Boult's Eroica

[richardfinegold]

I think someone lamented recently on this forum to the effect that it was a pity that Boult had not made a stereo recording of the Eroica. Rummaging through a pile of discs I came across a DVD-A of Him conducting the "Philharmonic Promenade Orchestra of London". The LPO under a fake name?
At any rate this is exactly how I imagined Sir Adrian would have taken the piece. It is crisp and incisive, with great delineation of balances and textures, hugely enjoyable.

[Pabmusic]

I think someone lamented recently on this forum to the effect that it was a pity that Boult had not made a stereo recording of the Eroica. Rummaging through a pile of discs I came across a DVD-A of Him conducting the "Philharmonic Promenade Orchestra of London". The LPO under a fake name?
At any rate this is exactly how I imagined Sir Adrian would have taken the piece. It is crisp and incisive, with great delineation of balances and textures, hugely enjoyable.

Yes, it's the LPO. Boult recorded the Eroica twice, both with the LPO and both for American labels. The first was for Vanguard, recorded during a series of sessions in June 1957, when he recorded four Beethoven symphonies (3, 5, 6 & 7) and four overtures ( Leonore 3, Cariolan, Fidelio & Egmont). These have all been transferred to disc (I have Vanguard Classics SVC 11/13). Unfortunately there are no exposition repeats in the opening movements (that must be due to 1950s side-lengths, for his preferred practice was to play repeats).

The second recording was for Miller International in December 1961. As far as I know, that's not on disc.

Although he never recorded a cycle, he did set down numbers 1 (LPO, 1950 EMI), 3 (LPO, 1957 Vanguard & 1961, Miller Int), 5 (LPO, 1957 Vanguard), 6 (LPO, 1957 Vanguard & 1977 EMI), 7 (LPO, 1957 Vanguard) and 8 (BBC SO, 1932 EMI).

Listening to the Vanguard set, it is quite clear that his style was more akin to today's than to - say - Furtwangler's, Klemperer's or Walter's. Apart from the large orchestra, of course.

[Hornspieler]

Yes, it's the LPO. Boult recorded the Eroica twice, both with the LPO and both for American labels. The first was for Vanguard, recorded during a series of sessions in June 1957, when he recorded four Beethoven symphonies (3, 5, 6 & 7) and four overtures ( Leonore 3, Cariolan, Fidelio & Egmont). These have all been transferred to disc (I have Vanguard Classics SVC 11/13). Unfortunately there are no exposition repeats in the opening movements (that must be due to 1950s side-lengths, for his preferred practice was to play repeats).

The second recording was for Miller International in December 1961. As far as I know, that's not on disc.

Although he never recorded a cycle, he did set down numbers 1 (LPO, 1950 EMI), 3 (LPO, 1957 Vanguard & 1961, Miller Int), 5 (LPO, 1957 Vanguard), 6 (LPO, 1957 Vanguard & 1977 EMI), 7 (LPO, 1957 Vanguard) and 8 (BBC SO, 1932 EMI).

Listening to the Vanguard set, it is quite clear that his style was more akin to today's than to - say - Furtwangler's, Klemperer's or Walter's. Apart from the large orchestra, of course.

Good morning Pab,

Some very interesting information there.

Cariolan? That rings a few bells!

HS

[Pabmusic]

Good morning Pab,

Some very interesting information there.

Cariolan? That rings a few bells!

HS

I meant Carillon, of course...doh!

[kernelbogey]

I'm not sure whether it was said by Klemperer or about him: that the notion of 'Furtwaengler's Eroica', 'Boehm's Ninth' etc put the focus on the conductor, whereas Klemperer's goal was to convey the composer's intention as clearly as he could.

[Pabmusic]

I'm not sure whether it was said by Klemperer or about him: that the notion of 'Furtwaengler's Eroica', 'Boehm's Ninth' etc put the focus on the conductor, whereas Klemperer's goal was to convey the composer's intention as clearly as he could.

I don't know, either, but the sentiment is absolutely correct. How often have you heard post-concert comments that praise the conductor for 'feeling' the music so intensely? But it is the listener who should feel the intensity of it all.

[Gordon]

I'm not sure whether it was said by Klemperer or about him: that the notion of 'Furtwaengler's Eroica', 'Boehm's Ninth' etc put the focus on the conductor, whereas Klemperer's goal was to convey the composer's intention as clearly as he could.

Toscanini allegedly had a rant at his orchestra once when rehearsing Eroica - he is reported to have yelled [nothing unusual] - issa not Napoleon, issa not 'Itler, issa not Mussolini issa allegro con brio! Do those conductors actually believe the cult hype around them? Who builds the hype anyway? Record companies? Critics? Now Karajan on the other hand....

[Ferretfancy]

Toscanini allegedly had a rant at his orchestra once when rehearsing Eroica - he is reported to have yelled [nothing unusual] - issa not Napoleon, issa not 'Itler, issa not Mussolini issa allegro con brio! Do those conductors actually believe the cult hype around them? Who builds the hype anyway? Record companies? Critics? Now Karajan on the other hand....

I'm not disputing Toscanini's status, but during and after WWII, his NBC recordings were heavily promoted with him as the star. He was probably the first conductor to be sold as a household name, with his regular broadcasts plus all the tales of his tantrums and ruthless commitment to all the tiny details of the score. I suppose that Stokowski had similar exposure with his appearance in Disney's Fantasia, but his record sales were not as great as Arturo's.

[Gordon]

I'm not disputing Toscanini's status, but during and after WWII, his NBC recordings were heavily promoted with him as the star. He was probably the first conductor to be sold as a household name, with his regular broadcasts plus all the tales of his tantrums and ruthless commitment to all the tiny details of the score. I suppose that Stokowski had similar exposure with his appearance in Disney's Fantasia, but his record sales were not as great as Arturo's.

Was that promotion of Toscanini's making or RCA's? Now Stoky on the other hand knew a thing or two about self promotion even down to that faux accent not to mention hanging out [if you get my meaning] with film starlets. Beecham wasn't slow about promotion either [or the odd starlet as long as she had a wealthy husband].

[richardfinegold]

Listening to the Vanguard set, it is quite clear that his style was more akin to today's than to - say - Furtwangler's, Klemperer's or Walter's. Apart from the large orchestra, of course.[/QUOTE]

Agreed, that was what I was thinking. I just listened to the Pastoral, which I found in the same batch of DVDs. It's really wonderful, for the same reasons as the Eroica.

[Ferretfancy]

Was that promotion of Toscanini's making or RCA's? Now Stoky on the other hand knew a thing or two about self promotion even down to that faux accent not to mention hanging out [if you get my meaning] with film starlets. Beecham wasn't slow about promotion either [or the odd starlet as long as she had a wealthy husband].

Beecham and Stoky were great self promoters, and certainly in Beecham's case the need to raise money for his various schemes was much to the fore in that. With Toscanini, RCA set up a large apparatus to sell him to the American public, on a scale that went well beyond anything he could have achieved on his own. Victor was part of EMI at the time, and that extended the promotion world wide.