Lutyens and Clark’s occasional work as Festival organisers and as founders, officers, and leaders of British and international musical societies tied in closely with their musical friendships and their attempts at supporting composer-friends and themselves. Although all this work was secondary in their own narrative (which emphasised the composer and the conductor), these activities were vital to their professional partnership, and to their ability to influence musical life of their time and promote their own modernist image in and beyond Britain. Understanding these activities and how Clark and Lutyens approached them as members of musical networks, cliques, and friendship groups is to understand the rise to popularity (if we can call it that) of Lutyens’s composition in the 1960s as well as Clark’s professional twilight.