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Music

Music forms a fundamental part of Norwich School life and with over 20 different music ensembles rehearsing every week, there’s something to suit everyone! Pupils can choose from a range of choirs,

bands, orchestras and chamber ensembles designed to nurture musical performance at all levels. Most ensembles do not require an audition.


Performance highlights each year include the House Music Festival (September), Senior Musical at Norwich Playhouse (November), Senior School Carol Service at Norwich Cathedral (December), Unplugged at Norwich Playhouse (February), Choral & Orchestral Concert at St. Andrews (March), Jazz Night at Epic Studios (March), Royal Norfolk Show (June), Deveson Music Prize (June), Gala Night (July) and the Choral Vigil (July).

Choral Music

Singing is at the heart of school life and features in daily cathedral assemblies, concerts, musicals and services throughout the year. Our choirs have earned a reputation for excellence and some pupils are members of the National Youth Choirs. With 60 regular members, Chapel Choir sings for school services as well as Evensong at a Cambridge college each year. It performs a broad range of repertoire including Tallis, Mozart, Brahms, Arvo Pärt and Coldplay!The Chapel Choir is complemented by many other vocal ensembles, including Choral Society, a Barbershop Group, G-force, and Junior Choir.

Instrumental Music

The Music Department also offers a wide range of instrumental ensembles that play weekly. Pupils are encouraged to join an ensemble as soon as they can play even a few notes, as we have groups that cater for all abilities. Below is a selection of the current groups:

  • Gateway Players (Senior Orchestra)
  • Sinfonia (Intermediate Orchestra)
  • Junior Concert Band
  • Senior Jazz Band
  • Saxology
  • Überbeat (Percussion Ensemble)
  • Junior & Senior Guitar Groups
  • Various rock groups and pupil-lead bands.
  • Various chamber ensembles

Individual Music Lessons

More than 30 music teachers visit the school, many of whom play an active part in the musical life of the city and county. Specialist instrumental tuition is available in violin, viola, cello, double bass, flute, oboe, clarinet, saxophone, bassoon, French horn, cornet, trumpet, trombone, tuba, euphonium, guitar, voice, recorder, orchestral and kit percussion, bagpipes, piano and organ. Other instruments are available, subject to demand. ABRSM Music Exams are held at the school each term, with entries welcome from pupils learning both in and out of school. Theory tuition is also available, with a weekly theory club running for pupils.

Making Musicans

Making Musicians aims to develop the very best musical talent at Norwich school and beyond. Singers, instrumentalists and composers from both within the School and the wider community participate in an annual series of workshops, lectures, visits, masterclasses and recitals designed to nurture young musicians.

Visit the Making Musicians page

Past Performances, Recitals and Concerts...

Gala Night 2024

Little Shop of Horrors

Annie

Jazz Night 2024

Guys and Dolls

Gala Night 2023

Jazz Night 2023

Wizard of OZ

Choral Society 2024

The Dyers' Concert 2023

Gala Night 2024

Little Shop of Horrors

Music News

By Eleanor Lewis March 12, 2025
With Norwich’s St John the Baptist Catholic Cathedral as its magnificent backdrop, the Norwich School Choral Society delighted a substantial and appreciative audience at its annual public concert on 12 March 2025. This 41 st successive concert since the group’s founding in 1983 treated concert-goers to a musical performance of the highest quality. This choral event is a cultural highlight in Norwich’s flourishing creative arts scene and is unique in fostering some remarkable collaborations: The Norwich School Choral Society (being the school’ s adult choir made up of alumni, friends, former parents and staff) performed together with the school’s multiple pupil choirs, creating a combined chorus in excess of 130-strong and spanning ages from 13 to the over 80s; Similarly, our pupil instrumentalists were playing alongside the hugely experienced professional musicians of the Norwich Baroque ensemble, bringing together an orchestra of over 30 talented musicians, complete with rousing timpani. All of our young musicians acquitted themselves with great aplomb on the public stage, demonstrating the breadth and depth of musical talent within the school’s music department. Jonathan Stamp, the school’s Director of Music commented: It is always heartwarming to see so many people come together to make music. The energy and enthusiasm from pupils, parents, staff and guests made for a stellar performance and we look forward to continuing this annual event for many years to come. The programme kicked off with three 20th century choral works: Lauridsen’s Sure on this Shining Night, Mawby’s tender Ave Verum depicting Christ’s agony on the cross, and Balfour-Gardiner’s exquisite Evening Hymn. The first half closed with a genuine musical treat: Elgar’s sublime Cello Concerto in E Minor, the piece best known from the legendary 1960s interpretation by Jacqueline du Pré. Our soloist was Upper Sixth pupil Colette Maxwell-Preston. No stranger to high profile public performances, she gave an assured performance of great pathos and maturity, well deserving the drew thunderous applause that concluded the first half. Reflecting on her performance, soloist and music scholar Colette commented: Performing the first movement of Elgar’s Cello Concerto accompanied by Norwich Baroque was an amazing experience. The opportunity to be accompanied by strings rather than piano provided a different sort of depth and emotion to my favourite piece. It was terrific to play in such a beautiful space, too, and I’m really grateful for having had the opportunity to share in my last year at Norwich School such a beautiful piece with the audience. The second half brought together the full orchestra and choir for a stirring performance of Haydn’s Nelson Mass under the baton of our Head of Vocal Studies, Posy Walton. This choice of choral work was particularly apt in light of Nelson’s historic links to the school. After all, his statue opposite the school’s Chapel had witnessed every moment of rehearsal over many preceding months! Soloists of the highest calibre included Norwich School Music Dept staff Andrew Weeks (base) and Connor Collerton (tenor). Hearing those accomplished musicians singing on the same platform together was pure joy. A concert of this size and complexity, involving over 160 individual musicians, was only made possible thanks to the generous support from a number of sponsors, to whom we are incredibly grateful. Norwich School has long been a member of the national Choir Schools’ Association, and their generous repeat grant was hugely appreciated, as was the financial sponsorship from respected local businesses Hansells Solicitors, Savills, the Norfolk Club and Drury Vehicle Services. Our gratitude also goes out to Dean Fr Alan Hodgson from the Cathedral and his staff for welcoming he school back to their lovely cathedral for a second year. Months of meticulous preparation from the Choral Society Committee and members of the school’s hard-working music department also deserve heart-felt appreciation. Finally, our thanks go to all performers for their sensational performance and to our audience whose generous final ovation reflected the considerable pleasure this evening of music had brought them.
By Eleanor Lewis February 27, 2025
On 27 February, I returned to the Close with my flute, viola and harp trio, Alarka. The trio was formed at the University of Cambridge in September 2024, and we have since enjoyed a busy schedule of recitals and concerts. We performed in the Cathedral as part of the School’s series of Thursday lunchtime ‘Making Musicians’ recitals with a programme of mostly early 20th-century French and English music. It was lovely to bring Polly (viola) and Hebe (harp) to the Cathedral – to see it with fresher eyes made me appreciate once again how lucky I was to call it home for two years. Unsurprisingly, there is not a huge amount of repertoire for this eclectic group of instruments, although there is more than one might think; we played some arrangements as well as pieces written specifically for the trio. To open the programme, we performed an arrangement of Cantique de Jean Racine by Fauré (arr. Trevor Wye for two flutes and piano and slightly altered by me to accommodate the viola). The second piece in this recital was particularly special: we gave the second (ever!) performance of Rera by Sarah Henderson, which was written for us earlier in February of this year. Sarah travelled from Cambridge to give a short introduction to this rather haunting piece, which combines harmonics, extended techniques, and a bit of choreography with David Guetta’s Titanium to evoke the sound world of an abandoned shopping mall in Hokkaido, Japan, which Sarah visited on her year abroad last year. In the large acoustic of the South Transept, the sound had a lot of space to reverberate, and it was very atmospheric. The rest of the programme included Arnold Bax’s Elegiac Trio (1916), and an arrangement of Ravel’s Pavane pour une enfante défunte (arr. Nicholas Ellis). We ended the recital with the piece that made this combination of instruments popular: the Sonata for Flute, Viola and Harp by Debussy, written in 1915. It was a joy to play to such a large, friendly audience and to be back in a place that is so special to me. Indeed, Mr Griffiths reminded me that I started my journey at Norwich School with a Making Musicians lunchtime recital the year before I joined, so this felt like something of a full-circle moment. Thank you to Mrs Speca and to the School for such a warm welcome, and for everyone who came to support us.
By Eleanor Lewis February 17, 2025
Following her success as an Associate Musician in 2024, Melissa Hawkings (L6) has been chosen as a Guest Musician for the National Youth Orchestra 2025! To celebrate this achievement we asked her few questions about what this entails, her experience as a musician and what she is looking forward to. Can you tell me a little bit about what being a Guest for the National Youth Orchestra means? It involves taking part in two NYO residencies, where I’ll work on orchestral pieces as part of the horn section and give concerts around the UK at the end of each residency. My next involvement with the orchestra is in April, where we will perform Bernstein’s West Side Story and Stravinsky’s Ballet Petrushka, which I can’t wait to play! The highlight is the Summer Residency, which will culminate in a performance at the BBC Proms at the Royal Albert Hall. Bringing music to local communities is also a part of being an NYO Guest. For example, I’m going to Blackpool this half term, where I will perform to hundreds of young people in the Blackpool Tower and then lead creative workshops in local secondary schools. And how long is a residency? Each residency is around 13 days, in which the first 8 or 9 days are spent rehearsing and getting to know other musicians, and the rest is spent doing a concert tour. Will this take place in the holidays? Yes it will. Do you have to do any additional things in term-time as well? It depends on which events you get allocated to - one of my events will overlap by 2 or 3 days. And has the school been supportive of your musical journey? Yes, they have been really supportive! All the teachers are really helpful, both from an academic and performance perspective. They have given me loads of performance opportunities throughout the years such as recitals and masterclasses, and have also supported me in going to the Royal College of Music on Saturday, where I receive my instrumental lessons and play in the symphony orchestra and chamber groups. And what was the process of applying like? There are two rounds. For the first round, I filmed myself performing a piece and a few orchestral excerpts, which are famous horn moments from orchestral pieces. Following this, I was selected for a second round audition, where I performed a piece and orchestral excerpts to a live panel of NYO tutors. I also took part in ensemble workshops throughout the day. It was quite nerve racking at first, especially playing to 3 completely new people, but I got a lot out of it. And what happened after that? The first year I auditioned, I was offered the position of an Associate Musician, which involved taking part in the Winter and Summer Residencies. For me, the highlight of this was playing in Strauss’ Alpine Symphony and the world premiere of Dani Howard’s piece Ascent. This year, I was offered a place as a Guest Musician, which will involve playing a lot more in the orchestra. What is the difference between a Guest and Associate Musician? Being an associate involved performing in selected parts of the concert tours, whereas as a Guest, I will fully take part in 2 of the residencies, and perform in all of the pieces during the concert tours. How long have you been playing? Since I was 11. I started at the local Music Hub at CNS and I really enjoyed it, but I can’t remember why I picked the horn! What A Levels do you study at Norwich School? Music, English and Spanish. What does being a musical scholar at Norwich School entail? It’s a really exciting part of school life. I play in lots of ensembles such as Gateway Orchestra and Cathedral trumpets, and also in masterclasses that come up through the Making Musicians Programme. For example, In March I played in a masterclass with Amos Miller, who is the Head of Brass at the Royal College of Music. You can also get involved in recitals through the Making Musicians programmes, or performing in services such as Remembrance, where I played the Last Post on trumpet. It was unlike any other concert, I could only hear myself as everyone was silent, I enjoyed playing a lot. How do you find balancing your music with your studies? Sometimes it is challenging to keep everything going, especially last year whilst taking my GCSEs, but the school have been incredibly supportive. Music is always something I can go to relax, like when you think about it all I’m doing is blowing down a piece of tubing so it’s quite low stakes from that perspective. What are you most excited for in your upcoming residency? I’m really excited to get to know the horn section, which may sound a bit geeky, but its rare to come across so many horn players in one place! Most of all, I’m excited to perform the music from West Side Story in Bridgewater Hall, because one of the pieces involves shouting Mambo in the middle of it! Are you nervous about anything in particular? The first few days of the residency are always a bit nerve wracking because of all the new people, but you get used to it after a while. Have you ever composed yourself? Yes I have, although I wouldn’t really consider myself a composer (I had to do it at GCSE). I’d like to get better at it. What are your future goals in music? I’d really like to give more recitals, take part in some competitions, and get a place at a conservatoire. What would you say to any young people who are thinking they might want to play the French Horn? Do it! I think one of the best things about music is playing with other people, and the horn is suited for so many different ensembles where you can explore a variety of genres. It’s a really unique and special instrument.
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