Last Ni
Proms 2009 |
‘Concert
|
Croydon Symphony Orchestra
Vivace Chorus
Conductor - Darrell Davison
Solo Violin - Joo Yeon Sir
Soprano - Fiona Hammacott
Popular Classics from
London & Vienna
souvenir Programme £3.00
airfield
&
PRESENTED BY
®
THE ‘L.N.O.P.’ CHARITY COMMITTEE
RAISINC
uardian
FUNDS FOR
\l(\(\\:z[LIR\\
Ao
WE ARE
LLAN. 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
T
IN MEMORIAM
Stanley Peter Marshall (Vice Chairman)
Passed away 24" October 2008
Lived Respected Died Regretted
‘LAST NIGHT OF THE PROMS’
CHARITY COMMITTEE.
Airport House, Purley Way, Croydon.
CRO 0XZ
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.*
Mrs. Nicki Armstrong
Mr. Stan Best.*
Mr. Anthony Gopaul
Mrs. Jean Smith.*
Mrs. Judy Spence - Macmillan Cancer Support
Mr. John Stern
Mrs. Sue Stern
* Denotes Founder Members
Chairman’s Foreword ‘L.N.0.P.” 2009
0
.
I extend a very warm welcome to you all and in particular to the
Worshipful the Mayor of Croydon, Councillor Margaret Mead and
her husband, Councillor Dudley Mead who join us this evening.
Thank you all for supporting our efforts to raise funds for an
extremely good cause —
Macmillan Cancer Support
We all know of the splendid work undertaken by the Macmillan
Nurses and there are still some 4,000 of them working throughout
the U K. giving comfort, reassurance, emotional support and
reliable information on treatment. These nurses, along with the
whole Macmillan organisation rely entirely on voluntary funding.
The Macmillan Organisation has now become more widely involved with supporting
patients and their families, hence the change in title to Macmillan Cancer Support.
Unfortunately, the cold hard facts are that 1 in 3 of us will get Cancer in some form or other
during our lives. 2 million are living with the disease and we are all affected by it. The net
proceeds from to-nights Concert will be distributed to Cancer Patients living in the Croydon
area so as to relieve the worry and financial stress caused by being incapacitated by their
illness.
I am sure you will wish to show your support in a practical way and would urge
you to do so this evening by buying as many Grand Draw Tickets as you feel you can
afford.
This year 50% of the money raised through the Grand Draw will go to the Sutton &
Croydon Multiple Sclerosis Therapy Centre at Coulsdon.
Another way in which you can
help is by becoming a ‘Friend of the LNOP’. The annual membership fee is only £5 and
brings you several benefits.
Full details and an application form may be found within this
programme. Please read the details and send us your application form as soon as possible.
Turning now to the Concert this evening, I am sure you will enjoy the programme and enjoy
the professionalism of the artists. We are delighted to welcome back to the Fairfield the
Vivace Chorus and our own Croydon Symphony Orchestra conducted by the ever youthful
Darrell Davison. The programme also includes the exciting soprano Fiona Hammacott, and
the exceptionally talented young Korean violinist, Joo Yeon Sir who will be performing
Vaughan Williams beautiful and moving masterpiece ‘The Lark Ascending’.
I am so pleased that in these days of the ‘Credit Crunch’ you have decided to treat
yourselves to an evening of relaxation and enjoyment.
Put any concerns you may have
to the back of your mind, sit back and just let the wonderful sounds created by our talented
artists transport you to new realms of pleasure.
Hon. Alderman Brian G. Smith MBE; FCIM
Chairman, ‘Last Night of the Proms’ Charity Committee.
|
Garage
Doors
- All
makes & types
- Supply & fitting
- Automation
» Free estimates
* Repairs/spares
GARAGE
BRITAIN’'S
LARGEST GARAGE
DOOR
DOORS
LIMITED
INSTALLATION
COMPANY
X" 020 8681 7989
Showroom: 416 Brighton Road, South Croydon,
Surrey CR2 6AN
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
An ethos which encourages respect for others
.
Class teaching which develops a love of learning and reading
.
A community spirit which teaches respect for differing faiths and customs
.
A first class record of scholarships and entrance to HMC schools and local
grammar schools
.
Excellent facilities with specialist teaching in all subjects in the Preparatory School
.
Its own indoor heated pool and 10 acre sports field
.
Art and Music, ICT and Science to a high standard in specialist rooms
4 feh;
Excellent after school provision
S’il/,’q"&
Come and see the | /14/ Y, A/‘/'fclf‘/ns'/. y and .\::f'zu‘asxx.'/"l"// school
re
,bel};/bleoe
2
$
and judge for
yourself
168 Pampisford Road, South Croydon, Surrey, CR2 6DA
Tel: 020 8660 3445 Email: admin@cumnorhouse.com
A Cognita School
Last Night of the Proms Concert 2009
Saturday 26th September at 7.30pm
A Gala Evening of Popular Classics from London & Vienna
Coronation March — Orb and Sceptre
Walton
Zadok the Priest
Handel
Largo ( Xerxes )
Handel
Rejoice Greatly ( Messiah )
Handel
I was glad
Parry
The Lark Ascending
Vaughan-Williams
Knightsbridge March
Coates
Praise to the Holiest ( Gerontius )
Elgar
INTERVAL
The Magic Flute — Finale
Mozart
Hungarian Dance in G Minor
Brahms
Die Fledermaus — Excerpts
Strauss
Cuckoo Polka
Strauss
Voices of Spring Waltzes
Strauss
Galop from the Overture — Light Cavalry
Suppé
Radetsky March
Strauss
Thunder and Lightning Polka
Strauss
Fantasia on British Sea Songs
Wood
& Rule Britannia, Jerusalem and
Land of Hope and Glory
CROYDON SYMPHONY ORCHESTRA
VIVACE CHORUS
Solo Violin - Joo Yeon Sir
Soprano - Fiona Hammacott
Conductor - Darrell Davison
3
The National Anthem
Coronation March - Orb and Sceptre
Walton (1902 - 1983)
Walton is one of the most original and important creative figures in modern English music. Although
he has composed comparatively little music, his works have moved from the exuberant cleverness of
his youth to the unashamed romanticism of his maturity. After failing his exams at Oxford he went
to seek his fortune in London. Here he met the famous poet Dame Edith Sitwell and their innovative,
if not infamous venture, Facade caught the public eye and launched Walton on an illustrious career.
This was to culminate in works such as Belshazzar's Feast and his Shakespearean film scores.
By 1937 his reputation was such that he was asked to write a march for the Coronation of George
VI. The resulting work, written for full orchestra and in the style and tradition of Elgar's Pomp and
Circumstance Marches, was a great success. It was a natural choice therefore for the newly formed
Arts Council of Great Britain to ask Walton to compose a march for the Coronation of Queen
Elizabeth II in 1953- the result being ‘Orb and Sceptre’.
Zadok the Priest
Handel (1685-1759)
Handel was one of the most famous and versatile composers of all time. Though he 1s remembered
today for oratorios such as the Messiah and incidental music such as the Water Music and Music for
the Royal Fireworks, he earned his reputation with the many operas he composed. In his day the key
to success was royal patronage and thus it is not surprising to learn that he was asked to write four
noble anthems for use during the Coronation Service of King George II and Queen Caroline in
Westminster Abbey on 11th October 1727. He specified a choir of almost fifty singers, plus soloists
from the Chapel Royal and a large orchestra. In Zadok the Priest, Handel sets the story of the
anointing of Solomon - and the anthem, from its orchestral introduction to the cries of "God save the
King", was presumably performed just before, or during, the actual anointing ceremony. This work
features in many coronations to this day.
Ombra mai fu (Largo) and Rejoice Greatly 0 Daughter of Zion
Handel
Solo Soprano — Fiona Hammacott
‘Ombra mai fu’ translates from the Italian as ‘Never has there been a shade’ and is the first aria of
the opera. It is sung by the main character Xerxes in praise of a tree's shade as he sits underneath it.
It is commonly known as Handel's ‘Largo’, although the original tempo was larghetto.
The opera was a commercial failure, lasting only five performances in London after its premiere. In
the 19th century however, the aria was rediscovered and became one of Handel's best-known pieces.
Originally composed to be sung by a soprano castrato, it has often been arranged for other voice
types and instruments- including solo organ, solo piano, violin and piano, and string ensembles,
often with the full title Largo from Xerxes.
Without doubt Handel’s Oratorio The Messiah was his most famous creation. Its first performance
in Dublin in 1742 was a great success and it was given the Royal seal of approval at its subsequent
London performance in 1743. The aria ‘Rejoice Greatly’ comes near the end of the first part and 1s
a wonderfully joyful display of the soprano’s virtuosity.
| was Glad - Coronation Ode
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,
and as an administrator.
This stirring anthem was composed for the coronation of Edward VII in 1902. Parry's setting is a
large scale and grand work employing full choir. It was and has been performed at all of the
coronations since then, being sung at the arrival of the monarch. After the instrumental fanfare and
introduction, the choir enters emphatically repeating the word “glad”, then each section in the choir
sings “our feet shall stand” in a passage which grows in intensity to its climax on “0O Jerusalem”.
There follows an antiphonal two-choir exchange (“Jerusalem is builded as a city”’) which again
builds slowly to a substantial climax. This is followed by a reflective setting of “Oh Pray for the
Peace of Jerusalem”, after which the final crescendo builds up to the sopranos’ top B flat and the
brass finish the piece with grandiose fanfares.
The Lark Ascending
Vaughan Williams (1887-1958)
Solo Violin - Joo Yeon Sir
It was composers such as Holst, Elgar and Vaughan Williams who were to lead a revival of English
composition which had lain dormant since Handel's day. One important thing which characterised
these composers was their involvement in English folk music. Though Vaughan Williams was a
pupil of Ravel, his approach to his work revealed a more defined view of music than that of his tutor.
Vaughan Williams once observed, "The art of music - above all other arts - is the expression of the
soul of a nation. The composer must love the tunes of his country and they must become an integral
part of him."
Certainly Vaughan Williams often used folk melodies in his compositions and this gives his music a
most English character. His beautiful work for solo violin and orchestra entitled The Lark
Ascending which was composed in 1914 captures this 'English' spirit quite wonderfully. The solo
violin describes the flight of the lark and you can easily imagine the scene at dusk with which the
work ends.
Knightsbridge
March
Coates (1886-1957)
Eric Coates showed great musical facility from an early age and later played in orchestras under the
batons of both Sir Henry Wood and Sir Thomas Beecham. Though he had written a number of
serious compositions before enrolling in the Royal Academy of Music he found himself increasingly
attracted to composing 'Light Music'. This brought attention from the newly formed B.B.C. as well as
British film studios and he soon found himself in great demand as both a composer and arranger.
Over the years this led to his composing some of the most famous Radio melodies ever written such
as Sleepy Lagoon (which is still used as the signature melody to Desert Island Discs), Music while
you Work and the signature tune to In Town Tonight. The Knightsbridge March was taken from his
popular London Suite which was already enjoyed by concert audiences. When you consider his wide
and varied output there can be no denying that he deserved his reputation as the Father of Light Music.
The Dream of Gerontius — Praise to the Holiest
Cardinal Newman's poem The Dream of Gerontius was a well-known
own right by the time Elgar was commissioned to set it to music in
Elgar (1857-1934)
and much-loved work in its
1900. Indeed he had owned a
copy of the poem since 1885 and he was given a further copy as a wedding
present in 1889. In early
1900 he set about preparing a libretto for Gerontius, later revealing
that the poem had been
"soaking in my mind for at least eight years". Newman's poem falls into
seven sections: the first is
a prologue on earth showing the dying dreamer surrounded by priests
and assistants, and the other
six parts trace the Soul's progress through Judgement to Purgatory.
It is important to remember that in 1900 Elgar had been struggling for recogniti
on for years, and had
only recently enjoyed his first major success when the Enigma Variation
s were premiered and
instantly lauded in 1899. He thus came to The Dream of Gerontius with
a new assurance and he
worked steadily on it through the first half of 1900, finishing the full score
on 3rd August with the
premiere in Birmingham in October. However, as there was consequen
tly very little time for the
choral parts to be prepared and the chorus to learn the music, the premiere
was under-rehearsed and
somewhat chaotic.
However the work was then premiered in Germany, conducted by
Hans Richter to considerable
acclaim. Certainly the great hymn-like chorus ‘Praise to the Holiest’ which
is one of the climaxes of
Part Two added to its popularity and acceptance as one of the great choral
works.
————EEEE
EEEEEEE—
INTERVAL
———
The Magic Flute-
R
EEEEEEEEEEE—
Finale
Mozart (1756-1791)
Only Mozart's genius could have transformed into a great work of art
disorder, comedy, farce and serious
the medley of nonsense,
Oriental
and Masonic symbolism which the librettist,
Schikaneder, built up from a tale by Wieland. Despite the frequently
unintelligible text, Mozart
composed music that melts the heart with its beauty, nobility and grandeur.
Mozart completed the last pages of his opera on September 28th, 1791,
first performance which Mozart conducted himself! The opera was an
belied the financial turmoil in which he was embroiled. Indeed he was
within months. It is thus all the more amazing that the finale is so full
optimism.
Hungarian Dance in G minor
only two days before the
immediate success which
to die a penniless pauper
of joyfully good-natured
Brahms (1833-1897)
It has been said that Brahms carried on developing the tradition of symphonic
where Beethoven left off. He had a great admiration for Beethoven and
music from the point
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 perfectio
n 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
ability 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.
Fledermaus — Excerpts from Act 2
J. Strauss Il (1825 - 1899)
Overture, Opening chorus, Laughing Song, Bohemian Polka, Czardas, Finale
Solo Soprano
Fiona Hammacott
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. It was Strauss’ wife who suggested that Johann
should ‘try his hand’ at composing an operetta. The result was the phenomenally successful
Fledermaus which was first performed in Vienna in 1874. The light-hearted mood of the work was
designed to take people’s minds off the recent stock market crash and the deprivations which had
been caused by successive wars.
The second Act details some of the exceedingly complex shenanigans taking place at Prince
Orlovsky’s glittering ball. Tonight we are performing two of the most famous soprano arias from the
operetta as well as three lively choruses.
Cuckoo Polka
J. Strauss Il
Despite his world-wide success Strauss 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 such works as his Tales of the Vienna Woods waltzes and his lively Cuckoo Polka. In this
last work he uses many effective bird-sounds — which on this occasion the audience will be asked
to join!
Voices of Spring Waltzes
J. Strauss Il
Friihlingsstimmen (Voices of Spring) is one of the most famous waltzes ever created by Strauss.
However, its Viennese debut was poorly received and it wasn't until the waltz was performed in
Russia that it gained its much-deserved attention. Composed in 1882, Strauss' Voices of Spring
Waltzes were originally written to include a soprano solo; however, he arranged them for many
different combinations and it is the popular orchestral arrangement that we will perform tonight.
Overture - Light Cavalry Galop
Suppé (1819-1895)
Born into the Viennese music traditions of the nineteenth century, Franz Von Suppé earned an
impressive reputation as a composer of Operas and Operettas. However it is for three overtures; Poet
and Peasant, Morning, Noon and Night and Light Cavalry that he is remembered today.
His music is very descriptive and his Light Cavalry overture, written in 1866, captures the pomp and
ceremony of the Austrian Cavalry who were considered to be the finest and best dressed regiments
in Europe at the time.
Radetzky March
J. Strauss | (1804 - 49)
This lively march was composed by Johann Strauss Senior in 1848. It was dedicated to the Austrian
Field Marshal Joseph Radetzky von Radetz, and was a popular march among soldiers.
Indeed when it was first played, in front of Austrian officers in attendance, they promptly clapped
and stomped their feet when they heard the chorus. This tradition is carried over today when the
march is played in classical music venues in Vienna, among members of the audience who are
familiar with the tradition. It is almost always played as the last piece of music at the
Neujahrskonzert, the Vienna New Year Concert.
Thunder and Lightning Polka
J. Strauss Il
Besides his many popular waltzes Strauss is also famous for his lively polkas. The polka was a more
risqué 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. Tonight Strauss uses the bass drum
and cymbals to create the effect of thunder & lightning.
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
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 ‘Land of Hope and Glory’
Elgar
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
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 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.
Joo Yeon Sir Born in Korea in 1990, violinist Joo Yeon
Sir is a Scholar at the Royal College of Music, where she
studies
with
Dr.
Felix Andreivsky
and
has
previously
studied at the Purcell School of Music. During her studies
in Korea, she has been major prize winner at numerous
national
competitions,
including
the
First
Prize
at
the
prestigious Eumyoun Music Magazine Piano Competition
at the age of six. Before moving to the UK, she performed
at Mozart Spring Festival on the piano on national TV and
appeared as soloist with Korean Philharmonic Orchestra at
the age of seven, as result of winning First Prize at Korean
Philharmonic Orchestra Competition.
At the age of sixteen she became the overall Grand Prix
Laureate
at
Nadjalka
Simeonova
International
Violin
Competition in Haskovo, Bulgaria, where her gala performance and interview were
broadcast on
Radio
Bulgaria
(BNR). At the
age
of seventeen,
she
received Royal
Philharmonic Society Emily Anderson Prize Award 2007 and most recently she received
Second Prize at Windsor Festival International String Competition, as the youngest
competitor and highest placed violinist. She has performed at various venues across the
UK and abroad, including solo and chamber recitals at the Wigmore Hall, Bishopsgate
Great Hall and in the presence of HRH Prince of Wales for the Elgar Society at St. James’
Palace.
Joo Yeon is also a composer and has won the First Prize and the title of BBC/Guardian
Young Composer of the Year 2005, at the age of fourteen for her composition Conflict in
Time which has been performed at the Wigmore Hall, Cadogan Hall by Endymion and has
been broadcast on BBC Radio 3.
12
Fiona Hammacott
Fiona won a scholarship to study at the
Guildhall School of Music and Drama after gaining a 1st Class
honours degree in music. She has been the subject of a BBC
documentary and has won numerous awards and scholarships,
most notably the Countess of Munster Musical Trust. Fiona was
chosen by Kate Rothschild and Ben Goldsmith to be the soloist at
their wedding, a review in The Spectator deemed her performance
‘worthy of Callas’.
Fiona has given several acclaimed performances of Canteloube’s
Songs of the Auvergne and Richard Strauss' Four Last Songs. She
has appeared with the London Gala Orchestra and has sung at the
prom concerts alongside Aled Jones. Most recently she performed
Verdi arias with The Oxford Philomusica.
Operatic roles include: Nedda Pagliacci (Hanoi Opera House); Fiordiligi Cosi fan Tutte (Zeist,
Music Festival, Holland); The Aunt Madam Butterfly, Musetta (cover) La Bohéme and Santuzza
(cover) Cavalleria Rusticana for Raymond Gubbay and the Royal Albert Hall; The Mother Hansel
and Gretel (Buxton Festival Opera); Mercédes Carmen (Garden Opera); Santuzza Cavalleria
Rusticana for Kentish Opera; Elle la voix humaine (GSMD); Dido Dido & Aeneas (GSMD);
Josephine HMS Pinafore (Opera della Luna, The Buxton Gilbert and Sullivan Festival) and Venus
Thésée (William Christie at The Barbican).
Recent performances include Beethoven’s Mass in C, Haydn’s Harmonie Mass,
Fauré and Duruflé Requiems, Annina (La Traviata) for Longborough Festival Opera
and a return to Josephine HMS Pinafore at Buxton Opera House.
Small Luxury Hotels of the WorldTM
an
unrivalled
portfolio
of some
(SLH),
of the
world's finest small independent hotels, is
delighted
to
donate
a two-night
stay at any one of its worldwide
properties as
part of the first
prize for the Last Night of the
Proms
raffle
in
support
of
Macmillan Cancer Support.
Comeprising over 480 hotels in more
than
70
countries, the
diversity
of
SLH properties, and the experiences that
they
offer,
Is
exceptional.
From
cutting-edge design hotels to palatial |/th
S / h .CO m
century mansions, city centre sanctuaries to
remote private islands, with Small Luxury
Hotels of the World you will experience only the
very best.
To find out more, or to join The Club of Small Luxury Hotels of the World, visit
www.slh.com”. Terms and conditions apply and subject to availability
13
THE CROYDON SYMPHONY ORCHESTRA
1st VIOLINS
CONTRA BASSES
TROMBONES
Catherine Smart (Leader)
Lesley Green
Danny Scott
Julia Burkert
Jan Kiernan
Charlotte Whiting
Nick Allen
Aaron Curling
Vicky Gaulter
Christine Hardy
Astrid Harper
Bridgit Hirst
Douglas Knight
FLUTES & PICCOLO
Sue Cooper
TUBA
Linda Penn
Hiro Kitagawa
Hilary Martin
Paul Rowlands
Jeannie Whiting
OBOES & COR
TIMPANI
ANGLAIS
Chris Kimber
Elizabeth Davison
2nd VIOLINS
Michelle Willis
Stephanie Mott
Claire Slade
PERCUSSION
Chris Woodham
Lisa Boerstler
Elizabeth Deam
Heather Jones
Janice Kirby-Smith
Lydia Robinson
Linda Willis
VIOLAS
Ian Hargrave
Jo-Anne Chang-Rogers
Roger Griffin
CLARINETS
Mark Rogers
Moira Roach
David Sheldrake
David Floyd
BASSOONS
Caroline Glicksman
Diane Da'Costa
Isabel Allen
Amanda Boe
Paulne Dixon
HORNS
Sam Pierce
Jonathan Wood
Bradley Strauchen
Alan Jones
CELLOS
Miles Rackowe
Alan Brown
Alma Burcombe
Rachel Kelly
TRUMPETS
Phil Myers
Alex Calden
Christopher Pontin
Ed Pascall
Ricard Strange
Richard Cousens
Marius Vasilescu
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, 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 Fairfield Hall 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, 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 7th at 7.30 pm
and includes Brahms Symphony no.2 and Dvorak’s Cello Concerto. On February 6th our concert of Russian
Classics
at Fairfield will include Tchaikovsky’s
1812
Overture, Borodin’s Polovtsian Dances
and
Rachmaninov’s 2nd Piano Concerto.
Vivace Chorus
.
The chorus was founded over 60 years ago as the Guildford Philharmonic Choir but in
May 2005, 'rebranded' itself to become the Vivace Chorus. We enjoy a challenging and
varied concert repertoire from the 16th century onwards — some well-known, but also
many
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.
The 2007/8 season had an enormously varied selection of programmes ranging from Mahler, Faure,
Bruckner, Jenkins, Britten to Barber.
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 incorporating 215 singers. 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.
We also regularly sing with the Brandenburg Sinfonia in the inspiring venue of St Martin-in-the-Fields,
Trafalgar Square performing works such as Mozart's Requiem and Vivaldi’s Gloria.
In 2010 the choir is planning to follow up its commission of Will Todd’s Te Deum with a commercial
recording. In 2011 we are planning a performance of Mahler’s remarkable ‘8th Symphony’ using over 400
singers at the Royal Albert Hall to coincide with the 10th anniversary of the composer’s death.
During this summer's break, the choir embarked on a 5-day Tour de France, performing concerts in the
cathedrals of Paris (Notre-Dame), Rouen and Beauvais. This proved to be an inspiring, emotionally moving
experience — and great fun too.
If you are interested in singing with us, please contact Jane Brooks, membership@vivacechorus.org.
Rehearsals are held on Monday evenings in central Guildford. Prospective members are most welcome to
attend rehearsals on an informal basis before committing to an audition. For more information, please visit
our website at www.VivaceChorus.org.
15
VIVACE CHORUS
TENOR 1
SOPRANO 1
ALTO 1
Helen Beevers
Monika Boothby
Bob Cowell
Mary Broughton
Jane Brooks
Tim Hardyment
Elaine Chapman
Liz Durning
Nick Manning
Rachel Edmondson
Celia Embleton
Martin Price
Marion Hughes
Sue Fletcher
Mo Kfouri
Jane Hedgecock
Susan Norton
Sheila Hodson
Robin Onslow
Pamela Leggatt
Gillian Rix
Lois McCabe
Judy Smith
Christine Medlow
Rosemary Spalding
Rosalind Milton
Carol Terry
Mary Moon
SOPRANO 2
Jacqueline Alderton
Anna Arthur
Barbara Barklem
Anna Durning
Krystyna Marsden
Enid Millinger
Debbie Morton
John Trigg
TENOR 2
Phil Beastall
Bob Bromham
Tony Chantler
Geoff Johns
Stephen Linton
Jon Scott
Penny Muray
BASS 1
Gillian Paul
John Britten
Gill Perkins
Michael Golden
Marjory Rollo
Malcolm Hoare
Lesley Scordellis
Brian John
Catherine Shacklady
Jeremy Johnson
Hilary Trigg
Eric Kennedy
Maggie Woolcock
Alec Leggatt
Chris Newbery
Alison Newbery
ALTO 2
Alison Palmer
Geraldine Allen
Kate Peters
Evelyn Beastall
Claire Protherough
Sylvia Chantler
Vivien Rieden
Mary Clayton
Chris Peters
David Ross
Philip Stanford
Kieron Walsh
Isobel Rooth
Andrea Dombrowe
Ann Sheppard
Elizabeth Evans
Kathy Stickland
Valerie Garrow
Paula Sutton
Claire Hann
Christine Wilks
Carol Hobbs
Frances Worpe
Yvonne Hungerford
BASS 2
Peter Andrews
Roger Barrett
Alan Batterbury
Norman Carpenter
Geoffrey Forster
Brenda Moore
James Garrow
Beryl Northam
Nick Gough
Prue Smith
Michael Jeffery
Rosey Storey
Maxwell New
June Windle
Keith Paul
Elisabeth Yates
Chris Short
Michael Taylor
stle (UK.) .
onsorship of Ne
also acknowledged
16
with s
SIGNS
&
GRAPHICS
|isaash
‘
it
el
e
§
3
‘
B
D
o
"
LElT U
1010
ORCHARD FARM
BOARDING KENNELS & CATTERY
founded 1960
10 mins from Gatwick Airport
KENNELS
Orcha
AND CATTERY
BOARDING KENNELS
U Individual Runs
providing comfort for your pets
warm and cosy in winter
- Light and airey in Summer
Large exercise runs and fields for walks.
1 Modern - well away from Kennels
o' l
CATTERY
(] Heated Bedrooms with scratch
CAT OR DOG
posts and warm snug beds
U Individual outside runs
GROOMING PARLOUR
BOARD'NG
Tel: 01342 - 842258
For booking please quote Ref: LNOP
J Purpose built
WITH THIS VOUCHER
k=
Oyt
Comwns
Bun s Fuprgmt s (o
4 Fully equipped
1 Qualified staff
HOURS
Open 9am - Ipm 2pm - 5pm Mon - Sat
Closed Sunday & Bank Holidays
Inspection Visits welcomed during these hours
17
o (sl 00
vt
i
Gy
e ol
Our clients are firs
Atkins Hope Solicitors have
greaf pleasure in supporting
!
ATKINS
HOPE
SOLICITORS
First Floor
the Last Night of the Proms at
the Fairfield Halls, Croydon.
= children and families
= matrimonial and relationship breakdown
North End Chambers
74-78 North End
Croydon
CR9 1SD
= buying or selling property
= wills, probate, tax planning and elderly client matters
~ employment
1 accidents and injury
Friends of the ‘LNOP’ Charity Committee
The 'LNOP' Charity Committee hope that you are enjoying tonight's annual Charity
Concert and invite you to become a ‘Friend of the 'LNOP' Charity Committee’.
As a friend you will receive the following benefits:
e
Membership Card
10% off ticket prices for the annual concert
e
Advance notice of the Concert
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.
---------------------------------------------------------------------------------------------------------------------------------------------------
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.:
Car Insurance
0845 246 2357
Breakdown Cover
0845 246 1061
Home Insurance
0845 246 3551
Home Response 24
0845 246 9206
Travel Insurance
0845 246 8349
Pet Insurance
0845 246 2560
Life and Ciritical lliness Cover
0845 246 8272
Van Insurance
0845 246 1802
Business Insurance
0845 303 1682
You can never be sure of the best
deal until you come direct to us.
A GOOD DEAL BETTER
K
Calls may be recorded. Maximum call charge from BT landline is 3p per minute. Calls from other networks may vary.
j