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The Final Conductor's BowIn September 2020, US-born conductor Ryan Bancroft became principal conductor of the BBC National Orchestra of Wales. After six years of vibrant leadership, he concluded his tenure with a final Cardiff concert that demonstrated his quiet forcefulness on the podium and his deep connection with the orchestra. This performance marked not just the end of an era but a celebration of musical excellence and artistic partnership.A Program of Emotional ContrastsBancroft's final concert featured a thoughtfully constructed program that balanced light and dark, life and death. The evening opened with Stravinsky's Song of the Nightingale, a symphonic poem adapted from an opera and ballet. The piece, based on Hans Christian Andersen's story set in imperial China, featured exotic instrumentation including gong and celeste. The performance highlighted the poignant narrative of an emperor's infatuation with a real nightingale, later replaced by a mechanical version, creating a meditation on authenticity and artifice.The central work was Brahms's Double Concerto for Violin and Cello, performed by orchestra leader Lesley Hatfield and former principal cellist Alice Neary. Originally conceived as a peace offering to violinist Joseph Joachim, the concerto showcased the soloists' close rapport and chamber music-like finesse in their exchanges with the wind players. The final dancing rondo, with its theme referencing Joachim's Hungarian roots, transitioned from minor to major with grace, embodying the concerto's themes of friendship and reconciliation.Stravinsky and Rachmaninov: A Dialogue of ContrastsThe program paired Stravinsky's exoticism with Rachmaninov's Symphonic Dances, creating a dialogue between two different approaches to musical expression. Both works explore delicate balances between opposing forces – in Stravinsky's case, the real versus mechanical, and in Rachmaninov's, the sacred versus secular. The latter featured the composer's characteristic references to the Dies Irae countered by quotes from his Vespers, reflecting his Russian Orthodox heritage.Bancroft's relationship with the BBCNOW players was particularly evident in the central waltz of Rachmaninov's work, which flowed with 'infinite flexibility.' The conductor's attention to detail was highlighted by the precise observation of the tam-tam's lingering reverberation at the conclusion of the final dance, demonstrating his ability to extract subtle nuances from the orchestra.The Bancroft LegacySince joining as a last-minute replacement for a BBCNOW tour in 2018, Bancroft has established himself as a vibrant and quietly forceful presence. His six-year tenure has been marked by musical excellence and a distinctive interpretive approach that balances technical precision with emotional depth. The final concert served as both a summation of his artistic vision with the orchestra and a testament to the musical growth achieved during his leadership.The performance demonstrated Bancroft's ability to draw out the emotional core of each work while maintaining structural clarity. His approach to Stravinsky's exoticism, Brahms's complex counterpoint, and Rachmaninov's dramatic contrasts revealed a conductor with a comprehensive understanding of the classical tradition and the unique voice he brought to these familiar works.Preserving the PerformanceFor audiences unable to attend the final concert in person, the performance will be preserved through broadcast on Radio 3 at a future date and is currently available on BBC iPlayer. This digital accessibility ensures that Bancroft's final bow with the BBC National Orchestra of Wales can be experienced by audiences worldwide, extending the reach of this significant musical event.

The Wigmore Hall's 125th Anniversary Celebration Wigmore Hall, a renowned venue for classical music, marked its 125th anniversary with a special gala concert. The event was a partial recreation of the hall's inaugural concert in May 1901, which featured a starry lineup including Ferruccio Busoni and Eugène Ysaÿe. A Tribute to the Past The concert began with a performance of the national anthem, 'God Save the King,' followed by a new piano version of Thomas Adès' 2023 guitar piece 'Vesper (for Henry Purcell).' Adès also performed Beethoven's Op. 109 piano sonata, which showcased his dramatic and polished style. Musical Highlights Thomas Adès performed a new piano version of his 2023 guitar piece 'Vesper (for Henry Purcell)' and Beethoven's Op. 109 piano sonata. Louise Alder and pianist Joseph Middleton performed three Schubert songs, ending with 'Erlkönig,' which was almost like a mini-opera. Alina Ibragimova played the second half of Bach's first Partita for solo violin, in B minor, with freshness, precision, and elegance. Cédric Tiberghien joined Ibragimova for Beethoven's Romance in G and performed Brahms's Paganini Variations. The Venue's Legacy Wigmore Hall has a rich history dating back to 1901 when it was built by Bechstein, a piano manufacturer. The hall has continued to host concerts through the years, including performances by notable artists like David Bowie. Despite facing economic challenges, the venue remains a London home for solo recitals, chamber music, and song. Looking to the Future The Wigmore Hall's 125th anniversary festival continues until June 7, with all concerts being broadcast on BBC Radio 3 and available on BBC Sounds for 30 days. This celebration is a testament to the venue's enduring legacy and its commitment to showcasing classical music.

The Leadership Transition at LA PhilThe Los Angeles Philharmonic has officially announced Daniel Harding as its next music director, marking a significant transition in leadership for one of America's premier orchestras. The UK-born conductor, 50, will begin his tenure in the 2027/28 season with an initial six-year contract, succeeding Gustavo Dudamel who has led the orchestra since 2009.Dudamel will depart in August 2026 to become music and artistic director of the New York Philharmonic but will maintain close connections with the Los Angeles organization as its artistic and cultural laureate. This transition represents the end of an era for the LA Phil, which has flourished under Dudamel's leadership while also preparing for a new artistic direction.The New Musical VisionIn his new role, Harding will oversee programming across the entire organization, including presentations at the Walt Disney Concert Hall, the Hollywood Bowl, and the Ford. His conducting schedule will begin with eight weeks in his first season, increasing to twelve weeks in subsequent years. This comprehensive responsibility reflects the central role of the music director in shaping the artistic identity of the institution.Harding brings a distinct musical perspective to the position, with the orchestra's president and CEO Kim Noltemy highlighting his "intellectual curiosity, passion for bringing in and engaging with new audiences, global perspective, and talent for nurturing emerging voices." These qualities are expected to align with and potentially expand the LA Phil's mission in the coming years.A Legacy of Musical ExcellenceThe Los Angeles Philharmonic, founded in 1979, has established itself as one of the world's leading orchestras, known for both its traditional classical programming and innovative contemporary commissions. The orchestra has premiered works by composers ranging from Stravinsky and Schoenberg to Lutosławski and John Adams, cementing its reputation for musical adventurousness.Under Dudamel's 14-year tenure, the organization has achieved significant recognition, winning 11 Grammy awards for recordings. The orchestra's multiple performance venues—including the iconic Walt Disney Concert Hall designed by Frank Gehry—have made it a cultural cornerstone of Los Angeles, attracting diverse audiences from across the city and beyond.Harding's Distinguished CareerBorn in Oxford in 1975, Harding has developed an extraordinary conducting career that began remarkably early. As a teenager, he came to the attention of Simon Rattle, who hired him as an assistant at the City of Birmingham Symphony Orchestra. At just 21, he joined the Berlin Philharmonic as Claudio Abbado's assistant and became the youngest conductor in Proms history.His subsequent career includes 19 years with the Swedish Radio Symphony Orchestra and more than two decades with the Mahler Chamber Orchestra, which he helped found. Harding has maintained long-established relationships with major orchestras worldwide, including the Berlin Philharmonic, Amsterdam's Concertgebouw, and the Vienna Philharmonic. As an opera conductor, he has led critically acclaimed productions at Milan's Teatro alla Scala, Vienna State Opera, London's Royal Opera House, and at the prestigious festivals in Aix-en-Provence and Salzburg.A Unique Dual CareerWhat distinguishes Harding from most of his contemporaries is his parallel career as a qualified airline pilot. For the past few years, he has been piloting Airbuses for Air France while maintaining his conducting schedule. Harding has described this dual life as enriching, noting that "it's OK to take risks in concerts, because there it's safe to do so" and that "knowing another world, how other people work and having a completely different role is healthy."This unique perspective has informed his approach to music-making, with Harding stating that he "learned things about myself and conducting in a year that I didn't learn in 29 years before as a conductor." His first connection to the LA Phil came in 1997 when he conducted the orchestra at the Ojai music festival.The Transition PeriodIn the transition leading up to his official appointment, Harding will serve as music director designate, conducting the LA Phil in November 2026 and January 2027. These programs will feature wide-ranging repertoire including Brahms, Bernstein's Jeremiah symphony, Strauss's Also Sprach Zarathustra, and works by contemporary composers Thomas Adès and Betsy Jolas.The search process for a new music director was extensive, led by a committee including musicians, board members, and staff. John Lofton, bass trombone of the Los Angeles Philharmonic and search committee member, praised Harding's "exceptional level of focus and musical insight," noting that musicians value "his clarity, his respect for the orchestra and the way he invites us into the music."The Future of the LA PhilThe transition represents both an ending and a beginning for the LA Phil. As outgoing director Gustavo Dudamel expressed confidence that "the brilliance, heart and limitless talent of the LA Phil...will be in good hands under Daniel's musical leadership," the organization looks toward a new chapter.Esa-Pekka Salonen, the orchestra's creative director and former music director (1992-2009), expressed his hope that "the beauty, optimism and openness of Los Angeles proves as transformative for [Harding] as it has been for me." As Harding prepares to take the helm, the LA Phil enters a period of artistic evolution that will build upon its storied past while exploring new musical territories under his leadership.

The Discovery of a Lost Musical MasterpieceThe discovery of a new work by Ralph Vaughan Williams has set the world alight this week. In a box in the archives of London's Morley College, Elaine Andrews came across a previously unknown Vaughan Williams song titled "Before the Mirror," which sets a Swinburne poem inspired by a Whistler painting. The manuscript's workings, its crossings-out and corrections, offer a fascinating insight into Vaughan Williams's creative process, revealing music of surprising tonal adventure and expressive ambiguity written shortly after his marriage in 1897.The Vast Landscape of Lost Musical WorksBut a single song pales into comparison compared to the musical riches that may be lying dormant in libraries, archives and lofts all over the world. One of the most significant musical finds of all time was the treasure-trove of manuscripts by Florence Price found in a derelict house in Illinois in 2009, which included her two violin concertos, Fourth Symphony and dozens of other pieces. This discovery revealed not only wonderful music, but also pointed to the priorities – and prejudices – of music historians.The Systematic Erasure of Female ComposersThat discovery revealed not only wonderful music, but also pointed to the priorities – and prejudices – of music historians. The discovery of previous unknown manuscripts by the most familiar composers – a single page of Mozart, an exercise by Beethoven, a sketch by Haydn – often happen because historians know where to look for ephemera of lives whose every artefact has been combed over for centuries. But that had not been the case for Price, or for other composers who have been musicologically marginalised. Their work is supposed to be "lost" simply because no one had been looking for it.Rediscovering Forgotten Female VoicesThat's why some of the deepest holes in musical history – works that we know composers wrote and that were performed in their lifetimes, but which their biographies say are now "lost" – are by female composers. Francesca Caccini wrote more than 13 stage works in her lifetime in 17th-century Italy, but only one survives today. Caccini's dozen other operas may currently be "lost," but have researchers been looking for them as assiduously as they search for a page by Bruckner or a letter by Mahler?The Case of Joseph BologneThe same goes for at least three complete operas by Joseph Bologne, who lived an extraordinary life in 18th-century France, as composer, violinist, orchestral leader, fencer and soldier, becoming a colonel in the revolution's only all-black regiment. But Bologne's legacy suffered the prejudices of a culture that reinstated slavery and which erased his contribution to the revolution and to musical society after his death in 1799. Now that Bologne's work is at last finding its place there must be renewed focus on recovering these vital "lost" operas from the oblivion that they never deserved.Legendary Lost Works We Can Only Dream OfMind you, there is also lost music whose absence has been known of for centuries – we can only dream of what could be. Bach's St Mark Passion and scores of his cantatas, Monteverdi's Arianna and other stage works, the dozens of quartets and sonatas that Brahms threw out as unworthy, or Sibelius's Eighth Symphony, likely consigned to the flames by Sibelius himself.New Leadership in Classical MusicIn other classical music news, the Royal Scottish National Orchestra has announced that Lithuanian conductor Giedrė Šlekytė is to be their next music director, succeeding Thomas Søndergård from the 2027 season. The appointment comes after just two projects: a well-received week of Mahler's First Symphony, and a subsequent recording session. As the RSNO's chief executive Alistair Mackie said: "When she joined us last year, her musical ideas and the way she works with players spoke for themselves. Giedrė gives the orchestra room to breathe and to play."