Personnel

The Leadwort Arts team comprises writers and editors with a refreshingly wide experience of working for large institutions, publishing houses and themselves in a freelance capacity.

Christopher Wintle (Director) was educated at St Catherine’s College, Oxford, taught at the Universities of Southampton, Reading and Goldsmiths, was a Visiting Fellow at Princeton University in the USA and is now an emeritus Senior Lecturer in Music at King’s College London. He was a co-founder of the journal Music Analysis (from 1982) and formerly chaired The Cosman Keller Art and Music Trust. His edition of Hans Keller’s Essays on Music for Cambridge University Press won the Royal Philharmonic Society Book of the Year 2001, and (with others) of Keller’s Beethoven’s String Quartet in B flat major Op. 130. Four Lectures which was a BBC Music Magazine Book of the Year 2020. He has written many scholarly articles on music ranging from the seventeenth century to the present, and was for twenty years an opera critic for the Times Literary Supplement.

Julian Littlewood (Senior Designer) studied music at St Peter’s College Oxford and then at King’s College London. His PhD on The Variations of Johannes Brahms was published by Plumbago Books in 2004, with an introduction by Alexander Goehr, Professor of Music in Cambridge. After taking an international course in book design at Oxford Brookes University, he won a Sue Thomson Foundation Award for publication in 2006 for his typographical work on Christopher Wintle’s All the Gods. Benjamin Britten’s Night-piece in Context. He previously worked for Macmillan, has designed many volumes for Plumbago Books and Leadwort Arts, and is on the staff of Oxford University Press. He is also an organist and pianist.

Kate Hopkins (Publications Adviser) studied music first at St Catharine’s College, Cambridge and then at King’s College London. Between 2007 and 2020 she edited and contributed to programmes for The Royal Opera; she has written on opera for The Wagner Journal and the Cambridge Companion to the Magic Flute; and she has reviewed modern women’s fiction extensively for NB Magazine and other publications. Since 2022 she has been employed by the Salzburg Festival as commissioning editor and copy-editor for English-language contributions, and has been employed regularly by Faber, Bloomsbury and other organisations as a freelance copy-editor.