EVE OF

WYKEHAM DAY
CONCERT
F R I D AY 1 6 T H J U N E 1 9 3 0 N E W H A L L
St Michael’s Choir, Chapel Choir,
Sinfonia, Symphony Orchestra,
Chamber Orchestra, Jazz Orchestra
C.H.H. PARRY W.A. MOZART
I WAS GLAD SYMPHONY NO. 38 IN D ‘PRAGUE’ K504
St Michael’s Choir, Chapel Choir, Symphony Orchestra
Oliver Tarney conductor
1ST MOVEMENT
Chamber Orchestra
James Toll conductor
CLAUDIO MONTEVERDI
BEATUS VIR
Chapel Choir with Rebecca Miles P. TCHAIKOVSKY
& James Toll (violins) Nicola Heinrich (cello) FANTASY OVERTURE: ROMEO AND JULIET
and Benjamin Cunningham (chamber organ) Symphony Orchestra
Howard Ionascu conductor Sarah Baldock conductor

JEAN SIBELIUS CHARLES MINGUS

FINLANDIA OP. 26 NOSTALGIA IN TIMES SQUARE
Sinfonia
James Toll conductor & BETTER GET ‘IT IN YOUR SOUL
Jazz Orchestra
Thomas Barton conductor
PARRY -
I WAS GLAD
Sir Charles Hubert Hastings Parry wrote his famous setting of I Was Glad in 1902, initially for the coronation
of Edward VII, but it was revised in 1911 for the coronation of King George V. The piece is set to the text of
Psalm 122, a prayer for the peace and prosperity of Jerusalem.

Parry was born in Bournemouth, England in 1848 and showed an early aptitude for music, studying at
Eton before attending Oxford University. He went on to become a professor of music at Oxford and later
the director of the Royal College of Music in London.

Parry’s grand setting of I Was Glad is employs large orchestral forces, which creates a bold and powerful
statement. After the opening brass fanfare, the chorus declaim the words ‘I was glad,’ the orchestration
representing the positive word painting on the word ‘glad.’ Parry creates an antiphonal effect between the
chorus (also two choirs) and the brass, creating two opposing forces. This is then developed throughout
the orchestra, with both sections keeping up the important musical dialogue.

Parry sets the ‘O pray for the peace of Jerusalem’ section much more tenderly with a warm lyrical melody.
After this, the piece once again takes on a more regal character, building to its fullest texture and dynamic.

The royal splendour of the music is one of its biggest attractions, and it is now often heard in concert halls
around the world as a stand-alone work. The piece has been featured at many royal occasions including
the marriage of Prince William to Catherine Middleton. It has been performed at every coronation since
it was written including the recent Coronation of King Charles III.

CHARLES BARKLAM
 Love crushed by a hostile fate was a theme
TCHAIKOVSKY - that deeply intrigued Tchaikovsky who
FANTASY OVERTURE: explored it in many of his works. Premiered
ROMEO & JULIET in Moscow on 4 March 1870, Romeo and
Juliet is now regarded as Tchaikovsky’s
first undisputed masterpiece, though its
‘’I have lovingly made reception at the time was luke-warm at
repeated attempts to best. Mily Balakirev, Tchaikovsky’s older
colleague, had first suggested setting this
beats, signifies the deadly feud between the
two families. The extended second melody,
Tchaikovsky’s famous love theme, is first
played by the English horns and violas, and
encapsulates the two ‘star-crossed lovers’.
The feud between the Montagues and the
Capulets is heard in the recapitulation,
towards the end of the overture, and
leads the entire piece to its climax at the
longer expressed by its main characters,
it is now taken up by a narrative voice.
Through the transformation of the themes,
Tchaikovsky masterfully illustrates the
love story written by Shakespeare in an
orchestral format, portraying love, conflict,
and tragedy vividly and beautifully. As
Tchaikovsky wrote,

express through music story to music, proposing potential themes
both the torment and and a general outline for the work. He was
later critical of the work as Tchaikovsky had
bliss of love.’’ not followed all of his suggestions.
The Overture-Fantasia is in sonata form,
which has three sections: exposition,
development and recapitulation. The
solemn introduction, played by the
clarinets and bassoons, represents the
peaceful character of Friar Lawrence, while
the stormy first theme, with its violent off-
end, where the coda gives us the tragic ‘’I do not know whether I have succeeded, or
rather, I leave it to others to judge.’’
conclusion of the story.
The yearning love theme appears first LOUIS JONES
in the horn (representing Romeo) and
later in the flute (Juliet). After the conflict
of the ‘development’ section, when we
next hear the theme, we hear the horn
accompaniment but not the flutes, perhaps
a nod to Juliet’s ‘fate’, leaving Romeo alone
in their duet. Towards the end, the love
theme is played by the full orchestra. No
MONTEVERDI -
BEATUS VIR
Monteverdi, latterly Master of Music at St. Mark’s, Venice, was one of the great Renaissance The middle section becomes more subdued and intense; however, the dotted rhythms and
composers. Beatus Vir is a joyous motet, and one of Monteverdi’s most recognised works. It antiphony between the voice parts propel the music forward, keeping the listener fixed on
was first published in his collection Selva morale et spiriituale, in 1641, though the piece itself the drama at all times. Before the full chorus returns with the rejoicing opening melody, the
is thought to have been composed much earlier. The motet is a dramatic setting of Psalm 112, tenor parts interact with beautiful semi-quaver runs on ‘gloria’, captivating one’s attention in
‘Blessed are those who fear the Lord, who find great delight in his commands.’ The lively violin anticipation of what is to come.
solo in this piece is borrowed from a secular madrigal (Chiome d’oro) that he had written
Monteverdi packs Beatus Vir full of word painting, reflecting the words through the musical
twenty years earlier; an example of Monteverdi’s talent for mixing secular and ecclesiastical
details. ‘Irascetur’ (‘is angered’) is expressed in fast repetitions in quick succession. Meanwhile,
music. He complained, in a letter, that having to write so much church music was a distraction
the word ‘aeternum’ (‘eternity’) is set in long notes and ‘peribit’ (‘perishes’) has falling figures
from his love for opera and madrigals.
that disappear into a cadence.
Beatus Vir exemplifies his imaginative use of instruments and voices; contrasting the voice
The piece concludes with a six-bar-long ‘Amen’ sung by all six voices being an appropriate
parts singing in pairs with the power of the full chorus. This allows for moments of intense
reflection of the celebration just heard in the motet.
drama and quiet reflection, such as the echoing ‘Beatus Vir’ from the Quirister soloists to
the full energy of the whole choir lift one’s mood, rejoicing with the musicians on stage. FRANCESCA WYSE
Complementing the six-part chorus are string soloists; the use of these instruments varies
throughout the piece. The energetic violin parts dance over a walking bass. This results in a
rich and varied texture that enhances the text and the emotional impact of the music while
maintaining the celebratory tone.
SIBELIUS -
FINLANDIA
Jean Sibelius wrote Finlandia during a time of heightened political tensions as Russia’s hold
over Finland grew firmer. As a covert protest against Russia, this simple but stirring piece was
first premiered in Helsinki in 1899. As censorship of the piece had to be avoided, Finlandia
had to be performed under different names at concerts, many of which were confusing and
ambiguous to the reader. As the Helsinki Philharmonic took the piece on its debut major
tour, the piece, despite its clear political intentions, surprisingly drew worldwide attention,
eventually making Sibelius the most well-known living Finn.
Lasting just a few minutes, the exciting and unsettling nature covering the majority of the piece
symbolises the national struggle Finnish people faced. The ominous brass chords, moving
on to a clamorous and faster section seemed to resemble the growing sense of strength in
the country. However at the end, the orchestra concludes with a moment of composure and
confidence, catching the audience by surprise. This chorale appears in the church music genre
under the title ‘Be still my soul’, and served as a positive statement for the belief of the Finnish
people.

DANIEL GARRETT
MOZART – SYMPHONY NO. 38 -
1ST MOVEMENT
By the age of five Mozart had already performed widely before European royalty, showing off
his wondrous and prodigious musical talents. Throughout his teens he continued his musical
life at the Salzburg court but looked to Vienna for a higher position. Whilst in Vienna, he
composed some of his greatest symphonies, concertos and operas.
Composed in late 1786, Mozart dedicated this symphony to the people of Prague. Although
Mozart normally composed four-movement symphonies, here he cuts the Minuet, realising
that in Prague there was no appreciation for Viennese dances. The symphony starts with
a slow introduction, a rare occurrence for Mozart. The orchestra alternate between loud
accented chords and the violins rising ornaments showing the full range in character and
dynamics. The whole orchestra continues to accompany the 1st violins throughout the first
part of the first movement.
Through many changes in character, oscillating between major and minor, the use of
tremolando strings, coupled with grand chords bring this movement to a rousing conclusion.

CHRISTOPHER BACON
 Charles Mingus is arguably one of the most influential century, familiar to Mingus from his childhood
and important figures in twentieth-century American growing up in Watts, Los Angeles, California.
music, famous for his extensive collection of Similar to Nostalgia in Times Square, Better Git
compositions and recordings, as well as for his talents It In Your Soul includes several solo sections,
CHARLES as a bass player and pianist. Tonight, Jazz Orchestra including a fantastic drum solo towards the end.
MINGUS – hopes to treat you to two of Mingus’s best-known tunes, It is an entertainingly energetic end to our set,
NOSTALGIA & Nostalgia in Times Square and Better Git It In Your Soul. and we hope you enjoy both it and the rest of Jazz
We begin in style with Nostalgia in Times Square, a laid- Orchestra’s programme of Charles Mingus.
BETTER GIT IT IN back blues originally written for John Cassavetes’s 1959
YOUR SOUL film Shadows. This particular arrangement of the Mingus MICHAEL NEVIN
classic allows for several roaring solo interludes amongst
“Anyone can the harmonically unique full ensemble sections, helping
to create some lovely moments of contrast throughout
make the simple the piece. The trombones begin with a shattering
complicated. opening duet before entering a battle for the tune with
the saxophone section. Nostalgia in Times Square is both
Creativity is making stylish and uniquely groovy.
the complicated Our programme finishes with a bang with Better Git It
simple.” In Your Soul. The piece opens with a rhythmic bass solo
before the full band emphatically joins in with the tune.
CHARLES MINGUS The main lilting melody which is the focus of this piece
was inspired by the soulful gospel style of the early 20th
ST MICHAEL’S Johnnie Bailey William Hood William Newport Alexander Allen Timothy Cheong Timothée Hairy James Pett
Nye Bayley Robert Huxley Sherlock Ni
QUIRISTERS
Christian Barda Rian Dhital Patrick Higgs Thomas Rakowicz
CHOIR Orlando Beesley Roman Ivanov Monty Saunders Sebastian Barda William Guest Sampson Holmes Henry Sergison-Main
Toby Burrell James Kennedy Laurie Sawbridge Henry Brodrick James Haidar Ivor Lam Will Wang
James Cartwright William Knapman Xander Sharrocks
Kyven Casadevall Tan Bryan Lau Matthew Sneller
Winston Chan Nathan Lenoble William Steffen
Jad Darkazally Bruno Lewis Edward Stewart
Caspar Edwards Rory McGregor Jack Warner VIOLIN 1 VIOLA CLARINET TROMBONE
SINFONIA
Prince Gbedawo William Milroy-Goulding Montague Weaver William Higgs Christian Lan Winston Chan Mr Thomas Barton
Morgan Hayes James Mitchell Johnny Wyatt Wilson Tang Nico Cordonier-
Alexander Hayward Harry Morgan Barack Jin VIOLONCELLO Gehring TUBA
Christopher Higgs Henry Morris-Weston Morgan Hayes Robert Huxley Mr Christopher
William Higgs Deniz Mucen Theo Shedden Monty Saunders BASSOON Barrett
Oliver Shah Nikheel Dutta Kian Barazi
Devan Kumar TIMPANI
VIOLIN 2 Christopher Higgs HORN Nye Bayley
CHAPEL Charlie Barklam James Lewis Ivo Sawbridge
Johann Thomasson Oli Kaung Asher Li
Christopher Brain Peter Marsden Edward Thomson
CHOIR William Brem Henry Menard Sebastian Tsang
David Wang Tom Simpson PERCUSSION
Dominik Clarke Michael Nevin Alexander Winnifrith Kyven Casadevall Tan FLUTE Noah Wong Coen Li
Dylan Connolly Adam Porter Francesca Wyse Sebastian Kingsbury Johnny Wyatt
Sasha Del Mar James Porter Harry Tang Benedict Margolin TRUMPET
Alexander Harker Kate Robinson William Newport
Stephen Lam John Sadie DOUBLE BASS OBOE Milo Spier
Jack Warner Marcus Blackmore-
Mr Bastien Terraz Squires
Ms Rebecca Kozam
SYMPHONY VIOLIN 1 VIOLONCELLO COR ANGLAIS TROMBONE CHAMBER VIOLIN 1 VIOLA DOUBLE BASS BASSOON
Christopher Brain Christopher Leung Ms Rebecca Kozam Michael Nevin Christopher Bacon Louis Jones Sophia Liu Oli Street
ORCHESTRA Christopher Bacon Orlando Beesley Kate Robinson
ORCHESTRA Tom De Vrieze Ivo Sawbridge Jonathan Brack
Brian Chan Sebastian Tsang CLARINET Hugo Cartwright Alvin Yip Felix Townend FLUTE
Alvin Yip Trevor Lam Michael Wimbush Nye Bayley William Holmes Christian Lan William Thomson HORN
Peiyan Han Zayan Ahmad George Gardiner Jacob Low Sebastian Gothard Sasha Del Mar
Alex Cirstea Nikheel Dutta Stephen Lam TUBA VIOLONCELLO Asher Li
Rui-lin Wang Laurie Sawbridge Charlie Edwards Mr Christopher VIOLIN 2 Austin Lam OBOE
Victor Sim Quincy Wong James Porter Barrett Christopher Brain Christopher Leung Adam Porter TRUMPET
Brian Chan Charlie Barklam Shaurya Gupta Seb Robertson
DOUBLE BASS BASSOON TIMPANI Alex Cirstea Orlando Beesley Caelan Francis
VIOLIN 2 Sophia Liu Rosaleen Ben Collins-Gilchrist Peiyan Han Sebastian Tsang CLARINET
Louisa Paterson Rufus Guest Cunningham-Day John Sadie Trevor Lam Stephen Lam TIMPANI
William Holmes Oliver Street Henry Morris-Weston Francesca Wyse George Gardiner Nye Bayley
Jacob Low FLUTE Jonathan Brack
John Sadie William Thomson Evan Barazi
Barack Jin Caden Wong
William Higgs Lloyd Doré Green HORN ALTO SAXOPHONE TENOR SAXOPHONE TROMBONES KEYBOARD
Henry Morris-Weston Sasha Del Mar JAZZ
William Hagger Rupert Balmain Michael Nevin Ernest Yau
Preston Zhong PICCOLO Asher Li ORCHESTRA David Sam Jake Wing George Travis
Sebastian Gothard Edward Thomson Mike Wimbush Mr Paul Stiles Nye Bayley DRUMS
Henry Menard Kate Robinson Ben Collins-Gilchrist
VIOLA OBOE TRUMPET BARITONE
Louis Jones Adam Porter TRUMPET Caelan Francis SAXOPHONE BASS
Christian Lan Shaurya Gupta Alexander Winnifrith Sebastian Robertson Victor Etuokwu Gus Coleman
Ivo Sawbridge Caelan Francis William Hunt
Felix Townend Francesca Wyse Tom Symonds

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