Sir Adrian Boult a Musical Legacy Sir Adrian Boult (1889 – 1983)
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SIR ADRIAN BOULT A MUSICAL LEGACY SIR ADRIAN BOULT (1889 – 1983) In October 1919, at very short notice, the young much to the music of their contemporaries. As Wilson sing On Wenlock Edge. He even met John These were prescient remarks and, as it turned out, Adrian Boult took over conducting Sergei Ralph Vaughan Williams noted in a letter after the Philip Sousa: ‘when one gets used to the noise it is Elgar’s music (as well as the music of many of his Diaghilev’s Ballets Russes at London’s Alhambra premiere of his Piano Concerto: ‘You have made marvellous’. contemporaries) was safe in Boult’s hands for over Theatre. Over a few days Boult learnt 14 ballets impossible the composer’s time-honoured excuse half a century, much of it performed with the including Satie’s Parade and Stravinsky’s Petrushka that the work would have sounded all right if it After a performance of his Symphony No. 2 on 17 London Philharmonic Orchestra. Boult’s final public and Firebird. On 5 November 1920 he travelled had been properly played – I could not have March 1920, Sir Edward Elgar wrote to the 30-year- appearance was to conduct Elgar’s ballet The from London to the HMV studios in Hayes, imagined a better performance’. old Boult, who had just conducted the work in Sanguine Fan at the London Coliseum on 24 June Middlesex, to make his first recording with the London’s Queen’s Hall. 1978, a work he had recorded with the LPO in 1973. recently re-formed British Symphony Orchestra, The relationship that the LPO enjoyed with The great ballerina, Dame Beryl Grey, said of Boult’s of which he had just been appointed Principal Sir Adrian was a long and fruitful one. This conducting ‘that it was almost as if the composer Conductor. Crowded around the acoustic recording benefitted both Orchestra and conductor as Boult himself was reliving the music. [Boult] knew how to horn, the musicians recorded excerpts from the entered what was a happy ‘Indian summer’ of ‘My dear Adrian: With the sounds ringing lead; the worst thing to have is a conductor who ballet The Good-Humoured Ladies with music by recording and music-making. His friendships with in my ears I send a word of thanks for your follows the dancer’. Scarlatti arranged by Vincenzo Tommasini. Eleven many significant 20th-century composers enabled splendid conducting of the Sym: – I am days later Boult returned to Hayes to make his first him to bring an authority to performances of most grateful to you for your affectionate recording of George Butterworth’s A Shropshire works such as those by Elgar, Holst and Vaughan care of it & I feel that my reputation in Lad. He would go on to make recordings for nearly Williams. Although Boult’s music-making was the future is safe in your hands. It was a 60 years, living into the digital age. His final grounded on the German classics, it is his devotion wonderful series of sounds. Bless you!’ sessions (which were with the LPO) were in 1978, to the music of British composers and his when he conducted the music of his friend Gustav willingness, whilst at the BBC, to learn ‘new’ music Holst and that of Hubert Parry. With the possible such as Berg’s opera Wozzeck, for which he is exception of another British-born conductor, particularly remembered. Whilst at Oxford he sang Leopold Stokowski, few conductors have recorded in the second performance of Vaughan Williams’s over as long a period and few have contributed so A Sea Symphony and heard the young tenor Steuart Gerontius? I am not certain by any means.’ Despite Festival he noted that Rachmaninoff ‘was by far the In 1920 Boult attended the Mahler Festival in EARLY YEARS becoming one of the supreme interpreters of The best conductor who appeared at Leeds’ and two Amsterdam. There he heard Mahler’s Sixth, Seventh Dream of Gerontius, Boult expressed a much later years later travelled to Leipzig where he studied for and Ninth Symphonies, Das Lied von der Erde and Adrian Cedric Boult was born on 8 April 1889 to a opinion in the notes that accompanied his a year. There he attended rehearsals and concerts Kindertotenlieder. Boult’s comments on Mahler’s successful Cheshire businessman and his wife. In recording of Elgar’s The Kingdom in 1969: ‘I think conducted by Nikisch, whose style was to become music are perceptive: ‘… it is impossible to question 1901 he was sent to Westminster School where he there is a great deal in The Kingdom that is more the greatest influence on Boult. the orchestration of a man who was one of the developed into an intelligent and perceptive than a match for Gerontius, and I feel it is a much greatest conductors of his age, although one observer of London’s musical life. From school he more balanced work and throughout maintains a His first professional engagement, on 27 February must confess to an impression of over-scoring in attended countless concerts hearing music stream of glorious music whereas Gerontius has its 1914, was back home in the Wirral town of West much of the purely orchestral work’. Boult’s only conducted by, among others, Arthur Nikisch, Hans ups and downs’. Kirby (where his family had moved). He conducted studio recordings of Mahler’s music were the First Richter and Richard Strauss. Boult made detailed a programme that included George Butterworth’s Symphony, Lieder eines fahrenden Gesellen and notes of concerts he attended. At times these In 1908, in Oxford for his entrance interview to The Banks of Green Willow. Boult had met Kindertotenlieder. Nevertheless, Boult was one of reflect the naivety of a teenager and at others the Christ Church, Boult surprised the Dean, Dr Thomas Butterworth in Oxford and, when President of the the pioneering post-war interpreters of Mahler’s fastidiousness he would bring to his own Strong, when he announced his intention of University Musical Club, invited Butterworth music, conducting broadcast performances of conducting. Aged 15, he attended what was only becoming an orchestral conductor. Perhaps he had to give what turned out to be a significant event many of the symphonies before he took up his the second London performance of Elgar’s The been inspired by attending the rehearsals of the in English music: the first performance of some of position with the LPO. Dream of Gerontius. It is fascinating to see how an London premiere of Elgar’s First Symphony. the songs from A Shropshire Lad. Whilst at Oxford, intelligent and perceptive young man had a The conductor was Hans Richter and Boult never Boult also began his lifelong friendship with Ralph In 1924, Boult’s appointment as Director of the definite opinion, even if it was to alter later in life. forgot the occasion. Richter, with the conductors Vaughan Williams, later becoming one of the finest Birmingham Festival Choral Society led to his move After the performance he wrote: ‘I was very Fritz Steinbach and Arthur Nikisch, became Boult’s interpreters of the composer’s music. It is almost to the City of Birmingham Orchestra (CBO). disappointed. It is aimless wandering. The closing models, his observation of their particular certain that Boult conducted more premieres of The local audience, although welded to traditional scene is exquisite, and the demons chorus is good, techniques enabling him to comment on how one major works by Vaughan Williams than anyone programming were, nevertheless, introduced to but Gerontius takes much too long dying … Will or the other might have interpreted a work in a else. the music of Mahler and Stravinsky, Boult and Elgar live? His Variations will, I am certain. Will concert he attended. Attending the 1910 Leeds his family subsidising concerts on occasions. It was during these six years directing the CBO that should primarily be an administrator was soon Three Orchestral Pieces, Busoni’s Dr Faust, the Orchestra’s General Manager, asking Boult to Boult’s reputation was made. Whilst there, he was compromised when it became clear that Boult Khachaturian’s Ode to Stalin, Křenek’s Piano take over the Principal Conductor’s position from able to conduct performances of Die Walküre and insisted on conducting the Orchestra’s first Concerto, and Malipiero’s First and William Eduard van Beinum, who had retired through ill- Otello with the touring British National Opera concert on 22 May 1930 in Queen’s Hall. This was Schuman’s Third Symphonies. Many a composer health. Company, and elsewhere Parsifal and Pelléas and one of those concerts that few who attended from Berg (whom Boult had got to know at a Although Boult had made his first recording with Mélisande. He had also been noticed by the BBC would forget. Largely unknown in London, Boult meeting in Cambridge in 1931) to Béla Bartók the LPO in the Autumn of 1949, this was hardly a and in 1928 was invited to join the Corporation’s conducted a programme that began with Wagner’s and Elisabeth Lutyens had reason to be grateful propitious time for the Orchestra, as it attempted Music Advisory Committee. Overture from Der fliegende Holländer and ended to him for his faithfulness to their music and his to recover after World War II and compete with the with the second Suite from Ravel’s Daphnis and determination to get to what he thought were the ability of newly-formed rival orchestras in Britain to Chloë. In the words of the Times critic, ‘London now intentions of the composer. attract some of the finest instrumentalists.