Album insights
Rutland Boughton settled in Kilcot in November 1927, marking a significant chapter in his life until his passing. The decision stemmed from the dissolution of the Glastonbury Players and Festivals in July 1927, events he had successfully managed since August 1914. Kilcot provided a platform for Boughton to experiment with aspects of a self-sustaining community, akin to his aspirations for Glastonbury but which practicalities hindered. Engaging in political activities, lectures, and conducting roles initially, Boughton eventually ventured into new festivals in Stroud and Bath by 1934. Despite showcasing his latest music dramas at these events, they didn't receive wide acclaim, leading him to temporarily focus on instrumental works. During this period, he completed the Concerto for Oboe and Strings towards the end of 1936, followed by the Symphony in B minor the following autumn. Over the next six years, he added concerts for flute, strings, and trumpet and a second oboe concerto but did not produce any more symphonies. In 1943, he returned to his beloved cycle of music dramas based on Arthurian legend. By November 1945, he completed the final pages, concluding his life's work.
The Symphony No. 3 in B minor, an endeavor showcasing Boughton's exploration of the pure symphonic form, marked a departure from his previous works. The composition, with a dedication to Steuart Wilson in gratitude for his support, premiered privately at the Kingsway Theatre on January 1, 1939, excluding press members deliberately. Boughton conducted the symphony personally, accompanied by performances from Ernest Irving and Steuart Wilson. Initially not pursued for public performance, it wasn't until September 1983 when the BBC Philharmonic Orchestra aired a rendition from the Manchester studios that its merits were more widely recognized, proving revelatory.
Characterized by clear thematic development and intricate orchestration, Boughton's Symphony in B minor exudes a powerful, traditional charm despite some eclectic influences. This symphony, his sole exploration into the realm of the pure symphonic form, showcases his mastery in handling musical material with finesse. Each movement contributes to a coherent and emotionally rich whole, building up to a triumphant conclusion in the final movement.
In 1936, Boughton composed the Concerto for Oboe and Strings, a substantial work inspired by his daughter's emerging talent as an oboist. The piece premiered in Oxford with overwhelming success, subsequently gaining recognition for its virtuosic solo part and demanding yet rewarding string section. Amidst financial struggles, this concerto's publication by Boosey & Hawkes brought Buyton a sense of relief and validation, ensuring its adoption into reputable soloist repertoires.