KING EDWARD VI SCHOOL CONCERT WEDNESDAY 19 MARCH 2014 TURNER SIMS, UNIVERSITY OF SOUTHAMPTON Welcome to this evening’s Spring Concert which features the School’s senior instrumental and vocal groups.
It is our first visit to Turner Sims and we are very grateful to the management for making us so welcome. I would also like to take this opportunity to record my sincere thanks to Dr Leaman and Mr Watson for all their wonderful work in the Department. In September Dr Leaman will be taking up the post of Director of Music at Blundell’s School in Devon, and Mr Watson the post of Assistant Director of Music at Fettes College, Edinburgh. We wish them both success and happiness in their new posts.
Thank you for your support this evening, and throughout the year.
Heather Freemantle Director of Music and Head of Creative Arts 3 programme
Chamber Symphony 5 Ludwig Van Beethoven Orchestra First Movement
Piano Concerto No. 2 Dmitri Shostakovich Andante Played by BiJia Wu
Hoe Down Aaron Copland
Piano Solo Sonata in C Joseph Haydn Slow movement Played by Carl Wikeley
Piano Solo I Got Rhythm George Gershwin Played by Sophie Proud
Oboe Quartet Allegro W.A. Mozart
Duo American Boy/Beggin’ Estelle / Madcon Mash up Ben Carden-Jones and Luke Green
Chamber Choir The Turtle Dove Ralph Vaughan-Williams
I’m a Train Albert Hammond, Mike Hazelwood Arr. Knight
The Long Day Closes Arthur Sullivan
Cello Solo Cello Concerto Edward Elgar First Movement Played by Mike Huang
4 INTERVAL
Symphony Prelude to Richard Wagner Orchestra Meistersingers Arr. Watson
Radetzky March Johann Strauss
Vocal Solo Automne Gabriel Fauré Sung By Miriam Chapman-Rosenfeld
Vocal Quartet Interlude Alt-J Dissolve Me
Telemann Octet Vivace Georg Philipp Telemann
Jazz Octet Summertime George Gershwin
Flute Trio Curves Ian Clarke Second Movement
Big Band Mercy Mercy Mercy Josef Zawinul Take The A Train Billy Strayhorn Sing Sing Sing Louis Prima
Big Band and It’s Not Unusual Les Reed and Orchestras Sung by Andy Morgan Gordon Mills
5 Chamber Orchestra
Violin I Flute Maddy Normand Jenny Whitby Zoe Carter Tai Thomas Edwards Jin Ho Yim Sophie Arthur Clarinet Ben Atherton Nick Francis Caitlin Gordon Curtis Crowley Emmy Huang Kieran Bassi Seonaid Carson Diana Williams Oboe Luke Roberts Violin II Liberty Roberts BiJia Wu Seungyeon Oh Bassoon Maya Garside Ben Watson Toby Hill Natalya Evans Trumpet Iman Elsheikh Mhairi Carson Emily Atherton Phil Normand Alice Booth Toby Saer Emma Clarke Tim Warren Trombone Viola Guy Ripper Joanna Seaby Edward Fletcher Erica Tsang Peter Thompson Jane Andrews Tuba Cello Chris Lotery Mike Huang Cathering Whitby Percussion Issie Elliott Jonny Millar George Plater Carl Wikeley Anna Roberts Sam Routledge Bass Piano Jonny Brown Sophie Proud Alice Ridley
6 7 Symphony Orchestra
Violin I Violin II Viola Alla Garside Yasmine El Sheikh Erica Tsang Maddy Normand Zoe Carter Tai Joanna Seaby Jin Ho Yim Jessica Holt Jane Andrews Jana Billington Seungyeon Oh Juliet Fox Henry Tsang Cello Emmy Huang Maya Garside Rachel Crawford Natalya Evans Eve Henley Mike Huang Yuqing Chen Iman Elsheikh James Thomson Seonaid Carson Tusca Alavi Catherine Whitby Alice Booth BiJia Wu Frankie Hoghton Miffy Allen Issie Elliott Emily Atherton Flute I Bass Isabelle Fuller Toby Hill Jonny Brown Tom Edwards Emma Clarke Alice Ridley Claudia Tam Sophie Proud Clarinet I Oboe Joan Chen Luke Roberts Flute II Ben Routledge Liberty Roberts Charlotte Percival Curtis Crowley Tabitha Burbidge Nick Francis Trumpet I Julia Roope Jackson Taylor Heather White Clarinet II Philip Normand Lucy Porter Ina Cho Trumpet II Rhianna Jones Daisy Porter Nick Neves James Mitchell Flute I/Piccolo Katy Billington Ben Millar Jenny Whitby Mhairi Carson Bass Clarinet Trombone Will Sheard Trumpet III Ben Atherton Ellie MacLeod Guy Ripper Percussion Toby Saer Edward Fletcher Jonny Millar Carl Wikeley French Horn Baritone Horn Sam Routledge Chloë Plater Jacob Fay Alexander Liu Alto Saxophone Nick White Tuba Caitlin Gordon Chris Lotery Kieran Bassi Piano Sophie Proud 8 Chamber Choir
Anna Roberts Miriam Chapman-Rosenfeld Rosa Sparks Julia Roope Zoe Carter Tai Emer Healy Jinni Tang Emily Atherton Rhianna Jones Gabby Walker Emma Blackman Emma Taylor Tom Durham Darra McCarthy-Paul Meg Dunlop Andy Morgan Barney Venable Luke Roberts Anna Cooke Phil Normand Bi Jia Wu Liberty Roberts Beth Gaunt Maddy Normand Emily Thompson Keeya Saund Evie Marshall Jenny Whitby Sara Wilson Tabby Piggott Lucia Laverty Josh Blunsden Ollie Uglow
9 Oboe Josh Blunsden Jenny Whitby Luke Roberts Tom Durham Zoe Carter-Tai Phil Normand Thomas Edwards
Violin T rio artet artet Andy Morgan Emmy Huang Piano Bi Jia Wu Viola u te Qu Joanna Seaby Qu Fl Cello Mike Huang ocal O boe V
Violin Joanna Seaby Trumpet Tenor Saxophone
ctet Sophie Arthur Toby Saer Claudia Tam
and Phil Normand Daisy Porter
O Flute Mhairi Carson Jenny Whitby B Baritone Tom Martin
Zoe Carter-Tai ig Saxophone Tom Slattery ann B Will Sheard Oboe Tristan Holt m Luke Roberts Rhythm Section Trombone Liberty Roberts Jonny Millar Ben Atherton Jonny Brown T ele Basso Continuo Guy Ripper Bi Jia Wu BiJia Wu Edward Fletcher Anna Cooke Anna Roberts Chris Lotery Luke Roberts Peter Thompson Bass Alto Saxophone Alice Ridley Caitlin Gordon Jordon Abbott ctet Percussion Kieran Bassi Joe Winter Trumpet zz O Mhairi Carson ja Saxophones Jordon Abbott Daisy Porter Claudia Tam Trombone Guy Ripper
10 School Music Captain Sam Routledge Upper School Music Captain Rihanna Jones Lower School Music Captain Mhairi Carson King Edward VI Music Scholars Second Year Alla Garside Third Year Emmy Huang Fourth Year Maya Garside Members of National, County and Town Orchestras Fifth Year Luke Roberts NYO National Youth Orchestra Mike Huang NCBBGB National Children’s Brass Band of Great Britain NCO National Children’s Orchestra Music Exhibitioner HCYC Hampshire County Youth Choir Alice Ridley HCYO Hampshire County Youth Orchestra Chant Music Scholarship HCYCO Hampshire County Youth Chamber Orchestra Jenny Whitby SYCO Southampton Youth Chamber Orchestra BiJia Wu SYO Southampton Youth Orchestra WYO Wessex Youth Orchestra Sixth Form Music EFO English Schools Orchestra Award Holders Tabitha Piggott Jon Brown Double Bass SYO Liberty Roberts Zoë Carter Tai Violin/flute HCYO, WYO, ESO, HCYCO Jonathan Millar Ina Cho Clarinet SYCS Maddy Normand Nick Francis Clarinet Principal HCWB Carl Wikeley Emmy Huang Violin SYO, NPSO, NRO (regional) Miriam Chapman-Rosenfeld Mike Huang ‘Cello NCO, SYO, NPSO Joanna Seaby Phil Normand Trumpet WYO Jonny Brown Luke Roberts Oboe HCYO, Pops Orchestra Zoe Carter Tai Jenny Whitby Flute NYO, Principal ESO and HCYO, HCYCO Sophie Arthur Carl Wikeley Percussion Principal ESO, LSSO, Junior Academy JRTA String Award Symphony Principal at NYWE Caitlin Gordon Jin-Ho Yim Violin SYO Seungyeon Oh Chris Lotery Tuba NCBBGB Ben Atherton Joanna Seaby Prinicipal Viola WYO Issie Elliott Iman Elsheikh Miriam Graham Flute Award Tom Edwards
11 Individual Instrumental Successes: Associated Board of the Royal Schools of Music and Guildhall Instrumental Examinations 2013-14
Grade 1 Anna Maria-Shenouda Piano Pass Natalie Gunner Clarinet Merit
Grade 2 James Lesnik Piano Pass Maya Smale Piano Pass Callum Price Piano Pass Jess Mills Piano Pass James Lander Clarinet Pass Himani Arora Singing Merit Blake Miller Piano Merit Eleanor Dye Flute Merit Ella Ritchie Clarinet Distinction
Grade 3 Mia Kanani Violin Pass Eleanor Turner Clarinet Pass Elizabeth Cook Trumpet Pass Lewis Wildsmith Jazz saxophone Pass Katrina Penn-Newman Singing Pass Andrew Crawford Trumpet Pass Mia Kanani Singing Pass Alexander Moore Piano Merit Daisy Fillbrook Piano Merit Emily Downes Piano Merit Rebecca Crawley Clarinet Merit Elena Sinclair Horn Merit Rachel Cook Singing Merit Jessica Mills Piano Merit Ella Ritchie Singing Merit Elizabeth Fletcher Singing Merit Aditya Rokade Violin Distinction
Grade 4 Annabella Turner Piano Pass Mihir Thakrar Clarinet Pass Lucy Allinson Violin Pass Annabella Turner Violin Pass Hannah Loran Violin Pass Himani Arora Violin Pass Anamikar Ramkumar Violin Pass Patrick Lotery Clarinet Pass Robert Mcfarlane Clarinet Pass Ewan Williams Trumpet Pass Lucy Coles Cello Pass Eve Henley Trumpet Pass 12 Oliver Boyland Alto Saxophone Pass Eleanor Page Singing Pass Kelvin Xie Viola Pass Luka Peart Piano Merit Mattieu Livingston Piano Merit Oscar Bowdidge Violin Merit Abigail Sheppard Flute Merit Maya Smale Flute Merit Keeya Saund Flute Merit Alexander Lui Horn Merit Rory Saunders Trumpet Merit Natalie Oldfield Singing Merit Elizabeth Ryan Singing Merit James Thomson Cello Merit Charlotte Lisle Singing Merit Georgina Hanson Singing Distinction Lily Schofield Singing Distinction Angus Reid Singing Distinction
Grade 5 Elliot D’Souza Piano Pass Henry Harris Piano Pass Jana Billington Violin Pass Oliver Tait Violin Pass Oliver Boyland Flute Pass Emma Hill Flute Pass Patrick Miller Clarinet Pass Kelvin Xie Viola Pass Oliver Martin Trumpet Pass Jana Billington Alto Saxophone Pass Meg Dunlop Flute Merit Barney Venable Singing Merit Ben Millar Trumpet Merit Rebecca Williams Flute Merit Bethan Self Singing Merit Lucia Laverty Singing Merit Robert Dye Clarinet Merit Sebastian Sheath Saxophone Merit Harriet Billington Singing Merit Emma Blackman Violin Merit Alice Booth Violin Distinction Yuqing Chen Violin Distinction Ben Routledge Jazz saxophone Distinction
Grade 6 James Mitchell Trumpet Pass Yasmine Elsheikh Violin Pass Isobel Bartholomew Singing Pass Rachel Crawford Cello Pass Ellie Macleod Piano Merit Darra McCarthy-Paul Singing Merit Keeya Saund Singing Merit Cameron Roberts Jazz saxophone Merit Ellie Macleod Trumpet Merit Seungyeon Oh Piano Merit Emma Blackman Singing Merit Claudia Tam Flute Merit Nicolas Neves Clarinet Merit 13 Emer Healy Singing Distinction Ben Thorne Jazz clarinet Distinction Niamh Phelan Singing Distinction Rosa Sparks Singing Distinction
Grade 7 Ina Cho Clarinet Pass David Veres Piano Pass Emily Atherton Violin Pass Isobel Bartholomew Singing Pass Natalya Evans Violin Pass Katy Billington Jazz clarinet Merit Emily Thompson Singing Merit Selena Cox Singing Merit Seungyeon Oh Violin Distinction
Grade 8 Julia Roope Singing Pass Josh Blunsden Singing Merit Liberty Roberts Singing Merit Thomas Edwards Flute Distinction Miriam Chapman-Rosenfeld Singing Distinction Philip Normand Singing Distinction Luke Roberts Singing Distinction Jordon Abbott Alto Saxophone Distinction
Post Grade 8 – Diploma ABRSM Sophie Proud Piano Pass 14 PROGRAMME NOTES
Beethoven - Symphony No.5 in C minor – Allegro First performed in Vienna in 1808, this movement has become the most widely recognised piece of orchestral music in history. Beethoven himself described the opening four-note motif as “fate knocking at the door” and both analysis and performance of the work has been plagued for 200 years by conflicting interpretations of this motif. The power, concentration and white-hot compression of Beethoven’s music is staggering. The first movement creates its tumultuous organic chemistry of interrelationships from the atomic particles of the notes it started with; in different guises, the four-note rhythmic idea permeates the rest of the symphony as well. The Fifth incarnated the romantic axiom that orchestral music, untethered to words or other worldly concepts, could glimpse “the realm of the infinite”. This symphony, Hoffman wrote, “sets in motion the machinery of awe, of fear, of terror, of pain, and awakens that infinite yearning which is the essence of Romanticism”. Shostakovich - Piano Concerto No. 2 in F – Adagio Shostakovich composed this concerto in 1957 for his son Maxim’s 19th birthday and the boy performed as part of his graduation from the Moscow conservatoire. The piece as a whole has a very conservative orchestration and style, especially given that Shostakovich composed the 11th Symphony and the 6th String Quartet around the same time. The composer himself is quoted as having said that the work had “no redeeming artistic merits”, however, it has been suggested that he wanted to pre-empt criticism by deprecating the work himself (having been the victim of official censure numerous times), and that the remark was actually meant to be tongue-in-cheek. Copland - Hoe Down This is the final movement of Copland’s ballet Rodeo, which premiered in 1942. Although many of Copland’s works incorporate traditional American folk tunes, Rodeo is unique in that it leaves them quite intact in the score, with very little alteration on the part of the composer. The “Hoe-Down” opens by vamping the first bar of William H. Stepp’s interpretation of the folk tune “Bonaparte’s Retreat”, which will become a major theme of the section. After a reprisal of the Rodeo theme, the melody proper begins in the strings, as the horns play a simple counterpoint. Instead of building to a climax, this section segues into “McLeod’s Reel”, performed by various solo instruments. Copland briefly introduces the Irish theme “Gilderoy” in the clarinet and oboe. Building toward the end, Copland reintroduces “Bonaparte’s Retreat” in canon, before returning to the Rodeo theme, which slows into the climactic kiss between the Cowgirl and the Roper. “Bonaparte’s Retreat” is then resumed by the full orchestra, which ends the piece with a grand fanfare. Haydn - Sonata in C Switching to an Adagio tempo and the key of the subdominant, the second movement of this C major sonata is technically and emotionally challenging. The style of the movement is quite intricate and amply shows the intellectual prowess of its composer. Set in ternary form, the lyrical opening F major melody is contrasted by a middle section beginning with graceful descending C major scales. An embellished and somewhat altered return of the opening F major section rounds out the movement. Gershwin - I got rhythm I Got Rhythm was composed by George Gershwin with lyrics by his brother Ira in 1930. Its chord progression, known as the “rhythm changes”, is the foundation for many other popular jazz tunes such as Charlie Parker’s and Dizzy Gillespie’s Bebop standard “Anthropology (Thrivin’ From a Riff)”. Although this version of the song came from the musical Girl Crazy, it was originally written as a slow song for Treasure Girl (1928). The song is also featured in the 1951 musical film An American in Paris. Gene Kelly sang the song and tap-danced, while French-speaking children whom he had just taught a few words of English shouted the words “I got” each time they appeared in the lyrics. 15 Mozart - Oboe Quartet The 24-year-old Mozart spent the second half of 1780 working on his opera Idomeneo and then went to Munich in January of the following year for rehearsals and the première; it was while he was in Munich in early 1781 that he composed this Oboe Quartet. Mozart wrote it for Friedrich Ramm, the virtuoso solo oboist of the Electoral Orchestra in Munich. Ramm was admired for the purity of his sound, and he must have been a most distinguished player, for the Quartet demands a fluid technique and the ability to make wide melodic skips gracefully, as well as to draw out a cantabile line to great length. Mozart gives the oboist ample opportunity for virtuoso display while the strings merely accompany it, but there are also many passages of true ensemble playing where the melodic line moves easily between oboist and strings. The Allegro opens with a jaunty theme for oboe that comes to dominate the movement. The graceful development of this sonata-form movement leads to a quiet close. Pop mix “American Boy” is a song recorded by British rapper and singer Estelle for her second studio album Shine (2008). It features vocals from American rapper Kanye West. The song in its original incarnation is a breezy disco-funk song that lyrically describes a romance with an American suitor. “Beggin’” is a song composed by Bob Gaudio and Peggy Farina and popularized by The Four Seasons in 1967. In 2007, the song received new popularity when it was remixed by the French DJ Pilooski and then covered by the Norwegian hip-hop band Madcon. Vaughan-Williams - Turtle Dove Perhaps it was in response to Hubert Parry’s advice to “write choral music as befits an Englishman and a democrat,” that Vaughan Williams developed his lifelong interest in the folk music of his native England. Nowhere can this interest be seen more clearly than in his choral arrangements of folk songs: music of the people for the people. He came across the melody of The Turtle Dove in November of 1904, while on a folksong collecting expedition in Sussex. In 1919 he published it in an arrangement for male chorus, but it is more commonly heard in a setting for mixed chorus, published in 1924. The melody is first introduced by the solo baritone, who takes on the role of the traveller, destined to roam the earth while the love of his heart is to remain behind. As the intensity of the lyrics grow, so does the texture in the choir. This continues until the third verse, where the choir’s florid lines take on the character of the seas that the traveller must traverse. The work ends quietly, as it began, with the solo baritone bemoaning the loss of his love. Kings Singers - Train “I’m a Train” is a song written by Albert Hammond and Mike Hazlewood and first performed by Hammond in 1968. In 1973 The Kings Singers worked with Hammond on a BBC programme for which he performed the song and they immediately set about writing an acapella arrangement in which various nonsense syllables and clever rhythmic details depict the journey of a locomotive. Sullivan - The Long day closes The Long Day Closes is a part song by Arthur Sullivan with words by Henry Fothergill Chorley, published in 1868. This song is one of seven part songs that Sullivan published that year, and it became the best-known. Sullivan wrote most of his twenty part songs prior to the beginning of his long collaboration with W. S. Gilbert. The plaintive harmonies of The Long Day Closes and the text’s touching meditation on death have made the song a frequent selection at events of mourning, and in particular it was often sung at funerals of members of the D’Oyly Carte Opera Company. Elgar - Cello Concerto Edward Elgar’s Cello Concerto in E minor, his last notable work, is a cornerstone of the solo cello repertoire. Elgar composed it in the aftermath of the First World War, when his music had already gone out of fashion with the concert- going public. In contrast with his earlier Violin Concerto, which is lyrical and passionate, the Cello Concerto is for the most part contemplative and elegiac. The first performance was a debacle because Elgar and the performers had been deprived of adequate rehearsal time. The work did not achieve wide popularity until the 1960s, when a recording by Jacqueline du Pré caught the public 16 imagination and became a classical best-seller. The first movement is in ternary form with introduction. It opens with a recitative in the solo cello, immediately followed by a short answer from the clarinets, bassoons and horn. The viola section then presents a rendition of the main theme in Moderato, then passes it to the solo cello who repeats it. The string section plays the theme a third time and then the solo cello modifies it into a fortissimo restatement. The orchestra reiterates, and the cello presents the theme a final time before moving directly into a lyrical E major middle section. This transitions into a similar repetition of the first section. Wagner - Mastersingers Wagner conceived the idea of a comic opera on the subject of the legendary German Meistersingers in 1845 after undertaking the deeply serious religious projects of Lohengrin and Parsifal. However, by the time of the first performance in 1868, Wagner wrote to his patron King Ludwig saying “It is impossible that you should not have sensed, under the opera’s quaint superfices of popular humour, the profound melancholy…the cry of distress of poetry in chains… and its irresistible magic power achieving mastery of the common and the base.” The grand theme of the Mastersingers opens the Prelude, setting the scene for this solid, bourgeois guild of artistry. The flutes then introduce the courting motif of the young protagonist Walther which is brushed magisterially aside by the fanfare-like anthem of the Mastersingers Guild. The texture and grandeur swells as these trustees of the arts swell with pride before, in the final section, Wagner weaves his three main themes together in a rich tapestry that, in its operatic form, leads straight into the opening scene. Strauss - Radetsky March The Radetzky March was composed by Johann Strauss Sr. in 1848. It was dedicated to the Field Marshal Joseph Radetzky von Radetz and soon became quite popular among regimented marching soldiers. It has been remarked that its tone is more celebratory than martial; Strauss was commissioned to write the piece to commemorate Radetsky’s victory at the Battle of Custoza. When it was first played in front of Austrian officers they spontaneously clapped and stamped their feet when they heard the chorus. This tradition, with quiet rhythmic clapping on the first iteration of the melody, followed by thunderous clapping on the second, is kept alive today when the march is played in classical music venues in Vienna, among members of the audience who are familiar with the custom. It is almost always played as the last piece at the Neujahrskonzert of the Vienna Philharmonic. Faure - Automne Automne (1878), the third of the three songs in Gabriel Fauré’s Op. 18, dates from a pivotal time in the composer’s life: he had recently completed a pilgrimage to Cologne to attend performances of Wagner’s Das Rheingold and Die Walküre and was just gaining enough acclaim as a composer that, in the year following, he received his first contract from a music publisher. And while the dramatic turbulence and harmonic tension of Wagner, as well as Fauré’s increasingly acute sense of musical expression, can both be detected in Automne, it is difficult to not also read into the song’s themes of sorrow and regret. Fauré’s personal circumstances, namely the termination a few months before of his engagement to Marianne Viardot must surely have had an impact on the composition of this song: “Autumn...I watch rushing past, like a torrent/all your melancholy days.” The speaker wanders off daydreaming, “carried away on the wings of regret” into the idyllic past of youth, the “sunny glow of memory triumphant,” but even there finds only bittersweet repose. Telemann Octet The KES Telemann Octet was formed in 2012 and has continued to work on ‘lost’ repertoire of the great composer. The piece performed tonight does not exist in currently published recorded format and there are no records online of any public concerts including the work. Musically the piece contains the delightful counterpoint and question and answer motifs that one would expect from the composer and provides the group with an excellent opportunity to explore their communication in the chamber music setting. AltJ - Interlude 1 / Dissolve Me arranged by Dr Leaman Alt-J [which if you press together on a Mac computer gives the character ∆] were formed in Leeds in 2007 by English and Art students at the university. In 2012 they released their first album An Awesome Wave and received instant critical acclaim for their artistic creations that fused folk, trip-hop, indie rock and electronica, alongside liberal film and literary lyrical references. The album won the prestigious Mercury Music Prize and Ivor Novello Award in 2012 and they were also nominated for three Brit Awards. 17 Gershwin - Summertime Summertime is one of the most popular numbers from George Gershwin’s Porgy and Bess, which the composer called a folk opera and which many consider his finest achievement. He was inspired to compose the work after reading Edwin Dubose Heyward’s novel Porgy in 1926. It was not until 1934, however, that Gershwin, his librettist brother Ira, and Heyward collaborated on the effort. Sung by the character Clara, this lullaby is presented shortly after the brief overture that opens the opera and is the first vocal number heard. Its theme is striking in the way it conveys a lazy, heat-soaked serenity. Gershwin’s highly evocative writing brilliantly mixes elements of jazz and the song styles of negro communities in the southeast United States from the early twentieth century. Clarke - Curves Plaintive Ian Clarke is a flautist and composer and has been professor of flute at the Guildhall School of Music and Drama since 2000. He has played a pivotal role in taking the classical flute into the new sound world of extended techniques through his compositions for solo flute, duo, trio and larger flute ensembles. Curves, written in 2012 for three flutes and piano, explores the more experimental sounds of extended techniques for flute, using alternative fingerings, note sliding, embouchure manipulations of pitch and timbre and singing and playing simultaneously. In the 2nd Movement, Clarke explores the sound worlds between notes, of quartertones and slides, creating an ethereal atmosphere, which is both highly virtuosic and deeply emotive. The flute quartet [3 flutes and piano] performed this alongside the third movement in this year’s National Pro Corda Chamber Music Festival reaching the semi-finals. Mercy Mercy Mercy “Mercy, Mercy, Mercy” is a song written by Joe Zawinul in 1966 for Julian “Cannonball” Adderley and his album ‘Mercy, Mercy, Mercy! Live at ‘The Club’. The first part of the theme is played two times and is completely made of notes from the major pentatonic scale. The song has a rather unusual 20 bar structure with four distinct and rather unique sections within the 20 bar form. The chord progression is mainly made of dominant seventh chords, giving the whole song a bluesy feeling, although it is not a typical blues progression. Ellington – ‘A’ train Billy Stayhorn’s Take the ‘A’ Train is one of the most famous jazz standards of all time, made famous by Duke Ellington. The song almost never saw the light of day, being retrieved from the wastepaper basket by Ellington’s arranger. The band plays a transcription of the original and most famous Ellington recording session from 1941. The title refers to the then relatively new A subway service that runs through New York from Brooklyn to Harlem. Prima - Sing sing sing “Sing, Sing, Sing (With a Swing)” is a 1936 song written by Louis Prima and first recorded by him with the New Orleans Gang. Benny Goodman is quoted as saying, “’Sing, Sing, Sing’ (which we started doing back at the Palomar on our second trip there in 1936) was a big thing, and no one-nighter was complete without it”. The roots of the hot jazz associated with “Sing, Sing, Sing” can be traced back to that performance by Goodman at the Palomar. The current diet of the big band performance was mild pop tunes, which were held to be what audiences favoured. However, faced with a listless, indifferent crowd, Goodman turned to the band and said something like, “To hell with it, if we’re going to sink, we might as well go down swinging,” and launched into “King Porter Stomp.” The crowd went wild, and from that point on, the medium tempo, “sweet” numbers took a back seat to the “hot” numbers. It’s not unusual It’s Not Unusual is a song written by Les Reed and Gordon Mills, first recorded by a then-unknown Tom Jones after having first been offered to Sandie Shaw. Jones recorded what was intended to be a demo for Shaw, but when she heard it she was so impressed with Jones’ delivery that she declined the song and recommended that Jones release it himself. Supposedly, the BBC found the result too hot when the single came out in early 1965, but that didn’t keep “It’s Not Unusual” from topping the British charts in March, and a subsequent American release took it into the U.S. Top Ten in May.
18 Box Office Mrs Meager, Mrs Crane-Whatmore Programme Notes Mr Watson Programme Indigo Press (www.indigo-press.com) Photography Mr Piggott Front of House Dr Purves Stage Manager Sam Routledge Accompanying Mr Belassie Visiting Music Teachers Mr Allen Mr Williams Mrs Andreou Mr Hanchett Mrs Bolton Mr Lyon Miss Braga Mr Morgan Miss Collier Mr Osman Mr Cleaver Mr Cox Mr Worsfold Miss Burns Mrs Davis Miss Rowlinson Mrs Salmon Mr Thompson Mrs Felton Miss Stocker Ms Willsher Mrs Handy Mr Kotch Mrs Williams Mr Lamprell Mrs Andrews Ms Potts Music Administrator Miss Roberts Music Staff Mr Belassie Mr Watson Dr Leaman Mrs Freemantle
The Music staff would like to thank the Upper Sixth pupils who will be leaving at the end of the year. They have been excellent ambassadors for music in the School, great fun to teach and will be missed by us all. We wish them every success in their future careers. Emily Atherton Josh Blunsden Joan Chen Tom Durham Jonathan Millar Andy Morgan Maddy Normand liberty Roberts Julia Roope Jinni Tang Jenny Whitby Carl Wikeley Congratulations to Anna Roberts will be reading Music at Kings College London and Carl Wikeley who will reading Music at Trinity Hall College Cambridge in September. Forthcoming Events at king edward vi 30th April 2014, 7.30pm Ensembles Concert 22nd May 2014, 7.30pm Third Year Music Concert 20th June, all morning Music Competition Week commencing 23rd June ABRSM practical exams 2014 26th June 2014, 7.30pm First and Second Year Concert
KING EDWARD VI SCHOOL Tel: 023 8079 9216 Wilton Road . Southampton . SO15 5UQ Email: [email protected] www.kes.hants.sch.uk