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| Sir Philip Ledger obituary | Sir Philip Ledger obituary |
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| Sir Philip Ledger, who has died aged 74, was an outstanding musician of great versatility. As a conductor, he inspired players and singers with his enthusiasm, energy and musicality; as a piano accompanist, he enhanced the performances of the distinguished soloists for whom he played – Janet Baker and Robert Tear among them; as a composer, he produced thoughtful and finely crafted works with immediate appeal. Beyond this, his work at the University of East Anglia (UEA) and the Royal Scottish Academy of Music and Drama (RSAMD) ensured significant resources for future generations of students and concertgoers. | Sir Philip Ledger, who has died aged 74, was an outstanding musician of great versatility. As a conductor, he inspired players and singers with his enthusiasm, energy and musicality; as a piano accompanist, he enhanced the performances of the distinguished soloists for whom he played – Janet Baker and Robert Tear among them; as a composer, he produced thoughtful and finely crafted works with immediate appeal. Beyond this, his work at the University of East Anglia (UEA) and the Royal Scottish Academy of Music and Drama (RSAMD) ensured significant resources for future generations of students and concertgoers. |
| In 1974, Philip succeeded David Willcocks as organist and director of music at King's College, Cambridge. His work with the chapel choir was known principally through the annual broadcast of A Festival of Nine Lessons and Carols, but also included acclaimed recordings and a touring programme which took the choir to the US and Japan. Actively involved in the wider sphere of music-making at Cambridge, Philip was conductor of the University Music Society, with which he performed most of the major repertoire for chorus and orchestra, and was also a lecturer and teacher. | In 1974, Philip succeeded David Willcocks as organist and director of music at King's College, Cambridge. His work with the chapel choir was known principally through the annual broadcast of A Festival of Nine Lessons and Carols, but also included acclaimed recordings and a touring programme which took the choir to the US and Japan. Actively involved in the wider sphere of music-making at Cambridge, Philip was conductor of the University Music Society, with which he performed most of the major repertoire for chorus and orchestra, and was also a lecturer and teacher. |
| Philip was held in enormous respect by the many who sang under his direction at King's. He exacted the same rigour and discipline from himself that he expected from his singers. Members of the choir felt that, under Philip, every time they entered the chapel was a special occasion, knowing that – seemingly inexplicably – a modest piece of music could, in performance, be transformed into something overwhelming. Such was the legacy that I was privileged to inherit in 1982, when I became organist and director of music at King's. It is fortunate that Philip leaves a large discography, mainly from this period, which will enable future generations to appreciate his work as conductor, pianist, harpsichordist and organist. | Philip was held in enormous respect by the many who sang under his direction at King's. He exacted the same rigour and discipline from himself that he expected from his singers. Members of the choir felt that, under Philip, every time they entered the chapel was a special occasion, knowing that – seemingly inexplicably – a modest piece of music could, in performance, be transformed into something overwhelming. Such was the legacy that I was privileged to inherit in 1982, when I became organist and director of music at King's. It is fortunate that Philip leaves a large discography, mainly from this period, which will enable future generations to appreciate his work as conductor, pianist, harpsichordist and organist. |
| He was born in Bexhill-on-Sea, East Sussex, and educated at Bexhill grammar school and King's College, Cambridge, where, as a music scholar, he gained a double first in the music tripos and a distinction in the MusB. As a teenager, he had won the top prizes in the fellowship examination of the Royal College of Organists, and it was as an organist that he began his professional career, becoming master of music at Chelmsford Cathedral in 1962 – at that time, the youngest holder of such a post in the country. That year, he conducted, in Cambridge, Aaron Copland's The Tender Land, in which Mary Erryl Wells, then a principal soprano at the Royal Opera House, was singing. They married the following year. | He was born in Bexhill-on-Sea, East Sussex, and educated at Bexhill grammar school and King's College, Cambridge, where, as a music scholar, he gained a double first in the music tripos and a distinction in the MusB. As a teenager, he had won the top prizes in the fellowship examination of the Royal College of Organists, and it was as an organist that he began his professional career, becoming master of music at Chelmsford Cathedral in 1962 – at that time, the youngest holder of such a post in the country. That year, he conducted, in Cambridge, Aaron Copland's The Tender Land, in which Mary Erryl Wells, then a principal soprano at the Royal Opera House, was singing. They married the following year. |
| In 1965 the couple moved to Norwich, where Philip became director of music at UEA. As dean of its School of Fine Arts and Music (1968-71), he was instrumental in establishing the university's award-winning music centre, which opened in 1973. His long association with Aldeburgh began in 1968, when he became an artistic director of the festival, and developed a close working relationship with Benjamin Britten and Peter Pears. | In 1965 the couple moved to Norwich, where Philip became director of music at UEA. As dean of its School of Fine Arts and Music (1968-71), he was instrumental in establishing the university's award-winning music centre, which opened in 1973. His long association with Aldeburgh began in 1968, when he became an artistic director of the festival, and developed a close working relationship with Benjamin Britten and Peter Pears. |
| Leaving King's in 1982, Philip moved to Glasgow to become principal of the RSAMD, where he stayed for the next 19 years and was hugely successful in developing his vision for the future. Once he had decided on a course of action, he would pursue it with unswerving energy. In his first five years, he oversaw the acquisition of land and secured government funding and the architectural expertise of Sir Leslie Martin to enable the construction of a new building for the academy. In the early 1990s, he was quick to see the potential of new legislation which permitted institutions such as the RSAMD to gain their own degree-awarding powers. Some in the conservatoire world were sceptical, but all followed. Later in the 1990s he masterminded the academy's provision of greatly enhanced facilities for ensemble and opera rehearsal, with the opening of the Alexander Gibson Opera School. Upon retirement in 2001, he left the RSAMD with some of the finest facilities of their kind in Europe. | Leaving King's in 1982, Philip moved to Glasgow to become principal of the RSAMD, where he stayed for the next 19 years and was hugely successful in developing his vision for the future. Once he had decided on a course of action, he would pursue it with unswerving energy. In his first five years, he oversaw the acquisition of land and secured government funding and the architectural expertise of Sir Leslie Martin to enable the construction of a new building for the academy. In the early 1990s, he was quick to see the potential of new legislation which permitted institutions such as the RSAMD to gain their own degree-awarding powers. Some in the conservatoire world were sceptical, but all followed. Later in the 1990s he masterminded the academy's provision of greatly enhanced facilities for ensemble and opera rehearsal, with the opening of the Alexander Gibson Opera School. Upon retirement in 2001, he left the RSAMD with some of the finest facilities of their kind in Europe. |
| Philip was a generous mentor to those who succeeded him at King's and at the RSAMD. He acted as chairman of the examining board of the Associated Board of the Royal Schools of Music and president of the Royal College of Organists and the Incorporated Society of Musicians. He was knighted in 1999. | Philip was a generous mentor to those who succeeded him at King's and at the RSAMD. He acted as chairman of the examining board of the Associated Board of the Royal Schools of Music and president of the Royal College of Organists and the Incorporated Society of Musicians. He was knighted in 1999. |
| In retirement he and Mary moved to the Cotswolds, where they were near to their family, to whom Philip was devoted. He had continued to conduct and to play during the Glasgow years, but now there was more time for composition. He added to the stock of smaller-scale pieces and arrangements that had appeared previously, but a number of larger-scale works also appeared, including Requiem (A Thanksgiving for Life) and substantial works for Christmas and Easter. | In retirement he and Mary moved to the Cotswolds, where they were near to their family, to whom Philip was devoted. He had continued to conduct and to play during the Glasgow years, but now there was more time for composition. He added to the stock of smaller-scale pieces and arrangements that had appeared previously, but a number of larger-scale works also appeared, including Requiem (A Thanksgiving for Life) and substantial works for Christmas and Easter. |
| Philip is survived by Mary and their children, Tim and Kate, and a granddaughter, Becky. | Philip is survived by Mary and their children, Tim and Kate, and a granddaughter, Becky. |
| • Philip Stevens Ledger, conductor, pianist and composer, born 12 December 1937; died 18 November 2012 | • Philip Stevens Ledger, conductor, pianist and composer, born 12 December 1937; died 18 November 2012 |
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