Editing London Symphony Orchestra (section)

===1960s===
To raise the profile and prestige of the orchestra, Fleischman strove to attract top soloists and conductors to work with the LSO. After Krips's resignation the orchestra had worked with a few leading conductors, including Klemperer, Stokowski, [[Jascha Horenstein]] and [[Pierre Monteux]], but also with many less eminent ones. Fleischmann later said, "It wasn't difficult to change the list of conductors that the orchestra worked with, because one couldn't do much worse, really".<ref>Quoted in Morrison, p. 133</ref>{{#tag:ref|Among those under whom the LSO played during the middle and late 1950s were lesser-known conductors such as Leighton Lucas, Alan J Kirby, [[Gaston Poulet]], John Russell, [[Eugen Szenkar]], Thornton Lofthouse, Foster Clark, [[Royalton Kisch]], Thomas Scherman and Samuel Rosenheim.<ref>"Opera And Ballet", ''The Times'', 13 March 1954, p. 2 (Lucas); "Croydon Philharmonic Society", ''The Times'', 13 May 1954, p. 9 (Kirby); "London Symphony Orchestra", ''The Times'', 28 June 1954, p. 3 (Poulet); "Opera And Ballet", ''The Times'', 3 July 1954, p. 2 (Russell ); "Opera And Ballet", ''The Times'', 19 March 1955, p. 2 (Szenkar); "Opera And Ballet", ''The Times'', 18 June 1955, p. 2 (Lofthouse); "Opera And Ballet", ''The Times'', 9 February 1957, p. 2 (Clark); "Concerts", ''The Times'', 9 March 1957, p. 2 (Kisch); "Opera And Ballet", ''The Times'', 8 June 1957, p. 2 (Scherman); and "Opera And Ballet", ''The Times'', 5 September 1959, p. 2 (Rosenheim)</ref>|group= n}} A rising conductor of a younger generation, [[Georg Solti]], began working with the LSO; Fleischmann persuaded the management of the [[Vienna Festival]] to engage the LSO with Solti, Stokowski and Monteux for the 1961 Festwochen.<ref>Morrison, p. 136</ref>

[[File:Pierre Monteux, Conductor of the Ballets Russes (c1911-1914) - Gallica (cropped, BW).jpg|thumb|right|upright|Pierre Monteux]]
While in Vienna, Fleischmann persuaded Monteux to accept the chief conductorship of the orchestra. Though 86 years old, Monteux asked for, and received, a 25-year contract with a 25-year option of renewal. He lived for another three years, working with the LSO to within weeks of his death.<ref>[http://lso.co.uk/page/3285/1960s-and-1970s "1960s and 1970s"], London Symphony Orchestra. Retrieved 15 July 2012; and "Opera Ballet and Concerts", ''The Times'', 4 April 1964, p. 2</ref> Members of the LSO believed that in those few years he had transformed the orchestra; Neville Marriner said that Monteux "made them feel like an international orchestra&nbsp;... He gave them extended horizons and some of his achievements with the orchestra, both at home and abroad, gave them quite a different constitution."<ref>Tolansky, John. "Monteux in London", ''Classical Recordings Quarterly'', Autumn 2003, Number 34, pp. 16–19</ref> Announcing Monteux's appointment, Fleischmann added that the LSO would also work frequently with [[Antal Doráti]] and the young [[Colin Davis]].<ref>"Monteux for the L.S.O.", ''The Times'', 16 August 1961, p. 11</ref>

Together with Tuckwell, chairman of the orchestra, Fleischmann worked to create the LSO Trust, a fund to finance tours and provide sick and holiday pay for LSO players, thus ending, as Morrison says, "nearly sixty years of 'no play, no pay'&nbsp;... this was a revolution."<ref>Morrison, p. 140</ref> They also pioneered formal sponsorship by commercial firms: the orchestra's "Peter Stuyvesant" concerts, underwritten by the tobacco company of that name, were given in London, [[Guildford]], [[Bournemouth]], Manchester and [[Swansea]].<ref>"L.S.O. To Visit Manchester", ''The Times'', 28 February 1964, p. 16</ref> The company also sponsored LSO commissions of new works by British composers.<ref>"Four To Write For L.S.O.", ''The Times'', 10 September 1964, p. 8</ref>

In 1964, the LSO undertook its first world tour, taking in Israel, Turkey, Iran, India, Hong Kong, Korea, Japan and the United States. The following year [[István Kertész (conductor)|István Kertész]] was appointed principal conductor.<ref name=lso60s>[http://lso.co.uk/page/3285/1960s-and-1970s "1960s and 1970s"], London Symphony Orchestra. Retrieved 15 July 2012</ref> Negotiations with the Corporation of the City of London with a view to establishing the LSO as the resident orchestra of the planned [[Barbican Centre]] began in the same year.<ref name=lso60s/> In 1966 [[Leonard Bernstein]] conducted the LSO for the first time, in [[Gustav Mahler|Mahler]]'s ''[[Symphony No. 8 (Mahler)|Symphony of a Thousand]]'' at the [[Royal Albert Hall]]. This was another coup for Fleischmann, who had to overcome Bernstein's scorn for the inadequate rehearsal facilities endured by London orchestras.<ref>Morrison, p. 145</ref> Bernstein remained associated with the LSO for the rest of his life, and was its president from 1987 to 1990.<ref name=conductors>[http://lso.co.uk/page/3218/LSO-Principal-Conductors-and-Title-Holders "LSO Principal Conductors and Title Holders"], London Symphony Orchestra. Retrieved 16 July 2012</ref>

Mindful of the enormous success of the [[Philharmonia Chorus]], founded in 1957 by Legge to work with his Philharmonia Orchestra, the LSO decided to establish its own chorus.<ref>Morrison, p. 181</ref> The [[London Symphony Chorus|LSO Chorus]] (later called the London Symphony Chorus) was formed in 1966 under [[John Alldis]] as chorus master.<ref name=lso60s/> Its early years were difficult; Kertész did not get on with Alldis, and there were difficulties within the chorus. Most of its members were amateurs, but at first, they were reinforced by a small number of professionals. This led to disputes over the balance between amateurs and professionals.<ref name="Morrison 182">Morrison, p. 182</ref> There was a brief crisis, after which the professional element was removed, and the LSO chorus became, and remains, an outstanding amateur chorus.<ref name="Morrison 182"/>

By 1967 many in the LSO felt that Fleischmann was seeking to exert too much influence on the affairs of the orchestra, and he resigned.<ref>Morrison, pp. 159–161</ref> Kertész, too, was dispensed with when he sought control of all artistic matters; his contract was not renewed when it expired in 1968.<ref>Morrison, pp. 164–165.</ref> His successor as principal conductor was [[André Previn]], who held the post for 11 years – at 2013 the longest tenure of the post to date.<ref name=lso60s/>

By the Previn era the LSO was being described as the finest of the London orchestras.<ref>Coleman, Terry. "Orchestral life and hard times", ''The Guardian'', 21 July 1969, p. 6</ref> A reviewer of an Elgar recording by one of the other orchestras remarked, "these symphonies really deserve the LSO at its peak."<ref>Fiske, Roger. "Elgar Symphonies", ''Gramophone'', October 1968, p. 52</ref> The implication that the LSO was not always at its peak was illustrated when Sir Adrian Boult, who was recording Elgar and Vaughan Williams with the LSO, refused to continue when he discovered that five leading principals had absented themselves. [[EMI]] took Boult's side, and the orchestra apologised.<ref>"A protest by Sir Adrian", ''The Guardian'', 6 August 1970, p. 1</ref>