Schools Prom 1981

Introduction NCE more we welcome you to the Schools Prom, now firmly established as a highlight of Britain's musical year and the most exciting and stimulating event in the calendar of music at schools. It is especially pleasing to see so much young talent and enthusiasm displayed at a tim e of economic gloom and uncertainty.

Tighter restrictions on spending in education have raised fears that music at schools would suffer and so impede the remarkable progress made in recent times.

In some counties music teaching has, indeed, been one of the first subjects to feel the cold wind of economies. This is to be regretted. But it emphasizes even more vividly the dedication of teachers and music administrators who, as you will see at the Royal Albert Hall this week, continue to achieve standards of excellence in their youngsters that are the envy of the world.

This excellence is reflected not only here but throughout the year all over Britain at thousands of schools whose pupils take part in the National Festival of Music for Youth which we are proud to support and which, as always, pr ovides the performers a t the Sch ools P rom .

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for tomorrow's musicians today

Contents page 1

Introduction Derek Jewell on the Schools Prom

3

Larry Westland on the National Festival of Music for Youth

7

Julian Lloyd Webber on travelling with a cello

9

Humphrey Lyttelton on professionalism

11

Programme Notes

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Concert programmes

23

Front and Back Stage

27

List of Performers

31

Friends of the Schools Prom

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Back Cover

Director: Derek Jewell Producer: Larry West/and Administrators: Vicror Head (Commercial Union), Paul McGhee ( Times Newspapers Lld) Stage M anagers: RiclUJrd Maltett, Paul dell Production Assistants: Philippa Hogg, Odile Noel International Adviser: Amhony Male (Central BureaH for Educational Visits atld Exchanges) Programme Editor: Corinna Wedderbum (Commercial Union)

T he Schools Prom gratefully acknowledges the co-operation of the National Festival of Music for Youth in the presentation of these concerts. They are organized in conjunction with Wescland Associates.

Front Cover drawing by John Minn ion .

sm FRANCIS SANDILANDS Chairman Commercial Union Assurance Company Limited

GERALDLONG Deputy Chairman and Managing Director Times Newspapers Ltd.

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We care about the things you care about I

Commercial Union St. Helen's, 1 Undershaft, London EC3 P 3DQ.

On not being taken for granted

By DEREKJEWELL he worst thing that could happen to the Schools Prom concerts, and the vibrant world of youthful music-making which nourishes them, is that they should be taken for granted. That is why, each November, we should reaffirm the reasons which make the Prom so worthwhile to a great army of people, from those who perform in it to those many others whose labours also help create it.

This is the seventh Schools Prom. And perhaps I'm not alone in believing that the event is especially important in this torrid year of 1981. As one of our distinguished guests, Johnny Morris, wrote when he came to present the concerts two years ago: "There are many indications that our society may be pulling itself apart. Music and these young musicians could wonderfully strengthen the bonds that hold us together. " I'm with Mr Morris. In a troubled world, good music of all kinds is a unifier, an activity which draws people together, a builder of bridges both within and between nations. The Schools Prom endeavours, in its own fashion. to assert that collective music-making is one of the creative glories of human society.

It does so in several ways . Few people who have seen a Schools Prom concert before, either here at the Albert Hall or on television, can fail to have sensed the special feeling of excitement surrounding the performances of the young musicians. That tingling, effervescent feeling is no accident. It reflects the enthusiasm of the players, and the satisfying sense of fulfilment which music brings to those who take part in it.

Nor, perhaps, can audiences have gone away without remarking upon the diversity or the quantity or the quality of music (hopefully they've noticed all three) which is coming out of our schools today. And that is something in which the nation should take pride. The ferment of music-making in our schools during the past . two decades or more has been truly astonishing. The standards of achievement - from symphony orchestras to swing bands - could scarcely have been imagined in the days when schools music was mostly limited to string ensembles, occasional choirs and simple percussion bands.

Remember that the Prom can never be more than the tip of the iceberg. It's what lies below the surface which is crucial. For every hundred performers you see upon the stage tonight, there are thousands more you won't see: young people the length and breadth of Britain who are making music week in, week out, most of them encouraged and guided by a host of coaches, teachers, parents . This is the universe of music which the Schools Prom symbolizes and celebrates - and which, in turn, sustains it.

And that fundamentall '. is why the Prom exists. We hope thar it will inspire more and more people to want to make music, to try to emulate the many different sounds which enliven these November evenings.

Another of our guests, Christopher Hogwood, made

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the point last year. "It's awfully easy". he said, "to mistake record sales for musical education, viewing figures for musical knowledge." He is right. To be involved in music-making is what really matters. We are, to put it another way, for tomorrow's musicians today.

For this reason, one aspect of these 1981 concerts is particularly fascinating. About half of the ensembles bear names which have never appeared on a Schools Prom programme before. We dare to believe that this means the musical message of participation and excellence is still spreading. The Prom organizers are delighted to see so many new names mingling with the old.

All the performers have come to the Prom, as I think is well-known. after appearing at the National Festival of Music for Youth. And the two organizations have worked closely together (if not inseparably) for many years. Both share the same philosophy: that all styles of music, provided they're good of their kind, deserve a platform. So in 1981, as in previous years, the music of the Schools Prom will be diverse - a reasonable reflection of what young performers are involved in today.

Prom fiend

Drawing by Gerald Holfnung from The Hoffnung Companion to Music published by Dobsott Books Ltd.

Doubtless there will be some surprises - the mini-musical presented by the Wall ace Fields School is certainly one - but surprise, associated with an element of risk, has been a characteristic of both the National Festival and the Schools Prom since the beginning.

The Festival was launched by its present Director, Larry Westland, and supported by the Association of Music Industries, in 1971. The Schools Prom followed in 1975 to act as an annual national platform for youth music. Both e ems have grown steadily in size and scope since [he the Prom to three evenings from its opening one-night stand.

10 the early days the Prom's musical programmes seemed varied enough. N ow, however, the diversity is even more marked. Down the years, audiences have heard medieval ensembles, symphony orchestras, chamber trios, percussion ensembles, bell ringers, jazz Continu ed overleqf

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On sale every Friday at your newsagent.

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Continued from page 3 groups, choirs and poetry-and-music groups, as well as guitar and brass and wind and swing and accordion and steel and recorder bands. That list. I hasten to say, is far from complete. The composers heard have beenjust as varied: Bach cheek-by-jowl with Stan Kenton, Henry VIII with Gershwin, Beethoven with Carole King.

That's where the risk comes in, of course. The muskal contrasts can be sharp and unusual, just as the task of getting around a dozen or so different groups on and off stage each night is immensely complicated. We believe the chances are worth taking - that our audiences enjoy an adventurous musical diet, and that only through such vivid diversity can we truly suggest what is happening in our schools now.

Each year, too, we have had famous guests at the Prom, either to give some of our performers the rare experience of playing with an acknowledged (or emergent) master, or to join in presenting the programme. Antony Hopkins has never missed a concert - always enthusiastically on hand to conduct the joyous EIgar fmale and, this year, to be one of the presenters too. Our other 1981 guests (see page 27) are Humphrey Lyttelton and JulianLloyd Webber, both of them returning visitors, as well as the brilliant young cellist Robert Cohen, and the violinist Clare McFarlane, a finalist in the BBC's 1980 Young Musician of the Year competition.

They are welcome, as were all those others who appeared in the past: John Dankworth, Robin Ray, Yebudi Menuhin, Michael Aspel, Tim Rice, Anclrew Lloyd Webber, Rick Wakeman, John Williams, Michael Collins, Don Lusher, Johnny Morris, the late Terence Judd, Caroline Dale, Ronnie Scott. Christopher Hogwood and Nicholas Daniel.

Our international schools guests this year (see page

13) come from Tiirkheim in Germany, the first time we have had a band which specializes in modern popular music. Previous visitors have come, since 1977, from the USSR, USA, India and France.

Many other people and organizations have helped in building the Schools Prom. Times Newspapers, and particularly The Times Educational Supplement, were its sponsors from the start, joined in 1978 by Commercial Union Assurance. The support of the Prom's Friends (named on the back cover) has been important too. So has the work of innumerable individuals, and especially the teams led by Larry Westland, the Producer of these concerts; Ken Griffin, who has regularly been in charge of the BBC TV programmes featuring the Prom; and Tony Male of the Central Bureau for Educational Visits and Exchanges, who has opened international doors.

Inevitably, however, we return to the performers, the leaders, the teachers, the parents and the audiences, without an of whom there would be no Schools Prom at all. It is they who give the Prom its special atmosphere, which is rather like an end-of-year celebration. For in addition to the music, there's an air of ebullient enthusiasm around. You feel it in the performances, see it in banners and scarves of the promenaders, hear it in the rapturous applause.

We hope that the decibel measurement of audience appreciation (after and not dnring performances, of course) will again indicate this year that music is a source of enjoyment and inspiration. Equally, we hope that the climate of stern economy in which we presently live will never grow so bleak that the needs of youth music are forgotten. Music-making by the young in Britain is a social and cultural treasure to be cherished.

To that cause, the Schools Prom is dedicated.

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NATIONAL STIVA o M SIC FOR YOUT

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AT1\\~~ Royal Festival Hall Queen Elizabeth Hall Purcell Room 16: 17: 18 July 1982 Sponsored by The Association of Music Industries Commercial Union Assurance The Rank Organisation The Times Educational Supplement Regional Audition Series sponsored by W H Smith and featured by BBC Local Radio.

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Return to the South Bank

By LARRY WESTLAND he National Festival of Music for Youth moves next year from the Fairfield Halls, Croydon, to the South Bank Concert Halls in London. The move is designed to bring its 4,000 young performers closer to the concert-going public. It is expected that the young musicians will attract a massive audience and ftll the Royal Festival Hall, the Queen Elizabeth Hall an~ the Pur cell Room on 16, 17 and 18 July to bursting pomt.

This is not the first time that the Festival has been hel~ at the South Bank. In 1977, we filled every available performing space for the Silver Jubilee celebrations. The one-day event was voted a huge success but severe overcrowding for both performers and audience placed a heavy burden on the proceedings.

This problem has now been largely overcome by increasing the number of days to three.

The Festival, now in its twelfth year, is sponsored by the Association of Music Industries, Commercial Union Assurance and The Times Educational Supplement.

They will be joined in 1982 by The Rank Orgarusation, which has become a joint major sponsor of both the Festival and its sister event, the Schools Prom. It is this sponsorship from The Rank Organisation that has made . the move to the South Bank possible.

The close ties that exist between the Festival and the Schools Prom will be cemented fully in 1982 when the two events become one. Each will retain its distinct identity and continue to build on its success but the policy and administration of both will be vested in one joint body under the direction of Larry Westland, who becomes General Administrator of both events. Thus the National Festival and the Schools Prom will be an annual event stretching from March to November each year. Some 20,000 or so young musicians will be inv~lved from regional audition stage through to the FestIval at the South Bank and culminating in the highly popular series of concerts at the Royal Albert Hall in November.

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Plans for 1982 The 1982 Festival and Schools Prom will begin in March with a series of 25 regional auditions held throughout Britain. For the first time, W. H. Smith is sponsoring these events which are to be featured on BBC Local Radio. From the Regional Audition Series some 4,000 performers will be invited to play at the South Bank in July. Of these, a further 1,000 will be chosen to play at the Schools Prom. Talks are also ta~ng place with BBC Local Radio to stage a series of reglOnal concerts at selected centres throughout Britain during October 1982.

Festival of v.a~iety and opportunity Young mUSICIans from alf over Britain will have plenty to occupy them in addition to performing at the cou~try's 'premier concert hall. Music workshops, a FestIval cmema, an exhibition of instruments and printed music and a competition for young composers are among the many fringe activities running alongside the main Festival at the South Bank. They will also have the opportunity to display their talents in a more

informal manner by performing for the general public on adjoining forecourts, promenades and grassland.

New ideas for next year's programme Other major developments in the planning for the 1982 Festival include active encouragement of new compositions, the inclusion of young professional soloists and the introduction of more categories of performance. To support these new moves, the Festival is making available a grant scheme to fmance new compositions and engage soloists.

One of the new categories that will give wider scope for many young musicians is for secondary schools music. This category will give ample opportunity for secondary level ensembles of all types to present a wide variety of music involving voice, ethnic music, dance and multi-media performances. Student compositions will also be an important criteria for selection to this category.

Fresh opportunities for younger age musicians have been opened up with the introduction of a junior section in the chamber music class, and school wind and brass bands will now have their own separate events.

Grand finale A change also in the "Youth Orchestras in Concert" presentation will reflect the standing and importance of this activity in the county music programme. Four youth orchestras will be invited to perform at the Royal Festival Hall on Saturday, 17 July in a Gala Concert to mark the official fmale of the 1982 Festival.

The ~estival will be brought to a close the following day WIth the presentation of a special International Concert featuring young British and international musicians to - mark the opening of the fifteenth International Music Education Conference in Bristol on 21 July.

The programme for the 1982 National Festival of Music for Youth is given below and if you would like further information please send a stamped addressed envelope to The National Festival of Music for Youth, 23a Kings Road, London SW3 4RP.

Friday, 16 July Juniors at the National Festival Jazz at the South Bank and Workshops Secondary Schools Music Voices in Concert W. H. Smith/Collage Young Composers Competition Festival Cinema Instruments and Printed Music Exhibition Saturday, 17 July Senior School Orchestras Youth Orchestras in Rehearsal Youth Orchestras in Concert Wind Bands - Open and Schools Brass Bands - Open and Schools Chamber Music NFMY Rehearsal Orchestra Brass Band Concert and Workshop Wind Band Concert and Workshop International Chamber Music Recital Festival Cinema Instruments and Printed Music Exhibition Sunday, 18 July International Day

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8

Have cello \ViII travel

By JULIAN LLOYD WEBBER "Took out, he's got a machIDe gun" is pretty common. "Bet you can't get that under your chin" a little rarer and "Give us a tune, then" the most hackneyed of all. Those three shining examples of wit and originality have followed me and my cello for as long as I can remember. It's always one of those three and they're always accompanied by that gleeful look of self-satisfaction which comes to those who think they have just thought of something new and clever to say. It was quite easy to muster a smile the first few hundred times, but several thousand times later the smile has become more of a nervous twitch.

Just what is it like touring with a cello? Difficult?

Yes. Exhausting? Certainly. Humorous? Often. Tragic?

Occasionally, when wonderful old instruments are smashed beyond repair.

One of my first experiences of the travel problem happened during my student days at the Royal College of Music when I was asked to give a concert which was to be introduced by Richard Baker. Mter the performance I was presented, for reasons best known to the organizers, with two large but dead pheasants which I placed on the back seat of my car along with the cello. By the time I left the hall it was, as usual, very late, and on the way home I was stopped by the police.

"Are you aware, Sir, that one of your rear lights is failing to function, which is an offence under .... ?"

"No. It must have just gone - it was certainly working when I set out. " "And what, Sir, are you carrying in the back?" he asked, peering through my window onto the seat.

"Two pheasants and a cello, " I replied confidently.

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"Ma y I remind you," continued the policeman in considerably stemer tones, "that it is also an offence to obstruct a police officer in the course of his duty. I will ask you once again, what are you carrying in the back?"

At which point I gOt out of the car and let the crestfallen officer discover the ugly truth for himselÂŁ But travelling by road or rail with a cello is easy - the real problems begin going by air. Old hands at this tell me that in the good old days, 25 years or so ago, airlines were really pleased to welcome a cellist on board their flights and took great trouble looking after the passenger and his instrument. Sadly, it s all so different now in an age where air travel is commonplace, airports are filled to capacity and security has to be at a maximum.

Basically the problem is this: the airlines demand

payment of an additional full passenger fare if a cellist wants to take his instrument into the cabin. It doesn't matter how empty the plane is - the cello must go into the hold along with all the other baggage, regardless of its value (nowadays, top instruments can be worth a startling ÂŁ150,000) and the fact that it can be safely strapped onto a seat. The airlines will accept no responsibility for the instrument being smashed to pieces for the obvious reason that this is very likely.

A few years back my cello was damaged on a flight to Dublin. Despite my prior phone-call to the airline's head office to explain I would be travelling with a valuable instrument, I discovered that no one connected with the flight knew anything about it. At the check-in desk I prepared myself for the all too familiar battle.

"Could I possibly keep my cello with me? I know there are some empty seats."

"Not without payment of a full fare," came the inevitable po-faced response.

"But surely it could at least go half fare," I pleaded, "after all, it doesn't eat or smoke and is much quieter than other passengers, at least while it's in its case."

It was no good. Even my request to see the cello loaded safely into the hold away from other luggage fell on deaf ears.

"We must have our rules," droned the official. "If we let you bring on your cello, every passenger will want to."

Musing quietly on the likelihood of 200 cello concertos in Dublin on the same evening, 1 decided I wasn't getting anywhere and stupidly gave in - a mistake never to be repeated. I opened my case at the other end to find that the cello's ebony fmgerboard had completely broken off, and it had only narrowly missed breaking the cello to pieces, as it had luckily wedged against the side of the case.

Looking back, some of my many arguments with airline officials seem almost farcical, but at the time, invariably under the watchful gaze of all the other passengers, they can be acutely embarrassing. I'll never forget my arrival, late and breathless, for a flight to London from Amsterdam's Schiphol Airport.

"You can' t bring that thing on 'ere," said the stewardess, pointing at the cello, "or the next passenger will want to bring on a grand piano."

"But," I protested, "a grand piano doesn't quite fit on a seat like the cello."

"Oh yes it does - there's a nice kind you can get now which folds up!"

Then there was the Bulgarian metal detector incident. This time the customs official in Sofia insisted on running his device up and down the strings, whereupon it screeched with disapproval. It took an immense amount of effort to convince him that my cello wasn't a hidden arsenal. I was then mystified that no fewer than five free taxis sped off as soon as I tried to hire them. I assumed it must be my Western-style appearance until my interpreter assured me that being on a fixed state salary, taxi drivers don't need the trade and can't be bothered with bulky objects like a cello.

But perhaps the most frustrating aspect of all is aptly described by this charade. On one occasion I was flying to Heathrow from New York and decided, as it was a long journey, to be comparatively safe, admit defeat and buy a seat for the cello. Imagine my soaring blood pressure after paying out an extra $250 or so when the stewardess eyed my cello and declared, "Say, surely you didn't buy a seat for that? We would have let you bring it on for free."

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KnoW" thyself and learn the paradiddle

By HUMPHREY L YTTELTON hen I was eight years old, an uncle who was a parson gave me a Boys' Brigade side-drum as a birthday present. After a few weeks, I had acquired enough control of the sticks to accompany march music on the gramophone and my mother thought it was time for a few lessons. A retired drummajor of the Coldstream Guards called Mr Glass was located in nearby Windsor, and came to see us.

Proudly, my mother said, "He's managed to pick up quite a lot on his own."

"Don't worry, madam," was Mr Glass's reply, "I'll soon unlearn him all that. " And unlearn me he did, to the extent that, after all these years, I can still execute a slow but even paradiddle when not too many people are watching.

There can be few better exercises in self-discipline than learning the paradiddle. Its beats do not fall naturally under the hands, so it entails the sort of tedious and unrewarding practice by the end of which the top of one's head feels as if it is about to explode.

Furthermore, there is temptation to be resisted. It is possible to fake a paradiddle in slow temp.o ~ith a simple hand-to-hand technique that short-clrcUlts all the tricky stuff. But you may be sure that when the tempo quickens, your sins will be uncovered and there will be some unlearning to do.

My studies in military drumming under Mr Glass were invaluable later when I came to teach myself the trumpet. But there were things out.side of music~l technicalities which I learnt from hIm, too. In hIS retirement, he used to play the snare drum in amateur orchestras. Once, when he was playing in the pit orchestra for a performance of The Mikado, he took me along two or three nights running to sit beside him in the pit. On the third night, he suddenly handed me the sticks, pointed at the music and said, "Come on, you play that." In a panic, I whispered, "What if I mess it up?"

"You won't!" he said firmly, and I didn't. But afterwards, m the throes of delayed shock, I

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Dr.'ll'illg by Gerald H,1I;HI/lg from The Hoffnung Companion to Music published by Dobsoll Books Ltd.

remonstrated with him for precipitating me into what could have been a humiliating disaster. He kept calm.

"There was nothing in that music that you don't play every day at home," he said, "and anyway, don't you go worrying about the audience. Always remember you've got the music, they haven't!"

I suppose this episode was my first insight into what is known as "professionalism". The words "profe~足 sional" and "amateur" both suffer from unsympathetlC interpretation. When I first started my band, jazz cellars were regarded, in the reaction against warti~e discipline and austerity, as havens ?f al?Iost an~r~hic informality. In contrast to the pengum-sUlted mUSlCIanS in the big dance-halls, we wore baggy sweaters ~nd baggier corduroy trousers on the stand. But the tIme came when we began to be booked into concert-halls and cinemas, and I invested in uniform jackets. The music remained uncompromisingly the same, but our regular fans were appalled. "y ou ~ook like ,Proj:ssio.nai musicians" was the bitter complamt, the ImplicatlOn being that thenceforward our love of music would be supplanted by the lust for money and an obsession with tea-breaks. Likewise, there exists, in some performances one can call to mind, a beer-swilling, shirt-tailhanging-out, its-good-enough-for-jazz approach which gives the word "amateur" a bad name.

Of course, in the true senses of both words, finance is irrelevant. Duke Ellington once wrote a tune called What Am I Here For?, and the title could well be embroidered in multicoloured wool and stitched inside the lid of every musician's instrument-case, regardless of whether he is a part- or full-time performer. It would remind him, whenever he warmed up for a concert or a show, that he is not there to rehearse in public, nor to take out the frustrations of travelling on the audience, nor to walk out on them or short-change them if matters in which they have no responsibility - such as dressing-room accommodation or the tuning of the piano - are not exactly right, nor t~ turn ~p at the. hall too shattered after playing golf or slghtseemg to gIve a top-class performance, nor to dash off without an encore or even a bow because the pub shuts in fiv~ minutes, nor to react to a lot of empty seats by giving a sub-standard performance to those people who have come, nor to indulge in public recriminations or hilarity over the mistakes which will inevitably occur from time to time.

I have sometimes expounded to musicians what I call my Grounded Trapeze Act Theory: It pr?p~ses that ~f a trapeze act arrived at a venue havmg mIslaId all thel! apparatus and went through their entire routine in fulldress on the floor, 99 percent of the audience would applaud wildly at the end as if nothing had gone wrong.

This is not to underrate the intelligence and perceptIon of audiences, but to recognize that, if an audience is captivated and transported by a performance. of conviction and inspiration, it will not welcome havmg passing mistakes drawn to its attention.

Some years ago, I was present at an interyiew with Louis Armstrong in which he described how, playing between moyie shows at the Paramount Theater in New York, the band would often open at 10.30 in the morning to an audience of three. The interviewer remarked that, at least, the musicians could take it easy in those circumstances. Louis pulled him up sharply.

"Listen," he said, "one of those three guys might have hitch-hiked two hundred miles to hear the band for the first time. He don't want to hear you takin' it easy!" a true professional - and, in his lifelong devotion to music, a true amateur, too.

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Programme Notes PENWEDDIG VOCAL AND INSTRUMENTAL ENSEMBLE Conductor: Arwyn Jones The Bird's Lament } The Ladybird (from "A Little Suite") The Lark Richard Rodney Bennett Penweddig is a Welsh medium comprehensive school in Aberystwyth with approximately 600 pupils. This particular group meets once a week after school and is one of a number that contribute during the school year to many musical activities. This year the two-part choir was successful in gaining first prize at the National Eisteddfod of Wales and the school contributes regularly to local functions and activities, such as Christian Aid.

WANTAGE SIXTH FORM COLLEGE Clarinet Duo No. 2 in D minor (1st movement) The William Rhodes School Band, Chesterfield

THE WILLIAM RHODES SCHOOL BAND Conductor: David Windle National Anthem arr. W. Hargreaves C. S. Grafolla March: Washington Grays T. Arne, arr. W. Rimmer Patriotic Overture: Rule Britannia The William Rhodes School Band from Chesterfield was formed in 1967 by David Windle, Head of Music at the school. Recognized as one of the outstanding school brass bands in the country, the achievements of this band are many and varied. Three long-playing records have been produced and the band has toured Germany four times, as well as being featured on television and radio on several occasions. It has also had the honour of playing before Her Majesty the Queen and several members of the Royal Family over the past few years. A dominant feature in the continued success of the William Rhodes Band is the tremendous enthusiasm and dedication of its players and the constant support and encouragement they receive from the school. This is their third appearance at the Schools Prom concerts.

March: Washington Grays-Grafolla This is a favourite march which appears in many brass band programmes.

Rule Britannia-Arne, arr. Rimmer This arrangement by William Rimmer of Thomas Ame's famous melody takes the form of a series of variations on the main theme.

Crusell

Heather Audus and Sarah Turberfield have been playing clarinet duets together for eight years. They have taken part in various competitions, including the Wantage and Oxford Music Festivals and the Tilehurst Eisteddfod. They have just left the Wantage Sixth Form College, Heather to train as a nurse at King's College Hospital, London and Sarah to read history at Oxford.

Clarinet Duo No. 2-Crusell Crusell was one of the many virtuoso clarinet composers of the early nineteenth century. His clarinet works include three concertos, three quartets and three duets. His experience and knowledge of the instrument enabled him to exploit its capabilities to the full. The first movement, in typical sonata form, shares the melodic material equally between the two players, making full use of the dovetail technique.

Wantage Sixth Form College

BRIDLINGTON STRING GROUP Conductor: Gillian Hogg Gymnopedie No. 1 A Scottish Reel

Penweddig Vocal and Instrumental Ensemble, Aberystwyth

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Erik Sa tie, arr. Gillian Hogg Trad., arr. Gi/lian Hogg

The Group was formed in October 1977 by Gillian Hogg, a peripatetic violin teacher. The players come from seven schools in the Bridlington area on the East Coast of Yorkshire. Membership is voluntary and not selective. It is open to pupils as soon as they can handle the bow well enough to be able to read simple parts.

Virtually all pupils join the group as soon as they become eligible.

The group rehearses for one hour per week during term-time and is self-financing and organized by the parents. At group rehearsals the emphasis is on sight reading and playing good tunes, whatever their pedigree, ranging from Bach to McCartney. The group has broadcast and has won many certificates at local music festivals. All the music performed by the Bridlington String Group has to be specially prepared so they would be glad to hear from anyone interested in writing original compositions or arrangements for them.

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Gymnopedie No.i - Satle, arY. Hogg Sa tie's three Gymnopi dies for Piano appeared in 1888 and were later orchestrated by Debussy. He gave many of his pieces eccentric or am ns.ing t.itles. Satie turned his back on the emotion of the late Romantic composers and his music has no sense of drama but flows on in a serene, gentle manner, the harmonies deliberately avoiding the feeling of a defmite key .

A Scottish Reel- Trad .,

QrY. Hogg The reel is one of the two national dan ces of Scotland, the other being the Stratll$pey . It is a quick dance in four time, performed by two or more couples. This particular reel is named Mrs McLeod.

Turkheim Schoolband

TURKHEUMSCHOOLBAND Conductor: Klaus Ammann

The Opener Hi Fi Power Farewell Wien bleibt Wien/Fett-Polka (Medley)

Bridlington String Group

YOUNG RECORDER PLAYERS OF LONDON Conductor: Brian Davey

Begin the Beguine Cole Porter } D e Taste of Honey Ric Marlowl Bobby Scot/ arr. av y Formed in 1975, the Young Recorder Players of London gave their first public performance in London's Purcell Room in February

1976. The following year they graduated to the QueeIlElizabeth Hall and in November 1978, the group appeared for the first time at the Schools Prom. In July 1979 dley toured Germany giv ing a series of concerts which werc highly acclaimed by the German press. In December 1980 they gave tneir second Queen Elizabeth Hall concert to an almost- full house and in April 1981 they embarked on their second foreign tour this time to Dubro'lllik in Yugoslavia. More Purcell Room and Queen Eliza beth Hall concerts are planned fol' the near future and the group is hoping to go to America in 1983.

Begin the Beguine-Porter, arY. Davey This popular Cole Porter song of the '30s contains a charming melody with sustained notes held over the highly rhythmic beguine bass.

Taste of Honey-MarlowIScott, arY. Davey This was written in 1960 for the film of the same title. It has undergone m any arrangements for a variety of instrumental combinations.

Both pieces have been arranged for descant, treble and tenor recorders with accompaniments by piano, double bass and drums .

Carl Strommen Klaus Ammann Klaus Ammann SchrammellLeanl Richardson

The Tiirkheim Schoolband was founded in 1971 by Klaus Ammann, a music teacher at Tiirkheim Grammar School. At present, the band comprises 21 young musicians ranging from 15 to 21 years in age. Their repertoire extends from film music, folk and modem anangcments of the classics to dance, easy listening and party music Games Last sryle), and even to big band jazz.

However, the band also performs compositions and arrangements by their bandleader Klaus Ammann. This youthful big band has enjoyed great success in Tiirkheim and has also become known in other parts of Germany through radio and television appearances.

The band has taken part in open-air festivals and given concerts throughout the Federal Republic of Germany as w ell as in neighbouring countries. They have also found time during this busy schedule to record twO successful albums. D uring it.s tcn years history the Schoolband has achieved many goals but it has never forgotten that to entertain the audience is the m ost important uctor. We hope that you enj oy their performance at the School Prom.

The Opener-Carl Strommen The Schoolband likes to open its concerts with this lively number by the well-known swing composer Carl Strommen, and this shows fro m the very beginning of their performance. how at home they are p laying big band jazz.

Hi Fi Power-Klaus Ammanll From ja.zz we move to the more contemporary sounds of jazz rock. fearuring the School and rhythm and percu.mon secuo~. The COSt o f equipment is JUSt one of the I'TUD)' rontnbuting Carum due makes financial support a must for me rurvl\'al of any group of yo ung musicians. The band is l\lay mou h to tu\'(, found an energetic sponsor in a ndio compan.' ~ ID Tiirkheim. Klaus Ammarw composed thn work. m order IQ express the grautucie of the band to their ponsor.

Farewell- Klaui Amm."", Do not be misled b\- the title as there is more music to io llow ~ H owever, elre<}' prognmme ~u:iIe$ a du.nge of mood and tm SchoollnllO Jnvlt.e5 1'o.u to rein and erlJQY the brilliant trombone of Adalbert KeUer.. 'Ilm title as composrd by Klaus Ammann as a speciaJ fearure for this wenttd and long scn-mg b:ind member.

Young Record" Players of umdon

Wien bleibt WienlFett-Polka (Medley) - SchrammellLean/ Richardson l1us urangemem of the popular James La I medley provides an appropmte finale for the Schoolband 's fi.. st . appearance at the Royal i\lben H2lJ. O f course, the James LaSt Orchestra has perfo rmed here o n man)" occasion.s and tho usands of peo ple have enjoyed his 'Happy Music'. This is the Schoolband's own interpretation and we are sure that it will prove entertaining and memorable.

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Programme Notes SOLIHULL YOUTH JAZZ ORCHESTRA Musical Director: Roger Harris Soloist: Humphrey Lyttelton Off Duty John Dankworth Don't Get Around Much Duke Ellington, arr.

Anymore W. Cobine Double Exposure Sammy Nestico The Solihull Youth Jazz O rchestra was formed four years ago by its Musical Director, Roger Hams, to give Solihull children a chance to play in a style that was not catered for by its existing Borough bands and orchestras. Since its inception, the Jazz Orchestra has gone from strength to strength, giving regular- concerts and playing for dances. It has raised money for charities such as the Marie Curie Cancer Foundation and the Talking Newspaper for the Blind. This year it was chosen to play at the Solihull Civic Ball. The SYJO has a very active parents' committee under the chairmanship of John Chap man.

Off Duty - Dankworth This features the guitar of Phil Danter and murders the lips of the trumpet section!

Don't Get Around Much Anymore-Ellington, arr. Cobine This features Neil Harsant on trumpet, lan Smith on alto, Andrew Freeman on electric piano and Mark Oliver on bass guitar. Also note the sax solos in the middle of the number.

Double Exposure-Nestico This is a Sammy Nestico arrangement for the Count Basie Band, and it features guest soloist, Humphrey Lyttelton.

Suite - Graves This was written for the Wells Recorder Players in 1954. The Prelude is a light-hearted giocoso movement for two descant, treble and tenor parts.

These two pieces show the original and the modern style of recorder music.

Recorder Consort of the High Wycombe Music Centre

JENNY'S ACCORDIONISTS Conductor: Jennifer Neal British Friends

Ado/fGotz

All the players in Jenny's Accordionists from Colchester, are taught

by Jennifer N eal, some from the age of six years, and they enjo.y group playing from their initia11cssons. They take part in local, national and international competitions, 3S well as making exchange visits and concerts with accordion orchestras on the Continent.

During the year 1980--1981 the Accordionists gave a combined concert with the Hersbriicker Akkordeon Orchester in Germany and took part in the European Accordion Festival in Hazebruck, France. Their repertoire consists of some of the old concert favourites such as Offenbach's Orpheus in the Underworld as well as several original accordion compositions. TIle present youth orchestra was especially formed to take parr in the National Festival of Music for Youth and has been rehearsing together since January 1981.

British Friends - Gotz British Friends was written by the German composer and conductor of the Hersbriicker Akkordeon Orchester, Adolf Gatz, in 1980. He was inspired to write this after the Land of Hope dnd Glory finale he eJl.l'ecienced at the 1979 Schools Prom. British Friends was first performed in Colchester at 3 combined concert given by his orchestra and Jenny's Accordionists.

Solihull Youth Jazz Orchestra

RECORDER CONSORT OF THE IDGH WYCOMBE MUSIC CENTRE Ground in D John Banister, arr. Carl Dolmetsch Suite (1st movement) John Graves The High Wycombe Music Centre was formed by John Ritchie in 1968 with John Shirley-Quirlc as its President, since when it has expanded so that it now includes numerous orchestras, wind bands and other groups. The Recorder Consort began ten years ago and still retains two of .its founder members. The repertoire of the Consort is varied and ranges from medieval music to the twentieth century, both serious and popular.

Ground in D-Banister, arr. Dolmetsch This composer is hardly remembered today. He w as a violinist and entrepreneUr and in this latter role, he organized the first concerts for the general public in London, using his house in Whitefriars. In Carl DoImetsch's arrangement of the Ground ill. D , the repeated bass line is played by the bass recorders witb treble and tenor providing the upper parts.

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Jenny's Accordionists, Colchester

SOLIHULL SIXTH FORM COLLEGE BRASS QUINTET Suite for Brass Quintet

Paul Peuerl (1570--1624)

The Solihull Sixth Form College Brass Quintet was formed in September 1980 when the five members started their A level

courses at the College. They rehearse once a week and have given a number of concerts during the year, including a short tour of the New Forest last summer. Their repertoire contains music from the fifteenth century to the present day and includes some arrangements by members of the group.

Suite for Brass Quintet-Pellerl This is an adaptation of three five-part choral pieces from a collection entitled Weltspiegel . One can hear the influence of the antiphonal and imitative style associated with the Venetian School in the three movements, entitled Moderato , Andante Sostmllto and Allegro Mo~erato .

of prima donnas. The troubles can best be summed up by a line from the opera - "before they are engaged, opera singers are very engaging. except when they are engaged in singing".

Cello Concerto in B minor-Dvofak Dvol':ik, although of Czech nationality, spent three years in America as Director of the National Conservatory of Music in New York. The Concerto was one of the last works written by him before returning to his native counrry in 1895. Its beauty and warmtlI of colour soon brought wide popularity and acdaim as being one of the few really great works for the cello.

"Land of Hope and Glory"-Elgar The Pomp and Circlltnsiarlce marches form a series offive military marches for orchestra, four of which date from between 1901 and 1907 and the last from 1930. The celebrated patriotic words of A. C. Benson were added latcrlo the ftrst march in D major for a special Gala Performance given to commemorate the Coronation of Edward vn.

WAKEFIELD METROPOLITAN WIND ORCHESTRA

Solihull Sixth Form College BrdSS Quintet

Conductor: Julian Hall arr. Colin Fanshawe National Anthem Shostakovich Festive Overture Brahms Hungarian Dance No. 5 The Orchestra was formed three and a half years ago under the direction of Colin Rmshawe. From an original membership of about forty. the Orchestra has grown to around ninety-strong.

Though under the name of Wake field, the Orchestra has members from other townS in the area-Pontefract, Castleford, Peatherstone, Knottingley and Hemsworth. The Orchestra rehearses twice weekly, gives frequent concerts and has broadcast and made two LPs. Festive Overture - Shostakovich A fun piece. An extended introductory fanfare leads to the main theme: a helter-skelter tune on the clarinets. Expe.ctedly, there follows plenty of rhythmic material, an enjoyably banal "tune" and it finishes with a rousing climax.

Hungarian Dance- Brahms This is the fifth of Bra hms's original piano pieces. The opening stirring and exciting themes are followed by sections of slower and faster tc.mpi. The opening section returns and is rounded off by a short vivGce.

Surrey County Youth Orchestra

SURREY COUNTY YOUTH ORCHESTRA Conductor: Ernest Mongor Soloist: Robert Cohen Overture: The Impresario Cello Concerto in B minor (1st movement) Pomp and Circumstance March No. 1"Land of Hope and Glory"

Mozart Dvorak

Elgar

The Surrey County You rh Orchestra was fooned in 1964 and Ernest Mongor took over the conductorship in 1967. when appointed Music Adviser to the Counry. T he Orchestra first came into prominence in 1977 when it was awarded the Q ueen's Silver Jubilee Trophy for the most outstanding performance in the Orchestra Class at the National Festival of Music for Youth. Its reputation has steadily incr~ed since then as a result of a number of successful major concerts and television appearances. The Orchestra received an Outstanding Performance Award in rhe Concerto Class of the 1979 National Festival when Martin Loveday was the soloist in the Tchaikovsky Rococo Variatiolls and this will be its third appearance at the Schools Prom.

Ovedure: The Impresario - Mozart This was written in 1786 as an introduction to a one-act comedy opera based on a story which deals with the intrigues and jealousies

Wdkejield Metropolitan Wind Orchestra

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Programme Notes CHELTENHAM LADIES' COLLEGE CHom Conductor: Dorothy Dickinson All My Trials Windmills of your Mind Jamaica Farewell

Trad., arr. Gwyn Arch Michel Legrand, arr. Philip Lane Trad., arr. Arch

The Choir includes a number of singers who took part in the Llangollen International Eisteddfod in 1977 where they won First Prize in the Youth Choirs Competition. They regularly give performances in and around Gloucestershire. The Choir was founded by Dorothy Dick.inson, Director of Music at the College, and is usually accompanied by Philip Lane who has both written works for them and also arranged rhis evening's instrumental accompaniments. Future plans include a tour of America and Canada. The soprano soloist, Deborah Perry, has won a place at the Royal Academy of Music to study singing. The Choir's programme includes two well-known negro spirituals arranged by Gwyn Arch, these being separated by a three-part arrangement by Philip Lane of Windmills DJ your Mind by Michel Legrand.

Crosskeys Youth Band, Gwent

CROSSKEYS YOUTH BAND Conductor: Nigel Weeks Festive Prelude Rhondda Rhapsody

Step hen Bulla Welsh Traditional

Crosskeys Youth Band from Gwent was formed in 1979, when the Band competed in the South East Wales Contest at Ebbw Vale and was awarded first prize. The Band continued its success ill 1979 when it became Second Section Youth Champion of Gwent. In the spring of 1980, they competed in the Butlins Youth Championships at the Cols ton Hall and were runners up. In November 1980, the Youth Band travelled to the Pontins Annual Youth Contest at Prcstatyn and was awarded second prize, competing against several County Youth Bands. 1981 started with a bang when the Band was awarded first prize at the Championship Section for Youth Bands at Gwent, taking the title from Tredegar Band, who had been champions for ten years! Crosskeys Youth Band appeared at the 1981 National Festival of Music for Youth and received a Highly Commended Performance Award.

Chef/who", Ladles' College Choir

EI/ioll Jazz Workshop, London

ELLIOTT JAZZ WORKSHOP All Blues Night Train

Miles Davis, arr. H. Cardew WashingtonlSimpkinslForrest, arr. W. Cardew

Ellioct Jazz Workshop was formed two years ago at the Elliott Comprehensive School in Putney, South London. Most of tbe performers play more than one instrument and have participated in the school's orchestra, wind band, and chamber music groups, as well as the ILEA London Schools' ensembles. Their interest in jazz led to the establishment of the Workshop, under the guidance of George Adie, where they have been encouraged to play their own arrangements and compositions and to develop improvisational skills. The group has perfonned at local festivals and concerts and gained an Outstanding Performance Award in the Schools Jazz Class at the 1981 National Festival of Music for Youth.

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Hastings Junior Early Music Gro14p

HASTINGS JUNIOR EARLY MUSIC GROUP Conductor: Rosemary Fleet Pavan, "Fortune My Foe" Frog Galliard Bergeret Ronde English Jig

AllolI. AllolI. Susato Susato AllolI.

1 arr. Rosemary Fleet

The Hastings Junior Early Music Group is a continuation and development of the St Paul's Primary School Group which appeared at last year's Schools Prom. The children attend eight different local primary and secondary schools, meeting together regularly with Rosemary Fleet to continue to study treble, tenor and bass viols and rehearse an expanding repertoire of consort music. The members of this Group look forward to joining the Senior Hastings Group, who also play Renaissance wind instruments and lutes and venture ye~ further into the richly varied musical forms of the period.

Their programme consists of popular dances of the sixteenth century, opening with the solemn processional Pavan. followed, as was customary, by a spdghtly GaIliard. Susato's Bergeret and ROllde give the children a chance to decorate the music both melodically and rhythmically-a basic right allowed to musicians of that time and one much enjoyed by these young musicians I A lively Jig is the popular finale.

Chelmsford High School for Girls. During the past fifteen years the membership has grown to about 80 and now includes children from other schools in the Chelmsford area. The Orchestra enjoys a musical exchange with a school near Stuttgart. Germany, which greatly enhances the morale of and friendship within the group.

Arioso - Bach Already well known as a cello solo, Arioso was originally for oboe and strings. This radiant melody deserves its place alongside the famous Air Oil a G Strillg.

Scherzetto - Bridge. arr. Cornford When studying at the Royal College of Music, Julian Uoyd Webber was vaguely aware that there was a huge collection of valuable manuscripts in their music library. However, it was nOt until 1979 that he discovered a short, brilliantly effective concert piece for cello by Frank Bridge which had never been played. Bridge wrote this Scllerzelto in about 1902 and it waited 77 years for its world premiere at The Maltings, Snape in April 1979.

TURKHEIM SCHOOLBAND Conductor: Klaus Ammallll The Opener Hi Fi Power Farewell Wien bleibt Wien/Fett-Polka (Medley)

Carl Strommell Klaus Ammallll Klaus Ammallll Schrammel/Leall/ Richardsoll

(For details see page 13).

Bedfordshire Youth Jazz Orchestra

BEDFORDSHIRE YOUTH JAZZ ORCHESTRA Musical Director: David Jones Soloist: Humphrey Lytteltoll Cop This Trevor Vincent Quincy and the Count Sammy Nestico Six to One Bar Harry South The BYJO was formed in 1971 to give young Bedfordshire musicians an opportunity to play big band jazz and dance music.

From its inception until 1973, rehearsals were held OD an irregular basis with band calls usually being held in the we k prior to an engagement. For the past eight years. rehearsals have been held regularly, usually once a week throughout school term-rime. The Orchestra never strays far and. apart fTom app=ncts at Aberdeen in 1974 and Vienna in 1975. genernIy performs in and close to th!! home county of Bedfordshire. Sevenl mUS icians who hav passed through the Orchestra's ranks ha 'e progressed into the va. . ious fields of the music profession.

King Edward VI School Senior Orchestra, Chelmsford

KING EDWARD VI SCHOOL SENIOR ORCHESTRA Conductor: Peler Cross Soloist: Juliall Lloyd Webber Arioso Scherzetto

j. S. Bach

Frallk Bridge, arr. R. Cornford

King Edward VI School, Chelmsford, has become a centre of orchestral training and playing in the central Essex area. The Senior Orchestra caters for children who have reached Grade V standard and beyond and meets regularly once a week. The majority of its members are pupils either of King Edward VI School or of the

Cop This - Villcml This piece has a bright rempo and il; Ideal :IS a programrnr opener.

A successful interpretation depends on a band ha\-iug 3 rcliable rhythm section which will cope with thr ~requc::nt rime signature changes. There are solos for tenor 5:ilX :md lrumpet.

Composer/arranger T revor Vinam ~ also played rrump.."! professioll211y with many top-line bands.

Quincy and the Count- Xtstico The BYJO has many Sammy Nestico arrangements in its library and this one in particular. which is a reference to band leaders/composers Quincy Jones and Count Basic. is a favourite. It is of medium tempo with a catchy theme and features solos by muted trumpet and trombone.

Six to One Bar- Soulh A toe-tapping quick jazz-waltz with an c.X'citing feel throughout. It fi!amres solos OD trUmpet, tenor 5 :1."( and piano. Band leader Harry South has in recent years composed many television, radio and film themes one of his most popular being Tile Swemey.

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Programme Notes TROUBADOUR HARP AND RECORDER ENSEMBLE Conductor: Delyth Evans Amaryllis (Air du Roi Louis XIII) Song of David the Prophet Toccata (from "Orfeo") Brian Boru's March

Transcribed by Henry Ghys Robert ap Huw Monteverdi Trad. Irish

Music-making plays an important part in the life of the pupils of Rhydypennau Primary School in Aberystwyth. Every child is given the opportunity to learn to play the recorder from an early age and the school has a long tradition of successes at local and national level. Six peripatetic tutors visit the school weekly to teach orchestral instruments and in recent years, Ann Morgan, the school's music teacher, has placed more emphasis on mixed instrumental groups. For this year's National Festival of Music for Youth, Delyth Evans, the peripatetic harp tutor, arranged this programme for harps and recorders.

Holmfirth High School Orchestra, West Yorkshire

Amaryllis-tram. Ghys This is attributed to King Louis XIII and has been transcribed by Henry Ghys.

Cainc Dafydd Broffwyd (Song of David the Prophet)ap Huw About 1613, Robert ap Huw, the poet and harpist, wrote a book called Musica. It is written in a unique tablature and composed for a single row harp of 24 strings.

Toccata - Monteverdi In 1595, Claudio Monteverdi received the permission of Duke Vincenzo to marry Claudia Cattaneo, a singer at the court. Claudia also played the arpa doppia, an instrument for which Monteverdi wrote an important part in his opera Orfeo of 1607.

Brian Boru's March- Trad. Irish This is believed to have been written by the Irish warrior-king Brian Boru. It depicts an approaching army, accompanied by pipes and drones. The music fades as the army marches away.

The Leander Trio, Chandler's Ford

THE LEANDER TRIO Rondo

Franz Doppler

The Leander Trio (Linda Roberts, Helen Brew and Neil Kelley) was formed in January 1981. The players, all members of the Hampshire County Youth Orchestra, came together at the suggestion of Robin Soldan, the Orchestra's flute coach, to widen their experience of chamber music playing. The girls, former pupili at Thornden School, Chandler's Ford, have performed frequently ~ duettists and Neil studies organ with Nicholas Danby.

Opportunities for the group to play together are now severely limited as Linda has moved to begin her training as an occupational therapist and Helen and Neil continue their studies at Peter Symonds Sixth Form College, Winchester.

Troubadour Harp and Recorder Ensemble, Aberystwyth

HOLMFIRTH HIGH SCHOOL ORCHESTRA Conductors: Barry Russell and Alan Simmons Encounter Barry Russell Holmfirth High School in West Yorkshire supports a large number of musical groups, two of which, the orchestra and brass band, are featured in tonight's performance. The school places great importance on performing contemporary works, many of which are written especially for its musicians.

Encounter- Russell This was written earlier this year for the National Festival of Music for Youth, with the intention of involving as many of the school's musicians as possible. There is no definite "story" to the piece, although the music is medieval in flavour and obviously descriptive of a battle, and the listener is invited to let his mind form its own pictures. The piece is a spatial experiment and the different groups have contrasting material which is often played simultaneously, providing interesting harmonic effects in a sort of sound collage.

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Rondo - Doppler Doppler, born in Poland in 1821, a virtuoso flautist and sometime pupil of Liszt, spent much of his life as performer, conductor and composer in Vienna. He and his brother, Karl, frequently played flute duets and attracted considerable attention when they visited London in 1856. The Rondo, part of his Andante and Rondo, Op. 25, was written for Negovetich, a friend, and has a typical Hungarian rhythm with contrasting slow sections in a romantic style.

HUDDERSFIELD INTERMEDIATE YOUTH ORCHESTRA Conductor: James W. Morgan Concerto Grosso for Rhythm Bob Ward/Mel Bawn Section and Orchestra Pomp and Circumstance Elgar March No. 1"Land of Hope and Glory" The Huddersfield Intermediate Youth Orchestra is the second of five youth orchestras in Huddersfield. Its brief is to be capable of tackling most works especially written for youth orchestras and some regular orchestral repertoire. It accepts players by audition, the average standard being Grade V for strings, Grade V IVI for woodwind and brass and Grade IV IV (Kirklees Percussion Examinations) for percussion. In the summer of 1982, the Orchestra is undertaking a tour of Russia with the Huddersfield Youth Jazz

Orchestra, giving concerts in Moscow, Kiev and Yalta. James Morgan, a peripatetic percussion teacher for Kirklees has been conducting the Orchestra for fifteen months. ' Concerto Grosso- Ward/Bawn The Concerto Grosso for Rhythm Secticffl and Orchestra was written especially for the HIYO by Bob Ward and Mel Bawn, both teachers at the Royds Hall High School, Huddersfield and well:-~own in the North for their rock operas. The piece is in the tradltlon~ conceno grosso style of a group within a group, the larger bemg a clasSical orchestra and the smaller being a jazz quintet of alto and tenor saxophone, piano, bass and percussion. The concerto has three movements and is thematically developed from the opening horn statement. The first movement - moderatobuil~s fr?m .its so~b.re opening to a spirited central jazz section, culmmatmg m a stIrrmg orchestral rock section. The slow movement is a moving rock. ballad and the fmale, a vibrant march, which turns to heavy jazz/rock combining both band and orchestra.

F?~owing the cadenzas, a brief recapitulation leads to the coda, a VKIOUS double-time parody of a Purcellian ground bass.

"Land of Hope and Glory" - Elgar Elgar had the. wonderful ability to write simple melodies of great strength that mstantly capture the hearts of audiences. This march in D major composed in 1901 displays this ability to perfection. A. ~. Benson's words were added later for a special Gala Performance given to commemorate the Coronation of Edward VII.

BROMLEY SCHOOLS' CHAMBER ORCHESTRA Conductor: John Francis National Anthem aIT. Alan Gout Serenade for Strings Ychaikovsky in C major, Op. 48 (1st movement) The Bromley Schools' Chamber Orchestra is part of the Bromley Education Authority's Instrumental Department Programme for school-age musicians. Since it was founded in 1978, th.c Orchestra has given concerts in StJohn's Smith Square, Penshurst Place, Eltham Palace and tbe Royal Naval College Chapel, Greenwich.

Touring is also part of its experience and the Orchestra has given concerts in Marseilles, Provence and Versailles. In July 1980 the Orchestra played in the International Festival for Youth at Shrewsbury and this July was invited to perform in "Youth Orchestras in Concert" at the National Festival of Music for Youth.

Serenade for Strings- Tchaikovsky Composed in 1880, the same year as the 1812 Overture, Tchaikovsky wrote of the piece to his publisher, "I am violently in love with this work and can't wait for it to be played. " The Serenade had great success with audiences in Russia and London especially when conducted by the composer for the Royal ' Philharmonic Society in 1888. The first movement begins with a strong broad andante, which is followed by the allegro section wjth :wo main themes. Thes~ are de~eloped to some extent and repeated m the proper keys, sotlatlna fashion. The movement concludes using the theme of the opening ondallte.

Holmfirth High School Choir and Instrumental Group, West Yorkshire

HOLMFmTH lDGH SCHOOL CHOm AND INSTRUMENTAL GROUP

Huddersfield Intermediate Youth Orchestra

Bromlty Schools' Chamber Orches/ra

Conductor: Alan Simmons Three English Folk Songs-aIT. Alan Simmons Holmfinh's long tradition of music-making has had a great effect on the music in its schools. Choral music abounds in the area with several well-known male voice, mixed and ladies' choirs. The town has its own flourishing choral society and just a few miles away is the famous Huddersfield Choral Society. In such an atmosphere the choral tradition at Holmfirth High School developed. The present choir has had considerable success in both concert and competition.

The school encourages new music and there is a real willingness ~Ollg the children to tackle it. This healthy arrirude inspires the chil!iren some of whom have themselves ';'.-Dnen material. Two songs by members are included on an LP of new choral music recently recorded by the choir.

Seventeen Come Sunday-trad. aIT. Simmons This is the song which Vaughan Williams used to open his famous English Folk Song Suite for militarv band. This version was collected in Somerset by Cecil SharP. Scarborough Fair-trad. aIT. Simmons This is a riddle song. The singer sets a series of tasks for his lover, all ?f which seem impossible to achieve. Many folk song experts believe that a sequel exists giving the answers to the riddles contained in this song, but it has been lost over the years. The reference to parsley, sage, rosemary and thyme adds a sinister twist, as these herbs are traditionally associated with death.

High Germany-trad. aIT. Simmons The theme of this song is common in folk music, with the soldier trying to persuade his lover to travel with him to war, rather than be parted from her. She refuses!

The songs have been arranged in a way which attempts to preserve their very English flavour.

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Programme Notes Katy Neville plays the violin as well as the piano and has recently taken her Grade VII piano exam.

Piano Concerto - Schumann, arr. Benot The second movement - Intermezzo - takes the form of a dialogue between piano and orchestra, leading to a broad melody played by solo cello. The original work leads directly into the finale but this arrangement adapts the last six bars to bring the movement to a suitably gentle conclusion.

The Sleigh Ride-Mozart, arr. Stone This dance is one of a set of three written early in 1791 for the Carnival season in Vienna. The original score contained parts for two posthorns, replaced in this version by trumpets- the principal player being faced with a daunting top A as the piece ends.

Taunton Recorder Quartet

TAUNTON RECORDER QUARTET Fantasia a 4 Suite No. 2 (1st movement)

William Byrd, arr. Swailes Michael Rose

Taunton Recorder Quartet was formed a year ago at the Saturday Morning Music School in Taunton. The Centre provides private tuition in most orchestral instruments and recorders as well as having an Art and Dance Department. During this time, the Quartet has built up a good repertoire and has performed at several local functions and festivals.

Fantasia a 4-Byrd, arr. Swailes This piece, originally for viols, was written in 1590 and is a fine example of Byrd's mature instrumental style. It is built up of three imitative sections separated by two short interludes. There is much independence of parts and subtle syncopations incorporated in this sober work.

Suite No. 2-Michael Rose This first movement of the Suite-fanfare-has alternating time signatures and astringent harmonies, making the piece exhilarating both to play and hear.

Danesholme Recorder Ensemble, Corby

DANESHOLME RECORDER ENSEMBLE Scherzo Foxtrot

Benjamin Brillen Lyndon HiIling

Northamptonshire provides facilities for mu.sicaJ development not mercl y of its youth orchestras and bands but also for excellence in other fields of music making. The Danesholme Recorder Ensemble is part of the Corby Music Centre, one of ten such cemres which .flourish in all parts of the county and which provide opportunities to make music in a variety of ways.

Scherzo - Britten Benjamin Britten was one of the first modern composers to write for the recorder. He not only produced pieces for recorder ensemble but also gave the recordeT an important part to play in his opera, Noye's Fludde. Tills Scherzo was written for the Aldeburgh Music Club in 1948 and it shows the composer's grasp of the potential of the instrument.

Foxtrot-Hi/ling This piece was written for the Nene Consort of Northampton in 1979. It is a light-hearted encore composed with a "nod and a wink" at the style of the 1920s.

TURKHEIM SCHOOLBAND

Crofton Junior School Orchestra, Orpington

Conductor: Klaus Ammann The Opener Hi Fi Power Farewell Wien bleibt Wien/Fett-Polka (Medley)

earl Strommen Klaus Ammann Klaus Ammann SchrammellLeanl Richardson

CROFT ON JUNIOR SCHOOL ORCHESTRA

(For details see page 13).

Conductor: Robin Littler Soloist: Katy Neville Piano Concerto in A minor (2nd movement) German DanceThe Sleigh Ride K605

Schumann, arr. A. Benot

WAKE FIELD METROPOLITAN BAND

Mozart, arr. David Stone

Musical Director: Les Heppleston W. Hogarth Lear Cops and Robbers John Williams, arr. Ray Farr Theme from "Superman"

Crofton Junior School is a large primary school in Orpington with a lively tradition of music. It is well served by visiting teachers who cater for almost 200 children. Membership of the orchestra is strictly by invitation and the balance of instruments is kept as close as possible to symphonic proportions, with some licence extended to able recorder players. The school has a thriving wind band and, in addition, there are large recorder and guitar groups and three choirs. The orchestra has members from every year of the school and is very active in terrnly concerts, musical productions and area festival activities. Since many children have departed for secondary schools, tonight is the last time this group will play together.

20

Brass music has long had its tradition in the Wakefield area and its perfonnance to a very high. standard by young people Under the leadership of Les Heppleston has been 00 exception. The Wakeficld Metropolitan Band was established in 1977 by the Education Commi[[ee, whose aim is to promote brass playing by children and young people attending schools and colleges in the Wakefield Metropolitan District. In its short career, the Band has achieved many successes at regional and national level. Its repertoire covers light, classical and popular music and it gives numerous concerts in the area particularly to elderly and handicapped audiences.

Les Heppleston, the Musical Director. is Head of Peripatetic Bra.ss in Wakefield and has previously played comet for the Brighouse and Rastrick, Yorkshire Imperial and Grimethorpe Colliery Bands.

Cops and Robbers- W. Hogarth Lear This is a light-hearted interpretation in music of the classical . "chase" situation between the police. depicted by the basses and percussion. and the cat burglar, played by the flugel horn, with characterizations of sirens, disturbed night cats and other noises.

A ha rassing time for the conductor!

Theme from "Superman" - WilIiams, arr. Farr Ray Farr, present Musical Director of the Grimethorpe Colliery Band, made this arrangement of the theme music for the film, Superman. The piece very positively portrays the effects of astral travel.

Walsall Youth Jazz Orchestra

WALLACE FIELDS MIDDLE SCHOOL Conductor: Andrew Scott "The Preacher": Scene and Variations

Horace Si/ller, arr. Scott

Wallace Fields is a Surrey county middle school of 230 pupils, between Epsom and Ewell. The cast of The Preacher consists of three-quarters oflast year's Fourth Year; all but the drummers are now at secondary school. The school has bad a strong music departm:ent for some years, currently boasting an orchestra, choirs, recorder groups, a jazz club, barbershop groups and a drama club that creates its own full-length musicals, as well as, on the movement side, folk-dancing and outstanding gymnastics.

The Preacher-Sillier, arr. ScOIt Tire Preaclrer was created around the children who perform it. Initial arrangements were by Andrew Scort, then adapted by the performers. Much of the dancing and some of the band's orchestrations were improvised by the children. Rehearsals took place during lunchtimes, music lessons and out of school hours.

The setting of the piece is a youth club in New York in the 1920s -the era of jazz and Prohibition. The original tune is a jazz staple

by Horace Silver.

Wakejield Metropolitan Band

WALSALL YOUTH JAZZ ORCHESTRA Musical Director: John Hughes Bluff Point John Labarbera Louisiana Bebop Les Hooper Aja Becker/Fagan, arr. Alan Broadbent The Orchestra was formed in 1975. Its purpose was to give local children the opportunity of playing high quality big band jazz arrangements. This year was the fourth time the Orchestra participated in the National Festival of Music for Youth, having performed at the Royal Festival Hall and the Fairfield Halls on previous occasions. The compositions featured in tonight's concert are all from the Orchestra's first LP, Alone Again, which was recorded earlier this year and has just been released .

Bluff Point - Labarbera This medium tempo minor blues with its building passages , showcases the Orchestra's various jazz soloists.

Louisiana Bebop - Hooper Interesting sectional counterpoint aga inst a complicated rock rh ythm highlights this jazz/ rock composition by American composer, Les Hooper. N ick Pu mell is featured on electric piano.

Aja - Becker/Fagan, arr. Broadbent Alan Broadbent's arrangement of this Steely Dan hit was originall\' done for the Woody Herman Orchestra. It is a mixture of many styles with dreamy Latin sounds contrasted against towering brass passages. Charles Wright is featured on tenor saxophone.

Theme Vari.tion Variation Variation Variation Variation Variation Variation Variation

1 la 2b 3a 3b 3c

- S ettiug Ih. Same - Th e PaTl ), - The Pt,. char - TIle Waltz - High Jinks - Tire Raid - Tire C over.up - The Arrest

4~ (minor) 4b and Coda -Holle!'Uol.

-Band - TappctS, A:tppers. Band -PrC2chu . Co mpany. Bm d - Company. Bmd -Preacher. Boun~rs. Band - Trumpct. Cops -Recorders - ComfWI), -Glmpanr

Wallare Fields Middle S,hool

21

Programme Notes GRAMPIAN SCHOOLS' PERCUSSION ENSEMBLE Autun Carillon Erlangen Polka

Ron Forbes Ron Forbes

The Ensemble was created eight years ago by Ron Forbes to further the interest and scope of his pupils in the Grampian Region. The players meet on Saturday mornings during the school term at the Aberdeen Music Centre which also provides facilities for a symphony orchestra, concert band, brass band and choirs. This unique ensemble has twice been invited to take part in festivals in France and has also visited Germany, due entirely to their appearances at the National Festival of Music for Youth and the Schools Prom. They have made an LP and have performed on both television and radio.

Television concert and has since given several public concerts.

During the past three years, the Orchestra has appeared regularly in the Kirklees Leisure Services series of concerts both at Huddersfield and Dewsbury. The Orchestra took part in the National Festival of Music for Youth at the Fairfield Halls, Croydon in July 1981.

Nicholas Smith has had wide orchestral conducting experience and is presently principal conductor of the Northern Chamber Orchestra.

Crown Imperial- Walton This piece bears the inscription, In Beautie berying the CRONE IMPERIALL, a quotation from William Dunbar (1465-1520). It was commissioned by the BBC for the Coronation of King George VI and Queen Elizabeth and was first performed for the entry of Queen Mary into Westminster Abbey on 12 May, 1937.

Havanaise- Saint-Saiins This is based on the rhythm of a habanera and was composed in 1887/88 at a period when the Iberian influence was very evident in music by French composers. It may well have been inspired by Bizet's Carmen, which Saint-Saens greatly admired. The lyrical nature of the piece, coupled with the virtuoso solo passages make this an ideal work for our young soloist, Clare McFarlane.

"Land of Hope and Glory"-Elgar The Pomp and Circumstance marches form a series of five military marches for orchestra. They were composed during two widely separated periods, the first four between 1901 and 1907 and the last in 1930. The celebrated patriotic words by A. C. Benson were later added to the first march in D major for a special Gala Performance given to commemorate the Coronation of Edward VII.

Kirklees Youth Orchestra

Grampian Schools Percussion Ensemble

KIRKLEES YOUTH ORCHESTRA Conductor: Nicholas Smith Soloist: Clare McFarlane March: Crown Imperial Havanaise, Op. 83 Pomp and Circumstance March No. 1"Land of Hope and Glory"

Walton Saint-Saiins Elgar

The Kirklees Youth Orchestra was founded in January 1978 to satisfy a demand from the instrumental staff and their pupils for orchestral opportunities at a high level for young musicians throughout the Metropolitan Borough of Kirklees. Three days after its formation, the Orchestra recorded a very successful BBC

22

Prograntnte Land of Hope and Glory

\

I

Monday 23rd Noven1ber 2.

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 oJ 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 beJore.

Conductor: Arwyn Jones The Bird's Lament } The Ladybird (from "A The Lark Little Suite")

3.

4.

A Scottish Reel

Cole Porter arr.

Ric Marlowl Brian Bobby Scott } Davey

TURKHE~SCHOOLBAND Conductor: Klaus Ammann The Opener 1ÂŁ Fi Power Farewell Wien bleibt Wien/Fett-Polka (Medley)

Carl Strommen Klaus Ammann Klaus Ammann SchrammellLeanl Richardson

INTERVAL - 20 MINUTES (Warning bells will sound 5 minutes before the end of the interval)

7.

SOLnIULL YOUTH JAZZ ORCHESTRA Conductor: Roger Harris Soloist: Humphrey Lyttelton Off Duty John Dankworth Don't Get Around Much Anymore Duke Ellington, arr.

W. Cobine Double Exposure Sammy Nestico

AdolJGotz PercllSSion instruments kindly supplied by F & H Percussion Limited Premier dnmu Dnd accessories kindly supplied by The Premier Drum CompatlY Limited Roland amplification kindly supplied by Mr Brian Nunney of Roland (UK) Limited Vox Amplification kindly supplied by Rose Morris & Company Limited Bliithner Medium Grand PiatlO and We/mar Upright Piano kindly supplied by M,' Dlldley Orbell of Whelpdale, Maxwell & Codd Limited Commullicaliolls systems kindly supplied by Bumdept Electronics (E.R.) Limited Elysian Harp kindly supplied by Robert Morley & Company Limited Fender Rhodes Electronic Piano kindly supplied by CBS Arbiter Limited

8.

Suite (1st movement)

Conductor: Jennifer Neal British Friends

Adolf Gii/Cl:

SOLnIULL SIXTH FORM COLLEGE BRASS QUINTET Suite for Brass Quintet

11.

arr . W. Hargreaves C. S. Grafolla T . Ame, arr. W. Rimmer

John Bonister, arr .

Carl DolmetJch John Graves

9. JENNY'S ACCORDIONISTS

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

THE WILLIAMRHODESSCHOOLBAND

RECORDER CONSORT OF THE IDGH WYCOMBE MUSIC CENTRE Ground in D

10.

Conductor: David Windle National Anthem March: Washington Grays Patriotic Overture: Rule Britannia

Erik Satie, arr. GiIlian Hogg Trad., arr. Gillian Hogg

YOUNG RECORDER PLAYERS OF LONDON Conductor: Brian Davey Begin the Beguine Taste of Honey

6.

Cruse/l

BRIDLINGTON STRING GROUP Conductor: Gillian Hogg Gymnopedie No. 1

5.

Richard Rodney Bennett

WANTAGE SIXTH FORM COLLEGE Clarinet Duo No. 2 in D Minor (1st movement)

British Friends Friends forever, .friends forever, Let us hope to be.

All together, all forever, We'll live and be free.

Let us hold by our hands, Friendship lives and. never ends.

Friends forever, .friends forever, Let us hope to be.

1.

PENWEDDIG VOCAL AND INSTRUMENTAL ENSEMBLE

Paul Pl'UeTl

SURREY COUNTY YOUTH ORCHESTRA Conductor: Ernes/ Mongor Soloist: Robert Cohen Overture: The Impresario Cello Concerto in B minor (1st movement) Pomp and Circumstance March No. 1 "Land of Hope and Glory"

MOCl:art Dvortlk

Elgar

23

Progratntne

Tuesday 24th Noven'lbcr 4.

CROSSKEYS YOUTH BAND Conductor: Nigel Weeks Festive Prelude Rhondda Rhapsody

5.

HASTINGS JUNIOR EARLY MUSIC GROUP Conductor: Rosemary Fleet Pavan, "Fortune My Foe" Frog Galliard Bergeret Ronde English Jig

6.

Anon.

Anon.

Susato Susato Anon.

aTT' Rosemary ) Fleet

TURKHEIM SCHOOLBAND Conductor: Klaus Ammann The Opener Hi Fi Power Farewell Wien bleibt Wien/Fett-PoIka (Medley)

7.

Step hen Bulla Trad. Welsh

Carl Strommen Klaus Ammann Klaus Ammann SchrammellLeanl Richardson

KING EDWARD VI SCHOOL SENIOR ORCHESTRA Conductor: Peter Cross Soloist: Julian Lloyd Webber Arioso Scherzetto

J. S. Bach Frank Bridge, aTT. R. Cornford

INTERVAL - 20 MINUTES (Warning bells will sound 5 minutes before the end of the interval)

8.

Conductor: David Jones Soloist: Humphrey Lyltelton Cop This Quincy and the Count Six to One Bar

Drawing by Cerald Hoffnung .from Hoffnung's Musical Chairs published by Dobson Books Ltd.

9.

2.

CHELTENHAM LADIES' COLLEGE CHOm Conductor: Dorothy Dickinson All My Trials Windmills of Your Mind Jamaica Farewell

3.

aTT. Colin Fanshawe Shostakovich Brahms

Trad., aTT. Cwyn Arch Michel Legrand, aTT. Lane Trad., aTT. Arch

ELLIOTT JAZZ WORKSHOP All Blues

Miles Davis, aTT. H. Cardew

Night Train

24

Washington/Simpkins/ FOTTesl, aTT. W. Cardew

10.

Trevor Vincent Sammy Nestico Harry South

TROUBADOUR HARP AND RECORDER ENSEMBLE Conductor: Delyth Evans Amaryllis (Air du Roi Louis XIII) Song of David the Prophet Toccata (from "Orfeo") Brian Boru's March

1. WAKEFIELD METROPOLITAN WIND ORCHESTRA Conductor: Julian Hall National Anthem Festive Overture Hungarian Dance No. 5

BEDFORDSlllRE YOUTH JAZZ ORCHESTRA

Trans . Henry Chys Robert ap Huw Monteverdi Trad. Irish

HOLMFmTH InGH SCHOOL ORCHESTRA Conductors: Barry Russell and Alan Simmons Encounter Barry Russell

11. THE LEANDER TRIO Rondo

12.

Franz Doppler

HUDDERSFIELD INTERMEDIATE YOUTH ORCHESTRA Conductor: James W. Morgan Concerto Grosso for Rhythm Section and Orchestra Pomp and Circumstance March No. 1"Land of Hope and Glory"

Bob Ward/Mel Bown EIgor

Programme

Wednesday 25th Novelnber 7. WAKEFIELD METROPOLITAN BAND Conductor: Les Heppleston Cops and Robbers Theme from "Superman"

W. Hogarth Lear John Williams, urr. Ray Farr

INTERVAL - 20 MINUTES (Warning bells will sound 5 minutes before the end of the interval)

8.

WALSALL YOUTH JAZZ ORCHESTRA Conductor: John Hughes Bluff Point Louisiana Bebop Aja

9.

WALLACE FIELDS MIDDLE SCHOOL

Conductor: Andrew Scott "The Preacher": Scene and Variations

10.

BROMLEY SCHOOLS' CHAMBER ORCHESTRA Conductor: John Frands National Anthem Serenade for Strings in C major, Op. 48 (1st movement)

2.

a4

Suite No. 2 (1st movement)

6.

Walton Saint-Saens Elgar

Trad., arr. Alan Simmons

William Byrd, arr.

Swailes Michael Rose

CROFTON JUNIOR SCHOOL ORCHESTRA Conductor: Robin Littler Soloist: Katy Neville Piano Concerto in A minor (2nd Movement) German Dance - The Sleigh Ride, K60S

5.

KIRKLEES YOUTH ORCHESTRA Conductor: Nicholas Smith Soloist: Clare McFarlane March: Crown Imperial Havanaise, Op. 83 Pomp and Circumstance March No. 1"Land of Hope and Glory"

TAUNTON RECORDER QUARTET Fantasia

4.

Tchaikovsky

Ron Forbes Ron Forbes

HOLMFmTH HIGH SCHOOL CHOm AND INSTRUMENTAL GROUP Conductor: Alan Simmons Three English Folk Songs

3.

arr. Alan Gout

11.

Horace Silver, arr.

Andrew Scott

GRAMPIAN SCHOOLS' PERCUSSION ENSEMBLE Autun Carillon ErIangen Polka

1.

John Labarbera Les Hooper BeckerlFagan, arr. Alan Broadbent

Schumann, arr. A. Benot Mozart, arr. David Stone

DANESHOLME RECORDER ENSEMBLE Scherzo Foxtrot

Benjamin Britten Lyndon Hilling

TURKHEIM SCHOOLBAND Conductor: Klaus Ammann The Opener Hi Fi Power Farewell Wien bleibt Wien/Fett-Polka (Medley)

Carl Strommm Klaus Ammann Klaus Ammann SchrammellLeanl Richardson

Drawings by Gerald Hoffoung from Hoffnung's Musical Chairs published by Dobson Books Ltd.

25

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26

Front and Back Stage Derek Jewell has been the Schools Prom Director and Presenter since he launched the event in 1975 whilst Publishing Director of Times Newspapers Ltd. Now pursuing his business career with the International Thomson Organisation, he has also been a writer and broadcaster for many years, most notably as Jazz and Popular Music Critic of The Sunday Times. His books include two novels; a biography of Duke Bllington, Duke; and a collection of reportage on music, The Pop~tlar Voice, which has just been published in paperback (Sphere Books). He is an honorary adviser and adjudicator for the National Festival of Music for Youth and a member of the BBC's Central Music Advisory Council.

Larry Westland, Producer, is well-known for his work in youth music, notably as Director of the National Festival of Music for Youth, which he founded in 1971. In eleven years, the Festival has grown i11to the most comprehensive youth music festival in Europe. The Festival embraces all forms of instrumental music and this year some 20,000 young musicians took part. He was closely involved with the launch of the Schools Prom in 1975. Since that date, he has been responsible for the production and presentation of the concerts. He is General Administrator of the British Marching Band Championships, which he founded in 1978 in conjunction with the British Youth Band Association.

This year he has joined forces with the National Association of Choirs to stage the first-ever Festival of Choirs at the Barbican Arts Centre and the Royal Albert Hall on 3 May. 1982. He has also presented numerous concerts by British youth orchestra and his other activities include the presentation of charity concerts and the British Music Fair.

.

Humphrey Lyttelton, guest mus,:cian, well-known jazz musician and journalist, trained at art school and started work in 1949 as a cartoonist on the London Daily Mail. He formed his fust jazz band in 1948 and the Humphrey Lyttelton Band with Wally Fawkes on clarinet soon became the leading traditional jazz band in Britain and toured Switzerland, Holland, Germany and Scandinavia. H e signed a recording contract in 1949 and in 1956 his composition Bad Penny Blues was the first Britishjazz record co get into the Top 20. Since then he has moved away from New Orleans-style jazz and now leads a band of top British jazz musicians who play music with emphasis on swing. entertainment and versatility. He has played alongside such famous names as Louis Armstrong, Django Reinhardt, Sidney Bechet and Buck Clayton. Humphrey Lyttelton has written three autobiographical books, numerous jazz and restaurant columns and has been a regular broadcaster on radio and television. He composes his own music for his band and has recorded more than 100 compositions his latest albums being One Day I met an Africa" and The Best of Humphl'ey Lyttelton.

27

Front and Back Stage Clare McFarlane, guest musician, was born in 1963 and comes from Salford. She has been a student at the Yehudi Menuhin School since 1973 where she is now studying with Margaret Norris. When she was 14 she won the Gold Medal for the Associated Board Grade vrn ExanUnation. In 1980 Clare McFarlane won the String Class of the BBC "Young Musician of the Year" Competition and also the Ivor Walsworth Memorial Prize and the Society of Women Musicians' Prize in the Royal Overseas League Competition. In 1981 she received an award from the lan Fleming Charitable Trust and also a Jessie Bristol Award. Clare has given many recitals and performed several concertos throughout the country with a wide variety of orchestras, ranging from youth and amateur orchestras to the Ulster Orchestra, Royal Philharmonic Orchestra and the Orchestra of St John's Smith Square. Clare has also taken part in many concerts given by the Yehudi Menuhin School in this cOlintry, France and Switzerland.

Antony Hopkins, CBE, Guest Conductor and Presenter, has been associated with the Schools Prom from the first and has conducted the fihale at everyone.

He has lectured and conducted in many countries and his Talking about Music programme on Radio 3 is now in its 28th year. His book Understanding Music won the Yorkshire Post award as the best music book of the year, while plans are being made to presentJohn and the Magic Music Man (recorded on Unicorn) as a children's ballet on television. His book on the Beethoven symphonies came out last April. As a slightly unexpected contrast, he has recently published a book called Songs Jor Swinging Golfers, 25 golfing lyrics set to traditional tunes. He hopes that it will provide sufficient income to pay his golf club subscription for the next few years!

Last year he was a warded a Doctorate by the University of Stirling and made a Fellow of a Cambridge College; he says it makes him feel quite respectable at last!

28

Robert Cohen, guest musician, born in 1959, started playing the cello at the age of five . He won the Suggia Prize when only eight and first played at the Royal Festival Hall at the age of 12; at 18 he was the winner of the Young Concert Artists Competition in New York and in that same year he became the first artist since 1972 to win the Tanglewood 'Gregor Piatigorsky Prize'. Robert Cohen has appeared on television in Holland, the USA, Romania, Turkey and Israel as well as in Great Britain where several documentaries have been made about him; he recently took part in a programme with James Galway and the National Philharmonic Orchestra. Recent performances have included the Schumann concerto with Riccardo Muti and the Philharmonia Orchestra, the Elgar concerto with the RPO and concerts with the BBC Scottish Symphony and Northern Symphony Orchestras and the City of Birmingham Symphony Orchestra under Simon Rattle. He has made two more recital tours of the USA this year and in June gave his debut recital at the Queen Elizabeth Hall. This coincided with the release of his Grieg/Franck sonata record. He has recorded the Elgar concerto with the LPO and is recording the Dvofak concerto and the Tchaikovsky Variations on a Rococo Theme with the same orchestra.

Julian Lloyd Webber, guest musician, is one of the

â&#x20AC;˘

most exciting and creative young artists before the musical public today. Still only in his twenties, he has brought a vast new audience to the cello. His recording of the album Variations has sold over 300,000 copies in Britain alone and by introducing new works, either through making first recordings or giving first performances (by composers as varied as Sir Lennox Berkeley, Frank Bridge, Benjarnin Britten, John Dankworth, Frederick Delius, Andrew Lloyd Webber and John McCabe), he has already made a significant contribution to the literature of the cello. Equally at home with more standard repertoire, during the 1979/80 season in London alone, Julian Lloyd Webber appeared as soloist with the RPO, LPO, Philharmonia and BBC Symphony Orchestras under such conductors as Sir George Solti. That season also saw his New York debut at the Lincoln Center. His playing has been featured in the USA on a nationwide CBS television programme. Concert tours have taken him to many parts of the world. This season he is giving the world premiere of a cello concerto by the renowned Spanish composer, Rodrigo, at the Royal Festival Hall. Rodrigo was so impressed when he heard Lloyd Webber's recording of the Debussy and Rachmaninov Sonatas that he decided to write a new work especially for him.

Separate engagements will takeJulian Lloyd Webber to Holland, Italy and South America.

29

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30

List of Performers BEDFORDSHIRE YOUTH JAZZ ORCHESTRA Musical Director: David Jones Age range of performers: 15-19 years

..

Piano/Vocal Jill Patey Bass Guitar Nigel Emerton Drums Andy MacKechnie Guitar Romolo Russo Trumpets Steve Titchener Gary Smith Neil Jefferys Richard Welsh John Blackwell

Trombones Mark Da Silver Russell Pratt Sarah Christie Paul Fisher Alto Saxophones Luke Fisher Nicky Burnham Tenor Saxophones Chris Dee Paul Weimar Baritone Saxophone Simon Goodge

BRIDLINGTON STRING GROUP Director: Gillian Hogg Assistant: Ann Hogg Age range of performers: 8-13 years Beren Airstone Mistrelle Airstone Rory Ashcroft Sarah Aucott Melissa Barker Esther Barnes Rachel Barnes Christopher Bayne James Bembridge Lucy Bentley Michelle Bowling Jane Brockbank Lesley Brooks Nadine Bulmer Jenny Carter Louise Carter Michael Cawthorn Neil Daynes James Dench Michelle Edmondson Caroline Edwards Claire Edwards Jane Edwards Neill Edwards Jayne Eggleston Kathryn Ford Louise Garbett Helen Garvey Andrea Grainge

Sarah Guilfoyle Andrea Hall Charles Hanley Richard Hanley Katy Harding Elizabeth Hoey John Hogg Keith Holah Mark Holah Rebecca Hornsey Helen Jackson Mark Kelly Dominic Klein Robb Klein Michael Lambert Alison Moore Michael Morris Derek Nisbet Linda Prescott Katie Revell Emma Richardson Louise Robinson Claire Sayner Anne Scruton Rebecca Skelton Rachel Tornlins Darnion Traves Lynne Wilson Alexandra Wrightson

BROMLEY SCHOOLS' CHAMBER ORCHESTRA Conductor: John Francis Age range of performers: 11-19 years 1st Violins Steven Georgiadis (Leader) Juliet Kauffman Daniel Dayan Thelma Handy Peter Castle Alison Gabriel Jonathan Beavis Anita Ridley Christopher Rogers Jennifer Moore Peter Dayan Rosalind Brown David Kidger Alison Browning 2nd Violins Elizabeth Long Karen Miller

Janet Mackenzie Helen Bairstow Douglas Northwood Marianne Brown James Garton Hilary Scort Marthew Quenby Mark Cousins Victoria Browning Elizabeth E vans Alan Magrath Sarah Hankinson Violas David Griffiths Caroline Ruskell Caroline Norman Laurence Ferguson Julian Maunder

Katy Ridley Juliette Brown Elaine Gibbs Cellos Hilary Browning Rachel Sever Yvette Faulder David Stickland

Mark Bairstow Catherine Manners Timothy Long Janice Gibbs Helen Ridley Double Basses Philip Orr Annette Bamfield

CHELTENHAM LADIES' COLLEGE CHOm Conductor: Dorothy Dickinson Age range of performers: 11-18 years Helen Ashenden Rebekah Byram-Wigfield Sarah Coleman Alison Crips Villiers Veronica Davis Selina Dick Rachel Dominy Fiona Ellis Annabel English Suzanne Fidler Julie Foster Evelyn Geh Arabella Goodford Phillipa James Helen Kingcott Adela Kwan Caroline Lamming Liza Lau Andrea Lawton Helena Lawton Penelope Lennox Nicola Lipp Annajane Marlar

Nicola Osborn Camilla Parker Rowena Paul Deborah Perry Clare Pointon Susan Potts Tandy Preen Karen Reynolds Clare Rosser Elisabeth Rudman Hilary Rundle lnder Sahni Fiona Shelmerdine Catherine Simpson Helen Smart Deirdre Smith Jennifer Solly Jane Taylor Pamela Taylor Susan Turner Laura Wade-Gery Caroline Weller Jacqueline Wong

CROFTON JUNIOR SCHOOL ORCHESTRA Conductor: Robin Littler Tutors: Jennifer Ha rris (Strings); Cia ire Wllson (Flute); J ohn CaU/dy (Oboe & Clarinet); Denis Mycrofi (Trumpet); Andrew Crmy (Horn); Roherl LApidge (Timpani & Percussion); Robin Littler (Descant & Treble); Ronald LAnder (Piano) Age range of performers: 7-12 years 1st Violins Adrian Smith (Leader) Sophie Cammack Hanna Basha Rosalind Burridge Sonya Shellard David Galloway Pippa Harris Carolyn Gates Katy Neville 2nd Violins Michael ScufTham Marc Trevison Nita Myers Amanda Felton David Crowe 3rd Violins Charlotte Thompson Joanne Hulf Matthew Cammack Violas Elizabeth Langham Cellos Gina Harris Darius Lewington Flutes Sian Williams Jane Daters Juliet Pearson Helen Burridge

Oboes Yuban Moodley Lisa Neville Clarinets Jeffrey Burrington Emma Nunn Paula Kensington Descants Susan Wilson Alison Moore Kathryn Getting Elizabeth Kemp Trebles \- ick y :\llen :\nna Harries Trulllpets Ben Lees Kat\ Rumm Stephen B~-son Horn Andrew StilT Trombone Matthew Walker Timpani Richard Gedge Percussion lan Berry lain Lennard Jeffrey Kendrick

31

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32

List of Performers

I

CROSSKEYS YOUTH BAND

HASTINGS JUNIOR EARLY MUSIC GROUP

Conductor: Nigel Weeks Age range of performers: 11-19 years

Director: Rosemary Fleet Age range of performers: 10-12 years

E"Soprano Mark Powell Principal Cornet John Lavender Tutti Cornets Paul Richards Mark Ebdon David Carey Repiano Cornets Mark Warren Mark Waite 2nd Cornets Stephen Matthews Maria Corbett Andrew King Sarah Leddington Richard Smith 3rd Cornets Anne Redman lan Flintham Alison Bartlett Andrew Lavender lan Davies Lisa Green Flugel Horn Caron Moss Solo Horn Stephen Davies 1st Horns David Gray James Perriam

2nd Horns Mark Richardson Karen Richardson 1st Baritone Martin Coombes 2nd Baritones Carol Lewis Caroline Pumell Paul Williams 1st Trombone Mark Bames 2nd Trombones Christopher Gardner Andrew Jones Bass Trombones David Kenvyn J ulian Kerrell Euphoniums Dean Bumett Nige1 Smith E~Basses Delwyn Morgan Howard Prosser B~Basses Neil Hopkins Damian Drewitt Percussion Adrian Evans Jeanette Vaughan Lee Jenkins

DANESHOLME RECORDER ENSEMBLE Tutors: G/adys Bermelt, Lyndon Billing Age range of performers: 12-13 years David Tobin (Descant) Deborah Smith (Treble) Rebecca Stockman (Tenor) Alice Langley (Bass)

ELLlOTT JAZZ WORKSHOP Director: George Adie Head of Music: Joan Child Age range of performers: 13--19 years Alto Saxophones Horace Cardew Julie Slade Pippa Jackman Alto Saxophone/Clarinet Cheryl Saunders Tenor Saxophone Roger Maxwell

Keyboard John Harman Bass Guitar Wayne Morris Drum Kit Waiter Cardew Percussion Neil Cole

GRAMPIAN SCHOOLS' PERCUSSION ENSEMBLE Tutors: Ron Forbes , A1argarel _\f(Ki,II1c''' Age range of performers: 14-18 '-ears Evelyn Glennie Jennifer McKay Elizabeth Fyvie Donna Clark Julie Sinclair Alison Flett Arlene AlIan Bengt Cederstrom Michael Urquhart

Viols and Recorders Claire Casselden Judith Fleet Kathryn Harris Lisa Don Francesco Julayne Dyer Sally Illman

Nadine Blann Fiona Ling Kerry Grover Amanda Hardwick Tambour and Tambourine Nathan Smoothy Daniel Goodger

RECORDER CONSORT OF THE HIGH WYCOMBE MUSIC CENTRE Tutor: Sue Dunnett Age range of performers: 13--19 years Adrienne Gard (Bass & Tenor) Joy Gard (Treble) Frances Elliott (Treble & Descant) Judith Elliott (Treble & D escant) Andrea Weaver (Bass & Tenor) Catherine Gibbs (Tenor) Kate Phillips (Tenor & Treble) Jessica Dawe (Bass & Descant) Tania Coope (Tenor & Descant)

HOLMFIRTH HIGH SCHOOL CHOm AND INSTRUMENTAL GROUP Conductor: Alan Simmons Tutors: Alan Simmons, Barry Russell, Elizabeth Green Age range of performers: 11-17 years 1st Sopranos Jayne Adams Jacqueline AlIt Maureen Alit Paul Bamford Elizabeth Battye Christopher Bennett Jane Broadbent Sus an Buchan Fiona Brown Justin Brook Ann Capstick Gillian Cartwright Clarissa Corder Elizabeth Castle Joanne Dodson Paula Hill Hazel Hird Alison Hirst Georgina Kenworthy Annabel Martin Katherine Nixon Andrew North Guy Roebuck Richard Tinsdeali Toby Thewlis Gillian Tunaley Catherine Humphrey Steven Langrick Karen Flevin David Sykes 2nd Sopranos Julie Bradshaw Katie Charles \\ orch Susan Crabtree Sally Dixon :--; ic~la Elle r; Georgia Ellioet lulia Gledhill \1axine Gh-nn Patncia Ga"ld Glen Hirst Helen Marshali Jane Marshali

Susan Middleton Jane Sanderson Susan Thomann Hazel Whitworth Natalie Hinchliffe Melanie Mitchell Altos Helen Beverley Simeon Brook Leo Devlin Sean Devlin Jane Dewsbury Morgan Elliott Nicholas Gay Malcolm Gill Andrew Hallas Heather Jackson Sarah McDonald Paul Robinson Louise Scahill Marcus Turner Roberc Tice Craig Ibbotson Flute Yyonne Preston Oboe Emm. Blackbum Clarinet John Braithwaite Piano Deborah Wilcock Bass

Joanne Dickinson Percussion Rachel Gledhill Ashle y Hirst

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34

List of Performers HOLMFIRTH IDGH SCHOOL ORCHESTRA AND BAND Conductors: Barry Russell and Alan Simmons Tutors: Richard Sigswortl, (Violin and Viola); Margaret Collison (Cello); Peter Leal! (Double Bass); Joe Elton and Geoff Marshall (Woodwind); Pililip Garlick (Brass); James Morgan and Ailisotl BameJ (Percussion) Age range of performers: 11-17 years

ORCHESTRA 1st Violins Maureen Allt (Leader) Robert Tice Richard Ainley Joanne Dodson Jackie Allt Sally Middleton 2nd Violins David Rawlinson Claire Burdett Francis Beardsell Antonia Clegg Sharon Hardey Richard Tinsdeall Julie Bradshaw Paula Hill Violas Helen Beverley Susan Middleton Cellos Louise Crabtree Bruce Ainsworth Heather Jackson Karen Mason Alison Famell Andrew North Susan Crabtree Double Bass Nicola Stables Flutes Yvonne Preston Marcus Burrell Jane Broadbent Rachel Pears Sarah Blackbum Katherine Hollis Oboes Emma Blackbum Susan Mullinger Matthew Brook Clarinets John Braithwaite Katie Charles worth Cristine Britton Fiona Brown Rachel Johnson Elizabeth Battye Georgia Elliot Bassoon Georgina Stables Horns Simeon Brook Paul Hol1ingworth Joe Irving Sally Dixon Nicholas Turner Trombone Sarah Smith Tuba Susan Thomann Guitars Nicholas Gay Joanne Sykes Piano Deborah Wilcock Percussion Rachel Gledhill Mark Newlove Jonathan Hinchliffe

SOLO BRASS Trumpet/Cornets John Blackshaw Michael Blackshaw Neil Booth Simon Thewlis Euphoniums Neil Beaumont Anita Ridgen MARCHING BAND John Spooner Julie Gillespie John Holmes Claire Robinson Howard Broadbent Alistaire Hinchcliffe Richard Sutton Marcus Tunaley Leo Devlin Sean Devlin Stephen Hopwood Robert Smith Julian Turner Andrew Horton Paul Robinson Abigail Hardy Claire Charles worth Ricky Swallow Michael Dyson Andrew Simpson Simon Fletcher Andrew Hallas Hazel Whitworth Anthony Booth Phillip Gledhill Rachel Dyson MARCHING PERCUSSION Ashley Hirst Malcolm Gill Georgina Kenworthy Julia Gledhill

HUDDERSFIELD INTERMEDIATE YOUTH ORCHESTRA Conductor: James W. Morgan Tutors: George Brown, Ralph Barker (Violin); Christine Hoare (Viola); E . Mary Cawood (Cello and Double Bass); Erica Lax (Woodw ind) ; Phi/ip Garlick (Brass);]. W. Morgan (Percussion) Age range of performers: 11-21 years Also thanks to all the Kirklees Instrumental Service and Instrumental Repair Workshop

1st Violins Janet Broadbent (Leader) Ruth Todd Helen Garsed Diane Garsed Louise McCracken Laura Druce Justine Clegg Andrew Shaw Jerome Staples David Rawlinson Richard Ainley Catherine Free Catherine MacIver Aisling McMahon Paula Richmond Julie Richmond Claire Heydon Catherine Bush Jacqueline Reed 2nd Violins Karen Wightman Judith Todd Karen Hollas Sally Middleton Bridget Mair Jacqueline Allt Maureen Allt Claire Burdett Richard Lockwood Jonathan Cooper Jacqueline White Martin Graham Clare Pears on Amanda Beaumont Jill Hanson Michael Jessop Rebecca Haydock Robert Tice Julie Pearson Helen Moorhouse Violas Elizabeth Wilson Stephen Rothera Penny Sykes Victoria Cowling Helen Huffer Paula Gaunt David Tittensor Christopher Clancy Joanna Brown Cellos Louise Crabtree Alison Oddy John Skilleter Andrew Delaney Sophie Causwell Sarah Kewley Caroline Roberts Jacqueline Panesar Eliza beth Free Claire Wickins Rachel Wilson Susan Da\'idson Jonathan Cooper

Sarah Lee Jonathan Gulley Double Basses Philip Gothard Elizabeth Sandland Lynne Carroll Nicola Stables Carol Swailes Flutes & Piccolos Alison Weavill Catherine Murphy Helen Free Frances Beatty Julie Chap man Kate Collison Clarinets Rachel Druce Claire Wilkinson Deborah Newton Alistair Wardell Darren Carter Jayne Kaye Oboes Jane Whitwam Stella McCracken Gillian Swales Lindsay Sutcliffe Bassoons Andrea Moran Freddie Theo Andrew Cooper Charles Tomkinson Trumpets Julian Wightman Simon Murray Geoffrey Mellor Russell Kenworthy Horns Alan Finch Austin Wylie James Cooper David Wilson Paul Fishbum Trombones Chris Moran Michael Leadbeater Chris Lawson Tuba Simon Fletcher Percussion Alison EIEot( Rachel Gledhill Neil Edwards Adrian Robinson Reeds Tony Darren Tre\'or Aimes KeyboardslHarp Mark Ste\-ens Bass Richard Majors Skins Peter Hoare

TI,e HIYO woulJ like 1.0 thank the fbllowing for Illeir assistance in I11JJking tllis lrip p~SJiblÂŁ: Kirk/us Dirutorale oJ Educa tional Services; Huddersfield Yom" Orchestra.> Pa rem Teacher rusocim ion; William & Gly'!'s Bank Ltd, Hllddersfield; HarlSoll Europa.

.35

r '

Congratulations and best wishes to all those taking part in the Schools Prom ... from the Musicians' Union The Musicians' Union welcomes the upsurge of interest in music making of all kinds by young people. Professional musicians play a large part, as teachers, in helping to develop the skills of young performers, and a large and well-informed body of amateur music makers is one of the surest guarantees of audiences for the work of the professional musician as a performer.

There are many serious problems affecting musicians t oday in the areas 01 both training and employment; only by working together can we obtain any guarantee of jobs for the talented, maturing musicians that you are hearing tonight. Those who are fortunate enougl to enter into a professional career will receive a welcome into our ranks and ar assurance that the Musicians' Union wil 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 M,usicians Chairman, Confederation of Entertainment Unions Deputy Chairman, National Music Council of Great Britain Member, Executive Committee of the International Music Council

36

List of Performers JENNY'S ACCORDIONISTS Conductor: ]ennifer Neal Age range of performers: 10-18 years

1st Accordions Antony Neal (Soloist) Melanie Salmon Deborah Ridpath Susan Warren Catherine D'Silva Shaun Bryant Marion Ahmed Darren Courtney 2nd Accordions Jonathan Hallett (Soloist) Jonathan Levett Deborah Patrick Caroline Holland Adam Bell Andrew Goodey Anita Hawkins 3rd Accordions Suzanne Shaw (Soloist) Lucy Stimson

Jacqueline Clifford Christine McElroy Rita Hunt Judith Cummins 4th Accordions Christopher Neal (Soloist) Michael Latter David Bobby Tracey Lateward Electronium Karen Matthews Basses Sharon Amos Elizabeth Langton Percussion Alexander Neal Sandra Smith Alan Gifford

KING EDWARD VI SCHOOL SENIOR ORCHESTRA Conductor: Peter Cross Age range of performers: 11-19 years First Violins Anthony Marwood (Leader) Vivienne Mathews David Smith Julian Malton Joceline Triner Deborah Archer Sally Belsham David Mercer Hazel Keelan Daniel Sharp Andrew Dodd Amanda Tenneson Second Violins David Barker Suzanne Reeves Emma Brown Catherine Lloyd Christopher Gibson Helen Borne Jonathan Evans Gail Osmaston J ulian Field Philippa Stillwell Nicola Tenneson Emma Field Violas Bridget Carey Andrew Smith Hilary Cheek Fiona Bonds Neil Meader Katherine Holden Ann Bevitt Cellos Edward Langford Deborah Archer Emma Manders Fiona Hovenden Stephen Coles Diane Taylor William Longhurst David Campbell Katie Brown Double Basses Keith Saunders Ivan Moody Flutes Keith Saunders

David Borne Emma Brown Philippa Osmaston Rachel Field Stephanie Jones Mark Pike Oboes Rachel Prosser Judith Burg Kathryn Hale Angie Holden Richard Fagg Clarinets Susan Cubbin Michael Watkinson Clare Foley , Susan Knight Sus an Johnston Annette Reeves Bassoons Nicola Kendon Catherine Gray Martin Greenwood Sarah Boucher Horns Michaela Betts Jeremy Gildersleve Loma Speaight Rebecca Stubbs Trumpets Matthew Hall Joanne Strudwick Alison Smart Luc)" Longhurst Trombones Mark Reed Philip Ta~ lor Percussion Da\ id Alexander Paul Withams Russell Newton

KIRKLEES YOUTH ORCHESTRA Conductor: Nicholas Smith Soloist: Clare McFarlane Orchestra Manager: Maurice Ashworth Tutors: Kenneth Raffir:ty (First Violins); Slle Wood (Second Violins); Christine Hoare (Violas); Eric Cooper (CelJos); Peter Leah (Double Basses);]oe Elt011 (Woodwind); PIIII Meiklejohn (French Horns); Nomfan Dyson (Trumpets/Trombones); Roy Powell (Percussion) Age range of performers: 11-21 years

First Violins David Sigsworth (Leader) Alison Lockwood Helen Leach Julie Richmond Susan Oldfield Joanne Kewley Fiona Watkinson Pauline Leonard Rachel Stead Kathryn Wilkins Catherine Davey Andrea Summers Carl Biedukiewicz Olwen Heylings Second Violins Deborah Collison Michael Jessop Beverley Nelson Debra Haigh Joanne Moxon Louise W orthington Aisling McMahon Maureen Allt Louise McCracken Katrina Rafferty Paula Richmond Jus tine Clegg Jill Denvers Ursula Pufal Monica Walsh Elizabeth Turner Julie Pearson Violas David Tittensor Karen Thorpe Suzanne Wilson Elizabeth Richards Victoria Cowling Christine Bell Paula Gaunt Christopher Clancy Joanne Glaiser Anne Winder Sarah Leach Cellos Deborah Moran Alison Black John Stead Angela Jenkins Claire Higgins Claire Wilkins Felicity Burhouse Rachel Wilson Sally Black Susan Davidson

Kay Robinson David Walsh Basses Nicola Stables Carol Swailes Stephanie Kenworthy Elizabeth Sandland Philip Goddard Martin Lowe Elinor Green Nicola Walker Flutes Suzanne Hawley Kate Collison Richard Hubbert Lisa Carey Oboes Anna Bearne Helen Bretherick Matthew Brook Stella McCracken Clarinets Joyce Gilbert Nigel Ellis Catherine Smith Helen Lee Bassoons Gillian Naylor Sarah Winn Freddie Theo French Horns Douglas Briggs David Wilson Judith Wright Elizabeth Kershaw Janus Wadsworth Trumpets Julian Wightman Stephen Lenton John Blackshaw Trombones Bruce Jones Andrew Kemp Andrew Sellars Percussion Sallv Shaw Eryl Roberts Helen Crayen Harp Mark Steyens Tuba Owen Smith

THE LEANDER TRlO Tutors: Robin Sold.m (Flute'!

Carmen Harller (Piano) Age range of performers: 1&-18 years Flutes Linda Roberts Helen Brew Piano Neil Kelley

37

CONTACT

INTERNATIONAL CONTACT for VISITS, TOURS and EXCHANGES OVERSEAS

INTERNATIONAL CONTACT has been pleased to assist with arrangements for overseas visits and exchanges for the groups below in the countries listed in the last two years. LET US ASSIST YOUR GROUP NOW TO TRAVEL TO THESE OR OTHER COUNTRIES.

Rochdale Youth Orchestra Cumbria: Dance for Joy Stevenage Youth Orchestra Clackrnannan District Youth Band Canada Turnford School Operatic Society Bromley Schools Concert Band Derunark Bromley Schools Chamber Orchestra France Aylesbury Youth oncert Band Gennany Northhampton CounlY Youth Orchestra Stamonbury Youth Brass Band City or Belrasl Youth On.:heslTa LanL'llshirc Schools Symphonic Wind Band Dumbarton Wind Ensemble Young Violinists - East Herts.

Hong Kong North East Ulster Schools Symphony Orchestra Italy South Glamorgan Youth Wind Band Netherlands Hastings Area Youth Orchestra Rochdale Youth Orchestra Sweden Daniel Stewart and Melville College Pipe Band U.SA Ocho Rios Steel Band Oulder Hill Choir and Orchestra, Rochdale Malvern College Choir South Glamorgan Youth Brass Band Tonbridgc School C hoir Huddersficdd Senior Youth Orchestra Shropshire Schools Symphony Orchestra U.S.S.R. Hertfordshire County You th Choir Yugoslavia Leicester Orphean Youth Orchestra Cumbria: Dance for Joy In 1982 International Contact will organise the following Festivals in Britain which are open to British Music Groups: Harrogate International Youth Music Festival April 7-H Shrewsbury International Youth Music Festival July 1-t-21 Aberdeen International Festival of Music and August 10--22 the Performing Arts

Austria Belgium

For further information concerning these and other overseas exchange and visit possibilities please contact us during the interval

BOX 38, Grand Tier or w~ite for information to:

INTERNATIONAL CONTACT 38

17 Bemers St., London WIP 3DD Telephone: 01-6363506 Telex: 21732

List of Perfornters PENWEDDIG VOCAL AND INSTRUMENTAL ENSEMBLE Tutor/Conductor: Arwyn jones Age range of performers: 13-17 years

1 1

1st Violins Rhian Thomas (Leader) Bethan James Anwen Morgan Wendy Lucas 2nd Violins Janet Evans Manon Davies Gareth Iran Viola Elin Morris Cellos Gwen Hughes Dafydd Davies Double Bass Matthew Trow Harp Eria Lyn Jones Percusssion Delyth Wyn Roberts Flute Ann Myfanwy Jones

Oboe Jeanette Lucas Clarinet Sian Eleri Thomas Bassoon lwan Morris Horns Dafydd Rhys Jones Carwyn Williams Trumpet Tudor Thomas Trombone Emyr Pugh Evans Voices Bethan Dudley Davies Hilary Williams Roseann Lloyd Mererid Hughes Eirian Dyfri Jom:s

SOLIHULL SIXTH FORM COLLEGE BRASS gUINTET DIrector: Roy Heartfield Age range of performers: 17-18 years

Trumpets Jayne Bames Brian Thomas Horn Julian Faultless

Trombone Jane Breeze Tuba Wendy Davis

SOLIHULL YOUTH JAZZ ORCHESTRA Musical Director: Roger Harris Age range of performers: 13-19 years

Trumpets Mark Cleaver Jason Williams Neil Harsant Philip Danter Karen Gimson Trombones David Hopkins Jane Breeze Neil Lewis Lee Thomton Tuba Wendy Davis Saxophones lan Smith

Jane Peters Denise Miller Stephen Bird Dawn Wollaston Keyboards Andrew Freeman Bass Guitar Mark Oliver Guitar Philip Danter Drums lan Blick

(Bassoons); Valerie Smith (Horns); Philip Corman (Trumpets); Ian Morrish (Trombones and Tubas); William Kitto (Percussion) Age range of performers: 13-19 years

1st Violins Cheryl Brown 1(C L d ) Janice North J 0- ea ers Warwick Mayall Megan Pound Laura Peckham Lorna Powell Vicky Tomlinson Anne Lawes Gillian Walker Michaela Terry Denise Powell Joanna Parker Richard MayalI Emma Briggs rouise Francis Indru Shahani 2nd Violins Susan Gritton (Principal) Catherine Rowland Allison Aldridge Edward Saunders Lisa Betteridge Leonie Weare Caroline Beaumont Pamela Kraus Catherine Miller Hazel Page Ann Walker Miranda Rogers Kathryn Bowler Sarah Barker Kirsteen Scott Rebecca Rees Violas Rachel Bolt (Principal) David Turner Briony Nelson Nicola Goddard Lucy Hill Timothy Connett Ruth Allanson Emma Silver Sarah Chubb Jennifer Densham Cellos Caroline Jameson (Principal) Alison Lawrence Sally Hide Jenny Goddard Graham Rix Elisabeth Baker Pauline Masurel Martin Croxford Selina Moore Judith Connect Caroline Stone Brigid Herten Janet Powell Virginia Jagger Double Basses Margaret Andre __ s PrinoFal Glennis Starling Maura .\kGea;;y

Achim Azeez Melanie Barker Sarah HowelIs Josephine Golder Hilary Macdonald Flutes Caroline Howard lan Clarke Vivian Jones Louise Barron Piccolos Vivian Jones Caroline Howard Oboes John Cross man Helen Bird Margaret Kennedy Vanessa Maberly Clarinets Neyire Ashworth Sus an Goodall Barbara Wyllie Heidi Douglas Elizabeth Caton Bass Clarinet Elizabeth Caton Bassoons Max Elvidge Suzanna Matthews Holly Makins Kaye Thompson Contra Bassoon Sarah Morley Horns Emma Palmer Claire Dunning Tim Warner Michael Simmons Graham Johnson Richard Pearce Frilly Robertson Trumpets Wendy Pawsey Lindsay Mams Paul Miller John Ewens Trombones Simon Caldwell Duncan Reynell Bass Trombones John Mears Madelaine .\ 1und y Tuba Andrew Poccerton Percussion ~iel .\hrshall Steyen Hiscock :\ndrew '\hrtin Simon Connor Richard Benianeld :\ndrew Rogers D"\'ld Lodge

TAUNTON RECORDER QUARTET SURREY COUNTY YOUTH ORCHESTRA Conductor: Ernest Mongor Orchestra Manager: Philip Gonnml Tutors: Richard England (1st Violins); Carl Leu'is (2nd \- io linsj: lames Richmond (Violas); .'..fall~em 1.0, ell (Cellos); Philip Batten (Doubte Basses); WmJy Berry (Flutes); jOQnnQ Lees (O boes); DuekjonE5 (Cb rinets); ZOIrOIl Lukocs

T uror: D c ~g:.L' ..L Shepherd :\ge r" nge 01 pert-ormers : 13-15 years Helen Reid ,Descant) Susan lie<; (Treble) .\1artin Adams (Tenor) Nicola Tarr (Bass)

39

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40

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FROM ALL GOOD MUSIC SHOPS

List of Performers TROUBADOUR HARP AND RECORDER ENSEMBLE Conductor: Delyth Evans Tutors: Delyth Evans (Harp); Ann Morgan (Recorders) Age range of performers: 10-11 years

Harps Nia Rowlands Rhian Evans Rhian Phillips Carwen Hughes Meinir Morgan Recorders Glesni Thomas

Angharad Roberts Dwynwen Hywei Esyllt Morgan Davina Evans Ffion Williams Ceris Hughes Sarah Swift Alwen Davies

TURKHEIM SCHOOLBAND Conductor: Klaus Ammann Age range of performers: 16-21 years

Trumpets Werner Roch Winfried Roch Ludwig Eichinger Thomas Spindler Rosi Prestele Conny Riedl Michael Ackermann

Guitars Peter Dempfie (lead) Robert Ackermann (rhythm) Bass Bernard Rohfieisch

Trombones Adalbert Keller W olfgang Eberle Christian Sirch Saxophones Herbert Beigl Christian Bleyer

Keyboards Daniel Zweig Jacqueline Pohl Drums Alexander Merbeler Percussion Ulrich Heiler

Marcus Dahlheimer Franziska Wimmer

WAKEFIELD METROPOLITAN BAND Musical Director: Les Heppleston Age range of performers: 13--19 years

Solo Comets John Dickinson (Principal) John Parkinson Michael Goalby Mark Busby Jonathan Gledhill Soprano Cornet Stephen Wood Repiano Cornet Adel Sellers 2nd Cornets Stephen Peacock Neil Warren 3rd Cornets Helen Turner Christine Turner Flugel Horn Michael Hudson Solo Horn Donald Cheese man (Principal) 1st Horns Andrew Schofie1d Adrian Green 2nd Horns Kathryn Wood Ian Bell 1st Baritone Anne Mottershaw 2nd Baritones Richard Gosney Jill Taylor Solo Euphonium Robert Blackburn (Principal) Euphonium Richard Renshaw

Solo Trombone Philip Judge (Principal) 1st Trombone Michal Warren 2nd Trombone Christopher Hirst Bass Trombones Steven Dobson Fionna MacColl EE~Basses

Richard Preston (Principal) Philip Mottershaw Mark Hinchcliffe Michaei May BB~Basses

Rade Lukic Nige1 Turner Percussion Jason White1ey Janet Goalby Elizabeth Dunbar

WAKEFIELD METROPOLITAN WIND ORCHESTRA Conductor: Julian Hall Tutors: J. S. Hall, T. Watson, N. Street, R. C . Thorpe, S. Smurthwaite, C. Bainbridge (Woodwind); L. Heppleston, D . Wilby, D. Rhodes, G. Merkin (Brass) Age range of performers: 11-19 years

Flutes Ennis Abson R. Hubbert J. Gill J. Seilley A. Thomas K. Rudd G. Sidwell P. Combs L. Johnson H. Garbett Oboes L. Thackray S. Rollinson H. Bailey F. Leadbeater Soprano Clarinet D. Green 1st Clarinets S. Barnes S. Jackson R. Garbutt J. Mayfield C. Holley C. Clarke S. Yates L. Lowe L. Walker J. Ward 2nd Clarinets L. Thompson W. Ransome C. Pinchen S. Hemmingway J. Wallbank K. Bednall L. Pottage S. Smith J. Ogden 3rd Clarinets R. Carpenter A. Bacon K. Ball P. Matthewman R. Thorpe S. Thorpe M. Young Alto Clarinet T. Orrell Bass Clarinets K. Bednall J. Runnett Bassoons J. Boutle P. Haigh K. Rogerson Alto Saxophones S. Hanks T. Hayw ood H. God ridge Tenor Saxophones :\. Da\路ie5 .\ I. Coh'i1le Baritone Saxophone J. Gtbhn Horns D. Chee5eman P. .\1ayfield R. La;e F. Walker

J. J.

A. Green E. Bell A. Winship Cornets J. Dickinson A. Sellers S. Peacock A. Whitaker H. Turner C. Turner T. Luckman R. Holcroft M. Hudson I. Walton Trombones P. Judge M. Warren F. McColl C. Lowe S. Dobson S. Capey Baritones R. Blackburn J. Chambers I. Thorpe R. Renshaw Tubas R. Preston M. May J. Dunhill J. Gough String Bass C. Harrison Timpani K. Bell Percussion S. Waring I. Whiteley K. Hubbert

41

Good Wishes to all taking part in the Schools Prom from

THE INCORPORATED SOCIETY OF MUSICIANS the professional association for teachers and performers engaged in Music

Details of Full Membership Associate Membership and Student Membership from: The General Secretary ISM, 10 Stratford Place London WIN 9AE (01-629 4413)

TilE//vCORPORATEOSOClETYOf

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List of Performers WALLACE FIELDS MIDDLE SCHOOL Conductor: Andrew Scott Assisted by: Gill Bradshaw (Gym and Dance); Beryl Oram (Recorders); Frances Crowley and Margaret Palmer Age range of performers: 11-13 years

Band Robert Meredith (Trumpet, leader) Amy Clarke (Violin) Sarah Snashall (Cello) Rachel Harwood (Piano) David Eaton (Accordion) Leesa Green (Glockenspiel) John Evans (Guitar) Mark Allis (Drums) Tappers Hayley Clark Loraine Cooper Lisa Donavan Kirsten Marshall Flappers Sarah Cooper Lydia Dann Petra Helm Jacqueline Heym Emma Marks Silln Morse Caroline Robinson Caroline Sainsbury Catherine Stafford Morag Wyllie Stephen Chartres Harvey Futcher Sean Harvey Fraser McFarlane John Medhurst Matthew Merchant Craig Millard Elliot Owens

Christopher Ramsay Stephen Stringer Matthew White Mandy Sibley Preacher Clement Courtney Bouncers Emma Pike Nicola Wiles Helen White The Cops Michael Craddock Martin Price Recorders Clement Courtney Petra Helm Andrea Jones Ingrid O'Donnell Caroline Sainsbury Morag Wyllie Leesa Green Kirsten Marshall Caroline Robinson Stephen Chartres Bar Hangers Richard Bailey Alison Baldwin Russell Clarke Alison Crawford Ben Kavanagh Paul Skull Zoe Walker

WALSALL YOUTH JAZZ ORCHESTRA Musical Director: John Hughes Assistant Director: Graham Nock Age range of performers: 13-19 years

Trumpets Mike Venn Karen Blakemore Richard lies Martin Shaw Michael Taylor Sarah Howdle Trombones Richard Ho11ingsworth Clare Donnellan Tania Morley Nicola Harber Saxophones/Flutes Julian Crook Alan Ladds

Robert Dickens Charles Wright Wendy Stone Sally Lacey Piano Nick Purnell Guitar Marcus Burton Bass Guitar Esther Green Drums Peter Cater Percussion Sue Edwards

WANT AGE SIXTH FORM COLLEGE Tutor: Douglas Lamb Age range of performers: 18--19 years Sarah Turberfield Heather Audus

THE WILLIAM RHODES SCHOOL BAND Conductor: David Windle Age range of performers: 11-18 years

Cornets Amanda Shaw Martin Swann Martin Long Alan Haigh Nige1 Turner

Alan Madin Nige1 Bunerill Joanne Newman Sarah Shore Lisa Jones Andrew Kellett

Sarah Taylor Caroline Bell Karen Shaw Linda Bradley Glyn Lomas Ian Davies Flugel Horn Linda Hicken Tenor Horns Stephen Taylor Katherine Mellor John Goodwin Julian Turner Colin Fry Trombones Charles Barber David Palfreyman Margaret Moore Rache1 Buxton Guy Burrows Baritones Joanne Wallace Christopher Slack

Wendy Love Jonathan Bell Euphoniums Tracey Marshall Neil Worsencroft Mark Wilcockson E~Bass

Anthony Power Nigel Bunting Gary Warner Stephen Pickup Tony Edwards B~Bass Patrick Power Peter Smith Marcus Marsden Percussion Jeremy Newman Malcolm Fredrick Mark Brassington Fiona Goodwin Anthony Shaw

YOUNG RECORDER PLAYERS OF LONDON Conductor: Brian Davey Piano: Simon Howat Double Bass: Andrew Crowdy Age range of performers: 9-19 years Dido Armstrong Karen Baker Kirsty Baker Emma Barnard Caroline Butler Nicholas Carter Russell Caton Suzanne Cook Annabel Crook Anna Dain Caroline Davis Lynn Davis Janet Davis Gareth Deats Noleen Dignan Alex Dobson Alison Dillon Paul Dorrian Sarah Evans Helen Field Elizabeth Gait Fiona George Anna Gilmore Candy Green Penny Hall Janet Harper Paula Haley Sian Holding Jo Honigmann Mandy Howard Francesca Hutchings Lisa Ingle Ewa Kapusinska Angela Kearns Clemency Keegan Meris Lancaster Justine Lattimer Kate McAllister Brendan McCarth ~ Lucv McCarth\ Richard O'Connor Andrew O'Connor Sarah Oxle\' Sonia Panchen Denise Parker Kat} Pinel Nicola Prosser Ann Rogers GiIlian Rowe Caroline Sandford

Joanne Sandford Catherine Saunders Charlotte Serpell Fiona Simpson Joanna Sims Jackie Skillett Deborah Smith Amanda Smith Simon Smith Katie Stone Joanne Stopp Lynnette Taylor Nikki Tomlinson Kate Topping Helen Upton Mandy Wallbank Sharon Ward Susan Wilson Theresa Wilson Amanda Wright

43

A SPECIAL WELCOME TO MEMBERS OF

THE TURKHEIM SCHOOLBAND C F

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C H A N G E S

EDUCATION

SERVICE

brought groups to play at the Schools Prom from the USSR . . . 1977

the US . . . 1978

India . . . 1979

France . . . 1980

and provides international assistance to young people and the performing arts.

Teachers, LEA administrators, advisers, inspectors, heads of school and college, and leaders of all kinds of arts groups can turn to our Arts Education Service for help with Links with schools, colleges and arts groups overseas Tours and international exchanges Study visits for UK and overseas specialists in arts-in-education and administration Seminars and workshops Advice and information on travel. budgeting and exchange methods

The Central Bureau is an official agency responsible to the Department of Education and Science, the Scottish Education Department and the Department of Education for Northern Ireland for the development of contacts, educational cooperation, visits and exchanges with other countries. Its primary task is the enrichment of the UK education system . It works with all parts of the world in virtually all educational fields including the arts, sports and recreation, schools, colleges, universities and adult education, the handicapped, young workers, teachers and administrators . It administers official UK and international schemes and is the world pioneer in many forms of educational cooperation and exchange .

Seymour Mews House, Seymour Mews

London W1 H 9PE Tel 01-486 5101

3 Bruntsfield Crescent, Edinburgh EH10 4HD

Tel 031-447 8024

16 Malone Road, Belfast BT9 5BN Tel 0232-664418 9

AND SPECIAL THANKS TO TIMES NEWSPAPERS & COMMERCIAL UNION FOR MAKING THEIR VISIT POSSIBLE 44

Association of Music Industries Barclays Bank Birds Eye Food British Broadcasting Corporation Brooke Bond Uebig Burndept Electronics IBM Kodak The Lesser Group of Companies Marks and Spencer National Girobank The Occidental North Sea Consortium U'Jccidental of Britain; Allied Chemicals (GB); Thomson North Sea; GettyOiO .

The Piano Manufacturers Association The Rank Organisation Rent-A-Plant Times Books On behalf of the young musicians the Schools Prom thanks the above companies and associations for their generous donations and guidance in helping to make possible this year's concerts

For tomorrow's musicians today