Adrian Boult - Knowledge

993:. In the 1930s the LPO had flourished, but since Beecham's departure in 1940, it had struggled to survive. Boult was well known to the orchestra, having been among the musicians who came to its aid in 1940. He took over as chief conductor of the LPO in June 1950, immediately after leaving the BBC, and threw himself into the task of rebuilding it. In the early years of his conductorship, the finances of the LPO were perilous, and Boult subsidised the orchestra from his own funds for some time. The need to earn money obliged the orchestra to play many more concerts than its rivals. In the 1949–50 season, the LPO gave 248 concerts, compared with 55 by the BBC Symphony Orchestra, 103 by the London Symphony Orchestra, and 32 apiece by the 205: 719: 1380: 378: 581: 28: 976:

must retire at age 60. However, Reith had left the BBC in 1938 and his promise carried no weight with his successors. In 1948 Steuart Wilson was appointed head of music at the BBC, the post previously occupied by Boult and Bliss. He made it clear from the start of his appointment that he intended that Boult should be replaced as chief conductor, and he used his authority to insist on Boult's enforced retirement. The director general of the BBC at the time,

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Brahms, and the Great C major Symphony of Schubert were celebrated in his lifetime and have remained in the catalogues during the three decades after his death. Late in his recording career he recorded four discs of excerpts from Wagner's operas, which received great critical praise. The exceptional breadth of Boult's repertoire has left some well-regarded recordings of works not immediately associated with him, among which are versions of

313:, in which he laid down three precepts for an ideal performance: observance of the composer's wishes, clarity through emphasis on balance and structure, and the effect of music made without apparent effort. These guiding principles lasted throughout his career. He was president of the University Musical Club for the year 1910, but his interests were not wholly confined to music: he was a keen rower, stroking his college boat at 1325:

ruffled by storms of anger. ... here were nights when the physical impact of his conducting was low, and there was little beyond faithfulness to the notes. There were others when precise, sensitive stick technique, loyalty to the composer, selflessness and ability to see the music as a whole, produced results equally satisfying in the classics and the British music he understood so well.

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anyone else. Reith asked him if he wished to take on the chief conductorship, and if so whether he would resign as director of music or occupy both posts simultaneously. Boult opted for the latter. He later said that this was a rash decision, and that he could not have sustained the two roles at once without the efforts of his staff in the music department, which included

1470:. His last period, from the mid-1960s, sometimes referred to as his Indian Summer, was once again with HMV. With his regular collaborators the producer Christopher Bishop and the engineer Christopher Parker he made more than sixty recordings, re-recording much of his key repertoire in stereo. He also added many works to his discography that he had not recorded before. 1262:, "it was when he reached his late seventies that the final and most glorious period of his career developed." He ceased to accept overseas invitations, but conducted in the major British cities, as well as at the Festival and Albert Halls and began what is frequently called his "Indian Summer" in the concert hall and recording studio. He was featured in a 1971 film 940:. Boult strove to maintain standards and morale as he lost key players. Between 1939 and the end of the war, forty players left for active service or other activities. In 1942 Boult resigned as the BBC's director of music, while remaining chief conductor of the BBC Symphony Orchestra. This move, made as a favour to the composer 1119:, which was unusually rewarding for the orchestra, giving it a 10 per cent commission on most sales. On top of this, Boult always contributed his share of the recording fees to the orchestra's funds. In the same year, the LPO survived a crisis when Russell was dismissed as its managing director. He was an avowed member of the 1505:

and other avant-garde composers, the record companies, unlike the BBC, remained cautious about recording him in this repertory, and only a single recording of a Berg piece represents this side of Boult's work. In the core continental orchestral repertoire, Boult's recordings of the four symphonies of

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As an educator, Boult influenced several generations of musicians, beginning with his conducting class at the Royal College of Music, London, which he ran from 1919 to 1930. As no such classes had been held before in Britain, Boult "created its curriculum from out of his own experience. ... From

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After stepping down from the chief conductorship of the LPO, Boult was, for a few years, less in demand in the recording studio and the concert hall. Nevertheless, he was invited to conduct in Vienna, Amsterdam and Boston. In 1964 he made no recordings, but in 1965 he began an association with Lyrita

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began some influential members of the LPO felt that Russell's private political affiliations compromised the orchestra, and pressed for his dismissal. Boult, as the orchestra's chief conductor, stood up for Russell, but when matters came to a head Boult ceased to protect him. Deprived of that crucial

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later said of this period, "The Third Programme could not possibly have had the scope which made it world-famous musically without Boult." Nevertheless, Boult's BBC days were numbered. When he was appointed in 1930, Reith had informally promised him that would be exempt from the BBC's rule that staff

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During the 1930s the BBC Symphony Orchestra became renowned for its high standard of playing and for Boult's capable performances of new and unfamiliar music. Like Henry Wood before him, Boult regarded it as his duty to give the best possible performances of a wide range of composers, including those

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called the playing "altogether magnificent" and said that Boult "deserves an instrument of this fine calibre to work on, and the orchestra deserves a conductor of his efficiency and insight." After the initial concerts Reith was told by his advisers that the orchestra had played better for Boult than

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Forced to leave the BBC in 1950 on reaching retirement age, Boult became principal conductor of the London Philharmonic Orchestra. The orchestra had declined from its peak of the 1930s, but under his guidance its fortunes were revived. He retired as its chief conductor in 1957, and later accepted the

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Of the leading British conductors of his time, Boult was the least sensational but not the least remarkable. He made no attempt to cultivate a public image. He was neither oracle, orator nor professional wit, but he expressed himself with trenchancy, and his gentlemanly self-control was occasionally

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of Brahms. This was well received and led to a series of recordings of Brahms, Wagner, Schubert, Mozart and Beethoven. His repertoire in general was much wider than his discography might suggest. It was a disappointment to him that he was rarely invited to conduct in the opera house, and he relished

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In 1956 Boult and the LPO visited Russia. Boult had not wished to go on the tour because flying hurt his ears, and long land journeys hurt his back. The Soviet authorities threatened to cancel the tour if he did not lead it, and he felt obliged to go. The LPO gave nine concerts in Moscow and four in

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This care for balance was an important feature of Boult's music-making. Orchestral players across decades commented on his insistence that every important part should be heard without difficulty. His BBC principal violist wrote in 1938, "If a woodwind player has to complain that he has already been

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Bowles. When, in the late 1920s, Wilson began to mistreat his wife, Boult took her side. She divorced Wilson in 1931. In 1933, Boult astonished those who knew his notorious shyness with women by marrying her and becoming a much-loved stepfather to her four children; the marriage lasted for the rest

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orchestras. In 1936 and 1937 he headed European tours with the BBC Symphony Orchestra, giving concerts in Brussels, Paris, Zurich, Budapest and Vienna, where they were especially well received. During his BBC years, Boult did not entirely lose contact with the world of opera and his performances of

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was in charge of the conducting class, but Boult's main influence was Nikisch. He later recalled, "I went to all his rehearsals and concerts in the Gewandhaus. ... He had an astonishing baton technique and great command of the orchestra: everything was indicated with absolute precision. But

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whose works were not personally congenial to him. His biographer, Michael Kennedy, writes that there was a very short list of composers whose works Boult refused to conduct, "but it would be difficult to deduce who they were." Boult's pioneering work with the BBC included an early performance of

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The advantage of the Birmingham post was that for the first time in his life Boult not only had his own orchestra, but sole control of programming as well; the only time in his life, he later said, when that was so. The disadvantages were that the orchestra was inadequately funded, the available

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wrote in the same newspaper: "From Nikisch he had early acquired an immaculate stick technique and was quietly scathing about conductors who used their anatomy to indicate their artistic requirements. ... In an occupation ridden with inflated egos and circus tricksters Boult brought a rare

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in March 1920 to "great applause" and "frantic enthusiasm", the composer wrote to him: "With the sounds ringing in my ears I send a word of thanks for your splendid conducting of the Sym. ... I feel that my reputation in the future is safe in your hands." Elgar's friend and biographer, the

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Boult's biographer, Kennedy, gave this summary: "In the music he admired most, Boult was often a great conductor; in the rest, an extremely conscientious one. ... If from behind he seemed unexciting and unemotional, the players could see the animation in his face – and he was capable of

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Although he had worked extensively in the studio for the BBC, Boult had, up to this point, recorded only a part of his large repertoire for the gramophone. With the LPO he began a series of commercial recordings that continued at a varying rate for the rest of his working life. Their first

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of Boult's second London concert, in 1918, said, "Having, apparently, a thorough knowledge of the work, he was content to let it speak for itself without having recourse to those aids to success which are a constant temptation to conductors." Sixty-five years later, in an obituary tribute,

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Boult was a prolific recording artist. Unlike many musicians, he felt at home in the recording studio and actually preferred working without an audience. His recording career stretched from the days of acoustic recording until the beginning of the digital era. His last recording of

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from the City of Birmingham Symphony Orchestra (CBSO), Boult returned as principal conductor of the CBSO for the 1959–60 season. That was his last chief conductorship, though he remained closely associated with the LPO as its president and a guest conductor until his retirement.

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frightening outbursts of temper at rehearsals. Tall and erect, with something of the military in his appearance ... he seemed the personification of the English gentleman. But recipients of his cutting wit and occasional sarcasm knew that this was not the whole picture."

1333:, with first violins on the conductor's left and the seconds on the right. Of the modern layout with all violins on the left, he wrote, "The new seating is, I admit, easier for the conductor and the second violins, but I firmly maintain that the second violins themselves 1355:, sometimes helped by Vaughan Williams who lived a few miles away. From 1962 to 1966 he again taught at the Royal College of Music. In later life, he made time for young conductors who sought his counsel. Among those who studied with or were influenced by Boult were 179:. A modest man who disliked the limelight, Boult felt as comfortable in the recording studio as on the concert platform, making recordings throughout his career. From the mid-1960s until his retirement after his last sessions in 1978 he recorded extensively for 1254:

records, an independent label specialising in British music. In the same year he resumed recording for EMI after a six-year break. Celebrations for his eightieth birthday in 1969 also raised his profile in the musical world. After the death of his colleague

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as a translator (he spoke good French, German and Italian). In his spare time he organised and conducted concerts, some of which were subsidised by his father, with the aims of giving work to orchestral players and bringing music to a wider audience.

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of his life. The enmity it provoked in Wilson had repercussions in Boult's later career. The stigma attached to divorce in Britain in the 1930s affected Wilson's career but not Boult's: Wilson was barred from performing in English cathedrals at the

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Boult admired Nikisch "not so much for his musicianship but his amazing power of saying what he wanted with a bit of wood. He spoke very little". This style was in accord with Boult's opinion that "all conductors should be clad in an invisible

512:'s ballet company. Although Ansermet gave Boult all the help he could in his preparations, there were fourteen ballets in the company's repertory – none of which Boult knew. In only a short period, Boult was required to master such scores as 952:. At the end of the war Boult "found a changed attitude to the orchestra in the upper echelons of the BBC". Reith was no longer director general, and without his backing Boult had to fight hard to restore the orchestra to its pre-war glory. 1005: 980:, was unaware of Wilson's animus against Boult and later acknowledged, in a broadcast tribute to Boult, that he "had listened to ill-judged advice in retiring him." By the time of his retirement in 1950, Boult had made 1,536 broadcasts. 1346:

wrote forty years later, "One of the old school, like Boult, is so refreshing because he will reduce the dynamic level – 'No, no, pianissimo, strings, let the soloist through, less from everyone else.' That is the old idea of balance."

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far better on the right. ... When the new fashion reached us from America somewhere about 1908 it was adopted by some conductors, but Richter, Weingartner, Walter, Toscanini and many others kept what I feel is the right balance."

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s music critic, A. J. Symons, was a constant thorn in Boult's side, and the local concert-going public had conservative tastes. Despite this conservatism, Boult programmed as much innovative music as was practical, including works by

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in 1958, but he died the night before the session took place; Boult recorded a short introduction as a memorial tribute. All these recordings have been reissued on CD. In the 1960s Boult re-recorded the nine symphonies for

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Richard Aldous, in his biography of Malcolm Sargent, alleges that Boult and Ann Wilson were having an affair before her divorce from Wilson, but the source he cites (Kennedy, pp. 81, 111, 161–63) does not corroborate his

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support, Russell was forced out. Kennedy speculates that Boult's change of mind was due to a growing conviction that the orchestra would be "seriously jeopardized financially" if Russell remained in post. A later writer,

279:, writes, "Few schoolboys can have attended as many performances by great artists as Boult heard between 1901 and October 1908, when he went up to Christ Church, Oxford." While still a schoolboy, Boult met the composer 988:

After it became clear that Boult would have to leave the BBC, Thomas Russell, the managing director of the London Philharmonic Orchestra (LPO), offered him the post of principal conductor of the LPO in succession to

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the opportunity to record extensive excerpts from the Wagner operas in the 1970s. Having conducted several ballets at Covent Garden during the 1970s, Boult gave his last public performance conducting Elgar's ballet

875:, widely regarded at the time as the world's leading conductor, conducted the BBC orchestra in 1935 and said that it was the finest he had ever directed. He returned to conduct the orchestra in 1937, 1938 and 1939. 592:

concerts for children, but his participation in the following season was prevented by his appointment in 1924 as conductor of the Birmingham Festival Choral Society. This led to his becoming musical director of the

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were keen to establish a first-class symphony orchestra, and they agreed in principle to do so jointly. Only a small number of core players were recruited before negotiations foundered. Beecham withdrew, and with

481:. Boult conducted the first performance on 29 September 1918 to an invited audience of about 250. Holst later wrote on his copy of the score, "This copy is the property of Adrian Boult who first caused 1473:

Of the British composers, Boult extensively recorded and sometimes re-recorded major works by Elgar and Vaughan Williams. He recorded all eight then-existing symphonies by Vaughan Williams for

183:. As well as a series of recordings that have remained in the catalogue for three or four decades, Boult's legacy includes his influence on prominent conductors of later generations, including 557:, he invited Boult to start a conducting class along the lines of Leipzig – the first such class in England. Boult ran the classes from 1919 to 1930. In 1921 he received a Doctorate of Music. 1406:

medal (jointly with Vaughan Williams) in 1956. He received honorary degrees and fellowships from 13 universities and conservatoires. In 1951 he was invited to be the first president of the

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on 24 June 1978. His final record, completed in December 1978, was of music by Hubert Parry. Boult formally retired from conducting in 1981. He died in London in 1983, aged 93, leaving his

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that first small class has come all the later formal training for conductors throughout Britain." In the 1930s Boult ran a series of "conferences for conductors" at his country house near

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under Sir Henry Wood, and the full BBC Symphony Orchestra gave its first concert on 22 October 1930, conducted by Boult at the Queen's Hall. The programme consisted of music by Wagner,

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died in March 1920, Boult took over. He conducted the orchestra, made up of professional musicians who had served in the Army during the First World War, in a series of concerts at the

110:, and his former orchestra, the BBC Symphony, it was the LPO with which he was primarily associated, conducting it in concerts and recordings until 1978, in what was widely called his " 621:. Such departures from the repertoire expected by the regular concert-goers depressed the box-office takings, requiring subsidies from private benefactors, including Boult's family. 1067:

In January 1951 Boult and the LPO made a tour of Germany, described by Kennedy as "gruelling", with 12 concerts on 12 successive days. The symphonies they played were Beethoven's

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Boult conducted seven of the nine Mahler symphonies well before the Mahler revival of the 1960s: the First, Third, Fourth, Fifth, Seventh, Eighth and Ninth, and he programmed

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After the Russian tour, Boult told the LPO that he wished to step down from the principal conductorship. He continued to be the orchestra's main conductor until his successor

1765:), Wilson's third wife, Margaret, disputes this and says that relations between the two were now amicable, and it was others at the BBC who were pressing for Boult's removal. 451:, bless his heart, has given me a parting present consisting of the Queen's Hall, full of the Queen's Hall Orchestra for the whole of a Sunday morning. So we're going to do 5481: 2288: 5436: 1774:

Boult obtained leave from the BBC to conduct fund-raising concerts for the LPO. Others who came to the aid of the orchestra at that time included Wood, Sargent and

4884: 1425:. The hall was used for classical concerts, other musical performances, and conferences. The hall was demolished in June 2016 as part of a redevelopment project. 5461: 298:, where he was an undergraduate from 1908 to 1912, Boult studied history but later switched to music, in which his mentor was the musical academic and conductor 5441: 741:

commented, "The boast of the B.B.C. that it intended to get together a first-class orchestra was not an idle one" and spoke of "exhilaration" at the playing.

1677: 66:; 8 April 1889 – 22 February 1983) was a British conductor. Brought up in a prosperous mercantile family, he followed musical studies in England and at 944:

to provide a suitable war-time job for him, later came to be Boult's undoing at the BBC. Meanwhile, he made recordings of Elgar's Second Symphony, Holst's

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Boult was added to the magazine's Hall of Fame which recognises musicians who have made a lasting impact on the world of recorded classical music.

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In 1953 Boult once again took charge of the orchestral music at a coronation, conducting an ensemble drawn from UK orchestras at the coronation of

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archive material, accessed 1 March 2010 (subscription required) (Article predating the Kennedy ODNB entry, available in the ODNB's online archive)

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in 1970, Boult was seen as "the sole survivor of a great generation" and a living link with Elgar, Vaughan Williams and Holst. In the words of

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as director of music at the BBC. On taking up the post, Boult and his department recruited enough musicians to bring the complement of the new

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in a series of concerts that included important recent British works. Among them was the première of a revised version of Vaughan Williams's

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Witts's opinion is that it was not Russell but Boult – regarded by some as past his peak – who cost the LPO the Festival Hall residency.

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shipping and the oil trade; Cedric and his family had "a Liberal Unitarian outlook on public affairs" with a history of philanthropy.

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with the principals of the British Symphony Orchestra. In 1921 and 1922 Boult conducted the orchestra in a series of concerts at the

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Boult's recordings fall into three main periods. In the first, from 1920 to the end of the 1940s, he recorded almost exclusively for

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Conversations with Conductors: Bruno Walter, Sir Adrian Boult, Leonard Bernstein, Ernest Ansermet, Otto Klemperer, Leopold Stokowski

5421: 5391: 2007:, A & C Black, 1920–2008; online edition, Oxford University Press, December 2007, accessed 1 March 2010 (subscription required) 3206: 1462:. In the 1950s and early 1960s, he was less in demand by the major labels, and although he made a substantial number of discs for 5451: 4870: 1316: 325: 3633: 2836: 1838:, July 1972, p. 197: "He reveals himself as a 'perfect Wagnerite', and a thrilling one too ... a 'must' for Wagner-lovers". 341:

which makes it possible to enjoy the music without seeing any of the antics that go on". He sang in choral festivals and at the

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The excellence of Boult's orchestra attracted leading international conductors. In its second season guest conductors included

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Michael Kennedy states that Russell "was a member of the Communist Party of Great Britain and made no secret of it"; see p.231

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found a Brahms symphony "rather colourless, imprecise and uninspiring", but praised Boult and the orchestra's performance of

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wrote, "I have heard no other conductor approach performance. ... His newly adopted orchestra responds admirably". In

5476: 5135: 5411: 3709: 3053: 2027: 1414:. In the north choir aisle of Westminster Abbey is a small memorial stone to Boult which was unveiled on 8 April 1984. 1161:. In the same year the orchestra celebrated its 21st birthday, giving a series of concerts at the Festival Hall and the 5232: 5220: 801: 5252: 3602: 3532: 3513: 3494: 3475: 3435: 3397: 3378: 3359: 2970: 1762: 1606: 1570: 1206: 1202: 1153:. In the same year he returned to the Proms after a three-year absence, conducting the LPO. The notices were mixed: 789: 40: 4361: 247:, where he was given a musical upbringing. From an early age he attended concerts in Liverpool, conducted mostly by 98:

post of president. Although in the latter part of his career he worked with several other orchestras, including the

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and became its chief conductor. The orchestra set standards of excellence that were rivalled in Britain only by the

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wrote, "Nobody is better able than Sir Adrian Boult to expound the subtly mingled contents of this master work."

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Boult wrote books about music throughout his career. None were in print at April 2010. They are as follows:

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Boult, p. 202. Kennedy (p. 232) states that there were 11 concerts, but Boult lists 12 dates and venues.

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Boult's first recording includes 14 numbers (out of 19) from the full score, which Boult conducted for

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had, since its premiere nine years earlier, received few performances. When Boult conducted it at the

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Boult took a wide variety of conducting jobs in the years following the war. In 1919, he succeeded

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Just before the Armistice, Gustav Holst burst into my office: "Adrian, the YMCA are sending me to

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Boult was known for his championing of British music. He gave the first performance of his friend

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During this period, Boult accepted some international guest conductorships, appearing with the

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Boult graduated in 1912, with a basic "pass" degree. He continued his musical education at the

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Boult wrote articles on a wide range of musical matters. They include an obituary of Nikisch (

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While at Birmingham Boult had the opportunity to conduct a number of operas, chiefly with the

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made in May 1978 was taped in experimental digital sound, although technical problems led

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In 1909, Boult presented a paper to an Oxford musical group, the Oriana Society, entitled

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Other British composers who feature significantly in Boult's discography include Holst,

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Adrian Boult's orchestral outreach in East London: 'a bit of genuine decentralisation'

1982:, April 1979, p. 1682. The full text of Boult's paper is reproduced in Moore, pp. 1–14 725:, London, headquarters of the BBC, where Boult was director of music from 1930 to 1942 5346: 5304: 5292: 4850: 4831: 4467: 4376: 4234: 3966: 3900: 3879: 3717: 3598: 3581: 3564: 3547: 3528: 3509: 3490: 3471: 3450: 3431: 3412: 3393: 3374: 3355: 2833: 2437: 1922: 1758: 1637: 1620: 1602: 1584: 1566: 1422: 1403: 1383: 1237: 1162: 1048:. The work of the new team was greeted with approval by the reviewers. Of the Elgar, 990: 922: 868: 856: 844: 824: 765: 737: 471: 350: 349:, and other British composers. Later that year Boult joined the musical staff of the 172: 71: 4743: 4690: 4045: 3865: 3627: 1477:

in the 1950s with the LPO, in the presence of the composer. The recording producer,

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in London, where in his free time he attended concerts conducted by, among others,

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Boult's old school, Westminster, has a music centre named in his honour, and the

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During the Second World War the BBC Symphony Orchestra was evacuated first to

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in 1929, had highlighted the relatively poor standards of London orchestras.

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of 1913, where he watched Nikisch conduct. There he made the acquaintance of

244: 144: 111: 3454: 5175: 5108: 5072: 4964: 4958: 4946: 4838: 4817: 4784: 4683: 4599: 4557: 4536: 4529: 4522: 4418: 4059: 3999: 3973: 3947: 3935: 3872: 3551: 2407: 2219: 1831: 1811: 1775: 1624: 1478: 1467: 1379: 1166: 1140: 1056: 1009: 941: 860: 840: 836: 805: 743: 561: 550: 520: 444: 381: 318: 280: 176: 132: 128: 118: 3724: 3638: 3568: 2974: 2436:, October 1930, p. 935. The other concerts were divided between Ansermet, 2226:, October–December 1919. More information with a downloadable .flac file: 1641: 1266:, in which he illustrated his conducting technique with musical examples. 657: 5322: 5120: 5060: 4892: 4343: 4336: 4276: 4199: 4164: 4031: 3954: 3893: 3771: 3618: 2441: 2305: 1723: 1487: 1459: 1452: 1356: 1178: 1143:. During the proceedings, he conducted the first performances of Bliss's 1004: 964: 699:

to 114. A substantial number of these players performed at the 1930

477: 386: 123: 27: 2531:

Cummings, David. "Boult's premières: Problems of Musical Lexicography",

1967:, Oxford University Press, accessed 1 March 2010 (subscription required) 1534:, Vol. 3, No. 2 (April 1922), pp. 117–121); "Casals as Conductor" ( 394:

Boult made his début as a professional conductor on 27 February 1914 at

159:. In his BBC years, he introduced works by foreign composers, including 5340: 5163: 4143: 2228: 773: 692: 434: 395: 256: 164: 5274: 2329: 2275: 1342:

blowing 'fit to burst' there is trouble for somebody." The trombonist

488:

Elgar was another composer who had cause to be grateful to Boult. His

485:

to shine in public and thereby earned the gratitude of Gustav Holst."

4425: 4411: 2215: 1898: 1501:. Despite his reputation as a pioneer in Britain of the works of the 1352: 731: 700: 640:. He also conducted a diverse range of operas from such composers as 514: 415: 329: 237: 580: 377: 4606: 3243:"Farewell, Adrian Boult Hall – Alumni – Birmingham City University" 2321: 1124: 815:

Guest conducting for Boult in the 1930s: from top left, clockwise,

363:, and do "odd jobs with lighting cues" while Nikisch conducted the 359: 338: 220: 21: 1722:, London. His final appearance with the orchestra was at the 1923 1817: 937: 933: 897: 796:'s Concerto for Two Pianos and Orchestra. He introduced Mahler's 778: 429:

Boult was declared medically unfit for active service during the

216: 78:'s ballet company. His first prominent post was conductor of the 67: 1726:

Festival, where Elgar conducted his own arrangement of Parry's "

811: 2553:

Foreman, Lewis. "Webern, the BBC and the Berg Violin Concerto"

2308:(December 1969). "Letters to the Editor: Elgar and Jerusalem". 1269:

At a spare recording session in August 1970 Boult recorded the

636: 2843:. Music in Society Seminar, Institute of British History, 2002 735:

wrote of its "virtuosity" and of Boult's "superb" conducting.

3213:, Westminster School Elizabethan Newsletter, 2011/2012, p. 10 2936:

Greenfield, Edward. "Boult – true servant of the composers",

1518:'s Symphony (recorded in 1959), Dvořák's Cello Concerto with 1201:. Boult's four Moscow programmes included Vaughan Williams's 545:

In 1921, Boult conducted the British Symphony Orchestra for

86:

appointed him director of music in 1930, he established the

5024: 2834:

Boult, Russell & The London Philharmonic Orchestra 1952

2229:"Orchestral – Adrian Boult: The British Symphony Orchestra" 908:

For many years, Boult had been a close friend of the tenor

52: 1240:

took up the post in 1959. After the sudden resignation of

1225:

Symphony. While in Moscow, Boult and his wife visited the

601:

venues (including the Town Hall) were unsatisfactory, the

5151: 673: 180: 83: 1821:

before and after the war, regarding it as a masterpiece.

1617:

The St. Matthew Passion: its preparation and performance

1329:

Boult, unlike many of his contemporaries, preferred the

1165:

in which Boult was joined by guest conductors including

70:, Germany, with early conducting work in London for the 4894:

City of Birmingham Symphony Orchestra music directors

2855:, 8 September 1953, p. 2; and 10 September 1953, p. 2 1561:

Boult on Music: Words from a Lifetime's Communication

1115:

In 1952 the LPO negotiated a five-year contract with

808:

to conduct eight BBC concerts between 1931 and 1936.

788:, and world premières, including Vaughan Williams's 729:

The reviews of the new orchestra were enthusiastic.

58: 55: 49: 1976:Northrop Moore, Jerrold. "Sir Adrian Boult at 90". 1667:

Boult later took an honours degree in music in 1914

333:there were others who were greater interpreters." 5482:Presidents of the Independent Society of Musicians 5276:London Philharmonic Orchestra Principal Conductors 3592: 3463: 1558: 921:but Boult was invited to conduct the orchestra at 302:. Among the musical friends he made at Oxford was 2262:Kalisch, Alfred (1 August 1921). "Opéra Intime". 1902:obituary of Adrian Boult, 24 February 1983, p. 12 1680:with the orchestra from November 1920, including 1466:, he recorded mostly for smaller labels, chiefly 243:When Boult was two years old the family moved to 5437:Members of the Order of the Companions of Honour 5368: 3327:, April 1974, pp. 17–20, and Simeone, pp. 80–96. 2255: 1649: 1398:(CH) in 1969. He received the gold medal of the 588:In 1923 Boult conducted the first season of the 1396:Member of the Order of the Companions of Honour 936:, where it suffered from bombing, and later to 317:, and all his life he remained a member of the 5462:University of Music and Theatre Leipzig alumni 3160: 3158: 2191:"Le donne de buon umore (Scarlatti, Domenico)" 1008:Boult's first recordings with the LPO were of 402:. His programme comprised orchestral works by 5442:People educated at Westminster School, London 5260: 5136: 5010: 4878: 3654: 2932: 2930: 2911: 2909: 2725: 2723: 2659: 2657: 2616: 2614: 2282: 1926:, Vol. 110, No. 1514 (April 1969), pp. 367–68 127:, and introduced new works by, among others, 2708:ODNB; Kennedy p. 215; and Aldous, pp. 156–57 2295:, 16 February 2016. Retrieved 28 April 2019. 691:In 1930 Boult returned to London to succeed 236:and a successful businessman connected with 3668: 3352:Tunes of Glory: The Life of Malcolm Sargent 3155: 2527: 2525: 2523: 2521: 5457:Royal Philharmonic Society Gold Medallists 5267: 5253: 5150: 5143: 5129: 5017: 5003: 4885: 4871: 3661: 3647: 3487:Music and Friends: Letters to Adrian Boult 3406: 3319: 3317: 3315: 3313: 3311: 2927: 2906: 2720: 2654: 2611: 2171:Moore, Jerrold Northrop, in Simeone, p. 63 2102: 2100: 2098: 1920:Sadie, Stanley. "Sir Adrian Boult at 80", 648:in London, a position he held until 1931. 211:, where Boult was an undergraduate 1908–12 2165: 2019: 2017: 2015: 2013: 1581:A Handbook on the Technique of Conducting 651: 3503: 3048: 3046: 2828: 2826: 2518: 1378: 1374: 1003: 810: 717: 579: 418:, interspersed with arias by Mozart and 376: 372: 203: 20: 5387:20th-century British conductors (music) 5026:BBC Symphony Orchestra Chief Conductors 3558: 3461: 3425: 3308: 2304: 2261: 2095: 2036:Oxford Dictionary of National Biography 1955: 1953: 1951: 1949: 1947: 1945: 1943: 1941: 1893: 1891: 1883:Oxford Dictionary of National Biography 1815:in the late 1940s. He conducted Berg's 1410:. In 1959 he was made president of the 5402:Conductors (music) awarded knighthoods 5369: 3522: 3349: 2737: 2735: 2010: 1916: 1914: 1912: 1910: 1908: 1879:"Boult, Sir Adrian Cedric (1889–1983)" 983: 5248: 5124: 4998: 4866: 3642: 3595:Sir Adrian Boult: Companion of Honour 3575: 3484: 3387: 3371:The Royal Ballet – the first 50 years 3368: 3043: 2995:Bishop, Christopher in Simeone, p. 73 2823: 1996: 1994: 1992: 1990: 1988: 1873: 1871: 1869: 1867: 1865: 1863: 1861: 1859: 1857: 1855: 1583:(7th ed.). Oxford: Hall. 1951 . 1310:probity to everything he undertook." 1193:. Boult's assistant conductors were 955:On 29 September 1946 Boult conducted 905:in 1930 were considered outstanding. 772:Op. 31, British premières, including 224: 3593:Simeone, Nigel; Simon Mundy (1980). 3541: 3444: 3253:from the original on 12 October 2017 1959:Crichton, Ronald and José A. Bowen. 1938: 1888: 1538:, Vol. 4 (1923), pp. 149–52); " 785:Three Movements from the Lyric Suite 3323:Ashman, Mike. "Boult Discography", 3283:from the original on 29 April 2015. 2959:, Naxos.com, accessed 2 April 2010. 2732: 1905: 13: 1985: 1852: 1421:included in its home building the 26: 14: 5498: 3612: 3103:Boult, Adrian. "Stereo Strings", 2968:British Film Institute database: 2420:"Wireless Notes and Programmes", 1694:. In June 1921, he conducted for 1601:. London: Hamish Hamilton. 1973. 1025:recordings together were Elgar's 863:, followed, in later seasons, by 398:Public Hall, with members of the 306:, who became a lifelong friend. 4360: 3990: 3957: 3938: 3849: 3809: 3741: 3708: 3485:Moore, Jerrold Northrop (1979). 3449:. Harmondsworth: Penguin Books. 3330: 3296: 3287: 3265: 3235: 3216: 3197: 3185: 3176: 3167: 3146: 3137: 3128: 3119: 3110: 3097: 3084: 3071: 2506:Boult, p. 99 and Kennedy, p. 141 1824: 1455:to release an analogue version. 1229:and were guests at the composer 1102:ballet music, Richard Strauss's 800:to London in 1934, and Bartók's 672:and the director general of the 400:Liverpool Philharmonic Orchestra 351:Royal Opera House, Covent Garden 94:(LPO), founded two years later. 84:British Broadcasting Corporation 45: 5422:English male conductors (music) 5392:Alumni of Christ Church, Oxford 3527:. London: Macdonald and Janes. 3090:Heyworth, Peter. "Sir Adrian", 3034: 3025: 3016: 3007: 2998: 2989: 2971:"The Point of the Stick (1971)" 2962: 2943: 2918: 2897: 2888: 2879: 2870: 2858: 2846: 2814: 2805: 2796: 2787: 2774: 2762: 2753: 2744: 2711: 2702: 2693: 2684: 2675: 2666: 2645: 2632: 2623: 2602: 2593: 2584: 2572: 2560: 2547: 2538: 2509: 2500: 2491: 2479: 2467: 2455: 2427: 2414: 2399: 2390: 2381: 2372: 2363: 2354: 2345: 2336: 2298: 2246: 2208: 2183: 2174: 2152: 2143: 2134: 2122: 2109: 2086: 2077: 2068: 2059: 2050: 2041: 1789: 1780: 1768: 1747: 1737: 1670: 1636:. London: Phoenix House. 1963. 1565:. London: Toccata Press. 1983. 1525: 1412:Royal Scottish Academy of Music 1295: 1092:. The other works were Elgar's 1034:Lieder eines fahrenden Gesellen 5452:People from Crosby, Merseyside 3430:. London: Secker and Warburg. 3040:Kennedy, pp. 287–88 and 294–96 1970: 1929: 1661: 1550:(March 1957, pp. 127–28) 1542:and the Vienna Philharmonic" ( 1419:Royal Birmingham Conservatoire 1248: 626:British National Opera Company 455:, and you've got to conduct." 1: 5417:English justices of the peace 4433:Arturo Benedetti Michelangeli 2001:"Boult, Sir Adrian (Cedric)'" 1845: 1684:, and the first recording of 1650:Notes, references and sources 1435: 1331:traditional orchestral layout 895:at Covent Garden in 1931 and 686:London Philharmonic Orchestra 575: 465:In 1918, Boult conducted the 199: 92:London Philharmonic Orchestra 2025:"Boult, Sir Adrian (Cedric)" 1961:"Boult, Sir Adrian (Cedric)" 1221:as soloist), and Schubert's 595:City of Birmingham Orchestra 194: 108:Royal Philharmonic Orchestra 80:City of Birmingham Orchestra 7: 5477:20th-century male musicians 3523:Previn, André, ed. (1979). 3508:. London: Faber and Faber. 3489:. London: Hamish Hamilton. 3470:. London: Hamish Hamilton. 3428:Putting the Record Straight 3407:Chesterman, Robert (1976). 3392:. London: Hamish Hamilton. 3373:. London: Threshold Books. 2351:Kennedy, pp. 100–03 and 129 1757:, London, Duckworth, 1970, 684:soon established the rival 10: 5503: 5412:English conductors (music) 3634:Westminster School website 3504:Morrison, Richard (2004). 3343: 3094:, 27 February 1983, p. 30. 2557:, September 1991, pp. 2–10 2476:, 1 December 1930, p. 1124 1753:In a biography of Wilson ( 1439: 1428:In the June 2013 issue of 1400:Royal Philharmonic Society 1394:in 1937 and was created a 566:British Symphony Orchestra 5282: 5159: 5103:Jiří Bělohlávek 5032: 4900: 4760: 4707: 4505: 4293: 4009: 3676: 3462:Kennedy, Michael (1987). 3369:Bland, Alexander (1981). 3273:"Gramophone Hall of Fame" 3209:14 September 2014 at the 2940:, 24 February 1983, p. 14 2581:, 10 September 1932, p. 8 2405:"The Promenade Concerts" 1935:Kennedy, pp. 12–16 and 32 1619:. London: Novello. 1949. 950:Job, A Masque for Dancing 790:Symphony No. 4 in F minor 628:, for which he conducted 467:London Symphony Orchestra 311:Some Notes on Performance 100:London Symphony Orchestra 4109:Dietrich Fischer-Dieskau 3630:at Bach Cantatas Website 3559:Russell, Thomas (1944). 3411:. London: Robson Books. 3350:Aldous, Richard (2001). 3305:. September 1981, p. 344 3232:, accessed 31 March 2010 3081:, 24 February 1918, p. 5 3077:"Concerts of the Week", 2651:Kennedy, pp. 162 and 181 2488:, 26 October 1930, p. 14 2464:, 23 October 1930, p. 12 2424:, 22 October 1930, p. 12 2224:Empire, Leicester Square 1682:The Good-Humoured Ladies 1654: 1442:Adrian Boult discography 1233:'s 50th birthday party. 1094:Introduction and Allegro 656:Visits to London by the 584:Boult in the early 1920s 539:The Good-Humoured Ladies 5472:Unitarian Universalists 5467:Members of Leander Club 4763:record label executives 4025:Victoria de los Ángeles 3670:Gramophone Hall of Fame 3597:. London: Midas Books. 3576:Shore, Bernard (1938). 3194:, 19 January 2002, p. 7 2784:, 19 January 1952, p. 3 2782:The Manchester Guardian 2422:The Manchester Guardian 2160:The Pall Mall and Globe 1809:'s rarely staged opera 1320:similarly said of him: 1290:body to medical science 1175:Hans Schmidt-Isserstedt 1057:The Manchester Guardian 948:and Vaughan Williams's 927:coronation of George VI 804:in 1946. Boult invited 508:as musical director of 390:Boult premiered in 1918 37:Sir Adrian Cedric Boult 5447:Musicians from Chester 5397:BBC Symphony Orchestra 5217:Robert Ponsonby (1972) 5208:Richard Howgill (1952) 5182:Victor Hely-Hutchinson 5079:Gennady Rozhdestvensky 3563:. London: Hutchinson. 3426:Culshaw, John (1981). 3388:Boult, Adrian (1973). 3031:Bland, pp. 198 and 232 2867:, October 1953, p. 472 2569:, 27 August 1931, p. 8 2535:, May 1989, pp. 272–75 2030:15 August 2016 at the 1696:Theodore Komisarjevsky 1634:Thoughts on Conducting 1503:Second Viennese School 1387: 1327: 1282:London Festival Ballet 1264:The Point of the Stick 1185:and Vaughan Williams. 1021: 903:Sadler's Wells Theatre 848: 802:Concerto for Orchestra 726: 697:BBC Symphony Orchestra 652:BBC Symphony Orchestra 585: 555:Royal College of Music 457: 391: 304:Ralph Vaughan Williams 212: 104:Philharmonia Orchestra 88:BBC Symphony Orchestra 33: 31: 5407:Decca Records artists 4677:Mstislav Rostropovich 4249:Elisabeth Schwarzkopf 3981:Michael Tilson Thomas 3325:Records and Recording 3228:22 March 2009 at the 3223:Conservatoire website 2839:25 April 2012 at the 2590:11 August 1936, p. 10 2411:, 20 July 1930, p. 12 1520:Mstislav Rostropovich 1382: 1375:Honours and memorials 1322: 1007: 919:Three Choirs Festival 888:New York Philharmonic 814: 721: 660:and particularly the 583: 564:, the founder of the 533:La Boutique fantasque 441: 380: 373:First conducting work 328:in 1912–13. Musician 251:. He was educated at 209:Christ Church, Oxford 207: 30: 24: 5487:BBC music executives 4977:Mirga Gražinytė-Tyla 4761:Producers/engineers/ 4228:Anne Sofie von Otter 3819:Nikolaus Harnoncourt 3580:. London: Longmans. 3578:The Orchestra Speaks 3546:. London: J M Dent. 3445:Hill, Ralph (1951). 3277:www.gramophone.co.uk 3107:, April 1973, p. 378 2955:23 July 2009 at the 2115:Lady Elgar's diary, 1678:number of recordings 1514:(recorded in 1956), 1390:Boult was created a 1209:Symphonies, Holst's 963:, to inaugurate the 553:as principal of the 326:Leipzig Conservatory 234:Justice of the Peace 4751:The Tallis Scholars 4716:Alban Berg Quartett 4454:Sergei Rachmaninoff 4172:Dmitri Hvorostovsky 3840:Herbert von Karajan 3826:Christopher Hogwood 3800:Carlo Maria Giulini 3793:John Eliot Gardiner 3786:Wilhelm Furtwängler 3561:Philharmonic Decade 3506:Orchestra – The LSO 3354:. London: Pimlico. 2977:on 4 September 2009 2915:Kennedy, pp. 244–57 2820:Kennedy, pp. 215–22 2620:Kennedy, pp. 161–63 2369:Kennedy, pp. 107–11 2131:in Moore, pp. 42–43 1877:Kennedy, Michael. 1830:See, for instance, 1799:'s complete ballet 1629:(with Walter Emery) 1256:Sir John Barbirolli 1231:Dmitri Shostakovich 1147:and Walton's march 1134:Royal Festival Hall 1108:, and Stravinsky's 984:London Philharmonic 965:BBC Third Programme 880:Vienna Philharmonic 666:Wilhelm Furtwängler 662:Berlin Philharmonic 287:, a family friend. 232:Cedric Boult was a 229:Barman; d. 1927). 5427:English Unitarians 5154:Directors of Music 4737:The King's Singers 4670:Jean-Pierre Rampal 4642:Anne-Sophie Mutter 4461:Sviatoslav Richter 4358:Marc-André Hamelin 4323:Vladimir Ashkenazy 4053:Montserrat Caballé 3758:Sergiu Celibidache 3542:Reed, W H (1943). 3054:"Sir Adrian Boult" 2083:Kennedy, pp. 61–62 2023:Osborne, Charles. 1965:Grove Music Online 1716:Queen Mary College 1686:George Butterworth 1388: 1317:Grove's Dictionary 1195:Anatole Fistoulari 1044:, and Beethoven's 1022: 999:Royal Philharmonic 912:and his wife Ann, 865:Serge Koussevitzky 849: 727: 723:Broadcasting House 701:Promenade Concerts 670:Sir Thomas Beecham 586: 392: 347:George Butterworth 275:. His biographer, 253:Westminster School 215:Boult was born in 213: 82:in 1924. When the 34: 32: 5362: 5361: 5347:Vladimir Jurowski 5335:Franz Welser-Möst 5305:William Steinberg 5293:Eduard van Beinum 5242: 5241: 5118: 5117: 4992: 4991: 4860: 4859: 4851:Kenneth Wilkinson 4832:Goddard Lieberson 4551:Jacqueline du Pré 4468:Arthur Rubinstein 4377:Vladimir Horowitz 4235:Luciano Pavarotti 3967:Leopold Stokowski 3901:Yevgeny Mravinsky 3880:Charles Mackerras 3718:Leonard Bernstein 3418:978-0-90-389544-6 3204:"Bursar's Report" 3105:The Musical Times 3058:Westminster Abbey 2865:The Musical Times 2780:Cardus, Neville. 2771:, May 1951, p. 17 2638:Kennedy, p. 215, 2544:Boult, pp. 186–87 2533:The Musical Times 2474:The Musical Times 2438:Hermann Scherchen 2434:The Musical Times 2310:The Musical Times 2264:The Musical Times 2047:Chesterman, p. 29 1923:The Musical Times 1730:", including Sir 1706:week at London's 1548:The Musical Times 1544:Music and Letters 1536:Music and Letters 1532:Music and Letters 1423:Adrian Boult Hall 1404:Harvard Glee Club 1384:Adrian Boult Hall 1238:William Steinberg 1163:Royal Albert Hall 991:Eduard van Beinum 978:Sir William Haley 961:Festival Overture 923:Westminster Abbey 869:Willem Mengelberg 857:Felix Weingartner 738:The Musical Times 472:A London Symphony 72:Royal Opera House 16:English conductor 5494: 5432:Knights Bachelor 5269: 5262: 5255: 5246: 5245: 5145: 5138: 5131: 5122: 5121: 5019: 5012: 5005: 4996: 4995: 4935:Andrzej Panufnik 4905:Appleby Matthews 4887: 4880: 4873: 4864: 4863: 4853: 4846: 4841: 4834: 4827: 4820: 4813: 4808: 4801: 4794: 4787: 4780: 4773: 4753: 4746: 4739: 4732: 4725: 4718: 4700: 4693: 4686: 4679: 4672: 4665: 4658: 4651: 4644: 4637: 4630: 4623: 4616: 4609: 4602: 4595: 4588: 4581: 4574: 4567: 4560: 4553: 4546: 4539: 4532: 4525: 4518: 4508:woodwind players 4498: 4491: 4484: 4477: 4470: 4463: 4456: 4449: 4447:Maurizio Pollini 4442: 4435: 4428: 4421: 4414: 4407: 4405:Gustav Leonhardt 4400: 4393: 4386: 4379: 4372: 4365: 4364: 4353: 4346: 4339: 4332: 4325: 4318: 4311: 4304: 4302:Leif Ove Andsnes 4286: 4284:Fritz Wunderlich 4279: 4272: 4265: 4258: 4251: 4244: 4237: 4230: 4223: 4216: 4209: 4202: 4195: 4193:Simon Keenlyside 4188: 4181: 4179:Gundula Janowitz 4174: 4167: 4160: 4153: 4146: 4139: 4137:Nicolai Ghiaurov 4132: 4130:Angela Gheorghiu 4125: 4118: 4116:Kirsten Flagstad 4111: 4104: 4102:Kathleen Ferrier 4097: 4090: 4083: 4081:Feodor Chaliapin 4076: 4069: 4062: 4055: 4048: 4041: 4034: 4027: 4020: 4002: 3995: 3994: 3988:Arturo Toscanini 3983: 3976: 3969: 3962: 3961: 3950: 3943: 3942: 3931: 3924: 3917: 3910: 3903: 3896: 3889: 3887:Neville Marriner 3882: 3875: 3868: 3861: 3854: 3853: 3842: 3835: 3828: 3821: 3814: 3813: 3802: 3795: 3788: 3781: 3774: 3767: 3765:Riccardo Chailly 3760: 3753: 3751:Benjamin Britten 3746: 3745: 3734: 3727: 3720: 3713: 3712: 3701: 3699:Daniel Barenboim 3694: 3687: 3663: 3656: 3649: 3640: 3639: 3608: 3589: 3572: 3555: 3538: 3519: 3500: 3481: 3469: 3458: 3441: 3422: 3403: 3384: 3365: 3337: 3334: 3328: 3321: 3306: 3300: 3294: 3291: 3285: 3284: 3269: 3263: 3262: 3260: 3258: 3239: 3233: 3220: 3214: 3201: 3195: 3189: 3183: 3180: 3174: 3171: 3165: 3162: 3153: 3150: 3144: 3143:Kennedy, p. 182. 3141: 3135: 3132: 3126: 3123: 3117: 3114: 3108: 3101: 3095: 3088: 3082: 3075: 3069: 3068: 3066: 3064: 3050: 3041: 3038: 3032: 3029: 3023: 3020: 3014: 3011: 3005: 3002: 2996: 2993: 2987: 2986: 2984: 2982: 2973:. Archived from 2966: 2960: 2947: 2941: 2934: 2925: 2922: 2916: 2913: 2904: 2901: 2895: 2892: 2886: 2883: 2877: 2874: 2868: 2862: 2856: 2850: 2844: 2832:Witts, Richard. 2830: 2821: 2818: 2812: 2809: 2803: 2800: 2794: 2791: 2785: 2778: 2772: 2766: 2760: 2759:Kennedy, p. 231. 2757: 2751: 2748: 2742: 2739: 2730: 2727: 2718: 2715: 2709: 2706: 2700: 2697: 2691: 2688: 2682: 2679: 2673: 2670: 2664: 2661: 2652: 2649: 2643: 2636: 2630: 2627: 2621: 2618: 2609: 2606: 2600: 2597: 2591: 2588: 2582: 2576: 2570: 2564: 2558: 2551: 2545: 2542: 2536: 2529: 2516: 2513: 2507: 2504: 2498: 2495: 2489: 2483: 2477: 2471: 2465: 2459: 2453: 2431: 2425: 2418: 2412: 2403: 2397: 2394: 2388: 2385: 2379: 2376: 2370: 2367: 2361: 2358: 2352: 2349: 2343: 2340: 2334: 2333: 2302: 2296: 2286: 2280: 2279: 2270:(942): 569–570. 2259: 2253: 2250: 2244: 2243: 2241: 2239: 2212: 2206: 2205: 2203: 2201: 2187: 2181: 2178: 2172: 2169: 2163: 2162:, June 26, 1921. 2158:"Opera Intime", 2156: 2150: 2147: 2141: 2138: 2132: 2126: 2120: 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268 2923: 2919: 2914: 2907: 2903:Kennedy, p. 248 2902: 2898: 2894:Kennedy, p. 244 2893: 2889: 2885:Kennedy, p. 243 2884: 2880: 2875: 2871: 2863: 2859: 2851: 2847: 2841:Wayback Machine 2831: 2824: 2819: 2815: 2810: 2806: 2802:Kennedy, p. 234 2801: 2797: 2792: 2788: 2779: 2775: 2767: 2763: 2758: 2754: 2749: 2745: 2740: 2733: 2729:Kennedy, p. 230 2728: 2721: 2717:Kennedy, p. 222 2716: 2712: 2707: 2703: 2699:Kennedy, p. 215 2698: 2694: 2690:Kennedy, p. 185 2689: 2685: 2681:Kennedy, p. 214 2680: 2676: 2671: 2667: 2663:Kennedy, p. 195 2662: 2655: 2650: 2646: 2637: 2633: 2628: 2624: 2619: 2612: 2607: 2603: 2599:Morrison, p. 74 2598: 2594: 2589: 2585: 2577: 2573: 2565: 2561: 2552: 2548: 2543: 2539: 2530: 2519: 2515:Kennedy, p. 155 2514: 2510: 2505: 2501: 2496: 2492: 2484: 2480: 2472: 2468: 2460: 2456: 2432: 2428: 2419: 2415: 2404: 2400: 2396:Kennedy, p. 139 2395: 2391: 2386: 2382: 2378:Kennedy, p. 138 2377: 2373: 2368: 2364: 2360:Kennedy, p. 113 2359: 2355: 2350: 2346: 2342:Kennedy, p. 100 2341: 2337: 2303: 2299: 2287: 2283: 2260: 2256: 2251: 2247: 2237: 2235: 2227: 2213: 2209: 2199: 2197: 2189: 2188: 2184: 2179: 2175: 2170: 2166: 2157: 2153: 2148: 2144: 2139: 2135: 2127: 2123: 2119:in Moore, p. 42 2114: 2110: 2105: 2096: 2091: 2087: 2082: 2078: 2073: 2069: 2064: 2060: 2055: 2051: 2046: 2042: 2032:Wayback Machine 2022: 2011: 1999: 1986: 1975: 1971: 1958: 1939: 1934: 1930: 1919: 1906: 1896: 1889: 1876: 1853: 1848: 1843: 1842: 1829: 1825: 1794: 1790: 1785: 1781: 1773: 1769: 1752: 1748: 1742: 1738: 1712:People's Palace 1702:'s small-scale 1700:Vladimir Rosing 1675: 1671: 1666: 1662: 1657: 1652: 1632: 1615: 1609: 1597:My Own Trumpet 1595: 1579: 1573: 1557: 1528: 1483:Everest Records 1444: 1438: 1392:Knight Bachelor 1377: 1298: 1286:London Coliseum 1251: 1219:Alfredo Campoli 1215:Violin Concerto 1183:Walter Susskind 1150:Orb and Sceptre 1121:Communist party 1086:and Schubert's 986: 884:Boston Symphony 853:Richard Strauss 829:Richard Strauss 682:Malcolm Sargent 658:Hallé Orchestra 654: 604:Birmingham Post 578: 547:Vladimir Rosing 506:Ernest Ansermet 490:Second Symphony 463: 459: 447:quite soon and 431:First World War 406:, Butterworth, 375: 277:Michael Kennedy 273:Richard Strauss 269:Fritz Steinbach 202: 197: 185:Sir Colin Davis 48: 44: 25: 17: 12: 11: 5: 5500: 5490: 5489: 5484: 5479: 5474: 5469: 5464: 5459: 5454: 5449: 5444: 5439: 5434: 5429: 5424: 5419: 5414: 5409: 5404: 5399: 5394: 5389: 5384: 5379: 5360: 5359: 5357: 5356: 5353:Edward Gardner 5350: 5344: 5338: 5332: 5326: 5320: 5314: 5311:John Pritchard 5308: 5302: 5296: 5290: 5287:Thomas Beecham 5283: 5280: 5279: 5272: 5271: 5264: 5257: 5249: 5240: 5239: 5237: 5236: 5230: 5224: 5218: 5215: 5209: 5206: 5200: 5197:Steuart Wilson 5194: 5188:Kenneth Wright 5185: 5179: 5173: 5167: 5160: 5157: 5156: 5148: 5147: 5140: 5133: 5125: 5116: 5115: 5113: 5112: 5106: 5100: 5094: 5088: 5085:John Pritchard 5082: 5076: 5070: 5064: 5058: 5052: 5049:Rudolf Schwarz 5046: 5040: 5033: 5030: 5029: 5022: 5021: 5014: 5007: 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Robert Fine 4788: 4781: 4778:Bernard Coutaz 4774: 4771:Emile Berliner 4766: 4764: 4758: 4757: 4755: 4754: 4747: 4744:Takács Quartet 4740: 4733: 4726: 4719: 4711: 4709: 4705: 4704: 4702: 4701: 4694: 4691:Andrés Segovia 4687: 4680: 4673: 4666: 4663:Itzhak Perlman 4659: 4656:Emmanuel Pahud 4652: 4649:David Oistrakh 4645: 4638: 4631: 4628:Yehudi Menuhin 4624: 4621:Albrecht Mayer 4617: 4610: 4603: 4596: 4593:Fritz Kreisler 4589: 4582: 4579:Heinz Holliger 4575: 4572:Jascha Heifetz 4568: 4561: 4554: 4547: 4540: 4533: 4526: 4519: 4511: 4509: 4503: 4502: 4500: 4499: 4496:Mitsuko Uchida 4492: 4485: 4482:Artur Schnabel 4478: 4471: 4464: 4457: 4450: 4443: 4440:Murray Perahia 4436: 4429: 4422: 4415: 4408: 4401: 4394: 4391:Wilhelm Kempff 4387: 4380: 4373: 4366: 4354: 4347: 4340: 4333: 4330:Alfred Brendel 4326: 4319: 4312: 4305: 4297: 4295: 4291: 4290: 4288: 4287: 4280: 4273: 4270:Kiri Te Kanawa 4266: 4263:Renata Tebaldi 4259: 4252: 4245: 4242:Leontyne Price 4238: 4231: 4224: 4217: 4214:Birgit Nilsson 4210: 4203: 4196: 4189: 4186:Jonas Kaufmann 4182: 4175: 4168: 4161: 4154: 4151:Thomas Hampson 4147: 4140: 4133: 4126: 4119: 4112: 4105: 4098: 4091: 4088:Joyce DiDonato 4084: 4077: 4070: 4063: 4056: 4049: 4046:Jussi Björling 4042: 4035: 4028: 4021: 4013: 4011: 4007: 4006: 4004: 4003: 3996: 3984: 3977: 3970: 3963: 3951: 3944: 3932: 3929:Trevor Pinnock 3925: 3918: 3915:Eugene Ormandy 3911: 3904: 3897: 3890: 3883: 3876: 3869: 3866:Rafael Kubelík 3862: 3859:Otto Klemperer 3855: 3847:Carlos Kleiber 3843: 3836: 3833:Mariss Jansons 3829: 3822: 3815: 3803: 3796: 3789: 3782: 3775: 3768: 3761: 3754: 3747: 3735: 3728: 3721: 3714: 3706:Thomas Beecham 3702: 3695: 3688: 3685:Claudio Abbado 3680: 3678: 3674: 3673: 3666: 3665: 3658: 3651: 3643: 3637: 3636: 3631: 3625: 3614: 3613:External links 3611: 3610: 3609: 3603: 3590: 3573: 3556: 3539: 3533: 3520: 3514: 3501: 3495: 3482: 3476: 3459: 3442: 3436: 3423: 3417: 3404: 3398: 3390:My Own Trumpet 3385: 3379: 3366: 3360: 3345: 3342: 3339: 3338: 3329: 3307: 3303:The Gramophone 3295: 3286: 3264: 3234: 3215: 3196: 3184: 3175: 3173:Simeone, p. 77 3166: 3154: 3145: 3136: 3134:Simeone, p. 63 3127: 3125:Previn, p. 181 3118: 3109: 3096: 3083: 3070: 3042: 3033: 3024: 3015: 3006: 2997: 2988: 2961: 2942: 2926: 2917: 2905: 2896: 2887: 2878: 2869: 2857: 2845: 2822: 2813: 2804: 2795: 2786: 2773: 2769:The Gramophone 2761: 2752: 2743: 2741:Russell, p. 77 2731: 2719: 2710: 2701: 2692: 2683: 2674: 2665: 2653: 2644: 2631: 2629:Aldous, p. 156 2622: 2610: 2601: 2592: 2583: 2571: 2559: 2546: 2537: 2517: 2508: 2499: 2490: 2478: 2466: 2454: 2426: 2413: 2398: 2389: 2380: 2371: 2362: 2353: 2344: 2335: 2322:10.2307/954527 2316:(1522): 1243. 2297: 2281: 2254: 2245: 2207: 2182: 2173: 2164: 2151: 2142: 2133: 2121: 2108: 2094: 2092:Kennedy, p. 60 2085: 2076: 2067: 2058: 2056:Kennedy, p. 56 2049: 2040: 2009: 1984: 1979:The Gramophone 1969: 1937: 1928: 1904: 1887: 1850: 1849: 1847: 1844: 1841: 1840: 1836:The Gramophone 1823: 1788: 1779: 1767: 1755:English Singer 1746: 1736: 1732:Walford Davies 1669: 1659: 1658: 1656: 1653: 1651: 1648: 1647: 1646: 1630: 1613: 1607: 1593: 1577: 1571: 1527: 1524: 1440:Main article: 1437: 1434: 1376: 1373: 1369:Vernon Handley 1365:Richard Hickox 1361:James Loughran 1344:Raymond Premru 1307:Peter Heyworth 1297: 1294: 1271:Third Symphony 1250: 1247: 1062:Neville Cardus 1051:The Gramophone 1046:First Symphony 1042:Blanche Thebom 985: 982: 969:Third Symphony 910:Steuart Wilson 867:, Beecham and 798:Ninth Symphony 758:Kenneth Wright 754:Julian Herbage 677:Sir John Reith 653: 650: 577: 574: 440: 424:Agnes Nicholls 384:, whose suite 374: 371: 343:Leeds Festival 285:Frank Schuster 265:Arthur Nikisch 261:Claude Debussy 257:Sir Henry Wood 201: 198: 196: 193: 189:Vernon Handley 15: 9: 6: 4: 3: 2: 5499: 5488: 5485: 5483: 5480: 5478: 5475: 5473: 5470: 5468: 5465: 5463: 5460: 5458: 5455: 5453: 5450: 5448: 5445: 5443: 5440: 5438: 5435: 5433: 5430: 5428: 5425: 5423: 5420: 5418: 5415: 5413: 5410: 5408: 5405: 5403: 5400: 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major 1085: 1082:, Schumann's 1081: 1077: 1075: 1070: 1065: 1063: 1059: 1058: 1053: 1052: 1047: 1043: 1040: 1039:mezzo-soprano 1036: 1035: 1030: 1029: 1019: 1015: 1011: 1006: 1002: 1000: 996: 992: 981: 979: 974: 970: 966: 962: 958: 953: 951: 947: 943: 939: 935: 930: 928: 924: 920: 915: 911: 906: 904: 900: 899: 894: 889: 885: 881: 876: 874: 870: 866: 862: 858: 854: 846: 842: 838: 834: 830: 826: 822: 818: 813: 809: 807: 803: 799: 795: 791: 787: 786: 781: 780: 775: 771: 767: 761: 759: 755: 751: 746: 745: 740: 739: 734: 733: 724: 720: 716: 714: 710: 706: 702: 698: 694: 689: 687: 683: 678: 675: 671: 667: 663: 659: 649: 647: 643: 639: 638: 633: 632: 627: 622: 620: 616: 612: 607: 605: 598: 596: 591: 582: 573: 571: 570:Kingsway Hall 567: 563: 558: 556: 552: 548: 543: 541: 540: 535: 534: 529: 528: 523: 522: 517: 516: 511: 507: 502: 500: 495: 491: 486: 484: 480: 479: 474: 473: 468: 462: 456: 454: 450: 446: 439: 436: 432: 427: 425: 421: 417: 414:, Wagner and 413: 409: 405: 401: 397: 389: 388: 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Allen 4000:Bruno Walter 3974:George Szell 3948:Fritz Reiner 3936:Simon Rattle 3873:James Levine 3739:Adrian Boult 3738: 3628:Adrian Boult 3619:Adrian Boult 3594: 3577: 3560: 3543: 3524: 3505: 3486: 3466:Adrian Boult 3465: 3446: 3427: 3408: 3389: 3370: 3351: 3332: 3324: 3302: 3298: 3293:Boult, p. 98 3289: 3276: 3267: 3255:. Retrieved 3246: 3237: 3218: 3199: 3192:The Guardian 3191: 3187: 3178: 3169: 3148: 3139: 3130: 3121: 3116:Shore, p. 52 3112: 3104: 3099: 3092:The Observer 3091: 3086: 3079:The Observer 3078: 3073: 3061:. Retrieved 3057: 3036: 3027: 3018: 3009: 3000: 2991: 2979:. Retrieved 2975:the original 2964: 2945: 2938:The Guardian 2937: 2920: 2899: 2890: 2881: 2872: 2864: 2860: 2852: 2848: 2816: 2807: 2798: 2789: 2781: 2776: 2768: 2764: 2755: 2746: 2713: 2704: 2695: 2686: 2677: 2668: 2647: 2639: 2634: 2625: 2604: 2595: 2586: 2578: 2574: 2566: 2562: 2554: 2549: 2540: 2532: 2511: 2502: 2497:Boult, p. 99 2493: 2486:The Observer 2485: 2481: 2473: 2469: 2461: 2457: 2433: 2429: 2421: 2416: 2408:The Observer 2406: 2401: 2392: 2387:Reid, p. 204 2383: 2374: 2365: 2356: 2347: 2338: 2313: 2309: 2306:Parrott, Ian 2300: 2293:The Guardian 2292: 2284: 2267: 2263: 2257: 2252:Boult, p. 48 2248: 2236:. Retrieved 2232: 2220:Ballet Russe 2210: 2198:. Retrieved 2194: 2185: 2180:Boult, p. 53 2176: 2167: 2159: 2154: 2149:Boult, p. 79 2145: 2140:Reed, p. 130 2136: 2128: 2124: 2116: 2111: 2106:Boult, p. 35 2088: 2079: 2074:Moore, p. 19 2070: 2065:Boult, p. 46 2061: 2052: 2043: 2035: 2004: 1977: 1972: 1964: 1931: 1921: 1897: 1882: 1835: 1832:Deryck Cooke 1826: 1816: 1812:Doktor Faust 1810: 1800: 1791: 1782: 1776:Eileen Joyce 1770: 1754: 1749: 1739: 1708:Aeolian Hall 1704:Opera Intime 1703: 1689: 1681: 1672: 1663: 1633: 1616: 1599: 1596: 1580: 1560: 1552: 1547: 1543: 1535: 1531: 1529: 1526:Bibliography 1511: 1492: 1479:John Culshaw 1472: 1457: 1448: 1445: 1429: 1427: 1416: 1389: 1386:, Birmingham 1349: 1340: 1334: 1328: 1323: 1315: 1312: 1302:The Observer 1301: 1300:A review in 1299: 1296:Musicianship 1275: 1268: 1263: 1260:The Guardian 1259: 1252: 1235: 1222: 1210: 1199:George Hurst 1187: 1167:Paul Kletzki 1158: 1154: 1148: 1145:Processional 1144: 1141:Elizabeth II 1138: 1114: 1109: 1103: 1097: 1088: 1073: 1066: 1055: 1049: 1032: 1026: 1023: 1001:orchestras. 995:Philharmonia 987: 972: 960: 954: 949: 945: 942:Arthur Bliss 931: 913: 907: 896: 892: 877: 861:Bruno Walter 850: 821:Koussevitzky 806:Anton Webern 783: 777: 769: 762: 750:Edward Clark 744:The Observer 742: 736: 730: 728: 690: 655: 635: 629: 623: 602: 599: 590:Robert Mayer 587: 562:Raymond Roze 559: 544: 537: 531: 527:Scheherazade 525: 521:The Firebird 519: 513: 503: 494:Queen's Hall 487: 482: 476: 470: 464: 460:Adrian Boult 458: 452: 442: 428: 393: 385: 382:Gustav Holst 364: 358: 335: 323: 319:Leander Club 310: 308: 289: 281:Edward Elgar 249:Hans Richter 242: 231: 214: 122: 119:Gustav Holst 116: 96: 36: 35: 18: 5382:1983 deaths 5377:1889 births 5323:Georg Solti 5061:Colin Davis 4344:Glenn Gould 4337:Emil Gilels 4277:Bryn Terfel 4200:Emma Kirkby 4165:Hans Hotter 4032:Janet Baker 3955:Georg Solti 3894:Zubin Mehta 3772:Colin Davis 2981:12 November 2750:Hill, p. 50 2442:Oskar Fried 2005:Who Was Who 1724:Aberystwyth 1449:The Planets 1357:Colin Davis 1249:Later years 1213:, Walton's 1211:The Planets 1179:Georg Solti 1159:The Planets 1123:; when the 1078:, Brahms's 1031:, Mahler's 946:The Planets 893:Die Walküre 845:Weingartner 770:Variations, 709:Saint-Saëns 631:Die Walküre 483:The Planets 478:The Planets 453:The Planets 387:The Planets 294:college at 124:The Planets 5371:Categories 5341:Kurt Masur 5164:Percy Pitt 4144:Tito Gobbi 3677:Conductors 3447:Music 1951 1846:References 1744:statement. 1512:Ouvertures 1436:Recordings 1430:Gramophone 1096:, Holst's 1071:, Haydn's 825:Mengelberg 774:Alban Berg 766:Schoenberg 693:Percy Pitt 646:Bach Choir 615:Stravinsky 576:Birmingham 499:W. 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