I love everything about this gentleman, including the received pronounciation he used... I have some 78s of him conducting Elgar's works... I am slowly digitising them, so that people can enjoy them...
@@PM_ME_MESSIAEN_PICS Believe or not, some recordings have yet to be digitised and made available to the public, some which are, in fact, in the public domain. There are also undiscovered early recordings that have managed to survive in various cellars, attics, garages, etc.
Yes, Nikisch, Walter and quite a few others have had a positive influence on him. But his conducting 'style' decidedly evolved in a personal way, powerful for sheer concentration and precision and, at the same time, 'minimalist' on gestures unlike the more 'boiling' Barbirolli to name one example. Sir Adrian will always remain one of the greatest musicians, for numerous reasons. We will continue to discover that greatness through the countless recordings he has done through the years as a treasure trove of musical legacy for all of us to hear. I like the fact that there can be a different approach to music, a la Boult vs the other equallly excellent Barbirolli, Beecham, Previn, etc...
Ah yes , the Dream of Gerontius- to which Elgar wrote " this is the best of me ". I simply do not understand how a man of such GENIUS could produce a work of such CRAP !!! I have been a musician for over 50 years and studied all Elgars works. Yet Gerontius makes no sense to me at all , as well as other of my friends and colleagues feel the same way.
Believe it or not, I did guess what Boult was conducting without hearing the music. You can see exactly what the music sounds like: now, what do I know that sounds like that? Elgar? No. Probably English, though... VW? Perhaps, but nothing springs to mind. Holst? AH! It's The Perfect Fool! It's a jolly good party game. Boult once visited the young Mark Elder in his dressing room after one of the latter's performances. Boult said “Ah-ha! I see you are one of the sweaty ones”. It seems to me that Boult's technique has the great advantage that when he did use his whole arm, this was so out of the ordinary that it was perfectly clear to the musicians that he meant them really to go for it. If a conductor is always waving his arms about, it is much less clear what he actually wants, and he has to resort to ludicrous grandiloquent gestures and melodramatic miming, sometimes jumping into the air, to get the point across, like (the almost always awful) Leonard Bernstein.
I have one of his sticks at home (a family heirloom), and I now understand so much more about how he used it, even in this short excerpt. I've searched for "The Point of the Stick" (a full documentary), but there is nothing online. Does anyone know of a resource?
@@alialansari7046 - It's a family heirloom; it's not for sale. Thanks for your interest, though. I view it very much as my grandmother's baton, and Sir Adrian as it's benefactor. Best wishes to you.
@@tonarinototoro1455 - The baton is approximately 390 mm long, including the 72 mm long cork grip which has an approximate diameter of 18 mm with rounded ends. The wood is painted with cream gloss paint, rendering the wood species indeterminate. The paint is chipped in places, suggesting podium strikes. The grip was originally given a layer of rubber bands by Sir Adrian; these are long gone. The baton has developed a slight curvature with age; the curve is like that of a violin bow's arco relief.
@@tonarinototoro1455 - Some extra information: The full ~30-minyute video is now online with RUclips. At the beginning of the video you have a close-up of Sir Adrian's baton, complete with his customary rubber bands. My stick is not the one shown; my grandmother's studies were from years before the film was made. ruclips.net/video/3eubKDo4uoo/видео.html
Yes but that recording is not in the same league as the 1963 recording with the London PHILHARMONIC orchestra. There is no one , repeat NO ONE who brings a better climax to Nimrod than Boult in that recording. I have studied dozens of them.
I wish this had been much longer. It's remarkable to think his teacher was on working terms with Brahms, Wagner and Bruckner. I've just finished John Lucas's biography of Beecham; he and Boult were not on warm terms. Btw does anyone know who the orchestra is playing the excerpt from Perfect Fool?
Boult was a great conductor; second-rate and third-rate conductors like Harding, Rattle, Thielemann, Nelsons and Dudamel need to watch this class in conducting and may learn something.....
Quite a controversial comment. I would rather speak of " different " as opposed to second rate. There's many a recording I have dismissed as crap only to discover later that it does have its own DIFFERENT merits. Listen to Elgar march 4 conducted by Groves with the RLPO. Its exceptionally slow but note how after a few listens that Bass drum grows on you !!
According to Sir William McKie, Organist & Master of the Choristers, Westminster Abbey and Director of Music for the Queen's Coronation Service in 1953, Boult (who conducted the orchestral music before and after the actual service) summed up Walton's brand new Coronation Te Deum in one word, "PAGAN!" I wonder what he thought of Belshazzar's Feast???!!!
@@leitfie3579 Indeed he did!! Perhaps he softened towards Walton?! Personally give me a stack of LPs of Elgar conducted by either Boult or Barbirolli and it's a glimpse of heaven on earth!
I thought it unforgivable for Todd Handley to comment " A great conductor yes, but not a great man " ! He did not really explain or elaborate on why he held such views. You should always be extremely careful about what you say about someone who is not here to defend themselves , that is if you have any decency at all about you.
I think he did explain that comment - he believed that Boult disapproved of the private behaviour of cerain composers to such at extent that he avoided performing their music. He pointed out that the lives of Beethoven, Schubert and others were far from blameless, yet now, through the distances of time, we have to qualms about performing their music. Boult held very high moral standards, of himself as much as anyone else. But Handley overstated the case concerning performance - Boult did (occasionally) perform Delius, and he certainly did perform Bax, for example. He seldom voiced his vews about others - I don't think there is a single word of adverse criticism of his contemporaries in his biography, ''My Own Trumpet', but it is known that there were some whom he disliked strongly. In fact, Boult would probably have agreed with the final sentence of scabbycatcat's comment ; as a matter of principle, he did not believe it was right to pass judgement publicly, whatever his private views might have been.
Charles Coleman I wouldn't mind betting it is. I remember reading an article by Handley in which he is supposed to have said to Handley something along the lines of "You moved your foot just then. Was there any special reason for that? All very 'showy' but you shouldn't confuse the orchestra with needless gestures."
EDWARD ELGAR ENIGMA (variations on an original theme) Op.36 B.B.C. Symphony Orchestra Conducted by Sir Adrian Boult. Recorded in Abbey Road studio no.1, for His Master's Voice, on three 78 RPM discs, DB 8068-8070, on 26. March 1936. Released in May of the same year. ruclips.net/video/LvllOi8Ehr4/видео.html
In my opinion Boult was the finest of all the British conductors and one of the worlds finest.
What a marvellous piece of film - I was particularly struck by the slightly impish half-smile as he conducted the Holst.
A great conductor! We'll never see his like again
I love everything about this gentleman, including the received pronounciation he used...
I have some 78s of him conducting Elgar's works... I am slowly digitising them, so that people can enjoy them...
is everything not already online somewhere
@@PM_ME_MESSIAEN_PICS Believe or not, some recordings have yet to be digitised and made available to the public, some which are, in fact, in the public domain. There are also undiscovered early recordings that have managed to survive in various cellars, attics, garages, etc.
Wonderful! He's one of my very favorite conductors, too. Thanks much, Erwin. ☺
Yes, Nikisch, Walter and quite a few others have had a positive influence on him. But his conducting 'style' decidedly evolved in a personal way, powerful for sheer concentration and precision and, at the same time, 'minimalist' on gestures unlike the more 'boiling' Barbirolli to name one example. Sir Adrian will always remain one of the greatest musicians, for numerous reasons. We will continue to discover that greatness through the countless recordings he has done through the years as a treasure trove of musical legacy for all of us to hear. I like the fact that there can be a different approach to music, a la Boult vs the other equallly excellent Barbirolli, Beecham, Previn, etc...
Have you ever seen Furtwangler? He had the physical coordination of a rag doll and yet the results ....
I took part in performances of "Dream of Gerontius" with Sir Adrian, well remember the stick technique...and his reminiscences of Elgar!
Ah yes , the Dream of Gerontius- to which Elgar wrote " this is the best of me ". I simply do not understand how a man of such GENIUS could produce a work of such CRAP !!! I have been a musician for over 50 years and studied all Elgars works. Yet Gerontius makes no sense to me at all , as well as other of my friends and colleagues feel the same way.
@@scabbycatcat4202 A lost zeitgeist, I think.
Cheers for posting this.
My favourite conductor without doubt.
One of the best, in the podium for sure.
Sir Adrian was born just a short walk away from where I live.
Fascinating - and instructive!
Believe it or not, I did guess what Boult was conducting without hearing the music. You can see exactly what the music sounds like: now, what do I know that sounds like that? Elgar? No. Probably English, though... VW? Perhaps, but nothing springs to mind. Holst? AH! It's The Perfect Fool! It's a jolly good party game.
Boult once visited the young Mark Elder in his dressing room after one of the latter's performances. Boult said “Ah-ha! I see you are one of the sweaty ones”.
It seems to me that Boult's technique has the great advantage that when he did use his whole arm, this was so out of the ordinary that it was perfectly clear to the musicians that he meant them really to go for it. If a conductor is always waving his arms about, it is much less clear what he actually wants, and he has to resort to ludicrous grandiloquent gestures and melodramatic miming, sometimes jumping into the air, to get the point across, like (the almost always awful) Leonard Bernstein.
it would be fantastic to see the whole of the documentary 'point of the stick'
He came to conduct the Bedford School Orchestra!!
I have one of his sticks at home (a family heirloom), and I now understand so much more about how he used it, even in this short excerpt. I've searched for "The Point of the Stick" (a full documentary), but there is nothing online. Does anyone know of a resource?
You wouldn't by any chance think of selling that stick would you? 😋😋😋 If you ever consider please let me know. I'll make it worthwhile 😁 Thanks!
@@alialansari7046 - It's a family heirloom; it's not for sale. Thanks for your interest, though. I view it very much as my grandmother's baton, and Sir Adrian as it's benefactor.
Best wishes to you.
What are the dimensions of the baton? wood? Length etc thanks
@@tonarinototoro1455 - The baton is approximately 390 mm long, including the 72 mm long cork grip which has an approximate diameter of 18 mm with rounded ends. The wood is painted with cream gloss paint, rendering the wood species indeterminate. The paint is chipped in places, suggesting podium strikes. The grip was originally given a layer of rubber bands by Sir Adrian; these are long gone. The baton has developed a slight curvature with age; the curve is like that of a violin bow's arco relief.
@@tonarinototoro1455 - Some extra information: The full ~30-minyute video is now online with RUclips. At the beginning of the video you have a close-up of Sir Adrian's baton, complete with his customary rubber bands. My stick is not the one shown; my grandmother's studies were from years before the film was made.
ruclips.net/video/3eubKDo4uoo/видео.html
Tremendous
Highly underrated conductor. Here's a recording of the Enigma variations with the LSO, much worth listening to.
Yes but that recording is not in the same league as the 1963 recording with the London PHILHARMONIC orchestra. There is no one , repeat NO ONE who brings a better climax to Nimrod than Boult in that recording. I have studied dozens of them.
@@scabbycatcat4202 yes, that's a really great recording
I wish this had been much longer. It's remarkable to think his teacher was on working terms with Brahms, Wagner and Bruckner. I've just finished John Lucas's biography of Beecham; he and Boult were not on warm terms. Btw does anyone know who the orchestra is playing the excerpt from Perfect Fool?
Richrd Strauss was even more minimalist in his approach.
Britten , according to the diaries, loathed every performance Boult ever gave.
Boult was a great conductor; second-rate and third-rate conductors like Harding, Rattle, Thielemann, Nelsons and Dudamel need to watch this class in conducting and may learn something.....
Quite a controversial comment. I would rather speak of " different " as opposed to second rate. There's many a recording I have dismissed as crap only to discover later that it does have its own DIFFERENT merits. Listen to Elgar march 4 conducted by Groves with the RLPO. Its exceptionally slow but note how after a few listens that Bass drum grows on you !!
NAW, they won't learn from a great conductor, they've mostly learned from an 'acting' school....quite like the various soloisits of today...
According to Sir William McKie, Organist & Master of the Choristers, Westminster Abbey and Director of Music for the Queen's Coronation Service in 1953, Boult (who conducted the orchestral music before and after the actual service) summed up Walton's brand new Coronation Te Deum in one word, "PAGAN!" I wonder what he thought of Belshazzar's Feast???!!!
Who knows? But he made a very good recording of it in the early 195os with Dennis Noble.
@@leitfie3579 Indeed he did!! Perhaps he softened towards Walton?! Personally give me a stack of LPs of Elgar conducted by either Boult or Barbirolli and it's a glimpse of heaven on earth!
A remarkable likeness to Edward Elgar.
Yes very much the Edwardian colonel look.
I thought it unforgivable for Todd Handley to comment " A great conductor yes, but not a great man " !
He did not really explain or elaborate on why he held such views. You should always be extremely careful about what you say about someone who is not here to defend themselves , that is if you have any decency at all about you.
I think he did explain that comment - he believed that Boult disapproved of the private behaviour of cerain composers to such at extent that he avoided performing their music. He pointed out that the lives of Beethoven, Schubert and others were far from blameless, yet now, through the distances of time, we have to qualms about performing their music. Boult held very high moral standards, of himself as much as anyone else. But Handley overstated the case concerning performance - Boult did (occasionally) perform Delius, and he certainly did perform Bax, for example. He seldom voiced his vews about others - I don't think there is a single word of adverse criticism of his contemporaries in his biography, ''My Own Trumpet', but it is known that there were some whom he disliked strongly. In fact, Boult would probably have agreed with the final sentence of scabbycatcat's comment ; as a matter of principle, he did not believe it was right to pass judgement publicly, whatever his private views might have been.
Is that Vernon Handley narrating?
Charles Coleman I wouldn't mind betting it is. I remember reading an article by Handley in which he is supposed to have said to Handley something along the lines of "You moved your foot just then. Was there any special reason for that? All very 'showy' but you shouldn't confuse the orchestra with needless gestures."
Yes, it is.
EDWARD ELGAR
ENIGMA
(variations on an original theme)
Op.36
B.B.C. Symphony Orchestra
Conducted by Sir Adrian Boult.
Recorded in Abbey Road studio no.1, for His Master's Voice, on three 78 RPM discs, DB 8068-8070, on 26. March 1936.
Released in May of the same year.
ruclips.net/video/LvllOi8Ehr4/видео.html
A very individual conducting technique using the tips of two fingers - doesn't appeal to me and certainly nothing like Nikisch.
H
Ah, yes, Sir Nigel Twitt-Thornwaite.
This, I think, is Glenn Gould's daft nickname for Boult ; a silly name for a very serious, effective and sometimes misunderstood musician.
Agreed. In fact, for me, Gould and his grotesque interpretations & ideas are much more a caricature than Sir Adrian's, who can stand the test of time.
Yes, Boult fits the stereotype caricatured so often by Arthur Lowe.
As a pianist Gould was a genius but he was a lousy singer and an even worse comedian.