If this is your first visit, be sure to
check out the FAQ by clicking the
link above. You may have to register
before you can post: click the register link above to proceed. To start viewing messages,
select the forum that you want to visit from the selection below.
My reaction on hearing these Boult performances for the first time couldn't have been more different. Yes, the live Proms performances from 1976 and 1977 have an extra frisson of excitement but have to agree with EA that the Lyrita recordings represent the pinnacle of Boult's achievement in these works.
Yes they just feel like definitive interpretations to me.
Yes they just feel like definitive interpretations to me.
Perhaps mot across the board definitive, but definitely neat performances that would be expected from Sir Adrian, but should you be an afficionado of Sir John then you maybe you will find the different approach doesn't suit. I like both approaches depending on my musical mood.
Perhaps mot across the board definitive, but definitely neat performances that would be expected from Sir Adrian, but should you be an afficionado of Sir John then you maybe you will find the different approach doesn't suit. I like both approaches depending on my musical mood.
However, I just wish the Halle Orchestra would not divide their violins in the Bridgewater Hall. It just makes the seconds sound weaker.
Boult wrote* that when seated on the right of the conductor the seconds should be made to sit upright and to ensure their instruments do not face inward towards the orchestra, so that their sound reaches the audience clearly (and simultaneously with the firsts).
*"Platform Planning", quoted in Appendix One, "Adrian Boult" by Michael Kennedy, Hamish Hamilton, London 1987. (It also contains some notes on Elgar's scoring, quoting letters from E.E. to A.B.) This is a fascinating book, which I recommend.
Last edited by Alain Maréchal; 14-07-17, 06:58.
Reason: citation
Boult wrote* that when seated on the right of the conductor the seconds should be made to sit upright and to ensure their instruments do not face inward towards the orchestra, so that their sound reaches the audience clearly (and simultaneously with the firsts)...
He also wrote (and said) that there should be at least one desk more of 2nds than 1sts. For balance.
Comment