Sir Thomas Beecham, 2nd Baronet (29 April 1879 – 8 March 1961) was an English conductor and impresario best known for his association with the London Philharmonic and the Royal Philharmonic orchestras. He was also closely associated with the Liverpool Philharmonic and Hallé orchestras. From the early 20th century until his death, Beecham was a major influence on the musical life of Britain and, according to the BBC, was Britain's first international conductor.
Born to a rich industrial family, Beecham began his career as a conductor in 1899. He used his access to the family fortune to finance opera from the 1910s until the start of the Second World War, staging seasons at Covent Garden, Drury Lane and His Majesty's Theatre with international stars, his own orchestra and a wide repertoire. Among the works he introduced to England were Richard Strauss's Elektra, Salome and Der Rosenkavalier and three operas by Frederick Delius.
Together with his younger colleague Malcolm Sargent, Beecham founded the London Philharmonic, and he conducted its first performance at the Queen's Hall in 1932. In the 1940s he worked for three years in the United States, where he was music director of the Seattle Symphony and conducted at the Metropolitan Opera. After his return to Britain, he founded the Royal Philharmonic in 1946 and conducted it until his death in 1961.
Beecham's repertoire was eclectic, sometimes favouring lesser-known composers over famous ones. His specialities included composers whose works were neglected in Britain before he became their advocate, such as Delius and Berlioz. Other composers with whose music he was frequently associated were Haydn, Schubert, Sibelius and the composer he revered above all others, Mozart.
Beecham was born in St Helens, Lancashire (now Merseyside), in a house adjoining the Beecham's Pills laxative factory founded by his grandfather, Thomas Beecham. His parents were Joseph Beecham, the elder son of Thomas, and Josephine, née Burnett. In 1885, with the family firm flourishing financially, Joseph Beecham moved his family to a large house in Ewanville, Huyton, near Liverpool. Their former home was demolished to make room for an extension to the pill factory.
Beecham was educated at Rossall School from 1892 to 1897, after which he hoped to attend a music conservatoire in Germany, but his father forbade it, and instead Beecham went to Wadham College, Oxford to read Classics. He did not find university life to his taste and successfully sought his father's permission to leave Oxford in 1898. He studied as a pianist but, despite his excellent natural talent and fine technique, he had difficulty because of his small hands, and any career as a soloist was ruled out by a wrist injury in 1904. He studied composition with Frederic Austin in Liverpool, Charles Wood in London, and Moritz Moszkowski in Paris. As a conductor, he was self-taught.
Beecham first conducted in public in St. Helens in October 1899, with an ad hoc ensemble comprising local musicians and players from the Liverpool Philharmonic Orchestra and the Hallé in Manchester. A month later, he stood in at short notice for the celebrated conductor Hans Richter at a concert by the Hallé to mark Joseph Beecham's inauguration as mayor of St Helens. Soon afterwards, Joseph Beecham secretly committed his wife to a mental hospital. Thomas and his elder sister Emily helped to secure their mother's release and to force their father to pay annual alimony of £4,500. For this, Joseph disinherited them. Beecham was estranged from his father for ten years.
Beecham's professional début as a conductor was in 1902 at the Shakespeare Theatre, Clapham, with Balfe's The Bohemian Girl, for the Imperial Grand Opera Company. He was engaged as assistant conductor for a tour and was allotted four other operas, including Carmen and Pagliacci. A Beecham biographer calls the company "grandly named but decidedly ramshackle", though Beecham's Carmen was Zélie de Lussan, a leading exponent of the title role. Beecham was also composing music in these early years, but he was not satisfied with his own efforts and instead concentrated on conducting.
In 1906 Beecham was invited to conduct the New Symphony Orchestra, a recently formed ensemble of 46 players, in a series of concerts at the Bechstein Hall in London. Throughout his career, Beecham frequently chose to programme works to suit his own tastes rather than those of the paying public. In his early discussions with his new orchestra, he proposed works by a long list of barely known composers such as Étienne Méhul, Nicolas Dalayrac and Ferdinando Paer. During this period, Beecham first encountered the music of Frederick Delius, which he at once loved deeply and with which he became closely associated for the rest of his life.
Beecham quickly concluded that to compete with the two existing London orchestras, the Queen's Hall Orchestra and the recently founded London Symphony Orchestra (LSO), his forces must be expanded to full symphonic strength and play in larger halls. For two years starting in October 1907, Beecham and the enlarged New Symphony Orchestra gave concerts at the Queen's Hall. He paid little attention to the box office: his programmes were described by a biographer as "even more certain to deter the public then than it would be in our own day". The principal pieces of his first concert with the orchestra were d'Indy's symphonic ballad La forêt enchantée, Smetana's symphonic poem Šárka, and Lalo's little-known Symphony in G minor. Beecham retained an affection for the last work: it was among the works he conducted at his final recording sessions more than fifty years later.
In 1908 Beecham and the New Symphony Orchestra parted company, disagreeing about artistic control and, in particular, the deputy system. Under this system, orchestral players, if offered a better-paid engagement elsewhere, could send a substitute to a rehearsal or a concert. The treasurer of the Royal Philharmonic Society described it thus: "A, whom you want, signs to play at your concert. He sends B (whom you don't mind) to the first rehearsal. B, without your knowledge or consent, sends C to the second rehearsal. Not being able to play at the concert, C sends D, whom you would have paid five shillings to stay away." Henry Wood had already banned the deputy system in the Queen's Hall Orchestra (provoking rebel players to found the London Symphony Orchestra), and Beecham followed suit. The New Symphony Orchestra survived without him and subsequently became the Royal Albert Hall Orchestra.
In 1909, Beecham founded the Beecham Symphony Orchestra. He did not poach from established symphony orchestras, but instead he recruited from theatre bandrooms, local symphony societies, the palm courts of hotels, and music colleges. The result was a youthful team – the average age of his players was 25. They included names that would become celebrated in their fields, such as Albert Sammons, Lionel Tertis, Eric Coates and Eugene Cruft.
Because he persistently programmed works that did not attract the public, Beecham's musical activities at this time consistently lost money. As a result of his estrangement from his father between 1899 and 1909, his access to the Beecham family fortune was strictly limited. From 1907 he had an annuity of £700 left to him in his grandfather's will, and his mother subsidised some of his loss-making concerts, but it was not until father and son were reconciled in 1909 that Beecham was able to draw on the family fortune to promote opera.
From 1910, subsidised by his father, Beecham realised his ambition to mount opera seasons at Covent Garden and other houses. In the Edwardian opera house, the star singers were regarded as all-important, and conductors were seen as ancillary. Between 1910 and 1939 Beecham did much to change the balance of power.
In 1910, Beecham either conducted or was responsible as impresario for 190 performances at Covent Garden and His Majesty's Theatre. His assistant conductors were Bruno Walter and Percy Pitt. During the year, he mounted 34 different operas, most of them either new to London or almost unknown there. Beecham later acknowledged that in his early years the operas he chose to present were too obscure to attract the public. During his 1910 season at His Majesty's, the rival Grand Opera Syndicate put on a concurrent season of its own at Covent Garden; London's total opera performances for the year amounted to 273 performances, far more than the box-office demand could support. Of the 34 operas that Beecham staged in 1910, only four made money: Richard Strauss's new operas Elektra and Salome, receiving their first, and highly publicised, performances in Britain, and The Tales of Hoffmann and Die Fledermaus.