Registered Charity No 1100591

President Sir Simon Rattle

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Welcome

We hope everyone playing with the LMO will enjoy their time with the orchestra. While we try and anticipate the enquiries new players are likely to make, inevitably we won’t have covered every eventuality. Please don’t hesitate to ask any of the “regulars” if you need information about an aspect of the orchestra’s operation. If all else fails, you can always contact the Secretary. If there is anything else that might usefully be published here, please let the Secretary know.


The LMO’s formal documents, namely its Constitution and Members’ Handbook can be viewed on the links below as pdf files


LMO Constitution


Members’ Handbook


Rehearsals

Rehearsals save on Fridays and concert days normally take place in King David High School in Childwall.  There is car parking on site.  

Fridays will normally be at Liverpool College and again there is parking on site

Rehearsal details

Evening rehearsals usually commence at 19.15 and end at 22.00 and players are asked to make every effort to attend punctually. There has customarily been a break at some convenient point for tea/coffee - charge of 30p being made for beverages.  Players are asked to help clear chairs and stands from the rehearsal room as necessary at the end of the session and to leave the premises as quickly as possible to minimise inconvenience to estate staff. While there are some stands at the venue, it is wise to have stand with you.

Music stands

There are music stands at the rehearsal venue but not enough for everyone. Players are asked to have a music stand with them to - as they say - avoid disappointment.  THERE ARE NO MUSIC STANDS AT THE CONCERT VENUE.


Contacting the LMO on rehearsal and concert days

If it is important that you make contact with the orchestra on the day of a concert or rehearsal, use the following mobile number.

07713 159141


The final rehearsal takes place on the afternoon of the concert at the performance venue, usually commencing at 14.30 and ending at 17.30. Players are asked to leave extra time to ensure that they are at the venue and ready to play by this time. Late arrival for the final rehearsal is considered particularly inappropriate.

Rest and changing facilities are available on the first floor of the venue (ask a "regular" to show you) for use between the final rehearsal and the concert.  If you decide to go home between the rehearsal and concert, please be very confident you have the time to do so. Travelling to Liverpool and back at this stage is not recommended, given the various travel problems that can arise, especially with the tunnel.

Please make sure you are on stage 10 minutes before the performance time and keep an eye on the time at the interval to make sure you are in your seat for the second half. The venue is a complex place and it will not be possible to send out search parties for missing players.


Concert dress

Ladies – Long black dress/skirt/trousers (no leggings) with black top covering shoulders and midriff, black shoes (no open-toed sandals with bare feet, please).

Gentlemen - black trousers with black, long-sleeved shirt with the top button open.

Music

Please ensure that all music, including practice parts, is brought to the final rehearsal. Parts not required for the performance can be returned to the Librarian after the rehearsal. All other music should be left on the chairs at the end of the concert. These comments apply particularly to string sections where there are usually additional practice parts not used for performance.

Concert tickets may only be purchased through the venue box office.  See the link on our public site.

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Rehearsal attendance

In an ideal world, all players should attend every rehearsal and this should remain our expectation and goal. Absence should be exceptional not commonplace. However, we all have to accept that we are not in an ideal world and must understand that circumstances may arise that unavoidably and reasonably prevent individuals attending the occasional session.

That said, there have been occasions when attendance at rehearsals has been far from ideal and not what we were expecting from availability declarations. This causes confusion and often some embarrassment. Clearly fixers, section principals, conductors and indeed section members need to know who is expected for any given rehearsal. Fixers generally do a good job of keeping on top of this but even they are confounded at times by the apparent discrepancy between what people say they will do and what they actually do. Please try and make sure you respond to fixers as soon as you can and provide them with accurate information.

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Bowing Protocol

Below is the content of an email sent to all members on 3rd March 2010 - it has lasting relevance.

The committee discussed last autumn (2009) a number of ways in which to focus rehearsal time really productively.  In this context, and for the benefit of new members too, Andrew and Mark explain here their favoured process for sorting bowings within the strings.   John and I - for the committee - endorse this approach and we hope you will embrace it with verve.  


 “Mostly, when parts arrive they are already pre-bowed. These bowings are from reputable bodies such as the RNCM/Hallé/Camerata. By and large I keep the bowings as they are (after first testing them out to ensure they meet our style and technique). Naturally some bowings will be changed and sometimes are done so with a view to first ensuring they “work” before becoming ratified, i.e. tested out at rehearsal then embraced. Some bowing discussions are necessary with other section leaders and the conductor: we usually have a pre-rehearsal-cycle bowing get-together, and we all try to keep further discussion to an absolute minimum within rehearsals so as to make best use of the whole orchestra’s time.  

“When a bowing does change during a rehearsal, it is the responsibility of the inside player on each desk to get it from the desk in front and then send it back to the one behind. This is the most efficient way to effect the change and wastes least time. It may be that the conductor starts playing again while a bowing change has not yet reached the back – this is normal and it is absolutely fine for the inside player to be writing in the change while the rest of the orchestra is rehearsing.

“Despite our best efforts, there are times when bowings are altered late on in the rehearsal cycle and usually this reflects a need that has only emerged over time. While such changes can be a tad frustrating, they’re only made with the very best of musical intentions, and we do our utmost make as few as possible. I greatly appreciate it when players approach me (or other string section leaders) to discuss bowing changes during break times or otherwise outside time under the conductor’s baton: we all want to get it as “right” as possible while safeguarding playing time together.”

Best wishes

Anne Lund - Chairman

Mark Heron - Music Director

Andrew Winter - Leader

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Patron Scheme

The Orchestra has launched a Patron Scheme in the hope of attracting some of our followers to offer some financial support to the orchestra. Find out more on the main web site.