| Code | DS/UK/573 |
| Person Name | Cooper; Lindsay (3 March 1951 - 18 September 2013); Musician, Composer, Political activist |
| Dates | 3 March 1951 - 18 September 2013 |
| History | Lindsay Cooper (3 March 1951 – 18 September 2013) was a British bassoonist, oboist, composer and political activist, born in Hornsey, London. She is best known for her work with the avant-garde rock group Henry Cow, and for her wider contributions to experimental, improvised and progressive music.
Cooper began studying piano at the age of 11 before specialising in bassoon. Between 1965 and 1968 she studied at Dartington College of Arts and the Royal College of Music and performed with the National Youth Orchestra of Great Britain. A period spent in New York in the late 1960s led to her involvement in non-classical musical practices and marked a shift away from a conventional classical career.
On returning to the United Kingdom, Cooper joined the progressive group Comus (1971–1972) and became associated with the Canterbury scene. In 1973 she joined Henry Cow, recording on Unrest (1974) and touring in Europe. After a brief departure, she rejoined the group in 1975 and remained until its dissolution in 1978. From 1977 she was one of the group’s principal composers, contributing substantially to studio album Western Culture (1978). During this period, she also undertook session and collaborative work with a range of musicians and ensembles.
In 1977 Cooper co-founded the Feminist Improvising Group with Sally Potter, Maggie Nichols, Georgie Born and Irène Schweizer. The ensemble performed internationally and was associated with feminist and improvisatory performance practices.
Following the disbanding of Henry Cow, Cooper pursued a career as a composer and performer. Her first solo album, Rags (1980), combined composed and improvised material with political themes. In 1982 she established the Lindsay Cooper Film Music Orchestra, composing and performing scores for film and television, including The Gold Diggers (1983), for which she also co-wrote the screenplay with Sally Potter and Rose English. She continued her collaboration with Chris Cutler in the group News from Babel, composing the music for Work Resumed on the Tower (1984) and Letters Home (1986).
Her song cycle Oh Moscow, created with Sally Potter, premiered at the Zurich Jazz Festival in 1987 and was subsequently performed internationally; it was recorded in 1989 and released in 1991. During the late 1980s and early 1990s she undertook further international work, including collaborations with Robyn Archer in Australia, and composed works for ensembles including the Bologna Opera House Orchestra and the Rova Saxophone Quartet. She also composed for dance, theatre and concert performance, and released further recordings including The Gold Diggers (1983) and Music for Other Occasions (1986).
Cooper was diagnosed with multiple sclerosis in the late 1970s but did not make this public until 1998, when the progression of the illness led to her retirement from performance and composition. She died in London on 18 September 2013. Her work continues to be performed, and she is regarded as a significant figure in experimental and improvised music. |
| Activity | 1951: Born in Hornsey, North London.
1965–1968: Studied classical music and bassoon at Dartington College of Arts (with Helen Glatz) and the Royal College of Music.
1971–1972: Joined progressive rock band ‘Comus’.
1973–1974: Joined ‘Henry Cow’; recorded on their second album ‘Unrest’ and toured Europe supporting ‘Captain Beefheart’.
1975: Rejoined ‘Henry Cow’ until their split in 1978.
1977: Became a principal composer for ‘Henry Cow’, contributing several works including half of their final album ‘Western Culture’ (1978).
1977: Co-founded the ‘Feminist Improvising Group’ with Sally Potter, Maggie Nichols, Georgie Born and Irène Schweizer.
1980: Recorded first solo album ‘Rags’ with Chris Cutler, Fred Frith, Georgie Born, Phil Minton and Sally Potter.
1982: Formed ‘The Lindsay Cooper Film Music Orchestra’, composing and performing film/TV scores.
1983: Co-wrote the script for ‘The Gold Diggers’ with director Sally Potter and assistant Rose English; also composed and recorded the score.
1983: Collaborated with Chris Cutler to form avant-rock group ‘News from Babel’.
1984: Composed music for ‘News from Babel’ album ‘Work Resumed on the Tower’.
1986: Composed music for ‘News from Babel’ album ‘Letters Home’.
1987: Co-wrote song cycle ‘Oh Moscow’ with Sally Potter; premiered at the Zurich Jazz Festival and later performed in Europe, North America and Moscow.
1989: Recorded ‘Oh Moscow’ (with Sally Potter, Phil Minton, Hugh Hopper, Marilyn Mazur, Alfred Harth, Elvira Plenar) at the 7th Festival International de Musique Actuelle de Victoriaville, Quebec.
1990: Lived in Australia; collaborated with Robyn Archer, arranging and composing music for ‘Cafe Fledermaus’ and ‘Sahara Dust’.
1991: Released ‘Oh Moscow’ on CD.
1991: Performed in John Wolf Brennan’s ‘SinFONietta’ at the Lucerne Festival, Switzerland.
1991: Released two collections of contemporary dance pieces: ‘Schrödinger’s Cat’ and ‘An Angel on the Bridge’.
1992: Performed her ‘Concerto for Sopranino Saxophone and Strings’ at the British Conservatory, London (commissioned by the European Women’s Orchestra).
1992: Wrote and performed ‘Songs for Bassoon and Orchestra’ with the ‘Bologna Opera House Orchestra’ in Italy.
1992: Composed ‘Face in a Crowd’ and ‘Can of Worms’ for the San Francisco–based ‘Rova Saxophone Quartet’.
1993: Released ‘Sahara Dust’ on CD, featuring Phil Minton.
1997: Resurgence Records released Pia Mater, a piece recorded by Lindsay Cooper and Charles Gray
2013: Died in London. |
| Relationships | Bryony Lavery (collaborator; personal relationship) |
| Chris Cutler (collaborator) |
| Dagmar Krause (collaborator) |
| David Thomas (collaborator) |
| Frankie Armstrong (collaborator) |
| Fred Frith (collaborator) |
| Georgie Born (collaborator) |
| Irène Schweizer (collaborator) |
| Maggie Nicols (collaborator; co-founder of Feminist Improvising Group) |
| Mike Westbrook (collaborator) |
| Phil Minton (collaborator) |
| Robyn Archer (collaborator; personal relationship) |
| Rose English (collaborator) |
| Ruby Rich (collaborator; personal relationship) |
| Sally Potter (collaborator; personal relationship) |
| Zeena Parkins (collaborator) |
| Source | Calyx - The Canterbury Music Website https://www.calyx-canterbury.fr/mus/cooper_lindsay.html [accessed 13 April 2026] |
| 'Lindsay Cooper: Bassoonist with Henry Cow who who went on to write film music', Lindsay Cooper's Obituary, written by Pierre Perrone for the Independent: https://www.independent.co.uk/news/obituaries/lindsay-cooper-bassoonist-with-henry-cow-who-who-went-on-to-write-film-music-8859766.html [accessed 13 April 2026] |
| 'The Road is Wider Than Long - Travels with MS' draft by Lindsay Cooper |
| RefNo | Title |
| LCA/4/3/50 | Photo albums |
| LCA/2/28/3 | Oh Moscow - Photographs |
| LCA/4/2/16 | Lindsay Cooper playing bassoon on stage; stage left |
| LCA/2/5/3 | Henry Cow - Related Material |
| LCA/2/5/1 | Henry Cow - Audio Visual Material |
| LCA/2/15/1 | Face On - Audio Visual Material |
| LCA/4/3/43 | Lindsay Cooper with friends by field of bluebells |
| LCA/2/29/1 | Claudia’s Film - Audio Visual Material |
| LCA/2/29/2 | Claudia’s Film - Scores |
| LCA/4/1/19 | Lindsay Cooper in field with bassoon |
| LCA/1/1/1 | Diaries |
| LCA/1/3 | Education |
| LCA/4/3/36 | Lindsay Cooper wearing glasses as glasses |
| LCA/2/1/1 | Early Works - Scores |
| LCA/2/2/1/2 | Sleeping Beauty; Solemn Oath; The Tide is Turning; Love Duet; Wait - Verses |
| LCA/2/2/1 | Sleeping Beauty - Scores |
| LCA/2/9/1 | Rags; The Golddiggers - Audio Visual Material |
| LCA/2/2/1/1 | Sleeping Beauty; Magic Wait |
| LCA/2/39/1 | A View from the Bridge - Audio Visual Material |
| LCA/2/39/3 | A View from the Bridge - Related Material |
| LCA/2/3/2 | BAT Notebook Sketches |
| LCA/2/7/1 | [Irene Schweizer & Lindsay Cooper Performance] - Audio Visual Material |
| LCA/1 | Personal Papers |
| LCA/2/1 | Early Works |
| LCA/2/2 | Sleeping Beauty |
| LCA/2/3 | Bat |
| LCA/2/12 | Dandos Brillante |
| LCA/2/7 | Irene Schweizer & Lindsay Cooper Performance |
| LCA/2/8 | Song of the Shirt |
| LCA/2/32/1 | An Angel on the Bridge - Audio Visual Material |
| LCA/2/6 | Feminist Improvising Group |
| LCA/2/25/1 | Music for Other Occasions - Audio Visual Material |
| LCA/2/10 | Marx Brothers |
| LCA/2/44 | The Last Crop |
| LCA/2/15 | Face On |
| LCA/2/16 | Mike Westbrook Orchestra |
| LCA/2/18 | News From Babel |
| LCA/2/19 | Give Us A Smile |
| LCA/2/22 | The Small Screen |
| LCA/2/25 | Music for Other Occasions |
| LCA/2/28 | Oh Moscow |
| LCA/2/10/1 | Marx Brothers - Audio Visual Material |
| LCA/2/30 | Concerto for Soprano Sax and Strings |
| LCA/2/32 | An Angel on the Bridge |
| LCA/2/33 | The Road Is Wider Than Long |
| LCA/2/34 | Schrodinger’s Cat |
| LCA/2/35 | Songs for Bassoon and Orchestra |
| LCA/2/40 | Lindsay Cooper Song Project |
| LCA/2/42 | Dance Theatre |
| LCA/2/41 | Live at Bastille |
| LCA/2/37/1 | ROVA - Audio visual Material |
| LCA/2/38 | Cuff Clout |
| LCA/2/39 | A View from the Bridge |
| LCA/2/5 | Henry Cow |
| LCA/2 | Works |
| LCA/2/41/2 | Live at Bastille - Related Material |
| LCA/2/4 | Film; Television |
| LCA/4/1 | Portraits and publicity shots |
| LCA/2/6/1 | Feminist Improvising Group - Audio Visual Material |
| LCA/2/9/2 | Rags; The Golddiggers - Scores |
| LCA/2/36 | Sahara Dust |
| LCA/2/9 | Rags; The Golddiggers |
| LCA/2/41/1 | Live at Bastille - Audio Visual Material |
| LCA/2/32/3 | An Angel on the Bridge - Related Material |
| LCA/2/19/1 | Give Us A Smile - Audio Visual Material |
| LCA/2/42/1 | Dance Theatre - Scores |
| LCA/2/30/1 | Concerto for Soprano Sax and Strings - Scores |
| LCA/2/35/2 | Songs for Bassoon and Orchestra - Related Material |
| LCA/2/38/1 | Cuff Clout - Audio Visual Material |
| LCA/2/22/2 | The Small Screen - Scores |
| LCA/2/22/1 | The Small Screen - Audio Visual Material |
| LCA/2/8/1 | Song of the Shirt - Audio Visual Material |
| LCA/2/34/1 | Schrodinger’s Cat - Audio Visual Material |
| LCA/2/18/1 | News From Babel - Audio Visual Material |
| LCA/2/15/2 | Face On - Scores |
| LCA/2/37 | ROVA |
| LCA/2/24 | Tears Laughter Fears Rage |
| LCA/2/36/1 | Sahara Dust - Audio Visual Material |
| LCA/2/13 | Nicols, Cooper, Lèandre |
| LCA/2/16/2 | Mike Westbrook Orchestra - Photographs |
| LCA/2/38/2 | Cuff Clout - Scores |
| LCA/1/4 | Family History Material |
| LCA/2/45 | MOMI-SFX |
| LCA/2/29 | Claudia’s Film |
| LCA/2/6/2 | Feminist Improvising Group - Photographs |
| LCA/4/2/48 | Maggie Nicols, Lindsay Cooper and Joelle Leandre trio |
| LCA/4/1/17 | Lindsay Cooper portrait in the sunshine |
| LCA/4/2/47 | Maggie Nicols, Lindsay Cooper and Joelle Leandre trio |
| LCA/1/2 | Correspondence |
| LCA/4/2/18 | Lindsay Cooper in checked trousers holding up bassoon on stage |
| LCA/4/2/28 | Studio recording with eight figures |
| LCA/4/1/15 | Lindsay Cooper portrait on street |
| LCA/4/1/9 | Lindsay Cooper portrait |
| LCA/4/1/16 | Profile image of Lindsay Cooper |
| LCA/4/1/10 | Lindsay Cooper portrait |
| LCA/4/2/34 | Lindsay Cooper on trumpet |
| LCA/4/2/20 | Lindsay Cooper with bassoon |
| LCA/4/2/11 | Lindsay Cooper and Sally Potter |
| LCA/4/2/23 | Four musicians performing seated indoors |
| LCA/4/2/10 | Image of band member on stage |
| LCA/4/2/15 | Crowd at concert |
| LCA/4/2/12 | Sally Potter |
| LCA/4/2/14 | Lindsay Cooper with black box |
| LCA/4/2/8 | Lindsay Cooper on stage with bassoon |
| LCA/4/2/22 | Four musicians performing outdoors |
| LCA/4/2/9 | Lindsay Cooper on stage performing with cellist on stage left |
| LCA/4/2/13 | Lindsay Cooper playing the bassoon with hair obscuring her face |
| LCA/4/2/17 | Lindsay Cooper playing bassoon in profile |
| LCA/4/2 | Perfomances |
| LCA/4/2/19 | Lindsay Cooper with bassoon and sunglasses on stage |
| LCA/4/2/21 | Lindsay Cooper with bassoon |
| LCA/4/2/24 | Musician relaxing by drumkit |
| LCA/4/2/25 | Musician with bass guitar |
| LCA/4/2/26 | Mike Westbrook |
| LCA/4/2/27 | Studio recording with four figures |
| LCA/4/2/29 | Studio recording with Lindsay Cooper wearing headphones |
| LCA/4/2/33 | Lindsay Cooper on saxophone |
| LCA/4/2/32 | Live performance with full orchestra |
| LCA/4/2/31 | Lindsay Cooper with bassoon and two other musicians |
| LCA/4/2/30 | Studio recording with Lindsay Cooper playing bassoon |
| LCA/4/2/35 | Lindsay Cooper on bassoon |
| LCA/4/2/41 | Live performance in piazza |
| LCA/4/2/36 | Live performance Lindsay Cooper on saxophone |
| LCA/4/2/37 | Live performance Lindsay Cooper on bassoon |
| LCA/4/2/42 | Live performance outdoors |
| LCA/4/2/38 | Live performance Lindsay Cooper switching instruments |
| LCA/4/2/39 | Lindsay Cooper live performance |
| LCA/4/2/40 | Live performance with two musicians |
| LCA/4/2/44 | Machinery for making musical instruments |
| LCA/4/2/43 | Arsenal: venue for Lindsay Cooper Filmkompositionen |
| LCA/4/2/45 | Arsenal: venue for Lindsay Cooper Filmkompositionen |
| LCA/4/2/46 | Live performance in concert hall |
| LCA/4/3/25 | Lindsay Cooper with plants |
| LCA/4/3/8 | Lindsay Cooper as a child with pushchair and teddy bears |
| LCA/4/3/11 | Lindsay Cooper as child with birds |
| LCA/4/3/16 | Teenage Lindsay with bassoon |
| LCA/4/3/7 | Lindsay Cooper as child with crutches |
| LCA/4/3/15 | Lindsay Cooper as child in a doorway |
| LCA/4/3/13 | Lindsay Cooper as child in garden |
| LCA/4/3/10 | Lindsay Cooper as a teenager |
| LCA/4/3/14 | Lindsay Cooper as child by the sea |
| LCA/4/3/12 | Lindsay Cooper with cat |
| LCA/4/3/6 | Lindsay Cooper as a child on tricycle |
| LCA/4/3/9 | Lindsay Cooper as child giving flowers |
| LCA/4/3/17 | Teenage Lindsay painting |
| LCA/4/3/18 | Sally Potter and friends |
| LCA/4/3/5 | Lindsay Cooper young portrait in halter top |
| LCA/4/3/39 | Lindsay Cooper and Sally Potter at the piano laughing |
| LCA/4/3/31 | Lindsay Cooper on bridge |
| LCA/4/3/38 | Lindsay Cooper and Sally Potter |
| LCA/4/3/35 | Lindsay Cooper outside house in the 80s |
| LCA/4/3/51 | Red box |
| LCA/4/3/37 | Lindsay Cooper with friend on balcony |
| LCA/4/3/40 | Sally Potter with raised arm dance pose |
| LCA/4/3/42 | Sally Potter in denim jacket |
| LCA/4/3/41 | Lindsay Cooper and Sally Potter sitting under a tree |
| LCA/4/3/44 | Lindsay Cooper and friend, Marianne |
| LCA/4/3/49 | Lindsay Cooper and friends 4/4 |
| LCA/4/3/45 | Sally Potter standing in the street |
| LCA/4/3/46 | Lindsay Cooper and friends 1/4 |
| LCA/4/1/22 | Lindsay Cooper portrait |
| LCA/4/3/47 | Lindsay Cooper and friends 2/4 |
| LCA/4/3/48 | Lindsay Cooper and friends 3/4 |
| LCA/2/23 | Film Music Orchestra |
| LCA/5 | Notes and Research |
| LCA/2/28/2 | Oh Moscow - Related Material |
| LCA/2/42/2 | Dance Theatre - Related Material |
| LCA/2/35/1 | Songs for Bassoon and Orchestra - Scores |
| LCA/2/6/3 | Feminist Improvising Group - Related Material |
| LCA/2/21 | Burnt Bridges |
| LCA/2/39/2 | A View from the Bridge - Scores |
| LCA/1/1/3 | Artwork |
| LCA/1/1 | Autobiographical Material |
| LCA/5/2 | Notes and music by other composers |
| LCA/4 | Photographs |
| LCA/2/25/3 | Music for Other Occasions - Related Material |
| LCA/3 | Press |
| LCA/3/1 | Press Reviews |
| LCA/2/16/1 | Mike Westbrook Orchestra - Related Material |
| LCA/5/1 | Notes and music by Lindsay Cooper |
| LCA/2/37/2 | ROVA - Scores |
| LCA/2/33/1 | The Road Is Wider Than Long - Audio Visual Material |
| LCA/2/28/4 | Oh Moscow - Scores |
| LCA/4/3 | Personal and Family |
| LCA | Lindsay Cooper Archive |
| LCA/2/6/1/1 | 'FIG - Milan' |
| LCA/2/6/1/2 | 'FIG - Iceland' |
| LCA/2/6/1/3 | 'FIG - Almost Free' |
| LCA/2/6/1/4 | 'FIGS - Ritzy' |
| LCA/1/1/2/1 | ‘Skullbeat’ |
| LCA/1/1/2/2 | A journal story |
| LCA/1/1/2/3 | ‘Statement’ |
| LCA/1/1/2/4 | ‘Adventures in Wine Trade' |
| LCA/1/1/2/5 | Synopsis about a story on the process of bassoon making |
| LCA/1/1/2/6 | A folder of typed and handwritten short stories, poems and narratives |
| LCA/1/1/2/7 | Blue notebook with music notes |
| LCA/1/1/2/8 | Handwritten reflections on life, self-worth, and personal growth |
| LCA/1/1/2/9 | ‘Ask No Questions’ |
| LCA/1/1/2/10 | An autobiographical letter from Lindsay Cooper to Louisa Dillner regarding sessions and therapy for her health |
| LCA/1/1/2/11 | ‘The Real True Story of the Rescue of Half Moustache’ |
| LCA/1/1/2/12 | ‘The Road is Wider Than Long, Travels with MS’ draft |
| LCA/1/1/2/13 | ‘The Road is Wider Than Long, Travels with MS’ draft |
| LCA/1/1/2/14 | ‘The Road is Wider Than Long, Travels with MS’ draft |