Peter Andry

After moving to England, where he studied with William Lloyd Webber and Sir Adrian Boult, he played the flute in the orchestra of a ballet company, with occasional chances to conduct.

[4] After freelancing as a player, he joined the Australian Broadcasting Commission as a music producer, gaining knowledge of the technical side of studio recording.

[2] In 1953 Andry won a British Council bursary, and moved to London to study with the composer William Lloyd Webber[5] and work with the conductors Sir Adrian Boult and Walter Goehr.

[2] He played the flute in the orchestra of a touring dance company, the International Ballet, under the baton of a fellow Australian, James Walker, who arranged for him to conduct at some performances.

[7] In the same year he worked with Gérard Souzay, Sir Adrian Boult, Wilhelm Kempff, Boyd Neel, Julius Katchen and Benjamin Britten.

On at least one occasion he was able to do so, standing in for Solti at a patching session for a recording of Beethoven's Violin Concerto with the soloist Mischa Elman in April 1955.

[7][9] In the days before John Culshaw persuaded Decca to record the Ring cycle in the studio, it was generally thought that the only practical way of putting Wagner's operas on disc was to tape live performances at the Bayreuth Festival.

[5] In The Independent, Lewis Foreman wrote in 2010: At EMI he was one of the major world figures of the classical recording industry during the great days of the major companies, and he worked with all the leading artists of the day, including such conductors as Bernstein, Giulini, Haitink, Jansons, Karajan, Kempe, Klemperer, Muti, Previn, Rattle and Tennstedt.

It is invidious to mention singers and soloists for fear of omitting an illustrious name, but they included Barenboim, Caballé, Callas, Carreras, Domingo, du Pre, de los Ángeles, Nigel Kennedy, Michelangeli, Pavarotti, Perlman, Pollini, Rostropovich, Schwarzkopf and Kiri Te Kanawa.

[2] In The Gramophone, Edward Greenfield wrote, "Even in these days of star-studded casting on record, the line-up for this latest version of the Triple Concerto is nothing short of breathtaking".

[1] Another populist success was the second Three Tenors album, with Pavarotti, Carreras and Domingo, which Andry arranged to record live in Los Angeles in July 1994 at the time of a FIFA World Cup competition, and rush-released within six weeks.