Our musicians, and Kathryn McDowell, share some of their favourite moments of Sir Simon Rattle’s tenure as LSO Music Director (2017–23), from conga lines in the Barbican Hall to performing at Tate Modern.
‘On many occasions in interviews, Sir Simon has spoken about the unique qualities of the LSO, describing the Orchestra’s virtuosity, musical curiosity, quickness and pioneering spirit. But the real reason this partnership has worked so well is that Sir Simon himself has these same attributes in abundance!
Heartfelt thanks, Simon, for all that you have done for the LSO, especially during these recent challenging years when we have had to draw on all our energy and ingenuity to ensure we emerged even stronger than before.
Our relationship with Sir Simon has evolved gradually over a decade, reaching its fruition during the last six years as Music Director, and it will continue with many more great projects together in the years ahead with Sir Simon as Conductor Emeritus. There is much to look forward to as we move through the cycle of Janáček operas, and realise new commissions from John Adams, George Benjamin, Mark-Anthony Turnage and many more.’
Kathryn McDowell, Managing Director
2017: Bernstein’s Wonderful Town
‘When Simon programmed Bernstein’s Wonderful Town in December 2017, we decided to bring some festive spirit to the Barbican stage. During the piece, the First Violins slowly started adding flower garlands and headpieces, we poured glasses of champagne. Unbeknownst to us, Nigel Broadbent – who was retiring after that concert and had been a student at RAM with Simon – had secreted away a curly white wig!
As we launched into the Conga at the end of Act I, Nigel donned the wig, grabbed Simon’s baton, took to the podium and conducted the LSO. The players, singers and audience – many of whom were now part of a giant conga line – loved it, and I can’t imagine any other conductor who would have cried with laughter along with us. This unforgettable moment of pure joy and fun on stage will always remain firmly fixed in my memory.’
Maxine Kwok, First Violin & Vice-Chair
2018: Mahler Symphony No 9
‘I am spoilt for choice trying to pick one concert of Sir Simon’s tenure as Music Director as my favourite, but in the end, it has to be Mahler’s Symphony No 9, which we performed in the Barbican and also on tour another 15 times in 2018. It was the most poignant musical experience for me, especially as it was the first project that I came back to after my father passed away. Simon’s kindness to me and his ability to conjure the extremes of human emotion in the music made these performances unforgettable.’
Chi-Yu Mo, Principal E-flat Clarinet
2018: Gruppen at Tate Modern
‘For me, one day encapsulates Simon’s vision, courage and the sheer width and depth of his musicianship. It also typifies his ability to make possible that which is normally very, very difficult. In June 2018 we played Karl-Heinz Stockhausen’s Gruppen for three orchestras in the Turbine Hall of the Tate Modern Gallery in London. This was a heroic undertaking and for anyone else, would have remained a pipe dream. But for a fearless and far-sighted champion of all music like Sir Simon Rattle, this was meat and drink! The dream became a reality. Dear Simon, I loved playing Gruppen with you and the rest of your wonderful and endlessly varied repertoire.’
David Alberman, Former Principal Second Violin & Chair 2019–23
2020: Where’s Simon?
‘I remember a concert back in 2016 when the flute section (minus shoes for a quiet exit) stood around the edge of the orchestra to perform The Unanswered Question by Charles Ives. The piano stood centre stage and throughout the piece, Krystian Zimerman sat motionless, his hands on the keyboard. As the final chord of the Ives faded into nothing, his hands gently chimed the opening chord of Beethoven’s Piano Concerto No 4. The same chord. It was a breath-taking moment and typical of Simon’s willingness to try different things on the concert platform.
During the pandemic, when we were all trying to find ways to engage with people stuck in their homes, I was very glad indeed to have Simon appear on my computer screen, when my collaborator Victor Craven and I pitched the idea of the digital project, Where’s Simon? I cannot think of any other conductor who would be willing to film themselves at home on a mobile phone, ‘conducting’ an LSO made up entirely of digital avatars floating in a cyberspace concert hall. It was one of those moments when it was clear that for a relationship between conductor and orchestra to truly work, you need trust from both sides. We ended up with a lovely little digital young persons’ guide to the orchestra.’
Gareth Davies, Principal Flute & Chair 2016–19
2020: Bartok’s Duke Bluebeard’s Castle
‘Simon’s visits are always a highlight, but for me it was during the pandemic that I appreciated how special our relationship is. One particular concert still gives me goose bumps: Bartók’s Duke Bluebeard’s Castle, performed at LSO St Luke’s in September 2020 to a small audience seated in the balcony. We played on individual desks and were distanced from one another. At a time when we were all still feeling terribly isolated, this way of working wasn’t easy for any of us. Simon arrived with his calm, collected and no-fuss approach and it all suddenly felt like business as usual, even if there was nothing usual about it at all!
Soloists Gerald Finley and Karen Cargill were on magnificent form, and it was such a thrill and a relief to hear live singing again. Despite the smaller forces, with Simon’s attention to detail it felt as though the score was leaping off the page. The concert was first streamed in Japan and, when it was widely available late in the autumn, I have to admit that I watched it more than once!’
Sarah Quinn, Sub-Principal Second Violin & Chair
Images © Mark Allan, Doug Peters
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