Cambridge University Musical SocietyWest Road Concert Hall

CambridgeCB3 9DP

www.cums.org.uk

Principal Guest Conductor Sir Roger Norrington CBE

CUMS Conductor Laureate Stephen Cleobury CBE

Artistic Advisor Sian Edwards

Saturday 27 October 2018, 8.00pmWest Road Concert Hall

HOLLY MATHIESONconductor

JAMES JONESviolin

(CUMS Concerto Competition 2018 prize-winner)

CAMBRIDGE UNIVERSITY

SINFONIA

www.cums.org.uk

CUMS is grateful for the support ofTTP Group – Principal Sponsor, Bloom Design, Christ’s College, Churchill College, Corpus Christi College, CUMS Fund, CUMS Supporters’ Circle, Emmanuel College, Gonville and Caius College, Jesus College, King’s College, Murray Edwards College, Newnham College, Peterhouse College, Robinson College, St Edmund’s College, St John’s College, Trinity College, Trinity Hall, University of Cambridge Faculty of Music, University of Cambridge Societies Syndicate, West Road Concert Hall, Wolfson College

Holly Mathieson conductor James Jones violin

Galina Ustvolskaya Poem No.1 Prokofiev Cinderella Suites (excerpts) Shostakovich Violin Concerto No.1

Cambridge University SinfoniaSaturday 27 October 2018, 8.00pm

West Road Concert Hall

CUMS Concerto Competition 2018 prize-winner

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WelCOMe

As the president of the Cambridge University Sinfonia, it is my pleasure to welcome you to the first concert of our 2018 season. We’re all excited to perform together for the first time, presenting an exhilarating programme of Russian music.

Tonight we will be joined by guest conductor Holly Mathieson, previously Assistant Conductor of the Royal Scottish National Orchestra and now working with orchestras including the BBC Scottish Symphony, lSO, and lPO, and CUMS Concerto Competition 2018 prize-winner James Jones, who will perform Shostakovich’s sublime first violin concerto. We will also play the thrilling first Poem for Orchestra by Ustvolskaya, and excerpts from Prokofiev’s jubilant and comic opera Cinderella. The evening promises to be a true showcase of the wide-ranging musical talent in Cambridge.

The rest of our season is full of yet more exciting music at CUS, including Brahms’ Symphony No.2 in November, Britten’s War Requiem at King’s College Chapel in January and more Shostakovich in March. We hope you enjoy our concert tonight, and we look forward to seeing you again very soon!

Carlos RodriguezCambridge University

Sinfonia President

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Galina Ustvolskaya (1919–2006)

Poem No.1Ustvolskaya is known as an uncompromising modernist, whose eschewal of the accessibility-focused aesthetic of Socialist realism led to very few of her works being performed before 1968.

For much of her life she was based around the leningrad Conservatory, where she studied under Shostakovich and Steinberg from 1939-1947, and later taught composition at the music college attached to it until 1975. Shostakovich famously had a great deal of respect for his former pupil, supporting her in the Union of Soviet Composers against opposition for her colleagues, sending her his unfinished works for appraisal, and quoting her pieces in his own work. The second subject of the finale of Ustvolskaya’s Trio for Clarinet, Violin and Piano (1949), for example, appears both in his Fifth String Quartet op.92 and in his Michaelangelo Suite (no.9).

Despite Ustvolskaya’s progressive outlook, she did write several patriotic pieces for official consumption. Her Poem No.1, initially titled The Light of the Steppe, is one two tone poems written in this more accessible style and, as such, both were initially excluded from the author’s official Catalogue.

The piece’s central section features a playful march, whose tune is treated to changing-background variation in Glinkan style, flirting with increased dissonance until it emerges triumphant at last. On either side of this, lugubrious, brooding string passages evoke the vast desolation of the Asian Steppe.

SergeiProkofiev(1891–1953)

Cinderella Suites (excerpts)Suite No.1

1. Introduction 4. Fairy Godmother and Fairy Winter 7. Cinderella’s Waltz 8. Midnight

SuiteNo.3 6. The Prince Finds Cinderella 4. Amoroso

“A major role in my work on Cinderella” wrote Prokofiev “was played by the fairy-tale nature of the subject, which faced me as the composer with a number of interesting problems”.

Cinderella was to be Prokofiev’s sixth ballet after Ala et Lolly, Chout, Pas d’Acier, L’Enfant prodigue, and Romeo and Juliet. Indeed, it was on the back of the latter’s leningrad triumph in 1940 with the Kirov Ballet that Cinderella was commissioned – though this was to be the composer’s first fairy-tale

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setting, and the work marked a return to a new lyricism and simplicity of style, after the more staunchly modernist themes of his earlier Ballets Russes commissions.

However noble a cause true love may be, with the Nazi invasion of Soviet Russia in June 1941, the ballet was put on hold and Prokofiev’s efforts were instead invested in more self-consciously patriotic military marches, the epic opera War and Peace, and the grandiloquent fifth symphony. After being evacuated to Tiflis, Georgia, the composer returned to the ballet, completing the piano version in 1943, and the orchestration the following year before the staged Cinderella was finally met with great acclaim at the Bolshoi Theatre, Moscow in 1945.

The ballet harks back to the old classical tradition of Tchaikovsky, and Prokofiev was keen to give dances ample opportunity to display their art, stressing variety and the need for dances to spring naturally from the design of the plot.

INTeRVAl

DmitriShostakovich(1906–1975)

Violin Concerto No.1I. Nocturne

II. ScherzoIII. PassacagliaIV. Burlesque

In 1947 Shostakovich began sketching his op. 77 Violin Concerto. In 1948 a fresh battle cry sprang from the Central Committee reviling the “vicious” and “inartistic” state of Russian music. excoriating, in no uncertain terms, modern music which “reeks strongly of the odour of the contemporary, modernistic, bourgeois music of europe and America”, the decree marked Shostakovich out among its chief culprits and once more dredged up his long-suffering Lady Macbeth and its inimical 1936 Pravda review as examples of his formalist interests.

The concerto therefore remained unperformed until two years after Stalin’s death, when the climate was more prepared to accept a work that does not always wear its melodiousness on its sleeve and flaunts its dissonance occasionally too. The work was eventually warmly received at its 1955 premier, which featured the leningrad Philharmonic Orchestra under Yevgeny Mravinsky, and David Oistrakh as soloist.

Perhaps drawing on Brahms’s preliminary ideas for his own Violin Concerto, the work follows an unconventional four-movement form, substituting the traditional opening Allegro for a much more subdued Nocturne, whose fraught opening gradually grows more anxious and impassioned before the solo rises to its tranquil close.

The second movement, a B-flat minor Scherzo, is characteristically light and lively, and marks a percussive shift from the Nocturne’s untroubled

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lyricism as soloist and orchestra struggle for melodic prominence. The movement features an early reference to the DSCH motif – a motif that recurs in subsequent works to represent the composer himself - that is alternated with a Klezmer-inspired melody. Chronologically the work is very close to Shostakovich’s Op. 79, the song cycle From Jewish Poetry, and it is possible both grew out of a proclaimed interest in “jolly melody on sad intonation”.

The F minor Passacaglia of the third movement has been repeatedly described as the work’s emotional core. Indeed, throughout his oeuvre, Shostakovich repeatedly turns to the form as a vehicle for tragic subject matter – as in the fourth and fifth scenes of Lady Macbeth, and in his settings of Blok’s “The Town is Asleep” and Tsvetayeva’s “The Poet and the Tsar”. The composer breathes new life into the form here by basing the movement upon a limping, 17-bar ostinato that staggers into a mammoth, five-minute, cadenza before hurtling headlong into the concerto’s finale.

The Burlesque picks up where the scherzo left off. Donning once more what Boris Shwarz describes as the “devil-may-care abandonment” and the scintillating sardonic wit of the second movement, the finale works its way into a Bacchic frenzy – a devilish corruption of Tchaikovskian model, perhaps. This is the first real opportunity for the soloist to display the tinselly pyrotechnics the genre most famous for. Until this point, the greatest difficulty lying in the sheer breadth of emotional expression the work covers, with the soloist occupying what Oistrakh describes as a “pithy ‘Shakespearian’ role”.

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Holly MathiesonNew Zealand-born Holly Mathieson was until recently Assistant Conductor at the Royal Scottish National Orchestra, and Resident Conductor within the National Youth Orchestra of Scotland Orchestras. She also holds positions as Artistic Director of Rata Music Collective and Co-Artistic Director of the Nevis ensemble with Jon Hargreaves.

A passionate communicator, combined with crystalline technique and a collaborative approach, she has won plaudits in all forms of music direction from opera, ballet and family concerts to full scale symphonic programmes. In the past season she conducted projects with the london Symphony, BBC Concert, Royal Philharmonic, City of Birmingham, london Philharmonic, Scottish Chamber and Salomon orchestras, Southbank Sinfonia, Royal Northern Sinfonia’s Young Sinfonia, Red Note ensemble, Scottish Ballet, Royal College of Music Philharmonic Orchestra and the Royal Northern College of Music Symphony Orchestra. Summer 2018 also saw the inaugural tour of the innovative Nevis ensemble, which is founded on the maxim that “music is for everyone, everywhere”, and aims to take music out of the concert hall, and into isolated communities. The orchestra undertook over 70 concerts in a period of two weeks, travelling throughout Scotland.

The 2018/19 season will see her debut with the BBC Scottish Symphony Orchestra, BBC National Orchestra of Wales, the Royal liverpool Philharmonic Orchestra, National Youth Orchestra gB, Ulster Orchestra and Symphony Nova Scotia, as well as return appearances with the Auckland Philharmonic, Scottish Chamber Orchestra, Southbank Sinfonia, Royal College of Music Philharmonic Orchestra, a national tour with Scottish Ballet and performances at garsington Opera Festival.

Toward the beginning of her conducting career she was chosen as one of only four young conductors from around the world to participate in the Interaktion Dirigentenwerkstatt des Kritischen Orchesters with players from the Berlin Philharmonic and other top-tiered german orchestras. She enjoyed a critically acclaimed london debut with Opera Holland Park as part of the 2015 Christine Collins Young Artist Programme, and was a conducting fellow at Dartington International Summer School in 2013. She has worked with, and learned at the side of, many esteemed conductors and counts the following among her mentors: Marin Alsop, esa-Pekka Salonen, Christoph von Dohnányi, Peter Oundjian, Donald Runnicles, Thomas Søndergård, and garry Walker.

© guy Wigmore

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Holly is based in glasgow where she previously held the prestigious leverhulme Fellowship at the Royal Conservatoire of Scotland. She holds a PhD in Music Iconography and in 2016, she was named her one of New Zealand’s Top 50 Women of Achievement.

James JonesJames started playing the violin at the age of 7 and is currently studying under So-Ock Kim, with whom he hopes to continue his studies after Cambridge. Now a third year Music student at Homerton College, James previously studied at Chetham’s School of Music for 8 years with Kristoffer Dolatko, Jan Repko and Jiafeng Chen. He had many opportuni-ties for solo performance whilst at Chetham’s, including as leader of the Symphony Orchestra in the Bridgewater Hall in 2012 and in recitals and master-classes throughout the UK. In 2016, James was thrilled to perform Vaughan Williams’ Lark Ascending with the Halifax Symphony Orchestra. He also enjoys playing the piano, especially in accompanying his mother, and last year was awarded an lRSM for piano, alongside an ABRSM Distinction in grade VIII on the organ in 2014.

James also has a passion for chamber music, which has led to collaborations with musicians from, and performances in, Norway, Holland and Switzerland. He was delighted to be able to attend the Bach and Paganini International Festival for Violinists in Stratford-upon-Avon in August 2014, following which he was invited for further study in St Petersburg with Professor Savely Shalman.

last season, James led the Cambridge University Orchestra under Sir Mark elder, Jac van Steen and Jamie Philips, and performed Beethoven’s Triple Concerto in West Road Concert Hall with laura van der Heijden, edward Reeve and the empyrean ensemble. He plays on a Julia Pasch violin, which was made for him in 2015 in Vienna.

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<<ORCHeSTRA NAMe>>CAMBRIDge UNIVeRSITY SINFONIA

VIOLIN I

Carlos Rodriguez QMervyn Tong EMYu-Tzu lin*Hannah erlebach THWilliam Rose QWard Haddadin KBethany Thomas EMHannah Bostock SIDNatalie lam HODavid Zheng SIDJim Tse SID

VIOLIN II

Zoë Peyton-Jones PEM

Serena li CAIgabriel Rumney CTHAndreas

Theocharous CHUgiselle Overy KKieran Mathiak PEMesme Cavendish CHRRachel Ibbott QAnna Anderson Q

VIOLA

Nancy Shen NDavid liu QJonathan Shaw EMemma Bird THHeather Bourne*Toby Deller*

CELLO

Seb Ober CHRButterfly Paterson*lachlan lindsay CTH

luke Kim TSeb Tyrrall JEDominique Rigby PET

DOUBLE BASS

lucy Roberts JEAlan Blackwell*Daniel Molloy*John-Henry Baker*

FLUTE

Cheryl lim SIDlloyd Hampton GAnna Ryan MUR

OBOE

Bridget Tiller HOemma

De Salis Young NPippa Stevens JE

COR ANGLAIS

Pippa Stevens JE

CLARINET

eleanor Fox EMBen graves DARDuncan Fraser M

BASSOON

Francis Bushell RJack Stebbing CTHHannah Harding DOW

HORN

Chris Winkless-Clark KMyrddin Rees-Davies*Moritz grimm RAlexander Fruh Q

TRUMPET

Martin Dibb-Fuller CTH

Hattie Clark HODaniel Shailer PEM

TROMBONE

James Cozens SEHeather Corden PEMChristian Pfordt WMax Wilkinson T

TUBA

Will Freeman CL

TIMPANI

Zaneta lo JE

PERCUSSION

Agnes Fung JEMaddy Morris GSam Porteous SIDMichael Hashe CCRichard Moulange T

HARP

eleanor Medcalf Q

PIANO

Hugh Rowlands SID

CELESTE

Naoki Toyomura HH

* guest player

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CAMBRIDge UNIVeRSITY MUSICAl SOCIeTY

Cambridge University Musical Society (CUMS) is one of the oldest and most distinguished university music societies in the world. It offers a world-class musical education for members of the University and local residents, nurturing the great musicians of the future and providing performing opportunities for over 500 Cambridge musicians every year.

The Society has played a pivotal role in British musical life for over 170 years. It has educated Sir Andrew Davis, Sir Mark elder, Sir John eliot gardiner, edward gardner, Christopher Hogwood and Robin Ticciati, has premièred works by Brahms, Holloway, lutoslawski, Rutter, Saxton and Vaughan Williams, and has given generations of Cambridge musicians the experience of performing alongside visiting conductors and soloists including Britten, Dvořák, Kodaly, Menuhin and Tchaikovsky. Since the 1870s, CUMS has enjoyed the leadership of several of Britain’s finest musicians, including Sir Charles Villiers Stanford, Sir David Willcocks, Sir Philip ledger, and, from 1983 to 2009, Stephen Cleobury.

In 2009, Stephen Cleobury assumed a new role as Principal Conductor of the CUMS Symphony Chorus, Sir Roger Norrington was appointed as Principal guest Conductor and a series was launched to expose CUMS members to a succession of world-class visiting conductors.

In 2010, CUMS entered another new phase when it merged with the Cambridge University Chamber Orchestra and Cambridge University Music Club. In October 2010, the Society launched the Cambridge University lunchtime Concerts – a new series of weekly chamber recitals at West Road Concert Hall showcasing our finest musical talent. In 2011 it welcomed the Cambridge University Chamber Choir, which is directed by Martin ennis and David lowe and Nicholas Mulroy. In 2014, the Cambridge University Jazz Orchestra and the Cambridge University New Music ensemble joined CUMS as associate ensembles. Most recently, in 2017, CUMS Orchestras undertook a restructure, forming two ensembles (Cambridge University Orchestra and Cambridge University Sinfonia) as opposed to three, with the aim of creating a greater number of opportunities for students to play under some of the best professional conductors.

CUMS continues to provide opportunities for our finest student soloists and conductors by awarding conducting scholarships and concerto prizes, and it encourages new music by running a composition competition and premièring at least one new work each year. Recent highlights have included a recording of The Epic of Everest’s original score for the British Film Institute, Verdi’s Otello (Act I) conducted by Richard Farnes, J.S. Bach’s Mass in B minor conducted by Sir Roger Norrington and Brahms’ Symphony No.1 conducted by Sir Mark elder.

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/19CUMS OFFICeRS 2018/19

Cambridge University Musical Society is a registered charity, limited by guarantee (no.1149534) with a board of trustees chaired by Stuart laing. The Society also administers The CUMS Fund with its own board of Trustees. The day to day running of the ensembles is undertaken by the student presidents and their committees with professional support.

CUMS Student Presidented liebrecht

CUMS Student Vice PresidentHelena Mackie

Vice PresidentsRichard AndrewesNicholas CookSir John Meurig-Thomas

Principal Guest ConductorSir Roger Norrington CBe

CUMS Conductor LaureateStephen Cleobury CBe

Artistic advisorSian edwards

Director, Cambridge University Chamber ChoirMartin ennis

Associate Directors, Cambridge University Chamber ChoirDavid loweNicholas Mulroy

President, Cambridge University OrchestraHermione Kellow

President, Cambridge University SinfoniaCarlos Rodríguez

President, Cambridge University Symphony Choruslawrence Wragg

Student President, Cambridge University Symphony ChorusAlice Clarke

Presidents, Cambridge University Wind OrchestraRebecca Hopperemily Neve

President, Cambridge University Lunchtime Concertslucy Roberts

President, Cambridge University Percussion EnsembleAgnes Fung

President, Cambridge University Chamber ChoirChloe Allison

CUMS Conducting ScholarToby Hession

Assistant ConductorsStephanie Childressedward liebrecht

CUMS Instrument ManagersDave ellisPhilip HowieSam Kemp

Advisors to the ensemblesMaggie HeywoodChristopher lawrencePaul NicholsonMartin RichardsonJohn Willan

Programme designerDima Szamozvancev

Trustees of CUMSDame Fiona Reynolds (chairman)Simon FaircloughJames FurberStephen JohnsJo WhiteheadNigel Yandell

Trustees of the CUMS FundChris FordNicholas ShawAlan FindlayPeter JohnstoneJenny Reavell

Vice ChairmanJo Whitehead

Executive DirectorChloë Davidson

CUMS Senior TreasurerChris Ford

CUMS TreasurerNicholas Shaw

Performance AssistantKatharine Ambrose

Cambridge University Symphony Chorus General ManagerPaul Fray

Concerts and Marketing AssistantRachel Becker

CUMS Librarian and Alumni SecretaryMaggie Heywood

Supporters’ Circle SecretaryChristine Skeen

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/19 SUPPORT US

Since it was founded in 1843, CUMS has provided unique opportunities for successive generations of Cambridge musicians. It has immeasurably enriched the cultural life of the university and city, and, having launched many of the biggest careers in classical music, it has played a pivotal role in the musical world beyond.

each year, 500 students — reading everything from Music and Maths to Medicine and Modern languages — take part in up to 40 concerts, as conductors, instrumentalists, singers and composers. CUMS offers these students opportunities to work with world-class conductors and soloists, tackle ambitious repertoire and develop as musicians.

CUMS receives no core funding from the University, and income from ticket sales does not meet the full cost of delivering a world-class musical education. The Supporters’ Circle plays a vital role in helping to raise the £35,000 needed every year to sustain CUMS’ programme of ambitious projects, which includes orchestral coaching from members of the major london orchestras, and the opportunity to work with professional conductors and soloists.

All those who value Cambridge’s splendid musical heritage, and who want the University to provide opportunities for the finest young musicians of the twenty-first century, are invited to join the CUMS Supporters’ Circle. As well as helping us to fulfil our ambitions, members of the Supporters’ Circle enjoy exclusive benefits, including priority booking, drinks receptions and the opportunity to sit in on rehearsals.

For further details about the Supporters’ Circle, please visit www.cums.org.uk/support. Alternatively, please write to Christine Skeen: christineskeen@gmail.com.

In helping us reach our targets, you will become part of an extraordinary musical tradition. Thank you.

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The Britten Circle£10,000+Adrian and Jane Frostand one anonymous donor

The Vaughan Williams Circle£2,500+Monica Chambers

The Stanford Circle£1,000-£2,499 per annumSir Keith Stuart

Principal Benefactors£500-£999perannumSimon Faircloughand one anonymous donor

Benefactors£250-£499perannumAngela and Rod Ashby-JohnsonStuart FfoulkesCatriona MillR. MoseyNeil PetersenPeter Shawdonand one anonymous donor

Donors£100-£249 per annumRichard AndrewesJohn Barber Frank and Genevieve BenfieldChris CoffinRobert CulshawMartin DarlingChris FordJon gisby and Kate Wilson

Andrew and Rachel graceMichael gwinnellDonald and Rachel HearnPhilip and lesley Helliar Mr Jonathan Hellyer Joneslady JenningsJennie KingChristopher lawrence Debbie lowther & John Short John MacInnesAlan C McleanSue MarshAndrew MorrisPaul Nicholsonedward PowellKathryn PuffettJudith RattenburyRuth RattenburyBrian RushtonCatherine SharpDr M. l. SharpRobert and Christine SkeenAndrew SoundyVeronica and Alex Sutherlandgrahame and Cilla SwanDr Patricia TateSir John Meurig ThomasJo StansfieldJo WhiteheadRuth Williamsand fifteen anonymous donors

Honorary Life MemberMaggie Heywood

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CUMS SUPPORTeRS’ CIRCle

MeMBeRSHIP FORM

SECTION 1: MEMBERSHIP INFORMATION

Personal details

Name and Address (if different from Sections 2 and 3) ....................................................................................................................................................................................................................................................................................................................................................

Telephone .............................................................

email .......................................................................

Membership lev el

I would like to join the Supporters’ Circle at the following level:

F The Britten Circle (£10,000+)

F The Vaughan Williams Circle (£2,500+)

F The Stanford Circle (£1,000–£2,499)

F Principal Benefactor (£500–£999)

F Benefactor (£250–£499)

F Donor (£100–£249)

Acknowledgement

F I would like my name acknowledged in CUMS concert programmes and on the CUMS website as ...............................................................................

F I would prefer to remain anonymous

Payment details

I would like to make my donation by:

F Cheque (please enclose a cheque made payable to CUMS)

F CAF Cheque (please enclose a CAF Cheque made payable to CUMS)

F Standing order (please complete Section 2 below)

F Shares (please contact Christine Skeen at the address below)

Amount of Donation: £

SECTION 2: STANDING ORDER MANDATE

(Please complete this section if you would like to make your donation by standing order.)

Name of your bank ...........................................

Address of your bank ...........................................................................................................................

Your sort code ....................................................

Your account number ......................................

Please pay CUMS, Royal Bank of Scotland, Sort code 16-15-19, Account number 10298672 the sum of £..........................

(Print amount: .............................................................pounds)

Per F month F quarter F year

Starting on ...........................................................

Signed ....................................................................

Date .........................................................................

Full name ...................................................................................................................................................

Address .....................................................................................................................................................................................................................................................................................................................................................................................................................

Please return your entire completed

form and payment to Christine Skeen,

Secretary, CUMS Supporters’ Circle,

West Road Concert Hall, 11 West Road,

Cambridge CB3 9DP.

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SECTION3:GIFTAIDDECLARATION

Cambridge University Musical Society (CUMS) is a registered charity (no. 1149534) and as such can claim gift Aid on eligible donations.

Please treat as gift Aid donations all qualifying gifts of money made

F today F in the past 4 years F in the future

Please tick all boxes you wish to apply.

I confirm I have paid or will pay an amount of Income Tax and/or Capital Gains Tax for each tax year (6 April to 5 April) that is at least equal to the amount of tax that CUMS will reclaim on my gifts for that tax year. I understand that other taxes such as VAT and council Tax do not qualify. I understand the charity will reclaim 25p of tax on every £1 that I give on or after 6 April 2008.

Title ....................First name or initial(s) ................................................................................................

Surname ............................................................................................................................................................

Full home address .........................................................................................................................................

.................................................................................................................................................................................

................................................................................................. Postcode ............................................

Signature .................................................................................... Date ..............................................

Please notify CUMS if you:

• want to cancel this declaration

• change your name or home address

• no longer pay sufficient tax on your income and/or capital gains

If you pay Income Tax at the higher or additional rate and want to receive the additional tax relief due to you, you must include all your gift Aid donations on your Self Assessment tax return or ask HM Revenue and Customs to adjust your tax code.

Please return your entire completed form and payment to Christine Skeen, Secretary, CUMS Supporters’ Circle, West Road Concert Hall, 11 West Road, Cambridge CB3 9DP.

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Cambridge University Musical SocietyWest Road Concert Hall

CambridgeCB3 9DP

www.cums.org.uk

Principal Guest Conductor Sir Roger Norrington CBE

CUMS Conductor Laureate Stephen Cleobury CBE

Artistic Advisor Sian Edwards