To begin, musical borrowing has a long history, spanning classical music well before what we'd call "orchestral composers," or even the idea of permission being especially relevant. One textbook example is that "L'Homme Arme," a song well-known across Europe was used as the starting point for a number of masses spanning both the 15th and 16th centuries. I've written elsewhere in this subreddit about how JS Bach borrowed a lot of melodies from his predecessors a century or two later. Mozart also famously wrote a set of variations on Twinkle, Twinkle Little Star.

But even if this answers the question in your title line, it doesn't answer the question in the body of the post. JS Bach precedes the modern idea of "orchestral music," and quite likely the idea of music ownership. I'm no scholar of copyright law, so I can't comment there, but the very idea of a "musical work" as something to be left for the ages is quite recent, dating from the same 19th-century Germany that gave us the idea of the "orchestral composer." (I've talked a bit about this on another sub.) Likewise, both of my examples above referenced music that was already in common circulation, whether on the street or in church. With folksongs, who was there to even ask permission from?

So we might narrow down the question to: are there situations where a composer, when writing a piece for orchestra, included material from another composer? The answer is again yes. It's hard to make any sweeping generalizations, but most of the ones I know of are of current composers borrowing from much older, or at least more established, composers---in a sense, using their music to claim their own legitimacy as an heir to the "great masters," or some such rhetoric. A few examples:

From the 19th century:

• Johannes Brahms' Haydn Variations: the opening is a chorale theme allegedly by Haydn (it turned out to not be), and the rest is a set of variations on the melody and chords.

• Anton Arensky's Variations on a Theme by Tchaikovsky starts with a rearrangement of a Tchaikovsky song for voice and piano, and then has variations, much like the above.

From the 20th century (and a bit after), with more of a twige of irony:

• Charles Ives makes extensive use of borrowing, to the extent that one of the prominent scholars of his music (Peter Burkholder) is also the author of perhaps the single most seminal article on musical borrowing. This example quotes from hymns, though, so it's not as fitting an example.

• Igor Stravinsky, after mostly borrowing from Russian Folksongs, turned to 18th-century music and wrote a full opera (Pulcinella) that follows an entire 18th-century composition, with attribution, fairly strictly, with increasing amounts of alteration into his own musical language.

• Michael Gordon, in 2006, wrote Rewriting Beethoven's Seventh Symphony, which keeps many of Beethoven's landmark moments but replaces the details with slides.

If we were to extend the field to borrowings from folksongs, or popular music, or jazz, the list would be much longer, but I'm trying to take your question a bit more literally.