{"product_id":"boult-conducts-english-music-1954-pasc193","title":"BOULT conducts English Music (1954) - PASC193","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eARNOLD \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eEight English Dances\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBAX \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eTintagel\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eELGAR \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eThree Bavarian Dances; Chansons de Nuit \u0026amp; Matin\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eHOLST \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eThe Perfect Fool, Ballet Suites\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBUTTERWORTH \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eA Shropshire Lad; The Banks of Green Willow\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eWALTON \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSiesta\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRec\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eorded 1954\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 79:43\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLondon Philharmonic Orchestra\u003c\/span\u003e\u003cbr\u003e \u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e Sir Adrian Boult\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fShows a fine sense of urgency added to his other gifts of sensitive phrasing, structural mastery, and orchestral balance578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThese recordings aren’t taken from tape originals\nor metal stamps, but from items in a private collection. As such, they\nreveal the wear and distortion often associated with mildly worn copies\nof analog recordings, as well as the tubby, poorly defined bass and dry,\nx-ray treble that were features of some Decca 1950s releases. Add to\nthat the fact that these selections were engineered in mono instead of\nthe mellow stereo EMI and Lyrita provided for the conductor’s later\nre-recordings, and the question naturally arises: why bother with these\nefforts, at all? \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThere are a couple of good reasons, in my opinion.\nFor one, not all of Decca’s mono studio efforts were sonically\nproblematic. The bass is strong and well defined in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Perfect Fool \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ehere,\nwith good lower strings, brass, and percussion. The upper strings and\nwinds, too, possess a slight but attractive sheen that is a world away\nfrom the heavy reverb of many modern CDs, where it is employed as a\nremedy for personal defects of tone. The overall sound of this group of\nitems is actually better than what I consider Decca’s average for the\ntime, as period re-releases confirm and my own LP collection\nseconds—though the caveat remains regarding some distortion from worn\ncopies. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eMore important, Boult’s recordings made during the\n1950s continued to show a fine sense of urgency added to his other\ngifts of sensitive phrasing, structural mastery, and orchestral balance.\nThose made in the late 1960s and early 1970s have sometimes been\nfaulted for lacking that same urgency, with comparisons between the\nconductor’s two cycles of Vaughan Williams’s symphonies held up as\nexamples. Without wishing to indulge here in lengthy comparisons,\nconsider \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Banks of Green Willow\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\na work whose premiere Boult gave in 1914 (two years, be it noted,\nbefore Butterworth’s death fighting on the Somme). Certainly there’s\nmuch to be said for the recording made during the 1970s for Lyrita, with\nits warm and spacious ambiance; but the anxious trumpet-like motif\nheard repeatedly on the strings starting around two minutes into the\nwork becomes a sharply faster and more pressing interruption in this\n1954 version, launching in turn a more impassioned climax half a minute\nlater. This makes for a more effective contrast with the final section,\ngiven its \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLark Ascending\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e mood. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n\u003cspan class=\"TIMES\"\u003eI don’t wish to denigrate that later release, once\nagain available on Lyrita 245. Its sound is excellent, despite the\nanalog originals, for one thing. For another, it supplies fine\nperformances led by Boult in several short works of Herbert Howells,\nincluding the best performance available of the beautiful \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eElegy \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003efor\nviola, string quartet, and string orchestra. But Pristine Classical’s\nexamples of a “youthful” Boult, still in his sixties, furnish a\ncorrective to the image provided solely by his late EMI albums.\nRecommended. You can purchase the CD or download it from\nwww.pristineclassical.com. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eBarry Brenesal \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\n\n\n\n\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003eThis article originally appeared in Issue 33:5 (May\/June 2010) of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003eFanfare\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-size: 12px;\"\u003e Magazine.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC193.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eSir Adrian Boult in his element with the London Philharmonic\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eEighteen superb Decca recordings newly transferred and remastered\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eAs is made clearer in his biography (see below - abridged on our CD cover), Sir Adrian Boult was inextricably linked with the flowering of English music in the late-19th and early-20th centuries. As a conductor he had not only promoted numerous English compositions, but was personally acquainted with all of the composers represented in this magnificant collection - even the young George Butterworth, a composer tragically lost to us in the trenches of World War One.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eAll of these recordings were made by Decca during 1954, and include one of the label's very late (and by then, rare) 78rpm issues - Elgar's \u003cem\u003eChansons de Nuit \u0026amp; Matin\u003c\/em\u003e - which was subsequently issues as a 45rpm single before finally making it onto a long player a year after its original release, on Decca LW5174.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eWhat struck me, when remastering these recordings, was the quite striking difference in sound quality between the sessions. Despite each sharing not only the same orchestra, conductor and venue, but also the same producer (James Walker) and engineer (Kenneth Wilkinson), the tonal balances between the sessions were often quite different. I took the decision, therefore, to utilise the XR remastering system in a slightly different manner to my usual approach.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eHaving established, first of all, that the tonal balance acheived in the sessions of 1-2 November 1954 coincided most closely with what one might expect from an optimal modern recording, I set about equalising the recordings gleaned from the earlier sessions to more closely match those of the final session. The aim was to produce not only a continuity of excellent sound quality throughout the collection, but also to - I believe - more accurately represent the sound of the orchestra in those earlier recordings.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eDespite his extensive recording career, it's also worth pointing out that this collection includes Boult's only recordings of both the Malcolm Arnold \u003cem\u003eEnglish Dances\u003c\/em\u003e and William Walton's \u003cem\u003eSiesta.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\n\u003cli class=\"body\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eARNOLD\u003c\/strong\u003e Eight English Dances\u003c\/span\u003e Op.27 \u0026amp; 33\u003cbr\u003e 1. \u003cstrong\u003eAndantino\u003c\/strong\u003e\u003cspan class=\"bodysmallarialblue\"\u003e (2:44)\u003c\/span\u003e\u003cbr\u003e 2. \u003cstrong\u003eVivace\u003c\/strong\u003e \u003cspan class=\"bodysmallarialblue\"\u003e(1:45)\u003c\/span\u003e\u003cbr\u003e 3. \u003cstrong\u003eMesto\u003c\/strong\u003e\u003cspan class=\"bodysmallarialblue\"\u003e (2:17)\u003c\/span\u003e\u003cbr\u003e 4. \u003cstrong\u003eAllegro risoluto\u003c\/strong\u003e \u003cspan class=\"bodysmallarialblue\"\u003e(1:36)\u003c\/span\u003e\u003cbr\u003e 5. \u003cstrong\u003eAllegro non troppo\u003c\/strong\u003e \u003cspan class=\"bodysmallarialblue\"\u003e(2:47)\u003c\/span\u003e\u003cbr\u003e 6. \u003cstrong\u003eCon brio\u003c\/strong\u003e \u003cspan class=\"bodysmallarialblue\"\u003e(1:33)\u003c\/span\u003e\u003cbr\u003e 7. \u003cstrong\u003eGrazioso\u003c\/strong\u003e\u003cspan class=\"bodysmallarialblue\"\u003e (2:20)\u003c\/span\u003e\u003cbr\u003e 8. \u003cstrong\u003eGiubiloso\u003c\/strong\u003e \u003cspan class=\"bodysmallarialblue\"\u003e(2:20)\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded Kingsway Hall, London, 1-2 November 1954\u003cbr\u003e Originally issued in March 1955 as Decca LW5166\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBAX\u003c\/strong\u003e Tintagel\u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003e (13:30)\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded Kingsway Hall, London, 1-2 November 1954\u003cbr\u003e Originally issued in February 1955 as Decca LXT5015\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eELGAR\u003c\/strong\u003e Three Bavarian Dances\u003c\/span\u003e, Op. 27\u003cbr\u003e 1. \u003cstrong\u003eThe Dance\u003c\/strong\u003e\u003cspan class=\"bodysmallarialblue\"\u003e (3:45)\u003c\/span\u003e\u003cbr\u003e 2. \u003cstrong\u003eLullaby\u003c\/strong\u003e \u003cspan class=\"bodysmallarialblue\"\u003e(3:16)\u003c\/span\u003e\u003cbr\u003e 3. \u003cstrong\u003eThe Marksman\u003c\/strong\u003e \u003cspan class=\"bodysmallarialblue\"\u003e(4:46)\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded Kingsway Hall, London, 21 October 1954\u003cbr\u003e Originally issued in January 1955 as Decca LW5157\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eELGAR\u003c\/strong\u003e Chansons de Nuit \u0026amp; Matin\u003c\/span\u003e, Op. 15\u003cbr\u003e 2. \u003cstrong\u003eChanson de matin\u003c\/strong\u003e\u003cspan class=\"bodysmallarialblue\"\u003e (3:18)\u003c\/span\u003e\u003cbr\u003e 1. \u003cstrong\u003eChanson de nuit\u003c\/strong\u003e\u003cspan class=\"bodysmallarialblue\"\u003e (4:06)\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded Kingsway Hall, London, 18-19 February 1954\u003cbr\u003e Originally issued in May 1954 as Decca 78rpm X574\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eHOLST\u003c\/strong\u003e The Perfect Fool\u003c\/span\u003e, Ballet Suite Op. 39 \u003cspan class=\"bodysmallarialblue\"\u003e(10:46)\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded Kingsway Hall, London, 1-2 November 1954\u003cbr\u003e Originally issued in February 1955 as Decca LXT5015\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBUTTERWORTH\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodybigblue\"\u003eA Shropshire Lad\u003c\/span\u003e \u003cspan class=\"bodysmallarialblue\"\u003e(8:41)\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodybigblue\"\u003eThe Banks of Green Willow\u003c\/span\u003e \u003cspan class=\"bodysmallarialblue\"\u003e(5:25)\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded Kingsway Hall, London, 1-2 November 1954\u003cbr\u003e Originally issued in February 1955 as Decca LXT5015\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eWALTON\u003c\/strong\u003e Siesta\u003c\/span\u003e \u003cspan class=\"bodysmallarialblue\"\u003e(4:48)\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded Kingsway Hall, London, 20 October 1954\u003cbr\u003e Originally issued in January 1955 as Decca LXT5028\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003eLondon Philharmonic Orchestra\u003cbr\u003e conducted by Sir Adrian Boult\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e \u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eTransfers from the collection of Edward Johnson\u003cbr\u003e XR remastering by Andrew Rose at Pristine Audio, September-October 2009\u003cbr\u003e Cover artwork based on a photograph of Adrian Boult\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\nTotal duration: 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