London Philharmonic Orchestra - 必应 Sign in London Philharmonic Orchestra The London Philharmonic Orchestra (LPO) is one of five permanent symphony orchestras based in London. It was founded by the conductors Sir Thomas Beecham and Malcolm Sargent in 1932 as a rival to the existing London Symphony and BBC Symphony Orchestras. The founders' ambition was to build an orchestra the equal of any European or American rival. Between 1932 and the Second World War the LPO was widely judged to have succeeded in this regard. After the outbreak of war the orchestra's private backers withdrew and the players ... (展开) s reconstituted the LPO as a self-governing cooperative. In the post-war years the orchestra faced challenges from two new rivals; the Philharmonia and the Royal Philharmonic, founded respectively in 1946 and 1947, achieved a quality of playing not matched by the older orchestras, including the LPO.

By the 1960s the LPO had regained its earlier standards, and in 1964 it secured a valuable engagement to play in the Glyndebourne Festival opera house during the summer months. In 1993 it was appointed resident orchestra of the Royal Festival Hall on the south bank of the Thames, one of London's major concert venues. Since 1995 the residency has been jointly held with the Philharmonia. In addition to its work at the Festival Hall and Glyndebourne, the LPO performs regularly at the Congress Theatre, Eastbourne and the Brighton Dome, and tours nationally and internationally. Since Beecham, the orchestra has had ten principal conductors, including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Vladimir Jurowski. The orchestra has been active in recording studios since its earliest days, and has played on hundreds of sets made by EMI , Decca and other companies. Since 2005 the LPO has had its own record label, issuing live recordings of concerts.

The orchestra has played on numerous film soundtracks, including Lawrence of Arabia (1962) and the Lord of the Rings trilogy (2001–03). 答 London Philharmonic Orchestra伦敦爱乐乐团例句：Tonight's concert is given by the london philharmonic orchestra, under klaus tennstedt. 今晚的音乐会由克劳斯田斯德特指挥的伦敦爱乐乐团演出。很高兴为您解答，... Background In the 1920s the London Symphony Orchestra (LSO) was the city's best-known concert and recording orchestra. Others were the Royal Albert Hall Orchestra, the orchestra of the Royal Philharmonic Society, the BBC's Wireless Symphony Orchestra and Sir Henry Wood's Queen's Hall Orchestra. All except the last of these were essentially ad hoc ensembles, with little continuity of personnnel,[n 1] and none approached the excellence of the best continental and American orchestras. This became obvious in 1927 when the Berlin Philharmonic, under Wilhelm Furtwängler, gave two concerts at the Queen's Hall. The chief music critic of The Times later commented, "the British public ...

was electrified when it heard the disciplined precision of the Berlin Philharmonic ... This apparently was how an orchestra could, and, therefore, ought to sound". After the Berliners, London heard a succession of major foreign orchestras, including the Amsterdam Concertgebouw Orchestra under Willem Mengelberg and the Philharmonic-Symphony Orchestra of New York under Arturo Toscanini. Among those determined that London should have a permanent orchestra of similar excellence were Sir John Reith, director-general of the British Broadcasting Corporation (BBC), and the conductor Sir Thomas Beecham. In 1928 they opened discussions about jointly setting up such an ensemble, but after 18 months of negotiations it became clear that the corporation and the conductor had irreconcilable priorities. Beecham demanded more personal control of the orchestra and repertoire than the BBC was willing to concede, and his priorities were the opera house and the concert hall rather than the broadcasting studio. The BBC went ahead without him, and under its director of music, Adrian Boult, launched the BBC Symphony Orchestra in October 1930, to immense acclaim.

In 1931 Beecham was approached by the rising young conductor Malcolm Sargent with a proposal to set up a permanent, salaried orchestra with a subsidy guaranteed by Sargent's patrons, the Courtauld family. Originally Sargent and Beecham envisaged a reshuffled version of the LSO, but the orchestra, a self-governing body, balked at weeding out and replacing underperforming players. In 1932 Beecham lost patience and agreed with Sargent to set up a new orchestra from scratch. The BBC having attracted a large number of the finest musicians from other orchestras, many in the musical world doubted that Beecham could find enough good players. He was fortunate in the timing of the enterprise: the depressed economy had severely reduced the number of freelance dates available to orchestral players. Moreover, Beecham himself was a strong attraction to many musicians: he later commented, "I always get the players.

Among other considerations, they are so good they refuse to play under anybody but me." In a study of the foundation of the LPO, David Patmore writes, "The combination of steady work, occasionally higher than usual rates, variety of performance and Beecham's own magnetic personality would make such an offering irresistible to many orchestral musicians." Beecham and Sargent had financial backing from leading figures in commerce, including Samuel Courtauld, Robert Mayer and Baron Frédéric d'Erlanger, and secured profitable contracts to record for Columbia and play for the Royal Philharmonic Society, the Royal Choral Society, the Courtauld-Sargent Concerts, Mayer's concerts for children, and the international opera season at Covent Garden. During his earlier negotiations with the BBC Beecham had proposed the title "London Philharmonic Orchestra", which was now adopted for the new ensemble. With the aid of the impresario Harold Holt and other influential and informed contacts he recruited 106 players. They included a few young musicians straight from music college, many established players from provincial orchestras, and 17 of the LSO's leading members.

During the early years, the orchestra was led by Paul Beard and David McCallum, and included leading players such as James Bradshaw, Gwydion Brooke, Geoffrey Gilbert, Léon Goossens, Gerald Jackson, Reginald Kell, Anthony Pini and Bernard Walton. Holt became the LPO's business manager, and the management board included the orchestra's principal benefactors: Courtauld, Mayer and d'Erlanger. Early years After twelve rehearsals, the orchestra made its debut at the Queen's Hall on 7 October 1932, conducted by Beecham. After the first item, Berlioz's Roman Carnival Overture, the audience went wild, some of them standing on their seats to clap and shout. In The Sunday Times Ernest Newman wrote, "Nothing so electrifying has been heard in a London concert room for years.

The tone was magnificent, the precision perfect, the reading a miracle of fire and beauty, and the enthusiasm of the audience could not have been greater." In The Times H C Colles said that the LPO was "as fine an instrument as could be wished for"; Neville Cardus wrote in The Manchester Guardian, "nothing more sumptuous and daring in orchestral playing could be heard in more than three other cities between New York and Vienna"; and W J Turner, of The Illustrated London News, praised the orchestra's "youthful dash and virtuosity ... at last we have an independent orchestra which rivals the BBC Symphony Orchestra". In its first season the LPO played at eighteen concerts in the Courtauld-Sargent series; ten Royal Philharmonic Society concerts; fifteen "International Celebrity Tours" and sixteen Sunday afternoon concerts for Holt's agency, as well as Robert Mayer's children's concerts, Royal Choral Society evenings and other engagements. Soloists in the first season included the singer Eva Turner and the pianists Harriet Cohen and Clifford Curzon.

In November 1932 the sixteen-year-old Yehudi Menuhin played a programme of violin concertos; those by Bach and Mozart were conducted by Beecham, and the Elgar concerto was conducted by the composer. During the next eight years, the LPO appeared nearly a hundred times at the Queen's Hall for the Royal Philharmonic Society, played for Beecham's opera seasons at Covent Garden, and made more than 300 gramophone records.[n 2] There were a few guest conductors for the Sunday concerts, but most were conducted by Beecham. In the Courtauld-Sargent series the LPO played not only under Sargent but under many guests including Bruno Walter, George Szell, Fritz Busch and Igor Stravinsky. In addition to London engagements, the orchestra played regularly in the larger provincial cities and towns. Its first tour, in March and April 1933, started in Bristol and ended in Manchester, taking in thirteen other venues in England, Ireland and Scotland.

After the last concert, The Manchester Guardian's reviewer wrote: Never before in our experience of concert-going in Manchester have we heard orchestral playing which, throughout a whole programme, combined such nobility of style and brilliancy of execution – not the brilliancy that stops when it has made outward forms sparkle, but a quality that seems to work from within and to suffuse everything with a rich and glowing tone-colour. Beecham took the orchestra on a controversial tour of Germany in 1936. Throughout the tour, the orchestra ignored the custom of playing the Nazi anthem before concerts, but Beecham yielded to pressure from Hitler's government not to play the Italian Symphony by Mendelssohn, taboo to Nazi anti-Semites. There was disquiet among some of the players that their presence in Germany gave the Nazi regime a propaganda coup. War and post-war years As his sixtieth birthday approached in 1939, Beecham was advised by his doctors to take a year's break from conducting, and he planned to go abroad to rest in a warm climate, leaving the orchestra in other hands.

The outbreak of war on 3 September 1939 obliged him to postpone his plans for several months, while he strove to secure the future of the orchestra, whose financial guarantees had been withdrawn by its backers when war was declared. The original LPO company was liquidated and Beecham raised large sums of money for the orchestra, helping its members to form themselves into a self-governing body. During the war the LPO played in the capital and on continual tours of Britain, under Sargent and other conductors, bringing orchestral concerts to places where they had rarely if ever been given. Many of the players' instruments were lost when the Queen's Hall was destroyed by German bombing in May 1941; an appeal was broadcast by the BBC, the response to which was enormous, with instruments donated by the public enabling the orchestra to continue. On Beecham's return to England in 1944 the LPO welcomed him back, and in October they gave a concert together that drew superlatives from the critics.

Over the next months Beecham and the orchestra gave further concerts with considerable success, but the LPO players, now their own employers, declined to give him the unfettered control that he had exercised in the 1930s. If he were to become chief conductor again it would be as a paid employee of the orchestra. Beecham, unwilling to be answerable to anybody, left the LPO and in 1946 founded a rival orchestra, the Royal Philharmonic (RPO). Among the conductors making guest appearances in the early post-war period were Walter, Furtwängler, Victor de Sabata and Sergiu Celibidache. Such starry events were the exception; as a rule the orchestra worked with less eminent conductors, giving an unprecedented number of performances. In 1949–50 they gave 248 concerts, compared with 103 by the London Symphony Orchestra and 32 each by the Philharmonia and RPO. After a seven-year interregnum the orchestra engaged a new principal conductor, Eduard van Beinum, in 1947.

He was initially able to work with the orchestra for only six months of the year, because of restrictions on work permits for foreign nationals. Guest conductors stood in during his absences. In 1947 the London Philharmonic Choir was founded as the chorus for the LPO. London Philharmonic Orchestra Recordings In its early years the LPO recorded exclusively for Columbia, a division of EMI. The orchestra's first gramophone set was made before its debut concert; with Sargent and the Royal Choral Society the LPO recorded choruses from Messiah and The Creation at Kingsway Hall in September 1932. The first Abbey Road recording was in October, under Sir Henry Wood. Beecham's first discs with the orchestra were made in January 1933, with his ballet suite The Origin of Design, arranged from music by Handel. From then until his last LPO recording in December 1945 Beecham recorded ninety-nine 78-rpm sets with the orchestra. Other conductors who worked in the EMI studios with the orchestra in its early years included Elgar, Felix Weingartner, John Barbirolli, and Serge Koussevitzky.

Soloists in concerto recordings included the pianists Artur Schnabel and Alfred Cortot and the violinists Fritz Kreisler and Jascha Heifetz. In 1946 the orchestra began recording for EMI's rival, Decca. The LPO's first recording for the label, Stravinsky's Petrushka, conducted by Ernest Ansermet, was followed by a large number of sessions as the company rebuilt its catalogue after the war. Among those who recorded with the orchestra for Decca were van Beinum, Sargent, de Sabata, Furtwängler, Charles Munch, Clemens Krauss, Hans Knappertsbusch, Erich Kleiber and the young Solti. The orchestra's first stereophonic recording was made for Decca in 1956, with Boult in Vaughan Williams's Eighth Symphony. Unlike its London rivals the RPO and the Philharmonia (both of whom recorded for many years only for EMI and its associates, with the rarest of exceptions), the post-war LPO was not exclusively associated with one company, and as well as Decca it recorded for Philips, CBS, RCA, Chandos and many other labels.

For some years in the 1950s and 60s the orchestra was contracted to two companies at once, and consequently appeared under the name "the Philharmonic Promenade Orchestra" in some of its recordings. In the 1960s and 70s the orchestra was particularly associated with Lyrita, an independent company specialising in neglected British repertoire. In most LPO recordings for Lyrita the conductor was Boult; in the same period he also recorded extensively for EMI, with the LPO his preferred orchestra. The LPO plays on many opera recordings, some taped live at Glyndebourne and the Festival Hall, and others in the studios of Decca and EMI.

They range from early works such as Cavalli's L'Ormindo (recorded 1968) and Glydebourne's staging of Handel's Theodora (1996) to central repertoire such as Così fan tutte (1974), Carmen (1975 and 2002) and Die Meistersinger (2011), and première recordings of 20th-century works including Vaughan Williams's The Pilgrim's Progress (1972), Shostakovich's Lady Macbeth of Mtsensk (1979) and Eötvös's Love and Other Demons (2008). In a discography of the LPO published in 1997, Philip Stuart listed 280 recordings made at Kingsway Hall and 353 at Abbey Road. By the early 2000s the late 20th-century boom in classical recordings had ended, and with studio work in decline for all orchestras, the LPO set up its own CD label in 2005, featuring recordings taken mainly from live concerts.

With the exception of Steinberg, all the orchestra's principal conductors from Beecham to Jurowski are represented in the label's releases. The orchestra lists among its best-selling recordings Mahler's Eighth Symphony, conducted by Tennstedt, and works by Rachmaninoff and Tchaikovsky with Jurowski. Film scores and other non-classical recordings Although not rivalling the LSO's total of more than 200 film score recordings, the LPO has played for a number of soundtracks, starting in 1936 with Whom the Gods Love. The orchestra played for ten films made during the Second World War, and then did little soundtrack work until the 1970s, with the major exception of Lawrence of Arabia (1962).

Later scores have included those for Antony and Cleopatra (1972), Jesus Christ Superstar (1973), The Fly (1986), Dead Ringers (1988), In the Name of the Father (1993), the Lord of the Rings trilogy (2001–03) and most of the music for the three films derived from The Hobbit (2012–14). The orchestra has made many non-classical recordings, including such titles as Hawaiian Paradise (1959), Broadway Gold (1978), Folk Music of the Region of Asturias (1984), Academy Award Themes (1984), Japanese Light Music (1993), The Symphonic Music of Pink Floyd (1994) and The Symphonic Music of The Who (1995). In May 2011 the orchestra recorded the 205 national anthems to be used at medal ceremonies at the Olympic and Paralympic Games in London the following year.

London Philharmonic Orchestra Notes and references Notes ^ Despite the efforts of Wood, Beecham and others, the deputy system remained a traditional part of the London orchestral scene. A player booked for a concert could accept a better-paid engagement and send a substitute in his stead. The treasurer of the Royal Philharmonic Society described the system thus: "A, whom you want, signs to play at your concert. He sends B (whom you don't mind) to the first rehearsal. B, without your knowledge or consent, sends C to the second rehearsal. Not being able to play at the concert, C sends D, whom you would have paid five shillings to stay away." ^ This figure refers to discs rather than whole works. The 78 rpm recordings then in use required several discs to accommodate a symphony or concerto of even moderate length. The total number of works, as opposed to discs, recorded by the LPO and Beecham was less than a hundred. ^ Kennedy states that there were 11 concerts, but Boult lists 12 dates and venues. ^ Witts concludes that it was not Russell but Boult – regarded by some as past his peak – who cost the LPO the Festival Hall residency.

^ A contemporaneous book listed the many famous soloists who had worked with the LPO in its fifty years. Among them were sopranos and mezzos such as Janet Baker, Victoria de los Ángeles, Kirsten Flagstad, Leontyne Price, Elisabeth Schumann, Joan Sutherland and Eva Turner, tenors including Beniamino Gigli, Luciano Pavarotti and Richard Tauber; the cellists Pablo Casals and Jacqueline du Pré; the violinists Jascha Heifetz, Fritz Kreisler and David Oistrakh, and the pianists Alfred Brendel, Clifford Curzon, Wilhelm Kempff, Arturo Benedetti Michelangeli, Maurizio Pollini and Arthur Rubinstein. ^ The New Philharmonia had bought back the rights to the original title in 1977. ^ Pirouet singles out Nikolai Roslavets as the most extreme example. References ^ "The B.B.C.", The Musical Times, 1 January 1928, p. 70 (subscription required); and Elkin, p. 93 ^ Levien, John Mewburn, quoted in Reid (1961), p. 50 ^ Elkin, p.

93 ^ Quoted in Elkin, p. 49 ^ a b Patmore, David. "EMI, Sir Thomas Beecham, and the formation of the London Philharmonic Orchestra", ARSC Journal, 32(1), 2001, pp. 11–27 (subscription required) ^ Kenyon, Nicholas. "Beecham and the BBC Symphony Orchestra: A Collaboration that Never Happened", The Musical Times, October 1980, pp. 625–628 (subscription required) ^ "Music", The Times, 23 October 1930, p. 12; "London Concerts", The Musical Times, December 1930, pp. 1124–1127 (subscription required); and "Music", The Observer, 26 October 1930, p. 14 ^ Aldous, p. 68 ^ Russell, p. 16; and Jenkins, p. 99 ^ Russell, p. 17 ^ a b c "London Philharmonic Orchestra", The Times, 9 September 1932, p. 8 ^ Russell, p.

19 ^ Russell, p. 18 ^ Newman, Ernest, The Sunday Times, 9 October 1932, quoted in Moore (unnumbered page) ^ "Royal Philharmonic Society", The Times, 8 October 1932, p. 10; Cardus, Neville. "London's new orchestra", The Manchester Guardian, 8 October 1932, p. 18; and Turner, W J. "The World of Music", The Illustrated London News, 22 October 1932, p. 638 ^ "London Philharmonic Orchestra", The Times, 22 September 1932, p. 8 ^ "Concert", The Times, 22 November 1932, p. 10 ^ Jefferson, p. 89 ^ Sackville-West and Shawe-Taylor, p. 81 ^ a b Stuart, p. 443–450 ^ Russell, p. 22 ^ "Courtauld-Sargent Concerts – Herr Walter's Visit", The Times, 17 January 1933, p.

10; "Courtauld-Sargent Concerts", The Times, 2 October 1933, p. 8; "Courtauld-Sargent Concerts", The Times, 31 July 1934, p. 12; and "Courtauld-Sargent Concerts", The Times, 19 October 1937, p. 14 ^ Russell, p. 23 ^ "Sir Thomas Beecham's Orchestra", The Manchester Guardian, 3 April 1933, p. 8 ^ Russell, p. 39 ^ Russell, pp. 39–40, and 42 ^ Lucas, p. 239 ^ Lucas, p. 240 ^ Pirouet, pp. 43–44 ^ Glock, William, "Music", The Observer 8 October 1944, p. 2; and "Sir T. Beecham's Return", The Times, 9 October 1944, p. 8 ^ Reid (1961), p. 230 ^ "About the Choir" London Philharmonic Choir, retrieved 4 September 2014 ^ Kennedy, p.

230 ^ a b Kennedy, p. 231 ^ The Gramophone, May 1951, p. 17 ^ a b Kennedy, p. 232; and Boult, p. 202 ^ Boult, p. 202; and Kennedy, p. 232 ^ Pirouet, p. 102 ^ Kennedy, p. 234 ^ Kennedy, pp. 215–222 ^ Witts, Richard. Boult, Russell & The London Philharmonic Orchestra 1952. Music in Society Seminar, Institute of British History, 2002 ^ Mitchell, Donald. "Promenade Concerts", The Musical Times, October 1953, p. 472 (subscription required) ^ Pepper, Maurice. "The London Philharmonic Orchestra in Russia", The Musical Times, February 1957, pp. 67–69 (subscription required) ^ Simeone and Mundy, pp. 81–96; and Pirouet, p. 116 ^ a b c d e Moore (unnumbered page) ^ Pirouet, p.

119 ^ "Dr Steinberg leaving London Philharmonic", The Guardian, 1 August 1960 ^ Pirouet, p. 132 ^ Pirouet, pp. 132 and 134 ^ Pirouet, pp. 139 ^ Chissell, Joan. "LPO/Haitink", The Times, 18 March 1974, p. 9 ^ Pirouet, p. 153 ^ a b Pirouet, p. 155 ^ Mann, William. "The making of a rehearsal hall", The Times, 17 June 1975, p. 11 ^ Pirouet, p. 147 ^ Greenfield, Edward. "LPO/Solti – 50th anniversary", The Guardian, 8 October 1982, p. 10 ^ a b "Klaus Tennstedt", The Times, 13 January 1998, p. 21 ^ Greenfield, Edward. "A German vision for London music", The Guardian, 13 January 1998, p.

16 ^ "Orchestra resumes its old title", The Times, 2 September 1977, p. 12 ^ Pirouet, pp. 183 and 223 ^ Pirouet, p. 187 ^ Morrison, Richard. "Mahler's quiet hero", The Times, 17 February 1989, p. 18 ^ Morrison, Richard. "Tennstedt hard to replace", The Times, 26 August 1987, p. 14 ^ Hewett, Ivan. "Why all those insults made me stronger", The Daily Telegraph, 18 August 2005 ^ Kenyon, Nicholas "A Young Conductor Starts at the Top", The New York Times, 15 March 1992; and Oestreich, James R. "Battered but Unbowed, a Maestro Rebounds", The New York Times , 13 November 1994 ^ Milnes, Rodney. "And lost at sea", The Times, 22 May 1996, p. 33 ^ a b Pirouet, p. 208 ^ Pirouet, pp.

217–220, and 223 ^ Pirouet, p. 213 ^ Chancellor, Alexander. "Orchestral manoeuvres", The Guardian, 20 July 1996, p. A24 ^ "History", London Philharmonic Orchestra, retrieved 6 September ^ Ginell, Richard S. "Orchestral Upheavals: Gergiev and Jurowski in London", American Record Guide, July 2008, pp. 23–24 ^ Rye, Matthew. "Last-minute stand-in makes an electrifying debut", The Daily Telegraph, 17 December 2001 ^ Ashley, Tim. LPO/Jurowski, The Guardian, 15 June 2007 ^ Shihoten, Kevin.

"Nézet-Séguin Named London Phil Principal Guest Conductor", Playbill Arts, 20 November 2007 ^ "Vladimir Jurowski", Glyndebourne, retrieved 8 September 2014 ^ "Who's who in the orchestra", London Philharmonic Orchestra, retrieved 6 September 2014 ^ "Professorial appointments", London Philharmonic Orchestra, retrieved 6 September 2014 ^ "Where we play", London Philharmonic Orchestra, retrieved 6 September 2014 ^ Stuart, p. 19 ^ Stuart, pp. 443–450 ^ a b Stuart, p. 2 ^ a b c Stuart, Philip. Decca Classical, 1929–2009, AHRC Research Centre for the History and Analysis of Recorded Music, retrieved 5 September 2014 ^ Stuart, p. 114 ^ Simeone and Mundy, pp. 80–96 ^ Stuart, p.

140 ^ "CDs and audio", Glyndebourne, retrieved 8 September 2014 (Theodora, Carmen (2002), Die Meistersinger and Love and Other Demons); Stuart, Philip. Decca Classical, 1929–2009, AHRC Research Centre for the History and Analysis of Recorded Music, retrieved 5 September 2014 (L'Ormindo, Così fan tutte and Carmen (1975)); "The Pilgrim's Progress", WorldCat, retrieved 8 September 2014; and "Lady Macbeth of Mtsensk", WorldCat, retrieved 8 September 2014 ^ Stuart, p.

412 ^ "About the LPO Label", London Philharmonic Orchestra, retrieved 5 September 2014 ^ "Bestsellers", London Philharmonic Orchestra, retrieved 5 September 2014 ^ "Film highlights", London Philharmonic Orchestra, retrieved 5 September 2014 ^ "London 2012 Hands Baton to London Philharmonic Orchestra", IPC, 15 April 2011 Aldous, Richard (2001). Tunes of Glory – The Life of Malcolm Sargent. London: Hutchinson. ISBN0091801311. Elkin, Robert (1944). Queen's Hall, 1893–1941. London: Rider. OCLC636583612. Hill, Ralph (ed) (1951). Music 1951. Harmondsworth, England: Penguin Books. OCLC26147349. Jenkins, Lyndon (2005). While Spring and Summer Sang – Thomas Beecham and the Music of Frederick Delius. Aldershot: Ashgate.

ISBN0754607216. Kennedy, Michael (1987). Adrian Boult. London: Hamish Hamilton. ISBN0333487524. Kenyon, Nicholas (1981). The BBC Symphony Orchestra, 1930–1980. London: British Broadcasting Corporation. ISBN0563176172. Lucas, John (2008). Thomas Beecham – An Obsession with Music. Woodbridge: Boydell Press. ISBN9781843834021. Moore, Jerrold Northrop (1982). Philharmonic – Jubilee 1932–1982. London: Hutchinson. ISBN0091473004. Morrison, Richard (2004). Orchestra –The LSO: A Century of Triumph and Turbulence. London: Faber and Faber. ISBN057121584X. Peacock, Alan (chairman) (1970). Report on Orchestral Resources in Great Britain.

London: Arts Council of Great Britain. ISBN011981062X. Pirouet, Edmund (1998). Heard Melodies are Sweet – A History of the London Philharmonic Orchestra. Hove: Book Guild. ISBN1857763815. Reid, Charles (1968). Malcolm Sargent – A Biography. London: Hamish Hamilton. ISBN0800850807. Reid, Charles (1961). Thomas Beecham– An Independent Biography. London: Victor Gollancz. OCLC500565141. Sackville-West, Edward; Desmond Shawe-Taylor (1955). The Record Guide. London: Collins. OCLC474839729. Simeone, Nigel; Simon Mundy (1980). Sir Adrian Boult – Companion of Honour. London: Midas Books. ISBN0859362124. Stuart, Philip (1997). The London Philharmonic discography. Westport, US: Greenwood Press.

ISBN0313291365. National Philharmonic Orchestra (Great Britain) (Symphony Orchestra) - Short History National Philharmonic Orchestra (Great Britain) (Symphony Orchestra) Founded: 1964 - London, England as RCA Orchestra Renamed: 1970 as National Philharmonic Orchestra (of London) Disbanded: Late 1990ן¿½s The National Philharmonic Orchestra (of London) was a British orchestra created exclusively for recording purposes. The orchestra grew out of the eponymous RCA Orchestra based in London that producer-arranger-conductor Charles Gerhardt (1928-1999) and orchestra leader / contractor Sidney Sax assembled after 1960 (probably in 1964). After several years at American RCA as an engineer and editor, Gerhardt had been sent to England by George Marek, then the director of Red Seal artists and repertoire, to produce recordings for the Readers Digest label, an RCA ally at the time (as was Decca/London). For these recordings, Gerhardt engaged Kenneth Wilkerson as his recording engineer, and the late Sir Thomas Beecham 's Royal Philharmonic Orchestra .

His conductors in the early 1960ן¿½s included Fritz Reiner , René Leibowitz , Sir John Barbirolli , Jascha Horenstein , Massimo Freccia , and on occasions Gerhardt himself (whom Arturo Toscanini had admired and encouraged in his last years). For projects of lighter music, however, Gerhardt and Sax assembled freelance musicians along with players from various London orchestras - always a plenitude in the UK capital, where stringent U.S. union restrictions did not apply and salaries were cheaper, with fewer permanent jobs available nationwide. By way of example, the violin section would routinely be peppered with leaders / concertmasters of all the major London orchestras, past and present, such as John Ronayne, Bela Dekany, Lionel Bentley, John Ludlow, John Brown, Donald Weekes, Irvine Arditti, Charles Meinardi, Hans Geiger, etc. Early on he called these recording orchestras the London Promenade (basically London Philharmonic Orchestra personnel), the the RCA Symphony Orchestra or the RCA Victor Symphony Orchestra. The orchestra was incorporated as the National Philharmonic Orchestra in 1970.

In addition to concert, concerto, and bon-bon repertoire, Gerhardt arranged and conducted ten stereo LPן¿½s of film music for the Digest that were released in two volumes. Their quality so impressed Marek's successor, R. Peter Munves, that he commissioned Gerhardt to make an LP of ן¿½The Classic Film Scores of Erich Wolfgang Korngoldן¿½ for RCA's own Red Seal label. This evolved into a series of 15 ן¿½Classic Film Scoresן¿½, conducted and arranged by Gerhardt, of motion picture music by Max Steiner (numerically the all-time champ), Bernard Herrmann, Franz Waxman, Miklos Rozsa, Dmitri Tiomkin, John Williams (all three Stars Wars scores), Alfred Newman, Victor Young, John Barry, and Leonard Rosenman. Gerhardt's producer was the late George Korngold, son of the composer, to whom concertmaster Sidney Sax had introduced him. Subsequently Chesky Records leased some of the earlier Readers Digest material for a superbly remastered and custom-pressed series of discs, on one of which the name National Philharmonic first appeared, dated 1967.

The actual year of origin, however, seems to have been 1972, starting with the RCA Korngold collection. That trailblazing film series was completed by 1985, although Gerhardt himself recorded a Wagner collection with the National Philharmonic Orchestra for Chesky as late as 1995. The orchestra ceased to be an exclusive RCA recording organization at the same time that Gerhardt replaced Sax as the concertmaster, feeling that his playing had deteriorated beyond repair. Decca Records began using the orchestra in March 1974. This was for a Phase 4 Stereo recording of the Yellow River Piano Concerto conducted by Elgar Howarth. Columbia Records began using the orchestra in 1975. Richard Bonynge conducted the National Philharmonic Orchestra extensively for Decca/London recordings of opera and ballet (including all three of Tchaikovsky's ballets); so did Riccardo Chailly , Bernard Herrmann, Nicola Rescigno , Gianandrea Gavazzeni, even Sir Georg Solti . James Levine led operas and recital discs for RCA and Sony.

Also for Sony, Leopold Stokowski led the National Philharmonic Orchestra in final-period recordings till the day before his death in 1977, at the age of 95. Michael Kamen recorded Eric Clapton's orchestral sessions from the 24 Nights concerts at the Royal Albert Hall in 1990 and 1991 for Duck Records. The orchestra has been featured on the soundtrack of many films (particularly those scored by Jerry Goldsmith) as well as a selection of Star Wars suites from the John Williams catalogue. Bernard Hermann regularly used the orchestra for recordings of his film work. Some of the film scores recorded in England and performed by The National Philharmonic Orchestra: Justine (1969), Supergirl (1984), Alien (1979), The Omen (1976-1981), Grizzly (1976), Legend (1985), Link (1986), Outland (1981), The Secret of N.I.M.H.

(1982), Total Recall (1990), The Boys from Brazil (1978), Not Without My Daughter (1991), The Wicked Lady (1983), The Dead Zone (1983), License to Kill (1989), Barry Lyndon (1975). Kenneth Schermerhorn conducted the orchestra on the soundtrack of Baryshnikov's production The Nutcracker, a staging of Tchaikovsky's ballet which became a television classic, after being presented live onstage. The orchestra also provided the music for the stage production. After his farewell Wagner CD, Charles Gerhardt retired to California, where he died four years later. From the available evidence, his informal National Philharmonic Orchestra also gave up the ghost after 25 years, when the classical market went soft worldwide in the later 1990ן¿½s, and London players with permanent posts clung to them like becalmed sailors, waiting for a breeze to rescue them from irrelevance as a professional breed.

Comment There is also a National Philharmonic based in Washington, D.C., founded and conducted by Piotr Gajewski, currently in residence at the Music Center at Strathmore (Maryland). It was formerly known as the National Chamber Orchestra. Source: Wikipedia Website (September 2010); All Music Guide (Author: Roger Dettmer) Contributed by Aryeh Oron (October 2010) Recordings of Bach Cantatas & Other Vocal Works Conductor

Question: Who founded and conducted The London Symphony Orchestra?
Answer: Sir Thomas Beecham