‘Ignition’ takes off on 31 May
- Fiona Thompson
- May 28
- 4 min read
Following the success of last year’s event, we’re delighted to put on another free concert for children in Pimlico, which has now sold out.
This year, we’re thrilled to announce we’re performing the world premiere of ‘Ignition’ by Ben Morales Frost. Written especially for the LCO, this four-minute piece embarks on a whistle-stop tour of each section and every instrument. It’s a tantalising introduction to the orchestra for young listeners who’ve never experienced live concert music before.
Ben is a brilliant composer who specialises in evocative scores for film, television, immersive experiences and theatre. You might have heard his music for Disney’s ‘The Castle’ and orchestrations for film and tv including ‘Mission Impossible’, ‘Luther’ and ‘Wonka’.
Today, we meet Ben, discover what inspired him to write ‘Ignition’ and hear why he’s so passionate about introducing children to live orchestral music.
How did you first hear about the LCO, Ben?
The LCO flyer popped up on Instagram. It mentioned ‘Jurassic Park’ and I knew that was my 7-year-old nephew’s favourite film. Max was just starting piano lessons and he’d never been to a concert before. I think film music is an amazing introduction to orchestral music for children, so I arranged to bring him along.
What did Max think about our first children’s concert?
He was so excited, he didn’t sleep the night before. He was a bit overwhelmed, but it really opened his eyes. He still talks about it. I have a video of when he heard the first notes of Jurassic Park. Before, he didn’t understand that that noise came from those instruments, with those 60 people playing those notes. Afterwards, he went home and wrote a ‘scary’ piece on the piano.
What did you think of the afternoon?
It was incredible how informal the concert was. Everyone was dressed in normal clothes. It was 45 minutes of incredible music with a very charismatic 9-year-old host, Louis, who helped the children understand what was going on.
Children could go and chat to the players, try out their instruments and have a go at conducting, too. The atmosphere the LCO created was so wonderful – very warm and welcoming. It felt like anybody could go and get involved.
I’d never seen anything else like it and it made me wish that more orchestras did similar programmes. Whenever I see children’s concerts advertised these days, it’s always a small ensemble, rather than the full orchestra. And if it’s in a large, formal setting, quieter children won’t feel empowered to engage, even if they’re allowed to talk to the players.
What inspired you to write ‘Ignition’?
I wanted to write something that would capture the excitement of hearing an orchestra for the first time. Much like Benjamin Britten’s Young Person’s Guide to the Orchestra, but packed into just four breathtaking minutes. You could think of it as A Younger Person’s Guide to the Orchestra.
The title refers both to the ignition of an engine and the spark of imagination that results from exposing young minds to exciting new possibilities. When you ignite a spark of excitement in a child’s imagination, it’s like opening a door to a theme park of music. They didn’t realise the door was there, let alone how easy it was to walk through.
What was your first introduction to music as a child?
I remember it incredibly vividly. That’s why I‘m so adamant that children need exposure to live music. We were on holiday in Cornwall and I must have been 6 or 7. There was a brass band playing at our hotel. I remember getting a chair and plonking it in front of them and just listening. I was completely entranced by their beautiful, emotional playing. It was glorious.
Which instrument did you learn first?
I was obsessed with the piano. My aunt used to let me play hers when we stayed with her in Anglesey. When I was about 9, my birthday present was to start piano lessons. I had an incredibly basic keyboard and would sit there constantly playing. I started making my own stuff up and playing by ear. Luckily, I had a teacher who’d let me do half my lessons on grade music and half improvising.
How did you become a composer?
It’s been an incredibly random organic journey with very little in the way of formal education but lots of instinctive playing and making music with people. I sang with the Halle Choir when I was living in Manchester, then worked in stage management at Opera North and the Royal Opera House. All the time I was writing music on the side.
The TL:DR version is I was doing a stint as a stage manager on ‘Joseph’ at the Adelphi Theatre and the Head of Production asked if I was free to help out on a new project. The next day, I was in Andrew Lloyd-Webber’s conservatory coordinating the rehearsals and recording for ‘Love Never Dies’, the sequel to ‘Phantom of the Opera’. It was a real ‘pinch me’ moment. This kicked off an incredible five years as his in-house arranger and orchestrator.
I’ve never looked back. The common theme has been waiting for an opportunity, then jumping on it. Also, saying ‘yes’ before you know you can do something.
Why is it important to introduce children to orchestral music?
Everyone responds to and enjoys music. Children hear orchestral music every day, whether it’s in ads or in films, but there’s this association with classical music as something old-fashioned and inaccessible.
I want to break down those barriers by encouraging children to listen to music that tells stories and fires up their imagination. If you never gave kids children’s books, they might never discover the greatest works of literature ever created. It’s the same with music. If you can grab children young, you’re gifting them with a way to discover Rachmaninoff and Beethoven and the greatest music ever written as they grow up.
What are you most looking forward to at the premiere of ‘Ignition’ on 31 May?
It’s always a really lovely moment to share what was in your head just a few months ago with a whole group of people. My hope is that at least one of the children in the room smiles and that the music opens a door to them thinking, “Oh, I could do this one day.”
