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London Orchestra Project

Strauss: Metamorphosen

Sunday 27 May 2018 at 19:30, LSO St Lukes, London, EC1 V 9NG

The London Orchestra Project, a new venture where principal players from across London’s professional orchestras sit side-by-side with outstanding students and recent graduates from London’s music colleges, performs Strauss’s deeply moving Metamorphosen along with Ligeti’s intricately rhythmic Ramifications and Bartok’s folk inspired Divertimento on Sunday 27 May at LSO St Lukes.

Co-founded by Stephen Bryant, leader of the BBC Symphony Orchestra, and conductor James Ham, the orchestra consists of a true 50/50 split of professional players to recent graduates. Speaking about LOP’s unique approach to player development, James Ham says: “We’re very excited by this concert and are fortunate to have some of London’s finest orchestral players on board. It’s a way for students and graduates on the cusp of a professional orchestral career to directly benefit from the knowledge and insight from some of the UK’s most experienced orchestral musicians. Our future plans also include working with emerging composers and ultimately establishing LOP as a gateway to the profession”.

Stephen Bryant added: “By bringing together principal players from across London, our focus is very much founded on quality in terms of not only the players, but also the experience of the students and graduates involved, our choice of programmes and the musical experience for the audience”

For this concert, Stephen Bryant will lead graduate players from the Royal Academy of Music, Royal College of Music, Guildhall School of Music and Drama, and Trinity Laban Conservatoire alongside principal players from the BBC Symphony Orchestra, Royal Philharmonic Orchestra, Birmingham Royal Ballet, London Sinfonietta, Chamber Orchestra of Europe and the Philharmonia Orchestra.

www.londonorchestraproject.co.uk

Tickets: £15 (£5 for students and under 18s) are available from the Barbican Box Office: tickets@barbican.org.uk

Tel: 020 7638 8891 (10am-8pm Mon-Sat, 11am-8pm Sun)

(source: press release)

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I had a great time in December putting together music for my friend Honor’s wedding in Singapore. We met each other through an immersive theatre company called Punchdrunk, whose shows we have both been to multiple times – on three continents. Their current production “Sleep No More” lured us both to Shanghai last year, and she wanted some of its atmosphere to permeate her wedding, meaning a large dose of 1930s and 40s jazz. But her fiancé (now husband!) is Russian and his family were obviously coming to the wedding, and we thought it would be nice to include something with a Russian flavour as well. So this mix includes not just obvious crowd-pleasers like Glenn Miller’s “In the Mood” or Artie Shaw’s “Begin the Beguine”, but also obscurities like “Morning and Evening” by the Leoníd Utësov Jazz Orchestra or the fantastically catchy waltz “Always Together” by Mikhail Mikhailov and the Michael Ginsburg Jazz Orchestra. It’s amazing how seamlessly they fit in. There are also a few deliberate hat-tips to “Sleep No More” in there, such as “Weep No More My Baby” by Al Bowlly and the Ray Noble Orchestra, which is featured on the show’s soundtrack.

Tristan Jakob-Hoff is a composer and arranger whose work is published by Edition Peters. He is also a freelance music engraver and provides professional music services at www.opus101.org.

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Who or what inspired you to take up the piano and pursue a career in music?

My first piano was my uncle’s wedding gift to my aunt. At the time he was moving houses and the piano was ‘temporarily’ housed in my home, where it stayed for another 6 years! My first piano teacher (a small ballet company’s piano accompanist) was the person who really pushed me and my parents to think that it was really possible to consider a career path in Western classical music, a very new concept in China at that time. You must remember that this was merely only five years after the end of the Cultural Revolution!

Who or what have been the most important influences on your musical life and career?

The support of my mother throughout my life, and how she let me pursue what I loved to do, regardless of any social or financial consideration.

What have been the greatest challenges of your career so far?

Juggling being a ‘hands-on’ mother of two young children and pursuing a performing career!

Which performances/recordings are you most proud of?

There are some gems which I recorded for Pianist Magazine that turned out unexpectedly well. I have now recorded a large number of CDs for the magazine and I am very proud of issue 100, both for its significance and the music in it.

Do you have a favourite concert venue to perform in and why?

Not really. I would say perhaps the audience play a more important part in influencing my performance on the day rather than the venue itself.

Who are your favourite musicians?

I am not what you call a loyal listener, I go through phases. However, the old masters seem to always make me stop and pay attention whenever I hear them: Guido Agosti, Shura Cherkassky, Vladimir Sofronitsky, Pablo Casals, Alfred Cortot, Benjamin Britten, Louis Kentner… the list will go on and on.

What is your most memorable concert experience?

Collaborating with James Loughran and the Aarhus Symphony Orchestra on Mozart’s Piano Concerto K.488. Also a small recital I gave in the Scottish border when the front leg of the old Bechstein piano suddenly broke during the final movement of Beethoven’s ‘Les Adieux’ Sonata; in happiness I hope!

As a musician, what is your definition of success?

Great question! Without sounding a cliché and being corny, all I want is just to play to people. My definition of success is being able to make that special bond with the audience – even if it is just to one single person on the night – in a short magic moment music can touch special places deep within.

What do you consider to be the most important ideas and concepts to impart to aspiring musicians?

To be forever inquisitive – one always finds answers if one keeps asking questions.

Where would you like to be in 10 years’ time?

Pretty much the same as I am now, but perhaps travelling further afield to play more concerts, as the children will be more grownup. Also, dare I hope for much better gardening skills?!

What is your idea of perfect happiness?

Waking around with my family the day after a good concert.

What is your most treasured possession?

I am a very laid back Buddhist; I think that one of the main ideas of Buddhist teaching is to try not to hold on to many earthly possessions.

Chenyin Li performs two piano sonatas by Beethoven, Stravinsky’s Petrushka Suite and three Chinese transcriptions as part of the Bluthner Piano Series at St John’s Smith Square on 23 May. Further information and tickets here

www.bluthner.co.uk

The Chinese pianist Chenyin Li is internationally acknowledged as one of the most exciting and sought-after musicians of her generation. Her career was launched after winning the 6th Scottish International Piano Competition in Glasgow, as well as being the first prizewinner of the Campillos International Piano Competition, Dudley International Piano Competition and the European Beethoven Gold Medal. She has been described as a “gritty, fiery and athletic pianist, backed by a strong technique arsenal” (The Daily Telegraph), and “a player of remarkable subtlety” (The Scottish Herald), who “understands the original intentions of the composers as well as bringing her own individual interpretation which invests the music with a new life” (National Business Review). Read more

www.chenyinli.com

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The Thoroughly Good Classical Music Podcast invites three people who play, listen or otherwise work in classical music to sit and discuss the subject they love. They’re unplanned conversations recorded as live, very nearly unedited, and more often than not take unexpected twists and turns.

In this the second Thoroughly Good Podcast to which I’ve contributed, Adam Gatehouse, co-Artistic Director of the Leeds International Piano Competition, outlines the changes the competition has undergone since the retirement of Dame Fanny Waterman (the competition’s founder), in addition to more general conversation about communication in performance and why the core canon of the piano repertoire is special.

LISTEN HERE