Let the players do the talking… Part 2: Richard

When and why did you start playing the viol?
When I was studying music at Manchester University in the 1970s, I was obsessed with Wagner, as many people are. The only tutor who knew anything about the subject of my final year thesis - Wagner’s Ring and its Tonality (misspelt on the title page) - was the newly-appointed medievalist David Fallows. One of the first things that he did was to go to the Early Music Shop and buy a set of Übel viols, something that was possible for Universities in those days; and, learning that I played the ‘cello, handed me a bass viol and told me to go away and learn it.

Any particularly good advice you received when you were studying/starting out?
The best advice I think I got on playing the viol was from Nikolaus Harnoncourt when I was studying with him in Salzburg. In order to understand how the string reacts to the bow, bow as close to the bridge as possible, with as slow a bow as necessary.  Ignore the horrible scratchy sound you make, and do this on each of the strings. Try to keep the bow next to the bridge for the whole length of the bow. 5 minutes a day is more than enough.

Favourite piece or composer?
My favourite piece and composer, like Her Majesty, changes from day to day. I’ve just been listening to Record Review with Stravinsky’s Symphony of Psalms.

Recording that you always return to?
I don’t listen to recordings if I can help it.

Favourite Fretwork recording?
Alio Modo & In Nomine 2

Happiest Fretwork memory (so far)?
There’s always enormous pleasure concluding a piece that has gone well and is perfectly in tune. A well-tuned final chord gives enormous satisfaction.