KING EDWARD VI SCHOOL CONCERTWEDNESDAY 19 MARCH 2014TURNER SIMS, UNIVERSITY OF SOUTHAMPTON

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

WELCOmE TO THIS EVENING’S SpRING CONCERT WHICH fEATuRES THE SCHOOL’S SENIOR INSTRumENTAL AND VOCAL GROupS.

3

4

pROGRAmmE

ChamberOrchestra

Symphony 5First Movement

Ludwig Van Beethoven

piano Solo Sonata in C Slow movementPlayed by Carl Wikeley

Joseph Haydn

piano Solo I Got RhythmPlayed by Sophie Proud

George Gershwin

Oboe Quartet Allegro W.A. Mozart

Duo American Boy/Beggin’ Mash upBen Carden-Jonesand Luke Green

Estelle / Madcon

Chamber Choir The Turtle Dove Ralph Vaughan-Williams

I’m a Train Albert Hammond, MikeHazelwood Arr. Knight

The Long Day Closes Arthur Sullivan

Piano Concerto No. 2AndantePlayed by BiJia Wu

Dmitri Shostakovich

Hoe Down Aaron Copland

Cello Solo Cello Concerto First MovementPlayed by Mike Huang

Edward Elgar

5

INTERVAL

SymphonyOrchestra

Prelude toMeistersingers

Richard WagnerArr. Watson

Radetzky March Johann Strauss

Vocal Solo Automne Sung By MiriamChapman-Rosenfeld

Gabriel Fauré

Vocal Quartet InterludeDissolve Me

Alt-J

Telemann Octet Vivace Georg Philipp Telemann

Jazz Octet Summertime George Gershwin

flute Trio CurvesSecond Movement

Ian Clarke

Big Band Mercy Mercy Mercy Take The A TrainSing Sing Sing

Josef ZawinulBilly StrayhornLouis Prima

Big Band andOrchestras

It’s Not UnusualSung by Andy Morgan

Les Reed andGordon Mills

6

CHAmBER ORCHESTRA

Violin IMaddy NormandZoe Carter TaiJin Ho YimSophie ArthurBen AthertonCaitlin GordonEmmy HuangSeonaid CarsonDiana Williams

Violin IIBiJia WuSeungyeon Oh Maya GarsideToby HillNatalya EvansIman Elsheikh Emily AthertonAlice BoothEmma Clarke

ViolaJoanna SeabyErica TsangJane Andrews

CelloMike HuangCathering WhitbyIssie ElliottGeorge PlaterAnna Roberts

BassJonny Brown Alice Ridley

flute Jenny WhitbyThomas Edwards

ClarinetNick FrancisCurtis CrowleyKieran Bassi

OboeLuke RobertsLiberty Roberts

BassoonBen Watson

Trumpet Mhairi CarsonPhil NormandToby SaerTim Warren

Trombone Guy RipperEdward FletcherPeter Thompson

Tuba Chris Lotery

percussion Jonny MillarCarl WikeleySam Routledge

piano Sophie Proud

7

8

SympHONy ORCHESTRA

Violin IAlla GarsideMaddy NormandJin Ho YimJana BillingtonJuliet FoxEmmy HuangNatalya EvansYuqing ChenSeonaid CarsonAlice Booth

flute IIsabelle FullerTom EdwardsClaudia TamSophie Proud

flute IICharlotte PercivalTabitha BurbidgeJulia RoopeHeather WhiteLucy PorterRhianna Jones

flute I/piccoloJenny Whitby

TromboneBen AthertonGuy RipperEdward Fletcher

Baritone Horn Jacob Fay

TubaChris Lotery

Violin IIYasmine El SheikhZoe Carter TaiJessica HoltSeungyeon OhHenry TsangMaya GarsideEve HenleyIman ElsheikhTusca AlaviBiJia WuMiffy AllenEmily AthertonToby HillEmma Clarke

Clarinet IJoan ChenBen RoutledgeCurtis CrowleyNick Francis

Clarinet II Ina ChoDaisy PorterNick NevesKaty Billington

Bass Clarinet Will Sheard

percussion Jonny MillarCarl WikeleySam Routledge

Alto Saxophone Caitlin GordonKieran Bassi

piano Sophie Proud

Viola Erica TsangJoanna SeabyJane Andrews

Cello Rachel CrawfordMike HuangJames ThomsonCatherine WhitbyFrankie HoghtonIssie Elliott

Bass Jonny BrownAlice Ridley

Oboe Luke RobertsLiberty Roberts

Trumpet I Jackson TaylorPhilip Normand

Trumpet II James MitchellBen MillarMhairi Carson

Trumpet III Ellie MacLeodToby Saer

french Horn Chloë PlaterAlexander LiuNick White

9

Anna RobertsJulia RoopeJinni TangGabby WalkerTom DurhamAndy MorganAnna CookeLiberty RobertsEmily ThompsonJenny WhitbyTabby PiggottJosh Blunsden

Miriam Chapman-RosenfeldZoe Carter TaiEmily AthertonEmma BlackmanDarra McCarthy-PaulBarney VenablePhil NormandBeth GauntKeeya SaundSara WilsonLucia LavertyOllie Uglow

Rosa SparksEmer HealyRhianna JonesEmma TaylorMeg DunlopLuke RobertsBi Jia WuMaddy NormandEvie Marshall

CHAmBER CHOIR

10

OB

OE

Qu

AR

TET Oboe

Luke Roberts

ViolinEmmy Huang

ViolaJoanna Seaby

CelloMike Huang

TELE

mA

NN

OC

TET Violin

Joanna SeabySophie Arthur

fluteJenny WhitbyZoe Carter-Tai

OboeLuke RobertsLiberty Roberts

Basso ContinuoBiJia WuAnna Roberts

JAz

z O

CTE

T BassAlice Ridley

percussionJoe Winter

TrumpetMhairi Carson

SaxophonesJordon AbbottDaisy PorterClaudia Tam

TromboneGuy Ripper

fLu

TE T

RIO Jenny Whitby

Zoe Carter-TaiThomas Edwards

piano

VO

CA

L Q

uA

RTE

T Josh BlunsdenTom DurhamPhil NormandAndy Morgan

Bi Jia Wu

BIG

BA

ND Trumpet

Toby SaerPhil NormandMhairi CarsonTom MartinTom SlatteryTristan Holt

TromboneBen Atherton Guy RipperEdward FletcherChris LoteryPeter Thompson

Alto SaxophoneCaitlin GordonJordon AbbottKieran Bassi

Tenor SaxophoneClaudia TamDaisy Porter

BaritoneSaxophoneWill Sheard

Rhythm SectionJonny MillarJonny BrownBi Jia WuAnna CookeLuke Roberts

11

School music CaptainSam Routledge

upper Schoolmusic CaptainRihanna Jones

Lower Schoolmusic CaptainMhairi Carson

King Edward VImusic ScholarsSecond Year Alla GarsideThird Year Emmy HuangFourth Year Maya GarsideFifth Year Luke Roberts Mike Huang

music ExhibitionerAlice Ridley

Chant music ScholarshipJenny WhitbyBiJia Wu

Sixth form musicAward HoldersTabitha PiggottLiberty RobertsJonathan MillarMaddy NormandCarl WikeleyMiriam Chapman-RosenfeldJoanna SeabyJonny BrownZoe Carter TaiSophie Arthur

JRTA String AwardCaitlin Gordon Seungyeon Oh Ben AthertonIssie ElliottIman Elsheikh

miriam Grahamflute AwardTom Edwards

members of National, County and Town Orchestras NYO National Youth OrchestraNCBBGB National Children’s Brass Band of Great BritainNCO National Children’s Orchestra HCYC Hampshire County Youth Choir HCYO Hampshire County Youth OrchestraHCYCO Hampshire County Youth Chamber OrchestraSYCO Southampton Youth Chamber Orchestra SYO Southampton Youth OrchestraWYO Wessex Youth OrchestraEFO English Schools Orchestra

Jon Brown Double Bass SYOZoë Carter Tai Violin/flute HCYO, WYO, ESO, HCYCOIna Cho Clarinet SYCSNick Francis Clarinet Principal HCWBEmmy Huang Violin SYO, NPSO, NRO (regional)Mike Huang ‘Cello NCO, SYO, NPSOPhil Normand Trumpet WYOLuke Roberts Oboe HCYO, Pops OrchestraJenny Whitby Flute NYO, Principal ESO and HCYO, HCYCOCarl Wikeley Percussion Principal ESO, LSSO, Junior Academy

Symphony Principal at NYWEJin-Ho Yim Violin SYOChris Lotery Tuba NCBBGBJoanna Seaby Prinicipal Viola WYO

12

GRADE 1Anna Maria-Shenouda Piano PassNatalie Gunner Clarinet Merit

GRADE 2James Lesnik Piano PassMaya Smale Piano PassCallum Price Piano PassJess Mills Piano PassJames Lander Clarinet PassHimani Arora Singing MeritBlake Miller Piano MeritEleanor Dye Flute MeritElla Ritchie Clarinet Distinction

GRADE 3Mia Kanani Violin PassEleanor Turner Clarinet PassElizabeth Cook Trumpet PassLewis Wildsmith Jazz saxophone PassKatrina Penn-Newman Singing PassAndrew Crawford Trumpet PassMia Kanani Singing PassAlexander Moore Piano MeritDaisy Fillbrook Piano MeritEmily Downes Piano MeritRebecca Crawley Clarinet MeritElena Sinclair Horn MeritRachel Cook Singing MeritJessica Mills Piano MeritElla Ritchie Singing MeritElizabeth Fletcher Singing MeritAditya Rokade Violin Distinction

GRADE 4Annabella Turner Piano PassMihir Thakrar Clarinet PassLucy Allinson Violin PassAnnabella Turner Violin PassHannah Loran Violin PassHimani Arora Violin PassAnamikar Ramkumar Violin PassPatrick Lotery Clarinet PassRobert Mcfarlane Clarinet PassEwan Williams Trumpet PassLucy Coles Cello PassEve Henley Trumpet PassOliver Boyland Alto Saxophone Pass

INDIVIDuAL INSTRumENTAL SuCCESSES:ASSOCIATED BOARD Of THE ROyAL SCHOOLS Of muSIC AND GuILDHALL INSTRumENTAL ExAmINATIONS 2013-14

13

Eleanor Page Singing PassKelvin Xie Viola PassLuka Peart Piano MeritMattieu Livingston Piano MeritOscar Bowdidge Violin MeritAbigail Sheppard Flute MeritMaya Smale Flute MeritKeeya Saund Flute MeritAlexander Lui Horn MeritRory Saunders Trumpet MeritNatalie Oldfield Singing MeritElizabeth Ryan Singing MeritJames Thomson Cello MeritCharlotte Lisle Singing MeritGeorgina Hanson Singing DistinctionLily Schofield Singing DistinctionAngus Reid Singing Distinction

GRADE 5Elliot D’Souza Piano PassHenry Harris Piano PassJana Billington Violin PassOliver Tait Violin PassOliver Boyland Flute PassEmma Hill Flute PassPatrick Miller Clarinet PassKelvin Xie Viola PassOliver Martin Trumpet PassJana Billington Alto Saxophone PassMeg Dunlop Flute MeritBarney Venable Singing MeritBen Millar Trumpet MeritRebecca Williams Flute MeritBethan Self Singing MeritLucia Laverty Singing MeritRobert Dye Clarinet MeritSebastian Sheath Saxophone MeritHarriet Billington Singing MeritEmma Blackman Violin MeritAlice Booth Violin DistinctionYuqing Chen Violin DistinctionBen Routledge Jazz saxophone Distinction

GRADE 6James Mitchell Trumpet PassYasmine Elsheikh Violin PassIsobel Bartholomew Singing PassRachel Crawford Cello PassEllie Macleod Piano MeritDarra McCarthy-Paul Singing MeritKeeya Saund Singing MeritCameron Roberts Jazz saxophone MeritEllie Macleod Trumpet MeritSeungyeon Oh Piano MeritEmma Blackman Singing MeritClaudia Tam Flute MeritNicolas Neves Clarinet Merit

14

Emer Healy Singing DistinctionBen Thorne Jazz clarinet DistinctionNiamh Phelan Singing DistinctionRosa Sparks Singing Distinction

GRADE 7Ina Cho Clarinet PassDavid Veres Piano PassEmily Atherton Violin PassIsobel Bartholomew Singing PassNatalya Evans Violin PassKaty Billington Jazz clarinet MeritEmily Thompson Singing MeritSelena Cox Singing MeritSeungyeon Oh Violin Distinction

GRADE 8Julia Roope Singing PassJosh Blunsden Singing MeritLiberty Roberts Singing MeritThomas Edwards Flute DistinctionMiriam Chapman-Rosenfeld Singing DistinctionPhilip Normand Singing DistinctionLuke Roberts Singing DistinctionJordon Abbott Alto Saxophone Distinction

pOST GRADE 8 – DIpLOmA ABRSmSophie Proud Piano Pass

15

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.

pROGRAmmE NOTES

16

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 imagination and became a classical best-seller.

17

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.

18

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.

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 Chentom durham Jonathan millar Andy morganmaddy normand liberty roberts Julia roopeJinni 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.

Tel: 023 8079 9216 Wilton Road . Southampton . SO15 5UQEmail: enquiries@kes.hants.sch.ukwww.kes.hants.sch.uk

KING EDWARD VI SCHOOL

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

fORTHCOmING EVENTSAT KING EDWARD VI