AUDIO AND RECORD REVIEW, MARCH 1968

We are hearing much just now about the low standard and bad conditions of music education in England, and I think it is true, especially in so far as financial support is concerned; yet hearing this record it is clear that despite all difficulties and official backslidings there are certainly bright spots in the result, and may be taken as evidence of heartening progress. This would hardly have been thinkable thirty, or even twenty, years ago. In fact, Leicestershire appointed its first Music Adviser in 1948, but since then developments have been swift and positive. There are three orchestras of the County School of Music - Junior, Intermediate and Senior. This of course is the Senior, comprising around 100 members between the ages of 14 and 18. I haven't heard them before, and I am considerably impressed. Other counties have their music activities too but Leicestershire has made a particularly thorough job of it.

Of the works here recorded, Tippett's Suite was written for the birthday of Prince Charles in 1948; Malcolm Arnold's Divertimento was written for the National Youth Orchestra in 1959; William Mathias's Sinfonietta dates from late 1966 and Alan Ridout's Concertante Music was specially composed for this recording, to a commission from the Loughborough University of Technology, in July 1967. They make a well varied group, style and orchestral requirement aptly contrasted. Though all the music is technically resourceful, demanding resource from its players, nothing is wildly or wilfully complex in the abstruse sense. Sir Michael Tippett's Suite uses a number of traditional tunes, including Crimond and Early one morning and a French one in the Berceuse, for a work that is at once simple yet full of original and imaginative elements. Ridout's Concertante Music and Mathias's Sinfonietta are excellent vehicles for young orchestral players in their different ways, and so predictably is Arnold's Divertimento. The Ridout has some intriguing rhythmic juxtapositions, and the Mathias is said on the sleeve to make use of popular rhythms of our time, though I see but little direct evidence of that, or else the note writer does not mean by popular rhythms what I mean by it, and if the slow movement has the character of a 'blues’, then again the connection escapes me. But that says nothing against the music itself, which is, like the rest, attractive to listen to and I've no doubt interesting to play. The orchestral playing has in general the natural exuberance and technical caution characteristic of very young musicians. Brass, woodwind and percussion are especially enthusiastic, and if the strings sound rather less so, and slightly less assured, that is to be expected, especially in England. The recording is generally good, but I hardly know how to give a performance rating in the context. What is the relevant standard of reference? The crack national and international orchestras, or something vaguely described as 'youth' or 'schools'? The former is obviously absurd, but the latter may seem patronizing or indulgent. What is not in question is that this is a useful and enterprising issue for which all concerned-deserve praise, for content and execution as well as its basic idea. BURNETT JAMES

GUILDHALL CONCERT, JULY 1968

By Michael Reynolds

Leicestershire Schools Symphony Orchestra.

City of London Festival, Guildhall, London.

If I had been writing about a professional, adult symphony orchestra, I should have been making minor quibbles about its performance. But I am writing about the Leicestershire Schools Symphony Orchestra, creation of county music adviser Eric Pinkett. It is composed of Leicestershire schoolchildren between the ages of 14 and 18 who get together each Saturday morning during term time and also for an annual Easter course. Unlike the members of some other youth orchestras, they are ordinary schoolchildren and not full-time music students. And as such they are extremely good. It is enormously to the credit of a composer of world eminence like Sir Michael Tippett, who conducted the larger part of Saturday's concert, that he takes the time and trouble to rehearse and direct them. No other youth orchestra, surely, has the inspiration of being associated with a contemporary composer of like stature. Its Guildhall programme of well-chosen English music was better than I had any right to expect. Its performance was extremely creditable.

GUILDHALL CONCERT, JULY 1968

The more hopeful visits one makes to Guildhall, the more distressing it is to realize afterwards that the hall's acoustic conditions and seating arrangements are hopeless for orchestral concerts. That time and time again they prove the dominant feature, and that the sooner the City Festival stops squandering some of its most promising events on them the better. However, last Saturday's concert was a much happier occasion than most. This was a Youth and Music concert given by the Leicestershire Schools Symphony Orchestra. All things considered, young string players are helped by acoustics like these, especially in the c.1900 repertory, which provides the best material for them. On Saturday it gave their playing body and warmth, turned enthusiasm into confidence and freshness into style. Delius's Brigg Fair, Vaughan Williams's Greensleeves and most of Elgar's Enigma Variations sounded very well indeed. In another hall I think I would have been disappointed by their playing after such dazzling reports from last year's Leicester Festival and remembering comparable orchestras such as the London S.S.O. and the Kent County Youth, whose performance of Walton's First Symphony still astonishes me. A surprising amount of makeshift bowing and fingering was going on in the strings and though some of the wind playing was very good indeed some also was much less so. Nor did Sir Michael Tippett's nervously indecisive conducting seem to help them and the highlight of the concert was the spirited performance of Walton's virtuoso showpiece, Partita, the one item conducted by their trainer, Eric Pinkett. G. W.

LEICESTER MERCURY, APRIL 1968

Having been televised, broadcast on radio and put on gramophone record, there seems only one form of mass communication that the Leicestershire Schools Orchestra has missed. But that will be rectified next week, writes the Leicester Mercury music critic, R.A.P., when the 100 members of the orchestra will take part in a film entitled "Music! " which is being made for the National Music Council. Tomorrow, the orchestra leave Leicestershire for Chippenham where their Easter course of intensive rehearsal will be directed by conductor Norman Del Mar. Sir Michael Tippett, patron of the enterprising Leicestershire School of Music, will take part in the filming, which will occupy the final two days of the eight day course. The ultimate in artistic achievement in "Music!" will be represented by the B.B.C. Symphony Orchestra under its conductor Colin Davis who is acting as Musical Adviser for the film project. The B.B.C. orchestra's co- leader Trevor Williams will be one of two specialist tutors at Chippenham during the Easter course. The other is Ambrose Gaultlett, senior cello professor at the Royal Academy. "Music!" will also feature Leicestershire schools. Excerpts from the many and varied activities that are part of the County's musical growth were filmed last month at Birstall, Quorn, Thurmaston, Thurcaston, Coalville and Burton-on-the-Wolds. Nichola Gebolys, the gifted young pianist who has already played with the Leicestershire Schools Orchestra, will also be there to rehearse for forthcoming concerts in Leicester De Montfort Hall (May 1), Fairfield Hall, Croydon, and during the Vienna trip in the early Autumn.

LEICESTER MERCURY, MAY 1968

This orchestra, now deservedly famous, has the rare privilege of enjoying at one and the same time perennial youth and increasing maturity of style. The 100 young musicians who filled the stage of Leicester De Montfort Hall last night, for instance, were no longer wholly the same as those whose excellent playing has been permanently captured on a 12-inch record issued earlier this year.

But departures at the top end of the age-range are annually compensated for by replenishments supplied via the County School of Music's two other symphony orchestras - the Junior and the Intermediate.

The process is continual and it is worth mentioning because one item in last night’s programme reflects the rate of advancement that has been achieved in very recent years and the confidence that the orchestra attracts and enjoys.

Walton's Partita was written expressly to show off the paces of one of the world's most virtuoistic orchestras - the Cleveland. It was first performed a decade ago at which time nobody - not even in Leicestershire - would have conceived of its being attempted by a schools orchestra. But played it was, last night, fearlessly and with evidence of a genuine instinct for Walton's characteristic rhythmic energy in the outer movements and with good solo work in the central Siciliana.

In a different way and without the technical battles to remind us of sheer difficulty of execution, the Delius was as fully revealing of orchestral quality and more, of mature orchestral thinking. Under Eric Pinkett's direction, this was a highly successful performance in which the various sections of the orchestra used intelligence and excellent ensemble sense to fill out with fine balance and tone the composer's rich harmonic textures. There were some really sumptuous sounds to be heard. In an evening's music which set out to be entertaining the high comedy spot was lbert's Divertissement with its Keystone Cops finale. It was extremely well played by chamber orchestra with percussion and the 25 performers relished its sharp wit without loss of musicianly restraint. Eric Pinkett generously and wisely allowed the beautiful playing of Nichola Gebolys to inflect the course of the Franck Variations. She is a pianist of quite exceptional gifts among which (a rarity nowadays) is her capacity for making the instrument sing. She has a beguiling legato, an alert rhythmic sense and (as in the lento section) the ability to sustain lengthy expressive paragraphs. A word of praise here to the cellos for their sympathetic response. There is space only to mention the robust and vigorous orchestral playing that, in breezy contemporary American-idiom, opened and closed a concert that was sponsored by the Friends of the County School of Music with the aim of helping towards the cost of the orchestra’s Autumn trip to Vienna, Salzburg, Graz, Linz and Munich.

R.A.P.

The full-length colour film "Music!" which will feature Leicestershire County School of Music is likely to have a Royal premiere in September.

Leicestershire's contribution will be completed at Birstall on May 25 when the sound of the Leicestershire Schools Orchestra will be recorded for "dubbing" on to the film made during the orchestra's Easter course at Chippenham.

Earlier in the year, film and recordings were made of the musical life of six Leicestershire schools. "Music!" whose musical director is Colin Davis (conductor of the B.B.C. Symphony Orchestra) is planned as a prestige film which will be shown at international festivals.

The record made by the Leicestershire Schools Orchestra has had very favourable reviews since its issue earlier in the year, writes Leicester Mercury music critic R. A. P. and the standard of playing has won enthusiastic praise.

There have been one or two mild criticisms of the disc's quality of sound and having been present in the De Montfort Hall during the recording I can confirm that the orchestra's characteristic vitality has not been perfectly captured. The young instrumentalists technical achievement, of course, speaks for itself but the aural effect of my particular copy improved enormously after I discovered that a stereophonic disc had been mistakenly put in a mono sleeve!

LEICESTER MERCURY, NOVEMBER 1968

"If you had happened to meet them on the street you would never have believed that the long-haired girls in their mini-skirts would even know how to hold a violin properly, let alone play it nicely." But as it happened they did play well (so did the Beatle - headed boys) and musical Austria has never been quite the same since. My quote is from a Graz newspaper. It is one of many similarly influential newspapers in Austria which embarked on a self-critical look at the state of music there, following the Leicestershire Schools' Symphony Orchestra's autumn tour. The Graz paper does little more than hint. "There is no need to worry about the development of young musicians - in England, anyway," it states. It does also admit, however, that Graz's school system is one in which music has "so little purposeful a place".

But for uninhibited forthrightness, listen to the Express of Vienna. "Let us keep quiet about the legendary musical country of Austria," it declares while, at the same time, strenuously denying the myth that nothing great in the field of music is to be found in England apart from Purcell, Britten and the Covent Garden Opera. "Indeed, they have achieved what has not happened elsewhere in Europe and this is the foundation of a genuine amateur orchestra in which children are brought up in a common musical effort. If we think what a decreasingly small proportion of Austrian school children play an instrument, and how much smaller still this number would be if we exclude those who play the piano the outlook is dismal and when we think further that in the 'Capital of Music', Vienna, the same gentlemen who put about this high-flown description in all possible and impossible official outlets in the world have just decided to reduce the amount of music instruction in Austria to one hour per week, eyes fill with tears of despair. They should have gone to the concert of the Leicestershire Schools Orchestra and, perhaps, these children of our time, mini-skirted and beatle headed, would have taught them better".

A Salzburg newspaper suggests the setting up of some musical education scheme which is lacking not only in Salzburg (which claims for itself the name of "musical city") but also in Vienna. "The appearance of English school children should remind those in responsible places about their duty to set up youth orchestras in this country not least because we were able to see how spontaneously the young and enthusiastic audience responded".

Three Linz newspapers are equally critical of the present state of things in Austria and demand action. The young Leicestershire musicians, according to one, descended "like a thunderbolt from the clear sky" to the consternation of those who always imagined that Austria was the "leader of the world in music". "You had to wish," it added, "that Austria's Minister of Education could have heard them. Perhaps then it would have dawned on him what a crime it is that in our country music lessons in the upper schools have been reduced."

Another Linz paper was surprised that the Orchestra should be the product of the English who, generally, "do not play a very important role in the musical avant garde". Nevertheless, it recommended the Leicestershire achievement as being worthy of serious study by Austrian music teachers. "We were almost eaten up with envy" was the third Linz paper's unqualified approval of the Schools Symphony Orchestra. And like many others its writer had an eye for girls' mini skirts which, he (?) observed, "are getting ever shorter." But the implied approval of ascending hemlines in this phrase was not shared by the Wiener Zeitung. "To the girls we must say that their mini-skirts on the concert platform do not make a very good impression" it stated, reprovingly. And having read through a score or more notices and comments from the German and Austrian Press (in translations supplied via the County School of Music)

I can say that this was the only piece of severe criticism that the Leicestershire Schools Symphony Orchestra attracted in a tour of nearly three weeks' duration. R.A.P.

LEICESTER MERCURY, OCTOBER 1968

In Munich, tonight, Norman Del Mar will conduct the Leicestershire Schools Symphony Orchestra in the last concert of their tour of Austria and Germany. Earlier today he directed them in a programme recorded for Bavarian Radio, and previous to that, he was on the rostrum for four important concerts - one in Leoben, two in Vienna and one, last night, in Salzburg's famous Mozarteumsaal. On the eve of their departure for the Continent a fortnight ago, he conducted the orchestra in Croydon's Fairfield concert hall. These seven concerts represent his biggest single commission with the Leicestershire Schools Symphony since the association began a few years ago and since when he has helped the orchestra to earn such compliments as "near professional" from eminent music critics.

But how does it feel for so distinguished a conductor to move from the sophisticated standards of the established orchestras which he regularly directs to the capabilities of a youth orchestra composed of young musicians whose ages extend downwards from 18 to 13. How does he adjust between the conclusion of a performance with say, the B.B.C. Symphony and the up-beat that begins a rehearsal at the County School of Music's headquarters in Birstall.

"Initially, I make no adjustment," Mr. Del Mar told me, "My approach is professional, I treat these young players as professionals and expect professional work from them." Then, with an expanding smile: "But, of course, it soon becomes evident that one is not getting it! But I think it eminently preferable to operate in this way than to expect little and try to work upwards." The word "professional" is one that the 100 members of Leicestershire Schools Symphony hear frequently during a rehearsal. He cajoles them with it and he taunts them with it. But he knows their limits. There comes a time when he has to say to himself: "Ah, that's as far as we can go." Invariably, however, the limit exceeds earlier expectancy. To insist on high standards is to raise standards. Mr. Del Mar has had much experience of conducting youth orchestras, but the Leicestershire Schools Symphony, he says is the finest of them. Could they still improve? Yes. Particularly if rehearsal discipline could be improved. "Sometimes I think I'm not strict enough with them. They are inclined to switch off when I am talking to them and then switch on again when I've finished. Then they play exactly the same as they did before I stopped to correct them."

"That is one point where they differ from professionals, but of course, it is something which goes with their age and can't altogether be eliminated. Nevertheless, I think we could do better. I really must be more strict."

The Leicestershire Schools Symphony have earned a reputation for tackling exacting works. William Walton’s Partita was composed to display the prowess of one of the world's virtuoso orchestras - the Cleveland. It has been part of the Austria / Germany tour programmes and is the toughest thing the county's young musical ambassadors have attempted. Half of the professional Del Mar, one could see, would have inclined towards discretion. But the other half appreciated and valued the fact that youthful zest and fearlessness - and talent - can endow such a work with an aura that is both exciting and musically valid.

"The Partita," he said, "can if it goes well, produce a total effect which can be recognised and felt even if all the right notes aren’t there. It is that sort of work and the Leicestershire orchestra can bring it off." But works which were less technically demanding were often as hard to play for other reasons. Beethoven symphonies were challenging because they were so well known, and because the quality of musicianship required to do service to them was exceedingly high. But this was not an argument for ignoring them. ("We ought to do more classics".) Thus is revealed an approach to music which is as respectful as it is professional-an attitude which the young musicians who play under the Del Mar baton are urged to share. Even a "lollipop", as I heard, receives serious attention.

"This may be only an encore," he declared to an orchestra silenced by staccato rap on the music desk, "but it happens to be the sort of thing which, if it is to be done at all, needs to be done terribly well."

Norman Del Mar's enthusiasm is both considerable and infectious - a characteristic which makes his rehearsals stimulating and entertaining affairs. He expands fluently and exuberantly on all aspects of music at a tempo swifter than shorthand. Towards the end of the rehearsal interval during which we talked, a glance at his watch heralded another instance of his professionalism.

"Only two more minutes," he warned me, "I mustn't keep them waiting".

Two minutes to learn that Mr. Del Mar has completed two volumes of his study of Richard Strauss and is now at work on the third and last. That he has plans for a book on orchestration - "not the usual kind of thing but something quite different". That he has a symphony "on the stocks" which he wouldn't "force" on anyone because his compositional style (late chromatic) may prove to be no longer viable.

That his work with the Leicestershire Schools Symphony Orchestra is exciting, worthwhile, rewarding and that he wished he had had the benefit of something similar in his early years. I next met Norman Del Mar after the successful concert at Croydon. He had drawn playing from them that had vitality and a clean professional sound. Walton's Partita had been one of the items. Had it achieved its total effect? Not the sort of question to pose at an official reception. But glass in hand and acknowledging congratulations on the orchestra's behalf, he said he was tremendously looking forward to his tour with Leicestershire's young musicians.

R. A. P.

LEICESTER MERCURY, SEPTEMBER 1968

After a strenuous day involving a recording for television, rehearsals and an evening concert at Croydon, 100 members of Leicestershire Schools Symphony Orchestra leave Dover tomorrow for a concert-giving tour of Austria and Germany that would test the stamina of hardened professionals. The orchestra’s first engagement after leaving Leicester this morning was at the B.B.C. television centre in London where they stayed for an hour to record music for the feature "How It Is." After lunch in London they left for an afternoon rehearsal at Fairfield Hall, Croydon in preparation for tonight’s concert there which will be conducted by Norman Del Mar. The concert over, they travel to Dover to spend the night in youth hostels and, after the sea crossing, they will stay overnight in Brussels before travelling overland via Frankfurt and Nuremburg to Linz where on Wednesday they will give concerts in the afternoon and evening. On the two succeeding days they will give concerts at Eisenstadt and Leoben respectively and on the following Saturday, a morning concert at Graz will be recorded by Graz Radio for future transmission. The orchestra will arrive in Vienna the same evening and after a free Sunday for sightseeing, they will give two concerts in the city - on Monday, September 30 and the following Tuesday. Their concert on Wednesday, October 2 will be given in Salzburg's Mozarteumsaal and they will complete their engagements in Munich where they will record for Bavarian Radio on the morning of Thursday, October 3 and give a concert in the evening.

The Leicestershire Schools Orchestra will travel back to England via Frankfurt and Dunkirk. Most of them will return back to the county, of course, but a number of them will say goodbye in London to their colleagues and to the County School of Music and begin life as students at the various music colleges. Altogether, the orchestra will give nine concerts abroad, six of which will be conducted by Norman Del Mar and three by Eric Pinkett, the County's Music Adviser. R. A. P.

RECORDS AND RECORDING, MARCH 1968

Perhaps it’s unfortunate that the words 'Leicestershire Schools Symphony Orchestra' in big bold type dominate the cover of this record: too many browsers will smile indulgently - and pass on. They don't need to; this record needs no indulgence. Though the scores are by no means easy to play, these young people achieve a remarkably high standard of performance which compares favourably with many professional orchestras. Predictably the woodwind are very good; less predictably, the brass are first-rate with some thrilling playing from the horns. Only in the stratosphere of string writing (as in Tippett's Carol and Finale) is there any suspicion of insecurity.

But this record offers something more than a preview of tomorrow's orchestral players; it brings forward four works by contemporary composers which are tuneful, exciting and musically rewarding. Though 'modern' in idiom they are pleasantly so, indeed this record might well be called 'Modernism without Tears'. The Intrada of Tippett's Suite irritates me because it keeps dragging in the first line of 'Crimond' for no very obvious reason, but never gives us the rest of the tune. Otherwise the Suite is delightful, gracious music. Berceuse is, appropriately, built round a charming old French air. Then a stately fanfare for winds introduces and rounds off a lively jig which admirably demonstrates the virtuosity of the strings. The fourth movement Carol is based on Angelus ad Virginum and the Finale mischievously combines a cornish dance with Early one Morning! Ridout's Concertante Music, specially written for this recording, is more astringent but generates a good deal of motor excitement. Though written in one movement it has a clearly defined A-B-A-coda structure, the middle section acting as a brief slow movement. The other two works also have three movements, lively-slow-lively. Mathias adds a piano to his orchestra, not soloistically but as an orchestral instrument used to produce evocative tone colours. The slow movement has a strong spice of the Orient, not the genuine Orient but the Orient of Rimsky-Korsakov, Puccini and Strauss; so much so that I was irreverently reminded of Ketelbey's Persian Market! The finale is a sizzler.

Arnold's Divertimento is, as one would expect, tremendous fun. It is also an exciting challenge to the youngsters' skill. The Nocturne takes a naughty side-swipe at Bartok at his most nocturnal while the hilarious finale is constructed, of all things, on a solemn ground bass. Pray silence, ladies and gentlemen, while we listen to Purcell spinning in his grave! The recording is excellent in both stereo and mono and all -four works deserve to become popular. On cheap label a prize not to be missed.

TV WORLD, FEBRUARY 1968

At a time when pop musicians steal most of the glory, the Leicestershire Schools Symphony Orchestra has built up a deservedly high reputation. One of the pioneers of youth orchestras, it has toured all over Europe, and last month made its first long-playing record. On Wednesday, it plays a new work by Herbert Chappell in Sounds Exciting. It's an unusual composition about musical instruments falling in love. The viola is the heroine of the piece. She finally marries the piano. And playing the viola will be 18-year-old Moira Watkinson.

Said Moira: "There's always been a feeling of professionalism in the orchestra, although we are all still at school. We practice together every Saturday morning but that's nothing to the work we put in during the week. I spend two hours a night playing the viola." Boy friends? "No, music is the most important thing

in my life."

WATFORD OBSERVER, JANUARY 1968

IF you feel like being cheered up, go out and buy Pye Golden Guinea GGC 4103 mono, GSGC 14103 stereo. Lower your pick-up on to side one and listen to some orchestral playing of a quality which might be representative of any professional orchestra north of London. But this is not a professional orchestra. It's the Leicestershire Schools Symphony Orchestra which draws its players not from the whole nation but just a single county. They play four pieces, all by contemporary British composers. There is Sir Michael Tippett's Suite for the birthday of Prince Charles, Alan Ridout's Concertante Music, William Mathias’s Sinfonietta and the Divertimento by Malcolm Arnold. Conducting honours are divided between Tippett, Ridout, Mathias and the Leicestershire schools music director, Eric Pinkett. If this can be done in Leicestershire, it can be done in Hertfordshire or in any other county. There is no reason to suppose that Leicestershire has a monopoly of musical talent in its schoolchildren and this record suggests pretty clearly that there is a tremendous number of musically gifted children in this country whose ability is never even recognised. The quality of the Leicestershire orchestra is extremely good and one or two young musicians make it clear that music is going to be their career. Certainly the timpanist is a boy with outstanding ability.

LEICESTER MERCURY, OCTOBER 1968

The recent tour of Austria by the County School of Music was a "fantastic" success and enhanced the reputation of Britain. This was reported to the Leicestershire Education Committee by the director of education, Mr. S. C. Mason. He said it had been the orchestra's most strenuous tour yet and it had virtually played one-night stands. But the response had also been the warmest ever. Halls where they played had been full and there had been long ovations.

The committee chairman, Alderman Peter Hill referred to the orchestra as "one of the jewels" in the authority's crown.