Here’s how our Principal Second Violin, Antonia, prepares for a concert day when it involves a lot of Mozart.

What’s your approach to interpreting works by Mozart – does it differ to other orchestral composers?
When preparing a Mozart programme, my approach begins – much like with any repertoire – by exploring a range of recordings. I particularly enjoy listening to orchestral interpretations from different decades, as the stylistic choices can vary significantly and offer valuable insights. Once I’ve identified a version that feels stylistically aligned with how LMP might approach the piece, I often play along with it. This is especially useful as a second violinist, since we frequently take on an accompanying role. Playing alongside the recording helps me internalise the phrasing and understand how our lines support and interact with the melody. Fortunately, Mozart’s second violin parts are generally less technically demanding than those of later composers like Tchaikovsky or Shostakovich. As a result, I tend to focus more on listening and stylistic preparation for Mozart, whereas with more technically complex works, I might devote more time to practising and navigating the challenges of the part itself.