Henry Wood - Knowledge (XXG)

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divorce him. The breach between Muriel and Wood also caused his estrangement from their daughters. In 1934 he began a happy relationship with a widowed former pupil, Jessie Linton, who had sung for him frequently in the past under her professional name of Jessie Goldsack. One of Wood's players recalled, "She changed him. He had been badly dressed, awful clothes. Jessie got him a new evening suit, instead of the mouldy green one, and he flourished yellow gloves and a cigar ... he became human." As Wood was not free to remarry, she changed her name by deed poll to "Lady Jessie Wood" and was generally assumed by the public to be Wood's wife. In his memoirs, Wood mentioned neither his second marriage nor his subsequent relationship.

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associate conductor to relieve him of some of the burden. Basil Cameron undertook the task and remained a Prom conductor until his retirement, aged eighty, in 1964. The BBC brought its symphony orchestra back to London and resumed its backing of the Proms in 1942; Boult joined Cameron as Wood's associate conductor during that season. In early 1943, Wood's health deteriorated, and two days after the start of that year's season, he collapsed and was ordered to have a month in bed. Despite wartime vicissitudes, the 1943 season sold nearly 250,000 tickets, with an average audience of about 4,000 – many more than could have fitted into the Queen's Hall.

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only not hissing because it was laughing, and the remaining third seemed too puzzled either to laugh or to hiss; so that on the whole it does not look as if Schoenberg has so far made many friends in London." However, when Wood invited Schoenberg himself to conduct the work's second British performance, on 17 January 1914, the composer was so delighted with the result, more appreciatively received than had been the premiere, that he congratulated Wood and the orchestra warmly: "I must say it was the first time since Gustav Mahler that I heard such music played again as a musician of culture demands."

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attempted to prevent anyone who wished to perform at the Queen's Hall from broadcasting for the BBC. This affected many of the artists whom Wood and Newman needed for the Proms. The matter was unresolved when Newman died in 1926. Shortly afterwards, Boosey announced that Chappell's would no longer support concerts at the Queen's Hall. The prospect that the Proms might not be able to continue caused widespread dismay, and there was a general welcome for the BBC's announcement that it would take over the running of the Proms, and would also run a winter series of symphony concerts at the Queen's Hall.

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Society described it thus: "A, whom you want, signs to play at your concert. He sends B (whom you don't mind) to the first rehearsal. B, without your knowledge or consent, sends C to the second rehearsal. Not being able to play at the concert, C sends D, whom you would have paid five shillings to stay away." After a rehearsal in which Wood was faced with a sea of entirely unfamiliar faces in his own orchestra, Newman came on the platform to announce: "Gentlemen, in future there will be no deputies; good morning." Forty players resigned en bloc and formed their own orchestra: the

1009: 1041:, who appeared at the Proms as a composer-conductor in 1921 and 1922. Wood encouraged him to abandon thoughts of a career as a pianist and to concentrate on conducting. Wood further showed his interest in the future of music by taking on the conductorship of the student orchestra at the Royal Academy of Music in 1923, rehearsing it twice a week, whenever possible, for the next twenty years. In the same year, he accepted the conductorship of the amateur Hull Philharmonic Orchestra, travelling three times a year until 1939 to rehearse and conduct its concerts. 984:

the US, and there was a campaign to ban all German music from concerts. Newman put out a statement declaring that German music would be played as planned: "The greatest examples of Music and Art are world possessions and unassailable even by the prejudices and passions of the hour." When Speyer left Britain, the music publishers Chappell's took on the responsibility for the Queen's Hall and its orchestra. The Proms continued throughout the war years, with fewer major new works than before, although there were nevertheless British premieres of pieces by

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the players, but financial support from the Proms. Wood determined that the 1940 season would nevertheless go ahead. The Royal Philharmonic Society and a private entrepreneur, Keith Douglas, agreed to back an eight-week season, and the London Symphony Orchestra was engaged. The season was curtailed after four weeks, when intense bombing forced the Queen's Hall to close. The last Prom given at the Queen's Hall was on 7 September 1940. In May 1941, the hall was destroyed by bombs.

1065: 819: 677: 453: 363:. His first sustained work as a conductor was his 1889 appointment as musical director of a small touring opera ensemble, the Arthur Rouseby English Touring Opera. The company was not of a high standard, with an orchestra of only six players augmented by local recruits at each tour venue. Wood eventually negotiated a release from his contract, and after a brief return to teaching he secured a better appointment as conductor for the 40: 610:

bought sets of the orchestral parts and marked them all with minutely detailed instructions to the players; secondly he developed a clear and expressive conducting technique. An orchestral cellist wrote that "if you watched him, you couldn't come in wrong." The violist Bernard Shore wrote, "You may be reading at sight in public, but you can't possibly go wrong with

635: 1742:, composed a poem of six verses in his honour, entitled "Sir Henry Wood", often referred to by its first line, "Where does the uttered music go?". Walton set it to music as an anthem for mixed choir; it received its first performance on 26 April 1946 at St Sepulchre's, on the occasion of a ceremony unveiling a memorial stained-glass window in Wood's honour. 193:, who allowed him into the organ loft and gave him his first lessons on the instrument. Cooper died when Wood was seven, and the boy took further lessons from Cooper's successor, Edwin M. Lott, for whom Wood had much less regard. At the age of ten, through the influence of one of his uncles, Wood made his first paid appearance as an organist at 418:. At that time the operatic conductor was not seen as an important figure, but the critics who chose to mention the conducting gave Wood good reviews. The work was not popular with the public, and the season was cut short when Lago absconded, leaving the company unpaid. Before that debacle, Wood had also conducted performances of 237:. Wood's ambition at the time was to become a teacher of singing, and he gave singing lessons throughout his life. He attended the classes of as many singing teachers as he could, although by his own account, "I possess a terrible voice. Garcia said it would go through a brick wall. In fact, a real conductor's voice." 117:, offering a mixture of classical and popular music at low prices. The series was successful, and Wood conducted annual promenade series until his death in 1944. By the 1920s, Wood had steered the repertoire entirely to classical music. When the Queen's Hall was destroyed by bombing in 1941, the Proms moved to the 1773:

His orchestral players affectionately nicknamed him "Timber" – more than a play on his name, since it seemed to represent his reliability too. His tally of first performances, or first performances in Britain, was heroic: at least 717 works by 357 composers. Greatness as measured by finesse

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some 50 miles (80 km) away, where Wood continued to conduct. He was taken ill in early August and was unable to conduct the fiftieth anniversary Prom on 10 August; he was forbidden by his doctor even to listen to its broadcast. Wood died just over a week later on 19 August at Hitchin Hospital in

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In September 1939, the Second World War broke out and the BBC immediately put into effect its contingency plans to move much of its broadcasting away from London to places thought less susceptible to bombing. Its musical activities, including the orchestra, moved to Bristol. The BBC withdrew not only

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As Wood's working life took a turn for the better, his domestic life started to deteriorate. During the early 1930s, he and his wife gradually became estranged, and their relationship ended in bitterness, with Muriel taking most of Wood's money and, for much of the time, living abroad. She refused to

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The promenade concerts flourished through the 1890s, but in 1902 Newman, who had been investing unwisely in theatrical presentations, found himself unable to bear the financial responsibility for the Queen's Hall Orchestra and was declared bankrupt. The concerts were rescued by the musical benefactor

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at the Opera Comique. It ran from March until July 1896, leaving Wood enough time to prepare the second Queen's Hall season, which began at the end of August. The season was so successful that Newman followed it with a winter season of Saturday night promenade concerts, but despite being popular they

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rather than ballads from Chappell's. For Wood, the greatest benefit was that the BBC gave him twice as much rehearsal time as he had previously enjoyed. He now had a daily rehearsal and extra rehearsals as needed. He was also allowed extra players when large scores called for them, instead of having

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After the war, the Proms continued much as before. The second halves of concerts still featured piano-accompanied songs rather than serious classical music. Chappell's, having taken over sponsorship of the Proms and spent £35,000 keeping the Queen's Hall going during the war, wished to promote songs

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Throughout the early part of the century, Wood was influential in changing the habits of concertgoers. Until then it had been customary for audiences at symphony or choral concerts to applaud after each movement or section. Wood discouraged this, sometime by gesture and sometimes by specific request

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to London concertgoers. By the end of the first decade of the new century, however, Wood's reputation in conducting British music was in no doubt; he gave the world, British or London premieres of more than a hundred British works between 1900 and 1910. Meanwhile, he introduced his audiences to many

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Orchestras, believing it his duty to serve music in the United Kingdom. In addition to the Proms, he conducted concerts and festivals throughout the country and also trained the student orchestra at the Royal Academy of Music. He had an enormous influence on the musical life of Britain over his long

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as soloist. When the microphone and electrical recording were introduced in 1925, Wood re-recorded the Elgar concerto, with Sammons, and made 36 other discs for Columbia over the next nine years. The 1929 recording of the Elgar concerto has been reissued on compact disc and is well regarded by some

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It was immediately agreed that the 1941 season of Proms should be held at the Albert Hall. It was twice the size of the Queen's Hall, with poor acoustics, but a six-week series was judged a success, and the Albert Hall remained the home of the Proms. Wood, aged seventy-two, was persuaded to have an

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wrote after the performance: "It is not often that an English audience hisses the music it does not like, but a good third of the people at Queen's Hall last Tuesday permitted themselves that luxury after the performance of the five orchestral pieces of Schoenberg. Another third of the audience was

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Wood had great sympathy for rank-and-file orchestral players and strove for improvements in their pay. He sought to raise their status and was the first British conductor to insist that the orchestra should stand to acknowledge applause along with the conductor. He introduced women into the Queen's

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higher than that used on the continent, and Cathcart regarded it as damaging for singers' voices. Wood, from his experience as a singing teacher, agreed. As members of Wood's brass and woodwind sections were unwilling to buy new low-pitched instruments, Cathcart imported a set from Belgium and lent

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at South Kensington with his father, Wood was invited to play the organ in one of the galleries, making a good enough impression to be engaged to give recitals at the exhibition building over the next three months. At this time in his life, painting was nearly as strong an interest as music, and he

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and Debussy. An historian of the Proms, Ateş Orga, wrote, "Concerts often had to be re-timed to coincide with the 'All Clear' between air raids. Falling bombs, shrapnel, anti-aircraft fire and the droning of Zeppelins were ever threatening. But kept things on the go and in the end had a very real

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On the outbreak of the First World War in 1914, Newman, Wood and Speyer discussed whether the Proms should continue as planned. They had by this time become an established institution, and it was agreed to go ahead. However, anti-German feeling forced Speyer to leave the country and seek refuge in

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In January 1897, Wood took on the direction of the Queen's Hall's prestigious Saturday afternoon symphony concerts. He continually presented new works by composers of many nationalities, and was particularly known for his skill in Russian music. Sullivan wrote to him in 1898, "I have never heard a

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The income from the concerts did not permit generous rehearsal time. Wood had nine hours to rehearse all the music for each week's six concerts. To gain the best results on so little rehearsal, Wood developed two facets of his conducting that remained his trademark throughout his career. First, he

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Just before 8 o'clock I saw Henry Wood take up his position behind the curtain at the end of the platform – watch in hand. Punctually, on the stroke of eight, he walked quickly to the rostrum, buttonhole and all, and began the National Anthem ... A few moments for the audience to settle down,

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Later that year, overtaxed by his enormous workload, Wood's health broke down. Even though this was during the Proms season, Cathcart insisted that Wood should have a complete break and change of scene. Leaving the leader of the orchestra, Arthur Payne, to conduct during his absence, Wood and his

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Despite his age and the difficulties of wartime travel, Wood insisted on going to provincial cities to conduct – as much, according to Jacobs, to help the local orchestras survive as to gratify audiences. His final season was in 1944. The season began well with Wood in good form, but after three

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In his later years, Wood came to be identified with the Proms rather than with the year-round concert season. Boult was appointed director of music at the BBC in 1930. In that capacity he strove to ensure that Wood was invited to conduct a fitting number of BBC symphony concerts outside the Prom

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On his return to England from his first Hollywood trip, Wood found himself in the middle of a feud between the chairman of Chappell's, William Boosey, and the BBC. Boosey had conceived a passionate hostility to the broadcasting of music, fearing that it would lead to the end of live concerts. He

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Newman's determination to make the promenade concerts attractive to everyone led him to permit smoking during concerts, which was not formally prohibited at the Proms until 1971. Refreshments were available in all parts of the hall throughout the concerts, not only during intervals. Prices were

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In December 1909, after a short illness, Olga Wood died. Cathcart took Wood away to take his mind off his loss. On his return, Wood resumed his professional routine, with the exception that, after Olga's death, he rarely performed as piano accompanist for anyone else; his skill in that art was

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Creating the orchestra admired by Strauss had not been achieved without a struggle. In 1904, Wood and Newman tackled the deputy system, in which orchestral players, if offered a better-paid engagement, could send a substitute to a rehearsal or a concert. The treasurer of the Royal Philharmonic

1708:(1923). In March 1963, The Henry Wood Concert Society (in association with The Henry Wood Memorial Trust) presented The Henry Wood Memorial Concert. The concert was held at the Royal Albert Hall, London and conducted by Sir Malcolm Sargent in the presence of H.R.H. The Duchess of Gloucester. 622:

Another feature of Wood's conducting was his insistence on accurate tuning; before each rehearsal and concert he would check the instrument of each member of the woodwind and string sections against a tuning fork. He persisted in this practice until 1937, when the excellence of the

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triennial festival. He continued to be associated with that festival until 1936, changing its emphasis from choral to orchestral pieces. A German critic, reviewing the festival for a Berlin publication, wrote, "Two personalities now represent a new epoch in English musical life –

73:. He conducted them for nearly half a century, introducing hundreds of new works to British audiences. After his death, the concerts were officially renamed in his honour as the "Henry Wood Promenade Concerts", although they continued to be generally referred to as "the Proms". 1052:. Such was their success, both artistic and financial, that Wood was invited back, and conducted again the following year. In addition to a large number of English pieces, Wood programmed works by composers as diverse as Bach and Stravinsky. He again conducted there in 1934. 346:

Wood recalled that his first professional appearance as a conductor was at a choral concert in December 1887. Ad hoc engagements of this kind were commonplace for organists, but they brought little prestige such as was given to British conductor-composers such as Sullivan,

692:, a banker of German origin. Speyer put up the necessary funds, retained Newman as manager of the concerts, and encouraged him and Wood to continue with their project of improving the public's taste. At the beginning of 1902, Wood accepted the conductorship of that year's 1072:

The BBC regime brought immediate benefits. The use of the second half of concerts to promote Chappell's songs ceased, to be replaced by music chosen for its own excellence: on the first night under the BBC's control, the songs in the second half were by Schubert,

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In 1898, Wood married one of his singing pupils, Olga Michailoff, a divorcée a few months his senior. Jacobs describes it as "a marriage of perfect professional and private harmony". As a singer, with Wood as her accompanist, she won praise from the critics.

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on the Last Night of the Proms. His collection of 2,800 orchestral scores and 1,920 sets of parts is now in the library of the Royal Academy of Music. For the Academy he also established the Henry Wood Fund, giving financial aid to students. The

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ranked Wood as one of the two greatest Tchaikovsky conductors in his long experience. Wood also successfully challenged the widespread belief that Englishmen were not capable of conducting Wagner. When Wood and the Queen's Hall Orchestra performed at

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In 1921, Wood was awarded the gold medal of the Royal Philharmonic Society, the first English conductor to receive the honour. By now he was beginning to find his position as Britain's leading conductor under challenge from rising younger rivals.

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The rest of the programme comprised, in the words of an historian of the Proms, David Cox, "for the most part ... blatant trivialities." Within days, however, Wood was shifting the balance from light music to mainstream classical works, with

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and New York Philharmonic Orchestras, but he regarded the Boston orchestra as the finest in the world. Nonetheless, as he told Boult, "it was hard to refuse, but I felt it was a patriotic duty to remain in my own country, at the present moment."

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Ten shillings and sixpence: 52½ pence in decimal terms; in 2009 values somewhere between £40 (based on retail prices) and £275 (based on average earnings). Jacobs (p. 19) suggests that Wood may have exaggerated his fee when recalling it in his

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recounted a story by one of his players who recalled that Wood "had everything planned out and timed to the minute ... at 10 a.m. precisely his baton went down. You learned things so thoroughly with him, but in the most economical time."

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in 1891. Wood remained devoted to Sullivan's music and later insisted on programming his concert works when they were out of fashion in musical circles. During this period, he had several compositions of his own performed, including an

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business, but by the time of his son's birth he was trading as a jeweller, optician and engineering modeller, much sought-after for his model engines. It was a musical household: Wood senior was an amateur cellist and sang as principal

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which leaves behind all those whose stamping technique is not of the very finest quality. I like to win by two bars, if possible; but sometimes have to be content with a bar and a half. It is good fun, and I enjoy it as much as they.

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Adrian Boult, who, at Wood's recommendation, took over some of his responsibilities at Birmingham in 1923, always admired and respected Wood. Other younger conductors included men who had been members of Wood's orchestra, including

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and others. Newman aimed to do the same: "I am going to run nightly concerts and train the public by easy stages. Popular at first, gradually raising the standard until I have created a public for classical and modern music."

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On leaving the Royal Academy of Music in 1888, Wood taught singing privately and was soon very successful, attracting "more singing pupils than I could comfortably deal with" at half a guinea an hour. He also worked as a

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career: he and Newman greatly improved access to classical music, and Wood raised the standard of orchestral playing and nurtured the taste of the public, presenting a vast repertoire of music spanning four centuries.

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considerably lower than those customarily charged for classical concerts: the promenade (the standing area) was one shilling, the balcony two shillings, and the grand circle (reserved seats) three and five shillings.

1986:, Stephen Jackson (chorusmaster of the BBC Symphony Orchestra) and Percy Grainger"; in 2004 "with additional Songs arranged by Stephen Jackson"; and in 2005, 2006 and 2007 with "extra Songs arranged by Bob Chilcott". 631:, Wood experimented with the layout of the orchestra. His preferred layout was to have the first and second violins grouped together on his left, with the cellos to his right, a layout that has since become common. 1222: 969:

also received its first performance (the composer not being present); during rehearsals, Wood urged his players, "Stick to it, gentlemen! This is nothing to what you'll have to play in 25 years' time". The critic

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to Arthur Sullivan. Sullivan's concerts in the 1870s had been particularly successful, because he offered his audiences something more than the usual light music. He introduced major classical works, such as

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In decimal coinage, respectively 5, 10, 15 and 25 pence: the equivalent of approximately £4 to £20 in terms of 2009 retail prices. Tickets for formal symphony concerts at the time cost up to five times as

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In the early years of the Proms there were complaints in some musical journals that Wood was neglecting British music. In 1899, Newman unsuccessfully attempted to secure for Wood the premiere of Elgar's

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In his memoirs Wood refers to her as "Princess Olga Ouroussoff", but according to Jacobs (p. 59) she was entitled to neither the rank nor the surname, although her mother was Princess Sofiya Urusova

750:. This prompted the composer to write, "I cannot leave London without an expression of admiration for the splendid Orchestra which Henry Wood's master hand has created in such a short time." 1366:, 1956, lists none of his records. A few of his recordings have subsequently been reissued on compact disc, including the Decca and Columbia Vaughan Williams recordings from 1936 and 1938. 664:

chose Tchaikovsky and Wagner for the programme. Wood, who modelled his appearance on Nikisch, took it as a compliment that the queen said to him, "Tell me, Mr Wood, are you quite English?"

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The 1912 and 1913 Prom seasons are singled out by Cox as among the finest of this part of Wood's career. Among those conducting their own works or hearing Wood conduct them were Strauss,

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printed in programmes. For this he was much praised in the musical and national press. In addition to his work at the Queen's Hall, Wood conducted at the Sheffield, Norwich, Birmingham,

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specialist, offered to sponsor it on two conditions: that Wood should conduct every concert, and that the pitch of the orchestral instruments should be lowered to the European standard

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Between 1915 and 1925, he conducted 65 recordings for Columbia using the early acoustic recording process, including many discs of Wagner excerpts and a truncated version of Elgar's

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Hall Orchestra in 1913. He said, "I do not like ladies playing the trombone or double bass, but they can play the violin, and they do." By 1918 Wood had 14 women in his orchestra.

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published by the company. The management of Chappell's were also less enthusiastic than Wood and Newman about promoting new orchestral works, most of which were not profitable.

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Wood's recording career began in 1908, when he accompanied his wife Olga in "Farewell, forests" by Tchaikovsky, for the Gramophone and Typewriter Company, better known as

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and BBC Symphony Orchestras. The concert raised £9,000 for Wood's chosen charity, providing health care for musicians. In the same year, Wood published his autobiography,

606:. Newman and Wood soon felt able to devote every Monday night of the season principally to Wagner and every Friday night to Beethoven, a pattern that endured for decades. 4425: 1926:

Wood (p. 29) lists Garcia as among his professors, but Jacobs (p. 13) notes that Wood's name does not appear among the choir lists in which Garcia's pupils all appeared.

1089:, always finding fault with any arrangement or orchestrations that I made ... 'spoiling the original' etc. etc.", and so Wood passed off his own orchestration of Bach's 834:'s stage works and string sonatas, which Wood performed at an orchestral festival in Zurich in 1921, and orchestral transcriptions of works by a range of composers from 233:'s singing class, but it is certain that he became its accompanist and was greatly influenced by Garcia. Wood also accompanied the opera class, taught by Garcia's son 1262:

weeks raids by the devastating new German flying bombs caused the government to order the closure of places of entertainment. The Proms were immediately relocated to

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in 1873. Wood received the award four years before it was given to Delius and Elgar (1925). The next conductor to receive the medal was Sir Thomas Beecham (1928).

167:, known as "the musicians' church". His wife played the piano and sang songs from her native Wales. They encouraged their son's interest in music, buying him a 1192:

was chosen as the venue, having a far larger capacity than the Queen's Hall. The concert was given on 5 October 1938. Rachmaninoff played the solo part in his

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In 1911 Wood gave an exhibition of fifty sketches in oil at the Piccadilly Arcade Gallery, raising £200 in aid of the Queen's Hall Orchestra Endowment Fund.

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after him. His best-known memorial is the Proms, officially "the Henry Wood Promenade Concerts", but universally referred to by the informal short version.

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had been an increasingly influential figure since about 1910. He and Wood did not like one another, and each avoided mention of the other in his memoirs.

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of execution may not be his, particularly in his limited legacy of recordings, but he remains one of the most remarkable musicians Britain has produced.

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them to the players. After a season, the players recognised that the low pitch would be permanently adopted, and they bought the instruments from him.

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Although Wood himself did not generally use the term "the Proms", it was common currency by now even in the more formal newspapers. It was used in

434:. After the collapse of the Olympic opera season, Wood returned once more to his singing tuition. In 1894 he contributed to a song in the operetta 2052: 2050:

who died young. Jacobs (p. 232) states that no such composer ever existed, although a Russian composer called Nicolai Klenovsky died in 1915. The

1704:(France; 1926). He received honorary doctorates from five English universities and was a fellow of both the Royal Academy of Music (1920) and the 526:

On 10 August 1895, the first of the Queen's Hall Promenade Concerts took place. Among those present who later recalled the opening was the singer

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or HMV. They made eight other records together for HMV over the next two years. After Olga's death, Wood signed a contract with HMV's rival,

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Born in modest circumstances to parents who encouraged his musical talent, Wood started his career as an organist. During his studies at the

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In June 1911, he married his secretary, Muriel Ellen Greatrex (1882–1967), with whom he had two daughters. In the same year he accepted a

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Two shillings and sixpence: in decimal coinage, 12½ pence. In terms of average earnings, this equates to more than £65 in current values.

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When Signor Lago, formerly impresario of the Imperial Opera Company of St. Petersburg, was looking for a second conductor to work with

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Between the first and second season of promenade concerts, Wood did his last work in the opera house, conducting Stanford's new opera

202: 65:(3 March 1869 – 19 August 1944) was an English conductor best known for his association with London's annual series of 4087: 4068: 4049: 4030: 4008: 3989: 3963: 3927: 3908: 1553: 4203: 651:

finer performance in England than that of the Tchaikovsky symphony under your direction last Wednesday". Seventy-five years later,

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Wood received little religious inspiration at St Sepulchre, but was deeply stirred by the playing of the resident organist,

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In Jacobs's 1994 biography, the list of premieres conducted by Wood extends to 18 pages. His world premieres included

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and, impressed by Wood, invited him to conduct. There had been such concerts in London since 1838, under conductors from

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At BBC symphony concerts, Wood conducted Hindemith's Viola Concerto, with the composer as soloist, and his oratorio

1954:, commented on all the principal singers, the costumes, scenery and choreography, but did not mention the conductor. 1105:." Wood kept the secret for five years before revealing the truth. The press treated the deception as a great joke; 744:). In the same year, he introduced several of Richard Strauss's tone poems to London, and in 1905 he gave Strauss's 4475: 4327: 2998:"Fantasia on British Sea Songs (with additional Songs arranged by John Wilson, Stephen Jackson and Percy Grainger)" 1637: 1374: 1336: 1210:, Wagner, Handel and Elgar. The orchestra comprised players from the three London orchestras: the London Symphony, 1158: 850: 497: 480: 456: 110: 3271: 4445: 3815: 1896: 1759: 1633: 1629: 1625: 997: 965: 755: 733: 725: 587: 579: 560: 551: 348: 198: 1206:

for orchestra and 16 soloists. The other composers represented in the programme were Sullivan, Beethoven, Bach,

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and others, Wood became the conductor of a small operatic touring company. He was soon engaged by the larger

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Wood worked with his wife for many concerts, and was her piano accompanist at her recitals. In 1906, at the

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The recording by Sammons and Wood was chosen in preference to all others by the reviewer Ian Burnside on

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and also conducted performances during its three month London run. With the exception of a season at the

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From the mid-1890s until his death, Wood focused on concert conducting. He was engaged by the impresario

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In 1936, Wood was in charge of his final Sheffield festival. The choral works he conducted included the

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piano, on which his mother gave him lessons. The young Wood also learned to play the violin and viola.

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His arrangement of the national anthem was continued for the Last Night of the Proms until 2009, when

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company in 1935. For Decca he conducted 23 recordings over the next two years, including Beethoven's

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Jacobs lists 26 compositions dedicated to Wood, including, in addition to the Vaughan Williams

791:'s "Rule, Britannia!" He played it at the Proms more than 40 times, and it became a fixture at the " 1950: 1945: 1845: 1609: 1001: 956: 780: 746: 317: 272:

about the score. Jacobs describes Wood's memoirs as "vivacious in style but factually unreliable".

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They stamp their feet in time to the hornpipe – that is until I whip up the orchestra to a fierce

590:. During the season Wood presented 23 novelties, including the London premieres of pieces by 3739: 2047: 1803: 1763: 1646: 1588: 1572: 1287: 952: 903: 859: 595: 484: 168: 634: 4170: 4153: 4136: 4119: 4102: 4083: 4064: 4045: 4026: 4004: 3985: 3959: 3942: 3923: 3904: 2034: 2020:

used the term from 1918 and 1923 respectively. Even Wood used the term when referring to the

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In addition to the knighthood bestowed in 1911, Wood's state honours were his appointments as

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for a proposed London season, Garcia recommended Wood. The season opened at the newly rebuilt

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Wood was only the second conductor of any nationality to receive the honour, the first being

1895:

According to Wood, his father was urged to become a professional singer by the conductor Sir

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Newman needed to find financial backing for his first season. Dr George Cathcart, a wealthy

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played Wood's arrangement of the national anthem out of respect for the recently deceased

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Towards the end of the war, Wood received an offer by which he was seriously tempted: the

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operas. Among the other symphonies Wood conducted during the first season were Schubert's

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in succession to Mahler, as he felt it his duty to devote himself to the British public.

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wife took a cruise to Morocco, missing the Proms concerts from 13 October to 8 November.

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After the marital split, Muriel Wood lived in Japan (her brother was British consul in

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Letter dated 23 January 1914, quoted in Lambourn, David, "Henry Wood and Schoenberg",

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Elkin, Robert, "Henry J. Wood: Organist, Accompanist, Opera Conductor, and Composer",

2125:

The histories of the concerts by Cox and Orga both use the short form in their titles.

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In 1929, Wood played a celebrated practical joke on musicologists and critics. "I got

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with the composer as soloist. Wood also programmed their music during Proms seasons.

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on successive nights in 1909. He composed the work for which he is most celebrated,

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Wood conducted his own compositions and arrangements from time to time. He gave his

150:, London, on 3 March 1869, the only child of Henry Joseph Wood and his wife Martha, 4315: 4309: 3684: 3010:"Fantasia on British Sea Songs (with additional Songs arranged by Stephen Jackson)" 2962: 2687: 1673: 1656: 1391: 1128: 1078: 698: 689: 652: 401: 393: 2464: 818: 715:, but in the same year Newman passed up the opportunity to introduce the music of 452: 96:. One notable event in his operatic career was conducting the British premiere of 2086:), China and New Zealand. She did not return to England until after Wood's death. 1349:. In 1938 he returned to Columbia, for whom his five new recordings included the 221:

at the age of seventeen, studying harmony and composition with Prout, organ with

4321: 3978: 3022:"Fantasia on British Sea Songs (with additional Songs arranged by Bob Chilcott)" 2484:

The London Stage 1890-1899: A Calendar of Productions, Performers, and Personnel

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In 2002 and 2003, the Fantasia was performed "with additional Songs arranged by

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entered into the spirit of it with a jocular tribute to the lamented Klenovsky.

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symphonies, normally restricted to the more expensive concerts presented by the

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invited him to become its musical director. He had been guest conductor of the

3340: 1442: 1307: 1207: 1064: 312: 285: 155: 4157: 4140: 4106: 3946: 3850: 2241: 1870: 1832: 1811: 1101:] for true colour etc. – and performance after performance was given and 17: 4274: 4174: 4123: 2046:

Cox (p. 102) states that there had been a real "Paul Klenovsky", a pupil of

2021: 1750: 1719: 1230: 1107: 948: 899: 895: 693: 3547:, 23 November 1929, p. 10 and "Music This Week: An Oratorio by Hindemith", 1853: 1306:, for whom he made a series of discs between 1915 and 1917 with the singer 4209: 2212: 174: 2083: 1578: 1360:

Wood's recordings did not remain in the catalogues long after his death.

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with the 16 original singers, a few days after the premiere, and his own

1200:, at Wood's request, composed a short choral work for the occasion: the 800: 519: 408:

in London, in October 1892, with Wood conducting the British premiere of

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season. The BBC chose Wood for important collaborations with Bartók and

3849:, Royal Academy of Music. Retrieved 21 November 2010; Herbage, Julian, 1268: 1263: 891: 846: 2143: 676: 444:

in 1896, Wood's subsequent conducting career was in the concert hall.

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Shaw's Music – The Complete Music Criticism of Bernard Shaw, Volume 2

1139:, "in comparison with whom he was increasingly seen as a workhorse". 647:

were not a financial success, and were not repeated in later years.

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European composers. In the 1903 season, he programmed symphonies by

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doubts this and discounts exchanges Wood purported to have had with

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in 1891–92. He also worked for Carte at the Savoy as assistant to

274: 173: 160: 70: 38: 3195:, 12 August 1918, p. 9; and Newman, Ernest, "The Week in Music", 3560:"Broadcasting, The Programmes, Sir Henry Wood at Queen's Hall", 541:

Overture, and the first concert of the new Promenades had begun.

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stick in front of you". Thirty-five years after Wood's death,

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Two digitally restored recordings conducted by Sir Henry Wood

1271:, Hertfordshire; his funeral service was held in the town at 3072:

Jacobs, p. 117; and Blom, Eric, "A Fauré Memorial Concert",

355:, or the rising generation of German star conductors led by 293:

It is certain, however, that Wood was répétiteur at Carte's

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In 1925, Wood was invited to conduct four concerts for the

250:. According to his memoirs, he worked in that capacity for 3347:, Oxford University Press, 2004. Retrieved 17 October 2010 1794:—— (1924). "Orchestral Colour and Values". In 1282:’s arrangement replaced it in 2010. In 2022, the American 779:, for a concert in 1905, celebrating the centenary of the 627:

persuaded him that it was no longer necessary. To improve

3543:"B.B.C. Symphony Orchestra: Hindemith's Viola Concerto", 1123:, and for the first British performance of Mahler's vast 822:

The London Symphony Orchestra at the Queen's Hall in 1911

2487:, Rowman & Littlefield (2014) - Google Books pg. 228 1995:

In his memoirs, Wood does not say where or for how long.

1608:; Schumann's Konzertstück for four horns and orchestra; 1785:

Wood, Henry (26 May 1904). "Why I became a Conductor".

1182:, and, in the presence of the composer, Rachmaninoff's 3694:

St Sepulchre-without-Newgate. Retrieved 1 January 2011

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Royal Philharmonic Society. Retrieved 21 November 2010

4131:

Sackville-West, Edward; Desmond Shawe-Taylor (1956).

3443:"'Paul Klenovsky' a Musical Hoax by Sir Henry Wood", 3876:

University of Strathclyde. Retrieved 1 January 2011

2739:Wood, p. 100; and Boult, Adrian, "Stereo Strings", 939:

Schoenberg's music was hissed at the Proms in 1912.

213:After taking private lessons from the musicologist 84:and became his accompanist. After similar work for 80:, he came under the influence of the voice teacher 3977: 3431:, Oxford Music Online. Retrieved 22 November 2010 3423:, Oxford Music Online. Retrieved 22 November 2010 2960:"Future of Music: Interview with Sir Henry Wood", 2144:Henry Joseph Wood. March 3, 1869 - August 19, 1944 254:during the rehearsals for the first production of 4246:Royal Liverpool Philharmonic Principal Conductors 3157:in Lambourn, David, "Henry Wood and Schoenberg", 3149:Newman, Ernest, "The Case of Arnold Schoenberg", 3024:, Proms Archive, BBC. Retrieved 19 November 2010. 3000:, Proms Archive, BBC. Retrieved 19 November 2010. 2345:, Oxford Music Online. Retrieved 17 October 2010 113:to conduct a series of promenade concerts at the 4456:Members of the Order of the Companions of Honour 3012:, Proms Archive, BBC. Retrieved 19 November 2010 2024:, which he called "the Last Prom of the Season". 154:Morris. Wood senior had started in his family's 3825:, WilliamWalton.net. Retrieved 21 November 2010 2069:'s music critic (anonymous, but presumed to be 1690:Member of the Order of the Companions of Honour 701:as composer, and Henry J. Wood as conductor." 4466:Recipients of the Order of the Crown (Belgium) 1082:to rescore the work for the forces available. 124:Wood declined the chief conductorships of the 4230: 3837:, Henry Wood Hall. Retrieved 20 November 2010 3802: 3800: 3403: 3401: 2236: 2234: 2232: 2230: 2116:'s "Building a Library" feature in July 1999. 467:In 1894, Wood went to the Wagner festival at 229:. It is not clear whether he was a member of 8: 2889: 2887: 2885: 2215:, MeasuringWorth. Retrieved 16 November 2010 1769:His biographer Arthur Jacobs wrote of Wood: 1233:, it is placed in front of the organ at the 483:, was proposing to run a ten-week season of 4190:Henry Wood's Proms appearances as performer 3183:"Covent Garden Opera – Le Lac Des Cygnes", 3118:, December 1902, p. 826; and Jacobs, p. 132 1749:, the deconsecrated Holy Trinity Church in 210:. He remained a life-long amateur painter. 4441:Royal Philharmonic Society Gold Medallists 4237: 4223: 4215: 4023:Music and Friends: Letters to Adrian Boult 3032: 3030: 2600: 2598: 1800:A Dictionary of Modern Music and Musicians 1331:Wood was wooed from Columbia by the young 3746:, BBC Radio 3. Retrieved 21 November 2010 3391: 3389: 3187:, 28 July 1912, p. 7; "London Concerts", 2708: 2706: 890:festivals, and at orchestral concerts in 4426:Conductors associated with the BBC Proms 3512: 3510: 2848: 2846: 2685:Cole, Hugo, "Sullivan without Gilbert", 2368:Musical Opinion & Music Trade Review 2334: 2332: 2330: 2328: 2257: 2255: 2253: 1745:Wood is commemorated in the name of the 874:, and declined the conductorship of the 849:music festival he presented Beethoven's 633: 582:. The concertos included Mendelssohn's 518:. Concert pitch in England was nearly a 3534:Kennedy, pp. 140–41; and Jacobs, p. 308 3345:Oxford Dictionary of National Biography 3335: 3333: 3331: 3329: 3327: 3325: 2207: 2205: 2203: 2136: 2053:Grove Dictionary of Music and Musicians 1888: 787:'s "See the Conquering Hero Comes" and 367:in 1891. For that company he conducted 4451:Conductors (music) awarded knighthoods 2534: 2532: 2362: 2360: 2358: 2356: 2354: 2269: 2267: 1453:Wood's UK premieres included Bartók's 4416:Fellows of the Royal Academy of Music 4063:. Newton Abbot: David & Charles. 3785:CD (2001), catalogue number CDBP 9707 2419:Wood, pp. 58–60 and Jacobs, pp. 21–22 2397:Wood, pp. 53–56 and Jacobs, pp. 19–20 1257:, close to where his ashes are buried 803:("Jack's the Lad"); Wood said of it: 799:. A highlight of the Fantasia is the 306:in late 1890 and early 1891, and for 7: 3341:"Wood, Sir Henry Joseph (1869–1944)" 2184: 2182: 906:. His programming was summarised in 863:, with his wife among the singers. 479:in London. The manager of the hall, 2988:Cox, pp. 31–32; and Orga, pp. 78–80 1787:The Musical Leader and Concert Goer 339:(1890), and a one-act comic opera, 88:'s opera companies on the works of 4204:Concert Programmes 1790–1914 3816:"Where does the uttered Music go?" 3675:, BBC Press Office, September 2010 3673:"BBC Proms 2010 Sir Henry's Hoard" 1823:. Vol. Four volumes. London: 1789:. Chicago: Musical Leader Pub. Co. 1310:, including excerpts from Elgar's 1046:Los Angeles Philharmonic Orchestra 993:part to play in boosting morale." 203:International Fisheries Exhibition 25: 3956:Henry J. Wood: Maker of the Proms 3418:"Klenovsky, Nikolay Semyonovich," 3114:"Handel's Messiah and Applause", 2502:(1894) - Museum of Music History" 2468:- British Musical Theatre website 1694:1944 King's Birthday Honours List 1684:Honours, memorials and reputation 1480:Prélude à l'après-midi d'un faune 1225:Bust of Wood at the Duke's Hall, 826:Among Wood's other works was his 206:studied in his spare time at the 4471:Officers of the Legion of Honour 4461:People associated with the Proms 3482:"Sir H. Wood Memorial Concert", 2788:Elkin, p. 144; and Jacobs, p. 56 867:greatly missed by the critics. 4436:English male conductors (music) 4082:. London: Macdonald and Janes. 1730:, works by Elgar, Delius, Bax, 1702:Officer of the Legion of Honour 876:New York Philharmonic Orchestra 289:, for which Wood was répétiteur 3999:Laurence, Dan H., ed. (1989). 3127:"The Autumn Music Festivals", 2056:supports the latter statement. 1037:. Another protégé of Wood was 459:, co-founder with Wood of the 201:. In June 1883, visiting the 1: 3773:Sackville-West, index, p. 957 3582:Jacobs, pp. 311–14 and 329–30 2721:Shore, p. 200 and Wood, p. 96 1624:; Sibelius's Symphonies Nos. 1434:Pomp and Circumstance Marches 1355:Fantasia on British Sea Songs 776:Fantasia on British Sea Songs 771:Fantasia on Scottish Melodies 48: 27:English conductor (1869–1944) 3272:"List of Gold Medal holders" 3153:, 7 September 1912, p. 830, 2975:"Sir Henry Wood Will Stay", 2197:Wood, p. 17 and Jacobs, p. 6 1819:—— (1927–1928). 1255:St Sepulchre-without-Newgate 1092:Toccata and Fugue in D minor 979:First World War and post-war 830:, incorporating themes from 382:The Daughter of the Regiment 165:St Sepulchre-without-Newgate 4169:. London: Victor Gollancz. 4118:. London: Victor Gollancz. 4101:. London: Hamish Hamilton. 4078:Previn, André, ed. (1979). 4044:. London: Faber and Faber. 4025:. London: Hamish Hamilton. 4003:. London: The Bodley Head. 3984:. London: Hamish Hamilton. 3903:. London: Hamish Hamilton. 3685:20th-Century Church History 3525:Wood, index pp. 376 and 384 3456:"The Late Paul Klenovsky", 2658:Cox, p. 35; and Orga, p. 61 2295:, November 1927, p. 1007–08 1605:The Carnival of the Animals 1526:; Mahler's Symphonies Nos. 1438:Norfolk Rhapsody No. 1 680:Wood in 1908 – painting by 471:where he met the conductor 32:Henry Wood (disambiguation) 4497: 4431:English conductors (music) 4040:Morrison, Richard (2004). 3867:"Sir Henry Wood Building," 3495:Jacobs, pp. 262–70 and 278 3429:Oxford Dictionary of Music 3161:, August 1987, pp. 422–427 3045:Jacobs, pp. 173 and 434–35 1253:Memorial to Henry Wood in 767:Fantasia on Welsh Melodies 554:and further excerpts from 29: 4421:Classical music in London 4252: 3564:, 14 February 1930, p. 22 3460:, 5 September 1934, p. 13 3447:, 4 September 1934, p. 10 3310:Reid (1968), pp. 101, 105 2410:, August 1960, pp. 488–90 1821:The Gentle Art of Singing 1760:University of Strathclyde 1436:; and Vaughan Williams's 998:Boston Symphony Orchestra 966:Five Pieces for Orchestra 756:London Symphony Orchestra 349:Charles Villiers Stanford 295:Royal English Opera House 3851:"Wood, Sir Henry Joseph" 3821:21 November 2008 at the 2839:Allgemeine Musik-Zeitung 2370:, March 1899, pp. 389–90 2242:"Wood, Sir Henry Joseph" 1865:. London: Sylvan Press. 1762:named a building at its 1068:Wood caricatured in 1922 448:Early years of the Proms 341:Returning the Compliment 264:in 1888. His biographer 208:Slade School of Fine Art 4165:Wood, Henry J. (1938). 4148:Shore, Bernard (1938). 4019:Moore, Jerrold Northrop 3954:Jacobs, Arthur (1994). 3939:Queen's Hall, 1893–1941 3872:5 December 2010 at the 3855:(subscription required) 3618:Cox, pp. 122 and 208–09 3473:, 6 October 1930, p. 12 3433:(subscription required) 3427:and "Klenovsky, Paul", 3425:(subscription required) 3197:The Manchester Guardian 3129:The Manchester Guardian 3075:The Manchester Guardian 2347:(subscription required) 2246:(subscription required) 2211:Williamson, Samuel H., 2022:Last Night of the Proms 2018:The Manchester Guardian 1861:—— (1945). 1840:—— (1938). 1825:Oxford University Press 1796:Hull, Arthur Eaglefield 1660:(suite); Tchaikovsky's 1343:and Vaughan Williams's 909:The Manchester Guardian 793:Last Night of the Proms 638:Wood's first wife, Olga 365:Carl Rosa Opera Company 335:(1889), a light opera, 257:The Yeomen of the Guard 178:Two of Wood's mentors: 94:Carl Rosa Opera Company 4114:Reid, Charles (1961). 4097:Reid, Charles (1968). 3937:Elkin, Robert (1944). 3899:Boult, Adrian (1973). 3551:, 20 March 1933, p. 10 3469:"Promenade Concerts", 3131:, 8 August 1911, p. 10 2911:Levien, John Mewburn, 1948:, in a long review in 1776: 1723: 1706:Royal College of Music 1598:, and Symphony No. 2; 1387: 1313:The Dream of Gerontius 1284:Philadelphia Orchestra 1258: 1238: 1227:Royal Academy of Music 1069: 1013: 940: 928:(14); Elgar (14); and 924:(16); J.S. Bach (14); 823: 816: 684: 639: 625:BBC Symphony Orchestra 543: 464: 290: 219:Royal Academy of Music 186: 78:Royal Academy of Music 54: 3690:16 March 2011 at the 3199:, 2 August 1923, p. 5 3174:, August 1987, p. 426 3078:, 10 June 1925, p. 12 2915:in Reid (1961), p. 50 2366:"Mr. Henry J. Wood", 1771: 1714: 1700:(Belgium; 1920), and 1554:Violin Concerto No. 2 1541:Das Lied von der Erde 1410:A Song Before Sunrise 1377: 1252: 1224: 1194:Second Piano Concerto 1087:very fed up with them 1067: 1011: 938: 821: 805: 679: 637: 532: 489:Louis Antoine Jullien 455: 278: 177: 126:New York Philharmonic 58:Sir Henry Joseph Wood 42: 4206:at www.cph.rcm.ac.uk 4152:. London: Longmans. 4150:The Orchestra Speaks 3920:The Henry Wood Proms 3486:, 5 March 1945, p. 8 2743:, April 1973, p. 378 2691:, 29 July 1971, p. 8 2446:Laurence, pp. 718–21 2388:Jacobs, pp. 3 and 17 2340:"Wood, Sir Henry J." 2291:"Occasional Notes", 1879:Notes and references 1650:; Richard Strauss's 1616:and Symphonies Nos. 1614:Piano Concerto No. 1 1586:; Rimsky-Korsakov's 1550:Piano Concerto No. 1 1432:and the 4th and 5th 1378:Wood caricatured by 510:ear, nose and throat 498:Philharmonic Society 252:Richard D'Oyly Carte 195:St Mary Aldermanbury 86:Richard D'Oyly Carte 45:Ernest Walter Histed 30:For other uses, see 4135:. London: Collins. 4059:Orga, Ateş (1974). 4042:Orchestra – The LSO 3958:. London: Methuen. 3918:Cox, David (1980). 2979:, July 1918, p. 207 2966:, 2 June 1918, p. 7 2101:Piano Concerto No 1 1946:George Bernard Shaw 1846:Victor Gollancz Ltd 1652:Symphonia Domestica 1584:Piano Concerto in D 1558:Piano Concerto No 1 1524:Dances from Galanta 1212:London Philharmonic 797:Sir Malcolm Sargent 781:Battle of Trafalgar 747:Symphonia Domestica 552:Unfinished Symphony 353:Alexander Mackenzie 279:1891 production of 270:Sir Arthur Sullivan 217:, Wood entered the 3885:Jacobs, pp. 127–28 3794:Jacobs, pp. 442–61 3755:Jacobs, pp. 429–30 3744:Building a Library 3730:Jacobs, pp. 428–29 3721:Jacobs, pp. 426–28 3573:Jacobs, pp. 302–03 3516:Jacobs, pp. 265–71 3421:Grove Music Online 3356:Jacobs, pp. 203–06 2977:The Musical Herald 2893:Jacobs, pp. 441–61 2837:, Otto Lessman in 2343:Grove Music Online 1804:J.M. Dent and Sons 1724: 1698:Order of the Crown 1589:Capriccio Espagnol 1573:Rapsodie espagnole 1428:Suite No. 1, 1388: 1300:His Master's Voice 1288:Queen Elizabeth II 1259: 1239: 1179:Belshazzar's Feast 1070: 1014: 941: 860:St Matthew Passion 824: 685: 672:Early 20th century 660:in November 1898, 640: 485:promenade concerts 465: 463:promenade concerts 291: 187: 67:promenade concerts 55: 4391: 4390: 4198:BBC Proms website 3941:. London: Rider. 3244:Jacobs pp. 65, 95 3189:The Musical Times 3172:The Musical Times 3159:The Musical Times 3116:The Musical Times 2879:Jacobs, pp. 33–34 2861:Jacobs, pp. 62–63 2741:The Musical Times 2538:Jacobs, pp. 30–32 2408:The Musical Times 2293:The Musical Times 2240:Herbage, Julian, 2147:The Musical Times 2010:The Musical Times 1764:Jordanhill campus 1728:Serenade to Music 1556:; Rachmaninoff's 1448:Serenade to Music 1425:The Wand of Youth 1351:Serenade to Music 1346:A London Symphony 1341:Enigma Variations 1235:Royal Albert Hall 1229:, London. During 1203:Serenade to Music 1190:Royal Albert Hall 1133:Willem Mengelberg 1056:BBC and the Proms 712:Enigma Variations 376:The Bohemian Girl 225:, and piano with 146:Wood was born in 119:Royal Albert Hall 16:(Redirected from 4488: 4446:Knights Bachelor 4382:Domingo Hindoyan 4239: 4232: 4225: 4216: 4200:at www.bbc.co.uk 4178: 4167:My Life of Music 4161: 4144: 4133:The Record Guide 4127: 4110: 4093: 4074: 4055: 4036: 4014: 3995: 3983: 3974:Kennedy, Michael 3969: 3950: 3933: 3914: 3886: 3883: 3877: 3864: 3858: 3857:; and Cox, p. 56 3856: 3844: 3838: 3832: 3826: 3813: 3807: 3804: 3795: 3792: 3786: 3780: 3774: 3771: 3765: 3762: 3756: 3753: 3747: 3737: 3731: 3728: 3722: 3719: 3713: 3710: 3704: 3701: 3695: 3682: 3676: 3670: 3664: 3661: 3655: 3652: 3646: 3643: 3637: 3634: 3628: 3625: 3619: 3616: 3610: 3607: 3601: 3598: 3592: 3589: 3583: 3580: 3574: 3571: 3565: 3558: 3552: 3541: 3535: 3532: 3526: 3523: 3517: 3514: 3505: 3502: 3496: 3493: 3487: 3480: 3474: 3467: 3461: 3454: 3448: 3441: 3435: 3434: 3426: 3414: 3408: 3405: 3396: 3393: 3384: 3381: 3375: 3372: 3366: 3363: 3357: 3354: 3348: 3337: 3320: 3317: 3311: 3308: 3302: 3299: 3293: 3290: 3284: 3281: 3275: 3269: 3263: 3260: 3254: 3251: 3245: 3242: 3236: 3233: 3227: 3224: 3218: 3215: 3209: 3206: 3200: 3181: 3175: 3168: 3162: 3147: 3141: 3138: 3132: 3125: 3119: 3112: 3106: 3103: 3097: 3094: 3088: 3085: 3079: 3070: 3064: 3061: 3055: 3052: 3046: 3043: 3037: 3034: 3025: 3019: 3013: 3007: 3001: 2995: 2989: 2986: 2980: 2973: 2967: 2958: 2952: 2949: 2943: 2940: 2934: 2931: 2925: 2922: 2916: 2909: 2903: 2900: 2894: 2891: 2880: 2877: 2871: 2868: 2862: 2859: 2853: 2850: 2841: 2831: 2825: 2822: 2816: 2813: 2807: 2804: 2798: 2795: 2789: 2786: 2780: 2777: 2771: 2768: 2762: 2759: 2753: 2750: 2744: 2737: 2731: 2728: 2722: 2719: 2713: 2710: 2701: 2698: 2692: 2683: 2677: 2674: 2668: 2665: 2659: 2656: 2650: 2647: 2641: 2638: 2632: 2629: 2623: 2620: 2614: 2611: 2605: 2602: 2593: 2590: 2584: 2581: 2575: 2572: 2566: 2563: 2557: 2554: 2548: 2547:Elkin, pp. 25–26 2545: 2539: 2536: 2527: 2524: 2518: 2517: 2515: 2513: 2508:on 1 August 2020 2504:. 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The 1669:Nutcracker Suite 1663:Manfred Symphony 1415:A Song of Summer 1363:The Record Guide 1280:Benjamin Britten 1273:St Mary's church 1216:My Life of Music 1198:Vaughan Williams 1137:Arturo Toscanini 690:Sir Edgar Speyer 653:Sir Adrian Boult 318:François Cellier 227:Walter Macfarren 223:Charles Steggall 163:in the choir of 64: 53: 50: 21: 4496: 4495: 4491: 4490: 4489: 4487: 4486: 4485: 4396: 4395: 4392: 4387: 4376:Vasily Petrenko 4364:Petr Altrichter 4304:Malcolm Sargent 4287:Frederick Cowen 4269:Julius Benedict 4248: 4243: 4186: 4181: 4164: 4147: 4130: 4113: 4099:Malcolm Sargent 4096: 4090: 4077: 4071: 4058: 4052: 4039: 4033: 4017: 4011: 3998: 3992: 3972: 3966: 3953: 3936: 3930: 3922:. 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Wood 4393: 4316:Paul Kletzki 4310:Hugo Rignold 4292: 4196:, listed on 4166: 4149: 4132: 4115: 4098: 4079: 4060: 4041: 4022: 4000: 3980:Adrian Boult 3979: 3955: 3938: 3919: 3900: 3881: 3862: 3842: 3830: 3811: 3790: 3778: 3769: 3760: 3751: 3743: 3735: 3726: 3717: 3708: 3699: 3680: 3668: 3663:Orga, p. 121 3659: 3654:Orga, p. 120 3650: 3641: 3632: 3623: 3614: 3605: 3596: 3587: 3578: 3569: 3561: 3556: 3548: 3544: 3539: 3530: 3521: 3500: 3491: 3483: 3478: 3470: 3465: 3457: 3452: 3444: 3439: 3428: 3420: 3412: 3379: 3370: 3361: 3352: 3344: 3319:Wood, p. 317 3315: 3306: 3297: 3288: 3279: 3267: 3258: 3253:Moore, p. 31 3249: 3240: 3231: 3222: 3213: 3204: 3196: 3192: 3188: 3185:The Observer 3184: 3179: 3171: 3166: 3158: 3154: 3150: 3145: 3136: 3128: 3123: 3115: 3110: 3101: 3092: 3083: 3073: 3068: 3059: 3050: 3041: 3036:Wood, p. 192 3017: 3005: 2993: 2984: 2976: 2971: 2963:The Observer 2961: 2956: 2947: 2942:Wood, p. 101 2938: 2929: 2920: 2912: 2907: 2898: 2875: 2866: 2857: 2838: 2834: 2829: 2820: 2811: 2802: 2793: 2784: 2775: 2766: 2757: 2748: 2740: 2735: 2726: 2717: 2696: 2688:The Guardian 2686: 2681: 2672: 2663: 2654: 2645: 2636: 2627: 2618: 2609: 2604:Elkin, p. 25 2588: 2579: 2570: 2561: 2556:Elkin, p. 26 2552: 2543: 2522: 2510:. 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London: 1802:. London: 1443:Flos Campi 1422:; Elgar's 1339:, Elgar's 1308:Clara Butt 1294:Recordings 1143:Last years 990:Stravinsky 961:Schoenberg 872:knighthood 313:La Basoche 286:La Basoche 248:répétiteur 4275:Max Bruch 4158:499119110 4141:500373060 4107:603636443 4080:Orchestra 4061:The Proms 3947:636583612 3847:"Library" 3835:"History" 3562:The Times 3549:The Times 3545:The Times 3484:The Times 3471:The Times 3458:The Times 3445:The Times 3193:The Times 2067:The Times 2014:The Times 2012:in 1912. 1951:The World 1871:717026319 1833:155891475 1812:162576291 1751:Southwark 1720:Southwark 1696:, to the 1546:Prokofiev 1370:Premieres 1328:critics. 1231:the Proms 1185:The Bells 1108:The Times 1103:asked for 900:Leicester 896:Liverpool 694:Sheffield 535:then the 494:Beethoven 169:Broadwood 137:Biography 106:in 1892. 4175:30533927 4124:52025268 3976:(1987). 3870:Archived 3819:Archived 3688:Archived 2512:24 March 2084:Nagasaki 2048:Glazunov 1936:memoirs. 1779:Writings 1579:La valse 1459:Chabrier 1304:Columbia 953:Scriabin 801:hornpipe 730:Sibelius 722:Bruckner 629:ensemble 600:Massenet 596:Glazunov 576:Schumann 548:Schubert 520:semitone 469:Bayreuth 420:Maritana 388:Maritana 343:(1890). 329:oratorio 281:Messager 182:(l) and 4300:(1930s) 3892:Sources 2835:quoting 2065:Later, 1854:2600343 1798:(ed.). 1755:chaplet 1692:in the 1647:Tapiola 1502:Janáček 1469:Copland 1430:Sospiri 1402:Britten 1397:The Sea 1269:Hitchin 1264:Bedford 1169:Te Deum 1164:Berlioz 1153:Requiem 1075:Quilter 1048:at the 945:Debussy 892:Cardiff 847:Norwich 840:Vivaldi 836:Albéniz 832:Purcell 736:), and 571:Italian 303:Ivanhoe 260:at the 235:Gustave 4384:(2021) 4378:(2006) 4372:(2001) 4366:(1997) 4360:(1987) 4354:(1983) 4348:(1980) 4342:(1977) 4336:(1963) 4330:(1957) 4324:(1955) 4318:(1954) 4312:(1948) 4306:(1942) 4283:(1883) 4277:(1880) 4271:(1867) 4265:(1865) 4259:(1843) 4173: 4156: 4139: 4122: 4105: 4086: 4067: 4048: 4029: 4007: 3988: 3962: 3945: 3926: 3907: 3155:quoted 2913:quoted 1869: 1852: 1831: 1810: 1674:Webern 1672:; and 1644:, and 1538:, and 1520:Kodály 1486:Ibéria 1418:, and 1386:, 1907 1196:, and 1174:Walton 1135:, and 1002:Berlin 986:Bartók 955:, and 932:(13). 926:Brahms 920:(16); 918:Dvořák 916:(28); 914:Mozart 886:, and 851:Choral 785:Handel 738:Mahler 717:Delius 580:Fourth 556:Wagner 538:Rienzi 425:Oberon 391:, and 370:Carmen 1964:much. 1884:Notes 1562:Ravel 1420:Idyll 1333:Decca 1323:with 1149:Verdi 1079:Parry 949:Reger 930:Liszt 922:Weber 742:No. 1 734:No. 1 726:No. 7 337:Daisy 241:Opera 161:tenor 71:Proms 4192:and 4171:OCLC 4154:OCLC 4137:OCLC 4120:OCLC 4103:OCLC 4084:ISBN 4065:ISBN 4046:ISBN 4027:ISBN 4005:ISBN 3986:ISBN 3960:ISBN 3943:OCLC 3924:ISBN 3905:ISBN 2514:2020 2016:and 2008:and 1867:OCLC 1850:OCLC 1829:OCLC 1808:OCLC 1666:and 1632:and 1620:and 1582:and 1552:and 1534:and 1514:and 1496:and 1483:and 1446:and 1382:for 1077:and 1033:and 904:Hull 902:and 855:Bach 789:Arne 769:and 612:that 602:and 574:and 428:and 359:and 351:and 128:and 1718:in 1676:'s 1612:'s 1602:'s 1564:'s 1548:'s 1522:'s 1504:'s 1471:'s 1461:'s 1404:'s 1394:'s 1380:Spy 1316:. 1208:Bax 1176:'s 1098:sic 963:'s 857:'s 838:to 728:), 578:'s 568:'s 550:'s 412:'s 320:on 310:'s 283:'s 152:née 100:'s 4402:: 3799:^ 3742:, 3509:^ 3400:^ 3388:^ 3343:, 3324:^ 3029:^ 2884:^ 2845:^ 2705:^ 2597:^ 2531:^ 2481:, 2353:^ 2327:^ 2266:^ 2252:^ 2229:^ 2202:^ 2181:^ 1848:. 1827:. 1806:. 1738:, 1680:. 1640:, 1636:, 1628:, 1592:, 1576:, 1570:, 1560:; 1544:; 1530:, 1518:; 1508:, 1500:; 1467:; 1457:; 1450:. 1440:, 1412:, 1400:; 1357:. 1218:. 1172:, 1166:' 1162:, 1131:, 988:, 959:. 951:, 947:, 898:, 842:. 598:, 564:, 530:: 385:, 379:, 373:, 331:, 121:. 62:CH 49:c. 47:, 4238:e 4231:t 4224:v 4177:. 4160:. 4143:. 4126:. 4109:. 4092:. 4073:. 4054:. 4035:. 4013:. 3994:. 3968:. 3949:. 3932:. 3913:. 2516:. 1873:. 1856:. 1835:. 1814:. 1634:7 1630:6 1626:1 1622:8 1618:7 1536:8 1532:7 1528:4 1498:5 1494:2 1237:. 740:( 732:( 724:( 34:. 20:)

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