More recently, its principal conductors have included Pierre Monteux (1961–64), Istvan Kertesz (1965–68), André Previn (1968–79) and Claudio Abbado (1979–88). From 1988-1995, the American Michael Tilson-Thomas took over, and in 1995, became principal guest conductor. Sir Colin Davis served as the LSO's Principal Conductor from 1995-2006, and in 2007 took the post of President of the orchestra. On 1 January 2007, Valery Gergiev became the LSO's Principal Conductor. Previn holds the title of Conductor Laureate. In 2006, Daniel Harding became the co-principal guest conductor alongside Tilson Thomas. Richard Hickox is the Associate Guest Conductor of the LSO.
The LSO became the first British orchestra to play overseas when it went to Paris in 1906. The LSO was due to sail on the RMS Titanic for a concert in New York in April 1912 but fortunately had to change the booking at the last minute. It was also the first to play in the United States, in 1912, and in 1973 it was the first to be invited to take part in the Salzburg Festival. It continues to make tours around the world.
In 1966 the London Symphony Chorus (LSC) was formed to complement the work of the LSO. with more that two hundred amateur singers, the LSC maintains a close association with the LSO; however it has developed an independent life, which allows it to partner other leading orchestras.
The LSO has long been considered the most extraverted of the London orchestras. For most of its life it refused to allow women to become members, ostensibly on the grounds that women would affect the sound of the orchestra (there has been a similar controversy at the Vienna Philharmonic Orchestra). There is an air of youthful high spirits to much of its music-making that is shown off in performances of such composers as Berlioz and Prokofiev. The LSO has often had internationally-known players as wind soloists, including such artists as James Galway (flute), Gervase de Peyer (clarinet), Roger Lord (oboe), Osian Ellis (harp), John Georgiadis (violin) and Barry Tuckwell (horn). Like most ensembles, the orchestra has a great ability to vary its sound, producing very different tone colours under such diverse conductors as Stokowski (with whom it made a series of memorable recordings), Adrian Boult, Jascha Horenstein, Georg Solti, André Previn, George Szell, Claudio Abbado, Leonard Bernstein, John Barbirolli, and Karl Böhm, who developed a close relationship with the orchestra late in his life. Böhm and Bernstein each held the title of LSO President in their later years.
Clive Gillinson, a former cellist with the orchestra, served as the LSO's Managing Director from 1984 to 2005, and is widely credited with bringing great stability to the LSO's organization after severe fiscal troubles.[1] Since 2005, Kathryn McDowell is the Managing Director of the LSO.[2]
Andante
London Symphony Orchestra Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
mândruțul meu m-o lăsat
Și s-o dus, și s-o dus, și s-o dus
În alt pat, tat tai tat tat tat, tai tat tat tat
Și m-o lăsat
În alt pat tat tai tat tat tat
Și m-o lăsat.
Rai dai
Ra di dai dai ra di
Ra dai dai ra di radi dai
În alt pat tat tai tat tat tat
Și m-o lăsat
Mândruțul meu, mândruțul...
My sweetheart, my handsome,
my handsome left me
And he's gone, and he's gone, and he's gone away
To another's bed, tat tat tat tat tat, tat tat tat tat
And he's left me.
To another's bed ... tat tai tat tat tat
And he's left me.
Rai dai
Ra di dai dai radi
Ra di dai dai ra di
Ra dai dai ra di radi dai
To another's bed ... tat tai tat tat tat
And he's left me,
My handsome, babe ...
The lyrics to London Symphony Orchestra's song "Andante" tell a tale of heartbreak and betrayal. The singer laments the loss of their beloved, who has left them for someone else. The repetition of "mândruțul meu" emphasizes the singer's affection and admiration for their sweetheart, making the pain of abandonment even more poignant.
The lyrics vividly describe the departure of the beloved, with the phrase "și s-o dus" repeated three times, emphasizing their sudden and complete disappearance from the singer's life. The mention of "alt pat" (another bed) suggests that the beloved has found comfort and intimacy with another person. The repetition of "tat tai tat tat tat" echoes the sound of a beating heart, perhaps symbolizing the emotional turmoil and heartache the singer feels.
The phrase "Rai dai" breaks the melancholy tone of the song, introducing a more upbeat and rhythmic section. It could be seen as a brief respite from the sadness, an attempt to find some joy amidst the pain. However, the repetition of "ra di dai dai radi" and "ra dai dai ra di radi dai" seems to reflect a sense of confusion and longing, as if the singer is desperately trying to make sense of the situation and find solace.
Overall, the lyrics of "Andante" convey a sense of heartbreak, betrayal, and longing. The repetitive phrases and contrasting emotions create a powerful narrative that showcases the depth of the singer's pain and their struggle to move on from their lost love.
Line by Line Meaning
My sweetheart, my handsome,
Referring to the person the singer is deeply in love with, emphasizing their endearment and physical attractiveness.
my handsome left me
The singer's beloved has chosen to end their romantic relationship and no longer be with them.
And he's gone, and he's gone, and he's gone away
Highlighting the repetition of the loved one's departure, indicating that they have left the singer's presence for an undetermined amount of time or permanently.
To another's bed, tat tat tat tat tat, tat tat tat tat
Implies that the person the artist cares for has found affection or physical intimacy with someone else, emphasizing the act through both repetition and onomatopoeia.
And he's left me.
Reiterating the fact that the artist has been abandoned by their beloved.
Ra di dai dai radi
Serves as a nonsensical vocalization, representing a melodic interlude in the song.
Ra di dai dai ra di
Continues the nonsensical vocalization, creating a smooth transition within the musical arrangement.
Ra dai dai ra di radi dai
Maintains the nonsensical vocalization, providing a musical flourish.
To another's bed... tat tai tat tat tat
Repeating the phrase from before, emphasizing the emotional pain caused by the loved one's actions and the image of them being intimate with another person.
And he's left me,
Reiterating the fact that the artist has been abandoned by their beloved, creating a sense of sorrow and longing.
My handsome, babe...
Reaffirming the singer's affectionate nickname for their lost love, underscoring their deep emotional connection despite the separation.
Lyrics © O/B/O APRA AMCOS
Written by: Béla Bartók
Lyrics Licensed & Provided by LyricFind