ANTONY HOPKINS – portrait of a composer

CD1 (total duration 67.37)Sonata for Viola and Piano (1945) 14.151 I. March 4.322 II. Ground 3.553 III. Scherzo 3.254 IV. Epilogue 2.23

5 Rondo (1945) from Piano Sonata no. 2 in F sharp minor 2.59

A Humble Song to the Birds – Cantata (1945) for high voice and piano 8.026 I. My darlings, Oh my little birds: Moderato, molto rubato 2.397 II. You need not peep: Andante 1.098 III. How dare I then, poor silly man: Allegro con brio 1.159 IV. Some may be priests or kings or lords: Lento assai 2.59

Partita in G minor (1947) for solo violin 10.1010 I. Andante – Fugato 3.1911 II. Vigoroso 1.4112 III. Moderato, molto rubato 2.0113 IV. Mésuré 1.0714 V. Allegro giusto 2.02

Piano Sonata No. 3 in C sharp minor (1946-48) 15.5415 I. Allegro vigoroso 6.3716 II. Largo 5.4317 III. Tranquillo –Allegro giusto 3.34

Suite (1952) for descant recorder and piano 6.0618 I. Prelude: Allegretto, quasi pastorale 1.4419 II. Scherzo: Prestissimo 0.5720 III. Canon: Andante tranquillo 1.3921 IV. Jig: Vivace 1.46

Pastiche Suite (1944) for treble recorder and piano 3.4422 I. Allegro molto giusto 1.1123 II. Alla siciliano 1.1624 III. Vivace non troppo 1.17

Three French Folksongs (1947) for soprano, recorder and piano 6.2025 Les trois rubans 2.0826 Gai lon la 2.3027 Quand mon mari se fachera 1.42

CD2 (total duration 57.52)1 Tango (1948) for piano 2.35

Three Seductions (1949) for recorder and piano 3.592 No. 1 Wanton Waltz 1.153 No. 2 Flirtatious Fancy 0.504 No. 3 Sensuous Sarabande 1.54

5 First Love (1980) from Early One Morning, for soprano and piano 3.32

6 I’ve Lost my Love (1953) from Hands Across the Sky, for soprano, recorder and piano 3.31

7 A Melancholy Song (1945) for soprano, recorder and piano 1.04

Four Dances (1946) from Back to Methusalah, for recorder and piano 4.038 I. Farandole 0.589 II. Sarabande 1.0410 III. Wilman’s Ground 1.0811 IV. Air 0.53

Three poems12 Good King Jack Nicklaus 1.2913 Charlie’s Revenge 5.0014 String Quartet 1.29

Eight Tributes to Antony Hopkins (2011)15 On How to Sing (by Andrew Plant) for soprano, recorder and piano 2.03

16 A Little Pastoral (by David Matthews) for solo recorder 1.46

17 Evening in April (by David Dubery) for soprano, recorder and piano 3.28

18 Above All That (by Anthony Gilbert) for recorder and piano 2.52

19 CantAHta (by Gordon Crosse) for soprano, recorder and piano 3.07

20 Head Music (by David Ellis) for recorder and piano 1.53

21 Pierrot (by Joseph Phibbs) for soprano, recorder and piano 3.43

22 Pieds en l’air (by Elis Pehkonen) for recorder and piano 1.57

BONUS TRACKS!23 Vicarage Tea (1960) from Johnny the Priest 3.0424 Be Not Afraid (1960) from Johnny the Priest 3.3125 Trio (1953) from Three’s Company 3.38

For performer details see notes and inlay

ANTONY HOPKINS Portrait of a composer

Musically painted by:

Lesley-Jane-Rogers (soprano): CD1 tracks 25-27, CD2 tracks 5-7, 15, 17, 19, 21.James Gilchrist (tenor): CD1 tracks 6-9

John Turner (recorders): CD1 tracks 18-27, CD2 tracks 2-4, 6-11, 15-22Paul Barritt (violin): CD1 tracks 10-14

Matthew Jones (viola): CD1 tracks 1-4Philip Fowke (piano): CD1 tracks 15-17, CD2 track 1

Michael Hampton (piano): CD1 tracks 1-5Janet Simpson (piano): CD1 tracks 6-9, 18-27, CD2 tracks 2-11, 15-22

Antony Hopkins (speaker): CD2 tracks 12-14Jeremy Brett, Stephanie Voss and Phillada Sewell (vocals):CD2 tracks 23-24

Elizabeth Boyd, Stephen Manton, Eric Shilling (vocals) and Antony Hopkins (piano): CD2 track 25

ANTONY HOPKINS – a man of music

Composer, pianist, conductor, broadcaster, author, lecturer and piano-recitalist, his sex precludeshim from being described as a ‘maid-of-all-work’ but he sometimes calls himself a ‘sort of musicalodd-job man’, since throughout his professional career he has claimed to be able to produce whathas been asked for – often at short notice. Owing to ill-health his father, Hugh, had moved to Italywhere, after a few months he died, leaving a distraught widow with four small children and a mere£110 in the bank. (Antony was the third.) Despairing, she wrote to Charles Greene (Graham’sfather), then headmaster of Berkhamsted School, and he arranged for Major Hopkins, once Hugh’shousemaster, to take Antony, aged 4, on a purely temporary basis while she tried to re-organiseher life. It only became a formal adoption when Antony was 13, at which point his name waschanged from Reynolds to Hopkins – much to the confusion of the school staff.

An inherited gift for music meant that he went to the Royal College of Music in 1939 where, after awasted first year, he began to study with Cyril Smith. (He was exempted from call-up owing to a“gammy” knee.) To everyone’s surprise he won two of the top awards – the Chappell Gold Medalfor piano and the Cobbett Prize for composition. It was soon found that he had an unusual gift forincidental music and numerous commissions followed for radio, theatre and cinema. (LouisMacNeice’s radio programmes The Golden Ass and Cupid and Psyche, Laurence Olivier’s Oedipus,and many films including Pickwick Papers, and much later, Billy Budd.) His broadcasts, Talkingabout Music, were spread intermittently over 36 years and were heard worldwide through the BBCTranscription Service. This led to a number of books. These CDs show some of the wide variety ofhis music, ranging from mere morsels for recorder to more extensive sonatas and songs. Theywere entirely conceived and organised by John Turner, the noted recorder-player: it was only fairthat his virtuosity should be largely featured.

Also included are eight short pieces by other composers, written as tributes to Antony on his 90th

birthday in March 2011 – mostly as a response to his influential broadcasts when they were young.Some of the pieces exploit the fact that B natural becomes H in German notation enabling theinterval A-H to be used on numerous occasions. The theme from Warlock’s Capriol Suite, (“Piedsen l’air”) was included as one of the tunes he declared he most loved.

THE MUSIC – notes by the composers

CD1

1-4 Sonata, for viola and piano (1945)March; Ground; Scherzo; Epilogue

Written for Jean Stewart, notable viola player of the Menges Quartet. There is a motto theme atthe start which appears in three of the movements though reduced to a distorted left handfragment in the fourth. The slow movement is a ground with a deliberately constricted counter-subject. Extreme bass-notes are meant to be played by the page-turner; if you can’t be original oneway try another! (NB bass-notes played here by the composer!)

5 Rondo (from Sonata No. 2 in F sharp minor), for piano (1945)

This is the last movement of a piano sonata dedicated to my friend Michael Tippett, and whichconsciously tries to imitate his idiom.

6-9 A Humble Song to the Birds; Cantata for high voice and piano (1945)Moderato, molto rubato (My darlings, Oh my little birds);Andante (You need not peep);Allegro con brio (How dare I then, poor silly man);Lento assai (Some may be priests or kings or lords)

Captivated by the poem, I set it to music for my wife Alison, an aspiring singer. The words are byRosencreutz, translated by Frieda Harries.

10-14 Partita in G Minor, for solo violin (1947)Andante – Fugato; Vigoroso; Moderato, molto rubato; Mésuré; Allegro giusto;

Written for Max Saltpeter's Wigmore Hall recital, and dedicated to my good friend NevilleMarriner.

15-17 Sonata No. 3 in C sharp minor, for piano (1946/48)Allegro vigoroso; Largo; Tranquillo - Allegro giusto

This Sonata was written for the much admired Noel Mewton-Wood, who tragically died before heever knew.

18-21 Suite, for descant recorder and piano (1952)Prelude (Allegretto, quasi pastorale); Scherzo (Prestissimo); Canon (Andante tranquillo); Jig (Vivace)

This, my second suite for recorder and piano (see below), was composed for my Morley Collegecolleague Walter Bergmann, though first performed by Carl Dolmetsch with Joseph Saxby on the(unintended) harpsichord in the Wigmore Hall in 1953.

22- 24 Pastiche Suite, for treble recorder and piano (1944)Allegro molto giusto; Alla siciliano; Vivace non troppo

During the 1940s I was often involved with musical activities at Morley College where WalterBergmann was the choir's accompanist. He was a keen recorder player and often asked me (then inmy twenties) to write something for him. I must have obliged with this suite, although I have nowabsolutely no recollection of writing it. Amazingly the manuscript turned up many years later in, ofall places, the musical library of Sir Thomas Beecham. Why and how I shall never know!

25-27 Three French Folksongs, for soprano, recorder and piano (1947)Les Trois Rubans; Gai Lon La; Quand mon mari se fachera

These arrangements, original for piano and voice, were made for a fortnight's tour in France andSwitzerland organised by the British Council for Sophie Wyss and myself. The recorder part wasadded by me recently, at John Turner's suggestion. It seems appropriate in view of the avianreferences in the second song.

Translations by the composer:

1. Les Trois RubansHappily engaged to her lover, she wears three coloured ribbons to please him; but then he left andwent to sea and they bring no comfort.

2. Gai Lon LaA nightingale sings in a tree in my aunt’s garden for the girls who have no husband, but not for meas I have one. But now he is a prisoner in Holland and I would give Versailles, Paris and St Denis tohave him back.

3. Quand Mon Mari Se Fachera(A dialogue between mother and daughter) If my husband misbehaves what should I do? Makehim some pancakes. And if he’s still naughty? Sing to him. If that still fails take him to bed and lieclose. If that still doesn’t work take a stick and correct him thoroughly!

CD2

1 Tango, for piano (1948)

Written for Vivien Leigh’s seductive entrance in Act 2 of Thornton Wilder’s play “The Skin of ourTeeth”.

2-4 Three Seductions, for recorder and piano (1949)Wanton Waltz; Flirtatious Fancy, Sensuous Sarabande

Originally for a beginner flautist, and published separately by Schotts without the collective title,but here performed in a new version for recorder.

5 First Love (from Early One Morning), for soprano and piano (1980)

From my choral work Early One Morning, written for WI choir, describing woman’s life and loves.

6 I've Lost my Love (from Hands across the Sky), for soprano, recorder and piano (1953)

There were many entries for the competition for new libretti held by Intimate Opera in 1953 butonly one clear winner – Gordon Snell with Hands across the Sky. It begins with two scientists intheir lab, Miss Fothergill, mad about science, and an un-named professor who is mad about MissFothergill. A spaceship crash lands outside their lab piloted by Squeg whose green skin and fourhands do not prevent him from being terrified on seeing his first humans. To Miss Fothergill he isthe embodiment of all that is wonderful about science, much to his fright. After the plot’s manytwists and turns, he makes his escape in his still working spaceship leaving her totally bereft. In thissad aria the forlorn echo of each of her phrases (originally oboe but here recorder) symbolises thedeparted Squeg.

7 A Melancholy Song, for soprano, recorder and piano (1945)

This brief song, to traditional words, by was also written for Sophie Wyss. The version with addedtenor recorder was written for this recording.

8-11 Four Dances (from Back to Methusalah), for recorder and piano (1946)Farandole; Sarabande; Wilman's Grounde; Air

These brief curtain-raisers were written for an Arts Theatre production of the Bernard Shaw play.The producer was Noel Wilman, hence Wilman's Grounde. They are here performed with piano,which I now prefer, rather than the original spinet. (Extra twiddles by the composer).

12 Poem: Good King Jack Nicklaus13 Poem: Charlie's Revenge14 Poem: String Quartet

Eight tributes:

15 On How to Sing, for soprano, recorder and piano Andrew Plant

The composer writes: The frog school and the skylark school argue over how to sing! This little jeud’esprit, written in honour of Antony Hopkins, is founded on a rising chromatic motif spanning aperfect fifth, which is heard at the outset on the bass recorder (paying homage to the shakuhachi)and later echoed by the soprano. The figure in augmentation forms the bass line of the piano part –reversed half-way through the piece – over birdsong in the right hand, and makes a final cheerfulappearance on the sopranino recorder as the frogs and skylarks exchange their songs in the lastbar.

16 A Little Pastoral, for solo recorder David Matthews

The composer writes: I was delighted when John asked me to write a piece for Antony Hopkins's90th birthday concert. Like so many others, my musical education in my teens owed much toAntony's weekly talks about music, and this was a nice opportunity to express my gratitude andadmiration. A Little Pastoral, as the name might suggest, is a deliberately 'English' piece, lyricalthroughout, and beginning and ending with the initials of Antony's name (with H standing for B asin German nomenclature).

17 Evening in April, for soprano, recorder and piano David Dubery

The composer writes: Douglas Gibson was in his mid- thirties in 1945 when he wrote Evening inApril which appeared in a collection dedicated to his wife Dorothy. It was the April before the endof the second World War. He had already experienced the uncertainties and terrors of two worldwars, but for him the earth’s natural beauties outweighed the cruel tides of mankind. I enjoyed aterm of correspondence with him during the 1980’s, having discovered the collection Winter

Journey from which I set three poems under the title Time will not wait. In 2010 I returned to hiswork still admiring his arresting verse in which pastoral landscape forms a backdrop to humanpassions and sensitivities. My setting is dedicated to Antony Hopkins, with gratitude andadmiration on his 90th birthday.

I feel no wind move through the evening air,And yet so sensitive these leaves must beThat every now and then they toss and stirUntil each branch is like a rippling sea.

Oh, there are winds of which we never know,And there are realms to which we have no key;The strange tremendous seas which ebb and flowBeyond man’s thought, are dark with mystery.

And yet earth’s beauty is enough for me:The evening’s hush, the blackbird’s ageless song,The green leaves rippling on the dreaming tree,Would recompense me for a lifetime’s wrong.

The poem Evening in April from The Singing Earth published by William Heinemann Ltd. is set bykind permission of Dorothy Gibson.

18 Above All That, for recorder and piano Anthony Gilbert

The composer writes: Antony Hopkins's “Talking about Music” broadcasts gave me serious insightsinto the compositions of significant living composers such as Tippett and Stravinsky. In their waythey acted as my earliest composition lessons, far above the usual “music appreciation” sessionsthen so fashionable in education. There is no way in which I can adequately express what thesebroadcasts meant for me, so my little piece is just a model of how they came across. After a briefflurried introduction sounding a little like starting a car engine, or perhaps my brain waking up, therecorder melody flows away freely above, and sometimes out of step with, a rather formal pianoaccompaniment, which finally responds in kind.

19 CantAHta, for soprano, recorder and piano Gordon Crosse

The composer writes: When writing a short occasional piece I often find inspiration in the musicalletters of the recipient's name. But often the most difficult thing is to find the text when a voice isinvolved. In this case the solution is the same for both problems – the classic wordless sound forsingers is “AH” and those are Tony Hopkins' initials. The piece is a miniature cantata – in themanner of Handel or Telemann – a slow opening section, a lively middle and an expansive climacticfinale which quotes the work I remember being expounded to me when listening to an early“Talking About Music” ; the opera “Peter Grimes” by Britten.

20 Head Music, for recorder and piano David Ellis

The composer writes: This piece, scored for tenor recorder and piano, is one of a dozen shortworks composed over a period of twenty years which acknowledge significant occasions – in thisinstance the ninetieth birthday of Antony Hopkins, whose BBC broadcasts did so much to enlightenand stimulate his listeners – myself included.

21 Pierrot, for soprano, recorder and piano Joseph Phibbs

The composer writes: This short setting of Sara Teasdale (1884-1933), an American poet whose lifewas tainted by tragedy, seeks to reflect the dream-like imagery of the poem by combining bell-likesounds in the piano with melismatic, florid music in the recorder, here acting as a musicalrepresentation of the clown. The soprano swoons, yearning hopelessly for Pierrot, the piano nowtaking on the role of his lute. At last her love is declared, and recorder and singer are broughttogether. Pierrot is dedicated with admiration to Antony Hopkins.

Pierrot plays in the garden,He thinks he plays for meBut I am quite forgottenUnder the cherry tree.

Pierrot plays in the garden,And all the roses knowThat Pierrot loves his music,―But I love Pierrot.

(from Pierrot by Sara Teasdale)

22 Pieds en l'Air, for recorder and piano Elis Pehkonen

The composer writes: My first encounter with Antony Hopkins was at the Assembly House inNorwich in 1958 when he adjudicated my piano playing! When I went to the RCM in 1960 Iattended his morning lectures and in one of these he presented his lovely film music for Billy Budd.I then began to listen to his wonderful radio broadcasts. Forty years later, John Turner told me thatAntony loved Pieds en L'Air and this is why my short tribute, for descant recorder and piano,contains this tune. On either side of it, in the piano left-hand part, are the notes A & B which referto the initials of his name.

BONUS TRACKS

23 -24 Vicarage Tea; Be not Afraid from the musical “Johnny the Priest” (1960)Featuring Jeremy Brett, Stephanie Voss, Phillada Sewell)

These two tracks come from the original recording of Johnny the Priest, a music drama adaptedfrom The Telescope by R. C. Sherriff, adaptation and lyrics by Peter Powell, music by AntonyHopkins and musical arrangements by Gordon Langford and Antony Hopkins. The complete musicalis available on Must Close Saturday Records MCSR 3051, available from Must Close Saturday, 56The Street, Poringland NR14 7JT. The remastering of the original recordings is copyright Must CloseSaturday, and Divine Art is very grateful for permission to include these tracks in this compilation.The musical was first seen at Wimbledon Theatre on 25th March 1960 and was subsequentlypresented by Don Gemmell and Reginald Woolley for Players Ventures Ltd. by arrangement withJack Hylton on 19th April 1960 and ran for 14 performances. For more information please see ATanner's Worth of Tune: Rediscovering the Post-war British Musical, by Adrian Wright [BoydellPress, 2010].

25 Trio from the opera “Three's Company” (1953)Featuring Elizabeth Boyd, Stephen Manton, Eric Shilling, and Antony Hopkins (piano)

In this excerpt from Intimate Opera's production of the successful one-act opera “Three'sCompany”, with words by Michael Flanders, Miss Honey the Secretary is applying for a new job.The quotation from the Mastersingers Quintet was included to give Stephen Manton, who neversung grand opera, the thrill of singing a bit of Wagner! This extract is from the Argo LP of the fullopera recorded in 1953.

The Performers

Lesley-Jane Rogers is a keen exponent of contemporary music and a great advocate of English Song.

She was delighted to sing for Antony Hopkins’ 90th birthday concert in Berkhamsted, performing several ofhis songs and premièring various tribute pieces, all of which can be heard on these CDs. Stepping into theshoes of soprano Sophie Wyss (for whom Britten famously wrote Les Illuminations), Lesley-Jane connectspast and present with her characteristic energy and enthusiasm. Many composers regard her as theirsoprano of choice, and numerous pieces have been written for and dedicated to her.

James Gilchrist began his working life as a doctor, turning to a full-time career in music in 1996. Hefrequently performs a wide range of concert repertoire, from St Matthew Passion with the RotterdamPhilharmonic, to La Finta Giardiniera with the Academy of Ancient Music, and Britten Serenade for Tenor,Horn and Strings with Amsterdam Sinfonietta. A prolific recitalist, James enjoys successful relationshipswith accompanists Anna Tilbrook (with whom he recorded an album of songs by John Jeffreys for DivineArt) and Julius Drake, and harpist Alison Nicholls. His recent acclaimed recordings include Die SchöneMullerin, Schwanengesang and Winterreise (Orchid).

Paul Barritt is Permanent Guest Leader of the Hallé Orchestra, having previously held the position ofleader of the Northern Sinfonia and the English Chamber Orchestra. His numerous recordings for violin andpiano include the complete violin sonatas of Howells, Ireland, Stanford, the salon pieces of AlbertSammons (‘The English Kreisler’) and works by Rheinberger (all on Hyperion), and sonatas of Schoeck(Guild). He has recorded the complete violin and piano music of both Beethoven and Brahms on theWoodhouse Editions label with pianist James Lisney.

Matthew Jones is widely acknowledged as one of the leading violists, violinists and pedagogues of hisgeneration. Equally at home as soloist or chamber musician performing classical or contemporaryrepertoire or improvising, recent performance venues include London’s Wigmore Hall and South Bank anda critically acclaimed Carnegie Hall recital debut in 2008. He is violist of The Bridge Duo and the DebussyEnsemble and a member of Ensemble MidtVest. Born in Swansea, Wales, Matthew has recorded ten CDs,including three for Naxos, and is Senior Tutor of String Chamber Music at the Guildhall School of Music andDrama.

John Turner, who was a Senior Scholar in Law at Fitzwilliam College, Cambridge, and formerly a practisingsolicitor, is one of the leading recorder players of today, having premièred over 500 works for hisinstrument, including concertos by Kenneth Leighton, Anthony Gilbert, Gordon Crosseand Peter Hope. His discoveries include recorder works by Handel and Rawsthorne as well as AntonyHopkins's Pastiche Suite. His own compositions are standard repertoire for the instrument. He was made aFellow of the Royal Northern College of Music for his services to British music and is a DistinguishedVisiting Scholar of Manchester University.

Philip Fowke is known for his many BBC Promenade Concert appearances, numerous recordings and broadrange of repertoire. He has appeared in many of the major concert hall of the world with conductors suchincluding Rattle, Rozhdestvensky and Ashkenazy. He is Senior Fellow of Keyboard at Trinity College ofMusic, and is recognised for his distinctive and imaginative style of teaching. He has recorded concertos by,inter alia, Addinsell, Bliss, Delius, Hoddinott, Rachmaninov, Ravel and Tchaikovsky, and his solo recordingsinclude the complete Chopin waltzes, the Chopin sonatas and an album of piano transcriptions.

Michael Hampton graduated as a major prize-winner from the Royal College of Music. In the subsequentyears he has continued to perform on major stages around the world, including the Wigmore Hall andCarnegie Hall, broadcast frequently on the BBC, and record, all to high critical acclaim. He works both as asoloist and chamber musician, equally at home in both instrumental and song repertoire.

Janet Simpson is the Orchestral Pianist of the Halle Orchestra with whom she has toured extensivelyabroad and been involved in numerous recordings and broadcasts. She has also appeared as soloist withthe orchestra on many occasions. She also frequently works with major orchestras in London. Janetperforms regularly in many chamber concerts and has performed as far afield as Singapore and Hong Kong,as well as throughout Britain. She is a member of the Syrinx Trio.

Tracks 6-9 (CD1) recorded at Bedford School on 24 January 2012.Tracks 10-14 (CD1) recorded in St. Thomas's Church, Stockport, on 27 October 2011.Tracks 15-17 (CD1) and 1 (CD2) recorded at the Whiteley Hall, Chethams School, Manchester, on December17th 2011.All other tracks (except the bonus tracks) recorded at the Purcell School, Bushey, on 12/13 November 2011in the presence of Antony Hopkins.Tracks 6-9 (CD1) Recorded and edited by Patrick Allen.All other tracks produced by Paul Hindmarsh and recorded and edited by Richard Scott.Piano at the Purcell School regulated and tuned by Dietmar Assimis-Kohls.Music notes by Antony Hopkins except where otherwise stated.Booklet and packaging design: Stephen Sutton.Photo of Antony Hopkins by Peter Grainger. Copyright image used by permission – all rights reserved.Back cover/inner tray photos courtesy of Antony Hopkins.The artists and Divine Art are very grateful to the Purcell School, Bushey, for the generous use of theirfacilities.

Divine Art wishes to acknowledge grants from the Ida Carroll Trust and the Douglas Steele Foundationtowards the costs of this recording, as well as the subscribers named overleaf:

Jonathan Alwyn, John Amis, Jane Ashley, Ron Astles, Prof. Peter Aston, Peter Aviss, Celia Bain, Dr. Michael Ball, StephenBanfield, Rob and Caroline Bailey, Colin and Rayna Bayliss, Mark Bebbington, Richard Beith, Rev. John M. Belcher, Nora Bell,Brian Bennett, Julian Berkeley, Berkhamsted Music Society, Jackey Birch, Keith Bisatt, Gill and David Blazey, Jean and JohnBlundell, Nigel Bonham-Carter and Jose-Luis Galan, Leon Bosch, Julia Seiber Boyd, James Bowman CBE, Richard Brocklehurst,Alan Brown, Ann and Michael Browning, Alan Bullard, Anthony Burton, Julie Bush, Martin Bussey, Teresa Cahill, DianaCalderwood, Janet Canetty-Clarke, Wendy Cann, Roger Carpenter, Hazel and Michael Carter, Caroline Clemmow, SheilaCoates, David M. Coldwell, Michael Colin, Alan and Barbara Conway, Prof. Stewart R. Craggs, Robert Crawford, LeonCrickmore, Dr. Nicole Crossley-Holland, Hubert Culot, Brian Blyth Daubney, Anne Davies, Patrick Deane, Dr. James Dickenson,Peter and Bridget Dickinson, The Arthur T. Dinklepuss Foundation, Stephen Dodgson, Mrs. S. Dodridge, Jeanne Dolmetsch, Dr.Trevor Donald, Adam J. Dopadlik, David Dorward, M. J. Downey, Paul Driver, Duncan Druce, David Dubery and WilliamFergusson, Gail Dudson and Martin Roscoe, Mr. and Mrs. M. Eardley, Harold East, Brian Eastman, John Eckersley, SianEdwards, Anne Ehrlich, Sir Mark Elder CBE, David Ellis, Alyson Elliman (in memory of Trudy Dembovitz), Joy Evans, Trevor andLyn Farrington, Rev. John Findon, Edmond Fivet, Lewis Foreman, David Forshaw, Mavis Fox, Georgie and Nigel Foxcroft,Michael Freegard, Bill and Anne Frew, Bridget Fry, Dr. C. D. Garratt, Maggie Gibb, Alan Gibbs, Anthony Gilbert, Prof. MarvinGold, Anthony Goldstone, L. E. Good, Don Goodsell, Dorothy Grande, Prof. Philip Grange, David Greer, Peter Gregson, Jeanand Barrie Hall, Sylvia Hall, Michael Hancock, Mrs. Audrey Hattan, Jim Haworth, Raymond Head, Dr. Anthony Hedges, PiersHellawell, Ian Henshall, Nick Henshall, Dr. Peter Hick, D. and W. Hilling, Jennifer Hillman, Annie Hinchliff, Arthur Holder andHazel Ward, Reg and Sam Holmes, Peter Hope, Margaret Hopkins, Joseph Horovitz, Michael Horwood, Alan Howarth, GarryHumphreys, Peter Hunter, Patricia Hurst, Gillian Hush, Francis Jackson, Jan James, Karel Janovický, Keith Jary, Josie Jeffrey, IanJohnson, Michael Johnson, Michael Jones, Rolf Jordan and Suzanne Hodge, Rosemary Jones, John Joubert, Brian Kay, MichaelKennedy, David Kent, Dame Emma Kirkby OBE, Ann Kirkpatrick, Andrew Knowles, Andrew Lamb, Philip Lane, Valerie Langfield,Carla Lathe, Peter Lawson (Glossop), Peter Lawson (Brighton), Jo Leighton, John and Julie Leonhardt, Patrick and AntheaLepper, Carole Lewis, Malcolm Lipkin, Little Gaddesden and District Music Club, Little Ted, Alan Livesey, David Lord, Chris andGillian Lumb, Luton Music Club, Philip Mackenzie, Hilary Macnamara, Andrew Maddocks, John Malcolm, Kevin Malone, SirJohn and Lady Manduell, A. Christine Manning, Sir Neville Marriner, John Beardwood Marsden, Nicholas Marshall, DavidMatthews, Sir Peter Maxwell Davies, Andrew Mayes, Robin Mellers, Claire Millard, Sheila Milroy, Colin Mitchell, Ian Mitchell,Peter Mountain, Gill Munrow, John McCabe, Denis McCaldin, John McDowell, Murray McLachlan, Barry and Sue Nash,Kathleen Newham, George Nicholson, Humphrey Norrington, Brian and Heidi Norris, Ros Norton, Michael Nuttall, RachelO'Higgins, Ken Organ, N. and J. Ormiston, Richard Orton, Elizabeth Page, Diana Parikian, Jim Parker, Joyce Lindley Parker, Prof.Ian Parrott, Jasper Parrott, Jim Pattison, Anthony Payne, Elis and Pam Pehkonen, Oliver Penrose, Timothy Penrose, NormaPitfield, Richard and Sally Poulton, Ray Pritchard, Richard Rastall, James Read, F. Reay, Layton Ring, Paul Robinson, Betty RoeMBE, John Rose, Mark Rowlinson, Delia Ruhm, Clark Rundell, Lionel Sainsbury, Robert Saxton, Mr. and Mrs. E. A. Scofield,Tony Scotland, David Seddon, Howard Shelley, Margaret Simmonds, Angela Simpson, Richard and Janet Simpson, HowardSkempton, Audrey Slee, David Smith, Oliver Smith, Sheila Sparkes, Peter E. Spaull, Patrick Standford, Mrs. Daphne Stewart,Richard Stilgoe, Richard Stoker FRAM, Tony Summers, Jeremy Suter, Beatrix Taylor, Raphael Terroni, Martin Thacker, Dr. D. F.E. Thallon, Moira Thomson, Stephen Threlfall, Monica Tisdale, Keith and Ruth Treves-Brown, Stephen Trowell, MargaretTurner, Roger Turner, Julia Usher, Celeste Grindrod Valery, Dr. Ronald Vasey, Anne Vickers, Robin Walker, Clive Walkley, Prof.Michael Waller, Irving Wardle, Raymond Warren, Elisabeth Waterhouse, Percy Welton, Eric Wetherell, Jennie Whitefield, Dr.Margaret Lucy Wilkins, Stephen and Delyth Wilkinson, Gillian and Ian Williams, Roger Williams, J. and D. Williamson, BettyWillingale, Peter Willis, Jill Wilson, John Wilson, Mark Windisch, Hugh Wood, Dr. Philip Wood, David Wordsworth, AdrianWright, Christopher Wright, Adrian Yardley.