- Roman Carnival Overture
- Cello Concerto
- Zakia Fawcett
- Seized (a short new work, written by a Purcell School pupil)
- Symphony No. 5
- Yong Jun Lee
- Dominic Grier
The young musicians of The Purcell School Symphony Orchestra perform under the baton of Dominic Grier. The programme includes Shostakovich’s best-known and majestic Fifth Symphony, Dvořák’s famous Cello Concerto with teenage soloist Yong Jun Lee, and the Roman Carnival Overture, orchestrated in Berlioz’s brightest colours.
The Purcell School is the UK’s oldest specialist music school; alumni include Oliver Knussen CBE, Catrin Finch and BBC Young Musician of the Year winners Nicholas Daniel, Lara Melda and Martin James Bartlett.
‘I am blown away by the commitment and infectious energy of the remarkable young musicians at The Purcell School.’ (Sir Simon Rattle CBE)
Zakia Fawcett is a seventeen year old composer and musician from Fife, Scotland, who studies composition and viola at The Purcell School (funded by the Government’s Music and Dance Scheme) alongside studying for four A levels and being a school prefect.
Under the tuition of Joeseph Phibbs and Simon Speare, her works have been performed at events ranging from Commonwealth concerts for The Queen, experimental arts exhibitions and rock concerts, to contemporary pieces for groups such as Lloyd’s Choir and Red Note Ensemble.
Following generous offers from all of the conservatoires she auditioned to, Zakia has accepted a place to study composition with Gordon McPherson at the Royal Conservatoire of Scotland.
Seized in Zakia’s words…
Seized has both an attraction and an aggression about it. The dual nature is securely grounded and yet it has given in to a loss of centralised control. It’s inspiration fuses arresting contemporary art and a desolate Scottish Gaelic folk song together to become a single entity.
Roger Hiorn’s sculpture and installation work, Seizure (2008), transformed a derelict flat in South London by first filling it with liquid copper sulphate and then emptying it back out in order to grow a cave of glorious blue crystals. The sound inside crackles, engulfs the senses, and for many it has become a place to locate spiritual hope. The song Naiur A Ranig M’im Baile (When I Got To The Village) pours out despair and sadness at the loss of a life. The subject is held in desolation, transfixed in the moment of grief, ceasing to move on.
For me the two works create more underlying connections than differences, and the resulting orchestral piece aims to glisten with moss-grown-greens disrupting the earthly blues.