Interviews, Articles, Competitions, Concerts and more!
Editors Notes An Interview... with the Headmaster, Mr Heard Sirtaaj G (4a)
Lunchtime Recital: Instrumentalists and Pianists
Lunchtime Recital: The Choral Scholars
The Gala Concert Featuring....
Brass Band: 2024-’25 written by Mr Costin
Concert Orchestra: Mrs Jackson, Mr Eadon
Concert Orchestra: Mr Davey, Mr Costin
Wind Band: 2024-’25 directed by Mrs Jackson
Swing Band: 2024-’25 directed by Mr Marks
Symphonic Strings: written by Miss Allen
Chamber Choir: directed by Mr Eadon
Patrick Shelley the winners and info...
Patrick Shelley the adjudicator, Alex Standing
Early Evening Jazz change of director, change of plans
Articles... stories, facts and tunes...
Tune of the Term: The Dream of Gerontius
Tune of the Term: The Dream of Gerontius
The works of Williams written by Nathaniel B (4e)
Knowing your Voice a story by Mr Payne
Composition Change
The Final Week... written by Miss Allen
Thanks.... to all that helped ft. Chamber Choir written by Ollie M (Org.Sch)
Leavers Concert an emotional, but fun evening...
Closing Notes.... Mr Eadon, Director of Music
Welcome
After quite a successful first edition of The Blue Notes, I now present to you the second edition.
Throughout this edition you will see highlights from concerts, including the Gala Concert and weekly Lunchtime concerts. Articles written by various teachers and pupils, interviews and more!
This edition of the Blue Notes consists of more articles ranging from Pupils and Teachers as well as interviews from an adjudicator from the Patrick Shelley Competition
With this second half of the half-term being quite busy for the Music School, this means that Ensembles, Choirs and Orchestras have all been busy preparing for the Gala Concert for the end of the year
This edition shows a great sense of how the school really comes together during the end of the year and how music can play such a big part in this around Concerts, Leavers Events and Commem.
Happy reading!!!
Sirtaaj
G (4a) - Editor
The Blue Notes - Edition 2 - Sept ‘25
Mr. Heard Sherborne Boys’ Headmaster, Exclusive interview with...
Interview by Sirtaaj G. (3a)
How would you describe the current strengths of Sherborne’s Music Department?
I am not a particularly talented musician or the Director of Music! But from the perspective of a Headmaster I would probably say it is the breadth of what goes on and the variety with all of the concerts and recitals, band and ensembles.
I think it’s great that what ever genre a student likes, whether it be jazz, classical or pop, they all have a route that they can take. The fact that we have top musicians at the school and participating in music is considered as ‘cool’ is a real accolade and is indicative of the dedication of the Music department.
Are there any musical values or traditions which have stood out to you since you ’ ve joined Sherborne?
In terms of traditions, the link with Sherborne Abbey Festival is brilliant and the way the community feel we are part of the town I want to continue to welcome our local community to attend events at School wherever possible
House Singing is a great w their Houses, and is somet
Going back to values thou and its great to see so man school
Do you think that there is identity which represents
There are lots of different lucky with since joining is I am also a really big fan o music, I don’t think that t it down to.
What has surprised you the most about Sherborne’s Musical life since joining?
The quality and the extent and the fact that there is so much on Also that students enjoy it and are really confident to perform I knew music was something that was strong at Sherborne but I didn’t realise how amazing it really was
Do you have a particular relation to music? Did you play a musical instrument?
I love listening to music, and don’t mind what it is; sometimes I listen to Jazz, or Rock, or pop or classical, but I like good music I do enjoy listening to film scores and composers like Hans Zimmer and John Williams
I played the flute when I was younger but only got to Grade 3 before I stopped I was also a chorister and sang for many years and really enjoyed it I also have sung a few pieces at my old school to entertain pupils!
Has there been a certain performance that you have watched which has shocked you from what you ’ ve seen before?
I think Ian L (L6d) is a very talented pianist, I really love his manner and the attitude he gives to music when he plays, but equally I love listening to Sam B (U6f) singing and the variety within the top level students we have here at the school
ong(s) which you listened to anyone inspire/influence you ?
Beatles when I was younger and I listen it’s fun finding different playlists on musicals
With the first of the Lunchtime Recitals beginning after half-term, a large number of boys were in Exams so the audience were treated to tunes by the Third Form!
Throughout the concert, complex piano pieces, beautiful duets from Violin and Piano and even a bit of jazz on the Flugel Horn were heard by audience members, and they loved every moment of it
On the piano performances took place from Manu M (3g) who played Sonata alla Scarlatti, Nathaniel B (3e) who played Orage, Luke A-D (3b) who played Romance sans paroles, Perseus W (3c) who accompanied Jethro W (3m) on the violin as they played a beautiful rendition of Pachelbel’ s Canon in D, Sirtaaj G (3a) played Autumn Leaves on the Flugel Horn which was accompanied by Mr Marks on the piano. To finish off the concert we were able to see another performance from Perseus W (3c) as he played a solo performance on the piano of Schubert’ s Impromptu, Op. 142, No. 2
The concert was a great c off their skills while the exams, study leave and th the third form are able t group, duet or soloists.
The next lunchtime recital will be...
“Meet
On September 12, 1.45pm, Cheap St. Chu
Friday Lunchtime Recitals
The Choral Scholars
13 June 2025 1.45pm, Cheap Street Church
The Last of the Lunchtime Recital Series of the year came to an end and closed with Choral and Organ Scholars. A team of four members who help with the daily life and running in the music school, sing with Choir at weekly Abbey services, helping to keep music lessons running smoothly and become top professionals at running the printer in the Music School for Miss McCormick's busy schedule of getting programmes ready each week.
Throughout the concert we were able to see all talents from all four scholars; including organ playing from Ollie M (Org Schl) , Piano playing and accompaniments both from Archie W (Org.Schl) and Ollie M and singing from both Reuben F (Chr.Schl) and Sophie N. (Chr.Schl)
To open the concert, we heard a performance from Sophie N on the voice, as she sang ‘From rosy bow’rs’ accompanied by Archie W, originally written by Purcell.
After which we then heard from Ollie M on the Organ who performed Stanley’s Voluntary, Op 6, No 2 which really showed his ability for playing on the Organ.
As we returned back to voice, we then heard performances from both Reuben F and Sophie N. Reuben performed Faure’s Les roses d’Lsaphan, Op 39, No 4, and Schubert’s Erklkonig, Op 1, both of which were accompanied by Mr Davey who showed of his extremely well practiced and professional tremolo skills.
Sophie N performed here last piece from Mozart’s Cosi fan tutti and she sung ‘Una donna a quindici anni’ accompanied fabulously by Ollie M.
As we moved onto the end of the concert, we were able to see an outstanding performance take place from Archie W as he played Haydn’s Piano Sonata No 18 in F Archie played three movements consiting of the following below:
i Allegro moderato
ii Larghetto
iii Presto
And finally, to close one of the most rewarding Lunchtime concerts of the year was Ollie M on the piano who played Chopin’s Etude, Op 25, No 7 which really showed of his technical ability throughout the concert on both the Organ and Piano
Next year Sophie will study Music at Belmont, Nashville, Archie moves on to Durham where he will also study Music, Reuben goes to Durham to study PPE (Philosophy, Politics and Economics), and Ollie will study Politics and International Relations alongside an Organ Scholarship at Exeter! We wish them all the very best
This year the Gala concert consisted of many bands, choir groups and ensembles This included: The Wind Band, Concert Orchestra, Symphonic Strings, Sherborne Boys ’ Chamber Choir and Brass Band
Furthers to this, articles have been written about the viewing of this years ensembles and their further performances in the Gala Concert where they finished of the 2024-25 Season at Sherborne
The Blue Notes
Sherborne School Brass Band
2024-2025
Season:
The Blue Notes
Article written by Mr Costin Brass Co-ordinator
This year, the Sherborne Boys’ Brass Band once again delighted audiences with an impressive and varied performance schedule The talented line-up featured:
Trumpets: Archie G (U6f), Hugo T (U6d), Luke A-D (4b), and Sirtaaj G (4a) (with Organ Scholar Ollie Macmullan adding his exceptional musicianship)
Horn: The accomplished Louis R (L6e) Trombones: Archie S-B (U6f), Jack M (5a), and Edward K (5g)
Euphonium: The gifted Ianto D (4f)
Tuba: The superb Oscar B (f.25)
As the festive season approached, the band brought warmth and cheer with their carol medley at the Mince Pies Chamber Music Concert (6 December) and the Sherborne Festive Shopping Day, captivating audiences with their rich, resonant sound. Members of the band also provided memorable descants for the Carol Services
A standout moment came on 31 January, when the ensemble delivered a magnificent rendition of Shostakovich’s Second Waltz The piece proved so popular that it was reprised to great acclaim at the Gala Concert
The Abbey Music Festival (2 May) provided yet another opportunity for the band to shine, as they performed Gigout’s Grand Chœur Dialogué, accompanied by Organ Scholar Ollie Macmullan on the organ a truly memorable collaboration
Beyond the ensemble’s collective successes, individual triumphs abounded most notably, Oscar B’s exceptional achievement in attaining his ATCL diploma on tuba with Distinction, a testament to his dedication and talent.
The band’s continued quality was nurtured by the expert guidance of brass teachers Miss Whitmore and Mr Nordin, whose commitment to musical excellence was further highlighted by Mr Nordin’s excellent trombone recital as part of the Tindall Recital Series.
It has been another notable year for the Sherborne Boys’ Brass Band, filled with strong performances, well-deserved accolades, and the ever-growing musicianship of its members.
Pg.8
Sherborne Boys’ Concert Orch.
Directed by Mrs Jackson, Mr Eadon, Mr Davey and Mr Costin
This year the Concert Orchestra was directed by Mrs Jackson, Mr Eadon, Mr Davey and Mr Costin, with each conducting a piece. With the orchestra being a large part of the Gala Concert is was expectedly led by the most talented Violin player, Marc F (U6a)
The Five Courtly Dances conducted by Mrs Jackson Head of Instrumental Studies
One of the 4 pieces, conducted by Mrs Jackson, was the Five Courtly Dances, composed by Britten and featured in Gloriana. These pieces showcase many technical and complex tunes which the Woodwind and String players showcase throughout the song. The Orchestra played movements including The March, which starts off with a complex drum solo, given by Matthew W (U6d). The next movement leads us onto the Coranto which is set in a ¾ time signature and is best described as a ‘running and sliding’ dance.
Finlandia conducted by Mr Eadon Director of Music
The second piece, is conducted by Mr Eadon, the piece chosen by him was Finlandia by Jean Sibelius. Finlandia is a symphonic poem composed by Jean Sibelius in 1899, originally created as a protest against increasing censorship and Russian oppression in Finland. Known as deeply patriotic, the piece shows the resilience and spirit of the Finnish people, with bold brass fanfares and light lines from the Strings and Woodwinds. Its central hymn-like theme later adapted into the standalone "Finlandia Hymn" has become a national symbol of hope and identity, often associated with Finland’ s struggle for independence
The Blue Notes
Sherborne Boys’ Concert Orch.
Directed by Mrs Jackson, Mr Eadon, Mr Davey and Mr Costin
The last two concert orchestra conductors were Mr Davey and Mr Costin, who both had quite a strong and bold choice of songs towards the orchestra, making the performance from Concert Orchestra extremely breath-taking.
Prelude in G Minor conducted by Mr Davey Head of Keyboard Studies and Accompaniments
The third of 4 pieces was conducted by Mr Davey. This year Mr Davey conducted Rachmaninoff’ s Prelude in G Minor.
Sergei Rachmaninoff’ s Prelude in G minor, Op. 23, No. 5 is a powerful and dramatic piano piece composed in 1901. It opens with a bold, march-like theme marked by heavy chords and rhythmic intensity, showcasing Rachmaninoff’ s signature blend of virtuosity and emotion. The central section contrasts this with a lyrical, flowing melody that reveals the composer ’ s gift for expressive Romanticism. The piece concludes by returning to the commanding opening theme, bringing the prelude to a thunderous close It's a favorite among pianists for its technical challenges and deep emotional contrasts
Pomp and Circumstance conducted by Mr Costin Head of Academic Music, Brass Co-ordinator
The final piece was conducted by Mr Costin. This year he conducted Pomp and Circumstance by Elgar.
Pomp and Circumstance is a series of military marches composed by British composer Edward Elgar, with the first and most famous of them March No. 1 in D major premiering in 1901. Known for its majestic and uplifting melody, the piece quickly became a symbol of British pride and pageantry. The central theme, later adapted into the patriotic song “Land of Hope and Glory, ” reflects a sense of grandeur and nationalistic spirit In the United States, the march is best known for its widespread use at graduation ceremonies, where its stately rhythm underscores the formality and celebratory nature of academic achievement Elgar's work remains one of the most enduring pieces in classical and ceremonial music, capturing the essence of both tradition and triumph
The Blue Notes
Pg 10
Wind Band: 2024-25 Season
Directed by Mrs Jackson, Head of Instrumental Studies
This year the Wind Band have been yet again been at hard work, under the direction of Mrs Jackson.
Performing in various Concerts including the Mince Pies concert at the beginning of the year and then onto having their own dedicated Friday Lunchtime Concert, to then finishing the year by performing in the Gala Concert. Throughout the year Wind Band have performed movie themes including:
The Flight of The Thunderbird
The Incredibles’ Theme
The God Father
The Last of the Mohicans
Pixar Movie Themes
ala Concert, we said goodbye to our strong Tuba Oscar B (f.25) and Euphonium Alex B
Section, Part of our Saxophone Jack A (e.25) and Flute Freddie S (g.25) section, as well as losing our lead Drummer Alex O-S (
.25). For their final two pieces they played a rendition of My Fair Lady, including ‘I could’ ve danced all night’ and ‘I’ m getting married in the morning’ as well as playing a classic song for all of the Trumpet Section ‘The Flight of The Thunderbird’ . As the Sixth formers move away from Wind Band a new cohort of third formers will join next year, already making Wind Band bigger for next year, where they will take up the challenge of attempting a movie night, hosted at Sherborne Girls, with a live band.
(d.25)
d
The Blue Notes
Pg 11
Swing Band: 2024-25 Season
Directed
by Mr Marks, Deputy Director of
Music
This year The Swing Band have performed at numerous events, keeping everybody in their Jazz feel and making sure nobody stops their feet from tapping.
To start of the year, under the new direction of Mr Marks, The Swing Band were already hard at work with rehearsals before performing in events such as The Mince Pies Concert, before moving over to help during the Prep Schools’ Jazz Day when they performed Mr. Zoot Suit with various prep schools’ with Sam B (U6f ) on the vocals.
After this, they then mov vocalists Alex B (d.25) and before making their big d
Once the announcement h the 14 of June)!! the the Early Evening Jazz which
After being moved into th Band and Jazz Ensemble provided a great evening for all. To wrap up the year Swing Band performed in the Courts on Saturday 28 June to send everybody off with some Jazz in their blood.
The Blue Notes
Pg 12
Sherborne Boys Symphonic Strings: 2024-25 Season
Directed by Miss Allen
Article Written by Miss Allen Head of Strings
In 2011, the late, great Bernard Haitink rehearsed the Royal College of Music Symphony Orchestra “Again Again Again, ” were his only words. By the third repetition, an orchestra that truly listened was heard. Symphonic Strings heard few other words when rehearsing Tavener’ s Mother of God, Here I Stand, arranged by the composer from his original SATB setting. With their choral training highlighting the parallels between bow and breath, the ensemble focused immediately on oneness.
In an ensemble directed from the violin – where cues come from the subtle engagement of fingers, the contact between bow and string, and the occasional lift of scroll or eyebrow – this is easier said than done. The physics of the low strings (‘celli, double bass) mean they must bow earlier; notes on upper strings speak immediately. For unified phrasing, we must also manage bow use while balancing h d i i H d hi thi h l t i il ? How softly do we dare play?
But that technique –“Again. Again. Again. ” – builds confidence. Confidence in knowing how your deskie will respond to your Principal’ s cues, while attuning your eyes, ears, and musical response. This assurance – perhaps echoing Tavener’ s own unshakeable belief – enabled a performance where harmonies could unfold, shimmer, and dissolve, the Abbey giving space for strings to resonate fully, inviting silence itself to be heard. That was week three of Term.
Since, as we look ahead to the Gala Concert and next term, the ensemble has continued its introspective work with Satie’ s Gymnopédie No. 1, joined by harpist Emerson P. Unfamiliar (unwelcome?) clefs in Gade’ s tango Jalousie cleaned the dusty end of the cellists’ fingerboards, while the violins wrestled with ricochet and famous Tchaikovsky quotes. Finally, with a creatively HIP approach, the boys – and soloists Marc F., Freddie F., and Inigo R. – explored Vivaldi’ s Concerto for Two Violins, ‘Cello, and Strings in D minor, RV 565. Subjective, of course - but all music you might want to hear again. Again. And again.
The Blue Notes
Chamber Choir: 2024-25 Season
Directed by Mr Eadon, Director of Music
This year the Chamber Choir have been extremely busy, being away on many trips and singing at many major events the Chamber Choir have really performed their best throughout the year.
To start off the year, The Sherborne Boys ’ Chamber Choir merged with the Sherborne Girls’ Madrigal Society where they sung at Winchester Cathedral, the evening was wonderful and provided an extremely strong depth of volume for all listeners. With rehearsals taking place straight after, the Chamber Choir returned back to school where they would begin rehearsals joined with the Choir for the Advent Carol Service which took place in Sherborne Abbey, with a candlelit service, a truly spectacular evening!
During that same month, the Chamber Choir were once again straight back into rehearsals getting ready for the Mince Pies Concert which was hosted in the BSR where the audience were invited by the Director of Music to come and enjoy themselves a mince pie
With the ball back rolling, the Chamber Choir weren ’t wasting any time, where they began with rehearsals once again, getting ready for a service which would take place in the Chapel, an evening of Music and Readings for Christmas
To perform in the final events of the Michaelmas term, the Chamber Choir merged back with the School Choir to perform in the Christmas Carol Services, both for the Lower School and for the Sixth-Form, where various solos were sung by different members of both the Chamber and School Choir.
At the beginning of the Lent Term, The Chamber Choir were back rehearsing ready for the Choral Society, where they joined forces with the Sherborne Girls’ Madrigal Society in Sherborne Abbey joined by professional Tenor, Tom Hobbs.
Under the baton of Mr Eadon, a professional strings orchestra was led by Miss Allen and included Marc F (U6a) from the Boys ’ School. The evening included songs such as Britten’ s Saint Nicolas and Te Deum in C as well as Vierne’ s Messe Solenelle. Swiftly moving on with out any breaks the Chamber Choir, made their way onto merging back with the Sherborne Girls’ Madrigal Society to sing a Choral evensong at Salisbury Cathedral including composers such as Phillip Radcliffe, Charles Villiers Stanford and Benjamin Britten
To round of the year, the Chamber Choir finished off by singing in the Sherborne Abbey Festival where both the Choir and smaller group; Barbershop sang Soon returning to perform Battle of the Organs, and to finally finish off an ext
The Blue Notes Pg 14
The Battle of The Organs
Feat. Sherborne Boys ’ Chamber Choir
The Chapel
Wednesday 25 June 2025
7 30pm
The Battle of the Organs took place in the School Chapel and featured the Sherborne Boys ’ Chamber Choir. The evening started off with the Chamber Choir singing C H H Parry ’ s I was Glad under the direction of Mr Eadon before moving on to the first Battle of the Organs.
The first piece played on the Organ was Prelude and Fugue in a, BWV 543, by J.S Bach and Frazer F (5f ) and Mr Eadon both battled on the Chapel’ s organs against each other, after which Frazer then played Derek Bourgeois' Serenade. The concert then returned back to the Chamber Choir who sang Poulenc’ s Salut, Dame Sainte and Tout puissant, tres saint. It wasn ’t long until the next battle would take place between Freddie Senior ATCL (g.25) and Mr Costin where they would battle against Bach’ s Toccata in d, BWV 565 then closely followed by Manu M (4g) who played Bach’ s Prelude in C, BWV 553.
Following on from this the next battle took place against Archie S-B (U6f ) and Mr Eadon as they played both Handel’ s Larghetto, HWV 580 and Lang’ s Tuba Tune Once the next battle had finished the Chamber Choir took back to the stage again with Poulenc’ s Seigneur, je vous en prie and O mes tres chers freres Following we went back to the Organ, with Organ Scholars; Archie White, who played Mathias’ s Fanfare and Ollie Macmullan who played Sumsion’ s Ceremonial March
The Chamber Choir then followed as they got some more groove into their singing with Henry Mancini's Moon River and John Kunder's; New York, New York The final Battle of the evening would be a big one, with Mr Eadon and Ollie Macmullan (Organ Scholar) playing Widor's ’ Toccata (Symphonie V) a real soaring and amazing symphony to finish the evening on THE NEO-CLASSICAL CONTINENTAL ORGAN OF SHERBORNE BOYS’ CHAPEL (1985/2012)
The two manual neo-classical organ, located in the west gallery, was built as a brand new instrument, as an historical copy of a continental organ c 1760, by Sebastien Blank in 1985 An identical instrument, both visually and tonally, was installed by him in the same year in St Gregory's Church, Cheltenham Both b ilt i 2012 th it h il t O i Sherborne Boys ’ Chapel, was moved forward to the l late Stephen Cooke
The Blue Notes
The Leavers Concert ‘25
A tribute to all of those that dedicated their life to Music here at Sherborne
The Music School Thursday 26 June 2025
7.30pm
This year the Music School said goodbye to 12 musicians in their leavers’ concert This consisted of:
Xan A(a 25)
Jack A, ARSM (e 25)
Reuben H(c 25)
Oscar B, ATCL, ARSM (f 25)
Aloysius C(a.25)
Alex B (d.25)
William A (b.25)
Thomas W (f.25)
Oliver (d.25)
Joon Sang H (f.25)
Freddie S (g.25)
Alex O-S (d.25)
Throughout the concert, these musicians performed solo pieces on their chosen instrument as well as a group of 4 finishing off the concert with a bit of jazz.
After a few drinks and nibbles, the evening first started off with Xan A playing Catherine Campbell; a traditional Scottish song on the bagpipes, which was then followed by Jack A, ARSM who played Phil Woods’, Sonata 1 Movement on the Saxophone. st
The audience then enjoyed listening to some vocal pieces from Reuben H, who sang Dowland’s Weep you no more, sad fountains, closely following was Alex B, who sung Rossini's’ Largo al factotum which is from ‘Il barbiere di siviglia’. We then listened to some Mozart where Thomas W sung O Isis und Osiris from ‘The Magic Flute’. We then listened to Schubert from Oliver who sung The Vagabond.
The final singer of the night was Oscar B, who performed John Kander’s, ‘All I care about is love’.
The Blue Notes
Pg.16
The Patrick Shelley Competiton
Sunday 22 June 2025
Tindall Recital Hall, The Music School
10 30am-4 30pm
Patrick Shelley (1943–2003) was Director of Music at Sherborne from 1981 to 1995, having taught woodwind here since 1966. He was an enthusiast who inspired many generations of Shirburnians to give of their musical best, and indeed many of them went on to careers within the music business. In 1974 he founded Dorset Opera to encourage young singers to participate in a semi-professional production each year The productions took place in the BSR during the summer holidays, until 2003, and involved boys and girls from Sherborne and Sherborne Girls singing in the choruses –with professional soloists and professional orchestra – of grand operas by Verdi, Puccini, Tchaikovsky, Bizet and others After Patrick’ s death, Dorset Opera moved to Bryanston and a Sherborne link was maintained for a while with his ex-pupils Dominic Wheeler as conductor and James Henderson as Chorus Master. More recently the opera company has become entirely professional in its annual productions. In 2007, the idea of holding an annual competition for advanced instrumentalists in memory of Patrick Shelley was that of Jenny Coultas, previously BBC Accompanist, répétiteur for Phoenix Opera and Handel Opera, and then Dorset Opera répétiteur for Patrick Shelley until 2003. Jenny Coultas joined the Music Staff in 1987 and was then Head of Keyboard and Assistant Director of Music until 2011.
This year the Patrick Shelley competition highlighted seven classes This included Piano, Woodwind, Strings, Brass, Percussion, Organ and Singing classes, all of which included over 45 performers.
With the Patrick Shelley taking place in the Tindall Recital Hall, the adjudicator and audience members were able to listen to different members in each class, with the adjudicator announcing the winner at the end of each category and the final winner of the Patrick Shelley Competition being announced at the end of the day
With each category taking place at different times throughout the afternoon, each class was awarded a highly commended runner up and a class winner, before the overall winner of the Patrick Shelley being announced at 3pm The winners and runners up of each class has been placed below:
Piano Class - 10.15am- Winner: Ian L (L6d)
Highly Commended Runner up: Benji R (L6c)
Woodwind Class - 11.00am- Winner: Ian L (L6d)
Highly Commended Runner up: Manu M (4g)
Strings Class - 12.30pm- Winner: Marc F (U6a)
Highly Commended Runner up: Nathaniel B (4e)
Brass Class - 1.10pm- Winner: Oscar Boswall (f.25)
Highly Commended Runner up: Archie G (U6f )
Percussion Class - 1.55pm- Winner: James W (U6b)
Highly Commended Runner up: Matthew W (U6d)
Organ Class - 2.10pm- Winner: Frazer F (5f )
Singing Class - 2 20pm- Winner: Oscar Boswall (f 25)
Highly Commended Runner up: Forest P (U6b), Edward K (5g)
Overall Winner of the Patrick Shelley Competition 2025: Ian L (L6d)
The Blue Notes Pg 17
The Patrick Shelley Competiton
The Adjudicator - Alexandra Standing
Alex is an active award-winning pianist and chamber musician based in London. She completed a degree in solo piano at the Royal Conservatoire of Scotland, and then graduated with distinction from the Royal Academy of Music in London. During her studies, Alex won the Marjorie Thomas Art of Song prize and the Arthur Hervey award, and was highly commended for her playing in the Nielsen prize for French Song and the Gerhardt award.
She was generously funded by the Richard Lewis Trust. In 2021 Alex performed a recital at Leeds Lieder Festival. She has enjoyed professional répétiteur work with companies such as British Sinfonietta, Waterperry Opera, Royal Academy Opera, Hampstead Garden Opera, the Royal Scottish National Orchestra and The Orchestra of the Age of Enlightenment.
Alex has collaborated with the BBC Singers, and made a recording of Jonathan Dove’ s cycle The Passing of the Year in Maida Vale Studios She has performed at venues including the Wigmore Hall and Cadogan Hall and regularly works at the Royal Academy of Music Alex is the official pianist for singer Laura Wright and completed a tour to Mexico in 2023 with her
Teaching is very important to Alex and she previously held a Head of Keyboard role at a school Alex regularly works at the Royal Academy of Music Junior department and Widening Participation programmes. Upcoming engagements include performing on The Piano Boat and for Coach House Pianos, the latter of which where she is resident pianist and ambassador.
The Blue Notes
Early Evening Jazz
New Direction, Change of Plans
With Mr Marks away from the Swing Band and Jazz ensemble, this then meant that Mr Eadon and Mrs Jackson would have to step swiftly in to lead the evening away. With the evening originally intended to take place in the Music Schools’ amphitheatre it had to be moved inside the Music School due to threating rain and wind.
Members of the public and parents enjoyed listening to the Swing Band, which for many it would be one of their last performances at Sherborne and for others a few more years were still left to secure the full run.
Th S i B d d th di ti f M Eadon for this evening only, and were joined by their two vocalists Sam B o sets Their first set included songs such as ‘Fly me to the Moon’ and ‘Mr e Jazz Ensemble onto the stage
ts, a soloist clarinet and a rhythm section made up of piano, bass, drums d a lot of improvising from both the soloists and rhythm section and creates de th di ti M J k f th i d f d l i h of w
The Blue Notes Pg 19
Harmonies, Stories and Tunes
TuneoftheTerm: The Dream of Gerontius
Article written by Mr Fisher
Expressing joy that the Soul has been safely delivered from life and that his worldly task is done, the Angel guides the Soul to its judgement in beautiful duets as the Soul pesters with many questions. We then reach one of the highlights musically, the Chorus of Demons, who try to tempt the Soul. As per usual, there is not enough space to indulge in the entire text, but I thoroughly encourage you, if you are unfamiliar, to go and read it because it is not only superb literary writing from Newman, but truly exquisite music from Elgar.
Having passed the Fallen Angels without incident, the Soul and Angel get ever closer to the Judgement Hall. Increasingly the Chorus of Angels can’t be heard through the next few sections, at first distantly just the Semi-Chorus, chanting: ‘Praise to the Holiest in the height, And in the depth be praise.’ As they pass the gate into the House of Judgement, the chanting grows ever louder: ‘Glory to Him, who evermore By truth and justice reigns; who tears the soul from out its case And burns and burns away its stains!’
The piece comes to a climax as they pass the threshold to ‘Praise to the Holiest in the height, with full choir and orchestra. The Soul and Angel proceed further, getting closer and closer to his judgement. Before they do, however, they see the Angel of the Agony, usually sung by the same Baritone as the priest but is better suited to a Bass, the Angel who comforted Jesus in the garden before his crucifixion who now in Heaven pleads for all souls who come before Jesus to be merciful, to ‘hasten… their hour.’
As the Chorus too gently pleads for the Soul, in one sudden moment the Judgement is made: the orchestra shrieks out, with Elgar writing in the score: ‘for one moment must every instrument exert its fullest force.’ But alas, the Soul is not to go to Heaven, at least not yet. He asks the Angel to ‘take [him] away ’ to go to Purgatory, singing sorrowfully, but finishes by saying: ‘take me away,… That sooner I may rise, may rise and go above, And see Him in the truth of everlasting day.’
The Angel then sings his gentle farewell, a masterpiece in its own right, graciously lowering the Soul, admiring its courage ‘without a sob or resistance.’ The Angel closes off with the Chorus lightly accompanying with their chant of ‘Praise to the Holiest in the height’ whilst the Angel sings ‘Be brave and patient, brother dear.’
Whilst its fair to say that its premiere on 7th October 1900 was, to put it mildly, quite disastrous due to unprepared choirs and short notice illnesses, and naturally the anti-Catholic sentiment of Victorian Britain, the piece is now widely regarded as one of Elgar’s best and a cornerstone of modern British great choral works. At its second performance in Germany attended by Elgar, the famed Richard Strauss toasted at the post-concert banquet: ‘I drink to the success and welfare of the first English progressive musician, Meister Elgar ’
The Blue Notes Pg.21
TuneoftheTerm: The Dream of Gerontius
Article written by Mr Fisher
England must surely be one of the most fascinating lands from a religious perspective. Don’t worry, we will get to the music, but to understand this piece one must first understand the religious complexities of England in the 1830s.
England, since the 1530s, religiously, has been a bit of a pendulum; first swinging to extremes with the Tudor succession, quietening down a bit before the Wars of the Three Kingdoms and the rise of Puritanism, and then we see arguably the last great shift: The Oxford Movement.
Now held to have been spearheaded by the Anglican turn Catholic Cardinal Saint John Henry Newman, the movement sought to bring back the ancient rites of the Universal Church and bring the Church of England closer theologically to Rome, ultimately leading to the birth of Anglo-Catholicism or High Church Anglicanism.
However, for Cardinal Newman, this was not enough personally, and in 1847 he converted to become an ordained Catholic priest, a bold move in a characteristically anti-Catholic society. It was not until the 1860s that Newman started to take up professional writing, beginning with Apologia Pro Vita Sua, outlining a history of religious views in England and his reasons for conversion.
In 1865 Newman continued his writing with the publication of his poem The Dream of Gerontius. Written in a somewhat similar vein to Dante’s Divine Comedy, the work is somewhat lacking in theological backing, but is rather Newman’s own personal feelings and beliefs of what will happen to all of us as we die and go to be judged by the Almighty.
Come the year 1898, another Anglo-Catholic was requested by the Birmingham Triannual Music Festival to write a new major work, Edward Elgar. He had owned a copy of The Dream of Gerontius since 1885, and there had been attempts to turn the poem into a great choral work previously, most notably by Antonín Dvořák, who had even met with Newman to discuss it.
The piece is divided into two parts: in Part I, an old man, Gerontius (coming from the Greek γέροντας{gérontas for those who can’t read Greek} to mean old man), is dying Sung by a Tenor, he is surrounded by his friends and a priest who come to give him the last sacraments
Gerontius asks for his friends to pray for him as his fear deepens; it begins with Gerontius pleading to Jesus and Mary, with the chorus singing a soft Kyrie Eleison. Gerontius sings a full aria and arguably the highlight of Part I, Sanctus Fortis, a long Credo sung in both English and Latin that ultimately leads to him growing more in fear as he senses ‘ some bodily form of ill… tainting the hallowed air’ as Elgar introduces us to the demons’ theme that will later return in full force in Part II.
Part I closes with the priest, a bass-baritone singing Ordo Commendationis Animae, ‘Go forth upon thy journey, Christian soul’, which is sung in a mixture of English and Latin again and culminates in a long chorus of a 12-part harmony with both the Chorus and SemiChorus joining together.
Part II opens very softly and gently with the violas leading the strings with a simple four-note phrase. Gerontius, now only referred to as the ‘Soul’, is in wonder; weightless, without ‘the busy beat of time.’ It is here that he meets the Angel, originally intended as a countertenor part but most commonly sung by a mezzo-soprano.
The Blue Notes Pg.22
TheLifeandWorksSeries: John Williams
Article written by Nathaniel B (4e)
John Williams was born in February 8, 1932, in Queens, USA. He was raised in New York and his father was a percussionist for the CBS Radio Orchestra. He stared composing at a young age and studied at the University of California, though he couldn’t study music for long as in 1951 he was drafted into the Airforce.
After leaving the Airforce in 1954 he worked as a Jazz Pianist in New York City but really started his film music career in 1959 when he composed for a movie called Some Like it Hot. After this he played the piano for Westside Story in 1962 and To Kill a Mockingbird 1962, around this time he also wrote songs for shows like Wagon Train and Gilligan’s Island. Then in the 1970’s he met; Spielberg where he asked Williams who composed for his first film, the Sugarland Express 1974 thus creating a long partnership where Williams composed for Spielberg’s future movies including Jaws, Indian Jones, etc.
He didn’t just do movies, and TV shows he also composed themes for some of the NBC network’s news programs and composed for the 1984,1988,1996 and 2002 Olympic Games. In addition to this he was also a Concert Composer and Conductor. In 1980 he became the composer for the Boston Pops, a group that regularly tours and record sometimes playing Williams’s movie scores. He also conducted for the London Symphony Orchestra and Los Angeles Philharmonic. In 2009 he composed and arranged various pieces for the inauguration of Barack Obama.
He helped compose for E.T, Indiana Jones, Jurassic Park, Schindler’s List, Saving Private Ryan and many other movies. But the most famous compositions were Star Wars and the first three Harry Potters, and he got awards for Star Wars, Fiddler on the Roof, jaws, Star Wars, E.T and Schindler’s list. But his last composition was Indiana Jones and the Dial of destiny, composing at 91 years old! A fitting end for a person who transformed an era of movie music, sometimes known for a man who defined this era.
The Blue Notes Pg.23
KnowingyourInstrument; KnowingyourVoice.
Article written by Mr Payne
When you know your musical instrument, it can become your voice, which is to say, a part of you. That’s what happened with my clarinet: a Boosey & Hawkes Imperial Clarinet (called a 926). It was wooden, and had heft. At least, it was harder to pick up when I first took it on, aged 10, and it pressed down on my thumb. But I loved it. We did grades together; I played it at a music scholarship, so that a farm worker’s son ended up with an expensive education. It’s a long story, but maybe some readers share something of it.
Later, the two of us developed a fascination with klezmer – Jewish folk music from eastern Europe – but we were neither of us quite supple enough to manage the whooping euphoria or the sliding sighs of the tradition.
ll ’d l h f d k b k f l and when I started teaching at Sherborne, twenty years ago, I brought it along. I da s and I tho ght I co ld make the e perience less of a grind for me an a b and
board where boys leave their instruments, in case mine was among them. I didn’t see it.
Recently, a friend of mine asked me to play clarinet at his birthday lunch. I explained that I did have an A clarinet (they’re slightly longer, and useful for older repertoire), but that there wasn’t much I could play on it. Still, I shlepped it to the music school, which, as you’ll know, is a glorious and recent building. Mrs Jackson let me use a practice room. I played this other clarinet, but it wasn’t my voice. The keys felt creaky, and the sound seemed croaky. But I played enough, and went back to Mrs Jackson to thank her. There are shelves next to her room. I looked at the boxes there, for old time’s sake, perhaps thinking that I should have one last look, before I go. I saw a shiny black box. Not the box of an Imperial clarinet, but something lower down the scale. But it was mine: my father had put it in a lowlier box to put people off nicking it. And he’d done something else: he’d Dymo-taped part of my childhood address onto it.
I’m sure there are morals here – about losing things, and how you can get used to life without them, but that it’s poorer. Or that you think you lose things but don’t really. I’ll let you fashion your own response. But for me, something unsettling and wonderful happened to time: yes, it stood still, but also, twenty years of it scrunched up like paper into that moment. I sobbed for a moment, while realising that I could use my voice again.
SSG:
Mr Payne will leave Sherborne Boys’ this year after serving 20 years to the school as he still stays in Sherborne but just moving over across to the Sherborne Girls where he will pursue his passion for English Literature
Payne
The Blue Notes
How is the changing design of the organ reflected in the compositions in
Germany between 1840-1940:
Article Written by Mr Macmullan
In Germany from 1840-1940, technological developments in stops and dynamic capabilities alongside a strong neo-baroque revival movement (1900 onwards) caused the design of the organ to greatly impact compositions Through Romantic orchestral organs to more intimate Baroque chamber organs, Germany’s compositions span Bach-inspired trios and fugues reflected in Hindemith and Distler to grand symphonic chorales of Karg-Elert or the huge fantasias of Max Reger.
Technological developments underpinned the capabilities of organs to take on the great demands of late romantic compositions. Throughout the period, the Rollschweller (crescendo pedal) aided the gradual changing of dynamics in compositions of Romantics such as Liszt, Reger or Karg-Elert. From bar 8 to 9 in Reger’s Phantasia on B-A-C-H or the last four bars of Liszt’s Fugue on B-A-C-H the dynamics ppp and fff are successively written. The development of thumb, toe and sfz pistons also allowed late romantic composers to have such extreme terraced dynamics without the need for a pause or gradual dynamic change. The organs of Wilhelm Sauer and Walcker during the late 19 century will have featured both pistons and Rollschweller. Also greatly aiding the romantic compositions was the pneumatic action and pneumatic lever, allowing for larger organs, dethatched consoles and a lighter touch for the performer. In Karg-Elert’s Nun Ruhen Alle Walder he asks for two different types of string stops on the great and swell in the first few bars, that shows the size and breadth of the late romantic organ. The rapid ff chromatic figure (to symbolise death’s chaotic presence) is supported by the pneumatic action as it allows the performer to more easily move through the scale and clearly pronounce each note, compared to the older tracker action. E.F. Walcker’s organ in Frankfurt (Paulskirche) contained huge choruses, quints, a 32’ reed on the hauptwerk, 14 stops on the swell and 2 separate pedal divisions. The breadth of colour in the music of Karg-Elert or Reger reflected the new style of symphonic or orchestral organs. Karg-Elert Nun Danket Alle Gotte or Reger Pascaglia and Fugue in E minor (Op.127) both contain a vast quantity of specific registration changes and dynamic variety that earlier would not be able to do. 32’ pedal reeds and a huge variety of strings or flutes stops become standard in the late romantic compositions of German organ composers.
Yet, the orgelbewegung movement, spearheaded by figures such as Hindemith and Distler, moved the compositional to centre far more around baroque-esc styles. Principal chorus’ with little reeds or strings but strong mixtures become standard registration. This emphasis on clarity leads to great polyphonic works such as Distler’s three movements of trio sonatas (Op.8 No.2) dedicated to Bach or the first movement of Hindemith’s trio sonata also being a trio sonata. Their harmonic language also greatly moved away from the impressionist or chromatic leaning works of the late romantic organ composers, which perhaps further aided the belief in clarity in polyphonic writing. Tracker (rather than pneumatic) action became a preferred style for a greater ‘feel’ for the performer. Composition centred around counterpoint and linear polyphonic movement during this period rather than broader orchestral colour. During Distler’s post in Lübeck he played on a baroque-style tracker organ, with no swell box or pistons.
The Blue Notes Pg.25
The Final Week of The Music School
Article written by Sirtaaj G (4a)
The last week of The Music School can be busy! In fact it is so busy that everything stays completely under control is what I’ve been told!
Around the last few weeks of the Trinity Term the Music School starts to enter focus mode while the other aspects of the school are still crunching down on exams, finishing the year with matches and setting up tents and things ready for Commem
With one member of the Music School away this year off having his baby and with the rest having to step in helping with the Jazz side of things as a plus one, the team of musical experts have coped very well
This is the time, where Miss McCormick starts to take control of the printer, Mrs Jackson enters a time of zen and stress free rehearsals, Mr Costin and Mr Davey get their fingers moving ready for a busy week ahead to accompany and play for various choirs and the time where Miss Allen needs to buy an extra batch of strings for violinists, cellists and the lot
While off in the big room, Mr Eadon manages to keep c ren and various members of staff in their own direction telling them to leave him son is helping Mr Eadon with her Zen and calming tactics.
From Concert Orchestra to Brass Band, Wind Band, Cho ur Music Staff working hard to keep the Music School under control, the music cking the strings, coming in at cues and all together really making each group and r
At the other end of the Music School there is still a lot chair, Miss McCormick; off busy making sure the final p g p y g dy and making sure that the Choral Scholars are ready by preparing schedules and turning up on time to rehearsals
I think that its safe to say that as a whole everybody plays a role in getting the Music School running through the final term
Whether it be Mr Costin battling with Organs, Mr Davey learning new repertoire, Mrs Jackson and her zen/stressful-free rehearsals, Miss McCormick and her beloved printer, Mr Eadon keeping everything under control and not panicking whatsoever, Mr Marks starting his new family, or even just like Miss Allen who has strings flying in her face as I write!
Everybody has a key role to play and this is what keeps the Music School and music life at Sherborne running not only in the last week of term, but all year round.
The Blue Notes Pg.24
Closing Notes...
Hopefully you have enjoyed reading the reviews, articles and interviews in the present edition of The Blue Notes. This increasingly esteemed publication proves its worth yet again with its informed opinion, balanced journalism and expertise. Sirtaaj and his team of editors have come up trumps once again. You hold a journal which makes me immensely proud to be the Director of Music at Sherborne Boys ’ . Whether you are new at Sherborne, perhaps reading this from afar or are an “old stager” there is something for everyone here. I hope that you are inspired to come and see a performance soon, get involved yourself, or get listening to some of the music discussed here. I wish you happy music-making or appreciation until the next edition of The Blue Notes!
Mr Eadon, Director of Music
With thanks to...
Mr Eadon
Mr Marks
Mrs Jackson
Miss L-A Allen
Mr Costin
Mr Heard
Mr Payne
Miss McCormick
Mr Fisher
Mr Macmullan
Mr Le Poidevin
Nathaniel B (3e)
Photograph Credit: Miss McCormick, Katharine Davies and Len Copland
The S h
Classical Music Society
Open to the Sherborne Boys’ and Girls’, Friday at 5.15-6.00pm.
