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TIL Autumn Half Term

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12<br />

ENGLISH SCHOOLS’ ORCHESTRA<br />

PERFORM IN THE PURCELL ROOM<br />

Small is beautiful – that’s the key note<br />

to this year’s English Schools’ Orchestra<br />

concert (4 November, The Purcell Room,<br />

South Bank). Expect a sell out as some<br />

40 fine teenage musicians, supported by<br />

the Navarra String Quartet, come<br />

together as a unique, one-time Chamber<br />

Orchestra. They’ll perform Richard<br />

Strauss's Serenade, for Woodwind and<br />

Horns, Elgar's Introduction and Allegro<br />

for Strings, Beethoven’s Symphony No 7<br />

and the Hebrides Overture, popularly<br />

known as Fingal’s Cave. This<br />

Mendelssohn piece, so evocative of<br />

stormy tides, mirrors the touch of<br />

turbulence surrounding this particular<br />

ESO annual gala event which had<br />

previously run legato and ripple free for<br />

22 years.<br />

Instrumental lessons are being<br />

shelved in too many schools across the<br />

country, and the English Schools’<br />

Orchestra exists to redress the balance,<br />

enabling talented young musicians, still<br />

in full time education, to meet once a<br />

year, enjoy a short burst of intense<br />

rehearsal and make great music together.<br />

But this autumn’s half-term dates shifted<br />

unexpectedly, so that neither the usual<br />

Hertfordshire rehearsal venue, nor the<br />

iconic Cadogan Hall (previous home to<br />

the full 90 strong ESO orchestra) were<br />

free for the dates. Where two doors<br />

closed however, The Purcell Room and<br />

Haberdashers’ Aske’s Boys’ School<br />

opened two more for the young people<br />

and their many regular admirers,<br />

including Dame Norma, Lady Major, wife<br />

of the former Prime Minister and<br />

biographer of Joan Sutherland.<br />

Each member of The Navarra Quartet,<br />

acclaimed for its ‘vivid sense of dramatic<br />

expression’ will sit with their respective<br />

instrumental section, to lend confidence<br />

and play solo. Spectators may recognise<br />

bars of Beethoven’s Seventh from the<br />

movie The King’s Speech, and share the<br />

soul spritzer this piece first provided in<br />

1813, to a Vienna downcast by<br />

Napoleon’s recent occupation. ‘This is<br />

the piece I most look forward to playing’<br />

says double bassist Elliott Simmonds.<br />

‘It’s cool, exciting and action-packed.’<br />

The 14 year old student from Alleyn’s<br />

School Dulwich has been getting to<br />

know the piece through Spotify and You<br />

Tube and will enjoy polishing it (plus<br />

playing ping pong in chill-out breaks)<br />

with the friends he made on last year’s<br />

rehearsal residential. For cellist Isabelle<br />

Carnell, who is 16 and has just passed<br />

Grade 8 with distinction, the stand-out<br />

piece is the Hebrides Overture. ‘As I’ve<br />

been preparing, I’ve visualised the<br />

crashing water of Fingal’s Cave. The<br />

wave seems a metaphor for the whole<br />

piece’ says Isabelle who’s in Year 11 at<br />

Cokethorpe School, Whitney. ‘With the<br />

English Schools’ Orchestra you play<br />

different music to a higher standard and<br />

that’s how you grow to aspire.’<br />

For tickets, telephone 020 3879 9555.<br />

ANDREW ZOLINSKY EXPLORES<br />

DEBUSSY AND JAPAN<br />

Andrew Zolinsky marks the centenary<br />

of the death of Debussy with a recital<br />

exploring the composer’s fascination with<br />

Eastern culture with a concert on Sunday<br />

28 October (15.00) at St John’s Smith<br />

Square. Alongside Debussy, Andrew<br />

presents works by contemporary Japanese<br />

composers which, in a recital of<br />

fascinating juxtapositions, explore similar<br />

aspects of space, time and spirituality.<br />

Andrew says; ‘With the piano music<br />

he wrote in the first fifteen years of the<br />

twentieth century, Debussy changed the<br />

sound of the piano forever. So many of<br />

the composers writing for the piano after<br />

this time (Messiaen, Stockhausen, to<br />

name just two) would not have dared to<br />

experiment with the wide range of<br />

sound possibilities had Debussy not<br />

explored the sonority of the instrument<br />

with such imagination and courage. So<br />

much of this new sound owes its<br />

existence to his fascination with oriental<br />

culture, in particular to Japanese prints<br />

and the sound of the Javanese Gamelan.<br />

It is this aspect of his art that I am<br />

exploring in my programme. What<br />

attracts me to any music and any<br />

composer something individual, quirky,<br />

original in the sound of their music. For<br />

me, Debussy's music sounds like<br />

nobody else's.’<br />

For tickets to the performance,<br />

telephone the St John’s Smith Square<br />

box office: 020 7222 1061. Nearest tube<br />

is Westminster, on the Jubilee Line.<br />

Andrew Zolinsky.<br />

T H I S I S L O N D O N M A G A Z I N E • T H I S I S L O N D O N O N L I N E

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