Leon Goossen’s 90th Birthday Tribute

Wigmore Hall, London

Friday, 12 June 1987, 7.30pm

Nicholas Daniel (oboe)
Julius Drake (piano)

Music inspired by the artistry of Leon Goossens

Alan Richardson: French Suite
Rendevous
Les PeupliersPassepied
Causerie
Les Moulins

Gerald Finzi (arranged Ferguson): Interlude

York Bowen: Sonata for Oboe and Piano
1. Allegretto grazioso
2. Andantino espressivo
3. Finale

Interval

Musical Tributes from the composers Wilfred Josephs, Arnold Cooke, Alan Rideout, Edwin Roxburgh, Elizabeth Maconchy, Alan Bush and a work by Frederick Delius especially arranged for the occasion by Eric Fenby.

Herbert Howells: Sonata for Oboe and Piano
1. Placido, teneramente ma con moto
2. Lento assai espressivo e tranquillo
3. Allegro mosso, scherzando
4. Epilogue, tranquillo mesto ma con moto



Leon Goossens CBE: An Appreciation

Raymond Cooke, OBE

Goossens’ subtle introduction to the oboe by his determined father is now a familiar legend. More astonishing is the speed with which he mastered the instrument in early childhood. He commenced his studies with Charles Reynolds at the age of nine and within two years acquired sufficient competence to be engaged as third oboist with the Liverpool Philharmonic Orchestra for a special concert under Thomas Beecham’s direction. His formal musical education was undertaken at the Royal College of Music in London, under MaIsch. This was a two year course only, and therefore it is certain that the prodigious technical virtuosity he subsequently acquired, the elegant phrasing and highly individual tone must have been largely self-taught.

At the beginning of the century the oboe was not well regarded – certainly not as an important solo instrument. Its place was mainly in accompaniment and the general standard of playing was low. Goossens recollects being profoundly impressed by the playing of Henri du Busscher – principal oboist of the Queen’s Hall Orchestra in the pre-Great War era. His limpid tone was a revelation. Later Leon Goossens developed his own idea of how the oboe should sound and deliberately set out to achieve in practice the standard of tone and fluency which came from deep within himself.

He entered his full professional career on leaving the RCM at the age of sixteen and from then on his progress in British orchestras was phenomenal …

Principal oboist, Queen’s Hall Orchestra – 1915 Principal oboist, Royal Opera Orchestra – 1924

Principal oboist, London Philharmonic Orchestra – 1932

He was also extremely active in the chamber music field and undertook many recitals and overseas tours, often in the company of his conductor/composer brother Eugene. His intuitive understanding of musical phrasing combined with unparalleled technical virtuosity inspired a succession of major and minor works from important composers such as Bax, Bliss, Cooke and Vaughan Williams.

With his superb artistry and genial platform manner, he captured public imagination and focussed attention on the oboe repertoire like no other before his time. In less than two decades, he singlehandedly elevated the stature of his chosen instrument to international prominence, and in recognition of his services to music he was created CBE in 1950.

Throughout the twenties and thirties Leon Goossens was also active in the recording studio. During this period he recorded definitive performances of all the important oboe concerti and chamber works as well as many small pieces. His easygoing manner coupled with his interest in technical matters assured him every consideration from the engineering teams. Fred Gaisberg, pioneer recording producer, called him “the recording angel”, saying he was the easiest person in the world to work with. In 1936 at Ludwigshaven, during a tour with the London Philharmonic Orchestra under Sir Thomas Beecham, Leon Goossens took part in the first ever recording of a public performance on magnetic tape which BASF were then pioneering. It is difficult to comprehend the subsequent shocking neglect of Goossens’ talents by the major recording companies during the late fifties, when improvements in recording technique clearly demanded remakes of all his major pieces.

In 1962 Goossens suffered severe injuries in a terrible car accident which might have terminated his brilliant career at the age of 65. Damage to the nerves round his mouth was a serious impediment, but such was his determination that within two years he was back on the concert platform with another twenty years of performing in front of him. In his later years he has confined himself mainly to the recital platform and continued to tour these islands, literally from John O’Groats to Land’s End, raising money for the restoration of ancient churches. Tonight we are celebrating Leon Goossens ninetieth birthday and a fabulous musical career spanning more than 75 years of active partcipation. We are also commemorating the entire Goossens family which came to England from Belgium in 1873 and founded a unique consortium which has profoundly influenced British musical life for more than 100 years. We are all deeply indebted to their commitment.