Why is the viola the butt of so many jokes? Does the viola deserve to be mocked, or is it the unsung hero of the orchestra? YolanDa Brown is joined by Martin and Minn to unpack the origins of viola jokes and demystify why violas so often get the short end of the stick - or should we say bow? But for Martin and Minn the viola’s status as a comedic goldmine sometimes has wider implications that aren’t necessarily positive, for example putting people off learning the instrument, affecting the way composers write for it, and annoying viola players on a regular basis. If you like a good viola joke, you’ll find plenty in this episode, proving that the viola can absolutely play first fiddle in the world of comedy…

#PitchMeClassical

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What makes classical music sound like classical music? And what does the word ‘classical’ mean anyway? YolanDa Brown is joined by Kristina and Mark to give their take on these big questions. They do their best to figure out where the line is between classical and non-classical music, whether film music is classical, and what makes classical music classical. And they attempt to pin down why the word ‘classical’ came to be used to describe this genre of music in the first place. Plus, Mark and Kristina each share three recommendations that they think demonstrate the breadth and variety of classical music - pieces that are ideal for anyone new to it! 

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Tails? Long black? Stilettos? A dinner jacket? Concert dress is an important part of the visual appearance of an orchestra, but what is the dress code, how flexible is it, and is it old-fashioned? YolanDa, Mark and Alice all have their preferences when it comes to what they like to wear on stage. This conversation covers everything from what happens when you ask a tailor to make you a new set of tails, whether you need to iron a shirt when only a sliver of it is visible, why orchestras dress the way they do, and common misunderstandings when it comes to pants and pop socks. Plus, how what you choose to wear on stage can give you confidence as a performer…

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Round of applause, please! YolanDa, Hugh and Simon evaluate the pros and cons of applause, sharing their experiences both in the concert hall and beyond. Why do we clap, when should we clap, and what’s the etiquette? Together they cover pieces where people clap when they shouldn’t, pieces where it simply feels wrong to show your appreciation by clapping, and rock and jazz concerts where it’s common to clap every few minutes. But this episode isn’t just about putting your hands together - they also discuss whether fish should be allowed in concert halls and the simplistic beauty of painting a shed. Plus, there’s fierce competition to work out who has the best-sounding clap in the end-of-episode quiz…

#PitchMeClassical

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When asked to name a classical composer, why does everyone always say Mozart? He’s one of classical music’s most famous composers (perhaps THE most famous), but does he deserve his reputation, and is he the G.O.A.T.*? YolanDa, Mark and Alice discuss Mozart’s high points and low points, his best pieces and his worse, and how he writes for different instruments. They also touch on what’s special about him and whether other composers are more deserving of fame. Plus, this episode’s quiz reveals strong opinions on which of his three names would make the best name for a pet…

*Mark has now learnt a new acronym.

#PitchMeClassical

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Welcome to Pitch Me Classical! Saxophonist and presenter YolanDa Brown and players from the London Philharmonic Orchestra pitch their thoughts on some of classical music’s most-asked questions, with plenty of chit-chat and laughter along the way.

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YolanDa Brown takes us through some of the best bits of Series 7. Why do trumpets transpose, and do they enjoy it? How has recording film music changed over the years? And what does retirement look like for orchestral musicians? 

Plus, singer Brindley Sherratt shares his top tips on preparing to sing an operatic role.

With trombonist Mark Templeton, violinist Minn Majoe, horn player Mark Vines, tuba player Lee Tsarmaklis, double bass player Simon Carrington, trumpeter Anne McAneney, bass Brindley Sherratt, clarinettist Thomas Watmough, conductor Ed Gardner, composer Colin Matthews, violinist Geoffrey Lynn, oboist Joan Graham, and bassoonist Gareth Newman.

That’s it for now from LPO Offstage. Thanks for joining us along the way and stay tuned as we’ll be back soon with a brand new podcast.

Produced by Tandem Productions for the London Philharmonic Orchestra. 

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YolanDa Brown sits down with three former LPO members - violinist Geoff Lynn, bassoonist Gareth Newman, and oboist Joan Graham - to explore retirement. 

When they retire, some musicians sell their instruments and never play a note again. Others reduce the amount of performing they’re doing to make more time for teaching. The former LPO members chatting to YolanDa today all approached retirement in very different ways.

Geoff, Gareth and Joan tell YolanDa what they miss about their orchestral years, share the pits and troughs of their careers, and share hints and tips for anyone who might be thinking about their retirement whether it’s decades away or fast approaching.

Produced by Tandem Productions for the London Philharmonic Orchestra. 

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YolanDa Brown joins composer Colin Matthews, Principal Conductor of the LPO Edward Gardner and flautist Juliette Bausor to revisit Gustav Holst’s most famous work, The Planets.

Faber recently published a new facsimile edition of Holst’s The Planets, edited by Colin Matthews, and today’s episode explores its significance and the unique insights that the original handwritten manuscript can give us. 

Colin, Ed and Juliette also talk to YolanDa about their favourite and least favourite movements, their thoughts on the speed you should play the big tune in ‘Jupiter’, and tips on how best to achieve the famous choral fade at the end of Neptune.

Plus, what happened musically when Pluto lost its status as a planet… 

Produced by Tandem Productions for the London Philharmonic Orchestra. 

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Today we’re dimming the lights, turning off our phones and filling up a giant bucket of popcorn to get the lowdown on music for film and TV.

Film score production has changed a lot in recent years, and LPO musicians timpanist Simon Carrington and tuba player Lee Tsarmaklis have seen it all; from Elmer Bernstein’s skilful, old school approach, to the meticulous modern day techniques of click tracks and multitrack recording.

Simon and Lee tell YolanDa about the film scores which soundtrack their earliest cinema outings and describe the joyful and awe-inspiring experiences playing the music of the legendary John Williams.

Plus, Lee and Simon reveal the soundtracks they wish they could have played on.

Be sure to listen to the Spotify playlist that accompanies this episode to inject some Hollywood dazzle into your day: https://open.spotify.com/playlist/6UuJau7Ew5d58hx4PbcO8g?si=b9970b912009443b

Produced by Tandem Productions for the London Philharmonic Orchestra. 

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