The Violin Channel recently caught up with Dame Kathryn McDowell, Managing Director of the London Symphony Orchestra (LSO), to discuss the release of its fourth album in the Panufnik Legacies Series with composer and conductor Jack Sheen.

Titled Panufnik Legacies IV, the release features new music by early-career composers of today. All the works are written by alumni of the LSO Helen Hamlyn Panufnik Composers' Scheme, which offers six composers the opportunity to write for a symphony orchestra annually. These composers are guided by composer Colin Matthews with support from composer Christian Mason.

 

 

Tell us about the Helen Hamlyn Panufnik Composers’ Scheme and its mission to present new composers to the world.

The Helen Hamlyn Panufnik Composers’ Scheme offers six early-career composers each year the opportunity to write for a symphony orchestra. Guided by renowned composer Colin Matthews and supported by Christian Mason, the scheme provides tailored mentorship, allowing composers to explore and develop their orchestral writing over the course of twelve months.

Each composer creates a three-minute piece, which is then performed by the LSO and discussed in a public workshop. From there, two of the composers are selected to receive further commissions — developing five- and ten-minute works that are premiered in concert by the LSO at the Barbican. The scheme not only nurtures orchestral composition skills but also builds lasting relationships between composers and the orchestra, launching many of them into successful professional careers.

 

This album is the fourth in the Panufnik Legacies series. Can you tell us about the composers being featured?

This fourth volume showcases composers who took part in the scheme between 2010/11 and 2019/20, offering a broad chronological and stylistic range. The album includes music developed during the scheme’s workshops, as well as works that were later commissioned by the LSO and featured in its main concert season.

Among the pieces is one by conductor Jack Sheen, commissioned through the scheme and featured on this recording. What’s truly special is the lasting connection that forms through the scheme—what we now refer to as the ‘Panufnik family’. Many alumni have gone on to international careers, with the LSO continuing to support, commission, and perform their work.

 

Who can apply to the LSO Helen Hamlyn Panufnik Composers’ Scheme?

Applicants must be aged 18 or over, have the right to reside in the UK, and be UK-based for the duration of the scheme (approximately 12 months). The scheme welcomes composers with a wide variety of musical backgrounds and approaches, particularly those who have not yet had a full orchestral work performed in concert by a professional orchestra.

We are especially keen to hear from individuals with distinctive compositional voices who have had limited access to professional development opportunities. This includes composers from a wide range of musical genres or from historically under-represented groups who are interested in writing for a symphony orchestra.

 

Why is it important to you personally to feature the work of living composers?

Music reflects the world around us. It expresses our most profound thoughts and emotions and speaks in a language beyond words. Composition is at the very heart of this—a lifeline that keeps music alive and evolving. Orchestras have a vital role in

transforming a composer’s vision from notes on a page into sound that fills the room and invites collective engagement.

Supporting living composers ensures that music remains a living, breathing art form. It keeps the tradition dynamic and relevant, allowing us to experience the concerns, ideas, and beauty of our time.

 

How does it feel to premiere all those pieces with the LSO?

It’s an immense privilege. The LSO has been premiering new works throughout its 121-year history—by British composers such as Adès, Bax, Britten, Delius, Elgar, Holst, Hannah Kendall, Knussen, Turnage, Tippett, Vaughan Williams, and Walton, as well as international figures including John Adams, Nono, Boulez, Takemitsu, Sophia Gubaidulina and John Williams.

The desire to explore, interpret, and bring new music to life is deeply embedded in the LSO’s DNA. Its musicians are naturally curious and open to innovation, which makes every premiere a genuine artistic adventure.

 

What are your hopes for the future of the "classical" music world?

The longevity and development of this scheme for composers has been possible due in large part to the extraordinary commitment of Lady Hamlyn and the Helen Hamlyn Trust. Their policy is to provide long-term support for programmes they believe in, thereby enabling the LSO to build and deepen the programme. Lady Hamlyn has recently taken the visionary step of endowing the programme with a major gift, which will ensure that the LSO can continue to support composers at the outset of their careers for decades to come.

Music is always evolving. New forms emerge through changing cultures, technologies, and perspectives. Classical music has a timeless quality, but it also thrives when it is in conversation with the world around it.

My hope is that classical music continues to inspire, challenge, and connect people—sometimes standing apart to highlight its heritage, and at other times engaging playfully and meaningfully with other genres. I want it to remain a space where musicians of all backgrounds can find their voice and where audiences can encounter both the familiar and the new.