thumb|Blue plaque, 70 Edith Road West Kensington, London
Annie Sidonie Goossens OBE (19 October 1899 – 15 December 2004) was one of Britain's most enduring harpists. She made her professional debut in 1921, was a founder member of the BBC Symphony Orchestra and went on to play for more than half a century until her retirement in 1981.
The Goossens family
She was born in Liscard, Wallasey, Cheshire, a member of the famous Goossens musical family that had emigrated to Britain from Belgium in the 19th century. Her father and grandfather were both conductors, both called Eugène. Her brother Sir Eugene Goossens was a composer and conductor who spent many years working in Australia as the director of the NSW Conservatorium of Music and chief conductor of the Sydney Symphony. Her brother Léon was an eminent oboist and her sister Marie Goossens was also a distinguished harpist. In 1916, her brother Adolphe, a gifted French horn player, was killed in action at the Somme at the age of 20.
Early career
As a child, she wanted to become an actress but was encouraged by her father to play the harp. Taught (like her elder sister Marie) by Miriam Timothy, she was already playing in public by the age of 16.
BBC Symphony Orchestra
She was a founder member of the BBC Symphony Orchestra with whom she played for fifty years (1930–1980). The founder of the orchestra, Adrian Boult, engaged her as Principal Harp before the orchestra's first public concert in October 1939. She also played under guest conductors such as Arturo Toscanini, Bruno Walter and Arnold Schoenberg. She officially retired from the orchestra in 1980, the year it was celebrating its golden jubilee. At age 91 in 1991, she became the oldest person to perform at the Last Night
of the Proms concert. With her second husband, Norman Millar, she moved to Reigate in Surrey, where they raised pigs and poultry at the 400-year-old Woodstock Farm, Gadbrook Road, Betchworth. She was a close personal friend of Sir Adrian Boult and Pierre Boulez, who wrote of her: 'Always her presence was reassuring, her professional conscience irreproachable, her attitude faultless. She loved her metier, her instrument. All this, really, was the reflection of her personality for which I have had from the first instant, not only the greatest admiration, but also an immense affection.'