360:
attracted a large number of the finest musicians from other orchestras, many in the musical world doubted that
Beecham could find enough good players. He was fortunate in the timing of the enterprise: the depressed economy had severely reduced the number of freelance dates available to orchestral players. Moreover, Beecham himself was a strong attraction to many musicians: he later commented, "I always get the players. Among other considerations, they are so good they refuse to play under anybody but me." In a study of the foundation of the LPO, David Patmore writes, "The combination of steady work, occasionally higher than usual rates, variety of performance and Beecham's own magnetic personality would make such an offering irresistible to many orchestral musicians."
1115:
760:
958:
36:
315:
603:
337:. In 1928 they opened discussions about jointly setting up such an ensemble, but after 18 months of negotiations it became clear that the corporation and the conductor had irreconcilable priorities. Beecham demanded more personal control of the orchestra and repertoire than the BBC was willing to concede, and his priorities were the opera house and the concert hall rather than the broadcasting studio. The BBC went ahead without him, and under its director of music,
902:
4267:
847:. This was a bad period financially for the orchestra, and it was forced to abandon fixed contracts for its players with holiday and sick pay and pensions, and revert to payment by engagement. Financial disaster was averted thanks to an anonymous benefactor, generally believed to be Boult. A historian of the orchestra, Edmund Pirouet, writes that having been on an upward curve in the 1940s, by the mid-1950s the orchestra "was at best marking time".
1041:
health and frequent cancellations. As with
Haitink and Solti, Bruckner and Mahler were prominent in the LPO's concerts with Tennstedt. Unlike his two predecessors Tennstedt preferred to record with the LPO rather than major continental or American orchestras; among the many sets they made together was a complete cycle of Mahler's symphonies for EMI. In 1984 the LPO and the Philharmonia began negotiations that went on for years following an
114:
878:. The latter was appointed the LPO's chief conductor in 1962, presiding over what one player described as "an era of supremely good taste". From its outset in 1932, harpists (traditionally female) excepted, the orchestra had maintained Beecham's "men only" regime; in 1963 the rule was dropped, the first woman violinist was recruited, and within two years female players achieved equal conditions of membership with their male colleagues.
1157:. Jurowski became principal guest conductor in 2003, and conducted the orchestra in June 2007 during the concerts marking the re-opening of the refurbished Festival Hall. In September 2007, Jurowski became the LPO's eleventh principal conductor. Like his LPO predecessors Pritchard and Haitink, Jurowski also served as music director of Glyndebourne (2001â2013), where he conducted the LPO there in operas by Britten, Mozart,
867:
1099:
which did severe damage to box-office receipts. In 1993 another official attempt to create a "super-orchestra" at the expense of one or more of the existing London ensembles briefly damaged relations between the LPO and the
Philharmonia, but the idea was quickly abandoned, and in 1995, with the consent of the Arts Council, the two orchestras agreed to share the residency at the Festival Hall.
440:
617:, bringing orchestral concerts to places where they had rarely if ever been given. Many of the players' instruments were lost when the Queen's Hall was destroyed by German bombing in May 1941; an appeal was broadcast by the BBC, the response to which was enormous, with instruments donated by the public enabling the orchestra to continue.
941:, Joan Chissell described the orchestra's playing as "worthy of any festival". There was some discontent within the LPO that Haitink's prolific recordings were almost always with the other orchestra of which he was the chief conductor, the Amsterdam Concertgebouw. Pirouet comments that as Haitink recorded exclusively for the Dutch firm
599:
months, while he strove to secure the future of the orchestra, whose financial guarantees had been withdrawn by its backers when war was declared. The original LPO company was liquidated and
Beecham raised large sums of money for the orchestra, helping its members to form themselves into a self-governing body.
1054:
954:
Philharmonia; the latter, a self-governing body formed under its new name when the
Philharmonia was disbanded in 1964, was going through a bad patch, professionally and financially. The proposed merger would inevitably have led to redundancies, and the player-owners of both orchestras rejected the plan.
1375:
In a discography of the LPO published in 1997, Philip Stuart listed 280 recordings made at
Kingsway Hall and 353 at Abbey Road. By the early 2000s the late 20th-century boom in classical recordings had ended, and with studio work in decline for all orchestras, the LPO set up its own CD label in 2005,
1189:
first guest-conducted the LPO. In April 2020, the LPO announced the appointment of
Canellakis as its new principal guest conductor, the first female conductor ever named to the post, effective from September 2020. In February 2024, the LPO announced the extension of Canellakis' contract as principal
1125:
After the departure of Welser-Möst, the LPO was without a principal conductor for four years. During the interregnum, the orchestra inaugurated its "Roots
Classical Fusions" series, which aimed to combine musical traditions from around the world; this was part of an education and community programme
1098:
Welser-Möst's period as principal conductor coincided with the installation of the LPO as the sole resident orchestra of the
Festival Hall. This proved a mixed blessing: the Southbank Centre management now had a say over concert programming, and insisted on the inclusion of works by obscure composers
562:
Never before in our experience of concert-going in
Manchester have we heard orchestral playing which, throughout a whole programme, combined such nobility of style and brilliancy of execution â not the brilliancy that stops when it has made outward forms sparkle, but a quality that seems to work from
533:
During the next eight years, the LPO appeared nearly a hundred times at the Queen's Hall for the Royal Philharmonic Society, played for Beecham's opera seasons at Covent Garden, and made more than 300 gramophone records. The total number of works, as opposed to discs, recorded by the LPO and Beecham
294:
later commented, "the British public ... was electrified when it heard the disciplined precision of the Berlin Philharmonic ... This apparently was how an orchestra could, and, therefore, ought to sound". After the Berliners, London heard a succession of major foreign orchestras, including
160:
The founders' ambition was to build an orchestra the equal of any European or American rival. Between 1932 and the Second World War the LPO was widely judged to have succeeded in this regard. After the outbreak of war, the orchestra's private backers withdrew and the players reconstituted the LPO as
1559:
Despite the efforts of Wood, Beecham and others, the deputy system remained a traditional part of the London orchestral scene. A player booked for a concert could accept a better-paid engagement and send a substitute in his stead. The treasurer of the Royal Philharmonic Society described the system
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were largely unknown in London. No successor was appointed until 1990 when Welser-Möst was named as the new principal conductor. His tenure was controversial; he received the nickname "Frankly Worse than Most" and many harshly critical reviews. He brought with him a recording contract with EMI, but
953:
In 1973, the LPO was caught up in a recurring phenomenon of London orchestral life: the conviction in official circles that having four independent orchestras is too much for one city, and that two or more of the existing ensembles should merge. On this occasion the targets were the LPO and the New
780:
began, some influential members of the LPO felt that Russell's private political affiliations compromised the orchestra, and pressed for his dismissal. Boult, as the orchestra's chief conductor, initially stood up for Russell, but when matters came to a head Boult ceased to protect him. Deprived of
771:
that was unusually rewarding for the orchestra, giving it a 10 percent commission on most sales. On top of this, Boult always contributed his share of the recording fees to the orchestra's funds. In the same year, the LPO survived a crisis when Russell was dismissed as its managing director. He was
359:
family. Originally Sargent and Beecham envisaged a reshuffled version of the LSO, but the orchestra, a self-governing body, balked at weeding out and replacing underperforming players. In 1932, Beecham lost patience and agreed with Sargent to set up a new orchestra from scratch. With the BBC having
1045:
proposal to name one London orchestra as the principal resident orchestra of the Festival Hall, with concomitant extra funding. The two orchestras were interested in making a counter-proposal for a joint residency, but the matter was not resolved until 1995 when their plan was finally implemented.
598:
As his sixtieth birthday approached in 1939, Beecham was advised by his doctors to take a year's break from conducting, and he planned to go abroad to rest in a warm climate, leaving the orchestra in other hands. The outbreak of war on 3 September 1939 obliged him to postpone his plans for several
1040:
commented, "Tennstedt found the orchestra sensitive and flexible, and his players regarded him with a warmth that is by no means universally extended by musicians to their conductors". His time as chief conductor (1983â87) was celebrated for its musical achievements, but was marked by his failing
916:
as its principal conductor. He remained with the orchestra for twelve years, to date (2018) the longest tenure of the post. His concerts made a strong impression with the public, and within months the LPO was playing to ninety per cent capacity audiences at the Festival Hall, far outstripping the
885:
in Sussex, and it was partly due to his influence that in 1964 the LPO replaced the RPO as Glyndebourne's resident orchestra, providing the players with stable guaranteed work in the slack summer months. The number of LPO concerts in the provinces fell during the 1960s, and ceased to be a major
498:
In its first season, the LPO played at eighteen concerts in the Courtauld-Sargent series; ten Royal Philharmonic Society concerts; fifteen "International Celebrity Tours" and sixteen Sunday afternoon concerts for Holt's agency, as well as Robert Mayer's children's concerts, Royal Choral Society
620:
On Beecham's return to England in 1944, the LPO welcomed him back, and in October they gave a concert together that drew superlatives from the critics. Over the next months Beecham and the orchestra gave further concerts with considerable success, but the LPO players, now their own employers,
1312:
and many other labels. For some years in the 1950s and 1960s the orchestra was contracted to two companies at once, and consequently appeared under the name "the Philharmonic Promenade Orchestra" in some of its recordings. In the 1960s and 1970s the orchestra was particularly associated with
1560:
thus: "A, whom you want, signs to play at your concert. He sends B (whom you don't mind) to the first rehearsal. B, without your knowledge or consent, sends C to the second rehearsal. Not being able to play at the concert, C sends D, whom you would have paid five shillings to stay away."
1046:
From the outset of the LPO's existence as a self-governing co-operative in 1939, its chief executive had always been appointed from within the orchestra's ranks. In 1985 this tradition was broken with the recruitment of John Willan, a qualified accountant as well as an alumnus of the
553:
In addition to London engagements, the orchestra played regularly in the larger provincial cities and towns. Its first tour, in March and April 1933, started in Bristol and ended in Manchester, taking in thirteen other venues in England, Ireland and Scotland. After the last concert,
621:
declined to give him the unfettered control that he had exercised in the 1930s. If he were to become chief conductor again it would be as a paid employee of the orchestra. Beecham, unwilling to be answerable to anybody, left the LPO and in 1946 founded a rival orchestra, the
394:
and other influential and informed contacts he recruited 106 players. They included a few young musicians straight from music college, many established players from provincial orchestras, and 17 of the LSO's leading members. During the early years, the orchestra was led by
1299:
Unlike its London rivals, the RPO and the Philharmonia (both of whom recorded for many years only for EMI and its associates, with the rarest of exceptions), the post-war LPO was not exclusively associated with one company, and as well as Decca it recorded for Philips,
656:
Van Beinum's poor health obliged him to resign in 1950. Sir Adrian Boult accepted an invitation from the LPO's managing director, Thomas Russell, to take up the principal conductorship. With Boult the LPO began a series of commercial recordings, beginning with Elgar's
2708:
1376:
featuring recordings taken mainly from live concerts. With the exception of Steinberg, all the orchestra's principal conductors from Beecham to Jurowski are represented in the label's releases. The orchestra lists among its best-selling recordings Mahler's
636:. Such starry events were the exception; as a rule the orchestra worked with less eminent conductors, giving an unprecedented number of performances. In 1949â50 they gave 248 concerts, compared with 103 by the London Symphony Orchestra and 32 each by the
1150:, in a gala series of concerts celebrating the reign of Krakow as the European Cultural Capital in the Millennium Year. The concert was broadcast internationally including on PBS marking the orchestra's television debut in the United States.
467:
wrote, "Nothing so electrifying has been heard in a London concert room for years. The tone was magnificent, the precision perfect, the reading a miracle of fire and beauty, and the enthusiasm of the audience could not have been greater." In
949:
and many others. In the 1970s international tours continued, with itineraries taking in the US, Western Europe, the Soviet Union, and, in 1972, China, long inaccessible to Western musicians, where the orchestra met an enthusiastic welcome.
781:
that crucial support, Russell was forced out. Kennedy speculates that Boult's change of mind was due to a growing conviction that the orchestra would be "seriously jeopardized financially" if Russell remained in post. A later writer,
1073:
wrote that the LPO still played better for Tennstedt than for anyone else. Tennstedt's resignation was a severe blow to the orchestra, and there was no obvious successor: Morrison observed that the best-known conductors â Barenboim,
1198:
In its early years, the LPO recorded exclusively for Columbia, a division of EMI. The orchestra's first gramophone set was made before its debut concert; with Sargent and the Royal Choral Society the LPO recorded choruses from
1317:, an independent company specialising in neglected British repertoire. In most LPO recordings for Lyrita the conductor was Boult; in the same period he also recorded extensively for EMI, with the LPO his preferred orchestra.
858:, as chief conductor. He was a noted orchestral trainer, and did much to restore playing standards to their former levels. Steinberg resigned the LPO post after two seasons, advised by his doctor to restrict his activities.
534:
was less than a hundred. There were a few guest conductors for the Sunday concerts, but most were conducted by Beecham. In the Courtauld-Sargent series the LPO played not only under Sargent but under many guests including
1064:
In August 1987 Tennstedt, taken ill at a rehearsal, felt so unequal to continuing in his post that he resigned on the spot. He continued to appear with the LPO as a guest, with the title of "conductor laureate"; in 1989
1184:
first guest-conducted the LPO. In July 2019, the LPO announced the appointment of Gardner as its next principal conductor, effective with the 2021-2022 season, with an initial contract of five years. In October 2018,
1130:
was the LPO's principal conductor from 2000 to 2007. Under Masur, known for his performances of the German symphonic repertoire, the orchestra regained its musical form, and the critic Richard S Ginell commented that
644:, in 1947. He was initially able to work with the orchestra for only six months of the year, because of restrictions on work permits for foreign nationals. Guest conductors stood in during his absences. In 1947, the
451:
After twelve rehearsals, the orchestra made its debut at the Queen's Hall on 7 October 1932, conducted by Beecham. but now he assumed a new seriousness, always arriving punctually. After the first item, Berlioz's
184:, one of London's major concert venues. Since 1995 the residency has been jointly held with the Philharmonia. In addition to its work at the Festival Hall and Glyndebourne, the LPO performs regularly at the
1000:
and Solti. When Haitink announced in 1977 that he would step down as principal conductor at the end of the 1978â79 season, Solti, who had been principal guest conductor since 1971, agreed to succeed him.
968:
One of the constant difficulties of London orchestras was the lack of good rehearsal space and facilities. In 1973, acting jointly with the LSO, the LPO acquired and began restoring a disused church in
1272:, was followed by a large number of sessions as the company rebuilt its catalogue after the war. Among those who recorded with the orchestra for Decca were van Beinum, Sargent, de Sabata, FurtwÀngler,
1095:
at the time contributed to the difficulty of the working atmosphere in the orchestra. There were complaints that the orchestra's high standards of playing were not consistently maintained.
792:
The following year, the orchestra celebrated its 21st birthday, giving a series of concerts at the Festival Hall and the Albert Hall in which Boult was joined by guest conductors including
1102:
In 1993, with the government of South Africa now moving towards majority rule, the orchestra accepted an invitation to tour there. Welser-Möst concluded his LPO tenure in 1996, after what
390:
During his earlier negotiations with the BBC, Beecham had proposed the title "London Philharmonic Orchestra", which was now adopted for the new ensemble. With the aid of the impresario
1320:
The LPO plays on many opera recordings, some taped live at Glyndebourne and the Festival Hall and others in the studios of Decca and EMI. They range from early works such as Cavalli's
832:. After the tour Boult retired as principal conductor, but remained closely associated with the orchestra, and was made its President in 1965. Most of his stereophonic recordings for
1569:
This figure refers to discs rather than whole works. The 78 rpm recordings then in use required several discs to accommodate a symphony or concerto of even moderate length.
2921:
1190:
guest conductor for an additional three years. In September 2024, the LPO announced the extension of Gardner's contract as principal conductor for an additional two years.
886:
factor in the orchestra's finances. During the 1960s the orchestra gave fund-raising concerts in which guests from outside the world of classical music appeared, including
227:
and other companies. Since 2005 the LPO has had its own record label, issuing live recordings of concerts. The orchestra has played on numerous film soundtracks, including
3048:
280:
ensembles, with little continuity of personnel, and none approached the excellence of the best continental and American orchestras. This became obvious in 1927 when the
3021:
3265:
4141:
1402:. The orchestra played for ten films made during the Second World War, and then did little soundtrack work until the 1970s, with the major exception of
3792:
3358:
1396:
Although not rivalling the LSO's total of more than 200 film score recordings, the LPO has played for a number of soundtracks, starting in 1936 with
937:, Haitink and the LPO gave a six-concert cycle of the Beethoven symphonies and piano concertos, for which the Festival Hall was full to capacity. In
495:, praised the orchestra's "youthful dash and virtuosity ... at last we have an independent orchestra which rivals the BBC Symphony Orchestra".
431:. Holt became the LPO's business manager, and the management board included the orchestra's principal benefactors: Courtauld, Mayer and d'Erlanger.
1013:. At the anniversary concert Solti conducted the programme with which Beecham had inaugurated the LPO. Pirouet comments that with the exception of
785:, suggests that Boult sacrificed Russell because he believed doing so would enhance the LPO's chance of being appointed resident orchestra at the
4311:
1532:
2864:
945:
it was to be expected that the Amsterdam orchestra would be preferred, and in any case the LPO was recording extensively with Boult, Solti,
567:
Beecham took the orchestra on a controversial tour of Germany in 1936. Throughout the tour, the orchestra ignored the custom of playing the
485:, "nothing more sumptuous and daring in orchestral playing could be heard in more than three other cities between New York and Vienna"; and
169:. Founded respectively in 1945 and 1946, these orchestras achieved a quality of playing not matched by the older groups, including the LPO.
1358:
1219:
recording was in October, under Sir Henry Wood. Beecham's first discs with the orchestra were made in January 1933, with his ballet suite
1135:, who took over in 2007 "has inherited an LPO in splendid technical shape, probably having been drilled to a fare-thee-well under Masur".
4306:
3912:
3073:
1114:
613:
During the war, the LPO played in the capital and on continual tours of Britain, under Sargent and other conductors, including 50 under
3653:
4055:
1082:â with whom the orchestra was then associated were committed to other projects until the 1990s, and those possible contenders such as
1587:
Witts concludes that it was not Russell but Boult â regarded by some as past his peak â who cost the LPO the Festival Hall residency.
2912:
4118:
2843:
1177:. Jurowski concluded his LPO tenure at the close of the 2020-2021 season, and now has the title of conductor emeritus of the LPO.
4291:
2363:
3785:
1231:
sets with the orchestra. Other conductors who worked in the EMI studios with the orchestra in its early years included Elgar,
4050:
3223:
2890:
2874:
454:
4316:
3657:
1446:
686:
wrote, "I have heard no other conductor approach performance. ... His newly adopted orchestra responds admirably".
235:
219:. The orchestra has been active in recording studios since its earliest days, and has played on hundreds of sets made by
3974:
3343:
3261:
1596:
A contemporaneous book listed the many famous soloists who had worked with the LPO in its fifty years. Among them were
372:
2995:
2812:
590:. There was disquiet among some of the players that their presence in Germany gave the Nazi regime a propaganda coup.
172:
By the 1960s, the LPO had regained its earlier standards, and in 1964 it secured a valuable engagement to play in the
3778:
3523:
2737:
2727:
1964:
In earlier years Beecham had been notoriously late for rehearsals, usually arriving an hour after the appointed time,
1352:
1293:
1262:
In 1946, the orchestra began recording for Decca, EMI's rival. The LPO's first recording for the label, Stravinsky's
1346:
3025:
1440:
1410:
773:
719:
364:
356:
330:
4321:
3905:
1404:
1153:
Jurowski had first conducted the LPO at the Royal Festival Hall in December 2001, as an emergency substitute for
1066:
874:
In 1962, the LPO undertook its first tour of India, Australia, and the Far East. The conductors were Sargent and
665:
229:
4296:
3717:
3686:
3622:
3599:
3580:
3561:
3542:
3504:
3481:
3458:
3405:
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1398:
930:
690:
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with a proposal to set up a permanent, salaried orchestra with a subsidy guaranteed by Sargent's patrons, the
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1416:
1142:, joining the Berlin Philharmonic under Bernard Haitink, the New York Philharmonic under Kurt Masur, and the
1042:
855:
368:
296:
185:
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a self-governing cooperative. In the post-war years, the orchestra faced challenges from two new rivals, the
4111:
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3355:
622:
576:
376:
166:
1507:(1995). In May 2011 the orchestra recorded the 205 national anthems to be used at medal ceremonies at the
4211:
882:
491:
326:
173:
925:, whose symphonies featured frequently in the LPO's concerts during the Haitink period, as did those of
4301:
3898:
3878:
3836:
3379:
1181:
1083:
875:
694:
677:
383:, the Courtauld-Sargent Concerts, Mayer's concerts for children, and the international opera season at
261:
87:
1609:
3994:
3948:
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713:
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628:
Among the conductors making guest appearances in the early post-war period were Walter, FurtwÀngler,
253:
150:
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4035:
4025:
3999:
3252:, AHRC Research Centre for the History and Analysis of Recorded Music. Retrieved 5 September 2014 (
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1385:
1036:
Solti stepped down at the end of the jubilee season, and was succeeded by Klaus Tennstedt, of whom
821:
698:
3175:, AHRC Research Centre for the History and Analysis of Recorded Music. Retrieved 5 September 2014.
1460:(2012â14). In 2013, the LPO recorded several new arrangements of rock songs by Japanese rock star
1174:
693:
as "gruelling", with twelve concerts in as many days. The symphonies they played were Beethoven's
4270:
4104:
3989:
1512:
1377:
1169:, and others. During Jurowski's LPO tenure, principal guest conductors of the LPO have included
1019:
974:
801:
705:
680:. The work of the new team was greeted with approval by reviewers. Of the Elgar, the reviewer in
527:
520:
481:
977:, a convenient and acoustically excellent rehearsal space and recording studio, opened in 1975.
325:
Among those determined that London should have a permanent orchestra of similar excellence were
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3953:
3938:
1301:
1224:
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1106:
called "a fraught few years in which the high hopes placed in him were somehow not fulfilled."
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745:
637:
396:
342:
162:
154:
285:
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4004:
3933:
3751:
3701:
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The Royal Festival Hall in the 1950s: the LPO was among the orchestras striving for residency
682:
516:
304:
141:. One of five permanent symphony orchestras in London, the LPO was founded by the conductors
3286:
3096:"Edward Gardner extends his Principal Conductor contract with London Philharmonic Orchestra"
4149:
1508:
1305:
1207:
1147:
840:
759:
689:
In January 1951, Boult and the LPO made a tour of Germany, described by Boult's biographer
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1363:
1087:
1057:
8:
4226:
4198:
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1434:
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wrote, "I doubt if the LPO has ever played so beautifully, even in the days of Beecham".
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926:
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400:
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177:
118:
77:
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1227:. From then until his last LPO recording in December 1945 Beecham recorded ninety-nine
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817:
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633:
363:
Beecham and Sargent had financial backing from leading figures in commerce, including
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4168:
4080:
3872:
3830:
3818:
3713:
3682:
3665:
3641:
3618:
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3576:
3557:
3538:
3519:
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3170:
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1811:
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1703:
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1328:
1232:
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1132:
1118:
1030:
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583:
458:, the audience went wild, some of them standing on their seats to clap and shout. In
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300:
257:
216:
35:
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and RPO. After a seven-year interregnum, the LPO engaged a new principal conductor,
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1350:(2011), and premiĂšre recordings of 20th-century works including Vaughan Williams's
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933:, which Pirouet describes as the calling card of the orchestra and conductor. With
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other London orchestras. Among the composers with whom Haitink was associated were
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1787:"EMI, Sir Thomas Beecham, and the formation of the London Philharmonic Orchestra"
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1309:
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1154:
1023:, the music was as ideally suited to Solti's musical persona as to Beecham's. In
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913:
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evenings and other engagements. Soloists in the first season included the singer
352:
273:
256:(LSO) was the city's best-known concert and recording orchestra. Others were the
212:
204:
146:
3470:
1578:
Kennedy states that there were 11 concerts, but Boult lists 12 dates and venues.
839:
Through the middle and late 1950s, the LPO worked with new conductors including
4127:
3812:
3756:
3451:
While Spring and Summer Sang â Thomas Beecham and the Music of Frederick Delius
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The orchestra has made many non-classical recordings, including such titles as
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142:
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The New Philharmonia had bought back the rights to the original title in 1977.
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4188:
3669:
3645:
3424:
2208:
1807:"Beecham and the BBC Symphony Orchestra: A Collaboration that Never Happened"
1786:
1601:
1540:
1479:
1285:
1248:
1212:
1075:
922:
829:
797:
782:
768:
670:
504:
464:
420:
314:
224:
193:
176:
during the summer months. In 1993 it was appointed resident orchestra of the
3441:
3024:(Press release). London Philharmonic Orchestra. 6 April 2020. Archived from
2998:(Press release). London Philharmonic Orchestra. 25 July 2019. Archived from
3824:
3074:"Karina Canellakis renews collaboration with London Philharmonic Orchestra"
2999:
2828:
Ginell, Richard S. "Orchestral Upheavals: Gergiev and Jurowski in London",
2809:
2213:
1645:
1536:
1322:
1289:
1079:
1025:
989:
895:
833:
813:
793:
740:
587:
572:
539:
535:
524:
472:
439:
424:
338:
220:
200:
181:
4221:
4178:
3848:
3747:
3705:
3592:
Heard Melodies are Sweet â A History of the London Philharmonic Orchestra
2012:, 8 October 1932, p. 10; Cardus, Neville. "London's new orchestra",
1605:
961:
844:
805:
543:
391:
208:
199:
Since Beecham, the orchestra has had ten principal conductors, including
1053:
901:
3866:
1456:
1292:
recording was made for Decca in 1956, with Boult in Vaughan Williams's
1127:
1091:
management turnover, financial stresses, and political disputes at the
887:
500:
349:
269:
189:
3800:
2400:
2380:
1832:
1806:
1726:
475:
said that the LPO was "as fine an instrument as could be wished for";
4231:
4203:
4173:
2016:, 8 October 1932, p. 18; and Turner, W J. "The World of Music",
1264:
970:
563:
within and to suffuse everything with a rich and glowing tone-colour.
290:
134:
1515:
Games in London the following year. The LPO performed a version of "
113:
2895:
2266:
870:
Glyndebourne, where the LPO took over as resident orchestra in 1964
816:, the first British orchestra to do so; the conductors were Boult,
777:
288:, gave two concerts at the Queen's Hall. The chief music critic of
898:. Its regular complement at the end of the decade was 88 players.
4096:
3098:(Press release). London Philharmonic Orchestra. 17 September 2024
1597:
1520:
1391:
866:
4236:
1629:
1340:
1314:
138:
2370:. Music in Society Seminar, Institute of British History, 2002
2106:, 31 July 1934, p. 12; and "Courtauld-Sargent Concerts",
3049:"LPO appoints Karina Canellakis as principal guest conductor"
2098:, 17 January 1933, p. 10; "Courtauld-Sargent Concerts",
744:. Conductors of the 1951â52 season other than Boult included
571:
anthem before concerts, but Beecham yielded to pressure from
3313:, London Philharmonic Orchestra. Retrieved 5 September 2014.
3289:, London Philharmonic Orchestra. Retrieved 5 September 2014.
2419:
Simeone and Mundy, pp. 81â96; and Pirouet, p. 116.
1138:
In 2000, the LPO performed Beethoven's Ninth Symphony under
3301:, London Philharmonic Orchestra. Retrieved 5 September 2014
2361:
Boult, Russell & The London Philharmonic Orchestra 1952
2102:, 2 October 1933, p. 8; "Courtauld-Sargent Concerts",
1422:
568:
3735:
3652:
3344:"London 2012 Hands Baton to London Philharmonic Orchestra"
2971:"NĂ©zet-SĂ©guin Named London Phil Principal Guest Conductor"
609:, destroyed, with many LPO instruments, by bombing in 1941
276:
Orchestra. All except the last of these were essentially
265:
98:
2637:
Greenfield, Edward. "A German vision for London music",
1243:. Soloists in concerto recordings included the pianists
3554:
Orchestra âThe LSO: A Century of Triumph and Turbulence
403:, and included leading players such as James Bradshaw,
2819:, London Philharmonic Orchestra. Retrieved 6 September
1326:(recorded 1968) and Glydebourne's staging of Handel's
767:
In 1952, the LPO negotiated a five-year contract with
3499:. London, England: British Broadcasting Corporation.
2269:
London Philharmonic Choir. Retrieved 4 September 2014
2217:
8 October 1944, p. 2; and "Sir T. Beecham's Return",
3920:
2608:
Greenfield, Edward. "LPO/Solti â 50th anniversary",
2094:"Courtauld-Sargent Concerts â Herr Walter's Visit",
348:
In 1931, Beecham was approached by the rising young
3802:London Philharmonic Orchestra Principal Conductors
3610:
3575:. London, England: Arts Council of Great Britain.
3492:
3469:
3375:Footage of use by WPVI bearing 1996 copyright date
3022:"New Principal Guest Conductor: Karina Canellakis"
2913:"Last-minute stand-in makes an electrifying debut"
2911:
812:and Vaughan Williams. In 1956 the LPO toured the
515:played a programme of violin concertos; those by
379:and play for the Royal Philharmonic Society, the
375:, and secured profitable contracts to record for
4283:
2891:"Thousand Years of Music and Spirit TV Listings"
2796:Chancellor, Alexander. "Orchestral manoeuvres",
2694:Morrison, Richard. "Tennstedt hard to replace",
1450:trilogy (2001â03) and most of the music for the
321:, founding father and first conductor of the LPO
3573:Report on Orchestral Resources in Great Britain
3076:(Press release). Askonas Holt. 20 February 2024
1526:
446:(modern reconstruction of unavailable original)
3736:London Philharmonic Orchestra official website
3634:Thomas Beecham â An Independent Biography
2968:
2286:
2284:
1392:Film scores and other non-classical recordings
4112:
3906:
3786:
3046:
2778:Pirouet, pp. 217â220, and 223.
2401:"The London Philharmonic Orchestra in Russia"
2323:Boult, p. 202; and Kennedy, p. 232.
2314:Kennedy, p. 232; and Boult, p. 202.
1874:Russell, p. 16; and Jenkins, p. 99.
1408:(1962). Later scores have included those for
1050:and a successful recording producer for EMI.
3676:
3398:Tunes of Glory â The Life of Malcolm Sargent
3264:, WorldCat. Retrieved 8 September 2014; and
3230:, Glyndebourne. Retrieved 8 September 2014 (
2464:"Dr Steinberg leaving London Philharmonic",
2064:Sackville-West and Shawe-Taylor, p. 81.
196:, and tours nationally and internationally.
2909:
2281:
2049:
1288:and the young Solti. The orchestra's first
305:Philharmonic-Symphony Orchestra of New York
4119:
4105:
3913:
3899:
3793:
3779:
2942:
2738:"Battered but Unbowed, a Maestro Rebounds"
2681:Morrison, Richard. "Mahler's quiet hero",
2186:Myers, Rollo. 'Music in Battle-dress', in
2150:Russell, pp. 39â40, and 42.
34:
3436:. Harmondsworth, England: Penguin Books.
3356:SouthernMedia's News Music Search Archive
3165:
3163:
3161:
2736:, 15 March 1992; and Oestreich, James R.
1955:Reid (1961), pp. 84 and 92
1781:
1779:
593:
3551:
3516:Thomas Beecham â An Obsession with Music
2709:"Why all those insults made me stronger"
2663:Pirouet, pp. 183 and 223.
2486:Pirouet, pp. 132 and 134.
2433:
2431:
2429:
2427:
2425:
2153:
1113:
1052:
956:
900:
865:
758:
601:
511:. In November 1932 the sixteen-year-old
438:
313:
121:, London, the main base of the orchestra
112:
4056:Orchestre RĂ©volutionnaire et Romantique
3589:
3570:
3467:
3448:
3268:, WorldCat. Retrieved 8 September 2014.
2841:
2765:
2763:
2620:
2618:
2561:
2559:
2233:
2162:
2072:
2070:
1380:, conducted by Tennstedt, and works by
980:Guest conductors in the 1970s included
648:was founded as the chorus for the LPO.
4312:Arts organizations established in 1932
4284:
3695:
3679:Sir Adrian Boult â Companion of Honour
3490:
3395:
3158:
3151:
3149:
3137:
2869:. USA: Wiley. pp. About the DVD.
2862:
1776:
1009:In 1982, the orchestra celebrated its
16:Permanent symphony orchestra in London
4100:
4051:Orchestra of the Age of Enlightenment
3894:
3774:
3677:Simeone, Nigel; Mundy, Simon (1980).
3532:
3513:
3495:The BBC Symphony Orchestra, 1930â1980
3414:
2728:"A Young Conductor Starts at the Top"
2422:
2310:
2308:
1902:
1900:
1898:
1839:, December 1930, pp. 1124â1127.
1332:(1996) to central repertoire such as
881:Pritchard was also music director of
345:in October 1930, to immense acclaim.
3631:
3608:
3556:. London, England: Faber and Faber.
3476:. London, England: Hamish Hamilton.
3431:
2996:"Next Principal Conductor Announced"
2924:from the original on 12 January 2022
2842:Goldman, Mary Kunz (29 March 2002).
2760:
2615:
2577:. "The making of a rehearsal hall",
2556:
2067:
1489:Folk Music of the Region of Asturias
3698:The London Philharmonic discography
3324:"The Drop: Yoshiki â GRAMMY Museum"
3146:
2969:Kevin Shihoten (20 November 2007).
2753:Milnes, Rodney. "And lost at sea",
2650:"Orchestra resumes its old title",
1976:
523:were conducted by Beecham, and the
268:'s Wireless Symphony Orchestra and
149:in 1932 as a rival to the existing
13:
4307:Musical groups established in 1932
4126:
4081:Orchestra of the Royal Opera House
3975:Academy of St Martin in the Fields
3202:Simeone and Mundy, pp. 80â96.
2305:
2128:"Sir Thomas Beecham's Orchestra",
1895:
1815:, October 1980, pp. 625â628.
1539:from Japan Tobacco International (
443:Programme of the first LPO concert
14:
4333:
3727:
3571:Peacock, Alan (chairman) (1970).
2407:, February 1957, pp. 67â69.
2029:"London Philharmonic Orchestra",
1906:"London Philharmonic Orchestra",
1501:The Symphonic Music of Pink Floyd
4266:
4265:
4086:English National Opera Orchestra
3921:Major orchestras based in London
3681:. London, England: Midas Books.
3535:Philharmonic â Jubilee 1932â1982
3533:Moore, Jerrold Northrop (1982).
3367:
3349:
3337:
3316:
3304:
3292:
3280:
3271:
3214:
3205:
3196:
3187:
3178:
3128:
3119:
3110:
3088:
3066:
3040:
3014:
2988:
2962:
2936:
2910:Matthew Rye (17 December 2001).
2903:
2883:
2856:
1535:by health experts for accepting
1004:
861:
331:British Broadcasting Corporation
260:Orchestra, the orchestra of the
3537:. London, England: Hutchinson.
3400:. London, England: Hutchinson.
2835:
2822:
2803:
2790:
2781:
2772:
2747:
2720:
2701:
2688:
2685:, 17 February 1989, p. 18.
2675:
2666:
2657:
2654:, 2 September 1977, p. 12.
2644:
2631:
2602:
2593:
2584:
2568:
2547:
2538:
2531:Chissell, Joan. "LPO/Haitink",
2525:
2516:
2507:
2498:
2489:
2480:
2471:
2458:
2449:
2440:
2413:
2393:
2373:
2353:
2344:
2335:
2326:
2317:
2293:
2272:
2260:
2251:
2242:
2224:
2202:
2193:
2180:
2171:
2144:
2135:
2122:
2113:
2088:
2079:
2058:
2046:, 22 November 1932, p. 10.
2036:
2023:
2020:, 22 October 1932, p. 638.
2002:
1985:
1967:
1958:
1949:
1940:
1931:
1922:
1913:
1886:
1877:
1868:
1859:
1831:, 23 October 1930, p. 12;
1793:, 32(1), 2001, pp. 11â27.
1696:
1687:
1590:
1581:
1572:
1563:
1121:, principal conductor from 2007
1109:
718:. The other works were Elgar's
666:Lieder eines fahrenden Gesellen
530:was conducted by the composer.
4292:1932 establishments in England
3047:Imogen Tilden (6 April 2020).
2641:, 13 January 1998, p. 16.
2628:, 13 January 1998, p. 21.
2110:, 19 October 1937, p. 14.
2008:"Royal Philharmonic Society",
1910:, 9 September 1932, p. 8.
1850:
1847:, 26 October 1930, p. 14.
1821:
1799:
1764:
1755:
1742:
1735:, 1 January 1928, p. 70.
1720:
1553:
1505:The Symphonic Music of The Who
1060:, principal conductor, 1990â96
964:, principal conductor, 1979â83
908:, principal conductor, 1967â79
575:'s government not to play the
434:
1:
4041:London Contemporary Orchestra
3944:London Philharmonic Orchestra
3748:London Philharmonic Orchestra
3613:Malcolm Sargent â A Biography
3518:. Woodbridge: Boydell Press.
2698:, 26 August 1987, p. 14.
2612:, 8 October 1982, p. 10.
2387:, October 1953, p. 472.
1713:
1674:Arturo Benedetti Michelangeli
1215:in September 1932. The first
1193:
856:Pittsburgh Symphony Orchestra
854:, also music director of the
247:
127:London Philharmonic Orchestra
24:London Philharmonic Orchestra
3959:Royal Philharmonic Orchestra
3664:. London, England: Collins.
2832:, July 2008, pp. 23â24.
2800:, 20 July 1996, p. A24.
2221:, 9 October 1944, p. 8/
1706:as the most extreme example.
1527:Tobacco industry sponsorship
1523:for a brief period in 1996.
623:Royal Philharmonic Orchestra
7:
4317:British symphony orchestras
3617:. London: Hamish Hamilton.
2943:Tim Ashley (15 June 2007).
2581:, 17 June 1975, p. 11.
2535:, 18 March 1974, p. 9.
2018:The Illustrated London News
1999:in Moore (unnumbered page).
1752:in Reid (1961), p. 50.
1126:launched by the orchestra.
912:In 1967, the LPO appointed
883:Glyndebourne Festival Opera
850:In 1958, the LPO appointed
492:The Illustrated London News
10:
4338:
3552:Morrison, Richard (2004).
3419:. London, England: Rider.
3389:
3249:Decca Classical, 1929â2009
3172:Decca Classical, 1929â2009
2757:, 22 May 1996, p. 33.
2350:Kennedy, pp. 215â222.
2132:, 3 April 1933, p. 8.
1946:Russell, pp. 135â141.
329:, director-general of the
262:Royal Philharmonic Society
242:
4261:
4161:
4134:
4064:
4018:
3995:English Chamber Orchestra
3967:
3949:London Symphony Orchestra
3926:
3808:
3743:London Philharmonic Choir
3491:Kenyon, Nicholas (1981).
3468:Kennedy, Michael (1987).
3432:Hill, Ralph, ed. (1951).
3266:"Lady Macbeth of Mtsensk"
3254:L'Ormindo, CosĂŹ fan tutte
3143:Stuart, pp. 443â450.
2239:Reid (1961), p. 231.
2230:Reid (1961), p. 230.
2033:, 22 September 1932, p. 8
1973:Reid (1961), p. 205.
1865:Reid (1968), p. 202.
1517:Move Closer to Your World
1441:In the Name of the Father
1223:, arranged from music by
973:, converting it into the
646:London Philharmonic Choir
556:The Manchester Guardian's
373:Baron Frédéric d'Erlanger
333:(BBC), and the conductor
254:London Symphony Orchestra
180:on the south bank of the
93:
83:
73:
65:
50:
42:
33:
28:
23:
4036:London Classical Players
4026:Academy of Ancient Music
4000:London Chamber Orchestra
3590:Pirouet, Edmund (1998).
3449:Jenkins, Lyndon (2005).
3396:Aldous, Richard (2001).
3262:"The Pilgrim's Progress"
2863:Levine, Gilbert (2010).
2076:Stuart, p. 443â450.
1739:; and Elkin, p. 93.
1546:
836:were made with the LPO.
824:, and the soloists were
772:an avowed member of the
720:Introduction and Allegro
651:
3990:City of London Sinfonia
3696:Stuart, Philip (1997).
3417:Queen's Hall, 1893â1941
3226:20 October 2014 at the
3125:Stuart, pp. 19â20.
2815:7 February 2015 at the
2437:Moore (unnumbered page)
2409:(subscription required)
2389:(subscription required)
2302:, May 1951, p. 17.
2130:The Manchester Guardian
2014:The Manchester Guardian
1841:(subscription required)
1817:(subscription required)
1795:(subscription required)
1737:(subscription required)
1610:Victoria de los Ăngeles
1359:Lady Macbeth of Mtsensk
1356:(1972), Shostakovich's
802:Hans Schmidt-Isserstedt
482:The Manchester Guardian
455:Roman Carnival Overture
297:Concertgebouw Orchestra
155:BBC Symphony Orchestras
4322:Albany Records artists
3954:Philharmonia Orchestra
3939:BBC Symphony Orchestra
3654:Sackville-West, Edward
3632:Reid, Charles (1961).
3609:Reid, Charles (1968).
3453:. Aldershot: Ashgate.
3415:Elkin, Robert (1944).
1928:Kenyon, pp. 20â22
1748:Levien, John Mewburn,
1417:Jesus Christ Superstar
1353:The Pilgrim's Progress
1144:Concentus Musicus Wien
1122:
1061:
1048:Royal Academy of Music
965:
909:
871:
764:
746:Ralph Vaughan Williams
638:Philharmonia Orchestra
610:
594:War and post-war years
565:
448:
343:BBC Symphony Orchestra
322:
122:
4297:Decca Records artists
4242:Universal Music Group
4005:London Mozart Players
3934:BBC Concert Orchestra
3658:Shawe-Taylor, Desmond
3346:, IPC, 15 April 2011.
3287:"About the LPO Label"
3244:Love and Other Demons
2830:American Record Guide
2787:Pirouet, p. 213.
2769:Pirouet, p. 208.
2672:Pirouet, p. 187.
2599:Pirouet, p. 174.
2590:Pirouet, p. 147.
2565:Pirouet, p. 155.
2553:Pirouet, p. 150.
2544:Pirouet, p. 153.
2522:Pirouet, p. 149.
2513:Pirouet, p. 138.
2495:Pirouet, p. 139.
2477:Pirouet, p. 132.
2455:Pirouet, p. 116.
2446:Pirouet, p. 119.
2366:25 April 2012 at the
2341:Kennedy, p. 234.
2332:Pirouet, p. 102.
2290:Kennedy, p. 231.
2278:Kennedy, p. 230.
1937:Morrison, p. 79.
1773:in Elkin, p. 49.
1369:Love and Other Demons
1175:Andrés Orozco-Estrada
1117:
1056:
960:
904:
869:
762:
605:
560:
442:
317:
174:Glyndebourne Festival
116:
4150:Scott Ambrose Reilly
3767:, 15 September 2000.
3594:. Hove: Book Guild.
3514:Lucas, John (2008).
3382:Retrieved 2011-08-31
3277:Stuart, p. 412.
3211:Stuart, p. 140.
3184:Stuart, p. 114.
2381:"Promenade Concerts"
2257:Hill, pp. 49â50
2248:Pirouet, p. 77.
2141:Russell, p. 39.
2119:Russell, p. 23.
2085:Russell, p. 22.
1982:Russell, p. 18.
1919:Russell, p. 19.
1892:Jenkins, p. 99.
1883:Russell, p. 17.
1702:Pirouet singles out
1497:Japanese Light Music
1493:Academy Award Themes
1464:on his studio album
1411:Antony and Cleopatra
1344:(1975 and 2002) and
1221:The Origin of Design
1171:Yannick NĂ©zet-SĂ©guin
1148:Nikolaus Harnoncourt
841:Constantin Silvestri
381:Royal Choral Society
4227:Six Degrees Records
4199:Deutsche Grammophon
4031:The English Concert
3636:. London, England:
3246:); Stuart, Philip.
3116:Stuart, p. 19.
2844:"Classical Chatter"
2742:The New York Times
2714:The Daily Telegraph
2624:"Klaus Tennstedt",
2504:Peacock, p. 8.
2177:Lucas, p. 240.
2168:Reid (1961), p. 218
1856:Aldous, p. 68.
1668:, Clifford Curzon,
1664:, and the pianists
1282:Hans Knappertsbusch
1251:and the violinists
1161:, Richard Strauss,
986:Carlo Maria Giulini
929:, particularly the
787:Royal Festival Hall
738:, and Stravinsky's
299:of Amsterdam under
286:Wilhelm FurtwÀngler
282:Berlin Philharmonic
239:trilogy (2001â03).
178:Royal Festival Hall
119:Royal Festival Hall
84:Principal conductor
78:Royal Festival Hall
4247:Warner Music Group
4046:London Sinfonietta
4010:Southbank Sinfonia
3985:Camerata of London
3761:"Strings attached"
3361:2011-09-27 at the
3193:Stuart, p. 4.
3155:Stuart, p. 2.
3134:Stuart, p. 72
2866:The Pope's Maestro
2744:, 13 November 1994
2733:The New York Times
2379:Mitchell, Donald.
2199:Pirouet, pp. 43â44
1995:, 9 October 1932,
1805:Kenyon, Nicholas.
1761:Elkin, p. 93.
1622:Elisabeth Schumann
1405:Lawrence of Arabia
1399:Whom the Gods Love
1241:Serge Koussevitzky
1123:
1062:
966:
935:Vladimir Ashkenazy
910:
872:
818:Anatole Fistoulari
765:
676:, and Beethoven's
634:Sergiu Celibidache
611:
449:
335:Sir Thomas Beecham
323:
319:Sir Thomas Beecham
252:In the 1920s, the
230:Lawrence of Arabia
167:Royal Philharmonic
143:Sir Thomas Beecham
123:
4302:London orchestras
4279:
4278:
4184:Blue Note Records
4169:Alligator Records
4154:
4146:
4094:
4093:
3888:
3887:
3873:Vladimir Jurowski
3861:Franz Welser-Möst
3831:William Steinberg
3819:Eduard van Beinum
3311:"Film highlights"
3240:Die Meistersinger
2876:978-0-470-49065-5
2726:Kenyon, Nicholas
2405:The Musical Times
2399:Pepper, Maurice.
2385:The Musical Times
2267:"About the Choir"
1837:The Musical Times
1833:"London Concerts"
1812:The Musical Times
1732:The Musical Times
1704:Nikolai Roslavets
1682:Arthur Rubinstein
1652:; the violinists
1650:Jacqueline du Pré
1638:Luciano Pavarotti
1531:The LPO has been
1475:Hawaiian Paradise
1467:Yoshiki Classical
1447:Lord of the Rings
1420:(1973), Disney's
1347:Die Meistersinger
1233:Felix Weingartner
1187:Karina Canellakis
1133:Vladimir Jurowski
1119:Vladimir Jurowski
1088:Franz Welser-Möst
1058:Franz Welser-Möst
1031:Edward Greenfield
852:William Steinberg
642:Eduard van Beinum
503:and the pianists
447:
301:Willem Mengelberg
258:Royal Albert Hall
236:Lord of the Rings
217:Vladimir Jurowski
111:
110:
4329:
4269:
4268:
4253:Welk Music Group
4217:Nacional Records
4152:
4144:
4121:
4114:
4107:
4098:
4097:
3980:Aurora Orchestra
3915:
3908:
3901:
3892:
3891:
3795:
3788:
3781:
3772:
3771:
3739:
3738:
3723:
3692:
3673:
3662:The Record Guide
3649:
3628:
3616:
3605:
3586:
3567:
3548:
3529:
3510:
3498:
3487:
3475:
3464:
3445:
3428:
3411:
3383:
3376:
3371:
3365:
3353:
3347:
3341:
3335:
3334:
3332:
3330:
3320:
3314:
3308:
3302:
3296:
3290:
3284:
3278:
3275:
3269:
3218:
3212:
3209:
3203:
3200:
3194:
3191:
3185:
3182:
3176:
3169:Stuart, Philip.
3167:
3156:
3153:
3144:
3141:
3135:
3132:
3126:
3123:
3117:
3114:
3108:
3107:
3105:
3103:
3092:
3086:
3085:
3083:
3081:
3070:
3064:
3063:
3061:
3059:
3044:
3038:
3037:
3035:
3033:
3028:on 10 April 2020
3018:
3012:
3011:
3009:
3007:
2992:
2986:
2985:
2983:
2981:
2966:
2960:
2959:
2957:
2955:
2940:
2934:
2933:
2931:
2929:
2915:
2907:
2901:
2900:
2887:
2881:
2880:
2860:
2854:
2853:
2849:The Buffalo News
2839:
2833:
2826:
2820:
2807:
2801:
2794:
2788:
2785:
2779:
2776:
2770:
2767:
2758:
2751:
2745:
2724:
2718:
2717:, 18 August 2005
2705:
2699:
2692:
2686:
2679:
2673:
2670:
2664:
2661:
2655:
2648:
2642:
2635:
2629:
2622:
2613:
2606:
2600:
2597:
2591:
2588:
2582:
2572:
2566:
2563:
2554:
2551:
2545:
2542:
2536:
2529:
2523:
2520:
2514:
2511:
2505:
2502:
2496:
2493:
2487:
2484:
2478:
2475:
2469:
2468:, 1 August 1960.
2462:
2456:
2453:
2447:
2444:
2438:
2435:
2420:
2417:
2411:
2410:
2397:
2391:
2390:
2377:
2371:
2359:Witts, Richard.
2357:
2351:
2348:
2342:
2339:
2333:
2330:
2324:
2321:
2315:
2312:
2303:
2297:
2291:
2288:
2279:
2276:
2270:
2264:
2258:
2255:
2249:
2246:
2240:
2237:
2231:
2228:
2222:
2206:
2200:
2197:
2191:
2190:(1947), pp. 9-30
2188:Music Since 1939
2184:
2178:
2175:
2169:
2166:
2160:
2157:
2151:
2148:
2142:
2139:
2133:
2126:
2120:
2117:
2111:
2092:
2086:
2083:
2077:
2074:
2065:
2062:
2056:
2055:Jefferson, p. 89
2053:
2047:
2040:
2034:
2027:
2021:
2006:
2000:
1993:The Sunday Times
1991:Newman, Ernest,
1989:
1983:
1980:
1974:
1971:
1965:
1962:
1956:
1953:
1947:
1944:
1938:
1935:
1929:
1926:
1920:
1917:
1911:
1904:
1893:
1890:
1884:
1881:
1875:
1872:
1866:
1863:
1857:
1854:
1848:
1842:
1825:
1819:
1818:
1803:
1797:
1796:
1785:Patmore, David.
1783:
1774:
1768:
1762:
1759:
1753:
1746:
1740:
1738:
1724:
1707:
1700:
1694:
1691:
1685:
1678:Maurizio Pollini
1628:and Eva Turner,
1614:Kirsten Flagstad
1594:
1588:
1585:
1579:
1576:
1570:
1567:
1561:
1557:
1093:Southbank Centre
1067:Richard Morrison
994:Riccardo Chailly
947:Daniel Barenboim
750:Benjamin Britten
725:The Perfect Fool
630:Victor de Sabata
586:, taboo to Nazi
558:reviewer wrote:
461:The Sunday Times
445:
409:Geoffrey Gilbert
365:Samuel Courtauld
309:Arturo Toscanini
201:Sir Adrian Boult
186:Congress Theatre
107:
104:
102:
100:
61:
59:
38:
21:
20:
4337:
4336:
4332:
4331:
4330:
4328:
4327:
4326:
4282:
4281:
4280:
4275:
4257:
4157:
4145:(founder / CEO)
4130:
4125:
4095:
4090:
4074:
4060:
4014:
3963:
3922:
3919:
3889:
3884:
3855:Klaus Tennstedt
3843:Bernard Haitink
3804:
3799:
3734:
3733:
3730:
3720:
3710:Greenwood Press
3689:
3638:Victor Gollancz
3625:
3602:
3583:
3564:
3545:
3526:
3507:
3484:
3461:
3408:
3392:
3387:
3386:
3374:
3372:
3368:
3363:Wayback Machine
3354:
3350:
3342:
3338:
3328:
3326:
3322:
3321:
3317:
3309:
3305:
3297:
3293:
3285:
3281:
3276:
3272:
3228:Wayback Machine
3221:"CDs and audio"
3219:
3215:
3210:
3206:
3201:
3197:
3192:
3188:
3183:
3179:
3168:
3159:
3154:
3147:
3142:
3138:
3133:
3129:
3124:
3120:
3115:
3111:
3101:
3099:
3094:
3093:
3089:
3079:
3077:
3072:
3071:
3067:
3057:
3055:
3045:
3041:
3031:
3029:
3020:
3019:
3015:
3005:
3003:
3002:on 28 July 2019
2994:
2993:
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2979:
2977:
2967:
2963:
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2941:
2937:
2927:
2925:
2908:
2904:
2889:
2888:
2884:
2877:
2861:
2857:
2840:
2836:
2827:
2823:
2817:Wayback Machine
2808:
2804:
2795:
2791:
2786:
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2773:
2768:
2761:
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2748:
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2693:
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2680:
2676:
2671:
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2649:
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2598:
2594:
2589:
2585:
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2557:
2552:
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2512:
2508:
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2445:
2441:
2436:
2423:
2418:
2414:
2408:
2398:
2394:
2388:
2378:
2374:
2368:Wayback Machine
2358:
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2336:
2331:
2327:
2322:
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2313:
2306:
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2256:
2252:
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2243:
2238:
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2229:
2225:
2207:
2203:
2198:
2194:
2185:
2181:
2176:
2172:
2167:
2163:
2158:
2154:
2149:
2145:
2140:
2136:
2127:
2123:
2118:
2114:
2093:
2089:
2084:
2080:
2075:
2068:
2063:
2059:
2054:
2050:
2041:
2037:
2028:
2024:
2007:
2003:
1990:
1986:
1981:
1977:
1972:
1968:
1963:
1959:
1954:
1950:
1945:
1941:
1936:
1932:
1927:
1923:
1918:
1914:
1905:
1896:
1891:
1887:
1882:
1878:
1873:
1869:
1864:
1860:
1855:
1851:
1843:; and "Music",
1840:
1826:
1822:
1816:
1804:
1800:
1794:
1784:
1777:
1769:
1765:
1760:
1756:
1747:
1743:
1736:
1725:
1721:
1716:
1711:
1710:
1701:
1697:
1692:
1688:
1644:; the cellists
1634:Beniamino Gigli
1626:Joan Sutherland
1595:
1591:
1586:
1582:
1577:
1573:
1568:
1564:
1558:
1554:
1549:
1529:
1394:
1388:with Jurowski.
1378:Eighth Symphony
1294:Eighth Symphony
1270:Ernest Ansermet
1268:, conducted by
1237:John Barbirolli
1196:
1155:Yuri Temirkanov
1112:
1007:
998:Klaus Tennstedt
982:Erich Leinsdorf
975:Henry Wood Hall
962:Sir Georg Solti
914:Bernard Haitink
906:Bernard Haitink
864:
826:Alfredo Campoli
810:Walter Susskind
774:Communist party
730:Richard Strauss
712:and Schubert's
691:Michael Kennedy
654:
596:
548:Igor Stravinsky
509:Clifford Curzon
444:
437:
353:Malcolm Sargent
341:, launched the
250:
245:
233:(1962) and the
213:Klaus Tennstedt
209:Sir Georg Solti
205:Bernard Haitink
151:London Symphony
147:Malcolm Sargent
133:) is a British
97:
69:London, England
57:
55:
17:
12:
11:
5:
4335:
4325:
4324:
4319:
4314:
4309:
4304:
4299:
4294:
4277:
4276:
4274:
4273:
4262:
4259:
4258:
4256:
4255:
4250:
4244:
4239:
4234:
4229:
4224:
4219:
4214:
4209:
4208:HHO Multimedia
4206:
4201:
4196:
4191:
4186:
4181:
4176:
4171:
4165:
4163:
4159:
4158:
4156:
4155:
4147:
4142:Johan Lagerlöf
4138:
4136:
4132:
4131:
4128:X5 Music Group
4124:
4123:
4116:
4109:
4101:
4092:
4091:
4089:
4088:
4083:
4077:
4075:
4073:
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4069:
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4062:
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4058:
4053:
4048:
4043:
4038:
4033:
4028:
4022:
4020:
4016:
4015:
4013:
4012:
4007:
4002:
3997:
3992:
3987:
3982:
3977:
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3969:
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3962:
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3956:
3951:
3946:
3941:
3936:
3930:
3928:
3924:
3923:
3918:
3917:
3910:
3903:
3895:
3886:
3885:
3883:
3882:
3879:Edward Gardner
3876:
3870:
3864:
3858:
3852:
3846:
3840:
3837:John Pritchard
3834:
3828:
3822:
3816:
3813:Thomas Beecham
3809:
3806:
3805:
3798:
3797:
3790:
3783:
3775:
3769:
3768:
3757:Jessica Duchen
3754:
3745:
3740:
3729:
3728:External links
3726:
3725:
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3348:
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3315:
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3279:
3270:
3213:
3204:
3195:
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3177:
3157:
3145:
3136:
3127:
3118:
3109:
3087:
3065:
3039:
3013:
2987:
2961:
2945:"LPO/Jurowski"
2935:
2902:
2882:
2875:
2855:
2834:
2821:
2802:
2789:
2780:
2771:
2759:
2746:
2719:
2707:Hewett, Ivan.
2700:
2687:
2674:
2665:
2656:
2643:
2630:
2614:
2601:
2592:
2583:
2567:
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2439:
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2412:
2392:
2372:
2352:
2343:
2334:
2325:
2316:
2304:
2300:The Gramophone
2292:
2280:
2271:
2259:
2250:
2241:
2232:
2223:
2209:Glock, William
2201:
2192:
2179:
2170:
2161:
2152:
2143:
2134:
2121:
2112:
2087:
2078:
2066:
2057:
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2022:
2001:
1984:
1975:
1966:
1957:
1948:
1939:
1930:
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1763:
1754:
1741:
1718:
1717:
1715:
1712:
1709:
1708:
1695:
1686:
1670:Wilhelm Kempff
1666:Alfred Brendel
1662:David Oistrakh
1658:Fritz Kreisler
1654:Jascha Heifetz
1642:Richard Tauber
1618:Leontyne Price
1589:
1580:
1571:
1562:
1551:
1550:
1548:
1545:
1528:
1525:
1393:
1390:
1335:CosĂŹ fan tutte
1278:Clemens Krauss
1257:Jascha Heifetz
1253:Fritz Kreisler
1245:Artur Schnabel
1195:
1192:
1182:Edward Gardner
1140:Gilbert Levine
1111:
1108:
1084:Semyon Bychkov
1011:golden jubilee
1006:
1003:
892:Duke Ellington
876:John Pritchard
863:
860:
754:William Walton
728:ballet music,
683:The Gramophone
678:First Symphony
674:Blanche Thebom
653:
650:
615:Richard Tauber
595:
592:
513:Yehudi Menuhin
477:Neville Cardus
436:
433:
429:Bernard Walton
417:Gerald Jackson
405:Gwydion Brooke
401:David McCallum
327:Sir John Reith
270:Sir Henry Wood
249:
246:
244:
241:
109:
108:
95:
91:
90:
88:Edward Gardner
85:
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4210:
4207:
4205:
4202:
4200:
4197:
4195:
4194:Decca Records
4192:
4190:
4189:Cooking Vinyl
4187:
4185:
4182:
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3525:9781843834021
3521:
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3299:"Bestsellers"
3295:
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2997:
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2976:
2975:Playbill Arts
2972:
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2587:
2580:
2576:
2575:Mann, William
2571:
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2205:
2196:
2189:
2183:
2174:
2165:
2159:Lucas, p. 239
2156:
2147:
2138:
2131:
2125:
2116:
2109:
2105:
2101:
2097:
2091:
2082:
2073:
2071:
2061:
2052:
2045:
2039:
2032:
2026:
2019:
2015:
2011:
2005:
1998:
1994:
1988:
1979:
1970:
1961:
1952:
1943:
1934:
1925:
1916:
1909:
1903:
1901:
1899:
1889:
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1871:
1862:
1853:
1846:
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1814:
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1792:
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1534:
1524:
1522:
1518:
1514:
1510:
1506:
1502:
1498:
1494:
1490:
1486:
1485:Broadway Gold
1482:
1481:
1476:
1471:
1469:
1468:
1463:
1459:
1458:
1454:derived from
1453:
1449:
1448:
1443:
1442:
1437:
1436:
1431:
1430:
1425:
1424:
1419:
1418:
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1407:
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1401:
1400:
1389:
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1365:
1361:
1360:
1355:
1354:
1349:
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1343:
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1337:
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1325:
1324:
1318:
1316:
1311:
1307:
1303:
1297:
1295:
1291:
1287:
1286:Erich Kleiber
1283:
1279:
1275:
1274:Charles Munch
1271:
1267:
1266:
1260:
1258:
1254:
1250:
1249:Alfred Cortot
1246:
1242:
1238:
1234:
1230:
1226:
1222:
1218:
1214:
1213:Kingsway Hall
1210:
1209:
1204:
1203:
1191:
1188:
1183:
1178:
1176:
1172:
1168:
1164:
1160:
1156:
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1149:
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1141:
1136:
1134:
1129:
1120:
1116:
1107:
1105:
1100:
1096:
1094:
1089:
1085:
1081:
1077:
1076:Riccardo Muti
1072:
1068:
1059:
1055:
1051:
1049:
1044:
1039:
1034:
1032:
1028:
1027:
1022:
1021:
1016:
1012:
1005:1980s and 90s
1002:
999:
995:
991:
987:
983:
978:
976:
972:
963:
959:
955:
951:
948:
944:
940:
936:
932:
928:
924:
920:
915:
907:
903:
899:
897:
893:
889:
884:
879:
877:
868:
862:1960s and 70s
859:
857:
853:
848:
846:
842:
837:
835:
831:
830:Moura Lympany
827:
823:
819:
815:
811:
807:
803:
799:
798:Jean Martinon
795:
790:
788:
784:
783:Richard Witts
779:
775:
770:
769:Decca Records
761:
757:
755:
751:
747:
743:
742:
737:
736:
731:
727:
726:
721:
717:
716:
715:Great C major
711:
708:, Schumann's
707:
703:
701:
696:
692:
687:
685:
684:
679:
675:
672:
671:mezzo-soprano
668:
667:
662:
661:
649:
647:
643:
639:
635:
631:
626:
624:
618:
616:
608:
604:
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591:
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581:
579:
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559:
557:
551:
549:
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541:
537:
531:
529:
526:
522:
518:
514:
510:
506:
505:Harriet Cohen
502:
496:
494:
493:
488:
484:
483:
478:
474:
471:
466:
465:Ernest Newman
463:
462:
457:
456:
441:
432:
430:
426:
422:
421:Reginald Kell
418:
414:
413:LĂ©on Goossens
410:
406:
402:
398:
393:
388:
386:
385:Covent Garden
382:
378:
374:
370:
366:
361:
358:
354:
351:
346:
344:
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328:
320:
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306:
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279:
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240:
238:
237:
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210:
206:
202:
197:
195:
194:Brighton Dome
191:
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175:
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136:
132:
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106:
96:
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82:
79:
76:
72:
68:
64:
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49:
45:
41:
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4212:Glyndebourne
3943:
3825:Adrian Boult
3801:
3765:The Guardian
3764:
3697:
3678:
3661:
3633:
3612:
3591:
3572:
3553:
3534:
3515:
3494:
3472:Adrian Boult
3471:
3450:
3433:
3416:
3397:
3369:
3351:
3339:
3327:. Retrieved
3318:
3306:
3294:
3282:
3273:
3257:
3253:
3248:
3243:
3239:
3235:
3231:
3216:
3207:
3198:
3189:
3180:
3171:
3139:
3130:
3121:
3112:
3102:18 September
3100:. Retrieved
3090:
3078:. Retrieved
3068:
3056:. Retrieved
3053:The Guardian
3052:
3042:
3030:. Retrieved
3026:the original
3016:
3004:. Retrieved
3000:the original
2990:
2978:. Retrieved
2974:
2964:
2952:. Retrieved
2949:The Guardian
2948:
2938:
2926:. Retrieved
2917:
2905:
2894:
2885:
2865:
2858:
2847:
2837:
2829:
2824:
2805:
2798:The Guardian
2797:
2792:
2783:
2774:
2754:
2749:
2741:
2731:
2722:
2712:
2703:
2695:
2690:
2682:
2677:
2668:
2659:
2651:
2646:
2639:The Guardian
2638:
2633:
2625:
2610:The Guardian
2609:
2604:
2595:
2586:
2578:
2570:
2549:
2540:
2532:
2527:
2518:
2509:
2500:
2491:
2482:
2473:
2466:The Guardian
2465:
2460:
2451:
2442:
2415:
2404:
2395:
2384:
2375:
2355:
2346:
2337:
2328:
2319:
2299:
2295:
2274:
2262:
2253:
2244:
2235:
2226:
2218:
2214:The Observer
2212:
2204:
2195:
2187:
2182:
2173:
2164:
2155:
2146:
2137:
2129:
2124:
2115:
2107:
2103:
2099:
2095:
2090:
2081:
2060:
2051:
2043:
2038:
2030:
2025:
2017:
2013:
2009:
2004:
1996:
1992:
1987:
1978:
1969:
1960:
1951:
1942:
1933:
1924:
1915:
1907:
1888:
1879:
1870:
1861:
1852:
1845:The Observer
1844:
1836:
1828:
1823:
1810:
1801:
1791:ARSC Journal
1790:
1770:
1766:
1757:
1749:
1744:
1730:
1727:"The B.B.C."
1722:
1698:
1689:
1646:Pablo Casals
1592:
1583:
1574:
1565:
1555:
1530:
1504:
1500:
1496:
1492:
1488:
1484:
1478:
1474:
1472:
1465:
1455:
1445:
1444:(1993), the
1439:
1435:Dead Ringers
1433:
1427:
1421:
1415:
1409:
1403:
1397:
1395:
1382:Rachmaninoff
1374:
1367:
1357:
1351:
1345:
1339:
1333:
1327:
1321:
1319:
1298:
1290:stereophonic
1263:
1261:
1220:
1208:The Creation
1206:
1200:
1197:
1179:
1152:
1137:
1124:
1110:21st century
1104:The Guardian
1103:
1101:
1097:
1080:Simon Rattle
1070:
1063:
1043:Arts Council
1037:
1035:
1026:The Guardian
1024:
1018:
1008:
990:Eugen Jochum
979:
967:
952:
938:
927:Shostakovich
911:
896:Tony Bennett
880:
873:
849:
838:
822:George Hurst
814:Soviet Union
794:Paul Kletzki
791:
766:
739:
733:
723:
714:
699:
688:
681:
664:
658:
655:
627:
619:
612:
607:Queen's Hall
597:
588:anti-Semites
577:
566:
561:
555:
552:
540:George Szell
536:Bruno Walter
532:
497:
490:
480:
469:
459:
453:
450:
425:Anthony Pini
389:
369:Robert Mayer
362:
347:
339:Adrian Boult
324:
289:
277:
274:Queen's Hall
251:
234:
228:
198:
171:
163:Philharmonia
159:
130:
126:
124:
74:Concert hall
18:
4222:Sun Records
4179:BIS Records
4019:Specialised
3849:Georg Solti
3329:17 November
3080:22 February
2211:, "Music",
2042:"Concert",
1606:Janet Baker
1537:sponsorship
1503:(1994) and
1452:three films
1386:Tchaikovsky
1362:(1979) and
845:Josef Krips
806:Georg Solti
776:; when the
704:, Brahms's
663:, Mahler's
584:Mendelssohn
544:Fritz Busch
435:Early years
392:Harold Holt
4286:Categories
4135:Key people
3867:Kurt Masur
3719:0313291365
3688:0859362124
3624:0800850807
3601:1857763815
3582:011981062X
3563:057121584X
3544:0091473004
3506:0563176172
3483:0333487524
3460:0754607216
3434:Music 1951
3407:0091801311
1714:References
1632:including
1513:Paralympic
1457:The Hobbit
1217:Abbey Road
1194:Recordings
1128:Kurt Masur
1020:Brigg Fair
888:Danny Kaye
722:, Holst's
697:, Haydn's
501:Eva Turner
487:W J Turner
473:H C Colles
397:Paul Beard
248:Background
190:Eastbourne
43:Short name
4232:Luaka Bop
4204:EMI Music
4174:ARC Music
3670:474839729
3646:500565141
3425:636583612
3260:(1975));
2918:Telegraph
2810:"History"
2755:The Times
2696:The Times
2683:The Times
2652:The Times
2626:The Times
2579:The Times
2533:The Times
2219:The Times
2108:The Times
2104:The Times
2100:The Times
2096:The Times
2044:The Times
2031:The Times
2010:The Times
1908:The Times
1829:The Times
1827:"Music",
1533:condemned
1323:L'Ormindo
1265:Petrushka
1180:In 2003,
1071:The Times
1038:The Times
971:Southwark
939:The Times
669:with the
479:wrote in
470:The Times
357:Courtauld
350:conductor
291:The Times
137:based in
135:orchestra
29:Orchestra
4271:Category
4249:(parent)
4162:Partners
3927:Symphony
3752:AllMusic
3702:Westport
3660:(1955).
3442:26147349
3359:Archived
3238:(2002),
3232:Theodora
3224:Archived
2922:Archived
2896:TV Guide
2813:Archived
2364:Archived
1604:such as
1598:sopranos
1499:(1993),
1495:(1984),
1491:(1984),
1487:(1978),
1483:(1976),
1477:(1959),
1438:(1988),
1432:(1986),
1426:(1982),
1414:(1972),
1372:(2008).
1338:(1974),
1329:Theodora
919:Bruckner
778:Cold War
741:Firebird
735:Don Juan
702:, No 104
660:Falstaff
580:Symphony
528:concerto
377:Columbia
303:and the
284:, under
192:and the
165:and the
66:Location
3968:Chamber
3390:Sources
3380:YouTube
3058:6 April
3032:6 April
3006:6 April
2980:6 April
2954:6 April
2928:6 April
2899:. 2002.
1521:WPVI-TV
1509:Olympic
1462:Yoshiki
1429:The Fly
1310:Chandos
1202:Messiah
1159:Puccini
943:Philips
695:Seventh
625:(RPO).
578:Italian
243:History
94:Website
56: (
51:Founded
4237:ONErpm
4071:Ballet
3881:(2021)
3875:(2007)
3869:(2000)
3863:(1990)
3857:(1983)
3851:(1979)
3845:(1967)
3839:(1962)
3833:(1958)
3827:(1950)
3821:(1947)
3815:(1932)
3716:
3685:
3668:
3644:
3621:
3598:
3579:
3560:
3541:
3522:
3503:
3480:
3457:
3440:
3423:
3404:
3258:Carmen
3236:Carmen
2873:
1997:quoted
1771:Quoted
1750:quoted
1630:tenors
1602:mezzos
1364:Eötvös
1341:Carmen
1315:Lyrita
1239:, and
1229:78-rpm
1225:Handel
1167:Wagner
1146:under
1015:Delius
923:Mahler
710:Fourth
700:London
573:Hitler
521:Mozart
307:under
278:ad hoc
264:, the
182:Thames
139:London
4153:(CEO)
4068:Opera
1547:Notes
1519:" by
1480:Evita
1163:Verdi
931:Tenth
706:First
652:1950s
525:Elgar
489:, of
225:Decca
3714:ISBN
3683:ISBN
3666:OCLC
3642:OCLC
3619:ISBN
3596:ISBN
3577:ISBN
3558:ISBN
3539:ISBN
3520:ISBN
3501:ISBN
3478:ISBN
3455:ISBN
3438:OCLC
3421:OCLC
3402:ISBN
3331:2021
3256:and
3242:and
3104:2024
3082:2024
3060:2020
3034:2020
3008:2020
2982:2020
2956:2020
2930:2020
2871:ISBN
1680:and
1660:and
1648:and
1640:and
1600:and
1511:and
1423:Tron
1384:and
1255:and
1247:and
1205:and
1173:and
1086:and
1078:and
921:and
894:and
843:and
828:and
820:and
752:and
632:and
569:Nazi
546:and
519:and
517:Bach
507:and
427:and
399:and
371:and
295:the
215:and
153:and
145:and
125:The
117:The
103:.org
101:.lpo
58:1932
54:1932
3750:at
3378:on
1543:).
1541:JTI
1366:'s
1306:RCA
1302:CBS
1211:at
1069:of
1017:'s
834:EMI
732:'s
582:by
272:'s
266:BBC
221:EMI
131:LPO
105:.uk
99:www
46:LPO
4288::
3763:.
3759:,
3712:.
3708::
3706:CT
3704:,
3700:.
3656:;
3640:.
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3160:^
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3051:.
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129:(
60:)
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