Music at Clayesmore 1969

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Music at Clayesmore (1969-1974)

A personal appreciation.

I've always been a 'Jack of all trades and master of none' kind of musician. But it was my particular good fortune and privilege to be at Clayesmore at the same time as a number of people who were to exercise a vital formative influence on my musical development. They included both pupils and teachers of astonishing calibre, and foremost amongst them were Nick Zelle,(Musical Director 62-81) with his cheerful ambition and irrepressible enthusiasm, and Ian Crabbe,(67-72) with his towering genius and dazzling ability.

I arrived at Clayesmore with my mother's flute, a home-made lyre, and a love of singing, but little formal musical education. After one term's piano lessons Nick wrote on my report: "He has a very good ear; unfortunately this may tend to hinder his sight-reading". My best initial introduction to the wonders of those little black dots came, like it did to many others, through choir practices. And it was through Nick's encouragement that I began to try writing music myself. The Iwerne Carol, as my halting effort eventually became, was the start of a musical pastime I have cherished ever since. NJZ's enthusiasm was infectious, even during the most unpromising of congregational practices. In the choir he demanded excellence and teamwork, and inspired fervour and commitment.

My first carol service provided me with the opportunity to sing the opening solo verse to 'Once in Royal David's City,' (a nerve racking experience for any treble) and to busk 'Silent Night' on the lyre. In order to provide sufficient volume, Ian Crabbe held the lyre steady while I played it, precariously balanced on the balcony rail of the organ loft. Now this also reminds me of watching, incredulously, as NJZ played the organ and conducted the choir at the same time. How did he do it? I thought. Then I noticed his feet!

My first flute teacher was Eric Thompson, who was also an oboist of some distinction. I recall an encouraging smile and a winsome manner along with a strong beery smell when he'd been demonstrating some playing technique on my flute. Eric would later go on to conduct the wind band which began to emerge during my time. Meanwhile, the rest of the class had a go on stringed instruments. Amongst those who were entrusted with violins were James Pitt(69-74) and Simon Swann(69-74). I remember bursting into a rehearsal and seeing NJZ vigorously (desperately?) clapping the beat and sounding out the names of the (two or three) notes on the printed score. This was a time when pupil numbers were at an all-time low, and it would be a while before a recognisable school orchestra became fully established. However, before long I was provided with the chance to enjoy the challenge of solo performances and to play alongside experienced musicians. These included staff members such as Audrey McIsaac, David Spinney and Mike Henbest (plus family) who made up a redoubtable string ensemble.

There were plenty of opportunities to listen to music. I very soon discovered that in the old Music Room was a rich treasure trove waiting to be explored. It was there that I heard, on LPs, a good number of classics for the first time, and which I have delighted in ever since. I have a number of people to thank for this. For example, Nick Voller (66-71) introduced me to Gershwin's Rhapsody in Blue. With Paul Marston,(66-71) I picked out on the piano, the opening melodies of Bach's concerto for 3 harpsichords, played later that term on 3 pianos by NJZ, Lachlan Burn (65-70) and Ian Crabbe. I also watched as John Burnie (66-71) on bassoon and John Mcmillan (66-70) on timpani rehearsed Beethoven's 1st piano concerto. I remember John reassuring me, as he counted his x bars rest, that the complex tune I was listening to at that moment belonged to bassoon 1, and not to him! John's influence was significant. He it was who urged me to persevere with my flute practice when in the early stages I found some of the high notes hard to sound. (John's moment of glory would come later in the delightful bassoon concerto by Mozart.) Meanwhile the piano solo part was, of course, taken by Ian Crabbe; this was one of many solo performances he would accomplish with stunning brilliance and awe-inspiring confidence. Ian went on to play the 'Emperor' Concerto by Beethoven as well as a concerto each by Schumann and Mozart. There was also his memorable performance of the Poulenc organ concerto. Having achieved his ARCO at 15, he got his ARCM at 16 and the coveted FRCO at 18.

Clayesmore's choral tradition is legendary, as is evident from the runaway success of the recent choral days. There can be no doubt that the acoustics of Clayesmore chapel, together with its splendid organ, rank amongst its most prized possessions. Ian's organ voluntaries after daily chapel (never mind the grander occasions) evoke stirring memories. I still occasionally play the LP of the recordings made on the organs at Clayesmore and also at Salisbury Cathedral, where the choir sang a week of services in the summer of 1971. This event provided an excellent opportunity for David Mann (70-74) to sing some splendid treble solos, which were also captured on disc. For me, an essential strand of the English choral tradition is the opportunity for spiritual growth it has provided for generations of choristers. The truth of the words we sang stands shoulder to shoulder with the excellence of the music we offered as acts of worship. The knowledge that this conviction was shared by many of the great classical composers, from Bach to Stravinsky, is a constant inspiration to any who, like me, believe in a Creator God who delights in music.

In his 'Clayesmore', a School History, David Spinney wrote: "1971 was a great year for music, with Figaro playing twice in London with Ian Crabbe dressed as the young Mozart at the piano at the Duthy Hall, three times in the school theatre with orchestra, and recorded on L.P. records". This was an immensely ambitious project which still brings back wonderful memories through its matchless melodies. As Susanna, I had some taxing melodies, especially as my voice was threatening to break at this time, but in practicing with a recording I did have the advantage of knowing that my part was nearly always on the top. The other soprano, the Countess - was Richard Dickins (70-72) whom I discovered a few years back conducting the aria 'Tell me fair ladies' in a local concert.

Meanwhile the tedium of practicing scales and exam pieces on my flute was made a lot easier by other encouragements. There was a concert by the flautist William Tilden, a lecture on the clarinet by none other than Jack Brymer; I also made a note in my diary of the frequent opportunities I was given to play duets with housemaster David Watkins' daughter Elizabeth!

1972 was also the year when I went to hear the world-famous percussionist James Blades at Croft House School. There I was selected to come up onto the stage to play a simple rhythm on the bongos (alongside a vast battery of other assorted exotic instruments). A decade later, I was to receive further help from James as I began my primary teaching career, and I still occasionally provide a beat on the bongos for some of the worship songs in my local church.

Life in the 6th form was memorable for the outstanding musical outings: the proms with NJZ, Richard Strauss' opera 'Intermezzo' 'one of the first performances in this country' with Robert Mash (52-58), and the musical 'Godspell' with the chaplain Colin Pritchard (71-73). In addition, I sang in the Salisbury Musical Society with Jim Tilden (62-82), which offered me the chance to perform with a large choir and orchestra. Meanwhile NJZ gave me the responsibility of conducting the chapel wind band as well as conducting the choir. Direction of another kind came with the performance of 'Godspell' (produced entirely by the boys, plus four girls from Croft House). This was an enterprise which achieved remarkable success against the odds and exercised a considerable influence on all of us who took part. For example, Phil Emby (71-75), the drummer, went on to play professionally for a number of years. However, there seemed to be a general sniff of disapproval amongst the staff of this particular venture. The exception was Carl Verrinder, who gave us a glowing report in The Clayesmorian.

Of course Clayesmore could not prepare me for every musical eventuality. Indeed nothing in my education and training could have equipped me to teach things such as chants in Swahili, songs for Diwali, or how to accompany a steel band on the tambourine for a television production, or to find my way round an electric keyboard with myriads of combinations of sounds. But when, last year, I went to hear all six of Bach's Brandenburg Concertos, it was at least in part because I heard no. 2 first of all played thirty years ago, by my flute teacher, Liz Waller, with Brian Wright ( -73) on the trumpet, and George Staines (66-70) on the oboe. I still love Mozart's horn concertos, one of which was played by RFM, and the bassoon concerto, played by John Burnie, when I hear them on Classic FM or elsewhere.

My musical education and experiences have not just given me essential skills and tools for my teaching career, but a lifetime of social and cultural enjoyment through composing, arranging, playing and singing music, not to mention the hours of pleasure derived from listening to music, not least at the Proms, where I still meet NJZ year after year.

Andrew Shaw (69-74)

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