Gala Concert 2025

Welcome from the Headmaster

Thank you for being with us this evening at Oakham School’s annual Gala Concert. It is a privilege and a pleasure to be back at Cambridge’s West Road Concert Hall for one of the highlights of the school year, showcasing the hard work and ability of our pupils.

We look forward to a wonderful selection of music, spotlighting some of our leading Form 6 & 7 musicians, and bringing together our wider Oakham Community in tonight’s performance of Carmina Burana. Before that grand finale of song, we will enjoy the School’s Concert Band and Symphony Orchestra, with contrasting programmes featuring English folk music arrangements by Ernest Tomlinson and the lyrical saxophone writing of Alfred Reed. Our Symphony Orchestra are proud to present Beethoven’s iconic ‘Egmont’ overture, followed by a movement of one of the great 20th century violin concertos by Samuel Barber.

Carl Orff’s masterwork Carmina Burana occupies the second half of our concert, in a performance which combines the youngest and oldest members of our school with Oakham Choral Society. Our soloists also have an Oakham connection, with a former pupil, a former teacher and a leaving pupil performing the Baritone, Tenor and Soprano solos respectively.

I would especially like to express my enormous gratitude to the Director of Music, John Mountford, and his talented and committed music staff who have all had a part in the preparations for today’s concert.

Thank you again for your support tonight and throughout the year. I wish you a most enjoyable concert.

Henry Price Headmaster

PROGRAMME

Please note that personal recording or photography is not permitted during the concert.

CONCERT BAND

Steve Foster conductor

Suite of English Folk Dances

iii. Dick’s Maggot

iv. Hunt the Squirrel

v. Nonesuch

Ernest Tomlinson (1924-2015)

In 1951 Ernest Tomlinson, at the invitation of his sister Freda, attended a Festival of Dance and Song presented by the English Folk Dance and Song Society. He was so captivated by the tunes danced to, that he resolved to write an orchestral suite based on some of them. The suite was published in 1954. The composer's arrangement for wind band follows closely the textures and colour contrasts of the orchestral original. The Suite, which is dedicated to his sister, is in six movements and this evening we are playing three of them. All the folk tunes are from John Playford's The English Dancing Master which was published in 1651.

Ballade

George Marshall alto saxophone

Alfred Reed (1921-2005)

This work is one of a group of three pieces for solo wind instruments and band commissioned by the G. LeBlanc Corporation in 1955 as performance vehicles for their artist/clinicians. It was written for Vincent J. “Jimmy” Abato, a brilliant virtuoso both on the clarinet and saxophone.

Like most ballades, its single main theme, accompanied by two smaller motifs, is developed in a continuous fashion, affecting many subtle changes of mood and colour, even though almost every single measure is related in a close or distant way. In deference to the French school of saxophone playing, which was taken as a basis for the composition of this piece, the emphasis is on the long lyrical line of brilliant but light colour, while the accompaniment is an always changing harmonic background of chords.

Shenandoah

Frank Ticheli (b. 1958)

The folk tune, Shenandoah, originated in the 19th Century and has been attributed variously to a coal miner from Pennsylvania, a young student of Stephen Foster (not our Mr Foster), and to a housewife from Kentucky. There are many variations of the melody and lyrics of this tune, but the most popular understanding of the lyrics are about a settler's love for a Native American woman. The arranger, Frank Ticheli uses elements from the folk tune, clever use of colour and creative harmony to create a flowing piece which is truly beautiful.

SYMPHONY ORCHESTRA

John Mountford conductor

Maya Mbogo violin

Egmont Overture, op. 84

Ludwig van Beethoven (1770-1827)

This overture is the first in a set of incidental pieces which Beethoven wrote between 1809 and 1810 to accompany the play of the same name by Goethe, written in 1788. The play, heavily influenced by Shakespearean tragedy, focusses on the downfall of a man who trusts in the goodness of those around him. Having become overpowered by the Duke of Alba, Egmont refuses to surrender and the play finishes with his final call to fight for independence: his death as a martyr appears as a victory against oppression.

Violin Concerto, op.14, Samuel Barber (1910-1981)

i. Allegro Molto Moderato

Samuel Barber is recognised as one of the most loved composers in the story of American Classical Music. This concerto was commissioned by Samuel Fels (who earnt his fortune making laundry soap) and was supporting the young violinist, Iso Briselli. However, Iso's teacher was unimpressed with the piece and Barber never received full payment.

Thankfully, the concerto was eventually premiered and is now a well loved work in the violin repertory. This first movement is a portrait of Romantic and cinematic lyricism which twists and turns to an euphoric climax, animated by Barber's use of the familiar 'scotch snap' rhythm of folk traditions. This rhythm continues to be used in the closing section, which brings a nostalgic and whimsical feeling to the end of the movement.

INTERVAL (15

minutes)

CHAPEL

& LOWER SCHOOL CHOIRS, OAKHAM CHORAL SOCIETY

John Mountford conductor, Evie Holder soprano, Harry Jacques tenor, Alex Bower-Brown baritone

Burana Carl Orff (1895-1982)

Carl Orff composed a number of works for the theatre and concert hall but he is chiefly remembered for his far-reaching contribution to music education - his OrffSchulwerk, published in 1930, is still in use today - and for his dramatic cantata, Carmina Burana, written in 1936. Orff came from a musical family and had a number of songs and other pieces published whilst still in his teens. His style at that time could be described as post Romantic, influenced as it was by Schoenberg and Richard Strauss. His ground-breaking research into the way in which music and movement are instinctively and inextricably linked in young children resulted in a radical change in how music was taught in schools throughout Europe and beyond. He became fascinated with the power of primitive rhythms and simple melodies, which gradually found expression in his own compositions. With Carmina Burana he finally turned his back on

chromaticism and complex polyphony for a deliberately simplified style, characterised by its rhythmic energy and the repetition of short melodic phrases supported by elemental block harmonies. It comes as no surprise to learn that Orff was dismissed by the critics - one called him ‘a rich man’s banjo player’ - but the work immediately appealed to the public and has remained a great favourite ever since.

The text of Carmina Burana is a selection from a large collection of secular poems of the 12th and 13th Centuries, preserved in a manuscript at the Bavarian monastery of Benediktbeuren. The poems are mostly in Latin, the international language of the day, though some are in old French or Middle High German and come from a wide variety of sources. It is somewhat surprising to learn that, apart from some poems that are of a morally uplifting nature, most are bawdy student songs celebrating such unmonastic earthly delights as drinking, gambling, dancing and lovemaking.

Orff described Carmina Burana as a ‘scenic cantata’. It uses a very large orchestra in its original form and was originally designed for the stage, with dancing and mime accompanying the music. It was first performed at the Frankfurt Opera House. The work begins and ends with a powerful hymn to the goddess Fortuna, the Empress of the World, seen as a monstrous whirling wheel carrying its victims first to the heights, then dashing them to the ground. In between come three main sections. The first is a depiction of Spring, Primo Vere, illustrated by rustic songs and dances. The second is set in a tavern, vividly described by a succession of characters including the swan on the spit (tenor solo), who laments his dreadful fate. Part III, The Court of Love, is an uninhibited celebration of the delights of love. The penultimate number, Blanziflor and Helena, leads back to the opening hymn, thereby not only unifying the whole work, but also acting as a pertinent reminder that our lives are ever subject to the slings and arrows of outrageous Fortune.

John Bawden

BIOGRAPHIES

George Marshall saxophone is in his 7th year as a Music Scholar at Oakham School, having joined at the age of 10. He recently achieved Grade 8 ABRSM with distinction and is accomplished on the tenor, soprano and alto saxophone. George plays an active role within the School's Music Department, frequently appearing as a soloist in the School's Wednesday lunchtime recital series held at All Saints' Church, Oakham. He has been a member of Oakham School Concert Band and Big Band for the last 6 years, and regularly features as a soloist in both. He studies saxophone with Alistair Parnell and has a keen interest in Jazz music. George has further developed his proficiency and sound through attending extra-curricular music summer schools including 4 years at Wells Cathedral School International Jazz week and 2 years as a member of the National Youth Jazz Collective. He is planning on studying economics and hopes to continue to play music at university.

Maya Mbogo violin has been playing the violin since the age of six and is a Music Scholar in her final year at Oakham School, which she has attended since the First Form. Studying under Emily Holland, she has enjoyed being part of both the Symphony and Chamber Orchestras, performing in numerous concerts and ensembles throughout her time at Oakham. She also plays the piano and is currently working towards her Grade 8. Recently, Maya has enjoyed performing in solo lunchtime recitals, with some of her favourite repertoire including From My Homeland by Bedřich Smetana and Allegro non troppo from Sonata in E minor, Op. 82 by Edward Elgar. She has also loved taking part in the school's music tours to Spain and Germany, which have been a highlight of her musical journey. Beyond music, she enjoys playing netball competitively. She will be going on to study Economics at university while continuing to pursue her music alongside her studies.

Evie Holder soprano joined Oakham School in the First Form as a Music Scholar and is now enjoying her final year. Music has always been a central part of her life; she has been singing since she was 7, and also plays the violin and piano. She studies singing with Elise Fairley and has participated in the School’s choirs for many years; she hopes to continue this passion well into the future. Her biggest achievements include winning Nottingham Young Singer of the Year 2023, as well as performing as a soloist alongside professionals with Oakham and Rutland Choral Societies. Last summer, she sang at Southwell Music Festival and at the King’s Official Birthday Celebration at Southwell Minster following an invitation from the High Sheriff of Nottinghamshire. She enjoys sailing on Rutland Water in her spare time, as well as taking a keen interest in languages - she is going to study French at university.

Harry Jacques tenor originally studied music at Bristol University as an organist, where he also sang in choirs. Whilst holding organ-playing positions, Harry also qualified as a secondary school teacher, becoming Organist and Teacher of Music at Oakham School, where he accompanied the school’s choirs and conducted Oakham Choral Society. His choral experience developed through singing with cathedral choirs and as a VOCES8 Scholar. After beginning studies with tenor John Graham-Hall, Harry’s first experience of opera came as a Young Artist at Waterperry Opera Festival, performing a staged version of Britten’s Abraham and Isaac and singing in the chorus for Mozart’s The Magic Flute.

In recent years, Harry has built considerable experience with oratorio singing, including Bach’s Magnificat, Mass in B minor, St John Passion (Evangelist and soloist), Handel Messiah, Haydn The Creation and Stainer Crucifixion, some of these having been supported by the Josephine Baker Trust. Harry is also in demand as a choral tenor, having performed and recorded with London Choral Sinfonia, Gabrieli Consort and Stephen Layton’s Polyphony in the past year.

Thanks to the generous support of the D’Oyle Carte Charitable Trust and the Edith Vogel Bursary, Harry began studying a master’s degree in vocal studies at the Guildhall School of Music and Drama in September 2022, studying with Adrian Thompson and John Evans. Harry enjoyed understudying the rôle of Nemorino singing with Wild Arts under the direction of Orlando Jopling in Summer 2023. Recent solo engagements have included: performing opera scenes (Don José, Fritz, Lindoro, Eisenstein) at Guildhall, taking part in a Finzi song project with Iain Burnside, Amy Beach The Canticle of the Sun with David Hill and The Bach Choir at the Royal Festival Hall, and performances of Handel Messiah at Lincoln Cathedral and for Wild Arts in November and December 2023. In 2024 Harry sang in Glyndebourne Chorus for the summer festival productions of Die Zauberflöte, The Merry Widow, Carmen and Tristan und Isolde, culminating in a performance of Carmen at the BBC Proms.

In Autumn 2024, Harry began studying on the opera course at GSMD, supported by The Worshipful Company of Grocers. So far, he has performed scenes as Leicester in Donizetti’s Maria Stuarda, Mayor Upfold in Britten’s Albert Herring and Romeo in Gounod’s Romeo et Juliette, and recently as Essex in Britten’s Gloriana, Soldato Primo in Monteverdi’s L’incoronazione di Poppea, and Le Chevalier in Poulenc’s Dialogue des Carmélites.

Alex Bower-Brown baritone is a British baritone, currently studying in the opera school at the Royal Academy of Music with the professors Glenville Hargreaves and Iain Ledingham. Alex is gratefully supported by the Norman Ayrton award. Whilst at the Academy, Alex has been a regular performer in the Royal Academy Bach consort, performing with some of the best conductors of our age including Philppe Herreweghe, John Butt and Jane Glover. A highlight of the series was singing Pilate in a production of Bach’s great work, St John’s Passion, conducted by Philppe Herreweghe. Alex has also sung in various masterclasses whilst at the Academy, the most recent of which was singing for Thomas Quasthoff at Wigmore Hall. Opera roles include Father in Humperdinck’s Hänsel und Gretel, Tobias Mill in Rossini’s La Cambiale di matrimonio, Mr Gedge (Vicar) in Britten’s Albert Herring, Die Sprecher in Mozart’s Die Zauberflöte and Alexander in Martinu’s Alexandre Bis.

Outside of the Academy, Alex has a wealth of experience singing both as an oratorio soloist and in professional choirs. He has performed as a soloist in a wide variety of works including Handel’s Messiah, Bach’s St Matthew Passion, Brahms’ Requiem, Mendelssohn’s Elijah, Vaughan Williams’ Five Mystical Songs, Rossini’s Petite Messe Sollonelle and Alec Roth’s A Time to Dance. Alex has made his solo debuts at some of London’s most illustrious venues including Wigmore Hall, Cadogan Hall and St John’s Smith Square.

1 & 25. O Fortuna ~ chorus

SUNG TEXTS

A powerful reflection on the unpredictability of fate, which raises and crushes people without warning, affecting all with its ever-turning wheel.

2. Fortune plango vulnera ~ chorus

A lament on the fickle nature of fortune, which grants prosperity only to take it away, reminding all that no one remains at the top forever.

3. Veris leta facies ~ chorus

A joyful celebration of spring’s arrival, as nature blooms, birds sing, and the world is filled with warmth and new life.

4. Omnia sol temperat ~ baritone solo

Spring awakens love and joy, encouraging faithfulness and devotion even across distances.

5. Ecce gratum ~ chours

Spring and summer bring warmth, joy, and the promise of love, encouraging all to embrace life’s pleasures.

7. Floret silva nobilis ~ chours

Amid the blooming woods, a longing heart laments the absence of a distant lover.

8. Chramer, gip die varwe mir ~ soprano solo

A playful song where a young woman seeks beauty to attract admirers, celebrating love and the joys of life.

9. Reie (Round dance) ~ chours

A lighthearted song about young maidens enjoying their freedom, while a lover longs for their beloved’s affection.

10. Were diu werlt alle min ~ chours

A whimsical declaration that all the riches of the world would be worth giving up for the love of the queen of England.

11. Estuans interius ~ baritone solo

A restless soul reflects on inner turmoil, the fleeting nature of life, and a pursuit of worldly pleasures over wisdom and virtue.

12. Cignus ustus cantat (The Roast Swan) ~ tenor solo

Once a graceful swan, now roasted and served on a platter, the speaker laments their tragic transformation, expressing misery as they are turned on the spit and consumed.

13. Ego sum abbas ~ baritone solo

The Abbot of Cockaigne proudly declares his devotion to drinking and indulgence. He warns that anyone seeking him at the tavern will leave impoverished by nightfall, lamenting the cruel hand of fate that strips away all life's pleasures.

14. In taberna quando sumus ~ chours

In this lively and humorous tavern song, the revelers describe the carefree atmosphere where no one worries about mortality. The poem details the various patrons—rich and poor, young and old who drink without restraint, toasting everything from prisoners to sailors. Despite the

joy, the song acknowledges that such indulgence leads to poverty and invites a curse upon those who criticize their way of life.

15. Amor volat undique ~ soprano solo

This playful verse celebrates love’s universal reach, as Cupid's desire touches all. It suggests that those without a partner are deprived of joy, left to endure lonely nights and the bitterness of solitude.

16. Dies, nox et omnia ~ baritone solo

This lament expresses the speaker's anguish and longing for an unattainable beloved. Day and night bring no relief, and the playful talk of others deepens their sorrow. They plead with friends for understanding and counsel, while mourning the beloved’s cold heart. Yet, they confess that a single kiss could revive their spirit.

17. Stetit puella ~ soprano solo

This playful and vivid poem describes a girl in a red tunic, which rustles at the slightest touch. She is compared to a delicate rose, with a radiant face and blossoming lips. The repeated exclamation "Eia!" adds a sense of delight and admiration.

18. Circa mea pectora ~ baritone solo

The poem expresses deep longing for an absent lover. The speaker is enchanted by her radiant beauty, comparing her eyes to sunlight and lightning. Despite this intense desire, the lover does not come, a sorrowful refrain repeated throughout.

20. Veni, veni, venias ~ chorus

The poem is a passionate plea for a beloved to come near, praising their beauty radiant eyes, shining hair, and a face more lovely than a rose or lily. The speaker celebrates and takes pride in their beloved’s charm.

21. In trutina ~ soprano solo

The speaker wrestles with opposing desires passionate love and modesty but ultimately chooses to embrace love, willingly accepting its sweet burden.

22. Tempus es iocundum ~ soli soprano & baritone

This joyful song celebrates the thrill of first love. As spring awakens new desires, the speaker is torn between innocence and longing, expressing both excitement and frustration while calling for their beloved to join them in happiness.

23. Dulcissime ~ soprano solo

A brief yet passionate declaration of complete devotion, expressing the speaker’s wholehearted surrender to their beloved.

24. Ave formosissima ~ chorus

This verse is a grand tribute to an idealized beloved, praising her beauty and virtue. She is compared to legendary figures of grace and allure Blanchefleur, Helen of Troy, and the goddess Venus emphasising her unmatched radiance and nobility.

25. O Fortuna see No. 1 above ~ chorus

PERFORMERS

CONCERT BAND

Flute Clara Altermann, Shonali Banerjee, Ibti Al Sayigh, Emma Breag, Polly Machin, Marni Lennard, Aggy Yafai

Clarinet Harry Kinnear, Samuel Topaly, Jacob Littlewood, Jason He, Henry Botham, Emilia Bond, Elodie Warke, Gill Henshaw

Oboe Alvina Kwok

Saxophone George Marshall, Isabella Kluger, Hester Milne, Samantha Read, Clara Morgan, Prince Bharaj, Emily Kinnear

Trumpet Grace Hornsby, Monty Price, Iona Simpson, Lizzie Wyer, Andy Holman

Horn Joshua Lai, Monty McGill

Trombone Ottó Stone, Harry Sutterby, Arlo Marron

Piano Cason Kang

Bass Guitar David Graham

Percussion Ryan Hou

SYMPHONY ORCHESTRA

Violin 1 Maya Mbogo, Lizzie Wyer, Nicola Chotrani, Elsa Marsh, Emma Gant

Violin 2 Evie Holder, Ethan Chan, Sophia Cure, Salomie Epie, Ruby Dudin, Beth Miles

Viola Tomas Dickinson, Alexa Berkin-Evans, Lucy Carr, Emily Holland

Cello Isabelle White, Emma Chotrani, Atea Yu, Grace Lai, Lauren Taylor, Toby White

Double Bass Heather McGill, Tom McKenzie

Flute Shonali Banerjee, Polly Machin, Ibti Al Sayigh

Clarinet Harry Kinnear, Jason He, Gill Henshaw

Bassoon Danté Scott-Horne

Horn Joshua Lai

Trumpet Eddie Nicholson, Steve Foster

Trombone Ottó Stone

Percussion Ryan Hou

Piano Rosie Johnson

LOWER SCHOOL CHOIR

George Aspinall, Beatrix Bagnall, Juliet Bell, Daniel Biney, Laurence Bluff, Emma Chotrani, Lucy Doyle, Preston Efele, Sage Farnham, Freddie Freimuth, Max Green, Beth Griffiths, Charlie Hardwicke, Eva Hempsall, Matthew Hollingshead, Ted Hook, Miles Hudson, Coco Jordan, Mandlenkosi Kamesa, George Lister, Clemmie Lovelace, Raphael Lynn-Brown, Izzie McDermott, Monty McGill, Alova Nablu, Brooke Parker, Phia Phillips, Monty Price, Annabelle Robinson, Safi Ross, Charlotte Sampson, Bella Steiger, Ava Stephens, Isobel Styles, Theo Swann, Laurie Treadwell, Edie Williams, Jemima Wilson, Aggy Yafai, Alice Yafai

CHAPEL CHOIR

Soprano Elizabeth Bagnall, Eloise Baines, Shonali Banerjee, Emilia Bond, Evelyn Brammer, Penelope Brammer, Emma Breag, Lottie Brown, Lucy Carr, Bea Cole, Sophia Cure, Lillie Drennan, Serafina Griffin, Evie Holder, Tilly Howarth-Hale, Imogen Harrison, Rosie Johnson, Madelaine Kluger, Coco Lynn-Brown, Xanthe Lynn-Brown, Poppy Lovelace, Evie Marsh, Olivia Melville, Elsa Milne, Lara Pilbeam, Eloise Snape, Molly Sutterby, Isabelle White, Lizzie Wyer

Alto Ibti Al Sayigh, Alexa Berkin-Evans, Madeleine Cartwright, Sophie Cartwright, Jessica Day, Isabella El-Sheikh, Pauline Francois-Herbert, Grace Hornsby, Isabel Hurst, Isabella Kluger, Grace Lai, Natalie Leung, Elsa Marsh, Esther Morse, Molly Plummer, Holly Prothero, Ffion Reading, Chloe Shaw, Elodie Shenton, Phebe Smith, Halldis Stone, Elodie Warke, Jessica Warke

Tenor Prince Bharaj, Ethan Chan, Alex Forshaw, William Griffiths, William Hallam, Toby James, Jacob Littlewood, Finlay Mitchell, George Pepper, Charlie Piper, William Collison, Ewan Stockwell

Bass Jonathan Ayre, Tomas Dickinson, Harry Kinnear, Joshua Lai, Alex Morrison, Eddie Nicholson, Ottó Stone, James Robinson, Oliver Smith

OAKHAM CHORAL SOCIETY

Soprano Jackie Bennett, Janet Berridge, Judy Blakeborough, YounHee Choi, Tara Davies, Ellie Dickinson, Maria Fryday, Jenny Hedley, Phillipa Gallimore, Susan Gorman, Maria Hickinbotham, Barbara Kay, Jennifer Maskell, Tracy Needle, Heather Pain, Charlotte Pennington, Mary Price, Hilary Smith, Janice Swanson, Stephanie Tenneson, Lucretia Urquhart, Margaret Wheeler, Kitty Wigmore

Alto Jane Ball, Helen Bush, Sarah Glynn, Yvette Griffin, Annette Lear, Jane Lucas, Teerna Mukhopadhyay, Mair O'Kane, Diane Park, Jenny Saville, Gillie Tyler, Rachel Williams

Tenor Robert Batty, Jeff Davies, Peter Jupp, Leander Urquhart

Bass Bob Batten, Christopher Heygate Goddard, Peter Lawson, Stephen Wigmore

ENSEMBLE

Piano

Anne Bolt, Cason Kang

Percussion Ryan Hou, Polly Machin, Oliver Jackson, Sam Milton, Christina Slominska, Aaron Townsend