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	London Classical Players - Wikipedia, the free encyclopedia
		From 1978-1992, the concertmaster of the London Classical Players was baroque violinist John Holloway
		Many of the players in the LCP overlapped with four other major HIP orchestral ensembles, the Academy of Ancient Music, the English Concert, the Orchestra of the Age of Enlightenment, and the English Baroque Soloists
		Ludwig van Beethoven: The Nine Symphonies, Virgin Classics 5619432 (reissue)
	en.wikipedia.org /wiki/London_Classical_Players (380 words)

	Classical Classics - Berlioz's Symphonie Fantastique, Classical Notes, Peter Gutmann
		In a rehearsal LP accompanying the original issue (on London CSA 2101), the musicians laugh out loud upon first hearing the sour sound, but, as Ansermet admonishes, these are not xylophones with pure tones but real bells with rich, complex harmonics that produce a darkly dissonant and utterly chilling impact.
		Roger Norrington and the London Classical Players (EMI 49541) were the first to apply this approach and still startle with their lean and classic sound.
		His fourth Fantastique (a 2000 London Symphony concert, LSO 0007), while generally adhering to the dynamics and tempos of the score, derives exquisite subtlety from its emotional reserve and superb playing.
	www.classicalnotes.net /classics/berliozsym.html (1780 words)

	Berlioz: Symphonie Fantastique, Gardiner conducting, Orchestre Revolutionnaire et Romantique (original instruments), ...
		Classical composers and performers have always been extremely sensitive to the aural setting surrounding their works, often customizing an entire piece to the particular qualities of the performers and location of the premiere.
		The trend seemingly culminated in the revelatory use of original instruments in the highly acclaimed 1989 recording by Roger Norrington and the London Classical Players (EMI CDC 7 49541 2).
		And limiting the goal of classical performance to an exact replication of the composer's aural image would result in nearly identical performances, an awfully boring and uninspiring prospect.
	www.classicalnotes.net /reviews/berlioz.html (632 words)

	Roger Norrington (Conductor) - Short Biography
		Such performances were at first accompanied by the London Baroque Players, but as the period of rediscovery moved forward, the London Classical Players became the normal partner.
		The London Classical Players leapt to world-wide renown with Roger Norrington’s dramatic performances of Beethoven symphonies on period instruments.
		He is closely associated with the London Philharmonic and the Orchestra of the Age of Enlightenment which has, since January 1997, taken over the work of the London Classical Players.
	www.bach-cantatas.com /Bio/Norrington-Roger.htm (484 words)

	Norrington and Co. embrace Schubertian rhapsody (Site not responding. Last check: 2007-10-08)
		The Egmont Overture, which opened the concert, had an understated excitement to it, the transparency of the Classical Players' sound giving it a special vigor.
		This may not have been a blood and guts performance, but it didn't have to be: the music spoke with a life of its own.
		Despite the suspenseful opening and colorful, even pastoral, sounds that permeated the work, the Classical Players' characteristic precision fell by the wayside during several passages, producing a mushiness that didn't go at all well with the music.
	www-tech.mit.edu /V110/N46/norrin.46a.html (483 words)

	Robert Levin - Biography
		On period pianos he has appeared with the Academy of Ancient Music, the English Baroque Soloists, the Handel & Haydn Society, the London Classical Players, the Orchestra of the Age of Enlightenment and the Orchestre Révolutionnaire et Romantique, with Christopher Hogwood, Sir Charles Mackerras, Nicholas McGegan, Sir Roger Norrington, and Sir John Eliot Gardiner.
		Robert Levin is renowned for his restoration of the Classical period practice of impro¬vised embellishments and caden¬zas; his Mozart and Beethoven performances have been hailed for their active mas¬tery of the Classical musical language.
		SONY CLASSICAL and the Sony Classical logo are registered trademarks of, and are used under license from, Sony Corporation.
	www.sonyclassical.com /artists/levin/bio.html (699 words)

	classical music - andante - roger norrington calls for banishing vibrato from the orchestra
		The music of such 19th-century composers as Brahms, Berlioz and Wagner, he argues, was intended to be played without the constant fluctuation of pitch that is now standard practice, and even such early 20th-century composers as Schoenberg and Berg wrote with a steady tone in mind.
		Norrington is one of a group of conductors, mostly British, who brought the performance of Classical- and Romantic-era repertoire on period instruments into the mainstream of the classical music marketplace during the 1980s and '90s.
		His Beethoven symphony cycle with the (period-instrument) London Classical Players for EMI/Virgin Classics is considered a landmark, though critical opinion of the set was and is divided.
	www.andante.com /article/article.cfm?id=19988 (434 words)

	The Philadelphia Orchestra - Program Notes
		His performances with the Choir were first accompanied by the London Baroque Players, but as the period of rediscovery moved forward, the London Classical Players became their regular partner.
		Norrington is chief conductor of the Stuttgart Radio Symphony and the Camerata Salzburg, and he is closely associated with London's Philharmonia and the Orchestra of the Age of Enlightenment, which has, since 1997, taken over the work of the London Classical Players.
		Although Vaughan Williams said that A London Symphony, the second of his nine essays in the genre, might better be called "Symphony by a Londoner," it does bear the sonic imprint of its geographical inspiration, most notably in the chimes of Big Ben that open and close the work.
	www.philorch.org /styles/poa02e/www/prognotes_20050331.html (3548 words)

	Sir Neville Marriner - Biography - AOL Music
		By that time, the Academy of St. Martin-in-the-Fields had been expanded from its original 13 players to 20 or more, including wind players, and was performing Classical symphonic works as well as Baroque material.
		For many years, before the arrival on the music scene of numerous authentic instrument ensembles and the resurgence in popularity of full-size orchestras, the Academy had much of the Baroque and Classical field to itself, along with the attendant credibility--they were perceived to have arrived at the definitive approach to a given piece of music.
		The Decca, London, L'Oiseau Lyre and Argo material (the Argo and L'Oiseau Lyre stuff has mostly been moved to London) tends to have a freshness that the later work does not, though the Philips and EMI performances can also display a level of confidence and boldness absent from the earlier recordings.
	music.aol.com /artist/sir-neville-marriner/102064/biography (1507 words)

	West Coast Baroque - Philip Kennicott
		From London, the unofficial capital of the movement, a steady stream of advances, both in terms of repertoire and artistic quality, has been eagerly snapped up by the public.
		The Renaissance and Baroque, once the traditional hunting ground of first-generation performers, have been pushed into the background as the Classical composers - Haydn, Mozart, and Beethoven - are explored, studied, and recorded.
		Figures such as Roger Norrington, leader of the widely acclaimed London Classical Players, are pushing the limits of so-called "early music" by performing and recording nineteenth century composers such as Berlioz.
	www.worldandi.com /specialreport/1990/october/Sa18221.htm (201 words)

	NPR's SymphonyCast: Biography of Sir Roger Norrington (Site not responding. Last check: 2007-10-08)
		When Norrington reached the era of the symphony in his researches, the LCP took on a life of its own and the Schütz Choir went into semi-retirement.
		The LCP leapt to world-wide renown, with Norrington's dramatic performances of the Beethoven Symphonies on period instruments.
		Norrington's work on scores, on sound, on orchestra size, seating and playing style, has had a profound effect on the way 19th century music is now perceived, and not surprisingly, he is in great demand by symphony orchestras world-wide.
	www.npr.org /programs/symphonycast/bios/norrington.html (516 words)

	classical music - andante - roger norrington meets the fabulous(ly inauthentic) philadelphians
		That's better than nothing (which is what Philadelphia would normally have) — particularly since this performance was played with infinitely more technical security than the London Classical Players had at their best.
		Norrington has somehow allowed the orchestra to find its own way into this mode of playing, aided by a re-arrangement of the instruments, with the violas and cellos dividing the first and second violins and the double basses fanned out across the back.
		The historical-performance crowd has talked for decades of phrasing in Classical and early Romantic repertory as a series of smaller, discrete units rather than the customary long, luxurious, ultimately inappropriate Wagnerian sense of line.
	www.andante.com /article/article.cfm?id=15909 (695 words)

	Amazon.ca: Syms Comp/Ovts: Music: Ludwig van Beethoven,Roger Norrington,London Classical Players,Yvonne Kenny,Patrick ... (Site not responding. Last check: 2007-10-08)
		Presto - Allegro - Yvonne Kenny/Sarah Walker/Patrick Power/Petteri Salomaa/The Schutz Chor Of London
		Beyond the (frankly not very shocking) shock of the unexpected (try Harnoncourt!) and the delicious piquancy conjured by the London Classical Players from their 'authentic' instruments there is little on offer - little depth beneath the shimmering surface.
		He and the London Classical Players definitely bring a "historically informed performance" (otherwise known as a period performance) approach to these overplayed works, and that's not to everyone's taste.
	www.amazon.ca /Syms-Comp-Ovts-Ludwig-Beethoven/dp/B00005A9O0 (2326 words)

	The Juilliard School - Press - Press Release
		With the Choir and the London Baroque Players (later the London Classical Players), he gave many innovative concerts and made numerous recordings for Argo/Decca, mainly of 17th-century repertoire.
		The London Classical Players leapt to worldwide renown with Norrington’s dramatic performances of the Beethoven symphonies on period instruments.
		Norrington’s work on scores, on sound, on orchestra size, seating and playing style, has had a growing effect on the way 18th- and 19th-century music is now perceived and he is in great demand as a guest by symphony orchestras worldwide.
	www.juilliard.edu /update/press/720current_releases_story.html (504 words)

	Norrington's sensitive reading of "Pastoral" at Great Woods (Site not responding. Last check: 2007-10-08)
		AT GREAT WOODS ROGER Norrington and the "authentic instruments" London Classical Players proved that there is no such thing as an "authentic interpretation" of a musical work, only interpretations which bring a composer's spirit to life and those which pass it by.
		The most remarkable performance of the evening was of Beethoven's Symphony No. 6, "Pastoral." It was remarkable for its surprising departures from the recording of the same symphony by Norrington and the Classical Players, released earlier this year.
		Norrington is known for his fast Beethoven tempi, which he says conform to the composer's desires as indicated by metronome marks on the score.
	www-tech.mit.edu /V109/N31/norr.31a.html (441 words)

	Sir Roger Norrington (Site not responding. Last check: 2007-10-08)
		The eminent conductor Sir Roger Norrington‘s work on scores, sound, orchestra size, seating and playing styles has had a significant effect on the ways that eighteenth and nineteenth century music is now perceived.
		From his early career as founder of the Schütz Choir, which began his exploration of historical performance practices, to his numerous performances and recordings with the London Classical Players, Norrington led the period of rediscovery.
		He is closely associated with the Philharmonia and the Orchestra of the Age of Enlightenment, which has taken over the work of the London Classical Players.
	www.cincinnatisymphony.org /Musicians/GuestArtists/Norrington.asp (207 words)

	Making New Music Old Style
		In the 1980s, Sir Roger Norrington and the London Classical Players -- an orchestra he founded in 1978 -- pioneered the use of period instruments and won many admirers.
		But the Players' brisk tempos, lean textures and astringent period-instrument sonorities -- particularly in Beethoven symphonies -- shocked many at the time.
		Today, Norrington is chief conductor of two modern-instrument orchestras -- the SWR Stuttgart Radio Symphony Orchestra and the Camerata Salzburg -- and regularly leads London's period-instrument Orchestra of the Age of Enlightenment (into which the London Classical Players merged).
	www.themoscowtimes.com /stories/2002/11/22/105.html (258 words)

	The Alcina Ensemble: About the Players
		Timothy has specialised on the baroque cello for nearly 20 years performing and recording with many of the London based period orchestra groups including The Orchestra of the Age of Enlightenment, The English Concert of which he is a permanent member, The Academy of Ancient Music and The Sixteen.
		In the 80s he was part of the pioneering group The London Classical Players which recorded all the Beethoven Symphonies on period instruments for the first time.
		Layil is a co-director of Eclipse (www.eclipse-baroquefusion.com) and is a member of the early music ensembles Minerva and Siena, with whom she has performed in the Purcell Room, and made recordings of music by Salomone Rossi for the Classical Recording Company.
	www.snark.co.il /alcina/bios.htm (791 words)

	London Classical Players – Music at Last.fm (Site not responding. Last check: 2007-10-08)
		London Classical Players isn’t yet available to play on Last.fm radio.
		London Classical Players might not be making music anymore, but if they are, you can help keep other users informed by adding new events when they're announced.
		Music Journals on Last.fm You can be the first person to write a journal about London Classical Players.
	www.last.fm /music/London+Classical+Players (194 words)

	WFCR Public Radio for Western New England 88.5 FM - Daily Music Listings - March 16, 2004 (Site not responding. Last check: 2007-10-08)
		Listening online requires a Real Audio player, which can be downloaded free by clicking the link or the logo at the left (look for the "Free Real One Player" link at the top right of the download page).
		2:54 Wagner: Overture to Rienzi (London Classical Players/Roger Norrington) EMI Classics 55479
		3:46 Smetana: Vltava (The Moldau), from Má vlast (London Classical Players/Roger Norrington) Virgin Veritas 45301
	www.wfcr.org /OLD_WWW/031604.html (954 words)

	Roger Norrington - Bach Cantatas & Other Vocal Works - General Discussions
		I do want to point out that Gramophone and Classic CD consider the disc outstanding.
		Classic CD gave no mention of the instrumental support except for the oboe playing.
		If memory serves, Norrington's first record, now about 30 years old and on the Abbey label, was devoted to the music of Schütz.
	www.bach-cantatas.com /Performers/Norrington-Gen.htm (1094 words)

	Roger Norrington - Wikipedia, the free encyclopedia
		Sir Roger Arthur Carver Norrington (born March 16, 1934) is a British conductor best known for performances of Baroque, Classical and Romantic music using period instruments and period style.
		He worked as a tenor through the 1960s, and in 1962 founded the Schütz Choir (later the Schütz Choir of London).
		In 1978 he founded the London Classical Players (led by baroque violinist John Holloway) and remained their musical director until 1997 when he became principal conductor of the Stuttgart Radio Symphony Orchestra.
	en.wikipedia.org /wiki/Roger_Norrington (292 words)

	Reasons to be cheerful in the City Independent, The (London) - Find Articles (Site not responding. Last check: 2007-10-08)
		The annual festival has consistently excelled at classical music, and this year's programme looks as diverse as its names are talented - Paul McCreesh & the Gabrieli Consort, Felicity Lott, Viktoria Mullova, Oscar Peterson and Julian Joseph being just a few of those taking part.
		The festival opens on Tues with Roger Norrington conducting the London Classical Players in Smetana's M Vlast at the Guildhall, EC2.
		To enter the draw, call 0171 638 8891 tomorrow before 2pm, leaving your name, address and daytime phone no. It probably wasn't what John Major had in mind, but that elusive feel-good factor seems to be here at last.
	www.findarticles.com /p/articles/mi_qn4158/is_19960623/ai_n14045869 (296 words)

	WNYC - Evening Music with David Garland: Jupiter Rising (August 02, 2004)
		Few pieces of classical music have excited the imagination like Mozart’s Symphony No. 41 in C (also known as the “Jupiter” Symphony).
		Tonight, we’ll hear a recreation of this symphonic masterpiece with the London Classical Players, performed on instruments from Mozart’s time.
		Ending with a fugue of astonishing complexity and sounding almost modern to the ear with its passing-tone harmonies, the symphony has tempted many a conductor to "pump it up" with modern instruments in performance.
	www.wnyc.org /shows/eveningmusic_w/episodes/2004/08/02 (361 words)

	Classics Today.com - Your Online Guide to Classical Music
		Roger Norrington's disc of Rossini Overtures with the London Classical Players is highly entertaining, bringing performances of great energy and interest.
		There's also much witty solo playing from the LCP winds in La scala di sieta, and Norrington's timing perfectly catches those bow-on-music-stand effects in Il Signor Bruschino.
		To cap it all, the final gallop from William Tell (taken very fast) brings this attractive reissue to an exciting close.
	www.classicstoday.com /review.asp?ReviewNum=3540 (229 words)

	James Ghigi - Baroque Trumpet
		James Ghigi, born in Cambridgeshire England, studied at the Royal College of Music in London with Michael Laird, one of the great masters of the baroque trumpet.
		James Ghigi has always accompanied his playing with teaching at colleges such as The London College of Music, Morley College and Radley School Oxford.
		Currently he lives in Spain where he is regularly invited to play with groups such as the Seville Baroque Orchestra.
	www.pilarcabrera.com /programme/programme2.htm (131 words)

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