The faces behind the music
Peter Taylor, AGSM
Born in Belgium, yet trained at the Guildhall School of Music in London, and speaking faultless English with hardly any accent, Peter has made it his life’s work to collect every piece of solo repertoire ever written for the viola. There is a real danger that, some day, he may succeed in this futile pursuit. However, he suspects a counter-movement has been launched (probably by the violinists) to frustrate his plans by secretly commissioning new works at regular intervals from modern composers. Fortunately, the viola reads in the terrifying Alto Clef which many composers cannot grasp (and a few viola players also), thus ruling out a large portion of them. It is worth noting that a significant majority of orchestral musicians firmly believe that if a composer is to be any good, then he should also be dead. Deceased composers are infinitely more revered than living ones. It is hoped that, this being so, contemporary composers should do the honourable thing, take the hint, and be prepared to lay down their lives for their art - hopefully, the sooner the better. Peter was once a member of the BBC Symphony Orchestra, but defected to the BBC National Orchestra of Wales; spending his first ten years living in a swamp outside Brecon. He now lives closer to Cardiff.

Dominic Jewel, B Mus (Hons)
Dominic is the newest member of the quartet. Trained at the Royal College of Music, he describes himself as a violinist by profession, but exhibits many characteristics more traditionally associated with practitioners of the viola. Prominent among these, are a violent aversion to over-rehearsal, a horror of second position, and difficulty coming to grips with the notorious Alto Clef (a clef which has long been traditionally regarded by other instrumentalists, conductors and musicologlists, as the work of the devil). It is, in fact, rumoured that a clandestine predilection for the viola is something of a family trait (see the Gallery photo), an uncle having fallen prey to it some years earlier. However, Dominic has, thus far, shied away from the full viola conversion, perhaps because he has overheard other members of the group discussing the protracted and painful rituals demanded by the latter stages of the viola initiation process.

Ania Leadbeater, LRAM
Originally from Birmingham, and, in her youth, a member of the Hertfordshire County Youth Orchestra where, coincidentally, she first met Ross Cohen (but then managed to give him the slip by going to study at the Royal Academy of Music in London), Ania has long been regarded as a devoted pioneer of technical innovation within the viola fraternity, and has now perfected the art of holding the bow firmly between her knees and sliding the instrument up-and-down, thereby producing a wonderful new timbre from this most versatile of instruments. This radical new posture has yet to be adopted by the major orchestras of the world. Yet Ania, undeterred, will, it is hoped, continue her crusade and take her rightful place in the viola history books for launching its technique into the next stage of evolution. She was once a member of the Hallé Orchestra, but moved to the The BBC National Orchestra of Wales in the nineteen-eighties, and can no longer remember a time when she was unable to read the mysterious Alto Clef.

Ross Cohen, ARCM
Born in London (and, curiously, also speaking faultless English), Ross took up the viola at the age of eight because he felt sorry for it. He went to study at the Royal College of Music where he won the Cobbett prize for chamber music composition. Then managed to catch up with Ania again when he joined the Hallé Orchestra in Manchester. Ania then gave him the slip once more when she popped up in The BBC National Orchestra of Wales, but it was not long before Ross did the same. Maybe it was inevitable they would eventually end up playing in the same viola quartet. He is fifty-two years old and, although he still feels sorry for the viola with its peculiar Alto Clef, his sympathies now also lie equally with the hapless musicians who have to play them. He thinks violinists will be the first to the wall when the revolution comes.
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