Long the leader of the Concertgebouw Orchestra in Amsterdam, conductor Bernard Haitink was widely regarded as one of the finest conductors of the 20th century. He was known for meticulous but exciting performances of a wide variety of orchestral repertory, and he also conducted opera.

Haitink was born in Amsterdam on March 4, 1929. His father was a municipal electricity executive, and his mother was an employee of the local Alliance Française. Haitink began his career as a violinist, studying the violin at the Amsterdam Conservatory and also taking some conducting lessons. For several years, he played the violin in the Netherlands Radio Philharmonic, but he switched to conducting in the mid-1950s, taking lessons with Ferdinand Leitner. Named second conductor with the Netherlands Radio Union, he led four different ensembles before being promoted to principal conductor of the Netherlands Radio Philharmonic in 1957. A substitute appearance for the ailing Carlo Maria Giulini at the Concertgebouw Orchestra led to frequent guest appearances with that group and finally to Haitink's appointment as principal conductor in 1961, at first jointly with Eugen Jochum, and then, in 1963, as sole principal conductor.

Recordings of orchestral and concerto repertory with Haitink leading the Concertgebouw Orchestra were staples of the Philips label catalog, and later, those of Decca and EMI, through much of the later LP era, and well into those of CDs and online reproduction. Haitink also served as the music director of the London Philharmonic from 1967 to 1979 and made recordings with that group as well. His recordings focused on 19th century Romantic repertory but extended back to Mozart and into the 20th century, featuring composers as diverse as Ravel, Shostakovich, and Vaughan Williams. In the vast works of Wagner and Bruckner, his control and precision were nonpareil. Haitink was quite active as an opera conductor in Britain, where he took up residence. He was the music director of the Glyndebourne Festival from 1977 to 1988 and of the Royal Opera House, Covent Garden, in London from 1987 to 2002, recording both French and German opera with these groups. In 1988, Haitink resigned from his conductorship at the Concertgebouw in frustration over government cutbacks; he returned to conducting there after a reconciliation several years later and continued to appear with the group until shortly before his retirement in 2019. He also guest conducted widely with European groups, including the Berlin Philharmonic and Vienna Philharmonic, as well as the Boston Symphony, where he was named principal guest conductor. Haitink remained active, in the Netherlands, Britain, and elsewhere, through several decades of senior citizen status.

Haitink's recordings number over 450. He continued to record through his eighties, making a new recording of Beethoven's Symphony No. 9 in D minor, Op. 125 ("Choral") with the Sinfonieorchester des Bayerischen Rundfunks in 2019, just days before his 90th birthday. In that year, he announced his retirement, making his final Proms appearance in London with the Vienna Philharmonic on September 3, 2019, marking his 90th Proms appearance. His final appearance came three days later with that orchestra in Lucerne, Switzerland. New releases and reissues of Haitink performances continued uninterrupted; a live recording of Haitink's last Amsterdam appearance, in Bruckner's Symphony No. 7 with the Netherlands Radio Philharmonic, was released just days before his death on October 21, 2021, at his home in London. Haitink was the holder of an honorary British knighthood and was a member of the House Order of Orange-Nassau, an honor bestowed by the Dutch queen. ~ James Manheim

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

Lars Vogt enjoyed a meteoric rise after capturing second prize at the 1990 Leeds International Piano Competition. He managed to straddle two worlds in the process, that of soloist/recitalist and that of chamber player. He regularly appeared with front-rank orchestras across the globe and on the recital stages at major venues while founding a chamber music festival and making numerous recordings devoted to chamber works. Vogt's taste in repertory was unusually broad, taking in not only the German sphere (Haydn, Mozart, Beethoven) but also a veritable potpourri (Dvorák, Saint-Saëns, Stravinsky) as well as contemporary composers (Erkki-Sven Tüür, Volker David Kirchner). He possessed a powerful technique and a chameleonic interpretive persona that together allowed him to capture the subtleties and negotiate the challenges presented by this vast array of composers.

Vogt was born in the German town of Düren on September 8, 1970. He studied piano in Aachen with Ruth Weiss and at the Hochschule für Musik und Theater in Hannover with Karl-Heinz Kämmerling. After his victory at the 1990 Leeds Competition, Vogt launched his international career, touring throughout Europe and eventually the Americas and Asia. His first recording was an acclaimed 1992 EMI album of works by Haydn, Schubert, Brahms, and Lachenmann. A Haydn piano sonata release followed in 1994, as well as several others later in the decade. In the new century, Vogt made a spate of successful recordings, many in the chamber genre.

The impetus for much of his chamber activity dates to the founding of the Spannungen Festival in 1998, where he served as artistic director for a time. Vogt recorded numerous albums with musicians appearing at the event, held every June in Heimbach. He collaborated with violinist Christian Tetzlaff in the Brahms sonatas, with clarinetist Sabine Meyer in Brahms and Berg works, and with cellist Boris Pergamenschikov in Brahms and Schumann fare.

In the early 2000s, Vogt developed a close relationship with the Berlin Philharmonic Orchestra and conductor Simon Rattle, becoming the group's first-ever pianist-in-residence. In that capacity, he appeared in five concerts. Vogt secured his first orchestral directorship post in 2015 when he became the music director of the Royal Northern Sinfonia. He remained in this position until 2020 but continued his association with the orchestra as principal artistic partner. That year, he became the music director of the Orchestre de Chambre de Paris. In 2021, Vogt was diagnosed with cancer and was open about his condition, describing how he continued to play piano throughout -- even during treatments -- and found comfort in the solo piano music of Brahms. The following year, Vogt joined his daughter, Isabelle, for the album Schumann, R. Strauss: Melodramas, and he led the Orchestre de Chambre de Paris from the keyboard on a recording of Mendelssohn's works for piano and orchestra. Vogt died of cancer on September 5, 2022, three days before his 52nd birthday. He is survived by his wife, violinist Anna Reszniak, and three children. ~ Robert Cummings