The Salopian no. 160 - Summer 2017
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SCHOOL NEWS<br />
23<br />
Fergus Macleod), and part of the Choir<br />
becoming the English Haydn Festival<br />
Chorus, giving annual performances<br />
of choral music by Haydn, Mozart<br />
and others in St Leonard’s Church,<br />
Bridg<strong>no</strong>rth accompanied by some<br />
of the UK’s finest period instrument<br />
players and working with soloists of<br />
international standing.<br />
This April the choir gave a terrific<br />
account of the St John Passion in<br />
Shrewsbury Abbey, with Henrike<br />
Legner (OS) singing the sopra<strong>no</strong> solos,<br />
and Alex Mason and David Joyce<br />
being very much key players in the<br />
accompanying ensemble. Next year we<br />
will return once more to Birmingham<br />
Town Hall for a joint concert with<br />
school musicians and choristers. It<br />
should be <strong>no</strong>ted that the Community<br />
Choir are also the most loyal supporters<br />
of concerts involving pupils performing<br />
during the year, and we are hugely<br />
grateful to them for that very supportive<br />
role that they play every term.<br />
No report on Music since the start of<br />
the year can ig<strong>no</strong>re the return visit<br />
to the School of yet a<strong>no</strong>ther great<br />
Old <strong>Salopian</strong> musician, pianist Galin<br />
Ganchev. James Fraser-Andrews’<br />
eloquent review, published on<br />
the School website, describes this<br />
beautifully and in detail. Suffice to say<br />
that Galin has lost <strong>no</strong>ne of his youthful<br />
power and musical charisma and<br />
magic. Indeed it has all come on even<br />
further during his first year and a half at<br />
the Royal Academy of Music, where he<br />
is studying with Professor Ian Fountain.<br />
He can fill the Alington Hall with both<br />
an audience and the most ravishing<br />
sounds, and if fate is kind and there are<br />
just rewards for the years of hard work<br />
that he has put in and will, I am sure,<br />
continue to do in the future, then a<br />
great career lies ahead for him. He is a<br />
musician with much to say, and one to<br />
whom it is well worth listening.<br />
An important feature of music at<br />
Shrewsbury is the breadth of styles<br />
both on offer to and performed by<br />
pupils. A few years ago we were lucky<br />
e<strong>no</strong>ugh to have a terrific group of Sixth<br />
Form musicians including Rob and Alex<br />
Collins, Cal Winwood and Sam Wilson,<br />
who led a jazz outfit named Blasé.<br />
<strong>The</strong>y seemed to be in high demand to<br />
play at every function in the diary and<br />
would also play concerts in town and<br />
further afield, including the Edinburgh<br />
Festival Fringe. Recently we were lucky<br />
e<strong>no</strong>ugh to be able to invite OS Sam<br />
Wilson (M) back to the School with<br />
his current band, Sifaka, who hail from<br />
Leeds, where Sam was a student. Sam<br />
is a wonderful songwriter and jazz<br />
musician, who also k<strong>no</strong>ws and loves<br />
his rock and African-tinged repertoire,<br />
which run through the veins of Sifaka’s<br />
music. It was a great evening, enjoyed<br />
by a good-sized audience of townsfolk,<br />
staff who remembered Sam from his<br />
days here, and pupils. He, like other<br />
OS singer/songwriters such as Charlie<br />
Straw and Luke Lloyd-Jones amongst<br />
many others, is really a name to look<br />
out for, and Sifaka are well worth<br />
more than a second listen. Sam plays<br />
keyboard, flugelhorn and shares the<br />
lead vocals with Mared, a fabulous<br />
singer from Wales, who fronts the band<br />
with her amazing vocal range.<br />
We were also so lucky to be able<br />
to offer current pupil Arthur Yu (SH<br />
UVI) a full evening pia<strong>no</strong> recital by<br />
himself this term. This took place in<br />
the Maidment Building, where we <strong>no</strong>w<br />
have a second wonderful Model D<br />
Steinway, <strong>no</strong>w looking pristine having<br />
had its casework recently completely<br />
refurbished in Poland, and with much<br />
restoration work having already been<br />
done last year. It is a magnificent<br />
instrument, and one to which Arthur<br />
brought his own brand of pianistic<br />
magic. A more fullsome review of<br />
his recital has been published on the<br />
School website.<br />
Like Galin before him, Arthur is a<br />
wonderful pianist and thoroughly<br />
deserving of his scholarship to the<br />
Royal Northern College of Music, where<br />
he takes up a place later this year. To<br />
hear a pupil play both the mighty B<br />
Mi<strong>no</strong>r Sonata by Liszt and Chopin’s<br />
C Sharp Mi<strong>no</strong>r Scherzo in the same<br />
programme, alongside many other<br />
substantial pieces of repertoire, and all<br />
from memory, was simply wonderful.<br />
And finally, with the quite literally<br />
dying last <strong>no</strong>tes of Purcell’s masterpiece<br />
Dido and Aeneas ringing in our ears,<br />
so wonderfully sung in May by Sophia<br />
Price and a talented cast of singing<br />
students, all pupils of Jonathan May and<br />
Kathryn Turpin, I can bring this musical<br />
ramble to an end. It has been quite a<br />
journey since the start of the year, and<br />
there are more musical tales to tell that<br />
must, for reasons of editorial space,<br />
go untold, but that have also played a<br />
part in keeping the musical life of the<br />
School buoyant and fulfilling for all<br />
those involved, either as performers<br />
or audience. Above all, much of this<br />
musical achievement has only been<br />
possible through the hard work,<br />
training and inspirational teaching of<br />
the wonderfully talented team of music<br />
teachers that we are lucky e<strong>no</strong>ugh<br />
to have working for us at the School,<br />
and also the huge efforts of the pupils<br />
themselves, who give tirelessly of their<br />
time in what must be one of busiest<br />
school environments in the country.<br />
Floreat Salopia<br />
John Moore