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Registered Charity
No.1075787 |
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| About the London Chamber Music Society |
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| From South Place to Kings Place… |
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| ‘…a unique and historic achievement… the vision and tradition of this great institution which is still being carried on….’ |
Sir John Barbirolli, writing on the Concerts in 1969 |
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The Kings Place website has a video demonstrating the brilliant accoustics in the new Hall One. Link to this entry, choose the third item:"The Auditorium Awakes." |
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Kings Place Hall One, London N.1 9AG |
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The superb new concert hall at Kings Place - the first new one in London for 25 years designed specifically for chamber music and other small ensembles - opens an exciting new chapter for the London Chamber Music Society, which can trace its origins to the Peoples Concert Society of Victorian London in the 1870s, the regular Sunday concerts that developed at South Place from 1887 and then the Conway Hall from 1929. |
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The legacy of the Sunday concerts is special, and the Series has long been part of the musical life-blood of London. In 1899 they presented the London premiere of Tchaikovsky’s Souvenir de Florence, memorial concerts for Brahms in 1897 and the centenary of Mozart’s death in 1891. George Bernard Shaw wrote enthusiastically about them and the list of famous artists and ensembles appearing over the years reads like a ‘Who’s Who’ of 130 years of music, including Henry Wood, Frank Bridge, Albert Sammons, Samuel Coleridge Taylor, Goosens, Ysaye, Percy Grainger, Primrose, Harriet Cohen, Myra Hess, John Ireland and many more. Britain’s most celebrated string quartets have regularly appeared in the Series, from the Brosa and Amadeus to the Allegri, Lindsay and Chilingirian Quartets. |
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New music has always been important to us: the Series gave some of the first cycles of Dvorák’s quartets in the 1890s, Tippett’s quartets as early as 1945 at the Conway Hall, the 1949 Season witnessed the first British cycle of complete Bartók quartets and in 1965 a complete cycle of the (then) 10 Shostakovich quartets included the UK premieres of numbers 9 and 10 (brought over at Britten’s suggestion by Rostropovich).
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October 12th 2008 opens our Sunday evening series at its traditional time of 6.30pm. To mark this important new beginning, the first two seasons will celebrate some of the very best British chamber music for strings. As well as the new Thea Musgrave work, specially commissioned by The London Chamber Music Society to celebrate the opening festival, the autumn features music by Rubbra, Bridge, Maxwell Davies, Elgar, Britten, Peter Fribbins, Huw Watkins, Vaughan Williams and English masters of the Baroque, with much more to come in 2009 and 2010. Of course eighteenth and nineteenth-century favourites will continue to feature strongly in our programming too. |
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Peter Fribbins Artistic Director |
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Download/Read/Print a PDF file of the above from HERE (under construction) |
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| ... a recent review about Peter Fribbins and the LCMS |
'Since the appointment of Dr Peter Fribbins, composer, teacher and administrator, as the society's artistic director more than two years ago, there has been a wind of change and shift from the almost monolithic programming of the string quartet repertoire.
But whether all its members and patrons have embraced the changes, it has never been, since its inception in 1887 in Whitechapel, a stick-in-the-mud organisation. George Bernard Shaw, in his guise as the critic Corno di Bassetto, wrote enthusiastically about the society's Sunday night concerts, which featured in late Victorian times the London premiere of Tchaikovsky's Souvenir de Florence and memorial concerts for Brahms and, in 1891, the centenary of Mozart's death.
The LCMS, originally known as the Victorian People's Concerts Society, moved to South Place Chapel in Finsbury Park, and in 1929, under the name of South Place Concerts, to Conway Hall in Holborn, where with the support of the South Place Ethical Society, it still has its home.
But whatever the members' and patrons' viewpoint about the LCMS today, it cannot be denied that the Fribbins factor has resulted in more dynamic and adventurous programming that, as he says, "aims to preserve the heritage of chamber music, encourage new work and develop an entirely new and youthful audience for the society's concerts."
David Sonin, Ham & High, 2005 |
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