By Colin Mason

The marathon concert at the Cheltenham Festival was given by the Leicestershire Schools' Symphony Orchestra, which gave the first complete performance of Michael Tippett's "The Shires Suite", written piecemeal for the orchestra during the past few years. The main substance of its five sections, alternately choral and orchestral, is a sequence of seven canons, mainly familiar, elaborated or decorated in various ways. They range from "Sumer is icumen in" to a canon written for Tippett's 60th birthday by Alexander Goehr and add up to an important work which is stamped with Tippett's

personality from beginning to end. Especially characteristic are the first interlude, based on "The Silver Swan," played at different speeds by three orchestral groups, and the epilogue, a beautiful and extended setting of Byrd's "Non nobis, domine." It is a taxing but thoroughly practicable and enjoyable work, both in its orchestral writing, which under the composer's direction these young players brought off with great elan, and in the choral movements, excellently sung by the Schola Cantorum of Oxford.

EDUCATION, FEBRUARY 1970

Youth orchestras nowadays often sound astonishingly professional and the Leicestershire Schools Symphony Orchestra is a case in point. Its activities sound like those of a professional orchestra - it goes on an annual European concert tours, plays for radio and TV, makes records and commissions contemporary English composers to write music for it, writes Frances Verrinder.

From very small beginnings in 1947, the Leicestershire Schools Symphony Orchestra has grown into one of the best and best-known English youth orchestras, very largely as a result of the devotion and hard work of Eric Pinkett, the County Music Adviser, together with the financial backing and enthusiastic support of the Leicestershire education authority. The Schools Symphony Orchestra consists of up to a hundred players aged between 14 and 18; there are also two other orchestras graded according to age - one for the over-elevens and one for the minus-elevens - as well as a military band, so that all in all about 400 children turn up to rehearse at the County School of Music every Saturday morning. Although the orchestra does play music from the classical and romantic periods, twentieth century British music figures largely in their repertoire. This trend has increased since Sir Michael Tippett became their patron in 1965. One of his works, Suite for the Birthday of Prince Charles, was included on their first record, released in January 1968. This also included works by Alan Ridout, William Mathias, both of whom conducted and Malcolm Arnold - a formidable combination for any orchestra.

Their second record, Dead in Tune, to be released on the Argo label in April, is quite a different proposition. It developed from the Rediffusion TV series of 1968 Sounds Exciting which explained the various sections of the orchestra. The last programme in the series was Dead in Tune written to demonstrate how the sections of the orchestra work and sound together with a libretto by Robin Ray, who also tells the story, and music by Herbert Chappell. It is extremely witty and contains some outrageous musical and verbal puns, for which one is initially quite unprepared. For example, 'the four families of the orchestra live in a block of flats by the sea - middle sea (c)'! It should make good teaching material- not only is it great fun pun spotting, but the record includes all the major aspects of musical theory and form as well as some good music, performed with exuberance and expertise by the LSSO. The other side, George and the Dragonfly, could also be used for teaching purposes, especially as it has different kinds of music including a Victor Sylvester-type dance tune and a splendid piece of traditional jazz. The music again is by Herbert Chappell, the libretto is by John Kershaw, a drama producer at Thames Television, and the story is spoken by Robin Ray, John Kershaw and Susan Stranks. Dead in Tune took up most of last Christmas holidays with rehearsals and recording. The Easter holidays will largely be occupied with rehearsals for the Cheltenham Festival, where the emphasis is on modern composers and contemporary music. For their two concerts, the orchestra has commissioned an overture from Herbert Chappell and another new piece by Richard Rodney Bennett. Sir Michael Tippett will conduct Gershwin's Rhapsody in Blue and one of his own suites, which he is expanding to five movements. Sir Arthur Bliss will conduct his own piano concerto. And so all this can come about, the Leicestershire Education Authority has specially arranged for the orchestra to spend Easter in Oxford, half way between the London home of Sir Arthur and Chippenhan where Sir Michael lives.

GRAMOPHONE, JUNE 1970

Dead in Tune is an extremely slick piece, with a good story to hold children's attention. It is about four orchestral families (each orchestrally illustrated) who live in flats by the sea - Middle C, of course (which you immediately hear played); of the Canon (canon in orchestra) who was nearly strangled by a chord but who survives and officiates at the wedding of Viola to one of her bows - sorry, beaux. You will by now have gathered roughly the sort of thing it is. It is full of outrageous puns on musical words: but outrageous ones are the kind children enjoy, of course - provided they know the musical terms anyway.

If you wonder whether to get the record for your family, that is the essential point to remember: that children who aren't fairly knowledgeable may enjoy the story but it won't teach them about the orchestra. This is no adverse criticism, since Dead in Tune came at the end of a television series that had dealt with all this sort of thing and was aimed at the secondary school age. Younger children will enjoy it, provided they have some musical background and, most valuable, a parent who is able to explain the connection between story and music.

The narrator (and writer of the script), Robin Ray, is first-rate - would that all

narrators were so natural and also engaging. The orchestra, the pick of members of the Leicestershire Schools Symphony Orchestra, is splendid and the whole thing is done with infectious enjoyment. Herbert Chappell's music is clever and bang on target, if not in itself of any particular originality.

On the other side, George and the Dragonfly seems to me far less successful, as it did to some young listeners I tried it on - they alternated between mystification and a certain amount of laughter. The text is sometimes high-flown, sounding rather like Facade, at other times the reverse. And they really ought to have printed the riddle on the sleeve, since nobody could make anything of it unless he sees it - though repeated hearings do make it clear. With three speakers, stereo has been well used to place them firmly left, right and centre. But while it is perfectly clear what Dead in Time is aiming at, the target of this piece seems vague - if there is a target. T.H.

LEICESTER MERCURY, AUGUST 1970

Young county musicians begin one of the toughest and most exciting enterprises in the history of the Leicestershire Schools' Orchestra this weekend.

On Saturday they begin a two-day recording session in Decca's London studios where the rostrum will be shared by Sir Michael Tippett (the orchestra's patron), Sir Arthur Bliss, Andre Previn and Eric Pinkett, who is the County's Music Adviser. Five days later, they leave the country to give a series of concerts in Germany and they'll be back in Leicestershire in time to play in the De Montfort Hall on September 17. The music for the orchestra's third and latest record will be recorded on Saturday and the following Monday. Both the pride and the sense of humour of these young school musicians has been tickled by the fact that after the first day’s session they will be required to clean the decks in order that the studio will be available on the Sunday to another famous orchestra - the London Philharmonic. On Saturday Sir Arthur Bliss will record his Introduction and Allegro and Eric Pinkett the "Cuban Suite" composed by Bryan Kelly who has a close association with the Leicestershire Schools Orchestra. On Monday, Sir Michael Tippett will direct the orchestra in two movements from his "Shires Suite " (written especially for Leicestershire) and Andre Previn will direct his own Overture to a Comedy as well as the Minuet and Elegy from John Ireland's "Downland suite" and the Overture "Groucho" which is another work written for the Leicestershire Orchestra, the composer being Herbert Chappell, who wrote all the music for their second record "Dead in Tune" backed by "George and the Dragonfly".

The new disc will be issued later in the year by Argo who also were responsible for the previous one and who are borrowing the Decca studios for the recording. The orchestra will be based in Munster during their visit to Germany where, during the Anglo German youth festival last year, they met and enjoyed the friendship of their young counterparts in the Munster youth chamber orchestra. This year's visit to Munster is a direct result of that meeting. Eric Pinkett will conduct the concerts and he will have as his soloist in Poulenc's organ concerto Carl Jurgen Kemmelmeyer who directs the Munster youth chamber orchestra and who has a very high reputation in Germany as an organist. The same organ concerto will be part of the De Montfort Hall concert when the soloist will be Nigel Allcoat, a former violinist with the Leicestershire Schools Orchestra and who, in his first year at the Royal School of Church Music (for which he won a major scholarship) has become organist of the Chapel Royal of St. John at the Tower and of Holy Trinity Church, Paddington. Eleanor Cooke, who attends Melton Upper School, will be the soloist in Dvorak's Romance for violin and orchestra and the remainder of the concert (promoted by the Friends of the County School of Music) will comprise items which will appear on the record.

LEICESTER MERCURY, FEBRUARY 1970

The possibility that Andre Previn, the London Symphony Orchestra's famous conductor, will work with Leicestershire Schools Symphony Orchestra seems strong - according to Mr. Previn himself in a TV interview. He was asked in Simon Dee's late-night programme about his attitude to the encouragement of music among young people. He replied that his rehearsals were open to students and that he was looking forward to working with the young musicians of Leicestershire. No-one was more pleased to hear this than the County School of Music's information officer, Mr. Jack Richards. Leicestershire's contact with Previn, he said today, had been made through composer Herbert Chappell who was associated with the schools symphony orchestra in a television feature "Dead in Tune" screened two years ago, and who will be at the De Montfort Hall at the end of April to conduct the overture that he has written for the county's Junior Schools Festival. Chappell, a friend of Previn's, remarked some time ago that because of his dynamism and youthfulness, "Andre would be an ideal man" for Leicestershire. Previn, when approached said he was willing. There was nothing in writing, said Mr. Richards, and nothing further had been done about it. Not surprising in view of Previn's heavy commitments - including his recent American tour with the L.S.O. which has been described as their most successful ever. "So I was delighted," added Mr. Richards, "to hear from his answer to Simon Dee that the Leicestershire idea is at the forefront of his mind."

LEICESTER MERCURY, JANUARY 1970

The 47 members of the Leicestershire Schools Orchestra are back in Leicester, tired but happy after two days of successful work in London recording studios. The end product is an L.P. of hitherto unrecorded material. The record is to be

released early in May. All the music is by composer Herbert Chappell, who conducted the orchestra during the recording sessions. Side one, called Dead in Tune, has words by Robin Ray, son of Ted Ray. Dead in Tune is a musical whodunnit. It tells the story of a murder and uses the instruments of the orchestra for expression along with the words. On the second side is George

and the Dragonfly, with words by John Kershaw, the poet and T.V. producer.

The composition is a modern fairytale in music and poetry. This is the second L.P. that the orchestra has made. The first came out about 18 months ago and that, too, used new material. In this respect, the orchestra is making a name for itself in a big way. The county orchestra is among the select few in the county orchestra field who make recordings. Work on the L.P. began about six weeks ago and preparation culminated in a final two days work at Longslade School, Birstall just before the trip to London at the weekend. It was perhaps a good thing that rehearsals had been intense - the L. P. work had to be tied up by Sunday evening, which didn't leave much time. The members of the orchestra are aged 15 to 18 years. Two girls missed the recordings because of flu.

LEICESTER MERCURY, MARCH 1970

Sir Arthur Bliss is the latest in the impressive list of famous composers and conductors who have agreed to work with the Leicestershire Schools Symphony Orchestra. The orchestra will be travelling to Oxford at the beginning of next month to rehearse with Sir Arthur and with their patron Sir Michael Tippett for the Cheltenham Festival. Sir Arthur will conduct his own Piano Concerto which, with the distinguished soloist Frank Wibaud at the keyboard, will have a performance at Loughborough University on May 1, prior to Cheltenham in July. Cheltenham will see the first performance of a new work written especially for the Schools Symphony Orchestra by Sir Michael Tippett, three sections of which have already been played. The work’s title will probably be The Shires Suite. Other engagements planned for the Orchestra this year include an appearance at the Peterborough Festival where it is to give the inaugural concert at the end of this month and at Long Eaton Festival on May 9. There will, too, be the customary Continental tour in September.

A new 22-page booklet about the Orchestra has just been published which describes its aims, ambitions and achievements with a history of its formation and growth. The greater part of the booklet however is given over to extracts from Press reports both in this country and abroad - all of which, without exception, add up to a veritable hymn of praise. One, from Germany, puts its finger neatly on the whole purpose of the orchestra and the County School of Music which produces it. "If we wished to reduce the essence of this orchestra to a formula," it declares, "we should have to speak of a stroke of genius in

musical educational". R.A.P.

LEICESTER MERCURY, MAY 1970

I have just been playing the latest record made by the Leicestershire Schools Orchestra and it sounds to be a winner all the way. On one side of this sparkling L.P. is "Dead in Tune" and on the other "George and the Dragonfly" - two gay, witty and highly entertaining musical fantasies aimed at the young but equally diverting and intriguing to adult ears. In the popularity race I would wager they'll run to a photo-finish. The history of the record (the Leicestershire Orchestra's second- there is already talk of a third) goes back to the ITV children's series "Sounds exciting"' which was an educational dealing with orchestral instruments, keyboard instruments and the human voice. There came a need for a final programme to sum up in a single half-hour work the lessons put across. "Dead in Tune" was the answer with music by Herbert Chappell and story by Robin Ray (son of Ted) who was the reciter for the broadcast in February of 1968. Its notable success led inevitably to plans for a record and to the problem of finding something equally as good for the second side. This time, John Kershaw provided the story for Herbert Chapell to set to music with three reciters - Robin Ray, Susan Stranks and the author himself. Robin Ray describes "Dead in Tune" (he does the narration excellently) as a musical who-dunnit and, employing a wealth of puns he propels his characters amusingly and pacefully to a climax where one of the characters (they are all instruments) comes near to being asphyxiated with a "chord".

John Kershaw joins in the fun with enthusiasm and plays around with his own themes and quotes from other composers in a way that will keep amateur (and professional) musical detectives quiet for hours. "George and the Dragonfly" is a delightful sort of pastoral with touches of real poetry in its imaginative script and with music to charm as well as to challenge. The stereo sound quality of the record is strikingly good and this, together with the effervescent spontaneity of reciters and the adept young musicians of the Leicestershire Schools Orchestra gives this disc a turntable sparkle that is quite irresistable.

It is issued by Argo and should sell like hot cakes. R.A.P.

LEICESTER MERCURY, SEPTEMBER 1970

The news from the record company Argo is that Leicestershire Schools Symphony Orchestra's third disc is going to be something extra special.

The orchestra did the recordings for their L.P. in London on Saturday and Monday last, and there have since been complimentary remarks from Frederick Woods, producer of the record, and Andre Previn - one of the conductors. "Their playing is fantastically good," is a quote from Previn. He has promised to write a work for them and wishes to conduct them again. Previn and orchestra met for the first time for a rehearsal in the recording studios - the initial spadework having been done for his particular numbers by the County Music Adviser, Eric Pinkett, one of the four conductors who contributed to the disc. Previn and the young Leicestershire musicians "clicked" and there was great mutual enthusiasm and fine playing. Sir Michael Tippett listening in the control room to their performance of Ireland's "Elegy" commented: "I knew John Ireland and if he had lived to be in this studio today, he would have been greatly moved." There was quite a gathering of composers at the recording sessions. In addition to Previn and Tippett, Sir Arthur Bliss was there to direct his contribution to the disc, and also present to listen to their works being recorded were Brian Kelly and Herbert Chappell.

LEICESTER MERCURY, SEPTEMBER 1970

This year's Leicestershire Schools Symphony Orchestra concert in the De Montfort Hall took place last night after a year's busy concert-giving and record making. One understands that some music lovers do not frequent L.S.S.O. concerts because some works are unfamiliar. They should try the mixture.

Last evening's concert, even with its bias towards living English composers, contained at least one work of outstanding lyricism, many joyous movements and a dazzling encore. Organ preservationists were there in force - one hopes for Poulenc's fine organ concerto, in which Nigel Allcoat (a former L.S.S.O. member) negotiated the brilliant passage-work, brought out the changeable moods and used the instrument's power and refinement admirably.

Inevitably, the programme included nearly all the material recently recorded for Argo and Herbert Chappell's overture opened the concert with wit and glitter, and Bryan Kelly's much - broadcast "Cuban Suite" brought it to a sunny and tuneful close. Another mainly extrovert work, Morton Gould's "Spirituals" spoke eloquently in its quieter moments and forcibly in "proclamation" and "jubilee." Gould's particular brand of the American open style suits the orchestra well but they also find the dissimilar but compatible moods of Sir

Arthur Bliss’s "Introduction and Allegro" well within their emotional grasp - witness the moving opening few bars and a grand climax. Dvorak's Romance for Violin and Orchestra, the oldest work in the main programme, tested the orchestra’s ensemble playing but all ears must have been on the warm tone that Eleanor Cooke of Melton Upper School produced in the solo part. Its glow reminded one of the very best of the orchestra's soloists over the years. Ireland's "Elegy" also benefited, in a corporate way, from the whole string section's attention to sound. Eric Pinkett conducted.

Press Cutting: Westfalische Nachrichten 16/9/70

The idea of inviting the L.S.S.O. with its leader and conductor Eric Pinkett, which had been brought to the notice of the cultural adviser for the Ludinghausen area, was indeed a happy one. The whole day was planned down to the last detail, thanks to the excellent teamwork of those responsible for the Ludinghausen Festival Fortnight and the town's concert circle.

For the middle classes of our Secondary schools there was a morning concert in the hall of the Gymnasium Canisianum which made the 540 in the audience sit up! What is especially worthy of note is that the musicians were the same age as our boys and girls. Dr. Martens had suggested that the boys and girls should invite one or two members of the orchestra to have supper with them in their homes. How quickly friendships were formed could be seen by the number of those who, having attended the morning concert, were determined not to forego the evening one and by the fact that after the evening performance there were a number of little groups who did not want to see "their" English boy or girl leave. For the English musicians it was a tiring and full day. Added to their two concerts (with a different programme for each) there was the invitation to a foreign family and a drive around the district. Miss Shand, an English teacher at the boys' Gymnasium, was with them for the whole day and went on the trip, too. The English visitors went to Schloss Nordkirchen and Burg Vischering in the afternoon with their hosts and Dr. Martens, who acted as guide, thus gaining an idea of the "Country of the moated castles" and of its history.

The L.S.S.O. is remarkable in many ways. One is amazed at its size. A school orchestra of 100 players cannot be found anywhere in Germany. The area from which the young players come is not quite comparable with ours since the county (something between a Kreis and a Regierungsbezirk) of Leicester has about 400,000 inhabitants. About 10,000 pupils learn to play an instrument - this is an unimaginable number for us. The quality of the teaching was clearly shown in the two performances which took place in the Gymnasium. This orchestra was made up of the best players of their three orchestras. This year's tour was the orchestra's 21st and lasted about a week. For many members it will have been the last as they will be leaving the orchestra on leaving school.

The enormous repertoire with which this so very youthful orchestra came to Germany(there were four completely different programmes) is truly amazing. It extends from Gabrieli to contemporary composers and from the chamber music ensemble (Two smaller groups, a wind quintet and a string quartet which had played on Sunday) to the full orchestra. Another thing that surprised our boys and girls was to see how many young ladies were sitting behind the music stands. About two thirds of the whole orchestra is made up of girls and how easily they mastered instruments which to our old fashioned way of thinking are considered to be typically masculine: the double bass, brass and percussion. Perhaps seeing the variety of instruments played so perfectly by their own fair sex will be an encouragement to our girls.

The evening concert had a record attendance. The Hall of the Gymnasium was a fitting setting for this feature of the Festival and with an audience of about 400 was practically full. The right atmosphere for players and audience was at once established. Although made up of pupils from 14 different schools the orchestra has grown together to form a whole in a way that is generally only possible among professional musicians. Their playing gives proof of tremendously hard work as Miss Shand also pointed out in one of the intervals. The audience having been enthralled by the enthusiasm of the young players' rendition of Russlan and Ludmilla by Glinka, were next lulled into a dreamy mood by the gentle melodies of Delius's La Calinda. The young soloist in Bruch's violin concerto (Robert Heard), a young man of 16, played with vigour and a technique a work to which world famous maestros aspire. After the interval came 3 contemporary pieces with sweeping rhythm. Bryan Kelly's Cuban Suite with its pithy brevity and marked character made great demands on the musicianship of the orchestra. Stephen Whittaker, the soloist in Gershwin's world famous Rhapsody in Blue, gave a magnificent performance. The mischievous piece La Boutique Fantasque

(Rossini - Respighi) rounded off the programme. The applause was so enthusiastic that the English guests gave an encore - a little piece, Elegy for strings by one of their own contemporary composers, John Ireland. It was characteristic of the modesty of the young English players and a friendly personal gesture that the whole orchestra sang Non Nobis Domine. The Mayor, Herr Holtkamp, then thanked the orchestra in the name of all the listeners. We offer our good wishes to the orchestra for continued success on their tours. The musicians, each and all of them, gave proof of such proficiency (here let the woodwind as well as the soloists be specially mentioned) that one can be sure that they will make their way. The possibility of a second visit of the L.S.S.O. was spoken of by the conductor, Eric Pinkett and Dr. Martens. The cultural adviser of the area has agreed to examine this possibility with the town, the schools and the borough council.

Press Cutting: Westfalische Nachrichten 16/9/70

A second concert by the L.S.S.O. in Munster, this time in the Church of the Apostles was greeted with much more enthusiasm than the one in the Theatre. The programme was full of variety, both in the choice of works and performers and was crowned by Francis Poulenc's Organ Concerto in which the solo part was played by Karl - Jurgen Kemmelmeyer the leader of the Student chamber orchestra of Munster, which had invited the guests.

A magnificent and impressive fanfare by Aaron Copland performed by the brass of the orchestra, in the choir, opened the very varied programme. Albinoni's Oboe Concerto Opus 23 resounded melodiously from the gallery and was played this time with greater assurance by Vanessa Hood. It was a pity that the musical effect of the wonderful Canzona for three groups of instruments was partially lost in the long narrow church. Ireland's Elegy once again gave the audience the opportunity of enjoying the tone of the large string orchestra. The romantic sweep of Dvorak's Romance was beautifully rendered and the romantic theme brought out with both great simplicity and spirit by Eleanor Cooke as also was the baroque feeling of love of life and love of music in Handel's aria 'Oh, Had I Jubel's Lyre' by the clear flexible soprano voice of Kathryn Marcer. These two works were followed by the Trevelyan Suite of the versatile Malcolm Arnold whose name is linked in so many ways with the music of English youth. This suite is full of amusing dissonances and unusual melodious effects. The works for Wind Ensemble were conducted with precision and verve by John Westcombe.

Eric Pinkett conducted from the gallery Francis Poulenc's Concerto in G minor for Organ, Strings and Percussion. This work with which the concert ended, has only one movement divided into several parts. Very impressive were the contrasting colours in the dialogue between the organ and the strings. Powerful rhythm and great gestures alternated with the quiet passages. The audience was swept off its feet by the vigorous music making of the players.

THE SUNDAY TIMES, JULY 1970

The jolliest, most rousing not to say rowdy concert of the week was that of the I.eicestershire Schools Symphony Orchestra, which tackled brilliantly, though of course not impeccably, the complex score of Sir Arthur Bliss's Piano Concerto under the guidance of the Composer while Frank Wibaut revelled in the unabashed bravura and romantic cantilena of the keyboard writing. The rest of the concert was conducted by Sir Michael Tippett who, in one away and another, both here and in London has emerged as musical hero of the week. Having appeared on the previous evening in a "Meet the Composer" programme at the Queen Elizabeth Hall he was returning thence in the small hours when he was involved as a passenger in a serious road accident from which he emerged shaken but mercifully unharmed. Without a word he thereupon made his way to Cheltenham, took the three hour afternoon rehearsal, conducted a long concert (with an encore of Ives riotous "Circus Band") and did not even flinch from a "Composer in Person" appearance at 11 p.m. after the concert. Who else could have done it? Dame Ethel Smyth, perhaps. The Ives piece, together with his naively solemn Ninetieth Psalm (fervently sung by the Schola Cantorum of Oxford) and Gershwin's zippy "Rhapsody in Blue" (polished off with huge gusto by Wibaut), brought America vividly to our doorstep at last; and the concert ended with the first complete performance of the hero’s own "Shires Suite" written at intervals for these young performers, which makes varied and subtle play with canons composed by others (from Byrd to Goehr) and concludes with a moving version of Byrd's "Non Nobis Domine", contained within a glowing envelope of orchestral tone.