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Adrian Cedric Boult (1889-1983)

Adrian Boult had the good fortune to study at Leipzig where he watched the conductor Arthur Nikisch at work. Nikisch's stick technique impressed the young Boult who thereafter always used a long stick controlled by wrist movement. This sometimes gave the audience the impression of little effort being exerted by Boult. However the musicians watched the swish of the long stick and Boult's piecing eyes. For six years from 1924 Boult directed the City of Birmingham Symphony Orchestra and Chorus.

In 1930 Sir John Reith, Director General of the BBC invited Boult to form a symphony orchestra. Boult trawled the Hallé and Queens Hall Orchestras for his principles and many of the rank and file of the new BBC Symphony Orchestra.

Having already established himself as a leading exponent of Elgar's music Boult used the new orchestra to broadcast the music of Elgar to a wider audience. To the ageing composer the young Boult's performance of the Second Symphony came as a revelation. "I feel that my reputation in he future is safe in your hands," he wrote after Boult's re-introduction of the work to London in 1920 after its neglect for nearly a decade.

Boult remained with the BBC until, reaching the age of sixty, when he was required to retire in accordance with BBC employment conditions.

It just so happened that at the same time the London Philharmonic Orchestra's conductor Eduard van Beinum relinquished his post due to ill health. Boult was appointed conductor to the LPO, a post he held until the end of 1956. During this time they were often engaged to make recordings. Having spent twenty years with one of the world's leading radio orchestras he was no stranger to the recording studio and could work quickly and closely with recording producers.

Boult is often associated with British composers, such as Elgar and Vaughan Williams. During his time in Leipzig he conducted Wagner, a composer that he was to return to at the end of his career in the 1970s.

Respected by soloists as a great accompanist, Boult kept a card index of soloists he worked with. On the cards would be details of works performed with such information as speeds taken so that he would acquaint himself with a soloist's performance style prior to a further performance.

Boult was equally good at giving orchestral support for dancers and throughout his life he remained in demand as a ballet conductor, in fact his very last conducting engagement was with the London Festival Ballet.

Extra Tracks

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Beulah Extra is available on CD - select Beulah Extra download tracks and have them supplied on compact disc. The limit is 75 minutes of music per disc. Each disc costs GBP11.45 post free (standard mail/airmail worldwide, signed for or registered mail will be charged extra). Allow 14 days for delivery.
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Below are tracks from our library that never made it onto one of our compact discs. They can be downloaded here as high quality 320kbs AAC encoded (MP3) files.

Purchasers of tracks have unlimted personal use but must not pass or sell on to third parties nor broadcast without prior permission from PPL

dvorak cello concerto
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1st movement
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2nd movement
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3rd movement
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tchaikovsky suite number three sir adrian boult
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1.Elégie
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2.Valse mélancolique
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3.Scherzo
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4.Tema con variazioni
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mozart piano concerto number20 annie fischer
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1st movement
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2nd movement
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3rd movement
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adrian boult humperdinck hansel and gretel overtuture
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adrian boult elgar enigma variations
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adrian boult elgar falstaff
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campoli mendelssohn violin concerto
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1st and 2nd movements
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3rd movement
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campoli bruch scottish fantasy
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1 Introduction and andantelisten and buy

2 Scherzo and andante sustenuto
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3 Finale
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adrian boult wagner tristan and isolde prelude
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adrian boult butterworth shropshire lad
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adrian boult butterworth the banks of green willow
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adrian boult holst perfect fool ballet suite
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adrian boult elgar 3 bavarian dances
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adrian boult elgar chansons
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adrian boult liadov
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adrian boult
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adrian boult
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adrian boult
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adrian boult
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adrian boult
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funeral march
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adrian boult a shropshire lad
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piano concerto number 1 in e minor
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1st movement Alegro maestoso
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2nd movement Romanza
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3rd movement Rondo
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Adrian Boult Beetoven symphony number three
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1st movement
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2nd movement
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3rd movement
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4th movement
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mozart piano concerto number20 annie fischer
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1st movement
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2nd movement
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3rd movement
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symphony number 9
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1st movement
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2nd movement
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3rd movement
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4th movement
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"Boult's orchestra was in the virtuoso league...The precision is wondrous to hear...You will find yourself noticing things you have never heard before..." Rob Barnett at Classical Music on the Web

Robert Cowen writes in Gramophone for December 2008:
I was happy to encounter Beulah's expert transfer/remastering of Sir Adrian Boult's first recording of Schubert's Ninth, a brilliantly executed performance (BBCSO), swift and breezy, and, as almost always with Boult, acutely structure-conscious.

Bob Briggs at Music Web International writes:
Boult's 1934 Great C major has long been a favourite of mine and it's good to see it available once again and in very good sound. Although Boult recorded this work towards the end of his life, with the London Philharmonic, this performance has a freshness and sparkle - these things are not missing from his later performance, rather this is a younger man's view of a towering masterpiece.

Robert Matthew Walker writes in International Record Review for February 2009:
The first thing that strikes the listener is the fine quality of the sound and the silent surfaces for a 75 year old recording. In addition the orchestral balance is excellent, as is the "spread" of the orchestral layout - it sounds as though it could almost come from twenty years later. Boult delivers a truly supurb performance: if this does not convince those who never heard him as to his greatness as a conductor, then nothing will. His control of long paragraphs is faultess and pefectly paced; his lead into the faster first movement coda is magnificently timed and controlled. This is marvellous conducting, and no mistake.
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