The Sun Moves Always WestStephen Johnson

with

Professor John CoxRoss Ramgobin, baritone

Ben Hancox, violinAnna Tilbrook, piano

THE MUSICAL BRAIN’S TRUST at DEWSALL COURT

Saturday 10th / Sunday 11th November 2012Dewsall Court

Callow, Hereford, HR2 8DA

The Musical Brain is a registered charity which aims to bring together the worlds of science and the arts into a single forum for the purpose of advancing our understanding of the value of the arts to the human being. Musical Brain conferences are designed to appeal to a broad public and include in their audiences scientists, musicians, therapists, members of the medical profession and many lovers of music and the arts. A wide range of views is represented among the speakers.

The Musical Brain’s Trust is a new venture, descended, at least so far as its title is concerned, from a BBC radio programme, The Brains Trust, first broadcast in 1941. The programme included such luminaries as A.J.Ayer, Isaiah Berlin, Jacob Bronowski, Kenneth Clark, Bertrand Russell, Will Hay and Malcolm Sargent and an astonishing 29% of the population listened regularly. It transferred to the television in the 1950s.

The Musical Brain has launched its own panel of experts in the fields of science, the humanities and the arts. Presenters of Musical Brain’s Trust events will be selected from The Musical Brain’s list of distinguished conference speakers (see page 11). Presentations will take the form of discussions and performance around particular chosen topics of both scientific and artistic interest in afternoon, evening or half-day events.

The pilot Musical Brain’s Trust event, entitled The Sun Moves Always West, was held at Dewsall Court, just south of Hereford, over Remembrance Day weekend in November. Stephen Johnson, presenter of Radio 3’s Discovering Music, headed talks and discussions about British composers and poets whose lives were touched by the Great War. Psychiatrist John Cox gave an illustrated talk on the psychology of song with baritone Ross Ramgobin and pianist Anna Tilbrook, and discussed how song might have helped the composers who survived the Great War to come to terms with the effects of trauma. The Saturday evening concert programme included songs by Butterworth, Ireland and Vaughan Williams; Frank Bridge’s Three Improvisations For The Le# Hand, and concluded with Elgar’s Violin Sonata, written in 1918.

The weekend with its mixture of illustrated talks, in depth discussion and performance, proved to be a great success, much enjoyed by the audience, presenters and musicians alike, all of whom have professed their interest in attending and taking part in future Musical Brain’s Trust events.

The concert programme (p. 9) was not performed as printed due to the fact that Stuart Jackson, tenor, was unfortunately taken ill at very short notice and replaced by the outstanding young baritone Ross Ramgobin.

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The borderland counties of the West Midlands play a significant, almost mysterious, role in unifying much of the subject matter of this event.

Most famously, Edward Elgar was born just outside Worcester and lived much of his life in Worcestershire and Herefordshire. Ralph Vaughan Williams, Gustav Holst and Ivor Gurney were all born in neighbouring Gloucestershire. Gerald Finzi lived in Gloucestershire for a period in the 1920s and Ernest Moeran lived both in the Cotswolds and at Kington in Herefordshire at various times. Even George Butterworth, a Yorkshireman, had his connection with the area, as his grandfather was vicar of the Gloucestershire parish of Deerhurst in the nineteenth century. The poetry of A.E. Housman, set by numerous British composers in the period spanning the Great War, is a further anchor to the borderlands.

A common educational background and the bonds of friendship also operated to bring together these composers. Almost all of them attended the Royal College of Music at one time or another (Elgar being a notable exception), the twin towers of that establishment, Hubert Parry and Charles Villiers Stanford, therefore playing a major early role in the musical education of many of them. Important friendships developed between Vaughan Williams and both Butterworth and Holst, between Gurney and Herbert Howells, between Moeran and Peter Warlock and, perhaps most significantly in musical terms, between Frank Bridge and Benjamin Britten.

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During his lifetime, Alfred Edward Housman (1859-1936) was known first and foremost as the outstanding classical scholar of his day; professor of Latin at University College, London from 1892, then being awarded the chair at Trinity College, Cambridge in 1911, where he remained for the rest of his life. There was an inauspicious start, as Housman, having won an open scholarship to Oxford, came down without a degree, only giving answers to the examination questions that interested him. In his own words, he had left the examiners no option but to fail him. It was later said of the episode that it had been a case of the nightingale not winning a prize at the poultry show.

A Shropshire Lad was first published, at Housman’s own expense, by Kegan Paul in 1896, the sixty-three poems making up the volume being written in the four or five years preceding that date. Housman was not a Shropshire lad. Born near Bromsgrove in Worcestershire and having no particular connection with the other county, his decision to make Shropshire the focus of the collection was not taken at the outset. Indeed,

Bredon Hill, the subject of one of the earliest of the set, is in Worcestershire.

Whether dealing with war and soldiering or, more generally, with life, the natural world and the human condition, themes of the passage of time and the inevitability of death are everywhere in Housman’s poetry, coupled with the view that the universe is a hostile and cruel place, created by a God who has abandoned it. Perhaps a part of rural England with which Housman had no special connection was more readily adapted to the role of the pastoral idyll against which to set these bleak messages.

The first edition did not sell well, things beginning to pick up after Grant Richards took over as publisher in 1898. Since its publication, A Shropshire Lad has never been out of print, its popularity assisted by the successful setting of its poetry by so many British composers. In accounting for its appeal, George Orwell spoke of the work as containing “a bitter, defiant paganism, a conviction that life is short and the gods are against you, which exactly fitted the prevailing view of the young.”

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Born in London in 1885 of Yorkshire ancestry, George Butterworth was educated at Eton and Trinity College, Cambridge – before Housman’s time. Although reading classics, it was music that emerged as his chief interest and he became president of the university music society. His decision to pursue a career in music did not have his father’s approval and he was therefore obliged to support himself, first on the music staff of The Times and then as a master at Radley College. In 1910, he entered the Royal College of Music, studying organ, piano and theory with Charles Wood, though leaving the College after less than a year.

Butterworth and Vaughan Williams became close friends, sharing an interest in folk-songs, and made several trips together into the English countryside in search of them. Butterworth himself collected over 450 folk-songs, many in Sussex. The younger man also had a seminal role in the composition of Vaughan Williams’s London Symphony, his first purely orchestral symphony, both encouraging RVW to think in terms of symphonic form and, when the manuscript of the symphony was lost in the post, helping to reconstruct the work.

Butterworth’s settings of the poems of Housman are in two groups, the first being published as Six Songs from A Shropshire Lad in 1911, a further

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Notes on THE SUN MOVES ALWAYS WEST

group of five appearing as Bredon Hill and Other Songs in 1912.

Lt Butterworth and officers of 13 Bn, Durham Light Infantry, May 1915

At the outbreak of war, Butterworth joined up and was commissioned in the 13th Durham Light Infantry. Posted to France in 1915, he was awarded the Military Cross at the Battle of the Somme, though never collected it, being killed a few days later on 4/5th August 1916 by a sniper’s bullet. A plaque in his memory is to be found on the west door of St. Mary’s Priory Church, Deerhurst. Vaughan Williams dedicated the London Symphony to his friend.

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By the time he made his excursions with Butterworth into the English countryside in search of folk-songs, Ralph Vaughan Williams was already well practised in the skill. A founder member of the English Folk-Song Society in1898, he had written and lectured extensively in the early 1900s on the question whether music could be “national”. He believed intuitively that there was an “English” music waiting to be discovered in the folk-songs that were its roots.

When lecturing in Essex in 1903, he “collected” his first folk-song, Bushes and Briars, the experience affecting him deeply, quickly leading to an obsessive compulsion to unearth the hidden depths of English traditional music. During the next ten years, he amassed some 800 songs and carols, principally in East Anglia, Sussex and Herefordshire. It fundamentally altered the direction of his music, giving it a naturalness and individuality it had previously lacked.

The Great War effectively put an end to this chapter in Vaughan Williams’s life. Though forty-one years old, he managed within a matter of weeks to enlist in the Royal Army Medical Corps, recruited as wagon orderly despite his flat feet. It was not until June 1916, shortly before the beginning of the Battle of the Somme and the blackest day in the history of the British Army, that RVW’s field

ambulance embarked for Le Havre. In a letter to his friend Gustav Holst shortly afterwards, he wrote “I am very well and enjoy my work……I am ‘waggon orderly’ and go up to the line every night to bring back wounded and sick in a motor ambulance”.

Another friend, who had seen Vaughan Williams shortly before he joined up, sitting with his wife in the nave of Worcester Cathedral, later gave this description: “…a thick thatch of dark hair, a tall, rather heavy figure, even then slightly bowed; and his face profoundly moving, deep humanity and yet with the quality of a mediaeval sculpture.”

“Linden Lea”, the words by the Dorset dialect poet, William Barnes, and perhaps RVW’s most famous song setting, was composed in 1901; “Silent Noon”, one of six settings of sonnets by Dante Gabriel Rossetti, in 1904; and “The Twilight People”, one of two poems by “Seumas O’Sullivan”, in 1925.

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Ivor Gurney was born in Gloucester in 1890 and the county of Gloucestershire was to play a vital role in his life and his art. Son of a tailor, he showed early signs of an aptitude for music and the family bought a piano in 1896. Three years later, Ivor joined the choir of All Saints Church. In 1900, he won a place in the cathedral choir and at the King’s School.

Gurney’s love of Gloucester and its river, the Severn, developed early, the family going on regular walks out of the city and across the Severn Meadows. In 1906, he was articled to Herbert Brewer, the cathedral organist, beginning important friendships with Herbert Howells, another of Brewer’s pupils, and with F.W. “Will” Harvey, a young man already developing his skills as a poet, who both kindled Gurney’s interest in writing poetry and became his companion in walking the Gloucestershire countryside and sailing the River Severn. Gurney drew deeply on the countryside through which he walked as inspiration for his poetry and music.

After university at Durham, Gurney won a scholarship to the Royal College of Music, where he studied under Stanford. A somewhat precocious and rebellious young man, he was described by his tutor as “One of the least teachable” of his pupils. The friendship Gurney then formed with Marion Scott, the College registrar, was to be one of the most important of his life.

Gurney suffered from ill health and depression during his time in London and in 1913 returned to Gloucestershire for a while, which seemed to work

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a cure, as he went back to the College and completed the 1913/14 academic year. When war was declared, he applied to join up, being eventually accepted as a private in the 2/5th Glosters.

Ivor Gurney prepares for war c. 1915

He served with the regiment in France for eighteen months, being wounded in the arm and later gassed; was repatriated and finally discharged from the army on health grounds in October 1918.

From about this time, Gurney began to show signs of mental instability, including threatening suicide and expressing the wish to be sent to an asylum. His life became punctuated by erratic behaviour and an inability to settle, moving frenetically from place to place and job to job. Gloucestershire always remained his spiritual home, to which he returned for comfort and inspiration. Eventually, in 1922, imposing himself on his brother’s family, where he wielded a gun and threatened to kill himself, he was certified insane and incarcerated in Dartford Mental Asylum, returning to his beloved Gloucestershire only to be buried, in 1937.

Despite his health problems, the period after the war was among the most fertile for Gurney’s poetry and music. His settings of two groups of Housman poems, which he had apparently started work on as early as 1907, were published in 1923/4 as Ludlow and Teme and The Western Playland.

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John Ireland was orphaned at the age of fourteen, losing both his parents shortly after entering the recently established Royal College of Music in 1893. He continued his studies there until 1901, latterly in composition under Stanford. On leaving the College, Ireland made his career mainly as an organist and choirmaster, being at St. Luke’s, Chelsea from 1904 to 1926. He returned to the RCM in 1923, where he taught composition until 1939, his pupils including Ernest Moeran and Benjamin Britten.

By the 1920’s, Ireland had established himself in the front rank of English composers of his generation, his published compositions finally spanning a period of fifty years, from two string quartets composed in 1895-7, to the film music for The Overlanders in 1946. Evidently troubled by feelings of insecurity and inadequacy and fiercely self-critical, Ireland destroyed most of his early work, suppressing what survived of it for much of the rest of his life.

The Darkened Valley, composed in 1921, takes its title from the William Blake poem “Memory, hither come”, the final stanza of which reads:

And when night comes I’ll goTo places fit for woe,Walking along the darkened valleyWith silent melancholy.

Something of the melancholy in Ireland’s own nature is perhaps to be found in these words.

Amberley Wild Brooks was inspired by the natural beauty and wildlife of the marshland of that name on the River Arun in West Sussex, where Ireland lived for much of his life, the work’s impressionistic style influenced by the piano music of Debussy and Ravel.

The two Ireland songs in the second half of the concert are settings of poems by Eric Thirkell Cooper, written whilst on active service in the Great War and published in 1915 in a collection entitled Soliloquies of a Subaltern Somewhere in France. In Blind, the soldier asks for God’s help in coping with the loss of his sight, the terms in which the appeal is made suggesting more than a hint of bitterness. The Cost dispenses with all feelings of resentment, being an anguished plea from the heart for the return to life of the poet’s fallen friend.

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The fact that the best-known work associated with Frank Bridge is Benjamin Britten’s Variations on a Theme of Frank Bridge may unjustly overshadow the merits of the composer’s own work, though Bridge’s relationship with Britten, both as tutor and friend, was itself of very great significance for both men, and forms a subject of discussion in The Pity of War on Sunday morning.

By the time Bridge left the Royal College of Music in 1903, he was already an up and coming viola player in professional circles. Although playing in several orchestras, his chief interest was in performing chamber music. He played regularly in three string quartets, most notably the English String Quartet. His thorough craftsmanship as a composer reflected the depth of his practical musicianship. He composed his First String

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Quartet in 1906, and a String Sextet (1912) and his Second String Quartet (1914) were important milestones in his creative development.

When the war began, Bridge was living in Kensington and composing a Cello Sonata. From 1915 until the work’s completion in 1917, Bridge was said to be “…in utter despair over the futility of [the war] and the state of the world and would walk round Kensington in the early hours of the morning unable to get any rest or sleep”. The Cello Sonata is spoken of as encapsulating the composer’s own personal transition from pastoral innocence to shattered dreams.

Bridge developed deeply held pacifist convictions and the scars left on him by the conflict are said to account for the new direction taken by his music in the post-war period, the change being marked most notably by his Piano Sonata, a work he dedicated to Ernest Farrar, the young composer and pupil of Bridge killed in France in 1918. His set of Three Improvisations for the Left Hand was composed in 1917 for the pianist Douglas Fox, who had lost his right arm on active service in France

It has also been suggested that Bridge’s growing awareness of the childlessness of his marriage was at the heart of this transformation, a notion that might be supported by the attention that Bridge gave to the mentoring and teaching of the young Benjamin Britten, whose affectionate relationship with the Bridges has been likened to that of an adopted son. Britten began lessons with Bridge in 1928, who helped to instill in him both a superb compositional technique and a vision that extended beyond national confines to the music of Bartok and the Schoenberg school. Bridge was ailing when Britten went with Peter Pears to the United States in 1939 and died in 1941, before their return to England the following year.

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“The only thing that wrings my heart and soul is the thought of the horses. Oh! my beloved animals. The men and women can go to hell, but my horses…..”

At the outbreak of war, Edward Elgar and his wife Alice were living in Hampstead, having moved to London from Hereford in 1912. Elgar was now the pre-eminent English composer, knighted in 1904 and appointed to the Order of Merit in 1911. His latest – in fact his last – popular triumph had been the Violin Concerto, commissioned by Fritz Kreisler and played by him at The Royal Philharmonic Society in 1910, with the London

Symphony Orchestra conducted by the composer, all to great acclaim.

The changes that the war was to bring were by no means apparent from the outset. The conflict was not expected to last beyond a matter of months and began in an atmosphere of patriotic fervour, intent on settling old scores. Elgar found the mood unsettling. Several of his closest friends were German, and that country had done much to assist in establishing his critical reputation, The Dream of Gerontius, in particular, being effectively rescued from oblivion by two successful performances in Dusseldorf after its disastrous premiere in Birmingham in 1901.

Nonetheless, Elgar responded to the needs of the hour. He signed up as a special constable in the local police and later joined the Hampstead Volunteer Reserve of the Army. He composed works whose proceeds went to support Belgium and Poland, countries that had been overrun by Germany. Elgar’s most significant work of the war years up until 1918 was his setting of three poems of Laurence Binyon under the title The Spirit of England, conceived as a Requiem for the slain and first performed complete in October 1917.

Reacting to Elgar’s need to escape from the war’s brutality, Alice found them a second home in Sussex, Brinkwells, where the composer was finally inspired to write chamber music, not attempted since his youth. When composing the Violin Sonata, he was joined by his friend, the violinist W.H. Reed, who had also assisted in the preparation of the Violin Concerto. They would play the work in progress up to the blank page, and then go out for a walk in the wood or fish on the Arun, the river where John Ireland was also to find inspiration.

Elgar’s three great chamber works, the Violin Sonata, String Quartet and Piano Quintet, together with the Cello Concerto that followed them in 1919, were a final flowering. Alice died in 1920 and Elgar composed little in the remaining fourteen years of his life, returning to Worcestershire, the county of his birth, in 1923.

Elgar’s apprehension for the horses, expressed in a letter to a friend on hearing of the outbreak of war, was not misplaced, eight million of them, on present estimates, having perished on and around the battlefields of the Great War. If there is a bias in Elgar’s words, perhaps it should simply be seen as a bias in favour of the innocent of the conflict, those who approached it with trust in their masters.

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THE SUN MOVES ALWAYS WESTDEWSALL COURT

10th-11th November 2012

Stephen Johnson leads a weekend of reflection, in words and music, on the lives and work of British composers affected by the Great War

Saturday 10th November

9.30 Coffee

10 am Blue Remembered Hills – Stephen explores the connections between the Gloucestershire and Borderlands composers and the landscapes they knew, in contrast with their experiences in the Great War – and considers how both may be reflected in their music.

11 am Coffee break

11.30 The Imprint of his Time – Vaughan Williams as the great chronicler of his country’s experience in two world wars – before, during and after – and how this is expressed in his music.

1 pm Lunch

2.30 The Johnson Interviews – Stephen talks to Anna Tilbrook and Ben Hancox about performing the Bridge, Ireland and Elgar works in the evening concert and to Eleanor Rawling about Ivor Gurney and the importance of place in his poetry – open discussion.

3.30 Tea break

4 pm The Psychology of Song – In the first of The Musical Brain’s Trust’s illustrated lectures and debates, Professor John Cox examines how music, and especially song, might have helped the composers who survived the Great War to come to terms with the trauma. John is joined by Stephen in discussion and then by Stuart Jackson and Anna Tilbrook – open discussion.

6.15 prompt Dinner

8pm Concert in St. Michael and All Angels Church with Ross Ramgobin baritone, Ben Hancox violin and Anna Tilbrook piano

Sunday 11 November

9.30 Coffee

10 am The Pity of War – Stephen is joined by Carl Attwood to discuss Britten’s War Requiem and whether we have begun to make sense of the Great War experience in recent years.

11am Carl Attwood leads a Remembrance Day gathering in the church.

11.45 Closing forum – final open discussion

1 pm Lunch

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EVENT PROGRAMME

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BIOGRAPHIES of the SPEAKERS and MUSICIANS

Stephen Johnson Studied at the Northern School of Music under Alexander Goehr, at Leeds and Manchester Universities and with the Danish composer Per Nørgård. He broadcasts for BBC Radio 3, 4 and the World Service and is a regular presenter of Radio 3’s Discovering Music. His publications include works on Bruckner, Mahler and Wagner. A bi-polar depression sufferer from his early teens, he has explored the psychological and neurophysiological aspects of mental illness, and looked at how music can work upon us therapeutically, in the process throwing light on the way the human mind works and pursuing these issues further in his work with The Musical Brain.

Anna Tilbrook, one of Britain’s most exciting pianists, performs regularly at Europe’s major concert halls and festivals. Recent engagements include the Anima Mundi festival in Pisa, Wroclaw Cantans, Wigmore Hall, Oxford Lieder Festival, Three Choirs Festival, Derry City of Song, and concerts at LSO St Luke’s and Kings Place. Anna collaborates with leading singers and instrumentalists including James Gilchrist, Lucy Crowe, Willard White, Mark Padmore, Stephan Loges, Chris Maltman, Ian Bostridge, Barbara Bonney, Christine Rice, Iestyn Davies, Nick Daniel, Adrian Brendel, the Fitzwilliam, Elias and Sacconi string quartets. With the distinguished tenor James Gilchrist she has made acclaimed recordings of 20th-century English song, the Schubert song cycles and Beethoven’s An die ferne Geliebte.

Prof. John Cox is Foundation Professor of Psychiatry at Keele University and President of the Royal College of Psychiatrists, 1998-2002, is currently visiting Professor of Mental Health at the University of Gloucestershire. He has longstanding clinical and research interests in Transcultural Psychiatry and an international reputation in Perinatal Psychiatry. Among his many distinctions, John received the Hospital Doctor of the Year Award in 1992. He has recently renewed his earlier interest in medical ethics, and particularly in the relationship between mental health and religious belief. John has a deep interest in music and is a trained singer.

Ben Hancox is the first violinist and founder member of the Sacconi Quartet and has a parallel solo career. At the Royal College of Music Ben won both the major violin prizes. He left with a first class honours degree, was awarded a distinction in his postgraduate diploma in performance and received the prestigious Emily English Scholarship from the Musician's Benevolent Fund. The Sacconi Quartet tour extensively in Britain and abroad. They have won numerous international awards, and are constantly in demand on the chamber music circuit and in residence at the Royal College of Music and the Bristol Old Vic Theatre.

Ross Ramgobin, baritone, commenced postgraduate study at the Royal Academy of Music in 2009. He graduated with distinction from the MA Vocal Studies course, and has now progressed to the prestigious Royal Academy Opera course. Ross has performed the roles of Pastore and Apollo in Monteverdi’s L’Orfeo for Chilmark Opera and the Innkeeper in Weber's Die Drei Pintos for UCOpera. At the Royal Academy of Music, his most recent performances have included excerpts from Massanet’s Manon (De Brétigny), Strauss’ Der Rosenkavalier (Faninal), Delius' A Village Romeo and Juliet (Dark Fiddler) and Britten's The Rape of Lucretia (Tarquinius). In July 2011, Ross performed the role of Aeneas in Purcell’s Dido & Aeneas for Winterbourne Opera.

10-11th November 2012

THE SUN MOVES ALWAYS WEST

Stuart Jackson tenorBen Hancox violin

Anna Tilbrook piano

George Butterworth (1885-1916) The Lads in their Hundreds

Ralph Vaughan Williams (1872-1958) Silent Noon Linden Lea The Twilight People

Ivor Gurney (1890-1937) The Lent Lily On the Idle Hill of Summer

Frank Bridge (1879-1941) Three Improvisations for piano, left hand (1918) At Dawn A Vigil A Revel

John Ireland (1879-1962) Two pieces for piano:The Darkened Valley (1920)Amberley Wild Brooks (1921)

Interval

Vaughan Williams Is my Team Ploughing?

Ireland Blind The Cost

Gurney When Smoke Stood up from Ludlow Far in a Western Brookland

Edward Elgar (1857-1934) Violin Sonata (1918) Allegro Romance Allegro non Troppo

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CONCERT PROGRAMME

The theme of art in the face of conflict is one that The Musical Brain plans to explore further next year and continuing into 2014, the centenary of the outbreak of the Great War. We are in discussion with the City of London Festival over the inclusion in the Festival programme of our 2013 Conference next summer, under the title Worlds in Collision: The Response of Music to the Trauma of War, a subject that resonates with the Festival’s own theme for the year.

The Musical Brains’ Trust will go on to present other events, already in development, on themes such as Music and Crying, Mental Illness and Creativity and The Sorrow and Joy of Music.

Speakers and performers at Musical Brain events 2010-12:

Lloyd Coleman composerProfessor Barry Cooper musicologist, Professor at Manchester UniversityProfessor John Cox psychologistLindsey Dryden film director, producer and writerDr Biranda Ford musicologistRobert Fulford researcher into music psychology and acousticsDr Jessica Grahn neuroscientist specialising in musicProfessor Stephan Koelsch neuroscientist specialising in musicStephen Johnson music journalist, writer and broadcasterProfessor John Onians neuro-art historianProfessor Nigel Osborne composer, pioneer in music therapy and traumaDr Katie Overy co-director, Institute of Music in Human & Social DevelopmentIan Ritchie Director of City of London FestivalDr Edoardo Saccenti music critic, statistician, structural biologistProfessor Roger Scruton writer and philosopherProfessor John Sloboda music psychologist and writerProfessor Age Smilde data analyst, with interest in music analysisProfessor Richard Stokes translator, Professor of Lieder at the Royal AcademyJohn Suchet broadcaster, writer, Beethoven expertProfessor Raymond Tallis philosopher and physicianProfessor Michael Trimble behavioural neurologist and writerDr Paul Whittaker OBE Musician , Director of Music and the DeafIan Brown pianoJames Gilchrist tenorRoss Ramgobin baritoneStephan Loges baritoneBen Hancox violinSacconi QuartetAnna Tilbrook piano

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PAST and FUTURE PROJECTS