The collection consists of: London (2 boxes, including South Bank centre collection); Royal Albert hall (1 box); Provincial (9 boxes); Foreign (2 boxes; the 2nd also includes Wigmore hall and Queen's hall (London) collections); Miscellaneous (1 box).
Most of the material falls into one of the following categories, each facet being approximately a third of the contents of the collection: oboe/piano recitals, chamber music recitals and soloist with orchestral accompaniment. In addition, the boxes show evidence of mixed programming concerts: there are concert programmes for combinations such as choral concert with section of oboe/piano music, orchestral concerts with section of oboe/piano music and mixed piano/oboe plus other chamber music programmes. In addition to the oboe, Goossens also exposed audiences to both the oboe d’Amore and the cor anglais as solo instruments.
Goossens’ orchestral repertoire included concerti by Marcello, Mozart, Cimarosa, Pergolesi, Albinoni and Bach. He also championed the work of British composers such as Rutland Boughton, Gordon Jacob and Malcolm Arnold, as well as the flugal concerto by Gustav Holst. Goossens gave early British performances of the Strauss oboe concerto. Goossens played with various orchestra and conductors, including a significant number of string orchestras. Common collaborators included the Boyd Neel Orchestra (particularly in provinces) and the Jacques Orchestra (in London)
The Mozart oboe quartet formed the staple of Goossen’s chamber repertory, but his performances also included works by Bach, Haydn and Boccherini. Other than this older repertory, Goossens almost exclusively performed British chamber works. The most significant of these include the Phantasy Quartets by Britten and E.J. Moeran. Goossens played with various string ensembles, usually pre-existing groups. This often was a string trio, but also included string quartets and other combinations of instruments. The most common collaborator for chamber music was the Carter String Trio; some concerts featured the Griller and Hirsch string quartets.
Goossen’s repertoire can be loosely divided into 3 groups: older music (most commonly Loeiller, Fiocco, William Babell, Sammartini, Bach, Handel, Rameau, Senaille and Purcell), contemporary British/Irish music (most commonly Michael Head, T.S. Kelly, Reizenstein, Dunhill, Gordon Jacob, Malcolm Arnold and Alan Richardson) and 19th and early 20th century French music (most commonly Ravel, Faure, Franck, Barthe, Hüe and Pierne). Works by Kronke, Alec Templeton, Morgan Nicholas and Sigtenhorst Meyer also featured heavily in his repertoire. Goossen’s repertoire included works arranged for oboe; either works which carried the arranger’s name (e.g. Scarlatti-Bryan) or unnamed adaptations (e.g. excerpts from Bach’s Easter Oratorio). Goossen’s recitals often contained series of 4-6 short works, mixing and matching short works from all 3 types of repertory. This often made a combination of 10 or more composers per recital. Though Goossens performed the “big” French sonatas of Saint-Saens and Poulenc, they are only represented in isolated concerts in this series of provincial programmes. Goossens played with many different pianists, but common collaborators were the pianists Mabel Lovering as well as Ivor Newton and Iris Loveridge.
Additional Collection Information
- Sub Collection: Léon Goossens: London R-Z + South Bank Centre