A Model School Concert

Press, Volume CIX, Issue 32072, 21 August 1969, Page 15

A Model School Concert

Many school concerts are|' too long. Some are too loud. , That given by the Mairebau , High School on Tuesday evening, its first annual music fes- ' rival, was neither. In fact, it, could serve as a model, not only because it reflected , many aspects of the day-by-day activity of the school’s i rnurnc department but also because the programme was , carefully planned, perfectly : organised and it allowed the large audience to enjoy the . offering as a nice blend of entertainment and instruction. Mr Thomas Brown, the > music master, and his colleagues are to be congratulated.

A wide variety of unison and part-songs was presented. Throughout, the singing was characterised by crisp enunciation and a lively rhythmical approach. Particularly effective for the atmosphere created was Scunthorpe’s “Sea Chant” and a selection of folk songs. Tonally, there is a lack «f bloom on the sound the singers produce; but it is early days yet These are young voices in a young school. When tradition lends a band to the fundamentals which are securely being established we can expect outstanding results. They are already artistic. The orchestra played music

well chosen for its capabilities. Two seventeenth century themes were attractively sonorous and an arangement of Haydn’s Serenade for Woodwind proved charming. The Concert Band reflected similar virtues and revealed talented woodwind players in a “Bourree” and “Country Dance,” by H. M. Stuart; Mr Brown’s experienced handling of all these players resulted in true textural clarity which revealed surprising technical competence and musicianly purpose. It is not often that school music conjures up words like finesse; it did so on this occasion

Especially was this true of the School Band which delighted the audience with stylish performances of music ranging from Mozart to Mr Brown himself. Three gifted trumpeters were heard as a trio and the final item, “Our Director," was enhanced by a clever and tasteful callisthenic display upstage. The unpretentious nature of the concert was not disturbed by the solo offerings. Susan Hocken is a bassoonist of real ability; Christine Wilby played a Beethoven Sonatina with a nice touch; Barbara Lee sang a Canadian song with convincing authority;

and David Hill displayed outstanding technical command of the trombore. Of the utmost significance was the presence as composers on the programme of no fewer than nine pupils of the school. Four of them had produced hymns on a given bass. Beth Hair’s Romance for Oboe explored its lyrical bent and tested the young player’s breathing; all to good purpose. Elaine Isles played her “Christmas Lullaby”—a wellcontrolled melody. Lee Gardiner sang her own “Popular Song” which makes anything in “C’mon” sound tired and jaded. “Modern Hymn” by Kay Harrison is for chorus and piano and carries a real punch while “Invention for Brass” by Neville Grenfell demonstrated not merely his gifts as a composer but his exceptional ability as a soloist It should be recorded that in the hymn setting by Shirley Isles one suspected a trace of originality beyond the usual. Throughout an exacting evening Mr Brown was supported by the disciplined attention of his players and singers whose enthusiasm was infectious. Contributing in no small measure was Mr Brian Falloon, whose expert accompanying is heard all too rarely these days, and Mr Leslie Fiance.—J.A.R.