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]
Do You Think It's All Right
London Symphony Orchestra Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Do you think it's alright,
To leave the boy with Uncle Ernie?
Do you think it's alright;
He's had a few too many tonight!
D'you think it's alright?
I think it's alright, yes I think it's alright
These lyrics from London Symphony Orchestra's song "Do You Think It's Alright?" pose a question that is far from simple to answer. The mother is questioning whether it is appropriate to leave a young boy in the care of Uncle Ernie, who has clearly had too much to drink. The father answers with a simple "yes," seemingly brushing off any concerns the mother may have.
However, the lyrics can be read as a commentary on society's inability to protect its most vulnerable members. Uncle Ernie is portrayed as an unstable figure, and yet the adults in the boy's life are willing to leave him in his care. The question "Do you think it's alright?" becomes less about the specific situation and more about the larger societal issues at play.
Overall, the lyrics of "Do You Think It's Alright?" encourage listeners to question their own assumptions about what is acceptable behavior. They draw attention to the ways in which adults may fail to protect children, either due to ignorance or negligence. The urgency of the song's message is amplified by the haunting composition and delivery of the London Symphony Orchestra.
Line by Line Meaning
Do you think it's alright,
Mother is questioning whether it is acceptable or appropriate to leave the boy with Uncle Ernie.
To leave the boy with Uncle Ernie?
Mother is specifically asking if leaving the boy with Uncle Ernie is safe and responsible.
Do you think it's alright;
Mother is repeating her question to emphasize her concern and seek reassurance.
He's had a few too many tonight!
The boy has likely consumed alcohol in Uncle Ernie's care, causing concern for his safety.
D'you think it's alright?
Mother is asking for confirmation of her belief that it is not acceptable to leave the boy with Uncle Ernie.
I think it's alright, yes I think it's alright
Father sees no issue with leaving the boy with Uncle Ernie, despite Mother's concerns.
Lyrics © Sony/ATV Music Publishing LLC
Written by: PETE TOWNSHEND
Lyrics Licensed & Provided by LyricFind