The LSO today

The LSO in the Barbican Hall (Photo: Gautier Deblonde)

‘From its first days, the London Symphony Orchestra has been defiantly different and proudly pioneering’[1]. Richard Morrison’s words provide an apt broad stroke over a rich history of dynamic and exceptional music-making. LSO was the first orchestra to tour abroad to Paris in 1906 and in 1912 the first to tour America. Its music was the first to be recorded the next year, and 23 years later, its recording of Things to Come, H G Wells’s ‘landmark in cinematic design’[2] became the first specifically recorded film score. But most importantly, it premiered such important cornerstones of British orchestral repertoire as: Vaughan Williams’s Tallis Fantasia, Holst’s The Planets, Walton’s Belshazzar’s Feast, all championed by the LSO. It was the first orchestra to have its own television show, and the first orchestra from the United Kingdom to perform at both the Salzburg Festival in 1973, and the Hollywood Bowl in 1974.

Today the LSO is revolutionising classical music for both the performer and the listener. Its goal is clear: to make world-class performances accessible to all on the local, national, and international stage. Resident at the Barbican Centre since 1982 (incidentally the first ever London orchestral residency), and giving over 70 performances a year, the artistry of dynamic and exciting musicians such as Principal Conductor Valery Gergiev, President Sir Colin Davis and Principal Guest Conductors Michael Tilson Thomas and Daniel Harding, amidst long-standing relationships with, amongst others, André Previn, Anne-Sophie Mutter, Mitsuko Uchida, Pierre Boulez and Bernard Haitink puts the icing on the cake of what conductor Marin Alsop describes as ‘The LSO style’. ‘There’s a snappiness and vitality, a precision and a drive, and they give their all’, she says. ‘They certainly have extraordinary versatility: they can play anything! But there’s an attitude that goes with that – they have the same openness to every project that comes their way. They also benefit from great management, people who share with the musicians a curiosity about new things, and don’t shy away from new challenges. And as the players are involved in many of the decision-making processes, they choose to work with people who share their philosophy’.

The LSO’s profile goes from strength to strength. It has highly successful residencies as the international resident orchestra of La Salle Pleyel in Paris and the Lincoln Center in New York, and its momentous touring efforts regularly see them across China, Japan, the US and Europe. The LSO will soon become the resident orchestra at the Aix en Provence festival, a baton passed from the Berlin Philharmonic enabling it to continue to excite and enthral across the globe.

‘The international side of the LSO’s work has always been strong, but in recent years, this has increased significantly, with regular appearances at the world’s leading classical music festivals, residencies in major cities where we can present major artistic projects and develop Discovery activity, and also tours to newer territories such as former eastern block states and Asia.’ says Kathryn McDowell, Managing Director.

LSO Live, the LSO’s own recording label, has seen ten years of developing, changing and adapting. There are now over 60 LSO Live releases available globally on CD, shipping to 40 countries, available everywhere across 200 digital music services. Exemplified by top-sellers such as their acclaimed recording of Berlioz’s Les Troyens, the label has garnered critical success: receiving a Grammy award for that recording, alongside numerous critics’ awards from Gramophone and BBC Music magazines. Even so, its focus remains to provide this rich repertoire to enthusiasts too far away to travel to concerts. ‘People can live a hundred miles from a classical record shop, and won’t travel to see a concert.’ Chaz Jenkins, Head of LSO Live explains, ‘There are so many people we can reach with our music, and we’re constantly striving to make better recordings.’ Not only this, it is a label that continues to redefine the way classical music is recorded. This commitment to the performance permeates right through to the recordings themselves. ‘All the players, conductors and soloists are stakeholders in the recordings. They get the profit, and that’s how it should be: it’s their name on the CD case. LSO musicians feel that these are their recordings.’

The LSO is set apart by the depth of its commitment to music education, reaching over 40,000 people a year through LSO Discovery, the LSO’s education and community programme, enabling people of all ages to get involved with music making for what will be the department’s twentieth successful year. Based at LSO St Luke’s on Old Street, Discovery gives young people their first encounter with the Orchestra, adds an extra dimension to an LSO concert, or simply brings people together to experience the power of music. Through the technological facilities at LSO St Luke’s, the Orchestra’s education initiatives can be offered regionally, nationally and internationally. ‘Imagine placing cameras among the brass, or on the podium, to give a sense of what it’s like to be on stage’ Chaz tells me. It is not entirely without precedent; the LSO itself recently broadcast a week-long collaboration with the pianist Lang Lang online. And LSO players took part in YouTube Symphony this year, the first internet symphony orchestra, giving online coaching and masterclasses. Discovery’s latest initiatives include investing in talented young musicians, through two new strands of work: a partnership with the music services in East London called LSO On Track to encourage increased take up of instrumental learning there, and through Centre for Orchestra a new orchestral training, research and professional development programme with the Guildhall School of Music & Drama.

So how does the LSO continue to maintain and develop upon these high artistic standards whilst reaching both established and new audiences? The internet is fast becoming one of the most important tools for the orchestra in conversing with audiences. ‘It adds extra dimensions to things’ Jo Johnson, Digital Marketing Manager, tells me, ‘You can get in contact with the LSO anywhere, you can download it, and you can put it on to your phone.’ In fact, Jo maintains the website; she updates photos, news and video and notifies followers on every exciting development via social media. ‘Before, we’ve been a picture in a brochure… but now people can feel like they have a personal relationship with the Orchestra.’ What is clear is that in whatever conversation the LSO engages in with new and existing audiences, it is driven by forming these relationships with its audience. Striking that balance is crucial for Jo: ‘I think it’s a challenge for orchestras to find their voice in new media as there’s not a lot of precedent in this sort of thing. I’m learning all the time!’

Not only do fans listen to the Orchestra but the Orchestra now listens to them, inviting concert-goers to contribute, discuss and comment in ways not available previously. The LSO Student Ambassador Scheme, an audience development initiative aimed at providing a straightforward, accessible and friendly means for University students to enjoy classical music embodies this. ‘We’re offering opportunities to watch the Orchestra rehearse to see how a performance comes together, social events so students can meet other students across London, and with our social networking across Facebook and Twitter, the opportunity for students to tell us how they want the scheme to develop.’ says Jo. ‘With their input, we can enable enthusiasts and non-enthusiasts alike to attend our performances, whilst having the best time inside the concert hall.’

Michael Ashley Kennedy is a writer and playwright. He previously was a contributing editor to York: Vision newspaper, and in 2006 had his work premiered at the Edinburgh Festival Fringe.

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[1] Richard Morrison, Orchestra – The LSO: A Century of Triumph and Turbulence

[2] Christopher Frayling, British Film Institute

[3] Marin Alsop, Gramophone Magazine Dec 2008