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Contents Introduction Derek Jewell on the Schools Prom Christopher Hogwood on how to

page 1 3

enjoy music 7 Ronnie Scott on young musicians 9 Larry Westland on The National Festival of Music for Youth 11 Programme Notes 14 Concert Programmes 24 International Guests 28 Front and Back Stage 32 List of Performers 35 Friends of the Schools Prom Back cover

Director: Derek Jewel! Deputy Director: Humphrey Metzgen' Administrators: Victor Head. David Sheilds Assistants: Alex Hackett. Paul McGhee, Corinna Wedderburn Producer: Lany Westland Stage Managers: Richard Mallett. Paul Uden Production Assistants: Philippa Hogg, Odile Noiil Publicity & External Relations: Headway Public Re/ations Limited International .\d\·iser: .-1/ltl/llJly .\lalc (Central Bureau ti)l' EduCllt/liJlIl! \ · :."lt~ (/Jld Exchanges)

The School ;: P" ,~ g:-2 te!llily acknowledge;: :he co-operation of the Natior.ai F e:,::va (j r .\Iusic for Youth in the presentation of these CIJ r:c·e::;: . They are organized in conjunctIon with Westland .-\ ;:;: r":-lates.

The Schv ,j;: Prom prograrrune is produced by Commercial Union's Group Communications department. The Editor wannly thanks all contributors and helpers.

Introduction

November's melancholy is redeemed by shafts of sunlight such as those provided each Autumn by the Schools Prom, now

finnly established in its sixth year as the culmination of a year's music at our schools.

Whatever else critics may say about our educational system, they cannot fail to be impressed at the way music is taught and enjoyed in British schools and, indeed, they must be astonished at the high quality of performance produced every year.

Although we, personally, are not closely involved in the preparation and planning of this event, we receive constant reports from those in our organizations who are responsible, and we look forward with a keen sense of pleasurable anticipation to what has become an annual treat.

And, as always, we take pride in being associated with the teachers, parents and local authorities without whose enthusiastic dedica­tion these three evenings at the Royal Albert Hall would not be possible. Last year we described the Schools Prom as a 'celebration' of school music and it is truly an opportunity for us to celebrate this flowering of young talent that has so quickly become an established high point in the musical calendar.

We congratulate the performers and their teachers and we also wannly welcome this year's international guests from France who follow their predecessors from Russia, the United States and India in filling so distinctively a special niche in the programme.

Joint sponsors of the Schools Prom, Times Newspapers and Commercial Union Assurance, both regard their encouragement of music and musical appreciation as a rewarding and worthwhile contribution to society. We are particularly pleased to know that we shall be joined at the Royal Albert Hall by representatives from those Friends who support the Schools Prom and from the National Festival of Music for Youth which, throughout the preceding months, has en­couraged the talent that we see represented here.

SIR DENIS HAMILTON Chainnan and Editor-in-Chief Times Newspapers Ltd

SIR FRANCIS SANDILANDS Chainnan Commercial Union Assurance Company Limited

for tomorrow's musicians today

1

2

Britain's first national schools rock and pop competition is sponsored by The Trustee Savings Banks whose work in

connection with schools is already well known.

As popular music plays a major part in teenagers' social culture this competition will harness the wealth of creativity

and self-expression to produce a common goal that both pupils and teachers will find rewarding.

Promoted by: The Syston Publishing Company Limited, 12-14 Hill Rise, Richmond, Surrey TWlO 6UA

The National Schools Rock & Pop Competition

m tomorroW"' s

sicians today BY DEREK JEWELL

his is the sixth year of the Schools Prom concert series, and each time it becomes more difficult to write this introduction because the history piles

up; there is so much more to recall of the glowing evenings of the past. So let me catch the predominant flavours by using the words of other people since, in a sense, they can say what I believe for me.

First, and rightly so, impressions of some of those. who have played at the Albert Hall in these November concerts. The arena was what struck Jennifer McKaye of the Cults Music Centre in Aberdeen. "It was so immense that I felt like an ant at the bottom of a swimming pool. I was shaking all over, it was such a fantastic experience . . . The silence in the Hall was incredible. The sound of our music carried up to the roof. It was wonderful." To which Brian Adams of St Dominic Infants School in London added: "I enjoyed listening to the other music. Everyone was so quiet when it was being . . . I still feel the excitement now."

Second, words which one of our famous guests, lohnny Morris, wrote in last year's programme. "The number of young instrumentalists and the standard of their playing is astonishing," he said. "I think that is one of the most heart-warming things that has happened to our society in recent years. There are many indications that our society may be pulling itself apart. Music and these young mUSiCians could wonderfully strengthen the bonds that hold us together."

Third, and finally, part of a letter written by our international guests of 1979. They were perhaps the most adventurous of all our choices as overseas visitors, for their dancing and music, even their costumes, were totally exotic and so different from anything which the Prom audiences would have encountered before. The young people who travelled from Imphal, Manipur, in India, almost 400 miles north-east of Calcutta and 250 miles north-west of Mandalay, close to the Indo-Burmese border, had never been outside country before; indeed, most of them had beyond their remote region. Nor had their

But they came, they saw and Prom audiences, and after they mid-December their leader, R.· K a letter whose hesitant L<UF(l"Hl

absolute sincerity. It was seems all white now

but it sweeps away month of

. Though we London with you

talking about the lovely journey in London and beautiful arrangement. They never forget and give their kindest regards to you all."

Three different viewpoints on the Schools Prom which, however, offer a near-complete idea of what it's all about. It is about the excitement and fulfilment which music can bring to young people; about the recognition of the musical revolution or renaissance which has happened in this country in the last 20 years or so, and the high standards of achievement which have resulted' and, too, about the belief that good music is one of th~ glories of human society, able to engage and uplift us, a builder of both national and international bridges.

So far, so good. But the Schools Prom is only a platform. It provides the opportunity (especially through television) for millions to appreciate how excellent schools music is today. Yet what you don't see is what is most important. I mean the thousands upon thousands of young people up and down the country who are making music all the time, guided and encouraged by teachers and parents. It is this phenomenon which the Schools Prom celebrates and which sustains it.

If the Prom inspires another few thousand people to want to make music or to help others make it, to try to emulate some of the sounds you will hear in the Albert Hall tonight, then it will have done the job it set out to do. We are for tomorrow's musicians today.

The reasons for the present good health of schools music have often been explored in these pages in previous years: I've suggested, for example, that because music is so much in the air today - through records, television, radio, etc. - the appetite to play as well as to listen has been increasingly whetted. I've also suggested that the interest in popular music (which can be both good and bad) has led on to an interest in much wider fields of music and to the incredible variety of sounds heard today in our schools. But this year, two other concerns attract me.

Let's not mince words. We should never take the current exuberant condition of music among the young for granted. We 'live in a climate of retrenchment. Everyone - from local and businesses to money somewhere. Whilst we who are involved in would be if

the concerts and realized better and

field (so very good

3

4

For tomorrow's musicians today C ontd from page 3

in 1979) as of, say, the jazz and big band section. An example: this year the Stockport Schools

Stagesound will play their exciting Nelson Riddle-style music on two nights. They came also to the Prom for the first time in 1979. Within 12 months, however, they have in my view improved their standard very significantly, as well as discovering a young girl who plays jazz on the cello, which, if not unique, is certainly a great rarity anywhere in the world, among musicians young or old.

So the quality as well as the quantity of schools music is improving all the time. With some groups it's no longer possible to use the patronizing description "very good, considering their age". They can almost compare with adult pros in the field - and some are, frankly, better, more than compensating with the quality of freshness and dynamism for any marginal deficiencies of technique.

So it's the numbers and the standards together which give the Schools Prom its raison d' etre, as well as the diversity of music which is heard there, reflecting our fundamental philosophy that all styles of music, provided they're good of their kind, should be heard. That is also the belief of the National Festival of Music for Youth, from whose regional and national events are drawn the performers at each year's Schools Prom - which seems as good a point as any for a brief history of both the Festival and the Prom.

It was because of the renaissance in schools music that the Festival was founded in 1971 under its present Director, Larry Westland, with the backing of the Association of Music Industries.

Other organizations have also helped the Festival, most notably the sponsorship of The Times Educational Supplement (from 1974) and, more recently, Commercial Union Assurance (from 1979). The Schools Prom was launched in 1975 as an annual national platform for youth

and the two organizations have worked very tnefPtlc.pr ever since. Both, too, have grown: the

gala from its one-night beginning, days in with many regional

King, Handel to HoIst, Beethoven to Gershwin, Wagner to Stravinsky, Mozart to Milligan (Spike), with our own Elgar, whose challenging music ends every concert, in a particular place of honour.

The Elgar Pomp and Circumstance March No. 1 has been conducted since our first year by that delightful broadcaster and composer, Antony Hopkins, and he heads the list of established artists and musicians who have each 12 months come to help us, and in particular to give some of our performers the particular thrill of playing with a master in the field. The guest list makes interesting reading:

1975 (one night): John Dankworth 1976 (two nights): Humphrey Lyttelton, Robin Ray 1977 (two nights): Yehudi Menuhin, Michael Aspel 1978 (three nights): Tim Rice, Andrew Lloyd Webber, Rick Wakeman, John Wiliiams, Michael Collins (BBC Young Musician of the Year Finalist) 1979 (three nights): Don Lusher, John Dankworth, lohnny Morris, Terence Judd, Julian Lloyd Web­ber, Caroline Dale (BBC Young Musician of the Year finalist)

In 1980 our guests (see page are the best-known jazzman in Ronnie Scott, whose club is generally acknowledged to be the finest venue in the world; Christopher Hogwood, a great expositor of music on radio and television, and a leading harpsichordist and interpreter of baroque music; and the winner of the BBC's 1980 Young Musician of the Year competition, oboeist Nicholas Daniel. Then there are our international schools guests, the Choir of the J. B. Corot (see page 28) who follow in the tradition set since 1977 by guests from the America and India.

There would be no Schools Prom at all without those who have supported it and worked behind the scenes to make it happen. Times Newspapers Ltd were its first and continuing sponsors, joined in 1978 Commercial Union Assurance, a happy alliance which basis for the event now and in the future. The Friends of the Schools Prom (named on the back have been an important source of strength as well.

There are a host of individuals, too, and this time we especially thank Metzgen, in his last year as the Prom's and the teams he has led

the 1n(",Ant,,,n

has been the and

Bureau for been invaluable

four Proms

5

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6

Getting the most out of • musIc BY CHRISTOPHER HOGWOOD

When I was about eight, the art mistress at my primary school devised a new scheme for making me and about 29 other disinclined

children take up our paint brushes and apply them with enthusiasm to sheets of awful, rough sugar paper. She must have done more to discourage budding artists than any other deterrent. With the aid of a wind-up gramophone she invited us to concentrate hard on a scratchy 78 record of something or other. I remember nothing about the music except that it dipped rather alanningly in pitch about halfway through - just before she rushed forward to give the handle a few more winds - but eventually I settled rather reluctantly to producing a gory, orange impersonation of a romantic sunset.

Caitlin McCausland of Stockport Schools Stagesound.

When it was revealed at the end of the lesson that the music, by some man called Grieg, was actually called Sunrise, I decided there and then that music appreciation was not for me. Quite obviously, if I could get the answer so exactly wrong, the most powerful forms of musical education were going to have no chance with me.

The decision was strengthened a few weeks later when my long-suffering piano teacher announced to my parents that if I continued to make progress at the present rate, it would be at least five years before she could consider even entering me for Grade One of the Associated Board exams. Prudently, my lessons were stopped that term, and I don't think I looked at a keyboard or listened consciously to anything called 'serious music' for many years after.

Music, on the whole, is caught, not taught. Once the epidemic starts, nothing in the world will stop the rush to learn the guitar, or the sax, or the flute, or the drums. But if you are not infected with a desire to play the piano (especially at the age of eight) nothing will get you started. You no more make Johnnie a musician by chaining him to the piano stool than you turn him into an epicure by forcing him to finish his cabbage - or else ... !

It is, of course, perfectly possible to enjoy music without playing a note - in fact many parents in the past have advised this:

If you love music, hear it; go to operas, concerts, and pay fiddlers to play to you; but I insist upon your neither piping nor fiddling yourself. It puts a gentleman in a very frivolous, contemptible light; brings him into a great deal of bad company; and takes up a great deal of time, which might be much better employed. Few things would mortify me more, than to see you bearing a part in a concert, with a fiddle under your chin, or a pipe in your mouth.

Nowadays very few parents would think of giving Lord Chesterfield's advice - music is no longer frivolous, musicians are no longer bad company. What's more, all music is now OK. In the bad old days, when you were forced to learn music and eat rice pudding, whether it agreed with you or no, some music was proper - but an awful lot of very tempting music was 'bad'. Some instruments were allowable, but others were definitely out (it is not so many years since the guitar was first allowed as a 'serious' instrument in the London colleges of music!). Jazz was 'wicked', the saxophone was 'indecent', and a steel band was something you fastened round a tea chest.

But now (sigh of relieO things are better. Really? When did you last hear a cor anglais live - rather than on record or over the radio? When did you last sing -soberly and seriously - with other people? It's awfully easy to mistake record sales for musical education, viewing figures for musical knowledge. Only one thing you can't fake, and that's musical enjoyment - it will be audible and visible when neither listeners nor players are there because music is 'good for them', but because they want to listen or play. Three packed evenings each year in the Albert Hall are good enough proof (to me at any rate) that literally hundreds of schools are ignoring Lord Chesterfield, and that is itself the best sort of musical education.

But I still blush about that sunset . . . 0

7

r

8

If you lose y'our shirt during the celebration ... ... A limited quantity of sweat shirts and T-shirts have been produced as a memento for Schools Prom supporters. Both items are decorated with the Schools Prom logo and are available in a comprehensive range of sizes.

The garments are of excellent quality and are available exclusively from the Schools Prom. (A number are on sale in the entrances tonight)

ools Prom Ties and Scarves are also

~ tomorra#'s muS\dan5 today

available, please see the insert in the programme.

To order simply complete the coupon (don't forget to

pecify size) and post it with your cheque or postal

order made payable to the Schools Prom

to the address shown.

Please send me (please print) Sweat Shirt(s) at £6.50* T-Shirt(s) at £3.50'

quantity SmallD 0

Medium 0 0 Large 0 0

quantity Small 0 0

Medium 0 0 Large 0 0

SWEAT SHIRTS NAVY BLUE ONLY. T-SHIRTS WHITE ONLY.

Send this coupon with your cheque or PO made payable to The Schools Prom, to Headway Public Relations, 80 Chancery Lane, London WC2A 1DD. Please allow 28 days for delivery.

Young artists ensure bright future for • Jazz

BY RONNIE SCOTT

M any people think of me as a club owner, but what I am, what I've always been, is a musician. I've played the sax since I was fifteen.

The first instrument I ever bought was from a junk shop which I passed every morning on the way to school. It was a cornet, but that only lasted about a week because I found it hard work - too hard on the lips. Then I found a soprano sax in the same shop. That was nearly as bad because some of the pads were missing. I knew nothing about instruments then except that this sax was difficult to play too. But from then on the saxophone was my instrument. My parents soon bought me a tenor sax. They were very good - they encouraged me. The only thing I can remember about schools music when I was a kid was those infant school percussion bands where everybody whacked something. But there was never any music teaching then - at least, not ill the schools I went to in London. I never had a music lesson, which is why I think that music teaching today is terrific. What impresses me now is the standard of playing among young people - a direct result of music tuition in schools. The kids who appear on things like the BBC's Young Musician of the Year competition are, to my mind, virtuosi. If they had appeared, playing as they do, in my day, they would have been thought of as child pro­digies. I know a lot of guys who give jazz tuition - master classes. Now I'm not really the kind of player who can teach well, but I remember the time I gave a class at the club to the sax section of the National Youth Jazz Orchestra. I was a bit nai-ve about young musicians then_ I expected them to be not much more than beginners. but when they ani\-ed. they could all sight-read at least as well as I could. and at least one of them_ who wa~ onl\- about 1-:. wa~ by anyone's standards. a r::a..T\ dh.l~ ~2:'-"":- He-~ r.r,w ~one on to be­come a \-ery r:::e ;:>:-, .,: .... " ~:v-;-.a. :::;;~:'--:a:-._

This higher "ta::~c oi pla~ing IS eVen more remarkable in America. There. the college bands are the main breeding grounds ior musk.-ians who go on to play in the big-name bands - Woody Hennan·s. Buddy Rich's and so on. Of course. there aren't the big bands that there used to be over here. and very few touring dance bands are left. But I have no doubt that any of the members of, say, the National

Youth Jazz Orchestra, could hold down a job in any of the bands that are stili on the road. When I was at school the dance bands were our inspiration. To play in one of them was, to me, the height of glamour. They were our music teachers. I'd have good youth bands at my club. In fact I've had one or two - the Ohio State Uriiversity Band and a group called Landscape who won the Youth Jazz Band contest. But it's difficult because we don't finish until 3 0' clock in the morning and you can't easily ask young people to do that for six nights. I'm looking forward to the Schools Prom. The pieces I'll be playing aren't favourites of mine or anything like that. In fact I've never played them before. But I've heard the kids play and they're real musicians. So if I get a chance to rehearse a bit _ .. I'm really looking forward to it. 0

Ronnie ScoU's Club moved to its present site in Frith Street in the 1960s. During the past 21 years, day in, day out, jazz and some other kinds of popular music have been played (It the C tub. Its reputation i.s world-wide. Virtually every great jazz mu ' ;C;CI/I has played at the Club. The names would fill a page. But here are a few of them: Count Basie, Woody H mum, iOn Kenlon. Ella Fitzgemld, Oscar Peterson,

Ion Crlz. Bm \reb. ler, SOrln), Rollin . Bill £ ailS, Lio-nel Hampton. Sarah Vaughan, Cleo Laine, Georgie Fame, Dizzy Gillespie and Art Blakey_ Besides these, the Club Prol ide 011 oullet each week of its life 10 leadillg British jazz m usicio,ns , 'om of whom would have even greater reputa­liolls ~,. they p iformed in A.merica_ The Club has essentially b 1 11 tlze ll'ork of two men - Ronnie Scutt and his partner, Pet King. It has been a brightlight for jazz and good music generally, even in dark years. Its inspiration is felt in most corners of our world. -DerekJewell. 0

9

10

Commercial Union's programme for music lovers

Although full of variety, Commercial Union's sponsorship season traditionally has a consistent theme of music and youth.

That is why we are proud once again to be co-sponsors of The Schools Prom and The National Festival of Music for Youth which, between them, do so much to nurture a love of music in schools.

These are just two items in our programme of arts sponsorship, as listed below .

.. : about the things you care about

Ten of the best BY LARRY WESTLAND National Festival Director

T ~e National. Festival ~f Music for Youth celebrates Its tenth brrthday this year. Such occasions are often used as an excuse for impressive statistical

trumpet-blowing. For example, the Festival has, since 1971, been host to more than 80,000 performers and has become the largest event of its kind in Europe.

In an era where statistics are often used to blunt

A member of the Ocho RiDS Band.

critical awareness, we are, perhaps, better advised to reflect on the deeper values of the National Festival. That the Festival has influenced the musical standards now being achieved in our schools goes without question. It is, however, a 'chicken and egg' situation. The development we have witnessed in music education may well have followed a different path without the Festival; on the other hand, the Festival could not have been contemplated were it not for the unprecedented rise in standards over the past decade or more.

One of the chief influences of the Festival was to move away from the traditional competitive format so beloved of many local festivals and media-conscious organizations. This compelling need to create a rarity of what, in fact, exists in abundance has so far been resisted by the National Festival.

The first step towards this goal of 'music for music's sake' was taken in 1973 with the removal of set or even recommended works. This, coupled with the absence of any musical or 'technical' qualifications to enter at the preliminary level, had an immediate and marked effect on performer initiative and morale.

The current wave of competitions directed at young musicians makes the Festival's role in education ever-more important. As one notable critic remarked recently, "the (14 year-old) winner of this competition should now be allowed to go home and grow up". Alas, the reverse is often the case. Winning and losing alike bring with them pressures that have, all too often, left us bereft of young artists with magnificent potential.

Music is, first and foremost, a performing art and this year the Festival has made its preliminary steps towards more realistic concert conditions. The introduction of Jazz at the Fairfield and informal workshops are the forerunners of similar innovations such as Youth Orchestras in Concert planned for 1981. The success of extended time'limits, a more conducive atmosphere and a large public audience make the introduction of the concert situation a priority for future Festivals.

A primary function of the Festival has always been to assess and measure the progress being made in music in education. It is true that, for various reasons, standards are inconsistent throughout the country, but time and again areas where teaching is at its best have been identified by the Festival.

The past five years have seen a remarkable rise in string technique in both orchestral and chamber music. This is, without doubt, a real measure of success in music education. This progress is highlighted by the advances made by school orchestras which now, as a matter of course, are assessed on the same criteria as those applied to youth orchestras ten years ago.

These past ten years of unprecedented growth in music education have, paradoxically, given rise to grave implications for the musical life of this country. Increasing numbers of music graduates are competing for fewer jobs as established institutions such as concert halls find it harder to make ends meet. It would appear, therefore. that local authorities, government bodies and commercial organizations will need to rethink their established view of music as a prestige-maker. Many of our young musicians will soon be demanding local outlets on a scale previously unheard of.

The 1981 Festival prospectus is available now. If you wish to receive a copy, please send a stamped addressed envelope to The National Festival of Music for Youth. 23a King's Road. London SW3 4RP. 0

11

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Knowledge gained over the ~ea(s h~S gone into the design ot tnl

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13

Programme Notes

W AKEFIELD METROPOLITAN WIND ORCHESTRA Conductor: C olin F anshawe Fanfare and National Anthem arr. GordonJacob Festive Piece Clare Grundman

Wakefield Metropolitan Wind Orchestra was formed two and a half years ago in response to the numbers of talented wind players emerging from the Education Authority's peripatetic music service. It meets twice a week for rehearsals during term-time at the Wakefield Music Centre and supplements this by a weekend course once a term. The Orchestra has given many concerts in and around Wakefield for diverse charities and has entertained audiences of school children and played for ceremonial occasions. In 1979, the Orchestra recorded its first LP.

Fanfare and National Anthem - Jacob This fanfare and arrangement of the National Anthem was written for the coronation of Queen Elizabeth 11 in 1953.

Festive Piece - Grundman Festive Piece by the contemporary American composer, Clare Grundman, has all the hallmarks of that composer's complete understanding of the characteristics of the modern wind orchestra. The work is sometimes discordant and the outer sections are in five in a bar with a quietly reflective four in a bar middle section. The overall impression is one of exuberance and good-humoured excitement with a persistent 'machine-like' percussion raising the tempo and atmosphere in a climactic conclusion.

STPAUL'SPRIMARYSCHOOLEARLYMUSIC GROUP Conductor: Rosemary Fluf Ayre La Volta Pastime With Good Company Wolsey's Wilde Bransle

C. simpson } WilliamByrd Henry Vl1f arr. Rosemary Fleet A nOli.

Gervaise

The St Paul's Primary School Early Music Group came into being a year ago, when an existing tradition of recorder consort playing combined with the new project of viol teaching in the school. Mary Spreadbury, Area

14

Assistant Music Organizer, and Sheila Marshall, past member of the English Consort of Viols, introduced viol playing to the area and, with thE support and the loan of instruments, Rosemary Fleet extended this opportunity to St Paul's School where she teaches. The children learn to play treble and tenor viols and recorders during lun, hours and all players in the group are expected to be versatile musician: The group has appeared in local concerts and at the National Festival ot Music for Youth and are busy at present fund-raising to buy their own vio The music has been arranged for the group by Rosemary Fleet from well-known tunes of the 16th century. Much of the melodic and rhythm decoration was initiated by the children - a basic right allowed to musicians of that time!

SI Paul's Pn"marySchool Early Music Group. Hasti:

The W Inchmore Hill String Orchestra, Lon,

THE WINCHMORE HILL STRING ORCHESTRA Conductor: Peter Watmough Soloist: David Agudo The Four Seasons (Winter) Vivaldi

The Winchmore Hill String Orchestra first started to rehearse regularly; the beginning of the year in Winchmore Hill. The players are mainly pupil of Peter Watmough and come from Hampstead and Enfield. Support fO! the orchestra has come from the players' parents. The main purpose of tl orchestra is to offer the pupils the opportunity to rehearse solo parts wi an orchestra.

The Four Seasons - Vivaldi Winter from The Four Seasons is from Vivaldi's Opus 8 set of twelve concertos collectively called The Trial between Harmony and Invention. The music is highly descriptive of such phrases as 'shivering with cold', 'walking on the ice' and 'the teeth chatter', which are inserted in the scon

The B eau/ort T n·o. Londrm

THE BEAUFORT TRIO Trio Henk Badings (Fughetto and Passacaglia)

This is the first appearance at the Schools Prom of the Beaufort Trio, following their performance at the 1980 National Festival of Music for Youth. As they attend different schools, they rehearse at Karen's home in Beaufort Gardens, hence their name. Karen and Elizabeth are Junior Exhibitioners at the Royal College of Music, where they study recorder with Ross Winters. Rebecca studies recorder with Philip Thorby. Elizabeth attends Stratford House School in Bickley, Kent; Karen is a music scholar at St Paul's Girls' School and Rebecca is a member of the Special Music Course at Pimlico School. All three girls study various other instruments.

Trio - Badings Henk 8adings was born in 1907 into a Dutch family and spent his childhood in Indonesia. He has composed music in ahnost every main category including concertos, symphonies, chamber music, opera and ballet. This Trio was written in 1955 for recorders or strings and combines European and Javanese elements.

RAVENSCOTERECORDERCONSORT Conductor: J anette Jolly La Volta Bransle Battle Pavan

Praetorius Gervaise Susato

Ravenscote Recorder Consort consists of 32 keen players from Ravenscote County Middle School. The children meet weekly to rehearse music of the 16th and 17th centuries. The Consort has performed in the Civic Hall, Camberley and last November won the Recorder Class at the Woking Festival. Many of the children also play orchestral instruments and the Consort is only one of the various musical activities they enjoy at Ravenscote. A selection of choirs, an orchestra and several instrumental groups offer the children ample opportunity to widen and develop their interest and involvement in music.

La Volta-Praetorius Bransle - Gervaise Battle Pavan - Susato La Volta is a quick dance in triple time. The name suggests the turning motions of the dance. The Bransle by Claude Gervaise is characteristic of the rustic round dance popular in the court of Louis XlV. Tylrnan Susato became established in Antwerp around 1529 as a music copyist, flautist and trumpeter. He later became known as a publisher and composer of chansons. His Battle Pavan, although stately in character, is full of rhythmic vitality. The final section features rapidly repeated notes, a musical device often used in the period to evoke the drama of battle.

Pilgrim School Brass Band. Bedford

PILGRIM SCHOOL BRASS BAND Conductor: Tery Hext Partita for Brass Band E dward G regson

Pilgrim School is this year celebrating its eighteenth birthday. Starting as a grammar school, it is now a comprehensive upper school with 1150 pupils. The school has long enjoyed a high reputation for the quality of its music. There are two large orchestras, various smaller instrumental ensembles, a wind and brass band and choirs. The school i fortunate in having a very large number of musically-talented pupils, maoy of whom are taughlb)' the County's peripatetic music staff. Works performed during the last two years include Schumann's Fourth Symphony, Beethoven's Sixth Symphony, Grieg's Piano Concerto and Gilbert and SuJlivan's T~ Sorcerer. The conductor Tery He. ... t is the Head orBrass Teaching for the County of Bedfordshire, Mu~ical Director of the Bedfordshire Youth Brass Band, County Youth Wind Band and the Bedford Town Band and is well known in national brass band circles.

Partita - Gregson The work is in three movements; much of the thematic material is based on the 13th-century plainsong Dies [rae. The opening Intrada is sombre in mood. Only in the middle section does any optimism intrude. The rest of the movement develops the opening phrase of the plainsong tune, mainly in heavy chordal writing. The second movement is a Chorale and Variations. The chorale melody follows the main outline of the plainsong. The five variations that follow are varied in mood and intensity. The final

15

Programme Notes (PILGRIM SCHOOL BRASS BAND continued) March is much happier in mood and has a lyrical tune in the middle, first heard on horns. However references to the Dies Irae are still apparent and the final bars of the work contain a quote from the opening movement. The music has come a full circle.

SlockpartSclloo/s Slag .. oulld. Chtsl,i ..

STOCKPORTSCHOOLSSTAGESOUND Conductor: Alan Tl}mkinson Trumpet Blues and Cantabile A Foggy Day in London Town Honeysuckle Rose

Harryfames Gershwin, aTT. foe Reisman Fats Wailer, aTT. PatNash

The Orchestra was formed in November 1977 by their Musical Director, under the auspices of the Education Division of Stockport Metropolilan Borough Council, to provide an outlet for young musicians from Stockport and the surrounding area, who wished to play orchestral ja;f,z and big band music. The traditional swing band line-up has been augmented by woodwind and strings, producing an extra dimension to the music, and giving experience for the young players contrasting with their more classical music. Stagesound appeared in the 1979 Schools Prom and performed at the 1980 National Festival of Music for Youth where they were presented with an Outstanding Performance Award for the second year running.

Lang RidingsJunior School Orchestra,Hutton, Essex

LONG RIDINGS JUNIOR SCHOOL ORCHESTRA Conductor: Malcolm E. Timms The Ides of March Malcolm E. Timms

This orchestra comes from a local authority junior school. The full orchestra practises twice each week and the different sections of players have lessons in lunchtime and after-school groups. All the groups are trained by the conductor .. During the past six years the Long Ridings Orchestra has gained a

16

reputation for its wide variety of iI1strumentation and high standard of musicianship. It has played innumerous local music and arts festivals, charity concerts, fetes and garden parties. For the past five years it has appeared at the National Festival of Music for Youth and in 1978 and 1979 played at the Schools Prom.

The Ides of March - Timms The I des of M arch is a musical narrative describing the events leading up tc the assassination of Julius Caesar. The performance commences with Caesar's triumphal entry into Rome. On his arrival in the forum he is confronted by the soothsayer who warns him to beware the Ides of March. From the forum, the action moves to the final banquet where we witness first the carousing of the guests and then the dance of the slavegirls. Following the banquet scenes, we observe the assassins as they plot the dreadful deed and Caesar's wife's nightmare in which she foresees the events of the morrow. The [des of March dawn and the assassins take up their positions. Caesar enters and the plotters do their worst. As Caesar's body hits the ground, the final comment is left to the soothsayer: 'Beware the Ides of March'.

The LalymerSchoo/ Chamber Choir. Edmonton. London

THE LATYMER SCHOOL CHAMBER CHOIR AND ORCHESTRA Conductor: David W illiams Coronation Anthem: The King Handel Shall Rejoice

The Latymer School, Edmonton, London is a co-educational, voluntary­aided grammar school with several choirs, orchestras, bands and ensembles catering for the several hundred pupils with ap interest in music. Concerts are given regularly both in the school and outside and the Chamber Orchestra recently gave a concert in which the principal soloist was the violinist Alfredo Campoli. The Chamber Choir is <lrawn from the School's Senior Choir of about 160 voices, and has as its nucleus the Latymer Madrigal Group which is one of two choirs to reach the 1980 Finals of th.e lntemational Radio Competition. Let the Peoples Sing, having earlier won the UK competition.

Coronation Anthem: The King Shall Rejoice -Handel 1 The King shall rejoice in Thy strength, 0 Lord 2 Exceeding glad shall he be of Thy salvation. 3 Glory and great worship hast Thou laid upon him. 4 Thou hast prevented him with the blessings of goodness, and hast set a

crown of pure gold upon his head. S Allelujah.

In 1726 George I, King of England and Elector ofHanover, granted British citizenship to his former Hanoverian 'Kapellmeister', Georg Friedrich Handel, and named him 'Composer of Musick for the Chapel Royal'. The King died a year later and one of Handel's first duties as Court Composer was to write the ceremonial music for the crowning of the new King. The coronation of King George II and Queen Caroline took place on 11 October 1727, and for the occasion Handel wrote four anthems including The King shall Rejoice and Zadok the Priesl. The Kingsizall Rejoice was performed during the actual crowning (lfthe King. In keeping \vith the splendour of the occasion the scoring is for chorus of up to 6 parts, and an orchestra comprising 2 oboes, bassoon, 3 trumpets, timpani, strings and continuo.

WESSEX YOUTH ORCHESTRA Conductor: Donald Riddell Hary Janos Suite Koddly (Viennese Musical Clock, Intennezzo, Entrance of the Emperor and his Court) Requiem Mozarf (Kyrie, Dies Irae) Pomp and Circumstance Elgar March No. 1-'Land of Hope and Glory'

Bournemouth and Poole College of Further 'Education has been providing a Saturday Morning Music Centre for the benefit of its own students and pupils of local schools since 1971. The Wessex Youth Orchestra is the senior ensemble of the Centre, which also offers concert band, string orchestra, choir and recorder groups to its 200 members. The Orchestra has toured in France and Germany and made several broadcasts. Duncan Riddell, leader of the WYO since 1974, led the European Community Youth Orchestra in 1979.

Hary Janos Suite - Koddly KodaIy's opera HdryJdnos (1926) tells the story of a rascally but likeable liar and his (purely imaginary) exploits in the Napoleonic Wars.

Requiem - Mozarf Mozart's Requiem was begun in August 1791, following a visit to his house by a mysteriou.s stranger who commissioned the work. However, shortly afterwards, Mozart broke off work on the Requiem to compose his opera, La C lemcnza di Tito and to complete Die Zauberf/lJle. He died before finishing the R equiem_ The Kyrie and Dies l rae were, however, completed by the dying composer. The Handelian double fugue of the Kyrie is followed without orchestral preparation DY the powerful and dramatic Dies Irae.

Pomp and Circumstance March No. 1 - E 19ar The Pomp and Circumstance marches form a series of live military marches for orchestra. They were composed during two widely separated pe riods, the first four between 1901 and 1907 and the last in H130. The celebrated patriotic words of A. C. Benson were added later to the first march in D major for a special Gala Performance given to commemorate the Coronation of Edward VII.

CROYDON SCHOOLS' CENTRE FOR WIND PLAYERS Conductor: DavidKendall Fanfare and National Anthem aYr. GordonJacob Children's March - 'Over the Percy Grainger Hills and Far Away'

The Croydon Schools' Centre for Wind Player s was opened in 1969 by the Croydon Education Committee. Overa hundred playersIrom nearly thirty choo1s now attend its weekly rehearsals and are fonned into two wind

orchestras. Both orchestras rehearse for two hours and, in addition. members of the Second Orchestra can attend theory classes while members of the First have regular coaching in the varied forms of wind chamber music.

The First Orchestra has gained awards at six National Festivals of Music for Youth and performed at the Schools Prom in 1976 and 1978. It has broadcast in BBC Radio 3's Youth Orchestras of the World series and, earlier this year, perfonned in the Tenth Anniversary Concert of the National Fes tival of Mus ic for Youth.

Fanfare and National Anthem - Jacob This fanfare and arrangement of the National Anthem was written for the coronation of Qu.een Elizabeth JI in 1953.

'Over the Hills and Far Away' - Grainger Percy Grainger composed his Children's March - Over the Hills and Far Away whilst a member of an American army band during the First World War. Like many of his pieces, itis full of life and colourfully scored. It is mysteriously dedicated to 'my playmate beyond the hills'.

Croydon Schools' C enlre for Wind Players

Itch .... C ollt/l< Ba"""" E numblf. Soutlrampton

ITCHEN COLLEGE BAROQUE ENSEMBLE Elegy on the Death of Queen PUTcell Mary

Itchen College was the first co-educational'open access ' sixth form college in the United Kingdom. It pro\;des full-time education for the 16 to 19 age- up at all Ievel- oi achlevemem. , tusk ha alwa~ been strongly re presented. with an aVe:ra e oi2O luden taking A level. 10 singing tudie have bt.-e:n an tnlegra1 pan of the: :urricu!wn -inee 197-1 . directed by ymhia JoUy. and the re_uI! - of combintn insrrumenl and vocal -kill

ha\'e been mOSI promising. All four members of the Baroque Ensemble are singers as well as players.

Elegy on the Death of Queen Mary - PUTcell Puree/r mo\>ingEk'g, Oil/m Dcatl! ojQrwm Mory{Wllliam and l'J lary) was ",,,1 en for and performed at her funeral in 1695 in We5munster Abbey. It -bo,,- how genuinel~' Purcell revered his patron. The E leg}' \Vas repeated at his own funerai a fe w months later. The te :..1. is a Latin poem by Henry Parker.

17

r Programme Notes

Aberystwyth Harp Quartet

PEDW ARA WD TELYN ABERYSTWYTH THE ABERYSTWYTH HARP QUARTET Conductor: Delyth E vans Four Nursery Tunes from Celtic Countries

Traditional, arr. Delyth Evans

The Aberystwyth Harp Quartet was fonned early this year by Mrs Delyth Evans, the local harp peripatetic tutor. These young musicians have studied the harp since they were eight years old and have proved themselves to be competent as soloists as well as ensemble players, having won some major harp competitions in Wales. They also gained an Outstanding Perfonnance Award in the 1980 National Festival of Music for Youth. It is interesting to note that this is truly a Welsh quartet in the sense that their four concert harps with extended soundboards were made for the first time ever in Wales by Mr George Morris, Concert Harp Maker from Porthrnadog. The harps were made especially for these young harpists.

Croen y Ddafad Felan (The Sheepskin Jig) - Welsh Traditional This song was popular in the Wrexham district some 100 years ago. Variants have been noted in other parts of Wales and published in the journal of the Welsh Folk Song Society (1919). It is a lively jig with a definite ' JJ rhythm throughout.

Who is Rocking? -Breton Traditional Like many other Breton nursery tunes and cradle songs, Who is Rocking? is in the minor key. It creates a hushed atmosphere, a quiet sound and very peacefullegato music.

The Gartan Mother's Lullaby -Irish Traditional (from County Donegal)

o Can You Sew Cushions? -Scottish Traditional

VIV ALDI ENSEMBLE Concerto in B minor for 4 violins (1st movement)

Vivaldi

Vivaldi Ensembl£. Lteds

The members of the Vivaldi Ensemble come from different parts of

18

Yorkshire - Bingley, Wetherby, Wakefield, Skelmanthorpe and Leeds­and meet together weekly in each other's homes. As individual perfonners, they have won first prizes at music festivals and as an ensemble were this year presented with an Outstanding Perfonnance Award at the National Festival of Music for Youth. The violinists study with Eta Cohen, who also coaches the Ensemble. Katie Bell, a pupil of Christine Brown, has perfonned the Haydn Concerto in C at Wakefield Cathedral.

Concerto in B minor - Vivaldi Vivaldi was one of the most important figures in the development of string writing during the middle and late 18th century. He developed the concerto grosso by increasing the importance of the solo instruments and in doing so, influenced the fonn of the Classical concerto. Fonnally, the Concerto in B minorfoUows the concerto grosso pattern, alternating elaborate, often virtuoso writing for solo instruments, with massed contrapuntal writing for the whole ensemble. The instruments share equal prominence and the composer combines elegant clarity with grand expression.

STOCKPORTSCHOOLSSTAGESOUND Conductor: Alan Tomkinson Trumpet Blues and Cantabile A Foggy Day in London Town Honeysuckle Rose

(for details see page 16)

HanyJames Cershwin, arr. Joe Reisman Fats Wailer, arr. Pat Nash

DARLINGTON YOUTH BIG BAND Conductor: AlfHind Soloist: RonnieScott The Magic Flea Bluesette L'il Jeannie

Sammy Nestico ClenOsser A lex Could

Darlington Youth Big Band was founded in 1970 to give young musician the opportunity to play big band jazz. They have gained four awards at t National Festival of Music for Youth and this is their fourth appearance the Schools Prom. The Band has toured extensively in the United StatE and has visited Mulheim in Gennany, Darlington's twin town, to play in several concerts.

The Magic Flea - N estico This piece has a bright brass sound with full attack, leading to an easy Basie-type piano solo. The tenor sax then takes over with neat brass figures to help the solo swing. This is followed by a lively drum solo, finishing with the full band.

Bluesette - Osser This is a jazz waltz tune that must have the correct tempo, otherwise it could be mistaken for a Veleta Waltz. It contains some difficult saxophc sections.

L'iI Jeannie - Could This could be mistaken for a Basie or Neil Hefti-arranged Nestico numb! It has a Basie-type intro which can almost be played with one finger, leading to those very short, clipped staccato notes we very often hear fr, the Basie and HeIti bands. The beautiful tenor sax solo is fonowed by 501

relaxed playing from the full band.

Holm/irlh High School Chamber Players, Yorkshire

HOLMFIRTH HIGH SCHOOL CHAMBER PLAYERS A Chann Against the Toothache Knees

Text: John Heath-Stubbs Music: Barry Russell Text: Spike Milligan Music: James W. Morgan

This group was formed last year when the National Festival of Music for Youth introduced its Vocal/Instrumental Class. The works performed include elements of music theatre and aim to introduce audience and performer alike to contemporary musical sounds. An unusual feature of both works being performed is that instrumentalists are also required to sing.

A Charm Against the Toothache-Heath-Stubbs/Russell This work depicts in sound the agonies of toothache. A man trys to sleep but is haunted by toothache, described in the opening music. Sleazy music accompanies his thoughts of how 'a tot of whisky' would soothe the pain. Hammering discords in the middle section depict images of pick axes, cold chisels and drills. In a final dream-like sequence, the man falls asleep . . . only to be sharply awakened. . .

Knees - M illigan/M organ Written earlier this year, this is the sad tale oflittleJim whose Imees slip to the back of his legs. This causes the vicar some grief when lim Imeels to pray in church! His friends .. however, bind up his Imees .with a strap and revert them to their normal position. The poem ends with a Latin phrase, 'Et Gloria Ducunt', which the singers, in mock serious style, explain 'he doesn't Imow what it means - but it rhymes!'

HIGH WYCOMBE MUSIC CENTRE BRASS ENSEMBLE Quintet (1st movement) ... 1 auolm :\ mold Music Hall Suite Jo~ Horovilz (Soft Shoe Shuffle and Les Girls)

The High Wycombe Music Centre was founded in 1968 as part of the

Buckinghamshire County Council Education Department's provision for children with musical talent and now has nearly 600 young musicians, including over 50 County Music Scholars, attending its weekly rehearsals. The range of activities is enormous and includes four full symphony orchestras, four wind bands, the most senior of which opened the first Schools Prom at the Royal Albert Hall in 1975, two string orchestras, two choirs, two recorder groups, a steel band and an impressive number of chamber groups. The Brass Quintet was formed two years ago and has achieved some notable successes, including an Outstanding Performance Award at the National Festival of Music for Youth and a performance at last year's Schools Prom.

Quintet -Arnold Malcolm Amold began his career as a trumpet player in the London Philharmonic Orchestra. His inside knowledge of brass playing is very evident in his Quintet. The instrumental writing exploits not only the brilliance but also the lyrical qUality of brass. The first movement of this work, written in 1961 for the New York Brass Quintet, combines rhythmic vitality with characteristic brass sonorities.

Music Hall Suite-Horovitz Like the Amold Quintet, the Music Hall Suite has become a well­established part of the brass ensemble repertoire. The Soft Shoe Shuffk and Les Girls show just how successfully Horovitz has captured the atmosphere of these music hall acts. The music gives the players a chance to express humour and panache. TheM usic Hall Suite was written in 1964 for the Philip lones Brass Ensemble.

Hampshirr! County YouIh Orchestra

HAMPSHIRE COUNTY YOUTH ORCHESTRA Conductor: Edgar HolT1U!s Baritone Soloist: Charles Naylor Xylophone Soloist: ChristopherGuy Ein Deutsches Requiem (Denn Brahms wir haben hie keine bleibende Statt - For We Have Here No Abiding City) Concertino for Xylophone and Toshiro Mayuzumi Orchestra (2nd and 3rd movements) Pomp and Circumstance Elgar March No. 1-'Land of Hope and Glory'

19

Programme Notes (HAMPSHIRE COUNTY YOUTH ORCHESTRA continued)

This symphony orchestra of 100 players between the ages of 14 and 19, drawn from some of the 113 schools and colleges in the county, was formed in 1971 by the Hampshire Education Authority under its present condu~tor to provide and supplement the opportunities available to young musIcians. As well as presenting public concerts and performing in schools, the Orchestra has visited the United States, in 1976, and the Australian Youth Music Festival, in 1979. It was the first British orchestra to perform in the Sydney Opera House. Christopher Guy was born in Ringwood, Hampshire in 1958 and at the age of 13 became a founder member of the Hampshire County Youth Orchestra. He studied music at Bath College of Higher Education and has just completed a year at the National Centre of Orchestral Studies at Goldsmith's College.

Requiem - Brahms Brahms' Gennan Requiem, so-called because it has as its text not the liturgical words of the Latin Requiem Mass, but sections the composer took from the Great Concordance - an alphabetical classification of important passages from the Bible - was written between 1861 and 1866. It is a Protestant requiem, depicting a much gentler outlook on life after death than the Catholic view. Only once does the terrifying aspect appear briefly in the Requiem in the section to be performed tonight. This sixth movement depicts the Resurrection. It begins with a baritone solo and continues with the chorus, climaxing with a C major fugal section, 'Denn Du hast alle Dinge erschaffen' (For Thou hast created all things).

Concertino for Xylophone and Orchestra - M ayuzumi The composer was born in Yokohama, Japan in 1929. He studied at Tokyo Unive~sity.of Art and Music and at the Conservatoire National de Musique m Pans. HIS works have received numerous performances, which have received praise from Varese, Copland and Bernstein.

Pomp and Circumstance March No. 1 - E 19ar The Pomp and Circumstance marches form a series of five 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 later to the first march in D major for a special Gala Performance given to commemorate the Coronation of Edward VII.

Surrey County Wind Orchestra

20

SURREY COUNTY WIND ORCHESTRA Conductor: David Hamilton Fanfare and National Anthem Grand Ceremonial March Sevillana - Scene Espagnole

arr. GordonJacob ]. Hummel Elgar

The Surrey County Wind Orchestra had its origins in one of the county's local wind bands in Guildford. In 1973, David Hamilton became conductor of this ensemble and by 1975 the size and standard were such that it was decided that the group should form the nucleus of a Surrey County Wind Orchestra. Members joined from all parts of Surrey and beyond. In the past four years, the SCWO has three times gained the Outstanding Performance A ward in its class at the National Festival of Music for Youth. These successes have led to a number of BBC Television and radio appearances and the SCWO is appearing in the Schools Prom for the third year running. The SCWO has begun to commission a series of new works by British composers, with backing from the South East Arts Association. A recent work, Stanzas by Stephen Dodgson, was performed with great success at this year's National Festival. The SCWO has recently been invited to be one of the UK's representative groups at the International Conference of Symphonic Wind Bands to be held in July 1981 at the Royal Northern College of Music. They have been asked to give the world premiere of a new work by Joseph Horovitz for this event.

Fanfare and National Anthem - Jacob This fanfare and arrangement of the National Anthem was written for the coronation of Queen Elizabeth 11 in 1953.

Grand Ceremonial March - Hummel Joharm Nepomuk Hummel is today not among the best known of composers from an era which was dominated by Beethoven. He was an infant prodigy pianist and a favourite pupil of Mozart's. Hummel's compositions covered a wide range, including operas, symphonies, concertos and chamber music, often featuring virtuoso piano parts. The Grand Ceremonial March is one of a set of three which he wrote when visiting Russia in 1822.

Sevillana - E 19ar Sevillana is a short and colourful work by Elgar - a product of his more relaxed and informal style. Amongst other works of this genre are Chanson de Matin, the Wand ojYouthSuites, Cockaigne Overture and, of course, the five Pomp and Circumstance marches.

Southampton Flute Quartet

SOUTHAMPTON FLUTE QUARTET Dream Flutes L{~geres

Walraven Casterede

The Southampton Flute Quartet was formed about two years ago to play the wide variety of music that has been written for four flutes. As well as giving numerous recitals in the Southampton area, the girls, together with Robin Soldan who teaches flute for Hampshire Education Authority, have twice visited France. In 1979, they played in Le Havre, Southampton's twin town, and last May they were the UK representatives at the International Festival of Music at Evian on Lake Geneva. In July they were delighted to receive the MauriceJacobson Award for the most outstanding chamber music performance at the National Festival of Music for Youth. Tonight is their second Schools Prom and it may be their last appearance together as Elizabeth Cornford is now studying flute at the Guildhall School of Music and Hazel Comber is starting a degree at Exeter University.

(SOUTHAMPTON FLUTE QUARTET continuecl) Dream - Walraven Flute Legeres - Casterede Dream, by contemporary Dutch composer, Diederik Walraven, is an evocative piece in which a mood of serene and unearthly stillness is punctuated by a turbulent moment of restlessness. Flutes Legeres is the cheerful bustling finale to Casterede's suite Flutes en Vacances whose carefree rhythms convey a light-hearted holiday atmosphere.

Holmfirlh High School Chamber Players. Yorkshire

HOLMFIRTH HIGH SCHOOL CHAMBER PLAYERS Knees Text: Spike Milligan

Music: James W. Morgan

This is a flexible group drawing members as needed from the school's other musical groups. These include an orchestra, two brass bands, wind band, choir and recorder ensemble. The group appeared at last year's Schools Prom. An unusual feature of the piece being performed is that instrumentalists are also required to sing.

Knees - M illigan/M organ Written earlier this year, this is the sad tale of littleJim whose knees slip to the back of his legs. This causes the vicar some grief when Jim kneels to pray in church! His friends, however, bind up his knees with a strap and revert them to their normal position. The poem ends with a Latin phrase, 'Et Gloria Ducunt', which the singers, in mock serious style, explain 'he doesn't know what it means - but it rhymes!'

ehelmer Valley High School Chamber Orchestra. Ch.lms(nrd

CHELMER VALLEY HIGH SCHOOL CHAMBER ORCHESTRA Conductor: HowardDove Soloist: Christopher Hogwood

Concerto for Harpsichord and Raydn Orchestra in D major (2nd and 3rd movements)

This is the fourth appearance in the last three years of a group from Chelmer Valley at a Schools Prom. During this period the school has obtained no fewer than seven Outstanding Performance Awards at the National Festival of Music for Youth. There are many choral and chamber groups within the school, as well as three orchestras. The chamber orchestra is not only the smallest of the three, but represents a conscious attempt to reproduce the ideal ensemble for the performance of much 18th-century orchestral music.

Harpsichord Concerto in D - Haydn This concerto was almost certainly written in the early 1780s for performance by Haydn with the Esterhaza orchestra. The two movements to be performed are the beautiful slow movement and the final Hungarian CypsyRondo. The Adagio is noteworthy not only for its gentle intensity but also for its use of the wind instruments, while the excitingRondo is in Robin Landon's words, "a tour-de-force of breathtaking originality". It must surely rank as one of Haydn's happiest creations.

Tht Gcho RiDs Band. Rug/Jy

THE OCHO RIOS BAND Conductor: PhilSuNon Chattanooga Choo Choo Supreme

Wan-ell/Cordon SuNolI

The Ocho Rios Band is an independent organizauon from Rugby in Warwickshire. Maintained as a charit\' truSt. the Band is financed bv the efforts of its own member . together-with suppon fro m the commu:rulY. Midlands industry and commerce. During its three-year existence, Ocho Rios have made over 500 appearances in 25 counties throughout the UK. and have made broadcasts on both TV and radio. In 1979, under the auspices of The Council For International Contact. the Band successfully completed its first foreign tour, to the East Coast of the United States. Among the Band's more treasured performances during 1980. are those at The ;-;ational Festival of Music for Youth (QUE tandingPeriormance .-\ ward), The Steelband Association of Great Britain Annual Festival (Festival Winners) and The Harrogate International Music Festival.

Chattanooga Choo Choo - Warren/Cordon Supreme -SuI/on ChaNanooga Choo Choo is typical of the railway era in the United States and wa made popular by the big-band sound of Glenn Miller. Supreme, written for the Band to commemorate their own visit to the USA, is dedicated to alllhose who made it possible.

21

Programme Notes

Doncasier Jazz Orchestra

DONCASTERJAZZORCHESTRA Conductor: John S. M. E llis Soloist: RonnieScott Hooray for Hollywood Lazy Bird

arr. Gordon Goodwin

Ev'ry Little Beat Helps John Coltrane, arr. Bill Stapleton SammyNestico

The Doncaster Jazz Orchestra is just one facet of the South Yorkshire Youth Jazz Association. This has grown to 3 orchestras and a variety of smaller ensembles since its inception in 1973. A growing number of music students from local Doncaster schools are involved in a 'Jazz and Modern Music in Education' programme that operates over three evening sessions each week. The classes are administered by the Don Valley Institute of Further Education and enthusiastically hosted by Northcliffe Comprehensive School, Conisbrough. DJO members and staff, past and present, have derived much pleasure and invaluable experience from National Festival of Music for Youth and Schools Prom appearances in recent years. As a direct result of this involvement at national level, the orchestra has enjoyed recognition and musical success. Last year, they were honoured to be the first ever British jazz orchestra to appear at the Nice and MontreuxJazz Festivals. This was followed by a highly successful tour of Grenoble and Lyon, France in May this year. The orchestra has been invited to tour Grenoble and Lyon again in May 1981 and the Nice Festival again in July 1981. Thanks to you all.

Hooray for Hollywood - arr. Gordon Goodwin Amost refreshing and exciting arrangement of the original chart, taking the orchestra through 'subito' changes of metre and contrasting dynamics. This is the title track of a marvellous album recently released in the USA by Chaffey College, California.

Lazy Bird - John Coltrane arr. Bill Stapleton This swing arrangement is a great favourite with the current Woody Herman Orchestra. Interesting full ensemble writing and colour contrasts throughout.

Ev'ry Little Beat Helps - Sammy Nestico The Doncaster Jazz Orchestra first played this very fast swing chart­nervously, at the Nice Jazz Festival last year, in 'winding up' the finale night. It was requested by Duffy Jackson (Count Basie's drummer) who joined us on the stage as did AI Grey (trombone) and the late Jirruny Forrest (tenor sax). A memorable climax to the musical experience of a lifetime.

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BRASS TACKS Petite Suite (Prelude) Canzona4

J an Koetsier G. Gabrieli

Brass Tacks is an independent group whose members have played together on a casual basis for about two years, mainly for their own amusement, but occasionally performing in churches, bars and theatre clubs. All four members play in the West Sussex Youth Orchestra and other county groups under the baton of Peter Turton and Graham Johnson. Keith also plays in the National Youth Orchestra. The girls were until recently members of the West Sussex Music Centre, directed by Ron Keates. This year, they begin new music-orientated studies: Kathy at City University, Philippa at Trinity College, Susan at Birmingham University. Keith is at Haywards Heath Sixth Form College and the Royal College of Music.

Petite Suite - Koetsier Koetsier's Petite Suite, written in 1947, demonstrates his awareness of the capabilities of a brass quartet. The first movement, Prelude, is in ternary form with the first theme introduced on the trumpets over forte­piano chords on horn and trombone. Dynamic effects and rhythmic changes are important throughout. There is much exposed writing and each instrument is given an opportunity to shine.

Canzon a 4 - Gabrieli A very important figure in the 16th century, Giovanni Gabrieli became organist at St Mark's, Venice and wrote much choral and organ music. The Canzon a 4 for two trumpets, horn and trombone is typical of his antiphonal writing, each voice entering canonically with the idea originally introduced on the 1st trumpet. Throughout there is much dynamic contrast, the piece drawing to a close with a piano rendering of the original idea building to a fortissimo climax.

B TasS Tacks, C rawiey, Sussex

BROMLEY SCHOOLS' CHAMBER ORCHESTRA Conductor: John Francis Soloist: Nichotas Daniel Concerto for Oboe and String Alessandro Marcello Orchestra in D minor

The Bromley Schools' Chamber Orchestra was founded in September 1978 to play a repertoire based on 18th-century symphony and 19th- and 20th-century string masterpieces. The Orchestra is part of the London Borough of Bromley Education Authority's programme for school-age musicians and has given concerts at Southwark Cathedral, St] ohn' s, Smith Square and the Royal Naval College, Greenwich. Last year, the Orchestra gave concerts with the Maltrise Gabriel Faure in Provence. Next year, it travels to Tours to perform with the French Ensemble-ChoraleJean de Ockeghem.

Concerto for Oboe and Strings -Marcello Alessandro and his brother, Benedetto Marcello, were leading musical figures in Venice at the same time as Vivaldi and Albinoni. Neither, however, were musicians by profession. Alessandro was a mathematician and philosopher. He belonged to an organization of musicians called the Academy of Arcadians, who met weekly to perform their own compositions. His Oboe C oncertofirst appeared in a two-volume collection of works by different composers in 1717. The work's three movements are Andante e spiccato, Adagio and Presto.

BromleySchools' Chamber Orchestra

ESSEX YOUTH ORCHESTRA Conductor: Graham Treacher The Three-Cornered Hat (Three Dances) Polovtsian Dances Pomp and Circumstance March No. 1-'Land of Hope and Glory'

Manuel de Falla

Borodin Elgar

Founded in 1957, under the aegis of Essex Education Committee, the Essex Youth Orchestra and the Second Orchestra together with the Schools Strings Orchestra for younger players, offer, in residential holiday courses, training in ensemble work and the opportunity to study a wide repertoire with distinguished musicians as tutors. In addition to playing for the people of Essex, the First Orchestra gives regular concerts in London and A1deburgh; has played in the Bath and Kings Lynn Festivals; has broadcast and made TV programmes both in this country and abroad. It has made concert tours abroad almost every year since its inception, visiting every country of Western Europe, Czechoslovakia, Poland, the USSR, Israel, Canada and the USA.

The Three-Cornered Hat (Three Dances) -Falla The Neighbours' Dance The Miller's Dance The Final Dance The Three-Cornered Hat was originally a mimed comedy with music. Falla revised the score and increased the orchestration for the ballet of the name, written for the Russian impresario Diaghilev, which was first performed in 1919 at the Alhambra Theatre in London, with decor Picasso. The plot is based on a story by Pedro A1arcon in which rh~ Corregidor or mayor makes amorous advances to the miller's who leads him a dance in more ways than one and finally three dances from the ballet evoke the life in a Spanish characterize the male protagonists,

Polovtsian Dances from the Opera Prince Igor - B orodin Borodin was a professor at the Academy of St Petersburg, where he had studied chemistry and medicine, and wrote music in his spare time, encouraged by Balakirev. His opera Prince igor remained unfinished, but as Borodin had frequently played the music over to his friends Rimsky Korsakov and Glazunov, these two composers were able to complete and orchestrate the work. The Polovtsian Dances occur in the second act of the opera. The action takes place in 12th-century Russia, and the music is based on primitive Asiatic melodies. The score of the Dances contains a chorus of voices used with great vigour but purely instrumentally, though the work is usually performed in an orchestral version. The music is uncomplicated, yet brilliant and electrifying: it needs no further introduction.

Pomp and Circumstance March No. 1-E igar 'Land of Hope and Glory' 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 first, and most famous, was performed by the Liverpool Orchestral Society in October 1901. A year later, Elgar was invited to compose a Coronation Ode to be sung at a Gala Performance to commemorate the coronation of Edward VII. He allied the tune from the Pomp and Circumstance M arch No. 1 to A. C. Benson's words to produce the imposingly patriotic Land of Hope and Glory.

ESSEX DANCE The Essex Dance Theatre is a Education Service in Essex was eight centres scattered throughollt some and a far more rigorous youngsters who wish

m

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~~-----------------------------------------------------------------------------------------------

Programme

Land of Hope and Glory Dear Land of Hope, thy hope is crowned, God make thee mightier yet! On Sov'ran brows, beloved, renowned, Once more thy crown is set, Thine equal laws, by Freedom gained, have ruled thee well and long; By Freedom gained, by Truth maintained, Thine Empire shall be strong.

Land of Ho pe 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 stem and silent pride. Not that false joy that dreams content With what our sires have won; The blood a hero sire hath spent Still nerves a hero son. Repeat chorus twice, as before.

B luthner Grand Piano kindly supplied by Whelpdale, M axwell & Codd Limited. C ontinuo Harpsichord kindly supplied by R obert M orley and Company Limited. Hammond Organ and Leslie speakers kindly SUPPlied by Hammond Organ (UK) Limited. Roland ampllfu:ation kindly supplied by Mr Brian Nunney 0/ Brodr. Jorgensen (UK) Limited.

Correction: In last year's programme we wrongly attributed the ' composition o/Rhapsody for Trombone and Brass Band to Don Lusher. We should like to apologize to the composer, Gordon Langford.

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

24

1. W AKEFIELD METROPOLITAN WIND ORCHESTRA Conductor: C olin F anshawe Fanfare and National Anthem Festive Piece

aYr. Gordon]acob Clare Grundrrum

2. ST PAUL'S PRIMARY SCHOOL EARLY MUSIC GROUP Conductor: Rosemary Fleet Ayre La Volta Pastime With Good Company Wolsey's Wilde Bransle

C. Simpson J WilliamByrd Henry Vlll aYr. Fleet Anon. Gervaise

Monday 24th November 3. THE WINCHMORE HILL STRING

ORCHESTRA Conductor: Peter Watmough Soloist: David Agudo The Four Seasons (Concerto No. 4 in F minor - Winter)

4. THE BEAUFORT TRIO

Vivaldi

Trio (Fughetto and Passacaglia) H enk Badings

5. RA VENSCOTE RECORDER CONSORT Conductor: ] anette] olly La Volta Bransle Battle Pavan

Praetorius Gervaise Susato

6. PILGRIM SCHOOL BRASS BAND Conductor: Tery Hex! Partita Edward Gregson

7. LE CHOEUR DU LYCEE J. B. COROT Conductor: GerardBoulanger Les Tisserands Yver, Vous n'etes qu'un vitain L'Enfant Au Piano

Yesterday

INTERVAL -- 20 MINUTES

trad., aYr. Poulenc Debussy Lama/Gilbert/] ewell

aYr. Ed Coleman Lennon/ M cC artney

aYr. Ed Coleman

(Warning bells will sound 5 minutes before the end of the interval)

8. STOCKPORTSCHOOLSSTAGESOUND Musical Director: Alan Tomkinson Soloist: Caitlin McCausland Trumpet Blues and Cantabile A Foggy Day in London Town

Honeysuckle Rose

Harry]ames Gershwin, aYr.

]oeReisman Fats Waller, aYr. Pat

Nash

9. LONG RIDINGS JUNIOR SCHOOL ORCHESTRA Conductor: Maleolm Timms The Ides of March M aleolm Timms

10. LATYMER SCHOOL CHAMBER CHOIR AND ORCHESTRA Conductor: David W illiams Coronation Anthem: The King

Shall Rejoice Handel

11. WESSEX YOUTH ORCHESTRA Conductor: Donald Riddell Hary )anos Suite (2nd, 5th & 6th Kodiily

movements)

12. WESSEX YOUTH ORCHESTRA AND LE CHOEUR DU LYCEE J. B. COROT Conductor: GerardBoulanger Requiem (Kyrie and Dies Irae) Mozart

13. WESSEX YOUTH ORCHESTRA Conductor: Antony H apkins Pomp and Circumstance March Elgar

No. 1-'Land ofHope and Glory'

1. CROYDON '-'''''''Al.IL,-"''-,,,-,U

PLAYERS Conductor: David Kendall Fanfare and National Anthem Children's March - Over the

Hills and Far

Conductor: 4 Nursery Tunes from

Countries

7. LE CHOEUR DU LYCEE J. B. COROT Conductor: Gerard B oulanger Les Tisserands Yver, Vous n'etes qu'un vilain L'Enfant au Piano

Yesterday

trad., arr. Poulenc Debussy Lama/Gilbert/] ewell

arr. Ed Coleman Lennon/McCartney

arr. Ed Coleman

6. STOCKPORTSCHOOLSSTAGESOUND Musical Director: Alan Tomkinson Soloist: Caitlin M cCausland Trumpet Blues and Cantabile A Foggy Day in London Town

Honeysuckle Rose

INTERVAL- MINUTES

Harry]ames Gershwin, arr.] oe

Reisman Fats Wailer, arr. Pat

Nash

(Warning bells will sound 5 minutes before the end of the interval)

7. DARLINGTON

8.

Conductor: Soloist: Scott The Magic Flea Bluesette Little leannie

PLAYERS Conductor: Barry Russell A Charm against the Toothache

Quintet (1st movement) The Music Hall Suite

Shuffle and Les Girls)

Conductor: and Circumstance March

No. 1 - 'Land and

Sammy N estico Glen Osser AlexGould

H eath-Stubbs

25

26

...

Programme

1. SURREY COUNTY WIND ORCHESTRA Conductor: David Hamilton Fanfare and National Anthem Grand Ceremonial March Sevillana - Scene Espagnole

arr. Gordon]acob ]. Hummel Elgar

2. SOUTHAMPTON FLUTE QUARTET Dream Flutes Legeres

Walraven Casterede

3. HOLMFIRTH HIGH SCHOOL CHAMBER PLAYERS Conductor: Barry Russell Knees Text: Spike .t!llligan

.HlIsic: ]ames IL .t·/organ

Wednesday 26th November

4. CHELMER VALLEY HIGH SCHOOL CHAMBER ORCHESTRA Conductor: H oward Dove Soloist: Christopher Hogwood Harpsichord Concerto in D

(2nd and 3rd movements) Haydn

5. LE CHOEUR DU LYCEE J. B. COROT Conductor: Gerard Boulanger Les Tisserands

L'Enfant au Piano

Yesterday

6. THE OCHO RIOS BAND Conductor: Phil Sulton Chattanooga Choo Choo Supreme

INTERVAL - 20 MINUTES

traditional, arr. Poulenc

Lama/Gilbert/] ewell arr. Ed Coleman

Lennonl M cC artney arr. Ed Coleman

Warren Phil Sulton

(Warning bells will sound 5 minutes before the end of the interval)

7. DONCASTERJAZZORCHESTRA Musical Director:]ohnS. M. Ellis Soloist: Ronnie Scolt Hurray for Hollywood Lazy Bird

arr. Gordon Goodwin John Coltrane, arr.

Ev'ry Little Beat Helps

8. BRASS TACKS Petite Suite (Prelude) Canzon a 4

Bill Stapleton Sammy N estico

]anKoetsier G. Gabrieli

9. BROMLEY SCHOOLS' CHAMBER ORCHESTRA Conductor: ] ohn F rancis Soloist: Nicholas Daniel Concerto for Oboe and String

Orchestra in D minor .Harcello

10. ESSEX YOUTH ORCHESTRA Conductor: Graham Treacher Three Dances from Falla

"The Three-Cornered Hat"·

11. ESSEX YOUTH ORCHESTRA, LE CHOEUR DU LYCEE J. B. COROT and ESSEX DANCE THEATRE Conductor: Gcrard BOil/anger Polonsian Dances Borodin

12. ESSEX YOUTH ORCHESTRA Conductor: Antony Hopkins Pomp & Circumstance March E/gar

1\0. 1- ·Land of Hope and Glory'

27

The choir from the T

he surprises at the Lycee J. B. Corot in the town of Savigny-sur-Orge, about 13 miles due south of the Place de la Concorde in Paris, begin at the

gates. It doesn't look like a school. It looks like a castle. And ' that's precisely what it is.

The Iycee is housed in an 18th-century chateau, once the home of the Comtes de Savigny. Around it is a moat, on which swans and ducks swim. As I first looked at it I had an irreverent vision of those famous scenes in one of the late Peter Sellers' Pink Panther movies when Inspector Clouzot found himself variously in the water (struck by drawbridge; vault-pole stuck in mud, etc.) as he tried to penetrate a chateau to get at the villains.

There were no such comic surprises at Savigny, however. Instead, a serious and altogether exciting surprise - the magnificent choir which has been created in the past 12 years by the school's director of music, Gerard Boulanger.

As is usual in all the music one hears at the Schools Prom, the young people who play and sing are the essence. But without enthusiastic, dedicated leadership the equation is never complete. That dynamism is what Gerard Boulanger brought to Savigny. In his forties now, he was already well enough qualified: teaching diplomas for both instrumental and choral work; a pupil of Louis Fourestier in orchestra conducting; and a first prize gained for his piano playing at conservatoire. But the task he set himself was daunting - to establish in a single school a choir specializing in the interpretation of major choral works, especially oratorios and requiems.

How well he has succeeded you will hear tonight. With a complement of over 100 voices, the main

28

strength lies in girls from the school, about sixty of them aged from 12 to 18, forming the soprano and contralto sections. Boys sing tenor and bass, with some teachers rounding out these sections as well as the contraltos.

Few large mixed choirs singing great classical works have such young voices. The result is a choral colour which is very pure and fresh, with a lot of attack, too. The enthusiasm of the singers shines through. As M. Boulanger says, for he speaks no English: "lis decouvrent l'oeuvre sans avoir le temps d'etre deja biases!"

Already the choir has a reputation far beyond its home town. They've sung Handel and Charpentier, the Requiems of Mozart, Brahms, Faure and others, in the churches and cathedrals of Paris (including Notre Dame), on French radio and television, and this year at the International Youth Festival in Bayreuth, Germany. They were chosen by the French Ministry of Education as our guests when the Schools Prom sent an invitation to France for a choir to come over.

Despite their experience. the choir will rarely have faced such a challenge as the Schools Prom, for what they have been asked to do is something of an adventure, if not a gamble. On two nights they'll sing sections of works with which they're familiar (the Mozart and Brahms Requiems), but each time they perform with a different British orchestra with whom they'll be rehearsing for the first time this week, under M. Boulanger's baton. On the third night they tackle, with a third orchestra (Essex), something they've never done before: Borodin's Polovtsian Dances, the music from which was adapted the famous musical, Kismet.

castle Nor is that all. They will sing, a capella, some shorter

songs in the first half, both items by French conservatoire composers of great renown and also two 20th-century popular songs, arranged especially for them by Ed Coleman - a field they have never trodden before. One is Yesterday, by John Lennon and Paul McCartney and perhaps, as they say, this duo needs no

Facing page: the Lycee]. B. Carat. Above: Members of the choir with conductor, Gerard Boulanger. Below: Gerard Eoulanger.

introduction. The second song, L'Enfant au Piano, perhaps does.

It is part of the huge repertoire of Serge Lama, a singer-songwriter who is virtually unknown in Britain but who is one of the greatest (and bidding to be the most popular) artist French popular music has ever seen.

As his song is sung tonight. Lama will be preparing for his season which opens at the Palais des Congres in Paris soon after Christmas. He is likelY. if his 1979 series of concerts is ·a portent, to play to approaching 35,000 people a week for more than three months with tickets impossible to obtain~ That really is popularity -better even than The Beatles did when they visited France, and some way ahead of what stars like Edith Piaf, Maurice Cheyalier and Charles Aznavour have achieved. His song is gi\"en tonight for the first time in an English version.

From The Beatles \·ia Brahms to Borodin - that's the range. then. which the choir of the Lycee J. B. Corot will cm·er on their \·isit to the Schools Prom. We welcome them with warmth in the real spirit of entente cordiale. 0

Derek ] ewell

The Schools Prom would like to thank Le Ministere de l'Education and Le Service des Affaires Internationales, the Music Inspectorate and the Cultural Service of the French Embassy in London for making this visit possible.

29

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31

Front and Back Stage

Derek Jewell, DIRECTOR AND PRESENTER, has been Director and Presenter of the Schools Prom since he and his team launched the event in 1975. Formerly Publishing Director and now Chairman of Times Newspapers Publishing Division, he currently manages book publishing, microfilm and other companies after holding various journalistic posts. He has been a writer and broadcaster for many years, notably as Jazz and Popular Music critic of The Sunday Times (since 1963) and presenter (1972-79) of the weekly Radio 3 programme on popular music, Sounds Interesting. His books include two business thrillers, Come in Number One Your Time is Up (1971) and Sellout (1973); the first biography of Duke Ellington, Duke (1977); and The Popular Voice, a collection of his essays (1980). He is a member of the BBC's Central Music Advisory Council, a trustee of the BBC Scottish Symphony Orchestra Trust and an honorary adviser and adjudicator for the National Festival of Music for Youth.

Ed Coleman is an American-born, London-based conductor and composer, specializing in orchestral and choral arranging and thus a natural to arrange some songs for our French guests. As composer, his TV opera A Christmas Carol was commissioned by the BBC; he has also written numerous film and television scores. As a musical director and arranger he has been heavily involved in the West End Musical Theatre with over a dozen major productions to his credit. He has also appeared as guest conductor with the Festival Ballet and at the Edinburgh Festival.

32

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 ten years, the Festival has grown into the most comprehensive youth music festival in Europe. The Festival embraces all forms of instrumental music and this year some 18,000 young musicians took part. He was closely involved with the launch of the Schools Prom in 1975. Since that date, he has, under the artistic direction of Derek Jewell, been responsible for the production and presentation of the concerts. He was responsible for starting the British Marching Band Championships in 1978 in conjunction with the British Youth Band Association. In August, he launched the first British Music Fair at Olympia, London, which attracted over 17,000 musicians. He has also presented numerous concerts by British youth orchestras, including the Essex, Surrey and Kent Youth Orchestras. His other activities include the presentation of charity concerts, including the Edward Heath Carol Concerts and Nobody's Fools at the Royal A1bert Hall.

Ronnie Scott, GUEST MUSICIAN, has been a leading influence on the British modem jazz scene for more than 25 years both as a musician and club owner. He took up the tenor sax at 15 and began his professional career working in night clubs and with such bands as Ted Heath's and Jack Pamell's. In 1955 he formed his own nine-piece band which won all the polls in the musical press in the next two years. Ronnie went on to work both as a soloist and with his own quartet and then, in 1957, formed the famous Jazz Couriers with Tubby Hayes. Two years later he opened his club in Gerrard Street with fellow musician, Pete King. The club developed from a coffee bar to night club proper and in 1965 moved to new premises. Over the years almost every well-known jazz musician has appeared there. In the 1970s Ronnie formed and played in various trios and big bands and is now working with his new quintet. He has made extensive tours of Europe and has played in Australia and the USA. His album, Scoff at Ronnie's, was released in 1974.

Nicholas Daniel, GUEST MUSICIAN, was born in 1962. He sang in a church choir from the age of six and took up the piano at seven. He started playing the oboe as a chorister at Salisbury Cathedral where choral scholars are required to play two instruments. The oboe has since become his first instrument. From 1975 to 1980 he attended the Purcell School at Harrow-on-the-Hill, from which he received various bursaries. He has also received a bursary from the SFIA Educational Trust of Maidenhead and has had scholarships from the Performing Right Society and from the Hans and Anna Krocb Foundation. Nkholas won the BBC's Young Musician of the Year Competition in April 1980. For the past two years he has been learning with oboists, George Caird and Janet Craxton. Since September 1980 he has been a full-time student at the Royal Academy of Music, continuing with Janet Craxton. Nicholas hopes to be a free-lance professional musician when he leaves the Academy in three years' time.

Antony Hopkins, CBE, GUEST CONDUCTOR, has been associated with the Schools Prom from the first and has conducted the finale at every one. He has lectured and conducted in many countries and his Talking about Music prograrrune on Radio 3 is now in its 27th year. His book Understanding Music recently won the Yorkshire Post award as best music book of the year, while plans are being made to present John and the Magic Music Man (recorded on Unicorn) as a children's ballet on television. His book on the Beethoven symphonies will be out soon after Christmas. This year he was awarded 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!

Christopher Hogwood, GUEST PRESESTER AND MUSICIAN, read Classics and Music at Pembroke College, Cambridge. He subsequently studied in Spain and Czechoslovakia. Since then his career has developed in several ways and he is now well-known as a performer of keyboard instnunents, musicologist, scholar. writer and broadcaster. He was a founder member of the Early Music Consort of London, and, in 1973, founded the Academy of Ancient MusiG, the first English orchestra formed to play baroque and early classical music on instruments appropriate to the period. He has played regularly with the Academ\' of St ~Iartins-in-the-Fields and the Australia Chamber Orchestra which he has also directed. In 1976 he was appointed artistic director of the King's Lynn Festival. His solo recordings include a prize-winning Couperin disc, shared with Rafael Puyana, and records of English music. He has done extensive editorial work both for recording purposes and music publishers and his latest book is on the trio sonata. He is currently the presenter of the Radio 3 weekly music prograrrune Comparing Notes. He also gives university lectures and master classes.

33

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List of Performers PEDW ARA WD TELYN ABERYSTWYTH The Aberystwyth Harp Quartet Tutor and Conductor: Delyth Evans Age range of performers: 10-14 years

Eirian Dyfri Jones Delyth Roberts Dwynwen Hywel Angharad Roberts

THE BEAUFORT TRIO Age range of performers: 15-16 years

1st Descant: Karen Winkelmann 2nd Descant: Elizabeth Everett Treble: Rebecca Miles

BRASS TACKS Age range of performers: 17-19 years

Trumpets Katharine Gifford Philippa Quaife French Horn Susan Spaull

Trombone KeithDigby

BROMLEYSCHOOLS CHAMBER ORCHESTRA Conductor: John Francis Age range of performers: 13-18 years

Violins Helen Bairstow Caroline Balding Simon Balding Jonathan Beavis Esther Brassett Rosalind Brown Marianne Brown Alison Browning (Principal: 2nd Violins) Peter Castle Daniel Dayan Peter Dayan Alison Gabriel Nicholas Georgiadis (Leader) Steven Georgiadis Thelma Handy Juliet Kauffman David Kidger Elizabeth Long Janet Mackenzie Karen Miller Jennifer Moore

Douglas Northwood Anita Ridley Christopher Rogers Violas SimonBrown Juliette Brown Laurence Ferguson David Griffiths Timothy Isard (Principal) Caroline Nonnan Caroline Ruskell Cellos Mark Bairstow Hilary Browning Marian Higgs Ann Lines (Principal) Nicola Parker RachelSever David Stickland Double Basses Annette Bamfield (Principal) Philip Orr

CHELMER VALLEY HIGH SCHOOL CHAMBER ORCHESTRA Conductor: Howard Dove

Age range of performers: 13-19 years

Violins Gonzalo Acosta (Leader) Deirdre Bonds Vivienne Mathews Eleanor Newton Emma Penfold Andrew Thurgood Joceline Triner Miles Williamson Violas Andrew Smith Susan Belsham

Fiona Bonds Cellos ;-;icholas Tate Pau1ine Dowse Double Bass ~Iark Kentisber Oboes Imogen Triner Rachel Prosser Horns Christopher Street Loma Speight

CROYDON SCHOOLS' CENTRE FOR WIND PLAYERS Director of Music: David Kendall Tutors Woodwind: Helen Butterworth, David Pugh, Barbara Foster. Brass: Colin Craft, Rupert D'Cruze. Percussion: Peter Thorpe. Theory: Peter Mercer Age range of performers: 12-19 years

Piccolo Elizabeth May Flute Siobhan Lamb Alice DalIosso Alma Easterbrook Stacey Thomson Alison Phillips Mary Mitchell Oboe Lesley Mitcham Maxine Chadwick Christine Fidler Sally Lynn Cor Anglais Ma1colm McCulloch Bassoon Paul Atkinson Solo Clarinet Simon Labbett 1st Clarinet Lone Madsen Monica Smith Jean Cock bum Roger Treweek MaryWeller Sally Manders Richard Groves 2nd Clarinet Fiona Hamilton EmmaBolton Kathryn Bellwood Stephen Leach Lucy Blows 3rd Clarinet Amanda Priestley Julia DalIosso Sharon Thomas Selwyn Harris Stephanie Niemira Alto Clarinet JiIl StanJey Bass Clarinet Richard Bradley

Lisa Wyatt Alto Saxophone Andrew Buckingham Caroline Moore Tenor Saxophone Sebastian Edwards Baritone Saxophone Rosalind Bateman Trumpet Jeremy Fishenden Matthew Dunkley Sharon Davies William Batsford Thomas O'Brien Katie Hamilton Jacob Chessum Graham Potter Horn Vanessa Price Christopher Gowlland Philip Mitchell Josephine Humble Simon Taylor Philip Gunstone Trombone GaryDavies Howard MacKenzie Julian Leggett Euphonium Christopher Mitchell SimonJohnson Richard Hall Tuba PeterTymms Martin Humphrey David Cockbum Percussion Grahame King Andrew Davison Mark Christopher AndrewHaig Piano Andrew Rapps

DARLINGTON YOUTH BIG BAND Conductor: Alf Hind Age range of performers: 13-19 years

Trumpets David Connolly Shaune Eland Anthony Hind Carol Green David McNiff Trombones Terence O'Hem Philip Evans Derek Price Peter Matthews Michael Mulroy Tuba Steven Petty French Horn Michael Taylor Saxophones Philip Taylor Alicia Nelson Philip Burton Christopher Wright Glenda Monument

Guitar Paul Dobson Bass Guitar Stuart Davis Drums Graeme Robinson Piano Marianne Whelpdale Congas Paul Fletcher

35

Good luck

The Rank Organisation, 38 South Street, London W1. Telephone 01-629 7454

36

List of Performers DONCASTERJAZZORCHESTRA Project Director: Keith Jowett Musical Director: John S. M. Ellis Sound Engineer: David Haythome Tutors: Philip Gibbons, Harold Searle Age range of performers: 14-19 years

Reeds Jonty Stockdale (Alto/Soprano) Jane Searle (Alto) Steven Gibbons (Tenor) Jackie Salter (Tenor) Carl Collins (Baritone) Karen Huntington (Flute) Rona Gilchrist (Flute) Trumpets Russell Cooke (Leader) Tony Corish Mark White Paul Edwards David Grace

Trombones Christopher Fidler Wins ton Roilins Andrew Gurnhill Andrew Needham Dennis Rollins Tuba Christopher Calder Rhythm Andy Vinter (Piano) John Campbell (Guitar) Glen Muscroft (Bass) Andy Barron (Drums) lan West (Percussion)

ESSEX YOUTH ORCHESTRA Conductor: Graharn Treacher Leader: Beth SpendIove Age range of performers: 16-21 years

Tutors: 1st Violins and full strings: David Takeno; 2nd Violins: Michael McMenamy; Violas: Brian Hawkins; Cellos: Douglas Curnmings; Double Basses: Emest Ineson; Flutes; Edward Beckett; Oboes and full wind: Edwin Roxburgh; Clarinets: Stephen Trier; Bassoons and full woodwind: Stefan de Haan; Horns: Michael Baines; Trumpets: Ray AlIen; Trombones and full brass: Peter Gane; Timpani & Percussion: David Corkhill; Harps: Renate Sheffel-Stein 1st Violins Beth Spendlove (Leader) Gonzalo Acosta SusanBaker Andrew Barnett Andrew Butcher Jennifer Coe Paul Davies Lynda Downes Nicholas Evans-Pughe Leslie Goode Christopher Gould KarenJames Josephine McDonagh Julie Nicholls Rhian Parry Teresa Ratcliffe Andrew Thurgood Katharine Willey 2nd Violins JanetJeffreys (Principal) Caroline Ball J onathan Finney PhiJip Goodfellow '.Iark Greensill ::32.1""2[: (~·..::-n e\·

C~.:-:>:::-.o Ha~_"":a~ ~1CO:": rl,,::~·~.:~ ,: !" SU5ar; Ko-.. ,,~ ~ Hilary L ~,~. _>:

Carla '.Ia ;: ~ .... ::',"­Gillian '.12::.-,<' ~ -John Par;. :-:, Alison ROZ2:-: Claire Sirrc-:', > Clare Wat ;':,~,

Violas Martin Outr,,-~ Pnncipal) Susan BeI5ha.-:; Jane Gould leman Hassan Jasmin Bullock

Susan Morley HelenSmith Nicholas Smith Melanie Strover Vivienne Sweeney Raymond Walker

Cellos Elizabeth Parker (Principal) James Craig PhiJippa Curtis Pauline Dowse Robert Goldie Abigail Hall David Lale Edward Langford Andrew Langton Peter Mallett Stephen Pits tow Nicholas Tate Double Basses Michael Clarke (Principal) William Davis Clinton Ingrams Caroline Langford Carol MaJlion Mark Phillips Cherry Rand Flutes Hazel Beckman (Principal) Pt:", Lrl\ elock .' " ~,<. P,,;:;bleton ~: ::: : ,:::- :-:'a "-:·() rd Piccolo Pc:,:.::'" L . ~'. ,~:

Oboes K~~ u''';'' .:: ,P:-_"":c-::ldJ , K;erc." '.l oCl,e J~dJ Pal-::er lmogen Triner Cor .-\nglais Judi Palmer

Clarinets Robert Adams (Principal) Martin Belsham Carol Downs Andrew Fardell Bass Clarinet Martin Belsham Bassoons Mathew Smith (Principal) Susan Beckett Maria Panzetta Horns Christopher Street (Principal) Loma Farey Malcolm Hiscock Henry Mitchell Jeffrey Snowdon Angus West Trumpets Nicholas Care (Principal) Elizabeth Care JilI Chenery Matthew Hall Graham Wright

Trombones Stephen Hoy (Principal) Timothy Ball Bass Trombone Derek Bishop Tuba Andrew Pearce Timpani & Percussion Robert Campion (Principal) Nicholas Binns Graham Brown Christopher Stock Harps Fiona Tree (Principal) Lynne Singleton

HAMPSHIRE COUNTY YOUTH ORCHESTRA Joint Leaders: Trudie Brown, Michael Sullivan Conductor: Edgar Holmes Tutors: First Violins: John Schmeising; Second Violins: WaIter Garrard; Violas: Timothy Griffiths; Cellos: Pauline Braddock, Roland Saggs; Double Basses: Margaret Fairfax; Flutes: Robin Soldan; Oboes: Geoffrey Bridge; Clarinets: Janet Herson; Bassoons: Eric Butt; Horns: Peter Kane; Trumpets: Malcolm Weale; Trombones and Tubas: Clifford Bevan; Percussion: Jack Richards Age range of performers: 14-19 years

First Violins Trudie Brown Ooint Leader) Michael Sullivan Ooint Leader) Paul Dopson Simon Flook Rebecca George Elizabeth Greaves Sian MacLeod Janet Matthews EileenMayo Anne McIntee Helen Paterson Janice Tate Charlotte Tomlinson Deborah Wall Lesley Wootten Second Violins Mark Palmer Helen Boisclair David Bridge Diana Church Victoria Clarke Ruth Cousins Sarah-Jane Cox Timothy Fisher Claire Johnson Hilary Joy Lesley Knight Fiona Richards Sarah Stiles Claire Starbuck Marian Sudbury Ruth Thomas Violas Peter Collyer Douglas Paterson Stephen Ardagh-Walter Penny Beasley SheiJa Murphy Jennifer Starbuck Elizabeth Turk

Kathryn Wilkinson Susan Wright Denise Yelverton Cellos Timothy Boume Amanda Newman Nicholas Caddick Jane Cookson SarahFlook Mary-Louise Graham Frances Gregory Helen Kinsler Andrew Scott lmogen Seth-Smith Judith Shaw Nicholas Wiltshire Timpani & Percussion Graham Hewett AJec Wares Christopher Baron Timothy Hawkins David McDonald Woods Richard Miller David Webster Double Basses Fiona Wright Philippa Clayre Adrian Dwyer Robert Harvey Jonathan Hayes Nigel Spears Flutes/Piccolo Tracey Lambert Joanna Onstenk Linda Roberts Karen Wills Oboes Nicholas Daniel Karen Gregson Guy Meredith

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38

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Since the good old days of Thomas Hope himself, and through to the fast moving seventies, we have been the quiet innovators.

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We built a name for making the finest range of School stationery, and it's still the best in Britain.

We launched the unique "Totally Soft Play Environment" and now it's world-famous.

We also introduced half-price laboratory consumables, to the delight of our customers.

But these are just a few examples. Ourfull range comprises over 7,000 competitively priced prod ucts.

And the Hestair Hope 1981 catalogue has more pleasant surprises in store. That's why, of all the catalogues that could be used, ours will prove to be the best for every school.

Ila~ Hestair -----Hope "."

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Were all working for you.

List of Performers Cor Anglais Guy Meredith Clarinets Michael Whight Sandra Wills Nicholas Hayes Vanessa Hazzard Saxophone Nicholas Hayes Bassoons Timothy Currell Sarah Todd Nicholas Smith Joanna WalIis Horns David Wythe Karen Bailey Alistair Butt Martin Budgett Fiona Fairbaim Peter Hackston Joseph Mellor

Sarah Trist Trumpets Kay Flanagan Stephen Watennan Colin Holman Martyn Lewington Julie Ryan Trombones SimonRidge Daniel Scott Caroline Bruce Stephen Miles Bass Trombone Stephen Browning Tubas Brian Partridge Harp Fiona Thompson Organ NeilKelley

HIGH WYCOMBE MUSIC CENTRE BRASS ENSEMBLE Tutors: Stuart Stirling, John Davie Age range of performers: 16-19 years

Trumpets Robert Vanryne SimonDavie French Horn Andrew Spiller

Trombone Adrian Hester Tuba David Richards

HOLMFIRTH HIGH SCHOOL CHAMBER PLAYERS Conductor: Barry Russell

Tutors: Alan Sirnrnons, lames Morgan, loe EIton, Richard Sigsworth, Phillip Garlick, Ted Clegg, Peter Leah, Keith Overton Age range of performers: 12-16 years

Flutes Jane Broadbent Marcus Burrell Oboe Matthew Brook Clarinet John Braithwaite Comets JOM Blackshaw Michael Blackshaw Trombone Gary Clegg Piano Claire Burdett Percussion Rachel Gledhill Violins MaureenAJlt Robert Tice Viola Helen Be \'e rley Cello Louise C rabt ree

Double Bass Nicola Stables Guitar David Braithwaite Singers Christine Britton FionaBrown Simeon Brook Gillian Cartwright Katie Charlesworth Nicholas Gay MalcolmGill Anita Rigden Catherine Smith SarahSmith

ITCHEN COLLEGE B.-\ROQl'E E:\SEMBLE Director/Singing Teach.I C ymhia Jolly Tutors: Cello: Stanley Borland: Harpsichord: Stuart Yates Age range of performers: 17-19 y.-a: :'

Singers Jeanette Chalk (soprano) Julia Nielsen (soprano) Cello Wendy Rule Harpsichord Elizabeth Clague

THE LATYMER SCHOOL CHAMBER CHOIR AND ORCHESTRA Conductor: David WiIliams

Assistant Conductors: David Edwards, Richard Hodges Orchestra Leader: lane Trowell Age range of performers: 12-18 years

Chamber Orchestra Violins Jane Trowell (Leader) Karen Anstee Emil Dowdeswell Ruth Hudson Sarah Hudson Clare Pitchford Mary Pitchford Claire Thatcher Violas Richard Bliss Helen Bromley Cellos Rebecca Firth Stephen Anstee James Harrison Helen Thatcher Double Bass Mark Hudson Timon Dowdeswell Oboes Carolyn Hancock Carolyn Bromley Bassoon Kathryn Hills Trumpet Kevin Ashman Bevin Mack Paul Manning Timpani Paul Clarvis Harpsichord Paul Naser Chamber Choir Sopranos J uliet Bernard Annika Bluhm Alison Brown Yvette Genn Elizabeth Green Joyce Murdoch Phi lip North Liz Peterson Clare Ritchie Wendy Rundle Robert Sharples Julie Shilling

Adrian Stiles Hilary Whent Clare Williams Rachel Young Altos Tracy Alter Mandy Bernard MandyBerry Naomi Bliss Caroline Clarke Jackie Davies Susan Feasey Ann Freeman Melissa Girling Elizabeth Hall Ann Jolly Penny Mack Katie Masters Jenny McGhie Ann Mitchell Ruth Newman Helen Popham Joanna Robins Pamela Seward Ruth Spencer Joanne Thorpe Catherine Trowell Anthea Tulloch Katharine Webber Rachel White Tenors Paul Arnold Trevor Jenkins Michael McNeill HuwMorgan SimonTobin Basses Alex Brooker Graham Casey James Casey Mark Davies Mark Halliwell Mark Leather David Luckcock Barry Mack John Nicholls lan Perrior David Walker

LONG RIDINGS JUNIOR SCHOOL ORCHESTRA Conductor: MaIcolm E. Tirnrns

Age range of performers: 8-11 years

1st Descant Recorders SimonHearn Nicola Breeze Fay Gladen Jane Steele Trudy Fisher Nicola Yarnall 2nd Descant Recorders Simon Steddon Nicholas JoUyman Timothy j ollyman

amia Abdi Joanne Fisher Antonia Smith 1st Treble Recorders I\alhryn Englefield Elizabeth Comben Caroline Comben Mary Easman

2nd Treble Recorders Dawn Chambers Alison de Vroome Alison Bryant 1st Tenor Recorders Angela Joyce Susan Roast Michelle Handy Elanor Elliott Barbara Rieckenberg 2nd Tenor Recorders Caroline Woolmm-e PeneJope Edwards Margaret Steele Jane Steele Barbara Heidgen

39

~-~========================~===-~~~~------------------------~

CONGRATULATIONS to all participants in the 1980 Schools Proms

40

Argentina Austria Belgium

Canada

Denmark France

Germany

Netherlands

Portugal United States

Yugoslavia

The Council for International Contact has been pleased to

asSiSt in arrangements for overseas visits

and exchanges for the groups below

in the countries listed in the last

two years.

Lancashire Schools Symphony Orchestra Rochdale Youth Orchestra Cumbria: Dance for Joy South London Schools' Concert Band Clackmannan District Youth Band Featherstone School Concert Band Stowmarket School Concert Band Turnford School Operatic Society Bromley Schools Concert Band Bromley Schools Chamber Orchestra Wakefield Metropolitan Band AyJesbury Youth OrchtStr3 Bucks County Youth Jazz: Band Northampton County Youth Orchestra Stamonbury Youth Brass Band Tregaron Choir North East Ulster School.s Symphony Orchestra West Sussex Band Young Recorder Players of London Hastings .Arta Youth Orchestra 50mb Glamorg~n Youth Wind Band Woolwich Polytechnic School Brass Band Brighton Youth Orchestra City of Belfast Youth Orchestra Daniel Stewart's and Melville College Pipe Band Goffs School Wind Band Huddersfield Senior Y ourh Orchestra Ocho Rios Steel Band Oulder Hill Choir and Orchestra, Rochdale Malvern College Choir South Glamorgan Youth Brass Band Leicester Orphean Youth Orchestra

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

BOX 38, Grand Tier or write for information to The Council for International Contact 23 Nottingham Street London Wl Tel: 01-4369656

List of Performers Soprano Melodicas SamiaAbdi Michelle Handy Elanor Elliott Alto Melodicas Penelope Edwards Geraldine Crook Annabel Platt Tube and Mini-Glockenspiels Coralie Mears Nicola Breeze SamiaAbdi DeborahJowett 1st Glockenspiels Michelle Handy Joanne Fisher 2nd Glockenspiel Trudy Fisher Soprano Xylophone Nicola Chambers Alto Xylophone Nicola Chambers Joanne Fisher Tenor/Alto Xylophone Nicola Chambers Bass/Soprano Xylophone Joanne Fisher Annabel Platt Mandolins Penelope Edwards Tara Watts

Kerry Wright J ulia Woodcock Coralie Mears Guitars Barbara Rieckenberg Elanor Elliott Tara Watts Julia Woodcock Penelope Edwards Kerry Wright Autoharps Carotine Woolmore MaryEasman Percussion SimonHearn Martin White J ulie Sutlivan Bass Recorders Amanda Knight Tamsin Green Geraldine Crook Julia Watkins Bass Metallophone DeborahJowett Bass Xylophone Susan Lindsell Coralie Mears Double Bass Susan Harding Piano Tara Watts

LE CHOEUR DU LYCEE J. B. COROT Conductor: Gerard Boulanger Age range of perfonners: 12-18 years

Sopranos Claire Abitbol Reine Abitbol Patrice Birkel Isabelle Brault Veronique Brault M. Yolaine Castenedo Helena Campos Dominique Delcambre Lydia Doulet Christine Deloges Martine Duchoux Anne Geoffroy A. Marie Jenny Fran<;oise Jenny Dominique Fontaine Fran<;oise Le Bouar M. Ange Le Roux Christine Ludove Claire Marches Carotine Marchot Isabelle Massing Catherine Maurin M. Gael Nee Fran<;oise Oppetit Valerie Pradat Isabelle Vandel M. Christine Marchal Sylvie Martinelli Evelyne Simandoux Altos Catherine Andrieu Patricia Bedon Nicole Berlemont Isabelle Blondet Jacquetine Boulanger Claire Bruneau Nathalie Buzi Nathalie Carlier Brigitte Charon Fran~oise Deude Martine Dodu Martine Donnefort

Sylvie Guirao Annie Gaufriez Isabelle Hardy Claire Lemoine Pa tricia Liger Clarisse Loliero Catherine Le Bouar Yolaine Marra M. Claire Pezeret Brigitte Quinquet Jabonina Razafindrakoto Sylvaine Ronga Isabelle Ronga Claudia Sogno A. Marie Terrasson Anne Tronel Dominique Urfer Isabelle Vacquie Isabelle Watrinet Tenors Fram;ois Boulanger Alain Berthat Christophe Chartier Patrice Durkel J. Marie Corbise Marc Guidais Jean Lambert Bemard Le Bris Gilbert Jenny Pascal Dussaussaye lerome Lordon :'-lain Montadert Roger \1onnier Christ ian Prunier Christophe Le Hazif Pierre Vacquie ]. Fran<;ois \"acquie Basses Fredenc Auger Fabian Desserprit Eric Devez ]. Marc De Bemardi Christian Duthuille

Amaud Keller Antoine Le Breton Christophe Lecocq Louis Didier Thierry Lamour Philippe Manteau Fran<;ois Muller

THE OCHO RIOS BAND Musical Director: Phil Sutton

- Will I

]. Marc Pezeret Philippe Proven<;al Dider Prieur Brice Thomas Alain Trouchaud M. Riche Reginald Wieme

Managing Director: Chris Shearsby President: Maurice Dunn, M. A., L. L. C. M. Age range of perfonners: 11-16 years

Lead Soprano Pans Lorraine Currie (Band Leader) Byron Lee (Asst. Tutor) Andrea Johnson SuzyLee Second Soprano Pans Alan Currie Yvonne Morrison Lydia Edwards Sheila Powell Double Soprano Pans Dorothy Dodd Tenor Pans Karen Morris Sarah Cowley Sharon Drackett

Double Guitar Pans Marcia Carter PatsyPowell Angela Morris Triple Guitar Pans A1ison Clay Suzanne Woodcraft Cello Bass Pans Jane Reid Bass Pans Daphne Dodd Marlyna Blake Percussion Section Tony Morris Andrew Currie

PILGRIM SCHOOL BRASS BAND Musical Director: T . M. W. Hext Manager: R. B. Fawthrop Age range of perfonners: 13-19 years

Comets Tim Litchfield Kevin Williams Michael Rabbit Philip Bainbridge Caroline Burridge Andrea Dorricot Sharon Dudley Horns J ennifer Litchfield Mark Blackledge Duncan Mitchell Darrell Pendred Euphonium Nicolas Medley

Baritone Stephen Burridge Roger Bufton Trombone John Laird Stephen Bainbridge Andrew Colling Tuba Mark Scott Mark Bromley Gregory Malcangi David Pie gaze Percussion David Hext

RAVENSCOTERECORDERCONSORT Conductor: lanetteJolly Age range of performers: 8-12 years

Descant Recorders Sarah Gilbert EmmaOram Elaine King Jenny Gibbs lulia Day Helena Cockram Samantha Taffinder Julia Harman Sarah Woodman Louise lenkins Veronica Woodman loanne Collins Lisa Hill Lucy Gibb Alison Guthrie Catherine lenkins Louise Powell Treble Recorders Julie Burrows

Anne Rhodes Alice Edwards Suzanne Day Julia Cockram Sarah Paterson Catherine Miller Tenor Recorders Elspeth Elson Susan Aiken-Sneath Mark Scott Richard Ashton Alison Lloyd Allison Maton Bass Recorders Paula Jackson Sarah Wilson Percussion Alice Edwards J ulie Cockram Alison Lloyd

41

Congratulations and best wishes to all those taking part in the Schools Prom ..• from the Musicians' Union

General Secretary, Musicians' Union President, I nternational Federation of Musicians Chairman, Confederation of Entertainment Unions

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

The world of music today is beset with many problems but we know from past experience that they wi 1I not deter many of tonight's partic ipants f rom entering into a profession al career. When they do so we are ready to welcome them int our ranks and to assure them that the Musicians' Union will continue to fight as hard as it has done in the past to maintain and expand the employment opportunities available, in order that their exceptional talents will not be wasted.

Deputy Chairman, National Music Council of Great Britain Member, Executive Committee of the International Music Council

42

List of Performers ST PAUL'S PRIMARY SCHOOL EARLY MUSIC GROUP Director: Rosemary Fleet Age range of performers: 9-11 years

Viols and Recorders Claire Casselden Nadine Blann Kathryn Harris Lisa Carter Arnanda Hardwick Lisa Don Francesco

Fiona Ling Kerry Grover Anthea Woodgate Jacqueline Moynagh Tambour and Tambourine Nathan Smoothy Daniel Goodger

SOUTHAMPTON FLUTE QUARTET Tutor: Robin Soldan Age range of performers: 17-19 years

Elizabeth Cornford Hazel Comber Clare Cowhig Isabelle Cam~

STOCKPORTSCHOOLSSTAGESOUND Musical Director: Alan Tomkinson Age range of performers: 15-19 years

Saxophones Richard Coates Karen Emmett DerekNash Michael Torkington Mark Witty Trumpets Chris Clark PhilipSwain Steven Turner TonyWyatt Trombones Robert Baldwin Robin Dewhurst AlanHayes Michael Topping Mike Watkins Flutes Helen Allott Jane Howe Sue Steadman Valerie Swain

Clarinets LauraJenkins Susan Cunningham Beverley George Ann Harrison Keyboard Andrew Richardson Drums Paul Dean Violins Heather Clark Deborab England SimonHale Catherine Powell Margaret Powell Lindsay Taylor Elizabeth Watkins Cellos Caitlin McCausland Jenny Tapner Judith Lea

SURREY COUNTY WIND ORCHESTRA Conductor: David Hamilton Tutors: Brass Gerry Allitt, lan Morrish, Gordon Hughes; Woodwind Hugh Freer, Patricia Hopkins, lan Peters, Zoltan Lukacs; Percussion Roger Blair; Administrative Assistant Jeremy Bennett Age range of performers: 11-21 years

Piccolos Caroline Howard Ian Clarke Flutes Yvette Bass SimonDean Lesley Binyon Linda Scott Vivian Jones A1ison Webb Judith Vine Elizabeth Edginton Lucv Ireland Oboes Jessica \Iartin Karen \Iaddock Deborab \1) all Claire Morley

Cor Anglais John Crossman E' Piccolo Clarinets Helen Alderson Anne Dirnmock Solo B' Clarinets Michael Collins Sally Donegani Caroline Hardwick SarabAdams 1st B' Clarinets Neyire Ashworth Charles Wharf Bridget Wilcox Georgina Giles Catherine Zollmann Claire Hattersley

2nd B' Clarinets Heidi Douglas Justin Wildridge Helen Cox Joanna Parker Susan Goodall Tania Morgan 3rd B' Clarinets A1ison McLellan Duncan Hannant Catherine Longhurst Helen Forster E' Alto Clarinets Rebecca Finney-Mitson Mark Norris WilliamDawson B' Bass Clarinets Karen Peters Sally Ann Sherwood Elizabeth Caton E' Contrabass Clarinet Judith Ellis B' Contrabass Clarinet Ian Peters Bassoons Elizabeth Hutchison Marcia Higgins Robert Ups tone Suzanna Matthews Sarab Doling Kaye Thompson Sarab Morley Contrabassoon Elizabeth Ashby Alto Saxophones Gareth Fox Deborab Porter Tenor Saxophone Philip Thompson Baritone Saxophone Margaret Andrews Horns Christopher Guest Carolyn Barber Mark Penny Joanna Hatfield Sarab Bowser EmmaPalmer Anita Morrison Mark Bates

VIV ALDI ENSEMBLE

Peter Gritton Trumpets Karen Andrews David White Paul Miller Wendy Pawsey John Ewens Richard Wood KiranKapur Denise Pulsford Janet Pulsford Paul Maple Tenor Trombones Phillip Wright Julie Lowe Clive Guyton Martin Doughty AndrewWilby Madeleine Mundy Bass Trombones Richard Stubbings John Mears Euphoniums DavidStowe Jeremy Ebdon MarkPawsey Andrew Gardiner Robert Prince Tubas Trudi Lade Andrew Potterton Duncan Ford Andrew Penny Andrew Hibberd Susan Rooke Double Basses Ian Towson A1ison Bryant Margaret Andrews Timpani Neil Marshall Percussion Herbert Williams Stephen Hiscock Andrew Martin Richard Benjafield Andrew White

Tutors: Violin: Eta Cohen; Piano: Christine Brown Age range of performers: 11-13 years

Violins Michael]essop Elizabeth Anderson Colin Jagger Susanna Kemp

Piano Katie Bell

W AKEFIELD METROPOLITAN WIND ORCHESTRA Conductor: Colin Fanshawe Deputy Conductor: Julian Hall Orchestral Manager: RonaldJackson Tutors: Woodwind: Ruth Thorpe, Christine Bainbridge, Susan Smurthwaite, Nigel Street, RobertJackson, Thomas Watson; Brass: Les Heppleston, Thomas Greatorex Age range of performers: 11-19 years

Flutes Judith Ennis Carl Rooney (piccolo) Richard Hubbert Joanne Abson Janet Seilley

Janet Gill Anne Crossland GilIian Ripley LisaJagger

43

44

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~

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If at the end of three months your child wauld like to continue playing, you can buy on instrument o utright· and p reviou.s rental payments w ill count towards the purchase pnce.

Discover yaur child's musical talent on a "TRY BEFORE BUY" basis.

There is a nationwide network of over 100 Rental Dealers throughout the U.K. where you can choose from many world­famous brands of Brass, Woodwind, String and Percussion instruments manufactured or dist~ibuted by Boosey & Hawkes. Call at your local Rental Dealer today for full details. -----------­Please send me full details and the name of my nearest Rental Dealer Name Address .

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List of Performers Oboes Lynda Thackray Susan Rollinson Helen McKean Christopher Harrison Fiona Leadbeater Sally Donaldson E ~ Clarinet Debra Green Alto Clarinet Timothy Orrell Bass Clarinets Jennifer Mayfield Kay Bednall Wendy Ransome 1st Clarinets Catherine Clarke lan Abrey Wendy Teasdale Julie Brammer SamanthaJackson Sandra Barnes Simeon Yates Richard Garbett 2nd Clarinets Christine Holley Helen Godridge Julie Wall bank Joanne Ward Lois Lowe Catherine Pinchen Jan Runnet 3rd Clarinets Catherine Bednall Lisa Pottage Katherine Bell Ruth Carpenter Philip Matthewman Lisa Thompson SusanSmith Jennifer Ogden Anthony Bacon Gaynor Chapple LisaJane Walker Soprano Saxophone Anthony Davies Alto Saxophone Stephen Hanks Tonja Haywood

Tenor Saxophone Michelle Colville Baritone Saxophone James Giblin Horns Peter Mayfield Donald Cheeseman Robert Lane Christine Harris Adrian Green Fiona Walker EmmaBell Trumpets & Comets John Dickinson Adele Sellers John Gledhill Mark Busby Michael Hudson Stephen Peacock Helen Turner Tracey Luckman Andrew Wittaker John Hudson Richard Holcroft Trombones Philip Judge Michael Warren Jane Bedford FionaMcColl Stephen Dobson Baritones Robert Blackburn Richard Renshaw lan Thorpe Tubas Richard Preston Mark Hinchcliffe Janet Dunill Rada Lukic Percussion Katie Bell Elizabeth Dunbar Katherine Hubbert Stephen Waring Timpani Stephen Lloyd

WESSEX YOUTH ORCHESTRA Conductor: Donald RiddeU Leader: Duncan RiddeU Age range of perfonners: 10-23 years

1st Violins Duncan Riddell (Leader) Katie Hull Vanessa Hughes Sally Bird Ann Criscuolo LucyBird Rosemary Fraser Teresa Fisher Philip Whittaker SarahNolan Deborah Duesbury ran Berridge SueWaiWong 2nd Violins Joseph Rappaport PennyWayne Margaret Fraser Lydia Benazon Ashley Reed Nicola Everitt Wendy Attree Gillian Foster Jacqui Moore

Paula Andrews Gillian Cook NancyDorey Colin Dowland Fleur Reed Catherine Martin Violas Karen Read Genene Edwards Fiona EIliot Linda Wade RU5sell Tandl" 5 tuan "l.ustin­Cellos h:a:::c.-:1 Riddell Ca..""':.t: H:..:.l: Per.;;", RJ".::rs Paul Rc.".::"r; CoiJr. Eilint \Ielarut: 5yJI ester Stephen ( ox Dalld \Iarshall h:aren Lawrie Deborah Lane

Reuben Hart Susanna Riddell Basses David Bough Stephen Williams Joanne Holmes Diana Everitt Flutes Kerry Mursell Emma Micklewright Joanna Milnes Oboes Anna Winstanley RachelHart David Moxon Clarinets Caroly Hoyle Karen Roach lan Richards Bassoons Christopher Townsend-Rose Susannah Scott J oanne Wallis Louise Heawood Horns Pamela Wise Paul Harvey Karen Omer Timothy Andrew

Trumpets Brian Mintram Michael Pipe Christopher Saggs Trombones Ewan Robson Kevin Kilford Stephen Higgins Tuba Timothy Norris Timpani Beverley Ferguson Percussion Simon Barnett Paul Barnett Fiona Knott J ennifer Littleford Georgina Andrews Piano Elizabeth Lewendon

THE WINCHMORE HILL STRING ORCHESTRA Conductor: Peter Watmough Soloist: David Agudo Age range of perfonners: 9-17 years

Violins Caroline Rouse Catherine Arlidge Michael Rendle Daniel Agranoff Sally Herbert Richard Bramford lsaac Bador Brent Snell Mary Nicholls Richard Hills Clara Nasatyr Lorraine Dias Jennifer North Emil Dowdeswell Robert Sharples Joshua HiUrnan Donal Crawford Simon Blendis Sophie Risebero Timothy Cousins

ESSEX DANCE THEATRE

Vasilakis Zenios Ninette Premdas Tanya Taylor Paul MacGregor Violas Dominic Coltman Daniel Leetch Michael Ward Crispin Williams Yasmin Taylor Cellos Angela Rodreguez Gretel Dowdeswell FrazerSnell Christine Premdas Double Basses Timon Dowdeswell Anthea Williams Harpsichord John Nicholls

Principal Dance Tutor Debbie Holmes Vice-Principal Dance Tutor Georgina O'Gonnan Age range of perfonners: 11-21 years

Penelope Ball EmmaBush Cheryl Bownes Patricia Childs Wendy Clarkson Paulene Dines Jenni Donn Carole Gale Helen Hedditch-Grey Janet Hedditch-Grey Nicola Mainstone Carol Muritu J anice Prance Lorraine Robinson Kim Sutton Kevan Alien

Simon Barnes Graham Drake Bobby Gutteridge David Muritu Leon Robinson David Sorrell William Walker Noel Wallace RoryWilliams

45

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A SPECIAL WELCOME TO MEMBERS OF THE FRENCH CHOIR FROM SAVIGNY

CENTRAL BUREAU

FOR EDUCATIONAL ----------------------j VISITS EXCHANGES

ARTS EDUCATION SERVICE

brought groups to play at the Schools Prom from

the USSR . ..... in 1977 the US ........ in 1978 India . ......... in 1979

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.

43 Dorset Street, London W1H 3FN 01-4865101 3 Bruntsfield Crescent, Edinburgh EH10 4HD 031-4478024

16 Malone Road, Belfast BT9 5BN 0232-664418

AND SPECIAL THANKS TO DEREK JEWELL AND TIMES NEWSPAPERS FOR MAKING THEIR VISIT POSSIBLE

We equip them for life We have been providing them with the

tools of learning for generations­contributing to their education with the finest equipment, books and stationery.

Our specialist knowledge, experience and understanding of the needs of teachers and children make us the leaders in educational innovation and supply. Purpose-built factories and warehouses enable us to produce value-for-money quality learning aids and give a speedy distribution service all over the world.

lfJurcomplete service to education­for generations to come

EJArnold Your complete service to education

for the 1980's

E.J.Arnold & Son Ltd., Butterley Street, Leeds LSIO lAX.

@he REGENCY

HOTEL 100-105 Queen's Gate

London SW7 5AG Telephone: 01-370 4595

Telex: 267594 Cables: Visitor London

GUESTS WELCOMED THRU 24 HOURS

BAR SERVICE 10 am - 1 am

RESTAURANT - a la Carte & Coffee Shop menus

Each of the 200 centrally heated rooms have private bath or shower, colour television, radio and telephones

TELEX FACILITIES - SECRETARIAL SERVICES

Small Meetings and Cocktail Parties can be held in the delightful Jersey Room

47

48

Junior Snare Drum

Good quality snare drum ideal for schools. Hardwood drum

with vellum heads. Four metal tension

brackets, complete with drum sticks.

Hornby Glockenspiels

A range of British-made instru­ments of fine tone, accuracy

of pitch and solid construction to withstand the rigours of

continual school use.

Musical instruments and accessories

specially selected for the young musician

and music teacher by

Trade Distributors John Hornby Skewes 8c Co.Ltd. Salem House, Garforth, Leeds LS25.

Hornby Recorders Hornby all wood recorders with highly polished finish, I

ideal for school use. Precision made and competitively priced, all models are boxed, with notation chart and cleaning mop.

\\e'd like you to meet

The range of famous musical instrument and accessory manufacturers that we represent has grown dramatically in recent months. Here they are for your examination and you'll find them all ready for inspection at your nearest Vincent Bach Stockist.

I1£NR;\ SELMER ~

Bach Stradivarius trumpets, cornets, flugelhorns, trombones, french horns. Bach Mercedes & Mercedes 11 trumpets, cornets, trombones.

Selmer (Paris) Sopranino, soprano, alto, tenor baritone, and bass saxophones, clarinets, flutes, cor anglais, oboes, trumpets, cornets, trombones, fl ugelhorns, french horns.

the family

e Bundy clarinets, flutes, piccolos, trumpets, cornets. BUN DV flugelhorns, valve and slide trombones, french horns.

saxophones, oboes, bassoons.

Signet clarinets, flutes . piccolos, sousaphones. saxophones, oboes, bassoons.

Buescher 'Aristocrat' clarinets. fI utes. saxophones, trumpets, trombones, cornets '400' series saxophones.

De Jacques self adjusting bridges. G lasser fibreglass bows. Glaesel rosin, strings and chin rests. Ted Henkle violin and viola shoulder rests pI us cello and bass anchors. Norwood M usic stands. Jiffy instrument stands. Styratone trumpet mutes.

Vincent Bach International Ltd. The company that cares. Unit 5, Oxgate Lane, London NW2 7JN,

The Friends of the Schools Prom Association of Music Industries Barc1ays Bank Birds Eye Food Brooke Bond Liebig Bumdept Electronics H. J. Heinz Company IBM Kodak The Lesser Group of Companies Lucas Industries Marks and Spencer Moore Business Forms National Girobank Newspaper Archive Developments The Occidental North Sea Consortium [Occidental of Britain; Allied Chemicals (GB); Thomson North Sea; Getty Oil] The Rank Organisation Rent-A-Plant Selective Marketplace Thomson Travel Times Books

The Schools Prom is also most grateful/or the support of the following Friends of the National Festival of Music for Youth: THE PERFORMING RIGHT SOCIETY THE PIANO MANUF ACTIJRERS ASSOCIATION

On behalf of the you~g 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.