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r Introduction ow in its fifth year, the Schools Prom is established as a regular feature of the musical year, presenting in its own distinctive way, a celebration of school music and an opportunity for youngsters to reach a wider audience. Celebration is, perhaps, an appropriate description of these three November evenings on which a wealth of talent and a wide variety of groups and instruments truly reflect the remarkable standards almost taken for granted today in our schools. In the audience last year were several distinguished musicians including the chairman of a leading national orchestra. He was 'delighted and astonished', not merely by the quality of playing, but at this revelation of what has happened to music in our schools during recent years. Credit must go to the teachers, parents and local authorities whose encouragement, enthusiasm and dedication have released the natural ability ofour children to achieve what might be called a golden age of youth music. We take this opportunity of congratulating all those who perform at the Royal Albert Hall this year. Since music is an international language it is appropriate that the Schools Prom should include guests from overseas. Following last year's visit by an American orchestra we are delighted this year to welcome a group of musicians and dancers from Imphal in India. As joint sponsors of the Schools Prom, Times Newspapers and Commercial Union Assural1ce believe that the encouragement of music and musical appreciation is vital to a society that regards itself as civilized. This belief, we know, is shared by all those Friends who support the Schools Prom and by the National Festival of Music for Youth which has given an impetus to hundreds of fine young musicians.


Contents page 1

Introduction The Schools Prom-something special


Johnny Morris and the Violin


The Christmas Concert


The National Festival of Music for Youth


Programme Notes


Concert Programmes


Front and Back Stage


List of Performers


Friends of Schools Prom

Back Cover

Director: Derek jewel/ Deputy Director: Humphrey Metzgen Producer: Larry Westlal1d Administrator : Nal1CY Wolf-Papadopoullos Stage Managers: Richard Mal/ett, Paul Uden Production Assistants: Philippa H ogg, Odile Noel Publicity & External Relations (Headway Public Rd,ltl"I1S : Interna tional Advisers (Central Bureau for Educltiol1JI Vlm~ The Schools Prom gratefully acknowledges the cO -C'f' c'Ll tl" :l ,,:' ,'" Youth III the presentation of thcse concerts,

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SIR DENIS HAMILTON Chairman and Editor-in-Chief Times Newspapers Ltd, SIR FRANCIS SANDILANDS Chairman Commercial Union Assurance Company Limited 1

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SOlDething special By DEREK JEWELL

No words can entirely recall the magical atmosphere of an evenirlg at the Schools Prom - Michac1 Bell (Dwr-y-Felin School)

Then we were taken into the arena. It was so immen se that I felt like an ant in the bottom of a swimmillg pool. ... I was shakirlg all over, it was such afantastic experience, but I made no mistakes I don't thillk . W e played well and the silence in the Hall was incredible. Tile sotlnd of our music carried tip to the roof It was wOllderfiJI. - Jennifer McKaye (Cults Music Centre)

sentences, written last year by two of the several thousand young performers who have played at Schools Prom concerts since the event began in 1975, catch so vividly much of what the whole affair is about : excitement, enjoyment, a sense of occasion, the desire to play well, the desire to listen and, too, a feeling that something very special is happening. I understand Michael Bell's feelings when he laments the inadequacy of words to recapture a succession of glowing November evenings filled with music. But before the concerts of 1979 begin, words are all we have . ... The Schools Prom is, above all, a celebration. It celebrates the astonishing effervescence of music in our schools today : its quality, quantity, diversity and rumbustious good health . Never has so much been played so well by so many young people in so rich a variety of styles . But celebrations cannot happen without work, dedication, organization, and so the Schools Prom is only the tip of a very substantial iceberg. Below the surface lies that huge body of schools music which sustains it: tens of thousands of musicians who work hard at improving their skills and, doubtless, gain immense satisfaction from music-making; teachers and coaches who guide and inspire; parents who give encouragement in so many ways. The celebration which is the Schools Prom exists only through all those elements which go into making music so vital a part o f life for the young in communities the length and brl' .ldth o f the Kingdom. i\ l11, iL- h,l ~ . o f course, b een around a long time. But the F,kc' _;[ "': :, iL'h music-m aking has seized the imagination L) l- :1: ;:- '. .; ~ :n ~ in the past two decades has been astolll ~; H; ~ ': . -, ; It bl ,'sso ming o f sch oo ls musIC '; ." l'c"l'1l tn~h' ca lled a renaissan ce.



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Those broader ambitions seem to me to have been matched by the desires of their teachers, new generations of mentors in the schools who have lived in a world of tremendous variety in music heard at concerts or on radio and TV, who have played and enjoyed records in many diverse styles, who have inherited less prejudice about what is the 'right' kind of music, whose ideas are expansive and adventurous. Tim Rice recalled in last year's programme that it was a commission from a school in the 1960s which led to the creation of his and Andrew Lloyd Webber's Joseph and the Amazing Technicolor Dreamcoat, the beginning of a road which led to Superstar and Evita. I can scarcely imagine that kind of commission having been suggested in earlier years . The world, in musical terms, has really become their oyster for the young people of today. They know something about the music of, say, India or the Caribbean in a way previous generations did not. Children travel, immigrants or visitors arrive in Britain, and different international styles and traditions become universal. The whole sum of musical experience has changed radically, and the horizons of music-making have immeasurably broadened. One barometer on which you can measure this dramatic growth of music-making in schools is the National Festival of Music for Youth, which was launched in 1971 under the direction o f Larry Westland , backed by the Associ ation of Musical Instrument Industries (AMII). It began with a few thousand young people taking part . N o \\', approaching 20,000 musicians arc involv ed in regi onal festiyals or in the national finale at the Fairfield Halls, Croydon, each July; and it is still deYclo ping . The Schools Pro m and the Festi\" al ha\'e clo se links. In 197-1-, The Ti III e_' Edl/(lIfi,lll,11 SIIP!'!CIIlCl/f added its sponsorship to the ~,llion.J1 Festi\-,ll. For three days at C ro\-d on , \ye li>tl'ned to l'lbembk alter ense mble [-ra n; Si X- Vl'.lr " Ids \\-i th r''Cl)rciers to bre athtaking , \' mpIl')I1\ "fL-rll''tr:b .1 ;m :h1 reJ or m Ofe strong (and " : Ch c', tLh IIk,' d,);:'t _i ll,t 11,1I'1'CII : the etTort which : ~ ~ :, t c ' thc'm i, .i l1ur k "[- till' ze "! ,md ClIIlllLl1 ambition :-, ;: c U'l!:!lHT :t:c'< ""h l,'h 'll ' UII1 thl' m - with children, :'_.rc:!!5.. { :." .' ( : :C~'. j, l L-:i; .lUt!lllfllies. <111 playing their :

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\-o llil j l!l ~ llFo ll the musical excellence c J \', c-~ c' m.l n \-. bll t o ne seemed inescapable . The ..:' "t: :lc \\" .li-"'lIt till' thrr\' ing condition of schools :1 lU ':,- i:ll'lrld bl' SFfl'.1d . and spread quickly. The " ;lItlL'll : to pr o \-ide .In Jdditional national platform [-,'r so me J t kJ st o f these m ost talented musicians at a m,l)Or COllcert hall. And so. with enthusiastic backing from Times Newspapers Limited , the first Schools Prom took place


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Something special continued from page 3 at the Albert Hall on a single night in November, 1975. Four years later, the concert series covers three nights; but the aims have not changed. The Schools Prom is intended to be a showcase for some of the best of British schools music of every possible kind. Catholicity is important, with stylistic variety and adventure continually encouraged. It's hoped, by thus demonstrating excellence and enjoyment in music, that standards of skill and ambition will be fostered in communities everywhere; that children, parents and teachers alike will be inspired to maintain or inaugurate their own music-making; that the immense achievements of those who nurture our musicians of the future, whether professional or amateur, will be recognized, saluted and given continuing support. A Schools Prom has a unique atmosphere and anyone who has participated in one of these concerts will surely wish to participate in another - Michael Bell (Dwr-y-Felin School) .

Again, the words of one of the musicians who have played at the Prom capture an aspect which we hope is true . 'Unique': it's challenging description but, as we try to assess where we have achieved or fallen short of our goals, it appears to be accepted that these concerts are unlike any others in the world in their scope. Each evening, around a dozen ensembles of all sizes play music in a positive gallimaufry of Western styles. Symphony, string and chamber orchestras have obviously been at the heart of the concerts since 1975, but that's only the beginning . . . . There have been chamber trios and quartets; percussion ensembles; steel bands, accordion bands, swing bands, recorder bands, brass bands, wind bands. The soft chimes of bells have floated through the hall; lusty pipings from medieval groups; challenging avant-garde sounds and

unusual scorings for guitars; fanfares of brass and the careful notes of mini-cellos played by the very young . The composers played are too many to list, but the range is indicated by the fact that Glenn Miller, Stan Kenton and George Gershwin have found their place alongside Mozart, Rossini, Shostakovich, Charles Ives and Aaron Copland. From 1977 the musical mixture has been further enriched by the invitations extended to international youth groups to play. In that first year, a Russian folk ensemble; in 1978, the Greater Twin Cities Youth Symphony from Minnesota\c USA; and this year, a group from Imphal playing Indian music. The idea behind such invitations is simple: to foster international ' musical understanding in particular, and international harmony in general, too . Everyone associated with the Prom realises that to present such a diverse musical diet within the compass of single concerts is a risk. To have a chamber duo playing in the vast arena of the Albert Hall after, perhaps, a rousing brass band is a contrast of daunting proportions, a challenge both to musicians and audience. But life, like art, bursts with contrasts. We believe that the effort to paint a canvas truly representative of all the colours within today'S schools music justifies the risk, and we hope that the Prom's audience, both within and without the Albert Hall, will continue to share that VIew.

Each year, of course, the musical flavour of the concerts has been subtly (or obviously) different in many ways. What you hear reflects, in cameo form, the strengths of the various classes within the National Festival, from which the Prom draws its performers. Nineteen seventy-nine is very much the year of the symphony orchestras and, also, of chamber groups. Not (if you look at the musical programmes on pages 22 and 23) that anyone need to be concerned about COllfilll/ed 011 pa,(?r 40


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Fighting and fiddling By JOHNNY MORRIS

is a very common experience among instrumentalists that during their long battle with the instrument a crisis occurs when they regret ever having challenged the wretched thing to a duel. Sometimes you think you are winning, that you've mastered the monster. You have subdued its awful screeching and wailing and have at last begun to make it sing sweetly to your bidding. Then you go on holiday and come back to find the thing in a rage at having been left shut up in its box for a week. You have to begin all over again.



As a fiddle player I suffered and, of course, my family suffered too, because the 'sound of a raw violin yowling through its training sessions is enough to drive even the most placid parent to a point of infanticide. And yet my parents were insistent, even though I could teU by their haggard faces that my playing was sending them around the twist, that I continued with my dally practice. Every evening I was shut in the front room for haif an hour to put my fiddle through its paces. They tried to enooucage me by saying that they really thought they cou\d recognize the tune coming through In a Monastery Gartlen. Heaven help anyone who wanted to be a monk in my Monastery garden. And yet the torture continued. Life from tea-time to bed-time took on a tense, pent-up pattern. Tea would be over at five. Homework should be over and done with by quarter to six and then the awful moment had arrived . I was isolated in the front room to yet another bout with the violin. The term 'Hang-up' was not invented in those days but I realize now that that was what I had got, a real

hang-up with the violin. I used to try to put the moment off by lingering in the lavatory until there was a sudden thump on the door and a voice saying, 'Come on, it's no use hanging about in there.' There was no way out. I have often watched lion tamers at work and some of them, not all, are most ill at ease. As well they might be. You can never be sure of what will happen because all those lions are intent on getting you if they have half a chance. And there is no escape. You cannot get out. I used to feel like that, shut up in the front room trying to get my fiddle to do its tricks. But, if you have a grain of music in you, it will grow and you will persevere even though there is much to discourage. I had to endure another terrible hazard in the learning of fiddle playing. My fiddle teacher lived a couple of miles from my home and to get to him I had to walk through one or two streets that were noted for their rough and ready 'Hit 'im 'arry' type of inhabitants. It's hard to believe nowadays but to walk through those streets carrying a violin case was inviting ridicule of the crudest sort. The most cissyful thing that anybody anywhere could do was to play the violin. These ghastly creatures used to dance around me as I walked. My wooden violin case under my arm, my face set like a concrete block . And they jeered, made faces, put their hands on their hips, waggled their bottoms, indicating that I should not be wearing trousers but a skirt. Sometimes things got out of hand and there would be punching, kicking, biting and, I'm sorry to say, spitting. We were like a bunch of squabbling cats. ~ The main thing for me ' to do was to protect my precious violin. It was very precious to me at times like this, for we lived together in a love-hate relationship. Week after week I went for my lessons. Week after week I got involved in punch-ups, kick-ups scratch-ups, bite-ups and spit-ups. Makes me sound a bit of a martyr. But I never questioned it. Fighting and fiddling were inseparable. Funnily enough to play the piano was not so much of a disgrace but to play the \'iolin earned the player the deepest contempt. Music was not taught io schools in those days. At least not in the council schools. In our school of several hundred boys only two boys could play the violin. Just two. I often think of the enormous amount of talent that must have been lying about in those days and it was never ever discovl.'red. Never given a chance to blossom. Mercifully things have changed. As we haw heard for some ytars now, the number of young instrumentalists and the standard of their playing is truly astonishing. I think that is one of the most heart-warming things that has happened to our society in recent years. There are many indications that our society may be pulling itself apart. Music and these young musicians could wonderfully strengthen the bonds that hold 4S together. (Set dU. P 25-Etl). . 7

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All things bright and beautiful the Schools Prom expresses the highest aspirations of childhood music, it has its b eginnings at that lev el of raw endeavour, the traditional end-of-term Christmas carol concert, an occasion far removed from the Royal Albert Hall but not entirely unconnected to it in spirit and enthusiasm. The junior school hall is puffed with barelyconcealed parental pride. The event ushers in the festive season as nothing else does, m aking real what has hitherto been merely apparent. 'Please join in the singing but remain seated,' whispers a nervous form master at the door. The request is unnecessary. Parents squeezed into seats built for infants are quite unable to rise together without causing a pack-of-cards collapse throughout the entire hall where the last odours of lunchtime plum pudding and custard linger amid the Santa Claus mobiles overhead.






Sporting a Fezziwig smile the Headmaster steps forward to welcome one and all, especially the Deputy Mayor, who is wondering how to preserve civic sangfroid while holding a posy. Two hours later he will still be clutching it damply in the back of the mayoral Rolls. With commendable lack oHuss the Narrator enters. His composure is regal. He raises himself to his full three feet 10 inches and pipingly declares that what we are about to witness is the annual carol concert performed entirely by the children with words and music provided by them alone.

visibly. Does one imagine it, or did ' the p{anist mouth to the flautists 'F, f, c, f, c, top g, c, top a, g, top a, b flat, long a ... '? But the flautists' eyes are riveted to their music and behind them the clarinets and descant recorders are gaining confidence. An air of rash jauntiness is detected and when a boy trumpeter goes off at an unrehearsed tangent, his neighbour stops cutting a swathe through the air with her trombone to fix him with a reproving glance. Giggles from the xy lophonist threa ten to become infectious. The music mistress stiffens.




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\\·hcn hc drot:s _his by .1 m.lttn-ot-tact . ,.: :: :-, '.:' ::: ? l"::,; ::<. 'r h ' k«"ll IT1 polIteness \yithollt " :; :.:::,.::: , d' ,(-,',:: w ;tiwlIt c" ndc<ccn,ion. is salutary. S.i : ~:t.1[\' . Wl). perh.1ps that the last reading on good·.\:ll tl' J1I men she,uld be giH'n by a coloured child who prob.1blv CJnnot spell in~egrJtio'n and, as yet, has had no cause to. Perha ps she ma y ne\'er need to learn. At least Jt Christmas we are entitled to hope so. Victor Head "

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A rustle of relief follows the final strains of Ollr Lord Immanuel and the Narrator springs up to lecture sternly on the joys of giving to others. His remarks are illustrated by a short play about Boniface (who has mysteriously chosen a red balaclava to indicate saintlincss) Jnd the Christmas Tree . The latter role affords a splendid opportunity for Method acting by an eight-\Tar-o ld festooned with paper foliage . The fir cnne,. .1 programme note informs, were made [". el.m Ill. The choir's rendering of the old French (.1[01. Ellrrc le boeuJ et fa/le gris. might di'.urn .1 r.lbid JntiCommon Marketen and .1 11<'1<\' d.lTk,: ,,'qul'TlCe about a toy shop explain, \\·h \. mcrnr,'f' ,,:' ti,,' ,)rChcstL1 3re dressed 3S puppets . S,)l11,' :'":::,',, ,'\-,'n thlIlk thl'" recognize (.l\·l'ltrltc , k:,:- ,;: ' c: : c" :r!1 S5 1n~ from the wucln'rc .. j.. .r·''- '.'"-' " .,.;.; , 'r .... , ~"'<l'm1Sh' i, \yll at the ~.1~:-.1: d : :: ~;. ~ ~: : .~ :-- \ .:: ::: :.. ,,'1\ ,) f :!l\· lll~ . l'yc:n

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'Youth lDusic is better than ever' By LARRY WESTLAND National Festival Director HE idea for a public concert to present the work of musicians from the National Festival of Music for Youth is now in its fifth triumphant year. The resounding success and popular appeal of the Schools Prom is truly phenomenal. This gathering of such a great number of young musicians in such a vast range of musical forms and styles has firmly established music as a vital force in education. Over 1,000 young musicians will appear at the Schools Prom this year. Their freshness of approach will restore even the most tried and familiar repertoire to its original vitality. The younger players, above all, have this year discovered new challenges to master and new ways in which to delight their audience. Those fortunate 1,000 will bring with them to the Royal Albert Hall the dedication, enthusiasm and good wishes of the remaining 2,500 musicians who appeared with them at the Fairfleld Halls in July. It was from the


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partlClpants at this year's National Festival that they were invited to play at the Schools Prom. We learn more clearly how each year the panorama of schools music changes and grows. This year it has been a pleasure to note the increasing professionalism of our youth orchestras. This is especially true of a great many of the secondary school level orchestras who appeared at this year's Festival. Many of you who have attended previous Schools Proms will not have failed to notice the inclusion of orchestras at both 'ends' of our concerts. In the past, we have opened each evening with brass and wind bands. Such was the quality of orchestral performance this year, that a break with tradition was more or less forced upon us. Both the repertoire and the standard of our youth and senior school orchestras at this year's Festival stood comparison with their adult professional counterparts. This year, the choice included Brahms, Sibelius, Schumann, HoIst, Shostakovitch, Ravel and Vaughan Williams and from the City of London School, a composition by a gifted pupil. Mention should ;}lso be made here of a truly remarkable performance of Part IV of Stravinsky's Petrouchka from the Stoneleigh Youth Orchestra. For both the National Festival and the Schools Prom it would appear that it is the year of the cello, with performances of real sparkle from Caroline Dale with the Cleveland Youth Orchestra and Martin Loveday with the Surrey County Youth Orchestra. On Wednesday, Julian Lloyd Webber will appear with the Merseyside Youth Orchestra. Performances of note are far too numerous to mention but I feel it worthwhile to draw attention to the intelligent choice of repertoire and a technical mastery not usually encountered in young children that you will hear at these concerts. Listen carefully to the enchanting playing of the Nicolaou Piano Trio and the authority and boldness of the Eta Cohen-trained brothers, Julian and Oren Shevlin. It would be natural to express our pride in these extraordinary levels of achievement by saying that this year's National Festival and Schools Prom are better than ever before. It is more than simply a justification of the Festival's open repertoire and non-competitive policy. For now, we can say that the quality of the Festival and the Schools Prom IS a SIgn of natIOnal quality - that the quality of youth music in Britain is better than ever before. It has always been Festival policy to update its organization to keep pace with the needs of its participants. In response to a gro\\~ing number of requests, we are introducing ch,1I1ges ll1 1980 that \\"lll enable parricipants to benefit from a llmgcr stay at the Natioll.ll Feqi\'.li in J ul y. Th" !lrq ' L'~' :!, chi, c1Irl'ctll'n l' tlnding additional 'l',m ,n" h: r \\ ;': 1: \', 1::e'11 c.' rln,m e,' the Illcre.lsed rraycl " c ." "' ~ "': ,:~ [ ( . ( , ,< , ::: " !l1l'\'l' \\ III ell Lld , We ." ,'l ,.I~ : I ': ,,: :, : , F'--c h :1 ;l1e[ Il, ll W .111,)\\ for 3,500

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Programme Notes CLEVELAND YOUTH ORCHESTRA COl/duetor: Edwin Raymond S oloist: Caro line Dale N ational Anth em Hungarian March from ' The Damnation of Faust' Cello Concerto No . 1 in A minor

arr. Malco lm Williamso n Ber/io:: Saint-Sail/ls

The Cleveland Y o uth Orchestra meets weekl y in Middlesbrough as on c of ov er 20 o rcheHra s and bands organi zed centrally within the County's Scheme of Instrumental Music in Schools . Almost all memb ers arc of school attendance age . Apart from lo cal appearances, the orchestra ha s visited York, Sheffield, and W es t Germany, and in '977 was ho n o ured to play to HM The Queen and HRH Th e Duke of Edinburgh . In 1975 and under its previous na m e o f Teesside Y o uth Orchestra, the C leveland Y o uth O rchestra gain ed an Outstanding Perform an ce Award at the National Festi val of Music fo r Youth and partI cIpated at the first Schools Pro m . This year the CYO gained Outstandin g A wards in bo th the Open O r chestra Class and , with Car o line Dale, in th e Co ncerto Class, National Anth em - al'/' . Ma /c(> /1II Willialllsoll Th is arran gc m cnc w as written for th e openin g of the Qu ee n 's H all. Edinburgh 011 6 Jul y, '979. It was commissio ned and perform ed b y th e M usicia ns of th e Scottis h Philharm o ni c Society and con du cted by the Ma ster of the Q u een 's Music , M alc olm Williams on. Hungarian M arch - Berlioz The Hlll1s ariml MarciI is an o rches tration and development of the an onymo usly co mposed Hungaria n Rakoczy Mar ch. Berhoz mov ed o nc of th e Fa ilS/ scenes to Hu ng ar y in o rder to fmd an e xcuse to inco rpo rate the march in hi s dramati c cantata. Cello Con ce rt o in A minor - S aillt-Saflls In the Cell o Co n certo, Saint-S acns condenses the traditional three movements in o ne continu o Ll s piece althou g h there are three clear sectio ns. At the point w here the recapitul ation might be ex pected in th e first mo vement , the slower middle section,. a quiet minue t beg in s. It leads straight into the final sectIOn whIch IS a recapitulatio n of the first m ove m ent theme with a second subj ec t materia l. The soloist has th e br avur a lead throu ghout much of the Concerto.

Qu artet, when the comp oser's style w as reaching maturity. However, in this case he re verts to a more youthful style of the period of the fIr st two sets ( 190 7). Valse RlIsse makes use o f the statement and counterstate m ent idea fre que ntly used in the co mp oser's earlier w orks. Th e cello enters with the main theme, a lyrical and mel ancholy B minor m elody, whi ch is then repeated by the violin with some simple counterpoint provid ed by the cell o. The piano is gi ven prominen ce in the middle sec tion, after which the theme returns , played b y the two string instruments in octaves. A short colourful cod a brin gs the m o ve m ent to a serene pianissimo ending in the toni c maj o r.

JULlAN & OREN SHEVLlN Oldham Duo N o . 1 for Violin and C ello (rondo)


This is th e first appea ran ce at the Sch ools Pro m of these br others from O ldham, Lan cashire . Julian, age d 1 I, is a pupil at G range Comprehensive Schoo l, Oldham. H e commenced his violin studies at the age of 7 with Gerald Duffy at the Oldham Lyceum Schoo l o f Music. In 197 8, he became a pupil of the ren o wned vi o lin teacher, Eta Co hen , in Leed s. H e has given fr equent public perfo rmances and recentl y appea red in a violin m asterclass with Igor Ozim. O rC11, aged 10, has stu d ied the ce llo si n ce 1976 and fo r the past two years h as been a pu pil o f R obcrr H aworth , ex- su b principal cello w ith the BB C Northcrn Symph o n y Orches tra. Orcn h as also appcarc.d frequently i n public, both in a so lo capaci ty and as 3 due ttist w ith his brothe r . H e is prese ntly a pupil at G rcenacres C o unty Prima ry Schoo l. Du o N o . 1 - Beethovell This rondo movement is from the first of a set of three duos whi ch B eethoven originally scored for clarinet and bassoon. Unfortu n ately. he le ft 110 i.nd ica tions o f an opus numb er but T h.yer su ggests o nc o f 147 i.n his catalo gue and gives the pr o b ab le date of co mposition as 1792. Although this is o pen to con troversy, it is alm ost certain th at the se t was first published in Paris in , R15. The du os h ave in cc been transcrib ed for violin and ce llo by Friedri ch Hermann (1828-1907), a pupil of M endelss ohn and Roy al Professor of Violin at th e Leipzig Acade my.

HILLSIDE INFANTS SCHOOL Blaenavo n, G w ent COllductor : Sus an Williams Aaompanist: Shirley Adams Soloist: Nico la Morgan The Clown El Tigre A pusski Dusk y

THE NUNTHORPE PIANO TRIO Nuntho rpe, Cleveland Piano Trio in C maj or, Op. 87 (fin ale)

Peter Cal/ we ll DOllglas Coo lllbes Traditi onal

Hillside School, an infants' sch o ol of 98 childr en between the ages of four and eight years, is situated in th e W elsh mining town o fl31aenav o n , G went. A great musical tradition eXIsts m the town and the childr en enjoy all aspects of school mu sic- m aking, particularly Singin g . Th e group consists o f 30 children fr o m the second and third yea rs in the school. M ost of the work takes place dunn g the lunch ho ur .

THE NICOLAOU PIANO TRIO Orpington V alse Ru sse


The Trio w as form ed in 1977 at N unth o rp~ Co mprL'i1L'nsi\' L' Sch ool in Cleveland at the suggesti on o f Mr T reVo r \\ ,1 1, hn\' . Th e Trio has appeared in the National FL's tiul ot .\\u 5ic l,' r 'i o mh in 1977 and 1978 and has b een in\'it~d to pI.1\· In ,-",rthl1lllbL'r1Jnd and B elgium . Ruth Alford, cello, is a m ember o fth L' Ckwb nJ ), ,'u t!t Orc hestra and the N ational Yo uth Or ches tLl . SIll' J;" l r- iJ \ , thc pl ,mo . C hristo ph er Aldrcn . \·io hn . is rhe pr,'s";H kJ j, : (.' 1 ::lC Ck\' eland Youth O rch estr a ,1Il d i, .1 llL'm i' " ~ ;' :i: , ,-" ,:t h "rn )u !l1o r Philh armo nic Or ch,·; rr.l C::,,,;, '(' '" - H, -: :. :F.""', " t':1,' prlll cipJl tromb o ne in thl' Ck\',· !.d:,: Y .:·:1; , 1C .;,. ,::." ,;; ,; 1, j !lI l' mber of the !\' llrt hefll ) c; n:,' , I" :,\,: l C::: , ),. 1:. -: . ~ ;):' .- :: : ::..

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Programme Notes NORTHAMPTONSHIRE COUNTY YOUTH BRASS BAND Conductor: John Berryman Soloist: Don Lusher Rhapsody for Trombone and Brass Band March, 76 Trombones

Dotl L'IS/lfr Meredith Willson

Northamptonshire organizes eight Music Centres which involvl well over 2,000 children each wcek, and these, along wit! school-based groups, provide a steady supply of good player for County-bascd Orchestras and Bands. Thc Northamptonshirl Youth Brass Band began life almost II years ago which saw thl bcginning of concerted music-making in the County. The banc in the past has tourcd extcnsively here and abroad, includin! Germany, France, Canada and thc USA and has recently returne( from a successful two wccks in Norway . It has takcn part in thl National Festival almost every ycar since its inception and in 197' its pcrformance in thc Brass Class was named as thc most out standing. Rhapsody for Trombone and Brass Band - Lusher The Rhapsody for Trombone and Brass Band is a superb picce 0 writing both for band and for trombone soloist. The vcr; demanding solo part is backed by a thoroughly colourful ban( score including an exciting range of percussion instrumcnts. Fe\' can doubt who the composer had in mind as soloist when readinl onc of the indications on thc solo part which says molto catllabil

e Lusheroso' Lai Haraoba illustrates part of the ancient pre- Vaishnavite festival of Manipur in which the creation of the world, birth of life and growth of civilization arc enacted through complicated rituals and movements. In this item the performers dance before a deity for peace and prosperity of the land . Far removed from the sophisticated dance of the Hindu temples, the folk dance Kit-lam Kablli-Ilaga takes us to the exotic surroundings of the mountainous Kabui villages of Manipur. Kabui dances call for vigorous footwork and sharp, clean and graceful body movements . Asharalii Odo is a most important merry-making dance of the people of Mao, performed annually in the fIrSt week of January. The festival continues for about 15 days . VaSatlta Ras is a colourful piece played in the full-moon night of March-April. It depicts Lord Krishna and his divine sports with the enchanted Gopis led by Radha who respond to the call of his flute.


76 Trombones - Willson In the film Music Man, a bogus Professor of Music visits a numbe of American citics, where he claims to tcach boys how to play in band overnight! The bcst known song provides a memorabl march - 76 Trombones.

WALSALL YOUTH JAZZ ORCHESTRA Musical Director: John Hughcs Corazon Make a Joyful Noise

Carole King, arr. Bill Staplcton Domi"ic Spera

The Orchestra was formcd in 1975 . Its purpose was to give pupil in schools covcrcd by the Walsall Education Authority th, opportunity to play high quality big band jazz arrangements. Thi ycar is the third time the Orchestra has participated in th,

National Festival of Music for Youth, having performed at the Royal Festival Hall and Fairfield Halls on previl' IS occasions. Musical Director is John Hughes, a peripatetic brass teacher for Walsall Education. Corazon - Carofe Kin!! Corazon, arranged by Bill Stapleton, was originally recorded by the Woody Herman Band and its ever-building ensemble passages make it a perfect example of what a pop-inspired jazz arrangement should be. Make a Joyful Noise - Spera This piece starts and ends with a light-hearted touch of musical satire . The overall arrangement is a mixture of many jazz styles with passages and time changes bringing to mind the music of Charles Mingus, Don Ellis and Count Basie.

larger string groups which meet weekly with Sheila Nelson to study aspects of string technique and ensemble playing, All hold Inner London Education Authority awards and have become members of the London Schools' Symphony Orchestra, of which Stephen Banks is the present leader. Hilary Sturt is now a member of the National Youth Orchestra, The Quartet performed in Italy in July and two of its members travelled to Finland last year to perform with a younger Cromwell ensemble, They were delighted to gain an Outstanding Performance Award at the National Festival, the first festival they have ever entered. String Quartet, Op 67 - Brahms Brahms uses an unmuted viola to dominate the other three muted strings at the outset of this unusual movement, but by the time the calm coda is reached, the four instruments are on equal terms.

ELMWOOD STEEL BAND Croydon Condllctor: Russell Henderson Air on a G String } Don't Stop the Carnival


Elmwood Junior School, West Croydon, offers varied musical opportunities to its pupils whose ages range from 7-1 I years. Its Steel Band was formed in 1971 under the tutorship of Russell Henderson. Each July the band loses its eleven-year old players when they transfer to secondary schools and a new group is formed . In both 1974 and 1975 the band gained an Award for the Most Outstanding Performance of the Year, and in 1978 for Highly Commended at the National Festival which led to its taking part in the 1975, 1976 and 1978 Schools Proms at the Royal Albert Hall. The Band looks forward to further developments now that it has been presented with a much more comprehensive set of instruments by BWIA - the airline of Trinidad and Tobago. These 41 steel pans were manufactured in Trinidad by Winston Graham.


During W oking College'S short history of two years, its energies have been spread over opera, oratorio and orchestral works, and also over chamber groups of wind, string and brass, the madrigal and male-voice choirs. The College Orchestra appeared in the I97S National Festival and this year, three smaller groups took pJrt: J Baroque trio, the madrigal choir and brass group and the D\orik ensemble, This last entry developed from a lunchtime .][[,'n,,': rl' ' read through' an A level set work. No-one then Jnu ,.." ",,:,, ,: " R,,\",l1 Albert Hall performance! Sl'L. .·n..l. J.r-- f ): . ; .: The 1)\ ,; ; ; \ " . . :r. ;', :",·r \\'ind, violoncello and double-bass presems (l,,' :- ".,', \ '. , l:; " Jn1icul[ challenge, At times they must pla\' \\ H;, ' :1-.. . : -- : ," ;;: ,'\'L'n smaller ensemble bm a[ other " i: ",': fL)r JIl almos[ s\"mphonic sound

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Cerddorfa Ceredigion draws its talent from the seven secondary schools serving this rural district in the county of Dyfed in West Wales. Despite having a school population of only 10,000, nearly 1,000 of these pupils receive instrumental tuition from visiting teachers in various centres, The orchestra regularly supplies 16-20 members of the N ational Youth Orchestra of Wales . The district's Chamber Orchestra, formed from the full Symphony Orchestra in 1977, appeared at last year's Schools Prom, Cerddorfa Ceredigion's first visit to the National Fes[ival of Music of Youth this year gained them an Outstanding Performance A ward in the Open Orchestra Class. Le Cid - Massenet Jules Massenet is said to have been at least the 27th composer to base an opera on the exploits of Rodrigo de Bivar, the Spanish national hero known as 'Le Cid', The ballet occurs in the second act and provides the opportunity for much seductive, exotic and Spanish flavoured music. The scene is a spring festival in the square in Burgos where a crowd has assembled to watch the dances from and named after various provinces in Spain .

WOKING SIXTH FORM COLLEGE ENSEMBLE Conductor: Joan Parry Serenade for wind, cello and double-bass (1St movement)

Cerddorfa Ceredigion Dyfed, Wales Conductor: Alan Wynne Jones S%ist: Terence Judd Le Cid (Jrd and 7th movements) Fantasy on Hungarian Folktunes Pomp and Circumstance March No, 'Land of Hope and Glory'

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of age who have achieved Grade 8 standard of the Associated Board instrumental examinations. Twice in the last three years the SCWO has gained the Outstanding Performance Award in the Wind Bands Class of the National Festival of Music for Youth. These successes have resulted in a number of broadcasts on BBC TV and radio. The SCWO is this evening appearing in its second consecutive Schools Prom. Fanfare and National Anthem This fanfare and arrangement National Anthem was written for the Coronation of Queen Elizabeth 1I and was originally scored for full orchestra, organ and choir. Capriccio No. 2 Morgan This work was commissioned by the SCWO with the help of funds from the South East Arts Association. First performed in public last March at the Dorking Halls, it received enthusiastic acclaim. That and a number of subsequent performances have led to Capriccio No. 2 being as a substantial addition to the symphonic side of the ensemble repertoire - a style of music for which the SCWO is particularly well-known. This work is written very much as a showpiece and all sections of the wind orchestra have a chance to display their musicianship and vIrtuosIty. It lasts I I minutes and is in two continuous movements which fall into five sections: misterioso - andante espressivo _

Chelmsford Three Touches for Six Recorders I A Touch of Il A Touch of !lI A Touch of (First


Quite apart from its muslCal content, Three Touches IS of a rarity in that is scored for this unusual number of recorder was Chclmer Valley School for their two groups ,{t year's National Festival.

Rosebery School, named after Lord Rosebery of racing fame, has a strong musical tradition and, partly because of its large sixth form of over 300, has the opportunity for much

The first movement, ,4 marked (Oil Inio. and includes strong, changes, with longer, section. A brief movement to a movement, is marked adagio ('spress/vo and scored movement of traditional Romantic concerto with the descant line being by an an unusual contrast, A TO!Jch and 'witty touches'. opening theme IS marked Call-Can and its boisterousness is peppered with barbed cliches and near-quotations. This briefly to a sentimental pass" doble theme for a rcal music-ha]] finish.

musical activity. Well over a third of the girls play a musical instrument, contributing to the two school orchestras, its concert band and various chamber groups. Of the 130 members of the Senior Choir, the best 20 or 30 constitute Rosebery Singers who, together with some players from the first orchestra, make up this evening's ensemble. This is the first year that Rosebery has taken part in the National Festival or the Schools Prom.

Hutton, Essex Conductor: Malcolm E. Timms Ruritanian Castle from 'The Greater European Suite'

allegro scherzando -fanfare - maest"so.


Conductor: Janice Barker Spring

Handel, arr. Jacobson! Barker

Spring - Handel Arranged by Maurice Jacobson and orchestrated by Janice Barker, Sprillg is a short, melodious two-part song by Handel.

ST. JOHN'S PRIMARY SCHOOL RECORDER ENSEMBLE Londonderry Conductor: Michael J. Mason Divertimento No. 3 (Serenade, Burlesque) Fugue Andante



S. Bach, arr. Bergmann

The 10 members of the Ensemble, all aged I I, play music arranged for two descants, treble and tenor recorder. Their repertoire includes original contemporary works by Michael Jacques and John Graves and arrangements of music by Bach, Purcell and Mozart. Their teacher and conductor, Michael J. Mason, is well-known throughout Ireland as a choral conductor. His adult choir, The Foyle Singns, have won the National Choral Competition five times and he himself holds fIve gold conductor's medals from the Oirc,1chtas.




Malcolm E. Timms

This orchestra comes from a local authority junior school. The full orchestra practises twice each week and the different sections of players have lessons in lunchtime and after-school groups. All the groups arc trained by the conductor. During the past five years the Long Ridings Orchestra has gained" reputation for its wide variety of instrumentation and standard of musicianship. It has played in numerous loc,,' music and arts festivals. charity concerts, fetes and garden parties For the pas't four years it has at the National Festival Music for Youth .1Ild last for the tlrst time at Schools Prom. Ruritanian Castle - Timms Ruritania, a land of brigands and political intrigues, featured in the noycls ofAnthony Hope. RuritaHian Castle is a musiu narrative. The opening bars depict the castle against the skyline The music takes us closer and we peer down into the moat. Passin,: inside the castle walls we witness the ballroom in all its splendotll The mood changes and we arc taken first to the armoury then to the execution chamber. Phantoms arise and dance the tension mounts. From the execution chamber the actil" moves to the dungeon where a fight breaks out. There i, struggle resulting in a chase and a final escape.




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Programme Notes Initially the orchestra consisted of saxophones, trumpets, trombones, flutes, clarinets and a rhythm section with drums, organ/ piano, guitar and bass. They have since been augmented by strings, giving an extra dimension to the music produced and an experience for young string players contrasting with their more classical music. Stagesound performed in the 1979 National Festival of Music for Youth where it was presented with an Outstanding Performance Award.

JENNY'S ACCORDIONISTS Colchester Conductor: Jennifer Neal Dalmatinische Tinze (1st and 2nd movements)


All the players in jenny's Accordionists are taught by Jennifer Neal, some from the age of six, and have enjoyed group playing from their initial lessons. All took part in the accordion orchestra concert competitions of the Wereld Muziek Concours in Kerkrade, Holland, last year. For the past three years most members have taken part in the International Accordion Festival in Ypres, Belgium. The orchestra in its present form has been rehearsing together each week for about a year and has given frequent concerts locally. Their repertoire consists of some of the old concert favourites, such as von Suppe's Light Cavalry Overture, arranged for accordion orchestra, as well as several original accordion compositions. Dalmatinische Tanze - Giitz Dalmatinische Tdnze was written by the young German composer and conductor of the Hersbrucker Akkordeon-Orchester, Adolf Gotz, in 1973. It is a most fascinating composition with varying, evocative rhythms, the basic idea for which originated from a hand-written collection of Yugoslavian folksongs and dances.

STOCKPORTSCHOOLSSTAGESOUND Musical Director: Alan Tomkinson Soloist: Don Lusher Baby Elephant Walk DL Blues

Henry Mancini, arr. Roy Davenport Don Lusher

The Orchestra was formed in November, 1977, under the auspices of the Education Division of Stockport Metropolitan Borough Council, to provide an outlet for young musicians in the area, who wished to play Orchestral Jazz and Big Band music.

BURY SCHOOLS' WIND GROUP Conductor: Paul Aldred Sinfonietta for Wind, Op. 188 (4th movement)

Joachim Raff

The Bury Schools' Wind Group, founded in 1973, meets weekly in the Schools' Music Centre, which provides facilities for over 700 students in 17 groups. The Group's repertoire ranges from the Classical Era to works by contemporary composers such as Elizabeth Lutyens and consists of well over lOO compositions. The Group appeared at the Silver Jubilee National Festival of Music for Youth in 1977. Sinfonietta for Wind - Raff Joachim Raff, born in Switzerland in 1822, was a popular and prolific composer. Today he is chiefly remembered through a tiny trifle known as Raff's Cavatilla.

KING EDWARD VI COLLEGE ORCHESTRA Stourbridge COllductor: John Griswold Symphony No. 8 in B minor, 'Unfinished' (1St movement)


Stourbridge is part of Dudley Metropolitan Borough on the edge of the Black Country about 12 miles west of Birmingham. King Edward's is a sixth form college, formed in 1976. Music plays an important part in the college life and there is a wide range of vocal and instrumental ensembles. At present 36 students are taking music as one of their A level subjects. In 1978, the College took part in the National Festival of Music for Youth for the first time and both the Wind Band and the Orchestra gained Highly Commended A wards. The Orchestra played on two evenings in last year's Schools Proms - one with Rick Wakeman. This year, three of the College groups were selected to appear at the Festival and the Orchestra this time gained an Outstanding Performance A ward. Symphony No. 8 - Schubert Schubert's Eighth Symphony is known as the Ullfillished because


only two movements were completed, although there are sketches for a scherzo. Why Schubert failed to complete the work is a mystery no-one has ever solved satisfactorily. It was composed in 1822 but did not receive its first performance until 1865, 37 years after the co mposer's death . It has remained a great favourite with audiences ever since.

SURREY COUNTY YOUTH ORCHESTRA C onductor : Ernest Mongor Soloist: Martin Lo veday Variations on a路Rococo Theme for Cello and Orchestra Pomp & Circumst ance March N o. 'Land of Hope and Glory '

Tchaikollsky 1


The Surrey County Youth Orchestra was formed in 1964 and Ernest Mon gor took over th e conductorship in 1967, when appointed Music Adviser for Surrey. The Orchestra first came into prominence in 1977 when it w as gi ven th e Silver J ubilee A wa rd at the N ati onal Fes tival of Music for Youth for their performance in the Open O rchestr as Class. rcs reputation has in creased stead ily and the Orchestra h as m ade a number of successful concert and television appearan ces. The Orchestra's latest achievement was an Outstanding Performance Award in the Concerto C lass of the 1979 National Fes tival, when Martin Loveday was the soloist in the T chaikovsky R ococo Variations. M artin Loveday was bo rn in Salisbury , Rhodesia, in 1958 . Soon after mo ving to Britain, he started learnin g the cello and was a Juni or Exhibitioner at rh R oyal College of Music, w here he w o n the M orris on Concerto Prize. He entered [he N ati o na l Youth Orchestra of Great Britain at 14 and was a member for four years. In 1976, he wo n scholarships to the Royal Acad emy of Music and the Royal C o llege . He now studies with Florence Hooton at the Academy , wh ere he has won the D o uglas Camero n Sonata Prize. Var iations o n a R ococo The me - T chaikollsky T hese Vari atio ns were w r itten in 1876, in the same period whi ch saw the co mposi tion of Swall Lakl!, EI~gene Onegil1 and the Fourth Sym pho ny. T he wo rk is dedi cated to Wilhelm Fitzenhagen, a Ger man cel list li ving in M oscow at the time and in whose instrumental versio n the Vari atio ns are still perfo rmed . Six of the seve n variations will be heard this evening. All ca ll for a w ide range of cello technique and each is in a different m ood - graceful, playful, gentle, elegiac and virtuoso.

and h as given con certs in St. John 's, th e Queen Eli zabeth Hall and Guildford Cathedral and plans to appear at the Fairfield Hall next March. P relude : Act m - Lohengr in - Wagncr W agner 's opera, Lolreltgri/l , was produced at W ci m ar in 1850, a perfor mance he was Ull ablt to attend became of his political exile. Th e prelud e to Act LU represents the j oyo us we ddin g celebrations before the cur tai n rises on the f., m ous bridal m arch. Petrou chka - Strallinsky Stravinsky's ballet, PetrOllchka was commissio ned for the Russi an Ballet b y Diaghilev in 1911. Part Four o f the work portr ays a Shrove tid e Fair and includes the W et Nurses Dance, Peasa nt with Bea r, Gipsies and a R ake Vendor, Da nce of th e Co~c hma n and, to flllish with, M as queraders.

Lal/d Qf Ho pt and Glor y - El.l1ar T be PQlllp and CircllIIl .~ftJ/lCe marches for m a series of five military m arches for o rchestr a, four of w h ich da te fro m between 1901 and 1907 and the last fro m 1930. The celebrated patriotic wo rds of A. C. B enson were ad ded la ter [0 the fi rst march in 0 m aj or fo r a special Gala Perform ance given to com me m orate rbe C o ro nati on ofEdward VII .

STONELEIGH YOUTH ORCHESTRA S1I rrc ) 路 C L ~. t:路:I (i ' ,


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Programme Notes CRAWLEY RIDGE FIRST SCHOOL EARLY MUSIC CONSORT Camberley, Surrey Conductor: Milton Lowdon AlIemande Pas time with Good C om pan y Fclicitas Ko nigscanz


Killg Henry V III ErasTIIlls W idlllnllll SIISI'I/O

Most of che (; First School musicians starred learning to play t h~ recorder at the age of five and some joined the Co nsorr ac thal age. Their rehea rsals have been nuinly in lunch an d play times am [hey cau all play at least three types of recorder. They became ai' Ea.r ly M usic Consort when che school's Parent Teacher Associatior bought the cornemuscs for them. As the children leave the school at 8 years of age, a new consor has to be fo r med and trained each year. T hey performed at ch, N ationa l Festival of Music for Youch .in. 1977, have broadcast an , appeared o n television and recendy fea mred in an edu ca tiona film made by Surrey Count y Council Media R eso urces Centre.

NEW END SCHOOL STRING ENSEMBLE London Conductor: Peter Watmough Concertino in D, Op. 15

Ferdinand Kuchler

The N ew End School String Ensemble h as its roo ts in the srrin teaching do ncin New End Primary School, which is ser ved by th lnner London Education Authori ty . Pupils are given an opportunity to learn the violin . viola. cell, double-bass an d piano from the ti me they enter che school. J they progress. they jOil1 the school orchestra string qU 3r-tcrs all tills stri.l lg ensem ble. Thc schoo l choir ~ nd vari.o us percussic groups also play an impo rtant part in the musical experien. pupils receive. Parental participation in lessons and ill practice very mu ch enco uraged and we arc now begill.n.Ulg to explo re tl Lise of cas ettes in strin g tcachi ng. Concertino in D - Kluhler This is written in ~ style typical of a concerto by Vivaldi al with the technical ability of young string players sensibly kept mind.

ROWLANDS CASTLE RINGERS Rowlands Castle, Hampshire Conduc/or: Diana E. Sims Pavane fr o m 'Capriol Suite' Largo

Warlock, aYr. Diana Sim Handel, aYr . Diana Sims

H andb ell ringing was ti rs! introd ll ccq in St. john's First a Middle School, R owlnnds Castle. in Septe mber 1973 . when Di: E. Sims, an enthusias ri c ringer and music specialist. joined the st; The prese nt team of 1 2 r i.n gers has been ringing since Sepccml 1978 and gained an Outstanding Perfo rm a.nce Award in che l! N ational Fes tiv al of M usic for Youth . As some members h; left to go to secondary school. the team now mee ts as a dub, an hour once a week co conrin ue their handbell r ingillg ; c me mber of the team has returned from Warwick for coaigi performance . The te. m wi ll be the gues t a.rris ts of the P o rtsmo C horal Union in their Ch ristm as Co ncert in the Guildh Portsmouth, on 15 December. Capriol Suite - Warlock This w~ s co mposed in 1926 for strings and all but one movem was based entirely On ancient dance tunes quoted in Arbe: Orelllfsographit of the r6th century. Tonight, the Ringers playing the second m ove ment, Pavalle. Largo - Hill/del This was origi nally th e aria Ombra mai fil, from the op Scr.'~ , fint produ ced ill London in 1738. The opera is now ra performed in its entirety, although the aria is often heard ur its pop ular title, LttI:~o.




Holmfirth, Yorkshire Conductor: Barry Russell Text: W. H. Auden; Music: Barry Russell 'James Honeyman'

Conductor: DewiJones 'Mars' from The Planets Suite' Semper Fidelis

Holmfirth High School Chamber Players is a flexible group, drawing upon the School's many instrumental ensembles. Of these, the fine brass band has been successful in many national youth competitions and took part in the National" Festival of Music for Youth in Jubilee Year and this year. The flourishing orchestra, although newly formed, is rapidly establishing a reputation in the area. Another brass band and orchestra, choir and other smaller groups involve over a quarter of the 'school in making music.

The South Glamorgan Youth Brass Band was originally formed in 1974. The Band now comprises 45 members, their ages ranging from 13 to 20 years. A flourishing Schools Band has also been formed to ensure the Youth Band's continuity and success and a Training Band of 28 keen youngsters provides recruits for the Schools Band. The Youth Band has exchanged visits with bands from other European countries, including three to Germany. A more ambitious tour was undertaken last August when the Band undertook a three-week concert tour of Canada and the USA. The Youth Band also involves itself in charity work and last Christmas it raised, with the help of the BBC, the sum of ÂŁ3,800 to provide communication aids for handicapped children.

'James Honeyman' - Auden/Russell James Honeyman uses a text by W. H. Auden, telling of a man whose ambition is to develop a toxic gas so powerful that 'a whiff can kill a man'. After failing to interest his own government in the invention, he sells it to a foreign power and eventually he and his family fall foul of the gas. The work was written earlier this year, specifically for this group and an interesting feature is that the instrumentalists are also required to sing. The instrumentation, and at times the musical style, conjures up the theatre works ofKurt Weill.

Hoist Anon .

DARLINGTON YOUTH BIG BAND Conductor: Alf Hind Soloist.' John Dankworth The Perfumed Garden Cop This

Ken Gibson Trevor Vincent

The Darlington Youth Big Band was founded in 1970 to give young musicians the opportunity to play big band jazz. It has been successful on four occasions in the National Festival of Music for Youth and to med the U nited States in 1976. Since then its personnel has changed co m pletely. In 1978, the Band visited Mulheim in Ger many (D orlin gton's twin town), doing several concerts an d playing fo r the Festival Ball.


Welsh Traditional, arr. Delyth Evans Gossec, arr. Delyth Evans

The Penweddig Flute and Harp Quartet was formed at Penweddig Comprehensive School. Aberystwyth a year ago, since when the group has spared no effort to achieve mastery of its repertoire. Suo Gan - Welsh trad. This is a Welsh traditional lullaby, arranged by Delyth Evans. Here the melody has been given to the flutes, whilst the harps have delicate and soft chords as an accompaniment. When the



Monday 26th November I.

CLEVELAND YOUTH ORCHESTRA Conductor : Edwin Raymond Soloist: Caroline Dale

National Anthem Hungarian March from 'The Damnation of Faust' Cello Concerto in A minor, Op. 33 2.

arr. Malcolm WilIiamson Berlioz Saint Saens

IDLLSIDE INFANTS SCHOOL Conductor : Susan Williams Accompanist : Shirley Adams

The Clown El Tigre Apusski Dusky

Peter Can well Douglas Coombes Traditional


Frank Bridge

4. JULIAN & OREN SHEVLIN Duo No. (Rondo)


for Violin & Cello Beethoven

5. THE NUNTHORPE PIANO TRIO Piano Trio in C maj or. Op . 87 (finale)

Land of Hope and Glory 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.

6. MANIPURI TROUPE, IMPHAL, INDIA Traditional music and dance performed by a group of six boys. six girls. three musicians and a group leader .

7. NORTHAMPTONSHIRE COUNTY YOUTH BRASS BAND CO/ldl4o ,', : JolIlI Berr)'lIIolI Sol"i.', : D,',l L,,;her

Rhapsod\' fo r Trombone and Brass Band March. 76 Trombones

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


Don Lusher Meredith Willson

INTERVAL - IS MINUTES (Warning bells will sound 5 minutes before the end of the interval)




Carole King, aTT. Bill Staple ton Dominic Spera

Make a Joyful Noise

9. ELMWOOD STEEL BAND Conductor: Russell Hender;,,,,

Air on a G String Don't Stop the CarnIval 10.

BlUthner Grand and We/mar Upright Pianos kindly supplied by Whelpdale, Maxwell and Codd Limited Continuo Harpsichord and Concert Harps kindly supplied by Robert Morley and Company Limited Double Basses kindly supplied by Thwaites SOllor Drum Kit and Hohner Amplification kindly supplied by M . Hohner Limited Hammond Organ kindly supplied by Hammond Organ (UK) Limited The Schools Prom is organized in conjunction with West/and Associates. Acknowledgements also to the Indian High Commission in London, the Indiall Consulfor Cultural Relations and the London and Delhi offices of the Travel Corporatioll ~r I"dia .


aTT. Russell HendersOlI arr. Russell Henderson


Serenade for wind, cello & double-bass (1St movement) 11.


CROMWELL STRING QUARTET String Quartet in B!I major, Op. 67 (3rd movement, agitato)



CEREDIGION YOUTH ORCHESTRA Cerddorfa Ceredigion Conductor: Alat! Wynne Jones Soloist: Terence Judd

Le Cid (3rd & 7th Movements) Fantasy on Hungarian Folktunes Pomp & Circumstance March No. 'Land of Hope and Glory'

Massenet Liszt I


Tuesday 27th November I.


Fanfare and National Anthem Capriccio No. 2 for Wind Orchestra, Op. 42 (SCWO Commission) 2.


Michael Jacques J. S. Bach, an . Bergmann

Conductor: Diana E. Sims

Pavane from 'Capriol Suite'

Warlock, arr. Diana Sims Handel, arr. Diana Sims


HOLMFIRTH HIGH SCHOOL CHAMBER PLAYERS Conductor: Barry Russell 'James Honeyman'

Malcolm E. Timms

MANIPURI TROUPE, IMPHAL, INDIA Traditional music and dance performed by a group of six boys, six girls, three musicians and a group leader.

LEEDS YOUTH ORCHESTRA Conductor: Roy Rimmer Soloist: Christopher Moulds

Text: W. H. Auden; Music: Barry Russell

6. MANIPURI TROUPE, IMPHAL, INDIA Traditional music and dance performed by a group of six boys, six girls, three musicians, and a group leader.


'Mars' from the Planets Suite Semper Fidelis


INTERVAL - 15 MINUTES (Warning bells will sound 5 minutes before the end of the interval)


Hoist Anon

INTERVAL - 15 MINUTES (Warning bells will sound 5 minutes before the end of the interval)


Musical Director: Alan Tomkinson Soloist: Don Lusher

DL Blues

Ferdinand Kuchler



Baby Elephant Walk

Susato King Henry VIII Erasmus Widmann Susato

Conductor: Peter Watmough Concertino in D, Op. 15

Three Touches for Six Recorders

Piano Concerto No. 19 in F major, K459 (1st Movement)




Conductor: Malcolm E. Timms Ruritanian Castle from The Greater European Suite'

Wagner Stravinsky

Conductor: Milton Lowdon Allemande Pastime with Good Company Felicitas Konigstanz

Handel, arr. Jacobson/Barker

Conductor: MichaelJ. Mason

STONELEIGH YOUTH ORCHESTRA Conductor: Adrian Brown National Anthem Prelude: Act III - 'Lohengrin' Petrouchka (Part IV)

David Morgan

3· ST. JOHN'S PRIMARY SCHOOL RECORDER ENSEMBLE Divertimento No. 3 (Serenade, Burlesque) Fugue Andante


arr. GordonJacob

ROSEBERY SCHOOL ENSEMBLE Conductor: Janice Barker Spring

Wednesday 28th November

Conductor: AIJ Hind Soloist: John Dankworth

The Perfumed Garden Cop This

Henry Mancini, arr. Roy Davenport Don Lusher


Ken Gibson Trevor Vincent


Welsh Traditional, arr. Delyth Evans Gossec, arr. Delyth Evans

ConduClvr : Jennifer .veal

Dalmatinische Tanze (1st and 2nd movements) 10.

Gavotte AdolJGotz



Conductor: Paul Aldud

Sinfonietta for Wind. Op. I Ss (4th movement) 11.

Conductor: Hou'ard Dove Concerto Grosso in A Minor, Op. 6 :--loo 4

jOfl<him Raff



Conductor: John Griswold

SURREY COUNTY YOUTH ORCHESTRA Conductor: Ernest Mongor Soloist: Martin Loveday

Variations on a Rococo Theme for Tchaikovslty Cello & Orchestra Pomp & Circumstance March No. I 'Land of Hope and Glory' EIgar



Symphony No. 8 in B minor, 'Unfinished' (1st movement) 12.



(~llegro moderato) G~lliard B~n~g1ia from

Victor Ewald

'The Battle Suite'

Samuel Scheidt

MERSEYSIDE YOUTH ORCHESTRA Conductor: Timothy Reynish Soloist: julian Lloyd Webber

Cello Concerto in E minor (4 t h movement) Pomp & Circumstance March No. 'Land of Hope and Glory'

Elgar I



Programme Notes

music is repeated, we have a flute duet, which produces the lovely quiet sound, which is characteristic of a lullaby. Near the end of the melody, the harps join the flutes and play glissandos based on the tonic and dominant chords. Gavotte - Gossec This is a rather lively piece and well-suited to the flute. Again, the melody is taken by Flute I, whilst Flute II plays staccato notes as an alto part. Both harps play full chords.

CHELMER VALLEY HIGH SCHOOL CHAMBER ORCHESTRA Chelmsford Conductor: Howard Dove Concerto Grosso in A minor, Op. 6 No. 4


Over the last two years, Chelmer Valley High School has won no fewer than six Outstanding Performance Awards at the National Festival of Music for Youth. Last year, an oboe quartet from the school appeared at the Schools Prom. This year, a recorder ensemble and the chamber orchestra are to perform on successive evenings. There are many choral and chamber groups within the school as well as three orchestras. The chamber orchestra is not only the smallest but represents a conscious attempt to reproduce the ideal ensemble for the performance of 17th and early 18th century orchestral music. Concerto Grosso - Handel The twelve concerti grossi, Opus 6, for string orchestra were published in 1740. There are four movements in the A minor concerto. The first is a rich arioso for the first violins with a chordal accompaniment. The second and fourth movements are both allegro, while the third movement is a beautiful slow largo in which the two violin parts play in imitation above a striding bass.

HIGH WYCOMBE MUSIC CENTRE BRASS ENSEMBLE Symphony for Brass Choir (Allegro Moderato) Galliard Battaglia from' 'The Battle Suite'

Victor Ewald Samuel Scheidt

The High Wycombe Music Centre was formed in 1968 as part of the Buckinghamshire County Council Education Committee's provision for specialist music education. The Centre now has well over 500 students of school age attending its many orchestras, bands, choirs and other groups which give an impressive number of concerts both in the Wycombe area and further afield. The Youth Orchestra, for example, has played in the Sheldonian Theatre, Oxford, with the Centre's President, John Shirley-Quirk,


as soloist, and the Concert Band, which had the unique distinction of opening the first Schools Prom at the Royal Albert Hall in 1975, was invited to play at the International Band Festival in Vienna this summer. All the members of the Brass Quintet play in the Concert Band and have been rehearsing as a chamber group for just over a year. Symphony for Brass - Ewald Victor Ewald's Symphony for Brass is a rare item in the Brass Ensemble repertoire, being one of the few compositions for this medium written in the musical tradition of the nineteenth century, although composed early in the twentieth. The music reflects the nationalistic flavour prevalent in the group of amateur Russian composers (which included Rimsky-Korsakov and Borodin) to which Ewald belonged. The Quintet is playing the last movement - Allegro Moderato - of the Symphony. Galliard Battaglia - Scheidl The Galliard Battaglia from 'The Battle Suite' comes, as do the other movements, from a set of 32 pieces by Samuel Scheidt which were published in Hamburg in 1621. The instrumental style illustrates the Italian influence of Andrea Gabrieli. This came to Scheidt through his teacher, Sweelinck, who studied with Gabrieli. The model of the Italian Canzona is apparent in the Galliard Battaglia where the trumpets form two answering voices in 'stereo'.

MERSEYSIDE YOUTH ORCHESTRA Conductor: Timothy Reynish Soloist: Julian Lioyd Webber

Cello Concerto in E minor (4th movement) Pomp and Circumstance March No. 1 'Land of Hope and Glory'

Elgar Elgar

Since its founding in 1951, the Merseyside Youth Orchestra has provided players for British and foreign professional orchestras, including the Royal Liverpool Philharmonic Orchestra. Since 1972, the Orchestra has been administered by the Royal Liverpool Philharmonic Society, enabling the young players to benefit from regular rehearsals at the Philharmonic Hall and from tuition from players of the RLPO. Cello Concerto-Elgar This was Elgar's last major work, coming from the same period as his chamber music, including the string quartet and the piano quintet. The Concerto was written with rechnical advice from the cellist, Felix Salmond, who also gave its first performance with the LSO at the Queen's Hall in 1919 under the composer's baton. Although Elgar employs a full orchestra, the orchestration is sparse and the solo cello part almost continuous. The last movement re-states many of the themes and moods of the preceding three. ending with an assertive statement of the opening cello recitative and an abrupt re-statement of the main theme of the movement.

Front and Back Stage Johnny Morris, Presenter, has early memories of working in a London office, of playing in pantomime as the back leg of a horse and a longer spell managing a farm in Wilt hire. After establishing himself as a ramo broadcaster writing his own scripts and producing a rich variety of voices and noises for every conceivab le need, 11e has moved, without apparent effort. into television with spectacular success wiIlIling an enormous audience of children in his Animal Magic series. For his travel series, Jolllmy's Jaunts the BBC has ent him with cameras and film crew to Istanbul, Greece, Irela nd, the Arctic Circle, Russia, Japan, Mexico, Spain and hance. The Post Office commissioned him to write and record stories which can be heard by dialling a telephone number and he has made commercial recordings of a number of the famous train stories by the Rev. Awdry. In the concert hall Johnny Morris has been in demand as narrator with Peter and the W olJ, for which he has edited and expanded the text; he frequently couples this with Delilah - the Sensitive Cow, written in collaboration with Sidney Sager; in Delilah apart from telling the story he sings in a large-bosomed contralto, an innocent treble and heroic bass voice. Julian Lloyd Webber, CueSi Musician, began playing the cello at ~he early age of six and won open scholarships to the Royal Academy and Royal College of Music where he won the award for the most outstanding string player. His first professional engagement was in September 1972 when, at Sir Arthur Bliss's suggestion, he gave the first London performance of that composer's Cello Concerto. In the same month he won a scholarship to study with Pierre Fo urnier in Geneva and returned to give concerts throughout Britain. His first record was released in early 1974 and in January of that year he made his Royal Festival Hall debut in a performance of the Elgar Concerto . Julian Lloyd Webb er h as performed in many parts of the w orld and he has made many recorrungs and TV appearances. He was fea tured on the album VariaLiolls, co mposed by bis brother Andrew, whjch won a go ld ruse within fiv weeks ofrclea e in 1978. He has performed with leading orchestras such as the LPO and RPO and und er such conductors as ir Georg Solti . In January 1978, at the age of twenty- six, he was appointed Professor ofCeHo at the Guildhall School of Music. Terence Judd, Cuest M~lsiciall, is a 22-year-old pianist with already many prizes in intemational competitions. His success last year in Moscow's Tchaikovsky Competition led to a IQ-day concer t tour in Russia and an m\"icarion to rerurn this year. He started playing the plan t the ge of five and at ten became the YOUl'lgest FIrSt Prize win ner of the National Junior Pia no Compl:un 11. His Roya l Festival Hall debut followed a year I rer \vjrh appearances in North and South America \vh n still a young boy. During the past two years, Terenee Judd has given concerts in the USA, Italy, HolJand and the UK and has ap peared with orchestras uch as rh e Royal Phi lharmonic and BBC Symphouy. He has broa dcast frequently for Radio 3 an d appeared on the BBC TV programme Music at Night .


Front and Back Stage John Dankworth, CBE, Guest Musician, was born in Essex in 1928. His early musical background led to an interest in jaz.z in his teens. H e attended the Royal Academy of Music, becoming a LRAM at 19. He was tben called up and the Army gave him his first experience of leading a band. In 1950 he formed the Dankworth Seven and two years later they were joined by singer, CIeo Laine, whom John married in 1958. In 1953 he formed a big band which had two hit records and made a successful appearance at the Newport Jazz Festival in the United States. In 1960 John Dankworth started writing music for films which included The Servant and Darling. He became a Fellow of the Royal Academy in 1973 and was appointed CBE a year later. In 1977 he was voted Joint Show Business Personality with Cleo Laine, whose musical director he now i . He co-wrote the opera-ballet Lysistrata, has composed a piano concerto and string quartet and has recorded many albums.

Antony Hopkins. CBE, Guest Conductor, has amply demonstrated his interest in the young in many of his compositions and his work. He has been associated with the Schools Prom from the first and finds both performers and audience an inspiration.. This autumn be began his 26th year of Talking Abo/~t Music on BBC's Radio 3, a programme that h as been sold in 44 different countries. His eighth book Understanding Music came out in September, while his child's guide to the orche路stra John and the Magic, Man on the Unicom Label, recorded by the Philharmonia Orchestra, makes an ideal present for any young child. Antony HoplGns wrote both words and music tells the story and conducts the orchestra! He recently completed a major book on the Beethoven ymphonie du e out in the spring.

Don Lusher. Guest Musi(ian, took up the trombone at the age of six and played in Salvation Army junior and senior bands. In 1942 he joined the Royal Artillery and after the war played in a forces concert party during which time he met many professional musicians and decided to take up a musical career. He went on to play in various bands and was lead trombone in Ted Heath's for over nine years. After a world tour and five tours to the USA, he left to concentrate on studio work and has played under numerous famous conductors and toured with Frank Sinatra. He now runs the Don Lusher Big Band. the DL Quartet and the DL Trombone Ensemble as well as arranging. composing and making solo appearances. Don Lusher was voted Musician of the Year in 1976 by the BBC Jazz Society and this year he was the first Briton to be invited to attend the International Trombone Association Workshop in Nashville, USA where he gave master classes and recitals. His solo recordings include: The Don Lusher Collection, Th e L/./sher Side of Brighouse and Rastri(k and Black Dyke plays LaIJ.'l:/ord. 26

Caroline Dale, Guest Musician, studies at the Royal Academy of Music Junior School with Florence }-looton, the well-known cellist, who also teaches Martin Loveday, another of the cello soloists at this year's Prom. Last year aged 13. Caroline won the String Finals of the BBC TV Young Musician of the Year Competition. She receives grants from the Countess of Munster Fund and the Middlesbrough Educational Tmst Fund. be has twice been awarded the Suggia Gift, an international award for cellists under the age of 21. Recent engagements have included appearances on television, the Royal Festival Hall, Fairfield Hall and Harrogate International Festival. DerekJewell, Director and Presenter, has been Director and Presenter of the Schools Prom since he and his team launched the event in 1975 during che course of his woLk as Publishing Director, Times Newspapers Ltd. He currently manages book publishing, microfilm and other companies after holding various journalistic posts. He has been a writer and broadcaster for many years, notably as Jazz and Popular Music Critic of The Sunday Times (since 1963) and presenter (1972-79) of the weekly Radio 3 programme on popular music, Sounds Interesting. His books include two business thr:illers, Come In Number On.e Your Time Is Up (1971) and Sellout (1973), and the first biography of Duke Ellington, Duke (1977). Next year Andre Deut cb wiJ] publish a collection of his essays, The Popular Voice. He is a member of the BBC's Central Music Advisory Council and an Honorary Adviser and Adjudicator for the National Festival of Music for Youth. Larry Westland, Producer, is Director of the National Festiyal of Music for Youth. It is from the National Festi \路al. which in 1979 involved 18,000 young musicians. that the Schools Prom participants are chosen. He has been Producer of the Schools Prom since its inception in IY! :i. [n additiou to presenting a number of conCL'rts ill\'oh'ing youug musicians, he is Director of the BrHlsh Marching Band Championships and the Mdoch- .\ bkcr Rock and Folk Contest.

'., I

Humphrey Metzgen, Deputy Director, has been organizer of the Schools Prom since it was launched in 1975, and has been chiefly responsible in helping to 'interna tionalize' and expand the event from one evenin g: to its present three. He has since combined this role with his new responsibility of Deputy Director. W ithm Times Newspapers Limited he is the Marketill Manager for the Times Educational Supplemell( Time: Literary Supplemerll and Times Higher Educat.ioll Slip It'ment. He is also a Director of the National You[h Jazz Orchestra. In addition he was one of the organlze'r' of the Great Children's Party which was recemh- hdd in Hyde Park for 160,000 children to cekbLltc' till' International Year of the Child.


Congratulations and best wishes to all those taking part in the Schools Prom .â&#x20AC;˘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, International Federation of Musicians Chairman, Confederation of Entertainment Unions Deputy Chairman, National Music Council of Great Britain Member, Executive Committee of the International Music Council


List of Performers BUR Y SCHOOLS' WIND GROUP Conductor: Paul Aldred Age range of performers: 13-19 years Flutes David Grccnhaulgh Kathcrinc Burns Michacl Wood Hclcn Hancroft

Bassoons Dawn GilJibrand Timothy West eohn Bromclow James Humphrcys

Oboes Michclc Smith Ann Bulbs Clarinets Martin Hcywood Pamela Take

Frances Mirchell Hclcn Burns Horns Bcrnard Henry Christophcr Wormold Colin Clark Lorraine Thompson

Janct Eckcrsley Clairc Stl'Vl'llton Jacquclyn Oay

CHELMER VALLEY HIGH SCHOOL CHAMBER ORCHESTRA Conductor: Howard Dove Age range of performers 14- 18 years

1St Violins Andrcw Thurgood (Leader) Dcirdrc Bonds Miles Williamson Dianc Bedford

2nd Violins Jon.·hnc Trincr Gonzalo Accosta Elcanor Newton Susan Elhs-Williams

Violas Susan Bdsham Andrcw Smith Fiona Bonds

Cellos Pauline Dowse Nicholas TatL'

Double Bass Mark PhIilips Harpsichord Jamie Ll'wis

CHELMER VALLEY HIGH SCHOOL RECORDER ENSEMBLE Recorder Tutor: David Leveridge Age range of performers: 15- 18 years

1St Descant

CEREDIGION YOUTH ORCHESTRA Leader: Penelopc Poole Conductor: Alan Wynne Jones Tutors: Strings: ElaincJames, ArwynJones, Peter Kingswood, Renallt Morgan; Woodwind: E.Jacoby, C. Lewis; Brass: T . Noble, J. G. Bushell; Harp: Ddyth Evans; Percussion: David Hulmc.

.nd Treble

Imogcn Triner

Fiona Goodc

2nd Descant & Sopranino


Andrew Smith

Dcirdrc Bonds

1St Treble


Katc Newton

Pauline Dowse


Penelope Poole (17) Richard Bates (15) Janct Evans (15) Lucy Foster (15) Ann Griffiths (17) Meryl Goodwin (20) SusanJohn (16) Jennifer Jones (18) Mark Jones (15) Malu Lin (14) Lowri Clwyd (17) Stephen Rees (16) Thar Smclair (15) Rhian Thomas (15) 2nd Violins Deborah Schlenther (14) Stephanie Bates (I I) Clare lllowers (IJ) Rachcl Byrt (11) GilJian Edwards (16) Mabli Hall (13) BethanJames (13) G",yneth Jones (14) Wendy LlIcas (12) Sian May (14) Sian Moses (16) Gwenith Owen (15) Lisa Pascal' (12) Geraint PhilJips (15) Elinor PowelJ (12)

Violas KevinJohn (18) Andrew llyrt (14) Sian Davics (18) Sian Eagles (15) Nicola Eatough (15) Anna Hopwood (16) CerysJames (17) Andrew Jones (17) Eleri Kirkman (17) Jayne Lewis (11) Suzanne Mclean (IS)

Cellos Jane Curwen (15) Carolint' Brown (15) Buddug Davies (14) Andrew Eatough (14) Timothy Eyre (15) Sian Evans (16) Gwen Hughes (14) Clare Jellkins (12) Simon Poole (Hi) MlChacJ Richards (16) C.nflll Thomas (16) C~·

Watts (14)

Double ,'brtln BJ,[l"\ (16)

AhsClI1E\.lom 16) Stl.:phl"ilJL"!lkms 14-)

COlldu{(or: Edwin Raymond Soloist: Caroline Dale Age range of performers: 14-

Flutes Anne Parker (16) Meryl Enns (13) JonaIhan Hughes (13) (Piccolo) Susan Jackson (14) Ann Myfal1wy Jones (13) Garerh Powell (I)) Oboes Nerys AnnJones (17) Sarah llollen (15) Roberr Sutf(I4) Jane Trudgill (17) Clarinets Nicholas Foster (16) Carolyn Andrews (16) Grace Davies (16) DUllcan Hughcs (17) Mark Hughes (16) Michacl Young (13)

Bassoons Chrisropher Jones (18) Helm Davies (14) Richard Johnston (15) Iwan Morris (15) Horns Helen Rudeforth (15) Sian Evans (15) Christopher Jackson (17) Christopher Lee (13) Dafydd Rhys Jones (15) Graham Pegler (17) Robert Powell (12)

Trumpets Goronwy Evans (14) Peter RlIdeforrh (16) Lama Beckett (15) Christopher Bray (15) Stephen Eatough (I I) Colin Rees (16) Trombones Gcraint Evans (14) Constance Bcckctt (12) David Jones (12) Mathew Slay (14)

Tubas Amanda Painting (I~) Derek Rattray (15) Harps Eira Lynn Jones (16) Gwawr Owen (16) RhIan Williams (15) Percussion Martin Con way (I~) Meryl Jones (14) Ahson Powcll (I I) Casi Tomos (I';) Dilwyn \\'·dhJ.~lS Organ Jane


Violins lan llanks (Lc'ader) Chriscophcr Aldrcn (PrinCipal 2nd VI) Stuart A Ider[oll JlIlia Alford Nigel Ball Paulinc Bdl Stephe]] Bell Julic Carter Sharon Collins GillIan Davies Elizabeth Dean Susan Eyre Frances Game Patricia Cannon Ruth l-l.ardwickL' Colin Hartlless Judith Heald Lois Keeling Jill Livingston Kathryn Pounder Carolyn Rainc Peter Raymond Andrew Rlmmcf Jlllic Robinson Parrick Shepherd Clare Smith Rachd Stuhln j:lI1ct Thomrsl111 Colin \Y./ JlkLT Chrlsro~'hcr \\ J:,,':' Ht'icll \l. Jt;.·~~ Hckn \l, ~':-'L-:­

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Double Basses Christoph(T Wing: Ste\\ an CO" Icv

Flutes Perrllla Smith SlIsan 1).1itDa\'id RichJrdson RohL"f( Src\'L'IlS0n

Oboes jalll'tt( Al1lknoll Cl.lrc T1HlIllP'l)11

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Bassoons Cilli.ll1



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~ ~ GUITARS 11

""----_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ TONBRIDGE




List of Performers CRA WLEY RIDGE COUNTY FIRST SCHOOL EARLY MUSIC CONSORT Cot/duct or: Milton Lowdon Tutors: Ann Raven, Pam Barker, Phillipa Pagett, Ann Haimes. Age of performers: 6- 8 years

Soprano and Alto Recorders Melanic Briucn Emma Cullon Clare Hinchliff Cathcrinc J en ki ns Tiana La Costa NichoJ as Pagcu Je..路 nnic Harbour Phillipa Brough Alcx Wise AIl1l3 Foster Sally Haimcs Tracey Ht:rbc:rt Caroline H o llcly Louise Hl.ltchinson Clare J ones Melissa Loucas Nicola M oore H cidi Sternberg Hanna h Wood Caroline Uoyd

Alto and Soprani no Recorders Tracey M anin

Tenor Recorders Helm M acdollald Lcslcy Gathc rcolC' Janct Scon Michdlc Robcns Emma L"hd Bass Recorders R ichard Ashtoll Anna Foste r Emma Ora m Carolinc L10yd Cornemuses Emma Oram (Soprano) Richard Ashtoll (Alto) Helm Macdoll ald (Tenor)

Percussion Graham Ellett Recorder Quartet Emma Oram (Sopra no) Tracey M artlll (Alto) Michelk RobeftS (Tello r ) Richard Ashto ll (Bass)


HILLSIDE INFANTS SCHOOL Tutors : Recorder: SlIsan Willia ms ; Vocal Training/percussion: Shirley Adams S,, /o;st: N icola Morgan Age r;mge of performers: 5- 8 years Orchestra Drum Palll Timothy Cymbal Mark Timothy Recorders K:llhryn Evans Alison \Villiams Akx Thomas

Suzannc ElIis Chime Bars Dafydd Vallghall Glockenspiel M art in Hurcombt: Tambourines Dl'rry Proben LOll lsL' Thomas

Bongos Sh;:mHl Clarkc


MJT(,US Uurrl.:ll

Double Bass Nico la Stab les

Viola Michacl Pomer Cello

J :lIl~,:


Tamsin Kancr



Sccphr.:n Hanks .nd Violin Hilar y StUrt



David BrJlthwai[c

MlcthL\\ Brook!.'

Percussion Rachd Gkdh ill Singers Paul Jacksoll Robl'rt Tiel' NIChola, Gay H t..'Ic..'n lh.路 ycrk y

John UrJlth,,\,wc


Saxophones Philip Burton Ahcia Nelson Mick Donnolly Philip Taylo r Christophcr Wright Paul Dobson Andrcw M cNdf Piano Ann e Wh itth am Bass Stuan D av is Guitar Paul Dobson Drums Gracmc Robinson Congas Stephcn H cwite

ELMWOOD STEEL BAND Tutor: RlIssell Hcnderson Age range of performers: 10-1 I years H eath Smith Dominic Buchan:m Se-gre Robmson Hri.n Ca mpbell WiJliam Ca ldwcll Peter Ford Col hs Benjamin Dcborah Long

SCTah Nicholson

Sarah Wearen CYllthia Hull Da wn Lawrcnct.' Kerr y Frt:e m an Saman[ha Alcon DcboTah Kocsis Kayc Car ter

HIGH WYCOMBE MUSIC CENTRE BRASS ENSEMBLE Tutor: Robert Wiffin Age range of performers: 15-19 years Trumpets

Cornets John Ubd,~hH\ Mldul,: 1 ULK l ,iu\\ Trombone Gan' C I \,: t: ~

Conductor: Alf Hind Trumpets David Connoll y Andrew Fox M artin Wright Saunc Eland Anthony Hind T rombones Philip Evans Frands Macun Paul Taylor T ercoce- O'Hero Peter Matthcws Dcn:k Paicc Shaunc Jo hnson French Horn Ancony Whi ttam Tuba Stt:VCll Petty

Sharoll Evans Sharon James Alison M organ Heid. Powcll

C""ductor : Barry RlIssell T u"''' ' Alan Simmons, Ted Clcgg, Fiona Hod gson, James Morgan , j oc Elton. P,' tee leah, Geoff Marsh all A gc range o f performers: 1 2- 15

Age range of performers: 15-18 years 1St Violin

Vocalists Sheridcn Hath Sarah Fox Nadinc Janes Donna Parry Dcb r<l Vaughan Lisa Allell Victoria Morga ll Jall e H ac h 'r C ind y Bn:l'z,,:: Martin..: Thom3s j oalUll' Fn:<.:m:m Challtdl Williams JlIdith HaltNaomi Cox


R obc.:rt Vanrvm"

Ma lco lm FI ~ h 1. ~

Simon J)J\- I": Horn Kt.'\'in Robnd

Tuba D.l\ Id


JENNY'S ACCORDIONISTS Cl' l1du ;cl'r Jc!ltllflT \:'eJi Af:l' rJn~l' l1(rl'rft1rnlcrs: S- II} ~'l.'Jrs

.th Accordions C hr is topht:r Nl'ai (I s[ soloist) PI.'[l'r Eilrll'

J Olllrhan L\:v~rt (2 nd soloist)

Spyz tm a Electroniums Allson Gdfo rd M t..'!.JI1 It..' Sa lmon Basses ShJroll Amos Philip Quy Percussion Flona H ancoc k Gan:th HJll coc k Ah..'xandc..路r Nl'al Stl'tf.l ll

_._.,......., ...,-,.. . .'Wfi .... .. . . - . . . . ?? ~


Others have, and the Council for International Contact helped them to achieve that aim. Through its wide network of musical contacts in Europe, North America and the Far East it can help you too to plan a musical visit or exchange. In 1979 almost 1500 young musicians in more than 25 groups from Britain travelled to the following countries as part of the programme of International Contact through Music: AUSTRIA BELGIUM CANADA FRANCE


The range of groups covered Full Symphony Orchestras, Concert and Marching Bands, Smaller Ensembles, a production of a Gilbert and Sullivan Opera, as well as theatre and dance groups. We can help you too to make your links overseas and we are able to offer advice on travel arrangements, accommodation, performances, publicity, etc.

If you would like to know more, come and visit us during the interval in:

Grand Tier Box No. 38 or contact us at:

The Council for INTERNATIONAL CONTACT 9 Grosvenor Gardens, London SW1 W OBJ. Telephone 01-828 7554. Telex 916452.




COllductor: John Griswold Age range of performers: 15-19 years

COllducCor: Malcolm T imms Age range of performers : 8-1 1 years

1st Violins

Andrcw ScrivL'lH: r (Leader) Katharinc Rcl..'s SarJh Bcrkc:r

Rachcl Gibson Ca tl ll'ri nl..' Mal pass AnnJ Challacombl.' Pl' tt: r JonL's Klcran Ashworth SlIsall Ward Ca Tolinc Byard-Jollcs 2nd Violins M argarer Fostl'r Sccphl' 1I H o rton

Herh H ynd C lan..' Budc:r Andrr..'w Harrisoll

Basses Rosalind C yphus Malc o lm Parcridgc


Caroly n Prin.· Gritfichs


Adrian Hudd

Joanlll' Drew Sarah Charlwood Violas Peter Thomas Elizabeth David Helcn Cartwrighc Michad Horto ll JarnL's Thomas

Cello. Gl'orgin3 Wilkt's Cla m: WoodhollS\,.'

Joana Dand Andn:3 Hulmt'

John SuttOI1 Nicholas H arrison H dell Iknnctt

Horns Jan Bailey

Adek Harley Sian Lc-c-dalc Dc-borah Neach Alison Pc rk is Virginia Stl'phenso n Caroline Ward

Pi pp' Wdls Violas Mark Cadw,lladcr :'\ilgcl Clark c

C .l~\) l~ n Har ky Fl· j l~·It \ ~orth

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Vl([ {l ~:.i \\ .i ~Jm.lll

2nd Soprano Melodicas El anor Ellior

Carolint..' W oo lm orl..· Mary Ea sman

Alisoll Dc- Vroomt'

1St Soprano Melodicas

Samia Abdi

Fr anccs Spc-cd N ancy C hattcn

ut Alto Melodica. Annabcl Plan Elizabl..'ch Combell

2nd Alto Melodiocas Gl' ra ldine Crook Pcnclopt: Edwards

ut Glockenspiels Karen Turnt"r

Timuthy jollyman 2nd Glockenspiels Michelle Handy


Percussion T rt'vor Worth Julit'Sulhvan Cla re Sccddo n

Bass/Soprano Xylophone. Clare Stcddon Christine 13eazky

Bass Recorders Hclcn Stevl'n s Tamsin Grn'll Amanda Kni g ht Annabcl Plan

Olivt.'f Ca r pt..·IHcr Peter Tay lor

1St Tenor Recorders Annc M owan


Michellc Handy

Susa n Lindsell

Deborah Jowcn

Gabridk Hornt..' Simon HlI ck

13arbara Ricckenbcrg

Soprano Metallophone

Bass Xylophones

Elanor Ellior

K a ren Turnl'r


Fr ance'S Speed Susan Roast

Soprano Xylophone

Suzannc Jollymall Christine lka zle y

SusJn Lindsdl

Double Bass

Tracy Watso n M;}~ Andt..'rsol1 Roblll Alkn

Ba.s Metallophone

Alto Xylophone

Robc-re Combt..'1l

J oanne Fisher



Hclen S rc-ven s

John F~nton


Leader: N icholas Mercdith Co nductor: Ro y Rimmer Soloist: Christopher Moulds Mu,ic Assistant : Christophcr Hayncs Orchescral Mallager: lan Smilh T ucors: 1st Violins: Douglas Rcid; 2nd Violins: Paul M o untain; Violas: Mich ael Ncwman; Cellos: Roger Ladds; Double Basses: Peter Leah and Peter McCarthy; Flutes: Julia Crowder ; Oboes: Jcffrey Brown; Clarinets : Paul Orton; Bassoons: Geoffrey Walker; Horns: Dav id Wise; Trumpets: Gr.ham Walker; Trombones and Tuba : Georgc Bradshaw; Percussion: Raymond Pa yne,

Fiona Alexander Ca rolinc Burgc-ss

M tchclc Handy

Timothy j o llyman

K<rry W right


2nd Violins Richard Addkstoo<'

Simon Steddoll

2nd Treble Recorders

Sall y Cook,'

1St Violins

Janet Davics

SlIzannc Jollyman Gcraldine C rook

Richard Buck Eli za beth Brown

Paula CoBins Ca tht'fine Hart Ph ill ip H o ldsworth Simon Knov. k s Stl..'phl..'!l Md >ad\.' Jul ia McD ono u gh Nicholas Mc-r edJth Fiona Robc-rts o n Lc-slt..,y Sundc-r1and Amanda Thom as JOJnne Thompsoll Mauricl' Whitakl..'r J03nl11..' Williams

2nd Descant Recorders Sami a Abdi

Dawn Ch ambc-rs Mary Easman Eli zab~ th Combcn Julia Watkll1s

Loui sl..' Knowl.:s

Guitars i:Jarbara Ril'ckL"llbng Elanor Ellior JlIlia Woodcock Kt..' rry Wright Nicholas Sharman

1St Treble Recorders KathrYIl Engkfidd

Paul Ha w ka Philippa H(.'wiU


Tara Watts Susan Hardin g Coralil' M\.'ars Pcndopc Edwards

Erik a Flschcr Davld Fischl..'r


J)db. La wrcncc Hclcl1 Flc[chl'r


Bar bara Hcidgcn J anec Davics Caro iInc- Woolmorc Susalllla h Wells N alle y Cha ttl'n Nicholas Sharman

Simoll Hcarll Nicola llrl't,.'zc Alisoll Bryal1t Margan:t Stcdc

Julic Tra ntl..'r Mark lkbbingtol1 Eh sl.' l:3artktt

juliall Selby

znd Tenor Recorder

Suzann c- JoJlymall Ann abcl Plan

1St Descant Recorders

Karhninl' Bishop Flutes Susa n Rasccl..' Christll1l' Sagl' Ann GIYlln Kath~ryn Daly

Julla Wagscaff Ga il Ll'CS

Sopranino Recorders

Cello. Jilll:leasley Nicholas Hill Annl' H ydl..'

Sarah Lyk Ja yn c Spl'l\ea Scephcl1 T utfcl1

Kate Welch MJlh cc- llr Welch

Basses Nich o las Fo rcy Catl1l..'fll11..' Rickctts J\.'nnlfl'r Watson*


Bassoons K athcrinc Denton Alison North Carolyn Th o mpson

R aehd Wa llace* Horns Naomi Achcrton* Margarct Ayrcs Palll Gardham Richard Pilgrim* Alison Speakman* Nicholas Sconcs.


Ruth Carver HeJthc-r C hadwlck* Ahson H ampshi re Nigd Scu tt* Crawfo rd Wallacc-*

Ed ward A y fl'S * tan Cou lson* jOI1Jthan Holland* Andrc-w Mcado wcrofr* J o n athan Thompson* M alco lm Warne s*



Stcphen Fl ow('r


Stl'phen Kcmp* Jallet Kinn :l1l* And rnv RI..'t'd* Adam Walker'*" Mark \\/ d:htcr*

Judith Bc-05on*


Trudi Cli ft* Paul England*

Pllllir- H,l:"k.!::..,,: : -

Caroiine H un t* Rosemarv HuntPeter NlCho ls-

(;rJIlIL\ lL:i C r,) I1.l!~l l

Adck Thac kray* David Toon P aula Wilkins o n


MERSEYSIDE YOUTH ORCHESTRA Co"ducrQr: Timothy R eynish Deputy COllductor,' Gcoffrey Co wie Director: Kenneth Stern AdminisCrator: Barbara Baden Violins

E': :-:.. .. "

,; ': F.,,' ,' .


Nichola s Barnard (Lt..'adn) J ea n Brooks Andrcw Winter (Sub-Le ade r) Ca roh nt' lhrker AlicC' C row ther Rt..'bt'cCJ L.lmonr Ian Currey Damll..'n Mmgul."rJ Peter Dr:lancy H l'!cn Ro\\ l.1J1J ~ Altson Dowlcr Koth :\lldcrSl..lll Carolyn Draper C IJrc Mdn~· Sman Forrl'st SJr.l h Ur J.,: hh.i\\ Annc Frl'C' mall P1uh r Tol~ I\'~ loll\;," H.llkt R aymond G IYlll1 Joanna Griffith-Jones H~'!~1l ))r.l ;"'~~ Simoll Hayes '\ld. (;":"0: Nich olas H Ollghton ,\1"" l "::::. :: Alison J OIlI..'S ' Double Bo .... Kathrvtl 10111.'s F. .i:::. H .. ::::, LindSl..:\ jont·,:) \~ : . :-..i.: R •.

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T im LL"n~'hJn

Rl,:hJrJ lh-hr cl1d \Imnn Frith

Tubo T1l11nch\ GJTlIll(hrfc

Timpani and Percussion

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Prill(ipal alld DirecCor : Rajkllmar Priyogopa l-Salla T eac/, ,.,IA rci, ccs: Yumlcmbam Canbhini, Thiyam Tarullkllmar. M oirallgthem Kula Singh ArCisCe,: Wahengbam Hemabati, Ayekpam Nalldira. Elangb am Gi rija, Gurllm ayu m Chhaya, Thingujam GlInileim a. M o ngsatabam TlIlcswari, Salam Uttamkllmar. Rajkllmar Ratallkum ar, Arambam GUilD, Rajkumar Nabindra, Pukh ra mbam Dhallajic, Thi yam lnoocha .

H ~·!.: n



K n In \1JlpJ SS .-\n drl."\\ BJfflJrd Ik~orJh S(t'l..·lc C.lrhlTlIll.· C;llhl..'rtso ll R.lchl."l KJrr RlLhJrd M.llll\\ JrJllg

Harp \1,u\ Morll."\

Organ Jail Tracq

Cor Anglais .hl! Pow,

\ iolas


').i:\j~ .. PJ.~'

hnl'( DJ\ll."s -Ruth Parr y


Ulbr iuiJ.ln .\1.u sh.l 1l"[ Rudll1 ~Slm on RI.'\ Illsh KJrt..'n \\'hltl.." hl.."Jd

Bassoons Paul ShJ.rrock John Pons Co l m Wll1tt"T


Flute Lesson ,-

dra2vlZ b), Peter LogaJ/, 1BM Umted Kingdom Limited


List of Performers NEW END SCHOOL STRING ENSEMBLE Conductor: Peter Watmough Tutors: Peter Watmough; Audrey Tointon; John Bakewcll. Age range of performers: 8-13 years 1st Violins Clan Nasatyr (Leader) Julia Baldwin Ella Herbert Philippa ROllse Cathcrinc Arlidgc Sophic R iscboro Simon Blcndis

Cellos Jethro Hcrber~ Grc-teI Do ..... dq\ l'lI Basses Nicholas Rohl'r ts Scan Wilkinsoll

2nd Violins Justin Bcnll

Victoria Arlidgc Daniel Leetch

Violas James Riseboro Jennifcr North

Tutor: Andreas Nicolaou Teachers: Strings: Andreas Nicolaou; Piano: Patricia Holmes; Age range of performers: 9-12 years Piano Rebccca Shorrock

Alison Philpotts Carolinc Porter

Dianc Moat Rc-becca Mulry Kathryn Peus

Jackic Stcphcl1S

Mandy Sceley Elaine Walls Paul Winter

Conductor: Michael J . Mason Age of performers: I I years First Descants

Second Descants NoclccIl Barr Celeste McGinlcy

Patricia McLaughlin Cathcrinc O'Dohcrty Sheena Morris

Trebles Donna Marie Kdly Martina O'Hagl"n

Tenors 5uzannc Dohcrty

Linda Harris

Sharol1 Quiglcy


NORTHAMPTONSHIRE COUNTY YOUTH BRASS BAND Conductor: John Berryman Band Administrator: Clive Waind Teaching Staff: Roger Ashby, John Berryman, Colin McGowan, Bernard Moore, Charles Peace Soprano Cornets Teevar Hounsome David Allmark Peter Bull John Dunk Michael O'Neill Andrea Wears Repiano Cornets David East Lesley King 2nd Cornets Giles Bailey lan Bates 3rd Cornets Jonathan Adams Keven Austin Flugel Horns Caroline Allen Alison Dalziel

Age range of performers: 11-13 years Lisa Babb Jemma Clarke Joannc King



Violin Julia Nicolaou Cello Joanna Nicolaou

ROWLANDS CASTLE RINGERS Conductor and Tutor: Diana E. Sims

Solo Horns James Brcwstcr Valeric Hounsome 1St Horns David Johnson Martin Dummer 2nd Horn Hilary Oxley 1St Baritone Eric Young 2nd Baritones Jean Fitch Shawn Pagington 1St Trombone

Edward Tarrant 2nd Trombones Andrew Gilbert Ann Spencer

Bass Trombones Tim Gentry Stuart May Euphoniums Rcbceea Carr Paula Davis

Linda Oxley E flat Basse. Andrew Cook Step hen Cook John Fitzpatrick B flat Basses Darran Johnson Carol Montgomcry Jeremy Newell Percussion Richard Coles Graham Roberes Martin Tilley

Tutors: Violin: Eta eo hen ; Cello: Robert Haworth Violin Julian Shevlin (11)

Cello Orm Shevlin ( 10)

STOCKPORTSCHOOLSSTAGESOUND Musical Director: Alan Tomkinson Age range of performers: 13-19 years Saxophones Nigel Ashworth Richard Coatcs

Karcn Emmctt Derek Nash Mark Witty Trumpets Chris Clark Mitchell Elgar Philip Swain Steven Turner Tony Wyatt Trombones Robert Baldwin Alan Hayes Michael Topping Mike Watkms

Flutes Helen Allott Jane HOWl' Sue Stcadman Valeric Swam Clarinets Sus;]n Cunningham Bcvcrley Gc-orge Ann Harrison Michacl Torkington Keyboard Andrew Richardson Drums Paul Dean Rhythm Guitar Mark Constable

Bass Guitar David Rilcy Violins Hazel Bardsley Heather Clark Cathcrinc Edwards Dcborah England Simon Hale Cathcrinc Powell Margarct Powcil Philip Stead man Lindsay Taylor Elizabeth Watkins Cellos Judith Lea Caitlin McCausland Jenny TapnL'T

SOUTH GLAMORGAN YOUTH BRASS BAND THE NUNTHORPE PIANO TRIO Tutors: Violin: Keith Robson, Florence Wilson; Cello: Florence Hooton; Piano: Audrey Hewson Age range of performers: 16--18 years Violin Christopher Aldren Cello Ruth Alford

Piano Christopher Heslop

PENWEDDIG FLUTE AND HARP QUARTET Tutor: Delyth Evans Age of performers: 13 years Harps Bethan James Eieian Dyfri Jones

Autes Ann Myfanwy JOnt.--s Mer )"! Evans

Conductor: DewiJones Administrator: Mair James Age range of performers: Carolyn Knapman Kevin Nobl~ Matthew Mudge KeithJones NeilRoss Heather Coles Garcth Braithwaite Martin Rack Andrew Thomis Chris O'Neil Jcremy Sprudd Gcraldine Mark Huw Davies



Caroiyn Davies Stcphen Smith Gary Williams Richard Hughes Ruth Cox Richard Burgess Helen Smith Margaret Ja mes Simon Davies Stephen Sambell Owain Clarkc Andrew Colcs Eric Lloyd

Julie Schillcr Erik Danidst"n Nicholas Oart"n Timorhy Spt'ar Ned Bakt.路r Amanda Bro\\ n Brynlcy Goulding Alan Coomcs Sheila Smith Greg Ford Alison Dash

ROSEBER Y SCHOOL ENSEMBLE Conductor: Janice Barker Age range of performers: 13-17 ye." Sopranos


Cathcrine Adams Melanic Barker Sarah Carrodus Fiona Ches[on Laura Davey

Alex Kingston Jenny Mullins Fiona Rl!nwick. Celines Roe Elizabeth Taylor

Margaret Ellingham Janet Fish Deborah Higgins Belinda Phillips Carol Slater

Denise Turner

Caroline Stone Clare Vincent

Altos Kathlcen Bull Clairc Dunning Lindsay Essex Tina Harvcy Susan Hawkes

Rachel Yelland utVioliDl Sian Williams Judi Bearcroft %nd Violins Diane Oreweet Cathcrine Hawkl.."'S

Violas Hazel Goddard Carolinc Harri~n


JOMIIU R ambo ... Jenny Godd>.rd D_WeBeoo HdmKmght Rates Sand.. MocDon~ .~nn CUpcn[(,T


Cuhc:TmC' ChrJ5,(nui

M.nll' P.J.....,. _o\nnl \\'hHtm

Hupoicbordo Annl K.lposl

Gillian Johnson




An enjoyable work for small orchestra commissioned for the Queen 's Silver Jubilee . The work was first performed at the Schools' Music Association's National Festival and Silver Jubilee Concert at the Royal Albert Hall by the Royal College of Music Orchestra conducted by Sir David Willcocks. Duration 14 minutes. Score £3 .50 set of wind £8.20 strings (5) 65p each

This work was commissioned especially for the Gala Concert given by Youth & Music at the Royal Opera House Covent Garden on 5 June 1977. It is scored for a variety of toy instruments (minimum of 17 players) string quartet or string orchestra (optional double bass) & piano. Duration 7 minutes . Score £3.90 piano 93p parts 7@ 65p 2 @ 38p

SIDNEY LAWTON WINDSCORES All those associated with wind bands will find this series of l2 pieces both interesting and enjoyable . Sidney Lawton's skill in this field is evident in the latest additions to the series No 8 Bouree (Fireworks Music) HandeI. No 9 Grand March (Aida) Verdi, No 10 Coronation March (Le Prophete) Meyerbeer. Full details of the complete series (string parts are also obtainable) together with prices are available on request. .

Available from your local dealer. In case of difficulty write to us . Approval copies (score) from the publisher.

NOVELLO Borough Green Sevenoaks Kent.




Conductor: Adrian Brown

Conductor: David Hamilton Tutors: Brass: Gerry Allitt, Steven Wassell, Bernard Curtis-Williams;

Orchestral Manager: Dudley Davies Assistants: J oanna Estall, Ian Peters Committee: Robert Alderman, Douglas Miles, Maurice Hussey,

Eleanor Martin, Louise Alderman, David Rodker Violins Alicc Brett Nigcl Atkinson Christine Bow1cs Judy Brown Judith Carpenter Caroline Chambers Jeanine Coombs Margaret Daly Frances Dawcs Michael Dhonau Diana Drcwett

Emlly Gardner Jill Gregory Sally Haggard Charles Hussey Alastair Jakeman Anna Knowles Roderick Kcarney Carole London Carol Marleyn Denise Marleyn Jerem y Martin Christopher Melchior Lisannc Melchior Penny Miles Fiona Orford John Peek David Rodker Carolinc Saxton Philippa Smith Henry Yapp Neville Clarkson Deborah Widdup Helen Ward Ann Lawes Violas Stephen Allsopp Nicola Foulks Caroline Harrison Derek Holwill Jeremy Jennings Matthew Kelly Belen de Domingo Robcrt Miles Dinah Tuck Rebekah Zoob Cellos Jenny Bowers Annc-Maric Coombs Caroline Dcarnley Richard Bawks Melanie Haggard Dcborah Mackic Paul Marleyn Guy Martin Joseph Spooner Mandy Truelove Naomi Zoob

Basses Sally Davis Rhona Johnston Rupert Bond Alison Po cock Flutes Carolc Page Lynn Peters touise Alderman Lois Geldard Carole Bull Deborah Stebbing Caroline Harris Oboes Hilary Starer Michael Gordon Simon Dawes Louise Ward Rebecca Lodge Cor anglais Susan Ford Bassoons Roland Davis Jayne Malham Stephanie White Nicholas Stewan John Duggan Clarinets Antony Elliott Mark Sandham Robcrt Sweatman Rachcl Hamilton Alice W ilcock Horns Richard Watkms Jane Hanna [an Kille Richard Montgomery Alison Pink Paul Redparth Trumpets David Price Stephen Whelan Gabricl Dixon Matthew Thomson Trombones Jonathan Brett Jeremy Kemplen lan Murray Richard Page Tuba Kenneth Fitzhugh

Timpani and percussion Tim Cole Kathleen Bull Graham Knight Mark Rogers Michael Osborn Piano Winnifred A very Harp Angcla Moore

Woodwind: Hugh Freer, Patricia Hopkins, Ian Peters; Percussion: William Kitto Administrative Assistant: Jeremy Bennett Age range of performers: 12- 21 years Flutes Helcn Duffy Lynn Peters Yvette Bass Carohne Howard Jane Benfield Alison Webb lan Clarke Vivian Jones Lesky Binyon Oboes Susan Ford Harriet Hayes Catherine Lyon Jcssica Martin Karen Maddock John Cross man Clarinets Michael Collins (Leader) Sally Donegani Helen Alderson Sarah Scott-Malden Anne Dimmock Sally Ann Sherwood Karen Peters Lizelle Bridges Bridget Wilcox Judy Ireland Julia Ince Carolinc Hardwick Sarah Adams Hclen Cox Rebecca Finncy-Mitson Mark Norris Anthea Goode Judith Elhs Neyne Ashworth Heldi Douglas Bassoons Christopher Card Elizabeth Hutchison Marcia Higgins John Upstone

Trumpets/Cornets David White Karen Andrews Nicholas Tidbury Paul Blowes Wend y Pa wsey Lorraine Reed Paul Miller John Ewens Judy Debono Trombones Phillip Wright Julie LawI..' John Mears Clive Guy ton Richard Stubbings Euphoniums David Stowe Jeremy Ebdon Mark Pawsey Andrew Gardincr Tubas Trudl Lade Andrew Po[[ertan Andrew Hibberd Duncan Ford Margaret Andrews Double Basses Alison Bryant Ian Towson Peter Wright Margarer Andrews Percussion Herbl'Tt Williams Stephen Hiscock Neil Marshall Simon Biddk~!ltane Andrew Martin Piano Peter Selby

Saxaphones Paul Maple Garcth Fox Jonathan Myall Sarah Johnston Horns Christopher Guest Carolyn Barber Joanna Hatfield Richard Evans Mark Penny Francis Prcedy


Richard Addison, Principal Bass Clarinet & Saxophone Player with the Royal Philharmonic and Professor at the Royal Academy of Music, firmly recommends


BRASS & WOODWIND Here's what he says about the Bass Clarinets: "Because they are plastic they do not crack. And the tone compares very favourably with the very much more expensive wooden instruments presently used by the top professionals. For those reasons Elkhart is ideal for youth orchestras, school orchestras and discerning students. In fact, every school orchestra and band should have one of these instruments in their standard set-up. Additionally, all instruments are supplied with the excellent Vandoren B45 Mouthpiece and have a very easily maintained octave key

mechanism. Elkhart Clarinets offer many advantage and no problems. I would firmly recommend them." And this about the brilliant Elkhart Saxophone! "Responsive bottom notes, even intonation throughou the registers, very smooth sound, improved keywol" and improved, comfortable, easy finger action mak路 these instruments suitable not only for the discrim inating student, but also for all kinds of work fron orchestral to jazz. Elkhart are maintaining a very higl standard of musicianly craftsmanship."

The Elkhart range also includes a superb bassoon and clarinet, flute, trumpet and trombone outfits, all made with the same precision, all remarkably low-priced considering the very high quality they offer. Supporting them in the Rosetti Brass & Woodwind selection is another excellent range, more comprehensive and even more competitively priced.



Beautifully made in Czechoslovakia and of great musical merit, Corton instruments offer the right start at the right prices. All are described and illustrated in the new Rosetti brochures. Send for your copies and see, too, the magnificent Pearl Flutes, Monnig Bassoons, Lidl Horns, Vandoren Reeds & Mouthpieces and a comprehen- . sive range of other educational instruments. Send the coupon below.

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Name __________________ A~r~s

Student Adept, The House of Music, 138-140 Old Street, London EC1V 9BL Telephone 01-253 7294







Musical Director: Ernest Mongor Orchestra Manager: Philip Gorman Tlltors: First Violins: Richard England; Second Violins: Carl Lewis; Violas: John Richmond; Cellos: Maureen Lovell; Double Basses: Philip Batten; Flutes: Wendy Berry; Oboes: Joanna Lees; Clarinets: DerekJones; Bassoons: Zoltan Lukacs; Horns: Valeric Smith; Trumpets: Philip Gorman; Trombones & Tubas: Phi lip Wassell; Percussion: William Kitto A&e range 12- 20

Musical Director: John Hughes Age range of performers: 12- 19 years



ErIC Loveday (L,'ader) Chrisrinc Turner Rosemary Brown Alllla Price Chl'ryl Brown Vt.路rnon Dcan lan Parfin W cndy Brooks Nicholas M yall Carherinc Srank'Y Janicl' North Warwick Mayall Rachel Bolt Margarc( O'Talley Frances Orclc Judy Dorey ~nd VioHns Helm Duffy (Principal) Megan Pound Sarah Palml'T Ann Lawt"s

Judi l:karcroft Sara Philpot T,,'rt'sa Wiscmall Lama Pcckham Vicki Tomlinson J,,'nny Palmcr Kathryn Gallagher Valeric Harvard Margarl,;'[ O'Tallcy Susan Gri[(on Cathcril1c Rowland Richard Mayall Gillian Walker Ernrna Briggs Rache! Boolt Sarah Bailey Violas H,ze! Goddard (Principal) Julia Jowett Hclcn Rankin David Turner llriony Nelson Frcya Gordon N icola Goddard Linda Malkin Cellos Robert Hopp'; (Principal) Ruth Cl ark" Martin Horn Erica Nelson Susan Haswcll Christinabcl Pound CHolinc Jamcson ElizJbcth Hmchison Abson Lawrl'ncc Sally Hyde Patricia MacCarth y Philippa Price Jenny Godd"d frances Emrys-Robn[s Hekn Thomas Graham Rix Elizabeth Collins Clccl y Cork,,Clare Brcarlcy

Double Basses Alison llryant (Principal) Hclen Knight Richard Marsh (an Towson M;ugar~t Andrews Glennis Starling Maura McGearty

Flutes Sarah Clarke (Principal) Andrcw Scnrinella lan Clarke Vivian Joncs

Oboes Sylvia Turner Rosamund Annetts Jessica Martin Harril路t Hayes Margarc[ Kenncdy Alan Garner Clarinets Helen Alderson (Principal) Annc Dimmock Barba" Wyllie

Trumpets Kaye Hcndersol1 (Lead) Simon Parker Kan::n Blakcmorc Richard Isles Martin Shaw Kcvin Green Trombones Nick Purnell (Lead) N icola Harbcr Clair Doncllan Tania Morlcy Bass Trombone Paul Cartmell

Saxophones Adrian Bulbs (Lead) Jayne Woodward Charles Wright Elizabeth Nicholls Karcn Bcnnett

Electric Bass Esthcr Green Guitar MaTclIs BuTton

Drums Andrt'w Brittain

WOKING SIXTH FORM COLLEGE ENSEMBLE Conductor: Joan Parry Age range of performers: 17-18 years Oboes HJTflct Hayes John Corner ford Clarinets Garcth Fox Bccky Mitson Bassoons Marcia Higgins Dean Brodrick

Horns Carolyn Barber Mark Bates Joanna Hatfield

Cello Rob芦! Hopp'; Double-bass Nicola Jarvis

Tcrencc Prirchard Sarah Scott-Malden

Bassoons Matthl'w Lcggatt Marcia Higgins Holly Makins Mark Wilhams Horns Christophcr GucS[ (Principal) Peter Gritton Matthew Huggctt L10yd Gce Margarc[ Ellingham Trumpets David White Nicholas Tidbury David Skipper Wendy Pawscy Trombones Philip Wright David Stowe Andrew Wilby John Mears Tubas Trudi Lad. Andrew Potterton Timpani S[cven Hiscok Percussion NClI Marshall Hcrbert Williams Roht'rt Wakemcm Andrew Martin Piccolos Lois Geldard Caroline Howard Bass Clarinet Sally Ann Sherwood


Something special continued from page 5


There are early music sounds, big band sounds, recorder sounds and much more besides, including the first fruits of a new vocal and instrumental Festival class; and the range of composers includes major moderns as well as Beethoven, Brahms, Schubert, Wagner and Tchaikowsky. Another facet of these Schools Proms has been the appearance of established artists as guest soloists or comperes. We believe that young performers enjoy the precious experience of playing with such guests, both treasuring and learning from it. Our audiences seem to agree. So we are grateful indeed to those who have given us the pleasure of their company in the past : John Dankworth and Antony Hopkins (I975); Humphrey Lyttelton and Robin Ray (I976), again together with Mr Hopkins, who has been a welcome guest every year; Yehudi Menuhin and Michael Aspel (I977); Tim Rice, Andrew Lloyd Webber, John Williams, Rick Wakeman and Michael Collins (I978) . The increase in the number of guests has been occasioned by the growth of the Prom from one night to its present three nights, and this year we are delighted to greet that superb broadcaster, Johnny Morris, as one of our comperes, together with (in two different musical roles) Don Lusher, trombonist supreme, the returning John Dankworth, and three soloists whose stars rise apace: Julian Lloyd Webber, Terence Judd and Caroline- Dale, one of the finalists in the last BBC Young Musician of the Year contest. I eujoyed liltellill"f 10 all tire other '1IIl sic. Everyollc II'(H so qlllet was beil/g played. Thl'" aftcr tht'Y had fillislledJ all the people clapped alld shollted Jar more . .. . The" 1111' l"IIllg .. Land oJ Hope and Olo;y". El1cryo/'lc stood lip n"d l"II lIg, the people ill tire a,.elM jlllllp ed lip a,.,d dowI/ . We have th e tape at hOllle alld ] still Jeel the excitemellt ,IOW. - Brian Ad3ms (S t. Dominic's Infants School) IIIhm it

Final words from another of the performers who wrote his impressions for us last year. Enjoyment, excitement, exuberance - and, very important! y, silence too. It is the nature of the Schools Prom that the occasion should be enthusiastic, and the performers are as delighted as anyone else to have their music appreciated. But appreci ation while the music is being played is most forcefully expressed by the silent attention of the listeners. We know that you, the audience, will maintain that Schools Prom tradition of giving every possible help to the performers, a tradition which has been broken only occasionally down the years by a few promenaders whose exuberance has overflowed into thoughtlessness. This is the fifth year of the Schools Prom and, apart from those thousands who will see the concerts in the Albert Hall, many millions more around the world will form impressions of our young musicians and our young audiences as they watch the BBC television programmes which will as always be skilfully put together by director Ken Griffin . Many people and


organizations, more numerous than can be mentioned here, have helped to sustain these concerts and to bring them to the point where, we have been told, they are a welcome and enjoyable feature of the British musical year for a growing international audience and, we dare to hope, a torch for the cause of all music in our schools. Times Newspapers Limited, who launched the Schools Prom, were joined as co-sponsors last year by Commercial Uniol1 Assurance, and that alliance forms a firmly established basis to make certain that these concerts continue to thrive. In turn, they have maintained a close working relationship between the Prom and the National Festival and this has been another obvious source of strength. We have been fortunate, too, in finding so many Friends of the Schools Prom., a group of organizations great and small (named on tne back cover) who have supported the event in various ways down the ye ars. Once wc decided to invite overseas guests, we were grateful for the cooperation of the Central Bureau for Educational Visits and Exchanges, whose world-wide contacts are awe-inspiring, and year after year the work of the teams led by Humphrey Metzgen, the Prom's Deputy Director, and its Producer, Larry Westland, has been invaluable. And where would the Prom be at all without the performers, the teachers, the parents and the audiences who make everything possible? The Schools Prom, to go back to the beginning, is a celebration. It celebrates a most wondrous panorama of music fashioned by young people throughout the land. The Prom is not what is important, but the burgeoning musical renaissance which makes the Prom possible. With these concerts, we renew our dedication to the encouragement of music-making by the young a cultural treasure which we hope the nation and its leaders will cherish and nurture too. ~1iIM'i!t'!"'ii..>ik'!!t'!~'!Ili!ftk'l"'>iR\I..l'!k'!lt'ii:'i\!$llil..ljlli~llIRtk'ik'\!$ilI~llilt1l1!mlllllik'lt~


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From mllsty, yel/ow light Along a maze of corridors wc hllrried 'Hush , no noise' . Time tickillg alld tCllse t/tllillg To walk il1to mlDther world A thunderstorm it seemcd.


Applause that boomed m,d rol/ed but with 110 threat LIghtning that bO/lIlad alld blazcdfrom myriad b"lbs off stallds, mIkes, filltes, t""p.', brass, To centre on one beam - the baro" ThIS streak of wlllte am,dst the lIght - oJlr g"ide. And then the storm moved off, s.. bsiding, Eng .. lfed by a softer sOl/nd As we brought Catherine Howard to life again . Rachel Glbson - Kmg Edward VI College, Stourbrtdge

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We touch his life in so many important ways, providing him with the books, writing materials and learning aids he needs to help expand his awareness and develop his faculties. In his perception of number, music, science and art he will owe more than he'll ever know to the influence of a name that has come to mean more than simply the [illest school catalogue service in the world.

EJArnold A Service to Education

E J .-\rnold & Son Ltd; Butterley Street, Leeds LSlO lAX 41


We can help to get the best out of every school. Since the good old days of Thomas Hope himself, and through to the fast moving seventies, we have been the quiet innovators. We were the first with activity papers, and we still lead the field. We built a name for makingthefinest range of School stationerY,and it's still the best in Britain. We launched the unique "Totally Soft Play Environment" and now it's world-famous. We also introduced half-price laboratory consumables, to the delight of our customers. Butthese are just afew examples. Ourfull range comprises nearly 7,000 competitively priced products. And the Hestair Hope 1980 catalogue has more pleasant surprises in store. That's why, of all the catalogues that could be used, ours will proveto be the best for every school.

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Rememberthis evening the next time you hear somebody knock todays youth. THE TIMES

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Schools Prom 1979  

The 1979 Schools Prom programme.

Schools Prom 1979  

The 1979 Schools Prom programme.