Leopold Anthony Stokowski, one of the true conducting luminaries of the twentieth century, was born in London in 1882. His father was Polish, his mother Irish, but he was raised as an Englishman. His famous, vaguely foreign, accent somehow appeared later in his life. The young Stokowski was a precocious musician, and as a child learned to play the violin, piano, and organ with apparently little effort. At the age of 13, he became the youngest person to have been admitted to the Royal College of Music.

By 18, Stokowski had been appointed organist and choirmaster at St. James', Piccadilly. He attended Queen's College, Oxford, receiving a Bachelor of Music degree in 1903. He moved to the United States in 1905, but returned to Europe each summer for further musical studies in Berlin, Munich, and Paris. When a conductor fell ill in Paris in 1908, he made his debut as an emergency substitute. The impression he made led to a position with the Cincinnati Symphony Orchestra in which he quickly achieved notable success. However, a more tempting prospect faced him when he was asked to take over the Philadelphia Orchestra in 1912. It was during his long and fruitful association with this ensemble that Stokowski established himself as one of the leading musicians of his day.

Stokowski gave the orchestra an entirely new sound, popularly known as the "Philadelphia Sound" or the "Stokowski Sound." Its foundation was a luxuriant, sonorous tone and an exacting attention to color. He pioneered the use of "free" bowing, which produced a rich, homogenized string tone. A relentless innovator, Stokowski experimented with orchestral seating, famously lining up the string basses across the rear of the stage and, in an early instance, massing all the violins on the left side of the orchestra and the cellos on the right. He also had spotlights directed on his hands and his impressively prominent hair to enhance his dramatic, theatrical aura. One of the first modern conductors to give up the use of the baton, Stokowski employed graceful, almost hypnotic, hand gestures to work his magic.

Indeed, Stokowski was the first conductor to become a true superstar. He was regarded as something of a matinee idol, an image aided by his appearances in such films as the Deanna Durbin spectacle One Hundred Men and a Girl (1937) and, most famously, as the flesh-and-blood leader of the Philadelphia Orchestra in Walt Disney's animated classic Fantasia (1940). In one memorable instance, he appears to be talking to the cartoon figure of Mickey Mouse, the "star" of a sequence featuring Dukas' The Sorcerer's Apprentice. In a clever parody, when the slumbering apprentice dreams of himself directing the forces of Nature with the masterful sweep of his hands, Disney artists copied Stokowski's own conducting gestures.

Following his tenure in Philadelphia, Stokowski directed several other ensembles, including the All-American Youth Orchestra (which he founded), the NBC Symphony Orchestra and the New York Philharmonic (both as co-conductor), the Houston Symphony Orchestra (1955-1960), and the American Symphony Orchestra, which he organized in 1962. He continued to make concert appearances and studio recordings of both standard works and unusual repertoire (including the first performance and recording of Charles Ives' decades-old Symphony No. 4) well into his nineties. He made his last public appearance as conductor in Venice in 1975, remaining active in the recording studio through 1977. He died on September 13, 1977, in Nether Wallop, Hampshire, England.

The John Alldis Choir was a durable British choral ensemble especially notable for its performances of modern music. John Alldis was a music student at Cambridge who won a scholarship as a choral scholar to King's College, Cambridge, where his chorus master was Boris Ord. Choral scholars are male students who has passed a rigorous competitive audition to sing in the famous Chorus of King's College. Those who pass receive a Cambridge education in return for singing at the daily King's College Chapel services. After his graduation he formed the John Alldis Choir in 1962, which originally included 16 professional singers.

They made their concert debut in London in 1962 in a program that included the world premiere of Alexander Goehr's A Little Cantata of Proverbs; in the same year they also premiered Malcolm Williamson's Symphony for Voices, a work requiring virtuoso singing and exceptionally detailed ensemble blend. These performances were highly successful, and the chorus became much in demand.

Prior to 1966, the London Symphony Orchestra had no permanent choral organization. A financially uncertain organization until its reorganization in the late '50s, the orchestra engaged one or another available choir to sing with it when needed, sometimes under the name London Symphony Chorus. In 1966, the LSO decided to form a permanent choral group, and engaged Alldis to assemble it as its first music director. He remained with this chorus through 1969, when he took a similar position with the London Philharmonic Choir. In 1972, he also took on the leadership of the Danish State Radio Chorus.

Meanwhile, he maintained the organization of the John Alldis Choir. In 1967, the choir participated in the first European performance of Stravinsky's Requiem Canticles, conducted by Pierre Boulez and prepared by Alldis. From 1968 through roughly the 1970s, they were active in recording studios, mostly participating in opera recordings, particularly with RCA and Decca (London) records. For these studio dates, Alldis would hire additional singers as required by the producer and conductor of the sessions.

The Royal Philharmonic Orchestra (RPO) has held a prominent place in British music-making for more than seven decades. With a wide reach across Britain, in addition to its regular concerts in London's Cadogan Hall, including concerts in places where access to orchestral music is limited, the RPO can lay claim to the title of Britain's national orchestra. The RPO incorporates the pops-oriented Royal Philharmonic Concert Orchestra, the avant-garde Sharp Edge group, and RPO Resound, a community and educational outreach program.

The RPO's broad contemporary appeal, which has included appearances with popular music stars and on film, television, and video game soundtracks, would have been lauded by its founder and first conductor, Sir Thomas Beecham, who set up the RPO in 1946 and helped lead a vital revival in the U.K.'s orchestral life after World War II. The new orchestra prospered, beginning a long summer residency at the Glyndebourne Festival Opera in 1948 and touring the U.S. in 1950, becoming the first English orchestra to do so since 1912. Rudolf Kempe became principal conductor upon Beecham's death in 1961. The orchestra hit a rough patch in the early '60s under the leadership of Beecham's widow; Kempe departed (and then returned), and the orchestra temporarily lost the right to use the "royal" designation. That was restored by Queen Elizabeth II in 1966, and several strong conductors, Antal Doráti (1975-1978), André Previn (1985-1992), and Vladimir Ashkenazy (music director, 1987-1994), built the orchestra artistically. Later conductors have included Daniele Gatti, Yuri Temirkanov, Charles Dutoit, and Vasily Petrenko, who began his tenure as music director in 2021.

The RPO is especially notable for the depth and variety of its recording program, which in the first few years of its existence had already topped 100 items; by the early 2020s decade, the orchestra had issued many hundreds of recordings, stretching from pop (disco enthusiasts will remember it as the orchestra featured on the Hooked on Classics recordings of the 1980s) to new avant-garde music. Among these was a 125-album contract with the Tring label. The orchestra's RPO Records, formed in 1986, is thought to have been the first recording label owned by a symphony orchestra; such an arrangement is now commonplace. The following year, the RPO launched the light music (or pops in the U.S.) companion group, the Royal Philharmonic Concert Orchestra.

In 1993, the RPO inaugurated an educational and community outreach program titled RPO Resound. This program provides musical experiences outside of traditional concert settings, such as schools, prisons, and hospitals. Among the key projects for this program is the stroke rehabilitation project STROKESTRA. The RPO is the resident music ensemble of Cadogan Hall in Chelsea, becoming the first London orchestra to have a permanent home, giving its first concert there in 2004. In 2019, the RPO released Animal Requiem by rocker Pete Townshend's collaborator and marital partner, Rachel Fuller. That year, the RPO was named the associate orchestra of the Royal Albert Hall. Among the orchestra's 2022 albums are a recording of two Sibelius Symphonies and Air, featuring the music of Oliver Davis. The next year, they teamed with Joe Hisaishi for A Symphonic Celebration, which reimagined songs from beloved Studio Ghibli animated films. ~ James Manheim & Keith Finke