Musica Viva is a bold, struggling orchestra, made up of very talented freelance Moscow musicians, managed by Marina Butir, and conducted by the excellent Alexander (Sasha) Rudin.

They are probably considered counter-culture by the Russian authorities, since they not only espouse some suspect avant garde composers, but also the idea of Historically Informed Practice.

That’s where I came in. The lovely fortepianist  Alexei Lubimov had worked with me in Oxford and New York. One day he rang and pretty much ordered me to go to Moscow to work with MV. They had no money, they had no historic instruments, but they needed me, so get on a plane and go. So of course I did what I was told, several times, and was delighted with what I found.

I offered them suitable layouts, bowings and speeds, banished vibrato, and found they were ready and willing. I stayed in a wonderful hotel overlooking the Kremlin, braved snow storms and appalling traffic jams. (I remember taking an hour in a taxi to go up the road for a radio interview, and returning in five minutes). In rehearsal they showed great promise. They came and went a bit, trying pick up fees where they could. And we gave our concerts in the wonderful old Conservatoire hall.

My Russian language didn’t exist, but Marina kindly lent me a girl who spoke French, so that was alright. One time I found I hadn’t packed my concert trousers. She took me off to the market, where we picked up a nice pair for about £2.50. I’ve been wearing them ever since.

My last concert with Musica Viva had a daring finale. We played Tchaikovsky’s Pathetique with Pure Tone and appropriate  tempi. Surprisingly the audience loved it.