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Most music lovers have encountered George Frederick Handel through holiday-time renditions of the Messiah's "Hallelujah" chorus. And many of them know and love that oratorio on Christ's life, death, and resurrection, as well as a few other greatest hits like the orchestral Water Music and Royal Fireworks Music, and perhaps bits of Judas Maccabeus or one of the other English oratorios. Yet his operas, for which he was widely known in his own time, are the province mainly of specialists in Baroque music, and the events of his life, even though they reflected some of the most important musical issues of the day, have never become as familiar as the careers of Bach or Mozart. Perhaps the single word that best describes his life and music is "cosmopolitan": he was a German composer, trained in Italy, who spent most of his life in England.

Handel was born in the German city of Halle on February 23, 1685. His father noted but did not nurture his musical talent, and he had to sneak a small keyboard instrument into his attic to practice. As a child he studied music with Friedrich Wilhelm Zachow, organist at the Liebfrauenkirche, and for a time he seemed destined for a career as a church organist himself. After studying law briefly at the University of Halle, Handel began serving as organist on March 13, 1702, at the Domkirche there. Dissatisfied, he took a post as violinist in the Hamburg opera orchestra in 1703, and his frustration with musically provincial northern Germany was perhaps shown when he fought a duel the following year with the composer Mattheson over the accompaniment to one of Mattheson's operas. In 1706 Handel took off for Italy, then the font of operatic innovation, and mastered contemporary trends in Italian opera seria. He returned to Germany to become court composer in Hannover, whose rulers were linked by family ties with the British throne; his patron there, the Elector of Hannover, became King George I of England. English audiences took to his 1711 opera Rinaldo, and several years later Handel jumped at the chance to move to England permanently. He impressed King George early on with the Water Music of 1716, written as entertainment for a royal boat outing. Much of his keyboard music, including the suite with the famous melody "The Harmonious Blacksmith" dates from just before his going to Italy and his first decade in England. For 18 months, between 1717 and 1719, Handel was house composer to the Duke of Chandos, for whom he composed the 11 Chandos Anthems for chorus and string orchestra. He also founded the Royal Academy of Music, a new opera company in London, with the support of the Duke and other patrons. Through the 1720s Handel composed Italian operatic masterpieces for London stages: Ottone, Serse (Xerxes), and other works often based on classical stories. His popularity was dented, though, by new English-language works of a less formal character, and in the 1730s and 1740s, after the Academy failed, Handel turned to the oratorio, a grand form that attracted England's new middle-class audiences. Not only Messiah but also Israel in Egypt, Samson, Saul, and many other works established him as a venerated elder of English music. The oratorios displayed to maximum effect Handel's melodic gift and the sense of timing he brought to big choral numbers. Among the most popular of all the oratorios was Judas Maccabeus, composed in 32 days in 1746. His Concerti grossi, Op. 6, and organ concertos also appeared in the same period. In 1737, Handel suffered a stroke, which caused both temporary paralysis in his right arm and some loss of his mental faculties, but he recovered sufficiently to carry on most normal activity. He was urged to write an autobiography, but never did. Blind in old age, he continued to compose. He died in London on April 14, 1759. More than 3,000 mourners were present for the funeral of the famous composer. He was buried at Westminster Abbey and received full state honors. Beethoven thought Handel the greatest of all his predecessors; he once said, "I would bare my head and kneel at his grave." ~ TiVo Staff

Founded in 1904 and therefore the oldest of the city's symphony orchestras, the London Symphony Orchestra became world-renowned for recordings that date back to early gramophone records in 1912. Amid decades of diverse classical programming that followed, including performances for radio and TV, the orchestra also became known for its appearances in numerous film scores, including the Star Wars series. The LSO also tours and first visited North America in 1912 (narrowly avoiding passage on the Titanic).

The ensemble's direct antecedent was the Queen's Hall Orchestra, formed in 1895 for conductor Henry Wood's series of Promenade Concerts. The summer series was so successful that a series of weekly Sunday afternoon concerts was established the same year. The orchestra, however, had never become a permanent group; its members could and often did send other musicians to substitute for them at concerts. In 1904, Wood attempted to end this practice, prompting 46 members to leave and form their own orchestra.

The London Symphony Orchestra was organized as a self-governing corporation administered by a board selected by the players. They arranged for the great Hans Richter to conduct the inaugural concert, and continued to engage a variety of conductors, practically introducing the concept of the guest conductor to the London musical scene. Soon, though, the title and post of principal conductor was established for Richter. The LSO's connection with the BBC goes back to 1924 when Ralph Vaughan Williams conducted the orchestra in the premiere broadcast performance of his Pastoral Symphony. It was the unofficial orchestra in residence for the BBC until the formation of the BBC Symphony in 1930 and continued to broadcast concerts and provide background music for many BBC productions. Other conductors most associated with the orchestra's first few decades include Edward Elgar and Thomas Beecham. During World War II, Wood was welcomed for a series of concerts.

The War took its toll on orchestra membership as it had the general populace, and a concurrent drop in private funding led to increased reliance on the state arts council. This eventually led to structural reorganization in the 1950s, resulting in increased professional standards and the abandonment of profit-sharing; players became salaried employees. The revamped orchestra made only its second tour of the United States in 1963 (the first had been in 1912), and in 1964 embarked on its first world tour. In the mid-1960s the city of London broke ground for the Barbican Arts Centre, intended as the LSO's permanent home. The building was an architectural and acoustic success, and since 1982 has provided the orchestra the solid base it lacked during the first 70-plus years of its existence. The venue opened under principal conductor Claudio Abbado, who took over for André Previn in 1979.

In the meantime, the orchestra made its Star Wars debut, performing John Williams' score for the original 1977 film. While the organization had recorded its first film score in 1935 (H.G. Wells' Things to Come) and appeared in such classics as The Bridge on the River Kwai, Doctor Zhivago, and The Sound of Music, Star Wars won three Grammys, an Academy Award, and a BAFTA, among many other accolades, sold over a million copies in the U.S. and over 100,000 in the U.K., and endures as a touchstone in modern film music. The LSO went on to record music for the franchise's entire first two trilogies as well as films like 1981's Raiders of the Lost Ark, 1993's Schindler's List, 1997's Titanic, and select installments of the Harry Potter series.

During the tenure of Colin Davis, who was named principal conductor in 1995, the LSO established its own record label, LSO Live. Dvorák's Symphony No. 9, recorded at Barbican Centre in 1999 and released in 2000, bears catalog number 0001. Their 2000 recording of Berlioz's Les Troyens won two Grammys in 2002, and Verdi's Falstaff took home the Best Opera Grammy in 2006. In 2007, Davis took the position of orchestra president, its first since Leonard Bernstein's passing in 1990, and Valery Gergiev became principal conductor.

Also known for crossing over into rock, jazz, and Broadway, among other categories, they followed hit recordings such as Symphonic Rolling Stones and Gershwin Fantasy (with Joshua Bell) with albums like 2017's Someone to Watch Over Me, which had them accompanying archival recordings of Ella Fitzgerald. ~ Marcy Donelson, Joseph Stevenson & Corie Stanton Root