London Symphony Orchestra

857: 998: 270:; their proprietors engaged players individually for each concert or for a season. As there were competing demands for the services of the finest players it was an accepted practice that, even though under contract to play for a concert, a player was at liberty to accept a better-paid engagement if it were offered. He would then engage another player to deputise for him at the original concert and the rehearsals for it. The treasurer of the Philharmonic Society described the system 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 1313:

latterly Claudio Abbado. But what of their essaying of the Slavonic repertoire under Istvan Kertész, or of Mahler, whose idiom has been finely honed by Abbado? No, the LSO remains enigmatic, unpredictable and supremely individual. Of all the London orchestras, the LSO seems to have more "personalities", more "individuals" and has given the solo world more than its fair share of "star" performers. As an orchestra the LSO has never been prepared to submit to one principal conductor for long (one thinks of Karajan in Berlin, Haitink in Amsterdam or Mravinsky in Leningrad) but one of its greatest strengths remains its ability to attract fine conductors and dedicate itself wholeheartedly to creating a genuine performance.

538:, who also subsidised the Hallé and the Royal Philharmonic Society. For a year he took the role, though not the title, of chief conductor of the LSO. In 1916 his millionaire father died and Beecham's financial affairs became too complicated for any further musical philanthropy on his part. In 1917 the LSO's directors agreed unanimously that they would promote no more concerts until the end of the war. The orchestra played for other managements, and managed to survive, although the hitherto remunerative work for regional choral societies dwindled to almost nothing. 730: 1081: 1349: 335:

any poorly-patronised series left members out of pocket, and reliant on the LSO's engagements to play for provincial choral societies and other managements. The proposal was approved unanimously, and a management committee was elected, comprising the four original movers and Alfred Hobday (viola) and E F (Fred) James (bassoon). Busby was appointed chief executive, a post variously titled "Secretary", "managing director", "general secretary" and "general manager" over the years.

318: 1330:, felt that although the technical standard of playing had improved, the diminution of the orchestra's machismo was a matter for regret. Comparing the LSO of 2004 with the orchestra of the 1960s and 1970s, Murphy said, "Now the strings have improved so much, the playing is fantastic, but it has lost something of its gung-ho quality." The orchestra of the 1960s had a reputation for tormenting conductors it disliked; even such notorious martinets as 56: 1096:, a cellist, took over at a bad time in the LSO's fortunes, and played a central role in turning them round. He negotiated what Morrison calls "a dazzling series of mega-projects, each built around the personal enthusiasm of a 'star' conductor or soloist", producing sell-out houses. In 1985 the orchestra mounted "Mahler, Vienna and the Twentieth Century", planned by Abbado, followed the next year by an equally successful Bernstein festival. 589:. Revenues were substantial, and the orchestra seemed to many to be entering into a golden age. In fact, for lack of any serious competition in the 1920s, the LSO allowed its standards of playing to slip. In 1927 the Berlin Philharmonic, under Furtwängler, gave two concerts at the Queen's Hall. These, and later concerts by the same orchestra in 1928 and 1929, made obvious the poor standards then prevailing in London. Both the 685:. According to the LSO's website the recording took 14 full orchestral sessions and "started a veritable revolution in film production history. ... For the first time, music for the cinema, previously regarded as a lowly art form, captured the attention of classical music scholars and enthusiasts, music critics and the film and music public. The LSO had begun its long historic journey as the premier film orchestra." 865:

the LSO believed that in those few years he had transformed the orchestra; Neville Marriner said that Monteux "made them feel like an international orchestra ... He gave them extended horizons and some of his achievements with the orchestra, both at home and abroad, gave them quite a different constitution." Announcing Monteux's appointment, Fleischmann added that the LSO would also work frequently with

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his appointment. His relationship with the players was distant and he was unable to impose discipline on the orchestra in rehearsals. He insisted on conducting without a score, and many times this led to barely-avoided disaster in concerts. Abbado had considerable international prestige, but this too had its downside for the LSO: he frequently made his major recordings with the Boston or

757:. To survive, the LSO played in hundreds of concerts of popular classics under undistinguished conductors. By 1948 the orchestra was anxious to resume promoting its own concert series. The players decided to accept the Arts Council's conditions for subsidy, and changed the LSO's constitution to replace profit-sharing with salaries. With a view to raising its playing standards it engaged 632: 443: 1184:, an economist with no cultural background. O'Cathain, described by Morrison as "a Thatcherite free marketeer", dismissed the LSO and RSC as "arty-farty types", and opposed public subsidy. Such was the press and public reaction that she was obliged to seek a vote of confidence from the LSO and RSC; failing to gain it, she resigned, and was succeeded by 726:– was established, and given a modest budget for public subsidy. The council made it a condition of sponsoring the LSO that the profit-sharing principle should be abandoned and the players made salaried employees. This renunciation of the principles for which the LSO had been founded was rejected by the players, and the offered subsidy was declined. 243: 1322:, who joined in the 1930s and found herself regarded as an outsider by her male colleagues. She was not admitted to full membership of the orchestra: the first woman to be elected as a member of the LSO was Renata Scheffel-Stein in 1975. By that time other British orchestras had left the LSO far behind in this regard. 396:

were conducted by Herr Arthur Nikisch, Mr. Fritz Steinbach, Sir Charles Stanford, M. Edouard Colonne, Sir Edward Elgar, and Mr. Georg Henschel. At every one of these concerts brilliant performances were given, and the reputation of the organization as one of the finest of its kind in the world was made.

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While in Vienna, Fleischmann persuaded Monteux to accept the chief conductorship of the orchestra. Though 86 years old, Monteux asked for, and received, a 25-year contract with a 25-year option of renewal. He lived for another three years, working with the LSO to within weeks of his death. Members of

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Newman wrote, "There have been rumours about during the week of inadequate rehearsal. Whatever the explanation, the sad fact remains that never, in all probability, has so great an orchestra made so lamentable an exhibition of itself." Coates remained as chief conductor for two seasons, and after the

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lines, "something akin to a Musical Republic", with a constitution that gave the organisation independence. At concerts promoted by the LSO the members played without fee, their remuneration coming at the end of each season in a division of the orchestra's profits. This worked well in good years, but

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deputies! Good morning!" This caused a furore. Orchestral musicians were not highly paid, and removing their chances of better-paid engagements permitted by the deputy system was a serious financial blow to many of them. While travelling by train to play under Wood at a music festival in the north of

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magazine James Jolly wrote that Abbado was in many ways the antithesis of Previn in terms of style and repertoire, bringing to the orchestra a particular authority in the Austro-German classics as well as a commitment to the avant-garde. From the orchestra's point of view there were disadvantages to

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Together with Tuckwell, chairman of the orchestra, Fleischmann worked to create the LSO Trust, a fund to finance tours and provide sick and holiday pay for LSO players, thus ending, as Morrison says, "nearly sixty years of 'no play, no pay' ... this was a revolution." They also pioneered formal

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Krips left the LSO in 1954, and the following year tensions between the orchestral principals and the rank-and-file players erupted into an irreconcilable dispute. The principals argued that the future of the LSO lay in profitable session work for film companies, rather than in the overcrowded field

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In London Harty did not prove to be a box-office draw, and according to Morrison, he was "brutally and hurtfully" dropped in 1934, as his LSO predecessor Elgar had been in 1912. After this the orchestra did not appoint a chief conductor for nearly 20 years. By 1939 the orchestra's board was planning

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Orchestra because of a new rule requiring players to give the orchestra their exclusive services. The LSO itself later introduced a similar rule for its members. From the outset the LSO was organised on co-operative lines, with all players sharing the profits at the end of each season. This practice

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became principal conductor of the LSO on 1 January 2007. In Gergiev's first season in charge a complete cycle of Mahler Symphonies was given, with the Barbican Hall sold out for every concert. In 2009 Davis and the LSO celebrated 50 years of working together. In the same year the LSO took over from

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The last internal appointee to the post had been the woodwind player John Cruft who held it from 1949 to 1959. Since then the post had been held by Fleischmann, Harold Lawrence (1968–73), John Boyden (1974–75), Michael Kaye (1975–79) and Hemmings (1980–84), whose backgrounds were in administration

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For many years, the LSO had a reputation as an almost exclusively male ensemble (female harpists excepted). Morrison describes the LSO of the 1960s and 1970s as "a rambunctious boys' club that swaggered round the globe." Before the 1970s one of the few women to play in the orchestra was the oboist

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Committee's report on orchestral resources in Great Britain in 1970, where it is not mentioned in the lists of chamber or symphony orchestras. The Sinfonia's director, the flautist and former LSO chairman, Gordon Walker, died in 1965. The title "Sinfonia of London" was purchased from his heirs in

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of BBC television commissioned "André Previn's Music Night", bringing classical music to a large new audience. Previn would talk informally direct to camera and then turn and conduct the LSO, whose members were dressed in casual sweaters or shirts rather than formal evening clothes. The programme

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By 1967 many in the LSO felt that Fleischmann was seeking to exert too much influence on the affairs of the orchestra, and he resigned. Kertész, too, was dispensed with when he sought control of all artistic matters; his contract was not renewed when it expired in 1968. His successor as principal

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as chorus master. Its early years were difficult; Kertész did not get on with Alldis, and there were difficulties within the chorus. Most of its members were amateurs, but at first, they were reinforced by a small number of professionals. This led to disputes over the balance between amateurs and

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as conductor. His commitments in Vienna preventing him from becoming the LSO's chief conductor until 1950, but from his first concert with the orchestra in December 1948 he influenced the playing for the better. His chosen repertoire was good for the box office: cycles of Beethoven symphonies and

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Thus encouraged, the committee ventured to arrange for a series of symphony concerts at Queen's Hall. They had no regular conductor, and to this day they have pursued this policy of freedom. Dr. (now Sir) Frederic Cowen conducted the first concert of the series on October 27, 1904, and the others

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By the Previn era the LSO was being described as the finest of the London orchestras. A reviewer of an Elgar recording by one of the other orchestras remarked, "these symphonies really deserve the LSO at its peak." The implication that the LSO was not always at its peak was illustrated when Sir

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When the Second World War broke out the orchestra's plans had to be almost completely changed. During the First World War the public's appetite for concert-going diminished drastically, but from the start of the Second it was clear that there was a huge demand for live music. The LSO arranged a

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To try to raise its own standards the LSO had engaged Mengelberg, a famous orchestral trainer, known as a perfectionist. He made it a precondition that the deputy system must be abandoned, which occurred in 1929. He conducted the orchestra for the 1930 season, and music critics commented on the

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to put himself forward as chief conductor. Coates had three attractions for the orchestra: he was a pupil of Nikisch, he had rich and influential contacts, and he was willing to conduct without fee. He and the orchestra got off to a disastrous start. Their first concert featured the premiere of

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after the Second World War. The profit-sharing principle was abandoned in the post-war era as a condition of receiving public subsidy for the first time. In the 1950s the orchestra debated whether to concentrate on film work at the expense of symphony concerts; many senior players left when the

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Some would claim ... that it is the most American of our orchestras, thinking no doubt of the Previn legacy, Bernstein's Presidency and Tilson Thomas's appointment. Others, looking back further to Pierre Monteux's reign, think it our most French orchestra, a quality nurtured by Previn and

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in the brass. With the new intake the orchestra rapidly advanced in standards and status. The average age of the LSO players dropped to about 30. In 1956 the orchestra visited South Africa to play at the Johannesburg Festival. The players were impressed by the dynamic director of the festival,

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The orchestra's loss of manpower was far worse in the Second World War than in the First. Between 1914 and 1918 there were 33 members of the LSO away on active service; between 1939 and 1945 there were more than 60, of whom seven were killed. The orchestra found replacements wherever it could,

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recognised the continued improvement in the LSO's playing: "On this evening's hearing the London Symphony Orchestra is likely, after all, to give its two rivals a gallant run. Under Sir Hamilton it will certainly take on a style of sincere expression, distinguished from the virtuoso brilliance

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In 1995, Sir Colin Davis was appointed chief conductor. He had first conducted the LSO in 1959, and had been widely expected to succeed Monteux as principal conductor in 1964. Among the most conspicuous of Davis's projects with the orchestra was the LSO's most ambitious festival thus far, the

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Shortly after the beginning of the war the board of the orchestra received a petition from rank and file players protesting about Borsdorf's continued membership of the LSO. Although he had done as much as anyone to found the orchestra, had lived in Britain for 30 years and was married to an

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of London concerts. They also wished to be free to accept such engagements individually, absenting themselves from concerts if there were a clash of dates. The LSO's board, which reflected the majority opinion of the players, refused to accommodate the principals, most of whom resigned

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would be titled "Conductor Emeritus." In January 2021, the LSO announced an extension of Rattle's contract as music director until the end of the 2023 season, at which time he is scheduled to stand down from the LSO and subsequently to take the title of conductor emeritus for life.

602:. The prospect of joining a permanent, salaried orchestra was attractive enough to induce some LSO players to defect. The new orchestra immediately received enthusiastic reviews that contrasted starkly with the severe press criticisms of the LSO's playing. According to the critic 1026:; and the LSO "Classic Rock" recordings, in the words of the orchestra's website, became hugely popular and provided handsome royalties. The recordings led to "Classic Rock" tours by the orchestra, characterised by Morrison as "enormously lucrative but artistically demeaning." 967:

in one week than in sixty-five years of LSO concerts." Several series of the programme were screened between 1971 and 1977. Previn's popularity with the public enabled him and the LSO to programme works that under other conductors could have been box-office disasters, such as

551:. Apart from the concerto, which the composer conducted, the rest of the programme was conducted by Coates, who overran his rehearsal time at the expense of Elgar's. Lady Elgar wrote, "that brutal selfish ill-mannered bounder ... that brute Coates went on rehearsing." In 792:, a session ensemble that flourished from the mid-1950s to the early 1960s, and then faded away. For fifteen years after the split the LSO did little film work, recording only six soundtracks between 1956 and 1971, compared with more than 70 films between 1940 and 1955. 640:

improvement in the playing. Nonetheless, as patently the third-best orchestra in London, the LSO lost work it had long been used to, including the Covent Garden seasons, the Royal Philharmonic Society concerts and the Courtauld-Sargent concerts. The orchestra persuaded

828:, and engaged him as general secretary of the orchestra when the post fell vacant in 1959. He was the LSO's first professional manager; all his predecessors as secretary/managing director had been orchestral players combining the duties with their orchestral playing. 644:, the popular conductor of the Hallé Orchestra, to move from Manchester to become the LSO's principal conductor. Harty brought with him eight of the Hallé's leading players to replenish the LSO's ranks, depleted by defections to the BBC and Beecham. Critics including 3333: 527: 623:

family. Originally Sargent and Beecham had in mind a reorganised version of the LSO, but the orchestra baulked at weeding out and replacing underperforming players. In 1932 Beecham lost patience and agreed with Sargent to set up a new orchestra from scratch. The

918:. This was another coup for Fleischmann, who had to overcome Bernstein's scorn for the inadequate rehearsal facilities endured by London orchestras. Bernstein remained associated with the LSO for the rest of his life, and was its president from 1987 to 1990. 167:

As a self-governing body, the orchestra selects the conductors with whom it works. At some stages in its history it has dispensed with a principal conductor and worked only with guests. Among conductors with whom it is most associated are, in its early days,

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films. Rider comments that this film and its sequels "attracted a new group of admirers and consolidated the period of film music activity for the Orchestra, which continues unabated to this day". The LSO also recorded other Williams film scores, including

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during the early 1950s. The orchestra's workload in these years was second only to the other self-governing London orchestra, the LPO: the LPO played 248 concerts in the 1949–50 season; the LSO 103; the BBC SO 55; the Philharmonia and RPO 32 each. When the

1077:, which ran a series of defamatory articles about the orchestra. The articles were almost wholly untrue and the magazine was forced to pay substantial libel damages, but in the short term serious damage was done to the orchestra's reputation and morale. 1653:, and who was subsequently responsible for bringing the most eminent British 20th-century composers to work for cinema." Mathieson described the LSO as "the perfect film orchestra". Among the composers commissioned by Mathieson for LSO soundtracks were 1192: 836:

To raise the profile and prestige of the orchestra, Fleischman strove to attract top soloists and conductors to work with the LSO. After Krips's resignation the orchestra had worked with a few leading conductors, including Klemperer, Stokowski,

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Since 2000, the LSO has published commercial CD recordings on its own label, LSO Live. Recordings are made live at the Barbican hall over several dates and are edited in post-production. Initially available on CD they have since been issued on

1047:. One of the LSO's principals commented, "Although we were sweating our guts playing those vast Mahler symphonies for ... Abbado, he would go and record them with other orchestras, which made us feel like second, maybe even third choice". 1690:, composed for the film. Rider adds, "Mathieson's documentary, with its close-ups of the musicians and their instruments, beautifully captures the vibrancy and texture of the Orchestra amidst the optimism of the post-Second World War era." 1789:". Some of their works, notably choral music by Stanford and Parry, have retained a place in the repertoire, but little of their purely orchestral music is regularly played. At the time, they held considerable sway in British musical life. 845:, but also with many less eminent ones. Fleischmann later said, "It wasn't difficult to change the list of conductors that the orchestra worked with, because one couldn't do much worse, really". A rising conductor of a younger generation, 450:

In its early years Richter was the LSO's most frequently-engaged conductor, with four or five concerts every season; the orchestra's website and Morrison's 2004 book both count him as the orchestra's first chief conductor, though the 1911

300:, agreed that they could no longer tolerate the deputy system. After a rehearsal in which Wood was faced with dozens of unfamiliar faces in his own orchestra, Newman came to the platform and announced: "Gentlemen, in future there will be 439:, in his centenary study of the LSO, writes of "stodgy programmes of insipid Cowen, worthy Stanford, dull Parry and mediocre Mackenzie"; they put the Parisian public off to a considerable degree, and the players ended up out of pocket. 593:

and Beecham had ambitions to bring London's orchestral standards up to those of Berlin. After an early attempt at co-operation between the BBC and Beecham, they went their separate ways. In 1929 the BBC began recruiting for the new

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Busby organised a meeting at St. Andrew's Hall, not far from the Queen's Hall. Invitations were sent to present and former members of the Queen's Hall Orchestra. About a hundred players attended. Busby explained the scheme: a new

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By 2004, about 20 per cent of the LSO's members were women. Some musicians, including Davis, judged that this improved the orchestra's playing as well as its behaviour. Others, including Previn and the veteran principal trumpet

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When peace resumed many of the former players were unavailable. A third of the orchestra's pre-war members were in the armed forces, and rebuilding was urgently needed. The orchestra was willing to allow the ambitious conductor

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in 1934 was another good thing for the LSO, as its players made up nearly the entirety of the festival orchestra. An important additional source of income for the orchestra was the film industry. In March 1935 the LSO recorded

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In 1982, the LSO took up residence at the Barbican. In the first years of the residency, the orchestra came close to financial disaster, primarily because of over-ambitious programming and the poor ticket sales that resulted.

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opened in 1951 the LSO and LPO engaged in a mutually bruising campaign for sole residency there. Neither was successful, and the Festival Hall became the main London venue for both orchestras and for the RPO and Philharmonia.

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During the war it had become clear that private patronage was no longer a practical means of sustaining Britain's musical life; a state body, the Council for the Encouragement of Music and the Arts – the forerunner of the

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the LSO's problem was not that its playing had deteriorated, but that it had failed to keep up with the considerable improvements in playing achieved over the past two decades by the best European and American orchestras.

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to conduct its first concert. Newman held no grudge against the rebels and made the Queen's Hall available to them. He and Wood attended the LSO's first concert, on 9 June 1904. The programme consisted of the prelude to

1432:, who supervised the sessions, wrote of "virtuoso playing which was unique at that time". Since then, according to the orchestra's website, the LSO has made more recordings than any other orchestra, a claim endorsed by 1236:

joined Michael Tilson Thomas as principal guest conductor. At the end of 2006, Davis stood down as principal conductor and became president of the LSO in January 2007, its first since the death of Bernstein in 1990.

1103:", offering "people of all ages, from babies through music students to adults, an opportunity to get involved in music-making". The programme is still in place in 2022, benefiting more than 60,000 people every year. 1534:'s major works, conducted by the composer. Of the later 1960s Jolly writes, "Istvan Kertész's three-year Principal Conductorship has left a treasure trove of memorable and extraordinarily resilient recordings – the 160:

majority of players rejected the idea. By the 1960s the LSO had recovered its leading position, which it has retained subsequently. In 1966, to perform alongside it in choral works, the orchestra established the

223:. The LSO claims to be the world's most recorded orchestra; it has made gramophone recordings since 1912 and has played on more than 200 soundtrack recordings for the cinema, of which the best known include the 1334:

were given a hard time. By the 21st century the orchestra had long abandoned such aggression; civilities were maintained even with conductors whom the orchestra took against: they were simply never re-engaged.

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In 1971 the BBC SO had 16 women players, the LPO and Philharmonia (by then known as the New Philharmonia) 12 each. The proportion of female players was considerably higher in the main regional orchestras.

714:, the LSO took over for Wood. The Carnegie Trust, with the support of the British government, contracted the LSO to tour Britain, taking live music to towns where symphony concerts were hitherto unknown. 506:, it found the strings "brilliant rather than mellow". The paper had a little fun at the LSO's expense: from the viewpoint of a country that had long enjoyed permanent, salaried orchestras such as the 628:(LPO), as it was named, consisted of 106 players including a few young musicians straight from music college, many established players from provincial orchestras, and 17 of the LSO's leading members. 305:

England in May 1904, soon after Newman's announcement, some of his leading players discussed the situation and agreed to try to form their own orchestra. The principal movers were three horn players (

1645:, musical director of Korda Studios. On the LSO's website, the film specialist Robert Rider calls Mathieson "the most important single figure in the early history of British film music, who enlisted 1137:

and commercial sponsors, enabling the orchestra to set up a system of joint principals, attracting top musicians who could play in the LSO without having to give up their solo or chamber careers.

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noted that 49 members of the new orchestra were rebels against Newman's no-deputy rule, 32 had left the Queen's Hall Orchestra earlier, and the other 21 had no connection with Wood and Newman.

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International Festival in Florida. In 2010 the LSO visited Poland and Abu Dhabi for the first time and made its first return to India since the 1964 world tour. The orchestra played at the

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After Coates left, the orchestra reverted to its preferred practice of engaging numerous guest conductors rather than a single principal conductor. Among the guests were Elgar, Beecham,

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magazine said, "There are one or two moments where the LSO are audibly hanging on by the skin of their teeth, but these moments simply add to the ferocious impact of the music".

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commented that the LSO "were tempted by their own need for challenge (and a siren chorus of critics) to begin a series of more modern and adventurous music: six nights a week of

1221:, its music education centre, in a former church near the Barbican. The following year the orchestra celebrated its centenary, with a gala concert attended by the LSO's Patron, 1005:

The lack of good rehearsal facilities to which Bernstein had objected was addressed in the 1970s when, jointly with the LPO, the LSO acquired and restored a disused church in

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The LSO underwent periods of eclipse in the 1930s and 1950s when it was regarded as inferior in quality to new London orchestras, to which it lost players and bookings: the

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The orchestra was not the first to appear under this title: in the 1890s a group of about 41 players performed in London, Ontario, Canada, as the London Symphony Orchestra.

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was appointed principal conductor. Negotiations with the Corporation of the City of London with a view to establishing the LSO as the resident orchestra of the planned

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cultivated by the B.B.C. Orchestra and the London Philharmonic Orchestra under Beecham." Among the milestones on the orchestra's path to recovery were the premieres of

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Morrison comments that the LSO would probably also have faded away if it had gone down the same route. The Sinfonia of London was no longer extant at the time of the

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Adrian Boult, who was recording Elgar and Vaughan Williams with the LSO, refused to continue when he discovered that five leading principals had absented themselves.

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first guest-conducted the LSO in 1996. In March 2021, the LSO announced his appointment as its next chief conductor, effective in September 2024. In February 2022,

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article indicates otherwise. Richter retired from conducting in 1911, and Elgar was elected conductor-in-chief for the 1911–12 season. Elgar conducted six concerts,

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as its music director from September 2017, with an initial contract of five years. In February 2016, the orchestra announced that beginning with the 2016–17 season

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one each. As a conductor Elgar did not prove to be a big enough box-office draw, and after one season he was replaced by the charismatic Hungarian maestro Nikisch.

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professionals. There was a brief crisis, after which the professional element was removed, and the LSO chorus became, and remains, an outstanding amateur chorus.

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orchestras, he insisted that the LSO should be contracted for the tour. The orchestra, 100-strong (all men except for the harpist), was booked to sail on the

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the Berlin Philharmonic as the resident orchestra at the Aix-en-Provence Festival, adding to a roster of international residences at venues including the

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In 1964, the LSO undertook its first world tour, taking in Israel, Turkey, Iran, India, Hong Kong, Korea, Japan and the United States. The following year

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In 1989, the Royal Philharmonic Society established its Orchestra Award for "excellence in playing and playing standards"; the LSO was the first winner.

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series of concerts conducted by Wood, with whom the orchestra was completely reconciled. When the BBC evacuated its orchestra from London and abandoned

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in another) helped restore the orchestra's finances as well as its musical standards. With Krips and others the orchestra recorded extensively for the

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The orchestra was incorporated under the Limited Liability Act with a capital of £1,000 in £1 shares. Every member was required to hold £10 in shares.

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sponsorship by commercial firms: the orchestra's "Peter Stuyvesant" concerts, underwritten by the tobacco company of that name, were given in London,

3390:"Sir Simon Rattle announces an extension of his contract as Music Director until 2023 and accepts lifetime position of Conductor Emeritus thereafter" 745:

had survived the war intact, the latter, abandoned by Beecham, as a self-governing body. All three were quickly overshadowed by two new orchestras:

419:, "Its brass and its wood-wind were seen to be of exceptional quality, but the strings, fine as they are, have not the substance nor the colour of 4351: 4321: 3411: 1641:

Since 1935 the LSO has recorded the musical scores of more than 200 films. The orchestra owed its engagement for its first soundtrack sessions to

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The LSO visited Japan in 1990 with Bernstein and Tilson Thomas. The conductors and players took part in the inaugural Pacific Music Festival in

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Even in the era of silent films the LSO was associated with the cinema. During the 1920s the orchestra played scores arranged and conducted by

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designed to draw in a new public. Instead it put an old audience to flight." The LSO's difficulties were compounded by the satirical magazine

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In March 2015, the LSO simultaneously announced the departure of Gergiev as principal conductor at the end of 2015, and the appointment of

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said, "The great British band played with a vigor, force and temperamental impetuousness that almost lifted the listener out of his seat."

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Among those under whom the LSO played during the middle and late 1950s were lesser-known conductors such as Leighton Lucas, Alan J Kirby,

1200:"Berlioz Odyssey", in which all Berlioz's major works were given. The festival continued into 2000. Many of the performances, including 1129:

was appointed as the orchestra's associate composer in 1991, and the following year Richard McNicol became LSO Discovery's first music

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The LSO at the Barbican, 2011. Front, left to right, Roman Simović, Carmine Lauri (violins), Alastair Blayden, Tim Hugh (cellos),

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The LSO has made recordings since the early days of recording, beginning with acoustic versions under Nikisch of Beethoven's

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to stay away." There was much competition for good orchestral players, with well-paid engagements offered by more than fifty

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During the war the musical life of Britain was drastically curtailed. The LSO was helped to survive by large donations from

2452: 1356:(conductor), Gillianne Haddow, Edward Vanderspar (violas), Tom Norris, Evgeny Grach (violins). Players to the rear include 1188:, whom Morrison calls "steeped in culture." The danger that the concert hall would become a conference centre was averted. 4240: 4143: 1597: 742: 723: 625: 148: 3629:"The Elgar Edition: The Complete Electrical Recordings of Sir Edward Elgar", EMI Records, Catalogue number 5099909569423. 1180:(RSC), resident at the Barbican Theatre, came under threat from a new managing director of the Barbican Centre, Baroness 963:

attracted unprecedented viewing figures for classical music; Morrison writes, "More British people heard the LSO play in

663:(1934), showing the orchestra "capable of rising to the challenge of the most demanding contemporary scores" (Morrison). 4346: 4158: 1566: 1556:

and also as downloads. LSO Live has published more than 70 recordings featuring conductors including Gergiev, Davis and

1515: 1437: 754: 156: 423:

strings." The following year the LSO played outside Britain for the first time, giving concerts in Paris, conducted by

1786: 667: 492: 925:, founded in 1957 by Legge to work with his Philharmonia Orchestra, the LSO decided to establish its own chorus. The 718:

including the bands of army regiments based in London, whose brass and woodwind players were unofficially recruited.

4326: 4098: 2266:, 17 May 2007; and Anderson, Keith, Liner notes to Naxos CD 8.550503, Dvořák and Elgar Cello Concertos (1992), p. 4 1544: 1527: 1503:

in the late 1920s and early 1930s, the LSO was chosen for most of the recordings. The LSO's pre-war recordings for

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with a proposal to set up a permanent, salaried orchestra with a subsidy guaranteed by Sargent's patrons, the

4189: 3458: 1881: 1851: 1712: 1619: 1461: 1010: 910: 660: 415: 354: 28: 1593: 1535: 4285: 4153: 4138: 1900: 1885: 1859: 1654: 1519: 1420: 1022: 926: 738: 595: 570: 548: 161: 152: 144: 2192: 4204: 4133: 4054: 3930: 3512: 3508: 3500: 3486: 3037: 2720: 2193:"Arthur Nikisch Welcomed Here – Gives His First Concert with London Symphony Orchestra in Carnegie Hall" 2099: 1582: 1278: 1107: 1068: 1034: 350: 3216:

Bowen, Meirion. "Licensed to discover: Michael Tilson Thomas's fresh approach could liven up the LSO",

1492: 1092:, resigned. For the first time since 1949, the orchestra appointed one of its players to the position. 1080: 1273:

would be titled "Principal Guest Conductor" (joining the orchestra's other Principal Guest Conductor,

1770: 1409: 1395: 1225:. After serving as managing director for 21 years, Clive Gillinson left to become chief executive of 366: 1348: 1016:

In 1978, two aspects of the LSO's non-symphonic work were recognised. The orchestra shared in three

338:

Borsdorf was a player of international reputation, and through his influence, the orchestra secured

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Symphony. In the early 1970s the LSO recorded two firsts for a British orchestra, appearing at the

922: 776: 578: 475: 3434:"London Symphony Orchestra - London Symphony Orchestra names Barbara Hannigan as Associate Artist" 1684:, a film record of the LSO at work. Sargent conducted the orchestra in a performance of Britten's 4245: 4209: 4184: 3940: 1572: 1480: 1390: 1149: 825: 789: 574: 498: 479: 211:. Among its programmes there have been large-scale festivals celebrating composers as diverse as 1013:, a convenient and acoustically excellent rehearsal space and recording studio, opened in 1975. 4280: 4012: 3897: 3880: 3860: 3843: 3824: 3807: 3788: 3766: 3740: 3723: 3704: 1987: 1889: 1729: 1539: 1441: 1414: 1381: 1319: 1270: 1165: 979: 915: 901: 838: 804: 690: 487: 460: 432: 387: 317: 259: 220: 78: 558:

initial debacle is credited by Morrison with "breathing life and energy into the orchestra".

486:, but the tour schedule was changed at the last minute, and the players sailed safely on the 474:

Nikisch was invited to tour North America in 1912, and despite his long association with the

17: 4179: 1894: 1855: 1662: 1531: 1373: 1293: 1266: 1259: 1218: 969: 808: 800: 603: 327: 279: 55: 3192: 1099:

During 1988 the orchestra adopted an education policy which included the establishment of "

4078: 3308: 2456: 1847: 1799: 1561: 1557: 1486: 1475: 1377: 1361: 1353: 1157: 1093: 1056: 897: 850: 676: 616: 526: 507: 464: 424: 204: 89: 74: 4042: 3504: 2003: 939: 866: 267: 185: 164:, originally a mix of professional and amateur singers, later a wholly amateur ensemble. 136: 4066: 4048: 4030: 4018: 4000: 3994: 1821: 1693:

Another milestone in the LSO's history in film music was in 1977 with the recording of

1674: 1666: 1658: 1642: 1577: 1553: 1400: 1274: 1243: 1238: 1233: 1169: 1126: 1089: 1060: 1029: 991: 842: 816: 763: 681: 650: 645: 641: 586: 582: 562: 535: 456: 306: 247: 212: 208: 197: 189: 181: 177: 2802:, London Symphony Orchestra. Retrieved 15 July 2012; and "Opera Ballet and Concerts", 2159: 510:, it gently mocked the LSO's "bold stand for the sacred right of sending substitutes" 4300: 3242: 2618: 1912: 1906: 1817: 1813: 1694: 1523: 1504: 1429: 1251: 1226: 905: 795:

To replace the departing principals the LSO recruited rising young players including

771: 767: 694: 468: 410: 250:, Thomas Busby, John Solomon and Henri van der Meerschen, founding fathers of the LSO 216: 3935: 4090: 4072: 3988: 3218: 1778: 1717: 1680:

As a pinnacle of Mathieson's collaboration with the LSO, Rider cites the 1946 film

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The LSO is consistently ranked as one of the world's leading orchestras. In a 1988

1282: 1247: 1153: 1145: 1064: 959: 942:, who held the post for 11 years – at 2013 the longest tenure of the post to date. 750: 746: 698: 672: 599: 566: 553: 406: 358: 173: 987: 420: 1514:

In the 1950s and early 1960s, EMI generally made its British recordings with the

733:

The Royal Festival Hall: the LSO and LPO battled each other for residency in 1951

4060: 4024: 3759: 2449: 1670: 1601: 1588: 1500: 1470: 1425: 1405: 1368: 1357: 1202: 1073: 983: 974: 930: 889:. The company also sponsored LSO commissions of new works by British composers. 882: 870: 846: 758: 520: 483: 362: 331: 193: 1125:, teaching and giving masterclasses for 123 young musicians from 18 countries. 3872: 1206:, were recorded for the orchestra's new CD label, LSO Live, launched in 2000. 1191: 1173: 1130: 820: 297: 275: 132: 128: 3864: 3847: 3811: 3176: 2887: 2799: 2593: 2372: 2073: 1548:

admirably demonstrates what a superb ensemble the LSO were under his baton."

853:

to engage the LSO with Solti, Stokowski and Monteux for the 1961 Festwochen.

3884: 3727: 1699: 1185: 1006: 878: 711: 442: 374: 309:, Thomas Busby, and Henri van der Meerschen) and a trumpeter, John Solomon. 293: 225: 47: 3562:

Ford, Christopher. "The eternal triangle: Men, women, and the orchestras",

3412:"London Symphony Orchestra appoints Sir Antonio Pappano as Chief Conductor" 1140:

In 1993, the LSO again featured in a British television series, playing in

1001:

Henry Wood Hall, acquired and converted by the LSO and the LPO in the 1970s

631: 1440:

and what Jolly calls "a magnificent series of recordings" followed. Under

849:, began working with the LSO; Fleischmann persuaded the management of the 242: 3926: 3894:

The English musical renaissance, 1840–1940: constructing a national music

3320: 3235: 1604:'s top recommendations in comparative reviews of all available versions. 1530:, French music under Monteux, early recordings by Solti, and a series of 271: 3617: 1464:. Other recordings from this period included the premiere recording of 1122: 1100: 886: 2102:, Grove Music Online, Oxford University Press. Retrieved 3 April 2013 1982: 1507:

include Hamilton Harty's version of Walton's First Symphony, of which

1217:

In 2003, with backing from the banking firm UBS, the orchestra opened

1522:

orchestras; the LSO's recordings were chiefly for Decca, including a

1211: 1017: 689:

an ambitious programme for 1940, with guests including Bruno Walter,

255: 124: 2076:, London Symphony Orchestra. Retrieved 7 July 2012; Morrison, p. 26 929:(later called the London Symphony Chorus) was formed in 1966 under 285:, and by grand hotels and restaurants which maintained orchestras. 1846:

was chief conductor of the Berlin Philharmonic from 1954 to 1989;

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magazine. In 1920 the LSO signed a three-year contract with the

1372:

LSO concert of film music at the Barbican, 2003. Left to right:

1133:. Gillison secured increased funding from the Arts Council, the 405:

The orchestra made its first British tour in 1905, conducted by

4094: 3944: 2745:, 13 March 1954, p. 2 (Lucas); "Croydon Philharmonic Society", 737:

At the end of the war the LSO had to face new competition. The

2672:

Morrison, p. 109; Peacock, pp. 4–12; and "Mr. Gordon Walker",

947: 615:

In 1931, Beecham was approached by the rising young conductor

590: 409:. Elgar's conducting was highly praised; as to the orchestra, 519:

Englishwoman, Borsdorf was regarded by some colleagues as an

254:

At the turn of the twentieth century there were no permanent

3392:(Press release). London Symphony Orchestra. 11 January 2021 3222:, 19 June 1987, p. 16; and Griffiths, Paul. "Brave start", 3127:

Shakespeare, Nicholas. "The maze ends at the box office",

2749:, 13 May 1954, p. 9 (Kirby); "London Symphony Orchestra", 3919: 3414:(Press release). London Symphony Orchestra. 30 March 2021 3373:"Incoming NSO music director Noseda gets new assignment" 3353:(Press release). London Symphony Orchestra. 3 March 2015 3088:

Jolly, James. "London Symphony Orchestra – A Profile"],

2777:, 8 June 1957, p. 2 (Scherman); and "Opera And Ballet", 1880:

The LSO plays on the recordings of both Symphonies, the

258:

orchestras in London. The main orchestras were those of

3785:

Orchestra: The LSO: A Century of Triumph and Turbulence

3062:

Huckerby, Martin "Claudio Abbado to be LSO conductor",

1538:

are still competitive ... and his classic disc of

502:

praised all departments of the orchestra, though, like

100: 3311:, London Symphony Orchestra. Retrieved 26 January 2016 2765:, 18 June 1955, p. 2 (Lofthouse); "Opera And Ballet", 131:. The LSO was created by a group of players who left 127:. Founded in 1904, the LSO is the oldest of London's 2761:, 19 March 1955, p. 2 (Szenkar); "Opera And Ballet", 2004:

London Symphony Orchestra programme, 11 February 1890

1773:

was better known as a conductor than as a composer.

1296:

was announced as "Associate Artist" for three years.

2757:, 3 July 1954, p. 2 (Russell ); "Opera And Ballet", 1412:

in F minor, followed soon after by the overtures to

4264: 4218: 4167: 4126: 3323:, London Symphony Orchestra. Retrieved 22 July 2012 3179:, London Symphony Orchestra. Retrieved 16 July 2012 2890:, London Symphony Orchestra. Retrieved 15 July 2012 2753:, 28 June 1954, p. 3 (Poulet); "Opera And Ballet", 2723:, London Symphony Orchestra. Retrieved 16 July 2012 2459:, London Symphony Orchestra. Retrieved 16 July 2012 2375:, London Symphony Orchestra. Retrieved 16 July 2012 2162:, London Symphony Orchestra. Retrieved 16 July 2012 1088:In August 1984, the orchestra's managing director, 95: 84: 70: 62: 41: 3758: 3653:, London Symphony Orchestra. Retrieved 7 July 2012 3651:"Prokofiev Romeo and Juliet Disc of the Year 2011" 3620:, London Symphony Orchestra. Retrieved 7 July 2012 2947:Coleman, Terry. "Orchestral life and hard times", 2773:, 9 March 1957, p. 2 (Kisch); "Opera And Ballet", 2596:, London Symphony Orchestra. Retrieved 8 July 2012 1576:'s Disc of the Year in 2011, and Davis's discs of 140:continued for the orchestra's first four decades. 3804:A Report on Orchestral Resources in Great Britain 3193:"London Symphony Orchestra - About LSO Discovery" 950:took Boult's side, and the orchestra apologised. 3245:, Pacific Music Festival. Retrieved 17 July 2012 1991:, Vol. 52, No. 825 (November 1911), pp. 705–707 1229:, New York. His successor was Kathryn McDowell. 2916: 2914: 1904:, and many of the lighter pieces including the 393: 3972:London Symphony Orchestra Principal Conductors 3840:Thomas Beecham – An Independent Biography 3519:, Oxford Music Online. Retrieved 17 July 2012 3143:James, Brian. "The orchestra that opened up", 2411:Cardus, Neville. "London Symphony Orchestra", 330:, the London Symphony Orchestra, to be run on 4106: 3956: 2769:, 9 February 1957, p. 2 (Clark); "Concerts", 2716: 2714: 2712: 8: 2721:"LSO Principal Conductors and Title Holders" 3896:. Manchester: Manchester University Press. 3701:Tunes of Glory: The Life of Malcolm Sargent 3351:"Sir Simon Rattle appointed Music Director" 2069: 2067: 1716:(1981) and six of the eight films from the 123:) is a British symphony orchestra based in 4113: 4099: 4091: 3963: 3949: 3941: 3892:Stradling, Robert; Meirion Hughes (2001). 3304: 3302: 3300: 3298: 3296: 3294: 3172: 3170: 3168: 3166: 3164: 3162: 1277:, who held that post 2006-2017), and that 288:In 1904, the manager of the Queen's Hall, 203:Since 1982, the LSO has been based in the 54: 38: 27:For the orchestra in London, Ontario, see 3806:. London: Arts Council of Great Britain. 3549:Greenfield, Edward. "Orchestra strives", 3139: 3137: 3084: 3082: 3080: 3078: 3076: 3074: 3072: 2883: 2881: 2879: 2877: 2875: 2873: 1687:The Young Person's Guide to the Orchestra 1281:would be titled "Conductor Laureate" and 904:conducted the LSO for the first time, in 3673: 3671: 3574: 3572: 3275: 3273: 2613: 2611: 2589: 2587: 2585: 2085:Newman, Ernest. "The Harrison Concert", 1499:When Elgar recorded his major works for 1496:, likewise conducted by their composer. 321:Hans Richter, first conductor of the LSO 4256:Orchestre Révolutionnaire et Romantique 2985: 2983: 2684: 2682: 2650:"Mr. Krips's Resignation from L.S.O.", 2575: 2573: 2445: 2443: 2441: 2439: 2258:"How I fell in love with E E's darling" 1927: 1824:, Thomas Scherman and Samuel Rosenheim. 1745: 921:Mindful of the enormous success of the 490:. The tour was arduous, but a triumph. 385:In a profile of the orchestra in 1911, 3263:Greenfield, Edward. "Concert season", 3187: 3185: 2287: 2285: 2243: 2241: 2006:, Open Library. Retrieved 16 July 2012 4251:Orchestra of the Age of Enlightenment 3487:"Top 10 Best Orchestras in the World" 2815:Tolansky, John. "Monteux in London", 2275:Newman, Ernest, "Music of the Week", 2098:Dibble, Jeremy and Jennifer Spencer. 2053: 2051: 2023: 2021: 1614:London Symphony Orchestra filmography 1256:2012 Summer Olympics opening ceremony 1110:succeeded Abbado as chief conductor. 523:and was forced out of the orchestra. 446:Elgar and the LSO, Queen's Hall, 1911 7: 3665:, BBC Radio 3. Retrieved 7 July 2012 3040:. "The making of a rehearsal hall", 2781:, 5 September 1959, p. 2 (Rosenheim) 1978: 1976: 1974: 1972: 1970: 1968: 1966: 1964: 1962: 1820:, Thornton Lofthouse, Foster Clark, 3334:"Parachuting in, the Queen and 007" 2819:, Autumn 2003, Number 34, pp. 16–19 4332:Musical groups established in 1904 4281:Orchestra of the Royal Opera House 4175:Academy of St Martin in the Fields 3459:"The best orchestras in the world" 2960:Fiske, Roger. "Elgar Symphonies", 1364:(clarinet), Rachel Gough (bassoon) 25: 3936:London Symphony Orchestra on IMDB 3737:Henry J. Wood: Maker of the Proms 3473:"The World's Greatest Orchestras" 1474:, conducted by the composer, and 1308:article James Jolly said of it: 577:; soloists in the 1920s included 4286:English National Opera Orchestra 4121:Major orchestras based in London 3823:. London: Macdonald and Jane's. 3722:. Harmondsworth: Penguin Books. 1669:and lighter composers including 1376:and Lennox Mackenzie (violins), 1176:. In 1994 the orchestra and the 900:began in the same year. In 1966 762:concertos (the latter featuring 1983:"The London Symphony Orchestra" 1854:, Amsterdam from 1961 to 1988; 1803:1982 for use by a new ensemble. 1785:were British composers of the " 1444:the orchestra recorded Mozart ( 4352:Sony Classical Records artists 4322:1904 establishments in England 2850:"L.S.O. To Visit Manchester", 2817:Classical Recordings Quarterly 1697:'s score for the first of the 990:, in 1973, and playing at the 1: 4241:London Contemporary Orchestra 4144:London Philharmonic Orchestra 1148:. Among those appearing were 743:London Philharmonic Orchestra 626:London Philharmonic Orchestra 180:, and in more recent decades 149:London Philharmonic Orchestra 18:The London Symphony Orchestra 4159:Royal Philharmonic Orchestra 2863:"Four To Write For L.S.O.", 1682:Instruments of the Orchestra 1438:Columbia Graphophone Company 1384:(viola), Moray Welsh (cello) 755:Royal Philharmonic Orchestra 372:. In a favourable review in 4342:Deutsche Grammophon artists 4317:British symphony orchestras 3879:. London: Victor Gollancz. 3842:. London: Victor Gollancz. 3819:Previn, André, ed. (1979). 3787:. London: Faber and Faber. 3765:. London: Hamish Hamilton. 2973:"A protest by Sir Adrian", 2114:Stradling and Hughes, p. 52 2100:"Cowen, Sir Frederic Hymen" 1858:was chief conductor of the 1850:was chief conductor of the 1787:English musical renaissance 1622:to accompany screenings of 1043:Symphony Orchestras or the 4368: 3226:, 16 September 1988, p. 18 2828:"Monteux for the L.S.O.", 2732:Quoted in Morrison, p. 133 2620:Decca Classical, 1929–2009 2531:Morrison, pp. 53 and 92–93 2160:"100 years of the Titanic" 1611: 1135:City of London Corporation 34:British symphony orchestra 26: 4307:London Symphony Orchestra 4195:English Chamber Orchestra 4149:London Symphony Orchestra 3978: 3927:London Symphony Orchestra 3147:, 28 February 1987, p. 37 2867:, 10 September 1964, p. 8 2854:, 28 February 1964, p. 16 2455:30 September 2011 at the 2089:, 16 November 1905, p. 12 1775:Charles Villiers Stanford 1460:Symphonies) and Brahms's 1178:Royal Shakespeare Company 1172:. The series received an 1009:, converting it into the 514:First World War and 1920s 292:and the conductor of his 246:Clockwise from top left: 117:London Symphony Orchestra 53: 46: 42:London Symphony Orchestra 4236:London Classical Players 4226:Academy of Ancient Music 4200:London Chamber Orchestra 3699:Aldous, Richard (2001). 3114:magazine, 17 July 1988, 3066:, 20 October 1977, p. 19 2706:Morrison, pp. 32 and 258 2279:, 2 November 1919, p. 11 1020:awards for the score to 807:in the string sections, 675:'s incidental music for 4190:City of London Sinfonia 3855:Shore, Bernard (1938). 3735:Jacobs, Arthur (1994). 3521:(subscription required) 3267:, 14 August 1993, p. 22 2832:, 16 August 1961, p. 11 2623:. Retrieved 7 July 2012 2495:Morrison, pp. 53 and 89 2415:, 8 November 1932, p. 5 2413:The Manchester Guardian 2393:Morrison, pp. 66 and 82 2104:(subscription required) 2087:The Manchester Guardian 1993:(subscription required) 1852:Concertgebouw Orchestra 1713:Raiders of the Lost Ark 1560:. Gergiev's version of 1545:Duke Bluebeard's Castle 1144:with Tilson Thomas and 982:, conducted by Previn, 504:The Manchester Guardian 416:The Manchester Guardian 29:Orchestra London Canada 4154:Philharmonia Orchestra 4139:BBC Symphony Orchestra 3838:Reid, Charles (1961). 3802:Peacock, Alan (1970). 3703:. London: Hutchinson. 3501:"Karajan, Herbert von" 3279:Morrison, pp. 219–220. 3002:, 29 April 1980, p. 16 2938:Morrison, pp. 164–165. 2676:, 21 August 1965, p. 8 2256:Lloyd-Webber, Julian, 1934:Levien, John Mewburn, 1860:Leningrad Philharmonic 1421:The Marriage of Figaro 1385: 1365: 1315: 1196: 1085: 1002: 911:Symphony of a Thousand 861: 815:in the woodwinds, and 739:BBC Symphony Orchestra 734: 666:The foundation of the 636: 596:BBC Symphony Orchestra 531: 447: 398: 322: 251: 145:BBC Symphony Orchestra 4337:Decca Records artists 4205:London Mozart Players 4134:BBC Concert Orchestra 4055:Michael Tilson Thomas 3686:Morrison, pp. 277–279 3677:Morrison, pp. 277–283 3553:, 8 August 1975, p. 8 3540:Morrison, pp. 186–187 3288:Morrison, pp. 146–147 3092:, October 1988, p. 40 3044:, 17 June 1975, p. 11 2977:, 6 August 1970, p. 1 2964:, October 1968, p. 52 2929:Morrison, pp. 159–161 2641:Morrison, pp. 106–107 2605:Morrison, pp. 101–102 1649:to write a score for 1636:The Life of Beethoven 1583:Symphonie Fantastique 1371: 1351: 1310: 1279:Michael Tilson Thomas 1194: 1108:Michael Tilson Thomas 1083: 1000: 859: 732: 668:Glyndebourne Festival 634: 529: 445: 320: 245: 151:in the 1930s and the 3859:. London: Longmans. 3857:The Orchestra Speaks 3718:Hill, Ralph (1951). 3663:"Building a Library" 3641:December 1985, p. 76 3241:19 December 2012 at 3236:"History and photos" 3131:, 2 March 1985, p. 7 3015:, 25 May 1977, p. 31 2951:, 21 July 1969, p. 6 2806:, 4 April 1964, p. 2 2741:"Opera And Ballet", 2654:, 24 June 1954, p. 6 2567:Morrison, pp. 98–100 2450:"LSO and Film Music" 2061:, 10 June 1904, p. 7 1884:(with Menuhin), the 1771:Frederic Hymen Cowen 1736:Notes and references 1624:The Three Musketeers 1526:symphony cycle with 1117:1990s to the present 994:the following year. 772:Decca Record Company 429:Sir Charles Stanford 264:Philharmonic Society 4347:RCA Records artists 4231:The English Concert 3739:. London: Methuen. 3590:in Morrison, p. 187 3566:, 28 May 1971, p. 9 3513:"Mravinsky, Evgeny" 3511:; and Bowen, José. 3377:The Washington Post 3338:The Daily Telegraph 2998:"Mr John Culshaw", 2318:Morrison, pp. 73–74 2309:Morrison, pp. 72–74 2263:The Daily Telegraph 2150:Morrison, pp. 44–45 2027:Morrison, pp. 36–37 1844:Herbert von Karajan 1783:Alexander Mackenzie 1707:Superman: The Movie 1290:Sir Antonio Pappano 1106:In September 1988, 1045:Vienna Philharmonic 923:Philharmonia Chorus 777:Royal Festival Hall 579:Sergei Rachmaninoff 571:Wilhelm Furtwängler 476:Berlin Philharmonic 380:J A Fuller Maitland 129:symphony orchestras 4246:London Sinfonietta 4210:Southbank Sinfonia 4185:Camerata of London 3517:Grove Music Online 3509:"Haitink, Bernard" 3499:Brunner, Gerhard. 3489:. 9 February 2021. 3379:, 24 February 2016 2540:Morrison pp. 92–93 2363:Shore, pp. 111–113 2197:The New York Times 2183:in Morrison, p. 46 2123:Morrison pp. 35–36 1862:from 1938 to 1988. 1632:The Constant Nymph 1573:BBC Music Magazine 1516:Royal Philharmonic 1493:Tod und Verklärung 1448:), Beethoven (the 1410:Hungarian Rhapsody 1386: 1366: 1197: 1150:Alicia de Larrocha 1086: 1003: 862: 826:Ernest Fleischmann 813:William Waterhouse 790:Sinfonia of London 766:in one season and 735: 656:Belshazzar's Feast 642:Sir Hamilton Harty 637: 575:Serge Koussevitzky 536:Sir Thomas Beecham 532: 530:Sir Thomas Beecham 499:The New York Times 493:The New York Press 480:Leipzig Gewandhaus 448: 323: 294:promenade concerts 278:, by pit bands in 252: 178:Sir Thomas Beecham 157:Royal Philharmonic 4327:London orchestras 4294: 4293: 4088: 4087: 4013:Willem Mengelberg 3794:978-0-57-121584-3 3781:Morrison, Richard 3309:"2000s and 2010s" 3254:Morrison, p. 211. 3177:"1980s and 1990s" 3110:Murphy, Maurice, 3028:in Previn, p. 215 3024:Camden, Anthony, 2888:"1960s and 1970s" 2800:"1960s and 1970s" 2594:"1940s and 1950s" 2373:"1920s and 1930s" 2217:Lucas, pp. 45–147 2074:"1900s and 1910s" 1988:The Musical Times 1890:Beatrice Harrison 1730:Culture of London 1536:Dvořák symphonies 1442:Felix Weingartner 1382:Paul Silverthorne 1271:Gianandrea Noseda 1250:in Paris and the 1246:in New York, the 1166:Richard Stoltzman 1084:Leonard Bernstein 980:Salzburg Festival 916:Royal Albert Hall 902:Leonard Bernstein 885:, Manchester and 839:Jascha Horenstein 805:Simon Streatfeild 691:Leopold Stokowski 635:Willem Mengelberg 461:Willem Mengelberg 388:The Musical Times 346:Die Meistersinger 221:Leonard Bernstein 113: 112: 79:Royal Albert Hall 16:(Redirected from 4359: 4180:Aurora Orchestra 4115: 4108: 4101: 4092: 3965: 3958: 3951: 3942: 3923: 3922: 3920:Official website 3907: 3888: 3877:My Life of Music 3868: 3851: 3834: 3815: 3798: 3776: 3764: 3755:Kennedy, Michael 3750: 3731: 3714: 3687: 3684: 3678: 3675: 3666: 3660: 3654: 3648: 3642: 3636: 3630: 3627: 3621: 3615: 3609: 3608:Morrison, p. 124 3606: 3600: 3599:Morrison, p. 123 3597: 3591: 3585: 3579: 3578:Morrison, p. 187 3576: 3567: 3560: 3554: 3547: 3541: 3538: 3532: 3531:Morrison, 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2724: 2718: 2707: 2704: 2698: 2697:Morrison, p. 110 2695: 2689: 2688:Morrison, p. 280 2686: 2677: 2670: 2664: 2663:Morrison, p. 109 2661: 2655: 2648: 2642: 2639: 2633: 2630: 2624: 2617:Stuart, Philip. 2615: 2606: 2603: 2597: 2591: 2580: 2579:Morrison, p. 100 2577: 2568: 2565: 2559: 2556: 2550: 2547: 2541: 2538: 2532: 2529: 2523: 2520: 2514: 2511: 2505: 2502: 2496: 2493: 2487: 2484: 2478: 2477:Morrison, p. 174 2475: 2469: 2466: 2460: 2447: 2434: 2431: 2425: 2422: 2416: 2409: 2403: 2400: 2394: 2391: 2385: 2382: 2376: 2370: 2364: 2361: 2355: 2352: 2346: 2343: 2337: 2334: 2328: 2325: 2319: 2316: 2310: 2307: 2301: 2298: 2292: 2289: 2280: 2273: 2267: 2254: 2248: 2245: 2236: 2233: 2227: 2224: 2218: 2215: 2209: 2206: 2200: 2190: 2184: 2178: 2172: 2169: 2163: 2157: 2151: 2148: 2142: 2139: 2133: 2130: 2124: 2121: 2115: 2112: 2106: 2105: 2096: 2090: 2083: 2077: 2071: 2062: 2055: 2046: 2043: 2037: 2036:Morrison, p. 258 2034: 2028: 2025: 2016: 2013: 2007: 2001: 1995: 1994: 1980: 1957: 1954: 1948: 1945: 1939: 1932: 1917: 1878: 1872: 1869: 1863: 1856:Evgeny Mravinsky 1841: 1835: 1831: 1825: 1816:, John Russell, 1810: 1804: 1796: 1790: 1768: 1762: 1759: 1753: 1750: 1655:Vaughan Williams 1567:Romeo and Juliet 1374:Gordan Nikolitch 1294:Barbara Hannigan 1267:Sir Simon Rattle 1260:Sir Simon Rattle 809:Gervase de Peyer 801:Neville Marriner 437:Richard Morrison 407:Sir Edward Elgar 283:musical comedies 174:Sir Edward Elgar 109: 106: 104: 102: 58: 39: 21: 4367: 4366: 4362: 4361: 4360: 4358: 4357: 4356: 4312:Barbican Estate 4297: 4296: 4295: 4290: 4274: 4260: 4214: 4163: 4122: 4119: 4089: 4084: 4079:Antonio Pappano 3974: 3969: 3918: 3917: 3914: 3904: 3891: 3871: 3854: 3837: 3831: 3818: 3801: 3795: 3779: 3773: 3753: 3747: 3734: 3717: 3711: 3698: 3695: 3690: 3685: 3681: 3676: 3669: 3661: 3657: 3649: 3645: 3637: 3633: 3628: 3624: 3616: 3612: 3607: 3603: 3598: 3594: 3586: 3582: 3577: 3570: 3561: 3557: 3548: 3544: 3539: 3535: 3530: 3526: 3520: 3498: 3494: 3485: 3484: 3480: 3471: 3470: 3466: 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2002: 1998: 1992: 1981: 1960: 1955: 1951: 1947:Morrison, p. 12 1946: 1942: 1933: 1929: 1920: 1882:Violin Concerto 1879: 1875: 1870: 1866: 1848:Bernard Haitink 1842: 1838: 1834:and management. 1832: 1828: 1811: 1807: 1797: 1793: 1769: 1765: 1760: 1756: 1751: 1747: 1738: 1726: 1620:Eugene Goossens 1616: 1610: 1598:Eighth Symphony 1558:Bernard Haitink 1528:Anthony Collins 1487:Ein Heldenleben 1476:Richard Strauss 1378:Jerry Goldsmith 1362:Andrew Marriner 1354:Bernard Haitink 1346: 1341: 1320:Evelyn Rothwell 1302: 1258:, conducted by 1195:Sir Colin Davis 1158:Steven Isserlis 1119: 1094:Clive Gillinson 1011:Henry Wood Hall 956: 898:Barbican Centre 851:Vienna Festival 834: 707: 677:Alexander Korda 617:Malcolm Sargent 613: 516: 508:Boston Symphony 465:Fritz Steinbach 425:Edouard Colonne 403: 315: 240: 235: 205:Barbican Centre 194:Sir Colin Davis 99: 90:Antonio Pappano 77: 75:Barbican Centre 35: 32: 23: 22: 15: 12: 11: 5: 4365: 4363: 4355: 4354: 4349: 4344: 4339: 4334: 4329: 4324: 4319: 4314: 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Audio CD 1446:Symphony No 39 1415:Der Freischütz 1404:Overture, and 1345: 1342: 1340: 1337: 1328:Maurice Murphy 1301: 1298: 1275:Daniel Harding 1244:Lincoln Center 1239:Valery Gergiev 1234:Daniel Harding 1170:Kyoko Takezawa 1127:Colin Matthews 1118: 1115: 1090:Peter Hemmings 1030:Claudio Abbado 992:Hollywood Bowl 955: 952: 938:conductor was 894:István Kertész 869:and the young 860:Pierre Monteux 843:Pierre Monteux 833: 830: 817:Barry Tuckwell 788:, to form the 764:Wilhelm Kempff 753:and Beecham's 706: 703: 682:Things to Come 661:First Symphony 646:Neville Cardus 612: 609: 587:Yehudi Menuhin 585:and the young 583:Artur Schnabel 563:Otto Klemperer 549:Cello Concerto 515: 512: 457:Arthur Nikisch 433:André Messager 402: 399: 370:Fifth Symphony 365:, and finally 314: 311: 307:Adolf Borsdorf 248:Adolf Borsdorf 239: 236: 234: 231: 209:City of London 198:Valery Gergiev 190:Claudio Abbado 182:Pierre Monteux 111: 110: 97: 93: 92: 86: 85:Music director 82: 81: 72: 68: 67: 64: 60: 59: 51: 50: 44: 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1908: 1907:Wand of Youth 1903: 1902: 1897: 1896: 1891: 1887: 1883: 1877: 1874: 1868: 1865: 1861: 1857: 1853: 1849: 1845: 1840: 1837: 1830: 1827: 1823: 1819: 1818:Eugen Szenkar 1815: 1814:Gaston Poulet 1809: 1806: 1801: 1795: 1792: 1788: 1784: 1780: 1776: 1772: 1767: 1764: 1758: 1755: 1749: 1746: 1743: 1742: 1735: 1731: 1728: 1727: 1723: 1721: 1720:film series. 1719: 1715: 1714: 1709: 1708: 1702: 1701: 1696: 1695:John Williams 1691: 1689: 1688: 1683: 1678: 1676: 1672: 1668: 1664: 1660: 1656: 1652: 1648: 1644: 1639: 1637: 1633: 1629: 1628:The Nibelungs 1625: 1621: 1615: 1607: 1605: 1603: 1599: 1595: 1591: 1590: 1585: 1584: 1579: 1575: 1574: 1569: 1568: 1563: 1559: 1555: 1549: 1547: 1546: 1541: 1537: 1533: 1529: 1525: 1521: 1517: 1512: 1510: 1506: 1502: 1497: 1495: 1494: 1489: 1488: 1483: 1482: 1477: 1473: 1472: 1467: 1463: 1459: 1455: 1451: 1447: 1443: 1439: 1435: 1431: 1430:Fred Gaisberg 1427: 1423: 1422: 1417: 1416: 1411: 1407: 1403: 1402: 1397: 1393: 1392: 1383: 1380:(conductor), 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