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Polish-born violinist Henryk Szeryng was probably the finest product of Carl Flesch's legendary teaching career (other luminaries to emerge from his studio in the years between the two World Wars include Ivry Gitlis and Ida Haendel). Possessing an iron technique and a musical intellect of rare insight, Szeryng established himself as one of the pre-eminent concert violinists of the post-World War Two decades.

Szeryng was born in 1918 to a wealthy Polish industrialist whose wife had a great love of music. Studies on the piano were abandoned (at young Henryk's request) for the violin, though Szeryng was skilled at the keyboard for the rest of his life. Szeryng progressed quickly on his new instrument, and by age nine was sufficiently proficient to perform the Mendelssohn concerto for famed violinist Bronislaw Hubermann, a friend of the family. On Hubermann's advice Szeryng was sent to Berlin to study with Carl Flesch. The young violinist remained with Flesch until he was thirteen, and later declared that his technical prowess was solely due to that masterful teacher's influence. Two years later in 1933, Szeryng made his debut performance in Warsaw with the Beethoven concerto under Bruno Walter. That same year he embarked on a minor concert tour, soloing with orchestras in Bucharest, Vienna, and Paris.

Szeryng immediately took to the city of Paris and settled there for a period of further study and growth as a performer. While in Paris Szeryng developed a great affinity for the French school of violin playing, which he considered more elegant and refined than the German or Russian schools (it is at this time that he abandoned the so-called "Flesch" bow-hold, switching instead to the Franco-Belgian grip). While in Paris Szeryng came under the influence of legendary violinists Enesco and Thibaud, though, contrary to popular belief, he did not formally study with either. Szeryng also thought seriously about pursuing composition as a career, and for six years took lessons from Nadia Boulanger in Paris (1933-39).

At the outbreak of war in 1939 Szeryng enlisted with the Polish army (by then in exile in western Europe). Being fluent in seven languages, he was assigned to General Sikorski as a translator, with whom Szeryng helped to relocate hundreds of Polish refugees in Mexico. During the war Szeryng gave hundreds of concerts for Allied troops around the globe, and in 1943, during a concert series in Mexico City, was invited to take over the string department at the University of Mexico. Szeryng accepted the offer, and assumed his duties in 1946.

He spent the next ten years in Mexico teaching, and eventually took citizenship there. Performing infrequently (and then only locally), Szeryng was largely forgotten in the musical centers of Europe. A chance encounter with fellow Pole Artur Rubinstein in Mexico city convinced Szeryng to re-enter the musical scene (Rubinstein, who had previously never heard Szeryng play, was so impressed by the violinist that he immediately asked his own manager and impresario Hurok to begin booking concerts for Szeryng). A New York debut in 1956 immediately established Szeryng as a leading violinist of the day (coming as quite a surprise to a new generation of violinists who had been entirely unaware of Szeryng's existence), and for the next thirty years Szeryng divided his time between a globe-trotting concert schedule and his teaching duties in Mexico.

As a violinist Szeryng was unique--his patrician, aristocratic approach was unmistakable. Sometimes criticized for being too restrained, Szeryng was nevertheless quite capable of playing with warmth and fire when he felt compelled to do so (as in his magnificent performances of the Sibelius concerto). His excellent recordings include two full sets of the Bach Sonatas and Partitas (the second of which, one of the truly great recordings of the century, exerted an incalculable influence on the next generation of violinists), as well as the major violin concertos in the repertory (he has also championed and recorded the work of many composers from his adopted country of Mexico). Essentially a musical purist, Szeryng adheres closely to the original text in his recordings (the few exceptions, such as Szeryng's addition of a high D natural at the climactic moment of recapitulation in the Brahms concerto, remain inexplicable). In Bach Szeryng is not interested in reviving any authentic performance practices, but seeks rather to unlock the essence of the composer through modern mechanical means--his embellishments, finely crafted and elegant, never border on the self-indulgent. Recordings of the Beethoven and Brahms sonatas with Artur Rubinstein are particularly rewarding. Of note also is Szeryng's world-premiere recording of Paganini's E major Violin Concerto (No.3), which Szeryng himself reconstructed from parts held in the archives of the legendary Italian violinist's heirs.

Szeryng could at times be somewhat inconsistent. In live performances his calculated precision might turn cold, and in later years it is rumored that troubles with alcohol led to a somewhat deteriorated technical ability. Until his death in 1988 he traveled with a Mexican diplomatic passport, and was involved in various humanitarian projects through the United Nations-- Szeryng never ceased believing in music as a unifying, healing power. ~ Blair Johnston

Although her career was tragically short, Kathleen Ferrier was among the most famous English singers of the twentieth century. Her contralto voice -- a rarity in itself -- was characterized by a firm, warm tone that found its expressive niche in the great works of oratorio and art song, as well as in her two operatic roles (only two!): Lucretia in Britten's The Rape of Lucretia and Orfeo in Gluck's Orfeo ed Euridice.

Born in Lancashire on April 22, 1912, Ferrier studied the piano with great success as a child and intended a concert career; her concurrent vocal studies were considered more recreational in nature. In her mid-20s, however, after taking two first prizes at the 1937 Carlisle Festival -- one for piano and one for singing -- she made the decision to pursue singing as her vocation. She studied with J.E. Hutchinson in Newcastle upon Tyne, then with Roy Henderson in London.

During the years of WWII Ferrier toured widely in England, gaining a reputation as an especially fine concert artist. She joined the Bach Choir in London, and was alto soloist for a 1943 performance of Handel's Messiah at Westminster Abbey. Benjamin Britten first put her on the operatic stage at Glyndebourne on July 12, 1946, in the premiere of his chamber opera The Rape of Lucretia. She then toured with the work throughout England and appeared on an historic recording of major extracts from the work conducted by the composer. Britten would later compose the alto part in his Canticle No. 2 for her.

She appeared in the United States for the first time in Mahler's Das Lied von der Erde with the New York Philharmonic and Bruno Walter; her subsequent recording of the work -- also under Walter's direction -- remains a classic. Walter also appeared as her accompanist in lieder recitals in Edinburgh and London. Another of Ferrier's notable successes was the part of the Angel in Elgar's The Dream of Gerontius.

In February 1953, Covent Garden staged Gluck's Orfeo ed Euridice specifically for Ferrier, who was deemed ideal for the part of Orpheus. However, she was able to appear in only two of the scheduled four performances because of weakness caused by her already advanced cancer. These were her last appearances; she died in London on October 8, 1953. Before she died she was made a Commander of the Order of the British Empire.

Trained in both music and law, Peter Hurford enjoyed an enviable reputation for both his organ playing and his musical scholarship. The latter produced not only revised ideas about performance of early music, but also different notions about the construction of the instruments upon which such music ought to be played. His extensive recordings for the Decca label (earlier, London Records in the United States) passed into the realm of the legendary and his live performances attracted positive reviews, as well as stimulating numerous discussions regarding performance practice and the art of organ building.

After initial studies with Harold Darke, the famous and much-respected English organist and composer, Hurford read both music and law at Jesus College, Cambridge University, graduating with dual degrees. Through study in Paris with the blind French organist André Marchal, Hurford explored the music of the Baroque period, with a particular emphasis on J.S. Bach and the French masters, and he acquired something of his teacher's brilliance as an improviser. His own singular notions of authentic performing style also took form at that time and were soon regularly implemented before the public once he had received an appointment as music master at St. Albans Abbey in 1958. There he experimented and rebuilt the organ to comply with his convictions, and soon began to attract the attention of other English organists unsatisfied with the traditional and often heavy-handed Baroque style customarily heard in English churches. By 1963, Hurford's stature made possible the immediate success of the International Organ Festival he devised for St. Albans. There, organists and organ scholars were able to gather to hear and discuss performances and share scholarly findings regarding performance style, registration, repertory, and audience building. Winners of competitions at the St. Albans Festival have included such international virtuosos as Gillian Weir and Thomas Trotter. Many a competitor counted himself fortunate to have received an autographed copy of Hurford's recordings of Bach's complete organ works. After decades at St. Albans, Hurford resigned to fulfill the demand for solo performances. By that time, his recordings had made his name a familiar one even to those who had not heard him in live performance. In addition to his concert appearances, Hurford began to devote time to teaching and made himself a welcome visiting scholar in numerous venues, especially in England and the United States. After having worked out his ideas during several decades of lecturing and performance, Hurford assembled them in written form in his book Making Music on the Organ, published in 1988. The simple, direct title conceals a wealth of carefully considered issues and effective solutions to them. Hurford also achieved some renown as a composer of organ works and choral pieces. Mostly dating from his St. Albans years, some of them are flowingly lyrical while others are joyously animated. All reflect Hurford's skill and inclinations as an improviser. Hurford's largest recording project was putting on disc the complete organ works of Bach, a project that began in the 1970s and finished in the early 1980s. Another double-disc set of organ masses by Couperin is also a seminal issue. Hurford's often-brisk tempi and variety of registration decidedly changed organ performance; both sets demonstrate why.

Hurford retired from performing in 2009, after being diagnosed with Alzheimer's Disease. He passed away in early March 2019. The full set of his Bach recordings was still available (in remastered sound) at that date, alongside a smaller, two-disc set of highlights. ~ Erik Eriksson

George Guest is generally regarded among the finest British choral conductors of his time. Some musicologists have attributed the endurance, if not the very survival, of the English cathedral choir to him. He made more than 60 recordings with St. John's Choir (Cambridge), covering a broad range of repertory (Palestrina and Mozart to Tippett and Lennox Berkeley) and garnering consistent critical acclaim.

Guest was born in Bangor, Wales, on February 19, 1924. He attended the Friars school in his hometown and became a chorister by age 9 at the local cathedral. At 11 he sang in the choir at Chester Cathedral while taking private lessons to develop his keyboard skills. After serving four years in the Royal Air Force during World War II, he returned to Chester Cathedral as sub-organist in 1946. The following year he enrolled at St. John's under an organ scholarship, studying with Thurston Dart and Boris Ord. In 1951 the choir director, Robin Orr, resigned to focus on composition, leaving the post to Guest.

In the coming years, Guest, not least because of a healthy rivalry with David Willcocks who was director of the Choir of King's College, vastly improved St. John's choral standards. Beginning in the mid-'50s, Guest and his choir began appearing regularly on radio broadcasts, and in 1958 he made his first recording with the group, Mendelssohn's Hear My Prayer, for the English label Argo. At Cambridge he became a lecturer in 1956, then the university's organist in 1974. In the mid-'70s Guest's growing interest in French music yielded two acclaimed recordings, the Duruflé Requiem and a collection of Fauré works. In 1978 Guest was elected president of the Royal College of Organists, serving in the post for two years. He retired from university lecturing in 1982, but continued his work with St. John's Choir, both in concert and on recordings, as well as in performances abroad. In 1991 Guest retired both from his directorship of St. John's Choir and from his organ post. He died on November 20, 2002.

Karl Münchinger was one of those rare conductors whose careers are largely tied to their native city, in his case, Stuttgart. He was also closely identified with Bach, having conducted and recorded many of the Baroque master's compositions, generally with high critical praise. Münchinger also conducted much music from the Classical and Romantic periods and, to a lesser extent, from the twentieth century. The majority of his numerous recordings were made for the Decca label. Münchinger showed musical talent as a child and later began studies at the Hochschule für Musik in Stuttgart. He then studied conducting at the Leipzig Conservatory under Hermann Abendroth. After graduation, he returned to Stuttgart and freelanced as a conductor while primarily supporting himself as an organist and choir director. In 1941, he accepted the post of conductor of the Hanover Symphony Orchestra. This would be the only major appointment in his career outside of his native Stuttgart. He held no post from 1943 until the end of the war. In summer 1945, he founded the Stuttgart Chamber Orchestra, the ensemble he became identified with in much the way Karajan would be with the Berlin Philharmonic Orchestra. He quickly built the orchestra up from modest resources in the postwar era, so that by the late-'40s, they were making their first important tours abroad. Münchinger and the SCO debuted in Paris in 1949, representing the first German ensemble to appear there since the prewar era. That same year, they made successful tours of England and Spain. In 1952, they toured Central and South America. The conductor himself made his American debut in 1953 (San Francisco) and took the SCO back to the U.S. the following year for a successful concert tour there. He would return with his ensemble in 1977, once more receiving generally favorable response from both critics and the public. By the mid-'50s, Münchinger had established a reputation as one of the finest Bach interpreters in Europe. His admirers will assert that he was instrumental in restoring Baroque traditions to Bach interpretation, filtering out errant Romantic elements that had crept in over the years. Also by this time, Münchinger and the SCO were receiving invitations from throughout Europe, Russia, and Japan, and appeared in these various locales over the next couple of decades, scoring particular triumphs at the yearly festivals in Edinburgh, Salzburg, Prague (Prague Spring), and Colmar. In the recording studio, Münchinger was scoring triumphs a well: in 1964, he led the SCO in a recording of Bach's St. Matthew Passion with soloists Peter Pears, Hermann Prey, and Elly Ameling for the Decca label, that was awarded a Grand Prix du Disque. He made numerous other notable recordings of choral works by Bach, as well as the Brandenburg Concertos; symphonies by Beethoven and Mozart; and even music by twentieth century Swiss composer Frank Martin. Münchinger founded the Klassiches Philharmonie Stuttgart in 1966, an offshoot ensemble of the SCO, expanding the membership to 45 musicians in order to accommodate performing larger compositions. Münchinger and the SCO continued a fairly heavy performance and recording schedule in the 1970s and '80s, with many tours abroad. In 1977, they became the first German ensemble to visit the People's Republic of China. Münchinger retired in 1988 and died two years later.

The London Philharmonic Orchestra is a central institution of the British classical concert scene, performing major repertory works, British standards, contemporary music, and more. Especially on recordings, the group has also engaged with music from beyond the classical sphere.

The London Philharmonic Orchestra was formed in 1932 in response to a consensus that London's major orchestras, lacking strong artistic leadership, were inferior to those in Germany and even the U.S. So conductor Sir Thomas Beecham assembled a crack membership of 106 players, and the new orchestra was successful from the start. Beecham steered the group through financial difficulties at the beginning of World War II before resigning for health reasons and due to conflicts over the ensemble's artistic direction. Postwar conductors included Eduard van Beinum (1947 to 1951) and Sir Adrian Boult (1951 to 1958); the latter inaugurated an active recording program, releasing albums that remain standards to this day.

In 1966, Bernard Haitink became the orchestra's principal conductor; his tenure, lasting until 1979, was longer than that of any other conductor of the group until Vladimir Jurowski. The orchestra renovated a disused church, renamed it Henry Wood Hall, and began to use the space for rehearsals and recordings in 1975. Haitink's successor was another giant, Sir Georg Solti, who served as principal conductor from 1979 to 1983 and continued as conductor emeritus afterward, often appearing and recording with the orchestra. Solti was succeeded by a trio of Germans, Klaus Tennstedt in 1983, Franz Welser-Möst in 1990, and Kurt Masur in 2000. Welser-Möst officially installed the orchestra as the resident ensemble of the Royal Festival Hall, which remains its main concert venue.

The orchestra has also had numerous guest conductors over the years, and these have been responsible for many of its crossover releases. Although not as active in this field as the London Symphony Orchestra, the London Philharmonic has made high-visibility film soundtrack recordings. These include soundtracks for such films as Jesus Christ Superstar (1973), The Fly (1986), and the trilogy The Lord of the Rings, as well as the anthology Academy Award Themes (1984). The orchestra has released albums devoted to the music of progressive rock bands Pink Floyd and Yes, and as far back as 1959, it released the album Hawaiian Paradise. In 2011, the London Philharmonic recorded 205 national anthems in preparation for the London Olympic Games of the following year. The orchestra's album releases, classical and otherwise, numbered 280 by 1997 and has increased by well over 250 albums since then; in the year 2001 alone, the orchestra released 21 albums. The London Philharmonic established its own LPO label in the mid-2000s decade and has issued large amounts of music, both classical and not, including Genius of Film Music: Hollywood Blockbusters 1980s to 2000s, in 2018.

In 2007, the London Philharmonic was in the forefront of taking advantage of the wave of talented Russian musicians who had emigrated to the West, installing Vladimir Jurowski as principal conductor. He remained in the post until 2020, becoming the orchestra's longest-serving conductor and leading the group in a 2021 recording of Mahler's Symphony No. 8 ("Symphony of a Thousand"). In 2020, Karina Canellakis became the orchestra's first female principal guest conductor. Jurowski was succeeded in 2021 by Edward Gardner, who became the group's first British principal conductor for decades. ~ James Manheim