A graduate in modern languages from St. Andrews University, and in the violin from the Royal Manchester College of Music, Edward’s varied career has included seasons with the legendary Max Jaffa in Scarborough and with South Yorkshire Opera in Sheffield, as well as much freelancing in the North and Midlands.
Currently leader of Chesterfield Symphony Orchestra, he is a founder member of both the Derbyshire String Quartet and A Touch of Class.
Karen studied at the Royal Academy of Music and the Royal Northern College of Music, before going on to freelance with many of the major orchestras in the North West, including the BBC Philharmonic, the Hallé, Northern Ballet, Opera North and Scottish Ballet orchestras. She combines a successful teaching practice in her home county of Derbyshire with a busy freelance career, in which she leads many regional shows and does much quartet work. She joined A Touch of Class in 2006.
After her studies at the Royal Academy of Music, Pat began her musical career as a violinist in the Ballet Rambert orchestra, followed by five years with Festival Ballet. After moving to Derbyshire she embraced the viola, and, as well as playing with leading Manchester orchestras including the BBC Philharmonic, worked as a session player for Granada TV. Subsequently she joined the Derbyshire String Quartet and gave many concerts and workshops throughout the county. She is a founder member of A Touch of Class.
A native of Derbyshire, Peter spent six years in the Royal Artillery Band, and subsequently studied the cello at the Royal Manchester College of Music. Although an experienced orchestral player, having played with the Hallé, the Manchester Mozart Orchestra and the Northern Chamber Orchestra, his principal musical interest has always been chamber music. He is a founder member of the Derbyshire String Quartet. He joined A Touch of Class in 2001, and since then has made more than a hundred and fifty expert arrangements for the quartet to play.
Occasionally when a regular quartet member is not available, we may have to use one or two of a small pool of our close professional colleagues. Any such players are well known to us, are equally proficient, and familiar with our repertoire; the quality of the music is unchanged.