St Johns Square

King Edward VI sChool COncert Thursday 8th November 2012 St John's, Smith Square, Westminster, London

ST JOHN’S SMITH SQUARE Patron: HRH The Dutchess of Cornwall

©David Hackney

St John’s has been dubbed ‘Queen Anne’s Footstool’ due to a legend that when the architect, Thomas Archer, asked Queen Anne how she would like the new church to look, the monarch petulantly kicked over her footstool and snapped “like that!”, thus the four towers are said to give the building the semblance of an upturned footstool.

As Sir Hugh Casson has said of St John’s “...just to come across it in that quiet square is an event. To enter it, to enjoy its spaces, to listen to fine music within its walls is an experience not to be matched in conventional concert halls and is a lasting tribute to the man who designed it.”

King Edward VI sChool COncert Thursday 8th November 2012 St John's, Smith Square, Westminster, London

Julian ThoulD

H e ad Mas t e r

2012 has certainly been an exciting year for our musicians with the Gala Concert at the Anvil in March, a tour to Prague in the summer, a newly refurbished and extended rehearsal space in the department and now the opportunity to play in a professional arena. As well as being an exceptional musical venue, St John’s is also a fine example of English Baroque architecture, built in 1728 by Thomas Archer, and restored after damage in the Second World War. This evening’s concert provides a platform for many of the School’s advanced musicians and we are delighted to welcome in the audience Old Edwardians, staff and parents of our performers this evening. Refreshments will be available after the concert in the crypt.

3

A Word from the soloists I a m c u r ren tly s tudy in g A l ev el mus ic an d a m worki ng t owa rd s my ad va nce d p e r f o rman ce certif ic ate an d dip lo ma. I have ga i ne d d i st i nct i on i n gr ad e 8 a n d h av e b e en a memb er o f th e Natio n al Yout h Choi r of Gre at Bri t a i n. I also pa r ti c i p ate an d v o lun te er f o r th e So uth a mpt on Musi c Fe st i val. Lot t e a nd I e n j o y si n gin g to geth er an d are lo o k in g f o rwa rd t o p erformi ng t hi s duet wi t h a tr aditio n al win d q u a rt et .

N at al i e Fa i r h ur st I am c u r r e n tl y w o r k i ng to wards my Adv an ce d C ertif ic at e aft er t aki ng my G r ad e 8 si n g i n g th i s summer, an d als o my A2 p erf o rma nce re c i t al i n whi ch I w i l l b e si n g i n g a se l e ctio n o f p ie ce s by Faure. Sin gin g i s somet hi ng I l o ve , a n d I h av e r e c e n tly p erf o rme d in a Trin ity H igh A chi evers concert and S o u th a m pto n Mu s ic Fe s tiv al wh ere I was s ucce s s f ul i n wi nni ng t he U nder 1 8 c u p f o r Mu s ic T h e atre. Nat al ie an d I are s in ging t he Let t er Duet f r o m M o z a r t' s ' Th e M arriage o f Figaro ', an d it wil l h o p efully b e a n a ma zi ng e xp e r i e n c e to si n g i n s uch a b e autif ul lo c atio n as St Jo hn's S mi t h S q u a re.

Charlotte J o n e s Mus ic h as alway s p l aye d a h uge rol e i n my li fe. Wi t h Cl a ri net a nd S a x o ph o n e as my two main in s trumen ts I t ake a ke en i nt ere st i n bot h cl a ssi c al a n d Jaz z Mus ic. I am v ery ex c ite d to b e pl ayi ng a movement of Moz a rt ’s c l a r i n e t co n certo with an o rch e s tr a as it is a fa nt a st i c pi e ce of musi c. I have pl aye d th e p ie ce b ef o re with p ian o , h o wev er, pl ayi ng wi t h a n orche st r a ad d s a wh o l e n ew d i mensi on.

Harry McGhee

Si ngi n g h a s al w ay s b e en my gre ate s t p as s io n an d I s t art e d si ngi ng when I w as n i n e at P i l g r i m’s s ch o o l in Win ch e s ter. Sin ce th en, I have love d and a pp r e c i ate d m u sic in al mo s t all f o rms . T h ro ugh o u t t he ye a rs I have c o m b i n e d ch o r al a n d tr aditio n al s in gin g with Mus ic T he at re. Musi c al T he atr e i s a n o th e r fav o urite h o bby o f min e. T h e Vagabond i s, a nd always wi ll b e , o n e o f m y fav o u r ite s o n gs , e s p e c ial ly th e Bry n Terfel re cord i ng, whi ch I t o o k i n spi r ati o n f r o m. I am v ery much l o o k in g f o rward t o p erformi ng i t t oni g h t .

An dy M o r gan

I h av e b e en p l ay in g p ian o f o r eigh t ye ars and I a m current ly worki ng t owa rd s m y g r ad e V III. I h av e p erf o rme d in a r an ge of venue s i nclud i ng Turner Si ms, S o u th a m pto n an d Birmin gh am’s Sy mp h o n y Hall. I have re cei ve d ma ny pri ze s at c omp etitio n s s uch as th e an n u al Sout ha mpt on Musi c Fe st i val a nd t he G o sp o rt Fe s tiv al . Pl ay in g th e p ian o in the S cho ol symphony orche st r a ha s b e e n a v ery en jo y abl e p art o f my Sch o o l l ife. For my musi c al achi evement s I w a s v e r y h ap p y to h av e re ceiv e d Sch o o l Musi c Colours.

I sh i k a P r ach e e

I am f o u r te e n a n d h av e b e en p l ay in g th e p ian o f o r eight ye a rs. I also pl ay t he tr u m p e t a n d I a m wo rk in g f o r gr ade V III o n bo th inst rument s. I have won p r i z e s at th e Su tto n an d Go d almin g Mus ic Co mp etitio ns a nd I a m lo oki ng f or w a r d to th e o p po r t un ity to p erf o rm at St Jo h n’s , Smi t h S q u a re. The pi e ce I am pl ayi n g th i s e v en in g is quite ch all en gin g but gre at fun t o p erform.

Toby Sae r I h av e b e en p l ay in g th e p ian o s in ce I was si x ye a rs old a nd pa sse d my gr ad e V III w h e n I was 1 3 . I am n o w in th e 5th Ye ar a nd st ud yi ng GCS E Musi c. I have w o n tr o p h i e s in bo th th e So uth amp to n Mus ic Fe st i val a nd Gosport Fe st i vals a nd I also pl ay t he vi oli n.

B i J i a Wu 4

Programme

Egmont Overture Op.84

L. Van B e e t h o ven

Adagio from Clarinet Concerto in A major Soloist Harry McGhee

W.A. Mo z a r t

Vivace from Suite No.2 Op.78

Mal c o l m A r n o l d

Duettino from Marriage of Figaro Sung by Natalie Fairhurst and Charlotte Jones

W.A. Mo z a r t

The Vagabond Ral p h Vau g h a n W i l l i a m s Soloist Andy Morgan This Marriage E r ic W hit ac r e Sung by the Chamber Choir A Los Toros Jo aq u in Tur i n a Soloist Bi Jia Wu Adagio in G minor for Organ and strings Organ Richard Moore

T. Al b in o n i / Rem o G i a z o t t o

Ostinato B 茅 l a B ar t 贸k Soloist Toby Saer Prelude and Fugue in A Major for Flute Trio

D mit r i Sho st ako vi ch

Adagio and Allegro from Concerto in A Minor TWV 44:42

G e o r g Phi l i pp Tel em a n n

Silencia Ol iv e r Le a m a n Waltz Romantique Cl au d e D e b ussy Soloist Ishika Prachee Well You Needn't

T he l o n io us M o n k

Caravan Ju an T izo l Locus Iste An t o n B r u ck n er Who is Sylvia? G e o r ge Sh e a r i n g Hebrew Slaves Chorus from Nabucco

G u is e p p e Ver di

At the end of the concert OE Richard Moore will perform Toccata in D by Marcel Lanquetuit (1894-1985) on the Sainsbury Concert Organ.

5

Players Chamber Orchestra D ir e c t e d b y H e at he r Fr e em a n t l e a n d O l i ver L e a m a n Vi oli n I ZoĂŤ Carter Tai Jin Ho Yim Sophie Arthur Charlie Spargo Caitlin Gordon Benjamin Atherton Niall Earley Avril Freemantle Diana Williams Vi oli n II Bi Jia Wu Jonathan Smith Shona Carson Oisin Shaw Emmy Huang Alex Diaper Seung Yeon Oh Maya Garside Emily Atherton

Vio l a Nicole Coutinho Garrido Stephen Peckham Patricia Spodzieja Ce l l o Anna Roberts Kathryn Roberts Mike Huang Issie Elliott B as s George Gadd Jonathan Brown Flute Jenny Whitby Tom Edwards

Ob o e Liberty Roberts Luke Roberts

Fr en ch H o r n Chloe Plater Lucy Smith

Cl ar in e t Harry McGhee Tom Capper Nick Francis

Tr o m bo n e Peter Thompson Guy Ripper

B as s o o n Alistair Watson Harry Uglow Ben Watson Tr u mp e t Oliver Ferec-Dayson Mhairi Carson Toby Saer Andrew Thompson

Tuba Christopher Lotery Per c ussi o n Carl Wikeley Jonathan Millar Michael Armitage Sam Routledge Ishika Prachee

Choir Dire cte d by B e n Wat s o n Ac c o mp an ie d b y Ri ch a r d M o o r e S opr an o Charlotte Jones Anna Cooke Tabitha Piggott Liberty Roberts Miriam ChapmanRosenfeld Penelope Bielckus Reem Katifi Julia Roope Tabitha Sparks Rosa Sparks Ellie D'Alton

Alto Natalie Fairhurst Anna Roberts Olivia Ellis Alex Diaper Bi Jia Wu Kim Ward ZoĂŤ Carter Tai Emma Blackman

Te n o r Tom Durham Josh Blunsden Luke Roberts Barney Venable

B a ss Andy Morgan Charlie Spargo Peter Thompson Gus Woolley Joe Chalmers Jonathan Smith Phil Normand

Alto Stella Evans Jo Fairhurst Noreen Lovegrove Lem Millar Lorraine Morgan Caroline Rees Rosemarie Roberts Hilary Smith Hannah Thould Deidre Watson Lesley Kirk Alison Carter Tai Elizabeth Collier

Te n o r David Rees Stuart Ayers Richard Chamberlain

B a ss John Fairhurst Alex Harden David Lovegrove Alan Morgan Richard Moore Rob Putt Richard Roope Chris Thompson Timothy Tofts Stephen Gadd

Adult Choir S opr an o Sue Chamberlain Priscilla Cook Diana Hulbert Sara Jane Roope Jane Thompson Simone Paulson Claire Costello Sue Quinn Claire Rutter

6

Flute Trio

Di r e ct e d by Luc ill e Bur n s Jenny Whitby Zoë Carter Tai Tom Edwards

Jazz Ensemble

Di r e ct e d by Simo n All e n Tr u mp et Oliver Ferec-Dayson Tr ombon e Peter Thompson A lt o S ax o p hon e Harry McGhee Tenor Saxo p hon e Nick Willsher B a ri t on e Saxo p hon e Charlie Spargo Dru ms Jonathan Millar B a ss G uit ar Tom Capper Pi ano Simon Allen

Telemann Octet Di r e ct e d by Olive r Le a man F lu t e s Jenny Whitby, Zoë Carter Tai Oboe s Liberty Roberts, Luke Roberts Cl ari ne ts Harry McGhee, Tom Capper Cello Peter Thompson Cont i nuo Bi Jia Wu

SILencia

Di re ct e d by Olive r Le a man Jenny Whitby Charlie Spargo Liberty Roberts Peter Thompson Luke Roberts Kathryn Roberts Harry McGhee Anna Roberts Tom Capper Mike Huang Charlotte Jones

Chamber choir Di r e ct e d by Nat alie Reem Katifi Liberty Roberts Charlotte Jones Ellie D'Alton Zoë Carter Tai Anna Cooke Anna Roberts Olivia Ellis Tabitha Piggott Georgie Hill Natalie Fairhurst

Fair hu r s t Tom Durham Josh Blunsden Phil Normand Luke Roberts Jonathan Smith Peter Thompson Andy Morgan Gus Woolley Charlie Baker

7

8

Programme Notes Egmont Overture Op. 84

Lu d w ig v an B e e t h o ven

This is the opening piece from incidental music for Soprano, Narrator and Orchestra, written

by Beethoven in 1810 to accompany Goethe’s play of the same name. Composed during the Napoleonic wars and at a time when Beethoven was notoriously outraged at Napoleon having declared himself Emperor, the narrative deals with the life and heroism of the Count of Egmont, a Dutch nobleman.

Beethoven sets out the two main themes in a slow introduction – the first being rough string chords answered by an imploring woodwind melody; the second a repetitive melodic fragment passed around the orchestra over an ominous and obsessive string rhythm. This leads into the Allegro con brio, in which Beethoven re-presents and develops his themes with typical urgency and energy (“The Fight”). After further development and a brief recapitulation of the themes in their initial forms, a pianissimo woodwind chord leads into a whirlwind coda (“The Victory”) in which Beethoven introduces a new, heroic, theme that builds to an emphatically triumphant close.

Clarinet Concerto in A

K. 622–Adagio

Wo l fg a n g A m adeus M o z a r t

Written in 1791 for Anton Stadler, this is one of Mozart’s final works (he would be dead by the end of the year). Originally written for basset horn, the concerto was published posthumously and transcribed for clarinet. Unusually lacking in virtuosity for the soloist, Mozart instead places greater emphasis on the relationship between soloist and orchestra, allowing the legato melodies to evolve organically. In this, the second movement, the clarinet opens with a simple, lyrical melody over rocking string accompaniment, which is then repeated by the orchestra. This is followed by a move to the minor and a sequence of yearning phrases overlapped to create a sense of unending melody. The contrasting ‘B’ section that ensues has a lighter mood and exploits the full range of the instrument before the return to the original theme.

Dance from Suite No.2 Op. 78–Vivace

M al c o l m A r n o l d

This suite of three pieces, written in 1962, displays many of the hallmarks of Arnold’s style. Striking orchestration and a plethora of musical invention go hand-in-hand with challenging harmonies and well-defined character. This, the third movement, is dominated by the percussion, who open with insistent rhythms which are picked up by the rest of the orchestra. Cyclical melodies are interspersed with soloistic passages in a manner reminiscent of the film scores Arnold was so famous for composing.

“Sull’ aria” (The Letter Duet) from Act III of Le nozze di Figaro Wolf g an g Amade us Mo z ar t The first of the three ‘Da Ponte’ operas, The Marriage of Figaro is based on the Beaumarchais play and takes place in Spain during the mid-eighteenth century. At this point in the opera, Count Almaviva has tried to seduce Susanna, soon-to-be-wife of his servant Figaro, and become suspicious that his wife, the Countess, is being unfaithful to him. During this duet, the Countess, upset to have lost her husband’s affection yet defiant, dictates a letter to Susanna confirming the assignation that Susanna made with the Count for later that evening. This sets up the final act, in which various games of mistaken identity are played out in the darkness of the garden.

9

Counte ss: Well, did you tell him? What was his lordship’s answer?

Sus anna: Oh, there was no mistaking that my lord’s very angry.

Counte ss: Well done! It will be easier now to catch him. And where did you invite him to look for

you this evening?

Sus anna: In the garden.

Counte ss: We’ll make it clearer. Write to him.

Sus anna: I write to him? Oh, my lady!

Counte ss: Write what I dictate, I take the whole responsibility; have you everything ready?

Sus anna: I’m ready.

Counte ss: “How delightful it is to wander, By the breath of evening fann’d.

Where the scented pines are closest.”

And the rest he’ll understand!

‘The Vagabond’ from Songs of Travel Ral ph Vaug h a n W i l l i a m s Written between 1901 and 1904, these songs – based on Robert Louis Stevenson’s collection of the same name – represent Vaughan Williams’ first major foray into song-writing. Following on from a long tradition of ‘wayfarer’ song-cycles (Schubert Winterreise, Mahler Lieder eines fahrenden Gesellen), the composer depicts the world-weary yet resolute nature of the protagonist through a series of nine songs. In The Vagabond, the traveller is introduced, with heavy ‘marching’ chords depicting his journey through the countryside. He sings of the simplicity of his needs and his grizzled determination to continue his journey: “All I ask, the heaven above, And the road below me.”

This Marriage

Er ic W hit ac r e

Written as a gift to his wife on the occasion of their seventh wedding anniversary, This Marriage is set to words by 13th Century Persian poet, Rumi. The music is typical of Whitacre’s choral style, including unusual harmonic progressions and rich sonorities.

A Los Toros (The Bulls) from ‘Rincones Sevillanos’ (Corners of Seville) Op. 5 J o aqu in Tu r in a This piece is an arrangement of Turina’s original version for small orchestra, written in 1931.

Many of the rich orchestral textures remain and the lively rhythms and extreme range are further evidence of the piece’s original instrumentation. An explosive and harmonically challenging introduction leads into the first section, which sees a typically capricious Spanish melody pitted against a ‘hammered’ bass-line. The following section explores a more lyrical avenue, although the piece’s trademark rhythmic vitality is ever-present. Both themes are then recapitulated before the emphatic glissando brings the piece careering to a halt.

Adagio in G minor for Organ and Strings

Albinoni/Giazotto

This neo-Baroque work, composed in 1958 by musicologist and Albinoni scholar Remo Giazotto, is purportedly based on a small fragment of music by the eighteenth century Tomaso Albinoni, although the attribution has never been proven. Although what exists today is perhaps a rather elegiac Romanticisation of the Baroque ideals, Giazotto insisted that his music was entirely and logically based on the original six bar fragment.

10

‘Ostinato’ from Mikrokosmos

B é l a B ar t ó k

This is one of a set of over 150 piano pieces written by the Hungarian composer during the period 1926-1939 which “appear as a synthesis of all the musical and technical problems which were treated and in some cases only partially solved in the previous piano works”. Ostinato features a pounding repetitive rhythm and is full of folk-like melodies and figurations typical of much of Bartók’s music.

Prelude & Fugue in A Op.87

D mit r i Sho s t ako vi ch

Shostakovich composed his cycle of 24 Preludes and Fugues in 1950-51 following a trip to Leipzig to attend a festival commemorating the bicentenary of J.S. Bach’s death. One cannot overstate the importance such a trip had on the composer who, until the end of the Second World War, was culturally isolated in his native Russia. Upon hearing performances from The Well Tempered Clavier, Bach’s set of 48 preludes and fugues, Shostakovich was inspired to compose his own set, one in each of the major and minor keys. This 20th century take on one of the strictest and most challenging of musical genres is widely regarded as one of the defining works for piano in the modern era.

The seventh prelude in A major is effectively a two-part invention, light and joyful in nature and clearly reminiscent of Baroque counterpoint. Indeed it is interesting to note that there are no harmonic dissonances in either the prelude or the fugue. The fugue is in itself seemingly simple, with each part of the three voiced texture relatively lacking in rhythmic complexity in the arpeggio-based movement. However, the interweaving and entwining of these three strands create some moments of delightful beauty and it is for this reason that the piece is able to function so well in this newly arranged form for 3 flutes.

11

Concerto in A minor for 8 Musicians TWV 44:42

G e o r g P h i l i pp Tel em a n n

Adagio A ll e g r o Very little is known about this piece except that it was almost certainly composed around 1725 as it seems to form part of a larger collection of works for four or more soloists and basso continuo.

Some of the set are classified amongst the orchestral suites and as such have received many performances and been widely recorded. This work, however, requires a more soloistic approach and remains virtually unknown. As is typical of music of this era there are no dynamics or articulations marked in the score and it is this aspect of interpreting Baroque music in its purest form that is often the greatest challenge, no matter how fiendish the notation may be.

Telemann was a great re-orchestrator of his own music and one can find instances of him offering advice on his scores as to the feasibility of performing the parts on alternative instruments. It is with this spirit in mind that the clarinets make an appearance in this transcription by Dr Leaman, for although these instruments were yet to be invented at the time of composition, Telemann would surely have approved of the performance of his work in any guise.

Silencia

Olive r Le aman

‘Silencia’ was originally written for full string orchestra in 2007 and first performed by the Southbank Sinfonia in May of that year. The piece begins and ends in a dark and sombre D minor and although the ensuing harmonies are unusual and highly chromatic, the piece verges as if on a precipice of atonality, never quite taking the full leap.

This constant struggle between tonality and atonality was created in response to on-going aesthetic arguments in PhD seminars concerning current contemporary orchestral writing, and the debate as to whether tonality is dead, dying, or simply rather ill.

This version for 11 musicians was specially re-worked to enable some of the advanced KES musicians to perform music of an altogether different character from that which they are more used to.

12

Valse Romantique

Cl au d e D e b u s s y

This short piano piece was written in 1890, whilst the composer was studying in Italy. Despite the early position of this work in Debussy’s career, some of what would later become his compositional trademarks are present: for example, the haunting semitone shift in the accompaniment provides a sense of unease before the music opens out harmonically and texturally in a manner reminiscent of his piano masterwork, Clair de Lune. However, Debussy’s masterful melodic writing is less evident here, as virtuosic figurations and textural inventiveness are brought to the foreground.

The insistence of the initial semitone motif, heard most explicitly just before the end, lends the piece a sense of structural cohesion whilst the imaginative array of tonal colours explored allow the pianist to create a great deal of variety in performance.

Well You Needn't

T he l o n io u s Mo n k

Thelonious Sphere Monk (1917–1982) was an American jazz pianist and composer considered one of the giants of American music. Monk had a unique improvisational style and made numerous contributions to the standard jazz repertoire. Monk is the second-most recorded jazz composer after Duke Ellington. His compositions and improvisations are full of dissonant harmonies and angular melodic twists, and are consistent with Monk's unorthodox approach to the piano, which combined a highly percussiveattack with abrupt, dramatic use of silences and hesitations.

Ju an T izo l Juan Tizol (22 January 1900 – 23 April 1984) was a Puerto Rican trombonist and composer. He is best known as a member of Duke Ellington's band. It is a common misconception that Ellington wrote Caravan Tizol had invented the melody to "Caravan", from his days studying music in Puerto Rico, where they couldn't afford much sheet music so the teacher would turn the music upside down after they had learned to play it right-side up. This technique became known as 'inverting', and led to a style called Modal Jazz.

Caravan

The Jazz Ensemble is a newly formed group. Both arrangements have been specifically written for the Ensemble by Simon Allen, giving each musician a chance to improvise in addition to the discipline of blending together in soli sections.

Locus Iste

An to n B r u ckn e r

Written in 1869 for the dedication of a chapel in Linz cathedral, this unassuming motet shows Bruckner’s choral writing at its most restrained. Although many of the more chromatic elements of Romantic harmony are not present, the music employs a number of dissonant devices in order to enhance the mood of the text.

This pl ace was made by God, A pricel e ss mystery; It is b eyond repro ach.

13

Who is Sylvia?

Ge o r ge She ar in g

This simple and effective setting of words from Shakespeare’s Two Gentlement of Verona combines close harmonies and indulgent melodies to set the scene for Sylvia’s many suitors trying to woo her in Act IV. It is from a set of Shakespeare settings composed by the blind jazz musician which explore a multitude of different jazz styles and vocal techniques.

‘Va pensiero’ (Chorus of the Hebrew Slaves ) from Nabucco G i u sepp e Ve rdi Nabucco was Verdi’s first major success and tells the story of the subjugation of the Hebrews by the Babylonian King Nebuchadnezzar. In this chorus from Act III the Hebrew slaves, in chains on the banks of the Euphrates, sing nostalgically of their homeland. This famous chorus was an instant hit following the first performance in Milan in 1842, perhaps because the 19th Century Milanese, suffering under Austrian rule, equated themselves with the Jews of the Old Testament.

Fly, thought, on wings of gold; Go settl e upon the slop e s and the hills, Where, soft and mild, the swe et airs Of our native l and smell fr agr ant!

Gre et the banks of the Jord an And Zion’s toppl e d towers…

Oh, my country so b e autiful and lost!

Oh, remembr ance so de ar and so fat al!

Golden harp of the prophetic se ers, Why dost thou hang mute upon the willow?

Rekindl e our bosom’s memorie s, And sp e ak to us of time s gone by!

Mindful of the fate of Jerus al em, Give forth a sound of crude l ament ation, Or may the Lord inspire you a harmony of voice s Which may instil virtue to suffering.

Toccata in D

M ar c e l L an q u e t u it

Written in 1927, just after the composer had returned from a series of concert recitals in the U.S.A., this work displays many of the features prevalent in French organ music of the time, such as in those works by Marcel Dupré and Eugène Gigout. Following an improvisatory section for full organ figuring repetitive rhythmic motifs over a melody played on the pedals, a more melodic and dynamically varied section explores different tone qualities alongside the ever-present rhythmic ostinato. The initial theme and textures then return, with some harmonic variations, all building up to a resounding climax.

14

15

Old Edwardians

Old Edwardians reading Music at University or Conservatoire and who are performing this evening

Richard Moore

Richard began his training as an organist in the Portsmouth Diocese with Rosemary Field, before spending a year as Organ Scholar at Southwell Minster. He went on to read Music at St John’s College, Oxford, as the College’s Organ Scholar, and was active as an accompanist, featuring on commercial recordings with the choirs of St John’s, and also Exeter College.

He currently studies the organ with David Graham at the Royal College of Music, where he is in the second year of the MMus programme.

Active as a continuo player in the RCM’s Historical Performance department, recent projects have included tours to France and Italy, in addition to work with the Chapel Choir of the Royal Hospital Chelsea, where he was Organ Scholar until August 2012.

Richard currently holds the Sir George Thalben-Ball Memorial Organ Scholarship at St Michael’s, Cornhill, and the William and Irene Miller Organ Scholarship at St Paul’s Cathedral.

16

Alex Harden

Alex joined KES in 2005 and quickly became involved with various musical groups throughout the school as a singer and percussionist.

After studying Music and Music Technology at A Level Alex went on to study a Creative Music Technology degree at the University Of Surrey.

Since leaving KES two years ago, Alex has established himself as a computer-based composer but continues to sing and take part in various other musical activities. As well as his free improvisation performances at the University Of Surrey’s Mindbeat installation, Alex has most recently had his work performed at the London Southbank Centre. He is also the proud recipient of an academic performance scholarship for two consecutive years.

Alex is now looking towards the future and is currently applying for postgraduate study.

Avril Freemantle Avril joined King Edward VI in the sixth form, playing in the NYO and leading the HCYO before moving to the Royal Northern College of Music to study violin with Thelma Handy, Leader of the RLPO. She has worked with many eminent conductors in concert venues across the country, including recently playing first violin with the BBC Philharmonic Orchestra in Manchester’s Bridgewater Hall. Avril also has a keen interest in orchestral outreach and has worked with the BBC Philharmonic and Hallé on several projects.

She has received master classes from Remus Azoitei and David Brodowski and as a chamber musician has received coaching from the Carducci Quartet, Pavel Fischer and Raphael Todes.

Avril is a course tutor for the National Prep Schools Orchestra and currently studies with Sophie Langdon at the Royal Academy of Music, where she is in her first year of the MA programme.

Lucy Smith

Lucy attended King Edward VI School from 2002-2009 and led the Symphony Orchestra in her final year. During Sixth Form Lucy also attended the junior department at Trinity College of Music, London. She is currently a 3rd year student at the Royal Northern College of Music, Manchester. Whilst at the RNCM she has had the opportunity to play in many ensembles including the Symphony Orchestra and the Chamber Orchestra. In June 2012 Lucy won the RNCM hand horn prize which gave her the opportunity to do a hand horn recital within the Didsbury Coffee Concert series. Upcoming events include playing in a master class with David Pyatt, 1st horn of the LSO, and performing Beethoven's 1st Symphony with the RNCM Concert Orchestra. In February Lucy will begin studying at the University of Music and Art in Graz, Austria for 5 months as part of the Erasmus Scheme.

Andrew Thompson Andy is a second year music student at Cardiff University where is studying trumpet with Martin McHale. In June he was awarded a scholarship as the best brass player in first and second year and following auditions is again the principle trumpet in the university orchestra; a sort-after trumpeter he plays a wide variety of music from jazz, through brass band and wind band to his own quintet. He is studying conducting under Keith Griffiths and alongside his studies Andy arranges music, particularly for the ensembles that he conducts: string orchestra, wind band and choir. He joined KES as a 6th form music scholar and enjoyed the breadth of opportunities that he was offered. Andy was a member of HCYO and SYO, where he was lead trumpet and had the privilege of playing the Arutunian trumpet concerto with SYO at concerts both in Southampton and on tour.

He always enjoys returning to play with KES musicians.

17

Thank you The King Edward VI School would like to thank the staff of St John’s for kind permission to perform the concert this evening.

We would also like to extend our thanks to the students, staff, OEs and parents for their support this evening.

In accordance with the requirements of Westminster City Council persons shall not be permitted to sit or stand in any gangway.

The taking of photographs and use of recording equipment is strictly forbidden without formal consent from St John’s.

Smoking is not permitted anywhere in St John’s. Refreshments are permitted only in the restaurant in the Crypt.

Please ensure that all digital watch alarms, pagers and mobile phones are switched off.

Before and after the concert the café & restaurant is open for licensed refreshments.

B o x Of f ice Tel: 02 0 72 2 2 1 0 61

Webs ite: www.sjss.org.uk

St. John’s, Smith Square Charitable Trust Registered charity no: 1045390. Registered in England. Company no: 3028678.

P h o t o g r a ph y Graham Piggott Oliver Leaman C r ypt Musi c George Rodda Olivia Ellis Anna Roberts Programme Indigo Press Programme notes Ben Watson Fr o n t o f H o use Hilary Smith Elizabeth Collier Musi c S t aff Heather Freemantle Oliver Leaman Ben Watson Musi c A dm i n i st r at o r Priscilla Cook

KES Forthcoming Music Events De cemb e r 17 th 201 2 7 .3 0 p m Carol Service St Mary's Church, Southampton Ja nu ary 29 th 2013 7 .3 0 p m Battle of the Bands Dobson Theatre Febr u ary 8 th 2013 2p m Big Band performance Sunrise Residential Home Febr u ary 11th 2013 7. 3 0 p m A-level Recital Evening Recital Room March 13th 2013 7 . 30pm Spring Concert School Hall Ju ne 24th – Jun e 26th 20 1 3 Three Day Arts Festival: Carnival Ju ly 1 2th – July 17 th 2 0 1 3 Chamber Music Tour to Italy

Vi si t i n g Musi c Te ach er s Simon Allen Victoria Andreou Jane Andrews Charlotte Bettle Gill Bolton Lucy Braga Lucille Burns Elizabeth Collier Graham Cleaver Darrell Cox Elin Davis Anita Felton John Hanchett Jo Handy Harun Kotch Adam Lamprell Richard Lyon Simon Morgan Adrian Osman Tamsin Rowlinson Sarah Salmon Richard Thompson Lewis Webb Diana Williams Andrew Worsfold Paul Williams