C1030. HENRY WOOD Cond. London & Royal Phil.: National Anthem; Beethoven, Tschaikowsky, Lamar Stringfield & Dukas; w.MOURA LYMPANY: Piano Concerto #2 in g - Mvts 1 & 3 (Saint-Saens); w.HEDDLE NASH: Acis and Galatea - Love in her eyes sits playing (Handel). (England) Somm 76, Live Performance, 19 June, 1943. Long out-of-print, Final Sealed Copy! - 748871307629
"Sir Henry Joseph Wood CH (3 March 1869 – 19 August 1944) was an English conductor best known for his association with London's annual series of promenade concerts, known as the Proms. 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'.
Born in modest circumstances to parents who encouraged his musical talent, Wood started his career as an organist. During his studies at the Royal Academy of Music, he came under the influence of the voice teacher Manuel Garcia and became his accompanist. After similar work for Richard D'Oyly Carte's opera companies on the works of Arthur Sullivan and others, Wood became the conductor of a small operatic touring company. He was soon engaged by the larger Carl Rosa Opera Company. One notable event in his operatic career was conducting the British premiere of Tchaikovsky's Eugene Onegin in 1892."
“Moura Lympany was the last of the major Matthay pupils and she started working with him in 1937 when he was already 79. In 1938 she shot to international fame when she came second to Emil Gilels in the Queen Elisabeth competition. A brilliant technician, she followed in the footsteps of Scharrer and Joyce, though was perhaps temperamentally cooler that either.
Initially, she specialised in major works of the romantic and Russian repertoire and made the first complete recording of the Rachmaninov preludes (for Decca) in the 1940s. She also gave the Western premiere of Khachaturian piano concerto and subsequently recorded it; along with the Rachmaninov 2nd and 3rd concerti it become one of her signature works. The HMV recordings presented here, made before she returned to recording for Decca again in the later 1950s, emphasize her virtuoso credentials and feature many of the piano’s most fearsome warhorses. This is repertoire she excelled in and her performances of, for example, ‘Feux follets’, or the toccatas of Ravel and Prokofiev, have rarely been equalled.”
“[Heddle Nash] could have charmed the very birds off the trees. There were those who maintained that he sang Mozart better even than McCormack or Tauber. His fioriture in Rossini were as fluent de Lucia’s, or anybody else’s; his Handelian runs were as flexibly firm as Widdop’s. His legato, supple and floating free, was exemplary….”
- Eric Rees, THE RECORD COLLECTOR, 1996