Philharmonic Society of Brooklyn

The Philharmonic Society of Brooklyn was formed in 1857^[5][6] under Theodore Eisfeld, who served as its inaugural conductor until 1861. The Philharmonic Society of Brooklyn held concerts at the Athenaeum in Brooklyn Heights, then the largest concert venue in the borough, until it moved to the newly opened Brooklyn Academy of Music in 1861, where it remained until 1891.^[7] The Philharmonic Society of Brooklyn was the driving force in the establishment of BAM.^[8] in 1861 the orchestra was conducted once by Johann Strauss II in 1861 who is said to have impulsively snatched a violin from one of the other players to join in during The Blue Danube.^[9]

After the departure of Eisfeld, Theodore Thomas served as conductor until 1891, a celebrated tenure.^[10] After the departure of Thomas, the Philharmonic Society of Brooklyn no longer sponsored its own orchestra, choosing instead to sponsor the Boston Symphony at BAM, which it did from 1891 onwards and from 1895 in conjunction with the Brooklyn Institute of Arts and Sciences.^[11] After the first BAM burned down on 30 November 1903, the Boston Symphony series was held at the Baptist Hall of the Pilgrim church^[12] until the new BAM opened in 1908.^[13] After 1938 the Philharmonic Society of Brooklyn was "almost nonexistent" and the Brooklyn Institute of Arts and Sciences continued to present the Boston Symphony by itself through the 1972–73 season,^[14] although the Philharmonic Society of Brooklyn continued to sponsor modest chamber music concerts at BAM and elsewhere until the early 1980s.^[15]

Brooklyn Philharmonia

Between 1941 and 1943 a new orchestra was formed called the Brooklyn Symphony Orchestra, an offshoot of the earlier Brooklyn Civic Orchestra, but it was not able to sustain itself and expired after 1943.

Brooklyn Philharmonic

In 1954, the Director of BAM, Julius Bloom, led the incorporation of another new orchestra also known as the "Brooklyn Philharmonia" in concert with noted conductor JM & Siegfried Landau and arts impresario Marks Levin.^[16] Landau gave the orchestra a focus on contemporary and infrequently performed classical music.^[17]

In 1982, the Brooklyn Philharmonia changed its name to the "Brooklyn Philharmonic Orchestra" while under the direction of American composer Lukas Foss, who was well-noted for his "Meet the Moderns" series, having received permission to adopt the name from the then still extant but much diminished Philharmonic Society of Brooklyn.^[1] Although it sometimes claimed to be "one of the oldest living orchestras in the New World,"^[18] it had no organisational connection to the earlier Philharmonic Society of Brooklyn, with which it existed concurrently for almost thirty years.^[15][19]

Foss's successor, Dennis Russell Davies, expanded the orchestra's programming to encompass festival-themed weekend programs.^[20]

Robert Spano, the orchestra's next music director, was credited with markedly improving the sound of the group while continuing its focus on unique programming.^[21] Spano's successor, Michael Christie, added the concept of thematic programming to the orchestra's schedule.^[22] Christie's first Brooklyn Philharmonic concert as music director was in February 2006.^[23] In September 2007, the Brooklyn Philharmonic announced the extension of Christie's contract with the orchestra through the 2009–2010 season, with an evergreen clause to allow for yearly renewal.^[24] His contract with the Brooklyn Philharmonic expired in June 2010.^[25] According to one critic, "the orchestra saw its overall quality fall off drastically under music director Michael Christie."^[26] Faced with daunting deficits and declining subscribership, as well as with Board retirements and resignations, the organisation was forced to cancel the 2010–11 season entirely.^[26]

In 2010, despite these fiscal challenges, the Brooklyn Philharmonic Board and management committed to attempting a rebirth with the hiring of conductor Alan Pierson^[27] as Artistic and music director. Pierson is a founder of the highly regarded ensemble Alarm Will Sound^[28] and a graduate of the Massachusetts Institute of Technology^[29] and the Eastman School of Music.^[30] The orchestra's new focus was to be on Brooklyn itself, its extraordinary diversity, and the excitement of its new status in the world imagination.

For his first season in 2011–12, Pierson conceived three series of programs, each developed with and performed in a specific Brooklyn community: the Downtown Brooklyn series focused on that neighborhood's history, the Brighton Beach series delved into that community's Russian roots and traditions, and the Bed-Stuy series drew on the legacy of rap and DJ artists whom that neighborhood had produced.^[31] Critics responded enthusiastically to the Philharmonic's rebirth, its programming, and its performances: Alex Ross described the orchestra's "first season under Alan Pierson" as "remarkably innovative, perhaps even revolutionary",^[32] and The New York Times praised Pierson's and the Philharmonic's "remarkable," "brilliant" performance, and wrote that on its new path, the Philharmonic "has the potential to be not just a good orchestra but also an important one."^[33] The orchestra's performances around Brooklyn were well attended by enthusiastic audiences, and the 2012–13 season culminated in two sold-out shows at the Brooklyn Academy of Music.^[34] In spite of the Brooklyn Philharmonic's popular and critical success in its two seasons under Pierson, the orchestra was unsuccessful in attracting donor and institutional funding sufficient to maintain its business model.^[2] A WQXR blog post about the Philharmonics financial difficulties noted that "several Philharmonic musicians blame the orchestra's current troubles on the radical shift away from its traditional symphonic formats."^[2] The orchestra again suspended performances in late 2013.

The orchestra's administrative offices were located in the artistic enclave of Dumbo in downtown Brooklyn.^[35]