Philharmonia Orchestra in the context of "Royal Festival Hall"

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👉 Philharmonia Orchestra in the context of Royal Festival Hall

The Royal Festival Hall is a 2,700-seat concert, dance and talks venue within Southbank Centre in London, England. It is situated on the South Bank of the River Thames, not far from Hungerford Bridge, in the London Borough of Lambeth. It is a Grade I listed building, the first post-war building to become so protected (in 1981). The London Philharmonic Orchestra, the Philharmonia Orchestra, the Orchestra of the Age of Enlightenment, the London Sinfonietta, Chineke! and Aurora are resident orchestras at Southbank Centre.

The hall was built as part of the Festival of Britain for London County Council, and was officially opened on 3 May 1951. When the LCC's successor, the Greater London Council, was abolished in 1986, the Festival Hall was taken over by the Arts Council, and managed together with the Queen Elizabeth Hall and Purcell Room (opened 1967) and the Hayward Gallery (1968), eventually becoming an independent arts organisation, now known as the Southbank Centre, in April 1998.

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Philharmonia Orchestra in the context of London Symphony Orchestra

The London Symphony Orchestra (LSO) is a British ensemble based in London. Founded in 1904, the LSO is the oldest of London's symphony orchestras. It was created by a group of players who left Henry Wood's Queen's Hall Orchestra because of a new rule requiring players to give the orchestra their exclusive services. The LSO itself later introduced a similar rule for its members. From the outset the LSO was organised on co-operative lines, with all players sharing the profits at the end of each season. This practice continued for the orchestra's first four decades.

The LSO underwent periods of eclipse in the 1930s and 1950s when it was regarded as inferior in quality to new London orchestras, to which it lost players and bookings: the BBC Symphony Orchestra and the London Philharmonic Orchestra in the 1930s and the Philharmonia and Royal Philharmonic after the Second World War. The profit-sharing principle was abandoned in the post-war era as a condition of receiving public subsidy for the first time. In the 1950s the orchestra debated whether to concentrate on film work at the expense of symphony concerts; many senior players left when the majority of players rejected the idea.

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