Its name is forever linked with Handel and Haydn, and it enjoys an international reputation as the best concert hall outside London. But, sadly, Oxford’s Holywell Music Room is struggling to keep pace with the 21st century.

Its lack of space and modern facilities is distinctly off-putting to performers and audiences alike, while those admiring its gleaming white frontage may be surprised to learn that its original façade was a much more impressive, Palladian-style entrance.

This, and the 19th century railings that faced onto Holywell Street, have long since vanished. The only thing to recommend the Holywell these days, it seems, is the superb acoustic quality for which it is justly famous.

Designed by Thomas Caplin, the vice-principal of St Edmund’s Hall, the music room officially opened in 1748, after many years of fund-raising, and it is not difficult to imagine the delight with which it was greeted by the city’s music-lovers. Its elegant interior, with its curved apse, high ceiling and absence of obtrusive columns, was widely admired, and became a model for other concert halls around Europe, notably the Wigmore in London, St Cecilia’s Hall in Edinburgh and the first Gewandhaus in Leipzig. The magnificent chandeliers were added later, a gift from King George IV.

The opening of the Holywell Music Room revolutionised Oxford’s music scene. Until then, music in Oxford existed primarily in college chapels and halls, particularly those at Christ Church, Magdalen and New College, and in various city taverns.

The Holywell was removed from these male-dominated worlds, and was one of the first music venues regarded as a socially acceptable place to take a lady.

Most importantly, though, it provided a home for the Oxford Musical Society, which by the beginning of the 18th century had 16 performing and 16 non-performing members, and needed a permanent base — not just for concerts, but also to store its collection of instruments and scores.

The society soon established a permanent orchestra and choir at the Music Room, and their regular Monday evening concerts became very popular. Later on, some Monday evening concerts were replaced with the quarterly choral nights. From 1776, the choral concerts in the Easter and Michaelmas terms were replaced with ‘grand miscellaneous concerts’.

Some of the most fashionable stars of the day appeared as soloists, many of them well known to London audiences. Among these were Signora Nancy Storace, the original Susannah in The Marriage of Figaro, and Francesco Benucci, the original Guglielmo in Cosi Fan Tutte. Soon Oxford was enjoying a reputation as one of the most prestigious musical cities outside London.

The orchestra itself attracted a number of distinguished musicians, including violinists John Baptist Malchair and Paul Alday, both of whom served as leader during the latter half of the 18th century, and cellist Joseph Reinagle Jnr. Orchestra members were expected to be resident in Oxford, and many became organists, college choristers, teachers or musical instrument-makers to supplement their income. One William Woodcock, a viola player, was also described as “Organist and Singing Man of New College’ and ‘Singing Man of Magdalen’.

Another source of income was to compose their own music, and many of the orchestra musicians had their work premiered at the Holywell.

Since those early days, the Holywell has continued to attract top musicians from all over the world, as well as nurturing the fledgling talents of many who have gone on to international stardom.

In 1950, a 22-year-old Colin Davis was invited to conduct Don Giovanni, prompting music critic David Cairns to comment: “No subsequent experience in my life has quite equalled that Don Giovanni”. Much later, a young Jack Gibbons played regularly at the Holywell during his early career, and still regards it as his spiritual home, while the Oxford Chamber Music Society and Oxford Lieder Festival regularly draw in performers of international repute.

Now the Holywell is entering a new phase in its remarkable history, which will restore much of its 18th century charm while at the same time equipping it for 21st century audiences and performers.

Architect John Melvin has drawn up plans to reinstate the original frontage, doorcase and entrance hall, along with the 19th century railings, and this forms phase one of the project, with work expected to start this August. Phase two, a much longer-term project, will see the basement extended to allow space for a foyer, bar, green room, seminar room and music library. There will also be a new staircase and lift added to the eastern side, and the hard benches in the auditorium replaced with more comfortable seating.

The appeal fund, established last autumn, aims to raise £3m, of which £1m will form an endowment to provide for the Holywell’s future. So far, a number of colleges and charitable trusts have made generous donations, and Blackwell’s will be promoting the appeal in its Broad Street shops, with a number of exciting projects lined up for this summer.

The realisation of the plans for the Holywell may take a while, but there is no doubt that, once completed, this gem of a building will once more regarded as one of Europe’s premier concert halls, and will continue to attract world-class musicians into the city.