Schools Prom 1977

• ROYALALBERT HALL General Manager: Anthony J. Charlton

Monday 28 and Tuesday 29November 1977

Official Programme 4Sp

Sponsored by

THE TIMES

Educational Supplement

Your Music Centre

Our Music Centre A superb Sanyo music centre will be presented to all the participating orchestras.

A mini encapsulated Albert Hall that will give you music in all its forms, whether a radio concert, your favourite cassettes or records.

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Executive Producer Organiser

Concert Director Concert Producer Deputy Organiser Production Assistant Secretariat Publicity and External Relations (CGP,R Ltd)

Introduction

Derek Jewell Humphrey Metzgen

The Schools Prom moves from strength to strength; this year's con certs, with their instrumental innovations, promises to be even more exciting and enjoyable than last year's.

Music has always been seen as a civilising influence; nowadays it is also increasingly recognised as a way of binding national and ethnic communities closer together, and we hope 1977's international collaboration will be followed by many more such collaborations in the future.

The young musicians who perform in the Schools Prom have all particularly distinguished themselves in the National Festival of Music for Youth, and their reward is to perform in one of the world's greatest concert halls. Credit is due not only to them but also to the teachers, parents and local authorities whose hard work and enthusiasm have contributed so much to their success.

By sponsoring the Schools Prom,

Larry West land Geoffry Russell-Smith Nancy Wolf-Papadopoullos Alex Hackett JilI RO"binsori, Kathy Hennessy Linda Lane

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The Times Educational Supplement reaffirms two beliefs: that the health of music at the local level is important to the country as a whole, and that the media have a duty to back all young people who do something worthwhile and do it superlatively well .

Introduction ".

The Great British Musical Renaissance The Schools Prom The Music of the Schools Prom Great Oaks ...

Programme Notes Concert Programme Presenters and Guests List of Performers Friends of the Schools Prom

The Schools Prom is organised in conjunction with Westland Associates

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Back Cover

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Swan Mac/lire Ediror The Times Edllcarional SlIpplemenr

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The most exciting annual · event In .

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To ThainRecordings Ltd, 13 Race Farm, Lytchett Minster, Poole, Dorset.

(Tick where appropriate) Please send me further information and an order form for The Schools Prom

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RECORD

A special recorc:ling of this concerts will shortly be record and cassette.

Perfonnances from all the taking part will be included (~....:;~___~_ Re-live the excitement, warmth aEl();ralJllC)S of the Schools Prom in your own ....v ......"".

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The Great British Musical Renaissance

by Robin Maconie

What has happened to school music over the past few years is nothing short of amazing. Music today is itself an amazing subject.

There is now virtually no sound under the sun that cannot be used in a musical way. Drag a stick along a corrugated iron fence and you make a sound like a musical instrument called a guero, a notched hollow gourd (though much louder, of course). A saucepan lid can sound like a cymbal, an iron frying-pan like a gong. Benjamin Britten invented a set of chimes made of teacups; Japanese musicians use special metal bowls, based on porcelain rice bowls, as a prized musical instrument. In the West Indies empty oil drums are hammered into the distinctive flowershaped pans of tuneful steel drums, high, medium and low. The sounds of birds, explosions, radios and passing traffic are now captured on tape and mixed together in imaginative and satisfying patterns. In short, music has become a thing of The Times, and its emphasis more than ever before Educational.

You don't have to be very old to remember a time when school music lessons consisted of singing hymns and folk songs to a piano accompaniment, making noises on recorder, glockenspiel or tambourine, and in a few exceptional cases when you were old enough, making perhaps rather more musical noises as a member of 路 the school band or orchestra. Music was British, something for special occasions, and, like castor oil, good for the health even if sometimes rather hard to take. That has now changed.

The first thing to happen was that a number of bright young composers got into British schools and began to write their own music for children to play, music that both sounded fresh and up to date, and that also took account of the different levels of skill

that are found in every school. They began to teach jazz and pop music, and because there was money available, were able to build up supplies of instruments and bring in specialist teachers. Music started to look professional, and began to sound like the' real thing.

The second change took place as schools became aware of the great variety of cultures that now belong in the Great British family. Schools now recognise that the music of India, Cyprus, Africa and Kingston, Jamaica is part of our cultural heritage, too. A new gaiety and movement has come into our music as teachers have tried and been won over by the beauty and exuberance of the music of a diversity, of naturally musical communities. And along with this welcome expansion of our cultural horizons has grown a sense 路 that wherever it comes from and however it is made, real music is something that should engage the interest and satisfy the ear: it is alive.

Technology, too, has played its part. More and more children of school age have their own transistor radios; more and more schools have acquired good record players and are able to stock up from a vast range of inexpensive discs of music of all kinds . Broadcast music to schools encourages children to think of radio as an enormous information resource, and to listen actively, not passively.

Through radio and electronic instruments music can now be taught as a part of physics; using cassette recorders children are now able to learn to produce their own recorded entertainments combining music and drama; those with an aptitude for craft handiwork can now apply themselves to building instruments, using a number of excellent publications to guide them.

All this activity centring on music can only increase the general level of appreciation of the skill and art of traditional music, too. The remarkable flowering of early music in the past few years has touched school music as well, transforming the simple tambours and recorder bands of yesterday into today's bright lively consorts playing authentic early music with grace and vigour .

The upper school orchestra today, thanks to an infusion of new talent

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and imagination in the teaching profession, has entered a period of growth and refinement. Many school orchestras, and youth orchestras as well, now can seriously be claimed to have reached a level of performing excellence equal to the orchestras for which Bach, Handel, Haydn and Mozart composed, and are able to prove it convincingly in public concerts of professional ambition and quality. For them, too, music at school has ceased to be a second-rate imitation of something only professionals can achieve. Their performances can be not only stylish and technically impeccable, but often achieve a spontaneity and intensity of effect that only the young are capable of.

With this new confidence in the quality and value of school musicmaking has come, furthermore, a reawakened sense of the active part music can play in the local community. It has been heartening to witness in the past few years an increasing interest being taken by schools musicians and local authorities in the composers within their midst. Many composers, needless to say, already belong to the teaching and administrative establishment, and it is thus welcome and natural that their creative abilities should now be given a chance to flower, whether it be avant-garde music for percussion, a school opera, a special arrangement of music for a school's unorthodox ensemble of instruments and abilities, or a symphonic suite. Music needs composers, and the lead now being given in the patronage of local composers at the grass roots is an example the professional world could well follow.

If this, then, is 'The Times' - the present actuality - of school music, how splendidly 'Educational' it is, too. When we think, for example, of the recent great debate over the British Art Exhibition at the Hayward Gallery, and how it took a public confrontation of ordinary people, critics, Arts Council representatives and the artists themselves to try and resolve the problem of why painting should have become the exclusive preserve of private speculators, how much more healthy seems the state of music. For as never before, the Great British Musical Renaissance belongs to the people, to the local community, not to a remote central authority. And that community is a young, school community, a community of diversities of culture and background, reflecting and transforming the world of parents and friends, and preparing the way for a much more musical world. is the music critic of the T.E.S.

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The Schools Prom

by Humphrey Metzgen

This year's concerts mark only the third anniversary of the Schools Prom since it was first staged at this famous concert hall in the Autumn of 1975. Within that relatively short time, the Prom has notably grown in magnitude and popularity, whilst continuing to reflect the excellence of youth music-making in Britain.

In 1975 there was a single concert.

Now the Schools Prom has expanded to two consecutive evenings for the second year running, with nearly 800 musicians featured, including for the first time two groups from abroad.

These and the many other aspects which make this event so unusual a concert series stem completely from the effort and dedication put in by the young players, their teachers and parents. Our thanks and appreciation go out to them.

This year's programme promises to . be the most ambitious yet undertaken with a wide variety of sounds from musicians who come from places as diverse as Aberdeen, Wells, Darlington, Doncaster, Cleveland, Nottingham and Glamorgan, as well as London and the Home Counties.

Excitingly new is the international flavour which comes to the Schools Prom by the way of two groups from the Soviet Socialist Republic of Komi and the Tambov Region. This follows a visit last July, at the invitation of the Soviet Union, for three of the groups who appeared in the 1976 Schools Prom - Kingsdale School Dance Band, Bedales Wind Quintet and the Kincorth Waits Early Music Group - to give four performances in Moscow and Leningrad.

These trips were negotiated by the Central Bureau for Educational Visits and Exchanges as part of a series of UK/USSR exchanges in the performing arts, and we are indebted to the Bureau's Director, Mr James Platt, and its Assistant Director, Mr Tony Male, for making it all possible.

Among this year's special guests we are also especially proud and honoured to welcome Mr Yehudi Menuhin, whose world renown as a virtuoso violinist and champion of international understanding is enhanced by a long and deep devotion to school music. He will appear as soloist with two of the schools - the William Ellis School Chamber Orchestra and Wells Cathedral School Symphony Orchestra.

Antony Hopkins again appears as guest conductor this year, and Michael Aspel joins Derek Jewell in presenting the music you will hear.

So popular has the Schools Prom become that this year's concerts were virtually booked out three months in advance - the sort of response one usually associates with full-scale concerts given by major international celebrities. At one stage, this response was almost embarrassing, with the possibility that there might not be enough seats left for the players! Such a demand suggests that these concerts may one day need to grow even more . At the same time, for its organisers and crew - those who put the Schools Prom together and steer it through two hectic days of rehearsal and nights of performance - three years of existence is barely time enough to cope with such exuberant growth.

The task of preparing the Schools Prom covers many months, with work starting virtually immediately after the second night of the concerts.

The pace quickens in the Spring, when regional festivals begin to lead up to the July presentation of the National Festival of Music for Youth, which is presented by the Association of Musical Instrument Industries and sponsored by The Times Educational Supplement.

From this festival, the participating groups for the Schools Prom are invited, so once it ends there is the task of choosing a programme for the Albert Hall. Every year selection gets more and more difficult, of course.

To do full justice to the enormous resources of musical talent in British schools in anyone year would tax the concert capacity of London itself and that would only be the start.

Each year, arrangements must be made for many hundreds of young musicians to be housed, transported and fed. Tickets to the concert have to be sold - and the all-important cooperation of parents, head teachers and local authorities secured. An effective publicity campaign has to be implemented, with nationwide radio, TV and Press coverage to be won.

The production of a record album h<!s this year been added to the list.

Stage plans, decorations, borrowing of equipment, renting of rehearsal rooms; the production of a souvenir programme; attending to guest artists, conductors and presenters, plus, of course, raising financial support for the concert - all these are among the tasks which precede the concerts.

Without the generous co-operation of many people, the completion of this list of preliminaries would not be possible. We are particularly grateful, therefore, for the help of The Times Supplements Marketing Department and the staff of the TES; the National Festival of Music for Youth Adjudication Committee; Westland Associates; Childs-Greene Advertising and Public Relations Lld; the staff of the Royal Albert Hall; and all those welcome Friends of the Schools Prom from industry and commerce.

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Congratulations and best wishes to all those taking part inThelimes Educational Supplemen Schools Prom...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.

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Genera l Secretary , Musicians' Union / Presiden t, International Federation of Musicia ns/C hairman, Confederation of Entertainment Unions/ Deputy Chairman, Nati onal MUSIC Council of Great Britain / Member. Executive Committee of the International Music Co uncil

YEHUDI MENUHIN MUSIC GUIDES An important series edited and introduced byYehudi Menuhin. Each book is written by a musician of the highest professional distinction and the series will cover all the instruments within the 'orchestral family' . These are working handbooks for musicians, music teachers, students of all ages and all readers actively interested in music.

Available:

VIOLIN AND VIOLA

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Yehudi Menuhin and William Primrose £4.50 (hardback) £2.25 (limp)

Jack Brymer £4.95 (hardback) £2.95 (limp) OBOE Leon Goossens and Edwin Roxburgh £5 .95 (hardback) £3.25 (limp)

PIANO

Louis Kentner £4.50 (hardback)

£2.25 (limp)

All titles are illustrated with instructive photographs and line drawings, music examples and discographies of the best choices in recordings.

To follow: Bassoon, William Waterhouse; Double Bass, John Gray; Flute, James Galway; Guitar and Lute, Narcisco Yepes; Harp, Sidonie Goossens; Horn, BarryTuckwell; Percussion, James Holland; Trumpet, Sidney Ellison; Trombone, Alan Lumsden; Tuba, John Fletcher; 'Cello, Pierre Fournier; Organ, Simon Preston; also Co nduct ing and Orchestration, Harpsicho rd and Early Keyboard Instruments, Voice.

MACDONALD AND JANE'S 8 Shepherdess Wal k, London N1

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The Music ofthe Schools Prom

by Derek Jewel!

The musical idea behind the Schools Prom has remained consistent from the beginning: to attempt to show, within an evening or two, not only the standards which young musicians these days aspire to, but also the sheer sense of adventure with which they approach music-making and, above all, the astonishing variety of sounds now to be heard around the country.

So pure technical competence, although important, is not the only touchstone. Variety of styles, of composers, of instrumental groupings, of age - all these have been sought after in the creation of this year's programmes. Only in this way could the concerts even begin to suggest the nature of the catholic and richlycoloured panorama which is schools' music today.

The choice of music and musicians for those who have attempted to put together an entertainment which will satisfy (and, hopefully, surprise you too) has as ever been both an enjoyable and agonising business.

There is so much that is good to be heard, one would want to put on many more than the chosen 800 players in this hall. But the most exciting aspect in the listening this year has been the continuing discovery of the musically unexpected, the realisation that still further development was possible in the range of music which might be presented.

Many among tonight's audience will recall the different kinds of ensemble which have already been heard in previous years. Symphony and string orchestras, obviously; chamber and percussion groups, too; recorder bands, swing bands, steel bands, brass and wind bands. Spicing this mixture has been medieval music and instruments, and a large accordion band, as well as a dedicated avant-garde group.

Most of these varieties will ' be heard again this year - not all, since standards in styles vary from year to year - and there will, in addition, be several firsts. A guitar group is featured (playing William Byrd, though, not rock 'n' roll!) and there is exquisite handbell music, as well as the sound of very young musicians taking their first steps in playing percussion instruments and singing together.

Another innovation: concertos are part of our programmes, a step directly springing from the decision of our friends and associates at the National Festival of Music for Youth to include a concerto class. The concerto is also the medium through which this year you will hear our most welcome and honoured guest, Yehudi Menuhin. In previous years, John Dankworth and Humphrey Lyttelton have shown us something of the art of the jazz soloist. This year, our guest soloist displays for us a more venerable and European tradition as he plays his beloved Vivaldi.

And finally among the innovations, the visit of the youth folk groups from the USSR. It is quite certain that the artistic experience they offer will be a rarity not only for the Schools Prom, but equally for Britain as a whole. Music crosses boundaries. Music is universal. In that belief, we are delighted that they have come to open our eyes to one facet of music-making in another land.

The mixture, then, seems to grow richer with every year. The diverse and catholic nature of the concerts is equally reflected in the choice of composers. Vivaldi and William Byrd, one of the fathers of English music, I have mentioned already.

Mozart and Purcell are equally familiar names. And, moving on, there are Edward MacDoweIl, Elgar and (most appropriately) Shostakovich. George Gershwin has not been represented before nor, on the jazz front, has Stan Kenton, although Sammy Nestico has. That's not surprising, for Nestico's original compositions for Count Basie's 'magnificent band were published for school bands in a special Basie Nestico series.

There, then, is the musical philosophy behind the Prom: an allround approach to music springing from the knowledge that there is more cross-fertilisation between styles today than ever before, less musical snobbery about. It is, after all, quite common for young professional musicians now to play in both 'serious' orchestras and 路popular' bands with no sense of basic ideological conflict or even unease.

At the known risk of repeating myself, I believe there ought to be only one division in music: between what's good and what's not good, whichever style or tradition it belongs to.

In the end, of course, the proof of the planning will be in the hearing on both nights of this year's Prom. We hope that the concerts will give you pleasure and, perhaps, some memories which will not easily fade as they illustrate just how rich is the treasure-house of schools music today. If the occasion is also an inspiration to parents, teachers and pupils still further to become involved in music-making, then we who present this Prom need no further fulfilment.

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Great Oaks...

Hilary Finch talks to Yehudi Menuhin, this year's guest artist, about new opportunities for young performers.

'I know the time is right. Schools and colleges throughout the country are beginning to produce extremely good musicians. And it is unrealistic to expect that everyone of these is going to be able to play in a limited number of concert halls for 2,000 people. What is more, there are about 50 million people in Great Britain and only the tiniest percentage go to concerts. Why not organize something which will bring music to them instead of their coming to the concert hall?'

For 30 years, Yehudi Menuhin has observed, dreamed and planned - and at last, in April this year, he launched a scheme to match up new performers and new audiences to play Live Music Now. A few months after they had started, I talked to Yehudi Menuhin in LMN's new offices in Wigmore Street. I asked him when the idea first came to him ...

'I first started thinking about it 30 or so years ago in New York, and it was not, in fact, my original idea.

It was Peggy Glanville-Hicks, an Australian composer, who did a great deal of work in New York as a music critic and composer who first suggested the idea of a clearing house for a host of young musicians, or musicians who are having a hard time, who are valuable and who do not draw a big public - and also a list of possible clients for them. I presented the idea to the Ford Foundation in New York 30 years ago, and it seemed premature. Nobody was ready to do anything about it. Meanwhile, languishing on the agents' lists were 95 per cent of their pianists who couldn't get engagements. It's always that way; naturally 95 per cent of the engagements go to the five per cent best-known people, and that's the law of life. But it isn't necessarily fair, nor is it ideal.

'Quite by accident, early in 1976 a letter appeared in The Times taking issue with the way in which music is run in this country - with the private management who pay huge fees to certain artists and conductors, while others get no fees at all. I felt I had to correct this totally false impression.

Far from managements making huge profits, some of them have had to fold up because they couldn't make ends meet. Besides, they're keeping the public supplied with great artists and doing their job. However, it isn't their job to help the young who are just starting in their careers, because the fees these artists would draw wouldn't pay for cleaning the dust off their desks.

'So, this idea that I had in New York 30 years ago came back to me. I answered the letter in The Times saying "If you really want to help the

young, here is the way to do it".'

The response to Yehudi Menuhin's ideas was amazingly encouraging.

Lord Gibson, then chairman of the Arts Council, chaired the first meeting to discuss a possible scheme; Lord Donaldson, Minister of Arts, was enthusiastic enough to get a member of his department to write to all the arts centres in the UK as a way of introducing music to homes, hospitals, schools, in each area; contacts were made, concerts given and performers invited back.

How does the system actually work, though?

'I made several conditions. The performers must be paid, and what they are paid must be clear. In other words, you cannot expect someone to pay, for his travel and lodgings on ÂŁ25. Therefore, a fee of ÂŁ25 is clear, and whoever brings them puts them up privately. This has side benefits, too, because a young violinist, for example, who comes to live in a house, has to be provided with a room where he can work, proper washing facilities, sleep - and so the family will learn to know something about the violinist's life - what the responsibilities are, how much practice he has to do.

'Supposing one of these players had 100 concerts at ÂŁ25, well, you can live on that, especially if, during that time, you are taken care of. So, even 50 concerts would make a difference between a livelihood and not a livelihood. Besides, it's not the money alone, it's the experience, it's the playing, it's the bringing to the people of something useful.'

A large number of the young musicians, obviously, come from Yehudi Menuhin's own school; some are young artists who have played in national and international festivals, or in master classes; others have been 'spotted' and invited to join the scheme.

But how do prospective performers get to know about it?

'They write in, or someone, like their teacher, writes in, in their name.

Teachers all know that they won't be selected unless they are top notch and there are many, many that are top notch.'

I asked him how they were selected.

'I have assembled a panel which includes the very best pianists, violinists, soloists - Julian Bream, Jack Brymer, George Malcolm, John Shirley Quirk. We also hope to find Asian people to pass on the sitar playing and so on, because we want to go into all aspects of good, disciplined music, whether it is Indian or African or any other. We meet as a panel from time to time,

but as I have specialists it's' sometimes sufficient for one member of the panel, plus a critic, to pass judgment. Usually there are about five of us; I prefer at least two, because there may be personal feelings; one doesn't recognise one's own prejudice sometimes.'

Mr Menuhin told me about some of the concerts that had already take place.

'Well, they have been incredibly well received. I mean, people couldn't believe their ears. People who had never hoped to hear such beautiful music played, and who thought they could only get such music in the Festival Hall in London, suddenly found that in their village they could have a superb performance of almost anything - a Beethoven quartet, a solo violin playing a sonata, or a flute, or whatever it may be. Wherever they've gone, we have had letters of such appreciation, such gratitude.'

On 18 June, Rosemary Furniss, a 21-year-old violinist from the Yehudi Menuhin School and the Royal Academy, played with Melvyn Tan, a young pianist from Singapore, at the Rudolf Steiner school in Heanor, Derbyshire. In June, Elizabeth Perry (violin), Kathryn Stott (piano), Janice Alford (mezzo-soprano) and Jonathan Alder (accompanist) gave a concert at an arts festival in St. Neots, Huntingdon. Twenty-oneyear-old Timothy Lowe gave a piano recital in the house of Joan Holder in Chalfont St. Giles on 17 September.

Yehudi Menuhin thinks that, one day, the scheme will pay for itself.

But, for the time being, the client is

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asked to pay £2.50 for audiences up to 50, £5 for 100 and £10 for larger audiences, in order to cover administrative expenses.

'As the numbers grow, we will have to adjust to· new levels of organisation which will entail branch offices. There will be, and there are, certain places that cannot afford even £25. And £25 may not be sufficient that's just for the artist. You may need to get a piano; you may need to ask someone to clean the place; you may need to print a programme; you may want to tune a piano; you may need music stands, or chairs, or drinks, or I don't know what. So it's I

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more likely to be £60 or £70 if it's only one person - and possibly £100 if it's two. We would like to make a little contribution to enable the concert to take place - and we could do this through a Capital Fund.'

One thing that makes it all possible, where it wouldn't have been 20 years ago, is the computer.

'We live in an age of tremendous numbers, and by the time you have, let's say, 2,000 artists, their repertoire, their preferences, their age, their sex, the time when they are free to go, where they like to play ... and then, on the other hand, the clients, the distances between them,

the size of the hall- well, that cannot be done by one person, or even 10.

There are 53,000 schools, and then hospitals, factories, prisons, and all the rest. You can imagine what the variables between them all may be in five years. 250,000 possible concerts?

You see, there are thousands of possibilities ... '

If you would like to help or to know more about 'Live Music Now', please write to Yehudi Menuhin, Live Music Now, 38 Wigmore Street, London W1H 9DF or telephone 01-4867333.

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.Programme Notes Moontlight (G. Lyons): Features the saxophone section on woodwind led by Sue Bohling on oboe, as well as a flugel solo by Gavin Mallett.

Spaghetti Junction (A. Lester): Solos from Christina Lyle on piano, Gavin Mallett on trumpet and solos from the sax section. Punchy brass, and woodwind led

by Jayne Lewis on flute.

Darlington Youth Brass Band Conductor: Alf Hind Fanfare and Soliloquy Trevor Sharpe Promenade (Overture) Frank Bryce Darlington Youth Brass Band was founded in 1970. They have been successful on two occasions in the National Festival of Music for Youth, and feel very honoured to be invited to play at the Proms. Five members of the Band also belong to the Darlington Youth Big Band which played at the last two Schools Prom concerts. In the last two years the Band has played in the Butlins Championship at the Royal Albert Hall, and has also toured for three months in America, covering several states.

Bilborough College Chamber Orchestra Nottingham Director ofMusic: Tony Goodchild Pastorale Lars-Erik Larsson Bilborough College is a sixth-form college situated in Nottingham. There are about 450 students of whom 35 are studying A-level music. The Chamber Orchestra has been in existence for two years, and meets once a week for advanced coaching from Gretl Schmid . In the true tradition of chamber ensembles, this group plays without a conductor, and is directed by the leader. Intensive rehearsal makes this possible, and each member of the Chamber Orchestra is fully self-reliant.

The introduction of the Promenade by Frank Bryce starts wrth a fasl flowin g 2/4 accented movement throughout the Band, quickly en tering a metre change of 3/ 4 2/ 4 leading up to an Andante passage featuring the tenor section , followed by a vigorou and animated ending in the original subject.

The Pastorale by Lars-Erik Larsson is scored for strings, solo flute, solo clarinet and piano or harp, and was written in 1941. Lars-Erik Larsson was born in Sweden in 1908, and studied at the Stockholm Conservatory and then in Vienna with Alban Berg.

Holme Valley Guitar Ensemble Holmfirth Conductor: Keith Overton The Earl of Salisbury's Pavane Byrd, arr. Overton Andante in E minor from Concerto in G major for Two Mandolins Vivaldi, arr. Overton The Holme Valley Guitar Ensemble i; the senior of three groups meeting at the Holmfirth Music Centre every Saturday morning during school term. Keith Overton was the guiding light both in the foundation of the Centre and the encouragement of its enthusiastic guitarists.

The Guitar Ensemble is supported by the Kirklees Metropolitan Borough, a district embracing Dewsbury, Huddersfield and part of the old West Riding of Yorkshire.

In addition to concert audiences, the musicians involved are accustomed to performing before groups of teachers and advisers on residential In-Service courses .

Only recently, there was a memorable performance in the School of Music of the Huddersfield Polytechnic.

Both pieces performed tonight were arranged for guitar ensemble by Keith Overton .

Hillingdon Borough Beat Band London Conductor: Ted Martin Moonflight Graham Lyons Spaghetti Junction Art Lester The Hillingdon Borough Beat Band was formed 2 V2 years ago by Ted Martin, using children who were not involved in other activities so that most of them were near beginners. With the full backing of the Hillingdon Borough Music Adviser, ric Slephenson, the Band ha had many succe ses which included a tour o f Germany last July and an outstanding performance at this year's National Festival of Music for Youth .

I Bilborough College Chamber Orchestra

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Hillingdon Borough Beat Band

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Marshalswick School Clarinet Quartet St. Albans Manager: David Milsted Bagatelle} Caprice :Clare Grundman Marshalswick School has alwaY5 had something to do with music whether it was a band, a choir or just individual players. At one time the school was running 3 bands and 2 choirs. The Quartet emerged later on when four players decided to get together and make their own music. For the past two years the Quartet has managed to keep together and collect trophies from different music festivals.

The .Bagatelle and the Caprice, by Amencan composer Clare Grundman are two pieces that are at their best whe~ played with each other. They are both composed in the same style: a 6-bar introduction into the main theme and a slower, calmer section in the middle. This middle section contains a small accompanied solo for the first clarinet.

William Ellis School Chamber Orchestra London NW5 Conductor: Richard Hickman Concerto in C major, 'Il Piacere' Vivaldi Yehudi Menuhin - Violin The William Ellis School Chamber Ensemble is an offshoot of the main school orchestra. Since its formation in 1970, it has tended to specialise in music of the baroque period and has given several concerts in and around London.

Last year, ten of its members toured the USA with the London Schools Symphony Orchestra and in April another two visited Paris with the National Youth Orchestra.

The Orchestra is proud to be the first recipient of the Queen's Silver Jubilee Award for the most outstanding performance in the Youth Orchestra class of this year's National Festival of Music for Youth held last July at the Royal Festival Hall.

Christine Day has just completed her 'A' levels at Woking Girls' Grammar School and is now at Birmingham University studying music. Having studied the flute with Wendy Berry for three years she gained Grade VIII with distinction' and now studies with Doris Bark-Evans. She also has gained Grade VIII piano with distinction.

Rache1 Masters began playing the harp at the age of eleven. A year later she was awarded a Junior Exhibition to the Guildhall School of Music and Drama where she studied for five years. She was a member of the National Youth Orchestra from 1972 to 1976 and was their principal harpist for two years. In 1976 she was awarded a Foundation Scholarship to the Royal College of Music where she studies the harp with Marisa Robles., Triumphal March from Caractacus and Pomp and Circumstance March No. I (Elgar): Elgar's love of pageantry, his patriotism and creative genius all found their expression in these two superb marches. The first was written in 1898 as part of a Cantata called Caractacus and was dedicated to Queen Victoria. The second was written in 1901, the trio of which has become famous as the song 'Land of Hope and Glory'.

Concerto in C major for Flute and Harp: Mozart wrote this exquisite concerto for the Duc de Guines and his daughter during a stay in Paris in the year 1778. It is scored for strings, oboes and horns.

Vivaldi's concerto for solo violin '11 Piacere' belongs to a set of 12 concertos called 'Trial between Harmony and Invention', the first four of which' are the famous 'Four Seasons'. As usual, it has three movements: Allegro - Largo e Cantabile - Allegro.

Surrey County Youth Orchestra Conductor: Ernest Mongor Monday: Triumphal March from Caractacus Elgar Pomp and Circumstance March No. 1 'Land of Hope and Glory' Elgar Tuesday: Concerto in C major for Flute and Harp ' First movement (Allegro) Mozart Christine Day - Flute Rachel Masters - Harp Mr Ernest Mongor was appointed to the Surrey Education Department's Inspectorate in 1967, and subsequently became the County's Music Adviser. Soon after his initial appointment, he reformed the existing County Youth Orchestra and later organised a network of 17 junior and senior orchestras and bands throughout the County. These range from the small junior string orchestras of Caterham and Byfleet to the Area Youth Orchestra of Reigate and County Wind Orchestra centred at Guildford.

William Ellis School Chamber Orchestra

13 was the first Big Band to be invited to take part in the International Festival of Youth Orchestras, and this year it has been on a concert tour of Russia.

Alligator Pear (Scianni): This exacting number comes in a jazz-rock idiom and features some of the Band's jazz soloists who are never quite sure if they are to be selected for the next improvisation!

This Way (Nestico): A really hard 'swinger' from the Count Basie library a fine example of 'Big Band' composition. Another favourite of the Band featuring solos from the brass, reeds and rhythm.

Redlands Junior Recorder Band Work sop Conductor: Alwyn Thorpe Gavotte Boyce Fugue in G with Chorale Albrechtsberger Rondeau Purcell The Redlands County Primary School in Worksop has approximately 230 juniors.

The Band, formed in 1970 by Alwyn , Thorpe with the backing of Mr. A. L. Burrows, Headmaster, has grown to a present record number of 70. Jubilee Year will be a memorable one, highlighted by their appearance at the Albert Hall, Nottingham, radio and several television appearances. Special awards in 1975 and outstanding awards in 1976 and 1977 at the National Festival of Music for Youth are climaxed by the honour of being chosen to play at the Schools Prom for the second successive year.

Much of the music of Purcell and Boyce lends itself to the recorder. No less the model fugue by Albrechtsberger with its scale-like chorale floating above the polyphonic structure.

Kingsdale School Dance Band

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Marshalswick School Clarinet Quartet St. Albans Manager: David Milsted Bagatelle} Caprice Clare Grundman Marshalswick School has alway~ had something to do with music whether it was a band, a choir or just individual players. At one time the school was running 3 bands and 2 choirs. The Quartet emerged later on when four players decided to get together and make their own music. For the past two years the Quartet has managed to keep together and collect trophies from different music festivals.

The .Bagatelle and the Caprice, by Amencan composer Clare Grundman are two pieces that are at their best whe~ played with each other. They are both composed in the same style: a 6-bar introduction into the main theme and a slower, calmer section in the middle. This middle section contains a small accompanied solo for the first clarinet.

William Ems School Chamber Orchestra London NW5 Conductor: Richard Hickman Concerto in C major, 'It Piacere' Vivaldi Yehudi Menuhin - Violin The William Ellis School Chamber Ensemble is an offshoot of the main school orchestra. Since its formation in 1970, it has tended to specialise in music of the baroque period and has given several concerts in and around London.

Last year, ten of its members toured the USA with the London Schools Symphony Orchestra and in April another two visited Paris with the National Youth Orchestra.

The Orchestra is proud to be the first recipient of the Queen's Silver Jubilee Award for the most outstanding performance in the Youth Orchestra class of this year's National Festival of Music for Youth held last July at the Royal Festival Hall.

Christine Day has just completed her 'A' levels at Wo king Girls' Grammar School and is now at Birmingham University studying music. Having studied the flute wi~h Wendy Berry for three years, she gamed Grade VIII with distinction and now studies with Doris Bark-Evans. She also has gained Grade VIII piano with distinction.

Rachel Masters began playing the harp at the age of eleven. A year later she was awarded a Junior Exhibition to the Guildhall School of Music and Drama where she studied for five years. She was a member of the National Youth Orchestra from 1972 to 1976 and was their principal harpist for two years. In 1976 she was awarded a Foundation Scholarship to the Royal College of Music where she studies the harp with Marisa Robles., Triumphal March from Caractacus and Pomp and Circumstance March No. 1 (Elg~r).: Elgar's love of pageantry, his patnotIsm and creative genius all found their expression in these two superb marches. The first was written in 1898 as part of a Cantata called Caractacus and was dedicated to Queen Victoria. The second was written in 1901, the trio of which has become famous as the song 'Land of Hope and Glory'.

Concerto in C major for Flute and Harp: Mozart wrote this exquisite concerto for the Duc de Guines and his daughter during a stay in Paris in the year 1778. It is scored for strings, oboes and horns.

Vivaldi's concerto for solo violin 'I1 Piacere' belongs to a set of 12 concertos called 'Trial between Harmony and Invention', the first four of which- are the famous 'Four Seasons'. As usual, it has three movements: Allegro - Largo e Cantabile - Allegro.

Surrey County Youth Orchestra Conductor: Ernest Mongor Monday: Triumphal March from Caractacus Elgar Pomp and Circumstance March No. 1 'Land of Hope and Glory' Elgar Tuesday: Concerto in C major for Flute and Harp First movement (Allegro) Mozart ' Christine Day - Flute Rachel Masters - Harp Mr Ernest Mongor was appointed to the Surrey Education Department's Inspectorate in 1967, and subsequently became the County's Music Adviser. Soon after his initial appointment, he reformed the existing County Youth Orchestra and later organised a network of 17 junior and senior orchestras and bands throughout the County. These range from the small junior string orchestras of Cater ham and Byfleet to the Area Youth Orchestra of Reigate and County Wind Orchestra centred at Guildford.

William Ellis School Chamber Orchestra

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Surrey County Youth Orchestra

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Programme!

Monday 28 November 1.

Darlington Youth Brass Band Conductor: Alf Hind Fanfare and Soliloquy Trevor Sharpe Promenade (Overture) Frank Bryce

2.

Holme Valley Guitar Ensemble, Holmfirth Conductor: Keith Overton Earl of Salisbury's Pavane Byrd Andante in E minor Vivaldi

3.

Hillingdon Borough Beat Band, London Conductor: Ted Martin Moonflight Graham Lyons Spaghetti Junction Art Lester

4.

Bilborough College Chamber Orchestra, Nottingham Conductor: Anthony GQodchild Pastorale Lars-Erik Larsson

5.

Rowlands Castle Ringers, Hampshire Conductor: Diana E. Sims To a Wild Rose E. MacDowell Elizabethan Serenade R. Binge

6.

The Ivushka Song and Dance Ensemble Programme Director: E. Gololobova Balletmaster: A. Papovichev Choirmasters: L. Tatianina and A. Matiasov Conductor: V. Kruichikhin Song and Dance Show Traditional Russian Folk Instruments Traditional Russian Folk Dance Folk Dance Show

INTERVAL 20 MINUTES 7.

Kingsdale School Dance Band, London SE2l Leader: Barry Graham Alligator Pear Scianni This Way S. Nestico

8.

Redlands Junior Recorder Band, Worksop Conductor: Alwyn Thorpe Gavotte Boyce Fugue in G with Chorale Albrechtsberger Rondeau Purcell

9.

Marshalswick School Clarinet Quartet, St. Albans Bagatelle} Clare Grundman Caprice

10.

William Ellis School Chamber Orchestra, London NW5 Conductor: Richard Hickman Concerto in C major, '11 Piacere' Vivaldi Guest soloist: Yehudi Menuhin

11 .

Surrey County Youth Orchestra Conductor: Ernest Mongor Triumphal March from Caractacus Elgar Pomp and Circumstance March No. 1, 'Land of Hope and Glory' Elgar

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

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Programme 2 Tuesday 29 November I.

Bromley Schools' Concert Wind Band, London Conductor: Norman Trotman National Anthem arranged Gordon Jacobs Festive Overture Shostakovich

2.

Cults Music Centre Percussion Ensemble, Aberdeen Conductor: Ron Forbes Two Jubilee Pieces Ron Forbes

3.

Surrey County Youth Orchestra Conductor: Ernest Mongor Flute and Harp Concerto, 1st Movement Mozart Christine Day - Flute Rachel Masters - Harp

4.

Rowlands Castle Ringers, Hampshire Conductor: Diana E. Sims To a Wild Rose E. MacDowell Elizabethan Serenade R. Binge

5.

The Segudeck National Song and Dance Ensemble Artistic director and choirmaster: N. Gubin Balletmaster: T. Borisova Folk Dance Two Russian Folk Songs Russian Fancy Dance Two Folk Songs with Balalaika Solo Modem Folk Dance

INTERVAL 20 MINUTES

6.

Doncaster Youth Jazz Orchestra Conductor: John Ellis It's Oh So Nice Sammy Nestico Peanut Vendor Stan Kenton arranged John Ellis

7.

Cleveland String Quartet, Middlesbrough Third Quartet, 2nd and 3rd movements Shostakovich

8.

St. Dominic's 'Fours to Eights', London Conductor: Maureen Brass Three Traditional Rhymes Anon Ecossaise in D Schubert

9.

The Strings of Wells Cathedral School Symphony Orchestra Conductor: Timothy J. Goulter Concerto in D minor Vivaldi Guest soloist: Yehudi Menuhin Fiona Paine - Organ

10.

West Glamorgan Youth Orchestra Conductor: John Jenkins Rhapsody in Blue Gershwin Pomp and Circumstance March No. I, 'Land of Hope and Glory' Elgar

Harpsichord kindly supplied by Robert Morley & Co Limited; Continuo Organ by Noel Mander; Bosendorjer Concert Grand

by Bosendorjer Pianos Limited; Musicjor William Ellis School and Wells Cathedral School by Belwyn Mills Music Limited

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Bromley Schools' Concert Wind Band

Cults Music Centre Percussion Ensemble

London Conductor: Norman Trotman Festive Overture Shostakovich Arranged for Wind Band - Hunsberger The Bromley Schools' Wind Band began an independent career in 1970, having been formed from applicants for the Borough Youth Symphony Orchestra. It has given concerts outside the Borough at the City of London Festival and has toured Austria, broadcasting from Graz in 1973.

Aberdeen Conductor: Ronald Forbes Two Jubilee Pieces Ronald Forbes The Percussion Ensemble was formed by Ron Forbes at the Saturday Morning Music Centre at Cults to cater for the large number of advanced pupils who received tuition in school. All the members are pupils from various Secondary Schools in and around Aberdeen.

Since no original material is available for such a group, Ron Forbes composes original material or arranges all the music to suit the players. Their success in last year's National Festival of Music for Youth brought an invitation to the 1976 Schools Prom and an appearance at the International Festival of Youth Orchestras in Aberdeen路this year.

The Shostakovich Festive Overture was composed in 1954 during the period between the Symphony No. 10 and the Violin Concerto. It is an excellent curtainraiser and contains one of Shostakovich's greatest attributes - the ability to write a long sustained melodic line combined with a pulsating rhythmic drive. In addition to the flowing melodic passages, there are also examples of staccato rhythmic sections which set off the flowing line and the variant fanfare. It is truly a 'festive' Overture.

The specially composed 'Two Jubilee Pieces' were written for this year's Festival of Music for Youth, and as always in Ron Forbes' compositions, show a 'contrast between melodic and rhythmic percussion playing.

The Segudeck National Song and Dance Ensemble of the Komi Autonomous Soviet Socialist Republic (Komi ASSR)

Artistic director and choirmaster: N. Gubin Balletmaster: T. Borisova Folk Dance Two Russian Folk Songs Russian Fancy Dance Two Folk Songs with Balalaika Solo Modern Folk Dance This is the first visit to Great Britain by the Segudeck ensemble and their appearance at tonight's concert brings an exciting international flavour to the Schools Prom.

The ensemble has performed widely throughout their homeland and are the holders of the Komi Komsomol Award.

19

Doncaster Youth Jazz Orchestra Conductor: John Ellis It's Oh So Nice Sammy Nestico Peanut Vendor arr. Ellis The Doncaster Youth Jazz Orchestra is just one facet of a Youth Jazz Association which has grown to a membership of 120 since September 1975. At that time it became apparent that many young instrumentalists desired an extension to their normal musical activities within music centre bands, orchestras and small ensembles. As an experiment a few simple jazz scores were introduced and from this the present Association mushroomed.

The musical policy is one of variety, creativity and challenging compositions.

From the stage the musicians endeavour to share their music with the audience, maintaining that a good jazz concert is influenced by a joyful atmosphere from the 'folks out front'. They look upon enjoyment and spontaneity as an integral part of their music but count discipline as of paramount importance.

It's Oh So Nice (Nestico): This is a pleasant medium blues number from the Count Basie library, a composition that the Orchestra enjoys playing because of its ensemble work and refreshing dynamic contrasts. It also features the youngest trombone player, Chris Fidler.

Peanut Vendor (arr. Ellis): This piece has been performed by many big bands. The Latin American flavour gives ample scope to feature individual sections and just a little bit of fun.

Bromley Schools' Concert Wind Band

Segudeck National Song and Dance Ensemble

20

Cleveland String Quartet Middlesbrough Third Quartet, 2nd and 3rd movements Shostakovich The Cleveland String Quartet was formed five years ago by four members of the National Youth Orchestra, all from Middlesbrough. They receive no coaching as a quartet and therefore deal with all problems of interpretation themselves.

Locally, they have made a name for themselves by winning major prizes at music festivals and giving recitals. They now have a large repertoire from Haydn to contemporary composers.

Shostakovich's Third Quartet, one of the finest in the cycle, was composed in 1946.

The contemplative 2nd movement has an almost Mozartean grace and poignancy, sharply contrasted to the 3rd movement which recalls Shostakovich's war experiences with its ferocious hard-driven, march-like theme .

St. Dominic's 'Fours to Eights' London NW5 Conductor: Maureen Brass Accompanist: Marian Leetch Little Bo Peep Upon Paul's Steeple Pussy Cat, Pussy Cat arr. M. Brass for voices, cellos, violins, recorders and tuned percussion Ecossaise in D Schubert arr. M. Brass for percussion These young instrumentalists , apart from the recorder players, attend St. Dominic's Infants School or Nursery in N.W. London. All the children receive general music tuition, and those who wish to may learn the cello, piano or violin, and later on the recorder, clarinet or flute.

The Headmistress, Miss Maureen Brass, believes in continuity of tuition and in 1952 started a music group for past pupils of the school so that they would be able to continue their music without a break. The present members are from 7 to 18 years, and they meet on one evening a week to make music together. The recorder players this evening are the youngest members of the music group, so you are hearing past and present pupils of St. Dominic's Infants School and Nursery playing together.

The Strings of Wells Cathedral School Symphony Orchestra Conductor: Timothy Goulter Concerto in D minor per violino, organo, archi and Gravecembalo (PV 3I1) Allegro (Allegro) Vivaldi Yehudi Menuhin - Violin Fiona Paine - ~rgan Wells Cathedral School has catered for the special needs of boy choristers since the 12th century. In 1970, following discussion with the Arts Council and the Heads of a number of London Colleges of Music and Local Education Authorities, a scheme was launched to provide a specialist instrumental musical education of the highest standard for both boys and girls of outstanding musical gift, within a framework of a normal broadly based education. In a school of just over 600 pupils some 60 students, on all instruments, take courses which St. Dominic's 'Fours to Eights'

21 could enable them to enter graduate or performers courses at Colleges of Music or University. In 1974 the Chamber Orchestra was the first school orchestra to be invited to play at the International Festival of Youth Orchestras. Since then it has made a number of radio and television appearances and has taken part in the World Conference on Gifted Children. This year saw its debut at the Bath Festival.

Vivaldi composed five concertos with solo organ and in all of them it is treated as a basso continuo and concertante instrument. In this work, as in the only other genuine double concerto (PV 274), the two soloists play together in long solo episodes and often exchange parts in the same register . Although Vivaldi transfers to the organ melodic phrases which have their origins in the performing technique of the violin, the contrasting tonal characteristics of the instruments frequently lead to charming tone painting and echo effects.

West Glamorgan Youth Orchestra Conductor: John Jenkins Rhapsody in Blue Gershwin Pomp and Circumstance March No. 1 'Land oJ Hope and Glory' Elgar Phillip Thomas - Piano The West Glamorgan County Council provides residential facilities for a flourishing Youth Choir, Brass Band, Chamber Orchestra and Symphonic Wind Orchestra, and the County's seven music schools attract over 1,200 pupils weekly.

The full County Youth Orchestra of 180 players meets three times annually and has a wide repertoire. The orchestra performed recently at the Royal Festival Hall for the Festival of Music for Youth, the Queen's Silver Jubilee Concert, has broadcast and made a private record. The orchestra offers concerto performance experience to its principal players and has performed with several leading professional soloists.

Phillip Thomas was born at Cilfrew, Neath, and educated at the Neath Boys' Grammar School. Whilst at school, he was soloist with the Neath Symphony Orchestra and Glamorgan Youth Orchestra.

He is a student at the Royal Academy of Music where he studied with Joan Last.

He has been awarded several prizes, including the Henry Elice Lees Award and the Francis Simms award for advanced pianists.

Rhapsody in Blue: Gershwin wrote this piece for a concert organised by the 'King of Jazz' Paul Whiteman. Orchestrated by Ferde Grafe, the work was an overwhelming success, and was hailed as the first successful attempt to bring the idiom of jazz to the concert hall.

The Pomp and Circumstance Marches form a series of fine military marches for orchestra. They were composed during two widely separated periods, the first four between 1901 and 1907 and the last in 1930. The first, and most famous, was performed by the Liverpool Orchestral Society in October 1901. A year later, Elgar was invited to compose a Coronation Ode to be sung at a Gala Performance to commemorate the coronation of Edward VII. He allied the tune from the Pomp and Circumstance March No. 1 to A.C. Benson's words to produce the imposingly patriotic 'Land of Hope and Glory'.

West Glamorgan Youth Orchestra

r

22

Presenters and Guests Antony Hopkins, CBE Guest Conductor/Presenter

Antony Hopkins' interest in the young has been amply demonstrated in many of his compositions and his work. A further recent development in this versatile career is a growing interest in conducting, and his long association with the Norwich Philharmonic Society has shown that he could readily make a name as an outstanding conductor. His opera, 'Dr Musikus', a work for adults to perform to children, has delighted audiences all over England, and has been translated into Swedish for performances in Scandinavia.

Michael Aspel is a well-known compere, interviewer and announcer on television and radio.

On radio he was the regular host for over four years of 'Family Favourites' and he presented the Radio 4 'Today' programme every Saturday morning until August 1974, and in the past few years he has also presented a series of 'Open House', 'Accent on Melody', 'The Radio Orchestra' and 'After Seven'.

In September 1974 he became the presenter of a 3 hour programme on Capital Radio, which is broadcast every Monday to Friday morning from 9 a.m. to 12 noon, and presented a twice weekly live afternoon BBC TV show 'Aspel and Company'.

He was voted Radio Personality of the Year in 1972.

Yehudi Mehuhin is one of those rare men who has become a legend in his own lifetime. He made his debut at the age of seven with the San Francisco Orchestra and shortly thereafter in Paris, Berlin, New York and London.

In 1963, wishing to ensure continuance of the great art of violin playing, Yehudi Menuhin founded the Yehudi Menuhin School at Stoke d'Abernon in Surrey, a board ing school for young musical talent from the age of six. The pupils have given concerts throughout Great Britain, in Switzerland, France, and on two occasions toured the United States. They have won high awards, scholarships and bursaries on leaving the school at the age of sixteen or seventeen to pass on to music colleges in Britain, Belgium, France, Germany, America and Moscow.

Derek Jewell Presenter

Derek lewell was one of the team who launched the first Schools Prom in 1975. He has been Publishing Director of Times Newspapers Limited for some years and was at that time responsible for The Times Supplements, including The Times Educational Supplement, as well as for the other publishing and trading activities of the Company which he is now developing. He has been a writer on popular music for many years, and jazz and popular music critic of The Sunday Times since 1963. His radio and TV performances include the Radio 3 programme on popular music, 'Sounds Interesting', which has been running since 1972. This year he published a biography of Duke Ellington, Duke, in Britain and America. Among his other books are two novels, Come In Number One Your Time Is Up and Sellout. His journalistic experiences have included a spell as Assistant Editor, The Sunday Times, and the Deputy Editorship of The Sunday Times Magazine.

23

24

A young person's guide

to the orchestra.

The best instruments in the world can't make a bad musician good.

If you've got potential though, it can be soul destroying to have to make do with a second rate product.

At Norlin, we understand that not everyone can afford top prices. That's why we sell such a large range of musical instruments.

Whether for the professional or the beginner, we ensure that all our products are the best in their price range-Olds, Reynolds and Selmer London, brass and woodwind; Saxon, guitars; Maxwin, percussion.

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Telephone: (0376) 21911.

25

INTERNATIONAL CONTACT THROUGH MUSIC

Best Wishes to all participants in the

SCHOOLS PROM 1977 The following groups have been assisted by The Council for International Contact in the arrangements for their recent and current overseas visits: Ashton on Mersey School Concert Band Beechen aiff School Orchestra, Bath Brighton Youth Orchestra Otase School Band, Malvern Essex Youth Orchestra Featherstone School Band Hampshire Youth Orchestra Ha"ogate Granby High School Band Hull Youth Orchestra Huntingdon Steel Band lAncashire Youth Orchestra Lewis School Choir Northamptonshire County Youth Band Orpheans Orchestra,-Leicester Royal College of Music Junior Orchestra St Juliens High School Orchestra Sennestadt Chamber Orchestra (Germany) Stowmarket School Concert Band Worthing Youth Orchestra

The Council will always be pleased to offer assistance to any group which wishes to plan exchanges or visits with overseas countries.

For details of current projects and further information

See us in Box 25 (loggia) during the interval or write to

The Council for INTERNATIONAL CONTACT PO Box No 818,179-183 Fulham Palace Road, London W6 8QU Telephone 01-3856523 Telex 916452

26

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EMI Recorders Almost unbreakable and always in tune, these new recorders, Descant, Treble and Tenor, are made in Britain, to a precise specification and conform to the requirements of the British Standards Institute.

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Just a selection from our school musical instrument range.

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List of Perfonners DARLINGTON YOUTH BRASS BAND

ROWLANDS CASTLE RINGERS

Conductor; Alf Hind Coach; Tony Price

Coach; Miss Diana E. Sims

Comets David Connelly (17) Martin Wright (16) Shaune Eland (15) Carol McPhee (14) lan Robinson (19) Kevin Varley (17) Gail Adarns (16) Andre).V Fox (19) Anthony Hind (13) Stuart Davis (14) Julie Price (14) Michael Taylor (14) Tenor Horns Antony Whit tarn (16) Michael Gordon (16) Christine Breeze (16) Euphoniums Sirnon Wright (17) Johnathan Jowett (14)

Baritones Leslie Lowson (17) Dawn Smith (18) Wayne Eland (12) Trombones Terence O'Hern (17) Francis Macura (16) Paul Taylor (16) Mark Matthews (15) Derek Price (14) Philip Evans (19) Basses Stephen Petty (18) Andrew McNiff (14) Anthony Langley (16) Stephen Griffiths (13) Percussion David Stephenso.n (15)

HOLME VALLEY GUITAR ENSEMBLE Director and Conductor; /(eith Overton Players Tony Johnson (17) Paul Overton (15) David Braithwaite (13) Steven Dunn (16) Denise Barrowcliffe (14) Nicola Stables (13)

Heather Brierley (16) Claire GOldsmith (14) Victoria Pennington (13) Elaine Lunn (12) Christine Bathgate (14) Susan Fitton (14)

Steven Attwood (11) Sandra Broad (12) Philip Harding (12) Ruth Higson (11) Clare Hockey (12) Janette Horn (11) SI even Horn (11)

Jackie Mason (11) Andrew Meyer (12) Paula Smith (10) Sharon Smith (11) Joanne Walls (11) Katy Zyga (11)

KINGSDALE SCHOOL DANCE BAND Director of Music; Eric Manhes Band Leader; Barry Graham Tutors; Anthony Hogg, Harry Barnett, David Clifford, John Richards, Mary Graham Trumpets Michael O'Gorman (16) Paul Cooper (14) Lascelles Johnson (IS) David Chapman (IS) Matthew Hart -Dyke (16) Trombones Graham Winter (17) Fayyaz Virji (17) Alan Garrett (15) David Hervey (14) Tuba Andrew Mannas (15) Drum Kit Michael Garrett (17) Michael Bradley (IS)

Percussion Salih Ahmet (15) Jezar Emin (15) Saxophones James Talbot (alto) (17) Angela Clare (alto) (16) Gaii Thompson (tenor) (18) Simon Walker (tenor) (I S) Neville Carnegie (baritone) (17) Guitar Andrew Jacobs (17) Bass Guitar David Hage (16) Piano Susan Hartridge (15)

REDLANDS JUNIOR RECORDER BAND Conductor; Alwyn Thorpe

HILLINGDON BOROUGH BEAT BAND Conductor; Ted Martin Saxes Jayne Lewis (18) David Falcomer (17) Carole Barlow (17) Trevor Barlow (17) Alan Gibbins (17) Clive Webb (17) Sue Bohling (IS) Trombones Simon Pearman (18) Karen Swallow (17) Karen Eldridge (15) Jill Brampton (17) Shelagh Sparrow (17)

Trumpets Gavin Mallett (18) lan Morse (16) Valerie Charles (17) Jean Barlow (17) Stuart Butt (15) Rhythm Andrew Sherman (18) Gary Butt (17) Riv Rilom (18) Christina Lyle (14) Christopher Tyler (18) Unda Day (16) French Horns Louise Mabey (15) Dirk Bacon (15)

BILBOROUGH COLLEGE CHAMBER ORCHESTRA Director of Music; Tony Goodchild Coach ; Gretl Schmid First Violins Cecilia West on (17) Rebecca Palmer (17) Steven Smith (16) Claire Sheldon (19) Sarah West (16) Ceiia Barslow (16) Second Violins Alison Carver (18) Yvonne Sandell (19) Miriam Martin (16) Ann Hudson (17) James Sarsfield (17) Trevor Lee (16) Violas Rosemary Palmer (20) Unda Frearson (18) Rachel Sherry (17) Isabel Jones (17)

Violoncellos Tanya Smith (18) Deirdre Beadle (19) Penny Weston (16) Peter Thompson (16) Double Bass Susan Brown (16) Flute J ayne Revill (18) Clarinet Kate lsaac (16) Pianoforte Julie Grundy (18)

First Descants Melanie Bishell (10) Gregory Bartram (10) Pauline Smith (ID) Jane Butler (10) Julie Bearder (10) Michelle Bartrop (10) Diane Melior (10) Catherine Slaney (10) Amanda Holt (10) Suzanne Taylor (10) Helen Travis (9) Elaine Hopkinson (9) J udith Clarke (9) Usa Keeling (9) Sarah Jane Foy (10) Craig Dane (10) J anet Cheadle (10) Tenors Carolyn Button (12) Christopher Thorpe (12) Angela Kirby (11) Helen Stocks (11) Diane McMahon (11) Joanne Nightingale (ID) Karen Shipstone (9) Cheryl Chambers (9) Jayne Perkins (ID) Peter Jackson (12) Bass Carolyn Watson (12) Ruth Owen (12) Jacqueline Bartram (12) Delia Bearder (12) Jane Dickson (11) Karen Travis (11) Louise Bennett (11) Rosemary Hall (11) ,lanine Godfrey (ID)

Second Descants Usa Godfrey (8) Jenny Cartwright (8) Suzanne Beeston (8) Susan Hodgkiss (8) Mandy Shaw (8) Kathryn Cheadle (8) Shaun Lee (8) Martine Hulme (8) Joanne Maddison (8) Victoria Betteridge (8) Michelle Lazenby (9) Suzanne Coney (8) Rachel Bartram (8) Undsey Coppock (8) Unda ElJiott (9) Jacqueiine Elcock (8) Joanne Bowler (9) Deborah Carter (9) Karen McKenna (8) Caroline Appleby (9) Karen Fennell (ID) Joanne Beaston (9) Wendy Christiansen (8) Trebles Anne Taylor (11) Julie McDonald (11) Vicky CutIS (11) Louise Hardy (11) Janice Blake (10) Lana Garside (10) Lorna Chesters (10) Patricia Lynch (12) Madeleine Phi pps (11) Jayne Bramall (12) Julie Coney (12)

MARSHALSWICK SCHOOL CLARINET QUARTET Manager; David Milsted First Clarinet John Cooper (18) Second Clarinet David Miisted (16)

Third Clarinet Paul Muston (16) Fourth Clarinet Christopher Pettitt (16)

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WILLIAM ELLIS SCHOOL CHAMBER ORCHESTRA Conductor: Richard Hickman First Violins Martin Fraenkel (17) (Leader) Andrew Black (16) Alistair Barnford (16) Michael Posner (15) Second Violins Daniel Mayer (16) Stephen Banks (14) Benjamin Mazower (13) John Nyman (16) Violas David Wellington (17) Edmund Bealby-Wright (15) Robert Co fie (15) Michael McEvoy (16)

Cellos Christopher Duarte (17) David Chernaik (15) William Schofield (15) Double Bass David Pearl (17) Oboes Andrew Mackay (19) Roland Kellaway (16) Bassoon Daniel Alberman (15) Harpsichord David Mazower (18) Chamber Organ Christopher Saward (l6)

SURREY COUNTY YOUTH ORCHESTRA Leader: Eric Loveday Conductor: Ernest Mongor Orchestra Manager: Philip Gorman Tu/ors: First Violins: Richard England ; Second Violins: Carl Lewis: Violas: lan Killick , John Richmond; Cellos: Mau reen Lovell ; Double Basses: Ph ilip Batten , Charles Cudm ore; Flutes: Wendy .Berry; Oboes: Joanna Lees ; Clarinets: Derek Jon es, Mark . Wallon ; Ba oon: Edward Gibbon: Horns: Muriel Lovell; Trumpets: Philip Gorman; Trombones and Tubas: Steven Wasscll ; Percuss.ion: Wllliam Kirto Monday 28 November Age of performers ranges from 13 to 19 First Violins Double Basses Eric Loveday (Leader) Nick Perry Julie Storer Tony Longstaff Christine Turner Richard Marsh Marisa Heath Helen Knight Rosemary Brown Vicky Layton Carol Baker Alison Bryant Jane Tyler Alison Livesey lan Thiele lan Towson Flutes Anna Price Sarah Clarke Elizabeth Barnes Penny Sydenham Denise Cheeseman Susan Early Fiona McConville Second Violins Fiona Suliivan Andrew Sentinella Judith Parkin Jenny Kennard Piccolo Nicholas Myall Andrew Sentinella Vernon Dean Claire Aris Oboes Alan Garner Carolyn Laitwood Sylvia Turner Phoebe Corke Jane Cleaver Cheryl Brown Mike Searson Harriot Hayes Clarinets Tim Sumner Megan Pound lan Peters David Burkhardt Michael Collins Janice North Helen Alderson Sally Donegani lan Parfitt Margaret Q'Taney Clare Graham Cheryl Guest Bassoons Judi Bearcroft Chris Card Violas Dominic Myhill Jeremy Jennings Mary Carewe Susan Drinkwater Horns Susan Key Deborah Bower Belinda Webb Robert Good Peter Gritton Helen Rankin Freya Gordon Christopher Guest Briony Nelson Lynne Nash Cellos Alison Pink Elizabeth Foster Mark Warner Garry Stevens Malcolm Wilson Clare Brearley Trumpets Andrew Brown Paul Blowes Anna Carewe Nicholas Tidbury Ruth Clarke David White Elizabeth Collins Marion Rankin Cicely Corke David Skipper Mark Hamblin Karen Andrews Susan HaswelI Trombones Peter Davies Martin Horn Patricia McCarthy Alan Tidbury Erica Nelson David PowelI Vernon Parfitt Philip Wright Christabe+ Pound Tubas Pippa Price Martin Vafadari Kenneth Fitzhugh Trudi Lade

Percussion Catherine Gerosa Candida Terrell David Lewis Russell Widdecombe Richard Good

Harp Theresia van Hellenberg Hubar Organ Gareth Green

SURREY COUNTY YOUTH ORCHESTRA Tuesday 29 November First Violins Moira Bain Sarah Paddon Eric Loveday Marisa Heath Susan Voss Julie Storer Rosemary Brown Jane Tyler SecoRd Violins Elizabeth Barnes Penny Sydenham Judith Parkin Claire Aris Jenny Kennard Carolyn Laitwood Violas Susan Key Jeremy Jennings Susan Drinkwater Belinda Webb Helen Rankin Christine Turner

Cellos Elizabeth Foster Garry Stevens Andrew Brown Mark Hamblin Martin Horn Pippa Price Double Basses Nick Perry Tony Longstaff Oboes Alan Garner Sylvia Turner Horns Deborah Bower Robert Good Soloists Rachel Masters (Harp) Christine Day (Flute)

BROMLEY SCHOOLS' CONCERT WIND BAND Conductor: Norman Trotman instrumen/al Coaches: Clarinets: Edmund Crutch field, Stuart Brown; Aules: Raymond Lewis; Oboes: John Cowdy; Saxophones: Trevor Cleveland; Bassoons: lionel Goring ; Horns: Ronald Harris; Brass: Peter Mawson; Percussion: Peter Chrippes Flutes Hilary Roden (18) Lesley Bills (16) Joanne Jenkins (14) Joanne Chalk (15) Kathryn Burrows (14) Hilary Schimmer (16) Caroline Hunt (15) Jeremy Woodward (11) Oboes Fleur Briggs (15) Philip Brown (17) Alessandra Nicolai (16) Daniel Strevens (16) Clarinets Solo Colin Honour (16) lan Skipper (15) Peter Storey (18) Simon Gower (15) GilIian Scott (16) Zoe Butler (13) Karen Pickering (14) 2nd Anita Reeve (16) Caroline Emmitt (16) Susan Alexander (16) Helena Finch (15) Susan Williams (16) Annette Wyllie (17) Clare Montgomery (14) 3rd Philippa Stevens (17) Sian Britton (12) Yvonne Jessop (15) Sarah Tinkler (15) Christopher Smythe (15) Suzanne Richardson (15) Elizabeth Everett (14) Bass Clarinets Caroline RuskelI (15) Kathryn Fletcher (15) Tracey AlIen (13) Bassoons Jennifer Parrott (18) Rosalind Brown (17) Julian FarrelI (16) Saxophones Jane AlIen (16) Mark Pickup (16) David Sullivan (15) Andrew Franks (13)

Horns Nigel Evans (18) Tracy Golding (14) Graham John (14) Edward Handley (15) Trumpets Andrew Crowley (15) Martin Steadman (17) Stephen Ward (17) Barry Frith (17) Peter Evans (14) David Parker (17) Simon Tennant (15) Charles Handley (16) Mark Izard (14) Nigel Cheshire (17) Trombones Gwyneth John (16) Andrew White (16) Stephen Curtis (16) Michael McCulIoch (18) David Rees (16) Euphonium lan White (17) David Carnac (15) Basses Robin Tweddle (16) Peter Young (17) Henry Tenyue (17) Pat Tenyue (18) Siring Bass Linda Holiday (16) Percussion Michael Warner (17) Carol Holiday (18) David Taylor (16) Andrew Barclay (12)

CULTS MUSIC CENTRE PERCUSSION ENSEMBLE Conductor: Ronald Forbes

Performers David IGnes (16) Carol Coutts (16) EIspeth Rose (16)

Rhoda Beddie (16) Jennifer McKay (14) Susan Neill (14) Gail Smith (16)

DONCASTER YOUTH JAZZ ORCHESTRA Project Director: Keith Jowett Musical Director: John Ellis Reed Coach: Phil Gibbons

Trumpets David Lee (16) (Orch. Leader) Tony Corish (14) Russell Cooke (17) David Sturdy (16) Paul Edwards (14) Trombones Chris Fidler (14) Brian Morrell (15) Paul Foweather (14) Graham Foweather (16) Peter Beachill (16) Chris Calder (14) Tuba Keith Alderson (14) French Horn Karen Morris (J4) French Horn

Reeds David Hopkins (15) Kay Hatly (17) Jonty Stockdale (14) Philip Fenton (14) Michael Divers (15) Karen Huntington (15) Flute Rhythm Andrew Vinter (14) Piano John Campbell (15) Guitar Glen Muscroft (15) String Bass/Bass Guitar Andy Barron (14) Drums/Percussion David NeUleton (14) Drums/Percussion

CLEVELAND STRING QUARTET Violins Michael Thomas (J7) lan Belton (18) Viola Alex Robertson (18)

Cello Jacky Thomas (16)

ST. DOMINIC'S 'FOURS TO EIGHTS' Conductor: Maureen Brass Accompanist: Marian Leetch Coaches: Cello: Viva Heinitz; Violin: Peter Watmough, Sally Heard; Recorder: Janet Koupis

Recorders Nina Bowles (8) Carolyn Culhane (8) Paula Elliott (8) Patricia Keeshan (8) Daniel Leetch (8) Joanna Morris (8) Tanja Murphy (8) Violins Rebecca Leetch (4) Helena Koupis (4) Brian Adams (6) Anne Doris (7) Tara Bolton (7) Neil McGrath (7) Irene Moriarty (7) Brian Griffin (7) Glockenspiels Laura Brogan (7) Liam D' Arcy (6)· Lee Gallagher (7) Joseph Grealish (6)· Anne Stokes (7)· Sarah Tsangarides (7) (·Also Chime Bars)

Cellos Andrew Conway (6) David Comey (6) Anthony O'Connell (6) Leigh Morris (6) Joanna Webster (6) Voices Harriet Appiah (6) Simon Bowles (6) Barbara Chapman (7) Lisa Clifford (7) ·Martin Codd (6) Billy Croft (7) Tracey Delaney (6) Clea Fletcher (7) Annamarie John (7) Una Keran (7) Andrew Moriarty (6) Catherine Murphy (8) David O'Connell (6) Christopher O'Connor (7) Bijal Patel (7) John Peters (6) Paul Regan (7) Nuala Reilly (7) Jacqueline Robinson (6) Lorraine Todd (7)

THE STRINGS OF WELLS CATHEDRAL SCHOOL SYMPHONY ORCHESTRA Conductor: Timothy Goulter Coaches: Myra Chahin, Drew Lecher, Mark Knight, Raphael Wallfisch

First Violins Robert Salter (16) (Leader) Brian Wilson (15) Matthew Souter (15) Fenella Barton (13) Claire Connors (J4) Vienies Yuen Yum San (14) Sophie Barber (13) Lindsey McDougall (14) Julian Tear (18) Second Violins Jane Carwardine (16)· Briony Shaw (J6) Robert Alldis (13)

Teresa Finzi (14) Angela Martin (10) Leo Payne (12) Pamela Collins (14) Michael Camille (\I) Rosemary Henbest (17) Robert Jiggins (16) Violas Jeremy Williams (J7)· Wenna Hughes (16) Gina Zagni (13) Zoe Smith (16) Alexander Greenlees (13) Rosemary Graham (18)

Cellos Zorica Ljaljevic (16)· Emily Burridge (J3) Bruno Price (16) Ingrid Perrin (J6) Susanna Graham (15) Elizabeth Anderson (16) Alison McConnell (13) Susan Monks (\I) Ruth Zagni (12) Vernon Dunning (17)

Double Basses Toby Hiscock (17)· Paul Woodward (17) Continuo Elizabeth Lane (13) Organ Fiona Paine (15) ·Principals

WEST GLAMORGAN YOUTH ORCHESTRA Conductor: John Jenkins Orchestral Staff" Stanley Jones, W. Carpenter, A. J. Edwards, Mrs W. Jenkins H. P. Williams, P. Watts, Mrs J. Jones, Miss Ann Wilkinson, H. Phillips, D: Fox, D. A. Small, G. Whitcombe, Mrs A. Mills, Mrs C. Phillips, Miss G. Jones.

Director of Education: John Beale

Violin 1 Hywel Benjamin (21)} Co Leader Mark Thomas (20) Stephen Lloyd (19) Martin Edwards (21) Julian Worth (20) Christopher Harry (18) Karen Evans (19) Bryan Jones (19) Susan Wilband (19) Peter Harries (19) Nicola McCarry (18) David L. Davies (17) Alison Williams (19) Paul Lewis (18) Wynneford Potter (16) Huw Davies (17) Gareth Ashmead (15) Julie Roderick (16) Christina Coppin (17) Gaynor Hart (18) Susan Cooke (18) John Thomas (17) Clare Stanton (16) Martin J enkins (17) Kevin McCarry (13) Violin 2 David Davies (18) Neil Evans (16) Andrew Phillips (15) Caroline Taylor (14) Michael Nash (16) Gary Pewsey (18) Jennifer Thomas (17) Helena Richards (15) Melanie Daniel (15) Gareth Evans (14) Gethin Scourfield (16) Gillian Rees (16) Allison Couch (16) Claire Francombe (16) Selyf Edwards (16) Stephen Jones (15) Derek Jones (14) Alison Parry (14) Timothy Jones (16) Barbara Denbury (18) Viola Christopher Ashmead (20) Jeremy Jones (18) Gareth Jones (18) Timothy Davies (18) Gareth Widlake (17) Sian Davies (14) Sheila James (17) Christine Farmer (17) Anna Jones (16) Catrin Ley (17) Steward Jones (16) Simon Aspel (15) Hywel Jones (17) Karen Demell (14) Cello Christopher Pontin (18) Christopher Jones (19) Mary Williams (19) Rhian Evans (16) Claire Gorvette (15) Huw Warren (15) Wendy Sullivan (15) Gethyn Jones (18) Richard Hopkins (15) Ann Downing (17) Daryl Lewis (15) Sarah Reid (15) Lisa Thompson (15) Andrea Tarr (15) Double Bass Robert Ferris (19) Martin Owen (19) Michael Bell (19) Nesta Devereux (15) Susan Francis (16) Kelvin GriFfiths (15) Timothy Day (16)

Organ Clive Phillips (18) Flute Patrick Seymour (18) Meredydd Harries (! 8) Kenyon Bowden (18) Jacqueline Jones (17) Oboe Simon Gratton (20) Phillipa Morris (16) Michael Phillips (16) Kathryn Woodfall (18) Clarinet Georgina Davies (16) Alun Williams (18) Michael Galvin (15) Kathryn Wilkinson (18) Elaine Harris (16) Bassoon Martin Locke (16) Elaine Gwenter (18) Teresa Sims (15) Kim Jenkins (16) Nicholas Jones (15) Percussion Rhian Evans (19) Eric Philli ps (21) Nicholas Ormrod (18) Clive Higgins (17) Christopher Evans (16) Justin Thomas (19) Harp Janet Bowen Heulwen Rees Horn David Lewis (18) Nigel Hiscock (17) Joseph Lawlor (15) Huw Evans (16) Robert James (16) Phillipa Woolcock (16) Trumpet Alyn James (18) Michael Downing (16) Daryl James (17) Scot! Pickrell (15) Trombone Graham Harries (20) Nicholas Paddison (22) John Davies (J6) Roger Argente (15) Tuba Andrew Cresci (18)

Friends of the Schools Prom American Express Marks & Spencer Barclays Bank Milk Marketing Board BBC Television Musicians' Union Intertlora NADL Kodak Sanyo (UK) Limited Occidental of Britain Inc.

On behalf of the young musicians, the Schools Prom thanks the above companies and associations for their generous donations and guidance in helping to make possible this year's concerts.