This recording of Elgar’s In the South dates from 1955, and despite somewhat thin and shrill mono sound it roundly outclasses Boult’s later EMI recording from the early ’70s. The differences principally concern matters of the rhythm and ensemble, especially in the work’s first half (before the gentle “canto popolare” interlude with solo viola). Here Boult erects a brilliantly intense arch of sound beginning with the stern, marching theme and effortlessly encompassing the transitions back and forth from the opening tempo. It’s a very fine example of Elgar conducting: neither mannered nor stiff, flexible and naturally propulsive.
Unfortunately the First Symphony (the first of Boult’s three recordings), is another matter entirely. Dating from 1949, the London Philharmonic sounds just terrible. Listen to the strangulated brass at the climax of the first movement, culminating in the horns’ sadly unimpressive attempt at what should be a thrilling upward chromatic scale. Similarly, the strings don’t cleanly articulate their scurrying theme at the opening of the scherzo, and serious balance problems between winds and violins turn the trio into a veritable “thing of shreds and patches” (to quote another English musical classic). Those thin-toned strings cast a depressing pall over the slow movement, while the recording’s near total lack of bass response makes nonsense of the opening of the finale (which really needs those quiet, atmospheric rolls on the bass drum). Finally, Boult’s comparatively uninflected approach inadequately prepares for the return of the great motto theme at the very end, nor will you detect much sense of culmination when it finally arrives (mushy timpani don’t help). Boult’s last recording of the work for EMI remains infinitely finer. Ultimately, and despite the impressive performance of the overture, this one’s for Elgar or Boult completists only.
