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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.
730:
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.
1081:
1349:
318:
56:
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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.
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
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.
1369:
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."
632:
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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243:
1039:
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
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.
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.
527:
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
334:
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
304:
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
1833:
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
1317:
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
1802:
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."
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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.
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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
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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.
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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
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,
1551:
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.
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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
325:
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
1325:
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
541:
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
670:
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
1050:
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.
779:
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.
721:
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
606:
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.
1871:
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.
382:
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.
1254:
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
561:
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,
1511:
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".
1055:
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
143:
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
1752:
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.
896:
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
649:
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
1798:
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
946:
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.
1292:
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
3389:
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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
892:
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
1113:
In 1989, the Royal Philharmonic Society established its Orchestra Award for "excellence in playing and playing standards"; the LSO was the first winner.
1032:, principal guest conductor since 1971, succeeded Previn as chief conductor in the orchestra's diamond jubilee year, 1979. In a 1988 study of the LSO in
710:
series of concerts conducted by Wood, with whom the orchestra was completely reconciled. When the BBC evacuated its orchestra from London and abandoned
3962:
770:
in another) helped restore the orchestra's finances as well as its musical standards. With Krips and others the orchestra recorded extensively for the
1761:
The orchestra was incorporated under the Limited Liability Act with a capital of ÂŁ1,000 in ÂŁ1 shares. Every member was required to hold ÂŁ10 in shares.
877:
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
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
1121:
The LSO visited Japan in 1990 with Bernstein and Tilson Thomas. The conductors and players took part in the inaugural Pacific Music Festival in
1618:
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
1071:
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
3433:
1686:
1265:
In March 2015, the LSO simultaneously announced the departure of Gergiev as principal conductor at the end of 2015, and the appointment of
496:
said, "The great British band played with a vigor, force and temperamental impetuousness that almost lifted the listener out of his seat."
1812:
Among those under whom the LSO played during the middle and late 1950s were lesser-known conductors such as Leighton Lucas, Alan J Kirby,
4331:
4112:
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
856:
17:
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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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2257:
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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
534:
During the war the musical life of Britain was drastically curtailed. The LSO was helped to survive by large donations from
4341:
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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.
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).
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and also as downloads. LSO Live has published more than 70 recordings featuring conductors including Gergiev, Davis and
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strings." The following year the LSO played outside Britain for the first time, giving concerts in Paris, conducted by
3948:
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925:, founded in 1957 by Legge to work with his Philharmonia Orchestra, the LSO decided to establish its own chorus. The
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including the bands of army regiments based in London, whose brass and woodwind players were unofficially recruited.
345:
2266:, 17 May 2007; and Anderson, Keith, Liner notes to Naxos CD 8.550503, Dvořák and Elgar Cello Concertos (1992), p. 4
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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
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2193:"Arthur Nikisch Welcomed Here – Gives His First Concert with London Symphony Orchestra in Carnegie Hall"
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Bowen, Meirion. "Licensed to discover: Michael Tilson Thomas's fresh approach could liven up the LSO",
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1092:, resigned. For the first time since 1949, the orchestra appointed one of its players to the position.
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would be titled "Principal Guest Conductor" (joining the orchestra's other Principal Guest Conductor,
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1225:. After serving as managing director for 21 years, Clive Gillinson left to become chief executive of
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In 1978, two aspects of the LSO's non-symphonic work were recognised. The orchestra shared in three
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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
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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
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211:. Among its programmes there have been large-scale festivals celebrating composers as diverse as
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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
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Nikisch was invited to tour North America in 1912, and despite his long association with the
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During 1988 the orchestra adopted an education policy which included the establishment of "
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2003:
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Another milestone in the LSO's history in film music was in 1977 with the recording of
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2802:, London Symphony Orchestra. Retrieved 15 July 2012; and "Opera Ballet and Concerts",
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510:, it gently mocked the LSO's "bold stand for the sacred right of sending substitutes"
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To replace the departing principals the LSO recruited rising young players including
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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
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In the 1950s and early 1960s, EMI generally made its British recordings with the
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The Royal Festival Hall: the LSO and LPO battled each other for residency in 1951
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889:. The company also sponsored LSO commissions of new works by British composers.
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admirably demonstrates what a superb ensemble the LSO were under his baton."
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to engage the LSO with Solti, Stokowski and Monteux for the 1961 Festwochen.
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55:
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309:, Thomas Busby, and Henri van der Meerschen) and a trumpeter, John Solomon.
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3562:
Ford, Christopher. "The eternal triangle: Men, women, and the orchestras",
3412:"London Symphony Orchestra appoints Sir Antonio Pappano as Chief Conductor"
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In 1993, the LSO again featured in a British television series, playing in
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Henry Wood Hall, acquired and converted by the LSO and the LPO in the 1970s
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and what Jolly calls "a magnificent series of recordings" followed. Under
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849:, began working with the LSO; Fleischmann persuaded the management of the
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3894:
The English musical renaissance, 1840–1940: constructing a national music
3320:
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1670:
1604:'s top recommendations in comparative reviews of all available versions.
1601:
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1530:, French music under Monteux, early recordings by Solti, and a series of
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1464:. Other recordings from this period included the premiere recording of
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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
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In 2003, with backing from the banking firm UBS, the orchestra opened
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orchestras; the LSO's recordings were chiefly for Decca, including a
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an ambitious programme for 1940, with guests including Bruno Walter,
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47:
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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.
271:
3970:
1846:
was chief conductor of the Berlin Philharmonic from 1954 to 1989;
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886:
442:
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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
631:
405:
The orchestra made its first British tour in 1905, conducted by
2745:, 13 March 1954, p. 2 (Lucas); "Croydon Philharmonic Society",
1211:
1017:
737:
At the end of the war the LSO had to face new competition. The
255:
242:
124:
2672:
Morrison, p. 109; Peacock, pp. 4–12; and "Mr. Gordon Walker",
615:
In 1931, Beecham was approached by the rising young conductor
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
947:
590:
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
3891:
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.
4120:
2757:, 3 July 1954, p. 2 (Russell ); "Opera And Ballet",
1412:
in F minor, followed soon after by the overtures to
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,
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.
4298:
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
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:
2911:
2721:"LSO Principal Conductors and Title Holders"
513:
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:
3963:
3949:
3892:Stradling, Robert; Meirion Hughes (2001).
3304:
3302:
3300:
3298:
3296:
3294:
3172:
3170:
3168:
3166:
3164:
3162:
2709:
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:
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
3779:
3673:
3671:
3574:
3572:
3275:
3273:
2613:
2611:
2589:
2587:
2585:
2085:Newman, Ernest. "The Harrison Concert",
2064:
1499:When Elgar recorded his major works for
1496:, likewise conducted by their composer.
1367:
1347:
1190:
1079:
996:
855:
728:
630:
525:
441:
321:Hans Richter, first conductor of the LSO
316:
241:
4256:Orchestre RĂ©volutionnaire et Romantique
3801:
3753:
3291:
3159:
2992:
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"
1824:, Thomas Scherman and Samuel Rosenheim.
1735:
1116:
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,
14:
4299:
3818:
3734:
3698:
3263:Greenfield, Edward. "Concert season",
3187:
3185:
3134:
3069:
2870:
2366:
2287:
2285:
2250:
2243:
2241:
2006:, Open Library. Retrieved 16 July 2012
4251:Orchestra of the Age of Enlightenment
4094:
3944:
3854:
3668:
3569:
3487:"Top 10 Best Orchestras in the World"
3270:
2815:Tolansky, John. "Monteux in London",
2608:
2582:
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
3871:
3837:
3717:
3665:, BBC Radio 3. Retrieved 7 July 2012
3040:. "The making of a rehearsal hall",
2980:
2781:, 5 September 1959, p. 2 (Rosenheim)
2679:
2570:
2436:
1978:
1976:
1974:
1972:
1970:
1968:
1966:
1964:
1962:
1820:, Thornton Lofthouse, Foster Clark,
3334:"Parachuting in, the Queen and 007"
3257:
3182:
2819:, Autumn 2003, Number 34, pp. 16–19
2507:
2282:
2238:
2165:
24:
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",
2048:
2018:
1364:(clarinet), Rachel Gough (bassoon)
25:
4363:
3936:London Symphony Orchestra on IMDB
3911:
3737:Henry J. Wood: Maker of the Proms
3473:"The World's Greatest Orchestras"
1959:
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.
3680:
3656:
3644:
3632:
3623:
3611:
3602:
3593:
3581:
3556:
3543:
3534:
3525:
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3365:
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3150:
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3104:
3095:
3056:
3047:
1874:
1865:
1837:
1827:
1669:and lighter composers including
1376:and Lennox Mackenzie (violins),
1176:. In 1994 the orchestra and the
953:
900:began in the same year. In 1966
762:concertos (the latter featuring
704:
3031:
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2108:
2092:
2079:
2039:
2030:
1983:"The London Symphony Orchestra"
1854:, Amsterdam from 1961 to 1988;
1806:
1803:1982 for use by a new ensemble.
1792:
1785:were British composers of the "
1764:
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
2009:
1997:
1950:
1941:
1928:
1755:
1746:
1697:'s score for the first of the
990:, in 1973, and playing at the
400:
13:
1:
4241:London Contemporary Orchestra
4144:London Philharmonic Orchestra
1338:
1299:
1148:. Among those appearing were
743:London Philharmonic Orchestra
626:London Philharmonic Orchestra
312:
237:
180:, and in more recent decades
149:London Philharmonic 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
7:
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
1723:
1622:to accompany screenings of
1043:Symphony Orchestras or the
10:
4368:
3692:
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
232:
34:British symphony orchestra
26:
18:London Symphonic Orchestra
4307:London Symphony Orchestra
4264:
4218:
4195:English Chamber Orchestra
4167:
4149:London Symphony Orchestra
4126:
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
95:
84:
70:
62:
53:
46:
42:London Symphony Orchestra
41:
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
1343:
1020:awards for the score to
831:
807:in the string sections,
675:'s incidental music for
610:
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
1607:
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:
393:
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:
4091:
3965:
3958:
3951:
3942:
3941:
3923:
3922:
3920:Official website
3907:
3888:
3877:My Life of Music
3868:
3851:
3834:
3815:
3798:
3776:
3764:
3755:Kennedy, Michael
3750:
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3608:Morrison, p. 124
3606:
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3599:Morrison, p. 123
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3578:Morrison, p. 187
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3531:Morrison, p. 251
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3156:Morrison, p. 210
3154:
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3112:The Sunday Times
3108:
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3101:Morrison, p. 122
3099:
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3053:Morrison, p. 184
3051:
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3011:"Broadcasting,"
3009:
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2989:Morrison, p. 180
2987:
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2920:Morrison, p. 182
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2899:Morrison, p. 145
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2697:Morrison, p. 110
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2688:Morrison, p. 280
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2663:Morrison, p. 109
2661:
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2617:Stuart, Philip.
2615:
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2579:Morrison, p. 100
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2036:Morrison, p. 258
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1856:Evgeny Mravinsky
1841:
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1816:, John Russell,
1810:
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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
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2632:Hill, pp. 49–50
2631:
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2468:Morrison, p. 34
2467:
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2457:Wayback Machine
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2433:Morrison, p. 83
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2015:Morrison, p. 19
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1947:Morrison, p. 12
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1882:Violin Concerto
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1848:Bernard Haitink
1842:
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1834:and management.
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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:
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617:Malcolm Sargent
613:
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508:Boston Symphony
465:Fritz Steinbach
425:Edouard Colonne
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194:Sir Colin Davis
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1938:in Reid, p. 50
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1667:Malcolm Arnold
1651:Things to Come
1643:Muir Mathieson
1612:Main article:
1609:
1606:
1554:Super Audio CD
1446:Symphony No 39
1415:Der FreischĂĽtz
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:
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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:
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587:Yehudi Menuhin
585:and the young
583:Artur Schnabel
563:Otto Klemperer
549:Cello Concerto
515:
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457:Arthur Nikisch
433:André Messager
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370:Fifth Symphony
365:, and finally
314:
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307:Adolf Borsdorf
248:Adolf Borsdorf
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209:City of London
198:Valery Gergiev
190:Claudio Abbado
182:Pierre Monteux
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3873:Wood, Henry J
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3321:"Residencies"
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1224:
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1219:LSO St Luke's
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3989:Edward Elgar
3983:Hans Richter
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3761:Adrian Boult
3760:
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3682:
3658:
3646:
3638:
3634:
3625:
3618:"Recordings"
3613:
3604:
3595:
3587:
3583:
3564:The Guardian
3563:
3558:
3551:The Guardian
3550:
3545:
3536:
3527:
3516:
3495:
3481:
3467:
3453:
3441:. Retrieved
3437:
3428:
3416:. Retrieved
3406:
3394:. Retrieved
3384:
3376:
3367:
3355:. Retrieved
3345:
3337:
3328:
3316:
3284:
3265:The Guardian
3264:
3259:
3250:
3231:
3223:
3219:The Guardian
3217:
3212:
3202:28 September
3200:. Retrieved
3196:
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3115:
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3089:
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3007:
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2956:
2949:The Guardian
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2398:
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2368:
2359:
2350:
2345:Reid, p. 202
2341:
2332:
2323:
2314:
2305:
2296:
2277:The Observer
2276:
2271:
2261:
2252:
2231:
2222:
2213:
2204:
2196:
2188:
2180:
2176:
2167:
2155:
2146:
2137:
2128:
2119:
2110:
2094:
2086:
2081:
2058:
2057:"Concerts",
2041:
2032:
2011:
1999:
1986:
1956:Wood, p. 212
1952:
1943:
1935:
1930:
1922:
1921:
1911:
1905:
1901:In the South
1899:
1893:
1876:
1867:
1839:
1829:
1808:
1794:
1779:Hubert Parry
1766:
1757:
1748:
1740:
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1718:Harry Potter
1711:
1705:
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1685:
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1640:
1635:
1631:
1627:
1623:
1617:
1587:
1581:
1571:
1565:
1550:
1543:
1520:Philharmonia
1513:
1508:
1498:
1491:
1485:
1479:
1469:
1433:
1419:
1413:
1399:
1389:
1387:
1332:George Szell
1324:
1316:
1311:
1305:
1303:
1288:
1283:Andre Previn
1264:
1248:Salle Pleyel
1231:
1216:
1207:
1201:
1198:
1154:James Galway
1146:Dudley Moore
1141:
1139:
1120:
1112:
1105:
1098:
1087:
1072:
1052:
1049:
1033:
1028:
1021:
1015:
1004:
973:
964:
960:John Culshaw
957:
944:
940:André Previn
936:
920:
909:
891:
875:
867:Antal Doráti
863:
835:
797:Hugh Maguire
794:
785:
782:
751:Philharmonia
747:Walter Legge
736:
724:Arts Council
720:
716:
708:
699:George Szell
687:
680:
673:Arthur Bliss
665:
654:
638:
614:
600:Adrian Boult
567:Bruno Walter
560:
554:The Observer
552:
540:
533:
517:
503:
497:
491:
473:
452:
449:
414:
404:
394:
386:
384:
373:
344:
340:Hans Richter
337:
332:co-operative
324:
301:
287:
268:Queen's Hall
253:
224:
202:
186:André Previn
170:Hans Richter
166:
153:Philharmonia
142:
137:Queen's Hall
120:
116:
114:
71:Concert hall
36:
4219:Specialised
4061:Colin Davis
4025:Josef Krips
3443:25 February
1710:(1978) and
1675:Noël Coward
1671:Eric Coates
1634:(1927) and
1602:BBC Radio 3
1589:Les Troyens
1471:The Planets
1358:David Pyatt
1208:Les Troyens
1203:Les Troyens
1074:Private Eye
1069:Stockhausen
984:Seiji Ozawa
975:Turangalila
965:Music Night
931:John Alldis
883:Bournemouth
871:Colin Davis
847:Georg Solti
759:Josef Krips
659:(1930) and
521:enemy alien
459:three, and
401:Early years
391:commented:
367:Beethoven's
349:, music by
276:music halls
4301:Categories
3720:Music 1951
3639:Gramophone
3396:11 January
3357:11 January
3090:Gramophone
2962:Gramophone
1923:References
1509:Gramophone
1434:Gramophone
1394:Overture,
1339:Recordings
1306:Gramophone
1300:Reputation
1174:Emmy Award
1035:Gramophone
927:LSO Chorus
821:Denis Wick
604:W J Turner
313:Foundation
298:Henry Wood
238:Background
162:LSO Chorus
133:Henry Wood
3865:499119110
3848:500565141
3821:Orchestra
3812:150610520
3515:; all in
3438:lso.co.uk
3340:, 28 2012
3224:The Times
3197:lso.co.uk
3145:The Times
3129:The Times
3118:by Jolly.
3064:The Times
3042:The Times
3013:The Times
3000:The Times
2865:The Times
2852:The Times
2830:The Times
2804:The Times
2779:The Times
2775:The Times
2771:The Times
2767:The Times
2763:The Times
2759:The Times
2755:The Times
2751:The Times
2747:The Times
2743:The Times
2674:The Times
2652:The Times
2059:The Times
1700:Star Wars
1562:Prokofiev
1232:In 2006,
1223:the Queen
1186:John Tusa
1182:O'Cathain
1142:Concerto!
1131:animateur
1053:The Times
1023:Star Wars
1007:Southwark
988:Karl Böhm
958:In 1971,
879:Guildford
712:the Proms
621:Courtauld
421:the Hallé
413:wrote in
375:The Times
272:shillings
229:series.
226:Star Wars
48:Orchestra
4127:Symphony
3931:AllMusic
3885:30533927
3875:(1938).
3783:(2004).
3757:(1987).
3728:26147349
3418:30 March
3239:Archived
2453:Archived
1895:Falstaff
1724:See also
1638:(1929).
1630:(1924),
1626:(1922),
1524:Sibelius
1481:Don Juan
1360:(horn),
1214:awards.
1210:won two
970:Messiaen
786:en masse
741:and the
679:'s film
547:Elgar's
328:ensemble
280:West End
266:and the
256:salaried
147:and the
4168:Chamber
3693:Sources
1916:suites.
1913:Nursery
1800:Peacock
1663:Britten
1578:Berlioz
1532:Britten
1454:Seventh
1123:Sapporo
1061:Berlioz
1057:Tippett
1041:Chicago
914:at the
887:Swansea
484:Titanic
233:History
213:Berlioz
207:in the
96:Website
63:Founded
4271:Ballet
4081:(2024)
4075:(2017)
4069:(2007)
4063:(1995)
4057:(1987)
4051:(1979)
4045:(1968)
4039:(1965)
4033:(1960)
4027:(1951)
4021:(1932)
4015:(1930)
4009:(1919)
4003:(1915)
3997:(1912)
3991:(1911)
3985:(1904)
3900:
3883:
3863:
3846:
3827:
3810:
3791:
3769:
3743:
3726:
3707:
3588:Quoted
3116:quoted
3026:quoted
2181:Quoted
1936:quoted
1888:(with
1659:Walton
1594:Dvořák
1540:BartĂłk
1458:Eighth
1401:Oberon
1391:Egmont
1212:Grammy
1065:Webern
1018:Grammy
906:Mahler
651:Walton
598:under
488:Baltic
355:Mozart
262:, the
217:Mahler
196:, and
176:, and
125:London
4268:Opera
1741:Notes
1647:Bliss
1600:were
1505:Decca
1466:Holst
1462:First
1450:Fifth
1406:Liszt
1396:Weber
1344:Audio
832:1960s
611:1930s
363:Liszt
359:Elgar
3898:ISBN
3881:OCLC
3861:OCLC
3844:OCLC
3825:ISBN
3808:OCLC
3789:ISBN
3767:ISBN
3741:ISBN
3724:OCLC
3705:ISBN
3445:2022
3420:2021
3398:2021
3359:2021
3204:2020
1910:and
1781:and
1673:and
1665:and
1608:Film
1592:and
1586:and
1570:was
1518:and
1490:and
1456:and
1418:and
1168:and
986:and
841:and
819:and
811:and
803:and
697:and
573:and
478:and
467:and
431:and
361:and
351:Bach
219:and
155:and
115:The
103:.lso
88:Sir
66:1904
3929:at
1892:),
1596:'s
1580:'s
1564:'s
1542:'s
1501:HMV
1478:'s
1468:'s
1428:'s
1426:HMV
1408:'s
1398:'s
972:'s
948:EMI
908:'s
749:'s
653:'s
591:BBC
135:'s
121:LSO
107:.uk
105:.co
101:www
4303::
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3571:^
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3503:;
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3293:^
3272:^
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3136:^
3071:^
2982:^
2913:^
2872:^
2711:^
2681:^
2610:^
2584:^
2572:^
2438:^
2284:^
2260:,
2240:^
2195:,
2066:^
2050:^
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1985:,
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1677:.
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119:(
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20:)
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