An American Soundscape

Aaron Copland
Appalachian Spring – suite 23’

Christopher Tin
Piano Concerto, ‘The Pursuit of Happiness’ 25’
UK premiere

INTERVAL: 15 minutes

William Grant Still
Festive Overture 10’

Samuel Barber
Agnus Dei 8’

Leonard Bernstein
Chichester Psalms 30’

Tomas Djupsjöbacka conductor
Lara Downes piano
BBC National Chorus of Wales

BBC Hoddinott Hall is certified by EcoAudio and we’re proud to be supporting the BBC in becoming a more sustainable organisation. For more information on the BBC’s net-zero transition plan and sustainability strategy please visit https://www.bbc.co.uk/aboutthebbc/documents/bbc-net-zero-transition-plan-2024.pdf

The concert is recorded by BBC Radio 3 for Radio 3 in Concert; it will be available for 30 days after broadcast via BBC Sounds, where you can also find podcasts and music mixes.

Premiered on 30 October 1944, in the intimate Coolidge Auditorium of the Library of Congress, Washington D.C., the ballet Appalachian Spring was the first and only collaboration between modern dance pioneer Martha Graham and Aaron Copland. Set in 19th-century Pennsylvania, the ballet depicts the wedding day of a young frontier couple, exploring their hopes and fears as they embark on a new life together. It was to be a defining work both for those involved and for 20th-century American art.

Copland won a Pulitzer Prize for his score, which is at once tender and celebratory. Encapsulating many of the traits that characterise his music between the 1930s and 1950s – wide, open harmonies, rhythmic vitality, a deceptive simplicity and a quintessential Americanness – it is also notable for the inclusion of variations on the Shaker tune ‘Simple Gifts’ (also known as ‘Lord of the Dance’).

Copland discovered the tune in an anthology and was taken with how it was intended for dancing and spoke to a unity of spirit, though he later joked about the extent of his research: ‘I did not realise that there never have been Shaker settlements in rural Pennsylvania!’ Copland originally scored the ballet for 13 instruments, later producing an eight-movement orchestral suite in 1945 which we hear today.

^{Programme note © Sophie Redfern}

1 Across America
2 Speaking Out –
3 Hymn, Rag and Groove

Lara Downespiano

Lara Downes approached me in 2022 to compose the concerto, ‘The Pursuit of Happiness’, to mark the 250th anniversary of the signing of the Declaration of Independence. As the title implies, the piece is a vivacious and audaciously optimistic rhapsody that celebrates the ideals pursued and deserved not just by every American, but by all human beings, regardless of origin or identity.

Structured in three movements, the concerto is composed in the great American tradition of mixing classical music with the vernacular. This juxtaposition of the stately and joyous can be heard prominently in the first movement, ‘Across America’, which takes its name from the pastoral opening theme that evokes the splendour of the American landscape. A central feature of the movement is a stately hymn, which sets to music the most famous sentence of the Declaration: ‘We hold these truths to be self-evident …’ This hymn is soon decorated with country and western-style piano solos and bluegrass fiddle riffs, vacillating between dignified grandeur and unfettered joy, before erupting in an all-out jamboree.

The second movement, ‘Speaking Out’, illustrates the important role that the actual words of the Declaration play throughout the concerto. Here, the longest part of the Declaration – the list of grievances against King George III – takes centre-stage. The exact words of the Founding Fathers are used to create the melodies that each instrument of the orchestra ‘speaks’ in turn – for example, the opening piano melody can be sung to the words ‘A prince/whose character is thus marked/by every act which may define/a Tyrant/is unfit to be a ruler [repeated three times]/of a free people.’ Instrument upon instrument intone specific grievances, joining the chorus of denunciations until finally crescendoing to the refrain ‘unfit to be a ruler/of a free people’.

The final movement ‘Hymn, Rag and Groove’, juggles three disparate musical flavours. The first is a hymn of my own composition, set to the final line of the Declaration of Independence itself: ‘And for the support of this Declaration, with a firm reliance on the protection of divine Providence, we mutually pledge to each other our Lives, our Fortunes and our sacred Honor.’ The second is a homage to the stride style of piano playing featured in America’s own proto-fusion of classical and jazz, the rag. The final is the groove – America’s musical contribution to the world, that defiantly shoved aside the downbeat in exchange for rhythmic vitality and propulsion.

^{Programme note © Christopher Tin}

INTERVAL: 15 minutes

The prolific Mississippi-born composer William Grant Still achieved a breathtaking number of firsts during his long and eventful career: among them, he was the first African American to conduct a leading US orchestra, to have an opera performed by a major national company and to have one of his operas televised. He was a pioneer who enjoyed close associations with several figures in the Harlem Renaissance, the loose group of writers, artists and other thinkers who sought to reshape and celebrate African American identity in the early 20th century. Indeed, his ‘Afro-American’ Symphony was widely admired and performed to acclaim right across the USA following its 1931 premiere.

Still wrote his Festive Overture the following decade, in the space of just a few weeks and in response to a 1944 US-wide overture competition held by the Cincinnati Symphony Orchestra. His piece won by unanimous vote, and it’s not difficult to hear why. It’s an immediately captivating, rousing piece that opens with an imposing fanfare before launching into a confident, striding (and rather jazzy) main theme, which is later contrasted with a calmer, darker second melody. Still collides both his themes together, and they return towards the end (with prominent contributions from the orchestra’s xylophone), before more fanfares propel the overture to its glittering climax.

^{Programme note © David Kettle}

BBC National Chorus of Wales

Samuel Barber’s Agnus Dei is a choral reworking of his much-loved Adagio for Strings, which has has been dubbed the ‘world’s saddest music’. The Adagio is indelibly associated with moments of great emotion and upheaval, having been played at the funerals of Franklin Delano Roosevelt, Albert Einstein and Grace Kelly (among many others), while Jackie Kennedy arranged for Washington’s National Symphony Orchestra to play it to an empty hall following the assassination of her husband JFK in 1963.

The piece began, however, and of course still exists as the slow movement of Barber’s Op. 11 String Quartet, where it separates two outer movements of great energy and complexity. It was conductor Arturo Toscanini who thought the Adagio would make a fine orchestral work, requesting one from the 26-year-old composer, and premiering it with the National Symphony Orchestra on a radio broadcast in 1938. In reworking it for chorus in 1967, Barber changed little, allowing its heart-on-sleeve emotionalism to come through via a series of slow, winding, chant-like melodies which rise to an impassioned climax to shattering effect.

^{Programme note © David Kettle}

TEXT

Agnus Dei, qui tollis peccata mundi:
miserere nobis,
Agnus Dei, qui tollis peccata mundi:
dona nobis pacem.

TRANSLATION

Lamb of God, who takest away the sins of the world,
have mercy on us,
Lamb of God, who takest away the sins of the world,
grant us peace.

1 Psalms 108 and 100
2 Psalms 23 and 2
3 Psalms 131 and 133

BBC National Chorus of Wales

Propelled to international fame by West Side Story in 1957, and taking the helm of the legendary New York Philharmonic the following year, Leonard Bernstein felt he needed a break in 1965 – but only so that he could compose a brand new Hollywood musical, one inspired by Thornton Wilder’s play The Skin of Our Teeth.

But it was nonetheless a challenging time for Bernstein personally. He was already struggling with the assassination two years earlier of John F. Kennedy – a friend, even a role model – and was left reeling by the murder of another friend, fellow composer Marc Blitzstein, in January 1965. Worse, The Skin of Our Teeth project itself fell through.

It was during this troubled period that Bernstein received a letter from the Very Reverend Walter Hussey, Dean of Chichester Cathedral in West Sussex, and a noted champion of contemporary arts. Would Bernstein be interested in writing a new choral piece for the Cathedral, perhaps based around a psalm? Bernstein jumped at the idea, and replied suggesting a suite of psalms, to which Hussey in turn replied indicating that Bernstein should feel unrestrained in composing in a lighter vein: ‘Many of us would be very delighted if there was a hint of West Side Story about the music.’

Bernstein’s finished work had more than a hint of West Side Story – and even more of Bernstein’s unfinished music for The Skin of Our Teeth, which he reused extensively throughout what became the Chichester Psalms. A concern, however, was language: Bernstein felt from the start that his setting could only be in Hebrew, since he could think of the psalms in no other way. Hussey agreed, enlisting the Cathedral’s Priest-Vicar – who’d studied the language – to coach the choir in pronunciation.

Bernstein arranged for the Chichester Psalms’ first performance to happen in New York – on 15 July 1965, where he conducted the New York Philharmonic and Camerata Singers – but Chichester got the UK premiere, on 31 July 1965. One critic dismissed it as ‘shallow and slick’, but it has since found a secure and much-loved place in concert programmes. Indeed, Bernstein’s Chichester Psalms has become probably the only Hebrew-language choral work in the regular choral repertoire.

After a joyful chorale (taken from Bernstein’s unused The Skin of Our Teeth music, where it set the words ‘Save the human race’), the first movement continues with faster, more dance-like music, building to three mighty climaxes. The second movement is essentially a simple song of peace for solo soprano, brutally interrupted by the belligerent intrusions from the choir’s male voices in a fast, aggressive central section.

The third movement opens with the Chichester Psalms’ most dissonant music, a severe harmonisation of the work’s opening chorale melody. A solo trumpet solemnly intones a couple of phrases from the second movement’s song, before the music becomes a consoling, rocking lullaby. Chichester Psalms ends in remarkable stillness with a prayer for unity.

^{Programme note © David Kettle}

TEXT

Movement 1
Urah, hȧnevel, v’chinor!
A-irah shaḥar!

Hariu l’Adonai kol haarets.
Iv’du et Adonai b’simḥa.
Bo-u l’fanav bir’nanah.
D’u ki Adonai Hu Elohim.
Hu asanu, v’lo anaḥnu.
Amo v’tson mar’ito.
Bo-u sh’arav b’todah,
Ḣatseirotav bit’bilah,
Hodu lo, bar’chu sh’mo.
Ki tov Adonai, l’olam ḥas’do,
V’ad dor vador emunato.

Movement 2
Adonai ro-i, lo eḥsar.
Bin’ot deshe yarbitseini,
Al mei m’nuḥot y’naḥaleini,
Nafshi y’shovev,
Yan’ḥeini b’ma’aglei tsedek,
L’ma’an sh’mo.
Gam ki eilech
B’gei tsalmavet,
Lo ira ra,
Ki Atah imadi.
Shiv’t’cha umishan’tecba
Hemah y’naḥamuni.
Ta’aroch l’fanai shulchan
Neged tsor’rai
Dishanta vashemen roshi
Cosi r’vayah.
Ach tov vahesed
Yird’funi kȯl y’mei ḥayai,
V’shav’ti b’veit Adonai
L’orech yamim.

Lamah rag’shu goyim
Ul’umim yeh’gu rik?
Yit’yats’vu malchei erets,
V’roznim nos’du yaḥad
Al Adonai v’al m’shiḥo.
N’natkah et mos’roteimo,
V’nashlichah mimenu avoteimo.
Yoshev bashamayim
Yis’ḥak, Adonai
Yil’ag lamo!

Movement 3
Adonai, Adonai,
Lo gavah libi,
V’lo ramu einai,
V’lo hilachti
Big’dolot uv’nifl aot
Mimeni.
Im lo shiviti
V’domam’ti,
Naf’shi k’gamul alei imo,
Kagamul alai naf’shi.
Yaḥel Yis’rael el Adonai
Me’atah v’ad olam.

Hineh mah tov,
Umah nayim,
Shevet aḥim
Gam yaḥad.

TRANSLATION

Movement 1
Awake, psaltery and harp:
I will rouse the dawn!

Make a joyful noise unto the Lord all ye lands.
Serve the Lord with gladness.
Come before His presence with singing.
Know ye that the Lord, He is God.
It is He that hath made us, and not we ourselves.
We are His people and the sheep of His pasture.
Enter into His gates with thanksgiving,
And into His courts with praise.
Be thankful unto Him, and bless His name.
For the Lord is good, His mercy is everlasting,
And His truth endureth to all generations.

Movement 2
The Lord is my shepherd, I shall not want.
He maketh me to lie down in green pastures,
He leadeth me beside the still waters,
He restoreth my soul,
He leadeth me in the paths of righteousness,
For His name’s sake.
Yea, though I walk
Through the valley of the shadow of death,
I will fear no evil,
For Thou art with me.
Thy rod and Thy staff
They comfort me.
Thou preparest a table before me
In the presence of mine enemies,
Thou anointest my head with oil,
My cup runneth over.
Surely goodness and mercy
Shall follow me all the days of my life,
And I will dwell
In the house of the Lord.

Why do the nations rage,
And the people imagine a vain thing?
The kings of the earth set themselves,
And the rulers take counsel together
Against the Lord and against His anointed.
Saying, let us break their bands asunder,
And cast away their cords from us.
He that sitteth in the heavens
Shall laugh, and the Lord
Shall have them in derision!

Movement 3
Lord, Lord,
My heart is not haughty,
Nor mine eyes lofty,
Neither do I exercise myself
In great matters or in things
Too wonderful for me.
Surely I have calmed
And quieted myself,
As a child that is weaned of his mother,
My soul is even as a weaned child.
Let Israel hope in the Lord
From henceforth and forever.

Behold how good,
And how pleasant it is,
For brethren to dwell
Together in unity.

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Biographies

 Lara Downes piano

Lara Downes was recently honoured as Classical Woman of the Year by NPR’s Performance Today.

She combines work as a sought-after soloist, a chart-topping recording artist and an NPR personality as host of her popular video show Amplify with Lara Downes, which aired its final episode last autumn.

Her recent and forthcoming concerts include appearances with the orchestras of Philadelphia, Boston, Detroit, Dallas, Louisville and Indianapolis, and recitals and residencies at Lincoln Center, Disney Hall, Ravinia, Tanglewood, the Gilmore Festival, Carolina Performing Arts, Washington Performing Arts, Caramoor, Cal Performances, and Saratoga Performing Arts Center, among others.

She has collaborated with an eclectic group of artists, including the Miró Quartet, Rhiannon Giddens, Rita Dove, Brian Stokes Mitchell, John McWhorter and Daniel Hope. Her close partnerships with prominent composers span genres and generations, with premieres and commissions coming from Billy Childs, Valerie Coleman, Arturo O’Farrill, Teddy Abrams and Clarice Assad, among many others.

She is increasingly active as a curator and creative partner, working with organisations such as Lincoln Center, Los Angeles Chamber Orchestra and the Brevard Festival, as well as being Resident Artist with Classical KDFC in San Francisco and Classical KUSC in Los Angeles.

She has released albums on Pentatone, Sony Masterworks and Sono Luminus. Her latest release is Rhapsody in Blue Reimagined, which follows her 2023 album Love at Last. Her new album, of Florence Price’s Piano Concerto with the Philadelphia Orchestra and Yannick Nézet-Séguin, will be released next month.

Her fierce commitment to citizenship and advocacy has led to her role as an Artist Ambassador for Headcount, a non-partisan organisation that uses the power of music to register voters and promote participation in democracy.

Lara Downes has recently launched the Declaration Project, a national initiative marking the 250th anniversary of the United States by gathering together American communities to find common ground in exploring the core essence of the country’s founding promise: the unalienable rights of ‘Life, liberty and the pursuit of happiness’. By engaging with multi-generational communities in the form of round-table conversations, generative writing workshops, and collaborative creative practice, she is encouraging reflection and expression that actively reimagines the promise of a shared future.

BBC National Chorus of Wales

BBC National Chorus of Wales is made up of over 120 singers and is one of the leading mixed symphony choruses in the UK. While preserving its amateur status, it works to the highest professional standards under Artistic Director, Adrian Partington. Comprising a mix of amateur singers alongside students from the Royal Welsh College of Music & Drama and Cardiff University, the chorus, based at BBC Hoddinott Hall in Cardiff Bay, works regularly alongside BBC National Orchestra of Wales, as well as giving concerts in its own right.

Recent highlights include performances of Poulenc’s Stabat mater and the world premiere of Alexander Campkin’s Sound of Stardust alongside BBC Cardiff Singer of the World Audience Prize winner Julieth Lozano Rolong and choral conductor Sofi Jeannin; Shostakovich’s 13th Symphony with Principal Conductor Ryan Bancroft; and Sir Karl Jenkins’s Dewi Sant in his 80th-birthday year. The chorus also appears annually at the BBC Proms, with recent highlights including Verdi’s Requiem, John Adams’s Harmonium with Ryan Bancroft and Vaughan Williams’s A Sea Symphony with Andrew Manze.

Last season the chorus performed Rossini’s Stabat mater alongside 2021 Cardiff Singer of the World Song Prize winner Masabane Cecilia Rangwanasha and Nil Venditti; Handel’s Messiah with early music specialist John Butt; and Beethoven’s Missa solemnis with Andrew Manze, as well as its annual carols concert and a programme of Brahms with Ryan Bancroft.

BBC National Chorus of Wales is committed to promoting Welsh and contemporary music and gave the second-ever performance of Grace Williams’s Missa Cambrensis, 45 years after its premiere, which was also released on CD. It has premiered works by many composers, including a special performance of Kate Whitley’s Speak Out, set to the words of Malala Yousafzai’s 2013 UN Speech.

The chorus can be heard on BBC Radio 3, BBC Radio Wales and BBC Radio Cymru, and recently featured in Paul Mealor’s soundtrack for BBC Wales’s Wonders of the Celtic Deep.

BBC National Orchestra of Wales

For over 90 years, the BBC National Orchestra of Wales, the only professional symphony orchestra in Wales, has played an integral part in the cultural landscape of the country, occupying a distinctive role as both a broadcast and national orchestra, and serving as an ambassador of Welsh culture, regularly performing music created in Wales and championing Welsh composers and artists.

Part of BBC Cymru Wales and supported by the Arts Council of Wales, BBC NOW performs a busy schedule of concerts and broadcasts, working with acclaimed conductors and soloists from across the world, including its Principal Conductor, the award-winning Ryan Bancroft.

The orchestra is committed to working in partnership with community groups and charities, taking music out of the concert hall and into settings such as schools and hospitals to enable others to experience and be empowered by music. It undertakes workshops, concerts and side-by-side performances to inspire and encourage the next generation of performers, composers and arts leaders, and welcomes thousands of young people and community members annually through its outreach and education projects.

BBC NOW performs annually at the BBC Proms and biennially at the BBC Cardiff Singer of the World competition, and its concerts can be heard regularly across the BBC – on Radio 3, Radio Wales and Radio Cymru. On screen, music performed by BBC NOW can be heard widely across the BBC and other global channels, including the soundtrack and theme tune for Doctor Who, Planet Earth III, Prehistoric Planet, The Pact and Children in Need.

Based at BBC Hoddinott Hall, Cardiff Bay, BBC NOW utilises a state-of-the-art recording studio with a camera system for livestreams and TV broadcasts to bring BBC NOW’s music to a broader audience across Wales and the world. For more information about BBC NOW please visit bbc.co.uk/now

Patron
HM King Charles III ^{KG KT PC GCB}
Principal Conductor
Ryan Bancroft
PrincipalGuest Conductor
Jaime Martín
Composer-in-Association
Gavin Higgins

BBC National Chorus of Wales

Artistic Director
Adrian Partington

Assistant Director
Christopher Williams

Soprano 1
Amelia Beecroft
Bethan Evans
Bethan Nicholas-Thomas
Claire Hardy
Eleanor Cantrill
Elizabeth Aitken
Elizabeth Phillips
Ella Edwards Beavington
Hannah Robertson
Helen Thomas
Isabel D’Avanzo
Iustina Chirila
Janaki Wickramasinghe
Joanna Osborn
Katie Cross
Leila Saleh
Lucie Jones
Lydia Wilson
Rachael Leary
Rosie Moore
Sally Glanfield
Sarah Jane Griffiths
Vanessa John-Hall 

Soprano 2
Caitlin O’Boyle
Caroline Thomas
Carolyn Lee
Emily Hopkins
Esme Daniell-Greenhalgh
Florence Waddington
Frankie Ingall
Hannah Williams
Margaret Lake
Melanie Taylor
Penelope George
Rebecca Reavley
Rhian Davies
Rhiannon Humphreys 

Alto 1
Alison Davies
Avery Rabbitt
Catherine Bradfield
Cerys Thomas
Denise Cooke
Heather Price
Jessica Williams
Kate Reynolds
Kathrin Hammer
Lisa May
Matilda Holder
Megan Veiga-Troso
Naomi Hitchings
Nazanin Dast Afkan
Rhian Pullen
Sara Peacock
Shanta Miller
Sophie Yelland
Vicki Westwell
Yirui Wang
Zozi Sookanadenchetty 

Alto 2
Alex Butler
Cerian Rolls
Josie Nemeth
Julie Wilcox
Meredith Gardiner
Sarah Willmott
Sian Schutz
Yasmin Browne
Yvonne Higginbottom

Tenor 1
Andrew Lunn
Andrew Morris
Jake Bussell
Keith Davies
Meilyr Dafydd
Nick Willmott
Philip Holtam 

Tenor 2
Ethan Stockham
Michael Willmott
Orin Daniel
Paul Mizen
Peter Holmes
Richard Shearman
Rory McIver
Sam Proll 

Bass 1
Alun Williams
Charlie Gedge
Daniel Williams
David John Davies
Emyr Wynne Jones
Ethan Davies
John Davies
Lucas Maunder
Miles Smith
Noah Boneham-Hill
Peter Cooke
Will Walshe-Grey 

Bass 2
David Hutchings
Evan Hancock
Gareth Nixon
Gregg Hollister
Jack Irwin
James Downs
Mike Osborn
Oliver Hodgson

BBC National Orchestra of Wales

First Violins
Lesley Hatfield leader
Savva Zverev
Gwenllian Hâf MacDonald
Terry Porteus
Alejandro Trigo
Carmel Barber
Anna Cleworth
Žanete Uškāne
Kerry Gordon-Smith
Ruth Heney **
Emilie Godden
Laura Senior
Grace Shepherd
Kirsty MacLeod

Second Violins
Anna Smith *
James Wicks
Vickie Ringguth
Joseph Williams
Michael Topping
Katherine Miller
Beverley Wescott
Roussanka Karatchivieva
Christiana Mavron
Siân McInally
Gary George-Veale
Tom Bott

Violas
Rebecca Jones *
Alex Thorndike #
Tetsuumi Nagata
Peter Taylor
Anna Growns
Catherine Palmer
Robert Gibbons
Dáire Roberts
Nancy Johnson
Mungo Everett-Jordan

Cellos
Rachel Helleur-Simcock ‡
Jessica Feaver
Sandy Bartai
Keith Hewitt
Carolyn Hewitt
Rachel Ford
Alistair Howes
Kathryn Graham

Double Basses
Alexander Jones #
Richard Lewis
Emma Prince
Yat Hei Lee
Ketan Curtis
Aisling Reilly

Flutes
Matthew Featherstone *
John Hall †
Charlotte Thomas

Piccolo
Charlotte Thomas

Oboes
Polly Bartlett
Sam Baxter
Amy McKean

Cor anglais
Amy McKean †

Clarinets
Nicholas Carpenter *
William White
Lenny Sayers +**

Bass Clarinet
Lenny Sayers †+**

Bassoons
Jarosław Augustyniak *
Patrick Bolton
David Buckland

Contrabassoon
David Buckland †

Horns
Tim Thorpe *
Meilyr Hughes
Jack Pilcher May
Jack Sewter
John Davy

Trumpets
Philippe Schartz *
Robert Samuel
Corey Morris †

Trombones
Donal Bannister *
Ross Johnson

Bass Trombone
Darren Smith †

Tuba
Ramon Branch

Timpani
Steve Barnard *

Percussion
Phil Girling
Phil Hughes
Andrea Porter
Rhydian Griffiths
Max Ireland
Sarah Mason
Sam Jowett

Harps
Sally Pryce
Nia Evans

Piano/Celesta
Catherine Roe Williams

* Section Principal
† Principal
‡ Guest Principal
# Assistant String Principal

The list of players was correct at the time of publication

Director Lisa Tregale
Orchestra Manager Liz Williams
Assistant Orchestra Manager Nick Olsen **
Orchestra Personnel ManagerKevin Myers
Orchestra and Operations CoordinatorEleanor Hall
Business Coordinator Georgia Dandy **
Head of Artistic Planning and ProductionGeorge Lee
Artists and Projects Manager Victoria Massocchi **
Orchestra Librarian Naomi Roberts **
Producer Mike Sims
Broadcast Assistant Emily Preston
Head of Marketing and Audiences Sassy Hicks
Marketing Coordinator Angharad Muir–Davies (maternity cover)
Digital Producer Angus Race
Social Media Coordinator Harriet Baugh
Marketing Apprentice Mya Clayden
Education Producer Beatrice Carey
Education Producer/Chorus Manager Rhonwen Jones
SeniorAudio Supervisors Simon Smith, Andrew Smillie
Production Business Manager Lisa Blofeld
Stage and Technical Manager Josh Mead +
Assistant Stage and Technical Manager Richie Basham

+ Green Team member
** Diversity & Inclusion Forum