'Music for Curious Minds' series programme

Artistic Director Norman Jacobs

MOOT - music of our time presents

A CONCERT ON THE 70TH ANNIVERSARY OF VICTORY IN EUROPE DAY

Welcome to Music for Curious Minds During the past four years MOOT - music of our time has created 80 events. I am delighted that our latest series is part of this year’s Brighton Science Festival.

8pm Friday, May 8, 2015 The Music Room, Brighton Royal Pavilion

In Night Music we underscore the Festival’s focus on the ‘moral compass’ of science, through exploring the dark side of technology and its progress via a newly commissioned work: a synthesis of historical film, recorded eyewitness testimony and music by the composer Ed Hughes. Stephen Montague’s extraordinary orchestral threnody Dark Sun, in memory of the victims of Hiroshima, concludes the concert. (T.W. Adorno’s coruscating words flicker through my mind: ‘No universal history leads from savagery to humanitarianism, but there is one leading from the slingshot to the megaton bomb.’)

Open Up Music provides an opportunity to experience the latest in Assistive Music Technology for physically disabled musicians, demonstrated by developers with the assistance of OHMI (OneHanded Musical Instrument Trust).

Martin James Bartlett

BBC Young Musician of the Year 2014

Louise Moseley

Glyndebourne Opera’s ‘Flora’

The Hammer Unleashed places the spotlight on new music technology. The brilliant violinist Mandhira de Saram performs the fiendishly difficult yet beautiful and serene Anthèmes 2 in a programme of music by the legendary composer (and MOOT patron) Pierre Boulez whose 90th birthday is in March.

I am very pleased to welcome composer/conductors Ed Hughes and Stephen Montague; also students and performers from University of Sussex Symphony Orchestra, East Sussex Music Services, CoMA (Contemporary Music for All) and St Nicholas Church, Brighton.

I would like to thank everyone involved for making what I am certain will be a memorable series of events, which I hope will leave you and your minds evermore curious and hungry for innovative, thought-provoking, exciting and enjoyable music.

Norman Jacobs – artistic director PS – If you want to learn more about MOOT please contact us via Facebook or www.musicofourtime.co.uk

Kantanti Ensemble conducted by Lee Reynolds Mozart Piano Concerto No. 20 in D minor Tchaikovsky Symphony No. 6 Pathétique Samuel Barber Knoxville: Summer of 1915 Frank Bridge Lament ONLY 150 SEATS AVAILABLE

Tickets available NOW online: www.wegottickets.com/moot 01273 917272 | brightonfringe.org (from March 4) Programme photo credits: Kate Mount (Steve Dummer, Stephen Montague), Anthony Hunt (Adam Swayne), Johan de Cock (Norman Jacobs), Ben Harte (Valerie Welbanks), David Jacobs (Julian Trevelyan), Katie Vandyck (Ed Hughes) Dark Formations image C3371 © Imperial War Museum. All performer images unless credited are the property of the individuals.

Historical images are sourced via Wikipedia. We apologise for any unintentional credit errors or omissions.

They will be corrected in future editions.

LUDWIG VAN BEETHOVEN Symphony No. 7 in A major, op. 92

German composer Ludwig van Beethoven was born in Bonn in 1770 and died in Vienna in 1827. He is said by the writer Joseph Kerman to have extended ‘the Viennese Classical tradition that he had inherited from Mozart and Haydn’. His synthesis of tradition with the quest for personal expression has led to his works having huge influence on later composers, as well as enjoying wide popularity. Count Waldstein, a friend and patron of the composer, wrote in 1792 upon Beethoven’s departure from Bonn to Vienna, ‘with the help of assiduous labour you shall receive Mozart’s spirit from Haydn’s hands’. Beethoven completed his seventh symphony in the spring of 1812 in Vienna.

1. Poco sostenuto – Vivace 2. Allegretto 3. Presto – Assai meno presto 4. Allegro con brio The work was first performed just over 200 years ago in December 1813 at a charity concert conducted by the composer for soldiers wounded in the Battle of Hanau.

INTERVAL - 20 Minutes

with

Joseph Houston - piano + electronics & film

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The work includes an expanded introduction, with daring harmonic contrasts and great compositional control throughout. It has four movements:

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Beethoven’s manuscript of the Allegretto

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ED HUGHES NIGHT MUSIC Night Music follows Dark Formations (a composition for chamber ensemble and still images in collaboration with Professor David Chandler and the Imperial War Museum) reflecting on the effects of the allied aerial campaign in World War II as recorded by RAF cameras. This second work responds to moving images, also drawn from IWM archives. The introduction of selected moving images is matched by an expansion of musical means in a composition for solo piano, orchestra and electronics.

Night Music is in three parts.

Part 1 Flowing The melody at times floats freely over the bar lines to create an impression of eliding and shifting surfaces.

Part 2 Machine song This movement explores musical gestures of descent and ascent, tension and disruption.

Part 3 Night toccata A rapid study which explores the full range and registers of the piano, at certain moments breaking through to passages of pure textures, rhythms and clusters.

Night Music was commissioned by Norman Jacobs for performance on 12 February 2015 as part of the series Music for Curious Minds in the Brighton Science Festival, supported by the RVW Trust.

Notes by the composer

Film commentary by Svetlana Palmer Ed Hughes composer Ed Hughes’ work has been featured at London’s Barbican Centre, Glyndebourne, Jerusalem Music Centre, Hanns Eisler Conservatoire Berlin, and many other venues. He has been commissioned by Brighton Festival, the Opera Group and others, and recorded on two releases by Metier records. His Chaconne for Jonathan Harvey for solo organ won a 2014 British Composers Award in the Liturgical category. He is Head of Music at Sussex University.

Joseph Houston piano Described by the Financial Times as a musician of ‘versatility and poise’, Joseph Houston is a British pianist based in London and Berlin.

While at the RCM he won the Frank Merrick Prize, the 2nd Prize in the Beethoven Piano Competition, the Emanuel Piano Trophy and a place on the London Sinfonietta Academy 2010. Since then, he has performed at venues including Steinway Hall, St Martin-in-the-Fields, St John’s Smith Square, Kings Place, Cafe Oto, the Purcell Room, the Royal Albert Hall’s Elgar Room and Wigmore Hall.

Danny Bright live electronics Danny Bright is a sound designer, composer, engineer, recordist, musician and sonic manipulator working across the fields of music, performance, installation, theatre and media. Associate Tutor and PhD Research Student in Musical Composition at University of Sussex.

Reg Payne was 20 years old when he flew his first operation as communications officer on a Lancaster bomber. Reg completed thirty missions in 1943 & 1944, including raids on Berlin and Nuremberg. Thirty was the standard number of missions bomber crews were allowed, though almost half of all the crews never made it to this number.

When we interviewed Reg last summer, his memories of people and events from over 70 years ago remained vivid and thoughtful, the memories seared upon his mind by the profound impact they had had and still have today.

Reg Payne’s interview was recorded on behalf of The Flying Heritage Collection and is used by kind permission of Vulcan Productions.

Henni Klank was a young mother during the war. She wrote her account of the 1943 bombing of Hamburg on a Senior Citizens’ Memories website in 2012.

Artisan Pictures is a media production company set up by producer Svetlana Palmer and director Paul Bernays to create history and art documentaries for TV and the web and provide audio-visual content for museums, charities and educational institutions.

Current projects include the Flying Heritage Collection WW2 Pilots Oral History Project and a film on the history of British psychoanalysis.

Svetlana Palmer’s credits include the BAFTA nominated series Cold War (BBC2/CNN), The Second World War in Colour (ITV), The First World War (C4) and docudramas including Space Race and Nuclear Secrets (BBC2). She is the co-author of A War In Words (Simon & Schuster) and We Were Young And At War (Collins), based on diaries and letters from the First and Second World Wars. Svetlana is currently working on documentaries about the Russian Revolution and the history of early space flight.

Paul Bernays’ credits includes Imagine: Cat Stevens (BBC1), James Lovelock, Ella Fitzgerald (BBC4), John le Carré (C4), Walking With Sculptors (Sky Arts), An English Journey (Aldeburgh Music), 1959 - The Year That Changed Jazz (BBC4), The Palestine Papers (Al Jazeera), and Sherlock, the First CSI (C5). artisan-pictures.co.uk

Paul Bernays and Svetlana Palmer

READ Regarding the Pain of Others (Penguin, 2003) by Susan Sontag. A powerful and fascinating analysis of our responses to images of war.

Slaughterhouse-Five (Jonathan Cape, 1969) by Kurt Vonnegut. A satirical novel based on the author’s experience of the destruction of Dresden by Allied bombers.

On the Natural History of Destruction (Penguin, 1999)

by W.G. Sebald. A harrowing account of the Allied bombings of Germany.

The Steinway concert piano chosen and hired by MOOT - music of our time for this performance is supplied and maintained by Steinway & Sons, London.

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STEPHEN MONTAGUE DARK SUN - AUGUST, 1945 In memoriam: the victims and survivors of the nuclear age On August 6, 1945 a single American B-29 Superfortress bomber, the Enola Gay, dropped an atomic bomb on the city of Hiroshima. It detonated at 09:15:15, nine hundred meters above the city, instantly incinerating 78,150 of the 240,000 inhabitants (including 23 American prisoners of war). Over 70,000 further inhabitants were critically burned and gravely injured in the world’s first nuclear attack.

Dark Sun was commissioned in 1995 by Contemporary Music for All (CoMA) with funds provided by the Arts Council of England. It is scored for a large orchestral and vocal ensemble of flexible instrumentation and varying individual performance standards. The work is dedicated to Chris Shurety, Founder and Artistic Director of CoMA.

Dark Sun is a threnody for this tragic event and the victims as well as survivors of the nuclear age.

Stephen Montague is an Anglo/American composer born (1943, Syracuse, New York) and educated in the USA but living in Europe since 1972, first as a Fulbright Scholar in Warsaw and since 1974 in London where he works as a freelance composer. His works have been performed worldwide by leading orchestras, ensembles and soloists including the London Symphony Orchestra, BBC Symphony Orchestra, the National Symphony Orchestra (Washington, DC), pianists Stephen Kovacevich, Joanna MacGregor, Mark-André Hamelin and percussionist Evelyn Glennie.

The recordings you will hear nested in the orchestral textures are from radio broadcasts of the period and at another point in the work individual members of the orchestra create a collage of music which might have been played somewhere in the world on the 6th August, 1945.

The radio to your right is a Japanese propaganda station featuring “The Zero Hour” with Tokyo Rose, as she was known to the Allied soldiers. Her mission was to make the Allies homesick with popular music of the day and stories from “back home.” The central radio is the BBC with broadcasts from the war in the Pacific, ending with a RAF observer’s laconic account of the atomic bomb that fell three days later on Nagasaki.

The radio station to your left plays an American children’s programme called “Terry and the Pirates” set against a backdrop of the Japanese invasion of China in the 1930s and a little later “Hop Harrigan - America’s Ace of the Airwaves.” These old radio broadcasts are used as additional audio textures in the larger sonic fabric - a distant resonance, crackling in and out of focus, from a dark period of the world at war.

Notes by the composer

‘Little Boy’ the 10 foot, 4.5 ton atomic bomb dropped onto Hiroshima by the B-29 Enola Gay

Montague’s works are published by United Music Publishers Ltd: ump.co.uk

READ Hiroshima (Penguin Modern Classics, 1946) by John Hersey.

An account of the aftermath focusing on the experience of six survivors.

Hiroshima - the devastation after the bomb

LISTEN Threnody for the victims of Hiroshima by Polish composer Krzystof Penderecki.

Doctor Atomic opera by American composer John Adams.

VISIT Conflict Time Photography exhibition at Tate Modern (ends March 15).

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UNIVERSITY OF SUSSEX SYMPHONY ORCHESTRA Principal Conductor: Ed Hughes Special Guest Conductor: Stephen Montague FIRST VIOLINS Saki Tapsell (Leader) Alexandra Hill Jon Loveday Patrick Lyons Roderick Reece Krisha Simkins Harry Wong Haniah Habash-Bailey Daniel Murphy Tom Kuhn Becky Johnson SECOND VIOLINS Amelia Katz Karen Lainga Ko Nicky Robson Madhushala Senaratne Oliver Smith Isabella di Stefano Marylin Thomas Tiffany Quach Elvis Li Laura Donovan** Kamilah Mcinnis-Neil** VIOLAS Robert Mann Julie Panzieri * Russell Robinson Sylvi Du Sauzay Ben Whiston

CELLOS Esmé Acton-Stewart Hannah Al-Azzawi Martin Buxton Sally Evans Elona Hoover Sasha Kaser* Richard Morson Jessie Rutland Brechje Walpot Alice Eldridge ** DOUBLE BASS Ben Sauer **

BASSOONS Hilary Ougham * Matthew Roberts Kaming Ng ** HORNS Hatti Bailey Becka Hancock * (President, USSO) TRUMPETS Richard Pethick Laura Pritchard * Thomas King

FLUTES Jenny Kelso Charlotte Redstone Jess Schofield Tallia Woodhouse *

TROMBONE Adam Rashed *

CLARINETS Elizabeth Swann Maddi Stokes Steve Dummer **

PIANO Norman Jacobs **

OBOES Charlotte Rawlinson * SAXOPHONE Vicky Tremain **

TUBA Dom Horsley *

HARP Lucy Smith ** ORGAN Andrew Wilson **

RADIO OPERATORS Helen Burford (USA), Blue Pin (Britain), Shin Suzuma (Japan) STAGE AND ORCHESTRA MANAGER Liz Webb lizwebb.org.uk

CHORUS SOPRANO Jen Coles Rebecca Rees Kat Carson

TENOR Andrew Manning-Jones Nick Boston Sergio Amico

ALTO Marilyn Linehan

BASS Steve Linehan

ST NICHOLAS CHURCH BRIGHTON CHOIR Organist & Director of Music: Dominic Desouza TREBLES Katy Rashid Amy Morrell Imogen Okendon Tia Mitchell Cameron Mitchell Bradley George

SOPRANOS Lara George

Sarita Mitchell Kate Heusser Louise Roddon Kathy Rogers Christine Armstrong

ALTOS Cara Barseghian (Assistant Director of Music) Philippa Sankey

Heather Wilkin Eve Eley Louise Schweitzer

TENOR Dominic Desouza-Campbell

BASS Jonathon Okendon Conor Mitchell

THE SOUTH DOWNS PERCUSSION ENSEMBLE Grant Allardyce (Director) Mathew Flood Alfie Dyer Alfie Rolph Oliver Plant Jake Skingle

THE CoMA COLLECTIVE Robyn Brown Will Kemp Evelyn Ficarra Daniel Lauro

PERCUSSION UNIVERSITY OF SUSSEX ORCHESTRA Leon Baruah Daniel Semo Daniel Ansell Hind Nemmassi

Although every effort has been made to include the names of each person performing this evening we would like to apologise in case of any errors or omissions.

* Principal Players ** Special Guest Players

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OpenUp Music (formerly the MUSE Project) is a new social enterprise with a simple mission - to open up youth orchestras and musical instruments to young disabled musicians.

Whether it involves creating a musical instrument you can play with your eyes or working with a school to help them establish their first orchestra, OpenUp Music is there to help.

School orchestras are a rare sight within special schools. There are very few youth ensembles that make provision for young disabled musicians and there is currently no national youth orchestra for those disabled by conventional musical instruments.

Since 2013 OpenUp Music has: • Established six new orchestras at special schools in the South West • Created new assistive music technology that enables all young people to experience the joy of performing as part of an orchestra

We’re currently fundraising and planning for a South West Open Youth Orchestra and a National Open Youth Orchestra to provide essential progression routes for young disabled musicians, as well as for the creation of new musical instruments that can enable them to excel in expressive musical performance.

Email: info@openupmusic.org Web: www.openupmusic.org Twitter: @openupmusic Facebook: OpenUp Music Bristol

• Developed fruitful partnerships with a range of organisations including the British ParaOrchestra, Bristol Plays Music, OHMI (the One Handed Musical Instrument Trust) and UWE (University of the West of England)

Charlotte White

Doug Bott MUSIC FOR CURIOUS MINDS

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THE HAMMER UNLEASHED ‘Being creative is like riding a bicycle. If you don’t go forward, you fall off.’

Pierre Boulez Radical composer, conductor, pianist, writer, technological pioneer, revolutionary and establishment figure. This controversial individual was pivotal in the post-war years, helping to define the avant-garde movement which aimed to ‘wipe the slate clean’, replacing Nazi-tainted European music with a new musical aesthetic. Boulez’s non-compromising stance as a conductor, initially championing the music of Webern, Bartók, Schoenberg and Stravinsky (and later the music of Debussy, Ravel, Messiaen, Mahler and Szymanowski), helped reshape the performance practice, recognition and wider understanding of modern music.

In this concert, we feature a composition from each decade of Boulez’s career as a composer - from his very first work to his most recent.

‘I think music should be collective hysteria and magic, violently modern.’

Pierre Boulez, 1948 Douze Notations (1945) for piano (10’) performed by Julian Trevelyan Twelve Notations is Boulez’s first work, written at the age of 19 during the final months of the Second World War, shortly after he had completed his studies with Olivier Messiaen. These short highly individual pieces provided the seeds for Boulez’s ongoing orchestral ‘work in progress’, Notations for orchestra.

Two extracts from Le Marteau sans maître (1955) for flute and percussion (6’) performed by Helen Whitaker and Adam Bushell

Music by Pierre Boulez

In 1952, Boulez began the composition of Le Marteau sans maître (The Hammer Unleashed), the piece which firmly established his name as a composer, winning plaudits from even the composer Igor Stravinsky who said, ‘I shall explain my admiration for this work but paraphrase Gertrude Stein’s response when asked why she liked Picasso’s paintings: “I like to look at them.”

Personally, I like to listen to Boulez.’

Part 1 - Movement 3 – L’Artisanat furieux Part 2 - Four fragments from movt. 9 – Bel édifice et les pressentiments Helen Whitaker notes, ‘In part 2, the percussion line is extremely important. Boulez has provided the tamtam/gong part in this étude, which is why I wanted to use them in the performance - they give a great insight into the sound world of the whole piece.’

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THE HAMMER UNLEASHED Dérive 1 (1984) for six instruments (7’) Dérive 1 is a short work for 6 instruments that refers to the 6 note chord on the name of Paul Sacher (Es-AC-H-E-Re in German notation): E flat-A- C-B-E-D, who commissioned Boulez to write an earlier multi-cello work Messagesquisse. The meaning of ‘dérive’ is ‘drift’, an apposite word to describe the swirling reverberant texture of this piece.

Une page d’éphéméride (2005) for piano (5’) performed by Julian Trevelyan

‘I have the sort of temperament that tries to invent rules so as to have the pleasure of destroying them later.’

Pierre Boulez, 1975 Extracts from Domaines (1968) for solo clarinet (7’) performed by Steve Dummer In this piece, Boulez explores the resources and different sonorities of the solo clarinet. The soloist plays several sections in an undetermined order, offering a new level of flexibility for the performer – referred to by Boulez as alea (‘controlled chance’).

Translatable as either ‘Block Calendar Page’ or ‘Constellation Diary’, this short piano piece was composed in 2005 for ‘Piano Project’ by Universal Edition with the intention of introducing talented young pianists to contemporary techniques and expression. As Boulez has acknowledged, this ‘simple piece’ is not really that simple.

INTERVAL - 20 Minutes

Improvisé – pour le Dr. K. (1969/2005) for flute, clarinet, viola, cello, piano (3’) This piece was written in 1969 as part of a series of tribute pieces to the music publisher Alfred Kalmus.

Boulez was late completing his commission, which was not performed until a few weeks after the 80th birthday of its dedicatee. Revised in 2001, a definitive version was finally published in 2005.

‘I like virtuosity, although not for the sake of virtuosity but because it’s dangerous.’

Pierre Boulez, 2010 Anthèmes 2 (1992/1997) for violin and live electronics (20’) performed by Mandhira de Saram and James Bull Anthèmes 2 takes material from a short piece for solo violin from 1991, which owes its structure to Boulez’s childhood memories of Lenten Catholic church services, in which the Lamentations of Jeremiah were intoned: Hebrew letters enumerating the verses with the verses themselves in Latin. Boulez creates two similarly distinct sonic worlds: the Hebrew enumerations become long static or gliding harmonic tones and the Latin verses become sections that are contrastingly energetic and angular.

around the live sound; (iii) the sound can be projected spatially around the audience.

‘[At IRCAM] we created instruments that have totally changed people’s perception of intervals and…textures. We achieved the equivalent of a revolution in architecture of concrete, glass, and metal. The change of material forces you to think differently.’

Pierre Boulez, 2011 Notes by Norman Jacobs

In 1997, the composer remarked, ‘At the time of my very early youth, I thought that all music had to be athematic, without any theme, and finally, I’m now persuaded that music must be based on things that can be recognisable…so visible that they cannot be mistaken for another entity.’

READ Pierre Boulez (Faber; trans. Susan Bradshaw, 1991)

by Dominique Jameux Boulez: Conductor, Composer, Enigma (Cassell, 1976)

by Joan Peyser

The live electronic processing technology follows the violinist’s performance, responding with three kinds of modification: (i) the spectrum of the sound can be extended, producing a different harmony or colour; (ii) the figure can be repeated, weaving counterpoint

LISTEN Boulez: 20th Century (released February 2015) 44 CDs complete DG recordings Boulez: Complete Works (Deutsche Grammophon, 2013)

The Hammer Revisited (2015) (3’) World premiere of commission by Tom Reid The Hammer Revisited applies harmonic and melodic material derived from the first three bars of Avant L’Artisanat Furieux (Before the Furious Craftsmanship), from Boulez’s Le Marteau sans maître. The rhythmic ideas were conceived independently, with syncopated gestures and dotted dance rhythms especially prominent. In the middle section, two pulsating melodic patterns emerge - one improvisatory, the other more ‘calculated’ - and unfold at different speeds, while the pedal bass indicates a third tempo.

Tom Reid is a PhD student in Musical Composition at the University of Sussex.

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Excerpts from the film Living in the Present by Barrie Gavin (7’) Barrie Gavin joined the BBC as an assistant film editor in 1961. Since 1964 he has directed programmes principally about music. Since 1966 he has made many films about contemporary music, several in collaboration with Pierre Boulez including Tele-Marteau (1968), Boulez Now (1983) and Living in the Present (2005).

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THE HAMMER UNLEASHED

THANK YOU

Mandhira de Saram violin

Without the support of the following organisations, this series would not have been able to take place:

A professional freelance violinist, Mandhira is the founder and leader of the Ligeti Quartet which performed last year at Wigmore Hall, London. This is her first performance of Anthèmes 2.

Valerie Welbanks cello

Born in Canada, Valerie is currently based in London, where she appears regularly with the Marsyas Trio, one of the few flute, cello and piano trios in the world, and the Ligeti Quartet.

James Bull live electronics

Adam Bushell percussion

Adam Swayne conductor

Julian Trevelyan piano

James is an Audio Engineer, Sound Designer and Musician. He is also a singer with Intimate Voices who performed Stockhausen’s Stimmung to a sell-out audience at a previous MOOT event.

A lecturer in music at Chichester University and a notable pianist, Adam recently performed Frederic Rzewski’s virtuosic masterwork The People United Shall Never Be Defeated.

Helen Whitaker flute

Helen graduated with a Masters degree in performance from Trinity Laban Conservatoire of Music and Dance with a distinction. She was a Gold Medallist and also the winner of the coveted Harold Clarke Woodwind Prize (2012).

Steve Dummer clarinet

Founder of Talkestra! and principal conductor of Horsham Symphony Orchestra, last year Steve played Messiaen’s Quartet for the End of Time in a performance with actress Dame Harriet Walter.

Susan Appel viola

Freelance professional violist, Susan has played with London Mozart Players, City of Birmingham Symphony Orchestra, BBC Scottish Orchestra and many other well-known ensembles.

A full-time percussionist who is as comfortable with traditional folk music and free improvisation as he is with classical music, Adam teaches for BHAMS, ESMS, and is founder of the Tacet Ensemble.

Still only 16, Julian is currently studying for a degree in Natural Sciences. Julian was a piano category finalist in last year’s BBC Young Musician of the Year. He is a member of Aldeburgh Young Musicians and is a keen violinist and singer.

Norman Jacobs piano

Artistic Director, MOOT - music of our time and co-author of My Hometown Concentration Camp.

Arts Council England RVW Trust St Peter Laine Community Development Fund Brighton & Hove City Council Oakley Residential Thanks also to: Brighton Science Festival Open Up Music OHMI Imperial War Museum Steinway & Sons Latest TV MOOT Volunteers: Will Kemp Hind Nemmassi Jess Edmed Thomas Jones

MOOT Friends & Patrons and all the musicians involved in this project

Special thanks to: Liz Webb Ed Hughes Stephen Montague Svetlana Palmer & Paul Bernays, Artisan Pictures Barrie Gavin Richard Robinson, Rachel Strange, Keita Lynch, BSF James Epps, Oakley Residential Becka Hancock, USSO Lynn Ruth Miller & Richard Shayler, Latest TV Jana Gajdošíková, Universal Edition publishers Ackerman Music, Brighton Maxx Media Steinway & Sons, London Matthew Lee, IWM Alf Penn, IWM Katja von Schweitzer, All Saints Church Lynn Rashid, St Nicholas Church Marion Bonce, Unitarian Church Grant Allardyce, ESMS Mark Andrew James, SSO

Brighthelm Community Centre Brighton Jubilee Library Stephen Hetherington, Sarah Lafford & Rachel Wolffsohn, OHMI Trust Andy Silsby Steve Carroll-Turner David Widdicombe David Flanders Geoff Thomas Kevin Pickett, KP Design Maff Littlemore, Draw Blank Design Mail Boxes Etc. GENIE Print Dave Bennett, Sussex AV Hire Terry Bryan Ursula Oppens Simon Hopkins Hilary Champion, Post War Orchestra School of Media, Film and Music, University of Sussex The Flying Heritage Collection & Vulcan Productions

Music for Curious Minds – February 2015 MOOT is a non-profit group promoting contemporary music arts education MOOT – music of our time, Community Base, 113 Queens Road, Brighton, East Sussex BN1 3XG Patrons: Pierre Boulez, Alexander Waugh, Dr Paul Whittaker OBE (Music and the Deaf) Committee: Norman Jacobs, Lynn Rashid, Thomas Jones, Will Kemp, Dr Adam Swayne

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