January - March 2008
contents:
from the editor articles news composers at work letters to the editor bangor new music festival 2008 listings reference the committee of composers of wales
Within the last few months I have been in contact with two very different musical worlds. As a member of BACS, I have served three times on different judging panels of their “Classical Awards” at their London headquarters,and so not only heard but seen new classical scores very close to and in some detail, which is either exciting, depressing, or plain terrifying (as when I, with my limited acquaintance with brass instrument transpositions, was presented with a score for saxophone quartet). The focus of the whole process each time was, quite rightly, on the actual scores, though the opportunity to share the day with well-known musicians I would not otherwise have met was a real pleasure.
The tying-up of the process through the awards ceremony and recital was a pleasure and a privilege too (see my report below), but the immediate contrast for me was attending, this time in Cardiff at the beginning of December, a Music in Film Day organised at “The Point”, the rock and pop live music venue in Cardiff Bay, by The Welsh Music Foundation. This excellent body, funded by the Welsh Assembly Government, provides membership and support for anyone commercially involved in all aspects of music (including freelance composers -there’s more about the Day in my report below). The emphasis here was providing support and information for people wanting to go into composing for film, from the full panel sessions to the “speed dating” opportunity (composers meeting film-makers) to the twenty or so round tables filling the auditorium, all holding five or six musicians, from different disciplines and different parts of Wales, all talking their heads off.
I was glad to be at both events.
Enid Luff
The Role of the Orchestrator?
Whilst studying composition & orchestration in the Welsh College of Music & Drama from 91-94 with Mervyn Burtch and James Harrison (with a view to being able to put most of my energies into composing fulltime upon graduation) I had no way of foreseeing that I would end up working mainly with the music of other people (although, truth be told, I've always been far more interested in the work of other composers than I have in my own compositional output). Although still very active in the composition of original music for film & theatre I do spend the majority of the time working as an orchestrator on film and reconstruction projects (when not teaching music at Gorseinon College)
The role of the orchestrator is often viewed as somewhat ambiguous and you tend to find the same questions being repeatedly raised about their function - 'What do they actually do?', 'How much input do they actually have on the finished score?' and 'Why Does Hans Zimmer needed 15 of them on 1 project!'. The simple answer to these questions (except the last one) is that it largely depends on the composer.
Due to the time constraints put on film composers by increasingly ridiculous studio deadlines they have very little time to produce a completed score (which could mean composing and recording 70 minutes worth of music in a few weeks - Jerry Goldsmith had to produce a finished replacement score for Roman Polanski's 'Chinatown' in just 10 days!); this is where the orchestrator comes in. Most composers will produce a sketch on 12/15 stave manuscript paper with detailed annotations concerning string divisions, 8vas, 8vbs, special instrumental effects etc and the orchestrator will then transfer this information onto the standard orchestral chart. This is the 'best case' scenario and certainly the method used by composers such as John Williams, Jerry Goldsmith, Howard Shore, James Horner and Danny Elfman (although Elfman fell victim to a slur campaign shortly after scoring 'Batman' with certain people claiming that it was actually his orchestrator, Shirley Walker, who was responsible for writing the majority of the music - this was not true and the claim turned out to be nothing more than a case of artistic jealousy with composers furious about the fact that somebody with no formal musical training could suddenly become so successful!)
There are, naturally, many variations on the situation the orchestrator finds him/herself in; certain composers will produce and pass on a 'midi score' from which to work. The level of complication in this case depends largely on how successfully the rhythmic content has been 'quantised' (to make it decipherable) and how much instrumental detail is present in the sequence (Hans Zimmer and John Ottman, for example, are well known to produce incredibly thorough midi-sketches).
Other composers produce piano sketches and then engaged in a game of musical ping-pong with the orchestrator, simply bouncing ideas back and forth until a satisfactory conclusion is reached; not ideal when you've tight deadlines.
Finally, in what certainly has to be the orchestrators' worst nightmare, there is the odd occasion when you'd be expected to orchestrate via a 'take down' (thankfully I've only ever had to do this once); here, for whatever reason, the only source of reference is a midi recording - no sketches, no manuscripts, just audio. The problems and pit-falls inherent in using this method are so vast that they would take too long to list, suffice to say that it is a situation best avoided but is, due to mitigating circumstances, sometimes necessary.
However, irrespective of the methods used or by what means the final score is produced, the one thing that is paramount in the orchestrator's function is that the composer's original intentions are understood, respected and adhered to.
By means of a brief summary I think that the role of the orchestrator was best described by Arthur Morton (Jerry Goldsmith's right-hand man for 30+ years) who said:
"I take the music from the little paper and put it on the big paper".
This may appear to be a little simplistic as an explanation of a complicated job but, in essence, it's absolutely perfect.
Leigh Phillips
The British Composer Awards 2007
These are held in twelve categories. Each prize is awarded for a substantial piece, which has been entered by someone other than the composer, in other words, a piece which is already in the public arena. This was an important and refreshing factor when the awards were set up in 2003 by the British Academy of Composers & Songwriters in partnership with the Performing Right Society and with BBC Radio 3 (this year the competition has gone international for the first time). The twelve categories include contemporary classical music across the board from stage works to liturgy and community music, including the BBC Radio Listeners’ award, won this year by our own member Guto Puw, for his Oboe Concerto.
These pieces had all had their, mostly prestigious, first performances, by professional performers of standing, generally having been commissioned. Nothing wrong with that, but - one thing that struck me was how exceedingly difficult many of them were to perform, a difficulty which did not necessarily lead to a better musical result, just to a successful performance of a difficult piece. So where does that leave us musically? I hope their composers will forgive me if I ask - need contemporary music be so fiendishly difficult all the time? As a contrast, in Tariq O’Regan’s winning piece in the Liturgical Music category (Threshold of Night), the sheer beauty and emotional power of the music struck home first, and its difficulty or otherwise of performance second, and only if you needed to think of it.
There was a general goodwill and helpfulness around the project, however, and the reading days were excellently organised, with tea and coffee continually on tap.
The presentation ceremony in London in the very elegant Glaziers Hall, on the bank of the Thames in the shadow of London Bridge, was conducted with great verve and her own charming authority by Errolyn Wallen (recently awarded an MBE for her services to music), and included heard extracts of the winning piece in each category. The presentation was followed by a concert, which, owing to the times of trains from Paddington station to Cardiff Central, I was unfortunately obliged to miss.
Enid Luff
The Music and Film Day at The Point, Cardiff Bay
The Day, run by the Welsh Music Foundation ( www.welshmusicfoundation.com )
- well worth a visit!), was welcoming and structured, while leaving ample time and space for everyone to network and really mix. There were people from all disciplines there, though mainly film and media, obviously, and also from all parts of Wales.
The day began, after registration and coffee, with a talk by consultant Ivan Chandler about music copyright and licensing of music for film, an area just as full of pitfalls for the inexperienced composer as any other! This provided a great introduction to the panel session which followed, with film producer Gethin Scourfield, Hywel Evans of EMI, Matt Biffa, music supervisor at Air Edel, John Hywel Morris of MCPS/PRS Alliance, and our own composer member John Hardy. The theme of copyright continued right through this session, obviously underlying almost the whole process of bringing music and film together.
The afternoon session provided an opportunity for a number of film directors to interview composers who had put their names forward, for ten minutes each - revised to five minutes each in view of the tremendous interest. The bar opened at four o’clock for an hour’s networking before we went home, with the memory, for me, of one of the most busy, informative and rewarding days I have ever attended. Thankyou, Welsh Music Foundation!
Brian Noyes
writes:
have been accepted on to the SPNM
Shortlist of composers for 2007 - 2010, with his orhestral piece Points of Decision - symphonic metamorphoses on John Clare, which
will be performed by the BBC Philharmonic Orchestra in Manchester in February
(see listings).
For more information, click on the link:
http://www.spnm.org.uk/?page=shortlist/composer.html&id=283
Brian writes:
My piece - "Points of Decision" - is 25 minutes long, and subtitled
'Symphonic Metamorphoses after John Clare'. It takes as its starting point the
moment when John Clare, the Northamptonshire 'peasant poet' chose to walk away
from the Epping Forest asylum in which he had been incarcerated for no more than
'an excess of poesy', according to the doctors. However, it is a symphonic
essay, is based upon narrative of musical theme, and its development.
The performance and recording, a collaboration with spnm and the BBC Philharmonic Orchestra, takes place at an Invitation Concert in Studio 7 , New Broadcasting House, BBC Manchester, at 7-30pm on 19th February 2008.
I am currently a 'Shortlist' Composer for 2007 - 2010 at the spnm, and this is part of its promotion of my works. Cantemus Chamber Choir Wales will be performing a short choral piece of mine called Mirembe, Oscar on Saturday March 15th at 7-30pm at Bradenstoke Hall, St Donats Castle.The choir will be conducted by Robert Court. The piece was written last autumn in memory of a student chorister, Oscar Ahumuza, who tragically died in an accident earlier last year. Oscar was a member of my student Atlantic College Tour Choir in 2005.
Michael Charnell-White
Michael’s prizewinning Fantasia on the Hymn Tune 'Groeswen' for organ will be
performed at a concert at Bethania Chapel, Mold on Friday the 11th of January
2008.
Stephen Goss
writes:
I thought you might be interested to know
that my new CD Frozen Music has just
come out. It'll be available through Amazon and iTunes sometime in January, but
you can get it now (and cheaper) from the Cadenza Music website. www.cadenza-music.com/Scripts/prodView.asp?idproduct=134
Full details at www.stephengoss.net/home.html
Dafydd Bullock
On the 1st of February 2008, The Ni Ensemble will play Chica
Latina, by Dafydd, in a lunch-time recital including works by
Michael Berkeley, Dafydd Bullock, and Ben Ellin, at the Royal Welsh College
of Music and Drama (see listings). This Prize-winning brass quintet, with
members drawn from orchestras in Saarbrucken, Luxemburg and Brussels, will be
making their first visit to the College in a programme of
music by contemporary British composers.
Hilary Tann
Hilary Tann's concerto for oboe and strings, Shakkei,
which was premiered at the 2007 Presteigne Festival, will be performed on
Tuesday, January 29, at 1:05pm, in the National Concert Hall, Dublin, as part of
the RTE National Symphony Orchestra's Horizons Series. Irish composer Jane
O'Leary is the featured composer.
Mervyn Burtch
writes:
On
April 11th at St. David's Hall, Cardiff, the first performance of my 'Elegy
for Arthur' for Chorus, Violin and Harp will be included in the programme of the
Inaugural concert of the
Menuhin International violin competition. Performers include Serendipity and
Catrin Finch (harp). The violin soloist will be former winner of the Competition
Maxim Vengerov.
My Children's opera 'Jason and Hanna' to be performed in April, in Winnipeg, Canada, and by Manitoba opera in June.
bangor new music festival 2008
• WEDNESDAY (27-02-08)
10am-12pm
Powis Hall
Jazz-workshop
for
pupils from Glancegin and Hirael Schools, with Paula Gardiner
8pm Powis Hall
Jazz
with Paula Gardiner (double bass) Lee
Goodall (sax) Mark O’Connor (drums)
performing their own highly inventive jazz arrangements and original
compositions in a relaxed atmosphere.
• THURSDAY (28-02-08)
1pm
Powis Hall
Electroacoustic Concert
showcasing electronic pieces by students from Bangor and Huddersfield
Universities.
8pm
Powis Hall
Matthew Adkins Portrait
ElectroacousticWALES
featuring music by the electroacaoustic composer Matthew Adkins, his pupils and
contemporaries.
• FRIDAY (29-02-08)
10am
-12pm School of Music Hall, BU
Composition Workshop
with Huw Watkins (piano) and Alexandra Wood (violin)
2pm
School of Music Hall, BU
Huw Watkins in conversation with Geraint Lewis.
8pm
Powis Hall
Huw Watkins
(piano) Alexandra Wood (violin)
a recital that embraces works by composers from the twentieth century to the
present day, including works by Huw Watkins, Webern, Britten, Goehr, MacMillan,
Puw and Whitmarsh.
• SATURDAY (1-03-08)
10am-12pm
Pritchard-Jones Hall
Masterclass
with Jeremy Huw Williams (baritone)
and members of the Welsh Chamber
Orchestra
2pm
Powis Hall
John Cage
- Imaginary Landscapes No. 4 for 12 radios
performed by students from the School of Music, Bangor University, under the
direction of Guto Pryderi Puw. This unusual piece is based on Cage’s chance
procedures that include a mix of white noise and random broadcasts, which
creates subtle layers of sound and silence, which is totally dependent on the
broadcast received at that particular time.
8pm
Prichard-Jones Hall
St David’s Day Concert
Jeremy Huw Williams
(baritone)
and the Welsh Chamber Orchestra (conductor:
Anthony Hose)
performing a programme of music by Welsh composers, including Hoddinott,
Mathias, Metcalf, Mivall and Philips
Box
Office:
Theatr Gwynedd (01248) 351708
For
further information, please contact:
The School of Music
Bangor University
College Road
Bangor
Gwynedd
LL57 2DG
01248 382181
Leigh Phillips writes:
This is just a quick update on some recent activities:
On the weekend of 28th of October three of my new reconstructions/arrangements received their premieres at various concert venues; at the Bridgewater Hall, Manchester, The Halle Orchestra performed new arrangements of music from the films Hollowman and Medicine Man as part of their Weird Science concert while in the Warner Grand Theatre, California, The Golden State Pops Orchestra and eighty-piece chorus performed my reconstruction of the Omen III: The Final Conflict score by Jerry Goldsmith to begin their Halloween Fright Night concert. Also, the completed score for 'The Legend Trip' was released by the filmmusicdownloads company and is currently available from iTunes.
In addition to this I recently completed co-composer work on the Sean Penn anti-war documentary War Made Easy and am scheduled to begin work on the score for a US horror film entitled 'Still Life' in January as well as producing more arrangements for The Halle Orchestra.
John Hardy
John’s music features in several productions currently running or coming soon:
Beauty and the Beast
Time is running out to catch the Sherman Theatre’s production of Beauty and the Beast, running until the 12th of January in Cardiff, Wales. It has been playing to packed houses since late November. Written by Charles Way and directed by David Bond with music written by John Hardy Music, this is a truly magical production that shouldn’t be missed!
Y Pris
- a riveting drama series about a Welsh drugs Mafia, packed with action, drama and colourful personalities. Catch it on S4C in Wales every Wednesday at 21:30 and Sunday at 22:20.
Carrlands
- a fascinating cross-media collaboration between John Hardy Music and Mike Pearson. It is a series of original sound compositions combining spoken word, music and effects inspired by, and set at, three locations in the agricultural landscape of North Lincolnshire. Carrlands is available at www.carrlands.org.uk) as twelve separate MP3 files for download free of charge. Listen at home, or take to the site where you become both listener and participant in a new form of site-specific performance. Keep an eye one the John Hardy Music website shop, where they will soon be making CD versions of the audio works available for only a very small fee!
More news of John’s activities can be seen at newsletter@johnhardymusic.net .
Women in Jazz
Women in Jazz are very pleased to announce that the Heritage Lottery Fund have awarded us a Pre-Project Application Grant to assistus with a move to larger premises in Swansea with disabled access.
(Please note: letters may be shortened or edited for reasons of space).
Dear Editor,
BBC BRITISH COMPOSERS AWARD 2000
I tuned in to the BBC British Composers Awards programme on Radio 3 this evening (Dec 6th, 2007) to be greeted to little more than a fair share of safe self serving musical fare, best described as contemporary music in recycled clothes, over-dressed as new, as customary befits the audio comfort zone at R3.
Music, especially music purporting to be new music must not only be heard, but listened to, since these functions are by no means mutually compatible. What I heard time and again in piece after piece was reiterating shadows of Bertold Brecht, accompanied by smudges of Josquin, Purcell, Stravinsky, Sibelius, Boulez, Penderecki to name but a few composers in shadow that leapt at my ears. But there the reference both starts and stops since this was basically for discerning ears pastiche masterly disguised by faultless eclectic technical prowess that produced a finite range of watered down music styles - versions of what has been done better and bigger before, yet here the results were derivative, derisory, trite, marginally novel for the uninitiated marketplace but with a scarcity of surprises, depth or real substance for musically educated listeners, who deserve better.
I was soon asking: if this broadcast is the very British 21st Century music, where have we gone wrong?
Then some very wise fellow trumped up ...about masses of young people who don’t know what music is. What I heard was neo-stylised music nostalgia engineered by a vested interest protectionist establishment with its vast investment in the music industry. The industrial take over of music, as in the commercial hijacking of the creative arts in general, must be kept afloat lest it sink into the depth of oblivion (shorn of the pretence that it is something new). That perniciously denies the infinitive creative imagination of computer music technology. Sonic art is ignored and left to fester in the periphery of cultural reality, awaiting its ‘Mozart’ of the music computer, who may well be already here, but we will never hear the music in the current philistine environment of ignorant discriminatory prejudice against sound technology and electronic sonic art music – will we?
May I ask the panel of anonymous judges what reason explains the need of anonymity? What were your your starting and cut-off points? Does the listening history of the judges match that of R3 listeners? Should it?
Let’s face facts and stop acting like overprotected children. The music broadcast this evening by BBC R3 tells us more about what is wrong with new music, and the musical establishment itself should jettison this titanic ruse by an arrogant mindset, as the sands of the past leave music beached with the debris that has outlived its capacity to create new sound worlds which engage the creative and collective public imagination, as only new music tools technology can.
Surely it’s time to face musical facts: acoustically based contemporary music is dead and done better and bigger before, so what is the point of flogging it to death for what, in the passage of time, are inferior works? BBC R3 should be ashamed of proffering a meaningless subterfuge.
Where were the rich and plentiful works by sonic artists under a derisory technology banner?
Composers should not only have their work heard, but also encouraged to develop pioneering and challenging new music with invigorating new tools available from the evolving computer which can only come from a serious and vociferously vibrant cutting edge avant-garde? Today’s composers are technical masters, but music is more than technique, a new vision of themselves and the world in our time without fear or favour; who reflect change as we awaken undaunted and unafraid of the uncertain future and realise:
the act of creation which binds all people to each other, the dead to the living and the living to the unborn.’ [ J. Conrad, Act of Creation ]
PS Methinks perhaps it’s time for a new music burning festival.
David Lloyd-Howells
[Somebody answer this one, please? - Ed]
| Jan 20th 08, 6pm |
Dafydd Bullock: Magnificat and Nunc Dimittis at Evensong in All Saints, Margaret Street, London. |
| Jan 29th 08, 1-05pm |
Hilary Tann: Shakkei (concerto for oboe and strings), in the National Concert Hall, Dublin. RTE National Symphony Orchestra. |
| Feb 1st 08, 7-30pm |
Dafydd Bullock: Chica Latina, at 1-05pm in the Weston Gallery, Royal Welsh College of Music and Drama. Ni Ensemble (Brass Quintet). Tickets £4, £2. |
| Feb 10th 08, 7-30pm |
Brian Noyes: Points of Decision - Symphonic Metamorphoses after John Clare at Studio 7, New Broadcasting House, Manchester. BBC Philharmonic Orchestra, conductor James Macmillan. |
| Feb 21st 08, 7.30pm |
Rhian Samuel: The River , for soprano, baroque oboe, harpsichord and bass viol (text by Anne Stevenson), premiere, at St. Mary's Church, Walthamstow, London E17. Music in the Village concert series. |
| March 7th 08, 1-05pm |
Rhian Samuel: Dance of the Curlews for harp duo, premiere. RAM Harp Ensemble, Duke’s Hall, Royal Academy of Music, London. |
| March 15th 08, 7-30pm |
Brian Noyes: Mirembe, Oscar at Bradenstoke Hall, St Donats Castle, Llantwit Major, Vale of Glamorgan. Cantemus Chamber Choir, cond Robert Court. |
| March 22nd 08, 7.30 pm |
Rhian Samuel: Emerging (lightly), for viola and ensemble, premiere. Mobius (flute, clarinet, harp and string quartet). Wigmore Hall, London. |
| Apr 11th 08, 7-30pm |
Mervyn Burtch: Elegy for Arthur, for Chorus, Violin and Harp, at St. David’s Hall, Cardiff. Menuhin International Violin Competition inaugural concert. Serendipity Choir, Catrin Finch, harp, Maxim Vengerov, violin. |
[Back to top]
Members’ websites
Dafydd Bullock - www.bullockmusic.info/
Max Charles Davies - www.maxcharlesdavies.com
Paul Carr - www.kendormusic.com/composer/carr.htm
Kenneth Gange - www.kenneth.gangecomposersalliance.com
Paula Gardiner - www.paulagardiner.co.uk
Gareth Glyn - http://gglyn.tripod.com
Stephen Goss - www.surrey.ac.uk/Music/Who/Goss.html
and www.cadenza-music.com
John Hardy - www.johnhardymusic.com
Brian Hughes - www.brianhughes.uk.com
Meuryn Hughes - www.aureus.co.uk
Malcolm Jones - www.http://uk.music-jobs.com/cv/maljomusic
Andrew Lewis - www.AndrewLewis.orgl
David Lloyd-Howells - www.david-lloyd-howells.org.uk
Owain Llwyd - www.owainllwyd.com
Enid Luff - www.primaveramusic.com
and www.impulse-music.co.uk/primavera.htm
John Metcalf - www.johnmetcalf.co.uk
Christopher Painter - www.christopherpainter.co.uk/index2.html
Dan Phelps - www.compositiontoday.com/danphelps
Leigh Phillips - www.reel-music.co.uk
Lynne Plowman www.lynneplowman.co.uk
Peter Reynolds - www.musicnow.co.uk/composers/reynolds.html
Michael Robinson - www.michaelrobinson.ndirect.co.uk
Rhian Samuel - http://www.stainer.co.uk/samuel.html
and http://www.city.ac.uk/music/staff/rsamuel.html
Gillian Stevens - www.composer.co.uk/composers/stevens.html
Hilary Tann - www.union.edu/PUBLIC/PARTDEPT/TANNH
Ceiri Torjussen - www.ceiri.com/
Jack White - www.whitehillmusic.com/
Alan Edward Williams - www.sibeliusmusic.com
Jack White - www.whitehillmusic.com/
John Williamson - www.impulse-music.co.uk/williamson.htm
Jennifer Wilson - www.jazzwales.co.uk/wja
and www.blackhistorymap.com
Andrew Wilson-Dickson - www.wilson-dickson.co.uk
The Music Publishers’ Association offer a leaflet on copyright for composers
wishing to explain to users the rights of use in their music, from the Music
Publishers Association Ltd, 3rd Floor, Strandgate, 18/20 York Buildings,
London WC2N 8JU. Tel: 020 7839 7779, fax: 020 7839 7776.
Black Cat Music, suppliers of general concert/performance
equipment, staging, acoustics etc. More info at www.blackcatmusic.co.uk
Arts Council of Wales
ACW’s grant schemes are available from its website www.ccc-acw.org.uk
and in other formats. Contact any ACW office for e-mail or paper copies.
Cardiff office: 9 Museum Place Cardiff CFIO 3NX
Tel: 029 2037 6500
Fax:029 2022 1447
Minicom: 029 2039 0027
Colwyn Bay office: 36 Prince’s Drive Colwyn Bay LL29 8LA
Tel: 01492 533440
Fax: 01492 533677
Minicom: 01492 532288
Carmarthen office: 6 Gardd Llydaw Jackson Lane Carmarthen SA3I 1QD
Tel: 01267 234248
Fax: 01267 233084
e-mail: information@ccc-acw.org.uk
Websites of interest
www.welshmusicfoundation.com
www.welshmusic.org.uk
www.crwth.org.uk
www.arts4cardiff.co.uk
www.impulse-music.co.uk
www.composers-uk.com
www.composers21.com (Living
Composers Project on the Internet) database of information on contemporary
composers. E-mail Dan Albertson at dalbertson@nupedia.com
www.britishacademy.com
www.prsf.com
www.musicweb.uk.net
www.jazzuk.com
www.jazzreview.com
www.pynci.tv
www.rhapsoarts.com/iscm/pe.html
www.e-qualitymusic.com
www.spnm.org.uk
www.bmr.org (British Music Rights)
www.visitingarts.org.uk
www.cultural-enterprise.com/news/news.html
www.soundinventors.org.uk
www.tycerdd.org
Useful addresses
Arts Council of Wales (see above)
Ty Cerdd - Music Centre Wales, incorporating:
Ffederasiwn Cerddoriaeth Amatur Cymru/Welsh Amateur Music Federation
Canolfan Hysbysrwydd Cerddoriaeth Cymru/Welsh Music Information Centre
Celfyddydau Cenedlaethol Ieuenctid Cymru/National Youth Arts Wales
Ty Cerdd - Music Centre Wales,
Wales Millennium Centre,
Bute Place,
Cardiff CF10 5AL
T: 029 2063 5640
F: 029 2063 5641
E: enquiries@tycerdd.org
(alternatively, individual officers can be contacted by “firstname@tycerdd.org”, eg: keith@tycerdd.org,
ruth@tycerdd.org. etc)
British Academy of Composers and Songwriters,
British Music House, 26 Berners Street, London W1T 3LR
tel: 020 7636 292
fax: 020 7636 2212
web: www.britishacademy.com
The Performing Right Society, 29-33 Berners Street, London SW1P 4AA
BAFTA Cymru, Chapter Arts Centre, Market Street, Canton, Cardiff CF5 1QE
tel: 029 2022 3898
e-mail post@bafta-cymru.org.uk
Ty Cerdd, Wales Millennium Centre, Bute Place, Cardiff Bay, CF10 5AL Tel 029 2063
5640
Keith Griffin, director
keith.griffin@tycerdd.info
WAMF
Chris Sharpe (general enquiries, applications, etc)
chris.sharpe@tycerdd.info
Alexandria James (library, NYAW, brass band foyer performances)
alex.james@tycerdd.info
NYAW (WAMF)
Matthew Thistlewood
matthew.thistlewood@tycerdd.info
WMIC
Ruth Leggett (manager)
ruth.leggett@tycerdd.info
Charlotte Griffin (research, education, WMIC library)
charlotte.griffin@tycerdd.info
RECORDING STUDIO
James Clarke (recording technician)
james.clarke@tycerdd.info
WORKSHOPS & PERFORMANCES
Rhiannon McLean
rhiannon.mclean@tycerdd.info
Welsh Music Information Centre, Ty Cerdd, Canolfan Mileniwm Cymru, Bute Place, Bae Caerdydd, CF10 5AL
Tel 029 2063 5642
Welsh Music Guild/Cymdeithas Cerddoriaeth Cymru, 33, Southminster Road, Penylan, Cardiff CF
Tel: 029 2049 1585
e-mail: guildinfo@ntlworld.com
Incorporated Society of Musicians, 10, Stratford Place, London W1E 3YZ
Sibelius Support Services (The Data Store)
new number: 0208 460 6537
Women in Jazz, Queen’s Buildings, Cambrian Place, Swansea SA1 1TW
Email: enquiries@womeninjazzswansea.org.uk
,
Web: www.womeninjazzswansea.org.uk
Tel: 01792 456666
Recording companies
Cwmni Recordio Fflach, Llys y Coed, Heol Dinbych y Pysgod, Cardigan,
Ceredigion, SA43 3AH,
Tel: (01239) 614691
Fax: (01239) 614680
Cwmni Recordio Sain, Llandwrog, Caernarfon, Gwynedd, LL54 2YQ,
Tel: (01286) 831111,
gwefan: www.sain.wales.com
Red Kite Records (Martin Levan), Cwmargenau, Llanwrda, Carmarthenshire SA19 8AP
Tel: 01550 722001
gwefan: www.redkiterecords.com
the committee of composers of wales
Chair: Andrew Wilson-Dickson, composer, andrew.wd@cc-cw.org
Secretary: Bill Connor, composer
Administrator:
Jon Petrie, jon@petriepublications.com
Treasurer: Ian Lawson, composer. ian.lawson@cc-cw.org
Eilir Owen-Griffiths, composer, e.griffiths@trinity-cm.ac.uk
Guto Puw, composer, guto.puw@btinternet.com
Peter Reynolds, composer, Director, PM Ensemble, peter.reynolds@pjr.demon.co.uk
Gareth Glyn, composer, gareth.glyn@toucansurf.com
Enid Luff, composer, enid.luff@googlemail.com
Co-opted:
Tim Raymond,
composer on the staff of the Royal Welsh College of Music and
Drama, RaymondTC@rwcmd.ac.uk
Observers:
Ruth Leggett (Manager, Welsh Music Information Centre) ruth@tycerdd.org
Keith Griffin (Director Ty Cerdd-Music Centre Wales, Ty Cerdd), keith@tycerdd.org