Pat joined the Royal Marines Band Service in 1976 as a clarinettist and violinist and in that role travelled extensively throughout the world, gaining first-hand experience in a wide range of musical genres. In 1990, he attended the RM Bandmasters Course at the Royal Marines School of Music in Deal, Kent. During this time, studying conducting, composition, harmony and music history, he gained LRSM and ARCM diplomas. From 1993 he was Bandmaster of bands in Portsmouth and Dartmouth, until in 1998 becoming the Project Manager for the RM Band Service’s successful bid to become ‘Investors in People’. Retiring from the marines in 2000, Pat became Tour Manager for the Monteverdi Choir's ‘Bach Cantata Pilgrimage’, before moving to Birmingham as the CBSO Orchestra Manager.
Pat now splits his time between teaching Woodwind for Birmingham Music Service and, when not conducting the Harborne Orchestra, as Director of Music of the West Midlands Fire Service Band. He lives in Bearwood with his wife Melanie.
Harborne Orchestra Needs You!
We are always looking for new talent, so if you play, or know anyone who does, bring them along to one of our rehearsals at Queen Alexandra College, Court Oak Road, Harborne, on Fridays during term time between 7:30 p.m. and 9:30 p.m. For more information, visit our website: www.harborneorchestra.com
Richard Bridges (Chair) Chris Quince (Treasurer) Caroline Marshall
Welcome to this evening’s performance by the Harborne Orchestra.
As many of you may know, we are a small but friendly group who enjoy making music in a relaxed and social atmosphere. Our belief is that age or inexperience should not preclude anyone from taking part in music making.
Over the last few months we have warmly welcomed a number of new players into our ranks. We hope that the excellent start that they have all made, continues for years to come and that they improve as both musicians and instrumentalists in what I hope is a supportive and fun environment.
However, we are still in need of some brass and string players, so please tell your musical friends about us and get them to come along to a rehearsal. You never know, they might enjoy it!
Thanks again to Monitoring and ControlServices Ltd, who have agreed to sponsor part of this concert. We are extremely grateful to them for their continued support. If anyone else would like to sponsor a player, or make a donation to our funds we would be most grateful.
Finally, I would like to thank you for taking the time to come along tonight. I hope that you have a most enjoyable evening.
Fritz Kreisler was walking once through New York with a friend, a conductor, when they passed a fish shop. Indicating the rows of glassy eyes and slack, open mouths on the marble slab, the conductor commented, ‘That reminds me - I've got a concert tonight.’
Once, walking out into the auditorium to conduct a concert, the audience greeted Sir Thomas Beecham with complete silence. He glared at them, then turned to the orchestra and said: ‘Let us pray.’
At one performance of a Mozart piano concerto, neither the pianist nor Sir Thomas Beecham gave a very good performance. In the interval the librarian asked Sir Thomas if he should leave the piano on stage, or take it off. Beecham thought for a little while, and then said,
’Oh, leave it on. Anyway, it will probably slink off by itself.’
A certain well-known conductor was renowned for his rather confusing technique of not beating time, but simply making circles with his baton - faster or slower according to the music. One new player in the orchestra confided in his fellow musicians that he couldn't follow this at all, and had no idea when to begin or stop playing.
‘Don’t worry about it,’ said one of the more seasoned members of the band,, ‘just do what I do - get ready at quarter past seven, and start playing at half past!’
Marche Militaire Schubert
Schubert composed his brace of three Marche Militaire in 1822. Tonight, we hear the first of them. It is a jaunty, joyful work that depicts what seems to be a happy and spirited militia.
Coppelia Ballet Suite No. 1 Delibes
Coppelia is a charming, funny ballet full of humour and ballet mime. It is often performed by small ballet companies because it doesn't require a large cast of world-class dancers. The ballet is based upon a story by E.T.A. Hoffmann entitled "Der Sandmann" ("The Sandman"), which was published in 1815. The ballet premiered in 1870.
The ballet is about a girl named Coppelia who sits on her balcony all day reading, speaking to no one. A boy named Franz falls deeply in love with her and wants to marry her, even though he is already engaged. His fiancé, Swanhilda, sees Franz throwing kisses at Coppelia. Swanhilda soon learns that Coppelia is actually a doll that belongs to Doctor Coppelius, the mad scientist. She decides to impersonate the doll, in order to win the love of Franz. Chaos ensues, but all is soon forgiven. Coppelia and Franz make up and get married. The marriage is celebrated with several festive dances.
The First Suite, played tonight, is in four movements.
Marche Militaire Schubert Coppelia Ballet Suite No. 1 Delibes
1. Volksmelodie mit Variationen
2. Festtamz und Stundenwaltzer
3. Musik der Automaten und Waltzer
Date for your Diary:
The next concert by the Harborne Orchestra is on 10
July 2009 at St Mary’s Church, Harborne. This concert will feature the ever popular Symphony No. 40 by Mozart.
Harborne Orchestra Programme Notes Coriolan Overture Beethoven
The overture to ‘Coriolanus’ was written in 1807 and first performed in Vienna in the December of the same year. It was not composed as a prelude to Shakespeare's tragedy, but to a drama by the German poet Heinrich Josef von Collin, to whom the overture is dedicated.
The story, only one passage of which is illustrated in the overture, follows historical fact: the alliance which the defiant Roman patrician Coriolanus made against the Rome after his banishment; the pleading of his mother, wife and children that he should return to his home; his abandonment of the Allies; and his tragic death.
Beethoven's overture eschews narrative in favour of a concentrated sonata form which, assuming we already know the plot, seems to distil this critical moment, focusing all his musical drama on what is going on between the General's ears. In this context, the unyielding opening gesture at once implies the implacability of the General and furnishes the skeleton of the first subject, whose incessantly evolving turbulence parallels the growing torment of his dilemma. The harsh sonorities are melted by the arrival of the fluid second subject, which is a brilliant master-stroke: in its turn, it is a derivative of the first subject, both tautening the form and inextricably linking Coriolanus with his feminine counterparts. Thus do the two main subjects portray his dilemma.
Eventually though, Coriolanus saves his family and determines his doom. As the final bars ebb away, they leave three final soft notes that mark the last pulsations of the dying hero.
Harborne Orchestra Wind Quintet Feature: Flute Lexi Pope Horn Patrick Collins
Oboe Jane Otero Clarinet Tracey Roe
Bassoon Chris Quince
3 Dances Bayliss
Suite in E Flat for Military Band Holst. Arr Jacob
In 1909, Holst composed the Suite No. 1 in E-flat, a revolutionary piece in that it was written exclusively for wind band. Holst wanted to make the concert band a serious concert medium, and this piece is seen as the first step in that direction.
Holst was well suited for this role as concert band composer; he played for seven years as a trombonist for the White Viennese Band - a seaside band whose members claimed to be foreign. They spoke with phony accents, even though most were from England. During this time period, audiences were more likely to go to a concert held by a foreign band than a British one. Talk about patriotism!
Composer Gordon Jacob re-arranged this piece for orchestra.