Peter Heyworth wrote in The Observer:
“From Arthur Nikisch he had early acquired an immaculate stick technique and was quietly scathing about conductors who used their anatomy to indicate their artistic requirements. […] In an occupation ridden with inflated egos and circus tricksters Boult brought a rare probity to everything he undertook.”
It is interesting that when one observes his conducting style, from the outside there is always calmness, elegance, self-control and economy of movement and gesture, but with this style he often achieved great results with the orchestra characterized by a warm, refined, living sound, full of expression and fire. Behind every work he conducted there was immense knowledge and thoroughness.
For my taste, this technique does not provide for the broadest possible spectrum of expression but there is no question that it produced results, not only for Boult, but for his protegé Vernon Handley, who is the narrator of this video.
This video provides a fascinating insight into the relationship of gesture to music: unlike those who hurl themselves around the rostrum like demons, these quiet gestures appear empty without music. The difference is that the information they provide in the relevant context allows for good music, where the information provided by excessive, uncalibrated and rough gestures achieves the exact opposite. It is somewhat akin to the difference between seeing a great lawyer skewering a difficult witness and a toddler having a tantrum.
What I also liked about this video was the criticism about moving from the elbow, one that I make all the time myself when teaching because I am convinced that it generally creates audible stiffness in sound.
With thanks to Norman Lebrecht for bringing my attention to this video – see his post and comments on Slipped Disc