Malcolm Sargent: Verskil tussen weergawes

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[[File:Meltonmowbray.jpg|thumb|250px|right|St Mary's Church, Melton Mowbray, die grootse gemeente-kerk in Leicestershire, waar Sargent as orrelis gedien het]]
[[File:Portrait of Malcolm Sargent.jpg|250px|right|thumb|<center>Malcolm Sargent</center>]]
[[File:RoyalAlbertHall.jpg|thumb|250px|left|[[Royal Albert Hall]]]]
'''Sir Harold Malcolm Watts Sargent''' (29 April 1895 – 3 October 1967) was an English conductor, organist and composer widely regarded as Britain's leading conductor of choral works. The musical ensembles with which he was associated included the [[Ballets Russes]], the [[Huddersfield Choral Society]], the [[Royal Choral Society]], the [[D'Oyly Carte Opera Company]], and the [[London Philharmonic Orchestra|London Philharmonic]], [[The Hallé|Hallé]], [[Royal Liverpool Philharmonic|Liverpool Philharmonic]], [[BBC Symphony Orchestra|BBC Symphony]] and [[Royal Philharmonic Orchestra|Royal Philharmonic]] orchestras. Sargent was held in high esteem by choirs and instrumental soloists, but because of his high standards and a statement that he made in a 1936 interview disputing musicians' rights to tenure, his relationship with orchestral players was often uneasy. Despite this, he was co-founder of the London Philharmonic, was the first conductor of the Liverpool Philharmonic as a full-time ensemble, and played an important part in saving the Royal Philharmonic Orchestra from disbandment in the 1960s.
Sir '''Harold Malcolm Watts Sargent''' (29 April 1895 - 3 Oktober 1967) was 'n Engelse dirigent, orrelis en komponis wat algemeen beskou word as Brittanje se voorste dirigent van koorwerke. Die musikale ensembles waarmee hy geassosieer is, was die [[Ballets Russes]], die ''Huddersfield Choral Society'', die ''Royal Choral Society'', die ''D'Oyly Carte Opera Company'', die [[Londen Filharmoniese Orkes]], die [[Hallé Orkes]], [[Koninklike Liverpool Filharmoniese Orkes]], [[BBC Simfonieorkes]] en die [[Koninklike Filharmoniese Orkes] ]. Sargent was hoog geag deur kore en instrumentale soliste, maar vanweë sy hoë standaarde en 'n verklaring wat hy in 'n onderhoud in 1936 gemaak het wat musikante se aanbly-regte betwis het, was sy verhouding met orkesspelers dikwels ongemaklik. Desondanks was hy medestigter van die Londen Filharmoniese Orkes, en was hy die eerste dirigent van die Liverpool Filharmoniese Orkes as 'n voltydse ensemble, en het hy 'n belangrike rol gespeel in die behoud van die Koninklike Filharmoniese Orkes in die 1960's. As hoofdirigent van die Londense, internasionaal beroemde somermusiekfees, [[die Proms]] van 1948 tot 1967, was Sargent een van die bekendste Engelse dirigente. Toe hy die Proms by die stigter daarvan, Henry Joseph Wood, oorgeneem het, het hy en twee assistente die twee-maand lange seisoen tussen hulself gedirigeer. By sy afsterwe was hy reeds deur 'n groot internasionale groep gas-dirigente bygestaan. Met die uitbreek van die [[Tweede Wêreldoorlog]] het Sargent 'n aanbod van 'n belangrike musikale direkteurskap in Australië van die hand gewys en na die Verenigde Koninkryk teruggekeer om musiek aan soveel mense as moontlik te lewer as sy bydrae tot die nasionale moraal. Sy roem strek verder as die konsertsaal: vir die Britse publiek was hy 'n bekende uitsaaier in [[BBC]] radio-geselsprogramme, en generasies van [[Gilbert en Sullivan]] toegewydes het sy opnames van die gewildste Savoy Operas geken. Hy het oral in die wêreld getoer en was bekend vir sy bekwaamheid as dirigent, sy voorspraak vir Britse komponiste en sy debonair voorkoms, wat aan hom die bynaam "Flash Harry" besorg het.
 
As chief conductor of London's internationally famous summer music festival [[the Proms]] from 1948 to 1967, Sargent was one of the best-known English conductors. When he took over the Proms from their founder, [[Henry Joseph Wood|Sir Henry Wood]], he and two assistants conducted the two-month season between them. By the time he died, he was assisted by a large international roster of guest conductors.
 
At the outbreak of the Second World War, Sargent turned down an offer of a major musical directorship in Australia and returned to the UK to bring music to as many people as possible as his contribution to national morale. His fame extended beyond the concert hall: to the British public, he was a familiar broadcaster in [[BBC]] radio talk shows, and generations of [[Gilbert and Sullivan]] devotees have known his recordings of the most popular [[Savoy Opera]]s. He toured widely throughout the world and was noted for his skill as a conductor, his championship of British composers, and his debonair appearance, which won him the nickname "Flash Harry."
 
==Life and career==
Sargent was born in Bath Villas, [[Ashford, Kent|Ashford]], in [[Kent]], England, to a working-class family. His father, Henry Sargent, was a coal merchant, amateur musician and part-time church organist; his mother, Agnes, {{nee}} Hall, was the matron of a local school. Sargent was brought up in [[Stamford, Lincolnshire]], where he joined the choir at [[Peterborough Cathedral]], studied the [[organ (music)|organ]] and won a scholarship to [[Stamford School]]. At the age of 14, he accompanied rehearsals for amateur productions of ''[[The Gondoliers]]'' and ''[[The Yeomen of the Guard]]'' at Stamford.<ref name="Ayer p. 385">Ayer, p. 385</ref> At the age of 16 he earned his diploma as Associate of the [[Royal College of Organists]], and at 18 he was awarded the degree of [[Bachelor of Music]] by the [[University of Durham]].<ref>Aldous, p.12</ref>
 
===Early career===
[[File:Meltonmowbray.jpg|thumb|250px|right|[[St Mary's Church, Melton Mowbray]], the largest [[parish church]] in Leicestershire, where Sargent served as organist]]
Sargent worked first as an organist at [[St Mary's Church, Melton Mowbray]], Leicestershire, from 1914 to 1924, except for eight months in 1918 when he served as a [[private (rank)|private]] in the [[Durham Light Infantry]] during the First World War.<ref>Aldous, p. 18</ref> He was chosen for the organist post over more than 150 other applicants.<ref>Aldous, p. 12</ref> At the same time, he worked on many musical projects in [[Leicester]], Melton Mowbray and Stamford, where he not only conducted but also produced the operas of [[Gilbert and Sullivan]] and others for amateur societies.<ref name="Ayer p. 385"/> The [[Edward VIII|Prince of Wales]] and his entourage often hunted in Leicestershire and watched the annual Gilbert and Sullivan productions there, together with the [[George VI|Duke of York]] and other members of the Royal Family.<ref>Reid, p. 95</ref> At the age of 24 Sargent became England's youngest [[Doctor of Music]], with a degree from Durham.<ref>Reid, p. 86</ref>
 
Sargent's break came when [[Henry Joseph Wood|Sir Henry Wood]] visited [[De Montfort Hall]], Leicester, early in 1921 with the Queen's Hall orchestra. As it was customary to commission a piece from a local composer, Wood invited Sargent to write a piece entitled ''Impression on a Windy Day''. Sargent completed the work too late for Wood to have enough time to learn it, and so Wood called on Sargent to conduct the first performance himself.<ref>Aldous, p. 23</ref> Wood recognised not only the worth of the piece but also Sargent's talent as a conductor and gave him the chance to make his debut conducting the work at Wood's annual season of promenade concerts, generally known as [[the Proms]], in the [[Queen's Hall]] on 11 October of the same year.<ref>Aldous, pp. 24–25</ref>
 
Sargent as composer attracted favourable notice in a Prom season when other composer-conductors included [[Gustav Holst]] with his ''[[The Planets|Planets]]'' suite, and the next year, Wood included a [[nocturne]] and [[scherzo]] by Sargent in the Proms programme, also conducted by the composer.{{#tag:ref|Other composer-conductors in the 1921 season included [[Edward Elgar|Elgar]], [[Ralph Vaughan Williams|Vaughan Williams]], [[Arthur Bliss]], [[Eric Coates]], [[Frank Bridge]], and [[Ethel Smyth]].<ref>Promenade Concerts", "''The Times'', 27 July 1921, p. 8</ref> |group= n}} Sargent was invited to conduct the ''Impression'' again in the 1923 season, but it was as a conductor that he made the greater impact.<ref>"The Promenade Concerts", ''The Times'', 4 September 1923, p. 7</ref> On the advice of Wood, among others, he soon abandoned composition in favour of conducting.<ref>Aldous, p. 25</ref> He founded the amateur [[Leicester Symphony Orchestra]] in 1922, which he continued to conduct until 1939. Under Sargent, the orchestra's prestige grew until it was able to obtain such top-flight soloists as [[Alfred Cortot]], [[Artur Schnabel]], [[Solomon (pianist)|Solomon]], [[Guilhermina Suggia]] and [[Benno Moiseiwitsch]].<ref>Reid, pp. 108–118</ref> Moiseiwitsch gave Sargent piano lessons without charge, judging him talented enough to make a successful career as a concert pianist, but Sargent chose a conducting career.<ref>Aldous, p. 28 and Reid, p. 104</ref> At the instigation of Wood and [[Adrian Boult]] he became a lecturer at the [[Royal College of Music]] in London in 1923.<ref>Aldous p. 29</ref>
 
==Notas, verwysings en bronne==
===National fame===
[[File:Mikado Ricketts.jpg|thumb|right|200px|New costume for ''The Mikado'' 1926]] In the 1920s, Sargent became one of the best-known English conductors.<ref>Aldous, p. 43</ref> For the [[British National Opera Company]], he conducted ''[[Die Meistersinger von Nürnberg|The Mastersingers]]'' on tour in 1925,<ref>Reid, p. 124</ref> and for the [[D'Oyly Carte Opera Company]], he conducted London seasons at the [[Prince's Theatre]] in 1926 and the newly rebuilt [[Savoy Theatre]] in 1929–30. He was criticised in ''[[The Times]]'s'' review of 20 September 1926 for adding "gags" to the Gilbert and Sullivan scores, although the writer praised the crispness of the ensemble, the "musicalness" of the performance and the beauty of the overture.<ref>"Princes Theatre", "The Times, 21 September 1926, p. 12</ref> [[Rupert D'Oyly Carte]] wrote to the paper stating that, in fact, Sargent had worked from [[Arthur Sullivan]]'s manuscript scores and had merely brought out the "details of the orchestration" exactly as Sullivan had written them.<ref>"Letters to the Editor", ''The Times'', 22 September 1926, p. 8</ref> Some of the principal cast members and the stage director, [[J. M. Gordon]], objected to Sargent's fast tempi, at least at first.<ref>Reid, pp. 139–46 and Ayer, p. 385</ref> The D'Oyly Carte seasons brought Sargent's name to a wider public with an early [[BBC radio]] relay of ''[[The Mikado]]'' in 1926 heard by up to eight million people. The ''[[Evening Standard]]'' noted that this was "probably the largest audience that has ever heard anything at one time in the history of the world."<ref>Reid, p. 137</ref>
 
===Notas===
In 1927, [[Sergei Diaghilev]] engaged Sargent to conduct for the [[Ballets Russes]],<ref>Reid, p. 124 and Aldous, p. 41</ref> sharing the conducting duties with [[Igor Stravinsky]] and [[Thomas Beecham|Sir Thomas Beecham]].<ref>Reid, p. 130</ref> Sargent also conducted for the final Ballets Russes season in 1928.<ref>Aldous, p. 42</ref> In 1928 he became conductor of the [[Royal Choral Society]], and he retained this post for four decades until his death. The society was famous in the 1920s and 1930s for staged performances of [[Samuel Coleridge-Taylor]]'s ''[[The Song of Hiawatha (Coleridge-Taylor)|Hiawatha]]'' at the [[Royal Albert Hall]], a work with which Sargent's name soon became synonymous.<ref>Aldous, p. 157 and Reid, p. 161</ref> [[File:RoyalAlbertHall.jpg|thumb|250px|left|[[Royal Albert Hall]]]]
 
Elizabeth Courtauld, wife of the industrialist and art collector [[Samuel Courtauld (art collector)|Samuel Courtauld]], promoted a popular series of subscription concerts beginning in 1929 and on Schnabel's advice engaged Sargent as chief conductor, with guest conductors as eminent as [[Bruno Walter]], [[Otto Klemperer]] and Stravinsky.<ref>Aldous, p. 60</ref> The Courtauld-Sargent concerts, as they became known, were aimed at people who had not previously attended concerts. They attracted large audiences bringing Sargent's name before another section of the public.<ref>Aldous, p. 64</ref> In addition to the core repertory, Sargent introduced new works by [[Arthur Bliss|Bliss]], [[Arthur Honegger|Honegger]], [[Zoltán Kodály|Kodály]], [[Bohuslav Martinů|Martinů]], [[Sergei Prokofiev|Prokofiev]], [[Karol Szymanowski|Szymanowski]] and [[William Walton|Walton]], among others.<ref>Reid, p. 465</ref> At first, the plan was to engage the [[London Symphony Orchestra]] for these concerts, but the orchestra, a self-governing co-operative, refused to replace key players whom Sargent considered sub-standard.<ref>Morrison, p. 78</ref> As a result, in conjunction with Beecham, Sargent set about establishing a new orchestra, the [[London Philharmonic Orchestra|London Philharmonic]].<ref>Aldous, p. 69</ref>
 
In these years Sargent tackled a wide repertoire, recording much of it, but he was particularly noted for performances of choral pieces. He promoted British music, as he would throughout his career, conducting [[George Frideric Handel|Handel]]'s ''[[Messiah (Handel)|Messiah]]'' performed with large choruses and orchestras; and the premières of ''At the Boar's Head'' (1925) by Holst; ''[[Hugh the Drover]]'' (1924) and ''Sir John in Love'' (1929) by Vaughan Williams; and Walton's [[cantata]] ''[[Belshazzar's Feast (Walton)|Belshazzar's Feast]]'' (at the [[Leeds]] Triennial Festival of 1931). To popularise classical music, Sargent conducted many concerts for young people including the [[Robert Mayer (philanthropist)|Robert Mayer]] Concerts for Children from 1924 to 1939.<ref>Reid, p. 170</ref>
 
===Difficult years and war years===
In October 1932, Sargent suffered a near-fatal attack of [[tuberculosis]].<ref>Aldous, p. 73</ref> For almost two years he was unable to work, and it was only later in the 1930s that he returned to the concert scene.<ref>Reid, p. 217</ref> In 1936, he conducted his first opera at [[Royal Opera House|Covent Garden]], [[Gustave Charpentier]]'s ''[[Louise (opera)|Louise]]''. He did not conduct opera there again until 1954, with Walton's ''[[Troilus and Cressida (opera)|Troilus and Cressida]]'',<ref name=TimesObit>''The Times'' obituary notice, 4 October 1967, p. 12</ref> although he did conduct the incidental music for a dramatisation of ''[[The Pilgrim's Progress]]'' given at the Royal Opera House in 1948.<ref>"The Pilgrim's Progress", ‘’The Manchester Guardian, 21 July 1948, p. 3</ref>
 
As an orchestra conductor, Sargent had already been known as a hard taskmaster. According to ''[[The Independent]]'', he brought professionalism to orchestras by shaking them free of dead wood, clearing out talented dilettantes and pushing the survivors to perform at their best through relentless rehearsal.<ref name=Casanova>[http://www.independent.ie/unsorted/features/the-affairs-of-a-casanova-conductor-509367.html "The affairs of a Casanova conductor", 15 July 2001]</ref> After giving a ''[[Daily Telegraph]]'' interview in 1936 in which he said that an orchestral musician did not deserve a "job for life" and should "give of his lifeblood with every bar he plays," Sargent lost much favour with musicians. They were particularly annoyed because of their support of him during his long illness, and thereafter he faced frequent hostility from British orchestras.<ref name="Aldous p. 83">Aldous, p. 83</ref>
 
[[File:Queen's Hall London.jpg|thumb|right|250px|Drawing of interior of [[Queen's Hall]]]]Being popular in Australia with players as well as the public, Sargent made three lengthy tours of Australia and New Zealand in 1936.<ref>Reid, p. 246</ref> He was on the point of accepting a permanent appointment with the [[Australian Broadcasting Corporation]] when, at the outbreak of the Second World War, he felt it his duty to return to his country, resisting strong pressure from the Australian media for him to stay.<ref>Aldous, p. 98</ref> During the war, Sargent directed the [[The Hallé|Hallé Orchestra]] in Manchester (1939–42) and the [[Royal Liverpool Philharmonic|Liverpool Philharmonic]] (1942–48) and became a popular [[BBC Home Service]] radio broadcaster.<ref>Reid, p. 282 and pp. 309–31</ref> He helped boost public morale during the war by extensive concert tours around the country conducting for nominal fees.<ref>Reid, pp. 270–81 and Aldous, p. 105</ref> On one famous occasion, an air raid interrupted a performance of [[Ludwig van Beethoven|Beethoven]]'s [[Symphony No. 7 (Beethoven)|Symphony No. 7]]. Sargent stopped the orchestra, calmed the audience by saying they were safer inside the hall than fleeing outside, and resumed conducting.<ref>Aldous, p. 107</ref> He later said that no orchestra had ever played so well and that no audience in his experience had ever listened so intently.<ref>Reid, p. 278</ref> In May 1941 Sargent conducted the last performance held in the Queen's Hall. Following an afternoon performance of [[Edward Elgar|Elgar]]'s ''[[The Dream of Gerontius]]'', the hall was destroyed during a night-time incendiary raid.<ref>[http://www.nqho.com/orchestra/queens.html History of Queen's Hall]</ref>
 
In 1945 [[Arturo Toscanini]] invited Sargent to conduct the [[NBC Symphony Orchestra]]. In four concerts Sargent chose to present all English music, with the exception of [[Jean Sibelius|Sibelius]]'s [[Symphony No. 1 (Sibelius)|Symphony No. 1]] and [[Antonín Dvořák|Dvořák]]'s [[Symphony No. 7 (Dvořák)|Symphony No. 7]]. Two concertos, Walton's [[Viola Concerto (Walton)|Viola Concerto]] with [[William Primrose]], and Elgar's [[Violin Concerto (Elgar)|Violin Concerto]] with [[Yehudi Menuhin]], were programmed as part of these concerts. Menuhin judged Sargent's conducting of the latter "the next best to Elgar in this work."<ref>Reid, p. 340</ref>
 
===The Proms and later years===
[[File:Malocom Sargent conducting.jpg|thumb|left|250px|Sargent conducting in the 1950s.]]
Sargent was [[knight bachelor|knighted]] for his services to music in 1947<ref>Stone, David. [https://www.gsarchive.net/whowaswho/S/SargentMalcolm.htm "Malcolm Sargent"]. ''Who Was Who in the D'Oyly Carte Opera Company'', 13 October 2001, accessed 15 July 2011</ref> and performed in numerous English-speaking countries during the post-war years. He continued to promote British composers, conducting the premieres of Walton's opera, ''Troilus and Cressida'' (1954), and Vaughan Williams's [[Symphony No. 9 (Vaughan Williams)|Symphony No. 9]] (1958).
 
Sargent was chief conductor of the Proms from 1948 until his death in 1967 and of the [[BBC Symphony Orchestra]] from 1950 to 1957, succeeding Sir Adrian Boult. One author has written that "Sargent sometimes ruffled the orchestra in a way that Boult had never done. Indeed there were many people inside the BBC who profoundly regretted Boult's departure."<ref>Briggs, p. 674</ref> The same author contended that Sargent was the target of criticism from the BBC's own Music Department for "not devoting enough time to the orchestra."<ref name="briggs_230">Briggs, p. 230</ref> [[Norman Lebrecht]] goes so far as to say that Sargent "almost wrecked" the BBC orchestra.<ref>Lebrecht, p. 157</ref>
 
Although the orchestra players bridled at some of Sargent's initiatives, there was also praise for his work with the orchestra. His biographer Reid contended, "Sargent's liveliness and drive soon gave BBC playing a gloss and briskness which had not been conspicuous before."<ref>Reid, p. 369</ref> Another biographer, Aldous, wrote, "Everywhere Sargent and the orchestra performed there were ovations, laurel wreaths and terrific reviews."<ref>Aldous, p. 187</ref> The orchestra's reputation both in Britain and internationally grew during Sargent's tenure.<ref>Aldous, pp. 185–86</ref> The conductor had "great moments of triumph ... both at festivals overseas and during the Proms."<ref name="briggs_230"/> In the 1950s and 1960s he made many recordings with the BBC Symphony, as well as other ensembles, as described below. In this period, also, he conducted the concerts that opened the [[Royal Festival Hall]] in 1951<ref name=TimesObit/> and returned to the D'Oyly Carte Opera Company for the summer 1951 [[Festival of Britain]] season at the Savoy Theatre and the winter 1961–62 and 1963–64 seasons at the Savoy. In August 1956 the BBC announced that he would be replaced as Chief Conductor of the BBC orchestra by [[Rudolf Schwarz (conductor)|Rudolf Schwarz]]. Sargent was given the title of "Chief Guest Conductor" and he remained Conductor-in-Chief of the Proms.<ref name="briggs_230"/>
 
[[File:Sargent 1966.jpg|thumb|right|350px|Sargent conducting his last Prom on 17 September 1966]]As chief conductor of the Proms, Sargent gained his widest fame, making the "Last Night" into a high-ratings broadcast celebration aimed at ordinary audiences, a popular, theatrical flag-waving extravaganza presided over by himself.<ref name=Casanova/> He was noted for his witty addresses in which he good-naturedly chided the noisy promenaders.<ref>Reid, pp. 442–43</ref> In his programmes for these concerts he often conducted choral music and music by British composers, but his range was broad: the BBC's official history of the Proms lists selected programmes from this period showing Sargent conducting works by [[Johann Sebastian Bach|Bach]], Sibelius, Dvořák, [[Hector Berlioz|Berlioz]], [[Sergei Rachmaninoff|Rachmaninoff]], [[Nikolai Rimsky-Korsakov|Rimsky-Korsakov]], [[Richard Strauss]] and Kodály in three successive programmes.<ref>Cox, p. 349</ref> During his chief conductorship, prestigious foreign conductors and orchestras began to perform regularly at the Proms. In his first season in charge, Sargent and two assistant conductors conducted all the concerts among them; by 1966 there were Sargent and 25 other conductors. Those making their Prom debuts in the Sargent years included [[Carlo Maria Giulini]], [[Georg Solti]], [[Leopold Stokowski]], [[Rudolf Kempe]], [[Pierre Boulez]] and [[Bernard Haitink]].<ref>Cox, pp. 312–13</ref>
 
Sargent made two tours of South America. In 1950 he conducted in [[Buenos Aires]], [[Montevideo]], Rio de Janeiro and [[Santiago, Chile|Santiago]]. His programmes included Vaughan Williams's [[A London Symphony|''London'']] and [[Symphony No. 6 (Vaughan Williams)|6th]] Symphonies; [[Joseph Haydn|Haydn]]'s [[Symphony No. 88 (Haydn)|Symphony No. 88]], Beethoven's [[Symphony No. 8 (Beethoven)|Symphony No.&nbsp;8]], [[Wolfgang Amadeus Mozart|Mozart]]'s [[Symphony No. 41 (Mozart)|''Jupiter'' symphony]], [[Franz Schubert|Schubert]]'s [[Symphony No. 5 (Schubert)|5th]], [[Johannes Brahms|Brahms]]'s [[Symphony No. 2 (Brahms)|2nd]] and [[Symphony No. 4 (Brahms)|4th]] and Sibelius's [[Symphony No. 5 (Sibelius)|5th]] symphonies, Elgar's ''Serenade for Strings'', [[Benjamin Britten|Britten]]'s ''[[The Young Person's Guide to the Orchestra]]'', Strauss's ''[[Till Eulenspiegel's Merry Pranks]]'', Walton's Viola Concerto and Dvořák's [[Cello Concerto (Dvořák)|Cello Concerto]] with [[Pierre Fournier]]. In 1952 Sargent conducted in all the above-mentioned cities and also in [[Lima]]. Half his repertory on that tour consisted of British music and included [[Frederick Delius|Delius]], Vaughan Williams, Britten, Walton and Handel.<ref>Reid, pp. 355–59</ref>
 
When the [[Royal Philharmonic Orchestra]] was in danger of extinction after Beecham's death in 1961, Sargent played a major part in saving it, doing much to win back the good opinion of orchestral players that Sargent had lost because of his 1936 interview.<ref>Reid, pp. 433–34</ref> In the 1960s, Sargent toured Russia, the United States, Canada, Turkey, Israel, India, the Far East and Australia.<ref>Reid, p. 487 and Moore (pages not numbered)</ref> By the mid-1960s his health began to deteriorate. His final conducting appearances were on 6 and 8 July 1967, leading the [[Chicago Symphony Orchestra]] at the [[Ravinia Festival]]. On 6 July Sargent conducted Holst's ''The Perfect Fool'', [[Henryk Wieniawski]]'s [[Violin Concerto No. 2 (Wieniawski)|Second Violin Concerto]] with [[Itzhak Perlman]], and Vaughan Williams's ''A London Symphony''. On 8 July he led Vaughan Williams's Overture to ''The Wasps'', Delius's ''The Walk to the Paradise Garden'', Prokofiev's Piano Concerto No. 4 with [[David Bar-Illan]], and Sibelius's [[Symphony No. 2 (Sibelius)|Symphony No. 2]].<ref>[[Ravinia Festival]] program book, July 1967</ref>
 
Sargent underwent surgery in July 1967 for [[pancreatic cancer]] but made a valedictory appearance at the end of the Last Night of the Proms in September that year, handing over the baton to his successor, [[Colin Davis]]. He died two weeks later, at the age of 72.<ref>Aldous, p. 239–45</ref> He was buried in Stamford cemetery alongside members of his family.<ref>Stanhope, Henry. "Farewell to Sir Malcolm", ''The Times'', 10 October 1967, p. 1</ref>
 
===Musical reputation and repertoire===
Toscanini, Beecham and many others regarded Sargent as the finest choral conductor in the world.<ref>Aldous, p. 97</ref> Even orchestral musicians gave him credit: the principal violist of the BBC Symphony Orchestra wrote of him, "He is able to instil into the singers a life and efficiency they never dreamed of. You have only to see the eyes of a choral society screwing into him like hundreds of gimlets to understand what he means to them."<ref>Shore, p. 153</ref> However, another of Sargent's colleagues, Sir Adrian Boult, said of him, "[H]e was a great all-rounder but never developed his potentialities, which were enormous, simply because he didn't think hard enough about music – he never troubled to improve on a successful interpretation. He was too interested in other things, and not single-minded enough about music."<ref>Sadie, Stanley. "Sir Adrian Boult at 80", ''[[The Musical Times]]'', Vol. 110, No. 1514 (April 1969), pp. 367–68</ref>
 
Although orchestral players resented Sargent for much of his career after the 1936 interview,<ref name="Aldous p. 83"/> instrumental soloists generally liked working with him. The cellist Pierre Fournier called him a "guardian angel" and compared him favourably with [[George Szell]] and [[Herbert von Karajan]]. Artur Schnabel, [[Jascha Heifetz]] and Yehudi Menuhin thought similarly highly of him.<ref>Aldous, p. xi</ref> [[Cyril Smith (pianist)|Cyril Smith]] wrote in his autobiography, "...he seems to sense what the pianist wants of the music even before he begins to play it.... He has an incredible speed of mind, and it has always been a great joy, as well as a rare professional experience, to work with him."<ref name=Lloyd>[http://www.musicweb-international.com/classrev/2002/Mar02/Aldous_Sargent.htm Review of Sargent's biographies by Stephen Lloyd]</ref> For this reason, among others, Sargent was continually in demand as a conductor for concertos.<ref name= discog/>
 
''The Times'' obituary said Sargent "was of all British conductors in his day the most widely esteemed by the lay public... a fluent, attractive pianist, a brilliant score-reader, a skilful and effective arranger and orchestrator... as a conductor his stick technique was regarded by many as the most accomplished and reliable in the world.... [H]is taste... was moulded by the [[Victorian era|Victorian]] cathedral tradition into which he was born." It commented that, in his later years, his interpretations of the standard classical and romantic repertoire were "prepared... down to the last detail" but sometimes "unexuberant", though his performances of "the music composed within his lifetime... remained lucid and continually compelling."<ref name=TimesObit/> The flute player [[Gerald Jackson]] wrote, "I feel that [Walton] conducts his own music as well as anyone else, with the possible exception of Sargent, who of course introduced and always makes a big thing of ''Belshazzar's Feast''."<ref name=Lloyd/>
 
The composers whose works Sargent regularly conducted included, from the eighteenth century, Bach, Handel, [[Christoph Willibald Gluck|Gluck]], Mozart and Haydn; and from the nineteenth century, Beethoven, Berlioz, Schubert, [[Robert Schumann|Schumann]], [[Felix Mendelssohn|Mendelssohn]], Brahms, [[Richard Wagner|Wagner]], [[Pyotr Ilyich Tchaikovsky|Tchaikovsky]], [[Bedřich Smetana|Smetana]], Sullivan and Dvořák. From the twentieth century, British composers in his repertoire included Bliss, Britten, Delius, Elgar (a favourite, especially Elgar's choral works ''The Dream of Gerontius'', ''[[The Apostles (Elgar)|The Apostles]]'' and ''[[The Kingdom (Elgar)|The Kingdom]]'' and symphonies),<ref name=Lloyd/> Holst, [[Michael Tippett|Tippett]], Vaughan Williams and Walton. With the exception of [[Violin Concerto (Berg)|Alban Berg's Violin Concerto]], Sargent avoided the works of the [[Second Viennese School]] but programmed works by [[Béla Bartók|Bartók]], [[Ernő Dohnányi|Dohnányi]], [[Paul Hindemith|Hindemith]], Honegger, Kodály, Martinů, [[Francis Poulenc|Poulenc]], Prokofiev, Rachmaninoff, [[Dmitri Shostakovich|Shostakovich]], Sibelius, Strauss, Stravinsky and Szymanowski.<ref>Aldous, pp. 42, 66, 67 & 184, and Reid, pp. 337, 365 & 475–78</ref>
 
==Personal life, reputation and legacy==
 
===Private life===
In 1923, Sargent married Eileen Laura Harding Horne (1898–1977), daughter of Frederick Horne of Drinkstone, Suffolk.<ref>Reid, p. 98</ref> Sargent's biographers differ on her background. Aldous suggests that she was a maid in domestic service, whereas Reid notes that she was a keen rider, with many friends in hunting circles, and that her uncle (who officiated at her wedding to Sargent) was [[Rector (ecclesiastical)|rector]] of Drinkstone, [[Suffolk]].<ref>Aldous, p. 27 and Reid, p. 98</ref> According to Aldous, it was believed locally that Sargent had to marry Horne, having made her pregnant. By 1926, the couple had two children, a daughter Pamela who died of [[polio]] in 1944, and a son Peter. Sargent was much affected by his daughter's death, and his recording of Elgar's ''The Dream of Gerontius'' in 1945 was an expression of his grief.<ref>Aldous, p. 127</ref>
 
Sargent's marriage was unhappy and ended in divorce in 1946. Before, during and after his marriage, Sargent was a continual womaniser, a fact that he did not deny.<ref>Reid, p. 251</ref> His liaisons with powerful women began early, in Stamford, when he was still conducting the Gilbert and Sullivan shows attended by the London gentry who came to join the [[Melton Mowbray]] hunt.<ref name=Casanova/> Among his affairs were long-standing ones with Diana [[John Herbert Bowes-Lyon|Bowes-Lyon]], [[Princess Marina, Duchess of Kent|Princess Marina]] and [[Edwina Mountbatten]].<ref>Aldous, p. 131</ref> More casual encounters are typified by the young woman who said, "Promise me that whatever happens I shan't have to go home alone in a taxi with Malcolm Sargent."<ref name=LHD>Lyttelton/Hart-Davis, 19 January 1958</ref>
 
Away from music, Sargent was elected a member of [[The Literary Society]], a dining club founded in 1807 by [[William Wordsworth]] and others.<ref>Lyttelton/Hart-Davis, 20 November 1955 fn.</ref> He was also a member of the [[Beefsteak Club]], for which his proposer was Sir Edward Elgar, the [[Garrick Club|Garrick]], and the long-established and aristocratic [[White's Club|White's]] and Pratt's clubs.<ref name=who>[http://www.ukwhoswho.com/view/article/oupww/whowaswho/U54770 "Sargent, Sir (Harold) Malcolm (Watts)"], ''Who Was Who'', Oxford University Press, 2014, retrieved 19 November 2014 {{subscription}}</ref><ref>Aldous, p. 124</ref> His public service appointments included the joint presidency of the London Union of Youth Clubs, and the presidency of the [[Royal Society for the Prevention of Cruelty to Animals]].<ref name=who/>
 
Sargent's moral character attracted comment throughout his life. Early on, he developed a taste for luxury: Adrian Boult commented on his travelling to college by taxi, but Sargent rejoined, "All the more room for you, Adrian, on the bus."<ref name=Casanova/> Despite Sargent's vanities and rivalries, he had many friends. [[Thomas Armstrong (conductor)|Sir Thomas Armstrong]] in a 1994 broadcast interview stressed that Sargent "had many good generous virtues; he was kind to many people, and I loved him...."<ref name=Lloyd/> Nevertheless, even friends such as [[Rupert Hart-Davis|Sir Rupert Hart-Davis]], Secretary of the Literary Society, considered him a "bounder",<ref name=LHD/> and the composer-[[suffragette]] [[Ethel Smyth|Dame Ethel Smyth]] called him a [[Rake (character)|"cad"]].<ref>Reid, p. 129</ref> Yet despite his philandering and ambition, Sargent was a deeply religious man all his life and was comforted on his deathbed by visits from the [[Anglican]] [[Archbishop of York]], [[Donald Coggan]] and the [[Roman Catholic]] [[Archbishop of Westminster]], [[John Carmel Heenan|Cardinal Heenan]].<ref>Reid, p. 4</ref> He also received calls from [[Elizabeth II of the United Kingdom|Queen Elizabeth]] and [[Charles, Prince of Wales|Prince Charles]], and had a reconciliation with his son, Peter, from whom he had been estranged for a year.<ref name=Casanova/>
 
==="Flash Harry"===
A number of purported explanations have been advanced for Sargent's nickname, "Flash Harry". Reid opines that it "was first in circulation among orchestral players before [[World War II|the war]] and that they used it in no spirit of adulation."<ref>Reid, p. 394</ref> It may have arisen from his impeccable and stylish appearance – he always wore a red or white carnation in his buttonhole (the carnation is now the symbol of the school named for him). This was perhaps reinforced by his brisk tempi early in his career, and by a story about his racing from one recording session to another. Another explanation, that he was named after cartoonist [[Ronald Searle]]'s [[St Trinian's School|St Trinian's]] character "[[Flash Harry (St Trinian's)|Flash Harry]]", is certainly wrong: Sargent's nickname was current long before the first appearance of the St Trinian's character in 1954. Sargent's devoted fans, the Promenaders, used the nickname in an approving sense, and shortened it to "Flash", though Sargent was not especially keen on the sobriquet, even thus modified.<ref>Reid, pp. 394–93</ref>
 
Beecham and Sargent were allies from the early days of the London Philharmonic to Beecham's final months when they were planning joint concerts. They even happened to share the same birthday. When Sargent was incapacitated by tuberculosis in 1933, Beecham conducted a performance of ''Messiah'' at the Albert Hall to raise money to support his younger colleague.<ref>''The Times'', 7 December 1933, p. 12</ref> Sargent loved Beecham's company,<ref>Article in ''The Times'', 10 March 1961 by Sargent</ref> and took in good part his quips, such as his reference to the rising conductor Herbert von Karajan, as "a kind of musical Malcolm Sargent"<ref>Reid, p. 395</ref> and, on learning that Sargent's car was caught in rifle fire in Palestine, "I had no idea the Arabs were so musical."<ref name=Casanova/> Beecham declared that Sargent "is the greatest choirmaster we have ever produced ... he makes the buggers sing like blazes." And on another occasion he said that Sargent was "the most expert of all our conductors – myself excepted of course."<ref>Reid, p. 202 and ''Daily Mirror'' tribute, unnumbered page</ref>
 
===Honours and memorials===
In addition to his own doctorate from Durham, Sargent was awarded honorary degrees by the Universities of [[Oxford University|Oxford]] and [[Liverpool University|Liverpool]] and by the [[Royal Academy of Music]], the Royal College of Organists, the Royal College of Music and the Swedish Academy of Music.<ref name=who/> He was awarded the highest honour of the [[Royal Philharmonic Society]], its Gold Medal, in 1959. Foreign honours included the Order of the Star of the North (Sweden), 1956; the [[Order of the White Rose]] (Finland), 1965; and Chevalier of France's [[Légion d'honneur]], 1967.<ref name=who/>
 
After his death Sargent was commemorated in a variety of ways. His memorial service in [[Westminster Abbey]] in October 1967 was attended by 3,000 people including the royalty of three countries, official representatives from France, South Africa, and Malaysia, and notables as diverse as Princess Marina of Kent; [[Bridget D'Oyly Carte]]; Pierre Boulez; [[Larry Adler]]; Elgar's daughter; Beecham's widow; [[Douglas Fairbanks Junior]]; [[Léon Goossens]]; the [[Arthur Bliss|Master of the Queen's Music]]; the [[Solly Zuckerman|Secretary of London Zoo]]; and representatives of the London orchestras and of the Promenaders. Colin Davis and the BBC Chorus and Symphony Orchestra performed the music.<ref>''The Times'', 28 October 1967, p. 10</ref>
[[File:Malcom Sargent blue plaque.jpg|left|thumb|150px|Plaque outside the Albert Hall Mansions]]
Since 1968, the year after Sargent's death, the Proms have begun on a Friday evening rather than as previously a Saturday, and in memory of Sargent's choral work, a large-scale choral piece is customarily given. Beyond the world of music, a school and a charity were named after him: the Malcolm Sargent Primary School in Stamford and the Malcolm Sargent Cancer Fund for Children.<ref>[http://www.scottish-enterprise.com/sedotcom_home/news-verity/news-fullarticle-verity.htm?articleid=83820 Prestwick golf course for the Malcolm Sargent Cancer Fund for Children, 25 October 2004] {{webarchive|url=https://web.archive.org/web/20070927210845/http://www.scottish-enterprise.com/sedotcom_home/news-verity/news-fullarticle-verity.htm?articleid=83820 |date=27 September 2007 }} Scottish-enterprise.com/sedotcom – Retrieved: 29 May 2007</ref> Merging with another charity (Cancer and Leukaemia in Childhood) in 2005, it is now known as [[CLIC Sargent]] and is the UK's leading children's cancer charity.<ref>[http://news.bbc.co.uk/2/hi/uk_news/england/bristol/somerset/3980321.stm BBC News coverage about merger of Cancer Funds – 3 November 2004] bbc.co.uk – Retrieved: 29 May 2007</ref> In 1980 the [[Royal Mail]] put the image of Sargent on its 15p postage stamp in a series portraying British conductors, the other three featuring Wood, Beecham and [[John Barbirolli|Barbirolli]].<ref>[http://www.collectgbstamps.co.uk/displayset.asp?setid=173 Photo of the 15p stamp with Sargent's image]</ref> At Albert Hall Mansions, next to the Albert Hall, where Sargent lived, there is a [[blue plaque]] placed in his memory.
 
==Recordings==
{{Main article|Malcolm Sargent discography}}
Sargent's own composition, ''Impression on a Windy Day'', has been recorded for CD by the [[Royal Ballet Sinfonia]] conducted by Gavin Sutherland on the ASV label. Sargent's first recordings as a conductor, made for [[HMV]] in 1923 using the acoustic process, were of excerpts from Vaughan Williams's opera ''Hugh the Drover.'' In the early days of electrical recording, he took part in a pioneering live recording of extracts of Mendelssohn's ''[[Elijah (oratorio)|Elijah]]'' at the Albert Hall with the Royal Choral Society.<ref name=discog/>
 
Subsequently, in the recording studio, Sargent was most in demand to record English music, choral works and concertos. He recorded prolifically and worked with many orchestras, but made the most recordings (several dozen major pieces) with the BBC Symphony Orchestra (BBC), the London Symphony Orchestra (LSO), the New Symphony Orchestra of London, the [[Philharmonia Orchestra]] and the Royal Philharmonic Orchestra (RPO).<ref name=discog>Discography in ''Sir Malcolm Sargent: a Tribute''</ref>
 
===English music===
{{listen
| filename = Major-General's Song.ogg
| title = I am the very model of a modern Major General (''The Pirates of Penzance'')
| description = [[George Baker (record singer)|George Baker]], orchestra and chorus of the [[D'Oyly Carte Opera Company]], conducted by Malcolm Sargent, 1929
| format = [[Ogg]]
}}
Sargent conducted Gilbert and Sullivan recordings in four different decades. His early recordings with the D'Oyly Carte Opera Company for HMV included ''The Yeomen of the Guard'' (1928), ''[[The Pirates of Penzance]]'' (1929), ''[[Iolanthe]]'' (1930), ''[[H.M.S. Pinafore]]'' (1930), ''[[Patience (opera)|Patience]]'' (1930), ''Yeomen'' (excerpts 1931), ''Pirates'' (excerpts 1931), ''The Gondoliers'' (excerpts 1931), ''[[Ruddigore]]'' (1932) and ''[[Princess Ida]]'' (1932).<ref>Shepherd, Marc. [http://www.cris.com/~oakapple/gasdisc/narrelec-cmpl.htm "The D'Oyly Carte Complete Electrical Sets",] {{webarchive|url=https://web.archive.org/web/20081226031947/http://www.cris.com/~oakapple/gasdisc/narrelec-cmpl.htm |date=26 December 2008 }} ''A Gilbert and Sullivan Discography'' (2001)</ref> More than 30 years later, for Decca, he recorded ''Yeomen'' (1964) and ''Princess Ida'' (1965) with the D'Oyly Carte company. In addition, between 1957 and 1963, Sargent recorded nine of the Gilbert and Sullivan operas for [[EMI]], with the [[Glyndebourne Festival]] Chorus and soloists from the world of oratorio and [[grand opera]]. These were ''[[Trial by Jury]]'', ''Pinafore'', ''Pirates'', ''Patience'', ''Iolanthe'', ''The Mikado'', ''Ruddigore'', ''Yeomen'' and ''The Gondoliers''.<ref>Woolf, Jonathan. [http://www.musicweb-international.com/classrev/2009/Mar09/Gilbert_Sullivan_213433.htm Review of Sargent's EMI recordings] Music Web International, 2009</ref> According to the Gilbert and Sullivan scholar Marc Shepherd, "The [Glyndebourne] recordings' musical excellence is undisputed, but many listeners object to Sargent's lugubrious tempi and the singers' lack of feeling for the G&S idiom."<ref>Shepherd, Marc. [http://www.cris.com/~oakapple/gasdisc/narrster-sarg.htm "The Sargent 'Glyndebourne' Recordings",] {{webarchive|url=https://web.archive.org/web/20081225162416/http://www.cris.com/~oakapple/gasdisc/narrster-sarg.htm |date=25 December 2008 }} ''A Gilbert and Sullivan Discography'' (2001)</ref> Sargent used an orchestra of thirty-seven players at the Savoy Theatre (the same number as Sullivan), but sometimes added a few more when recording.<ref name="Ayer p. 385"/>
 
During the Second World War, Sargent and the Liverpool Philharmonic accompanied [[Albert Sammons]], the dedicatee, in his 1944 recording of the Delius Violin Concerto. Later, in 1965, with [[Jacqueline du Pré]], in her début recording, Sargent recorded Delius's Cello Concerto, coupled with the ''Songs of Farewell'' (1965). At the end of the war, Sargent turned to recording Elgar. A recording regularly chosen over all others in comparative surveys is the first of Sargent's two versions of Elgar's ''[[The Dream of Gerontius]]'' with [[Heddle Nash]] as [[tenor]] and the familiar Sargent pairing of the [[Huddersfield Choral Society]] and the Liverpool Philharmonic Orchestra, recorded in 1945.<ref>BBC Radio 3 'Building a Library'</ref> Sargent was also the conductor for Heifetz's 1949 recording of Elgar's Violin Concerto and [[Paul Tortelier]]'s first recording of the Cello Concerto in 1954. He also recorded Elgar's ''Wand of Youth Suite No. 2'', with the BBC; the ''[[Pomp and Circumstance Marches]]'' 1 and 4 with the LSO; and the ''[[Enigma Variations]]'' with the Philharmonia. Sargent made two recordings of Holst's ''The Planets'': a monaural version with the LSO for Decca (1950) and a stereo version with the BBC for EMI (1960). He also recorded shorter Holst pieces: ''The Perfect Fool'' ballet music and the ''[[Beni Mora]]'' suite.<ref name=discog/>
 
In 1958 Sargent recorded Walton's ''Belshazzar's Feast'', one of his specialities, which was reissued on CD in 1990 and again in 2004. Sargent recorded Walton's ''[[Façade (entertainment)|Façade]] Suites'' in 1961. With the LSO, Sargent recorded Walton's ''Orb and Sceptre March''. He also made a stereo recording of Walton's [[Symphony No. 1 (Walton)|First Symphony]] in the presence of the composer, but Walton privately preferred [[André Previn]]'s recording,<ref>Kennedy, p. 213</ref> issued in January 1967, the same month as Sargent's.<ref>Greenfield, Edward. [https://search.proquest.com/docview/185154646 "Walton's First Symphony on record"], ''The Guardian'', 2 January 1967, p. 7 {{subscription}}</ref> Of Vaughan Williams's shorter pieces, Sargent recorded, with the BBC in 1960, the ''[[Fantasia on a Theme by Thomas Tallis]]'' (which he also recorded with the Philharmonia), and with the LSO, ''[[Serenade to Music]]'' (1957; choral version) and ''Toward the Unknown Region''. He also recorded Vaughan Williams's overture ''The Wasps'' with the LSO.<ref name=discog/>
 
[[File:William Hogarth 016.jpg|thumb|250px|Painting based on ''The Beggar's Opera'' [[William Hogarth]] c. 1728]] Although the heyday of live performances of Sargent's Coleridge-Taylor signature piece at the Albert Hall was by then long gone, Sargent, the Royal Choral Society and the Philharmonia made a stereo recording in 1962 of ''[[The Song of Hiawatha (Coleridge-Taylor)|Hiawatha's Wedding Feast]]'', which has been reissued on CD.<ref>[http://www.worldcat.org/title/sir-malcolm-sargent-conducts-coleridge-taylor-and-dvorak/oclc/865013471&referer=brief_results "Sir Malcolm Sargent conducts Coleridge-Taylor and Dvořák"], WorldCat, retrieved 19 November 2014</ref> In 1963, Sargent recorded [[John Gay|Gay]]'s ''[[The Beggar's Opera]]'', one of his few operas on record other than Gilbert and Sullivan. This was also reissued on CD.<ref>[http://www.worldcat.org/title/beggars-opera-john-gay-edward-german/oclc/271872449&referer=brief_results "The beggar's opera John Gay"], WorldCat, retrieved 19 November 2014</ref>
 
===Other choral recordings===
In addition to those choral pieces mentioned above, Sargent recorded Handel's ''Messiah'' four times, in 1946, 1954 1959 and 1964.{{#tag:ref|An original American-issue 78rpm copy on Columbia Records of the 1946 version was sold for five-thousand US Dollars at an auction in Los Angeles in 2010<ref>[http://www.musicstack.com/articles/doors-start-opening-upauction "Doors start opening up for auction"] {{webarchive|url=https://web.archive.org/web/20100730032956/http://www.musicstack.com/articles/doors-start-opening-upauction |date=30 July 2010 }}, Musicstack.com, 15 July 2010</ref>|group= n}} Though the advent of "authentic" period performance at first relegated Sargent's large scale and rescored versions to the shelf, they have been reissued and are now attracting favourable critical comment as being of historical interest in their own right.<ref>March, p. 551</ref> Sargent also conducted the Royal Liverpool Philharmonic and the Huddersfield Choral Society in recordings of Handel's ''[[Israel in Egypt]]'' and Mendelssohn's ''Elijah'' in 1947, both of which have been reissued on CD.<ref>[http://www.worldcat.org/search?q=Handel+Sargent+Huddersfield+Liverpool+Israel&qt=results_page "Israel In Egypt"] and [http://www.worldcat.org/search?q=Mendelssohn+Sargent+Huddersfield+Liverpool+Elijah&qt=results_page "Elijah"], WorldCat, retrieved 19 November 2014</ref>
 
===Concertos===
Sargent was continually in demand as a conductor for concertos. In addition to the concertos noted above, other composers whose concertos he conducted on record, with soloists noted, include: [[Johann Sebastian Bach|Bach]] (Heifetz-Friedman, NSO), Bartók ([[Max Rostal|Rostal]], LSO), Beethoven ([[David Oistrakh|Oistrakh]], Knushevitzky, Oborin, Philharmonia), Bliss (Trevor Barnard, Philharmonia), [[Max Bruch|Bruch]] (Heifetz, LSO and NSO), [[Domenico Cimarosa|Cimarosa]] (Léon Goossens|Goossens, Royal Liverpool Philharmonic), Dvořák (Tortelier), Mendelssohn ([[Gioconda de Vito]], LSO), Mozart (Heifetz, LSO), Rachmaninoff ([[Moura Lympany|Lympany]], RPO), [[Alan Rawsthorne|Rawsthorne]] ([[Clifford Curzon|Curzon]]; [[Denis Matthews|Matthews]], LSO), [[Edmund Rubbra|Rubbra]] (Matthews, LSO), Schumann (Pierre Fournier), Tchaikovsky ([[Ruggiero Ricci|Ricci]], NSO) and [[Henri Vieuxtemps|Vieuxtemps]] (Heifetz, NSO).<ref name=S-W>Sackville-West, p. 954</ref> Other soloists included [[Mstislav Rostropovich]] and Cyril Smith.<ref name=discog/>
 
===Other recordings===
[[File:Malcolm Sargent 200px.jpg|right|frame|Reid's 1968 biography, written with Sargent's assistance]]
[[Neville Cardus]] said of Sargent's Beethoven, "I have heard performances which critics would have raved about had some conductor from Russia been responsible for them conducting them half as well and truthfully."<ref>Cardus, Neville, Obituary notice, ''The Guardian'', 4 October 1967</ref> Sargent recorded Beethoven's Fourth and Fifth Symphonies for Decca with Sidney Beer's National Symphony Orchestra. His 1940s accompaniments for Artur Schnabel in the [[piano concerto]]s have been admired.<ref>March, p. 130</ref> A 1961 stereo recording of the [[Symphony No. 3 (Beethoven)|''Eroica'' Symphony]] has been reissued on CD.{{#tag:ref|''The Gramophone'', April 2000, said of the CD: "It is good to have Sargent's 1961 ''Eroica'' to show how alive and sympathetic his Beethoven conducting was, especially when the RPO plays so well for him."<ref>Review, ''The Gramophone'', April 2000, p. 278</ref>|group= n}} Sargent was an enthusiastic champion of Sibelius's music, even recording it with the [[Vienna Philharmonic]] when it was not part of their repertory. Their recordings of ''[[Finlandia]]'', ''[[En saga]]'', ''[[The Swan of Tuonela]]'' and the ''[[Karelia Suite]]'' were issued in 1963 and reissued on CD in 1993. Sargent and the BBC recorded the [[Symphony No. 1 (Sibelius)|first]], [[Symphony No. 2 (Sibelius)|second]] and [[Symphony No. 5 (Sibelius)|fifth Symphonies]] in 1956 and 1958 respectively, reissued on CD in 1989, as well as ''Pohjola's Daughter'' in 1959. He also recorded the ''[[Valse triste (Sibelius)|Valse triste]]'' with the RLPO.<ref name=S-W/>
 
Sargent recorded a wide variety of other European composers, including Bach's Sinfonia from the ''[[Easter Oratorio]]'', with Goossens and the RLPO; Chopin's ''[[Les Sylphides]]'' ballet suite (LPO); Grieg's ''[[Lyric Suite (Grieg)|Lyric Suite]]'' (National Symphony Orchestra); Haydn's ''Symphony No. 98'' (LSO); Rachmaninoff's ''Paganini Rhapsody'' (Cyril Smith, RLPO) among others; and Wagner's "Prelude" from ''[[Das Rheingold]]'' and "Ride of the Valkyries" from ''[[Die Walküre]]''.<ref name=S-W/> He also recorded Smetana's complete ''[[Má vlast]]'' cycle with the RPO in 1964. With the Royal Opera Orchestra he recorded, among other pieces, [[Gioachino Rossini]]'s ballets ''[[William Tell]]'' and ''La Boutique Fantasque'', Prokofiev's ''Sinfonia Concertante'', and Schubert's [[Symphony No. 8 (Schubert)|''Unfinished'' Symphony]], ''[[Rosamunde]]'' and ''Overture Zauberharfe''.
 
With the LSO, he recorded [[Modest Mussorgsky]]'s ''[[Pictures at an Exhibition]]'' and ''[[Night on Bald Mountain]]'', Prokofiev's [[Symphony No. 5 (Prokofiev)|Symphony No. 5]] and ''[[Lieutenant Kijé (Prokofiev)|Lieutenant Kijé]] Suite'', and Shostakovich's [[Symphony No. 9 (Shostakovich)|Symphony No. 9]]. With the Philharmonia, he recorded, among other things, Rachmaninoff's ''[[Rhapsody on a Theme of Paganini]]'', Tchaikovsky's ''[[Variations on a Rococo Theme]]'' and ''Theme and Variations from Suite No. 3'', and Dvořák's ''[[Symphonic Variations (Dvořák)|Symphonic Variations]]''. With the BBC, he also recorded Rachmaninoff's [[Symphony No. 3 (Rachmaninoff)|Symphony No.&nbsp;3]], Handel's ''[[Water Music (Handel)|Water Music]]'', which he also recorded with the RPO, Tchaikovsky's [[Symphony No. 5 (Tchaikovsky)|Symphony No. 5]], Mendelssohn's ''[[A Midsummer Night's Dream (Mendelssohn)|A Midsummer Night's Dream]]'' [[incidental music]], Humperdinck's overture to ''[[Hänsel und Gretel (opera)|Hänsel und Gretel]]'', and one of Britten's best known works, ''The Young Person's Guide to the Orchestra'' (1946, RLPO; 1958, BBC).<ref name=S-W/> Sargent narrated and conducted the accompanying ''Instruments of the Orchestra'', an educational film produced by the British government.<ref>[http://explore.bfi.org.uk/4ce2b69f17167 "Instruments of the Orchestra"], British Film Institute, retrieved 19 November 2014</ref> He also conducted Britten's ''[[Simple Symphony]]'' with the RPO.<ref>[http://www.worldcat.org/title/sir-malcolm-sargent-conducts/oclc/70613003&referer=brief_results "Sir Malcolm Sargent conducts"], WorldCat, retrieved 19 November 2014</ref>
 
==Notes, references and sources==
 
===Notes===
{{Reflist|group=n}}
 
===ReferencesVerwysings===
{{Reflist|colwidth=25em}}
 
===SourcesBronne===
*{{cite book | last=Aldous | first=Richard | title=Tunes of Glory: The Life of Malcolm Sargent | location=LondonLonden | publisher=Hutchinson | year=2001| isbn=0091801311 }}
*{{cite book|last=Ayre|first=Leslie|year=1972|title=The Gilbert & Sullivan Companion|location=LondonLonden|publisher=W H Allen|isbn=0396066348}}
*{{cite book |first=Asa |last=Briggs |title=The History of Broadcasting in the United Kingdom |year=1995 |location = Oxford| publisher=Oxford University Press |isbn=0192129678 |url= https://books.google.co.uk/books?id=tZ7RHi3sCTIC&printsec=frontcover&dq=The+History+of+Broadcasting+in+the+United+Kingdom&hl=en&sa=X&ei=YdJsVMG0JO2IsQSX24CIAQ&ved=0CCsQ6AEwAA#v=onepage&q&f=false }}
*{{cite book | last=Cox | first=David |title=The Henry Wood Proms| year=1980 |publisher=BBC | location=LondonLonden| isbn= 0563176970}}
*{{cite book | last=Hart-Davis | first=Rupert, (ed) | title=The Lyttelton Hart-Davis Letters | location=LondonLonden | publisher=John Murray | year=1981 | isbn=0719542901 }}
*{{cite book|last=Kennedy|first=Michael|year=1989|title=Portrait of Walton | location=Oxford | publisher=Oxford University Press | isbn=0193154188}}
*{{cite book | last=Lebrecht | first=Norman |title=The Maestro Myth: Great Conductors in Pursuit of Power | year=2001 | publisher=Citadel Press | isbn=0806520884 |edition=second | location=New York | url=https://books.google.com/books?visbn=0806520884&id=eHfvpkp7lSQC&pg=RA2PA157&lpg=RA2PA157&ots=GshEDSvHde&dq=%22malcolm+sargent%22+wrecked&sig=s8kLv5VYDldIuIRvaGTUfzP7JSA}}
*{{cite book | last=March | first=Ivan (ed)|title=Penguin Guide to CDs| year=2005 | publisher=Penguin| isbn=0141022620 | location=LondonLonden}}
*{{cite book | last=Moore | first=Jerrold Northrop |title=Philharmonic | year=1982 | publisher=Hutchinson| isbn=0091473004 | location=LondonLonden}}
*{{cite book | last=Morrison | first=Richard | title=Orchestra | location=LondonLonden | publisher=Faber and Faber | year=2004 | isbn=057121584X}}
*{{cite book | last=Orga | first=Ates |title=The Proms| location=Newton Abbot, LondonLonden | publisher=David & Charles | year=1974| isbn=0715366793}}
*{{cite book | last=Reid | first=Charles | title=Malcolm Sargent: a biography | location=LondonLonden | publisher=Hamish Hamilton Ltd. | year=1968 | isbn=0241913160 }}
*{{cite book | last=Sargent | first=Malcolm | last2=Cooper|first2= Martin | title=The Outline of Music | location=LondonLonden | publisher=Arco Publishing | year=1962 | oclc=401043}}
*{{cite book | last=Shore | first=Bernard| title=The Orchestra Speaks | location=LondonLonden | publisher=Longmans | year=1938|isbn= 083692570X }}
*{{cite book | last= | first= | title=Sir Malcolm Sargent: a tribute | year= 1967| location= LondonLonden | publisher= Daily Mirror Books| oclc= 3351498 }}
 
==ExternalEksterne linksskakels==
{{Commons category}}
* {{Britannica|524272|Sir Malcolm Sargent}}
*{{Allmusic|class=artist|id=q50730|label=Malcolm Sargent}}
* [http://www.bach-cantatas.com/Bio/Sargent-Malcolm.htm Malcolm Sargent] BiographyBiografie, photosfotos.
* [http://pinafore.www3.50megs.com/m-sargent.html Malcolm Sargent profileprofiel] atby thedie ''Memories of the D'Oyly Carte'' websitewebblad
* [https://web.archive.org/web/20061025195022/http://www.cris.com/~oakapple/gasdisc/ida-timings.htm AnalysisAnalise ofvan Sargent's se G&S tempi in the 1930s assoos comparedvergelyk withmet thedie 1960s]
* [http://www.classicstoday.com/digest/pdigest.asp?perfidx=3536 LinksSkakels tona reviewsresensies totot Sargent recordingsopnames bydeur die Classics Today magazinetydskrif]
* [http://www.bbc.co.uk/proms/archive/search/person.shtml?id=429&all=1&tab=search&sub_tab=composer SearchableNaspoorbare listslys ofvan Sargent's performancesse atuitvoerings theby die BBC Proms]
* [http://www.leicestersymphonyorchestra.co.uk/ Leicester Symphony OrchestraSimfonieorkes]
 
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[[Kategorie:Geboortes in 1895]]
[[Category:1895 births]]
[[Kategorie:Sterftes in 1967]]
[[Category:1967 deaths]]
[[Kategorie:Engelse dirigente]]
[[Category:20th-century conductors (music)]]
[[Category:Academics of the Royal College of Music]]
[[Category:Alumni of Durham University]]