FLA 1: Lev Parikian
(c) Triptych Music Photography
It was such a privilege to have Lev Parikian as my first guest on this series of conversations. He is a birdwatcher, an author, a musician, and a conductor, as well as one of the finest, most dryly funny tweeters I know.
One morning, in April 2022, we talked about his musical background and career, and about his First/Last/Anything musical choices, which encompass: one of the best-loved pop groups; a formidable and imaginative soloist and collaborator; and a pioneering composer in the world of animation.
We also discussed some of his experiences as a conductor, but we began by talking about his father Manoug Parikian (1920–87), one of the most celebrated British classical musicians of his day.
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LEV PARIKIAN
My dad was a violinist, so my early life was listening to him play the violin very, very well indeed. One of my memories is of sitting cross-legged on the floor of his music room, just listening to him practise. So that obviously goes in at a kind of deep level. There were times when he was away and not around, but at other times, he would be rehearsing with other very fine musicians, so there was music being made to a greater or lesser degree quite often.
And we had a record player, you know, so 33s and 45s and 78s, on which there would be things like Colin Davis Conducts the Highlights of The Marriage of Figaro, or Beethoven 9 conducted by… Karl Böhm, I think it was. But interestingly my dad wasn’t a recording fetishist; he made recordings, though not as many as he might have done, and he recorded quite a lot for BBC Radio 3, a lot of which has been deleted over the years. But when those were broadcast on the radio, he’d record them on reel-to-reel tapes. So, from the parental side of things, it was very much a classical upbringing.
But I was a child, this was the early 70s, and my brother is four years older than me, so I’d get influences from him, and we’d listen to Radio 1 and the Top 40 on Sunday afternoons. Later, by around 1977/78, my brother was very into new wave and punk, and played bass in a band, and I was twelve, thirteen, and had been listening to things like Genesis’s The Lamb Lies Down on Broadway. So suddenly I’m listening to Siouxsie and the Banshees and The Clash and the Ramones, and listening to John Peel at night, thinking, Okay, this is good music. And then my brother suddenly did a complete right turn, and started listening to funk and soul – and that has really stuck with me, I remain a big fan.
JUSTIN LEWIS
Were there crossovers between your parents’ taste in music and yours? Did your dad ever poke his head round the door, and go, That’s rather good?
LEV PARIKIAN
He never did that. I do remember that on Thursday evenings, he would sit down with us to watch Top of the Pops. He didn’t really go for it. And then, in my teens, I was getting into jazz. We had had these eight-track cartridges for car journeys – one by Louis Armstrong, and one by Herb Alpert and His Tijuana Brass – so I got it into my head: ‘Oh! He likes jazz.’ But I started getting into more outré, difficult jazz, and when Carla Bley (certainly more ‘difficult’ than Louis Armstrong!) was on the telly late one night on BBC2, I assumed because Dad listened to Louis Armstrong, he’d be well into Carla Bley. But he said, ‘I don’t really like it.’
Dad’s musical tastes really were straight classical. Mozart was revered above all else. But he was also a great champion of contemporary British classical composers.
JUSTIN LEWIS
So did he commission people with new works?
LEV PARIKIAN
He did – there were some commissions that were written with him in mind as a soloist: Sandy Goehr, Elizabeth Maconchy – and Hugh Wood (1932–2021), who died recently. Dad recorded his violin concerto in the early 70s, and while Hugh was writing it, he basically came on holiday with us! He was a bit Douglas Adams with deadlines. ‘If we spend two weeks with him, then he will have to [finish it].’
JUSTIN LEWIS
You didn’t have to lock him in his room, did you?
LEV PARIKIAN
No, we didn’t have to have a bodyguard for him, like Adams did! But I remember, much later on, ten, fifteen years later, Hugh wrote something for my dad’s piano trio, and that literally came page by page. Hugh was a lovely man. When I started conducting, with the Brent Symphony, our local amateur orchestra, he used to come to my concerts. This was at the church on the St John’s Wood roundabout, which was his local church. And after the first half he would come into the vestry, where I was changing, knock on the door, and say, ‘Very good, very very good…. So far…’ [Laughter] Puppy-like enthusiasm, but: ‘I’ve got my eye on you’. He became a friend of mine after Dad died. As I grew up, we kept in touch.
FIRST: ABBA: ‘Waterloo’ (Epic Records, Single, 1974)
JUSTIN LEWIS
So, where do ABBA fit into all this, then? How did you get to buy ‘Waterloo’ as your first record?
LEV PARIKIAN
1974, I was nine years old, and I had pocket money, and they had probably just won Eurovision, and it was being played everywhere, and I wanted to have my own record. We had some things knocking about that my parents had bought. But that’s not the same, you know.
JUSTIN LEWIS
It’s a decision you’ve made.
LEV PARIKIAN
‘This is my record.’ That ABBA choice has stuck with me, those early records of theirs I think of as my favourites. They can really divide people – I know people who say, ‘Oh god, they’re so tedious’ or ‘I hate that big sound’, but I always found them incredibly life-affirming and uplifting. I had no idea how they made that sound, and how they constructed their songs – but something about it definitely stuck.
JUSTIN LEWIS
Yes, the arrangements. I’ve come to realise that one of my obsessions is with arrangements, and yet it’s the aspect that is often overlooked. People tend to discuss lyrics, or the tune…
LEV PARIKIAN
Sometimes harmonies, ‘that’s a beautiful chord progression’, or the hook or ‘the middle eight’s brilliant’. For an obvious example with ABBA: ‘Dancing Queen’. The decisions that they make at every stage of recording that song, of how they’re going to build the sound. It’s multi-tracked, all sorts of things are producing that big, bright, completely infectious sound, and it’s quite hard work to build something like that. It’s not just going into the studio and playing and recording it and that’s what comes out. Instead, it’s voicing this, and doubling that line, even quadrupling it.
JUSTIN LEWIS
You know what one of the inspirations for ‘Dancing Queen’ was? It was that George McCrae record, ‘Rock Your Baby’.
LEV PARIKIAN
There’s nothing original under the sun, is there?! And around the same time as ‘Waterloo’, there was Cozy Powell. ‘Dance With the Devil’. And I just loved the rhythm of it, the drums.
JUSTIN LEWIS
Well, you became a percussionist…
LEV PARIKIAN
This is all foreshadowing! I was eight, so it obviously started somewhere. Because I was playing the piano a little bit, in a desultory kind of way. I started with the violin when I was four or five and that was a dead loss. Listening to my dad doing it, and thinking, Well I’m never going to be able to do that.
But with percussion, in the first instance, I think I got a term’s worth of free lessons because they were starting it up. I went to the local prep school in Oxford, I’d been singing in the choir, and they’d started teaching percussion lessons. I thought, A term of free lessons – great, and I get to hit things.
During my teens, I was dabbling with a drum kit – not well, but enjoying it – and I was playing timpani and percussion in orchestras. And then there was a sort of moment of revelation – I was about to do A levels, had been doing no work at all, was predicted really bad results. And I was playing in a concert, playing the timps and thought, Oh – this is good. I like doing this. I was already 17, 18. So I wanted to get into music college, but realised how good you have to be, to get in. So there was a period of hiatus, in between leaving school and going on to the Royal Academy. Playing in a jazz band with friends in Oxford where I lived – but also trying to get into music college to do classical percussion.
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JUSTIN LEWIS
Let’s talk about conducting. How did you make the leap from being a musician to being a conductor?
LEV PARIKIAN
I was studying at the Royal Academy of Music, and I wanted to be a freelance orchestral timpanist, percussionist, whatever. They’d also just started a jazz course there, and I was dabbling in that, and playing in the big band, but when you’re playing timpani and percussion, especially in the classical repertoire, you’ve got a lot of bars’ rest, a lot of time sitting around. So you could either be pissing around, which I did a lot, or just gazing into the distance. Or observing the orchestra and the conductor, and I don’t think I did it consciously, but I think I must have noticed the difference that conductors make.
We played Mahler’s First Symphony, and Colin Davis came to conduct it, and we’d been playing other stuff – not just with student conductors, but with the regular conductors of the Academy. And you just suddenly go: This sounds like a different orchestra. They’re the same people that were playing last Tuesday but suddenly it sounds like a better orchestra. How did that happen? Because it’s just one person at the front. So there was an interest there.
But also, I remember an earlier conversation with my mum, when I was going through my terrible teen years of doing nothing at all. I wanted to give up playing piano – I wasn’t getting anywhere, wasn’t doing any practice, and [my parents] were paying for my lessons and it was just kind of pointless. And my mum said, ‘Well if you’re not enjoying it, then obviously you shouldn’t be doing it, but it’s a shame because I think it’ll come in useful – because I think you’re going to be a conductor.’ And this is when I was fourteen.
JUSTIN LEWIS
That’s fascinating.
LEV PARIKIAN
Yes, it is, but I don’t know whether that implanted the seed in my head or whether she had the foresight... Whether she turned me into a conductor via a time machine, you know?
JUSTIN LEWIS
Have you ever analysed what you had that turned you into a conductor? Did people ever say, or have you worked out what you had?
LEV PARIKIAN
I don’t know. They might have seen that I was not dedicated enough to really master an instrument [laughs]. I was dedicated to playing percussion in orchestras, which is a slightly different thing. I think, also at that time the idea of being a solo percussionist – multipercussion and marimba and so on – was very fledgling and niche. But I just think they probably they spotted some sort of musical curiosity.
Being a drummer in a band meant being the driver of things, and I suppose that links to conducting. And in the same way that a really good drummer drives without being obtrusive, then a really good conductor will do a similar sort of role.
I also remember when I was about sixteen, I became fascinated by Stravinsky’s Rite of Spring, by the sound of it, the size of it. My dad had a shelf full of miniature scores, and he had a score of that. I couldn’t read scores at all and a lot of it’s really complex, but there’s one bit which is just kind of repeated chords, changing a few notes at a time, and I just played that over and over again at the piano, reading the different staves. So it was clear that I was interested in orchestras and that was the direction that it could go.
JUSTIN LEWIS
Studying music at A level was the first time I’d ever really seen full scores of things, which you’d follow as you listened. Prior to that, as a soloist or an orchestral player, you’d mostly only see your own part. Obviously you were listening to what else was going on and you’re watching the conductor or whatever, but you never really saw or heard what the conductor sees or hears, which is basically everything. As a conductor, you’re a director, but it’s like being a film director.
LEV PARIKIAN
Yes. And part of the job, if you’re equating it to directing a film or theatre, is to tell the whole story. There are different techniques at your disposal. On a pragmatic level, you’re the one that’s best placed to hear everything, because you’re standing in a position where the musicians are around you, and you don’t have an instrument underneath your ear. So you’re in the position that’s closest to what the audience is hearing. Often the job is just to make sure that the balance is right – it’s a producer’s job.
JUSTIN LEWIS
With the baton, it’s like you’ve got this series of faders.
LEV PARIKIAN
And of course the better the orchestra, the better their ability to do that for themselves and so the better your ability has to be. Obviously there’s spotting mistakes and correcting rhythms and encouraging certain facets of the music by what you say and what you do. But a lot of it is boringly pragmatic, in a sense! [Laughter] It seems kind of unromantic to say it – it’s so easy to think of the conductor as some sort of magician, with the tailcoat and a wand. What we do is so intangible, people might think, Oh it’s some sort of magic.
There is obviously an element of inspiration, personality on the music. But if you take away a conductor from most orchestras, even amateur ones that I mostly work with, you’ll see they can play pretty well without a conductor. Especially if the music is familiar, and it doesn’t have complex tempo changes, they can play pretty well at least 85, 90 per cent of the time, without a conductor. But then your job is to know: What is that 10 per cent? How can you add to it?
JUSTIN LEWIS
With non-professional or amateur orchestras, by the way – do we say ‘amateur’?
LEV PARIKIAN
‘Non-professional’ can encompass students and youth orchestras and so on as well. ‘Amateur’ is fine – a good thing in my view because it comes from ‘to love’ in Latin. Although, also as an amateur cricketer myself, I understand the connotations of the word amateur!
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LAST: FENELLA HUMPHREYS: Caprices (Rubicon CD, 2022)
(Extract: Niccolo Paganini: Caprice No. 24 in A Minor. Fenella Humphreys (violin)
JUSTIN LEWIS
This was one of my recent purchases too. It’s phenomenal, a collection of solo violin works, but I hadn’t realised it was crowdfunded.
LEV PARIKIAN
I was one of the crowdfunders. I have probably worked with Fenella more than any other soloist over the last ten years at least. So we’re friends, and we’ve always got on really well musically and socially – but I was thinking about what makes me want to keep working with her as an artist. She plays the violin brilliantly, that’s the first thing, but what makes her playing special is that blend of intellectual rigour and showpersonship – I don’t know if that’s really a word, and it’s clumsy, but you know what I mean – so she’s a performer.
There’s also that word ‘collegiate’, she’s a great collaborator. She gets the amateur orchestra ethos –she always plays with the musicians who happen to be in the room. She understands what we’re doing.
And Fenella is flexible and spontaneous, with strong musical ideas, and as a conductor and collaborator, I never worry, working with her, ‘Oh god, is this going to be okay? There are moments that in a spontaneous way can be quite exhilarating, but you just feel like you’re in safe hands and so you can just relax, and know that the musicians in the room play better as a result. And I think that’s quite a rare thing.
JUSTIN LEWIS
I first became aware of her when she was performing concerts from her home during lockdown. And then I discovered her recordings. I find it fascinating how some musicians just find a way to your heart. Because, obviously, there are loads of brilliant violinists but there are ones who you find really, really special, and you think, I really want to hear them play that concerto. And she’s one of them. (And that doesn’t mean the others aren’t good!) But I see the range and volume of repertoire she performs at concerts, and it’s completely different stuff at each one. Now, is that common? I don’t get the sense it is.
LEV PARIKIAN
Well, she’s pretty driven!
JUSTIN LEWIS
She must have the most incredible memory for a start.
LEV PARIKIAN
And it’s not that she’s taking these things on, and going to give them half measure. And my treat – and this applies to any concerto accompaniment – is I get to stand right next to it. There’s something quite special about standing next to a really good musician when they’re playing. And for me obviously the violin is extremely important because a good violin sound has been in my head for 50 years from my dad, so even though I don’t play myself, you know it when you hear it. And she’s got it in spades.
JUSTIN LEWIS
So with the Caprices album itself, I mean. What stands out for you? Can we discuss the sequencing? There’s so much variety.
LEV PARIKIAN
What’s great to see is so many young, contemporary, and living composers in there. It’s slightly disconcerting to see birthdates from the 1990s.
JUSTIN LEWIS
Yes, that keeps the ego in check. But with a number of names on that, I think, I must check more of their work out. And some surprising choices too. And Paganini himself, who I think sometimes gets a rough ride, gets dismissed as fluff.
LEV PARIKIAN
‘It’s all flashy.’
JUSTIN LEWIS
But I certainly don’t think that’s true of the 24 Caprices. I first properly heard them when I was about eighteen – I borrowed a CD out of the library, I think it was Michael Rabin’s version. First you hear the fireworks, and then…
LEV PARIKIAN
There is depth there, yes, and they are incredibly difficult and technical. They could just be this monumental technical exercise: ‘I can play these sixths, I can play the thirds, I can play the octaves…’ But to actually make a coherent musical piece, I think that’s an art as well. And that’s true of all 24 of them.
JUSTIN LEWIS
Fenella’s performance is just fearless. Completely liberated. And as well as the inclusion of the 24th Caprice, probably Paganini’s most famous piece of music, you get a sequence of brand new variations of that theme, each one contributed by a contemporary composer or artist. All extraordinary in their different ways. Rounding off with a gypsy jazz interpretation composed by Seonaid Aitken.
LEV PARIKIAN
Yes, the ordering on the disc is interesting. It’s great to see some people I know a little bit and have heard before and have followed their careers. It’s seeing her playing all this new music and just saying: this is great music and it all lives together. Like her Bach to the Future discs, this is innovative, interesting programming for a CD – it makes sense as an album. Listening through this with shuffle turned off is rewarding. It’s not just a case of: Here’s a nice one, and oh here’s another nice one.
ANYTHING: SCOTT BRADLEY: Tom and Jerry and Tex (Apple Music, digital download album, 2010)
Extract: ‘Tom and Jerry: Downbeat Bear’ (1956)
JUSTIN LEWIS
Obviously I’m familiar with the music of Tom and Jerry.
LEV PARIKIAN
If someone said, ‘Tom and Jerry music’, you can hear the shape of it, the feel of it, the character of it. In the 70s it felt like Tom and Jerry was on every afternoon. And the Christmas one, every year, and they were funny and brilliant, and fast and slapstick.
JUSTIN LEWIS
Did you know that before BBC1 started showing Tom and Jerry, April 1967, it had never been on television before, not in Britain anyway. Just cinema.
LEV PARIKIAN
Really? That’s fascinating. And because you watched the credits, you’d see Fred Quimby’s name, the producer, with that little flourish on the Y. And the name of Scott Bradley, who composed the music for all of them.
I don’t know a lot about composing music for cartoons, but what was brilliant about it, even at the time, was how the music fitted and dictated the action on the screen. You’d get BANG and what sounded like a swanee whistle but was actually two clarinets going up on a glissando, in semitones – or playing ‘the Petrushka chord’, I now understand! I was watching one of them earlier, ‘Putting on the Dog’, and there’s just a tiny little thing on the trombone when it goes boooeerrroom, and it’s the glissando bar from Stravinsky’s Firebird.
JUSTIN LEWIS
That’s a defining cartoon, ‘Putting on the Dog’. Certainly musically.
LEV PARIKIAN
He uses twelve-tone techniques in that as well. So he does Schoenberg – ‘here’s a bit of Schoenberg, but you don’t know it’s Schoenberg’ – and he’s got the Petrushka chord, twelve-tone stuff, and a bit of the Firebird, as well as these popular songs in great zippy arrangements.
JUSTIN LEWIS
You can hear ‘Old McDonald’ in there, and I noticed there was one Tom and Jerry cartoon called ‘Downbeat Bear’ from 1956, which seems to have not only a section of The Blue Danube in it, but also – fleetingly – ‘Rock Around the Clock’, which had just come out.
LEV PARIKIAN
And it all happens in two seconds, and it’s gone. And it’s all completely associated with the action on the screen, so it’s not him showing off, he’s demonstrating how to portray that moment of slapstick on the screen in music, which is all played with breathtaking brilliance by a group of twenty musicians. I know people who played in the John Wilson Orchestra who did that compilation at the Proms [2013]. And they said, ‘You have no idea how hard this is. This is the hardest music I’ve ever played in my life.’
JUSTIN LEWIS
I was watching the clip – rows of string players playing for their lives.
LEV PARIKIAN
And you don’t even realise it, because you’re watching Tom and Jerry. If I ever need to be cheered up, then that Proms clip is seven or eight minutes of pure joy.
JUSTIN LEWIS
I love that this music is so light on the face of it, and playful, but played seriously and absolutely straight. Have you ever had to conduct anything like cartoon music?
LEV PARIKIAN
For years, I had this idea we should play Tom and Jerry music live to the cartoon. But as far as I could find out there was no way to get hold of the musical materials – if they even existed at all. So the idea never came to fruition. But luckily John Wilson was rather more committed to the idea than me!
JUSTIN LEWIS
The Proms performance is a compilation, isn’t it. Helpfully itemised on YouTube.
LEV PARIKIAN
I’d still love to do it, but you need players of the highest calibre.
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JUSTIN LEWIS
As a conductor, what do you think is the biggest misconception about the profession?
LEV PARIKIAN
A lot of people simply don’t understand what a conductor does, why they exist, and what is difficult about it. And I include in that, not just non-musicians but also musicians – and also, dare I say it, some conductors. [Laughter] With a violinist, it’s obvious what the job is – you play the violin. With a writer, you write books, or plays, or sketches or whatever. But with a conductor, it’s not entirely clear what they’re doing and what would happen if you took the conductor away.
Do you remember the programme Maestro (2008)?
JUSTIN LEWIS
In which celebrities learned to conduct an orchestra.
LEV PARIKIAN
Yes, David Soul, and Goldie… and Sue Perkins won it, and they had the BBC Concert Orchestra playing. I know a few people who play in that orchestra, and one of them told me: ‘Obviously they’re making it for telly so it’s a broken-up process, but the one thing they never did at any stage was to just take all the conductors away and allow us musicians to play by ourselves without a conductor.’ Just to show people that this is what an orchestra can do – so the job of the conductor, especially as the playing level gets higher, becomes more about the ears, and is about how to get a group of people to play better – by whatever means that takes.
JUSTIN LEWIS
Reality TV covering music generally can be a problem, because it’s never about music, it’s about television. A completely different thing.
LEV PARIKIAN
They had quite a big audience on BBC2, and it was an opportunity to slightly demystify what the job is, but it didn’t seem to me that they really did that. And I can’t remember how many conductors they had on the panel, but they had orchestral musicians on the panel, so the focus was on the relationships between the mentors and the pupils, and the journey of the pupils. But it kind of underestimated its audience – it never actually addressed what they were doing and why. It never explained, ‘This is why this gesture doesn’t work, and why this gesture does work’, you know?
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JUSTIN LEWIS
We touched on this earlier, but in the 70s, you had pop over there, jazz over there, classical over there. They were like islands that weren’t connected. And now – they’ve almost connected round the back somewhere.
LEV PARIKIAN
I think this is a good thing, and speaking as a bloke in my mid-fifties, I've noticed that younger musicians in general I think are much more into cross fertilising in what they’re exposed to, the things they play, the things they listen to. That’s definitely changed since I was young.
At the Royal Academy in the early 80s, when I was studying timpani and percussion in orchestras, I was also interested in jazz. I was listening to quite a lot of funk and I remember listening to Level 42 quite a bit – partly because of Mark King’s bass playing. Their drummer, Phil Gould studied percussion at Royal Academy of Music a few years before me, and apparently, what happened – he'd put together a kit from a suspended cymbal and a snare drum and other bits, and started playing around, and the reaction was, ‘We don’t do that here.’
Meanwhile, this jazz course had been started by Graham Collier, who had also been instrumental in starting the [big band/orchestra] Loose Tubes. So that was a fledgling thing that I was well into, and I know several musicians, friends of mine who were also there as classical players, but were also in big bands and small bands. And nowadays I think it's just taken for granted that classical musicians will not just be interested in Mozart and Beethoven.
JUSTIN LEWIS
When I used to go to concerts, when younger, I used to find it quite a difficult experience in that I didn’t feel like I belonged there. To go now, you feel much more welcome. There isn’t that formalised restriction anymore. Sometimes, the musicians now will talk to you, introduce the music they’re going to play.
LEV PARIKIAN
For some players that can be quite a daunting thing. I do talk to audiences at concerts, sometimes very briefly, but fairly recently, I did a film music concert, with nine big pieces of film music, each one of them benefiting from an introduction. And for the last two minutes of any piece I’m conducting, my mind is already thinking: Okay. What am I going to say about the next piece? I didn’t want to do that nine times, so I thought of Neil Brand, because we were doing [Bernard Herrmann’s] Vertigo suite, which is his favourite thing – he’s done a whole thing on his YouTube channel about it. I thought, What this needs is Neil Brand telling us what the music is doing before we play it. It was brilliant – it just took the pressure off me, and he was focused on communicating the music.
But yes, musicians talking to audiences, even if we just say, ‘Uh, hello, thanks for coming. It's lovely to see you all. I hope you enjoy this. It's eight minutes long.’ [Laughter]
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Lev Parikian’s latest book, Light Rains Sometimes Fall, has just been published in paperback. His other books include Music to Eat Cake By, Into the Tangled Bank, and Why Do Birds Suddenly Disappear?
Much more at levparikian.com, and you can find him on Twitter as @LevParikian.
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FLA Playlist 1
Lev Parikian
Track 1
WOLFGANG AMADEUS MOZART:
Violin Concerto No. 1 in B-Flat Major, K.207: I. Allegro moderato
Manoug Parikian, Orchestra Colonne, Walter Goehr
Track 2
HUGH WOOD:
Violin Concerto No. 1, Op. 17: II
Manoug Parikian, Royal Liverpool Philharmonic Orchestra, David Atherton
Track 3
ABBA:
Waterloo
Track 4
COZY POWELL:
Dance with the Devil
Tracks 5, 6, 7
IGOR STRAVINSKY: Le Sacre du Printemps (1947):
Introduction / Adoration of the Earth / The Augurs of Spring /
Dances of the Young Girls / Ritual of Abduction
Pierre Boulez, Cleveland Orchestra
Track 8
NICCOLO PAGANINI:
Caprice No. 24 for Solo Violin
Fenella Humphreys
Track 9
SEONAID AITKEN:
Paganini Caprice No. 24 for Solo Violin Variation: Gypsy Jazz:
Fenella Humphreys
Track 10
SCOTT BRADLEY:
Tom and Jerry: Downbeat Bear
Track 11
SCOTT BRADLEY:
Tom and Jerry at MGM
Performed live by the John Wilson Orchestra,
BBC Proms, 26 Aug 2013 [not on Spotify, but see YouTube link above]
Track 12
BERNARD HERRMANN:
Vertigo – Prelude and Rooftop
Track 13
STUART HANCOCK:
Violin Concerto: I. Andante maestoso – Andante semplice:
Jack Liebeck, BBC Concert Orchestra, Lev Parikian
