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• ROYALALBERT HALL General Manager: Anthony J. Charlton

Tuesday4 November 1975 Oflicial programme 30p

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Educational Supplement


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Contents

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Page Introduction ..................................................................................................................5 The Schools Prom. ..................................................................................................... 6-7 Programme ..................................................................................................................9 Programme Notes..................................................................................................... 11-18 Comment ....................................................................................................................... 19 Musical Instruments............................................................................................... .21 List of Performers ................................................................................................... .33-34 Land of Hope and Glory.......................................................................... :........ .35

Executive Producer Organiser Producers

Derek Jewell Humphrey Metzgen Larry Westland, Geoffry Russell-Smith

The Schools Prom was orpniscd in conjunction with Larry WestJand Associates. 3


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THE SUNDAY TIMES 11~'j'*".'I]M4-i·1

1I~~[e3: •• Noted robin latest'Sparrow Power' victim

Nuts, says Spanish Princess on state visit

THE brutal assassination of Cock Robin has led to expressions of grief from aviaries throughout the country. Responsibility for the crime has been claimed by the Sparrow Power revolutionary group.

THE daughter of the King of Spain is said to be 'delighted' after her recent viewing of a silver nutmeg and a golden pear. Sources close to Ihe Spanish Ihrone confirmed that the Princess, three times divorced and a keen horticulturisl, had often displayed a fondness for nu IS.

Royal tarts theft-Knave is 'insidejob'suspect

Clean platters likely in Sprat demarcation dispute MEAT prices stabilised today following the compromise agreement in the recent Jack Sprat controversy. Our Industrial and Agricultural Correspondents report that the satisfactory new division of fat and lean is likely to lead to fresh standards in clean platters.

Sightless rodents menace farmer's wife

Fi ers qnestioned following Court 'orgy' stories

PALACE spokesmen today denied rumours that the Senate Judiciary Committee investigation into recent confectionery thefts would lead to the indictment of the Knave of Hearts.

RECENT STORIES of 'wild parties' at the Court of Old King Cole, first revealed by The Sunday Times Insight team, have now led to the questioning by police of three Court musicians. The rumours first concerned alleged pot-smoking. It is believed that a pipe and a bowl have already been Farmer. seized and will be used in evidence. Eye-witnesses described the assault as The three musicians, all violinists, are said to be wellunbelievable. 'We have never seen known in orchestral circles for the fine quality of such a thing in our lives, ' it was stated . their instruments .

The Knave has claimed executive privilege and refuses to comment on the charges. 'He will continue the business of government: said his press secretary, There has been no cover-up. '

Dumpty in wall plunge: Army called out

Cat-loving mystic bids for Lord Mayor post

PSYCHOLOGICALLY aggressive behaviour by rats in rural areas attributed to temporary blindness following stern amputations - last week led to the pursuit of a Mrs

Glass slipper sensation at palace ball

SPECIAL mounted troops of the King's Regiment were summoned yesterday after a fatal accident involving Mr H. Dumpty, the noted ovoid, A GATECRASHER caused considerable comment at the palace ball last night. Her introduction of glass slippers, with contrasting rags for her going-away dress, has set fashion houses by the ears. I The gatecrasher's identity remains a mystery; a major search has been instituted .

I/.,

Welfare Authority rapped in Flinders case A medical bulletin issued late last night said he had received mUltiple fractures of the shell,

LOCAL authorities have been in the firing-line following the recent inquiry at the home of Polly Flinders. A spokesman admitted that the child had been whipped after an incident involving an unguarded fireplace. Polly's mother has issued a written statement through her solicitor in which she claims: This is ,not a "battered baby" case, it was merely a demonstration of safety in the home.'

Jack Horner recommends I(

r THUMB.PLUM Broken crown breakthrough after well fall

CHRISTMAS PIES

THE first-ever use of a new treatment for broken crOwns has proved successful, writes our Medical Correspondent. The treatment, consisting of the application of vinegar and brown paper, was prescribed for Jack after his accident while engaged on a hill climb during the recent drought. Jack's partner in the tumble, name" by the hospital only as 'Jill', was unaffected.

4

RICHARD WHITTlNGTON has expressed 'complete confidence' in the outcome of his candidacy For Lord Mayor. Whittington is known to have the powerful political support of Alderman Fitzwarren . The youth's ambitions are believed to stem from a mystical visionary experience at Highgate.

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Chw... Gymnasfics.,. Table Tenn~...Wafch

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Introduction

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The progress of schools' music has been especially marked in the field of instrumental music, particularly for orchestra but increasingly also for smaller ensembles. Such has been the growth of the youth orchestra movement, thanks to the enthusiasm of young players, their organisers and tutors, and the enlightened generosity of local government, that our schools may now reasonably aspi re to a standard of musicianship once thought to be the exclusive preserve of seasoned professionals. Britain has a long and very distinguished tradition of amateur choral singing: the teaching of vocal music continues to provide a steady foundation for school music today. For many years, indeed, provision of a foundation for musical appreciation in later life was all that the school was normally expected to be able to meet. Now, it seems, that foundation is being built on, and the superstructure of instrumental music whose dramatic growth we see today, is an assertion both of a new prominence for school music and a manifesta tion of loftier aims.

The phenomenal speed of these developments is reflected in the brief history of the National Festival of M usic for Youth, * with which The Times Educational Supplement has been associated for the past two years. At its inception the Festival was organised along the lines of a nationwide competition, with participating schools converging on a central

interpreted and enjoyed than a proof of a certain level of instrumental prowess. Succeeding years saw first the competitive element reduced, enabling the scope o(Festival music-making to be widened; then moves to decentralise the preliminaries into a number of regional bases. Both practical innovations, they nevertheless acted as timely encouragement to an evolving sense of local initiative and local pride, culminating in this year's outstanding Festival programme, richer in variety and more brilliant in quality than ever. It is our belief that this remarkable flowering of musical talent should be more widely appreciated by the public at large. These young musicians, through their efforts, bring us the promise of a musical renaissance to which we, by our response, may give moral support.

point to be tested against the common measure of a set piece. Music was less something to be

We are therefore most happy to sponsor the first-ever Schools Prom at the Albert Hall this evening.

STUART MACLURE

Editor The Times Educational Supplement

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5


The Schools Prom

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by Humphrey Metzgen and Derek Jewell

---::------------------------------------------------------It appears, in a way, such an obvious idea: a schools prom.

There is now so much good music, in such sparkling diversity of styles, being produced in the schools of Britain, it's surprising that tonight's concert is the first of what we hope will be many such annual presentations in the years to come. Better late than never, however. The idea was born at the National Festival of Music for Youth in 1974. The standard of music heard then was so fascinating, not least in its range and ambition, it seemed the most natural thing in the world to plan to invite some of the best musical groups heard at the next Festival, in 1975, to display their talents in a special concert later in the year. Where better to ask them to play than at the Royal Albert Hall? And the concert title followed just as obviously: The Schools Prom. Yet the preliminaries to tonight's event are belied by the simple

statement of the title. The process begins with hard work, dedication and talent-of both the young musicians and their teachers and guides-in hundreds of schools up and down the country. Out of all this effort comes participation in three months of regional events leading up to the National Festival of Music for Youth, which is presented by the Association of Musical Instrument Industries and sponsored by The Times Educational Supplement. In five years the Festival has grown so rapidly, both in standards and numbers, that 2000 musicians from 300 schools and music groups took part in the culminating performances at the Fairfield Halls, Croydon, on 11, 12 and 13 July this year. It is from those Croydon performances that the 12 groupsaround 400 young musicians-you will hear tonight have been chosen.

If you know schools music, then you may not be surprised by this evening's sounds, although we hope TODAY 5TH :

Humphrey M etzgen

you will be delighted. If, however, .you imagine that schools music is still in the age of 'Dashing Away With the Smoothing Iron' sung by choral groups, or 'The British Grenadier' arranged for percussion band and wavering recorders, then you could be in for a revelation. Freshness and enthusiasm from the musicians you would perhaps expect, and certainly that will be there. And yes, you will maybe note wit~. pleasure the range of intonation,

NAt'O N~ L FESTI VAL QF Ml) SICfOR YOUlH'l

Brighton Youth Orchestra 6


dynamics, tone colour. It's the sheer variety and ambition of the music, however, which is perhaps its most surprising feature. It reflects the major advances made in the past 10 years by young musicians still at school.

Kingsdale S chool Dance Band

No, they don't necessarily reject the established repertoire of easy anonymous pieces designed to teach music to as many children as possible; but these m usicians also take on the challenge of more complex pieces in their search towards excellence. Some of the compositions are certainly ambitious; others offer a wide scope, from Mozart's intricate Oboe Quartet by the St Anne's Chamber Ensemble, to Gordon Jacob's grandiose 'Music for a Festival' by the High Wycombe Concert Band. And for the Brighton Youth Orchestra and the Woking County Grammar School for Girls Orchestra to tackle, respectively, Debussy's 'L'Apres-Midi d'un Faune' and Beethoven's Coriolanus Overture, indicates remarkable confidence. There is, too, the unexpectedthe swing of the Kingsdale School

Dance Band, the attractive sounds of the Itchen Wind Quintet and the exotic flow of the Elmwood Steel Band. And when you consider the everyday problems of teaching young musicians to overcome the basics of playing, how can you not be impressed by the command brought

to these performances? Consider some of the problems-all within sight and sound this evening: the sheer weight and size of some of the more awkward instruments, bowing control by the smaller violinists, air capacity for long phrases, violin tone affected by the strength of young muscles on arm movements and the difficulty with embouchure of large instruments.

In the light of all this, music made as it is being made tonight becomes an even more remarkable business. So, we hope路you will listen with pleasure and with some pride, for our music tomorrow is in the hands of these talented young people, with whom work a multitude of devoted teachers and guides. Our thanks go to all of them, and to the many other people (acknowledged below) without whom this concert would not have been possible-including you, our audience. Itchen

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The Executi,.: Producer and the Organiser of the 5.:hl'c,l, Prl'm \\ ish to thank the follo\\ ing tc'r ,h':lr ":c'ntribution towards tonight" ; ..:,':-:,'.:r: Mrs l" an..:' \\ c'::, -\.c, Ha.::k.:tt and Mrs Clare \la jG.::-: ; .,: T-,<: TI T ':, Supplements Market ir.g DC'-,~:-'~-:, .:' .J ..i1lth.: staff of the TES :-.c,,,:--,x~ Mr Rcl\ \L'~c', P~~""': ': c:-: : ,, :' ' h.: ASSc\:l ~ ~ il...';"'....'\~- \1 US.l~..! ; I r: ~: nJ :'"':1ent Indu'lrI~'" ... :-:J th':lr m.:mber> San~ L' \1 arubenl ( L K) Ltd. \\ ha pro\ ided

12 Hi-FI L nlls tor (he participat ing musIC groups

The National Festival of Music for Youth Adjudication Committee: Maurice Jacobson Ivor Beynon Geoffry Russell-Smith Bill Ashton Anthony Friese-Greene childs-greene advertising limited and childs-greene public relations limited Larry West land Associates BBC Radio 3, who will do a programme on the concert K-Tel Records, who are recording this concert for an album 7

The National Committee for Audio-Visual Aids in Education The Musicians' Union 'Music Teacher' 'Youth and Music' The Sunday Times Colour Magazine The Royal Albert Hall The Department of Education and Science; directors of education; headmasters; music teachers; parents; and the very talented young musicians themselves


the well-known and long established Manufacturers, Wholesalers and Vendors of Musical Instruments, as used by the Nobility, by Trade Unionists and Gentlefolk, by a certain President (at the time of writing) of The Former Colonies and (by virtue of the Company's Progressive and Liberal Attitude), also by the Lower Orders such as Tradespeople, Peripatetic Musicians, Minstrels and even School Teachers,

Feel emboldened to request The General Public, Parents, Scholars, and Pedagogues from all Schools, whether public, private or (owing to Government Decree) not yet certain, to take cognizance that owing to the number oftheir Courses and Seminars held during this Century in establishments such as Oxford University, the New Proletarian Universities and Colleges , and even in Teachers ' Centres, their very wide range of musical instruments for Young People has achieved a reputation which is Second to None, and that a Compendium of such merchandise may be obtained from an Ordinary Tradesperson, alternatively from

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Smoking is not allowed in the auditorium. The use of cameras and tape recorders is strictly forbidden.

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Programme

Tonight's Presenters: Antony Hopkins Derek J ewell John Dankworth

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High Wycombe Music Centre Concert Band

Conductor: Ian Morrish

St Anne's Chamber Ensemble

Music for a Festival (Fanfare) Gordon Jacob Oboe Quartet, K.370 Mozart

Elmwood Junior School Steel Band

Conductor: Brenda Davis

Selection of pieces arranged by Russell Henderson

Woking County Grammar School for Girls Orchestra

Conductor: J oan Parry

Coriolanus Overture Beethoven

Tabor Recorder Consort Kingsdale School Dance Band

Suite of Seven Flute Dances H. U. Staeps Leader: Barry Graham

Interval

Doghouse (Brian Harrison) Somewhere (Leonard Bernstein) Hawaii Five-O (Mort Stevens)

15 minutes

Darlington Youth Big Band

Leader: AlfHind

Switch in Time (Sammy Nestico) © Banes Music Marranne (Martin Bunce) © Stanza Music Off-Duty (John Dankworth) © Stanza Music

Colchester Accordion Orchestra

Conductor: Elaine Beecham

Springtime Symphony G.Romani

ltchen Sixth Form College Wind Quintet

Three Shanties for Wind Quintet Malcolm Arnold

Brighton Youth Orchestra

Conductor: David Gray

Prelude it l'Apres-Midi d'un Faune Debussy

Pro CordJ String Orchestra

Conductor: Christopher Bunting

Waltz from Serenade in C Tchaikovsky

Tee5Sid~

Conductor: Edwin Raymond

Prelude to The Mastersingers of Nuremberg Wagner

Conductor: Antony Hopkins

Pomp and Circumstance No. 1 'Land of Hope and Glory' Elgar

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Programme Notes

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High Wycombe Music Centre Concert Band

Conductor: lan Morrish Music for a Festival (Fanfare) Gordon J acob (b. 1895)

The High Wycombe Music Centre Concert Band was founded with 12 members by the Music Centre's clarinet instructor, John Davie, in 1969. It gave its first concert at Easter in 1970. It grew rapidly, and in September 1970 its co-conductor lan Morrish was appointed to keep a special eye on the brass. It was not long before this Band was in great demand for outside concerts, fetes, etc. Its numbers, balance and standard of performance have risen steadily but rapidly in its short history, due to the excellence of

The Fanfare is the last part of a., work in several movements for Wind Band and Brass Choir called 'Music for a Festival'. This work was The Band has now performed in commissioned by the Arts Council of the Wooburn Festival, Wycombe Arts Great Britain for the- Festival of Festival and Reading Festival. Britain in 1951. In the previous They have made a successful tour of movements the Wind Band and Holland, and their next visit will be Brass Choir have alternated: in this, to Malta in April 1976, where they they combine forces. will give the world premiere of a new work specially composed for the The Finale starts with a flourish Band by Charles Camilleri. They by the Brass Choir. The main part of will be making a record in the movement is taken up with a November or December 1975. fugue of orthodox construction in four voices. The subject, announced The Band's activities and triumphs would have been first by the clarinets, has a faintly 'modernistic' taste. The fugue builds impossible without the very active up in intensity and excitement and moral and financial support of the the whole work ends in the grand Music Centre Parent Teacher manner, noisy and satisfying. Association. its two conductors and teachers, and it has developed a repertoire of considerable breadth.

High Wycombe A1l1sic Centre Concert Band

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StAnne's Chamber Ensemble, Southampton Oboe Quartet, K.370 2nd moyement: Adagio 3rd moyement: Rondo Mozart (1756-1791)

St Anne's Convent School, Southampton, is a girls' comprehensive of approximately 1000 pupils. Over the past few years it has developed a strong musical tradition. The school's Madrigal Choir has made numerous television and radio broadcasts under its conductor, Valerie Nunns, and this year the Choir was a finalist in the BBC Radio 3 competition 'Let the People Sing'. The instrumental coaching was in the hands of Pauline Newton who left the school in July to take up the

post of Lecturer in Music at La Sainte Union Training College in Southampton. Instrumental playing in the school is done mainly in chamber music groups, and many of these ensembles have given concerts in Southampton and broadcast on local radio. Pauline formed the Oboe Quartet a year ago and since then it has given many concerts, and with the Madrigal Choir toured the Lake District in July of this year. The members of the Quartet all play in the Southampton City Youth Orchestra which tours Europe regularly, and in 1976 it will pay a return visit to Berlin. The three string players are also members of the Mark Knight Chamber Orchestra conducted by Mark Knight, who is a specialist violin

teacher at the Wells Cathedral Music School. The 0 boe Quartet was composed by Mozart for the renowned oboist Friedrich Ramin at M unich in 1781, the period of 'Idomeneo'. The quartet is the counterpart of the first Flute Quartet in D but on a higher artistic level. The opening movement, whose principal theme recalls a phrase of 'Ilia in Idomeneo', is monothematic in structure. Such subsidiary themes as do occur derive from the main subject, but it is by no means lacking in effective contrasts. The concertante element is always prominent and an opportunity for a small cadenza is even supplied.in the Adagio, which is a highly expressive Arioso. The Finale is a Rondo suggesting sonata form, and contains a remarkable polyrhythmic effect which is rare in Mozart. In the short middle section the strings proceed in their easy-going way in 6/8 time while the oboe has rapid passage work in 4/4 time. This is a masterwork which in the combination of concertante and chamber music idioms can only be compared with Mozart's later Clarinet Quintet.

St Anne's Chamber Ensemble. Southampton

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Elmwood Junior School Steel Band, Croydon Conductor: Brenda Davis Ping-Pong Samba ) arranged by The Breeze and I Russell Viva Espa'iia Henderson Elmwood Junior School is a large five-form entry school in West Croydon which offers varied musical opportunities to its pupils whose ages range from seven to eleven years.

television on several occasions, has Elmwood Steel Band was first formed in 1971 under the tutorship of been heard on radio and has played at concerts at the Royal Festival Hall Russell Henderson. Each July the and Fairfield Halls, Croydon. Band loses its eleven-year-old players when they transfer to High In both 1974 and 1975 the Band Schools and a new group is gained an Award for the Most formed at the beginning of each Outstanding Performance in their academic year. category at the National Festival of Music for Youth. The Band has appeared on

Woking County Grammar School for Girls Orchestra Conductor: Joan Parry Coriolanus Overture, op. 62 Beethoven (1770-1827)

department has two full-time music staff, and enjoys the help of 13 peripatetic teachers.

The orchestra, which takes girls from all age groups in the school, W oking County Grammar School meets regularly, in preparation for for Girls is small by present-day the termly concerts. Its most recent standards, numbering under 800 performances have been of Bach's pupils. Of these, about 200 are Brandenburg Concerto No. 5 and Beethoven's Symphony No. 4 in B involved either in orchestral or choral societies, or in some form of flat. Som"etimes, the orchestra takes instrumental work. The music part in the local music festivals, and

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last year won a competition open to all schools in the South of England. The overture was written in 1807, about the same period as the 4th and 5th symphonies. It was based on the play 'Coriolanus' by Heinrich von Coli in, which differed slightly from Shakespeare's version of the story. Coriolanus, a nobleman of Rome, is portrayed as a proud, arrogant and defiant figure, a courageous soldier, a hero, for whom honour and valour are the greatest virtues, but also as a leader who has little sympathy with the ordinary people. His attitude to them leads to his banishment from Rome and, in seeking justice for himself, he leads an enemy force, the Volscians, against his own city. When his mother, wife and son are sent out to plead with him to withdraw and to spare the city, Coriolanus is torn between his love for his family and his desire for revenge. After-much torment of mind, he decides to leave Rome in


Woking County Grammar School Girls Orchestra (continued)

peace, but this submission represents defeat to him, and he chooses death rather than dishonour. The overture is in C minor, Beethoven's tragic key, and is in

sonata form. From the first bars, Beethoven begins to portray the character of his tragic hero: powerful, implacable and defiant chords give way to a restless figure, full of volcanic energy. The second theme is in the major key. It is lyrical, and in its pleading, entreating mood, reflects the influence of his family. The middle

section, the development, depicts the agony of the decision Coriolanus has to make, and after the two main themes have returned, the tragic outcome is revealed. The closing bars represent the death of Coriolanus, an inevitable ending for that proud, heroic figure, who, to a great extent, was responsible for his own tragedy.

Tabor Recorder Consort, Chelmsford Suite of Seven Flute Dances Hans Ulrich Staeps

The Quartet takes its name from the address of the founder (Lorna Burroughs), coupled with the fact that a Tabor is a small drum, popularly played for centuries with a pipe (early recorder) by one performer. The members of the Quartet have been playing for many years, as duettists, in trios and as a quartet, and they are all experienced at accompanying a solo recorder at the piano. The Quartet has had many successes in local festivals, and passed Grade VIII Ensemble examination with nearly full marks.

Annabel Brown - now at Trinity College of Music, London. Her principal instrument is the recorder, and she also plays the cello. Kim Lawson is still at the Girls' High School, Chelmsford. Learns the oboe with Janet Craxton. Caroline Marwood - now at Guildhall School of Music, her main instrument is the oboe. Amongst the instruments played are:

Schalmy-this was the old路name for a Shaum, which was the

forerunner of the oboe. Also the name for flutes made from reed. Czakan-a cane flute with fixed keys still played today in Hungary and Yugoslavia. Syrinx- Pan pipes or shepherd's pipes of the Ancients. Dolzflote-old German name for the transverse flute. Sambuca-a type of pipe made from elder.

Catherine Marwood is now at Royal Academy, having won an Open Scholarship. Principal instrument is the viola. Has performed solo recorder at the Aldeburgh Festival (1974) and the Purcell Room, London (1973 and 1975). She was a member of the National Youth Orchestra (playing viola) for five years.

Kingsdale School Dance Band, London ~ ~

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Leader: Barry Graham Doghouse (Brian Harrison) Somewhere (Leonard Bernstein) Hawaii Five-O (Mort Stevens)

14

Kingsdale is a mixed comprehensive school of some 1,850 pupils situated in Dulwich, S.E. London. It draws its pupils from a wide area, many coming from Norwood, Sydenham, Peckham and Brixton. Music has always been an important factor in the life of the school, firstly under Eric Stephenson, now M usic Adviser to


the London Borough of Hillingdon and for the last ten years under its present Director of Music, Eric Matthes. In 1974 the school Military Band and the Dance Band gave a series of very well received concerts in Ontario, and plans are going ahead for a similar visit to West Germany.

Youth in 1973 when they gained the Outstanding Award. The age range of the players is from 13 to 18. The present Band Leader is Barry Graham.

Pupils of Kingsdale School are encouraged to be versatile in their approach to music, to be able to play in different styles, and to play more than one instrument - several have become professional musicians.

Doghouse (Brian Harrison) Our opening number is based on the traditional blues in a semimarch idiom. It gives opportunity for improvisation to some members of the band over an eight-bar chord sequence, and is an excellent test of a band's ability to play in a true jazz-rock idiom.

The Dance Band, which was formed in 1968 as an offshoot from the Military Band, under its Band Leader, Edward Martin, first entered the National Festival of M usic for

Somewhere (Leonard Bernstein) This beautiful arrangement from the musical 'West Side Story', opens with a short introduction with the full band, followed by the saxophones

playing the melody in unison. The other sections then enter to bring the arrangement to a splendid climax. Hawaii Five-O (Mort Stevens) This number from the wellknown television series is a good test for the brass and percussion sections. We have chosen this piece because of its popularity with the pupils in the school.

Darlington Youth Big Band 6~ "' fl~~ ,:l !.,o; '

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Darlington Youth Big Band boasts a complement of 22 teenage musicians (18 boys and 4 girls). They started out five years ago, under their present leader Mr Alf Hind, with only eight or nine players. Mr Hind, instrumental instructor for Durham County, has recently acquired the assistance of Mr Ron Cockfield, who played lead alto saxophone with Ray McVay and the Johnny Howard Big Band.

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Leader: Alf Hind

Switch in Time (Sammy Nestico) © Banes Music Marranne (Martin Bunce) © Stanza Music Off-Duty (John Dankworth) © Stanza Music

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their TV debut in April of this year, in the Tyne-Tees Television Programme 'Zig-Zag'. They also played a 40-minute programme at an international festival at Horsham, Surrey, in July, alongside top music groups from America and Europe. Their national acclaim has brought them invitations to audition for the National Youth Jazz Band, and also an offer of a concert tour of America in 1976. Switch in Time (Sammy Nestico) © Banes Music This attractive up-tempo minor blues comes from a Count Basie record 'Basie-straight Ahead'. The trombone solo is taken by John Tobin and Michael Prior plays the piano solo.

Today, the Darlington Big Band make the swinging sound of youth, with five trumpets, five trombones, nine saxophones, piano, bass and drums. They play music mainly in the style of the Count Basie Band, but they do have arrangements by other bands and composers including Duke Ellington and Henry Mancini. Their success and confidence has built up over the years, by giving many performances at charity concerts. and the past 12 months have reall~ put them in the limelight. One of their most exciting ventures was 15

Marranne (Martin Bunce) © Stanza Music This was written for the National Youth Jazz Orchestra by Martin Bunce. It starts with piano '<1 la Beethoven' and becomes chiefly a fliigelhorn solo alternating between C minor and C major. Off-Duty (John Dankworth) © Stanza Music John wrote this originally as the title-track of an L.P. for Fontana in 1968. It starts with arresting brass chords and then features the trombone section, which states the melody. The trumpets play the counter-melody and then there is a full ensemble section before the solos. The themes are recapitulated before the final sustained chords and exultant final unison tonic note.


Colchester Accordion Orchestra Conductor: Elaine Beecham Springtime Symphony G. Romani (b. 1917) 1. Largamente con alcuna licenza-Moderato pastorale Il. Lento elegaico Ill. Scherzoso, presto e molto ritmico IV. Allegro molto

The Colchester Accordion Orchestra was formed under its present name three years ago, all the members having had training in junior bands, and having reached a playing standard of at least Grade 6.

'Springtime' is the first full-scale Symphony written for the medium of the Accordion Orchestra.

Their entry in the 1973 Festival of Music for Youth resulted in an 'outstanding performance' award in the instrumental ensembles category, and in competitions organised by the National Accordion Organisation of Great Britain, they have held the East Anglia Area Advanced Championship for 1972-73-74,

In the usual four-movement symphonic form, the work is an expression of the composer's thoughts on the season of Spring. The first movement, in Sonata form, expresses the gradual burgeoning of Spring over the earth, the bursting of the buds and flowers, the songs of the birds, and all the other signs in Nature of the coming of Spring.

and the All-Britain Advanced Championships for 1974 and 1975.

The second movement is a slow-moving expressive elegy for the passing of Winter, while the third movement, in contrast, is a gaily rhythmic scherzo with a hint of mediaeval May songs and dances. The final movement is a paean in praise of Spring, interspersed with rustic peasant dances, and embodies fresh versions of the themes heard in the previous movements. Due to the time limitations, only certain movements will be played, probably the first, third and fourth.

Itchen Sixth Form College Wind Quintet Three Shanties for Wind Quintet Malcolm Arnold (b. 1921)

Itchen College is situated in the eastern part of Southampton, and was one of the first comprehensive sixth-form colleges to be established in the country.

The Director of Music, 10nathan Palmer, himself a composer and cellist, believes in the importance of widely varied musical experience, and is keen that music should be accessible to the whole college. The Shanties were written in 1952, when Arnold was 31, and

Music is particularly strong at the College, and no fewer than 25 students are studying at 'A' level this year. Many of these intend to go on to either Colleges of Music or University. With such a concentration oftalent, musical activities cannot help but flourish, and besides a full orchestra and choral society, there are chamber ensembles of all kinds. In addition, students have the opportunity to perform concertos and to have their compositions realised. 16

exhibit the brash exuberance that is characteristic of his most successful works. His obvious enjoyment in disguising well-known tunes with affectionate irony and wit, amid the cliches of light music styles, has made him one of the most uninhibited of our contemporary composers.


Brighton Youth Orchestra Conductor: David Gray Prelude al'Apres-Midi d'un Faune Debussy (1862-1918)

The Youth Orchestra was formed in 1946 by the late Ronald Harding, then Director of the East Sussex Music School. On his death the orchestra was taken over by the Brighton County Borough Council Education Committee who made a small grant to enable the orchestra to continue. Mr David Gray took over as conductor in 1963 from Wilfred Smith, having previously been String Coach for two years. In 1963 there were 38 members-at the present time there are 100, making a complete symphony orchestra. There is also now a supporting Junior Orchestra of 100 players and a Junior String Orchestra of 50-60 players. The expansion in the orchestra is due to the support which the former Brighton Education Committee gave to the scheme of teaching orchestral instruments and to the Association of Friends of the Brighton Youth Orchestra which has raised a great deal of money and given a great deal of practical support. Lady Robey is the President ofthis Association and is personally concerned in all the activities which the orchestra undertakes.

Paris, Vichy, Carcassonne, Perpignan, Montolieu and Angers. In each of the last two years the Brighton Youth Orchestra have been awarded plaques for outstanding performances in the National Festival of Music for Youth at the Fairfield Halls, Croydon. The members of the orchestra, whose ages range from 13 to 18 years with perhaps two or three members of 19-20 years, are drawn from local schools and, unlike many youth orchestras, the orchestra does not include full-time music students.

The music ofthis prelude is a very free illustration to Stephan Mallarme's beautiful poem. It does not follow the poet's conception exactly, but describes the successive scenes among which the wishes and dreams of the Faune wander in the heat of the afternoon. Then, tired with pursuing the fearful flight of the nymphs and najades, he abandons himself to the delightful sleep, full of visions finally realised, offull possession amid universal nature.

In 1892, Claude Debussy, then 30 and unknown to the public, undertook to write a triptyque for orchestra, entitled 'Prelude, Interlude and Paraphrase finale for L' Apres-Midi d'un Faune', a poem by Stephan Mallarme. He, in fact, only wrote 'Prelude l' Apres-Midi d'un Faune' ; this work took him all the summer of 1894 and was finished in September. This was his first purely symphonic work; he was then 32.

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Three months later, 22 December 1894, the work was first performed by the Societe Nationale de Musique, Gustave Doret conducting. In the following year, late in 1895, the Prelude was played in the Concerts Colonne and soon it spread all over the world.

Twelve overseas tours have been undertaken since 1963, including one to the International Festival of Youth Orchestras (1970) held.at St Moritz, Switzerland. It was the first British youth orchestra to make a concert tour in Canada in 1973.

TODAY

Last year the orchestra made a tour of Germany, Luxembourg and Belgium, visiting the Youth Orchestra in Wermelskirchen, an association which has been maintained since the first tour in 1963 and also played in the Municipal Palace, Luxembourg, as part of the Festival 'L'ete Musical de Luxembourg'. This year the orchestra travelled 2,500 miles through France giving concerts in 17

5TH NAT'ONAL FESTIVAL


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Pro Corda String Orchestra, Weybridge Conductor: Christopher Bunting Waltz from Serenade in C Tchaikovsky (1840-1893)

Pro Corda (the National Association for Young String Players) was founded in 1969 as a Registered Educational Trust, by Elizabeth Hewlins and Pamela Spofforth, to give promising young string players aged 8 to 20, from all over the country, the opportunity to enjoy a regular and progressive training in chamber music. The members meet during the Easter and Summer vacations for an

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Tchaikovsky composed the delightful Serenade, op. 48, in 1881

Teesside Youth Orchestra Conductor: Edwin Raymond Prelude to The Mastersingers of Nuremberg Wagner (1813-1883)

The Teesside Youth Orchestra is based on Middlesbrough, county town of the newly-formed County of Cleveland in the North-East of England. The origins ofthe orchestra go back to 1961 when violinists who had started under the instrumental scheme established in Middlesbrough schools in 1960 met centrally. From a Middlesbrough orchestra the orchestra developed naturally into the Teesside Youth Orchestra in which many of the most advanced young players from the area covered by the Teesside towns of Middlesbrough, Stockton, BiIIingham and Redcar meet weekly,

and it was given its first performance in January 1882. The second movement, to be played tonight by members of Pro Corda, is a sprightly waltz, the themes of which are given a dainty almost Viennese treatment.

eight-day residential seminar (1975 in Suffolk and in York). The main work is the study of quartets and trios, and every student specialises in two works during the week.

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with a regularity which is difficult to achieve by a county orchestra drawn from a wider area. Members are, almost without exception, pupils from secondary schools. Four Teesside Youth Orchestra members are members of the National Youth Orchestra of Great Britain. A number of ex-members have gone on to colleges of music and two of them to the Yehudi Menuhin School. At this year's National Festival of Music for Youth the orchestra was presented with an Outstanding Performance Award. Against a background of historically factual practices and traditions of the M astersingers guilds, which were founded in the 14th century and flourished particularly in 16th century Nuremberg, Wagner created his

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operatic plot in which he expounds a thesis of victory of a liberal and progressive artistic outlook over the influence of old-fashioned critical sticklers. The whole is a story of artistic ideals and foibles, of subtle observations of character and life involving also romantic love-a truly 'human comedy'. The Prelude opens with two march-like themes, separated by a brief lyrical passage, which express the ceremonial pomp of the Mastersingers guilds. Soon there appears a more emotional theme in the strings, that of the Prize Song, which together with other passionate phrases relates to the love story. Fun is made of these themes in a lighthearted woodwind passage mocking the diehard members of the guilds. The themes are later heard in combination, softly and not as a climax which is reserved for the final rousing and victorious appearance of the march themes. The Prelude is more than a brief introduction leading straight into Scene 1. It is a symphonic workingout of some of the main themes of the opera, a brief survey of its musical and dramatic contents, and this before Wagner had commenced work in detail on the opera proper. The Prelude was written and performed in 1862 whereas the opera was not completed until 1867 and given its premiere in 1868.

18


Comment

Orchestral Music

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Memory is curiously selective; yet surely the prime reason for some distant eveny standing out in the memory must be that it made (;t strong emotional impression at the time. Certainly we may recall silly, unimportant trifles and wonder why they linger on in the mind; but the highlights are there, and it is my firm belief that for virtually every young person taking part in today's concert this will be' something remembered long after most other events of 1975 are forgotten. My confidence is based on a childhood memory of my own. Although I was drawn to the piano almost irresistibly from the age offive or six, I was also encouraged to take up the violin when I was about ten. I had no great aptitude for it and gave it up after some three years; but, as a member of my school string orchestra, I did ta ke part in a school orchestral competition that took place at the Central Hall , Westminster. I don't know \\ ho organised it, but I do remember that we came fourth out of more than twenty schools. We had not expected to do so well, and we returned proudly, th o ugh I doubt ifby present-day standards we would have come higher than twentieth. The point is that I, a humble seco nd violin, not even on the fr ont desk, shared that experience so vividly that it now stands out like a beacon from the routine of normal school life.

Nowadays, orchestral music in schools has been transformed. In the last decade I have often had the pleasure of maki ng music wi th young people - a pleasure nourished by their enthusiasm and considerable skill. They may lack the technical expertise of professionals, nor are their instruments always of the best quality; their greatest virtue is that their playing is a voyage of discovery - discovering music and discovering capabilities within themselves. The sum of an orchestra is certainly greater than its individual parts; look along a line of young violinists and see how differently their bow-arms move - the confident strokes of the gifted leader or the tentative and skilled movement of that nine-year-old at the back of the 'seconds'. If, seeing his efforts, I am sometimes tempted to dismiss him as a mere passenger who shouldn't be there, I check myself, saying that I was once like him, and that looking back I still remember. My message then is not so much to the talented ones, for whom music is destined always to be of prime importance, but to the less gifted, the other ranks who help to carry an orchestra along without hope of ever playing a solo. Never think that what you are doing is not worthwhile; you will remember this day and the work that led up to it for many years to come, as I remember that long distant orchestral competition in which I played such an insignificant part. Many of the things we learn at school are soon banished to some attic of the mind, never to be used again. Music is something we can go on enjoying, actively or passively, for the rest of our lives. Playing in an orchestra in the Royal Albert Hall will give you an experience you will not forget. Enjoy it, and then go on playing, continuing that voyage of discovery which has so much to offer. Good luck - and good intonation! ANTONY HOPKINS

Swing and Jazz Nothing is more difficult for a very young European musician to play than jazz and associated kinds of mid-century dance music. You can be note-perfect, keep time, even improvise a solo - but, as the magnificent Duke Ellington observed in song: It Don't Mean A Thing If It Ain't Got That Swing. Nor is this all. Jazz and swing are a matter of environment. If you hear the sounds all the time, you get the feeling of them and for them. Jazz is not a completely improvised music ; but what marks it at its best is the illusion of improvisation . It's music which ought to sound spontaneous, to bounce along. 19

And where can today's young musicians naturally get the feeling of jazz? It doesn't exactly assail our ears. The sounds in the air around us are those of rock music, in all its hundreds of guises, some good and life-enhancing, some awful and deadly. Certain rock styles contain many traces of jazz, since most styles of 20th century popular music are inter-related in one way or another, but they certainly aren't jazz or swing in the classic sense of Louis Armstrong, Count Basie or Charlie Parker; even less are they like the more commercial dance-band sounds ofa Glenn Miller. So my admiration for youthful bands who even attempt to play in the pure jazz or dance-band tradition is without bounds. The slurs, swoops, syncopations and the rest which the style demands must tax the skills and imagination of young instrumentalists to the full. The idea of big jazz or dance bands in schools is still relatively new here. For decades the high school band has been a splendid feature of American musical education. In Britain it has needed not only hard work but courage on the part of a relatively few dedicated teachers and pupils to get the movement going, for it is not the easiest of art forms to persuade some head teachers, local authorities or even parents about. I hope that tonight's bands, and others like them - including the magnificent National Youth Jazz Orchestra which Bill Ashton, our big-band assessor this year, leads - will help this process of persuasion. For no music can expand the range of young musicians more, teach them more about good section work or, for that matter, inspire them as powerfully towards improving their calibre as soloists. DEREK JEWELL


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Musical Instruments by Roy Morris President, Association of Musical Instrument Industries

Though musical instruments fall into two main categories, which for the sake of simplicity we can call ethnic and art, it would be foolish of me to attempt anything like a full history of their development. Instead, I shall try to mark the milestones from their: early ritualistic beginnings to today's sophisticated instruments, typified perhaps by the electric music of the sixties and seventies. The earliest evidence we have of musical instruments is found in the Stone and then the Bronze Ages. Here we find the early scrapers, horns and drums and their associations with hostility and the warding off of evil spirits. Later we find the highly developed cultural influences of Greece and then Rome, typified by the Lyra and other stringed instruments and the Roman obsession with martial musicespecially the trumpet and tuba. The bagpipe also made its early appearance around this time.

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But all the evidence we have points to the Middle Ages and more correctly to the influences from the advanced cultures of Asia as the real starting point of what we can call the modern musical instrument. The early identifiable beginnings of the guitar, trumpet, flute and many others can be traced from our knowledge of the Arabic-Persian civilisation. As we move into the sixteenth century we can perhaps witness an era of great importa nce. in that it was a pcri \.1. d l1f Iran sfl1rll1Jti o n and the de\ dopmcnt \..11' man~ nc\\ t:- pes o f instrumcnts . There \\ ere. cspcciJII:-. great striJcs in the de vdl1 pment of keyboards - clavichord. spinet and

harpsichord were the real children of the Renaissance. All in all it was a time for greater volume, fullness of tone and a richer sense of colour. The next major step forward can be seen in the extreme contrasts of baroque music in the seventeenth century. Here we see the development of the powerful wind instrumentsbut of course this was the golden age of the violin . Throughout Europe the violin stood supreme, as the queen of musical instruments, and it is during this period that we find Stradivari the immortal violin maker. It was in the eighteenth century, however, that the really significant beginnings of technical development and construction were to have their influence on the enrichment of tonal colour and a greater economy of instrumentation in ensemble. It is here that we see the composer's pursuit of instrumentation that is evident in the works of Mozart and Haydn. It was in the latter half of this century that the pianoforte began to oust many of the earlier keyboard instruments. Its place in music remains unparalleled even today and marks the most significant achievement of the eighteenth century. And so we come to the nineteenth century - instrument makers and composers alike made magnificent strides in the pursuit of an unprecedented range of dynamic gradations. They took the work of their predecessors and created new dimensions in the enrichment of tone colour and dynamics. I t is quite impossible to do justice to the interim period up to the

present in anything like sufficient 2t

detail. Great progress was made with the wind instrument, raising it to a premier class in the orchestra. This was the period which brought jazz music, with its emphasis on wind and percussion that has influenced so many of our famous modern composers. Following the end of the thirties we have witnessed the development of the electric instrument. It has become the focal point of our popular music, espectally in today's 'pop' culture organs, synthesisers and amplification have created whole new areas of sound , some indeed replacing the actual instruments or sounds they have 'copied'. It remains to be seen, however, whether the eccentricities of one hundred IBM typewriters accompanying fifty computer-controlled filing cabinets will ever compete for our attention with, say, a Be~thoven Symphony.


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Congratulations and best wishes to all those taking part in the first ever Times Educational Supplement Schools Prom â&#x20AC;˘.. from the Musicians' Union The Musicians' Union welcomes the upsurge of interest in music making of all kinds by young people, Professional musicians play a large part as teachers, in helping to develop the skills of young performers, and a large and well-informed body of amateur music makers is one of the surest guarantees of audiences for the work of the professional musician as a performer. The world of music today is beset with many problems but we know from past experience that they will not deter many of tonight's participants from entering into a professional career, When they do so we are ready to welcome them into our ranks and to assure them that the Musicians' Union will continue to fight as hard as it has done in the past to maintain and expand the employment opportunities available, in order that their exceptional talents will not be wasted,

General Secretary, Musicians' Union President, I nternational Federation of Musicians Cio arrman, Confederation of Entertainment Unions ::< e :-~"'" Cr awn ao, National Music Council of Great Britain ',' eT,;:e', =.e: u ,;',e Committee of the International Music Council

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Music from the Schools Prom

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List of Performers

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HIGH WYCOMBE MUSIC CENTRE CONCERT BAND

WOKING COUNTY GRAMMAR SCHOOL FOR GIRLS ORCHESTRA

Head of Music Centre: John Ritchie Coaches: John Davie (woodwind),lan Morrish (brass)

Headmistress: Miss J. Ferguson Coaches: Pamela Spofforth. Ruth Lock. Joan Parry

Flutes Mark Abbott Kathryn Butler N oe l Thomas Susa n Ellis Lynda Marsland Jane Richards Oboes Corinne Besley Caroline Alabaster Susa n Follett Clarinets Susan Buist Jaqu i Sanchez Peter Cocket Haze llng Ruth Gibbons Valerie Hands Desne Treby Rosemary Wood Kathryn Alien Caroline Barlow Nicola Glazer Joanna Barraciough Eliza beth Taylor Sara h Hawkes Aliso n Preece Karen Hancock Lynne Yewdall Kevin Hurst Diana Peaty Alison Eaton Bassoons James Moorcroft Chantal Kerrigan Horns Alison Turley Clive Abbott Jack ie Brown Julie Bunker DavidJones David Sharp

First Violins Frances Daley (Leader) Bridget Harding Sarah Whelan Helen Duffy Sarah Samson Sally Bamford Claire Jolivet Second Violins Julie ResLOn Joanna Orsman Margaret O'Taney Charlotte Markson Heather Taylor Jane Edwards Linda Dorrell Violas Elizabeth Holt Janet Kerry Belinda Webb Helen Dodd Violoncellos Katharine Spath Sian Jones Helen Elliot Katherine Madan Lucy Knight Denise Dodd

Saxophones Peter Greenaway Peter Poskett Mark Wingro~e Robin Smith Tony Orchard Duncan McPhee Cornet Stephen Downie Trumpets Stephen Burford Duncan Mackrill Joanne Steventon John Vanryne Simon Davie Andrew Burford Martyn Morrish Aron Woodall Martyn Cooper David Poskett Robert Vanryne Brandon Goldsmith Phillip Dodd Trombones Garrick Steventon Mark Little Caroline Hall Ma lcolm Fisher Teresa Greenaway James Richardson Carlton Mounsher Euphoniums Michael Shepherd Paul Hester James Dalton Tubas Andrew Watts Michael Walsh Muriel Abbott Catherine Dendy String Bass Alison Batchelor Percussion Phillip Edwards Jane Alien Kirstin Anderson

Flutes Christine Day Sarah Fraser Denise Cheeseman Oboes Penelope Rowland Rachel Platt Clarinets Linda Salt Ann Page Kristina French Bassoons Anne Gee Lynda Jeffery Mary O'Taney French Horns Tina Shearer Joanna Pearson Christine Barker Amanda Clark Timpani Jennifer Dryden

KINGSDALE SCHOOL DANCE BAND Director : Eric Matthes Coaches : Barry Graham (woodwind). Anthony Hogg (brass). Bruce Watson (trumpet), David Clifford (percussion). Harry Barnett (guitar), John Richards (bass) The Band : Trumpets MichaelO'Gorman Susan Adams Gordon Burgess David Chapman Paul Mitchell Trombones Suhail Islam Graham Winter Fayyaz Virji Alan Garrett

St ANNE'S CHAMBER ENSEMBLE Supervisor: Pauline Newton (former Head of Music at St Anne's Convent School, Southampton) Coaches : Geoffrey Bridge (woodwind), Mark Knight (violin). Fay Mitchell (cello) Members of the Quartet: Oboe Clare Smithies Violin Elizabeth Searle

Double Bass Frances Cooper

Piano Alan Winter Alto Sax James Talbot Angela Claire

Viola Sarah Boulton-Smith Cello Geraldine Campbell

Tenor Sax Gail Thompson Neville Carnegie Baritone Sax Nicholas Hampson Electric Guitar Andrew Jacobs Bass Guitar Robert Daly Drums lan Green Conga Drums lan Chopping Latin-American Percussion Michael Garrett

ELMWOOD JUNIOR SCHOOL STEEL BAND Tu/or: Russell Henderson Head of Elmll'Ood JUlliol' School: Mrs E. M. French Players: Susan Adams Peter Austin Claire Bagwell Gaynor Langley Kandy Lukats

DARLINGTON YOUTH BIG BAND Coaches: Alf Hind, Ron Cock field

Cecile Malcolm K ay Pack ham Amanda Penfold Ruby Reid Nadine Searle Maureen Thompson

Trumpets lan Robinson Andrew Fox Step hen Reed David Connelly Mark McCabe

TABOR RECORDER CONSORT

Trombones John Tobin Philip Evans John Bright Terence O'Hern Shaune Johnson Francis Macura

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33

Saxes Venet ia Robertson Philip Taylor Glenda Monument } Alto Kay Gornall John Duggan Jane Kirby } Tenor GeofTrey Shutt Philip Burton Baritone Rhythm Alan Smith (Bass) Michael Prior (Piano) Stephen Hewitt (Drums)


BRIGHTON YOUTH ORCHESTRA

PRO CORDA STRING ORCHESTRA

Coaches: Mary Cadogan (strings), Kevin Grifferty (wind)

Coaches: Pame1a Spofforth, Elizabeth He" lins

Violins Sarah Trigg-Leader George Adsett John Balmer JoanIia Beadle Rosamunde Blackwell Sarah Bridgland Hilary Co le Anne Edwicker Sheridan Green Jane Hall Rosemary Hall Eileen H a rland Vivienne Harland Belinda Harris-Principal2nd Violin Bradley Hemmings Angela Hickling David Jenner Roisin Meagher David McCullough Pauline Os borne Christopher Owens Martin Owens Simon Pack ham Margaret Pinder Stella Short Valerie Short Carl Simmonds Janet Steele Rowena Taylor Lisa Thompson Maria Tinner Alison Toy Gordon Virgo Gillian Webb Estelle Wemble Paul White David Wood Jennifer Woodfin

First Violins Brian Brooks Ma ureen Parrington Sarah Whelan Eli zabeth Wexler Cl a ire Jolivet Lucy Howard Gabrielle Lester Helen Dcamley Helen Duffy Anna Joseph Maris Teteris Rebecca H irsch Ca therine Bailey J a ne Burroughs Adrian Butterfield Deborah Hirsch

Violas Gillian Stanley-Principal Jane Geerts Alison Harland Sarah Hartland-Rowe Paul Hooker Elaine Kenward Catherine Pidsley Alison Rowlands Helen Sykes David Willcock Cellos Nicholas Cooper-Principal Susan Behague Judy Beishon Rosamund Best Cindy Bulteel Fiona Davenport Robyn Glover

Cellos (continued) N igel J ackson Elizabeth May Charles Pidsley Helen Rowlands Annie Tyhurst Gabriel Ward Denise Woodfin Double Basses Richard Lamb-Principal William Alves Catherine Howard David Luckhurst Flutes Judith Ba rnard-Principal Sarah Blattner (piccolo) Susan Chatfield Andrew Roberts Oboes Susan Pa ul-Principal Paul Fa irhall Christopher Wood (cor anglais) Clarinets Rosamond Mann-Principal Elizabeth Canto Margaret Denby Denise Drury Virginia Hunt Richard Whatmore Bassoons Simon Couzens-Principal Rosalind Page Christopher Stanley Horns Peter Francomb-Principal Clive Buckland Josephine Chilton Willia m Sykes Trumpets John Watmore-Principal David Hampton Jacqueline Chapman Rosemary Noble Trombones William Bourne-Principal Jonatha n Fursdon Aubrey Moore Step hen Russell Stephen Wild man Tuba David Watmore Percussion Simon Quill-Principal Timothy Ball Nigel Lewis Harp Audrey Douglas

Second Violins Joa nna Orsman Ma tthew Fairman Hilary Jane Parker Sarah Thome Cha rlotte Howard Va lerie Havard Rebecca Thompson Ca therine Lyon Phoe be Corke Vemon Dean Catherine Sax ton Am a nda Gough Bridget Harding Sarah Samson

First Violins lan Belton (Leader) Dorothy Appleton Josephine Battersby lan Banks Judilh Bellon Janette Brown Philip Davison Peter Doherty Fiona Goodwill John Knaggs Michael Larvin Simon Lillystone Richard Neville Gary Sanderson Julie Shepherd Nigel Wareham Second Violins Michael Thomas Deborah Blakemore Pauline Branson Elizabeth Dean Helen Doran Clare Greathead Carole Greenan Catherine lohnson John Kane Julie McAndrew Carolyn Raine K aren Townson Colette Waters Calherine Wing

Clarinet Julie Ann Wilson Horn Trevor Grant Bassoon Suzanne Chappell

Violas Alex Robertson Timothy Aldren Angela Daly Richard Jakobson Paul Jones Catherine Tonks Roger Woodward

COLCHESTER ACCORDION ORCHESTRA Coaches: Ron and Elaine Beecham

Second Accordions Lynn Benton Debbie Chater JiII Pope

R~becca \\ e,T~r Hclen Dodd Julian Hirsch Dittany Morgan

Double Bass Frances Cooper Violoncellos Ro bert Young Christopher Ho lland Jeremy Thome Elizabeth Holt Robert Hoppe Emma Chamberlain Jane Hughes Caroline Dearnley Nico la Harris Dcnise Dodd Ka te Morgan Oliver Segal

Musical Director : Edwin Raymond

Director of Music: Jonathan Palmer

Members: First Accordions Helen Ranson Christine Ranson Denise Knowles Shirley Coe Christine Sheeran Julie Can ham

\\\!nd v Young

TEESSIDE YOUTH ORCHESTRA

ITCHEN SIXTH FORM COLLEGE WIND QUINTET Members of the Quintet: Flute Clare Mace Oboe Heather Minard

Yiolas Philip Thorne Ch"rlott~ Buchanan

Third Accordions J acqui Cra btree Helen Singleton Alan Asbridge Fourth Accordions Kevin Ward GillianMilIs Stuart Chapman Bass Accordion Barry Ranson Percussion Christopher Smith-Gillard

Cellos Geoffrey Wright David Beall William Bruce Mary Doran Ruth Edmundson Helen Greathead Barbara Grunthal Anne McLean

34

Cellos (Colltilllled) Jacqueline Thomas Alison Waines Barbara White Double Basses Paul Gooderham Villibald Kuby Paul Scott Suzanne Scott Flutes Neil Boland Brian Evans Graham Lowther Valerie Willet Oboes Paul Elwick Gillian Becket Richard Chesser Clarinets Charles Rowe Ruth Grunthal Jenny Rowe Timothy Nicholson Bassoons Andrew Lister Elaine Wood Horns John Larvin Kevin Armstrong John Carey Margaret Readman Trumpets Anne Mahon David Curry Stephen Walker Trombones Mark Cronshaw Simon Robinson Jon Thirkell Tuba Colin Myers Percussion AndrewHom Jeremy Horn Alison Hunter


The Association of Musical Instrument Industries Member Companies Barnes & Mullins Beare & Son Ltd Belwin-Mills Music Ltd Besson & Co Ltd Boosey & Hawkes Music Publishers Ltd Boosey & Hawkes (Musical Instruments) Ltd British Music & Tennis Strings Ltd The Cardiff Music String Co Ltd Carlsbro Sound Equipment Chappell & Co Ltd Cleartone Musical Instruments Ltd J. T. Coppock (Leeds) Ltd EMI Music Publishing Ltd Fletcher, Coppock & Newman Ltd General Electro Music (UK) Ltd

General Music Strings Ltd Terry Gould International Ltd J. P. Guivier & Co Ltd HH Electronic The Hidersine Co Ltd M . Hohner Ltd James How Industries Ltd Jennings Electronic Industries Ltd Kemble (Organ Sales) Ltd R. G. Lawrie Ltd Peter Legh Musical Instruments Bill Lewington Ltd Music Sales Ltd Orange Musical Industries Ltd Premier Drum Co Ltd Reslosound Ltd

Rose, Morris & Co Ltd Rosetti & Co Ltd Rudall Carte & Co Ltd Schott & Co Ltd Henri Selmer & Co Ltd John Hornby Skewes & Co Ltd Sola Sound Ltd Stentor Music Co Ltd Summerfield Brothers J. Thibouville-Lamy & Co Thomas Musical Instruments Ltd Top Gear (Music) Ltd Watkins Electric Music Ltd Wilkinson Radio & Musical Ltd Woods (Pianos & Organs) Ltd

Pianos supplied by Whelpdale, Maxwell & Codd Ltd

Land of Hope and Glory Words by Arthur C. Benson Music by Sir Edward Elgar Reprinted by permission of Boosey & Hawkes Music Publishers Ltd Dear Land of Hope, thy hope is crowned, God make thee mightier yet! On Sov'ran brows, beloved, renowned, Once more thy crown is set. Thine equal laws, by Freedom gained, Have ruled thee well and long; By Freedom gained, by Truth maintained, Thine Empire shall be strong. Land of Hope and Glory, Mother of the Free, How shall we extol thee, who are born of thee? Wider still and wider shall thy bounds be set; God, who made thee mighty, make thee mightier yet, God, who made thee mighty, make thee mightier yet. Repeat chorus Thy fame is ancient as the days, As Ocean large and wide; A pride that dares, and heeds not praise, A stern and silent pride. Not that false joy that dreams content With what our sires have won; The blood a hero sire hath spent Still nerves a hero son. Repeat chorus twice, as before. 35


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Choosing the right musical instruments for young music makers can be a worrying experience, particularly when you've limited funds. That's where Selmer can help. With almost 50 years experience in supplying the nation's musical needs, it's hardly surprising that our current range of student instruments are the best value for money you'll find anywhere. Ask your local Selmer dealer to see these names ... 'Saxon' Guitars-15 superb classic, Folk and Jumbo models. 'Melody Maker' brass and woodwind-free blowing instruments at unbeatable prices! Pearl 'Maxwin' educational percussion. All instruments in the Selmer range carry the AMII 'Seal of Approval' for guaranteed satisfaction.

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HENRI SELMER & COMPANY LIMITED Woolpack Lane, Braintree, Essex CM7 6BB. Tel: 0376 21911.

Printed by M. W. Bailey & Co., Ltd. London

School Prom 1975  

The 1975 Schools Prom programme.

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