SOCIETY Registered Charity No 1098381

A Tribute to Amaryllis Fleming Concert Hall Sunday 20th November 2016

‘Whenever we make a stroke with our bow, when we place a finger on a string, we cause a sensation of sound and feeling; and the gesture of the bow and of the finger which brought that sound into existence must breathe with the life of the emotion that gave birth to it.’

William Pleeth

‘Wiliam Pleeth’s enthusiasm is absolutely boundless and anyone who comes into contact with him and his teaching will be able to feed from his love for music.’

Jacqueline du Pré

3 Participating Artists and Tatty Theo Alasdair Beatson,

Lana Bode, piano Adrian Brendel, Natasha Brofsky, Colin Carr, Nicholas Parle, harpsichord Thomas Carroll, , Rebecca Gilliver, , Quartet in Association at the John Heley, Frans Helmerson, Seppo Kimanen, Royal College of Music Joely Koos, Stephen Orton, Melissa Phelps, Hannah , presenter Roberts, Sophie Rolland, Christopher Vanderspar, Kristin von der Goltz, Jamie Walton RCM Cello Ensemble with Richard Lester

The London Cello Society extends its warmest thanks and appreciation to the Royal College of Music and J & A Beare for their gracious support of this event. To the Pleeth family and to all the artists who are taking part today, we are deeply grateful to you for making this celebration possible, a to the high esteem in which William Pleeth is held by the cello community in the and abroad.

Afternoon Events 2.00 PM RCM Cello Ensemble

P. CASALS (1876-1973) ‘Les Rois Mages’ from El Pessebre, for six celli H. VILLA-LOBOS (1887-1959) Bachianas Brasileiras no. 1, for eight celli I. Introduction (Embolada) II. Preludio (Modinha) III. Fugue (Conversa)

RCM Cello Ensemble: Casals: Cello 1: Richard Lester Cello 4: Nina Kiva Cello 2: Melody Lin Cello 5: Yaroslava Trofymchuk Cello 3: Lydia Dobson Cello 6: Carola Krebs

Villa-Lobos: Cello 1: Richard Lester Cello 5: Jo Dee Yeoh Cello 2: Melody Lin Cello 6: Zara Hudson Kuzdoj Cello 3: Lydia Dobson Cello 7: Yaroslava Trofymchuk Cello 4: Nina Kiva Cello 8: Carola Krebs

2.30 PM William Pleeth – The Early Years with Anthony Pleeth and Tatty Theo 3.00 PM William Pleeth on Recording and Film 4.15 PM Tea break 4.45 PM Cellist Forum – Remembering William Pleeth 5.45PM Break 7.00 PM Evening Concert

4 Evening Concert WELCOME with Catherine Bott

PART I - CELLO

G. B. CERVETTO (1682-1783) Trio Sonata Op.1, No.1 in A minor Adagio; Allegro; Minuetto Primo Comodo; Minuetto Secondo Kristin von der Goltz, baroque cello Tatty Theo, baroque cello Anthony Pleeth, baroque cello Nicholas Parle, harpsichord

PART II - PIANO/CELLO

L. van BEETHOVEN (1770-1827) 12 Variations on a Theme from Handel’s Judas Maccabeus, ‘See the Conqu’ring Hero Comes’, WoO 45 Adrian Brendel, cello Alasdair Beatson, piano

J. S. BACH (1685-1750) Sarabande from the Solo Suite in D Major BWV 1012 A. PIATTI (1822-1901) Caprice No 7 in C Major Colin Carr, cello

E. RUBBRA (1901-1986) Soliloquy, Op 57 (1947) Robert Cohen, cello Lana Bode, piano

J. KLENGEL (1859-1933) Kleine Suite for Three , Op 56 I. Andante II. Gavotte IV. Scherzino: Vivace Natasha Brofsky, cello I Hannah Roberts, cello II Rebecca Gilliver, cello III

Interval (20 minutes) PART III- CHAMBER MUSIC

L. van BEETHOVEN (1770-1827) ‘Cavatina’ from in B-flat major, Op 130 Sacconi Quartet

W. FITZENHAGEN (1848-1890) Concert Waltzes, Op 31 Thomas Carroll, cello I Frans Helmerson, cello II Jamie Walton, cello III Seppo Kimanen, cello IV

J. KLENGEL (1859-1933) Hymnus, Op 57 Orlando Jopling, conductor

5 William Pleeth by Margaret Campbell

I first met William Pleeth in 1975 when I was name was taboo because at the time there was this terrible researching my book, The Great Cellists, and found inverted snobbery. You had to have a “ski” or a “vitch” on him to be one of the most interesting and articulate the end of your name. It was tough for English artists. musicians I have ever met. Since my family were originally Polish, I could easily have impressed them, but my parents were naturalized and had Pleeth was born in London in 1916 into a musical family anglicized their name, so I refused to trade on my origins.’ of Polish-Jewish origin, many of whom were members of the Warsaw Philharmonic spanning several His first break came in 1933 with a BBC audition when generations. However, he admitted to me that he did not Pleeth was 17, which resulted in a couple of broadcasts, necessarily follow the family traditions, but at one time had but no concert engagements were forthcoming. Pleeth’s ambitions of being either an actor, a barrister or a cook. parents, who by now were running short of funds, scraped But when he was seven he heard a cellist named Waldstahl up enough money to give him his début recital at the playing in a café, liked the sound of the instrument and old Grotrian Hall which was opposite the more famous took a few lessons with him. The boy’s progress was so ‘Wigmore.’ Despite the rave reviews, no offers came along phenomenal that Waldstahl begged his parents to buy him until several months later when he was invited to play the a small cello and send him to the London Academy where Dvorak with the Birmingham Symphony Orchestra William’s mother, a , had also studied. At ten William under for the handsome fee of two guineas! entered the London Cello School and at 13 was awarded a After a few engagements with other provincial , scholarship to study with the great in Leipzig, Pleeth made his first concerto broadcast with the BBC the youngest ever to be accepted. Symphony Orchestra under Sir . Pleeth always recalled that day with affection. ‘I was so lucky to start The young Pleeth’s progress was phenomenal. In with dear Sir Adrian. It was a lovely experience to start December 1931 at 15 he made his début at the Leipzig with such a marvellous man. He was so kind and helpful.’ Conservatory playing the Haydn D Major Concerto From this time, Pleeth’s career began to take an upward and received rave reviews. His first appearance at the turn, and besides his solo engagements he was the cellist in Gewandhaus under soon followed and the Blech Quartet from 1936-1941. In 1941, two years after again the press was enthusiastic. Shortly after this he was the outbreak of war, Pleeth was called up and served in the invited to perform a piece for four cellos by Klengel with army for five years. One good outcome was that he met his second in command, Feuermann—a fellow student— up with the which resulted in and himself. In the first two years, he managed to learn a lasting friendship and many dedications. Rubbra’s Cello a vast repertoire. He told me: ‘There were innumerable Sonata was written for Pleeth and his wife, the pianist studies, 32 cello , all the Bach Suites and Piatti Margaret Good, and the Soliloquy for Cello, also dedicated Caprices; I knew about 23 of those from memory.’ to him, dates from those war years. Later many other wrote works for Pleeth, and for him and his wife, Klengel made a deep and lasting impression on Pleeth: including , , Matyas Seiber ‘What I loved so much about the old boy was that he and Benjamin Frankel. was himself a very simple man. He had no whims. No sophistication. He was always honest and I loved him for it. Although for many years Pleeth followed a highly What I am today, for better or worse, is me. I haven’t been successful solo career, appearing with leading orchestras tainted by anybody. Klengel never encouraged us to copy. and giving recitals with his pianist wife, Margaret Good, After all, Feuermann and Piatigorsky were both his pupils whom he married in 1944, he became disenchanted and we’re all different. We never copied. Any dramatic or with the endless travelling and the artistic isolation lyrical qualities you developed were you. It was Klengel’s which attends the soloist when confronted with a large honesty that allowed this to happen.’ Pleeth’s studies ended orchestra. He was very articulate when it came to his when he was 16. ‘I was his last pupil in May 1932. He died views on ‘eminent‘ conductors. ‘There aren’t so many the following year and that was my final lesson and I’ve great conductors anyway! You sit at home and work out never had one since.’ Despite his Leipzig successes, when your concerto, Elgar, Schumann, whatever, in the same Pleeth returned to London he found it difficult to get work. way that a conductor works it all out. You formulate Music was at a low ebb at the time and only foreign artists this great work of art in your mind and you are ready to seemed to have any real status. Pleeth told me: ‘An English

6 pupils and masterclasses world-wide, he also taught for many years at the Menuhin School. He explained that apart from Jackie du Pré, his son Anthony and Robert Cohen, he had never taken on children as such, but: ‘Menuhin has them picked for their sparkle, their personality—not just their personal ability. He looks for liveliness of mind and imagination.’ Pleeth’s students were fortunate in being able to reap the benefit of his sound philosophy which was the long-term legacy from Klengel. He said: ‘I like to leave a lot of leeway for them to develop along the lines of their own personality. I don’t want them to be reproductions of me. They are harnessed to me in a way, but they are attached not bound! I can’t bear the sort of attitude which says: “Here is my fingering, darling–go and practise it. You can copy it from Charlie or Mary.” That isn’t my way at all. There are so many ways of being expressive. We discuss the drama and the lyrical quality together, but somehow the individual personality must come through.’ Pleeth was insistent that it was his job to get that William Pleeth & Margaret Good particular personality to bloom: ‘This whole study business is for me person per temperament per human being, give your interpretation of what you want it to be. What nervous, relaxed whatever. One has to be a psychologist to happens? You arrive, you play with a so-called “great” understand one’s students.’ It is easy to understand why so conductor—who may be miscast in his role anyway—and many of his pupils found him so inspiring. all you have is a bash-through!’ He then related to me a recent experience with a well-known orchestra and As a player, Pleeth had an exuberant, extrovert style an equally well-known conductor. When it was over he and coaxed a luscious, mellow tone from his beautiful asked himself why he had taken it on when he could have Stradivarius dated 1732. But above all it was his passionate spent three hours on the first page! He hastened to assure conviction to the music itself that made his performances me that not all conductors fall into that category. Boult, come alive and linger long afterwards in the memory. Barbirolli and the French Albert Wolff were high on his list of greats, as was ‘dear old ’, with Variety and balance were the main influences in Pleeth’s whom he played many times. daily life. A happy home, a watchful eye on his son Anthony as his career progressed, and an obsession with Chamber music always had a high priority in Pleeth’s his children and grand-children formed the background. musical activities and in 1953, he formed the Allegri (One of his grand-daughters, Tatty Theo, will be playing Quartet with Eli Goren and James Barton on alongside his son at tonight’s concert). He was an and Patrick Ireland on , which went on to achieve inveterate theatregoer, loved beautiful furniture, visiting international stature. Pleeth left in 1968 when it re- art galleries, reading Russian novels when he had time, formed with an entire change of personnel. Pleeth said: ‘In and Agatha Christie when he was tired. In his younger chamber music you have something which is quite different days, he played tennis and thought nothing of walking from the solo orchestral performances. It is such a high 200 miles in a week. He also loved reading about famous form of musical art that you are part of something which lawsuits—a passion since the age of about ten. And is so much bigger than yourself. You are making music then the most surprising hobby of all–cooking! I well and I was lucky enough to find a handful of people who remember our conversation all those years ago: ‘I love thought as I did.’ For many years after the Allegri, Pleeth cooking and eating the results. I can put myself to sleep would join his colleagues for the sheer pleasure of making at night concocting a new dish.’ music, and was greatly in demand when an extra cellist was needed for Schubert Quintet—a work he played many It would seem also that Pleeth’s recipe for life might have times with the Amadeus. been a model for many people whether they be musicians or not. And as such he will be remembered by all of us William Pleeth was—as everyone knows—also a who were fortunate to come within the orbit of this very dedicated teacher, and judging by the number of students remarkable man. who flocked to him from all over the world it was not surprising. He was a professor at the Guildhall School Reprinted (with slight amendments) by kind permission of Music and Drama in 1948, and apart from his private of ESTA News & Views Autumn 1999.

7 Class with Julius Klengel William Pleeth remembers his teacher

(which opens with the passage in octaves). I was like a horse let off the reins—a concerto every three weeks or so and the twelve Piatti Caprices.

I had never heard my previous teacher play, but Klengel not only played the cello, he accompanied his pupils seated at the piano, with legs crossed over the pedals and cigar ash falling over his suit.

The first year I was kept out of orchestra, but when I turned fifteen, I was asked to play the solo part of the Brahms B-flat Piano Concerto, seated in front of boys who were far older than I.

During my time in his class, I did thirty-two concertos in all, among them Lindner, d’Albert, Molique—pieces that were considered part of the standard cello repertoire and not just ‘study concertos’.

SG Who were your classmates, and how many were you in all?

WP We were six in all: Zimbler, Greulich, Hoelscher (who later became the first cellist of the Philharmonic), myself, and two others whose names I cannot recall. William Pleeth talks to cellist Selma Gokcen about his experiences as a young boy in Julius Klengel’s renowned SG Was Klengel an autocratic teacher in his cello class at the Landeskonservatorium, Leipzig. The year approach? was 1930 and he was all of fourteen years of age. WP Klengel was a simple man to start with. SG Where had you studied before arriving in Although he could run around the instrument very Leipzig? fluently, even in his old age, he had no gimmicks and no sophistication. He had the driest tone I can remember. WP I was at the London Cello School, a pupil of There was no forcing his thumbprint upon a pupil, no Herbert Walenn. My mother decided it was time for a creating a model of himself. He allowed people to change and the idea came through a friend’s son, who develop their personality. The fact that he did not force his was studying with Klengel in Leipzig. influence was something I appreciated very much later in life. We all know those teachers who end up creating SG What happened at your audition with Professor lots of students in their own image. The pupils of Klengel Klengel? were each different from one another.

WP I prepared the Klengel Concertino in C, which SG How did he conduct his classes? ended my period of work at the London Cello School. Klengel invited Max Pauer, Head of the Konservatorium WP Each of us had a half-hour lesson twice a week, and a well-known pianist himself, to hear me and he and they always took place in a group. Occasionally I gave me a scholarship on the spot. That first year I would have lessons at his house. Klengel adopted me started with a Goltermann concerto and did several unofficially as his son. I can recall returning to class concerti in all, ending with the famous Grützmacher after the Christmas holidays, and his words to me, in a

8 sorrowful tone of voice, were, ‘Where were you, my Klengel demonstrated by example, by playing, and the son? You never came with me for a walk.’ high standard in the class was evident. But you never saw the hard work. The most touching story I remember concerns the Molique Concerto. I was always a lazy boy, and once, I recall Zimbler and I shared ‘digs’ for six months. He used during the last lesson of the day, when we were alone, to practise to the minute from 10-12.00 and 4-6.00, I played this concerto for him. There were a few and he sent me off to do the same. Four hours a day for passages which did not go well. Klengel was at the those six months—for me that was hard work. That’s piano, and suddenly he flung the music over his head and when I did most of my learning. I never found anything stormed out. I packed my things quietly, knowing it was difficult. My eye saw and my fingers did it, and I don’t time to leave. As I walked out, I saw him standing in believe that I was aware of this piece or that being the hall, cheeks inflamed and the tears streaming from difficult or demanding. his eyes. He said to me, ‘Like Feuermann, you are lazy. He also did only four hours a day. My son, go and sit on There were public concerts at the school; the public paid your backside and practise.’ to attend, and Klengel would say ‘you will do this and that.’ Even then, he would play the piano parts for most SG What was his attitude toward the technical of his pupils, sitting cross-legged in the same manner. exercises and études of his well-known predecessors— Of course the standard repertoire was much larger, and namely Duport, Dotzauer, Franchomme, Grützmacher? pieces like the d’Albert concerto were played in public.

WP He gave us some of those, and Duport and SG Did he expect pieces to be memorised? Popper, but mostly the Piatti Caprices. We did the two concertos by Klengel and, of course, the thirty-two WP Yes, he did, but with me, memory came so concertos, which I learned as his pupil helped to further quickly that he wasted no time trying to teach me to my development. memorise. He didn’t have to specify how.

SG Was he willing to listen to exercises and studies SG Did you ever hear Klengel perform in public? or did he leave this to the pupil? WP Yes, I heard him play twice. Once, in an out- WP Yes, he listened, but there was no intensive of-town hall, in a recital, I heard him do the Boccherini redirecting of anything. He was such a simple person, a A major Sonata. Something went wrong, he mumbled walking angel. He occasionally heard me do scales but to the pianist, and they started again. He was very agile did not impose or insist on set fingerings. That’s how I on the instrument, even in his old age. I recall the day he arrived at the attitude of flexibility in scales, that one went off to make a gramophone recording of either the should and ought to be able to do many fingerings rather Popper or Piatti Tarantella, right after one of my lessons. than getting stuck in set patterns. He said to me, ‘Look at these dry, old hands.’

SG Would you say that Klengel was part of the He came to the Crystal Palace in London before the First Teutonic tradition of training—methodical, disciplined, World War. The audience was so staggered that they founded on repetition? demanded encore after encore, and even crowded onto the platform to watch him more closely. WP Never anything of the sort. It’s hard to imagine, even as a younger man, that he would have been SG How did your work with Klengel influence your different. Now Hugo Becker in Berlin was another story. own teaching, if at all? He was a fierce disciplinarian and once broke a bow over my first teacher’s head. WP Since he didn’t force me into any moulds, he left me free to shape myself. And since I didn’t have to SG Did Klengel have the patience to analyse a undo anything later on, I was left to be me. My own problem and work with a pupil toward a solution? Did he teaching was free to evolve out of teaching people as teach by demonstration or example? they came along.

WP Up to a point. The students in the class were London, 27 October 1997 much older than I and could already play everything quite well; I don’t know what they would have been given before I arrived.

9 Dates of Study with William Pleeth

1947-1949 1981-1988 ANITA LASKER-WALLFISCH REBECCA GILLIVER Anita was William’s first pupil in London. I studied with Pleeth from 1981 at the School. I left in 1988—I think he was there until then. 1962-1970 JOHN HELEY 1982-1983 and 1991-1993 Saturday morning Junior Exhibition Scheme, April 1962-1966. JOELY KOOS Guildhall School of Music & Drama AGSM course 1966-1970. 1982-83. When I was at Chethams School of Music, I Cello and quartet coaching for the Orsini String Quartet. would travel to Holly Park for my lessons every 2 weeks. 1991-93. We had monthly coaching with the Archaeus 1964-1971 Quartet as well as the odd solo cello lesson at his home. CHRISTOPHER VANDERSPAR I studied with Bill for 7 years from when I was 11, privately, 1984-1989 and then at the Guildhall School of Music & Drama. SOPHIE ROLLAND I studied privately with William in London. 1966-1969 STEPHEN ORTON 1984-1994 I studied with William Pleeth at the Guildhall School of THOMAS CARROLL Music & Drama. I studied with Pleeth at the Menuhin School where I was a pupil. He used to visit regularly. 1968-1973 FRANS HELMERSON 1986 and 1987-1989 I studied privately with William for about 10 months in 1968, NATASHA BROFSKY 1971 and 1973 on recommendation from Jacqueline du Pré. I first met and played for William Pleeth at the master classes in Aldeburgh in 1986, and then studied with him on 1969-1978 a Fulbright in London from September 1987-Spring 1989. ROBERT COHEN I studied with William Pleeth in London, at Aldeburgh, at 1986-1990 the Guildhall and the Royal College of Music. KRISTIN VON DER GOLTZ I had lessons the first two years regularly once or twice a 1971-1972 week, then irregularly, always privately at his home in Finchley. SEPPO KIMANEN I studied with William Pleeth privately in London. 1989-1990 ORLANDO JOPLING 1974 -1976 I studied with Bill at his house. COLIN CARR My years of study were not very precise, but safe to say 1989-1994 infrequent lessons at his home in North London. ADRIAN BRENDEL I started studying with Bill in 1989 and went to his house 1976-1980 once a week privately until 1994. MELISSA PHELPS There were occasional lessons with William, both solo 1996-1999 and quartet. JAMIE WALTON I worked with William Pleeth in London, at Aldeburgh, the 1977-1986 Guildhall School of Music & Drama, the Royal College of HANNAH ROBERTS Music, and at his private home in Finchley, North London. I was his pupil at the between the years 1977-1986. I also attended nearly every masterclass he gave at Aldeburgh during the summer of each of these same years.

10 Artists Biographies

Cellists ANTHONY PLEETH, son of TATTY THEO comes from a cellist William Pleeth and pianist family of cellists going back 3 Margaret Good, was born in generations, and her interest in London in 1948 and studied at the baroque repertoire in particular Guildhall School of Music and became apparent at a very young Drama, where he won the gold age. Tatty’s earliest experiences medal in 1966. After completing of the cello were playing duets his studies there he became with her grandfather William increasingly interested in the Pleeth, and listening to her uncle Baroque cello and his first record, Anthony perform Geminiani cello released in 1976, established him as ’s foremost sonatas on the baroque cello. After reading music at exponent of the instrument, on which he continued to The Queen’s College, Oxford, Tatty continued her studies record and perform, both as soloist and as Principal at postgraduate level at the Royal College of Music Cello of and the Academy of Ancient where she won many of the prizes. She has Music. However, his musical interests were diverse and performed as a soloist at Festivals throughout Britain in 1987 the Pleeth Cello Octet celebrated the centenary and , with live broadcasts for BBC and various of Villa-Lobos with a highly acclaimed recording of his European radio stations. A lifelong passion for Handel cello ensemble music. This was followed by recordings of and a love of performing chamber music are two of Vivaldi’s cello sonatas, Beethoven’s complete works for Tatty’s driving forces and this was instrumental in her cello and piano, and various recordings of chamber music founding the award-winning period instrument group The by Mozart, Schubert and Mendelssohn. Brook Street Band. As well as performing, Tatty writes for various publications about Handel and eighteenth century music in general. Tatty is currently working on the first two chapters of a book about William Pleeth, having been awarded a Finzi scholarship to research William’s musical life in London pre 1930 and his studies in Leipzig from 1930-32. She is also researching material for an eventual book examining Handel’s use of the cello.

During the late 1980s Anthony Pleeth became increasingly in demand as principal cello on film and television soundtracks working for many important British, European and Hollywood composers. He retired from commercial recording in April 2013 and now devotes his time to charitable ventures, chamber music concerts and to his family.

‘…a riveting performance, which varied between affecting simplicity and visceral excitement…all the playing was high quality, but particular praise must go to the cellist Tatty Theo, the group’s founder, for her beautifully subtle underpinning and shading of the melodic lines above.’ The Strad

11 One of the most versatile and them in and , and the string trio, Opus 3, original cellists of his generation, which performed throughout Norway. She recorded Olav ADRIAN BRENDEL has Anton Thommessen’s concerto for cello and winds for travelled the world as soloist, Aurora Records and was a regular participant at Open collaborator and teacher. Chamber Music in Prussia Cove, England.

Adrian first studied the cello with A sought after teacher, Ms Brofsky serves on the cello William Pleeth, with whom he faculties of the and the New England developed a deep attachment to Conservatory. Since 2001, she has been on the faculty chamber music. He then went at the Yellow Barn Festival in Vermont. She was on to study with Alexander Baillie and Frans Helmerson previously on the faculty of the Barratt-Due Musikk in London and Cologne, also frequently attending the Institutt in Oslo. Ms Brofsky has given master classes masterclasses of Gyorgy Kurtag, Ferenc Rados, members at many colleges and conservatories in the US and of the Alban Berg quartet and his father . abroad, including for El Sistema in Venezuela as well as at the Oberlin Conservatory, The Eastman School of Adrian is artistic director of the Plush festival, held every Music and Mannes College. summer in Plush, since 1995. The programme is devoted to classical and contemporary chamber music, COLIN CARR appears Lieder recitals, modern jazz, folk and world music throughout the world as a soloist, concerts, featuring over 100 contemporary works and chamber musician, recording 200 musicians from around the world. artist, and teacher. He has played with major orchestras worldwide, Fortunately for an itinerant musician, travel is a passion including the Royal for Adrian. He has participated in musical outreach projects Orchestra, The Philharmonia, Royal as far afield as Bolivia, , Ukraine, Romania and Philharmonic, BBC Symphony, east Africa in recent years, for example to present Baaba the orchestras of Chicago, Los Maal’s Senegalese music festival from Podor for BBC Angeles, Washington, Philadelphia, Radio 4 in December 2012. He broadcasts regularly for Montréal and all the major orchestras of Australia and radio stations around the world, most recently recording New Zealand. Conductors with whom he has worked an album with Nils Wogram’s modern jazz group Root70 include Rattle, Gergiev, Dutoit, Elder, Skrowasczewski and for Deutschlandfunk in October. Attempts to broaden his Marriner. He has been a regular guest at the BBC Proms and the cello’s musical horizons have fostered projects and has toured Australia and New Zealand frequently. with a range of different artists, more recently including Norwegian multi-instrumentalist Stian Carstensen, Patti As a member of the Golub-Kaplan-Carr Trio, he recorded Smith and Argentinian Bandoneonist Marcelo Nisinman. and toured extensively for 20 years. Chamber music plays Outside of his performing life, Adrian divides his time an important role in his musical life. He is a frequent between south London, Berlin and Plush. visitor to international chamber music festivals and has appeared often as a guest with the and Emerson Cellist NATASHA BROFSKY string quartets and with New York’s Chamber Music has enjoyed a career in both the Society of . and Europe. In addition to her work as cellist with Colin is the winner of many prestigious international the Naumburg award winning awards, including First Prize in the Naumburg Competition, Peabody Trio, Ms Brofsky has the Memorial Award, Second Prize in performed as guest with numerous the Rostropovich International Cello Competition and also ensembles, including the Takács, winner of the Young Concert Artists competition. Prazak, Norwegian, Borromeo, Jupiter, Parker and Ying Quartets. Colin studied at the Yehudi Menuhin School with Maurice She recently became artistic director of Music for Food’s Gendron and later in London with William Pleeth. He has New York chapter, a musician-led initiative for local hunger held teaching positions at the New England Conservatory relief. During nearly a decade in Europe, Ms Brofsky won and the . St John’s College, the Muriel Taylor cello prize and held principal positions Oxford created the post of “Musician in Residence” for in the Norwegian Radio Orchestra and the Norwegian him. Since 2002 he has been a professor at Stony Brook Chamber Orchestra under . In addition, she University in New York. He plays a Matteo Gofriller cello was a member of the Serapion Ensemble, performing with made in 1730.

12 Born in Swansea, THOMAS Robert Cohen made his recording debut at age 19 with CARROLL studied with Melissa the Elgar and London Philharmonic Phelps at the Yehudi Menuhin (EMI), which earned a silver disc for sales of more than School and with Heinrich Schiff 1/4 million, since when he has recorded extensively for in Austria. An exceptionally BIS, EMI, , Sony and under long gifted cellist, he is one of only term contract to Decca. Cohen studied with William two artists who auditioned Pleeth, Jacqueline du Pré and Mistislav Rostropovich. successfully for both Young Cohen became an inspirational teacher and has given Concert Artists Trust in London masterclasses and lectures world-wide. He is a and Young Concert Artists, Inc. professor at the Royal Academy of Music, London and in New York. He has since gone on to give critically Accademia Perosi, Biella, Italy. acclaimed debut recitals at (London), Alice Tully Hall (NY) and in , California, Florida In addition to Cohen’s solo career, he directed the and Washington DC. Charleston Manor Festival 1989-2012, has been cellist of the legendary since 2012, has As a concerto soloist Thomas has appeared with the a monthly radio show in the US on WUWM entitled London Symphony Orchestra, , ‘On That Note’, is curator of Highbrow. TV and runs Royal Scottish National Orchestra, BBC National celloclinic.com. Orchestra of Wales, , ViVA, www.robertcohen.info Orchestra of the East Midlands, the Chamber Orchestra (conducted by Heinrich Schiff), English REBECCA GILLIVER is Chamber Orchestra, Philharmonic, Sofia principal cellist of the London Philharmonic, and Orchestra. Symphony Orchestra. Originally Much in demand as a chamber musician, Thomas has joining the LSO in 2001 as co- worked with the , Chilingirian Quartet, principal, she won the principal Endellion Quartet, Yehudi Menuhin, , Gidon job in 2009 and has also played Kremer, , , Michael Collins, as guest principal with orchestras at Wigmore Hall, the and all over the world, including the Cheltenham International Festivals, among many Australian Chamber Orchestra, others. His recordings include Michael Berkeley’s String New and Quintet with the Chilingirian Quartet for Chandos. the World Orchestra for Peace.

Thomas is currently a professor at the Royal College of A student of Melissa Phelps, William Pleeth and Ralph Music in London and the Yehudi Menuhin School. Kirshbaum, early success in national and international competitions led to critically acclaimed debut recitals at ROBERT COHEN made his the Wigmore Hall in London and , New concerto debut at the age of York. Rebecca has performed in major music festivals twelve at the Royal Festival such as Bath, Bergen, and the Manchester International Hall London and throughout Cello Festival and as soloist with the Halle and the the following forty years of his London Mozart Players. distinguished international career, has been hailed as one of the A keen chamber musician, she has collaborated with foremost cellists of our time. ‘It international artists including Nikolai Znaider, Sarah is easy to hear what the fuss is Chang and with whom she recorded about, he plays like a God’ (New for BBC Radio 3. She is a regular participant at IMS York Stereo Review). Prussia Cove and a guest with the Nash Ensemble, featuring on their latest CD. Rebecca is committed Invited to perform concertos world-wide by conductors to teaching and has recently become a professor at , , , and Sir the Guildhall. She teaches masterclasses at the Royal , Robert Cohen has also collaborated Academy, the Royal Northern College of Music and in chamber music with many renowned soloists and Birmingham Conservatoire; coaches on the Britten- ensembles such as Yehudi Menuhin and the Amadeus Pears Young Artist Programme and acts as a mentor String Quartet (including their CD of Schubert Quintet for Future Talent, a charity encouraging young on DGG). musicians from low income backgrounds.

13 JOHN HELEY studied with Imai. Helmerson has recorded concertos by Dvořák William from 1962-1966 at the and Shostakovich, the Brahms with GSM Junior Exhibition Scheme violinist Mihaela Martin, and the Bach Solo Suites, and the AGSM course from1966- among others. 1970, including quartet coaching with Orsini String Quartet. On Frans Helmerson previously held a professorship at the completion of his studies he gained Musikhochschule in Cologne. He now teaches as guest the post of Sub Principal of the professor at the Hochschule für Musik Hanns Eisler Berlin RPO. During his ten-year tenure and as professor at the Kronberg Academy Masters. he became Principal Cello of the Orchestra of St. John’s Smith Square a post he still holds For more information, visit: www.loddingkonsert.se and is very involved in that group’s Music for Autism work. ORLANDO JOPLING studied In 1986 John was appointed Associate Principal of the with William Pleeth, Alexander Academy of St. Martin in the Fields, a post he held for 29 Baillie and Raphael Wallfisch, years, leaving in 2014. He has appeared as Guest principal and had masterclasses from Paul with the Northern Sinfonia,The Royal House, The Tortelier and the coaches at Pro Philharmonia Orchestra and the London Mozart Players. Corda and Prussia Cove. He has recorded the six Bach suites for A busy life in the recording studio, he can be heard on many solo cello among many other discs, scores for both large and small screen, including several and has given over 110 solo recitals Bond and Harry Potter films and for TV Poirot, Spooks, as part of his ‘Cello Pilgrimage’, Silent Witness and Downton Abbey. raising almost £75,000 towards the restoration and upkeep of remote medieval parish churches. John now has more time for private teaching and coaching chamber music at Cambridge University with William as He has given concerto performances with the his continuous inspiration. Recently he appeared as Leo Orchestra of the Swan and others, played chamber Cassell in Dustin Hoffman’s film Quartet. music in major festivals, played as guest principal cello with many orchestras, and played in the section of the Swedish cellist FRANS LSO and Philharmonia for , Riccardo HELMERSON studied in Muti, and among others. Göteborg, and London with Guido Vecchi, Giuseppe Orlando is Principal Conductor of the 140-year-old Selmi and William Pleeth, as Royal Orchestral Society. He has assisted Daniele well as having had the benefit Gatti, Wyn Davies and Colin Davis and guest- of guidance and support conducted the English Chamber Orchestra, Royal from . Philharmonic Orchestra, London Mozart Players, Irish Helmerson has performed Chamber Orchestra, Savoy Opera, Independent Opera, with many of today’s finest British Youth Opera, Sinfonia Viva, the Schönbrunn conductors such as Seiji Ozawa, Colin Davies, Neeme Orchestra in Vienna and the Cyprus Symphony Järvi, Evgeni Svetlanov, Esa-Pekka Salonen, Herbert Orchestra. He founded two opera companies and Blomstedt, Sergiu Comissiona, Rafael Frübeck de programmed the Roman River Festival in coastal Essex Burgos, Kurt Sanderling and Mstislav Rostropovich for ten years. as well as with a number of the major orchestras, touring throughout Europe, the United States, South SEPPO KIMANEN has been America, Asia and Australia. cellist of the String Quartet 1980-2014. He Helmerson’s love for chamber music led him to take also taught cello and chamber the position of artistic director of the Korsholm Festival music at the Sibelius Academy. in Finland (1994-2001), and he frequently appears at Kimanen founded Kuhmo a number of international festivals such as in Verbier, Chamber Music Festival in 1970 Prades, Naantali, Kuhmo and Ravinia. and worked as its artistic director until 2005. In the 1970s William In 2002 he formed the Michelangelo String Quartet Pleeth regularly performed and with Mihaela Martin, Stephan Picard and Nobuko tutored young Finnish musicians at the festival.

14 JOELY KOOS pursues a varied MELISSA PHELPS has enjoyed musical career as a chamber a varied career as soloist, teacher musician, soloist and orchestral and chamber musician. As a principal. Performing as co-principal soloist she has played with the with the City of London Sinfonia and Bournemouth and BBC Welsh the , she is Symphony Orchestras, the London also first call guest principal with the Sinfonietta and the Academy Bournemouth Symphony Orchestra, of London, including broadcasts the BBC Philharmonic and is for BBC TV and Radio 3. As a regularly invited to play principal with chamber musician she has appeared , the BBC Concert, BBC Scottish Symphony at many major international festivals, and has given and Royal Philharmonic Concert Orchestra. recitals in all the main London concert halls. She is a highly respected teacher having taught at the Guildhall School In March Joely was the soloist in two world premieres in of Music and Drama, the Yehudi Menuhin School, the one week: as solo cellist with the City of London Sinfonia Amsterdam Conservatory and is currently a professor at at Southwark Cathedral in a performance of Roddy the Royal College of Music, where she was made a Fellow WiIliam’s ‘Homage to Bach’s Bourrée’; and the following in 2016. Melissa Phelps has given premieres by Lutoslawski, day she performed a new solo cello work written for Nyman and Turnage amongst others and has recorded for her by Jacob Thompson Bell as part of the Music/Non Decca,ASV, Teldec and Meridian. She plays on a Francesco classical festival in Leeds. Goffriller cello made in Venice in 1723.

Other ventures in 2016 include participating as solo cellist at HANNAH ROBERTS is one several music festivals including the Frinton music festival, of the outstanding cellists of her The Fitzfest, and The Suffolk Cello Festival. For the last generation and was privileged to twenty years Joely has very much enjoyed being professor have studied with William Pleeth of Cello at Trinity Laban Conservatoire. She has been for nine years whilst attending the invited to give masterclasses at the London Cello Society’s Yehudi Menuhin school. ‘CelloDay’ this April and is a regular masterclass coach at the Pro Corda cello course. Having won prizes in numerous prestigeous competitions and Educated at Chethams School as a joint first study pianist and awards such as Shell LSO, BBC cellist, Joely subsequently won scholarships to both Cambridge Young Musician, Jacqueline Du Pré Memorial and Pierre University and then the Royal Academy of Music. Finishing her Fournier awards Hannah has gone on to give many concerto studies at the Banff international music centre, Joely went performances with leading orchestras, including the London on to be a prizewinner in the Jacqueline Du Pré Competition. Mozart Players, LSO, BBC Concert Orchestra, and the Halle, also making frequent broadcasts for BBC radio and STEPHEN ORTON was born in recoding for ASV. Ripon, Yorkshire, and studied with William Pleeth at the Guildhall Festival appearances have included Chichester, Malvern, School of Music and Drama. In Beverley, ‘Beethovenfest’ and regular participation in the 1985 Stephen became Principal prestigious ‘Manchester International Cello Festival’, where Cello with the Academy of St. she was invited to lead the world premiere of a work for Martin in the Fields and has cello sextet by Sir Peter Maxwell Davies and performed on performed as a concerto soloist numerous occasions. Internationally she has taken part in the many times with the orchestra. He Piatigorsky International Cello Festival in Los Angeles and has been Principal Cello with the numerous other festivals in Europe. Bournemouth Sinfonietta and the City of London Sinfonia, was a member of the Delmé Quartet for ten years, In addition to being principal cellist of Manchester Camerata and has acted as Guest Principal Cello with the London and her activities as soloist and chamber musician, Hannah Symphony Orchestra and Philharmonia. Stephen has wide is a committed and sought after teacher and is professor of experience of chamber music, being a member of the Cello at the Royal Academy of Music in London and the Royal Academy Chamber Ensemble, touring internationally and Northern College of Music in Manchester. She is honoured to making numerous recordings. He has often played the have been awarded an FRNCM for her work helping to nurture Schubert Quintet with the Chilingirian Quartet, which he upcoming gifted cellists. joined in 2013.

15 Canadian cellist SOPHIE cello of the City of Birmingham Symphony Orchestra at the ROLLAND graduated with a age of 21 and three years later joined the Orchestra of the Premier Prix and highest honours . whilst still in her teens from the Conservatoire de Musique in Vanderspar has a vibrant solo career playing concertos with Montreal, where she studied with many leading orchestras. He is a member of several chamber Walter Joachim. After periods groups, including the Soloists of Covent Garden and the with Lee Fiser, cellist of the LaSalle Vanderspar String Trio with his siblings Edward and Fiona. Quartet, Nathaniel Rosen in New York and Pierre Fournier in The cellist KRISTIN VON DER , Sophie came to London to study with William GOLTZ studied with Christoph Pleeth. Along with Walter Joachim, without a doubt Sophie Henkel at the Musikhochschule considers William Pleeth to be the most important influence Freiburg and with William Pleeth on her development as both a musician and cellist. in London. She was a member of the Freiburger Barockorchester Sophie has won every important prize in her native Canada, from 1991-2004. including the prestigious Virginia Parker Prize, which is awarded annually by The Canada Council to just one exceptional Today she performs with the modern musician. Aged 20, Sophie made her debut with the Orchestre and the historical cello as a soloist Symphonique de Montréal under and from with various ensembles and conductors such as Berliner there developed a career, which has taken her around the world Barock Solisten, La Stagione Frankfurt, , as recitalist, chamber musician, concerto soloist and later on as , and Michael Schneider. She teacher and jury member as well. is a founding member of Trio Vivente, with whom she has performed and recorded 4 CDs. In London specifically, Sophie has performed in all the major halls. Highlights have included performances at Since 2009 she has been teaching as a professor for Baroque as well as several recitals at the Wigmore Hall and many Cello and Early Music at the College of Music in Frankfurt and broadcasts for the BBC. Amongst those, the Financial Times the College of Music in . wrote of a cycle of all Beethoven’s works for piano and cello given with her friend and compatriot Marc-André Hamelin: She has recorded 3 solo CDs with music by Dall’Abaco, Dard ‘Their playing offers, first and foremost, unadulterated musical and Klein. Her latest recording with cello sonatas by Carporale pleasure ... not since Richter ‘accompanied’ Rostropovich have I will be released this year. heard this music expounded with such even-handed creativity.’ Noted for his rich, powerful sound CHRISTOPHER VANDERSPAR with purity of tone and emotionally is a Section Principal with the engaging performances JAMIE Orchestra of WALTON has performed House. In addition to his duties with concertos with many of the eminent the Orchestra he regularly plays solo orchestras such as the LPO, RPO cello parts for The Royal Opera and and Philharmonia, appearing . His repertory with throughout much of Europe, USA, The Royal Ballet has included Hans New Zealand, , Canada, van Manen’s Four Schumann Pieces, Australia and the UK. He has Richard Alston’s Midsummer, Will recorded 13 concertos with the Philharmonia and RPO, which Tuckett’s If this is still a problem, Twyla Tharp’s Mr Worldly include the Dvořák and Schumann with Wise, Stephen Baynes’s Beyond Bach, Glen Tetley’s Pierrot to great critical acclaim. For Signum Records he has also Lunaire and Liam Scarlett’s Sweet Violets. With The Royal recorded much of the sonata repertoire, the complete works Opera he has played the cello continuo in repertory including for cello by Britten and a film of the Britten suites for solo , Le nozze di Figaro, L’ anima del filosofo, cello, which was premiered on Sky Arts. , Mitridate, rè di Ponto and . Vanderspar was born to a musical family and began studying the cello at the Jamie is equally passionate about chamber music and age of six. He studied with William Pleeth and later with is founder of the highly successfully North York Moors Jacqueline du Pré and . He won first prizes Chamber Music Festival, which he started in 2009 and in the Heran Violoncello Competition and the Royal Over- subsequently shortlisted for a Royal Philharmonic Society Seas League Annual Music Competition. He became principal Award within two years. Jamie then recently set up his own

16 record label for chamber music: Ayriel Classical, whose pianist and accompanist. She received an MMus with debut includes a world premiere of ‘A Sea of Cold Flame’ Distinction from the Guildhall School of Music & Drama written for the festival by the late Sir Peter Maxwell Davies, under the guidance of Andrew West and . Her was launched in October 2016. training included song projects and masterclasses with Graham Johnson, Roger Vignoles, Malcolm Martineau, Iain Jamie is a member of the Worshipful Company of Musicians Burnside, Julius Drake, Sarah Walker, Dame Ann Murray, and has been elected to the Freedom of the City of London. He Natalie Dessay, , Sir , Thomas was also awarded a Foundation Fellowship by Wells Cathedral Quasthoff, Roderick Williams and Martin Frost. School for his outstanding contribution to music and is lead Patron for Cedars Hall, a new concert venue there, which he Lana has performed in nearly all of the major concert halls officially opened last month. in London including Wigmore Hall, Barbican Hall, , Queen Elizabeth Hall and Cadogan Hall. Awards He plays on a 1712 Guarneri. include the Prize for Song Accompaniment www.jamiewalton.com - www.northyorkmoorsfestival.com and the prestigious Concert Recital Diploma (GSMD). Lana - www.ayrielclassical.com is a Samling Artist, a Leverhulme Artist and an alumnus of the Britten-Pears Young Artist Programme. She was an accompaniment fellow at the Trinity Laban Conservatoire of Music & Dance from 2014-16, and is now a staff accompanist Special Guests at the Guildhall School of Music & Drama. She is also Artistic Director of the concert series Virginia Woolf & Music, and the ALASDAIR BEATSON combines 2016 Viola Tunnard Young Artist at . a career as one of the UK’s most prominent chamber with CATHERINE BOTT owes the appearances as soloist in an especially Pleeth family a great deal: after varied and adventurous repertoire. His studies at the Guildhall School of solo discography includes piano music Music and Drama and two years of Mendelssohn, Ludwig Thuille, singing everything from Bach to Berio and the Opus 1’s of Schumann, with the Swingles, her earliest outings Grieg, Berg and Brahms. 2017 will in Baroque chamber cantatas were see the release of a recording with in the inspiring company of Anthony BIS dedicated to music for horn and piano, recorded on four Pleeth, sometimes rehearsing in the historical spanning 1815-1890, with horn player Alec hospitable and encouraging ambience Frank-Gemmill. Forthcoming performances include chamber of his parents’ house in North London. collaborations with Adrian Brendel, Philippe Graffin, Pekka Kuusisto, Alexander Melnikov and . Recent Among her many recordings are Bach’s St. John Passion performances include concertos with the Scottish Chamber and with the Choir of King’s College, Cambridge, Monteverdi’s Royal Scottish National orchestras, Britten Sinfonia, and the L’Incoronazione di Poppea with Sir and Scottish Ensemble; as soloist in Messiaen’s Oiseaux Exotiques Purcell’s with the . conducted by George Benjamin, and in appearances at She has also premiered and recorded works by contemporary festivals in Aldeburgh, Bath, Ernen (Switzerland), Delft, IMS composers Craig Armstrong, Jonathan Dove, Prussia Cove, Resonances (Belgium), Oxford Chamber Music and Errollyn Wallen. and Plush. Alasdair was a student of John Blakely at the Royal College of Music and in Bloomington, These days, Catherine Bott’s speaking voice can regularly Indiana. He is founder and artistic director of the chamber be heard on radio: between 2003 and 2013 she wrote and music festival Musique à Marsac. presented more than 300 editions of BBC Radio 3’s long- running Early Music Show and was one of the regular Pianist LANA BODE specialises in presenters of live evening concerts. In 2013 she signed a song and chamber music recitals. long-term contract with Classic FM, where her Sunday-night An American by birth, she trained programme, Everything You Ever Wanted To Know About at Indiana University Jacobs School , is now in its fourth year: she also presents The of Music under the guidance of Full Works Concert every Thursday and Friday. Edward Auer, graduating with a BMus (High Distinction) at the age Catherine continues to make feature programmes for BBC of 20. Since that time, she has Radio 4, where she is a member of the Pick of the Week lived and worked in the UK, training presenting team. She is a Fellow of the Guildhall School of specifically as a contemporary

17 Music and Drama and an Honorary Fellow of Trinity Laban worldwide, and is a frequent guest teacher in Canada at the Conservatoire of Music and Dance. Banff Center and at Domaine Forget.

Leading chamber musician, solo He plays on a cello made in Brescia, c.1700, by G.B. Rogeri cellist, orchestral principal and renowned teacher, RICHARD NICHOLAS PARLE is professor LESTER appears regularly at the of Harpsichord at the Hochschule world’s foremost concert venues für Musik and Theater in Leipzig, and festivals. He studied in London and also teaches at the Guildhall at the Royal College of Music with School of Music and Drama in Amaryllis Fleming and in Germany London. Born in Australia, after with Johannes Goritzki. He was obtaining his Bachelor of Music a member of the award-winning degree at the University of Sydney, Florestan Trio, a founder-member of the ensemble Domus, he moved to London, where he a member of Hausmusik and the London Haydn Quartet. has since worked with many of Equally at home on both period instruments and ‘modern’, the leading early music orchestras. In 1989 he won the he was for many years principal with the Orchestra of first prize in the International Harpsichord Competition the Age of Enlightenment and has been principal cello with in Bruges, Belgium, at that time only the third time in 30 the Chamber Orchestra of Europe since 1989. In addition years that a first prize had been awarded. he is frequently called upon to be guest leader of the cello sections of the major London orchestras, appearing with The award-winning many of the world’s finest conductors and soloists. SACCONI QUARTET is recognised for its unanimous He has performed as concerto soloist with, among others, and compelling ensemble, Chamber Orchestra of Europe, Orchestra of the Age of consistently communicating Enlightenment, Camerata , BBC Scottish SO, with a fresh and imaginative Scottish Chamber Orchestra, Manchester Camerata and approach. Formed in 2001, the Ulster Orchestra, under conductors including Claudio its four founder members continue to demonstrate a shared Abbado, Nikolaus Harnoncourt, , Sandor passion for string quartet repertoire, infectiously reaching out Vegh, Myung Whun Chung and Sir . He to audiences with their energy and enthusiasm. The Sacconi has also appeared as director and soloist with COE, OAE, is Quartet in Association at the Royal College of Music and Academy of St Martin-in-the-Fields, London Mozart Associate Artist at the Bristol Old Vic. Players, Irish Chamber Orchestra, and in Montreal and Quebec with Les Violons du Roy. The 2015/16 season saw the Quartet focusing on the works of Jonathan Dove, Graham Fitkin and John McCabe, The Florestan Trio was one of the world’s leading piano culminating in CD recordings of all three composers. Their trios and for almost seventeen years the group maintained commission with of Jonathan Dove’s new the same personnel, winning the Gramophone award in song cycle In Damascus, with words by Syrian poet Ali Safar, 1999 and the Royal Philharmonic Society award in 2000. was premiered in Folkestone, Aldeburgh and London. Other Many of its records are benchmark recordings, nominated highlights of last season included return performances at in collectors’ guides. The trio disbanded in 2012, finishing ’s house in Ischia, Italy, and collaborations their career with a sold-out Beethoven series in London’s with , , Roger Chase, Pierre Wigmore Hall. Doumenge, Miloš Karadaglić, Tim Boulton, Simon Rowland- Jones, Garfield Jackson and David Waterman. They also Richard Lester is regularly invited to take part in chamber recorded John McCabe’s Horn Quintet, written for them and music festivals around the world. He is artistic co-director, David Pyatt in 2011. together with violinist Anthony Marwood, of the highly successful annual Peasmarsh Chamber Music Festival The name Sacconi Quartet comes from the outstanding in East Sussex. He has made over 40 highly acclaimed twentieth-century Italian luthier and restorer Simone Sacconi, recordings, twice winning the Gramophone award for best whose book The Secrets of Stradivari is considered an chamber music. His recordings of the complete works of indispensable reference for makers. Robin is indebted to Mendelssohn for cello and piano and a disc of Boccherini Ellen for the use of his viola. Ben, Hannah & Cara sonatas on period instruments are available on the Hyperion have all been generously loaned their instruments by the Royal label. Richard Lester teaches at the Royal College of Music Society of Musicians, a charity, which helps musicians in need, and the Guildhall School in London. He gives masterclasses for which they are extremely grateful.

18 The photographs of William Pleeth used in this programme are taken from family archives. Every effort has been made to obtain permission (where appropriate) to reproduce this material and credit relevant photographers. Photograph credits: Page 3, lower image: Felix Schmidt Page 7: Radio Times

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