Forming relationships between young artists and established musicians
Renowned tenor Philip Langridge was a staunch member and Council member of the Royal Philharmonic Society until his untimely death in March 2010. Endlessly positive and energetic, and passionate about communication through performance, he often spoke about what the RPS could do to extend its support for musicians entering the profession.
At Philip’s suggestion the Royal Philharmonic Society began discussions with the Young Classical Artists Trust (another organisation of which he was a trustee) to explore ways in which established musicians could pass on their wisdom and experience to those just starting out in the profession. The seeds of an idea for mentoring musicians were sewn and the RPS and YCAT launched the Philip Langridge Mentoring Scheme in autumn 2010.
Getting to the heart of music: sharing the creative talents of youth and experience.
At the heart of PLMS is the development of a relationship between two musicians – not a teacher pupil relationship but one of colleagues. This is essentially something private and elusive and different musicians will respond in different ways. Without being prescriptive we aim to give space and encouragement to allow discussion of performance issues, exploration of repertoire and the exchange of ideas about interpretation.
Since its launch in November 2010 with Philip's wife, distinguished mezzo-soprano Ann Murray DBE, the scheme has paired leading professionals such as Stephen Isserlis, Imogen Cooper and Anne Queffélec, with Philip Higham, Alexandra Dariescu and Clare Hammond respectively.
PLMS is grateful for the kind support of all those who are making this project possible including: Raymond Gubbay CBE, Andre Bernheim Charitable Trust, Fenton Arts Trust, Garrick Charitable Trust, Leche Trust and John S Cohen Foundation
Armand Diangienda, RPS Honorary Member and former pilot who founded a symphony orchestra in one of the poorest cities on earth; Kinshasa, DR of the Congo.
DID YOU KNOW?
1830: Midsummer Night’s Dream is ‘very beautiful, and encored, but it is awfully, fearfully difficult, so much so that last Saturday morning Mendelssohn was SEVEN hours rehearsing.’