John Metcalf was born in Swansea in 1946. A joint UK/Canadian citizen, he is considered to be one of the foremost composers working in Wales today. Starting in the late 1960's, his successful composing career has already embraced a large variety of work.

Major works have marked his development including five operas. Recent works that reflect a growing maturity include the lively Marimba Concerto (1991) written for Evelyn Glennie and Harp Scrapbook (1992), a musical diary of seven short pieces. Inner Landscapes for solo piano was composed in 1994 and other important instrumental works have followed; Rest in Reason, Move in Passion for violin, cello and piano (1994), Paradise Haunts for violin and piano (1995) and Mountains Blue Like Sea for cello and piano (1996). Other works for piano include Never Odd or Even and Sky High Cloud Light, both written in 1995 for the six-piano group 'Piano Circus'.

Museum of the Air (1998), a work for large orchestra and mezzo soprano to poems by Gwyneth Lewis was recently given its first performance at St. David's Hall, Cardiff by the BBC National Orchestra of Wales and Della Jones.

John Metcalf's compositions are frequently performed and broadcast in many countries. Lorelt record company have made several recordings of his music. John is Artistic Director of the Swansea Festival of Music and also the Vale of Glamorgan Festival, whose artistic policy is to present exclusively the works of living composers.

GARETH GLYN

Gareth Glyn was born in Machynlleth in 1951. He was encouraged to compose music from an early age by Rhys Jones, his teacher at Ysgol Maes Garmon, Mold. His many compositions range from a symphony, concerto, overtures and other orchestral works to simple songs for children, background music and signature tunes for television, musicals and choral works such as Clychau'r Gog, that is now part of the repertoire of many Welsh male voice choirs. Gareth is convinced that music must appeal to the audience and be practical for the performer, and he adheres to this principle in all his works, as did three of the composers he most admires, Carl Orff, Aaron Copland and Benjamin Britten. He considers that all his works contain an element of his Welshness, from the huge symphony down to the shortest song. He was awarded an honorary membership of the Gorsedd of Bards for his contribution to Welsh music by the National Eisteddfod in 1991.

BRIAN HUGHES

Brian Hughes was born in Rhosllannerchrugog, Wrexham in 1938. His vocal and choral music is very dramatic and is particularly accessible to the listener. He receives frequent commissions from various choirs and groups of musicians throughout Wales and England. His experience of choral training during his period as conductor of the Alun School Singers, Mold, and as the chorus master of the Royal Northern College of Music, Manchester, has given him a particular expertise in choral writing. Nevertheless, he does have works for large orchestra to his name - Strata and Janus as well as chamber music such as Quando for clarinet and Pieces for Miriam for flute. Brian is always ready to use a variety of vocal effects in his choral compositions if they add to the overall effect he is attempting to create.

DILYS ELWYN-EDWARDS

Dilys Elwyn-Edwards was born in Dolgellau in 1918. She is well known for her work for voice, mainly and her songs and choral works are popular in Wales and beyond. Artists such as Bryn Terfel, Gwyn Hughes-Jones, Rebecca Evans and the Choir of St. John's College, Cambridge have all recorded and performed her works. She studied with Herbert Howells at the Royal College of Music in London, and her soft melodic style appeals to an array of choirs and soloists.

LYN DAVIES

Lyn Davies was born in Llandybie, Carmarthenshire in 1955. A productive composer, he gained a Ph. D. from the University of Wales in 1983. He also studied composition in Poland in the Music Academy in Krakow with Penderecki, Schaffer, Buijarski an Stachowski. Having previously followed a successful career as a singer, he decided to concentrate on academic work and composition in 1990. His compositional style sometimes includes tonal patterns, as seen in some of his choral works, whilst his piano and chamber music is more ambitious and based on dissonance.

MERVYN BURTCH