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Considers Boult's interpretations of Elgar's major works by drawing on their correspondence, Boult's annotated scores, broadcast performances, commercial recordings and press reviews, ranging from the composer's lifetime to Boult's final public appearances.
Edward Elgar (1857-1934) and Adrian Boult (1889-1983) first met in 1904 and they saw each other frequently over the next thirty years. This book documents how Boult's Elgar interpretations evolved and the ways in which Boult drew on his experience of Elgar's own performances as well as their personal contacts. It provides fascinating biographical context, with a particular focus on the role played by the charismatic music patron Frank Schuster. A misunderstanding led to Elgar and Boult falling out in 1924 and it was not until 1931 that Elgar sought to restore their friendship.
The book considers Boult's interpretations of Elgar's major works, drawing on a variety of sources including Boult's annotated scores as well as his broadcasts and commercial recordings of Elgar's music, ranging from those made in the composer's last years to Boult's final public appearances in 1978. The view of contemporary critics provides further evidence. All the works with which Boult was closely associated are considered in detail: the two symphonies, The Dream of Gerontius, The Kingdom and The Apostles and orchestral works including the Enigma Variations, Falstaff and the Violin and Cello Concertos. The text is complemented by appendices including a chronology of performances and a discography. These provide invaluable information for anyone interested in this fascinating composer-conductor relationship, and in Boult's advocacy of Elgar's music throughout his long career.
Edward Elgar (1857-1934) and Adrian Boult (1889-1983) first met in 1904 and they saw each other frequently over the next thirty years. This book documents how Boult's Elgar interpretations evolved and the ways in which Boult drew on his experience of Elgar's own performances as well as their personal contacts. It provides fascinating biographical context, with a particular focus on the role played by the charismatic music patron Frank Schuster. A misunderstanding led to Elgar and Boult falling out in 1924 and it was not until 1931 that Elgar sought to restore their friendship.
The book considers Boult's interpretations of Elgar's major works, drawing on a variety of sources including Boult's annotated scores as well as his broadcasts and commercial recordings of Elgar's music, ranging from those made in the composer's last years to Boult's final public appearances in 1978. The view of contemporary critics provides further evidence. All the works with which Boult was closely associated are considered in detail: the two symphonies, The Dream of Gerontius, The Kingdom and The Apostles and orchestral works including the Enigma Variations, Falstaff and the Violin and Cello Concertos. The text is complemented by appendices including a chronology of performances and a discography. These provide invaluable information for anyone interested in this fascinating composer-conductor relationship, and in Boult's advocacy of Elgar's music throughout his long career.
Price: $85.00
Pages: 340
Publisher: Boydell & Brewer Inc.
Imprint: Boydell Press
Publication Date:
18 February 2025
Trim Size: 9.21 X 6.14 in
ISBN: 9781837652204
Format: Hardcover
BISACs:
BIOGRAPHY & AUTOBIOGRAPHY / Music, History of music, MUSIC / Instruction & Study / Conducting, MUSIC / Genres & Styles / Classical, MUSIC / History & Criticism, Music recording and reproduction, Art music, orchestral and formal music, Music
A veritable treasure trove for enthusiasts, as well as a delightful companion to this same author's splendid Ralph Vaughan Williams and Adrian Boult. Devotees of both Elgar and Boult will find much to stimulate them in Simeone's assiduously detailed and painstakingly researched survey.
Simeone has done an excellent job bringing together a great deal of material. [Tables detail] all Boult's performances of a work (frequently including date, ensemble, and solo performers), transcribed from Boult's study scores. Simeone fleshes out these tables through thick chronological descriptions of the performances and their import, where he both chronicles Boult's feelings toward the work in question and provides more or less context depending on the composition and performance.
This new study of the relationship between Elgar and Boult is an essential purchase for anyone interested in one of England's greatest composers. Whether you regard Elgar or Ralph Vaughan Williams as topmost in the echelons of British composers, it's essential reading. And if it's the latter composer, you should also have Simeone's book on RVW on your shelves.
Simeone has done an excellent job bringing together a great deal of material. [Tables detail] all Boult's performances of a work (frequently including date, ensemble, and solo performers), transcribed from Boult's study scores. Simeone fleshes out these tables through thick chronological descriptions of the performances and their import, where he both chronicles Boult's feelings toward the work in question and provides more or less context depending on the composition and performance.
This new study of the relationship between Elgar and Boult is an essential purchase for anyone interested in one of England's greatest composers. Whether you regard Elgar or Ralph Vaughan Williams as topmost in the echelons of British composers, it's essential reading. And if it's the latter composer, you should also have Simeone's book on RVW on your shelves.
List of Illustrations
Preface and Acknowledgements
Editorial Conventions
List of Abbreviations
Introduction
1. Elgar and Boult: from Frank Schuster to the BBC
2. Boult's Elgar after 1934
3. Symphony No. 1
4. Symphony No. 2
5. Enigma Variations, Falstaff, Introduction and Allegro
6. The Concertos
7. Three Choral Works
8. Carrying the Torch: Boult, Barbirolli and others
Appendix 1: A Producer's Perspective: Christopher Bishop on Boult's EMI recordings
Appendix 2: Elgar scores in Boult's library
Appendix 3: Chronology of Boult's Elgar performances
Appendix 4: Discography
Select Bibliography
Index
Preface and Acknowledgements
Editorial Conventions
List of Abbreviations
Introduction
1. Elgar and Boult: from Frank Schuster to the BBC
2. Boult's Elgar after 1934
3. Symphony No. 1
4. Symphony No. 2
5. Enigma Variations, Falstaff, Introduction and Allegro
6. The Concertos
7. Three Choral Works
8. Carrying the Torch: Boult, Barbirolli and others
Appendix 1: A Producer's Perspective: Christopher Bishop on Boult's EMI recordings
Appendix 2: Elgar scores in Boult's library
Appendix 3: Chronology of Boult's Elgar performances
Appendix 4: Discography
Select Bibliography
Index