Maurizio Pollini’s six decades of exceptional pianism at Southbank Centre

pollini-01‘That boy can play better than any of us’ Arthur Rubinstein

Maurizio Pollini is one of the great piano legends, with a career spanning nearly 60 years. With his unaffected manner and an elegant clarity to his playing, Pollini has brought his individual voice to all musical styles from the 1700s to the present day. Ahead of his two recitals in spring, we’ve looked into our Southbank Centre archive to explore six decades of Pollini’s performances.

Pollini is now considered by many to be one of the world’s most outstanding pianists. Yet he was only 18 when he obtained international recognition, by winning first prize at the International Chopin Piano Competition in Warsaw in 1960.

It was three years later that the maestro made his debut in London in a concert in 1963 at Royal Festival Hall with the London Symphony Orchestra. Conducted by Pierre Monteux, the repertoire chosen for Pollini’s first solo performance was:

TCHAIKOVSKY Fantasy Overture, Romeo and Juliet

BEETHOVEN Piano Concerto No.3 in C minor, Op.37

SCHUBERT Symphony No.9 in C (Great)

In the early 70s, Pollini began to establish an international career of the greatest importance. In 1971, he signed with Deutsche Grammophon and released his first recordings on the German label; these included Stravinsky’s Three Movements from Petrushka and Prokofiev’s Seventh Sonata.

With regular appearances in music centres around the world, Pollini began the career of piano superstar.


Fact: Pollini’s strong political convictions formed an important part of his musical life, improving his technique by playing in factories for causes such as peace in Vietnam with Italian conductor Claudio Abbado and Italian composer Luigi Nono. He also performed concerts in the neighbourhoods around Reggio Emilia and recitals for students at La Scala, animated by their ideals of justice and peace.

The collaboration between Abbado and Pollini continued after those years, with several concerts held at Royal Festival Hall with the London Symphony Orchestra.

Pollini began the 80s at Southbank Centre, with a televised opening season concert playing Mozart’s D Minor Concerto with Sir Georg Solti and the London Philharmonic Orchestra. He continued to give several recitals in Royal Festival Hall throughout the decade as well as a  performance in 1983 with the BBC Symphony Orchestra. Masse by Giacomo Manzoni written as a homage to Varese, the first explorer of Manzoni’s favourite musical sounds was part of that evening’s repertoire.

Fact: New York, 1987: Under the direction of Claudio Abbado, the maestro played the complete piano concertos of Ludwig van Beethoven with the Vienna Philharmonic. On this occasion he received the orchestra’s Honorary Ring.

In 1996, Pollini brought back his superb pianism to Royal Festival Hall with the Beethoven Sonata Cycle

The audience was taken on an intense journey through eight recitals, that followed the chronological order in which Beethoven wrote his works, with the exception of Opus 49.

Pollini demonstrated how great playing can be achieved through quiet, undemonstrative means.’ Annette Morreau, 16 December 1996 – The Independent

Pollini’s career in London in the new millennium was full of highlights. These included a performance of Beethoven’s Fourth Piano Concerto with the London Philharmonic Orchestra in honour of their 75th birthday in 2007; and the Pollini Project in 2011, where he embarked on a five-recital pilgrimage, with the concerts spanning 250 years of piano repertoire from Bach to Boulez.

‘I like their way of listening and their deep interest in music, and so I thought it was possible to do something larger and different. I have played these works many times and they are all extraordinarily important works for the piano. Put together, they form something of a line, something of a story of piano music. But it is not a rigorous or strict line. They are closely connected to me and my overall musical interests, so it is also my personal line and, in a way, my personal story.’ Pollini on London audience

Fact: The opening of the Pollini Project in London was signposted by the arrival of a brand new favourite piano: a Steinway concert grand refined by the Italian piano technician Angelo Fabbrini.

‘I have played a recital in London more or less every year throughout my career and have a very strong relationship with the London public (…)’ Maurizio Pollini

With his two upcoming recitals, Maurizio Pollini’s cumulative appearances at Southbank Centre add up to 133 performances.

His recitals have made a major contribution to the International Piano Series as one of the most prestigious piano recital series in London, where fans  can see him playing alongside the emerging talents aspiring to Pollini’s greatness.

Mr. Pollini is represented by HarrisonParrot and records exclusively for Deutsche Grammophon.

Meet exciting young conductor Karina Canellakis

On Monday 29 February, Karina Canellakis makes her UK debut conducting the Purcell School Symphony Orchestra with pianist Alim Beisembayev in music by Sparkes, Rimsky-Korsakov, Shostakovich and Rachmaninov.

This concert marks your London debut – how do you feel about working in London for the first time?

I am so excited to work in London as a conductor. I have heard many of the London orchestras live including LPO, the Royal Opera House and ENO, and enjoyed it immensely. There is a great tradition of music making in this city and I’m honoured to now be a part of it by performing with the wonderful young musicians of the Purcell School.

You began your musical career as a violinist – what triggered your desire to conduct and what advice would you give a young musician who aspires to be a conductor? 

Keep playing your instrument! That would be my advice. It has been crucial for me to still be able to go to my violin as a comfort, meditation, a way of getting in back in touch with producing sound…so many reasons. It keeps it real for a conductor. I dreamt of conducting because I was inspired by great conductors I played under, but I never really thought it would happen. My desire came out of being inspired to know more about the score, the details of the piece, and to know what everyone else was doing, not just the violin part. I could never have anticipated that I would love conducting so much…initially the idea of being without the violin seemed quite strange, actually. Now of course it feels like it is in some ways more the “real me” than playing. That took some time, but it was worth the effort.

You hold a Bachelor’s degree in violin from the Curtis Institute of Music and a Master’s degree in orchestral conducting from The Juilliard School – what musical training did you receive prior to your studies at the Curtis Institute?

Before Curtis I attended a public math and science high school in New York City and went to music school on Saturdays. I had very intensive violin lessons every week, practiced a lot and gave public performances at music school almost every week. My mom was my accompanist; it was a luxury although I didn’t realize at the time that not everyone has a pianist mother at their beck and call to run through concertos and sonatas! I also took conducting classes and score reading from about the age of 12 because my Dad is a conductor and he thought all musicians should learn a little conducting. So I was already experimenting with it in high school.

Do you approach a concert any differently knowing that the orchestral performers are teenagers?

No. I think teenagers are extremely sophisticated, the only thing they lack is experience. So it will be a matter of playing a lot, guiding them about phrasing, breathing, how to think of the music and how to listen to each other. It’s so gratifying to work with young people, I love it.

Conducting is physically demanding – how do you prepare for the physical demands of your profession?

I have definitely been more careful about staying in shape and eating better since I started doing a lot of conducting and travelling. The travelling is brutal for a conductor…lots of flights and jet lag. It’s important to do warm ups and back exercises. I like yoga – I do a little yoga at home every morning before I start my day, and stretch a lot. It forces you to do deep breathing as well. I like to pretend I’m like Baryshnikov warming up.

Having been mentored by some amazing people – Rattle, Zweden, Alan Gilbert, Fabio Luisi- how have these people shaped you as a musician?

Each of my mentors is very different from the others, and each of them has given me different inspiration and guidance. I could write a book about each one of them. I’ve been incredibly lucky to have such unbelievably brilliant musicians as my teachers and moral supporters. If it weren’t for those four, I would not be doing what I am doing, that’s for sure. They gave me and continue to give me so much confidence and encouragement. I personally need that, because I’m not someone who thinks so highly of myself, and it’s a tough profession. You have to love music more than life itself, I think, in order to be able to work that hard.

You recently received great acclaim for filling in for Jaap Van Zweden with the Dallas Symphony at short notice – how does that feel, and as Assistant Conductor how much time do you typically have with the orchestra?

Filling in at the last minute has become something I’ve done many times now! The latest was Shostakovich 7, and that was really really at the last second. It’s exhilarating. I mean, it was exciting because I was prepared, so I did not even have time to feel nerves or doubt. You just have to get up there and make 110 people play their hearts out, together, and with a coherent flow and atmosphere. It’s the ultimate being-in-the-moment experience.

As an assistant conductor in Dallas, I have done about 30 concerts of my own per season. It’s a very good position in Dallas because you are given a lot of time with the orchestra. It’s also a tremendous responsibility and workload, but you learn so much repertoire that way.

What are your 6 Desert Island Discs?

I could not make it 6. Here are 7!

  • Mahler Das Lied von der Erde with Bruno Walter and Kathleen Ferrier
  • Bruckner 4 with Celibidache and Münchner Phil
  • Joseph Szigeti’s recording of Prokofiev violin concerto no.1
  • John Eliot Gardiner’s Mozart Le Nozze di Figaro with English baroque soloists, Terfel, Hagley, Gilfry
  • Sawallisch recording of Strauss Die Frau Ohne Schatten with Sinfonieorchester des Bayerischen Rundfunks
  • The Guarneri String Quartet’s recording of Beethoven String Quartet op.130 (the Cavatina in particular)
  • Takacs quartet’s recording of Bartok String Quartet no.4


Book here for The Purcell School Symphony Orchestra, Monday 29 February, Royal Festival Hall.  


Nicola Benedetti on Tchaikovsky and Schubert

On Thursday 11 February 2016, the Benedetti, Elschenbrouich, Grynyuk Trio performs piano trios by Tchaikovsky and Schubert at St John’s Smith Square, as part of the International Chamber Music Series. Violinist Nicola Benedetti explains the very different moods of these two great works: 

‘I simply cannot endure the combination of piano with violin or cello. To my mind the timbre of these instruments will not blend … It is torture for me to have to listen to a string trio or a sonata of any kind for piano and strings.’ Tchaikovsky’s own words, in a letter to his patron Nadezhda von Meck, seem to undermine the premise of tonight’s concert of two of the best-loved piano trios in the repertoire.

And Nicola Benedetti agrees with him – up to a point: ‘I can see where he’s coming from. Mozart, Beethoven and Schubert had written excellent piano trios before him, so it’s not that no one had written masterfully for the form, but the balance of the three instruments can be tricky. The natural thing would be to give the cellist piano-bass-like material and to write melodic treble material for the violinist, but that would never suit the kinds of musicians who form trios, who generally want to do things in their own right.’

160211 BenedettiElschenbroichGrynyuk Trio credit Mark McNulty 2Tchaikovsky finds ways round the problem, as Benedetti explains: ‘In many of the variations the cellist is given the melodic material before the violin, and the cello begins and ends the work. Tchaikovsky perfectly understood all the issues and compensates beautifully.’

The Russian composer started the work in 1881, writing it in memory of his beloved friend and mentor Nikolai Rubinstein, who had only recently died. His sense of grief fills the music, according to Benedetti: ‘It was written in a period of longing and pain. I’ve performed it many times and more often than not I’m fighting back tears at the end. It feels like you’ve lived a life. It is such an outpouring, and you’re left void of hope. There is lots of melodic material, and the second-movement variations are extremely bright, but the overwhelming feeling is that they are all memories of experiences in a different realm, which you’ll never have again.’

The piece is technically demanding for all three players, but the biggest difficulty is for them to structure their performance. Benedetti explains: ‘Form is the biggest challenge because of the scale and length of the piece. The first movement is typical of Tchaikovsky: it’s in standard sonata form but, as always with him, the development of the first material lasts a long time. You have to make sure you’re not indulging too much in every new idea, and that you keep a strong thread throughout. With the second movement being theme and variations it would seem that the form is taken care of, but to string so many variations together is hardly a walk in the park!’

Form is also a challenge with Schubert’s Piano Trio No.1, but for different reasons, Benedetti says: ‘Schubert surpasses all other composers in his choice to use a theme and present it in many different keys. His forms are often extremely linear and because the textures he uses are quite similar throughout, you have to know where you are in the piece, otherwise it can seem to last a very long time. It’s always beautiful, but you lose the shape.’

Schubert’s sound world is very different from that of Tchaikovsky: ‘There is a pristine purity to it. It’s the opposite sound to what we’re trying to achieve in the Tchaikovsky, which is expansive, emotive and romantic, and is always breathing. In the Schubert, it’s as if you’re holding your breath. You’re presenting a perfect crystal to someone and you want to make sure it’s as pure as possible.’

The Schubert trio was also written at a difficult time in the composer’s life – he was sick and would be dead within the year. And yet, the music is a world away from pathos or pain. This brings up an interesting point for Benedetti: ‘Composers react to their own internal suffering very differently. For someone like Shostakovich, all the suffering he lived through was exposed in his music, whereas for other composers their sorrow can make them see a brighter light. They write the brightness rather than the dark.’ Schubert’s Trio No.1 is very much a case of the latter, she says: ‘This trio is uplifting from beginning to end. There’s barely a dark or painful moment in it.’

© Ariane Todes

Tickets for this event are sold out. Check for returns, or browse the rest of the International Chamber Music Series.  

‘Simple is good’ for the Jerusalem Quartet

Alexander Pavlovsky, violin player of the Jerusalem Quartet, talks about the quartet’s forthcoming concert at St John’s Smith Square, 22 November 2015.

There’s a theme of looking back in this programme. Firstly, as the Jerusalem Quartet celebrates its 20th anniversary this year, the players return to the first piece they ever worked on together as teenagers – Dvořák’s ‘American’ Quartet. The Haydn and Bartók quartets on the programme were also the first by each of these composers that they studied.

151126 jerusalem quartet 2 credit Felix Broede

It’s not just the players who are looking back over their career with this repertoire, though. All three composers do, too, according to first violinist Alexander Pavlovsky. Haydn wrote his String Quartet in G, Op.77 No.1, in 1799, at the age of 67, and in the form and content of the work he’s surveying his own history: ‘Haydn was already an old man, and after Op.76, which is his most rich and deep opus, this quartet is in G major, one of the most smiley keys. Haydn had brought the quartet form from simplicity to enormous complexity, but thematically, this is a simple quartet. It doesn’t have much philosophy, except in the slow movement. He says the same thing in the first bar of the first movement that he does over the rest of the movement; three of the movements start in unison; the third movement is also in G major; and there are no really complex ideas in the last movement. Haydn brought the form to a level from which Mozart and Beethoven could take over, but in this opus he’s looking back at what he achieved. It’s all about simplicity. He’s looking back saying, “Simple is good.”’

Bartók is also in a retrospective mood with his Quartet No.6, written in 1939, just before the outbreak of the Second World War. Pavlovsky explains: ‘This is the most easily understandable of Bartók’s quartets for people listening for the first time. After Nos.3, 4 and 5, which are Modern, No.6 is the most Classical. Bartók is looking back, using all his knowledge and everything he’d discovered harmonically and stylistically, as well as the folk tunes of his native country. He’s showing us how he comes from the harmony of the 19th century. It’s very well-balanced, harmonically interesting, full of counterpoint, and it uses lots of different techniques and material. It works perfectly as a complement to the Haydn, as it is based on the qualities that Haydn developed.’

Dvořák’s ‘American’ Quartet in F, Op.96, is directly inspired by Haydn, according to the composer himself, who commented: ‘I wanted to write something for once that was very melodious and straightforward, and dear Papa Haydn kept appearing before my eyes, and that is why it all turned out so simply.’ Pavlovsky explains: ‘It has an abundance of melodies and every movement, every bar, is beautiful. However, it lacks the canon of the European tradition of his time – of Beethoven, Brahms, Schumann. This is definitely by choice because if you look at his previous opuses they’re much more complicated, not just harmonically, but in their textures. This one has none of that sophistication. We all know that Dvořák could write much more complicated things, but he chooses not to here.’

However, this simplicity is a strength, says Pavlovsky: ‘It doesn’t take anything away from the piece. It’s a great quartet. The public enjoys it and musicians enjoy it. It’s not written to be complicated. If anything the opposite, and in this sense it has something in common with the Haydn, looking back a little and saying that simple is good.’ As the group celebrates its anniversary, it takes this message to heart, as Pavlovsky explains: ‘After 20 years you realise that simplicity is the most difficult thing to achieve, but that it carries a strong message. This is what we all have to achieve.’

© Ariane Todes, 2015

The Jerusalem Quartet performs at St John’s Smith Square on Sunday 22 November at 3pm, as part of Southbank Centre’s International Chamber Music Series

Violinist Viktoria Mullova talks about her forthcoming recital with Katia Labèque, 6 November 2015

It’s hard to think of Arvo Pärt’s Fratres as a modern work. Its beautiful chords seems to have existed forever, although it was written in 1977 in its first version for string quintet. And yet when Viktoria Mullova and Katia Labèque performed tonight’s programme in Rio de Janeiro recently, the marketing poster made no mention of either this piece or Takemitsu’s 1951 Distance de fée, which the duo also plays. Mullova explains: ‘They thought it would scare the public away. Sometimes contemporary music can be difficult and people are worried, and think, “I don’t understand it, it’s just a lot of notes.” But the public came, heard both pieces and they got the biggest applause.’

Victoria Mullova and Katia LabequeMullova and Labèque perform these two pieces straight through without a break, as Mullova describes: ‘One comes out of the other, which works fantastically, because they mesh together so well. I like Pärt’s harmonies, the simplicity of it. The effect is incredible. Takemitsu was very much influenced by Debussy, and this piece sounds like Pelléas and Mélisande. Usually these two pieces have the biggest success of the whole programme. It’s easy to understand this music. It goes straight to the heart, which is the most important thing – that the music speaks to you.’ One of the benefits for performers in playing contemporary music is that they can actually encounter the composers, and Mullova has met Pärt several times and even had direct feedback from him about performing Fratres. She says, ‘It was wonderful to see him and talk to him. He was so kind and inspiring, and we discussed little technical things about the piece.’

Paradoxically, the oldest music on the programme – Mozart’s Violin Sonata in A major K526, written relatively late in Mozart’s career, in 1787 – is the newest to Mullova. She has only lately started playing the work, as she explains: ‘I’ve never played the Mozart sonatas before. I like Mozart’s symphonies, operas and piano music, but I never liked his violin writing very much. I always thought the sonatas were a little boring. I didn’t understand them until recently, when I saw them brilliantly choreographed by Czech choreographer Jiří Kylián. For the first time I understood what it’s all about. There’s lots of humour – it doesn’t take itself too seriously. This sonata is one of the most difficult ones technically, but it’s well written and lots of fun to play.’

This humour provides a contrast to the Violin Sonata by Robert Schumann, written in 1851, by which time the composer was probably showing signs of mental breakdown. This sad fact can be felt in the music, according to Mullova: ‘The Schumann Violin Sonata is very dark and manic, especially the last movement. You can feel Schumann’s madness in his writing. The phrases are very unusual and strangely written. There are lots of tempo changes and it doesn’t take the usual sonata form. The melody of the first movement is my favourite of the whole work.’

Completing, and ending, the programme is Maurice Ravel’s jazzy Violin Sonata, written between 1923 and 1927. Unusually for most classical musicians, Mullova has ventured into the genre, having recorded several jazz CDs, so this change in style holds little fear, and when asked how she finds the right atmosphere for it, she says, ‘I just feel it.’

And with that, tonight’s programme runs the entire gamut of eras, emotions and impressions. Mullova explains, ‘It’s very well balanced, very unusual. I like different pieces and styles in a programme – it’s boring to play one composer over a whole concert. I like contrasts.’

© Ariane Todes

Viktoria Mullova and Katia Labèque perform at St John’s Smith Square as part of Southbank Centre’s International Chamber Music Season on Friday 6 November at 7.30pm. Tickets from £10. 

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Violinist Alda Dizdari discusses Robin Holloway’s music and Donnagh McKenna’s painting

Violinist Alda Dizdari and pianist Tom Blach perform Robin Holloway’s Violin Sonata alongside works by Schubert, Faure and Ravel at Southbank Centre on Thursday 2 July. The concert also features four of Donnagh McKenna’s huge, bright canvases. Alda talks about playing Robin Holloway’s challenging and dramatic music, and bringing music and visual art together on stage:  

When I asked Robin Holloway, the brilliant British composer, about his creative inspiration for writing for the violin the response was very clear, ‘Life’, with all its facets, is his inspiration. He said:

‘I am often inspired, direct or oblique, by life, literature, landscapes & cityscapes, paintings, reflections, etc: but more often still by music itself—the innateness of it.’

For me as a performer, this statement is an important one. It makes the process of creation much wider, luminous, eclectic, much more real.

Robin’s solo violin sonata is one of the most challenging works I have been working on since tackling the Bartok solo violin sonata or the works of Bach, two composers who inspired this piece.

And the challenges, as in the Bartok and Bach, are not only technical, but more so emotional.

To capture the source of inspiration is like capturing a prism with all its facets, the diversity, colours, drama, beauty and ugliness, the myriad of expressions have to come out of the instrument in a fluent and clear way. The communication has to be clear for the audience, flawless for the structure of the piece. The responsibility is immense.

The art of Dounnagh McKenna gives me the same type of inspiration, his gigantic work with its abstract language somehow shares the same power of expression. Even the language used to describe his work is similar to that used about Robin Holloway’s sonata: strong colourful language, drama, beauty, diversity, contradiction.

One of Donnagh McKenna's paintings that will be displayed during the concert

One of Donnagh McKenna’s paintings that will be displayed during the concert

I didn’t have the chance to know Donnagh while he was alive but I am pretty sure, judging from his work, that his creative inspiration was stirred up by life, by all that surrounded him, and he experienced it and expressed it full of passion and with obsessive dedication to his art.

It will be a very interesting experience for me as a performer, but more so, for the audience, to take in the music and the art and to see how these two different art forms come together to create a unified vision about the world we live in, life, beauty and everything we hold dear in our existence.

By Alda Dizdari

June 2015

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The best tools for the job: putting old string instruments in new hands

Artist Louise Kaye and her husband David have an unusual relationship with the team of world-class musicians they have assembled for a charity concert at Queen Elizabeth Hall on 22 June. Louise explains:

‘Two unrelated facts triggered my desire to support Parkinson’s UK by organising this concert. First of all, my husband was diagnosed with Parkinson’s five years ago, at the age of 55. David had, we realised, been showing symptoms for at least five years before that.

Secondly, we are fortunate to be friends with many top-notch musicians around the world. As well as travelling far and wide to attend their concerts and recitals, we enjoy providing a home base for them when they are passing through London. We are not musicians ourselves, but over the past 12 years we have bought a number of fine old string instruments and two bows which are now on long-term loan to eight musicians, five of whom will be playing on 22 June.

Louise Kaye

Louise Kaye

It all began when we had been following the development of the Jerusalem Quartet over a few years and had a chance to meet them at a house concert. We then discovered that Amihai Grosz, who was then the violist with the quartet, was the only one playing a modern instrument which was not close to the league of the other three instruments. Having been told that buying good string instruments was an excellent investment we decided to buy Amihai a viola. He was very much involved with the selection of the instrument, and it took about 10 months to find the right one, made by Gasparo da Salò around 1570.  It was much more expensive than the budget we had given him, but in the end we decided that it was such a marvellous instrument and he was worthy of it, so we went ahead and bought it.  We have not regretted our decision for a moment. He is now the section leader for the Berliner Philharmoniker, a position he gained partly because of the tone of the instrument.

Each time we have purchased a new instrument it has been because we first developed a relationship with the musician and loved their playing.  We could see that, like Amihai, a better instrument would help them reach greater heights in their careers. Our intention is that each musician will keep the instrument for the duration of their professional career.  Then it will be passed on to another player in their late twenties or early thirties, also for the duration of their career.

Of course, this means that our purchases are not really an investment in financial terms, as we do not intend to resell them, but they are definitely an investment in people, and all eight of the players have become an extension of our family. They are more than happy to give something back to us by doing a fundraising concert such as this one.’

Violist Jennifer Stumm is one of the musicians whose instrument was bought by Louise and David. She talks about what it’s like playing a viola made in around 1590:

Jennifer Stumm

Jennifer Stumm

‘There are obvious advantages to having as excellent a tool as possible with which to ply one’s trade–one drives faster in a faster car!  But the relationship of string instrument to player involves so much more–a true melding of personalities. There is magic in how this thing, with which you spend most of your time, connects you with 400 years of history, and how its sound has been moulded by so many hands. It’s a privilege to be a link in that chain. It reminds me of the power of history and human connection and expression—the reasons I play classical music in the first place.’

Like Louise and David Kaye, violist Ori Kam has personal reasons for giving his time and talents to this concert:

‘My uncle has been living with Parkinson’s for 20 years. Another friend has Parkinson’s as well. A small number of diseases like HIV and Cancer take up most of our collective attention and funding, so it’s important not to forget to support research for other conditions. We musicians receive so much support from audiences, individuals and from society in general, when I have the opportunity to do something for the greater good I don’t think twice.’

The concert on 22 June at Queen Elizabeth Hall includes Brahms’ Sextet No.2 and Tchaikovsky’s ‘Souvenir de Florence’.


Guy Braunstein violin
Tai Murray violin
Ori Kam viola
Jennifer Stumm viola
Richard Harwood cello
Adi Tal cello
Kyril Zlotnikov cello
Tom Poster piano

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One person in every 500 has Parkinson’s. That’s about 127,000 people in the UK. All proceeds from this concert will support the work of Parkinson’s UK – funding research, awareness-raising, and vital emotional and practical support for people with Parkinson’s, their families and carers.