Friday, November 14, 2025
Reflections on Maiastra and its founder: A conversation about music, legacy, and the evolution of a beloved charity.
Our journey with Aidan began in a serendipitous fashion. In 1986, Helen and I—accompanied by our five young children—arrived in Stoke d’Abernon at precisely the same time as Susan and Aidan. They'd recently left Chester, where they ran a newspaper logistics firm, and our shared Northern roots, (I’m from Liverpool myself), provided instant common ground. Our mutual acquaintances and backgrounds helped forge a quick friendship, setting the stage for many musical adventures to come.
It was Aidan who first introduced us to the enchanting world of chamber music. Shortly after moving into Slyfield Farmhouse—just opposite the renowned Menuhin School—Aidan, with the help of his architect son Mark, crafted a remarkable music room. The space featured an elevated stage, a Steinway Model B piano, and seating for seventy guests. What began as informal gatherings of Aidan and his friends soon blossomed, attracting accomplished musicians eager to rehearse major concert programmes or prepare for competitions before an understanding audience.
The evenings were lively affairs: wine and cake flowed freely after the music, with performers mingling amongst the guests. Some weeks, the musical magic happened twice at Little Slyfield—Helen, myself, and others relished being part of this close-knit community. By the early 2000s, Aidan noticed a gap: the core chamber music repertoire was not being taught thoroughly in European conservatoires. Determined to make a difference, he founded the Aidan Woodcock Charitable Trust, with the evocative name "Maiastra"—after a mythical bird said to restore youth with its beautiful song.
The first Maiastra course, led by Akiko Ono in 2006, was a ten-day residential event at Little Slyfield, culminating in a public concert. I became the charity’s Independent Examiner in 2010 before taking on the role of treasurer. In 2015, a generous donation from Aidan enabled the purchase of a magnificent Goffriller violin for outstanding performers. That same year, we also tackled the outdated constitution, ensuring everything was set before Aidan’s sudden passing in March 2016. Thankfully, he was content with the charity’s objectives and governance.
I was honoured to be appointed Chairman soon after Aidan’s death, blessed with a group of exceptional trustees all inspired by his vision to elevate chamber music training. The immediate priority was finding a new home for our residential courses; we were lucky enough to discover a stunning barn conversion with three bedrooms in the heart of the Surrey Hills, which has served us well for a decade.
Although times have changed, our core mission remains: to run four annual ten-day residential courses and at least six shorter courses for advanced players, with each concluding in public concerts. My role revolves around facilitating these goals, maintaining musical excellence, maximising and engaging audiences, and overseeing our finances with the support of a top-notch treasurer.
My professional background is as a chartered accountant, mainly in the leisure and aviation sectors, including roles as a board member and director. The principles of transparent teamwork, clear objectives, and financial discipline are as vital in charitable work as they are in the business world. Developing new audiences, maximising income, and building strong teams—these are challenges common to both domains. Early on, we struggled with audience numbers in West London, but perseverance has paid off, and our concerts now draw excellent crowds.
Compared to most audiences who are a room full of strangers, Maiastra has a loyal core community who regularly attends many concerts each month which creates a different kind of buzz, and it's always great to see newcomers as well. I remember attending my first chamber music concert, and it was just stunning. It was something I had never experienced before, and that excitement is something I would like to eventualise on. I have noticed that others have felt this way too – people are amazed at what chamber music is like, which is so different from what they imagined it to be.
Choosing a favourite concert is almost impossible—all Maiastra events are special in their own way. However, one truly stood out: on 12 March 2025, a remarkable group of sixteen Maiastra alumni gathered in a packed Menuhin Hall. They played Mendelssohn’s and Schubert’s Octets in celebration of what would have been Aidan’s 100th birthday. It was a fitting tribute to a truly extraordinary individual.
Aidan’s passion for chamber music was infectious—Helen and I, though musically inclined (I played piano, Helen the violin, and all our children at least two instruments each), had never truly immersed ourselves in chamber music before Maiastra. Through years of involvement, I’ve learnt so much: for example, over four years, every one of Beethoven’s sixteen string quartets was explored in depth in the long courses—a tremendous journey for both the students and myself.
Interestingly, Maiastra has remained intentionally small, staying true to its core mission of providing four 10-day residential courses and several shorter sessions each year. While the average age among trustees has crept up, we’ve adapted by bringing in skilled professionals for marketing, operations, and concert management. I remain keen to attract younger trustees to ensure the charity’s future vibrancy.
While the absence of Aidan is keenly felt, Maiastra’s essence endures. The most notable development is that all musical decisions are now made by our talented musical trustees—Matthijs, Arisa, and Keith—who select course directors, programmes, coaches, and players. Standards remain uncompromisingly high. The courses are now based in the Barn, and we’ve welcomed new course directors such as David Waterman, Florence Cooke, and Bartosz Woroch, expanding our reach and expertise.
If Aidan were here today, I’m certain he’d be immensely proud. The charity continues to attract remarkable talent year after year—so much so that the number of applicants for Maiastra concerts far exceeds the places available. His vision endures, inspiring new generations of musicians and music lovers alike.
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