B1400. (SARGENT) CHARLES REID. Malcolm Sargent. London, Hamish Hamilton, 1968. 491pp. Index; Photos; DJ. - 241-91316-0
“For two seasons, beginning in 1926, Sargent led the D'Oyly Carte Opera Company in London. He served as assistant conductor for the Ballet Russe's London seasons in 1927 and 1928. Never forgetting his foundation in choral music, Sargent accepted leadership of the Royal Choral Society in 1929 (a post he held for the next 20 years) and the Huddersfield Choral Society in 1932. In that same year, he helped Beecham found the London Philharmonic Orchestra. Between 1939 and 1957, he held chief conductorships with the Hallé Orchestra, the Liverpool Philharmonic, and the BBC Symphony Orchestra. From 1948 until the year before he died, Sargent organized and conducted the Promenade Concerts in London.
Sargent gave the premieres of three Vaughn Williams operas (HUGH THE DROVER, 1924; SIR JOHN IN LOVE, 1929; RIDERS TO THE SEA, 1937), as well as Holst's AT THE BOAR’S HEAD in 1925 (with the recently founded British National Opera Company). Sargent introduced Walton's TROILUS AND CRESSIDA at Covent Garden in 1954
Frequent touring introduced Sargent's uniquely energetic brand of music-making to a wide audience around the world (including the U.S.S.R., South Africa, and the Far East). In 1947, he was knighted for his conspicuous service to British music. He firmly believed that the works of Elgar, Walton, and Delius would eventually take their place alongside the great classics of Western art music. Sargent used guest appearances with the NBC Symphony as an opportunity to expose American audiences to a wide range of British composers
He maintained a hectic schedule, and yet somehow found time to maintain a variety of extra-musical interests; the breadth and depth of his knowledge was revealed when he became a member of the BBC Brains Trust during the war. Sargent never lost touch with his rural roots (he in fact founded a symphony orchestra in Leicester) and his down to earth attitudes to music came as a breath of fresh air to many listeners tired of the weary, pedantic approach of many serious musicians. A firm believer in fundamental musical intent as opposed to superficial accuracy, Sargent was not loathe to alter a musical score in instances when he felt an advancement in instrument technology made a better realization of the composer’s intent possible.”
- Blair Johnston, allmusic.com