Concert Programme
Text from the programme can be found at the bottom of the page, for an alternative reading experience.
This afternoon’s Spring Concert is dedicated to the memory of Derrick Pettitt, who passed away on 21st March 2025.
A professional musician for over 60 years, Derrick had a distinguished career as a cornet player with the Royal Artillery Mounted Band and the Royal Regiment of Wales. Following his military service, he joined the City of Newport Symphony Orchestra as a cellist.
Derrick was a dedicated member of our orchestra for many years and served as our Treasurer for over a decade.
We are proud to perform today’s programme in recognition of his technical skill, his service to the committee, and his long-standing contribution to the local musical community.
A professional musician for over 60 years, Derrick had a distinguished career as a cornet player with the Royal Artillery Mounted Band and the Royal Regiment of Wales. Following his military service, he joined the City of Newport Symphony Orchestra as a cellist.
Derrick was a dedicated member of our orchestra for many years and served as our Treasurer for over a decade.
We are proud to perform today’s programme in recognition of his technical skill, his service to the committee, and his long-standing contribution to the local musical community.
Aaron Copland
Fanfare for the Common Man
Samuel Barber
Concerto for Violin and Orchestra
Soloist: Helena Todd
~ INTERVAL ~
Pyotr Ilyich Tchaikovsky
Symphony No. 5 in E minor
Fanfare for the Common Man
Samuel Barber
Concerto for Violin and Orchestra
Soloist: Helena Todd
~ INTERVAL ~
Pyotr Ilyich Tchaikovsky
Symphony No. 5 in E minor
For the last 100 years, the City of Newport Symphony Orchestra (CNSO) has proudly served Newport and the surrounding areas with public and private concerts and events. CNSO began life as part of the Pleasant Sunday Afternoon Movement. These meetings began with an uplifting talk and prayer, and concerts were given with a guest singer on the first Sunday of the month. The name changed to Newport Concert Orchestra around 1960, Newport Orchestra in 2012 and has now (as of 2019) changed to City of Newport Symphony Orchestra (or CNSO for short).
The Orchestra is a registered charity and is run by a committee of various orchestra members and a yearly AGM is held. We welcome enquiries from members aged 16 and above and a minimum grade 5 standard.
Please follow us on Instagram (@newportsymphony) and Facebook (facebook.com/newportorchestra) to support us and for updates.
Plus keep an eye on our website for all information: cnso.org.uk
Musical Director: Anna Beresford
Anna is based in Cardiff, and is active as a freelance conductor, music librarian and music educator. She is currently Musical Director of Caerphilly Community Chorus, the City of Newport Symphony Orchestra, and Tonyrefail Ladies Choir. Anna is currently the Trainee Conductor with the Welsh Chamber Orchestra, assisting Anthony Hose. In the 2025/26 season, Anna is working with Bradford Opera Festival, NEW Sinfonia and has been announced as an Emerging Professional Artist with the National Youth Choir for 2026.
Orchestra leader and soloist: Helena Todd
Helena started playing the violin at school aged 6. A member of the Cardiff County orchestras and the National Youth Orchestra of Wales, she went on to study violin performance at the Royal Scottish Academy of Music and Drama before training as a nurse.
Throughout her working life, Helena has remained a determined violinist, performing at weddings with the Aderyn Quartet, charity concerts and in orchestras most recently including Brecknock Sinfonia, Gwent Chamber and Abergavenny Symphony Orchestra, which she led 2018-2021. She achieved her ABRSM diploma in July 2021 with distinction and in Summer 2023 was awarded a scholarship to attend a jazz course led by Peter Edwards and violin masterclasses with Thomas Gould at Dartington Summer School. Later that year she performed the Bruch Violin Concerto with Abergavenny Symphony Orchestra.
Helena is also a passionate music educator and keen advocate for making music in all its guises, accessible to all. In 2019, she qualified completed her PGCE with a Music specialism, inspired by training undertaken in the Kodaly and Dalcroze approaches to music pedagogy. Last year, she graduated from the Spitalfield’s Trainee Music Leader Scheme, partnered with City of Birmingham Symphony Orchestra, during which she co-created and delivered a musical story to five schools across Birmingham. Helena is intent on modernising the traditional concert experience, exploring means to engage a more eclectic audience. She coproduced City of Newport Symphony orchestra’s recent family concert, ‘Simmie’s Story,’ and is currently devising a ‘Musical Mission to the Moon,’ a young children’s production, which she will perform in Cardiff and Frome later this year.
Helena is delighted to be performing the Barber Violin Concerto with CNSO this afternoon. She is grateful to Myriam Brunswick and the Citron family for the generous loan of their violin.
City of Newport Symphony Orchestra
1st Violin
Helena Todd
Chloe Menzies
Sarah Norton
Deborah Cooper
Javier Gonzalez
Holly Chung
Lindsay Savine
Debbie Frost
Sara Raza
2nd Violin
Julie Bellamy
Samantha Elson
Bryony Gettins
Joy Irvine
Karen Payne
Eleanor Chiu
Anita Bromley
Celyn Bromley
Viola
Juliet Grayson
Gareth Allmand
Huw Coburn
Meryl Jones
Clare Bailey
Elin Bartlett
Gwilym Bromley
Cello
Andrew Muggleton
Sana Raza
Andy Summers
Melanie Davies
Isabella Rose
Gwyn Davies
Double Bass
Aaron Joseph
Karen Bowman
Robert Wyatt
Flute
Wendy Wade
Erin McGill
Charlotte Holmes
Piccolo
Charlotte Holmes
Oboe
Malcolm James
Katie Guy
Clarinet
Roberta Veryard
Angharad Kerr
Bassoon
Holly Wright
Hannah McCallum
French Horn
Tim Holliday
Rick Ward
Sarah Page
Jennifer Gibbs
Carys Williams
Trumpet
Niall Bell
David Jones
Rebekah Middleton
Kevin John
Trombone
Philip Ellwood
David Edwards
Bass trombone
Dave Short
Tuba
Celyn Middleton
Percussion
Dennis Gardener
Katherine Evans
Cindy Tang
Piano
Sara Raza
Aaron Copland (1900-1990): Fanfare for the Common Man
While it would be unfair to say that America had no classical music tradition before 1900, the pieces that we think of as being typically American nevertheless date from the first half of the twentieth century. Fanfare for the Common Man is one of these works and is perhaps Copland's most recognised composition. Though it sounds deceptively simple – we hear a theme repeated and layered through different brass textures – the Fanfare actually took longer to compose than expected and was not ready to be performed until 12 March 1943, some months after scheduled premiere. The unusual title is Copland's own choice after experimenting with several others (Fanfare for a Solemn Ceremony, Fanfare for Four Freedoms) and is perhaps part of the work's longstanding appeal. (The original idea was for a piece honouring those involved in the Second World War, especially the forces.) Copland said that "the challenge was to compose a traditional fanfare, direct and powerful, yet with a contemporary sound".
Samuel Barber (1910-1981): Concerto Op. 14, for Violin and Orchestra
Allegro
Andante
Presto in moto perpetuo
The Violin Concerto, Barber's first major commission, was sponsored by Samuel Fels, a soap magnate. Fels commissioned the work for his adopted son, the young violinist Iso Briselli. Barber began work early in 1939, and in the late summer sent the first two movements to Briselli, who found them "too simple, not brilliant enough". The composer promised a finale with "ample opportunity to display the artist's technical powers". When Briselli saw this partially completed movement, however, he declared it unplayably difficult. Fels reneged on the commission and demanded that the money already advanced be repaid (Barber had already spent it). To rescue the commission a special demonstration was arranged. A (surely brilliant) student at the Curtis Institute was handed the pencilled violin part and given a few hours to study it, with the injunction that "it must be played very fast". The student, Herbert Baumel – who had not been told the purpose of this bizarre audition – later recalled the evident tension in the room when he entered. He gave dazzling evidence that the finale was indeed playable and was rewarded with bravos, tea and cookies. The assembled luminaries decreed that the commission must be paid in full and that Briselli had lost his right to the first performance.
The work was premièred on 7 February 1941. Barber's own programme notes read in part: “It is lyrical and intimate in character and a moderate-sized orchestra is used. The first movement begins with a lyrical first subject announced at once by the solo violin. This movement has perhaps more the character of a sonata than concerto form. The second movement is introduced by an extended oboe solo. The violin enters with a contrasting and rhapsodic theme, after which it repeats the oboe melody. The last movement, a perpetual motion, exploits the more brilliant and virtuoso characteristics of the violin.”
Pyotr Ilyich Tchaikovsky (1840-1893): Symphony No. 5 in E minor, Op. 64
The Fifth Symphony is unified by a motto theme, sometime given the name Fate, which is heard at the outset in the lowest register of the clarinets, over a string accompaniment. The Allegro con anima introduces the main subject of the first movement which is developed gradually to a climax; during this development Tchaikovsky skillfully varies the tempo to maintain the tension. After this first peak has subsided, the strings introduce a new theme which is used to generate tremendous passion and excitement, before winding itself gradually down to silence.
The slow movement opens with the famous melody for horn, joined in dialogue by an oboe and followed by solos for clarinet and bassoon. Amid the sudden changes of tempo and mood here, the motto temporarily intrudes before it is banished.
The third movement waltz is charming, elegant and superbly orchestrated, a reminder of Tchaikovsky's close links with ballet. The motto is heard briefly - as if in the distance - on woodwind instruments towards the end.
The finale opens with the motto theme transformed into its major key and in the manner of a march.This is succeeded by the dance-like Allegro vivace which gradually builds up speed and tension before the final maestoso statement of the motto, presto and jubilant coda.
Our next concert, here at St John the Baptist Church:
27th June 2026, 3pm
This concert will feature this year’s Concerto Competition winner, Tobias Lyndley, in Camille Saint-Saëns Second Piano Concerto. We will open our doors once again to students from Gwent Music, to play alongside our musicians in a ‘side-by-side’ project. The programme will also feature firm orchestral favourites, to be announced very soon...
Please follow us on Instagram (@newportsymphony) and Facebook
(facebook.com/newportorchestra) to support us and for updates.
Plus keep an eye on our website for all information: cnso.org.uk
With special thanks to the City of Newport Symphony Orchestra committee members, concert day volunteers, St John Baptist Church, and Gwent Music.
Thank you very much for joining us today. We really appreciate your support and we look forward to seeing you again soon.
The Orchestra is a registered charity and is run by a committee of various orchestra members and a yearly AGM is held. We welcome enquiries from members aged 16 and above and a minimum grade 5 standard.
Please follow us on Instagram (@newportsymphony) and Facebook (facebook.com/newportorchestra) to support us and for updates.
Plus keep an eye on our website for all information: cnso.org.uk
Musical Director: Anna Beresford
Anna is based in Cardiff, and is active as a freelance conductor, music librarian and music educator. She is currently Musical Director of Caerphilly Community Chorus, the City of Newport Symphony Orchestra, and Tonyrefail Ladies Choir. Anna is currently the Trainee Conductor with the Welsh Chamber Orchestra, assisting Anthony Hose. In the 2025/26 season, Anna is working with Bradford Opera Festival, NEW Sinfonia and has been announced as an Emerging Professional Artist with the National Youth Choir for 2026.
Orchestra leader and soloist: Helena Todd
Helena started playing the violin at school aged 6. A member of the Cardiff County orchestras and the National Youth Orchestra of Wales, she went on to study violin performance at the Royal Scottish Academy of Music and Drama before training as a nurse.
Throughout her working life, Helena has remained a determined violinist, performing at weddings with the Aderyn Quartet, charity concerts and in orchestras most recently including Brecknock Sinfonia, Gwent Chamber and Abergavenny Symphony Orchestra, which she led 2018-2021. She achieved her ABRSM diploma in July 2021 with distinction and in Summer 2023 was awarded a scholarship to attend a jazz course led by Peter Edwards and violin masterclasses with Thomas Gould at Dartington Summer School. Later that year she performed the Bruch Violin Concerto with Abergavenny Symphony Orchestra.
Helena is also a passionate music educator and keen advocate for making music in all its guises, accessible to all. In 2019, she qualified completed her PGCE with a Music specialism, inspired by training undertaken in the Kodaly and Dalcroze approaches to music pedagogy. Last year, she graduated from the Spitalfield’s Trainee Music Leader Scheme, partnered with City of Birmingham Symphony Orchestra, during which she co-created and delivered a musical story to five schools across Birmingham. Helena is intent on modernising the traditional concert experience, exploring means to engage a more eclectic audience. She coproduced City of Newport Symphony orchestra’s recent family concert, ‘Simmie’s Story,’ and is currently devising a ‘Musical Mission to the Moon,’ a young children’s production, which she will perform in Cardiff and Frome later this year.
Helena is delighted to be performing the Barber Violin Concerto with CNSO this afternoon. She is grateful to Myriam Brunswick and the Citron family for the generous loan of their violin.
City of Newport Symphony Orchestra
1st Violin
Helena Todd
Chloe Menzies
Sarah Norton
Deborah Cooper
Javier Gonzalez
Holly Chung
Lindsay Savine
Debbie Frost
Sara Raza
2nd Violin
Julie Bellamy
Samantha Elson
Bryony Gettins
Joy Irvine
Karen Payne
Eleanor Chiu
Anita Bromley
Celyn Bromley
Viola
Juliet Grayson
Gareth Allmand
Huw Coburn
Meryl Jones
Clare Bailey
Elin Bartlett
Gwilym Bromley
Cello
Andrew Muggleton
Sana Raza
Andy Summers
Melanie Davies
Isabella Rose
Gwyn Davies
Double Bass
Aaron Joseph
Karen Bowman
Robert Wyatt
Flute
Wendy Wade
Erin McGill
Charlotte Holmes
Piccolo
Charlotte Holmes
Oboe
Malcolm James
Katie Guy
Clarinet
Roberta Veryard
Angharad Kerr
Bassoon
Holly Wright
Hannah McCallum
French Horn
Tim Holliday
Rick Ward
Sarah Page
Jennifer Gibbs
Carys Williams
Trumpet
Niall Bell
David Jones
Rebekah Middleton
Kevin John
Trombone
Philip Ellwood
David Edwards
Bass trombone
Dave Short
Tuba
Celyn Middleton
Percussion
Dennis Gardener
Katherine Evans
Cindy Tang
Piano
Sara Raza
Aaron Copland (1900-1990): Fanfare for the Common Man
While it would be unfair to say that America had no classical music tradition before 1900, the pieces that we think of as being typically American nevertheless date from the first half of the twentieth century. Fanfare for the Common Man is one of these works and is perhaps Copland's most recognised composition. Though it sounds deceptively simple – we hear a theme repeated and layered through different brass textures – the Fanfare actually took longer to compose than expected and was not ready to be performed until 12 March 1943, some months after scheduled premiere. The unusual title is Copland's own choice after experimenting with several others (Fanfare for a Solemn Ceremony, Fanfare for Four Freedoms) and is perhaps part of the work's longstanding appeal. (The original idea was for a piece honouring those involved in the Second World War, especially the forces.) Copland said that "the challenge was to compose a traditional fanfare, direct and powerful, yet with a contemporary sound".
Samuel Barber (1910-1981): Concerto Op. 14, for Violin and Orchestra
Allegro
Andante
Presto in moto perpetuo
The Violin Concerto, Barber's first major commission, was sponsored by Samuel Fels, a soap magnate. Fels commissioned the work for his adopted son, the young violinist Iso Briselli. Barber began work early in 1939, and in the late summer sent the first two movements to Briselli, who found them "too simple, not brilliant enough". The composer promised a finale with "ample opportunity to display the artist's technical powers". When Briselli saw this partially completed movement, however, he declared it unplayably difficult. Fels reneged on the commission and demanded that the money already advanced be repaid (Barber had already spent it). To rescue the commission a special demonstration was arranged. A (surely brilliant) student at the Curtis Institute was handed the pencilled violin part and given a few hours to study it, with the injunction that "it must be played very fast". The student, Herbert Baumel – who had not been told the purpose of this bizarre audition – later recalled the evident tension in the room when he entered. He gave dazzling evidence that the finale was indeed playable and was rewarded with bravos, tea and cookies. The assembled luminaries decreed that the commission must be paid in full and that Briselli had lost his right to the first performance.
The work was premièred on 7 February 1941. Barber's own programme notes read in part: “It is lyrical and intimate in character and a moderate-sized orchestra is used. The first movement begins with a lyrical first subject announced at once by the solo violin. This movement has perhaps more the character of a sonata than concerto form. The second movement is introduced by an extended oboe solo. The violin enters with a contrasting and rhapsodic theme, after which it repeats the oboe melody. The last movement, a perpetual motion, exploits the more brilliant and virtuoso characteristics of the violin.”
Pyotr Ilyich Tchaikovsky (1840-1893): Symphony No. 5 in E minor, Op. 64
The Fifth Symphony is unified by a motto theme, sometime given the name Fate, which is heard at the outset in the lowest register of the clarinets, over a string accompaniment. The Allegro con anima introduces the main subject of the first movement which is developed gradually to a climax; during this development Tchaikovsky skillfully varies the tempo to maintain the tension. After this first peak has subsided, the strings introduce a new theme which is used to generate tremendous passion and excitement, before winding itself gradually down to silence.
The slow movement opens with the famous melody for horn, joined in dialogue by an oboe and followed by solos for clarinet and bassoon. Amid the sudden changes of tempo and mood here, the motto temporarily intrudes before it is banished.
The third movement waltz is charming, elegant and superbly orchestrated, a reminder of Tchaikovsky's close links with ballet. The motto is heard briefly - as if in the distance - on woodwind instruments towards the end.
The finale opens with the motto theme transformed into its major key and in the manner of a march.This is succeeded by the dance-like Allegro vivace which gradually builds up speed and tension before the final maestoso statement of the motto, presto and jubilant coda.
Our next concert, here at St John the Baptist Church:
27th June 2026, 3pm
This concert will feature this year’s Concerto Competition winner, Tobias Lyndley, in Camille Saint-Saëns Second Piano Concerto. We will open our doors once again to students from Gwent Music, to play alongside our musicians in a ‘side-by-side’ project. The programme will also feature firm orchestral favourites, to be announced very soon...
Please follow us on Instagram (@newportsymphony) and Facebook
(facebook.com/newportorchestra) to support us and for updates.
Plus keep an eye on our website for all information: cnso.org.uk
With special thanks to the City of Newport Symphony Orchestra committee members, concert day volunteers, St John Baptist Church, and Gwent Music.
Thank you very much for joining us today. We really appreciate your support and we look forward to seeing you again soon.