Conductor Sir Thomas Beecham was born into wealth; his father, Sir Joseph Beecham, was the manufacturer of "Beecham's Pills," an all-purpose remedy very popular in Britain. More importantly, though, Sir Joseph was also a lover of music and exposed his son to it from an early age; happily, he raised no objection to Thomas' pursuit of a musical career.
After both formal and autodidactic training, Beecham made his professional debut as a symphony conductor in 1905 with members of the Queen's Hall Orchestra. When he wanted an orchestra to conduct full time, he simply used the resources of the family fortune to start one, which he led for a number of years. In 1910 Beecham began producing operas as a private impresario; he brought to the stage the British premieres of Strauss' Salome and Elektra, and operas by Delius. He founded the Beecham Opera Company, mainly made of British singers, in 1915.
However, even a fortune the size of his could not keep pace with the expenses of such activities. He was declared bankrupt in 1919 and withdrew from music to put his financial affairs into order. Having recovered by 1923, he returned to the podium, and his conducting career soon flourished. In 1928 he made his American debut with the New York Philharmonic; characteristic of his championing of Delius, he founded a festival dedicated to the music of that composer in 1929.
In 1932, Beecham, dissatisfied with the standards of the orchestral scene, founded the London Philharmonic Orchestra, staffing it with the finest players. It quickly became a top-rank ensemble and successfully toured the Continent. He became artistic director at Covent Garden in 1932, and ruled there in his customary autocratic manner. When the war began, Beecham toured the United States and Australia. He was appointed music director and conductor of the Seattle Symphony Orchestra (1941-1943) and was a frequent guest conductor at the Metropolitan Opera Company until he returned to England in 1944.
Upon his arrival in England, Beecham discovered that the orchestras there weren't overly enthusiastic at the prospect of working permanently in proximity to his withering tongue and dictatorial manner. Even the London Philharmonic Orchestra, with a new charter that permitted it to make some of its own decisions, showed little interest in having him at the helm full-time. So, typically, Beecham founded a new orchestra in 1946 -- the Royal Philharmonic Orchestra -- and maintained his relationship with this group for the remainder of his career.
Beecham had already made a notable number of recordings before World War II. With the coming of the LP record after the war, and into the beginning of the stereo era, he recorded frequently. His recordings of Mozart, Haydn, Handel (he did not like Bach), Delius, Mendelssohn, Berlioz, and Sibelius are particularly esteemed; his recordings of Carmen and Madama Butterfly remain classics.
