Music

MUSIC HOUSE SINGING COMPETITIONS Monday, 24th May, 1954, at 6-30 p.m. in Big Hall

The competitions this year were in many ways the most successful yet. From the point of view of competition the results were keenly contested in both classes. From the point of view of musical enjoyment the performances were often good in themselves, and often led to interesting comparisons with other interpretations of the same piece.

Mr. Francis Jackson, Organist and Master of the 'Music in York Minster, came to judge the competitions. The first piece was a light part song, "I saw lovely 'Phillis" by R. L. de Pearsall. The order of singing had been decided by lot and School House had the unenviable task of starting the evening's music. Unfortunately for them one of their middle voices had difficulty in pitching his notes and Mr. Jackson called for a second start—the only one of the evening. Manor, looking rather worried, followed, singing clearly and with good diction from memory. Inaccuracies in the tenor part cost Rise some marks, but with the first-rate performance of Queen's it was obvious that a new standard had been set. Here was the performance we had been waiting for. It was well presented, carefully rehearsed, and glittered with some of those delightful, brittle effects, almost as of plucked strings, that only experienced singers can bring off convincingly. Temple and Grove strove hard to match this standard but just failed, 'Grove just missing the light touch and Temple (surprisingly for them) actually singing some wrong notes. In his adjudication Mr. Jackson stressed the need for good intonation (i.e., singing in tune) and suggested the method of staying on one chord during rehearsal and repeating it until it is absolutely right.

A second draw had been made for the order of singing the unison song and Temple led off with a calculated performance of "Captain Lean" which somehow lacked unity. Mr. Jackson later referred to the care required in choosing the right tone-colour and demonstrated a right and a wrong way of singing a word like "peace", a focal point in that song. Manor's "Arm, arm, ye brave" was vigorous and welldrilled but taken a little too fast for such a number in such a hall. Rise's "Captain Lean" was, like Temple's, rather too literal in observance of the composer's copious expression marks : it was left to School House, who sang fifth, to show how convincing a song it can be. Queen's were second in this class with a stirring performance of Arthur Somervell's "The Street sounds to the Soldiers' tread", second only to Grove whose broad, authoritative performance of "Arm, arm, ye brave", with its uproarious and truly splendid finish, was rapturously received by the School and the Adjudicator.

This performance just gave Grove a lead over their nearest rivals, Queen's, and the Cup, for the first time, goes to them.

48

JULY MUSIC FESTIVAL First Concert

The informal concert in the Big Hall on 21st July was notable for its interesting and varied programme which ranged from a Handel Sonata to a new piece for viola and piano composed by Sutton. The latter was effective and well written, though the middle section seemed out of place after the more original and imaginative opening.

Hawkins—whose soft-toned viola was occasionally overpowered by the piano—gave fine, stylish performances of a sonata movement by York Bowen, and Arthur Benjamin's ever-popular "Jamaican Rhumba". The rhumba received an ovation and was repeated.

An ambitious undertaking was the slow movement of a Hydn String Quartet played by Atkinson, Wilson, Hawkins, and Bardgett. Piano pieces by 'Haydn, Beethoven, Brahms, and Debussy were all commendably performed and the concert concluded with an extract from "Matra Pictures" for unaccompanied voices by the Hungarian composer, Zoltan Kodaly, sung by the Glee Club conducted by Sutton. R.C.

1. Piano Solo Scherzo in F. PROGRAMME

J. D. Morrison Haydn

2. Violin Solo (i) Sonata in A major Adagio—Allegro (ii) Andante and Minuet (MS) R. Atkinson, violin J. A. Sutton, piano Handel

John Sutton

3. Piano Solo Adagio Cantabile from Sonata in C minor, Opus 13 Beethoven N. J. Bell

4. Viola Solo (i) Sonata in C minor (1st movement) York Bowen

(ii) Jamaican Rumba Arthur Benjamin W. B. Hawkins, viola F.W.—piano in (i) A. Bloomfield—piano in (ii) 5. Piano Solo Valse—la plus que lent Debussy J. M. W. Dobson

6. String Quartet 2nd Movement (Allegretto) from Quartet No. 4 in G major Op 54, No. 1 Haydn

R. Atkinson, violin 1 W. B. Hawkins, viola K. Wilson, violin II P. L, Bardgett, violoncello

7. Piano Solo Rhapsody in E flat, Op. 119, No. 4 A Bloomfield Brahms

8. Part Songs Matra Pictures Nos. 1 and 2 (i) Vidrocki's Hunting (ii) The Farewell Trebles: D. N. L. Beresford, R. F. Brooks, C. J. Quickfall Altos: G. P. Burden, J. A. Sutton Tenors: R. Atkinson, F. G. Bean Basses: M. J. Baddeley, P. L. Bardgett Conductor—J. A. Sutton Kodaly

JULY MUSIC FESTIVAL Second Concert

The second concert in the July 'Music Festival was a farewell concert for two friends of the School : one an intimate friend, Allan Wicks, the other, a friend who has not visited us for quite a time, Mary Collier, who, with Mr. Collier, is shortly leaving the North of England. It was, of course, hard to say "Farewell" to Mr. Wicks, who has been amongst us with his flamboyant personality for so many years now. Mr. Waine, addressing the packed Big Hall before the first item, said that no words could express what Mr. Wicks had done for the School, nor what it would be like without him next term.

That Mr. Wicks chose the greater part of the programme is wholly evident !

The evening began with the Concerto for three pianos by J. S. Bach in four movements. Mr. Wicks was joined by Mr. Waine and Mr. Elliott, and one was immediately struck by the ensemble, which in the exposed opening octaves was entirely blemishless. The pianos had all been tuned with each other for the occasion, but it was noticed that the tone of an upright piano cannot be matched with that of a grand. But the pianists managed excellently, knowing that their audience was quite enthralled with three pianos on the stage. The audience's enthusiasm was demonstrated to the full by a hearty round of applause at the end of the first movement.

The second item was a group by Mrs. Collier, with Mr. Waine at the piano. She sang three songs, the first of which was composed by the organist of York Minster, Francis Jackson. This was "St. Mary's Bells", an imaginative piece with a modern flavour and an apt accompaniment. Mrs. Collier showed excellent control and discretion in all her singing of the evening, and it was most refreshing and satisfying to hear her voice, which has, we think, matured over the years of her absence from the School. Two French songs, one a folk song, the other a spinning song, arranged by Benjamin Britten, brought Mrs. Collier's first group to a close.

Item three brought a smile to the audience. "Scaramouche" by Darius Milhaud, is for two pianos and is in three movements, the

50

first and last of which are a riot of rhythm and snappy, syncopated tunes. There was spontaneous applause after the first movement ("Vif"). The second movement ("Modere") is extremely lyrical and of a contrast perhaps too complete for most people's liking. It incorporates extremely vivid modulations, and contains much very fine material. The last movement is riotous, and Mr. Wicks was in his element. Both pianos were played to their utmost and the audience took up the frenzy at the end in such a way that the concert could not continue without a repeat performance.

Mary Collier's second group of songs provided welcome relaxation. They were North Countrie Folk Songs arranged by W. G. Whittaker. Folk songs will always be generously received, and the appreciative applause at the end of the charming group reflected their popularity.

In introducing the next item, from Facade, Mr. Waine explained that William Walton, England's greatest living composer, has always been a close friend of the Sitwell family; and, as Mr. Waine told us, the Sitwells were born and bred in Yorkshire, where Mr. Wicks had been, and Sir William Walton was born in Lancashire, whither Mr. Wicks was going. In 1928, Walton wrote an "Entertainment" called "Facade", for which Dame Edith Sitwell wrote some nonsense verse.

Mr. Wicks became narrator, then, in the fifth and final item of the concert, and, with Mr. Waine and Mr. Elliott at two pianos (enjoying themselves more immensely than most people noticed), he gave us what has become a famous rendering of this verse. Although I, at the back of the gallery, did not catch all the words, Mr. Wicks' gesticulations and swayings in his chair were eloquent in themselves. Seven numbers were performed, all proving immensely popular, particularly the "Polka" ("Tra-la-la-la-laaa"), which was given a repeat performance.

Mr. Waine, having thanked Mr. Wicks, Mrs. Collier and Mr. Elliott for their services, asked the School to remain until the visitors had left the Hall. An appropriate speech was made by the Head of School, and, after a final few words, Mr. Wicks, carrying a very handsome suitcase, went out amid prolonged cheers and applause from the School. W.B.H.

PROGRAMME

1. Concerto for Three Pianos Allegro—Alla Siciliana—Adagio—Allegro Allan Wicks, Frederic Waine, Robert Elliott

2. Songs

(i) St. Mary's Bells 11 est quelqu'un sur terre . . A French Spinning Song (iii) Heigh ho, heigh hi ! French Folk Song Mary Collier J. S. Bach

Francis Jackson err. B. Britten

arr. B. Britten