Included on this page is significant information about the Ulster Orchestra since its founding in 1966. There are also sections on the City of Belfast Orchestra, the BBC Northern Ireland Light Orchestra and its later transformation into the BBC NIO. Visiting orchestras are also featured. At a later stage I hope to add sections on the Belfast Philharmonic Orchestra and the pre-war BBC Northern Ireland Orchestra (formerly the Wireless Symphony Orchestra).
Many searchable PDFs supply Players' Lists and reviews. Other PDFs, also fully searchable, contain comprehensive concert details from DB's Orchestral Concerts' Database. A work in progress. The webpage is listed in chronological order - with some overlaps and some sections awaiting further time and source material.
Many searchable PDFs supply Players' Lists and reviews. Other PDFs, also fully searchable, contain comprehensive concert details from DB's Orchestral Concerts' Database. A work in progress. The webpage is listed in chronological order - with some overlaps and some sections awaiting further time and source material.
Featuring the Liverpool Philharmonic, the London Philharmonic and the Hallé orchestras.
programmes, players' lists, plus a 1947 follow-up.
programmes, players' lists, plus a 1947 follow-up.
The pre-War / post-War orchestral link, including the Irish Rhythms Orchestra and the Belfast Symphony Orchestra.
Including more information on David Curry.
With 1952 and 1962 lists of players and much more.
More being added gradually, bringing the UO through its nearly five decades, eventually to the present day.
RH pic: Aerial shot of the Ulster Orchestra in the Ulster Hall, Belfast.
If you can lend season brochures and/or concert programmes relating to the City of Belfast Orchestra or earlier, please do contact me.
I am in the process of sorting and listing the Ulster Orchestra's surviving programmes prior to cataloguing and sending to PRONI. Gaps are materialising and will be identified here in due course. The hope is that people may help fill those gaps.
I am in the process of sorting and listing the Ulster Orchestra's surviving programmes prior to cataloguing and sending to PRONI. Gaps are materialising and will be identified here in due course. The hope is that people may help fill those gaps.
One obvious gap is the lack of any programmes from March 1968 to March 1969 inclusive, when Sergiu Comissiona was Principal Conductor. Also April 1972 to November 1972. Complete boxes of material may have been lost during office moves or general tidyings.
Do you know anyone who might be able to fill at least some of those gaps?
Do you know anyone who might be able to fill at least some of those gaps?
Visiting Orchestras to Belfast in 1946
The following 1946 orchestral information is courtesy of a scrapbook, labelled Vol.3 and compiled by Margaret McCord, then of Sydenham Gardens, Belfast. I'd be delighted to unite this scrapbook with the other volumes if someone knows their whereabouts or is in touch with the McCord family.
In 1945-46 Margaret was a committee member of The Friday Night Gramophone Circle which met in the Belfast Art Centre, 53 High Street, Belfast. In 1947 and 1948 she was Hon. Chairman of the Northern Gramophone Circle (Hon. President: Sir Malcolm Sargent).
This gallery of pics shows something of the range of the gramophone societies' programmes.
In 1945-46 Margaret was a committee member of The Friday Night Gramophone Circle which met in the Belfast Art Centre, 53 High Street, Belfast. In 1947 and 1948 she was Hon. Chairman of the Northern Gramophone Circle (Hon. President: Sir Malcolm Sargent).
This gallery of pics shows something of the range of the gramophone societies' programmes.
Belfast Telegraph, 11 April 1946
FOUR CONCERTS IN THREE DAYS IN TWO COUNTRIES
FOUR CONCERTS IN THREE DAYS IN TWO COUNTRIES
DR. M. SARGENT’S VISIT
Dr. Malcolm Sargent, who will conduct the Liverpool Philharmonic Orchestra at concerts in the Ulster Hall during the next three days, arrived in Belfast this afternoon an hour before rehearsal, having played in Bradford on Wednesday night, motored to Liverpool, and flown from Speke, this morning. He is leaving again at 5.30 on Saturday, and will conduct again on Saturday evening, by which time he will have been at four concerts in three days.
This is Dr. Sargent’s first visit to Belfast and it is also the first visit of the Liverpool Philharmonic Orchestra – one of the finest orchestras in Britain.
Dr. Malcolm Sargent, who will conduct the Liverpool Philharmonic Orchestra at concerts in the Ulster Hall during the next three days, arrived in Belfast this afternoon an hour before rehearsal, having played in Bradford on Wednesday night, motored to Liverpool, and flown from Speke, this morning. He is leaving again at 5.30 on Saturday, and will conduct again on Saturday evening, by which time he will have been at four concerts in three days.
This is Dr. Sargent’s first visit to Belfast and it is also the first visit of the Liverpool Philharmonic Orchestra – one of the finest orchestras in Britain.
TRAVELLED 42,000 MILES
Since 1942 the Liverpool Philharmonic has travelled over 40,000 miles giving concerts to workers, the Forces, etc., while in one year alone Dr. Sargent himself covered 39,000 miles.
Dr. Sargent to-day said that the interest in classical music evidenced by the sell-out of tickets for the present concert inside a day was general throughout the whole of Great Britain. The emotional excitement of the war had made people feel at home with the emotional writings of the composers such as Tchaikovsky and Beethoven, while radio and gramophone continued to bring music to more and more people.
Symphony concerts, he said, were beginning to be looked on as something that must be provided by the Government – the people de¬manded it, and as box office would never pay for symphony concerts, funds must come from somewhere. The rich patron on whom music had depended no longer had money, and even if he had, people did not want to depend on him for their entertainment.
Big concerts must be subsidised by the taxes of the State and the rates of the municipality. All that we needed was for the box office loss to be footed.
Since 1942 the Liverpool Philharmonic has travelled over 40,000 miles giving concerts to workers, the Forces, etc., while in one year alone Dr. Sargent himself covered 39,000 miles.
Dr. Sargent to-day said that the interest in classical music evidenced by the sell-out of tickets for the present concert inside a day was general throughout the whole of Great Britain. The emotional excitement of the war had made people feel at home with the emotional writings of the composers such as Tchaikovsky and Beethoven, while radio and gramophone continued to bring music to more and more people.
Symphony concerts, he said, were beginning to be looked on as something that must be provided by the Government – the people de¬manded it, and as box office would never pay for symphony concerts, funds must come from somewhere. The rich patron on whom music had depended no longer had money, and even if he had, people did not want to depend on him for their entertainment.
Big concerts must be subsidised by the taxes of the State and the rates of the municipality. All that we needed was for the box office loss to be footed.
Dr Malcolm Sargent
AIDED BY LOCAL AUTHORITY
In Birmingham, Liverpool, and Manchester the local authority gave great assistance to music, which enabled the population of those cities to have their full share of good music at a reasonable cost, and he hoped, that in Belfast the same would shortly apply.
An orchestra was no longer a luxury, said Dr. Sargent, but one of the ordinary necessities of civilised people.
In Liverpool special concerts were run, he said, for children, and also for young people from 16 upwards, and in this connection he said that it was interesting to note that 50 per cent of the audiences before which he conducted were composed of young people from 17 to 25.
In Birmingham, Liverpool, and Manchester the local authority gave great assistance to music, which enabled the population of those cities to have their full share of good music at a reasonable cost, and he hoped, that in Belfast the same would shortly apply.
An orchestra was no longer a luxury, said Dr. Sargent, but one of the ordinary necessities of civilised people.
In Liverpool special concerts were run, he said, for children, and also for young people from 16 upwards, and in this connection he said that it was interesting to note that 50 per cent of the audiences before which he conducted were composed of young people from 17 to 25.
The PDF on the right contains details of all four Belfast concerts given by the Liverpool Philharmonic Orchestra, along with a review of the first concert and the title page of a concert programme.
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Liverpool Phil visits Belfast 1946.pdf Size : 508.434 Kb Type : pdf |
Then came this publicity leaflet (April-May 1946) and a newspaper advertisement (Belfast Telegraph, 18 June 1946):
The following photo was published in the Belfast Telegraph on 24 July 1946.
Can anyone identify any of these London Philharmonic Orchestra players by name?
Can anyone identify any of these London Philharmonic Orchestra players by name?
LPO musicians listed for 24 July 1946 in Belfast:
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London Phil Players' List 1946.pdf Size : 13.419 Kb Type : pdf |
LPO programmes in Belfast, July 1946:
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London Philharmonic Orchestra in Belfast 1946.pdf Size : 365.195 Kb Type : pdf |
Reviewers noted that the first LPO concert "attracted an audience which made up in enthusiasm for what it lacked in numbers" (Northern Whig). "It was a pity that there were so many empty seats in the audience on this great occasion" (Belfast News-Letter).
Things improved for the second concert. "A gratifying feature of last night's Belfast concert by the London Philharmonic Orchestra was not only the greatly increased attendance, but the very attractive programme offered" (Northern Whig).
Finally, Friday's concert was "attended by a large audience" (Belfast News-Letter), a "really good attendance" (Northern Whig), and "the biggest audience of the festival" (Belfast Telegraph).
The disappointing attendance figures for the first concert in particular must surely have worried the promoters of the forthcoming Hallé Orchestra concerts, for they had booked the cavernously large King's Hall in South Belfast!
Things improved for the second concert. "A gratifying feature of last night's Belfast concert by the London Philharmonic Orchestra was not only the greatly increased attendance, but the very attractive programme offered" (Northern Whig).
Finally, Friday's concert was "attended by a large audience" (Belfast News-Letter), a "really good attendance" (Northern Whig), and "the biggest audience of the festival" (Belfast Telegraph).
The disappointing attendance figures for the first concert in particular must surely have worried the promoters of the forthcoming Hallé Orchestra concerts, for they had booked the cavernously large King's Hall in South Belfast!
Erich Leinsdorf (1912-1993), pictured on the right, became a naturalised American citizen in 1942. The July 1946 edition of the bi-monthly London Philharmonic Post notes that "Our principal guest conuctor during July and August is Viennese-born Erich Leinsdorf. His English debut took place a week earlier than advertised when he deputised for Leonard Bernstein two hours before a concert at Walthamstow on June 20th. The programme, including unfamiliar American music, was unchanged. In his early musical career, Leinsdorf profited by association with both Toscanini and Bruno Walter, leading to a long connection with the Metropolitan Opera, New York, and the direction of the Cleveland Orchestra"
The Polish conductor Grzegorz Fitelberg (1879-1953) had had a very distinguished career which included working with Diaghilev, Karlowicz and Szymanowski. He was also a violinist, a composer and a great champion of new Polish music.
The LPO had previously played three concerts in Edinburgh (15-17 July), three in Glasgow (18-20 July) and one in Dundee on 22 June. After Belfast, the LPO gave two concerts in Dublin's Theatre Royal on Saturday evening 27 July and Sunday afternoon 28 July (Leinsdorf conducted the first one, Fitelberg the second).
Belfast Telegraph review of the first LPO concert:
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Review of the second concert:
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LPO 1946 review ii.pdf Size : 94.114 Kb Type : pdf |
Review of the third concert:
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LPO 1946 review iii.pdf Size : 93.031 Kb Type : pdf |
One month later, it was the turn of the Hallé Orchestra and John Barbirolli to visit Belfast, playing to an audience of "well over 5,000 people" on the first night.
Belfast Telegraph, 28 August 1946
“BETTER THAN ALBERT HALL”
DECLARES CONDUCTOR.
DECLARES CONDUCTOR.
Mr Barbirolli told a Belfast Telegraph reporter to-day that when the King’s Hall is full “it is as good, if not better, acoustically than the Royal Albert Hall, London.”
Mr. T. E. Bean, general manager of the orchestra, said during the concert on Tuesday evening he sat in about six different places in the hall and found the acoustics “very good.”
Said Mr. Bean: “When the hall is empty the echo does sound rather frightening. It is a different story, however, when the audience is there; the echo is diminished so much that it really does not matter.
“The slight faults there are could, I am certain, be remedied by the hanging of cloth in various parts of the building. The audience solve the main problem – the concrete floor.”
The Telegraph's music critic, Rathcol, commented that the vast
space "did require some adjustment of values."
space "did require some adjustment of values."
Read his review in this PDF:
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Database listing of the Hallé's Belfast concerts, August 1946:
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1947
With the success of the Hallé Orchestra's visit, the Liverpool Philharmonic Orchestra returned in 1947 for a further three concerts - this time in the King's Hall. Details of the first of the three concerts are listed in the PDF below (Does anyone have details of the other two concerts please?).
The players' names are in the second PDF below and they include two Irish musicians: Sheila Larchet (harp) from Dublin and Netta Wilson (viola) from Bangor.
The Belfast Telegraph music critic thought that, in advance, the advertised programmes disappointed musical people in Belfast; their appreciation was rated too low, i.e. the programmes were too popular, "of the kind that has worn rather thin from constant repetition"!
In part he felt that that explained why "the attendance at the first of their concerts on Tuesday evening fell short of the Hallé record last summer, though even as it was, there must have been well up to four thousand people present."
His editor was more kindly. He thought "there were a good many vacant seats ... but that was not surprising because the King's Hall is vast as a concert hall and mid-June is hardly the time to expect it to be filled to capacity."
The players' names are in the second PDF below and they include two Irish musicians: Sheila Larchet (harp) from Dublin and Netta Wilson (viola) from Bangor.
The Belfast Telegraph music critic thought that, in advance, the advertised programmes disappointed musical people in Belfast; their appreciation was rated too low, i.e. the programmes were too popular, "of the kind that has worn rather thin from constant repetition"!
In part he felt that that explained why "the attendance at the first of their concerts on Tuesday evening fell short of the Hallé record last summer, though even as it was, there must have been well up to four thousand people present."
His editor was more kindly. He thought "there were a good many vacant seats ... but that was not surprising because the King's Hall is vast as a concert hall and mid-June is hardly the time to expect it to be filled to capacity."
Programme listing for Liverpool Phil Concert, June 1947:
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Players' list for Liverpool Phil in Belfast, 1947:
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"Belfast needs a subsidised permanent orchestra"
Under the title, Music for the People, the Belfast Telegraph's editor waxed lyrical on Wednesday 25 June 1947:
... Many of the rising generation have come to regard the hearing of good music as a necessary ingredient of living and musical appreciation as part of an ordinary education.
For these reasons the absence of a permanent orchestra in Northern Ireland is regrettable, and it is to be hoped that the views expressed by Dr. Malcolm Sargent on Tuesday at a Press interview will be read and considered in the proper quarters.
Dr. Sargent thinks that an orchestra should be maintained by a three-fold subsidy made up by the State, local rates and industrial firms, who, in his opinion, should regard the project as part of their general welfare schemes.
There is room for a good deal of debate in these suggestions; seeing that industrial firms pay rates and taxes it could be said that this would be tapping the same source in three different ways.
Laudable efforts have been made to establish an orchestra in Belfast, but it is fairly plain that until a subsidised scheme is produced and approved progress will be slow.
The BBC, who are largely responsible for this increased demand for good music, might reasonably be induced to help. The subject is one on which a decision should be made before long in the interests of general education and of the reputation of Belfast as a capital city.
For these reasons the absence of a permanent orchestra in Northern Ireland is regrettable, and it is to be hoped that the views expressed by Dr. Malcolm Sargent on Tuesday at a Press interview will be read and considered in the proper quarters.
Dr. Sargent thinks that an orchestra should be maintained by a three-fold subsidy made up by the State, local rates and industrial firms, who, in his opinion, should regard the project as part of their general welfare schemes.
There is room for a good deal of debate in these suggestions; seeing that industrial firms pay rates and taxes it could be said that this would be tapping the same source in three different ways.
Laudable efforts have been made to establish an orchestra in Belfast, but it is fairly plain that until a subsidised scheme is produced and approved progress will be slow.
The BBC, who are largely responsible for this increased demand for good music, might reasonably be induced to help. The subject is one on which a decision should be made before long in the interests of general education and of the reputation of Belfast as a capital city.
David Curry and his Orchestras
The photograph above is reproduced from a surviving concert programme (see below) which has had problems surviving the ravages of time! The pic is simply entitled "Mr. David Curry and his Orchestra", but the films advertised in the undated programme as showing at the Alhambra all date from 1928, 1929 and 1930.
David Curry provides the bridge between the pre-War BBC
Northern Ireland Orchestra and the post-War BBC Northern Ireland Light
Orchestra. He was born on 29 January 1899 in Belfast and attended St
Clement's School and Forrest Private School. Aged nine, he had violin
lessons from his father, a viola player in the orchestra of the Belfast
Philharmonic Society. He then studied with Dr Francis Koeller, the conductor of the Belfast Phil.
Curry joined the orchestra of the Belfast Hippodrome in 1916 as repetiteur and after just six months was appointed Leader and Deputy Conductor. In 1920 he moved to the Imperial Picture House Orchestra as Leader and Deputy Conductor, then a year later to the P.T.C. Royal Avenue Picture House as Musical Director.
It's likely that the David Curry Orchestra pictured above was in business in the mid to late 1920s. Fortunately, the demise of the silent film and cinema orchestras was mirrored by the rise of radio broadcasting.
The BBC also offered some security to musicians like Curry during the Great Depression in the early 1930s.
Curry joined the orchestra of the Belfast Hippodrome in 1916 as repetiteur and after just six months was appointed Leader and Deputy Conductor. In 1920 he moved to the Imperial Picture House Orchestra as Leader and Deputy Conductor, then a year later to the P.T.C. Royal Avenue Picture House as Musical Director.
It's likely that the David Curry Orchestra pictured above was in business in the mid to late 1920s. Fortunately, the demise of the silent film and cinema orchestras was mirrored by the rise of radio broadcasting.
The BBC also offered some security to musicians like Curry during the Great Depression in the early 1930s.
Curry joined the BBC Northern Ireland Orchestra in 1932
as a violinist, playing under the great names of the period – Harty,
Barbirolli, Elgar, Vaughan Williams, Bliss, Henry Wood, etc.
When the Orchestra was disbanded in 1939 on the outbreak of War, Curry was again fortunate to remain in employment, conducting his own Irish Rhythms Orchestra from 1938 to 1949.
The first broadcast of the Irish Rhythms programme was on 23 April 1938.
When the Orchestra was disbanded in 1939 on the outbreak of War, Curry was again fortunate to remain in employment, conducting his own Irish Rhythms Orchestra from 1938 to 1949.
The first broadcast of the Irish Rhythms programme was on 23 April 1938.
RH pic: David Curry conducts - possibly the Irish Rhythms Orchestra.
The pics below are of the concert programme for the Belfast Symphony Orchestra's inaugural concert on 09 November 1945 in the Wellington Hall, Belfast. The PDF on the right is a transcript of the players' list.
David Curry was the conductor; the soloist in Schumann's Piano Concerto was Edward Pearl.
David Curry was the conductor; the soloist in Schumann's Piano Concerto was Edward Pearl.
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BSO Players List, November 1945.pdf Size : 298.987 Kb Type : pdf |
Sharing the concert was the Ormiston Choir, conductor
William Boyd. The Choir was formed in 1936 and, after the death of
William Boyd in 1988, it became the Belfast Phoenix Choir. My thanks to
George Millar for these pics.
On 1 June 1949, David Curry was appointed conductor of the new BBC Northern Ireland Light Orchestra. His Irish Rhythms arrangements became a huge broadcasting hit across the world, with sometimes four live broadcasts a week from Belfast. He eventually retired on 27 January 1965.
David Curry was often described as the only leprechaun
employed by the BBC, and by Patrick Riddell as having “the aura of an
accountant” and the “air of a successful ironmonger”.
He was five feet six inches high, “slim, compact … even his morning bath and his laundered linen will not remove from him the atmosphere of tobacco smoke in which he has been working.”
His orchestral arrangements, however dated they might seem now, breathed new life and international interest into traditional Irish airs some 50 years before Riverdance.
He died on 9 April 1971.
He was five feet six inches high, “slim, compact … even his morning bath and his laundered linen will not remove from him the atmosphere of tobacco smoke in which he has been working.”
His orchestral arrangements, however dated they might seem now, breathed new life and international interest into traditional Irish airs some 50 years before Riverdance.
He died on 9 April 1971.
LH pic: Raymond Piper's characterful sketch of David Curry, published in Social and Personal, November 1953. It accompanied a pen portrait of Curry by Patrick Riddell.
BBC Northern Ireland Light Orchestra
(eventually renamed the BBC Northern Ireland Orchestra)
The first broadcast given by the new BBC Northern Ireland Light Orchestra (NILO) was on 11 July 1949.
Pictured on the left, rehearsing the Northern Ireland Singers, is Dr Edgar (Billy) Boucher, then the BBC station's Music Organiser, but later Head of Music.
He described the music programmes broadcast from Northern Ireland in an article entitled A Treasure House of Folk-Music.
The article probably dates from late 1949 or early 1950, given the accompanying photo of David Curry conducting the NILO (below right):
He described the music programmes broadcast from Northern Ireland in an article entitled A Treasure House of Folk-Music.
The article probably dates from late 1949 or early 1950, given the accompanying photo of David Curry conducting the NILO (below right):
There is little symphonic music for broadcasting in Northern Ireland; but there is other music, indigenous as our native plants, which we can perform and perform better than anybody else. In this country we are fortunate to have one of the world’s great treasure houses of folk-music – music kept alive by singers, choirs, fiddlers, pipers, and bands all over the country.
It is to us, then, that the other BBC services turn for broadcasts of this kind of music.
So the pattern of our programmes is clear:
• choral music – such as the fortnightly Sing as we go and hymn singing;
• vocal music – recitals and ballad concerts;
• traditional dance music – played by fiddlers, pipers, ceilidhe bands, and, most important, by David Curry’s Orchestra, which is the lineal descendant of his original combination formed in 1938, and plays Curry’s own arrangements of Irish dance-tunes.
Outside this realm of folk-music we give, of course, recitals by outstanding Ulster singers and instrumentalists.
We in the Music Department are continually touring the country, holding auditions and attending local concerts in the search for talent. The results of these researches are heard in programmes such as Concert from the Country, which give a stimulus to artistic endeavour.
So the pattern of our programmes is clear:
• choral music – such as the fortnightly Sing as we go and hymn singing;
• vocal music – recitals and ballad concerts;
• traditional dance music – played by fiddlers, pipers, ceilidhe bands, and, most important, by David Curry’s Orchestra, which is the lineal descendant of his original combination formed in 1938, and plays Curry’s own arrangements of Irish dance-tunes.
Outside this realm of folk-music we give, of course, recitals by outstanding Ulster singers and instrumentalists.
We in the Music Department are continually touring the country, holding auditions and attending local concerts in the search for talent. The results of these researches are heard in programmes such as Concert from the Country, which give a stimulus to artistic endeavour.
The new BBC Northern Ireland Light Orchestra will enrich our programmes.
In its repertoire we hope to include special arrangements of many Irish airs.
In its repertoire we hope to include special arrangements of many Irish airs.
LH pic: David Curry and the BBC NILO, c.1961
Those "special arrangements of many Irish airs" gained an international audience for Curry's Irish Rhythms programmes but, as this next Radio Times article reveals, the new BBC NILO was able to escape from the confines of the studio to give occasional concerts in centres around Northern Ireland. The article also highlights how the City of Belfast Orchestra (established 1950) was built around a nucleus of NILO players.
Radio Times, 4 July 1952 - "The Microphone in Northern Ireland"
BBC Orchestra’s Third Birthday
An interesting anniversary this week is the third birthday of the BBC Northern Ireland Light Orchestra, a group of twenty-two highly skilled musicians who in the three years of their existence seem to have spread their good name over a large part of the world. Their broadcasts in the Home, Light, European, and Overseas Services of the BBC — as well as the many recordings circulated by the BBC Transcription Service — have introduced music from Northern Ireland to listeners in many countries, and the appreciative letters received by the orchestra’s conductor, David Curry, have come in recent months from people and places as far removed as a rubber planter in Malaya; some Ulstermen working on a hydro-electric scheme in the mountains of the South Island, New Zealand; a schoolmaster in Norway; an Embassy official in Istanbul; an Italian doctor in Venice; and numerous listeners across the length and breadth of North America.
There can be few, if any, orchestras in these islands which perform a wider range of music. Possibly the most popular programmes are the fortnightly sessions of Irish Rhythms, or some of the delightful Ulster Serenades, usually devoted to music of a less vigorous, more romantic nature — ‘moonlight music’, somebody called it; but, as David Curry says of the orchestra, ‘we play anything and everything from sambas to Mozart.’
In collaboration with the Queen’s University Music Society, the orchestra has given a number of choral and orchestral concerts before audiences in the University’s Sir William Whitla Hall. It has paid two visits to Londonderry and recently gave several public concerts in Enniskillen.
The Northern Ireland Light Orchestra has greatly enriched the musical life of the Province as well as the radio programmes broadcast from Ulster. With such a body of professional musicians made available by the BBC it became possible for C.E.M.A. (aided by a subsidy from Belfast Corporation) to found a small municipal symphony orchestra in the city. Thus BBC players form the nucleus of the City of Belfast Orchestra and many of them also play in the Belfast Philharmonic Orchestra. Added to the activities of the Philharmonic Society, the public concerts by the City Orchestra are manifestly an important cultural development in Belfast and, through broadcasts in the Northern Ireland Home Service, both the Philharmonic and the ‘City’ concerts are heard by listeners all over the Province. These two orchestras have now been rested for the summer, but the BBC players remain on the job as usual and can be heard in several programmes this week. The Northern Ireland Light Orchestra supplies morning music on Tuesday, a programme of Irish Rhythms on Tuesday evening, and will be playing in the Light Programme for On With the Dance on Wednesday.
The Northern Ireland Light Orchestra has greatly enriched the musical life of the Province as well as the radio programmes broadcast from Ulster. With such a body of professional musicians made available by the BBC it became possible for C.E.M.A. (aided by a subsidy from Belfast Corporation) to found a small municipal symphony orchestra in the city. Thus BBC players form the nucleus of the City of Belfast Orchestra and many of them also play in the Belfast Philharmonic Orchestra. Added to the activities of the Philharmonic Society, the public concerts by the City Orchestra are manifestly an important cultural development in Belfast and, through broadcasts in the Northern Ireland Home Service, both the Philharmonic and the ‘City’ concerts are heard by listeners all over the Province. These two orchestras have now been rested for the summer, but the BBC players remain on the job as usual and can be heard in several programmes this week. The Northern Ireland Light Orchestra supplies morning music on Tuesday, a programme of Irish Rhythms on Tuesday evening, and will be playing in the Light Programme for On With the Dance on Wednesday.
Please click on the thumbnail pics below to see them full size.
Pic No.3 is of The Shuilers, a popular
broadcasting group in its day (the name means 'travelling vagabonds' ).
It consisted of David Curry, violin, John Bunting, cello, Ted Teare, percussion, and Frank Hughes, guitar.
Active in the mid-1950s, The Shuilers played Curry's arrangements of folk music from Ireland and elsewhere.
It consisted of David Curry, violin, John Bunting, cello, Ted Teare, percussion, and Frank Hughes, guitar.
Active in the mid-1950s, The Shuilers played Curry's arrangements of folk music from Ireland and elsewhere.
Specific NILO programme details are not easy to come by; more research would be needed amongst the BBC's own archives, but David Curry and NILO, leader William McInulty, did indeed give many concerts and live broadcasts around Northern Ireland.
Some random mentions would include: in 1954, visits to Cookstown (02 Mar), Armagh (16 Mar), Ballymena (25 Oct) and Omagh (date unknown); in 1956, Armagh (30 Apr) and Enniskillen (25 May).
Some random mentions would include: in 1954, visits to Cookstown (02 Mar), Armagh (16 Mar), Ballymena (25 Oct) and Omagh (date unknown); in 1956, Armagh (30 Apr) and Enniskillen (25 May).
The PDF on the right gives the known details of four of the 1954 NILO regional concerts.
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The Orchestra's first television appearance was on Wednesday 9 September 1959 in a programme entitled Studio Eight. It marked the tenth anniversary of the founding of the BBC NILO.
A BBC press release for the programme stated:
David Curry's own career in the BBC goes back more than a quarter of a century when he first joined the BBC Northern Ireland Symphony Orchestra as a very youthful violinist on one of the back desks. Though he also broadcast many times in those days as a soloist it was his fascinating orchestral arrangements of Irish Rhythms that were to make his name.
LH pic: David Curry c.1964. The front desk violinist is NILO leader, David Adams.
On Thursday 15 June 1961, David Curry and NILO gave a concert in the National Stadium, Dublin, as part of the Dublin International Festival of Music and the Arts.
The soloist was tenor Brendan O'Dowda and the first PDF below gives the details of the lengthy programme.
There were four reviews in Dublin newspapers and they are transcribed in the second PDF below.
There was also a good introduction in the Festival brochure, giving biographical information about NILO, Curry and NILO's leader, David Adams - see the third PDF. The photographs below are also from that brochure.
The soloist was tenor Brendan O'Dowda and the first PDF below gives the details of the lengthy programme.
There were four reviews in Dublin newspapers and they are transcribed in the second PDF below.
There was also a good introduction in the Festival brochure, giving biographical information about NILO, Curry and NILO's leader, David Adams - see the third PDF. The photographs below are also from that brochure.
RH pic: Programme cover for the Dublin International Festival, 1961.
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BBC NILO Reviews Dublin 15 June 1961.pdf Size : 284.161 Kb Type : pdf |
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LH pic: Brendan O'Dowda RH pic: David Curry
During August 1961 the NIO gave 'request' concerts (a series called Postbox) in Portrush (Wednesday 23 August at 6.25pm) and Bangor (Wednesday 30 August at 6.25pm). These were broadcast on the North of England and Northern Ireland Home Service.
Over the years, right up to the disbandment of the NIO, it gave regular broadcast concerts for the BBC Light Programme (later Radio 2) of Friday Night is Music Night.
Over the years, right up to the disbandment of the NIO, it gave regular broadcast concerts for the BBC Light Programme (later Radio 2) of Friday Night is Music Night.
On Friday 1 September
1961, in the Ulster Hall, the bill of fare for Friday Night was "a varied one with
shipyard workers providing the song, policemen the martial music, a
ceili trio the dance beat and the BBC Northern Ireland Orchestra again
proving its versatility" (BBC Press Release).
Two million people in the UK tuned in to hear "the star soloist" Henry Hinds singing Irish ballads and negro spirituals, the band of the Royal Ulster Constabulary, dir. Alexander Hollick, the Harlandic Male Voice Choir, dir. Adam Donaghy, the Gilcurdon Trio (accordion, bass and banjo), and David Curry conducting the NILO.
Two million people in the UK tuned in to hear "the star soloist" Henry Hinds singing Irish ballads and negro spirituals, the band of the Royal Ulster Constabulary, dir. Alexander Hollick, the Harlandic Male Voice Choir, dir. Adam Donaghy, the Gilcurdon Trio (accordion, bass and banjo), and David Curry conducting the NILO.
LH pic: David Curry, c.1962
Occasionally the BBC press releases filled out some of the biographical details of NILO musicians. The Olin String Quartet was an ensemble which grew out of NILO - Maurice and Audrey Brett, violins, David Gribble, viola, and John Bunting, cello. Maurice Brett would succeed David Adams as Leader in 1967.
The PDF below gives some biographical details for the Bretts and it also includes a brief biography of NILO oboist Edward Osborne.
The PDF below gives some biographical details for the Bretts and it also includes a brief biography of NILO oboist Edward Osborne.
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BBC NILO biogs re Bretts, Olin Qt and Ted Osborne.pdf Size : 202.107 Kb Type : pdf |
RH pic: Maurice and Audrey Brett, c.1967
In April 1964, hot on the heels of the BBC Symphony Orchestra, NILO gave a concert in the Guildhall, Londonderry, on Wednesday 15 April as part of the North-West Arts Festival. The second 'half' was recorded for television and broadcast on Wednesday 22 April. The producer was David Hannon and Michael Baguley introduced the programme.
The picture gallery below features the BBC Press Release for that broadcast, a Belfast Telegraph review (from the days when language hadn't developed in quite the same way as today!) published on 16 April 1964, and Michael Baguley.
The picture gallery below features the BBC Press Release for that broadcast, a Belfast Telegraph review (from the days when language hadn't developed in quite the same way as today!) published on 16 April 1964, and Michael Baguley.
1965 was a year of change. In March, the BBC Third Programme became the BBC Music Programme (changing to BBC Radio 3 in 1967).
There were three significant announcements that year:
There were three significant announcements that year:
Terence Lovett (1922-1993), pictured left, was announced as the BBC Northern Ireland
Light Orchestra's Principal Conductor from 4 January 1965; David
Curry officially retired on 27 January.
Early in 1965, the BBC announced a general reorganisation of its popular and light music orchestras.
As a result, NILO's playing strength increased from 21 to 30 players. Even better, the players were given full-time contracts rather than what had been part-time contracts. It was this reorganisation which resulted in the Arts Council founding the Ulster Orchestra.
Then, during July 1965, there was a further press release.
"New Look and Name for BBC Orchestra" reported the name change, dropping the word 'Light' to become the BBC Northern Ireland Orchestra.
Early in 1965, the BBC announced a general reorganisation of its popular and light music orchestras.
As a result, NILO's playing strength increased from 21 to 30 players. Even better, the players were given full-time contracts rather than what had been part-time contracts. It was this reorganisation which resulted in the Arts Council founding the Ulster Orchestra.
Then, during July 1965, there was a further press release.
"New Look and Name for BBC Orchestra" reported the name change, dropping the word 'Light' to become the BBC Northern Ireland Orchestra.
The two thumbnails below are from the Belfast Telegraph, 31 Dec 1964. Please click on them to view properly.
The article pictured in the second thumbnail appeared below the first picture which was entitled "Mr Terence Lovett conducting the Ulster Junior Orchestra". The two PDFs are transcripts of BBC press releases.
The article pictured in the second thumbnail appeared below the first picture which was entitled "Mr Terence Lovett conducting the Ulster Junior Orchestra". The two PDFs are transcripts of BBC press releases.
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BBC NI Press Release re NILO enlargement, March 1965.pdf Size : 191.67 Kb Type : pdf |
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BBC NI Press Release re NILO name change 1965.pdf Size : 248.119 Kb Type : pdf |
Terence Lovett's first public appearance with the BBC NIO was in the Grosvenor Hall, Belfast, for Friday Night is Music Night on 25 June 1965. The "star singers" were Cherry Lind, Madge Stephens and Laurie Payne. Also taking part was the RUC Band conducted by District Inspector Alexander Hollick and the Ulster Singers, conducted by Havelock Nelson.
The second public concert was a Lunchtime one in the Whitla Hall of Queen's University, Belfast, on Thursday 21 October 1965. No programme details are available at the moment, but the concert was recorded and broadcast that evening in the Home Service.
The Orchestra with Terence Lovett gave concerts at the Belfast Festival in successive years, 1965-1967, including the Opening Concerts in 1966 and 1967, the latter led by Maurice Brett.
The second public concert was a Lunchtime one in the Whitla Hall of Queen's University, Belfast, on Thursday 21 October 1965. No programme details are available at the moment, but the concert was recorded and broadcast that evening in the Home Service.
The Orchestra with Terence Lovett gave concerts at the Belfast Festival in successive years, 1965-1967, including the Opening Concerts in 1966 and 1967, the latter led by Maurice Brett.
The PDF on the right is Charles Acton's review of a BBC NIO concert in Festival '66, published in the Musical Times, January 1967. Erich Gruenberg gave the first performance of Raymond Warren's Violin Concerto.
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BBCNIO at Festival 1966 by Charles Acton.pdf Size : 281.125 Kb Type : pdf |
RH: A list of the BBC NIO players from December 1966:
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BBC NIO players' list, 30 Dec 1966.pdf Size : 11.016 Kb Type : pdf |
The PDF on the right is the BBC press release from 1967 announcing the resignation of David Adams, leader of the BBC
NIO, and the appointment of Maurice Brett as the new leader.
Also announced is the appointment of Alan Tongue as orchestral producer.
Also announced is the appointment of Alan Tongue as orchestral producer.
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BBC Press re Brett and Tongue August 1967.pdf Size : 270.438 Kb Type : pdf |
Succeeding Terence Lovett was Stanley Black (1913-2002) who took up the role of Principal Conductor of the BBC NIO in September 1968.
His appointment was a real coup. Here was a man who'd worked with Louis Armstrong and Coleman Hawkins, a significant composer of film music (and director of music at Elstree studios); a conductor whose credits would eventually include the Boston Pops Orchestra; and whose recent history included a 1965 Gramophone award for his recording of Rimsky-Korsakov's Capriccio espagnol.
Alas, the BBC NIO appointment didn't last. After just one year, Stanley Black had relinquished the role "because of his extensive film and recording commitments in London". In 1977 he became the first non-American to be invited to conduct the Boston Pops Orchestra.
His appointment was a real coup. Here was a man who'd worked with Louis Armstrong and Coleman Hawkins, a significant composer of film music (and director of music at Elstree studios); a conductor whose credits would eventually include the Boston Pops Orchestra; and whose recent history included a 1965 Gramophone award for his recording of Rimsky-Korsakov's Capriccio espagnol.
Alas, the BBC NIO appointment didn't last. After just one year, Stanley Black had relinquished the role "because of his extensive film and recording commitments in London". In 1977 he became the first non-American to be invited to conduct the Boston Pops Orchestra.
RH pic: Stanley Black
Kenneth Alwyn (1925-2020) was appointed Principal Conductor of the BBC NIO in 1969.
In 1970, the BBC commissioned a new piece of 'light music' from Raymond Warren for the BBC NIO. This was Wexford Bells, a Suite on Old Irish Tunes in four movements: Shepherds’ Dance, Lute Book Lullaby, Christmas Jig and Wexford Bells. It lasts just over 10 minutes and the second movement is based on material from a 17th century Dublin lute book.
LH pic: Kenneth Alwyn. Photo © Mary Roberts.
RH pic: from the Radio Times, 21 November 1969. Broadcast on both BBC Radio 1 and Radio 2.
RH pic: from the Radio Times, 21 November 1969. Broadcast on both BBC Radio 1 and Radio 2.
On Sunday, 12 November 1972, the BBC NIO gave the opening concert of that year's second Queen's University Festival. It took place "in the new Elmwood Hall". Part of the concert was relayed live on BBC Radio 4.
There had been no Festival in 1970 or 1971 because of the 'Troubles', but in 1972 the University employed David Laing as the Director of a small Festival in February and a larger programme in November.
Dublin-born Julian Dawson, then Associate Conductor of the Scottish National Orchestra (and now, since 1975, long established in the USA) conducted an all-Bach programme: Brandenburg Concerto No.2 in F, BWV 1047 (Wendy Berry, principal flute, BBC NIO, Edward Osborne, principal oboe, BBC NIO, Gordon Webb, principal trumpet, LPO, Maurice Cavanagh, violin, leader BBC NIO); Harpsichord Concerto in D minor, BWV 1052 (Valda Aveling, harpsichord); Brandenburg Concerto No.3 in G, BWV 1048.
There had been no Festival in 1970 or 1971 because of the 'Troubles', but in 1972 the University employed David Laing as the Director of a small Festival in February and a larger programme in November.
Dublin-born Julian Dawson, then Associate Conductor of the Scottish National Orchestra (and now, since 1975, long established in the USA) conducted an all-Bach programme: Brandenburg Concerto No.2 in F, BWV 1047 (Wendy Berry, principal flute, BBC NIO, Edward Osborne, principal oboe, BBC NIO, Gordon Webb, principal trumpet, LPO, Maurice Cavanagh, violin, leader BBC NIO); Harpsichord Concerto in D minor, BWV 1052 (Valda Aveling, harpsichord); Brandenburg Concerto No.3 in G, BWV 1048.
Following Kenneth Alwyn in 1976 was Eric Wetherell (b.1925).
My thanks to Terry Black for this pic.
More to follow here ...
LH pic: Programme cover for a Festival '78 concert on Sunday 19 November, given by the BBC NIO, conductor Eric Wetherell, with Heather Harper, soprano. The concert marked the exact 150th anniversary of Schubert's death.
The PDFs on the right provide the players' list and the programme details for that concert.
Four days later, Heather Harper was also the soloist for a Whitla Hall concert given by the RTÉ Symphony Orchestra, conductor Colman Pearce.
The PDFs on the right provide the players' list and the programme details for that concert.
Four days later, Heather Harper was also the soloist for a Whitla Hall concert given by the RTÉ Symphony Orchestra, conductor Colman Pearce.
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Programme details 19 Nov 1978.pdf Size : 337.164 Kb Type : pdf |
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BBC NIO players' list 1978.pdf Size : 92.878 Kb Type : pdf |
This next photograph, taken in Studio 1, BBC Broadcasting House, Belfast, around 1979-1980, is courtesy of my colleague Terry Black. He was the music librarian for the BBC Northern Ireland Orchestra, and around this time or shortly afterwards was appointed Music Producer. My thanks to Armour Hamilton for some additional identifications.
Listing of orchestral personnel from the top of the pic (i.e. back of the studio): Malcolm Neale, timpani/percussion.
Woodwind (left to right, back to front): Michael Huntriss and Paul Schumann, clarinets; Jonathan Holland and Westerby Gibbon, bassoons; Stephen Hicking and Elizabeth Bennett, flutes; Christine Swain and Christopher Hooker, oboes.
Brass (left to right, back to front): Peter Currie and ?, horns; Eric Dunlea and Michael Bennett, trumpets; Danny Longstaff, trombone.
Middle left: Audrey Douglas, harp.
Strings: Maurice Cavanagh, leader, and Jean Boddis (front desk, violins I); behind are Maggie Wilson and Diana Mitchell
Block of four violins II: Gillian Iveston and Maggie Hughes (front desk); Sylvia Gray and Carolyn Stapley (second desk violins II).
Joy Roger Hammerschlag and Ruth Mann, violas; Jeremy Lawrence and Elaine Brook, cellos; Armour Hamilton, double bass.
Front right: Eddie Pearl, keyboard/percussion.
On the conductor’s podium is Moelfryn Harries, Acting Head of Music.
Woodwind (left to right, back to front): Michael Huntriss and Paul Schumann, clarinets; Jonathan Holland and Westerby Gibbon, bassoons; Stephen Hicking and Elizabeth Bennett, flutes; Christine Swain and Christopher Hooker, oboes.
Brass (left to right, back to front): Peter Currie and ?, horns; Eric Dunlea and Michael Bennett, trumpets; Danny Longstaff, trombone.
Middle left: Audrey Douglas, harp.
Strings: Maurice Cavanagh, leader, and Jean Boddis (front desk, violins I); behind are Maggie Wilson and Diana Mitchell
Block of four violins II: Gillian Iveston and Maggie Hughes (front desk); Sylvia Gray and Carolyn Stapley (second desk violins II).
Joy Roger Hammerschlag and Ruth Mann, violas; Jeremy Lawrence and Elaine Brook, cellos; Armour Hamilton, double bass.
Front right: Eddie Pearl, keyboard/percussion.
On the conductor’s podium is Moelfryn Harries, Acting Head of Music.
City of Belfast Orchestra
E. Godfrey Brown (1874-1955), who conducted the Belfast Philharmonic Society's concerts from 1912 to 1950 (and was the first Director of Music for the BBC in Belfast from 1924 to 1937), wrote about Music in Belfast for Aloys Fleischmann's Music in Ireland - a symposium (Cork University Press, 1952).
These are his comments introducing the City of Belfast Orchestra:
These are his comments introducing the City of Belfast Orchestra:
The Corporation of Belfast, in co-operation with C.E.M.A. [the Council for the Encouragement of Music and the Arts, forerunner of the Arts Council], in 1950 established a Municipal Orchestra and appointed as conductor Mr Denis Mulgan, BA, B.Mus (Oxon), of Birmingham. The concerts by the Municipal Orchestra promise to become an important factor in the cultural life of Belfast. Mr Mulgan also directs the concerts of the Philharmonic Society, and has already conducted important choral and orchestral works under the Society's aegis.
LH pic: Denis Mason Mulgan, conductor, City of Belfast Orchestra, 1950-1955.
And things were off to a great start with a commission for a new Piano Concerto from a Belfast-born composer.
Howard Ferguson’s Concerto for Piano and Strings, commissioned by CEMA (the Council for the Encouragement of Music and the Arts, Northern Ireland) to mark the Festival of Britain in 1951, was premièred at a City of Belfast Orchestra concert conducted by Denis Mulgan on 22 June 1951. Howard Ferguson himself was the soloist.
Howard Ferguson’s Concerto for Piano and Strings, commissioned by CEMA (the Council for the Encouragement of Music and the Arts, Northern Ireland) to mark the Festival of Britain in 1951, was premièred at a City of Belfast Orchestra concert conducted by Denis Mulgan on 22 June 1951. Howard Ferguson himself was the soloist.
RH pic: Concert programme cover for the CBO concert on 24 Oct 1952.
The concert details for 24 Oct 1952 are given in the first PDF below.
The second PDF gives the Players' List for that concert.
The second PDF gives the Players' List for that concert.
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Prog details 24 Oct 1952.pdf Size : 122.492 Kb Type : pdf |
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Players' List CBO 24 Oct 1952.pdf Size : 25.732 Kb Type : pdf |
If anyone can help by lending any 1950s and early 1960s CBO programmes, season brochures or concert listings, please do be in touch.
This next PDF provides the concert details for a complete CBO season.
This next PDF provides the concert details for a complete CBO season.
CBO Season concerts for 1959/1960:
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CBO Season 1959-1960.pdf Size : 481.166 Kb Type : pdf |
The following note was published in the CBO programme of a Belfast City Hall concert given 0n 3 April 1962 for a visit by Queen Elizabeth, the Queen Mother:
One of the youngest Symphony Orchestras in the British Isles, the City of Belfast Orchestra has made great progress since its formation in 1950 and it now plays a leading part in the cultural life of Northern Ireland. Since its foundation the Orchestra has been sponsored by CEMA (The Council for the Encouragement of Music and the Arts) and Belfast Corporation, but the venture would have been almost impossible to launch without the willing assistance of the BBC and the Royal Ulster Constabulary in releasing some of their players for the Orchestra, and it is very creditable that a community of the size of Northern Ireland should have built up an Orchestra of this size.
The Orchestra began its life under the guidance of Denis Mulgan, who nursed it through its early years until 1955, when he handed over the baton to Maurice Miles. Great credit is due to these two conductors for guiding the Orchestra through the difficult early stages, so that now it has acquired a personality of its own and a growing sense of solid achievement.
Approximately seventy strong, this Symphony Orchestra is playing a vital role in the musical life of Belfast, providing an extensive concert repertoire, and performing choral works in association with the Belfast Philharmonic Society.
The Orchestra began its life under the guidance of Denis Mulgan, who nursed it through its early years until 1955, when he handed over the baton to Maurice Miles. Great credit is due to these two conductors for guiding the Orchestra through the difficult early stages, so that now it has acquired a personality of its own and a growing sense of solid achievement.
Approximately seventy strong, this Symphony Orchestra is playing a vital role in the musical life of Belfast, providing an extensive concert repertoire, and performing choral works in association with the Belfast Philharmonic Society.
Above: Programme cover for 3 April 1962 concert.
The original programme is 22 x 30.5 cms.
The original programme is 22 x 30.5 cms.
The conductor was Maurice Miles and the soloist was the Belfast-born soprano Heather Harper.
The PDF on the left below gives the concert details; the PDF on the right gives the list of players as published in the concert programme:
The PDF on the left below gives the concert details; the PDF on the right gives the list of players as published in the concert programme:
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CBO concert 3 April 1962.pdf Size : 95.569 Kb Type : pdf |
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CBO List of Players, 1962.pdf Size : 92.896 Kb Type : pdf |
Click on the thumbnails below to see
(1) the cover of the 1959/1960 season brochure, designed by Lewis Logan;
(2) a 1958 programme cover;
(3) a 1960 programme cover; and
(4) a 1965 programme cover.
(2) a 1958 programme cover;
(3) a 1960 programme cover; and
(4) a 1965 programme cover.
Was Lewis Logan the same man who had many TV credits for production and set design between 1961 and 1981?
I assume he was probably also the Lewis Logan who was the designer for James Douglas's The Ice Goddess at Dublin's Gate Theatre in 1964 and set designer for the Abbey Theatre 's 1972 production of Tom Murphy's The White House.
I assume he was probably also the Lewis Logan who was the designer for James Douglas's The Ice Goddess at Dublin's Gate Theatre in 1964 and set designer for the Abbey Theatre 's 1972 production of Tom Murphy's The White House.
How good it is to see dates - including the specific year - on the outside of concert programme covers. Such a time-saving device for the archivist! Programmes in pics 2-4 were kindly supplied by Norma Blair.
The information in the following PDF comes from a black and white photocopy of the season brochure. Pic 4 above provides its likely colour!
CBO Season concerts for 1965/1966:
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CBO Season 1965-1966.pdf Size : 768.599 Kb Type : pdf |
Lawrence Glover, soloist with the CBO on 29 Jan 1965.
CBO concert, 29 January 1965
RH pic: Cover of the concert programme.
This next PDF, a page from the database, gives the concert details:
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CBO prog details for 29 Jan 1965.pdf Size : 94.537 Kb Type : pdf |
The following PDF gives the list of orchestral players from that concert's printed programme:
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CBO Players' List, Jan 1965.pdf Size : 11.888 Kb Type : pdf |
The CBO programme mentions that Belfast-born pianist and composer Lawrence Glover (1931-1988) “had the advice, encouragement and friendship more recently of Claudio Arrau”. In his Scraping a Living: A Life of a Violinist (AuthorHouse, 2007), Peter Mountain described Lawrence Glover:
He had been a pupil of Gordon Green in Manchester at the same time as John Ogdon, and some said that Gordon valued Lawrence’s talent the higher of the two. Lawrence became Head of Piano [at the Royal Scottish Academy of Music] when Wight Henderson retired, but sadly developed a cancer that proved untreatable. The entire Scottish musical establishment attended his funeral to mourn the premature death of a great pianist, musician and colleague.
I am grateful to soprano Florence Innis for the following three excerpts from her scrapbook. They arise from her performance with the CBO of Mozart's Exsultate, jubilate! K.165, on 15 October 1965. Maurice Miles conducted the all-Mozart concert which also featured the pianists Cyril Smith and Phyllis Sellick.
The Children's Concert was another event from October 1965.
The news piece and photograph are from the Belfast Telegraph.
The Children's Concert was another event from October 1965.
The news piece and photograph are from the Belfast Telegraph.
Many of the CBO's principal players and others are featured in the following picture gallery.
Click on the first one and then follow through by clicking "Next" (which will appear on the right hand side if you hover the cursor over that part of the pic). Or simply click on any one pic of interest.
Most players are named in the titles (hold the cursor over the pic to see the title).
I welcome any corrections to the names already supposedly identified.
Click on the first one and then follow through by clicking "Next" (which will appear on the right hand side if you hover the cursor over that part of the pic). Or simply click on any one pic of interest.
Most players are named in the titles (hold the cursor over the pic to see the title).
I welcome any corrections to the names already supposedly identified.
- Can someone please identify the year these were taken?
- Who are the viola players in pics 3 and 5?
- In pic 6, Frank Hughes is seated behind John Bunting.
- Pic 7 John Bunting has been highlighted with correction fluid by someone!
- Pic 9 has been identified as: Back Row L to R: Joseph Curtis, John Graham, Arthur Barlow, Neville Mackinder. Front Row L to R: Richard Easton, Wendy Berry, Edward Osborne, Derek Bell.
- Pic 11 of the horn section has (L to R): Evan John, Frank Hawkins, Muriel Petty, Denis Stevens.
- Pic 16 has (L to R): Edward Osborne, Derek Bell, Andrew Forbes and Trumpets II and III - names?
Ulster Orchestra
Before looking back at the creation of the Ulster Orchestra, the PDF on the right was the Timeline I created for weekly inclusion in UO concert programmes during the 2016-2017 season (the UO's 50th anniversary season).
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Ulster Orchestra timeline 1966-2017 50th anniversary.pdf Size : 3062.228 Kb Type : pdf |
NEW: The PDF on the right offers you links to the new BBC Rewind website, specifically for clips which feature the Ulster Orchestra.
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Mostly re Ulster Orchestra.pdf Size : 123.079 Kb Type : pdf |
Note: The detailed PDF listing of each season's concerts is hereafter readily identified by a red border.
It is with pride, mingled with awe, that I take on the immense responsibility of creating the Ulster Orchestra.
The goodwill and encouragement given to me so generously over the past ten years strengthens my resolve that, with the help of my colleagues, we shall become an essential part of the life of Northern Ireland.
Maurice Miles
The goodwill and encouragement given to me so generously over the past ten years strengthens my resolve that, with the help of my colleagues, we shall become an essential part of the life of Northern Ireland.
Maurice Miles
UO musicians listed in the first Season Brochure, Summer 1966:
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UO List of Players, 1966.pdf Size : 112.465 Kb Type : pdf |
As the Ulster Orchestra was born, it's amazing to realise the extent of Belfast's entertainment offering at that time.
In the last week of September 1966, the Arts Theatre had a new Ulster comedy by Sam Cree, Widow's Paradise; the Grove Theatre offered A Breath of Scotland with "a host of your TV and stage stars. Derek Marsden at the Organ"; the Group Theatre was in the final week, prior to its autumn recess, of "the Fantastic Solo Performance that has broken all records - James Young in Young at Heart; and the Lyric Players' Theatre at 11 Derryvolgie Park had Heartbreak House by G. B. Shaw, "now running for two weeks".
In the last week of September 1966, the Arts Theatre had a new Ulster comedy by Sam Cree, Widow's Paradise; the Grove Theatre offered A Breath of Scotland with "a host of your TV and stage stars. Derek Marsden at the Organ"; the Group Theatre was in the final week, prior to its autumn recess, of "the Fantastic Solo Performance that has broken all records - James Young in Young at Heart; and the Lyric Players' Theatre at 11 Derryvolgie Park had Heartbreak House by G. B. Shaw, "now running for two weeks".
Cinemas still abounded. Alongside the first newspaper reviews of the Ulster Orchestra were advertisements for "City Cinemas" including the Avenue, Odeon, News and Cartoon, Grand Opera House and the ABC (formerly the Ritz). "Suburban Cinemas" included the Alpha (Rathcoole), Ambassador (Cregagh Road), Astoria (Ballyhackamore), Broadway (Falls Road), Capitol (Antrim Road), Curzon (Ormeau Road), Forum (Crumlin Road), ABC Majestic (Lisburn Road), Park (Oldpark Road), Picturedrome (Mountpottinger), Regal (Lisburn Road), Savoy (Crumlin Road), Stadium (Shankill Road), ABC Strand (Holywood Road), Tivoli (Finaghy), Willowfield (Woodstock Road), Windsor (Donegall Road).
LH pic: Cover of the Inauguration Programme, 28 September 1966.
RH pic: Cover of the Belfast series opening concert programme, 21 October 1966.
RH pic: Cover of the Belfast series opening concert programme, 21 October 1966.
The Inauguration Concert of the new Ulster Orchestra took place in Belfast's City Hall on Wednesday 28 September 1966.
The short concert was preceded by speeches and presentations. The BBC, well-used to tedious speeches by politicians, only broadcast the concert itself, which went out on the BBC Home Service (the equivalent of today's BBC Radio 4).
There was no recording, but a memory of it is retained in this excerpt from the "billings book" maintained by the Music Department staff in Broadcasting House in Belfast. Excuse the yellowing Radio Times paper and browning glue marks!
The short concert was preceded by speeches and presentations. The BBC, well-used to tedious speeches by politicians, only broadcast the concert itself, which went out on the BBC Home Service (the equivalent of today's BBC Radio 4).
There was no recording, but a memory of it is retained in this excerpt from the "billings book" maintained by the Music Department staff in Broadcasting House in Belfast. Excuse the yellowing Radio Times paper and browning glue marks!
The printed programme for the actual Opening Concert of the UO's first Belfast Season on Friday 21 October 1966 featured this paragraph about special music-stand hangings:
Ornamental canopies are being completed for each of the players' music-stands. They have been donated by the Local Authorities all over the province whose names appear thereon as a symbol of their goodwill and support. At any concert the Leader's canopy will wherever possible bear the name of the locality where the concert is being given.
The paragraph was repeated for subsequent Ulster Hall concerts until the first one in 1967, on 12 January, when the opening had been altered to "Ornamental canopies have been completed ..."
Click on the thumbnail pictures below. In pic 4, Larne, Ballymena and Cookstown mini-banners are well to the fore.
The canopies seem to have fallen out of use in a relatively short time. Do any still exist?
Photos 2-5 were taken in the Ulster Hall, but who was the conductor in pic 3? Sergiu Comissiona?
The photographer, certainly of pics 2-4, was Reg Perry who had a studio at 11 Wellington Place. In 1966 he was the Hon. Sec. of the Professional Photographers' Association of Northern Ireland.
Click on the thumbnail pictures below. In pic 4, Larne, Ballymena and Cookstown mini-banners are well to the fore.
The canopies seem to have fallen out of use in a relatively short time. Do any still exist?
Photos 2-5 were taken in the Ulster Hall, but who was the conductor in pic 3? Sergiu Comissiona?
The photographer, certainly of pics 2-4, was Reg Perry who had a studio at 11 Wellington Place. In 1966 he was the Hon. Sec. of the Professional Photographers' Association of Northern Ireland.
Pic 1
Pic 2
Pic 3
Pic 4
Pic 5
Pic 6
Pic 7
Pic 8
Pic 9
Pic 10
Pic 11
Pic 12
Pic 13
Pic 14
Pic 15
Pic 16
Pic 2
Pic 3
Pic 4
Pic 5
Pic 6
Pic 7
Pic 8
Pic 9
Pic 10
Pic 11
Pic 12
Pic 13
Pic 14
Pic 15
Pic 16
Yvonne McGuinness, Sub-Leader
Probably Richard Burks and Angela Campbell, violas 3 and 4.
Philip Brothers, cello. Seated behind is Molly Concannon.
Is this the same conductor as in pic 5, viz. Sergiu Comissiona?
Most likely Edmund Muir, William Gordon (horns) and John Price (bassoon).
Most of the UO. Likely the same concert as pics 2-4. The conductor was Sergiu Comissiona (confirmed by the Arts Council Annual Report 1966-67). Hence the pic was taken on either 27 Jan 1967 or 16 June 1967.
Patrick Bell, second violin.
Brian Mack, Principal Viola.
Maurice Meulien, the UO's first Principal Cello.
Another pic of Maurice Meulien.
And another pic of Maurice Meulien.
Jozsef Racz, Principal Double Bass.
Edward Beckett, Principal Flute.
Russell Parry, second flute.
Tessa Grinling, the UO's first Principal Oboe. She was succeeded by Brian Overton c. late May 1967.
Peter Eaton, the UO's first Principal Clarinet.
Peter Musson, the UO's Principal Bassoon.
Probably Richard Burks and Angela Campbell, violas 3 and 4.
Philip Brothers, cello. Seated behind is Molly Concannon.
Is this the same conductor as in pic 5, viz. Sergiu Comissiona?
Most likely Edmund Muir, William Gordon (horns) and John Price (bassoon).
Most of the UO. Likely the same concert as pics 2-4. The conductor was Sergiu Comissiona (confirmed by the Arts Council Annual Report 1966-67). Hence the pic was taken on either 27 Jan 1967 or 16 June 1967.
Patrick Bell, second violin.
Brian Mack, Principal Viola.
Maurice Meulien, the UO's first Principal Cello.
Another pic of Maurice Meulien.
And another pic of Maurice Meulien.
Jozsef Racz, Principal Double Bass.
Edward Beckett, Principal Flute.
Russell Parry, second flute.
Tessa Grinling, the UO's first Principal Oboe. She was succeeded by Brian Overton c. late May 1967.
Peter Eaton, the UO's first Principal Clarinet.
Peter Musson, the UO's Principal Bassoon.
A Truly Ulster Orchestra - a welcome for the Ulster Orchestra from the Belfast Telegraph's music critic Rathcol, published on page 7 on Monday 26 September 1966:
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Rathcol welcomes UO 26.09.1966.pdf Size : 85.112 Kb Type : pdf |
Orchestral 'overflow' - a social or gossip column colour piece about the Ulster Orchestra's first Lunchtime Concert in Belfast - Belfast Telegraph:
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UO first lunchtime, Oct 1966.pdf Size : 149.473 Kb Type : pdf |
Orchestra is given rapturous welcome - Rathcol's review of the first main season concert in Belfast's Ulster Hall, Belfast Telegraph, Saturday 22 October 1966:
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UO review first Ulster Hall concert Oct 1966.pdf Size : 214.369 Kb Type : pdf |
Charles Acton, music critic of the Irish Times, was also at that first concert of the Belfast series. He wrote a piece about it for the December issue of the UK monthly journal The Musical Times.
Charles sketched the background about the UO's formation, mentioning the mainly English woodwind and the "considerable number of strings from Dublin". Nearly everything was very promising - but he had some reservations about Maurice Miles and his apparent lack of zest and musical vitality.
Charles sketched the background about the UO's formation, mentioning the mainly English woodwind and the "considerable number of strings from Dublin". Nearly everything was very promising - but he had some reservations about Maurice Miles and his apparent lack of zest and musical vitality.
Read the full transcript in the PDF on the right:
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UO opening season by Charles Acton.pdf Size : 115.697 Kb Type : pdf |
LH pic: Conductor Maurice Miles with the Belfast Philharmonic Chorus and the Ulster Orchestra (complete with its ornamental canopies), in Handel's Messiah, December 1966.
Note the original shape of the Ulster Hall stage apron and the large chamber organ.
Note the original shape of the Ulster Hall stage apron and the large chamber organ.
The Manager of the new Orchestra was Donald Froud (b.1932). He had a distinguished career as a horn-player and was a post-war pupil of Aubrey Brain. He shared some of his Ulster Orchestra memories on a BBC Radio 3 message board thread on 17 October 2009, using his pseudonym of Hornspieler:
I can tell you something of the history of the Orchestra’s early beginnings when it started life as a chamber orchestra of some 37 players.
In 1966, the Arts Council of Northern Ireland (not to be confused with the Arts Council of Great Britain) decided that the province needed a full-time professional orchestra to replace the part-time semi-amateur City of Belfast Orchestra.
The Council appointed the incumbent, Maurice Miles, as conductor and he set off to recruit players.
The result was a collection of very different recruits, both in the degree of their expertise and experience and also their motives in joining.
There were half a dozen members of the [City of] Belfast Orchestra, some first-time young players from the UK and a large contingent from the Irish Republic. The Belfast players joined because it offered a continuation of their association with music-making in Belfast. The young recruits from the UK joined in order to get a foot into the profession and gain experience. [Of] the recruits from the Irish Republic, some … were the product of the excellent training offered by the likes of Jaroslav Vanecek [the Czech-born violin and viola pedagogue], and some … were Europeans who had been recruited by Radio Éireann …
Before the Orchestra was even finally assembled, Maurice Miles had dashed all around Ulster, offering the local authorities an introductory ‘free’ concert for the nominal sum of £25 and, needless to say, most towns took up the offer. The NI Arts Council set up an annual budget, Maurice Miles set out a repertoire of music to be performed, and all was ready to go.
Well not quite! There was no Management or Office staff to run the thing!
Knowing nothing of this, I was asked to accept the job as General Manager and arrived in Belfast in August 1966 to find that the opening concert was scheduled for the second week in September. There were 50 (yes, FIFTY) concerts booked to take place before Christmas, and not a single arrangement had been made regarding printing of tickets, posters and programmes; no programme notes, no box office arrangements, no instrument transport purchased and no bus hire to transport the Orchestra members.
My staff comprised the former secretary of the [City of] Belfast Orchestra (a wonderful help, who was able to move mountains) [Dorothea Browne], a librarian formerly with the CBO [Thomas (Tommy) Gibson], and two orchestra porters, provided by the ACNI [Martin Molloy and Sean Craughwell are listed a year or so later].
I managed to find a wages clerk and another secretary.
Well, we did it - sometimes hand-lettering publicity material only days before concerts were to take place ...
Outside of Belfast, only Londonderry (population 50,000) is really large enough to support an audience. We gave a ‘free’ concert in Larne (population 20,000) and the local Lions club organised a full house (because Larne was taking the money), but when we returned, with a very good programme, there were only 13 people in the audience. That sounds awful, but transfer that percentage of the population to London and you would attract an audience of 6,500!
In 1966, the Arts Council of Northern Ireland (not to be confused with the Arts Council of Great Britain) decided that the province needed a full-time professional orchestra to replace the part-time semi-amateur City of Belfast Orchestra.
The Council appointed the incumbent, Maurice Miles, as conductor and he set off to recruit players.
The result was a collection of very different recruits, both in the degree of their expertise and experience and also their motives in joining.
There were half a dozen members of the [City of] Belfast Orchestra, some first-time young players from the UK and a large contingent from the Irish Republic. The Belfast players joined because it offered a continuation of their association with music-making in Belfast. The young recruits from the UK joined in order to get a foot into the profession and gain experience. [Of] the recruits from the Irish Republic, some … were the product of the excellent training offered by the likes of Jaroslav Vanecek [the Czech-born violin and viola pedagogue], and some … were Europeans who had been recruited by Radio Éireann …
Before the Orchestra was even finally assembled, Maurice Miles had dashed all around Ulster, offering the local authorities an introductory ‘free’ concert for the nominal sum of £25 and, needless to say, most towns took up the offer. The NI Arts Council set up an annual budget, Maurice Miles set out a repertoire of music to be performed, and all was ready to go.
Well not quite! There was no Management or Office staff to run the thing!
Knowing nothing of this, I was asked to accept the job as General Manager and arrived in Belfast in August 1966 to find that the opening concert was scheduled for the second week in September. There were 50 (yes, FIFTY) concerts booked to take place before Christmas, and not a single arrangement had been made regarding printing of tickets, posters and programmes; no programme notes, no box office arrangements, no instrument transport purchased and no bus hire to transport the Orchestra members.
My staff comprised the former secretary of the [City of] Belfast Orchestra (a wonderful help, who was able to move mountains) [Dorothea Browne], a librarian formerly with the CBO [Thomas (Tommy) Gibson], and two orchestra porters, provided by the ACNI [Martin Molloy and Sean Craughwell are listed a year or so later].
I managed to find a wages clerk and another secretary.
Well, we did it - sometimes hand-lettering publicity material only days before concerts were to take place ...
Outside of Belfast, only Londonderry (population 50,000) is really large enough to support an audience. We gave a ‘free’ concert in Larne (population 20,000) and the local Lions club organised a full house (because Larne was taking the money), but when we returned, with a very good programme, there were only 13 people in the audience. That sounds awful, but transfer that percentage of the population to London and you would attract an audience of 6,500!
RH pic and below: Donald Froud, first General Manager of the Ulster Orchestra. The streetscape is that of Joy Street, Belfast.
The following paragraph appeared in most of the Ulster Orchestra's printed programmes that first season:
This is the inaugural season of the Ulster Orchestra – an orchestra of thirty-eight players formed by the Arts Council of Northern Ireland. The object of the Council in forming the Orchestra is to bring the highest standards of music to every town in the Province. It is the first time that Ulster has had a fully professional orchestra ‘on the road’.
It's well worth exploring the choice of music, and indeed the choice of soloists and guest conductors that season.
The full details of all 119 concerts are in the PDF below right (it's been newly revised and updated, 22 January 2014).
Education has always played a significant role in the Ulster Orchestra's work, including in that first season when apparently there were also some 40 schools' concerts.
The full details of all 119 concerts are in the PDF below right (it's been newly revised and updated, 22 January 2014).
Education has always played a significant role in the Ulster Orchestra's work, including in that first season when apparently there were also some 40 schools' concerts.
The PDF on the right details all the known UO concerts in that first season, from 28 September 1966 to 31 August 1967.
It is fully searchable: please use the 'Find' option of Ctrl + F and type in the word or name you're looking for.
It is fully searchable: please use the 'Find' option of Ctrl + F and type in the word or name you're looking for.
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UO Inaugural season 1966-1967.pdf Size : 1487.968 Kb Type : pdf |
Note:
The programme archive, eventually to be held in PRONI,
lacks copies of printed programmes for the Lunch-Time concerts in
Belfast, amongst others. Missing copies are recorded in each concert
entry - if you can help supply any of those, or the relevant
information, please do make contact.
Education has always played a vital role in the
Ulster Orchestra's work. That's well demonstrated even in the first season. The claim of 40 schools' concerts that season is well borne out by the list of 21 in the season brochure for September to December. See the PDF on the right.
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Schools Concerts 1966.pdf Size : 105.807 Kb Type : pdf |
Here's the adventurous programme for 21 January
1967 in the Whitla Hall of Queen's University, Belfast.
The soloist was Malcolm Williamson; the conductor was Maurice Miles.
The soloist was Malcolm Williamson; the conductor was Maurice Miles.
Kurt Roger
Malcolm Williamson
Alan Rawsthorne
Robert Simpson
Malcolm Williamson
Alan Rawsthorne
Robert Simpson
Symphony for Chamber Orchestra (c.1962)
Piano Concerto No.2 (1960)
Divertimento (1962)
Symphony No.2 (1956)
Piano Concerto No.2 (1960)
Divertimento (1962)
Symphony No.2 (1956)
LH pic: Malcolm Williamson as pictured in the concert's printed programme.
Read more about Kurt Roger here.
Read more about Kurt Roger here.
Maurice Miles was a
pupil of Sir Henry Wood and he also studied with Krauss, Karajan and
Paumgartner.
RH pic: Maurice Miles, from the 29 June 1967 concert programme. It's by the distinguished English portrait painter Juliet Pannett (1911-2005).
He seems to have been quite self-effacing: most of the printed concert programmes do not carry his biography. However, on one of the rare occasions when they did, in the concert programme for 29 June 1967 (Final Concert, Spring Series), there was a new paragraph:
For the last ten years Maurice Miles has worked
indefatigably in the cause of music in Northern Ireland and was
responsible for the former City of Belfast Orchestra which, for many
years, presented a regular concert season in Belfast. His foremost
ambition was the formation of a permanent professional orchestra for the
Province, and with this goal nobly achieved he has now decided to pass
on the torch to a successor.
And so, after the punishing schedule of concerts across the UO's first season, including a concert in Dublin with John Ogdon as the soloist (2 July 1967), Maurice Miles resigned as Principal Conductor at the end of the season.
In his foreward to the Sept-Dec 1967 season brochure, Captain Peter Montgomery, President of the Arts Council, recorded his appreciation of Miles's "boundless energy and enthusiasm". His twelve years' work in Northern Ireland had been outstanding and culminated in the Orchestra's establishment and initial success, thanks to such "single-hearted and dedicated service to the cause of music in Ulster during the whole of that long period".
Montgomery continued:
In his foreward to the Sept-Dec 1967 season brochure, Captain Peter Montgomery, President of the Arts Council, recorded his appreciation of Miles's "boundless energy and enthusiasm". His twelve years' work in Northern Ireland had been outstanding and culminated in the Orchestra's establishment and initial success, thanks to such "single-hearted and dedicated service to the cause of music in Ulster during the whole of that long period".
Montgomery continued:
Particularly important for the future is the enlightened co-operation of the education authorities which has resulted even during the first season in as many as 40 orchestral concerts for schools throughout the Province. ... I am not complaining of the size of the audiences up to date; on the contrary, I think that, for example, the average attendance of 1,000 at the 14 Ulster Hall concerts of last winter’s season was extremely encouraging. All the same, I hope that, as the reputation of the orchestra continues to grow and as its scope keeps on widening, the public not only in Belfast but further afield also will more and more show its appreciation in some of the practical ways suggested on pages 23 and 24 of this brochure.
The picture gallery below (just click on the thumbnails) has the season brochure covers for (1) Sept-Dec 1966; (2) Sept-Dec 1967; (3) Jan-Jul 1968; (4) season 1968-1969 and (5) page 23 referred to above from the Sept-Dec 1967 brochure.
1967-1968 and 1968-1969 Seasons
Costs were catching up with the Ulster Orchestra, and presumably more so for the regional promoters. The second season saw a dramatic drop in the number of regional concerts, but it also saw some great soloists and conductors - even though there was no Principal Conductor in place that season.
What was the moving force behind an October 1967 concert in Holywood, Co Down, conducted by Rudolf Schwarz and featuring the great soprano Irmgard Seefried singing Bach and Mahler?
In January 1968, Cleo Laine sang Weill's Seven Deadly Sins. Other great artists included soprano Heather Harper, contralto Bernadette Greevy, tenor Wilfred Brown and bass Donald Francke.
Pianists too were an exciting bunch: Julius Katchen, Alfred Brendel, Gina Bachauer, John Lill, Fou Ts'ong, Shura Cherkassky and others.
Pianists too were an exciting bunch: Julius Katchen, Alfred Brendel, Gina Bachauer, John Lill, Fou Ts'ong, Shura Cherkassky and others.
The PDF on the right (updated 4 February 2014) details all the known concerts and opera performances in that second season. Sadly, at the moment there are no surviving printed programmes for much of the calendar year 1968, and part of 1969. The PDF also includes the Players' List as given in the season brochure.
Note:
If you can help with the loan of relevant programmes or can fill in the details of the WNO seasons in Swansea and Bristol (March & April 1968) and the GOSNI Frankfurt season in Belfast (May 1968), please do make contact.
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UO season 1967-1968.pdf Size : 1086.851 Kb Type : pdf |
The trumpet players in the 1967-1968 listing were Iaan Wilson and John Goodhead. The following year John Goodhead was Principal Trumpet and Peter Cameron was Sub-Principal. The first thumbnail below (please click to view) is of Peter Cameron and John Goodhead (pic © by Edmund Muir, 39 Elaine Street, Belfast). The second is of John Goodhead (pic © by Century Newspapers Ltd - i.e. Newsletter), soloist in Haydn's Trumpet Concerto in Bangor Technical College on 14 March 1969.
The PDF on the right details all the concerts in the UO's third season, 1968-1969. It covers everything from 29 August 1968 to 2 October 1969 inclusive - before the UO set off on a tour in the North of England and Scotland. The brochure's list of UO players is also included.
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UO season 1968-1969.pdf Size : 1189.624 Kb Type : pdf |
RH pic: Sergiu Comissiona conducts the Ulster Orchestra - pic used for the cover of the 1968-1969 season brochure.
Here's another adventurous programme, this time from 27 November 1968. It was a concert for Festival '68 given in the Harty Room of Queen's University, Belfast. The conductor was Alun Francis.
A little bit of context: the first Civil Rights march was in Derry/Londonderry on 5 October that year.
A little bit of context: the first Civil Rights march was in Derry/Londonderry on 5 October that year.
Varèse
Stockhausen
Pousseur
Bo Nilsson
John Cage
Stockhausen
Pousseur
Bo Nilsson
John Cage
Octandre
Kontra-Punkte
Trait
Zeiten I Umlauf
Atlas Eclipticalis
Kontra-Punkte
Trait
Zeiten I Umlauf
Atlas Eclipticalis
RH pic: Henri Pousseur (1929-2009), one of the Darmstadt generation along with Boulez, Berio and Stockhausen. David Byers studied with Pousseur in Liège in 1972-1973.
Behind the generally rapturous welcome and the following seasons' successes, all was not as well as it seemed.
An April 1969 report from the Organisation & Methods Branch of the Ministry of Finance was disapproving of the way the new Orchestra had been set up:
An April 1969 report from the Organisation & Methods Branch of the Ministry of Finance was disapproving of the way the new Orchestra had been set up:
In or around the year 1965 as a result of a BBC policy decision it was decided to transform the Northern Ireland BBC Orchestra from a semi-permanent into a permanent and larger Orchestra with responsibilities for serving a wider area than it had previously served.
An unfortunate side effect of this decision was to deprive the local City of Belfast Orchestra of its core of professional musicians without whose services the Orchestra was virtually crippled. At the same time the work of the Philharmonic Society and the Grand Opera Society was placed in jeopardy.
It must be stated however that there are those who did not accept this appraisal of the situation at the time and who then held and still do, the view that with more patience and persistence the City of Belfast Orchestra could have continued to have adequate use of the services of BBC players.
An unfortunate side effect of this decision was to deprive the local City of Belfast Orchestra of its core of professional musicians without whose services the Orchestra was virtually crippled. At the same time the work of the Philharmonic Society and the Grand Opera Society was placed in jeopardy.
It must be stated however that there are those who did not accept this appraisal of the situation at the time and who then held and still do, the view that with more patience and persistence the City of Belfast Orchestra could have continued to have adequate use of the services of BBC players.
LH pic: Maurice Miles, formerly the conductor of the City of Belfast Orchestra, and then the first Principal Conductor of the new Ulster Orchestra.
Too late for such carping. But even back then, in Year 1, inadequate funding was a serious issue for the Ulster Orchestra - and that was duly acknowledged in the Ministry report:
Following negotiations between the Arts Council and the Ministry of Finance it was decided early in 1966 to go ahead with the formation of an Orchestra. The size chosen was that of an augmented chamber Orchestra …
It is however relevant at this point to refer to the fact that the amount estimated as required for musicians’ salaries was to some extent underestimated during the period because of larger rises in musicians’ salary rates than could be foreseen.
Mass production or machine methods cannot be applied to music. The numbers of players required for a symphony for example cannot really be reduced below those needed when the composer wrote it. This means that the cost of providing music tends to rise at a faster rate than payment received at the box office. It is a fairly safe forecast that this state of affairs will be with us for as far ahead as one can envisage.
It is however relevant at this point to refer to the fact that the amount estimated as required for musicians’ salaries was to some extent underestimated during the period because of larger rises in musicians’ salary rates than could be foreseen.
Mass production or machine methods cannot be applied to music. The numbers of players required for a symphony for example cannot really be reduced below those needed when the composer wrote it. This means that the cost of providing music tends to rise at a faster rate than payment received at the box office. It is a fairly safe forecast that this state of affairs will be with us for as far ahead as one can envisage.
The report also trod the well-worn path of proving that an orchestra cannot survive on box office receipts alone - particularly if it is to play in small-scale venues and provide a healthy mix of repertoire.
RH pic: János Fürst, the UO's first leader.
He was appointed Assistant Conductor in August 1968.
He was appointed Assistant Conductor in August 1968.
The Ulster Orchestra's first season looked good on paper; less so when the Ministry's money men analysed the costs per concert - excluding the musician's salaries (click to enlarge the following thumbnails):
The Ministry of Finance accountants weren't slow to spell out the detailed and harsh realities:
For the year ending 31st March 1967 the Ministry of Finance gave an additional sum of over £47,000 with the requirements of the Orchestra in view. In the event there was a deficit of over £54,000 on the Orchestra’s operations. Against this was set the additional grant from the Ministry of Finance plus a further £16,000 which was roughly the deficit the Arts Council might have expected to cope with on a full year’s City of Belfast Orchestral Concerts. In short the Arts Council, which from an accounting point of view incorporated the Orchestra, was able to finish the year satisfactorily. Overall Arts Council expenditure exceeded revenue by the sum of £2,147. 6s. 5d. In fact a balance of £1,982. 9s. 6d. was carried forward to the next year.
In the following year the Ministry of Finance increased their grant by a further £42,000 and the Council grant-aided the Ulster Orchestra to the extent of £70,000: the Orchestra finished the year ended 31st March 1968 with a deficit of £26,000. But in this year the Arts Council was not able (as in the previous year) to come to the aid of the Orchestra because the Council itself had incurred a heavy deficit on its directly sponsored short opera season at the Grove Theatre. To date that deficit is calculated at £22,862. 11s. 11d. but certain minor additions to that amount may yet occur. A further damaging result of the Grove Theatre opera venture is that it makes it more difficult for the Arts Council to exhort grant-aided societies to exercise greater economy.
In the following year the Ministry of Finance increased their grant by a further £42,000 and the Council grant-aided the Ulster Orchestra to the extent of £70,000: the Orchestra finished the year ended 31st March 1968 with a deficit of £26,000. But in this year the Arts Council was not able (as in the previous year) to come to the aid of the Orchestra because the Council itself had incurred a heavy deficit on its directly sponsored short opera season at the Grove Theatre. To date that deficit is calculated at £22,862. 11s. 11d. but certain minor additions to that amount may yet occur. A further damaging result of the Grove Theatre opera venture is that it makes it more difficult for the Arts Council to exhort grant-aided societies to exercise greater economy.
LH pic: Maurice Miles, Principal Conductor, Ulster Orchestra, 1966/67.
The fact was, the report concluded, that it was not improbable, despite increased grants from the Ministry of Finance, that the Orchestra would be faced with a sizeable deficit at the end of the financial year 1968/69. "To an extent the situation is outside the hands of the Arts Council in that Orchestra receipts are disappointingly low and outside engagements uncommonly rare."
One of two solutions suggested was an approach "to the BBC to set up a small regional symphony Orchestra in Northern Ireland which would at say 60 players or less combine both the Northern Ireland Orchestra (BBC) and the Ulster Orchestra. In return for (a) a number of public concerts; (b) release of the Orchestra for Belfast Philharmonic and Grand Opera Societies; and (c) Schools work, the Arts Council would contribute an agreed proportion say up to one half of the BBC's expenditure on the Orchestra ..."
It took a further ten years for the report's second solution to be implemented: "to induce the BBC to wind up its regional Orchestra in Northern Ireland and to rely on the Ulster Orchestra for a number of broadcasts. Fairly strong rumours in the press and elsewhere suggest that a streamlining of regional BBC Orchestras is contemplated ... similar rumours have on previous occasions proved unfounded."
It took a further ten years for the report's second solution to be implemented: "to induce the BBC to wind up its regional Orchestra in Northern Ireland and to rely on the Ulster Orchestra for a number of broadcasts. Fairly strong rumours in the press and elsewhere suggest that a streamlining of regional BBC Orchestras is contemplated ... similar rumours have on previous occasions proved unfounded."
RH pic : Michael Whewell, then Director, Arts Council of Northern Ireland. He had previously been Lord Harewood's deputy at the Edinburgh Festival.
Other suggestions in the report, in no particular order, included:
- "it seems to us an expensive arrangement to employ locally-based conductors for work with the Orchestra when one is employing locally a full-time Assistant Conductor";
- the librarian post "should be dropped as soon as possible";
- 'papering' the house was counter-productive;
- the Director of the Arts Council carries out the duties of General Manager of the Ulster Orchestra - a "thoroughly unsatisfactory" arrangement;
- the Orchestra should be transferred "outside the Arts Council Administration";
- the Orchestra must become the sole preoccupation of one man - the Orchestra Manager ...
The description of this new Orchestra Manager (and the term 'man' should be accepted in its totally inclusive sense of man or woman!) is positively poetic:
He must become the eyes, ears and mind of the Orchestra.
He must plan its future; publicise it; nurse and cajole the players and become their confidant.
He must combine the qualities of a cost accountant, public relations man and sensitive artist.
The Orchestra in turn must acquire a corporate sense of esprit and verve.
They must be prepared in a 'gimmicky' age to beat the big drum outside the circus tent.
He must plan its future; publicise it; nurse and cajole the players and become their confidant.
He must combine the qualities of a cost accountant, public relations man and sensitive artist.
The Orchestra in turn must acquire a corporate sense of esprit and verve.
They must be prepared in a 'gimmicky' age to beat the big drum outside the circus tent.
RH pic across and LH below: Sergiu Comissiona, the UO's Principal Conductor, 1968/1969
The money men were also prepared to comment on the fees paid to soloists and conductors:
The advice given to us in the Arts Council (N.I.) and in Great Britain where we interviewed a number of General Managers of Orchestras was that it was false economy to go after the lower paid and hence in most instances inferior soloists. (Similar advice it may be pointed out makes sound sense in a number of non-musical fields).
At the same time we could not but note a willingness on the part of the Arts Council to meet the “asking price” of a number of Northern Ireland semi/professional artists in regard to a number of the Orchestra’s bread and butter type of concerts. Here again we feel a harder line by a General Manager can result in worthwhile savings.
We might also point out that without lowering artistic standards it is possible on occasion to pick competent but inexpensive conductors in conjunction with crowd-pulling soloists. The type of example we have in mind is the [John] Ogdon concert of 10th October 1968 when the combined fees of the conductor (the late Constantin Silvestri) and the soloist were £500. This kind of outlay makes it difficult, when added to normal overheads, to show much financial gain on the concert.
We might also point out that without lowering artistic standards it is possible on occasion to pick competent but inexpensive conductors in conjunction with crowd-pulling soloists. The type of example we have in mind is the [John] Ogdon concert of 10th October 1968 when the combined fees of the conductor (the late Constantin Silvestri) and the soloist were £500. This kind of outlay makes it difficult, when added to normal overheads, to show much financial gain on the concert.
John Ogdon, pianist
Variations on a horn theme - programme covers from the first UO season. Click on the thumbnails below.
Across 1966/1967 a number of guest appearances presaged things to come:
- Sergiu Comissiona was a guest conductor in January and June 1967.
- The Leader, János Fürst, conducted concerts in February and May 1967. he was appointed Assistant Conductor in August 1968.
- Edgar Cosma was a guest conductor in March 1967.
- Kenneth Montgomery was also a guest conductor in March 1967.
- Alun Francis appeared as a guest conductor for 7 concerts in April 1967. The 1970-1971 season brochure states that: "In 1966 he joined the Ulster Orchestra as staff conductor ... he also has full charge of educational concerts."
The Ulster Orchestra played for the Grand Opera Society of Northern Ireland's season in Belfast's Grand Opera House, 22-27 May 1967: three performance each of Bellini's I Puritani and Verdi's Nabucco.
And there was more opera that year as part of Festival '67 (18-25 November) - an exciting new venture by the Arts Council under the banner of Ulster Opera at the Grove Theatre on Belfast's Shore Road: Ugo Benelli and Sylvia Friederich in four performances of Rossini's La Cenerentola, and Nedda Casei in three performances of Offenbach's La Grande-Duchesse de Gérolstein.
Jani Strasser, Glyndebourne's legendary Head of Music Staff, was the Head of Music Preparation; the Ulster Orchestra was conducted by Walter Susskind (Rossini) and Antonio de Almeida (Offenbach). Rowel Friers painted the Rossini sets and he and Des O'Neill painted the Offenbach sets. Choreography for the Offenbach was by Patricia Mulholland.
Thomas Davidson was the Chorus Master for the Rossini; Harry Grindle, Chorus Master for the Offenbach.
And there was more opera that year as part of Festival '67 (18-25 November) - an exciting new venture by the Arts Council under the banner of Ulster Opera at the Grove Theatre on Belfast's Shore Road: Ugo Benelli and Sylvia Friederich in four performances of Rossini's La Cenerentola, and Nedda Casei in three performances of Offenbach's La Grande-Duchesse de Gérolstein.
Jani Strasser, Glyndebourne's legendary Head of Music Staff, was the Head of Music Preparation; the Ulster Orchestra was conducted by Walter Susskind (Rossini) and Antonio de Almeida (Offenbach). Rowel Friers painted the Rossini sets and he and Des O'Neill painted the Offenbach sets. Choreography for the Offenbach was by Patricia Mulholland.
Thomas Davidson was the Chorus Master for the Rossini; Harry Grindle, Chorus Master for the Offenbach.
"Honorary Opera Adviser" was Dr T.J. Walsh, who had founded the Wexford Opera Festival (now known as Wexford Festival Opera) in 1951. The administrator was James Parr who later was listed in the Orchestra's 1968/1969 season brochure as responsible for "Orchestra planning".
The programme cover on the left is for that "Grove Theatre opera venture" as it was subsequently referred to in the 1969 report by the Organisation & Methods Branch of the Ministry of Finance.
The report described it as "directly sponsored" by the Arts Council, the resulting considerable deficit meant that the Council wasn't able to "come to the aid of the Orchestra". It also made it "more difficult for the Arts Council to exhort grant-aided societies to exercise greater economy"!
The report described it as "directly sponsored" by the Arts Council, the resulting considerable deficit meant that the Council wasn't able to "come to the aid of the Orchestra". It also made it "more difficult for the Arts Council to exhort grant-aided societies to exercise greater economy"!
Nonetheless, this was an ambitious and memorable undertaking, very well reviewed in the national press, though not without its major problems.
A fire on 14 October completely destroyed the Cenerentola costumes which had been hired from Scottish Opera. Fortunately, Sadler's Wells Opera (now ENO) and the Royal Opera House, Covent Garden, saved the day by helping out with costumes at very short notice.
A fire on 14 October completely destroyed the Cenerentola costumes which had been hired from Scottish Opera. Fortunately, Sadler's Wells Opera (now ENO) and the Royal Opera House, Covent Garden, saved the day by helping out with costumes at very short notice.
After Maurice Miles resigned as Principal Conductor, the Ulster Orchestra's second season was a period with only guest conductors.
However, an important appointment that season was of Raymond Warren (pictured on the right), Professor of Composition at Queen's University, Belfast, as the Orchestra's Resident Composer from January 1968. He held the post until 1972.
No immediate successor was appointed until August 2006, when Brian Irvine was appointed the UO's Associate Composer. He, in turn, was succeeded as Associate Composer by Ian Wilson in August 2010.
Capt. Peter Montgomery's Foreward for the third UO season, 1968/1969, makes interesting reading. Along with 80 orchestral concerts during the 1967/1968 season in Northern Ireland, he mentioned the UO's operatic work and its touring:
However, an important appointment that season was of Raymond Warren (pictured on the right), Professor of Composition at Queen's University, Belfast, as the Orchestra's Resident Composer from January 1968. He held the post until 1972.
No immediate successor was appointed until August 2006, when Brian Irvine was appointed the UO's Associate Composer. He, in turn, was succeeded as Associate Composer by Ian Wilson in August 2010.
Capt. Peter Montgomery's Foreward for the third UO season, 1968/1969, makes interesting reading. Along with 80 orchestral concerts during the 1967/1968 season in Northern Ireland, he mentioned the UO's operatic work and its touring:
It took part in three operatic seasons, playing for Ulster Opera in November ’67, the Welsh National Opera Company in March and April [Swansea Grand Theatre 11-16 March; Bristol Hippodrome 25 March-6 April] this year, and the Grand Opera Society’s Frankfurt Opera Season in May. It travelled not only across the Border, but also across the water, playing [concerts] in Manchester, Swansea and Bristol. This may even be regarded as a modest contribution to Ulster’s ‘export drive’ and is helping to put the Orchestra on a national footing ...
The contribution was perhaps more modest in terms of venues than Capt. Montgomery suggested!
The orchestral concerts were in Manchester Town Hall (5 March with soprano Heather Harper), the Town Hall in Cwmbran (18 March), Afan Lido, Port Talbot (19 March) and Merthyr Tydfil (22 March).
The orchestral concerts were in Manchester Town Hall (5 March with soprano Heather Harper), the Town Hall in Cwmbran (18 March), Afan Lido, Port Talbot (19 March) and Merthyr Tydfil (22 March).
However, the exciting news from Capt. Montgomery was the appointment of a new Principal Conductor:
The Orchestra has, however, received its greatest compliment by Sergiu Comissiona’s acceptance of the post of principal conductor. This exceptionally sensitive and inspiring musician is to direct nearly half of the Orchestra’s Ulster Hall concerts this season, including some with Belfast Philharmonic Society, not to mention concerts outside Belfast: in the words of music critic Dr. Milliken [Rathcol of the Belfast Telegraph], who has always applauded the Orchestra’s progress with candid interest (though sad to say he has now left Belfast for London), “What a wonderful conductor Comissiona is ! ... He never seems to dictate to his players, his attitude appears to be ‘Show me what you can do’ and this policy obviously pays, for the Orchestra responds by being on its toes all the time ... If anybody can, he will succeed in building up the potential for the audiences here.” This potential audience is I believe larger than people realise, and the Arts Council warmly welcomes ideas from all sources, not only from its own Committees, but also from outside and through the Press, as to ways and means of adding still further to the ranks of its supporters.
RH pic: Sergiu Comissiona, appointed Principal Conductor, Ulster Orchestra, from August 1968, but Principal Conductor-designate from February 1968.
In 1966/1967 Dorothea Browne was listed as the Orchestral Secretary and Donald Froud the Manager.
There were changes in the third season 1968/1969: Orchestra planning: James Parr;
Deputy Manager: James Allaway.
By 1969/1970, the listing was simply:
"Management: James Allaway".
There were changes in the third season 1968/1969: Orchestra planning: James Parr;
Deputy Manager: James Allaway.
By 1969/1970, the listing was simply:
"Management: James Allaway".
For the 1968/1969 season, there were other changes:
- Sergiu Comissiona (1928-2005), Principal Conductor, was now joined by János Fürst (1935-2007) as the UO's Assistant Conductor.
- Fürst's former position as Leader was taken by Meyer Stolow.
- Principal Horn was now Martin Wilson.
By the following season, Lynda Coffin had been appointed Principal Flute.
RH pic: A newspaper cutting (probably from the Belfast Telegraph), dated 31 December 1968, about the Ulster Orchestra's Viennese concert given in the Wellington Hall.
Pictured from L to R are Sergiu Comissiona, soprano Marion Studholme and UO cellist, Marjorie Harmer.
Pictured from L to R are Sergiu Comissiona, soprano Marion Studholme and UO cellist, Marjorie Harmer.
Print design was changing across these years ... well shown by this collection of programme covers and season bochures:
James Parr, writing from the Ulster Orchestra office in Bedford House, Bedford Street, Belfast, BT2 7FD, came up with the following bright idea for Anti-Proms in Belfast's Wellington Hall in June 1969.
Key to the names:
Key to the names:
12 June featured Laurence Allix, piano, and conductor János Fürst;
19 June featured William Gomez, guitar, and conductor Elyakum Shapirra;
26 June offered Susanna Mildonian, harp, and Edward Beckett, flute, with conductor John Carewe.
19 June featured William Gomez, guitar, and conductor Elyakum Shapirra;
26 June offered Susanna Mildonian, harp, and Edward Beckett, flute, with conductor John Carewe.
Please click on the LH thumbnail for the full benefit! Pity about the punch holes in this surviving copy.
Dear Concert-goer,
You know, of course, about the Albert Hall “Proms” held each year in the summer in London.
You'll probably remember too that the Ulster Orchestra tried some in 1967. They were reasonably successful and we felt that we would like to have some more this year in the newly-decorated Wellington Hall …. We’d gone some way with our plans …. we were thinking of them as “Proms” when someone reminded us that nobody had remained standing for very long at our Belfast Proms as there were plenty of seats available anyway – and who wants to stand if you can sit down?!
We thought about it to such a degree that we became almost anti-prom – and then it struck us – we’d have a short Prom season where you didn’t promenade but had a comfortable seat – we’ve arranged for 1,000 per concert. But what to call a Prom concert where you don’t have to stand up?
Enjoy the concerts anyway, THURSDAY (before you go off for the weekend) the 12th, 19th and 26th June 1969. See you there - but be sure of your seat.
You know, of course, about the Albert Hall “Proms” held each year in the summer in London.
You'll probably remember too that the Ulster Orchestra tried some in 1967. They were reasonably successful and we felt that we would like to have some more this year in the newly-decorated Wellington Hall …. We’d gone some way with our plans …. we were thinking of them as “Proms” when someone reminded us that nobody had remained standing for very long at our Belfast Proms as there were plenty of seats available anyway – and who wants to stand if you can sit down?!
We thought about it to such a degree that we became almost anti-prom – and then it struck us – we’d have a short Prom season where you didn’t promenade but had a comfortable seat – we’ve arranged for 1,000 per concert. But what to call a Prom concert where you don’t have to stand up?
Enjoy the concerts anyway, THURSDAY (before you go off for the weekend) the 12th, 19th and 26th June 1969. See you there - but be sure of your seat.
1969-1970 season
Sergiu Comissiona only stayed for one season (1968-1969) - but a fellow Romanian was waiting in the wings.
Edgar Cosma (1925-2006) would be the Ulster Orchestra's new
Principal Conductor for its fourth season.
Born in Bucharest, Cosma studied at the University there and at the National Conservatory. He was both a composer and a conductor. Between 1951 and 1959 he was the conductor of the Romanian Cinema Orchestra. In 1960 he settled in Paris, becoming a French citizen in 1966.
After some years of guest conducting, Edgar Cosma was appointed to the Ulster Orchestra in autumn 1969, retaining the Principal Conductorship until 1974, steering the UO through some of the worst years of the Troubles.
In 1973, Cosma was appointed conductor of l'Orchestre de Nord-Picardie à Lille, a post he held until 1975. He was the uncle of the film music composer Vladimir Cosma (b.1940).
Born in Bucharest, Cosma studied at the University there and at the National Conservatory. He was both a composer and a conductor. Between 1951 and 1959 he was the conductor of the Romanian Cinema Orchestra. In 1960 he settled in Paris, becoming a French citizen in 1966.
After some years of guest conducting, Edgar Cosma was appointed to the Ulster Orchestra in autumn 1969, retaining the Principal Conductorship until 1974, steering the UO through some of the worst years of the Troubles.
In 1973, Cosma was appointed conductor of l'Orchestre de Nord-Picardie à Lille, a post he held until 1975. He was the uncle of the film music composer Vladimir Cosma (b.1940).
Above pic: Edgar Cosma conducting, probably in the Harty Room, Queen's University, Belfast.
The UO's 1969-1970 season brochure
begins its listings with concerts from 7 November, much
later than normal. The reason was a UO
tour of the North of England and Scotland during October.
All the details of that tour and the season's concerts are in the PDF listing underneath the pic of Edgar Cosma on the right.
All the details of that tour and the season's concerts are in the PDF listing underneath the pic of Edgar Cosma on the right.
Interestingly, in the 1968-1969 season, the UO had experimented with both a Thursday series and a Friday series of concerts in Belfast.
Attendances on Thursday must have been disappointing.
An audience survey confirmed "that Friday night was clearly the most popular night for concert-going in Belfast."
Attendances on Thursday must have been disappointing.
An audience survey confirmed "that Friday night was clearly the most popular night for concert-going in Belfast."
The PDF on the right gives details of all the known concerts in the 1969-1970 season (Season No.4). It begins on 3 October 1969 with a concert in Lancaster, the first stop in the UO's English-Scottish tour.
Also included is the season brochure's UO Players' List.
Also included is the season brochure's UO Players' List.
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Pictured below are more programme covers from the 1969-1970 season. Click on the thumbnails.
The PDF on the right has three biographies from the UO 1969-1970 season brochure. They are of Edgar Cosma, János Fürst and Meyer Stolow.
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RH pic: János Fürst conducts the Ulster Orchestra in Tchaikovsky's Violin Concerto at Festival '69. The soloist is Igor Oistrakh.
The light grey horizontal strip is the balcony in the Whitla Hall of Queen's University, Belfast.
The concert was on 14 November 1969.
The light grey horizontal strip is the balcony in the Whitla Hall of Queen's University, Belfast.
The concert was on 14 November 1969.
1970-1971 season
The 1970-1971 season was a remarkably positive one for the Ulster Orchestra, despite the increasing unrest as the Troubles spiralled out of control. Shootings, killings, bombing, marches and eventually internment dominated the news bulletins.
János Fürst was no longer Assistant Conductor. He was now developing his career elsewhere, but still returned to conduct many concerts.
Outstandings soloists included André Navarra, Rafael Orozco, Shura Cherkassky, Philippe Entremont, Radu Lupu, Jeffrey Siegel, "boy pianist" Geoffrey Tozer, Tamás Vásáry, Manoug Parikian and Bernadette Greevy.
LH pic: Cover of the UO season brochure for 1970/1971.
The picture gallery below features Principal Conductor Edgar Cosma, photographed in the Members' Rooms, Balmoral. There's no credit for the photographer - perhaps Esler Crawford? Please click on the thumbnails.
By the beginning of November 1970, the administration had been strengthened by the appointment of Malcolm Ruthven as General Manager. James Allaway was now the Concerts Manager. The office was situated in A.E.U. House, 26-34 Antrim Road, Belfast BT15 2AA.
By the end of the season, the full team as pictured in the 1971-1972 season brochure (see below under the 1971-1972 season) was in place.
By the end of the season, the full team as pictured in the 1971-1972 season brochure (see below under the 1971-1972 season) was in place.
There were four visits this season to Dublin: 24 November 1970 at the RDS; 7 March 1971 again at the RDS, this time for Haydn's Creation (Does anyone know which choir, soloists and conductor took part?); 13 and 20 June 1971 at Castletown House for the Music in Great Irish Houses Festival.
Conductors Kenneth Montgomery and Vernon Handley both featured during the Summer Proms in August 1971.
There was also an amazing run of concerts in hospitals during September 1971, though no details have surfaced about repertoire.
There was also an amazing run of concerts in hospitals during September 1971, though no details have surfaced about repertoire.
János Fürst conducted A Night in Vienna on 30 December 1970 in Bangor and on New Year's Eve in Belfast's Wellington Hall. Soprano Anne Pashley was the soloist.
RH pic: The UO's A Night in Vienna logo
On 8 January 1971, Havelock Nelson conducted a concert with the Ulster Singers. Sir Tyrone Guthrie was the star attraction as the narrator in a performance of Honegger's King David.
The UO also played for the Northern Ireland Opera Trust's season of Bizet's Carmen and Puccini's Tosca in the Grand Opera House, 10-15 May 1971. Can anyone supply the cast and conductor details please?
The band may have played on, but Northern Ireland was imploding across this season. Ironically it was the 50th anniversary of the creation of Northern Ireland by partition.
Back in 1968, the then Prime Minister Terence O'Neill dreamt up the idea of an Ulster '71 festival centred on an exhibition site on Belfast's Stranmillis embankment, from the Botanic Gardens down to the River Lagan.
Back in 1968, the then Prime Minister Terence O'Neill dreamt up the idea of an Ulster '71 festival centred on an exhibition site on Belfast's Stranmillis embankment, from the Botanic Gardens down to the River Lagan.
The idea was to unite the population and improve
community relations. Bad timing! The emphasis changed to "Come to
Ulster" and the festival opened on 14 May 1971 with the theme By Our Skills We Live.
LH pic: Newspaper photograph from April 1971 prior to the opening. © Belfast Telegraph.
Despite the mayhem on the streets, there were half a million visitors to the exhibition. The arts too played a part and the Ulster Orchestra featured in concerts as part of the major Ulster Choirs Festival during April and May.
Just three months before internment was introduced, Anatole Fistoulari conducted the May Day Concert in association with the Northern Committee of the Irish Congress of Trade Unions. Tchaikovsky's 1812 Overture featured - and guess who played alongside the Ulster Orchestra?
Yes, the "massed bands of the Third Queen’s Regiment, First Royal Anglian Regiment, First Battalion Parachute Regiment by kind permission of the officers commanding."
Yes, the "massed bands of the Third Queen’s Regiment, First Royal Anglian Regiment, First Battalion Parachute Regiment by kind permission of the officers commanding."
The picture gallery below offers the cover for that May Day Concert 1971; an advertisement for the UO's Dinner Dance in January 1971; the cover for the Ulster Choirs Festival concerts; a cover for the Ballet Music concert, 22 May 1971; Harry Grindle conducting the Cathedral Consort (regular performers with the UO this season); the cover for the Summer Proms, June and August 1971; and János Fürst conducting, April 1971.
The PDF on the right has the details of all the concerts in the 1970-1971 season, (Season No.5) along with the Players' listing from the season brochure.
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RH pic: The Ulster Orchestra c.1970, photographed in the Members' Rooms, Balmoral.
Probably János Fürst conducting.
Probably János Fürst conducting.
LH pic: The Ulster Orchestra from a newspaper pic, March 1971 - but looks like the same concert session as pictured above.
1971-1972 season
The Ulster Orchestra's season 'brochure' for 1971/72 (LH pic - a well-worn copy!) was a large A4 booklet with interesting articles by, amongst others, Leonard Pugh (Belfast's Music Advisor), Donald Cairns (singing teacher and music critic, Belfast News Letter) and Dean Crooks (Belfast Cathedral).
There were also photographs (see below) of players and the administrative staff. The substantial brochure sold for 20p.
There were also photographs (see below) of players and the administrative staff. The substantial brochure sold for 20p.
RH pic (L to R): UO administrative staff - David Steele (finance), James Allaway (Concerts Manager), Rosemary McCartney, Beatrice Cromie (Secretary) and Malcolm Ruthven (General Manager).
Photo © Esler Crawford and used with permission.
Some of the principal players and the Associate Conductor were also pictured - with two of the really key 'players' shown here as the last two! Pics 3-10 are credited to, and copyright of, Esler Crawford.
Hover the cursor over the pics to identify names. Click to see the full photograph.
Hover the cursor over the pics to identify names. Click to see the full photograph.
UO musicians listed in the 1971/72 season brochure:
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In this 1971-1972 season, the main Ulster Hall Friday evening series began remarkably late in the year. The first winter season concert, on 26 November 1971, featured flautist James Galway, then Principal Flute of the Berlin Philharmonic.
He played Mozart's Concerto No.2 in D, K.314, and the Jolivet Concerto.
LH pic: James Galway - photo from 26 November 1971 concert programme.
Northern Ireland was not in a good place. Internment had been introduced on 9 August. 342 were arrested that day and 17 people were killed over the next 48 hours. Thousands were forced to flee their homes. A rally in Belfast's Victoria Park on 6 September attracted c.20,000 people. It was addressed by William Craig and Rev. Ian Paisley. The shootings and killings continued in the following months - and for a long time to come.
He played Mozart's Concerto No.2 in D, K.314, and the Jolivet Concerto.
LH pic: James Galway - photo from 26 November 1971 concert programme.
Northern Ireland was not in a good place. Internment had been introduced on 9 August. 342 were arrested that day and 17 people were killed over the next 48 hours. Thousands were forced to flee their homes. A rally in Belfast's Victoria Park on 6 September attracted c.20,000 people. It was addressed by William Craig and Rev. Ian Paisley. The shootings and killings continued in the following months - and for a long time to come.
During the first part of October the Orchestra was on tour in Scotland, courtesy of the Scottish Arts Council.
Then followed a miscellaneous group of concerts back at home,
including a Gala Film Night (Belfast and Ballymena), A Night at the Opera, and the Belfast
Philharmonic Chorus with Elgar's The Dream of Gerontius.
Douglas Armstrong, pictured on the right, brought together the Belfast School of Music Chorale and the Northern Ireland Opera Trust Chorus for his A Night at the Opera - excerpts from Cavalleria Rusticana and La Traviata.
Douglas Armstrong, pictured on the right, brought together the Belfast School of Music Chorale and the Northern Ireland Opera Trust Chorus for his A Night at the Opera - excerpts from Cavalleria Rusticana and La Traviata.
The PDF on the right is the Players' List for the Gala Film Night - with many extras, most from the BBC Northern Ireland Orchestra.
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This
next picture gallery features some of the programme covers from these
weeks - including the UO's own promotion of a concert in Glasgow. Use the cursor to hover over each one for details. Click to enlarge.
Below are three pics from the 1971-1972 UO concert programmes of musicians whose roots were/are firmly based in Northern Ireland. Please click on the thumbnails.
1.
2.
3.
2.
3.
William Young (1921-2010), pianist and organist, featured
in many UO performances from the outset in 1966, particularly in
performances of Messiah.
Brian Hunter, baritone, counter tenor, organist and choirmaster (he was the conductor of Canticle in the 1970s, later Pavane, and then Renaissance (1994-2006)). With the Ulster Orchestra, during the 1971-1972 season, he was the baritone soloist in Bach's Cantata No.82, Ich habe genug.
Ian Harper, horn, performed the Britten Serenade with tenor Gerald English in the Ulster Hall on 28 Jan 1972. He was born in Belfast in 1939, educated at Campbell College and appointed to the Royal Philharmonic Orchestra in 1959 by Sir Thomas Beecham; Principal Horn, RPO from 1963. ‘Currently’ (i.e. 1972) also Principal Horn in the English Chamber Orchestra.
Brian Hunter, baritone, counter tenor, organist and choirmaster (he was the conductor of Canticle in the 1970s, later Pavane, and then Renaissance (1994-2006)). With the Ulster Orchestra, during the 1971-1972 season, he was the baritone soloist in Bach's Cantata No.82, Ich habe genug.
Ian Harper, horn, performed the Britten Serenade with tenor Gerald English in the Ulster Hall on 28 Jan 1972. He was born in Belfast in 1939, educated at Campbell College and appointed to the Royal Philharmonic Orchestra in 1959 by Sir Thomas Beecham; Principal Horn, RPO from 1963. ‘Currently’ (i.e. 1972) also Principal Horn in the English Chamber Orchestra.
The PDF on the right lists all the concerts in the 1971-1972 season (Season No.6), including the Scottish tour in October 1971; James Galway's concert on 26 November 1971; Bryden Thomson's first appearance with the UO on 10 August 1972; seminars with Raymond Warren, Robert Simpson, Thea Musgrave and Gerard Schürmann (replacing Alexander Goehr); and lots more - from Semprini to Josef Suk.
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Throughout this season, there was a constant backdrop of bombings, shootings, killings, Bloody Sunday, Bloody Friday, the Abercorn bombing, the McGurk's Bar bombing, Ulster Vanguard rallies, anti-internment rallies, introduction of Direct Rule ... the Ulster Orchestra played on.
There was even a Composers' Competition - the Ulster Orchestra 1972 Awards - with "a modest cash prize and the free copying of orchestral parts - itself a costly process". The performances of the winning works and the presentation of the awards was in the Wellington Hall on 9 September 1972. It's all documented in the PDF above.
There was even a Composers' Competition - the Ulster Orchestra 1972 Awards - with "a modest cash prize and the free copying of orchestral parts - itself a costly process". The performances of the winning works and the presentation of the awards was in the Wellington Hall on 9 September 1972. It's all documented in the PDF above.
The troubled times were reflected in the rearrangement of some concerts - different soloists, different venues, different programmes. Below are three more programme covers from Feb-March 1972 - two of them particularly creative, though reproduced on cheap paper.
LH pic: A touch of film noir! Four of the UO woodwind players who also played in the Ulster Soloists Ensemble.
L to R: Christopher King, clarinet; Lynda Coffin, flute; Brian Overton, oboe; Peter Musson, bassoon.
L to R: Christopher King, clarinet; Lynda Coffin, flute; Brian Overton, oboe; Peter Musson, bassoon.
RH pic: Edgar Cosma, the Ulster Orchestra's Artistic Advisor and Principal Conductor across these difficult years. He was a much photographed man (sorry I don't have a credit for the photographer).
It's well worth reading the colourful pen portrait of him in the UO season PDF above (transcribed from the Season Brochure / Year Book 1971-1972).
It's well worth reading the colourful pen portrait of him in the UO season PDF above (transcribed from the Season Brochure / Year Book 1971-1972).
1972-1973 season
The Ulster Orchestra's season 'brochure' for 1972/73 (LH pic), as with the previous season, was a large A4 booklet with articles by Douglas Armstrong (on the Grand Opera Society of NI and the Northern Ireland Opera Trust), George Gibson (on music therapy), Ana Coluthon ([Who was this?] on concert-going), Patrick Bell (on his life in music), David Byers (on new music), Rev. Canon Graham Craig (on the BMS) and Malcolm Fletcher (0n instrumental music in Co. Antrim).
There was also a photograph (see below) of the musicians, taken in the Members' Rooms, Balmoral, by Esler Crawford.
There was also a photograph (see below) of the musicians, taken in the Members' Rooms, Balmoral, by Esler Crawford.
Photo © Esler Crawford
Pic below: An Ulster Orchestra outing to The Old Bushmills Distillery in Co. Antrim, August 1975. Thanks to Margaret Barry and Jean Openshaw for helping to identify some of those in the pic. Any corrections or suggestions gratefully received!
Back row, L to R: Albert Mackiewicz (violin), Ian Hennessy (horn), Charles Miller (bassoon), Jean Openshaw, David Openshaw (timpani), Des Mulholland (concerts manager), ?conductor, ?a Malcolm Neale look-alike, unknown extra, ?Derek Bell (oboe) with David Glanville (bass) behind, ?girl behind, Philip Benke (cello) in front, then three unidentified extras.
Front row, L to R: Linda Miller (cello) with Sukie the dog, Bernadette McBrierty (violin), Susan Davis (violin), Catherine Bunting (cello) and Patsy Fenton (violin).
Back row, L to R: Albert Mackiewicz (violin), Ian Hennessy (horn), Charles Miller (bassoon), Jean Openshaw, David Openshaw (timpani), Des Mulholland (concerts manager), ?conductor, ?a Malcolm Neale look-alike, unknown extra, ?Derek Bell (oboe) with David Glanville (bass) behind, ?girl behind, Philip Benke (cello) in front, then three unidentified extras.
Front row, L to R: Linda Miller (cello) with Sukie the dog, Bernadette McBrierty (violin), Susan Davis (violin), Catherine Bunting (cello) and Patsy Fenton (violin).
Another one: If you can help identify or confirm the players below, please contact me so that the names can be corrected.
RH pic: Principal Conductor Edgar Cosma rehearsing the Ulster Orchestra in AEU House, Antrim Road, Belfast, probably c.1972(?).
Front row: Denis Benson; Clifford Kershaw; ???; Glyn Parfitt.
Second row: Susan Davis; Sylvia Gray; Albert Mackiewicz; Richard Burks
Back row: ???; Robert Cook; ???; ?Anne Bryant?; ?Lynda Coffin?; Brian Overton; ?Hilary Clough?
Second row: Susan Davis; Sylvia Gray; Albert Mackiewicz; Richard Burks
Back row: ???; Robert Cook; ???; ?Anne Bryant?; ?Lynda Coffin?; Brian Overton; ?Hilary Clough?
Nearly four years after the Ministry of Finance's report, there came this BBC Press Release, dated 15 January 1973:
BBC Northern Ireland Orchestra
At the request of the Northern Ireland Arts Council, preliminary discussions have taken place on the possibility of a merger between the BBC Northern Ireland Orchestra and the Ulster Orchestra. The new orchestra, it is suggested, might employ between 50 and 60 players and would be jointly financed. It would divide its time between broadcasting and giving public concerts. The Director of Programmes, Radio (Howard Newby) will be visiting Belfast at the end of January to take the discussions a stage further.
At the request of the Northern Ireland Arts Council, preliminary discussions have taken place on the possibility of a merger between the BBC Northern Ireland Orchestra and the Ulster Orchestra. The new orchestra, it is suggested, might employ between 50 and 60 players and would be jointly financed. It would divide its time between broadcasting and giving public concerts. The Director of Programmes, Radio (Howard Newby) will be visiting Belfast at the end of January to take the discussions a stage further.
LH pic: 1975 concert in London.
RH pic: 1976 concert for Age Concern.
The Ulster Orchestra made its first commercial recordings with Chandos Records Ltd.
Music by Hamilton Harty (1879-1941) was recorded in the Ulster Hall, Belfast, and produced by Brian Couzens. The sound engineer was Ralph Couzens.
Music by Hamilton Harty (1879-1941) was recorded in the Ulster Hall, Belfast, and produced by Brian Couzens. The sound engineer was Ralph Couzens.
RH pics: LP sleeve design was by the Mantis Studio, London. The photo of Dunluce Castle was courtesy of Woodmansterne Ltd., the Mournes in Autumn was courtesy of the Northern Ireland Tourist Board.
Both recordings were sponsored by the Ulster Orchestra Association, the first with financial assistance from the Arts Council of Northern Ireland, the second with support from the Northern Bank Ltd. Subsequently, both LPs have been released on CD. The recordings complemented the release that year of Hamilton Harty: His Life and Music (Blackstaff Press, 1979), edited by Prof. David Greer.
The Ulster Orchestra gave two Harty Centenary concerts with Bryden Thomson and Ralph Holmes: Thursday 7 June 1979 in the New Technical College, Armagh; Friday 8 June 1979 in the Ulster Hall, Belfast. It's reckoned that most, if not all, of the orchestral players at those concerts also took part in the Chandos recordings.
UO musicians listed for the Harty Centenary concerts:
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Having given concerts in Killarney Town Hall (23 February 1980), Dublin's Gaiety Theatre (24 February), and the Cork City Hall (25 February), the Ulster Orchestra arrived in London for a concert at St John's Smith Square on Friday 29 February. It was a contribution to A Sense of Ireland, a "major Festival in London of The Arts and Culture of Ireland".
The Festival Music Director and Concert Organiser was Dinah Molloy, the soloist was Sheila Armstrong, soprano, the UO's leader was Pan Hon Lee, and the conductor was Bryden Thomson.
LH pic below was the Festival's logo. The Orchestra's programme details are given in the PDF below.
These next paragraphs were printed as the Orchestra's biography in the concert programme:
The Festival Music Director and Concert Organiser was Dinah Molloy, the soloist was Sheila Armstrong, soprano, the UO's leader was Pan Hon Lee, and the conductor was Bryden Thomson.
LH pic below was the Festival's logo. The Orchestra's programme details are given in the PDF below.
These next paragraphs were printed as the Orchestra's biography in the concert programme:
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The Ulster Orchestra gave its first concert in Belfast in September 1966. It was the brain-child of Michael Whewell, then Director of the Arts Council of Northern Ireland, and Maurice Miles who conducted the first season. From the outset the orchestra has been under the financial and administrative umbrella of the Arts Council of Northern Ireland.
It comprises approximately 40 players and gives concerts throughout the province and in the Republic of Ireland. From 1967 to 1969 the orchestra was conducted by Sergiu Commissiona.
During this period guest artists of the calibre of Julius Katchen, Moura Lympany, Alfredo Campoli, Shura Cherkassky, Gina Bachauer, Heather Harper and Cleo Laine appeared with the orchestra. They also made their first visit to Britain, followed by a season in collaboration with the Welsh National Opera.
Edgar Cosma took Commissiona’s place in 1969 assisted by Alun Francis who became Resident Conductor in 1974.
One of the orchestra’s most popular conductors, Bryden Thomson, took over in 1977. Under his direction the orchestra has gone from strength to strength.
It comprises approximately 40 players and gives concerts throughout the province and in the Republic of Ireland. From 1967 to 1969 the orchestra was conducted by Sergiu Commissiona.
During this period guest artists of the calibre of Julius Katchen, Moura Lympany, Alfredo Campoli, Shura Cherkassky, Gina Bachauer, Heather Harper and Cleo Laine appeared with the orchestra. They also made their first visit to Britain, followed by a season in collaboration with the Welsh National Opera.
Edgar Cosma took Commissiona’s place in 1969 assisted by Alun Francis who became Resident Conductor in 1974.
One of the orchestra’s most popular conductors, Bryden Thomson, took over in 1977. Under his direction the orchestra has gone from strength to strength.
Programme content:
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UO musicians listed for a Gallaher concert,
9 October 1981 (including extras and deputies):
9 October 1981 (including extras and deputies):
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A review of the opening concert of the 1983/1984 season:
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RH pics: Click on the thumbnails to see the 1986 UO musicians. The photo, used on the 1987/88 season programme covers and posters, is presented here in two overlapping halves. Pity about the fold in the middle of the original poster from whence these two halves came! The conductor is Vernon (Tod) Handley.
Plus ça change, plus c'est la même chose
S.O.S. call from Ulster Orchestra’s Chairman [January 1989]
At an extraordinary News Conference in the Elmwood Hall on Wednesday 7 December [1988], the Chairman of the Ulster Orchestra, Mr Stratton Mills, stated “I must give a public warning – the continued existence of the Ulster Orchestra is now, frankly, in serious doubt” and went on to say “I hope that the Government will appreciate the seriousness of our predicament and respond positively to our urgent approach to the Secretary of State to review the basis of funding of the Ulster Orchestra”.
In a statement which highlighted a projected deficit of £111,000 for 1988/89 and £200,000 for 1989/90, Mr Mills called for positive Government action, saying that “despite all our efforts and successes in attracting support from the private sector, the gap between the rate of increase in overall income and escalating costs is widening dangerously and cannot be bridged without substantial government support”.
He emphasised that the arts in Northern Ireland, notwithstanding the importance of its role, received per capita substantially less support from Central and Local Government as a whole than its counterparts in the rest of the United Kingdom. In the case of the former, Mr Mills went on to quote from a recent survey by the National Campaign for the Arts, which showed that in the current year, the Arts Council of Northern Ireland will spend £2.35 per head on the arts compared to £2.64 by the Arts Council of Great Britain and the Regional Arts Associations in England, £2.96 by the Scottish Arts Council and £3.04 by the Welsh Arts Council.
Mr Mills stated that in spite of the Ulster Orchestra being the lowest paid regional orchestra in the United Kingdom, the annual high national wage settlements granted to musicians was a major contributory factor to the growing deficit.
He concluded by issuing the grave warning that the loss of the Ulster Orchestra, the Province’s only professional orchestra, would be catastrophic to the community as a whole and added “Whilst the Ulster Orchestra has proved its worth, the current situation poses a very simple question – Is the Province prepared to pay for it?”
At an extraordinary News Conference in the Elmwood Hall on Wednesday 7 December [1988], the Chairman of the Ulster Orchestra, Mr Stratton Mills, stated “I must give a public warning – the continued existence of the Ulster Orchestra is now, frankly, in serious doubt” and went on to say “I hope that the Government will appreciate the seriousness of our predicament and respond positively to our urgent approach to the Secretary of State to review the basis of funding of the Ulster Orchestra”.
In a statement which highlighted a projected deficit of £111,000 for 1988/89 and £200,000 for 1989/90, Mr Mills called for positive Government action, saying that “despite all our efforts and successes in attracting support from the private sector, the gap between the rate of increase in overall income and escalating costs is widening dangerously and cannot be bridged without substantial government support”.
He emphasised that the arts in Northern Ireland, notwithstanding the importance of its role, received per capita substantially less support from Central and Local Government as a whole than its counterparts in the rest of the United Kingdom. In the case of the former, Mr Mills went on to quote from a recent survey by the National Campaign for the Arts, which showed that in the current year, the Arts Council of Northern Ireland will spend £2.35 per head on the arts compared to £2.64 by the Arts Council of Great Britain and the Regional Arts Associations in England, £2.96 by the Scottish Arts Council and £3.04 by the Welsh Arts Council.
Mr Mills stated that in spite of the Ulster Orchestra being the lowest paid regional orchestra in the United Kingdom, the annual high national wage settlements granted to musicians was a major contributory factor to the growing deficit.
He concluded by issuing the grave warning that the loss of the Ulster Orchestra, the Province’s only professional orchestra, would be catastrophic to the community as a whole and added “Whilst the Ulster Orchestra has proved its worth, the current situation poses a very simple question – Is the Province prepared to pay for it?”
Details and reorganisation of these to follow in due course.
The document in the PDF, below right, dates from 2007. It listed nine good reasons for funding the Ulster Orchestra. Little has changed to invalidate those reasons. The message should be underlined and shouted from the rooftops.
It is a matter of real regret that most Northern Ireland politicians take little or no interest in the arts. When they do so, it's usually at the local constituency level - for obvious reasons! When will they see the importance of the larger picture with this, as with so much else?
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Ulster Orchestra Advocacy 2007.pdf Size : 181.261 Kb Type : pdf |
Oh that they would take a leaf out of the book of Scottish politicians who support the RSNO and see it both as a vital linchpin in Scotland's arts and as an international calling card for Scotland.