Celebrating 150 Years of the Plymouth Symphony Orchestra!
For a century and a half, the Plymouth Symphony Orchestra (PSO) has been at the heart of the city’s musical life, inspiring audiences with performances that span the breadth of the orchestral repertoire — from timeless classics to bold contemporary works.
Throughout its history, the PSO has sought to strike a thoughtful balance in its programming, pairing much-loved masterpieces with lesser-known gems. Over the years, the orchestra has shared the stage with many distinguished soloists, including Peter Donohoe, Ralph Kirshbaum, Anna Markland, Julian Lloyd Webber, Craig Ogden, Tasmin Little, Thomas Gould, Guy Johnston, Jennifer Pike, Joanna MacGregor CBE, Maria Włoszczowska, Maxim Calver and Elin Pritchard.
Here, we celebrate the memories and reflections of some of the orchestra’s longest-standing members, sharing their photos and stories from over the years.
The Plymouth Symphony Orchestra through the years
March 1986
March 1955
2005
Jan-Feb 1951
Jan-Feb 1951
March 1986
March 1959
March 1963
March 1959
March 1963
March 1963
Devon Life 1986
March 1986
Dartington
2006
Memories
Here, we celebrate the memories and reflections of some of the orchestra’s longest-standing members, sharing their photos and stories from over the years.
We’re also delighted to share a contribution from Philip Buttall – musician, teacher, classical music writer, critic and reviewer.
Philip Buttall
Plymouth Symphony Orchestra – 150th Anniversary Year
My association with Plymouth Symphony Orchestra (PSO) officially dates back to 1997, when I was first asked to write the concert programme-notes, something I have since enjoyed very much, three times each season, save for various COVID-19’s lockdowns.
Quite by chance, 1997 also happened to be the year I took over from the late Elsie Pope, as the then Evening Herald’s Classical Music Writer and Reviewer, where I was privileged both to preview, and then review a vast array of classical events, in and around the city, for the next twenty years, until economies of scale led to the demise of my weekly Classical Music Page, and regular reviews. Fortunately, I was then able to find two online homes – one local, and the other international, for all subsequent reviews.
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150th Anniversary Year
My association with Plymouth Symphony Orchestra (PSO) officially dates back to 1997, when I was first asked to write the concert programme-notes, something I have since enjoyed very much, three times each season, save for various COVID-19’s lockdowns.
Quite by chance, 1997 also happened to be the year I took over from the late Elsie Pope, as the then Evening Herald’s Classical Music Writer and Reviewer, where I was privileged both to preview, and then review a vast array of classical events, in and around the city, for the next twenty years, until economies of scale led to the demise of my weekly Classical Music Page, and regular reviews. Fortunately, I was then able to find two online homes – one local, and the other international, for all subsequent reviews.
But my connection with PSO, in fact, goes back some thirty years more, when I was in the Lower Sixth – or Year 12 in today’s money – at Devonport High School for Boys. I had written a twenty-minute-long Piano Concerto, unashamedly Mozartean in style, for full classical orchestra, and since, in those days, we had no computers to play it on, I needed to find a competent local orchestra willing to run it through for me.
My thoughts turned to PSO, still known as ‘Plymouth Orchestral Society’, and their late conductor Aubrey Prior (?). Despite the fact I then had to copy all the parts out by hand, ably assisted by the then Head of Music, well-known choral conductor, Trefor Farrow, every single player couldn’t have done more to enable this young student to hear what they had spent a long time composing, and even longer laboriously writing out. That same professionalism and encouragingly-welcoming atmosphere from every player and conductor alike, still awaits me, decades later, each time I am invited to review the next concert.
You will have read elsewhere that the current conductor, Anne Kimber, is only the sixth incumbent since PSO’s formation, 150 years ago, a fact that has been extremely important in the orchestra’s development, and the main reason why this amateur outfit, by definition, can punch way beyond its weight, significantly blurring the perceived distinction between ‘amateur’, and ‘professional’ in real terms.
Anne is, in fact, a very long-standing friend and musical colleague, whom I initially knew as an instrumentalist and orchestral manager. I had been invited to participate in a lunchtime concert in the City Museum, as part of the International Concert Series presented annually by Jeanie Moore MVO, on this occasion featuring local composers. I had contributed two works – one for flute and piano, and the other adding a clarinet to the mix. Anne, of course, truly excelled herself in both pieces, especially when she was joined by Plymouth-born clarinettist, Peter Cigleris, who has gone on to become one of the leading exponents in the country, in constant demand both in the concert hall, and the recording studio. It was at that point that Anne and I forged such a strong musical bond and respect for each other, as well as becoming life-long friends ever since.
Anne’s popularity and esteem among her players is renowned, which is why performances are of such a consistently high standard. She has that calm, unassuming, yet equally-persuasive charisma, enabling her to stamp her mark on every single work heard, while each single performance is still a totally collaborative experience, rather than any form of mere self-indulgence, and particularly in the patently-mutual respect Anne commands for the visiting professional soloist on every occasion.
Going forward, I see myself less as a ‘music critic’ in the conventional sense of the role, but more as Anne’s second pair of ears and eyes, always endeavouring to encourage and value everyone’s contribution, but still with the remit to make any constructive criticism or hopefully helpful suggestion to ensure that standards are not just maintained, but go from strength to strength with each successive concert and season as a whole.
Although I was actually born in the city, I have always given the impression of identifying more as a ‘reluctant’ Plymothian, than one who simply oozes civic pride by the bucket load. However, without Plymouth Symphony Orchestra, the city would, I feel, appear substantially less attractive from the cultural standpoint, so I am more than happy both to take great pride in, as well as acknowledge PSO’s magnificent contribution to date, with the sincerest hope that I might return in another 150 years’ time, to write another congratulatory, and totally well-deserved tribute to the Orchestra, and ‘…to my friends pictured within’.
Philip R Buttall – 2025
Judy Whitlock
Double Bass player in PSO since 1983
The forthcoming 150th Anniversary season will be my 43rd season with the wonderful PSO. I joined the orchestra in September 1983 aged 22, fresh from university and new to the area. I asked the then conductor Nigel Amherst whether there was a vacancy on flute or double bass, and he directed me to the 3-strong bass section -Hilary Hall, Ron Walke and leader Albert Vallejo.
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The forthcoming 150th Anniversary season will be my 43rd season with the wonderful PSO. I joined the orchestra in September 1983 aged 22, fresh from university and new to the area. I asked the then conductor Nigel Amherst whether there was a vacancy on flute or double bass, and he directed me to the 3-strong bass section -Hilary Hall, Ron Walke and leader Albert Vallejo.
It was obvious from that very first rehearsal at the iconic Swarthmore Institute in Mutley that this was an ensemble of a high standard, both musically and socially (Those tea breaks in the comfy seating area with the long queue to be served were a fundamental and lovely part of every Monday evening!).
Eventually Albert returned to his native Gibraltar and I had the honour of becoming lead bass. New double bassists came and went over the years (we were 8-strong at one point – how on earth did we all fit on the stage?!) but my regular teammates in the section were always Ron, Ann Amherst and Hilary. Lovely people and dear friends. Here we are at Sterts in 2010.
After I had a year away studying composition in the mid 90s (but returning to play in the percussion section for the concerts) Anne, now wielding the baton, commissioned me to write a new piece for the orchestra. We performed my ‘Eclipse’ in the summer of 1999 -just ahead of the Total Eclipse that August. Other commissions followed – ‘Dartmoor Letterboxes’, commissioned by our own Rob Kellagher, and then ‘Star-gazing’. All three pieces have been reprised over the years – what a huge honour and thrill for me to have my music brought to life by such expert and lovely players.
My other fondest memories are of our legendary weekend trip to Brest and our, formerly annual, summer concerts in the Great Hall at Dartington (our swelling numbers eventually precluding us from performing in that unique and magical space). Not to mention having the ongoing privilege of playing alongside such superb professional concerto soloists. During our performance of the Grieg Piano Concerto in November 2022, the beautifully sensitive ensemble playing in the slow movement moved me to tears. My excellent bass colleague Andy Tunbridge (we have been the 2-strong section since 2020) kept the bassline going while I quickly cleared my vision!
Aren’t we lucky! Here’s to our ‘Happy Mondays’ – long may they and our wonderful PSO continue.
Judy Whitlock.
Debbie McMurran
Cellist in PSO since 1999
Relocating to Devon from Berkshire in 1999, I joined the PSO cello section to meet like-minded amateur musicians. In addition to wanting to play the great orchestral works, I was hoping to find fellow chamber music lovers in the orchestra and I was not disappointed.
Indeed there are many small groups within PSO, which I am sure helps to make us such sensitive accompanists (as has been mentioned by many of our soloists), having really learned to listen to each other.
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Relocating to Devon from Berkshire in 1999, I joined the PSO cello section to meet like-minded amateur musicians. In addition to wanting to play the great orchestral works, I was hoping to find fellow chamber music lovers in the orchestra and I was not disappointed.
Indeed there are many small groups within PSO, which I am sure helps to make us such sensitive accompanists (as has been mentioned by many of our soloists), having really learned to listen to each other.
The string players in a group with whom I often play, share the hosting of chamber music evenings, combined with delicious meals. We play mostly for our own enjoyment, but have also played for family weddings, funerals, fund-raising events and to uplift spirits in nursing homes.
I came across this photo of us playing outside, socially distanced, during Covid times, and it struck me how many ‘PSO Years’ are represented here:
Dave Adams (vln): 33 PSO Yrs
Heather Sadler (vln): 30 PSO Yrs
Rob Kellagher (vla): 37 PSO Yrs
Cathy Smart (vla): 38 PSO Yrs
Debbie McMurran (cello): 25 PSO Yrs
A total of 163 PSO YEARS…
It’s a testament to the orchestra how many incredibly long-standing players there are!
Ivan Sidgreaves
Trumpet player in PSO since 1981
I first joined PSO as a late replacement in the trumpet section for the November 1981 concert, too late to get my name in the programme. Anne Kimber was already there on Tuba. Unknown to me, at that time, that was to be the start of my long association with the Orchestra. It has been such a privilege, as an amateur player, to play with a full-scale symphony orchestra.
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I first joined PSO as a late replacement in the trumpet section for the November 1981 concert, too late to get my name in the programme. Anne Kimber was already there on Tuba. Unknown to me, at that time, that was to be the start of my long association with the Orchestra. It has been such a privilege, as an amateur player, to play with a full-scale symphony orchestra and to experience such a broad classical repertoire. I have been lucky to play under the baton of both Nigel Amherst and Anne Kimber, both such inspirational musicians, and to have sat alongside so many talented trumpet players.
For me, there have been many highlights: the ‘big’ names, Martin Roscoe, Jack Brymer, Julian Lloyd Webber, Leland Chern, Peter Hurford, Joanne MacGregor, and Tasmin Little, often presented interesting challenges, but were always interesting to work with. However, some of the younger, talented soloists have left more tangible memories. A young Anna Markland played with us in 1983, just after winning the BBC Young Musician in 1982, and then she returned two more times, the last in 2003, when she played Rachmaninov’s Second Piano Concerto. Another Young Musician winner, Jennifer Pike, played one of my favourites, Sibelius’ Violin Concerto, in 2009, a performance matched more recently by the brilliant Maria Wloszezowska. I never cease to be amazed at the quality, and talent of the young musicians who join us.
There have been so many, notably of which have been Ariel Lanyi, performing Rachmaninov’s ‘Rhapsody on a Theme of Paganini’; Alexander Whittingham’s beautiful rendition of the Rodrigo Guitar Concerto, and most recently the dynamic performance of the Tchaikovsky ‘Violin Concerto’ by Charlotte Spruit There is a feeling of considerable pride playing with the Orchestra, not least when you walk out on to the stage in the Plymouth Guildhall, and see a full audience waiting to hear the performance.
The Orchestra has always been well supported in the city and now provides the only live orchestral music regularly performed in Plymouth. It is a matter of some regret that the City Council is not able to provide more tangible support for one of its cultural assets. No other city in the UK can celebrate an anniversary such as this one: 150 years and still performing.
Denise Hasshill
Cellist in PSO since 1970
One hundred and fifty years of Plymouth Symphony Orchestra, a really wonderful achievement- and going from strength to strength. I joined PSO in 1970 so was in fact there for the 100 year celebration! Over the years I moved jobs but was able to live close enough to remain a member of PSO.
John Weekes was chairman at the time, Grandson of the founder Samuel Weeks. He was also the timpanist.
David Cawthra was conductor when I first joined then Nigel Amherst and now our present conductor, the wonderful Anne Kimber.
A great variety of music has been performed, It is too hard to pick out a favourite work. It is interesting to follow their careers of soloists who have played with the orchestra including that of a young Nigel Kennedy.! I am sure this coming season will be one of great musical celebration.
Marion Hinks
Violinist in PSO since 1990
The PSO has meant so much to me, and I think I’m one of the longest serving members. It’s been really great. I’ve made some lovely friends with people and been lucky enough to play some beautiful music.
When my husband died, back in 1990, my best friend, Denise Bowden said joining the PSO would be good for me. She led the violas and knew that I had been learning to play the violin for around 8 years. Paul Matthews led the orchestra back then, and later taught my daughter, Theresa, who now teaches the violin herself.
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The PSO has meant so much to me, and I think I’m one of the longest serving members. It’s been really great. I’ve made some lovely friends with people and been lucky enough to play some beautiful music.
When my husband died, back in 1990, my best friend, Denise Bowden said joining the PSO would be good for me. She led the violas and knew that I had been learning to play the violin for around 8 years. Paul Matthews led the orchestra back then, and later taught my daughter, Theresa, who now teaches the violin herself. He also taught me. I had an audition and they let me in! I was so lucky, so blessed. It was, and is, a lovely orchestra that I really value – not only musically but socially. They are a really nice bunch of people. Where words fail, music speaks, as the saying goes.
Sadly, Denise passed away a few years ago but I am so grateful to her for introducing me to the wonderful Plymouth Symphony Orchestra – long may it continue, under Anne’s excellent leadership.
Patrick Saunders
Clarinettist in PSO for 20 years.
It’s now been 20 years since joining the PSO, and I have always been Impressed by the professional way the orchestra under the leadership of Anne has progressed from year to year, reaching such high stardards in performance… and of course being part of our very special ‘windies’ section, it has been a real joy to have been part of it all.
Heather Sadler
Violinist in PSO since 1995
I’ve played the violin in PSO since moving to Plymouth in 1995 so it’s my 30th anniversary this year! It’s been such an important part of my life, musically and socially. It’s been a privilege to play alongside such talented musicians and I’ve learnt so much along the way.
Anne is an inspirational musician and conductor and she knows how to get the best out of us. It’s a real team and everyone is so supportive through life’s ups and downs.
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I’ve played the violin in PSO since moving to Plymouth in 1995 so it’s my 30th anniversary this year! It’s been such an important part of my life, musically and socially. It’s been a privilege to play alongside such talented musicians and I’ve learnt so much along the way. Anne is an inspirational musician and conductor and she knows how to get the best out of us. It’s a real team and everyone is so supportive through life’s ups and downs. I’ve made lifelong friends through PSO and it has opened lots of opportunities for chamber music too, from trios to octets. We’ve enjoyed many a night playing quartets around the fire after a bring and share meal.
Special memories of PSO include playing Fantasia on a Theme by Thomas Tallis in Truro Cathedral in 1996 with the ethereal sound of the strings drifting out from behind the pillars, and the Lark Ascending at Sterts accompanied by real bird song. Our trip to Brest in 2003 was a lot of fun and gave us further opportunity to get to know each other. I bet the Brittany Ferry doesn’t often have a live string quartet playing in the bar! Even during covid lockdowns we kept in touch with weekly online play-alongs and quizzes. As soon as we could, some of us met outdoors to play – in gardens, under gazebos, in barns – it became the norm during those strange times before we could finally play together as a full orchestra. PSO is a huge asset to the city and it’s been a privilege being part of it.
Cath Smith
Violinist with PSO since 1997
When I moved to Plymouth in 1997 from Birmingham to take up a job as a senior house officer in medicine at Derriford, I went to the library where they kept a folder of local organisations and groups and was given the details of the PSO.
Shortly afterwards I attended my first rehearsal at the Swarthmore centre and felt immediately at home. Through the PSO I made friends outside medicine and began to develop musical connections across the southwest.
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When I moved to Plymouth in 1997 from Birmingham to take up a job as a senior house officer in medicine at Derriford, I went to the library where they kept a folder of local organisations and groups and was given the details of the PSO.
Shortly afterwards I attended my first rehearsal at the Swarthmore centre and felt immediately at home. Through the PSO I made friends outside medicine and began to develop musical connections across the southwest. Sadly after a few years the pressure of postgraduate exams and rotations to other hospitals got in the way of regular music making and I stepped away.
Having passed my exams, taken up a consultant post and started a family, I returned to PSO in 2013 when life had become a bit calmer, and was delighted to find Anne still at the helm and many familiar faces amongst the players.
I have been privileged to share the leadership of PSO since 2017. It is an absolute honour to sit at the front of this orchestra and feel its power. It’ so hard to pick a favourite moment… seeing my then 7 year old son light up with the horn entry in 633 squadron and decide at that moment that he wanted to play French horn…a spellbinding rendition of Lark Ascending by Ben Baker… there really are too many to mention, but I think my most joyful moment was the organ entry in the last movement of the Saint-Saens. At that moment I felt pure, unadulterated joy. There really is no better feeling than making great music in the company of friends.
Biscuit
PSO Mascot
Meet Biscuit, our occasional 4-legged mascot! She was the guide dog for one of PSO’s most avid supporters, Hélène Fitch, and she now attends rehearsals with Hélène’s daughter, Debbie McMurran, a long-standing member of our cello section.
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Meet Biscuit, our occasional 4-legged mascot! She was the guide dog for one of PSO’s most avid supporters, Hélène Fitch, and she now attends rehearsals with Hélène’s daughter, Debbie McMurran, a long-standing member of our cello section.
Hélène supported the orchestra both financially (donating £1,000, in addition to being a lifelong Friend) and in person, attending the PSO concerts 3 times a year. This she did latterly with Biscuit, following a stroke that left her partially-sighted. Hélène would always carry a blanket to place over Biscuit’s ears if the music got too loud!
Biscuit has always been a musical dog, attending Choir once a week with Hélène for their 5 years together.
Before being matched, Biscuit was taken to a choir by the trainer, to make sure she didn’t ’join in’ the with the singers when they performed. She behaved impeccably – and continues to do so at PSO rehearsals, where she waits patiently for our conductor to bring her a treat at break time!
Debbie McMurran, PSO Cello (25 yrs)
Rosalind Turner
Viola player with PSO since 2000
As we start this 150th Season of the Plymouth Symphony Orchestra, the words that spring into my mind are “loyalty”, “community” and “continuity”. It is absolutely astonishing to contemplate the longevity of PSO, probably made possible by the particular way in which the Orchestra has celebrated the joy of music-making, its way of sharing that joy in performance, and the bringing live music to a very supportive and loyal audience from Plymouth and beyond.
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As we start this 150th Season of the Plymouth Symphony Orchestra, the words that spring into my mind are “loyalty”, “community” and “continuity”. It is absolutely astonishing to contemplate the longevity of PSO, probably made possible by the particular way in which the Orchestra has celebrated the joy of music-making, its way of sharing that joy in performance, and the bringing live music to a very supportive and loyal audience from Plymouth and beyond. Audience loyalty has, I think, been assisted over this considerable period with the mixed approach to programming that has been used. Under Anne Kimber’s skillful and considered direction (since 1998??), the PSO has of course brought standard classical favourites to our concerts. But, it has also combined this with some very innovative programming, all the while showcasing internationally renowned soloists alongside extremely talented musicians just embarking on their musical careers as soloists.
I have been a member of the PSO for 25 years, but I am a baby compared to some! Members tend to join and remain for decades, or leave but return in a few years. That membership loyalty has in itself has brought marvellous continuity and a strong sense of community. One social highlight for me was the Orchestra’s most enjoyable tour to Plymouth’s twin city, Brest, which was such fun and greatly enhanced the Orchestra’s own esprit de corps.
Musically speaking, it is hard to pick favourite moments out of so many – but symphonic highlights for me have been Rachmaninov’s beautiful Second Symphony (great for violas!) and Stravinsky’s Firebird Suite. But I have also enjoyed being pushed out of my comfort zone, and will never forget the experience of playing John Corigliano’s Promenade Overture. In this piece, the Orchestra gradually assembled, section by section, on the stage, playing our individual parts from memory as we processed into our places (taking great care not to trip up as we did so!)
It has been an absolute privilege, not just to play in the Orchestra alongside lovely and skilled musician colleagues, and under Anne’s exceptional baton and pursuit of excellence, but to have done so alongside some of our amazing superstar soloists. Just some of those soloists that I have particularly enjoyed were Ralph Kirshbaum (and his “masterclass” to the orchestra during rehearsal), Jennifer Pike’s staggering musicality, communication and stage presence for Sibelius’s violin concerto, and more recently one of our own members, Nathan Broomhead, and his rendition of the Lark Ascending at Liskeard, played with such beauty, clarity and style.
Dave Adams
Violinist with PSO since 1992
PSO has been such an important part of my life in so many ways for the past 33 years. Monday rehearsals provide a chance to unwind from the challenges of work and life, and just immerse myself in making wonderful music with a skilled group of people who have a shared passion.
The regular rehearsals have not only refined my own playing but have taught me much deeper musicality, the art of listening, and the delicate nuances of playing as one.
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PSO has been such an important part of my life in so many ways for the past 33 years. Monday rehearsals provide a chance to unwind from the challenges of work and life, and just immerse myself in making wonderful music with a skilled group of people who have a shared passion.
The regular rehearsals have not only refined my own playing but have taught me much deeper musicality, the art of listening, and the delicate nuances of playing as one. It’s a continual pursuit of improvement, but one that is always collaborative, never competitive, and in my time, under the direction of both Nigel Amherst and Anne Kimber, I’ve had the privilege of seeing the orchestra evolve, its quality constantly growing, and its collective voice becoming more refined.
However, even more than the music, it’s the bonds of friendship that make PSO so special and keep me coming back for more. We are a family united by a common goal: to create something beautiful. Rehearsals are filled with laughter and hard work, and the shared effort of bringing a complex piece of music to life creates a deep and lasting connection.
As a teacher I’m also aware of the crucial importance of nurturing the next generation of musicians. My own sons grew up attending our concerts, and seeing them now as adults who play, compose, and appreciate music, in a wide variety of genres, is a total pleasure. To ensure the PSO thrives for another 150 years, we must continue to encourage and welcome new talent and our recent initiatives, like internships for young musicians, free tickets for school-aged students, and our recent concerts in schools, are vital steps in building that bridge to the future.
PSO concert at Devonport High School for Boys
Cathy Smart
Viola player in PSO since 1987
I joined PSO in January 1987 after recently moving to Plymouth from Bristol with my husband and two very young children. Not knowing any other musicians in the area, before the days of internet, one of the first things I did was to find the phone number of the secretary of PSO.
I have very vivid memories of arriving at the first rehearsal in Swarthmore, Mutley Plain. Not only was I late because I got the time wrong, but there was a wind and brass rehearsal taking place there and the strings were all down the road somewhere in Mutley Baptist Church (and it was raining!).
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I joined PSO in January 1987 after recently moving to Plymouth from Bristol with my husband and two very young children. Not knowing any other musicians in the area, before the days of internet, one of the first things I did was to find the phone number of the secretary of PSO. I have very vivid memories of arriving at the first rehearsal in Swarthmore, Mutley Plain. Not only was I late because I got the time wrong, but there was a wind and brass rehearsal taking place there and the strings were all down the road somewhere in Mutley Baptist Church (and it was raining!).
The conductor, Nigel Amherst, gave me directions and I eventually found a small group of friendly violas rehearsing somewhere upstairs in that building. They were very welcoming and I joined them and made a rather feeble attempt at sight reading the difficult bits they were practising. (The programme for that term included Beethoven piano concerto no 3 with soloist Anna Markland and Balakirev Symphony no. 1). However they let me stay and I’m still a member 38 years later!
Needless to say it’s been a great way to make musical friends and to meet people who like playing chamber music. In the time I’ve been a member we’ve only had 2 conductors, have been on 2 trips to France and kept the same pattern of giving 2 concerts each term, one out of town and one in Plymouth, always with the aim of attaining the highest possible standard each time. I still find it tremendously rewarding and Monday evenings are PSO.
Plymouth's own Symphony Orchestra, bringing live classical music to the South West
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