LPO Junior Artists

LPO Junior Artists is the London Philharmonic Orchestra’s annual orchestral experience programme for eight talented young musicians from backgrounds currently underrepresented in professional UK orchestras. The programme offers support, advice and professional insight to exceptional players of orchestral instruments aged 15–19 and at a minimum Grade 8 playing standard. Junior Artists become part of the London Philharmonic Orchestra family for a year, getting to know our musicians, staff and artists, as well as members of our Rising Talent schemes and former LPO Junior Artists.

This concert showcases the talent and achievement of current and past LPO Junior Artists, performing alongside LPO musicians and members of our Foyle Future Firsts development programme.

The LPO Junior Artists Programme is generously funded by the Kirby Laing Foundation, TIOC Foundation, The Victoria Wood Foundation and those who wish to remain anonymous.

Programme notes

Igor Stravinsky (1882–1971)

Suite No. 1 for small orchestra (1925)

1 Andante

2 Napolitana

3 Española

4 Balalaïka

The second movement of the Stravinsky has a really nice part for the horn. I start off having lots of loud stuff which is fun to play, then I have this nice soloistic bit with some of the other instruments. The piece just generally is really good, it’s sprightly, exciting!

Alex (horn), LPO Junior Artist

Igor Stravinsky spent the years immediately following The Rite of Spring (1914–20) exiled in Switzerland. The First World War had necessitated a temporary pause in the Paris operations of the Ballets Russes, the composer’s primary source of income, but he remained productive. He concentrated mainly on works for smaller ensembles and further refining his compositional voice, delving more deeply into the language and folk heritage of his Russian homeland.

In 1914 and 1915 he wrote three easy ‘teaching pieces’ for piano duet, following these the next year with a series of five more, the second set for his elder children, Theodore and Mika. The two Suites derived from these pieces are scored for small orchestra and were published in 1925 and 1921 respectively. In this First Suite, a quiet, meandering Andante is followed by the boisterous Italian street song of the Napolitana (which quotes the popular song ‘Funiculì, funiculà’; a souvenir of a visit by the composer to Naples in 1917). Then we are thrown into the spicy, unpredictable rhythms of the Española, inspired by a trip to Spain in 1916, before the Slavic dance of the Balalaïka concludes the Suite.

Edward Elgar (1857–1934)

Chanson de Nuit (1889/90)

Chanson de Matin (1889/90)

The Elgar has lots of layers and some luscious textures. Listen out for the hidden elements behind the tune.

LPO

Junior Artists

During 1897, Edward Elgar first became acquainted with AJ Jaeger, an employee of the publishers Novello & Co, who became ‘Nimrod’ of the Enigma Variations. From the start, they were frank in their exchange of views. In October of that year, Elgar, who by this time already had a number of comparative successes under his belt, wrote to Jaeger bemoaning the lack of financial reward he had received for his works.

Within ten days of his letter, Elgar sent to Novello a short piece for violin and piano which he called Evensong, although he suggested to the publisher that they might prefer the name ‘Vespers’. In the event, believing that French titles sold better, they published it as Chanson de Nuit. Elgar no doubt regarded it as little more than a pot-boiler, a quick way of earning much-needed funds, although the work contains a depth of sincerity and emotion not commonly found in pot-boilers then or since.

In 1899, shortly after completing the orchestration of the Enigma Variations, Elgar sent to Novello another short piece for violin and piano. He claimed to have recently rediscovered and completed it, having originally intended it as a companion piece to Evensong. He therefore suggested that they publish it as Chanson de Matin, which they did. In January 1901, Elgar sent Novello orchestral arrangements of the two works. This helped accelerate their rising popularity, and it is in this form that they are usually heard today.

Programme note courtesy of The Elgar Society

Conrad Asman (born 1996) LPO Young Composer 2021/22

The Diary of Phileas Fogg (world premiere)

Commissioned for the LPO Junior Artists

You can hear lots of different characters from aspects of [Phileas Fogg’s] journey, that come out quite strongly in the music.

Haniya (harp), LPO Junior Artist