4 - Conducting the Philharmonic Society of London(1888–1900s): Frederic Cowen and Alexander Mackenzie

Summary

Rumour has been particularly busy during the last few days regarding the name of Sir Alexander Mackenzie's successor in the conductor's chair of the Philharmonic Society. Most of the better-known conductors in London have been mentioned in turn or together, and yet the final choice remains as uncertain as ever. As things go at present the position can scarcely be said to be an inviting one. A musician of very high standing, who has a love of music in his heart, and desires to maintain the honoured name of the Philharmonic concerts, has practically to fight single-handed against all the controlling forces of that body. The famous orchestra is almost entirely composed of most accomplished musicians, but however accomplished they may be separately this is not the thing. The efficiency of an orchestra depends not upon a ‘scratch’ and haphazard scrambling through of a programme, but upon thorough previous rehearsal, and ample opportunity of playing together, neither of which the officers of the Philharmonic Society at present afford.

‘From our London Correspondent’, LMy (1899)

[The conductor] should never put himself into contortions, or perform gymnastics, or otherwise render himself absurdly conspicuous on the platform, but should endeavour to cultivate a quiet, forcible, and dignified demeanour. The secret of good conducting does not lie in gesticulation but in the power to control others intellectually and artistically.

F. H. Cowen, ‘The Art of Conducting’ (1910)

From the late 1880s and into the new century the conductorship of the Philharmonic Society of London passed from Frederic Cowen to Alexander Mackenzie and back again. Cowen was conductor between 1888 and 1892, when he resigned his post following a very public misunderstanding. Under Mackenzie's conductorship in the years 1893 to 1899 the Philharmonic Society moved from St James's Hall and, from 1894, used the new Queen's Hall. Then, in the 1900 to 1907 seasons, Cowen was reappointed.

A fascinating tale of push and pull lies behind these bare facts. Individual beliefs struggled against internal institutional constraints while external competition was colouring artistic direction and reception ever more strongly. The pressure of Continental exemplars was making itself felt and the growing taste for specialist conductors was intensifying. Conductors were increasingly expected to provide thoughtful and convincing interpretations, as institutions, practitioners and press alike faced challenging new repertoire.