television programmes like BBC1 Songs of Praise to major films like Black Panther. How do you approach adapting your musical style and direction to suit different projects and audiences?

As human beings, we can be quite

obsessed with labels. Over the years I have learnt to see music as music. My approach, my work ethic, even my corny Dad-joke humour, follow me wherever I go. I do not look at the size and scope of a project. I will pour myself into something I am doing on a voluntary basis as much as a big job. I simply immerse myself in whatever I am doing.

Could you tell us about your involvement in projects like Black Panther, Candy Cane Lane, and Jingle Jangle? What were some of the unique challenges and rewards?

I contracted a 40-piece choir and played the role of choirmaster on the first film, and conductor on the second. Word of mouth is important in the music world, and I was subsequently introduced to other production teams for other movies, for which I have conducted, arranged, and contributed vocally.

Among the challenges of this work is the fact that a number of recordings are produced from LA. It is our job to keep those who are listening to the session in a remote studio in California, and watching through a camera, happy, and to get through a lot of music - with an eight-hour time difference to consider. Recording sessions are expensive, and there’s always pressure to make sure you are delivering.

For me, the biggest reward is hearing the music in a movie theatre with the big speakers, surround sound, and that feeling of “that’s us!” The success of the first Black

Panther soundtrack with its Grammy and Oscar wins was a special moment. A fellow singer (who is a Trinity parent) told me how she can change the dynamic of a lesson when she shares with a student some of the projects she is working on. I have witnessed that when doing a workshop where students are less than engaged: do a little name-dropping and, suddenly, you’ve got them. That is one of the unusual “rewards”.

As a Trinity alumnus, how did your education contribute to your musical development and career success? Are there any experiences or opportunities from your time here that stand out for you?

I really loved the breadth of experiences on offer to us, which made for an enriching and comprehensive educational experience. I particularly enjoyed the music competitions, an opportunity for collaboration and teamwork.

Apart from music, I loved learning languages, a useful tool in the music world. The solid method of my language education from such wonderful teachers as the

late Paul Wright gave me a love for etymology and, of course - as many of my Facebook friends would attest while inwardly cringing - my lexophilic proclivities, otherwise known as wit more cheesy than Camembert.

In your opinion, why is music such a vital part of human culture and society? What are the most significant benefits that music brings to individuals and communities?

At birth we made sound, lots of it. We grew up and became selfconscious. Interestingly, when I am teaching someone singing, I am getting them to go back to day one. I’ve travelled and seen communities making music from early on and it is like a part of their souls. Scientific research is confirming the benefits of learning and performing music. Music is essential to life.

As someone who has worked extensively in both classical and contemporary music, what do you see as the common threads that connect these disparate genres? How do you navigate between them in your own work?

I operate in a borderless way. Much of what I do involves analysing and having an overview of music, seeing what is going on underneath the bonnet, and there are so many similarities between genres. The saying about music being a universal language is so true. I like to see myself as a musical “bridge builder”.

With your diverse expertise, what advice would you give to aspiring musicians who are looking to carve out their own paths in the industry? Are there any key principles or strategies that you believe are essential for success?

Know the industry; think about what you might uniquely have to offer. Never stop learning.

Be humble and a nice person to be around. You are not too important to leave your dressing room in a clean state; show appreciation; have multiple disciplines. Never lose touch with your art. Remember music is a work of heart!

Looking towards the future, what projects are you working on, and what do you hope to achieve in the coming years? How do you see your role in the music industry evolving, and what legacy do you hope to leave behind?

NDAs prevent me from saying too much, but I am working on other big screen projects. I have taken on a role as composer-in-residence for the Voces8 ensemble, which is hugely exciting. I will be travelling to various places in the UK and abroad for performances and, as a creative mind that never seems to stop, I am always actively thinking proactively about different projects.

I am where I am today as a result of collective efforts and sacrifices, of being given that little push or that word of encouragement, and endeavour to extend that same selfless generosity and encouragement to enable others and encourage them to enable others.

Robert Jones, Class of 1975

Robert is an English countertenor who began his musical journey at Trinity, directing a parish choir while still a student. A talented pianist and organist, he earned an Exhibition to the Royal College of Music Junior Department. As a music scholar at Christ

Church, Oxford, he sang in the Christ Church Cathedral Choir. He held esteemed positions at St George’s Chapel, Windsor Castle, and Westminster Cathedral.

He flourished as a consort singer, featuring on awardwinning recordings with the

Tallis Scholars, the Orlando Consort, and the Gabrieli Consort. Robert’s particular passion is for early music, but he has also sung in the premieres of contemporary works, including Jonathan Dove’s The Far Theatricals of Day and Tarik O’Regan’s Scattered Rhymes. His dedication extends to teaching and conducting choirs, notably as the conductor of the Eastcote Choral Society.

Can you tell us about your time at Trinity and how your musical journey began there?

My earliest memory of Trinity is of loving the atmosphere of the school when I came for the entrance exam and being really insistent that I wanted to go there (despite also having an offer from the other place). Luckily, my parents were persuaded, partly because the school was beginning to develop a reputation for music, even though David Squibb had only been there for a couple of years. I was already playing the piano and doing well in festivals and exams – I also loved singing in a small parish church choir at St Edmund’s, Riddlesdown. When I first joined, aged seven, the choir was run by the priest-in-

charge, Richard Lewis, who was probably the first musician I really admired, even though he was not a professional (I met him again many years later when he was Dean of Wells).

My first new musical experience at Trinity was beginning to learn the organ with Chris Dowie, although he moved to Royal Russell School after my first year and later became organist of Wimborne Minster

During your time at Trinity, you ran your own parish choir. How did this experience shape your passion for choral directing, and how did you balance it with school commitments?

I had great fun, both musically and socially, directing music at St Mary’s, Addington. The choir was very diverse. It ranged from a 76-year-old bass, whose father

had been organist of the church from 1895 until 1961, to the daughter of the Director of the RSCM, and a number of my fellow Trinity Choristers. (I had an unofficial competition with David Squibb, who was then at Sutton Parish Church, to see how many Trinity boys we could recruit – I think it was a tie at eight each!) School work was not always a priority (one of my plans for the future is to resume my German studies and actually read one of the A-level set books!), but I did enough to get by.

As a junior exhibitioner at the Royal College of Music and a pianist, how did your training with Robert Langston and experiences as a musician contribute to your overall musical development?

Saturday mornings at the RCM (where I had piano lessons with John Barstow, and theory and

musicianship training from Robert Langston) were a constant exposure to high musical standards, which gave me a wider perspective on music outside the organ and choral world.

You mentioned giving an organ recital at St Bride’s Church in 1974 and wanting to become Director of Music. How did this early ambition manifest in your career, and how did it lead you to St Bride’s in 1988?

My ambition from a very early stage was to combine the life of a professional consort singer, such as the ones we encountered when Trinity Boys Choir did professional work with London choirs, with a church organist/choirmaster post. I only landed on St Bride’s because I had that early experience of doing a recital there, but it seemed to be the right place for me when the job came up in 1988.

scholar at Christ Church, Oxford, how did these experiences shape your approach to singing and your career as a consort singer?

Christ Church choir was another example of working to the highest possible standard, under the inspirational directorship of Simon Preston (who was also a role model for organists). I think my skills as a sight-reader and an ensemble singer, which were well-developed at Trinity, were enhanced further at Oxford. I was lucky enough to be in the right places at the right time when the professional consort and early music scene began to take off in the early 1980s.

Could you share some highlights from your career as one of Britain’s leading consort singers, featuring on recordings with the Tallis Scholars, the Orlando Consort, and the Gabrieli Consort?

I am particularly proud of being

winning recordings, both from fairly early in my career. One is the Tallis Scholars’ recording of two Masses by Josquin, which won the Gramophone Record of the Year award in 1987 – this was completely unexpected, as the recording was made with eight singers, two of whom were ill and almost voiceless at the time of the recording! The other is the Gabrieli Consort’s recording of A Venetian Coronation, which was made in 1989 and put that group on the map. This was also my first visit to Brinkburn Priory in Northumberland, where I later played the organ for a Radio 3 broadcast of music by S S Wesley, again with the Gabrieli Consort. The organ is one Wesley would have recognised, so it was quite scary to manage, particularly as I had a bad back at the time.

There are so many memorable moments from concerts – I frequently sang in the solo quartet

of the Allegri Miserere in venues ranging from Allegri’s own choir loft in the Sistine Chapel to the top of a lift-shaft in the Sydney Opera House!

Maintaining a lifelong interest in piano, organ playing, and choral directing, how do you balance these different aspects of your career, and do you have a particular preference among them?

I’ve never had a particular career plan, but have always responded to offers of work as they came along - flexibility and open-mindedness are the key to success, something I learnt from David Squibb. I am slightly sad that I now do little professional singing, but I’m not sure how I would find the time to fit it in.

You succeeded your former tutor at St Bride’s in 1988. Can

28 - Alumni Spotlight: Robert Jones

you describe the challenges and rewards of directing the choir for services, concerts, and recordings, with a notable highpoint being the service attended by the Queen in November 2007?

St Bride’s has been an immensely rewarding experience – it has been a particular pleasure to see a succession of young choral singers coming through into the professional singing world, including some who are now very eminent (and a number of Trinity boys!). The service attended by the late Queen (for which we commissioned an anthem from Bob Chilcott) was one high spot, but there have been numerous services attended by famous peoplenotably the wedding of Rupert Murdoch and Jerry Hall. Our recording of Bruckner motets is apparently one of the bestselling discs on the Naxos label.

As a teacher and examiner for the Associated Board since 2004, how do you approach music education, especially in the Far East, and what insights have you gained from examining?

Overseas examining has not fully recovered from Covid, although many Far East candidates now take recorded performance grades, which we mark from home. I have had several trips to Singapore, which have been an interesting mixture of hard work (very full days of examining, often after long train journeys, with no absent candidates because any gaps in the schedule are filled from a waiting list) and relaxation (no work at weekends, which is novel for any professional musician).

Finally, how has your personal and professional life, including being married to a music teacher and having four sons, influenced your musical journey and the values you instil in the next generation of musicians?

My wife has always kept my feet on the ground, and it was

inspiring to see what she managed to achieve in a state school with minimal resources for music (I still do some piano teaching there, even though she retired from school teaching a while ago). It has been a great joy to us both that all our sons caught the choral music bug – they were choristers in a variety of places, including St John’s, Cambridge; Christ

Church, Oxford; and St George’s, Windsor. They have all sung professionally as adults (though only one is now doing so full-time). For the past few years, my sons and I have all sung together during the Edington Festival (a festival of music and liturgy that takes place at the end of August at Edington Priory in Wiltshire).

The not-so-ordinary visit from Kjellon Morris (Class of 2019)

Kjellon (pronounced Shay-Lon) brings big energy and a huge smile. During his visit, he shared updates on his journey since graduating from Plymouth in September with a degree in Computing and Games Development. He’s now a freelance illustrator and the co-founder of Not Evil Studios.

Armed with his portfolio, he took a trip down memory lane, revisiting all departments. Our first stop was the Computing department, where he discussed his work with Not Evil Studios with Mr Page and Mr van Graan, while meeting coding club students. Next, the Maths department, where his fondness for doodling during lessons was remembered. Then, Design Technology, where an old masterpiece of Kjellon’s was unearthed by Mr Aldridge and Mr Currigan. Finally, the Art department, where Kjellon reunited with Mrs MacDonald, head of the Wednesday Ceramics Club, who helped fuel Kjellon’s passion for the arts.

Alumni inspire humanities student

The Classics Department teamed up with English, Politics and History to run the first ever Future Pathways: Learning from Alumni event, specifically aimed at students of humanities subjects. Four Trinity alumni with degrees in these subjects were invited to speak: Jamie Cox (Class of 2015), Co-Founder and CEO at TreeCard; Olivia Smout (Class of 2019), Marketing Executive at American Express; Deesha Ganguli (Class of 2018), Civil Service Fast Stream; and Will Bowler (Class of 2018), Strategy and Planning Manager, HSBC UK.

The alumni shared their different experiences of taking the first steps in their careers, securing internships and jobs, launching companies and even details of their average day. They also spoke of the value of the skills they had gained while studying humanities subjects, and how important it is to pursue extracurricular activities at school and university. They made clear that this varied experience helps students to become well-rounded individuals, as well as gaining “soft skills”, which are of great importance in the workplace.

Alumni insights: Finance and Technology, Daniel and Nicholas Thompson (Class of 2015)

It was a pleasure to welcome back Dan and Nick to the Economics and Business Society.

Nick and Dan were sports scholars and played for England ISFA U16 and U18 Football. They both achieved top As and A*s at A Level in Biology, Chemistry, Maths and Further Maths. Nick studied mathematical computation at UCL, and Dan studied mathematics and economics at LSE. During their discussion, they shared insights into how they successfully balanced their academic and sporting commitments. They were quite open in acknowledging that Trinity had prepared them on how to effectively manage their time.

Dan, a Risk Analyst at Société Générale, delivered a talk on “Central Counterparties and their Role in the Financial System”. He covered various topics related to the function and significance of central counterparties (CCPs) within the financial system. Although it might seem quite high-level for our students, Dan broke it down into manageable chunks so that all the students could engage.

Nick, a Software Engineer at JP Morgan, discussed the current and future state of technology at large financial institutions. He provided an overview of the challenges of modernisation, regulation, security, data, and scale, along with strategies to stay ahead of the competition.

Politics students visit Westminster

A group of 16 Lower Sixth Politics students went to Westminster for the day to gain a better insight into the actual workings of our parliamentary system.

Trinity alumnus Chris Shaw (Class of 1986), who is now Chief Clerk to the Foreign Affairs Select

Committee, generously spoke to the students, giving a frank and honest account of the work of select committees and some candid views on the effectiveness of the political process.

The afternoon was spent in the “Strangers’ Gallery” of the House

of Lords, allowing students to listen into discussions on the government’s controversial Rwanda bill.

With many thanks to Chris Shaw and Sarah Jones MP for giving their time to our students.

Trinity’s inaugural National Careers Week was a resounding success!

Our objective was to spotlight the diverse career paths pursued by our alumni. Each lunchtime, we were delighted to welcome alumni from various fields, including finance, law, computer science, medicine, professional sports, and psychology. The talks were tailored for Fourth, Fifth Years, and Sixth Form students (aged 14-18 years), aligning with Trinity School’s commitment to empower students by offering resources, guidance, and insights into different professions, industries, and entrepreneurial paths.

The presentations aimed to provide valuable perspectives for our students as they make informed decisions about their own

futures. The experiences shared by our alumni served as a source of inspiration and guidance in navigating the myriad possibilities awaiting them.

During the week, students had the opportunity to ask our alumni questions and seek advice in an informal manner.

A big thank you to:

Amit Puri (Class of 2007), Kate Clancy (Class of 2017), Dr Zoe Ndumbe (Class of 2016), Matthew

Studying architecture at university

We were thrilled to have a visit from Henry Aldridge (Class of 2017). Henry, a Cambridge graduate currently studying at UCL’s Bartlett School of Architecture, is making waves in the field. In 2023, he received the prestigious RIBA Wren Insurance Association Scholarship, awarded to Part 2 architecture students with the potential to shape the future of the profession.

Henry shared some invaluable advice with our students. When it comes to choosing a university, he suggested keeping an eye out for any displays or exhibitions they might be running. These events can give you a real taste of what

studying architecture entails and the specific course offered by the university.

When asked why he chose Cambridge, Henry explained that it wasn’t just about the university itself, but also the town. He encouraged students to think about where they

Eagling (Class of 2015), Kieran Kenlock (Class of 2010), Nick Thompson (Class of 2015), DanielPaul Osahon (Class of 2019), Chris Lambeth (Class of 2011), Alisha Mehta (Class of 2016), Deesha Ganguli (Class of 2018), Trinity Ramsden-Board (Class of 2020), and Edward Brook (Class of 2017).

would feel most at home during their three-year studies.

Is it possible to reverse hearing loss?

Darcey Kirwin (Class of 2018) left Trinity to study neuroscience at Leeds, where she attained a first-class honours degree. She then completed her Masters in neuroscience at UCL and is studying for a PhD at King’s College London.

Darcey is a research scientist, with a strong background in molecular neuroscience, who is currently utilising her expertise in cell

biology, electrophysiology, and research protocol optimisation to gain a better understanding of the genetics of deafness – the subject of the Biology Society’s talk.

The students and staff in attendance were fascinated and had many questions: what causes hearing loss (environmental factors, genetics?); and can we reverse hearing loss (possibly, but there is a time window)? Darcey also

discussed the techniques she is employing in the laboratory.

A final test for the entire group was “how old are your ears?”. Darcey asked everyone in the room to raise their hands, then emitted a low frequency tone that gradually increased in frequency, instructing everyone to lower their hands when they could no longer hear any noise. Interestingly, those who were older lowered their hands first!

Fourth Year art trip to Sotheby’s

Fourth Year art students met up with Tamsin Golding Yee (Class of 2015) to hear all about her work at Sotheby’s, and how her journey from studying art at Trinity led her to study art history at university, followed by an MA at the Courtauld Institute of Art. A big thanks to Tamsin for taking the time to speak to our students.

Piano Recital and Alumni Reception at Trinity

The Trinity Piano Festival took place in January with internationally renowned virtuoso pianists Peter Donohoe who gave an astonishing recital alongside Trinity alumnus and Steinway Artist, Karl Lutchmayer (Class of 1987).

This was the first time both Steinway Concert Grands were alongside each other in the Trinity Concert Hall, for what was the most astonishing recital Trinity has presented to date. The featured work was Busoni’s virtuosic masterpiece, Contrappuntistica for 2 pianos which thoroughly deserved the rapturous applause and standing ovation by the delighted audience.

Following the recital, the Alumni department was delighted to host a reception for Karl in the Sandison Room. He extended invitations to many of his classmates, friends, and family to join him at the concert. They were all thrilled to be back at ‘Big School,’ witnessing this monumental moment of Karl performing on stage.

As a fun addition, we managed to recreate a school photo with Karl and his classmates. The only person missing from this photo is Matthew McGuinness, who now resides in Poland.

U25s Christmas Party - December 19, 2023

What an incredible night! Thank you to all the Trinity alumni who attended the U25s Christmas Party - an event that just gets better every year. The Sixth Form Centre buzzed with the energy of more than 200 alumni, from the Classes of 2017 to 2023. It was a night of dancing, toasting, catching up, and creating great memories.

Bristol and Bath University

Alumni Drinks - February 8, 2024

The atmosphere was electric at the Slug and Lettuce in Bristol, as alumni exchanged hugs and handshakes with their mates. Over drinks, conversations flowed as the group discussed their diverse courses - law, economics, politics, engineering, English, maths, and art. Excitement about a forthcoming study year abroad at the University of Bologna, along with others’ involvement in extracurricular activities, including sports and law, painted a vivid picture of these students’ university lives. Donna even received updates on the lively party scene in Bristol and Bath.

Nottingham and Loughborough University Alumni Drinks - February 22, 2024

Our familiar gathering spot, the Slug and Lettuce in Market Square, Nottingham, hosted our gettogether. Discussions covered a range of topics, from reflections on the students’ first year at university to the various sports they participated in. Additionally, groups of students shared their plans to live together in the coming year, further strengthening the bond within the Trinity community.

We were delighted to welcome two former students, whom we had lost contact with, back into the Trinity fold. All the alumni were enthusiastic about providing advice to our current students and were excited to learn about Trinity’s first National Careers Week. They expressed interest in returning to Trinity once they have established their careers.

Alumni Drinks Event - February 28, 2024

We had a great time catching up with Trinity alumni at The Horniman at Hays, in London, at the end of February. Nearly 90 people showed up, covering every decade from the 1960s to the 2020s. Our Trinity community is truly connected and social!

A big shout-out to the 12 newcomers and the 15 familiar faces we hadn’t seen in a while. It was a fantastic opportunity to forge new connections and rekindle old ones. The laid-back vibe of the event makes it super easy to drop by, especially if it has been a while. We’re always thrilled to welcome everyone back with open arms and warm smiles.

Annual Reunion Dinner (formerly Founder’s Day Supper)March 22, 2024

The Trinity Club once again welcomed alumni, former members of the common room and guests to their Annual Reunion Dinner (formerly Founder’s Day Supper) held in TCH. There have been some obvious tweaks to the name and certain traditions, but this did not stop everyone’s enjoyment of the evening. For a second year running, the bust of John Whitgift took pride of place on the stage to oversee the event, ensuring that we all remembered why we were there.

Following on from his highly successful stint as MC last year, Paul Petty (Class of 1983) was back to make sure that the evening ran smoothly. However, this annual dinner is all about celebrating the Chairman and the contribution he has made to the Trinity Club over the years. And this year, who better than Richard Sexton MBE (Class of 1988)? Despite relocating to the US in 2001, Richard continues to be an integral part of the Old Mids Rugby Club. It was wonderful to see so many of his year group there to support him, as well as his mother, Heather, and brother, Matthew.

Choral Music at Trinity

Choral music at Trinity goes back a long way. In fact, the Christmas Concert in 1908 is the first reported event where the school choir (under the baton of Mr H. L. Balfour) sang carols, some part songs and various popular choruses with the school orchestra. Such concerts continued and, in 1919, the creation of the School Song created a new opportunity for the choir to sing at the annual prizegiving - a tradition that continued until the late 1960s.

Music at Whitgift Middle School, however, was not of a high standard for many years and the choir nearly folded. It was only when John Parkinson started at the school as Music Master, in 1949, that things improved. Over the next 15 years, he organised and developed both the instrumental and choral side of school music. The choir began performing more in public, tackling ever-more interesting and

demanding works.

In 1964, the arrival of David Squibb as Director of Music moved the musical capabilities at the school to even further heights. The move to the Shirley Park site in 1965 added new music facilities and the introduction of a growing number of professional instrument teachers soon raised the standards of performance right across the spectrum.

Trinity Choristers was formed in 1965, as a sub-section of the newly created Trinity Boys Choir. The Choristers started to sing church music to a very high standard in churches and cathedrals all over the country. The annual Cathedral Courses started in 1968 and still runs each year, providing the daily services for a week or more while the cathedral’s own choir is on holiday.

Trinity Boys Choir soon developed a national, and then international, reputation for superb “boys voice” singing, attracting commercial contracts for film soundtracks, jingles, recitals, and opera choruses. Many boys also undertook solo, duet, small group and chorus works for recordings and TV performances in the UK and overseas.

This first-rate reputation led to the Trinity Boys Choir singing the parts

of “Fairies” in Britten’s opera, A Midsummer Night’s Dream in 1980, at the Aldeburgh Festival. Then in 1981, began the relationship with Glyndebourne Opera to sing the work, with performances still taking place today.

In 2001, David Swinson was appointed Director of Music and, yet again, the abilities, capabilities and performance levels of individual singers and instrumentalists have risen to an even higher level. The numerous choral groups, instrumental ensembles, orchestras, bands and collectives are a testament to his skill and ability to employ some of the finest music teachers in the country, to teach an ever-increasing body of students who want to sing in a choir or play an instrument. While the choral standards of the Choristers and the Boys Choir remain ultra-high, with a record-breaking diary of concerts and recordings, the advent of a co-educational Sixth Form at Trinity, has added another string to the

school’s bow. There are now some fine female voices who have their own commercial engagements, as well as undertaking concerts and recordings with the boys.

Trinity became the first All-Steinway School in 2012, another significant landmark in the school’s musical ascendancy. There are now 26

Steinway pianos in the wonderful new Music School (opened in 2017) and, together with the installation of several organs, these amazing facilities continue to drive the standards of musical excellence ever higher.

The future of music at Trinity is gloriously bright.

Did you know that newsletters and programmes relating to music at Trinity throughout the years are now available on our digital archive?

Click on the link below using the log in details and enjoy your trip down memory lane!

The archives will give you access to old magazines, photos, school productions etc.

Trinity School Digital Archives

The login details are as follows:

For the username: guest

id: trinity

Sadly, we lost dear friends from our Trinity community in recent months, and they have very much been in our thoughts. As we remember them here in this special In Memoriam tribute, we honour the unique contributions and lasting impact they made on our school, extending our deepest sympathies to their families, friends, and loved ones.

We invite you to join us in this tribute and celebration of their lives, as we keep their memory alive and honour the indelible mark they left on the Trinity School community in Croydon.

David G. Edwards, Class of 1958

David joined Whitgift Middle School in September 1950.

In December 1951, his parents were informed that he had won a scholarship for tuition and travel, which meant a huge amount to them. To celebrate, they went to the Festival of Britain on the South Bank.

John G. Harries, Class of 1964

At school (the lovely old buildings and playing fields at North End), John was well-liked and respected, by the masters as well as by his contemporaries. This was as much for his honest, straightforward character, and his agreeable personality, as for his manifest intellectual, artistic and sporting ability.

He was a rational, practically minded man, and hated muddle or humbug. He was courteous, careful and methodical, but he had a strong sense of humour and a lively appreciation of the ridiculous.

He was a clever student - blessed with a subtle mind, a good memory, a quick understanding

David was forever grateful for the education he received at Trinity and, in later life, he became a valued member of the Mitre Society by pledging to leave the Trinity Bursary Fund a gift in his will.

and a well-organised, elegant writing style.

He loved his time at school, enjoying to the full his lessons and a range of extracurricular activities. He was good at rugby and athletics, did his duty in the CCF, and was lucky with an idyllic school exchange at Aix-en-Provence.

Above all, and from an early age, he was an artistbecoming a fine draughtsman and caricaturist, and an accomplished painter. The stage sets that he designed at school were wonderfully imagined and faultlessly executed - and his mature, sophisticated set for Sheridan’s The Critic was quite outstanding.

Having been mentored by his excellent art master at school, Mr Renouf, John retained his wide-ranging enthusiasm for drawing, painting and print-making all his life. The oeuvre that he has left behind is certainly of a sound professional standard, technically and aesthetically.

He embraced modernity in the arts, including his enduring pleasure in mainstream music. He was engaged with politics (a CND Aldermaston March veteran while still at school) and his friends tended to be bright, energetic people.

John lived a good life, dying peacefully at the age of 80. He leaves behind his younger brother, Howard, who contributed to this obituary.

Nicholas Wright, Class of 1968

Nicholas (Nic) left Trinity to study maths at Bristol University. He was clarinettist for the School Orchestra, the Swing Band and the Concert Band. His yearbook valete said he could quite possibly be in the next Louis Armstrong All Stars tour!

1977-2017

David Walter, Class of 1969

David was a popular and active member of Trinity and of Worcester House. He was awarded colours for cross country and was the captain of the 1st VIII team. He was a member of the cricket 1st XI, having previously been 2nd XI and 3rd XI Captain. He was also a touch judge for the 1st XV and a member of the bridge 1st Team.

As well as his love of sport, he was a sergeant in the RAF section of the CCF. In the Sixth Form, he became a prefect and school Vice-Captain.

David was a stalwart of the annual Founder’s Day supper and was much loved among his peers, who have recounted many an amusing anecdote of time spent with him.

Former staff who passed away in the last year

1992-2021

Did you know . . .

even a gift of 1% in your will (leaving 99% for those nearest and dearest to you) would mean the world to pupils at Trinity. And, of course, you can always leave more if you wish. Registered charity number: 312612

Mike Johnson Biology Teacher

Mario Sammut Head Porter

Dates for your diary

Summer 2024

Saturday 6 April

Evensong

Peterborough Cathedral

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Thursday 18 April

Charity lunch with Jeff Stelling Balls Brothers, Minster Exchange

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Wednesday 22 May

Trinity Golf Day

Croham Hurst Golf Club

Thursday 23 May

Mitre Society Lunch

Savile Club

Wednesday 5 May

Alumni Community Drinks Event

The Reform Club

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Saturday 29 June

Milestone Reunion for the Classes of 1974, 1979, 1984, 1989, 1994, 1999, 2004, 2009 and the 1950s and 1960s decades

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Saturday 6 July

Trinity Proms

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Wednesday 14 August

Past Parents Drinks

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Autumn 2024

September

Festival of Rugby

Saturday 14 September

Trinity Open House

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October

Reception for Supporters of the Trinity Bursary Fund

November

Pre-Christmas drinks for all alumni

Friday 8 November

Remembrance Day Service

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Tuesday 17 December

U25 Xmas Drinks

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