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282:. At its peak in the 1950s the Philharmonia was widely rated as the finest British orchestra and one of the finest orchestras in the World. In 1964, concerned at what he saw as falling standards, Legge disbanded the orchestra, which at once re-formed as the New Philharmonia, without him but with Klemperer as chief conductor.
61:
and worked for EMI as a recording producer. In the 1960s, he quarrelled with EMI and resigned. He attempted to disband the
Philharmonia in 1964, but it continued as an independent body without him. After this he had no permanent job, and confined himself to giving masterclasses with, and supervising
290:
Legge's employer, EMI, tolerated his independent ways for many years, but in the 1960s attempts were made to curtail his freedom of choice of repertoire, and finally in 1964 he resigned. His memoirs, edited by
Elisabeth Schwarzkopf and published in 1982, set out his disenchantment with EMI and its
316:, but he suffered a disabling heart attack in 1967 before he could take up the post, and he withdrew. He continued to supervise the EMI recordings made by his wife, but the breach with the company was complete when in 1977 and 1979 he produced her last recordings not for EMI but for
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and me; we know not only how to achieve the best artistic results but how to attract the public and carry out the whole operation with carefully chosen collaborators. Democracy is fatal for the arts; it leads only to chaos or the achievement of new and lower common denominators of
372:
under
Klemperer has been compared unfavourably with Klemperer's contemporaneous live recording from Covent Garden, on the grounds that Legge's chosen singers were less effective than their ROH rivals. He was suspicious of stereo recording, and resisted it for as long as he could.
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After the war Legge set to work to refresh EMI's catalogue and its roster of star performers. He set up his base in Vienna, then still occupied by the Allies, and contracted German and
Austrian artists who were then seriously short of work. These performers included
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In the pre-war years, Legge pioneered "subscription" recordings, by which the public were invited to pay in advance for their copies of future recordings, thus making it economically possible for EMI to make such "niche" but classic recordings as the songs of
343:
Legge's artistic judgment was sometimes questioned. He was aesthetically conservative; he wrote to a friend, "If producers and scenic designers are allowed to continue their writing of graffiti and vulgarity and stupidity on masterpieces … not to mention
331:, France, at the age of 72. He was cremated, and his ashes were initially placed near those of Hugo Wolf in Vienna, as he had requested. After Elisabeth Schwarzkopf's death in 2006, their ashes were buried next to her parents in
40:. His recordings include many sets later regarded as classics and reissued by EMI as "Great Recordings of the Century". He worked in the recording industry from 1927, combining this with the post of junior music critic of
87:
in
Hammersmith. He excelled in Latin and French, but received no musical training. He left school at 16 and had no further formal education. Encouraged by his father he developed a taste for music, and
312:
In retirement Legge, together with
Schwarzkopf, gave many joint masterclasses for young singers but he failed to find a permanent job. He was offered, and accepted, the directorship of the
22:
270:, a prominent conductor in the 1920s and '30s whose career Legge revitalised. Other eminent musicians of the time whom Legge persuaded to conduct the Philharmonia were
262:
in competition with the
Philharmonia. In its early years the Philharmonia became closely identified with Karajan, but when he turned his attentions to the
366:, conducted by Beecham, Karajan and Klemperer, each of which has incurred the disapproval of critics for omitting the spoken dialogue. His recording of
352:– we shall be forced to insist that they write the libretto and music to match the rubbish they put on the stage!" Legge predicted to John Culshaw and
816:
424:) and the core German symphonic repertory (Klemperer, Furtwängler, Karajan…) have remained in the catalogue for decades, first on LP and then on CD.
2038:
258:. Beecham conducted its first concert (for the fee of one cigar) but was unwilling to be the employee of his former assistant and soon founded the
166:
During World War II, Legge's poor eyesight prevented him from serving in the armed forces. At
Beecham's instigation he took on the musical side of
139:, made in Berlin in 1937. Beecham invited Legge to join him at the Opera as assistant artistic director. Given a free hand by Beecham he engaged
376:
Nevertheless Legge's legacy is "a vast number of outstanding recordings that set standards unlikely ever to be surpassed". His recordings of
227:, whose studio recordings he produced for EMI. The repertoire he chose to record was broad, though not extending much earlier than
2048:
451:, Oxford Dictionary of National Biography, Oxford University Press, 2004; online edition, January 2010. Retrieved 7 October 2010
107:, and was soon taking an active role in HMV recording procedures. Between 1933 and 1938, Legge also worked as a music critic for
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Opera House on 19 March 1979, despite having suffered a heart attack two days earlier. Three days after the recital, he died in
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A music scholarship honouring Legge was established by anonymous donors at
Latymer Upper School in January 2006.
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he again ventured into promoting concerts. For these, and for recordings, he founded a new orchestra, the
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54:, Covent Garden, and in World War II played a role in bringing music to the armed forces and civilians.
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I am convinced that in the arts, committees are useless. What is necessary are people like
Karajan,
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in 1927, writing album and analytical notes and copy for the company's monthly retailing magazine,
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would not sell; it became a classical best-seller. He was responsible for three recordings of
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129:). Another pre-war recording supervised by Legge, which has been reissued on LP and CD, was
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235:. From the 1940s to the 1960s he supervised a long series of recordings of the works of
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in particular, in pursuit of which he taught himself to read music and to speak German.
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and among modern composers concentrating on the approachable and
83:, London, where his father was a tailor. He was educated at the
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recitals before the war, but in 1945, finding his influence at
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Legge attended Schwarzkopf's final appearance, a recital at
167:
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37:
103:, but he caught the eye of the leading record producer,
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near Zürich, where she had lived from 1982 to 2003.
578:, 20 September 1943, p. 8; Schwarzkopf, pp. 59, 61
36:record producer, most especially associated with
2020:
629:Legge, Walter, "The Birth of the Philharmonia",
506:, Oxford Music Online. Retrieved 7 October 2010
756:On and Off the Record: A Memoir of Walter Legge
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32:(1 June 1906 – 22 March 1979) was an English
291:increasingly powerful internal committees:
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620:, May 1979, p. 57. Retrieved 7 October 2010
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685:See, for example, Hope-Wallace, Philip,
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470:. Latymer Upper School. January 2020
62:the recordings of, his second wife,
465:"MUSIC SCHOLARSHIPS AT 11+ AND 16+"
449:"Legge, (Harry) Walter (1906–1979)"
182:. In 1941 Legge married the singer
13:
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266:, Legge worked more and more with
16:English music producer (1906–1979)
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57:After the war, Legge founded the
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121:and the complete piano works of
754:Schwarzkopf, Elisabeth (1982).
744:. London: Secker & Warburg
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665:Geoffrey Parsons: Among Friends
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163:in their Covent Garden debuts.
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356:that their Decca recording of
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1:
1589:Arturo Benedetti Michelangeli
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790:The Truth about Walter Legge
7:
2049:People from Shepherd's Bush
785:(series of four programmes)
758:. London: Faber and Faber.
521:"Hugo Wolf Society, Vol. 1"
10:
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776:National Portrait Gallery
186:; they divorced in 1948.
2044:English record producers
1265:Dietrich Fischer-Dieskau
633:, 27 December 1975, p. 4
427:
242:Legge had promoted some
190:EMI and the Philharmonia
1919:record label executives
1181:Victoria de los Ángeles
826:Gramophone Hall of Fame
508:(subscription required)
453:(subscription required)
110:The Manchester Guardian
69:
43:The Manchester Guardian
740:Culshaw, John (1968).
710:, February 2004, p. 81
693:, November 1964, p. 66
489:Schwarzkopf, pp. 15–16
379:The Dream of Gerontius
309:
59:Philharmonia Orchestra
46:. He was assistant to
26:
1833:Mstislav Rostropovich
1405:Elisabeth Schwarzkopf
1137:Michael Tilson Thomas
546:Schwarzkopf pp. 57–58
329:Saint-Jean-Cap-Ferrat
320:, EMI's great rival.
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221:Elisabeth Schwarzkopf
64:Elisabeth Schwarzkopf
25:Walter Legge, c. 1960
24:
1917:Producers/engineers/
1384:Anne Sofie von Otter
975:Nikolaus Harnoncourt
85:Latymer Upper School
1907:The Tallis Scholars
1872:Alban Berg Quartett
1610:Sergei Rachmaninoff
1328:Dmitri Hvorostovsky
996:Herbert von Karajan
982:Christopher Hogwood
956:Carlo Maria Giulini
949:John Eliot Gardiner
942:Wilhelm Furtwängler
651:Schwarzkopf, p. 288
272:Wilhelm Furtwängler
264:Berlin Philharmonic
217:Herbert von Karajan
95:Legge first joined
1893:The King's Singers
1826:Jean-Pierre Rampal
1798:Anne-Sophie Mutter
1617:Sviatoslav Richter
1514:Marc-André Hamelin
1479:Vladimir Ashkenazy
1209:Montserrat Caballé
914:Sergiu Celibidache
727:, March 1985, p. 7
642:Schwarzkopf, p. 83
596:Schwarzkopf, p. 67
587:Schwarzkopf, p. 64
564:Schwarzkopf, p. 60
555:Schwarzkopf, p. 59
504:Grove Music Online
389:Tristan und Isolde
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131:Sir Thomas Beecham
79:Legge was born in
48:Sir Thomas Beecham
30:Harry Walter Legge
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2007:Kenneth Wilkinson
1988:Goddard Lieberson
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1123:Leopold Stokowski
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874:Leonard Bernstein
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52:Royal Opera House
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136:The Magic Flute
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1216:Maria Callas
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1156:Bruno Walter
1130:George Szell
1104:Fritz Reiner
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1433:Bryn Terfel
1356:Emma Kirkby
1321:Hans Hotter
1188:Janet Baker
1111:Georg Solti
1050:Zubin Mehta
928:Colin Davis
414:(Karajan),
354:Georg Solti
209:Hans Hotter
197:Josef Krips
184:Nancy Evans
125:(played by
75:Early years
2023:Categories
1300:Tito Gobbi
833:Conductors
735:References
725:Gramophone
708:Gramophone
691:Gramophone
617:Gramophone
532:8 December
526:Gramophone
286:Last years
133:'s set of
2001:Ted Perry
1864:Ensembles
1582:Radu Lupu
1568:Lang Lang
881:Karl Böhm
704:"Fidelio"
631:The Times
575:The Times
400:De Sabata
123:Beethoven
119:Hugo Wolf
101:The Voice
1763:Yo-Yo Ma
474:19 March
411:Falstaff
350:Bayreuth
300:quality.
233:diatonic
1166:Singers
384:Sargent
369:Fidelio
346:Chéreau
333:Zumikon
297:Culshaw
172:Solomon
50:at the
762:
748:
325:Zürich
244:Lieder
229:Handel
468:(PDF)
428:Notes
395:Tosca
318:Decca
760:ISBN
746:ISBN
534:2015
476:2024
422:Böhm
408:and
278:and
219:and
178:and
168:ENSA
159:and
70:Life
402:),
386:),
348:at
97:HMV
38:EMI
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