ast Night of the
Proms’ 2007
Concert
Croydon Symphony Orchestra
Vivace Chorus
Conductor - Darrell Davison
Mezzo-Soprano - Juliette Pochin
Piano - Madalina Rusu
PRESENTED BY
‘THE L.N.O.P. CHARITY COMMITTEE’
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FUNDS FOR
MACMILLIAN
CANCER
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CANCER SUPPORT
Fairfield (Croydon) Limited is registered in England. Reg. no.2778118. A Registered Charity. Chief Executive: Derek Barr
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‘LAST NIGHT OF THE PROMS’
CHARITY COMMITTEE.
Airport House, Purley Way, Croydon.
CRO 0XZ
Hon. Ald. Brian G. Smith MBE; FCIM - Chairman
Mr. Stan Marshall — Vice Chairman
Mrs. Pam Peters — Secretary
Mrs. Elsie Best — Treasurer
Mr. Trevor Williams — Secretary of Friends of ‘LNOP’
Mrs. Nicki Armstrong
Mr. Stan Best
Miss Faye Dawson
Mr. Anthony Gopaul — JCI Croydon
Mrs. Pat Greenfield
Mrs. Jean Smith
Mrs. Judy Spence
Chairman’s Foreword ‘L.N.0.P.” 2007
I am delighted, on behalf of all of you, to extend a very warm
welcome this evening to The Worshipful the Mayor of Croydon,
Cllr. Derek Millard and his wife Mrs. Bunty Millard, the
Mayoress of Croydon.
This year the ‘LNOP’ Charity Committee have teamed up with
Macmillan Cancer Support and have worked exceptionally hard to
raise a bumper donation to help Cancer Sufferers in Croydon.
Unfortunately, those suffering with Cancer very often experience the
added stress of financial problems brought about by their inability to
work and provide for their families.
I would ask you to particularly
show your appreciation of the excellent programme, presented for your
enjoyment tonight, by generously supporting our efforts to provide a
substantial sum for Macmillan to distribute and so help relieve the financial burden felt by many
patients in Croydon.
This evening, the many families who have experienced the love, concern and practical assistance
of the Macmillan organisation are represented by Jackie Coupland.
Jackie was diagnosed with
breast cancer a few years ago and has gone on to create a telephone support group for breast
cancer patients — sometimes to talk to someone who has been through the trauma of a breast
cancer diagnosis and treatment themselves really helps.
I wish Jackie a most enjoyable evening
and the very best of fortune, strength and happiness in the future.
It also gives me tremendous pleasure to welcome back to our concert platform once again, the
very talented Vivace Chorus, who, under the direction of their Musical Director Jeremy
Backhouse and complemented by our very own Croydon Symphony Orchestra, conducted by
Darrell Davison, will provide a wonderful selection of popular classics and choral masterpieces.
As always, I would ask you all to help in creating the right atmosphere by resisting the temptation
to release party poppers, balloons and streamers until the right moment.
Darrell will clearly
indicate when audience participation is required and when your appreciation may be shown by the
release of various airborne tributes!!
There are some marvellous prizes to be won in our Grand Draw and I would ask you to purchase
as many tickets as you can realistically afford in the knowledge that you will be helping, in a very
practical way, those who are less fortunate than most of us.
On behalf of your Committee, whose names appear within the programme, Macmillan Cancer
Support and all our Artists, a very sincere ‘thank-you’ for your generous support.
you enjoy the programme that will be presented to you.
Hon. Ald. Brian G. Smith MBE; FCIM
Chairman.
We all hope
e
»
Programme for LNOP Concert
September 29th at
The Fairfield, Croydon
A gala evening of Popular Classics
William Tell — March (Overture)
Rossini
Voi Che Sapete — The Marriage of Figaro
Mozart
Une Voce Poco Fa — The Barber of Seville
Rossini
Messiah — Choruses
Handel
Finlandia
Sibelius
Dies Irae — Requiem
Verdi
Piano Concerto No. 1
Liszt
INTERVAL
Marche Joyeuse
Chabrier
Hungarian Dance in G Minor
Brahms
Blue Danube Waltzes
Strauss
Mon Coeur S’ouvre a ta Voix — Samson and Delilah
Saint-Saens
Habanera and Seguidilla — Carmen
Bizet
Polovtsian Dances
Borodin
Thunder and Lightning Polka
Strauss
Fantasia on British Sea songs
arr. Wood
Jerusalem
|
Parry
Pomp and Circumstance March No. 1
Elgar
CROYDON SYMPHONY ORCHESTRA
VIVACE CHORUS
Conductor - Darrell Davison
Mezzo-Soprano — Juliette Pochin
Solo Piano — Madalina Rusu
William Tell - March (Overture)
Rossini (1792-1868)
Born in Pesaro, Italy in 1792 Gioachino Rossini was destined to become one of the most
famous and prolific of all opera composers. By the age of 37, he had written 36 operas in the space
of 19 years — a prodigious feat of composition in itself — and a number of which have proved to be
so popular that they are still regularly performed.
Willlam Tell was the last of his operas to be composed and was written in 1829. The overtures to
these operas are still concert favourites and especially the overture to this last opera. This evening
we are going to perform the March from this overture which describes a call to arms as William Tell
rouses his fellow Swiss countrymen to fight and defeat the Austrian invaders.
Voi Che Sapete — The Marriage of Figaro
Mozart (1756-1791)
Mezzo Soprano — Juliette Pochin
Mozart lived in an era when a reputation as a composer was built on operatic successes. His opera
The Marriage of Figaro, based on Beaumarchais’ political satire, The Barber of Seville, is one of the
greatest ever composed. It was an immediate success with so many encores at the first performance
that the opera took almost twice as long to perform.
The story tells of how a crafty barber, Figaro, outwits his scheming master. Possibly this was a risky
subject at the time because of the recent French Revolution but despite this, or indeed because of it,
the opera was immediately popular. However, in many ways Figaro marks the pinnacle of Mozart's
success for barely five years after the first performance, Mozart was to die impoverished and buried
in an unmarked grave, his problems of poor health, money worries and declining popularity
having finally overtaken him. But there is not the slightest trace of this in Figaro and the opera
sparkles with confidence and vitality.
In this aria from Act 1 the excitable teenager Cherubino describes to the Contessa and Susanna the
pleasure and pain of being in love. Though Cherubino is a boy the part is sung by a soprano.
Una Voce Poco Fa — The Barber of Seville
Rossini (1792-868)
The Barber of Seville is a comic opera in two Acts by Gioacchino Rossini. This comedy formed part
of a trio of plays all featuring the servant Figaro and the Count Almaviva. This play was the first in
the series and a prequel to the equally well-known ‘The Marriage of Figaro’. The play written in
1775, was banned initially by the French King but once performed became very popular and a number of attempts to turn it into opera were made. Rossini's has proved to be far and away the most
popular. The first performance was in 1816 in Rome and it has remained one of the most popular in
the comic opera repertoire ever since.
In this aria, which is a wonderful example of Rossini’s witty style — Rosina reads a letter that she has
just written to her lover Lindoro.
Messiah - Choruses
1 For unto us a Child is born
Handel (1685-1759)
2 Surely, He has borne our griefs
3 And with His stripes we are healed
4 Halleluia
George Frideric Handel was born in Halle, Saxony, 85 miles southwest of Berlin. Although his family was not musical, his talents were so obvious that his barber-surgeon father begrudgingly allowed
him to take lessons from the director of music at the principal church in the town. However he learnt
rapidly and quickly became an accomplished organist, harpsichordist, as well as an able violinist and
oboist. By the age of 25 he had become Music Director at the Court of Hanover but almost immediately took leave from his new position and went to London where his opera Rinaldo caused a popular sensation.
For the next 20 years Handel’s operas in the ‘Italian style’ were enormously successful but as they
began to fall out of favour in the 1730’s Handel turned to a kind of composition that could be mounted at less expense - oratorio. All in all, he produced 26 oratorios, the most famous being Messiah,
which was first performed in Dublin in 1742. The rapid composition of Messiah, which was completed in a little over three weeks, has become the stuff of legend. The libretto was compiled by
Charles Jennens, an eccentric but well-connected Englishman with a passion for literature and
music.
Between December 1741 and April 1742, Handel gave two successful series of subscription concerts
in Dublin. However the highlight of his stay there was the premiere of Messiah at a benefit concert,
in collaboration with the Charitable Musical Society, for “the Relief of the Prisoners in the several
Gaols, and for the Support of Mercer's Hospital and of the Charitable Infirmary on the Inns Quay.”
A public rehearsal on April 12, 1742 and the official premiere the next day drew large and enthusi-
astic audiences, and earned overwhelmingly positive reviews. “It gave universal Satisfaction to all
present,” one local newspaper wrote, “and was allowed by the greatest Judges to be the finest
Composition of Music that ever was heard.”
Handel introduced Messiah to London in March 1743, though not before weathering some controversy instigated by religious authorities — however these objections were short-lived and the Messiah
quickly assumed a position as one of Handel's most beloved works. Indeed performances in both size
and number increased over the next century with larger orchestral arrangements being created by
Mozart and Prout.
The choruses provide many of the finest moments in this musical version of the life of Christ and
the choruses that we will perform tonight follow His birth, death and resurrection culminating in the
inspirational Halleluia Chorus.
Finlandia
Sibelius (1865-1957)
The Tone Poem Finlandia is probably more famous as the musical symbol of Finland than its national anthem. As itt was composed during a trying period in Finland's lifelong struggle against oppres-
sion. In 1899, Imperial Russia — then ruling Finland with an iron discipline — issued its famous
‘February manifesto’ which deprived Finland of her autonomy. Worse still, the Tsarist regime severely curtailed freedom of speech and closed one Finnish newspaper after another. As a symbol of
protest against this tyranny, the Finnish people planned a series of seemingly harmless events, the
proceeds of which were to go to the Finnish Press Pension Fund. For these entertainments Sibelius
wrote an orchestral suite, Finland Awakes, the finale of which was later to become the tone-poem
Finlandia. Sibelius revised the score in 1900.
The work has no specific programme but it is so complete a musical realisation of the Finnish character, soul and spirit that Tsarist Russia tried to suppress its performance. It was not until 1905, when
Russia was compelled to make far-reaching concessions to Finland, that the tone-poem was allowed
to be performed in its native country under its real name — Finlandia. During the next twelve years
— until the Russian Revolution gave the Finns their independence in 1917 — it was the national
expression of a people fighting stubbornly for their freedom.
Requiem - Dies Irae
Verdi (1813-1901)
Mezzo Soprano — Juliette Pochin
Verdi’s Requiem is one of the most profound Requiems ever composed. The work combines Verdi’s
brilliant theatrical flair with his own feelings of grief at the death of his great friend the Poet,
Novelist and political leader Alessandro Manzoni in 1873. Verdi started work on the composition
in
the same year and assembled over 200 musicians the following May for the premiere of the Requiem
at the Church of San Marco in Milan.
Special permission from the Archbishop was required for women to participate in this church performance and the female choristers were made to hide behind grating and required to wear a full
black dress and cover their heads with “an ample mourning veil””!
Three days later a repeat performance was scheduled at the La Scala Opera House in which the
capacity crowd received the work with an enthusiastic and prolonged ovation. Impresarios around
Europe quickly made arrangements for Verdi to conduct performances abroad: seven in Paris and
four each in London and Vienna. Verdi’s London performance at Royal Albert Hall (May, 1875)
used a chorus of 1200 and an orchestra of 150.
One of the most striking and memorable sections is the dramatic Dies Irae (Day of Wrath) with its
bass drum thunderclaps and apocalyptic visions of the day of judgement which he painted with
thrilling brass calls.
However there are many moments of reflection in this movement and the music ends with in a
of resigned resolution and a prayer for the dead: dona eis requiem (give them rest and peace).
Piano Concerto No.1
mood
Liszt (1811-1886)
Solo Piano — Madalina Rusu
Franz Liszt was a legend in his own lifetime, first as a prodigy pianist then as a dynamic conductor
and finally as an influential composer. In all of those spheres he developed new techniques
stretched boundaries. However it is in his works for piano and orchestra that he combines his
and
talents
in all three of those disciplines. He composed his first and second piano concertos in 1849, to con-
siderable acclaim and followed this later with his Totentanz (Dance of Death) and his Hungarian
Rhapsodies.
His first concerto is a brilliant exposition of piano technique with the solo pianist launching into a
Cadenza after just five bars. Though the concerto is conceived as a unified whole with the move-
ments following on fairly seamlessly — there are very specific moods which are not dissimilar to a
symphonic structure. The Scherzo (3rd section) caused no end of controversy with Liszt’s use of the
triangle — which gave several critics the ammunition to nickname it the triangle concerto! However
the concerto has long outlasted those critics with the reputation as being one of Liszt’s finest works.
—
INTERVAL
Marche Joyeuse
Chabrier (1841-1894)
Chabrier studied Law and became a civil servant, during which time he continued to study music.
After hearing a performance of Wagner's Tristan and Isolde, he decided to devote his life to music
which he did as both a conductor and composer. Possibly his greatest success came when he composed the Syrnphonic Poem Espana in 1883. The brilliance of his orchestration and the exciting
rhythms and melodies ensured its immediate success and popularity to this day.
Marche Joyeuse was originally written as a piece of sight reading for a piano exam in 1888.
However, the work proved too difficult for the students, so Chabrier arranged it for orchestra. It is
meant to represent the not too steady walk of two revellers as they stagger back from the local inn
to their lodgings.
As you might imagine, Chabrier combines a mood of suppressed gaiety with that of wild abandonment.
Hungarian Dance in G minor
Brahms (1833-1897)
It has been said that Brahms carried on developing the tradition of symphonic music from the point
where Beethoven left off. He had a great admiration for Beethoven and remarked, “You have no idea
how it feels when we hear the tramp of a giant like Beethoven behind us!” This great respect for
Beethoven’s music, coupled with his own great desire for perfection led him to be incredibly critical of his own composition; indeed he was said to have destroyed at least two thirds of his entire
output. This was also the reason that he took so long to compose his first symphony.
However this next work sees Brahms in a very much more relaxed mood as he demonstrates his abil-
ity to write music in a more popular style. This robust and colourful dance which gained much popularity as both a piano duet and a symphonic work is in the style of a Hungarian gypsy dance.
The Beautiful Blue Danube — Waltzes
J. Strauss Il (1825-1899)
Johann Strauss was unquestionably one of the most famous and beloved composers of his time. He
was a composer of popular music and much of it, particularly the waltzes, has become immortal. At
nineteen he became conductor of the Dommayers’ Garden Restaurant Orchestra and once, after
playing one of his waltzes, he found that it was so successful that he had to repeat it eighteen times!
Even at the age of seventy he was still producing music for his orchestra and boasted that ‘the
melodies gush out of my mind like fresh water’.
After his father Johann Strauss I's death in 1849 Johann amalgamated their orchestras and consoli-
dated his own already growing reputation as the ‘Waltz King’. His fame spread far and wide and by
1860 he was performing all over the world. However he was always homesick for his native Vienna
and loved to write pieces which reminded him of his homeland with such works as his Tales of the
Vienna woods, the Cuckoo Polka and of course his Blue Danube Waltzes. This evening we will be
performing the choral version of this most popular of works.
Mon Coeur S'ouvre a ta Voix — Samson and Delilah
Saint-Saens (1835-1921)
Mezzo Soprano — Juliette Pochin
Camille Saint-Saens was one of the greatest musicians of his day. He had an enviable international
reputation not only as a wonderful concert pianist and organist, but also as an inspiring conductor
and, of course, as one of the most prolific composers of his day. His greatest successes as a composer include his beautiful opera ‘Samson and Delilah’, his exciting symphonic poem ‘Dance
Macabre’, his triumphal ‘Organ’ Symphony and his amusing chamber work ‘The Carnival of
Animals’.
;
Samson and Delilah was composed in 1877 and follows the biblical story of how Samson is seduced
by Delilah into telling her the secret of his strength. At the third attempt she succeeds and betrays
him to the Philistines. She uses this aria ‘Softly Awakes my Heart’ to seduce him.
'‘Habanera' and 'Seguidilla — ‘Carmen’
Bizet (1838-1875)
Mezzo Soprano - Juliette Pochin
Georges Bizet did not live to witness the triumph of his most popular opera Carmen for he died at
the early age of 37, only a few weeks after its disastrous premiere in Paris, 1875. The opera, based
on Prosper Meriméel’s novel, marks an attempt to break away from the prevailing artificial con-
ventions of Italian opera towards a much greater dramatic realism which is reflected in this tale of
primitive, full-blooded jealousies and passions.
However 'Carmen' has become one of the most popular operas of all time. Its dramatic story
revolves around the bold gypsy girl Carmen and her flirtatious love life. In the Habanera she tells
her suitors that if they fall in love with her — beware. After a fight she is arrested by Don Jose who
takes her to jail. However she promises him ‘a good time' if he releases her. Tragically he falls for
her charms — an action which not only leads to his own imprisonment but in the end to his murdering the faithless Carmen.
Polovtsian Dances — Prince Igor
Borodin (1833-1887)
During his lifetime Borodin had an enviable reputation as both a chemist and a musician. However,
it is as a composer that he is remembered today and for such works as his symphonies and his opera
Prince Igor from which the Polovtsian Dances are taken. He was an influential member of a group
of five Russian composers which included Mussorgsky and Rimsky-Korsakov and which sought to
further the interests of Russian folk music.
This aspect is certainly evident in Borodin's music and especially in his opera Prince Igor. The plot
of this opera concerns the tribal wars of a Tartar race in Central Asia in the 12th century. During the
second act, Prince Igor is captured by the Tartar chief, Khan Konchak and in his honour the Khan
arranges a series of wild dances characteristic of his tribe. In these impressive Polovtsian Dances,
women slaves, men and boys take turns to dance before their king, only joining together in the final
exciting dance which is a superb combination of brilliant orchestral colours, ‘brutal rhythms’ and
‘appealing melodies’.
Thunder and Lightning Polka
J. Strauss Il (1825-1899)
Besides his many popular waltzes Strauss is also famous for his lively polkas. The polka was a more
risque dance which allowed Strauss the opportunity for some ‘fun and games’ ,with polkas such as
the Champagne Polka, the Jockey Polka and the Kissing Polka. Strauss uses the bass drum and cyn
bals to create the effect of thunder and lightning in this exciting and descriptive polka.
Fantasia on British Sea Songs
Wood (1869-1944)
The Saucy Arethusa
Tom Bowling
Jack’s the Lad
Home, Sweet Home
See the Conquering Hero Comes
Spanish Ladies
Rule Britannia
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
unique version of the original Sea Songs. You are, of course invited to join us in the chorus of Rule
Britannia
Chorus:
Rule,Britannia!
Britannia rule the waves!
Britons never, never, never shall be slaves!
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 a composer (particularly in choral music), as a writer,
a performer 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?
9
Bring me my bow of buming gold!
Bring me my arrows of desire!
Bring me my spear! O clouds, unfold!
Bring me my chariot offire!
[ 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 ‘Land of Hope and Glory’
Elgar(1857-1934)
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
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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 for 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 lakeside proms at both Kenwood
and Crystal Palace. He is a conductor and Musical Director of The
Little Symphony of London 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.
Madalina Rusu was born in 1985 in Constanta, Romania, and
started to study the piano at the age of 8 at the Music High School
from Constanta, under the guidance of Iuliana Carlig. She also
studied with professor Constantin Ionescu-Vovu and Cristian
Dumitrescu from the National University of Music in Bucharest.
Since September 2004, she has been studying the piano with professor Joan Havill at the Guildhall School of Music & Drama.
.
She participated in many masterclasses at Dartington Summer
b School and at the Guildhall School of Music & Drama, studying
with Stephen Kovacevich, Paul Lewis, Pascal Roge, Bryce
Morrison, Ronan O'Hora, Alfredo Perl, Joanna MacGregor,
Douglas Finch, Daniel Adni and Andrew Zolinsky.
During these years she won many prizes at National and
International Competitions, including the 4th Prize at the
International Piano Competition "Konzerteum" in Athens (2000),
the 1st Prize at the International Piano Competition Pro - Piano (Bucharest, 2002), and in 2005 she
won the 2nd Prize at the Oxford Music Festival, the Beethoven Piano Prize from the Guildhall
Internal Competition and in January 2007 she won the 3rd Prize at the Oxford Music Festival and
First Prize at the Croydon Concerto Competition.
She gave many recitals in Romania, Greece, and Hungary and throughout the United Kingdom in
London (at Barbican Hall, Cadogan Hall, St. Martin's in the Fields, Regent Hall), Oxford, Dorset,
Somerset, Lincolnshire and the Isle of Man.
Future plans include recitals in Romania and in England (Dorset, Worcestershire, London). She is
also invited to perform in the next season Liszt Piano Concerto no.1 at the Fairfield Hall with the
Croydon Symphony Orchestra, Strauss -Burleske at LSO St. Lukes with the Guildhall Symphony
Orchestra and Beethoven Piano Concerto no.2 in Bridport, Dorset, with the Dorset Chamber
Orchestra.
10
Madalina is very grateful for the awards she has received from Philharmonia Orchestra/Martin
Musical Scholarship Fund (April 2006, 2007) and for the scholarships supported by the City of
London Corporation (2004-2007).
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.
Cenerentola
Operatic roles include Tisbe La
(Grange Park),
Olga Eugene
Onegin
(Pimlico
Opera), Annina Traviata (European Chamber Opera) and the
Sorceress Dido (Purcell Room) (English Chamber Opera). Recent
concert work includes
Andrew’s
Hall,
Norwich
Harvey’s Passion
Janacek's
Brighton Dome/RPO
(Elgar,
The
and Resurrection
Glagolitic
Mass
at
(Messiah),
Kingdom),
Jonathan
(Brighton Festival)
the
Brighton
St.
and
Festival
(Philharmonia/Thierry Fischer). As part of the composing partnership Morgan Pochin, she wrote the music for the Emmy awarded
Kumars at no. 42. As a record producer, she has worked with
artists as diverse as Julian Lloyd Webber and Elton John. Juliette’s
debut album, Venezia, was released in 2006 to great acclaim.
Croydon’s L\ocal
Interflora Florists
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0800 7312178
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020 8688 9401
020 8657 1360
18c Selsdon Road,
318 Limpsfield Road,
South Croyd
i
Hamsey
7
Green, Sanderstead
Mon-Sat 8.30-5.30, Sun 10-2
Mon-Sat 9.00 - 5.30
11
incere thank:
THE CROYDON SYMPHONY ORCHESTRA
1st VIOLINS
CONTRA BASSES
TROMBONES
Catherine Smart (Leader)
Gill Allen
Richard Pywell
Richard Allen
Jan Kiernan
Richard Cross
Steve Browning
Vicky Gaulter
Astrid Harper
Bridgit Hirst
FLUTES & PICCOLO
Douglas Knight
Sue Cooper
TUBA
Sarah Lansdale
Linda Penn
Alex Kidston
Lawrie Lea
Sue Ogilvie
Madelaine Male
TIMPANI
Hilary Martin
Alain Petitclerc
OBOES & COR ANGLAIS
Paul Rowlands
Elizabeth Davison
Chris Kimber
Stephanie Mott
PERCUSSION
Claire Slade
2nd VIOLINS
Chris Woodham
Michelle Willis
Roger Griffin
Heather Bennie
CLARINETS
Rebecca Goddard
Elizabeth Dean
Moira Purkiss
Mark Rogers
Janice Kirby-Smith
David Sheldrake
Jacqueline Love
Lydia Robinson
Linda Willis
BASSOONS
Elizabeth Trigg
Diane Da’Costa
VIOLAS
Ian Hargrave
Carol Eller
Pauline Dixon
Jennifer Owen
HORNS
Jonathan Wood
Sylvia Pullen
Alan Jones
Jonathan Heaton
CELLOS
Alan Brown
Alma Burcombe
Rachel Kelly
Phil Myers
Christopher Pontin
Richard Strange
TRUMPETS
Alex Cromwell
Ed Pascall
Richard Cousens
Rob Love
Veronica Watts
12
CROYDON SYMPHONY ORCHESTRA
The Society was founded in 1920 by W.H.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 modem 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.
Our next concert of Autumn Classics takes place at Trinity Great Hall on Saturday, November 10th
at 7.30 pm and includes Stauss’ Oboe Concerto, Mendelssohn Scottish Symphony and Beethoven’s
Egmont Overture. On February 9th our concert of Russian Classics at Fairfield will include RimskyKorsakov’s Scheherazade and Tchaikovsky’s Romeo and Juliet.
Vivace Chorus (Formally Guildford Philharmonic Choir)
The Guildford Philharmonic Choir was founded in 1947 by the Borough of
Guildford to perform major works from the choral repertoire with the Guildford
Philharmonic Orchestra. During this time the choir has grown both in stature and
reputation and can now rightly claim its 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.
Jeremy Backhouse became its Music Director and Conductor in1996. The Choir is fully auditioned
and presents a varied repertoire each year. In May 2005 the Vivace Chorus gave the first concert of
its Contemporary Choral Classic Cycle (4Cs ), 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.
The Vivace Chorus 4Cs concert this year entitled ‘And All That JAZZ’ accompanied by Will Todd's
jazz band for his 'Mass in Blue' and Bob Chilcott's 'A Little Jazz Mass' was a resounding success.
Other recent performances have included Dvorak's Requiem (Guildford and Freiburg), Verdi's
Requiem, Mahler's Symphony no. 8, Borodin's Polovtsian Dances and Prokofiev's Alexander
Nevsky (both in Russian), Elgar's Dream of Gerontius and The Music Makers, Haydn’s Nelson
Mass and Mozart's Requiem in July 2006 and January 2007, at Guildford Cathedral and St Martinin-the-Fields.
The Vivace Chorus website can be found at www.VivaceChorus.org.
13
VIVACE CHORUS
SOPRANO 1
ALTO 1
TENOR 1
Helen Beevers
Penny Baxter
Bob Cowell
Mary Broughton
Monika Boothby
Tim Hardyment
Elaine Chapman
Jane Brooks
John Trigg
Sheila Gray
Jane Crane
James Weaver
Cheryl Humphrey
Liz Durning
Mo Kfouri
Celia Embleton
TENOR 2
Lorna Mann
Ingrid Hardiman
Brian Bailey
Hilary Minor
Kay McManus
Bob Bromham
Robin Onslow
Christine Medlow
Tony Chantler
Sarah Palmer
Rosalind Milton
Stephen Linton
Gillian Rix
Mary Moon
Judy Smith
Jacqueline Norman
Carol Terry
Penny Overton
Robert Benton
Nikki Vale
Isobel Rooth
John Britten
Vanessa Wheeler
Lesley Scordellis
Michael Golden
Frances Worpe
Catherine Shacklady
Keith Hester
Miranda Champion
Hilary Trigg
Keith Paul
BASS 1
Chris Peters
ALTO 2
Robin Privett
SOPRANO 2
Marion Arbuckle
David Ross
Jacqueline Alderton
Sally Bailey
Philip Stanford
Barbara Barklem
Evelyn Beastall
Josephine Field
Mary Clayton
Mandy Freeman
Carolyn Edis
Peter Andrews
Catherine McAulay
Valerie Edwards
Roger Barrett
Lois McCabe
Barbara Hilder
Alan Batterbury
Krystyna Marsden
Susan Hinton
Norman Carpenter
Alison Newbery
Carol Hobbs
Geoffrey Forster
Alison Palmer
Sheila Hodson
James Garrow
Gill Paul
Yvonne Hungerford
Michael Jeffery
Kate Peters
Brenda Moore
Roy Miles
Susannah Priede
Beryl Northam
Maxwell New
Vivien Rieden
Prue Smith
Roger Penny
Yvette Smith
Rosey Storey
Michael Taylor
Kathy Stickland
June Windle
Paula Sutton
Elisabeth Yates
BASS 2
Christine Wilks
14
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Patron: HER MAJESTY THE QUEEN
Charity No 312433
In 1844, Reedham was founded as an orphanage in London by the Rev Dr Andrew
Reed. The orphanage moved to a site in Purley, near Croydon, in 1856 and was
renamed Reedham School in 1950.
When the Orphanage closed in 1979 the land and buildings were sold and the proceeds
invested to provide an income that The Reedham Trust could use to assist vulnerable
children in difficult, dysfunctional or chaotic home circumstances.
Today grants continue to be made to children who have been orphaned or are from
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single parent families whose lives have been devastated by problems within the home
such as family breakdown domestic violence and drug abuse. In some cases children have become carers for a
chronically ill parent.
Our help enables them to board at state or independent boarding schools throughout the UK
providing them with the stability and care they so desperately need.
The Trust always has more applications from needy families than we are able to fund.
There are a number of ways in which you can help the Trust:
By remembering the Trust in your Will
By making a one off or regular donation to the Trust.
By assisting with Fundraising Events.
For further information please contact:
The Secretary, The Reedham Trust, The Lodge, 23 Old Lodge Lane, Purley, Surrey CR8 4DJ
Tel: 020 8660 1461
Fax: 020 8763 1293 email info@reedham-trust.org.uk www.reedham-trust.org.uk
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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
e
10% off ticket prices for the annual concert
e
Advance notice of the Concert
o
Purchase of tickets before they go on sale to the general public
e
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.
oooooooooooooooooooooooooooooooooooo
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To:
oooooooooooooooooooooooooooooooooooo
oooooooooooooooooooooooooooooooooooo
ooo
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’.
I enclose my annual
membership fee of £5.00 in the form of a cheque made payable to 'LNOP' and I understan
that this membership fee may be renewed annually from the 1st of J anuary each year
NAME:
ADDRESS:
POSTCODE:
TELEPHONE
NUMBER:
EMAIL:
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