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
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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
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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
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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,
22:
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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
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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.
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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.
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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
1481:, wrote that the composer "said very little during the sessions because he was totally in favour of Sir Adrian's approach to his music." Vaughan Williams was to have been present for the first recording of his Ninth symphony, for
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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
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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.
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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
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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.
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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.
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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
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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
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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.
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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
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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
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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)
1132:, suggests that Boult sacrificed Russell because he believed doing so would enhance the LPO's chance of being appointed resident orchestra at the
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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.
501:, wrote that Boult's performance of Elgar's neglected work brought "the grandeur and nobility of the work" to wider public attention.
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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
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2007:, A & C Black, 1920–2008; online edition, Oxford University Press, December 2007, accessed 1 March 2010 (subscription required)
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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
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325:
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1838:, July 1972, p. 197: "He reveals himself as a 'perfect Wagnerite', and a thrilling one too ... a 'must' for Wagner-lovers".
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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
967:. For this innovative cultural channel, Boult was concerned in pioneering ventures including the British premiere of Mahler's
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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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79:
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wrote, "I have heard no other conductor approach performance. ... His newly adopted orchestra responds admirably". In
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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
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1153:. In the same year he returned to the Proms after a three-year absence, conducting the LPO. The notices were mixed:
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247:, where he was given a musical upbringing. From an early age he attended concerts in Liverpool, conducted mostly by
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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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475:, a performance which was "rather spoilt by a Zeppelin raid". His best-known première of this period was Holst's
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597:, where he remained in charge for six years, attracting widespread attention with his adventurous programmes.
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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
223:, the second child and only son of Cedric Randal Boult (1853–1950), and his wife, Katharine Florence (
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Boult took a wide variety of conducting jobs in the years following the war. In 1919, he succeeded
248:
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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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715:. Of the 21 programmes in the orchestra's first season, Boult conducted nine and Wood five.
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1371:. The last was not only a pupil of Boult, but acted as his musical assistant on many occasions.
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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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1978:
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433:, and until 1916 he served as an orderly officer in a reserve unit. He was recruited by the
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549:'s Opera Week at Aeolian Hall. He also took on an academic post. When Hugh Allen succeeded
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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
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1048:. The work of the new team was greeted with approval by the reviewers. Of the Elgar,
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349:, and other British composers. Later that year Boult joined the musical staff of the
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in the 1950s with the LPO, in the presence of the composer. The recording producer,
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353:, where his most important work was to assist with the first British production of
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in London, where in his free time he attended concerts conducted by, among others,
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1522:(1958), and a pioneering recording of Mahler's Third Symphony taped live in 1947.
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1699:
1546:, Vol. 32, No. 3 (July 1951), pp. 256–57); and an obituary of Toscanini for
1482:
1417:
Boult's old school, Westminster, has a music centre named in his honour, and the
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1885:, Oxford University Press, 2004, accessed 1 March 2010. (subscription required)
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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
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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:
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1143:. During the proceedings, he conducted the first performances of Bliss's
1004:
964:
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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:
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2329:
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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:
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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:
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2796:
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2491:
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2143:
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2086:
2077:
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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:
2113:
2107:
2104:
2093:
2090:
2084:
2081:
2075:
2072:
2066:
2063:
2057:
2054:
2048:
2045:
2039:
2021:
2008:
1998:
1983:
1974:
1968:
1957:
1936:
1933:
1927:
1918:
1903:
1895:
1886:
1875:
1839:
1828:
1822:
1807:Ferruccio Busoni
1802:Daphnis et Chloé
1793:
1787:
1784:
1778:
1772:
1766:
1751:
1745:
1741:
1735:
1691:A Shropshire Lad
1674:
1668:
1665:
1645:
1628:
1612:
1592:
1576:
1564:
1402:in 1944 and the
1277:The Sanguine Fan
1242:Andrzej Panufnik
1099:The Perfect Fool
873:Arturo Toscanini
551:Sir Hubert Parry
510:Sergei Diaghilev
461:
449:Balfour Gardiner
228:
153:Vaughan Williams
76:Sergei Diaghilev
65:
64:
61:
60:
57:
54:
51:
5502:
5501:
5497:
5496:
5495:
5493:
5492:
5491:
5367:
5366:
5363:
5358:
5329:Klaus Tennstedt
5317:Bernard Haitink
5278:
5273:
5243:
5238:
5227:Nicholas Kenyon
5203:Herbert Murrill
5155:
5149:
5119:
5114:
5097:Leonard Slatkin
5043:Malcolm Sargent
5028:
5023:
4993:
4988:
4896:
4891:
4861:
4856:
4849:
4844:
4837:
4830:
4823:
4816:
4811:
4804:
4797:
4790:
4783:
4776:
4769:
4762:
4756:
4749:
4742:
4735:
4730:Beaux Arts Trio
4728:
4723:Amadeus Quartet
4721:
4714:
4703:
4696:
4689:
4682:
4675:
4668:
4661:
4654:
4647:
4640:
4635:Nathan Milstein
4633:
4626:
4619:
4614:Wynton Marsalis
4612:
4605:
4598:
4591:
4586:Steven Isserlis
4584:
4577:
4570:
4565:Arthur Grumiaux
4563:
4556:
4549:
4544:Kyung Wha Chung
4542:
4535:
4528:
4521:
4514:
4507:
4501:
4494:
4489:Grigory Sokolov
4487:
4480:
4473:
4466:
4459:
4452:
4445:
4438:
4431:
4424:
4417:
4410:
4403:
4396:
4389:
4382:
4375:
4368:
4356:
4351:Friedrich Gulda
4349:
4342:
4335:
4328:
4321:
4314:
4309:Martha Argerich
4307:
4300:
4289:
4282:
4275:
4268:
4261:
4256:Joan Sutherland
4254:
4247:
4240:
4233:
4226:
4219:
4212:
4205:
4198:
4191:
4184:
4177:
4170:
4163:
4156:
4149:
4142:
4135:
4128:
4121:
4114:
4107:
4100:
4095:Plácido Domingo
4093:
4086:
4079:
4072:
4065:
4058:
4051:
4044:
4039:Cecilia Bartoli
4037:
4030:
4023:
4016:
4005:
3998:
3986:
3979:
3972:
3965:
3953:
3946:
3934:
3927:
3922:Antonio Pappano
3920:
3913:
3906:
3899:
3892:
3885:
3878:
3871:
3864:
3857:
3845:
3838:
3831:
3824:
3817:
3807:Bernard Haitink
3805:
3798:
3791:
3784:
3779:Gustavo Dudamel
3777:
3770:
3763:
3756:
3749:
3737:
3730:
3723:
3716:
3704:
3697:
3692:John Barbirolli
3690:
3683:
3672:
3667:
3615:
3605:
3535:
3516:
3497:
3478:
3438:
3419:
3400:
3381:
3362:
3346:
3341:
3340:
3336:Culshaw, p. 121
3335:
3331:
3322:
3309:
3301:
3297:
3292:
3288:
3271:
3270:
3266:
3256:
3254:
3241:
3240:
3236:
3230:Wayback Machine
3221:
3217:
3211:Wayback Machine
3202:
3198:
3190:
3186:
3182:Kennedy, p. 261
3181:
3177:
3172:
3168:
3164:Kennedy, p. 251
3163:
3156:
3151:
3147:
3142:
3138:
3133:
3129:
3124:
3120:
3115:
3111:
3102:
3098:
3089:
3085:
3076:
3072:
3062:
3060:
3052:
3051:
3044:
3039:
3035:
3030:
3026:
3022:Kennedy, p. 270
3021:
3017:
3013:Kennedy, p. 169
3012:
3008:
3004:Kennedy, p. 336
3003:
2999:
2994:
2990:
2980:
2978:
2969:
2967:
2963:
2957:Wayback Machine
2950:"Boult, Adrian"
2948:
2944:
2935:
2928:
2924:Kennedy, p. 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:
4999:
4990:
4989:
4987:
4986:
4980:
4974:
4971:Andris Nelsons
4968:
4962:
4956:
4950:
4944:
4938:
4932:
4929:Rudolf Schwarz
4926:
4920:
4914:
4908:
4901:
4898:
4897:
4890:
4889:
4882:
4875:
4867:
4858:
4857:
4855:
4854:
4847:
4842:
4835:
4828:
4821:
4814:
4812:Alain Lanceron
4809:
4802:
4795:
4792:C. 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:
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4214:Birgit Nilsson
4210:
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4186:Jonas Kaufmann
4182:
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4151:Thomas Hampson
4147:
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4105:
4098:
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4088:Joyce DiDonato
4084:
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4046:Jussi Björling
4042:
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3996:
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3929:Trevor Pinnock
3925:
3918:
3915:Eugene Ormandy
3911:
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3897:
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3883:
3876:
3869:
3866:Rafael Kubelík
3862:
3859:Otto Klemperer
3855:
3847:Carlos Kleiber
3843:
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3833:Mariss Jansons
3829:
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3613:External links
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3303:The Gramophone
3295:
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3196:
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3173:Simeone, p. 77
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3125:Previn, p. 181
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1979:The Gramophone
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1365:Richard Hickox
1361:James Loughran
1344:Raymond Premru
1307:Peter Heyworth
1297:
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1250:
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1062:Neville Cardus
1051:The Gramophone
1046:First Symphony
1042:Blanche Thebom
985:
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969:Third Symphony
910:Steuart Wilson
867:, Beecham and
798:Ninth Symphony
758:Kenneth Wright
754:Julian Herbage
677:Sir John Reith
653:
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424:Agnes Nicholls
384:, whose suite
374:
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343:Leeds Festival
285:Frank Schuster
265:Arthur Nikisch
261:Claude Debussy
257:Sir Henry Wood
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1475:Decca Records
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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:
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500:
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491:
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473:
468:
462:
456:
454:
450:
446:
439:
436:
432:
427:
425:
421:
417:
414:, Wagner and
413:
409:
405:
401:
397:
389:
388:
383:
379:
370:
368:
367:
362:
361:
356:
352:
348:
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331:
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305:
301:
297:
293:
292:Christ Church
288:
286:
282:
278:
274:
270:
266:
262:
258:
254:
250:
246:
245:Blundellsands
241:
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186:
182:
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138:
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130:
126:
125:
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115:
113:
112:Indian summer
109:
105:
101:
95:
93:
89:
85:
81:
77:
73:
69:
63:
42:
38:
29:
23:
19:
5364:
5299:Adrian Boult
5298:
5233:Roger Wright
5190:
5176:Arthur Bliss
5170:Adrian Boult
5169:
5109:Sakari Oramo
5091:Andrew Davis
5073:Rudolf Kempe
5055:Antal Doráti
5037:Adrian Boult
5036:
4965:Sakari Oramo
4959:Simon Rattle
4947:Hugo Rignold
4941:Adrian Boult
4940:
4911:Adrian Boult
4910:
4839:Richard Mohr
4825:Edward Lewis
4818:Walter Legge
4785:John Culshaw
4684:Jordi Savall
4600:Gidon Kremer
4558:James Galway
4537:Pablo Casals
4530:Julian Bream
4523:Dennis Brain
4419:Dinu Lipatti
4294:Keyboardists
4060:Maria Callas
4018:Thomas 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. H. Reed
497:violinist
435:War Office
396:West Kirby
300:Hugh Allen
200:Early life
173:Schoenberg
169:Stravinsky
4845:Ted Perry
4708:Ensembles
4426:Radu Lupu
4412:Lang Lang
3725:Karl Böhm
3586:499119110
3525:Orchestra
3247:bcu.ac.uk
2853:The Times
2579:The Times
2567:The Times
2462:The Times
2216:Diaghilev
1899:The Times
1728:Jerusalem
1589:155756343
1353:Guildford
1191:Leningrad
1155:The Times
1037:with the
1020:(bottom).
1018:Beethoven
973:The Times
929:in 1937.
833:Toscanini
776:'s opera
732:The Times
515:Petrushka
416:Hugo Wolf
330:Hans Sitt
238:Liverpool
195:Biography
5191:(acting)
4607:Yo-Yo Ma
3623:AllMusic
3455:26147349
3281:Archived
3251:Archived
3226:Archived
3207:Archived
2953:Archived
2837:Archived
2028:Archived
1468:Pye Nixa
1280:for the
1125:Cold War
1110:Firebird
1105:Don Juan
1076:, No 104
1028:Falstaff
925:for the
619:Bruckner
445:Salonika
422:sung by
412:Schumann
360:Parsifal
339:Tarnhelm
283:through
221:Cheshire
4010:Singers
3552:8858707
3344:Sources
2222:at the
2200:29 June
1818:Wozzeck
1625:1547942
1508:Berlioz
1495:Ireland
1460:HMV/EMI
1284:at the
1069:Seventh
1012:(top),
959:'s new
957:Britten
938:Bedford
934:Bristol
898:Fidelio
817:Beecham
779:Wozzeck
642:Purcell
369:cycle.
217:Chester
149:Tippett
145:Rootham
137:Britten
68:Leipzig
5355:(2021)
5349:(2007)
5343:(2000)
5337:(1990)
5331:(1983)
5325:(1979)
5319:(1967)
5313:(1962)
5307:(1958)
5301:(1950)
5295:(1947)
5289:(1932)
5235:(1998)
5229:(1992)
5223:(1985)
5214:(1959)
5205:(1950)
5199:(1948)
5193:(1946)
5184:(1944)
5178:(1942)
5172:(1930)
5166:(1924)
5111:(2013)
5105:(2006)
5099:(2000)
5093:(1989)
5087:(1982)
5081:(1978)
5075:(1976)
5069:(1971)
5063:(1967)
5057:(1962)
5051:(1957)
5045:(1950)
5039:(1930)
4985:(2023)
4979:(2016)
4973:(2008)
4967:(1998)
4961:(1980)
4955:(1969)
4949:(1960)
4943:(1959)
4937:(1957)
4931:(1951)
4925:(1944)
4919:(1930)
4913:(1924)
4907:(1920)
3601:
3584:
3569:941577
3567:
3550:
3531:
3512:
3493:
3474:
3453:
3434:
3415:
3396:
3377:
3358:
3063:13 May
2640:et seq
2330:954527
2328:
2276:910014
2274:
2238:18 May
2233:Jolyon
2129:Quoted
2117:quoted
1761:
1642:892145
1640:
1623:
1605:
1587:
1569:
1516:Franck
1499:Walton
1217:(with
1203:Fourth
1084:Fourth
1074:London
1014:Mahler
886:, and
841:Webern
837:Walter
794:Bartók
705:Brahms
664:under
637:Otello
611:Mahler
408:Mozart
355:Wagner
315:Henley
296:Oxford
271:, and
177:Webern
161:Bartók
157:Walton
141:Delius
106:, the
102:, the
3544:Elgar
3257:7 May
2555:Tempo
2326:JSTOR
2272:JSTOR
2195:IMSLP
1797:Ravel
1718:) in
1655:Notes
1464:Decca
1335:sound
1207:Fifth
1080:First
1010:Elgar
713:Ravel
560:When
420:Verdi
133:Bliss
129:Elgar
3599:ISBN
3582:OCLC
3565:OCLC
3548:OCLC
3529:ISBN
3510:ISBN
3491:ISBN
3472:ISBN
3451:OCLC
3432:ISBN
3413:ISBN
3394:ISBN
3375:ISBN
3356:ISBN
3259:2018
3065:2022
2983:2010
2448:and
2240:2019
2202:2019
1805:and
1759:ISBN
1698:and
1638:OCLC
1621:OCLC
1603:ISBN
1585:OCLC
1567:ISBN
1540:Rosé
1367:and
1205:and
1197:and
1016:and
997:and
859:and
792:and
782:and
756:and
711:and
634:and
617:and
536:and
404:Bach
366:Ring
187:and
175:and
165:Berg
155:and
74:and
5152:BBC
3621:at
2318:doi
2314:110
2218:'s
1688:'s
1510:’s
1488:EMI
1453:EMI
914:née
901:at
768:'s
674:BBC
542:.
426:.
357:'s
290:At
226:née
181:EMI
121:'s
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5373::
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