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William Sevenoke Memorial Concert William Sevenoke William Sevenoke Memorial Concert William Sevenoke According to local legend, William Sevenoke, the founder of Sevenoaks School, was a foundling, abandoned as a baby in Sevenoaks around 1373 and adopted by Sir William Rumschedde, a local landowner. Sevenoke grew up to become a successful politician and businessman. He was apprenticed in London to an ironmonger, Henry Bois, becoming a freeman of London in July 1394 and being admitted to the Company of Grocers three years later. William Sevenoke Memorial Concert Between 1404 and 1426, Sevenoke served as Warden of London Bridge, Warden of the Grocers’ Company, Alderman of Bishopsgate Ward, Alderman Monday 25 March 2019 of Tower Ward, Sheriff of London and Middlesex, Pamoja Hall Surveyor of the King’s works at Isleworth and Mayor of London. He gave financial support to Henry V’s second expedition to France and remained an active member of the Grocers' Company for most of his life. Sevenoke died in July 1432, leaving property in London to the people of Sevenoaks, with instructions that it should provide an income to establish almshouses and a grammar school. Both have served the people of Sevenoaks continuously for nearly 600 years. Alan Adler This concert was previously named the Alan Adler Memorial Concert. Conceived in memory of Alan Adler, a past Master of the Worshipful Company of Tobacco Pipe Makers and Tobacco Blenders, the earliest concerts were funded by the Livery Company and given by professional musicians for the benefit of the pupils. Over time it became a concert given by pupils. From 2019 we have changed the name of the concert in honour of William Sevenoke. Welcome All of us have childhood memories and I think I can be pretty confident that for nearly everyone, these would include musical memories. Most people remember the music of the charts when they were growing up and they also tend to have incredibly strong recollections of a large amount of the music they took part in at school. Many youngsters take part in high-quality county music groups and holiday courses, being introduced to pieces and ensembles they otherwise might not get the opportunity to experience. As a young boy, my very small prep school was not able to put out any kind of orchestra, so I attended holiday courses, playing music very much like that performed by the Foundation Orchestra at Sevenoaks School. On one such course, I played a really rather clever junior arrangement of Tchaikovsky’s Marche Slave and what terrific fun that was! The young brass players on that course were amazing, we had a fine body of strings and, probably inspired by the then young James Galway, an even finer body of about a dozen flute players as well as other assorted woodwind. I couldn’t wait to get home and hear Tchaikovsky’s original. So, sporting my recent birthday record tokens, down I went to the local music shop to buy my first LP. Whilst my friends were purchasing the latest ABBA or Slade albums, there was me buying ‘March’ from the wonderful ‘The World of Great Classics’ series. Pieces of music become like friends. I have certainly known Marche Slave longer than any school or university friend – for over 40 years. This is one of music’s incredible values. A piece of music has roots that go deep within us. It has enormous revival powers; when we are feeling both up and down, it can transport us. Music is there for us unconditionally; the effect of a piece of music on our psyche can be both huge and transformative. The case for affording young people the opportunity to experience live music as both performer and listener as part of their wellness education can never be made too strongly. And yet, across certainly the Western world, this is under-acknowledged – and our charges are the poorer for it. In the case of my Marche Slave LP, I got not merely one friend, but ten. This was one repeatedly played vinyl record in our family. It is a work that I have used three times during my years at Sevenoaks. I programmed it for my first Alan Adler concert, and also for the gala opening of The Space in 2010. Ordinarily I prefer not to repeat repertoire more than twice, but in the case of this old and trusted friend, I am more than happy to make an exception. Christopher Dyer Director of Music Programme Recipes for descant recorder and string orchestra Alan Bullard (b 1947) Birdwatching Michael Henry (b 1983) 1. Coffee and Croissants I Swallows Fleeting 2. Barbecue Blues (when the fire goes out...) II Sparrows Bickering 3. Prawn Paella III Vultures Looming 4. Special Chop Suey Clarinet Quartet: Theo Duke, Sachi Gwalani, Kai Hayashi, James King 5. Fish and Chips Three Negro Spirituals from A Child of Our Time Michael Tippett (1905-98) Soloists: Helena Kiggell, Jess Downton, Amelia Ross, Mika Curson, Alistair Williamson 1. Steal away 2. Nobody knows The Sevenoaks Strings 3. Deep River Conducted by Mr Michael Heighway The Bluebird Charles Villier stanford (1852-1924) I Will John Lennon (1940-80) Paul McCartney (b 1942) The Sennocke Consort Arr Nell Norman (b 1998) Conducted by Mr Michael Heighway My True Love Hath My Heart (no 2 of Three Birthday Madrigals) John Rutter (b 1945) Interval The Snow Edward Elgar (1857-1934) Lord of the Rings – The Two Towers Howard Shore (b 1946) 1st violin: Meg Ishimitsu; 2nd violin: Serena Thomson; Piano: Mr Michael Heighway Arr Douglas E Wagner (b 1952) The Incredibles – Main Theme Michael Giacchino (b 1967) Senior Girls’ Ensemble Arr Johnnie Vinson (b 1944) Conducted by Miss Tegan Eldridge Sounds of Sousa John Philip Sousa (1854-1932) Arr James D Ployhar (1926-2007) Trio for Clarinet, Violin and Piano Aram Khatchaturian (1903-78) II Allegro Sevenoaks School Wind Band Clarinet: James King Conducted by Mrs Julia Kiggell Violin: Valerie Huang Piano: Malek Marar Marche Slave Pyotr Ilyich Tchaikovsky (1840-93) The Symphony Orchestra Conducted by Mr Christopher Dyer Programme notes Recipes for descant recorder and string orchestra I Will 1. Coffee and Croissants John Lennon and Paul McCartney, arr Nell Norman 2. Barbecue Blues (when the fire goes out...) 3. Prawn Paella This six-part arrangement of Lennon-McCartney’s ‘I Will’ was written last year exclusively for female voices, 4. Special Chop Suey making it a favourite of the Senior Girls’ Ensemble. The original Beatles version was composed while the 5. Fish and Chips group were in India and released on The White Album in 1968. Alan Bullard My True Love Hath My Heart (no 2 of Three Birthday Madrigals) This is a humorous suite of five pieces depicting five famous dishes from France, America, Spain, China and John Rutter England. Written for the unusual combination of string orchestra and solo recorder, Bullard’s writing evokes the individual dishes with great humour and ingenuity. The legendary jazz pianist George Shearing was John Rutter’s inspiration for Birthday Madrigals. Rutter composed five moments for mixed choir with double bass and optional piano to celebrate Shearing’s 75th birthday. The present three madrigals are upper-voice arrangements of numbers 1, 4 and 5 from the original suite. The second madrigal, ‘My True Love Hath My Heart’, is a moving four-part arrangement with words by Sir Philip Sidney. The Snow Edward Elgar ‘The Snow’ is an evocative setting of a poem by Alice Elgar, which Elgar set to music in November 1894 for women’s voices. The piece is accompanied by two violins and piano and dedicated to a Malvern friend, Mrs EB Fitton. ‘The Snow’, an andantino, moves between E minor and E major, before reaching an impassioned G major climax and fading away into E major at the end. It is a beautiful setting, epitomising Elgar’s secret way of undermining our emotional defences. Programme notes Trio for Clarinet, Violin and Piano; II Allegro Three Negro Spirituals from A Child of Our Time Aram Khachaturian 1. Steal away 2. Nobody knows Aram Khachaturian was a Soviet Armenian composer and conductor and is considered one of the leading 3. Deep river Soviet composers. He was famous for his ballet music, having composed the first Armenian ballet music but also composed extensively for film and orchestras. He only composed two chamber music works, one of Michael Tippett which is this trio while the other is a string quartet. He wrote both these pieces whilst he was still a student A Child of Our Time is a secular oratorio composed at the start of the Second World War. It was inspired at Moscow Conservatory. His music is heavily influenced by traditional folk melodies, which is evident in this by two events that had a profound effect on Tippett: the assassination of a German diplomat by a Jewish second movement of his trio for clarinet, violin and piano. The movement shows elements of folk dances refugee, and the violent retaliation by the Nazi government against Jewish communities, which became throughout with unique rhythms and rich colours. known as Kristallnacht. Tippett used Bach’s Passions as his structural models, and he replaces the chorales with negro spirituals – songs from an oppressed people with universal themes. Birdwatching I Swallows Fleeting The Bluebird II Sparrows Bickering Charles Villiers Stanford III Vultures Looming Stanford was a titan of the British musical landscape at the turn of the 20th century. He was a celebrated Michael Henry composer, teacher and conductor, and at the tender age of 29 he was one of the founding professors of the Born in London of Jamaican parentage, Henry studied composition and clarinet at the Royal College of Music.
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