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Imogen Cooper
Imogen Cooper
Imogen Cooper
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Dame Imogen Cooper, DBE (born 28 August 1949) is an English pianist.

Biography

[edit]

Cooper was born in North London, daughter of the musicologist Martin du Pré Cooper and artist Mary Stewart. She grew up surrounded by music through her parents and her older siblings: Felicity, Josephine and Dominic Cooper. Realising that Imogen had an exceptional musical talent her parents sent her at the age of 12 to Paris to study for six years at the Conservatoire National Supérieur de Musique (CNSM) with Jacques Février, Yvonne Lefébure and Germaine Mounier. This was considered a provocative move by the music establishment, and there was a lengthy correspondence in The Times between Thomas Armstrong, Principal of the Royal Academy of Music in London, and Martin Cooper, arguing the pros and cons of taking a gifted child out of conventional education to specialise so early, and in a foreign country.

In 1967 at the age of 17, the CNSM awarded her a Premier Prix de Piano, a major distinction. Cooper was mentored in her late teens by Arthur Rubinstein and Clifford Curzon, and subsequently studied in Vienna with Alfred Brendel, Paul Badura-Skoda and Jörg Demus, particularly in her early twenties by Brendel, an experience that has resonated with her throughout her performing life. Apart from spending her teenage years in Paris, London has been Cooper's principal residence.

She is particularly known for her interpretations of Schubert and Schumann, but she has also been involved in modern music, giving the premières of works such as Traced Overhead by Thomas Adès. As well as performing as soloist she participates in chamber music and lieder, and has had a long-standing partnership with baritone Wolfgang Holzmair.

She was appointed Commander of the Order of the British Empire (CBE) in the 2007 New Year Honours[1] and Dame Commander of the Order of the British Empire (DBE) in the 2021 Birthday Honours for services to music.[2] She was awarded the Queen's Medal for Music in 2019.[3] In January 2026, she announced that she would retire following a 13-month farewell tour around Europe.[4]

Discography

[edit]
  • Robert and Clara Schumann Lieder: with Wolfgang Holzmair (Philips /462-610-2, 2002)
  • Eichendorff Lieder: with Wolfgang Holzmair (Philips/464-991-2, 2002)
  • Mozart: Piano concertos 23 and 9 (Avie/AV2100, 2006)
  • Wolf Songs (Wigmore Hall Live/WHLIVE0029, 2009)
  • Mozart: Piano concertos 22 and 18 (Avie/AV2200, 2010)
  • Schubert: Song Cycles with Wolfgang Holzmair (Decca Box set/CD0289 478 42729, 2012)
  • Schumann: Davidsbündlertänze, etc. (Chandos/CHAN10874, 2015)
  • Imogen Cooper's Chopin (Chandos/CHAN10902, 2016)
  • Liszt and Wagner (Chandos/CHAN10938. 2017)
  • Beethoven: Diabelli Variations (Chandos/CHAN20085, 2018)
  • Iberia y Francia (Chandos/CHAN20119, 2019)
  • Le Temps Perdu (Chandos/CHAN20235, 2021)
  • Beethoven: The Last Three Sonatas (Chandos/CHAN20362, 2026)

Honours and awards

[edit]
  • 1969: The London Mozart Players' Mozart Memorial Prize
  • 1997: Hon. Member of the Royal Academy of Music
  • 1999: Hon. Doctor of Music at Exeter University[5]
  • 2007: New Year Honours, CBE (Commander of the Order of the British Empire) for services to music
  • 2008: Royal Philharmonic Society Music Award[6]
  • 2008: Mentor on the RPS Philip Langridge mentoring scheme
  • 2012–13: Humanitas – Visiting Professor in Classical Music and Music Education at the University of Oxford.
  • 2019: The Queen's Medal for Music
  • 2021: Appointed to chair the Leeds International Piano Competition jury
  • 2021: Birthday Honours, DBE (Dame Commander of the Order of the British Empire) for services to music[7]
  • 2024: Fellow of the Royal Northern College of Music

References

[edit]
[edit]
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Imogen Cooper

View on Grokipedia
from Grokipedia
Imogen Cooper (born 28 August 1949) is a British classical renowned for her interpretations of , Schubert, and Schumann, as well as her extensive career as a soloist, chamber musician, and accompanist in Lieder recitals. Born in as the youngest of four children to musicologist Martin Cooper and artist Mary Stewart, she began playing from a young age in a musically rich family environment. At age 11, Cooper moved to to study at the Conservatoire National Supérieur de Musique, where she trained under Jacques Février and Yvonne Lefébure, earning the prestigious Premier Prix de Piano in 1967 at age 17. Returning to , she was influenced by and Clifford Curzon, and later studied with in , which shaped her refined and introspective style. Her professional breakthrough came in 1969 with the Mozart Memorial Prize from the London Mozart Players, launching an international career that includes performances with major orchestras such as the Berliner Philharmoniker, , , and . Cooper has collaborated extensively with renowned artists, including violinist Henning Kraggerud, cellist Adrian Brendel, and singers such as Wolfgang Holzmair, Ian Bostridge, Dame Sarah Connolly, and Mark Padmore, while also commissioning contemporary works like Thomas Adès' Traced Overhead (1996). Her recordings, spanning labels like Chandos, Avie, and Decca, feature acclaimed interpretations such as Beethoven's Diabelli Variations (2018), Schubert song cycles (2012), and French and Spanish repertoire including Fauré, Liszt, Ravel, and Respighi. Among her honors are the CBE in 2007, the Royal Philharmonic Society Instrumentalist Award in 2008, the Queen's Medal for Music in 2019, and elevation to DBE in 2021; she also holds honorary fellowships from the Royal Academy of Music (1997) and (2024), and a Doctor of Music from the (1999). In 2015, she founded the Imogen Cooper Music Trust to support emerging pianists through residencies in serene environments, and she has chaired the jury of the in 2021 and 2024.

Early Life and Education

Family Background

Imogen Cooper was born on 28 August 1949 in North London, England. She is the youngest of four siblings, with sisters Felicity and Josephine and brother Dominic Cooper. Her father, Martin du Pré Cooper, was a prominent English musicologist and author best known for his influential work French Music: From the Death of Berlioz to the Death of Fauré (1951), which examines the evolution of French musical composition during that period. Her mother, Mary Stewart (1911–1998), was an artist specializing in oils, collage, and abstract works using materials like rope. The Cooper family home in was immersed in music, shaped by Martin Cooper's profession as a and , which fostered an environment rich with performances and discussions that sparked Imogen's early interest in the piano. Mary Stewart contributed to this creative atmosphere through her artistic pursuits and amateur singing, often performing alongside her husband. The family maintained their primary residence in throughout Cooper's life, apart from her time abroad during her early teenage years studying in . At age 11, she transitioned to formal musical training there, living in a while her parents remained in .

Musical Training

Imogen Cooper began her formal musical training at the age of 12 in 1961 when she enrolled at the Conservatoire National Supérieur de Musique (CNSM) in , where she studied intensively for six years. This decision was influenced by her family's recognition of her early talent, as her parents arranged for her to pursue specialized education abroad due to limited opportunities in at the time. At the CNSM, Cooper's primary teachers included Jacques Février, a distinguished pianist known for his associations with composers like Ravel and Poulenc; Yvonne Lefébure, a pupil of ; and Germaine Mounier, Lefébure's assistant, who provided rigorous guidance in technique and interpretation. Under their instruction, she developed a strong foundation in classical repertoire, focusing on precision, phrasing, and the French school's emphasis on clarity and elegance. In 1967, at the age of 17, she achieved the prestigious Premier Prix de Piano, a testament to her mastery of the conservatory's demanding curriculum. Following her time in Paris, Cooper received private mentorship in London from Arthur Rubinstein and Clifford Curzon during her late teens, both of whom offered invaluable insights into expressive depth and artistic maturity that complemented her technical training. She then pursued further studies in Vienna in the late 1960s, working with leading interpreters of the Classical period, including Alfred Brendel, Paul Badura-Skoda, and Jörg Demus, whose approaches profoundly shaped her understanding of composers like Mozart, Beethoven, and Schubert. This progression from the structured French conservatory system to the interpretive traditions of Vienna solidified her classical piano foundations, spanning the formative period from 1961 through the end of the decade.

Professional Career

Debuts and Early Engagements

Following her studies at the Paris Conservatoire, where she earned the Premier Prix de Piano in 1967, Imogen Cooper returned to and transitioned into professional life. In , at age 20, she won the London Mozart Players' Mozart Memorial Prize, a competition that launched her career and included a debut performance as soloist with the ensemble. This event marked her initial public appearance as a professional in the UK, showcasing her affinity for 's and earning early acclaim among critics and peers. The prize victory facilitated further opportunities, including private performances for legendary pianists Arthur Rubinstein and Clifford Curzon, whose endorsements provided crucial validation during her formative years. These encounters, occurring shortly after her return to , highlighted her technical precision and musical sensitivity, paving the way for initial engagements in solo recitals and across the and . By the early , Cooper's reputation grew through such settings, emphasizing her emerging interpretive depth in classical works. In 1970, Cooper began intensive mentorship in with , Jörg Demus, and Paul Badura-Skoda, which refined her approach to Romantic composers like Schubert and Chopin. This period supported her expanding schedule of early professional appearances, including collaborations with chamber orchestras such as the Academy of by the late 1970s. These engagements with prominent British ensembles solidified her standing in the classical scene, transitioning her from prize winner to sought-after soloist prior to broader international recognition.

Major Performances and Collaborations

Imogen Cooper has established a distinguished career through solo performances with leading orchestras worldwide, including the , Berliner Philharmoniker, , and . Her collaborations often highlight her affinity for and Romantic composers, as seen in engagements with the London Symphony Orchestra under Sir and the Orchestra with Sir . These appearances span major venues and festivals, from the in the 1980s to international tours in , , and , where she has performed piano concertos and Schumann works in live settings. A key aspect of Cooper's live performances includes her recurring partnerships in lieder and , notably with Wolfgang Holzmair, with whom she has presented programs of Schubert, Schumann, and Eichendorff settings at festivals such as the Oxford Lieder Festival and . Their collaboration emphasizes interpretive depth in Romantic vocal repertoire, extending over decades through recitals that explore themes from classical myth to nature-inspired poetry. As a supporter of , Cooper premiered ' Traced Overhead at the Cheltenham International Festival in 1996, a work commissioned for her that blends modernist techniques with lyrical writing. In recent years, Cooper has continued her focus on in orchestral settings, performing Piano Concerto No. 13 in C major, K. 415, with Music of the Baroque under during the 2024-2025 season. She is scheduled to appear with the Scottish Symphony Orchestra in Piano Concerto No. 27 in , K. 595, highlighting the work's poetic in concerts across in early 2026. Additionally, she presented a solo recital at Shenandoah Conservatory's Armstrong Concert Hall on March 30, 2025, featuring a program that showcased her command of Classical and Romantic piano literature. These engagements reflect her ongoing international presence, including tours with the Royal Northern Sinfonia and appearances at festivals like the London Piano Festival.

Discography

Imogen Cooper's recording career began in the with contributions to archives and early releases on independent labels, focusing on core classical repertoire including works by and Beethoven. During the 1980s and 1990s, she issued acclaimed cycles of Schubert's late piano music on , alongside lieder accompaniments and chamber recordings, such as Schumann's (Philips, 1994) and Schubert's with Wolfgang Holzmair (, 1999). These early efforts established her association with major labels and emphasized Romantic and Classical standards, often in collaboration with ensembles like the Northern Sinfonia for recordings. Her discography expanded significantly in the 2000s, transitioning toward a mix of solo, chamber, and live performances. Notable releases include Robert and Clara Schumann Lieder with Wolfgang Holzmair (Philips, 462-610-2, 2002), featuring songs by both composers, and Mozart: Piano Concertos Nos. 23 & 9 'Jeunehomme' with the Northern Sinfonia, where she served as piano director (Avie, AV2100, 2006). The Schubert Live series on Avie (Volumes 1-3, 2008-2010, AV2156-2158), captured live at the Queen Elizabeth Hall, showcased her interpretive depth in Schubert's late sonatas and impromptus. From the 2010s onward, Cooper's recordings shifted predominantly to solo piano works on Chandos, reflecting a maturation toward intimate, introspective repertoire while maintaining her focus on Schubert, Schumann, Mozart, and Beethoven across over 20 albums in total. Key Chandos releases include Imogen Cooper Plays Schumann, encompassing Davidsbündlertänze Op. 6, Abegg Variations Op. 1, and Clara Schumann's Variations on a Theme by Robert Schumann (CHAN10874, 2015); Imogen Cooper Plays Beethoven, featuring the Diabelli Variations Op. 120 alongside bagatelles (CHAN20085, 2018); and Le Temps Perdu, a solo program of Fauré, Liszt, Ravel, and Respighi (CHAN20235, 2021). This evolution highlights her progression from orchestral collaborations in concertos to profound solo explorations and chamber partnerships, such as the four-hand Schubert works with Anne Queffélec (Warner Classics, 1998).

Musical Style and Repertoire

Interpretive Approach

Imogen Cooper's interpretive approach to performance is characterized by a profound emphasis on clarity, elegance, and emotional depth, particularly evident in her renditions of and Beethoven. She prioritizes structural overview and nuanced tonal colors, allowing the music's inherent architecture to unfold with refined textures and rhythmic precision, as demonstrated in her handling of Beethoven's Sonata Op. 101, where she brings immediacy to its subtle ambiguities without underplaying them. In , Cooper adopts a forthright style that highlights agitation and instability—such as in the Sonata in , K310—while maintaining self-consciously beautiful phrasing that avoids overt , fostering a sense of elegant propulsion. This approach stems from her commitment to emotional resonance over technical ostentation, creating performances that resonate with listeners through shared humanistic experience. Her pianistic philosophy has been significantly shaped by mentors including and Clifford Curzon, whose guidance influenced her phrasing and pedaling techniques. Brendel, in particular, deepened her understanding of Schubert's expressive world, encouraging an instinctive approach that integrates careful pedaling to enhance sound without blurring clarity, while Curzon's classical focus reinforced her preference for subtle articulation over dramatic flourishes. Cooper's reputation rests on insightful, non-virtuosic interpretations that elevate musical narrative above display; she describes her aim as telling a story through varied colors and material differentiation on the piano, a principle that permeates her live and recorded work. This is reflected in her poise and artistry, which offer a refreshing alternative to more aggressive , as noted in performances at where her stylish refinement captures speculative beauty without exaggeration. In approaching Romantic composers, Cooper employs subtlety to illuminate Schumann's introspection and Schubert's lyricism, drawing on their profound emotional shifts while resisting interpretive excess. For Schubert, she navigates the composer's temperamental swings between dark and light with humanity and , prioritizing the music's flow over academic dissection, as if Schubert "takes you by the shoulders" through moment-to-moment transformations. Similarly, her Schumann interpretations convey poetic reflection and inner depth, aligning with her overall avoidance of showmanship to let the music's lyricism emerge naturally. These principles extend to her general practice, where she adapts historical performance contexts—such as Vienna's social milieu for Schubert—to the modern , focusing on sound production and physical expression like posture to achieve balanced, evocative results without scholarly rigidity.

Key Works and Specialties

Imogen Cooper is widely regarded as a leading interpreter of the Romantic piano repertoire, with particular specialties in the works of Schubert, Schumann, , and Beethoven. Her affinity for Schubert is especially pronounced, encompassing his late sonatas and impromptus, which she has explored through a dedicated series of live recordings that highlight the composer's and structural depth. In Schumann's music, Cooper excels in cyclic forms such as , Op. 6, where she captures the composer's dual personas of Florestan and through nuanced contrasts of humor, tenderness, and agitation. Her approach to 's piano concertos emphasizes elegance and with the , often directing from the keyboard in performances that underscore the music's classical poise and operatic flair. Beethoven's , Op. 120, represent a cornerstone of her Beethoven interpretations, in which she navigates the theme's transformations with imaginative variety, from serene to bold experimentation, revealing the work's profound architectural ingenuity. Cooper's engagement with contemporary music includes her advocacy for Thomas Adès, whose piano work Traced Overhead (1996) she commissioned and premiered at the Cheltenham Music Festival, dedicating three months to mastering its intricate, tracery-like textures that evoke clouds and vapor trails. In recent years, she has increasingly focused on French repertoire, particularly Fauré's Thème et variations, Op. 73, and Ravel's Valses nobles et sentimentales and Sonatine, bringing a refined sensibility to their impressionistic harmonies and subtle emotional shifts. As a lieder accompanist, Cooper has collaborated extensively with singers such as Wolfgang Holzmair on Schubert's cycles like Die schöne Müllerin and Die Winterreise, as well as Schumann's Dichterliebe, Op. 48, where her piano parts provide idiomatic support that enhances the vocal line's narrative and poetic nuance. Throughout her career, Cooper's has evolved from a core emphasis on Romantic composers to a broader incorporation of 20th-century works, reflecting her commitment to expanding interpretive horizons while maintaining a foundation in classical and Romantic lyricism. This progression is evident in her championing of period-informed readings of , informed by her studies with , which prioritize historical phrasing and ornamentation to illuminate the composer's galant wit and dramatic vitality.

Teaching and Mentorship

Academic and Institutional Roles

Imogen Cooper has held several prestigious academic and institutional roles in music education, particularly emphasizing advanced and mentorship in musical interpretation since the 1990s. In 1997, she was elected an Honorary Member of the Royal Academy of Music, recognizing her contributions to the field. She serves as Visiting Professor of Piano at the Royal Academy of Music, where she engages in teaching and directs performances with student ensembles. Similarly, Cooper holds the position of Visiting Professor at the Guildhall School of Music & Drama, delivering masterclasses that guide emerging pianists in interpretive depth. Her involvement extends to other UK conservatories and institutions through regular masterclass sessions. For instance, she conducted an inspiring masterclass at on March 24, 2025, marking her fourth visit to work with senior pianists on Beethoven's sonatas, fostering nuanced understanding of . Cooper also served as the Humanitas Visiting Professor in and at the during the 2012–2013 academic year, where she led a series of lectures, workshops, and masterclasses exploring the re-creative process in performance. Internationally, Cooper's educational outreach includes jury duties and advanced sessions that highlight her expertise in interpretation. She chaired the jury of the in 2021, a role she reprised in 2024, influencing the selection and development of young international talent. Her masterclasses, such as those at the Theo and Petra Lieven International Piano Foundation Summer Festival in in 2025, underscore her ongoing commitment to mentoring advanced pianists across borders, with a focus on lyrical and structural insights into Romantic and Classical works. These efforts have had a lasting impact, shaping generations of performers through her emphasis on thoughtful, musicianly approaches since the late 1990s.

Imogen Cooper Music Trust

The Imogen Cooper Music Trust was established in 2015 by the British Imogen Cooper to nurture emerging musical talent through dedicated support and . The organization's primary purpose is to provide gifted young musicians, particularly pianists at the cusp of their professional careers, with opportunities for intensive study in serene environments that foster deep artistic immersion and growth. This initiative reflects Cooper's commitment to holistic musical development, drawing from her own formative experiences with mentors such as , whom she credits with shaping her interpretive depth. The Trust's core activities include residential study weeks, high-level masterclasses, one-to-one coaching sessions, and performance opportunities such as private and collaborative projects. For instance, in March 2024, the Trust organized a series at Crathorne Hall in , featuring alumni scholars alongside Cooper, complemented by a and excursions to inspire creative reflection. These programs emphasize not only technical refinement but also the emotional and intellectual aspects of performance, often held in peaceful locations like the south of to allow uninterrupted focus. Beneficiaries are selected through rigorous auditions from leading music colleges and include young professional musicians, such as Cristian Sandrin (born 1993) and others like Ariel Lanyi, who receive scholarships enabling direct access to Cooper's guidance. As of 2025, the Trust continues to deliver annual programs that extend its impact globally, with scholars performing in prestigious venues and collaborations. Examples include concerts in (e.g., Maria Hegele at ), ( with Universidade Federal do Rio de Janeiro), (Prokofiev Concerto with Orchestre de l’Estuaire), (Adèle Charvet in Vivaldi’s Farnace), and the ( at Concerts for Animals Gala). Partnerships with orchestras like the Symphony and ensembles such as the Society amplify these opportunities, helping to launch scholars into international careers and sustain a legacy of mentorship for future generations.

Honours and Awards

Early Recognitions

Imogen Cooper's early career gained significant momentum with her receipt of the London Mozart Players' Memorial Prize in 1969, an accolade that highlighted her burgeoning expertise in 's piano works and effectively launched her professional trajectory in . This prize, awarded to promising young musicians in the , recognized her technical precision and interpretive sensitivity, positioning her as a rising talent in the British landscape following her studies in and . Building on this foundation, Cooper was elected an Honorary Member of the Royal Academy of Music in 1997, a distinction that affirmed her growing influence and contributions to piano performance within the UK's musical institutions. This honor reflected her established reputation by the late 1990s, earned through consistent performances and a commitment to classical repertoire that had solidified since her debut. In 1999, she received an Honorary Doctor of Music from the , further underscoring her emerging stature as a pivotal figure in the UK classical scene. These pre-2000 recognitions collectively marked the transition from her initial breakthroughs to a more prominent role, emphasizing her dedication to and broader Romantic works without the fanfare of later national honors.

Major Honours and Titles

In recognition of her distinguished contributions to , Imogen Cooper was appointed Commander of the (CBE) in the 2007 for services to music. This honor acknowledged her extensive career as a , including acclaimed performances and recordings of Romantic repertoire that had elevated her international profile. The following year, Cooper received the for instrumental performance in 2008, specifically in the category, celebrating her virtuosic interpretations and commitment to live performance. This prestigious accolade, one of the 's highest in , highlighted her as a leading figure among instrumentalists, building on her earlier CBE. In 2013, Cooper was appointed the Visiting Professor in and at the . In 2019, Cooper became the first pianist to be awarded the Queen's Medal for Music, an annual honor established in 2005 to recognize outstanding contributions to British musical life. The medal commended her lifetime achievement in performance, recording, and mentorship, particularly through initiatives supporting emerging artists. Cooper's honors culminated in her appointment as Dame Commander of the (DBE) in the , again for services to music, reflecting her enduring impact on the piano repertoire and musical education. This elevation from her earlier CBE underscored a career spanning decades of excellence in interpreting composers such as Schubert and Schumann. In December 2024, Cooper was elected a Fellow of the Royal Northern College of Music (FRNCM), recognizing her profound influence as a performer and educator in the field of classical . This lifetime achievement award emphasized her role in shaping musical excellence and advocacy within the conservatoire system.

References

  1. https://www.imogen-cooper.com/biography
  2. https://www.avie-records.com/artists/imogen-cooper/
  3. https://www.theguardian.com/music/2013/sep/03/imogen-cooper-pianist-portrait-artist
  4. https://www.ram.ac.uk/people/imogen-cooper
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  6. https://interlude.hk/on-this-day-28-august-imogen-cooper-was-born/
  7. https://archive.org/details/frenchmusicfromd0000coop_r4a1
  8. https://www.nickwatersaffordableart.co.uk/Mary_Cooper
  9. https://www.theguardian.com/music/2008/may/15/classicalmusicandopera.stephenmoss
  10. https://www.abc.net.au/listen/programs/legends/legends/12390336
  11. https://helsinginkaupunginorkesteri.fi/en/concerts/bright-classics
  12. https://www.naxos.com/Bio/Person/Imogen_Cooper/65078
  13. https://classical.music.apple.com/au/artist/4658507
  14. https://www.londonmozartplayers.com/jinahshim/
  15. https://www.gramophone.co.uk/features/article/50-of-the-best-classical-pianists-on-record
  16. https://www.imogen-cooper.com/audiorecordings/imogen-cooper-and-friends-dneap
  17. https://www.phillipscollection.org/event/April28ImogenCooper
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  22. https://seenandheard-international.com/2015/10/unanimity-of-mind-and-spirit-from-holzmair-and-cooper-at-the-oxford-lieder-festival/
  23. https://www.fabermusic.com/music/traced-overhead-2708
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  50. https://www.imogen-cooper.com/audiorecordings/dichterliebe-ghc3j
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  55. https://www.aceculturaltours.co.uk/blog/imogen-cooper-music-trust-at-crathorne-hall
  56. https://journalofmusic.com/listing/14-06-21/imogen-cooper-music-trust-presents-cristian-sandrin-piano-recital
  57. https://christopheraxworthymusiccommentary.com/2021/10/14/ariel-lanyi-imogen-cooper-music-trust-the-trials-and-tribulations-of-a-great-artist/
  58. https://www.imogencoopermusictrust.com/scholars-concerts-worldwide
  59. https://www.londonmozartplayers.com/london-mozart-players-revives-the-mozart-memorial-prize-for-a-new-generation/
  60. https://royalphilharmonicsociety.org.uk/awards/rps_music_awards/winners-to-date/instrumentalist
  61. https://askonasholt.com/imogen-cooper-awarded-the-queens-medal-for-music
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  63. https://askonasholt.com/artist/imogen-cooper/press/imogen-cooper-made-a-dame-for-services-to-music
  64. https://www.rncm.ac.uk/news/rncm-honours-prominent-names-in-music-broadcasting-and-regional-development/
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