Dmitri Shostakovich was one of the most influential Soviet composers of the 20th century, navigating a complex artistic life under intense political scrutiny. Born in St Petersburg in 1906, he showed prodigious musical talent from an early age and rose to international prominence in his twenties. His works often reflect the tensions of life in the USSR, blending satire and moments of profound introspection. Despite facing censorship and shifting political demands, Shostakovich created a vast catalogue of symphonies, chamber music, film scores and ballets that continue to resonate worldwide.

Composed in 1955 for the film The Gadfly, the suite showcases Shostakovich’s gift for vivid musical storytelling. The Overture opens with bright, spirited energy, driven by crisp rhythms. It captures the film’s adventurous atmosphere with a healthy dash of Shostakovich’s characteristic wit.

Samuel Coleridge-Taylor was an English composer and conductor whose music drew inspiration from both the European Romantic tradition and African-diasporic heritage. Born in London in 1875, he trained at the Royal College of Music and quickly gained acclaim for works such as Hiawatha’s Wedding Feast. Coleridge-Taylor was a passionate advocate for musical representation, forging connections with African-American communities during his US tours and incorporating diverse influences into his compositions. His lyrical writing and rich orchestration made him a prominent voice in early 20th-century British music.

The Othello Suite, written for a 1912 theatrical production, showcases Coleridge-Taylor’s flair for character and atmosphere. The opening movement sets the scene with dignified, dramatic writing, while the third movement offers a lively contrast, full of rhythmic charm and melodic freshness.

Coleridge-Taylor’s career was marked by his lyrical gift and ability to bridge musical cultures, establishing him as a key figure in Edwardian Britain. He composed across many genres including chamber music, orchestral works and songs. His legacy continues to grow as his compositions receive renewed attention and celebration today. Summer Is Gone is a reflective, tender song originally written for voice and piano. In this brass arrangement by Jim Maynard, the piece takes on a new colour and resonance.

Gustav Holst was a British composer best known for The Planets, but his output includes a wide range of choral, orchestral and educational works. Born in Cheltenham in 1874, he spent much of his career teaching, including at St Paul’s Girls’ School in London, where he wrote several pieces for the school’s ensembles. Holst drew on English folk traditions, modal harmony and inventive orchestration to create his distinctive – and compelling – musical voice.

The first movement of the St Paul’s Suite, composed for the school’s string orchestra, is lively and energetic, showcasing Holst’s affection for dance rhythms and folk-inspired melodies. Its bright themes and buoyant textures create an atmosphere of youthful vitality, making it a favourite in the string orchestra repertoire!

Louise Farrenc was a distinguished French composer, pianist and professor at the Paris Conservatoire, where she became one of the few women of the 19th century to hold a permanent teaching post. Born in 1804, she was admired by her contemporaries for her craftsmanship, elegant forms and command of Classical style. Although her music fell into relative obscurity after her death, recent decades have seen a revival of interest in her symphonies, chamber works and piano compositions.

Her Nonet, originally written for mixed chamber ensemble, is one of Farrenc’s finest achievements. Amy Crankshaw’s arrangement of the third movement for wind ensemble reimagines the piece’s rich textures and lively interplay, bringing its melodic charm and rhythmic vitality into a new sound world.

Percy Grainger was an Australian-born composer, pianist and folk song collector with a richly eclectic musical personality. After settling in Europe and later the United States, he developed a distinctive style that blended traditional tunes with inventive harmonies and bold rhythmic writing. Grainger’s fascination with folk music led him to collect and arrange melodies from across the British Isles, preserving them in characterful and often virtuosic settings.

Shepherd’s Hey is an arrangement of a traditional English Morris dance tune. In this wind band version arranged by Loras J Schissel, the piece bursts with Grainger’s trademark good humour. Its quick tempo and playful lines make it a joyful and uplifting concert feature.

Ye Banks and Braes o’ Bonnie Doon is Grainger’s tender arrangement of a traditional Scottish melody, often attributed to Robert Burns. Unlike his more boisterous folk settings, this piece showcases Grainger’s sensitive side. The arrangement evokes the calm beauty of the River Doon and themes of love and longing.

Caryn Wiegand Neidhold is an American composer and arranger whose works are widely performed by educational and community ensembles. With a background in violin performance and classroom teaching, she specialises in writing music that is both engaging and accessible. Her compositions reflect her belief in nurturing young musicians through vibrant, thoughtfully crafted repertoire, such as Zephyr.

Ayanna Witter-Johnson is a British composer, cellist and vocalist. A graduate of both Trinity Laban and the Manhattan School of Music, she moves fluidly between classical, soul, jazz and Caribbean influences, bringing her distinctive artistic voice to orchestras, chamber ensembles, theatre projects and her own solo work.

FAIYA! was first performed at the LSO’s BMW Classics concert in Trafalgar Square in 2022, and has been adapted by the composer for tonight’s concert. In Witter-Johnson’s own words: ‘The initial inspiration for FAIYA! was the story of Hans Christian Andersen’s The Red Shoes. I found a Magyar-Germanic version of the story and was taken with the idea of the young girl being seduced away from her own creative process by a pair of fine bright red leather shoes. It made me think of all the distractions of modern life that can seduce us away from our natural talents and unique pathways if we let them … Through the composition process, I realised that the foundation of the piece was rhythmical and dance-based, so I chose to bring in rhythms from my Jamaican heritage, weaving together traditional Nyabinghi rhythms with more modern Dancehall rhythmic influences.’

Damien Harron is a Northern Irish percussionist, composer and educator whose work spans contemporary classical performance, world music influences and collaborative music-making. A founding member of the ensemble BackBeat Percussion Quartet, he has toured internationally and composed extensively for percussion groups, youth ensembles and theatre projects. Harron’s writing often explores the physicality of performance in new and interesting ways.

Arturo Márquez is a celebrated Mexican composer known for integrating Latin American dance styles into symphonic music. Born in Sonora in 1950, he was influenced early on by the popular music performed by his father and the vibrant cultural life of Mexico. After studies in Mexico, Los Angeles and Paris, Márquez developed a personal style that blends classical forms with the rhythmic vitality of Latin dance traditions. His works are performed worldwide and embody a spirit of national pride.

Conga del Fuego is one of Márquez’s most exuberant compositions, bursting with the fiery rhythms of the Cuban conga. The piece builds momentum through driving percussion, bold brass lines and infectious syncopations that invite the listener into its swirling dance.

LSO Members & Friends

Belinda McFarlane violin
Sophia Kannathasan violin **
Alix Lagasse violin
Michelle Kolesnikov violin *
Mizuho Ueyama viola
Amanda Truelove cello
Tom Goodman double bass
Anton Avis double bass *
Sharon Williams flute
Helen Vidovich flute**
Lorraine Hart oboe
Lidia Moscoso Bernal oboe*
Ferran Garcerà Perelló clarinet
Joost Bosdijk bassoon
Stephen Stirling  horn
Sam Warburton horn*
Adam Wright trumpet
Paul Milner trombone
Carl Woodcroft tuba
Sam Walton percussion
Callum Speirs percussion*

* Member of Orchestral Artistry, part of the Guildhall Artist Masters programme

** Member of LSO Pathways

LSO East London Academy

First Violins
Jennifer Smith
Matteo Ishac-Araya
Destiny Oveto
Sham Hogan
Sofia Harris-Tafri

Second Violins
Chloe Zuiderwijk
Maddy Arnold
Anisa Jeler
Olivia McCollin
Rohan Dave
Viraj Dave

Violas
Jasmine Neguib
Angelo McFarlane-Green
Nafis Meah

Cellos
Dorrinda Kitaka
Nosheen Chowdhury
Iyannah Laville

Double Basses
Yannis Sissuh
Helena Thomas

Flutes
Krish Kainth
Zahra Morgan
Ada Gascoigne
Joel Dixon

Oboes
Aniss Mohammedi
Francis Curry

Clarinets
Si Ying Lin
Bea Branscombe
Paul Damien

Bassoons
Emily Burke
Max Liu

Horn
Elza Staniuk

Trumpets
Samuel Bryant
Milo Chernaik
Zakaria Chouaib
Kurtis-Kirk Owusu Asare

Trombones
Andrei Oprisan
Sylvester Sigg-Horan
Tommy O’Sullivan

Tubas
Kieran Dennis
Rebecca Niziol

Percussion
Zachary Goodwin
Ada Tunc
Tyler Henry-Lewis
Lidia Rotolo

With thanks to all the London Symphony Orchestra musicians, Guildhall School musicians and guest artists who have worked with the LSO East London Academy over the term: Julia O'Riordan, Angela Barnes, Katie Smith, Jonathan Hollick, Jim Maynard, Peteris Sokolovskis, Mabon Llyr Cynan Rhyd, Charles Campbell-Peek, Victoria Simonsen, Catherine Haggo, Takane Funatsu,  Dorothea Vogel, Desmond Neysmith, Eryna Kisumba, Emily Clark, Josh Law, Andy Harper, Trish Moynihan, Matthew Farthing, Maxwell Spiers, Shaun Thompson, Beth Higham-Edwards, Mark Alder Bennett, Daria Phillips, David Geoghegan, Lois Au, Jo Withers, Richard Lines-Davies, Jamie King, Aga Serugo-Lugo and Rachel Leach.