NYOS Symphony Orchestra Spring Programme 2022

Spring Programme 2022

Kerem Hasan

Conductor

Jess Gillam

Saxophone

Friday 15 April, 7.30pm

Usher Hall, Edinburgh

Saturday 16 April, 7.30pm

Glasgow Royal Concert Hall

In deciding on a programme, my first thought was to include a variety of musical styles so that these talented young musicians can absorb as much diverse repertoire as possible. I believe the programme that we have chosen does exactly that. In the first half, Fountains of Rome presents a wonderful opportunity to explore the uniquely romantic composition of Ottorino Respighi. A challenging, beautiful and indulgent work, Fountains of Rome allows the entire orchestra to shine through the numerous solo voices and melodies.

It is a pleasure to be able to invite the inspirational Jess Gillam, and John Harle’s composition Briggflatts is the perfect work to show her talent and enable the orchestra to tackle some exciting contemporary music.

Finally, Shostakovich’s Tenth Symphony is as antithetical to the first half repertoire as possible. This harsh and bleak work showcases a soundworld that requires a certain style of playing, while challenging every player in the orchestra with Shostakovich’s virtuosic writing. This symphony offers these young musicians the exploration of a musical culture and idiom that is very different to the Western European classical tradition and I am delighted we can share these works to our audience!

Kerem Hasan Conductor

Kerem Hasan

Conductor

Kerem Hasan commences his third season as chief conductor of the Tiroler Symphonieorchester Innsbruck, after starting this position in September 2019. In summer 2017, the young British conductor laid the foundations for a very promising international career by winning the Nestlé and Salzburg Young Conductors Award. Prior to this, he had already attracted attention as a finalist in the Donatella Flick Conducting Competition in London and as Associate Conductor of Welsh National Opera.

Apart from his concerts with the Tiroler Symphonieorchester, Kerem also returns to the Tiroler Landestheater in Innsbruck to conduct Rossini’s L'italiana in Alger and Mozart's Die Zauberflöte. Further highlights of his 2021/22 season include opera productions at English National Opera (Così fan tutte) and Glyndebourne (The Rake’s Progress) as well as concerts with the Tonkünstlerorchester Niederösterreich, Borusan Philharmonic Orchestra and Antwerp Symphony Orchestra. Furthermore, Hasan debuts with the BBC Philharmonic, Bournemouth Symphony Orchestra and Orquesta Sinfónica de Galicia and returns to the ORF Radio Symphonieorchester Wien, Orchestre National du Capitole de Toulouse, Royal Philharmonic Orchestra and Noord Nederlands Orkest. June 2022 sees him making his US debut with the Detroit Symphony Orchestra followed by concerts with the Minnesota Orchestra and at the Aspen Music Festival.

In the summer of 2016, Kerem Hasan first attended the Conducting Academy of the Aspen Music Festival, where he worked with Robert Spano. In 2017, he returned to the festival as Conducting Fellow and was subsequently awarded the Aspen Conductor Prize. As Assistant Conductor, he was in Aspen again in summer 2018.

Kerem Hasan, born in London in 1992, studied piano and conducting at the Royal Conservatoire of Scotland. Later, he continued his education at the Zurich University of the Arts with Johannes Schlaefli.

Jess Gillam

Saxophone

Hailing from Ulverston in Cumbria, Jess Gillam is animating the music world with her outstanding talent and infectious personality. She has been forging her own adventurous path since she shot to fame, becoming the first saxophonist to reach the finals of BBC Young Musician and the youngest ever soloist to perform at the Last Night of the Proms.

As well as performing around the world, Jess is a presenter on TV and radio. She became the youngest ever presenter for BBC Radio 3 with the launch of her own weekly show, This Classical Life. The show is in its third year now and in 2020 won the prestigious ARIA Award for Best Specialist Music Show. TV presenting includes the BBC Proms and BBC Young Musician.

Jess is the first ever saxophonist to be signed exclusively to Decca Classics and both of her albums reached No.1 in the UK Classical Music Charts. Her debut album was listed in The Times Top 100 albums of 2019. She has been the recipient of a Classic BRIT Award, has been nominated for The Times Breakthrough Award and was awarded an MBE in the Queen’s Birthday Honours list 2021 for Services to Music.

Her infectious enthusiasm and passion for classical and non-classical music lights up every stage and she has performed in prestigious concert halls and with world-class orchestras around the globe including the NDR Hannover, Gothenburg Symphony Orchestra, Iceland Symphony Orchestra, Minnesota Orchestra, Munich Philharmonic, Lahti Symphony Orchestra and the UK’s leading orchestras.

Jess is currently Artist in Residence at the Wigmore Hall, a European Concert Hall Organisation (ECHO) Rising Star which sees her performing at many of the top concert halls across Europe, and continues to promote her own concert series, bringing international talent to her home town of Ulverston.

Jess is a Vandoren UK Artist and became the youngest ever endorsee for Yanagisawa Saxophones aged just 13.

Ottorino Respighi (1879-1936) Fountains of Rome

DURATION 17 minutes

YEAR OF COMPOSITION 1916

THE WORLD IN 1916...

The Easter Rising takes place as Irish Republicans launch an armed insurrection against the ruling British government with the aim of establishing an independent Irish state.

Emma Goldman is arrested for publicly advocating for birth control in the United States.

FURTHER LISTENING

Lutosławski – Concerto for Orchestra

A tour de force of elaborate orchestral textures, which illuminate the Polish folk melodies the composer uses throughout.

Ottorino Respighi was an Italian composer writing in the first half of the twentieth century. His most celebrated works are vivid depictions of the Italian capital and the surrounding countryside. Fountains of Rome portrays 'four of Rome’s fountains contemplated at the hour in which their character is most in harmony with the surrounding landscape'. Following studies with Rimsky-Korsakov, who himself was an expert in orchestration, Respighi crafted works that manipulate vast symphonic forces to create evocative, and in the case of this work, highly descriptive soundworlds.

The work opens at daybreak by the Fountain of Valle Giulia, painting a pastoral scene amidst the clearing mists of a Roman dawn. The lively second movement celebrates the eponymous figure from Greek mythology who is immortalised by the Triton Fountain. The French Horns portray Triton blowing on a conch shell as depicted by the fountain. The majestic third section conjures the Trevi Fountain at noon, building to a triumphant climax depicting not only the splendour of the fountain but a grand procession led by Neptune’s chariot followed by a train of sirens and tritons. The final section captures a nostalgic sunset over the Fountain at the Villa Medici; bells toll, birds twitter, leaves rustle as the music quietly retreats into the silence of the night.

By Jack Johnson (© NYOS, 2022)

KEY OF TERMINOLOGY

Tritons – a group of fish-tailed sea gods of Greek mythology.

Sirens – dangerous creatures from Greek mythology who lured sailors with their enchanting singing voices to shipwreck on their island.

John

Harle

(b.1956) Briggflatts

Briggflatts is the title of an epic autobiographical poem by Basil Bunting (1900-1985) and is the inspiration for this work for Jess Gillam. The title comes from the name of the Brigflatts Quaker meeting house near Sedbergh in Cumbria, which Bunting attended regularly. Bunting believed that the essential element of poetry is the sound, and that if the sound is right, the listener will hear, enjoy and be moved, and that there may be no need for further explanation:

DURATION 21 minutes

YEAR OF COMPOSITION 2019

THE WORLD IN 2019...

Over 1 million people in Hong Kong protest against proposed legislation regarding extradition to mainland China.

Sanna Marin, at the age of 34, becomes the world’s youngest serving prime minister after being selected to lead Finland’s Social Democratic Party.

Poetry, like music, is to be heard. It deals in sound – long sounds and short sounds, heavy beats and light beats, the tone relations of vowels, the relations of consonants to one another which are like instrumental colour in music. Poetry lies dead on the page until some voice brings it to life, just as music on the stave, is no more than instructions to the player. A skilled musician can imagine the sound, more or less, and a skilled reader can try to hear, mentally, what his eyes see in print; but nothing will satisfy either of them till his ears hear it as real sound in the air. Poetry must be read aloud. (Basil Bunting, 1966, The Poet's Point of View)

Bunting had to wait over thirty years before he was properly recognised in Britain – in 1966, with the publication of Briggflatts, which Cyril Connolly called "the finest long poem to have been published in England since T.S. Eliot’s Four Quartets". Briggflatts was first read at Morden Tower, Newcastle, in 1965, in a poetry group organised by Tom and Connie Pickard.

It was famous for attracting modernist poets such as Allen Ginsberg, Ted Hughes, Seamus Heaney and Basil Bunting.

Above all, the effect of Briggflatts is accessibility and vocal colour, and on rereading the poem I was attracted to the idea of a ‘suite’ for Jess Gillam as it allows for independent movements to parallel the episodic, disparate and seasonal sections of the poetry. I wrote 'Flare' and "Garsdale" after long sessions of piano improvisation in direct response to the poetry, whereas "Rant!' was written as a fantasy on Cumbrian folk music directly. (The trumpet tune that introduces the final section is The Ulverston Volunteers – Jess herself is from Ulverston.)

I owe a debt of gratitude to Ed Heslam for his compilation of Cumbrian folk music, Music of Cumberland and Westmorland, without which much Cumbrian music would be lost.

Above all, my hope is that Briggflatts as music is as accessible and colourful as the poetry, and like the poem, can be appreciated on first listening.

From Basil Bunting’s Briggflatts: Great strings next the post of the harp clang, the horn has majesty flutes flicker in the draft and flare. Part 5, lines 78-80

In Garsdale, dawn: Part 1, line 57

Briggflatts is, of course, dedicated to Jess Gillam, the young virtuoso saxophonist with huge energy, a soaring sound, and an unforgettable presence, and Briggflatts takes its inspiration from Cumbria, her own part of England.

© John Harle, 2019

FURTHER LISTENING

Jess Gillam – Time

A brilliant and eclectic album from tonight’s soloist, which paints the hubbub of a single day in London through the prism of works by Philip Glass and Björk, among others.

First Violin

Scott Bryant, Kilwinning (Leader)

Thomasina Adamson, Glasgow

Eleanor Allen, Edinburgh

Alberto Brunelli-Bonet, Edinburgh

Helena Downie, Glasgow

Sophie Hamilton, Glasgow

Fraser Hannah, Castle Douglas

Lucy Hanson, Huddersfield

Chun-Yi Kang, Glasgow

Meredith Kennedy, Dunoon

Naomi Priestnall, Prestwick

Martha Spence, Edinburgh

Annabel Stevens, Glasgow

Rosie Stewart, Dunblane

Jack Sweet, Edinburgh

Second Violin

Jonathan Assur, Ayr

Isobel Barber, Haddington

Alasdair Campbell, Glasgow

Fiona Cantlay, Callander

Matthew Davis, Ayr

Daniel Higgins, Newport-on-Tay

Naomi Kurt-Elli, Le Mont-sur-Lausanne

Matthew Madeley, Edinburgh

Paul Mandujano Ersfeld, Glasgow

Sagnick Mukherjee, Glasgow

Dodie Simmers, Keith

Matthew Smith, Glasgow

Ola Stanton, Kinross

Claire Tootill, Edinburgh

Viola

Gordon Cervoni, Linlithgow

Sarah Hanniffy, Glasgow

Mairi McKellar, Aberdeen

Gordon McLaren, Kilwinning

Elena Muscat, Malta

Katie Potts, Glasgow

Daisy Richards, Dunblane

Orla Smyth, Oxford

Cello

Tess Anderson, Glasgow

Roshni Bhaumik, Glasgow

Charlotte Hay, Laurencekirk

Kirstin Petrie, Aberdeen

Gemma Ramsay, Aberdeen

Chloe Randall, Glasgow

Andrew Rogers, Manchester

Freya Ruuskanen, Glasgow

Beau Taneus-Miller, Edinburgh

Ruaraidh Williams, Newmachar

Double Bass

Emily Addis, Edinburgh

Euan Coyle, Glasgow

Emily McDougall, Glasgow

Joseph McLaren, Glasgow

Megan Warnock, Glasgow

Flute

Tilly Coulton, Glasgow

Molly Gribbon, Glasgow

Criseyde Holman, Glasgow

Lucy Walsh, Isle of Arran

Oboe

Caterina Lue, Glasgow

Annabelle Pizzey, Glasgow

Laura Ritchie, Stonehaven

Ross Williams, Glasgow

Clarinet

Louisa Buchan, Glasgow

Adam Lee, Irvine

Anthony McKenna, Motherwell

Amelia Neilson, Dumbarton

Cara Smith, Greenock

Bassoon

Cameron Deverill, Glasgow

Freya Edington, Glasgow

William Gold, Glasgow

Callum Hendry, Johnstone

Kaylyn McKeown, Glasgow

French Horn

Freya Campbell, Lamlash

Isabella Diaz Gonzalez, Glasgow

Esmé MacBride-Stewart, Edinburgh

LikWang Ng, Glasgow

Kirstin Spence, Anstruther

Rachel Wood, Hamilton

Trumpet

Calum Kerr, Glasgow

Maciej Meszka, Lossiemouth

Callum Robb, Innerleithen

Trombone

Anthony Connolly, Glasgow

MinKhai Khoo, Glasgow

Aaron Singh, Glasgow

Euan Wilson, Glasgow

Tuba

Jack Archibald, Glasgow

Sophie Smart, Mosstodloch

Percussion

Linzi Brain, Greenock

Madeleine Coxshott, Wemyss Bay

Ewan Millar, Glasgow

Zach Mitchell, Kilwinning

Callum Speirs, Blantyre

Harp

Beatrice Cheng, Glasgow

Clara Harrigan Lees, Edinburgh

Hannah Middleton, Glasgow

Piano

Esther Ersfeld Mandujano, Glasgow

Dmitri Shostakovich (1906-1975) Symphony No.10 in E minor, Op.93

i. Moderato

ii. Allegro

iii. Allegretto – Largo – PiÙ mosso

iv. Andante – Allegro – L’istesso tempo

…I did depict Stalin in my next Symphony, the Tenth. I wrote it right after Stalin’s death, and no one has yet guessed what the Symphony is about. It’s about Stalin…

James Watson and Francis Crick announce their discovery of the structure of the DNA molecule.

Ian Fleming publishes his first James Bond novel.

Rationing of sugar ends in the UK.

The above quote is taken from Shostakovich’s memoir Testimony. Although the book’s authenticity is widely questioned, it is difficult not to sense that the terror of the Stalin years is imprinted in Shostakovich’s work. The wide-ranging cultural restrictions, and the sometimes life or death implications of following them, made composing music in the Soviet Union an inherently political act. Shostakovich, like all prominent Soviet artists, had to contend with the dizzyingly dichotomous official reaction to his works, and cycled through periods of acclaim (Symphony No.5) and denouncement (Lady Macbeth of Mtsensk).

As with many Shostakovich symphonies, the long opening movement begins ominously with the lower strings, the initial thematic material gradually unravelling until a haunting melody emerges from the clarinet. Soon the orchestral texture grows as the music builds in intensity before retreating into a solemn brass chorale following which the clarinet, at first playing entirely on its own, reiterates its opening motif. While hardly deviating from the Moderato pace, the central

section builds to a number of sustained climaxes, with shrieking woodwinds, stalked by the presence of a side drum, before a quiet, and desolate, return to the music of the introduction.

The short, fast and furious second movement is regarded to be the most explicit allusion to Stalin in the symphony. Whether it is true that Shostakovich intended it to be a direct musical portrait is contested, but this frenetic scherzo is undoubtedly imbued with a sense of terror and violence, the side drum once more an unrelenting presence.

The third movement introduces Shostakovich’s musical signature: D-E flatC-B. Using the German transliteration of his name (Schostakowitsch), and the German spellings of those notes (D-EsC-H), Shostakovich can spell the initial of his first name (Dmitri) and the first three letters of his last, in what is otherwise known as the D-S-C-H motif. Another theme in this movement is thought to represent one of his pupils, Elmira Nazirova (E-A-E-D-A, or E-La-Mi-Re-A). The interplay between these two musical signatures played on the horn, piccolo and flute at the movement’s end, are thought to signify Shostakovich’s unrequited longing for his pupil, and offers a more personal reading of the symphony, aside from the more overt political content.

The final movement could be seen as a microcosm of the entire symphony, with stark changes in tempo and abrupt

atmospheric shifts, until a jaunty, possibly sardonic, bassoon solo, soon taken up by the clarinet, begins to hint at a more optimistic ending. As the symphony reaches its climax, the D-S-C-H motif is repeatedly asserted by the horns and trumpets, accompanied by a whirlwind of unison scales in the woodwind and strings before reaching a hysterical and, seemingly, joyous conclusion.

By Jack Johnson (© NYOS, 2022)

FURTHER LISTENING

Sofia Gubaidulina – Concerto for Two Orchestras

While Shostakovich’s works are often scrutinised for hidden political content, Gubaidulina viewed music as an escape from the realities of Soviet Russia.

Shostakovich – Symphony No.5

A fascinating work that appears to celebrate and parody Stalin all at the same time.

PLACES AVAILABLE FOR SUMMER 2022!

The summer school provides outstanding jazz tuition from a carefully selected team of renowned jazz musicians and educators from the UK and beyond, in breathtaking surroundings, on the Isle of Skye. The course is for instrumentalists and vocalists aged between 12 and 21.

Applications open from 19 April to 3 May. To find out more and to apply visit: nyos.co.uk/jazz/jazz-summer-school

YOUR COMFORT AND SAFETY

We are continually assessing the ongoing situation with Covid and monitoring guidance and safety recommendations to ensure that we are providing a safe environment for all participants. The wellbeing of our musicians, audiences and staff is our main priority, so please do get in touch should you have any questions regarding this.

Safety recommendations may include;

Government guidance and safety protocols may change over the coming weeks and months. We recommend that you check these on the Scottish Government website at www.gov.scot/coronavirus-covid-19 before attending any live event.

STATUTORY FUNDING

Creative Scotland Regular Funding

Creative Scotland Youth Music Initiative

SPONSORSHIP

John Lewis Partnership

TRUSTS & FOUNDATIONS

A M Pilkington Charitable Trust

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Angus Allnatt Charitable Foundation

A Sinclair Henderson Trust

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Ecton Trust

The Educational Institute of Scotland (EIS)

The Endowment Trust of the National Youth

Orchestras of Scotland

Ernest Cook Trust

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The J T H Charitable Trust

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Mr and Mrs J M B Charitable Trust

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P F Charitable Trust

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Talteg Ltd

Tay Charitable Trust

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W A Cargill Fund

Walter Craig Charitable Trust

The Zich Trust

CONDUCTORS’ CIRCLE

Ms Lindsay Pell and Professor Chris Morris

Professor Marjorie and Dr David Rycroft

NYOS SYMPHONY ORCHESTRA

Principal Chair Sponsors

The Baron of Balvaird Principal Harp

Mrs A M Bennett Double Bass

Mr and Mrs Timothy Laing Piano/Celeste

Geoffrey and Jean Lord Percussion

Mr Michael J Pell Bassoon

Dr Myra Soutar French Horn

St Fillans Music Circle Viola

Chair Sponsors

Kirsty Adam Cello

Charles Arbuthnot

Lord and Lady Cameron of Lochbroom Violin

Colin E Christison Viola

Alan Davis Cello

Dr T and Mrs Y Fitzgerald Violin

Mr Andrew Hadden Violin

Mrs Iain Harrison Cello

Professor David Hamilton Lawson Oboe

Carolyn Lawson Timpani

Duncan and Sarah MacIntyre Violin

The Rt Hon Lord MacLean

Mr and Mrs Thomas McCreery

Mr Robin Pagett and Mrs Kate Longworth

Professor and Mrs Kenneth Paterson

In memory of Ian Robertson Bassoon

Mr and Mrs Mark Seymour

Maureen Simpson Cello

Dr C D and Mrs K A Sinclair

Mr A L Stewart French Horn

Lorna and Patrick Stewart Double Bass

Graham Taylor MBE Trombone

Peter Thierfeldt Double Bass

Mrs Ann Verney Cello

Mr and Mrs R M Williamson

Graeme and Ella Wilson

Dr and Mrs Paul Wilson

NYOS JAZZ ORCHESTRA

Chair Sponsors

Tim and Sally Barraclough Percussion

Theo and Noah Rossi Piano

NYOS JUNIOR ORCHESTRA

Leader Chair Sponsor

Alan and Jan Simpson

Principal Chair Sponsor

Dr Myra Soutar Second Violin

HONORARY CHAIR SPONSORS

In memory of Richard Chester MBE

Sarah Chester

We are incredibly grateful to all our Sponsors and Funders listed above for their continued support. NYOS also acknowledges those who wish to remain anonymous.

Professor and Mrs Andrew Bain

Sandra Bale

Mr Douglas Burke

Mr Graham Bygrave

Kevin and Linda Clarke

Dr Joseph Coleiro

Mrs R Coleman

Mr and Mrs Cooper

Mr and Mrs Morrison Dunbar

Mr and Mrs A Craig Duncan

The Countess of Elgin and Kincardine

Janey and Leslie Fleming

Mr Malcolm Fleming

Professor and Mrs Andrew Hamnett

Mr Patrick Harrison

Peter and Barbara-Ann Hawkey

Penelope Johnston

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Mrs Mary K Lawson

Mr and Mrs Crawford Logan

Dr and Mrs Warren Luke

Professor M A Lumsden

Mr and Mrs R P Manson

Mr James McBeath

Mr George McCaig

Mr John McLeod

Mr and Mrs D McVicar

Mr and Mrs Neil G Meldrum

Mr Allan Murray

Mr David A J Noble

Mr Philip Oppenheim

Mr John B Park

Simon and Lesley Paterson

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Dr Stephen and Dr Alison Rawles

Alastair Rennie

Jennifer and David Rimer

Alan and Catriona Robertson

Mrs Kay Robertson

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The Hon Lord Weir

Mr Colin West

Elizabeth Wood

We are incredibly grateful to all our Friends and supporters listed for their continued support, and to those who wish to remain anonymous.

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NYOS Staff, Board & Tutors

Course Staff

Judith Archibald Course Manager

Pete Deane Orchestra Logistics

Tutors

Chris George Violin I & Strings

Marion Wilson Violin II

Tom Dunn Viola

Philip Higham Cello

Nikita Naumov Double Bass

Fiona Fulton Flute

Peter Dykes Oboe

Joe Pacewicz Clarinet & Wind

David Hubbard Bassoon

Steve Cowling Horn

Jason Lewis Trumpet

Kyle MacCorquodale Trombone

Craig Anderson Tuba & Brass

Louise Goodwin Percussion

Rhian Hanson Harp

Pastoral Team

Stephanie Colley Head

Lewis Banks

Alasdair Garrett

Rebecca Goodwin

Andrew Vettraino

Vickie Whitelaw

Office Staff

Kirsteen Davidson Kelly

Chief Executive

Jacqueline Rossi

Head of Development

Jack Johnson

Development Manager

Anthony Coia

Marketing & Communications Manager

Judith Archibald

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Helen Douthwaite

Classical Ensembles Manager

Jill Dykes

Jazz Ensembles & Outreach Manager

Gaynor Gowman

Ensembles Co-ordinator

Hayley Gough

Administration Manager

Amy Cook

Projects Assistant

Nicole Bull

Finance Officer

NYOS Board

Lindsay Pell Chair

Francis Cummings

Kirsteen Davidson Kelly

Kate Miguda

Kenneth Osborne

Oliver Searle

Emma Stevenson

Calendar of Upcoming Events

SATURDAY 23 APRIL, 8PM

NYOS Futures (G-Jazz)

Centre for Contemporary Arts, Glasgow

T: 0141 352 4900

W: https://www.cca-glasgow.com

FRIDAY 8 JULY, 8PM

NYOS Jazz Orchestra

Sabhal Mòr Ostaig, Isle of Skye

T: 01471 844207

W: seall.co.uk

SATURDAY 9 JULY, 8PM

NYOS Jazz Orchestra

Nairn Community & Arts Centre

T: 01667 453476

W: nairncc.co.uk

SUNDAY 10 JULY, 8PM

NYOS Jazz Orchestra

Lemon Tree, Aberdeen

T: 01224 641122

W: aberdeenperformingarts.com

MONDAY 11 JULY, 8PM

NYOS Jazz Orchestra

Tolbooth, Stirling

T: 01786 274000

W: stirlingevents.org/tolbooth-event

FRIDAY 15 JULY, 6PM

NYOS Junior Orchestra

Perth Concert Hall

T: 01738 621031

W: horsecross.co.uk

FRIDAY 29 JULY, 7PM

NYOS Senior Orchestra

Ayr Town Hall

T: 01292 288235

W: thegaiety.co.uk

THURSDAY 4 AUGUST, 7.30PM

NYOS Symphony Orchestra

Music Hall, Aberdeen

T: 01224 641122

W: aberdeenperformingarts.com

FRIDAY 5 AUGUST, 7.30PM

NYOS Symphony Orchestra

Caird Hall, Dundee

T: 01382 434940

W: leisureandculturedundee.com

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