Abbey Road at 80: Pictures of the Beatles and more at the iconic studios - Mirror Online Thank you for subscribing! Could not subscribe, try again laterInvalid Email From Star Wars soundtracks to The Beatles, the historic Abbey Road studios has played a key role in some of the most influential music of all time. Now, as part of their year-long 80th anniversary celebrations, the iconic recording studios in North London have been letting the public in for a series of talks. The Gramophone Company bought the Georgian townhouse for £100,000 in 1929, before opening it as a state-of-the-art recording studio in November 1931. Sir Edward Elgar conducted London Symphony Orchestra at the opening ceremony, and it was mainly used for classical recordings for the first few decades.

Edward Elgar with conductor, Sir Adrian Boult and an orchestra in 1932 (Photo: Getty) Violinist Sir Yehudi Menuhin and composer Sir Edward Elgar in 1933 (Photo: Getty) Miklos Rozsa conducting in 1974 as Abbey Road's importance to classical music continues (Photo: Redfearns) The London Symphony Orchestra recording in Studio 1 in 1993 (Photo: Redfearns) A long list of classic movie soundtracks have also been recorded at Abbey Road over the years, including five Star Wars films starting with Empire Strikes Back, the Lord of the Rings trilogy and Raiders of The Lost Ark. It was even used for propaganda recordings for the British Government during the Second World War, while the first British artist to record a No.1 hit single there was Eddie Calvert in 1954. But ever since 1958, when Cliff Richard recorded first European rock'n'roll single "Move It" there, Abbey Road has been intertwined in rock music history.

The Beatles are unquestionably the act most associated with Abbey Road, with the band having recorded 90 per cent of their output there with legendary producer George Martin at the helm. I like to Move It Move It: Cliff Richard records Livin' Doll on 28 April 1958 (Photo: Redfearns) George Martin, the Fifth Beatle, recorded hundreds of hits and misses. Photo circa 1960 (Photo: Reuters) Backstage: George Harrison with his first wife Patti Boyd in 1966 (Photo: Getty) Still going strong: Ringo Starr, Paul McCartney, George Harrison and George Martin in 1995 (Photo: Reuters) The band's first proper session in 1962 resulted in their first hit single Love Me Do while their final stint in 1969 saw them record their swansong album Abbey Road, named in tribute to the studio that had helped form their sound. The album's sleeve provided Abbey Road's most famous moment in the spotlight, featuring the Fab Four walking in line over the zebra crossing outside the studio.

The zebra crossing has become a tourist honeypot with visitors looking to replicate the album cover scene themselves - so much so that English Heritage has given it listed status. The Volkswagen Beetle parked next to the zebra crossing on the album sleeve belonged to one of the people living in a flat across from the recording studio. Not just any old zebra crossing: Outside Abbey Road in 1994 (Photo: Mirrorpix/Alisdair MacDonald) Not for turning: Thatcher walks across the zebra crossing in 1990 (Photo: Mirrorpix) Tourist draw: A Beatles tribute band pose on August 8, 2009, the 40th anniversary of the iconic photo (Photo: AFP) The original: The Beatles on the zebra crossing - and that Beetle car (Photo: PA) Where the Beatles magic happened: Producer George Martin and sound engineer Geoff Emerick in 1995 (Photo: Redfearns) After the album came out, the number plate was stolen repeatedly from the car. In 1986, the car was sold at an auction for $23,000 and is currently on display at the Volkswagen museum in Wolfsburg, Germany.

As well as revolutionising popular culture, the Beatles' time at Abbey Road saw the group help pioneer many new studio techniques, with such innovations as flanging (a delay effect) and eight-track recording appearing first on Fab Four records. It's not all about the moptops, though: Pink Floyd's multi-million selling Dark Side of the Moon, Radiohead’s breakthrough album The Bends and Oasis’s height of Britpop long-player Be Here Now are among the other notable records to have been cut at the studio.

Placards: The Beatles launch their One World campaign in 1967 (Photo: Mirrorpix) Our World was the first live TV satellite link-up to be seen by approximately 400 million people across five continents (Photo: Getty) All you need is love: The Beatles in 1967 (Photo: Mirrorpix) Ballooning success: The Fab Four in 1967 (Photo: Mirrorpix) Good day sunshine: Fresh-faced Paul McCartney in 1967 (Photo: Mirrorpix) Smile please: Ringo Starr in 1967 (Photo: Mirrorpix) Lend me your comb: A hirsute George Harrison in 1967 (Photo: Mirrorpix) Abbey Road's greatest hits | The Independent News Abbey Road's greatest hits As The Beatles' former studio faces closure, leading figures in music tell Mark Jewsbury what they think is the best album ever recorded there Sunday 21 February 2010 00:00 BST Click to follow 2/3 3/3 News last week that debt-ridden EMI might sell its much-loved Abbey Road studios spurred swift action from the composer Andrew Lloyd Webber and the National Trust

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Immortalised by the Beatles album to which it lends its name, Abbey Road is a landmark in 20th century music: Elgar conducted an opening performance in 1931, and at 16, the violinist Yehudi Menuhin recorded with the composer there. This weekend, discussions were already afoot for a rescue package. On Friday, on his BBC Radio 2 show, DJ Chris Evans played only songs recorded at Abbey Road, to raise awareness of the importance of "a musical landmark". Sir Paul McCartney has called for it to be saved. Ronan Keating and Craig David have both said they would move to keep the studios working. Keating said: "I back any campaign to save it and keep it going as a working studio." Norman Cook, aka Fatboy Slim, added yesterday: "Increasingly recording studios are redundant, but if one has to be saved it is Abbey Road." The studios in north-west London could be granted Grade II status as early as Monday, when Baroness Andrews, the chair of English Heritage, is to meet the Culture minister, Margaret Hodge. While the National Trust is also interested, EMI's reported asking price, in excess of £30m, will be an obstacle.

Whatever the outcome, as our panel shows, closure would cue the final chords of the soundtrack to British musical life. Barry Fratelli Dark Side of the Moon, Pink Floyd This has got to be my favourite Abbey Road album. It's my American Express: I never leave home without it. I only ever listen to it all the way through. There's something special about that complete piece of music that wouldn't make sense in any other order. Stephen Duffy, The Lilac Time Barrett, Syd Barrett It's easy to forget that Syd Barrett recorded there with David Gilmour, that from somewhere so far away came works of uncomfortable genius. I never liked Abbey Road but we need to keep some cool rooms open because you can't replicate it on a laptop. Anna Picard, music critic Brahms, Ein Deutsches Requiem; Norrington/London Mozart Players Ground-breaking in its day. A brilliant experiment. Tons of people have recorded classical works at Abbey Road. They had terrific producers and a reputation for hiring the very best editors.

Simon Price, Music Critic Never for Ever, Kate Bush; Notorious, Duran Duran If you are not a fan of The Beatles, Pink Floyd, Cliff Richard and The Shadows, the quality drops off quickly. I don't get the hysteria. I hope it is turned into student accommodation. It is a museum. I have been to studios that feel like studios and not a Madame Tussauds. Tjinder Singh, Cornershop Help!, The Beatles Help! is hard to beat; The Beatles at their most immediate and melodic. A real masterpiece. Abbey Road Studios are a noteworthy national pleasure. We risk losing something unique and special that generations have come to find fascinating and an inspiration. Green Gartside, Scritti Politti The Madcap Laughs, Syd Barrett It's revolutionary, inspirationally liberated and beautifully unravelled. Given the software plug-ins available today, the end of Abbey Road would be just another footnote in the irreversible reshaping of popular music. Paul Carrack, Mike + The Mechanics The Shadows, The Shadows The Shadows was the first album my elder brother John brought home. It was the inspiration for many a young lad to attempt to make up their own tunes on the electric guitar.

I played along to it over and over on a drum "kit" cobbled together from bits I found in the attic. It still sounds fantastic. Terry Edwards, Choir Director Atom Heart Mother, Pink Floyd I worked on this album as a session singer, along with a choir and the brass section of the London Philharmonic. But the stand-out sessions I've done there were working with John Williams. Incredibly, he somehow managed to control 100 players and 60 singers with no effort and in the most musical way. Chesney Hawkes The Beatles (White Album), The Beatles I nicked my dad's Beatles albums and put my name on them. I spent six months of my life at Abbey Road when I was 18 years old. There were rumours among the guys there that there is a bullet hole in Studio Two fired by John Lennon. I didn't see it, but I did look for it. Annie Lennox Magical Mystery Tour, The Beatles That's probably my favourite Beatles album. I was about 13 when it was released, and it had a massive impact on me.

One of my most special memories of Abbey Road is when I got to sing using the "special" microphone that Paul McCartney and John Lennon used. It's brought out only on rare occasions. Rod Argent, The Zombies With The Beatles, The Beatles For me, Please Please Me was recorded in a bit of a rush, so With The Beatles was the first proper Beatles record and meant the most to me. I have great memories of Abbey Road: we recorded Odessey and Oracle four days after Sgt Pepper, in the same studio and using the same tape machine. Imelda May, Singer Move It, Cliff Richard I was fortunate I got to record live at Abbey Road just a short while ago, actually 50 years to the day that Cliff recorded Move It. When you walk in you feel the history. It has one of the best sounds in all of England. That is the reason why so many recorded there. It made people sound so good. Craig David Late Orchestration, Kanye West Because his recording was orchestral, Kanye respected the studio. I feel the heritage of the place. It has been maintained by all those who go through, left untainted, and you feel that when you perform there. I feel strongly that it will be maintained.

Yusuf Islam, the former Cat Stevens Please Please Me, The Beatles With tracks like "Twist and Shout", "Love Me Do" and my personal connection to John's leaning towards the other world with "There's a Place", it was a world-changing moment. The Beatles' records capture the magic of Abbey Road. So glad I got to be there. Chaz Jenkins, Lso concert organiser Star Wars: soundtracks to Episodes I, II, III As of January 2010 the London Symphony Orchestra has made 726 recordings at Abbey Road. Its real strength is in soundtrack recording. If it were to close, a lot of recordings would be lost from the UK. It is the only studio that offers the scale needed for soundtracks. Phil Sommerich, Classical Music Magazine Elgar Cello Concerto with Jacqueline du Pré and the London Symphony Orchestra under Sir John Barbirolli It has such raw emotion and brilliant technique shown to the world with all the recklessness of youth. But these days, on the classical side at least, more albums are done on location. You are recording, not creating, so you no longer a need a studio.

Mike Batt, Songwriter The Last Emperor, soundtrack One of the most evocative soundtracks. Perfectly suited to Bertolucci's movie. You can hear Studio One's atmosphere in the more symphonic cues. The lower strings' resonance comes from the shape and texture of the Abbey Road acoustics. James Morrison, Arts Journalist Abbey Road, The Beatles Fittingly, the Beatles' swansong – with its last-minute cover in place of what had been intended as a glamorous overseas shoot – is, for me, their best album. The B-side is one of the most fantastically fluid continuous roller coaster rides ever committed to vinyl. Ben Ayres, Rough Trade Records Rubber Soul, The Beatles I love everything about it, right down to the artwork. You can hear the inspiration happening. I'm surprised at the rumoured sale of Abbey Road Studios. I would have thought that the sheer monumental role of Abbey Road in popular music and its role culturally would mean it would remain for future generations. Eddi Reader, folk singer The Bends, Radiohead It is the album I play to remind me to be creative. The sound of it is gigantic, vulnerable and mega-musical.

I got a chance to record at Abbey Road and looked for the cupboard that Paul, John, George and Ringo used to sneak into for joints. The music created in that studio earned this country billions and we'd be stupid to tear it down. More about: Elgar - The HMV Recordings | gramophone.co.uk Home » Reviews » Elgar - The HMV Recordings Elgar - The HMV Recordings Marking a historic occasion in the music world, this reissue of performances conducted and played by the composer has much personality, and good sound for its age View record and artist details Record and Artist Details Pomp and Circumstance, No. 1 in D (1901) Edward Elgar Composer Pomp and Circumstance, No. 2 in A minor (1901) Edward Elgar Composer Pomp and Circumstance, No. 4 in G (1907) Edward Elgar Composer Pomp and Circumstance, No. 3 in C minor (1904) Edward Elgar Composer Pomp and Circumstance, No.

5 in C (1930) Edward Elgar Composer (The) Dream of Gerontius, Prelude Edward Elgar Composer Land of Hope and Glory Edward Elgar Composer Pomp and Circumstance, No. 1 in D (1901) Pomp and Circumstance, No. 2 in A minor (1901) Pomp and Circumstance, No. 4 in G (1907) Pomp and Circumstance, No. 3 in C minor (1904) Pomp and Circumstance, No. 5 in C (1930) (The) Dream of Gerontius, Prelude Serenade Land of Hope and Glory Cockaigne, 'In London Town' Buy from Amazon With the magnificent Elgar Edition now deleted by EMI – three volumes of three discs each – it is good to have such an engaging sampling as this. It comes as a welcome supplement to the three separate discs, recently issued in the British Music series, which offer the two symphonies and other works.

In the HMV Classics series – with limited availability through HMV Shops and on the internet – this collection is designed to mark the closing of what is rightly described as the ‘most famous record store in the world’, the HMV Shop at 363 Oxford Street in London, originally opened by Elgar in July 1921. The accompanying leaflet has historic photographs taken in the 1920s, but what matters is the portrait of the composer that these generally lightweight items give. The five Pomp and Circumstance marches are taken from recordings of different vintages. The earliest, No 3, made in 1927, is thinner in sound than No 5, recorded in 1930 when it was new, and Nos 1, 2 and 4. Those are among Elgar’s last recordings, made with the BBC Symphony Orchestra in 1932 and 1933. As with the Cockaigne Overture, also performed by the then recently founded BBC Symphony Orchestra, the sound as transferred is splendidly full-bodied, the Elgarian trombones rasping out wonderfully well.

As for the performances, one can almost see Elgar’s great moustache bristling at the panache of the playing, and the delightful lilt he gives to such a motif as the Dvorakian theme in No 3. Broadly, as ever, Elgar favours speeds on the fast side, here and elsewhere, but then allows ripely romantic expansion in big expressive moments, as in the dedicated account of the Gerontius Prelude. Recorded live in 1927 at the Royal Albert Hall, that comes in limited but wonderfully atmospheric sound, leading on to the tenor’s first entry. Setting the seal on this issue are two of the shortest and most moving items – one of the strangely intense piano improvisations he recorded for HMV with uninhibitedly splashy playing, and the brief account of Land of Hope and Glory he recorded with the LSO for a Pathe newsreel at the opening of the EMI Studios in Abbey Road in 1931.

That brings a gruff but moving speech from Elgar: ‘Gentlemen, please play this tune as though you’ve never heard it before.’ That alone is worth the money.' Elgar - His Music : Pomp and Circumstance - Elgar's recordings POMP AND CIRCUMSTANCE Elgar's own recordings Elgar himself conducted four recorded performances of Pomp and Circumstance March No.1. The first was during his second acoustic recording session, on 26 June 1914, just weeks before the start of the Great War. The march was severely cut to a timing of just over four minutes and began with the trio tune so that none of its passages were cut. The work was played by some 30-odd musicians from various London orchestras, recruited for the session by The Gramophone Company. On the record label, they were dubbed the �Symphony Orchestra�. Elgar�s first complete recording took place during his first session with the new electrical recording system, on 27 April 1926 at the Queen�s Hall. The players were the Royal Albert Hall Orchestra. The second march was also recorded at this session, followed by Nos.

3 and 4 in 1927, and No. 5 (actually the first performance) in 1930. Elgar conducting - a still from the Pathe film On 12 November 1931, Elgar performed the trio by itself with the London Symphony Orchestra for the opening of EMI�s Abbey Road studios. The performance was captured on film by Pathe for release on a newsreel. This is the occasion when Elgar's remarks to the players were recorded. After being greeted by the orchestra, Elgar said: �Morning, gentlemen. Glad to see you all. Very light programme this morning. Please play this tune as though you�ve never heard it before.� On 7 October 1932, Elgar re-recorded the first two marches with the BBC Symphony Orchestra at the Kingsway Hall for a special Christmas release that year. Three recordings were made by Elgar of 'Land of Hope and Glory'. The first was in 1924, a 'live' recording made at the opening of the British Empire Exhibition at Wembley. The record was not released. Neither was a recording made in 1931.

A successful recording with the Philharmonic Choir had, however, been made in 1928, and has been reissued on CD in the Elgar Complete Edition, which also includes all his electrical recordings of the March. The 1914 recording is available on CD in a boxed set issued by Pearl of all Elgar's acoustic recordings. The number is CDS 9951/5. The complete Pomp and Circumstance marches conducted by Elgar are also available on HMV Classics, number 5 74001 2 Continue to : Abbey Road Studios | Wiki | Everipedia You can edit something on the page right now! Register today, it's fast and free. Abbey Road Studios .com Abbey Road Studios (formerly known as EMI Studios) is a recording studio at 3 Abbey Road , St John's Wood , City of Westminster , London , England . [3] It was established November 1931 by the Gramophone Company , a predecessor of British music company EMI , which owned it until Universal Music took control of part of EMI in 2012.

Abbey Road Studios is most notable as being the 1960s' venue for innovative recording techniques adopted by the Beatles , Pink Floyd , the Hollies , Badfinger and others. One of its earliest world-famous-artist clients was Paul Robeson , who recorded December 1931 and went on to record many of his best-known songs there. Towards the end of 2009, the studio came under threat of sale to property developers. However, the British Government protected the site, granting it English Heritage Grade II listed status in 2010, thereby preserving the building from any major alterations. [4] History Originally a nine-bedroom Georgian townhouse built in the 1830s on the footpath leading to Kilburn Abbey , the building was later converted to flats where the most flamboyant resident was Maundy Gregory . In 1931, the Gramophone Company acquired the premises and converted it into studios. Pathé filmed the opening of the studios when Sir Edward Elgar conducted the London Symphony Orchestra in recording sessions of his music.

[5] [7] In 1934, inventor of stereo sound , Alan Blumlein , recorded Mozart 's Jupiter Symphony which was conducted by Sir Thomas Beecham at the studios. [8] The neighbouring house is also owned by the studio and used to house musicians. During the mid-20th century, the studio was extensively used by leading British conductor Sir Malcolm Sargent , whose house was just around the corner from the studio building. The Gramophone Company amalgamated with Columbia Graphophone Company to form EMI , which took over the studios and dubbed them EMI Studios. It was under this name that in 1936 cellist Pablo Casals became the first to record Johann Sebastian Bach 's Cello Suites No. 1 & 2 at the command of EMI head Fred Gaisberg . The recordings went on to spur a revolution among Bach aficionados and cellists alike. [9] In 1958, Studio Two at Abbey Road became a centre for rock and roll music when Cliff Richard and the Drifters (later Cliff Richard and The Shadows ) recorded " Move It " there, [11] and later pop music material.

Abbey Road Studios is closely associated with the Beatles, who recorded almost all of their albums and singles there between 1962 and 1970 using the four-track REDD mixing console designed by Peter K. Burkowitz. [12] The Beatles named their 1969 album Abbey Road , after the street where the studio is located. The studio was renamed Abbey Road Studios in 1970 after the Beatles album had made it famous. [3] Iain Macmillan took the album's cover photograph outside the studios, with the result that the nearby zebra crossing has become a place of pilgrimage for Beatles fans . It has been a tradition for visitors to pay homage to the band by writing on the wall in front of the building even though it is painted over every three months. [3] December 2010, the zebra crossing at Abbey Road was given a Grade II listed status . [3] Pink Floyd recorded most of their late 1960s to mid-1970s albums here, returning only in 1988 for mixing and overdubbing subsequent albums.

The Shadows named their Live at Abbey Road album after the studio, with the cover spoofing the Beatles' album. Notable producers and sound engineers who have worked at Abbey Road include Sir George Martin , Geoff Emerick , Norman "Hurricane" Smith , Ken Scott , Mike Stone, Alan Parsons , Peter Vince , Malcolm Addey, Peter Brown, Richard Langham, Phil McDonald, John Kurlander, Richard Lush and Ken Townsend , who invented the groundbreaking studio effect known as automatic double tracking (ADT). The chief mastering engineer at Abbey Road was Chris "Vinyl" Blair, who started his career as a tape deck operator. In 1979, EMI commissioned the British jazz fusion band Morrissey-Mullen to record Britain's first digitally recorded single record at Abbey Road Studios. [3] [3] From July 18 to September 11, 1983, the public had a rare opportunity to see inside the legendary Studio Two where The Beatles made most of their records.

While a new mixing console was being installed in the control room, the studio was used to host a video presentation called "The Beatles at Abbey Road." The soundtrack to the video had a number of recordings that were not made commercially available until the release of The Beatles Anthology project over a decade later. [3] The Red Hot Chili Peppers used a photograph of the band walking across the zebra crossing naked (except for strategically placed socks) on the front of The Abbey Road E.P. , which was released in 1988. In June 2011, South Korean boy band Shinee performed at the studio as part of its Japanese debut showcase in partnership with EMI and the group's local record label SM Entertainment , becoming the first-ever Asian artist to perform in the studio. [3] In November 2011, Australian recording artist Kylie Minogue recorded some of her most famous songs with a full orchestra at Abbey Road Studios. The album called The Abbey Road Sessions was released October 2012. In September 2012, with the takeover of EMI, the studio became the property of Universal Music . It was not one of the entities that was sold to Warner Music as part of Parlophone .

Location Abbey Road Studios is a five to ten-minute walk from St. John's Wood tube station . From central London , it is accessible using the Jubilee line . When exiting the station, the visitor faces south at the junction of A41 (Finchley Road/Wellington Road) and Acacia Road (to the left)/Grove End Road (to the right). The studio is along Grove End Road, passing Waverley Place and Loudon Street on the right; addresses decrease in number along the way. As Grove End Road veers sharply to the left, Abbey Road is to the immediate right. The first pedestrian crossing is the crossing featured on the album. The studio, at 3 Abbey Road, is the unaddressed white building across the street between Hill Road and Garden Road. Recording and mixing consoles Studio 52: 24 Fader Solid State Logic Duality Film scores Abbey Road Studios got its start in the film scoring business in 1980 when Anvil Post Production formed a partnership with the studio, called Anvil-Abbey Road Screen Sound. The partnership started when Anvil was left without a scoring stage when Korda Studios were demolished.

It ended in 1984 when EMI merged with Thorn Electrical Industries to become Thorn EMI . Abbey Road's success in the scoring business continued after the partnership ended. John Williams and the London Symphony Orchestra used the studios to record the scores of four films from the Star Wars franchise beginning with Return of the Jedi in 1983. All three film scores for The Lord of the Rings film trilogy (The Fellowship of the Ring, The Two Towers and The Return of the King), composed by Howard Shore and performed by the London Philharmonic Orchestra , were mixed at Abbey Road Studios. The recordings themselves were done by CTS-Lansdowne Studios at their permanent studios in the old Watford Town Hall with engineer John Kurlander. All technical support by CTS engineers. All recordings up to 96 tracks were in the digital domain. James Horner had also frequently used Abbey Road Studios as his recording base when recording scores in the UK. Abbey Road sound engineer Simon Rhodes had for over a decade served as his scoring mixer, both when recording in Britain and in the U.S. Apple's iMovie 11's soundtracks of its trailers were recorded at the studio in early 2010.

Controversy over sale On February 17, 2010, it was reported EMI had put the studios up for sale because of increasing debts. There was reported interest by property developers in redeveloping the site into luxury flats. [19] It had also been reported there was a possibility the studios could be purchased by the National Trust [3] to preserve what was in effect a historical building. Sir Andrew Lloyd Webber was reported to have bid £30 million to purchase the studios but was turned down by EMI. [23] A Save Abbey Road Studios campaign attempted to ensure the premises remained a working studio. [4] On February 21 2010, EMI stated it planned to keep the studio and was looking for an investor to help finance a "revitalization" project. [27] [29] Meanwhile, the British government declared Abbey Road Studios a Grade II listed building which protected it from major alteration. [29] [4] The following December, the pedestrian crossing at Abbey Road was listed on the National Heritage List.

[4] Paul McCartney , speaking to BBC Newsnight on 16 February 2010, said there had been efforts to save Abbey Road by, "a few people who have been associated with the studio for a long time," although he did not name them or include himself among them. "I have so many memories there with the Beatles," McCartney said, "It still is a great studio. So it would be lovely for someone to get a thing together to save it." [4] Interior The interior of Abbey Road contains many different works of art; in 2011 a piece of art, by Birmingham-based artist Annemarie Wright , was added which featured a handwritten list of all the artists that had recorded at the historic venue. [4] Google has created an interactive virtual tour web app of the Abbey Road Studios.

[4] London Symphony Orchestra - Five things you didn't know about Elgar London Symphony Orchestra - Five things you didn't know about Elgar Five things you didn't know about Elgar Details Written by Izzi Blain Published: 20 April 2016 To commemorate the 100th anniversary of the Battle of the Somme, on 24 April Sir Mark Elder leads the LSO in a performance of Elgar’s The Dream of Gerontius. Alongside this, we launch Elgar Up Close , a BBC Radio 3 Lunchtime Concert series throughout April and May, showcasing the composer’s lesser-known works for strings. In light of this, we learn more about Elgar as a composer and a conductor, his relationship with the LSO, and some of his unique quirks. Elgar’s wife was a driving force in his career For many years Elgar made his living through a number of temporary jobs, such as teaching and conducting for local organisations. He married one of his pupils, Caroline Alice Roberts, in 1889.

Despite her family opposing the marriage, Alice had unwavering faith in Elgar’s ability and was a valuable help to him throughout his career, providing inspiration for some of his works, walking miles to post manuscripts and even painstakingly ruling bar lines on score paper. When she died in 1920, the driving force behind his work had vanished and Elgar struggled to regain any motivation to write music for a long time. Elgar and the LSO formed a close relationship Elgar conducted the LSO’s first tour in 1905 and the same year the orchestra premiered his Introduction and Allegro. This was the first of a number of premieres of his works given by the LSO, another of which was the Cello Concerto in 1919. After Hans Richter retired in 1911, Elgar was invited to fulfill the position of Principal Conductor, a post which he held for two years. His relationship with the LSO was unlike any other between a composer and an orchestra, and his wife Alice remarked that the players showed a ‘touching devotion’ to her husband.

He had an affinity for explosions Elgar hard at work in his laboratory In his spare time, Elgar would set up a chemistry lab in his basement where he especially enjoyed concocting an explosive mixture of phosphorus. The experiments were not always successful, however, and when on one occasion he made too much, Elgar disposed of the paste into the rain barrel beside his house. The result was an explosion that destroyed the barrel and flooded his yard with water. Less dangerous hobbies of his included golf and cycling and, surprisingly, he even sold his violin in order to purchase a billiards table. Elgar’s alter ego was a rabbit As well as a deep affection for dogs, Elgar adored a white rabbit, which was brought home by his daughter in 1905. They named him Peter as a tribute to Beatrix Potter’s character, and Elgar took great care of the animal, even going so far as to make sure the rabbit had a hot-water bottle for his hutch each night. Peter became Elgar’s alter ego, and references to the rabbit can be seen in Elgar’s works.

On the title page of the composer’s work The River it is described as a ‘Folk-Song, paraphrased by Pietro d’Alba – Peter Rabbit in Italian – and Edward Elgar.’ He even wrote letters to Peter, one of which said ‘Your idea – the vigorous entry of the drums – was splendid’, and when the rabbit died, Elgar admitted how ‘really grieved’ he was to have lost his ‘confidant and advisor Pietro d’Alba.’ Elgar's wife, Alice, with Peter Rabbit He supervised a recording from his deathbed In 1934 it became apparent that Elgar was dying. Fred Gaisberg, the artistic director of HMV, connected a landline between the composer’s bedroom and Abbey Road where the LSO was recording the Triumphal March and Woodland Interlude. The music was relayed directly to the composer, whose feedback could be heard coming straight from his bed. Elgar died 32 days later and the LSO was asked to play at his memorial service in Worcester Cathedral, performing selections from his last three oratorios with the Three Choirs Festival Chorus – testimony to the longstanding relationship between orchestra and composer.

Top photo: Elgar with the LSO at the opening of Abbey Road Studios in 1932 Elgar and wartime connections this Spring Sun 24 Apr 2016 7pm, Barbican Sir Mark Elder conducts Elgar's finest choral work, The Dream of Gerontius, marking 100 years since the LSO performed the work in the ' Festival Gerontius ', devised by Sir Henry Wood and Clara Butt to entertain the people of London amidst the chaos of Zeppelin attacks. Sir Mark Elder conductor BBC NEWS | Entertainment | Studio goes public for festival Studio goes public for festival by Caroline Westbrook BBC News Entertainment reporter Several photos of The Beatles are featured in the exhibition The public is to be given a rare glimpse inside London's world famous Abbey Road studios where The Beatles recorded many of their songs. The studio is playing host to the first ever Abbey Road Film Festival, paying tribute to some of the many film scores that have been recorded there over the past 25 years.

"We've decided to open the doors up so that all those people who write their name on the wall outside and use the zebra crossing can actually have an opportunity to come in for the first time in a generation," said David Holley, managing director of EMI Studios Group UK. The festival began on 17 March with a special screening of Raiders of the Lost Ark, which was the first film to have its score, composed by John Williams, recorded at the studio in 1981. Over the next 16 days a host of other films associated with the studio will be shown, including Braveheart, Notting Hill, Aliens, Brazil, Pink Floyd: The Wall and Backbeat, as well as the Lord of the Rings trilogy. The films will be shown in Studio One, where the Fab Four famously recorded All You Need Is Love. Studio Two, where the band made the bulk of their music, is also being thrown open to the public with a display of photographs of musicians and performers who have used the studio since its 1931 opening.

Zebra crossing The Beatles feature prominently in the exhibition, with snaps of Paul McCartney in the studio canteen, producer George Martin, and John Lennon and Ringo Starr recording Sgt Pepper's Lonely Hearts Club Band. Lord of The Rings' Peter Jackson and Howard Shore worked there Shots of veteran performers such as Gracie Fields, Dirk Bogarde and Noel Coward sit alongside images of director Peter Jackson and composer Howard Shore, working on the music for the Lord of the Rings films. Mr Holley said the studios were last opened to the public in 1982 when a control room desk was being changed. Both Studios One and Two were opened for a few weeks with a small exhibition of Beatles memorabilia on display. Mr Holley added the film festival would be a "unique chance to visit the studio". "This exhibition is new and being able to see a film in the room where its music was scored is unusual," he said. Custom-built The images were chosen by Nick Hornby, author of books including High Fidelity and About A Boy.

"He got involved in creating this," said Mr Holley, "so between me, our art director and Nick Hornby, we've come up with this selection." The studio, the first custom-built recording complex in the world, started life as a house but was purchased by EMI in 1929. Two years later it was opened, initially catering for artists on the EMI label. John Williams (right) scored Raiders of the Lost Ark at the studio The first recording was on 12 November that year, with Sir Edward Elgar conducting a recording of Land of Hope and Glory by the London Symphony Orchestra. It was also the place where legendary bandleader Glenn Miller made his last recording a few weeks before his plane went missing over the English Channel. Other acts to use the facilities in the studio's earlier days were Cliff Richard, Max Bygraves and Eddie Calvert. Decoration In the 1970s, it was opened up for use by artists other than those on EMI, and played host to the likes of Spandau Ballet, Simple Minds, Kirsty Macoll, XTC and Mike Oldfield. More recently Radiohead, Manic Street Preachers, Oasis and Gomez have all recorded there.

George Martin produced many of The Beatles' albums Since it took on film work, however, more than 200 films have been scored there as well - from blockbusters such as Interview With The Vampire, Apollo 13, Shrek and the Harry Potter movies through to smaller productions, including Brassed Off and Girl With a Pearl Earring. But despite being in high demand, the studios have had little renovation over the decades. "The decorations in Studio Two haven't changed at all, The Beatles even put the lights up in it," My Holley said. "The studio now is exactly what it would have looked like then, and you can almost sense the people who have been in here before." Elgar Symphony no.2 Larghetto - YouTube Elgar Symphony no.2 Larghetto Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later.

Published on Mar 29, 2012 The slow movement (Larghetto) from Elgar's Symphony no.2 Op.63, with the Hallé Orchestra conducted by Sir John Barbirolli (recorded 1964). The video also contains rare film of Elgar conducting at the Empire (later Wembley) Stadium, London on April 23 1924 and at the opening of the Abbey Road Studios, London, on November 12 1931, as well as other home movies of the composer. Category

Question: Which English composer conducted the London Symphony Orchestra at the 1931 opening of the Abbey Road Studios in London?
Answer: Edward Elgar