Book Description
Ever since its first concert in 1947, the London Philharmonic Choir has
retained its position at the forefront of the British choral tradition.
`Amateur' in the best sense of the word (its members love singing but don't
get paid for the privilege!), the LPC has given magisterial performances,
many of them broadcast or recorded, of all the great choral classics. If
over the years you have caught outstanding renditions of the Beethoven
`Choral' Symphony or Missa Solemnis, Mahler's `Resurrection' Symphony or
his `Symphony of a Thousand', the great Elgar oratorios or the settings of
the Requiem by Mozart, Verdi, Brahms or Britten - chances are you were
listening to the London Philharmonic Choir. Especially if the performance
was conducted by one of its regular conductors, among them Sir Adrian
Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt, Kurt Masur or
(nowadays) Vladimir Jurowski.
Why do people choose to join a choir like the LPC, how do you get in - and
what's it like once you are a member? What are some of the highlights - and
lowlights - in the Choir's history? How does the relationship work between
the Choir and its `mother' orchestra, the London Philharmonic Orchestra?
What's it like rehearsing and performing under the world's top conductors?
And what really goes on during those foreign tours, of which the LPC has
had so many in recent years?
From the Publisher
Daniel Snowman joined the London Philharmonic Choir in spring 1967.
Well-known as a writer and broadcaster on matters musical, Snowman
interweaves his own vivid recollections of life in the LPC with those of
fellow members and others associated with the Choir and its history. The
result is a richly evocative portrait of a hitherto largely ignored aspect
of British musical life since the war.
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