Commissioning New Music

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How To ... GuidesHow To Commission New Music (H2)

part of Commissioning Uncovered

1. Introduction2. Why should we commission?3. The commissioning process4. Select your composer5. The legal and contractual stuff6. Marketing your premiere7. Pitfalls to avoid8. Get it funded9. What happens afterwards?10. Some case studies11. Useful links and addresses

2-4 Great Eastern Street, London EC2A 3NWT 0870 903 3780 F 0870 903 3785

[email protected]


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1. Introduction

Thinking about commissioning a new piece? Undecided how to go about it?

Are you concerned about the pitfalls of commissioning? Unsure how to raise the money andhow much to pay?

Do you want to learn from other people's successes?

Then this Guide could be what you need.

In writing this Guide, we acknowledge the assistance, insight and experience of: Matthew Greenall British Music Information Centre, Brian Inglis Composer and Abigail Pogson society for thepromotion of new music. All contact details are provided in section 11.

We are also very grateful to the Performing Right Society Foundation for funding CommissioningUncovered, of which this How To Guide is an integral part.

If you decide to go ahead with your commission, we wish you every success in realising it, and wewould welcome learning about your experiences.

December 2003


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2. Why Should We Commission?

"There is huge potential for creating a new repertoire for amateur musicians, either working ontheir own or in collaboration with professionals." (Gillian Moore. ABO Workbook, 1997)

As if to bear out this statement, Making Musics most recent survey shows that on average 221new works are commissioned by our members each year. It is clear therefore that it is enormouslyexciting for both performers and composers to take part in the world premire of a new musicalwork. Commissioning is not and never has been restricted to the professional sector: many majorworks over the years have been premired by amateurs, and no less a masterpiece than Purcell'sDido and Aeneas was written for a school. Present-day composers such as Sally Beamish, JamesMacMillan and Making Music President Sir Peter Maxwell Davies regularly work with their localcommunities.

Commissioning new works can not only be rewarding in itself but also can add to the stock ofwonderful music that is available for amateur performers, especially as many composers nowadaysare writing in extremely accessible and familiar idioms.

Done correctly, commissioning a new work can:

provide members and audience alike with a guaranteed new experience allow members to be part of the creative process provide the kudos of mounting a world premire and the associated PR opportunities and

the access to funding opportunities that can also arise create a piece of music particularly suited to a specific audience, for example young people,

or for a special occasion amplify your groups repertoire, and musical repertoire in general give a group new focus

Don't forget to involve your members before embarking on a commission, particularly if you are aperforming society. If you do not have their commitment from the start, the project may well notbe a success.

3. The Commissioning Process

The commissioning process is concerned with managing a new and different set of relationships those between composer, artistic director, and performers. This can be a rewarding andproductive relationship, provided the following points are taken into consideration and appliedrealistically.

1. Establish a very clear brief for the composer. This may involve a decision about the forcesrequired, the duration of the piece, whether soloists should be used etc. Should youspecify a theme? Some composers will be more open to suggestions than others, so thismay influence your choice here you may have flexible requirements for the piece, or youmay demand something special from the composer, for example to celebrate ananniversary or special occasion. The artistic director or conductor should be fully involvedin this process. Dont forget the performers either! Prior to choosing your composer, youmay want to ask them if they have any ideas for a new piece for example in terms oftexts that they might like to use, or theme for the work.

2. Choose your composer, or a shortlist of composers. See section 4 for details on how to do

this.3. Set up a meeting with your composer or composers. Encourage them to come to a

rehearsal as soon as possible, and to come to one of your concerts where they will be able


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to form a clear picture of how the group sounds and interacts with an audience during alive performance. Make this an "assessment" stage: don't commit yourself until you haveagreed what both sides want out of the commissioning process, and until you arecomfortable that you can achieve a good working relationship with the composer.

4. Discuss in detail with the composer the sort of work you want. Make sure you specify theforces to be used and the other things you find important as part of your decisions in stageone. It is here that you must decide how much artistic freedom to allow the composer the extent to which who pays the piper calls the tune. This will vary from composer tocomposer, and it is vital that both sides know exactly where they stand on this issue ifever a relationship goes wrong in the commissioning process, it is usually over forces,excessive difficulty, idiom, or deadlines all things that can and should be discussed andagreed at this stage before the composer is engaged. A final point the composer maywant to see the venue in which the premire of the performance is to be made in order totailor his or her composition to the right environment.

5. Draw up a legally binding contract between your group and the composer. You canrequest a standard contract from the British Academy of Composers and Songwriters all

contact details mentioned in this document are noted in section 10.

6. In order to keep the composition to brief, and the relationship with composer close, try toensure that the composer is kept in touch with the society during the composing process.If possible, make sure that you can see a little of the music early on, and try it out on yoursociety (even with the composer there, if you are comfortable!). If your musical directorfeels that it is too difficult, then ask the composer to make some changes. This isimportant as an over-ambitious work will take up too much rehearsal time, frustrate yourperformers and be performed badly! If it has been agreed in advance, the composershould be prepared to respond positively to such situations - remember that you are payingfor a product for your society. This will be easier if the composer has seen the group in

action and has an idea of their strengths and weaknesses - regular and honestcommunication with the composer will help to ensure that the end result is satisfactory.

7. If the composer is amenable, and the society and committee are willing, involve yoursociety members in the compositional process again easily done by inviting the composerto a rehearsal or workshop of the piece in its early stages. It is important not to let yourmembers feel that a new piece has been imposed on them. If possible, enable yourensemble to be involved in some way in the creative process. Ask the composer to tryout ideas on them, allowing them to give feedback; or suggest to the composer that thework includes "free" sections where you can improvise. Care should be taken that thecomposer doesnt feel that the society is losing sight of his or her vision at this stage, butdone with care and attention this can be the most rewarding experience: a sense of "jointownership" of the piece.

This is just as relevant if you are working with young people or new participants, who arebound to want more of a say than the performers for whom Purcell composed!

8. Have the composer write a programme note for the piece, but make sure that your usualprogramme editor has editorial rights over it! Unfortunately being a brilliant composer isno guarantee of an articulate and concise writing style! It might help if you give thecomposer a direct brief for this part of the process also.

9. Allocate enough rehearsal time.

10. Make sure the composer is present and given due recognition at the premire but try toensure that the first performance of the work is not the last, especially if the work issuccessful! See section 8 What Happens Afterwards for some ideas.


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4. Select Your Composer

In some ways, unless you already have a composer in mind, choosing your composer is probablythe most difficult part of the process. You need to invest time to find the right composer for yoursociety.

The first decision to be made is whether to commission from an experiencedcomposer with a track-record, or to use somebody less established. The former willnaturally cost more, and the latter may well be able to commit more time and effortto your project.

To obtain details of composers who are interested in working specifically with amateurs,and who have some experience of doing this please visit our online Composer Databasewhich is well-equipped to offer details of a number of composers directly relevant to yourneeds. If you are unable to find anyone suitable by that means, try the following options:

o Someone in your society may already know a composer. One of your members, or

your Musical Director, may be interested in writing a work, although this should beapproached with caution and due awareness of other possibilities, particularly if afee is involved. Or you may have heard the music of a composer that youparticularly like. In this case, you may want to contact the British Academy fordetails of that particular named composer.

o Contact the British Music Information Centre or the Scottish Music InformationCentre which exist to document and promote the work of living composers. Eachcentre has a database of composers who work in Britain, and a collection of worksand recordings. Centre staff will be happy to put together an information pack withdetails and samples of composers' music.

o The society for the promotion of new music (spnm) exists to promote the work ofliving composers, in particular emerging voices. They also offer help andsuggestions regarding the selection of composers and hold a database of newlycreated works from emerging composers. They may well be able to put you intouch with a composer who does not yet command a full fee.

o You could hold a competition for local composers, offering them a valuableopportunity to have their work played (see section 10s case study: St JamesOrchestra). You could advertise in a local conservatoire, university, or schools.

o Don't forget the tried and trusted grapevine: ask other music societies with whomyou are in touch if they can suggest a composer who they have worked withsuccessfully. Your Making Music Committee or Training and Development Officermay be able to help here.

Ensure you consider the following criteria when choosing a composer to approach:

o Do they write the sort of music you like, or that your members like?o Have they experience in writing for amateurs?o Have they experience of writing for the forces you need?o Do they have a track record of delivering work on time?o Will you be able to reach agreement with them over changes and work-in-progress

discussions?o Can you afford them are all necessary fees covered?o Have they got time to write the piece in the timescale you have identified?o If you are working on a workshop basis how skilled are they at managing such


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events?

5. The Legal And Contractual Stuff

We cannot stress enough the importance of having a formal contract or exchange of letters withthe composer whom you are commissioning. If you are working via a publisher (many composershandle all their work this way) they will almost certainly issue you with a contract which you woulddo well to have a lawyer examine. If not, make sure your contract includes at least the followingconsiderations:

Ensure that there are clear deadlines by which the group should receive copies of themusic (by section or as a whole), and that the contract specifies any penalty in the event ofthe composer not meeting the deadlines.

The contract should contain the composer's fee . If the composer is professional, he or shewill usually expect the fees recommended by British Academy of Composers andSongwriters (see Making Music Information Sheet no.25), although these are guidelinesand therefore flexible. If you feel you cant afford these rates it is still worth getting intouch with a composer - many may be willing to negotiate for the chance of writing a newpiece and hearing it performed.

Ensure that the contract specifies who possesses the rights to the new piece: in otherwords, who owns it legally. The composer may well wish to retain the rights while allowingthe commissioning society to retain a full set of vocal and/or orchestral parts for their soleuse in perpetuity.

The cost of producing and/or copying parts can run into thousands of pounds for largeworks. In the case of a published composer, this bill is usually met by the publisheralthough you may be asked for a contribution. Composers without a publisher have to pay

for copying themselves so ensure that any claim for reimbursement is settled in advance.If you take responsibility for printing the score and parts, you will be able to hire the musicout to other societies.

If the composer is to attend rehearsals , or give a talk at the premiere, it will be importantto establish whether he/she will receive an extra fee for this.

Recording the premiere of the work will assist the composer's own self-promotion, as wellas providing you with a permanent record of your commission. Bear in mind, however,apart from the costs incurred, that this can increase the pressure on the performers, andany professionals taking part would need to give permission. They might also insist on

extra fees. If you wish to sell or give away recordings of the work, you must contact MCPS(the Mechanical Copyright Protection Society).

6. Marketing Your Premiere

It is an all too common occurrence that composer and performers put a huge amount of effort intoa new work, get justifiably excited over the premire, and end up performing in front of thecomposer, his or her friends, and not many others! Avoid this frustrating and disappointingsituation by making a special effort to market the concert effectively. Consider the followingpoints:

Programming Consider the context in which the first performance will take place, and what the

experience will be like for the audience.


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The other works in the programme are important, not just with regard to musicalcompatibility but also in terms of attracting an audience. Programming a popular workalongside a new work should bring a larger audience into contact with it, as long as thismakes sense in the programme as a whole. The composer may want some input into theprogramming of the performance, as he or she may feel that the piece would sit wellamongst other specific works.

Publicity materials When marketing the event, and during the performance, include as much detail about the

composer and the themes running through the new work and his or her inspiration.

Emphasise the uniqueness of the event a world premire should have a great sense ofoccasion, especially if linked to the community in which the piece is being performed.Distribute a press release to all local newspapers and radio stations and follow them upwith a phone call. You can also announce a premire in national publications, such as NewNotes or the Premieres section of Classical Music .

Minimising the use of musical jargon and intimidating language can bring contemporary

music to an even wider audience. Use your publicity to turn negative preconceptions (thework will be difficult to listen to, the audience don't know what it will be like) into positiveones (the work will be thought-provoking, the audience will be witnessing something new).

The premire If the composer or musical director introduces the new work to the audience, with musical

examples if appropriate, the audience is likely to gain more from the experience. If a shortcommission was programmed alongside an earlier work by the same composer, thecomposer could point to how his or her style has developed between the two pieces.

Involving the audience as participants in the work in some way increases the sense of a

creative act taking place. Instill pride and enthusiasm in your society members, so that they will be encouraged to

bring their friends. This is a piece of music specially created for them!

There is enormous potential for the creation of a specialised repertoire which directlyaddress the needs and experiences of young audiences. You could use the new work as aneducation and audience development tool.

For more general advice on marketing and audience development, please see the Guide, How toDevelop New Audiences (H6) .

7. Pitfalls To Avoid

Sometimes, the commissioning process does go wrong. In our experience, the usual reason is alack of sufficient communication between commissioner and commissioned. Here are some of thepitfalls, how to avoid them and what to do if they happen:

The composer fails to produce the music in good time. Ways to Avoid

o Make sure that you are in close touch with the composer throughout the composition period, and that you have sight of work in progress.

o Select a composer who has a track record of delivery on time, or one with a publisher witha proven track record.

o Ensure the contract specifies what happens in the event of non-delivery.


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If It Happenso Consider a partial performance with the completed work at a later dateo Postpone the date of performance

The composer produces inappropriate music -for the wrong forces, too difficultetc. Ways to Avoid

o Ensure that what is required is specified well in advance and documented in writing.o Take up references prior to commissioning; choose a composer known to have delivered

the requirements in the past. o Be aware of how much of a priority your work is to the composer if they have a lot of

work on, they may have less time to spend on your work.Remember - most composers have a good sense of the possibilities of a society he / shemay be attempting to stretch the performers.If it Happens

o Request that difficult sections be cut out or modified o Arrange more rehearsal time

You do not like the piece.Ways to Avoido Choose your composer with care, preferably listening to his or her works prior to

committing yourself. No-one can guarantee that you will like the end result, but closeworking with composers during the compositional process should help to identify major

problems before they get out of hand.o Attempt to get references from other societies who have used the composer in the past

(please see our online Composers Database )If it Happens

o You should probably perform the piece anyway! Your opinion is only one of many potentialopinions

There is no audience for the premiere.Ways to Avoid

o It is your duty as promoters to put the maximum possible marketing weight behind a premiere, even if you do not particularly like the end result of your commission.

o Particularly if the composer is local to your group, you should find it easier to obtain PR andmarketing opportunities than with more conventional concerts.

o Use all the marketing tricks you can! Go to the Events section on our website for details ofMaking Music marketing courses, and the Members section to download the How toDevelop New Audiences guide. If it Happens

o Arrange for a recording of the premire (which the composer would want in any case)o Use this to help market a second performance

8. Get It Funded

Funding new commissions is one of the easier fundraising tasks facing amateur groups. Easier butnot necessarily easy! Many sources of funding are keen to develop new work however, and someof the following sources would be worth a try:

Your first step in looking for funding for a new work should be to ask the RegionalExecutive Office of the Arts Council of England (formerly known as the Regional Arts Board)or the Scottish Arts Council, Arts Council of Wales or Arts Council of Northern Ireland.

o NB - some funders may stipulate that they will only help if at least twoperformances have been arranged. You might find it helpful to seek thecollaboration of other societies in your area to present the first, second and


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possibly third performances of the new piece within a short period. This canhave added publicity appeal to all concerned and may help to procurefunding from other sources.

o The Arts Councils have budgets for subsidies for new commissions, for example theScottish Arts Council's Music Fund, which will cover the basic composer's fee but notrealisation costs.

o Although many local authority budgets are being downgraded, some authoritieshave special funds available.

The useful links section of our website, and our appendix contains details of severalcharitable trusts which are known to have an interest in commissions, although there is agreat deal of competition for limited funds.

The society for the promotion of new music administers the Francis Chagrin Fund, which is"open to British composers (or composers resident in the UK) to help cover the costs thatthey have personally incurred, by reproducing performance materials for works awaiting

their first performance."

Individuals, particularly wealthy ones, may be willing to contribute to a commission fee.The Birmingham Contemporary Music Group run a scheme called Sound Investment,inviting individuals and organisations to buy "shares" in a new work at 100 per share. Inreturn, the contributor has the opportunity to be involved in the creation of the new work.

Local companies may be willing to sponsor the premire or make a donation on thestrength of the publicity it will attract, and the boost it might give to their image. Whenyou approach them, give them some facts and figures about how much coverage they arelikely to get for their money.

It may be worth holding a reception after the concert, particularly if you want tocommission another piece sometime. Invite the press, local dignitaries, and potentialfunders.

Remember that an external funder might have specifics which it wishes to see on acontract, such as acknowledgement of their assistance on all associated print.

8. What Happens Afterwards?

It is a constant source of disappointment when successful works commissioned by Making Music

members never receive performances beyond the premire. We will give you as much help aspossible to ensure that the work has a life beyond its premire; who knows, it may be the nextDream of Gerontius: an amateur commission entering the mainstream repertoire. Make sure youtake the following steps to ensure your new piece gets the widest possible exposure.

Fill out the online form on the Commissioning Uncovered section of our website to ensurethat your work is entered into the Repertoire Service, thus making it available within theMaking Music catalogues. If possible, enter your contact details so that future programmeplanners can contact you to find out about the piece.

Providing the work is a success, plan repeat performances yourself. This will help to

establish it in the repertoire. Hiring it out to other societies will also have this effect, and will help you to recoup some of

the commissioning costs; you could make the work available through the Making Music


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Music Exchange Scheme. If the rights are held by the composer or publisher, you couldencourage other societies to hire it from them.

If the work is particularly exciting and spectacular, ensure that the composer and publisherare aware of your enthusiasm. They will be able to use your quotations and comments intheir marketing literature. You could also consider sending the details of a very specialoccasion to Making Music News for possible inclusion as a news item.

If the commissioning process has been a happy one, make sure it is not your last.Consider delving deeper into the commissioning process:

Obtain feedback from your members about whether they enjoyed the commissioningprocess, and whether they would like to work again with the same or a different composer.

Music clubs will also have a proprietorial interest in works that they have helped bring intothe world. Taking opportunities to introduce such works to other performers, particularlythose in instrumental groupings that are short of repertoire and may be looking for newpieces, could be regarded as an ongoing responsibility.

If the relationship with the composer is successful, and you feel comfortable with his or hermusic, you may wish to work with this composer fairly often. You could either elevate himor her to "Composer in Association", or simply maintain a looser connection. A composerwhose work has been happily performed at or by your society before will need no specialpleading, and each further commission could be seen as the logical (and very special)extension of your previous association with him or her.

10. Some Case Studies

Case study: East London Late Starters Orchestra

ELLSO aimed to develop a participative interest in contemporary music-making by amateurmusicians, orchestras and ensembles. They held a "flagship" national residential course at theUniversity College of Leeds in July/August 1995 and a series of regionally based contemporary

music-making events. The latter focused on the performance by amateurs of new works speciallywritten for them by professionals, ensuring that the pieces were technically accessible yet of

musical interest to amateur and professional musicians and audiences .

Case study: Barnes Music Society (BT Innovation Award winners, 1995)

Barnes Music Society commissioned a cantata, based on the theme of the Great Fire of London, forits youth orchestra and a local children's choir. The composer was Brendan Beales, an animateurspecialising in working with children, who based the cantata on melodies developed by the young participants in workshops. Musical items were inter-dispersed with short readings about the Fire.


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The audience were actively involved in the performance, singing the main choruses (after a shortrehearsal), and simulating the spread of the Fire by crinkling paper bags from Happy Shopper! The

society had previously commissioned "adult" works, but a commission for young performers wasan entirely new and successful initiative.

Case study: Contemporary Music-Making for Amateurs (COMA)

COMA is a network of individuals and groups working to create opportunities for musicians of allabilities and backgrounds to become actively involved at the forefront of new music-making. It

grew out of the East London Late Starters Orchestra, who discovered it was difficult to findcontemporary music for players of all levels to enjoy. COMA's commissioning policy is to createnew music of the highest quality that is musically challenging while being technically accessible.Most of its larger commissions have flexible instrumentation so that they can be played by the

forces available, and they cater for all musical abilities.

Case study: Crouch End Festival Chorus

As part of a longer term "plan for the future", Crouch End Festival Chorus won a BT Innovation Award in 1996 to establish a School of Composers, dedicated to composing works that are suitable

for, yet challenging to, members and audiences. In the first year, composer Joby Talbot attendedrehearsals to sing with the choir and assess the abilities of members, who in turn talked with Joby

and shared ideas for his composition.

Case study: Luton Music Club (BT Innovation Award winners 1995)

Luton Music Club organised an Associate Young Composer scheme, by which three composers intheir thirties and forties were selected, and several works of each composer were programmed in

each of three seasons. One purpose was to enable audiences to get to know the composers insome depth and to follow their progress over time. The composers were expected to attend as

many of the relevant concerts as possible, to introduce their work and, if appropriate, to take part

in certain concerts as performers. Audiences were encouraged to meet the composers informally atconcerts, and were provided with special publicity material about the scheme and the composers.

Although this project did not in itself involve a commission from any of the composers, a new work


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from each of them would be the logical development of the scheme and the Club is nowconsidering this.

Case study: St. James Orchestra (BT Innovation Award winners,1993)

The St. James Orchestra in Paisley held a competition to choose a young composer to write a workfor the orchestra. Six young composers studying in Scotland were invited to submit a short work

(not more than 3 minutes) for practice and performance by the orchestra. Before composing theirwork, each composer attended a rehearsal to establish the strengths and limitations of the players.

A seminar was held with the orchestra's conductor Paul MacAlindin to explore the specialchallenges of composing for amateur orchestra. On the day, each work was rehearsed for 15-20

minutes, followed by 10-15 minutes discussion with the orchestra led by Sir Peter Maxwell Daviesand Sally Beamish. The members of the orchestra then each voted for their own favourite, the

winner being Paul Leonard-Morgan for his "Mohi-Jig". His prize was a commission for a 10-minutework to be premired by the orchestra. The composers all learnt valuable practical lessons, whilethe orchestra discovered that contemporary music can be both enjoyable and challenging to play.

Since the competition the orchestra has played pieces by two of the other composers who took part in the competition, and a piece by one of its own members. The project had a noticeably

beneficial effect on playing standards and morale.

Case study: East London Late Starters Orchestra

ELLSO aimed to develop a participative interest in contemporary music-making by amateurmusicians, orchestras and ensembles. They held a "flagship" national residential course at theUniversity College of Leeds in July/August 1995 and a series of regionally based contemporary

music-making events. The latter focused on the performance by amateurs of new works speciallywritten for them by professionals, ensuring that the pieces were technically accessible yet of

musical interest to amateur and professional musicians and audiences.


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11. USEFUL LINKS AND ADDRESSES

British Music Information Centre : Matthew Greenall, Director10 Stratford PlaceLondon W1C 1BATel: 020 7499 8567Email: [email protected] Web: www.bmic.co.uk

Scottish Music Information Centre : Andrew Logan, Chief Executive1 Bowmont GardensGlasgow G12 9LRScotlandTel: +44 (0)141 334 6393Fax: +44 (0)141 337 1161Email: [email protected] Web: www.smic.org.uk

Ty Cerdd - Welsh Music Information Centre : Keith Griffin, Director15 Mt. Stuart SquareCardiff CF10 5DPWalesTel: +44 2920 462 855Fax: +44 2920 462 733Email: [email protected] Web: www.tycerdd.org

Society for the Promotion of New Music : Gill Graham, Executive Director4th Floor1820 Southwark StLondon SE1 1TJTel: 020 7407 1640Web: www.spnm.org.uk

British Academy of Composers and Songwriters : Chris Green, Chief ExecutiveBritish Music House27 Berners StLondon W1T 3LRWeb: www.britishacademy.com

MCPS The Mechanical Copyright Protection SocietyElgar House41 Streatham High RoadLondon SW16 1ERTel: 020 8378 7744Web: www.mcps.co.uk

Arts Council of England14 Great Peter StreetLondon SW1P 3NQTel: 0845 300 6200Email: [email protected] Web: http://www.artscouncil.org.uk/


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Scottish Arts CouncilScottish Arts Council12 Manor PlaceEdinburgh EH3 7DDTel: 0845 603 6000 Web: www.scottisharts.org.uk

Arts Council of Wales9 Museum PlaceCardiff CF10 3NXTel: 029 20 376500 Web: www.artswales.org

Arts Council of Northern IrelandMacNeice House77 Malone Road Belfast BT9 6AQTel: 028 9038 5200

Web: www.artscouncil-ni.org

Birmingham Contemporary Music Group CBSO CentreBerkley StreetBirmingham B1 2LFTel: 0121 616 2616Email: [email protected]

The Holst Foundation : Anna Cuddon, Grants Administrator43 Alderbrook RoadLondon SW12 8ADTel: 020 8673 4215

The RVW Trust : Helen Faulkner, Administrator16 Ogle StreetLondon W1W 6JATel: 020 7255 2590Fax: 020 7255 2591

The John S Cohen Foundation : Duncan Haldane, Administrator85 Albany StreetLondon NW1 4BT

The Britten-Pears Foundation : The AdministratorThe Red House

AldeburghSuffolk IP15 5PZ

The Peter Moores Foundation : Peter Saunders, c/o Messrs Wallwork Nelson and Johnson,Derby HouseLytham RoadFulwoodPreston PR2 4JF.

The Hinrichsen Foundation : Lesley Adamson, Secretary10-12 Baches StreetLondon N1 6DN.

Documents

Commissioning New Music