Future Classic Women Awards – Pavao Quartet

Hello and welcome to Future Classic Women Awards with me, Stefania Passamonte on women's radio station, the program where we search for the most amazing new female artist on the classical Panorama. Today on Future Classic Women Awards, we will be talking to Bryony James, cellist and member of the very famous Pavau Quartet, together with Hannah Armpam, Jenny Sasha and Natalia Gomez. Hello, Bryony. Hi. Thanks for having me along. Thank you for coming. So, Bryony, we. For quite a while, right? Yep. We met at Royal Academy of Music. Yeah, A long time ago. A long time ago. Let's not say how long, otherwise people will know how old we are. But the Pavao Quartet, I mean, was founded when you were studying at Royal Academy. Yeah, we've been going for a long time now. Hopefully we'll carry on for another 20 years. But yes, we met in 1998. We were formed in 98 at the Royal Academy. Oh, gosh, I saw. First year. So, yeah, a while ago. But we'd actually. Three of us had known each other before that in the National Youth Orchestra of Great Britain when we were kids. So we turned up at the Academy, three quarters of a quartet. We just needed one, needed a viola player. And Natalia had just come over from Portugal. She was 17 and didn't know what had hit her. So anyway, we grabbed her in week one and it all worked really well. That is amazing. Yeah. So let's say sort of a family, basically. Absolutely. Yeah. I don't think we had any idea how far it would take us when we started. It was just something you had to do as part of your course. You had to do a chamber music concert. But the Academy were amazing to us right from the beginning and we had the most amazing coachings and opportunities and they would quite quickly. They were sending us on sort of external engagements and so we ended up, you know, with a random concert in France that actually turned into an annual thing for about five years. We'd go over and do a series of concerts in Normandy that all led to other concerts from people we met there. And we actually had a fellowship for two years at the Academy as well, which sort of kick started our career. So they were amazing to us, but I don't think we would have pictured that, you know, in the first week when you started. Yeah. That's unbelievable. And how did you get the name Pavao? Where does that come from? So, as I said, Natalia is Portuguese and Carenza, who was playing first violin at the time, her surname is Peacock. And we were going through all of our surnames. My surname at the time was rump, so that obviously wasn't going to work. But we thought, well, actually, peacock in Portuguese is pavon. I still can't pronounce it properly. Natalia shouts at me something like paval. And we thought, well, that sounds interesting. And it's a combination of, you know, her nationality and ours, so we went with that. Wonderful. The name is quite important, isn't it? Yeah, yeah. And you were so lucky to actually nail it straight away, you know, when it's destiny, I guess. Yeah. Except most people can't pronounce it, including us. So. Okay, so what would you say it was the most, you know, I saw, you know, you said you've been in France and it's very funny. You say you had the opportunity to admire the skyscraper of New York and the Great Wall of China, and you've been in the Arabian desert. I mean, that's amazing. And the Jerusalem Wailing Wall. So what would you say was amazing place to perform? Amazing in the sense of, you know, original. We've done some weird and wonderful things, for sure. Sometimes they don't even have to be in special places. It can just be, you know, a tiny little music hall in the middle of nowhere. But it's just the audience are so with you and the atmosphere can be so special or the way we connect with each other on that day can just. Can really lock in. And it can be amazing. We've done some bizarre things. We went to Oman years ago and played. We played at various places, but one thing we did was a sort of private concert at someone's house, but they wanted us to play outside. And then they. But they said, oh, actually no, I think we'd like you to be positioned here, but there's trees in the way. So while we were rehearsing, there was someone with a chainsaw chopping down a tree right next to us. So that was kind of bizarre. And then all these sort of goats running past us in the performance. No way. Okay. Did they go to, like the music? Well, it ran off quite quickly, so I think no. I've seen recently, you know, of dogs that they come on stage, they like the music. I remember I had one of my students, she had a English setter. So, you know, those hunting dogs. Beautiful. And while we were having the lesson, we were playing back. It was a prelude. And the dog would be doing all the time, just with these pieces. So he was singing with us. It was amazing. So I guess maybe in another life he must have been a musician. Probably. All right, so what would you say? When did you decide to become a classical musician? Well, I'd. My mom's a cellist, so even when she was pregnant with me, I heard the sound of the cello, I think, and music was in my house right from the word go. My dad lectured in music at Bristol University and my bedroom was above my mum's teaching room. So I had the cello sort of in my head the whole time. And I love the social aspect of it as well, doing orchestras and I was in a string quartet from when I was 10, so that's kind of in my bones, I guess. Yeah. Okay. So if we had to listen to a tracks now that you like particularly, what would that be? So the first one I've chosen is one from our first album because that sort of started our whole recording career, if you want to call it that. And when we were at the academy, we met a man called Carlo Martelli, who is an amazing composer in his own right. He's a viola player, as a lot of the best ones are. And we discovered he had a living room piled high with string quartet arrangements of everything. And they're so beautifully crafted, we started using them as encore material. Lots of songs from the Great American Songbook. And anyway, we ended up being approached by Landor Records to say, would we like to record some of these with them? So we did. So our first CD was called Someone to Watch Over Me and this is a track from it, so called let's Call the Whole Thing Off. Wonderful. Let's listen to it. And this was let's Call all the Thing off by Kashrin with the Powwow Quartet. We will be back after a short break. WRS women's radio station. Voice of women Worldwide. Sarah's Universal Soul. What does your soul or spirituality mean to you? Welcome to future Classical Woman Awards with me, Stefania Passamonte on women's radio station. Welcome back. I'm Russ Cain. You're listening to In Conversation with On Women's Radio Station. I'm Angie. And I'm Patsy and we're open. To see what other programs we have on women's radio station, head to our website, womensradiostation.com hi, I'm Valentina Barbacci and I'm the executive director of Media Matters for Women. We're a registered charity operating in Sierra Leone and the Democratic Republic of Congo, and we produce and share podcasts via Bluetooth on mobile phones focusing specifically on women and girls excluded from information due to extreme poverty. We empower those living in rural areas with media that transforms how they access, own and share information. To find out more and be part of this movement, come check out our website@media mattersforwomen.org do you need mediation? We are the a project charity. We provide convict resolution and community engagement services. Our services include community mediation for neighbour disputes, family mediation for separating couples, special education needs for parents, carers and their children and young adults, as well as workplace mediation and restorative services. To find out more, head to womensradiostation.com or or theaproject.co.uk women's radio station is a fresh new broadcasting platform driven by love and passion. Connecting women around the world in a global network is all about diversity from opinions, career, ethnicity, education. We aim to show the individuality of every woman everywhere, providing opportunities and a platform for your voice. Women, the possibilities are endless. That's what makes us different. Mirae B Ltd. We are a virtual PA consultancy. We provide remote administrative services. Our offering is diverse. We manage your calendar, we update your client database, we take care of your property in France and in London we also offer bookkeeping and translation services. Would you like to know more? Please call 077-8684-8998 for further information. Mirae B Limited making the life of the Business Owner Successful. Women's radio station is passionate about communication and we'd love any thoughts and feedback on our programs. Email presentersomensradiostation.com if there's a topic you'd like to hear about or want to contact your favourite presenter, do get in touch. WRS Women's Radio Station Voice of Women Worldwide I'm Isabelle Manavy, an Executive coach. Do you want to change a negative into a positive? We can do this by coaching you to rewire your brain using simple visualization techniques. In 20 years of practice I've seen this transform lives. For more Information look on Women's Radio website. Call me on 079-844-22171. I'm listening. Hi, I'm Vivian Arts, President of Women in Banking and Finance. Are you a woman working in the financial services sector in the uk? If you are not already a member then you are missing out on a fantastic network which has been inspiring women for 40 years. We are a not for profit organization empowering women to network, learn and inspire each other at every stage of their career. Through our highly sought after events, we aim to improve diversity by working closely with government leaders and firms through our UK branches. Find out more at www.wibf.org uk and join a network to transform your career. Hi, I'm Sandy Goddard, founder of the Room upstairs, a different kind of businesswoman's network. Imagine a lunch or dinner party sitting next to great connections, people who might help you. You have fun, do business, build relationships, top women speakers, good food and no membership fees. That's not selling, that's connecting. Join me and economist Ruth Lee Seabee and have your say on Britain and Brexit. Find out more at theroomupstairs.co.uk. women's radio station is a not for profit, community interest company. Supporting women is our passion. We're currently welcoming donations to help towards our rights costs to keep this important initiative alive. To donate, simply head to our website. Every little will help. Sam. Welcome back to future Classic Women Awards on Women's Radio Station, the program where we search for the most amazing new female artists on the classical panorama. Our guest today is Bryony James, a young cellist representative of the famous Pavau quartet. With already 12 albums released and an impressive concert career. Bryony, how was your first time in the recording studio? It was really fun, actually. I think we probably had about 20 bags of Haribo in two days. We went to this place called Potton Hall. It was all organised by Landor Records. We actually got. It's a beautiful area. It's really sort of in the middle of nowhere and you actually get to stay. Well, at the time we got to stay in the house and then get up and have a beautiful walk in nature and then go and record during the day. It was really fun recording. Such a different discipline, but I think it's one that suits us quite well. I certainly love doing it. Would you say after 12 CDs, you know, recorded, is it any easier today or. Yes, I think what, what we do now is we're just quicker to stop when we know it's not a good take because, you know, when you sort of start, you think, oh, well, maybe, oh, that might be okay, or, you know, or maybe we can get away with that. And then actually you listen back and there'll just be something that will annoy you forever when you listen to it. So now if, you know, we're quicker to sort of stop and say, no, that's really gonna annoy me, so we won't do that. And how important would you say was the recording of albums for your success, for, you know, for your name going around more than touring or are the same? Are them the same? I think what is quite hard to tell really, but I think it Definitely helped us because, you know, we were played on various radio stations. We also had. We played live, so we did. Friday night is Music Night, you know, which obviously has a lot of people listening to it. So I think just having your name in people's consciousness, it's really good for that, you know, if your tracks are played, playing live on radio is much more scary. We actually. We were going to play live at a radio station in Oxford once and we were traveling and we all had beautiful instruments that were lent to us. And I had this gorgeous cello about, I don't know, quarter of a million pounds worth, and I hadn't fixed it properly to the train and it fell over and broke. Oh, no. Yeah, really spectacularly. And so anyway, we were. I was obviously freaking out because it was priceless. And anyway, and I had to phone all these music shops in Oxford saying, oh, we're playing on the radio in half an hour and I haven't got a cello. Could you lend me one? Because I've just broken one. No way. That was fun. I don't think so. Exactly. Anyway, one of them took pity, so. Yeah, so you got it. Recorded music. Much safer. Well, now I have to ask you, what happened to the cello? Did they repair it? Did they manage? Was. It was through the Royal Academy. And their instrument custodian was incredibly kind. And the neck, because the neck had broken off, actually, he said that wouldn't have been original. And he said, oh, I never liked the way the neck was set. So they fixed it, which is really sweet of him, and gave it back. Oh, wow. Very good. So what do you play now? Which instrument do you play now? So actually, I bought my own cello finally. Is one of the massive challenges that we all have as string players is that nice instruments are so expensive often. So you kind of have that. Do I buy a house or do I buy an instrument? And anyway, I'd been searching, obviously, I had to finally give the Academy their cello back and I'd been searching for about seven years for a cello and finally. And I tried lots of wonderful instruments. I just couldn't quite make the decision to buy them. And then I. I tried one at lunchtime and bought it that evening. I completely fell in love. So that was two years ago. Wow. And it's the Scottish cello, made in 1780. Wow. Yeah. And it's. It's just perfect for, you know, for what I want. Absolutely, yeah. Yeah. But Natalia has a problem at the moment. She's been loaned a viola, a viom, which is amazing. And she's gonna have to give it back in a year. So we're. We need to find. Yeah, we're having a search for some patrons as well that might have a beautiful viola to give to this beautiful quartet. Yeah. So if you're listening and you own. Yeah, okay. Please get in contact with women's radio station. All right, so we. What. What would be the next tracks that you would like to listen to? So what I'd love us to play next is this is our second cd. We got quite annoyed at the time when we released our first one because people were calling it crossover. And we found that frustrating because actually, if, you know, you're playing. We just played a track by Gershwin. Quite often you would hear Gershwin programmed in an orchestral concert with Beethoven or something. So we found that annoying. Anyway, we wanted to show what's at the heart of what we do, which is. Is, you know, serious classical repertoire. And in particular, at the time, we were focusing on English music. So we recorded a quartet, a quartet by Elgar. He only wrote one. And we put it on the same disc as a quartet by Arnold Bax, who went to the Royal Academy, like us in 1900, a little bit before. And so this is the first movement of his string quartet in G major. So it's very English, but it also has a lot of influences from Ireland. He was completely in love with Ireland, spent a lot of time there, had loads of friends there. So I think you can hear that in his music, which is nice for Jenny, who is half Irish. Fantastic. So let's listen to backstream. Quartet number one in G major. The first movement. It. And this was Bach's string quartet number one in G major, played by the Paval Quartet. We will be back after a short break. Welcome to women's radio station, the voice of women worldwide. Hungary. An average woman eats about 2 to 3 kilos of lipstick in her lifetime. Women's radio station, we want to hear from you. This is women's radio station. You're listening to Avril Price with Kitchen Sink Spirituality. It's Anna Kennedy talking all things autism. And my guest today is Karen Nunn. I listen to women's radio station Women. The possibilities are endless. That's what makes us different. I'm Isabelle Manavy, an executive coach. Do you want to change a negative into a positive? We can do this by coaching you to rewire your brain using simple visualization techniques. In 20 years of practice, I've seen this transform lives. For more information, look on women's Radio website. Call me on 079-844-22171. I'm listening. Let me tell you about German Street Theatre. This is a secret theatre in the heart of the West End. Once found, never forgotten. This is where careers ignite, where playwrights take risks, where great actors perform just feet away from the audience. This is where magic happens. We would love you to join our mailing list or become a sponsor or just buy a ticket to one of our shows. The website is www.www.germanstreettheatre.co.uk. i'm Angie. And I'm Patsy and we're open to share our own personal stories dealing with life events. Staying positive through the tough times. Share your stories too. What worked, what didn't? Join us each week for Open. We know you're gonna love it. With over 35 presenters, we have something for everyone on Women's radio station. Women's Radio Station is a not for profit, community interest company. Supporting women is our passion. We're currently welcoming donations to help towards our running costs to keep this important initiative alive. To donate, simply head to our website. Every little will help. Welcome back to future Classic Women award on Women's Radio Station. Today we're talking to Bryony James of the renowned Paval Quartet. Hello. Although the great canon of music for Sim Quartet is at the heart of your repertoire, you are likely to be heard playing already one or classic fm. So you played with many singers from poppy rock world and you actually been topping the pop charts even, right? Yeah, there was a time when I think we were at the top of the classical and the pop charts. That was a while ago now, I think. Do you remember the albums? I mean in the list you've been playing with Adele, with Noel, with Zero Green, Emily Sande. We actually, Jenny and I did a lot of the Adele tour two years ago, 2016, which was really fun. Might have been with that then. Yeah, I probably was. I think one thing that we've always tried to do and that I would give as advice for, you know, for people who are, who are studying now, is to diversify. We always, I mean our greatest passion is playing, I don't know, a Janice Quartet or Beethoven or Elgar, but we really enjoy all types of music. And so from quite early on we were doing slightly different things. Like we spent a lot of time, spent eight years working with a contemporary dance company which was absolutely amazing. They're called Honorary Oguike and we would play Shostakovich on stage with them and it wasn't our normal kind of formation. We were sort of in A line spread out across the stage and they would be dancing around us and which was such an amazing experience and it kind of changed our. Our view of the Shostakovich a bit. Similarly, we ended up working with a jazz quartet, which was terrifying for classical musicians. But again, that kind of diversifying like that, it feeds. It feeds into your interpretations of then your standard repertoire. So maybe that there would be something, a passage in Haydn where you think. Actually I think he meant this to sound improvised. And so then you would be freer in the way you play it. I mean, not completely changing the rhythms, but just in your approach to it. Yes, yes, absolutely. So what would you say then? Classical music today needs to open up a little bit. I think it has done quite a lot already. There are projects I think it's about. People think that classical music is such an elitist thing. And of course now, unfortunately, they've done away with free music lessons in schools, which my parents would have had when they were growing up. So actually now it does tend to be people who can afford lessons, which is really tragic. But it's just believing that music is a universal language and it's for anyone to enjoy. And so I guess it's taking it to people who might not otherwise go to concerts. Yes. We've just done an amazing three year residency with Bournemouth Chamber Music Society and one of the things we did there was do some sort of outreach work where we would go in and play for young kids who were learning and it was amazing how many of their parents had never been to a classical music concert. So it was really good for them to hear sort of what their children were maybe aiming for. So I think it's about bringing it into a different space, maybe more than changing the music. That's very interesting. So definitely, what would you say then to younger self or to the younger student that you've been meeting as an advice for starting this type of career? Well, like I was saying, diversify. It's really. I really do feel that one thing feeds another, as we saw with our dance company work or with. We also did a tour with the actor Timothy West. He was playing the part of Janacek. We were playing the quartets. That kind of feeds into your interpretation. And also be organized with your admin and reply to music clubs and festivals and things because you're not really taught how to the business aspect of music. And that's a really important thing as well. Yes, yes, I totally agree. So I'd like to listen to a track from the CD that actually topped the Number one in the classical chart, even won a Grammy Award. It's which track would you prefer to listen to? So we were lucky enough to be on five tracks from this Eric Whitaker cd. And the CD is called Light and Gold. Called Light and Gold. And we're in these set called Five Hebrew Love Songs, which just beautiful. Again, this is, you know, us enjoying working as a quartet, but with other people as well. So it's just a really, really short track called Temuna, which means a picture. It's absolutely beautiful. Let's listen to it. And this was Temura by Whitaker. So if we had to listen to something else contrasting style, then about your crossover collaboration. Well, when we were still, I think we'd just come out of college, we met someone there, an amazing jazz pianist called Dominic Aldis, who is just wonderful player and a lovely human being. And he had a jazz quartet and wanted to do a tour with a classical string quartet. So you were eight. So we were eight. And we were totally out of our comfort zone because whilst most of the music was notated, but I think there was one number where for just about 16 bars, we each had to improvise. I know about this. Right. And if you ask a classical musician to improvise, well, certainly for me, I just freaked out. That was really challenging. And I think. So I think we did about. I don't know, after about the third concert, Dominic came up to us in the interval and he said, guys, you've just gone home and written a solo out and you're just playing the same thing, aren't you? Okay, yes. Yeah, exactly. So then he wrote us something much better, which we then just played. So the improvising thing didn't really work out then. Well, but you know, Mozart as well, he was writing the improvisation for his sister. Oh, I didn't know that. Oh, yeah. So it was very. It was a costume. If you were not able to improvise yourself, you would write it home and then pretend you were doing it. Yes, I mean, we would be better at it now, but it's definitely a different language. Anyway, this is one of the numbers from. From Dominic's cd, which is called Themes from French Cinema. And it's the first track which was notated. No, improvising, called Nephew vous de Paris means Be Aware of Paris by Jean Renoir. WRS Women's radio station, Voice of Women Worldwide, Sarah's Universal. What does your soul or spirituality mean to you? Welcome to future Classical Woman Awards with me, Stefania Passamonte on women's Radio Station. Welcome back. I'm Russ Cain. You're listening to In Conversation with on Women's Radio Station. I'm Angie. And I'm Patsy and we're open. To see what other programs we have on Women's Radio Station, head to our website womensradiostation.com hi, I'm Valentina Barbacci and I'm the Executive Director of Media Matters for Women. We're a registered charity operating in Sierra Leone and the Democratic Republic of Congo and we produce and share podcasts via Bluetooth on mobile phones, focusing specifically on women and girls excluded from information due to extreme poverty. We empower those living in rural areas with media that transforms how they access, own and share information. To find out more and be part of this movement, come check out our website at Media Matters do you need mediation? We are the A Project charity. We provide conflict resolution and community engagement services. Our services include community mediation for neighbour disputes, family mediation for separating couples, special education needs for parents, carers and their children and young adults, as well as workplace mediation and restorative services. To find out more, head to womensradiostation.com or theaproject.co.uk. women's radio station is a fresh new broadcasting platform driven by love and passion. Connecting women around the world in a global network is all about diversity from opinions, career, ethnicity, education. We aim to show the individuality of every woman, everyone providing opportunities and a platform for your voice. Women, the possibilities are endless. That's what makes us different. Mirae B Ltd. We are a virtual PA consultancy. We provide remote administrative services. Our offering is diverse. We manage your calendar, we update your client database, we take care of your property in France and in London. We also offer bookkeeping and translation services. Would you like to know more? Please call 077-868-48998 for further information. Mirae B Ltd. Making the life of the business owner successful. Women's radio station is passionate about communication and we'd love any thoughts and feedback on our programmes. Email presentersmensradiostation.com if there's a topic you'd like to hear about or want to contact your favourite presenter, do get in touch. WRS Women's radio station Voice of Women Worldwide. I'm Isabelle Manavy, an executive coach. Do you want to change a negative into a positive? We can do this by coaching you to rewire your brain using simple digitalization techniques. In 20 years of practice, I've seen this transform lives. For more information, look on Women's Radio website. Call me on 0798-442-2171. I'm listening. Hi, I'm Vivian Otz, President of Women in Banking and Finance. Are you a woman working in the financial services sector in the uk? If you own, if you are not already a member, then you are missing out on a fantastic network which has been inspiring women for 40 years. We are a not for profit organization empowering women to network, learn and inspire each other at every stage of their career. Through our highly sought after events, we aim to improve diversity by working closely with government leaders and firms through our UK branches. Find out more at www.wibf.org uk and join a network to transform your career. Hi, I'm Sandy Goddard, founder of the Room Upstairs. A different kind of businesswoman's network. Imagine a lunch or dinner party sitting next to great connections, people who might help you. You have fun, do business, build relationships, top women speakers, good food and no membership fees. That's not selling, that's connecting. Join me and economist Ruth Lee CB and have your say on the Britain and Brexit. Find out more at theroomupstairs.co.uk. women's radio station is a not for profit, community interest company. Supporting women is our passion. We're currently welcoming donations to help towards our running costs to keep this important initiative alive. To donate, simply head to our website. Every little will help help. Welcome back to future Classic Women award on Women's Radio Station. Our guest today is Bryony James, cellist from the famous Bavow quartet Bryony. So we've been talking about challenging, you know, moments like with the Just Quartered tour, etc. What would you say was the most exciting moment in your career? Oh God, there have been so many. I think probably when we got our first record deal with Land of Records, that was really exciting. We were kind of over the moon then. But we've had so many. I think the best thing about it is the, the music and the friendship and we've done so much travel. Travel's been a big feature of our journey and we've had some incredible times playing in the Caribbean or playing in Israel, you know, some of the venues and the opportunities we've had have been completely amazing. So I'm not sure there are any standout ones. Okay, so the traveling did have, you know, any impact on your personal life? Yes, I mean for about the first 11 years where we were playing together all the time, rehearsing together all the time, we saw more of each other than we did our families, our boyfriends and of course Then when you bring children into that, that kind of has to change a bit. So I think we've done. We definitely did one tour when Jenny brought her little baby, Molly, who was less than a year. That was really fun. So Molly enjoyed a tour of Janacek. And Natalia's mum has come over from Portugal a few times to travel with us and one of her babies, and they're very well traveled children. Natalia's little boy, Joelle, took his first ever steps on a ship in the Caribbean. Yeah. Wow. Which is pretty amazing. That's quite exceptional to tell as well, isn't it? All right, and so what would you say was the funniest or most important embarrassing moment, if you had any? Oh, okay. Well, there's so much potential for embarrassment on the stage. And we've had all the usual things. You know, if you're using a microphone and then you bow at the end and you bow into the microphone, or I. You know, we finished a recital and you kind of feel like it's gone really well. And then I'm walking off stage and then I lost my shoe, and then all the girls walked into the back of me and then I fell over, you know, or Natalia couldn't find her way off the stage once because she got tangled up in the curtain at the edge, and then none of us could get off, you know, that kind of stuff. Wardrobe malfunctions. My hair is a disaster. I have really thick hair and it often gets caught in my cello pegs. One time we were doing a competition, I think it was the Overseas League, I think, and we had to go in for the. And the panel were in the middle of this room. It was like a concert. So we were on stage, and I think first of all, we were playing some Piazzolla, and Natalia, it was really energetic, and you have to do all these special effects, and Natalia threw her bow in the middle, and we just didn't know what to do. So we kind of. I think we carried on playing. She got on her hands and knees and crawled underneath the piano to get the bow. And then, anyway, we stood up at the end and I went to bow and my peg was stuck in all my hair. And so my cello was going kind of stuck to my face. So then I kind of did this really awkward bow. And then we had to kind of shuffle off, and it was a really long walk to get out of the room. And I had my cello just stuck to my face. And then we got out, and of course, the next quartet to go on were just immaculately you know, sort of neat and perfect. And I had to ask the usher for some scissors and they had to cut my. No way. So, I mean, so much embarrassment. And, you know, and travel always brings its own set of. Of embarrassing stories, like, you know, forgetting to get off the train because, of course, we always have so much stuff with us. Yes. So if you're the last stop, you kind of take your time to get off. And I remember one time, suddenly the lights went off and we realized the train was moving and we were suddenly stuck in a siding and we had a concert, but we were stuck on this train and we had to pull, you know, the emergency thing, and. No way. Yeah. Always issues with the cello. Have you been arrested yet? Because you're not pulling. I know. Although. But Natasha, Talia leaves stuff everywhere. She always leaves her viola, so she's left it on the train a few times. And there was one time we got back to the station and they said we were about to do a controlled explosion and blow up your viola because it was an unidentified thing. I mean. Yeah. Oh, my gosh. What the starting. Mr. Cello's got in trouble with immigration a few times in America. Oh, no way. Oh, my gosh. That's too exciting. What is your next recording of project? So I just. Oh, well, actually, we have a few CDs that we'd love to record, but it's just finding the funding, really. I've got quite a few ideas. We'd like to do a CD that's all female composers. One of the projects we did with Bournemouth was we played a piece by female composer in each concert in the series. And actually we found some amazing repertoire and we'd love to tour that. So we'd love to get some concerts, touring that, and also to record it. And Also on our 20th birthday, I'd quite like us to do a CD to do. I would be looking forward on our journey together, so lots of things we'd like to do. Finding management actually is a big goal of ours at the moment because we just don't have time to generate concerts and generate the work. So. So that's something we're focusing on right now. All right, well, that's what we want to do with this program, so wishing all the best of luck. And shall we listen to the last track then from yes. So this just kind of sums it up and how we feel about doing quartet and, you know, having lives as musicians. So this is. There's no business like show business. Wonderful. This was. There is no business like show business. By Evan Berlin performed by De Paval Quartet. If you have any question that you would like to ask us or to our guest or nomination for our Future Classic Women awards, please email presenterswimmynsradiostation.com or tweet us on womenregistrationstn for a chance to win two tickets at our concert of the finalist of the Future Classic Women Awards. A big thanks to our guest Brian and John for the great chat and beautiful music played today. Thank you. Thanks for having me in and you've been listening to Future Classic Women Awards on Women's Radio stations live every day at 10am and 10pm London time. If you want to listen to it again or catch up on our previous programs, you can head to the presenter page. Stefania Passamonte Future Classic Women Awards on womensradiostations.com thank you for listening WRS women's Radio Station Voice of Women Worldwide. This is Amy Liu, Voice of China at Women's Radio Station. 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