BROUGHT up in an intensely musical household, Julian Lloyd Webber loved music from a young age and now he’s an international soloist in his own right, he’s using his experience, enthusiasm and expertise to introduce other young people to the joys of playing live.

Next week, he’s making his debut at the Perth Concert Hall as soloist for the Elgar Cello Concerto with Edinburgh Youth Orchestra, of which he became patron this year.

He spoke to Helen Brown about his passion and passing on the baton to the next generation.

WITH A MUSICAL pedigree like Julian Lloyd Webber’s, it’s easy to see how this accomplished cellist has risen to the top of his chosen profession, playing with major orchestras and conductors all over the world and finding himself in demand in both the classical repertoire for his instrument and as soloist of choice for many newly- commissioned or highly contemporary works.

He’s in the fortunate and enviable position of being able to pick and chose his engagements and working colleagues—and when he chooses to work with a young group like the talented and forward-looking Edinburgh Youth Orchestra, you can be sure that he’s not only looking forward to an enjoyable experience but a highly creative one, too. And when the menu also includes performances of perhaps the iconic cello concerto of the age, in the composer’s 150th anniversary year, it’s a musical mix not to be missed.

Julian explained, “I first played with EYO last year for the Scottish premiere of Philip Glass’s Cello Concerto, which is just about as different in mood and style to the Elgar as you can imagine. I got on exceptionally well with the young players and with the conductor Garry Walker, so when they asked me to become their patron—and to work with them again this year on the Elgar—I was delighted.

“The venues are all very different and very good and I’m particularly looking forward to my first time at the Perth Concert Hall. I was passing through the city when it was being built, so it’s very exciting to be going to play there and to be playing this particular work, too.”

Julian’s recording of the Elgar Cello Concerto, which was conducted by Yehudi Menuhin, was a Brit Award winner and was chosen by BBC Music Magazine as the finest ever version of this iconic work.

He also has an impressive track record when it comes to supporting music for the young and particularly music education. With fellow star soloists Evelyn Glennie and James Galway, he got together to put pressure on the Government through the Music Manifesto movement.

“I feel it’s important to get involved, not just to perform and forge your own career in isolation. We’re in danger of missing a lot of talent if we don’t give young people opportunities to listen to and get actively involved in making music. It’s important to get working musicians into schools to show what can be done, to become role models, to encourage the young to go to live performances and to perform themselves.

“There’s so little live classical music on TV, for example, apart from festivals like the current Proms season but live performance is just the perfect way to invigorate, inspire and interest all age groups.

“And for me, it’s two-way traffic—I always find it literally inspiring to go into schools, talk to people and see their responses. Working on the Philip Glass concerto with the young EYO players last year was great, seeing their reactions, getting them involved in a big event in major venues, in what, in many respects, was a one-off—that was so exciting.”

The Edinburgh Youth Orchestra was founded in 1963. It is a full symphony orchestra with over 100 players aged between 13 and 21 and holds annual auditions open to musicians from all over Scotland. Each year, the group comes together under the guidance of a well-known conductor and a team of professional coaches, with a week-long Easter course culminating in a concert series in major Scottish cities.

Although the Elgar is a natural work for any cellist to tackle—and no matter how often he plays it, Julian finds something new and exciting in it every time—he also believes passionately in encouraging and performing new work from new composers. “Music needs to be a living thing and there’s a vibrancy about playing a premiere that makes a real impression. I think we’re currently living in a better climate for contemporary music than we have done for a while—the Philip Glass concerts were all sold out, for example—and good programming with imagination can really entice an audience in, rather than just expecting them to turn up regardless.”

In spite of a life lived through music, he admits that he rarely sits down now and listens purely for pleasure—“although I do like to discover new things there as well!”

After this short season of Scottish concerts, he’s off to China and Taiwan in the autumn and he insists that our powers-that-be could learn a lot from the eastern approach to music education which is currently turning out a raft of very talented and highly skilled young players, like the brilliant pianist Lang Lang and singers, as the success of Chinese bass Shen Yang, winner of this year’s prestigious Cardiff Singer of the World competition, shows.

“There’s huge interest out there and I’d love to think we could capture some of that energy. If our Government wants to find out how to introduce music into schools, they should go to China.”

Or maybe, just tap into the energy and commitment of someone like Julian Lloyd Webber.

The Edinburgh Youth Orchestra, with guest soloist Julian Lloyd Webber and conductor Garry Walker, will be at the Perth Concert Hall on August 5 at 7.30pm. They will also play at the Aberdeen Music Hall on Thursday August 2 and at Paisley Abbey on Tuesday August 7.

As well as the famous Elgar Cello Concerto, the programme will also include Sir Malcolm Arnold’s Four Scottish Dances, Wagner’s overture to Die Meistersinger von Nurnberg, Mussorgsky’s Pictures at an Exhibition and a specially-commissioned arrangement by composer Glyn Bragg of his Highland Cathedral, using full orchestra plus bagpiper.