2011 Anniversary Brochure - Paxos Festival Trust

A good but robust piano was also needed that would withstand being moved
around the island on an olive oil truck to the various concert locations, and stored
in Magasia in the winter away from the salt air. His friend Michael Parfitt ( organist,harpsichord
maker, gilder amongst many skills) selected the Yamaha and then
meticulously tuned it daily after the afternoon practice session whilst audiences
waited outside until all had been properly done, including ironing the felt pads!
The Goughs were finding their cottage too small, and embarked on building a
new main house with a detached music room. A fine piano was obviously required
which culminated with John and Michael journeying to Grotrian Steinweg to make
the selection: its installation in its new home led to many joyous events
John Gough was such an inspiration for musicians and I am so grateful to him for
all he did for so many of us at the start of our professional life. How often do we get
the opportunity to play chamber music for days on end on a beautiful Greek island?
How often do we get the chance to rehearse properly over several days,
instead of cramming rehearsals into busy lives? Or to receive top coaching, as
from Julian Jacobson or members of the Ensemble Modern?
John's vision and enthusiasm gave us these wonderful opportunities.
I have so many fond memories of my time at Paxos: playing Schubert's Octet with
Jagdish Mistry al fresco at the back of the Loggos Schoolhouse one evening; performing
Arensky's Piano Trio in the open-backed rooftop Phoenix nightclub at
Gaios, and as the music got more stormy, a real storm broke out with wind and
rain lashing in...but we carried on playing.
Or performing Schoenberg's fiendish String Trio of all pieces and people really liking
it; practising outside in the olive grove in the afternoon heat so as not to disturb
neighbours in the siesta; seeing the cellist Alexander Scherf playing solo Bach cello
13Suites outside on the beach at Loggos; playing string quartets outside in the
square at Gaios with Claire Dolby, William Coleman and Jonathan Cohen; watching
Stravinsky's Soldier's Tale performed in Greek.
What else? Swimming, a boat-trip to anti-Paxos (where the locals apparently liked
to go because life was more relaxed there - as if like on Paxos itself was anything
but calm and relaxed!), Greek yoghurt and balconies and stairways brimming with
gorgeous bourgainvillea.
But the music was the greatest thing for me. Above all, it was the opportunity to be
a real musician and develop as a musician in idyllic surroundings.
Thank you, thank you, John! Marcus Barcham-Stevens
As a young musician, some of my most formative musical experiences occurred
on the idyllic island of Paxos in Greece.
The musicians I met there led to us forming a string quartet that we called the
Paxos Quartet in honour of John Gough and Paxos.
We played together for some years, Claire Dolby, Marcus Barcham Stevens, William
Coleman and myself a cellist, until we all headed in different directions in later
life. Playing chamber music to such a high level with international musicians was a
superb learning experience and we achieved a very high level during our studies
and concerts at Paxos. It was a hugely formative time when we studied hard and
received excellent tuition.
I believe that the opportunity to participate in such a festival gave us all a headstart
in our careers and helped us to develop as musicians.
Jonathan Cohen
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