Thursday 8th November 2012sT JohN's, smiTh square, WesTmiNsTer, LoNdoN

KiNg edWard visChooL CoNCerT

St John’s has been dubbed ‘Queen Anne’s Footstool’ due to a legend that when the architect, Thomas Archer, asked Queen Anne how she would like the new church to look, the monarch petulantly kicked over her footstool and snapped “like that!”, thus the four towers are said to give the building the semblance of an upturned footstool.As Sir Hugh Casson has said of St John’s “...just to come across it in that quiet square is an event. To enter it, to enjoy its spaces, to listen to fine music within its walls is an experience not to be matched in conventional concert halls and is a lasting tribute to the man who designed it.”

ST JOHN’S SMITH SQUAREP a t r o n : H R H T h e D u t c h e s s o f C o r n w a l l

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2012 has certainly been an exciting year for our musicians with the Gala Concert at the Anvil in March, a tour to Prague in the summer, a newly refurbished and extended rehearsal space in the department and now the opportunity to play in a professional arena. As well as being an exceptional musical venue, St John’s is also a fine example of English Baroque architecture, built in 1728 by Thomas Archer, and restored after damage in the Second World War.This evening’s concert provides a platform for many of the School’s advanced musicians and we are delighted to welcome in the audience Old Edwardians, staff and parents of our performers this evening. Refreshments will be available after the concert in the crypt.

JuLiaN ThouLd

Thursday 8th November 2012

sT JohN's, smiTh square, WesTmiNsTer, LoNdoN

KiNg edWard visChooL CoNCerT

He ad Master

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I am fourte en and have b e en pl aying the piano for eight ye ars. I also pl ay the trump et and I am working for gr ade VIII on both instruments. I have won prize s at the Sutton and God alming Music Comp etit ions and I am lo oking forward to the opportunity to p erform at St John’s, Smith Squ are. The pie ce I am pl aying this evening is quite chall enging but gre at fun to p erform. Toby Saer

I am currently studying A l evel music and am working towards my advance d p erformance certif ic ate and diploma. I have gaine d distinction in gr ade 8

and have b e en a memb er of the National Youth Choir of Gre at Brit ain. I also partic ipate and volunte er for the Southampton Music Fe stival . Lotte and I

enjoy singing together and are lo oking forward to p erforming this duet with a tr aditional wind qu artet . Nat alie Fairhurst

a Word from The soLoisTs

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I have b e en pl aying the piano since I was six ye ars old and passe d my gr ade VIII when I was 13. I am now in the 5th Ye ar and studying GCSE Music. I have

won trophie s in both the Southampton Music Fe stival and Gosport Fe stivals and I also pl ay the violin. Bi J ia Wu

I am currently working towards my Advance d Certif ic ate after t aking my Gr ade 8 singing this summer, and also my A2 p erformance re c it al in which I wil l b e singing a sel e ction of pie ce s by Faure. Singing is something I love, and I have re cently p erforme d in a Trinity High Achievers concert and Southampton Music Fe stival where I was succe ssful in winning the Under 1 8 cup for Music The atre. Nat alie and I are singing the Letter Duet from Moz art 's 'The Marriage of Figaro ' , and it wil l hop efully b e an amazing exp erience to sing in such a b e autiful lo c ation as St John's Smith Squ are. Charlotte Jone s

Music has always pl aye d a huge rol e in my l ife. With Cl arinet andSaxophone as my two main instruments I t ake a ke en intere st in both cl assic al

and Jazz Music. I am very exc ite d to b e pl aying a movement of Moz art ’s cl arinet concerto with an orche str a as i t is a fant astic pie ce of music. I have

pl aye d the pie ce b efore with piano, however, pl aying with an orche str a adds a whol e new dimension. Harry McGhe e

Singing has always b e en my gre ate st passion and I st arte d singing when I was nine at Pilgrim’s scho ol in Winche ster. Since then, I have love d and appre c iate d music in almost all forms. Throughout the ye ars I have combine d chor al and tr aditional singing with Music The atre. Music al The atre is another favourite hobby of mine. The Vagabond is , and always will b e, one of my favourite songs, e sp e c ially the Bryn Terfel re cording, which I to ok inspir ation from. I am very much lo oking forward to p erforming it tonight. Andy Morgan

I have b e en pl aying piano for eight ye ars and I am currently working towards my gr ade VIII . I have p erforme d in a r ange of venue s including Turner Sims,

Southampton and Birmingham’s Symphony Hall . I have re ceive d many prize s at comp etit ions such as the annu al Southampton Music Fe stival and the

Gosport Fe stival . Pl aying the piano in the Scho ol symphony orche str a has b e en a very enjoyabl e part of my Scho ol l ife. For my music al achievements I

was very happy to have re ceive d Scho ol Music Colours. Ishika Pr ache e

Egmont Overture Op.84 L . Van Be ethoven

Adagio from Clarinet Concerto in A major W.A. Moz artSoloist Harry McGhee

Vivace from Suite No.2 Op.78 Malcolm Arnold

Duettino from Marriage of Figaro W.A. Moz artSung by Natalie Fairhurst and Charlotte Jones

The Vagabond Ralph Vaughan Will iamsSoloist Andy Morgan

This Marriage Eric Whit acreSung by the Chamber Choir

A Los Toros Jo aquin TurinaSoloist Bi Jia Wu

Adagio in G minor for Organ and strings T. Albinoni / Remo GiazottoOrgan Richard Moore

Ostinato Bél a B artókSoloist Toby Saer

Prelude and Fugue in A Major for Flute Trio Dmitri Shost akovich

Adagio and Allegro from Ge org Phil ipp Tel emannConcerto in A Minor TWV 44:42

Silencia Oliver Le aman

Waltz Romantique Cl aude DebussySoloist Ishika Prachee

Well You Needn't Thelonious Monk

Caravan Ju an Tizol

Locus Iste Anton Bruckner

Who is Sylvia? Ge orge She aring

Hebrew Slaves Chorus from Nabucco Guisepp e Verdi

At the end of the concert OE Richard Moore will perform Toccata in D by Marcel Lanquetuit (1894-1985) on the Sainsbury Concert Organ.

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Programme

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PLayers

Violin IZoë Carter TaiJin Ho YimSophie ArthurCharlie SpargoCaitlin GordonBenjamin AthertonNiall EarleyAvril FreemantleDiana Williams

Violin IIBi Jia WuJonathan SmithShona CarsonOisin ShawEmmy HuangAlex DiaperSeung Yeon OhMaya GarsideEmily Atherton

Viol aNicole Coutinho GarridoStephen PeckhamPatricia Spodzieja

CelloAnna RobertsKathryn RobertsMike HuangIssie Elliott

B assGeorge GaddJonathan Brown

FluteJenny WhitbyTom Edwards

OboeLiberty RobertsLuke Roberts

Cl arinetHarry McGheeTom CapperNick Francis

B asso onAlistair WatsonHarry UglowBen Watson

Trump etOliver Ferec-DaysonMhairi CarsonToby SaerAndrew Thompson

French HornChloe PlaterLucy Smith

TrombonePeter ThompsonGuy Ripper

TubaChristopher Lotery

PercussionCarl WikeleyJonathan MillarMichael ArmitageSam RoutledgeIshika Prachee

Chamber orChesTra Dire cte d by He ather Fre emantl e and Oliver Le aman

Dire cte d by Ben Watson Accompanie d by Richard Mo oreChoirSopr anoCharlotte JonesAnna CookeTabitha PiggottLiberty RobertsMiriam Chapman-RosenfeldPenelope BielckusReem KatifiJulia RoopeTabitha SparksRosa SparksEllie D'Alton

AltoNatalie FairhurstAnna RobertsOlivia EllisAlex DiaperBi Jia WuKim WardZoë Carter TaiEmma Blackman

TenorTom DurhamJosh BlunsdenLuke RobertsBarney Venable

B assAndy MorganCharlie SpargoPeter ThompsonGus WoolleyJoe ChalmersJonathan SmithPhil Normand

aduLT ChoirSopr anoSue ChamberlainPriscilla CookDiana HulbertSara Jane RoopeJane ThompsonSimone PaulsonClaire CostelloSue QuinnClaire Rutter

AltoStella EvansJo FairhurstNoreen LovegroveLem MillarLorraine MorganCaroline ReesRosemarie RobertsHilary SmithHannah ThouldDeidre WatsonLesley KirkAlison Carter TaiElizabeth Collier

TenorDavid ReesStuart AyersRichard Chamberlain

B assJohn FairhurstAlex HardenDavid LovegroveAlan MorganRichard MooreRob PuttRichard RoopeChris ThompsonTimothy ToftsStephen Gadd

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Dire cte d by Luc il l e BurnsfLuTe Trio

Jenny WhitbyZoë Carter TaiTom Edwards

Dire cte d by Simon All enJazz eNsembLe

Trump et Oliver Ferec-DaysonTrombone Peter Thompson Alto Saxophone Harry McGhee Tenor Saxophone Nick WillsherB aritone Saxophone Charlie Spargo Drums Jonathan Millar B ass Guit ar Tom CapperPiano Simon Allen

Dire cte d by Oliver Le amanTeLemaNN oCTeT

Flute s Jenny Whitby, Zoë Carter TaiOboe s Liberty Roberts, Luke Roberts Cl arinets Harry McGhee, Tom Capper Cello Peter Thompson Continuo Bi Jia Wu

Jenny WhitbyLiberty RobertsLuke RobertsHarry McGheeTom CapperCharlotte Jones

Charlie SpargoPeter ThompsonKathryn RobertsAnna RobertsMike Huang

siLeNCiaDire cte d by Oliver Le aman

Reem KatifiLiberty RobertsCharlotte JonesEllie D'AltonZoë Carter TaiAnna CookeAnna RobertsOlivia EllisTabitha PiggottGeorgie HillNatalie Fairhurst

Tom DurhamJosh BlunsdenPhil NormandLuke RobertsJonathan SmithPeter ThompsonAndy MorganGus WoolleyCharlie Baker

Chamber ChoirDire cte d by Nat alie Fairhurst

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Programme NoTes

This is the opening piece from incidental music for Soprano, Narrator and Orchestra, written by Beethoven in 1810 to accompany Goethe’s play of the same name. Composed during the Napoleonic wars and at a time when Beethoven was notoriously outraged at Napoleon having declared himself Emperor, the narrative deals with the life and heroism of the Count of Egmont, a Dutch nobleman.Beethoven sets out the two main themes in a slow introduction – the first being rough string chords answered by an imploring woodwind melody; the second a repetitive melodic fragment passed around the orchestra over an ominous and obsessive string rhythm. This leads into the Allegro con brio, in which Beethoven re-presents and develops his themes with typical urgency and energy (“The Fight”). After further development and a brief recapitulation of the themes in their initial forms, a pianissimo woodwind chord leads into a whirlwind coda (“The Victory”) in which Beethoven introduces a new, heroic, theme that builds to an emphatically triumphant close.

egmoNT overTure oP. 84 Ludwig van Be ethoven

Written in 1791 for Anton Stadler, this is one of Mozart’s final works (he would be dead by the end of the year). Originally written for basset horn, the concerto was published posthumously and transcribed for clarinet. Unusually lacking in virtuosity for the soloist, Mozart instead places greater emphasis on the relationship between soloist and orchestra, allowing the legato melodies to evolve organically. In this, the second movement, the clarinet opens with a simple, lyrical melody over rocking string accompaniment, which is then repeated by the orchestra. This is followed by a move to the minor and a sequence of yearning phrases overlapped to create a sense of unending melody. The contrasting ‘B’ section that ensues has a lighter mood and exploits the full range of the instrument before the return to the original theme.

CLariNeT CoNCerTo iN a K. 622–adagio Wolfgang Amadeus Moz art

This suite of three pieces, written in 1962, displays many of the hallmarks of Arnold’s style. Striking orchestration and a plethora of musical invention go hand-in-hand with challenging harmonies and well-defined character. This, the third movement, is dominated by the percussion, who open with insistent rhythms which are picked up by the rest of the orchestra. Cyclical melodies are interspersed with soloistic passages in a manner reminiscent of the film scores Arnold was so famous for composing.

daNCe from suiTe No.2 oP. 78–vivaCe Malcolm Arnold

The first of the three ‘Da Ponte’ operas, The Marriage of Figaro is based on the Beaumarchais play and takes place in Spain during the mid-eighteenth century. At this point in the opera, Count Almaviva has tried to seduce Susanna, soon-to-be-wife of his servant Figaro, and become suspicious that his wife, the Countess, is being unfaithful to him. During this duet, the Countess, upset to have lost her husband’s affection yet defiant, dictates a letter to Susanna confirming the assignation that Susanna made with the Count for later that evening. This sets up the final act, in which various games of mistaken identity are played out in the darkness of the garden.

“suLL’ aria” (The LeTTer dueT) from aCT iii of Le Nozze di figaroWolfgang Amadeus Moz art

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Counte ss: Well, did you tell him? What was his lordship’s answer?Sus anna: Oh, there was no mistaking that my lord’s very angry.Counte ss: Well done! It will be easier now to catch him. And where did you invite him to look for you this evening?Sus anna: In the garden.Counte ss: We’ll make it clearer. Write to him.Sus anna: I write to him? Oh, my lady!Counte ss: Write what I dictate, I take the whole responsibility; have you everything ready?Sus anna: I’m ready.Counte ss: “How delightful it is to wander, By the breath of evening fann’d. Where the scented pines are closest.” And the rest he’ll understand!

Written as a gift to his wife on the occasion of their seventh wedding anniversary, This Marriage is set to words by 13th Century Persian poet, Rumi. The music is typical of Whitacre’s choral style, including unusual harmonic progressions and rich sonorities.

This marriage Eric Whit acre

Written between 1901 and 1904, these songs – based on Robert Louis Stevenson’s collection of the same name – represent Vaughan Williams’ first major foray into song-writing. Following on from a long tradition of ‘wayfarer’ song-cycles (Schubert Winterreise, Mahler Lieder eines fahrenden Gesellen), the composer depicts the world-weary yet resolute nature of the protagonist through a series of nine songs. In The Vagabond, the traveller is introduced, with heavy ‘marching’ chords depicting his journey through the countryside. He sings of the simplicity of his needs and his grizzled determination to continue his journey: “All I ask, the heaven above, And the road below me.”

‘The vagaboNd’ from soNgs of TraveL Ralph Vaughan Will iams

This piece is an arrangement of Turina’s original version for small orchestra, written in 1931. Many of the rich orchestral textures remain and the lively rhythms and extreme range are further evidence of the piece’s original instrumentation. An explosive and harmonically challenging introduction leads into the first section, which sees a typically capricious Spanish melody pitted against a ‘hammered’ bass-line. The following section explores a more lyrical avenue, although the piece’s trademark rhythmic vitality is ever-present. Both themes are then recapitulated before the emphatic glissando brings the piece careering to a halt.

a Los Toros (The buLLs) from ‘riNCoNes seviLLaNos’ (CorNers of seviLLe) oP. 5 Jo aquin Turina

This neo-Baroque work, composed in 1958 by musicologist and Albinoni scholar Remo Giazotto, is purportedly based on a small fragment of music by the eighteenth century Tomaso Albinoni, although the attribution has never been proven. Although what exists today is perhaps a rather elegiac Romanticisation of the Baroque ideals, Giazotto insisted that his music was entirely and logically based on the original six bar fragment.

adagio iN g miNor for orgaN aNd sTriNgs Albinoni/Giazotto

Eric Whit acre

Ralph Vaughan Will iams

Jo aquin Turina

Albinoni/Giazotto

This is one of a set of over 150 piano pieces written by the Hungarian composer during the period 1926-1939 which “appear as a synthesis of all the musical and technical problems which were treated and in some cases only partially solved in the previous piano works”. Ostinato features a pounding repetitive rhythm and is full of folk-like melodies and figurations typical of much of Bartók’s music.

‘osTiNaTo’ from miKroKosmos Bél a B artók

Shostakovich composed his cycle of 24 Preludes and Fugues in 1950-51 following a trip to Leipzig to attend a festival commemorating the bicentenary of J.S. Bach’s death.  One cannot overstate the importance such a trip had on the composer who, until the end of the Second World War, was culturally isolated in his native Russia.  Upon hearing performances from The Well Tempered Clavier, Bach’s set of 48 preludes and fugues, Shostakovich was inspired to compose his own set, one in each of the major and minor keys.  This 20th century take on one of the strictest and most challenging of musical genres is widely regarded as one of the defining works for piano in the modern era.The seventh prelude in A major is effectively a two-part invention, light and joyful in nature and clearly reminiscent of Baroque counterpoint.  Indeed it is interesting to note that there are no harmonic dissonances in either the prelude or the fugue.   The fugue is in itself seemingly simple, with each part of the three voiced texture relatively lacking in rhythmic complexity in the arpeggio-based movement.  However, the interweaving and entwining of these three strands create some moments of delightful beauty and it is for this reason that the piece is able to function so well in this newly arranged form for 3 flutes.

PreLude & fugue iN a oP.87 Dmitri Shost akovich

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Very little is known about this piece except that it was almost certainly composed around 1725 as it seems to form part of a larger collection of works for four or more soloists and basso continuo.  Some of the set are classified amongst the orchestral suites and as such have received many performances and been widely recorded.  This work, however, requires a more soloistic approach and remains virtually unknown.  As is typical of music of this era there are no dynamics or articulations marked in the score and it is this aspect of interpreting Baroque music in its purest form that is often the greatest challenge, no matter how fiendish the notation may be.Telemann was a great re-orchestrator of his own music and one can find instances of him offering advice on his scores as to the feasibility of performing the parts on alternative instruments.  It is with this spirit in mind that the clarinets make an appearance in this transcription by Dr Leaman, for although these instruments were yet to be invented at the time of composition, Telemann would surely have approved of the performance of his work in any guise.

CoNCerTo iN a miNor for 8 musiCiaNs TWv 44:42 Ge org Phil ipp Tel emann

Ad agioAll e gro

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‘Silencia’ was originally written for full string orchestra in 2007 and first performed by the Southbank Sinfonia in May of that year.  The piece begins and ends in a dark and sombre D minor and although the ensuing harmonies are unusual and highly chromatic, the piece verges as if on a precipice of atonality, never quite taking the full leap.  This constant struggle between tonality and atonality was created in response to on-going aesthetic arguments in PhD seminars concerning current contemporary orchestral writing, and the debate as to whether tonality is dead, dying, or simply rather ill. This version for 11 musicians was specially re-worked to enable some of the advanced KES musicians to perform music of an altogether different character from that which they are more used to.

siLeNCia Oliver Le aman

Ge org Phil ipp Tel emann

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Oliver Le aman

This short piano piece was written in 1890, whilst the composer was studying in Italy. Despite the early position of this work in Debussy’s career, some of what would later become his compositional trademarks are present: for example, the haunting semitone shift in the accompaniment provides a sense of unease before the music opens out harmonically and texturally in a manner reminiscent of his piano masterwork, Clair de Lune. However, Debussy’s masterful melodic writing is less evident here, as virtuosic figurations and textural inventiveness are brought to the foreground. The insistence of the initial semitone motif, heard most explicitly just before the end, lends the piece a sense of structural cohesion whilst the imaginative array of tonal colours explored allow the pianist to create a great deal of variety in performance.

vaLse romaNTique Cl aude Debussy

Thelonious Sphere Monk (1917–1982) was an American jazz pianist and composer considered one of the giants of American music. Monk had a unique improvisational style and made numerous contributions to the standard jazz repertoire. Monk is the second-most recorded jazz composer after Duke Ellington. His compositions and improvisations are full of dissonant harmonies and angular melodic twists, and are consistent with Monk's unorthodox approach to the piano, which combined a highly percussiveattack with abrupt, dramatic use of silences and hesitations.

WeLL you NeedN'T Thelonious Monk

Juan Tizol (22 January 1900 – 23 April 1984) was a Puerto Rican trombonist and composer. He is best known as a member of Duke Ellington's band. It is a common misconception that Ellington wrote Caravan Tizol had invented the melody to "Caravan", from his days studying music in Puerto Rico, where they couldn't afford much sheet music so the teacher would turn the music upside down after they had learned to play it right-side up. This technique became known as 'inverting', and led to a style called Modal Jazz.

CaravaN Ju an Tizol

The Jazz Ensemble is a newly formed group. Both arrangements have been specifically written for the Ensemble by Simon Allen, giving each musician a chance to improvise in addition to the discipline of blending together in soli sections.

Written in 1869 for the dedication of a chapel in Linz cathedral, this unassuming motet shows Bruckner’s choral writing at its most restrained. Although many of the more chromatic elements of Romantic harmony are not present, the music employs a number of dissonant devices in order to enhance the mood of the text.

LoCus isTe Anton Bruckner

This pl ace was made by God,A pricel e ss mystery;It is b eyond repro ach.

Nabucco was Verdi’s first major success and tells the story of the subjugation of the Hebrews by the Babylonian King Nebuchadnezzar. In this chorus from Act III the Hebrew slaves, in chains on the banks of the Euphrates, sing nostalgically of their homeland. This famous chorus was an instant hit following the first performance in Milan in 1842, perhaps because the 19th Century Milanese, suffering under Austrian rule, equated themselves with the Jews of the Old Testament.

‘va PeNsiero’ (Chorus of The hebreW sLaves ) from NabuCCoGiusepp e Verdi

Fly, thought, on wings of gold;Go settl e upon the slop e s and the hil ls ,Where, soft and mild, the swe et airsOf our native l and smell fr agr ant!

Gre et the banks of the Jord anAnd Zion’s toppl e d towers…Oh, my country so b e autiful and lost !Oh, remembr ance so de ar and so fat al !

Golden harp of the prophetic se ers,Why dost thou hang mute upon the willow?Rekindl e our bosom’s memorie s,And sp e ak to us of t ime s gone by!

Mindful of the fate of Jerus al em,Give forth a sound of crude l ament ation,Or may the Lord inspire you a harmony of voice sWhich may insti l virtue to suffering.

Written in 1927, just after the composer had returned from a series of concert recitals in the U.S.A., this work displays many of the features prevalent in French organ music of the time, such as in those works by Marcel Dupré and Eugène Gigout. Following an improvisatory section for full organ figuring repetitive rhythmic motifs over a melody played on the pedals, a more melodic and dynamically varied section explores different tone qualities alongside the ever-present rhythmic ostinato. The initial theme and textures then return, with some harmonic variations, all building up to a resounding climax.

ToCCaTa iN d Marcel L anquetuit

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This simple and effective setting of words from Shakespeare’s Two Gentlement of Verona combines close harmonies and indulgent melodies to set the scene for Sylvia’s many suitors trying to woo her in Act IV. It is from a set of Shakespeare settings composed by the blind jazz musician which explore a multitude of different jazz styles and vocal techniques.

Who is syLvia? Ge orge She aring

Marcel L anquetuit

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Ge orge She aring

Avril joined King Edward VI in the sixth form, playing in the NYO and leading the HCYO before moving to the Royal Northern College of Music to study violin with Thelma Handy, Leader of the RLPO. She has worked with many eminent conductors in concert venues across the country, including recently playing first violin with the BBC Philharmonic Orchestra in Manchester’s Bridgewater Hall. Avril also has a keen interest in orchestral outreach and has worked with the BBC Philharmonic and Hallé on several projects.She has received master classes from Remus Azoitei and David Brodowski and as a chamber musician has received coaching from the Carducci Quartet, Pavel Fischer and Raphael Todes. Avril is a course tutor for the National Prep Schools Orchestra and currently studies with Sophie Langdon at the Royal Academy of Music, where she is in her first year of the MA programme.

avriL freemaNTLeRichard began his training as an organist in the Portsmouth Diocese with Rosemary Field, before spending a year as Organ Scholar at Southwell Minster. He went on to read Music at St John’s College, Oxford, as the College’s Organ Scholar, and was active as an accompanist, featuring on commercial recordings with the choirs of St John’s, and also Exeter College. He currently studies the organ with David Graham at the Royal College of Music, where he is in the second year of the MMus programme.Active as a continuo player in the RCM’s Historical Performance department, recent projects have included tours to France and Italy, in addition to work with the Chapel Choir of the Royal Hospital Chelsea, where he was Organ Scholar until August 2012. Richard currently holds the Sir George Thalben-Ball Memorial Organ Scholarship at St Michael’s, Cornhill, and the William and Irene Miller Organ Scholarship at St Paul’s Cathedral.

riChard moore

oLd edWardiaNs

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Alex joined KES in 2005 and quickly became involved with various musical groups throughout the school as a singer and percussionist. After studying Music and Music Technology at A Level Alex went on to study a Creative Music Technology degree at the University Of Surrey. Since leaving KES two years ago, Alex has established himself as a computer-based composer but continues to sing and take part in various other musical activities. As well as his free improvisation performances at the University Of Surrey’s Mindbeat installation, Alex has most recently had his work performed at the London Southbank Centre. He is also the proud recipient of an academic performance scholarship for two consecutive years. Alex is now looking towards the future and is currently applying for postgraduate study.

aLex hardeN

Old Edwardians reading Music at University or Conservatoire and who are performing this evening

avriL freemaNTLeAndy is a second year music student at Cardiff University where is studying trumpet with Martin McHale. In June he was awarded a scholarship as the best brass player in first and second year and following auditions is again the principle trumpet in the university orchestra; a sort-after trumpeter he plays a wide variety of music from jazz, through brass band and wind band to his own quintet. He is studying conducting under Keith Griffiths and alongside his studies Andy arranges music, particularly for the ensembles that he conducts: string orchestra, wind band and choir. He joined KES as a 6th form music scholar and enjoyed the breadth of opportunities that he was offered. Andy was a member of HCYO and SYO, where he was lead trumpet and had the privilege of playing the Arutunian trumpet concerto with SYO at concerts both in Southampton and on tour. He always enjoys returning to play with KES musicians.

aNdreW ThomPsoNLucy attended King Edward VI School from 2002-2009 and led the Symphony Orchestra in her final year. During Sixth Form Lucy also attended the junior department at Trinity College of Music, London. She is currently a 3rd year student at the Royal Northern College of Music, Manchester. Whilst at the RNCM she has had the opportunity to play in many ensembles including the Symphony Orchestra and the Chamber Orchestra. In June 2012 Lucy won the RNCM hand horn prize which gave her the opportunity to do a hand horn recital within the Didsbury Coffee Concert series. Upcoming events include playing in a master class with David Pyatt, 1st horn of the LSO, and performing Beethoven's 1st Symphony with the RNCM Concert Orchestra. In February Lucy will begin studying at the University of Music and Art in Graz, Austria for 5 months as part of the Erasmus Scheme.

LuCy smiTh

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In accordance with the requirements of Westminster City Council persons shall not be permitted to sit or stand in any gangway.The taking of photographs and use of recording equipment is strictly forbidden without formal consent from St John’s. Smoking is not permitted anywhere in St John’s. Refreshments are permitted only in the restaurant in the Crypt.Please ensure that all digital watch alarms, pagers and mobile phones are switched off.Before and after the concert the café & restaurant is open for licensed refreshments.

The King Edward VI School would like to thank the staff of St John’s for kind permission to perform the concert this evening. We would also like to extend our thanks to the students, staff, OEs and parents for their support this evening.

Box Off ice Tel : 020 7222 10 61 Website: www.sjss.org.ukSt. John’s, Smith Square Charitable Trust Registered charity no: 1045390. Registered in England. Company no: 3028678.

ThaNK you

Photogr aphyGraham PiggottOliver Leaman

Crypt MusicGeorge Rodda

Olivia EllisAnna Roberts

Progr ammeIndigo Press

Progr amme note sBen Watson

Front of HouseHilary Smith

Elizabeth Collier

Music St aff Heather Freemantle

Oliver LeamanBen Watson

MusicAdministr ator

Priscilla Cook

Visit ingMusic Te achers

Simon AllenVictoria Andreou

Jane AndrewsCharlotte Bettle

Gill BoltonLucy Braga

Lucille BurnsElizabeth Collier Graham Cleaver

Darrell CoxElin Davis

Anita FeltonJohn Hanchett

Jo HandyHarun Kotch

Adam LamprellRichard Lyon

Simon MorganAdrian Osman

Tamsin RowlinsonSarah Salmon

Richard ThompsonLewis Webb

Diana WilliamsAndrew Worsfold

Paul Williams

Kes forThComiNg musiC eveNTs

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22347 King Edwards School C.indd 1 04/10/2012 16:51