THE RADLEY COLLEGE CHRONICLE Vol. VII No. 1 2 May 2007 ONE NIGHT IN WESTMINSTER SUNDAY 28 JANUARY, ST JOHN’S, SMITH SQUARE St John’s Church, in the middle of Smith Square in played Light Music for Strings, a medley of Catalan Westminster, a stone’s throw from the Houses of folk tunes sewn together and orchestrated by Noel Parliament, is an imposing Baroque masterpiece built Rawsthorne, a past Organist of Liverpool Cathedral. It in 1728. Utterly symmetrical, with four towers was a polished performance from the start, with a crowning the corners and almost as wide as it is long, mellow string tone. Some of the later faster passages it delights the eye from many angles. The church has were not entirely tight, but stylish nonetheless. been dubbed ‘Queen Anne’s Footstool’ from a story At this point we saw the first of many smooth that the architect, Thomas Archer, consulted Queen transitions and lightening-quick stage setting before Anne on the design of the new church. In reply the the Brass Ensemble marched on, lead by Stephen monarch petulantly kicked over her footstool and Keavy. This was Galliard Battaglia – a polychoral snapped ‘like that!’ The church is now one of brass piece – and in the organ loft at the back the London’s finest concert venues, attracting Succentor approved, ‘Every good concert has some internationally renowned artists and performers (as Scheidt,’ he said. This was jaunty with plenty of bass well as nationally renowned public schools who can and neat echo effects. afford the stiff hiring fees). Sir Hugh Casson, the architect wrote, ‘just to come across it in that quiet The Guitar Ensemble appeared: four taps and they square is an event. To enjoy its spaces, to listen to fine were off. There’s something about guitarists that music, is an experience not to be matched in makes them infinitely cooler than orchestral players, conventional halls.’ don’t you think? There was a fair amount of staring into the wings and bearing of teeth in concentration or The Music Department decamped here one Sunday intense distraction – hard to tell which – and seven sets afternoon after weeks of meticulous, almost military of hands strumming in unison: simply mesmerising. I planning: three coaches; hundreds of packed meals; enjoyed this very much, not expecting to; furthermore over 100 Radleians; 20 choristers; 20 dons; over 60 it did not feel out of place in this venerable building. instruments to transport and millions of notes of music The rest of the audience seemed neither mesmerised to rehearse – it was an ambitious affair. Why, though, nor distracted, giving the disparate couldn’t we just have used the Silk group an immediate ovation, and, dare Hall? If you were there you will ‘…the prosecco was I report it, a muted cheer. The place understand, but otherwise read on and was warming up, the prosecco was find out. kicking in…’ kicking in, and a great atmosphere was The concert began, as is traditional, with the College developing. Pipers lead by Pipemaster Lyndon Ingram. This was Pelham Groom (E) – one of a distinguished minority an atmospheric start to the concert, and the pipers of Radleians for whom simply their Christian name is played as well as I can remember them playing, identification enough (note to parents – next term we immaculately kitted out, of course, in kilts and all the introduce a numbering system from one to 120 for all rest. There can’t be many nights of the year when the the Harrys and Charlies) – has an unflappable and very sound of the pipes rolls across Smith Square into the cool stage presence. Guitarists often have to cope with quiet streets of Westminster. housekeeping on stage like microphone moving and The Chamber Orchestra, led by Arthur Sawbridge (E), sound checks, but Pelham copes with any kind of – – — INSIDE — – – A Poll – page 4 • Social Stereotype – page 5 • Prague Tour – page 6 • A Message from the PM – page 9 Steeplechase – page 15 • A Tutor’s Diary – page 24 • Correspondence – page 27 and much more… 2 May 2007 THE RADLEY COLLEGE CHRONICLE delay or technical disaster with a deadpan comment; melodies by Vaughan Williams that he wrote from for many of us, it’s now part of the entertainment. scratch but sound centuries old – was played in a ‘Two-fifths of The Spring Offensive’ sang Until beautiful arrangement with the brass beginning in Tomorrow, one of their lyrical original numbers. Theo colliery-band mode. Now we can’t pretend this was Whitworth (C) and Pelham’s high tenors sang this immaculate, with ongoing confusion in the middle semi-folk melody with impeccable harmony and a parts, but then it was an enormous gathering of players range of tone extracted from their guitars – from some on stage, from Shells upwards. Simon Carr, taking Spanish touches in places to (as seems unlikely but my time off from doubling as the BBC’s Political Editor, notes have it) some Britten-esque harmony at the end was directing very clearly but perhaps some of the at ‘let me stay until tomorrow’. Haunting. players could have raised their eyes to the baton from time to time? The Slavonic Dance no. 1 by Dvorak The Radley Clerkes, enjoying a resurgence in the last was, by contrast, upbeat and rhythmically exciting, as few years under the Precentor’s guidance, were led on of course a dance should be. It was impressive to see stage by a shocking pink tie belonging to Seb Lomas so many of our younger wind and brass musicians (H) before singing two close harmony numbers playing together so well. arranged by a former music don, Peter Gritton. Feelin’ Groovy was a confident and relaxed performance: this The Big Band played Watermelon Man by Hancock is a group who have performed a lot together and are with a great sense of swing. This was an experienced now learning the higher skills of audience ensemble, relaxed in each other’s company, projecting entertainment now the notes are secure. There were a powerful sound (nine trumpets – a Very Big Band great stereo effects, and some notable solos – Rory indeed). Seb Lomas, he of the pink tie, stepped Stallibrass (C), George Nye (E), unique alto Ali forward for a solo, followed by Torsten Christian (F). Maxwell (A) and counter-tenor Ben Sheen (C) each The Full Throttle Funk, probably never before heard stepped forward. Hernando’s in this building, and three Hideaway was a witty words I’ve never seen arrangement at a faster together before, turned out to tempo. The altos shone, the be a fast movin’, toe-tappin’ basses provided solid polished romp of a piece, support, and all ended showcasin’ along the way strongly on an ‘ole!’ Removes Jack Emmett (H) and Charles Cutteridge (D) I Was Glad – one of the most on sax, and Rory famous English anthems of Robinson (F) depping at the all, and a favourite at back on drums. Very coronations and weddings enjoyable. alike – is a setting of Psalm 122 by Sir Hubert Parry. The The temptation with Chapel Choir, Radley saxophone groups and pieces choristers, and the Choir of Eaton House, the Manor is always to make a pun: Safer Sax was quite an assembled on stage and then the magnificent obvious one. Our Saxophone Quintet gave an introduction began. The Sainsbury Organ (donated by, entertaining performance of it anyway: Rory Robinson not bought from) was built by Klais & Sons of Bonn led on soprano sax, with promising Shell player Tom and famously expensive, but what a sound! Like a Buckley (B) and Seb Lomas on altos with Charles large BMW it was smooth and sophisticated most of Cutteridge and Callum Davidson (D) on baritones. the time but just sometimes you felt the power left in There were complicated middle parts going on here, reserve. The Succentor played it splendidly, sending and some great close harmony moments. Again, not the sound over the heads of the audience from the west something that leapt off the page of the programme, end loft to the choir, who rose to the challenge with but high-quality entertainment. The audience were 100 voices split over eight independent parts. Spine- enjoying themselves and the concert was whizzing by. tingling moments abounded, particularly in the There was a small break for logistics to take over at antiphonal ‘Jerusalem...Jerusalem ...is built...is built...’ this point: getting a large orchestra and grand piano on middle section when the melody was thrown back and stage is not an easy affair. Jonathan Williams (H) was forth between the two choirs. At the end we heard the soloist in the first movement of Grieg’s Piano exactly what the organ could do when the throttle was Concerto in A minor. From the dramatic flourish of opened – a grand, warm, fiery sound. octaves at the start, we sensed that here was a pianist After the Foundation’s reception downstairs in the who knew the piece confidently. He played from crypt the second half opened with two pieces from the memory, of course, and with such wild Byronic hair Concert Band. Linden Lea – one of those folk song that we knew that here was a serious musician. The 2 THE RADLEY COLLEGE CHRONICLE 2 May 2007 tempo was relatively fast yet there was still lyricism, – never fun to a regatta, always fun with the Music although perhaps not as much rubato as is usual. The Department – packed lunches to plunder; some free orchestra was superb – supporting flexibly and surging time in Westminster; and a great space to perform in.