‘ vivid, beautifully judged performances’ The Guardian

quartetfortheendof

time26 – 29 march 2012

PerformersClarinet Yann GhiroViolin David AlbermanCello William ConwayPiano Philip Moore ProgrammeSuzanne Parry John Introspections and

Lullabies (new work)Mark David Boden Between Waking and

Dreams (new work)Messiaen Quartet for the

End of Time (1941)

Richard Holloway will also present ‘Thoughts on the End of Time’ within the performance.

Would audience members please ensure that all mobile phones and other devices that may become audible during the performance are fully turned off.

Welcome

In 1941 the French composer Olivier Messiaen, who at the time was incarcerated in a German prisoner of war camp, composed a piece through expediency which has become one of the great and lasting iconic works of the chamber music repertoire.

‘Quartet for the End of Time’ is unusual in many ways: in its instrumentation; in its attempt to ponder the great abyss of time through music; in its compositional techniques employed to convey the dissolution of time through a new type of music rhythm.

The audience for the first performance, quite literally captive, came from every walk of life and braved the freezing conditions in Stalag VIIIA Nazi prison camp to listen to music that surely must have sounded quite alien to most of them. In this claustrophobic and intense atmosphere they listened in a way that Messiaen had never experienced in his life – ‘they listened with a religious silence. Never before had I been listened to like that…’

The whole concept of the end of time seen through Messiaen’s eyes is such an intriguing one that we have invited Richard Holloway to give us his considered thoughts on the subject. We have also commissioned new pieces based on different aspects of Time from two exciting and talented composers at the beginning of their careers.

We hope you enjoy the performance.

Best wishesWilliam Conway Artistic Director

mark david Boden Between Waking and dreams (2012)

‘Between Waking and Dreams’ takes inspiration from the poem, Balance, by the Polish novelist and poet Adam Zagajewski. Balance describes the tranquility of floating above the clouds in an airplane in comparison to the bustle of urban life. Zagajewski polarizes images of darkness and light, suggesting that ‘snowy wasteland’ might burst ‘from a surfeit of happiness’, whilst the ‘daily wanderings’ of urban existence are related to darkness and emptiness. Musically, these two contrasting images are juxtaposed throughout the duration of the work, with the texture and harmony becoming increasingly animated and percussive. Solo passages for each instrument bring moments of reprieve from the agitated energy created in more animated sections. © Mark David Boden

mark david Boden (b1986)

The music of Mark David Boden combines both refinement and elegance with a dark, yet understated, vein of passion. His scores often take extra-musical sources rather than traditional classical forms as a starting point. Their concerns include a subtle preoccupation with the patterns of the natural world and, in his most recent orchestral work, ‘Six Degrees’, with the threat of ecological disaster. The music often has a compelling stillness, articulated through a delicate instrumental and harmonic palate though it is not without its own underlying drama.

He graduated from the Royal Welsh College of Music and Drama in 2008 with a First Class Honours degree in Composition and Contemporary Studies. Whilst at RWCMD, he studied composition with Lynne Plowman and Peter Reynolds in addition to piano with Fazlidden Husanov. Mark continued his studies as a scholar at the Royal College of Music, studying composition at Masters level with Kenneth Hesketh where he was generously supported by the RVW Trust and the Henry Wood Trust. He graduated with Distinction from the MMus course in Advanced Composition in 2011.

During his time at RWCMD, Mark was the recipient of several awards including the Dr David Harries Memorial Award (2006), the Eirwen Thomas Scholarship (2007) and the Composition Prize (2008). He has been awarded a Worshipful Company of Musicians Silver Medal (2008), The LSQ New Music Competition First Prize (2008), The Composer’s of Wales William Mathias Composition Prize (2009), The Friends of The Music of St Giles Cathedral Composition Competition (2010), The British Composer Awards Student Competition (2010) and The University of St Andrews 600th Anniversary Composition Competition (2011).

Mark’s music has been performed across the UK by a variety of different instrumentalists and ensembles including Hebrides Ensemble, PM Ensemble, the Ossian Ensemble, BBC National Orchestra of Wales, Alissa Firsova and Xenia Pestova (Piano), Kate Price (Cello), and Carla Rees (Alto Flute). In 2011, Mark began a three-year residency with the University of St Andrews Symphony Orchestra and is currently writing a new piece for the London Philharmonic Orchestra as part of the Leverhulme Young Composers Scheme. Future performances include the premiere of Fanfaronade by St Andrews University Symphony Orchestra in April and Fuochi Distanti by BBC National Orchestral of Wales in December. © Peter Reynolds, 2010

When Hebrides Ensemble invited me to write a partner piece for ‘Quartet for the End of Time’ I felt such a strong compulsion to compose, but such little idea of where I should start or what on earth I could possibly offer to the programme. I read a lot, and thought a lot, and after many hesitations and false starts I realised that the answer was simple, but required me to have the courage to create something simple.

What has emerged is not a treatise or tour de force, nor is it a homage to Messiaen’s genius. However, it is an earnest and humble reflection upon my relationship with time during the most uniquely transformative episode of my life. I gathered most of the material for this piece in the weeks before I gave birth to my first child; a time of stasis, of endless daydreaming, waiting and wondering, with little to do but watch the dark, Scottish winter draw in around me through the draughty sash windows of my little home on the loch. And then in the first month of my son’s life, when night and day had ceased to be, and sleep and wake had merged to become one entirely new state of being, I set about the task of moulding my material into a complete thought.

During the past months time has taken on an elasticity which I could never have conceived. ‘The Time’ is at once the most dominating and utterly meaningless aspect of my existence.

The piece begins with the awakening of a tonality, which crystallises and gathers weight. As it progresses it moves towards a pulse that, once achieved, remains constant throughout; sometimes submerged and sometimes at the fore, but ever present. The music is dominated by recurring strands of simple, lyric material: Lullabies for my son, Dylan Isaac John.

Suzanne Parry John introspections and Lullabies for an unborn Child (2012)

Suzanne Parry John grew up in Cornwall, leaving to study composition at The Royal Welsh College of Music and Drama. She achieved a First Class Honors degree and a Masters with Distinction, won several college prizes, and after representing RWCMD successfully at the Conservatoire Composers Forum in 2002 went on to make her London debut in The Purcell Rooms at The State of the Nation Festival.

After graduating Suzanne became Associate Composer at Music Theatre Wales, and was also nominated for a Future Focus Arts Grant, which was awarded by Cardiff City Council to support her young career.

Whilst at Music Theatre Wales she met composer Nigel Osborne, who invited her to study with him for a PhD at The University of Edinburgh. After securing a full scholarship Suzanne moved to Edinburgh in 2006 and since then has enjoyed becoming part of the thriving new music community, and teaching undergraduate composition at the University. The first piece she completed under the tutelage of Nigel Osborne, ‘Long Walks in Small Spaces’ was selected to open the 2007 International Conference on Music Since 1900, and since then she has enjoyed working widely in theatre, dance and concert music.

Commissions and collaborations include Diversions Dance Company, Articulate Animal, Music Theatre Wales, Chapter Arts, Andrea Severa, Ensemble 360, PM Ensemble, Millennium Ensemble, The Edinburgh Quartet, Theatre in the Mill, and Edinburgh Contemporary Music Ensemble.

Last month Suzanne’s piece ‘This Light’ was requested to form part of a Women in Music concert series in Ohio. Its international premiere is also her first performance in the USA. ‘Introspection’s and Lullabies for an Unborn Child’ is her first commission since completing her doctoral research and marks the start of a new chapter in her professional career. When Suzanne isn’t composing she splits her time between her work with Autistic Spectrum Disorder and being a wife and mother.© Suzanne Parry John 2012

Suzanne Parry John (b1980)

riChard hoLLoWay

Richard Holloway is a writer and broadcaster. He is the author of more than twenty books, including ‘Godless Morality’, ‘Doubts & Loves’, ‘Looking in the Distance’ and ‘Between the Monster and the Saint: Reflections on the Human Condition’. His next book, ‘Leaving Alexandria: A Memoir of Faith and Doubt’, will be published by Canongate this month. He was Bishop of Edinburgh and Primus of the Scottish Episcopal Church till he stood down in 2000. He was Gresham Professor of Divinity in the City of London 1997 – 2001. He was a member of the Human Fertilisation and Embryology Authority from its inception in 1990 till 1997, and chaired its ethics committee. He was on the BMA’s steering group on Ethics and Genetics 1995 – 1998. He was a member of the Broadcasting Standards Commission from 2000 – 2003. He was Chairman of the Scottish Arts Council 2005-2010. He is a Fellow of the Royal Society of Edinburgh, and received its Gold Meal in 2008. He is the Chairman of Sistema Scotland, the charity that has brought the Venezuelan youth orchestra system to Scotland. A frequent broadcaster, he has presented a number of television series, including ‘Holloway’s Road’, ‘The Sword and the Cross’ and ‘Art and Soul’. He presented BBC Radio Scotland’s flagship book programme, ‘Cover Stories’ for three years. 

Sussie Ahlberg

Inspired by the visionary language of the Apocalypse, evoked in the movement titles, Messiaen’s ‘Quartet for the End of Time’ is one of the most remarkable works to have come out of World War II, composed by a musician whose religious faith was a constant inspiration, even in the most arduous circumstances. In May 1940 the German army entered France, and Messiaen was among the thousands of French soldiers rounded up by the Germans: he was taken to a makeshift camp in a huge field to the west of Nancy. There he met other musicians, including the clarinettist Henri Akoka and the cellist Etienne Pasquier. This produced an immediate burst of creativity from Messiaen: as Pasquier later recalled, “Messiaen composed a solo clarinet piece for Akoka which was to become the third movement of the Quatuor – ‘Abîme des oiseaux.’”

In July 1940, Messiaen, Akoka and Pasquier were transported to Stalag VIII-A, a Prisoner of War camp near Görlitz, about 70 miles east of Dresden. Two movements of what was to become the Quartet had earlier incarnations: the ‘Louange’ for cello reused music from the ‘Fête des belles eaux’ (written in 1937 for an ensemble of six ondes Martenot), and the final violin ‘Louange’ as the second part of the ‘Diptyque’ for organ (1930). The ‘Intermède’ was the first movement to be written in Stalag VIII-A, and it was rehearsed by Akoka, Pasquier and the violinist Jean Le Boulaire in the camp’s washrooms in September 1940. Once the authorities found a piano for Messiaen, he got down in earnest to composing the rest of the Quartet, using manuscript paper

provided by one of the guards: Hauptmann Karl-Erich Brüll.

The instruments available to Messiaen presented a challenge in terms of blend and balance, and his solution was to present them in different combinations: solo (clarinet), in duos (cello and piano, violin and piano), and trios (clarinet and strings). After the extraordinary opening movement, the whole ensemble next plays together in the sixth movement, but in vehement unison and octaves; it’s only in the seventh movement that the full power of the ensemble is unleashed.

Messiaen recalled how he wrote the Quartet in an interview with Antoine Goléa:

“In the Stalag with me were a violinist, a clarinettist and the cellist Etienne Pasquier. I wrote an unpretentious little trio for them, which they played to me in the washrooms, because the clarinettist had kept his instrument and someone had given the cellist a cello with three strings. Emboldened by this first experiment, called ‘Intermède’, I gradually added the seven movements which surround it, and it is thus that my ‘Quartet for the End of Time’ has a total of eight sections. … An upright piano was brought into the camp, very out of tune, the keys of which seemed to stick at random. On this piano I played my ‘Quartet for the End of Time’, in front of an audience of five thousand people - the most diverse mixture of all classes in society – farm-workers, labourers, intellectuals, career soldiers, doctors and priests. Never have I been listened to with such attention and such understanding.”

This stirring account needs to be treated with a little caution. Two important details

oLivier meSSiaen quartet for the end of time (1941)

were corrected by the cellist Etienne Pasquier, (interviewed by Hannelore Lauerwald), about the size of the audience and the state of his cello:

“[The first performance of the Quartet took place] in the hut that we used as the theatre. … All the seats were taken, about four hundred in all, and people listened raptly, their thoughts turning inward, even those who may have been listening to chamber music for the first time. The concert took place on Wednesday, 15 January 1941, at six in the evening. It was bitterly cold outside the hut, and there was snow on the ground and on the rooftops. … Messiaen repeatedly claimed that there were only three strings on my cello, but in fact I played on four strings.”

A review appeared in Lumignon, the French-language camp newspaper, on 1 April 1941. Under the headline ‘Première at the Camp’, this gives a fascinating description of the audience reaction, and recognizes that something special had taken place:

“It was our good fortune to have witnessed in this camp the first performance of a masterpiece. And what’s strange is that in a prison barracks we felt just the same tumultuous and partisan atmosphere of some premières: latent as much with passionate acclaim as with angry denunciation. And while there was fervent enthusiasm on some rows, it was impossible not to sense the irritation on others. Reminiscences of the time speak of a reaction like this when one evening in 1913 at the Théâtre des Champs-Elysées, Le Sacré du printemps was first performed. It’s often a mark of a work’s greatness that it has provoked conflict on the occasion of its birth.

… The last note was followed by a moment of silence which established the sovereign mastery of the music.” © Nigel Simeone

Olivier Messiaen was a French composer, organist and ornithologist, widely regarded as one of the major composers of the 20th century. His music is rhythmically complex (he was interested in rhythms from ancient Greek and from Hindu sources); harmonically and melodically it is based on modes of limited transposition, which he abstracted from his early compositions and improvisations. Many of his compositions depict what he termed “the marvellous aspects of the faith”, and drew on his deeply held Roman Catholicism.

He travelled widely and wrote works inspired by diverse influences such as Japanese music, the landscape of Bryce Canyon in Utah and the life of St Francis of Assisi. He said he perceived colours when he heard certain musical chords, particularly those built from his modes (a phenomenon known as synaesthesia); combinations of these colours, he said, were important in his compositional process. For a short period Messiaen experimented with the parametrisation associated with “total serialism”, in which field he is often cited as an innovator. His style absorbed many exotic musical influences such as Indonesian gamelan (tuned percussion often features prominently in his orchestral works). He was one of the first composers to use an electronic keyboard—in this case, the ondes Martenot—in an orchestral work.

Messiaen entered the Paris Conservatoire at the age of 11 and was taught by Paul Dukas, Maurice Emmanuel, Charles-Marie Widor and Marcel Dupré, among others. He was appointed organist at the Église de la Sainte-Trinité in Paris in 1931, a post held until his death. He taught at the Schola Cantorum during the 1930s where one of his students was Georges Savaria. On the fall of France in 1940, Messiaen was made a prisoner of war, during which time he composed his ‘Quartet for the End of Time’ for the four available instruments — piano, violin, cello and clarinet. The piece was first performed by Messiaen and fellow prisoners for an audience of inmates and prison guards. He was appointed professor of harmony soon after his release in 1941, and professor of composition in 1966 at the Paris Conservatoire, positions he held until his retirement in 1978. His many distinguished pupils included Pierre Boulez, George Benjamin and Yvonne Loriod, who became his second wife.

He found birdsong fascinating, believed birds to be the greatest musicians, and considered himself as much an ornithologist as a composer. He notated bird songs worldwide and incorporated birdsong transcriptions into most of his music. His innovative use of colour, his conception of the relationship between time and music, his use of birdsong and his desire to express religious ideas are among features that make Messiaen’s music distinctive.

oLivier meSSiaen (1908 – 1992)

Yann Ghiro (Clarinet)Yann Ghiro was born in 1971 in Nice and began clarinet lessons at the age of eleven. After studying for six years at the Paris Conservatoire where he gained first prize in clarinet and bass clarinet Yann furthered his studies at the Julliard School of Music in New York graduating in 1996 with his Masters degree.

On his return to France he became principal bass clarinet in the Pasdeloup Orchestra in Paris whilst also appearing regularly with Paris Opéra, Orchestre de Paris, Ensemble Intercontemporain and the Strasbourg Philharmonic Orchestra.

Since 1998 Yann has been living in Scotland where he is currently the principal clarinet in the BBC Scottish Symphony Orchestra. He is frequently invited as guest principal with the Scottish Chamber Orchestra, the City of Birmingham Symphony Orchestra, the BBC Philharmonic, the BBC National Orchestra of Wales and regularly performs with Hebrides Ensemble.

Performers Sussie Ahlberg

David Alberman (Violin)Born in London, David Alberman received his early tuition from Mary Long, Sheila Nelson, Emmanuel Hurwitz and Vera Kantrovich, and received his LRAM diploma from the Royal Academy of Music at the age of sixteen. He studied the violin privately with Prof. Igor Ozim in Cologne, and then studied Classical Languages and Philosophy at Oxford University for four years before returning to music. Having been a concertmaster of the Chamber Orchestra of Europe, where he led the orchestra for such conductors as Claudio Abbado and Sir Georg Solti, a long-standing interest in contemporary music led him in 1986 to join the internationally renowned Arditti Quartet, who specialise in new music.

In 1995, he formed a Duo with the virtuoso pianist Rolf Hind. Since then, the Alberman/Hind Duo has played recitals in the major European cities including Vienna, Darmstadt, London, Stockholm, Oslo, Stuttgart and Brussels. In addition to recitals with the Duo and teaching (he is a Guest Professor of New String Music at the Guildhall School of Music and Drama in London), he became a Principal of the London Symphony Orchestra in 1999, and has played as guest concertmaster in groups as varied as the London Symphony Orchestra itself, the BBC Symphony Orchestra, Ensemble Recherche Freiburg, Sinfonia 21, and the London Sinfonietta. He is a keen chamber musician, appearing with groups such as the London Sinfonietta, Nash and Razumovsky ensembles. He has appeared as soloist with, among others, the Orchestre de Lille, the BBC National

Orchestra of Wales, and the ORF Radio Symphony Orchestra in Vienna.

David Alberman plays on a Guarneri Del Gesu violin of 1736.

Philip Moore (Piano) Philip Moore was born in 1976 and is originally from the Vale of Evesham. He studied at London’s Royal Academy of Music with Hamish Milne, during which time he won many prizes. Upon leaving he was awarded the Meaker Fellowship, and was appointed an Associate of the RAM in 2003. In 2004 he became a Steinway Artist.

He has performed in the United States, Canada, Korea, Germany, France, Italy, Spain, the Netherlands, Belgium, Luxembourg, Sweden, Switzerland, Ireland, Tunisia, and at all of the major UK venues. He has recorded for radio and television throughout Europe and appeared as a concerto artist with, among others, the Philharmonia Orchestra, Royal Philharmonic Orchestra, BBC Scottish Symphony Orchestra, Academy of St Martin in the Fields and ViVA. He has worked with many international artists, giving duo and chamber music performances and broadcasts with groups such as the Hebrides Ensemble, ECO Ensemble, Conchord and Britten Sinfonia. In 2006 he and fellow-pianist Andrew West began a two-year collaboration with Michael Clark Dance Company, playing Stravinsky’s two-piano version of Rite of Spring at the Barbican Theatre and worldwide on tour.

Philip’s piano duo with Simon Crawford-Phillips has won international prizes and awards, including a Borletti-Buitoni Trust Fellowship in 2004. The Duo has performed and broadcast internationally, and made frequent appearances as concerto artists and recitalists at the South Bank and Wigmore Hall. They have given world premieres of Detlev Glanert’s Two Piano Concerto (with BBCSSO/Martyn Brabbins) and, at the 2009 BBC Proms, Anna Meredith’s Two Piano Concerto (with Britten Sinfonia/Ludovic Morlot).

Philip lives in North London with his wife and two sons.

George G

eddes

William Conway (Cello)William Conway was born and grew up in Glasgow, Scotland and is well known as both conductor and cellist.

After ten years as principal cello with the Scottish Chamber Orchestra and the Chamber Orchestra of Europe, of which he is a founder-member, an Arts Council Award enabled him to further his conducting studies in Helsinki with Jukka-Pekka Saraste. Within four years of study he became a finalist and prizewinner in the 1994 Leeds Conductors’ Competition.

Since then he has established himself as a conductor of versatility equally at home with a wide variety of repertoire and orchestras. He has conducted most major Scottish orchestras as well as Northern Sinfonia, English Sinfonia, Chamber Orchestra of Europe and the symphony orchestras of Cairo, Zagreb, Antwerp, Phoenix and Göettingen in all repertoires including operas such as Cavalleria Rusticana, Pagliacci and Die Fledermaus. In later repertoire highlights include Birtwistle’s ‘Secret Theatre’, Ligeti’s Chamber Concerto, Differences in Demolition and Naciketas by Nigel Osborne, performances of Pulse Shadows by Sir Harrison Birtwistle and The Martyrdom of St Magnus (an opera by Sir Peter Maxwell Davies) at the St Magnus Festival in Orkney.

He is co-founder and artistic director of the innovative contemporary music group, Hebrides Ensemble. He has been presented with a Scottish Society of Composers Award for an outstanding contribution to the promotion of contemporary music. His recent performance of Das Lied von der Erde

by Gustav Mahler in the Schoenberg version with the group was enthusiastically received.

His conducting engagements include English Sinfonia, Chamber Orchestra of Europe (with whom he has made a CD recording released by Warner), Sofia Philharmonic, Orchestra de Filharmonie of Flanders, Zagreb Philharmonic, the American Phoenix Symphony Orchestra, Cairo Symphony Orchestra, the Belgian orchestra Beethoven Academie and Goettingen Symphony where he is a regular guest.

Further Suggested Readingoliviermessiaen.orgtherestisnoise.comPaul Griffiths ‘Olivier Messiaen and the Music of Time’

hebrides ensemble

‘profound and powerful’ The Guardian ‘dazzlingly brilliant’ The Scotsman

Hebrides Ensemble is a collective of world-class musicians from Scotland and Europe, renowned for their quality of performance and diversity of repertoire. The Ensemble covers a wide range of period and styles of music, presented in highly imaginative programmes. Flexibility is key for Hebrides Ensemble who embrace such a broad spectrum of music, equally at ease in music theatre and chamber operas as they are in piano quintets and string trios.

Founded and led by its artistic director, the cellist and conductor William Conway, the Ensemble has an impressive list of specially commissioned works, over 70 since its beginnings in 1991, showing its devotion to developing new music and supporting composers. Most of the commissions have come from Scottish or Scottish-based composers, including James MacMillan, Sally Beamish, Stuart MacRae, Gordon McPherson, Helen Grime and most recently Mark David Boden and Suzanne Parry John.

The ensemble tours frequently to venues and Festivals throughout the UK and recent appearances include St Magnus Festival, Orkney; Aldeburgh Festival, Suffolk; Kings Place, London; Leeds, Glasgow, Edinburgh, Inverness, Perth and Aberdeen.

The group is a member of Re:New, a network of European contemporary music ensembles, which has at its heart the promotion and exchange of contemporary compositions throughout the Continent.

The Ensemble has been nominated in recent years within the Chamber Music Category of the Royal Philharmonic Society Awards.

Upcoming Performances Thursday 31 May, 6pmPierrot Lunaire, Fruitmarket, Glasgow (free event but ticketed 0141 353 8000)

Thursday 14 June, 6.30pm Cottiers Chamber Project, West End Festival, Glasgow

World Premiere of James MacMillan’s ‘Since it was the Day of Preparation…’Wednesday 22 August, 5.45pm Edinburgh International Festival, Greyfriars Kirk, Edinburgh

London Premiere of James MacMillan’s ‘Since it was the Day of Preparation….’Saturday 29 September, 7.30pmKings Place, London

The Ensemble is committed to commissioning and creating new chamber music, music-theatre and small-scale opera for the enjoyment of all.

We invite you to join a growing number of equally passionate individuals who actively support us and share our ambition and vision and are prepared to help safeguard our future. There are many ways in which you can support the work of Hebrides Ensemble.

Friends of Hebrides Ensemble We invite you to join Friends of Hebrides Ensemble where you will enjoy a wide range of behind the scenes benefits from as little as £25.

Commissioning Circle Join our Commissioning Circle where a one off payment, starting at just £100, ensures that new work is developed and performed to the highest standards. Members of the Commissioning Circle will be part of a special group of supporters who will become more closely involved in the work of the ensemble and the composers we work with.

Business Partners We are proud of the Ensemble, of our players and our programmes and are open to developing mutually beneficial relationships within the private sector. We can offer unique performances, access to our players and work and are keen to collaborate on specific projects developing contemporary classical music for future audiences.

Find Out More For further information about supporting Hebrides Ensemble, including the Commissioning Circle, Friends of Hebrides Ensemble and Business Partners, please contact 0131 220 1538 or email manager@hebridesensemble.com

The support we receive is vital to the future development of our work. We would like to thank warmly the following for their current support:

Ann Hartree The Binks Trust The Bacher TrustCreative Scotland Ernest Cook Trust Freight Design The Garrick Trust Goldsmiths’ Charitable TrustThe Gordon Fraser Trust The Hinrichsen Foundation The Holst FoundationThe Hope Scott Trust The Hugh Fraser Foundation Lindsays Charitable Trust PRS Foundation RE: NEW Music RVW Trust

Friends of Hebrides EnsembleCarol Main Dr Guy Johnson Dr Nadine Harrison Ann Sime Injgerd Dickson Prof David Parker

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Board of DirectorsBenjamin Twist (Chair) Chris KelnarWilliam ConwayJennifer MartinMartin SucklingGlenys HughesPaul Jourdan