Pierre Benjamin Monteux (pronounced [pjɛʁ mɔ̃.tø]; 4 April
1875 – 1 July 1964)[n 1] was a French (later American)
conductor. After violin and viola studies, and a decade as an
orchestral player and occasional conductor, he began to receive
regular conducting engagements in 1907. He came to prominence when,
for Sergei Diaghilev's
Ballets Russes

Ballets Russes company between 1911 and 1914,
he conducted the world premieres of Stravinsky's The Rite of Spring
and other prominent works including Petrushka, Ravel's Daphnis et
Chloé, and Debussy's Jeux. Thereafter he directed orchestras around
the world for more than half a century.
From 1917 to 1919 Monteux was the principal conductor of the French
repertoire at the
Metropolitan Opera

Metropolitan Opera in New York. He led the Boston
Symphony Orchestra (1919–24), Amsterdam
Concertgebouw

Concertgebouw Orchestra
(1924–34),
Orchestre Symphonique de Paris

Orchestre Symphonique de Paris (1929–38) and San
Francisco Symphony (1936–52). In 1961, aged eighty-six, he accepted
the chief conductorship of the London Symphony Orchestra, a post which
he held until his death three years later. Although known for his
performances of the French repertoire, his chief love was the music of
German composers, above all Brahms. He disliked recording, finding it
incompatible with spontaneity, but he nevertheless made a substantial
number of records.
Monteux was well known as a teacher. In 1932 he began a conducting
class in Paris, which he developed into a summer school that was later
moved to his summer home in Les Baux in the south of France. After
moving permanently to the US in 1942, and taking American citizenship,
he founded a school for conductors and orchestral musicians in
Hancock, Maine. Among his students in France and America who went on
to international fame were Lorin Maazel, Igor Markevitch, Neville
Marriner, Seiji Ozawa,
André Previn
.jpg/440px-Andre_Previn_(on_In_Tune,_BBC_Radio,_2012).jpg)
André Previn and David Zinman. The school in
Hancock has continued since Monteux's death.
Contents
1 Life and career
1.1 Early years
1.2 First conducting posts
1.3 Ballets Russes
1.4 The Rite of Spring
1.5 The Met and Boston
1.6 Amsterdam and Paris
1.7 San Francisco and the Monteux School
1.8 London
1.9 Last years
2 Personal life
3 Music making
3.1 Reputation and repertoire
3.2 Recordings
4 Notes and references
5 Sources
6 External links
Life and career[edit]
Early years[edit]
Pierre Monteux
_-_Gallica.jpg/560px-Pierre_Monteux,_Conductor_of_the_Ballets_Russes_(c1911-1914)_-_Gallica.jpg)
Pierre Monteux was born in Paris, the third son and the fifth of six
children of Gustave Élie Monteux, a shoe salesman, and his wife,
Clémence Rebecca née Brisac.[2] The Monteux family was descended
from
Sephardic

Sephardic Jews who settled in the south of France.[3] The Monteux
ancestors included at least one rabbi, but Gustave Monteux and his
family were not religious.[4] Among Monteux's brothers were Henri, who
became an actor, and Paul, who became a conductor of light music under
the name Paul Monteux-Brisac.[5] Gustave Monteux was not musical, but
his wife was a graduate of the Conservatoire de Musique de Marseille
and gave piano lessons.[2] Pierre took violin lessons from the age of
six.[2]
The building which housed the Paris Conservatoire in Monteux's student
days (21st century photograph)
When he was nine years old Monteux was admitted to the Conservatoire
de Paris. He studied the violin with
Jules Garcin
_by_Pierre_Petit_-_Original.jpg/420px-Jules_Garcin_(1891)_by_Pierre_Petit_-_Original.jpg)
Jules Garcin and Henri
Berthelier, composition with Charles Lenepveu, and harmony and theory
with Albert Lavignac.[6] His fellow violin students included George
Enescu, Carl Flesch,
Fritz Kreisler

Fritz Kreisler and Jacques Thibaud.[6] Among the
piano students at the Conservatoire was Alfred Cortot, with whom he
developed a lifelong friendship. At the age of twelve, Monteux
organised and conducted a small orchestra of Conservatoire students to
accompany Cortot in performances of concertos in and around Paris.[7]
He attended the world premiere of César Franck's Symphony in February
1889.[8] From 1889 to 1892, while still a student, he played in the
orchestra of the Folies Bergère;[6] he later said to George Gershwin
that his rhythmic sense was formed during the experience of playing
popular dance music there.[9]
Monteux as viola player in quartets (2nd from right), with Johannes
Wolff, Gustave Lijon and André Dulaurons and
Edvard Grieg
_by_Elliot_and_Fry_-_02.jpg/440px-Edvard_Grieg_(1888)_by_Elliot_and_Fry_-_02.jpg)
Edvard Grieg in front,
c.1900.
At the age of fifteen, while continuing his violin studies, Monteux
took up the viola. He studied privately with Benjamin Godard, with
whom he performed in the premiere of Saint-Saëns's Septet, with the
composer at the keyboard.[6] Monteux joined the Geloso Quartet as
violist; he played many concerts with them, including a performance of
Fauré's Second Piano Quartet with the composer at the piano.[10] On
another occasion he was the violist in a private performance of a
Brahms quartet given before the composer in Vienna. Monteux recalled
Brahms's remark, "It takes the French to play my music properly. The
Germans all play it much too heavily."[11] Monteux remained a member
of the Geloso Quartet until 1911.[7] With Johannes Wolff and Joseph
Hollman he also played chamber music for Grieg.[8] Years later, in his
seventies, Monteux deputised with the Budapest Quartet without
rehearsal or score;[12] asked by
Erik Smith if he could write out the
parts of the seventeen Beethoven quartets, he replied, "You know, I
cannot forget them."[13]
In 1893, when he was eighteen, Monteux married a fellow student, the
pianist Victoria Barrière. With her he played the complete Beethoven
violin sonatas in public. Neither family approved of the marriage;
although the Monteux family were not religious, both they and the
Roman Catholic Barrières were doubtful about an inter-religious
marriage; furthermore, both families thought the couple too young to
marry.[10] There were a son and a daughter from the union.[10]
During his formative years Monteux belonged to a group which toured
with the
Casadesus family of musicians and the pianist Alfredo
Casella. The combination played supposed "ancient pieces", allegedly
discovered in libraries by one or other of the
Casadesus family;
Marius
Casadesus later revealed that he or his brother Henri had
written the music.[13][14] While still a student, in 1893 Monteux was
successful in the competition for the chair of first viola of the
Concerts Colonne, of which he became assistant conductor and
choirmaster the following year.[7] This gave him a link via the
orchestra's founder, Édouard Colonne, to Berlioz. Colonne had known
Berlioz, and through the older conductor Monteux was able to mark his
scores with notes based on the composer's intentions.[15][16][n 2] He
was also employed on a freelance basis at the Opéra-Comique, where he
continued to play from time to time for several years; he led the
viola section at the 1902 premiere of Pelléas et Mélisande under the
baton of André Messager.[18] In 1896 he graduated from the
Conservatoire, sharing first prize for violin with Thibaud.[7]
First conducting posts[edit]
Saint-Saëns at the keyboard, with Monteux (right) on the rostrum,
1913
Monteux's first high-profile conducting experience came in 1895, when
he was barely 20 years old. He was a member of the orchestra engaged
for a performance of Saint-Saëns's oratorio La lyre et la harpe, to
be conducted by the composer. At the last minute Saint-Saëns judged
the player engaged for the important and difficult organ part to be
inadequate and, as a celebrated virtuoso organist, decided to play it
himself. He asked the orchestra if any of them could take over as
conductor; there was a chorus of "Oui – Monteux!". With great
trepidation, Monteux conducted the orchestra and soloists including
the composer, sight-reading the score, and was judged a success.[19]
Monteux's musical career was interrupted in 1896, when he was called
up for military service. As a graduate of the Conservatoire, one of
France's grandes écoles, he was required to serve only ten months
rather than the three years generally required. He later described
himself as "the most pitifully inadequate soldier that the 132nd
Infantry had ever seen".[20] He had inherited from his mother not only
her musical talent but her short and portly build and was physically
unsuited to soldiering.[21]
Returning to Paris after discharge, Monteux resumed his career as a
violist. Hans Richter invited him to lead the violas in the Bayreuth
Festival orchestra, but Monteux could not afford to leave his regular
work in Paris.[22] In December 1900 Monteux played the solo viola part
in Berlioz's Harold in Italy, rarely heard in Paris at the time, with
the Colonne Orchestra conducted by Felix Mottl.[23] In 1902 he secured
a junior conducting post at the Dieppe casino, a seasonal appointment
for the summer months which brought him into contact with leading
musicians from the Paris orchestras and well-known soloists on
vacation.[13] By 1907 he was the principal conductor at Dieppe, in
charge of operas and orchestral concerts.[n 3] As an orchestral
conductor he modelled his technique on that of Arthur Nikisch, under
whose baton he had played, and who was his ideal conductor.[n 4]
Ballets Russes[edit]
For some time, Monteux's marriage had been under strain, exacerbated
by his wife's frequent absences on concert tours. The couple were
divorced in 1909; Monteux married one of her former pupils, Germaine
Benedictus, the following year.[26]
Monteux continued to play in the
Concerts Colonne through the first
decade of the century. In 1910 Colonne died and was succeeded as
principal conductor by Gabriel Pierné.[27] As well as leading the
violas, Monteux was assistant conductor, taking charge of early
rehearsals and acting as chorus master for choral works.[27] In 1910
the orchestra was engaged to play for a Paris season given by Sergei
Diaghilev's ballet company, the Ballets Russes. Monteux played under
Pierné in the world premiere of Stravinsky's The Firebird. In 1911
Diaghilev engaged
Nikolai Tcherepnin

Nikolai Tcherepnin to conduct the premiere of
Stravinsky's Petrushka. Monteux conducted the preliminary rehearsals
before Tcherepnin arrived; Stravinsky was so impressed that he
insisted that Monteux conduct the premiere.[28]
Stravinsky (l) with Nijinsky as Petrushka, 1911
Petrushka was part of a triple bill, all conducted by Monteux. The
other two pieces were
Le Spectre de la Rose

Le Spectre de la Rose and Scheherazade, a
balletic adaptation of Rimsky-Korsakov's symphonic suite of the same
name. The three works were choreographed by Fokine.[29] In later years
Monteux disapproved of the appropriation of symphonic music for
ballets, but he made an exception for Scheherazade, and, as his
biographer John Canarina observes, at that stage in his career his
views on the matter carried little weight.[29] Petrushka was a success
with the public and with all but the most diehard conservative
critics.[30]
Following the Paris season Diaghilev appointed Monteux principal
conductor for a tour of Europe in late 1911 and early 1912. It began
with a five-week season at the
Royal Opera House

Royal Opera House in London.[31] The
press notices concentrated on the dancers, who included Anna Pavlova
as well as the regular stars of the Ballets Russes,[32] but Monteux
received some words of praise.
The Times

The Times commented on the excellent
unanimity he secured from the players, apart from "occasional
uncertainty in the changes of tempo."[33]
After its season in London the company performed in Vienna, Budapest,
Prague and Berlin.[29] The tour was successful, artistically and
financially, but was not without untoward incident. A planned visit to
St Petersburg had to be cancelled because the Narodny Dom theatre
burned down,[34] and in Vienna the Philharmonic was unequal to the
difficulties of the score of Petrushka.[35] The illustrious orchestra
revolted at the rehearsal for the first performance, refusing to play
for Monteux; only an intervention by Diaghilev restored the rehearsal,
by the end of which Monteux was applauded and Stravinsky given an
ovation.[36] In the middle of the tour Monteux was briefly summoned
back to Paris by the Concerts Colonne, which had the contractual right
to recall him, to deputise for Pierné; his own deputy,
Désiré-Émile Inghelbrecht, took temporary musical charge of the
Ballets Russes.[37][38]
In May 1912 Diaghilev's company returned to Paris. Monteux was the
conductor for the two outstanding works of the season, Vaslav
Nijinsky's ballet version of Debussy's Prélude à l'après-midi d'un
faune, made with the composer's approval,[39] and Fokine's Daphnis et
Chloé to a score commissioned from Ravel.[40] Monteux later recalled
"Debussy was behind me when we played L'après midi d'un faune because
he did not want anything in his score to be changed on account of the
dancing. And when we came to a forte, he said 'Monteux, that is a
forte, play forte'. He did not want anything shimmering. And he wanted
everything exactly in time".[41]
In February and March 1913 the
Ballets Russes

Ballets Russes presented another London
season. As in 1911, the local orchestra engaged was the Beecham
Symphony Orchestra. The orchestra's founder, Thomas Beecham, shared
the conducting with Monteux. At the end of February Beecham had to
take over Petrushka when Monteux suddenly hastened to Paris for four
days to be with his wife on the birth of their daughter, Denise.[n 5]
The Rite of Spring[edit]
During the 1913
Ballets Russes

Ballets Russes season in Paris, Monteux conducted two
more premieres. The first was Jeux, with music by Debussy and
choreography by Nijinsky. The choreography was not liked; Monteux
thought it "asinine",[43] while Debussy felt that "Nijinsky's cruel
and barbarous choreography ... trampled over my poor rhythms like so
many weeds".[44] The second new work was Stravinsky's The Rite of
Spring given under the French title, Le sacre du printemps. Monteux
had been appalled when Stravinsky first played the score at the piano:
I decided then and there that the symphonies of Beethoven and Brahms
were the only music for me, not the music of this crazy Russian. ...
My one desire was to flee that room and find a quiet corner in which
to rest my aching head. Then [Diaghilev] turned to me and with a smile
said, "This is a masterpiece, Monteux, which will completely
revolutionize music and make you famous, because you are going to
conduct it." And, of course, I did.[43]
Despite his initial reaction, Monteux worked with Stravinsky, giving
practical advice to help the composer to achieve the orchestral
balance and effects he sought.[45] Together they worked on the score
from March to May 1913, and to get the orchestra of the Théâtre des
Champs-Élysées to cope with the unfamiliar and difficult music
Monteux held seventeen rehearsals, an unusually large number.[43]
Monteux's real attitude to the score is unclear. In his old age he
told a biographer, "I did not like Le Sacre then. I have conducted it
fifty times since. I do not like it now."[46] However, he told his
wife in 1963 that the Rite was "now fifty years old, and I do not
think it has aged at all. I had pleasure in conducting the fiftieth
anniversary of Le Sacre this spring".[47]
Dancers in Nikolai Roerich's costumes for The Rite of Spring:
"knock-kneed and long-haired Lolitas jumping up and down"
The dress rehearsal, with Debussy, Ravel, other musicians and critics
among those present, passed without incident. However, the following
evening the premiere provoked something approaching a riot, with loud
verbal abuse of the work, counter-shouts from supporters, and
fisticuffs breaking out.[48] Monteux pressed on, continuing to conduct
the orchestra regardless of the turmoil behind him.[48] Stravinsky
wrote "The image of Monteux's back is more vivid in my mind today than
the picture of the stage. He stood there apparently impervious and as
nerveless as a crocodile. It is still incredible to me that he
actually brought the orchestra through to the end."[49] The extensive
press coverage of the incident made Monteux "at age thirty-eight,
truly a famous conductor".[50] The company presented the Rite during
its London season a few weeks later.
The Times

The Times reported that although
there was "something like a hostile reception" at the first London
performance, the final performance in the season "was received with
scarcely a sign of opposition".[51] Before the 1913 London
performances, Monteux challenged Diaghilev's authority by declaring
that he, not the impresario, was the composer's representative in
matters related to The Rite of Spring.[52]
Monteux believed that most of the anger aroused by the work was due
not to the music but to Nijinsky's choreography, described by
Stravinsky as "knock-kneed and long-haired Lolitas jumping up and
down".[53] With the composer's agreement Monteux presented a concert
performance in Paris in April 1914. Saint-Saëns, who was present,
declared Stravinsky mad and left in a rage, but he was almost alone in
his dislike. At the end Stravinsky was carried shoulder-high from the
theatre after what he described as "the most beautiful performance
that I have had of the Sacre du printemps".[54] That performance was
part of a series of "Concerts Monteux", presented between February and
April 1914, in which Monteux conducted the orchestra of the Théâtre
des Champs-Élysées in a wide range of symphonic and concertante
works, including the concert premiere of the orchestral version of
Ravel's Valses nobles et sentimentales.[55] His last notable
engagement before the outbreak of war was as conductor of the premiere
of Stravinsky's opera The Nightingale at the Palais Garnier.[54]
The Met and Boston[edit]
Singing under Monteux at the Met: clockwise from top l. Geraldine
Farrar, Louise Homer,
Giovanni Martinelli

Giovanni Martinelli and Enrico Caruso
After the outbreak of the First World War Monteux was again
conscripted into the army, serving as a private in the 35th
Territorial Regiment,[56] with which he saw action in the trenches at
Verdun, Soissons and the Argonne. He later described much of this
period as one of "filth and boredom", although he formed a scratch
band to divert his fellow soldiers.[57] After just over two years on
active service he was released from military duties after Diaghilev
prevailed on the French government to second Monteux to conduct the
Ballets Russes

Ballets Russes on a North American tour.[n 6] The tour took in
fifty-four cities in the US and Canada. In New York in 1916 Monteux
refused to conduct Nijinsky's new ballet Till Eulenspiegel as the
music was by a German –
Richard Strauss

Richard Strauss – so a conductor had to be
engaged for those performances.[58] At the end of the tour Monteux was
offered a three-year contract to conduct the French repertoire at the
Metropolitan Opera

Metropolitan Opera in New York, and received the permission of the
French government to remain in the US.[59]
At the Met (as the
Metropolitan Opera

Metropolitan Opera is generally called), Monteux
conducted familiar French works such as Faust,
Carmen

Carmen and Samson and
Delilah, with singers including Enrico Caruso, Geraldine Farrar,
Louise Homer

Louise Homer and Giovanni Martinelli.[60] Of his first appearance, The
New York Times said, "Mr. Monteux conducted with skill and authority.
He made it evident that he had ample knowledge of the score and
control of the orchestra – an unmistakably rhythmic beat, a
sense of dramatic values."[61] Monteux conducted the American
premieres of Rimsky-Korsakov's The Golden Cockerel,[62] and Henri
Rabaud's Mârouf, savetier du Caire.[63] The American premiere of
Petrushka, in a new production by, and starring, Adolph Bolm, was in
an unusual opera-ballet double bill with La traviata.[64] Monteux's
performances were well received, but, though he later returned to the
Met as a guest, opera did not loom large in his career. He said, "I
love conducting opera. The only trouble is that I hate the atmosphere
of the opera house, where only too often music is the least of many
considerations, from staging to the temperaments of the principal
singers."[65] Nor was he drawn to further engagements as a ballet
conductor: "it offers special problems of fitting in with the dances
and the dancers, most of whom, I'm sorry to say, seem to have musical
appreciation confined to an ability to count beats."[65] Nonetheless
he occasionally conducted ballet performances, and even in his concert
performances of the ballet scores he had conducted for Diaghilev he
said he always had the dancers in his mind's eye.[66]
Germaine, Denise and Pierre Monteux, circa 1919
In 1919 Monteux was appointed chief conductor of the Boston Symphony
Orchestra.[67] The orchestra was going through difficult times; its
conductor, Karl Muck, had been forced by anti-German agitation to step
down in 1917.[68] Sir
Henry Wood

Henry Wood turned down the post,[69] and despite
press speculation neither
Sergei Rachmaninoff

Sergei Rachmaninoff nor
Arturo Toscanini

Arturo Toscanini was
appointed.[70] At least twenty-four players of German heritage had
been forced out with Muck, and orchestral morale was low.[71] Shortly
before Monteux took up the conductorship the autocratic founder and
proprietor of the orchestra, Henry Lee Higginson, died.[72] He had
steadfastly resisted unionisation, and after his death a substantial
minority of the players resumed the struggle for union recognition.
More than thirty players, including two important principals, resigned
over the matter.[71] Monteux set about rebuilding the orchestra,
auditioning players from all kinds of musical background, some of whom
had not played symphonic music before. By the end of his first season
he had restored the orchestra to something approaching its normal
complement.[n 7] He trained the orchestra to a high standard;
according to the critic Neville Cardus, Monteux's musicianship "made
the
Boston Symphony Orchestra

Boston Symphony Orchestra the most refined and musical in the
world."[74]
Monteux regularly introduced new compositions in Boston, often works
by American, English and French composers.[75] He was proud of the
number of novelties presented in his years at Boston, and expressed
pleasure that his successors continued the practice.[76] He was
dismayed when it was announced that his contract would not be renewed
after 1924. The official explanation was that the orchestra's policy
had always been to appoint conductors for no more than five years.[77]
It is unclear whether that was genuinely the reason. One suggested
possibility is that the conductor chosen to replace him, Serge
Koussevitzky, was thought more charismatic, with greater box-office
appeal.[12] Another is that the primmer members of Boston society
disapproved of Monteux's morals: he and his second wife had gradually
drifted apart and by 1924 he was living with Doris Hodgkins, an
American divorcée, and her two children.[77] They were unable to
marry until 1928, when Germaine Monteux finally agreed to a
divorce.[78][n 8]
Amsterdam and Paris[edit]
Willem Mengelberg, Monteux's colleague at the Concertgebouw
In 1924, Monteux began a ten-year association with the Concertgebouw
Orchestra of Amsterdam, serving as "first conductor" ("eerste
dirigent") alongside Willem Mengelberg, its long-serving chief
conductor. The two musicians liked and respected one another, despite
the difference in their approach to music-making: Monteux was
scrupulous in his adherence to a composer's score and straightforward
in his performances, while Mengelberg was well known for his virtuoso,
sometimes wilful, interpretations and his cavalier attitude to the
score ("Ve vill make some changements", as an English player quoted
him).[80] Their preferred repertoire overlapped in some of the
classics, but Mengelberg had his own favourites from Bach's St.
Matthew Passion to Mahler symphonies, and was happy to leave Debussy
and Stravinsky to Monteux. Where their choices coincided, as in
Beethoven, Brahms and Richard Strauss, Mengelberg was generous in
giving Monteux at least his fair share of them.[81]
While in Amsterdam Monteux conducted a number of operas, including
Pelléas et Mélisande (its Dutch premiere), Carmen, Les Contes
d'Hoffmann, a Lully and Ravel double bill of
Acis et Galatée

Acis et Galatée and
L'Heure espagnole, Gluck's
Iphigénie en Tauride

Iphigénie en Tauride (also brought to the
Paris Opéra)[82] and Verdi's Falstaff. Toscanini had been invited to
conduct the last of these, but he told the promoters that Monteux was
his dearest colleague and the best conductor for Falstaff.[83]
During the first eight years of his association with the
Concertgebouw, Monteux conducted between fifty and sixty concerts each
season. In his final two years with the orchestra other conductors,
notably the rising young Dutchman Eduard van Beinum, were allocated
concerts that would previously have been given to Monteux, who
amicably withdrew from his position in Amsterdam in 1934.[84] He
returned many times as a guest conductor.[12]
Salle Pleyel, base of the Orchestre Symphonique de Paris
In addition to his work with the
Concertgebouw

Concertgebouw Orchestra, from 1929
Monteux conducted the
Orchestre Symphonique de Paris

Orchestre Symphonique de Paris (OSP), founded
the previous year.[n 9] The orchestral scene in Paris in the 1920s had
been adversely affected by the "deputy" system,[85] whereby any
contracted orchestral player was at liberty, if a better engagement
became available, to send a deputy to a rehearsal or even to a
concert. In most other major cities in Europe and America this
practice either had never existed or had been eradicated.[86]
Alongside the opera orchestras, four other Paris orchestras were
competing for players.[87] In 1928 the arts patron the Princesse de
Polignac combined with the fashion designer
Coco Chanel

Coco Chanel to propose a
new orchestra, well enough paid to keep its players from taking
conflicting engagements.[86] With financial backing assured, they
appointed a triumvirate of musicians – Cortot,
Ernest Ansermet
_by_Erling_Mandelmann.jpg)
Ernest Ansermet and
Louis Fourestier – to assemble the OSP.[88] The following year
Cortot invited Monteux to become the orchestra's artistic director and
principal conductor.[89] Ansermet, its initial musical director, was
not pleased at being supplanted by a conductor of whom he was
reportedly "ragingly jealous",[90] but the composer Darius Milhaud
commented on how much better the orchestra played for Monteux "since
Ansermet has been sent back to his Swiss pastures".[88]
Monteux considered the OSP one of the finest with which he worked.[91]
He conducted it until 1938, premiering many pieces, including
Prokofiev's Third Symphony in 1929.[7] The orchestra's generous
funding in the first years allowed for ample rehearsals and
adventurous programming, presenting contemporary music and the
lesser-known works of earlier composers as well as the classic
repertoire.[86] In his first season Monteux conducted an
all-Stravinsky concert, consisting of the suite from
The Firebird

The Firebird and
complete performances of Petrushka and The Rite of Spring.[92] The
orchestra made European tours in 1930 and 1931, receiving enthusiastic
receptions in the Netherlands and Germany. In Berlin the audience
could not contain its applause until the end of the Symphonie
fantastique, and in Monteux's words "went wild" after the slow
movement, the "Scène aux champs".[93] He approved of spontaneous
applause, unlike Artur Schnabel, Sir
Henry Wood

Henry Wood and Leopold Stokowski,
who did all they could to stamp out the practice of clapping between
movements.[94]
After 1931 the OSP suffered the effects of the Great Depression; much
of its funding ceased, and the orchestra reformed itself into a
co-operative, pooling such meagre profits as it made.[95] To give the
players some extra work Monteux started a series of conducting classes
in 1932. From 1936 he held the classes at his summer home in Les Baux
in Provence, the forerunner of the school he later set up in the
US.[96]
San Francisco and the Monteux School[edit]
Rimsky-Korsakov. Scheherazade, Symphonic Suite, Op. 35
01 The Sea And Sinbads Ship
02 The Story Of The Kalandar Prince
03 The Young Prince And Princess
04 Festival At Baghdad The Sea
Scheherazade by Rimsky-Korsakov performed by the San Francisco
Symphony Orchestra conducted by Pierre Monteux, with violin solo by
Naoum Blinder
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Monteux first conducted the
San Francisco Symphony

San Francisco Symphony Orchestra (SFSO) in
1931, and in 1935 at the age of 60 he was offered the chief
conductorship. He was doubtful about accepting, both on personal and
on professional grounds. He did not want to leave the OSP, his wife
did not want to live on the west coast of America, and the orchestra
was so low in funds that it had been forced to cancel an entire season
in 1934.[97] Like most orchestras the SFSO had been badly hit
financially by the depression, and it suffered the further difficulty
that many of its former players had left for better-paid jobs in
Hollywood studios. That problem was exacerbated by the insistence of
the Musicians' Union that only local players could be recruited.[98]
Monteux nevertheless accepted the appointment. The SFSO concert season
was never longer than five months a year, which enabled him to
continue working with the OSP,[99] and allowed him to conduct the
inaugural concert of the
NBC Symphony Orchestra on 13 November
1937.[100] In
The New York Times

The New York Times Olin Downes wrote that the new
orchestra was "of very high rank" and that the broadcast concert had
displayed Monteux "at the height of his powers."[101]
The Times

The Times said of Monteux's time in San Francisco that it had
"incalculable effect on American musical culture", and gave him "the
opportunity to expand his already substantial repertory, and by
gradual, natural processes to deepen his understanding of his
art."[18] Monteux consistently programmed new or recent music. He
generally avoided, as he did throughout his career, atonal or serial
works,[102] but his choice of modern works nevertheless drew
occasional complaints from conservative-minded members of the San
Francisco audience.[103] Among guest conductors with the SFSO during
Monteux's years were John Barbirolli, Beecham, Otto Klemperer,
Stokowski and Stravinsky.[n 10] Soloists included the pianists George
Gershwin, Rachmaninoff,
Arthur Rubinstein

Arthur Rubinstein and Schnabel, the violinists
Jascha Heifetz,
Yehudi Menuhin

Yehudi Menuhin and the young Isaac Stern, and singers
such as
Kirsten Flagstad

Kirsten Flagstad and Alexander Kipnis.[105] Almost all his
seventeen San Francisco seasons concluded with Beethoven's Ninth
Symphony.[106] Monteux's SFSO studio recordings were mainly made in
the cavernous acoustics of
War Memorial Opera House
.JPG/440px-War_Memorial_Opera_House_(San_Francisco).JPG)
War Memorial Opera House (without an
audience) with the music transmitted over telephone wires to a Los
Angeles studio and recorded on film there.[107] Confined to the USA
for the years of the Second World War, in 1942 Monteux took American
citizenship.[7]
Monteux wished to continue his work in helping young conductors:
"
Conducting

Conducting is not enough. I must create something. I am not a
composer, so I will create fine young musicians."[108] In addition to
his classes in Paris and Les Baux in the 1930s he had given private
lessons to Igor Markevitch;[109] later private students included
André Previn, Seiji Ozawa,
José Serebrier and Robert Shaw.[110]
Previn called him "the kindest, wisest man I can remember, and there
was nothing about conducting he didn't know."[111] After a performance
conducted by Previn, Monteux said to him, "Did you think the orchestra
was playing well? ... So did I. Next time don't interfere with them."
Previn said that he never forgot this advice.[111] Monteux's
best-known undertaking as a teacher was the
Pierre Monteux School for
conductors and orchestral musicians, held each summer at his home in
Hancock, Maine

Hancock, Maine from 1943 onwards. Internationally known alumni of the
school include Leon Fleisher, Erich Kunzel, Lorin Maazel, Neville
Marriner,
Hugh Wolff and David Zinman.[n 11] Other Monteux students
included John Canarina, whose 2003 biography was the first full-length
study of the conductor in English, Charles Bruck, one of Monteux's
first pupils in Paris, who became music director of the school in
Hancock after Monteux's death,[108] and Emanuel Leplin.[113]
Monteux appeared as guest conductor with many orchestras; he commented
in 1955, "I regret they don't have symphony orchestras all over the
world so I could see Burma and Samarkand".[114] His successor with the
Boston Symphony Orchestra, Serge Koussevitzky, invited many guest
conductors during his twenty-five years in charge; Monteux was never
among them, probably, in Canarina's view, because of Koussevitzky's
jealousy.[115] In 1949 Koussevitzky was succeeded by Charles Munch,
whose early career had been boosted by an invitation from Monteux to
conduct the
Orchestre Symphonique de Paris

Orchestre Symphonique de Paris in 1933.[116] Munch invited
Monteux to Boston as a guest conductor in the 1951 season. The
engagement was greeted with enthusiasm by the critics and the public,
and Munch invited Monteux to join him the following year in heading
the orchestra's first European tour. The high point of the tour was a
performance under Monteux of
The Rite of Spring

The Rite of Spring at the Théâtre des
Champs-Elysées, in the presence of the composer.[117] Monteux
returned annually to Boston every year until his death.[8]
Monteux with the director
Peter Brook

Peter Brook at the
Metropolitan Opera

Metropolitan Opera in
1953
For some time Monteux had felt that he should leave the SFSO. He had
two main reasons: he believed that a conductor should not remain in
one post for too long, and he wished to be free to accept more
invitations to appear with other orchestras. He resigned from the SFSO
at the end of the 1952 season.[118] He briefly reappeared on the
podium at the
War Memorial Opera House
.JPG/440px-War_Memorial_Opera_House_(San_Francisco).JPG)
War Memorial Opera House within a year, as co-conductor
of the Boston Symphony Orchestra's coast-to-coast American tour, at
Munch's invitation. Almost all the members of the SFSO were in the
audience, and joined in the ovation given to their former chief.[119]
After an absence of thirty-four years, Monteux was invited to conduct
at the
Metropolitan Opera

Metropolitan Opera in New York in 1953. The opera chosen was
Faust, which he had conducted at his debut at the house in 1917.[120]
The production had what Canarina calls "a stellar cast" headed by
Jussi Björling, Victoria de los Ángeles,
Nicola Rossi-Lemeni

Nicola Rossi-Lemeni and
Robert Merrill, but the critics, including
Virgil Thomson

Virgil Thomson and Irving
Kolodin, reserved their highest praise for Monteux's conducting.[121]
Between 1953 and 1956 Monteux returned to the Met for Pelléas et
Mélisande, Carmen, Manon, Orfeo ed Euridice, The Tales of Hoffmann
and Samson et Dalila.[122] The Met at that time typecast conductors
according to their nationality,[n 12] and, as a Frenchman, Monteux was
not offered any Italian operas. When his request to be engaged for La
traviata in the 1956–57 season was refused he severed his ties with
the house.[123]
London[edit]
Since his first visit to London with the
Ballets Russes

Ballets Russes in 1911,
Monteux had had a "love affair with London and with British
musicians".[37] He had conducted for the fledgling
BBC

BBC in an
orchestral concert at Covent Garden in 1924,[124] where he conducted
the first public performance of the
BBC

BBC Wireless Orchestra,[125] and
for the
Royal Philharmonic Society
.jpg/440px-Great_Marlborough_Street,_Soho_(33100262490).jpg)
Royal Philharmonic Society at the
Queen's Hall

Queen's Hall in the 1920s
and 1930s.[126] In 1932 he was one of four conductors who took charge
of the Hallé Orchestra in Manchester in the absence of its principal
conductor; the other three substitutes were Sir Edward Elgar, Beecham
and the young Barbirolli.[127]
The Hallé

The Hallé players were immensely
impressed with Monteux, and said that his orchestral technique and
knowledge easily beat those of most other conductors.[74] In 1951 he
conducted the
BBC

BBC Symphony Orchestra in a concert of Mozart, Beethoven
and Bartók in the new Royal Festival Hall,[128] and made further
appearances with London orchestras during the rest of the 1950s. He
would have made more but for Britain's strict quarantine laws, which
prevented the Monteuxs from bringing their pet French poodle with
them; Doris Monteux would not travel without the poodle, and Monteux
would not travel without his wife.[129]
In Paris I used to think that any concert I conducted was a failure if
it did not create a scandal; in Britain and America audiences are much
more polite.
“
”
Pierre Monteux
_-_Gallica.jpg/560px-Pierre_Monteux,_Conductor_of_the_Ballets_Russes_(c1911-1914)_-_Gallica.jpg)
Pierre Monteux [65]
In June 1958 Monteux conducted the
London Symphony Orchestra

London Symphony Orchestra (LSO) in
three concerts, described by the orchestra's historian Richard
Morrison as "a sensation with players, press and public alike."[130]
The first concert included Elgar's Enigma Variations, in which Cardus
judged Monteux to be more faithful to Elgar's conception than English
conductors generally were. Cardus added, "After the performance of the
'Enigma' Variations, the large audience cheered and clapped Monteux
for several minutes. This applause, moreover, broke out just before
the interval. English audiences are not as a rule inclined to waste
time applauding at or during an interval: they usually have other
things to do."[131] Monteux considered British concertgoers "the most
attentive in the world", and British music critics "the most
intelligent".[132] However, a disadvantage of conducting a London
orchestra was having to perform at the Festival Hall, of which he
shared with Beecham and other conductors an intense dislike: "from the
conductor's rostrum it is impossible to hear the violins".[132]
Monteux's later London performances were not only with the LSO. In
1960 he conducted Beecham's
Royal Philharmonic Orchestra

Royal Philharmonic Orchestra performing
"feats of wizardry" in works by Beethoven, Debussy and Hindemith.[133]
The LSO offered him the post of principal conductor in 1961, when he
was eighty-six; he accepted, on condition that he had a contract for
twenty-five years, with an option of renewal.[134] His large and
varied repertoire was displayed in his LSO concerts. In addition to
the French repertoire with which, to his occasional irritation, he was
generally associated, he programmed Mozart, Beethoven, Brahms and
Wagner, as well as later composers including Granados, Schoenberg,
Scriabin, Shostakovich, Sibelius,
Richard Strauss

Richard Strauss and Vaughan
Williams.[135] With the LSO, Monteux gave a fiftieth anniversary
performance of
The Rite of Spring

The Rite of Spring at the
Royal Albert Hall

Royal Albert Hall in the
presence of the composer.[136] Although the recording of the occasion
reveals some lapses of ensemble and slack rhythms, it was an intense
and emotional concert, and Monteux climbed up to Stravinsky's box to
embrace him at the end.[125][n 13] Players believed that in his few
years in charge he transformed the LSO;
Neville Marriner

Neville Marriner felt that he
"made them feel like an international orchestra... He gave them
extended horizons and some of his achievements with the orchestra,
both at home and abroad, gave them quite a different
constitution."[125]
Last years[edit]
Although Monteux retained his vitality to the end of his life, in his
last years he suffered occasional collapses. In 1962 he fainted during
a performance of Beethoven's Fifth Symphony.[138] In 1963 he collapsed
again after being presented with the Gold Medal of the Royal
Philharmonic Society, Britain's highest musical honour. The
presentation was made by Sir Adrian Boult, who recalled that as they
left the platform, "Monteux gave two little groans as we walked down
the passage, and I suddenly found my arms full of violins and bows.
The orchestra had recognized the signs. Their beloved chief was
fainting."[139] Monteux suffered another collapse the following year,
and
David Zinman and
Lorin Maazel

Lorin Maazel deputised for him at the Festival
Hall.[140]
In April 1964 Monteux conducted his last concert, which was in Milan
with the orchestra of Radiotelevisione italiana. The programme
consisted of the overture to The Flying Dutchman, Brahms's Double
Concerto and Berlioz's Symphonie fantastique.[141] Unrealised plans
included his debut at The Proms,[142] and his 90th birthday concert,
at which he intended to announce his retirement.[143][n 14] In June
1964 Monteux suffered three strokes and a cerebral thrombosis at his
home in Maine, where he died on 1 July at the age of 89.[145]
Personal life[edit]
Monteux had six children, two of them adopted. From his first marriage
there were a son, Jean-Paul, and a daughter, Suzanne. Jean-Paul became
a jazz musician, performing with artists such as
Josephine Baker

Josephine Baker and
Mistinguett.[10] His second marriage produced a daughter, Denise,
later known as a sculptress, and a son, Claude, a flautist.[146] After
Monteux married Doris Hodgkins he legally adopted her two children,
Donald, later a restaurateur, and Nancie, who after a career as a
dancer became administrator of the
Pierre Monteux School in
Hancock.[108]
Among Monteux's numerous honours, he was a Commandeur of the Légion
d'honneur and a Knight of the Order of Oranje-Nassau.[7] A political
and social moderate, in the politics of his adopted homeland he
supported the Democratic Party[132] and was a strong opponent of
racial discrimination. He ignored taboos on employing black
artists;[147] reportedly, during the days of segregation in the US,
when told he could not be served in a restaurant "for colored folk" he
insisted that he was coloured – pink.[148]
Music making[edit]
Reputation and repertoire[edit]
The record producer
John Culshaw

John Culshaw described Monteux as "that rarest of
beings – a conductor who was loved by his orchestras ... to
call him a legend would be to understate the case."[149] Toscanini
observed that Monteux had the best baton technique he had ever
seen.[130] Like Toscanini, Monteux insisted on the traditional
orchestral layout with first and second violins to the conductor's
left and right, believing that this gave a better representation of
string detail than grouping all the violins together on the left.[n
15] On fidelity to composers' scores, Monteux's biographer John
Canarina ranks him with Klemperer and above even Toscanini, whose
reputation for strict adherence to the score was, in Canarina's view,
less justified than Monteux's.[151]
Our principal work is to keep the orchestra together and carry out the
composer's instructions, not to be sartorial models, cause dowagers to
swoon, or distract audiences by our "interpretation".
“
”
Pierre Monteux
_-_Gallica.jpg/560px-Pierre_Monteux,_Conductor_of_the_Ballets_Russes_(c1911-1914)_-_Gallica.jpg)
Pierre Monteux [152]
According to the biographical sketch in Grove Dictionary of Music and
Musicians, Monteux "was never an ostentatious conductor ... [he
prepared] his orchestra in often arduous rehearsals and then [used]
small but decisive gestures to obtain playing of fine texture, careful
detail and powerful rhythmic energy, retaining to the last his
extraordinary grasp of musical structure and a faultless ear for sound
quality."[7] Monteux was extremely economical with words and gestures
and expected a response from his smallest movement.[125] The record
producer
Erik Smith recalled of Monteux's rehearsals with the Vienna
Philharmonic for Beethoven's Pastoral Symphony and Brahms's Second,
"although he could not speak to the orchestra in German, he
transformed their playing from one take to the next".[13]
The importance of rehearsal to Monteux was shown when, in 1923,
Diaghilev asked him to conduct Stravinsky's new
Les noces with no
rehearsal, as the composer would already have conducted the first
performance, Monteux following on from there. Monteux told the
impresario "Stravinsky, 'e can do what 'e like, but I have to do what
ze composer 'as written."[13] Monteux's self-effacing approach to
scores led to occasional adverse comment; the music critic of The
Nation, B. H. Haggin, while admitting that Monteux was generally
regarded as one of the giants of conducting, wrote of his "repeatedly
demonstrated musical mediocrity".[153] Other American writers have
taken a different view. In 1957
Carleton Smith wrote, "His approach to
all music is that of the master-craftsman. ... Seeing him at work,
modest and quiet, it is difficult to realize that he is a bigger box
office attraction at the
Metropolitan Opera

Metropolitan Opera House than any prima donna
... that he is the only conductor regularly invited to take charge of
America's 'big three' – the Boston, Philadelphia and New York
Philharmonic orchestras."[152] In his 1967 book The Great Conductors,
Harold C. Schonberg wrote of Monteux, "[A] conductor of international
stature, a conductor admired and loved all over the world. The word
'loved' is used advisedly."[154] Elsewhere, Schonberg wrote of
Monteux's "passion and charisma".[155] When asked in a radio interview
to describe himself (as a conductor) in one word, Monteux replied,
"Damned professional".[156]
Throughout his career Monteux suffered from being thought of as a
specialist in French music. The music that meant most to him was that
of German composers, particularly Brahms, but this was often
overlooked by concert promoters and recording companies. Of the four
Brahms symphonies, he was invited by the recording companies to record
only one, the Second. Recordings of his live performances of the First
and Third have been released on CD, but the discography in Canarina's
biography lists no recording, live or from the studio, of the
Fourth.[157] The critic William Mann, along with many others, regarded
him as a "supremely authoritative" conductor of Brahms,[158] though
Cardus disagreed: "In German music Monteux, naturally enough, missed
harmonic weight and the right heavily lunged tempo. His rhythm, for
example, was a little too pointed for, say, Brahms or Schumann."[74]
Gramophone's reviewer Jonathan Swain contends that no conductor knew
more than Monteux about expressive possibilities in the strings,
claiming that "the conductor who doesn't play a stringed instrument
simply doesn't know how to get the different sounds; and the bow has
such importance in string playing that there are maybe 50 different
ways of producing the same note";[12] In his 2003 biography, John
Canarina lists nineteen "significant world premieres" conducted by
Monteux. In addition to Petrushka and
The Rite of Spring

The Rite of Spring is a further
Stravinsky work, The Nightingale. Monteux's other premieres for
Diaghilev included Ravel's
Daphnis et Chloé
.jpg/560px-Harvard_Theatre_Collection_-_Bakst,_MS_Thr_414.4_(9).jpg)
Daphnis et Chloé and Debussy's Jeux. In
the concert hall he premiered works by, among others, Milhaud, Poulenc
and Prokofiev.[n 16] In a letter of April 1914 Stravinsky wrote
"everyone can appreciate your zeal and your probity in regard to the
contemporary works of various tendencies that you have had occasion to
defend."[160]
Monteux's biographer Jean-Philippe Mousnier analysed a representative
sample of Monteux's programmes for more than 300 concerts. The
symphonies played most frequently were César Franck's D minor
Symphony, the Symphonie fantastique, Beethoven's Seventh,
Tchaikovsky's Fifth and Sixth, and the first two symphonies of Brahms.
Works by
Richard Strauss

Richard Strauss featured almost as often as those of Debussy,
and Wagner's Prelude and "Liebestod" from
Tristan und Isolde

Tristan und Isolde as often
as The Rite of Spring.[161]
Recordings[edit]
Main article:
Pierre Monteux
_-_Gallica.jpg/560px-Pierre_Monteux,_Conductor_of_the_Ballets_Russes_(c1911-1914)_-_Gallica.jpg)
Pierre Monteux discography
You may give an excellently played, genuinely felt performance of a
movement, but because the engineer is not satisfied because there is
some rustling at one point, so you do it again and this time something
else goes wrong. By the time you get a "perfect" take of the recording
the players are bored, the conductor is bored, and the performance is
lifeless and boring. ... I detest all my own records.
“
”
(Monteux expressing his dislike of studio recording sessions, The
Times, March 1959.)[65]
Monteux made a large number of recordings throughout his career. His
first recording was as a violist in "Plus blanche que la blanche
hermine" from
Les Huguenots

Les Huguenots by Meyerbeer in 1903 for Pathé with the
tenor Albert Vaguet.[162] It is possible that Monteux played in the
Colonne Orchestra's 20 early cylinders recorded around 1906–07.[163]
His recording debut as a conductor was the first of his five
recordings of The Rite of Spring, issued in 1929.[164] The first of
these, with the OSP, is judged by Canarina to be indifferently played;
recordings by Monteux of music by Ravel and Berlioz made in 1930 and
1931, Canarina believes, were more impressive. Stravinsky, who also
recorded The Rite in 1929, was furious that Monteux had made a rival
recording; he made vitriolic comments privately, and for some time his
relations with Monteux remained cool.[165]
Monteux's final studio recordings were with the London Symphony
Orchestra in works by Ravel at the end of February 1964.[166] In the
course of his career he recorded works by more than fifty
composers.[167] In Monteux's lifetime it was rare for record companies
to issue recordings of live concerts, although he would much have
preferred it, he said, "if one could record in one take in normal
concert-hall conditions".[65] Some live performances of Monteux
conducting the Metropolitan Opera, and among others the San Francisco
Symphony, Boston Symphony,
BBC

BBC Symphony and London Symphony orchestras
survive alongside his studio recordings, and some have been issued on
compact disc.[168] It has been argued that these reveal even more than
his studio recordings "a conductor at once passionate, disciplined,
and tasteful; one who was sometimes more vibrant than the Monteux
captured in the studio, and yet, like that studio conductor, a
cultivated musician possessing an extraordinary ear for balance, a
keen sense of style and a sure grasp of shape and line."[169]
Many of Monteux's recordings have remained in the catalogues for
decades, notably his RCA Victor recordings with the Boston Symphony
and Chicago Symphony orchestras; Decca recordings with the Vienna
Philharmonic; and Decca and Philips recordings with the LSO.[157] Of
Manon, one of his few opera recordings,
Alan Blyth

Alan Blyth in Opera on Record
states "Monteux had the music in his blood and here dispenses it with
authority and spirit".[170][n 17] He can be heard rehearsing in the
original LP issues of Beethoven's Eroica Symphony with the
Concertgebouw

Concertgebouw Orchestra (Philips 835132 AY) and Beethoven's 9th with
the London Symphony (Westminster, WST 234).[8]
Video recordings of Monteux are scarcer. He is seen conducting
Berlioz's
Roman Carnival Overture

Roman Carnival Overture and Beethoven's 8th symphony with
the Chicago Symphony Orchestra,[172] and Dukas' L'Apprenti sorcier
with the
London Symphony Orchestra

London Symphony Orchestra in an "unshowy, deeply satisfying
humane way".[173]
Notes and references[edit]
Notes
^ Monteux disliked the name Benjamin and formally dropped it when he
took American citizenship in 1942.[1]
^ These scores were stolen from his Paris apartment by the Nazis in
the Second World War and lost.[17]
^ The operas Monteux conducted at Dieppe included Aida, La bohème,
Carmen, Cavalleria rusticana, Faust, Manon, Pagliacci, Rigoletto,
Samson et Dalila, Thaïs,
Tosca
.jpg/480px-Tosca_(1899).jpg)
Tosca and La traviata.[24]
^ Canarina notes that among Monteux's contemporaries
Fritz Reiner

Fritz Reiner and
Sir
Adrian Boult

Adrian Boult were also profoundly influenced by Nikisch, and, like
Monteux, were known for their unshowy podium personas.[24] Among the
other guest conductors of the
Concerts Colonne during Monteux's time
with the orchestra were Gustav Mahler, Hans Richter, Richard Strauss
and Felix Weingartner.[25]
^ Beecham learnt the score at two days' notice, but he managed a
successful performance with the help of his players, prompting
Nijinsky's only known joke: "How well the orchestra is conducting Mr
Beecham tonight".[42]
^ Canarina speculates that Diaghilev's efforts may have been aided by
the fact that Monteux's old friend Cortot was Minister of Culture in
the government.[57]
^ Before the resignations there were 96 players; by the end of
Monteux's first season numbers had risen from 61 players to 88.[73]
^ Doris Hodgkins (1894–1984) studied at the New England Conservatory
of Music and met Monteux when she sang (alto) in the chorus with the
Boston Symphony Orchestra.[79]
^ The
Grove Dictionary of Music and Musicians

Grove Dictionary of Music and Musicians incorrectly states that
Monteux founded the OSP in 1929.[7]
^ Monteux regularly invited Stravinsky to conduct the SFSO, giving him
generous fees and ample rehearsal time.[104]
^ The school's website also lists as "distinguished alumni" from
Monteux's time and later: Thomas Baldner, Anshel Brusilow, Michael
Charry, John Covelli, Marc David, Neal Gittleman, Adrian Gnam, David
Hayes, Sara Jobin, Anthony LaGruth, Michael Luxner, Ludovic Morlot,
Xavier Rist, John Morris Russell, Werner Torkanowsky, Jean-Philippe
Tremblay, Barbara Yahr and Christopher Zimmerman.[112]
^ Kolodin notes that this policy did not extend to singers: no French
singers were cast in Monteux's Faust, despite which "Monteux made the
orchestra speak French in a way that evoked much of the special sound
in the score".[120]
^ According to Stravinsky's friend Isaiah Berlin, the composer was
initially reluctant to attend this event, and made other arrangements
for the evening. He was finally persuaded that he should go; different
accounts report his arrival in the middle or towards the end of the
performance.[137]
^ The two scheduled Prom concerts were conducted as a tribute to
Monteux by Rudolf Kempe.[144] The planned 90th birthday concert became
a memorial concert conducted by Monteux's successor as chief conductor
of the LSO, István Kertész. It comprised Bach's Third Brandenburg
Concerto, Brahms's Violin Concerto with Isaac Stern, and Beethoven's
Seventh Symphony.[143]
^ Monteux's view on the layout of first and second violins was shared
by, among others, Klemperer and Boult; the latter wrote, "I am in a
small minority. However, on my side are (Bruno) Walter, Monteux,
Klemperer and a few others, including Toscanini..."[150]
^ The works listed by Canarina are: Stravinsky, Petrushka, Ballets
Russes, Paris, 13 June 1911; Ravel, Daphnis et Chloé, Ballets Russes,
Paris, 8 June 1912; Debussy, Jeux, Ballets Russes, Paris, 15 May
1913 ; Stravinsky, The Rite of Spring, Ballets Russes, Paris, 29
May 1913; Florent Schmitt, La Tragédie de Salomé, Paris, 12 June
1913; Stravinsky, The Nightingale, Paris, 26 May 1914; Charles
Griffes, The Pleasure-Dome of Kubla Khan, Boston, 28 November 1919;
Ravel, Tzigane, (Samuel Dushkin, soloist), Amsterdam, 19 October 1924;
Willem Pijper, Symphony No 3, Amsterdam, 28 October 1926; Bliss, Hymn
to Apollo, Amsterdam, 28 November 1926; Poulenc, Concert champêtre,
(Wanda Landowska, soloist), Paris, 3 May 1929; Prokofiev Symphony No
3, Paris, 17 May 1929; Milhaud,
Viola

Viola Concerto (Paul Hindemith,
soloist) Amsterdam, 15 December 1929; Gian Francesco Malipiero, Violin
Concerto, (
Viola

Viola Mitchell, soloist), Amsterdam, 5 March 1933; Bloch,
Evocations, San Francisco, 11 February 1938; Roger Sessions, Symphony
No 2, San Francisco, 9 January 1947; George Antheil, Symphony No 6,
San Francisco, 10 February 1949.[159]
^ The Naxos CD reissue included Monteux's spoken recollection of
Massenet during rehearsals for a major
Opéra-Comique

Opéra-Comique revival,
correcting the orchestra and singers.[171]
References
^ Monteux (1964), p. 26
^ a b c Canarina, p. 20
^ Canarina, p. 19
^ Monteux (1965), pp 18–19
^ Canarina, pp. 20 (Paul) and 148 (Henri)
^ a b c d Canarina, p. 21
^ a b c d e f g h i Cooper, Martin, José A Bowen and Charles Barber
"Monteux, Pierre", Grove Music Online, Oxford Music Online, accessed
16 March 2012 (subscription required)
^ a b c d Canarina, John. "Peerless Pierre". Classic Record Collector,
Autumn 2003, Number 34, pp. 9–15
^ Swain, Jonathan. "
Pierre Monteux
_-_Gallica.jpg/560px-Pierre_Monteux,_Conductor_of_the_Ballets_Russes_(c1911-1914)_-_Gallica.jpg)
Pierre Monteux Edition", Gramophone, September
1994, p. 131
^ a b c d Canarina, p. 22
^ Canarina, p. 24
^ a b c d Swain, Jonathan. "Reputations – Pierre Monteux",
Gramophone, January 1998, p. 35
^ a b c d e Smith (2005), pp. 36–38
^ Scheijen, p. 238
^ Canarina, p. 23 & 25
^ Monteux (1965), p. 49
^ Monteux (1965), p. 50
^ a b "Obituary – M. Pierre Monteux", The Times, 2 July 1964, p. 14
^ Monteux (1965), p. 45
^ Monteux (1965), p. 63
^ Canarina, pp. 20 and 26
^ "Unquenchable Mr. Monteux", The Times, 4 May 1961, p. 16
^ D'Udine, Jean. Paraphrases musicales sur les grand concerts du
dimanche Colonne et Lamoureux 1900–1903. A Joanin et Cie, Paris,
1904, p. 68 (in French)
^ a b Canarina, p. 29
^ Caullier, Joëlle. "Les chefs d'orchestre allemands à Paris entre
1894 et 1914", Revue de Musicologie, T. 67, No. 2 (1981), pp.
191–210 (subscription required) (in French)
^ Canarina, p. 26
^ a b Canarina, pp. 30–31
^ Canarina, p. 31
^ a b c Canarina, p. 32
^ Scheijen, p. 228
^ Scheijen, pp. 236–239
^ "Music in London – Mme. Pavlova at Covent Garden", The Manchester
Guardian, 31 October 1911, p. 7
^ "The Russian Ballet", The Times, 17 October 1911, p. 6
^ Scheijen, pp. 238–239
^ Scheijen, p. 266; and Monteux, p. 85
^ Nijinska, pp. 455–456
^ a b Canarina, p. 33
^ Canarina, p. 34
^ Scheijen, p. 240
^ Scheijen, p. 244
^ Nichols (1992), p. 186
^ Reid (1961), p. 140
^ a b c Monteux (1965), p. 91
^ Scheijen, p. 269
^ Mousnier, p. 23; and Canarina, pp. 40–41
^ Reid (1961), p. 145
^ Monteux (1965), p. 93
^ a b Canarina, p. 43
^ Buckle, p. 254
^ Canarina, p. 44
^ "The Fusion of Music and Dancing", The Times, 26 July 1913, p. 8
^ Buckle, p. 258
^ Noble, Jeremy. "Stravinsky – Le Sacre du Printemps", The
Gramophone, April 1961, p. 45
^ a b Canarina, p. 47
^ Ravel, p. 576
^ Stravinsky, p. 61
^ a b Canarina, p. 48
^ Buckle, p. 316
^ Canarina, p. 51
^ Canarina, p. 54
^ "'Faust' Revival is Welcomed at Opera", The New York Times, 18
November 1917
^ "Fantastic 'Coq d'Or' a Hit at Premiere", The New York Times, 7
March 1918
^ "'Marouf,' Opera of the Orient, Sung; American Premiere of Rabaud's
Fairy Comedy of "Arabian Nights'", The New York Times, 20 December
1917
^ Hunker, James Gibbons "Opera; 'Traviata' and 'Petrushka'", The New
York Times, 7 February 1919
^ a b c d e "Conductor of 102 Orchestras", The Times, 31 March 1959,
p. 11
^ Monteux (1965), pp 53–54
^ Canarina, p. 65
^ Jacobs, p. 159
^ Jacobs, pp. 159–160
^ Canarina, pp. 61–62
^ a b Canarina, pp. 66–69
^ "Maj. H.L. Higginson, Boston Banker, Dies; Founder of Symphony
Orchestra", The New York Times, 16 November 1919
^ Canarina, p. 69
^ a b c Cardus, Neville, "Pierre Monteux: Appreciation", The Guardian
2 July 1964, p. 6
^ Canarina, pp. 70–71
^ Monteux (1965), p. 113
^ a b Canarina, pp. 76–81
^ Canarina, p. 100
^ Obituary: Doris Hodgkins Monteux, 89, Singer and Music Memoirist.
New York Times, 23 March 1984
^ Shore, p. 119
^ Canarina, p. 85
^ Pitou, p. 289
^ Canarina, pp. 90–91
^ Canarina, pp. 92–93
^ Boult, Adrian C. "The Orchestral Problem of the Future", Proceedings
of the Musical Association, 49th Session, (1922–1923), pp. 39–57
(subscription required)
^ a b c Canarina, p. 105
^ Mousnier, p. 77
^ a b Nichols (2002), p. 53
^ Canarina, p. 106
^ Culshaw, p. 181
^ Monteux (1965), p. 158
^ Mousnier, p. 76
^ Monteux (1965), p. 160
^ Canarina, p. 270 (Monteux); Reid (1968), p. 181 (Schnabel); Jacobs,
p. 82 (Wood); and Judkins, Jennifer. "Review: Music as Thought –
Listening to the Symphony in the Age of Beethoven by Mark Evan Bonds",
The Journal of Aesthetics and Art Criticism Vol. 65, No. 4 (Autumn,
2007), pp. 428–430 (subscription required) (Stokowski)
^ Canarina, pp. 111–112
^ Canarina, p. 114
^ Canarina, pp. 121–122
^ Canarina, pp. 120 and 122–123
^ Canarina, p. 124
^ Canarina, p. 132
^ Downes, Olin. "Radio Orchestra Makes Debut Here – NBC's New
Symphonic Group, Led by Monteux, is Heard at Radio City", The New York
Times, 14 November 1937, quoted in Canarina, p. 132
^ Canarina p. 264
^ Canarina, pp. 146–147
^ Stravinsky, p. 49
^ Canarina, pp. 127 (Klemperer), 129 (Gershwin), 130 (Stern), 135
(Heifetz and Rubinstein), 136 (Schnabel), 137 (Stokowski), 141
(Barbirolli, Beecham, Flagstad and Rachmaninoff), 143 (Stravinsky),
144 (Kipnis) and 154 (Menuhin)
^ Canarina, John. "CD review:
Pierre Monteux
_-_Gallica.jpg/560px-Pierre_Monteux,_Conductor_of_the_Ballets_Russes_(c1911-1914)_-_Gallica.jpg)
Pierre Monteux in France (Music and Arts
8CDs 1182)", Classic Record Collector, Spring 2007, Number 48, pp.
73–74
^ Morgan K., Review of Cascavelle CD set 2372444302, Classic Record
Collector, Spring 2003, Number 32, pp. 78–80
^ a b c "Monteux Years",
Pierre Monteux
_-_Gallica.jpg/560px-Pierre_Monteux,_Conductor_of_the_Ballets_Russes_(c1911-1914)_-_Gallica.jpg)
Pierre Monteux School, accessed 23 March 2012
^ Drew, David and Noël Goodwin. "Markevitch, Igor", Grove Music
Online, Oxford Music Online, accessed 23 March 2012 (subscription
required)
^ Previn, p. 11, Bowen, José A. "Ozawa, Seiji", Salgado, Susana.
"Serebrier, José", and Steinberg, Michael and Dennis K. McIntire.
"Shaw, Robert", all at Grove Music Online, Oxford Music Online,
accessed 23 March 2012 (subscription required)
^ a b Previn, p. 11
^ "Alumni",
Pierre Monteux
_-_Gallica.jpg/560px-Pierre_Monteux,_Conductor_of_the_Ballets_Russes_(c1911-1914)_-_Gallica.jpg)
Pierre Monteux School, accessed 23 March 2012
^ Schneider, p. 116
^ Quoted from Time 28 November 1955 in '
Pierre Monteux
_-_Gallica.jpg/560px-Pierre_Monteux,_Conductor_of_the_Ballets_Russes_(c1911-1914)_-_Gallica.jpg)
Pierre Monteux in his own
words', Classic Record Collector, Autumn 2003, Number 34, p. 18
^ Canarina, p. 211
^ Holoman, p. 35
^ Canarina, p. 213
^ Canarina, p. 208
^ Canarina, p. 215
^ a b Kolodin, p. 536
^ Canarina, pp. 244–245
^ Kolodin, pp. 540 (Pelléas et Mélisande and Carmen), 555 (Manon),
556 (Orfeo ed Euridice), 560 (The Tales of Hoffmann) and 572 (Samson
et Dalila)
^ Canarina, p. 247
^ "B.B.C. Orchestral Concert", The Times, 11 December 1924, p. 12
^ a b c d Tolansky, John. "Monteux in London", Classic Record
Collector, Autumn 2003, Number 34, pp. 16, 17 and 19
^ "
Royal Philharmonic Society
.jpg/440px-Great_Marlborough_Street,_Soho_(33100262490).jpg)
Royal Philharmonic Society – Arthur Bliss's New Work", The Times,
28 January 1927, p. 12; and "French Music", The Times, 16 March 1934,
p. 12
^ "The 75th Season of the Hallé Concerts", The Manchester Guardian,
15 October 1932, p. 1
^ "Royal Festival Hall", The Times, 7 February 1951, p. 10
^ Canarina, p. 282
^ a b Morrison, p. 135
^ Cardus, Neville. "'Enigma' Variations Played as Conceived by Elgar
Himself:
Pierre Monteux
_-_Gallica.jpg/560px-Pierre_Monteux,_Conductor_of_the_Ballets_Russes_(c1911-1914)_-_Gallica.jpg)
Pierre Monteux conducts the L.S.O.", The Manchester Guardian,
16 June 1958, p. 5
^ a b c Mapplebeck, John. "The Gentle Conductor", The Guardian, 17
November 1960, p. 9
^ Tracey, Edmund. "Seven Lively Sins",
The Observer 17 April 1960, p.
22
^ Morrison, p. 136
^ "Success After Squalls", The Times, 11 December 1961, p. 5 (Mozart,
Schoenberg and Strauss); "London Orchestra's Concert Series", The
Times, 14 September 1961, p. 16 (Beethoven); "Divergent Views of
Brahms", The Times, 8 May 1963, p. 5 (Brahms); "Monteux and the
L.S.O.", The Times, 11 December 1961, p. 5 (Wagner); " Miss de los
Angeles Charms Audience with Berlioz", The Times, 8 December 1962, p.
4 (Granados); "How Russian Composers Find our Music", The Times, 22
May 1961, p. 11 (Scriabin); "Russian Music by the L.S.O.", The Times,
19 May 1962, p. 8 (Shostakovich); "High Quality in Beethoven", The
Times, 26 November 1962, p. 14 (Sibelius); "L.S.O. Jubilee Season
Opens", The Times, 25 September 1963, p. 13 (Vaughan Williams)
^ Morrison, p. 137
^ Hill, p. 102
^ "M. Monteux Continues after Collapse on Rostrum", The Times, 14
December 1962, p. 15
^ Boult (1973), p. 169
^ "Monteux Pupil Unperturbed", The Times, 22 April 1964, p. 10; and
"Mr. Maazel instead of M. Monteux", The Times, 27 April 1964, p. 6
^ Canarina, p. 311
^ "Proms to Get a Larger Audience", The Times, 11 June 1964, p. 17
^ a b "Musical Tribute to Monteux", The Times, 5 April 1965, p. 6
^ "
Rudolf Kempe

Rudolf Kempe at the Proms", The Times, 15 September 1964, p. 14
^ Canarina, p. 313
^ Canarina, pp. 239–240
^ Canarina, p. 71
^ Monteux (1962), pp. 13–15
^ Culshaw, p. 144
^ Boult (1983), p. 146
^ Canarina, p. 83
^ a b Smith (1957), p. 98
^ Haggin, p. 127
^ Schonberg (1967), p. 328
^ Schonberg (1981), p. 59
^ Monteux (1962), p. 63
^ a b Canarina, pp. 321–340
^ "Style and the Bounds of Nationalism", The Times, 21 April 1961, p.
20
^ Canarina, p. 341
^ Stravinsky, p. 60
^ Mousnier, pp. 235–248
^ Giroud, Vincent (2009). Liner notes to Meyerbeer on Record
1899–1913. Swarthmore, PA: Marston Records.
OCLC 459789444.
^ Daouste, Raoul.
Pierre Monteux
_-_Gallica.jpg/560px-Pierre_Monteux,_Conductor_of_the_Ballets_Russes_(c1911-1914)_-_Gallica.jpg)
Pierre Monteux and his records. Note for Cascavelle
CD set VEL3037, 2002.
^ Canarina, pp. 325 and 328
^ Walsh, Stephen. "First Rites for Stravinsky", The Musical Times,
Vol. 130, No. 1759 (September 1989), pp. 538–539 (subscription
required)
^ Discographical information in booklet for: Pierre Monteux –
Decca and Philips Recordings 1956–1964 (475 7798). Decca Music Group
Ltd, 2006.
^ Canarina, pp. 321–326
^ Achenbach, Andrew. "Orchestral Reissues", Gramophone, May 2006, p.
83
^ Frank, Mortimer H. "Review of CDs 'Sunday Evenings with Pierre
Monteux'". Classic Record Collector, Summer 1998, Number 13, pp.
102–105
^ Blyth, p. 483
^ Manon: Reissue of 1955 recording (CD). Naxos. 2007.
OCLC 299065498.
^ Potter, Tully. "Review of VAI and EMI DVDs", Classic Record
Collector, Autumn 2003, Number 34, pp. 61–62
^ Ivry B. Review of EMI/IMG Classic Archive DVD. Classic Record
Collector, Winter 2004, Number 39, p. 64
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External links[edit]
Wikiquote has quotations related to: Pierre Monteux
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