‘LAST NIGHT
OF IHE PRO
VE.DAY60”4
TRAFALGAR200
SATURDAY
17TH SEPT 2005
730 PM
FAIRFIELD
CROYDON
Chairman’s Foreword ‘L.N.0.P.” 2005
Good evening and welcome.
Welcome to what is being heralded
as our best and most ambitious concert during the 11 years the
‘Last Night of the Proms’ has been presented here at Fairfield.
'
This evening we celebrate the 60th Anniversary of V.E. Day, the
|
200th of the Battle of Trafalgar (1812 Overture complete with
Napoleonic Style Cannon) the addition of three extra soloists and
the 80 strong Vivace Chorus, plus many popular songs from the
second World War. Wow! What an extraordinary evening of music
and entertainment!
Six war veterans have also been invited to
take their seats in one of the boxes.
These brave men will be
representing the many thousands from Croydon who fought for
our freedom and in many cases paid the ultimate sacrifice.
I fully appreciate the high excitement that will be generated by such a programme but must
make my usual annual plea to you all to ‘keep your powder dry’ in the party poppers, to be
found in the Goodie Bags and only to ‘fire’ them when invited so to do by our conductor,
Darrell Davison.
Failure to do so may evoke a few return cannon balls from Darrell!
This year your Committee are asking for your usual splendid support in their efforts to raise
sufficient funds to provide a much-needed Quiet Room for CHASE. This hospice
association for children does not receive any funding from central government and is solely
dependent upon voluntary donations.
Currently; CHASE is helping many families in the
Croydon area who are experiencing the emotional difficulties of living with life-limited
children.
Please help us to make their lives more like ours by being as generous as
possible when buying Draw Tickets this evening. The first of numerous quality prizes will
be a cash prize of £1,000.
When the evening is over and, I hope, you are reflecting upon how much you have enjoyed
the concert, perhaps you would care to turn again to page 24 and consider joining us as
a Friend of the ‘LNOP’.
I wish to thank all those who have worked so hard in compiling this evening, members of
the committee, our marvellous orchestra, the excellent Vivace Chorus, our sponsors who
have advertised in this programme and donated prizes for the Grand Draw, the staff here at
the Fairfield and (like the old time musical compéres used to say) mainly yourselves!
Thank you all for your splendid support.
Hon. Ald. Brian G. Smith MBE; FCIM
Chairman.
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LAST NIGHT OF THE PROMS CONCERT
Celebrating the 200th Anniversary of Trafalgar
& the 60th Anniversary of V.E. Day
Saturday 17th September at 7.30 pm
Coronation March - Crown Imperial
Walton
Nelson Mass - Kyrie & Gloria
Haydn
Symphony no. 5 - Ist Movement
Beethoven
Nimrod
Elgar
Knightsbridge March
Coates
World War II songs
Addinsell
Warsaw Concerto
INTERVAL
Sea Song - March
Vaughan-Williams
Fantasia on British Sea Songs
Wood
1812 Overture
Tchaikovsky
Dambusters March
Coates
Colonel Bogey
Alford
World War II songs
‘Jerusalem’
Parry
‘Land of hope and glory’
Elgar
Conductor Darrell Davison
Solo Piano Alan Brown
Soprano Susie Parkes
Contralto Juliette Pochin
Tenor Philip O’Brien
Bass Jonathan Brown
Celebration of Trafalgar 200th Anniversary
& V.E. Day 60th Anniversary
Over the past thousand years the two greatest threats of invasion came during the Napoleonic
War and World War II. In 1805 this threat was lifted by Nelson’s defeat of the French and
Spanish navies at the Battle of Trafalgar. Though it was to cost him his life, Nelson’s bold
and decisive attack - with his Flagship Victory leading the way and bearing much of the
brunt of the enemies fire - was to break the spirit of the French and Spanish foes. This
allowed his less well-armed war ships to create the mayhem among the opposing navies that
Nelson believed to be vital in achieving the victory that Britain so badly needed. Though it
was to be another ten years before Napoleon was finally defeated, Nelson’s brilliant tactics
had nullified any threat from the sea.
Though the ‘Battle of Britain’ had discouraged Hitler from invading Britain during the early
stages of World War II there was always the threat that through technical advances such as
the V2 rocket bombs and nuclear developments that Hitler might wreak a terrible revenge on
Britain. Certainly it was only after his downfall in May of 1945 that this threat was
finally lifted.
To celebrate these events of national importance we are presenting a programme of music
which will capture the sounds and character of these momentous occasions.
Overture, Crown Imperial
Walton (1902-1983)
Walton is one of the most original and important creative figures in modern English music.
Although he had composed comparatively little music, his works have moved from the
exuberant cleverness of his youth to the unashamed romanticism of his maturity. After
failing his exams at Oxford he went to seek his fortune in London. Here he met the famous
poet Dame Edith Sitwell and their innovative, if not infamous venture, Fagade caught the
public eye and started Walton on an illustrious career. This was to culminate in works such
as Belshazzar's Feast and his Shakespearean film scores. By 1937 his reputation was such
that he was asked to write an overture for the coronation of George VII. The resulting work,
written for full orchestra, was in the style and tradition of Elgar's Pomp and Circumstance
Marches. There can be no doubt about the success and effectiveness of the music for it
really does create a truly regal atmosphere.
"Nelson Mass" in D minor
Haydn (1732-1809)
Kyrie & Gloria
Soprano - Susie Parkes
Contralto - Juliette Pochin
Tenor - Philip O’Brien
Bass - Jonathan Brown
Precisely how the Nelson Mass became so called, when and by whom shall probably never
be known. What is at least clear is that within a month of the Battle of the Nile (1st August
1798) Haydn had completed a Mass in D Minor, and within months of the Battle of Trafalgar
(21st October 1805) this mass had become known as the 'Nelson' Mass.
In 1800 Nelson had so arranged matters to travel overland with Sir William and Lady
Hamilton (Nelson’s mistress) via Austria and Germany. The route included Vienna, and from
there, Nelson and the Hamiltons visited Prince Esterhazy at Eisenstadt and so met Haydn.
This Mass in D Minor was performed to honour Nelson during his visit, together with a brief
cantata, Lines from the Battle of the Nile, which Haydn composed for Lady Hamilton.
Nelson and Haydn apparently became friends - some accounts tell that Nelson gave Haydn
a gold watch he had won at Aboukir Bay, in return for the pen that was used to compose
Lady Hamilton's cantata. It is likely that the name Nelson Mass began being applied to this
piece some time after this event, although the name was never used by Haydn himself.
This 1s Haydn's largest mass, and one of his most well-known and beloved choral works. It
is also his only minor-key mass and is notable for the 'fireworks' demanded of the soprano
soloist, in the tragic, war-torn Kyrie through the D major Gloria and beyond.
Symphony no. 5 - 1st Movement
Beethoven (1770-1827)
Beethoven played a very important role in the growth and evolution of music. Not only did
he develop all the accepted ways in which to write his music, but he introduced a means of
expression which was so powerful that it was to affect most other composers in the
nineteenth century. Perhaps his power as a composer was actually enhanced by the terrible
tragedy of his deafness which began to afflict him at the age of thirty. Certainly there is in
his music, an element of 'triumph against the winds of fate' - a quality which makes itself
felt to all listeners.
Despite his great success as a composer he never found the process of composition easy - as
a look at some of his manuscripts and sketch books will demonstrate. Though these
sketches often seem little more than a jumble of ink scratches and blotches with many
alterations and crossings out, one soon realises that through this apparent chaos came some
of the finest music ever written. An undisputed master of composition, it is considered that
Beethoven's greatest single contribution to music is his symphonies. Though he composed
only nine symphonies, each of these works has a totally unique character which explores
differing aspects of the classical symphony orchestra. He also developed this form to such
an extent that on his ninth and final symphony he felt able to include a chorus and four soloists.
cont...
However, the opening to his fifth symphony is perhaps the most famous piece of music ever
composed. This represented 'fate’ knocking at the door of Beethoven's life - and by the
triumphant finale you believe that he has managed to overcome his terrible fate. It was used
by Britain in World War II to signify their determined resistance against an implacable and
deadly foe.
Nimrod - Enigma Variations
Elgar (1857-1934)
No Remembrance Day is complete without Elgar's "Nimrod", the stately and evocative
melody which is the ninth of his Enigma Variations. Nimrod (the hunter) refers to Elgar's
friend AJ.Jaeger (Jaeger being German for hunter) of Novello & Co (Elgar's publishers).
Elgar himself explained: “During an evening walk Nimrod discoursed eloquently on the
slow movements of Beethoven, said that no-one could approach Beethoven at his best in this
field, a view with which I cordially concurred”. It will be noticed that the opening bars are
made to suggest the slow movement of the Pathetique Sonata. Jaeger was for years a dear
friend, valued adviser and stern critic of many musicians besides the writer: his place has
been occupied but never filled".
Knightsbridge March
Coates (1886-1957)
Eric Coates showed great musical facility from an early age and later played in orchestras
under the batons of both Sir Henry Wood and Sir Thomas Beecham. Though he had written
a number of serious compositions before enrolling in the Royal Academy of Music he found
himself increasingly attracted to composing ‘Light Music’. This brought attention from the
newly formed B.B.C. as well as British film studios and he soon found himself in great
demand as both a composer and arranger.
Over the years this led to his composing some of the most famous Radio melodies ever
written such as Sleepy Lagoon (which is still used as the signature melody to Desert Island
Discs), Music while you Work
and the
signature tune to Im Town Tonight.
The
Knightsbridge March was taken from his popular London Suite which was already enjoyed
by concert audiences. When you consider his wide and varied output there can be no
denying that he deserved his reputation as the Father of Light Music.
World War Il Songs
These famous songs helped to keep up the morale of our troops and civilian population
during the dark days of the war. Sometimes cheeky, sometimes sentimental the mood was
always positive - encapsulating the belief that however hard times were, that somehow in the
end we would survive, prevail and ultimately win. Probably the most famous British singer
of this time was the Force’s Sweetheart Vera Lynn and possibly her most memorable
performances were that of The White Cliffs of Dover and We’ll meet again.
Warsaw Concerto
Addinsell (1909- 1981)
Solo Piano - Alan Brown
Richard Addinsell wrote some of the most effective British film music of the 1940s and
1950s. Many of his scores were for war films, such as The Lion Has Wings and The Big
Blockade as well as scores for almost twenty wartime propaganda films.
His first film success came with Goodbye, Mr. Chips in 1939 and also included such
notable films such as Blythe Spirit (1945) and Tom Brown’s Schooldays (1951). However,
it was ‘The Warsaw Concerto’ that he wrote for Dangerous Moonlight (1941) that he is
best remembered. A love story set during WWII about a Polish pianist who feels that he must
leave his American lover to return home to fight the Nazis. The film called for an
outstanding piano theme and Richard Addinsell’s music matched the passionate nature of the
film. Unlike much film music, this memorable, short piano concerto has enjoyed life in the
concert hall and has remained a concert favourite.
e
e P
S
T
e e e M as)
INTERVAL
Sea Songs - March
Vaughan Williams (1872- 1958)
It was composers such as Holst, Elgar and Vaughan Williams who were to lead a revival of
English composition which had lain dormant since Handel's day. One important feature of
these composers was their love of English folk music and the use of actual folk melodies in
their compositions. This four minute work is based on the sea songs Princess Royal, Admiral
Benbow and Portsmouth. Vaughan Williams originally arranged this march for brass and
military bands in 1923 and it was not until 1942 that he created the version for full
orchestra. The first performance of the band version was at Wembley during the 1924 British
Empire Exhibition.
Fantasia on British Sea Songs
Wood (1869-1944)
Sir Henry Wood was one of the most eminent musicians of his day, who was famous as both
conductor and composer, however his greatest achievement was the forming of the Proms in
1895 at the Queen's Hall, London. He wrote the Fantasia to celebrate the Trafalgar Centenary
Anniversary in 1905 and in October of that year presented it to his beloved Promenade
audience who were so enthusiastic about the work that it has been performed at every 'Last
Night' concert to this day.
The most famous section is the Sailors Hornpipe which is a wonderful example of musical
acceleration. Wood wrote of it: "They stamp their feet in time to the hornpipe - that is until
I whip up the orchestra in a fierce accelerando which leaves behind all those whose
stamping technique is not of the very first quality. I like to win by two bars if possible,
but sometimes have to be content with a bar and a half. It is good fun, and I enjoy it as much
as they. In this evening's performance the original words have been incorporated into the
music to give us a very rare performance of the original Sea Songs.
Fantasia on British Sea Songs
[.
Admiral's Salute
II.
The Anchor's Weighed
III.
The Saucy Arethusa
IV.
Tom Bowling
V.
Jack's the Lad
VI.
Spanish Ladies
VII.
Home Sweet Home
VIII.
See the Conquering Hero Comes
IX.
Rule Britannia
Chorus:
Rule,Britannia!
Britannia rule the waves!
Britons never, never, never
shall be slaves!
1812 Overture
Tchaikovsky (1840 - 1893)
On the 12th of October 1880, Tchaikovsky set about writing a piece for the consecration of
the new cathedral which was being built to commemorate the events of 1812. This was when
Napoleon's army had occupied Moscow for a month before being forced to retreat in the
“terrible Russian winter”. The overture was completed by 19th of November and has proved
to be not only immensely popular but also a brilliant example of 'programme' music.
The overture starts quietly, depicting the peace of rural life in Holy Russia with Tchaikovsky
quoting the Russian hymn God Preserve Thy People. However, the menacing clouds of war
sweep this all away and you soon hear the warlike trumpets of the invading French army.
Tchaikovsky uses both the French National Anthem 'La Marseillaise' and the Russian
National Anthem to depict the two sides in the ensuing battle. The central part of the
overture depicts the Battle of Borodino in which the French army is forced to retreat.
In victory, the end of the overture is full of joy, with church bells ringing, a triumphant
'singing' of the original hymn and the symbolic firing of the cannon.
March: The Dambusters
Coates (1886 - 1957)
Besides writing much music for the concert hall and radio as well as the new medium of
television Coates also wrote some of the finest film scores of his generation - the most
famous of which is his score for the film of the Dambusters which he composed in 1954.
This both commemorated and glorified the courageous raid on the Ruhr Dam carried out in
May 1943 by the RAF 617 Squadron.
Colonel Bogey
Alford (1880-1945)
For many years Britain has boasted that it’s Military Bands are amongst the finest in the
world - if not the finest. This has inspired a number of composers to write marches for them
and there have been none more famous than the jaunty 'Colonel Bogey'. Colonel H Ricketts
under his nom de plume Kenneth Alford composed this march for his band of the Argyll and
Sutherland Highlanders just weeks before the outbreak of the First World War. Legend has
it that the melody was inspired by someone whistling on a golf course - so we will be
expecting some lively whistling tonight!
World War Il Songs
A Nightingale Sang in Berkeley Square Solo singer - Jonathan Brown
We’ll Meet Again Solo singers - Susie Parkes & Philip O’Brien
There’ll Always be an England Solo singer - Juliette Pochin
Jerusalem
Parry (1848-1918)
Together with Stanford, Hubert Parry is considered to be one of the leaders of the English
musical 'renaissance' of the 1880's. He succeeded Sir George Grove as Director of the Royal
College of Music, and was appointed as Professor of Music at Oxford in 1890. He had an
important influence on English music in all aspects of his career, as composer, (particularly
in choral music), as a writer, and as an administrator.
Parry first wrote a setting of Blake's poem for a performance in 1916 which was later
orchestrated by Elgar in 1922 for the Leeds Festival. As a hymn or communal song this short
work has enjoyed great national popularity.
And did those feet in ancient time
Walk upon England's mountains green?
And was the holy Lamb of God
On England's pleasant pastures seen?
And did the Countenance divine
Shine forth upon our clouded hills?
And was Jerusalem builded here
Among those dark satanic mills?
Bring me my bow of burning gold!
Bring me my arrows of desire!
Bring me my spear! O clouds, unfold!
Bring me my chariot of fire!
I will not cease from mental fight,
Nor shall my sword sleep in my hand,
Till we have built Jerusalem
In England's green and pleasant land
William Blake
Pomp and Circumstance, March no.l
Elgar(1857-1934)
‘Land of Hope and Glory’
Elgar's five Pomp and Circumstance Marches have always been popular - their very name
seems to symbolise the secure confidence of the Edwardian era when they were written - but
none more so than the first. Queen Alexandra asked Elgar to include it as part of the finale
of his Coronation Ode, for Edward VII in 1902, and it was for this work, not for the
original march, that Benson wrote the words which are now always associated with it.
Land of hope and glory, Mother of the free,
How shall we extol thee? who are born of thee?
Wider still and wider shall thy bounds be set;
God who made thee mighty,
make thee mightier yet.
(repeated)
A.C.Benson
Alan Brown went on from early festival successes
and membership of the National Youth Orchestra of
Great Britain to study piano and cello with Ruth
Harte and Lilly Phillips at the Royal Academy of
Music.
Whilst there he won many prizes, was
awarded the prestigious Recital Diploma, and was
A
proclaimed National Most Promising Pianist of the
Year. He was also a finalist in the Royal Overseas
League and National Federation of Music Societies
awards
and
winner
of
the
Hastings
National
Concerto Competition.
Since his acclaimed Wigmore Hall début, Alan has
appeared many times in London, at the Purcell Room and the Fairfield Hall, and at other ven-
ues throughout the United Kingdom and Europe, as well as the Channel Islands, Australia
and South Korea.
Alan has a repertoire of over thirty five concertos and has played with the Royal
Philharmonic Orchestra, the London Mozart Players, the Virtuosi of England and other
orchestras, working frequently with the late Arthur Davison CBE.
He has recently
concentrated on British concertos, giving highly acclaimed performances of the Bliss, Delius
and Ireland, as well as premiering all three concertos by John Rand.
He is also in great
demand as duo partner to wind and string players, performing for many recitals, concerts and
competitions in this country and in Germany. He has also performed the complete cycle of
Beethoven violin and piano sonatas with Igor Ozim in Slovenia.
Susie Parkes gained a BMus(Hons and a
Postgraduate Diploma (with distinction) at
the Royal College of Music where she was
London
operatic
Recent
scholar.
a
performances include Madama Butterfly
(Kate Pinkerton), La Boheme, Tosca, La
Rondine, Die Fledermaus (Ida) Pearl Fishers,
Wether (Katchen), Lucia di Lammermoor
and Un Ballo in Maschera, at Opera Holland
Park. King Roger with Sir Simon Rattle at
Salzburg International Music Festival,
Les Noces at Bath Festival, Peer Gynt (Solveig/Anita), Fidelio (Leonora), Orfeo (Euridice)
at the Royal College of Music, The Cunning Little Vixen (Young vixen) for British Youth
Opera and the British premiere of Socrates (Fedon) for Sevenoaks Opera. Carmina Burana
and Judith Weir's Storm at the BBC Proms, Les nuits d’été at Symphony Hall and soloist in
the world premiere of Karl Jenkins' Armed Man at the Albert Hall, also later recorded for
Virgin Records and featured on Classic FM. She has been interviewed and sung live on
BBC Radio and has performed Gounod's Je Veux Vivre in a major Hollywood film called
If Only released later this year.
Juliette Pochin
Juliette Pochin initially trained as a violinist at the
RAM before reading music at Trinity College,
Cambridge. She went on to study singing at the
GSMD graduating with distinction and the highest
mark of her year. Operatic roles include Tisbe La
Cenerentola (Grange Park), Olga Onegin (Pimlico
Opera), Annina Traviata (European Chamber Opera)
and the Sorceress Dido (Purcell Room) (English
Chamber Opera). Recent concert work includes
Brighton Dome/RPO (Messiah), St. Andrew's Hall,
Norwich (Elgar, The Kingdom), Jonathan Harvey's
Passion and Resurrection (Brighton Festival) and
Janacek's Glagolitic Mass at last year's Brighton
Festival (Philharmonia /Thierry Fischer). As part of
the composing partnership Morgan Pochin, she wrote the music for the Emmy awarded
Kumars at no.42 and According to Bex currently showing on BBCtv. As a record producer,
she has worked with artists as diverse as Julian Lloyd Webber and Elton John. Juliette's
debut album, Venezia will be released this October.
Philip 0'Brien
Philip O’Brien studied on the A.G.S.M. and Opera courses
at the Guildhall School of Music and Drama, becoming a
Wolfson Scholar and winning the Patrick Libby prize for
Acting.
Since
Glyndebourne,
leaving
college,
Philip
Savonlinna Festival,
has
sung
Carl Rosa,
with
Opera
Omnibus and many others.
His recent operatic roles have included: Florestan, Fidelio
(Beethoven) Scottish Opera, Radames, Aida (Verdi) Kentish
Opera and Peter Grimes (Britten) Surrey Opera. Other roles
include Lenski, Nemorino, Samson, Turrido and Florestan
Future
engagements
include:
The
Prince,
Rusalka
(Dvorak), Iford Festivaland Froh, Das Rheingold (Wagner),
Northern Wagner Orchestra.
Jonathan Brown was born and raised in Toronto.
He has
studied at the RCM, the University of Western Ontario and
the University of Cambridge,
England as
well
as the
Britten-Pears School in Aldeburgh with Sir Thomas Allen
and Anthony Rolfe Johnson. He now lives in London where
he studies privately with Nicholas Powell.
Operatic roles include Marcello (La Boheme, Royal Albert
Hall), Belcore (L Elisir d’Amore), Count Almaviva, Don
Giovanni, Silvio (I Pagliacci), Malatesta (Don Pasquale),
Masetto (Don Giovanni), Shepherd (Venus and Adonis),
Aeneas (Dido and Aeneas). He recently performed the role
of Trojan (Idomeneo) for Sir Simon Rattle with the Berlin
Philharmonic in the Salzburg Easter Festival. In September
of last year he joined the Glyndebourne chorus and covered the role of Shepherd in Pelléas
et Mélisande on the tour.
Future plans include Orfeo (Pastori 4) at Lille Opera and
Le Chatelet with Emmanuelle Haim.
He made his debut with Sir John Eliot Gardiner in Holland (Naarden) in 2000 as the
baritone soloist in a concert of Bach cantatas and thereafter was a regular soloist with
performances in Zurich, Brussels and Paris. Recent concert work has included a tour of
St Matthew Passion (arias) across Europe.
He featured as a soloist on the Harmonia Mundi recordings of Purcell’s Dido and Aeneas and
Blow’s Venus and Adonis under the direction of René Jacobs. He has recorded the baritone
solos in the Fauré Requiem with the London Festival Orchestra for BMG and recently
recorded the role of the Forester in Sullivan’s The Golden Legend for Hyperion.
13
Darrell Davison studied music at St. Catharine's
College, Cambridge. He started his professional career
as the principal cellist of the Ulster Orchestra before
returning to London as a freelance cellist. In 1979 he
won the Sir John Barbirolli Conducting Competition
and since then has worked with many different
orchestras, both professional and amateur. This has
included performances with all four London orchestras
and recordings with the LSO and the BBC. In 1984 he
was a prize winner in the inaugural Leeds Conducting
Competition and in the same year made his London
Debut by conducting the RPO at a Royal Philharmonic
Society Concert at the Festival Hall. Since then he has
made appearances at many of the major venues in
England and has also recently conducted lake-side
proms at both Kenwood and Crystal Palace. He is a
conductor and Musical Director of The Little Symphony of London, The New Philharmonic
Orchestra and also presents the successful Arthur Davison Family Concerts at the Fairfield,
Croydon. He was appointed Musical Director of the Croydon Symphony Orchestra in 1992.
As a composer, he has had his music performed by The Philharmonia, The London
Philharmonic Orchestra and has also written and orchestrated film scores for The London
Symphony Orchestra.
THE REASON WHY
Why do you march, old man, with medals on your chest?
Why to you grieve, old man, for those friends you laid to rest?
Why do your eyes gleam, old man, when you hear the bugles blow?
Tell me, why do you cry, old man, for those days so long ago?
I'll tell you why I march, young man, with medals on my chest,
I'll tell you why I grieve, young man, for those friends I laid to rest,
Through misty fields of gossamer silk come visions of distant times,
When boys of such a tender age marched forth to battle lines.
We buried them in blanket shroud, their young flesh scorched and blackened,
In a communal grave so newly dug in blood-stained gorse and bracken.
And you ask me why I march, young man, - I march to remind you all,
That but for those apple-blossomed youths, you'd never know freedom at all.
THE CROYDON SYMPHONY ORCHESTRA
1st VIOLINS
CONTRA BASSES
TROMBONES
Richard Allen
Gillian Allen
Lorraine Temple
Astrid Harper
Carole Hibberd
Nick Allen
Bridgit Hirst
Jan Kiernan
Catherine Smart (Leader)
Richard Pywell
Douglas Knight
.
Sarah Lansdale
Lawrie Lea
e7.
TUBA
FLUTES & PICCOLO
Madelaine Male
Sue Cooper
Hilary Martin
Linda Penn
Martin Smith
Duncan Penkey
TIMPANI
Jeannie Whiting
Simon Williams
OBOES & COR
ANGLAIS
2nd VIOLINS
Elizabeth Davison
PERCUSSION
Michelle Willis
Claire Slade
Roger Griffin
Heather Bennie
Mark Rogers
Janice Kirby-Smith
Chris Woodham
Gilda Lake
Jacqueline Love
CLARINETS
Lydia Robinson
Moira Purkiss
Sonja Vogt
David Sheldrake
Linda Willis
BASSOONS
VIOLAS
Wendy Montague
Richard Cartwright
Ian Forbes
Pauline Dixon
Jennie Dunn
Duncan Forbes
HORNS
lan Hargrave
Jonathan Wood
Garry Copnall
Alan Jones
CELLOS
Silvia Pullen
Emma Denton
Alma Burcombe
Beryl Gillate
TRUMPETS
Phil Myers
Alex Caldon
Christopher Pontin
Richard Cousens
Richard Strange
Rob Love
Veronica Watts
Ed Pascal
THE CROYDON SYMPHONY ORCHESTRA
The Society was founded in 1920 by WH. Reed from the String Players Club formed in 1905
by Coleridge - Taylor. For the first few years, in addition to purely orchestral concerts being
given, an amalgamation with the Croydon Philharmonic Society produced performances of
many choral works under the direction of Alan Kirby, Dr Reed leading the orchestra. The
partnership was dissolved in 1928. After the founder's death in 1942 no permanent Musical
Director was found until Norman Del Mar was appointed in 1947. This marked an
expansion in the work and repertoire of the orchestra with emphasis on contemporary music.
Following Mr Del Mar's resignation, Arthur Davison was appointed in 1958 and under his
brilliant guidance the standards and status of the orchestra rapidly rose and many first
performances of modern British works were given.
Together with the Croydon Philharmonic Choir the Acoustic Test Concert was given in the
new Fairfield Hall in 1962 followed two years later by the Fairfield Hall Organ Inaugural
Concert. Both were conducted by Arthur Davison.
In 1972, the CSO joined with local choirs and instrumentalists in a Gala Concert, directed
by Mr Davison, given to celebrate ten years of music in Fairfield Hall and in 1983 its
members took part in a concert given as part of Croydon's Charter Centenary celebrations in
the presence of Her Majesty the Queen. We were saddened by Arthur Davison's death in the
summer of 1992 but were fortunate to secure the services of his son, Darrell, an
appointment that met with the unanimous acclaim of the orchestra.
16
VIVACE CHORUS
(Formally Guildford Philharmonic Choir)
The Guildford Philharmonic Choir was founded in 1947 by
Vo
|Va Ce
ChOrUS
the Borough of Guildford to perform major works from the
v
4 choral repertoire with the Guildford Philharmonic
Orchestra. During this time the choir has grown both in
stature and reputation and can now rightly claim it’s place
as one of the foremost choruses in the country.
The choir
grew to prominence under the batons of such eminent musicians as Sir Charles Groves,
Vernon Handley and Sir David Willcocks. Sir David remains in close contact with the choir
as its President. The choir became independent of the Borough of Guildford in 1997 and to
reflect this change, it changed its name to the Vivace Chorus.
In May the Vivace Chorus gave the first concert of its Contemporary Choral Classic Cycle,
an innovative series of choral concerts comprising works from the 20th and 21st century —
classics of the future paired with established masterpieces.
The concert included Karl
Jenkins’ “The Armed Man’ in which the Muezzin from the Woking Mosque performed the
Muslim Call to Prayer in Guildford Cathedral. Next year’s CCCC concert will be Walton’s
‘Belshazzar’s Feast” and Francis Pott’s ‘A Song on the End of the World’. The Chorus will
be accompanied by ‘The Philharmonia’.
Other recent performances have included Dvorak’s Requiem (Guildford and Freiburg), Verdi
Requiem,
Mabhler’s
Symphony
no.
8,
Borodin’s Polovtsian Dances and Prokofiev’s
Alexander Nevsky (both in Russian), Elgar’s Dream of Gerontius and Vivaldi’s ‘Gloria’ in
St Martin-in-the-Fields (June ’05).
Next season, as well as Vivace Chorus’s usual performances in Guildford Cathedral, they
will be performing in the Freiburg Konzerthaus in Germany and giving a carol concert in aid
of ‘Chase’ on 15th December at Charterhouse Chapel, Godalming.
The Vivace Chorus website can be found at
17
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Friends of the ‘LNOP’ Charity Committee
The 'LNOP' Charity Committee hope that you are enjoying tonight's annual Charity
Concert and invite you to become a ‘Friend of the 'LNOP' Charity Committee’.
As a friend you will receive the following benefits:
e
Membership Card
10% off ticket prices for the annual concert
e Advance notice of the Concert
. Purchase of tickets before they go on sale to the general public
« Entry into a Members' Draw for a dinner for two in the Fairfield Halls Green Room
restaurant and to attend the VIP reception after the concert.
---------------------------------------------------------
------------------------------------------------------------------------------------------
To:
Mr Trevor Williams
Secretary to Friends of the LNOP'
72 Downscourt Road
Purley
Surrey
CRS8 1BQ
Please enrol me as a ‘Friend of the 'LNOP' Charity Committee’. 1 enclose my annual
membership fee of £5.00 in the form of a cheque made payable to 'LNOP' and I understand
that this membership fee may be renewed annually from the 1st of January each year
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