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Proms 2010
Concert
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Croydon Symphony Orchestra
Vivace Chorus
Conductor - Darrell Davison
Solo Piano - Masa Tayama
Soprano - Susan Parkes
Popular Classic
s from
airfield
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PRESENTED BY
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THE ‘L.N.O.P.’ CHARITY COMMITTEE
LJ
RAISING
FUNDS FOR
ST CHRISTOPHER’S
HOSPICE
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St Christopher’s Hospice
Registered Charity Number 210667
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Atkins
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HOPE
The Last Night of the Proms
SOLICITORS
TM children and families
First Floor
North End Chambers
= matrimonial and relafionship breakdown
74-78 North End
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wills, probate, tax planning and elderly client matters
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Chairman’s Foreword ‘L.N.0.P.’ 2010
On behalf of the 'L.N.O.P." Committee, I extend a very warm and most
sincere welcome to you all and in particular to The Worshipful the
Mayor of Croydon, Councillor Mrs. Avril Slipper and her Consort, Mr.
Harry Slipper. We hope both of you will enjoy our Concert.
This year the 'L.N.O.P." Charity Committee have selected St. Christopher's
Hospice as the charity on whose behalf we are raising funds. In particular
their very worthy Candle Project. The project supports bereaved children
and their families and has, amongst other tasks, been working to train
volunteers to facilitate activity holidays for service families bereaved by
the war in Afghanistan. We are delighted to welcome to the Fairfield,
the Chief Executive of the Hospice, Dame Barbara Monroe DBE
accompanied by her husband, Jeremy Monroe and applaud the valuable work of the Hospice. Also with
us to-night from St. Christopher's is their Senior Fund Raising Manager, Paul Fennelly with whom we
have been working closely over the past few months.
Other guests who are with us to-night include Eileen Causall from Renault Croydon, Lee Davis of
Arriva and Emma Smith from Direct Line. We hope you all have an enjoyable evening and thank
you for supporting our committee members who have worked so tirelessly on behalf of St.
Christopher's Hospice to ensure the success of this evening. I also thank those who have taken
advertising space in our Souvenir Programme.
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
complimented by our very own Croydon Symphony Orchestra, conducted by Darrell Davison, will
provide a wonderful selection of popular classics from Stage and Screen. 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 elsewhere within the programme, St.
Christopher's Hospice, our Soloists and all our Artists, a very sincere 'thank-you' for your generous
support.
Now, just sit back and enjoy the programme that has been compiled for your enjoyment!
Hon. Ald. Brian G. Smith MBE; FCIM
Chairman.
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Last Night of the Proms Concert 2010
Saturday 25th September at 7.30pm
A Gala Evening of Popular Classics from Stage & Screen
Introduction to Act III Lohengrin
Wagner
Dies Irae — Requiem
Mozart
Carmen - excerpts
Bizet
Ride of the Valkyrie
Wagner
Adagio
Barber
Chorus of the Hebrew Slaves — Nabucco
Verdi
Grand March — Aida
Verdi
Rhapsody in Blue
Gershwin
INTERVAL
2001 & Star Trek
Strauss/Goldsmith
E.T. — Flying Theme
Williams
Oklahoma, Carousel and the Sound of Music
Rodgers
Can’t help lovin’ dat man
Kern
I could have danced all night
Loewe
From Broadway to Hollywood
Bolero
Ravel
Dambusters
Coates
Fantasia on British Sea Songs
Wood
& Songs from the Proms - Rule Britannia,
Jerusalem & Land of Hope and Glory
CROYDON SYMPHONY ORCHESTRA
VIVACE CHORUS
Solo Piano - Masa Tayama
Soprano - Susan Parkes
Conductor - Darrell Davison
3
The National Anthem
Prelude to Act 3 Lohengrin
Wagner (1813 - 1883)
Wagner's early operas, 'Rienzi', "The Flying Dutchman' and "Tannhauser' were first performed at the Royal
Theatre, Dresden with varying success. The management, thinking that the risk of presenting another of these
rather strange works was too great, postponed the production of 'Lohengrin' indefinitely. Fortunately, Franz
Liszt recognised its worth and it made a deep impression on the audience when it was given under his
direction in Weimer in 1850. Wagner, who was in political exile at the time, did not hear it until eleven years
later, but its production was the turning point in his career. His other great masterpieces followed and the
public began to appreciate his tremendous power both as dramatist and composer.
Like the flying Dutchman, the central theme of Lohengrin is a man's search for a woman who trusts him
implicitly and is faithful to him to the end. Although the romance of Lohengrin and Elsa ends in tragedy, the
brilliant prelude to the last act vividly depicts the colour, gaiety and triumphant grandeur of their wedding
celebrations.
Dies Irae - Requiem
Mozart (1756 - 1791)
One of the first people to realise the true genius of the young Mozart was the great Austrian
composer Haydn who wrote to his father, Leopold Mozart, saying, 'I tell you before God, and as an honest
man, that your son Wolfgang is the greatest composer I know, either personally or by name'. This was indeed
a generous compliment from a man who spent his whole life perfecting his own composition techniques.
However,
seldom has
such a prodigious musical gift been given and used to such magnificent
effect. Mozart made great contributions to many musical forms but none more important than his
wonderfully imaginative operas - and in his very last work - his Requiem - Mozart brings these formidable
dramatic talents to bear on this serious religious form. Nowhere is this more evident than in the section Dies
Irae - Day of Anger - which is full of ferocious energy.
In the 1984 Milos Foreman film about Mozart’s life ‘Amadeus’ the director uses this music to great effect in
what is the climax of the film.
Carmen - Prelude, Aragonaise, Habanera, Toreadors
Bizet (1838 - 1875)
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
Merimee's novel, marks an attempt to break away from the prevailing artificial conventions of Italian opera
towards a much greater dramatic realism which is reflected in this tale of primitive, full-blooded jealousies
and passions.
Carmen, a gypsy girl working at a Seville tobacco factory, on a chance encounter engages the
attention of Don Jose, a corporal of the dragoons. Such is the power of her attraction for him that, after a
quarrel in which she has stabbed one of her workmates, he helps her to escape justice, an action for which he
receives a term of imprisonment. On his release he seeks her out at a hide-out in the mountains. But already
she is tiring of him and he sees her transferring her affections to a well known toreador, Escamillo, though it
amuses her not to let him go altogether. Finally, goaded beyond endurance, Don Jose stabs Carmen to death
outside the bullring, just at the moment of Escamillo's greatest triumph.
The opening movement of the first suite makes use of that short section of the Prelude to Act I which
immediately preceded the rise of the curtain and which skillfully contrives, in the space of a
few bars, to create just the right atmosphere of smouldering passions. The Aragonaise which follows is an
exciting
dance
movement
in
flamenco
style.
In
the
famous
Habanera,
Carmen
parades
her
powers of seduction in front of her friends. The famous Toreador's March is probably the best known music
from the opera which ironically Bizet actually intended as a stupid, empty kind of tune suggesting the
vanity of the crowd's hero, Escamillo.
Ride of the Valkyrie - Die Valkyrie
Wagner (1813 -1883)
There can be no doubt about the great impact the German composer Richard Wagner had on music during the
last century. His epic music dramas/operas which include the great Ring Cycle of four operas revolutionised
the whole aspect of staged dramas. Wagner’s demand on his singers, orchestra and stage directors was
legendary and in the end Wagner even had a special opera house built for him at Bayreuth to stage his own
operas.
His Ring Cycle is based to a great extent on German and Norse mythology - a world inhabited by giants,
dragons, gods and mortals. The Valkyrie was the second of these operas within this Ring Cycle. The Valkyrie ride
through the skies following battles, carrying the slain heroes to their eternal home of Valhalla. Of the nine
Valkyrie, Brunnhilde is the leader and her father Wotan’s favourite.
This highly descriptive music lends itself to film quite wonderfully and was used in the 1979 film Apocalypse
now to very great effect.
Adagio for Strings
Barber (1910-1971)
Originally this Adagio formed one of the central movements of his String Quartet in B minor but was arranged
for string orchestra at the request of Arturo Toscanini the famous Italian conductor. This was in 1937 when
Toscanini had just become the principal conductor of the newly formed NBC Symphony Orchestra and was
eager to programme new American music. The natural simplicity and honesty of the music led to its
enormous success and a reputation which has lasted till this day so that the Adagio is now considered a
classic of American music.
It is often played at memorial concerts of world renowned figures and was, most suitably, performed by
Leonard Bernstein with the New York Philharmonic in observance of the death of Barber himself. The
adagio was also used in the 1986 film Platoon.
Hebrew Slaves Chorus —
Nabucco
Verdi (1813 - 1901)
When "Nabucco" was first performed early in Verdi's career, there was no Italian state; it was a part of the
Austrian Empire. Because the story was about an evil king, the government almost rejected the production and
insisted that there be no encores during the performance. When this song ended, the audience stood for an
extended ovation, and in defiance of the government's order, demanded an immediate encore.
From that moment on
the
singing of this
song became
a public
expression of resistance.
Later,
the Italian resistance forces used Verdi's name as the rallying cry for both independence and for the
reinstatement of their king. "Viva VE.R.D.I." was the cry and the acronym stands for "Victor Emanuel
Re d'Ttalia," the song becoming a covert National Anthem for the Italians.
When Verdi was nearing death, he requested there be no music at his funeral so that no one would fight over
the honour of performing at the event. At his funeral, 5,000 people gathered in the rain and spontaneously
began to sing this song, which had become so profoundly identified with both Verdi and his beloved Italy.
The Grand March from Aida
Verdi possessed - in abundance - that one natural gift which is
Verdi (1813-1901)
an essential skill for an opera
composer. He wrote and orchestrated melody lines which stir the audience's emotions to match the dramatic
intent of the story line. This final scene from Act 11 of Aida is a perfect example of his wonderful talent. At
this point in the opera, Radames (the captain of the guard) returns after his victory over the Ethiopians, and
the people greet him exultantly at the Gates of Thebes.
The scene opens with a brilliant fanfare which is immediately followed by a chorus sung by the
people "Hail to Egypt". Radames enters the city in a majestic but dignified grand march, bringing with him
in his procession the wealth he had seized from Ethiopia, including a number of beautiful slave girls. Their
fiery dancing eventually gives way to the "Hail to Egypt" chorus once again, and the second act closes on a
sublime and glorious note. Despite the grandeur of many modern performances Aida was originally composed
for the Egyptian Grand Opera House which was in fact a fairly small theatre not much larger than the Ashcroft
Theatre!
Rhapsody in Blue
Gershwin (1898- 1937)
Though Gershwin is now primarily remembered for such works as his "Rhapsody in Blue" "An American in
Paris" and his one great opera, "Porgy and Bess", his reputation was initially built as a song writer. It was
after his impressive New York debut at which he played a number of his songs, that Paul Whiteman, the self-
elected King of Jazz, asked the young Gershwin to write a work for a special jazz concert.
Due to the pressure of work he refused but because of a mistake in publicity it was announced that he was
going to contribute to this event. Gershwin felt that he was going to have to participate in this event and that
he had to accept the challenge. However as he had only three weeks to compose the music, Paul Whiteman
had the music orchestrated by his arranger, Ferde Grafe. The music was originally written for a twenty-three
piece Jazz Band but was subsequently orchestrated for full symphony orchestra - the form in which it will be
performed tonight.
It is amusing to note that some of the other works in that first concert included the popular song, "Yes, we have no
Bananas", and a version of Elgar's famous Pomp and Circumstance March which was specially arranged for Jazz
Band! Though the work initially divided the critics, the Rhapsody's enduring popularity makes it one of the very
few successful fusions between the jazz and classical idiom.
When Woody Allen won the Oscar for writing and directing "Annie Hall," which also won the Oscar for Best
Picture, it was assumed the stand-up comic turned auteur had reached the pinnacle of his career. However Allen
proceeded to go out and make an even better film with his next effort, "Manhattan". Filmed in glorious black and
white the opening sequence combines iconic images of New York City with Gershwin's Rhapsody in Blue to
produce a truly memorable piece of film history.
e
P
e e e
e
S
e
e
e e
e R
e A O B
e e
s
INTERVAL
e
e
e
s e
B
Also Sprach Zarathustra — Prelude
S
I
e
e
e
A
e
T Y
)
B
Strauss (1864-1949)
Based on Arthur C Clarke's story Tbe Sentinel, Stanley Kubrick's landmark 1968 epic film ‘2001 A Space
Odyssey’ pushed the limits of film making to new heights. Kubrick thought of the film as a sci-fi symphony
and structured the screenplay in four movements. At the Dawn of Man, a group of hominids encounters a
mysterious black monolith alien to their surroundings. To the strains of Strauss' Thus Spoke Zarathustra, a
hominid discovers the first weapon, using a bone to kill prey. As the hominid tosses the bone in the air,
Kubrick cuts to a 21st century spacecraft hovering over the earth, skipping ahead millions of years.
To create the different time dimensions Kubrick uses three very different musical scores. An ultra modern
score by Ligetti in sharp contrast to the ever-popular Blue Danube Waltzes of Johann Strauss and the heroic
fanfare from Richard Strauss - Also Sprach Zarathustra. The prelude from this last work seems to symbolise
the dawning of a new age with its massive orchestral climax after just 50 seconds. This short excerpt is the
most famous musical moment from the film.
Star Trek Through the Ages
From the very first TV programme to the nine immensely popular films the Star Trek franchise has been one
of the most successful entertainment series ever created. This evening we are performing three famous
melodies associated with Star Trek. The title theme to the original 1966 TV series was created by Alexander
Courage. With its bold opening horn theme and the following Latino violin melody it is possibly the best
known of the Star Trek melodies.
Dennis McCarthy's title theme to Star Trek: Deep Space Nine follows this and we finish with Jerry Goldsmith's
music to Star Trek, the Motion Picture. The main title introduces Goldsmith's famous theme that served well for
both the Starship Enterprise and Captain Kirk which features throughout the film.
E.T.
John Williams (1932 -
)
Perhaps the most prolific writer of film music ever (over 80 original scores), John Williams has included in
his triumphs such films as Star Wars, Jaws, Schindler's List and Jurassic Park. Born in New York, he studied
at the famous Juilliard School and managed to support himself as a student by working as a jazz pianist.
Within five years of leaving Juilliard, he became conductor of the Boston Pops Orchestra. He has won five
Oscars, four British Academy Awards and numerous other honours for his brilliantly colourful and perceptive
film scores.
E. T. is the charming story about the appearance on Earth of a creature from outer space, an extra-terrestrial
(E. T.), who is befriended and protected by a boy called Elliott. The two of them go through the adventures
of a lifetime, trying for the most part to escape the curiosity and open hostility of adults.
Of the music, Steven Spielberg said: "In our ten years and six pictures association, John Williams has been
an immeasurable creative force. For me, this is
John Williams' best work for the movies".
Tribute
Song
of the
Richard Rodgers (1902 - 1979)
High
Seas,
Oklahoma, The
Sound
of Music,
Bewitched, The
Carousel Waltz
& Climb every Mountain
Richard Rodgers was an American composer of music for more than 900 songs and for 43 Broadway
musicals. He also composed music for films and television. He is best known for his songwriting partnerships
with the lyricists Lorenz Hart and Oscar Hammerstein II. His compositions have had a significant impact on
popular music down to the present day, and have an enduring broad appeal.
Rodgers met Hart in 1919 and produced their first musical ‘Poor little Ritz Girl” in 1920 to mixed reviews. In
fact Rodgers nearly gave up music to sell children’s clothes in 1925 when they finally ‘broke through’ with
the hit song Manhattan. Songs from this fruitful collaboration include The Lady is a Tramp and Bewitched,
Bothered and Bewildered.
However it was his partnership with Oscar Hammerstein that produced a series of the most famous musicals
ever composed including Oklahoma, South Pacific, The King and I, Carousel and the Sound of Music.
Today’s tribute features some of Rodgers most enduring melodies and is an excellent example of his
enduring legacy.
Can't help lovin' dat man — Showboat
Jerome Kern (1885-1945)
Soprano - Susan Parkes
Though there were three films (1929, 1936 & 1951) of this well-known Jerome Kern/Oscar Hamerstein
musical, it is the latter that is considered one of the finest examples of the musical/film genre. The story
revolves around the "Cotton Blossom" which is owned by the Hawk family. It is the showboat where
everyone comes for great musical entertainment down south. Though Julie Laveme and her husband are the
stars of the show they are forced to leave after it is discovered that she is half African for interracial marriages
were forbidden ‘down south.’
Julie sings the song 'Can't help lovin' dat man' as a warning to the new Showboat girl Magnolia Hawk against
giving her heart away too freely. Magnolia does not take her advice and ends up destitute.
Without doubt, the song 'Can't help lovin' dat man' has been produced in more arrangements than any other
song in the show, most recently in a version sung by Charlotte Church.
| could have danced all night — My Fair Lady
Frederick Loewe (1901- 1998)
This famous musical has been described as ‘perfect’ by both critics and fans alike. With its brilliantly
memorable score and lyrics it has enjoyed success since its first performance in 1955 and the screen adaption
in 1956 with stars Audrey Hepburn and Rex Harrison.
However this musical had had a long gestation period as Bernard Shaw, the author of Pygmalion on which
the musical was based refused the rights to create a musical. It was only after his death that the lyricist Alan
Jay Lerner and his partner Frederick Loewe began work on the musical only to find that the project was far
more difficult than they had first envisaged.
After some major setbacks they realised that "All they had to do was add scenes which described what Shaw
had happening offstage". They then excitedly began writing the show about how the bossy Professor Higgins
turns cockney Eliza Dolittle into a lady. One of the highlights from the show is the solo in which Eliza sings
that she could have danced all night after her triumph at the ambassador’s ball.
From Broadway to Hollywood
There has always been a close connection between Broadway and Hollywood with hit musicals going on to
become successful films. At no time was this more evident than in the mid twentieth century which many
consider to be the golden era for Hollywood.
What better way to start this tribute than with the show-stopping and glitzy Hooray for Hollywood which
comes from the 1937 film Hollywood Hotel. Gene Kelly created possibly the most famous of all dance
routines in 1952 with the song Dancin’ in the Rain while Judy Garland’s performance of Over the Rainbow
in 1939 remains one of cinema’s most famous iconic moments. Casablanca is one of the top cinematic
classics of all time which gave us the famous misquote ‘Play it again Sam’ and of course the beautifully
nostalgic song As Time Goes By. This sequence ends with the infectious bossa nova A Day in the Life of a
Fool which is the theme tune of the 1959 film Black Orpheus.
Bolero
Maurice Ravel
(1875-1937)
'Don't you think this has an insistent quality?' Ravel asked a friend as he picked out a tune on the piano with
one finger during a short holiday in Saint-Jean-de-Luz, just as he prepared to go out swimming. 'I'm going to
try to repeat it a number of times without any development, gradually increasing the orchestra as best I can'.
On his return home he threw himself into this task, originally calling the work, a ballet, 'Fandango'. It was
completed
in
about
five
months,
by
which
time
it
had
been
renamed
Bolero
and
it
was
introduced at the Paris Opera in November 1928. The good reception it originally enjoyed was soon
transformed into huge and widespread popularity - much to Ravel's astonishment, since he had thought that
most orchestras would refuse to programme it.
When Arturo Toscanini conducted a performance of the Bolero with the New York Philharmonic in Paris,
uproar
ensued
when
the
composer
refused
to
acknowledge
Toscanini's
applause
at
the
end
of the concert. Backstage Ravel accused the Italian of using a ridiculously fast tempo. Toscanini retorted that
a bolero is not a funeral march and that, whatever the composer thought, the audience had given his
interpretation a standing ovation. From that point on, Bolero became a cause celebre and its popularity soared.
In 1934 Paramount released a film called 'Bolero' starring Carolle Lombard and George Raft, in which the
music featured prominently. Fifty years later, the piece achieved renewed fame through its use by Torvill and
Dean in their memorable gold-medal winning performance at the 1984 Winter Olympics, which is still the
only ice dancing performance to have received a perfect score from every judge.
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 these 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.
Fantasia on British Sea Songs
The Saucy Arethusa
Jack’s the Lad
See the Conquering Hero Comes
Wood (1869-1944)
Home, Sweet Home
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
‘Sailor’s 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)
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!
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 ‘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
>
10
VIVACE CHORUS
\
[
"
SOPRANO 1
ALTO 1
TENOR 1
Helen Beevers
Penny Baxter
Bob Cowell
Mary Broughton
Monika Boothby
Tim Hardyment
Rachel Edmondson
Jane Brooks
Nick Manning
Mo Kfouri
Margaret Dentskevich
Martin Price
Susan Norton
Liz Durning
Kate Rayner
Jane Hedgecock
TENOR 2
Gillian Rix
Sheila Hodson
Bob Bromham
Carol Terry
Pamela Leggatt
Tony Chantler
SOPRANO 2
Margaret Mann
Joi Duke
Christine Medlow
Peter Norman
Jean Leston
Stephen Chowns
Jacqueline Alderton
Anna Arthur
Alison Dawson
Lois McCabe
Clare McKinlay
Krystyna Marsden
Mary Moon
Jon Scott
Debbie Morton
Lesley Scordellis
BASS 1
Alison Palmer
Catherine Shacklady
Kate Peters
Hilary Trigg
Ann Sheppard
Laura Sh.eppard
ALTO 2
Marion Arbuckle
Judy.Smlth
Evelyn Beastall
Isobel Rooth
;
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Geoff Johns
Stephen Linton
.
John Britten
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Eric Kyenned
Chiiz Newbe};y
Chris Peters
Zowie Sweetland
Sylvia Chantler
David Ross
Philippa Walker
Christine Curtis
Philip Stanford
Christine Wilks
Celia Embleton
Elizabeth Evans
BASS 2
Valerie Garrow
Roger Barrett
Barbara Hilder
Dave Cox
Carol Hobbs
Geoffrey Forster
Sheila Rowell
James Garrow
Prue Smith
Nick Gough
Rosey Storey
Michael Jeffery
June Windle
Jonathan Long
Mike Osborn
Roger Penny
Clive Perry
Michael Taylor
nsorship of Nestlé (U.K
Iso acknowledged with
11
Darrell
Davison 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 including the Albert Hall and has
recently given a number of international concerts and broadcasts.
He is 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 the Royal Philharmonic Orchestra and has also written and orchestrated film scores
for The London Symphony Orchestra. Works for orchestra include the ballet score to A Brave New
World and concertos for clarinet, violin and cello.
Susan Parkes Susan held a scholarship at the Royal College
of Music and has considerable operatic experience with recent
roles including: Contessa (Figaro), Cio Cio San, Kate Pinkerton
(Madama Butterfly), Donna Anna (Don Giovanni), Erste Dame
(Magic Flute), Fedon (Satie’s Socrates), Fiordiligi (Cosi Fan
Tutte), Ida (Die Fledermauss), Ines (Il Trovatore), Leonore
(Fidelio), Michaella (Carmen), Olga (Merry Widow), Santuzza
(Cavalleria Rusticana), Silberklang (Der Schauspieldirekor), with
companies such as Opera Holland Park, Opera de Baugé (France),
Classical Opera Company, Opera London, Enharmonia Lirica
(Italy) and the English Opera Singers. Highlights include
performances at Sadler’s Wells, the Buxton Festival and tours in
Italy, Hong Kong and Australia.
Susan has given a number of world premieres, concerts as well as
performing many oratorios at venues including the Royal Albert Hall (including the Proms),
Salzburg International Festival, I Malatesta Opera festival (Italy), Symphony Hall, St John Smith
Square, St James Piccadilly, Cadogen Hall, St Martins in the Field, and the Fairfield Halls. Susan
premiered and recorded, as soloist, the Nol selling Karl Jenkins’ “Armed Man’s Mass for Peace”.
She has also been interviewed and sung live on BBC Radio, E4 and was featured as soloist and on
screen in the Hollywood film ‘If Only’ with Jennifer Love-Hewitt. Susan is very happy to be the
2010 winner of the “International Umberto Giordano Competition” and recently sang on Italian
television (Rai Due).
12
Masa Tayama
Japanese pianist Masa Tayama first came to
prominence when he won First Prize in the Takahiro
Sonoda
International Piano Competition in Japan, followed by numerous top
prizes in Europe including the Birmingham International Piano
Competition
and
the
Grand
Konzerteum
International
Piano
Competition in Greece.
His first recording of the two Rachmaninov sonatas was chosen by
Stereo magazine as one of the Best Recordings of the Month, and his
second CD of the complete Rachmaninov Etudes-Tableaux has
recently been released. During 2010-12 he will be recording the
composer’s complete works for solo piano.
Tayama now lives in London, where he spent much of his childhood,
and performs extensively in Europe, returning regularly to Japan for
recital and concerto appearances. His recital at Toppan Hall in Tokyo in 2005 was broadcast on Nikkei
National Radio in Japan, and his performances of Rachmaninov Piano Concerto No.3 with Osaka
Symphonika at The Symphony Hall in Osaka, twice on the same day in July 2006, were hailed as
“re-inventing the image of Rachmaninov”. He made his USA debut in 2006 at the Kennedy Center for
the Performing Arts in Washington, where the recital was broadcast live on the Internet. Tayama’s
London debut was in 2002 at the South Bank’s Purcell Room, and in 2007 he gave his debut recital to a
sell-out audience at the Wigmore Hall. In May 2010 he made a successful return appearance at the
Wigmore Hall with a programme including Rachmaninov’s complete Etudes-Tableaux Op.39. His recent
performances with orchestra, notably at Cadogan Hall, the Fairfield Halls and St. John’s Smith Square
include Rachmaninov’s Piano Concertos Nos.2, 3 and 4 and Rhapsody on a Theme of Paganini, and the
two Piano Concertos by Brahms, collaborating with conductors including Stephen Bell, Adrian Brown,
Darrell Davison, John Gibbons, Levon Parikian and Vladimir Valek.
VEN%E 2a, Clifton Rise, New Cross, London SE14 6JP
LondonN 0208
692 4077 wwwthevenuellondon com
-
The Numbfil Party Superclubin London |
playmg all your favourlte 60'sto noghtles
THE CROYDON SYMPHONY ORCHESTRA
1st VIOLINS
VIOLAS
OBOES & COR
TRUMPETS
Catherine Smart
Ian Hargrave
ANGLAIS
Alex Calden
(Leader)
Jo-Anne Chang-Rogers
Elizabeth Davison
Ed Pascall
Jeannie Brookes
Isabel Allen
Stephanie Mott
Richard Cousens
Julia Burkert
Amanda Boe
Claire Slade
Rob Love
Vicky Gaulter
Pauline Dixon
CLARINETS
TROMBONES
Christine Hardy
Astrid Harper
Simon Hewitt-Jones
Douglas Knight
Hilary Martin
Paul Rowlands
2nd VIOLINS
Michelle Willis
CELLOS
Alan Brown
Alma Burcombe
David Floyd
David Sheldrake
Jessica Tipton
Veronica Lake
BASSOONS
Phil Myers
.
Christopher Pontin
Caroline Glicksman
Diane Da'Costa
TUBA
Duncan Penkey
Rachel Kelly
Matt Roche
Richard Cross
Richard Pywell
Charlotte Whiting
Nick Allen
Elizabeth Deam
ol SReEs
HORNS
TIMPANI
Heather Jones
CONTRA BASSES
J onthan Wood
Chris Kimber
Janice Kirby-Smith
Gill Allen
Sylvia Pullen
Jackie Love
Malcolm Healey
ot
Lydia Robinson
Dagmara Jones
Roger Griffin
FLUTES & PICCOLO
Linda Willis
PER_CUSSION
Chris Woodham
Mark Rogers
Sue Cooper
Linda Penn
Helen Hopkins
ORCHARD FARM
BOARDING KENNELS & CATTERY
founded 1960
10 mins from Gatwick Airport
KENNELS
O Individual Runs
providing comfort for your pets
warm and cosy in winter
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Large exercise runs and fields for walks.
CATTERY
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(] Heated Bedrooms with scratch
BOARDING
posts and warm snug beds
U Individual outside runs
GROOMING PARLOUR
Tel: 01342 - 842258
For booking please quote Ref: LNOP
WITH THIS VOUCHER
OnE VOUCHER PER VISIT
MINIVUM § NIGHT STAY
VALD UNTR 31ST DECEMBIER 20%
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U Purpose built
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HOURS
Open 9am - Ipm 2pm - 5pm Mon - Sat
Closed Sunday & Bank Holidays
Inspection Visits welcomed during these hours
14
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, with 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 the Fairfield Halls and in 1983 its members took part in a concert given
as part of Croydon's Charter Centenary, a celebration 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, who has conducted the last eighteen seasons.
Our next concert of Autumn Classics takes place at Trinity Hall on Saturday, November 13th at 7.30 and
features Sibelius, 2nd Symphony, Elgar’s Cello Concerto and Brahms’ Tragic Overture. Our Chistmas concert
takes place on December 4th at 11.00 at Fairfield and our February 12th Concert which is entitled Classics of
Love and Romance starts at 7.30pm.
.
&
Vivace Chorus Musical Director: Jeremy Backhouse
Vivace
| The choir was founded in 1947 as the Guildford Philharmonic Choir but in May 2005, to
__
Vivace Chorus. We enjoy a challenging and varied repertoire from the 16th century
Chor US__28 reflect its new independent status from the Borough of Guildford, 'rebranded' itself as the
onwards; some pieces are well-known, others are rarities deserving to be heard by a wider
audience. In the 2004/5 season, we introduced our Contemporary Choral Classics Cycle, an innovative series of
works from the late 20th and 21st centuries. To show the variety of our recent programmes:
We started the 2008/9 season with a spectacular performance of Verdi's Requiem, in combination with our twin
choir, the Freiburger Bachchor, and Romsey Choral Society. Then as a complete contrast, our Venetian Baroque
concert included some of the earliest music we have ever sung. These were masterpieces from Gabrieli, Schiitz
and Monteverdi, with Vivaldi's uplifting Gloria to end the evening. Finally, and following on from the success
of our first ever jazz concert in May 2007 (which included Will Todd's fabulous Mass in Blue), the season
finished with Will Todd's Te Deum — a world premiere and first commission by the choir.
Then during last summer's break, half the choir and Jeremy embarked on what quickly became known as the
Tour de France. We gave concerts of music, from the early 16th to late 20th Centuries, in the cathedrals of Paris
(Notre-Dame), Rouen and Beauvais. This proved to be both inspiring and emotionally moving — and we had
great fun too.
The 2009/10 season started in lively fashion with Haydn's The Creation, to mark the 200th anniversary of the
composer’s death. Our Italian evening, which followed in March, showed the operatic composers Verdi and
Puccini in a light new to many, and we finished the season with an all-Russian evening — sung in Russian,
naturally!
The Last Night of the Proms charity concert at The Fairfield, Croydon, has become a regular feature on our
concert calendar, as has singing at least once a year in the superb venue of St Martin-in-the-Fields, London,
with our good friends the Brandenburg Sinfonia.
Looking ahead, our biggest project to date and marking the centenary of Mahler’s death, is a performance of
his monumental Symphony No. 8, the Symphony of a Thousand, on 15th May 2011 in the Royal Albert Hall.
We are combining with four other choirs, including the London Symphony Chorus, and with the Royal
Philharmonic Orchestra for this, one of the greatest and most ambitious of all choral works.
For more information, see our website at www.vivacechorus.org
‘LAST NIGHT OF THE PROMS’ CHARITY COMMITTEE.
Fairfield, Park Lane, Croydon CR9 1DG
Mr. John Power - Patron.
Hon. Ald. Brian G. Smith MBE; FCIM - Chairman.*
Mr. Trevor Williams — Vice Chairman & Secretary of Friends of ‘LNOP’.
Mrs. Pam Peters — Secretary.
Mrs. Elsie Best — Treasurer.*
Mr. Stan Best.*
Mr. Anthony Gopaul
Mrs. Jean Smith.*
Mr. John Stern
* Denotes Founder Members
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:
Membership Card
10% off ticket prices for the annual concert
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’.
I 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
NAME:
ADDRESS:
POSTCODE:
TELEPHONE NUMBER:
EMAIL:
16
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