I had already seen Ted in the pit at Covent Garden several times and had marvelled at his understanding and sure grasp of the long spans of operatic music. His Boris Godunov, with Boris Christoff in the title-role, was for many a wonderful experience. Incidentally, some 20 years later, when Christoff was invited to sing his final recital in Paris, he asked Ted to accompany him – an event that caused him a lot of hard practice to get the fingers working again. I remember also a marvellous Un ballo in maschera with Carlo Bergonzi and Gwyneth Jones, two singers whom Ted greatly admired, and those who saw his Lohengrin, with Heather Harper and Peter Hofmann, in 1983 are unlikely to forget the experience.
Shortly after that visit in December 1978 Ted was appointed the orchestra’s Chief Guest Conductor for the 1979 season and Principal Conductor from 1980 onwards. As a result, we were in almost daily contact about programme plans, the orchestra’s personnel and formulating a philosophy about how we saw the role of a radio orchestra. Up until this time, Ted’s experience of symphonic repertoire had been limited, since most orchestras had expected him to learn unusual or contemporary repertoire. Now, for the first time, he had the opportunity of exploring the great Central European repertoire from Haydn (whose symphonies he loved) through Beethoven to Brahms. In addition, he was anxious to pursue his interest in music by Russian composers, which culminated in a cycle of Prokofiev’s symphonies given over two weekends in the Royal Festival Hall in April 1991. He steadily worked his way through the great symphonic poems of Richard Strauss; there was an epic Mahler Eighth in Leeds Town Hall, where he also conducted Franz Schmidt’s great oratorio Das Buch mit dem sieben Siegeln, and one of his final performances in Manchester’s Bridgewater Hall was a searing account of Bruckner's Sixth Symphony.
Dennis Simons, the leader of the BBC Philharmonic Orchestra throughout Ted’s time, has written how privileged he felt to witness at close hand the intellectual grasp and sheer physical energy that Ted demonstrated in overcoming some of the fearsome musical challenges that were presented to him and the orchestra during the 1980s. Most of these challenges came in the many new works that he and the orchestra undertook, a lot by British composers. Ted’s attitude was quite simple: ‘If I can read it, I can conduct it.’ With his poor eyesight – he’d had a haemorrhage behind his left eye in the mid-1950s – reading and learning scores was never easy. After a second haemorrhage in the early 1990s, he was almost completely blind and could thereafter conduct only the music that was in his prodigious memory. The first occasion that Ted said ‘I won’t need the music stand for the second half’ was at a Sunday afternoon concert in the Barbican in February 1987. The result was one of the most intense performances of Elgar’s Second Symphony that I have ever heard. I remember thinking some five minutes in that the orchestra could not sustain this level of performance much longer. Yet it did, right through to the end. Afterwards, the players told me that for the first time they had seen Ted’s eyes and face and that he – and, as a result, they – had been liberated by not having the score in front of him. Edward Greenfield wrote in The Guardian that ‘no performance of the Elgar that I have heard from London orchestras in recent years has had quite the same combination of involvement and refinement’. Ted felt very much that English music had to be the life-blood of the orchestra and premières of works by Peter Maxwell Davies, Harrison Birtwistle, Alexander Goehr and many other British composers were a regular feature of the orchestra’s schedule.
It is a matter of profound regret that relatively few of Ted’s ‘party pieces’ were captured on CD. In the 1980s, he recorded symphonies by George Lloyd for Lyrita, two Meridian CDs of music by Bernard Stevens and three symphonies by Boughton for BBC Radio Classics. Later, he recorded Elgar’s Second Symphony for Naxos and the Cello Concerto, Enigma Variations and In the South for Conifer. He recorded Miaskovsky's Fifth and Ninth Symphonies for Marco Polo and collaborated extensively with Chandos in music by Glière, Korngold, Prokofiev, Respighi and Verdi (the complete overtures and ballet music). ‘The Puccini Experience’ (with soloists who included Angela Gheorghiu) was released by Royal Opera House Records in 1996. It would have been good to have his performances of Rachmaninov’s Second Symphony and the Symphonic Dances, and of Prokofiev’s and Shostakovich’s symphonies on CD. Ted once said in an interview that the years he spent with the BBC Philharmonic Orchestra were one of the happiest periods of his life. I can only say that for those of us who worked with him it was a pleasure and a privilege to be able to learn each day from his insatiable intellectual curiosity, his practical good sense and his indomitable spirit. We are indeed fortunate to carry in our memories some wonderful music-making which he inspired from the orchestra.
Edward Downes was born in Birmingham on June 17th, 1924. He was appointed CBE in 1986 and knighted in 1991. He died with his wife Joan on July 10th in Zurich. They are survived by their daughter Boudicca and son Caractacus.
- This article was written for International Record Review and published in the September 2009 issue
- It is reproduced on The Classical Source with permission
- International Record Review