PETERHOUSE NOSTALGIA

... MEMORIES ...

1988 : MUSIC AND DRAMA - a vintage year

PHG CHOIR

At the beginning of the second term a choir was formed at the Girls' School, comprising some 22 singers, drawn mainly from the D Block They have worked enthusiastically, capably led by Robyn Millar, and have already given some polished performances. The Choir took part in the performance of "The Creation" in July, and followed that up with a contribution to the Entertainment in Springvale Hall the next weekend. Then in the third term, they took part in the Four Choirs' Festival in Peterhouse Chapel, singing an anthem "O Praise the Lord" by Maurice Greene. Finally, the Choir sang in the Marondera Schools' Carol Concert and our own Carol Service, when, for the first time, they wore their splendid new blue robes. Choir members can feel justifiably proud of their achievements so far during their short history.

JBW

If variety really is spice of life, then variety came my way when I was asked to take Singing Classes at the Girls' School; and if spice adds flavour (which it does) to years of teaching boys, then I cannot disagree with the quotation. My aim was to teach about 50 songs in the space of about 12 weeks, and we managed to reach just over half that number. The credit belongs to the girls whom I found very cooperative, interested in the strange collection put before them, and willing (more or less) to try songs with descents, in canon, and one that divides into four parts. Obviously there were favourites and those less favoured - "The man who broke the bank" won more votes than "The Song of the Shipbuilders" - and there was a certain intake of breath when we learnt a German Song (in German) and an Israeli Song (in Yiddish). So what came out of this variety Firstly, there is great vocal potential among the Girls; they are quick to learn and quick to retain songs taught; they are enthusiastic and they are receptive. Plans are afoot for them next term, and I hope they well accept the offering as readily as they have done this term.

JCH

PHB CHOIR

We began the year with a strong intake into the trebles' section, which soon showed its mettle when we were honoured with a visit by Dr Lionel Dakers, the Director of the Royal School of Church Music. He rehearsed the choir in two anthems and a psalm, when we then sang in a special service under his direction. Later in the first term we sang in Harare Cathedral, with orchestral accompaniment, a service of Sung Eucharist, which was a notable occasion. Most of our efforts in the second term were directed towards the performance of Haydn's "Creation", for which we were joined by the Girls' Choir, members of staff and people from the local community. We hope that such performances will become the norm rather than the exception at Peterhouse.

The third term was marked by the occasion of the Fourteenth Four Choirs' Festival, after a gap of eleven years since the previous one. We were joined, as in former years, by Arundel, Ruzawi and Springvale, only this time, of course, that meant girls rather than boys. The service contained three hymns, a psalm, three anthems sung by the combined choirs, and a contribution from each individual choir. A link with the past was made in the choice of the opening hymn, "All people that on earth do dwell", in Vaughan Williams' arrangement, and the concluding both of which were performed at the first festival in 1965.

The particular feature of the year has been the way in which the Choir has been able to take on board new music, and perform it after a short period of learning, and do it well. It has also shown that it can perform pieces learnt a long time previously, on minimum rehearsal. This professionalism in their work has been the most satisfactory aspect of all the Choir's activities this year, and one for which everybody deserves high praise. I would like to thank Nelson Jumbe for his efficient leadership as Head Chorister, and make special mention of the contributions of Jordan Peirson, who was the most outstanding junior member, Robert Chiswa, who made the most progress during the year, and Daniel Strawson, who was far and away the best chorister of the year. He takes all our best wishes with him when he returns to the UK, and our grateful thanks for his enthusiasm and the ability he has shown. He leaves a gap in the bass section which will be hard to fill. anthem, Handel's "Zadok the Priest

Music

It has been an extremely busy and active year for everyone involved in music-making in the school. It has also been a year which has seen greater participation in musical activities by a larger number of boys and girls than ever before, particularly in the orchestral field, where there is a growing demand for instrumental lessons. This is a very healthy situation, which hopefully will continue into the 1990s. We are, of course, hampered by difficulties over supplies of music and instruments, but we nevertheless try to make the most of what we have, and the results so far have been most encouraging. The range of musical activities has been enhanced by the setting up of a Jazz Band, under Mr Hudson's dynamic leadership He deserves our deepest gratitude for all the hard work he puts into not only practices, but also the time he spends writing out parts for the instrumentalists. The orchestra, which started up last year under Mr Trinci, has expanded, and improved in expertise and quality, and goes from strength to strength. Meanwhile the Choir has spent time learning songs other than its normal routine of sacred music, and has greatly benefited from the experience. All in all, then, a satisfactory state of affairs, in which the school may be justifiably proud.

Music Society

As the amount of music-making in the school has increased so much this year, there have been a few Society events. In the first term, Messrs Trinci, Hall and Wearmouth combined to present a programme of l8th Century music, while in the second term we were treated to a orchestral concert by the Sinfonietta. The main event of the third term was a concert (reviewed elsewhere) which featured our own Choir, Orchestra and Band, as well as piano and flute duets. This memorable occasion was one which will hopefully become a regular feature of the calendar in the future.

JBW

The Orchestra

The orchestra now numbers some 24 players, and under the patient and painstaking direction of Mr Trinci, has developed in ensemble, balance and variety of expression. Orchestral Workshops were held in the first and second terms, when players from other schools joined us for a day's music-making; these resulted in performances of, notably, Mozart's Symphony No. 40, and Tchaikovsky's "1812 Overture". Each concert was done in the Fieldsend Hall after the workshop session, and subsequently in Harare, one at Arundel and one at St. George's. At the second of these, Simon Keevil gave a fine account of a piano concerto by Armstrong Gibbs.

The orchestra has accompanied the hymns in Chapel on most Wednesday mornings, and often on Sundays as well. Their contribution to the service in Harare Cathedral was greatly appreciated, and added to the occasion considerably. We are all extremely grateful to Mr Trinci for his work, expertise and enthusiasm, without which none of this would have been achieved.

JBW

Musicamp's Twenty-fifth Anniversary

Once again Musicamp descended on Springvale and Peterhouse during the August holidays for a week of energetic music-making, which culminated in a gala concert at the Fieldsend Hall. And again we were fortunate to have, as our Guest Conductor, Professor Walter Klauss from New York. The number of 'campers' of all ages rose significantly - to 110 - for this anniversary year, with some former Musicampers even coming out from the U.K. for this special occasion. To mark the Twenty-Fifth Anniversary, a booklet entitled "The Story of Musicamp" was produced by the chairman, John Hodgson.

It is astonishing how much orchestral, choral and chamber music can be prepared for a high standard of performance in the course of only seven days by almost exclusively amateur musicians: but for this to happen, an enormous amount of administrative preparation and very intensive instrumental work are necessary. Certainly there is no lack of keenness and the environs of Springvale and Peterhouse resounded with musical sounds from dawn till a compulsory 'shut-down' late at night! What are the rewards of all this effort? The joy of creating music together is one of the most precise and disciplined forms of teamwork possible; the pleasure of an appreciative response from audiences (and conductors!); and the satisfaction of knowing that in a small way we are fulfilling, as Walter Krauss describes it, "our responsibility to civilisation': For the enthusiastic support and co-operation we enjoy each year from Peterhouse and Springvale in the realisation of these aims we are immensely grateful.

GRC

The Creation

On Sunday 24th July the Choral Society gave a performance of Haydn's oratorio 'The Creation'. The school's choirs were strengthened by a number of singers from among our adult community and from Marondera, and we were particularly privileged to hear Margot Dennis of the Marden Singers as Gabriel; Andrew Fowler-Watt of Uppingham as Uriel, and Nicholas Hammond as Raphael. Nicholas is an old boy, currently doing post-graduate studies at Oxford. The orchestra, led by Corrado Trinci, was largely made up of performers from Harare; John Hodgson was at the organ, and the conductor was John Wearmouth. The combination of such talents as these resulted in a polished and most moving performance. 'The Creation' is, perhaps, not as well-known as Handel's 'The Messiah' but has deservedly remained a favourite work among musicians ever since its first performance in 1798. That this should be so is easily understood after hearing such a superb rendering as this under John Wearmouth.

The Choir
Trebles and Sopranos: Tim Brown, Fergus Chance, William Cochrane, Sean Davy, Brian Elsworth, Krisha Goven, Tony Greeff, Simon Hudson, David HuHey, Garrick Kelly, Justin Ledingham, Steven Maine, Reny Mathew, Michael Moore, Neil Menzies, Tinashe Motsi, Innocent Musvasva, Kirnesh Naik, Jordan Peirson, Rory Taylor, Paul Wilkinson; Alison Burr, Glare Coughlan, Miriam Denenga, Ginny Dobb, Ann-Marie Pick, Dina Griffiths, Tendai Gwata, Jan Hewer, Joyce Mahlatini, Linda Martin, Bongi Matambo Robyn Millar, Maureen Murinda, Nonsa Nhekairo, Jane Ocama, Leanne Plummer, Alex Reed, Arilina Rusike, SteIla Chamber, Tania Spain, Debbie Stray; Judith Cobol, Liz Coughlan, Kate Elliott, Sally Hudson, Sue Hudson, June Marriott, Elizabeth Megahey, Anastasia Rushambwa, Joan Rothwell, Margaret Smeda.
Altos: Buckley Davy, Solomszi Dube, Brent Griffiths, Simon Lewis, Clement Matondo, Mark Matongo, Enos Mbofana, Tendai Nyamuda, Neilen Scrooby, Jason Steed; Denise Osborn, Chris Strawson, Sue Tippett, Jan Wearmouth.
Tenors : David Brous, Cuthbert Dombojena, Roger Hudson, Marcus Klockner, Douglas le Patourel, Richard Marriott, Kevin Mutasa, Paul Save, Ross van Niekerk, Keith Wood.
Basses : Kenneth Bowker, Guy Cary, Eugene Chimphondah, Robert Chiswa, Nelson Jumbe, Leslie Mapondera, Leonard Maramba, Ray Mathew, Francis Moyo, Pepukai Muyambo, George Odongo, Marios Papadakis, Paul Ridgewell, Daniel Strawson, Ivan van Tender.

The Orchestra
Violins: Corrado Trinci, Gaynor Marsh, Jim Goodwin, Jo-Anne Gooch.
Violas: Trish Gooch, Yumiko Yokoze
Cello: Jim Pete.
Double Bass: Alvin Wylie.
Flutes: Estelle Reynolds, Andy Hall.
Oboe: Corrinne Marsh.
Clarinets: Carolyn Deste, John Bingham.
Trumpets: Kenneth Muchinguri, Ed Holme.
Timpani: Meg Heap.
Organ: John Hodgson,

Musical Evening

I think the word is 'gallimaufry', a wonderful hotchpotch, a variegated pot pourri of musical entertainment. Negro spirituals, Madrigals, piano duets, orchestral pieces, Jazz, Sonatas and big hits from West End musicals. JBW's evening had something for everyone. The Hodgson Room had been decked out informally, cafe style, with tables and chairs, bottles of wine and plates of "Dorritt's': The psychology was spot on. "We'll wine and dine you and then we'll let you have it!': the Capelmeister boasted. And he certainly did. Young Michael Moore had the unwelcome task of providing the opening number. A note from the aforementioned Capelmeister. Pause. Another note. Pause, Oh dear, we thought, is Michael all right? A third note. We held our breath. Then off he went launching, with a beautiful warmth of tone and an unsuspected sureness of attack, into "The Music of the Night': The applause at the end was compounded by our appreciation of the singing and our relief that, once begun, our anxiety beforehand had proved groundless. The whole thing was a characteristically Wearmovian coup de theatre. We knew we were going to enjoy ourselves. The Choir capitalised on the mood created by the first piece in their medley of Negro Spirituals and the curiously compelling 'Jean Harlow' number. I'm still trying to figure out what it was all about. Simon Lewis and Simon Keevil gave a nimble rendition of Mozart's Piano Duet in G Major. Later in the evening Clare Coughlan joined them to make it 6 hands playing the same piano in the Polish Dance by Scharwenka (who? there' is a Polish joke struggling to get out here). I rather felt that Simon Lewis led the attack in these pieces.

The flute is a devil of an instrument to play and sitting where I was one often hears more breathing than playing. But Andrew Hall and Anthony Holme gave clean and clear performances of two pieces by yet some unknown (to me) composers. The way in which first one and then the other flute became dominant gave both pieces a playful quality. By this stage of the evening we were taking quality in its larger sense for granted. The uncomfortable applause in recognition of worthy efforts that so often attends school concerts was replaced here by a much more full hearted and generous response. The Band came next. Almost enjoyable as the performances of the Band itself are the antics of its leader, Roger Hudson. He dances round from one player to the next, singing the beat, trying to impose order on imminent chaos. He reminds me of a man trying to stop all the holes in a roof in a thunderstorm. But why does he worry? The Band Members are unruffled and play to the limits of their ability. Kenneth Muchinguri on trumpet stood out amongst the instrumentalists. Satchmo would have been proud of him. A more unlikely artiste than Simon Elliott is hard to imagine but the man has magic. We were all eating out of his hand by the time he was done. If he had left his heart in San Francisco there must have been a hundred of us who would have swum the Pacific to get it back. The pleasantly raucous uninhibited mood created by the Band - there has to be a better name than that, how about Ratamazzama~ Like Razzmatazz, get it? gave way to the formal, stiff upper lip atmosphere of the classical concert platform. All rise when the maestro conductor struts in! Iron about to enter our souls? Not a bit of it. Capelmeister manouevres us into the banana skin and clap hands! It's the theme tune of Monty Python's Flying Cir - cus!

We were then much more prepared for the only marginally less jolly Schubert pieces that followed. Hats off to Corrado Trinci for finding the formula for the evening. The classical foundation having been laid, the Capelmeister then brought out the big guns - the madrigal group Capella Petreanis. Of the four pieces they sang, and with considerable technical ability, I liked Fair Phyllis the best. It was easy to understand and had a robust almost vulgar sentiment wrapped up in a delightful dress. Butter wouldn't melt in her mouth. Not half. John Wearmouth and Corredo Trinci, as if to show us they can do more than wave sticks in front people's faces gave probably the best performance of the evening with the difficult rondo from Beethoven's Violin Sonata Op. 12 No. 1. A wobbly couple of bars from the violin, a lightning quick tightening of the bow and we were off. One novice violinist turned to me at the end and said "It makes you want to weep, being that good. I really don't know why I don't give up!':

The evening finished off with numbers from the hit musical "Cats': coinciding with the centenary of the birth of T.S. Eliot, whose poems Andrew Lloyd Webber set to music. Daniel Strawson has a fine bass voice and his Old Deutoronomy was a great pleasure. When the choir sings in chapel he can be heard in the gallery and his departure for England will be a great loss. Douglas Le Patourel conveyed well the shifty quality of Skimbleshanks though I felt he could open his mouth more to ensure maximum clarity. Next came Ivan van Tonder, who always seems to revel in his singing. His rendition of MacAvity was full of suave and stylish effects. And finally Brent Griffiths sang "Memory". Like Michael Moore, who began our cosmopolitan magical music tour, Brent has a lovely warmth of tone, more mature as one would expect and capable of eliciting and expressing enormous emotion. Who else had tears in their eyes? We might not get to hear Brent singing solo alto again before his voice drops a range, so the song had an added poignancy. The Capelmeister had resisted the urge to out with a rousting rabble rousing number. Instead we had come full circle, rounding off one of the most enjoyable evening's entertainment at Peterhouse in years.

RRM

The Jazz Band

With a competent group of clarinets, trumpets and trombones to call upon, as well as his own inimitable saxophone, Mr Hudson was able to re-found the school Jazz Band this year. It has rapidly built up a considerable repertoire of numbers, mainly drawn from 40's and 50's standards, and has performed at a number of school functions. Particular praise must go to Kenneth Muchinguri (trumpet) for his outstanding contribution and highly polished solo work.

JBW

DRAMA

PHG Drama

An audition was held in the first week of the second term for the one-act play "Acting Peculiar" by Naomi Sinclair. The cast selected consisted of B Baxter, R Millar, A Rusike, L Gibson. Rehearsals were held at least twice a week throughout the term and the cast benefited from having numerous short rehearsals rather than fewer, longer ones. Although the cast were well prepared for opening night there was a noticeable improvement in the players' performance during the run. The third and final performances in front of parents saw all the actors at their best. Thanks to Mrs C Gibson and Mr G Cary for help in production and to Ms N Cowley (make-up) and Mrs A Pratt (wardrobe). A fine job was done by the backstage crew without whom the play could not have performed. The "crew" consisted of M Pio (lighting), F Wentzel (props), I James (prompt), S-A van Eeden (curtains), I Griffiths (production secretary and stage-manager). Wiell done Mrs Baxter, Mrs Millar, Mrs Kusike and Miss Leadbeter (Lisa Gibson).

GMC

PHB Drama

Ten productions were staged at Peterhouse Boys' during the course of the year - but for those who, on hearing this, fear a reversal of traditional Peterhouse values and suspect that we've got our priorities wrong, let me point out six of these performances made up our two-yearly House Play Festival. This is an important part of our drama timetable, as it provides stage-work opportunities for both staff and boys who would otherwise be unlikely to experience the challenges and rewards of drama. The fact that, once again, the award for the Best Overall Production went to a play directed by a boy (Warwick Broad of Snell House, for their production of "A Fishy Business" by Margaret Wood)- and that in a Festival of an unusually high standard - demonstrates that the roots of talent and experience within the school run deep; for the first time, too, in recent years, one play - the fantastically imaginative and zany "Legal Aid" presented by Grinham House - was both written and produced by a boy, Mark Hodges. Other productions in the Festival were "A Fish in her Kettle, produced for Ellis House by Mr George Gibson; "What Are You Doing Here?" (David Campton) produced for Paget by Mr Eddie Katso; "The Real Inspector Hound" (Tom Stoppard) produced by the Housemaster of Malvern, Mr Richard Marriott; and Mr George Niven's very colourful production of "Top Table" (also by Margaret Wood) with Founders House. A good deal of new - and, in some cases quite unexpected dramatic talent and interest emerged from these productions.

Earlier in the year the D Block founder-members of 'Tinokura' found themselves thrown dramatically in at the deep end, only a few weeks after their arrival, with a homespun presentation of "Silhouettes" - based largely on their inspired response to life for new boys at Peterhouse: this series of mimed backdrops to letters home' involved all 96 boys in the D Block and was conceived and rehearsed largely during time tabled drama lessons. The result was surprisingly slick and entertaining; those ;Who saw this performance will remember Andrew Munro's impressive treatment of the 'letters', progressing from an initially despairing wail to his final level of triumphant resignation as he found his body, mind and soul adjusting to life at Peterhouse. This has been an enjoyable and productive year for time tabled drama: tangible results are seen in the high levels of awareness, enthusiasm and response to drama, and this makes the task of the producer much easier.

Later in the first term we saw a welcome return to an idea which had been initiated by John Christou the previous year: a production undertaken by a recent school-leaver. Jason Wallace, pending his departure to the U.K. and working as a Junior Master at Springvale House, directed the comedy "Deadly Nightcap", is not an easy act to follow, assuming almost overnight the status of a nicotine dependent member of staff and having to cope with one' s peers of the previous year who consider such a transformation little short of treacherous! That Jason triumphed over these difficulties was borne out very entertainingly and successfully in the polished performances of this play, which was the major production of the Easter Term. One hopes that not only will this talented and determined young man's associations with drama continue, but that some of our future leavers will show a similar degree of courage!

For the first time in probably a decade, the open-air amphitheatre - sadly overshadowed since the completion of the Fieldsend Hall - was put into use with a production of Shakespeare's "Julius Caesar" in the first half of the Michaelmas Term. Lighting potential was upgraded and, as a new departure, sets were constructed largely of steel which allowed not only the projection of film-clips onto back-boards but also the use of fire! The battle scenes towards the end of the play were transported into a twentieth-century context, complete with hydrogen-powered 'bombs' and the liberal distribution of 'grenade-debris' over the audience... A portion of the battle was splendidly choreographed by Mrs Rowena Hall to the "Dies Irae" from Benjamin Britten's "War Requiem". Despite certain last-minute complications - a night of rain which saw the sudden transfer of a performance indoors and unforeseen cast changes - this proved to be a rewarding team effort which involved a large portion of the school.

The year ended on a colourful high-note with the Rector's 'Monty Pythonesque' treatment of the "Jack and the Beanstalk" pantomime theme: this became as wide ranging in ideas and humour as the most fertile of imaginations could stretch to! Scores of people were involved including staff, boys, girls, a substantial portion of the school orchestra (reshaped into "Roger Hudson's Panto Band") and a large stage-crew. Mrs Rowena Hall choreographed the show which offered a dazzling welter of colour, movement, laughter and catchy music. The keynote here was fun, which both cast and audiences had in abundance.

Notes on Drama would be incomplete without reference to the valuable work done by the afternoon Theatre Activities groups who cope with lighting and sound preparations, and set and props construction. Although this work is varied it is often tedious, and I am glad of an opportunity to thank this loyal and frequently long-suffering group of boys.

Julius Caesar

There can be fewer more wordy plays than Julius Caesar, in relation to the amount of real action that takes place on stage. To attempt to perform it virtually uncut with a schoolboy cast was an act of outrageous bravery on the part of Mr Cary; the more so since it was done in the open air. Yet despite the various misfortunes which bedeviled the production (resulting in the producer himself having to play the title role at twenty-four hours' notice), the finished product was a triumph for all concerned. It flowed well, it captured the audience's attention, the movement was disciplined and slick, and there were moments of truly gripping theatre.

The underlying theme behind this production was the relevance of the motives of the conspirators to the present age. Thus it was that at the moment of Caesar's assassination, there was a clip from the film "Ghandi" showing that leader's murder, and the whole of the second half of the play was set in the context of a modern civil war, complete with sound effects, explosions and Jimi Hendrix music. There was an extremely effective dance-drama, choreographed by Mrs Hall, to go with it, which added a new dimension to the theatrical impetus of this part of the play. It was good to see three such mature performances in the leading roles of Brutus, Cassius and Marc Antony, provided by Scott Marques, Warwick Broad and Miles Peech respectively. As Brutus, Scott Marques brought out the high ideals and honour of the man, and his moments of self-doubt in the earlier part of the play were well captured. Warwick Broad was a splendid Cassius; pushy, jealous, abrupt and quick-tempered. The scene during the battle when he and Brutus were at loggerheads was memorable; there can seldom have been such moments of tension created by school actors at Peterhouse before. Marc Antony, played by Miles Peech, cut a dominating figure. He both looked and sounded exactly right. My only reservation about his performance was his underplaying the famous "Friends, Romans, Countrymen" speech. One did not feel that he was cynically playing with the emotions of the crowd. Otherwise, he was wholly convincing.

It seems curious that the title role is in fact fairly unimportant, although, of course, Caesar commands the limelight in the few scenes in which he does appear. I hope all aspiring Peterhouse actors took careful note of Mr Cary's excellent delivery and movement. His air of disdain and superiority made it quite clear why Cassius and Co. wanted to be rid of him. This was a model performance in terms of basic technique, for which we should all be most grateful. Of the other supporting parts, I thought Marcus Klockner and Simon Keevil came over particularly well, Buckley Davy was a perky servant, and Michael Moorcroft a confident Octavian. He, of course, is the final victor in the power struggle, and it is a pity that his character is so underdeveloped in this play. One must also mention Rupert Radford's idiosyncratic portrayal of the poet Cinna, who is the unfortunate victim of the crowd's lust for blood following Antony's inciting them. Perhaps the ugly side of this scene was lost in the camp nature of the performance.

All those with minor speaking parts, too numerous to record here, deserve congratulation for their work, while the crowd scenes came off most effectively. The set was ingeniously contrived, to underline the transient nature of the play's scenario; Rome in 43 BC, where in AD 1989? Finally, no praise can be too great for Mr Cary. His concept of the play, and the patience and skill with which he executed it, despite all the odds, were magnificent. The fact that when the rain washed out the Friday performance, the whole thing (apart from the pyrotechnics, of course) worked very satisfactorily in the Fieldsend Hall despite the cast and stage crew never having rehearsed there, was a tribute to his mastery as a producer. To him and his cast, we say a hearty, "Bravo!"

JBW