Appassionata Read online

  About the Book

  Abigail Rosen, nicknamed Appassionata, was the sexiest, most flamboyant violinist in classical music, but she was also the loneliest and the most exploited girl in the world. When a dramatic suicide attempt destroyed her violin career, she set her sights on the male-dominated heights of the conductor's rostrum.

  Given the chance to take over the Rutminster Symphony Orchestra, Abby is ecstatic, not realising the RSO is in hock up to its neck and is composed of the wildest bunch of musicians ever to blow a horn or caress a fiddle. Abby finds it increasingly difficult to control her undisciplined rabble and pretend she is not madly attracted to the fatally glamorous horn player, Viking O’Neill, who claims droit de seigneur over every pretty woman joining the orchestra. And then Rannaldini, arch-fiend and international maestro, rolls up with Machiavellian plans of his own to sabotage the RSO.

  Effervescent as champagne, Jilly Cooper's novel brings back old favourites like Rupert and Taggie Campbell-Black, but also ends triumphantly with a rampageous orchestral tour of Spain and the high drama of an international piano competition.

  Jilly Cooper

  APPASSIONATA

  This eBook is copyright material and must not be copied, reproduced, transferred, distributed, leased, licensed or publicly performed or used in any way except as specifically permitted in writing by the publishers, as allowed under the terms and conditions under which it was purchased or as strictly permitted by applicable copyright law. Any unauthorised distribution or use of this text may be a direct infringement of the author’s and publisher’s rights and those responsible may be liable in law accordingly.

  Epub ISBN: 9781409031949

  Version 1.0

  www.randomhouse.co.uk

  TRANSWORLD PUBLISHERS

  61-63 Uxbridge Road, London W5 5SA

  a division of The Random House Group Ltd

  www.booksattransworld.co.uk

  APPASSIONATA

  A CORGI BOOK : 9780552156387

  First published in Great Britain

  in 1996 by Bantam Press

  a division of Transworld Publishers

  Corgi edition published 1997

  Corgi edition reissued 2007

  Copyright © Jilly Cooper 1996

  Jilly Cooper has asserted her right under the Copyright,

  Designs and Patents Act 1988 to be identified as the author of this work.

  This book is a work of fiction and, except in the case of historical fact, any resemblance to actual persons, living or dead, is purely coincidental.

  This book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out or otherwise circulated without the publisher’s prior consent in any form of binding or cover other than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser

  Addresses for Random House Group Ltd companies outside the UK can be found at: www.randomhouse.co.uk

  The Random House Group Ltd Reg. No. 954009

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  Table of Contents

  Cover

  About the Book

  Title

  Copyright

  About the Author

  Also by Jilly Cooper

  Dedication

  Acknowledgements

  The Cast

  The Animals

  Appassionata: Overture

  Chapter One

  Chapter Two

  Chapter Three

  Chapter Four

  Chapter Five

  Chapter Six

  Chapter Seven

  Chapter Eight

  Appassionata: First Movement

  Chapter Nine

  Chapter Ten

  Chapter Eleven

  Chapter Twelve

  Chapter Thirteen

  Chapter Fourteen

  Chapter Fifteen

  Chapter Sixteen

  Chapter Seventeen

  Chapter Eighteen

  Chapter Nineteen

  Appassionata: Second Movement

  Chapter Twenty

  Chapter Twenty-One

  Chapter Twenty-Two

  Chapter Twenty-Three

  Chapter Twenty-Four

  Chapter Twenty-Five

  Chapter Twenty-Six

  Chapter Twenty-Seven

  Chapter Twenty-Eight

  Chapter Twenty-Nine

  Chapter Thirty

  Chapter Thirty-One

  Chapter Thirty-Two

  Chapter Thirty-Three

  Chapter Thirty-Four

  Appassionata: Third Movement

  Chapter Thirty-Five

  Chapter Thirty-Six

  Chapter Thirty-Seven

  Chapter Thirty-Eight

  Chapter Thirty-Nine

  Chapter Forty

  Chapter Forty-One

  Chapter Forty-Two

  Chapter Forty-Three

  Chapter Forty-Four

  Appassionata: Fourth Movement

  Chapter Forty-Five

  Chapter Forty-Six

  Chapter Forty-Seven

  Chapter Forty-Eight

  Chapter Forty-Nine

  Chapter Fifty

  Chapter Fifty-One

  Chapter Fifty-Two

  Chapter Fifty-Three

  Chapter Fifty-Four

  Chapter Fifty-Five

  Appassionata: Fifth Movement

  Chapter Fifty-Six

  Chapter Fifty-Seven

  Chapter Fifty-Eight

  Chapter Fifty-Nine

  Chapter Sixty

  Chapter Sixty-One

  Chapter Sixty-Two

  Chapter Sixty-Three

  Appassionata: Sixth Movement

  Chapter Sixty-Four

  Chapter Sixty-Five

  Chapter Sixty-Six

  Chapter Sixty-Seven

  Chapter Sixty-Eight

  Chapter Sixty-Nine

  Chapter Seventy

  Coda

  About the Author

  Jilly Cooper is a journalist, writer and media superstar. The author of many number one bestselling novels, she lives in Gloucestershire with her husband Leo, her rescue greyhound Feather and her black cat Feral.

  She was appointed OBE in 2004 for services to literature, and in 2009 was awarded an honorary Doctorate of Letters by the University of Gloucestershire for her contribution to literature and services to the County.

  Find out more about Jilly Cooper at her website www.jillycooper.co.uk

  By Jilly Cooper

  FICTION

  RIDERS

  RIVALS

  POLO

  THE MAN WHO MADE HUSBANDS JEALOUS

  APPASSIONATA

  SCORE!

  PANDORA

  WICKED!

  JUMP!

  NON-FICTION

  ANIMALS IN WAR

  CLASS

  HOW TO SURVIVE CHRISTMAS

  HOTFOOT TO ZABRISKIE POINT (with Patrick Lichfield)

  INTELLIGENT AND LOYAL

  JOLLY MARSUPIAL

  JOLLY SUPER

  JOLLY SUPERLATIVE

  JOLLY SUPER TOO

  SUPER COOPER

  SUPER JILLY

  SUPER MEN AND SUPER WOMEN

  THE COMMON YEARS

  TURN RIGHT AT THE SPOTTED DOG

  WORK AND WEDLOCK

  ANGELS RUSH IN

  ARAMINTA’S WEDDING

  CHILDREN’S BOOKS

  LITTLE MABEL

  LITTLE MABEL’S GREAT ESCAPE

  LITTLE MABEL SAVES THE DAY

  LITTLE MABEL WINS

  ROMANCE

  BELLA

  EMILY

  HARRIET

  IMOGEN

  LISA & CO

  OCTAVIA

  P
RUDENCE

  ANTHOLOGIES

  THE BRITISH IN LOVE

  VIOLETS AND VINEGAR

  To the Royal Scottish National Orchestra

  because they make great music

  and I love them all.

  ACKNOWLEDGEMENTS

  I felt desolate when I finished Appassionata, because I’d grown so fond of everyone who’d helped me. I was constantly touched and amazed that musicians who work such punishing hours often for totally inadequate reward should not only be the merriest and the funniest people in the world, but also the most generous with their time.

  I must therefore start with a huge thank you to my guardian angels: benign bassoonist Chris Gale, his wife Jacoba, ace cook and viola player, and another viola player, Ian Pillow, who writes Classic FM magazine’s wonderfully funny column ‘Pillow Talk’, all of whom are from the Bournemouth Symphony Orchestra; fair Annie Tennant, Education Officer of the City of Birmingham Symphony Orchestra; Jack Rothstein, super violinist, soloist, leader and conductor, his wife Linn Hendry, another ace cook and a pianist who specializes in violin repertoire and, finally, brilliant violinist Marat Bisengaliev and his wife Steena, sublime first flute at the English Northern Philharmonia. These eight muses gave me inspiration, encouragement, endless introductions and marvellous hospitality. They never minded being bombarded with silly questions: ‘Could you bonk a small woman on a Glockenspiel?’ ‘Would tearstains devalue a Strad?’ in the middle of the night, and if they didn’t know the answer, they always knew someone who did. I cannot thank them enough.

  I would also like to thank two great orchestras. The Bournemouth Symphony Orchestra, whose managing director, Anthony Woodcock, very kindly allowed me to spend a fantastic week in Poole, talking to both musicians and management, sitting in on rehearsals, touring the South of England, listening to marvellous concerts. Everyone helped me, but I would like to say a special thank you to: Marion Aston, Kevin Banks, Andy Barclay, Nigel Beale, Philip Borg-Wheeler, Andrew Burn, Johnathan Carney, John Charles, Stuart Collins, David Gill, Stuart Green, Christopher Guy, Helen Harris, Anna Hawkins, Karen Jones, Edward Kay, Jayne Litton, Janet Male, Peter Rendle, Nick Simmonds, Verity Smith, Louise Wright and Peter Witham.

  The red lion’s share of my gratitude, however, must go to the Royal Scottish National Orchestra. In 1992 I wistfully asked my friend Ian Maclay, who now runs the BBC Concert Orchestra, if he knew a band brave enough to take me on tour abroad. Within twenty-four hours, he had elicited an invitation to tour Spain from Paul Hughes, who must be the nicest man in classical music, and who had just taken over the RSNO as managing director. Thus followed one of the best weeks of my life, as the orchestra roared through five cities bringing the very formal Spanish audiences yelling in delight to their feet. Walter Weller, darkly urbane and charismatic, was the conductor. John Lill, adored by musicians and public alike, was the soloist, reducing us to tears of joy by his piano playing and tears of laughter with his outrageous jokes at the parties afterwards. Jacqueline Noltingk ensured everything ran miraculously smoothly.

  In May 1995, I joined the RSNO for a second tour, this time of Switzerland. Once again they played gloriously to packed houses and their ‘music in my heart I bore, Long after it was heard no more’. Again everyone was sweet to me, but the following were of particular value to my story: Kenneth Blackwood, Helen Brew, Valerie Carlaw, William Chandler, John Clark, John Cushing, Pamella Dow, Morrison and Sally Dunbar, Claire Dunn, Jeremy Fletcher, Charles Floyd, Brian Forshaw, Martin Gibson, John Gracie, John Grant, David Hair, John Harrington, Philip Hore, Duncan Johnstone, Fiona McPherson, Evgeny Minkov, Angela Moore, Jacqueline Noltingk, Joseph Pacewicz, Edwin Paling, Miranda Phythian-Adams, Kevin Price, Stephane Rancourt, Michael Rigg, Alistair Sinclair, Ian Smith, Justine Watts, Stephen West.

  One of my heroes in Appassionata is a young pianist, so I am deeply indebted for their advice to great soloists: Philip Fowke, Janina Fialkowska, Alan Kogosowsky. I am also grateful to Philip MacKenzie, conductor and moving force behind the west country Amadeus Chorus and Orchestra and his bassoonist wife, Charlotte, who suggested I play the narrator in Peter and the Wolf at the Colston Hall in 1992 so I could experience the utter terror of performing as a soloist with an orchestra.

  My other more gilded hero is a brass player. Here again marvellous anecdotes and many ideas came from David McClenaghan and John Logan, first and third horn of the RSNO; Martin Hobbs, second horn of the BSO; Lance Green, first trombone, RSNO; Danny Longstaff, second trombone of the CBSO; and, above all, the legendary Tony Turnstall, former principal horn of the Royal Opera House Orchestra, Covent Garden.

  My main heroine becomes a conductor, so I was immensely grateful for help from Sir Simon Rattle, Andrew Litton, Jean Paul Casadesus, Stephen Barlow, Ross Pople, Denys Darlow, Michael Burbidge, Olivier Dohnányi and, above all, André Previn. André, that most droll and beguiling of raconteurs and companions, allowed me to sit in on rehearsals and recording sessions with the mighty London Symphony Orchestra, and talked to me for many hours about both conducting and playing the piano. I must especially thank dear Bill Holland and Harriet Capaldi of Warner Classics for producing the most beautiful CD, titled Appassionata, from a selection of the music featured in the book. On the recording side, I must also thank Erik Smith, Steve Long and Mike Hatch for patiently answering my questions, as did distinguished composers Orlando Gough and Geoffrey Burgon, my neighbour in Gloucestershire.

  On the musical administration side, I’d like to thank Philippa Sherwood and Andrew Jowett of Symphony Hall, Birmingham, and Christopher Bishop, late of the RSNO, and the Philharmonia for all their help and wonderful hospitality; Ian Killik of the English Northern Philharmonia; Lynn Calvin of the Musicians’ Union; Libby Macnamara of the Association of British Orchestras; Charles Beare, world expert on string instruments; Sonia Copeland; Chris Steward; Alison Taylor; Ellyn Kusman, Rosamund Leitch of the Wagner Society; Diggory Seacome, timpanist supremo and mover and shaker of the Cotswold Symphony Orchestra.

  All the artists’ agents in Appassionata are perfectly horrid, and bear absolutely no resemblance to darling Sir Ian Hunter, Chairman of Harold Holt or Trudy Wright of Harrison Parrott, both of whom advised and royally entertained me.

  During my research I spent a lovely morning at the English National Ballet, where Amanda Gilliland and Jane Haworth were as beautiful as they were informative. I also spent fascinating days at the Royal Academy of Music and the Royal College of Music, watching Professor Colin Metters and the venerable George Hurst assessing student conductors, practising their skills on respective college orchestras. One of the pieces was Bartók’s Violin Concerto, which Mia Biakella, the soloist, played quite beautifully. I am also grateful to Huw Humphreys, a young conductor, who, after his début at the Holywell Music Rooms in Oxford in 1994, gave me invaluable insight into pre-concert nerves and the problems of galvanizing musicians.

  On a plane to Lapland in 1993, I sat next to a delightful bassoon teacher, who told me piano competitions were frightfully bent with large lady judges often receiving grand pianos as bribes. After that I naturally included a piano competition in the book.

  I then spent a splendidly inspiring week at the Leeds Piano Competition, where I saw no sign of pianos changing hands, and must thank the competition’s founder, Fanny Waterman, and Mary Bailey, from the sponsors, Harveys of Bristol; organizer Liz Arnold; Romilly Meagen of the BBC and Roisin Grimley from Ireland. It was also a great thrill to spend time with the brilliant young British contestant Leon Macaulay, who, immediately after the result, touchingly apologized for only coming second: ‘It would have been so much better for your book if I had won.’

  I also made friends with Mark Anderson, the handsome American contestant who came third, and he and his wife, beautiful pianist Tamriko Siprashvili, delighted us with piano duets when they came to stay in Gloucestershire.

  In August 1994, I spent exciting days at the International World Power Competition. Sulamita Aronovsky was the indefatigable organi
zer, and I must thank Ann Fuller, Samantha Day, Irish judge John O’Conor and American judge Herbert Stessin for their marvellous observations. Joe Lewis looked after me backstage. Another brilliant British contestant, Paul Lewis, came second, and again spent many hours talking to me.

  I must also thank Leonard Pearcey and Ruth Cubbin for twice inviting me to Radio 2’s excellent Young Musician of the Year Award. Many musicians helped me with the background material and stories for the book, they include Robin Brightman of the LSO; Richard Hewitt of the NEP; John Hill; Erich Gruenberg; Alberto Portugheis, Elizabeth Drew, Stuart Elsmore, Alistair Beattie, Alexa Butterworth, Mats Lidstrom, Angela Moore, Rodney Friend, former leader of the LSO; Norman Jones, former principal cellist to the Philharmonia; Raymond Cohen, former leader of the Royal Philharmonic and Hannah Roberts.