many Americans, including Ray Lev, Eunice Norton, and Lytle Powell, and he was also the teacher of Canadian pianist Harry Dean, English composer Arnold Bax and English conductor Ernest Read. In 1920, Hilda Hester Collens, who had studied under Matthay from 1910 to 1914, founded a music college in Manchester named the Matthay School of Music in his honour. It was later renamed the Northern School of Music, a predecessor institution of the Royal Northern College of Music. His wife Jessie née Kennedy, whom he married in 1893, wrote a biography of her husband, published posthumously in 1945. She was a sister of Marjory Kennedy-Fraser. She was born in 1869 and died in 1937. Tobias Matthay died at his country home, High Marley, near Haslemere in 1945, aged 87. Compositions Matthay's larger scale compositions and virtuoso piano works were all written between the 1870s and 1890s before he focused instead on piano technique and teaching. They include two symphonies, some concert overtures and several piano concertante works. They were all forgotten for many years, resurfacing at a Sotheby's manuscript auction on 30 November 2006, won by the Royal Academy of Music. Only the symphonic overture In May (1883) and the one movement Concert Piece in A minor for piano and orchestra (begun about 1883 and revised till about 1908) gained much contemporary attention. The Concert Piece became his most popular large scale work, although its London premiere at the Proms had to wait 25 years before its first performance, on 28 August 1909. The soloist was York Bowen. It was then performed at the Proms by Vivian Langrish in 1914, in 1919, and 1920 and again in 1925 by Matthay's student Betty Humby (who later became Betty Humby Beecham after she married Thomas Beecham). Myra Hess also performed it under Matthay's baton at Queen's Hall on 18 July 1922 in the presence of the King and Queen for the Royal Academy of Music Centennial Celebration. Matthay also wrote chamber music (most notably the Piano Quartet, op.20 of 1882), a small number of songs, and a great deal of piano music. His 31 Variations and Derivations on an Original Theme for piano, written in 1891 and revised till 1918, was one of his last important early period works. Showing the influence of both Liszt and Wagner, it was considered harmonically daring when first composed. The work is in two parts, the