London Philharmonic Orchestra - MusicBrainz London Philharmonic Orchestra Edit Annotation The London Philharmonic Orchestra, was founded in 1932 by Sir Thomas Beecham and is distinct from the Philharmonia Orchestra (sometimes called the London Philharmonia Orchestra) founded in 1945 by Walter Legge. Sub-Optimal Credits About the London Philharmonic Orchestra Home About us London Philharmonic Orchestra London Philharmonic Orchestra The London Philharmonic Orchestra is one of the world's finest symphony orchestras, balancing a long and distinguished history with a reputation as one of the UK's most adventurous and forward-looking orchestras. As well as giving classical concerts and opera performances in the UK and internationally, we also record film and video game soundtracks, have our own record label, and reach thousands of people every year through activities for schools and our local communities. The Orchestra was founded by Sir Thomas Beecham in 1932, and since then has been headed by many of the great names in the conducting world, including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur.

The Orchestra's current Principal Conductor is Vladimir Jurowski , appointed in 2007. Andrés Orozco-Estrada became our Principal Guest Conductor in September 2015. Magnus Lindberg is the Orchestra’s current Composer in Residence. 'The London Philharmonic Orchestra is looking the most adventurous of London’s orchestras.' Financial Times, Mar 2015 Where we perform The London Philharmonic Orchestra has been performing at Southbank Centre's Royal Festival Hall in London since it opened in 1951, becoming Resident Orchestra there in 1992. We also have flourishing residencies in Brighton and Eastbourne , and in summer we play for Glyndebourne Festival Opera where we have been Resident Symphony Orchestra since 1964. Touring abroad forms a major part of the Orchestra's schedule: highlights of the 2016/17 season include visits to New York, Germany, Hungary, Spain, France, Belgium, The Netherlands and Switzerland.

'Exceptional playing from the London Philharmonic Orchestra.' The Times, July 2015 Recordings and film Having long been embraced by the recording, broadcast and film industries, the London Philharmonic Orchestra broadcasts regularly on TV and radio. We also work with the Hollywood and UK film industries, and have been recording soundtracks for over half a century. Big headliners include The Lord of the Rings trilogy, Maurice Jarre's Lawrence of Arabia, gems like East is East and most recently Thor: The Dark World and Iron Man 3. In 2005 we established our own record label , which now numbers over 90 releases. Recent releases include The Genius of Film Music: Hollywood Blockbusters 1960s to 1980s , as well as archive recordings of Tennstedt conducting Beethoven's Symphonies Nos. 5 and 6 . Other projects have included a recording of James Horner's Collage: A Concerto for Four Horns – one of the very last commissions, written for members of the LPO's horn section, by the film composer just before his tragic early death in 2015.

Get involved 'Jurowski … has established sufficient rapport with the orchestra to achieve the effects he desires while doing far less than most conductors do. The result was a noble and articulate reading of [Shostakovich's] great symphony, grand in scale and urgent in delivery.' The Guardian, July 2015 The London Philharmonic Orchestra runs an energetic programme of activities for young people and local communities including our FUNharmonics family concerts and the BrightSparks schools' concerts . Over recent years, developments in technology and social networks have made it possible for us to reach even more people worldwide: all our recordings are available to download from iTunes and, as well as a YouTube channel and regular podcasts , we have a lively presence on Facebook , Twitter and Instagram . Please do not reproduce this biography. For an up-to-date printable biography, please visit our Press and marketing resources page. 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. London Philharmonic Orchestra - Music on Google Play London Philharmonic Orchestra About the artist The London Philharmonic Orchestra 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 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. London Philharmonic Orchestra on Apple Music To preview a song, mouse over the title and click Play. Open iTunes to buy and download music. Biography The London Philharmonic Orchestra, one of the central institutions of the busy London concert scene, has long been recognized as one of the world's great ensembles, an assertion borne out by continued acclaim from audiences and critics alike. When the venerable Royal Philharmonic Society faced a financial crisis in the late 1920s, Sir Thomas Beecham proposed a plan to form a permanent orchestra for the first time in the Society's 115-year history. It was proposed that the ensemble, to be called the Royal Philharmonic Orchestra, would serve as the orchestra for both the BBC and the Royal Philharmonic Society.

The scheme collapsed, however, when the BBC independently elected to form an orchestra of its own. In 1932 Beecham received the Society's commitment and patronage and at last founded a permanent orchestra, the London Philharmonic Orchestra. In addition to serving as the Society's official ensemble, the Philharmonic performed in other engagements as well, including Beecham's own series of concerts, the Courtauld-Sargent concerts, and, in summer, a Covent Garden opera series. Under Beecham's guidance the Philharmonic rapidly attained a high level of excellence and dominated the concert scene in London until World War II. At the outbreak of the war, Beecham departed England for the United States, leaving the Philharmonic to fend for itself. Instead of dissolving the leaderless organization, the Philharmonic's members reconstituted the ensemble as co-op and chose their own management board. When the BBC evacuated the BBC Symphony Orchestra from London during the German bombings of 1940 - 41, the Philharmonic remained, taking over the Henry Wood Promenade Concerts at Queen's Hall and maintaining without interruption the Philharmonic Society's own yearly slate of eight concerts.

In 1941 Queen's Hall was destroyed by bombs, leaving the immense Royal Albert Hall as London's only concert venue; consequently, both the Proms and the Philharmonic Society concerts were transferred there. The Philharmonic continued to be the official orchestra of the Royal Philharmonic Society Concerts until 1945. Beginning in that season, the Society changed its arrangement: The Philharmonic gave only three of the eight annual concerts a year, while the remaining five were divided among the BBC Orchestra, the London Symphony, the Hallé Orchestra, and the Royal Liverpool Philharmonic. From the time of Beecham's departure, the Philharmonic demurred in naming a music director, engaging a string of guest conductors until the appointment of Eduard van Beinum as Principal Conductor in 1949. The withdrawal of the Philharmonic's government grant in 1951created grave financial difficulties that threated the ensemble's very existence; unable to pay its players on the basis of a year-round contract, the Philharmonic in 1957 resorted to booking and renumerating its players on a by-the-concert basis.

From this lowlight the Philharmonic's standards and financial situation slowly improved through the 1960s and 1970s, aided by the leadership and acumen of such distinguished figures as Adrian Boult, William Steinberg, John Pritchard, and Georg Solti. Among the more auspicious moments in the Philharmonic's history are its 1973 tour to China, the first ever by a Western orchestra, and its performances in South Africa in 1993 as the first orchestra to visit the country since the abolition of apartheid. In its recent history, the ensemble has performed under the leadership of Bernard Haitink, Franz Welser-Möst, and Kurt Masur. In 1990 the Philharmonic was named the official resident orchestra of the Royal Festival Hall. Since 1964 it has also served as the resident orchestra for the Glyndebourne Opera Festival. ~ Joseph Stevenson Top Albums

Question: Who founded the London Philharmonic Orchestra?
Answer: Thomas Beecham