KES SouthBank Sinfonia

King Edward VI School in concert with

Southbank Sinfonia Tuesday 20th October 2015 Turner Sims | 7.30pm

1•

•2

welcome Welcome to Turner Sims for this evening’s concert, which is the culmination of an action-packed and inspiring day of music making with Southbank Sinfonia, musicians from our feeder Prep and Junior Schools, singers from the KES Adult Choir and musicians from KES Chamber Orchestra and Chamber Choir.

This morning our visiting partnership school musicians took passenger seats in the full orchestral rehearsal and worked with KES Chamber Choir for the pre-concert performance, while KES Chamber Orchestra played side-by-side with Southbank Sinfonia, gaining a real insight into the stamina and skill required to be an orchestral musician today.

This afternoon the Chamber Choir enjoyed rehearsing Poulenc with a professional orchestral accompaniment.

I know I speak for everyone involved when I offer our most sincere thanks to all the players and staff of Southbank Sinfonia for their inspiring work with us today. I would also like to extend my thanks to our visiting partnership musicians and their teachers.

Finally, thank you very much for attending the concert and I hope you enjoy the evening.

Heather Freemantle Director of Music and Head of Creative Arts

3•

•4

Programme • Symphony no. 6 in F major (first movement) Allegro ma non troppo Ludwig Van Beethoven (1770-1827) Performed by Southbank Sinfonia • Symphony no.2 in B flat major (last movement) Presto Vivace Franz Schubert (1797-1828) Performed by Southbank Sinfonia • Three Sea Shanties Malcolm Arnold (1921-2006) Performed by Southank Sinfonia, Nick Francis, Tom Edwards, Aelfred Hillman • Gloria (‘Gloria’, ‘Laudamus Te’, ‘Domine Deus, Angus Dei’, ‘Domine Fili Unigenite’) Francis Poulenc (1899 - 1963) Performed by Southbank Sinfonia with KES Chamber Choir • Short Interval of 10 minutes • Overture to The Barber of Seville Gioachino Rossini (1792-1868) Performed by KES Chamber Orchestra and Southbank Sinfonia • Symphony no. 9 in E minor, op. 95, ‘From the New World’ (First Movement) Adagio – Allegro Molto Antonín Dvořák (1841–1904) Performed by KES Chamber Orchestra and Southbank Sinfonia

5•

•6

Southbank Sinfonia is an orchestra of young professionals described by The Times as ‘a dashing ensemble who play with exhilarating fizz, exactness and stamina’. It is internationally recognised as a leading orchestral academy, providing graduate musicians from all over the world with a much-needed springboard into the profession.

Every year its players, each supported by a bursary, undertake an intensive and wideranging nine month programme of performance and professional development. The orchestra is given unparalleled opportunities to perform and gain crucial experience in orchestral repertoire, chamber music, opera, dance and theatre. Alongside this, specialist development sessions that embrace leadership and teamwork provide each musician with the professional toolkit required to pioneer their own future musical ventures.

Integral to the programme are the orchestra’s creative partnerships with leading performing arts organisations including the Royal Opera, National Theatre, BBC Concert Orchestra, Academy of St Martin in the Fields, and acclaimed artists such as Patrons Vladimir Ashkenazy and Edward Gardner. Performing side-by-side with world-class artists gives Southbank Sinfonia’s musicians first-hand experience of what it takes to be a professional today.

Founded in 2002 by Music Director Simon Over, the orchestra is proud to be based at St John’s Waterloo, in the heart of London, where its regular free Rush Hour concerts give many people their first experience of live orchestral music. By virtue of their youth, energy and excellence, Southbank Sinfonia players not only bring fresh resonance to the stage but are also ideally placed to act as role-models who inspire many younger musicians on London’s Southbank and beyond.

Today, former members occupy prominent seats in leading orchestras throughout the world. From the Philharmonia to the Melbourne Symphony, each proudly acknowledges the positive impact that Southbank Sinfonia has made upon their progress.

Southbank Sinfonia receives no public funding and is indebted to its many individual donors, trusts and foundations, and corporate supporters who believe in the potential of its young musicians. If you are inspired by what you hear this evening, you too can make a difference to the journey these young artists will take this year. To find out how you can support the orchestra and discover more about its next exciting performances, visit www.southbanksinfonia.co.uk

7•

VIOLIN Yena Choi Avril Freemantle Rachel Gorman Alina Hiltunen Kaya Kuwabara Joanna Ly Karla Norton Colm O’Reilly Anaïs Ponty Timothy Rathbone

VIOLA Duncan Anderson William Neri Jessica Tickle

CELLO Tatiana Chernyshova Marc Labranche Sophie Williams

DOUBLE BASS Giuseppe Ciraso Cali Lachlan Radford

FLUTE Lindsey Ellis Helen Wilson •8

OBOE Helen Clinton Viviana Salcedo Agudelo

CLARINET Som Howie Oli Pashley

BASSOON Gareth Humphreys Harry Ventham

HORN Nicholas Ireson Phillipa Slack

TRUMPET Rebecca Crawshaw Darren Moore

TIMPANI & PERCUSSION Sarah Hatch

Artist Development Déarbhaile Nairn

Orchestra Assistant Alison Brand

9•

King Edward VI Chamber Orchestra Violin I

Violin II

Viola

Bass

Trumpet

Tuba

Emmy Huang Maya Garside Ben Atherton Natalya Evans Iman Elshiekh Yuquing Chen Jess Holt Victoria Diaper

Alice Booth Alla Garside Eve Henley Niall Armstrong Elizabeth Lotery Zoe Carter Tai Sophie Arthur

Kelvin Xie Jo Seaby

Alice Ridley Alistair FraserUrquhart

Mhairi Carson Philip Normand Toby Saer Ellie MacLeod David Scott

Chris Lotery

Trombone

Percussion

Guy Ripper Edward Fletcher Harry FraserUrquhart Tom Barton Gordon Malachian

Joe Winter Oliver Tait Richard Brown Zak Milner

Cello Mike Huang

Flute Tom Edwards Rhianna Jones

Oboe Luke Roberts Linus Etchingham Sarah Salmon

• 10

Clarinet Nick Francis Kieran Bassi Aelfred Hillman

Bassoon Claudia Tam

Horn Tom Salmon Chris Mckay

King Edward VI Chamber CHOIR Soprano

Alto

Rosa Sparks Rhianna Jones Emer Healy Madeleine Duffin Sophie Roe Evie Wateridge Charlie Lisle Vicky Diaper Indie Chungh Alastair Fraser-Urquhart Anna Poller Rachel Jacob Julia Hardwick Diana Hulbert Zoe Carter Tai Luke Peart

Holly Smart Ellie Dunlop Emily Besley Emma Blackman Beth Gaunt Niamh Phelan Jess Holmes Phoebe Willoughby Hannington Natalya Evans Maya Garside Rose Van Der Schee Erica Roberts Jacqui Besley Jane Holt Sophie Armstrong Sue Blunsden Georgia Hoile Colette Lane Jo Seaby

Tenor

Bass

Beth Self David Rees Ellie Macleod Iman Elsheikh Meg Dunlop

Philip Normand Tom Edwards Luke Roberts Guy Ripper Barnaby Taylor Richard Brown Ben Routledge Jake Berry Gus Reid Joe Winter Dominik Reynolds Julian Poppleton Stuart Ayres Angus Armstrong Perter Collins

11 •

Conductor Dinis Sousa is the Guildhall School Fellow in Conducting. He graduated in 2014 with Distinction from the Guildhall Artist in Performance Masters programme, studying piano with Philip Jenkins and Martin Roscoe, and conducting with Sian Edwards and Timothy Redmond. He has performed at venues such as the Barbican and Queen Elizabeth Halls and conducting the Southbank Sinfonia at Cadogan Hall and appearing as a soloist with Portugal’s Orquestra do Norte. He is artistic director of Orquestra XXI, an awardwinning project that brings together Portuguese musicians that live all over Europe to play together in Portugal.

Dinis has taken part in several masterclasses, and worked with musicians such as Sequeira Costa, Angela Hewitt, Richard Egarr, Ronan O’Hora, amongst others. He has performed in major international venues such as Casa da Musica, Calouste Gulbenkian Foundation, Barbican, Queen Elizabeth and Snape Maltings Concert Halls and recorded for BBC Radio 3 and RDP Antena 2. He has assisted Nicholas Collon for concerts at Aldeburgh Festival and BBC Proms.

• 12

Programme NOTES Symphony no. 6 in F major, ‘Pastoral’ (first movement) Allegro ma non troppo Ludwig van Beethoven (1770-1827)

Gloria (‘Gloria’, ‘Laudamus Te’, ‘Dominus Deus, Agnus Dei’, ‘Domine Fili Unigente’) Francis Poulenc (1899-1963)

In a freezing cold theatre on 22nd December 1808 a Viennese audience witnessed musical history in the making. Beethoven’s Fifth and Sixth Symphonies, two of the most iconic musical masterpieces ever written, received their first performances, conducted by the composer himself along with several other new works that made up a marathon four-hour programme. The Sixth Symphony stood out because it contained, unusually for the time, ‘programmatic’ content: it is intended as a depiction of nature, with each movement representing a different pastoral scene. However, Beethoven was keen to stress that his focus was on the ‘feelings’ evoked by the countryside rather than attempting to ‘paint’ a specific landscape. The gentle, lilting opening movement describes, in his words, the ‘awakening of cheerful feelings on arriving in the countryside’.

The Gloria, for choir, soprano solo and orchestra, is one of Poulenc’s best-loved works. It was written late in his life and was first performed in Boston in 1961. It sets the Catholic Gloria in excelsis deo text in six short movements, four of which will be performed tonight. The work has been described as a ‘captivating mixture of solemnity and mischievous exuberance’; Poulenc himself reported that ‘while writing it I had in mind those Crozzoli frescoes with angels sticking out their tongues.’ Although it is a joyful work, there are moments of great calm and serenity which reflect a more sombre aspect of the composer’s religious expression.

Symphony no. 2 in B flat major (last movement) Presto Vivace Franz Schubert (1797-1828) Although written in 1815, Schubert’s Second Symphony was not performed until 1877. The influence of Haydn, Mozart and Beethoven hangs heavily over Schubert’s orchestral works, as it did over all musical activity in Vienna at this time, but even in this early work the young Schubert manages to allow his individuality to shine through. The final movement, heard tonight, is an energetic Presto in 2/4 time, based on themes from folk songs.

Three Sea Shanties 1. Allegro con brio 2. Allegretto semplice 3. Allegro vivace Malcolm Arnold (1921-2006) These three short and lively works, for woodwind quintet, demonstrate Malcolm Arnold’s characteristic flair for combining ebullience and fun with musical sophistication. Each piece is based on a different Sea Shanty; in the first we hear a humorous take on an increasingly drunken sailor.

Overture to The Barber of Seville Goiachino Rossini (1792-1868) The Barber of Seville, Rossini’s most famous comic opera, premiered in Rome in 1816. The composer was only 24 years old, yet he already had sixteen operas behind him. Rossini composed his operas with astonishing speed, and usually wrote the overture last. In this case, he was so pressed for time that he simply took an overture he had already written for a different work. Its lyrical beauty more than compensates for the lack of thematic integration with the rest of the opera. The structure is typical of Rossini’s overtures: a slow introduction followed by a quick main section with two themes repeated.

Symphony no. 9 in E minor, op. 95, ‘From the New World’ (first movement) Adagio – Allegro Molto Antonín Dvořák (1841-1904) In 1892 Dvořák left Europe to take a position as director of the National Convervatory of Music in New York. He already had a huge international reputation as a composer, and was famous for incorporating melodies and idioms from the folk traditions of Moravia and his native Bohemia into his work. When he moved to the States, Dvořák was similarly interested in exploring and engaging with the traditional musical styles he found there, including Native American folk songs and AfricanAmerican music. There has been much speculation as to the particularly American feel of the Ninth Symphony since it premiered in 1893; a flute solo in the first movement has been said to resemble the spiritual ‘Swing Low, Sweet Chariot’. While the influence of folk music is clear, the specific ‘Americanness’ of the symphony has perhaps been exaggerated. Despite its many influences, this is at heart a work wholly rooted in the European orchestral tradition.

13 •

• 14

Partnership Schools/Directors of Music Sherborne House

Shelagh Lee

Stroud

Tanya Fay

Springhill

Liz Crighton-Lee

Highfield

Val Hickox, Nichola Caveney

Partnership Co-ordinator

Irene Anderson

Prep School Liaison

Andy Gilbert

Photography

Graham Piggott

Technical Assistance

Harun Kotch

Filming

Dave Blow

Lighting

Sam Routledge

Programme Design

Indigo Press

Programme Notes

James Belassie

Director of Chamber Choir

Irene Anderson

Director of Chamber Orchestra

Heather Freemantle

Front of House

Andy Gilbert Hilary Smith

Music Administrator

Stacey Barnett

Music Staff

Chris Evans James Belassie Irene Anderson Heather Freemantle

Visiting Music Teachers Michelle Allen Stacey Barnett Gill Bolton Darrell Cox Elin Davis Jo Handy Adam Lamprell Adrian Osman Tamsin Rowlinson David Scott Timothy Warren Paul Williams Fiona Willsher

Jane Andrews James Belassie Graham Cleaver Andrew Daniels John Hanchett Harun Kotch Julie-Dawn Lloyd Gintaras Pamakstys Sarah Salmon Claire Stocker Diana Williams Amy Williamson Andrew Worsfold

15 •

KES Forthcoming Music Events Monday 14th December 2015 7.30pm

Carol Service Romsey Abbey

Thursday 4th February 2016 6pm

Evensong Worcester College Oxford

Wednesday 10th February 2016 7.30pm

Dobson Concert

Wednesday 24th February 2016 5.30pm

Evensong Winchester Cathedral

Wednesday 9th March 7.30pm 2016

Turner Sims Concert

Wednesday 16th March 2016

Thanksgiving Winchester Cathedral

THANK YOU to the staff of Turner Sims for making us so welcome and finally to all KES students, staff and parents for their support this evening.

KING EDWARD VI SCHOOL Tel: 023 8079 9216 Wilton Road . Southampton . SO15 5UQ Email: enquiries@kes.hants.sch.uk www.kes.hants.sch.uk