Audition: Schubert - Symphony No. 9 - Boult

London Philharmonic Orchestra, 1972 EMI

Sir Adrian Boult first recorded this symphony in 1924 so this recording was decades and much technological change later. It’s in pretty good stereo from EMI.  Latterly there have also been several live Boult performances out on CD which I may come to.

This symphony seems to be a test for conductors and given the number who don’t do it well enough I think they are ill-advised to pick it too early.  A seasoned conductor like Boult - especially the long time chief conductor of a radio orchestra: the BBC Symphony.  His affection for it is palpable and in my youth I remember a reviewer in Gramophone recollecting the smile on Boult’s face as some moment was realised so well in concert (perhaps the recapitulation in the first movement).

Suffice to say then that the reading is assured, the quality of the playing is good and in it’s latest transfer the sound - though unsophisticated - is wonderfully transparent  especially in the lower strings and the brass is sound is clearly delineated amongst the section’s instruments.

The orchestra is the London Philharmonic Orchestra.  Boult was their chief conductor after the BBC chucked him out due to age restrictions. The first movement sets the sound picture well with horn rich though not too shiny and the strings alert to every nuance of their music.  Boult’s tempi seem neither extreme nor pressing.  The same could be said for his dynamics and it’s gratifying to hear the different between ff and fff.  There not much conductors can do in this movement to carve out a spectacular reading save carefully nurturing the woodwind and Boult does that throughout.

I’m not keen to give you chapter and verse on my listening notes, but it’s worth saying there are deviations from the score - none of them egregious and mostly helpful for the listener.  The second movement is dreamy and hypnotic in some ways.  The basses at the opening are gorgeous and the sheer consistency and reluctance to make a point are winning qualities.

The Scherzo and Trio have first repeats and that is fine and the playing becomes more joyous (for the listener at least) as we swoop into the finale (I’d like it to be attacca in a dream concert).  The brass throughout are full bloodied and inn those days the trombones were distinct in the brass lines. I can’t say this is a perfect Schubert 9, the recording is a special unfussy testament to a fine conductor, fond of the work doing it justice and not monkeying around with simple intent of Schubert’s work.

Performance 9 out 10

Recording  8 out of 10

Interpretation 9 out of 10