Philharmonia make a pitch for the LSO audience

People leaving the Barbican last night after the opening Rattle LSO concert faced a row of freesheet hustlers trying to thrust the Philharmonia’s season programme into their hands.

This opportunistic gesture may backfire.

All the who’s who of British arts were at the Rattle concert.

They, like me, may have thought the Philharmonia pitch smacked of desperation.



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  • They have always done this as have others it’s just to publicise what they are doing not trying to take over the Barbican – daft!

    Glad everyone who was anyone was there – god help us!

  • What’s the problem here ? You have a large group of genuine music lovers leaving the place and most of them would be interested in the Phil’s news. So what harm it doing ?

    • There’s too much online information available, and it’s passive. Putting a physical leaftlet in somebody’s hands sounds very enterprising and is probably very effective.

      • Exactly – anyone who’s worked in arts marketing will tell you that getting a piece of print into a potential customer’s hands is more effective than hoping they’ll stumble on your product online.

        • Yes, even BPO sends us a catalog (very beautiful with a lot of pictures) of Digital Concert Hall by post ! If it’s not effective, why they send a paper catalog for the promotion of online concerts?

  • Seems like totally normal procedure to me. If you’ve not noticed this happening before you’re not going to enough concerts!

  • Allow me to start a conversation on the LSO and Rattle. Is it really such a great orchestra? I would consider the LPO and the Philarmonia and their respective music directors of higher artistic quality. In some respects a visit to the Barbican may be more interesting if the BBCSO is on the podium. Too mich empty hype with the LSO and Rattle.

  • This isn’t a zero-sun game; it isn’t as if people would decide to attend LSO concerts OR Philharmonia ones, and never the twain shall meet.

    Speaking personally, I’d want to know absolutely everything being offered in town, so as to take advantage of as many musical events as possible.

    And yes, getting a printed brochure or broadsheet is far preferable to outputting an ink-jet copy at home. A whole lot better.

  • It’s a broad church; I hope London orchestras are more charitable about it. FWIW the Philharmonia has two young conductors on its books as guest principals, Jakub Hrusa and Santtu-Matias Rouvali, who would have made far more exciting choices at the head of LSO than the Big Name (Ticciati would have been a good gamble too). And I’d still be more excited by any concert which Esa-Pekka Salonen conducts than one from Rattle, for all his admirable programming.

    • I so much agree! I like Rattle and the LSO is a fine orchestra, but the way the media go on about them you’d think no other conductor existed. Esa-Pekka is in a different league. (Plus a fine composer).

      • I heard a story from Scandinavians the other night that Esa-Pekka, Kaija Saariaho and Magnus Lindberg (some say Kari Kriikku) literally cast lots for who should be the composer who would become a conductor to represent their music, and EPS drew the short (or long!) straw. Yes, his music is alive.

  • I have always felt that The Philharmonia is the finest of the London orchestras. I have many of their recordings from Klemperer and von Karajan up through more recent CDs with Dohnanyi. All superb in my opinion.

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