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The pianist James Gibb, who has died aged 95, belonged to a generation of performers whose solo careers were stalled by active service in the second world war. He first played at the Proms in 1949 and returned for most of the seasons in the 1950s. For four decades he was an admired recitalist, concerto soloist and chamber music player, and broadcast regularly.The pianist James Gibb, who has died aged 95, belonged to a generation of performers whose solo careers were stalled by active service in the second world war. He first played at the Proms in 1949 and returned for most of the seasons in the 1950s. For four decades he was an admired recitalist, concerto soloist and chamber music player, and broadcast regularly.
At the end of his time as a radio operator with the Royal Artillery he was in Hamburg. There he met Major Howard Hartog, a dynamic and unlikely military figure whose revival of the city's cultural life led to what Gibb counted as his true debut: two performances of Prokofiev's Third Concerto in 1949, with the North-West German Radio Orchestra conducted by Hans Schmidt-Isserstedt.At the end of his time as a radio operator with the Royal Artillery he was in Hamburg. There he met Major Howard Hartog, a dynamic and unlikely military figure whose revival of the city's cultural life led to what Gibb counted as his true debut: two performances of Prokofiev's Third Concerto in 1949, with the North-West German Radio Orchestra conducted by Hans Schmidt-Isserstedt.
Once back in London, Hartog became a director of the artists' agency Ingpen & Williams, and for Gibb there were return visits to Germany as soloist with the Berlin Philharmonic, as well as engagements with radio orchestras in Switzerland conducted by Charles Dutoit, and with the Brno State Orchestra at the Prague Spring festival under Carlo Maria Giulini, in Beethoven's Third Concerto.Once back in London, Hartog became a director of the artists' agency Ingpen & Williams, and for Gibb there were return visits to Germany as soloist with the Berlin Philharmonic, as well as engagements with radio orchestras in Switzerland conducted by Charles Dutoit, and with the Brno State Orchestra at the Prague Spring festival under Carlo Maria Giulini, in Beethoven's Third Concerto.
When I joined the BBC Music Division in 1962, Gibb was a natural choice for a producer. That year he contributed to a series of the complete Haydn sonatas, and in 1985 to the complete Scarlatti sonatas. In the mid-1980s he gave recitals of Beethoven and Schubert – perhaps the composers closest to him – at the Queen Elizabeth Hall, London, distinguished for their finish and authority.When I joined the BBC Music Division in 1962, Gibb was a natural choice for a producer. That year he contributed to a series of the complete Haydn sonatas, and in 1985 to the complete Scarlatti sonatas. In the mid-1980s he gave recitals of Beethoven and Schubert – perhaps the composers closest to him – at the Queen Elizabeth Hall, London, distinguished for their finish and authority.
Among 20th-century composers, Alan Rawsthorne and Bernard Stevens wrote works for him, which he recorded. From the 1930s on, he was drawn to the community of artists and writers associated with the Unity theatre, King's Cross, north London, with whom he shared a concern about social injustice and the rise of fascism in Europe. Another of their number was Constant Lambert, whose Concerto for piano and 9 instruments I heard Gibb play in later years.Among 20th-century composers, Alan Rawsthorne and Bernard Stevens wrote works for him, which he recorded. From the 1930s on, he was drawn to the community of artists and writers associated with the Unity theatre, King's Cross, north London, with whom he shared a concern about social injustice and the rise of fascism in Europe. Another of their number was Constant Lambert, whose Concerto for piano and 9 instruments I heard Gibb play in later years.
Born into a prosperous family in Monkseaton, Tyneside, he went as a boarder to Merchiston Castle school in Edinburgh, his father convinced of the superiority of Scottish education. But music had little place there and when he came to London in the 1930s, he realised how inadequate his early training as a pianist had been. Before and after the war he studied with Mabel Lander, who had been a pupil of Theodor Leschetizky – himself a pupil of Beethoven's student Carl Czerny.Born into a prosperous family in Monkseaton, Tyneside, he went as a boarder to Merchiston Castle school in Edinburgh, his father convinced of the superiority of Scottish education. But music had little place there and when he came to London in the 1930s, he realised how inadequate his early training as a pianist had been. Before and after the war he studied with Mabel Lander, who had been a pupil of Theodor Leschetizky – himself a pupil of Beethoven's student Carl Czerny.
Gibb began teaching at the Guildhall School in London in the 1960s, and after Allen Percival became principal there he was appointed head of keyboard studies in 1967. He remained there till 2002. At the heart of his approach was urgency of feeling, communicating a perception of the shape of each phrase and paragraph. The strength and independence of the fingers were key to releasing character and making the music speak.Gibb began teaching at the Guildhall School in London in the 1960s, and after Allen Percival became principal there he was appointed head of keyboard studies in 1967. He remained there till 2002. At the heart of his approach was urgency of feeling, communicating a perception of the shape of each phrase and paragraph. The strength and independence of the fingers were key to releasing character and making the music speak.
A kindly, social and gregarious man, Gibb also contributed to amateur music-making, especially through the courses he gave each year at the Canford summer school, Dorset.A kindly, social and gregarious man, Gibb also contributed to amateur music-making, especially through the courses he gave each year at the Canford summer school, Dorset.
Edith Vogel was also on the Guildhall's teaching staff and their four-hand partnership gave memorable concerts and broadcasts, principally of the great duet works of Schubert. After her death, he asked me to continue in her place, so we had a lot to live up to. We rehearsed constantly and I came to admire him more and more for the tenacity of belief that understanding music comes best from the practice of it.Edith Vogel was also on the Guildhall's teaching staff and their four-hand partnership gave memorable concerts and broadcasts, principally of the great duet works of Schubert. After her death, he asked me to continue in her place, so we had a lot to live up to. We rehearsed constantly and I came to admire him more and more for the tenacity of belief that understanding music comes best from the practice of it.
In his final years, his short-term memory went, but musically he was as sharp as ever. When I played him Chopin's E flat minor Polonaise, our session, for me, was exemplary: helpful and liberating. Teaching, even then, appeared like fresh air to him. "Marvellous piece," he said, "made a big impression on me when I heard Paderewski play it, in Newcastle in 1931 or 32." And he went on to tell me exactly what Paderewski had been like.In his final years, his short-term memory went, but musically he was as sharp as ever. When I played him Chopin's E flat minor Polonaise, our session, for me, was exemplary: helpful and liberating. Teaching, even then, appeared like fresh air to him. "Marvellous piece," he said, "made a big impression on me when I heard Paderewski play it, in Newcastle in 1931 or 32." And he went on to tell me exactly what Paderewski had been like.
He is survived by four nieces and two nephews.He is survived by four nieces and two nephews.
• James Gibb, pianist and teacher, born 7 March 1918; died 16 June 2013• James Gibb, pianist and teacher, born 7 March 1918; died 16 June 2013
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