The London Philharmonic Orchestra (LPO) is a British orchestra based in London. One of five permanent symphony orchestras in London, the LPO 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 1945 and 1946, these orchestras achieved a quality of playing not matched by the older groups, 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 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's principal conductors have included Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Vladimir Jurowski. The orchestra's current principal conductor is Edward Gardner, since 2021. 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).
History
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 personnel, 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 Concertgebouw Orchestra of Amsterdam 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. With 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
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