Michael Waldron & London Choral Sinfonia: 10 Years in 10 Pieces

To celebrate 10 years of IDAGIO, we’ve invited some of classical music’s most prominent artists to take part in a special series: '10 Years in 10 Pieces'. Each artist reflects on the past decade by selecting 10 key works that have shaped their artistic journey, presented in a thoughtfully curated playlist accompanied by their personal commentary. The London Choral Sinfonia is a vibrant professional ensemble revitalising choral and orchestral classics through world-class performances, bold commissions, and acclaimed recordings. Performing across London’s leading venues, the LCS champions emerging composers, overlooked masterpieces, and innovative projects that energise today’s classical music landscape.

Blake: Walking in the Air (from On Christmas Night)

As festive favourites go, this must be right near the top of the list for many people! I think The Snowman has a place in the hearts of all generations, and few pieces of film/television are so inextricably linked to their soundtrack. It was a joy to work with Malakai Bayoh on this, who brings all sorts of fresh colours to the solo line. This arrangement (by the composer) is richer and more expressive than others, and I think it brings an extra depth to the piece.

Rathbone: Coventry Carol (from O Holy Night)

There aren’t many Christmas carols which are sombre, dark and yet extremely popular. There’s something really beguiling about the Coventry Carol, and it probably provides a welcome antidote to a lot of overly-sweet Christmas music. I think Rathbone’s arrangement of this carol is brilliant. It’s very demanding for the choir, but not in a flashy or ostentatious way: he creates so many rich and sonorous textures for the singers, which makes it almost hypnotic to listen to.

Elgar: Nimrod (from Sword in the Soul)

There are few pieces of music more famous in the entire classical music canon. I often think that the sign of a truly great piece of music is when it can be transferred to a different instrument or scoring without losing any of its integrity. A bit like Renaissance keyboard music being played on a modern grand piano, or Stokowski’s transcriptions of Bach. Similarly here, transferring the music of Nimrod to voices only serves to shine a new - and equally sincere - light on this beautiful piece. I would argue the climax is even more thrilling heard sung than in the orchestral version.

Ralph Vaughan Williams: The Lark Ascending (from Colourise)

Here’s another example of re-orchestrating a masterpiece to great effect. Paul Drayton’s skilful arranging of Vaughan William’s orchestral accompaniment for choir is a real revelation. It’s challenging - and requires a large number of very capable singers - but the effect is incredible. I’ve performed this live every several times, and I always got extremely positive comments from the audience. Many say they hear more of the delicacy and intricacy of VW’s writing more clearly than in the orchestral version. I agree.

Arnold: Double Violin Concerto: III. Vivace - Presto (from The Music of Malcolm Arnold)

I’m extremely proud of this Arnold recording, which was a real labour of love researching and assembling. The biggest revelation was probably the substantial body of choral pieces Arnold wrote, nearly all of which had never been recorded before. I’ve chosen the final movement of the Concerto for Two Violins because I find this piece so incredibly thrilling and yet enigmatic. It’s incredibly taut from start to finish, but not without moments of great beauty. Jack Liebeck and Alexander Sitkokvetsky play the socks off it, and I still find it very exciting to listen to.

Faure: Cantique de Jean Racine (from The French Album)

We enjoyed recording this album in the appropriate surroundings of The French Church in Leicester Square, London. Much of the repertoire on the disc features the mountain-shaking organ there, but I was keen there should be moments of delicacy and refinement too. The Cantique is right up there as one of the most popular choral pieces in the entire repertoire. It’s almost always done with just organ accompaniment, so I remain really pleased we were able to record the version with strings and harp accompaniment. It’s incredibly beautiful, and I’m immensely proud of everyone who performs on this.

Ralph Vaughan Williams: Schmucke Dich (from Retrospect)

Another nod to a re-orchestration - here’s a little-known transcription of a Bach chorale by Vaughan Williams. The Retrospect album is a celebration of lesser-known Vaughan Williams (I’m surprised how much wasn’t known or recorded prior to this album). In-between some bigger and more substantial works on the album sits this gorgeous arrangement of an organ chorale prelude by Bach. In a masterclass of understatement, VW orchestrates the accompaniment across the string orchestra, giving the choral ‘hymn’ melody to a solo cello. It’s exquisitely played by Thomas Carroll.

Hough: Danny Boy (from Mirabilis: The Music of Stephen Hough)

Stephen is a childhood hero of mine. As a (lapsed) pianist, I devoured his recordings - and his own arrangements and transcriptions - as I was growing up. I was thrilled when the opportunity arose to collaborate on an album of his own compositions. The Missa Mirabilis - the centrepiece of the disc - I a thrilling display of virtuosity for both the choir and the organ. Amongst some smaller and more delicate pieces on this album is his beautiful arrangement of Danny Boy. It’s extremely simple, yet so skilfully conceived and executed. It avoids gimmicks and cliches in favour of genuine pathos and sincerity.

Pantcheff: Prayer of St Columba (from The Music of Richard Pantcheff, Vol. 2)

Celebrating contemporary composers is an important element to the LCS output. The collaboration with composer Richard Pantcheff has proved a fruitful and fulfilling partnership. Richard’s music has a genuine and original voice, and by the end of 2026 the LCS will be proud to have four albums of Richard’s music in its catalogue. The Prayer of St Columba is an intensely beautiful piece for choir and strings. Although relatively short, it immediately consumes the listener into a warm and comforting sound world. It’s an incredibly powerful piece in its own understated way, and deserves to be sung by choirs around the world.

Various: O Holy Night (from On Christmas Night)

By far the best (in my opinion!) Christmas piece of them all, O Holy Night had to make an appearance. So deep is my affection for this piece that one of the very first commissions by LCS was an arrangement of this carol by Max Pappenheim. It was recorded for the group’s very first album, the title of which also bears its name. In a fitting nod, the release of a second Christmas album - On Christmas Night - in our 10th Anniversary year features a technicolour version of this same arrangement, sung thrilling by superstar soprano Emma Bell.