{"homepage":{"share":{"image":"assets\/imgsupl\/RG6.0_0.95667100_1508409360_c97f_homepage_share_default_image__black.jpg","title":"LSO Play","copy":"Explore one of the world's leading orchestras like never before","twitterCopy":"Explore one of the world's leading orchestras like never before"}},"performances":[{"id":"perf10","slug":"Beethovens-Fifth-Symphony","animationSlug":"beethoven","title":"Beethoven's Fifth Symphony","titleMobile":"Beethoven's Fifth Symphony","date":"16\/02\/2023","location":"Barbican Centre","image":"assets\/imgsupl\/RG6.0_0.15732000_1689587896_5f66_performances_homepage_image_3_0861.jpg","desktopFeed":"https:\/\/lsoplay.s3.eu-west-1.amazonaws.com\/2017\/Beethoven_Five\/stitched_desktop.mp4","mobileFeed":"https:\/\/lsoplay.s3.eu-west-1.amazonaws.com\/2017\/Beethoven_Five\/stitched_mobile.mp4","viewports":6,"share":{"image":"","title":"Beethoven's Fifth Symphony","copy":"","twitterCopy":"Check out Beethoven's Fifth Symphony on Play by @londonsymphony"},"conductedBy":"Fran\u00e7ois-Xavier Roth","artists":[{"id":"k202","posX":0,"posY":0,"instrumentId":"iConductor","title":"Fran\u00e7ois-Xavier Roth","description":"Fran\u00e7ois-Xavier Roth is one of today's most charismatic and enterprising conductors. With a reputation for enterprising programming, his incisive approach and inspiring leadership are valued around the world. He is working with leading orchestras including the Berlin Philharmonic and Staatskapelle, Royal Concertgebouw, Boston Symphony, Munich Philharmonic and Zurich Tonhalle. \r\n\r\nTaking up the position of Principal Guest Conductor of the London Symphony Orchestra at the start of the 2017-18 season, he leads a three concert series exploring Debussy, his influences and his legacy, marking the 100th anniversary of the composer\u2019s death.\r\n\r\nHis third Cologne opera season features new productions of Wagner\u2019s Tannh\u00e4user and Die Soldaten by Bernd Alois Zimmermann. With the G\u00fcrzenich Orchestra, he continues a focus on the composer Philippe Manoury, from whom the orchestra has commissioned a trilogy of works, the second of which, a Flute Concerto, will receive its premiere with Emmanuel Pahud.\r\n\r\nA tireless champion of contemporary music, Roth is conductor of the ground-breaking LSO Panufnik Composers Scheme. He has premiered works by Yann Robin, Georg-Friedrich Haas and Simon Steen-Anderson and collaborated with composers like Pierre Boulez, Wolfgang Rihm, J\u00f6rg Widmann and Helmut Lachenmann.","image":"assets\/imgsupl\/RG6.0_0.87937100_1513174494_87f6_musicians_image_fxr.jpg","footerTitle":"","footerCopy":""},{"id":"a713","posX":"0","posY":"2","instrumentId":"i5","title":"Carmine Lauri","description":"Carmine Lauri was born in 1971 and started playing the violin at the age of four later studying with Mario Bisazza. In 1988 he was awarded the Associated Board scholarship to further his studies in London at the Royal Academy of Music with Jean Harvey and Maurice Hasson. He has performed extensively and on a number of occasions he was selected to perform as a soloist in the presence of HM Queen Elizabeth II and other Heads of State.","image":"assets\/imgsupl\/RG6.0_0.05795600_1508244064_8bfa_musicians_image_-lauri.jpg","footerTitle":"","footerCopy":"His two premiere performances of the Walton violin concerto with the Czech State Philharmonic Orchestra of Brno further enhanced his growing international reputation. As a representative of the London Symphony Orchestra, of which he is the Co-Leader, Carmine leads and performs regularly with the World Orchestra for Peace under Valery Gergiev."},{"id":"a714","posX":"2","posY":"2","instrumentId":"i5","title":"Clare Duckworth","description":"","image":"assets\/imgsupl\/RG6.0_0.95505800_1508431017_508c_musicians_image_kworth.jpg","footerTitle":"","footerCopy":""},{"id":"a715","posX":"0","posY":"3","instrumentId":"i5","title":"Maxine Kwok","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a716","posX":"2","posY":"3","instrumentId":"i5","title":"Claire Parfitt","description":"","image":"assets\/imgsupl\/RG6.0_0.71525400_1508430942_0f17_musicians_image_arfitt.jpg","footerTitle":"","footerCopy":""},{"id":"a717","posX":"0","posY":"4","instrumentId":"i5","title":"Morane Cohen-Lamberger","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a718","posX":"1","posY":"4","instrumentId":"i5","title":"Ginette Decuyper","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a719","posX":"2","posY":"4","instrumentId":"i5","title":"Sylvain Vasseur","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a720","posX":"0","posY":"5","instrumentId":"i5","title":"Sabrina Bradford","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a721","posX":"1","posY":"5","instrumentId":"i5","title":"William Melvin","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a722","posX":"3","posY":"5","instrumentId":"i5","title":"Laura Dixon","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a723","posX":"0","posY":"6","instrumentId":"i5","title":"Csilla Pogany","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a724","posX":"1","posY":"6","instrumentId":"i5","title":"Alix Lagasse","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a775","posX":"2","posY":"5","instrumentId":"i5","title":"Mio Takahashi","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a736","posX":"26","posY":"2","instrumentId":"i26","title":"David Alberman","description":"Born in London, David Alberman (violin) received his LRAM diploma from the Royal Academy of Music at the age of sixteen. After Classics at Oxford University for four years, a long-standing interest in contemporary music led him in 1986 to join the Arditti Quartet. A Principal of the London Symphony Orchestra since 1999, he has played as guest concertmaster with the LSO itself, the BBC Symphony Orchestra, the London Philharmonic Orchestra and the London Sinfonietta. ","image":"assets\/imgsupl\/RG6.0_0.14798200_1508246996_83ff_musicians_image_berman.jpg","footerTitle":"","footerCopy":"He has appeared as soloist with, among others, the Orchestre de Lille, the BBC National Orchestra of Wales, and the ORF Radio Symphony Orchestra in Vienna. In 1995 he formed a Duo with the pianist and composer Rolf Hind, which has appeared at many major European festivals and has broadcast on, among others, the BBC, WDR, SWR, and RTBF in Brussels. David Aberman plays a Guarneri Del Gesu violin of 1736."},{"id":"a737","posX":"24","posY":"2","instrumentId":"i26","title":"Tom Norris","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a738","posX":"26","posY":"3","instrumentId":"i26","title":"Miya Vaisanen","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a739","posX":"24","posY":"3","instrumentId":"i26","title":"David Ballesteros","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a740","posX":"26","posY":"4","instrumentId":"i26","title":"Matthew Gardner","description":"","image":"assets\/imgsupl\/RG6.0_0.50042500_1370527678_8207_musicians_image_ardner.jpg","footerTitle":"","footerCopy":""},{"id":"a741","posX":"25","posY":"4","instrumentId":"i26","title":"Iwona Muszynska","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a742","posX":"26","posY":"5","instrumentId":"i26","title":"Andrew Pollock","description":"","image":"assets\/imgsupl\/RG6.0_0.27069400_1508430193_3682_musicians_image_ollock.jpg","footerTitle":"","footerCopy":""},{"id":"a743","posX":"25","posY":"5","instrumentId":"i26","title":"Chelsea Sharpe","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a744","posX":"26","posY":"6","instrumentId":"i26","title":"Paul Robson","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a745","posX":"25","posY":"6","instrumentId":"i26","title":"Belinda McFarlane","description":"","image":"assets\/imgsupl\/RG6.0_0.06030600_1508430808_b066_musicians_image_arlane.jpg","footerTitle":"","footerCopy":""},{"id":"a746","posX":"15","posY":"3","instrumentId":"i6","title":"Malcolm Johnston","description":"Malcolm Johnston began learning the violin and piano at an early age, but was soon drawn to the warm sound and unfamiliar repertoire of the viola. He earned his Bachelor\u2019s degree at the Royal Scottish Academy of Music and Drama and continued his studies at the Royal Academy of Music in London. In 1990, Malcolm won a scholarship to the USA where he became teaching assistant to Jerzy Kosmala at the Louisiana State University. ","image":"assets\/imgsupl\/RG6.0_0.27854400_1508247908_5fe2_musicians_image_hnston.jpg","footerTitle":"","footerCopy":"He was subsequently invited to become a member of the Amernet String Quartet, with whom he played for four years, during which time the quartet won numerous major awards, including Gold Medal at the 1992 Tokyo International Chamber Music Competition. The quartet made their home in Cincinnati after becoming Quartet in Residence at the Cincinnati College-Conservatory of Music. They also toured extensively in the US, Japan, Australia and Europe. As well as his chamber music performing, Malcolm has appeared as a soloist with orchestras and as recitalist both in the US and Britain. Since returning to the UK in 1996 he has become a member of the LSO, where he is currently Sub-Principal viola."},{"id":"a747","posX":"17","posY":"3","instrumentId":"i6","title":"Robert Turner","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a748","posX":"19","posY":"3","instrumentId":"i6","title":"Lander Echevarria","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a749","posX":"21","posY":"3","instrumentId":"i6","title":"Stephen Doman","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a750","posX":"17","posY":"2","instrumentId":"i6","title":"Jano Lisboa","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a751","posX":"19","posY":"2","instrumentId":"i6","title":"Gillianne Haddow","description":"Gillianne Haddow joined the London Symphony Orchestra in January 1999. Until recently, she combined her engagement with the LSO with her position as Principal Viola with the acclaimed Scottish Ensemble. As a solo and chamber musician she attracts commissions from leading contemporary composers such as Sally Beamish and Edward Maguire, and performs with groups such as the Nash Ensemble and the London Sinfonietta. ","image":"assets\/imgsupl\/RG6.0_0.85634100_1508247598_61b0_musicians_image_haddow.jpg","footerTitle":"","footerCopy":"Gillianne has also appeared as Guest Principal Viola with the City of Birmingham Symphony Orchestra, the Royal Liverpool Philharmonic Orchestra, the Scottish Chamber Orchestra, and the BBC Scottish Symphony Orchestra."},{"id":"a752","posX":"21","posY":"4","instrumentId":"i6","title":"German Clavijo","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a753","posX":"19","posY":"4","instrumentId":"i6","title":"Jill Valentine","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a725","posX":"9","posY":"2","instrumentId":"i7","title":"Rebecca Gilliver","description":"Rebecca Gilliver is Principal cellist of the London Symphony Orchestra. Early success in national and international competitions led to critically acclaimed debut recitals at the Wigmore Hall in London and Carnegie Hall, New York. Rebecca has performed in major music festivals such as Bath, Bergen, and the Manchester International Cello Festival. A keen chamber musician, she has collaborated with international artists including Nikolai Znaider, Sarah Chang and Roger Vignoles with whom she recorded for BBC Radio 3. ","image":"assets\/imgsupl\/RG6.0_0.96076600_1508253186_7136_musicians_image_lliver.jpg","footerTitle":"","footerCopy":"She is a regular participant at IMS Prussia Cove. She has appeared as a soloist with the Halle and the Academy of St Martin in the Fields and is also featured on a CD of Enescu chamber music for the Naxos label. Originally joining the LSO as Co-principal in 2001, Rebecca was promoted to Principal two years ago. She has played guest principal with orchestras all around the world, including the Australian Chamber Orchestra, New Sinfonietta Amsterdam and most recently the World Orchestra for Peace."},{"id":"a726","posX":"7","posY":"2","instrumentId":"i7","title":"Laure Le Dantec","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a727","posX":"5","posY":"3","instrumentId":"i7","title":"Amanda Truelove","description":"","image":"assets\/imgsupl\/RG6.0_0.84043000_1508429861_6f7a_musicians_image_uelove.jpg","footerTitle":"","footerCopy":""},{"id":"a728","posX":"7","posY":"3","instrumentId":"i7","title":"Alastair Blayden","description":"Alastair Blayden was a music scholar at Winchester College and a Foundation Scholar at the Royal College of Music. He studied with Joan Dickson and William Pleeth and also received chamber music coaching at Aldeburgh with the Borodin Quartet and in Cologne with the Amadeus Quartet.","image":"assets\/imgsupl\/RG6.0_0.88119300_1508247761_b80e_musicians_image_layden.jpg","footerTitle":"","footerCopy":"He was a founder member of the Dante Quartet with whom he regularly broadcasts. Alastair has held the position of Sub-Principal Cello with LSO since 1997. Alastair is also Professor of Cello at the Royal College of Music. He plays on a Celionatus (circa 1740) kindly lent to him by the LSO."},{"id":"a729","posX":"9","posY":"3","instrumentId":"i7","title":"Eve-Marie Caravassilis","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a730","posX":"11","posY":"3","instrumentId":"i7","title":"Daniel Gardner","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a731","posX":"4","posY":"6","instrumentId":"i8","title":"Chaemun Im","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a732","posX":"5","posY":"6","instrumentId":"i8","title":"Thomas Goodman","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a733","posX":"7","posY":"6","instrumentId":"i8","title":"Joe Melvin","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a734","posX":"6","posY":"5","instrumentId":"i8","title":"Matthew Gibson","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a735","posX":"7","posY":"5","instrumentId":"i8","title":"Enno Senft","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a776","posX":"6","posY":"6","instrumentId":"i8","title":"James Trowbridge","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a755","posX":"12","posY":"5","instrumentId":"i10","title":"Chlo\u00e9 Dufossez","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a756","posX":"13","posY":"5","instrumentId":"i10","title":"Gareth Davies","description":"Gareth Davies studied at the Guildhall school of Music and Drama where he gained the highest marks in his year and won the Laurie Kennedy Memorial prize. At the age of 22, shortly after graduating he was appointed Principal flute with the Bournemouth Symphony Orchestra. During his time on the South coast, he recorded the Nielsen flute concerto on the Naxos label. In 2000 he was invited to join the London Symphony Orchestra as Principal Flute.","image":"assets\/imgsupl\/RG6.0_0.02140600_1508248331_0d6f_musicians_image_davies.jpg","footerTitle":"","footerCopy":"In the LSO he has performed as a soloist with Sir Colin Davis and Daniel Harding across Europe, and in 2004, the centenary year, he performed and recorded Quirk by Karl Jenkins, a concertante written especially for him. Gareth loves the variety of work which being a member of the orchestra entails. He has worked with most of the great maestri of our times, Gergiev, Colin Davis, Previn, Maazel, Janssons, Boulez, Rostropovitch and Haitink to name a few."},{"id":"a754","posX":"11","posY":"5","instrumentId":"i24","title":"Sharon Williams","description":"Sharon Williams is the Principal Piccolo of the London Symphony Orchestra, one of the world's leading orchestras. Prior to that she was Principal Piccolo in the Royal Philharmonic Orchestra and the Hong Kong Philharmonic. She regularly works with most of Britain's major orchestras and freelances on film sessions and other commercial work.
","image":"assets\/imgsupl\/RG6.0_0.41043700_1508248424_fd89_musicians_image_lliams.jpg","footerTitle":"","footerCopy":"She is also currently Professor of piccolo at London's Guildhall School of Music and Drama and regularly gives masterclasses. Major conductors she has worked with include Valery Gergiev, Sir Colin Davis, Bernard Haitink, Lorin Maazel and Rostropovich. Sharon can be heard playing on the LSO Live label and many film scores including Star Wars and Harry Potter."},{"id":"a757","posX":"14","posY":"5","instrumentId":"i11","title":"Olivier Stankiewicz","description":"Olivier Stankiewicz, whose extensive musical activity is characterised both by his remarkable curiosity and virtuosity, has constantly sought to expand his artistic scope and sources of inspiration.
Appointed principal oboe with the London Symphony Orchestra in May 2015, he has also performed with Amsterdam\u2019s Royal Concertegebouw and the Chamber Orchestra of Europe and served with Toulouse\u2019s Orchestre National du Capitole (ONCT) from 2011 to 2015. There, he recently performed the world premiere of Benjamin Attahir\u2019s oboe concerto Nur under Tugan Sokhiev. Since his first concerto appearance at the age of 16 with the Monte-Carlo Philharmonic, he has performed with the French National Orchestra, the Wallonie Royal Chamber Orchestra, the Pro-Arte orchestra of Hong-Kong and the Tokyo Sinfonietta.","image":"assets\/imgsupl\/RG6.0_0.48540000_1534521228_33a5_musicians_image_iewicz.jpg","footerTitle":"","footerCopy":"Named \u201cclassical revelation\u201d in 2013 by the French association ADAMI, Olivier Stankiewicz also took First Prize at the 10th International Oboe Competition of Japan, successively won the 2015 European and American YCA auditions in Leipzig and New-York, and the YCAT Auditions at the Wigmore Hall in London.\r\n\r\nOlivier\u2019s chamber music partners include Thomas Dunfort, Jean Rondeau, Amy Harman and the Castalian quartet. He has performed at the Prades international festival, the Brighton festival, and the Warsaw Opera. The Duo Widmung, co-founded with pianist Alvise Siniva, focusing in part on adaptations of vocal repertoire, has performed at Tokyo\u2019s Toppan Hall and at the Wigmore Hall.\r\n\r\nOlivier Stankiewicz comprehensive approach to musical performance has led him to study theory and conducting, in addition to oboe studies with Jacques Tys, David Walter, and Jean-Claude Jaboulay. He was in 2015 appointed oboe professor at the Royal College of Music in London."},{"id":"a758","posX":"15","posY":"5","instrumentId":"i11","title":"Henrietta Cooke","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a759","posX":"11","posY":"6","instrumentId":"i12","title":"James Gilbert","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a760","posX":"12","posY":"6","instrumentId":"i12","title":"Chris Richards","description":"Chris studied at the Guildhall School of Music and Drama with Thea King, Julian Farrell and Joy Farrall. Whilst at the Guildhall, he won the Needlemakers' Wind Prize and reached the finals of the 2001 Shell\/LSO Competition where he performed Weber's first Clarinet Concerto with the London Symphony Orchestra. After his studies, he was appointed principal clarinet with the Northern Sinfonia at the Sage Gateshead and in 2010 became principal clarinet with the London Symphony Orchestra. He has also performed as a guest principal with most of the UK's leading orchestras.
Chris has appeared as a soloist with the City of Birmingham Symphony Orchestra, Northern Sinfonia, London Symphony Orchestra Chamber Ensemble, English Symphony Orchestra and Birmingham Contemporary Music Group with conductors including Thomas Zehetmair, Robin Ticciati, H. K. Gruber and Nicholas McGegan. He has also broadcast John Adams\u2019s Gnarly Buttons, Birtwistle's Linoi and the Strauss Duett-Concertino on BBC Radio 3. In 2008 Chris gave the premiere of Richard Rodney Bennett's Troubadour Music for clarinet and piano at the Wigmore Hall.
A regular performer of chamber music, Chris has played at Carnegie Hall, Wigmore Hall, LSO St Luke's, The Sage Gateshead and Aldeburgh Festival with artists such as the Aronowitz Ensemble, London Symphony Orchestra Chamber Ensemble, Ensemble 360, Thomas Ad\u00e8s, Pascal Rog\u00e9 and Howard Shelley. He is also a regular member of the John Wilson Orchestra.","image":"","footerTitle":"","footerCopy":""},{"id":"a761","posX":"13","posY":"6","instrumentId":"i15","title":"Rachel Gough","description":"Rachel Gough has been Principal Bassoon of the LSO since 1999. (For eight years prior to joining the LSO she was Co-Principal with the BBC Symphony Orchestra and a professor at the Royal Academy of Music.)
As a student she read anthropology and music at King\u2019s College, Cambridge, before gaining Countess of Munster, Martin Musical, Ian Fleming and German government scholarships for postgraduate study at the Royal Academy of Music and the Hannover Hochschule f\u00fcr Musik with Klaus Thunemann. During this time she was principal bassoon of the European Community Youth Orchestra and won the Gold Medal at the Royal Overseas League.","image":"assets\/imgsupl\/RG6.0_0.90013200_1508249355_068b_musicians_image_-gough.jpg","footerTitle":"","footerCopy":"Rachel has appeared as a soloist with Sir Colin Davis, Valery Gergiev, Bernard Haitink, Sir Neville Marriner, Gianandrea Noseda and Gennady Rozhdestvensky. (Alongside these conductors, she has as worked as an orchestral musician with Claudio Abbado, Pierre Boulez, Riccardo Chailly, Mariss Jansons, Zubin Mehta, Sir Antonio Pappano, Andre Previn, Sir Simon Rattle, Sir Georg Solti, Yuri Temirkanov and Gunter Wand, amongst many others.) (She is a Fellow of the Royal Academy of Music.)"},{"id":"a762","posX":"14","posY":"6","instrumentId":"i15","title":"Joost Bosdijk","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a763","posX":"15","posY":"6","instrumentId":"i31","title":"Gareth Twigg","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a764","posX":"13","posY":"7","instrumentId":"i18","title":"P\u0159emysl Vojta","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a765","posX":"12","posY":"7","instrumentId":"i18","title":"Jonathon Maloney","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a766","posX":"11","posY":"7","instrumentId":"i18","title":"Olivia Gandee","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a767","posX":"10","posY":"7","instrumentId":"i18","title":"Mark Alder Bennett","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a771","posX":"16","posY":"8","instrumentId":"i16","title":"Angela Whelan","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a772","posX":"17","posY":"8","instrumentId":"i16","title":"Chris Avison","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a773","posX":"18","posY":"8","instrumentId":"i16","title":"Adam Wright","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a768","posX":"13","posY":"8","instrumentId":"i17","title":"Peter Moore","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a769","posX":"14","posY":"8","instrumentId":"i17","title":"Andrew Cole","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a770","posX":"15","posY":"8","instrumentId":"i35","title":"Paul Milner ","description":"Paul Milner was born in Edinburgh and after a musical education, moved to Manchester to study at the Royal Northern College of Music. On leaving the RNCM with a Diploma in Professional Performance, Paul freelanced with some of the UK's leading orchestras, before gaining the position of Principal Bass Trombone with the Orchestra of Opera North, Leeds in 1993.","image":"assets\/imgsupl\/RG6.0_0.02633700_1508250585_1319_musicians_image_milner.jpg","footerTitle":"","footerCopy":"Having spent 14 years there, the position of Principal Bass Trombone in the London Symphony Orchestra became vacant. Paul was successful in gaining membership to the orchestra and began his role in 2007. Along with his very busy role in the orchestra, Paul is committed to the LSO Discovery education department. This involves playing his trombone to children in hospitals, coaching gifted children and community projects, to name but a few."},{"id":"a774","posX":"14","posY":"9","instrumentId":"i22","title":"Nigel Thomas","description":"Nigel Thomas has been Principal Timpanist with the London Symphony Orchestra since 2003, having first joined the orchestra as Principal Percussionist in 1988. He was the Royal College of Music\u2019s first timpani and percussion scholar, and in 1980 was winner of the Shell LSO competition.","image":"assets\/imgsupl\/RG6.0_0.31188400_1508251727_6b88_musicians_image_thomas.jpg","footerTitle":"","footerCopy":""}],"instruments":[{"id":"i5","sectionId":"s10","title":"First Violin","description":"Of all the instruments in the orchestra, the violin is the most visible, simply by being the most numerous! Sitting at the front of the stage, there can often be more than 30 of these smallest of the string family in the orchestra at any one time.
Modern violins have roots in the early Greek ages, but started to become the instruments we know today in the 1500s. Its four strings are usually played with a bow or plucked (pizzicato), but the violin is famously versatile and can produce all sorts of effects such as ethereal harmonics, double stops (playing more than one note at once) or being hit with the wooden part of the bow (col legno).","image":"assets\/imgsupl\/RG6.0_0.79425300_1508239376_d3d9_instruments_image_violin.jpg","footerTitle":"Violin Factfile","footerCopy":"\u2022 The principal of the First Violins is called the Leader, or Concertmaster, whose role is to play any orchestral solos and to make technical decisions on behalf of the rest of the string section"},{"id":"i26","sectionId":"s10","title":"Second Violin","description":"The Second Violin section usually sits next to its colleagues the First Violins, although some composers ask for them to be sat opposite the Firsts to produce an antiphonal, or alternating, effect in the music. Typically the Second Violins will play the harmony lines in the music, while the First Violins play the melodies.","image":"assets\/imgsupl\/RG6.0_0.50492100_1508239384_3666_instruments_image_violin.jpg","footerTitle":"Violin Factfile","footerCopy":"\u2022 A violin\u2019s strings are tuned to the notes G, D, A and E\r\n\r\n\u2022 Violin strings were once made out of \u201ccatgut\u201d, although it was actually the gut of a sheep. Today, strings are usually steel\r\n\r\n\u2022 One of the most celebrated violinists of all time, Nicolo Paganini (died 1840), had such an astonishing technique for his time that it was rumoured that he sold his soul to the Devil in exchange for his talent\r\n\r\n\u2022 Playing the violin burns 170 calories an hour"},{"id":"i6","sectionId":"s10","title":"Viola","description":"Unless you put a violin next to a viola to provide comparisons, it\u2019s very difficult to tell the difference on sight. The viola is slightly larger than the violin, and has differently tuned strings, but otherwise is pretty much identical \u2013 held under the chin and played with a bow or plucked.
The sound of the viola, however, is very different. It has a much more mellow tone, deeper and more intense. As the middle instrument of the string family, often playing uncomplicated parts, it can be the brunt of jokes about it being a second class citizen, but actually was favoured by composers such as Mozart and Brahms.","image":"assets\/imgsupl\/RG6.0_0.64873200_1508239412_3a4d_instruments_image_viola.jpg","footerTitle":"Viola Factfile","footerCopy":"\u2022 A viola\u2019s strings are tuned to the notes C, G, D and A\r\n\r\n\u2022 Composers who played the viola include Mozart, Britten, Dvorak, Mendelssohn and Beethoven\r\n\r\n\u2022 Violists read music written in a clef called Alto Clef, which is only used by one other instrument in the orchestra, the alto trombone\r\n\r\n\u2022 JOKE! What's the difference between a Violin and a Viola? A Viola burns longer.\r\n"},{"id":"i7","sectionId":"s10","title":"Cello","description":"Like the violin and viola, the cello has four strings and is played using a bow or plucked, but has one major difference \u2013 it is played vertically, resting on the floor using a spike protruding from the bottom. The cello has slightly different roots from violins and violas, being born from early instruments called viols.
The cello is a bass instrument, playing the lowest notes of the music, although it is also capable of playing high notes, which are very plaintive and lend it its reputation for being the closest instrument to the sound of a human voice.
The cellos usually sit at the front of the stage opposite the First Violins, and number around six to ten in the section. ","image":"assets\/imgsupl\/RG6.0_0.69154900_1508239255_5083_instruments_image_cello.jpg","footerTitle":"Cello Factfile","footerCopy":"\u2022 Like the viola, the cello\u2019s four strings are tuned to C, G, D and A, but sound an octave (8 notes) lower than the viola\r\n\r\n\u2022 The word \u2018cello\u2019 is actually short for \u2018violoncello\u2019, literally \u201csmall large viol\u201d\r\n\r\n\u2022 Some early cellos had 5 strings\r\n\r\n\u2022 The plural of cello is actually celli\r\n"},{"id":"i8","sectionId":"s10","title":"Double Bass","description":"The daddy of the string family, the double bass is the largest and lowest stringed instrument. Being so large it\u2019s usually played sitting on a high stool or standing up, and the basses sit at the very back of the orchestra. Because of its size it\u2019s physically demanding to play \u2013 just pressing down the thick strings requires a lot of effort!
Like the other stringed instruments it\u2019s played with a bow or plucked and had four strings. Some double basses have an extension on their lowest string to play even lower notes. The notes are so low that it\u2019s not a very loud instrument and so there\u2019s often up to 10 or 12 bassists in the orchestra to provide enough volume.","image":"assets\/imgsupl\/RG6.0_0.19634300_1508239533_ae55_instruments_image_e-bass.jpg","footerTitle":"Double Bass Factfile","footerCopy":"\u2022 The double bass\u2019 strings are usually tuned to E, A, D and G, but unlike the others in the string family this can vary from country to country, depending on traditions\r\n\r\n\u2022 Solo parts for orchestral double bassists are rare as its size makes intricate writing more difficult\r\n\r\n\u2022 Double Basses can often be found moonlighting in wind and brass ensembles!\r\n\r\n\u2022 The biggest Double Bass was built in Paris in 1850 and was 3.5 metres tall"},{"id":"i10","sectionId":"s12","title":"Flute","description":"The highest member of the woodwind family is not, as the name might suggest, usually made of wood. You can probably spot these instruments shining out from the orchestra, since they\u2019re most commonly made of highly polished metal \u2013 sometimes even silver or gold.
The flute has roots even more ancient than the violin, recently discovered ones being over 45,000 years old. The flute\u2019s sound is produced by blowing air across the hole (similar to how you might play a bottle!) with the notes changed using the keys along its body. The flute has a bright and perky sound which means it can easily travel over the sound of the orchestra.
Orchestras usually have two or three flutes, and you might also see some of the flute\u2019s cousins \u2013 the tiny shrill piccolo, the mellow and soulful alto flute, or if you\u2019re really lucky, the frankly odd looking bass and contrabass flutes.
","image":"assets\/imgsupl\/RG6.0_0.71528000_1508257952_cb64_instruments_image_flute.jpg","footerTitle":"Flute Factfile","footerCopy":"\u2022 The flute is pitched in the key of C, and has a range of approximately 3 octaves\r\n\r\n\u2022 George Washington and Leonardo da Vinci played the flute\r\n\r\n\u2022 Flutes were first held sideways in China about 3000 years ago\r\n\r\n\u2022 The world\u2019s most expensive flute was made of platinum and was auctioned for $187,000\r\n"},{"id":"i24","sectionId":"s12","title":"Piccolo","description":"The baby of the flute family, the piccolo (Italian for small) is basically a half-size flute. It has the same fingerings as a normal sized flute (although smaller fingers are an advantage!) and is played in the same manner.
Flautists sometimes \u2018double\u2019 (play both) on piccolo, but it\u2019s a very frequently used member of the orchestra so often a player will be a specialist in piccolo and only play that instrument. It has a brilliant and sparkling tone and because it sounds an octave (8 notes) above the flute it is used to accompany melody lines to add twinkle.","image":"assets\/imgsupl\/RG6.0_0.52163100_1508257961_9812_instruments_image_iccolo.jpg","footerTitle":"Piccolo Factfile","footerCopy":"\u2022 The piccolo is pitched in C\r\n\r\n\u2022 Although piccolo is Italian for small, in Italy it\u2019s known as an Ottavino\r\n\r\n\u2022 The piccolo was invented by Theobold Boehm, a flautist from Munich\r\n\r\n\u2022 The piccolo plays the highest notes in the orchestra"},{"id":"i11","sectionId":"s12","title":"Oboe","description":"Sitting next to the flutes on the front row of the woodwind section, the oboe is actually made of wood. The name \u2018oboe\u2019 came from the French \u2018hautbois\u2019, literally \u2018high wood\u2019, as it was known in the 17th century.
The sound of the oboe is produced by blowing into a reed in the top of the instrument \u2013 which means that oboists have to master not only the art of playing the instrument, but also carving the delicate reeds to suit their own mouths. The oboe\u2019s sound is very pure and easily heard \u2013 you\u2019ll spot the oboe easily right at the start of concerts as they will play the A to which the rest of the orchestra tunes.
Usually there will be two or three oboes in the orchestra, frequently joined by its cousin the Cor Anglais (English horn \u2013 which is neither English, nor a horn\u2026) and sometimes by rarer relatives such as the Oboe d\u2019Amore, bass oboe and Heckelphone.","image":"assets\/imgsupl\/RG6.0_0.82579100_1508257972_dd65_instruments_image_oboe.jpg","footerTitle":"Oboe Factfile","footerCopy":"\u2022 The oboe is pitched in the key of C, with a range of two and a half octaves\r\n\r\n\u2022 The modern oboe is most commonly made from grenadilla, also known as African Blackwood\r\n\r\n\u2022 Oboists often get teased that their instrument sounds like a duck \u2013 Prokofiev even used the instrument to represent the duck in Peter and the Wolf\r\n\r\n\u2022 The fastest oboe player in the world, Jack Cozen Harel, played Nicolai Rimsky-Korsakov\u2019s Flight of the Bumble Bee in 26.1 Seconds"},{"id":"i12","sectionId":"s12","title":"Clarinet","description":"Usually found behind the flutes in the orchestra, the clarinet is most similar to an oboe in how it looks (made from the same wood) and is played (pointing downwards), but that\u2019s where the similarity ends. It is played by blowing across a single reed, rather than the oboes\u2019 double one, which is much easier to handle.
The clarinet has a very wide range, the largest of all the woodwinds, and its sounds is very flexible \u2013 from rich and dark in the bottom, through bright and sweet in the middle, to piercing and shrill at the top. It makes the clarinet a popular addition to other genres of band as well as orchestras \u2013 jazz and Klezmer, to name but two.
Clarinets also come in a variety of keys and sizes \u2013 a Bb clarinet being the most commonly used in orchestras, with A clarinets joining them on occasion. It also has several common cousins, like the baby Eb clarinet and the bass clarinet. You might also see Basset-horns, contrabass clarinets and piccolo clarinets.
","image":"assets\/imgsupl\/RG6.0_0.12781000_1508257996_c83a_instruments_image_arinet.jpg","footerTitle":"Clarinet Factfile","footerCopy":"\u2022 The clarinet has a range of around four and a half octaves. Pitched in keys other than C, the clarinettist has to \u2018transpose\u2019 in order to sound with the rest of the orchestra!\r\n\r\n\u2022 Steven Spielberg can be seen playing the clarinet in an orchestra early on in his movie Jaws.\r\n\r\n\u2022 The clarinet was the last woodwind instrument to be included in the symphony orchestra\r\n\r\n\u2022 The LSO\u2019s former Principal Clarinet Jack Brymer is one of the best known clarinettists of recent times because of his prolific teaching commitments and books on technique"},{"id":"i15","sectionId":"s12","title":"Bassoon","description":"The bass member of the woodwind family is another double reed instrument like the oboe. The reed is attached to a long metal tube called the crook, which connects to the bassoon. The longest instrument of the orchestra, unfolded it would stretch 2.5 metres. It\u2019s so unwieldy that most bassoonists use a neck sling or shoulder harness to support the instrument while playing \u2013 held diagonally downwards unlike the other woodwinds.
The bassoon\u2019s sound is quite flexible and full of character \u2013 it often represents the clown of the piece or gruff lumbering animals, but can also be plaintive and lyrical. It is agile and can produce quick running notes.
Like the other woodwinds, there are usually two or three bassoons in the orchestra, with its big cousin the contra-bassoon quite often present. It\u2019s even longer than the bassoon, folded over more times, and requires a small spike on the bottom fold for extra support.","image":"assets\/imgsupl\/RG6.0_0.68499600_1508258014_e261_instruments_image_assoon.jpg","footerTitle":"Bassoon Factfile","footerCopy":"\u2022 The bassoon is a C instrument, and has a range of about 3 and a half octaves\r\n\r\n\u2022 The Italian for bassoon is Fagotto, which literally means \u2018bundle of sticks\u2019\r\n\r\n\u2022 Modern bassoons are usually made of maple\r\n\r\n\u2022 A bassoonist\u2019s left thumb has 10 keys to operate!\r\n"},{"id":"i31","sectionId":"s12","title":"Contrabassoon","description":"The contrabassoon is quite enormous \u2013\u00a0twice the length of the bassoon to be exact \u2013\u00a0meaning it sounds an octave lower and has to double up on itself twice, like a paperclip, to be playable by a seated human. While Beethoven was the first to write an entirely separate contrabassoon part in his 5th symphony, there are clues that it may have been used as far back as Bach.
However, the original iterations of the instrument were generally regarded as weak in sonority and dynamics, so its parts were often played on an alternate instrument like the serpent or contrabass sarrusophone (both of which are definitely worth looking up on Wikipedia!) It wasn\u2019t until the late 19th century that significant improvements were made to the instrument, but after that it became increasingly common to hear the clattering, machine-like low end cropping up in orchestral repertoire.","image":"assets\/imgsupl\/RG6.0_0.08752100_1508258025_7968_instruments_image_assoon.jpg","footerTitle":"","footerCopy":""},{"id":"i18","sectionId":"s11","title":"Horn","description":"Sometimes called the French horn, the horn is actually technically German in origin. It\u2019s from the brass family, and is made of, well, brass. The sounds are produced via the players lips on the cup-shaped mouthpiece \u2013 notes are changed by adjusting both the lip tension, using the valves to lengthen or shorten the tubing, and by putting a hand inside the bell to make the instrument longer.
The modern horn is a descendent of the hunting horn, and its sound is often used by composers to signify a hunt. It is also capable of producing a haunted and distant sound, and is well used in film music.
The horns usually sit on the opposite side of the orchestra to their other brass colleagues, and usually number four. They work in pairs, with horns 1 and 3 taking high parts and horns 2 and 4 taking low parts. There is also sometimes an extra horn called a bumper, who can assist the principal in solo passages or to make parts louder.","image":"assets\/imgsupl\/RG6.0_0.75400700_1508258550_21c6_instruments_image_horn.jpg","footerTitle":"Horn Factfile","footerCopy":"\u2022 The horn is pitched in F, and sounds four notes higher than written on the page\r\n\r\n\u2022 Richard Strauss wrote parts for 20 horns in his Alpine Symphony\r\n\r\n\u2022 The actor Ewan McGregor is known to have learnt the horn\r\n\r\n\u2022 If its tubing were stretched straight out it would be about 6 metres long\r\n"},{"id":"i16","sectionId":"s11","title":"Trumpet","description":"The highest member of the brass family is the trumpet, and it\u2019s also the oldest musical instrument, dating back to around 1500BC. Like the horn the sound is produced by varying lip pressure on the mouthpiece and by piston valves on the top which lengthen the tubing and therefore lower the pitch. It wasn\u2019t until after Brahms that valved trumpets were used in orchestras, though, which was the point at which it really took off as it could play more notes!
The sound of the trumpet can be very loud or very soft, and is often equated with military style. Trumpets are capable of producing a huge variety of effects \u2013 flutter tonguing, sliding between notes, growling, making noises through the instrument and by an unending variety of mutes which are put into the bell.
There are often four trumpets in the orchestra, and it has a variety of relatives, many of which rarely make an appearance, but are much more common in brass or jazz bands \u2013 cornet, flugelhorn, bugle, bass trumpet and piccolo trumpet.","image":"assets\/imgsupl\/RG6.0_0.80714800_1508258562_1b30_instruments_image_rumpet.jpg","footerTitle":"Trumpet Factfile","footerCopy":"\u2022 Trumpets are commonly pitched in Bb, but you can also find trumpets in F, C, D, Eb, E, G and A\r\n\r\n\u2022 You can play 45 distinct notes just using the trumpet\u2019s three valves\r\n\r\n\u2022 A trumpet contains about 6 and a half feet of tubing\r\n\r\n\u2022 The LSO\u2019s former Principal Trumpet Maurice Murphy is best known for playing the high note at the very start of the Star Wars Main Title\r\n"},{"id":"i17","sectionId":"s11","title":"Trombone","description":"The name trombone comes from the Italian Tromba (trumpet) and \u2013one (large), and therefore literally is a \u2018large trumpet\u2019. It is though the only brass instrument that doesn\u2019t have valves (although some have one to make small adjustments), instead the notes are changed by changing the length of the tube using a large slide.
The trombone is made of brass, although recently some have been made of plastic as a cheaper and more robust alternative \u2013 it also means they can be made in a variety of jazzy colours!
The trombone you will commonly see in symphony orchestras is a tenor trombone, although it\u2019s rarely called that. You might also see a bass trombone sitting between the trombones and the tuba, a larger and lower pitched instrument.","image":"assets\/imgsupl\/RG6.0_0.27620200_1508258572_9ba4_instruments_image_ombone.jpg","footerTitle":"Trombone Factfile","footerCopy":"\u2022 Unwound, the trombone would be about 9 feet long\r\n\r\n\u2022 The composer usually credited with introducing the trombone into the orchestra is Beethoven, in the last movement of his Fifth Symphony\r\n\r\n\u2022 There are seven different positions for the trombone slide\r\n\r\n\u2022 Richard Strauss once said \u201cDon\u2019t look at the trombones, it only encourages them\u201d\r\n"},{"id":"i22","sectionId":"s13","title":"Timpani","description":"Among the array of percussion instruments at the back of the orchestra the one constant is the timpani, or \u2018kettle drums\u2019 - so called because of their copper bowl shape. Across the top of the drum is stretched a skin, which is usually plastic but can be made of calf skin or goat skin. The drum is hit with sticks, the heads of which are different materials and softness which the player chooses to produce different qualities of sound.
There are usually two or more timpani present at any one time depending on the needs of the music, gradually reducing in size to produce higher notes \u2013 four or five drums is about average, but up to 16 has been known! Timpanists can produce different notes from the drum by use of tuning foot pedals which alter the tightness of the skin, and very modern \u201ctimps\u201d also have micro-tuning levers and switches for ultimate control.
The timpanist in the orchestra, although a trained percussionist, specialises in timpani playing and very rarely plays any of the other percussion instruments. Or as the conductor Norman del Mar once put it, \u201cking of his own province\u201d!","image":"assets\/imgsupl\/RG6.0_0.93703900_1508258594_1244_instruments_image_impani.jpg","footerTitle":"Timpani Factfile","footerCopy":"\u2022 Timpani have been part of the orchestra since the late 1600s, but versions have been around since the 13th century\r\n\r\n\u2022 Each drum has a range of 5 notes \r\n\r\n\u2022 The singular of timpani is timpano, although no one uses that these days!\r\n\r\n\u2022 Timpani enjoy a good sideline in rock music, especially during the 1960s and 1970s Prog Rock era"},{"id":"i35","sectionId":"s11","title":"Bass Trombone","description":"The name trombone comes from the Italian Tromba (trumpet) and \u2013one (large), and therefore literally is a \u2018large trumpet\u2019. It is though the only brass instrument that doesn\u2019t have valves (although some have one to make small adjustments), instead the notes are changed by changing the length of the tube using a large slide.
The trombone is made of brass, although recently some have been made of plastic as a cheaper and more robust alternative \u2013 it also means they can be made in a variety of jazzy colours!
The trombone you will commonly see in symphony orchestras is a tenor trombone, although it\u2019s rarely called that. You might also see a bass trombone sitting between the trombones and the tuba, a larger and lower pitched instrument.","image":"assets\/imgsupl\/RG6.0_0.39153600_1601306106_4005_instruments_image_ombone.jpg","footerTitle":"Trombone Factfile","footerCopy":"\u2022 Unwound, the trombone would be about 9 feet long\r\n\r\n\u2022 The composer usually credited with introducing the trombone into the orchestra is Beethoven, in the last movement of his Fifth Symphony\r\n\r\n\u2022 There are seven different positions for the trombone slide\r\n\r\n\u2022 Richard Strauss once said \u201cDon\u2019t look at the trombones, it only encourages them\u201d\r\n"}],"sections":[{"id":"s10","colour":"#2d9b93","title":"Strings"},{"id":"s12","colour":"#1466c6","title":"Woodwind"},{"id":"s11","colour":"#f2b623","title":"Brass"},{"id":"s13","colour":"#826aa5","title":"Percussion"}],"masterclasses":[{"id":"m58","instrumentId":"i26","title":"Violin Masterclass","artist":"Alix Lagasse","instrument":"Violin","description":"LSO Second Violin Alix Lagasse actually plays in the First Violins for this performance. What's the difference between two? Alix discusses the role of the Seconds with Rachel Leach, alongside looking at specific excerpts from Beethoven's symphony, and reveals how her perception of different sections of the work as different colours affects her interpretation.","footerTitle":"","footerCopy":"","linkTitle":"","video":"https:\/\/lsoplay.s3.eu-west-1.amazonaws.com\/2017\/Beethoven_Five\/ALIX_02_web.mp4","mobileVideo":"https:\/\/lsoplay.s3.eu-west-1.amazonaws.com\/2017\/Beethoven_Five\/ALIX_02_mobile.mp4","videoLinks":[]},{"id":"m59","instrumentId":"i35","title":"Bass Trombone Masterclass","artist":"Paul Milner","instrument":"Bass Trombone","description":"Beethoven's Fifth Symphony was the first major symphonic work to feature the trombone, however Paul Milner's part - as Principal Bass Trombone of the LSO - is perhaps less momentous than this occasion would suggest. He tells Rachel Leach how he deals with having to spend long periods of the symphony without playing, and debates what it was that prompted Beethoven to first turn to the trombones.","footerTitle":"","footerCopy":"","linkTitle":"","video":"https:\/\/lsoplay.s3.eu-west-1.amazonaws.com\/2017\/Beethoven_Five\/Paul_Edit_CR01_web.mp4","mobileVideo":"https:\/\/lsoplay.s3.eu-west-1.amazonaws.com\/2017\/Beethoven_Five\/Paul_Edit_CR01_mobile.mp4","videoLinks":[]},{"id":"m60","instrumentId":"i11","title":"Oboe Masterclass","artist":"Olivier Stankiewicz","instrument":"Oboe","description":"The role of the oboe is almost unique in Beethoven's Fifth Symphony in that it features as a solo instrument in its own mini cadenza during the first movement. Hear LSO Principal Oboe Olivier Stankiewicz discuss his approach to the work with Rachel Leach, as they try to determine which side of the love\/hate divide Beethoven's relationship with the instrument falls.","footerTitle":"","footerCopy":"","linkTitle":"","video":"https:\/\/lsoplay.s3.eu-west-1.amazonaws.com\/2017\/Beethoven_Five\/Olivier_Edit_CR01_web.mp4","mobileVideo":"https:\/\/lsoplay.s3.eu-west-1.amazonaws.com\/2017\/Beethoven_Five\/Olivier_Edit_CR01_mobile.mp4","videoLinks":[]},{"id":"m61","instrumentId":"","title":"Conductor Interview","artist":"Fran\u00e7ois-Xavier Roth","instrument":"","description":"Rachel Leach speaks to conductor Fran\u00e7ois-Xaiver Roth about his relationship with the LSO and Beethoven's Fifth Symphony.","footerTitle":"","footerCopy":"","linkTitle":"","video":"https:\/\/lsoplay.s3.eu-west-1.amazonaws.com\/2017\/Beethoven_Five\/FXR_web.mp4","mobileVideo":"https:\/\/lsoplay.s3.eu-west-1.amazonaws.com\/2017\/Beethoven_Five\/FXR_mobile.mp4","videoLinks":[]},{"id":"m62","instrumentId":"","title":"Listening Guide - Beethoven's Life","artist":"Rachel Leach","instrument":"","description":"Rachel Leach presents an engaging exploration of Beethoven's life, and the circumstances by which he came to compose his fifth symphony.","footerTitle":"","footerCopy":"","linkTitle":"","video":"https:\/\/lsoplay.s3.eu-west-1.amazonaws.com\/2017\/Beethoven_Five\/LSO_Intro_Film_web.mp4","mobileVideo":"https:\/\/lsoplay.s3.eu-west-1.amazonaws.com\/2017\/Beethoven_Five\/LSO_Intro_Film_mobile.mp4","videoLinks":[]},{"id":"m63","instrumentId":"","title":"Listening Guide - Movement One","artist":"","instrument":"","description":"Rachel Leach presents musical analysis of the first movement of Beethoven's Fifth Symphony, including the iconic opening rhythm.","footerTitle":"","footerCopy":"","linkTitle":"","video":"https:\/\/lsoplay.s3.eu-west-1.amazonaws.com\/2017\/Beethoven_Five\/MVT_1_web.mp4","mobileVideo":"https:\/\/lsoplay.s3.eu-west-1.amazonaws.com\/2017\/Beethoven_Five\/MVT_1_mobile.mp4","videoLinks":[]},{"id":"m64","instrumentId":"","title":"Listening Guide - Movement Two","artist":"Rachel Leach","instrument":"","description":"Rachel Leach's musical analysis of Beethoven's Fifth Symphony continues with the second movement.","footerTitle":"","footerCopy":"","linkTitle":"","video":"https:\/\/lsoplay.s3.eu-west-1.amazonaws.com\/2017\/Beethoven_Five\/mvt_2_web.mp4","mobileVideo":"https:\/\/lsoplay.s3.eu-west-1.amazonaws.com\/2017\/Beethoven_Five\/mvt_2_mobile.mp4","videoLinks":[]},{"id":"m65","instrumentId":"","title":"Listening Guide - Movement Three","artist":"","instrument":"","description":"Rachel Leach's musical analysis of Beethoven's Fifth Symphony continues with the third movement.","footerTitle":"","footerCopy":"","linkTitle":"","video":"https:\/\/lsoplay.s3.eu-west-1.amazonaws.com\/2017\/Beethoven_Five\/MVT_3_web.mp4","mobileVideo":"https:\/\/lsoplay.s3.eu-west-1.amazonaws.com\/2017\/Beethoven_Five\/MVT_3_mobile.mp4","videoLinks":[]},{"id":"m66","instrumentId":"","title":"Listening Guide - Movement Four","artist":"Rachel Leach","instrument":"","description":"Our musical examination of Beethoven's Fifth Symphony concludes as Rachel Leach looks at the fourth, and last, movement of the symphony.","footerTitle":"","footerCopy":"","linkTitle":"","video":"https:\/\/lsoplay.s3.eu-west-1.amazonaws.com\/2017\/Beethoven_Five\/MVT_4_web.mp4","mobileVideo":"https:\/\/lsoplay.s3.eu-west-1.amazonaws.com\/2017\/Beethoven_Five\/MVT_4_mobile.mp4","videoLinks":[]}],"cameras":[{"id":"c67","posX":"-1","posY":"0","title":"Strings"},{"id":"c68","posX":"4","posY":"9","title":"Violas, Brass & Wind"},{"id":"c69","posX":"25","posY":"9","title":"Strings, Wind & Horns"},{"id":"c70","posX":"7","posY":"7","title":"Wind & Horns"},{"id":"c71","posX":"20","posY":"6","title":"Conductor & Wind"},{"id":"c72","posX":"10","posY":"4","title":"Conductor"}],"downloads":[{"id":"d20","label":"Resources for Key Stage 2","sublabel":"","title":"Resources for Key Stage 2","image":"","description":"","footerTitle":"","footerCopy":"","links":[{"title":"iBook for Apple Devices","url":"https:\/\/books.apple.com\/us\/book\/beethoven-5-ks2\/id6468991199?ls=1"},{"title":"PDF","url":"https:\/\/playapi.lso.co.uk\/download\/42\/Beethoven_5_KS2.pdf"}]},{"id":"d21","label":"Resources for Key Stage 3","sublabel":"","title":"Resources for Key Stage 3","image":"","description":"","footerTitle":"","footerCopy":"","links":[{"title":"PDF","url":"https:\/\/playapi.lso.co.uk\/download\/43\/Beethoven_5_KS3.pdf"}]}]},{"id":"perf9","slug":"Kendalls-the-spark-catchers","animationSlug":"kendall","title":"Hannah Kendall's The Spark Catchers","titleMobile":"Hannah Kendall's The Spark Catchers","date":"07\/10\/2020","location":"LSO St Luke's, London","image":"assets\/imgsupl\/RG6.0_0.06159100_1657813063_cb53_performances_homepage_image__image.jpg","desktopFeed":"https:\/\/lsoplay.s3.eu-west-1.amazonaws.com\/2017\/Spark_Catchers\/Kendall_desktop.mp4","mobileFeed":"https:\/\/lsoplay.s3.eu-west-1.amazonaws.com\/2017\/Spark_Catchers\/Kendall_mobile.mp4","viewports":6,"share":{"image":"","title":"","copy":"","twitterCopy":"Check out Hannah Kendall's The Spark Catchers on Play by @londonsymphony"},"conductedBy":"Kerem Hasan","artists":[{"id":"k255","posX":0,"posY":0,"instrumentId":"iConductor","title":"Kerem Hasan","description":"Kerem Hasan has been Chief Conductor of the Tiroler Symphonieorchester-Innsbruck since September 2019. In summer 2017, the young British conductor laid the foundations for a very promising international career by winning the Nestl\u00e9 and Salzburg Young Conductors Award. Prior to this, he had already attracted attention as a finalist in the Donatella Flick LSO Conducting Competition in London and as Associate Conductor of Welsh National Opera.\r\n\r\nKerem Hasan\u2019s previous engagements have included opera performances in Glyndebourne (Mozart's The Magic Flute), with Welsh National Opera (Verdi's The Force of Destiny), and at the Tiroler Landestheater Innsbruck (Saint-Sa\u00ebns' Samson et Dalila, Verdi's Rigoletto). He has conducted concerts with the Concertgebouworkest, London Symphony Orchestra, ORF Radio-Symphonieorchester Wien, Netherlands Radio Philharmonic Orchestra, Danish National Symphony Orchestra, Filarmonica Teatro La Fenice, New Japan Philharmonic and Royal Liverpool Philharmonic Orchestra. On the invitation of his mentor Bernard Haitink, he assisted him with the Chicago Symphony Orchestra, Concertgebouworkest and Symphonieorchester des Bayerischen Rundfunks.\r\n\r\nKerem Hasan, born in London in 1992, studied piano and conducting at the Royal Conservatoire of Scotland. Later, he continued his education at the University of Music 'Franz Liszt' Weimar, and at the Z\u00fcrich University of the Arts with Johannes Schlaefli.","image":"","footerTitle":"","footerCopy":""},{"id":"a656","posX":"1","posY":"2","instrumentId":"i5","title":"Clare Duckworth","description":"","image":"assets\/imgsupl\/RG6.0_0.95505800_1508431017_508c_musicians_image_kworth.jpg","footerTitle":"","footerCopy":""},{"id":"a658","posX":"3","posY":"3","instrumentId":"i5","title":"Maxine Kwok","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a685","posX":"2","posY":"2","instrumentId":"i5","title":"Roman Simovic","description":"Roman Simovic's brilliant virtuosity and seemingly-inborn musicality, fueled by a limitless imagination, has taken him throughout all continents performing on many of world's leading stages. As soloist, Simovic has appeared with the world leading orchestras: London Symphony Orchestra, Mariinsky Theatre Symphony Orchestra, Franz Liszt Chamber Orchestra and Camerata Bern with some of the world\u2019s greatest conductors, including Valery Gergiev, Antonio Pappano and Kristian Jarvi. ","image":"assets\/imgsupl\/RG6.0_0.62678400_1508243918_f05c_musicians_image_imoniv.jpg","footerTitle":"","footerCopy":"Aside from being an active soloist, Roman Simovic is an avid chamber musician, and is a founding member of the distinguished Rubikon String Quartet. As an educator, he has presented master-classes in the US, UK, South Korea, Serbia, Montenegro, Israel. Roman Simovic plays a 1752 \"J. B. Guadagnini\" violin."},{"id":"a695","posX":"1","posY":"4","instrumentId":"i5","title":"William Melvin","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a696","posX":"2","posY":"3","instrumentId":"i5","title":"Harriet Rayfield","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a697","posX":"3","posY":"4","instrumentId":"i5","title":"Elizabeth Pigram","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a698","posX":"3","posY":"5","instrumentId":"i5","title":"Gerald Gregory","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a699","posX":"2","posY":"5","instrumentId":"i5","title":"Claire Parfitt","description":"","image":"assets\/imgsupl\/RG6.0_0.71525400_1508430942_0f17_musicians_image_arfitt.jpg","footerTitle":"","footerCopy":""},{"id":"a700","posX":"2","posY":"4","instrumentId":"i5","title":"Laura Dixon","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a701","posX":"4","posY":"5","instrumentId":"i5","title":"Ginette Decuyper","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a702","posX":"1","posY":"3","instrumentId":"i5","title":"Laurent Quenelle","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a659","posX":"7","posY":"2","instrumentId":"i26","title":"David Alberman","description":"Born in London, David Alberman (violin) received his LRAM diploma from the Royal Academy of Music at the age of sixteen. After Classics at Oxford University for four years, a long-standing interest in contemporary music led him in 1986 to join the Arditti Quartet. A Principal of the London Symphony Orchestra since 1999, he has played as guest concertmaster with the LSO itself, the BBC Symphony Orchestra, the London Philharmonic Orchestra and the London Sinfonietta. ","image":"assets\/imgsupl\/RG6.0_0.14798200_1508246996_83ff_musicians_image_berman.jpg","footerTitle":"","footerCopy":"He has appeared as soloist with, among others, the Orchestre de Lille, the BBC National Orchestra of Wales, and the ORF Radio Symphony Orchestra in Vienna. In 1995 he formed a Duo with the pianist and composer Rolf Hind, which has appeared at many major European festivals and has broadcast on, among others, the BBC, WDR, SWR, and RTBF in Brussels. David Aberman plays a Guarneri Del Gesu violin of 1736."},{"id":"a693","posX":"9","posY":"4","instrumentId":"i26","title":"Belinda McFarlane","description":"","image":"assets\/imgsupl\/RG6.0_0.06030600_1508430808_b066_musicians_image_arlane.jpg","footerTitle":"","footerCopy":""},{"id":"a703","posX":"6","posY":"3","instrumentId":"i26","title":"Sarah Quinn","description":"Sarah Quinn was born in Dublin and began playing the violin at the age of eight. She continued her studies at the Royal College of Music in London where she was the recipient of many awards and prizes. While at the Royal College of Music, she took part in the LSO String Experience Scheme. Sarah joined the LSO in 1998 and particularly enjoys working with the LSO Discovery programme. She is also a keen chamber musician.","image":"assets\/imgsupl\/RG6.0_0.70380200_1508246914_d964_musicians_image_-quinn.jpg","footerTitle":"","footerCopy":""},{"id":"a704","posX":"5","posY":"3","instrumentId":"i26","title":"Miya Vaisanen","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a694","posX":"18","posY":"4","instrumentId":"i6","title":"Anna Bastow","description":"","image":"assets\/imgsupl\/RG6.0_0.43889000_1508430687_f145_musicians_image_bastow.jpg","footerTitle":"","footerCopy":""},{"id":"a708","posX":"22","posY":"4","instrumentId":"i6","title":"Robert Turner","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a709","posX":"20","posY":"2","instrumentId":"i6","title":"Edward Vanderspar","description":"Edward Vanderspar began to play the viola at the age of ten and went on to study with Nannie Jamieson and Helen Dowling in London, and Max Rostal and Rudolf Barshai in Switzerland. Before joining the LSO in 1991, Edward was a member of the Hurwitz Piano Quartet and the Amphian String Quartet, and played as Principal Viola with a number of London orchestras. ","image":"assets\/imgsupl\/RG6.0_0.68954100_1508250465_5abd_musicians_image_erspar.jpg","footerTitle":"","footerCopy":"With the LSO, Edward has performed Don Quixote with Mstislav Rostropovich and Moray Welsh, and has taken part in many chamber music concerts with distinguished guest artists. Edward plays a viola made by the Italian master Antonio Brenzi in 1628. The instrument was bought for the LSO for Edward to play for the rest of his life, thanks to a generous grant from the Foundation for Sports and the Arts."},{"id":"a710","posX":"21","posY":"3","instrumentId":"i6","title":"Stephen Doman","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a711","posX":"19","posY":"3","instrumentId":"i6","title":"Gillianne Haddow","description":"Gillianne Haddow joined the London Symphony Orchestra in January 1999. Until recently, she combined her engagement with the LSO with her position as Principal Viola with the acclaimed Scottish Ensemble. As a solo and chamber musician she attracts commissions from leading contemporary composers such as Sally Beamish and Edward Maguire, and performs with groups such as the Nash Ensemble and the London Sinfonietta. ","image":"assets\/imgsupl\/RG6.0_0.85634100_1508247598_61b0_musicians_image_haddow.jpg","footerTitle":"","footerCopy":"Gillianne has also appeared as Guest Principal Viola with the City of Birmingham Symphony Orchestra, the Royal Liverpool Philharmonic Orchestra, the Scottish Chamber Orchestra, and the BBC Scottish Symphony Orchestra."},{"id":"a712","posX":"20","posY":"4","instrumentId":"i6","title":"Carol Ella\u00a0","description":"Scottish violist Carol Ella studied with Simon Rowland-Jones at the Royal College of Music in London, where she graduated with Distinction. She has worked with various British orchestras including the LSO (where she won the Promis Award), Philharmonia, RSNO and the John Wilson Orchestra.
Carol is a founder member of Liquid Architecture, a prize-winning octet currently on the Making Music scheme.","image":"","footerTitle":"","footerCopy":""},{"id":"a660","posX":"25","posY":"2","instrumentId":"i7","title":"Alastair Blayden","description":"Alastair Blayden was a music scholar at Winchester College and a Foundation Scholar at the Royal College of Music. He studied with Joan Dickson and William Pleeth and also received chamber music coaching at Aldeburgh with the Borodin Quartet and in Cologne with the Amadeus Quartet.","image":"assets\/imgsupl\/RG6.0_0.88119300_1508247761_b80e_musicians_image_layden.jpg","footerTitle":"","footerCopy":"He was a founder member of the Dante Quartet with whom he regularly broadcasts. Alastair has held the position of Sub-Principal Cello with LSO since 1997. Alastair is also Professor of Cello at the Royal College of Music. He plays on a Celionatus (circa 1740) kindly lent to him by the LSO."},{"id":"a661","posX":"23","posY":"2","instrumentId":"i7","title":"Rebecca Gilliver","description":"Rebecca Gilliver is Principal cellist of the London Symphony Orchestra. Early success in national and international competitions led to critically acclaimed debut recitals at the Wigmore Hall in London and Carnegie Hall, New York. Rebecca has performed in major music festivals such as Bath, Bergen, and the Manchester International Cello Festival. A keen chamber musician, she has collaborated with international artists including Nikolai Znaider, Sarah Chang and Roger Vignoles with whom she recorded for BBC Radio 3. ","image":"assets\/imgsupl\/RG6.0_0.96076600_1508253186_7136_musicians_image_lliver.jpg","footerTitle":"","footerCopy":"She is a regular participant at IMS Prussia Cove. She has appeared as a soloist with the Halle and the Academy of St Martin in the Fields and is also featured on a CD of Enescu chamber music for the Naxos label. Originally joining the LSO as Co-principal in 2001, Rebecca was promoted to Principal two years ago. She has played guest principal with orchestras all around the world, including the Australian Chamber Orchestra, New Sinfonietta Amsterdam and most recently the World Orchestra for Peace."},{"id":"a662","posX":"25","posY":"3","instrumentId":"i7","title":"Laure Le Dantec","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a663","posX":"23","posY":"3","instrumentId":"i7","title":"Eve-Marie Caravassilis","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a664","posX":"24","posY":"4","instrumentId":"i7","title":"Noel Bradshaw","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a665","posX":"25","posY":"5","instrumentId":"i8","title":"Colin Paris","description":"Colin Paris studied at the Guildhall School of Music and Drama from 1974 to 1977 and in his final term at college was offered and accepted a position with the Bournemouth Symphony Orchestra. In 1979 Colin joined the BBC Symphony Orchestra, a position which he held for 2 years, leaving to pursue a freelance career during which he held the position of Principal Double Bass with the London Bach Orchestra. ","image":"assets\/imgsupl\/RG6.0_0.05607500_1508248116_6501_musicians_image_-paris.jpg","footerTitle":"","footerCopy":"In 1983 Colin joined the English National Opera Orchestra as Sub Principal Double Bass and moved to the London Symphony Orchestra in 1988. Colin has now worked with the London Symphony Orchestra for 25 years and holds the position of Co-Principal Double Bass. Alongside his work with the London Symphony Orchestra Colin is regularly works with the Royal Philharmonic Orchestra and the BBC Symphony Orchestra."},{"id":"a705","posX":"22","posY":"5","instrumentId":"i8","title":"Jani Pensola","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a706","posX":"23","posY":"5","instrumentId":"i8","title":"Joe Melvin","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a707","posX":"24","posY":"5","instrumentId":"i8","title":"Patrick Laurence","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a682","posX":"14","posY":"6","instrumentId":"i10","title":"Gareth Davies","description":"Gareth Davies studied at the Guildhall school of Music and Drama where he gained the highest marks in his year and won the Laurie Kennedy Memorial prize. At the age of 22, shortly after graduating he was appointed Principal flute with the Bournemouth Symphony Orchestra. During his time on the South coast, he recorded the Nielsen flute concerto on the Naxos label. In 2000 he was invited to join the London Symphony Orchestra as Principal Flute.","image":"assets\/imgsupl\/RG6.0_0.02140600_1508248331_0d6f_musicians_image_davies.jpg","footerTitle":"","footerCopy":"In the LSO he has performed as a soloist with Sir Colin Davis and Daniel Harding across Europe, and in 2004, the centenary year, he performed and recorded Quirk by Karl Jenkins, a concertante written especially for him. Gareth loves the variety of work which being a member of the orchestra entails. He has worked with most of the great maestri of our times, Gergiev, Colin Davis, Previn, Maazel, Janssons, Boulez, Rostropovitch and Haitink to name a few."},{"id":"a683","posX":"13","posY":"6","instrumentId":"i10","title":"Patricia Moynihan","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a684","posX":"12","posY":"6","instrumentId":"i24","title":"Sharon Williams","description":"Sharon Williams is the Principal Piccolo of the London Symphony Orchestra, one of the world's leading orchestras. Prior to that she was Principal Piccolo in the Royal Philharmonic Orchestra and the Hong Kong Philharmonic. She regularly works with most of Britain's major orchestras and freelances on film sessions and other commercial work.
","image":"assets\/imgsupl\/RG6.0_0.41043700_1508248424_fd89_musicians_image_lliams.jpg","footerTitle":"","footerCopy":"She is also currently Professor of piccolo at London's Guildhall School of Music and Drama and regularly gives masterclasses. Major conductors she has worked with include Valery Gergiev, Sir Colin Davis, Bernard Haitink, Lorin Maazel and Rostropovich. Sharon can be heard playing on the LSO Live label and many film scores including Star Wars and Harry Potter."},{"id":"a680","posX":"17","posY":"6","instrumentId":"i11","title":"Rosie Jenkins","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a681","posX":"16","posY":"6","instrumentId":"i11","title":"Olivier Stankiewicz","description":"Olivier Stankiewicz, whose extensive musical activity is characterised both by his remarkable curiosity and virtuosity, has constantly sought to expand his artistic scope and sources of inspiration.
Appointed principal oboe with the London Symphony Orchestra in May 2015, he has also performed with Amsterdam\u2019s Royal Concertegebouw and the Chamber Orchestra of Europe and served with Toulouse\u2019s Orchestre National du Capitole (ONCT) from 2011 to 2015. There, he recently performed the world premiere of Benjamin Attahir\u2019s oboe concerto Nur under Tugan Sokhiev. Since his first concerto appearance at the age of 16 with the Monte-Carlo Philharmonic, he has performed with the French National Orchestra, the Wallonie Royal Chamber Orchestra, the Pro-Arte orchestra of Hong-Kong and the Tokyo Sinfonietta.","image":"assets\/imgsupl\/RG6.0_0.48540000_1534521228_33a5_musicians_image_iewicz.jpg","footerTitle":"","footerCopy":"Named \u201cclassical revelation\u201d in 2013 by the French association ADAMI, Olivier Stankiewicz also took First Prize at the 10th International Oboe Competition of Japan, successively won the 2015 European and American YCA auditions in Leipzig and New-York, and the YCAT Auditions at the Wigmore Hall in London.\r\n\r\nOlivier\u2019s chamber music partners include Thomas Dunfort, Jean Rondeau, Amy Harman and the Castalian quartet. He has performed at the Prades international festival, the Brighton festival, and the Warsaw Opera. The Duo Widmung, co-founded with pianist Alvise Siniva, focusing in part on adaptations of vocal repertoire, has performed at Tokyo\u2019s Toppan Hall and at the Wigmore Hall.\r\n\r\nOlivier Stankiewicz comprehensive approach to musical performance has led him to study theory and conducting, in addition to oboe studies with Jacques Tys, David Walter, and Jean-Claude Jaboulay. He was in 2015 appointed oboe professor at the Royal College of Music in London."},{"id":"a678","posX":"15","posY":"7","instrumentId":"i12","title":"Chris Richards","description":"Chris studied at the Guildhall School of Music and Drama with Thea King, Julian Farrell and Joy Farrall. Whilst at the Guildhall, he won the Needlemakers' Wind Prize and reached the finals of the 2001 Shell\/LSO Competition where he performed Weber's first Clarinet Concerto with the London Symphony Orchestra. After his studies, he was appointed principal clarinet with the Northern Sinfonia at the Sage Gateshead and in 2010 became principal clarinet with the London Symphony Orchestra. He has also performed as a guest principal with most of the UK's leading orchestras.
Chris has appeared as a soloist with the City of Birmingham Symphony Orchestra, Northern Sinfonia, London Symphony Orchestra Chamber Ensemble, English Symphony Orchestra and Birmingham Contemporary Music Group with conductors including Thomas Zehetmair, Robin Ticciati, H. K. Gruber and Nicholas McGegan. He has also broadcast John Adams\u2019s Gnarly Buttons, Birtwistle's Linoi and the Strauss Duett-Concertino on BBC Radio 3. In 2008 Chris gave the premiere of Richard Rodney Bennett's Troubadour Music for clarinet and piano at the Wigmore Hall.
A regular performer of chamber music, Chris has played at Carnegie Hall, Wigmore Hall, LSO St Luke's, The Sage Gateshead and Aldeburgh Festival with artists such as the Aronowitz Ensemble, London Symphony Orchestra Chamber Ensemble, Ensemble 360, Thomas Ad\u00e8s, Pascal Rog\u00e9 and Howard Shelley. He is also a regular member of the John Wilson Orchestra.","image":"","footerTitle":"","footerCopy":""},{"id":"a679","posX":"14","posY":"7","instrumentId":"i12","title":"Chi-Yu Mo","description":"Chi-Yu graduated with First Class Honours and a PhD in Chemistry from St. John\u2019s College Cambridge. He then studied at the Royal Academy of Music, where he graduated with a DipRAM and won many prizes. He won the Britten-Pears Concerto Competition, and also was a wind finalist in the Royal Overseas League Music Competition. He was Principal E flat Clarinet of the RLPO, and joined the LSO in 1998. ","image":"assets\/imgsupl\/RG6.0_0.96038100_1508248695_c8fd_musicians_image_-yu-mo.jpg","footerTitle":"","footerCopy":"He has played Principal with many UK orchestras and with the Asia Philharmonic Orchestra, including performances as soloist under Myung Whun Chung. Chi-Yu has played with the Nash Ensemble and Endymion and recently he performed the Mozart Kegelstatt Trio and Reich's New York Counterpoint at LSO St Luke's and also featured with the Worldwide Chinese Woodwind Soloists Octet in Beijing. Chi-Yu is a Professor at the Royal Academy of Music and has given masterclasses in China, Kazakhstan, Spain and USA."},{"id":"a688","posX":"12","posY":"7","instrumentId":"i30","title":"Laurent Ben Slimane","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a677","posX":"16","posY":"7","instrumentId":"i15","title":"Rachel Gough","description":"Rachel Gough has been Principal Bassoon of the LSO since 1999. (For eight years prior to joining the LSO she was Co-Principal with the BBC Symphony Orchestra and a professor at the Royal Academy of Music.)
As a student she read anthropology and music at King\u2019s College, Cambridge, before gaining Countess of Munster, Martin Musical, Ian Fleming and German government scholarships for postgraduate study at the Royal Academy of Music and the Hannover Hochschule f\u00fcr Musik with Klaus Thunemann. During this time she was principal bassoon of the European Community Youth Orchestra and won the Gold Medal at the Royal Overseas League.","image":"assets\/imgsupl\/RG6.0_0.90013200_1508249355_068b_musicians_image_-gough.jpg","footerTitle":"","footerCopy":"Rachel has appeared as a soloist with Sir Colin Davis, Valery Gergiev, Bernard Haitink, Sir Neville Marriner, Gianandrea Noseda and Gennady Rozhdestvensky. (Alongside these conductors, she has as worked as an orchestral musician with Claudio Abbado, Pierre Boulez, Riccardo Chailly, Mariss Jansons, Zubin Mehta, Sir Antonio Pappano, Andre Previn, Sir Simon Rattle, Sir Georg Solti, Yuri Temirkanov and Gunter Wand, amongst many others.) (She is a Fellow of the Royal Academy of Music.)"},{"id":"a687","posX":"17","posY":"7","instrumentId":"i15","title":"Dominic Tyler","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a676","posX":"18","posY":"7","instrumentId":"i31","title":"Dominic Morgan","description":"Dominic Morgan, Principal Contra-Bassoon of the LSO, began playing the bassoon at the age of 13 and graduated from Royal Northern College of Music. He joined the LSO in 1994, after playing for the English National Opera for nine years.","image":"assets\/imgsupl\/RG6.0_0.32432600_1508251907_f64c_musicians_image_morgan.jpg","footerTitle":"","footerCopy":""},{"id":"a666","posX":"23","posY":"9","instrumentId":"i18","title":"Timothy Jones ","description":"Timothy Jones was born in London in 1961 and studied with Ifor James and Frank Lloyd. After leaving school at the age of seventeen, he started his career as a professional musician, playing second horn with the Munich Philharmonic. In 1984 Timothy joined the London Philharmonic Orchestra, where he stayed until joining the London Symphony Orchestra as Principal Horn in 1986. ","image":"assets\/imgsupl\/RG6.0_0.73040100_1508253629_2081_musicians_image_-jones.jpg","footerTitle":"","footerCopy":"Timothy has also been a member of the City of Birmingham Symphony Orchestra and the Academy of St Martin-in-the-Fields. During his career, Timothy has performed as a soloist with both the Munich Philharmonic and the Academy of St. Martin-in-the-Fields, both in the UK and abroad to great acclaim. Timothy is a Horn Professor at the Royal College of Music, London."},{"id":"a667","posX":"22","posY":"9","instrumentId":"i18","title":"Angela Barnes","description":"In January 2005, at the age of 21, Angela Barnes was appointed second horn of the London Symphony Orchestra, becoming the first female member of the orchestra\u2019s brass section in the orchestra\u2019s hundred-year history. She has worked regularly with most of the major British orchestras, appearing as a guest principal with the London Philharmonic Orchestra, the Royal Philharmonic Orchestra, the City of Birmingham Symphony Orchestra, and the Royal Liverpool Philharmonic Orchestra. Her career combines orchestral, solo and chamber music playing. As well as featuring in the second instalment of the Cala Records \u2018\u2018London Horn Sound\u2019\u2019 series, she has also recently recorded Britten\u2019s Canticle for Tenor, Horn and Piano, with tenor Allan Clayton, as part of the BBC Radio 3 New Generation Artists scheme.","image":"assets\/imgsupl\/RG6.0_0.22330700_1508430366_6bc8_musicians_image_barnes.jpg","footerTitle":"","footerCopy":"Angela, from Rossendale, Lancashire, began horn lessons with her mother at the age of eight, before entering Chetham\u2019s School of Music, Manchester, in 1994 to study with Elizabeth Davis. She then went on to study with Hugh Seenan, Richard Bissill, Jeff Bryant and Jonathan Lipton at the Guildhall School of Music and Drama in London, from where she graduated with a First Class Honours degree in July 2005. Angela has given numerous solo and chamber music performances, and was a member of both the National Youth Orchestra and the European Union Youth Orchestra. In 2002, she won both the Liverpool Young Musician competition and the Brass section of the BBC Young Musician of the Year competition, which saw her perform Richard Strauss\u2019 Second Horn Concerto with the BBC Symphony Orchestra in the Barbican Hall, London, as part of the Concerto Final, which was broadcast live on BBC television and radio."},{"id":"a668","posX":"21","posY":"9","instrumentId":"i18","title":"Alexander Edmundson","description":"","image":"assets\/imgsupl\/RG6.0_0.60082400_1508429534_d776_musicians_image_undson.jpg","footerTitle":"","footerCopy":""},{"id":"a686","posX":"20","posY":"9","instrumentId":"i18","title":"Jonathon Maloney","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a669","posX":"3","posY":"9","instrumentId":"i16","title":"Niall Keatley","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a690","posX":"2","posY":"9","instrumentId":"i16","title":"James Fountain","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a670","posX":"6","posY":"9","instrumentId":"i19","title":"Ben Thomson","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a675","posX":"21","posY":"6","instrumentId":"i22","title":"Nigel Thomas","description":"Nigel Thomas has been Principal Timpanist with the London Symphony Orchestra since 2003, having first joined the orchestra as Principal Percussionist in 1988. He was the Royal College of Music\u2019s first timpani and percussion scholar, and in 1980 was winner of the Shell LSO competition.","image":"assets\/imgsupl\/RG6.0_0.31188400_1508251727_6b88_musicians_image_thomas.jpg","footerTitle":"","footerCopy":""},{"id":"a671","posX":"9","posY":"8","instrumentId":"i21","title":"Neil Percy","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a672","posX":"11","posY":"8","instrumentId":"i21","title":"David Jackson","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a674","posX":"5","posY":"6","instrumentId":"i9","title":"Bryn Lewis","description":"Bryn Lewis has been Principal Harpist with the London Symphony Orchestra since 1994. Prior to this he was Principal with the Philharmonia Orchestra and played with all the London orchestras, the Chamber Orchestra of Europe and with the Berlin Philharmonic Orchestra. He has played on numerous film sountracks including Braveheart, Star Wars, Harry Potter, Kung Fu Panda and The Dark Knight. ","image":"assets\/imgsupl\/RG6.0_0.83571300_1508254031_de5d_musicians_image_-lewis.jpg","footerTitle":"","footerCopy":"Bryn is a Professor at the Guildhall school of Music and Drama and has given Masterclasses in London, Chicago and Rio de Janeiro. His own studies were with Jean Bell, Barbirolli's Harpist in the Halle Orchestra and Renata Scheffel-Stein (a former LSO Principal) who was appointed to The Philharmonia Orchestra by Herbert von Karajan."}],"instruments":[{"id":"i5","sectionId":"s10","title":"First Violin","description":"Of all the instruments in the orchestra, the violin is the most visible, simply by being the most numerous! Sitting at the front of the stage, there can often be more than 30 of these smallest of the string family in the orchestra at any one time.
Modern violins have roots in the early Greek ages, but started to become the instruments we know today in the 1500s. Its four strings are usually played with a bow or plucked (pizzicato), but the violin is famously versatile and can produce all sorts of effects such as ethereal harmonics, double stops (playing more than one note at once) or being hit with the wooden part of the bow (col legno).","image":"assets\/imgsupl\/RG6.0_0.79425300_1508239376_d3d9_instruments_image_violin.jpg","footerTitle":"Violin Factfile","footerCopy":"\u2022 The principal of the First Violins is called the Leader, or Concertmaster, whose role is to play any orchestral solos and to make technical decisions on behalf of the rest of the string section"},{"id":"i26","sectionId":"s10","title":"Second Violin","description":"The Second Violin section usually sits next to its colleagues the First Violins, although some composers ask for them to be sat opposite the Firsts to produce an antiphonal, or alternating, effect in the music. Typically the Second Violins will play the harmony lines in the music, while the First Violins play the melodies.","image":"assets\/imgsupl\/RG6.0_0.50492100_1508239384_3666_instruments_image_violin.jpg","footerTitle":"Violin Factfile","footerCopy":"\u2022 A violin\u2019s strings are tuned to the notes G, D, A and E\r\n\r\n\u2022 Violin strings were once made out of \u201ccatgut\u201d, although it was actually the gut of a sheep. Today, strings are usually steel\r\n\r\n\u2022 One of the most celebrated violinists of all time, Nicolo Paganini (died 1840), had such an astonishing technique for his time that it was rumoured that he sold his soul to the Devil in exchange for his talent\r\n\r\n\u2022 Playing the violin burns 170 calories an hour"},{"id":"i6","sectionId":"s10","title":"Viola","description":"Unless you put a violin next to a viola to provide comparisons, it\u2019s very difficult to tell the difference on sight. The viola is slightly larger than the violin, and has differently tuned strings, but otherwise is pretty much identical \u2013 held under the chin and played with a bow or plucked.
The sound of the viola, however, is very different. It has a much more mellow tone, deeper and more intense. As the middle instrument of the string family, often playing uncomplicated parts, it can be the brunt of jokes about it being a second class citizen, but actually was favoured by composers such as Mozart and Brahms.","image":"assets\/imgsupl\/RG6.0_0.64873200_1508239412_3a4d_instruments_image_viola.jpg","footerTitle":"Viola Factfile","footerCopy":"\u2022 A viola\u2019s strings are tuned to the notes C, G, D and A\r\n\r\n\u2022 Composers who played the viola include Mozart, Britten, Dvorak, Mendelssohn and Beethoven\r\n\r\n\u2022 Violists read music written in a clef called Alto Clef, which is only used by one other instrument in the orchestra, the alto trombone\r\n\r\n\u2022 JOKE! What's the difference between a Violin and a Viola? A Viola burns longer.\r\n"},{"id":"i7","sectionId":"s10","title":"Cello","description":"Like the violin and viola, the cello has four strings and is played using a bow or plucked, but has one major difference \u2013 it is played vertically, resting on the floor using a spike protruding from the bottom. The cello has slightly different roots from violins and violas, being born from early instruments called viols.
The cello is a bass instrument, playing the lowest notes of the music, although it is also capable of playing high notes, which are very plaintive and lend it its reputation for being the closest instrument to the sound of a human voice.
The cellos usually sit at the front of the stage opposite the First Violins, and number around six to ten in the section. ","image":"assets\/imgsupl\/RG6.0_0.69154900_1508239255_5083_instruments_image_cello.jpg","footerTitle":"Cello Factfile","footerCopy":"\u2022 Like the viola, the cello\u2019s four strings are tuned to C, G, D and A, but sound an octave (8 notes) lower than the viola\r\n\r\n\u2022 The word \u2018cello\u2019 is actually short for \u2018violoncello\u2019, literally \u201csmall large viol\u201d\r\n\r\n\u2022 Some early cellos had 5 strings\r\n\r\n\u2022 The plural of cello is actually celli\r\n"},{"id":"i8","sectionId":"s10","title":"Double Bass","description":"The daddy of the string family, the double bass is the largest and lowest stringed instrument. Being so large it\u2019s usually played sitting on a high stool or standing up, and the basses sit at the very back of the orchestra. Because of its size it\u2019s physically demanding to play \u2013 just pressing down the thick strings requires a lot of effort!
Like the other stringed instruments it\u2019s played with a bow or plucked and had four strings. Some double basses have an extension on their lowest string to play even lower notes. The notes are so low that it\u2019s not a very loud instrument and so there\u2019s often up to 10 or 12 bassists in the orchestra to provide enough volume.","image":"assets\/imgsupl\/RG6.0_0.19634300_1508239533_ae55_instruments_image_e-bass.jpg","footerTitle":"Double Bass Factfile","footerCopy":"\u2022 The double bass\u2019 strings are usually tuned to E, A, D and G, but unlike the others in the string family this can vary from country to country, depending on traditions\r\n\r\n\u2022 Solo parts for orchestral double bassists are rare as its size makes intricate writing more difficult\r\n\r\n\u2022 Double Basses can often be found moonlighting in wind and brass ensembles!\r\n\r\n\u2022 The biggest Double Bass was built in Paris in 1850 and was 3.5 metres tall"},{"id":"i10","sectionId":"s12","title":"Flute","description":"The highest member of the woodwind family is not, as the name might suggest, usually made of wood. You can probably spot these instruments shining out from the orchestra, since they\u2019re most commonly made of highly polished metal \u2013 sometimes even silver or gold.
The flute has roots even more ancient than the violin, recently discovered ones being over 45,000 years old. The flute\u2019s sound is produced by blowing air across the hole (similar to how you might play a bottle!) with the notes changed using the keys along its body. The flute has a bright and perky sound which means it can easily travel over the sound of the orchestra.
Orchestras usually have two or three flutes, and you might also see some of the flute\u2019s cousins \u2013 the tiny shrill piccolo, the mellow and soulful alto flute, or if you\u2019re really lucky, the frankly odd looking bass and contrabass flutes.
","image":"assets\/imgsupl\/RG6.0_0.71528000_1508257952_cb64_instruments_image_flute.jpg","footerTitle":"Flute Factfile","footerCopy":"\u2022 The flute is pitched in the key of C, and has a range of approximately 3 octaves\r\n\r\n\u2022 George Washington and Leonardo da Vinci played the flute\r\n\r\n\u2022 Flutes were first held sideways in China about 3000 years ago\r\n\r\n\u2022 The world\u2019s most expensive flute was made of platinum and was auctioned for $187,000\r\n"},{"id":"i24","sectionId":"s12","title":"Piccolo","description":"The baby of the flute family, the piccolo (Italian for small) is basically a half-size flute. It has the same fingerings as a normal sized flute (although smaller fingers are an advantage!) and is played in the same manner.
Flautists sometimes \u2018double\u2019 (play both) on piccolo, but it\u2019s a very frequently used member of the orchestra so often a player will be a specialist in piccolo and only play that instrument. It has a brilliant and sparkling tone and because it sounds an octave (8 notes) above the flute it is used to accompany melody lines to add twinkle.","image":"assets\/imgsupl\/RG6.0_0.52163100_1508257961_9812_instruments_image_iccolo.jpg","footerTitle":"Piccolo Factfile","footerCopy":"\u2022 The piccolo is pitched in C\r\n\r\n\u2022 Although piccolo is Italian for small, in Italy it\u2019s known as an Ottavino\r\n\r\n\u2022 The piccolo was invented by Theobold Boehm, a flautist from Munich\r\n\r\n\u2022 The piccolo plays the highest notes in the orchestra"},{"id":"i11","sectionId":"s12","title":"Oboe","description":"Sitting next to the flutes on the front row of the woodwind section, the oboe is actually made of wood. The name \u2018oboe\u2019 came from the French \u2018hautbois\u2019, literally \u2018high wood\u2019, as it was known in the 17th century.
The sound of the oboe is produced by blowing into a reed in the top of the instrument \u2013 which means that oboists have to master not only the art of playing the instrument, but also carving the delicate reeds to suit their own mouths. The oboe\u2019s sound is very pure and easily heard \u2013 you\u2019ll spot the oboe easily right at the start of concerts as they will play the A to which the rest of the orchestra tunes.
Usually there will be two or three oboes in the orchestra, frequently joined by its cousin the Cor Anglais (English horn \u2013 which is neither English, nor a horn\u2026) and sometimes by rarer relatives such as the Oboe d\u2019Amore, bass oboe and Heckelphone.","image":"assets\/imgsupl\/RG6.0_0.82579100_1508257972_dd65_instruments_image_oboe.jpg","footerTitle":"Oboe Factfile","footerCopy":"\u2022 The oboe is pitched in the key of C, with a range of two and a half octaves\r\n\r\n\u2022 The modern oboe is most commonly made from grenadilla, also known as African Blackwood\r\n\r\n\u2022 Oboists often get teased that their instrument sounds like a duck \u2013 Prokofiev even used the instrument to represent the duck in Peter and the Wolf\r\n\r\n\u2022 The fastest oboe player in the world, Jack Cozen Harel, played Nicolai Rimsky-Korsakov\u2019s Flight of the Bumble Bee in 26.1 Seconds"},{"id":"i12","sectionId":"s12","title":"Clarinet","description":"Usually found behind the flutes in the orchestra, the clarinet is most similar to an oboe in how it looks (made from the same wood) and is played (pointing downwards), but that\u2019s where the similarity ends. It is played by blowing across a single reed, rather than the oboes\u2019 double one, which is much easier to handle.
The clarinet has a very wide range, the largest of all the woodwinds, and its sounds is very flexible \u2013 from rich and dark in the bottom, through bright and sweet in the middle, to piercing and shrill at the top. It makes the clarinet a popular addition to other genres of band as well as orchestras \u2013 jazz and Klezmer, to name but two.
Clarinets also come in a variety of keys and sizes \u2013 a Bb clarinet being the most commonly used in orchestras, with A clarinets joining them on occasion. It also has several common cousins, like the baby Eb clarinet and the bass clarinet. You might also see Basset-horns, contrabass clarinets and piccolo clarinets.
","image":"assets\/imgsupl\/RG6.0_0.12781000_1508257996_c83a_instruments_image_arinet.jpg","footerTitle":"Clarinet Factfile","footerCopy":"\u2022 The clarinet has a range of around four and a half octaves. Pitched in keys other than C, the clarinettist has to \u2018transpose\u2019 in order to sound with the rest of the orchestra!\r\n\r\n\u2022 Steven Spielberg can be seen playing the clarinet in an orchestra early on in his movie Jaws.\r\n\r\n\u2022 The clarinet was the last woodwind instrument to be included in the symphony orchestra\r\n\r\n\u2022 The LSO\u2019s former Principal Clarinet Jack Brymer is one of the best known clarinettists of recent times because of his prolific teaching commitments and books on technique"},{"id":"i30","sectionId":"s12","title":"Bass Clarinet","description":"The bass clarinet is a remarkable instrument. Not only does it have a huge range, both in pitch and dynamics, but it exhibits almost unbelievable nimbleness and agility in the bottom register. It even inspired Adolphe Sax, the inventor of the saxophone, to adopt the upturned bell for his instrument.
It\u2019s probably not too surprising that Hector Berlioz was one of the first composers to use the bass clarinet in an orchestral setting from around 1840 \u2013 it must have greatly appealed to both\u00a0his love of strange sonorities and slightly eccentric demeanour. Wagner and Verdi both loved it too making it a staple of the opera orchestra, and by the 20th century it was all over the place \u2013 from Ravel to Mahler, Bernstein to Reich.
By the way, if you like the bass clarinet, you should really check out the contrabass clarinet...","image":"assets\/imgsupl\/RG6.0_0.87824900_1508258005_e491_instruments_image_arinet.jpg","footerTitle":"","footerCopy":""},{"id":"i15","sectionId":"s12","title":"Bassoon","description":"The bass member of the woodwind family is another double reed instrument like the oboe. The reed is attached to a long metal tube called the crook, which connects to the bassoon. The longest instrument of the orchestra, unfolded it would stretch 2.5 metres. It\u2019s so unwieldy that most bassoonists use a neck sling or shoulder harness to support the instrument while playing \u2013 held diagonally downwards unlike the other woodwinds.
The bassoon\u2019s sound is quite flexible and full of character \u2013 it often represents the clown of the piece or gruff lumbering animals, but can also be plaintive and lyrical. It is agile and can produce quick running notes.
Like the other woodwinds, there are usually two or three bassoons in the orchestra, with its big cousin the contra-bassoon quite often present. It\u2019s even longer than the bassoon, folded over more times, and requires a small spike on the bottom fold for extra support.","image":"assets\/imgsupl\/RG6.0_0.68499600_1508258014_e261_instruments_image_assoon.jpg","footerTitle":"Bassoon Factfile","footerCopy":"\u2022 The bassoon is a C instrument, and has a range of about 3 and a half octaves\r\n\r\n\u2022 The Italian for bassoon is Fagotto, which literally means \u2018bundle of sticks\u2019\r\n\r\n\u2022 Modern bassoons are usually made of maple\r\n\r\n\u2022 A bassoonist\u2019s left thumb has 10 keys to operate!\r\n"},{"id":"i31","sectionId":"s12","title":"Contrabassoon","description":"The contrabassoon is quite enormous \u2013\u00a0twice the length of the bassoon to be exact \u2013\u00a0meaning it sounds an octave lower and has to double up on itself twice, like a paperclip, to be playable by a seated human. While Beethoven was the first to write an entirely separate contrabassoon part in his 5th symphony, there are clues that it may have been used as far back as Bach.
However, the original iterations of the instrument were generally regarded as weak in sonority and dynamics, so its parts were often played on an alternate instrument like the serpent or contrabass sarrusophone (both of which are definitely worth looking up on Wikipedia!) It wasn\u2019t until the late 19th century that significant improvements were made to the instrument, but after that it became increasingly common to hear the clattering, machine-like low end cropping up in orchestral repertoire.","image":"assets\/imgsupl\/RG6.0_0.08752100_1508258025_7968_instruments_image_assoon.jpg","footerTitle":"","footerCopy":""},{"id":"i18","sectionId":"s11","title":"Horn","description":"Sometimes called the French horn, the horn is actually technically German in origin. It\u2019s from the brass family, and is made of, well, brass. The sounds are produced via the players lips on the cup-shaped mouthpiece \u2013 notes are changed by adjusting both the lip tension, using the valves to lengthen or shorten the tubing, and by putting a hand inside the bell to make the instrument longer.
The modern horn is a descendent of the hunting horn, and its sound is often used by composers to signify a hunt. It is also capable of producing a haunted and distant sound, and is well used in film music.
The horns usually sit on the opposite side of the orchestra to their other brass colleagues, and usually number four. They work in pairs, with horns 1 and 3 taking high parts and horns 2 and 4 taking low parts. There is also sometimes an extra horn called a bumper, who can assist the principal in solo passages or to make parts louder.","image":"assets\/imgsupl\/RG6.0_0.75400700_1508258550_21c6_instruments_image_horn.jpg","footerTitle":"Horn Factfile","footerCopy":"\u2022 The horn is pitched in F, and sounds four notes higher than written on the page\r\n\r\n\u2022 Richard Strauss wrote parts for 20 horns in his Alpine Symphony\r\n\r\n\u2022 The actor Ewan McGregor is known to have learnt the horn\r\n\r\n\u2022 If its tubing were stretched straight out it would be about 6 metres long\r\n"},{"id":"i16","sectionId":"s11","title":"Trumpet","description":"The highest member of the brass family is the trumpet, and it\u2019s also the oldest musical instrument, dating back to around 1500BC. Like the horn the sound is produced by varying lip pressure on the mouthpiece and by piston valves on the top which lengthen the tubing and therefore lower the pitch. It wasn\u2019t until after Brahms that valved trumpets were used in orchestras, though, which was the point at which it really took off as it could play more notes!
The sound of the trumpet can be very loud or very soft, and is often equated with military style. Trumpets are capable of producing a huge variety of effects \u2013 flutter tonguing, sliding between notes, growling, making noises through the instrument and by an unending variety of mutes which are put into the bell.
There are often four trumpets in the orchestra, and it has a variety of relatives, many of which rarely make an appearance, but are much more common in brass or jazz bands \u2013 cornet, flugelhorn, bugle, bass trumpet and piccolo trumpet.","image":"assets\/imgsupl\/RG6.0_0.80714800_1508258562_1b30_instruments_image_rumpet.jpg","footerTitle":"Trumpet Factfile","footerCopy":"\u2022 Trumpets are commonly pitched in Bb, but you can also find trumpets in F, C, D, Eb, E, G and A\r\n\r\n\u2022 You can play 45 distinct notes just using the trumpet\u2019s three valves\r\n\r\n\u2022 A trumpet contains about 6 and a half feet of tubing\r\n\r\n\u2022 The LSO\u2019s former Principal Trumpet Maurice Murphy is best known for playing the high note at the very start of the Star Wars Main Title\r\n"},{"id":"i19","sectionId":"s11","title":"Tuba","description":"Sitting at the bottom of the brass pile is the tuba. The biggest and lowest of the brass family is played using vibrating lips and with valves, and is made of lacquered brass so needs to be polished frequently. It usually carries the bass line of the music, and reinforces the lines of the string and woodwind bass instruments. Although it looks cumbersome, there have been several solo concerti written for the instrument.
Like the trombone, the word \u2018tuba\u2019 actually means trumpet (in Latin) \u2013 and so we can therefore conclude that all brass instruments are basically trumpets!
There is usually only one tuba in the orchestra, but it does have several cousins which are more frequently seen in brass and marching bands, such as the euphonium, tenor tuba, Wagner tuba and Sousaphone.","image":"assets\/imgsupl\/RG6.0_0.55617300_1508258581_1ed0_instruments_image_tuba.jpg","footerTitle":"Tuba Factfile","footerCopy":"\u2022 The tuba is usually pitched C, although Eb and Bb tubas are common in brass bands\r\n\r\n\u2022 The first Friday in May is International Tuba Day, which celebrates tuba players around the world\r\n\r\n\u2022 Berlioz originally scored Symphonie fantastique for two ophicleides, the forerunner of the tuba, but he changed them to a tuba when he heard the newly invented instrument\r\n\r\n\u2022 A tuba has about 16 feet of tubing\r\n"},{"id":"i22","sectionId":"s13","title":"Timpani","description":"Among the array of percussion instruments at the back of the orchestra the one constant is the timpani, or \u2018kettle drums\u2019 - so called because of their copper bowl shape. Across the top of the drum is stretched a skin, which is usually plastic but can be made of calf skin or goat skin. The drum is hit with sticks, the heads of which are different materials and softness which the player chooses to produce different qualities of sound.
There are usually two or more timpani present at any one time depending on the needs of the music, gradually reducing in size to produce higher notes \u2013 four or five drums is about average, but up to 16 has been known! Timpanists can produce different notes from the drum by use of tuning foot pedals which alter the tightness of the skin, and very modern \u201ctimps\u201d also have micro-tuning levers and switches for ultimate control.
The timpanist in the orchestra, although a trained percussionist, specialises in timpani playing and very rarely plays any of the other percussion instruments. Or as the conductor Norman del Mar once put it, \u201cking of his own province\u201d!","image":"assets\/imgsupl\/RG6.0_0.93703900_1508258594_1244_instruments_image_impani.jpg","footerTitle":"Timpani Factfile","footerCopy":"\u2022 Timpani have been part of the orchestra since the late 1600s, but versions have been around since the 13th century\r\n\r\n\u2022 Each drum has a range of 5 notes \r\n\r\n\u2022 The singular of timpani is timpano, although no one uses that these days!\r\n\r\n\u2022 Timpani enjoy a good sideline in rock music, especially during the 1960s and 1970s Prog Rock era"},{"id":"i21","sectionId":"s13","title":"Percussion","description":"To describe everything that one could find in a percussion section would take years \u2013 really this group is only limited by the imagination of the composer! If you can hit, scrape or shake something and make it make a sound, it can be a percussion instrument. Consequently percussionists are a resourceful bunch and need to be proficient in all sorts of techniques.
Percussion can be split into broadly two categories: tuned and untuned. Tuned percussion instruments include xylophones, glockenspiels, marimbas, tubular bells, hang drums, steel pans and hand bells; while untuned includes all sorts of drums, woodblocks, gongs, maracas, triangles, tambourines, castanets, cymbals and pretty much anything your average junk yard can provide: car brake drums, buckets, bags, anvils, saws, typewriters, metal sheets and even bowls of water.
The percussion section is central to an ensemble: at the most basic level they often provide the pulse of the music. In orchestras though, percussion usually provides the \u201cspecial effects\u201d of the music \u2013 and it\u2019s often as much fun to watch the percussionists (any number from 2 to 10 can regularly be seen) move around the instruments and each other during quick changes!","image":"assets\/imgsupl\/RG6.0_0.66386300_1508258605_8320_instruments_image_ussion.jpg","footerTitle":"Percussion Factfile","footerCopy":"\u2022 Because sounds are created on a piano by striking a taut chord with a hammer, it is technically a percussion instrument\r\n\r\n\u2022 Drumming is good for you: you can burn up to 270 calories in about 30 minutes, more than cycling, hiking, or weight lifting!\r\n\r\n\u2022 The xylophone's first appearance as an orchestral instrument was in Dance Macabre by Saint-Saens\r\n\r\n\u2022 Tambourines were instruments traditionally used by women\r\n"},{"id":"i9","sectionId":"s14","title":"Harp","description":"Possibly the most ornate instrument on display in the orchestra is the harp. These elegant structures with around 47 strings, beautifully carved pillars and quite often gilt frames, sit towards the back of the string section with the keyboard instruments \u2013 usually there are one or two harps in the orchestra, but sometimes more which creates quite a visual treat.
The harp is played by the harpist plucking the strings with both hands, and there are seven foot pedals which the harpist uses to flatten or sharpen the notes. As you can imagine with so many strings, keeping a harp in tune is a lengthy process, and if you\u2019re early in the concert hall you can probably catch the harpist tuning up long before everyone else!
The harp was quite a recent addition to the symphony orchestra, Berlioz being one of the earliest composers to try it out. Tchaikovsky was a great influence in the use of the harp, and one of the best-known harp parts can be found in his \u2018Waltz of the Flowers\u2019 from The Nutcracker.
","image":"assets\/imgsupl\/RG6.0_0.50366800_1508259024_07ad_instruments_image_harp.jpg","footerTitle":"Harp Factfile","footerCopy":"\u2022 The harp has a range of 6 and a half octaves\r\n\r\n\u2022 To aid visual recognition, all F strings are black or blue and all C strings are red\r\n\r\n\u2022 Harps are capable of many different effects, including sweeping glissandos (slides) and harmonics\r\n\r\n\u2022 The frame of the harp looks solid, but is actually hollow. It still manages to weigh in at 5 stone or more"}],"sections":[{"id":"s10","colour":"#2d9b93","title":"Strings"},{"id":"s12","colour":"#1466c6","title":"Woodwind"},{"id":"s11","colour":"#f2b623","title":"Brass"},{"id":"s13","colour":"#826aa5","title":"Percussion"},{"id":"s14","colour":"#dd4343","title":"Other"}],"masterclasses":[{"id":"m54","instrumentId":"i26","title":"Introduction to Modern Composition","artist":"with David Alberman","instrument":"Violin","description":"Rachel Leach is joined by LSO Principal Second Violin David Alberman to discuss how composers in the twentieth century and beyond have transformed the music of the orchestra. David demonstrates various extended techniques for the violin and explains how they are employed by today\u2019s composers to expand the sonic palette available to them.","footerTitle":"","footerCopy":"","linkTitle":"","video":"https:\/\/lsoplay.s3.eu-west-1.amazonaws.com\/2017\/Spark_Catchers\/20220701_ModernMusic_web.mp4","mobileVideo":"https:\/\/lsoplay.s3.eu-west-1.amazonaws.com\/2017\/Spark_Catchers\/20220701_ModernMusic_mobile.mp4","videoLinks":[]},{"id":"m55","instrumentId":"i26","title":"String Techniques in the Spark Catchers","artist":"with David Alberman","instrument":"Violin","description":"Following on from their discussion on contemporary music, Rachel Leach and David Alberman take a detailed look at some of the compositional techniques employed by Hannah Kendall in her work The Spark Catchers.","footerTitle":"","footerCopy":"","linkTitle":"","video":"https:\/\/lsoplay.s3.eu-west-1.amazonaws.com\/2017\/Spark_Catchers\/20220714_SparkCatchersDavidAlbermanInterview_web.mp4","mobileVideo":"https:\/\/lsoplay.s3.eu-west-1.amazonaws.com\/2017\/Spark_Catchers\/20220714_SparkCatchersDavidAlbermanInterview_mobile.mp4","videoLinks":[]},{"id":"m56","instrumentId":"","title":"Composer Interview","artist":"with Hannah Kendall","instrument":"","description":"Rachel Leach caught up with composer Hannah Kendall over Zoom to discuss her path to becoming a composer and some of the influences on her work.","footerTitle":"","footerCopy":"","linkTitle":"","video":"https:\/\/lsoplay.s3.eu-west-1.amazonaws.com\/2017\/Spark_Catchers\/20220714_HannahKendallInterview_web.mp4","mobileVideo":"https:\/\/lsoplay.s3.eu-west-1.amazonaws.com\/2017\/Spark_Catchers\/20220714_HannahKendallInterview_mobile.mp4","videoLinks":[]},{"id":"m57","instrumentId":"","title":"The Spark Catchers Explored","artist":"with Rachel Leach","instrument":"","description":"Rachel Leach delves into the historical background to Hannah Kendall's work The Spark Catchers, and offers discussion and analysis of the piece.","footerTitle":"","footerCopy":"","linkTitle":"","video":"https:\/\/lsoplay.s3.eu-west-1.amazonaws.com\/2017\/Spark_Catchers\/20220714_Contextfilm_web.mp4","mobileVideo":"https:\/\/lsoplay.s3.eu-west-1.amazonaws.com\/2017\/Spark_Catchers\/20220714_Contextfilm_mobile.mp4","videoLinks":[]}],"cameras":[{"id":"c61","posX":"13","posY":"2","title":"Conductor"},{"id":"c62","posX":"0","posY":"2","title":"Lower Strings"},{"id":"c63","posX":"26","posY":"2","title":"Upper Strings"},{"id":"c64","posX":"10","posY":"7","title":"Woodwind, Glockespiel & Strings"},{"id":"c65","posX":"20","posY":"7","title":"Woodwind & Percussion"},{"id":"c66","posX":"13","posY":"9","title":"Brass"}],"downloads":[{"id":"d19","label":"Teachers' Resources","sublabel":"for Key Stage 2 with extension activities for Key Stage 3","title":"Resources for Key Stage 2 Teachers with extension activities for Key Stage 3","image":"","description":"
This interactive iBook, available for Mac OS and iOS, contains a selection of resources to help teachers use this performance of The Spark Catchers in their classroom. Also available as a PDF, without embedded media.<\/p>","footerTitle":"","footerCopy":"","links":[{"title":"iBook for Apple Devices","url":"https:\/\/books.apple.com\/us\/book\/the-spark-catchers-resources-for-teachers\/id6443267278?ls=1"},{"title":"PDF","url":"https:\/\/playapi.lso.co.uk\/download\/40\/The_Spark_Catchers_Resources.pdf"}]}]},{"id":"perf8","slug":"Brittens-Four-Sea-Interludes","animationSlug":"britten","title":"Britten's Four Sea Interludes","titleMobile":"Britten's Four Sea Interludes","date":"31\/10\/2019","location":"Barbican Centre, London","image":"assets\/imgsupl\/RG6.0_0.73193500_1620818553_1529_performances_homepage_image_ritten.jpg","desktopFeed":"https:\/\/lsoplay.s3.amazonaws.com\/2017\/Britten_Desktop.mp4","mobileFeed":"https:\/\/lsoplay.s3.amazonaws.com\/2017\/Britten_Mobile.mp4","viewports":6,"share":{"image":"","title":"Britten: Four Sea Interludes","copy":"Check out Britten's Four Sea Interludes on Play by @londonsymphony","twitterCopy":"Check out Britten's Four Sea Interludes on Play by @londonsymphony - "},"conductedBy":"Gianandrea Noseda","artists":[{"id":"k220","posX":0,"posY":0,"instrumentId":"iConductor","title":"Gianandrea Noseda","description":"Gianandrea Noseda is one of the world\u2019s most sought-after conductors, equally recognized for his artistry in both the concert hall and opera house. He was named the National Symphony Orchestra\u2019s seventh music director in January 2016 and began his four-year term with the 2017\u20132018 season. In September 2018, at the start of his second season with the NSO, his contract was extended for four more years, through the 2024\u20132025 season. He leads 12 weeks of subscription concerts with the Orchestra this season, as well as their first appearance together at Carnegie Hall in New York in May 2019.\r\n\r\nIn addition to his position with the NSO, Noseda also serves as Principal Guest Conductor of the London Symphony Orchestra and Israel Philharmonic Orchestra. In July 2018, the Zurich Opera House appointed him the next General Music Director beginning in the 2021\u20132022 season where the centerpiece of his tenure will be a new Ring Cycle directed by Andreas Homoki, the opera house\u2019s artistic director. \r\n","image":"","footerTitle":"","footerCopy":"Noseda\u2019s intense recording activity counts more than 60 CDs, many of which have been celebrated by critics and received awards. His Musica Italiana project, which he initiated more than ten years ago, has chronicled under-appreciated Italian repertoire of the 20th century and brought to light many masterpieces. Conducting the Vienna Philharmonic Orchestra and the Orchestra Teatro Regio Torino, he has also recorded opera albums with celebrated vocalists such as Ildebrando d\u2019Arcangelo, Rolando Villaz\u00f3n, Anna Netrebko, and Diana Damrau.\r\n\r\nA native of Milan, Noseda is \"Commendatore al Merito della Repubblica Italiana\", marking his contribution to the artistic life of Italy. In 2015, he was honored as Musical America\u2019s Conductor of the Year, and was named the 2016 International Opera Awards Conductor of the Year. In December 2016 he was privileged to conduct the Nobel Prize Concert in Stockholm.\r\n"},{"id":"a568","posX":"0","posY":"2","instrumentId":"i5","title":"Carmine Lauri","description":"Carmine Lauri was born in 1971 and started playing the violin at the age of four later studying with Mario Bisazza. In 1988 he was awarded the Associated Board scholarship to further his studies in London at the Royal Academy of Music with Jean Harvey and Maurice Hasson. He has performed extensively and on a number of occasions he was selected to perform as a soloist in the presence of HM Queen Elizabeth II and other Heads of State.","image":"assets\/imgsupl\/RG6.0_0.05795600_1508244064_8bfa_musicians_image_-lauri.jpg","footerTitle":"","footerCopy":"His two premiere performances of the Walton violin concerto with the Czech State Philharmonic Orchestra of Brno further enhanced his growing international reputation. As a representative of the London Symphony Orchestra, of which he is the Co-Leader, Carmine leads and performs regularly with the World Orchestra for Peace under Valery Gergiev."},{"id":"a569","posX":"2","posY":"2","instrumentId":"i5","title":"Clare Duckworth","description":"","image":"assets\/imgsupl\/RG6.0_0.95505800_1508431017_508c_musicians_image_kworth.jpg","footerTitle":"","footerCopy":""},{"id":"a570","posX":"0","posY":"3","instrumentId":"i5","title":"Colin Renwick","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a571","posX":"0","posY":"4","instrumentId":"i5","title":"Laura Dixon","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a572","posX":"2","posY":"3","instrumentId":"i5","title":"Lyrit Milgram","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a573","posX":"1","posY":"4","instrumentId":"i5","title":"Laurent Quenelle","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a574","posX":"0","posY":"5","instrumentId":"i5","title":"Mariam Nahapetyan","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a575","posX":"1","posY":"5","instrumentId":"i5","title":"Ginette Decuyper","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a576","posX":"0","posY":"6","instrumentId":"i5","title":"Maxine Kwok","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a577","posX":"1","posY":"6","instrumentId":"i5","title":"Rhys Watkins","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a578","posX":"3","posY":"4","instrumentId":"i5","title":"Sylvain Vasseur","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a579","posX":"4","posY":"4","instrumentId":"i5","title":"Jan Regulski","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a580","posX":"3","posY":"5","instrumentId":"i5","title":"Hilary Jane Parker","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a581","posX":"4","posY":"5","instrumentId":"i5","title":"Lulu Fuller","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a582","posX":"3","posY":"6","instrumentId":"i5","title":"Benjamin Roskams","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a583","posX":"4","posY":"6","instrumentId":"i5","title":"Morane Cohen-Lamberger","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a584","posX":"6","posY":"2","instrumentId":"i26","title":"Julian Gil Rodriguez","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a585","posX":"7","posY":"2","instrumentId":"i26","title":"Tom Norris","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a586","posX":"6","posY":"3","instrumentId":"i26","title":"Sarah Quinn","description":"Sarah Quinn was born in Dublin and began playing the violin at the age of eight. She continued her studies at the Royal College of Music in London where she was the recipient of many awards and prizes. While at the Royal College of Music, she took part in the LSO String Experience Scheme. Sarah joined the LSO in 1998 and particularly enjoys working with the LSO Discovery programme. She is also a keen chamber musician.","image":"assets\/imgsupl\/RG6.0_0.70380200_1508246914_d964_musicians_image_-quinn.jpg","footerTitle":"","footerCopy":""},{"id":"a587","posX":"7","posY":"3","instrumentId":"i26","title":"Miya Vaisanen","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a588","posX":"9","posY":"3","instrumentId":"i26","title":"Csilla Pogany","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a589","posX":"10","posY":"3","instrumentId":"i26","title":"Iwona Muszynska","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a590","posX":"6","posY":"4","instrumentId":"i26","title":"David Ballesteros","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a591","posX":"7","posY":"4","instrumentId":"i26","title":"Hazel Mulligan","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a592","posX":"9","posY":"4","instrumentId":"i26","title":"Alix Lagasse","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a593","posX":"10","posY":"4","instrumentId":"i26","title":"Matthew Gardner","description":"","image":"assets\/imgsupl\/RG6.0_0.50042500_1370527678_8207_musicians_image_ardner.jpg","footerTitle":"","footerCopy":""},{"id":"a594","posX":"6","posY":"5","instrumentId":"i26","title":"Andrew Pollock","description":"","image":"assets\/imgsupl\/RG6.0_0.27069400_1508430193_3682_musicians_image_ollock.jpg","footerTitle":"","footerCopy":""},{"id":"a595","posX":"7","posY":"5","instrumentId":"i26","title":"Naoko Keatley","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a596","posX":"9","posY":"5","instrumentId":"i26","title":"Camille Joubert","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a597","posX":"13","posY":"2","instrumentId":"i6","title":"Rachel Roberts","description":"Rachel Roberts is one of Europe\u2019s leading violists and performs internationally as soloist and chamber musician.
Rachel enjoys a busy schedule of chamber music. She has appeared as chamber musician at Concertgebouw, Amsterdam; Musikverein (Grand Saal) Vienna; Alte Oper, Frankfurt; Wigmore Hall; Royal Festival Hall, Cadogan Hall, St.John\u2019s Smith Square and King\u2019s Place. Rachel is a regular guest at international chamber music festivals including Salzburg Festival, Wiener Festwoche, Schubertiade \u2013 Schwarzenberg, Heimbach \u2013 Germany, Mecklenburg Vorpommern, Hamburg \u201cOestertone\u201d, Lofoten \u2013 Norway and Stift \u2013 Holland.
Rachel Roberts is Professor of Viola at Guildhall School of Music and Drama. In the UK she has given masterclasses at the Britten Pears Young Artists Programme, Dartington International Summer School, Chethams School of Music, Birmingham Conservatoire and the Guildhall School of Music and Drama. Each summer, Rachel teaches at leading European summer schools such as Musique a Flaine in the French Alps, Aurora Chamber Music Festival in Sweden and at the Yehudi Menuhin School of Music. She holds the Institute of Education qualification: Professional Certificate in Teaching and Learning in Higher and Professional Education, and recently became a Fellow of the Higher Education Academy.","image":"","footerTitle":"","footerCopy":""},{"id":"a598","posX":"14","posY":"2","instrumentId":"i6","title":"Gillianne Haddow","description":"Gillianne Haddow joined the London Symphony Orchestra in January 1999. Until recently, she combined her engagement with the LSO with her position as Principal Viola with the acclaimed Scottish Ensemble. As a solo and chamber musician she attracts commissions from leading contemporary composers such as Sally Beamish and Edward Maguire, and performs with groups such as the Nash Ensemble and the London Sinfonietta. ","image":"assets\/imgsupl\/RG6.0_0.85634100_1508247598_61b0_musicians_image_haddow.jpg","footerTitle":"","footerCopy":"Gillianne has also appeared as Guest Principal Viola with the City of Birmingham Symphony Orchestra, the Royal Liverpool Philharmonic Orchestra, the Scottish Chamber Orchestra, and the BBC Scottish Symphony Orchestra."},{"id":"a599","posX":"13","posY":"3","instrumentId":"i6","title":"Malcolm Johnston","description":"Malcolm Johnston began learning the violin and piano at an early age, but was soon drawn to the warm sound and unfamiliar repertoire of the viola. He earned his Bachelor\u2019s degree at the Royal Scottish Academy of Music and Drama and continued his studies at the Royal Academy of Music in London. In 1990, Malcolm won a scholarship to the USA where he became teaching assistant to Jerzy Kosmala at the Louisiana State University. ","image":"assets\/imgsupl\/RG6.0_0.27854400_1508247908_5fe2_musicians_image_hnston.jpg","footerTitle":"","footerCopy":"He was subsequently invited to become a member of the Amernet String Quartet, with whom he played for four years, during which time the quartet won numerous major awards, including Gold Medal at the 1992 Tokyo International Chamber Music Competition. The quartet made their home in Cincinnati after becoming Quartet in Residence at the Cincinnati College-Conservatory of Music. They also toured extensively in the US, Japan, Australia and Europe. As well as his chamber music performing, Malcolm has appeared as a soloist with orchestras and as recitalist both in the US and Britain. Since returning to the UK in 1996 he has become a member of the LSO, where he is currently Sub-Principal viola."},{"id":"a600","posX":"14","posY":"3","instrumentId":"i6","title":"Carol Ella\u00a0","description":"Scottish violist Carol Ella studied with Simon Rowland-Jones at the Royal College of Music in London, where she graduated with Distinction. She has worked with various British orchestras including the LSO (where she won the Promis Award), Philharmonia, RSNO and the John Wilson Orchestra.
Carol is a founder member of Liquid Architecture, a prize-winning octet currently on the Making Music scheme.","image":"","footerTitle":"","footerCopy":""},{"id":"a601","posX":"16","posY":"3","instrumentId":"i6","title":"Sofia Silva Sousa","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a602","posX":"17","posY":"3","instrumentId":"i6","title":"German Clavijo","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a603","posX":"13","posY":"4","instrumentId":"i6","title":"Stephen Doman","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a604","posX":"14","posY":"4","instrumentId":"i6","title":"Robert Turner","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a605","posX":"16","posY":"4","instrumentId":"i6","title":"Michelle Bruil","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a606","posX":"17","posY":"4","instrumentId":"i6","title":"Heather Wallington","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a607","posX":"19","posY":"4","instrumentId":"i6","title":"Alistair Scahill ","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a608","posX":"20","posY":"4","instrumentId":"i6","title":"Martin Schaefer","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a609","posX":"26","posY":"2","instrumentId":"i7","title":"Rebecca Gilliver","description":"Rebecca Gilliver is Principal cellist of the London Symphony Orchestra. Early success in national and international competitions led to critically acclaimed debut recitals at the Wigmore Hall in London and Carnegie Hall, New York. Rebecca has performed in major music festivals such as Bath, Bergen, and the Manchester International Cello Festival. A keen chamber musician, she has collaborated with international artists including Nikolai Znaider, Sarah Chang and Roger Vignoles with whom she recorded for BBC Radio 3. ","image":"assets\/imgsupl\/RG6.0_0.96076600_1508253186_7136_musicians_image_lliver.jpg","footerTitle":"","footerCopy":"She is a regular participant at IMS Prussia Cove. She has appeared as a soloist with the Halle and the Academy of St Martin in the Fields and is also featured on a CD of Enescu chamber music for the Naxos label. Originally joining the LSO as Co-principal in 2001, Rebecca was promoted to Principal two years ago. She has played guest principal with orchestras all around the world, including the Australian Chamber Orchestra, New Sinfonietta Amsterdam and most recently the World Orchestra for Peace."},{"id":"a610","posX":"24","posY":"2","instrumentId":"i7","title":"Alastair Blayden","description":"Alastair Blayden was a music scholar at Winchester College and a Foundation Scholar at the Royal College of Music. He studied with Joan Dickson and William Pleeth and also received chamber music coaching at Aldeburgh with the Borodin Quartet and in Cologne with the Amadeus Quartet.","image":"assets\/imgsupl\/RG6.0_0.88119300_1508247761_b80e_musicians_image_layden.jpg","footerTitle":"","footerCopy":"He was a founder member of the Dante Quartet with whom he regularly broadcasts. Alastair has held the position of Sub-Principal Cello with LSO since 1997. Alastair is also Professor of Cello at the Royal College of Music. He plays on a Celionatus (circa 1740) kindly lent to him by the LSO."},{"id":"a611","posX":"26","posY":"3","instrumentId":"i7","title":"Jennifer Brown","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a612","posX":"24","posY":"3","instrumentId":"i7","title":"Noel Bradshaw","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a613","posX":"26","posY":"4","instrumentId":"i7","title":"Amanda Truelove","description":"","image":"assets\/imgsupl\/RG6.0_0.84043000_1508429861_6f7a_musicians_image_uelove.jpg","footerTitle":"","footerCopy":""},{"id":"a614","posX":"25","posY":"4","instrumentId":"i7","title":"Laure Le Dantec","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a615","posX":"26","posY":"5","instrumentId":"i7","title":"Hilary Jones","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a616","posX":"25","posY":"5","instrumentId":"i7","title":"Daniel Gardner","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a617","posX":"26","posY":"6","instrumentId":"i7","title":"Deborah Tolksdorf","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a618","posX":"25","posY":"6","instrumentId":"i7","title":"Jessie Ann Richardson","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a619","posX":"21","posY":"7","instrumentId":"i8","title":"Matthew Gibson","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a620","posX":"22","posY":"7","instrumentId":"i8","title":"Patrick Laurence","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a621","posX":"23","posY":"7","instrumentId":"i8","title":"Colin Paris","description":"Colin Paris studied at the Guildhall School of Music and Drama from 1974 to 1977 and in his final term at college was offered and accepted a position with the Bournemouth Symphony Orchestra. In 1979 Colin joined the BBC Symphony Orchestra, a position which he held for 2 years, leaving to pursue a freelance career during which he held the position of Principal Double Bass with the London Bach Orchestra. ","image":"assets\/imgsupl\/RG6.0_0.05607500_1508248116_6501_musicians_image_-paris.jpg","footerTitle":"","footerCopy":"In 1983 Colin joined the English National Opera Orchestra as Sub Principal Double Bass and moved to the London Symphony Orchestra in 1988. Colin has now worked with the London Symphony Orchestra for 25 years and holds the position of Co-Principal Double Bass. Alongside his work with the London Symphony Orchestra Colin is regularly works with the Royal Philharmonic Orchestra and the BBC Symphony Orchestra."},{"id":"a622","posX":"24","posY":"7","instrumentId":"i8","title":"Sam Loeck","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a623","posX":"21","posY":"8","instrumentId":"i8","title":"Adam Wynter","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a624","posX":"22","posY":"8","instrumentId":"i8","title":"Simo Vaisanen","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a625","posX":"23","posY":"8","instrumentId":"i8","title":"Joe Melvin","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a626","posX":"24","posY":"8","instrumentId":"i8","title":"Thomas Goodman","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a629","posX":"11","posY":"5","instrumentId":"i10","title":"Diomedes Demetriades","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a630","posX":"12","posY":"5","instrumentId":"i10","title":"Victoria Daniel","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a631","posX":"13","posY":"5","instrumentId":"i10","title":"Adam Walker","description":"In 2009, at the age of 21, Adam Walker was appointed Principal Flute of the London Symphony Orchestra and received the \u2018Outstanding Young Artist Award\u2019 at the MIDEM Classique Awards in Cannes. He went on to win a Borletti-Buitoni Trust Fellowship Award and was shortlisted for the Royal Philharmonic Society\u2019s Outstanding Young Artist Award.","image":"assets\/imgsupl\/RG6.0_0.01880100_1508253381_8127_musicians_image_walker.jpg","footerTitle":"","footerCopy":"As a soloist he has appeared with the Academy of St. Martin in the Fields, Solistes Europ\u00e9en, Vienna Chamber and Royal Philharmonic Orchestras. Concert appearances include LSO St. Lukes (broadcast by BBC Radio 3), City of London and Festspiele Mecklenburg Vorpommern. He has collaborated with Trevor Pinnock, Bernarda Fink, Christopher Glynn, James Baillieu and Morgan Szymanski amongst others."},{"id":"a632","posX":"14","posY":"5","instrumentId":"i11","title":"Olivier Stankiewicz","description":"Olivier Stankiewicz, whose extensive musical activity is characterised both by his remarkable curiosity and virtuosity, has constantly sought to expand his artistic scope and sources of inspiration.
Appointed principal oboe with the London Symphony Orchestra in May 2015, he has also performed with Amsterdam\u2019s Royal Concertegebouw and the Chamber Orchestra of Europe and served with Toulouse\u2019s Orchestre National du Capitole (ONCT) from 2011 to 2015. There, he recently performed the world premiere of Benjamin Attahir\u2019s oboe concerto Nur under Tugan Sokhiev. Since his first concerto appearance at the age of 16 with the Monte-Carlo Philharmonic, he has performed with the French National Orchestra, the Wallonie Royal Chamber Orchestra, the Pro-Arte orchestra of Hong-Kong and the Tokyo Sinfonietta.","image":"assets\/imgsupl\/RG6.0_0.48540000_1534521228_33a5_musicians_image_iewicz.jpg","footerTitle":"","footerCopy":"Named \u201cclassical revelation\u201d in 2013 by the French association ADAMI, Olivier Stankiewicz also took First Prize at the 10th International Oboe Competition of Japan, successively won the 2015 European and American YCA auditions in Leipzig and New-York, and the YCAT Auditions at the Wigmore Hall in London.\r\n\r\nOlivier\u2019s chamber music partners include Thomas Dunfort, Jean Rondeau, Amy Harman and the Castalian quartet. He has performed at the Prades international festival, the Brighton festival, and the Warsaw Opera. The Duo Widmung, co-founded with pianist Alvise Siniva, focusing in part on adaptations of vocal repertoire, has performed at Tokyo\u2019s Toppan Hall and at the Wigmore Hall.\r\n\r\nOlivier Stankiewicz comprehensive approach to musical performance has led him to study theory and conducting, in addition to oboe studies with Jacques Tys, David Walter, and Jean-Claude Jaboulay. He was in 2015 appointed oboe professor at the Royal College of Music in London."},{"id":"a633","posX":"15","posY":"5","instrumentId":"i11","title":"Ruth Contractor","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a634","posX":"12","posY":"6","instrumentId":"i12","title":"Chi-Yu Mo","description":"Chi-Yu graduated with First Class Honours and a PhD in Chemistry from St. John\u2019s College Cambridge. He then studied at the Royal Academy of Music, where he graduated with a DipRAM and won many prizes. He won the Britten-Pears Concerto Competition, and also was a wind finalist in the Royal Overseas League Music Competition. He was Principal E flat Clarinet of the RLPO, and joined the LSO in 1998. ","image":"assets\/imgsupl\/RG6.0_0.96038100_1508248695_c8fd_musicians_image_-yu-mo.jpg","footerTitle":"","footerCopy":"He has played Principal with many UK orchestras and with the Asia Philharmonic Orchestra, including performances as soloist under Myung Whun Chung. Chi-Yu has played with the Nash Ensemble and Endymion and recently he performed the Mozart Kegelstatt Trio and Reich's New York Counterpoint at LSO St Luke's and also featured with the Worldwide Chinese Woodwind Soloists Octet in Beijing. Chi-Yu is a Professor at the Royal Academy of Music and has given masterclasses in China, Kazakhstan, Spain and USA."},{"id":"a635","posX":"13","posY":"6","instrumentId":"i12","title":"Chris Richards","description":"Chris studied at the Guildhall School of Music and Drama with Thea King, Julian Farrell and Joy Farrall. Whilst at the Guildhall, he won the Needlemakers' Wind Prize and reached the finals of the 2001 Shell\/LSO Competition where he performed Weber's first Clarinet Concerto with the London Symphony Orchestra. After his studies, he was appointed principal clarinet with the Northern Sinfonia at the Sage Gateshead and in 2010 became principal clarinet with the London Symphony Orchestra. He has also performed as a guest principal with most of the UK's leading orchestras.
Chris has appeared as a soloist with the City of Birmingham Symphony Orchestra, Northern Sinfonia, London Symphony Orchestra Chamber Ensemble, English Symphony Orchestra and Birmingham Contemporary Music Group with conductors including Thomas Zehetmair, Robin Ticciati, H. K. Gruber and Nicholas McGegan. He has also broadcast John Adams\u2019s Gnarly Buttons, Birtwistle's Linoi and the Strauss Duett-Concertino on BBC Radio 3. In 2008 Chris gave the premiere of Richard Rodney Bennett's Troubadour Music for clarinet and piano at the Wigmore Hall.
A regular performer of chamber music, Chris has played at Carnegie Hall, Wigmore Hall, LSO St Luke's, The Sage Gateshead and Aldeburgh Festival with artists such as the Aronowitz Ensemble, London Symphony Orchestra Chamber Ensemble, Ensemble 360, Thomas Ad\u00e8s, Pascal Rog\u00e9 and Howard Shelley. He is also a regular member of the John Wilson Orchestra.","image":"","footerTitle":"","footerCopy":""},{"id":"a636","posX":"14","posY":"6","instrumentId":"i15","title":"Rachel Gough","description":"Rachel Gough has been Principal Bassoon of the LSO since 1999. (For eight years prior to joining the LSO she was Co-Principal with the BBC Symphony Orchestra and a professor at the Royal Academy of Music.)
As a student she read anthropology and music at King\u2019s College, Cambridge, before gaining Countess of Munster, Martin Musical, Ian Fleming and German government scholarships for postgraduate study at the Royal Academy of Music and the Hannover Hochschule f\u00fcr Musik with Klaus Thunemann. During this time she was principal bassoon of the European Community Youth Orchestra and won the Gold Medal at the Royal Overseas League.","image":"assets\/imgsupl\/RG6.0_0.90013200_1508249355_068b_musicians_image_-gough.jpg","footerTitle":"","footerCopy":"Rachel has appeared as a soloist with Sir Colin Davis, Valery Gergiev, Bernard Haitink, Sir Neville Marriner, Gianandrea Noseda and Gennady Rozhdestvensky. (Alongside these conductors, she has as worked as an orchestral musician with Claudio Abbado, Pierre Boulez, Riccardo Chailly, Mariss Jansons, Zubin Mehta, Sir Antonio Pappano, Andre Previn, Sir Simon Rattle, Sir Georg Solti, Yuri Temirkanov and Gunter Wand, amongst many others.) (She is a Fellow of the Royal Academy of Music.)"},{"id":"a637","posX":"15","posY":"6","instrumentId":"i15","title":"Joost Bosdijk","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a638","posX":"16","posY":"6","instrumentId":"i15","title":"Dominic Morgan","description":"Dominic Morgan, Principal Contra-Bassoon of the LSO, began playing the bassoon at the age of 13 and graduated from Royal Northern College of Music. He joined the LSO in 1994, after playing for the English National Opera for nine years.","image":"assets\/imgsupl\/RG6.0_0.32432600_1508251907_f64c_musicians_image_morgan.jpg","footerTitle":"","footerCopy":""},{"id":"a639","posX":"11","posY":"7","instrumentId":"i18","title":"Michael Kidd","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a640","posX":"12","posY":"7","instrumentId":"i18","title":"Jacob Bagby","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a641","posX":"13","posY":"7","instrumentId":"i18","title":"Angela Barnes","description":"In January 2005, at the age of 21, Angela Barnes was appointed second horn of the London Symphony Orchestra, becoming the first female member of the orchestra\u2019s brass section in the orchestra\u2019s hundred-year history. She has worked regularly with most of the major British orchestras, appearing as a guest principal with the London Philharmonic Orchestra, the Royal Philharmonic Orchestra, the City of Birmingham Symphony Orchestra, and the Royal Liverpool Philharmonic Orchestra. Her career combines orchestral, solo and chamber music playing. As well as featuring in the second instalment of the Cala Records \u2018\u2018London Horn Sound\u2019\u2019 series, she has also recently recorded Britten\u2019s Canticle for Tenor, Horn and Piano, with tenor Allan Clayton, as part of the BBC Radio 3 New Generation Artists scheme.","image":"assets\/imgsupl\/RG6.0_0.22330700_1508430366_6bc8_musicians_image_barnes.jpg","footerTitle":"","footerCopy":"Angela, from Rossendale, Lancashire, began horn lessons with her mother at the age of eight, before entering Chetham\u2019s School of Music, Manchester, in 1994 to study with Elizabeth Davis. She then went on to study with Hugh Seenan, Richard Bissill, Jeff Bryant and Jonathan Lipton at the Guildhall School of Music and Drama in London, from where she graduated with a First Class Honours degree in July 2005. Angela has given numerous solo and chamber music performances, and was a member of both the National Youth Orchestra and the European Union Youth Orchestra. In 2002, she won both the Liverpool Young Musician competition and the Brass section of the BBC Young Musician of the Year competition, which saw her perform Richard Strauss\u2019 Second Horn Concerto with the BBC Symphony Orchestra in the Barbican Hall, London, as part of the Concerto Final, which was broadcast live on BBC television and radio."},{"id":"a642","posX":"14","posY":"7","instrumentId":"i18","title":"Diego Incertis","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a643","posX":"15","posY":"7","instrumentId":"i18","title":"David McQueen","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a653","posX":"18","posY":"7","instrumentId":"i16","title":"Paul Beniston","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a654","posX":"19","posY":"7","instrumentId":"i16","title":"Catherine Knight","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a655","posX":"20","posY":"7","instrumentId":"i16","title":"Christopher Deacon","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a649","posX":"15","posY":"8","instrumentId":"i17","title":"Isobel Daws","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a650","posX":"16","posY":"8","instrumentId":"i17","title":"James Maynard","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a652","posX":"18","posY":"8","instrumentId":"i19","title":"Ben Thomson","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a651","posX":"17","posY":"8","instrumentId":"i35","title":"Paul Milner ","description":"Paul Milner was born in Edinburgh and after a musical education, moved to Manchester to study at the Royal Northern College of Music. On leaving the RNCM with a Diploma in Professional Performance, Paul freelanced with some of the UK's leading orchestras, before gaining the position of Principal Bass Trombone with the Orchestra of Opera North, Leeds in 1993.","image":"assets\/imgsupl\/RG6.0_0.02633700_1508250585_1319_musicians_image_milner.jpg","footerTitle":"","footerCopy":"Having spent 14 years there, the position of Principal Bass Trombone in the London Symphony Orchestra became vacant. Paul was successful in gaining membership to the orchestra and began his role in 2007. Along with his very busy role in the orchestra, Paul is committed to the LSO Discovery education department. This involves playing his trombone to children in hospitals, coaching gifted children and community projects, to name but a few."},{"id":"a644","posX":"13","posY":"8","instrumentId":"i22","title":"Nigel Thomas","description":"Nigel Thomas has been Principal Timpanist with the London Symphony Orchestra since 2003, having first joined the orchestra as Principal Percussionist in 1988. He was the Royal College of Music\u2019s first timpani and percussion scholar, and in 1980 was winner of the Shell LSO competition.","image":"assets\/imgsupl\/RG6.0_0.31188400_1508251727_6b88_musicians_image_thomas.jpg","footerTitle":"","footerCopy":""},{"id":"a645","posX":"7","posY":"8","instrumentId":"i21","title":"Rachel Gledhill","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a646","posX":"8","posY":"8","instrumentId":"i21","title":"Neil Percy","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a647","posX":"9","posY":"8","instrumentId":"i21","title":"Glyn Matthews","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a648","posX":"10","posY":"8","instrumentId":"i21","title":"Oliver Yates","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a628","posX":"6","posY":"7","instrumentId":"i23","title":"Elizabeth Burley","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a627","posX":"5","posY":"7","instrumentId":"i9","title":"Bryn Lewis","description":"Bryn Lewis has been Principal Harpist with the London Symphony Orchestra since 1994. Prior to this he was Principal with the Philharmonia Orchestra and played with all the London orchestras, the Chamber Orchestra of Europe and with the Berlin Philharmonic Orchestra. He has played on numerous film sountracks including Braveheart, Star Wars, Harry Potter, Kung Fu Panda and The Dark Knight. ","image":"assets\/imgsupl\/RG6.0_0.83571300_1508254031_de5d_musicians_image_-lewis.jpg","footerTitle":"","footerCopy":"Bryn is a Professor at the Guildhall school of Music and Drama and has given Masterclasses in London, Chicago and Rio de Janeiro. His own studies were with Jean Bell, Barbirolli's Harpist in the Halle Orchestra and Renata Scheffel-Stein (a former LSO Principal) who was appointed to The Philharmonia Orchestra by Herbert von Karajan."}],"instruments":[{"id":"i5","sectionId":"s10","title":"First Violin","description":"Of all the instruments in the orchestra, the violin is the most visible, simply by being the most numerous! Sitting at the front of the stage, there can often be more than 30 of these smallest of the string family in the orchestra at any one time.
Modern violins have roots in the early Greek ages, but started to become the instruments we know today in the 1500s. Its four strings are usually played with a bow or plucked (pizzicato), but the violin is famously versatile and can produce all sorts of effects such as ethereal harmonics, double stops (playing more than one note at once) or being hit with the wooden part of the bow (col legno).","image":"assets\/imgsupl\/RG6.0_0.79425300_1508239376_d3d9_instruments_image_violin.jpg","footerTitle":"Violin Factfile","footerCopy":"\u2022 The principal of the First Violins is called the Leader, or Concertmaster, whose role is to play any orchestral solos and to make technical decisions on behalf of the rest of the string section"},{"id":"i26","sectionId":"s10","title":"Second Violin","description":"The Second Violin section usually sits next to its colleagues the First Violins, although some composers ask for them to be sat opposite the Firsts to produce an antiphonal, or alternating, effect in the music. Typically the Second Violins will play the harmony lines in the music, while the First Violins play the melodies.","image":"assets\/imgsupl\/RG6.0_0.50492100_1508239384_3666_instruments_image_violin.jpg","footerTitle":"Violin Factfile","footerCopy":"\u2022 A violin\u2019s strings are tuned to the notes G, D, A and E\r\n\r\n\u2022 Violin strings were once made out of \u201ccatgut\u201d, although it was actually the gut of a sheep. Today, strings are usually steel\r\n\r\n\u2022 One of the most celebrated violinists of all time, Nicolo Paganini (died 1840), had such an astonishing technique for his time that it was rumoured that he sold his soul to the Devil in exchange for his talent\r\n\r\n\u2022 Playing the violin burns 170 calories an hour"},{"id":"i6","sectionId":"s10","title":"Viola","description":"Unless you put a violin next to a viola to provide comparisons, it\u2019s very difficult to tell the difference on sight. The viola is slightly larger than the violin, and has differently tuned strings, but otherwise is pretty much identical \u2013 held under the chin and played with a bow or plucked.
The sound of the viola, however, is very different. It has a much more mellow tone, deeper and more intense. As the middle instrument of the string family, often playing uncomplicated parts, it can be the brunt of jokes about it being a second class citizen, but actually was favoured by composers such as Mozart and Brahms.","image":"assets\/imgsupl\/RG6.0_0.64873200_1508239412_3a4d_instruments_image_viola.jpg","footerTitle":"Viola Factfile","footerCopy":"\u2022 A viola\u2019s strings are tuned to the notes C, G, D and A\r\n\r\n\u2022 Composers who played the viola include Mozart, Britten, Dvorak, Mendelssohn and Beethoven\r\n\r\n\u2022 Violists read music written in a clef called Alto Clef, which is only used by one other instrument in the orchestra, the alto trombone\r\n\r\n\u2022 JOKE! What's the difference between a Violin and a Viola? A Viola burns longer.\r\n"},{"id":"i7","sectionId":"s10","title":"Cello","description":"Like the violin and viola, the cello has four strings and is played using a bow or plucked, but has one major difference \u2013 it is played vertically, resting on the floor using a spike protruding from the bottom. The cello has slightly different roots from violins and violas, being born from early instruments called viols.
The cello is a bass instrument, playing the lowest notes of the music, although it is also capable of playing high notes, which are very plaintive and lend it its reputation for being the closest instrument to the sound of a human voice.
The cellos usually sit at the front of the stage opposite the First Violins, and number around six to ten in the section. ","image":"assets\/imgsupl\/RG6.0_0.69154900_1508239255_5083_instruments_image_cello.jpg","footerTitle":"Cello Factfile","footerCopy":"\u2022 Like the viola, the cello\u2019s four strings are tuned to C, G, D and A, but sound an octave (8 notes) lower than the viola\r\n\r\n\u2022 The word \u2018cello\u2019 is actually short for \u2018violoncello\u2019, literally \u201csmall large viol\u201d\r\n\r\n\u2022 Some early cellos had 5 strings\r\n\r\n\u2022 The plural of cello is actually celli\r\n"},{"id":"i8","sectionId":"s10","title":"Double Bass","description":"The daddy of the string family, the double bass is the largest and lowest stringed instrument. Being so large it\u2019s usually played sitting on a high stool or standing up, and the basses sit at the very back of the orchestra. Because of its size it\u2019s physically demanding to play \u2013 just pressing down the thick strings requires a lot of effort!
Like the other stringed instruments it\u2019s played with a bow or plucked and had four strings. Some double basses have an extension on their lowest string to play even lower notes. The notes are so low that it\u2019s not a very loud instrument and so there\u2019s often up to 10 or 12 bassists in the orchestra to provide enough volume.","image":"assets\/imgsupl\/RG6.0_0.19634300_1508239533_ae55_instruments_image_e-bass.jpg","footerTitle":"Double Bass Factfile","footerCopy":"\u2022 The double bass\u2019 strings are usually tuned to E, A, D and G, but unlike the others in the string family this can vary from country to country, depending on traditions\r\n\r\n\u2022 Solo parts for orchestral double bassists are rare as its size makes intricate writing more difficult\r\n\r\n\u2022 Double Basses can often be found moonlighting in wind and brass ensembles!\r\n\r\n\u2022 The biggest Double Bass was built in Paris in 1850 and was 3.5 metres tall"},{"id":"i10","sectionId":"s12","title":"Flute","description":"The highest member of the woodwind family is not, as the name might suggest, usually made of wood. You can probably spot these instruments shining out from the orchestra, since they\u2019re most commonly made of highly polished metal \u2013 sometimes even silver or gold.
The flute has roots even more ancient than the violin, recently discovered ones being over 45,000 years old. The flute\u2019s sound is produced by blowing air across the hole (similar to how you might play a bottle!) with the notes changed using the keys along its body. The flute has a bright and perky sound which means it can easily travel over the sound of the orchestra.
Orchestras usually have two or three flutes, and you might also see some of the flute\u2019s cousins \u2013 the tiny shrill piccolo, the mellow and soulful alto flute, or if you\u2019re really lucky, the frankly odd looking bass and contrabass flutes.
","image":"assets\/imgsupl\/RG6.0_0.71528000_1508257952_cb64_instruments_image_flute.jpg","footerTitle":"Flute Factfile","footerCopy":"\u2022 The flute is pitched in the key of C, and has a range of approximately 3 octaves\r\n\r\n\u2022 George Washington and Leonardo da Vinci played the flute\r\n\r\n\u2022 Flutes were first held sideways in China about 3000 years ago\r\n\r\n\u2022 The world\u2019s most expensive flute was made of platinum and was auctioned for $187,000\r\n"},{"id":"i11","sectionId":"s12","title":"Oboe","description":"Sitting next to the flutes on the front row of the woodwind section, the oboe is actually made of wood. The name \u2018oboe\u2019 came from the French \u2018hautbois\u2019, literally \u2018high wood\u2019, as it was known in the 17th century.
The sound of the oboe is produced by blowing into a reed in the top of the instrument \u2013 which means that oboists have to master not only the art of playing the instrument, but also carving the delicate reeds to suit their own mouths. The oboe\u2019s sound is very pure and easily heard \u2013 you\u2019ll spot the oboe easily right at the start of concerts as they will play the A to which the rest of the orchestra tunes.
Usually there will be two or three oboes in the orchestra, frequently joined by its cousin the Cor Anglais (English horn \u2013 which is neither English, nor a horn\u2026) and sometimes by rarer relatives such as the Oboe d\u2019Amore, bass oboe and Heckelphone.","image":"assets\/imgsupl\/RG6.0_0.82579100_1508257972_dd65_instruments_image_oboe.jpg","footerTitle":"Oboe Factfile","footerCopy":"\u2022 The oboe is pitched in the key of C, with a range of two and a half octaves\r\n\r\n\u2022 The modern oboe is most commonly made from grenadilla, also known as African Blackwood\r\n\r\n\u2022 Oboists often get teased that their instrument sounds like a duck \u2013 Prokofiev even used the instrument to represent the duck in Peter and the Wolf\r\n\r\n\u2022 The fastest oboe player in the world, Jack Cozen Harel, played Nicolai Rimsky-Korsakov\u2019s Flight of the Bumble Bee in 26.1 Seconds"},{"id":"i12","sectionId":"s12","title":"Clarinet","description":"Usually found behind the flutes in the orchestra, the clarinet is most similar to an oboe in how it looks (made from the same wood) and is played (pointing downwards), but that\u2019s where the similarity ends. It is played by blowing across a single reed, rather than the oboes\u2019 double one, which is much easier to handle.
The clarinet has a very wide range, the largest of all the woodwinds, and its sounds is very flexible \u2013 from rich and dark in the bottom, through bright and sweet in the middle, to piercing and shrill at the top. It makes the clarinet a popular addition to other genres of band as well as orchestras \u2013 jazz and Klezmer, to name but two.
Clarinets also come in a variety of keys and sizes \u2013 a Bb clarinet being the most commonly used in orchestras, with A clarinets joining them on occasion. It also has several common cousins, like the baby Eb clarinet and the bass clarinet. You might also see Basset-horns, contrabass clarinets and piccolo clarinets.
","image":"assets\/imgsupl\/RG6.0_0.12781000_1508257996_c83a_instruments_image_arinet.jpg","footerTitle":"Clarinet Factfile","footerCopy":"\u2022 The clarinet has a range of around four and a half octaves. Pitched in keys other than C, the clarinettist has to \u2018transpose\u2019 in order to sound with the rest of the orchestra!\r\n\r\n\u2022 Steven Spielberg can be seen playing the clarinet in an orchestra early on in his movie Jaws.\r\n\r\n\u2022 The clarinet was the last woodwind instrument to be included in the symphony orchestra\r\n\r\n\u2022 The LSO\u2019s former Principal Clarinet Jack Brymer is one of the best known clarinettists of recent times because of his prolific teaching commitments and books on technique"},{"id":"i15","sectionId":"s12","title":"Bassoon","description":"The bass member of the woodwind family is another double reed instrument like the oboe. The reed is attached to a long metal tube called the crook, which connects to the bassoon. The longest instrument of the orchestra, unfolded it would stretch 2.5 metres. It\u2019s so unwieldy that most bassoonists use a neck sling or shoulder harness to support the instrument while playing \u2013 held diagonally downwards unlike the other woodwinds.
The bassoon\u2019s sound is quite flexible and full of character \u2013 it often represents the clown of the piece or gruff lumbering animals, but can also be plaintive and lyrical. It is agile and can produce quick running notes.
Like the other woodwinds, there are usually two or three bassoons in the orchestra, with its big cousin the contra-bassoon quite often present. It\u2019s even longer than the bassoon, folded over more times, and requires a small spike on the bottom fold for extra support.","image":"assets\/imgsupl\/RG6.0_0.68499600_1508258014_e261_instruments_image_assoon.jpg","footerTitle":"Bassoon Factfile","footerCopy":"\u2022 The bassoon is a C instrument, and has a range of about 3 and a half octaves\r\n\r\n\u2022 The Italian for bassoon is Fagotto, which literally means \u2018bundle of sticks\u2019\r\n\r\n\u2022 Modern bassoons are usually made of maple\r\n\r\n\u2022 A bassoonist\u2019s left thumb has 10 keys to operate!\r\n"},{"id":"i18","sectionId":"s11","title":"Horn","description":"Sometimes called the French horn, the horn is actually technically German in origin. It\u2019s from the brass family, and is made of, well, brass. The sounds are produced via the players lips on the cup-shaped mouthpiece \u2013 notes are changed by adjusting both the lip tension, using the valves to lengthen or shorten the tubing, and by putting a hand inside the bell to make the instrument longer.
The modern horn is a descendent of the hunting horn, and its sound is often used by composers to signify a hunt. It is also capable of producing a haunted and distant sound, and is well used in film music.
The horns usually sit on the opposite side of the orchestra to their other brass colleagues, and usually number four. They work in pairs, with horns 1 and 3 taking high parts and horns 2 and 4 taking low parts. There is also sometimes an extra horn called a bumper, who can assist the principal in solo passages or to make parts louder.","image":"assets\/imgsupl\/RG6.0_0.75400700_1508258550_21c6_instruments_image_horn.jpg","footerTitle":"Horn Factfile","footerCopy":"\u2022 The horn is pitched in F, and sounds four notes higher than written on the page\r\n\r\n\u2022 Richard Strauss wrote parts for 20 horns in his Alpine Symphony\r\n\r\n\u2022 The actor Ewan McGregor is known to have learnt the horn\r\n\r\n\u2022 If its tubing were stretched straight out it would be about 6 metres long\r\n"},{"id":"i16","sectionId":"s11","title":"Trumpet","description":"The highest member of the brass family is the trumpet, and it\u2019s also the oldest musical instrument, dating back to around 1500BC. Like the horn the sound is produced by varying lip pressure on the mouthpiece and by piston valves on the top which lengthen the tubing and therefore lower the pitch. It wasn\u2019t until after Brahms that valved trumpets were used in orchestras, though, which was the point at which it really took off as it could play more notes!
The sound of the trumpet can be very loud or very soft, and is often equated with military style. Trumpets are capable of producing a huge variety of effects \u2013 flutter tonguing, sliding between notes, growling, making noises through the instrument and by an unending variety of mutes which are put into the bell.
There are often four trumpets in the orchestra, and it has a variety of relatives, many of which rarely make an appearance, but are much more common in brass or jazz bands \u2013 cornet, flugelhorn, bugle, bass trumpet and piccolo trumpet.","image":"assets\/imgsupl\/RG6.0_0.80714800_1508258562_1b30_instruments_image_rumpet.jpg","footerTitle":"Trumpet Factfile","footerCopy":"\u2022 Trumpets are commonly pitched in Bb, but you can also find trumpets in F, C, D, Eb, E, G and A\r\n\r\n\u2022 You can play 45 distinct notes just using the trumpet\u2019s three valves\r\n\r\n\u2022 A trumpet contains about 6 and a half feet of tubing\r\n\r\n\u2022 The LSO\u2019s former Principal Trumpet Maurice Murphy is best known for playing the high note at the very start of the Star Wars Main Title\r\n"},{"id":"i17","sectionId":"s11","title":"Trombone","description":"The name trombone comes from the Italian Tromba (trumpet) and \u2013one (large), and therefore literally is a \u2018large trumpet\u2019. It is though the only brass instrument that doesn\u2019t have valves (although some have one to make small adjustments), instead the notes are changed by changing the length of the tube using a large slide.
The trombone is made of brass, although recently some have been made of plastic as a cheaper and more robust alternative \u2013 it also means they can be made in a variety of jazzy colours!
The trombone you will commonly see in symphony orchestras is a tenor trombone, although it\u2019s rarely called that. You might also see a bass trombone sitting between the trombones and the tuba, a larger and lower pitched instrument.","image":"assets\/imgsupl\/RG6.0_0.27620200_1508258572_9ba4_instruments_image_ombone.jpg","footerTitle":"Trombone Factfile","footerCopy":"\u2022 Unwound, the trombone would be about 9 feet long\r\n\r\n\u2022 The composer usually credited with introducing the trombone into the orchestra is Beethoven, in the last movement of his Fifth Symphony\r\n\r\n\u2022 There are seven different positions for the trombone slide\r\n\r\n\u2022 Richard Strauss once said \u201cDon\u2019t look at the trombones, it only encourages them\u201d\r\n"},{"id":"i19","sectionId":"s11","title":"Tuba","description":"Sitting at the bottom of the brass pile is the tuba. The biggest and lowest of the brass family is played using vibrating lips and with valves, and is made of lacquered brass so needs to be polished frequently. It usually carries the bass line of the music, and reinforces the lines of the string and woodwind bass instruments. Although it looks cumbersome, there have been several solo concerti written for the instrument.
Like the trombone, the word \u2018tuba\u2019 actually means trumpet (in Latin) \u2013 and so we can therefore conclude that all brass instruments are basically trumpets!
There is usually only one tuba in the orchestra, but it does have several cousins which are more frequently seen in brass and marching bands, such as the euphonium, tenor tuba, Wagner tuba and Sousaphone.","image":"assets\/imgsupl\/RG6.0_0.55617300_1508258581_1ed0_instruments_image_tuba.jpg","footerTitle":"Tuba Factfile","footerCopy":"\u2022 The tuba is usually pitched C, although Eb and Bb tubas are common in brass bands\r\n\r\n\u2022 The first Friday in May is International Tuba Day, which celebrates tuba players around the world\r\n\r\n\u2022 Berlioz originally scored Symphonie fantastique for two ophicleides, the forerunner of the tuba, but he changed them to a tuba when he heard the newly invented instrument\r\n\r\n\u2022 A tuba has about 16 feet of tubing\r\n"},{"id":"i22","sectionId":"s13","title":"Timpani","description":"Among the array of percussion instruments at the back of the orchestra the one constant is the timpani, or \u2018kettle drums\u2019 - so called because of their copper bowl shape. Across the top of the drum is stretched a skin, which is usually plastic but can be made of calf skin or goat skin. The drum is hit with sticks, the heads of which are different materials and softness which the player chooses to produce different qualities of sound.
There are usually two or more timpani present at any one time depending on the needs of the music, gradually reducing in size to produce higher notes \u2013 four or five drums is about average, but up to 16 has been known! Timpanists can produce different notes from the drum by use of tuning foot pedals which alter the tightness of the skin, and very modern \u201ctimps\u201d also have micro-tuning levers and switches for ultimate control.
The timpanist in the orchestra, although a trained percussionist, specialises in timpani playing and very rarely plays any of the other percussion instruments. Or as the conductor Norman del Mar once put it, \u201cking of his own province\u201d!","image":"assets\/imgsupl\/RG6.0_0.93703900_1508258594_1244_instruments_image_impani.jpg","footerTitle":"Timpani Factfile","footerCopy":"\u2022 Timpani have been part of the orchestra since the late 1600s, but versions have been around since the 13th century\r\n\r\n\u2022 Each drum has a range of 5 notes \r\n\r\n\u2022 The singular of timpani is timpano, although no one uses that these days!\r\n\r\n\u2022 Timpani enjoy a good sideline in rock music, especially during the 1960s and 1970s Prog Rock era"},{"id":"i21","sectionId":"s13","title":"Percussion","description":"To describe everything that one could find in a percussion section would take years \u2013 really this group is only limited by the imagination of the composer! If you can hit, scrape or shake something and make it make a sound, it can be a percussion instrument. Consequently percussionists are a resourceful bunch and need to be proficient in all sorts of techniques.
Percussion can be split into broadly two categories: tuned and untuned. Tuned percussion instruments include xylophones, glockenspiels, marimbas, tubular bells, hang drums, steel pans and hand bells; while untuned includes all sorts of drums, woodblocks, gongs, maracas, triangles, tambourines, castanets, cymbals and pretty much anything your average junk yard can provide: car brake drums, buckets, bags, anvils, saws, typewriters, metal sheets and even bowls of water.
The percussion section is central to an ensemble: at the most basic level they often provide the pulse of the music. In orchestras though, percussion usually provides the \u201cspecial effects\u201d of the music \u2013 and it\u2019s often as much fun to watch the percussionists (any number from 2 to 10 can regularly be seen) move around the instruments and each other during quick changes!","image":"assets\/imgsupl\/RG6.0_0.66386300_1508258605_8320_instruments_image_ussion.jpg","footerTitle":"Percussion Factfile","footerCopy":"\u2022 Because sounds are created on a piano by striking a taut chord with a hammer, it is technically a percussion instrument\r\n\r\n\u2022 Drumming is good for you: you can burn up to 270 calories in about 30 minutes, more than cycling, hiking, or weight lifting!\r\n\r\n\u2022 The xylophone's first appearance as an orchestral instrument was in Dance Macabre by Saint-Saens\r\n\r\n\u2022 Tambourines were instruments traditionally used by women\r\n"},{"id":"i23","sectionId":"s14","title":"Keyboards","description":"The piano is better known as a solo instrument, but actually appears as part of the orchestra more frequently than you would imagine. And not just pianos \u2013 other regular keyboard instruments include harpsichord, celesta and organ. Positioned off to the back, usually near the harps and percussion, these are mostly played by just one person, proficient in the techniques needed to play most instruments.
Each of these instruments has its own distinctive sound: the celesta (\u2018heavenly\u2019 in French) has a sound like little bells, the organ is as majestic and full bodied as its pipes suggest, the harpsichord\u2019s keys pluck strings inside instead of hammer them and is mostly associated with early music, and the piano with its large range and variety of tone that can either blend or soar above the orchestra.","image":"assets\/imgsupl\/RG6.0_0.44828800_1508259045_3a3a_instruments_image_boards.jpg","footerTitle":"Keyboard Factfile","footerCopy":"\u2022 The average piano has 230 strings\r\n\r\n\u2022 The range of the normal 88 key piano covers the entire range of all the other instruments in the orchestra\r\n\r\n\u2022 The celesta is most famously heard in \u2018The Dance of the Sugar Plum Fairy\u2019 from Tchaikovsky\u2019s Nutcracker\r\n\r\n\u2022 Organs often have hundreds of pipes ranging from 32 feet tall to about 5 mm\r\n"},{"id":"i9","sectionId":"s14","title":"Harp","description":"Possibly the most ornate instrument on display in the orchestra is the harp. These elegant structures with around 47 strings, beautifully carved pillars and quite often gilt frames, sit towards the back of the string section with the keyboard instruments \u2013 usually there are one or two harps in the orchestra, but sometimes more which creates quite a visual treat.
The harp is played by the harpist plucking the strings with both hands, and there are seven foot pedals which the harpist uses to flatten or sharpen the notes. As you can imagine with so many strings, keeping a harp in tune is a lengthy process, and if you\u2019re early in the concert hall you can probably catch the harpist tuning up long before everyone else!
The harp was quite a recent addition to the symphony orchestra, Berlioz being one of the earliest composers to try it out. Tchaikovsky was a great influence in the use of the harp, and one of the best-known harp parts can be found in his \u2018Waltz of the Flowers\u2019 from The Nutcracker.
","image":"assets\/imgsupl\/RG6.0_0.50366800_1508259024_07ad_instruments_image_harp.jpg","footerTitle":"Harp Factfile","footerCopy":"\u2022 The harp has a range of 6 and a half octaves\r\n\r\n\u2022 To aid visual recognition, all F strings are black or blue and all C strings are red\r\n\r\n\u2022 Harps are capable of many different effects, including sweeping glissandos (slides) and harmonics\r\n\r\n\u2022 The frame of the harp looks solid, but is actually hollow. It still manages to weigh in at 5 stone or more"},{"id":"i35","sectionId":"s11","title":"Bass Trombone","description":"The name trombone comes from the Italian Tromba (trumpet) and \u2013one (large), and therefore literally is a \u2018large trumpet\u2019. It is though the only brass instrument that doesn\u2019t have valves (although some have one to make small adjustments), instead the notes are changed by changing the length of the tube using a large slide.
The trombone is made of brass, although recently some have been made of plastic as a cheaper and more robust alternative \u2013 it also means they can be made in a variety of jazzy colours!
The trombone you will commonly see in symphony orchestras is a tenor trombone, although it\u2019s rarely called that. You might also see a bass trombone sitting between the trombones and the tuba, a larger and lower pitched instrument.","image":"assets\/imgsupl\/RG6.0_0.39153600_1601306106_4005_instruments_image_ombone.jpg","footerTitle":"Trombone Factfile","footerCopy":"\u2022 Unwound, the trombone would be about 9 feet long\r\n\r\n\u2022 The composer usually credited with introducing the trombone into the orchestra is Beethoven, in the last movement of his Fifth Symphony\r\n\r\n\u2022 There are seven different positions for the trombone slide\r\n\r\n\u2022 Richard Strauss once said \u201cDon\u2019t look at the trombones, it only encourages them\u201d\r\n"}],"sections":[{"id":"s10","colour":"#2d9b93","title":"Strings"},{"id":"s12","colour":"#1466c6","title":"Woodwind"},{"id":"s11","colour":"#f2b623","title":"Brass"},{"id":"s13","colour":"#826aa5","title":"Percussion"},{"id":"s14","colour":"#dd4343","title":"Other"}],"masterclasses":[{"id":"m50","instrumentId":"i5","title":"Violin Masterclass","artist":"Carmine Lauri","instrument":"Violin","description":"The LSO's co-leader Carmine Lauri talks to Rachel Leach about his personal experiences of playing Britten's Four Sea Interludes, and offers some tips on different stylistic approaches for each interlude.","footerTitle":"","footerCopy":"","linkTitle":"","video":"https:\/\/lsoplay.s3.amazonaws.com\/2017\/Britten\/Carmine_CR02_h264_yadif_aac.mov","mobileVideo":"https:\/\/lsoplay.s3.amazonaws.com\/2017\/Britten\/Carmine_CR02_h264_yadif_aac_mobile.mp4","videoLinks":[]},{"id":"m51","instrumentId":"i6","title":"Viola Masterclass","artist":"Steve Doman","instrument":"Viola","description":"LSO Viola Steve Doman talks to Rachel Leach about his relationship with Britten's Four Sea Interludes, including the revelation that it was the first piece he ever played with the orchestra, and revealing how knowledge of Aldeburgh helps inform his interpretation of the work.","footerTitle":"","footerCopy":"","linkTitle":"","video":"https:\/\/lsoplay.s3.amazonaws.com\/2017\/Britten\/Steve_Doman_CR04_h264_yadif_aac.mov","mobileVideo":"https:\/\/lsoplay.s3.amazonaws.com\/2017\/Britten\/Steve_Doman_CR04_h264_yadif_aac_mobile.mp4","videoLinks":[]},{"id":"m53","instrumentId":"i18","title":"French Horn Masterclass","artist":"Angela Barnes","instrument":"French Horn","description":"LSO Second Horn Angela Barnes discusses the way Britten wrote for the instrument, including how effects are passed between the different members of the section and how she uses it to simulate the sound of church bells or chattering villagers!","footerTitle":"","footerCopy":"","linkTitle":"","video":"https:\/\/lsoplay.s3-eu-west-1.amazonaws.com\/2017\/Britten\/LSOPLAY_Angela_master_web.mp4","mobileVideo":"https:\/\/lsoplay.s3-eu-west-1.amazonaws.com\/2017\/Britten\/LSOPLAY_Angela_master_mobile.mp4","videoLinks":[]},{"id":"m49","instrumentId":"","title":"Percussion Masterclass","artist":"Neil Percy","instrument":"Percussion","description":"LSO Principal Percussion Neil Percy leads us on a whistle stop tour of the various instruments used by Britten in his Four Sea Interludes. Learn how to sustain a note on the crash cymbals or achieve a continuous tambourine roll.","footerTitle":"","footerCopy":"","linkTitle":"","video":"https:\/\/lsoplay.s3.amazonaws.com\/2017\/Britten\/BRITTEN_Neil_HD2_h264_yadif_aac.mov","mobileVideo":"https:\/\/lsoplay.s3.amazonaws.com\/2017\/Britten\/BRITTEN_Neil_HD2_h264_yadif_aac_mobile.mp4","videoLinks":[]},{"id":"m52","instrumentId":"","title":"Introduction to Britten and the Four Sea Interludes","artist":"Rachel Leach","instrument":"","description":"Rachel Leach introduces this short film giving us a background to Benjamin Britten's life and career as a composer, explaining how he came to develop his relationship with the Suffolk village of Aldeburgh and subsequently compose the opera Peter Grimes, from which the Four Sea Interludes are taken. She then examines the musical ideas contained within each of the Interludes - Dawn, Sunday Morning, Moonlight and Storm.","footerTitle":"","footerCopy":"","linkTitle":"","video":"https:\/\/lsoplay.s3.amazonaws.com\/2017\/Britten\/BRITTEN_Rachel_HD2_h264_yadif_aac.mov","mobileVideo":"https:\/\/lsoplay.s3.amazonaws.com\/2017\/Britten\/BRITTEN_Rachel_HD2_h264_yadif_aac_mobile.mp4","videoLinks":[]},{"id":"m48","instrumentId":"","title":"Conductor Interview","artist":"Gianandrea Noseda","instrument":"","description":"Rachel Leach speaks to conductor Gianandrea Noseda about his history of performing Britten's work, and how he approaches each of the Four Sea Interludes.","footerTitle":"","footerCopy":"","linkTitle":"","video":"https:\/\/lsoplay.s3.amazonaws.com\/2017\/Britten\/Noseda_Interview.mov","mobileVideo":"https:\/\/lsoplay.s3.amazonaws.com\/2017\/Britten\/Noseda_Interview_mobile.mp4","videoLinks":[]}],"cameras":[{"id":"c55","posX":"2","posY":"9","title":"French Horns, Woodwind and Strings"},{"id":"c56","posX":"12","posY":"8","title":"Conductor"},{"id":"c57","posX":"13","posY":"9","title":"Harp, Strings and Conductor"},{"id":"c58","posX":"24","posY":"9","title":"Woodwinds and Brass"},{"id":"c59","posX":"26","posY":"7","title":"Strings and Conductor"},{"id":"c60","posX":"-5","posY":"2","title":"Strings"}],"downloads":[{"id":"d18","label":"Teachers' Resources","sublabel":"for Key Stage 2","title":"Resources for Key Stage 2 Teachers","image":"","description":"
This interactive iBook, available for Mac OS and iOS, contains a selection of resources to help teachers use this performance of Four Sea Interludes in their classroom.<\/span><\/p>\r\n Also available as a PDF, without embedded media.<\/span><\/p>","footerTitle":"","footerCopy":"","links":[{"title":"iBook for Apple devices","url":"https:\/\/books.apple.com\/us\/book\/brittens-four-sea-interludes-resources-for-ks2-teachers\/id1559716827?ls=1"},{"title":"PDF","url":"https:\/\/playapi.lso.co.uk\/download\/38\/Britten_CR05_PDF_version.pdf"}]}]},{"id":"perf7","slug":"Elgars-Enigma-Variations","animationSlug":"elgar","title":"Elgar's Enigma Variations","titleMobile":"Elgar's Enigma Variations","date":"14\/09\/2017","location":"Barbican Centre, London","image":"assets\/imgsupl\/RG6.0_0.01976500_1547481831_d578_performances_homepage_image_elgar3.jpg","desktopFeed":"https:\/\/lsoplay.s3.amazonaws.com\/2017\/elgar_desktop.mp4","mobileFeed":"https:\/\/lsoplay.s3.amazonaws.com\/2017\/elgar_mobile.mp4","viewports":6,"share":{"image":"","title":"Elgar: Enigma Variations","copy":"Watch the London Symphony Orchestra perform Elgar's Enigma Variations under the baton of Sir Simon Rattle. Use the interactive video player to choose your own camera views, explore the instruments of the orchestra and get a deeper insight into actually performing the piece by watching instrumental masterclasses from LSO players. In addition, teachers can download resources designed to help use Enigma Variations in the teaching of classroom music at Key Stage 2.","twitterCopy":"Check out Elgar's Enigma Variations on Play by @londonsymphony - "},"conductedBy":"Sir Simon Rattle","artists":[{"id":"k141","posX":0,"posY":0,"instrumentId":"iConductor","title":"Sir Simon Rattle","description":"In September 2017 Sir Simon Rattle became Music Director of the London Symphony Orchestra. Until the end of the 17\/18 season he will combine this with his role as Chief Conductor and Artistic Director of the Berliner Philharmoniker, where he was appointed in 2002.\r\n\r\nBorn in Liverpool, Sir Simon Rattle studied at the Royal Academy of Music in London. Between 1974 and 1977 he was Assistant Conductor at the Bournemouth Symphony Orchestra and the Bournemouth Sinfonietta. He made his opera debut at Glyndebourne Festival in 1977, since then he has worked with opera houses including English National Opera, The Royal Opera House Covent Garden, Netherlands Opera and leading international orchestras. In 1980 he was appointed, a rising star of the classical music world, as Principal Conductor and Artistic Advisor to the City of Birmingham Symphony Orchestra, where he was Music Director from 1990 to 1998. Under his leadership the orchestra gained a reputation as one of the finest in the world, and in partnership with the City he successfully opened Symphony Hall, Birmingham\u2019s acclaimed concert hall in April 1991.","image":"assets\/imgsupl\/RG6.0_0.12278300_1508246499_cb7f_musicians_image_rattle.jpg","footerTitle":"","footerCopy":"Between 1981 and 1994 he was Principal Guest Conductor Los Angeles Philharmonic Orchestra. Since 1992 he has been Principal Guest Conductor of the Orchestra of the Age of Enlightenment and Artistic Advisor to the Birmingham Contemporary Music Group. Among his international awards are the Order of the Federal Republic of Germany (2009) and Chevalier de la L\u00e9gion d\u2019Honneur (2010). He was awarded a knighthood by Her Majesty the Queen for his services to music in 1994 and received the Order of Merit in the New Year\u2019s Honours 2014. \r\n"},{"id":"a477","posX":"0","posY":"2","instrumentId":"i5","title":"Roman Simovic","description":"Roman Simovic's brilliant virtuosity and seemingly-inborn musicality, fueled by a limitless imagination, has taken him throughout all continents performing on many of world's leading stages. As soloist, Simovic has appeared with the world leading orchestras: London Symphony Orchestra, Mariinsky Theatre Symphony Orchestra, Franz Liszt Chamber Orchestra and Camerata Bern with some of the world\u2019s greatest conductors, including Valery Gergiev, Antonio Pappano and Kristian Jarvi. ","image":"assets\/imgsupl\/RG6.0_0.62678400_1508243918_f05c_musicians_image_imoniv.jpg","footerTitle":"","footerCopy":"Aside from being an active soloist, Roman Simovic is an avid chamber musician, and is a founding member of the distinguished Rubikon String Quartet. As an educator, he has presented master-classes in the US, UK, South Korea, Serbia, Montenegro, Israel. Roman Simovic plays a 1752 \"J. B. Guadagnini\" violin."},{"id":"a479","posX":"1","posY":"2","instrumentId":"i5","title":"Carmine Lauri","description":"Carmine Lauri was born in 1971 and started playing the violin at the age of four later studying with Mario Bisazza. In 1988 he was awarded the Associated Board scholarship to further his studies in London at the Royal Academy of Music with Jean Harvey and Maurice Hasson. He has performed extensively and on a number of occasions he was selected to perform as a soloist in the presence of HM Queen Elizabeth II and other Heads of State.","image":"assets\/imgsupl\/RG6.0_0.05795600_1508244064_8bfa_musicians_image_-lauri.jpg","footerTitle":"","footerCopy":"His two premiere performances of the Walton violin concerto with the Czech State Philharmonic Orchestra of Brno further enhanced his growing international reputation. As a representative of the London Symphony Orchestra, of which he is the Co-Leader, Carmine leads and performs regularly with the World Orchestra for Peace under Valery Gergiev."},{"id":"a481","posX":"0","posY":"3","instrumentId":"i5","title":"Lennox Mackenzie","description":"Lennox Mackenzie was born in Aberdeen, Scotland and started to play the violin aged six. In 1971 he won the ABRSM scholarship to study at the Royal Academy of Music under Ralph Holmes. Whilst there he won many prizes including the Marjorie Hayward Prize for Excellence in Recital Diploma and the Macklin Bursary which assisted him in buying a Dom Nicolo Amati violin. It was at that time he became a founder member of the Arditti String Quartet.","image":"assets\/imgsupl\/RG6.0_0.19267000_1508245735_ff12_musicians_image_kenzie.jpg","footerTitle":"","footerCopy":"He joined the London Symphony Orchestra in 1980 as Principal 1st Violin and became Sub Leader in 1985, affording him the opportunity of occasionally leading the orchestra under the baton of some of the LSO\u2019s foremost conductors including Claudio Abbado, Michael Tilson Thomas, Andre Previn, Valery Gergiev, Lorin Maazel and Pierre Boulez. Lennox served as Chairman of the LSO for a four year period in the 80\/90s and again between 2004 and 2016."},{"id":"a482","posX":"1","posY":"3","instrumentId":"i5","title":"Clare Duckworth","description":"","image":"assets\/imgsupl\/RG6.0_0.95505800_1508431017_508c_musicians_image_kworth.jpg","footerTitle":"","footerCopy":""},{"id":"a483","posX":"0","posY":"4","instrumentId":"i5","title":"William Melvin","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a484","posX":"1","posY":"4","instrumentId":"i5","title":"Laurent Quenelle","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a486","posX":"0","posY":"5","instrumentId":"i5","title":"Helena Smart","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a487","posX":"1","posY":"5","instrumentId":"i5","title":"Maxine Kwok","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a488","posX":"0","posY":"6","instrumentId":"i5","title":"Nigel Broadbent","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a489","posX":"1","posY":"6","instrumentId":"i5","title":"Harriet Rayfield","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a490","posX":"0","posY":"7","instrumentId":"i5","title":"Gerald Gregory","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a491","posX":"1","posY":"7","instrumentId":"i5","title":"Rebecca Dinning","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a492","posX":"2","posY":"7","instrumentId":"i5","title":"Sylvain Vasseur","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a493","posX":"3","posY":"7","instrumentId":"i5","title":"Takane Funatsu","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a494","posX":"2","posY":"6","instrumentId":"i5","title":"Eleanor Fagg","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a495","posX":"3","posY":"6","instrumentId":"i5","title":"Hilary Jane Parker","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a496","posX":"4","posY":"2","instrumentId":"i26","title":"David Alberman","description":"Born in London, David Alberman (violin) received his LRAM diploma from the Royal Academy of Music at the age of sixteen. After Classics at Oxford University for four years, a long-standing interest in contemporary music led him in 1986 to join the Arditti Quartet. A Principal of the London Symphony Orchestra since 1999, he has played as guest concertmaster with the LSO itself, the BBC Symphony Orchestra, the London Philharmonic Orchestra and the London Sinfonietta. ","image":"assets\/imgsupl\/RG6.0_0.14798200_1508246996_83ff_musicians_image_berman.jpg","footerTitle":"","footerCopy":"He has appeared as soloist with, among others, the Orchestre de Lille, the BBC National Orchestra of Wales, and the ORF Radio Symphony Orchestra in Vienna. In 1995 he formed a Duo with the pianist and composer Rolf Hind, which has appeared at many major European festivals and has broadcast on, among others, the BBC, WDR, SWR, and RTBF in Brussels. David Aberman plays a Guarneri Del Gesu violin of 1736."},{"id":"a497","posX":"5","posY":"2","instrumentId":"i26","title":"Tom Norris","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a498","posX":"4","posY":"3","instrumentId":"i26","title":"Sarah Quinn","description":"Sarah Quinn was born in Dublin and began playing the violin at the age of eight. She continued her studies at the Royal College of Music in London where she was the recipient of many awards and prizes. While at the Royal College of Music, she took part in the LSO String Experience Scheme. Sarah joined the LSO in 1998 and particularly enjoys working with the LSO Discovery programme. She is also a keen chamber musician.","image":"assets\/imgsupl\/RG6.0_0.70380200_1508246914_d964_musicians_image_-quinn.jpg","footerTitle":"","footerCopy":""},{"id":"a499","posX":"5","posY":"3","instrumentId":"i26","title":"Miya Vaisanen","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a500","posX":"6","posY":"3","instrumentId":"i26","title":"Aischa G\u00fcndisch","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a502","posX":"7","posY":"3","instrumentId":"i26","title":"David Ballesteros","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a503","posX":"4","posY":"4","instrumentId":"i26","title":"Belinda McFarlane","description":"","image":"assets\/imgsupl\/RG6.0_0.06030600_1508430808_b066_musicians_image_arlane.jpg","footerTitle":"","footerCopy":""},{"id":"a504","posX":"5","posY":"4","instrumentId":"i26","title":"Matthew Gardner","description":"","image":"assets\/imgsupl\/RG6.0_0.50042500_1370527678_8207_musicians_image_ardner.jpg","footerTitle":"","footerCopy":""},{"id":"a505","posX":"6","posY":"4","instrumentId":"i26","title":"Esther Kim","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a506","posX":"7","posY":"4","instrumentId":"i26","title":"Naoko Keatley","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a507","posX":"8","posY":"4","instrumentId":"i26","title":"Paul Robson","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a508","posX":"9","posY":"4","instrumentId":"i26","title":"Iwona Muszynska","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a509","posX":"4","posY":"6","instrumentId":"i26","title":"Julian Gil Rodriguez","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a510","posX":"5","posY":"6","instrumentId":"i26","title":"Louise Shackleton","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a511","posX":"17","posY":"2","instrumentId":"i6","title":"Alexander Zemtsov","description":"Praised for his intense, innovative interpretations Alexander Zemtsov is one of the most versatile and sought after musicians on the music stage today. He has established the recognition as a soloist, conductor, professor and chamber musician. Alexander Zemtsov is a professor in some of the finest Music Universities in Europe: Viola Professor at The Guildhall School of Music and Drama in London, University Professor at the Vienna Konservatorium Privat Universitat and Professeur invite the Haute Ecole de Musique de Laussane in Switzerland.","image":"assets\/imgsupl\/RG6.0_0.84471800_1534503047_2e66_musicians_image_emtsov.jpg","footerTitle":"","footerCopy":""},{"id":"a512","posX":"18","posY":"2","instrumentId":"i6","title":"Gillianne Haddow","description":"Gillianne Haddow joined the London Symphony Orchestra in January 1999. Until recently, she combined her engagement with the LSO with her position as Principal Viola with the acclaimed Scottish Ensemble. As a solo and chamber musician she attracts commissions from leading contemporary composers such as Sally Beamish and Edward Maguire, and performs with groups such as the Nash Ensemble and the London Sinfonietta. ","image":"assets\/imgsupl\/RG6.0_0.85634100_1508247598_61b0_musicians_image_haddow.jpg","footerTitle":"","footerCopy":"Gillianne has also appeared as Guest Principal Viola with the City of Birmingham Symphony Orchestra, the Royal Liverpool Philharmonic Orchestra, the Scottish Chamber Orchestra, and the BBC Scottish Symphony Orchestra."},{"id":"a513","posX":"16","posY":"3","instrumentId":"i6","title":"Lander Echevarria","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a514","posX":"17","posY":"3","instrumentId":"i6","title":"Regina Beukes","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a515","posX":"18","posY":"3","instrumentId":"i6","title":"Carol Ella\u00a0","description":"Scottish violist Carol Ella studied with Simon Rowland-Jones at the Royal College of Music in London, where she graduated with Distinction. She has worked with various British orchestras including the LSO (where she won the Promis Award), Philharmonia, RSNO and the John Wilson Orchestra. This interactive iBook, available for Mac OS and iOS, contains a selection of resources to help teachers use this performance of Enigma Variations in their classroom.<\/p>\r\n Also available as a PDF, without embedded media.<\/p>","footerTitle":"","footerCopy":"","links":[{"title":"PDF","url":"https:\/\/playapi.lso.co.uk\/download\/23\/Elgar_Enigma_Variations_KS2.pdf"},{"title":"iBook for Apple devices","url":"https:\/\/itunes.apple.com\/us\/book\/elgars-enigma-variations-resources-for-ks2-teachers\/id1447657949?ls=1&mt=13"}]},{"id":"d17","label":"ENIGMA VARIATIONS: Listening Tasks","sublabel":"KS2 and KS3+","title":"Enigma Variations: Project pack for KS2 with extensions for KS3+","image":"assets\/imgsupl\/RG6.0_0.02603400_1589376932_5d83_downloads_image_enigma.jpg","description":" Available as both an iBook (with embedded media for iPad and Apple iBooks) and pdf, this document is designed to help families at home with children of KS2 and KS3+ develop listening tasks and activities around Elgar's Enigma Variations.<\/p>","footerTitle":"","footerCopy":"","links":[{"title":"ENIGMA VARIATIONS: Listening Tasks","url":"https:\/\/playapi.lso.co.uk\/download\/30\/iBook_Enigma_PDF.pdf"},{"title":"Download from iBooks","url":"https:\/\/books.apple.com\/gb\/book\/listening-exercises-for-classical-music\/id1513144688"}]}]},{"id":"perf6","slug":"Debussy-Prelude","animationSlug":"debussy","title":"Debussy's Pr\u00e9lude \u00e0 l'apr\u00e8s-midi d'un faune","titleMobile":"Debussy's Pr\u00e9lude","date":"23\/04\/2017","location":"Barbican Centre, London","image":"assets\/imgsupl\/RG6.0_0.34817500_1515600716_8e18_performances_homepage_image_ductor.jpg","desktopFeed":"https:\/\/lsoplay.s3.amazonaws.com\/2017\/debussy_desktop.mp4","mobileFeed":"https:\/\/lsoplay.s3.amazonaws.com\/2017\/debussy_mobile.mp4","viewports":6,"share":{"image":"","title":"Debussy: Pr\u00e9lude \u00e0 l'apr\u00e8s-midi d'un faune ","copy":"Watch the London Symphony Orchestra perform Debussy's Pr\u00e9lude \u00e0 l'apr\u00e8s-midi d'un faune under the baton of Fran\u00e7ois-Xavier Roth. Use the interactive video player to choose your own camera views, explore the instruments of the orchestra and get a deeper insight into actually performing the piece by watching instrumental masterclasses from LSO players. In addition, teachers can download resources designed to help use Pr\u00e9lude \u00e0 l'apr\u00e8s-midi in the teaching of classroom music at Key Stage 2 and 3 level.","twitterCopy":"Check out Debussy's Pr\u00e9lude \u00e0 l'apr\u00e8s-midi d'un faune on Play by @londonsymphony - "},"conductedBy":"Fran\u00e7ois-Xavier Roth","artists":[{"id":"k202","posX":0,"posY":0,"instrumentId":"iConductor","title":"Fran\u00e7ois-Xavier Roth","description":"Fran\u00e7ois-Xavier Roth is one of today's most charismatic and enterprising conductors. With a reputation for enterprising programming, his incisive approach and inspiring leadership are valued around the world. He is working with leading orchestras including the Berlin Philharmonic and Staatskapelle, Royal Concertgebouw, Boston Symphony, Munich Philharmonic and Zurich Tonhalle. \r\n\r\nTaking up the position of Principal Guest Conductor of the London Symphony Orchestra at the start of the 2017-18 season, he leads a three concert series exploring Debussy, his influences and his legacy, marking the 100th anniversary of the composer\u2019s death.\r\n\r\nHis third Cologne opera season features new productions of Wagner\u2019s Tannh\u00e4user and Die Soldaten by Bernd Alois Zimmermann. With the G\u00fcrzenich Orchestra, he continues a focus on the composer Philippe Manoury, from whom the orchestra has commissioned a trilogy of works, the second of which, a Flute Concerto, will receive its premiere with Emmanuel Pahud.\r\n\r\nA tireless champion of contemporary music, Roth is conductor of the ground-breaking LSO Panufnik Composers Scheme. He has premiered works by Yann Robin, Georg-Friedrich Haas and Simon Steen-Anderson and collaborated with composers like Pierre Boulez, Wolfgang Rihm, J\u00f6rg Widmann and Helmut Lachenmann.","image":"assets\/imgsupl\/RG6.0_0.87937100_1513174494_87f6_musicians_image_fxr.jpg","footerTitle":"","footerCopy":""},{"id":"a405","posX":"0","posY":"2","instrumentId":"i5","title":"Roman Simovic","description":"Roman Simovic's brilliant virtuosity and seemingly-inborn musicality, fueled by a limitless imagination, has taken him throughout all continents performing on many of world's leading stages. As soloist, Simovic has appeared with the world leading orchestras: London Symphony Orchestra, Mariinsky Theatre Symphony Orchestra, Franz Liszt Chamber Orchestra and Camerata Bern with some of the world\u2019s greatest conductors, including Valery Gergiev, Antonio Pappano and Kristian Jarvi. ","image":"assets\/imgsupl\/RG6.0_0.62678400_1508243918_f05c_musicians_image_imoniv.jpg","footerTitle":"","footerCopy":"Aside from being an active soloist, Roman Simovic is an avid chamber musician, and is a founding member of the distinguished Rubikon String Quartet. As an educator, he has presented master-classes in the US, UK, South Korea, Serbia, Montenegro, Israel. Roman Simovic plays a 1752 \"J. B. Guadagnini\" violin."},{"id":"a406","posX":"0","posY":"3","instrumentId":"i5","title":"Clare Duckworth","description":"","image":"assets\/imgsupl\/RG6.0_0.95505800_1508431017_508c_musicians_image_kworth.jpg","footerTitle":"","footerCopy":""},{"id":"a410","posX":"0","posY":"4","instrumentId":"i5","title":"Harriet Rayfield","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a411","posX":"0","posY":"5","instrumentId":"i5","title":"Laurent Quenelle","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a412","posX":"0","posY":"6","instrumentId":"i5","title":"Nigel Broadbent","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a413","posX":"2","posY":"2","instrumentId":"i5","title":"Lennox Mackenzie","description":"Lennox Mackenzie was born in Aberdeen, Scotland and started to play the violin aged six. In 1971 he won the ABRSM scholarship to study at the Royal Academy of Music under Ralph Holmes. Whilst there he won many prizes including the Marjorie Hayward Prize for Excellence in Recital Diploma and the Macklin Bursary which assisted him in buying a Dom Nicolo Amati violin. It was at that time he became a founder member of the Arditti String Quartet.","image":"assets\/imgsupl\/RG6.0_0.19267000_1508245735_ff12_musicians_image_kenzie.jpg","footerTitle":"","footerCopy":"He joined the London Symphony Orchestra in 1980 as Principal 1st Violin and became Sub Leader in 1985, affording him the opportunity of occasionally leading the orchestra under the baton of some of the LSO\u2019s foremost conductors including Claudio Abbado, Michael Tilson Thomas, Andre Previn, Valery Gergiev, Lorin Maazel and Pierre Boulez. Lennox served as Chairman of the LSO for a four year period in the 80\/90s and again between 2004 and 2016."},{"id":"a414","posX":"2","posY":"3","instrumentId":"i5","title":"Colin Renwick","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a415","posX":"1","posY":"4","instrumentId":"i5","title":"Maxine Kwok","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a416","posX":"1","posY":"5","instrumentId":"i5","title":"Sylvain Vasseur","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a417","posX":"1","posY":"6","instrumentId":"i5","title":"Gerald Gregory","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a458","posX":"2","posY":"4","instrumentId":"i5","title":"Ginette Decuyper","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a471","posX":"3","posY":"4","instrumentId":"i5","title":"J\u00f6rg Hammann","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a472","posX":"2","posY":"5","instrumentId":"i5","title":"Ellie Fagg","description":"Ellie was a foundation scholar at the Royal College of Music under Yossi Zivoni, from where she graduated in 2005 with First Class Honours. Available as an interactive iBook this document is designed to help teachers of Key Stage 3 age students develop classroom projects around Debussy's Prélude à l'après-midi d'un faune.<\/p>","footerTitle":"","footerCopy":"","links":[{"title":"Download from iTunes","url":"https:\/\/itunes.apple.com\/us\/book\/debussy-prelude-a-lapres-midi-dun-faune\/id1333507439?ls=1&mt=11"},{"title":"Download PDF","url":"https:\/\/playapi.lso.co.uk\/download\/22\/Debussy_Pack_KS3.pdf"}]},{"id":"d10","label":"Teacher's Resource","sublabel":"Key Stage 2","title":"Resources for Key Stage 2 Teachers","image":"","description":" Available as an interactive iBook or standard a pdf file this document is designed to help teachers of Key Stage 2 age students develop classroom projects around Debussy's Prélude à l'après-midi d'un faune<\/p>","footerTitle":"","footerCopy":"","links":[{"title":"Download from iTunes","url":"https:\/\/itunes.apple.com\/us\/book\/debussy-prelude-a-lapres-midi-dun-faune\/id1333146250?ls=1&mt=11"},{"title":"Download PDF","url":"https:\/\/playapi.lso.co.uk\/download\/21\/Debussy_Pack_KS2_PDF.pdf"}]},{"id":"d16","label":"Pr\u00e9lude \u00e0 l'apr\u00e8s-midi d'un faune: Listening Tasks","sublabel":"KS2 and KS3+","title":"Pr\u00e9lude \u00e0 l'apr\u00e8s-midi d'un faune: Project pack for KS2 with extensions for KS3+","image":"assets\/imgsupl\/RG6.0_0.94130900_1589376621_442d_downloads_image_relude.jpg","description":" Available as both an iBook (with embedded media for iPad and Apple iBooks) and pdf, this document is designed to help families at home with children of KS2 and KS3+ develop listening tasks and activities around Debussy's Prélude à l'après-midi d'un faune.<\/p>","footerTitle":"","footerCopy":"","links":[{"title":"Debussy's Pr\u00e9lude \u00e0 l'apr\u00e8s-midi d'un faune: Listening Tasks","url":"https:\/\/playapi.lso.co.uk\/download\/29\/iBook_Prelude_PDF.pdf"},{"title":"Download from iBooks","url":"https:\/\/books.apple.com\/gb\/book\/listening-exercises-for-classical-music\/id1513144688"}]}]},{"id":"perf5","slug":"Shostakovich-Fifth-Symphony","animationSlug":"shostakovich","title":"Shostakovich's Fifth Symphony","titleMobile":"Shostakovich's Fifth Symphony","date":"11\/03\/2015","location":"Barbican Centre, London","image":"assets\/imgsupl\/RG6.0_0.46730400_1508237295_6597_performances_homepage_image_larger.jpg","desktopFeed":"https:\/\/lsoplay.s3.amazonaws.com\/2017\/shostakovic_5.5_2000.mp4","mobileFeed":"https:\/\/lsoplay.s3.amazonaws.com\/2017\/shostakovic_1000_miro.mp4","viewports":6,"share":{"image":"assets\/imgsupl\/RG6.0_0.87137900_1508337756_a76e_performances_share_image_kovich.jpg","title":"Shostakovich: Fifth Symphony","copy":"Watch the London Symphony Orchestra perform Shostakovich's Fifth Symphony under the baton of Michael Tilson Thomas. Use the interactive video player to choose your own camera views, explore the instruments of the orchestra and get a deeper insight into actually performing the piece by watching instrumental masterclasses from LSO players. In addition, teachers can download resources designed to help use Fifth Symphony in the teaching of classroom music at KEY STAGE level.","twitterCopy":"Check out Shostakovich's Fifth Symphony on Play by @londonsymphony - "},"conductedBy":"Michael Tilson Thomas","artists":[{"id":"k191","posX":0,"posY":0,"instrumentId":"iConductor","title":"Michael Tilson Thomas","description":"Michael Tilson Thomas is Music Director of the San Francisco Symphony, Founder and Artistic Director of the New World Symphony, and Conductor Laureate of the London Symphony Orchestra. In addition to conducting the world\u2019s leading orchestras, MTT is also noted for his work as a composer and a producer of multimedia projects that are dedicated to music education and the reimagination of the concert experience. He has won eleven Grammys for his recordings, is the recipient of the National Medal of Arts, and is a Chevalier dans l\u2019ordre des Arts et des Lettres of France.","image":"assets\/imgsupl\/RG6.0_0.35125900_1508245972_c334_musicians_image_tilson.jpg","footerTitle":"","footerCopy":""},{"id":"a312","posX":"0","posY":"2","instrumentId":"i5","title":"Roman Simovic","description":"Roman Simovic's brilliant virtuosity and seemingly-inborn musicality, fueled by a limitless imagination, has taken him throughout all continents performing on many of world's leading stages. As soloist, Simovic has appeared with the world leading orchestras: London Symphony Orchestra, Mariinsky Theatre Symphony Orchestra, Franz Liszt Chamber Orchestra and Camerata Bern with some of the world\u2019s greatest conductors, including Valery Gergiev, Antonio Pappano and Kristian Jarvi. ","image":"assets\/imgsupl\/RG6.0_0.62678400_1508243918_f05c_musicians_image_imoniv.jpg","footerTitle":"","footerCopy":"Aside from being an active soloist, Roman Simovic is an avid chamber musician, and is a founding member of the distinguished Rubikon String Quartet. As an educator, he has presented master-classes in the US, UK, South Korea, Serbia, Montenegro, Israel. Roman Simovic plays a 1752 \"J. B. Guadagnini\" violin."},{"id":"a313","posX":"2","posY":"2","instrumentId":"i5","title":"Carmine Lauri","description":"Carmine Lauri was born in 1971 and started playing the violin at the age of four later studying with Mario Bisazza. In 1988 he was awarded the Associated Board scholarship to further his studies in London at the Royal Academy of Music with Jean Harvey and Maurice Hasson. He has performed extensively and on a number of occasions he was selected to perform as a soloist in the presence of HM Queen Elizabeth II and other Heads of State.","image":"assets\/imgsupl\/RG6.0_0.05795600_1508244064_8bfa_musicians_image_-lauri.jpg","footerTitle":"","footerCopy":"His two premiere performances of the Walton violin concerto with the Czech State Philharmonic Orchestra of Brno further enhanced his growing international reputation. As a representative of the London Symphony Orchestra, of which he is the Co-Leader, Carmine leads and performs regularly with the World Orchestra for Peace under Valery Gergiev."},{"id":"a314","posX":"0","posY":"3","instrumentId":"i5","title":"Lennox Mackenzie","description":"Lennox Mackenzie was born in Aberdeen, Scotland and started to play the violin aged six. In 1971 he won the ABRSM scholarship to study at the Royal Academy of Music under Ralph Holmes. Whilst there he won many prizes including the Marjorie Hayward Prize for Excellence in Recital Diploma and the Macklin Bursary which assisted him in buying a Dom Nicolo Amati violin. It was at that time he became a founder member of the Arditti String Quartet.","image":"assets\/imgsupl\/RG6.0_0.19267000_1508245735_ff12_musicians_image_kenzie.jpg","footerTitle":"","footerCopy":"He joined the London Symphony Orchestra in 1980 as Principal 1st Violin and became Sub Leader in 1985, affording him the opportunity of occasionally leading the orchestra under the baton of some of the LSO\u2019s foremost conductors including Claudio Abbado, Michael Tilson Thomas, Andre Previn, Valery Gergiev, Lorin Maazel and Pierre Boulez. Lennox served as Chairman of the LSO for a four year period in the 80\/90s and again between 2004 and 2016."},{"id":"a315","posX":"2","posY":"3","instrumentId":"i5","title":"Clare Duckworth","description":"","image":"assets\/imgsupl\/RG6.0_0.95505800_1508431017_508c_musicians_image_kworth.jpg","footerTitle":"","footerCopy":""},{"id":"a316","posX":"0","posY":"4","instrumentId":"i5","title":"Rhys Watkins","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a317","posX":"1","posY":"4","instrumentId":"i5","title":"Ginette Decuyper","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a318","posX":"1","posY":"5","instrumentId":"i5","title":"Nigel Broadbent","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a319","posX":"0","posY":"5","instrumentId":"i5","title":"Maxine Kwok","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a320","posX":"0","posY":"6","instrumentId":"i5","title":"J\u00f6rg Hammann","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a321","posX":"3","posY":"6","instrumentId":"i5","title":"Claire Parfitt","description":"","image":"assets\/imgsupl\/RG6.0_0.71525400_1508430942_0f17_musicians_image_arfitt.jpg","footerTitle":"","footerCopy":""},{"id":"a322","posX":"3","posY":"5","instrumentId":"i5","title":"Sylvain Vasseur","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a323","posX":"2","posY":"5","instrumentId":"i5","title":"Laurent Quenelle","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a324","posX":"3","posY":"7","instrumentId":"i5","title":"Colin Renwick","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a325","posX":"1","posY":"6","instrumentId":"i5","title":"David Worswick","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a326","posX":"2","posY":"7","instrumentId":"i5","title":"Ian Rhodes","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a327","posX":"2","posY":"6","instrumentId":"i5","title":"Gerald Gregory","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a328","posX":"5","posY":"2","instrumentId":"i26","title":"David Alberman","description":"Born in London, David Alberman (violin) received his LRAM diploma from the Royal Academy of Music at the age of sixteen. After Classics at Oxford University for four years, a long-standing interest in contemporary music led him in 1986 to join the Arditti Quartet. A Principal of the London Symphony Orchestra since 1999, he has played as guest concertmaster with the LSO itself, the BBC Symphony Orchestra, the London Philharmonic Orchestra and the London Sinfonietta. ","image":"assets\/imgsupl\/RG6.0_0.14798200_1508246996_83ff_musicians_image_berman.jpg","footerTitle":"","footerCopy":"He has appeared as soloist with, among others, the Orchestre de Lille, the BBC National Orchestra of Wales, and the ORF Radio Symphony Orchestra in Vienna. In 1995 he formed a Duo with the pianist and composer Rolf Hind, which has appeared at many major European festivals and has broadcast on, among others, the BBC, WDR, SWR, and RTBF in Brussels. David Aberman plays a Guarneri Del Gesu violin of 1736."},{"id":"a329","posX":"7","posY":"2","instrumentId":"i26","title":"Tom Norris","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a330","posX":"4","posY":"3","instrumentId":"i26","title":"Miya Vaisanen","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a331","posX":"6","posY":"3","instrumentId":"i26","title":"Belinda McFarlane","description":"","image":"assets\/imgsupl\/RG6.0_0.06030600_1508430808_b066_musicians_image_arlane.jpg","footerTitle":"","footerCopy":""},{"id":"a332","posX":"4","posY":"4","instrumentId":"i26","title":"Richard Blayden","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a333","posX":"8","posY":"4","instrumentId":"i26","title":"David Ballesteros","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a334","posX":"8","posY":"3","instrumentId":"i26","title":"Matthew Gardner","description":"","image":"assets\/imgsupl\/RG6.0_0.50042500_1370527678_8207_musicians_image_ardner.jpg","footerTitle":"","footerCopy":""},{"id":"a335","posX":"10","posY":"4","instrumentId":"i26","title":"Julian Gil Rodriguez","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a336","posX":"6","posY":"4","instrumentId":"i26","title":"Naoko Keatley","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a399","posX":"6","posY":"5","instrumentId":"i26","title":"William Melvin","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a400","posX":"10","posY":"3","instrumentId":"i26","title":"Iwona Muszynska","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a402","posX":"6","posY":"6","instrumentId":"i26","title":"Harriet Rayfield","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a403","posX":"4","posY":"5","instrumentId":"i26","title":"Philip Nolte","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a404","posX":"4","posY":"6","instrumentId":"i26","title":"Louise Shackleton","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a339","posX":"19","posY":"2","instrumentId":"i6","title":"Malcolm Johnston","description":"Malcolm Johnston began learning the violin and piano at an early age, but was soon drawn to the warm sound and unfamiliar repertoire of the viola. He earned his Bachelor\u2019s degree at the Royal Scottish Academy of Music and Drama and continued his studies at the Royal Academy of Music in London. In 1990, Malcolm won a scholarship to the USA where he became teaching assistant to Jerzy Kosmala at the Louisiana State University. ","image":"assets\/imgsupl\/RG6.0_0.27854400_1508247908_5fe2_musicians_image_hnston.jpg","footerTitle":"","footerCopy":"He was subsequently invited to become a member of the Amernet String Quartet, with whom he played for four years, during which time the quartet won numerous major awards, including Gold Medal at the 1992 Tokyo International Chamber Music Competition. The quartet made their home in Cincinnati after becoming Quartet in Residence at the Cincinnati College-Conservatory of Music. They also toured extensively in the US, Japan, Australia and Europe. As well as his chamber music performing, Malcolm has appeared as a soloist with orchestras and as recitalist both in the US and Britain. Since returning to the UK in 1996 he has become a member of the LSO, where he is currently Sub-Principal viola."},{"id":"a358","posX":"17","posY":"2","instrumentId":"i6","title":"Paul Silverthorne","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a359","posX":"15","posY":"3","instrumentId":"i6","title":"Julia O'Riordan","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a360","posX":"17","posY":"4","instrumentId":"i6","title":"Robert Turner","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a361","posX":"19","posY":"3","instrumentId":"i6","title":"German Clavijo","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a362","posX":"17","posY":"3","instrumentId":"i6","title":"Cian O'Duill","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a363","posX":"22","posY":"5","instrumentId":"i6","title":"Alistair Scahill ","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a375","posX":"22","posY":"4","instrumentId":"i6","title":"Philip Hall","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a376","posX":"21","posY":"3","instrumentId":"i6","title":"Anna Bastow","description":"","image":"assets\/imgsupl\/RG6.0_0.43889000_1508430687_f145_musicians_image_bastow.jpg","footerTitle":"","footerCopy":""},{"id":"a377","posX":"19","posY":"4","instrumentId":"i6","title":"Heather Wallington","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a378","posX":"21","posY":"4","instrumentId":"i6","title":"Edward Vanderspar","description":"Edward Vanderspar began to play the viola at the age of ten and went on to study with Nannie Jamieson and Helen Dowling in London, and Max Rostal and Rudolf Barshai in Switzerland. Before joining the LSO in 1991, Edward was a member of the Hurwitz Piano Quartet and the Amphian String Quartet, and played as Principal Viola with a number of London orchestras. ","image":"assets\/imgsupl\/RG6.0_0.68954100_1508250465_5abd_musicians_image_erspar.jpg","footerTitle":"","footerCopy":"With the LSO, Edward has performed Don Quixote with Mstislav Rostropovich and Moray Welsh, and has taken part in many chamber music concerts with distinguished guest artists. Edward plays a viola made by the Italian master Antonio Brenzi in 1628. The instrument was bought for the LSO for Edward to play for the rest of his life, thanks to a generous grant from the Foundation for Sports and the Arts."},{"id":"a379","posX":"21","posY":"5","instrumentId":"i6","title":"Caroline O'Neill","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a337","posX":"26","posY":"2","instrumentId":"i7","title":"Rebecca Gilliver","description":"Rebecca Gilliver is Principal cellist of the London Symphony Orchestra. Early success in national and international competitions led to critically acclaimed debut recitals at the Wigmore Hall in London and Carnegie Hall, New York. Rebecca has performed in major music festivals such as Bath, Bergen, and the Manchester International Cello Festival. A keen chamber musician, she has collaborated with international artists including Nikolai Znaider, Sarah Chang and Roger Vignoles with whom she recorded for BBC Radio 3. ","image":"assets\/imgsupl\/RG6.0_0.96076600_1508253186_7136_musicians_image_lliver.jpg","footerTitle":"","footerCopy":"She is a regular participant at IMS Prussia Cove. She has appeared as a soloist with the Halle and the Academy of St Martin in the Fields and is also featured on a CD of Enescu chamber music for the Naxos label. Originally joining the LSO as Co-principal in 2001, Rebecca was promoted to Principal two years ago. She has played guest principal with orchestras all around the world, including the Australian Chamber Orchestra, New Sinfonietta Amsterdam and most recently the World Orchestra for Peace."},{"id":"a338","posX":"24","posY":"2","instrumentId":"i7","title":"Minat Lyons","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a342","posX":"26","posY":"3","instrumentId":"i7","title":"Alastair Blayden","description":"Alastair Blayden was a music scholar at Winchester College and a Foundation Scholar at the Royal College of Music. He studied with Joan Dickson and William Pleeth and also received chamber music coaching at Aldeburgh with the Borodin Quartet and in Cologne with the Amadeus Quartet.","image":"assets\/imgsupl\/RG6.0_0.88119300_1508247761_b80e_musicians_image_layden.jpg","footerTitle":"","footerCopy":"He was a founder member of the Dante Quartet with whom he regularly broadcasts. Alastair has held the position of Sub-Principal Cello with LSO since 1997. Alastair is also Professor of Cello at the Royal College of Music. He plays on a Celionatus (circa 1740) kindly lent to him by the LSO."},{"id":"a343","posX":"24","posY":"3","instrumentId":"i7","title":"Jennifer Brown","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a344","posX":"26","posY":"4","instrumentId":"i7","title":"Hilary Jones","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a345","posX":"25","posY":"4","instrumentId":"i7","title":"Daniel Gardner","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a346","posX":"26","posY":"6","instrumentId":"i7","title":"Eve-Marie Caravassilis","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a347","posX":"26","posY":"5","instrumentId":"i7","title":"Amanda Truelove","description":"","image":"assets\/imgsupl\/RG6.0_0.84043000_1508429861_6f7a_musicians_image_uelove.jpg","footerTitle":"","footerCopy":""},{"id":"a348","posX":"25","posY":"5","instrumentId":"i7","title":"Mary Bergin","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a349","posX":"25","posY":"6","instrumentId":"i7","title":"Noel Bradshaw","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a350","posX":"24","posY":"6","instrumentId":"i8","title":"Joel Quarrington","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a351","posX":"23","posY":"6","instrumentId":"i8","title":"Colin Paris","description":"Colin Paris studied at the Guildhall School of Music and Drama from 1974 to 1977 and in his final term at college was offered and accepted a position with the Bournemouth Symphony Orchestra. In 1979 Colin joined the BBC Symphony Orchestra, a position which he held for 2 years, leaving to pursue a freelance career during which he held the position of Principal Double Bass with the London Bach Orchestra. ","image":"assets\/imgsupl\/RG6.0_0.05607500_1508248116_6501_musicians_image_-paris.jpg","footerTitle":"","footerCopy":"In 1983 Colin joined the English National Opera Orchestra as Sub Principal Double Bass and moved to the London Symphony Orchestra in 1988. Colin has now worked with the London Symphony Orchestra for 25 years and holds the position of Co-Principal Double Bass. Alongside his work with the London Symphony Orchestra Colin is regularly works with the Royal Philharmonic Orchestra and the BBC Symphony Orchestra."},{"id":"a352","posX":"22","posY":"6","instrumentId":"i8","title":"Nicholas Worters","description":"","image":"assets\/imgsupl\/RG6.0_0.51557900_1370527687_f9f5_musicians_image_orters.jpg","footerTitle":"","footerCopy":""},{"id":"a353","posX":"24","posY":"7","instrumentId":"i8","title":"Matthew Gibson","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a354","posX":"25","posY":"7","instrumentId":"i8","title":"Joe Melvin","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a355","posX":"23","posY":"7","instrumentId":"i8","title":"Jani Pensola","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a356","posX":"22","posY":"7","instrumentId":"i8","title":"Thomas Goodman","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a357","posX":"21","posY":"6","instrumentId":"i8","title":"Patrick Laurence","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a364","posX":"13","posY":"5","instrumentId":"i10","title":"Adam Walker","description":"In 2009, at the age of 21, Adam Walker was appointed Principal Flute of the London Symphony Orchestra and received the \u2018Outstanding Young Artist Award\u2019 at the MIDEM Classique Awards in Cannes. He went on to win a Borletti-Buitoni Trust Fellowship Award and was shortlisted for the Royal Philharmonic Society\u2019s Outstanding Young Artist Award.","image":"assets\/imgsupl\/RG6.0_0.01880100_1508253381_8127_musicians_image_walker.jpg","footerTitle":"","footerCopy":"As a soloist he has appeared with the Academy of St. Martin in the Fields, Solistes Europ\u00e9en, Vienna Chamber and Royal Philharmonic Orchestras. Concert appearances include LSO St. Lukes (broadcast by BBC Radio 3), City of London and Festspiele Mecklenburg Vorpommern. He has collaborated with Trevor Pinnock, Bernarda Fink, Christopher Glynn, James Baillieu and Morgan Szymanski amongst others."},{"id":"a366","posX":"12","posY":"5","instrumentId":"i10","title":"Alex Jakeman","description":"Alex Jakeman is an alumnus of Chetham's School of Music and the Royal Academy of Music, having studied with Gitte Sorensen, Michael Cox, Kate Hill and Pat Morris. In 2009 she was appointed as sub-principal flute with the Bournemouth Symphony Orchestra, where she stayed until 2012. She has recently joined the London Symphony Orchestra as sub-principal flute. ","image":"","footerTitle":"","footerCopy":"Alex has played with the Royal Philharmonic Orchestra, the BBC Symphony Orchestra, Aurora Orchestra and the City of London Sinfonia among others and enjoys the variety of repertoire and experiences that playing with different groups offers. She has also performed the Nielsen and Ibert flute concertos and had the honour of performing Malcolm Arnold\u2019s first flute concerto as part of his 80th birthday celebrations, in the presence of the composer."},{"id":"a365","posX":"11","posY":"5","instrumentId":"i24","title":"Sharon Williams","description":"Sharon Williams is the Principal Piccolo of the London Symphony Orchestra, one of the world's leading orchestras. Prior to that she was Principal Piccolo in the Royal Philharmonic Orchestra and the Hong Kong Philharmonic. She regularly works with most of Britain's major orchestras and freelances on film sessions and other commercial work. Available as both an iBook (with embedded media for iPad and Apple iBooks) and pdf, this document is designed to help families at home with children of KS2 and KS3+ develop listening tasks and activities around Shostakovich's Fifth Symphony.<\/p>","footerTitle":"","footerCopy":"","links":[{"title":"FIFTH SYMPHONY: Listening Tasks","url":"https:\/\/playapi.lso.co.uk\/download\/28\/iBook_5_PDF.pdf"},{"title":"Download from iBooks","url":"https:\/\/books.apple.com\/gb\/book\/listening-exercises-for-classical-music\/id1513144688"}]},{"id":"d7","label":"Teachers' Resources","sublabel":"Key Stage 3","title":"Resources for Key Stage 3 Teachers","image":"assets\/imgsupl\/RG6.0_0.36277900_1508260185_18b2_downloads_image_achers.jpg","description":" Available as an interactive iBook, ePub, or standard a pdf file this document is designed to help teachers of Key Stage 3 age students develop classroom projects around Shostakovich's Symphony No. 5. <\/p>","footerTitle":"","footerCopy":"","links":[{"title":"Download for iPad","url":"https:\/\/itunes.apple.com\/gb\/book\/shostakovich-symphony-no.\/id1164131517?mt=11"},{"title":"Download ePub format eBook","url":"https:\/\/playapi.lso.co.uk\/download\/13\/Shostakovich_5_Project_Pack.epub"},{"title":"Download PDF file","url":"https:\/\/playapi.lso.co.uk\/download\/14\/Shostakovich_5_Project_Pack.pdf"}]}]},{"id":"perf4","slug":"Stravinskys-The-Rite-of-Spring","animationSlug":"stravinsky","title":"Stravinsky's The Rite of Spring","titleMobile":"Stravinsky's The Rite of Spring","date":"15\/01\/2015","location":"Barbican Centre, London","image":"assets\/imgsupl\/RG6.0_0.76486700_1508338281_338c_performances_homepage_image_vinsky.jpg","desktopFeed":"https:\/\/lsoplay.s3.amazonaws.com\/2017\/stravinsky_5.5_2000.mp4","mobileFeed":"https:\/\/lsoplay.s3.amazonaws.com\/2017\/stravinsky_1000_miro.mp4","viewports":6,"share":{"image":"assets\/imgsupl\/RG6.0_0.03895400_1508337770_081f_performances_share_image_vinsky.jpg","title":"Stravinsky: The Rite of Spring","copy":"Watch the London Symphony Orchestra perform Stravinsky's The Rite of Spring under the baton of Sir Simon Rattle. Use the interactive video player to choose your own camera views, explore the instruments of the orchestra and get a deeper insight into actually performing the piece by watching instrumental masterclasses from LSO players. In addition, teachers can download resources designed to help use The Rite of Spring in the teaching of classroom music at KEY STAGE level.","twitterCopy":"Check out Stravinsky's The Rite of Spring on Play by @londonsymphony - "},"conductedBy":"Sir Simon Rattle","artists":[{"id":"k141","posX":0,"posY":0,"instrumentId":"iConductor","title":"Sir Simon Rattle","description":"In September 2017 Sir Simon Rattle became Music Director of the London Symphony Orchestra. Until the end of the 17\/18 season he will combine this with his role as Chief Conductor and Artistic Director of the Berliner Philharmoniker, where he was appointed in 2002.\r\n\r\nBorn in Liverpool, Sir Simon Rattle studied at the Royal Academy of Music in London. Between 1974 and 1977 he was Assistant Conductor at the Bournemouth Symphony Orchestra and the Bournemouth Sinfonietta. He made his opera debut at Glyndebourne Festival in 1977, since then he has worked with opera houses including English National Opera, The Royal Opera House Covent Garden, Netherlands Opera and leading international orchestras. In 1980 he was appointed, a rising star of the classical music world, as Principal Conductor and Artistic Advisor to the City of Birmingham Symphony Orchestra, where he was Music Director from 1990 to 1998. Under his leadership the orchestra gained a reputation as one of the finest in the world, and in partnership with the City he successfully opened Symphony Hall, Birmingham\u2019s acclaimed concert hall in April 1991.","image":"assets\/imgsupl\/RG6.0_0.12278300_1508246499_cb7f_musicians_image_rattle.jpg","footerTitle":"","footerCopy":"Between 1981 and 1994 he was Principal Guest Conductor Los Angeles Philharmonic Orchestra. Since 1992 he has been Principal Guest Conductor of the Orchestra of the Age of Enlightenment and Artistic Advisor to the Birmingham Contemporary Music Group. Among his international awards are the Order of the Federal Republic of Germany (2009) and Chevalier de la L\u00e9gion d\u2019Honneur (2010). He was awarded a knighthood by Her Majesty the Queen for his services to music in 1994 and received the Order of Merit in the New Year\u2019s Honours 2014. \r\n"},{"id":"a203","posX":"0","posY":"2","instrumentId":"i5","title":"Gordan Nikolitch","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a204","posX":"2","posY":"2","instrumentId":"i5","title":"Lennox Mackenzie","description":"Lennox Mackenzie was born in Aberdeen, Scotland and started to play the violin aged six. In 1971 he won the ABRSM scholarship to study at the Royal Academy of Music under Ralph Holmes. Whilst there he won many prizes including the Marjorie Hayward Prize for Excellence in Recital Diploma and the Macklin Bursary which assisted him in buying a Dom Nicolo Amati violin. It was at that time he became a founder member of the Arditti String Quartet.","image":"assets\/imgsupl\/RG6.0_0.19267000_1508245735_ff12_musicians_image_kenzie.jpg","footerTitle":"","footerCopy":"He joined the London Symphony Orchestra in 1980 as Principal 1st Violin and became Sub Leader in 1985, affording him the opportunity of occasionally leading the orchestra under the baton of some of the LSO\u2019s foremost conductors including Claudio Abbado, Michael Tilson Thomas, Andre Previn, Valery Gergiev, Lorin Maazel and Pierre Boulez. Lennox served as Chairman of the LSO for a four year period in the 80\/90s and again between 2004 and 2016."},{"id":"a205","posX":"0","posY":"3","instrumentId":"i5","title":"Clare Duckworth","description":"","image":"assets\/imgsupl\/RG6.0_0.95505800_1508431017_508c_musicians_image_kworth.jpg","footerTitle":"","footerCopy":""},{"id":"a206","posX":"2","posY":"3","instrumentId":"i5","title":"Ian Rhodes","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a207","posX":"0","posY":"4","instrumentId":"i5","title":"Harriet Rayfield","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a208","posX":"1","posY":"4","instrumentId":"i5","title":"Colin Renwick","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a209","posX":"0","posY":"5","instrumentId":"i5","title":"Sylvain Vasseur","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a210","posX":"1","posY":"5","instrumentId":"i5","title":"Elizabeth Pigram","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a211","posX":"0","posY":"6","instrumentId":"i5","title":"J\u00f6rg Hammann","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a212","posX":"1","posY":"6","instrumentId":"i5","title":"Claire Parfitt","description":"","image":"assets\/imgsupl\/RG6.0_0.71525400_1508430942_0f17_musicians_image_arfitt.jpg","footerTitle":"","footerCopy":""},{"id":"a213","posX":"2","posY":"5","instrumentId":"i5","title":"David Worswick","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a214","posX":"3","posY":"5","instrumentId":"i5","title":"Maxine Kwok","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a216","posX":"2","posY":"7","instrumentId":"i5","title":"Laurent Quenelle","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a217","posX":"3","posY":"7","instrumentId":"i5","title":"Jan Regulski","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a218","posX":"2","posY":"6","instrumentId":"i5","title":"Ginette Decuyper","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a219","posX":"3","posY":"6","instrumentId":"i5","title":"Gerald Gregory","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a220","posX":"7","posY":"2","instrumentId":"i26","title":"David Alberman","description":"Born in London, David Alberman (violin) received his LRAM diploma from the Royal Academy of Music at the age of sixteen. After Classics at Oxford University for four years, a long-standing interest in contemporary music led him in 1986 to join the Arditti Quartet. A Principal of the London Symphony Orchestra since 1999, he has played as guest concertmaster with the LSO itself, the BBC Symphony Orchestra, the London Philharmonic Orchestra and the London Sinfonietta. ","image":"assets\/imgsupl\/RG6.0_0.14798200_1508246996_83ff_musicians_image_berman.jpg","footerTitle":"","footerCopy":"He has appeared as soloist with, among others, the Orchestre de Lille, the BBC National Orchestra of Wales, and the ORF Radio Symphony Orchestra in Vienna. In 1995 he formed a Duo with the pianist and composer Rolf Hind, which has appeared at many major European festivals and has broadcast on, among others, the BBC, WDR, SWR, and RTBF in Brussels. David Aberman plays a Guarneri Del Gesu violin of 1736."},{"id":"a221","posX":"9","posY":"2","instrumentId":"i26","title":"Tom Norris","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a222","posX":"5","posY":"3","instrumentId":"i26","title":"Sarah Quinn","description":"Sarah Quinn was born in Dublin and began playing the violin at the age of eight. She continued her studies at the Royal College of Music in London where she was the recipient of many awards and prizes. While at the Royal College of Music, she took part in the LSO String Experience Scheme. Sarah joined the LSO in 1998 and particularly enjoys working with the LSO Discovery programme. She is also a keen chamber musician.","image":"assets\/imgsupl\/RG6.0_0.70380200_1508246914_d964_musicians_image_-quinn.jpg","footerTitle":"","footerCopy":""},{"id":"a223","posX":"7","posY":"3","instrumentId":"i26","title":"Miya Vaisanen","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a224","posX":"11","posY":"3","instrumentId":"i26","title":"Matthew Gardner","description":"","image":"assets\/imgsupl\/RG6.0_0.50042500_1370527678_8207_musicians_image_ardner.jpg","footerTitle":"","footerCopy":""},{"id":"a225","posX":"5","posY":"4","instrumentId":"i26","title":"Iwona Muszynska","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a226","posX":"7","posY":"4","instrumentId":"i26","title":"Julian Gil Rodriguez","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a227","posX":"9","posY":"4","instrumentId":"i26","title":"Paul Robson","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a228","posX":"11","posY":"4","instrumentId":"i26","title":"Naoko Keatley","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a229","posX":"5","posY":"5","instrumentId":"i26","title":"Andrew Pollock","description":"","image":"assets\/imgsupl\/RG6.0_0.27069400_1508430193_3682_musicians_image_ollock.jpg","footerTitle":"","footerCopy":""},{"id":"a230","posX":"7","posY":"5","instrumentId":"i26","title":"David Ballesteros","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a231","posX":"7","posY":"6","instrumentId":"i26","title":"Helena Smart","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a232","posX":"9","posY":"3","instrumentId":"i26","title":"William Melvin","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a233","posX":"5","posY":"6","instrumentId":"i26","title":"Hazel Mulligan","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a234","posX":"17","posY":"2","instrumentId":"i6","title":"Edward Vanderspar","description":"Edward Vanderspar began to play the viola at the age of ten and went on to study with Nannie Jamieson and Helen Dowling in London, and Max Rostal and Rudolf Barshai in Switzerland. Before joining the LSO in 1991, Edward was a member of the Hurwitz Piano Quartet and the Amphian String Quartet, and played as Principal Viola with a number of London orchestras. ","image":"assets\/imgsupl\/RG6.0_0.68954100_1508250465_5abd_musicians_image_erspar.jpg","footerTitle":"","footerCopy":"With the LSO, Edward has performed Don Quixote with Mstislav Rostropovich and Moray Welsh, and has taken part in many chamber music concerts with distinguished guest artists. Edward plays a viola made by the Italian master Antonio Brenzi in 1628. The instrument was bought for the LSO for Edward to play for the rest of his life, thanks to a generous grant from the Foundation for Sports and the Arts."},{"id":"a235","posX":"19","posY":"2","instrumentId":"i6","title":"Gillianne Haddow","description":"Gillianne Haddow joined the London Symphony Orchestra in January 1999. Until recently, she combined her engagement with the LSO with her position as Principal Viola with the acclaimed Scottish Ensemble. As a solo and chamber musician she attracts commissions from leading contemporary composers such as Sally Beamish and Edward Maguire, and performs with groups such as the Nash Ensemble and the London Sinfonietta. ","image":"assets\/imgsupl\/RG6.0_0.85634100_1508247598_61b0_musicians_image_haddow.jpg","footerTitle":"","footerCopy":"Gillianne has also appeared as Guest Principal Viola with the City of Birmingham Symphony Orchestra, the Royal Liverpool Philharmonic Orchestra, the Scottish Chamber Orchestra, and the BBC Scottish Symphony Orchestra."},{"id":"a236","posX":"21","posY":"3","instrumentId":"i6","title":"German Clavijo","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a237","posX":"19","posY":"3","instrumentId":"i6","title":"Cian O'Duill","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a238","posX":"17","posY":"3","instrumentId":"i6","title":"Regina Beukes","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a239","posX":"15","posY":"3","instrumentId":"i6","title":"Malcolm Johnston","description":"Malcolm Johnston began learning the violin and piano at an early age, but was soon drawn to the warm sound and unfamiliar repertoire of the viola. He earned his Bachelor\u2019s degree at the Royal Scottish Academy of Music and Drama and continued his studies at the Royal Academy of Music in London. In 1990, Malcolm won a scholarship to the USA where he became teaching assistant to Jerzy Kosmala at the Louisiana State University. ","image":"assets\/imgsupl\/RG6.0_0.27854400_1508247908_5fe2_musicians_image_hnston.jpg","footerTitle":"","footerCopy":"He was subsequently invited to become a member of the Amernet String Quartet, with whom he played for four years, during which time the quartet won numerous major awards, including Gold Medal at the 1992 Tokyo International Chamber Music Competition. The quartet made their home in Cincinnati after becoming Quartet in Residence at the Cincinnati College-Conservatory of Music. They also toured extensively in the US, Japan, Australia and Europe. As well as his chamber music performing, Malcolm has appeared as a soloist with orchestras and as recitalist both in the US and Britain. Since returning to the UK in 1996 he has become a member of the LSO, where he is currently Sub-Principal viola."},{"id":"a240","posX":"21","posY":"4","instrumentId":"i6","title":"Philip Hall","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a241","posX":"19","posY":"4","instrumentId":"i6","title":"Jonathan Welch","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a242","posX":"17","posY":"4","instrumentId":"i6","title":"Robert Turner","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a243","posX":"15","posY":"4","instrumentId":"i6","title":"Julia O'Riordan","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a244","posX":"21","posY":"5","instrumentId":"i6","title":"Caroline O'Neill","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a245","posX":"19","posY":"5","instrumentId":"i6","title":"Nancy Johnson","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a246","posX":"26","posY":"2","instrumentId":"i7","title":"Tim Hugh","description":"Tim studied with Aldo Parisot at Yale and then in London with Jaqueline Du Pre and William Pleeth whilst reading Medicine at Cambridge University. Following his success at the Tchaikovsky Competition in Moscow, he has enjoyed an international career as soloist alongside his position as Principal Cellist with the LSO. He has worked as soloist with many great conductors including Previn, Haitink, Sir Colin Davis, Rostropovich and Xavier-Roth. ","image":"assets\/imgsupl\/RG6.0_0.80398000_1508247678_04ce_musicians_image_m-hugh.jpg","footerTitle":"","footerCopy":"His recordings of the Brahms Double and Beethoven Triple concertos with the LSO and Haitink together with Nikolitch and Lars Vogt are released by LSO Live. As solo cellist with the LSO he has performed Elgar, Strass Don Quixote, Shostakovich, Tischenko, Dutilleux, Haydn, Dvorak, Messiaen and Walton concertos and has given recitals with Andre Previn, Helen Grimaud, Nikolai Znaider, Viktoria Mullova and Andrew Marriner. Tim plays on a cello made by Zanoli in 1743."},{"id":"a247","posX":"24","posY":"2","instrumentId":"i7","title":"Minat Lyons","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a248","posX":"26","posY":"3","instrumentId":"i7","title":"Alastair Blayden","description":"Alastair Blayden was a music scholar at Winchester College and a Foundation Scholar at the Royal College of Music. He studied with Joan Dickson and William Pleeth and also received chamber music coaching at Aldeburgh with the Borodin Quartet and in Cologne with the Amadeus Quartet.","image":"assets\/imgsupl\/RG6.0_0.88119300_1508247761_b80e_musicians_image_layden.jpg","footerTitle":"","footerCopy":"He was a founder member of the Dante Quartet with whom he regularly broadcasts. Alastair has held the position of Sub-Principal Cello with LSO since 1997. Alastair is also Professor of Cello at the Royal College of Music. He plays on a Celionatus (circa 1740) kindly lent to him by the LSO."},{"id":"a249","posX":"24","posY":"3","instrumentId":"i7","title":"Jennifer Brown","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a250","posX":"26","posY":"4","instrumentId":"i7","title":"Noel Bradshaw","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a251","posX":"25","posY":"4","instrumentId":"i7","title":"Eve-Marie Caravassilis","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a252","posX":"26","posY":"5","instrumentId":"i7","title":"Amanda Truelove","description":"","image":"assets\/imgsupl\/RG6.0_0.84043000_1508429861_6f7a_musicians_image_uelove.jpg","footerTitle":"","footerCopy":""},{"id":"a253","posX":"25","posY":"5","instrumentId":"i7","title":"Daniel Gardner","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a254","posX":"26","posY":"6","instrumentId":"i7","title":"Hilary Jones","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a255","posX":"25","posY":"6","instrumentId":"i7","title":"Orlando Jopling","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a256","posX":"25","posY":"7","instrumentId":"i8","title":"Jani Pensola","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a257","posX":"24","posY":"7","instrumentId":"i8","title":"Joe Melvin","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a258","posX":"24","posY":"6","instrumentId":"i8","title":"Matthew McDonald","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a259","posX":"23","posY":"6","instrumentId":"i8","title":"Colin Paris","description":"Colin Paris studied at the Guildhall School of Music and Drama from 1974 to 1977 and in his final term at college was offered and accepted a position with the Bournemouth Symphony Orchestra. In 1979 Colin joined the BBC Symphony Orchestra, a position which he held for 2 years, leaving to pursue a freelance career during which he held the position of Principal Double Bass with the London Bach Orchestra. ","image":"assets\/imgsupl\/RG6.0_0.05607500_1508248116_6501_musicians_image_-paris.jpg","footerTitle":"","footerCopy":"In 1983 Colin joined the English National Opera Orchestra as Sub Principal Double Bass and moved to the London Symphony Orchestra in 1988. Colin has now worked with the London Symphony Orchestra for 25 years and holds the position of Co-Principal Double Bass. Alongside his work with the London Symphony Orchestra Colin is regularly works with the Royal Philharmonic Orchestra and the BBC Symphony Orchestra."},{"id":"a260","posX":"22","posY":"6","instrumentId":"i8","title":"Nicholas Worters","description":"","image":"assets\/imgsupl\/RG6.0_0.51557900_1370527687_f9f5_musicians_image_orters.jpg","footerTitle":"","footerCopy":""},{"id":"a261","posX":"21","posY":"6","instrumentId":"i8","title":"Patrick Laurence","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a262","posX":"23","posY":"7","instrumentId":"i8","title":"Thomas Goodman","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a263","posX":"22","posY":"7","instrumentId":"i8","title":"Sebastian Pennar","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a268","posX":"9","posY":"5","instrumentId":"i32","title":"Joshua Batty","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a264","posX":"13","posY":"5","instrumentId":"i10","title":"Gareth Davies","description":"Gareth Davies studied at the Guildhall school of Music and Drama where he gained the highest marks in his year and won the Laurie Kennedy Memorial prize. At the age of 22, shortly after graduating he was appointed Principal flute with the Bournemouth Symphony Orchestra. During his time on the South coast, he recorded the Nielsen flute concerto on the Naxos label. In 2000 he was invited to join the London Symphony Orchestra as Principal Flute.","image":"assets\/imgsupl\/RG6.0_0.02140600_1508248331_0d6f_musicians_image_davies.jpg","footerTitle":"","footerCopy":"In the LSO he has performed as a soloist with Sir Colin Davis and Daniel Harding across Europe, and in 2004, the centenary year, he performed and recorded Quirk by Karl Jenkins, a concertante written especially for him. Gareth loves the variety of work which being a member of the orchestra entails. He has worked with most of the great maestri of our times, Gergiev, Colin Davis, Previn, Maazel, Janssons, Boulez, Rostropovitch and Haitink to name a few."},{"id":"a265","posX":"12","posY":"5","instrumentId":"i10","title":"Alex Jakeman","description":"Alex Jakeman is an alumnus of Chetham's School of Music and the Royal Academy of Music, having studied with Gitte Sorensen, Michael Cox, Kate Hill and Pat Morris. In 2009 she was appointed as sub-principal flute with the Bournemouth Symphony Orchestra, where she stayed until 2012. She has recently joined the London Symphony Orchestra as sub-principal flute. ","image":"","footerTitle":"","footerCopy":"Alex has played with the Royal Philharmonic Orchestra, the BBC Symphony Orchestra, Aurora Orchestra and the City of London Sinfonia among others and enjoys the variety of repertoire and experiences that playing with different groups offers. She has also performed the Nielsen and Ibert flute concertos and had the honour of performing Malcolm Arnold\u2019s first flute concerto as part of his 80th birthday celebrations, in the presence of the composer."},{"id":"a266","posX":"11","posY":"5","instrumentId":"i10","title":"Patricia Moynihan","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a267","posX":"10","posY":"5","instrumentId":"i24","title":"Sharon Williams","description":"Sharon Williams is the Principal Piccolo of the London Symphony Orchestra, one of the world's leading orchestras. Prior to that she was Principal Piccolo in the Royal Philharmonic Orchestra and the Hong Kong Philharmonic. She regularly works with most of Britain's major orchestras and freelances on film sessions and other commercial work. Available as an iBook (with embedded media for iPad) an ePub formatted eBook (for Android devices) and a pdf file, this document is designed to help teachers of Key Stage 3 age students develop classroom projects around Stravinsky's The Rite of Spring. Using the recordings available on LSO Play as resources, you'll be able to introduce your students to the instruments of the orchestra, and help break down the performance into its constituent rhythmic and melodic parts.<\/p>","footerTitle":"","footerCopy":"","links":[{"title":"Download for iPad","url":"https:\/\/itunes.apple.com\/us\/book\/rite-spring-resources-for\/id1044210875?ls=1&mt=11"},{"title":"Download ePub format eBook","url":"https:\/\/playapi.lso.co.uk\/download\/9\/rite-of-spring-project-pack.epub"},{"title":"Download PDF file","url":"https:\/\/playapi.lso.co.uk\/download\/10\/rite-of-spring-project-pack-pdf.pdf"}]},{"id":"d14","label":"STRAVINSKY: Listening Tasks","sublabel":"KS2 and KS3+","title":"The Rite of Spring: Project pack for KS2 with extensions for KS3+","image":"assets\/imgsupl\/RG6.0_0.87674100_1589376020_71c4_downloads_image_rite.jpg","description":" Available as both an iBook (with embedded media for iPad and Apple iBooks) and pdf, this document is designed to help families at home with children of KS2 and KS3+ develop listening tasks and activities around Stravinsky's The Rite of Spring.<\/p>","footerTitle":"","footerCopy":"","links":[{"title":"THE RITE OF SPRING: Listening Tasks","url":"https:\/\/playapi.lso.co.uk\/download\/27\/iBook_Rite_PDF.pdf"},{"title":"Download from iBooks","url":"https:\/\/books.apple.com\/gb\/book\/listening-exercises-for-classical-music\/id1513144688"}]}]}]}
Carol is a founder member of Liquid Architecture, a prize-winning octet currently on the Making Music scheme.","image":"","footerTitle":"","footerCopy":""},{"id":"a516","posX":"19","posY":"3","instrumentId":"i6","title":"Anna Bastow","description":"","image":"assets\/imgsupl\/RG6.0_0.43889000_1508430687_f145_musicians_image_bastow.jpg","footerTitle":"","footerCopy":""},{"id":"a517","posX":"17","posY":"4","instrumentId":"i6","title":"Robert Turner","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a518","posX":"18","posY":"4","instrumentId":"i6","title":"Jonathan Welch","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a519","posX":"19","posY":"4","instrumentId":"i6","title":"Julia O'Riordan","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a520","posX":"20","posY":"4","instrumentId":"i6","title":"Stephanie Edmundson","description":"Lancashire born violist Stephanie Edmundson is a masters graduate of the Royal Academy of Music where she studied with Martin Outram. During her time at the Academy she was awarded the Maurice Loban Prize for Viola, was a member of the Royal Academy Soloists and won a place on the the London Symphony Orchestra string scheme. In 2013-2014, she was a recipient of the Philharmonia Orchestra \u2018Meyer Award\u2019. Stephanie has been a member of the Jubilee Quartet since it\u2019s formation in 2006. The quartet are prize winners of several international competitions and award winners of the Tillett Trust, Park Lane Group, Worshipful Company of Musicians, Making Music, Philharmonia\/Martin Musical Scholarship Fund and the Hattori Foundation. They have performed across the UK, Europe and in Canada with several appearances at the Wigmore Hall and Purcell Room. The quartet currently study at the Musik-Akademie, Basel with Rainer Schmidt.","image":"","footerTitle":"","footerCopy":""},{"id":"a521","posX":"19","posY":"5","instrumentId":"i6","title":"Philip Hall","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a522","posX":"20","posY":"5","instrumentId":"i6","title":"Caroline O'Neill","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a523","posX":"26","posY":"2","instrumentId":"i7","title":"Rebecca Gilliver","description":"Rebecca Gilliver is Principal cellist of the London Symphony Orchestra. Early success in national and international competitions led to critically acclaimed debut recitals at the Wigmore Hall in London and Carnegie Hall, New York. Rebecca has performed in major music festivals such as Bath, Bergen, and the Manchester International Cello Festival. A keen chamber musician, she has collaborated with international artists including Nikolai Znaider, Sarah Chang and Roger Vignoles with whom she recorded for BBC Radio 3. ","image":"assets\/imgsupl\/RG6.0_0.96076600_1508253186_7136_musicians_image_lliver.jpg","footerTitle":"","footerCopy":"She is a regular participant at IMS Prussia Cove. She has appeared as a soloist with the Halle and the Academy of St Martin in the Fields and is also featured on a CD of Enescu chamber music for the Naxos label. Originally joining the LSO as Co-principal in 2001, Rebecca was promoted to Principal two years ago. She has played guest principal with orchestras all around the world, including the Australian Chamber Orchestra, New Sinfonietta Amsterdam and most recently the World Orchestra for Peace."},{"id":"a524","posX":"25","posY":"2","instrumentId":"i7","title":"Alastair Blayden","description":"Alastair Blayden was a music scholar at Winchester College and a Foundation Scholar at the Royal College of Music. He studied with Joan Dickson and William Pleeth and also received chamber music coaching at Aldeburgh with the Borodin Quartet and in Cologne with the Amadeus Quartet.","image":"assets\/imgsupl\/RG6.0_0.88119300_1508247761_b80e_musicians_image_layden.jpg","footerTitle":"","footerCopy":"He was a founder member of the Dante Quartet with whom he regularly broadcasts. Alastair has held the position of Sub-Principal Cello with LSO since 1997. Alastair is also Professor of Cello at the Royal College of Music. He plays on a Celionatus (circa 1740) kindly lent to him by the LSO."},{"id":"a525","posX":"26","posY":"3","instrumentId":"i7","title":"Jennifer Brown","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a526","posX":"25","posY":"3","instrumentId":"i7","title":"Daniel Gardner","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a527","posX":"26","posY":"4","instrumentId":"i7","title":"Noel Bradshaw","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a528","posX":"25","posY":"4","instrumentId":"i7","title":"Amanda Truelove","description":"","image":"assets\/imgsupl\/RG6.0_0.84043000_1508429861_6f7a_musicians_image_uelove.jpg","footerTitle":"","footerCopy":""},{"id":"a529","posX":"26","posY":"5","instrumentId":"i7","title":"Hilary Jones","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a530","posX":"25","posY":"5","instrumentId":"i7","title":"Morwenna Del Mar","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a531","posX":"26","posY":"6","instrumentId":"i7","title":"Miwa Rosso ","description":"After earning her cello diplomas at the Conservatoire National Sup\u00e9rieur de Lyon and Paris, she continued her studies in London at the Guidhall School of Music and Drama as well as in Trieste, Italy. Invited by the Orchester National de Paris since 2003, she participates in numerous productions and collaborates in studio and on stage with composers of music of films and musical comedies. She has a close relationship with the worlds of opera and dance.
","image":"","footerTitle":"","footerCopy":""},{"id":"a532","posX":"25","posY":"6","instrumentId":"i7","title":"Victoria Harrild","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a533","posX":"25","posY":"7","instrumentId":"i8","title":"Colin Paris","description":"Colin Paris studied at the Guildhall School of Music and Drama from 1974 to 1977 and in his final term at college was offered and accepted a position with the Bournemouth Symphony Orchestra. In 1979 Colin joined the BBC Symphony Orchestra, a position which he held for 2 years, leaving to pursue a freelance career during which he held the position of Principal Double Bass with the London Bach Orchestra. ","image":"assets\/imgsupl\/RG6.0_0.05607500_1508248116_6501_musicians_image_-paris.jpg","footerTitle":"","footerCopy":"In 1983 Colin joined the English National Opera Orchestra as Sub Principal Double Bass and moved to the London Symphony Orchestra in 1988. Colin has now worked with the London Symphony Orchestra for 25 years and holds the position of Co-Principal Double Bass. Alongside his work with the London Symphony Orchestra Colin is regularly works with the Royal Philharmonic Orchestra and the BBC Symphony Orchestra."},{"id":"a534","posX":"24","posY":"7","instrumentId":"i8","title":"Patrick Laurence","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a535","posX":"23","posY":"7","instrumentId":"i8","title":"Joe Melvin","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a536","posX":"22","posY":"7","instrumentId":"i8","title":"Jani Pensola","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a537","posX":"26","posY":"8","instrumentId":"i8","title":"Matthew Gibson","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a538","posX":"25","posY":"8","instrumentId":"i8","title":"Thomas Goodman","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a539","posX":"24","posY":"8","instrumentId":"i8","title":"Paul Sherman","description":"Paul was born in East Sussex and started to play the double bass at the age of twelve. He studied at the Guildhall School of Music & Drama in London with Thomas Martin and Kevin Rundell.
A member and regular principal player with the English Chamber Orchestra Paul has toured and performed with them in over 40 countries and is responsible for coordinating the orchestra\u2019s education and outreach activities.
Paul also works extensively with a wide range of period, modern and contemporary orchestras and ensembles, and his guest principal engagements include the BBC Philharmonic Orchestra, Britten Sinfonia, City of London Sinfonia, Gabrielli Ensemble and Players, Glyndebourne on Tour, Goldberg Ensemble, Hebrides Ensemble, London Festival Orchestra, London Mozart Players, London Sinfonietta, Orchestra of St. John\u2019s, Orchestra of the Age of Enlightenment, Scottish Chamber Orchestra, Royal Philharmonic Orchestra, and Norway\u2019s Trondheim Symfoniokester.","image":"","footerTitle":"","footerCopy":""},{"id":"a540","posX":"23","posY":"8","instrumentId":"i8","title":"Simo Vaisanen","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a550","posX":"13","posY":"5","instrumentId":"i10","title":"Adam Walker","description":"In 2009, at the age of 21, Adam Walker was appointed Principal Flute of the London Symphony Orchestra and received the \u2018Outstanding Young Artist Award\u2019 at the MIDEM Classique Awards in Cannes. He went on to win a Borletti-Buitoni Trust Fellowship Award and was shortlisted for the Royal Philharmonic Society\u2019s Outstanding Young Artist Award.","image":"assets\/imgsupl\/RG6.0_0.01880100_1508253381_8127_musicians_image_walker.jpg","footerTitle":"","footerCopy":"As a soloist he has appeared with the Academy of St. Martin in the Fields, Solistes Europ\u00e9en, Vienna Chamber and Royal Philharmonic Orchestras. Concert appearances include LSO St. Lukes (broadcast by BBC Radio 3), City of London and Festspiele Mecklenburg Vorpommern. He has collaborated with Trevor Pinnock, Bernarda Fink, Christopher Glynn, James Baillieu and Morgan Szymanski amongst others."},{"id":"a551","posX":"12","posY":"5","instrumentId":"i10","title":"Patricia Moynihan","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a552","posX":"11","posY":"5","instrumentId":"i24","title":"Sharon Williams","description":"Sharon Williams is the Principal Piccolo of the London Symphony Orchestra, one of the world's leading orchestras. Prior to that she was Principal Piccolo in the Royal Philharmonic Orchestra and the Hong Kong Philharmonic. She regularly works with most of Britain's major orchestras and freelances on film sessions and other commercial work.
","image":"assets\/imgsupl\/RG6.0_0.41043700_1508248424_fd89_musicians_image_lliams.jpg","footerTitle":"","footerCopy":"She is also currently Professor of piccolo at London's Guildhall School of Music and Drama and regularly gives masterclasses. Major conductors she has worked with include Valery Gergiev, Sir Colin Davis, Bernard Haitink, Lorin Maazel and Rostropovich. Sharon can be heard playing on the LSO Live label and many film scores including Star Wars and Harry Potter."},{"id":"a548","posX":"15","posY":"5","instrumentId":"i11","title":"Rosie Jenkins","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a549","posX":"14","posY":"5","instrumentId":"i11","title":"Olivier Stankiewicz","description":"Olivier Stankiewicz, whose extensive musical activity is characterised both by his remarkable curiosity and virtuosity, has constantly sought to expand his artistic scope and sources of inspiration.
Appointed principal oboe with the London Symphony Orchestra in May 2015, he has also performed with Amsterdam\u2019s Royal Concertegebouw and the Chamber Orchestra of Europe and served with Toulouse\u2019s Orchestre National du Capitole (ONCT) from 2011 to 2015. There, he recently performed the world premiere of Benjamin Attahir\u2019s oboe concerto Nur under Tugan Sokhiev. Since his first concerto appearance at the age of 16 with the Monte-Carlo Philharmonic, he has performed with the French National Orchestra, the Wallonie Royal Chamber Orchestra, the Pro-Arte orchestra of Hong-Kong and the Tokyo Sinfonietta.","image":"assets\/imgsupl\/RG6.0_0.48540000_1534521228_33a5_musicians_image_iewicz.jpg","footerTitle":"","footerCopy":"Named \u201cclassical revelation\u201d in 2013 by the French association ADAMI, Olivier Stankiewicz also took First Prize at the 10th International Oboe Competition of Japan, successively won the 2015 European and American YCA auditions in Leipzig and New-York, and the YCAT Auditions at the Wigmore Hall in London.\r\n\r\nOlivier\u2019s chamber music partners include Thomas Dunfort, Jean Rondeau, Amy Harman and the Castalian quartet. He has performed at the Prades international festival, the Brighton festival, and the Warsaw Opera. The Duo Widmung, co-founded with pianist Alvise Siniva, focusing in part on adaptations of vocal repertoire, has performed at Tokyo\u2019s Toppan Hall and at the Wigmore Hall.\r\n\r\nOlivier Stankiewicz comprehensive approach to musical performance has led him to study theory and conducting, in addition to oboe studies with Jacques Tys, David Walter, and Jean-Claude Jaboulay. He was in 2015 appointed oboe professor at the Royal College of Music in London."},{"id":"a556","posX":"12","posY":"6","instrumentId":"i12","title":"Andrew Marriner","description":"Andrew Marriner has held the position of principal clarinet in the London Symphony Orchestra since 1986, when he succeeded the late Jack Brymer. During his orchestral career Andrew has maintained a presence on the worldwide solo concert platform, in the field of chamber music, and as a teacher. Andrew first played with the LSO in 1977 under Sergiu Celibidache and, as guest principal, on the orchestra\u2019s 1983 world tour. ","image":"assets\/imgsupl\/RG6.0_0.39473900_1508429164_495b_musicians_image_rriner.jpg","footerTitle":"","footerCopy":"He later became principal clarinet of the Academy of St Martin in the Fields, a position he held concurrently with his commitment to the LSO until 2008. As a soloist Andrew has been a regular performer in London, both at the Barbican and the Royal Festival Hall. As both performer and teacher, his career is worldwide in its reach, taking him regularly from Europe to the Americas, Asia and Australia."},{"id":"a557","posX":"11","posY":"6","instrumentId":"i12","title":"Chi-Yu Mo","description":"Chi-Yu graduated with First Class Honours and a PhD in Chemistry from St. John\u2019s College Cambridge. He then studied at the Royal Academy of Music, where he graduated with a DipRAM and won many prizes. He won the Britten-Pears Concerto Competition, and also was a wind finalist in the Royal Overseas League Music Competition. He was Principal E flat Clarinet of the RLPO, and joined the LSO in 1998. ","image":"assets\/imgsupl\/RG6.0_0.96038100_1508248695_c8fd_musicians_image_-yu-mo.jpg","footerTitle":"","footerCopy":"He has played Principal with many UK orchestras and with the Asia Philharmonic Orchestra, including performances as soloist under Myung Whun Chung. Chi-Yu has played with the Nash Ensemble and Endymion and recently he performed the Mozart Kegelstatt Trio and Reich's New York Counterpoint at LSO St Luke's and also featured with the Worldwide Chinese Woodwind Soloists Octet in Beijing. Chi-Yu is a Professor at the Royal Academy of Music and has given masterclasses in China, Kazakhstan, Spain and USA."},{"id":"a554","posX":"14","posY":"6","instrumentId":"i15","title":"Daniel Jemison","description":"Daniel studied music at Clare College, Cambridge before deciding to pursue a career as a bassoonist. After completing postgraduate courses at the Guildhall School of Music and Drama and at the Hochschule f\u0171r Musik und Darstellende Kunst in Stuttgart, Daniel was appointed co-principal bassoon with the Deutsche Kammerphilharmonie, Bremen. From 1999 to 2003, Daniel was principal bassoon with the Bournemouth Symphony Orchestra. ","image":"assets\/imgsupl\/RG6.0_0.02974000_1516119005_489f_musicians_image_ison_2.jpg","footerTitle":"","footerCopy":"He appeared with them as a soloist on several occasions and also played an active role in the education department of the orchestra. Since moving to London he has appeared as guest principal bassoon with various orchestras and chamber ensembles such as the BBC Symphony Orchestra, English Chamber Orchestra and London Winds, and has given masterclasses at the Royal Northern College of Music and Trinity College of Music. Daniel was appointed Principal Bassoon of the LSO in 2013."},{"id":"a555","posX":"13","posY":"6","instrumentId":"i15","title":"Rachel Gough","description":"Rachel Gough has been Principal Bassoon of the LSO since 1999. (For eight years prior to joining the LSO she was Co-Principal with the BBC Symphony Orchestra and a professor at the Royal Academy of Music.)
As a student she read anthropology and music at King\u2019s College, Cambridge, before gaining Countess of Munster, Martin Musical, Ian Fleming and German government scholarships for postgraduate study at the Royal Academy of Music and the Hannover Hochschule f\u00fcr Musik with Klaus Thunemann. During this time she was principal bassoon of the European Community Youth Orchestra and won the Gold Medal at the Royal Overseas League.","image":"assets\/imgsupl\/RG6.0_0.90013200_1508249355_068b_musicians_image_-gough.jpg","footerTitle":"","footerCopy":"Rachel has appeared as a soloist with Sir Colin Davis, Valery Gergiev, Bernard Haitink, Sir Neville Marriner, Gianandrea Noseda and Gennady Rozhdestvensky. (Alongside these conductors, she has as worked as an orchestral musician with Claudio Abbado, Pierre Boulez, Riccardo Chailly, Mariss Jansons, Zubin Mehta, Sir Antonio Pappano, Andre Previn, Sir Simon Rattle, Sir Georg Solti, Yuri Temirkanov and Gunter Wand, amongst many others.) (She is a Fellow of the Royal Academy of Music.)"},{"id":"a553","posX":"15","posY":"6","instrumentId":"i31","title":"Dominic Morgan","description":"Dominic Morgan, Principal Contra-Bassoon of the LSO, began playing the bassoon at the age of 13 and graduated from Royal Northern College of Music. He joined the LSO in 1994, after playing for the English National Opera for nine years.","image":"assets\/imgsupl\/RG6.0_0.32432600_1508251907_f64c_musicians_image_morgan.jpg","footerTitle":"","footerCopy":""},{"id":"a558","posX":"13","posY":"7","instrumentId":"i18","title":"Anna Euen","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a559","posX":"12","posY":"7","instrumentId":"i18","title":"Timothy Jones ","description":"Timothy Jones was born in London in 1961 and studied with Ifor James and Frank Lloyd. After leaving school at the age of seventeen, he started his career as a professional musician, playing second horn with the Munich Philharmonic. In 1984 Timothy joined the London Philharmonic Orchestra, where he stayed until joining the London Symphony Orchestra as Principal Horn in 1986. ","image":"assets\/imgsupl\/RG6.0_0.73040100_1508253629_2081_musicians_image_-jones.jpg","footerTitle":"","footerCopy":"Timothy has also been a member of the City of Birmingham Symphony Orchestra and the Academy of St Martin-in-the-Fields. During his career, Timothy has performed as a soloist with both the Munich Philharmonic and the Academy of St. Martin-in-the-Fields, both in the UK and abroad to great acclaim. Timothy is a Horn Professor at the Royal College of Music, London."},{"id":"a560","posX":"11","posY":"7","instrumentId":"i18","title":"Angela Barnes","description":"In January 2005, at the age of 21, Angela Barnes was appointed second horn of the London Symphony Orchestra, becoming the first female member of the orchestra\u2019s brass section in the orchestra\u2019s hundred-year history. She has worked regularly with most of the major British orchestras, appearing as a guest principal with the London Philharmonic Orchestra, the Royal Philharmonic Orchestra, the City of Birmingham Symphony Orchestra, and the Royal Liverpool Philharmonic Orchestra. Her career combines orchestral, solo and chamber music playing. As well as featuring in the second instalment of the Cala Records \u2018\u2018London Horn Sound\u2019\u2019 series, she has also recently recorded Britten\u2019s Canticle for Tenor, Horn and Piano, with tenor Allan Clayton, as part of the BBC Radio 3 New Generation Artists scheme.","image":"assets\/imgsupl\/RG6.0_0.22330700_1508430366_6bc8_musicians_image_barnes.jpg","footerTitle":"","footerCopy":"Angela, from Rossendale, Lancashire, began horn lessons with her mother at the age of eight, before entering Chetham\u2019s School of Music, Manchester, in 1994 to study with Elizabeth Davis. She then went on to study with Hugh Seenan, Richard Bissill, Jeff Bryant and Jonathan Lipton at the Guildhall School of Music and Drama in London, from where she graduated with a First Class Honours degree in July 2005. Angela has given numerous solo and chamber music performances, and was a member of both the National Youth Orchestra and the European Union Youth Orchestra. In 2002, she won both the Liverpool Young Musician competition and the Brass section of the BBC Young Musician of the Year competition, which saw her perform Richard Strauss\u2019 Second Horn Concerto with the BBC Symphony Orchestra in the Barbican Hall, London, as part of the Concerto Final, which was broadcast live on BBC television and radio."},{"id":"a561","posX":"10","posY":"7","instrumentId":"i18","title":"Andrew Budden","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a562","posX":"9","posY":"7","instrumentId":"i18","title":"Jonathan Lipton","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a545","posX":"16","posY":"8","instrumentId":"i16","title":"Philip Cobb","description":"Philip Cobb was appointed to the post of Joint-Principal Trumpet with the London Symphony Orchestra in July 2009 while still only 21 years of age. Philip is a fourth generation Salvationist and comes from a family intrinsically linked with Salvation Army music-making at its highest level. From a young age, Philip regularly featured as a cornet soloist, appearing alongside his brother Matthew and father Stephen, accompanied by his mother Elaine. He gained a place in the National Youth Brass Band of Great Britain in 2000, where he became Principal Cornet on a number of courses and was a four-time winner of the esteemed Harry Mortimer Award.","image":"assets\/imgsupl\/RG6.0_0.72160200_1508250224_28fd_musicians_image_p-cobb.jpg","footerTitle":"","footerCopy":"In the following years, Philip joined the Salvation Army\u2019s International Staff Band and has since found himself making more frequent appearances as a soloist in his own right. High profile performances include the 2012 London Games, where he was a featured soloist at both the Olympics Closing Ceremony and the Paralympics Opening Ceremony. While at the Guildhall School of Music and Drama in London, Philip studied with Paul Beniston and world-renowned trumpet soloist Alison Balsom. Alongside his studies, Philip performed as Principal Trumpet with the European Youth Orchestra and began working with professional orchestras such as the London Philharmonic, London Chamber and BBC Symphony. He has also since appeared as Guest Principal Trumpet with the Royal Concertgebouw Orchestra. Philip was awarded Most Promising Performer in the prestigious Maurice Andr\u00e9 International Trumpet Competition 2006 and he received the Candide Award at the 2008 London Symphony Orchestra Brass Academy. By the time he graduated one year later, Philip had already secured his current post in the London Symphony Orchestra."},{"id":"a546","posX":"15","posY":"8","instrumentId":"i16","title":"Gerald Ruddock","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a547","posX":"14","posY":"8","instrumentId":"i16","title":"Niall Keatley","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a543","posX":"19","posY":"8","instrumentId":"i17","title":"James Maynard","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a544","posX":"18","posY":"8","instrumentId":"i17","title":"Dudley Bright","description":"Dudley Bright has been Principal Trombone of the LSO since 2001 having held a similar position in the Philharmona Orchestra. Yet his first orchestral position was as an associate of the LSO before being appointed Principal of the Halle Orchestra. ","image":"assets\/imgsupl\/RG6.0_0.00951000_1508250813_a168_musicians_image_bright.jpg","footerTitle":"","footerCopy":"He is professor of trombone at the Royal Academy and has been involved with trombone development for the Besson and Courtois instrument companies. He is still involved in the Salvation Army, in whose Brass bands he has his roots, not only as a trombonist but as composer and arranger. He has also composed 3 large scale works for the LSO's Brass Academy. "},{"id":"a541","posX":"21","posY":"8","instrumentId":"i19","title":"Ross Knight","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a542","posX":"20","posY":"8","instrumentId":"i35","title":"Paul Milner ","description":"Paul Milner was born in Edinburgh and after a musical education, moved to Manchester to study at the Royal Northern College of Music. On leaving the RNCM with a Diploma in Professional Performance, Paul freelanced with some of the UK's leading orchestras, before gaining the position of Principal Bass Trombone with the Orchestra of Opera North, Leeds in 1993.","image":"assets\/imgsupl\/RG6.0_0.02633700_1508250585_1319_musicians_image_milner.jpg","footerTitle":"","footerCopy":"Having spent 14 years there, the position of Principal Bass Trombone in the London Symphony Orchestra became vacant. Paul was successful in gaining membership to the orchestra and began his role in 2007. Along with his very busy role in the orchestra, Paul is committed to the LSO Discovery education department. This involves playing his trombone to children in hospitals, coaching gifted children and community projects, to name but a few."},{"id":"a566","posX":"16","posY":"9","instrumentId":"i22","title":"Nigel Thomas","description":"Nigel Thomas has been Principal Timpanist with the London Symphony Orchestra since 2003, having first joined the orchestra as Principal Percussionist in 1988. He was the Royal College of Music\u2019s first timpani and percussion scholar, and in 1980 was winner of the Shell LSO competition.","image":"assets\/imgsupl\/RG6.0_0.31188400_1508251727_6b88_musicians_image_thomas.jpg","footerTitle":"","footerCopy":""},{"id":"a563","posX":"2","posY":"9","instrumentId":"i21","title":"Sam Walton","description":"Sam Walton appears regularly as a percussionist and timpanist with many of the UK\u2019s top orchestras, and since 2012 has been Co-Principal Percussionist of the London Symphony Orchestra. As a soloist, Sam has appeared with the Royal Philharmonic Orchestra, Orquesta de Castilla y Leon, and the Gurzenich Orchestra in Cologne. He has appeared both as a solo recitalist and with his duo partner Colin Currie at numerous venues in the UK and worldwide. ","image":"assets\/imgsupl\/RG6.0_0.85447400_1508252020_5f1e_musicians_image_walton.jpg","footerTitle":"","footerCopy":"He performs regularly with violist Viktoria Mullova and appears on her recital disc Through the Looking Glass. He is a member of the contemporary group Between The Notes, with whom he has travelled to Asia, Europe and Australia. He has also appeared as a soloist at the BBC Proms in a programme of music by Steve Reich. As a chamber musician, Sam has performed on two recital discs with Colin Currie. "},{"id":"a564","posX":"3","posY":"9","instrumentId":"i21","title":"Neil Percy","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a565","posX":"4","posY":"9","instrumentId":"i21","title":"David Jackson","description":"","image":"","footerTitle":"","footerCopy":""}],"instruments":[{"id":"i5","sectionId":"s10","title":"First Violin","description":"Of all the instruments in the orchestra, the violin is the most visible, simply by being the most numerous! Sitting at the front of the stage, there can often be more than 30 of these smallest of the string family in the orchestra at any one time.
Modern violins have roots in the early Greek ages, but started to become the instruments we know today in the 1500s. Its four strings are usually played with a bow or plucked (pizzicato), but the violin is famously versatile and can produce all sorts of effects such as ethereal harmonics, double stops (playing more than one note at once) or being hit with the wooden part of the bow (col legno).","image":"assets\/imgsupl\/RG6.0_0.79425300_1508239376_d3d9_instruments_image_violin.jpg","footerTitle":"Violin Factfile","footerCopy":"\u2022 The principal of the First Violins is called the Leader, or Concertmaster, whose role is to play any orchestral solos and to make technical decisions on behalf of the rest of the string section"},{"id":"i26","sectionId":"s10","title":"Second Violin","description":"The Second Violin section usually sits next to its colleagues the First Violins, although some composers ask for them to be sat opposite the Firsts to produce an antiphonal, or alternating, effect in the music. Typically the Second Violins will play the harmony lines in the music, while the First Violins play the melodies.","image":"assets\/imgsupl\/RG6.0_0.50492100_1508239384_3666_instruments_image_violin.jpg","footerTitle":"Violin Factfile","footerCopy":"\u2022 A violin\u2019s strings are tuned to the notes G, D, A and E\r\n\r\n\u2022 Violin strings were once made out of \u201ccatgut\u201d, although it was actually the gut of a sheep. Today, strings are usually steel\r\n\r\n\u2022 One of the most celebrated violinists of all time, Nicolo Paganini (died 1840), had such an astonishing technique for his time that it was rumoured that he sold his soul to the Devil in exchange for his talent\r\n\r\n\u2022 Playing the violin burns 170 calories an hour"},{"id":"i6","sectionId":"s10","title":"Viola","description":"Unless you put a violin next to a viola to provide comparisons, it\u2019s very difficult to tell the difference on sight. The viola is slightly larger than the violin, and has differently tuned strings, but otherwise is pretty much identical \u2013 held under the chin and played with a bow or plucked.
The sound of the viola, however, is very different. It has a much more mellow tone, deeper and more intense. As the middle instrument of the string family, often playing uncomplicated parts, it can be the brunt of jokes about it being a second class citizen, but actually was favoured by composers such as Mozart and Brahms.","image":"assets\/imgsupl\/RG6.0_0.64873200_1508239412_3a4d_instruments_image_viola.jpg","footerTitle":"Viola Factfile","footerCopy":"\u2022 A viola\u2019s strings are tuned to the notes C, G, D and A\r\n\r\n\u2022 Composers who played the viola include Mozart, Britten, Dvorak, Mendelssohn and Beethoven\r\n\r\n\u2022 Violists read music written in a clef called Alto Clef, which is only used by one other instrument in the orchestra, the alto trombone\r\n\r\n\u2022 JOKE! What's the difference between a Violin and a Viola? A Viola burns longer.\r\n"},{"id":"i7","sectionId":"s10","title":"Cello","description":"Like the violin and viola, the cello has four strings and is played using a bow or plucked, but has one major difference \u2013 it is played vertically, resting on the floor using a spike protruding from the bottom. The cello has slightly different roots from violins and violas, being born from early instruments called viols.
The cello is a bass instrument, playing the lowest notes of the music, although it is also capable of playing high notes, which are very plaintive and lend it its reputation for being the closest instrument to the sound of a human voice.
The cellos usually sit at the front of the stage opposite the First Violins, and number around six to ten in the section. ","image":"assets\/imgsupl\/RG6.0_0.69154900_1508239255_5083_instruments_image_cello.jpg","footerTitle":"Cello Factfile","footerCopy":"\u2022 Like the viola, the cello\u2019s four strings are tuned to C, G, D and A, but sound an octave (8 notes) lower than the viola\r\n\r\n\u2022 The word \u2018cello\u2019 is actually short for \u2018violoncello\u2019, literally \u201csmall large viol\u201d\r\n\r\n\u2022 Some early cellos had 5 strings\r\n\r\n\u2022 The plural of cello is actually celli\r\n"},{"id":"i8","sectionId":"s10","title":"Double Bass","description":"The daddy of the string family, the double bass is the largest and lowest stringed instrument. Being so large it\u2019s usually played sitting on a high stool or standing up, and the basses sit at the very back of the orchestra. Because of its size it\u2019s physically demanding to play \u2013 just pressing down the thick strings requires a lot of effort!
Like the other stringed instruments it\u2019s played with a bow or plucked and had four strings. Some double basses have an extension on their lowest string to play even lower notes. The notes are so low that it\u2019s not a very loud instrument and so there\u2019s often up to 10 or 12 bassists in the orchestra to provide enough volume.","image":"assets\/imgsupl\/RG6.0_0.19634300_1508239533_ae55_instruments_image_e-bass.jpg","footerTitle":"Double Bass Factfile","footerCopy":"\u2022 The double bass\u2019 strings are usually tuned to E, A, D and G, but unlike the others in the string family this can vary from country to country, depending on traditions\r\n\r\n\u2022 Solo parts for orchestral double bassists are rare as its size makes intricate writing more difficult\r\n\r\n\u2022 Double Basses can often be found moonlighting in wind and brass ensembles!\r\n\r\n\u2022 The biggest Double Bass was built in Paris in 1850 and was 3.5 metres tall"},{"id":"i10","sectionId":"s12","title":"Flute","description":"The highest member of the woodwind family is not, as the name might suggest, usually made of wood. You can probably spot these instruments shining out from the orchestra, since they\u2019re most commonly made of highly polished metal \u2013 sometimes even silver or gold.
The flute has roots even more ancient than the violin, recently discovered ones being over 45,000 years old. The flute\u2019s sound is produced by blowing air across the hole (similar to how you might play a bottle!) with the notes changed using the keys along its body. The flute has a bright and perky sound which means it can easily travel over the sound of the orchestra.
Orchestras usually have two or three flutes, and you might also see some of the flute\u2019s cousins \u2013 the tiny shrill piccolo, the mellow and soulful alto flute, or if you\u2019re really lucky, the frankly odd looking bass and contrabass flutes.
","image":"assets\/imgsupl\/RG6.0_0.71528000_1508257952_cb64_instruments_image_flute.jpg","footerTitle":"Flute Factfile","footerCopy":"\u2022 The flute is pitched in the key of C, and has a range of approximately 3 octaves\r\n\r\n\u2022 George Washington and Leonardo da Vinci played the flute\r\n\r\n\u2022 Flutes were first held sideways in China about 3000 years ago\r\n\r\n\u2022 The world\u2019s most expensive flute was made of platinum and was auctioned for $187,000\r\n"},{"id":"i24","sectionId":"s12","title":"Piccolo","description":"The baby of the flute family, the piccolo (Italian for small) is basically a half-size flute. It has the same fingerings as a normal sized flute (although smaller fingers are an advantage!) and is played in the same manner.
Flautists sometimes \u2018double\u2019 (play both) on piccolo, but it\u2019s a very frequently used member of the orchestra so often a player will be a specialist in piccolo and only play that instrument. It has a brilliant and sparkling tone and because it sounds an octave (8 notes) above the flute it is used to accompany melody lines to add twinkle.","image":"assets\/imgsupl\/RG6.0_0.52163100_1508257961_9812_instruments_image_iccolo.jpg","footerTitle":"Piccolo Factfile","footerCopy":"\u2022 The piccolo is pitched in C\r\n\r\n\u2022 Although piccolo is Italian for small, in Italy it\u2019s known as an Ottavino\r\n\r\n\u2022 The piccolo was invented by Theobold Boehm, a flautist from Munich\r\n\r\n\u2022 The piccolo plays the highest notes in the orchestra"},{"id":"i11","sectionId":"s12","title":"Oboe","description":"Sitting next to the flutes on the front row of the woodwind section, the oboe is actually made of wood. The name \u2018oboe\u2019 came from the French \u2018hautbois\u2019, literally \u2018high wood\u2019, as it was known in the 17th century.
The sound of the oboe is produced by blowing into a reed in the top of the instrument \u2013 which means that oboists have to master not only the art of playing the instrument, but also carving the delicate reeds to suit their own mouths. The oboe\u2019s sound is very pure and easily heard \u2013 you\u2019ll spot the oboe easily right at the start of concerts as they will play the A to which the rest of the orchestra tunes.
Usually there will be two or three oboes in the orchestra, frequently joined by its cousin the Cor Anglais (English horn \u2013 which is neither English, nor a horn\u2026) and sometimes by rarer relatives such as the Oboe d\u2019Amore, bass oboe and Heckelphone.","image":"assets\/imgsupl\/RG6.0_0.82579100_1508257972_dd65_instruments_image_oboe.jpg","footerTitle":"Oboe Factfile","footerCopy":"\u2022 The oboe is pitched in the key of C, with a range of two and a half octaves\r\n\r\n\u2022 The modern oboe is most commonly made from grenadilla, also known as African Blackwood\r\n\r\n\u2022 Oboists often get teased that their instrument sounds like a duck \u2013 Prokofiev even used the instrument to represent the duck in Peter and the Wolf\r\n\r\n\u2022 The fastest oboe player in the world, Jack Cozen Harel, played Nicolai Rimsky-Korsakov\u2019s Flight of the Bumble Bee in 26.1 Seconds"},{"id":"i12","sectionId":"s12","title":"Clarinet","description":"Usually found behind the flutes in the orchestra, the clarinet is most similar to an oboe in how it looks (made from the same wood) and is played (pointing downwards), but that\u2019s where the similarity ends. It is played by blowing across a single reed, rather than the oboes\u2019 double one, which is much easier to handle.
The clarinet has a very wide range, the largest of all the woodwinds, and its sounds is very flexible \u2013 from rich and dark in the bottom, through bright and sweet in the middle, to piercing and shrill at the top. It makes the clarinet a popular addition to other genres of band as well as orchestras \u2013 jazz and Klezmer, to name but two.
Clarinets also come in a variety of keys and sizes \u2013 a Bb clarinet being the most commonly used in orchestras, with A clarinets joining them on occasion. It also has several common cousins, like the baby Eb clarinet and the bass clarinet. You might also see Basset-horns, contrabass clarinets and piccolo clarinets.
","image":"assets\/imgsupl\/RG6.0_0.12781000_1508257996_c83a_instruments_image_arinet.jpg","footerTitle":"Clarinet Factfile","footerCopy":"\u2022 The clarinet has a range of around four and a half octaves. Pitched in keys other than C, the clarinettist has to \u2018transpose\u2019 in order to sound with the rest of the orchestra!\r\n\r\n\u2022 Steven Spielberg can be seen playing the clarinet in an orchestra early on in his movie Jaws.\r\n\r\n\u2022 The clarinet was the last woodwind instrument to be included in the symphony orchestra\r\n\r\n\u2022 The LSO\u2019s former Principal Clarinet Jack Brymer is one of the best known clarinettists of recent times because of his prolific teaching commitments and books on technique"},{"id":"i15","sectionId":"s12","title":"Bassoon","description":"The bass member of the woodwind family is another double reed instrument like the oboe. The reed is attached to a long metal tube called the crook, which connects to the bassoon. The longest instrument of the orchestra, unfolded it would stretch 2.5 metres. It\u2019s so unwieldy that most bassoonists use a neck sling or shoulder harness to support the instrument while playing \u2013 held diagonally downwards unlike the other woodwinds.
The bassoon\u2019s sound is quite flexible and full of character \u2013 it often represents the clown of the piece or gruff lumbering animals, but can also be plaintive and lyrical. It is agile and can produce quick running notes.
Like the other woodwinds, there are usually two or three bassoons in the orchestra, with its big cousin the contra-bassoon quite often present. It\u2019s even longer than the bassoon, folded over more times, and requires a small spike on the bottom fold for extra support.","image":"assets\/imgsupl\/RG6.0_0.68499600_1508258014_e261_instruments_image_assoon.jpg","footerTitle":"Bassoon Factfile","footerCopy":"\u2022 The bassoon is a C instrument, and has a range of about 3 and a half octaves\r\n\r\n\u2022 The Italian for bassoon is Fagotto, which literally means \u2018bundle of sticks\u2019\r\n\r\n\u2022 Modern bassoons are usually made of maple\r\n\r\n\u2022 A bassoonist\u2019s left thumb has 10 keys to operate!\r\n"},{"id":"i31","sectionId":"s12","title":"Contrabassoon","description":"The contrabassoon is quite enormous \u2013\u00a0twice the length of the bassoon to be exact \u2013\u00a0meaning it sounds an octave lower and has to double up on itself twice, like a paperclip, to be playable by a seated human. While Beethoven was the first to write an entirely separate contrabassoon part in his 5th symphony, there are clues that it may have been used as far back as Bach.
However, the original iterations of the instrument were generally regarded as weak in sonority and dynamics, so its parts were often played on an alternate instrument like the serpent or contrabass sarrusophone (both of which are definitely worth looking up on Wikipedia!) It wasn\u2019t until the late 19th century that significant improvements were made to the instrument, but after that it became increasingly common to hear the clattering, machine-like low end cropping up in orchestral repertoire.","image":"assets\/imgsupl\/RG6.0_0.08752100_1508258025_7968_instruments_image_assoon.jpg","footerTitle":"","footerCopy":""},{"id":"i18","sectionId":"s11","title":"Horn","description":"Sometimes called the French horn, the horn is actually technically German in origin. It\u2019s from the brass family, and is made of, well, brass. The sounds are produced via the players lips on the cup-shaped mouthpiece \u2013 notes are changed by adjusting both the lip tension, using the valves to lengthen or shorten the tubing, and by putting a hand inside the bell to make the instrument longer.
The modern horn is a descendent of the hunting horn, and its sound is often used by composers to signify a hunt. It is also capable of producing a haunted and distant sound, and is well used in film music.
The horns usually sit on the opposite side of the orchestra to their other brass colleagues, and usually number four. They work in pairs, with horns 1 and 3 taking high parts and horns 2 and 4 taking low parts. There is also sometimes an extra horn called a bumper, who can assist the principal in solo passages or to make parts louder.","image":"assets\/imgsupl\/RG6.0_0.75400700_1508258550_21c6_instruments_image_horn.jpg","footerTitle":"Horn Factfile","footerCopy":"\u2022 The horn is pitched in F, and sounds four notes higher than written on the page\r\n\r\n\u2022 Richard Strauss wrote parts for 20 horns in his Alpine Symphony\r\n\r\n\u2022 The actor Ewan McGregor is known to have learnt the horn\r\n\r\n\u2022 If its tubing were stretched straight out it would be about 6 metres long\r\n"},{"id":"i16","sectionId":"s11","title":"Trumpet","description":"The highest member of the brass family is the trumpet, and it\u2019s also the oldest musical instrument, dating back to around 1500BC. Like the horn the sound is produced by varying lip pressure on the mouthpiece and by piston valves on the top which lengthen the tubing and therefore lower the pitch. It wasn\u2019t until after Brahms that valved trumpets were used in orchestras, though, which was the point at which it really took off as it could play more notes!
The sound of the trumpet can be very loud or very soft, and is often equated with military style. Trumpets are capable of producing a huge variety of effects \u2013 flutter tonguing, sliding between notes, growling, making noises through the instrument and by an unending variety of mutes which are put into the bell.
There are often four trumpets in the orchestra, and it has a variety of relatives, many of which rarely make an appearance, but are much more common in brass or jazz bands \u2013 cornet, flugelhorn, bugle, bass trumpet and piccolo trumpet.","image":"assets\/imgsupl\/RG6.0_0.80714800_1508258562_1b30_instruments_image_rumpet.jpg","footerTitle":"Trumpet Factfile","footerCopy":"\u2022 Trumpets are commonly pitched in Bb, but you can also find trumpets in F, C, D, Eb, E, G and A\r\n\r\n\u2022 You can play 45 distinct notes just using the trumpet\u2019s three valves\r\n\r\n\u2022 A trumpet contains about 6 and a half feet of tubing\r\n\r\n\u2022 The LSO\u2019s former Principal Trumpet Maurice Murphy is best known for playing the high note at the very start of the Star Wars Main Title\r\n"},{"id":"i17","sectionId":"s11","title":"Trombone","description":"The name trombone comes from the Italian Tromba (trumpet) and \u2013one (large), and therefore literally is a \u2018large trumpet\u2019. It is though the only brass instrument that doesn\u2019t have valves (although some have one to make small adjustments), instead the notes are changed by changing the length of the tube using a large slide.
The trombone is made of brass, although recently some have been made of plastic as a cheaper and more robust alternative \u2013 it also means they can be made in a variety of jazzy colours!
The trombone you will commonly see in symphony orchestras is a tenor trombone, although it\u2019s rarely called that. You might also see a bass trombone sitting between the trombones and the tuba, a larger and lower pitched instrument.","image":"assets\/imgsupl\/RG6.0_0.27620200_1508258572_9ba4_instruments_image_ombone.jpg","footerTitle":"Trombone Factfile","footerCopy":"\u2022 Unwound, the trombone would be about 9 feet long\r\n\r\n\u2022 The composer usually credited with introducing the trombone into the orchestra is Beethoven, in the last movement of his Fifth Symphony\r\n\r\n\u2022 There are seven different positions for the trombone slide\r\n\r\n\u2022 Richard Strauss once said \u201cDon\u2019t look at the trombones, it only encourages them\u201d\r\n"},{"id":"i19","sectionId":"s11","title":"Tuba","description":"Sitting at the bottom of the brass pile is the tuba. The biggest and lowest of the brass family is played using vibrating lips and with valves, and is made of lacquered brass so needs to be polished frequently. It usually carries the bass line of the music, and reinforces the lines of the string and woodwind bass instruments. Although it looks cumbersome, there have been several solo concerti written for the instrument.
Like the trombone, the word \u2018tuba\u2019 actually means trumpet (in Latin) \u2013 and so we can therefore conclude that all brass instruments are basically trumpets!
There is usually only one tuba in the orchestra, but it does have several cousins which are more frequently seen in brass and marching bands, such as the euphonium, tenor tuba, Wagner tuba and Sousaphone.","image":"assets\/imgsupl\/RG6.0_0.55617300_1508258581_1ed0_instruments_image_tuba.jpg","footerTitle":"Tuba Factfile","footerCopy":"\u2022 The tuba is usually pitched C, although Eb and Bb tubas are common in brass bands\r\n\r\n\u2022 The first Friday in May is International Tuba Day, which celebrates tuba players around the world\r\n\r\n\u2022 Berlioz originally scored Symphonie fantastique for two ophicleides, the forerunner of the tuba, but he changed them to a tuba when he heard the newly invented instrument\r\n\r\n\u2022 A tuba has about 16 feet of tubing\r\n"},{"id":"i22","sectionId":"s13","title":"Timpani","description":"Among the array of percussion instruments at the back of the orchestra the one constant is the timpani, or \u2018kettle drums\u2019 - so called because of their copper bowl shape. Across the top of the drum is stretched a skin, which is usually plastic but can be made of calf skin or goat skin. The drum is hit with sticks, the heads of which are different materials and softness which the player chooses to produce different qualities of sound.
There are usually two or more timpani present at any one time depending on the needs of the music, gradually reducing in size to produce higher notes \u2013 four or five drums is about average, but up to 16 has been known! Timpanists can produce different notes from the drum by use of tuning foot pedals which alter the tightness of the skin, and very modern \u201ctimps\u201d also have micro-tuning levers and switches for ultimate control.
The timpanist in the orchestra, although a trained percussionist, specialises in timpani playing and very rarely plays any of the other percussion instruments. Or as the conductor Norman del Mar once put it, \u201cking of his own province\u201d!","image":"assets\/imgsupl\/RG6.0_0.93703900_1508258594_1244_instruments_image_impani.jpg","footerTitle":"Timpani Factfile","footerCopy":"\u2022 Timpani have been part of the orchestra since the late 1600s, but versions have been around since the 13th century\r\n\r\n\u2022 Each drum has a range of 5 notes \r\n\r\n\u2022 The singular of timpani is timpano, although no one uses that these days!\r\n\r\n\u2022 Timpani enjoy a good sideline in rock music, especially during the 1960s and 1970s Prog Rock era"},{"id":"i21","sectionId":"s13","title":"Percussion","description":"To describe everything that one could find in a percussion section would take years \u2013 really this group is only limited by the imagination of the composer! If you can hit, scrape or shake something and make it make a sound, it can be a percussion instrument. Consequently percussionists are a resourceful bunch and need to be proficient in all sorts of techniques.
Percussion can be split into broadly two categories: tuned and untuned. Tuned percussion instruments include xylophones, glockenspiels, marimbas, tubular bells, hang drums, steel pans and hand bells; while untuned includes all sorts of drums, woodblocks, gongs, maracas, triangles, tambourines, castanets, cymbals and pretty much anything your average junk yard can provide: car brake drums, buckets, bags, anvils, saws, typewriters, metal sheets and even bowls of water.
The percussion section is central to an ensemble: at the most basic level they often provide the pulse of the music. In orchestras though, percussion usually provides the \u201cspecial effects\u201d of the music \u2013 and it\u2019s often as much fun to watch the percussionists (any number from 2 to 10 can regularly be seen) move around the instruments and each other during quick changes!","image":"assets\/imgsupl\/RG6.0_0.66386300_1508258605_8320_instruments_image_ussion.jpg","footerTitle":"Percussion Factfile","footerCopy":"\u2022 Because sounds are created on a piano by striking a taut chord with a hammer, it is technically a percussion instrument\r\n\r\n\u2022 Drumming is good for you: you can burn up to 270 calories in about 30 minutes, more than cycling, hiking, or weight lifting!\r\n\r\n\u2022 The xylophone's first appearance as an orchestral instrument was in Dance Macabre by Saint-Saens\r\n\r\n\u2022 Tambourines were instruments traditionally used by women\r\n"},{"id":"i35","sectionId":"s11","title":"Bass Trombone","description":"The name trombone comes from the Italian Tromba (trumpet) and \u2013one (large), and therefore literally is a \u2018large trumpet\u2019. It is though the only brass instrument that doesn\u2019t have valves (although some have one to make small adjustments), instead the notes are changed by changing the length of the tube using a large slide.
The trombone is made of brass, although recently some have been made of plastic as a cheaper and more robust alternative \u2013 it also means they can be made in a variety of jazzy colours!
The trombone you will commonly see in symphony orchestras is a tenor trombone, although it\u2019s rarely called that. You might also see a bass trombone sitting between the trombones and the tuba, a larger and lower pitched instrument.","image":"assets\/imgsupl\/RG6.0_0.39153600_1601306106_4005_instruments_image_ombone.jpg","footerTitle":"Trombone Factfile","footerCopy":"\u2022 Unwound, the trombone would be about 9 feet long\r\n\r\n\u2022 The composer usually credited with introducing the trombone into the orchestra is Beethoven, in the last movement of his Fifth Symphony\r\n\r\n\u2022 There are seven different positions for the trombone slide\r\n\r\n\u2022 Richard Strauss once said \u201cDon\u2019t look at the trombones, it only encourages them\u201d\r\n"}],"sections":[{"id":"s10","colour":"#2d9b93","title":"Strings"},{"id":"s12","colour":"#1466c6","title":"Woodwind"},{"id":"s11","colour":"#f2b623","title":"Brass"},{"id":"s13","colour":"#826aa5","title":"Percussion"}],"masterclasses":[{"id":"m39","instrumentId":"i11","title":"Oboe Masterclass","artist":"Rosie Jenkins","instrument":"","description":"LSO Oboist Rosie Jenkins discusses the role of the second oboe, technical aspects and interpretation of notation and fingering, and the LSO as custodians of Enigma.","footerTitle":"","footerCopy":"","linkTitle":"","video":"https:\/\/lsoplay.s3.eu-west-1.amazonaws.com\/2017\/Elgar_Fixed_Masterclasses\/Rosie_Elgar_desktop.mp4","mobileVideo":"https:\/\/s3-eu-west-1.amazonaws.com\/lsoplay\/2017\/Rosie_Elgar_mobile.mp4","videoLinks":[{"displayTime":298,"targetViewport":[2,3,5,6],"targetTime":253},{"displayTime":391,"targetViewport":[1,4,5,6],"targetTime":1035},{"displayTime":787,"targetViewport":[1,2,3,6],"targetTime":1772}]},{"id":"m40","instrumentId":"i8","title":"Double Bass Masterclass","artist":"Colin Paris","instrument":"","description":"LSO Co-Principal Double Bass Colin Paris discusses performance techniques as the instrument takes centre stage during variations W.M.B. and Troyte, and the bass sections\u2019 least favourite variation.\r\n","footerTitle":"","footerCopy":"","linkTitle":"","video":"https:\/\/lsoplay.s3.eu-west-1.amazonaws.com\/2017\/Elgar_Fixed_Masterclasses\/Colin_Paris_DB_MasterClass_V4_h264_yadif_1080.mp4","mobileVideo":"https:\/\/s3-eu-west-1.amazonaws.com\/lsoplay\/2017\/Colin_Paris_DB_MasterClass_V4_mobile.mp4","videoLinks":[{"displayTime":184,"targetViewport":[1,3,4,5],"targetTime":338},{"displayTime":511,"targetViewport":[1,2,4,5],"targetTime":579},{"displayTime":908,"targetViewport":[1,2,4,5],"targetTime":1497}]},{"id":"m47","instrumentId":"","title":"Sir Simon Rattle on Elgar","artist":"Sir Simon Rattle","instrument":"","description":"Conducting this performance of \u201cthe first indisputable masterpiece of Elgar,\u201d Sir Simon Rattle discusses how Sir Edward Elgar came to compose the Enigma Variations and describes his relationship with the work.","footerTitle":"","footerCopy":"","linkTitle":"","video":"https:\/\/lsoplay.s3.eu-west-1.amazonaws.com\/2017\/Elgar_Fixed_Masterclasses\/Rattle_on_Elgar_desktop.mp4","mobileVideo":"https:\/\/lsoplay.s3.amazonaws.com\/2017\/Rattle_on_Elgar_mobile.mp4","videoLinks":[]},{"id":"m41","instrumentId":"","title":"Listening Guide: Introduction to Elgar's Variations","artist":"Rachel Leach","instrument":"","description":"Elgar said any connections between his opening theme and the variations were often just of the merest texture. Hear from Rachel Leach as she explores the Elgar\u2019s use of theme, structure and recurring rhythm in his variations, and discusses how he came upon the idea of creating variations for the 'friends pictured within.'","footerTitle":"","footerCopy":"","linkTitle":"","video":"https:\/\/lsoplay.s3.eu-west-1.amazonaws.com\/2017\/Elgar_Fixed_Masterclasses\/01_Elgar_Listening_Guide_Intro_V3_h264_yadif_1080.mp4","mobileVideo":"https:\/\/s3-eu-west-1.amazonaws.com\/lsoplay\/2017\/01_Elgar_Listening_Guide_Intro_V3_Mobile.mp4","videoLinks":[]},{"id":"m42","instrumentId":"","title":"Variation III - Richard Baxter Townshend","artist":"Rachel Leach","instrument":"","description":"LSO Animateur Rachel Leach describes how Sir Edward Elgar translated his good friend Richard Baxter Townshend's unique singing voice and bicycle bell into Variation III R.B.T. (Allegretto). ","footerTitle":"","footerCopy":"","linkTitle":"","video":"https:\/\/lsoplay.s3.eu-west-1.amazonaws.com\/2017\/Elgar_Fixed_Masterclasses\/02_Elgar_Listening_Guide_RBT_V3_h264_yadif_1080.mp4","mobileVideo":"https:\/\/s3-eu-west-1.amazonaws.com\/lsoplay\/2017\/02_Elgar_Listening_Guide_RBT_V3_Mobile.mp4","videoLinks":[]},{"id":"m43","instrumentId":"","title":"Variations V & VI - Richard Penrose Arnold and Isabel Fitton","artist":"Rachel Leach","instrument":"","description":"LSO Animateur Rachel Leach discusses the musically-linked Variations V R.P.A. (Moderato) and VI Ysobel (Andantino), describing Elgar's friend Richard Penrose Arnold and Isabel Fitton, Elgar's pupil and string player.","footerTitle":"","footerCopy":"","linkTitle":"","video":"https:\/\/lsoplay.s3.eu-west-1.amazonaws.com\/2017\/Elgar_Fixed_Masterclasses\/03_Elgar_Listening_Guide_RPAYF_V3_h264_yadif_1080.mp4","mobileVideo":"https:\/\/s3-eu-west-1.amazonaws.com\/lsoplay\/2017\/03_Elgar_Listening_Guide_RPAYF_Mobile.mp4","videoLinks":[]},{"id":"m44","instrumentId":"","title":"Variation VII - Troyte","artist":"Rachel Leach","instrument":"","description":"LSO Animateur Rachel Leach discusses Variation VII Troyte (Presto), about architect and friend of Elgar's, Arthur Troyte Griffith. This variation sees a return of the Enigma rhythm and describes Troyte's unique piano playing style.","footerTitle":"","footerCopy":"","linkTitle":"","video":"https:\/\/lsoplay.s3.eu-west-1.amazonaws.com\/2017\/Elgar_Fixed_Masterclasses\/04_Elgar_Listening_Guide_ATG_V3_h264_yadif_1080.mp4","mobileVideo":"https:\/\/s3-eu-west-1.amazonaws.com\/lsoplay\/2017\/04_Elgar_Listening_Guide_ATG_V3_Mobile.mp4","videoLinks":[]},{"id":"m45","instrumentId":"","title":"Variation VIII - Winifred Norbury","artist":"Rachel Leach","instrument":"","description":"LSO Animateur Rachel Leach discusses Variation VIII W.N. (Allegretto), a sophisticated and charming variation either describing Winifred Norbury and her giggling in the local orchestra, or her house.","footerTitle":"","footerCopy":"","linkTitle":"","video":"https:\/\/lsoplay.s3.eu-west-1.amazonaws.com\/2017\/Elgar_Fixed_Masterclasses\/05_Elgar_Listening_Guide_WN_V3_h264_yadif_1080.mp4","mobileVideo":"https:\/\/s3-eu-west-1.amazonaws.com\/lsoplay\/2017\/05_Elgar_Listening_Guide_WN_V3_Mobile.mp4","videoLinks":[]},{"id":"m46","instrumentId":"","title":"Variation XIII - ***","artist":"Rachel Leach","instrument":"","description":"LSO Animateur Rachel Leach discusses the mysterious Variation XIII *** (Romanza). A person taking a long journey is described in this spooky interlude before the finale of Elgar's variations.","footerTitle":"","footerCopy":"","linkTitle":"","video":"https:\/\/lsoplay.s3.eu-west-1.amazonaws.com\/2017\/Elgar_Fixed_Masterclasses\/06_Elgar_Listening_Guide_Rom_V3_h264_yadif_1080.mp4","mobileVideo":"https:\/\/s3-eu-west-1.amazonaws.com\/lsoplay\/2017\/06_Elgar_Listening_Guide_Rom_V3_Mobile.mp4","videoLinks":[]}],"cameras":[{"id":"c49","posX":"17","posY":"9","title":"Conductor and Strings"},{"id":"c50","posX":"4","posY":"8","title":"Conductor, Strings and Woodwind"},{"id":"c51","posX":"6","posY":"7","title":"Conductor, Strings and French Horns"},{"id":"c52","posX":"-1","posY":"2","title":"Strings"},{"id":"c53","posX":"27","posY":"8","title":"Strings"},{"id":"c54","posX":"20","posY":"7","title":"Woodwinds"}],"downloads":[{"id":"d11","label":"Teachers' Resources","sublabel":"Key Stage 2","title":"Resources for Key Stage 2 Teachers","image":"","description":"
As a soloist, she has performed recitals in venues across the UK, most recently at the Bridgewater Hall in Manchester, and concertos with orchestras including the Westminster Philharmonic, Amadeus Orchestra, Hertfordshire Philharmonic, JRAM Symphony Orchestra and the National Children's Chamber Orchestra.
In 2001, Ellie was appointed leader of the National Youth Orchestra of Great Britain, after having been a member for five years, and during her undergraduate at the RCM led many of the orchestras and ensembles. She is now a very busy freelance violinist in London, playing with many of the major symphony and chamber orchestras including the LSO, LPO, LCO, and European Camerata as well as guest leading smaller local orchestras.
","image":"","footerTitle":"","footerCopy":""},{"id":"a473","posX":"3","posY":"5","instrumentId":"i5","title":"Erzsebet Racz","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a440","posX":"26","posY":"2","instrumentId":"i26","title":"David Alberman","description":"Born in London, David Alberman (violin) received his LRAM diploma from the Royal Academy of Music at the age of sixteen. After Classics at Oxford University for four years, a long-standing interest in contemporary music led him in 1986 to join the Arditti Quartet. A Principal of the London Symphony Orchestra since 1999, he has played as guest concertmaster with the LSO itself, the BBC Symphony Orchestra, the London Philharmonic Orchestra and the London Sinfonietta. ","image":"assets\/imgsupl\/RG6.0_0.14798200_1508246996_83ff_musicians_image_berman.jpg","footerTitle":"","footerCopy":"He has appeared as soloist with, among others, the Orchestre de Lille, the BBC National Orchestra of Wales, and the ORF Radio Symphony Orchestra in Vienna. In 1995 he formed a Duo with the pianist and composer Rolf Hind, which has appeared at many major European festivals and has broadcast on, among others, the BBC, WDR, SWR, and RTBF in Brussels. David Aberman plays a Guarneri Del Gesu violin of 1736."},{"id":"a441","posX":"25","posY":"2","instrumentId":"i26","title":"Tom Norris","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a442","posX":"26","posY":"3","instrumentId":"i26","title":"Sarah Quinn","description":"Sarah Quinn was born in Dublin and began playing the violin at the age of eight. She continued her studies at the Royal College of Music in London where she was the recipient of many awards and prizes. While at the Royal College of Music, she took part in the LSO String Experience Scheme. Sarah joined the LSO in 1998 and particularly enjoys working with the LSO Discovery programme. She is also a keen chamber musician.","image":"assets\/imgsupl\/RG6.0_0.70380200_1508246914_d964_musicians_image_-quinn.jpg","footerTitle":"","footerCopy":""},{"id":"a443","posX":"25","posY":"3","instrumentId":"i26","title":"Miya Vaisanen","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a444","posX":"26","posY":"4","instrumentId":"i26","title":"Iwona Muszynska","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a445","posX":"25","posY":"4","instrumentId":"i26","title":"Matthew Gardner","description":"","image":"assets\/imgsupl\/RG6.0_0.50042500_1370527678_8207_musicians_image_ardner.jpg","footerTitle":"","footerCopy":""},{"id":"a446","posX":"26","posY":"5","instrumentId":"i26","title":"Belinda McFarlane","description":"","image":"assets\/imgsupl\/RG6.0_0.06030600_1508430808_b066_musicians_image_arlane.jpg","footerTitle":"","footerCopy":""},{"id":"a447","posX":"25","posY":"5","instrumentId":"i26","title":"Paul Robson","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a448","posX":"26","posY":"6","instrumentId":"i26","title":"Julian Gil Rodriguez","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a449","posX":"25","posY":"6","instrumentId":"i26","title":"Philip Nolte","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a474","posX":"23","posY":"6","instrumentId":"i26","title":"Oriana Kriszten","description":"Swiss violinist Oriana Kriszten first studied in Winterthur with Ulrich Gr\u00f6ner (apprenticeship diploma), later in London at the Guildhall School of Music and Drama (Master of Music). In London she received valuable Chamber music lessons from renowned musicians, which included members of the Takacs, Belcea and Heine Quartet.
As a student Oriana also won a placement as an intern at the London Symphony Orchestra. As a freelance violinist Oriana plays in orchestras such as the London Symphony Orchestra, the Symphony Orchestra St. Gallen, the Royal Liverpool Philharmonic Orchestra, the Opera Les Arts in Valencia, the Chamber Orchestra Camerata Cl\u00e1ssica de Canarias (Canary Islands) and Camerata Nordica (Sweden), the baroque ensembles King's Consort (London), Les Passions de l'\u00c2me (Bern) and B'Rock (Belgium).","image":"","footerTitle":"","footerCopy":""},{"id":"a475","posX":"24","posY":"6","instrumentId":"i26","title":"Rob Yeomans","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a437","posX":"22","posY":"2","instrumentId":"i6","title":"Malcolm Johnston","description":"Malcolm Johnston began learning the violin and piano at an early age, but was soon drawn to the warm sound and unfamiliar repertoire of the viola. He earned his Bachelor\u2019s degree at the Royal Scottish Academy of Music and Drama and continued his studies at the Royal Academy of Music in London. In 1990, Malcolm won a scholarship to the USA where he became teaching assistant to Jerzy Kosmala at the Louisiana State University. ","image":"assets\/imgsupl\/RG6.0_0.27854400_1508247908_5fe2_musicians_image_hnston.jpg","footerTitle":"","footerCopy":"He was subsequently invited to become a member of the Amernet String Quartet, with whom he played for four years, during which time the quartet won numerous major awards, including Gold Medal at the 1992 Tokyo International Chamber Music Competition. The quartet made their home in Cincinnati after becoming Quartet in Residence at the Cincinnati College-Conservatory of Music. They also toured extensively in the US, Japan, Australia and Europe. As well as his chamber music performing, Malcolm has appeared as a soloist with orchestras and as recitalist both in the US and Britain. Since returning to the UK in 1996 he has become a member of the LSO, where he is currently Sub-Principal viola."},{"id":"a439","posX":"22","posY":"3","instrumentId":"i6","title":"Robert Turner","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a459","posX":"20","posY":"3","instrumentId":"i6","title":"Katrin Burger","description":"Katrin Burger was born in Thalwil in central Switzerland. She began by learning the violin and discovered the viola at the age of thirteen. With the Lucerne Ministrings, she performed in numerous concerts as a girl and even made solo appearances, then still on both instruments.
She began to study the viola with Christoph Schiller in Basel, where she did her MA in music performance, going on to do her MA in orchestra with Isabel Deplazes-Charisius in Lucerne. She took lessons in chamber music over many years with Walter Levin, the Bennewitz, Zemlinsky and Hagen quartets and with the Scharoun Ensemble of the Berlin Philharmonic Orchestra.
On a scholarship from the Villa Musica in Mainz, she had the opportunity to perform with musicians like Patrick Demenga, Wen-Sinn Yang, Jens Peter Maintz, Rainer Kussmaul, Ingolf Turban, Martin Ostertag and Eszter Haffner. She played in the LUCERNE FESTIVAL Academy Orchestra under Pierre Boulez, in the Gustav Mahler Youth Orchestra and under Sir Colin Davis in the London Symphony Orchestra. She was engaged by the Tonhalle Orchestra Zurich as a trainee and then as a guest performer.
Katrin Burger has played in the Lucerne Symphony Orchestra since 2011 and is a permanent member of the Lucerne Festival Strings.","image":"","footerTitle":"","footerCopy":""},{"id":"a463","posX":"16","posY":"3","instrumentId":"i6","title":"Anna Bastow","description":"","image":"assets\/imgsupl\/RG6.0_0.43889000_1508430687_f145_musicians_image_bastow.jpg","footerTitle":"","footerCopy":""},{"id":"a464","posX":"20","posY":"2","instrumentId":"i6","title":"Rachel Roberts","description":"Rachel Roberts is one of Europe\u2019s leading violists and performs internationally as soloist and chamber musician.
Rachel enjoys a busy schedule of chamber music. She has appeared as chamber musician at Concertgebouw, Amsterdam; Musikverein (Grand Saal) Vienna; Alte Oper, Frankfurt; Wigmore Hall; Royal Festival Hall, Cadogan Hall, St.John\u2019s Smith Square and King\u2019s Place. Rachel is a regular guest at international chamber music festivals including Salzburg Festival, Wiener Festwoche, Schubertiade \u2013 Schwarzenberg, Heimbach \u2013 Germany, Mecklenburg Vorpommern, Hamburg \u201cOestertone\u201d, Lofoten \u2013 Norway and Stift \u2013 Holland.
Rachel Roberts is Professor of Viola at Guildhall School of Music and Drama. In the UK she has given masterclasses at the Britten Pears Young Artists Programme, Dartington International Summer School, Chethams School of Music, Birmingham Conservatoire and the Guildhall School of Music and Drama. Each summer, Rachel teaches at leading European summer schools such as Musique a Flaine in the French Alps, Aurora Chamber Music Festival in Sweden and at the Yehudi Menuhin School of Music. She holds the Institute of Education qualification: Professional Certificate in Teaching and Learning in Higher and Professional Education, and recently became a Fellow of the Higher Education Academy.","image":"","footerTitle":"","footerCopy":""},{"id":"a465","posX":"18","posY":"3","instrumentId":"i6","title":"Jonathan Welch","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a466","posX":"16","posY":"4","instrumentId":"i6","title":"Heather Wallington","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a469","posX":"18","posY":"4","instrumentId":"i6","title":"Julia O'Riordan","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a470","posX":"22","posY":"4","instrumentId":"i6","title":"Carol Ella\u00a0","description":"Scottish violist Carol Ella studied with Simon Rowland-Jones at the Royal College of Music in London, where she graduated with Distinction. She has worked with various British orchestras including the LSO (where she won the Promis Award), Philharmonia, RSNO and the John Wilson Orchestra.
Carol is a founder member of Liquid Architecture, a prize-winning octet currently on the Making Music scheme.","image":"","footerTitle":"","footerCopy":""},{"id":"a460","posX":"20","posY":"4","instrumentId":"i6","title":"Cameron Campbell","description":"Cameron began the violin at the age of seven and within a few months was advised to switch to viola due to his height, and of course the scarcity of violas in the school\u2019s string ensembles. By the age of 13 he began studying with Bridget Crouch at the Queensland Conservatorium and soon after decided that he aspired to being a professional musician.
His tertiary studies commenced in 2009 at the Queensland Conservatorium, where he continued studying with Bridget Crouch and later Graeme Jennings. He then transferred to the University of Queensland to complete an honours year studying with Associate Professor Patricia Pollett. During his tertiary education he was principal violist of the university symphony and chamber orchestras. He also performed in various masterclasses with world-renowned musicians: including Kathryn Lockwood, The Australian String Quartet, New Zealand String Quartet, Tokyo String Quartet and Yuri Bashmet. He also had the opportunity to perform with the New Zealand String Quartet and Kathryn Lockwood during their respective residencies.
He has balanced his tertiary education with various external commitments with the Australian Youth Orchestra, Sydney Sinfonia, Queensland Symphony and Melbourne Symphony. His participation with the Australian Youth Orchestra included a regional residency as the violist of the Australian Youth Orchestra String Quartet as well as an international tour in 2013. During the tour he performed in such venues as the Konzerthaus and the Concertgebouw and worked under Christoph Eschenbach and Joshua Bell.
He placed second in the Queensland Youth Music Awards in 2008, was the recipient of the Harmer Memorial Scholarship in 2011 and most recently the winner of the Sleath Performance Prize from the University of Queensland.","image":"","footerTitle":"","footerCopy":""},{"id":"a419","posX":"7","posY":"2","instrumentId":"i7","title":"Alastair Blayden","description":"Alastair Blayden was a music scholar at Winchester College and a Foundation Scholar at the Royal College of Music. He studied with Joan Dickson and William Pleeth and also received chamber music coaching at Aldeburgh with the Borodin Quartet and in Cologne with the Amadeus Quartet.","image":"assets\/imgsupl\/RG6.0_0.88119300_1508247761_b80e_musicians_image_layden.jpg","footerTitle":"","footerCopy":"He was a founder member of the Dante Quartet with whom he regularly broadcasts. Alastair has held the position of Sub-Principal Cello with LSO since 1997. Alastair is also Professor of Cello at the Royal College of Music. He plays on a Celionatus (circa 1740) kindly lent to him by the LSO."},{"id":"a418","posX":"9","posY":"2","instrumentId":"i7","title":"Rebecca Gilliver","description":"Rebecca Gilliver is Principal cellist of the London Symphony Orchestra. Early success in national and international competitions led to critically acclaimed debut recitals at the Wigmore Hall in London and Carnegie Hall, New York. Rebecca has performed in major music festivals such as Bath, Bergen, and the Manchester International Cello Festival. A keen chamber musician, she has collaborated with international artists including Nikolai Znaider, Sarah Chang and Roger Vignoles with whom she recorded for BBC Radio 3. ","image":"assets\/imgsupl\/RG6.0_0.96076600_1508253186_7136_musicians_image_lliver.jpg","footerTitle":"","footerCopy":"She is a regular participant at IMS Prussia Cove. She has appeared as a soloist with the Halle and the Academy of St Martin in the Fields and is also featured on a CD of Enescu chamber music for the Naxos label. Originally joining the LSO as Co-principal in 2001, Rebecca was promoted to Principal two years ago. She has played guest principal with orchestras all around the world, including the Australian Chamber Orchestra, New Sinfonietta Amsterdam and most recently the World Orchestra for Peace."},{"id":"a420","posX":"9","posY":"3","instrumentId":"i7","title":"Jennifer Brown","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a422","posX":"9","posY":"4","instrumentId":"i7","title":"Noel Bradshaw","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a421","posX":"7","posY":"3","instrumentId":"i7","title":"Hilary Jones","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a432","posX":"11","posY":"4","instrumentId":"i7","title":"Eve-Marie Caravassilis","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a455","posX":"13","posY":"4","instrumentId":"i7","title":"Daniel Gardner","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a462","posX":"7","posY":"4","instrumentId":"i7","title":"Miwa Rosso ","description":"After earning her cello diplomas at the Conservatoire National Sup\u00e9rieur de Lyon and Paris, she continued her studies in London at the Guidhall School of Music and Drama as well as in Trieste, Italy. Invited by the Orchester National de Paris since 2003, she participates in numerous productions and collaborates in studio and on stage with composers of music of films and musical comedies. She has a close relationship with the worlds of opera and dance.
","image":"","footerTitle":"","footerCopy":""},{"id":"a435","posX":"3","posY":"6","instrumentId":"i8","title":"Matthew Gibson","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a436","posX":"4","posY":"6","instrumentId":"i8","title":"Joe Melvin","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a452","posX":"5","posY":"6","instrumentId":"i8","title":"Patrick Laurence","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a453","posX":"6","posY":"6","instrumentId":"i8","title":"Colin Paris","description":"Colin Paris studied at the Guildhall School of Music and Drama from 1974 to 1977 and in his final term at college was offered and accepted a position with the Bournemouth Symphony Orchestra. In 1979 Colin joined the BBC Symphony Orchestra, a position which he held for 2 years, leaving to pursue a freelance career during which he held the position of Principal Double Bass with the London Bach Orchestra. ","image":"assets\/imgsupl\/RG6.0_0.05607500_1508248116_6501_musicians_image_-paris.jpg","footerTitle":"","footerCopy":"In 1983 Colin joined the English National Opera Orchestra as Sub Principal Double Bass and moved to the London Symphony Orchestra in 1988. Colin has now worked with the London Symphony Orchestra for 25 years and holds the position of Co-Principal Double Bass. Alongside his work with the London Symphony Orchestra Colin is regularly works with the Royal Philharmonic Orchestra and the BBC Symphony Orchestra."},{"id":"a454","posX":"6","posY":"7","instrumentId":"i8","title":"Jani Pensola","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a476","posX":"5","posY":"7","instrumentId":"i8","title":"Paul Sherman","description":"Paul was born in East Sussex and started to play the double bass at the age of twelve. He studied at the Guildhall School of Music & Drama in London with Thomas Martin and Kevin Rundell.
A member and regular principal player with the English Chamber Orchestra Paul has toured and performed with them in over 40 countries and is responsible for coordinating the orchestra\u2019s education and outreach activities.
Paul also works extensively with a wide range of period, modern and contemporary orchestras and ensembles, and his guest principal engagements include the BBC Philharmonic Orchestra, Britten Sinfonia, City of London Sinfonia, Gabrielli Ensemble and Players, Glyndebourne on Tour, Goldberg Ensemble, Hebrides Ensemble, London Festival Orchestra, London Mozart Players, London Sinfonietta, Orchestra of St. John\u2019s, Orchestra of the Age of Enlightenment, Scottish Chamber Orchestra, Royal Philharmonic Orchestra, and Norway\u2019s Trondheim Symfoniokester.","image":"","footerTitle":"","footerCopy":""},{"id":"a407","posX":"13","posY":"5","instrumentId":"i10","title":"Gareth Davies","description":"Gareth Davies studied at the Guildhall school of Music and Drama where he gained the highest marks in his year and won the Laurie Kennedy Memorial prize. At the age of 22, shortly after graduating he was appointed Principal flute with the Bournemouth Symphony Orchestra. During his time on the South coast, he recorded the Nielsen flute concerto on the Naxos label. In 2000 he was invited to join the London Symphony Orchestra as Principal Flute.","image":"assets\/imgsupl\/RG6.0_0.02140600_1508248331_0d6f_musicians_image_davies.jpg","footerTitle":"","footerCopy":"In the LSO he has performed as a soloist with Sir Colin Davis and Daniel Harding across Europe, and in 2004, the centenary year, he performed and recorded Quirk by Karl Jenkins, a concertante written especially for him. Gareth loves the variety of work which being a member of the orchestra entails. He has worked with most of the great maestri of our times, Gergiev, Colin Davis, Previn, Maazel, Janssons, Boulez, Rostropovitch and Haitink to name a few."},{"id":"a408","posX":"12","posY":"5","instrumentId":"i10","title":"Alex Jakeman","description":"Alex Jakeman is an alumnus of Chetham's School of Music and the Royal Academy of Music, having studied with Gitte Sorensen, Michael Cox, Kate Hill and Pat Morris. In 2009 she was appointed as sub-principal flute with the Bournemouth Symphony Orchestra, where she stayed until 2012. She has recently joined the London Symphony Orchestra as sub-principal flute. ","image":"","footerTitle":"","footerCopy":"Alex has played with the Royal Philharmonic Orchestra, the BBC Symphony Orchestra, Aurora Orchestra and the City of London Sinfonia among others and enjoys the variety of repertoire and experiences that playing with different groups offers. She has also performed the Nielsen and Ibert flute concertos and had the honour of performing Malcolm Arnold\u2019s first flute concerto as part of his 80th birthday celebrations, in the presence of the composer."},{"id":"a409","posX":"11","posY":"5","instrumentId":"i24","title":"Sharon Williams","description":"Sharon Williams is the Principal Piccolo of the London Symphony Orchestra, one of the world's leading orchestras. Prior to that she was Principal Piccolo in the Royal Philharmonic Orchestra and the Hong Kong Philharmonic. She regularly works with most of Britain's major orchestras and freelances on film sessions and other commercial work.
","image":"assets\/imgsupl\/RG6.0_0.41043700_1508248424_fd89_musicians_image_lliams.jpg","footerTitle":"","footerCopy":"She is also currently Professor of piccolo at London's Guildhall School of Music and Drama and regularly gives masterclasses. Major conductors she has worked with include Valery Gergiev, Sir Colin Davis, Bernard Haitink, Lorin Maazel and Rostropovich. Sharon can be heard playing on the LSO Live label and many film scores including Star Wars and Harry Potter."},{"id":"a424","posX":"14","posY":"5","instrumentId":"i11","title":"Olivier Stankiewicz","description":"Olivier Stankiewicz, whose extensive musical activity is characterised both by his remarkable curiosity and virtuosity, has constantly sought to expand his artistic scope and sources of inspiration.
Appointed principal oboe with the London Symphony Orchestra in May 2015, he has also performed with Amsterdam\u2019s Royal Concertegebouw and the Chamber Orchestra of Europe and served with Toulouse\u2019s Orchestre National du Capitole (ONCT) from 2011 to 2015. There, he recently performed the world premiere of Benjamin Attahir\u2019s oboe concerto Nur under Tugan Sokhiev. Since his first concerto appearance at the age of 16 with the Monte-Carlo Philharmonic, he has performed with the French National Orchestra, the Wallonie Royal Chamber Orchestra, the Pro-Arte orchestra of Hong-Kong and the Tokyo Sinfonietta.","image":"assets\/imgsupl\/RG6.0_0.48540000_1534521228_33a5_musicians_image_iewicz.jpg","footerTitle":"","footerCopy":"Named \u201cclassical revelation\u201d in 2013 by the French association ADAMI, Olivier Stankiewicz also took First Prize at the 10th International Oboe Competition of Japan, successively won the 2015 European and American YCA auditions in Leipzig and New-York, and the YCAT Auditions at the Wigmore Hall in London.\r\n\r\nOlivier\u2019s chamber music partners include Thomas Dunfort, Jean Rondeau, Amy Harman and the Castalian quartet. He has performed at the Prades international festival, the Brighton festival, and the Warsaw Opera. The Duo Widmung, co-founded with pianist Alvise Siniva, focusing in part on adaptations of vocal repertoire, has performed at Tokyo\u2019s Toppan Hall and at the Wigmore Hall.\r\n\r\nOlivier Stankiewicz comprehensive approach to musical performance has led him to study theory and conducting, in addition to oboe studies with Jacques Tys, David Walter, and Jean-Claude Jaboulay. He was in 2015 appointed oboe professor at the Royal College of Music in London."},{"id":"a461","posX":"15","posY":"5","instrumentId":"i11","title":"Rosie Jenkins","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a425","posX":"16","posY":"5","instrumentId":"i29","title":"Christine Pendrill","description":"Christine Pendrill began her career as a cor anglais player with the New Philharmonia while still studying at the Royal College of Music. After several years freelancing, she joined the Philharmonia in 1980. Five years later, Christine was invited to become Principal Cor Anglais of the London Symphony Orchestra. The following year she became the first woman in the orchestra's history to be elected to its Board of Directors, a role she fulfilled for three years. ","image":"assets\/imgsupl\/RG6.0_0.36760900_1508251826_ad3a_musicians_image_ndrill.jpg","footerTitle":"","footerCopy":"As an orchestral player and soloist, Christine has performed and recorded all over the world. In the early 1990s, the late Alan Benjamin and his family offered to commission a solo work for Christine and the LSO. The result was 'The World's Ransoming' by James MacMillan, premiered in 1996 at the Barbican, conducted by Kent Nagano."},{"id":"a426","posX":"12","posY":"6","instrumentId":"i12","title":"Chi-Yu Mo","description":"Chi-Yu graduated with First Class Honours and a PhD in Chemistry from St. John\u2019s College Cambridge. He then studied at the Royal Academy of Music, where he graduated with a DipRAM and won many prizes. He won the Britten-Pears Concerto Competition, and also was a wind finalist in the Royal Overseas League Music Competition. He was Principal E flat Clarinet of the RLPO, and joined the LSO in 1998. ","image":"assets\/imgsupl\/RG6.0_0.96038100_1508248695_c8fd_musicians_image_-yu-mo.jpg","footerTitle":"","footerCopy":"He has played Principal with many UK orchestras and with the Asia Philharmonic Orchestra, including performances as soloist under Myung Whun Chung. Chi-Yu has played with the Nash Ensemble and Endymion and recently he performed the Mozart Kegelstatt Trio and Reich's New York Counterpoint at LSO St Luke's and also featured with the Worldwide Chinese Woodwind Soloists Octet in Beijing. Chi-Yu is a Professor at the Royal Academy of Music and has given masterclasses in China, Kazakhstan, Spain and USA."},{"id":"a427","posX":"13","posY":"6","instrumentId":"i12","title":"Chris Richards","description":"Chris studied at the Guildhall School of Music and Drama with Thea King, Julian Farrell and Joy Farrall. Whilst at the Guildhall, he won the Needlemakers' Wind Prize and reached the finals of the 2001 Shell\/LSO Competition where he performed Weber's first Clarinet Concerto with the London Symphony Orchestra. After his studies, he was appointed principal clarinet with the Northern Sinfonia at the Sage Gateshead and in 2010 became principal clarinet with the London Symphony Orchestra. He has also performed as a guest principal with most of the UK's leading orchestras.
Chris has appeared as a soloist with the City of Birmingham Symphony Orchestra, Northern Sinfonia, London Symphony Orchestra Chamber Ensemble, English Symphony Orchestra and Birmingham Contemporary Music Group with conductors including Thomas Zehetmair, Robin Ticciati, H. K. Gruber and Nicholas McGegan. He has also broadcast John Adams\u2019s Gnarly Buttons, Birtwistle's Linoi and the Strauss Duett-Concertino on BBC Radio 3. In 2008 Chris gave the premiere of Richard Rodney Bennett's Troubadour Music for clarinet and piano at the Wigmore Hall.
A regular performer of chamber music, Chris has played at Carnegie Hall, Wigmore Hall, LSO St Luke's, The Sage Gateshead and Aldeburgh Festival with artists such as the Aronowitz Ensemble, London Symphony Orchestra Chamber Ensemble, Ensemble 360, Thomas Ad\u00e8s, Pascal Rog\u00e9 and Howard Shelley. He is also a regular member of the John Wilson Orchestra.","image":"","footerTitle":"","footerCopy":""},{"id":"a450","posX":"15","posY":"6","instrumentId":"i15","title":"Joost Bosdijk","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a451","posX":"14","posY":"6","instrumentId":"i15","title":"Daniel Jemison","description":"Daniel studied music at Clare College, Cambridge before deciding to pursue a career as a bassoonist. After completing postgraduate courses at the Guildhall School of Music and Drama and at the Hochschule f\u0171r Musik und Darstellende Kunst in Stuttgart, Daniel was appointed co-principal bassoon with the Deutsche Kammerphilharmonie, Bremen. From 1999 to 2003, Daniel was principal bassoon with the Bournemouth Symphony Orchestra. ","image":"assets\/imgsupl\/RG6.0_0.02974000_1516119005_489f_musicians_image_ison_2.jpg","footerTitle":"","footerCopy":"He appeared with them as a soloist on several occasions and also played an active role in the education department of the orchestra. Since moving to London he has appeared as guest principal bassoon with various orchestras and chamber ensembles such as the BBC Symphony Orchestra, English Chamber Orchestra and London Winds, and has given masterclasses at the Royal Northern College of Music and Trinity College of Music. Daniel was appointed Principal Bassoon of the LSO in 2013."},{"id":"a428","posX":"12","posY":"7","instrumentId":"i18","title":"Alexander Edmundson","description":"","image":"assets\/imgsupl\/RG6.0_0.60082400_1508429534_d776_musicians_image_undson.jpg","footerTitle":"","footerCopy":""},{"id":"a429","posX":"13","posY":"7","instrumentId":"i18","title":"Angela Barnes","description":"In January 2005, at the age of 21, Angela Barnes was appointed second horn of the London Symphony Orchestra, becoming the first female member of the orchestra\u2019s brass section in the orchestra\u2019s hundred-year history. She has worked regularly with most of the major British orchestras, appearing as a guest principal with the London Philharmonic Orchestra, the Royal Philharmonic Orchestra, the City of Birmingham Symphony Orchestra, and the Royal Liverpool Philharmonic Orchestra. Her career combines orchestral, solo and chamber music playing. As well as featuring in the second instalment of the Cala Records \u2018\u2018London Horn Sound\u2019\u2019 series, she has also recently recorded Britten\u2019s Canticle for Tenor, Horn and Piano, with tenor Allan Clayton, as part of the BBC Radio 3 New Generation Artists scheme.","image":"assets\/imgsupl\/RG6.0_0.22330700_1508430366_6bc8_musicians_image_barnes.jpg","footerTitle":"","footerCopy":"Angela, from Rossendale, Lancashire, began horn lessons with her mother at the age of eight, before entering Chetham\u2019s School of Music, Manchester, in 1994 to study with Elizabeth Davis. She then went on to study with Hugh Seenan, Richard Bissill, Jeff Bryant and Jonathan Lipton at the Guildhall School of Music and Drama in London, from where she graduated with a First Class Honours degree in July 2005. Angela has given numerous solo and chamber music performances, and was a member of both the National Youth Orchestra and the European Union Youth Orchestra. In 2002, she won both the Liverpool Young Musician competition and the Brass section of the BBC Young Musician of the Year competition, which saw her perform Richard Strauss\u2019 Second Horn Concerto with the BBC Symphony Orchestra in the Barbican Hall, London, as part of the Concerto Final, which was broadcast live on BBC television and radio."},{"id":"a430","posX":"14","posY":"7","instrumentId":"i18","title":"Timothy Jones ","description":"Timothy Jones was born in London in 1961 and studied with Ifor James and Frank Lloyd. After leaving school at the age of seventeen, he started his career as a professional musician, playing second horn with the Munich Philharmonic. In 1984 Timothy joined the London Philharmonic Orchestra, where he stayed until joining the London Symphony Orchestra as Principal Horn in 1986. ","image":"assets\/imgsupl\/RG6.0_0.73040100_1508253629_2081_musicians_image_-jones.jpg","footerTitle":"","footerCopy":"Timothy has also been a member of the City of Birmingham Symphony Orchestra and the Academy of St Martin-in-the-Fields. During his career, Timothy has performed as a soloist with both the Munich Philharmonic and the Academy of St. Martin-in-the-Fields, both in the UK and abroad to great acclaim. Timothy is a Horn Professor at the Royal College of Music, London."},{"id":"a431","posX":"11","posY":"7","instrumentId":"i18","title":"Jonathan Lipton","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a433","posX":"10","posY":"8","instrumentId":"i21","title":"Neil Percy","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a434","posX":"11","posY":"8","instrumentId":"i21","title":"David Jackson","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a456","posX":"9","posY":"5","instrumentId":"i9","title":"Bryn Lewis","description":"Bryn Lewis has been Principal Harpist with the London Symphony Orchestra since 1994. Prior to this he was Principal with the Philharmonia Orchestra and played with all the London orchestras, the Chamber Orchestra of Europe and with the Berlin Philharmonic Orchestra. He has played on numerous film sountracks including Braveheart, Star Wars, Harry Potter, Kung Fu Panda and The Dark Knight. ","image":"assets\/imgsupl\/RG6.0_0.83571300_1508254031_de5d_musicians_image_-lewis.jpg","footerTitle":"","footerCopy":"Bryn is a Professor at the Guildhall school of Music and Drama and has given Masterclasses in London, Chicago and Rio de Janeiro. His own studies were with Jean Bell, Barbirolli's Harpist in the Halle Orchestra and Renata Scheffel-Stein (a former LSO Principal) who was appointed to The Philharmonia Orchestra by Herbert von Karajan."},{"id":"a457","posX":"7","posY":"5","instrumentId":"i9","title":"Imogen Barford","description":"Imogen Barford, MA(Cantab.), DipRAM, ARAM, LRAM, MSTAT, is currently Head of Harp at the Guildhall School of Music & Drama in London, and her busy freelance career has covered an extremely wide range of activities.
Imogen read Music at Cambridge University and studied the harp with Renata Scheffel-Stein (a pupil of Marcel Tournier in Paris). She continued her studies at the Royal Academy of Music where she won the coveted recital diploma. She won numerous prizes and scholarships for her solo playing, including the International Music Service Prize at the International Harp Competition on the Isle of Man.
Orchestral work includes all the major London symphony orchestras (the Philharmonia, Royal Philharmonic, London Symphony, BBC Symphony, London Philharmonic, BBC Concert Orchestra) in concerts, broadcasts, recordings and foreign tours. She has also worked with chamber orchestras (English Chamber Orchestra, Orchestra of St John\u2019s Smith Square, Scottish Chamber Orchestra and Northern Sinfonia) as well as opera (including English National Opera, Glyndebourne, and Welsh National Opera), ballet (including English National Ballet, Scottish Ballet and Ballet Rambert) and film work. She has recently toured in Germany, Spain, France, Luxembourg and Austria with the London Symphony Orchestra, including the highlight of Bernard Haitink\u2019s 50th Anniversary Proms appearance in 2016.
","image":"","footerTitle":"","footerCopy":""}],"instruments":[{"id":"i5","sectionId":"s10","title":"First Violin","description":"Of all the instruments in the orchestra, the violin is the most visible, simply by being the most numerous! Sitting at the front of the stage, there can often be more than 30 of these smallest of the string family in the orchestra at any one time.
Modern violins have roots in the early Greek ages, but started to become the instruments we know today in the 1500s. Its four strings are usually played with a bow or plucked (pizzicato), but the violin is famously versatile and can produce all sorts of effects such as ethereal harmonics, double stops (playing more than one note at once) or being hit with the wooden part of the bow (col legno).","image":"assets\/imgsupl\/RG6.0_0.79425300_1508239376_d3d9_instruments_image_violin.jpg","footerTitle":"Violin Factfile","footerCopy":"\u2022 The principal of the First Violins is called the Leader, or Concertmaster, whose role is to play any orchestral solos and to make technical decisions on behalf of the rest of the string section"},{"id":"i26","sectionId":"s10","title":"Second Violin","description":"The Second Violin section usually sits next to its colleagues the First Violins, although some composers ask for them to be sat opposite the Firsts to produce an antiphonal, or alternating, effect in the music. Typically the Second Violins will play the harmony lines in the music, while the First Violins play the melodies.","image":"assets\/imgsupl\/RG6.0_0.50492100_1508239384_3666_instruments_image_violin.jpg","footerTitle":"Violin Factfile","footerCopy":"\u2022 A violin\u2019s strings are tuned to the notes G, D, A and E\r\n\r\n\u2022 Violin strings were once made out of \u201ccatgut\u201d, although it was actually the gut of a sheep. Today, strings are usually steel\r\n\r\n\u2022 One of the most celebrated violinists of all time, Nicolo Paganini (died 1840), had such an astonishing technique for his time that it was rumoured that he sold his soul to the Devil in exchange for his talent\r\n\r\n\u2022 Playing the violin burns 170 calories an hour"},{"id":"i6","sectionId":"s10","title":"Viola","description":"Unless you put a violin next to a viola to provide comparisons, it\u2019s very difficult to tell the difference on sight. The viola is slightly larger than the violin, and has differently tuned strings, but otherwise is pretty much identical \u2013 held under the chin and played with a bow or plucked.
The sound of the viola, however, is very different. It has a much more mellow tone, deeper and more intense. As the middle instrument of the string family, often playing uncomplicated parts, it can be the brunt of jokes about it being a second class citizen, but actually was favoured by composers such as Mozart and Brahms.","image":"assets\/imgsupl\/RG6.0_0.64873200_1508239412_3a4d_instruments_image_viola.jpg","footerTitle":"Viola Factfile","footerCopy":"\u2022 A viola\u2019s strings are tuned to the notes C, G, D and A\r\n\r\n\u2022 Composers who played the viola include Mozart, Britten, Dvorak, Mendelssohn and Beethoven\r\n\r\n\u2022 Violists read music written in a clef called Alto Clef, which is only used by one other instrument in the orchestra, the alto trombone\r\n\r\n\u2022 JOKE! What's the difference between a Violin and a Viola? A Viola burns longer.\r\n"},{"id":"i7","sectionId":"s10","title":"Cello","description":"Like the violin and viola, the cello has four strings and is played using a bow or plucked, but has one major difference \u2013 it is played vertically, resting on the floor using a spike protruding from the bottom. The cello has slightly different roots from violins and violas, being born from early instruments called viols.
The cello is a bass instrument, playing the lowest notes of the music, although it is also capable of playing high notes, which are very plaintive and lend it its reputation for being the closest instrument to the sound of a human voice.
The cellos usually sit at the front of the stage opposite the First Violins, and number around six to ten in the section. ","image":"assets\/imgsupl\/RG6.0_0.69154900_1508239255_5083_instruments_image_cello.jpg","footerTitle":"Cello Factfile","footerCopy":"\u2022 Like the viola, the cello\u2019s four strings are tuned to C, G, D and A, but sound an octave (8 notes) lower than the viola\r\n\r\n\u2022 The word \u2018cello\u2019 is actually short for \u2018violoncello\u2019, literally \u201csmall large viol\u201d\r\n\r\n\u2022 Some early cellos had 5 strings\r\n\r\n\u2022 The plural of cello is actually celli\r\n"},{"id":"i8","sectionId":"s10","title":"Double Bass","description":"The daddy of the string family, the double bass is the largest and lowest stringed instrument. Being so large it\u2019s usually played sitting on a high stool or standing up, and the basses sit at the very back of the orchestra. Because of its size it\u2019s physically demanding to play \u2013 just pressing down the thick strings requires a lot of effort!
Like the other stringed instruments it\u2019s played with a bow or plucked and had four strings. Some double basses have an extension on their lowest string to play even lower notes. The notes are so low that it\u2019s not a very loud instrument and so there\u2019s often up to 10 or 12 bassists in the orchestra to provide enough volume.","image":"assets\/imgsupl\/RG6.0_0.19634300_1508239533_ae55_instruments_image_e-bass.jpg","footerTitle":"Double Bass Factfile","footerCopy":"\u2022 The double bass\u2019 strings are usually tuned to E, A, D and G, but unlike the others in the string family this can vary from country to country, depending on traditions\r\n\r\n\u2022 Solo parts for orchestral double bassists are rare as its size makes intricate writing more difficult\r\n\r\n\u2022 Double Basses can often be found moonlighting in wind and brass ensembles!\r\n\r\n\u2022 The biggest Double Bass was built in Paris in 1850 and was 3.5 metres tall"},{"id":"i10","sectionId":"s12","title":"Flute","description":"The highest member of the woodwind family is not, as the name might suggest, usually made of wood. You can probably spot these instruments shining out from the orchestra, since they\u2019re most commonly made of highly polished metal \u2013 sometimes even silver or gold.
The flute has roots even more ancient than the violin, recently discovered ones being over 45,000 years old. The flute\u2019s sound is produced by blowing air across the hole (similar to how you might play a bottle!) with the notes changed using the keys along its body. The flute has a bright and perky sound which means it can easily travel over the sound of the orchestra.
Orchestras usually have two or three flutes, and you might also see some of the flute\u2019s cousins \u2013 the tiny shrill piccolo, the mellow and soulful alto flute, or if you\u2019re really lucky, the frankly odd looking bass and contrabass flutes.
","image":"assets\/imgsupl\/RG6.0_0.71528000_1508257952_cb64_instruments_image_flute.jpg","footerTitle":"Flute Factfile","footerCopy":"\u2022 The flute is pitched in the key of C, and has a range of approximately 3 octaves\r\n\r\n\u2022 George Washington and Leonardo da Vinci played the flute\r\n\r\n\u2022 Flutes were first held sideways in China about 3000 years ago\r\n\r\n\u2022 The world\u2019s most expensive flute was made of platinum and was auctioned for $187,000\r\n"},{"id":"i24","sectionId":"s12","title":"Piccolo","description":"The baby of the flute family, the piccolo (Italian for small) is basically a half-size flute. It has the same fingerings as a normal sized flute (although smaller fingers are an advantage!) and is played in the same manner.
Flautists sometimes \u2018double\u2019 (play both) on piccolo, but it\u2019s a very frequently used member of the orchestra so often a player will be a specialist in piccolo and only play that instrument. It has a brilliant and sparkling tone and because it sounds an octave (8 notes) above the flute it is used to accompany melody lines to add twinkle.","image":"assets\/imgsupl\/RG6.0_0.52163100_1508257961_9812_instruments_image_iccolo.jpg","footerTitle":"Piccolo Factfile","footerCopy":"\u2022 The piccolo is pitched in C\r\n\r\n\u2022 Although piccolo is Italian for small, in Italy it\u2019s known as an Ottavino\r\n\r\n\u2022 The piccolo was invented by Theobold Boehm, a flautist from Munich\r\n\r\n\u2022 The piccolo plays the highest notes in the orchestra"},{"id":"i11","sectionId":"s12","title":"Oboe","description":"Sitting next to the flutes on the front row of the woodwind section, the oboe is actually made of wood. The name \u2018oboe\u2019 came from the French \u2018hautbois\u2019, literally \u2018high wood\u2019, as it was known in the 17th century.
The sound of the oboe is produced by blowing into a reed in the top of the instrument \u2013 which means that oboists have to master not only the art of playing the instrument, but also carving the delicate reeds to suit their own mouths. The oboe\u2019s sound is very pure and easily heard \u2013 you\u2019ll spot the oboe easily right at the start of concerts as they will play the A to which the rest of the orchestra tunes.
Usually there will be two or three oboes in the orchestra, frequently joined by its cousin the Cor Anglais (English horn \u2013 which is neither English, nor a horn\u2026) and sometimes by rarer relatives such as the Oboe d\u2019Amore, bass oboe and Heckelphone.","image":"assets\/imgsupl\/RG6.0_0.82579100_1508257972_dd65_instruments_image_oboe.jpg","footerTitle":"Oboe Factfile","footerCopy":"\u2022 The oboe is pitched in the key of C, with a range of two and a half octaves\r\n\r\n\u2022 The modern oboe is most commonly made from grenadilla, also known as African Blackwood\r\n\r\n\u2022 Oboists often get teased that their instrument sounds like a duck \u2013 Prokofiev even used the instrument to represent the duck in Peter and the Wolf\r\n\r\n\u2022 The fastest oboe player in the world, Jack Cozen Harel, played Nicolai Rimsky-Korsakov\u2019s Flight of the Bumble Bee in 26.1 Seconds"},{"id":"i29","sectionId":"s12","title":"Cor Anglais","description":"The cor anglais, or English horn, is neither English nor a horn. A close cousin of the oboe, it can be found sitting next to them in the orchestra and is played in a similar fashion, using a double reed. It is distinguished from the oboe by its distinctive bulbous bell, giving the appearance of an oboe that has swallowed a pear. Oboists often \u2018double\u2019 (play both) on cor anglais, as they are not always needed in the orchestra, and since the reeds are slightly bigger than oboe ones, the musicians spend even more time scraping reeds than if just playing one instrument!
The sound of the cor anglais is more mellow, melancholic and plaintive than an oboe, its pear shaped bell giving it a more veiled tone. It sounds lower than an oboe and is considered a tenor-voiced instrument.","image":"assets\/imgsupl\/RG6.0_0.92270200_1508257980_8e17_instruments_image_nglais.jpg","footerTitle":"Cor Anglais Factfile","footerCopy":"\u2022 Unlike the oboe, the cor anglais is pitched in F\r\n\r\n\u2022 Paul McCartney holds a cor anglais on the album cover of Sgt. Pepper's Lonely Hearts Club Band\r\n\r\n\u2022 Hector Berlioz called it \u2018superior to other instruments when the intention is to move or revive images from the past\u2019\r\n\r\n\u2022 Colloquially it\u2019s simply referred to as a \u2018cor\u2019"},{"id":"i12","sectionId":"s12","title":"Clarinet","description":"Usually found behind the flutes in the orchestra, the clarinet is most similar to an oboe in how it looks (made from the same wood) and is played (pointing downwards), but that\u2019s where the similarity ends. It is played by blowing across a single reed, rather than the oboes\u2019 double one, which is much easier to handle.
The clarinet has a very wide range, the largest of all the woodwinds, and its sounds is very flexible \u2013 from rich and dark in the bottom, through bright and sweet in the middle, to piercing and shrill at the top. It makes the clarinet a popular addition to other genres of band as well as orchestras \u2013 jazz and Klezmer, to name but two.
Clarinets also come in a variety of keys and sizes \u2013 a Bb clarinet being the most commonly used in orchestras, with A clarinets joining them on occasion. It also has several common cousins, like the baby Eb clarinet and the bass clarinet. You might also see Basset-horns, contrabass clarinets and piccolo clarinets.
","image":"assets\/imgsupl\/RG6.0_0.12781000_1508257996_c83a_instruments_image_arinet.jpg","footerTitle":"Clarinet Factfile","footerCopy":"\u2022 The clarinet has a range of around four and a half octaves. Pitched in keys other than C, the clarinettist has to \u2018transpose\u2019 in order to sound with the rest of the orchestra!\r\n\r\n\u2022 Steven Spielberg can be seen playing the clarinet in an orchestra early on in his movie Jaws.\r\n\r\n\u2022 The clarinet was the last woodwind instrument to be included in the symphony orchestra\r\n\r\n\u2022 The LSO\u2019s former Principal Clarinet Jack Brymer is one of the best known clarinettists of recent times because of his prolific teaching commitments and books on technique"},{"id":"i15","sectionId":"s12","title":"Bassoon","description":"The bass member of the woodwind family is another double reed instrument like the oboe. The reed is attached to a long metal tube called the crook, which connects to the bassoon. The longest instrument of the orchestra, unfolded it would stretch 2.5 metres. It\u2019s so unwieldy that most bassoonists use a neck sling or shoulder harness to support the instrument while playing \u2013 held diagonally downwards unlike the other woodwinds.
The bassoon\u2019s sound is quite flexible and full of character \u2013 it often represents the clown of the piece or gruff lumbering animals, but can also be plaintive and lyrical. It is agile and can produce quick running notes.
Like the other woodwinds, there are usually two or three bassoons in the orchestra, with its big cousin the contra-bassoon quite often present. It\u2019s even longer than the bassoon, folded over more times, and requires a small spike on the bottom fold for extra support.","image":"assets\/imgsupl\/RG6.0_0.68499600_1508258014_e261_instruments_image_assoon.jpg","footerTitle":"Bassoon Factfile","footerCopy":"\u2022 The bassoon is a C instrument, and has a range of about 3 and a half octaves\r\n\r\n\u2022 The Italian for bassoon is Fagotto, which literally means \u2018bundle of sticks\u2019\r\n\r\n\u2022 Modern bassoons are usually made of maple\r\n\r\n\u2022 A bassoonist\u2019s left thumb has 10 keys to operate!\r\n"},{"id":"i18","sectionId":"s11","title":"Horn","description":"Sometimes called the French horn, the horn is actually technically German in origin. It\u2019s from the brass family, and is made of, well, brass. The sounds are produced via the players lips on the cup-shaped mouthpiece \u2013 notes are changed by adjusting both the lip tension, using the valves to lengthen or shorten the tubing, and by putting a hand inside the bell to make the instrument longer.
The modern horn is a descendent of the hunting horn, and its sound is often used by composers to signify a hunt. It is also capable of producing a haunted and distant sound, and is well used in film music.
The horns usually sit on the opposite side of the orchestra to their other brass colleagues, and usually number four. They work in pairs, with horns 1 and 3 taking high parts and horns 2 and 4 taking low parts. There is also sometimes an extra horn called a bumper, who can assist the principal in solo passages or to make parts louder.","image":"assets\/imgsupl\/RG6.0_0.75400700_1508258550_21c6_instruments_image_horn.jpg","footerTitle":"Horn Factfile","footerCopy":"\u2022 The horn is pitched in F, and sounds four notes higher than written on the page\r\n\r\n\u2022 Richard Strauss wrote parts for 20 horns in his Alpine Symphony\r\n\r\n\u2022 The actor Ewan McGregor is known to have learnt the horn\r\n\r\n\u2022 If its tubing were stretched straight out it would be about 6 metres long\r\n"},{"id":"i21","sectionId":"s13","title":"Percussion","description":"To describe everything that one could find in a percussion section would take years \u2013 really this group is only limited by the imagination of the composer! If you can hit, scrape or shake something and make it make a sound, it can be a percussion instrument. Consequently percussionists are a resourceful bunch and need to be proficient in all sorts of techniques.
Percussion can be split into broadly two categories: tuned and untuned. Tuned percussion instruments include xylophones, glockenspiels, marimbas, tubular bells, hang drums, steel pans and hand bells; while untuned includes all sorts of drums, woodblocks, gongs, maracas, triangles, tambourines, castanets, cymbals and pretty much anything your average junk yard can provide: car brake drums, buckets, bags, anvils, saws, typewriters, metal sheets and even bowls of water.
The percussion section is central to an ensemble: at the most basic level they often provide the pulse of the music. In orchestras though, percussion usually provides the \u201cspecial effects\u201d of the music \u2013 and it\u2019s often as much fun to watch the percussionists (any number from 2 to 10 can regularly be seen) move around the instruments and each other during quick changes!","image":"assets\/imgsupl\/RG6.0_0.66386300_1508258605_8320_instruments_image_ussion.jpg","footerTitle":"Percussion Factfile","footerCopy":"\u2022 Because sounds are created on a piano by striking a taut chord with a hammer, it is technically a percussion instrument\r\n\r\n\u2022 Drumming is good for you: you can burn up to 270 calories in about 30 minutes, more than cycling, hiking, or weight lifting!\r\n\r\n\u2022 The xylophone's first appearance as an orchestral instrument was in Dance Macabre by Saint-Saens\r\n\r\n\u2022 Tambourines were instruments traditionally used by women\r\n"},{"id":"i9","sectionId":"s14","title":"Harp","description":"Possibly the most ornate instrument on display in the orchestra is the harp. These elegant structures with around 47 strings, beautifully carved pillars and quite often gilt frames, sit towards the back of the string section with the keyboard instruments \u2013 usually there are one or two harps in the orchestra, but sometimes more which creates quite a visual treat.
The harp is played by the harpist plucking the strings with both hands, and there are seven foot pedals which the harpist uses to flatten or sharpen the notes. As you can imagine with so many strings, keeping a harp in tune is a lengthy process, and if you\u2019re early in the concert hall you can probably catch the harpist tuning up long before everyone else!
The harp was quite a recent addition to the symphony orchestra, Berlioz being one of the earliest composers to try it out. Tchaikovsky was a great influence in the use of the harp, and one of the best-known harp parts can be found in his \u2018Waltz of the Flowers\u2019 from The Nutcracker.
","image":"assets\/imgsupl\/RG6.0_0.50366800_1508259024_07ad_instruments_image_harp.jpg","footerTitle":"Harp Factfile","footerCopy":"\u2022 The harp has a range of 6 and a half octaves\r\n\r\n\u2022 To aid visual recognition, all F strings are black or blue and all C strings are red\r\n\r\n\u2022 Harps are capable of many different effects, including sweeping glissandos (slides) and harmonics\r\n\r\n\u2022 The frame of the harp looks solid, but is actually hollow. It still manages to weigh in at 5 stone or more"}],"sections":[{"id":"s10","colour":"#2d9b93","title":"Strings"},{"id":"s12","colour":"#1466c6","title":"Woodwind"},{"id":"s11","colour":"#f2b623","title":"Brass"},{"id":"s13","colour":"#826aa5","title":"Percussion"},{"id":"s14","colour":"#dd4343","title":"Other"}],"masterclasses":[{"id":"m34","instrumentId":"i10","title":"Flute Masterclass","artist":"Gareth Davies","instrument":"","description":"LSO Principal Flute Gareth Davies explains the challenges of playing the opening flute solo of Debussy's Pr\u00e9lude \u00e0 l'apr\u00e8s-midi d'un faune.","footerTitle":"","footerCopy":"","linkTitle":"","video":"https:\/\/lsoplay.s3.eu-west-1.amazonaws.com\/2017\/GD_Masterclass_Edit_gj01_web.mp4","mobileVideo":"https:\/\/lsoplay.s3.amazonaws.com\/2017\/Debussy_M_GD_mobile.mp4","videoLinks":[{"displayTime":408,"targetViewport":[2,5,3,1],"targetTime":9}]},{"id":"m35","instrumentId":"i7","title":"Cello Masterclass","artist":"Eve-Marie Caravassilis","instrument":"","description":"In this masterclass, LSO Cellist Eve-Marie Caravassilis, talks us through some of the key cello parts in Pr\u00e9lude \u00e0 l'apr\u00e8s-midi d'un faune.","footerTitle":"","footerCopy":"","linkTitle":"","video":"https:\/\/lsoplay.s3.eu-west-1.amazonaws.com\/2017\/EMC_desktop_aac.mp4","mobileVideo":"https:\/\/lsoplay.s3.amazonaws.com\/2017\/EMC_mobile.mp4","videoLinks":[{"displayTime":48,"targetViewport":[3,5,2,1],"targetTime":62},{"displayTime":176,"targetViewport":[1,2,3,6],"targetTime":310},{"displayTime":406,"targetViewport":[3,5,2,6],"targetTime":457},{"displayTime":708,"targetViewport":[3,5,2,6],"targetTime":568}]},{"id":"m36","instrumentId":"","title":"Conductor Interview","artist":"Fran\u00e7ois-Xavier Roth","instrument":"","description":"Conductor Fran\u00e7ois-Xavier Roth shares his thoughts on Debussy's Pr\u00e9lude \u00e0 l'apr\u00e8s-midi d'un faune.","footerTitle":"","footerCopy":"","linkTitle":"","video":"https:\/\/lsoplay.s3.amazonaws.com\/2017\/Conductor_Interview_Debussy.mov","mobileVideo":"https:\/\/lsoplay.s3.amazonaws.com\/2017\/Debussy_Conductor_mobile.mp4","videoLinks":[]},{"id":"m37","instrumentId":"","title":"Listening Guide Part 1","artist":"Rachel Leach","instrument":"","description":"In part one, Rachel Leach talks us through Debussy's life and career before composing Pr\u00e9lude \u00e0 l'apr\u00e8s-midi d'un faune.","footerTitle":"","footerCopy":"","linkTitle":"","video":"https:\/\/lsoplay.s3.amazonaws.com\/2017\/Rachel_Guide_Debussy_1.mov","mobileVideo":"https:\/\/lsoplay.s3.amazonaws.com\/2017\/Debussy_LG_Mobile_01.mp4","videoLinks":[]},{"id":"m38","instrumentId":"","title":"Listening Guide Part 2","artist":"Rachel Leach","instrument":"","description":"In part 2, Rachel Leach discusses Debussy's use of harmony and structure of Pr\u00e9lude \u00e0 l'apr\u00e8s-midi d'un faune.","footerTitle":"","footerCopy":"","linkTitle":"","video":"https:\/\/lsoplay.s3.amazonaws.com\/2017\/Rachel_Guide_Debussy_2.mov","mobileVideo":"https:\/\/lsoplay.s3.amazonaws.com\/2017\/Debussy_LG_Mobile_02.mp4","videoLinks":[]}],"cameras":[{"id":"c37","posX":"7","posY":"6","title":"Harp and Woodwind"},{"id":"c38","posX":"18","posY":"5","title":"Woodwind and Conductor"},{"id":"c39","posX":"23","posY":"8","title":"Strings"},{"id":"c40","posX":"9","posY":"6","title":"French Horns and Percussion"},{"id":"c41","posX":"13","posY":"8","title":"Conductor"},{"id":"c42","posX":"-1","posY":"4","title":"Strings"}],"downloads":[{"id":"d9","label":"Teachers' Resources","sublabel":"Key Stage 3","title":"Resources for Key Stage 3 Teachers","image":"","description":"
","image":"assets\/imgsupl\/RG6.0_0.41043700_1508248424_fd89_musicians_image_lliams.jpg","footerTitle":"","footerCopy":"She is also currently Professor of piccolo at London's Guildhall School of Music and Drama and regularly gives masterclasses. Major conductors she has worked with include Valery Gergiev, Sir Colin Davis, Bernard Haitink, Lorin Maazel and Rostropovich. Sharon can be heard playing on the LSO Live label and many film scores including Star Wars and Harry Potter."},{"id":"a367","posX":"14","posY":"5","instrumentId":"i11","title":"John Roberts","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a368","posX":"15","posY":"5","instrumentId":"i11","title":"Michael O'Donnell","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a370","posX":"12","posY":"6","instrumentId":"i12","title":"Andrew Marriner","description":"Andrew Marriner has held the position of principal clarinet in the London Symphony Orchestra since 1986, when he succeeded the late Jack Brymer. During his orchestral career Andrew has maintained a presence on the worldwide solo concert platform, in the field of chamber music, and as a teacher. Andrew first played with the LSO in 1977 under Sergiu Celibidache and, as guest principal, on the orchestra\u2019s 1983 world tour. ","image":"assets\/imgsupl\/RG6.0_0.39473900_1508429164_495b_musicians_image_rriner.jpg","footerTitle":"","footerCopy":"He later became principal clarinet of the Academy of St Martin in the Fields, a position he held concurrently with his commitment to the LSO until 2008. As a soloist Andrew has been a regular performer in London, both at the Barbican and the Royal Festival Hall. As both performer and teacher, his career is worldwide in its reach, taking him regularly from Europe to the Americas, Asia and Australia."},{"id":"a374","posX":"10","posY":"6","instrumentId":"i12","title":"Chi-Yu Mo","description":"Chi-Yu graduated with First Class Honours and a PhD in Chemistry from St. John\u2019s College Cambridge. He then studied at the Royal Academy of Music, where he graduated with a DipRAM and won many prizes. He won the Britten-Pears Concerto Competition, and also was a wind finalist in the Royal Overseas League Music Competition. He was Principal E flat Clarinet of the RLPO, and joined the LSO in 1998. ","image":"assets\/imgsupl\/RG6.0_0.96038100_1508248695_c8fd_musicians_image_-yu-mo.jpg","footerTitle":"","footerCopy":"He has played Principal with many UK orchestras and with the Asia Philharmonic Orchestra, including performances as soloist under Myung Whun Chung. Chi-Yu has played with the Nash Ensemble and Endymion and recently he performed the Mozart Kegelstatt Trio and Reich's New York Counterpoint at LSO St Luke's and also featured with the Worldwide Chinese Woodwind Soloists Octet in Beijing. Chi-Yu is a Professor at the Royal Academy of Music and has given masterclasses in China, Kazakhstan, Spain and USA."},{"id":"a373","posX":"11","posY":"6","instrumentId":"i30","title":"Lorenzo Iosco","description":"Lorenzo Iosco is Principal Bass Clarinet of the London Symphony Orchestra. He was born in Potenza, Italy in 1985 and studied at the Luigi Cherubini conservatory in Florence. After graduating with honours, Lorenzo continued his studies with Carlo Failli (principal clarinet, Tuscany Orchestra) and Dario Goracci (bass clarinet, Santa Cecilia Academy in Rome).","image":"assets\/imgsupl\/RG6.0_0.14662400_1508249093_5d36_musicians_image_-iosco.jpg","footerTitle":"","footerCopy":"He was a member of the Italian Youth Orchestra, Rome Symphony Orchestra, Orchestra Regionale della Toscana, Camerata Strumentale di Prato, BBC National Orchestra of Wales, and Orchestra Sinfonica Nazionale della RAI, and has performed with renowned conductors including Valery Gergiev, Bernard Haitink, Sir Colin Davis, Sir Simon Rattle, Daniel Harding, Andris Nelsons, Lorin Maazel, Gianandrea Noseda and Nicola Luisotti."},{"id":"a369","posX":"13","posY":"6","instrumentId":"i15","title":"Rachel Gough","description":"Rachel Gough has been Principal Bassoon of the LSO since 1999. (For eight years prior to joining the LSO she was Co-Principal with the BBC Symphony Orchestra and a professor at the Royal Academy of Music.)
As a student she read anthropology and music at King\u2019s College, Cambridge, before gaining Countess of Munster, Martin Musical, Ian Fleming and German government scholarships for postgraduate study at the Royal Academy of Music and the Hannover Hochschule f\u00fcr Musik with Klaus Thunemann. During this time she was principal bassoon of the European Community Youth Orchestra and won the Gold Medal at the Royal Overseas League.","image":"assets\/imgsupl\/RG6.0_0.90013200_1508249355_068b_musicians_image_-gough.jpg","footerTitle":"","footerCopy":"Rachel has appeared as a soloist with Sir Colin Davis, Valery Gergiev, Bernard Haitink, Sir Neville Marriner, Gianandrea Noseda and Gennady Rozhdestvensky. (Alongside these conductors, she has as worked as an orchestral musician with Claudio Abbado, Pierre Boulez, Riccardo Chailly, Mariss Jansons, Zubin Mehta, Sir Antonio Pappano, Andre Previn, Sir Simon Rattle, Sir Georg Solti, Yuri Temirkanov and Gunter Wand, amongst many others.) (She is a Fellow of the Royal Academy of Music.)"},{"id":"a371","posX":"14","posY":"6","instrumentId":"i15","title":"Joost Bosdijk","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a372","posX":"15","posY":"6","instrumentId":"i31","title":"Dominic Morgan","description":"Dominic Morgan, Principal Contra-Bassoon of the LSO, began playing the bassoon at the age of 13 and graduated from Royal Northern College of Music. He joined the LSO in 1994, after playing for the English National Opera for nine years.","image":"assets\/imgsupl\/RG6.0_0.32432600_1508251907_f64c_musicians_image_morgan.jpg","footerTitle":"","footerCopy":""},{"id":"a380","posX":"9","posY":"7","instrumentId":"i18","title":"Jonathan Lipton","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a381","posX":"13","posY":"7","instrumentId":"i18","title":"Timothy Jones ","description":"Timothy Jones was born in London in 1961 and studied with Ifor James and Frank Lloyd. After leaving school at the age of seventeen, he started his career as a professional musician, playing second horn with the Munich Philharmonic. In 1984 Timothy joined the London Philharmonic Orchestra, where he stayed until joining the London Symphony Orchestra as Principal Horn in 1986. ","image":"assets\/imgsupl\/RG6.0_0.73040100_1508253629_2081_musicians_image_-jones.jpg","footerTitle":"","footerCopy":"Timothy has also been a member of the City of Birmingham Symphony Orchestra and the Academy of St Martin-in-the-Fields. During his career, Timothy has performed as a soloist with both the Munich Philharmonic and the Academy of St. Martin-in-the-Fields, both in the UK and abroad to great acclaim. Timothy is a Horn Professor at the Royal College of Music, London."},{"id":"a382","posX":"12","posY":"7","instrumentId":"i18","title":"Stephen Stirling","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a383","posX":"11","posY":"7","instrumentId":"i18","title":"Angela Barnes","description":"In January 2005, at the age of 21, Angela Barnes was appointed second horn of the London Symphony Orchestra, becoming the first female member of the orchestra\u2019s brass section in the orchestra\u2019s hundred-year history. She has worked regularly with most of the major British orchestras, appearing as a guest principal with the London Philharmonic Orchestra, the Royal Philharmonic Orchestra, the City of Birmingham Symphony Orchestra, and the Royal Liverpool Philharmonic Orchestra. Her career combines orchestral, solo and chamber music playing. As well as featuring in the second instalment of the Cala Records \u2018\u2018London Horn Sound\u2019\u2019 series, she has also recently recorded Britten\u2019s Canticle for Tenor, Horn and Piano, with tenor Allan Clayton, as part of the BBC Radio 3 New Generation Artists scheme.","image":"assets\/imgsupl\/RG6.0_0.22330700_1508430366_6bc8_musicians_image_barnes.jpg","footerTitle":"","footerCopy":"Angela, from Rossendale, Lancashire, began horn lessons with her mother at the age of eight, before entering Chetham\u2019s School of Music, Manchester, in 1994 to study with Elizabeth Davis. She then went on to study with Hugh Seenan, Richard Bissill, Jeff Bryant and Jonathan Lipton at the Guildhall School of Music and Drama in London, from where she graduated with a First Class Honours degree in July 2005. Angela has given numerous solo and chamber music performances, and was a member of both the National Youth Orchestra and the European Union Youth Orchestra. In 2002, she won both the Liverpool Young Musician competition and the Brass section of the BBC Young Musician of the Year competition, which saw her perform Richard Strauss\u2019 Second Horn Concerto with the BBC Symphony Orchestra in the Barbican Hall, London, as part of the Concerto Final, which was broadcast live on BBC television and radio."},{"id":"a384","posX":"10","posY":"7","instrumentId":"i18","title":"Benjamin Jacks","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a385","posX":"18","posY":"8","instrumentId":"i16","title":"Philip Cobb","description":"Philip Cobb was appointed to the post of Joint-Principal Trumpet with the London Symphony Orchestra in July 2009 while still only 21 years of age. Philip is a fourth generation Salvationist and comes from a family intrinsically linked with Salvation Army music-making at its highest level. From a young age, Philip regularly featured as a cornet soloist, appearing alongside his brother Matthew and father Stephen, accompanied by his mother Elaine. He gained a place in the National Youth Brass Band of Great Britain in 2000, where he became Principal Cornet on a number of courses and was a four-time winner of the esteemed Harry Mortimer Award.","image":"assets\/imgsupl\/RG6.0_0.72160200_1508250224_28fd_musicians_image_p-cobb.jpg","footerTitle":"","footerCopy":"In the following years, Philip joined the Salvation Army\u2019s International Staff Band and has since found himself making more frequent appearances as a soloist in his own right. High profile performances include the 2012 London Games, where he was a featured soloist at both the Olympics Closing Ceremony and the Paralympics Opening Ceremony. While at the Guildhall School of Music and Drama in London, Philip studied with Paul Beniston and world-renowned trumpet soloist Alison Balsom. Alongside his studies, Philip performed as Principal Trumpet with the European Youth Orchestra and began working with professional orchestras such as the London Philharmonic, London Chamber and BBC Symphony. He has also since appeared as Guest Principal Trumpet with the Royal Concertgebouw Orchestra. Philip was awarded Most Promising Performer in the prestigious Maurice Andr\u00e9 International Trumpet Competition 2006 and he received the Candide Award at the 2008 London Symphony Orchestra Brass Academy. By the time he graduated one year later, Philip had already secured his current post in the London Symphony Orchestra."},{"id":"a386","posX":"19","posY":"8","instrumentId":"i16","title":"Gerald Ruddock","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a387","posX":"20","posY":"8","instrumentId":"i16","title":"Daniel Newell","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a388","posX":"17","posY":"8","instrumentId":"i16","title":"Alan Thomas","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a390","posX":"17","posY":"9","instrumentId":"i17","title":"Paul Milner ","description":"Paul Milner was born in Edinburgh and after a musical education, moved to Manchester to study at the Royal Northern College of Music. On leaving the RNCM with a Diploma in Professional Performance, Paul freelanced with some of the UK's leading orchestras, before gaining the position of Principal Bass Trombone with the Orchestra of Opera North, Leeds in 1993.","image":"assets\/imgsupl\/RG6.0_0.02633700_1508250585_1319_musicians_image_milner.jpg","footerTitle":"","footerCopy":"Having spent 14 years there, the position of Principal Bass Trombone in the London Symphony Orchestra became vacant. Paul was successful in gaining membership to the orchestra and began his role in 2007. Along with his very busy role in the orchestra, Paul is committed to the LSO Discovery education department. This involves playing his trombone to children in hospitals, coaching gifted children and community projects, to name but a few."},{"id":"a391","posX":"15","posY":"9","instrumentId":"i17","title":"Dudley Bright","description":"Dudley Bright has been Principal Trombone of the LSO since 2001 having held a similar position in the Philharmona Orchestra. Yet his first orchestral position was as an associate of the LSO before being appointed Principal of the Halle Orchestra. ","image":"assets\/imgsupl\/RG6.0_0.00951000_1508250813_a168_musicians_image_bright.jpg","footerTitle":"","footerCopy":"He is professor of trombone at the Royal Academy and has been involved with trombone development for the Besson and Courtois instrument companies. He is still involved in the Salvation Army, in whose Brass bands he has his roots, not only as a trombonist but as composer and arranger. He has also composed 3 large scale works for the LSO's Brass Academy. "},{"id":"a392","posX":"16","posY":"9","instrumentId":"i17","title":"James Maynard","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a389","posX":"18","posY":"9","instrumentId":"i19","title":"Patrick Harrild","description":"Patrick Harrild was Principal Tuba of the London Symphony Orchestra from 1987 until his retirement in 2017. He has played tuba with most of the major orchestras in England and performed as a chamber musician with a number of ensembles, including frequently with the Philip Jones Brass Ensemble. He gave the first London performances of John Williams\u2019s Tuba Concerto with the composer conducting the LSO, and has also performed and recorded the Vaughan Williams Concerto with the Orchestra. ","image":"assets\/imgsupl\/RG6.0_0.41110600_1508251160_5acd_musicians_image_arrild.jpg","footerTitle":"","footerCopy":"Patrick Harrild has a keen interest in the nurturing of musical talent and became Professor at the Royal Academy of Music in 1976 and at the Guildhall School of Music & Drama in 1992. In 1993 he was made Honorary Member of the Royal Academy of Music and in 2001 awarded Teacher of the University of London. He served as a Director for the LSO for many years, and is a former Chairman of the Board."},{"id":"a393","posX":"13","posY":"9","instrumentId":"i22","title":"Nigel Thomas","description":"Nigel Thomas has been Principal Timpanist with the London Symphony Orchestra since 2003, having first joined the orchestra as Principal Percussionist in 1988. He was the Royal College of Music\u2019s first timpani and percussion scholar, and in 1980 was winner of the Shell LSO competition.","image":"assets\/imgsupl\/RG6.0_0.31188400_1508251727_6b88_musicians_image_thomas.jpg","footerTitle":"","footerCopy":""},{"id":"a394","posX":"9","posY":"9","instrumentId":"i21","title":"Neil Percy","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a395","posX":"11","posY":"9","instrumentId":"i21","title":"Antoine Bedewi ","description":"Tony was Co-Principal Timpanist of the London Symphony Orchestra between 2012 and 2017, and has played for over a decade as guest timpanist and percussionist with many of the UK\u2019s premier orchestras and ensembles. Away from the orchestral scene he has performed numerous times with the Colin Currie Group both at the BBC Proms and throughout the UK and abroad, and also for the west end show The Lion King. ","image":"assets\/imgsupl\/RG6.0_0.40584200_1508251593_b324_musicians_image_bedewi.jpg","footerTitle":"","footerCopy":"He spent much of the 2007 season as Principal Timpanist with the Teatro Municipal in Santiago, Chile. Tony joined the timpani and percussion faculty at the Guildhall School of Music and Drama in 2012. As a student he received his postgraduate diploma from the Royal Academy of Music, London, and a first-class bachelor\u2019s degree in music from the Hong Kong Academy for Performing Arts."},{"id":"a396","posX":"10","posY":"9","instrumentId":"i21","title":"Sam Walton","description":"Sam Walton appears regularly as a percussionist and timpanist with many of the UK\u2019s top orchestras, and since 2012 has been Co-Principal Percussionist of the London Symphony Orchestra. As a soloist, Sam has appeared with the Royal Philharmonic Orchestra, Orquesta de Castilla y Leon, and the Gurzenich Orchestra in Cologne. He has appeared both as a solo recitalist and with his duo partner Colin Currie at numerous venues in the UK and worldwide. ","image":"assets\/imgsupl\/RG6.0_0.85447400_1508252020_5f1e_musicians_image_walton.jpg","footerTitle":"","footerCopy":"He performs regularly with violist Viktoria Mullova and appears on her recital disc Through the Looking Glass. He is a member of the contemporary group Between The Notes, with whom he has travelled to Asia, Europe and Australia. He has also appeared as a soloist at the BBC Proms in a programme of music by Steve Reich. As a chamber musician, Sam has performed on two recital discs with Colin Currie. "},{"id":"a397","posX":"8","posY":"9","instrumentId":"i21","title":"David Jackson","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a401","posX":"7","posY":"7","instrumentId":"i34","title":"John Alley","description":"John Alley is Principal Keyboard Player of the London Symphony Orchestra, with whom he has played just about everywhere. He has performed in countless Proms and has worked with many of the 20th century\u2019s major composer\/conductors, including Boulez, Berio, Benjamin, Henze, Lutoslawski, Oliver Knussen and Thomas Ades. A \u2018minor\u2019 sensation occurred in the performance of Shostakovich\u2018s \u2018Suite for the Hypothetically Murdered\u2019 when he drank a pint of beer in the middle of a cadenza! ","image":"assets\/imgsupl\/RG6.0_0.87554700_1508254235_1d88_musicians_image_-alley.jpg","footerTitle":"","footerCopy":"He has recorded extensively for television, radio and disc and played on the soundtracks for films like Star Wars, Harry Potter, Braveheart, Little Women and Jane Eyre. He has contributed to over 30 volumes of music including Rabboni Flute Sonatas and the Arban Trumpet Studies for which he wrote the accompaniments."},{"id":"a398","posX":"5","posY":"7","instrumentId":"i9","title":"Bryn Lewis","description":"Bryn Lewis has been Principal Harpist with the London Symphony Orchestra since 1994. Prior to this he was Principal with the Philharmonia Orchestra and played with all the London orchestras, the Chamber Orchestra of Europe and with the Berlin Philharmonic Orchestra. He has played on numerous film sountracks including Braveheart, Star Wars, Harry Potter, Kung Fu Panda and The Dark Knight. ","image":"assets\/imgsupl\/RG6.0_0.83571300_1508254031_de5d_musicians_image_-lewis.jpg","footerTitle":"","footerCopy":"Bryn is a Professor at the Guildhall school of Music and Drama and has given Masterclasses in London, Chicago and Rio de Janeiro. His own studies were with Jean Bell, Barbirolli's Harpist in the Halle Orchestra and Renata Scheffel-Stein (a former LSO Principal) who was appointed to The Philharmonia Orchestra by Herbert von Karajan."}],"instruments":[{"id":"i5","sectionId":"s10","title":"First Violin","description":"Of all the instruments in the orchestra, the violin is the most visible, simply by being the most numerous! Sitting at the front of the stage, there can often be more than 30 of these smallest of the string family in the orchestra at any one time.
Modern violins have roots in the early Greek ages, but started to become the instruments we know today in the 1500s. Its four strings are usually played with a bow or plucked (pizzicato), but the violin is famously versatile and can produce all sorts of effects such as ethereal harmonics, double stops (playing more than one note at once) or being hit with the wooden part of the bow (col legno).","image":"assets\/imgsupl\/RG6.0_0.79425300_1508239376_d3d9_instruments_image_violin.jpg","footerTitle":"Violin Factfile","footerCopy":"\u2022 The principal of the First Violins is called the Leader, or Concertmaster, whose role is to play any orchestral solos and to make technical decisions on behalf of the rest of the string section"},{"id":"i26","sectionId":"s10","title":"Second Violin","description":"The Second Violin section usually sits next to its colleagues the First Violins, although some composers ask for them to be sat opposite the Firsts to produce an antiphonal, or alternating, effect in the music. Typically the Second Violins will play the harmony lines in the music, while the First Violins play the melodies.","image":"assets\/imgsupl\/RG6.0_0.50492100_1508239384_3666_instruments_image_violin.jpg","footerTitle":"Violin Factfile","footerCopy":"\u2022 A violin\u2019s strings are tuned to the notes G, D, A and E\r\n\r\n\u2022 Violin strings were once made out of \u201ccatgut\u201d, although it was actually the gut of a sheep. Today, strings are usually steel\r\n\r\n\u2022 One of the most celebrated violinists of all time, Nicolo Paganini (died 1840), had such an astonishing technique for his time that it was rumoured that he sold his soul to the Devil in exchange for his talent\r\n\r\n\u2022 Playing the violin burns 170 calories an hour"},{"id":"i6","sectionId":"s10","title":"Viola","description":"Unless you put a violin next to a viola to provide comparisons, it\u2019s very difficult to tell the difference on sight. The viola is slightly larger than the violin, and has differently tuned strings, but otherwise is pretty much identical \u2013 held under the chin and played with a bow or plucked.
The sound of the viola, however, is very different. It has a much more mellow tone, deeper and more intense. As the middle instrument of the string family, often playing uncomplicated parts, it can be the brunt of jokes about it being a second class citizen, but actually was favoured by composers such as Mozart and Brahms.","image":"assets\/imgsupl\/RG6.0_0.64873200_1508239412_3a4d_instruments_image_viola.jpg","footerTitle":"Viola Factfile","footerCopy":"\u2022 A viola\u2019s strings are tuned to the notes C, G, D and A\r\n\r\n\u2022 Composers who played the viola include Mozart, Britten, Dvorak, Mendelssohn and Beethoven\r\n\r\n\u2022 Violists read music written in a clef called Alto Clef, which is only used by one other instrument in the orchestra, the alto trombone\r\n\r\n\u2022 JOKE! What's the difference between a Violin and a Viola? A Viola burns longer.\r\n"},{"id":"i7","sectionId":"s10","title":"Cello","description":"Like the violin and viola, the cello has four strings and is played using a bow or plucked, but has one major difference \u2013 it is played vertically, resting on the floor using a spike protruding from the bottom. The cello has slightly different roots from violins and violas, being born from early instruments called viols.
The cello is a bass instrument, playing the lowest notes of the music, although it is also capable of playing high notes, which are very plaintive and lend it its reputation for being the closest instrument to the sound of a human voice.
The cellos usually sit at the front of the stage opposite the First Violins, and number around six to ten in the section. ","image":"assets\/imgsupl\/RG6.0_0.69154900_1508239255_5083_instruments_image_cello.jpg","footerTitle":"Cello Factfile","footerCopy":"\u2022 Like the viola, the cello\u2019s four strings are tuned to C, G, D and A, but sound an octave (8 notes) lower than the viola\r\n\r\n\u2022 The word \u2018cello\u2019 is actually short for \u2018violoncello\u2019, literally \u201csmall large viol\u201d\r\n\r\n\u2022 Some early cellos had 5 strings\r\n\r\n\u2022 The plural of cello is actually celli\r\n"},{"id":"i8","sectionId":"s10","title":"Double Bass","description":"The daddy of the string family, the double bass is the largest and lowest stringed instrument. Being so large it\u2019s usually played sitting on a high stool or standing up, and the basses sit at the very back of the orchestra. Because of its size it\u2019s physically demanding to play \u2013 just pressing down the thick strings requires a lot of effort!
Like the other stringed instruments it\u2019s played with a bow or plucked and had four strings. Some double basses have an extension on their lowest string to play even lower notes. The notes are so low that it\u2019s not a very loud instrument and so there\u2019s often up to 10 or 12 bassists in the orchestra to provide enough volume.","image":"assets\/imgsupl\/RG6.0_0.19634300_1508239533_ae55_instruments_image_e-bass.jpg","footerTitle":"Double Bass Factfile","footerCopy":"\u2022 The double bass\u2019 strings are usually tuned to E, A, D and G, but unlike the others in the string family this can vary from country to country, depending on traditions\r\n\r\n\u2022 Solo parts for orchestral double bassists are rare as its size makes intricate writing more difficult\r\n\r\n\u2022 Double Basses can often be found moonlighting in wind and brass ensembles!\r\n\r\n\u2022 The biggest Double Bass was built in Paris in 1850 and was 3.5 metres tall"},{"id":"i10","sectionId":"s12","title":"Flute","description":"The highest member of the woodwind family is not, as the name might suggest, usually made of wood. You can probably spot these instruments shining out from the orchestra, since they\u2019re most commonly made of highly polished metal \u2013 sometimes even silver or gold.
The flute has roots even more ancient than the violin, recently discovered ones being over 45,000 years old. The flute\u2019s sound is produced by blowing air across the hole (similar to how you might play a bottle!) with the notes changed using the keys along its body. The flute has a bright and perky sound which means it can easily travel over the sound of the orchestra.
Orchestras usually have two or three flutes, and you might also see some of the flute\u2019s cousins \u2013 the tiny shrill piccolo, the mellow and soulful alto flute, or if you\u2019re really lucky, the frankly odd looking bass and contrabass flutes.
","image":"assets\/imgsupl\/RG6.0_0.71528000_1508257952_cb64_instruments_image_flute.jpg","footerTitle":"Flute Factfile","footerCopy":"\u2022 The flute is pitched in the key of C, and has a range of approximately 3 octaves\r\n\r\n\u2022 George Washington and Leonardo da Vinci played the flute\r\n\r\n\u2022 Flutes were first held sideways in China about 3000 years ago\r\n\r\n\u2022 The world\u2019s most expensive flute was made of platinum and was auctioned for $187,000\r\n"},{"id":"i24","sectionId":"s12","title":"Piccolo","description":"The baby of the flute family, the piccolo (Italian for small) is basically a half-size flute. It has the same fingerings as a normal sized flute (although smaller fingers are an advantage!) and is played in the same manner.
Flautists sometimes \u2018double\u2019 (play both) on piccolo, but it\u2019s a very frequently used member of the orchestra so often a player will be a specialist in piccolo and only play that instrument. It has a brilliant and sparkling tone and because it sounds an octave (8 notes) above the flute it is used to accompany melody lines to add twinkle.","image":"assets\/imgsupl\/RG6.0_0.52163100_1508257961_9812_instruments_image_iccolo.jpg","footerTitle":"Piccolo Factfile","footerCopy":"\u2022 The piccolo is pitched in C\r\n\r\n\u2022 Although piccolo is Italian for small, in Italy it\u2019s known as an Ottavino\r\n\r\n\u2022 The piccolo was invented by Theobold Boehm, a flautist from Munich\r\n\r\n\u2022 The piccolo plays the highest notes in the orchestra"},{"id":"i11","sectionId":"s12","title":"Oboe","description":"Sitting next to the flutes on the front row of the woodwind section, the oboe is actually made of wood. The name \u2018oboe\u2019 came from the French \u2018hautbois\u2019, literally \u2018high wood\u2019, as it was known in the 17th century.
The sound of the oboe is produced by blowing into a reed in the top of the instrument \u2013 which means that oboists have to master not only the art of playing the instrument, but also carving the delicate reeds to suit their own mouths. The oboe\u2019s sound is very pure and easily heard \u2013 you\u2019ll spot the oboe easily right at the start of concerts as they will play the A to which the rest of the orchestra tunes.
Usually there will be two or three oboes in the orchestra, frequently joined by its cousin the Cor Anglais (English horn \u2013 which is neither English, nor a horn\u2026) and sometimes by rarer relatives such as the Oboe d\u2019Amore, bass oboe and Heckelphone.","image":"assets\/imgsupl\/RG6.0_0.82579100_1508257972_dd65_instruments_image_oboe.jpg","footerTitle":"Oboe Factfile","footerCopy":"\u2022 The oboe is pitched in the key of C, with a range of two and a half octaves\r\n\r\n\u2022 The modern oboe is most commonly made from grenadilla, also known as African Blackwood\r\n\r\n\u2022 Oboists often get teased that their instrument sounds like a duck \u2013 Prokofiev even used the instrument to represent the duck in Peter and the Wolf\r\n\r\n\u2022 The fastest oboe player in the world, Jack Cozen Harel, played Nicolai Rimsky-Korsakov\u2019s Flight of the Bumble Bee in 26.1 Seconds"},{"id":"i12","sectionId":"s12","title":"Clarinet","description":"Usually found behind the flutes in the orchestra, the clarinet is most similar to an oboe in how it looks (made from the same wood) and is played (pointing downwards), but that\u2019s where the similarity ends. It is played by blowing across a single reed, rather than the oboes\u2019 double one, which is much easier to handle.
The clarinet has a very wide range, the largest of all the woodwinds, and its sounds is very flexible \u2013 from rich and dark in the bottom, through bright and sweet in the middle, to piercing and shrill at the top. It makes the clarinet a popular addition to other genres of band as well as orchestras \u2013 jazz and Klezmer, to name but two.
Clarinets also come in a variety of keys and sizes \u2013 a Bb clarinet being the most commonly used in orchestras, with A clarinets joining them on occasion. It also has several common cousins, like the baby Eb clarinet and the bass clarinet. You might also see Basset-horns, contrabass clarinets and piccolo clarinets.
","image":"assets\/imgsupl\/RG6.0_0.12781000_1508257996_c83a_instruments_image_arinet.jpg","footerTitle":"Clarinet Factfile","footerCopy":"\u2022 The clarinet has a range of around four and a half octaves. Pitched in keys other than C, the clarinettist has to \u2018transpose\u2019 in order to sound with the rest of the orchestra!\r\n\r\n\u2022 Steven Spielberg can be seen playing the clarinet in an orchestra early on in his movie Jaws.\r\n\r\n\u2022 The clarinet was the last woodwind instrument to be included in the symphony orchestra\r\n\r\n\u2022 The LSO\u2019s former Principal Clarinet Jack Brymer is one of the best known clarinettists of recent times because of his prolific teaching commitments and books on technique"},{"id":"i30","sectionId":"s12","title":"Bass Clarinet","description":"The bass clarinet is a remarkable instrument. Not only does it have a huge range, both in pitch and dynamics, but it exhibits almost unbelievable nimbleness and agility in the bottom register. It even inspired Adolphe Sax, the inventor of the saxophone, to adopt the upturned bell for his instrument.
It\u2019s probably not too surprising that Hector Berlioz was one of the first composers to use the bass clarinet in an orchestral setting from around 1840 \u2013 it must have greatly appealed to both\u00a0his love of strange sonorities and slightly eccentric demeanour. Wagner and Verdi both loved it too making it a staple of the opera orchestra, and by the 20th century it was all over the place \u2013 from Ravel to Mahler, Bernstein to Reich.
By the way, if you like the bass clarinet, you should really check out the contrabass clarinet...","image":"assets\/imgsupl\/RG6.0_0.87824900_1508258005_e491_instruments_image_arinet.jpg","footerTitle":"","footerCopy":""},{"id":"i15","sectionId":"s12","title":"Bassoon","description":"The bass member of the woodwind family is another double reed instrument like the oboe. The reed is attached to a long metal tube called the crook, which connects to the bassoon. The longest instrument of the orchestra, unfolded it would stretch 2.5 metres. It\u2019s so unwieldy that most bassoonists use a neck sling or shoulder harness to support the instrument while playing \u2013 held diagonally downwards unlike the other woodwinds.
The bassoon\u2019s sound is quite flexible and full of character \u2013 it often represents the clown of the piece or gruff lumbering animals, but can also be plaintive and lyrical. It is agile and can produce quick running notes.
Like the other woodwinds, there are usually two or three bassoons in the orchestra, with its big cousin the contra-bassoon quite often present. It\u2019s even longer than the bassoon, folded over more times, and requires a small spike on the bottom fold for extra support.","image":"assets\/imgsupl\/RG6.0_0.68499600_1508258014_e261_instruments_image_assoon.jpg","footerTitle":"Bassoon Factfile","footerCopy":"\u2022 The bassoon is a C instrument, and has a range of about 3 and a half octaves\r\n\r\n\u2022 The Italian for bassoon is Fagotto, which literally means \u2018bundle of sticks\u2019\r\n\r\n\u2022 Modern bassoons are usually made of maple\r\n\r\n\u2022 A bassoonist\u2019s left thumb has 10 keys to operate!\r\n"},{"id":"i31","sectionId":"s12","title":"Contrabassoon","description":"The contrabassoon is quite enormous \u2013\u00a0twice the length of the bassoon to be exact \u2013\u00a0meaning it sounds an octave lower and has to double up on itself twice, like a paperclip, to be playable by a seated human. While Beethoven was the first to write an entirely separate contrabassoon part in his 5th symphony, there are clues that it may have been used as far back as Bach.
However, the original iterations of the instrument were generally regarded as weak in sonority and dynamics, so its parts were often played on an alternate instrument like the serpent or contrabass sarrusophone (both of which are definitely worth looking up on Wikipedia!) It wasn\u2019t until the late 19th century that significant improvements were made to the instrument, but after that it became increasingly common to hear the clattering, machine-like low end cropping up in orchestral repertoire.","image":"assets\/imgsupl\/RG6.0_0.08752100_1508258025_7968_instruments_image_assoon.jpg","footerTitle":"","footerCopy":""},{"id":"i18","sectionId":"s11","title":"Horn","description":"Sometimes called the French horn, the horn is actually technically German in origin. It\u2019s from the brass family, and is made of, well, brass. The sounds are produced via the players lips on the cup-shaped mouthpiece \u2013 notes are changed by adjusting both the lip tension, using the valves to lengthen or shorten the tubing, and by putting a hand inside the bell to make the instrument longer.
The modern horn is a descendent of the hunting horn, and its sound is often used by composers to signify a hunt. It is also capable of producing a haunted and distant sound, and is well used in film music.
The horns usually sit on the opposite side of the orchestra to their other brass colleagues, and usually number four. They work in pairs, with horns 1 and 3 taking high parts and horns 2 and 4 taking low parts. There is also sometimes an extra horn called a bumper, who can assist the principal in solo passages or to make parts louder.","image":"assets\/imgsupl\/RG6.0_0.75400700_1508258550_21c6_instruments_image_horn.jpg","footerTitle":"Horn Factfile","footerCopy":"\u2022 The horn is pitched in F, and sounds four notes higher than written on the page\r\n\r\n\u2022 Richard Strauss wrote parts for 20 horns in his Alpine Symphony\r\n\r\n\u2022 The actor Ewan McGregor is known to have learnt the horn\r\n\r\n\u2022 If its tubing were stretched straight out it would be about 6 metres long\r\n"},{"id":"i16","sectionId":"s11","title":"Trumpet","description":"The highest member of the brass family is the trumpet, and it\u2019s also the oldest musical instrument, dating back to around 1500BC. Like the horn the sound is produced by varying lip pressure on the mouthpiece and by piston valves on the top which lengthen the tubing and therefore lower the pitch. It wasn\u2019t until after Brahms that valved trumpets were used in orchestras, though, which was the point at which it really took off as it could play more notes!
The sound of the trumpet can be very loud or very soft, and is often equated with military style. Trumpets are capable of producing a huge variety of effects \u2013 flutter tonguing, sliding between notes, growling, making noises through the instrument and by an unending variety of mutes which are put into the bell.
There are often four trumpets in the orchestra, and it has a variety of relatives, many of which rarely make an appearance, but are much more common in brass or jazz bands \u2013 cornet, flugelhorn, bugle, bass trumpet and piccolo trumpet.","image":"assets\/imgsupl\/RG6.0_0.80714800_1508258562_1b30_instruments_image_rumpet.jpg","footerTitle":"Trumpet Factfile","footerCopy":"\u2022 Trumpets are commonly pitched in Bb, but you can also find trumpets in F, C, D, Eb, E, G and A\r\n\r\n\u2022 You can play 45 distinct notes just using the trumpet\u2019s three valves\r\n\r\n\u2022 A trumpet contains about 6 and a half feet of tubing\r\n\r\n\u2022 The LSO\u2019s former Principal Trumpet Maurice Murphy is best known for playing the high note at the very start of the Star Wars Main Title\r\n"},{"id":"i17","sectionId":"s11","title":"Trombone","description":"The name trombone comes from the Italian Tromba (trumpet) and \u2013one (large), and therefore literally is a \u2018large trumpet\u2019. It is though the only brass instrument that doesn\u2019t have valves (although some have one to make small adjustments), instead the notes are changed by changing the length of the tube using a large slide.
The trombone is made of brass, although recently some have been made of plastic as a cheaper and more robust alternative \u2013 it also means they can be made in a variety of jazzy colours!
The trombone you will commonly see in symphony orchestras is a tenor trombone, although it\u2019s rarely called that. You might also see a bass trombone sitting between the trombones and the tuba, a larger and lower pitched instrument.","image":"assets\/imgsupl\/RG6.0_0.27620200_1508258572_9ba4_instruments_image_ombone.jpg","footerTitle":"Trombone Factfile","footerCopy":"\u2022 Unwound, the trombone would be about 9 feet long\r\n\r\n\u2022 The composer usually credited with introducing the trombone into the orchestra is Beethoven, in the last movement of his Fifth Symphony\r\n\r\n\u2022 There are seven different positions for the trombone slide\r\n\r\n\u2022 Richard Strauss once said \u201cDon\u2019t look at the trombones, it only encourages them\u201d\r\n"},{"id":"i19","sectionId":"s11","title":"Tuba","description":"Sitting at the bottom of the brass pile is the tuba. The biggest and lowest of the brass family is played using vibrating lips and with valves, and is made of lacquered brass so needs to be polished frequently. It usually carries the bass line of the music, and reinforces the lines of the string and woodwind bass instruments. Although it looks cumbersome, there have been several solo concerti written for the instrument.
Like the trombone, the word \u2018tuba\u2019 actually means trumpet (in Latin) \u2013 and so we can therefore conclude that all brass instruments are basically trumpets!
There is usually only one tuba in the orchestra, but it does have several cousins which are more frequently seen in brass and marching bands, such as the euphonium, tenor tuba, Wagner tuba and Sousaphone.","image":"assets\/imgsupl\/RG6.0_0.55617300_1508258581_1ed0_instruments_image_tuba.jpg","footerTitle":"Tuba Factfile","footerCopy":"\u2022 The tuba is usually pitched C, although Eb and Bb tubas are common in brass bands\r\n\r\n\u2022 The first Friday in May is International Tuba Day, which celebrates tuba players around the world\r\n\r\n\u2022 Berlioz originally scored Symphonie fantastique for two ophicleides, the forerunner of the tuba, but he changed them to a tuba when he heard the newly invented instrument\r\n\r\n\u2022 A tuba has about 16 feet of tubing\r\n"},{"id":"i22","sectionId":"s13","title":"Timpani","description":"Among the array of percussion instruments at the back of the orchestra the one constant is the timpani, or \u2018kettle drums\u2019 - so called because of their copper bowl shape. Across the top of the drum is stretched a skin, which is usually plastic but can be made of calf skin or goat skin. The drum is hit with sticks, the heads of which are different materials and softness which the player chooses to produce different qualities of sound.
There are usually two or more timpani present at any one time depending on the needs of the music, gradually reducing in size to produce higher notes \u2013 four or five drums is about average, but up to 16 has been known! Timpanists can produce different notes from the drum by use of tuning foot pedals which alter the tightness of the skin, and very modern \u201ctimps\u201d also have micro-tuning levers and switches for ultimate control.
The timpanist in the orchestra, although a trained percussionist, specialises in timpani playing and very rarely plays any of the other percussion instruments. Or as the conductor Norman del Mar once put it, \u201cking of his own province\u201d!","image":"assets\/imgsupl\/RG6.0_0.93703900_1508258594_1244_instruments_image_impani.jpg","footerTitle":"Timpani Factfile","footerCopy":"\u2022 Timpani have been part of the orchestra since the late 1600s, but versions have been around since the 13th century\r\n\r\n\u2022 Each drum has a range of 5 notes \r\n\r\n\u2022 The singular of timpani is timpano, although no one uses that these days!\r\n\r\n\u2022 Timpani enjoy a good sideline in rock music, especially during the 1960s and 1970s Prog Rock era"},{"id":"i21","sectionId":"s13","title":"Percussion","description":"To describe everything that one could find in a percussion section would take years \u2013 really this group is only limited by the imagination of the composer! If you can hit, scrape or shake something and make it make a sound, it can be a percussion instrument. Consequently percussionists are a resourceful bunch and need to be proficient in all sorts of techniques.
Percussion can be split into broadly two categories: tuned and untuned. Tuned percussion instruments include xylophones, glockenspiels, marimbas, tubular bells, hang drums, steel pans and hand bells; while untuned includes all sorts of drums, woodblocks, gongs, maracas, triangles, tambourines, castanets, cymbals and pretty much anything your average junk yard can provide: car brake drums, buckets, bags, anvils, saws, typewriters, metal sheets and even bowls of water.
The percussion section is central to an ensemble: at the most basic level they often provide the pulse of the music. In orchestras though, percussion usually provides the \u201cspecial effects\u201d of the music \u2013 and it\u2019s often as much fun to watch the percussionists (any number from 2 to 10 can regularly be seen) move around the instruments and each other during quick changes!","image":"assets\/imgsupl\/RG6.0_0.66386300_1508258605_8320_instruments_image_ussion.jpg","footerTitle":"Percussion Factfile","footerCopy":"\u2022 Because sounds are created on a piano by striking a taut chord with a hammer, it is technically a percussion instrument\r\n\r\n\u2022 Drumming is good for you: you can burn up to 270 calories in about 30 minutes, more than cycling, hiking, or weight lifting!\r\n\r\n\u2022 The xylophone's first appearance as an orchestral instrument was in Dance Macabre by Saint-Saens\r\n\r\n\u2022 Tambourines were instruments traditionally used by women\r\n"},{"id":"i34","sectionId":"s14","title":"Piano","description":"The piano is better known as a solo instrument, but actually appears as part of the orchestra more frequently than you would imagine. And not just pianos \u2013 other regular keyboard instruments include harpsichord, celesta and organ. Positioned off to the back, usually near the harps and percussion, these are mostly played by just one person, proficient in the techniques needed to play most instruments.
Each of these instruments has its own distinctive sound: the celesta (\u2018heavenly\u2019 in French) has a sound like little bells, the organ is as majestic and full bodied as its pipes suggest, the harpsichord\u2019s keys pluck strings inside instead of hammer them and is mostly associated with early music, and the piano with its large range and variety of tone that can either blend or soar above the orchestra.","image":"assets\/imgsupl\/RG6.0_0.35874900_1508259649_28ac_instruments_image_piano.jpg","footerTitle":"Piano Factfile","footerCopy":"\u2022 The average piano has 230 strings\r\n\r\n\u2022 The range of the normal 88 key piano covers the entire range of all the other instruments in the orchestra\r\n\r\n"},{"id":"i9","sectionId":"s14","title":"Harp","description":"Possibly the most ornate instrument on display in the orchestra is the harp. These elegant structures with around 47 strings, beautifully carved pillars and quite often gilt frames, sit towards the back of the string section with the keyboard instruments \u2013 usually there are one or two harps in the orchestra, but sometimes more which creates quite a visual treat.
The harp is played by the harpist plucking the strings with both hands, and there are seven foot pedals which the harpist uses to flatten or sharpen the notes. As you can imagine with so many strings, keeping a harp in tune is a lengthy process, and if you\u2019re early in the concert hall you can probably catch the harpist tuning up long before everyone else!
The harp was quite a recent addition to the symphony orchestra, Berlioz being one of the earliest composers to try it out. Tchaikovsky was a great influence in the use of the harp, and one of the best-known harp parts can be found in his \u2018Waltz of the Flowers\u2019 from The Nutcracker.
","image":"assets\/imgsupl\/RG6.0_0.50366800_1508259024_07ad_instruments_image_harp.jpg","footerTitle":"Harp Factfile","footerCopy":"\u2022 The harp has a range of 6 and a half octaves\r\n\r\n\u2022 To aid visual recognition, all F strings are black or blue and all C strings are red\r\n\r\n\u2022 Harps are capable of many different effects, including sweeping glissandos (slides) and harmonics\r\n\r\n\u2022 The frame of the harp looks solid, but is actually hollow. It still manages to weigh in at 5 stone or more"}],"sections":[{"id":"s10","colour":"#2d9b93","title":"Strings"},{"id":"s12","colour":"#1466c6","title":"Woodwind"},{"id":"s11","colour":"#f2b623","title":"Brass"},{"id":"s13","colour":"#826aa5","title":"Percussion"},{"id":"s14","colour":"#dd4343","title":"Other"}],"masterclasses":[{"id":"m26","instrumentId":"i9","title":"Harp Masterclass","artist":"with Bryn Lewis","instrument":"Harp","description":"Bryn Lewis talks about the art of orchestral harp playing, playing this piece with or without a 2nd harp, and offers tips to achieving sustained, singing harmonics.","footerTitle":"","footerCopy":"","linkTitle":"","video":"https:\/\/lsoplay.s3.amazonaws.com\/2017\/1080_5.5_Harp_Masterclass_h264_yadif.mp4","mobileVideo":"https:\/\/lsoplay.s3.amazonaws.com\/2017\/shostakovich_mc_harp_750.mp4","videoLinks":[{"displayTime":102,"targetViewport":[1,2,3,6],"targetTime":273},{"displayTime":1030,"targetViewport":[1,2,3,6],"targetTime":947}]},{"id":"m24","instrumentId":"i10","title":"Flute masterclass","artist":"with Adam Walker","instrument":"Flute","description":"Adam Walker breaks down Shostakovich\u2019s flute writing in the piece, demonstrating the many beautiful solos given to the instrument and their difference in character.","footerTitle":"","footerCopy":"","linkTitle":"","video":"https:\/\/lsoplay.s3.amazonaws.com\/2017\/1080_5.5_Flute_Masterclass_h264_yadif.mp4","mobileVideo":"https:\/\/lsoplay.s3.amazonaws.com\/2017\/shostakovich_mc_flute_750.mp4","videoLinks":[{"displayTime":170,"targetViewport":[2,3,6,1],"targetTime":795}]},{"id":"m25","instrumentId":"i21","title":"Percussion masterclass","artist":"with Neil Percy","instrument":"Percussion","description":"Neil Percy, LSO Principal percussion dives into the role of percussion in the symphony, and how to get the best sound out of the various instruments he employs.","footerTitle":"","footerCopy":"","linkTitle":"","video":"https:\/\/lsoplay.s3.amazonaws.com\/2017\/1080_5.5_Percussion_Masterclass_h264_yadif.mp4","mobileVideo":"https:\/\/lsoplay.s3.amazonaws.com\/2017\/shostakovich_mc_percussion_750.mp4","videoLinks":[{"displayTime":465,"targetViewport":[4,3,6,5],"targetTime":598}]},{"id":"m27","instrumentId":"i16","title":"Trumpet masterclass","artist":"with Phil Cobb","instrument":"Trumpet","description":"LSO Principal Trumpet, Phil Cobb, talks to Rachel Leach about the trumpet's role in the symphony, and how the LSO brass section passes down knowledge and tradition over the generations.","footerTitle":"","footerCopy":"","linkTitle":"","video":"https:\/\/lsoplay.s3.amazonaws.com\/2017\/1080_5.5_Trumpet_Masterclass_h264_yadif.mp4","mobileVideo":"https:\/\/lsoplay.s3.amazonaws.com\/2017\/shostakovich_mc_trumpet_750.mp4","videoLinks":[{"displayTime":61,"targetViewport":[15,6,4,3],"targetTime":503},{"displayTime":144,"targetViewport":[5,6,4,3],"targetTime":599},{"displayTime":363,"targetViewport":[5,6,4,3],"targetTime":1001}]},{"id":"m28","instrumentId":"i5","title":"Violin masterclass","artist":"with Claire Duckworth","instrument":"Violin","description":"1st violin Claire Duckworth discusses her love of the piece, tips for playing it, and sheds light on one coded message that surprisingly has more to do with heartbreak than politics.","footerTitle":"","footerCopy":"","linkTitle":"","video":"https:\/\/lsoplay.s3.amazonaws.com\/2017\/1080_5.5_Violin_Masterclass_h264_yadif.mp4","mobileVideo":"https:\/\/lsoplay.s3.amazonaws.com\/2017\/shostakovich_mc_violin_750.mp4","videoLinks":[{"displayTime":55,"targetViewport":[1,2,3,6],"targetTime":4}]},{"id":"m29","instrumentId":"","title":"Listening Guide, part 1","artist":"with Rachel Leach","instrument":"","description":"In part one, Rachel explores Shostakovich's beginnings as a composer, his early career and the political climate in Russia at the time of his 5th symphony.","footerTitle":"","footerCopy":"","linkTitle":"","video":"https:\/\/lsoplay.s3.amazonaws.com\/2017\/1080_5.5_Rachel_Guide_01_h264_yadif.mp4","mobileVideo":"https:\/\/lsoplay.s3.amazonaws.com\/2017\/shostakovich_mc_lg-part-1_750.mp4","videoLinks":[]},{"id":"m30","instrumentId":"","title":"Listening Guide, part 2","artist":"with Rachel Leach","instrument":"","description":"Rachel analyses the music of the first 3 movements in this part, explaining how Shostakovich uses the same material in different ways across the whole symphony to great effect.","footerTitle":"","footerCopy":"","linkTitle":"","video":"https:\/\/lsoplay.s3.amazonaws.com\/2017\/1080_5.5_Rachel_Guide_02_h264_yadif.mp4","mobileVideo":"https:\/\/lsoplay.s3.amazonaws.com\/2017\/shostakovich_mc_lg-part-2_750.mp4","videoLinks":[]},{"id":"m31","instrumentId":"","title":"Listening Guide, part 3","artist":"with Rachel Leach","instrument":"","description":"Part three of the listening guide focusses on the big, bombastic final movement and the reception of the piece after it\u2019s premiere.","footerTitle":"","footerCopy":"","linkTitle":"","video":"https:\/\/lsoplay.s3.amazonaws.com\/2017\/1080_5.5_Rachel_Guide_03_h264_yadif.mp4","mobileVideo":"https:\/\/lsoplay.s3.amazonaws.com\/2017\/shostakovich_mc_lg-part-3_750.mp4","videoLinks":[]}],"cameras":[{"id":"c30","posX":"1","posY":"6","title":"Strings"},{"id":"c31","posX":"2","posY":"9","title":"Strings & Flute"},{"id":"c32","posX":"14","posY":"9","title":"Strings & Woodwind"},{"id":"c33","posX":"21","posY":"9","title":"Conductor & Percussion"},{"id":"c34","posX":"-1","posY":"9","title":"Conductor & Brass"},{"id":"c35","posX":"-2","posY":"4","title":"Strings, Woodwind & Brass"}],"downloads":[{"id":"d15","label":"FIFTH SYMPHONY: Listening Tasks","sublabel":"KS2 and KS3+","title":"Fifth Symphony: Project pack for KS2 with extensions for KS3+","image":"assets\/imgsupl\/RG6.0_0.39971200_1589376321_f208_downloads_image_fifth.jpg","description":"
","image":"assets\/imgsupl\/RG6.0_0.41043700_1508248424_fd89_musicians_image_lliams.jpg","footerTitle":"","footerCopy":"She is also currently Professor of piccolo at London's Guildhall School of Music and Drama and regularly gives masterclasses. Major conductors she has worked with include Valery Gergiev, Sir Colin Davis, Bernard Haitink, Lorin Maazel and Rostropovich. Sharon can be heard playing on the LSO Live label and many film scores including Star Wars and Harry Potter."},{"id":"a269","posX":"14","posY":"5","instrumentId":"i11","title":"Olivier Stankiewicz","description":"Olivier Stankiewicz, whose extensive musical activity is characterised both by his remarkable curiosity and virtuosity, has constantly sought to expand his artistic scope and sources of inspiration.
Appointed principal oboe with the London Symphony Orchestra in May 2015, he has also performed with Amsterdam\u2019s Royal Concertegebouw and the Chamber Orchestra of Europe and served with Toulouse\u2019s Orchestre National du Capitole (ONCT) from 2011 to 2015. There, he recently performed the world premiere of Benjamin Attahir\u2019s oboe concerto Nur under Tugan Sokhiev. Since his first concerto appearance at the age of 16 with the Monte-Carlo Philharmonic, he has performed with the French National Orchestra, the Wallonie Royal Chamber Orchestra, the Pro-Arte orchestra of Hong-Kong and the Tokyo Sinfonietta.","image":"assets\/imgsupl\/RG6.0_0.48540000_1534521228_33a5_musicians_image_iewicz.jpg","footerTitle":"","footerCopy":"Named \u201cclassical revelation\u201d in 2013 by the French association ADAMI, Olivier Stankiewicz also took First Prize at the 10th International Oboe Competition of Japan, successively won the 2015 European and American YCA auditions in Leipzig and New-York, and the YCAT Auditions at the Wigmore Hall in London.\r\n\r\nOlivier\u2019s chamber music partners include Thomas Dunfort, Jean Rondeau, Amy Harman and the Castalian quartet. He has performed at the Prades international festival, the Brighton festival, and the Warsaw Opera. The Duo Widmung, co-founded with pianist Alvise Siniva, focusing in part on adaptations of vocal repertoire, has performed at Tokyo\u2019s Toppan Hall and at the Wigmore Hall.\r\n\r\nOlivier Stankiewicz comprehensive approach to musical performance has led him to study theory and conducting, in addition to oboe studies with Jacques Tys, David Walter, and Jean-Claude Jaboulay. He was in 2015 appointed oboe professor at the Royal College of Music in London."},{"id":"a270","posX":"15","posY":"5","instrumentId":"i11","title":"Alice Munday","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a271","posX":"16","posY":"5","instrumentId":"i11","title":"Daniel Finney","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a272","posX":"17","posY":"5","instrumentId":"i11","title":"Maxwell Spiers","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a273","posX":"18","posY":"5","instrumentId":"i29","title":"Christine Pendrill","description":"Christine Pendrill began her career as a cor anglais player with the New Philharmonia while still studying at the Royal College of Music. After several years freelancing, she joined the Philharmonia in 1980. Five years later, Christine was invited to become Principal Cor Anglais of the London Symphony Orchestra. The following year she became the first woman in the orchestra's history to be elected to its Board of Directors, a role she fulfilled for three years. ","image":"assets\/imgsupl\/RG6.0_0.36760900_1508251826_ad3a_musicians_image_ndrill.jpg","footerTitle":"","footerCopy":"As an orchestral player and soloist, Christine has performed and recorded all over the world. In the early 1990s, the late Alan Benjamin and his family offered to commission a solo work for Christine and the LSO. The result was 'The World's Ransoming' by James MacMillan, premiered in 1996 at the Barbican, conducted by Kent Nagano."},{"id":"a283","posX":"8","posY":"6","instrumentId":"i33","title":"Chi-Yu Mo","description":"Chi-Yu graduated with First Class Honours and a PhD in Chemistry from St. John\u2019s College Cambridge. He then studied at the Royal Academy of Music, where he graduated with a DipRAM and won many prizes. He won the Britten-Pears Concerto Competition, and also was a wind finalist in the Royal Overseas League Music Competition. He was Principal E flat Clarinet of the RLPO, and joined the LSO in 1998. ","image":"assets\/imgsupl\/RG6.0_0.96038100_1508248695_c8fd_musicians_image_-yu-mo.jpg","footerTitle":"","footerCopy":"He has played Principal with many UK orchestras and with the Asia Philharmonic Orchestra, including performances as soloist under Myung Whun Chung. Chi-Yu has played with the Nash Ensemble and Endymion and recently he performed the Mozart Kegelstatt Trio and Reich's New York Counterpoint at LSO St Luke's and also featured with the Worldwide Chinese Woodwind Soloists Octet in Beijing. Chi-Yu is a Professor at the Royal Academy of Music and has given masterclasses in China, Kazakhstan, Spain and USA."},{"id":"a274","posX":"12","posY":"6","instrumentId":"i12","title":"Andrew Marriner","description":"Andrew Marriner has held the position of principal clarinet in the London Symphony Orchestra since 1986, when he succeeded the late Jack Brymer. During his orchestral career Andrew has maintained a presence on the worldwide solo concert platform, in the field of chamber music, and as a teacher. Andrew first played with the LSO in 1977 under Sergiu Celibidache and, as guest principal, on the orchestra\u2019s 1983 world tour. ","image":"assets\/imgsupl\/RG6.0_0.39473900_1508429164_495b_musicians_image_rriner.jpg","footerTitle":"","footerCopy":"He later became principal clarinet of the Academy of St Martin in the Fields, a position he held concurrently with his commitment to the LSO until 2008. As a soloist Andrew has been a regular performer in London, both at the Barbican and the Royal Festival Hall. As both performer and teacher, his career is worldwide in its reach, taking him regularly from Europe to the Americas, Asia and Australia."},{"id":"a280","posX":"11","posY":"6","instrumentId":"i12","title":"Thomas Watmough","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a281","posX":"10","posY":"6","instrumentId":"i12","title":"Jernej Albreht","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a282","posX":"9","posY":"6","instrumentId":"i30","title":"Lorenzo Iosco","description":"Lorenzo Iosco is Principal Bass Clarinet of the London Symphony Orchestra. He was born in Potenza, Italy in 1985 and studied at the Luigi Cherubini conservatory in Florence. After graduating with honours, Lorenzo continued his studies with Carlo Failli (principal clarinet, Tuscany Orchestra) and Dario Goracci (bass clarinet, Santa Cecilia Academy in Rome).","image":"assets\/imgsupl\/RG6.0_0.14662400_1508249093_5d36_musicians_image_-iosco.jpg","footerTitle":"","footerCopy":"He was a member of the Italian Youth Orchestra, Rome Symphony Orchestra, Orchestra Regionale della Toscana, Camerata Strumentale di Prato, BBC National Orchestra of Wales, and Orchestra Sinfonica Nazionale della RAI, and has performed with renowned conductors including Valery Gergiev, Bernard Haitink, Sir Colin Davis, Sir Simon Rattle, Daniel Harding, Andris Nelsons, Lorin Maazel, Gianandrea Noseda and Nicola Luisotti."},{"id":"a275","posX":"13","posY":"6","instrumentId":"i15","title":"Rachel Gough","description":"Rachel Gough has been Principal Bassoon of the LSO since 1999. (For eight years prior to joining the LSO she was Co-Principal with the BBC Symphony Orchestra and a professor at the Royal Academy of Music.)
As a student she read anthropology and music at King\u2019s College, Cambridge, before gaining Countess of Munster, Martin Musical, Ian Fleming and German government scholarships for postgraduate study at the Royal Academy of Music and the Hannover Hochschule f\u00fcr Musik with Klaus Thunemann. During this time she was principal bassoon of the European Community Youth Orchestra and won the Gold Medal at the Royal Overseas League.","image":"assets\/imgsupl\/RG6.0_0.90013200_1508249355_068b_musicians_image_-gough.jpg","footerTitle":"","footerCopy":"Rachel has appeared as a soloist with Sir Colin Davis, Valery Gergiev, Bernard Haitink, Sir Neville Marriner, Gianandrea Noseda and Gennady Rozhdestvensky. (Alongside these conductors, she has as worked as an orchestral musician with Claudio Abbado, Pierre Boulez, Riccardo Chailly, Mariss Jansons, Zubin Mehta, Sir Antonio Pappano, Andre Previn, Sir Simon Rattle, Sir Georg Solti, Yuri Temirkanov and Gunter Wand, amongst many others.) (She is a Fellow of the Royal Academy of Music.)"},{"id":"a276","posX":"14","posY":"6","instrumentId":"i15","title":"Joost Bosdijk","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a277","posX":"15","posY":"6","instrumentId":"i15","title":"Daniel Jemison","description":"Daniel studied music at Clare College, Cambridge before deciding to pursue a career as a bassoonist. After completing postgraduate courses at the Guildhall School of Music and Drama and at the Hochschule f\u0171r Musik und Darstellende Kunst in Stuttgart, Daniel was appointed co-principal bassoon with the Deutsche Kammerphilharmonie, Bremen. From 1999 to 2003, Daniel was principal bassoon with the Bournemouth Symphony Orchestra. ","image":"assets\/imgsupl\/RG6.0_0.02974000_1516119005_489f_musicians_image_ison_2.jpg","footerTitle":"","footerCopy":"He appeared with them as a soloist on several occasions and also played an active role in the education department of the orchestra. Since moving to London he has appeared as guest principal bassoon with various orchestras and chamber ensembles such as the BBC Symphony Orchestra, English Chamber Orchestra and London Winds, and has given masterclasses at the Royal Northern College of Music and Trinity College of Music. Daniel was appointed Principal Bassoon of the LSO in 2013."},{"id":"a278","posX":"16","posY":"6","instrumentId":"i15","title":"Dominic Morgan","description":"Dominic Morgan, Principal Contra-Bassoon of the LSO, began playing the bassoon at the age of 13 and graduated from Royal Northern College of Music. He joined the LSO in 1994, after playing for the English National Opera for nine years.","image":"assets\/imgsupl\/RG6.0_0.32432600_1508251907_f64c_musicians_image_morgan.jpg","footerTitle":"","footerCopy":""},{"id":"a279","posX":"17","posY":"6","instrumentId":"i31","title":"Luke Whitehead","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a284","posX":"12","posY":"7","instrumentId":"i18","title":"Timothy Jones ","description":"Timothy Jones was born in London in 1961 and studied with Ifor James and Frank Lloyd. After leaving school at the age of seventeen, he started his career as a professional musician, playing second horn with the Munich Philharmonic. In 1984 Timothy joined the London Philharmonic Orchestra, where he stayed until joining the London Symphony Orchestra as Principal Horn in 1986. ","image":"assets\/imgsupl\/RG6.0_0.73040100_1508253629_2081_musicians_image_-jones.jpg","footerTitle":"","footerCopy":"Timothy has also been a member of the City of Birmingham Symphony Orchestra and the Academy of St Martin-in-the-Fields. During his career, Timothy has performed as a soloist with both the Munich Philharmonic and the Academy of St. Martin-in-the-Fields, both in the UK and abroad to great acclaim. Timothy is a Horn Professor at the Royal College of Music, London."},{"id":"a285","posX":"11","posY":"7","instrumentId":"i18","title":"Angela Barnes","description":"In January 2005, at the age of 21, Angela Barnes was appointed second horn of the London Symphony Orchestra, becoming the first female member of the orchestra\u2019s brass section in the orchestra\u2019s hundred-year history. She has worked regularly with most of the major British orchestras, appearing as a guest principal with the London Philharmonic Orchestra, the Royal Philharmonic Orchestra, the City of Birmingham Symphony Orchestra, and the Royal Liverpool Philharmonic Orchestra. Her career combines orchestral, solo and chamber music playing. As well as featuring in the second instalment of the Cala Records \u2018\u2018London Horn Sound\u2019\u2019 series, she has also recently recorded Britten\u2019s Canticle for Tenor, Horn and Piano, with tenor Allan Clayton, as part of the BBC Radio 3 New Generation Artists scheme.","image":"assets\/imgsupl\/RG6.0_0.22330700_1508430366_6bc8_musicians_image_barnes.jpg","footerTitle":"","footerCopy":"Angela, from Rossendale, Lancashire, began horn lessons with her mother at the age of eight, before entering Chetham\u2019s School of Music, Manchester, in 1994 to study with Elizabeth Davis. She then went on to study with Hugh Seenan, Richard Bissill, Jeff Bryant and Jonathan Lipton at the Guildhall School of Music and Drama in London, from where she graduated with a First Class Honours degree in July 2005. Angela has given numerous solo and chamber music performances, and was a member of both the National Youth Orchestra and the European Union Youth Orchestra. In 2002, she won both the Liverpool Young Musician competition and the Brass section of the BBC Young Musician of the Year competition, which saw her perform Richard Strauss\u2019 Second Horn Concerto with the BBC Symphony Orchestra in the Barbican Hall, London, as part of the Concerto Final, which was broadcast live on BBC television and radio."},{"id":"a286","posX":"10","posY":"7","instrumentId":"i18","title":"Alexander Edmundson","description":"","image":"assets\/imgsupl\/RG6.0_0.60082400_1508429534_d776_musicians_image_undson.jpg","footerTitle":"","footerCopy":""},{"id":"a287","posX":"9","posY":"7","instrumentId":"i18","title":"Kathryn Saunders","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a288","posX":"11","posY":"8","instrumentId":"i18","title":"Jocelyn Lightfoot","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a289","posX":"10","posY":"8","instrumentId":"i18","title":"Andrew Budden","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a290","posX":"9","posY":"8","instrumentId":"i18","title":"Jonathan Quaintrell-Evans","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a291","posX":"12","posY":"8","instrumentId":"i18","title":"Alec Frank-Gemmill","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a292","posX":"13","posY":"7","instrumentId":"i18","title":"Tim Ball","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a293","posX":"21","posY":"8","instrumentId":"i16","title":"James Maynard","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a294","posX":"20","posY":"8","instrumentId":"i16","title":"Niall Keatley","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a295","posX":"19","posY":"8","instrumentId":"i16","title":"Daniel Newell","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a296","posX":"18","posY":"8","instrumentId":"i16","title":"Gerald Ruddock","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a297","posX":"17","posY":"8","instrumentId":"i16","title":"Nicholas Betts","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a298","posX":"16","posY":"8","instrumentId":"i16","title":"Philip Cobb","description":"Philip Cobb was appointed to the post of Joint-Principal Trumpet with the London Symphony Orchestra in July 2009 while still only 21 years of age. Philip is a fourth generation Salvationist and comes from a family intrinsically linked with Salvation Army music-making at its highest level. From a young age, Philip regularly featured as a cornet soloist, appearing alongside his brother Matthew and father Stephen, accompanied by his mother Elaine. He gained a place in the National Youth Brass Band of Great Britain in 2000, where he became Principal Cornet on a number of courses and was a four-time winner of the esteemed Harry Mortimer Award.","image":"assets\/imgsupl\/RG6.0_0.72160200_1508250224_28fd_musicians_image_p-cobb.jpg","footerTitle":"","footerCopy":"In the following years, Philip joined the Salvation Army\u2019s International Staff Band and has since found himself making more frequent appearances as a soloist in his own right. High profile performances include the 2012 London Games, where he was a featured soloist at both the Olympics Closing Ceremony and the Paralympics Opening Ceremony. While at the Guildhall School of Music and Drama in London, Philip studied with Paul Beniston and world-renowned trumpet soloist Alison Balsom. Alongside his studies, Philip performed as Principal Trumpet with the European Youth Orchestra and began working with professional orchestras such as the London Philharmonic, London Chamber and BBC Symphony. He has also since appeared as Guest Principal Trumpet with the Royal Concertgebouw Orchestra. Philip was awarded Most Promising Performer in the prestigious Maurice Andr\u00e9 International Trumpet Competition 2006 and he received the Candide Award at the 2008 London Symphony Orchestra Brass Academy. By the time he graduated one year later, Philip had already secured his current post in the London Symphony Orchestra."},{"id":"a301","posX":"17","posY":"9","instrumentId":"i17","title":"Paul Milner ","description":"Paul Milner was born in Edinburgh and after a musical education, moved to Manchester to study at the Royal Northern College of Music. On leaving the RNCM with a Diploma in Professional Performance, Paul freelanced with some of the UK's leading orchestras, before gaining the position of Principal Bass Trombone with the Orchestra of Opera North, Leeds in 1993.","image":"assets\/imgsupl\/RG6.0_0.02633700_1508250585_1319_musicians_image_milner.jpg","footerTitle":"","footerCopy":"Having spent 14 years there, the position of Principal Bass Trombone in the London Symphony Orchestra became vacant. Paul was successful in gaining membership to the orchestra and began his role in 2007. Along with his very busy role in the orchestra, Paul is committed to the LSO Discovery education department. This involves playing his trombone to children in hospitals, coaching gifted children and community projects, to name but a few."},{"id":"a302","posX":"16","posY":"9","instrumentId":"i17","title":"Peter Moore","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a303","posX":"15","posY":"9","instrumentId":"i17","title":"Dudley Bright","description":"Dudley Bright has been Principal Trombone of the LSO since 2001 having held a similar position in the Philharmona Orchestra. Yet his first orchestral position was as an associate of the LSO before being appointed Principal of the Halle Orchestra. ","image":"assets\/imgsupl\/RG6.0_0.00951000_1508250813_a168_musicians_image_bright.jpg","footerTitle":"","footerCopy":"He is professor of trombone at the Royal Academy and has been involved with trombone development for the Besson and Courtois instrument companies. He is still involved in the Salvation Army, in whose Brass bands he has his roots, not only as a trombonist but as composer and arranger. He has also composed 3 large scale works for the LSO's Brass Academy. "},{"id":"a299","posX":"19","posY":"9","instrumentId":"i19","title":"Peter Smith","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a300","posX":"18","posY":"9","instrumentId":"i19","title":"Patrick Harrild","description":"Patrick Harrild was Principal Tuba of the London Symphony Orchestra from 1987 until his retirement in 2017. He has played tuba with most of the major orchestras in England and performed as a chamber musician with a number of ensembles, including frequently with the Philip Jones Brass Ensemble. He gave the first London performances of John Williams\u2019s Tuba Concerto with the composer conducting the LSO, and has also performed and recorded the Vaughan Williams Concerto with the Orchestra. ","image":"assets\/imgsupl\/RG6.0_0.41110600_1508251160_5acd_musicians_image_arrild.jpg","footerTitle":"","footerCopy":"Patrick Harrild has a keen interest in the nurturing of musical talent and became Professor at the Royal Academy of Music in 1976 and at the Guildhall School of Music & Drama in 1992. In 1993 he was made Honorary Member of the Royal Academy of Music and in 2001 awarded Teacher of the University of London. He served as a Director for the LSO for many years, and is a former Chairman of the Board."},{"id":"a304","posX":"12","posY":"9","instrumentId":"i22","title":"Nigel Thomas","description":"Nigel Thomas has been Principal Timpanist with the London Symphony Orchestra since 2003, having first joined the orchestra as Principal Percussionist in 1988. He was the Royal College of Music\u2019s first timpani and percussion scholar, and in 1980 was winner of the Shell LSO competition.","image":"assets\/imgsupl\/RG6.0_0.31188400_1508251727_6b88_musicians_image_thomas.jpg","footerTitle":"","footerCopy":""},{"id":"a307","posX":"13","posY":"9","instrumentId":"i22","title":"Antoine Bedewi ","description":"Tony was Co-Principal Timpanist of the London Symphony Orchestra between 2012 and 2017, and has played for over a decade as guest timpanist and percussionist with many of the UK\u2019s premier orchestras and ensembles. Away from the orchestral scene he has performed numerous times with the Colin Currie Group both at the BBC Proms and throughout the UK and abroad, and also for the west end show The Lion King. ","image":"assets\/imgsupl\/RG6.0_0.40584200_1508251593_b324_musicians_image_bedewi.jpg","footerTitle":"","footerCopy":"He spent much of the 2007 season as Principal Timpanist with the Teatro Municipal in Santiago, Chile. Tony joined the timpani and percussion faculty at the Guildhall School of Music and Drama in 2012. As a student he received his postgraduate diploma from the Royal Academy of Music, London, and a first-class bachelor\u2019s degree in music from the Hong Kong Academy for Performing Arts."},{"id":"a305","posX":"11","posY":"9","instrumentId":"i21","title":"Neil Percy","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a306","posX":"10","posY":"9","instrumentId":"i21","title":"David Jackson","description":"","image":"","footerTitle":"","footerCopy":""},{"id":"a308","posX":"8","posY":"9","instrumentId":"i21","title":"Sam Walton","description":"Sam Walton appears regularly as a percussionist and timpanist with many of the UK\u2019s top orchestras, and since 2012 has been Co-Principal Percussionist of the London Symphony Orchestra. As a soloist, Sam has appeared with the Royal Philharmonic Orchestra, Orquesta de Castilla y Leon, and the Gurzenich Orchestra in Cologne. He has appeared both as a solo recitalist and with his duo partner Colin Currie at numerous venues in the UK and worldwide. ","image":"assets\/imgsupl\/RG6.0_0.85447400_1508252020_5f1e_musicians_image_walton.jpg","footerTitle":"","footerCopy":"He performs regularly with violist Viktoria Mullova and appears on her recital disc Through the Looking Glass. He is a member of the contemporary group Between The Notes, with whom he has travelled to Asia, Europe and Australia. He has also appeared as a soloist at the BBC Proms in a programme of music by Steve Reich. As a chamber musician, Sam has performed on two recital discs with Colin Currie. "},{"id":"a309","posX":"7","posY":"9","instrumentId":"i21","title":"Tom Edwards","description":"","image":"","footerTitle":"","footerCopy":""}],"instruments":[{"id":"i5","sectionId":"s10","title":"First Violin","description":"Of all the instruments in the orchestra, the violin is the most visible, simply by being the most numerous! Sitting at the front of the stage, there can often be more than 30 of these smallest of the string family in the orchestra at any one time.
Modern violins have roots in the early Greek ages, but started to become the instruments we know today in the 1500s. Its four strings are usually played with a bow or plucked (pizzicato), but the violin is famously versatile and can produce all sorts of effects such as ethereal harmonics, double stops (playing more than one note at once) or being hit with the wooden part of the bow (col legno).","image":"assets\/imgsupl\/RG6.0_0.79425300_1508239376_d3d9_instruments_image_violin.jpg","footerTitle":"Violin Factfile","footerCopy":"\u2022 The principal of the First Violins is called the Leader, or Concertmaster, whose role is to play any orchestral solos and to make technical decisions on behalf of the rest of the string section"},{"id":"i26","sectionId":"s10","title":"Second Violin","description":"The Second Violin section usually sits next to its colleagues the First Violins, although some composers ask for them to be sat opposite the Firsts to produce an antiphonal, or alternating, effect in the music. Typically the Second Violins will play the harmony lines in the music, while the First Violins play the melodies.","image":"assets\/imgsupl\/RG6.0_0.50492100_1508239384_3666_instruments_image_violin.jpg","footerTitle":"Violin Factfile","footerCopy":"\u2022 A violin\u2019s strings are tuned to the notes G, D, A and E\r\n\r\n\u2022 Violin strings were once made out of \u201ccatgut\u201d, although it was actually the gut of a sheep. Today, strings are usually steel\r\n\r\n\u2022 One of the most celebrated violinists of all time, Nicolo Paganini (died 1840), had such an astonishing technique for his time that it was rumoured that he sold his soul to the Devil in exchange for his talent\r\n\r\n\u2022 Playing the violin burns 170 calories an hour"},{"id":"i6","sectionId":"s10","title":"Viola","description":"Unless you put a violin next to a viola to provide comparisons, it\u2019s very difficult to tell the difference on sight. The viola is slightly larger than the violin, and has differently tuned strings, but otherwise is pretty much identical \u2013 held under the chin and played with a bow or plucked.
The sound of the viola, however, is very different. It has a much more mellow tone, deeper and more intense. As the middle instrument of the string family, often playing uncomplicated parts, it can be the brunt of jokes about it being a second class citizen, but actually was favoured by composers such as Mozart and Brahms.","image":"assets\/imgsupl\/RG6.0_0.64873200_1508239412_3a4d_instruments_image_viola.jpg","footerTitle":"Viola Factfile","footerCopy":"\u2022 A viola\u2019s strings are tuned to the notes C, G, D and A\r\n\r\n\u2022 Composers who played the viola include Mozart, Britten, Dvorak, Mendelssohn and Beethoven\r\n\r\n\u2022 Violists read music written in a clef called Alto Clef, which is only used by one other instrument in the orchestra, the alto trombone\r\n\r\n\u2022 JOKE! What's the difference between a Violin and a Viola? A Viola burns longer.\r\n"},{"id":"i7","sectionId":"s10","title":"Cello","description":"Like the violin and viola, the cello has four strings and is played using a bow or plucked, but has one major difference \u2013 it is played vertically, resting on the floor using a spike protruding from the bottom. The cello has slightly different roots from violins and violas, being born from early instruments called viols.
The cello is a bass instrument, playing the lowest notes of the music, although it is also capable of playing high notes, which are very plaintive and lend it its reputation for being the closest instrument to the sound of a human voice.
The cellos usually sit at the front of the stage opposite the First Violins, and number around six to ten in the section. ","image":"assets\/imgsupl\/RG6.0_0.69154900_1508239255_5083_instruments_image_cello.jpg","footerTitle":"Cello Factfile","footerCopy":"\u2022 Like the viola, the cello\u2019s four strings are tuned to C, G, D and A, but sound an octave (8 notes) lower than the viola\r\n\r\n\u2022 The word \u2018cello\u2019 is actually short for \u2018violoncello\u2019, literally \u201csmall large viol\u201d\r\n\r\n\u2022 Some early cellos had 5 strings\r\n\r\n\u2022 The plural of cello is actually celli\r\n"},{"id":"i8","sectionId":"s10","title":"Double Bass","description":"The daddy of the string family, the double bass is the largest and lowest stringed instrument. Being so large it\u2019s usually played sitting on a high stool or standing up, and the basses sit at the very back of the orchestra. Because of its size it\u2019s physically demanding to play \u2013 just pressing down the thick strings requires a lot of effort!
Like the other stringed instruments it\u2019s played with a bow or plucked and had four strings. Some double basses have an extension on their lowest string to play even lower notes. The notes are so low that it\u2019s not a very loud instrument and so there\u2019s often up to 10 or 12 bassists in the orchestra to provide enough volume.","image":"assets\/imgsupl\/RG6.0_0.19634300_1508239533_ae55_instruments_image_e-bass.jpg","footerTitle":"Double Bass Factfile","footerCopy":"\u2022 The double bass\u2019 strings are usually tuned to E, A, D and G, but unlike the others in the string family this can vary from country to country, depending on traditions\r\n\r\n\u2022 Solo parts for orchestral double bassists are rare as its size makes intricate writing more difficult\r\n\r\n\u2022 Double Basses can often be found moonlighting in wind and brass ensembles!\r\n\r\n\u2022 The biggest Double Bass was built in Paris in 1850 and was 3.5 metres tall"},{"id":"i32","sectionId":"s12","title":"Alto Flute","description":"While the distinctive, curved head joint of the alto flute seems like the perfect way to tell it apart from the 'regular' concert flute, it's actually not a consistent feature of the instrument. Straight head joints are preferred by some players, although they do have the adverse effect of making the instrument unwieldily long!
Although it's been around for a long time, the alto flute has never achieved the sanctified status of being a full time orchestral instrument, and it\u2019s usually doubled: that is, one of the flute players will simply swap over to the alto flute for the sections that require it and then swap back. However, the hazy, mellow timbre of the alto is a continuous lure for composers seeking fresh sounds making it a staple of music for TV and film. In the orchestral repertoire, it has particularly prominent parts in Prokofiev\u2019s Scythian Suite and of course, Stravinsky\u2019s The Rite of Spring.","image":"assets\/imgsupl\/RG6.0_0.47244900_1508257942_513e_instruments_image_-flute.jpg","footerTitle":"","footerCopy":""},{"id":"i10","sectionId":"s12","title":"Flute","description":"The highest member of the woodwind family is not, as the name might suggest, usually made of wood. You can probably spot these instruments shining out from the orchestra, since they\u2019re most commonly made of highly polished metal \u2013 sometimes even silver or gold.
The flute has roots even more ancient than the violin, recently discovered ones being over 45,000 years old. The flute\u2019s sound is produced by blowing air across the hole (similar to how you might play a bottle!) with the notes changed using the keys along its body. The flute has a bright and perky sound which means it can easily travel over the sound of the orchestra.
Orchestras usually have two or three flutes, and you might also see some of the flute\u2019s cousins \u2013 the tiny shrill piccolo, the mellow and soulful alto flute, or if you\u2019re really lucky, the frankly odd looking bass and contrabass flutes.
","image":"assets\/imgsupl\/RG6.0_0.71528000_1508257952_cb64_instruments_image_flute.jpg","footerTitle":"Flute Factfile","footerCopy":"\u2022 The flute is pitched in the key of C, and has a range of approximately 3 octaves\r\n\r\n\u2022 George Washington and Leonardo da Vinci played the flute\r\n\r\n\u2022 Flutes were first held sideways in China about 3000 years ago\r\n\r\n\u2022 The world\u2019s most expensive flute was made of platinum and was auctioned for $187,000\r\n"},{"id":"i24","sectionId":"s12","title":"Piccolo","description":"The baby of the flute family, the piccolo (Italian for small) is basically a half-size flute. It has the same fingerings as a normal sized flute (although smaller fingers are an advantage!) and is played in the same manner.
Flautists sometimes \u2018double\u2019 (play both) on piccolo, but it\u2019s a very frequently used member of the orchestra so often a player will be a specialist in piccolo and only play that instrument. It has a brilliant and sparkling tone and because it sounds an octave (8 notes) above the flute it is used to accompany melody lines to add twinkle.","image":"assets\/imgsupl\/RG6.0_0.52163100_1508257961_9812_instruments_image_iccolo.jpg","footerTitle":"Piccolo Factfile","footerCopy":"\u2022 The piccolo is pitched in C\r\n\r\n\u2022 Although piccolo is Italian for small, in Italy it\u2019s known as an Ottavino\r\n\r\n\u2022 The piccolo was invented by Theobold Boehm, a flautist from Munich\r\n\r\n\u2022 The piccolo plays the highest notes in the orchestra"},{"id":"i11","sectionId":"s12","title":"Oboe","description":"Sitting next to the flutes on the front row of the woodwind section, the oboe is actually made of wood. The name \u2018oboe\u2019 came from the French \u2018hautbois\u2019, literally \u2018high wood\u2019, as it was known in the 17th century.
The sound of the oboe is produced by blowing into a reed in the top of the instrument \u2013 which means that oboists have to master not only the art of playing the instrument, but also carving the delicate reeds to suit their own mouths. The oboe\u2019s sound is very pure and easily heard \u2013 you\u2019ll spot the oboe easily right at the start of concerts as they will play the A to which the rest of the orchestra tunes.
Usually there will be two or three oboes in the orchestra, frequently joined by its cousin the Cor Anglais (English horn \u2013 which is neither English, nor a horn\u2026) and sometimes by rarer relatives such as the Oboe d\u2019Amore, bass oboe and Heckelphone.","image":"assets\/imgsupl\/RG6.0_0.82579100_1508257972_dd65_instruments_image_oboe.jpg","footerTitle":"Oboe Factfile","footerCopy":"\u2022 The oboe is pitched in the key of C, with a range of two and a half octaves\r\n\r\n\u2022 The modern oboe is most commonly made from grenadilla, also known as African Blackwood\r\n\r\n\u2022 Oboists often get teased that their instrument sounds like a duck \u2013 Prokofiev even used the instrument to represent the duck in Peter and the Wolf\r\n\r\n\u2022 The fastest oboe player in the world, Jack Cozen Harel, played Nicolai Rimsky-Korsakov\u2019s Flight of the Bumble Bee in 26.1 Seconds"},{"id":"i29","sectionId":"s12","title":"Cor Anglais","description":"The cor anglais, or English horn, is neither English nor a horn. A close cousin of the oboe, it can be found sitting next to them in the orchestra and is played in a similar fashion, using a double reed. It is distinguished from the oboe by its distinctive bulbous bell, giving the appearance of an oboe that has swallowed a pear. Oboists often \u2018double\u2019 (play both) on cor anglais, as they are not always needed in the orchestra, and since the reeds are slightly bigger than oboe ones, the musicians spend even more time scraping reeds than if just playing one instrument!
The sound of the cor anglais is more mellow, melancholic and plaintive than an oboe, its pear shaped bell giving it a more veiled tone. It sounds lower than an oboe and is considered a tenor-voiced instrument.","image":"assets\/imgsupl\/RG6.0_0.92270200_1508257980_8e17_instruments_image_nglais.jpg","footerTitle":"Cor Anglais Factfile","footerCopy":"\u2022 Unlike the oboe, the cor anglais is pitched in F\r\n\r\n\u2022 Paul McCartney holds a cor anglais on the album cover of Sgt. Pepper's Lonely Hearts Club Band\r\n\r\n\u2022 Hector Berlioz called it \u2018superior to other instruments when the intention is to move or revive images from the past\u2019\r\n\r\n\u2022 Colloquially it\u2019s simply referred to as a \u2018cor\u2019"},{"id":"i33","sectionId":"s12","title":"E Flat Clarinet","description":"The squealer of the woodwind section, the E flat clarinet is sometimes known as the soprano clarinet or piccolo clarinet, and is essentially a smaller and higher version of the \u2018standard\u2019 B flat clarinet. It\u2019s sound is unmistakably piercing, yet it maintains a uniquely colourful and cheeky timbre.
","image":"assets\/imgsupl\/RG6.0_0.43363300_1508258100_3b13_instruments_image_arinet.jpg","footerTitle":"","footerCopy":"The usual champion of unusual instruments, Hector Berlioz, was one of the first to put it to use within the orchestra with a famous, trill-heavy solo in the final movement of Symphonie Fantastique. However, for a more than few composers, the E flat clarinet was something of a pet instrument. Mahler loved to use it when he was writing his most sardonic, spiky music, and the high flying, circus like character of the instrument was irresistible to Prokofiev.\r\n\r\nIncidentally, because of it\u2019s small size the E flat clarinet been adapted for children as a beginner\u2019s instrument \u2013\u00a0manufactured in bulk and made of plastic, instead of the traditional dark wood. If you want to truly know the meaning of the word \u2018piercing\u2019, try standing in a classroom with 30 children all blasting away\u2026"},{"id":"i12","sectionId":"s12","title":"Clarinet","description":"Usually found behind the flutes in the orchestra, the clarinet is most similar to an oboe in how it looks (made from the same wood) and is played (pointing downwards), but that\u2019s where the similarity ends. It is played by blowing across a single reed, rather than the oboes\u2019 double one, which is much easier to handle.
The clarinet has a very wide range, the largest of all the woodwinds, and its sounds is very flexible \u2013 from rich and dark in the bottom, through bright and sweet in the middle, to piercing and shrill at the top. It makes the clarinet a popular addition to other genres of band as well as orchestras \u2013 jazz and Klezmer, to name but two.
Clarinets also come in a variety of keys and sizes \u2013 a Bb clarinet being the most commonly used in orchestras, with A clarinets joining them on occasion. It also has several common cousins, like the baby Eb clarinet and the bass clarinet. You might also see Basset-horns, contrabass clarinets and piccolo clarinets.
","image":"assets\/imgsupl\/RG6.0_0.12781000_1508257996_c83a_instruments_image_arinet.jpg","footerTitle":"Clarinet Factfile","footerCopy":"\u2022 The clarinet has a range of around four and a half octaves. Pitched in keys other than C, the clarinettist has to \u2018transpose\u2019 in order to sound with the rest of the orchestra!\r\n\r\n\u2022 Steven Spielberg can be seen playing the clarinet in an orchestra early on in his movie Jaws.\r\n\r\n\u2022 The clarinet was the last woodwind instrument to be included in the symphony orchestra\r\n\r\n\u2022 The LSO\u2019s former Principal Clarinet Jack Brymer is one of the best known clarinettists of recent times because of his prolific teaching commitments and books on technique"},{"id":"i30","sectionId":"s12","title":"Bass Clarinet","description":"The bass clarinet is a remarkable instrument. Not only does it have a huge range, both in pitch and dynamics, but it exhibits almost unbelievable nimbleness and agility in the bottom register. It even inspired Adolphe Sax, the inventor of the saxophone, to adopt the upturned bell for his instrument.
It\u2019s probably not too surprising that Hector Berlioz was one of the first composers to use the bass clarinet in an orchestral setting from around 1840 \u2013 it must have greatly appealed to both\u00a0his love of strange sonorities and slightly eccentric demeanour. Wagner and Verdi both loved it too making it a staple of the opera orchestra, and by the 20th century it was all over the place \u2013 from Ravel to Mahler, Bernstein to Reich.
By the way, if you like the bass clarinet, you should really check out the contrabass clarinet...","image":"assets\/imgsupl\/RG6.0_0.87824900_1508258005_e491_instruments_image_arinet.jpg","footerTitle":"","footerCopy":""},{"id":"i15","sectionId":"s12","title":"Bassoon","description":"The bass member of the woodwind family is another double reed instrument like the oboe. The reed is attached to a long metal tube called the crook, which connects to the bassoon. The longest instrument of the orchestra, unfolded it would stretch 2.5 metres. It\u2019s so unwieldy that most bassoonists use a neck sling or shoulder harness to support the instrument while playing \u2013 held diagonally downwards unlike the other woodwinds.
The bassoon\u2019s sound is quite flexible and full of character \u2013 it often represents the clown of the piece or gruff lumbering animals, but can also be plaintive and lyrical. It is agile and can produce quick running notes.
Like the other woodwinds, there are usually two or three bassoons in the orchestra, with its big cousin the contra-bassoon quite often present. It\u2019s even longer than the bassoon, folded over more times, and requires a small spike on the bottom fold for extra support.","image":"assets\/imgsupl\/RG6.0_0.68499600_1508258014_e261_instruments_image_assoon.jpg","footerTitle":"Bassoon Factfile","footerCopy":"\u2022 The bassoon is a C instrument, and has a range of about 3 and a half octaves\r\n\r\n\u2022 The Italian for bassoon is Fagotto, which literally means \u2018bundle of sticks\u2019\r\n\r\n\u2022 Modern bassoons are usually made of maple\r\n\r\n\u2022 A bassoonist\u2019s left thumb has 10 keys to operate!\r\n"},{"id":"i31","sectionId":"s12","title":"Contrabassoon","description":"The contrabassoon is quite enormous \u2013\u00a0twice the length of the bassoon to be exact \u2013\u00a0meaning it sounds an octave lower and has to double up on itself twice, like a paperclip, to be playable by a seated human. While Beethoven was the first to write an entirely separate contrabassoon part in his 5th symphony, there are clues that it may have been used as far back as Bach.
However, the original iterations of the instrument were generally regarded as weak in sonority and dynamics, so its parts were often played on an alternate instrument like the serpent or contrabass sarrusophone (both of which are definitely worth looking up on Wikipedia!) It wasn\u2019t until the late 19th century that significant improvements were made to the instrument, but after that it became increasingly common to hear the clattering, machine-like low end cropping up in orchestral repertoire.","image":"assets\/imgsupl\/RG6.0_0.08752100_1508258025_7968_instruments_image_assoon.jpg","footerTitle":"","footerCopy":""},{"id":"i18","sectionId":"s11","title":"Horn","description":"Sometimes called the French horn, the horn is actually technically German in origin. It\u2019s from the brass family, and is made of, well, brass. The sounds are produced via the players lips on the cup-shaped mouthpiece \u2013 notes are changed by adjusting both the lip tension, using the valves to lengthen or shorten the tubing, and by putting a hand inside the bell to make the instrument longer.
The modern horn is a descendent of the hunting horn, and its sound is often used by composers to signify a hunt. It is also capable of producing a haunted and distant sound, and is well used in film music.
The horns usually sit on the opposite side of the orchestra to their other brass colleagues, and usually number four. They work in pairs, with horns 1 and 3 taking high parts and horns 2 and 4 taking low parts. There is also sometimes an extra horn called a bumper, who can assist the principal in solo passages or to make parts louder.","image":"assets\/imgsupl\/RG6.0_0.75400700_1508258550_21c6_instruments_image_horn.jpg","footerTitle":"Horn Factfile","footerCopy":"\u2022 The horn is pitched in F, and sounds four notes higher than written on the page\r\n\r\n\u2022 Richard Strauss wrote parts for 20 horns in his Alpine Symphony\r\n\r\n\u2022 The actor Ewan McGregor is known to have learnt the horn\r\n\r\n\u2022 If its tubing were stretched straight out it would be about 6 metres long\r\n"},{"id":"i16","sectionId":"s11","title":"Trumpet","description":"The highest member of the brass family is the trumpet, and it\u2019s also the oldest musical instrument, dating back to around 1500BC. Like the horn the sound is produced by varying lip pressure on the mouthpiece and by piston valves on the top which lengthen the tubing and therefore lower the pitch. It wasn\u2019t until after Brahms that valved trumpets were used in orchestras, though, which was the point at which it really took off as it could play more notes!
The sound of the trumpet can be very loud or very soft, and is often equated with military style. Trumpets are capable of producing a huge variety of effects \u2013 flutter tonguing, sliding between notes, growling, making noises through the instrument and by an unending variety of mutes which are put into the bell.
There are often four trumpets in the orchestra, and it has a variety of relatives, many of which rarely make an appearance, but are much more common in brass or jazz bands \u2013 cornet, flugelhorn, bugle, bass trumpet and piccolo trumpet.","image":"assets\/imgsupl\/RG6.0_0.80714800_1508258562_1b30_instruments_image_rumpet.jpg","footerTitle":"Trumpet Factfile","footerCopy":"\u2022 Trumpets are commonly pitched in Bb, but you can also find trumpets in F, C, D, Eb, E, G and A\r\n\r\n\u2022 You can play 45 distinct notes just using the trumpet\u2019s three valves\r\n\r\n\u2022 A trumpet contains about 6 and a half feet of tubing\r\n\r\n\u2022 The LSO\u2019s former Principal Trumpet Maurice Murphy is best known for playing the high note at the very start of the Star Wars Main Title\r\n"},{"id":"i17","sectionId":"s11","title":"Trombone","description":"The name trombone comes from the Italian Tromba (trumpet) and \u2013one (large), and therefore literally is a \u2018large trumpet\u2019. It is though the only brass instrument that doesn\u2019t have valves (although some have one to make small adjustments), instead the notes are changed by changing the length of the tube using a large slide.
The trombone is made of brass, although recently some have been made of plastic as a cheaper and more robust alternative \u2013 it also means they can be made in a variety of jazzy colours!
The trombone you will commonly see in symphony orchestras is a tenor trombone, although it\u2019s rarely called that. You might also see a bass trombone sitting between the trombones and the tuba, a larger and lower pitched instrument.","image":"assets\/imgsupl\/RG6.0_0.27620200_1508258572_9ba4_instruments_image_ombone.jpg","footerTitle":"Trombone Factfile","footerCopy":"\u2022 Unwound, the trombone would be about 9 feet long\r\n\r\n\u2022 The composer usually credited with introducing the trombone into the orchestra is Beethoven, in the last movement of his Fifth Symphony\r\n\r\n\u2022 There are seven different positions for the trombone slide\r\n\r\n\u2022 Richard Strauss once said \u201cDon\u2019t look at the trombones, it only encourages them\u201d\r\n"},{"id":"i19","sectionId":"s11","title":"Tuba","description":"Sitting at the bottom of the brass pile is the tuba. The biggest and lowest of the brass family is played using vibrating lips and with valves, and is made of lacquered brass so needs to be polished frequently. It usually carries the bass line of the music, and reinforces the lines of the string and woodwind bass instruments. Although it looks cumbersome, there have been several solo concerti written for the instrument.
Like the trombone, the word \u2018tuba\u2019 actually means trumpet (in Latin) \u2013 and so we can therefore conclude that all brass instruments are basically trumpets!
There is usually only one tuba in the orchestra, but it does have several cousins which are more frequently seen in brass and marching bands, such as the euphonium, tenor tuba, Wagner tuba and Sousaphone.","image":"assets\/imgsupl\/RG6.0_0.55617300_1508258581_1ed0_instruments_image_tuba.jpg","footerTitle":"Tuba Factfile","footerCopy":"\u2022 The tuba is usually pitched C, although Eb and Bb tubas are common in brass bands\r\n\r\n\u2022 The first Friday in May is International Tuba Day, which celebrates tuba players around the world\r\n\r\n\u2022 Berlioz originally scored Symphonie fantastique for two ophicleides, the forerunner of the tuba, but he changed them to a tuba when he heard the newly invented instrument\r\n\r\n\u2022 A tuba has about 16 feet of tubing\r\n"},{"id":"i22","sectionId":"s13","title":"Timpani","description":"Among the array of percussion instruments at the back of the orchestra the one constant is the timpani, or \u2018kettle drums\u2019 - so called because of their copper bowl shape. Across the top of the drum is stretched a skin, which is usually plastic but can be made of calf skin or goat skin. The drum is hit with sticks, the heads of which are different materials and softness which the player chooses to produce different qualities of sound.
There are usually two or more timpani present at any one time depending on the needs of the music, gradually reducing in size to produce higher notes \u2013 four or five drums is about average, but up to 16 has been known! Timpanists can produce different notes from the drum by use of tuning foot pedals which alter the tightness of the skin, and very modern \u201ctimps\u201d also have micro-tuning levers and switches for ultimate control.
The timpanist in the orchestra, although a trained percussionist, specialises in timpani playing and very rarely plays any of the other percussion instruments. Or as the conductor Norman del Mar once put it, \u201cking of his own province\u201d!","image":"assets\/imgsupl\/RG6.0_0.93703900_1508258594_1244_instruments_image_impani.jpg","footerTitle":"Timpani Factfile","footerCopy":"\u2022 Timpani have been part of the orchestra since the late 1600s, but versions have been around since the 13th century\r\n\r\n\u2022 Each drum has a range of 5 notes \r\n\r\n\u2022 The singular of timpani is timpano, although no one uses that these days!\r\n\r\n\u2022 Timpani enjoy a good sideline in rock music, especially during the 1960s and 1970s Prog Rock era"},{"id":"i21","sectionId":"s13","title":"Percussion","description":"To describe everything that one could find in a percussion section would take years \u2013 really this group is only limited by the imagination of the composer! If you can hit, scrape or shake something and make it make a sound, it can be a percussion instrument. Consequently percussionists are a resourceful bunch and need to be proficient in all sorts of techniques.
Percussion can be split into broadly two categories: tuned and untuned. Tuned percussion instruments include xylophones, glockenspiels, marimbas, tubular bells, hang drums, steel pans and hand bells; while untuned includes all sorts of drums, woodblocks, gongs, maracas, triangles, tambourines, castanets, cymbals and pretty much anything your average junk yard can provide: car brake drums, buckets, bags, anvils, saws, typewriters, metal sheets and even bowls of water.
The percussion section is central to an ensemble: at the most basic level they often provide the pulse of the music. In orchestras though, percussion usually provides the \u201cspecial effects\u201d of the music \u2013 and it\u2019s often as much fun to watch the percussionists (any number from 2 to 10 can regularly be seen) move around the instruments and each other during quick changes!","image":"assets\/imgsupl\/RG6.0_0.66386300_1508258605_8320_instruments_image_ussion.jpg","footerTitle":"Percussion Factfile","footerCopy":"\u2022 Because sounds are created on a piano by striking a taut chord with a hammer, it is technically a percussion instrument\r\n\r\n\u2022 Drumming is good for you: you can burn up to 270 calories in about 30 minutes, more than cycling, hiking, or weight lifting!\r\n\r\n\u2022 The xylophone's first appearance as an orchestral instrument was in Dance Macabre by Saint-Saens\r\n\r\n\u2022 Tambourines were instruments traditionally used by women\r\n"}],"sections":[{"id":"s10","colour":"#2d9b93","title":"Strings"},{"id":"s12","colour":"#1466c6","title":"Woodwind"},{"id":"s11","colour":"#f2b623","title":"Brass"},{"id":"s13","colour":"#826aa5","title":"Percussion"}],"masterclasses":[{"id":"m20","instrumentId":"i15","title":"Bassoon masterclass","artist":"with Rachel Gough","instrument":"Bassoon","description":"Bassoon masterclass with Rachel Gough.","footerTitle":"","footerCopy":"","linkTitle":"","video":"https:\/\/lsoplay.s3.amazonaws.com\/2017\/1080_5.5_masterclass_rachel_gough_gj02_h264_yadif_1080.mp4","mobileVideo":"https:\/\/lsoplay.s3.amazonaws.com\/2017\/masterclass_bassoon_750.mp4","videoLinks":[{"displayTime":6,"targetViewport":[3,6,5,4],"targetTime":13},{"displayTime":666,"targetViewport":[3,6,5,4],"targetTime":224},{"displayTime":701,"targetViewport":[3,6,5,4],"targetTime":262},{"displayTime":732,"targetViewport":[3,6,5,4],"targetTime":1416}]},{"id":"m18","instrumentId":"i30","title":"Bass Clarinet masterclass","artist":"with Lorenzo Iosco","instrument":"Bass Clarinet","description":"The Rite of Spring was the piece that inspired Lorenzo to take up bass clarinet, such is the importance of the instrument in the orchestration. In this masterclass he discusses the traps that await you if you know the piece well but haven\u2019t played it \u2013 that the time signatures and bar lines fall completely differently than expected \u2013 and did you know that there are actually two bass clarinets playing?","footerTitle":"","footerCopy":"","linkTitle":"","video":"https:\/\/lsoplay.s3.amazonaws.com\/2017\/1080_5.5_masterclass_lorenzo_final_h264_yadif_1080.mp4","mobileVideo":"https:\/\/lsoplay.s3.amazonaws.com\/2017\/masterclass_bass-clarinet_750.mp4","videoLinks":[{"displayTime":496,"targetViewport":[3,6,5,4],"targetTime":487},{"displayTime":620,"targetViewport":[3,6,5,4],"targetTime":1416},{"displayTime":800,"targetViewport":[3,6,5,4],"targetTime":1750},{"displayTime":962,"targetViewport":[3,6,5,4],"targetTime":1993}]},{"id":"m17","instrumentId":"i10","title":"Flute masterclass","artist":"with Gareth Davies","instrument":"Flute","description":"Gareth has played the Rite at both ends of the flute spectrum, as Principal and as Alto, in the most central position in the orchestra to watch the visual spectacle unfolding around him. He shares his top tip for getting the smoothest lines whilst incorporating the need to breathe and talks about the tense ending of the piece, when every conductor has a different idea of how it should go!","footerTitle":"","footerCopy":"","linkTitle":"","video":"https:\/\/lsoplay.s3.amazonaws.com\/2017\/1080_5.5_masterclass_gareth_davies_final_gj01_h264_yadif_1080.mp4","mobileVideo":"https:\/\/lsoplay.s3.amazonaws.com\/2017\/masterclass_flute_750.mp4","videoLinks":[{"displayTime":260,"targetViewport":[3,1,6,2],"targetTime":144},{"displayTime":411,"targetViewport":[3,1,6,2],"targetTime":1608},{"displayTime":546,"targetViewport":[3,1,6,2],"targetTime":1416},{"displayTime":751,"targetViewport":[3,1,6,2],"targetTime":1997},{"displayTime":876,"targetViewport":[3,1,6,2],"targetTime":2038}]},{"id":"m16","instrumentId":"i26","title":"Violin masterclass","artist":"with David Alberman","instrument":"Violin","description":"As section principal, David's job is to channel the conductor's emotions and gestures back to his section. But is the conductor solely in charge of making sure everyone plays together? In his masterclass David reveals how he tackles the complicated counting in this piece and the importance of listening to each other - and what to do if someone appears to be surging ahead of the pack.","footerTitle":"","footerCopy":"","linkTitle":"","video":"https:\/\/lsoplay.s3.amazonaws.com\/2017\/1080_5.5_masterclass_alberman_final_gj02_h264_yadif_1080.mp4","mobileVideo":"https:\/\/lsoplay.s3.amazonaws.com\/2017\/masterclass_violin_750.mp4","videoLinks":[{"displayTime":433,"targetViewport":[2,1,6,4],"targetTime":1416}]},{"id":"m19","instrumentId":"","title":"Conductor Interview","artist":"with Simon Rattle","instrument":"Conductor","description":"After 40 years of conducting the Rite, Sir Simon Rattle still believes the work has the power to shock even though it is so familiar. He describes how Stravinsky himself wasn\u2019t sure how to notate the music he could hear in his head, how he continued to revise it almost up to the end of his life, and how one 3 hour rehearsal watching Pierre Boulez conduct changed his entire view of the piece.","footerTitle":"","footerCopy":"","linkTitle":"","video":"https:\/\/lsoplay.s3.amazonaws.com\/2017\/1080_5.5_rattle_interview_final_gj02_h264_yadif_1080.mp4","mobileVideo":"https:\/\/lsoplay.s3.amazonaws.com\/2017\/masterclass_conductor_750.mp4","videoLinks":[]},{"id":"m21","instrumentId":"","title":"Listening Guide Intro","artist":"with Rachel Leach","instrument":"","description":"Rachel Leach introduces the thrilling and controversial work that caused a riot on its first night in Paris in 1913. From the off the musicians and dancers were baffled by this new music, and none more so than the audience! But where there\u2019s controversy there\u2019s press, and where there\u2019s press there\u2019s ticket sales, as the smart man behind the staging, Sergei Diaghilev, knew very well!","footerTitle":"","footerCopy":"","linkTitle":"","video":"https:\/\/lsoplay.s3.amazonaws.com\/2017\/1080_5.5_RACHEL_introduction_final_gj01_h264_yadif_1080.mp4","mobileVideo":"https:\/\/lsoplay.s3.amazonaws.com\/2017\/masterclass_lg-intro_750.mp4","videoLinks":[]},{"id":"m22","instrumentId":"","title":"Listening Guide Part 1","artist":"with Rachel Leach","instrument":"","description":"In Part 1 of the piece we are introduced to Stravinsky\u2019s innovations: his blocks of sound, his use of repetition and some of the Russian folk tunes he cunningly disguised among the texture. Rachel Leach guides us through the story and the music, demonstrating how well the chords sit on the keyboard, which reveals that Stravinsky really did write the whole thing for piano first.","footerTitle":"","footerCopy":"","linkTitle":"","video":"https:\/\/lsoplay.s3.amazonaws.com\/2017\/1080_5.5_RACHEL_part_01_final_gj02_h264_yadif_1080.mp4","mobileVideo":"https:\/\/lsoplay.s3.amazonaws.com\/2017\/masterclass_lg-part-1_750.mp4","videoLinks":[]},{"id":"m23","instrumentId":"","title":"Listening Guide Part 2","artist":"with Rachel Leach","instrument":"","description":"Rachel Leach concludes the journey on which we have been taken. Part 2 sees the piece building to its savage climax, with Stravinsky drawing together the threads into an outpouring of music the like of which had never been heard before. What happened to the major players in this drama as a result of this musical revelation? And did you know that the LSO itself had an important role to play in the history of this most influential of works?","footerTitle":"","footerCopy":"","linkTitle":"","video":"https:\/\/lsoplay.s3.amazonaws.com\/2017\/1080_5.5_RACHEL_part_02_final_gj02_h264_yadif_1080.mp4","mobileVideo":"https:\/\/lsoplay.s3.amazonaws.com\/2017\/masterclass_lg-part-2_750.mp4","videoLinks":[]}],"cameras":[{"id":"c16","posX":"2","posY":"8","title":"Conductor & Strings"},{"id":"c17","posX":"-1","posY":"4","title":"Violins"},{"id":"c18","posX":"27","posY":"7","title":"Woodwind"},{"id":"c19","posX":"20","posY":"6","title":"Conductor & Brass"},{"id":"c20","posX":"22","posY":"8","title":"Conductor & Percussion"},{"id":"c21","posX":"14","posY":"9","title":"Woodwind & Horns"}],"downloads":[{"id":"d6","label":"Teachers' Resources","sublabel":"Key Stage 3","title":"Resources for Key Stage 3 Teachers","image":"assets\/imgsupl\/RG6.0_0.37988400_1508260398_56d0_downloads_image_visnky.jpg","description":"