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]
Knowing Me Knowing You
London Symphony Orchestra Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Silence ever after
Walking through an empty house
Tears in my eyes
Here is where the story ends
This is goodbye
Knowing me, knowing you (a-ha)
Knowing me, knowing you (a-ha)
We just have to face it
This time we're through
Breaking up is never easy, I know
But I have to go
Knowing me, knowing you
It's the best I can do
Memories, good days, bad days
They'll be with me always
In these old familiar rooms
Children would play
Now there's only emptiness
Nothing to say
Knowing me, knowing you (a-ha)
There is nothing we can do
Knowing me, knowing you (a-ha)
We just have to face it
This time we're through
Breaking up is never easy, I know
But I have to go
Knowing me, knowing you
It's the best I can do
The lyrics to London Symphony Orchestra's song "Knowing Me Knowing You" explore the emotional turmoil of a relationship coming to an end. The first verse portrays a sense of emptiness and sadness as the singer walks through an empty house, tears in their eyes. They acknowledge that this is where their story ends and that they must say goodbye. The chorus repeats the phrase "Knowing me, knowing you" to express the mutual understanding that there is nothing more to be done, and they must face the fact that their relationship is over. The singer acknowledges that breaking up is never easy, but they know it's the best decision for them to make.
The second verse reflects on the memories that will always stay with the singer, both good and bad. The emptiness of the once-filled rooms serves as a reminder of what used to be, and the absence of children's laughter accentuates the loneliness they feel. The chorus reiterates that they both know the relationship cannot continue and emphasizes the finality of their separation. The lyrics leave listeners with a sense of sadness and resignation, reminiscent of the pain of a breakup.
Line by Line Meaning
No more carefree laughter
The happy times are over
Silence ever after
There is now only silence
Walking through an empty house
The house is now empty
Tears in my eyes
I am crying
Here is where the story ends
This is the end of our story
This is goodbye
I am saying goodbye
Knowing me, knowing you (a-ha)
We know each other well
There is nothing we can do
We cannot change the situation
We just have to face it
We must accept it
This time we're through
It's the end for us this time
Breaking up is never easy, I know
Breaking up is always difficult
But I have to go
I have to leave
It's the best I can do
Leaving is the best decision
Memories, good days, bad days
I will always remember the good and bad days
They'll be with me always
I will always have these memories
In these old familiar rooms
These rooms are familiar to me
Children would play
Children used to play here
Now there's only emptiness
Now there is only emptiness
Nothing to say
There is nothing left to say
Lyrics © Universal Music Publishing Group, Songtrust Ave, Warner Chappell Music, Inc.
Written by: Benny Goran Bror Andersson, Bjoern K. Ulvaeus, Stig Erik Leopold Anderson
Lyrics Licensed & Provided by LyricFind