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Royal Philharmonic Orchestra

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Royal Philharmonic Orchestra (RPO)
Orchestra
Cadogan Hall, Sloane Terrace, SW1 - interior - geograph.org.uk - 1805137.jpg
The RPO at Cadogan Hall, its home since 2004
Founded 1946
Location London, UK
Concert hall Cadogan Hall
Website www.rpo.co.uk

The Royal Philharmonic Orchestra (RPO) is one of London's five symphony orchestras. It is resident at Cadogan Hall.

Sir Thomas Beecham formed the RPO in 1946. In its early days, the orchestra secured profitable recording contracts and important engagements including the Glyndebourne Festival Opera and the concerts of the Royal Philharmonic Society. After Beecham's death in 1961 the orchestra's fortunes declined steeply; it battled for survival until the mid-1960s, when its future was secured after an Arts Council report recommended that it should receive public subsidy; a further crisis arose in the same era when it seemed that the orchestra's right to call itself "Royal" could be withdrawn.

Since Beecham's death the RPO has had seven chief conductors, including Rudolf Kempe, Antal Doráti, André Previn and Vladimir Ashkenazy, and most recently Charles Dutoit. Other conductors closely associated with the orchestra have included Sir Charles Groves, Sir Charles Mackerras, Peter Maxwell Davies, Yehudi Menuhin and Leopold Stokowski.

In 2004, the orchestra acquired its first permanent London base, at the new Cadogan Hall in Chelsea. The RPO also gives concerts at the Royal Festival Hall, the Royal Albert Hall and venues around the UK and other countries. From its earliest days the orchestra has been active in the recording studios, making film soundtracks and numerous gramophone recordings; many of the LP recordings conducted by Beecham and others have been reissued on compact disc.

History[edit]

Origins[edit]

Arms of the Royal Philharmonic Orchestra

In 1932 the conductor Sir Thomas Beecham had founded the London Philharmonic Orchestra (LPO), which, with the backing of rich supporters, he ran until 1940, when finances dried up in wartime. Beecham left to conduct in Australia and then the US; the orchestra continued without him after reorganising itself as a self-governing body. On Beecham's return to England in September 1944 the LPO welcomed him back, and in October they gave a concert together that drew superlatives from the critics.[1] Over the next months Beecham and the orchestra gave further concerts with considerable success, but the LPO players, now their own employers, declined to give him the unfettered control he had exercised in the 1930s. If he were to become chief conductor again it would be as a paid employee of the orchestra.[2] Beecham responded, "I emphatically refuse to be wagged by any orchestra ... I am going to found one more great orchestra to round off my career."[3] In 1945 he conducted the first concert of Walter Legge's new Philharmonia Orchestra, but was not disposed to accept a salaried position from Legge, his former assistant, any more than from his former players in the LPO.[3][n 1] His new orchestra to rival the Philharmonia would, he told Legge, be launched in "the most auspicious circumstances and éclat".[5]

In 1946 Beecham reached an agreement with the Royal Philharmonic Society: his new orchestra would replace the LPO at all the Society's concerts.[3] He thus gained the right to name the new ensemble the "Royal Philharmonic Orchestra", an arrangement approved by George VI.[6][n 2] Beecham arranged with the Glyndebourne Festival that the RPO should be the resident orchestra at Glyndebourne seasons. He secured backing, including that of record companies in the US as well as Britain, with whom lucrative recording contracts were negotiated.[3] The music critic Lyndon Jenkins writes:

Naturally, it quickly became known that he was planning another orchestra, at which the cry "He'll never get the players!" went up just as it had done in 1932. Beecham was unmoved: "I always get the players," he retorted. "Among other considerations, they are so good they refuse to play under anybody but me".[9]

Beecham's orchestra[edit]

Beecham appointed Victor Olof as his orchestral manager, and they started recruiting. At the top of their list were leading musicians with whom Beecham had worked before the war. Four had been founder members of the LPO fifteen years previously: Reginald Kell (clarinet), Gerald Jackson (flute), James Bradshaw (timpani) and Jack Silvester (double-bass). From the current LPO they engaged the oboist Peter Newbury. Beecham persuaded the veteran bassoonist Archie Camden, who had been pursuing a solo career, to return to orchestral work. The cellos were led by Raymond Clark, enlisted from the BBC Symphony Orchestra. The principal horn player was Dennis Brain, who already held the same post in Legge's Philharmonia, but managed to play for both orchestras.[10] Jenkins speculates that as Beecham knew all Britain's orchestral leaders at first hand he decided not to try to lure any of them away. His choice was John Pennington, who had been first violin of the London String Quartet from 1927 to 1934, and had then had a career in the US as concertmaster, successively, of the San Francisco Symphony, Los Angeles Philharmonic and Paramount Pictures orchestras.[10][11]

Beecham rehearsing in 1948

On 11 September 1946 the Royal Philharmonic assembled for its first rehearsal.[10] Four days later it gave its first concert, at the Davis Theatre, Croydon.[12] Beecham telegraphed a colleague, "Press virtually unanimous in praise of orchestra. First Croydon concert huge success".[13] Beecham and the orchestra played a series of out-of-town engagements before venturing a first London concert on 26 October. The Times then spoke of "a hall filled with golden tone which enveloped the listener".[14] Before its London debut the orchestra made its first recording, and within two years had made more than 100.[15]

Within a few months Pennington was forced to resign when the British Musicians' Union discovered that he was not one of its members.[16][n 3] He was succeeded by his deputy Oscar Lampe, "a man who eschewed most social graces but played the violin divinely", according to Jenkins.[18] In the early days the orchestra comprised 72 players all on yearly contract to Beecham, giving him first call on their services, subject to reasonable notice, but not otherwise restricting their freedom to play for other ensembles.[15] A review of the London orchestral scene of the late 1940s said of the RPO and its main rival: "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."[19]

Brain continued to play first horn for both orchestras; otherwise, from the early 1950s, there was generally more stability of orchestral personnel. In particular the RPO became celebrated for its regular team of woodwind principals, in which Jackson was joined by Jack Brymer (clarinet), Gwydion Brooke (bassoon) and Terence MacDonagh (oboe).[20] The Independent described them as "arguably the finest ever wind section ... [they] became known as 'The Royal Family'."[21][n 4]

The RPO toured the United States in 1950, the first British orchestra to visit America since the London Symphony Orchestra (LSO) in 1912. This was a long-cherished plan of Beecham's, who had been unable to take the LPO to the US in the 1930s. He arranged 52 concerts in 45 cities in 64 days. The tour was described by Brain's biographers Gamble and Lynch as a huge success.[23] It began on 13 October in Hartford, Connecticut, and finished on 15 December in Bethlehem, Pennsylvania. The concerto soloists were the pianist Betty Humby Beecham (the conductor's second wife) and orchestral principals: David McCallum (violin), Anthony Pini (cello), and the four members of the "Royal Family".[23] In The New York Times, Olin Downes wrote of "magnificent music-making by Sir Thomas Beecham and the Royal Philharmonic".[24] The following year, assessing all the London orchestras, Frank Howes, music critic of The Times, concluded that the RPO "comes nearest in quality and in consistency of style to the great international orchestras".[25]

The orchestra's first appearance at the Proms took place in August 1952, conducted by Basil Cameron.[26] Beecham made his Proms debut two years later, conducting the RPO in a programme of music by Berlioz, Schubert and Sibelius; The Times commented on "an evening of magnificent playing".[27] In 1957 Beecham and the RPO made a European tour, beginning at the Salle Pleyel in Paris and ending at the Musikverein in Vienna.[28]

Beecham conducted the RPO in his last concert, given at Portsmouth Guildhall on 7 May 1960. The programme, all characteristic choices, comprised the Magic Flute Overture, Haydn's Military Symphony, Beecham's own Handel arrangement Love in Bath, Schubert's Fifth Symphony, On the River by Delius, and the Bacchanale from Saint-Saëns's Samson and Delilah, with Delius's Sleigh Ride as an encore.[29] Beecham suffered a heart attack the following month, from which he did not recover; he died in March 1961.[30]

1961–2000[edit]

Gentlemen, there are four other orchestras in London; you can always go and work for them.

Lady Beecham to RPO members, 1963[31]

Rudolf Kempe, who had been appointed associate conductor in 1960, became principal conductor in 1961 and music director in 1962.[32] Beecham's widow[n 5] ran the affairs of the orchestra as best she could, but some senior players including Brymer and MacDonagh were unhappy with the management, and they left.[31] The orchestra reorganised itself in 1963 as a self-governing limited company, but almost immediately encountered difficulties.[34] The Royal Philharmonic Society decided not to engage the RPO for its concerts; Glyndebourne booked the LPO instead of the RPO from 1964 onwards. The RPO was also excluded from the London Orchestral Concert Board's schedule of concerts, which meant that it was denied the use of London's main concert venue, the Royal Festival Hall. Kempe resigned, although he returned shortly afterwards. Helped by strong support from Sir Malcolm Sargent, the orchestra successfully mounted its own concerts at a cinema in Swiss Cottage, 3.5 miles (5.6 km) to the north-west of the Festival Hall.[35] A 1965 report to the Arts Council by a committee chaired by Alan Peacock recommended that all four independent London orchestras should receive adequate public subsidy.[36]

The severance of the tie with the Royal Philharmonic Society in 1963 turned out to be temporary,[n 6] but for three years it threatened to deprive the RPO of the "Royal" in its title. The matter was resolved in 1966, when on the advice of Roy Jenkins, who as Home Secretary had responsibility for such matters, the Queen conferred the title unconditionally on the orchestra.[38]

Clifford Curzon, soloist at the RPO's Silver Jubilee concert

The RPO celebrated its silver jubilee in 1971. On 15 September the orchestra returned to Croydon, where it had made its debut 25 years earlier. The theatre in which it had first played had been demolished, and the anniversary concert was therefore given at the Fairfield Halls. The programme consisted of the overture to The Marriage of Figaro, Beethoven's Emperor Concerto, and Holst's The Planets. Sir Adrian Boult conducted, and Clifford Curzon was the soloist.[39] Five members of the original orchestra were still in the RPO for the jubilee concert: Leonard Brain (brother of Dennis), principal cor anglais; Lewis Pocock, co-principal timpani; Ernest Ineson, double bass; John Myers, viola; and Albert Pievsky, violin.[36]

The RPO gave Kempe the title of "Conductor for Life" in 1970. He stepped down from the orchestra in 1975. Antal Doráti succeeded Kempe as chief conductor, from 1975 to 1978; as in his earlier tenures with the LSO and BBC Symphony Orchestra, he was not greatly liked by his players, but raised their standard of playing and imposed discipline.[40]

In 1984, a review carried out on behalf of the Arts Council by the journalist William Rees-Mogg opined that England lacked "a great eastern symphony orchestra", and suggested that the RPO should move to Nottingham. Another contemporaneous Arts Council report recommended that the RPO should supplement the LSO as resident orchestra at the Barbican Centre; neither proposal came to fruition.[41] During the 1980s, the British government imposed strict constraints on public spending; to make up for lost revenue, the RPO, along with the other self-governing London orchestras, was forced into increased reliance on business sponsorship as a primary source of funds. The Grove Dictionary of Music and Musicians, recording this, comments, "Such sponsorship is, however, subject to changing circumstances and thus less secure in the long term."[42]

Since 1993, the RPO has had a community and education programme, later given the title of "RPO Resound". It aims to increase "access to and engagement with world-class music-making."[43] It has worked in venues including homeless shelters, hospices, youth clubs and prisons.[43]

21st century[edit]

Cadogan Hall, the RPO's home since 2004

The orchestra gives an annual series of concerts at the Festival Hall, and since 2004 has had a permanent home at Cadogan Hall.[44] At the Royal Albert Hall in London, the RPO gives performances ranging from large-scale choral and orchestral works to evenings of popular classics, and is a regular featured ensemble at The Proms.[43]

The orchestra maintains a regional touring programme, taking in venues throughout the UK, and has established residencies in Aylesbury, Crawley, Croydon, Dartford, High Wycombe, Ipswich, Lowestoft, Northampton and Reading.[43][n 7] The RPO regularly tours overseas; since 2010 it has played in Azerbaijan, Canada, China, Germany, Italy, Japan, Russia, Spain and the US. In 2010–11 and two subsequent seasons, the RPO was the resident orchestra for a series of concerts in Montreux, Switzerland.[43] As well, the RPO's community and education activities have continued into the 21st century. In May 2013 six youth ensembles from London boroughs and a 3,500-strong choir of children from local primary schools were given the chance to perform alongside members of the RPO at the Albert Hall. They played a piece composed by participants from all six musical ensembles.[46]

Players and conductors[edit]

Chief conductors[47][edit]

Conductors[edit]

Clockwise from top left: Menuhin, Mackerras, Dutoit and Ashkenazy

In 2009 Charles Dutoit was appointed artistic director and principal conductor.[48] In June 2017 the RPO announced the scheduled conclusion of Dutoit's RPO principal conductorship, and the granting to him of the title of honorary conductor for Life, from 2019. In January 2018, the orchestra announced the early resignation of Dutoit from his posts, with immediate effect, following allegations of inappropriate sexual advances.[49] From 1992 to 2000, Peter Maxwell Davies was associate conductor and composer to the RPO.[47] Other conductors with close ties to the orchestra have included Sir Charles Groves, Vernon Handley, Sir Charles Mackerras, Yehudi Menuhin, Gennady Rozhdestvensky and Leopold Stokowski.[50] Grzegorz Nowak was appointed principal associate conductor in 2008. In 2009, Pinchas Zukerman became principal guest conductor.[48] In 2015, Alexander Shelley joined Nowak as an associate conductor.[48]

In July 2018 the RPO announced the appointment of Vasily Petrenko as its new music director, with an initial contract of five years effective with the 2021-2022 season, holding the title of music director-designate for the 2020–2021 season.[51]

Notable RPO musicians[edit]

Among the well-known musicians who have been RPO principals in the mid-1950s and later, string players include Steven Staryk (leader, 1957–59), Raymond Cohen (leader, 1959–66), Alan Loveday (leader, 1967–71), Erich Gruenberg (leader, 1972–76), Barry Griffiths (leader, 1976–89), Jonathan Carney (leader, 1991–94) and Frederick Riddle (viola, 1953–77). Among the woodwind principals have been Geoffrey Gilbert (flute, 1957–61), James Galway (flute, 1967–69), Antony Pay (clarinet, 1968–78) and Michael Chapman (bassoon, 1978–99). Principals in the brass section have included Alan Civil (horn, 1952–55), Philip Jones (trumpet, 1956–60), Elgar Howarth (trumpet, 1963–69) and Martin Owen (horn, 1998–2008).[52]

Recordings[edit]

Main article: Royal Philharmonic Orchestra discography

From the RPO's earliest days to the end of Beecham's life, they made numerous recordings for His Master's Voice, CBS and RCA. Among the works they recorded EMI chose several to be reissued at the end of the twentieth century in its "Great Recordings of the Century" series. They included a Delius programme; a Grieg programme; French ballet music; short works by Bizet, Chabrier, Fauré and Saint-Saëns; Tchaikovsky's Symphony No 4 and Nutcracker Suite; Mozart's Jupiter Symphony, Clarinet Concerto (Brymer) and Bassoon Concerto (Brooke); and Schubert's 3rd, 5th and 6th Symphonies.[53]

After Beecham's death the orchestra made many recordings for Decca, sometimes under pseudonyms such as the "Beecham Symphony Orchestra", the "London Festival Orchestra" and the "Metropolitan Symphony Orchestra".[54] Among the conductors with whom the RPO recorded in the 1960s were Sir John Barbirolli, Fritz Reiner, Charles Munch, Georges Prêtre, Kempe, Previn and Stokowski.[54] Soloists included Earl Wild, Shura Cherkassky, Alan Civil and Luciano Pavarotti.[54]

Igor Stravinsky recorded his opera The Rake's Progress with the RPO in 1964.[50] Colin Davis made some of his earliest recordings with the orchestra, including Mozart and Rossini overtures, Beethoven's Seventh Symphony,[55] and Stravinsky's Oedipus rex.[56] From 1964 to 1979 the RPO was engaged by Decca to record Gilbert and Sullivan operas with the D’Oyly Carte Opera Company.[54] The orchestra has also recorded for Deutsche Grammophon, Lyrita, Philips, Pye and Unicorn-Kanchana.[54][57]

In 1986, the orchestra launched RPO Records, claimed to be "the world's first record label to be owned by a symphony orchestra".[50] Recordings available on the RPO label in 2013 ranged from core symphonic repertoire and Tchaikovsky ballet scores to film music by various composers, light music by Burt Bacharach and Richard Rodgers, and an album called "Symphonic Rock", described as "Over 3 hours of classic rock anthems and pop tracks with an orchestral twist".[58]

Non-classical work[edit]

As well as performing works from the classical repertoire, the RPO has recorded a number of film scores, including those for Powell and Pressburger's The Red Shoes and The Tales of Hoffmann. Other scores recorded by the RPO are Olivier's Richard III, The Bridge on the River Kwai, and The Private Life of Sherlock Holmes.[59]

RPO players have been involved with many performances away from the classical repertory; in the 1960s they pioneered the "mixed media" concert, appearing with The Nice rock band.[60] Later non-classical ventures included Yanni Live at the Acropolis, a concert held in Greece in 1993, conducted by Shahrdad Rohani;[61] In 1992 UEFA commissioned the orchestra and the Academy of St Martin in the Fields chorus to record the UEFA Champions League Hymn.[62]

In 1987, the RPO established a sister ensemble, the Royal Philharmonic Concert Orchestra, which plays lighter classics. It succeeded a similar group, the Royal Philharmonic Pops Orchestra.[50]

Notes and references[edit]

Notes[edit]

  1. ^ Of the 75 players who constituted the LPO in 1944 only 18 had been in the LPO that Beecham left in 1940.[4]
  2. ^ The Society had its own orchestra from its foundation in 1813 until 1932, when it agreed with Beecham that the new LPO would play at all its concerts.[7] The new Royal Philharmonic Orchestra was granted the right to use the name when playing for the Society or at any other performance conducted by or under the artistic control of Beecham.[8]
  3. ^ At the time, union membership was compulsory for players in British orchestras.[17]
  4. ^ Jackson left the orchestra in 1958, and was succeeded by Geoffrey Gilbert, whom The Times called "the most influential British flautist of the twentieth century". The quartet of woodwind soloists continued to be generally known as "the Royal Family"[22]
  5. ^ Shirley, née Hudson, Beecham's third wife, and former secretary, whom he married in 1959, a year after Betty Humby Beecham died.[33]
  6. ^ The RPS resumed its association with the orchestra from the 1966–67 season.[37]
  7. ^ The number of towns and cities in which the RPO regularly plays is reflected in the sobriquet adopted in some of the orchestra's marketing: "The Nation's Favourite Orchestra".[45]

References[edit]

  1. ^ Glock, William, "Music", The Observer 8 October 1944, p. 2; and "Sir T. Beecham's Return", The Times, 9 October 1944, p. 8
  2. ^ Reid (1961), p. 230
  3. ^ a b c d Reid (1961), p. 231
  4. ^ Lucas, p.306
  5. ^ Osborne, p. 248
  6. ^ "Orchestra Refuse to Drop 'Royal' from Title, The Times, 19 August 1964, p. 10
  7. ^ Three Orchestras", The Times 24 September 1932, p. 8; and "The Royal Philharmonic", The Manchester Guardian, 21 August 1946, p. 3
  8. ^ Baker, George. "Royal Philharmonic Orchestra", The Times, 4 July 1964, p. 9
  9. ^ Jenkins (2005), p. 99
  10. ^ a b c Jenkins (2005), pp. 99–100
  11. ^ Lucas, p. 317
  12. ^ "Sir Thomas Beecham's New Orchestra", The Times, 12 September 1946, p. 6
  13. ^ Cardus et al, p 4
  14. ^ "Delius Festival", The Times, 28 October 1946, p. 6
  15. ^ a b Potts, p. 8
  16. ^ Lucas, p. 319
  17. ^ Orchestral Politics", The Times, 26 August 1949, p. 8
  18. ^ Jenkins (2005), p. 100
  19. ^ Hill, p. 214
  20. ^ Jenkins (2000), p. 5
  21. ^ Melville-Mason, Graham. "Gwydion Brooke – Bassoonist in Sir Thomas Beecham's 'Royal Family'", The Independent, 5 April 2005
  22. ^ "Geoffrey Gilbert", The Times, 22 May 1989, p. 20
  23. ^ a b Gamble and Lynch, p. 60
  24. ^ Downes, Olin. "Beecham Superb in Concert Here; Conducts Royal Philharmonic in Stirring Concert", The New York Times, 14 December 1950, p. 50 (subscription required)
  25. ^ Howes, Frank. "London Orchestras", The Times, 8 June 1951, p. 6
  26. ^ Cardus et al, p. 4
  27. ^ "Promenade Concert – Sir Thomas Beecham's Début", The Times, 6 September 1954, p. 9
  28. ^ Lucas, pp. 331–332
  29. ^ Lucas, p. 338
  30. ^ Lucas, p. 339
  31. ^ a b "Lives Remembered", The Times, 2 October 2003, p. 41
  32. ^ "Rudolf Kempe", Royal Philharmonic Orchestra, accessed 2 June 2013
  33. ^ Reid (1961), p. 241
  34. ^ Peacock, p. 9
  35. ^ Reid (1968), pp. 429–434
  36. ^ a b Cardus et al, p. 6
  37. ^ Potts, p. 11
  38. ^ "Orchestra Wins Royal Fight", The Times, 16 July 1966, p. 12
  39. ^ Cardus et al, pp. 12–13
  40. ^ "Great Orchestra's Predicament", The Times, 28 June 1963, p. 18; and "Antal Dorati", The Times, 16 November 1988, p. 18
  41. ^ Morrison, p 152
  42. ^ Temperley, Nicholas, et al. "London (i)", Grove Music Online, Oxford University Press, accessed 8 June 2013 (subscription required)
  43. ^ a b c d e "About the orchestra", Royal Philharmonic Orchestra, accessed 4 June 2013
  44. ^ Binney, Marcus. "Music's coming home – royally", The Times 12 July 2044
  45. ^ "Support – Organisations", Royal Philharmonic Orchestra, accessed 10 June 2013
  46. ^ "Pass the Torch", Royal Philharmonic Orchestra, accessed 8 June 2013
  47. ^ a b "Past conductors", Royal Philharmonic Orchestra, accessed 2 June 2013
  48. ^ a b c "Conductors", Royal Philharmonic Orchestra, accessed 26 January 2016
  49. ^ | "Charles Dutoit Steps Down Early as Artistic Director and Principal Conductor of the Royal Philharmonic Orchestra", Royal Philharmonic Orchestra, 10 January 2018, accessed 12 January 2018
  50. ^ a b c d Golding and Beales, pp. 2–3
  51. ^ "Royal Philharmonic Orchestra Announced Vasily Petrenko as Music Director from 2021–22 Season", Royal Philharmonic Orchestra, 2 July 2018, accessed 2 July 2018
  52. ^ Potts, pp. 13 and 19; "RPO", Oxford University Press, accessed 8 June 2013 (subscription required); and Martin Owen", Royal Academy of Music, accessed 10 June 2013
  53. ^ "EMI Great Recordings of the Century", Archiv music, accessed 3 June 2013
  54. ^ a b c d e Stuart, Philip. Decca Classical 1929–2009 accessed 4 June 2013
  55. ^ Blyth, p. 52
  56. ^ "Press reviews", Royal Philharmonic Orchestra, accessed 3 June 2013.
  57. ^ Cardus et al, pp. 22–23
  58. ^ "RPO Records", Orchid Classics, accessed 4 June 2013.
  59. ^ Cardus et al, p. 17
  60. ^ Cardus et al, p. 7
  61. ^ Widran, Jonathan, "Yanni / Live at the Acropolis / review" (WebCite archive), AllMusic, 1994 or later.
  62. ^ "UEFA Champions League anthem", UEFA, accessed 13 July 2012

Sources[edit]

  • Blyth, Alan (1972). Colin Davis. London: Ian Allan. OCLC 675416. 
  • Cardus, Neville; et al. (1971). 25 Years of the Royal Philharmonic Orchestra. London: Fabbri. OCLC 22592704. 
  • Golding, Robin; Brendan Beales (1994). Notes to Grieg Piano Concerto in A minor and Lyric pieces. London: Tring. OCLC 36052553. 
  • Hill, Ralph (ed) (1951). Music 1951. Harmondsworth, England: Penguin Books. OCLC 26147349. 
  • Jenkins, Lyndon (2000). Notes to Bizet Symphony in C and L'Arlésienne Suites. London: EMI. OCLC 271816594. 
  • Jenkins, Lyndon (2005). While Spring and Summer Sang: Thomas Beecham and the music of Frederick Delius. Aldershot: Ashgate. ISBN 0754607216. 
  • Lucas, John (2008). Thomas Beecham: An Obsession with Music. Woodbridge: Boydell Press. ISBN 9781843834021. 
  • Morrison, Richard (2004). Orchestra. London: Faber. ISBN 057121584X. 
  • Osborne, Richard (1998). Herbert von Karajan: A Life in Music. London: Chatto and Windus. ISBN 1856197638. 
  • Peacock, Alan (chairman) (1970). Report on Orchestral Resources in Great Britain. London: Arts Council of Great Britain. ISBN 011981062X. 
  • Potts, Joseph E (1967). The Royal Philharmonic Orchestra, 1946–67. London: RPO. OCLC 9215763. 
  • Reid, Charles (1961). Thomas Beecham: An Independent Biography. London: Victor Gollancz. OCLC 500565141. 
  • Reid, Charles (1968). Malcolm Sargent: a biography. London: Hamish Hamilton. ISBN 0800850807. 

External links[edit]

Official website

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