St Andrew’s College Music Flourishes

Press, Volume CIX, Issue 32117, 13 October 1969, Page 12

St Andrew’s College Music Flourishes

On the evidence of its second annual concert given in the Civic Theatre on Saturday evening, St Andrew’s College music is in good shape. A large variety of vocal and instrumental activity was on display, and the audience of parents and friends clearly enjoyed the programme which, if anything, seemed avoidably long. Mr Clifton Cook’s reputation as a trainer of children’s voices is well known, but the speed with which he has developed a characteristic resonance and’ quality of sound at St Andrew’s is remarkable.

Particularly is this true of the bbys with broken voices whose singing of Grieg’s “Recognition of Land” was impressively clear, relaxed and vital. The college choir was most effective in Mr Cook’s own setting of Psalm 150, a composition which lies well for the voices and exploits the natural strengths of

young singers. The trebles sang Handel’s “O Lovely Peace” with tender tone and caught the spirit of “Ring Out, Ye Crystal Spheres,” by Geoffrey Shaw. One can expect big things as the tradition of singing develops in the school. The way these youngsters managed Vernon Griffiths’ difficult but exciting “Let Us, With A Gladsome Mind” indicates the potential for future achievement.

Instrumentally the college is served by a small, but nicely balanced orchestra of strings and wind which played three contrasted pieces very well. The sounds made by the string players were more mature than is normal with school orchestras. The St Andrew’s College Pipe Band is, Of course, an old-established and integral part of the culture of the institution. One was reminded of the Military Tattoo at the Edinburgh Festival by the disciplined musicianship and

demeanour of the boys. The music itself cannot fail to stir, providing there is a drop of Scots blood in the veins of the listener. Several soloists contributed to the success of the evening. John Suckling, the possessor of an easily produced baritone, sang Wagner with a real awareness for style and mood. Brent Black’s cultured treble voice was most effective in Handel’s “Silent Worship.” Richard Mapp captured nicely the essence of the contrasted rhythms of Brahms’s “Ballade” in 'G minor and the dreamy inconsequence of a Chopin Etude. Hugh McMillan showed himself as the possessor of a strong technique and a feel for true piano sonority in a crisp performance of a Toccata by Khachaturian. Both Mapp and McMillan played the accompaniments for the choral items, a responsible and difficult assignment Their contribution in this capacity was distinguished. Hamish Thompson, a violinist with a keen ear and sensible ideas as to which part of the bow to usd, played two movements of a Corelli Sonata; and, in lesser roles, Gregory Fowler and John Patterson both added much by their solos in certain choral items. The climax of the concert came in the “Prince Igo?’ choral dances by Borodin. This music had been most skilfully arranged and adapted by Clifton Cook for this concert. It suited the forces at his disposal admirably. Scored for two pianos (six hands), percussion and choir it made an exciting and colourful end to the evening and was clearly enjoyed by the boys. Amongst its many virtues it revealed an expert side drum player as well as a dedicated and hard-working music master. St Andrew’s is well served by its many musicians. —J.AJI.