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]
The Long and Winding Road
London Symphony Orchestra Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
That leads to your door
Will never disappear
I've seen that road before
It always leads me here
Lead me to you door
The wild and windy night
Has left a pool of tears
Crying for the day
Why leave me standing here?
Let me know the way
Many times I've been alone
And many times I've cried
Anyway you'll never know
The many ways I've tried
And still they lead me back
To the long winding road
You left me standing here
A long long time ago
Don't leave me waiting here
Lead me to your door
But still they lead me back
To the long winding road
You left me standing here
A long long time ago
Don't keep me waiting here
Lead me to your door
Yeah, yeah, yeah, yeah
The Long and Winding Road by the London Symphony Orchestra is a nostalgic ballad about a man longing for a lost love. The repeated phrase "the long and winding road" symbolizes the journey he has been on in search of his former lover. The opening lines suggest that the road will never disappear, foreshadowing the idea that his yearning for her will never fade. He has seen this road before, and it always seems to lead him back to her door.
The second verse recounts a "wild and windy night," which may signify the tumultuous nature of their relationship, and the rain that washed it away may represent the conflicts that ultimately drove them apart. The pool of tears left in its wake represents the man's sorrow and regret for losing her. He pleads with her to show him the way back to her, which suggests that he is lost without her and needs her guidance.
The final verse reinforces the idea that he has tried many times to move on from her but finds himself coming back to the "long winding road" that leads to her door. He pleads with her not to leave him waiting, symbolizing his urgency to be with her once again. The repetition of the phrase "yeah, yeah, yeah, yeah" at the end emphasizes his desperation for her love and his willingness to do whatever it takes to be with her again.
Line by Line Meaning
The long and winding road
The path that is not straight and easy
That leads to your door
Which takes me where you are
Will never disappear
It is always there
I've seen that road before
I've traveled it already
It always leads me here
It always takes me to you
Lead me to your door
Guide me to where you are
The wild and windy night
The stormy, unstable period
That the rain washed away
That was washed off by the rain
Has left a pool of tears
Has caused sadness and pain
Crying for the day
Hopeful for better times
Why leave me standing here?
Why am I feeling abandoned?
Let me know the way
Show me the path to follow
Many times I've been alone
I have experienced loneliness often
And many times I've cried
And I have shed many tears
Anyway you'll never know
However, you will never understand
The many ways I've tried
All the things I've done to be with you
And still they lead me back
But I keep coming back
To the long winding road
To that difficult path
You left me standing here
You abandoned me here
A long long time ago
A very long time has passed
Don't leave me waiting here
Do not make me wait anymore
But still they lead me back
Still, I am drawn back
Don't keep me waiting here
Do not leave me waiting
Lead me to your door
Take me to you
Yeah, yeah, yeah, yeah
Just an exclamation of emotion
Lyrics © EMI Music Publishing, Sony/ATV Music Publishing LLC
Written by: John Lennon, Paul Mccartney
Lyrics Licensed & Provided by LyricFind
@dandamonmusicproductions803
Wow! The greatest orchestral arrangement & performance of a song I have ever heard. From the singing violins, the full Body of the Cellos, the Pure woodwinds, the Dynamic Build to the chorus and modulation, and the Perfect Placement of the Horns toward the end, this portrays the 'Art of Music' at it's finest! Thank you for this 'Gem', Charo
@juanlaron5103
https://youtu.be/cWAk68sBrfo
@MannyboyLiwanag
5f5f5f
@MannyboyLiwanag
5f
@dandamonmusicproductions3722
Thankyou Charo,- With a full time career in music, 4 years later I still get thrilled listening to this wonderful arrangement. Do you know who the arranger of this version of the song was?.- Love to know. So Great of you for your keen awareness to post this version, Dan
@antonioszytulskyj8165
❤️When music doesn't need words (and the lyrics are poetry) perfect! ❤️
@juanlaron5103
https://youtu.be/cWAk68sBrfo
@michaelodonnell6078
A musical and visual treat...stunningly beautiful. Thank you.
@mars7952
Absolutely beautiful! Thank you.
@luizcarlosoliveira9531
Toca minha alma