Buy Used
£2.19
FREE Delivery on orders over £10.
Condition: Used: Good
Comment: This book is eligible for free delivery anywhere in the UK. Your order will be picked, packed and dispatched by Amazon. Buy with confidence!
Have one to sell?
Flip to back Flip to front
Listen Playing... Paused   You're listening to a sample of the Audible audio edition.
Learn more
See this image

Orchestra: The LSO: A Century of Triumphs and Turbulence: The LSO - A Century of Triumphs and Turbulance Hardcover – 11 Dec 2003

4.8 out of 5 stars 5 customer reviews

See all formats and editions Hide other formats and editions
Amazon Price
New from Used from
Hardcover
"Please retry"
£4.95 £0.01
click to open popover

Special Offers and Product Promotions

Enter your mobile number or email address below and we'll send you a link to download the free Kindle App. Then you can start reading Kindle books on your smartphone, tablet, or computer - no Kindle device required.

  • Apple
  • Android
  • Windows Phone

To get the free app, enter your mobile phone number.




Product details

  • Hardcover: 320 pages
  • Publisher: Faber and Faber; 1st.ed. edition (11 Dec. 2003)
  • Language: English
  • ISBN-10: 0571215831
  • ISBN-13: 978-0571215836
  • Product Dimensions: 24 x 16.4 x 2.9 cm
  • Average Customer Review: 4.8 out of 5 stars  See all reviews (5 customer reviews)
  • Amazon Bestsellers Rank: 287,265 in Books (See Top 100 in Books)
  • See Complete Table of Contents

Product Description

From the Inside Flap

In 2004 the London Symphony Orchestra celebrates its hundredth birthday. The centenary finds the orchestra acclaimed as one of the best in the world, making music with the most charismatic conductors and soloists on the planet. But it is also a volatile ensemble of highly talented players facing enormous pressures each day - the constant scramble for audiences, subsidy and sponsors in the most ruthlessly competitive musical capital in the world, and the struggle to maintain a family life in a business demanding unsociable hours and long periods away from home.

Leading columnist Richard Morrison looks at both sides of the coin: the dazzling public face of the LSO, the personal stories - heroic, hilarious and touching - of the players, and explores what makes this great orchestra tick. He looks at the bad times as well as the good, including the disastrous early years at the Barbican, the notorious playboy era of the 1970s and the remarkable transformation over the past 20 years into one of the most successful and ambitious arts organisations that Britain has ever produced.

About the Author

Richard Morrison is chief music critic of The Times and writes a wide-ranging weekly column on cultural and social matters, which is noted for its humour and passion. From 1989 to 1999 he also edited the paper's arts pages. He is a music graduate of Cambridge University and former orchestral trombonist and organist.He was taken to his first London Symphony Orchestra concert in 1960, aged five, and wrote his first professional review of the orchestra 16 years later. Since then he has heard the orchestra perform under most of the world's top conductors.


Customer Reviews

4.8 out of 5 stars
5 star
4
4 star
1
3 star
0
2 star
0
1 star
0
See all 5 customer reviews
Share your thoughts with other customers

Top Customer Reviews

Format: Paperback
This book is a fantastic read for anyone with a passing interest in the history of not only the LSO orchestra, but also British classical music and arts culture in the last 100 years or so. It is a witty and opinionated book written with a light touch which is full of entertaining anecdotes, journalistic analysis and personal testimony from LSO players, conductors and management past and present. It covers the ground of the history of the orchestra, but concentrates most on the pivotal moments and the best stories setting them neatly in the music scene of London, the rest of the UK, Europe and America. Did you know that the LSO narrowly missed being on the Titanic, changing their tickets only at the last moment? I particularly enjoyed the chapters on the 70s and 80s which saw the orchestra veering from the heights of artistic brilliance to near financial ruin - often at the same time. I loved reading about the essentially English quality of the players - the 'rock n roll' classical musicians who ran their orchestra in their way with maverick and often dazzlingly brilliant flare. A great read.
Comment 2 people found this helpful. Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback.
Sorry, we failed to record your vote. Please try again
Report abuse
By Bacchus TOP 500 REVIEWERVINE VOICE on 29 Dec. 2014
Format: Paperback
The LSO was the first professional orchestra I ever heard. Andre Previn came to our town and conducted a number of works in 1975. I was at primary school at the time and I think it all went over my head. However, I knew that Previn was a big celebrity, especially when I saw his name on various soundtrack LPs (Porgy and Bess, My Fair Lady and Jesus Christ Superstar) that I preferred listening to, I thought he was everywhere.

Anyway, back to the LSO. Anyone watching a professional orchestra like the LSO and seeing the 1,000s of recordings they have made would think that an orchestra is a permanent organisation. Reading this book, you will realise that it is anything but. Richard Morrison tells the story of this orchestra.

It famously began in the Edwardian era in 1904 at a time when orchestral players found as much work playing in theatre bands as they did in permanent 'classical' orchestras. This work was often better paid and Henry Wood, Britain's leading conductor of the Queens Hall Orchestra started to feel a little aggrieved at having a different bunch of players at performance than he had in rehearsal (quite justifiably). The management of the orchestra announced that in future, no member of the orchestra would be permitted to find a deputy. The potential loss of valuable extra income caused a large number of members of the Queens Hall Orchestra to form their own orchestra in which the players were now members and shareholders rather than employees. The London Symphony Orchestra was born.

However, they strove for the highest standards and employed the finest European conductors, like Hans Richter and Artur Nikisch.
Read more ›
Comment Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback.
Sorry, we failed to record your vote. Please try again
Report abuse
By Bacchus TOP 500 REVIEWERVINE VOICE on 29 Dec. 2014
Format: Hardcover
The LSO was the first professional orchestra I ever heard. Andre Previn came to our town and conducted a number of works in 1975. I was at primary school at the time and I think it all went over my head. However, I knew that Previn was a big celebrity, especially when I saw his name on various soundtrack LPs (Porgy and Bess, My Fair Lady and Jesus Christ Superstar) that I preferred listening to, I thought he was everywhere.

Anyway, back to the LSO. Anyone watching a professional orchestra like the LSO and seeing the 1,000s of recordings they have made would think that an orchestra is a permanent organisation. Reading this book, you will realise that it is anything but. Richard Morrison tells the story of this orchestra.

It famously began in the Edwardian era in 1904 at a time when orchestral players found as much work playing in theatre bands as they did in permanent 'classical' orchestras. This work was often better paid and Henry Wood, Britain's leading conductor of the Queens Hall Orchestra started to feel a little aggrieved at having a different bunch of players at performance than he had in rehearsal (quite justifiably). The management of the orchestra announced that in future, no member of the orchestra would be permitted to find a deputy. The potential loss of valuable extra income caused a large number of members of the Queens Hall Orchestra to form their own orchestra in which the players were now members and shareholders rather than employees. The London Symphony Orchestra was born.

However, they strove for the highest standards and employed the finest European conductors, like Hans Richter and Artur Nikisch.
Read more ›
Comment Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback.
Sorry, we failed to record your vote. Please try again
Report abuse
Format: Hardcover
Rebellion, Elgar, war, disaster, rebirth, Previn, women, the Barbican, an uncertain future: this book certainly changed my ideas about the world of the classical orchestra. Previously, i think i'd simply taken the serene, refined, rather quaint, image of men and women in evening dress at face value.

But this book about the London Symphony Orchestra (LSO) by journalist Richard Morrison tells a very different story. The orchestra begins life in the first decade of the 20th Century as a players' rebellion against executive control and one of the themes for most of the book is the problem of imposing discipline on musicians who, poorly paid and insecurely employed as they may be, rarely lack self-belief or opinions. They are shown plotting against conductors, drinking themselves comatose and indulging in schoolboy humour (admittedly, not all at the same time).

Another theme of the book is the conflict between an orchestra's desire to break new ground and achieve higher standards and its need to pay its bills and get the punters - whose tastes rarely stretch much further than the end of the 19th Century - through the door. The LSO is shown championing and then abandoning the 20th Century British composer Elgar for example. And later there are forays into the works of contemporary composers such as Boulez and Adès with varying degrees of success - or rather, varying degrees of commercial success; artistically these explorations of new music have mostly been very successful. All the time conductors come and go, each with his own strengths, weaknesses and interests. Describing the impact of each is one of the book's big strengths.

The questions of why it is so hard to interest people in new classical music and why it is so hard to get 'new people', i.e.
Read more ›
Comment One person found this helpful. Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback.
Sorry, we failed to record your vote. Please try again
Report abuse


Feedback