JAM @25
Music of Our Time
Celebrating 25 years of JAM commissions and supporting UK composers
26 March 2025, 7pm St Bride’s Church, Fleet Street
This concert has been enabled by the generosity of an anonymous donor www.jamconcert.org
Welcome
John Frederick Hudson, PhD · Artistic Director
Welcome to this special concert — Music of Our Time — marking 25 years of JAM’s commitment to championing new music.
Tonight, we launch JAM @25 — an exciting season that celebrates our past while looking boldly to the future. Music of Our Time has always been at the heart of JAM, and this evening stands as a testament to 25 years of commissioning and supporting UK composers. Tonight’s programme is a celebration of JAM’s legacy — both a reflection on where we have been and a glimpse into the future of new music.
This evening, we also officially launch our open call for the next Composers’ Residency a dynamic initiative designed to nurture the next generation of musical voices. This year’s residency will feature internationally renowned percussionist Beibei Wang and pianist Thomas Kelly, the Britten Fellow at the Royal College of Music.
Looking ahead to July, we present an electrifying 12-day JAM on the Marsh festival on the Romney Marsh coastline. Curated by Edward Armitage BEM, this festival places music at its core, blending thrilling performances with theatre, film, thought-provoking art exhibitions, discussions and meaningful community engagement.
Since its inception, JAM has proudly commissioned 45 signifiant works, from composers such as Judith Bingham, Jonathan Dove, Paul Mealor, Thea Musgrave, Tarik O’Regan and Mark-Anthony Turnage. Many of these works have been broadcast by the BBC, received prestigious awards, and been performed worldwide.
Anniversaries invite reflection — but they also inspire renewal. As we celebrate JAM’s history, we also reaffirm the mission on which JAM was founded: to be a driving force in the creation and performance of new music. 2025 is not just a milestone — it’s an opportunity. A chance to embrace fresh ideas, expand our reach, and continue shaping the future of music.
Thank you for being part of this journey. Here’s to the next 25 years!
JAM 25 @
Edward Armitage BEM · JAM Chair
Many creative organisations came about around the millennium; think Tate Modern, The Dome, The Public (West Bromwich), The Eden Project, National Centre of Popular Music (Sheffield) to name a few. Some have been hugely successful; some failed completely. JAM, the John Armitage Memorial Trust, setup in 2000 to promote and enable new music in the UK, was one that has succeeded and exceeded its original aims.
The forces that JAM wanted to create new music for were close to John Armitage’s heart – choir, brass and organ. By late 2000, I had spoken to Onyx Brass and Robert Jones (Director of Music at St Bride’s, Fleet Street) about how we might fulfil our idea of supporting composers. The composer Timothy Jackson and lawyer Charles Cochrane joined the team created to lead JAM, and an initial Music Panel was formed including Jonathan Dove, Tim Jackson, Robert Jones and Marisa Robles. Twenty-five years on Robert, Tim, Charles and Jonathan remain involved with JAM in differing roles.
On 15 March 2001, JAM held its first concert, at St Bride’s, showcasing what JAM’s forces could sound like. The following March, JAM held its first ‘proper’ concert of new music, again at St Bride’s, featuring music commissioned by and submitted to the Trust. Notable inclusions in this first programme were Tim Jackson’s No Answer, JAM’s first commission, and a submission by an emerging composer named Paul Mealor. Like Tim, Paul has remained integral in JAM, as our President. Of the ten pieces of contemporary music performed in the concert, another interesting inclusion was Whitsunday by Richard Peat, another who has remained close to JAM. He has since had commissions from JAM in 2010 and the charity’s largest commission, The Sky Engine, a community oratorio performed in JAM on the Marsh in 2023.
2002 brought another enduring first: the first concert performed by The Chapel Choir of Selwyn College, Cambridge and Sarah MacDonald. Since then, Selwyn has been involved every year, with Sarah a vital member of JAM’s Music Panel. Selwyn and Sarah would later perform the first JAM on the Marsh concert, with Dame Janet Suzman.
As well as tonight’s glorious venue, very much the home of JAM, two others of tonight’s performers span the full 25 years: Onyx Brass and Claire Seaton. Both have worked regularly with JAM over the years, and it is a particular joy to welcome them to our birthday concert. Continuity, whilst allowing creative development, has been a wonderful journey for JAM, and mentions of our two Principal Conductors – Nicholas Cleobury and Michael Bawtree – and Principal Organists – Daniel Cook and Simon Hogan – are essential; these magnificent musicians have brought so much to our performances over the years.
To keep an organisation on track over 25 years takes time and dedication. I would like to thank past and current Trustees for their firm guidance: Sarah Armitage, Charles Cochrane, Marah Dickson-Wright, Tim Jackson, Patricia Rolfe and Martin Young. Your dedication and support over the years is so important, and your guidance past, present and in the future remains crucial to our organisation.
25 years on JAM, and all involved with it, remain true to our original goals; that of supporting composition in the UK. You, our audience, funders and supporters, are key to JAM’s continued survival, both by attending our events and by your financial generosity. At a time when public funding of the arts is getting ever harder, with many organisations being decimated, we are truly grateful for every penny donated. Thank you for your support and for attending tonight. I hope you enjoy tonight’s programming, which returns to commissions from 2002 and 2010, premieres our latest and offers the most exciting pieces from our most recent Call for Music.
From the JAM Archives
Edward Armitage and John Armitage (1998)
The 2002 Concert programme
The 2002 concert was performed on Thursday 14th March 2002 at St Bride's Church, Fleet Street, London.
The centrepiece was a JAM commission by Tim Jackson
Performers: Onyx Brass; The St. Bride's Singers; Benjamin Bayl, organ; Robert Jones - conductor
Composer Title Instruments
J Maynard Fanfare Brass & Organ
C Monteverdi Deus in Adjutorium Choir, Brass & Organ
R Peat Whitsunday Choir
J Duddell Still Life Brass
C-M Haines Missa(d)venture Choir
T Jackson No Answer Choir, Brass & Organ
J Dove Niagara Organ
P Mealor Canticum Sacrum Choir
J MacMillan Adam's Rib Brass
St Goss Cottleston Pie Choir
I Moseley Make a joyful noise unto The Lord Choir, Brass & organ
G Handel (arr. Jackson) Zadock the priest Choir, Brass & Organ
The first Music of Our Time concert including its Call for Music
Edward Armitage and Paul Mealor (2010)
Edward Armitage and Sarah MacDonald (2010)
JAM Commissions
2010
Chronological by date
2002
No Answer
Timothy Jackson
· choir · brass · organ 2003
The Far Theatricals of Day
Jonathan Dove
· choir · brass · organ
2005
The Fifth Continent
Paul Patterson
· choir · brass · organ 2006
My Heart Strangely Warm’d
Judith Bingham
Thoughts Scribbled on a Blank Wall
Adam Gorb
2004
Songs of the Garden
John McCabe
· choir brass organ
2008
The Spacious Firmament
Gabriel Jackson
· choir brass organ
Darwin
Steve Martland
· choir · brass · organ 2010
Fundamental
Hannah Kendall
2010
Now Sleeps the Crimson Petal
Paul Mealor
12’ · choir
· bass · brass 2009
Fiery the Angels
Richard Peat
2012
Body of Water
Julian Phillips
The Night’s Untruth
Tarik O’Regan
2012
The Hazel Wood
Phillip Cooke
· choir brass organ
2014
Yonghy-Bonghy-Bo
Giles Swayne
2015
2011
Tallis’s Light
Rory Boyle
· brass · organ
All Things Wear Silence
Philip Cashian
2013
2012
The Hythe
Judith Bingham
· strings
The Farthest Shore
2014
choir · brass · organ · percussion 2011
Oboe Concerto: The Angel of Mons Judith Bingham
· strings · oboe
Voices of Our Ancestors
Thea Musgrave
· choir · brass · organ 2015
2017
Voices of Vimy
Tom Harrold &
Stuart Beach
To Seek Where Shadows Are Paul Mealor
· choir
2016
O Great Beyond
Thomas LaVoy
2018
2016
The Shadows of War
Paul Mealor
· choir · strings · percussion
Songs of the Marshes
Rory Boyle
· choir · brass · organ
Soliloquy
Daniel Saleeb
2022 Up in the Morning Early
Janet Wheeler 7’ · brass
2023
The Sky Engine
Richard Peat
55’ · orchestra · choir soloists · narrator
2020
Piano Concerto
Paul Mealor
20’ · strings · percussion piano
2021 Between the Stormclouds and the Sea
Jack Oades
25’ · choir · brass · organ
2022
Concerto for Clarinet
Judith Bingham 11’ · strings · clarinet
2023
Love’s Labour’s Lost
James Aburn
90’ · orchestra (Changeling Theatre)
2023
Onyx 30
Mark -Anthothy Turnage 10’ · brass
2025 Seven Songs of Nature
Joseph Phibbs 20’ · choir · brass · organ
Years of JAM
2024 Murmurations
Jago Thornton 12’ · strings
2023
The Song I Came to Sing
Tara Creme
11’ · choir · brass · organ
2023
Evening Star
Christopher Churcher 7’ · choir
2023
The School for Scandal
James Aburn
90’ · orchestra (Changeling Theatre)
2024 Illumination
Isabelle Thornton 7’ · organ · two trumpets
2025 New Commission
Marisse Cato 5’ · 7 strings
2024 Wild Earth Blazing
John Frederick Hudson
40’ · strings · piano · perc horn · tenor
2025 Aurora Steve Richer 5’ · choir
2026
Violin Concerto
Stephen McNeff
20’ · strings · harpsichord · percussion · violin
JAM Digital
A Free Global Composers’ Resource –expanding access to education and new music
As JAM celebrates 25 years, we not only reflect on our history of commissioning and championing new music but also on how we have evolved as an organisation to support composers in new ways. One of the most significant developments in recent years has been the expansion of JAM’s digital presence, born out of necessity during the COVID-19 pandemic in 2020. When live performances paused for Covid, JAM managed to have its festival funding repurposed, enabling us to film our entire festival programme and release it – for free – on digital platforms to ensure that creativity could continue to thrive. Over 20,000 people watched these performances around the world.
From this, the JAM Composers’ Resource was created which is an invaluable, free online hub providing composers with essential tools to explore, learn and develop the craft of writing for different forces. Since launching these digital initiatives in 2020, JAM’s YouTube channel has grown to over 180 different videos, which have collectively been viewed over 130,000 times.
Education Videos
Performance Videos
These Educational Videos were created in partnership with:
The VOCES8 Foundation: Writing for Voice
Sarcconi Quartet: Writing for Strings
Onyx Brass: Writing for Brass Quintet
Francesca Massey: Writing for Organ
Hours of Music
Among our most-watched resources include:
8,000 views on “Pedals on the Organ” – a guide to writing for organ pedals
5,000 views on “Problematic Ending Consonants” – a masterclass on choral diction with VOCES8
With JAM’s commitment to enabling composers, the resulting compositions from our Composers’ Residency programme are professionally performed and recorded, thus helping to promote the next generation of composers, their work and increase the chances of future performances. Through these resources, JAM continues to support composers worldwide, making new music more accessible than ever before. As JAM marks 25 years, we embrace the future with creativity, ensuring that JAM continues to be a driving force for new music.
Explore our free Composers’ Resource at jamconcert.org/composers-resource
“Heart-felt congratulations to JAM on its 25th anniversary. Its excellent quality performances of new works continue to provide creative growth for our field.”
— Thea Musgrave CBE
“Since its inception, JAM has fostered the most positive and supportive view of new music, and so many composers, including myself, have had brilliant experiences with a wealth of the best musicians. Long may it prosper!”
— Judith Bingham OBE
“Congratulations on your 25th anniversary, JAM! I’ve had the privilege of witnessing first-hand the incredible contribution you’ve made in live concert-making, commissioning new compositions and inspiring the next generation of musicians and audiences in the UK. Here’s to another 25 years of success!”
— Robin Tyson, VOCES8 Foundation
“For 25 years JAM has been at the forefront of encouraging new music in the UK, and has been instrumental in promoting the works of young composers, many of whom are now-household names. Selwyn Choir’s (and my) involvement with JAM since (nearly) the very beginning, has shaped the choir’s reputation, and indeed my career, in countless ways. I am grateful to everyone in Team JAM for being so fabulous, and I am proud to be playing a small role in its quarter-century celebrations!”
— Sarah MacDonald
“JAM’s 25th anniversary is a remarkable milestone of championing new music and fostering artistic innovation. Having had the privilege of receiving a commission from JAM, I have experienced firsthand their dedication to supporting composers and expanding the choral and orchestral repertoire. Their work continues to inspire and elevate both artists and audiences, and I look forward to seeing how they shape the next 25 years of music making.”
— Tarik O’Regan
“ “
“When a relatively young group called Onyx Brass encountered JAM for the first time 25 years ago, it instantly felt like a perfect match. With the shared ethos of giving a platform to new voices and creators, this has been a partnership that Onyx has cherished over the years. Long may JAM and its partners keep doing the vital and excellent work that they do. Viva JAM.”
— David Gordon-Shute, Onyx Brass
Programme
A Celebration of New Music
Timothy Jackson
No Answer (2002 Commission)
1. People Like Us
2. Prison Lullaby
3. Terror
4. Contemplating a Photograph of a Church With Cross 5. From the Record of the Interrogation of the Accused
Sarah MacDonald
Brother Sun, Sister Moon
Alan Bullard
The Cats Are Crowding Us (Call for Music)
Laura Heneghan
Chrome (Call for Music)
Eoghan Desmond
In the Timbrels and Dances (Call for Music)
Paul Mealor
Now Sleeps the Crimson Petal (2010 Commission) No. I: Now Sleeps the Crimson Petal No. II: Lady, when I behold the roses sprouting No. III: Upon a Bank with Roses No. IV: A Spotless Rose
Joseph Phibbs
Seven Songs of Nature (2025 Commission; world premiere)
1. Aubade
2. Pied Beauty
3. Sumer is icumen in
4. The Birds
5. Foweles in the Frith
6. Moon, Moon, Mak’me a Pair O’shoon
7. from The Night
Performers
The Chapel Choir Selwyn College, Cambridge
Sarah MacDonald · conductor
Onyx Brass
Claire Seaton · soprano
Philippe Durrant · tenor
James Emerson · baritone
Simon Hogan · organ
Timothy Jackson No Answer
JAM Commission 2002
No Answer is a five-movement setting of poems whose writers were all political prisoners in Africa and Russia during the 20th century.
The Nigerian poet, Chris Abani was imprisoned three times between 1985 and 1991, accused of sedition for performing anti-government plays. He was brutally tortured and held on death row, seeing many of his friends die in prison. The two poems of his which appear in No Answer were written after his release.
The other poems in the set, by Maria Terentyeva, Mikhail Kudinov, Vladimir Mayakovsky and Lev Timofeyev have been translated from the original Russian by Richard McKane. They were written whilst their writers were incarcerated and date from 1909 to 1985.
As a complete cycle, the six poems of No Answer show a whole range of reactions to the experience of imprisonment, from the deceptive simplicity of ‘People Like Us’ to the harrowing reality of the interrogation transcript which ends the piece.
Tonight’s performance is dedicated to the memory of Graham Jackson; Tim’s father and Supporter of JAM.
Timothy Jackson was born in Preston and at the age of 15 was awarded a scholarship to study horn and composition at the Royal Academy of Music. He subsequently continued his studies at the University of Manchester and the Royal Northern College of Music. He was a member of the Orchestra of the Royal Opera House, Covent Garden, and the Philharmonia Orchestra, before becoming Principal Horn of the Royal Liverpool Philharmonic Orchestra in 2011.
As a composer and arranger, Timothy has received commissions from groups as diverse as the Academy of Saint Martin-in-the-Fields Chamber Ensemble, the Alison Balsom Ensemble, BASBWE, Birmingham Royal Ballet, the CBSO, DaDaFest, Ensemble 1010, Ensemble 360, the Hallé, the National Youth Brass Band of New Zealand, Pixels Ensemble, the Philharmonia Orchestra, the RLPO, the St. Florian Bruckner Festival, the Royal Opera House’s “Chance to Dance” project, and the RSNO.
Timothy’s music has been played all over the world in venues including the Amsterdam Concertgebouw, the Hollywood Bowl, Vienna’s Musikverein and the Sydney Opera House. His pieces have been recorded by the BBC, Cala, Chandos, EMI, Intim and Meridian, and are published by the ABRSM, Faber, Maecenas and OBP.
Timothy has a particular interest in creating music for young musicians and young audiences, and his proudest achievement as a composer remains Eeyore’s March, which has gone on to sell over 300,000 copies worldwide before being chosen to be part of Faber’s anthology of the 20 best pieces ever to appear on the ABRSM Grade 1 Piano Syllabus.
1. People Like Us
CHRIS ABANI
Standing at dawn in grandmother’s kitchen, hot tea mists the window as it warms me.
Outside, soft pre-dawn light drizzles over hens scratching for truth beneath the stunted orange tree.
The mauve dawn yawns in the slow approaching heat, exhaling dark shadows.
As I sip, grandmother, arthritic bones too old to waste another moment in sleep, chops onions and tomatoes ready for the searing of hot oil. Eggs crack like answers to unasked questions
and I realize, this is all there is. The stitching of life into transfigurations.
2. Prison Lullaby
MARIA TERENTYEVA
Early morning, at dawn, the soldier comes, the children get up for the roll-call, the sun sparkles.
A slender ray forces its way past the high screen, the little ray reaches the imprisoned child.
Yet the gloomy dwelling does not brighten up. Who will return the glow to your cheeks, my little sun?
Beyond the bars, beyond the locks, days are like years. The children cry. Even Mummies sometimes cry.
But the guard changes, the heart hardens. My boy, don’t believe your father is a traitor.
3. Terror
MIKHAIL KUDINOV
When sticky, crawling terror achieved power and scale, all feelings in its eyes became criminal, except terror. It began to crawl into houses, began to cling to souls, crippling them, tearing all connections, driving people mad and thirsting for human blood. And the blood flowed. But the executioners themselves shuddered. Even the scaffold seemed to scream at night: “There is nothing more terrifying than terror.”
4. Contemplating a Photograph of a Church With Cross CHRIS ABANI
The emotion is in the Untidy darkness of the shadows Not the sharp beauty of the colors; Or even the cross’ obvious allusions To piety, the divine, a plan –Perhaps it all making sense if you Could unlock it, Slow it, read it, master it, Change it.
But life is this and it will Not be contained in the cups of our meaning.
The Forests
VLADIMIR MAYAKOVSKY
The forests were clothed in gold and purple, the sun played on the church domes. I waited, but the days were lost in months, hundreds of tormenting days.
Contemplating a Photograph of a Church With Cross CHRIS ABANI
The Igbo say: No-one can outrun their shadow. And this is good. This is hope because, or maybe: We cannot outrun love. And the promise is the tree unseen Whose shadows pattern the wall Regardless, amused at the Angular calculations of the door With its key that attempts To contain.
5. From the Record of the Interrogation of the Accused: LEV TIMOFEYEV
Question: Name the people... Answer: No answer.
Question: Xeroxes were confiscated from your flat in the search of 19 March 1985. To whom do they belong? Answer: No answer.
Question: Who did those Xeroxes? Answer: No answer.
Question: Did you get the magazines yourself and take the Xeroxes? Answer: No answer.
Question: Did you regularly get these magazines which were published in the West? Answer: No answer.
Question: Did you make known the contents of these magazines to anyone?
Answer: No answer.
Question: What was your intention in keeping the Xeroxes in your flat?
Answer: No answer.
Brother Sun, Sister Moon
Sarah MacDonald
Brother Sun, Sister Moon was composed for Ely Cathedral Choir and premiered during a service held in the Lady Chapel of Ely Cathedral on 4 October 2024, the feast day on which the church commemorates the life of the remarkable 13th century Italian mystic and poet, St Francis of Assisi. In this setting, I have employed a variety of scoring and harmonies to reflect the vivid imagery in St Francis. High voices represent the stars, while low voices evoke the earth. The creatures, in their boundless variety, are portrayed through colourful added-note chords.
Although I have been involved with JAM for nearly all of its 25 years, this marks the first time one of my compositions has been featured in a JAM programme. I am both honoured and delighted to have this opportunity to share my work with such a dedicated audience.
St Francis of Assisi (1181-1226) adapted by the composer
Praised be you my Lord with all your creatures, especially Sir Brother Sun. Praised be you my Lord with all your creatures, through Sister Moon and the stars. Praised be you my Lord through Mother Earth; Brother Sun is beautiful and radiant with great splendour; Sister Moon is bright, precious and fair; Mother Earth sustains and governs us.
Praised be you my Lord with all your creatures, praise to you.
Sarah MacDonald is a Canadian-born, UK-resident conductor, organist, pianist, and composer. She is Director of Music at Selwyn College, Cambridge, and Director of Ely Cathedral’s Girl Choristers. Sarah has been at Selwyn since 1999, and was the first woman to hold such a post in an Oxbridge Chapel. She is also Organist to the University of Cambridge, the first woman to hold that historic office. She studied at the University of Cambridge and the Royal Conservatory of Music, Toronto, and her teachers include Marek Jablonski, Leon Fleisher, John Tuttle, and David Sanger.
Sarah has made over commercial 35 recordings; her first solo disc, a recording of the Goldberg Variations on the Steinway-D at Ely Cathedral, was released in 2024. Sarah performs internationally every year and is in demand as a conductor, organist, and examiner. She has over 60 published works for choir and/or organ, and has written a popular book about the British choral tradition, a compilation of her column for the American Organist magazine ‘UK Report’, which she has contributed monthly since 2009. Sarah is currently serving as President of the Royal College of Organists. In her spare time, she is a keen amateur photographer.
The Cats Are Crowding Us
Alan Bullard
The Cats Are Crowding Us is a setting of a traditional incantation from the Scottish Highlands. When I first came across these lines of text, taken from Alexander Carmichael’s 19th collection of hymns and incantations entitled ‘Carmina Gadelica’ (Songs of the Gaels), what sprung into my mind immediately was hordes of gigantic cats rampaging over the Scottish highlands and islands, destroying everything they encountered!
That may not have been far from the truth – but I then found that the ‘Cats’ were a tribe of human warriors – possibly the Cat tribe whose name is preserved in the English name Caithness and the Gaelic name ‘Cataich’ or ‘men of Sutherland’. And like many tribal battles of the past and present, it’s clear that the people who suffered most were the women and children, left behind to guard their homesteads and their livelihood.
The Cats Are Crowding Us
Words based on a traditional incantation from the Scottish Highlands
The Cats are crowding us, The Cats are crowding us; But we are firm, we are strong, we survive.
They break upon us, They lift the spoil from us, They steal the *kine from us, They strip bare our houses, our homesteads; But we are firm, we are strong, we endure, we survive.
The Cats are crowding us, The Cats are crowding us; But we are firm, we are strong, we survive.
For murder and for mauling they are come, For howling and for hazard they are come, Murder, mauling, hazard, howling, For pillage and for plunder, And for our mothers, and for our children And all we hold dear, and close.
The evil Cats are crowding us, The evil Cats are crowding us, In the evil hour, the Cats are come; The Cats are crowding on us, The Cats are crowding on us; But we are firm, we are strong, we survive, we endure, We are firm, we are strong!
*kine = cattle
Alan Bullard was born in 1947, grew up in London and studied with Herbert Howells and Antony Hopkins at the Royal College of Music, and with Arnold Whittall at Nottingham University. For many years he taught composition and musicianship to undergraduate and postgraduate music students, and currently works for ABRSM as a mentor to a wide range of emerging composers from diverse backgrounds.
He has been writing music all his life, ranging from solo to orchestral, and specialising particularly in music for choirs and for education. His choral music is performed and broadcast worldwide and is published by a variety of publishers, including Oxford University Press for whom he has edited and compiled several collections. Many of his works have been recorded on CD by such ensembles as the Chapel Choir of Selwyn College, the Choir of Kings College, and The Sixteen. His educational music includes many tutor books, pieces and arrangements for ABRSM, and, jointly with his wife Janet, the Pianoworks series. He lives in East Anglia, and full details of his music can be found at www.alanbullard.co.uk
Laura Heneghan Chrome
Chrome was written for brass quintet in April 2023. This energetic piece is generally centred around one ‘riff’ which gradually develops over time. Previously, I was under the misconception that brass pieces were only slow-paced. However, when I heard Anders Hillborg’s brass quintet, I was fascinated with how fast the piece moved, which then inspired me to write something of a similar energetic nature.
Laura Heneghan is an Irish composer who predominantly composes chamber and vocal works. With music described as “memorable and strongly conceived” (The Scotsman), with a distinctive ability to make “vivid use of the [ensemble]’s sonic potential in a compelling and convincing musical argument”.
Laura’s work has been performed throughout the UK and Ireland by notable ensembles such as Chamber Choir Ireland, Gaia Duo, Con Anima Chamber Choir, Contempo Quartet, Irish Chamber Brass and Hard Rain Soloist Ensemble. She has had work performed at the Cork International Choral Festival, Sound Festival, West Wicklow Chamber Music Festival, the University of St. Andrews and the Emily Anderson Concert Hall in the University of Galway.
Laura has won the Seán Ó Riada Composition Competition (2023) and the West Wicklow Chamber Music Festival Emerging Composer Competition (2023, Brass Quintet). She is currently a participant in several development schemes including the Contemporary Music Centre’s Emerging Composer Scheme, LEGATO, and Choral Sketches. Most recently, she was selected as a finalist for the 6th Peter Rosser Award.
Laura completed her Bachelor of Arts degree (Music) at the University of Galway in 2022, where she worked on her compositions with Dr Amanda Feery. Soon after, she pursued a Master’s in Composition at the Royal Conservatoire of Scotland where she worked with Dr Bekah Simms and David Fennessy.
In the Timbrels and Dances
Eoghan Desmond
In the Timbrels and Dances is loosely based on the 150th Psalm, a psalm of thanksgiving to the Lord. It is not a programmatic ‘verse-by-verse’ representation of the psalm. Rather, it draws on the general attitude of the psalm, occasionally becoming more or less representative, as in the fanfare (Praise Him in the sound of the trumpet) for example. Throughout the piece, Stanford’s ubiquitous C major chant, written for psalm 150, is interwoven with a cipher on the name of the dedicatee: D S H E A
The piece was premiered on January 10, 2020, by its dedicatee, David O Shea, in Dublin as part of the Pipeworks festival. This will be its UK premiere.
Award-winning composer Eoghan Desmond draws on his vast experience as a choral singer and professional bass-baritone to write music that showcases a deep understanding of the voice and its capabilities. Eoghan’s music is heavily influenced by his long association with the cathedral choral tradition, and the majority of his work reflects on or responds to that tradition. Much of his work is focused on achieving a polyphonic fluency where every note in every voice is vital to the work. He holds a PhD in Composition of Sacred Choral Music from the University of Aberdeen, where he studied with Dr. Phillip Cooke.
Eoghan has been commissioned by, among others, The Sixteen, Chamber Choir Ireland, Christ Church Cathedral Dublin, St Mary’s Pro-Cathedral Dublin, The Royal School of Church music and The Chapel Royal HM Tower of London. His music appears on recordings by The Sixteen, the UCD Choral Scholars and The Mornington Singers.
www.eoghandesmond.com Instagram: @eoghandesmond
Now Sleeps the Crimson Petal
Paul Mealor
The four texts chosen for this short, choral cycle are all connected by their references to roses – either directly, or as a metaphor for love. The first, Now Sleeps the Crimson Petal is an erotic, sensual poem that compares human beauty to that of the rose and lily – the closing of the lily representing the union of two lovers. My setting is simple, delicate and reflective. The opening duet – two lovers perhaps – is coloured by gentle dissonances. The whole range of the choir – from very low to very high – is utilised to the full to paint a sensual aural canvass. In the final lines, ‘fold thyself my dearest and slip into my bosom’ the music literally folds itself and gently falls to a simple, though I hope, satisfying conclusion.
The second poem – a true madrigal text set by many other composers - Lady, when I behold the roses sprouting compares a woman’s red lips to that of the deep, red rose. My setting, again gentle in manner takes its inspiration from the final lines of the poem, ‘For, viewing both alike, hardly my mind supposes, whether the roses be your lips or your lips the roses’. This flattery on behalf of the poet, or confusion when in the midst of such beauty, becomes the harmonic focus of my song – a duality of tonalities. Also, I allow the woman herself a voice when, on the repeat of the poem, wordless sopranos offer a short lament.
The third poem, Upon a Bank with Roses presents an idyllic scene of a trickling brook with roses set abound it and small turtle doves kissing; however, ‘love’ is wounded and, even surrounded by this beautiful setting, he cannot be appeased. My madrigal is light, fast moving and quiet –painting the murmuring brook with micro-polyphony and crossing lines. ‘Love’ is given a voice for a brief second, then we return to the gentle, pastoral scene.
The final poem – a setting of A Spotless Rose – is the emotional heart of this short rose-cycle, and recalls all of the other three movements’ musical material. The ‘Spotless Rose’ is, of course, the baby Jesus and this poem is a celebration of him and the Blessed Virgin. It is essentially a Christmas Carol and has been set by many other composers including Herbert Howells. My short setting makes use of the imagery of a rose opening – the first few bars are an aural representation of the petals of a rose opening in all directions, climaxing upon the words, ‘fairest bud unfolds to light’. And, following a meditation upon the words, brings the cycle to rest on a gentle but rich chord of B Major.
— Paul Mealor
No. I: Now Sleeps the Crimson Petal Lord Alfred Tennyson
Now sleeps the crimson petal, now the white; Nor waves the cypress in the palace walk; Nor winks the gold fin in the porphyry font: The firefly wakens: waken thou with me.
Now droops the milkwhite peacock like a ghost, And like a ghost she glimmers on to me.
Now lies the Earth all Danae to the stars, And all thy heart lies open unto me.
Now slides the silent meteor on, and leaves A shining furrow, as thy thoughts in me.
Now folds the lily all her sweetness up, And slips into the bosom of the lake: So fold thyself, my dearest, thou, and slip Into my bosom and be lost in me.
No. II: Lady, when I behold the roses sprouting Anon.
Lady, when I behold the roses sprouting, Which clad in damask mantles deck the arbours, And then behold your lips where sweet love harbours, My eyes present me with a double doubting; For, viewing both alike, hardly my mind supposes Whether the roses be your lips or your lips the roses.
No. III: Upon a Bank with Roses John Ward
Upon a bank with roses set about Where pretty turtles joining bill to bill, And gentle springs steal softly murmuring out, Washing the foot of pleasures sacred hill. There little Love sore wounded lies. His bow and arrows broken, Bedewed with tears from Venus’ eyes. O grievous to be spoken.
No. IV: A Spotless Rose Anon.
A Spotless Rose is growing, Sprung from a tender root, Of ancient seers’ foreshowing, Of Jesse promised fruit; Its fairest bud unfolds to light Amid the cold, cold winter, And in the dark midnight.
The Rose which I am singing, Whereof Isaiah said, Is from its sweet root springing In Mary, purest Maid; Through God’s great love and might The Blessed Babe she bare us In a cold, cold winter’s night.
Prof. Paul Mealor LVO CStJ FRSE is one of the world’s most ‘performed’ living composers and has composed music for some of the most important UK state, national and Royal occasions of the last 14 years, including the wedding of The Prince and Princess of Wales (2011), King Charles’s 65th, 70th and 75th birthdays, two works for the late Queen Elizabeth II’s national Services of Thanksgiving (2022), two works for the Coronation (2023) – including the first ever setting of the Welsh Language at a Coronation, and three works for The Honours of Scotland Service (2023).
He has also written music for film and television including the score to the BAFTA-Award winning ‘Wonders of the Celtic Deep’, three operas, four symphonies, concerti, chamber music, much choral music and songs, including the 2011 Christmas No 1, ‘Wherever You Are’ for Gareth Malone and the Military Wives Choir.
He has received many awards and honours for his work including honorary degrees, fellowships and in January 2024 was appointed to The Royal Victorian Order (LVO) by HM King Charles III for his outstanding contribution to Royal Music. He is the first composer to receive this accolade since Sir Arthur Bliss in 1969 and before him, Sir Arnold Bax and Sir Edward Elgar. He is the President of JAM.
Seven Songs of Nature
Joseph Phibbs
JAM Commission 2025 (world premiere)
This set of seven short choral songs presents a range of responses to the natural world – some mystical and devotional, while others are more playful and earthy.
The opening Aubade (dawnscape), a ‘song without words’, combines strident female solos with soft, sustained chords, before a rising sequence in the brass dovetails into Gerard Manley Hopkins’s celebrated Pied Beauty, an ecstatic vision of nature in its endlessly varied forms, colours, and textures. Sumer is icumen in (also known as the ‘Cuckoo Song’) follows. A joyful celebration of the arrival of summer, the 13th century text is the basis of one of the earliest surviving musical rounds, or canons. Belloc’s The Birds provides the meditative heart of the work, depicting an image of Christ the child, while the darker - and at times menacing - Foweles in the frith (also from 13th century) is a fragment of a much longer, lost poem, whose meaning remains the subject of debate. Moon, moon, mak’me a pair o’shoon, an anonymous Scottish text, is by contrast childlike, and features a tuba solo as well as dance rhythms. A stanza from Belloc’s The Night concludes the work on a note of calm, the ‘Most Holy Night’ holding ‘the keys of all the doors of sleep’.
Seven Songs of Nature was commissioned by JAM – the John Armitage Memorial Trust – with generous support from the Vaughan Williams Foundation and Hinrichsen Foundation. It is dedicated, with admiration, to Nicholas Cleobury
Joseph Phibbs was born in London, and studied at The Purcell School, King’s College London, and Cornell University. His teachers have included Param Vir, Sir Harrison Birtwistle, and Steven Stucky.
Described by BBC Music Magazine as ‘one of the most successful composers of his generation’, his orchestral music has been championed by some of the world’s leading conductors, including Edward Gardner, Gianandrea Noseda, Sakari Oramo, Vassily Petrenko, Esa-Pekka Salonen, and Leonard Slatkin.
His chamber output includes four string quartets, composed over the last decade for the Navarra, Belcea, and Piatti Quartet, as well as sonatas for cello (Guy Johnston), violin (Mathilde Milwidsky), and horn (Ben Goldscheider), song cycles, a piano sonatine for Noriko Ogawa, and Night Paths for saxophonist Huw Wiggin. Two portrait concerts of his music, broadcast on BBC Radio 3, were hosted by Wigmore Hall in 2023, a venue with which he has enjoyed a particularly close association over the last decade. His choral works have been performed and recorded by choirs such The Sixteen, Tenebrae, ORA, and Westminster Cathedral Choir. Current work includes a cello concerto for Guy Johnston/BBC Symphony Orchestra, and a piano quintet for Piatti Quartet and Noriko Ogawa.
1. AUBADE (Song without words)
2. PIED BEAUTY
Gerard Manley Hopkins (1844-89)
Glory be to God for dappled things –For skies of couple-colour as a brinded cow; For rose-moles all in stipple upon trout that swim; Fresh-firecoal chestnut-falls; finches’ wings; Landscape plotted and pieced – fold, fallow, and plough; And áll trádes, their gear and tackle and trim.
All things counter, original, spare, strange; Whatever is fickle, freckled (who knows how?) With swift, slow; sweet, sour; adazzle, dim; He fathers-forth whose beauty is past change: Praise him.
3. SUMER IS ICUMEN IN Anon. 13th century
Sumer is icumen in, Lhude sing cuccu!
Groweth sed and bloweth med And springeth wode nu, Sing, cuc-cu! Ewe bleteth after lombe Lhouth after calve cu Bulluc sterteth, bucke verteth Murie sing cuccu, Cuccu, cuccu! Wel singes thu, cuccu, Ne swik thu naver nu! Sing, cuccu, nu, Sing, cuccu!
4. THE BIRDS
Hilaire Belloc (1870-1953)
When Jesus Christ was four years old, The angels brought Him toys of gold, Which no man ever had bought or sold.
And yet with these He would not play. He made Him small fowl out of clay, And blessed them till they flew away: Tu creasti Domine.
Jesus Christ, Thou child so wise, Bless mine hands and fill mine eyes, And bring my soul to Paradise.
5. FOWELES IN THE FRITH* Anon. 13th century
Foweles in the frith, The fisshes in the flod, And I mon waxe wod: Sulch sorw I walke with For beste of bon and blod
*Fowls in the forest, The fishes in the flood, And I must go mad: Such sorrow I walk with For beasts of bone and blood.
6. MOON, MOON, MAK’ME A PAIR O’SHOON
Anon. Scottish
Moon, moon, Mak’me a pair o’shoon, And I’ll dance till you be done.
7. from THE NIGHT
Hilaire Belloc
Most Holy Night, that still dost keep The keys of all the doors of sleep, To me when my tired eyelids close Give thou repose.
Performers
The Chapel Choir of Selwyn College, Cambridge has led worship in the chapel since its foundation in the last decade of the nineteenth century. Today, most of the choir members are students at Selwyn or Newnham Colleges, and they read a variety of subjects including Music, English, Natural Sciences, and Engineering. During term, the choir sings three services per week, as well as concerts and services throughout the UK, recently in venues including Westminster Abbey, St Paul’s and Ely Cathedrals. Its repertoire ranges from the 10th to the 21st century. They broadcast regularly on BBC Radio, have sung live on television, and every year undertake an international tour (destinations have included Canada, New Zealand, the United States, and much of mainland Europe).
In their long-standing association with JAM, Selwyn Choir has premiered major new works by some of the UK’s foremost composers, including Jonathan Dove, John McCabe, Gabriel Jackson, Paul Patterson, Judith Bingham, Steve Martland, and Adam Gorb. The choir has made over 30 commercial recordings under Sarah MacDonald’s direction. They have made something of a niche for themselves recording an important series of single-living-composer discs with Regent Records, and have released discs of works by Paul Spicer, Paul Edwards, Gary Higginson, Alan Bullard, Phillip Cooke, John Hosking, Mark Gotham, Benjamin Ponniah, Iain Quinn, Paul Ayres, Richard Peat, Joanna Gill, Bryan Kelly, and Jonathan Bielby.
Sarah MacDonald is a Canadian-born, UK-resident conductor, organist, pianist, and composer. She is Director of Music at Selwyn College, Cambridge, and Director of Ely Cathedral’s Girl Choristers. Sarah has been at Selwyn since 1999, and was the first woman to hold such a post in an Oxbridge Chapel. She is also Organist to the University of Cambridge, the first woman to hold that historic office. She studied at the University of Cambridge and the Royal Conservatory of Music, Toronto, and her teachers include Marek Jablonski, Leon Fleisher, John Tuttle, and David Sanger.
Sarah has made over commercial 35 recordings; her first solo disc, a recording of the Goldberg Variations on the Steinway-D at Ely Cathedral, was released in 2024. Sarah performs internationally every year and is in demand as a conductor, organist, and examiner. She has over 60 published works for choir and/or organ, and has written a popular book about the British choral tradition, a compilation of her column for the American Organist magazine ‘UK Report’, which she has contributed monthly since 2009. Sarah is currently serving as President of the Royal College of Organists. In her spare time, she is a keen amateur photographer.
Celebrating its 30th anniversary season in 2023, Onyx Brass continues to be the leading light in establishing the brass quintet as a medium for serious chamber music, combining “staggering virtuosity” (Sarah Walker, BBC Radio 3) with the entertaining and articulate style that has become the group’s trademark.
The group’s extensive discography has received huge critical acclaim, Gramophone hail “some of the most thrilling chamber brass-playing of its kind” and Record Review (R3) describing the group as a “wonderful, virtuosic brass quintet”.
Education has always been central of the remit of Onyx Brass: workshops and master-classes have from primary school to the Juilliard School, and the group has held several residencies, including 15 years at Imperial College, London.
Work with singers also forms a central part of Onyx’s work, often under the auspices of the John Armitage Memorial Trust, with whom Onyx Brass has been affiliated since its inception.
(left to right in above photo):
Alan Thomas · trumpet
Andrew Sutton · horn
David Gordon-Shute · tuba
Amos Miller · trombone
Niall Keatley · trumpet
Simon Hogan is the SubOrganist and Assistant Director of Music at Southwark Cathedral, a post which he combines with being Organist to the Cathedral Singers of Christ Church Cathedral, Oxford, and a portfolio of freelance work in and around London.
Simon’s musical life began as a chorister at St Mary Redcliffe, Bristol. Following organ scholarships at Bristol and Salisbury Cathedrals, he moved to London in 2008 to study organ performance at the Royal College of Music, where he subsequently graduated with first class honours. In his final year he held the Organ Scholarship at St Paul’s Cathedral, before becoming Assistant Director of Music at Southwell Minster, a post he held for seven years.
As a soloist Simon has given recitals in venues across the UK, including the cathedrals of Durham, Hereford and Westminster, The Albert Hall, Nottingham, and Rochdale Town Hall. He is also the principal organist for JAM, an organisation which commissions and performs new music for brass, organ and choir by leading contemporary composers.
Claire Seaton is known as one of the country’s most adaptable sopranos and has extremely broad oratorio experience. She is particularly renowned for her performances of the Requiems of Verdi and Brahms, and Mozart’s C Minor Mass. Her repertoire includes less commonly performed works such as Symanowski’s Stabat Mater and Elgar’s The Light of Life
Claire’s operatic career began with Kent Opera, and she made her debut with Glyndebourne Festival Opera singing the role of Vitellia (La Clemenza di Tito). Her discography includes Allegri’s Miserere and Brahms’ Deutsche Requiem with Jeremy Backhouse and the Vasari Singers.
Claire’s involvement with JAM stretches back to the genesis of the project, including the world premiere recording of Jonathan Dove’s The Far Theatricals of Day with the choir of St Bride’s. The role of ‘Matriarch’ (The Farthest Shore by Paul Mealor) was created for Claire. It was premiered with the BBC singers, broadcast live on BBC Radio 3 from St David’s Cathedral.
Philippe Durrant, a BritishChinese tenor, studied at the Royal College of Music, where he was generously supported by a Leverhulme Arts Scholarship, Help Musicians UK and the Josephine Baker Trust. Having read Music at Durham University, Philippe is a chorister at English National Opera and Glyndebourne, and was an Alvarez Young Artist at Garsington Opera. Recent operatic engagements include Garsington Opera, English National Opera and Waterperry Opera Festival. Philippe’s concert highlights include Bach’s St. John Passion (Evangelist) with the Avison Ensemble at Durham Cathedral, Handel’s The Messiah for Southwell Minster Choirs, and Parnasso in Festa with London Handel Orchestra at Wigmore Hall, Haydn’s The Creation and Mozart’s Requiem with Beaufoy Sinfonia for Thames Philharmonic Choir at Cadogan Hall.
An established ensemble singer, Phil sings with The Sixteen, the BBC Singers, the Monteverdi Choir, the Gabrieli Consort and the Orchestra of the Age of Enlightenment.
James Emerson, an Australian baritone, is a distinguished performer known for his exceptional opera and classical vocal performances. He is currently pursuing his Master of Performance (Vocal) studies at the Royal College of Music, where he is distinguished as a Sir Gordon Palmer Scholar, supported by the Martin Harris Scholarship and the Big Give Scholarship. As part of his studies, James recently portrayed Bogdanowitsch in The Merry Widow and Philippe in the contemporary opera Airtime. In addition to these roles, James is a sought-after soloist, frequently participating in recitals, concerts, choral performances, workshops, masterclasses, and operatic productions.
James holds a Master of Music in Opera Performance from The University of Melbourne and a Bachelor of Music with Honours. His studies in London are bolstered by contributions from the Australian Music Foundation, a the recipient of the Yvonne Kenny Award, as well as from the Tait Memorial Trust. He is also a Josephine Baker Trust artist.
Festival Preview
Edward Armitage BEM, Festival Curator
World Class · Up Close: 1 hour from London JAM on the Marsh 3-13 July
Becoming the Festival Curator of JAM on the Marsh is one of the most exciting things that I have ever done. This excitement is tempered by the fear of being able to live up to those who have gone before me: Judith Bingham, Paul Mealor, Daniel Cook, Michael Bawtree, Anna Tilbrook and Nicholas Cleobury.
Whilst the imposter syndrome is alive and well, hopefully the beginning of the festival will calm this, as we welcome back London Tango Quintet, BBC Singers and King’s Singers, with the outstanding Britten Sinfonia, and soloist Imogen Whitehead (trumpet), making their debut. Mid-week includes Daniel Cook (organ), Changeling Theatre (Twelfth Night) and Rebecca Afonwy-Jones, with John Frederick Hudson, for an evening of cabaret.
The second weekend brings a long-overdue return for The Chapel Choir of Selwyn College, Cambridge with Onyx Brass and Simon Hogan (organ), conducted by Sarah MacDonald, for a performance of Paul Mealor’s The Farthest Shore, with singers from across Romney Marsh, Hythe and Folkestone joining the pros. The Leader of the BBC Symphony Orchestra, Igor Yuzefovich, joins the JAM Sinfonia on Saturday evening for a thrilling concert of John Adams and Strauss, and we close with a stomping good time with Kosmos Ensemble
The King’s Singers
Britten Sinfonia
I’m not one for ‘themes’ in a festival, but there are a few strings that appear multiple times, and give a clue to my ideas for the 2026 festival:
New Music
JAM was created to support new music, so almost every concert will include music by living composers as well as multiple world premieres throughout the festival (to be announced later).
Community
We will include Meet the Artist talks for the community to learn about all the free exhibitions included in the festival. Jillian Bain Christie will lead a free community day on print making, following her highly successful four-week course in association with Hub on the Beach. Our two-year singing project comes to a climax with the above-mentioned The Farthest Shore, including primary and secondary school children and the Sunflower Singers from within our midst. In a first for the festival, we will work with three students from the Marsh Academy, New Romney, offering them work experience in front of house, photography and sound engineering.
Paul Mealor at 50
JAM’s President reaches the dizzying age of 50, and to celebrate we will perform major works by him: The Light of Paradise (the UK premiere performed by the BBC Singers), Symphony No 2 (with Britten Sinfonia), The Farthest Shore and Now Sleeps the Crimson Petal (Selwyn Choir). This equates to more than two hours of his most exciting and stimulating music.
La Belle Époque
Two recitals, one piano and the other organ, give a nod to 2026’s programming as we delve into one of the greatest outpourings of music. Think Debussy, Fauré, Poulenc, Ravel, Satie, Vierne, Widor… the list is never ending, and the dream is ongoing in my head!
I very much look forward to welcoming you to my first festival as Curator – with or without the imposter syndrome!
Beibei Wang
Composers’ Residency
1-12 July 2025
A Creative Laboratory for Next Generation Composers
JAM’s 2025 Composers’ Residency for Piano and Percussion offers an invaluable opportunity for early-career composers to collaborate with expert musicians and mentors, pushing the boundaries of creativity and composition. Through daily workshops and feedback sessions— culminating in a world premiere of each participant’s work—composers will refine their craft in a vibrant, collaborative setting, fostering their development as innovative music creators. Participants will also have free access to all festival events, providing exceptional opportunities for networking and professional growth.
Join Artists in Residence Beibei Wang (percussion) and Thomas Kelly (piano) to immerse yourself in composing for this dynamic combination, full of creative sounds and explorative colors.
Beibei Wang, a genre-defying percussionist, is an internationally acclaimed virtuoso multi-percussionist and composer with both Chinese and British musical training. At the Residency, Beibei will share her unique expertise in sound, rhythm, and cross-cultural collaboration, offering composers an unparalleled opportunity to work with a truly global artist.
Thomas Kelly is currently The Britten Fellow at the Royal College of Music. He is a celebrated prizewinner at both the 2021 Leeds International Piano Competition and the 2022 Hastings International Piano Concerto Competition. With a deep commitment to new music, Thomas will provide composers with invaluable artistic collaboration, shaping their works with his nuanced understanding of sound, texture and pianistic storytelling.
Tutors on the course will include Professor Paul Mealor LVO CStJ FRSE—international and Royal Composer—and Dr John Frederick Hudson, composer and Course Director, with additional Industry Talks by leading experts on commissioning, publishing and branding. Past tutors have included Jonathan Dove CBE, Gabriel Jackson, and Prof Shirley Thompson OBE
For full information on how to apply, please visit: www.jamconcert.org.
Paul Mealor LVO CStJ FRSA President
of JAM
Creative Team
John Frederick Hudson PhD · Artistic Director
Edward Armitage BEM · Festival Curator
Sarah Armitage · Head of Marketing & Fundraising
Karen Gambrell · Grants Administrator
James Aburn · Festival Operations Manager
Trustees
Edward Armitage BEM · Chair
Sarah Armitage
Charles Cochrane
Timothy Jackson
Patricia Rolfe
Left to right: John Frederick Hudson
Sarah Armitage Edward Armitage
Supporters
JAM is exceedingly grateful to the following individuals and organisations whose generosity enables our work.
Commissioning Patrons
Brock Andreatta
Edward & Sarah Armitage
Marah Dickson-Wright
Richard & Angie Fry
Malcolm & Charlotte Watkinson
Benefactors
Robert Alston
Louise Barton
Peter & Isobel Bristowe
Douglas Chapman
Rachel Cornish
Barbara Down
Margot & Richard Fosbery
John & Sharon Francis
Richard Garnett
John Gordon
Alex Gordon-Shute
Penny Graham
Friends
Judith & Richard Alderton
Pearl Anderson
Dennis Andrews
Teresa Baker
Carole Collins-Biggs
Stuart & Ann Bilsland
Martin Bradshaw
Virginia Brown
John Busby
Brian Bussey
Joe & Rita Butterworth
Julia Buxton
Peter Callery
Sue Canney
William Carey
Chris & Diana Castle
Jean Chippindale
Isabel Churcher & Peter White
Jeremy Coltart
Jeremy Cooper
Willie Cooper
Sue Danby
Nicholas Davey
Mark & Carol Dennis
Gawain & Nicolette Douglas
Patrons
Jeannie Baker
Ruth & Andrew Bligh
Charles Cochrane
Peter Coe
Robert Colvill
Chris & Brian Donnelly
Mark & Jenny Dumenil
Richard & Celia Duncan
Penelope Hamilton & Andrew Parker
Brinley & Janet Hughes
Diane & Al Hume
Iris Imbert
Karen King-Wilson
Marion Lovell
Dr Angela & Nigel McNelly
Marianne More-Gordon
Charles Morris
Robert Myers & Robert Plowman
Diana Edmunds
Sian Edwards
Jim Eustace
Christopher Finn-Kelsey
Michael Foad
Moira Gaines
Steve Gasson
Adrian Goodsell
Ian Gordon
Jeff Grice
Susan Griffith
Blair & Tikki Gulland
Jeanette Harris
Anna Hazelden
Katie Higginbottom
David Hill
Sarah Hodson
Tom Hoffman
Elizabeth Hopkin
Maggie Humphrey
David & Mollie Jackson
Regina Jaschke
Barbara Kempston
Sarah Kirk & David Hankins
Lyn Lauffer
Thank you to photographers:
Susan Pilcher · Tristan Fewings · Justin Sutcliffe
Carolina Lehrian
Alex & Jill Mackay
Anne Martin
Alred McKenney
Tina Metcalfe
Michael & Susannah Miller
Valerie Miller
Dimity Morgan
Angela Morpeth
Ivan & Mary Moseley
Barbara Nelson
Judith O’Connor
& Julian Luckett
Kirsten Offer
Claudia Ott
Andrea Ottermayer
Roxanna Panufnik
Ann Paddick
Tim Parsons
Robert Peaple
Jennifer Raikes
Philip Ray
Philip Raymont
Dilly Rich
Steve & Karen Richer
Richard Goodall
Marion Jackson
Gary & Edith McCarthy
John Rivers
Iain Torrance
Dan & Marianna Wiener
Martin & Sarah Young
Sally Zimmerman
Robert Phillips
Sonia Relf
Wendy Richley
Kelly Robbins
Victoria Salem & R Turvey
Jeremy & Valerie Shaw
Mike Sharpe & Tricia Spain
David & Jenny Tate
Gareth Thompson
John Thornley
John & Margaret Waite
Paul Ripley
Ray & Jane Rivers
Christopher & Jocelyn Rowe
Josephine Rowling
Zivi Sainsbury
Jonathan & Helen Severs
Reece & Jane Shearsmith
Liz Skilbeck
Ingrid Slaughter
Nigel & Jane Spencer
Janet Thomas
Richard & Catherine Thomas
Angela Thwaites & Steve Billington
Anneke Tidmarsh
Sheila & Nigel Turley
Sue Watts
Jill & Michael Westwood
Aniko Wildsmith
Claire Williams
Joanna Williams
Eve Wilson & Rod Saunders
Catherine & Nathan Winters
Elizabeth Winters
Laetitia Yhap
