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