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divorce him. The breach between Muriel and Wood also caused his estrangement from their daughters. In 1934 he began a happy relationship with a widowed former pupil, Jessie Linton, who had sung for him frequently in the past under her professional name of Jessie
Goldsack. One of Wood's players recalled, "She changed him. He had been badly dressed, awful clothes. Jessie got him a new evening suit, instead of the mouldy green one, and he flourished yellow gloves and a cigar ... he became human." As Wood was not free to remarry, she changed her name by deed poll to "Lady Jessie Wood" and was generally assumed by the public to be Wood's wife. In his memoirs, Wood mentioned neither his second marriage nor his subsequent relationship.
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associate conductor to relieve him of some of the burden. Basil
Cameron undertook the task and remained a Prom conductor until his retirement, aged eighty, in 1964. The BBC brought its symphony orchestra back to London and resumed its backing of the Proms in 1942; Boult joined Cameron as Wood's associate conductor during that season. In early 1943, Wood's health deteriorated, and two days after the start of that year's season, he collapsed and was ordered to have a month in bed. Despite wartime vicissitudes, the 1943 season sold nearly 250,000 tickets, with an average audience of about 4,000 – many more than could have fitted into the Queen's Hall.
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only not hissing because it was laughing, and the remaining third seemed too puzzled either to laugh or to hiss; so that on the whole it does not look as if
Schoenberg has so far made many friends in London." However, when Wood invited Schoenberg himself to conduct the work's second British performance, on 17 January 1914, the composer was so delighted with the result, more appreciatively received than had been the premiere, that he congratulated Wood and the orchestra warmly: "I must say it was the first time since Gustav Mahler that I heard such music played again as a musician of culture demands."
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attempted to prevent anyone who wished to perform at the Queen's Hall from broadcasting for the BBC. This affected many of the artists whom Wood and Newman needed for the Proms. The matter was unresolved when Newman died in 1926. Shortly afterwards, Boosey announced that
Chappell's would no longer support concerts at the Queen's Hall. The prospect that the Proms might not be able to continue caused widespread dismay, and there was a general welcome for the BBC's announcement that it would take over the running of the Proms, and would also run a winter series of symphony concerts at the Queen's Hall.
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Society described it thus: "A, whom you want, signs to play at your concert. He sends B (whom you don't mind) to the first rehearsal. B, without your knowledge or consent, sends C to the second rehearsal. Not being able to play at the concert, C sends D, whom you would have paid five shillings to stay away." After a rehearsal in which Wood was faced with a sea of entirely unfamiliar faces in his own orchestra, Newman came on the platform to announce: "Gentlemen, in future there will be no deputies; good morning." Forty players resigned en bloc and formed their own orchestra: the
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1041:, who appeared at the Proms as a composer-conductor in 1921 and 1922. Wood encouraged him to abandon thoughts of a career as a pianist and to concentrate on conducting. Wood further showed his interest in the future of music by taking on the conductorship of the student orchestra at the Royal Academy of Music in 1923, rehearsing it twice a week, whenever possible, for the next twenty years. In the same year, he accepted the conductorship of the amateur Hull Philharmonic Orchestra, travelling three times a year until 1939 to rehearse and conduct its concerts.
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the US, and there was a campaign to ban all German music from concerts. Newman put out a statement declaring that German music would be played as planned: "The greatest examples of Music and Art are world possessions and unassailable even by the prejudices and passions of the hour." When Speyer left
Britain, the music publishers Chappell's took on the responsibility for the Queen's Hall and its orchestra. The Proms continued throughout the war years, with fewer major new works than before, although there were nevertheless British premieres of pieces by
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the players, but financial support from the Proms. Wood determined that the 1940 season would nevertheless go ahead. The Royal
Philharmonic Society and a private entrepreneur, Keith Douglas, agreed to back an eight-week season, and the London Symphony Orchestra was engaged. The season was curtailed after four weeks, when intense bombing forced the Queen's Hall to close. The last Prom given at the Queen's Hall was on 7 September 1940. In May 1941, the hall was destroyed by bombs.
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363:. His first sustained work as a conductor was his 1889 appointment as musical director of a small touring opera ensemble, the Arthur Rouseby English Touring Opera. The company was not of a high standard, with an orchestra of only six players augmented by local recruits at each tour venue. Wood eventually negotiated a release from his contract, and after a brief return to teaching he secured a better appointment as conductor for the
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bought sets of the orchestral parts and marked them all with minutely detailed instructions to the players; secondly he developed a clear and expressive conducting technique. An orchestral cellist wrote that "if you watched him, you couldn't come in wrong." The violist
Bernard Shore wrote, "You may be reading at sight in public, but you can't possibly go wrong with
1742:, composed a poem of six verses in his honour, entitled "Sir Henry Wood", often referred to by its first line, "Where does the uttered music go?". Walton set it to music as an anthem for mixed choir; it received its first performance on 26 April 1946 at St Sepulchre's, on the occasion of a ceremony unveiling a memorial stained-glass window in Wood's honour.
193:, who allowed him into the organ loft and gave him his first lessons on the instrument. Cooper died when Wood was seven, and the boy took further lessons from Cooper's successor, Edwin M. Lott, for whom Wood had much less regard. At the age of ten, through the influence of one of his uncles, Wood made his first paid appearance as an organist at
418:. At that time the operatic conductor was not seen as an important figure, but the critics who chose to mention the conducting gave Wood good reviews. The work was not popular with the public, and the season was cut short when Lago absconded, leaving the company unpaid. Before that debacle, Wood had also conducted performances of
237:. Wood's ambition at the time was to become a teacher of singing, and he gave singing lessons throughout his life. He attended the classes of as many singing teachers as he could, although by his own account, "I possess a terrible voice. Garcia said it would go through a brick wall. In fact, a real conductor's voice."
117:, offering a mixture of classical and popular music at low prices. The series was successful, and Wood conducted annual promenade series until his death in 1944. By the 1920s, Wood had steered the repertoire entirely to classical music. When the Queen's Hall was destroyed by bombing in 1941, the Proms moved to the
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His orchestral players affectionately nicknamed him "Timber" – more than a play on his name, since it seemed to represent his reliability too. His tally of first performances, or first performances in
Britain, was heroic: at least 717 works by 357 composers. Greatness as measured by finesse
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some 50 miles (80 km) away, where Wood continued to conduct. He was taken ill in early August and was unable to conduct the fiftieth anniversary Prom on 10 August; he was forbidden by his doctor even to listen to its broadcast. Wood died just over a week later on 19 August at
Hitchin Hospital in
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In
September 1939, the Second World War broke out and the BBC immediately put into effect its contingency plans to move much of its broadcasting away from London to places thought less susceptible to bombing. Its musical activities, including the orchestra, moved to Bristol. The BBC withdrew not only
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As Wood's working life took a turn for the better, his domestic life started to deteriorate. During the early 1930s, he and his wife gradually became estranged, and their relationship ended in bitterness, with Muriel taking most of Wood's money and, for much of the time, living abroad. She refused to
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The promenade concerts flourished through the 1890s, but in 1902 Newman, who had been investing unwisely in theatrical presentations, found himself unable to bear the financial responsibility for the Queen's Hall Orchestra and was declared bankrupt. The concerts were rescued by the musical benefactor
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at the Opera Comique. It ran from March until July 1896, leaving Wood enough time to prepare the second Queen's Hall season, which began at the end of August. The season was so successful that Newman followed it with a winter season of Saturday night promenade concerts, but despite being popular they
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rather than ballads from Chappell's. For Wood, the greatest benefit was that the BBC gave him twice as much rehearsal time as he had previously enjoyed. He now had a daily rehearsal and extra rehearsals as needed. He was also allowed extra players when large scores called for them, instead of having
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After the war, the Proms continued much as before. The second halves of concerts still featured piano-accompanied songs rather than serious classical music. Chappell's, having taken over sponsorship of the Proms and spent ÂŁ35,000 keeping the Queen's Hall going during the war, wished to promote songs
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Throughout the early part of the century, Wood was influential in changing the habits of concertgoers. Until then it had been customary for audiences at symphony or choral concerts to applaud after each movement or section. Wood discouraged this, sometime by gesture and sometimes by specific request
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to London concertgoers. By the end of the first decade of the new century, however, Wood's reputation in conducting British music was in no doubt; he gave the world, British or London premieres of more than a hundred British works between 1900 and 1910. Meanwhile, he introduced his audiences to many
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Orchestras, believing it his duty to serve music in the United Kingdom. In addition to the Proms, he conducted concerts and festivals throughout the country and also trained the student orchestra at the Royal Academy of Music. He had an enormous influence on the musical life of Britain over his long
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as soloist. When the microphone and electrical recording were introduced in 1925, Wood re-recorded the Elgar concerto, with Sammons, and made 36 other discs for Columbia over the next nine years. The 1929 recording of the Elgar concerto has been reissued on compact disc and is well regarded by some
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It was immediately agreed that the 1941 season of Proms should be held at the Albert Hall. It was twice the size of the Queen's Hall, with poor acoustics, but a six-week series was judged a success, and the Albert Hall remained the home of the Proms. Wood, aged seventy-two, was persuaded to have an
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wrote after the performance: "It is not often that an English audience hisses the music it does not like, but a good third of the people at Queen's Hall last Tuesday permitted themselves that luxury after the performance of the five orchestral pieces of Schoenberg. Another third of the audience was
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Wood had great sympathy for rank-and-file orchestral players and strove for improvements in their pay. He sought to raise their status and was the first British conductor to insist that the orchestra should stand to acknowledge applause along with the conductor. He introduced women into the Queen's
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higher than that used on the continent, and Cathcart regarded it as damaging for singers' voices. Wood, from his experience as a singing teacher, agreed. As members of Wood's brass and woodwind sections were unwilling to buy new low-pitched instruments, Cathcart imported a set from Belgium and lent
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at South Kensington with his father, Wood was invited to play the organ in one of the galleries, making a good enough impression to be engaged to give recitals at the exhibition building over the next three months. At this time in his life, painting was nearly as strong an interest as music, and he
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and Debussy. An historian of the Proms, AteĹź Orga, wrote, "Concerts often had to be re-timed to coincide with the 'All Clear' between air raids. Falling bombs, shrapnel, anti-aircraft fire and the droning of Zeppelins were ever threatening. But kept things on the go and in the end had a very real
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On the outbreak of the First World War in 1914, Newman, Wood and Speyer discussed whether the Proms should continue as planned. They had by this time become an established institution, and it was agreed to go ahead. However, anti-German feeling forced Speyer to leave the country and seek refuge in
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In January 1897, Wood took on the direction of the Queen's Hall's prestigious Saturday afternoon symphony concerts. He continually presented new works by composers of many nationalities, and was particularly known for his skill in Russian music. Sullivan wrote to him in 1898, "I have never heard a
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The income from the concerts did not permit generous rehearsal time. Wood had nine hours to rehearse all the music for each week's six concerts. To gain the best results on so little rehearsal, Wood developed two facets of his conducting that remained his trademark throughout his career. First, he
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Just before 8 o'clock I saw Henry Wood take up his position behind the curtain at the end of the platform – watch in hand. Punctually, on the stroke of eight, he walked quickly to the rostrum, buttonhole and all, and began the National Anthem ... A few moments for the audience to settle down,
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Later that year, overtaxed by his enormous workload, Wood's health broke down. Even though this was during the Proms season, Cathcart insisted that Wood should have a complete break and change of scene. Leaving the leader of the orchestra, Arthur Payne, to conduct during his absence, Wood and his
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Despite his age and the difficulties of wartime travel, Wood insisted on going to provincial cities to conduct – as much, according to Jacobs, to help the local orchestras survive as to gratify audiences. His final season was in 1944. The season began well with Wood in good form, but after three
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In his later years, Wood came to be identified with the Proms rather than with the year-round concert season. Boult was appointed director of music at the BBC in 1930. In that capacity he strove to ensure that Wood was invited to conduct a fitting number of BBC symphony concerts outside the Prom
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On his return to England from his first Hollywood trip, Wood found himself in the middle of a feud between the chairman of Chappell's, William Boosey, and the BBC. Boosey had conceived a passionate hostility to the broadcasting of music, fearing that it would lead to the end of live concerts. He
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Newman's determination to make the promenade concerts attractive to everyone led him to permit smoking during concerts, which was not formally prohibited at the Proms until 1971. Refreshments were available in all parts of the hall throughout the concerts, not only during intervals. Prices were
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In December 1909, after a short illness, Olga Wood died. Cathcart took Wood away to take his mind off his loss. On his return, Wood resumed his professional routine, with the exception that, after Olga's death, he rarely performed as piano accompanist for anyone else; his skill in that art was
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Creating the orchestra admired by Strauss had not been achieved without a struggle. In 1904, Wood and Newman tackled the deputy system, in which orchestral players, if offered a better-paid engagement, could send a substitute to a rehearsal or a concert. The treasurer of the Royal Philharmonic
1708:(1923). In March 1963, The Henry Wood Concert Society (in association with The Henry Wood Memorial Trust) presented The Henry Wood Memorial Concert. The concert was held at the Royal Albert Hall, London and conducted by Sir Malcolm Sargent in the presence of H.R.H. The Duchess of Gloucester.
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Another feature of Wood's conducting was his insistence on accurate tuning; before each rehearsal and concert he would check the instrument of each member of the woodwind and string sections against a tuning fork. He persisted in this practice until 1937, when the excellence of the
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triennial festival. He continued to be associated with that festival until 1936, changing its emphasis from choral to orchestral pieces. A German critic, reviewing the festival for a Berlin publication, wrote, "Two personalities now represent a new epoch in English musical life –
73:. He conducted them for nearly half a century, introducing hundreds of new works to British audiences. After his death, the concerts were officially renamed in his honour as the "Henry Wood Promenade Concerts", although they continued to be generally referred to as "the Proms".
1052:. Such was their success, both artistic and financial, that Wood was invited back, and conducted again the following year. In addition to a large number of English pieces, Wood programmed works by composers as diverse as Bach and Stravinsky. He again conducted there in 1934.
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Wood recalled that his first professional appearance as a conductor was at a choral concert in December 1887. Ad hoc engagements of this kind were commonplace for organists, but they brought little prestige such as was given to British conductor-composers such as Sullivan,
692:, a banker of German origin. Speyer put up the necessary funds, retained Newman as manager of the concerts, and encouraged him and Wood to continue with their project of improving the public's taste. At the beginning of 1902, Wood accepted the conductorship of that year's
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The BBC regime brought immediate benefits. The use of the second half of concerts to promote Chappell's songs ceased, to be replaced by music chosen for its own excellence: on the first night under the BBC's control, the songs in the second half were by Schubert,
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In 1898, Wood married one of his singing pupils, Olga Michailoff, a divorcée a few months his senior. Jacobs describes it as "a marriage of perfect professional and private harmony". As a singer, with Wood as her accompanist, she won praise from the critics.
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on the Last Night of the Proms. His collection of 2,800 orchestral scores and 1,920 sets of parts is now in the library of the Royal Academy of Music. For the Academy he also established the Henry Wood Fund, giving financial aid to students. The
2073:, the paper's music critic at the time) was less forgiving than his colleagues. Though his predecessor had called the supposed Klenovsky work "superlatively well done", Howes described it, once Wood's authorship was known, as "monstrous and inexculpable".
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ranked Wood as one of the two greatest Tchaikovsky conductors in his long experience. Wood also successfully challenged the widespread belief that Englishmen were not capable of conducting Wagner. When Wood and the Queen's Hall Orchestra performed at
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In 1921, Wood was awarded the gold medal of the Royal Philharmonic Society, the first English conductor to receive the honour. By now he was beginning to find his position as Britain's leading conductor under challenge from rising younger rivals.
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The rest of the programme comprised, in the words of an historian of the Proms, David Cox, "for the most part ... blatant trivialities." Within days, however, Wood was shifting the balance from light music to mainstream classical works, with
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and New York Philharmonic Orchestras, but he regarded the Boston orchestra as the finest in the world. Nonetheless, as he told Boult, "it was hard to refuse, but I felt it was a patriotic duty to remain in my own country, at the present moment."
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Ten shillings and sixpence: 52½ pence in decimal terms; in 2009 values somewhere between £40 (based on retail prices) and £275 (based on average earnings). Jacobs (p. 19) suggests that Wood may have exaggerated his fee when recalling it in his
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recounted a story by one of his players who recalled that Wood "had everything planned out and timed to the minute ... at 10 a.m. precisely his baton went down. You learned things so thoroughly with him, but in the most economical time."
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in 1891. Wood remained devoted to Sullivan's music and later insisted on programming his concert works when they were out of fashion in musical circles. During this period, he had several compositions of his own performed, including an
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business, but by the time of his son's birth he was trading as a jeweller, optician and engineering modeller, much sought-after for his model engines. It was a musical household: Wood senior was an amateur cellist and sang as principal
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which leaves behind all those whose stamping technique is not of the very finest quality. I like to win by two bars, if possible; but sometimes have to be content with a bar and a half. It is good fun, and I enjoy it as much as they.
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Adrian Boult, who, at Wood's recommendation, took over some of his responsibilities at Birmingham in 1923, always admired and respected Wood. Other younger conductors included men who had been members of Wood's orchestra, including
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and others. Newman aimed to do the same: "I am going to run nightly concerts and train the public by easy stages. Popular at first, gradually raising the standard until I have created a public for classical and modern music."
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On leaving the Royal Academy of Music in 1888, Wood taught singing privately and was soon very successful, attracting "more singing pupils than I could comfortably deal with" at half a guinea an hour. He also worked as a
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career: he and Newman greatly improved access to classical music, and Wood raised the standard of orchestral playing and nurtured the taste of the public, presenting a vast repertoire of music spanning four centuries.
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considerably lower than those customarily charged for classical concerts: the promenade (the standing area) was one shilling, the balcony two shillings, and the grand circle (reserved seats) three and five shillings.
1986:, Stephen Jackson (chorusmaster of the BBC Symphony Orchestra) and Percy Grainger"; in 2004 "with additional Songs arranged by Stephen Jackson"; and in 2005, 2006 and 2007 with "extra Songs arranged by Bob Chilcott".
631:, Wood experimented with the layout of the orchestra. His preferred layout was to have the first and second violins grouped together on his left, with the cellos to his right, a layout that has since become common.
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also received its first performance (the composer not being present); during rehearsals, Wood urged his players, "Stick to it, gentlemen! This is nothing to what you'll have to play in 25 years' time". The critic
1095:, as a transcription by a Russian composer called Paul Klenovsky. In Wood's later account, the press and the BBC "fell into the trap and said the scoring was wonderful, Klenovsky had the real flare [
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to Arthur Sullivan. Sullivan's concerts in the 1870s had been particularly successful, because he offered his audiences something more than the usual light music. He introduced major classical works, such as
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In decimal coinage, respectively 5, 10, 15 and 25 pence: the equivalent of approximately ÂŁ4 to ÂŁ20 in terms of 2009 retail prices. Tickets for formal symphony concerts at the time cost up to five times as
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In the early years of the Proms there were complaints in some musical journals that Wood was neglecting British music. In 1899, Newman unsuccessfully attempted to secure for Wood the premiere of Elgar's
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In his memoirs Wood refers to her as "Princess Olga Ouroussoff", but according to Jacobs (p. 59) she was entitled to neither the rank nor the surname, although her mother was Princess Sofiya Urusova
750:. This prompted the composer to write, "I cannot leave London without an expression of admiration for the splendid Orchestra which Henry Wood's master hand has created in such a short time."
1366:, 1956, lists none of his records. A few of his recordings have subsequently been reissued on compact disc, including the Decca and Columbia Vaughan Williams recordings from 1936 and 1938.
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chose Tchaikovsky and Wagner for the programme. Wood, who modelled his appearance on Nikisch, took it as a compliment that the queen said to him, "Tell me, Mr Wood, are you quite English?"
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The 1912 and 1913 Prom seasons are singled out by Cox as among the finest of this part of Wood's career. Among those conducting their own works or hearing Wood conduct them were Strauss,
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printed in programmes. For this he was much praised in the musical and national press. In addition to his work at the Queen's Hall, Wood conducted at the Sheffield, Norwich, Birmingham,
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specialist, offered to sponsor it on two conditions: that Wood should conduct every concert, and that the pitch of the orchestral instruments should be lowered to the European standard
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Between 1915 and 1925, he conducted 65 recordings for Columbia using the early acoustic recording process, including many discs of Wagner excerpts and a truncated version of Elgar's
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Hall Orchestra in 1913. He said, "I do not like ladies playing the trombone or double bass, but they can play the violin, and they do." By 1918 Wood had 14 women in his orchestra.
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published by the company. The management of Chappell's were also less enthusiastic than Wood and Newman about promoting new orchestral works, most of which were not profitable.
1753:, which was converted to a rehearsal and recording venue in 1975. His bust stands upstage centre in the Royal Albert Hall during the whole of each Prom season, decorated by a
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Wood's recording career began in 1908, when he accompanied his wife Olga in "Farewell, forests" by Tchaikovsky, for the Gramophone and Typewriter Company, better known as
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and BBC Symphony Orchestras. The concert raised ÂŁ9,000 for Wood's chosen charity, providing health care for musicians. In the same year, Wood published his autobiography,
606:. Newman and Wood soon felt able to devote every Monday night of the season principally to Wagner and every Friday night to Beethoven, a pattern that endured for decades.
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Wood (p. 29) lists Garcia as among his professors, but Jacobs (p. 13) notes that Wood's name does not appear among the choir lists in which Garcia's pupils all appeared.
1089:, always finding fault with any arrangement or orchestrations that I made ... 'spoiling the original' etc. etc.", and so Wood passed off his own orchestration of Bach's
834:'s stage works and string sonatas, which Wood performed at an orchestral festival in Zurich in 1921, and orchestral transcriptions of works by a range of composers from
233:'s singing class, but it is certain that he became its accompanist and was greatly influenced by Garcia. Wood also accompanied the opera class, taught by Garcia's son
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weeks raids by the devastating new German flying bombs caused the government to order the closure of places of entertainment. The Proms were immediately relocated to
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in 1873. Wood received the award four years before it was given to Delius and Elgar (1925). The next conductor to receive the medal was Sir Thomas Beecham (1928).
167:, known as "the musicians' church". His wife played the piano and sang songs from her native Wales. They encouraged their son's interest in music, buying him a
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was chosen as the venue, having a far larger capacity than the Queen's Hall. The concert was given on 5 October 1938. Rachmaninoff played the solo part in his
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In 1911 Wood gave an exhibition of fifty sketches in oil at the Piccadilly Arcade Gallery, raising ÂŁ200 in aid of the Queen's Hall Orchestra Endowment Fund.
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after him. His best-known memorial is the Proms, officially "the Henry Wood Promenade Concerts", but universally referred to by the informal short version.
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had been an increasingly influential figure since about 1910. He and Wood did not like one another, and each avoided mention of the other in his memoirs.
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of execution may not be his, particularly in his limited legacy of recordings, but he remains one of the most remarkable musicians Britain has produced.
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them to the players. After a season, the players recognised that the low pitch would be permanently adopted, and they bought the instruments from him.
912:, which listed the number of each composer's works played in the 1911 Proms season; the top ten were: Wagner (121); Beethoven (34); Tchaikovsky (30);
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Although Wood himself did not generally use the term "the Proms", it was common currency by now even in the more formal newspapers. It was used in
434:. After the collapse of the Olympic opera season, Wood returned once more to his singing tuition. In 1894 he contributed to a song in the operetta
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who died young. Jacobs (p. 232) states that no such composer ever existed, although a Russian composer called Nicolai Klenovsky died in 1915. The
1704:(France; 1926). He received honorary doctorates from five English universities and was a fellow of both the Royal Academy of Music (1920) and the
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On 10 August 1895, the first of the Queen's Hall Promenade Concerts took place. Among those present who later recalled the opening was the singer
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or HMV. They made eight other records together for HMV over the next two years. After Olga's death, Wood signed a contract with HMV's rival,
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Born in modest circumstances to parents who encouraged his musical talent, Wood started his career as an organist. During his studies at the
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In June 1911, he married his secretary, Muriel Ellen Greatrex (1882–1967), with whom he had two daughters. In the same year he accepted a
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Two shillings and sixpence: in decimal coinage, 12½ pence. In terms of average earnings, this equates to more than £65 in current values.
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When Signor Lago, formerly impresario of the Imperial Opera Company of St. Petersburg, was looking for a second conductor to work with
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Between the first and second season of promenade concerts, Wood did his last work in the opera house, conducting Stanford's new opera
65:(3 March 1869 – 19 August 1944) was an English conductor best known for his association with London's annual series of
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finer performance in England than that of the Tchaikovsky symphony under your direction last Wednesday". Seventy-five years later,
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1127:. But Jacobs notes that, in the general concert repertory, Wood now had to compete against well-known foreign conductors such as
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758:. Wood bore no grudge and attended their first concert, although it was 12 years before he agreed to conduct the orchestra.
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Wood received little religious inspiration at St Sepulchre, but was deeply stirred by the playing of the resident organist,
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In Jacobs's 1994 biography, the list of premieres conducted by Wood extends to 18 pages. His world premieres included
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and, impressed by Wood, invited him to conduct. There had been such concerts in London since 1838, under conductors from
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1290:. Wood’s arrangement was bought back in 2023 for closing night, and in the future closing nights of years yet to come.
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475:, who subsequently appointed him as his assistant and chorus master for a series of Wagner concerts at the newly built
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At BBC symphony concerts, Wood conducted Hindemith's Viola Concerto, with the composer as soloist, and his oratorio
1954:, commented on all the principal singers, the costumes, scenery and choreography, but did not mention the conductor.
1105:." Wood kept the secret for five years before revealing the truth. The press treated the deception as a great joke;
744:). In the same year, he introduced several of Richard Strauss's tone poems to London, and in 1905 he gave Strauss's
2998:"Fantasia on British Sea Songs (with additional Songs arranged by John Wilson, Stephen Jackson and Percy Grainger)"
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1210:, Wagner, Handel and Elgar. The orchestra comprised players from the three London orchestras: the London Symphony,
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for orchestra and 16 soloists. The other composers represented in the programme were Sullivan, Beethoven, Bach,
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and others, Wood became the conductor of a small operatic touring company. He was soon engaged by the larger
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1188:. The following year, Wood began planning for a grand concert to mark his fiftieth year as a conductor. The
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Wood worked with his wife for many concerts, and was her piano accompanist at her recitals. In 1906, at the
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397:. This appointment was followed by a similar engagement with a company set up by former Carl Rosa singers.
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The recording by Sammons and Wood was chosen in preference to all others by the reviewer Ian Burnside on
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and also conducted performances during its three month London run. With the exception of a season at the
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From the mid-1890s until his death, Wood focused on concert conducting. He was engaged by the impresario
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In 1936, Wood was in charge of his final Sheffield festival. The choral works he conducted included the
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piano, on which his mother gave him lessons. The young Wood also learned to play the violin and viola.
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His arrangement of the national anthem was continued for the Last Night of the Proms until 2009, when
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company in 1935. For Decca he conducted 23 recordings over the next two years, including Beethoven's
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Jacobs lists 26 compositions dedicated to Wood, including, in addition to the Vaughan Williams
791:'s "Rule, Britannia!" He played it at the Proms more than 40 times, and it became a fixture at the "
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about the score. Jacobs describes Wood's memoirs as "vivacious in style but factually unreliable".
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They stamp their feet in time to the hornpipe – that is until I whip up the orchestra to a fierce
590:. During the season Wood presented 23 novelties, including the London premieres of pieces by
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used the term from 1918 and 1923 respectively. Even Wood used the term when referring to the
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In addition to the knighthood bestowed in 1911, Wood's state honours were his appointments as
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for a proposed London season, Garcia recommended Wood. The season opened at the newly rebuilt
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Wood was only the second conductor of any nationality to receive the honour, the first being
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According to Wood, his father was urged to become a professional singer by the conductor Sir
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Newman needed to find financial backing for his first season. Dr George Cathcart, a wealthy
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played Wood's arrangement of the national anthem out of respect for the recently deceased
996:
Towards the end of the war, Wood received an offer by which he was seriously tempted: the
783:. It caught the public fancy immediately, with its mixture of sea-shanties, together with
558:
operas. Among the other symphonies Wood conducted during the first season were Schubert's
8:
3191:, December 1912 pp. 804–07; "The Promenade Concerts – Successful Opening of the Season",
1950:
1945:
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in succession to Mahler, as he felt it his duty to devote himself to the British public.
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wife took a cruise to Morocco, missing the Proms concerts from 13 October to 8 November.
61:
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1275:, and his ashes were interred in the Musicians' Chapel of St Sepulchre-without-Newgate.
317:
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After the marital split, Muriel Wood lived in Japan (her brother was British consul in
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168:
3170:
Letter dated 23 January 1914, quoted in Lambourn, David, "Henry Wood and Schoenberg",
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Elkin, Robert, "Henry J. Wood: Organist, Accompanist, Opera Conductor, and Composer",
2125:
The histories of the concerts by Cox and Orga both use the short form in their titles.
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In 1929, Wood played a celebrated practical joke on musicologists and critics. "I got
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3853:, Oxford Dictionary of National Biography archive, 1959. Retrieved 14 November 2010
2244:, Oxford Dictionary of National Biography archive, 1959. Retrieved 14 November 2010
2103:
with the composer as soloist. Wood also programmed their music during Proms seasons.
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773:
on successive nights in 1909. He composed the work for which he is most celebrated,
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Wood conducted his own compositions and arrangements from time to time. He gave his
430:
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150:, London, on 3 March 1869, the only child of Henry Joseph Wood and his wife Martha,
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3010:"Fantasia on British Sea Songs (with additional Songs arranged by Stephen Jackson)"
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715:, but in the same year Newman passed up the opportunity to introduce the music of
96:. One notable event in his operatic career was conducting the British premiere of
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2086:), China and New Zealand. She did not return to England until after Wood's death.
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1349:. In 1938 he returned to Columbia, for whom his five new recordings included the
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at the age of seventeen, studying harmony and composition with Prout, organ with
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3022:"Fantasia on British Sea Songs (with additional Songs arranged by Bob Chilcott)"
2484:
The London Stage 1890-1899: A Calendar of Productions, Performers, and Personnel
1982:
In 2002 and 2003, the Fantasia was performed "with additional Songs arranged by
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1111:
entered into the spirit of it with a jocular tribute to the lamented Klenovsky.
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615:
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symphonies, normally restricted to the more expensive concerts presented by the
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2213:"Five Ways to Compute the Relative Value of a UK Pound Amount, 1830 to Present"
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invited him to become its musical director. He had been guest conductor of the
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1101:] for true colour etc. – and performance after performance was given and
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Cox (p. 102) states that there had been a real "Paul Klenovsky", a pupil of
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4309:
3547:, 23 November 1929, p. 10 and "Music This Week: An Oratorio by Hindemith",
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1306:, for whom he made a series of discs between 1915 and 1917 with the singer
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Wood's recordings did not remain in the catalogues long after his death.
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with the 16 original singers, a few days after the premiere, and his own
1200:, at Wood's request, composed a short choral work for the occasion: the
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in London, in October 1892, with Wood conducting the British premiere of
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39:
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season. The BBC chose Wood for important collaborations with BartĂłk and
3849:, Royal Academy of Music. Retrieved 21 November 2010; Herbage, Julian,
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1307:
1207:
312:
285:
155:
2143:
444:
in 1896, Wood's subsequent conducting career was in the concert hall.
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4244:
4001:
Shaw's Music – The Complete Music Criticism of Bernard Shaw, Volume 2
1750:
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1230:
1139:, "in comparison with whom he was increasingly seen as a workhorse".
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were not a financial success, and were not repeated in later years.
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European composers. In the 1903 season, he programmed symphonies by
268:
doubts this and discounts exchanges Wood purported to have had with
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387:
328:
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in 1891–92. He also worked for Carte at the Savoy as assistant to
3195:, 12 August 1918, p. 9; and Newman, Ernest, "The Week in Music",
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891:
846:
3560:"Broadcasting, The Programmes, Sir Henry Wood at Queen's Hall",
541:
Overture, and the first concert of the new Promenades had begun.
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537:
369:
174:
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stick in front of you". Thirty-five years after Wood's death,
4210:
Two digitally restored recordings conducted by Sir Henry Wood
1271:, Hertfordshire; his funeral service was held in the town at
160:
70:
3072:
Jacobs, p. 117; and Blom, Eric, "A Fauré Memorial Concert",
676:
355:, or the rising generation of German star conductors led by
293:
It is certain, however, that Wood was répétiteur at Carte's
1044:
In 1925, Wood was invited to conduct four concerts for the
250:. According to his memoirs, he worked in that capacity for
3347:, Oxford University Press, 2004. Retrieved 17 October 2010
1794:—— (1924). "Orchestral Colour and Values". In
1282:’s arrangement replaced it in 2010. In 2022, the American
779:, for a concert in 1905, celebrating the centenary of the
627:
persuaded him that it was no longer necessary. To improve
3543:"B.B.C. Symphony Orchestra: Hindemith's Viola Concerto",
1299:
1123:, and for the first British performance of Mahler's vast
1097:
822:
The London Symphony Orchestra at the Queen's Hall in 1911
2487:, Rowman & Littlefield (2014) - Google Books pg. 228
1995:
In his memoirs, Wood does not say where or for how long.
1608:; Schumann's KonzertstĂĽck for four horns and orchestra;
1785:
Wood, Henry (26 May 1904). "Why I became a Conductor".
1182:, and, in the presence of the composer, Rachmaninoff's
3694:
St Sepulchre-without-Newgate. Retrieved 1 January 2011
3274:
Royal Philharmonic Society. Retrieved 21 November 2010
4131:
Sackville-West, Edward; Desmond Shawe-Taylor (1956).
3443:"'Paul Klenovsky' a Musical Hoax by Sir Henry Wood",
1683:
3876:
University of Strathclyde. Retrieved 1 January 2011
2739:Wood, p. 100; and Boult, Adrian, "Stereo Strings",
939:
Schoenberg's music was hissed at the Proms in 1912.
213:After taking private lessons from the musicologist
84:and became his accompanist. After similar work for
80:, he came under the influence of the voice teacher
3977:
3431:, Oxford Music Online. Retrieved 22 November 2010
3423:, Oxford Music Online. Retrieved 22 November 2010
2960:"Future of Music: Interview with Sir Henry Wood",
2144:Henry Joseph Wood. March 3, 1869 - August 19, 1944
254:during the rehearsals for the first production of
4246:Royal Liverpool Philharmonic Principal Conductors
3157:in Lambourn, David, "Henry Wood and Schoenberg",
3149:Newman, Ernest, "The Case of Arnold Schoenberg",
3024:, Proms Archive, BBC. Retrieved 19 November 2010.
3000:, Proms Archive, BBC. Retrieved 19 November 2010.
2345:, Oxford Music Online. Retrieved 17 October 2010
113:to conduct a series of promenade concerts at the
4456:Members of the Order of the Companions of Honour
4397:
3012:, Proms Archive, BBC. Retrieved 19 November 2010
2024:, which he called "the Last Prom of the Season".
154:Morris. Wood senior had started in his family's
3825:, WilliamWalton.net. Retrieved 21 November 2010
2069:'s music critic (anonymous, but presumed to be
1690:Member of the Order of the Companions of Honour
978:
701:as composer, and Henry J. Wood as conductor."
4466:Recipients of the Order of the Crown (Belgium)
1082:to rescore the work for the forces available.
124:Wood declined the chief conductorships of the
4230:
3837:, Henry Wood Hall. Retrieved 20 November 2010
3802:
3800:
3403:
3401:
2236:
2234:
2232:
2230:
2116:'s "Building a Library" feature in July 1999.
467:In 1894, Wood went to the Wagner festival at
229:. It is not clear whether he was a member of
2889:
2887:
2885:
2215:, MeasuringWorth. Retrieved 16 November 2010
1769:His biographer Arthur Jacobs wrote of Wood:
1233:, it is placed in front of the organ at the
483:, was proposing to run a ten-week season of
4190:Henry Wood's Proms appearances as performer
3183:"Covent Garden Opera – Le Lac Des Cygnes",
3118:, December 1902, p. 826; and Jacobs, p. 132
1749:, the deconsecrated Holy Trinity Church in
447:
210:. He remained a life-long amateur painter.
4441:Royal Philharmonic Society Gold Medallists
4237:
4223:
4023:Music and Friends: Letters to Adrian Boult
3797:
3398:
3032:
3030:
2600:
2598:
2227:
1800:A Dictionary of Modern Music and Musicians
1331:Wood was wooed from Columbia by the young
3746:, BBC Radio 3. Retrieved 21 November 2010
3391:
3389:
3187:, 28 July 1912, p. 7; "London Concerts",
2882:
2708:
2706:
1818:
890:festivals, and at orchestral concerts in
4426:Conductors associated with the BBC Proms
4039:
3998:
3512:
3510:
2848:
2846:
2685:Cole, Hugo, "Sullivan without Gilbert",
2368:Musical Opinion & Music Trade Review
2334:
2332:
2330:
2328:
2257:
2255:
2253:
1745:Wood is commemorated in the name of the
1710:
1373:
1248:
1220:
1063:
1007:
934:
874:, and declined the conductorship of the
849:music festival he presented Beethoven's
817:
675:
633:
582:. The concertos included Mendelssohn's
518:. Concert pitch in England was nearly a
451:
274:
173:
38:
3972:
3534:Kennedy, pp. 140–41; and Jacobs, p. 308
3345:Oxford Dictionary of National Biography
3335:
3333:
3331:
3329:
3327:
3325:
3027:
2595:
2285:
2207:
2205:
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2053:Grove Dictionary of Music and Musicians
1878:
787:'s "See the Conquering Hero Comes" and
367:in 1891. For that company he conducted
14:
4451:Conductors (music) awarded knighthoods
4398:
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3386:
2703:
2534:
2532:
2362:
2360:
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2269:
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1453:Wood's UK premieres included BartĂłk's
4416:Fellows of the Royal Academy of Music
4218:
4147:
4063:. Newton Abbot: David & Charles.
4017:
3936:
3898:
3785:CD (2001), catalogue number CDBP 9707
3507:
2843:
2419:Wood, pp. 58–60 and Jacobs, pp. 21–22
2397:Wood, pp. 53–56 and Jacobs, pp. 19–20
2325:
2250:
1257:, close to where his ashes are buried
803:("Jack's the Lad"); Wood said of it:
799:. A highlight of the Fantasia is the
671:
306:in late 1890 and early 1891, and for
4164:
4113:
4096:
4058:
3341:"Wood, Sir Henry Joseph (1869–1944)"
3322:
2200:
2184:
2182:
1860:
1839:
1793:
1784:
1055:
906:. His programming was summarised in
863:, with his wife among the singers.
479:in London. The manager of the hall,
3917:
2988:Cox, pp. 31–32; and Orga, pp. 78–80
2529:
2351:
2264:
1787:The Musical Leader and Concert Goer
339:(1890), and a one-act comic opera,
88:'s opera companies on the works of
24:
4204:Concert Programmes 1790–1914
3816:"Where does the uttered Music go?"
3675:, BBC Press Office, September 2010
3673:"BBC Proms 2010 Sir Henry's Hoard"
1823:. Vol. Four volumes. London:
1789:. Chicago: Musical Leader Pub. Co.
1310:, including excerpts from Elgar's
1046:Los Angeles Philharmonic Orchestra
993:part to play in boosting morale."
203:International Fisheries Exhibition
25:
4492:
4183:
3956:Henry J. Wood: Maker of the Proms
3418:"Klenovsky, Nikolay Semyonovich,"
3114:"Handel's Messiah and Applause",
2502:(1894) - Museum of Music History"
2468:- British Musical Theatre website
2179:
1694:1944 King's Birthday Honours List
1684:Honours, memorials and reputation
1480:Prélude à l'après-midi d'un faune
1225:Bust of Wood at the Duke's Hall,
826:Among Wood's other works was his
206:studied in his spare time at the
4471:Officers of the Legion of Honour
4461:People associated with the Proms
3879:
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3498:
3489:
3482:"Sir H. Wood Memorial Concert",
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2788:Elkin, p. 144; and Jacobs, p. 56
2119:
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2089:
2076:
2059:
2040:
2027:
1998:
867:greatly missed by the critics.
4436:English male conductors (music)
4082:. London: Macdonald and Janes.
3108:
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1989:
1976:
1967:
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1939:
1929:
1920:
1911:
1730:, works by Elgar, Delius, Bax,
1702:Officer of the Legion of Honour
876:New York Philharmonic Orchestra
289:, for which Wood was répétiteur
3999:Laurence, Dan H., ed. (1989).
3127:"The Autumn Music Festivals",
2191:
2170:
2161:
2152:
2137:
2056:supports the latter statement.
1902:
1889:
1037:. Another protégé of Wood was
459:, co-founder with Wood of the
201:. In June 1883, visiting the
141:
13:
1:
3773:Sackville-West, index, p. 957
3582:Jacobs, pp. 311–14 and 329–30
2721:Shore, p. 200 and Wood, p. 96
1624:; Sibelius's Symphonies Nos.
1434:Pomp and Circumstance Marches
1355:Fantasia on British Sea Songs
1293:
1142:
776:Fantasia on British Sea Songs
771:Fantasia on Scottish Melodies
48:
27:English conductor (1869–1944)
3272:"List of Gold Medal holders"
3153:, 7 September 1912, p. 830,
2975:"Sir Henry Wood Will Stay",
2197:Wood, p. 17 and Jacobs, p. 6
1819:—— (1927–1928).
1369:
1255:St Sepulchre-without-Newgate
1092:Toccata and Fugue in D minor
979:First World War and post-war
830:, incorporating themes from
382:The Daughter of the Regiment
165:St Sepulchre-without-Newgate
136:
7:
4169:. London: Victor Gollancz.
4118:. London: Victor Gollancz.
4101:. London: Hamish Hamilton.
4078:Previn, André, ed. (1979).
4044:. London: Faber and Faber.
4025:. London: Hamish Hamilton.
4003:. London: The Bodley Head.
3984:. London: Hamish Hamilton.
3903:. London: Hamish Hamilton.
3685:20th-Century Church History
3525:Wood, index pp. 376 and 384
3456:"The Late Paul Klenovsky",
2658:Cox, p. 35; and Orga, p. 61
2295:, November 1927, p. 1007–08
1778:
1605:The Carnival of the Animals
1526:; Mahler's Symphonies Nos.
1438:Norfolk Rhapsody No. 1
680:Wood in 1908 – painting by
471:where he met the conductor
32:Henry Wood (disambiguation)
10:
4497:
4431:English conductors (music)
4040:Morrison, Richard (2004).
3891:
3867:"Sir Henry Wood Building,"
3495:Jacobs, pp. 262–70 and 278
3429:Oxford Dictionary of Music
3161:, August 1987, pp. 422–427
3045:Jacobs, pp. 173 and 434–35
1253:Memorial to Henry Wood in
767:Fantasia on Welsh Melodies
554:and further excerpts from
29:
4421:Classical music in London
4252:
3564:, 14 February 1930, p. 22
3460:, 5 September 1934, p. 13
3447:, 4 September 1934, p. 10
3310:Reid (1968), pp. 101, 105
2410:, August 1960, pp. 488–90
1821:The Gentle Art of Singing
1760:University of Strathclyde
1436:; and Vaughan Williams's
998:Boston Symphony Orchestra
966:Five Pieces for Orchestra
756:London Symphony Orchestra
349:Charles Villiers Stanford
295:Royal English Opera House
3851:"Wood, Sir Henry Joseph"
3821:21 November 2008 at the
2839:Allgemeine Musik-Zeitung
2370:, March 1899, pp. 389–90
2242:"Wood, Sir Henry Joseph"
1865:. London: Sylvan Press.
1762:named a building at its
1068:Wood caricatured in 1922
448:Early years of the Proms
341:Returning the Compliment
264:in 1888. His biographer
240:
208:Slade School of Fine Art
4165:Wood, Henry J. (1938).
4148:Shore, Bernard (1938).
4019:Moore, Jerrold Northrop
3954:Jacobs, Arthur (1994).
3939:Queen's Hall, 1893–1941
3872:5 December 2010 at the
3855:(subscription required)
3618:Cox, pp. 122 and 208–09
3473:, 6 October 1930, p. 12
3433:(subscription required)
3427:and "Klenovsky, Paul",
3425:(subscription required)
3197:The Manchester Guardian
3129:The Manchester Guardian
3075:The Manchester Guardian
2347:(subscription required)
2246:(subscription required)
2211:Williamson, Samuel H.,
2022:Last Night of the Proms
2018:The Manchester Guardian
1861:—— (1945).
1840:—— (1938).
1825:Oxford University Press
1796:Hull, Arthur Eaglefield
1660:(suite); Tchaikovsky's
1343:and Vaughan Williams's
909:The Manchester Guardian
793:Last Night of the Proms
638:Wood's first wife, Olga
365:Carl Rosa Opera Company
335:(1889), a light opera,
257:The Yeomen of the Guard
178:Two of Wood's mentors:
94:Carl Rosa Opera Company
4114:Reid, Charles (1961).
4097:Reid, Charles (1968).
3937:Elkin, Robert (1944).
3899:Boult, Adrian (1973).
3551:, 20 March 1933, p. 10
3469:"Promenade Concerts",
3131:, 8 August 1911, p. 10
2911:Levien, John Mewburn,
1948:, in a long review in
1776:
1723:
1706:Royal College of Music
1598:, and Symphony No. 2;
1387:
1313:The Dream of Gerontius
1284:Philadelphia Orchestra
1258:
1238:
1227:Royal Academy of Music
1069:
1013:
940:
928:(14); Elgar (14); and
924:(16); J.S. Bach (14);
823:
816:
684:
639:
625:BBC Symphony Orchestra
543:
464:
290:
219:Royal Academy of Music
186:
78:Royal Academy of Music
54:
3690:16 March 2011 at the
3199:, 2 August 1923, p. 5
3174:, August 1987, p. 426
3078:, 10 June 1925, p. 12
2915:in Reid (1961), p. 50
2366:"Mr. Henry J. Wood",
1771:
1714:
1700:(Belgium; 1920), and
1554:Violin Concerto No. 2
1541:Das Lied von der Erde
1410:A Song Before Sunrise
1377:
1252:
1224:
1194:Second Piano Concerto
1087:very fed up with them
1067:
1011:
938:
821:
805:
679:
637:
532:
489:Louis Antoine Jullien
455:
278:
177:
126:New York Philharmonic
58:Sir Henry Joseph Wood
42:
4206:at www.cph.rcm.ac.uk
4152:. London: Longmans.
4150:The Orchestra Speaks
3920:The Henry Wood Proms
3486:, 5 March 1945, p. 8
2743:, April 1973, p. 378
2691:, 29 July 1971, p. 8
2446:Laurence, pp. 718–21
2388:Jacobs, pp. 3 and 17
2340:"Wood, Sir Henry J."
2291:"Occasional Notes",
1879:Notes and references
1650:; Richard Strauss's
1616:and Symphonies Nos.
1614:Piano Concerto No. 1
1586:; Rimsky-Korsakov's
1550:Piano Concerto No. 1
1432:and the 4th and 5th
1378:Wood caricatured by
510:ear, nose and throat
498:Philharmonic Society
252:Richard D'Oyly Carte
195:St Mary Aldermanbury
86:Richard D'Oyly Carte
45:Ernest Walter Histed
30:For other uses, see
4135:. London: Collins.
4059:Orga, AteĹź (1974).
4042:Orchestra – The LSO
3958:. London: Methuen.
3918:Cox, David (1980).
2979:, July 1918, p. 207
2966:, 2 June 1918, p. 7
2101:Piano Concerto No 1
1946:George Bernard Shaw
1846:Victor Gollancz Ltd
1652:Symphonia Domestica
1584:Piano Concerto in D
1558:Piano Concerto No 1
1524:Dances from Galanta
1212:London Philharmonic
797:Sir Malcolm Sargent
781:Battle of Trafalgar
747:Symphonia Domestica
552:Unfinished Symphony
353:Alexander Mackenzie
279:1891 production of
270:Sir Arthur Sullivan
217:, Wood entered the
3885:Jacobs, pp. 127–28
3794:Jacobs, pp. 442–61
3755:Jacobs, pp. 429–30
3744:Building a Library
3730:Jacobs, pp. 428–29
3721:Jacobs, pp. 426–28
3573:Jacobs, pp. 302–03
3516:Jacobs, pp. 265–71
3421:Grove Music Online
3356:Jacobs, pp. 203–06
2977:The Musical Herald
2893:Jacobs, pp. 441–61
2837:, Otto Lessman in
2343:Grove Music Online
1804:J.M. Dent and Sons
1724:
1698:Order of the Crown
1589:Capriccio Espagnol
1573:Rapsodie espagnole
1428:Suite No. 1,
1388:
1300:His Master's Voice
1288:Queen Elizabeth II
1259:
1239:
1179:Belshazzar's Feast
1070:
1014:
941:
860:St Matthew Passion
824:
685:
672:Early 20th century
660:in November 1898,
640:
485:promenade concerts
465:
463:promenade concerts
291:
187:
67:promenade concerts
55:
4391:
4390:
4198:BBC Proms website
3941:. London: Rider.
3244:Jacobs pp. 65, 95
3189:The Musical Times
3172:The Musical Times
3159:The Musical Times
3116:The Musical Times
2879:Jacobs, pp. 33–34
2861:Jacobs, pp. 62–63
2741:The Musical Times
2538:Jacobs, pp. 30–32
2408:The Musical Times
2293:The Musical Times
2240:Herbage, Julian,
2147:The Musical Times
2010:The Musical Times
1764:Jordanhill campus
1728:Serenade to Music
1556:; Rachmaninoff's
1448:Serenade to Music
1425:The Wand of Youth
1351:Serenade to Music
1346:A London Symphony
1341:Enigma Variations
1235:Royal Albert Hall
1229:, London. During
1203:Serenade to Music
1190:Royal Albert Hall
1133:Willem Mengelberg
1056:BBC and the Proms
712:Enigma Variations
376:The Bohemian Girl
225:, and piano with
146:Wood was born in
119:Royal Albert Hall
18:Henry Joseph Wood
16:(Redirected from
4488:
4446:Knights Bachelor
4382:Domingo Hindoyan
4239:
4232:
4225:
4216:
4215:
4200:at www.bbc.co.uk
4178:
4167:My Life of Music
4161:
4144:
4133:The Record Guide
4127:
4110:
4093:
4074:
4055:
4036:
4014:
3995:
3983:
3974:Kennedy, Michael
3969:
3950:
3933:
3914:
3886:
3883:
3877:
3864:
3858:
3857:; and Cox, p. 56
3856:
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2547:Elkin, pp. 25–26
2545:
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2527:
2524:
2518:
2517:
2515:
2513:
2508:on 1 August 2020
2504:. Archived from
2498:"Henry Wood and
2494:
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1900:
1893:
1874:
1863:About Conducting
1857:
1842:My Life of Music
1836:
1815:
1790:
1734:and Walton. The
1669:Nutcracker Suite
1663:Manfred Symphony
1415:A Song of Summer
1363:The Record Guide
1280:Benjamin Britten
1273:St Mary's church
1216:My Life of Music
1198:Vaughan Williams
1137:Arturo Toscanini
690:Sir Edgar Speyer
653:Sir Adrian Boult
318:François Cellier
227:Walter Macfarren
223:Charles Steggall
163:in the choir of
64:
53:
50:
21:
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4376:Vasily Petrenko
4364:Petr Altrichter
4304:Malcolm Sargent
4287:Frederick Cowen
4269:Julius Benedict
4248:
4243:
4186:
4181:
4099:Malcolm Sargent
4090:
4071:
4052:
4033:
4011:
3992:
3966:
3930:
3922:. London: BBC.
3911:
3894:
3889:
3884:
3880:
3874:Wayback Machine
3865:
3861:
3854:
3845:
3841:
3833:
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3823:Wayback Machine
3814:
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3783:Dutton Vocalion
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3374:Orga, pp. 93–94
3373:
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3355:
3351:
3339:Jacobs Arthur,
3338:
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2941:
2937:
2933:Morrison, p. 24
2932:
2928:
2924:Morrison, p. 11
2923:
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2897:
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2833:Jacobs, p. 79,
2832:
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2747:
2738:
2734:
2730:Wood, pp. 96–97
2729:
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2500:The Lady Slavey
2496:
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2466:The Lady Slavey
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1894:
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1781:
1747:Henry Wood Hall
1716:Henry Wood Hall
1686:
1654:; Stravinsky's
1638:Violin Concerto
1516:Glagolitic Mass
1372:
1321:Violin Concerto
1296:
1145:
1058:
1039:Malcolm Sargent
1035:Eugene Goossens
981:
674:
604:Rimsky-Korsakov
594:, Tchaikovsky,
592:Richard Strauss
586:and Schumann's
584:Violin Concerto
515:diapason normal
450:
437:The Lady Slavey
406:Olympic Theatre
323:The Nautch Girl
297:for Sullivan's
243:
144:
139:
130:Boston Symphony
90:Arthur Sullivan
69:, known as the
60:
51:
35:
28:
23:
22:
15:
12:
11:
5:
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4481:BBC Orchestras
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4370:Gerard Schwarz
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4352:Marek Janowski
4349:
4346:David Atherton
4343:
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4334:Charles Groves
4331:
4328:John Pritchard
4325:
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4257:Jakob Zeugheer
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4185:
4184:External links
4182:
4180:
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4162:
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4128:
4116:Thomas Beecham
4111:
4094:
4088:
4075:
4069:
4056:
4050:
4037:
4031:
4021:, ed. (1979).
4015:
4009:
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3970:
3964:
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3934:
3928:
3915:
3909:
3901:My Own Trumpet
3895:
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3888:
3887:
3878:
3859:
3839:
3827:
3808:
3806:Jacobs, p. 465
3796:
3787:
3775:
3766:
3764:Jacobs, p. 430
3757:
3748:
3740:"First Choice"
3732:
3723:
3714:
3712:Jacobs, p. 426
3705:
3703:Jacobs, p. 425
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3504:Jacobs, p. 269
3497:
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3449:
3436:
3416:Brown, David,
3409:
3407:Jacobs, p. 232
3397:
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3349:
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3312:
3303:
3301:Jacobs, p. 132
3294:
3292:Kennedy, p. 90
3285:
3283:Jacobs, p. 118
3276:
3264:
3262:Jacobs, p. 171
3255:
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3210:
3208:Cox, pp. 64–65
3201:
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3105:Jacobs, p. 123
3098:
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3087:Jacobs, p. 129
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3063:Jacobs, p. 116
3056:
3054:Jacobs, p. 111
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2951:Jacobs, p. 131
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2902:Jacobs, p. 102
2895:
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2824:Cox, pp. 42–43
2817:
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2712:Previn, p. 160
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2379:Jacobs, p. 329
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2035:Hans von BĂĽlow
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1777:
1740:John Masefield
1722:, south London
1685:
1682:
1489:; Hindemith's
1464:Joyeuse marche
1406:Piano Concerto
1371:
1368:
1337:Fifth Symphony
1325:Albert Sammons
1295:
1292:
1159:Missa Solemnis
1156:, Beethoven's
1144:
1141:
1125:Symphony No. 8
1121:Paul Hindemith
1057:
1054:
1050:Hollywood Bowl
1023:Thomas Beecham
980:
977:
894:, Manchester,
673:
670:
662:Queen Victoria
658:Windsor Castle
644:Shamus O'Brien
588:Piano Concerto
528:Agnes Nicholls
449:
446:
431:Der FreischĂĽtz
422:and rehearsed
361:Arthur Nikisch
308:André Messager
242:
239:
215:Ebenezer Prout
180:Ebenezer Prout
143:
140:
138:
135:
26:
9:
6:
4:
3:
2:
4493:
4482:
4479:
4477:
4474:
4472:
4469:
4467:
4464:
4462:
4459:
4457:
4454:
4452:
4449:
4447:
4444:
4442:
4439:
4437:
4434:
4432:
4429:
4427:
4424:
4422:
4419:
4417:
4414:
4412:
4409:
4407:
4404:
4403:
4401:
4394:
4383:
4380:
4377:
4374:
4371:
4368:
4365:
4362:
4359:
4356:
4353:
4350:
4347:
4344:
4341:
4340:Walter Weller
4338:
4335:
4332:
4329:
4326:
4323:
4320:
4317:
4314:
4311:
4308:
4305:
4302:
4299:
4296:
4294:
4291:
4288:
4285:
4282:
4281:Charles Hallé
4279:
4276:
4273:
4270:
4267:
4264:
4263:Alfred Mellon
4261:
4258:
4255:
4254:
4251:
4247:
4240:
4235:
4233:
4228:
4226:
4221:
4220:
4217:
4211:
4208:
4205:
4202:
4199:
4195:
4191:
4188:
4187:
4176:
4172:
4168:
4163:
4159:
4155:
4151:
4146:
4142:
4138:
4134:
4129:
4125:
4121:
4117:
4112:
4108:
4104:
4100:
4095:
4091:
4089:0-354-04420-6
4085:
4081:
4076:
4072:
4070:0-7153-6679-3
4066:
4062:
4057:
4053:
4051:0-571-21584-X
4047:
4043:
4038:
4034:
4032:0-241-10178-6
4028:
4024:
4020:
4016:
4012:
4010:0-370-31271-6
4006:
4002:
3997:
3993:
3991:0-333-48752-4
3987:
3982:
3981:
3975:
3971:
3967:
3965:0-413-69340-6
3961:
3957:
3952:
3948:
3944:
3940:
3935:
3931:
3929:0-563-17697-0
3925:
3921:
3916:
3912:
3910:0-241-02445-5
3906:
3902:
3897:
3896:
3882:
3875:
3871:
3868:
3863:
3852:
3848:
3843:
3836:
3831:
3824:
3820:
3817:
3812:
3803:
3801:
3791:
3784:
3779:
3770:
3761:
3752:
3745:
3741:
3736:
3727:
3718:
3709:
3700:
3693:
3689:
3686:
3681:
3674:
3669:
3660:
3651:
3642:
3633:
3624:
3615:
3609:Elkin, p. 129
3606:
3597:
3588:
3579:
3570:
3563:
3557:
3550:
3546:
3540:
3531:
3522:
3513:
3511:
3501:
3492:
3485:
3479:
3472:
3466:
3459:
3453:
3446:
3440:
3430:
3422:
3419:
3413:
3404:
3402:
3392:
3390:
3380:
3371:
3362:
3353:
3346:
3342:
3336:
3334:
3332:
3330:
3328:
3326:
3316:
3307:
3298:
3289:
3280:
3273:
3268:
3259:
3250:
3241:
3232:
3223:
3214:
3205:
3198:
3194:
3190:
3186:
3180:
3173:
3167:
3160:
3156:
3152:
3146:
3140:Jacob, p. 137
3137:
3130:
3124:
3117:
3111:
3102:
3093:
3084:
3077:
3076:
3069:
3060:
3051:
3042:
3033:
3031:
3023:
3018:
3011:
3006:
2999:
2994:
2985:
2978:
2972:
2965:
2964:
2957:
2948:
2939:
2930:
2921:
2914:
2908:
2899:
2890:
2888:
2886:
2876:
2870:Jacobs, p. 43
2867:
2858:
2849:
2847:
2840:
2836:
2830:
2821:
2815:Jacobs, p. 67
2812:
2806:Jacobs, p. 59
2803:
2797:Jacobs, p. 62
2794:
2785:
2779:Boult, p. 181
2776:
2767:
2758:
2749:
2742:
2736:
2727:
2718:
2709:
2707:
2700:Shore, p. 189
2697:
2690:
2689:
2682:
2673:
2664:
2655:
2649:Jacobs, p. 45
2646:
2637:
2628:
2622:Jacobs, p. 38
2619:
2613:Jacobs, p. 34
2610:
2601:
2599:
2589:
2583:Jacobs, p. 46
2580:
2571:
2562:
2553:
2544:
2535:
2533:
2526:Jacobs, p. 27
2523:
2507:
2503:
2501:
2493:
2486:
2485:
2480:
2479:J. P. Wearing
2475:
2469:
2467:
2461:
2455:Jacobs, p. 26
2452:
2443:
2437:Jacobs, p. 24
2434:
2425:
2416:
2409:
2403:
2394:
2385:
2376:
2369:
2363:
2361:
2359:
2357:
2355:
2344:
2341:
2335:
2333:
2331:
2329:
2322:Jacobs, p. 14
2319:
2310:
2301:
2294:
2288:
2282:Jacobs, p. 13
2279:
2270:
2268:
2258:
2256:
2254:
2243:
2237:
2235:
2233:
2231:
2224:Jacobs, p. 10
2221:
2214:
2208:
2206:
2204:
2194:
2185:
2183:
2173:
2164:
2155:
2148:
2145:
2140:
2136:
2134:
2133:
2122:
2115:
2109:
2102:
2098:
2092:
2085:
2079:
2072:
2068:
2062:
2055:
2054:
2049:
2043:
2036:
2030:
2023:
2019:
2015:
2011:
2007:
2001:
1992:
1985:
1979:
1970:
1960:
1953:
1952:
1947:
1942:
1932:
1923:
1914:
1905:
1898:
1897:Michael Costa
1892:
1888:
1886:
1885:
1872:
1868:
1864:
1859:
1855:
1851:
1847:
1843:
1838:
1834:
1830:
1826:
1822:
1817:
1813:
1809:
1805:
1801:
1797:
1792:
1788:
1783:
1782:
1775:
1770:
1767:
1765:
1761:
1756:
1752:
1748:
1743:
1741:
1737:
1736:Poet Laureate
1733:
1729:
1721:
1717:
1713:
1709:
1707:
1703:
1699:
1695:
1691:
1681:
1679:
1675:
1671:
1670:
1665:
1664:
1659:
1658:
1653:
1649:
1648:
1643:
1642:Karelia Suite
1639:
1635:
1631:
1627:
1623:
1619:
1615:
1611:
1607:
1606:
1601:
1597:
1596:
1591:
1590:
1585:
1581:
1580:
1575:
1574:
1569:
1568:
1567:Ma mère l'oye
1563:
1559:
1555:
1551:
1547:
1543:
1542:
1537:
1533:
1529:
1525:
1521:
1517:
1513:
1512:
1507:
1503:
1499:
1495:
1493:
1488:
1487:
1482:
1481:
1476:
1475:
1474:Billy the Kid
1470:
1466:
1465:
1460:
1456:
1451:
1449:
1445:
1444:
1439:
1435:
1431:
1427:
1426:
1421:
1417:
1416:
1411:
1407:
1403:
1399:
1398:
1393:
1385:
1381:
1376:
1367:
1365:
1364:
1358:
1356:
1352:
1348:
1347:
1342:
1338:
1334:
1329:
1326:
1322:
1317:
1315:
1314:
1309:
1305:
1301:
1291:
1289:
1285:
1281:
1276:
1274:
1270:
1265:
1256:
1251:
1247:
1243:
1236:
1232:
1228:
1223:
1219:
1217:
1213:
1209:
1205:
1204:
1199:
1195:
1191:
1187:
1186:
1181:
1180:
1175:
1171:
1170:
1165:
1161:
1160:
1155:
1154:
1150:
1140:
1138:
1134:
1130:
1126:
1122:
1116:
1112:
1110:
1109:
1104:
1100:
1099:
1094:
1093:
1088:
1083:
1080:
1076:
1066:
1062:
1053:
1051:
1047:
1042:
1040:
1036:
1032:
1031:Basil Cameron
1026:
1024:
1018:
1010:
1006:
1003:
999:
994:
991:
987:
976:
973:
972:Ernest Newman
968:
967:
962:
958:
954:
950:
946:
937:
933:
931:
927:
923:
919:
915:
911:
910:
905:
901:
897:
893:
889:
885:
884:Wolverhampton
879:
877:
873:
868:
864:
862:
861:
856:
853:Symphony and
852:
848:
843:
841:
837:
833:
829:
828:Purcell Suite
820:
815:
812:
811:
804:
802:
798:
794:
790:
786:
782:
778:
777:
772:
768:
763:
759:
757:
751:
749:
748:
743:
739:
735:
731:
727:
723:
718:
714:
713:
706:
702:
700:
695:
691:
683:
678:
669:
665:
663:
659:
654:
648:
645:
636:
632:
630:
626:
620:
617:
613:
607:
605:
601:
597:
593:
589:
585:
581:
577:
573:
572:
567:
563:
562:
561:Great C Major
557:
553:
549:
542:
540:
539:
531:
529:
524:
521:
517:
516:
511:
506:
502:
499:
495:
490:
486:
482:
481:Robert Newman
478:
474:
470:
462:
458:
457:Robert Newman
454:
445:
443:
442:Opera Comique
439:
438:
433:
432:
427:
426:
421:
417:
416:
415:Eugene Onegin
411:
407:
403:
398:
396:
395:
390:
389:
384:
383:
378:
377:
372:
371:
366:
362:
358:
354:
350:
344:
342:
338:
334:
330:
325:
324:
319:
315:
314:
309:
305:
304:
300:
296:
288:
287:
282:
277:
273:
271:
267:
266:Arthur Jacobs
263:
262:Savoy Theatre
259:
258:
253:
249:
238:
236:
232:
231:Manuel Garcia
228:
224:
220:
216:
211:
209:
204:
200:
197:, being paid
196:
192:
191:George Cooper
185:
184:Manuel Garcia
181:
176:
172:
170:
166:
162:
157:
153:
149:
148:Oxford Street
134:
131:
127:
122:
120:
116:
112:
111:Robert Newman
107:
105:
104:
103:Eugene Onegin
99:
95:
91:
87:
83:
82:Manuel GarcĂa
79:
74:
72:
68:
63:
59:
46:
41:
37:
33:
19:
4393:
4316:Paul Kletzki
4310:Hugo Rignold
4292:
4196:, listed on
4166:
4149:
4132:
4115:
4098:
4079:
4060:
4041:
4022:
4000:
3980:Adrian Boult
3979:
3955:
3938:
3919:
3900:
3881:
3862:
3842:
3830:
3811:
3790:
3778:
3769:
3760:
3751:
3743:
3735:
3726:
3717:
3708:
3699:
3680:
3668:
3663:Orga, p. 121
3659:
3654:Orga, p. 120
3650:
3641:
3632:
3623:
3614:
3605:
3596:
3587:
3578:
3569:
3561:
3556:
3548:
3544:
3539:
3530:
3521:
3500:
3491:
3483:
3478:
3470:
3465:
3457:
3452:
3444:
3439:
3428:
3420:
3412:
3379:
3370:
3361:
3352:
3344:
3319:Wood, p. 317
3315:
3306:
3297:
3288:
3279:
3267:
3258:
3253:Moore, p. 31
3249:
3240:
3231:
3222:
3213:
3204:
3196:
3192:
3188:
3185:The Observer
3184:
3179:
3171:
3166:
3158:
3154:
3150:
3145:
3136:
3128:
3123:
3115:
3110:
3101:
3092:
3083:
3073:
3068:
3059:
3050:
3041:
3036:Wood, p. 192
3017:
3005:
2993:
2984:
2976:
2971:
2963:The Observer
2961:
2956:
2947:
2942:Wood, p. 101
2938:
2929:
2920:
2912:
2907:
2898:
2875:
2866:
2857:
2838:
2834:
2829:
2820:
2811:
2802:
2793:
2784:
2775:
2766:
2757:
2748:
2740:
2735:
2726:
2717:
2696:
2688:The Guardian
2686:
2681:
2672:
2663:
2654:
2645:
2636:
2627:
2618:
2609:
2604:Elkin, p. 25
2588:
2579:
2570:
2561:
2556:Elkin, p. 26
2552:
2543:
2522:
2510:. Retrieved
2506:the original
2499:
2492:
2483:
2474:
2465:
2460:
2451:
2442:
2433:
2424:
2415:
2407:
2402:
2393:
2384:
2375:
2367:
2342:
2318:
2309:
2300:
2292:
2287:
2278:
2220:
2193:
2188:Jacobs, p. 6
2172:
2163:
2158:Jacobs, p. 4
2154:
2146:
2139:
2131:
2130:
2121:
2108:
2096:
2091:
2078:
2066:
2061:
2051:
2042:
2029:
2017:
2013:
2009:
2006:The Observer
2005:
2000:
1991:
1978:
1969:
1959:
1949:
1941:
1931:
1922:
1913:
1904:
1891:
1883:
1882:
1862:
1841:
1820:
1799:
1786:
1772:
1768:
1744:
1732:Marcel Dupré
1727:
1725:
1687:
1677:
1667:
1661:
1657:The Firebird
1655:
1651:
1645:
1610:Shostakovich
1603:
1595:Scheherazade
1593:
1587:
1577:
1571:
1565:
1539:
1523:
1509:
1491:
1484:
1478:
1477:; Debussy's
1472:
1462:
1454:
1452:
1447:
1441:
1437:
1429:
1423:
1419:
1413:
1409:
1395:
1392:Frank Bridge
1389:
1361:
1359:
1354:
1350:
1344:
1340:
1330:
1318:
1311:
1297:
1277:
1260:
1244:
1240:
1215:
1201:
1183:
1177:
1167:
1157:
1151:
1146:
1129:Bruno Walter
1117:
1113:
1106:
1102:
1096:
1090:
1086:
1084:
1071:
1059:
1043:
1027:
1019:
1015:
1012:Wood in 1922
995:
982:
964:
957:Rachmaninoff
942:
907:
880:
869:
865:
858:
844:
827:
825:
808:
806:
774:
770:
766:
764:
760:
752:
745:
710:
707:
703:
699:Edward Elgar
686:
666:
649:
643:
641:
621:
616:André Previn
611:
608:
569:
559:
544:
536:
533:
525:
514:
507:
503:
477:Queen's Hall
466:
461:Queen's Hall
435:
429:
423:
419:
413:
402:Luigi Arditi
399:
394:Il trovatore
392:
386:
380:
374:
368:
357:Hans Richter
345:
340:
336:
333:St. Dorothea
332:
321:
311:
301:
292:
284:
255:
244:
212:
199:half a crown
188:
151:
145:
123:
115:Queen's Hall
108:
101:
75:
57:
56:
43:Portrait by
36:
4476:Répétiteurs
4411:1944 deaths
4406:1869 births
4358:Libor Pešek
4322:Efrem Kurtz
4298:Louis Cohen
4289:(1896-1913)
4194:as composer
3645:Cox, p. 126
3636:Cox, p. 124
3627:Cox, p. 123
3600:Cox, p. 116
3591:Cox, p. 110
3235:Orga, p. 87
3226:Orga, p. 88
2761:Wood, p. 93
2752:Wood, p. 86
2676:Wood, p. 84
2592:Orga, p. 55
2574:Orga, p. 57
2565:Orga, p. 44
2428:Wood, p. 59
2313:Wood, p. 39
2304:Wood, p. 36
2273:Wood, p. 29
2176:Wood, p. 13
2167:Wood, p. 17
2114:BBC Radio 3
2071:Frank Howes
1984:John Wilson
1899:and others.
1678:Passacaglia
1600:Saint-Saëns
1511:Taras Bulba
1506:Sinfonietta
1492:Kammermusik
1455:Dance Suite
1408:; Delius's
1384:Vanity Fair
888:Westmorland
810:accelerando
682:Cyrus Cuneo
566:Mendelssohn
473:Felix Mottl
410:Tchaikovsky
299:grand opera
156:pawnbroking
142:Early years
98:Tchaikovsky
52: 1906
4400:Categories
4293:Henry Wood
3395:Cox, p. 88
3383:Cox, p. 87
3365:Cox, p. 83
3217:Cox, p. 65
3151:The Nation
3096:Cox, p. 55
2852:Cox, p. 44
2770:Cox, p. 38
2667:Cox, p. 35
2640:Cox, p. 34
2631:Cox, p. 33
2261:Cox, p. 56
2132:References
1844:. London:
1802:. London:
1443:Flos Campi
1422:; Elgar's
1339:, Elgar's
1308:Clara Butt
1294:Recordings
1143:Last years
990:Stravinsky
961:Schoenberg
872:knighthood
313:La Basoche
286:La Basoche
248:répétiteur
4275:Max Bruch
4158:499119110
4141:500373060
4107:603636443
4080:Orchestra
4061:The Proms
3947:636583612
3847:"Library"
3835:"History"
3562:The Times
3549:The Times
3545:The Times
3484:The Times
3471:The Times
3458:The Times
3445:The Times
3193:The Times
2067:The Times
2014:The Times
2012:in 1912.
1951:The World
1871:717026319
1833:155891475
1812:162576291
1751:Southwark
1720:Southwark
1696:, to the
1546:Prokofiev
1370:Premieres
1328:critics.
1231:the Proms
1185:The Bells
1108:The Times
1103:asked for
900:Leicester
896:Liverpool
694:Sheffield
535:then the
494:Beethoven
169:Broadwood
137:Biography
106:in 1892.
4175:30533927
4124:52025268
3976:(1987).
3870:Archived
3819:Archived
3688:Archived
2512:24 March
2084:Nagasaki
2048:Glazunov
1936:memoirs.
1779:Writings
1579:La valse
1459:Chabrier
1304:Columbia
953:Scriabin
801:hornpipe
730:Sibelius
722:Bruckner
629:ensemble
600:Massenet
596:Glazunov
576:Schumann
548:Schubert
520:semitone
469:Bayreuth
420:Maritana
388:Maritana
343:(1890).
329:oratorio
281:Messager
182:(l) and
4300:(1930s)
3892:Sources
2835:quoting
2065:Later,
1854:2600343
1798:(ed.).
1755:chaplet
1692:in the
1647:Tapiola
1502:Janáček
1469:Copland
1430:Sospiri
1402:Britten
1397:The Sea
1269:Hitchin
1264:Bedford
1169:Te Deum
1164:Berlioz
1153:Requiem
1075:Quilter
1048:at the
945:Debussy
892:Cardiff
847:Norwich
840:Vivaldi
836:Albéniz
832:Purcell
736:), and
571:Italian
303:Ivanhoe
260:at the
235:Gustave
4384:(2021)
4378:(2006)
4372:(2001)
4366:(1997)
4360:(1987)
4354:(1983)
4348:(1980)
4342:(1977)
4336:(1963)
4330:(1957)
4324:(1955)
4318:(1954)
4312:(1948)
4306:(1942)
4283:(1883)
4277:(1880)
4271:(1867)
4265:(1865)
4259:(1843)
4173:
4156:
4139:
4122:
4105:
4086:
4067:
4048:
4029:
4007:
3988:
3962:
3945:
3926:
3907:
3155:quoted
2913:quoted
1869:
1852:
1831:
1810:
1674:Webern
1672:; and
1644:, and
1538:, and
1520:Kodály
1486:Ibéria
1418:, and
1386:, 1907
1196:, and
1174:Walton
1135:, and
1002:Berlin
986:BartĂłk
955:, and
932:(13).
926:Brahms
920:(16);
918:Dvořák
916:(28);
914:Mozart
886:, and
851:Choral
785:Handel
738:Mahler
717:Delius
580:Fourth
556:Wagner
538:Rienzi
425:Oberon
391:, and
370:Carmen
1964:much.
1884:Notes
1562:Ravel
1420:Idyll
1333:Decca
1323:with
1149:Verdi
1079:Parry
949:Reger
930:Liszt
922:Weber
742:No. 1
734:No. 1
726:No. 7
337:Daisy
241:Opera
161:tenor
71:Proms
4192:and
4171:OCLC
4154:OCLC
4137:OCLC
4120:OCLC
4103:OCLC
4084:ISBN
4065:ISBN
4046:ISBN
4027:ISBN
4005:ISBN
3986:ISBN
3960:ISBN
3943:OCLC
3924:ISBN
3905:ISBN
2514:2020
2016:and
2008:and
1867:OCLC
1850:OCLC
1829:OCLC
1808:OCLC
1666:and
1632:and
1620:and
1582:and
1552:and
1534:and
1514:and
1496:and
1483:and
1446:and
1382:for
1077:and
1033:and
904:Hull
902:and
855:Bach
789:Arne
769:and
612:that
602:and
574:and
428:and
359:and
351:and
128:and
1718:in
1676:'s
1612:'s
1602:'s
1564:'s
1548:'s
1522:'s
1504:'s
1471:'s
1461:'s
1404:'s
1394:'s
1380:Spy
1316:.
1208:Bax
1176:'s
1098:sic
963:'s
857:'s
838:to
728:),
578:'s
568:'s
550:'s
412:'s
320:on
310:'s
283:'s
152:née
100:'s
4402::
3799:^
3742:,
3509:^
3400:^
3388:^
3343:,
3324:^
3029:^
2884:^
2845:^
2705:^
2597:^
2531:^
2481:,
2353:^
2327:^
2266:^
2252:^
2229:^
2202:^
2181:^
1848:.
1827:.
1806:.
1738:,
1680:.
1640:,
1636:,
1628:,
1592:,
1576:,
1570:,
1560:;
1544:;
1530:,
1518:;
1508:,
1500:;
1467:;
1457:;
1450:.
1440:,
1412:,
1400:;
1357:.
1218:.
1172:,
1166:'
1162:,
1131:,
988:,
959:.
951:,
947:,
898:,
842:.
598:,
564:,
530::
385:,
379:,
373:,
331:,
121:.
62:CH
49:c.
47:,
4238:e
4231:t
4224:v
4177:.
4160:.
4143:.
4126:.
4109:.
4092:.
4073:.
4054:.
4035:.
4013:.
3994:.
3968:.
3949:.
3932:.
3913:.
2516:.
1873:.
1856:.
1835:.
1814:.
1634:7
1630:6
1626:1
1622:8
1618:7
1536:8
1532:7
1528:4
1498:5
1494:2
1237:.
740:(
732:(
724:(
34:.
20:)
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