Cerddorfa Dinas Powys Orchestra have been playing and enjoying music making for over 30 years. Our conductor Antony Tarlton, became our Musical Director in 1992 following the retirement of our founder, Mrs Barbara Parrot. He is an inspirational music teacher and under his professional guidance and expert eye we have gone from strength to strength.
We will always welcome new players, to help us develop our orchestral capabilities and repertoire. If you play, or used to play and would like to take it up again, please consider joining us, you can find us on Facebook and get in touch. We are looking forward to hearing from you.
Schubert - Symphony No.5
Tickets are £8.00 (£3.00, under 12’s). They are available from The Dinas Powys Parish Hall, Britway Road and Griffin Books, 9a Windsor Road, Penarth, or any orchestra member.Previous Performances
As a non profit making organisation, the orchestra relies upon the support and generosity of our sponsors and patrons. The orchestra is actively seeking sponsors, (both large and small), and if you are interested in helping support the orchestra, we would very much like to hear from you.
The thanks of the orchestra go to the Community Council ( Dinas Powys ), for their continued help and co-operation
Antony Tarlton was born in Chesterfield, Derbyshire where he had his first violin lessons. He went on to study the violin at what is now the Royal Northern College of Music, after which, in 1970, he joined the Royal Liverpool Philharmonic Orchestra. Eighteen months later, he went to what is now the BBC Philharmonic Orchestra, returning to a principal position with the Royal Liverpool Philharmonic Orchestra three years later.
Following three years teaching at Chethams, in 1980 he became a Principal violinist with the Orchestra of Welsh National Opera, leading the orchestra on countless occasions. He stayed with the orchestra until the end of April 2015.
Whilst a student, he had attended the conducting classes of George Hadjinikos as an ensemble player for the class and where he learned a great deal from this remarkable musician. However, his first conducting was rehearsing soloists and chorus from a church choir, together with an orchestra made up of school friends, for a production of Gilbert and Sullivan’s ‘Trial by Jury’, conducting the performances a couple of weeks after his 15th birthday. In the late 70’s he was conductor of the Junior Chamber Orchestra at Chethams specialist music school, some of whose members have gone on to have distinguished orchestral careers.
Since 1993 he has had the pleasure of being conductor of Cerddorfa Dinas Powys Orchestra and takes great pride in their success.
All musical instruments that have strings produce sound by those strings being vibrated. The causal method for vibration is varied so, consequently, all instruments with strings are varied. Strings will vibrate if they are scraped, plucked or hit and the thickness and/or length of the string will influence the resultant pitch. The violin is an example of an instrument that is scraped (bowed) whilst the harp and guitar are plucked. Keyboard activated hammers hit the strings of the piano to produce sound.
The range and scope, size and appearance, dynamic and timbre of instruments with strings is enormous; so much so that they are classified within “families” distinct from each other and more precise and exclusive than a mere “string” relationship would allow. Convention dictates that “the strings” or “the string section” refers only to violins (two sections), violas, cellos and double basses as found within a symphony orchestra.
All members of the string section are members of the violin family. The harp and guitar are classified separately from each other and from members of the violin family. They are stringed instruments but not members of the string section. The piano, whilst being a percussive stringed instrument, is classified under neither percussion nor strings. Pedigree, repertoire and versatility allow the pianoforte to remain aloof within the family of keyboard instruments.
The orchestral woodwind family descends from instruments that were originally made of wood. (This does not apply to the saxophone: a recent and transient addition to the orchestra, it has never been constructed of wood. It qualifies as a woodwind instrument because its method of sound production is dependent upon a reed.) As with the brass, it is the method of sound production that is the defining quality that determines to which family a wind instrument is allocated. In the woodwind family the vibrating agent is a reed (clarinet, saxophone), double reed (oboe, bassoon) or the lip of the mouth-hole (flute).
The resultant vibrations are transmitted to the column of air within an instrument’s tube and sound, influenced by variables such as size, shape and materials, is produced. In all woodwind instruments the sounding length of the tube can be modified by covering or leaving open various sequences of finger holes that are situated along the instrument’s length. Originally, finger holes were just that: holes that were covered or uncovered by the player’s fingers but by the nineteenth century a mechanical system of levers and rings influenced pitch alteration. Originally conical, the flute has a cylindrical bore, as does the clarinet; the oboe, bassoon and saxophone, however, all have conical bores.
A score marked Double woodwind indicates two each of the standard orchestral woodwind section, that is, flute, clarinet, oboe and bassoon. Triple woodwind means that one player doubles, as required, with the corresponding family member as shown by the following: flute/piccolo, clarinet/bass clarinet, oboe/cor anglais and bassoon/double (contra) bassoon. In common with brass instruments, early orchestral use of woodwinds was on an as required basis with the strings forming the established nucleus around which other instruments came and went. It was not until well into the Classical period, when the harpsichord continuo was beginning to wane, that an orchestra with four recognisable sections was established.
Brass instruments are identified, not so much by the material of their construction, (they are made from a variety of metals) but by their method of sound production. All brass instruments have a mouthpiece within which the lips of the player vibrate in a manner similar to the vibrations of the vocal cords or the double reed of the oboe. The vibrations, thus created, are transmitted to the column of air within the tube of the instrument producing the sound. Sound qualities produced by instruments of the brass family are influenced by the following:
Early orchestral use of brass instruments at the time of Haydn and Mozart would involve two natural horns and two natural trumpets. Such instruments could produce only the harmonic series associated with their fundamental pitch. Before the introduction of the valve system during the nineteenth century, interchangeable crooks (detachable tubes of varying lengths) allowed the player to modify the playing length of the instrument. Consequentially, the fundamental pitch and its accompanying harmonic series were altered. The trombone never required such consideration since the ability to alter the playing length of the tube was inherent within the slide mechanism. The brass section of a symphony orchestra typically contains four horns, three trumpets, two tenor trombones, one bass trombone and one tuba plus variations according to repertoire.
Alexandra grew up in a musical family, where her love of chamber music blossomed, as it was part of her family life.
Alexandra read music at the University of York, followed by post graduate studies at the Royal Academy of Music, London. Whilst a student, she became interested in performances with authentic instruments.
Alexandra joined the Orchestra of the Welsh National Opera in 1980, and having married an Australian theatre director in 1984, left soon after to take up other musical work in London. Alexandra rejoined the orchestra in 1988.
Andy is currently studying at the Royal Welsh College of Music and Drama in Cardiff alongside Jonathan Burgess, and Eva Stuart.
In the past two years he has received various accolades for his playing in addition to reaching the final round of the college’s annual Concerto Prize.
The Royal Welsh has also provided the opportunity for him to develop his entrepreneurial skill through the REPCO scheme and now is orchestral manager of his own orchestra which is achieving great success. However alongside opportunities in college, being in Cardiff so far has provided a wide variety of other playing opportunities from freelance work in local orchestras to pit work playing for musicals and opera and also upcoming concerto performances in South Wales.He finds it particularly interesting to find and perform lesser known works alongside the more popular repertoire, recently exploring the world of contemporary music, and takes pleasure in seeing an audiences reaction to a piece for the first time.
Following college studies Andy aspires to develop a full time career in performance in a professional orchestra whilst taking up as many solo and chamber performance opportunities as he can.
Anne Braley trained privately in London and has lived in Wales for the past six years.In London Anne sang with City Opera and Opera for All, where her roles included Carmen, Nicklausse/Muse (Tales of Hoffman) and Bianca (La Rondine). Elsewhere Anne has sung Mercedes (Carmen), La Ciesca (Gianni Schicchi), Prince Orlofsky (Die Fledermaus), Meg Page (Merry Wives of Windsor) and Phoebe (Yeomen of the Guard). Anne has toured with European Chamber Opera in as Annina (La Traviata), and recently played Miss Benson in the Opera School of Wales production of Lakmé. As a concert and oratorio soloist Anne performs regularly throughout South Wales and south west England, where her repertoire includes Handel's Messiah, Beethoven's Mass in C, Haydn’s Nelson Mass and Mendelssohn”s St Paul. Anne continues her vocal studies with Elizabeth Ritchie.
Ben is 16 years old and has played the ‘cello since he was 5. He achieved a distinction in his grade 8 examination in April 2007 at the age of 11.In January 2008, 2009 and 2010 he achieved 4 gold medals each year, as first prizes in the Swansea Festival for Young Musicians. Three of these classes had upper age limits of 18 and of 20. In April 2009 and 2010 he was awarded the trophy for the “most outstanding string player” in the festival. In 2009 he also won the Final of the Rotary International Competition for Young Musicians from schools in South, mid and West Wales.He was the winner of the Intermediate section of the “Music in the Vale” competition held in 2010 and in June he was awarded second prize in the Abingdon Concerto competition. This resulted in him playing the Dvorak Concerto in an open rehearsal in March this year. In the National Eisteddfod in August 2010, he won the Blue Riband for under 16 string players. The large bursary award went towards some of his music courses and he performed on television and radio. He regularly attends music courses including “Pro Corda” for young chamber music players from all over the country during which he gave the first performance in Aldeburgh church of an early cello sonata movement by Benjamin Britten. He has also attended courses for ‘cellists where he has received coaching from many top players including Natalie Klein, Colin Carr, Guy Johnston and Alexander Baillie who has been an important influence on his playing. His main teacher for several years was Sharon McKinley, a highly respected performer as well as an excellent teacher. In December 2009 he gave two performances of the Elgar ‘Cello Concerto with his father, Antony Tarlton conducting the Cerddorfa Dinas Powys Orchestra. In March 2011 he took part in the first performance of a piece by Alexander Baillie for 17 cellos and voice at the Queen Elizabeth Hall, London. Ben was awarded a scholarship place at the Yehudi Menuhin School for young string players and pianists from all over the world. He took up his place in January 2011 and is studying the ‘cello with fellow Welshman Thomas Carroll. He is looking forward to his future studies at the School as it will help him to realise his goal of becoming a soloist. Ben has been awarded a bursary by Beecher Acoustics of Oxford towards his fine Italian ‘cello and has recently received an award from the Elizabeth Evans Trust.
Chepstow Male Voice Choir was formed in March, 1988 and gave its inaugural concert in St.Mary’s Church, Chepstow, in the same year. Throughout its existence, the choir has remained true to the tradition of giving pleasure to others through song. The Choir renewed the presence of male choral singing in Chepstow which had lapsed during the Second World War. It may be unique in the tradition of male choirs in Wales in that it draws members not only from long established residents of the area but also includes men from further west in South Wales who came eastwards with the opening of the Llanwern Steelworks and others from across Offa’s Dyke in the Forest of Dean, where, too, there has been a long tradition of male voice choirs. This amalgam of voices has given Chepstow a distinctive tone and balance as well as a feature often commented upon by audiences, a clarity of diction. During its history, the Choir has had three conductors. Pamela Morgan led it for nearly 11 years until her tragic death late in 1999 and Mike Evans then conducted for 2 years before retiring to West Wales. The choir is now led by Brian Howard whose extensive band and choral conducting experience are further emphasising the unique character of Chepstow’s singing qualities. We also rejoice in having two superb piano accompanists, Rosemarie Lewis and Eileen Chesworth. The ability to recognise pitch allows singers to sing together according to that somewhat Victorian word ‘melodiously’. In male voice choir singing, four part harmony is the format, the usual arrangement of sections (facing the choir) being bass on the right, next to baritone (middle right), then second tenor (middle left), with top tenor on the left. In Chepstow Choir we tried a different line-up a few years ago, with the basses and baritones on the wings (bass on the right) and the tenors in the middle (“tops” to the left of centre and “seconds” to the right). This was the preference of the Musical Director of the time, who felt it gave better balance of sound, and we have kept it ever since. Singing for their own pleasure comes naturally to choristers but how much better it is to take the many opportunities of sharing our enthusiasm with others. Apart from practising for 2 hours on two evenings for 47 weeks a year, the choir gives an average of 12 concerts a year and sings at about 8 weddings and dinners. Nearly all the concerts are for charities and over the years the choir has raised over a quarter of a million pounds for local and national charities. Singing also provides an international passport where the common language is music and tours have been undertaken in the USA, Canada, France, Holland and South Africa during our relatively short history. Choirs from Australia, the USA and France have also been entertained in Chepstow. Many additional new friends and contacts have been made through the visitors who come to listen to the practice evenings during their visits to Chepstow; the visitors’ book reads like an index to the United Nations! Recordings made by the choir on compact disc and audio tape have found their way to the four corners of the planet. In giving concerts in the UK it has been a privilege to sing with a number of other groups including the bands of the Grenadier and Welsh Guards, the Richard Williams Singers, the Reading Phoenix Choir and a number of Male Voice Choirs including Cheddar, Tonna, Porthcawl and Morlais. The Chepstow choir has, of course, also competed against many other choirs in keen competition at eisteddfodau and music festivals and has recorded major successes in this field. The choristers have also experienced the joys of singing in the wonderful acoustics of such buildings as Wells and Bristol Cathedrals, in the Royal Albert Hall and in Malmesbury Abbey. We have also suffered singing in several locations where the voice is seemingly absorbed just as it leaves the mouth! Please visit the Chepstow Male Voice Choirs website at http://www.chepstowmvc.co.uk/
Claire Hampton began her musical career at the age of 12 joining her school choir. At the tender age of 14, she sang with the National Youth Choir. Susan McAllister guided Claire through the next few years until she studied with Teresa Cahill at the Royal Northern College of Music. Here she won both the Elsie Thurston Memorial and Alexander Young prizes. Following her four year undergraduate course, Claire won a major postgraduate scholarship from the Peter Moores Foundation. Further musical experience was gained as a freelance concert artist. Claire feels privileged to have toured the Greek Islands with the Laskarina Chamber Emsemble introducing classical music to some people for the first time. At the Welsh National Opera, which Claire joined in 2002, she performed in her first role of Jana in Janacek’s opera “Jenufa”. She later recorded this role with Sir Charles McKerras. Claire clearly enjoys her many roles in opera as a chorister and principal soloist, her most favourite to date being Papagena in Mozart’s “Magic Flute”. Currently she has the pleasure of covering the role of “Angell” in Handel’s opera “Jeptha” and is looking forward to the forthcoming WNO production of Don Giovanni, Tosca and Mazepa.
Eluned Pierce began her harp playing in Wales. Guided by her harp tutor Mary Stephens some of Eluned’s early successes included four consecutive wins at the Urdd National Eisteddfod and at the age of 16 the privilege of soloist with the National Youth Orchestra of Wales on their annual concert tour. Eluned was awarded a foundation scholarship to study with Marisa Robles at the Royal College of Music, London. She received several college awards and it was whilst still a student that she first performed at the Wigmore Hall. As well as recital work throughout Britain, together with radio and television broadcasts, she has played at many festivals, including Edinburgh and Harrogate and also in Germany, Poland, Japan and Slovenia. On moving to Scotland she was Principal Harp in turn with the Scottish Ballet, BBC Scottish Symphony, Royal Scottish National and Scottish Chamber Orchestras. Whilst there she tutored harp at the Royal Scottish Academy of Music & Drama, and is now associated with its Welsh equivalent and also the National Youth Orchestra of Wales. Eluned was invited to join the Bournemouth Symphony Orchestra in 1994 beginning with the Orchestra’s Centenary tour of the United States. Now established as one of the UK’s leading harpists, working as a soloist and guest of other orchestras, the most recent invitations have come from the Philharmonia Orchestra and The Royal Opera House.
Originally from South Yorkshire, Jo learnt to play the trumpet and piano at the age of seven, later on going onto play the trombone aged fifteen, under the guidance of Sonia Mellor. Jo started playing in all kinds of styles, being a principal in all the Rotherham Youth Ensembles (Orchestra, Brass Band and Big Band), which lead her onto being members of the Yorkshire Youth Orchestra and many successes with the Frickley South Elmsall Brass Band. In 2004 she gained a Scholarship to study at the Royal Welsh College of Music and Drama with Roger Cutts, and it was since her move to Cardiff that she started to concentrate on developing a career for herself as a freelance musician. Jo feels lucky to have had some amazing playing experiences since being in Cardiff. In her youth she gained a place on the National Youth Brass Band of Wales and the National Youth Symphonic Brass Ensemble of Wales. Jo was principal trombone of the RWCMD Brass Band, Brass Ensemble and Orchestra. Jo has regularly appeared with Sinfonia Cymru since 2004, just completing a tour with them and Bryn Terfel which was televised for S4C. Jo is a regular member of the extra-orchestra with the Welsh National Opera, playing in Khovanschina (Mussorgsky), Otello (Verdi), Carmen (Bizet), La Traviata (Verdi), Aida (Verdi), Belshazzar’s Feast (Walton), Rigoletto (Verdi) and Maestersingers (Wagner), not to mention numerous rehearsals. Jo has also appeared with the BBC National Orchestra of Wales. In her spare time she finds herself appearing in all manner of ensembles around the country! These include the Doncaster Concert Band, Eynsford Concert Band, Flowers (Polysteel) Band, Tredegar Brass Band, Leyland Band, Yorkshire Building Society Band, the BTM band and the Dearne Valley Big Band. Jo was a member of the Cory Brass Band (ranked no. 1 in the world at the time) between 2007 and 2009, winning two European Championships, a Welsh Regional Contest and a brass in Concert competition and also playing with World-renowned trombone-superstar Wycliffe Gordon. Currently Jo is combining her trombone playing with completing a Masters Degree in Performance (with the help from a scholarship from the Musicians Benevolent Fund and the EMI sound foundation) and teaching brass peripatetically for both Rhondda Cynon Taff and Gwent Music Support Services.
Laurence Kempton studied the violin with Maurice Hasson at the Royal Academy of Music in London. He left to join the English String Orchestra where he worked with may great musicians, including Yehudi Menuhin, his childhood hero. He later joined the BBC Philharmonic Orchestra and had wonderful experiences playing at the Proms and enjoying many international tours before becoming a member of the Orchestra of the Welsh National Opera. As a soloist he has performed many concertos, including those of Mendelssohn, Bruch, Mozart, Bach and Beethoven, as well as numerous recitals. He is particularly fond of the salon music of Elgar and Kreisler and has just recorded his first CD.When not teaching or practicing, or being baffled by his sons' homework, he tries to find time to indulge in his passion for distance running, really enjoying the opportunity it affords to explore the great outdoors.
Lowri was born in Cardiff in 1977 and began playing violin when she was just four years old. After reading music at Selwyn College, Cambridge, she graduated from the Royal Academy of Music in July 2002, having achieved a distinction in the Postgraduate Performance course, studying with Howard Davies and Marianne Thorsen. She was also the recipient of many awards and prizes, including the coveted DipRAM prize for an outstanding final recital. Lowrie was selected as a member of the European Union Youth Orchestra in 2001 and was appointed leader in February the following year. In April 2002 she won the first Oxfordshire Young Soloist competition and consequently performed Prokofiev’s Violin Concerto No.2 with the Oxford Orchestra de Camera.Lowri was appointed principal 1st violin (sitting No.2 ) with the Orchestra of the Welsh National Opera in August 2005, following three seasons with the Northern Ballet Theatre as principal second violin. Before joining the WNO, she also regularly performed with orchestras such as the London Philharmonic Orchestra and the Royal Philharmonic Orchestra among others. Lowri also plays with the Scottish Ensemble, the Vale of Glamorgan Ensemble and the Adderbury Ensemble, for whom she guest directed a concert in July 2006. Further plans include the Bach Double Violin Concerto in St Davids Hall with the Welsh National Opera in April 2007
Born in Taunton in 1984, Martin began playing the cornet at primary school. After progressing to trumpet he was a member of the West of England Schools’ Symphonic Wind Band where he held the position of Principal Trumpet from 2000-2002 and the Bristol Schools’ Philharmonia where he was Principal Trumpet from 2001-2002 Martin was awarded a place on the Batchelor of Music degree course at the Royal Welsh College of Music and Drama in 2002. Over the next four years, he performed with an array of college ensembles including the Symphony Orchestra, Brass Ensemble, Brass Band, Big Band and the Wind Orchestra, often holding the Principal seat. Martin was awarded a place on the BBC National Orchestra of Wales Brass Placement Scheme in his third year as an undergraduate. On completing his BMus studies, Martin undertook a further year of study at RWCMD as a postgraduate student. It was during this year that he appeared as a finalist in the Russell Sheppard Memorial Scholarship. Now forging a career as a freelance musician and teacher, Martin holds the Principal Trumpet seat with the City of Cardiff Symphony Orchestra and the Dinas Powys Symphony Orchestra and also performs regularly with ensembles across South Wales and the Southwest of England including the New Bristol Sinfonia and the Regency Sinfonia. He was a part of Welsh National Opera’s critically acclaimed production of Die Meistersinger von Nürnberg and has also worked with WNO’s MAX department, playing in the World Premier performances of Brian Irvine’s ‘The Calling of Maisy Day’ (2008).
Neil Tarlton has been Principal Bass of the Philharmonia Orchestra since 1990. Neil is an expert in all aspects of modern bass virtuoso technique and works with the London Sinfonietta specialising in avant garde solo bass works. He has recently published a treatise covering all aspects of double bass bowing technique, the first book of its kind.Before becoming a full-time student with Adrian Beers at the Royal College of Music, Neil was a Junior Exhibitioner at the Royal Manchester College of Music and a member of the National Youth Orchestra. He worked as Guest Principal Bass with both Scottish Opera and the Northern Sinfonia while still a student. After graduating, Neil freelanced with a variety of London orchestras, as well as Welsh Opera, English Opera Group, Royal Ballet, BBC Northern, and Scottish Theatre Ballet. After a while he settled with the New Philharmonia Orchestra (later known as the Philharmonia Orchestra) for symphonic work and Philomusica of London for chamber orchestra playing, while always playing as much chamber music as possible (including the Sunday afternoon broadcasts in the early days of Capital Radio). Between 1976 and 1979, Neil held the Principal Bass chair of the BBC Welsh Symphony, after which he returned to London and the Philharmonia. In the early 80’s he was a founder-member of London Musici (with whom he occasionally performed Bottesini’s Grande Duo Concertante), and the short-lived London Double Bass Ensemble, the brainchild of the Philharmonia’s Principal Bass at the time, Gerry Drucker. Gerry’s sheer enthusiasm netted prestigious performances for this ensemble at the Wigmore Hall, on live television and radio, and even accompanying a TV play by Mike Leigh (music by Carl Davis), as well as lots of fun but terrifying concerts around the UK. During the late 80’s Neil was a frequent traveller with Chris Warren-Green’s London Chamber Orchestra, English Chamber Orchestra and London Sinfonietta, and also began teaching at the Royal College of Music. He succeeded Gerry as Principal Bass of the Philharmonia in 1992, and later published his transcription for bass of Ševcík’s Op.2 School of Bowing Technique.Whilst subsequently teaching on the Pimlico Special Music Course, Neil published Beginning Scales on the Double Bass and Essentials of Ševcík, and currently holds teaching posts at both the Purcell School and Trinity College, as well as being Visiting Professor to the Razumovsky Academy. He regularly plays chamber music with the Soloists of the Philharmonia and the Razumovsky Ensemble.Neil has always considered that the greatest music for bass begins and ends with the symphony orchestra, but also loves playing everything else in between!Neil Tarlton is professor of double bass at the Royal College of Music.
Paula Jane Bradbury was born into a farming family in Saddleworth, Yorkshire and studied Dance & Drama at the Grange Arts Centre in Oldham. After initially not wanting to sing at all, she completely changed direction and went to the Royal Northern College of Music for voice training, where she won many of the available prizes, awards and scholarships. Paula joined the chorus of the Welsh National Opera in 1992 but has been given solo roles, many of which have been either recorded, broadcast on radio, or televised. Her repetoire is varied going as it goes from opera, oratorio, German Lieder and French Chanson to singing for Joe Calzaghe in the Super Middleweight Championship of the World at Cardiff International Arena, and also shown on Sky Sports and Showtime in America.In 1993 Paula took a sabbatical in order to explore the greater range of her talents, which included wider based freelance opportunities, taking workshops in schools and presenting and appearing as soloist in concerts with the Orchestra of the WNO. She has now returned to the fold of the WNO, but the wider world still beckons. At present Paula is singing the role of 'Gretel' in Humperdink's opera “Hansel & Gretel” in a special WNO production for schools, alongside the main WNO tour. By the end of the run, some 2000 children will have worked with, and seen this opera.
For health reasons after a bout of pneumonia at the age of just seven, it was suggested by the family GP that Philip should take up a wind instrument, because it would be good for his lungs. A colleague of his father had a clarinet for sale, which was bought, and Philip’s road to health and practical involvement in music making began. However, at the age of thirteen, a television program, “The Alfred Hitchcock Hour” inspired Philip to want to play the bassoon, which became his principal instrument as a professional musician. Having left college in 1972, Philip freelanced for two years in the north of England with the various well known orchestras, and was a founder member of the Manchester Camerata, which whom he played an broadcast the Mozart Bassoon Concerto. In 1974 he auditioned successfully for the post of principal bassoonist with the Welsh National Opera in Cardiff. He held that post until he moved to London in 1986, where he freelanced for three years with many of the leading orchestras. Philip became a full time member of the London Philharmonic Orchestra in 1989. In December 1994 Philip played the Weber Bassoon Concerto with Dinas Powys Orchestra. After nearly twenty years with the London Philharmonic Orchestra, Philip’s bassoon career came to an abrupt end. As a result of surgery for a malignant melanoma, the muscles in his lower right face were paralysed and the embouchure for paying bassoon could no longer be formed. Because the embouchure for the clarinet is very different and does not solely rely on the face muscles, Philip has come full circle and “for health reasons”, now plays the clarinet again after a forty two year break, albeit as an amateur! Philip is a keen supporter of two particular charities - the Musicians Benevolent Fund, and CANHELP, a cancer charity which researches into malignant melanoma. Without the help and assistance of both these charities his life would be very different. Philip will continue to perform the Mozart Clarinet Concerto to raise funds for these worthy organisations.
Previously of The Orchestra of Welsh National Opera Ruth Bass started learning the violin, aged three, from her father David, himself a violinist and teacher, in her home town of Cambridge. These lessons with her father continued until she was fourteen when she began studying with Howard Davies, first violin of the Alberni String Quartet. Ruth won one of the few Associated Board of the Royal Schools of Music scholarships to the Royal Academy of Music, London, just before her seventeenth birthday, taking it up a year later, and continuing her studies with Howard Davies. On leaving the RAM, Ruth joined the Orchestra of the Welsh National Opera was there for fifteen years, before leaving in 2002. Ruth is currently the strings co-ordinator at Haberdashers’ Monmouth School for Girls