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The Philharmonia Orchestra is a British orchestra based in London. It was founded in 1945 by Walter Legge, a classical music record producer for EMI. Among the conductors who worked with the orchestra in its early years were Richard Strauss, Wilhelm Furtwängler and Arturo Toscanini; of the Philharmonia's younger conductors, the most important to its development was Herbert von Karajan who, though never formally chief conductor, was closely associated with the orchestra in the late 1940s and early 1950s. The Philharmonia became widely regarded as the finest of London's five symphony orchestras in its first two decades.

Key Information

From the late 1950s to the early 1970s the orchestra's chief conductor was Otto Klemperer, with whom the orchestra gave many concerts and made numerous recordings of the core orchestral repertoire. During Klemperer's tenure Legge, citing the difficulty of maintaining the orchestra's high standards, attempted to disband it in 1964, but the players, backed by Klemperer, formed themselves into a self-governing ensemble as the New Philharmonia Orchestra. After thirteen years under this title, they negotiated the rights to revert to the original name.

In Klemperer's last years the orchestra suffered a decline, both financial and artistic, but recovered under his successor, Riccardo Muti, who revitalised the orchestra in his ten-year term from 1972 to 1982. The orchestra's standards remained high throughout the controversial chief conductorship of Giuseppe Sinopoli from 1984 to 1994, and the more orthodox tenure of Christoph von Dohnányi between 1997 and 2008. Esa-Pekka Salonen, principal conductor from 2008 to 2021 was succeeded by Santtu-Matias Rouvali.

The Philharmonia has had many celebrated players in its ranks and has commissioned more than 100 compositions. It gives more than 160 concerts a year, tours widely, and from its inception has been known for its many recordings.

History

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Background

[edit]

The name "Philharmonia" was adopted by the impresario and recording producer Walter Legge for a string quartet he brought together in 1941, comprising Henry Holst, Jean Pougnet, Frederick Riddle and Anthony Pini. The name was taken from the title page of the published score Legge used for the first work they recorded.[1][n 1] Temporarily augmented to a septet, the ensemble gave its first concert in the Wigmore Hall, the main item being Ravel's Introduction and Allegro.[3] With several changes of personnel the quartet continued to play in concert and in the recording studio during the Second World War.[1] In 1942 the editor of The Gramophone, Compton Mackenzie, wrote that he had no hesitation in calling the Philharmonia the best string quartet in the country.[1]

During the war, Legge was in charge of the music division of the Entertainments National Service Association (ENSA), which provided entertainment for British and allied armed forces. In this role he was in close touch with many first-rate musicians in the armed services, from whom he intended to draw when creating a new orchestra after the end of the war.[4] He later set out his guiding principles:

  • There are enough first-class musicians in Britain to make one orchestra at least equal and in certain sections, superior, to the best European orchestras. All these players must be in one orchestra – the Philharmonia.
  • I would make an orchestra of such quality that the best instrumentalists would compete for privilege of playing in it.
  • No "passengers". One inferior player can mar an orchestra's ensemble and intonation.
  • An orchestra consisting only of artists distinguished in their own right can give its best only with the best conductors.
  • No permanent conductor. An orchestra working with only one conductor, no matter how gifted he may be, inevitably bears the mark of its permanent conductor's personality, his own particular sonority and his approach to music. The Philharmonia Orchestra must have style, not a style.[3]

Before the war, Legge had been assistant to Sir Thomas Beecham at the Royal Opera House, Covent Garden. Both men wrongly assumed that they would be able to resume their control of the opera house after the war, and Legge conceived of a new orchestra based there, operating on the lines of the Vienna Philharmonic – playing in the pit for the opera and also giving concerts and making records on its own account.[3][5] The committee appointed by the British government to re-establish opera and ballet at Covent Garden abandoned the pre-war system of opera seasons, in favour of a permanent year-round company. Neither Beecham nor Legge was invited to run it.[6] Legge nevertheless decided to go ahead with his plans to form an orchestra. Although London already had three permanent symphony orchestras – the London Symphony Orchestra (LSO), BBC Symphony Orchestra (BBC SO) and London Philharmonic (LPO), their personnel and standards had declined during the war and he was convinced he could do better.[7]

First concerts

[edit]
elderly, balding man with short white moustache and beard, conducting an orchestra
Sir Thomas Beecham, conductor of the Philharmonia's first concert in 1945 (image from 1948)

Legge secured the services of many talented young musicians still serving in the armed forces. He first assembled a "Philharmonia String Orchestra" for recordings in 1945, composed of musicians from the RAF orchestra.[8] He then recruited wind and percussion players, including some of the country's top instrumentalists who had been playing in other orchestras during the war.[7] At the Philharmonia Orchestra's first concert, on 27 October 1945,[9] more than sixty per cent of the players were still officially in the services.[10] Beecham conducted the concert (for the fee of one cigar), but as he refused to be Legge's employee and Legge refused to cede control of the orchestra, they went their separate ways. Beecham founded the Royal Philharmonic Orchestra (RPO) the following year.[11]

Unlike the existing London orchestras, but like Beecham's Royal Philharmonic, the early Philharmonia was not a permanent ensemble: it was convened ad hoc from available players on Legge's list. Several of those players were also on Beecham's list, and were able to play for both orchestras, including the horn player, Dennis Brain, the clarinettist Reginald Kell and the timpanist James Bradshaw.[12] Although this gave both orchestras access to the finest players, a review of the London orchestral scene of the late 1940s commented, "The Philharmonia and Royal Philharmonic share a very serious disability: that neither is a permanently constituted orchestra. Both assemble and disperse more or less at random ... there is no style which is distinctively RPO or Philharmonia."[13] It was widely felt in musical circles that the Philharmonia was essentially a recording orchestra that also gave concerts, although Legge firmly denied this.[3][n 2] Nevertheless, the orchestra played far fewer concerts than the older London orchestras: in 1949–50 the Philharmonia gave 32 concerts compared with 55 by the BBC SO, 103 by the LSO, and 248 by the LPO.[15]

From its early years the orchestra played under prominent conductors including Richard Strauss for a single concert in 1947, and from 1948 onwards, Wilhelm Furtwängler and Herbert von Karajan for concerts and recordings.[3] Until the opening of the Royal Festival Hall in 1951, London lacked a suitable hall for symphony concerts.[n 3] Filling the vast Royal Albert Hall was difficult, except for such sell-out performances as Strauss's concert, a cycle of the Beethoven piano concertos with Artur Schnabel as soloist (1946), or the world premiere of Strauss's Four Last Songs with Kirsten Flagstad as soloist and Furtwängler conducting (1950).[17] For other, less popular, concerts in the orchestra's early years Legge was partly dependent on financial support from a musical benefactor, the last Maharaja of Mysore.[18]

1950s: Karajan and Toscanini

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young clean-shaven man, with dark, slicked back hair; he is studying a musical score
Herbert von Karajan (1938 photograph)

By the early 1950s the conductor most associated with the orchestra was Karajan, although he was not, officially or even unofficially, its chief conductor.[19] He chose to work mainly with the Philharmonia and came to London for long spells twice or three times a year giving concerts and making recordings.[19] Legge's practice of tying concerts in with studio recordings ensured longer than usual rehearsal time, paid for by EMI.[n 4] In the early years, Karajan's concerts were criticised in the press for their unadventurous programming;[n 5] but a financially hazardous tour of Europe in 1952 necessitated programmes that were box-office attractions.[22] Karajan told the orchestra that he felt it his duty to show Europe "the exceptional qualities of tone, aristocracy and vitality" of the Philharmonia's playing.[23] The violinist Joseph Szigeti commented that the Philharmonia "showed the Continent for the first time all the qualities of perfect chamber-music playing raised to the power of a great symphony orchestra."[24]

While the orchestra was in Italy it so impressed Arturo Toscanini that he offered to come to London to conduct it.[25] His two concerts at the Festival Hall in September 1952 (the four symphonies of Brahms) were a critical and commercial success.[26] In the same year, Furtwängler conducted the orchestra and soloists headed by Flagstad in a recording of Tristan und Isolde that has remained in the catalogues ever since.[27] Legge realised that Furtwängler was in declining health and that sooner or later Karajan would succeed him as chief conductor of the Berlin Philharmonic and Salzburg Festival and be lost to the Philharmonia. Legge began to seek out suitable successors.[28]

1950s: Karajan to Klemperer

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head and shoulder image of man with dark hair and spectacles, glaring towards the camera
Otto Klemperer, first principal conductor of the Philharmonia

As Legge had expected, Karajan succeeded to the Berlin and Salzburg positions after Furtwängler died in 1954.[n 6] Karajan remained under contract to EMI, but he quickly reduced his commitments to the Philharmonia.[30] Among alternatives favoured by Legge and the orchestra was Guido Cantelli, who conducted some well-received recordings and concerts; his death in a plane crash in 1956 at the age of thirty-six deprived the Philharmonia of a potential replacement for Karajan.[31] Another of Legge's protégés, Carlo Maria Giulini, seemed promising, but had not at that point established himself with the orchestra or the public, and had a restricted repertory.[31] Legge gradually built up a strong relationship with the veteran Otto Klemperer, who was admired by the players, the critics and the public.[32]

The year after Cantelli's death, the orchestra suffered a still worse blow with the death in a car crash of Dennis Brain, not only a supremely gifted player, but the most popular member of the orchestra among his colleagues.[33] He was succeeded as principal horn by his deputy, Alan Civil.[33]

In 1957 Legge launched the Philharmonia Chorus, an amateur body with a stiffening of professionals when needed.[31] The chorus made its debut in Beethoven's Choral Symphony conducted by Klemperer, and won extremely favourable reviews.[34] In The Observer Peter Heyworth wrote that with so fine a choir and "our best orchestra" and a great conductor, Legge had given London "a Beethoven cycle that any city in the world, be it Vienna or New York, would envy".[35] In 1959 Legge abandoned his policy that the orchestra should have no permanent conductor, and appointed Klemperer "conductor-for-life".[36]

1960–1964

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In the early 1960s the Philharmonia continued to be widely regarded as London's best orchestra. The RPO went through difficult times after Beecham's death in 1961;[37] neither the BBC SO or the LPO had yet regained its pre-war excellence;[38] and the LSO was only in the early stages of its return to eminence.[39] The Philharmonia entered into a new three-year contract with EMI on advantageous terms in 1960; the number of players applying to join the orchestra was increasing; its records sold well; and its concerts under Klemperer, Giulini, Sir John Barbirolli and others (occasionally including Karajan, who made his last appearance with the orchestra in 1960) were well received by the public and the critics.[40] Unknown to the public, and to a considerable extent the players, a combination of factors beyond the orchestra's control was leading to a crisis. First, to avoid clashes of repertoire the Festival Hall management set up a committee to co-ordinate programming by the London orchestras. Secondly, at EMI a similar rationalisation was taking place, with an internal committee deciding which works producers, including Legge, could schedule. Legge, an autocrat by temperament, resented any curtailment of his personal control, and found committees intolerable.[41] Finance also started to become a problem. The Philharmonia's lucrative recording contract depended on regular work in the studio, and having by now recorded most of the standard repertoire first in mono and again in stereo the orchestra's prospects for recording were diminishing. This meant that Legge's scope for having concert rehearsals subsidised by EMI was also shrinking.[42]

Although few agreed with him, Legge contended that the quality of the orchestra was declining. Looking back in 1975 at the heyday of his orchestra, he singled out for particular mention not only Brain and Civil, Kell and Bradshaw, but also Clement Lawton (tuba), Arthur Gleghorn (piccolo), Gareth Morris (flute), Sidney Sutcliffe (oboe), Frederick Thurston and Bernard Walton (clarinets), Gwydion Brooke (bassoon), and two leaders, Manoug Parikian and Hugh Bean.[3] Legge maintained retrospectively that in the absence of enough recording work to attract the finest new orchestral players to follow such stars he had no alternative to disbanding the Philharmonia.[3]

In March 1964, with no advance warning to the orchestra, Legge issued a press statement announcing that "after the fulfilment of its present commitments the activities of the Philharmonia Orchestra will be suspended for an indefinite period."[43] The historian of the orchestra Stephen Pettitt comments, "If Legge thought that by suspending the Philharmonia Orchestra he was killing it, he had reckoned without the players".[44] They formed themselves into a self-governing company, led by Bernard Walton, the principal clarinet, and adopted the name New Philharmonia Orchestra (NPO).[45] Hitherto, the players had been technically freelance, paid by Legge for each performance, but they now became employees of the company they collectively owned, with security of employment.[46][n 7]

Klemperer, Giulini and Barbirolli gave the new orchestra their strong backing,[46] as did Sir Adrian Boult, who incensed Legge by addressing the audience at a Philharmonia concert a few days later: "Do you want to see this great orchestra snuffed out like a candle? It must not be allowed to die!"[49] He urged the public to support the orchestra by going to all its concerts, whatever the programmes. The music critic of The Times commented that Boult's point was underlined by "the resplendent, intense sound he drew from choir and orchestra during the concert."[50]

1964–1977: New Philharmonia

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In its early years as an independent body the New Philharmonia flourished, in the concert hall and the recording studio. As well as its existing regular conductors, the orchestra worked with Ernest Ansermet, Pierre Boulez, Benjamin Britten and James Levine and many others.[51] It reciprocated Klemperer's loyalty and appointed him its president and chief conductor, but this led to a decline in orchestral discipline and standards as Klemperer grew older, frailer and less in command. Giulini became disillusioned and began to distance himself; Barbirolli remained firmly loyal until his death in 1970. Klemperer's decline led to a diminution in recording sessions, and the orchestra's finances became difficult by the late 1960s and early 1970s. There were serious but inconclusive discussions about a merger with the LPO, which was also in some difficulties at the time.[52] The NPO was rescued from financial disaster by two musical philanthropists, one anonymous and the other Ian Stoutzker, a prominent banker, who offered either to buy the orchestra outright or, as occurred, to underwrite its finances.[53]

Leading players of the early 1970s included Raymond Cohen, Desmond Bradley, Carlos Villa (violins), Herbert Downes (viola), Gareth Morris (flute), John McCaw (clarinet), Gwydion Brooke (bassoon) and Nicholas Busch (horn).[54] The Philharmonia was ahead of some of its London rivals in admitting female players.[n 8] By 1972, seventeen of the sixty-six string players were women, although the other three sections remained exclusively male, except for the veteran harpist, Sidonie Goossens.[54]

man with dark, centre-parted collar-length hair
Riccardo Muti (2008 photograph), chief conductor from 1972 to 1982

In Klemperer's later years the orchestra appointed Lorin Maazel, nominally as "associate principal conductor", from 1970, although in practice his role was more like a chief conductorship, with Klemperer as a figurehead, albeit one still capable of inspiring magnificent performances on occasion.[57] Maazel sought more control than the self-governing orchestra was willing to concede, and resigned from his post in early 1972, although he continued to accept invitations to conduct the orchestra.[58] Shortly afterwards, Klemperer announced his retirement; he died, aged 88, the following year.[59] The orchestra recognised that a strong chief conductor was needed to restore its standards and finances, but there was no immediately obvious candidate. Although Legge no longer had any stake in the orchestra he watched its progress benevolently, and having spotted the potential of Riccardo Muti he recommended him to the New Philharmonia's general manager, Terence McDonald.[60] Other potential candidates were considered, but Muti was appointed as the orchestra's chief conductor from 1973.[61]

Muti, although he disclaimed such a description, was a firm disciplinarian, and under his conductorship the orchestra restored its standards.[62] Richard Morrison later wrote in The Times that in his ten years in charge, Muti turned a struggling orchestra into "a great ensemble".[63] Critics at the time commented on the orchestra's "superb performance", "immense virtuosity", its "astoundingly delicate" string playing and "woodwind phrasing even more magical than their Berlin colleagues".[64] Muti was under contract to EMI, which brought the orchestra much valuable studio work.[65] With Muti the orchestra recorded opera (Aida, 1974; Un ballo in maschera, 1975; Nabucco, 1977; I puritani, 1979; Cavalleria rusticana, 1979; La traviata, 1980; Orfeo ed Euridice, 1981; and Don Pasquale, 1982); a wide range of the symphonic repertoire including Schumann and Tchaikovsky cycles; concertos with soloists including Sviatoslav Richter, Andrei Gavrilov, Anne-Sophie Mutter and Gidon Kremer; and choral music by Cherubini and Vivaldi.[66] After Legge's departure the orchestra was no longer exclusively tied to EMI, and made more than seventy recordings for Decca, starting in December 1964. Later Decca sessions were conducted by Boult, Britten, Giulini, Maazel, Claudio Abbado, Vladimir Ashkenazy, Charles Munch, Leopold Stokowski, and in 1967 Christoph von Dohnányi, who three decades later became the orchestra's chief conductor.[67][n 9]

During Muti's tenure, the orchestra recovered its original title, after prolonged and complex negotiations. From September 1977 the "New" was dropped, and the orchestra has been the Philharmonia since then.[68] Walter Legge died in 1979, and the orchestra dedicated a Tchaikovsky symphony cycle at the Festival Hall to his memory;[69] reviewing one of the concerts in The Guardian, Edward Greenfield commented that Muti had brought the orchestra's playing "within reach of that earlier peerless example".[70]

Late 20th century

[edit]
bespectacled, bushy-bearded man with dark hair, reading a music score
Giuseppe Sinopoli, chief conductor from 1984 to 1994
elderly man with full head of white hair in formal attire
Christoph von Dohnányi, chief conductor from 1997 to 2008

Leading members of the orchestra in the later years of Muti's tenure included Raymond Ovens (leader), Gordon Hunt (oboe), Adrian Leaper (horn), John Wallace (trumpet) and David Corkhill (percussion). Clement Relf, singled out for praise by Legge in his memoirs, remained the orchestral librarian as he had been since 1945.[71] In 1980 the orchestra received royal recognition when the Prince of Wales accepted an invitation to be the Philharmonia's honorary patron.[72]

Muti stepped down as chief conductor in 1982. Giuseppe Sinopoli succeeded him in 1984 and, like Muti, served for ten years. Although the orchestra's standards remained high during Sinopoli's tenure, the conductor had what David Nice has described in The Guardian as "a love-hate relationship" with the public and critics, because of his "slow speeds and mannered, sometimes lifeless phrasing".[73] The same writer continues that the Philharmonia players did not take to "Sinopoli's peculiarly Italian brand of intellectualism; London musicians never like too much talk, let alone an analytic seminar on the work in question".[73] By 1990 it was far from certain that Sinopoli's appointment would last until 1994 as scheduled, but he brought to the orchestra a lucrative recording contract with Deutsche Grammophon and tours to countries including Japan and Germany where the conductor was held in very much higher regard than in Britain. Although Sinopoli's Philharmonia performances of works such as Elgar's Second Symphony attracted much disparaging criticism, he was felt to be more successful in opera. Nice comments that the Philharmonia players "lent an unprecedented degree of tonal beauty" to their opera recordings with Sinopoli;[73] they included Manon Lescaut, 1983;[74] La forza del destino, 1985;[75] Madama Butterfly, 1987;[76] Cavalleria rusticana, 1990;[77] and Tosca, 1992.[78]

In 1995 the orchestra celebrated its 50th anniversary and launched its UK and international residency programme, with residencies at the Southbank Centre, London, and the Corn Exchange, Bedford. The orchestra developed further long-term partnerships, beginning with De Montfort Hall in Leicester (from 1997). Further partnerships followed in later decades.[79]

It was three years before the Philharmonia recruited a chief conductor to replace Sinopoli: Christoph von Dohnányi took up the position in 1997. The music critic Andrew Clements commented that the Philharmonia's players had "maintained their coherence remarkably well through the long interregnum", but that securing "a conductor of Dohnányi's pedigree" was a major achievement, and that the conductor's skill as an orchestral trainer, combined with his excellence in interpretation augured well for the orchestra's future.[80] Dohnányi's conducting was regarded as reliable and musically admirable, although sometimes rather cool.[81][82] His commitment to modern music influenced the orchestra's programming and won approval from the press.[81] With Dohnányi the Philharmonia played in Vienna, Salzburg, Amsterdam, Lucerne and Paris. For several seasons they were in residence at the Théâtre du Châtelet, where they took part in new productions of six operas: Arabella, Die Frau ohne Schatten, Die schweigsame Frau, Moses und Aron, Oedipus Rex and Hänsel und Gretel.[83]

In 1999 the orchestra took part in what was described as a "fly-on-the-wall" television documentary, giving the public glimpses of day-to-day orchestral life. It showed the efforts to which individual players went to secure sponsorship for the orchestra, and the heavy workload they sustained.[84] In 2000, under the direction of Gilbert Levine, the Philharmonia Orchestra and Chorus performed Haydn's The Creation in a series of concerts in Baltimore, London, and Rome, including televised concerts in Baltimore and at the Vatican, as part of the "Millennium Creation Series"[85][86][87]

21st century

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In a survey of British orchestras in 2006, Morrison described the current Philharmonia as "a serious, high-quality orchestra". He praised its "astute and canny" management, and commented that the orchestra had a large, loyal following in London, and had gained additional support elsewhere in Britain by extending its touring programme while the Festival Hall was closed for renovation between 2005 and 2007.[88] Since 2000 the orchestra has established further residencies: at The Anvil, Basingstoke (from 2001), the Marlowe Theatre, Canterbury and the Three Choirs Festival.[79] Dohnányi's final tour with the orchestra as chief conductor was of the US, where they gave concerts in Miami, Los Angeles, San Francisco and Costa Mesa, California.[83]

Esa-Pekka Salonen, principal conductor of the Philharmonia from 2008–2021

In 2008 Esa-Pekka Salonen became the Philharmonia's fifth principal conductor. He first conducted the orchestra in 1983, when he was 25, and from 1985 to 1994 he was its principal guest conductor. Vladimir Ashkenazy is the orchestra's conductor laureate; Dohnányi is its honorary conductor for life. From 2017 Jakub Hrůša and Santtu-Matias Rouvali have been the orchestra's principal guest conductors.[89] The orchestra's website reported in 2018 that Salonen and the orchestra had experimented in "groundbreaking ways to present music". The examples quoted were:

the first major virtual reality production from a UK symphony orchestra; [the] RE-RITE and Universe of Sound installations, which have allowed people all over the world to conduct, play, and step inside the orchestra through audio and video projections, and [the] app for iPad, The Orchestra, which allows the user unprecedented access to the internal workings of eight symphonic works.[90]

The Philharmonia performs more than 160 concerts a year, more than 35 of them at the Festival Hall. It has commissioned more than a hundred works.[91] It also records music for films, computer games and commercial CD releases. Under Salonen the orchestra has taken part in a series of projects at the Festival Hall: "City of Light: Paris 1900–1950" (2015), "City of Dreams: Vienna 1900–1935" (2009), "Bill Viola's Tristan und Isolde" (2010), "Infernal Dance: Inside the World of Béla Bartók" (2011), "Woven Words", a centenary celebration of Witold Lutosławski (2013) and "Myths and Rituals", a five-concert festival of music by Igor Stravinsky (2015–17).[79] In recent years the Philharmonia's extensive international touring schedule has included appearances in China, the Czech Republic, France, Germany, Iceland, Spain, Sweden and Switzerland.[79] Since 2017, the Philharmonia has been a resident orchestra at the Garsington Opera festival.[92]

Salonen concluded his principal conductorship after the 2020–2021 season,[93] and Helen Sprott stood down as its managing director.[94] Santtu-Matias Rouvali was appointed as the next principal conductor, effective with the 2021–2022 season, with an initial contract of 5 years. Salonen took the title of conductor emeritus and became an honorary member of the orchestra.[95]

In 2023 members of the orchestra were selected to play at the coronation of Charles III and Camilla.[96]

Recordings

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The orchestra's first recording, a sinfonia by J. C. Bach, made in July 1945, was never released. Wolf's Italian Serenade recorded at the same sessions, was the Philharmonia's first published record.[97] It was conducted by Walter Susskind, who made many recordings with the orchestra over the next fifteen years. In the same period, others who worked regularly with the orchestra were Alceo Galliera and Paul Kletzki.[98] For Viennese operettas, Lovro von Matačić and Otto Ackermann were Legge's favoured conductors.[99]

Many of the orchestra's highest-profile releases were operas. Within days of its inauguration the Philharmonia played in a complete recording of Purcell's Dido and Aeneas conducted by Constant Lambert.[100] Among the opera sets in which the orchestra played in the 1950s were the 1952 Tristan und Isolde mentioned above, and six sets conducted by Karajan: Hansel and Gretel (1953), Così fan tutte (1954), Ariadne auf Naxos (1954), Die Fledermaus (1955), Der Rosenkavalier (1956) and Falstaff (1956).[101] Later sets from the 1950s were The Barber of Seville (Galliera, 1957);[102] Capriccio (Sawallisch, 1957);[103] Lucia di Lammermoor (Serafin, 1959),[104] Le nozze di Figaro and Don Giovanni (both Giulini, 1959).[105]

Other recordings by the Philharmonia in the 1940s and 1950s include Leonard Bernstein as soloist and conductor in Ravel's Piano Concerto in G,[106] a series of Walton's major works, conducted by the composer,[107] Schumann's Piano Concerto with Dinu Lipatti as soloist and Karajan conducting (his first recording with the orchestra),[108] Mozart's Horn Concertos with Brain as soloist and Karajan conducting,[109] and cycles of Beethoven and Brahms symphonies conducted by Klemperer.[110]

In the 1960s and 1970s the orchestra made many recordings. Of those made for EMI, the company later reissued many in the series "Great Recordings of the Century". They include piano concertos by Beethoven with Emil Gilels and Daniel Barenboim as soloists, Chopin with Maurizio Pollini and Mozart with Annie Fischer; symphonies by Bruckner and Mahler conducted by Barbirolli and Klemperer; orchestral music by Debussy (conducted by Giulini) and Wagner (Klemperer); choral works including Bach's Mass in B minor, St Matthew Passion, Beethoven's Missa solemnis and Brahms's German Requiem under Klemperer, and Verdi's Requiem under Giulini; Mahler's orchestral songs sung by Christa Ludwig and Janet Baker; and in the operatic repertoire Così fan tutte conducted by Karl Böhm and Fidelio and Der fliegende Holländer conducted by Klemperer.[111]

In the 1980s, in addition to the recordings made with its chief conductors, mentioned above, the orchestra recorded extensively. Recordings from this decade include the symphonies of Elgar, Vaughan Williams and Walton, conducted by Bernard Haitink for EMI; a Sibelius symphony cycle conducted by Ashkenazy and the Mozart piano concertos with Ashkenazy directing from the keyboard, for Decca; Madama Butterfly with Maazel (CBS) and Fauré's Requiem with Giulini (DG).[112] In the last decade of the 20th century and the first decade of the 21st, the orchestra's recordings included more discs conducted by Ashkenazy, including symphonies by Beethoven and Tchaikovsky for Decca; Beethoven and Schumann symphonies with Christian Thielemann for DG, and a series of recordings of the major works of Stravinsky, and another of those of Schoenberg, conducted by Robert Craft, released on the Naxos label.[112]

External audio
audio icon Charles Dutoit conducts the Philharmonia Orchestra performing works by Tchaikovsky: Piano Concerto No. 1 in B flat minor, Op. 23, with Pascal Devoyon; Violin Concerto in D, Op. 35, with Pierre Amoyal in 1991 – via Internet Archive

Live recordings of some of the orchestra's early concerts have been issued on CD, including Strauss conducting the Sinfonia Domestica, Furtwängler and Flagstad in the first performance of the Four Last Songs, and Toscanini's Brahms cycle. A later live recording was the last concert conducted by Klemperer (September 1971: Beethoven Overture: King Stephen, and Fourth Piano Concerto with Daniel Adni; and Brahms's Third Symphony).[113]

In 2009 the orchestra began a collaboration with the record label Signum, with the release of a live recording of Schoenberg's Gurrelieder; later recordings by the Philharmonia on Signum have ranged from the symphonic repertoire (including symphonies by Beethoven, Berlioz, Brahms, Elgar, Mahler, Rachmaninoff, Schubert and Tchaikovsky) to opera and ballet (Bartók's Duke Bluebeard's Castle and The Miraculous Mandarin).[114]

Film scores

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The British Film Institute lists more than a hundred films with soundtrack scores played by the Philharmonia. They include The Life and Adventures of Nicholas Nickleby (1946); Hamlet, Oliver Twist and Scott of the Antarctic (1948); Kind Hearts and Coronets and Passport to Pimlico (1949); "The Elusive Pimpernel" (1950); The Cruel Sea (1953); Battle of the Bulge (1965); Lady Caroline Lamb (1972); King David (1985); The King and I (1999); Great Expectations (2012); and The Lady in the Van (2015).[115]

Voyager Golden Record

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In 1977, a recording of the first movement of Beethoven's 5th Symphony by the Philharmonia Orchestra conducted by Klemperer was selected by NASA to be included on the Voyager Golden Record, a gold-plated copper record that was sent into space on the Voyager space craft. The record contained sounds and images which had been selected as examples of the diversity of life and culture on Earth.[116][117][118]

Notes, references and sources

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The Philharmonia Orchestra is a British symphony orchestra based in London, founded in 1945 by EMI record producer Walter Legge as a flexible ensemble for recordings and concerts. It gave its debut performance on 27 October 1945 at Kingsway Hall under Sir Thomas Beecham, quickly establishing itself through high-profile recordings and tours. Since its inception, the orchestra has collaborated with legendary conductors, including Wilhelm Furtwängler, who led the world premiere of Richard Strauss's Four Last Songs in 1950; Otto Klemperer, appointed Conductor for Life in 1959; Herbert von Karajan, who recorded all nine Beethoven symphonies in the 1950s; and Riccardo Muti, principal conductor from 1972 to 1982. In 1964, following Legge's decision to disband the group, the musicians re-formed as the New Philharmonia Orchestra, reverting to the original name in 1977 and becoming a self-governing entity. The ensemble has pioneered orchestral innovation, launching the Music of Today series in 1980 to showcase contemporary works, recording film soundtracks like The Avengers: Age of Ultron in 2015, and introducing virtual reality experiences in classical music in 2014. Appointed resident orchestra at London's in 1995, the Philharmonia maintains residencies in cities such as and while undertaking global tours. Under its current principal conductor, Santtu-Matias Rouvali, appointed in 2021, the orchestra emphasizes digital engagement, community outreach, and 21st-century symphonic performance, marking its 80th anniversary in 2025 with initiatives like free tickets for first-time audiences and the Philharmonia Social program.

History

Founding and early development (1945–1949)

The Philharmonia Orchestra was founded in 1945 by Walter Legge, a prominent at (), as the Philharmonia Concert Society. Legge established the ensemble primarily to serve as a high-caliber recording orchestra in the post-World War II era, drawing on Britain's pool of skilled freelance musicians who were available due to the disbandment of wartime ensembles. Unlike traditional s with fixed memberships, the Philharmonia operated on a freelance basis without a permanent conductor or roster, allowing flexibility to assemble top players for specific projects and emphasizing a versatile "style, not a style" approach to performances. The orchestra's first public concert took place on October 27, 1945, at Kingsway Hall in , conducted by Sir Thomas Beecham, who led a program featuring works by , Berlioz, and Sibelius. This debut marked the ensemble's transition from studio work to live performances, with early concerts helping to build its reputation through collaborations with renowned conductors. In 1947, the orchestra achieved a significant milestone when , then 83 years old, conducted his final public concert with the Philharmonia on October 19, presenting three of his own compositions: , Burleske, and . These events highlighted the orchestra's rapid ascent and its appeal to international maestros seeking a precise and responsive ensemble. Initial recording sessions focused on EMI projects, including the orchestra's first film soundtrack in 1946 for the British war drama The Captive Heart, composed by Alan Rawsthorne and featuring . Such assignments provided essential rehearsal time and , while also establishing the Philharmonia's versatility in both classical and cinematic . However, the freelance model and reliance on recording contracts brought early financial challenges, as Legge balanced the need for popular concert programs to fill halls against the pursuit of ambitious artistic goals amid postwar economic constraints and rising competition from established ensembles.

Karajan era and rising prominence (1950–1958)

Under , who assumed de facto leadership of the Philharmonia Orchestra from 1948 to 1954 without an official title, the ensemble rapidly elevated its artistic standards through intensive recording sessions and select public performances, building on the recording-focused foundation established by founder Walter Legge. Karajan's rigorous approach emphasized precision and tonal beauty, fostering a close collaboration that positioned the orchestra as a versatile force in both studio and live settings. A pivotal moment came in May 1952, when Karajan led the orchestra on its first European tour, performing in major cities including , , , , , and , which showcased the ensemble's growing international reputation and cohesive sound. This tour highlighted the musicians' adaptability under Karajan's direction, blending repertoire from classical staples to contemporary works. Three years later, in 1955, Karajan conducted the Philharmonia's inaugural U.S. tour, comprising 24 concerts over four weeks across various venues, where the orchestra's polished execution earned widespread acclaim and even prompted an invitation from the for future collaborations. The era produced several landmark recordings that cemented the orchestra's prominence in the recording industry. In 1952, the Philharmonia completed the first full recording of Wagner's Tristan und Isolde under Wilhelm Furtwängler, a monumental project spanning multiple sessions and capturing the opera's dramatic intensity with exceptional clarity. Between 1951 and 1955, Karajan directed the orchestra in the first complete cycle of Beethoven's nine symphonies for EMI, with the final symphony recorded in 1955, noted for its dynamic range and interpretive depth, which set a benchmark for subsequent interpretations and sold widely upon release. Guest conductors further enhanced the orchestra's prestige during this period. In 1952, made his only appearances with the Philharmonia, leading two concerts at the Royal Festival Hall on September 29 and October 1, where he performed all four Brahms symphonies along with the Tragic Overture and Haydn Variations, drawing rapturous ovations from audiences of over 3,500 and underscoring the ensemble's ability to meet the demands of legendary figures. Other luminaries, such as Furtwängler, continued to contribute through recordings and occasional concerts, enriching the orchestra's repertoire. Parallel to these achievements, the Philharmonia transitioned from a primarily recording entity to a prominent concert-giving , particularly following the 1951 opening of the Royal Festival Hall, where its members participated in the inaugural concert and subsequently performed regularly in the . These appearances, often tied to recording projects, allowed extended rehearsals that refined the 's execution, attracting larger audiences and establishing it as a fixture in London's scene.

Klemperer, Toscanini, and the New Philharmonia transition (1959–1977)

In 1959, following the tragic death of Guido Cantelli in a plane crash, Walter Legge appointed as the Philharmonia Orchestra's principal conductor for life, recognizing his profound interpretive depth and unwavering loyalty to the ensemble. Klemperer's approach, often described as that of an "architect of music," emphasized structural clarity, monumental scale, and deliberate tempos, bringing a granite-like strength to performances that highlighted the orchestra's precision and emotional weight. During his tenure until his death in 1973, Klemperer led acclaimed recordings for , including Mahler's Symphony No. 2 ("") in 1963, which captured his signature affinity for the composer's symphonic scope, as well as Symphonies Nos. 4, 7, and 9, and , all showcasing the Philharmonia's responsive . The orchestra faced a severe in March 1964 when Legge, frustrated by increasing competition in the recording industry and bureaucratic pressures from , announced the Philharmonia's suspension for an indefinite period, effectively attempting to disband it. In response, 65 core musicians, led by clarinettist Bernard Walton, resolved to continue independently, forming the self-governing New Philharmonia Orchestra on March 17, 1964, and securing its first performance under that name on October 27 at the Royal Festival Hall with Klemperer conducting Beethoven's Ninth Symphony. This reformation preserved the ensemble's artistic core while shifting to a cooperative model, free from Legge's direct control. From 1964 to 1977, the New Philharmonia navigated financial instability and operational challenges but achieved artistic stabilization through support from esteemed conductors including Klemperer, , , and , who led concerts and recordings that sustained its prominence in London's concert halls and EMI studios. The period saw continued critical acclaim for live performances and discs, such as Klemperer's Mahler Symphony No. 9 in 1967, reinforcing the orchestra's reputation for interpretive rigor amid self-management. By 1977, having solidified its position, the ensemble voted to drop "New" from its name, reverting to the original Philharmonia Orchestra to honor its founding legacy and signal renewed continuity.

Muti and Sinopoli periods (1978–1994)

Following Riccardo Muti's appointment as in 1979—after serving as Principal Conductor since 1972—the Philharmonia Orchestra deepened its engagement with Italian repertoire, particularly Giuseppe Verdi's works, which aligned with Muti's interpretive strengths. His tenure through 1982 emphasized precision and dramatic intensity in performances and recordings, including the acclaimed 1979 studio recording of Verdi's Messa da Requiem with the Philharmonia and the Ambrosian Opera Chorus, featuring soloists , , Veriano Luchetti, and Yevgeny Nesterenko on . This recording highlighted the orchestra's virtuosic and choral integration, capturing the work's operatic fervor. In 1980, His Royal Highness The Prince of Wales (later King Charles III) accepted the role of the orchestra's Patron, marking a significant institutional milestone that enhanced its prestige and stability during a period of artistic expansion. Under Muti's direction, the Philharmonia launched the Music of Today series in 1980, introducing contemporary compositions to its programming and broadening its appeal beyond traditional symphonic fare. This initiative, coupled with increased broadcasts of concerts—such as live relays from the Royal Festival Hall—contributed to greater public accessibility and the orchestra's growing reputation as a versatile ensemble. Muti's departure in 1982 led to a transitional period before Giuseppe Sinopoli's appointment as Principal Conductor in 1984, a role he held until 1994 and which was elevated to in 1987. Sinopoli, an Italian conductor with a background in composition and , shifted the orchestra's focus toward operatic interpretations and , often exploring late-Romantic and 20th-century scores with intellectual depth and rhythmic vitality. His tenure saw the Philharmonia perform at major venues like the , including Mahler's No. 6 in 1980s seasons, and expanded international residencies, culminating in a formal residency at Paris's in 1993. Key recordings included a complete Mahler cycle with the Philharmonia on DG, noted for its expansive sound and psychological insight into the composer's turbulent vision.

Dohnányi and Salonen eras (1995–2020)

Following Giuseppe Sinopoli's tenure, which emphasized operatic repertoire, the Philharmonia Orchestra entered a period of renewed focus on orchestral innovation under and . assumed the role of Principal Conductor in 1997, after serving as Principal Guest Conductor since 1994, and held the position until 2008, when he became Honorary Conductor for Life. Under his leadership, the orchestra deepened its commitment to , highlighted by collaborations on new stage productions at Paris's , including Schoenberg's and Richard Strauss's and . Dohnányi's programming balanced this modern emphasis with core symphonic works, such as recordings of film soundtracks including John Williams's score for and the in 2001. His era also featured extensive international touring to strengthen the orchestra's global profile, including visits to , , , , , and two major tours to , as well as a 2000 promotional tour for Disney's soundtrack in , , and New York. In 2008, succeeded Dohnányi as Principal Conductor and Artistic Advisor, a role he maintained through the 2019/20 season, shaping 13 years of artistically integrated programming. advanced the orchestra's exploration of contemporary music through thematic series such as Stravinsky: Myths and Rituals, , , and Weimar Berlin: Bittersweet Metropolis, which wove historical contexts with works by 20th- and 21st-century composers, including collaborations featuring pieces by . He extended the orchestra's tradition of new music support via the ongoing Music of Today series, commissioning and premiering innovative works to expand the repertoire. Key events included the solidification of the orchestra's residency at Southbank Centre's , established in 1996 and hosting around 40 concerts annually, alongside international tours to , , , Korea, , the , and . Salonen pioneered digital initiatives to broaden audience reach, launching projects like the 2009 RE-RITE immersive experience of Stravinsky's , which drew 95,000 visitors during a Tianjin, China, presentation, and the 2012 interactive exhibit at London's . Further innovations included The Virtual Orchestra series, the Re:Rite iPad app, and a virtual reality rendition of Mahler's , alongside streamed performances that engaged over 500,000 global viewers by 2020. These efforts addressed 21st-century challenges such as fluctuating funding and evolving audience expectations by prioritizing innovative programming and technology to attract younger and diverse listeners, ensuring the orchestra's adaptability amid economic pressures on arts organizations.

Recent developments (2021–present)

In September 2021, Santtu-Matias Rouvali assumed the role of Principal Conductor of the Philharmonia Orchestra, becoming the sixth individual to hold the position in the ensemble's history. His tenure has emphasized Nordic repertoire, exemplified by the 2024 "Nordic Soundscapes" series featuring works by composers such as Sibelius, Grieg, Nielsen, and contemporary figures like María Sigfúsdóttir and Miho Hazama. Under Rouvali, the orchestra has also expanded live-streaming efforts, including online broadcasts of concerts from the Royal Festival Hall, such as his inaugural 2021 program titled "." Following the , the Philharmonia accelerated its digital initiatives to sustain audience engagement, producing increased online recordings and hybrid performance formats that blend live events with virtual access. This included collaborations like the 2024 partnership with Bloomberg Connects to develop audience guides via mobile apps, enhancing immersive experiences for remote listeners. In May 2024, His Majesty King Charles III retained his long-standing patronage of the orchestra, a role he has held since 1980, underscoring continued royal support for its activities. The has maintained an active schedule of international tours during this period, including a landmark debut in in February 2024 and appearances in in January 2025. The orchestra marked its 80th anniversary in 2025 with a comprehensive season at the Royal Festival Hall, featuring symphonic works by , Bruckner, Mahler, and others, alongside special events such as a birthday concert in November. To broaden accessibility, the Philharmonia offered 80 free tickets per concert in the 2025/26 season to first-time bookers, aiming to attract new audiences. This milestone included a major 10-date U.S. tour across the East and West Coasts, culminating in performances at to commemorate the orchestra's 70th anniversary of its New York debut. The November 2025 birthday concert highlighted the orchestra's legacy with performances of key works from its history, drawing significant attendance and positive reviews as of November 2025.

Principal conductors and leadership

List of principal conductors

The Philharmonia Orchestra has had a distinguished succession of principal conductors, each contributing uniquely to its artistic identity and repertoire. served in a principal role from 1948 to 1954, shaping the ensemble's early sound through extensive recordings and performances that established its international reputation for precision and tonal beauty. Otto Klemperer was appointed Conductor for Life in 1959 and led the orchestra until 1973, emphasizing monumental interpretations of late Romantic works, particularly Gustav Mahler's symphonies, which he recorded extensively with the ensemble, influencing its approach to structural depth and emotional intensity. Riccardo Muti held the position of Principal Conductor from 1972 to 1982, fostering a refined, vibrant orchestral style through collaborations on Italian operatic and symphonic works, while revitalizing the orchestra's studio recording legacy with . Giuseppe Sinopoli served as Principal Conductor from 1983 to 1994, bringing a scholarly intensity to explorations of and Italian composers, enhancing the orchestra's versatility in both concert and operatic settings. was Principal Conductor from 1997 to 2008, promoting a balanced programming that bridged Classical and modern works, including premieres and recordings that underscored the orchestra's technical excellence and interpretive clarity; he later became Honorary Conductor for Life. Esa-Pekka Salonen acted as Principal Conductor from 2008 to 2021, advocating for through commissions and performances of works by composers like and , while integrating and digital elements to broaden the orchestra's audience engagement. Santtu-Matias Rouvali has been Principal Conductor since 2021, focusing on innovative programs that blend Nordic repertoire with core symphonic traditions, emphasizing rhythmic vitality and collaborative spirit in live performances and recordings. In addition to principal conductors, was appointed Principal Guest Conductor in 2023, contributing through focused projects on American music and diversity initiatives that enrich the orchestra's educational and outreach efforts.

Notable guest conductors and artistic advisors

The Philharmonia Orchestra has benefited from collaborations with numerous distinguished guest conductors since its founding, many of whom left a lasting imprint on its artistic direction and repertoire. Sir Thomas Beecham conducted the orchestra's inaugural on October 27, 1945, at London's Kingsway Hall, performing works by Haydn, Berlioz, and Delius, which set a tone of and for the ensemble's early years. In 1947, made a significant appearance with the Philharmonia at the Royal Albert Hall, conducting his own Sinfonia Domestica in what proved to be his final public concert, an event that highlighted the orchestra's ability to support late-Romantic repertoire under the composer's direct guidance. This visit not only elevated the orchestra's international profile but also expanded its engagement with Strauss's oeuvre, influencing subsequent programming. Wilhelm Furtwängler guest-conducted the Philharmonia in 1950 at the Royal Albert Hall, leading the world premiere of Strauss's Four Last Songs with soprano Kirsten Flagstad, a performance that showcased the orchestra's precision in interpreting post-war German Romanticism. Arturo Toscanini followed in 1952 with two high-profile concerts at the Royal Festival Hall, conducting Brahms symphonies to widespread acclaim, including a standing ovation from 3,500 attendees, which underscored the orchestra's growing reputation for interpretive depth under legendary figures. Vladimir Ashkenazy served as Principal Guest Conductor from 1981, conducting extensively with the orchestra, including a marathon of 20 concerts in one month that year, fostering a focus on Russian and Romantic works while building long-term artistic rapport. Other frequent guests, such as and Kurt Sanderling, contributed to the orchestra's versatility in the mid-20th century by introducing diverse stylistic approaches to its core repertoire. In more recent years, artistic advisors have played advisory roles in shaping the orchestra's vision; for instance, , after concluding his tenure as Principal Conductor in 2021, has continued to influence programming through emeritus engagements and collaborative projects.

Recordings

Studio and commercial recordings

The Philharmonia Orchestra has produced over 800 recordings since its inception in , making it one of the most extensively documented ensembles in history. Founded specifically as a recording orchestra by EMI producer Walter Legge, it became closely associated with the /Columbia label, yielding a vast catalog of studio sessions that captured performances with leading conductors of the era. These recordings span symphonic repertoire, concertos, and operas, emphasizing precision and tonal richness in the Kingsway Hall acoustics. Among the orchestra's landmark releases are Herbert von Karajan's complete cycle of Beethoven's nine symphonies, recorded between 1953 and 1956, which showcased the ensemble's agility and Karajan's emerging interpretive style. Similarly, under , the Philharmonia (and later New Philharmonia) delivered acclaimed interpretations of Gustav Mahler's symphonies, including Nos. 2 (""), 4, 7, and 9, as well as , noted for their monumental scale and emotional restraint during sessions from 1961 to 1967. An excerpt from the first movement of Beethoven's Symphony No. 5, conducted by Klemperer in 1955, holds particular distinction as part of NASA's , launched in 1977 to represent Earth's cultural heritage in space. In recent years, the orchestra established its in-house Philharmonia Records label in 2023 to highlight live performances and contemporary interpretations. The label's releases include Santtu-Matias Rouvali's dynamic accounts of works by Stravinsky and Mahler, with a notable 2024 album featuring Shostakovich's Symphony No. 10, recorded live at the Royal Festival Hall in April of that year. These efforts continue the Philharmonia's tradition of blending historical depth with modern production values.

Film scores and media contributions

The Philharmonia Orchestra began its involvement in film scoring shortly after its founding, recording its first soundtrack for the 1946 British war drama , directed by and starring , which marked the start of the ensemble's extensive contributions to cinematic music. This early work established the orchestra's reputation for delivering emotive and precise performances in the studio, often collaborating with prominent British composers of the era. In the post-war period, the Philharmonia forged notable partnerships with composers such as , recording suites from his Shakespearean film scores, including Henry V (1944), (1948), and Richard III (1955), under Walton's own direction. These recordings captured the dramatic intensity of Walton's orchestral writing, blending symphonic grandeur with narrative drive, and were later reissued as standalone albums that highlighted the orchestra's versatility in adapting concert hall precision to filmic contexts. The orchestra's film work continued into the late 20th and early 21st centuries, encompassing high-profile projects such as the soundtrack for Disney's in 1999, which featured newly composed segments alongside classic animations and led to international promotional tours. More recently, in 2015, the Philharmonia performed on the score for Marvel's Avengers: Age of Ultron, directed by , contributing to its epic, action-driven composed by and . These collaborations underscore the orchestra's adaptability to contemporary Hollywood productions, where live orchestral elements enhance digital effects and global storytelling. Expanding into emerging media, the Philharmonia recorded its first soundtrack in 2001 for ' Harry Potter and the Philosopher's Stone, composed by , initiating a prolific output in the gaming industry. Over the subsequent decades, the ensemble has become a leading orchestra for scores, performing on titles such as Ori and the Will of the Wisps (2020, ), Dead Space 3 (2013, James Hannigan and ), and (2017, ), often working closely with composers to blend immersive atmospheres with orchestral depth. This shift reflects the orchestra's role in bridging classical traditions with , where must support dynamic player experiences. Beyond films and games, the Philharmonia has made significant media contributions through live broadcasts, particularly at the , where it has appeared regularly since the 1950s, with performances often televised and reaching millions via platforms. These transmissions, including recent concerts like the 2024 Proms featuring Principal Conductor Santtu-Matias Rouvali, extend the orchestra's reach into television and digital streaming, fostering broader public engagement with symphonic music.

Significant archival inclusions

One of the most notable archival inclusions of the Philharmonia Orchestra's recordings is its contribution to the , launched by in 1977 aboard the and 2 spacecraft to represent Earth's cultural achievements to potential extraterrestrial audiences. The first movement of Ludwig van Beethoven's Symphony No. 5 in C minor, Op. 67 ("Allegro con brio"), performed by the Philharmonia under conductor , was selected for the record's music selection, spanning 27 tracks of global sounds and encompassing classical, folk, and ethnic music from around the world. This mono recording, originally made in 1955, symbolizes the orchestra's early legacy in high-fidelity documentation of Western classical repertoire and remains in interstellar space as part of humanity's enduring message. The Philharmonia Orchestra's recordings have also achieved recognition in major international heritage programs, highlighting their role in preserving historical and cultural narratives. For instance, the orchestra performed the original orchestral score by Laura Rossi for the 1916 silent The Battle of the Somme, which was inscribed on UNESCO's Memory of the World Register in for its unparalleled historical value as a firsthand record of events. This 2008 recording, captured in high definition, accompanies screenings of the restored film and underscores the orchestra's involvement in revitalizing archival media through contemporary musical interpretation. Landmark opera recordings, such as Wilhelm Furtwängler's 1952 mono rendition of Richard Wagner's with the Philharmonia, soloists including and Ludwig Suthaus, and House Chorus, have been preserved in digital archives for their artistic and historical significance. Widely regarded as one of the definitive interpretations of the opera, this production is maintained in collections like the , ensuring accessibility for scholarly and public study of mid-20th-century performance practices. Efforts to digitize and remaster the orchestra's early mono recordings have further solidified their archival status, making these artifacts available in modern formats. The 2020 Warner Classics box set Philharmonia – Birth of a Legend, coordinated by producer Jon Tolansky, features 53 remastered tracks from 1945 to 1964 under conductors including Furtwängler, Herbert von Karajan, and Klemperer, drawn from original analog tapes to preserve sonic detail and historical context. These initiatives, building on the orchestra's foundational role as a recording ensemble under Walter Legge, facilitate ongoing preservation and global dissemination of its pioneering contributions to classical discography.

Organization and activities

Venue and operations

The Philharmonia Orchestra has maintained a long association with London's , performing at the Royal Festival Hall since its opening in 1951, when members participated in the inaugural concert conducted by , followed by further appearances under . The orchestra was formally appointed as a resident ensemble at the venue in 1993, sharing the residency with the London Philharmonic Orchestra following recommendations in Lord Hoffmann's report on orchestral funding, and it presents approximately 40 concerts there annually as its primary London home. In its early years, the orchestra's inaugural concert took place on 27 October 1945 at Kingsway Hall, which served as a key venue for both live performances and recordings throughout the late and , including pioneering sessions that contributed to its reputation for sonic excellence. The orchestra operates as a self-governing entity owned by its musicians, a structure established in 1964 when, facing potential disbandment after the withdrawal of EMI's support, 65 core players reformed the ensemble as the New Philharmonia Orchestra under the leadership of principal clarinettist Bernard Walton, reverting to its original name in 1976. It maintains a core roster of around 80 full-time professional musicians, recruited through competitive auditions for permanent positions such as principal and roles, supplemented by freelance extras and deputies for larger-scale works or specialized projects. is overseen by a board of trustees, currently chaired by Lord King of Lothbury since a 2020 restructuring that unified administrative and artistic leadership, with nine player representatives ensuring musician input; the board includes President James Buckle, joint vice-presidents Soong Choo and Rolton, alongside other trustees like Johanne Hudson-Lett. Day-to-day operations are led by Thorben Dittes, appointed in 2022, who manages a senior team handling artistic planning, finance, and touring. As a registered charity (number 250277), the Philharmonia derives funding from diverse sources to support its activities, including ticket sales from concerts at the Royal Festival Hall and residencies in , , , and , which form a significant portion of earned income. Public grants, such as those from , provide core support for operations and artistic programs, while philanthropic donations—including endowments for individual chairs, legacies through the Klemperer Society, and corporate sponsorships—account for substantial revenue, enabling initiatives like recordings and international tours. Commercial recordings and media rights further bolster finances, with the orchestra's extensive contributing to long-term sustainability alongside individual and institutional giving.

Education, outreach, and digital initiatives

The Philharmonia Orchestra's education programs center on engaging young audiences through interactive experiences, with the flagship Orchestra Unwrapped series providing students across the UK with live concerts featuring themed repertoire performed by the ensemble. These sessions, held in venues such as , , , and , incorporate audience participation, in-school workshops, and partnerships with local music hubs to enable young instrumentalists to perform alongside the orchestra. Accompanying resources include classroom exercises, teacher training, and art projects tied to the music, fostering deeper understanding of orchestral instruments and history. Outreach efforts emphasize accessibility and community involvement, including collaborations with hubs, local authorities, and diverse community groups to deliver tailored programs in residency areas like . For its 80th anniversary in 2025, the orchestra expanded initiatives by offering 80 free tickets to first-time bookers for every concert in its London season at the Hall, alongside 80 live and pop-ups across the to bring music to new audiences. These efforts also recruited 80 volunteers to support inclusive experiences and broadened the Orchestra Unwrapped program to 80 schools nationwide. Digital initiatives, pioneered since the early 2010s, enhance global reach through multimedia tools and immersive technologies. The Philharmonia Play app and related Orchestra app provide interactive guides to instruments, featuring demonstrations by players and multimedia content for educational exploration. Virtual reality projects, launched in 2014, include five 360-degree experiences showcasing works by composers such as Beethoven, Mahler, Tchaikovsky, and Sibelius, with over 350,000 visitors to related installations. Live-streaming and online media, including a YouTube channel with more than 120,000 subscribers, support broader access to performances and educational content. Recent expansions include recordings for video games, positioning the Philharmonia as the leading orchestra for such projects over the past decade, with contributions to soundtracks like Ori and the Will of the Wisps (2020) and the series. Inclusive access programs offer concessions, free adult tickets with student groups, and under-18 pricing at residency venues to remove barriers for diverse participants.

References

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  49. https://www.laurarossi.com/somme-cd/
  50. http://www.musicweb-international.com/classrev/2008/Dec08/Rossi_Battle_VRCD001.htm
  51. https://archive.org/details/lp_tristan-and-isolde-complete_richard-wagner-wilhelm-furtwngler-philharm
  52. https://philharmonia.co.uk/products/philharmonia-birth-of-the-legend/
  53. https://philharmonia.co.uk/vacancies/
  54. https://philharmonia.co.uk/who-we-are/contact-management/
  55. https://philharmonia.co.uk/new-chief-executive-officer-announced/
  56. https://philharmonia.co.uk/join-support/philanthropy/
  57. https://philharmonia.co.uk/what-we-do/learning-and-engagement/schools-concerts/
  58. https://philharmonia.co.uk/what-we-do/learning-and-engagement/
  59. https://philharmonia.co.uk/80-free-tickets/
  60. https://philharmonia.co.uk/what-we-do/digital-immersive/philharmonia-online/
  61. https://philharmonia.co.uk/the-orchestra-for-iphone/
  62. https://philharmonia.co.uk/what-we-do/digital-immersive/immersive/
  63. https://philharmonia.co.uk/
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