John Barbirolli

Source: Wikipedia, the free encyclopedia.

slender white man of mature years in formal costume; he is clean shaven and has a full head of greying hair and carries a walking stick
Barbirolli in 1960

Sir John Barbirolli

Hallé Orchestra in Manchester, which he helped save from dissolution in 1943 and conducted for the rest of his life. Earlier in his career he was Arturo Toscanini's successor as music director of the New York Philharmonic, serving from 1936 to 1943. He was also chief conductor of the Houston Symphony from 1961 to 1967, and was a guest conductor of many other orchestras, including the BBC Symphony Orchestra, London Symphony Orchestra, the Philharmonia, the Berlin Philharmonic and the Vienna Philharmonic
, with all of which he made recordings.

Born in London of Italian and French parentage, Barbirolli grew up in a family of professional musicians. After starting out as a cellist, he was given the chance to conduct, from 1926 with the

Puccini at Covent Garden with such success that he was invited to become the company's permanent musical director, an invitation he declined. Late in his career he made several recordings of operas, of which his 1967 set of Puccini's Madama Butterfly for EMI
is probably the best known.

Both in the concert hall and on record, Barbirolli was particularly associated with the music of English composers such as

Schubert
, are also still admired.

Biography

Early years

blue commemorative plaque on Barbirolli's birthplace
Southampton Row blue plaque

Giovanni Battista Barbirolli was born on 2 December 1899 in

Bow Bells, Barbirolli always regarded himself as a Cockney.[1] His father, Lorenzo Barbirolli (1864–1929), was a Venetian violinist who had settled in London with his wife, Louise Marie, née Ribeyrol (1870–1962).[2] Lorenzo and his father had played in the orchestra at La Scala, Milan, where they had taken part in the première of Otello in 1887.[3] In London they played in West End theatre orchestras, principally that of the Empire, Leicester Square.[4]

The young Barbirolli began to play the violin when he was four, but soon changed to the cello.

Trinity College of Music.[2][7] As a Trinity student, he made his concert debut in a cello concerto in the Queen's Hall in 1911.[5]

a classical building with a modern sign identifying it as the Royal Academy of Music
Royal Academy of Music, London

The following year he won the

Ravel, which he regarded as "a pernicious influence". Barbirolli was keenly interested in modern music, and he and three colleagues secretly rehearsed Ravel's String Quartet in the privacy of a men's lavatory in the Academy.[12]

From 1916 to 1918 Barbirolli was a freelance cellist in London. He recalled, "My first orchestral engagement was with the Queen's Hall Orchestra – I was probably the youngest orchestral musician ever, joining them in 1916. We had an enormous repertory – six concerts a week, three hours or more rehearsal a day. In those days we were happy if we began and finished together".

Ethel Bartlett, with orchestras in theatres, cinemas, hotels and dance-halls, and, as he said, "everywhere except the street".[14] During the last year of the First World War, Barbirolli enlisted in the army and became a lance-corporal in the Suffolk Regiment.[9]
Here he had his first opportunity to conduct, when an orchestra of volunteers was formed. He later described the experience:

I was stationed on the

Coleridge-Taylor's Petite Suite de Concert but I can't say I recall the rest of the programme.[13]

While in the army, Barbirolli adopted the anglicised form of his first name for the sake of simplicity: "The sergeant-major had great difficulty in reading my name on the roll-call. 'Who is this Guy Vanni?' he used to ask. So I chose John."[15] After demobilisation he reverted to the original form of his name, using it until 1922.[16]

On re-entering civilian life, Barbirolli resumed his career as a cellist. His association with

Dream of Gerontius, under Elgar's baton, in the LSO cellos.[19] He joined two newly founded string quartets as cellist: the Kutcher Quartet, led by his former fellow student at Trinity, Samuel Kutcher,[20] and the Music Society Quartet (later called the International Quartet) led by André Mangeot. He also made several early broadcasts with Mangeot's quartet.[21]

First conducting posts

Barbirolli's ambition was to conduct. He was the prime mover in establishing the Guild of Singers and Players Chamber Orchestra in 1924,

Gounod's Roméo et Juliette at Newcastle, followed within days by performances of Aida and Madama Butterfly.[25] He conducted the BNOC frequently over the next two years, and made his debut at the Royal Opera House, Covent Garden, with Madama Butterfly in 1928.[26] The following year he was invited to conduct the opening work in Covent Garden's international season, Don Giovanni, with a cast that included Mariano Stabile, Elisabeth Schumann and Heddle Nash.[27]

exterior shot of a classical facade of a large building
Royal Opera House, Covent Garden

In 1929, after financial problems had forced the BNOC to disband, the Covent Garden management set up a touring company to fill the gap, and appointed Barbirolli as its musical director and conductor. The operas in the company's first provincial tour included

Sir Thomas Beecham, he conducted the London Symphony Orchestra in a performance of Elgar's Symphony No. 2, winning the thanks of the composer. Barbirolli also won warm praise from Pablo Casals, whom he had accompanied in Haydn's D major cello concerto at the same concert.[9][n 3] He conducted a Royal Philharmonic Society concert at which Ralph Vaughan Williams was presented with the society's Gold Medal,[31] and another RPS concert at which Gustav Mahler's music, rarely heard at that time, was given – Kindertotenlieder, with Elena Gerhardt as soloist.[32] Although Barbirolli later came to love Mahler's music, in the 1930s he thought it sounded thin.[33]

When the

New York Philharmonic Orchestra in succession to Arturo Toscanini.[n 4]

New York Philharmonic

By the spring of 1936, the management of the New York Philharmonic was confronted with a problem. Toscanini had left in search of higher fees with the

Georges Enescu and Carlos Chávez, each conducting for two weeks, and finally by Artur Rodziński of the Cleveland Orchestra, for eight weeks.[40]

Was mir behagt, ist nur die muntre Jagd, BWV 208 with the New York Philharmonic in 1940 here on archive.org

Barbirolli's first concert in New York was on 5 November 1936. The programme consisted of short pieces by

Evelyn Rothwell. The marriage lasted for the rest of Barbirolli's life.[n 6]

One of the features of Barbirolli's time in New York was his regular programming of modern works. He gave the world premières of

The Gramophone described as "a rough press campaign in New York from interested parties who wished to evict him from his post".[47] The influential critic Olin Downes had opposed Barbirolli's appointment from the outset, insisting that, though "we abhor chauvinism", preference should have been given to "native conductors".[48] Downes had a grudge against the Philharmonic: shortly before Barbirolli's appointment Downes was sacked as the commentator for the orchestra's prestigious Sunday broadcasts.[49] He and the composer Virgil Thomson continually wrote disparagingly about Barbirolli, comparing him unfavourably with Toscanini.[50] The management of the orchestra nevertheless renewed Barbirolli's appointment in 1940. In 1942, when his second contract was reaching its expiry, he was offered 18 concerts for the 1943–44 season, and the Los Angeles Philharmonic invited him to become its conductor, but he accepted neither offer as he had decided to return to England.[51]

Barbirolli's first reason for leaving was local musical politics. He later said, "The Musicians Union there ... brought out a new regulation saying that everyone, even soloists and conductors, must become members. Horowitz, Heifetz and the rest were shocked by this but there was little they could do about it. They also said that conductors must become American citizens. I couldn't do that during the war, or at any time for that matter."[13] His second reason for leaving was that he felt strongly that he was needed in England. In the spring of 1942 he made a hazardous Atlantic crossing:

I was in America when the war broke out, as conductor of the New York Philharmonic.

A. V. Alexander, who was First Sea Lord,[n 7] wrote to me to say that, contrary to expectations, music was flourishing and would I come back as I was missed. I was longing to return and it was just a question of how it was to be managed. A.V. went to Churchill, who apparently said, "If he's fool enough to come, let him come". It took us 23 days to cross on a fruit trader and, of our convoy of 75, only 32 ships arrived in Liverpool. I played here for ten weeks with the LSO and LPO for the benefit of the musicians, and then went back on a Fyffe banana boat of 5,000 tons. We were spotted by U-boats the moment we left Northern Ireland but that kind of thing never worries me as I'm something of a fatalist. It had been wonderful anyhow to be back, to see England at its greatest, and to visit my old mother.[13]

Barbirolli returned to New York to complete his contractual obligations to the Philharmonic.[n 8] Shortly after his return he received an appeal from the Hallé Orchestra to become its conductor. The orchestra was in danger of extinction for lack of players, and Barbirolli seized the opportunity to help it.[13]

Hallé Orchestra

exterior of a Victorian building with ornate brickwork
Free Trade Hall, Manchester, the Hallé's main base in the Barbirolli years
External audio
audio icon You may listen to Barbirolli conducting his Hallé Orchestra in Edward Elgar's Enigma Variations, Op. 36 in 1947 here

In 1943 Barbirolli made another Atlantic crossing, avoiding death by a fluke: he changed flights from Lisbon with the actor

Liverpool Philharmonic, which the Hallé's former conductor Malcolm Sargent had transformed into a full-time, permanent orchestra.[5][55] Only four of the players shared with the BBC chose to join the Hallé.[56]

The Times later wrote of Barbirolli's first actions for the orchestra: "In a couple of months of endless auditions, he rebuilt the Hallé, accepting any good player, whatever his musical background – he found himself with a schoolboy first flute, a schoolmistress hornist, and various brass players recruited from brass and military bands in the Manchester area ... The reborn Hallé's first concert somehow lived up to the Hallé's great reputation."[5] The Musical Times also noted, "From his earliest days with the orchestra it was the string tone that commanded immediate attention and respect. There was a fiery intensity and glowing warmth that proclaimed the born string coach".[19] Barbirolli retained his reputation for training orchestras: after his death, one of his former players commented, "If you wanted orchestral experience you'd be set for life, starting in the Hallé with John Barbirolli."[57] Further afield, critics, audiences and players in Europe and the United States commented on the improvement in the playing of their orchestras when Barbirolli was in charge.[58] Later he extended his teaching skills to the Royal Academy of Music, where he took charge of the student orchestra from 1961.[59]

Barbirolli refused invitations to take up more prestigious and lucrative conductorships.

Berlin Philharmonic Orchestra, which lasted for the rest of his life.[65]

old newspaper classified advertisement with twenty lines of text in small type
The Hallé's first programme (1858) replicated by Barbirolli and the orchestra a hundred years later

From 1953 onwards, Barbirolli and the Hallé appeared regularly at the

Johann Strauss, which, like Sir Malcolm Sargent's annual Gilbert and Sullivan nights, rapidly became a firm favourite with the promenaders.[69] At one 1958 promenade concert Barbirolli and the Hallé played a replica of Charles Hallé's first concert with the orchestra in 1858.[70]

Barbirolli's interest in new music waned in post-war years,[71] but he and the Hallé appeared regularly at the Cheltenham Festival, where he premiered new works of a mostly traditional style by William Alwyn, Richard Arnell, Arthur Benjamin, Peter Racine Fricker, Gordon Jacob, Alan Rawsthorne, Kenneth Leighton and others.[72] For its hundredth anniversary in 1958 the Hallé commissioned several new works, and gave the British premiere of Walton's virtuosic divertimento Partita.[73] Increasingly, Barbirolli concentrated on his core repertory of the standard symphonic classics, the works of English composers, and late-romantic music, particularly that of Mahler.[33] In the 1960s he made a series of international tours with the Philharmonia (Latin America, 1963), BBC Symphony Orchestra (Czechoslovakia, Poland and the USSR, 1967) and the Hallé (Latin America and West Indies, 1968).[65] It was a lasting disappointment to him that it never proved possible to take the Hallé on a tour of the United States.[5]

In 1968, after 25 years with the Hallé, Barbirolli retired from the principal conductorship; no successor was appointed in his lifetime.

Beethoven's Symphony No. 7 on the Saturday before his death.[78] On the day he died, 29 July 1970, he spent several hours rehearsing the New Philharmonia Orchestra for a forthcoming tour of Japan that he was scheduled to lead.[79]

Barbirolli died at his London home of a heart attack, aged 70.[80] Among planned engagements forestalled by his death were a production of Otello at the Royal Opera House, which would have been his first appearance there for nearly 20 years,[81] and opera recordings for EMI, including Puccini's Manon Lescaut[33] and Verdi's Falstaff.[47]

Honours, awards and memorials

modern style bust representing a human face
Bust of Barbirolli in Barbirolli Square

Among Barbirolli's state awards were a British

Order of the White Rose in 1963; from Italy the Order of Merit in 1964; and from France, Officier de l'Ordre des Arts et des Lettres, 1966, and Officier de l'Ordre national du Mérite, 1968.[82] Awards from musical institutions included the Freedom of the Worshipful Company of Musicians, 1966; Honorary Academician of the Accademia Nazionale di Santa Cecilia, 1960; Gold Medal of the Royal Philharmonic Society, 1950; Bruckner Medal, Bruckner Society of America, 1959; and the Mahler Medal, Mahler-Bruckner Society of America, 1965.[82] He was also awarded the title of Doctor of Music honoris causa (DMus h.c.) from the National University of Ireland in 1952.[83]

There are memorials to Barbirolli in Manchester and London. Barbirolli Square in Manchester is named in his honour and features a sculpture of him by Byron Howard (2000).[84] The square includes the present base of the Hallé Orchestra, the Bridgewater Hall, in which the Barbirolli Room commemorates the conductor.[85] At his old school, St Clement Danes, now relocated in Chorleywood, the main hall is named in his honour.[86] A commemorative blue plaque was placed on the wall of the Bloomsbury Park Hotel in Southampton Row in May 1993 to mark Barbirolli's birthplace.[87] The Sir John Barbirolli Memorial Foundation of the Royal Philharmonic Society was instituted after his death to assist young musicians with the purchase of instruments.[88] In 1972 the Barbirolli Society was set up with the principal aim of promoting the continued release of Barbirolli's recorded performances. Its honorary officers have included Evelyn Barbirolli, Daniel Barenboim and Michael Kennedy.[89] In April 2012, he was voted into the inaugural Gramophone "Hall of Fame".[90]

Repertoire and recordings

Mahler
, whose music was central to Barbirolli's repertoire

Barbirolli is remembered as an interpreter of Elgar, Vaughan Williams and Mahler, as well as

Puccini, and as a staunch supporter of new works by British composers. Vaughan Williams dedicated his Eighth Symphony to Barbirolli, whose nickname, "Glorious John", comes from the inscription Vaughan Williams wrote at the head of the score: "For glorious John, with love and admiration from Ralph."[91] Barbirolli did not disdain lighter repertoire. The music critic Richard Osborne wrote that, if all Barbirolli's recordings were to be lost except that of Lehár's Gold and Silver Waltz, "there would be reason enough to say, 'Now, there was a conductor!'"[92]

Barbirolli's repertoire was not as wide as that of many of his colleagues because he insisted on exhaustive preparation for any work he conducted. His colleague

Sir Adrian Boult liked and admired Barbirolli but teased him for his meticulousness: "We can't all be like you and spend months studying these things and then have days of rehearsals before we conduct them. For some of us they're only sporting events." Barbirolli was shocked by such levity.[93][n 10] His approach was illustrated by the care he took with Mahler's symphonies. His biographer Michael Kennedy commented, "it is ironical that the effort of composing the symphonies shortened Mahler's life; interpreting them certainly put an enormous strain on Barbirolli in his last decade."[95] He found that mastering a Mahler symphony took between 18 months and two years, and he would spend hours meticulously bowing all the string parts in preparation for his performances.[33] His first performance of Mahler's Ninth took nearly 50 hours of rehearsal.[96]

Pre-war

From almost the start of his career Barbirolli was a frequent recording artist. As a young cellist he made four records for Edison Bell in 1911, with piano accompaniment by his sister Rosa,

Artur Rubinstein, Fritz Kreisler and Pablo Casals, and conduct one of the finest recorded performances of the Quintet from Meistersinger".[47]

group of four photographs of men's heads and shoulders, all taken in the early part of the twentieth century
Fritz Kreisler (top l.), Jascha Heifetz (top r.), Alfred Cortot (lower l.) and Arthur Rubinstein, whom Barbirolli accompanied in his early HMV recordings
External audio
audio icon You may listen to John Barbirolli conducting
Nicolai Rimsky-Korsakov's ''Capriccio Espagnol with the New York Philharmonic in 1940 here on archive.org

Many of Barbirolli's pre-war recordings for HMV were of concertos. His reputation as an accompanist tended to obscure his talents as a symphonic conductor, and later, his detractors in New York "damned him with faint praise by exalting his powers as an accompanist and then implying that that was where it all stopped." Barbirolli became very sensitive on this point, and for many years after the war he was reluctant to accompany anyone in the recording studio.

Rimsky-Korsakov.[99]

1943 and later

Within six months of his return to Britain in 1943, Barbirolli resumed his contract with HMV, conducting the Hallé in the

Corelli to Stravinsky.[102] In 1955 he signed a contract with Pye Records, with whom he and the Hallé recorded a wide repertoire, and made their first stereophonic recordings. These records were distributed in the US by Vanguard Records. A company was formed, named Pye-Barbirolli, of which he was a director: the arrangement was designed to ensure an equal partnership between the company and the musicians.[103] They made many recordings, including symphonies by Beethoven, Dvořák, Elgar, Mozart, Nielsen, Sibelius, Mahler, Tchaikovsky and Vaughan Williams, as well as a few concertos, short orchestral pieces and operatic excerpts.[104]

In 1962, HMV persuaded Barbirolli to return.

Grieg and Delius. With other orchestras, Barbirolli recorded a wide range of his repertoire, including many recordings still in the catalogues in 2022. Of these, his Elgar recordings include the Cello Concerto with Jacqueline du Pré, Sea Pictures with Janet Baker, and orchestral music including the First Symphony, Enigma Variations and many of the shorter works. His Mahler recordings include the Fifth and Sixth Symphonies (with the New Philharmonia) and Ninth Symphony (with the Berlin Philharmonic). With the Vienna Philharmonic, he recorded a Brahms symphony cycle, and with Daniel Barenboim, the two Brahms Piano Concertos. He made three operatic sets for HMV: Purcell's Dido and Aeneas with Victoria de los Ángeles (1966),[105] Verdi's Otello with James McCracken, Gwyneth Jones and Dietrich Fischer-Dieskau (1969),[106] and a set of Madama Butterfly with Renata Scotto, Carlo Bergonzi and Rome Opera forces that has remained in the catalogues since its first issue in 1967.[107] The impact of the last was such that the head of the Rome Opera invited him to come and conduct "any opera you care to name with as much rehearsal as you wish."[47] HMV planned to record Die Meistersinger with Barbirolli in Dresden in 1970, but following the Warsaw Pact invasion of Czechoslovakia in 1968 he refused to conduct in the Soviet bloc, and his place was taken by Herbert von Karajan.[108]

Notes and references

Notes

  1. ^ In adult life, Barbirolli, when he needed to play the violin to show how he wanted a passage to be phrased, would hold the violin upright on his lap like a miniature cello.[6]
  2. ^ Some sources state that Barbirolli gave the second performance of the concerto, but the original soloist, Felix Salmond, gave the work its second performance, with the Hallé in Manchester on 20 March 1920, and Beatrice Harrison also played the solo part before Barbirolli did: see Kennedy (1971), p. 40.
  3. ^ The critic of The Times did not share Elgar's and Casals's enthusiasm, criticising "Mr. Barbirolli's excessively jerky manner ... a lack of flow in the playing ... disastrous in Elgar's symphony."[30]
  4. ^ Barbirolli's biographer Charles Reid writes, "Barbirolli's appointment was announced by the New York Philharmonic Society's directorial board on 7 April 1936. The musical world rubbed incredulous eyes. … In much newspaper comment the following day surprise verged on perplexity. Nobody had heard of John Barbirolli. … What sense was there in giving the New York Philharmonic to a man who had never been on an American front page before or, so far as could be made out, on any front page of moment anywhere?"[37]
  5. ^ NBC paid Toscanini $3,334 a concert, compared with his fee of $1,833 a concert with the Philharmonic. Barbirolli's fee with the Philharmonic was $312 a concert.[38]
  6. ^ There were no children of either of Barbirolli's marriages.[5]
  7. First Sea Lord
    , who is the senior serving officer of the navy.
  8. ^ Barbirolli's last concert as conductor of the New York Philharmonic was on 7 March 1943. He did not conduct the orchestra again until he appeared as guest conductor in 1959, after which he conducted a further 27 concerts, the last of which was on 4 April 1968.[52]
  9. ^ His successor, James Loughran, was not named until five months after Barbirolli's death.[74]
  10. ^ Despite his musical single-mindedness, Barbirolli had a keen sense of humour, and was a noted raconteur. One of his anecdotes was of a 1920s touring performance of Aida in which the tenor's "Aida, where are thou now?" was answered by the sonorous flushing of a backstage lavatory: "I'm afraid the opera ended there, though we continued gallantly to the end."[94]

References

  1. ^ Ayre, p. 18; and Kennedy (1982), p. 34
  2. ^ a b c d e f Kennedy, Michael. Barbirolli, Sir John (1899–1970), Oxford Dictionary of National Biography, Oxford University Press, 2004; online edition, October 2009, accessed 7 February 2010 (subscription required)
  3. ^ Rothwell, p. 1
  4. ^ Rigby, p. 15
  5. ^ a b c d e f g The Times, obituary, 30 July 1970, p. 8
  6. ^ Rigby, p. 17
  7. ^ "Miscellaneous Intelligence", The Musical Times, 1 September 1910, p. 599 (subscription required)
  8. ^ Kennedy (1971), p. 28
  9. ^ a b c d Graves, Perceval. "From Cellist to Conductor", The Gramophone, September 1929, p. 5
  10. ^ "Royal Academy of Music", The Times, 30 May 1914, p. 5
  11. ^ "Royal Academy of Music", The Musical Times, 1 August 1916, p. 381 (subscription required)
  12. ^ Rothwell, p. 19
  13. ^ a b c d e f g Blyth, Alan. "Sir John Barbirolli talks to Alan Blyth", The Gramophone, December 1969, p. 34
  14. ^ Rothwell, pp. 19–20 (Bartlett and quotation); and Kennedy p. 30 (theatres, cinemas, halls)
  15. ^ Ayre, p. 19
  16. ^ "Music", The Times, 27 October 1919, p. 10; "Royal Academy of Music Awards", The Times, 14 June 1922, p. 11; and Kennedy (1971), p. 41
  17. ^ Kennedy (1971), p. 38
  18. ^ "Music in the Provinces", The Musical Times, March 1921, p. 195 (subscription required)
  19. ^ a b Anderson, Robert, "Obituary, Sir John Barbirolli", The Musical Times, September 1970, p. 926 (subscription required)
  20. ^ "Concerts", The Observer, 22 June 1924, p. 1
  21. ^ "Today's Programmes", The Manchester Guardian, 16 November 1925. p. 11; 25 November 1925, p. 11; 16 December 1925, p. 13; and 10 April 1926, p. 12
  22. ^ Kennedy (1971), p. 43
  23. ^ "Our London Correspondence", The Manchester Guardian, 25 May 1926, p. 6
  24. ^ "Wireless Notes and Programmes", The Manchester Guardian, 7 June 1928, p. 12
  25. ^ Kennedy (1971), p. 49 and "British National Opera Company", The Manchester Guardian, 17 November 1926, p. 1
  26. ^ Kennedy (1971), p. 57
  27. ^ Blom, Eric, "Covent Garden Opera: 'Don Giovanni'", The Manchester Guardian, 29 May 1929, p. 8
  28. ^ "Covent Garden Opera Tour", The Manchester Guardian, 7 September 1929, p. 7
  29. ^ "Covent Garden Opera Company", The Manchester Guardian, 4 October 1932, p. 9
  30. ^ "The London Symphony Orchestra", The Times, 13 December 1927, p. 14
  31. ^ "Gold Medal for Dr. Vaughan Williams", The Manchester Guardian, 14 March 1930, p. 5
  32. ^ Blom, Eric, "Royal Philharmonic Society: A Mahler Song Cycle", The Manchester Guardian, 30 January 1931, p. 4
  33. ^ a b c d "John Barbirolli", EMI Classics, accessed 7 February 2010 Archived 4 January 2010 at the Wayback Machine
  34. ^ "Concerts", The Manchester Guardian, 6 October 1932, p. 1; and "The Hallé Concert", The Manchester Guardian, 13 January 1933, p. 11.
  35. ^ a b "Decree Nisi for Conductor's Wife", The Times, 6 December 1938, p. 5
  36. ^ Lindsay, p. 233
  37. ^ Reid (1971), p. 149
  38. ^ Horowitz, p. 153
  39. ^ Kennedy (1971), p. 105
  40. ^ "New York Philharmonic's Guest Conductors", The Times, 9 April 1936, p. 12
  41. ^ Kennedy (1971), p. 111
  42. ^ "Barbirolli Gives Youths' Concert",The New York Times, 19 December 1937 (subscription required)
  43. ^ Kennedy (1971), p. 116
  44. ^ Kennedy (1971), p. 221
  45. ^ Kennedy (1989), p. 99
  46. ^ Kennedy (1971), p. 144
  47. ^
    The Gramophone
    , September 1970, p. 33
  48. ^ Downes, Olin. "And After Toscanini: What?", The North American Review, Vol. 241, No. 2 (June 1936), pp. 218–219
  49. ^ Rothwell, p. 64
  50. ^ Horowitz, pp. 159 and 183; and Kennedy (1971), pp. 129–130
  51. ^ Kennedy (1971), pp. 152 and 167–168
  52. ^ Performance History Search Archived 24 July 2014 at the Wayback Machine, New York Philharmonic archives, accessed 29 January 2011.
  53. ^ Rothwell, pp. 93–94
  54. ^ Kennedy (1971), pp. 165–166
  55. ^ Rigby, pp. 130–132
  56. ^ Kennedy (1971), p. 167
  57. ^ Previn, p. 67
  58. ^ Kennedy (1971), pp. 266, 273 and 281
  59. ^ Kennedy (1971), p. 289
  60. ^ Rigby, p. 154
  61. ^ Reid (1968), p. 353
  62. ^ "Covent Garden Opera: 'Turandot' to Open New Season", The Times, 5 October 1951, p. 8; "The Covent Garden Season", The Times, 23 December 1952, p. 2; "Covent Garden Opera: 'Tristan und Isolde'", The Times, 10 January 1953, p. 8; "Royal Opera House: 'La Bohème'", The Times, 5 November 1953, p. 4; and "Covent Garden Opera: 'Madam Butterfly'", The Times, 9 December 1953, p. 3
  63. ^ Haltrecht, p. 185 and ODNB
  64. ^ Reid (1957), p. 8
  65. ^ a b c Crichton, Ronald and José A. Bowen. "Barbirolli, Sir John (Giovanni Battista)", Grove Music Online, accessed 7 February 2010 (subscription required)
  66. ^ "Mr. John Barbirolli: Another Invitation to Vienna", The Manchester Guardian, 27 August 1946, p. 3
  67. ^ "Barbirolli, John (Sir Giovanni Battista Barbirolli )", Oxford Dictionary of Music, online version, accessed 7 February 2010 (subscription required)
  68. ^ "Sir J. Barbirolli for Texas", The Times, 1 November 1960, p. 16, and ODNB
  69. ^ Cox, p. 163
  70. ^ Cox, p. 178
  71. ^ Kennedy (1971), p. 201
  72. ^ "Cheltenham Musical Festival", The Times, 1 July 1948, p. 6; "Cheltenham Festival", The Times, 2 July 1948, p. 6; "Cheltenham Festival", The Times, 30 June 1949, p. 7; "Cheltenham Festival", The Times, 2 July 1949, p. 7; "Cheltenham Festival", The Times, 6 July 1950, p. 8; and "Cheltenham Festival", The Times, 7 July 1950, p. 6
  73. ^ Kennedy (1989), pp. 208–209
  74. ^ Morris, Michael. "Scot takes the Halle baton", The Guardian, 17 December 1970, p. 22
  75. ^ Kennedy (1971), p. 308
  76. ^ Brookes, p. 253
  77. ^ March, Ivan, "Elgar", Gramophone, May 2003, p. 42
  78. ^ Kennedy (1982), p. 92
  79. ^ Marshall, Rita, "World tributes to genius of Barbirolli", The Times, 30 July 1970, p. 1
  80. ^ Kennedy (1971), p. 326
  81. ^ "Solti's last Garden season", The Times, 26 June 1970, p. 7
  82. ^ a b "Barbirolli, Sir John (Giovanni Battista)", Who Was Who, A & C Black, 1920–2008; online edition, Oxford University Press, December 2007, accessed 7 February 2010 (subscription required)
  83. ^ See http://www.nui.ie/college/Honorary_Degree_Recipients.asp; retrieved 20 November 2020.
  84. ^ "John Barbirolli", Manchester Art Gallery, accessed 26 January 2011
  85. ^ "The Barbirolli Room" Archived 4 September 2015 at the Wayback Machine, Bridgewater Hall, accessed 12 October 2014
  86. ^ "School History" Archived 29 April 2014 at the Wayback Machine, St. Clement Danes School, accessed 27 January 2011
  87. ^ Rennison, p. xxvii, entry number 231
  88. ^ "Sir John Barbirolli Memorial Foundation", Royal Philharmonic Society, accessed 12 January 2011
  89. ^ The Barbirolli Society, accessed 1 February 2011 Archived 25 July 2011 at the Wayback Machine
  90. ^ "Sir John Barbirolli" Gramophone, accessed 10 April 2012
  91. ^ Kennedy (1971), p. 244
  92. ^ Osborne, p. 461
  93. ^ Kennedy (1987), p. 268
  94. ^ Ayre, pp. 7–8
  95. ^ Kennedy (1971), pp. 245–246
  96. ^ Kennedy (1971), p. 247
  97. ^ Kennedy (1971), p. 341
  98. ^ Kennedy (1971), pp. 341–342
  99. ^ a b c "John Barbirolli" Archived 3 December 2008 at the Wayback Machine, Naxos records, accessed 7 February 2010
  100. ^ Kennedy, Michael (2000). Liner notes to EMI CD 5-67240-2.
  101. ^ Kennedy (1971), pp. 55–56
  102. ^ Kennedy (1971), pp. 362–372
  103. ^ "Pye-Barbirolli", The Gramophone, July 1956, p. 40
  104. ^ Kennedy (1971), pp. 373–384
  105. ^ Robertson, Alec, "Dido and Aeneas", The Gramophone, October 1966, p. 77
  106. ^ Blyth, Alan, "Verdi: Otello", The Gramophone, October 1969, p. 97
  107. ^ Anderson, Robert Kinloch, "Barbirolli's Roman Butterfly", The Gramophone, September 1967, p. 25; Oliver, Michael, "Madama Butterfly", Gramophone, May 1989, p. 90; and O'Connor, Patrick, "Madama Butterfly", Gramophone, March 2009, p. 93
  108. ^ Kennedy (1971), pp. 306–307, and "Opera: Wagner", The Gramophone, October 1971, p. 102

Sources

External links

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