Wikipedia:Featured article candidates/John Barbirolli/archive1


 * The following is an archived discussion of a featured article nomination. Please do not modify it. Subsequent comments should be made on the article's talk page or in Wikipedia talk:Featured article candidates. No further edits should be made to this page.

The article was promoted by Ucucha 03:38, 10 February 2012.

John Barbirolli

 * Nominator(s): Tim riley (talk) 16:44, 26 January 2012 (UTC)

This article is one of a series on British conductors on which I've worked, and having got Henry Wood, Thomas Beecham and Adrian Boult to FA, I hope I have done Barbirolli justice too. After taking the article to GA in 2010, I revised and added to it substantially last year. Barbirolli was Toscanini's successor as chief conductor of the New York Philharmonic, and was a celebrated guest conductor in opera in Rome and in the concert hall in Berlin, but he is principally remembered as the conductor and saviour of the Hallé Orchestra in England. He was a great, occasionally eccentric, musician and he deserves a top-flight article, which I hope I have given him. Tim riley (talk) 16:44, 26 January 2012 (UTC)

Source review - spotchecks not done. Nikkimaria (talk) 04:48, 27 January 2012 (UTC)
 * Be consistent in whether page ranges are abbreviated or not
 * No citations to Kennedy 2008
 * Be consistent in whether punctuation is linked or not, and whether commas appear inside or outside quotation marks in titles - for example, compare FNs 7 and 10
 * Check pagination on FN 37
 * Be consistent in how editors are notated
 * Don't repeat cited sources in External links. Nikkimaria (talk) 04:48, 27 January 2012 (UTC)
 * All attended to, I think. Thanks as always for your sharp eyes. Tim riley (talk) 10:52, 27 January 2012 (UTC)

Support, with quibbles. I peer-reviewed this, but that was a while back and I have not looked at the article recently. I read it again with pleasure, but of course had to find a few things to niggle about:-
 * Second para of lead: Remove comma after "Born in London..." The first half of this paragraph is rather dense with "conductor/conducting" repetitions, which could perhaps be reduced by some slight rephrasing
 * Redrawn. Tim riley (talk) 10:17, 29 January 2012 (UTC)
 * Last sentence of lead: the "but" should be an "and" ("and was also admired..."
 * Someone else is ahead of me and has redrawn this sentence. Tim riley (talk) 10:17, 29 January 2012 (UTC)
 * Shouldn't his baptismal names (Giovanni Battista) be mentioned in the lead intro? Otherwise an unaware reader might not realise that they are one and the same.
 * Done. Ought I to leave the repetition of his original name in the main text, too, do you think? Tim riley (talk) 10:17, 29 January 2012 (UTC)
 * Personally I'd begin this section "Barbirolli was born on (date)...", without bolding - there is no real justification for bolding here. Brianboulton (talk) 15:02, 29 January 2012 (UTC)
 * Fine with me. I'll follow your advice - thank you. Tim riley (talk) 15:28, 29 January 2012 (UTC)
 * "Southampton Row is within the sound of Bow Bells, and Barbirolli always regarded himself as a Cockney." Sentence looks misplaced where it is. Suggest promote to second sentence of the paragraph.
 * Done. Tim riley (talk) 10:17, 29 January 2012 (UTC)
 * I also suggest you look for instances of over-punctuation, e.g. in sentences such as: "His father, Lorenzo Barbirolli (1864–1928), was a violinist, who had settled in London with his wife, Louise Marie, née Ribeyrol (1870–1962)". (Five commas among 20 words)
 * Pruned one, but most are, I think, grammatically necessary for clauses that describe rather than define. Tim riley (talk) 10:17, 29 January 2012 (UTC)
 * His scholarship at Trinity College of Music is mentioned in passing, but not how or when he acquired it.
 * Kennedy and Reid say no more than that he won it in 1910. I have changed "his" to "a". Tim riley (talk) 10:17, 29 January 2012 (UTC)
 * "regular playing partner Ethel Bartlett": Could you mention she was a pianist (if this be she).
 * Done. Tim riley (talk) 10:17, 29 January 2012 (UTC)
 * "...with whom he made several early broadcasts." Can you clarify the subject of "whom"?
 * Done. Tim riley (talk) 10:17, 29 January 2012 (UTC)
 * "Barbirolli's ambition remained to conduct". Perhaps "remained" is wrong here, since this ambition has not been mentioned until now.
 * Redrawn. Tim riley (talk) 10:17, 29 January 2012 (UTC)
 * I'm slightly puzzled by "Barbirolli also won warm praise from Pablo Casals, whom he had accompanied in Haydn's D major cello concerto at the same concert." The word "accompanied" does not seem apposite, if he was conducting. (see also a later point)
 * You and I have disagreed about this before. I maintain that the orchestral part of a concerto is referred to as a matter of course as the "accompaniment" (see opening para of the WP Concerto article), and you can see JB described as accompanying concertos in Bicknell's obituary tribute to him, here, or in Kennedy, p. 171, where JB firmly declines "to become a piano concerto accompanist". Tim riley (talk) 10:17, 29 January 2012 (UTC)
 * The positioning of the two sentences relating to his marriage to Marjorie Perry is chronologically correct, but awkward. Consider if this could be arranged better.
 * I agree, but short of having a separate "Personal life" section, as I did for the Beecham article, I can't think where else to put this information. Unlike Beecham's, JB's personal life was not notable enough to run to a whole section of its own, I think. Tim riley (talk) 10:17, 29 January 2012 (UTC)
 * "a rough press campaign in New York from interested parties who wished to evict him from his post": I think this quotation should be attributed.
 * Yes, done. Tim riley (talk) 10:17, 29 January 2012 (UTC)
 * "In 1943 Barbirolli made another Atlantic crossing..." Can you clarify, e.g. "In 1943 Barbirolli flew back to England..."
 * I chose this phrasing rather carefully, because an exposition of the complete facts seemed to me to be rather wordy. JB crossed the Atlantic by ship to Portugal, and then went by plane from there to England. It was in Lisbon where Howard asked him to swap flights so that Howard could remain in Lisbon for a few days. According to some accounts, someone on Howard's flight bore a striking resemblance to Winston Churchill, which is why the Germans decided to shoot down a flight over a neutral country, but I cannot vouch for this. Tim riley (talk) 10:17, 29 January 2012 (UTC)
 * "Later he extended his teaching skills to the Royal Academy of Music..." Maybe replace "later" with a year?
 * Done. Tim riley (talk) 10:17, 29 January 2012 (UTC)
 * "He found that mastering a Mahler symphony took between 18 months and two years..." Clarification necessary; maybe insert "him" between "took" and "between", since the statement is followed by a reference to "50 hours of rehearsal".
 * Much better. Done. Tim riley (talk) 10:17, 29 January 2012 (UTC)
 * "Many of Barbirolli's pre-war recordings for HMV were of concertos. His reputation as an accompanist tended to obscure his talents as a symphonic conductor, and later, his detractors in New York "damned him with faint praise by exalting his powers as an accompanist and then implying that that was where it all stopped." Again, the use of the word "accompanist" confuses me in this section:. To me, an accompanist is a supporting player to a soloist, e.g. Gerald Moore; as such, Bruno Walter sometimes accompanied Kathleen Ferrier on the piano. I can't fit that understanding into the above; can you say in what sense Barbirolli was acting as an "accompanist" in these prewar HMV recordings?
 * As above, J'y suis, j'y reste. Tim riley (talk) 10:17, 29 January 2012 (UTC)
 * Perhaps link, or better still describe, what is meant by an "Intendant". Otherwise it sounds like the person in charge of the cloakrooms.
 * Yes, redrawn. Tim riley (talk) 10:17, 29 January 2012 (UTC)

These are not major matters, and I am sure you will have little difficulty disposing of them. Brianboulton (talk) 20:08, 28 January 2012 (UTC)
 * Thank you so much for the support, and for the comments, which I have acted on as noted above. We shall have to agree to differ over "accompanying" concertos, but for the other points I have followed up your suggestions. Tim riley (talk) 10:17, 29 January 2012 (UTC)
 * I had forgotten our earlier colloquy on the meaning of "accompany" in musical parlance. My problem is with what I will call the "Walter–Ferrier question". Bruno Walter accompanied Kathleen Ferrier on the piano during song recitals, and also conducted the orchestra when she sang works such as Mahler's Rückert songs and Kindertotenlieder. There ought to be a way of distinguishing between these rather different activities; in the latter case the orchestra is accompanying the singer, the conductor is directing both. That, m'lud, is the essence of my case, but I am not pressing it. Brianboulton (talk) 14:59, 29 January 2012 (UTC)
 * Your magnanimity is much appreciated - thank you. Tim riley (talk) 15:28, 29 January 2012 (UTC)

Support on prose and comprehensiveness. A few quibbles:
 * Lede
 * "seized the chance" Too dramatic for the lede, since you are not explaining at this time.  You are also exactly duplicating the prose you use later, which I think is a bad idea.
 * I agree on both counts. Redrawn. – Tim riley (talk) 09:19, 1 February 2012 (UTC)
 * Biography
 * Given his parentage, something should be said about his own nationality.
 * Good. Done. – Tim riley (talk) 09:19, 1 February 2012 (UTC)
 * Date Otello's premiere
 * Done. – Tim riley (talk) 09:19, 1 February 2012 (UTC)
 * Although you do imply it in the lede, it may be worth mentioning his birth name early on.
 * I had this in the text, but took it out in the light of Brianboulton's comment above. – Tim riley (talk) 09:19, 1 February 2012 (UTC)
 * "was to be absent in America," This sounds odd.  Perhaps just say what he was doing across the pond.
 * Redrawn. – Tim riley (talk) 09:19, 1 February 2012 (UTC)
 * " the other three were Elgar, Beecham and Pierre Monteux." This is clearly a great honour, then, judging by his fellows, I would move the information up in the sentence.
 * I take your point and have tussled mightily with this, but I can't find a way of mentioning the other three before JB without having the prose get complicated. I think I'll duck out and leave it as it is. – Tim riley (talk) 09:19, 1 February 2012 (UTC)
 * Barbirolli's name was hardly known internationally" A little too flowery, I am afraid.  Perhaps "Barbirolli was not well-known internationally".
 * Hmm. I have redrawn, but I want to get across how completely unknown JB was outside Britain. One of his biographers wrote: "Barbirolli's appointment was announced by the New York Philharmonic Society's directorial board on 7th April 1936. The musical world rubbed incredulous eyes. … In much newspaper comment the following day surprise verged on perplexity. Nobody had heard of John Barbirolli. … What sense was there in giving the New York Philharmonic to a man who had never been on an American front page before or, so far as could be made out, on any front page of moment anywhere?" I have added this as a footnote to make the point clearer. – Tim riley (talk) 09:19, 1 February 2012 (UTC)
 * "In the spring of 1936, " This paragraph is a bit of a problem.  As it delves further into the past it should probably be "had been confronted", etc.
 * Redrawn. – Tim riley (talk) 09:19, 1 February 2012 (UTC)
 * "political lobbying" I would not disparage it with such a term.  Concerns about Nazi Germany proved to be justified.
 * Redrawn. – Tim riley (talk) 09:19, 1 February 2012 (UTC)
 * " the post should have been offered to "native conductors"" One post being divided among multiple native conductors reads oddly.  I take it you want to keep the quote as colourful; perhaps "preference should have been given to "native conductors"
 * Done. – Tim riley (talk) 09:19, 1 February 2012 (UTC)
 * "Players and critics in Europe and the United States commented on the improvement in the playing of their orchestras when Barbirolli was in charge." Since the previous sentence can be read to limit Barbirolli's training to the Halle, this is jarring as the first hint that he was training outside the Halle.
 * Redrawn. – Tim riley (talk) 09:19, 1 February 2012 (UTC)
 * "but he declined to be deflected from the Hallé" This seems a bit odd in phrasing.
 * I rather think I stole the phrase from one of JB's biographers, but I agree and I've redrawn. – Tim riley (talk) 09:19, 1 February 2012 (UTC)
 * "worked at " a plebeian phrase for his art, no?
 * Perhaps. Redrawn in any case. – Tim riley (talk) 09:19, 1 February 2012 (UTC)
 * "the Philharmonia" it is long since you mentioned them; consider a link.
 * Done – Tim riley (talk) 09:19, 1 February 2012 (UTC)
 * "Barbirolli was appointed Conductor Laureate." If someone took over workaday conducting duties, I would say who.  Additionally, it might be wise to mention that acceptance of such an appointment meant he was stepping back a bit.
 * Excellent points, thank you. Both now dealt with, and I've added a footnote on his successor. – Tim riley (talk) 09:19, 1 February 2012 (UTC)
 * "His last" Begins consecutive sentences in the penultimate paragraph of the bio section.
 * Amended. – Tim riley (talk) 09:19, 1 February 2012 (UTC)
 * Honours
 * "The Barbirolli Hall" This sentence is somewhat convoluted, and might benefit from simplification.
 * Yes indeed! Now done. – Tim riley (talk) 09:19, 1 February 2012 (UTC)

--Wehwalt (talk) 01:29, 30 January 2012 (UTC)
 * Thanks indeed for the support and the suggestions above, which I shall enjoy going through carefully tomorrow. Tim riley (talk) 18:42, 31 January 2012 (UTC)
 * Now complete. I've adopted all your suggestions except one, which I can't find a smooth way of incorporating. Several of your suggestions have led to important improvements in the article, and I'm most grateful. – Tim riley (talk) 09:19, 1 February 2012 (UTC)

Support. As usual with a Tim riley article, this is a delight to read, as well as thoroughly researched, well illustrated and comprehensive. I also have a few minor suggestions, but ignore any of them with which you disagree:
 * Lead
 * I wonder if this information is important enough to be in the intro: "his father and grandfather were violinists".
 * Perhaps not, on reflection. I've removed. Tim riley (talk) 10:16, 4 February 2012 (UTC)
 * The intro says: "in the 1950s he conducted productions of works by Verdi … at Covent Garden". Does this mean operas only, or other works also?
 * Operas only, but I drafted thus to avoid two "opera/operas" in one sentence. I think it's clear. Tim riley (talk) 10:16, 4 February 2012 (UTC)


 * Early years
 * "Barbirolli was born in … London…. He was a British national from birth".  Aren't all children born in London British nationals from birth?
 * I don't know the legal position. I think (mind, I say I think) it was so in JB's day but is no longer so. I added this in response to an earlier FAC suggestion, and on balance I'm inclined to leave it in. Tim riley (talk) 10:16, 4 February 2012 (UTC)
 * "I was scrubbing the floor in the Officers' Mess when they came and invited me to take over." I don't have a comment here, except, what a delightful story!


 * First conducting posts
 * "John Barbirolli's Chamber Orchestra". Did he continue to conduct this after he started at British National Opera Company?
 * It seems not. The biographical sources don't specify, but I've checked the concert listings in The Times, and "John Barbirolli's Chamber Orchestra" is not mentioned after 1928. However, that's not proof positive, and I'm chary of making an unqualified statement. Tim riley (talk) 10:16, 4 February 2012 (UTC)
 * "Barbirolli had never conducted a chorus or a large orchestra".  We just said that, in 1924, he established the Guild of Singers – was this a union?  Why did he do this if he never conducted a chorus?
 * The Guild was a group set up to allow its (soloist) members to give joint concerts. There wasn't a chorus. Tim riley (talk) 10:16, 4 February 2012 (UTC)
 * "He made his operatic début. … made his début at the Royal Opera House…"  I thought prev. FA discussions had indicated not to use the accent over the word debut?
 * They did indeed. I may have been sabotaged by the spell-check or alternatively have been in didactic mood when drafting. Now purged of its accent. Tim riley (talk) 10:16, 4 February 2012 (UTC)
 * "He conducted a Royal Philharmonic Society concert at which Ralph Vaughan Williams was presented with the society's Gold Medal". Is Vaughan Williams's receiving this medal really of interest in this article?
 * The medal is Britain's highest musical honour, and there is considerable reflected glory in being the conductor at the concert at which the medal is awarded. For one so new to conducting as JB, this was a big feather in his cap. By a rather pleasing symmetry, when JB was awarded the medal in the 1950s it was presented to him by Vaughan Williams. Tim riley (talk) 10:16, 4 February 2012 (UTC)
 * "The marriage was unsuccessful and within four years the two were living apart." Do we know that it was a thoroughly bad marriage?  It lasted longer than many show-biz marriages.  I would cut the first five words, unless we are saying that they quarrelled throughout the marriage.  Also, we  need a comma before "and".
 * Good point. I have moved the statement about living apart to the following section to sit alongside the divorce and remarriage. Tim riley (talk) 10:16, 4 February 2012 (UTC)
 * "the musical world was taken by surprise in 1936 when he was invited to conduct the New York Philharmonic Orchestra…"  Passive voice?  Also, shouldn't this go in the next section?
 * I don't think making this active mood improves it: "It took the musical world by surprise…." As to placing, I tried this above and below the break, and it seemed to me that the prose and the narrative flow better with this sentence before the section break. Tim riley (talk) 10:16, 4 February 2012 (UTC)


 * New York Philharmonic
 * "In 1939, Barbirolli married the British oboist Evelyn Rothwell. The marriage lasted for the rest of Barbirolli's life."  Of course!  Have you ever done it with an oboeist?
 * "I was longing to return and it was just a question…" We need a comma before the "and".
 * It's a quote, and not my prose to tinker with, I'm afraid. Tim riley (talk) 10:16, 4 February 2012 (UTC)


 * Hallé Orchestra
 * The image of Free Trade Hall is less than exciting and is the fourth image in a row of a building. How about an image of Charles Hallé or Malcolm Sargent or the rather more exciting image of Albert Hall, moving the Hallé programme image higher (even though it's mentioned further down)?
 * True enough about the image. Hallé would be possible, and I'll experiment with how he looks there. There isn't a free image of Sargent, and I can't see how fair use would wash for using him here. The Albert Hall wasn't really core to JB's activities, and I don't think an image of that would be appropriate. Tim riley (talk) 10:16, 4 February 2012 (UTC)
 * "He retained his reputation for training orchestras: after Barbirolli's death…" How about, "Barbirolli retained his reputation …: after his death…"
 * Yes, done. Tim riley (talk) 10:16, 4 February 2012 (UTC)
 * "Barbirolli received invitations to take up more prestigious and lucrative conductorships. … LSO, BBC…"  Did he reject these offers?  We note that he declined to be wooed away from the Hallé, but it may not be crystal clear.
 * Good. Amended. Tim riley (talk) 10:16, 4 February 2012 (UTC)


 * Honours, awards and memorials
 * I made some minor proofreader's changes.
 * Thank you for them. Tim riley (talk) 10:16, 4 February 2012 (UTC)


 * Repertoire and recordings
 * "Barbirolli's repertoire was not as wide…" This may be a cross-pond issue, but I would say "broad" rather than "wide".  But I think "wide range", in the last section, is ok.
 * I think it must indeed be a UK-v-US thing. Tim riley (talk) 10:16, 4 February 2012 (UTC)


 * Pre-war
 * "The same year, he began his long association with the His Master's Voice label…" Should we add the short form "(HMV)" right after the full name?
 * We should. Now done. Tim riley (talk) 10:16, 4 February 2012 (UTC)


 * 1943 and later
 * "including many recordings still in the catalogues in 2010." Can you update this to 2012 or at least 2011?  -- Ssilvers (talk) 03:53, 3 February 2012 (UTC)
 * Yes. I've checked the EMI catalogue, and the recordings mentioned are still listed. (Unsurprisingly, as I gather they have always been good sellers.) Tim riley (talk) 10:16, 4 February 2012 (UTC)
 * Thank you very much for the support, and for the interesting points above. I shall enjoy working through them over the weekend. Tim riley (talk) 18:27, 3 February 2012 (UTC)
 * Now done. All suggestions adopted, except where noted above. I'll experiment with the images as suggested.  I'm most grateful for your support and comments. Tim riley (talk) 10:16, 4 February 2012 (UTC)
 * Made one follow-up suggestion above. Again, congratulations on a super article. -- Ssilvers (talk) 07:41, 5 February 2012 (UTC)

Spot checks
 * [2]a: The source says his father was Italian, but the article says Venetian, though [3] says Barbirolli spoke the "Venetian dialect"; otherwise, OK.
 * Not my drafting (I wrote just "Italian") but Venetian is accurate. Kennedy (1971) p. 14 refers to "the Venetian Barbirollis". Tim riley (talk) 14:03, 8 February 2012 (UTC)
 * Fine. DrKiernan (talk) 14:46, 8 February 2012 (UTC)
 * [2]b: OK.
 * [2]c: His playing with the Carl Rosa, Ethel Bartlett, in restaurants, and in dance halls, and the four-word quote are not found in this reference.
 * New sources added. I can't track down the source for "restaurants", so I have deleted it. The four word quote is now attributed to the memoirs of JB's widow. Tim riley (talk) 14:03, 8 February 2012 (UTC)
 * [2]def: OK.
 * [3]a: The source says Lorenzo played at the premiere of Otello, but I see no mention of the grandfather, however, I see he's mentioned in [8] as being in the first orchestra to tour with it.
 * Added unequivocal citation about both Lorenzo and his father, Antonio, playing in the Otello premiere. Tim riley (talk) 14:03, 8 February 2012 (UTC)
 * [3]b: OK
 * [3]c: Where does the source mention the Vienna Staatsoper?
 * Fresh source added (from The Manchester Guardian) Tim riley (talk) 14:03, 8 February 2012 (UTC)
 * Thanks. DrKiernan (talk) 14:46, 8 February 2012 (UTC)
 * [3]de: OK
 * [3]f: Article: "His reputation as an accompanist tended to obscure his talents as a symphonic conductor... Barbirolli became very sensitive on this point, and for many years after the war he was reluctant to accompany anyone"; Source: "his skill as an accompanist tended to cloud his talents as a symphonic conductor...made John very sensitive to this issue ever afterwards, and for many years after the war he refused to accompany anyone" I do appreciate that this is attributed, and that there is a direct quote in the middle of it.
 * Here and there in the article I reduced the direct quotations in response to suggestions at peer review. Happy to return the paraphrases to direct quotations if this is preferred. Tim riley (talk) 14:03, 8 February 2012 (UTC)
 * Oh, those pesky reviewers! They do so ruin articles. DrKiernan (talk) 14:46, 8 February 2012 (UTC)
 * [3]gh:OK
 * [8]a: Article: "The following year he won a scholarship to the Royal Academy of Music, which he attended from 1912 to 1916, studying harmony, counterpoint and theory under Dr. J. B. McEwen and the cello with Herbert Walenn". ODNB: "The following year he won a scholarship to the Royal Academy of Music, which he attended from 1912 to 1916." The Gramophone: "studying harmony, counterpoint and theory under Dr. J. B. McEwen, and the violoncello with Herbert Walenn". The problem with this is that while the Gramophone is attributed, the ODNB is not.
 * Now remedied. Tim riley (talk) 14:03, 8 February 2012 (UTC)
 * [8]b: His playing with the Carl Rosa, in cinemas, in hotels, in restaurants, and in dancehalls is covered; I don't see Bartlett or the four-word quote.
 * As above, added additional citations>
 * [8]c: OK
 * [8]d: OK (though year not given, but I can infer that from [20])
 * [8]ef: OK
 * I think all but one of these points can readily be covered from available sources, which I will look out. The exception is the quote about playing everywhere but in the street. It's a good quote and I'd like to keep it in, but where did I get it from if not the ODNB? I'll search and report back. Tim riley (talk) 14:09, 6 February 2012 (UTC)
 * Here? (pdf) DrKiernan (talk) 15:22, 6 February 2012 (UTC)
 * Thank you very much for that! I have a dim memory of another, more expansive source, but the RAM site is splendidly authoritative and will do very well if I can't find the other one among my rough notes. Tim riley (talk) 19:46, 6 February 2012 (UTC)
 * I still can't discover where I got that quote from originally, but it's in the memoirs of JB's widow, Evelyn Rothwell, and I've cited it to that. All other missing refs now in place, I think. Tim riley (talk) 14:03, 8 February 2012 (UTC)

Media review
 * File:Verdi.jpg might not be public domain in the States because of URAA renewal.
 * Does that mean I should use a different image of Verdi? There are plenty to choose from if need be. Tim riley (talk) 14:03, 8 February 2012 (UTC)
 * No. I don't think it does, on reflection. Was the work published in 1886? That would make it PD without a doubt. DrKiernan (talk) 14:46, 8 February 2012 (UTC)
 * I'm not sure why the copyright registration number is shown at the Library of Congress for File:Arthur Rubinstein 1906.jpg. I presume this is an expired registration?
 * Does this require any action on my part? Tim riley (talk) 14:03, 8 February 2012 (UTC)
 * I tried to look that number up, but I just get returns for unrelated matter, which indicates that the registration must be an early one. I think those very early registrations have to be checked by hand in a card index in the Copyright Office in Washington. As it says at the source: Rights assessment is our responsibility. We've assessed as public domain, so we'll stick with that until told otherwise. DrKiernan (talk) 14:46, 8 February 2012 (UTC)
 * I had a look at the Library of Congress and National Portrait Gallery for clearly free images of Barbirolli without success. Of the two images at LOC, one is an Associated Press photo and the other has no rights information. There are some snapshots from the 1920s at NPG but they look like previously unpublished private photos, so not obviously free. So, one fair-use low-res publicity image is fine.
 * All other files check out. DrKiernan (talk) 13:19, 5 February 2012 (UTC)
 * All above points now acted on, I think. I hope all is satisfactory. Tim riley (talk) 14:03, 8 February 2012 (UTC)
 * Support Superlative article; meets all criteria. Minor prose suggestions: I try to avoid using "there" and "here" when referring to places where people were, because if I'm in New York and read "...New York Philharmonic, serving there from 1936 to 1943" it looks a bit off since I'm here not there: "..serving from 1936 to 1943" works just as well. The "thus" in "He later described the experience thus" can also be dropped to tighten the prose. In the sentence "The programme consisted of music by Berlioz, Bax, Mozart and Brahms (the Fourth Symphony)", it looks a little odd that Brahms' work gets a mention (not wikilinked by the way) but not the others. DrKiernan (talk) 17:54, 8 February 2012 (UTC)
 * Further thanks for the support and comments. I am already indebted for all your sourcing and image help above, and now you are kind enough to add your latest thoughts on the prose. Following up your drafting points will be an enjoyable task for tomorrow. Tim riley (talk) 18:45, 8 February 2012 (UTC)
 * All three points agreed and acted on. Thank you again! Tim riley (talk) 15:17, 9 February 2012 (UTC)

Support. This is an informative and highly readable article which should grace the home page in both content and style. I have a few queries:
 * I couldn't see any reference to his wife Evelyn's 2002 book 'Life with Glorious John: a portrait of Sir John Barbirolli'. I think it deserves inclusion in the list of sources.
 * I have killed two birds with one stone. My original draft was found deficient in citations, and Lady B's memoirs have been an excellent source for remedying that dereliction. It is, moreover, a charming work, and throws light on several points, not least why Downes was so prejudiced against JB. Tim riley (talk) 14:03, 8 February 2012 (UTC)
 * Personally, I would like to see a little more shed on his family background. For example, according to Evelyn, both his father and his grandfather played as violinists in the first performance of Otello at La Scala. She says "John often told me how much he learnt from his father about the tempi and interpretation of Verdi's music, and about other Italian composers of opera, including Puccini." Although Barbirolli's mother ("always known as Mémé") came from Archaeon near Bordeaux, they apparently always spoke Venetian in the family.
 * Hmm. I don't know that I want to add much more on family background, for fear of unbalancing the articl. Tim riley (talk) 14:03, 8 February 2012 (UTC)
 * A small point: In the fifth paragraph of the 'Hallé orchestra' subsection, the statement "Barbirolli's interest in new music waned in post-war years" seems to me to require some external support. I appreciate the point that the new works programmed by Barbirolli at this stage of his career were written in "a mostly traditional [viz tonal?] style". But so, it could be argued, were those of the composers listed in the third paragraph of the 'New York Philharmonic' subsection. MistyMorn (talk) 15:22, 6 February 2012 (UTC)
 * A very fair point. I have added a citation from Kennedy (1971). Thank you for your support and for these suggestions. Tim riley (talk) 14:03, 8 February 2012 (UTC)


 * The above discussion is preserved as an archive. Please do not modify it. No further edits should be made to this page.