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He was always a dynamic conductor of English music: his Decca recordings of Holst’s Planets, Elgar’s Enigma Variations and Coronation Marches have lost none of their rhythmic drive and intensity. \u003c\/p\u003e\n\u003cp\u003eSargent’s concerto sessions with Sir Clifford Curzon (in Rawsthorne), Max Rostal (Bartók), Ida Haendel (Mendelssohn) and Ruggero Ricci (Tchaikovsky and Dvorak) bear out his reputation as a sympathetic accompanist. ‘Messiah and Mikado’ was how the conductor summed up his strengths in the eyes of the wider public: the box includes rare 1946 recordings of Handel arias and choruses featuring Kathleen Ferrier, as well as a live 1949 recording of Sargent accompanying her in his own orchestration of Brahms’ Four Serious Songs.\u003c\/p\u003e\n\u003cp\u003eHaving comprehensively covered the light operas of Gilbert and Sullivan for HMV, Sargent remade both Yeoman of the Guard and Princess Ida for Decca in 1964–65. 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More elevated but virtuosic Messiaen (the Visions de l’Amen) sits alongside freewheeling youthful concertos by Mendelssohn and Shostakovich. \u003c\/p\u003e\n\u003cp\u003eAlmost unknown at the time that Ogdon and Lucas recorded it for Argo in 1972, the Concerto pathétique is a two-piano version, made by Liszt in 1856, of a piece which had begun life as a Grand Solo de concert in 1849. Latterly taken up by the likes of Martha Argerich, the Concerto presents a heroic contrast on record with the restraint of the Six Canons and the poetic Andante and Variations by Schumann. \u003c\/p\u003e\n\u003cp\u003eOgdon’s career, both in public and on record, was brought to a sudden and tragic halt by a breakdown in 1973. Struggling with mental health for the rest of his life, he nonetheless returned to the studios briefly in June 1983, to contribute to a Decca set of Mozart’s complete music for solo horn, led by Barry Tuckwell. 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