“Last nght of the
Proms’ 2008
Concert
Croydon Symphony Orchestra
Vivace Chorus
Conductor - Darrell Davison
Piano - Alan Brown
Mezzo-Soprano - Juliette Pochin
A Gala Evening of
Popular Classics
souvenir Programinme £3.00
airfield
&
PRESENTED BY
o
‘THE L.N.O.P. CHARITY COMMITTEE’
RAISING
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FUNDS FOR
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.LLA“. Macmillan Cancer Support
MACM
CANCER SUPPORT
Registered Charity Number 261017
Fairfield (Croydon) Limited is registered in England. Reg. no. 2778118. A Registered Charity. Chief Executive: Derek Barr
‘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.
Mr. Anthony Gopaul — JCI Croydon
Mr. John Pettley
Mrs. Jean Smith.
Mrs. Judy Spence - Macmillan Cancer Support
Chairman’s Foreword ‘L.N.0.P.” 2008
B
A very warm welcome to you all. I sincerely trust that you will
enjoy the very fine programme of classical music that has been
planned for you. In particular I am delighted to welcome to our
Concert this evening, The Mayor of Croydon, Councillor Jonathan
Driver and The Mayoress, Virginia Griffiths. I am sure that
everyone here tonight wishes you both a very happy year in office.
For the second year in succession the funds we raise will be used
by Macmillan Cancer Support to specifically relieve the stress
generated by financial hardship which is being experienced by
some Cancer patients living within the Borough of Croydon. As a
direct result of their illness, many are unable to work and support
their families. Stress caused by these financial burdens clearly has a detrimental effect on
their response to treatment.
Members of the ‘Last Night of the Proms’ Charity Committee, whose names appear within
this programme, have given of their time voluntarily and worked very hard to provide a
splendid evening for everyone to enjoy at an affordable price. To show your appreciation of
their efforts, and the artists performing tonight, I would ask you to dig deeply into your
pockets when purchasing tickets for the Grand Draw. Remember, every pound spent in
purchasing a ticket will assist in helping those living with cancer. Last year, with your
support, we were able to donate £15,000 to Macmillan Cancer Support — let’s hope that this
year we will be able to donate even more. A warm welcome is also extended to Benny
Millier, our guest from the Macmillan Cancer Information Service at Mayday Hospital.
In addition to the Croydon Symphony Orchestra under the baton of Darrell Davison and
the solo artists performing tonight, we are fortunate once again to welcome to the Concert
platform the Vivace Chorus under the direction of Jeremy Backhouse.
I am very sorry to record that after 14 years of very close co-operation, this will be the last
‘LNOP’ concert that Derek Barr, the General Manager of Fairfield, will be welcoming to the
Fairfield. Derek retires this year and I am sure you will all want to join me in wishing him
a long and very happy retirement. I should also like to thank Derek for all his assistance
and advice over those 14 years. Good luck and fortune Derek. We will miss you.
As always, [ would ask you to help in creating the right atmosphere by resisting the
temptation to release party poppers and balloons until the right moment. Darrell will
clearly indicate when audience participation is required and when your appreciation of the
music may be expressed by the release of various airborne tributes!!
Now sit back, relax and enjoy this
GALA EVENING of POPULAR CLASSICS
Hon. Ald. Brian G. Smith MBE; FCIM
Chairman.
CUMNOR HOUSE SCHOOL
An Independent School and Nursery in a Class of its Own
Cumnor House School
Treetops Nursery
For boys aged 4-13
For boys and girls aged 2-4 years
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An ethos which encourages respect for others
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Class teaching which develops a love of learning and reading
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A community spirit which teaches respect for differing faiths and customs
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A first class record of scholarships and entrance to HMC schools and local
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Excellent facilities with specialist teaching in all subjects in the Preparatory School
Its own indoor heated pool and 10 acre sports field
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Art and Music, ICT and Science to a high standard in specialist rooms
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Excellent after school provision
Come and see the lively, friendly and successful school
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168 Pampisford Road, South Croydon, Surrey, CR2 6DA
Tel: 020 8660 3445 Email: admin@cumnorhouse.com
Globally thinking,
locally focused
Mondial Assistance is once again proud to support
the Last Night of the Proms.
Mondial is a leading customer relationship specialist,
providing services to motor manufacturers, insurance
companies, the travel trade and other blue chip organisations.
If you are interested in becoming a part of this dynamic
organisation visit: www.mondialjobs.co.uk
Mondial House 102 George Street Croydon, Surrey CR9 1AJ.
()
INVESTOR IN PEOPLE
&/ MonDIAL
ASS'STANCE
Last Night of the Proms Concert 2008
‘INTERNATIONAL
Saturday 27th September at 7.30pm
A Gala Evening of Popular Classics from around the World
Espana
Chabrier
Summertime
Gershwin
Ballet Egyptien
Luigini
Carmina Burana
Orff
West Side Story — Symphonic Dances
Bernstein
Rio Grande
Lambert
Sabre Dance and Gopak
Khachaturian
INTERVAL
Hungarian March
Berlioz
Songs of the Auvergne
Canteloube
Tales of Vienna Woods
Strauss
Capriccio Italien
Tchaikovsky
Can-Can
Offenbach
Fantasia on British Sea Songs
Wood
& Rule Britannia, Jerusalem and Land of Hope and Glory
CROYDON SYMPHONY ORCHESTRA
VIVACE CHORUS
Conductor - Darrell Davison
Piano - Alan Brown
Mezzo-Soprano - Juliette Pochin
Espana
Chabrier (1841 - 1894)
Of French birth, and largely self-educated as a musician, Emmanuel Chabrier was for 18 years a civil
servant in the French government. However, 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 Symphonic Poem Espana in 1883 which
reflected his love of the Spanish culture. The brilliance of his orchestration and the exciting Spanish
rhythms and melodies has insured that this colourful and tuneful work has retained its popularity to
this day.
'Summertime’
Gershwin (1898-1937)
Solo Contralto — Juliette Pochin
Though Gershwin is now primarily remembered for such works as 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.
The result, of course, was his most famous work, Rhapsody in Blue and this led to a number of other
crossover works such as his Piano Concerto and the Cuban Overture.
However Porgy and Bess is still considered as his finest work and its iconic aria Summertime
remains as one of the most famous songs of all time.
Ballet Egyptien
Luigini (1850-1906)
Despite being a brilliant violinist, conductor and composer, today Alexandre Luigini is really only
remembered for his popular ballet score Ballet Egyptien. This was written in 1869 to celebrate the
opening of the Suez Canal.
Over the years a number of famous ballet stars have danced to the score, most notably Pavlova in
1922. She danced the story of an Egyptian Mummy in which a traveller finds the tomb of a long dead
princess. He falls asleep and in his dream believes that in a past life he was the lover of the princess
who was cruelly put to death by the king. When he awakes, he opens the tomb and kisses the
embalmed princess. As he does so, he dies and thus is reunited with his past love.
Carmina Burana
Orff (1895 -1982)
Carl Orff described Carmina Burana as a 'scenic cantata'. It uses a very large orchestra and was
originally designed for the stage, with dancing and mime accompanying the music. It was first
performed at the Frankfurt Opera House in 1936.
The work begins and ends with a powerful hymn to the goddess Fortuna, the Empress of the World,
and seen as a monstrous whirling wheel carrying its victims first to the heights, then dashing them
to the ground. In between come three main sections. The first is a depiction of Spring, Primo Vere,
illustrated by rustic songs and dances. The second is set in a tavern, vividly described by a
succession of colourful characters and part three, The Court of Love, is an uninhibited celebration
of the delights of love. The final number, Blanziflor and Helena, leads back to the opening hymn,
thus unifying the whole work.
The text of Carmina Burana is a selection from a large collection of secular poems of the twelfth and
thirteenth centuries, preserved in a manuscript at the Bavarian monastery of Benediktbeuren. The
poems are mostly in Latin, the international language of the day, though some are in ancient French
or Middle High German and come from a wide variety of sources. It is somewhat surprising to learn
that, apart from some poems that are of a morally uplifting nature, most are bawdy student songs
celebrating such un-monklike earthly delights as drinking, gambling, dancing and lovemaking.
This evening we are performing five of the twenty-five movements —
1. Behold the pleasant spring
4. Hail, most beautiful one
2. Were all the world mine
3. In the Tavern
5. O Fortune
West Side Story - Symphonic Dances
Bernstein (1918-1990)
Without doubt, Leonard Bernstein is considered as one of the most multi-talented musicians of the
last century who managed to balance a brilliant career as a concert pianist, international conductor,
lecturer and composer. He was a musician who had the ability to make classical music accessible to
the general public but at the same time could write works of great seriousness and depth.
However, despite his international career as a conductor, it is as a composer that he will be
remembered in the future and especially so for his brilliant Broadway musicals, Fancy Free (1944),
Candide (1956) and West Side Story (1957). They are all masterpieces of this genre and West Side
Story went on to become an Oscar winning film as well. This last work has appeared as a ballet and
a symphonic work and was arranged for the New York Philharmonic Orchestra in 1961.
The music is vital and powerful, exuding all the energy of "The Big Apple" - New York. The story
itself is really a modem day Romeo and Juliet with the two rival families being represented by two
teenage gangs - the Jets and the Sharks.
The movements that we are about to play are described in the composer's notes Prologue - The rivalry grows between the Jets and Sharks
Somewhere - A visionary dance sequence in which the rival gangs are united
Mambo - The reality of a gang fight
Finale - The gang leaders have been killed and are deeply mourned by their girlfriends — and sadly
the hopeful vision of Somewhere has all but been destroyed.
The Rio Grande
Solo Piano — Alan Brown
Lambert (1905-1951)
Solo Contralto — Juliette Pochin
Although a student of Vaughan Williams, Constant Lambert's main influence was not English folk
music, but the then more fashionable Jazz. The Rio Grande, which was composed in 1927, is a
setting of a
poem by the maverick poet Sacheverell Sitwell. This colourful work joins such
Symphonic Jazz masterpieces as Gershwin's Rhapsody in Blue and Ravel's Piano Concerto in G as
a seminal example of musical crossover. He also manages to create a strangely attractive blend of
jazz and sultry "Brazilian" idioms with an undoubtedly English choral sound. The piece is also a
curious combination of cantata and piano concerto with some unusual orchestral forces including
some exotic percussion instruments.
The result was that Lambert scored his greatest success with this work at the age of just 22 — a feat
he was unable to emulate again. The happy-go-lucky nature of this ebullient piece belies the fact that
he was to die a disappointed man at the age of just 46.
In many ways the piece functions as a choral concerto of three movements and a coda. There are
bright Brazilian rhythms during first and last movements, a piano cadenza before the nostalgic
middle section and an end of party feeling during the final coda.
Gayaneh Ballet Suite - Sabre Dance, Gopak
Khachaturian (1903-1978)
Certain composers seem destined to be remembered for only one or two works that they wrote and
this is probably the case with the prolific Russian composer Aram Khachaturian. One of the works
that one readily associates with him is the theme to the old BBC Series The Onedin Line, which 18
in reality an adagio from his ballet Spartacus.
However, his most famous score was for the ballet Gayaneh composed in 1942 for which he was
awarded the Stalin prize. The Sabre Dance and the Gopak are the best known movements from this
suite and are both lively Cossack dances.
INTERVAL
Rakoczy March
Berlioz (1803-1869)
The French composer. Hector Berlioz, who was famous for writing such orchestral works as the
Symphonie Fantasique and Harold in Italy and operas such as The Trojans and Benvenuto Cellini.
was one of the great music innovators of his era.
In 1846, Berlioz decided to create his own musical version of Goethe's great literary masterpiece,
The Damnation of Faust. As a young man Berlioz had been captivated by the story and so this
project was of great importance to him. However, the first performance was a disaster with the
extremely small audience rejecting the music out-of-hand. Berlioz was devastated — ‘Nothing hurt
me as much as that rejection,” he wrote in his memoirs. It was only after his death that this work
gained its enormous popularity - especially the four concert movements, of which his Rakoczy or
Hungarian March is the most famous. Though Berlioz 'borrowed' the main theme from an old
Hungarian folk melody, his treatment of this theme is most exciting and unique.
Songs of the Auvergne
1.Bailero
2.Lou Boussu
3. Malurous qu’o uno fenno
Canteloube (1897-1957)
Solo Contralto — Juliette Pochin
Though Joseph Canteloube was born near Lyon and lived most of his life in Paris, he had a
particular love of the mountainous Auvergne, the region between the Dordogne and the Rhone and
of its dialects and folk music. He had the gift of gathering folk music with its peculiar intervals and
rhythms and using it in a medium which brought it to a much wider audience.
The first two books of Chants D'Auvergne were published in 1924. The text is the Auvergnant
dialect, set with rich orchestration it describes the joys of country life. In fact these arrangements
proved so popular that he published four further books of songs of the Auvergne.
The country folk who inhabit these songs are rough and tender by turns, obsessed with the follies
and delights of love. Their world is made up of the trees and pastures of the Auvergne, dotted
between hills and rivers, and their companions are more often birds and animals than their fellow
human beings. These songs evoke a French countryside that in its physical aspects is still there to
be admired and in its social milieu has not entirely vanished, even today.
The 'Bailero' is a sensuous courting song which is sung between a shepherdess and her lover, whereas 'Lou Boussu', flirtatious in nature, describes a dialogue between a man and a young lady with the
singer taking the part of first the man and then the woman — with a final rejection for the man!
delightfully ironic look at the marriage relationship - with more than a hint of humour.
Tales of the Vienna Woods
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 Johann Strauss I's death in 1849 his son, Johann II, amalgamated their orchestras and
consolidated 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 return home and visit the beautiful forests which surround the city. He captured
the beauty of these forests in his Tales of the Vienna Woods waltzes - a work which has remained
enormously popular. This evening we are performing a special choral version of this work .
Capriccio Italien
Tchaikovsky (1840-1893)
In 1880 Tchaikovsky was staying in Rome after a sad and unproductive period of his life. However
he had at last acquired a modicum of financial support and a good friend in Nadezhda von Meck and
consequently his creativity was beginning to burgeon again. Indeed he wrote to Madame von Meck
that "he cannot sleep and is bothered by the wild folly of the carnival season - but yet, could not
ignore its rhythmic and melodic appeal." He started work on his Italian Capriccio based on popular
melodies which he had picked up not only from published music but with his own ears out in the
streets. The work was completed a few months later in Russia and was an immediate success and
has maintained its popularity ever since.
A slow introduction with brass fanfare opens the work — a bugle call that Tchaikovsky had heard
daily from his Roman hotel next door to the barracks of the Royal Italian Cuirassiers. The strings
answer the fanfare with a melancholy yet languorous melody punctuated by spiky and incisive brass
interpolations. The tempo livens and a series of melodies follows one after another, full of brilliant
and colourful orchestration with a lively, breathtaking tarantella to end the work. Whatever may
have been his inner melancholy Tchaikovsky was not immune to the infectiously joyful spirit of a
Roman Carnival.
Can Can - Orpheus in the Underworld
Offenbach (1819-1880)
Jacques Offenbach studied cello and gave his first concert at the age of 12 - having already started
to compose at the age of six. As a young man he became a cellist in the orchestra of the Opera
Comique and this appointment whetted his appetite for writing operas.
In 1858 his greatest success came with Orpheus in the Underworld which, strangely enough, gained
a notorious reputation for its saucy dances and satirical wit. Because the opera made fun of
prominent figures of the day, everyone wanted to see it and it ran for 228 performances.
The overture to this opera remains one of the most well known of all concert overtures which ends
with the ever-popular Can Can.
Fantasia on British Sea Songs
The Saucy Arethusa
Tom Bowling
See the Conquering Hero Comes
Wood (1869-1944)
Jack’s the Lad
Spanish Ladies
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 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 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?
Bring me my bow of burning gold!
Bring me my arrows of desire!
Bring me my spear! O clouds, unfold!
Bring me my chariot offire!
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
People who are on a low income or who have to
give up work during treatment are often faced with
wE ARE
serious financial difficulties, at a time when they are
at their lowest ebb, both physically and emotionally. m Acm ' Ll AN
In many cases another family member may also
people living with cancer, money worries can be as CANCER SUPPORT
have to give up work to act as carer.
&
For many
distressing as the illness itself and our research has shown that more than three-quarters of people with
cancer suffer some form of financial difficulty.
Macmillan has long recognised the financial impact of serious illness and tackled this problem with the
direct provision of financial support through Macmillan Grants. With the successful development of
the Macmillan Benefits Helpline - our telephone service which helps patients negotiate the
complexities of the state benefits system - more people affected by cancer are receiving the help they
need.
For many people this can result in significant additional income as well as other kinds of
financial help, such as travel concessions.
However, a lot of people still struggle to meet their day-to-day living expenses. Macmillan Grants can
be given to cover a wide range of practical needs, such as travel to and from hospital for treatment or
to help with higher telephone or heating bills. Feeling cold is one of the most common side effects of
cancer treatments, particularly for people who have also experienced significant weight loss, or have
become less active because of their illness. Despite increased susceptibility to cold, some people
simply have to cut back on heating when money is short. This can have a significant and detrimental
impact on their health and comfort. A fuel grant from Macmillan can enable people with cancer to leave
their heating on when they really need to. In 2007 over 9,000 people received help towards their fuel bills.
Macmillan Grants can be used to provide a washing machine or other household items to help make life
easier. Some grants are used to help the patient cope with the effects of their treatment, for example, a
wig for someone who has lost their hair following chemotherapy or radiotherapy. Grants are also given
to provide convalescence holidays, a much needed break for a carer, or to give a family a last chance to
take a holiday together.
Applications for Macmillan grants must be made through an appropriate health or social care
professional, district nurse or Macmillan nurse.
Macmillan grants are means tested so that they are
awarded to those most in need. Approximately 97% of applications are approved and payments are
generally sent out within three working days, so the process is simple and quick, minimising stress for
the applicant. The many letters of thanks we receive from beneficiaries are testament to their value, as
the following example shows.
“We would like to thank Macmillan Cancer Support for the grant to help us purchase a new oven; this
will be delivered next Tuesday. We would also like to extend our thanks to [the Macmillan Benefits
Helpline] who were so helpful and kind when we were at our wits end, [they] may just have saved our
sanity. Thank you”.
Locally at the Mayday Hospital in Croydon there is a Macmillan Cancer Information Service which has
been developed as a joint venture between Macmillan Cancer Support, Mayday Healthcare NHS Trust
and the South East Cancer Help Centre in Purley. The centre ensures that people affected by cancer
have access to good quality, comprehensive and appropriate information and support which is available
in different languages, larger print and Braille and is suitable for all members of the community. A range
of complementary therapies are provided at the centre as well an Outreach Service provided by Croydon
Citizen Advice Bureau
Without the support of The Last Night of the Proms Committee and you the public, Macmillan would
not be able to support as many people as we do, however we are still only reaching 1 in 2 people who
need us, so we need you more than ever before.
For more information on Macmillan or if you are interested in supporting us in our fundraising please
contact Judy Spence, Fundraising Manager on 020 8222 9021.
10
BIGGIN HILL
To those who have never used their local airport it may
seem to be a facility of limited value. Yet London Biggin
Hill Airport is a critical part of the local economy.
Whilst the airport is used by private and business
aviation passengers from all around the world - choosing
London Biggin Hill for its convenience, efficiency and
fine facilities - it's locally-based businesses and employers
which really underline its value to the local community.
Indeed, some businesses have chosen to locate in the Croydon area
because of the proximity of the airport, bringing significant
employment and income to the area. Some use it regularly for
chartered pasenger flights. Others use London Biggin Hill for low-
e
volume, high-value freight business - even carrying race horses.
London
B|gg|n
Hill Airport
—
i
As more and more businesses see the advantages of having such an
effective transport link on their doorstep, Croydon's future prosperity
can only be enhanced by the success of its local airport.
CLOSE TO THE HEART OF LONDON
Catherine Johnstone Recruitment
Saffron House, 15 Park Street,
Croydon
CRO 1YD
Telephone: 020 8680 5777
Fax: 020 8681 0292
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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 and has also recently conducted
lake-side proms at both Kenwood and Crystal Palace. He 1s 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.
Juliette
Pochin Juliette has a hugely varied and
successful career as singer, composer, arranger and record
producer. She trained at Cambridge and GSMD, graduating
with distinction. Three years ago she came to the attention
of Sony BMG - and was immediately signed to record her
debut album, Venezia, released in 2006 to critical acclaim,
and Classic FM’s Record Of The Week.
Her operatic and concert career has led her to perform with
many orchestras all over the world and she is just as at
home on the opera stage as in a pop concert having shared
a stage with fellow musicians as wide ranging as Sir Simon
i
Rattle
and
Meatloaf!
She
can
also
be
heard
on
the
soundtracks to Lord of the Rings, Harry Potter and Star
Wars and is a regular national anthem singer at Wembley
Stadium
and
the
Millenium
Stadium.
She
recently
performed at the United Nations MDG Awards launch in Canada. In addition to her
singing, Juliette is one half of the partnership Morgan Pochin. TV credits include the
EMMY/BAFTA award-winning Kumars at No.42 and she wrote and produced Katherine
Jenkins’ Brit-nominated No.l album Premiere. She has orchestrated for groups as wide
ranging as Glyndebourne and Fat Boy Slim, and has just finished arranging and
producing the new album Songs Without Words for Classic FM.
Juliette was recently nicknamed the Domestic Diva by the Daily Mail after they
published her diary, detailing her often hysterical attempts to juggle her career with her
family; her voice inspired renowned chocolatiers Hotel Chocolat to design and name the
“Juliette” chocolate!
Juliette’s debut solo album is called Venezia and you can also hear her with Ian Burnside
on the Vaughan Williams CD - The Sky Shall be our Roof, the compilations Classical
Voices and Classical Greats. She has recently put the finishing touches to her new album
for release early next year. For more information visit www.juliettepochin.com.
12
Alan Brown 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 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 venues 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
He has recently concentrated on British concertos, giving highly acclaimed
Davison CBE.
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.
Alan gives much of his time to young students, and works as accompanist and coach at both the
Royal Academy of Music and the Guildhall School of Music and Drama. In addition he has a
regular summer commitment to international violin courses, working with Igor Ozim in Weimar,
Salzburg, Slovenia and South Korea.
WHITGIFT
WHITGIFT— ONE OF BRITAIN'S LEADING INDEPENDENT DAY SCHOOLS
ENTRANCE
EXAMINATI Q
FOR BOYS AGED 10 11 12 OR 13
8 JANUARY 2‘009'L c
12 JANUARY 200912+ and 13:)
] PLEASE CONTACT
'
020 8688 9222
FOR AN APPLICATION FORM
"
Whitgift School, Haling Park, South Croydon, CR2 6YT
Telephone: 020 8688 9222, Fax: 020 8760 0682, Email: office@whitgift. Co.uk
Web: www.whitgift.co.uk
THE CROYDON SYMPHONY ORCHESTRA
1st VIOLINS
CONTRA BASSES
TROMBONES
Catherine Smart (Leader)
Gill Allen
David Whitson
Julia Burkert
Jan Kiernan
Richard Cross
Nick Allen
Louise Camby
Astrid Harper
Bridgit Hirst
Douglas Knight
Sarah Lansdale
Lawrie Lea
Hilary Martin
FLUTES & PICCOLO
Sue Cooper
TUBA
Linda Penn
Alex Kidston
Helen Hopkins
Alain Petitclerc
Paul Rowlands
TIMPANI
OBOES & COR
Chris Kimber
ANGLAIS
2nd VIOLINS
Michelle Willis
Heather Bennie
Elizabeth Davison
Stephanie Mott
PERCUSSION
Claire Slade
Chris Woodham
Roger Griffin
Elizabeth Dean
Chris Morley
Rebecca Goddard
Janice Kirby-Smith
CLARINETS
Lydia Robinon
Moira Roach
Linda Willis
Mark Rogers
David Sheldrake
David Floyd
VIOLAS
Ian Hargrave
BASSOONS
Isabel Allen
Rosemary Cow
Amanda Boe
Diane Da'Costa
Carol Eller
Paulne Dixon
Jennifer Owen
HORNS
Sam Pierce
Jonathan Wood
Jonathan Heaton
Renee Barns
CELLOS
Miles Rackowe
Christopher Pontin
Alma Burcombe
Tracy Fitzgerald
TRUMPETS
Rachel Kelly
Alex Calden
Phil Myers
Ed Pascall
Ricard Strange
Richard Cousens
Veronica Watts
Rob Love
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, 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
o
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 15th at 7.30
pm and includes Sibelius’ Violin Concerto and Dvorak’s Symphony no. 7. On February 14th our concert of
Valentine Classics at Fairfield will include Tchaikovsky’s 1st Piano Concerto and Prokofiev’s
Romeo and
Juliet suite.
Vivace
- Vivace Chorus
Vivace Chorus came into being in May 2005, when to reflect its independent status, the
former Guildford Philharmonic Choir 'rebranded' itself. The choir was founded in 1947
and recently celebrated the completion of its 60th season. We enjoy a challenging and
varied concert repertoire, performing works spanning the last five centuries — some well-known, but also
many rarities deserving to be heard by a wider audience. In the 2004/05 season, we introduced our
Contemporary Choral Classics Cycle (CCCC), an innovative series of works from the late 20th and 21st
|
century. By way of recent demonstration:
|
|
Our first concert of the 2006/7 season included three delightful choral works by Hugo Wolf, virtually
unknown repertoire in the UK. The Music Makers, which followed, was quintessentially English — well-loved
|
concert and first-ever foray into the world of jazz. Here we sang and swung to the music of Bob Chilcott,
‘
works by Elgar, Parry and Vaughan Williams. But the highlight of the year was undoubtedly our third CCCC
John Rutter and especially to Will Todd's Mass in Blue, accompanied by the composer, complete with his jazz
trio, jazz band and his outstanding soloist wife, the soprano Bethany Halliday. The audience loved it too — we
had a standing ovation! Following on from this successful collaboration, we have commissioned a new work
from Will Todd, which will be premiered at our next CCCC concert, in May 2009.
To start the 2007/8 season (and to test our nerves) our programme by French composers was sung only with
“
organ or unaccompanied; this was followed by our Viennese Masters concert, which included more a
cappella singing (three Bruckner motets and a 16-part arrangement of Mahler's Ich bin der Welt abhanden
|
gekommen), together with works by Haydn and Mozart, and orchestral accompaniment. The centrepiece of
’
the CCCC concert which followed was Karl Jenkins' Requiem, with other works by Britten, Fauré, Elgar,
|
Barber and Mahler.
}
|
We now regularly sing in a 'Last Night of the Proms' charity concert to a packed Fairfield Halls, Croydon.
With our good friends the Brandenburg Sinfonia, we also sing at least once a year in the inspiring venue of
St Martin-in-the-Fields, performing works such as Mozart's Requiem.
If you are interested in singing with us, please contact Jane Brooks, membership@vivacechorus.org.
Rehearsals are held on Monday evenings throughout term time in central Guildford and prospective
members are most welcome to attend rehearsals on an informal basis before committing to an audition. For
more information, see our website at www.vivacechorus.org.
.
VIVACE CHORUS
SOPRANOS
Joanna Andrews
Helen Beevers
Mary Broughton
Miranda Champion
Elaine Chapman
Rachel Edmondson
Mo Kfouri
Hilary Minor
Robin Onslow
Gillian Rix
Judy Smith
Carol Terry
Jacqueline Alderton
Barbara Barklem
Anna Durning
Mandy Freeman
Judith Lewy
TENORS
ALTOS
Penny Baxter
Monika Boothby
Jane Brooks
Liz Durning
Celia Embleton
Kate Emerson
Sue Fletcher
Ingrid Hardiman
Kay McManus
Christine Medlow
Rosalind Milton
Marjory Rollo
Lesley Scordellis
BASSES
Tom Bayliss
Catherine Shacklady
Claire Taylor
Hilary Trigg
Pamela Woodroffe
Michael Golden
Malcolm Hoare
Chris Newbery
Chris Peters
Krystyna Marsden
Elizabeth Massey
Lois McCabe
Alison Newbery
Alison Palmer
Kate Peters
Susannah Priede
Vivien Rieden
Isobel Rooth
Yvette Smith
Kathy Stickland
Pauline Wakeford
Christine Wilks
Bob Cowell
Tim Hardyment
Nick Manning
John McClean
John Trigg
John Bawden
Phil Beastall
Bob Bromham
Tony Chantler
Stephen Linton
Robin Privett
Marion Arbuckle
Deborah Bayliss
Evelyn Beastall
Sylvia Chantler
Mary Clayton
Valerie Garrow
Claire Hann
Carol Hobbs
Sheila Hodson
Brenda Moore
Beryl Northam
Prue Smith
David Ross
Steve Sage
Philip Stanford
Kieron Walsh
Roger Barrett
Alan Batterbury
Norman Carpenter
Dave Cox
Geoffrey Forster
James Garrow
Michael Jeffery
Neil Martin
Rosey Storey
Roger Penny
June Windle
Chris Short
Michael Taylor
Tt U
‘LNOP’ Charity Committee wish
thank all those advertising
16
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BOARDING KENNELS & CATTERY
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KENNELS
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Tel: 01342 - 842258
For booking please quote Ref: LNOP
17
ERERERERRRRREEEERRET
CREEEE
Winners of the Drawing Competition for the Last Night of the Proms
Prawing Workshops took place during the summer in Libraries in
Croydon and the winners were chosen by Benny Miller from the
( #
e
-
.‘
Macwillan Cancer Information Centre at the Mayday Hospital.
Children were invited to draw or paint a picture of either a musical
instrument or an image of the Last Night of the Proms Concert.
First prize in the 5-11 category of a Build a Bear voucher valved at B10,
a certificate and Macwillan t-shirt went to 9 year old Tessa Pilbeam
from South Croydon. The 12-16 category was won by 13 year old Tendai
Stephens from Selsdon who received 2 complimentary tickets to the
Last Night of the Proms Concert, a certificate and a Macwillan t-shirt.
Well done to everyone who took part in the drawing competition,
the standard was extremely high which made the decision making very
difficult!
)
ghi p|
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18
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“Last Night of the Proms”
HOPE
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