{"id":50148,"date":"2024-12-02T13:42:50","date_gmt":"2024-12-02T12:42:50","guid":{"rendered":"http:\/\/0b5e1a6a-1d0e-4367-8359-58429864672a"},"modified":"2024-12-02T14:09:21","modified_gmt":"2024-12-02T13:09:21","slug":"neville-marriner-the-conductor-who-turned-millions-on-to-mozart","status":"publish","type":"rss_feed","link":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/rss_feed\/neville-marriner-the-conductor-who-turned-millions-on-to-mozart\/","title":{"rendered":"Neville Marriner: the conductor who turned millions on to Mozart"},"content":{"rendered":"<p class=\"rssexcerpt\"><\/p><p class=\"rssauthor\">By <\/p><p class=\"rssbyline\">Published: Monday, 02 December 2024 at 12:42 PM<\/p><hr class=\"no-tts wp-block-separator\"\/><?xml version=\"1.0\" encoding=\"UTF-8\" standalone=\"yes\"?>\n<!DOCTYPE html PUBLIC \"-\/\/W3C\/\/DTD HTML 4.0 Transitional\/\/EN\" \"http:\/\/www.w3.org\/TR\/REC-html40\/loose.dtd\">\n<html> <head\/> <body> <p>The <em>New Yorker<\/em> magazine once ran a cartoon featuring two parrots whose vocabulary has been pilfered from the radio. One says, \u2018That was the Academy of St Martin in the Fields\u2019; the other adds, \u2018conducted by Sir Neville Marriner\u2019. And that the joke worked in a publication with a general, worldwide readership was telling.<\/p> <p>Throughout more than half a century, the Academy and Marriner were joined umbilically into an uber-brand, commanding instant recognition in the universe of music. Together they toured the world, endlessly. Together they made more recordings than any other conductor\/ensemble partnership in history, their only serious rival being <strong><a href=\"https:\/\/www.classical-music.com\/articles\/trouble-karajan\">Herbert von Karajan<\/a><\/strong> and the <strong><a href=\"https:\/\/www.classical-music.com\/features\/artists\/berlin-philharmonic\">Berlin Phil<\/a><\/strong>.<\/p> <ul class=\"wp-block-list\"> <li><strong><a href=\"https:\/\/www.classical-music.com\/articles\/karajan-conducting-five-fantastic-karajan-moments\">Five fantastic Karajan moments<\/a><\/strong><\/li> <li><strong><a href=\"https:\/\/www.classical-music.com\/articles\/controversy-karajan-eight-quotes\">Karajan in quotes: 8 comments about the controversial conductor<\/a><\/strong><\/li> <\/ul> <p>And although he eventually passed the Academy\u2019s artistic direction over to <strong><a href=\"https:\/\/www.classical-music.com\/features\/artists\/who-is-joshua-bell\">Joshua Bell<\/a><\/strong>, Marriner remained closely involved as Life President until life left him in 2016 \u2013 continuing, as his son Andrew understatedly puts it, to be \u2018mentioned in dispatches\u2019 whenever the ensemble gets a name-check.<\/p> <figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube\"> <div class=\"wp-block-embed__wrapper\"> <iframe loading=\"lazy\" title=\"Sir Neville Marriner and the Academy of St Martin in the Fields\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/eM11qCS8kvc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\/> <\/div> <\/figure> <h2 class=\"wp-block-heading\">When was Neville Marriner born?<\/h2> <p>The dispatches were in overdrive earlier this year as Marriner\u2019s centenary celebrations kicked in. And at the heart of them was a series of concerts at St Martin-in-the-Fields, Wigmore Hall, the Festival Hall and Lincoln Cathedral, flagging the city where Neville Marriner was born on 15\u00a0April 1924 into a modest but musical family.\u00a0<\/p> <p>His father, a carpenter, was also the organist at the local Methodist chapel, which meant that the young Neville was raised in a culture of robust hymnody and annual<em> <strong><a href=\"https:\/\/www.classical-music.com\/features\/handel-messiah\">Messiahs<\/a><\/strong><\/em> before leaving to study violin at the Royal College of Music. Thereafter he freelanced in post-war London: playing with <strong><a href=\"https:\/\/www.classical-music.com\/features\/musical-terms\/chamber-music\">chamber music<\/a><\/strong> ensembles, rising through the ranks of the London Symphony Orchestra to lead the second violins (see the clip below, with the great <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/leonard-bernstein\">Leonard Bernstein<\/a><\/strong> conducting). And that\u2019s where he was in his life when a young woman called Molly \u2013 later to be Lady Marriner \u2013 walked through the door of the apparently ramshackle house in Brook Green he was sharing with others in the music business \u2013 one of them writer John Amis.<\/p> <figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube\"> <div class=\"wp-block-embed__wrapper\"> <iframe loading=\"lazy\" title=\"ASMF founder Neville Marriner leading the LSO's Second Violins in rehearsal with Leonard Bernstein\" width=\"800\" height=\"600\" src=\"https:\/\/www.youtube.com\/embed\/VXDE-L4kEf8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\/> <\/div> <\/figure> <p>Now in her happily vigorous mid-90s and living in deepest Dorset, Molly Marriner recalls going to visit Amis at that house \u2018which was called Divorce Corner because almost everyone was going through matrimonial traumas, Neville included. And we met on terms that weren\u2019t exactly a passionate love affair. He needed help organising his life, work and children. I could type, so I volunteered, unpaid. And I was still volunteering, unpaid, as he set up the Academy and it took off.\u2019<\/p> <h3 class=\"wp-block-heading\">&#8216;He was very charming when he could be bothered&#8217;<\/h3> <p>That Neville Marriner had the ability to draw people like Molly into his ambit was the product of a charismatic geniality that never left him and determined his relationships with\u00a0players. \u2018He could make you laugh,\u2019 says Molly, \u2018however angry or fed up you were. And he was very charming when he could be bothered. But that aside, his greatest talent was being able to recognise a good thing when it came his way and seize it. I was the good thing at that moment.\u2019<\/p> <figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube\"> <div class=\"wp-block-embed__wrapper\"> <iframe loading=\"lazy\" title=\"Elgar: Enigma Variations 'Nimrod' | Academy of St Martin in the Fields, Sir Neville Marriner\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/Cn9oXU8k5qE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\/> <\/div> <\/figure> <p>In 1958 they married. And it was the following year, when they were living in a flat in Cornwall Gardens, Kensington (still owned by the family, with the name N Marriner still on the door), that the Academy of St Martin\u2019s began \u2013 established by informal gatherings in their sitting room.<\/p> <p>\u2018We\u2019d clear the furniture,\u2019 recalls Molly, \u2018and Neville\u2019s friends would come round to play, for their own amusement, trying out repertoire. There was no plan for public concerts, and I can\u2019t imagine what the neighbours thought of the noise. Probably not a lot.\u2019<\/p> <h2 class=\"wp-block-heading\">Neville Marriner and St Martin-in-the-Fields<\/h2> <p>The repertoire they were exploring was essentially <strong><a href=\"https:\/\/www.classical-music.com\/articles\/baroque-music-guide\">Baroque<\/a><\/strong>. This meant <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/george-frideric-handel\">Handel<\/a><\/strong>, <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/henry-purcell\">Purcell<\/a><\/strong> and assorted Italians \u2013 Locatelli, Torelli, Corelli \u2013 that Neville called Ice Cream Merchants. In 1950s Britain much of this was unfamiliar. And Marriner\u2019s interest was spurred by the musicologist Thurston Dart, a friend he\u2019d met in a military hospital where they both recovered from wounds sustained in wartime service.<\/p> <ul class=\"wp-block-list\"> <li><strong><a href=\"https:\/\/www.classical-music.com\/features\/recordings\/the-best-recordings-of-corellis-concerti-grossi\">The best recordings of Corelli&#8217;s Concerti Grossi<\/a><\/strong><\/li> <\/ul> <p>By Marriner\u2019s own account Dart was \u2018the most important person we knew\u2019, acting as a sort of academic mentor to this group of young, inquiring players. But comparably important was John Churchill, the person they brought in as a keyboard player when the initially all-strings ensemble started to embrace other instruments.<\/p> <p>He happened to be the organist at St Martin-in-the Fields where, in 1961, it was eventually arranged for Marriner\u2019s group to make their concert debut, borrowing the church\u2019s name in the process. And the name stuck \u2013 causing confusion ever after as the outside world (particularly visiting Americans) assumed the building was their home and turned up at St Martin\u2019s looking for them.<\/p> <figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube\"> <div class=\"wp-block-embed__wrapper\"> <iframe loading=\"lazy\" title=\"Symphony No. 6 in B Minor, Op. 74, TH 30 &quot;Path\u00e9tique&quot;: I. Adagio - Allegro non troppo\" width=\"800\" height=\"600\" src=\"https:\/\/www.youtube.com\/embed\/ubGkGTDEVrA?list=PLa1rC97wRkZho43fDgjPzdDo1B_6C3HNn\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\/> <\/div> <\/figure> <p>In truth, they were hardly ever there: as the Academy grew famous, they made their\u00a0money from international tours, only occasionally surfacing in London. So, the relationship with St Martin\u2019s was loose \u2013 although it was the venue for their first ever recording, which Molly Marriner remembers \u2018happened at dead of night, in the two hours between when the buses stopped and started again.<\/p> <h3 class=\"wp-block-heading\">&#8216;She paid in cash: five pounds per player from a leather satchel&#8217;<\/h3> <p>&#8216;It was all thanks to an Australian woman who had acquired great wealth through what we thought was sheep farming, though it turned out to be linoleum, and used it to set up [record label] L\u2019Oiseau-Lyre. She paid in cash: five pounds per player from a leather satchel. Things were different then.\u2019<\/p> <p>It proved to be one of the opportunities that Neville seized \u2013 making disc after disc with a repertoire that expanded rapidly from Ice Cream Merchants to <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/mozart\">Mozart<\/a><\/strong>, Tippett and <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/arnold-schoenberg\">Schoenberg<\/a><\/strong>. And as the size of the Academy grew to accommodate bigger scores, so Neville Marriner\u2019s role changed.<\/p> <ul class=\"wp-block-list\"> <li><strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/10-mozart-myths\">Buried in a pauper&#8217;s grave? Ten Mozart myths debunked<\/a><\/strong><\/li> <\/ul> <p>From their earliest days, the group saw themselves as escaping the tyranny of <strong><a href=\"https:\/\/www.classical-music.com\/articles\/what-does-a-conductor-do\">conductors<\/a><\/strong> \u2013 with Neville merely leading from the violin and encouraging \u2018everyone to have their say, then do it my way\u2019, as he put it. But an expanded ensemble of sometimes 60 players called for more. \u2018Waving a violin bow was useless,\u2019 recalls Molly. \u2018And things came to a head when there was an issue and a player said, \u201cFor God\u2019s sake, Neville, either stand somewhere we can see you or somewhere we can\u2019t.\u201d\u2019<\/p> <figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube\"> <div class=\"wp-block-embed__wrapper\"> <iframe loading=\"lazy\" title=\"Mozart: Symphony No. 41 in C Major, K. 551 &quot;Jupiter&quot;: IV. Finale. Molto allegro\" width=\"800\" height=\"600\" src=\"https:\/\/www.youtube.com\/embed\/-W9ehfOc2ys?list=PLMzOWjDWFKUw4jlvPjlyZTjWvuGNRBP2q\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\/> <\/div> <\/figure> <h3 class=\"wp-block-heading\">\u2018Why do you stick out your bottom when you want<em> pianissimo<\/em>?\u2019<\/h3> <p>The result was conducting lessons, which Marriner had never had until he booked into an American summer school run by Pierre Monteux. It proved a formative experience, shared by Molly who remembers Neville being asked by the maestro, \u2018Why do you stick out your bottom when you want<em> pianissimo<\/em>?\u2019 But more significantly, it was where he learned the unfussy up\/down stick technique that stayed with him ever after.<\/p> <ul class=\"wp-block-list\"> <li><strong><a href=\"https:\/\/www.classical-music.com\/features\/artists\/20-greatest-conductors-all-time\">The greatest conductors of all time<\/a><\/strong><\/li> <\/ul> <p>Monteux abhorred flamboyance, insisting that his students contain their gestures within an imaginary box. And Marriner took the lesson to heart, becoming a \u2018boxed-in\u2019 conductor with a reputation for prioritising clarity over emotion.<\/p> <p>To be more exact, he thought (according to Molly) that \u2018emotion happens in rehearsal, where I say how I feel. Then, at the concert, I just beat time and the orchestra have the emotion.\u2019 But he absorbed Monteux\u2019s dictum that conducting was for the musicians, not the audience.<\/p> <h3 class=\"wp-block-heading\">&#8216;He transformed English string playing for the better&#8217;<\/h3> <p>And for Andrew Marriner, who played <strong><a href=\"https:\/\/www.classical-music.com\/features\/instruments\/history-of-the-clarinet-its-invention-evolution-and-famous-clarinet-makers\">clarinet<\/a><\/strong> with the Academy under his father, \u2018the precision was helpful: it\u2019s a tougher job to pick the bones out of a more expressive beat. Maybe he didn\u2019t delve into emotional depths, but for a player there\u2019s nothing worse than conductors who exhaust the emotional content 100 per cent by themselves. It\u2019s a more balanced experience if they hold back.\u2019<\/p> <figure class=\"wp-block-image size-full\">  <figcaption class=\"wp-element-caption\"> Neville Marriner, circa 1990. (Photo by kpa\/United Archives via Getty Images) &#8211; kpa\/United Archives via Getty Images <\/figcaption> <\/figure> <p>Holding back became a route to the Academy\u2019s distinctive sound: exact and polished, with what Andrew sums up as \u2018ensemble, intonation, preparation \u2013 everyone stylistically on the same page. I think he transformed English <strong><a href=\"https:\/\/www.classical-music.com\/features\/instruments\/string-instruments\">string<\/a><\/strong> playing for the better. And he certainly cleaned up Baroque playing \u2013 though he wasn\u2019t prepared to take the next step of period instruments. He didn\u2019t like the raw sounds they made then.\u2019<\/p> <ul class=\"wp-block-list\"> <li><strong><a href=\"https:\/\/www.classical-music.com\/articles\/why-the-early-music-revolution-of-the-1970s-was-truly-a-moment-to-savour\">Why the period instrument revolution of the early 1970s was a moment to savour<\/a><\/strong><\/li> <\/ul> <p>According to principal viola Robert Smissen, an Academy musician for some 40 years, Neville Marriner\u2019s stance on period performance was emphatic but considered. \u2018He would spend a lot of time preparing parts and editing, and he was against the lugubrious <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/best-romantic-composers\">Romanticism<\/a><\/strong> that had overlaid Baroque playing for decades. But there was a particular sound that he wanted, and it wasn\u2019t \u201cperiod\u201d. As everyone was freelance, with no ongoing contracts, you came to the Academy on the understanding that you played his way.\u2019<\/p> <h2 class=\"wp-block-heading\">Travels to America<\/h2> <p>In that respect, the Academy shared common ground with another band, the English Chamber Orchestra who were establishing themselves at much the same time \u2013 and also holding out against the emerging religion of \u2018authenticity\u2019 \u2013 in what could have been territorial rivalry. \u2018But dad had a generosity of spirit that didn\u2019t do rivalry,\u2019 says Andrew Marriner.<\/p> <figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube\"> <div class=\"wp-block-embed__wrapper\"> <iframe loading=\"lazy\" title=\"Sir Neville Marriner interview (18 February 1989)\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/TXy7wD3yvoI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\/> <\/div> <\/figure> <p>\u2018And anyway, the ECO had a different ethos \u2013 working with stars like <strong><a href=\"https:\/\/www.classical-music.com\/features\/artists\/daniel-barenboim\">Daniel Barenboim<\/a><\/strong> who had their own ideas, and associated with <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/benjamin-britten-composer\">Britten<\/a><\/strong> whose world was something else. Dad had sometimes played for Britten in the early days but there was an embarrassing catastrophe \u2013 he overslept and missed a morning rehearsal \u2013 so it was a relationship that was never nurtured.\u2019<\/p> <ul class=\"wp-block-list\"> <li><strong><a href=\"https:\/\/www.classical-music.com\/features\/recordings\/daniel-barenboims-best-recordings\">Daniel Barenboim: his best recordings<\/a><\/strong><\/li> <li><strong><a href=\"https:\/\/www.classical-music.com\/features\/works\/benjamin-britten-best-works\">The best works by Britten<\/a><\/strong><\/li> <\/ul> <p>Neville\u2019s relationship with the Academy went on hold in 1966, when he took charge of the well-funded Los Angeles Chamber Orchestra (remembered by Molly as \u2018walking into a fairyland of swimming pools, houseboys in white coats, orange trees in tubs. Being a puritan, I hated it\u2019). And from 1979-86 he ran the Minnesota Orchestra (\u2018Better for me,\u2019 says Molly; \u2018not so opulent\u2019), immediately followed by a stint with the Stuttgart Radio Symphony and bouts of guest conducting across the globe. But the Academy always reclaimed him; and with that enduring bond, he never cultivated the sweeping maestro manner of a Karajan or a Solti.<\/p> <h3 class=\"wp-block-heading\">His humour could be devastating<\/h3> <p>\u2018He was not the great \u201cI AM\u201d,\u2019 says Molly. \u2018He just felt he had been lucky.\u2019 \u2018And there was a lot of luck,\u2019 adds Andrew, \u2018from surviving that wartime wound and finding himself in a hospital bed next to Thurston Dart, through to the way he carried on conducting, almost to the day he died, in his 90s. But he also made his own luck.<\/p> <p>&#8216;He had an ability to galvanise people and make them enjoy the experience \u2013 which was a gift of temperament. The sense of humour people mostly loved, although it sometimes fell with devastating effect on flustered latecomers rushing into a rehearsal. \u201cNo, no, please get comfortable, enjoy your last engagement with the orchestra\u201d was a line that everybody knew.\u2019<\/p> <p>\u2018He could, in truth, hire and fire,\u2019 Bob Smissen says, \u2018because the players never had security in the Academy. But at a personal level he was a generous human being: he cared, especially if you were in trouble. So the mercurial side came without malice. He was fun to be with.\u2019<\/p> <p>And he liked fun, even at his own expense \u2013 as\u00a0Molly Marriner recalls of a misunderstanding that occurred late on in life when he was guest-conducting in Japan. \u2018We were backstage before a concert, Neville half into his trousers, when the dressing room door opened and people trooped in with gifts and long speeches in Japanese. Neville was famous in Japan, so we assumed they were showering him with praise. When we discovered it was for National Respect the Elderly Day, he laughed so much. But then, he\u00a0always did.\u2019\u00a0<\/p> <h2 class=\"wp-block-heading\">A Neville Marriner discography<\/h2> <p>If one thing sent the \u2018brand\u2019 of Neville Marriner and the Academy worldwide it was their output of some 600 recordings, seizing the moment as the golden age of classical LPs took off. At their heart was a founding repertoire of Italian Baroque that culminated in their legendary 1969 recording of <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/antonio-vivaldi\">Vivaldi<\/a><\/strong>&#8216;s <em><strong><a href=\"https:\/\/www.classical-music.com\/features\/recordings\/the-best-recordings-of-vivaldis-the-four-seasons\">Four Seasons<\/a><\/strong><\/em>. But as the Academy grew, so did the scope.<\/p> <p>In the 1960s came <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/igor-stravinsky\">Stravinsky<\/a><\/strong>\u2019s <em>Pulcinella<\/em> and Schoenberg\u2019s <em>Verkl\u00e4rte Nacht<\/em>, followed by Tippett\u2019s music for strings, which later became the soundtrack to Peter Hall\u2019s film<em> Akenfield<\/em>. And in the \u201970s came Mozart: the piano concertos with Alfred Brendel, and a set of early symphonies that Marriner ranked among his \u2018most rewarding\u2019.\u00a0<\/p> <ul class=\"wp-block-list\"> <li><strong><a href=\"https:\/\/www.classical-music.com\/features\/recordings\/mozart-piano-concertos-best-recordings\">Mozart Piano Concertos: the best recordings<\/a><\/strong><\/li> <\/ul> <p>He felt more equivocally about a pairing of <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/antonin-dvorak\">Dvo\u0159\u00e1k<\/a><\/strong>\u2019s Serenade for Strings with <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/edvard-grieg\">Grieg<\/a><\/strong>\u2019s<em> Holberg Suite<\/em>, adopted by British Airways. \u2018Every time you get on a plane,\u2019 he said, \u2018you hear it as you struggle to get your luggage in the rack. It haunts me.\u2019<\/p> <figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube\"> <div class=\"wp-block-embed__wrapper\"> <iframe loading=\"lazy\" title=\"Holberg Suite, Op. 40: I. Prelude: Allegro vivace\" width=\"800\" height=\"600\" src=\"https:\/\/www.youtube.com\/embed\/Y4QZ0ssdiuw?list=PLs2vq238vU6l2j9itCG9RKYOn7EhNnXBI\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\/> <\/div> <\/figure> <p>Something else destined to haunt him, more agreeably, was the 1984 soundtrack for Milo\u0161 Forman\u2019s<em> <\/em>epochal Mozart biopic <em><strong><a href=\"https:\/\/www.classical-music.com\/articles\/amadeus-film\">Amadeus<\/a><\/strong><\/em>. It enjoyed massive sales and bolstered the Academy\u2019s Mozartian credentials \u2013 leading to a Mozart opera series in the 1990s.<\/p> <ul class=\"wp-block-list\"> <li><strong><em>Amadeus<\/em> features in our list of the<\/strong> <strong><a href=\"https:\/\/www.classical-music.com\/articles\/best-films-about-composers\">best (and worst) classical music films ever made<\/a><\/strong>\u00a0<\/li> <\/ul> <p>Opera, though, was never prominently on the schedule: it demanded too much time for someone whose relentless work-ethic propelled him from one project to the next.<\/p> <\/body><\/html>\n<hr class=\"no-tts wp-block-separator\"\/>","protected":false},"excerpt":{"rendered":"<p>By Published: Monday, 02 December 2024 at 12:42 PM The New Yorker magazine once ran a cartoon featuring two parrots whose vocabulary has been pilfered from the radio. One says, \u2018That was the Academy of St Martin in the Fields\u2019; the other adds, \u2018conducted by Sir Neville Marriner\u2019. And that the joke worked in a [&hellip;]<\/p>\n","protected":false},"author":24,"featured_media":50149,"template":"","categories":[1,17],"acf":{"readingTimeMinutes":"11"},"uagb_featured_image_src":{"full":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/12\/neville-marriner-the-conductor-who-turned-millions-on-to-mozart.jpg",1200,800,false],"thumbnail":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/12\/neville-marriner-the-conductor-who-turned-millions-on-to-mozart-150x150.jpg",150,150,true],"medium":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/12\/neville-marriner-the-conductor-who-turned-millions-on-to-mozart-300x200.jpg",300,200,true],"medium_large":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/12\/neville-marriner-the-conductor-who-turned-millions-on-to-mozart-768x512.jpg",768,512,true],"large":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/12\/neville-marriner-the-conductor-who-turned-millions-on-to-mozart-1024x683.jpg",800,534,true],"1536x1536":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/12\/neville-marriner-the-conductor-who-turned-millions-on-to-mozart.jpg",1200,800,false],"2048x2048":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/12\/neville-marriner-the-conductor-who-turned-millions-on-to-mozart.jpg",1200,800,false]},"uagb_author_info":{"display_name":"importmanagerhub@sprylab.com","author_link":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/author\/importmanagerhubsprylab-com\/"},"uagb_comment_info":0,"uagb_excerpt":"By Published: Monday, 02 December 2024 at 12:42 PM The New Yorker magazine once ran a cartoon featuring two parrots whose vocabulary has been pilfered from the radio. One says, \u2018That was the Academy of St Martin in the Fields\u2019; the other adds, \u2018conducted by Sir Neville Marriner\u2019. And that the joke worked in a&hellip;","_links":{"self":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/rss_feed\/50148"}],"collection":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/rss_feed"}],"about":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/types\/rss_feed"}],"author":[{"embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/users\/24"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/media\/50149"}],"wp:attachment":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/media?parent=50148"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/categories?post=50148"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}