640:, nominally as "associate principal conductor", from 1970, although in practice his role was more like a chief conductorship, with Klemperer as a figurehead, albeit one still capable of inspiring magnificent performances on occasion. Maazel sought more control than the self-governing orchestra was willing to concede, and resigned from his post in early 1972, although he continued to accept invitations to conduct the orchestra. Shortly afterwards, Klemperer announced his retirement; he died, aged 88, the following year. The orchestra recognised that a strong chief conductor was needed to restore its standards and finances, but there was no immediately obvious candidate. Although Legge no longer had any stake in the orchestra he watched its progress benevolently, and having spotted the potential of
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First, to avoid clashes of repertoire the
Festival Hall management set up a committee to co-ordinate programming by the London orchestras. Secondly, at EMI a similar rationalisation was taking place, with an internal committee deciding which works producers, including Legge, could schedule. Legge, an autocrat by temperament, resented any curtailment of his personal control, and found committees intolerable. Finance also started to become a problem. The Philharmonia's lucrative recording contract depended on regular work in the studio, and having by now recorded most of the standard repertoire first in
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recordings. Legge's practice of tying concerts in with studio recordings ensured longer than usual rehearsal time, paid for by EMI. In the early years, Karajan's concerts were criticised in the press for their unadventurous programming; but a financially hazardous tour of Europe in 1952 necessitated programmes that were box-office attractions. Karajan told the orchestra that he felt it his duty to show Europe "the exceptional qualities of tone, aristocracy and vitality" of the
Philharmonia's playing. The violinist
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301:– playing in the pit for the opera and also giving concerts and making records on its own account. The committee appointed by the British government to re-establish opera and ballet at Covent Garden abandoned the pre-war system of opera seasons, in favour of a permanent year-round company. Neither Beecham nor Legge was invited to run it. Legge nevertheless decided to go ahead with his plans to form an orchestra. Although London already had three permanent symphony orchestras – the
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assemble and disperse more or less at random ... there is no style which is distinctively RPO or
Philharmonia." It was widely felt in musical circles that the Philharmonia was essentially a recording orchestra that also gave concerts, although Legge firmly denied this. Nevertheless, the orchestra played far fewer concerts than the older London orchestras: in 1949–50 the Philharmonia gave 32 concerts compared with 55 by the BBC SO, 103 by the LSO, and 248 by the LPO.
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571:"If Legge thought that by suspending the Philharmonia Orchestra he was killing it, he had reckoned without the players". They formed themselves into a self-governing company, led by Bernard Walton, the principal clarinet, and adopted the name New Philharmonia Orchestra (NPO). Hitherto, the players had been technically freelance, paid by Legge for each performance, but they now became employees of the company they collectively owned, with security of employment.
163:, with whom the orchestra gave many concerts and made numerous recordings of the core orchestral repertoire. During Klemperer's tenure Legge, citing the difficulty of maintaining the orchestra's high standards, attempted to disband it in 1964, but the players, backed by Klemperer, formed themselves into a self-governing ensemble as the New Philharmonia Orchestra. After thirteen years under this title, they negotiated the rights to revert to the original name.
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remained firmly loyal until his death in 1970. Klemperer's decline led to a diminution in recording sessions, and the orchestra's finances became difficult by the late 1960s and early 1970s. There were serious but inconclusive discussions about a merger with the LPO, which was also in some difficulties at the time. The NPO was rescued from financial disaster by two musical philanthropists, one anonymous and the other
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618:, Desmond Bradley, Carlos Villa (violins), Herbert Downes (viola), Gareth Morris (flute), John McCaw (clarinet), Gwydion Brooke (bassoon) and Nicholas Busch (horn). The Philharmonia was ahead of some of its London rivals in admitting female players. By 1972, seventeen of the sixty-six string players were women, although the other three sections remained exclusively male, except for the veteran harpist,
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orchestral trainer, combined with his excellence in interpretation augured well for the orchestra's future. Dohnányi's conducting was regarded as reliable and musically admirable, although sometimes rather cool. His commitment to modern music influenced the orchestra's programming and won approval from the press. With Dohnányi the
Philharmonia played in Vienna,
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814:(horn), John Wallace (trumpet) and David Corkhill (percussion). Clement Relf, singled out for praise by Legge in his memoirs, remained the orchestral librarian as he had been since 1945. In 1980 the orchestra received royal recognition when the Prince of Wales accepted an invitation to be the Philharmonia's honorary patron.
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578:, who incensed Legge by addressing the audience at a Philharmonia concert a few days later: "Do you want to see this great orchestra snuffed out like a candle? It must not be allowed to die!" He urged the public to support the orchestra by going to all its concerts, whatever the programmes. The music critic of
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In a survey of
British orchestras in 2006, Morrison described the current Philharmonia as "a serious, high-quality orchestra". He praised its "astute and canny" management, and commented that the orchestra had a large, loyal following in London, and had gained additional support elsewhere in Britain
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took up the position in 1997. The music critic Andrew
Clements commented that the Philharmonia's players had "maintained their coherence remarkably well through the long interregnum", but that securing "a conductor of Dohnányi's pedigree" was a major achievement, and that the conductor's skill as an
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that in his ten years in charge, Muti turned a struggling orchestra into "a great ensemble". Critics at the time commented on the orchestra's "superb performance", "immense virtuosity", its "astoundingly delicate" string playing and "woodwind phrasing even more magical than their Berlin colleagues".
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the first major virtual reality production from a UK symphony orchestra; RE-RITE and
Universe of Sound installations, which have allowed people all over the world to conduct, play, and step inside the orchestra through audio and video projections, and app for iPad, The Orchestra, which allows the
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In March 1964, with no advance warning to the orchestra, Legge issued a press statement announcing that "after the fulfilment of its present commitments the activities of the
Philharmonia Orchestra will be suspended for an indefinite period." The historian of the orchestra Stephen Pettitt comments,
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and the timpanist James
Bradshaw. Although this gave both orchestras access to the finest players, a review of the London orchestral scene of the late 1940s commented, "The Philharmonia and Royal Philharmonic share a very serious disability: that neither is a permanently constituted orchestra. Both
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orchestra. He then recruited wind and percussion players, including some of the country's top instrumentalists who had been playing in other orchestras during the war. At the
Philharmonia Orchestra's first concert, on 27 October 1945, more than sixty per cent of the players were still officially in
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By 1964 this was the norm for the London orchestras other than the BBC SO. The LSO had been a self-governing co-operative from its inception in 1904; the LPO, originally privately owned by Beecham, reorganised itself on similar lines in 1940; and the RPO, similarly Beecham's private domain, formed
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During Muti's tenure, the orchestra recovered its original title, after prolonged and complex negotiations. From September 1977 the "New" was dropped, and the orchestra has been the Philharmonia since then. Walter Legge died in 1979, and the orchestra dedicated a Tchaikovsky symphony cycle at the
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The Philharmonia performs more than 160 concerts a year, more than 35 of them at the Festival Hall. It has commissioned more than a hundred works. It also records music for films, computer games and commercial CD releases. Under Salonen the orchestra has taken part in a series of projects at the
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In 1999 the orchestra took part in what was described as a "fly-on-the-wall" television documentary, giving the public glimpses of day-to-day orchestral life. It showed the efforts to which individual players went to secure sponsorship for the orchestra, and the heavy workload they sustained. In
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as "a love-hate relationship" with the public and critics, because of his "slow speeds and mannered, sometimes lifeless phrasing". The same writer continues that the Philharmonia players did not take to "Sinopoli's peculiarly Italian brand of intellectualism; London musicians never like too much
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and others (occasionally including Karajan, who made his last appearance with the orchestra in 1960) were well received by the public and the critics. Unknown to the public, and to a considerable extent the players, a combination of factors beyond the orchestra's control was leading to a crisis.
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and many others. It reciprocated Klemperer's loyalty and appointed him its president and chief conductor, but this led to a decline in orchestral discipline and standards as Klemperer grew older, frailer and less in command. Giulini became disillusioned and began to distance himself; Barbirolli
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In the early 1960s the Philharmonia continued to be widely regarded as London's best orchestra. The RPO went through difficult times after Beecham's death in 1961; neither the BBC SO or the LPO had yet regained its pre-war excellence; and the LSO was only in the early stages of its return to
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wrote that with so fine a choir and "our best orchestra" and a great conductor, Legge had given London "a Beethoven cycle that any city in the world, be it Vienna or New York, would envy". In 1959 Legge abandoned his policy that the orchestra should have no permanent conductor, and appointed
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By the early 1950s the conductor most associated with the orchestra was Karajan, although he was not, officially or even unofficially, its chief conductor. He chose to work mainly with the Philharmonia and came to London for long spells twice or three times a year giving concerts and making
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Although few agreed with him, Legge contended that the quality of the orchestra was declining. Looking back in 1975 at the heyday of his orchestra, he singled out for particular mention not only Brain and Civil, Kell and Bradshaw, but also Clement Lawton (tuba), Arthur Gleghorn (piccolo),
265:(ENSA), which provided entertainment for British and allied armed forces. In this role he was in close touch with many first-rate musicians in the armed services, from whom he intended to draw when creating a new orchestra after the end of the war. He later set out his guiding principles:
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A typical example occurred in late 1956, when Legge scheduled three Brahms symphonies for recording by Klemperer and the Philharmonia days before their live performances of the same works at the Festival Hall, ensuring that EMI would effectively subsidise the rehearsals for the
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The year after Cantelli's death, the orchestra suffered a still worse blow with the death in a car crash of Dennis Brain, not only a supremely gifted player, but the most popular member of the orchestra among his colleagues. He was succeeded as principal horn by his deputy,
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No permanent conductor. An orchestra working with only one conductor, no matter how gifted he may be, inevitably bears the mark of its permanent conductor's personality, his own particular sonority and his approach to music. The Philharmonia Orchestra must have style, not a
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As Legge had expected, Karajan succeeded to the Berlin and Salzburg positions after Furtwängler died in 1954. Karajan remained under contract to EMI, but he quickly reduced his commitments to the Philharmonia. Among alternatives favoured by Legge and the orchestra was
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In 1995 the orchestra celebrated its 50th anniversary and launched its UK and international residency programme, with residencies at the Southbank Centre, London, and the Corn Exchange, Bedford. The orchestra developed further long-term partnerships, beginning with
1041:(2015–17). In recent years the Philharmonia's extensive international touring schedule has included appearances in China, the Czech Republic, France, Germany, Iceland, Spain, Sweden and Switzerland. Since 2017, the Philharmonia has been a resident orchestra at the
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with Giulini (DG). In the last decade of the 20th century and the first decade of the 21st, the orchestra's recordings included more discs conducted by Ashkenazy, including symphonies by Beethoven and Tchaikovsky for Decca; Beethoven and Schumann symphonies with
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Festival Hall: "City of Light: Paris 1900–1950" (2015), "City of Dreams: Vienna 1900–1935" (2009), "Bill Viola's Tristan und Isolde" (2010), "Infernal Dance: Inside the World of Béla Bartók" (2011), "Woven Words", a centenary celebration of
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eminence. The Philharmonia entered into a new three-year contract with EMI on advantageous terms in 1960; the number of players applying to join the orchestra was increasing; its records sold well; and its concerts under Klemperer, Giulini,
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who, though never formally chief conductor, was closely associated with the orchestra in the late 1940s and early 1950s. The Philharmonia became widely regarded as the finest of London's five symphony orchestras in its first two decades.
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In the 1980s, in addition to the recordings made with its chief conductors, mentioned above, the orchestra recorded extensively. Recordings from this decade include the symphonies of Elgar, Vaughan Williams and Walton, conducted by
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attracted much disparaging criticism, he was felt to be more successful in opera. Nice comments that the Philharmonia players "lent an unprecedented degree of tonal beauty" to their opera recordings with Sinopoli; they included
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The Philharmonia has had many celebrated players in its ranks and has commissioned more than 100 compositions. It gives more than 160 concerts a year, tours widely, and from its inception has been known for its many recordings.
3066:"Buckingham Palace is pleased to announce further details of the twelve new compositions that have been written for the Coronation of Their Majesties The King and The Queen Consort at Westminster Abbey on Saturday 6th May 2023"
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talk, let alone an analytic seminar on the work in question". By 1990 it was far from certain that Sinopoli's appointment would last until 1994 as scheduled, but he brought to the orchestra a lucrative recording contract with
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as soloist and Karajan conducting (his first recording with the orchestra), Mozart's Horn Concertos with Brain as soloist and Karajan conducting, and cycles of Beethoven and Brahms symphonies conducted by Klemperer.
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the services. Beecham conducted the concert (for the fee of one cigar), but as he refused to be Legge's employee and Legge refused to cede control of the orchestra, they went their separate ways. Beecham founded the
476:, who conducted some well-received recordings and concerts; his death in a plane crash in 1956 at the age of thirty-six deprived the Philharmonia of a potential replacement for Karajan. Another of Legge's protégés,
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was appointed as the next principal conductor, effective with the 2021–2022 season, with an initial contract of 5 years. Salonen took the title of conductor emeritus and became an honorary member of the orchestra.
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have been the orchestra's principal guest conductors. The orchestra's website reported in 2018 that Salonen and the orchestra had experimented in "groundbreaking ways to present music". The examples quoted were:
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In the 1960s and 1970s the orchestra made many recordings. Of those made for EMI, the company later reissued many in the series "Great Recordings of the Century". They include piano concertos by Beethoven with
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There are enough first-class musicians in Britain to make one orchestra at least equal and in certain sections, superior, to the best European orchestras. All these players must be in one orchestra – the
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Legge secured the services of many talented young musicians still serving in the armed forces. He first assembled a "Philharmonia String Orchestra" for recordings in 1945, composed of musicians from the
567:. Legge maintained retrospectively that in the absence of enough recording work to attract the finest new orchestral players to follow such stars he had no alternative to disbanding the Philharmonia.
480:, seemed promising, but had not at that point established himself with the orchestra or the public, and had a restricted repertory. Legge gradually built up a strong relationship with the veteran
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It was generally seen as a foregone conclusion that Karajan would succeed Furtwängler, although protracted contractual negotiations meant that Karajan did not formally take over until April 1956.
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as soloist and Furtwängler conducting (1950). For other, less popular, concerts in the orchestra's early years Legge was partly dependent on financial support from a musical benefactor, the last
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he recommended him to the New Philharmonia's general manager, Terence McDonald. Other potential candidates were considered, but Muti was appointed as the orchestra's chief conductor from 1973.
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In its early years as an independent body the New Philharmonia flourished, in the concert hall and the recording studio. As well as its existing regular conductors, the orchestra worked with
297:. Both men wrongly assumed that they would be able to resume their control of the opera house after the war, and Legge conceived of a new orchestra based there, operating on the lines of the
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and tours to countries including Japan and Germany where the conductor was held in very much higher regard than in Britain. Although Sinopoli's Philharmonia performances of works such as
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succeeded him in 1984 and, like Muti, served for ten years. Although the orchestra's standards remained high during Sinopoli's tenure, the conductor had what David Nice has described in
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that has remained in the catalogues ever since. Legge realised that Furtwängler was in declining health and that sooner or later Karajan would succeed him as chief conductor of the
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commented that the Philharmonia "showed the Continent for the first time all the qualities of perfect chamber-music playing raised to the power of a great symphony orchestra."
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by extending its touring programme while the Festival Hall was closed for renovation between 2005 and 2007. Since 2000 the orchestra has established further residencies: at
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became the Philharmonia's fifth principal conductor. He first conducted the orchestra in 1983, when he was 25, and from 1985 to 1994 he was its principal guest conductor.
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from available players on Legge's list. Several of those players were also on Beecham's list, and were able to play for both orchestras, including the horn player,
170:, who revitalised the orchestra in his ten-year term from 1972 to 1982. The orchestra's standards remained high throughout the controversial chief conductorship of
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in a series of concerts in Baltimore, London, and Rome, including televised concerts in Baltimore and at the Vatican, as part of the "Millennium Creation Series"
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the orchestra's prospects for recording were diminishing. This meant that Legge's scope for having concert rehearsals subsidised by EMI was also shrinking.
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Unlike the existing London orchestras, but like Beecham's Royal Philharmonic, the early Philharmonia was not a permanent ensemble: it was convened
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438:) were a critical and commercial success. In the same year, Furtwängler conducted the orchestra and soloists headed by Flagstad in a recording of
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Many of the orchestra's highest-profile releases were operas. Within days of its inauguration the Philharmonia played in a complete recording of
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for EMI; a Sibelius symphony cycle conducted by Ashkenazy and the Mozart piano concertos with Ashkenazy directing from the keyboard, for Decca;
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Muti, although he disclaimed such a description, was a firm disciplinarian, and under his conductorship the orchestra restored its standards.
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3020:"Esa-Pekka Salonen and the Philharmonia Orchestra announce 2020/21 as Salonen's final season as Principal Conductor & Artistic Advisor"
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1377:, and Toscanini's Brahms cycle. A later live recording was the last concert conducted by Klemperer (September 1971: Beethoven Overture:
227:. The name was taken from the title page of the published score Legge used for the first work they recorded. Temporarily augmented to a
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commented that Boult's point was underlined by "the resplendent, intense sound he drew from choir and orchestra during the concert."
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that he offered to come to London to conduct it. His two concerts at the Festival Hall in September 1952 (the four symphonies of
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Salonen concluded his principal conductorship after the 2020–2021 season, and Helen Sprott stood down as its managing director.
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Muti was under contract to EMI, which brought the orchestra much valuable studio work. With Muti the orchestra recorded opera (
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1549:. The record contained sounds and images which had been selected as examples of the diversity of life and culture on Earth.
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In Klemperer's last years the orchestra suffered a decline, both financial and artistic, but recovered under his successor,
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An orchestra consisting only of artists distinguished in their own right can give its best only with the best conductors.
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for DG, and a series of recordings of the major works of Stravinsky, and another of those of Schoenberg, conducted by
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I would make an orchestra of such quality that the best instrumentalists would compete for privilege of playing in it.
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Live recordings of some of the orchestra's early concerts have been issued on CD, including Strauss conducting the
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313:(LPO), their personnel and standards had declined during the war and he was convinced he could do better.
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commented that Muti had brought the orchestra's playing "within reach of that earlier peerless example".
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The RPO did not admit women until after Beecham's death; the LSO elected its first woman member in 1975.
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Leading members of the orchestra in the later years of Muti's tenure included Raymond Ovens (leader),
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recorded at the same sessions, was the Philharmonia's first published record. It was conducted by
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by the Philharmonia Orchestra conducted by Klemperer was selected by NASA to be included on the
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lists more than a hundred films with soundtrack scores played by the Philharmonia. They include
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2859:, is at the center of the concert, taped in Baltimore and airing on MPT.; Radio and Television"
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is the orchestra's conductor laureate; Dohnányi is its honorary conductor for life. From 2017
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was difficult, except for such sell-out performances as Strauss's concert, a cycle of the
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Klemperer, Giulini and Barbirolli gave the new orchestra their strong backing, as did
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No "passengers". One inferior player can mar an orchestra's ensemble and intonation.
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3053:"The Philharmonia Announces Santtu-Matias Rouvali as its Next Principal Conductor"
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1268:
1218:
1119:. Among the opera sets in which the orchestra played in the 1950s were the 1952
981:
927:
784:
690:
532:
212:
377:
in 1951, London lacked a suitable hall for symphony concerts. Filling the vast
361:
From its early years the orchestra played under prominent conductors including
4443:
4438:
4349:
4300:
4223:
3403:
3041:"Helen Sprott to step down as Managing Director of the Philharmonia Orchestra"
2484:
2369:
1069:
969:
678:
489:
452:
and be lost to the Philharmonia. Legge began to seek out suitable successors.
3681:
3472:
1237:(conducted by Giulini) and Wagner (Klemperer); choral works including Bach's
203:
The name "Philharmonia" was adopted by the impresario and recording producer
139:. Among the conductors who worked with the orchestra in its early years were
4145:
4138:
2939:
2805:
2511:
2505:
2489:
2471:
2425:
2317:
2242:
2033:
1991:
1967:
1952:
1916:
1827:
1764:
1692:
1636:
1073:
1028:
user unprecedented access to the internal workings of eight symphonic works.
878:
653:
564:
460:
47:
17:
1602:
described the early Philharmonia as "primarily an EMI recording orchestra".
625:
159:
From the late 1950s to the early 1970s the orchestra's chief conductor was
2707:
1738:
4177:
3786:
3652:
Heard Melodies are Sweet – A History of the London Philharmonic Orchestra
2687:
2360:
New Philharmonia programme booklet, Royal Festival Hall, 17 February 1972
1663:
itself into a self-governing ensemble in 1963, two years after his death.
903:
890:
528:
328:, conductor of the Philharmonia's first concert in 1945 (image from 1948)
4085:
1283:
894:
672:
3306:
2062:
4209:
228:
1192:
Other recordings by the Philharmonia in the 1940s and 1950s include
1037:(2013) and "Myths and Rituals", a five-concert festival of music by
3130:
Hunt, pp. 138, 141, 147, 149 and 152; and Hunt and Pettitt, p. 260
2054:
1398:
In 2009 the orchestra began a collaboration with the record label
994:
977:
865:
794:
783:
762:, who three decades later became the orchestra's chief conductor.
624:
459:
410:
320:
131:
is a British orchestra based in London. It was founded in 1945 by
503:
conducted by Klemperer, and won extremely favourable reviews. In
261:
During the war, Legge was in charge of the music division of the
2771:, 27 November 1996, p. 2; Ashley, Tim. "Philharmonia/Dohnanyi",
2603:
Philharmonia programme booklet, Royal Festival Hall, 10 May 1981
660:
4089:
3883:
3799:
3003:"Garsington Opera partners with RSC and Philharmonia Orchestra"
3779:
3442:
The Quiet Showman: Sir David Webster and the Royal Opera House
1545:, a gold-plated copper record that was sent into space on the
1056:
In 2023 members of the orchestra were selected to play at the
766:
Festival Hall to his memory; reviewing one of the concerts in
484:, who was admired by the players, the critics and the public.
334:
3550:
The BBC Symphony Orchestra – The First Fifty Years, 1930–1980
897:
and Paris. For several seasons they were in residence at the
881:(from 1997). Further partnerships followed in later decades.
706:, 1982); a wide range of the symphonic repertoire including
114:
1373:, Furtwängler and Flagstad in the first performance of the
2937:
Morrison, Richard. "Orchestras: these are the champions",
945:, the Philharmonia Orchestra and Chorus performed Haydn's
901:, where they took part in new productions of six operas:
3633:
Philharmonia Orchestra: A Record of Achievement 1945–1985
2080:"Tristan und Isolde, Furtwangler, Flagstad, Philharmonia"
1002:, principal conductor of the Philharmonia from 2008–2021
182:, principal conductor from 2008 to 2021 was succeeded by
3022:(Press release). Philharmonia Orchestra. 4 December 2018
1950:
Hunt and Pettitt, p. 299; and "Philharmonia Orchestra",
1884:, Oxford University Press, 2001, retrieved 29 June 2018
2025:, "Toscanini's Magic: Playing that Disarms Criticism",
30:"Philharmonia" redirects here. For the moth genus, see
3501:
Philharmonia Orchestra: Complete Discography 1945–1987
2824:, Pittsburgh Symphony Orchestra, retrieved 4 July 2018
1204:'s major works, conducted by the composer, Schumann's
389:
as soloist (1946), or the world premiere of Strauss's
373:
for concerts and recordings. Until the opening of the
4492:
1352:: Piano Concerto No. 1 in B flat minor, Op. 23, with
365:
for a single concert in 1947, and from 1948 onwards,
2735:, Three Choirs Festival, 2016, retrieved 1 July 2018
2031:, 2 October 1952, p. 5; "Second Toscanini Concert",
1123:
mentioned above, and six sets conducted by Karajan:
632:(2008 photograph), chief conductor from 1972 to 1982
4270:
4155:
4053:
4007:
3956:
3915:
2039:Goddard, Scott (November 1952). "London Concerts".
1330:
636:In Klemperer's later years the orchestra appointed
174:from 1984 to 1994, and the more orthodox tenure of
109:
99:
89:
81:
73:
41:
3522:
2567:Hunt and Pettitt, p. 461; and Pettitt, pp. 200–201
2272:
2270:
2503:, 7 July 1975, p. 8; Walker, Thomas. "NPO/Muti",
1423:, Schubert and Tchaikovsky) to opera and ballet (
1263:under Giulini; Mahler's orchestral songs sung by
430:While the orchestra was in Italy it so impressed
2330:Hunt and Pettitt, pp. 419, 404, 394, 444 and 445
1762:Legge, Walter. "The birth of the Philharmonia",
1640:called it "a virtuoso conductor's procession of
3754:On and Off the Record: A Memoir of Walter Legge
3614:Report on Orchestral Resources in Great Britain
3339:, British Film Institute, retrieved 4 July 2018
3316:, Philharmonia Orchestra, retrieved 4 July 2018
2993:, Philharmonia Orchestra, retrieved 7 July 2018
2981:, Philharmonia Orchestra, retrieved 4 July 2018
2962:, Philharmonia Orchestra, retrieved 4 July 2018
1068:The orchestra's first recording, a sinfonia by
1025:
467:, first principal conductor of the Philharmonia
267:
2833:Kingston, Peter. "Sour notes in the strings",
2744:Clements, Andrew. "Orchestrating a new dawn",
1681:Dohnányi conducted a work by his grandfather,
1537:In 1977, a recording of the first movement of
817:Muti stepped down as chief conductor in 1982.
4101:
3895:
3811:
3375:"Late Junction: The songs they sent to space"
2509:, 21 March 1977, p. 12; and "Record Review",
2315:"Philharmonia Resplendent in English Music",
231:, the ensemble gave its first concert in the
8:
4215:Prelude and Fugue in C major, BWV 870, from
3553:. London: British Broadcasting Corporation.
2162:Heyworth, Peter. "Klemperer and Beethoven",
1454:The Life and Adventures of Nicholas Nickleby
614:Leading players of the early 1970s included
289:Before the war, Legge had been assistant to
3238:
3236:
263:Entertainments National Service Association
4108:
4094:
4086:
3902:
3888:
3880:
3818:
3804:
3796:
3297:, Testament Records, retrieved 4 July 2018
2777:, 2 March 1999, p. A10; and Ashley, Tim. "
2469:Morrison, Richard. "Restrained lyricism",
1402:, with the release of a live recording of
714:cycles; concertos with soloists including
38:
3616:. London: Arts Council of Great Britain.
1072:, made in July 1945, was never released.
2721:
2719:
2717:
2715:
2541:
2539:
2497:. "A Masked Ball at the Festival Hall",
2372:. "Rudolf Kempe interview and profile",
211:he brought together in 1941, comprising
135:, a classical music record producer for
4499:
4184:Dark Was the Night, Cold Was the Ground
4045:Orchestre RĂ©volutionnaire et Romantique
3730:Robinson, Paul; Surtees, Bruce (1976).
2622:
2620:
2618:
2356:
2354:
1858:Jenkins, pp. 99–100; and Pettitt, p. 27
1758:
1756:
1754:
1752:
1750:
1748:
1746:
1706:
1599:Grove Dictionary of Music and Musicians
1562:
1159:(1956). Later sets from the 1950s were
3350:"Voyager – Music on the Golden Record"
2855:; TV: Haydn's work, based on Milton's
2817:
2815:
2758:
2756:
2140:
2138:
2119:
2117:
2115:
1937:
1935:
1878:"London: VII. Musical life since 1945"
1786:Schwarzkopf, p. 91; and Pettitt, p. 25
1327:
4040:Orchestra of the Age of Enlightenment
3499:Hunt, John; Pettitt, Stephen (2009).
3055:, Philharmonia Orchestra, 22 May 2019
3043:, Philharmonia Orchestra, 10 May 2019
2293:
2291:
1803:
1801:
1716:
1714:
1712:
1710:
1356:; Violin Concerto in D, Op. 35, with
1058:coronation of Charles III and Camilla
7:
4477:
2803:Millington, Barry. "Cold at heart",
2186:Peacock, p. 9; and Reid, pp. 428–429
1344:conducts the Philharmonia Orchestra
1196:as soloist and conductor in Ravel's
2765:. "New master for an old complex",
2195:Kenyon, p. 292; and Pirouet, p. 116
1989:British Orchestra to Tour Europe",
1729:"Quartet No. 17 in B-flat, K. 458:
802:, chief conductor from 1997 to 2008
791:, chief conductor from 1984 to 1994
4547:Musical groups established in 1945
4191:Partita for Violin No. 3, BWV 1006
4070:Orchestra of the Royal Opera House
3964:Academy of St Martin in the Fields
3076:from the original on 16 April 2023
2914:John Paul II, Pope (18 May 2000).
2082:, WorldCat, retrieved 30 June 2018
1102:were Legge's favoured conductors.
25:
4173:Beethoven's String Quartet No. 13
3827:Philharmonia Principal Conductors
3412:. Random House Publishing Group.
3221:"Great Recordings of the Century"
2849:Kaltenbach, Chris (10 May 2000).
1574:Quartet no. 17 in B flat, K 458:
1271:; and in the operatic repertoire
4514:
4502:
4476:
4467:
4466:
4261:
4075:English National Opera Orchestra
3910:Major orchestras based in London
3696:. London: Macdonald and Jane's.
3245:, Discogs, retrieved 4 July 2018
3230:, Discogs, retrieved 4 July 2018
2132:Previn, pp. 20, 159, 174 and 183
1825:"Philharmonia Concert Society",
1336:
513:Klemperer "conductor-for-life".
295:Royal Opera House, Covent Garden
54:
3734:. London: Macdonald and Janes.
3594:. London: Chatto & Windus.
2222:Schwarzkopf, pp. 83 and 105–106
4552:1945 establishments in England
2892:philharmoniachorus.co.uk/event
1914:"The Philharmonia Orchestra",
1:
4229:Queen of the Night aria from
4030:London Contemporary Orchestra
3933:London Philharmonic Orchestra
3184:Hunt and Pettitt, pp. 154–339
2888:"a world class choral set-up"
2628:"Obituary: Giuseppe Sinopoli"
2533:Hunt and Pettitt, pp. 446–496
1553:Notes, references and sources
1259:under Klemperer, and Verdi's
941:2000, under the direction of
3948:Royal Philharmonic Orchestra
3713:Malcolm Sargent: A Biography
3503:. London: Travis and Emery.
3337:"New Philharmonia Orchestra"
3326:"The Philharmonia Orchestra"
2918:. Libreria Editrice Vaticana
1688:Variations on a Nursery Song
559:(bassoon), and two leaders,
407:1950s: Karajan and Toscanini
340:Royal Philharmonic Orchestra
4537:British symphony orchestras
4332:Columbia Symphony Orchestra
4246:Songs of the Humpback Whale
3756:. London: Faber and Faber.
3715:. London: Hamish Hamilton.
3575:. London: Faber and Faber.
3529:. London: Hamish Hamilton.
586:1964–1977: New Philharmonia
495:In 1957 Legge launched the
456:1950s: Karajan to Klemperer
4578:
4253:Beethoven's Symphony No. 5
4189:"Gavotte en Rondeau" from
3482:Makers of the Philharmonia
3467:. Harmondsworth: Penguin.
3307:"Philharmonia online shop"
2943:, 1 September 2006, p. 16
2851:"London musicians take on
2548:Decca Classical, 1929–2009
2285:Morrison, pp. 19 and 36–37
2240:"Philharmonia Suspended",
1965:"Mr Herbert von Karajan",
1094:. For Viennese operettas,
342:(RPO) the following year.
29:
4462:
4259:
4236:"Sacrificial Dance" from
4217:The Well-Tempered Clavier
4123:
3984:English Chamber Orchestra
3938:London Symphony Orchestra
3833:
3631:Pettitt, Stephen (1985).
3590:Osborne, Richard (1998).
3331:21 September 2017 at the
3121:Hunt and Pettitt, p. 148
2779:Dohnanyi's maze of sound"
2423:"Klemperer stands down",
2378:, February 1974, p. 1,547
2168:, 17 November 1957, p. 14
1956:, 29 September 1956, p. 2
1335:
1225:as soloists, Chopin with
545:Sidney ("Jock") Sutcliffe
303:London Symphony Orchestra
53:
46:
27:Orchestra based in London
4395:MĂĽnchener Bach-Orchester
4025:London Classical Players
4015:Academy of Ancient Music
3989:London Chamber Orchestra
3650:Pirouet, Edmund (1998).
3312:24 December 2017 at the
3243:"Philharmonia Orchestra"
3211:Hunt and Pettitt, p. 333
3202:Hunt and Pettitt, p. 248
3193:Hunt and Pettitt, p. 174
3175:Hunt and Pettitt, p. 150
3166:Hunt and Pettitt, p. 361
3157:Hunt and Pettitt, p. 341
3148:Hunt and Pettitt, p. 311
3139:Hunt and Pettitt, p. 303
3094:Hunt and Pettitt, p. 148
2958:24 December 2017 at the
2839:, 23 January 1999, p. B3
2822:"Christoph von Dohnanyi"
2726:"Philharmonia Orchestra"
2669:Hunt and Pettitt, p. 508
2660:Hunt and Pettitt, p. 502
2651:Hunt and Pettitt, p. 495
2576:Hunt and Pettitt, p. 473
2348:Hunt and Pettitt, p. 437
2213:Pettitt, pp. 100 and 107
2070:; and Pettitt, pp. 61–62
2037:, 2 October 1952, p. 9;
1795:Haltrecht, pp. 51 and 57
1768:, 27 December 1975, p. 4
1539:Beethoven's 5th Symphony
1478:Kind Hearts and Coronets
1293:conducted by Klemperer.
248:. In 1942 the editor of
241:Introduction and Allegro
60:Philharmonia Orchestra,
4390:Wolfgang Amadeus Mozart
4312:Budapest String Quartet
4197:Izlel ye Delyo Haydutin
3979:City of London Sinfonia
3635:. London: Robert Hale.
2588:. "Philharmonia/Muti",
2390:. "Orchestra strives",
2068:(subscription required)
2028:The Manchester Guardian
1971:, 3 December 1949, p. 7
1886:(subscription required)
1831:, 29 October 1945, p. 8
1436:The Miraculous Mandarin
1430:Duke Bluebeard's Castle
1290:Der fliegende Holländer
178:between 1997 and 2008.
4562:Albany Records artists
4426:Philharmonia Orchestra
3943:Philharmonia Orchestra
3928:BBC Symphony Orchestra
3856:Christoph von Dohnányi
3787:Philharmonia Orchestra
3750:Schwarzkopf, Elisabeth
3711:Reid, Charles (1968).
2977:3 January 2018 at the
2809:, 16 March 1999, p. 41
2493:, 12 July 1976, p. 6;
2475:, 29 March 1988, p. 18
2321:, 24 March 1964, p. 15
2246:, 11 March 1964, p. 12
2109:Pettitt, pp. 74 and 92
1849:Schwarzkopf, pp. 92–94
1472:Scott of the Antarctic
1449:British Film Institute
1305:with Maazel (CBS) and
1189:(both Giulini, 1959).
1030:
1003:
990:Costa Mesa, California
962:The Anvil, Basingstoke
910:Die Frau ohne Schatten
886:Christoph von Dohnányi
803:
800:Christoph von Dohnányi
792:
760:Christoph von Dohnányi
730:; and choral music by
633:
468:
419:
329:
307:BBC Symphony Orchestra
287:
235:, the main item being
176:Christoph von Dohnányi
129:Philharmonia Orchestra
42:Philharmonia Orchestra
4557:Erato Records artists
4317:Johann Sebastian Bach
4117:Voyager Golden Record
3994:London Mozart Players
3923:BBC Concert Orchestra
3868:Santtu-Matias Rouvali
3484:. London: John Hunt.
2594:, 21 June 1979, p. 12
2396:, 8 August 1975, p. 8
1695:as the piano soloist.
1543:Voyager Golden Record
1533:Voyager Golden Record
1385:Fourth Piano Concerto
1162:The Barber of Seville
1050:Santtu-Matias Rouvali
1020:Santtu-Matias Rouvali
998:
974:Three Choirs Festival
798:
787:
628:
463:
414:
385:piano concertos with
324:
184:Santtu-Matias Rouvali
104:Santtu-Matias Rouvali
4380:Blind Willie Johnson
4322:Ludwig van Beethoven
4295:Bavarian State Opera
4165:Brandenburg Concerto
3654:. Hove: Book Guild.
3354:voyager.jpl.nasa.gov
3226:14 June 2015 at the
2991:"Philharmonia at 70"
2794:7 April 2001, p. 25.
2680:Cavalleria rusticana
2633:26 June 2017 at the
2495:Hope-Wallace, Philip
2433:, 9 July 1973, p. 16
2405:Pettitt, pp. 161–162
1995:, 8 March 1952, p. 2
1876:Wright, David C. H.
1634:The music critic of
1596:As late as 2001 the
1315:Christian Thielemann
1171:(Sawallisch, 1957);
916:Die schweigsame Frau
860:Cavalleria rusticana
848:La forza del destino
685:Cavalleria rusticana
667:Un ballo in maschera
4414:Early Music Consort
4305:Wolfgang Sawallisch
4020:The English Concert
3676:. London: Cassell.
3592:Herbert von Karajan
3480:Hunt, John (1996).
3445:. London: Collins.
3437:Haltrecht, Montague
3293:4 July 2018 at the
3282:4 July 2018 at the
3271:4 July 2018 at the
3260:4 July 2018 at the
2972:"Esa-Pekka Salonen"
2784:4 July 2018 at the
2763:Billington, Michael
2731:1 July 2018 at the
2554:4 June 2015 at the
2231:Schwarzkopf, p. 104
1920:, 23 May 1950, p. 6
1642:chevaux de bataille
1547:Voyager space craft
1526:The Lady in the Van
1496:Battle of the Bulge
1484:Passport to Pimlico
1198:Piano Concerto in G
1174:Lucia di Lammermoor
899:Théâtre du Châtelet
828:Deutsche Grammophon
524:Sir John Barbirolli
497:Philharmonia Chorus
478:Carlo Maria Giulini
446:Berlin Philharmonic
416:Herbert von Karajan
375:Royal Festival Hall
371:Herbert von Karajan
367:Wilhelm Furtwängler
353:, the clarinettist
311:London Philharmonic
299:Vienna Philharmonic
153:Herbert von Karajan
145:Wilhelm Furtwängler
100:Principal conductor
94:Royal Festival Hall
32:Philharmonia (moth)
4421:K. P. H. Notoprojo
4251:first movement of
4239:The Rite of Spring
4162:first movement of
4035:London Sinfonietta
3999:Southbank Sinfonia
3974:Camerata of London
2750:, 29 August, p. 18
2586:Greenfield, Edward
2388:Greenfield, Edward
2013:Schwarzkopf, p. 96
1929:Pettitt, pp. 45–46
1905:Pound, pp. 271–273
1882:Grove Music Online
1840:Schwarzkopf, p. 93
1807:Pettitt, pp. 26–27
1683:Ernst von Dohnányi
1520:Great Expectations
1502:Lady Caroline Lamb
1371:Sinfonia Domestica
1321:, released on the
1244:St Matthew Passion
1180:Le nozze di Figaro
1165:(Galliera, 1957);
1121:Tristan und Isolde
1035:Witold Lutosławski
1012:Vladimir Ashkenazy
1004:
804:
793:
748:Vladimir Ashkenazy
724:Anne-Sophie Mutter
716:Sviatoslav Richter
634:
549:Frederick Thurston
469:
441:Tristan und Isolde
420:
401:Maharaja of Mysore
330:
326:Sir Thomas Beecham
291:Sir Thomas Beecham
4542:London orchestras
4490:
4489:
4283:and His Hot Seven
4083:
4082:
3877:
3876:
3862:Esa-Pekka Salonen
3850:Giuseppe Sinopoli
3763:978-0-571-11928-8
3741:978-0-354-04031-0
3722:978-0-241-91316-1
3703:978-0-354-04420-2
3661:978-1-85776-381-2
3642:978-0-7090-2371-5
3623:978-0-11-981062-2
3601:978-0-7011-6714-1
3582:978-0-571-21584-3
3569:Morrison, Richard
3560:978-0-563-17617-6
3536:978-0-333-48752-5
3510:978-1-906857-16-5
3491:978-0-9525827-6-2
3452:978-0-00-211163-8
3419:978-0-307-80202-6
3072:. 16 April 2023.
2886:Macleod, Donald.
2864:The Baltimore Sun
2049:(1317): 511–512.
2042:The Musical Times
1415:, Brahms, Elgar,
1367:
1366:
1194:Leonard Bernstein
1177:(Serafin, 1959),
1150:Der Rosenkavalier
1138:Ariadne auf Naxos
1126:Hansel and Gretel
1096:Lovro von Matačić
1008:Esa-Pekka Salonen
1000:Esa-Pekka Salonen
964:(from 2001), the
934:Hänsel und Gretel
819:Giuseppe Sinopoli
789:Giuseppe Sinopoli
780:Late 20th century
774:Edward Greenfield
756:Leopold Stokowski
697:Orfeo ed Euridice
450:Salzburg Festival
418:(1938 photograph)
379:Royal Albert Hall
256:Compton Mackenzie
180:Esa-Pekka Salonen
172:Giuseppe Sinopoli
125:
124:
62:Esa-Pekka Salonen
16:(Redirected from
4569:
4519:
4518:
4507:
4506:
4505:
4498:
4480:
4479:
4470:
4469:
4370:Anthony Holborne
4265:
4171:"Cavatina" from
4110:
4103:
4096:
4087:
3969:Aurora Orchestra
3904:
3897:
3890:
3881:
3820:
3813:
3806:
3797:
3783:
3782:
3780:Official website
3767:
3745:
3726:
3707:
3685:
3665:
3646:
3627:
3605:
3586:
3564:
3545:Kenyon, Nicholas
3540:
3528:
3519:Kennedy, Michael
3514:
3495:
3476:
3456:
3424:
3423:
3409:Murmurs of Earth
3406:(2 April 2013).
3400:
3394:
3393:
3391:
3389:
3371:
3365:
3364:
3362:
3360:
3346:
3340:
3323:
3317:
3304:
3298:
3252:
3246:
3240:
3231:
3218:
3212:
3209:
3203:
3200:
3194:
3191:
3185:
3182:
3176:
3173:
3167:
3164:
3158:
3155:
3149:
3146:
3140:
3137:
3131:
3128:
3122:
3119:
3113:
3110:
3104:
3101:
3095:
3092:
3086:
3085:
3083:
3081:
3070:The Royal Family
3062:
3056:
3050:
3044:
3038:
3032:
3031:
3029:
3027:
3016:
3010:
3000:
2994:
2988:
2982:
2969:
2963:
2950:
2944:
2935:
2929:
2927:
2925:
2923:
2911:
2905:
2903:
2901:
2899:
2883:
2877:
2875:
2873:
2871:
2846:
2840:
2831:
2825:
2819:
2810:
2801:
2795:
2760:
2751:
2742:
2736:
2723:
2710:
2696:
2690:
2676:
2670:
2667:
2661:
2658:
2652:
2649:
2643:
2624:
2613:
2610:
2604:
2601:
2595:
2583:
2577:
2574:
2568:
2565:
2559:
2545:Stuart, Philip.
2543:
2534:
2531:
2525:
2522:
2516:
2482:
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2467:
2461:
2458:
2452:
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2298:
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2262:
2256:
2253:
2247:
2238:
2232:
2229:
2223:
2220:
2214:
2211:
2205:
2204:Morrison, p. 133
2202:
2196:
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2187:
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2178:
2175:
2169:
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2110:
2107:
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2098:
2092:
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2077:
2071:
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2020:
2014:
2011:
2005:
2002:
1996:
1987:
1981:
1978:
1972:
1963:
1957:
1948:
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1626:
1622:
1616:
1609:
1603:
1594:
1588:
1567:
1362:Internet Archive
1340:
1339:
1328:
1303:Madama Butterfly
1229:and Mozart with
1227:Maurizio Pollini
1223:Daniel Barenboim
1117:Constant Lambert
1079:Italian Serenade
1043:Garsington Opera
875:De Montfort Hall
854:Madama Butterfly
649:Richard Morrison
620:Sidonie Goossens
600:Benjamin Britten
576:Sir Adrian Boult
432:Arturo Toscanini
397:Kirsten Flagstad
246:Second World War
221:Frederick Riddle
149:Arturo Toscanini
121:
118:
116:
58:
39:
21:
4577:
4576:
4572:
4571:
4570:
4568:
4567:
4566:
4527:
4526:
4525:
4513:
4509:Classical music
4503:
4501:
4493:
4491:
4486:
4458:
4385:Kesarbai Kerkar
4360:Arthur Grumiaux
4338:Igor Stravinsky
4290:Valya Balkanska
4278:Louis Armstrong
4266:
4257:
4231:The Magic Flute
4204:Johnny B. Goode
4168:No. 2, BWV 1047
4151:
4133:Voyager program
4119:
4114:
4084:
4079:
4063:
4049:
4003:
3952:
3911:
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3778:
3777:
3774:
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3748:
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3710:
3704:
3688:
3670:Pound, Reginald
3668:
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3348:
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3333:Wayback Machine
3324:
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3314:Wayback Machine
3305:
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3295:Wayback Machine
3284:Wayback Machine
3273:Wayback Machine
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2635:Wayback Machine
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2544:
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2528:
2524:Pettitt, p. 181
2523:
2519:
2483:
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2468:
2464:
2460:Pettitt, p. 180
2459:
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2451:Pettitt, p. 179
2450:
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2442:Pettitt, p. 171
2441:
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2414:Pettitt, p. 169
2413:
2409:
2404:
2400:
2386:
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2364:
2359:
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2347:
2343:
2339:Pettitt, p. 163
2338:
2334:
2329:
2325:
2314:
2310:
2306:Kennedy, p. 252
2305:
2301:
2296:
2289:
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2276:Pettitt, p. 127
2275:
2268:
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2259:
2255:Pettitt, p. 124
2254:
2250:
2239:
2235:
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2226:
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2217:
2212:
2208:
2203:
2199:
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2161:
2157:
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2131:
2127:
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2113:
2108:
2104:
2100:Osborne, p. 372
2099:
2095:
2090:
2086:
2078:
2074:
2067:
2038:
2023:Cardus, Neville
2021:
2017:
2012:
2008:
2003:
1999:
1988:
1984:
1979:
1975:
1964:
1960:
1949:
1945:
1940:
1933:
1928:
1924:
1913:
1909:
1904:
1900:
1896:Hill, pp, 49–50
1895:
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1781:
1776:
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1744:
1728:
1724:
1719:
1708:
1704:
1699:
1691:, Op. 25, with
1680:
1676:
1671:
1667:
1661:
1657:
1652:
1648:
1633:
1629:
1623:
1619:
1610:
1606:
1595:
1591:
1568:
1564:
1560:
1555:
1535:
1445:
1391:; and Brahms's
1375:Four Last Songs
1337:
1299:Bernard Haitink
1239:Mass in B minor
1112:Dido and Aeneas
1084:Walter Susskind
1066:
1039:Igor Stravinsky
966:Marlowe Theatre
957:
836:Second Symphony
782:
720:Andrei Gavrilov
651:later wrote in
592:Ernest Ansermet
588:
561:Manoug Parikian
519:
501:Choral Symphony
458:
409:
392:Four Last Songs
363:Richard Strauss
319:
201:
196:
141:Richard Strauss
113:
69:
35:
28:
23:
22:
15:
12:
11:
5:
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4485:
4484:
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4463:
4460:
4459:
4457:
4456:
4454:GorĹŤ Yamaguchi
4451:
4449:Laurie Spiegel
4446:
4441:
4436:
4435:
4434:
4432:Otto Klemperer
4423:
4418:
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4416:
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3899:
3892:
3884:
3875:
3874:
3872:
3871:
3865:
3859:
3853:
3847:
3841:
3838:Otto Klemperer
3834:
3831:
3830:
3825:
3823:
3822:
3815:
3808:
3800:
3794:
3793:
3784:
3773:
3772:External links
3770:
3769:
3768:
3762:
3746:
3740:
3727:
3721:
3708:
3702:
3686:
3674:Sir Henry Wood
3666:
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3647:
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2811:
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2752:
2737:
2711:
2691:
2671:
2662:
2653:
2644:
2614:
2612:Pettitt, p. 13
2605:
2596:
2578:
2569:
2560:
2535:
2526:
2517:
2515:, 1980, p. 818
2487:. "NPO/Muti",
2477:
2462:
2453:
2444:
2435:
2416:
2407:
2398:
2380:
2375:The Gramophone
2362:
2350:
2341:
2332:
2323:
2308:
2299:
2287:
2278:
2266:
2264:Previn, p. 102
2257:
2248:
2233:
2224:
2215:
2206:
2197:
2188:
2179:
2177:Pettitt, p. 96
2170:
2155:
2153:Pettitt, p. 91
2146:
2144:Pettitt, p. 90
2134:
2125:
2111:
2102:
2093:
2091:Pettitt, p. 60
2084:
2072:
2055:10.2307/935102
2015:
2006:
2004:Pettitt, p. 59
1997:
1982:
1980:Pettitt, p. 56
1973:
1958:
1943:
1941:Leggatt, p. 55
1931:
1922:
1907:
1898:
1889:
1869:
1860:
1851:
1842:
1833:
1818:
1816:Pettitt, p. 26
1809:
1797:
1788:
1779:
1777:Pettitt, p. 24
1770:
1742:
1722:
1720:Pettitt, p. 21
1705:
1703:
1700:
1698:
1697:
1674:
1665:
1655:
1646:
1627:
1617:
1604:
1589:
1561:
1559:
1556:
1554:
1551:
1534:
1531:
1514:The King and I
1444:
1441:
1393:Third Symphony
1365:
1364:
1360:in 1991 – via
1354:Pascal Devoyon
1342:Charles Dutoit
1333:
1332:
1331:External audio
1274:Così fan tutte
1265:Christa Ludwig
1256:German Requiem
1250:Missa solemnis
1247:, Beethoven's
1206:Piano Concerto
1200:, a series of
1144:Die Fledermaus
1132:Così fan tutte
1100:Otto Ackermann
1088:Alceo Galliera
1065:
1062:
956:
953:
943:Gilbert Levine
922:Moses und Aron
781:
778:
758:, and in 1967
744:Claudio Abbado
587:
584:
557:Gwydion Brooke
553:Bernard Walton
518:
515:
510:Peter Heyworth
482:Otto Klemperer
474:Guido Cantelli
465:Otto Klemperer
457:
454:
425:Joseph Szigeti
408:
405:
387:Artur Schnabel
318:
317:First concerts
315:
286:
285:
281:
278:
275:
272:
251:The Gramophone
209:string quartet
200:
197:
195:
192:
161:Otto Klemperer
123:
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107:
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4375:Kamil Jalilov
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3848:
3845:
3844:Riccardo Muti
3842:
3839:
3836:
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3828:
3821:
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3690:Previn, André
3687:
3683:
3679:
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3663:
3657:
3653:
3648:
3644:
3638:
3634:
3629:
3625:
3619:
3615:
3611:
3610:Peacock, Alan
3607:
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3434:
3433:
3429:
3421:
3415:
3411:
3410:
3405:
3399:
3396:
3384:
3380:
3379:www.bbc.co.uk
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3112:Hunt, pp. 6–7
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3015:
3012:
3009:, 28 May 2014
3008:
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2917:
2910:
2907:
2894:. BBC Radio 3
2893:
2889:
2882:
2879:
2866:
2865:
2860:
2858:
2857:Paradise Lost
2854:
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2648:
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2641:
2640:
2636:
2632:
2629:
2626:Nice, David.
2623:
2621:
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2615:
2609:
2606:
2600:
2597:
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2327:
2324:
2320:
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2312:
2309:
2303:
2300:
2297:Peacock, p. 9
2294:
2292:
2288:
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2267:
2261:
2258:
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2171:
2167:
2166:
2159:
2156:
2150:
2147:
2141:
2139:
2135:
2129:
2126:
2123:Pettit, p. 86
2120:
2118:
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2112:
2106:
2103:
2097:
2094:
2088:
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2024:
2019:
2016:
2010:
2007:
2001:
1998:
1994:
1993:
1986:
1983:
1977:
1974:
1970:
1969:
1962:
1959:
1955:
1954:
1947:
1944:
1938:
1936:
1932:
1926:
1923:
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1911:
1908:
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1593:
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1578:
1577:
1572:
1569:The work was
1566:
1563:
1557:
1552:
1550:
1548:
1544:
1540:
1532:
1530:
1528:
1527:
1523:(2012); and
1522:
1521:
1516:
1515:
1510:
1509:
1504:
1503:
1498:
1497:
1492:
1491:
1490:The Cruel Sea
1486:
1485:
1480:
1479:
1474:
1473:
1468:
1467:
1462:
1461:
1456:
1455:
1450:
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1432:
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1426:
1422:
1418:
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1405:
1401:
1396:
1394:
1390:
1386:
1382:
1381:
1376:
1372:
1363:
1359:
1358:Pierre Amoyal
1355:
1351:
1347:
1343:
1334:
1329:
1326:
1324:
1320:
1316:
1311:
1308:
1304:
1300:
1294:
1292:
1291:
1286:
1285:
1280:
1277:conducted by
1276:
1275:
1270:
1266:
1262:
1258:
1257:
1253:and Brahms's
1252:
1251:
1246:
1245:
1240:
1236:
1232:
1231:Annie Fischer
1228:
1224:
1220:
1214:
1211:
1207:
1203:
1199:
1195:
1190:
1188:
1187:
1182:
1181:
1176:
1175:
1170:
1169:
1164:
1163:
1158:
1157:
1152:
1151:
1146:
1145:
1140:
1139:
1134:
1133:
1128:
1127:
1122:
1118:
1115:conducted by
1114:
1113:
1108:
1103:
1101:
1097:
1093:
1089:
1085:
1081:
1080:
1075:
1071:
1063:
1061:
1059:
1054:
1051:
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1044:
1040:
1036:
1029:
1024:
1021:
1017:
1013:
1009:
1001:
997:
993:
991:
987:
986:San Francisco
983:
979:
975:
971:
967:
963:
954:
952:
950:
949:
944:
938:
936:
935:
930:
929:
924:
923:
918:
917:
912:
911:
906:
905:
900:
896:
893:, Amsterdam,
892:
887:
882:
880:
876:
870:
868:
867:
862:
861:
856:
855:
850:
849:
844:
843:
842:Manon Lescaut
837:
833:
829:
824:
820:
815:
813:
812:Adrian Leaper
809:
801:
797:
790:
786:
779:
777:
775:
771:
770:
763:
761:
757:
753:
752:Charles Munch
749:
745:
741:
737:
733:
729:
725:
721:
717:
713:
709:
705:
704:
699:
698:
693:
692:
687:
686:
681:
680:
675:
674:
669:
668:
663:
662:
656:
655:
650:
645:
643:
642:Riccardo Muti
639:
631:
630:Riccardo Muti
627:
623:
621:
617:
616:Raymond Cohen
612:
610:
609:Ian Stoutzker
605:
601:
597:
596:Pierre Boulez
593:
585:
583:
581:
577:
572:
568:
566:
562:
558:
555:(clarinets),
554:
550:
546:
542:
541:Gareth Morris
536:
534:
531:and again in
530:
525:
516:
514:
511:
508:
507:
502:
498:
493:
491:
485:
483:
479:
475:
466:
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428:
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388:
384:
380:
376:
372:
368:
364:
359:
356:
355:Reginald Kell
352:
348:
343:
341:
336:
327:
323:
316:
314:
312:
309:(BBC SO) and
308:
304:
300:
296:
292:
282:
279:
276:
273:
271:Philharmonia.
269:
268:
266:
264:
259:
257:
253:
252:
247:
243:
242:
238:
234:
230:
226:
222:
218:
214:
210:
206:
198:
193:
191:
187:
185:
181:
177:
173:
169:
168:Riccardo Muti
164:
162:
157:
154:
150:
146:
142:
138:
134:
130:
120:
112:
108:
105:
102:
98:
95:
92:
88:
84:
80:
76:
72:
67:
63:
57:
52:
49:
45:
40:
37:
33:
19:
4425:
4408:David Munrow
4401:Karl Richter
4271:Contributors
4244:
4237:
4230:
4216:
4163:
4144:
4137:
3942:
3826:
3753:
3731:
3712:
3693:
3673:
3651:
3632:
3613:
3591:
3572:
3549:
3525:Adrian Boult
3524:
3500:
3481:
3464:
3441:
3408:
3398:
3386:. Retrieved
3378:
3369:
3357:. Retrieved
3353:
3344:
3321:
3302:
3250:
3216:
3207:
3198:
3189:
3180:
3171:
3162:
3153:
3144:
3135:
3126:
3117:
3108:
3099:
3090:
3078:. Retrieved
3069:
3060:
3048:
3036:
3024:. Retrieved
3014:
3006:
2998:
2986:
2967:
2953:"Conductors"
2948:
2938:
2933:
2920:. Retrieved
2909:
2896:. Retrieved
2891:
2881:
2868:. Retrieved
2862:
2856:
2852:
2844:
2836:The Guardian
2834:
2829:
2804:
2799:
2791:The Guardian
2789:
2774:The Guardian
2772:
2768:The Guardian
2766:
2747:The Guardian
2745:
2740:
2699:
2694:
2679:
2674:
2665:
2656:
2647:
2639:The Guardian
2637:
2608:
2599:
2591:The Guardian
2589:
2581:
2572:
2563:
2547:
2529:
2520:
2510:
2504:
2500:The Guardian
2498:
2488:
2480:
2470:
2465:
2456:
2447:
2438:
2430:
2424:
2419:
2410:
2401:
2393:The Guardian
2391:
2383:
2373:
2365:
2344:
2335:
2326:
2316:
2311:
2302:
2281:
2260:
2251:
2241:
2236:
2227:
2218:
2209:
2200:
2191:
2182:
2173:
2165:The Observer
2163:
2158:
2149:
2128:
2105:
2096:
2087:
2075:
2046:
2040:
2032:
2026:
2018:
2009:
2000:
1990:
1985:
1976:
1966:
1961:
1951:
1946:
1925:
1915:
1910:
1901:
1892:
1881:
1872:
1867:Hill, p. 214
1863:
1854:
1845:
1836:
1826:
1821:
1812:
1791:
1782:
1773:
1763:
1730:
1725:
1686:
1677:
1668:
1658:
1649:
1641:
1635:
1630:
1620:
1613:Queen's Hall
1607:
1597:
1592:
1575:
1565:
1536:
1524:
1518:
1512:
1506:
1500:
1494:
1488:
1482:
1476:
1470:
1466:Oliver Twist
1464:
1458:
1452:
1446:
1434:
1428:
1421:Rachmaninoff
1406:
1404:Schoenberg's
1397:
1380:King Stephen
1378:
1374:
1370:
1368:
1319:Robert Craft
1302:
1295:
1288:
1282:
1272:
1254:
1248:
1242:
1215:
1210:Dinu Lipatti
1191:
1186:Don Giovanni
1184:
1178:
1172:
1166:
1160:
1154:
1148:
1142:
1136:
1130:
1124:
1120:
1110:
1104:
1092:Paul Kletzki
1077:
1067:
1055:
1047:
1031:
1026:
1005:
958:
955:21st century
948:The Creation
946:
939:
932:
926:
920:
914:
908:
902:
883:
871:
864:
863:, 1990; and
858:
852:
846:
840:
823:The Guardian
822:
816:
805:
769:The Guardian
767:
764:
728:Gidon Kremer
703:Don Pasquale
701:
700:, 1981; and
695:
689:
683:
677:
671:
665:
659:
652:
646:
638:Lorin Maazel
635:
613:
604:James Levine
589:
579:
573:
569:
537:
520:
506:The Observer
504:
494:
486:
470:
439:
429:
421:
390:
360:
351:Dennis Brain
346:
344:
331:
288:
260:
249:
239:
233:Wigmore Hall
225:Anthony Pini
217:Jean Pougnet
205:Walter Legge
202:
188:
165:
158:
133:Walter Legge
128:
126:
115:philharmonia
90:Concert hall
36:
18:Philharmonia
4430:conductor:
4399:conductor:
4365:Guan Pinghu
4355:Glenn Gould
4336:conductor:
4327:Chuck Berry
4008:Specialised
3461:Hill, Ralph
3404:Sagan, Carl
3383:BBC Radio 3
3266:Furtwängler
2485:Blyth, Alan
2370:Blyth, Alan
1443:Film scores
1408:Gurrelieder
1389:Daniel Adni
1350:Tchaikovsky
1269:Janet Baker
1219:Emil Gilels
1153:(1956) and
1016:Jakub Hrůša
982:Los Angeles
928:Oedipus Rex
808:Gordon Hunt
712:Tchaikovsky
691:La traviata
213:Henry Holst
66:GĂĽlsin Onay
4531:Categories
4444:Nick Sagan
4439:Carl Sagan
4350:Ann Druyan
4345:John Cohen
4301:Edda Moser
4224:Puspawarna
3465:Music 1951
3103:Hunt, p. 5
3026:5 December
2922:7 February
2898:7 February
2870:7 February
1702:References
1508:King David
1346:performing
1070:J. C. Bach
1064:Recordings
1045:festival.
970:Canterbury
679:I puritani
490:Alan Civil
199:Background
4412:with the
4219:, Book II
4146:Voyager 2
4139:Voyager 1
3694:Orchestra
3682:603264427
3573:Orchestra
3473:635928181
3288:Klemperer
3277:Toscanini
3007:The Stage
2940:The Times
2916:"Address"
2806:The Times
2708:950990560
2512:The Strad
2506:The Times
2490:The Times
2472:The Times
2431:The Times
2426:The Times
2318:The Times
2243:The Times
2034:The Times
1992:The Times
1968:The Times
1953:The Times
1917:The Times
1828:The Times
1765:The Times
1739:460084867
1693:Earl Wild
1637:The Times
1625:concerts.
1493:(1953);
1487:(1949);
1475:(1948);
1348:works by
1279:Karl Böhm
1168:Capriccio
879:Leicester
732:Cherubini
654:The Times
580:The Times
565:Hugh Bean
543:(flute),
517:1960–1964
383:Beethoven
48:Orchestra
4472:Category
4178:Chakrulo
4128:Contents
3916:Symphony
3791:AllMusic
3752:(1982).
3692:(1979).
3672:(1959).
3612:(1970).
3571:(2004).
3547:(1981).
3521:(1987).
3463:(1951).
3439:(1975).
3329:Archived
3310:Archived
3291:Archived
3280:Archived
3269:Archived
3258:Archived
3224:Archived
3074:Archived
2975:Archived
2956:Archived
2853:Creation
2782:Archived
2729:Archived
2688:85926401
2631:Archived
2552:Archived
1731:The Hunt
1585:Columbia
1576:The Hunt
1571:Mozart's
1529:(2015).
1517:(1999);
1511:(1985);
1505:(1972);
1499:(1965);
1457:(1946);
1156:Falstaff
1147:(1955),
1141:(1954),
1135:(1954),
1129:(1953),
1006:In 2008
972:and the
904:Arabella
891:Salzburg
869:, 1992.
857:, 1987;
851:, 1985;
845:, 1983;
810:(oboe),
708:Schumann
694:, 1980;
688:, 1979;
682:, 1979;
676:, 1977;
670:, 1975;
664:, 1974;
547:(oboe),
82:Location
4495:Portals
4482:Commons
3957:Chamber
3732:Karajan
3430:Sources
3255:Strauss
1413:Berlioz
1325:label.
1310:Requiem
1307:Fauré's
1284:Fidelio
1261:Requiem
1235:Debussy
1107:Purcell
895:Lucerne
736:Vivaldi
673:Nabucco
305:(LSO),
293:at the
237:Ravel's
194:History
110:Website
74:Founded
4521:London
4210:Mugham
4060:Ballet
3870:(2021)
3864:(2008)
3858:(1997)
3852:(1984)
3846:(1973)
3840:(1959)
3760:
3738:
3719:
3700:
3680:
3658:
3639:
3620:
3598:
3579:
3557:
3533:
3507:
3488:
3471:
3449:
3416:
3335:; and
3286:; and
3080:11 May
2706:
2686:
2063:935102
2061:
1737:
1685:, the
1587:label.
1460:Hamlet
1425:BartĂłk
1417:Mahler
1400:Signum
1383:, and
1202:Walton
533:stereo
436:Brahms
347:ad hoc
284:style.
229:septet
207:for a
85:London
68:, 2011
4299:with
4156:Sound
4057:Opera
3388:4 May
3359:4 May
2700:Tosca
2059:JSTOR
1558:Notes
1387:with
1323:Naxos
1208:with
978:Miami
866:Tosca
832:Elgar
740:Decca
395:with
3758:ISBN
3736:ISBN
3717:ISBN
3698:ISBN
3678:OCLC
3656:ISBN
3637:ISBN
3618:ISBN
3596:ISBN
3577:ISBN
3555:ISBN
3531:ISBN
3505:ISBN
3486:ISBN
3469:OCLC
3447:ISBN
3414:ISBN
3390:2021
3361:2021
3082:2023
3028:2018
2924:2021
2900:2021
2872:2021
2704:OCLC
2684:OCLC
1735:OCLC
1611:The
1481:and
1469:and
1447:The
1433:and
1287:and
1281:and
1267:and
1221:and
1183:and
1098:and
1090:and
1074:Wolf
1018:and
988:and
931:and
734:and
726:and
710:and
661:Aida
602:and
563:and
551:and
529:mono
448:and
369:and
223:and
147:and
127:The
77:1945
3789:at
2051:doi
1583:'s
1581:EMI
1439:).
1427:'s
1395:).
1109:'s
1076:'s
877:in
834:'s
335:RAF
137:EMI
119:.uk
117:.co
4533::
3381:.
3377:.
3352:.
3275:;
3264:;
3235:^
3068:.
3005:,
2890:.
2861:.
2814:^
2788:,
2755:^
2714:^
2702:"
2682:"
2617:^
2538:^
2353:^
2290:^
2269:^
2137:^
2114:^
2057:.
2047:93
2045:.
1934:^
1880:,
1800:^
1745:^
1733:"
1709:^
1644:".
1463:,
1419:,
1241:,
1060:.
992:.
984:,
980:,
968:,
937:.
925:,
919:,
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