Michael Tilson Thomas - The Complete Columbia, SONY and RCA Recordings
“Amazed by the scope of what we accomplished” FOR PROMOTION
Recollections
ONLY FSONYMUSICENTERTAINMENT
by Michael Tilson Thomas
When we met with Robert Russ (who has produced numerous Grammynominated editions in recent years dedicated to the icons of American music life) to discuss the concept for the release of our complete Columbia, CBS, and Sony recordings from 1973 to 2005, I was amazed by the scope of what we had accomplished. It is remarkable to see in one collection our explorations of Beethoven, Mahler, Brahms, Tchaikovsky, Debussy, Ravel, and deep dives into Igor Stravinsky, George Gershwin, Charles Ives, Carl Ruggles, and others.
The repertoire covers a wide range of interests I had in this “middle period” of my work. It represents both how the recording companies viewed a developing artist, and the recording techniques of the time. It spans the transition from analog to digital, and from purely studio recordings to the regular capture of live concerts. On the shelf above where I am writing I have a collection of my recorded LPs, cassettes, reel-toreels, 8-track stereo cartridges, LaserDiscs, DVDs, Blu-rays, and CDs – certainly the history of physical musical delivery of the last 50 years before streaming took it all away. So, what a pleasure this is to make one last CD collection of our work together.
The majority of these recordings were made in the studio. The process at that time was to perform a piece in a concert setting and then take the orchestra into a studio. There were concerts in the Barbican, or Royal Festival Hall in London, and then recordings of that repertoire were made at Abbey Road Studios, or Tooting All Saints Church, or Walthamstow Assembly Hall, or Watford Town Hall. Concerts at the Dorothy Chandler Pavilion in Los Angeles were followed up by recording sessions at Royce Hall at UCLA. Chicago Symphony concerts were recorded in the Medinah Temple. Some concerts, like the Sarah Vaughan Gershwin sessions, were recorded live. But not until we started recording in San Francisco did the technology allow us to fully embrace live
recording – at least recording several performances and then creating a final product from that experience.
Studio recording presents its own challenges. It’s like making a movie of what was originally a stage play. The microphones, the studio, the absence of a live audience, and the quest for perfection create a different atmosphere, perspective, and priorities for the musician. When you play for an audience, your goal is communication. You can feel the electricity in the air, the depth of the audience’s concentration, the sense of whether the music is going over or not. But in the studio you can find yourself in a clinical space, where little problems can become so magnified that the joy of music making can be diminished. Performing, after all, is the art of creating illusion. You want the audience to perceive the music in a particular way. It’s what I call the Parthenon question. When you look at the Parthenon the columns appear absolutely straight up and down, and all equidistant. But, in fact, they are not. The columns are angled. We know that every dimension of the Parthenon was altered in order to create the illusion of perfection. It’s the same in music. You want to create the illusion that everything is absolutely even – absolutely rhythmically perfect – although that probably means that you distort the rhythm slightly by holding and creating moments of silence measured in thousandths of seconds that go in between the ictus and the attack of the notes. The whole sense of sound, how quickly or slowly it begins – the length of the breaths of the phrases – these are just some of the artifices that you use to create a certain mood. That’s what happens in a live performance: you create illusion using your ears as a guide.
When you are making a studio recording much of what you hear is quite different from the sound you have experienced in the performances. It can be challenging since
the space and layout of the orchestra are meant to make the music sound good, not to you necessarily, but to the microphones. Two or three microphones are grouped somewhere around the conductor, and spot or solo microphones are scattered throughout the orchestra. The number of microphones depends on the style and philosophy of the record company and of the producer and engineering team on those sessions. I was so fortunate that during the years represented here I worked with brilliant producers such as George Martin, Paul Myers, Steven Epstein, David Mottley, and Andreas Neubronner. Each one of them had a particular style in the preparation of the recording, the recording itself, and in the editing. It was a true partnership. I kept my own critical faculties active while performing and in the studio. Whenever I heard a bar really well played, I mentally crossed it out. When all the bars were crossed out, and the producers agreed, we knew that the recording had been accomplished. It was always a balancing act.
Cutting tape to make edits in the early years was time-consuming, but that period was also filled with the magic that only hands-on experience can provide. Early digital recording and editing presented different challenges. As the techniques of recording and editing got better and better, some real magic could occur. Skilled editors could fix the odd dropped note by copying the correct one from another place in the performance and dropping it in. We still found ourselves spending hours listening to each edited version, making notes, going our separate ways, and hoping for the best. As time went on we could work remotely and send versions and notes online. But nothing could ever compare to when we could be together in the editing room and listening to what we had accomplished.
Recording Elephant Steps, July 1973
My first recordings for Columbia/CBS were Apocalypse with John McLaughlin’s Mahavishnu Orchestra and the London Symphony Orchestra, produced by the legendary George Martin. And then, Stanley Silverman’s Elephant Steps. They were both expressions of a certain era. The original subtitle of Elephant Steps, “A Multimedia Pop Opera Extravaganza,” is so 1974!
As it turns out, the chance encounters leading up to recording Elephant Steps were launching points for me. When I was 20, Friedelind Wagner asked me to come to Bayreuth for her master class. That summer one of the members of the coaching staff got ill, so I got the job. I was definitely the low man on the totem pole. It was a freezing summer in Bayreuth. There was nothing but Wagner and freezing basement rehearsal halls. I needed a break.
Friedelind and I went to Salzburg where they were performing The Bassarids by Hans Werner Henze. Although I like Henze’s music, when the lights went down I thought “What am I doing here? I’ve been trying to escape and suddenly here I am back in an opera house again.” I walked out. And as I walked out, I saw somebody else walking out, and it turned out he was an American composer, Eric Salzman.
Eric later showed me a piece he had written and I agreed that I would do it at a Monday Evening Concert in Los Angeles. As we began rehearsing in Los Angeles it became clear that the guitar part was too difficult for anyone we knew. Eric said he knew a guitarist in New York, but the policy of Monday Evening Concerts was that we only brought in composers. But the guitarist Stanley Silverman was also a composer. I added one of Stanley’s pieces to the program so he could also cover Eric’s guitar part. Stanley then invited me to come to Tanglewood the following summer to conduct an opera he had written, which turned out to be Elephant Steps. As a result, I got the job
as pianist and a conductor of the Boston Symphony Orchestra. When I finally met Hans Werner Henze, I said, “Hans, I really have to thank you for my career!”
My devotion to certain maverick American composers led to some remarkable projects, one of which was the complete works of Carl Ruggles. It’s tremendous that this recording is making a reappearance in this collection. Making this album took great courage on all of our parts – and I made a Gershwin overture album at the same time to help overall sales. I first heard Ruggles’s music at age 13 and I remember how stunning it was. The music seemed brutally succinct with dissonance succeeding dissonance in a series of uncompromising and inevitable proclamations.
Following a performance of Sun-Treader with the Boston Symphony, I set out to meet Mr. Ruggles. I had been told that he was inclined to be suspicious of new people and retreat behind the curtain of his infirmities. So Stanley Silverman and I just put some light earphones on his old and shriveled head, cranked the volume up as high as possible, and started to play an aircheck of the performance of Sun-Treader.
The first timpani stroke of the work hit the old man like a hammer. Suddenly he was sitting bolt upright, his eyes wild and open. “Fine. Damn, DAMN FINE WORK!” He turned toward me, and grabbed my hand in his, holding it in a viselike grip, and he began to talk, mostly about his friends – “Charlie” Ives, about Varèse, Thomas Hart Benton, about music, music, music.
He forged out an independent musical style, yet one based on his own idols Bach, Beethoven, and Wagner. The feelings in his music include rage – the rage of the mortal part of man screaming of the universe and cursing his finitude; exultancy – the mind and spirit of man reaching out, the universe comprehending it and merging with it; longing and sorrow – for all the great beauty that is lost in life and in the world – for
all that is corruptible, for all that has passed away. He was a primitive, a transcendentalist, a salty Yankee. When I left him on our last visit, I asked him if he still thought about music. He began to sing and scream musical lines, all with his distinctive shapes. And as we turned to go, he said: “Now don’t go feeling sorry. I don’t hang around this place, you know. Hell, each day I go out and make the universe anew – all over!”
Our explorations of Ives, Gershwin, and Copland also followed the pattern of exploring a broad portrait of the composers. I was working with the Ives Society as we were bringing out the critical editions of his works, and CBS Masterworks became a partner in releasing the first recordings of these editions. We started with Symphonies Nos. 2 and 3 and the Orchestral Set No. 2 with the Concertgebouw Orchestra, and then finished the project with Symphonies Nos. 1 and 4 with the Chicago Symphony. This was one of the hardest political decisions I ever had to make, but I just felt the Chicago Symphony at that time was in a better position to get the particular “Ivesian” sound we were looking for. As the critical editions were literally coming directly from the copyists, it became a real collaboration with the musicians. Some years later we made Ives: An American Journey with the San Francisco Symphony and Thomas Hampson. It was what we used to call a “concept” album. I recommend listening to this straight through as it really tells a story about this remarkable American composer. I am extremely proud of these recordings.
With Gershwin, we explored the many ways of interpreting his music, from the strict adherence to George’s original notes in the Rhapsody in Blue and the Second Rhapsody, to unearthing and restoring George and Ira’s brilliant political satires Of Thee I Sing and Let ‘Em Eat Cake, to the lush interpretations of the Don Rose orchestrations of the show overtures, and the special opportunity to work with Sarah Vaughan
on her extraordinary renditions of arrangements by me and Marty Paich. Working with Sarah was truly a great joy. Just spending time with her and getting to know her unique brilliance was definitely one of the high points of my musical life.
I first met Copland when I was 18 and I had the opportunity to play his Piano Variations for him. We continued our professional and personal relationship until his passing. Our recordings Copland – The Modernist and Copland – The Populist are portraits of this remarkable, important, and singular man. I have a soft spot for the recordings we made with the Mormon Tabernacle Choir of Aaron’s choral music.
I first worked with Igor Stravinsky when I was around 19 and playing on a recording session with Robert Craft conducting Stravinsky’s music for Columbia Records. Over the next years, through my teachers Ingolf Dahl and Lawrence Morton, I had a number of indelible encounters with him. In addition to recording well-known Stravinsky pieces such as The Rite of Spring, Firebird, Petrushka, Symphony of Psalms, Symphony in Three Movements, and Symphony in C, we were able to record Perséphone and an album devoted to the pieces Stravinsky wrote when he lived in Los Angeles, including Ode, Agon, and Variations – Aldous Huxley in memoriam. Having Stravinsky’s music so broadly represented in this collection is hugely important to me, especially as the quality of the performances and the recordings is so outstanding.
I never thought I would record Adam’s Giselle. I was only somewhat familiar with the entire score. Mikhail Baryshnikov asked me to record the full ballet as he was making the film Dancers, and, at one point, contemplated filming the ballet. As it turned out, he only filmed sections of the ballet that fit the storyline of the film. Baryshnikov was present at every recording session and I got to know the score through the eyes of this great dancer. It was what we called a “rehearse/record” project. The
Recording Debussy’s Le Martyre de saint Sébastien with Leslie Caron, September 1991
London Symphony Orchestra members were extraordinarily fast learners because of their film work and the huge number of recordings that they were making. They would take on a project like this with total professionalism and dedication. I adore the music on this wonderful recording.
There are so many other recordings from this period that I am very proud of, like Strauss’s Ein Heldenleben or the Brahms serenades with the LSO, the Tchaikovsky suites, Mahler Symphony No. 3 with the LSO and Janet Baker, the Beethoven cycle with the English Chamber Orchestra, Prokofiev’s Romeo and Juliet with the San Francisco Symphony or the Villa-Lobos album with the New World Symphony. Upon reflection, a real standout recording is Debussy’s Le Martyre de saint Sébastien. Everything about that project worked. Sylvia McNair, Ann Murray, and Nathalie Stutzmann were in their absolute prime. Leslie Caron was the perfect narrator, and the LSO played with brilliance and passion. Andreas Neubronner and his team captured the sonic range brilliantly. It is rare to feel one has made a “reference recording,” one that people can point to as unmatched for its quality and interpretation. This recording is perhaps my proudest achievement.
Before and after this collection I made other recordings, but this edition represents a special period where the daring and exuberance of the musicians, the expertise of the technical team, and the support of recording companies enabled me to present a wide range of repertoire. I could not be more pleased than to see it come out in time for my 80th birthday.
June 2024
Recording Beethoven with the London Symphony Orchestra at Abbey Road Studios, December 1974
With Andreas Neubronner
“It’s
wonderful when you realize an artist trusts you”
Producer Andreas Neubronner remembers
When I first worked with Michael Tilson Thomas, in February 1991 [CD 53], I was standing in for his indisposed producer David Mottley at Abbey Road Studios. Everyone told me: “Uh-oh, that guy is difficult. You’ll really have to be on your toes.” Then in London, the word was: “Remarks during the session only via the conductor’s phone!” In other words, corrections first had to be discussed with the conductor, who would then convey them to the orchestra. That procedure, of course, takes up an enormous amount of time during a recording session. But the second or third time we did it, Michael said to me: “No, no, not on the phone – over the speaker. It’ll go faster.” It’s wonderful when you realize that an artist trusts you. When there’s no “bullshitting” and the assistance and support are confined to things that really matter, then it’s functioning on a collegial basis – on the assumption: “You’re the boss; you know your Mahler symphonies a thousand times better than I do.” Yet he always accepted my technical comments about tempo, intonation, and articulation. And he was incredibly precise when it came to these things anyway.
Michael always wanted a big, full, ear-pleasing “cinema” sound – but at the same time he has incredible aural sensitivity. Once we were in London together listening to a Mahler symphony recording, and I suddenly saw that tears were running down his cheeks. He isn’t actually someone who spontaneously opens up emotionally. I asked him: “Michael, what is it?” He said: “I’m just so happy when I hear this recording, and about what we did there.” And indeed, everything that was in the score could be heard, every single expressive marking – and in Mahler practically every note has some indication or other above it.
We made only a few studio productions together – otherwise everything was live. The tension is naturally quite different from when you’re playing in an empty hall. Michael needs the challenge of an audience. We had up to five concerts in a row that we could record. This was luxury: a rehearsal, then the concerts, and a patch session after the last concert for spots that hadn’t quite come off. After that I gave Michael my list with corrections, and he worked through it with the orchestra. A half-hour patch session was the minimum, 20 minutes of which were spent recording and 10 minutes were paid break – that’s very strict in the US, timed down to the second. As soon as Michael stood in front of the players, the countdown began: “Three – two – one –Michael, we can start.” And in short order, they worked through the list: “Third movement, four bars after letter D, the oboe entry was never clean; let’s start three bars before” – whammo! In an instant, they’re all there. American orchestras are extreme precision machines, and Michael could find just the right tone he needed to handle them. He is cooperative and friendly in the extreme. And, above all, they loved him. Even in his dealings with the administration, he was simply totally nice and very relaxed. I’d even say: absolutely Californian.
With Steven Epstein
“Inspired musicmaking”
Producer Steven Epstein remembers
Ijoined Columbia Masterworks in September 1973 right after graduating college. I had known of Michael Tilson Thomas, enjoying his recordings and watching him take over the Young People’s Concerts after Bernstein had ended his broadcast tenure. MTT was always one of my heroes. I remember being assigned to work with him on two projects in 1976 – my first foray into orchestral recording. The projects were the orchestral pieces of Carl Ruggles (part of a 2-LP set of Ruggles’s complete output), and an album of Gershwin overtures titled Gershwin on Broadway. How lucky was I to begin my orchestral recording career with this great musician and conductor!
Michael was always deferential with respect to any suggestions I might make during our sessions. Nevertheless, he still would have very consistent and specific ideas as to what he was trying to capture on tape. Sometimes he would join me in the editing/mixing room to lend his thoughts on the balances and takes, but most of the time I would choose the takes, edit them, and provide Michael with a first edited and mixed master. He would then call or write to me with any changes he would like to have made.
Michael pretty much left the sonic preference to me, since we both had the same general sound and balance aesthetic. He would certainly comment on what he might like to change with respect to particular local balances, such as “more horn at figure 8” or “less clarinet at figure 10” etc. During the course of an actual take, he would certainly be open to any comments I might wish to contribute regarding balances or instrumental blemishes as well.
Michael had a wonderful rapport with the musicians, whether recording a concerto with soloist or solely an orchestral composition. The musicians always showed him a very deserving respectful attitude. So many times, Michael would spend a minute or two between takes to explain a particular event or anecdote relating to the music being recorded. This lent an added dimension to the musicians’ understanding of the context of a particular piece of music.
One of MTT’s many talents – gifts – that stands out, in particular, is his ability to clearly convey his musical ideas directly to the orchestra without the need for numerous explanations of how something should be performed. He had always been extremely well prepared and well versed in whatever repertoire we were about to record. And his confidence in this was very reassuring to the orchestra, so they could devote their best efforts to whatever repertoire we were recording. It was always inspired music making! And I’ve never experienced Michael not being involved in a very warm and personable manner with the musicians – including the producer!
People often compare MTT with Leonard Bernstein. Of course there are differences, but there are also many similarities: both were great conductors who were born in America, both were composers, both led many educational and media projects, both had a love of Mahler – and both of them championed the great American composer
With Steven Epstein
Charles Ives. I was so fortunate to produce recordings of Ives’s “Holidays” Symphony and Symphonies Nos. 1 and 4 with MTT and the Chicago Symphony, among other Ives pieces. Michael’s incredible comprehension of the very complex Fourth Symphony score still continues to amaze me. Among a myriad of so many other aspects of his knowledge of the work, he understood the intricacies of what musical lines needed to be prominent and what needed to be subordinate at particular moments in the music, revealing the epic brilliance of the piece. Another parallel with Bernstein is his very natural and idiomatic treatment of Gershwin’s music. I was privileged to produce the Rhapsody in Blue in its original jazz band version, as well as his lesser-known Second Rhapsody with the LA Philharmonic. I believe this performance to be a definitive one.
“A fun and challenging experience”
Producer David Mottley remembers
Imet Michael in 1982 in Amsterdam, where we recorded Ives’s Symphony No. 3 and Orchestral Suite No. 2 with the Royal Concertgebouw Orchestra. Funnily enough, Ives’s Three Places in New England was the last recording we did together ten years later at Abbey Road Studios in London.
I had the pleasure of working with Michael in a wide-ranging repertoire of symphonic, operatic, and ballet recordings, and with a variety of vocal and instrumental soloists: among many others Tosca in Budapest, Adam’s Giselle, and Mahler’s Symphony No. 3, not to mention the Mormon Tabernacle Choir in Salt Lake City.
His professional and witty approach to recording and post-production made each project both a fun and challenging experience. Even after all these years I still treasure fond memories of our working together.
With David Mottley
Tracklists FOR PROMOTION ONLY
SONYMUSICENTERTAINMENT
Orchestrations: Michael Gibbs
Original LP: C 32957 Released May 3, 1974
Mahavishnu Orchestra
Mahavishnu alias John McLaughlin
guitars · vocals
Jean-Luc Ponty electric violin · electric baritone violin
Carol Shive violin · vocals
Marsha Westbrook viola
Philip Hirschl cello · vocals
Ralphe Armstrong bass
bass guitar
vocals
Michael Walden drums
percussion
vocals
Gayle Moran keyboards · vocals
London Symphony Orchestra
Michael Tilson Thomas conductor & pianist [2]
Recorded: London, Air Studios, March 1974
Producer: George Martin
Recording Engineer: Geoffrey Emerick
LP Matrix Nos.: AL 32957 [1–3]; BL 32957 [4/5]
Publishers: Warner-Tamerlane / Chinmoy Music P 1974 Sony Music Entertainment
Original LPs: M2X 33044 (M 33045/46)
Released September 6, 1974
Recorded: New York City, Columbia 30th Street Studio, Studio B, July 9–13, 1973
Producers: Gerald Widoff · Herbert Harris
Recording Engineer: Tim Geelan
Mix Engineer: John Guerriere
LP Matrix Nos.: AL 33045 [1–5], AL 33046 [6–9], BL 33046 [10–13], BL 33045 [14–18]
Publisher: Ben Rena Music
P 1974 Sony Music Entertainment
Karen Altman scrubwoman
Susan Belling Hannah
Luther Enstad Max
Roland Gagnon Doctor
Larry Marshall Otto
Luther Rix Rock Singer
Marilyn Sokol Ragtime Lady
Philip Steele Hartman
Chorus
Patti Austin · Jane Gunter
Dianne Higginbotham
June Magruder · Patricia Price
Albertine Robinson · Maeretha Stewart
Rose Taylor
Rock Band
Electronic Tape Realized by Pril Smiley at the Columbia-Princeton Electronic Music Laboratory
Raga Group Tape Recorder
Gypsy Ensemble
Elephants
Michael Tilson Thomas direction & Archangel
CARL ORFF 1895–1982
Carmina Burana
Cantiones profanae cantoribus et choris cantandae comitantibus instrumentis atque imaginibus magicis
Songs from Benediktbeuern –
Secular songs for soloists and choir accompanied by instruments and stage pictures
FORTUNA IMPERATRIX MUNDI
1 No. 1: “O Fortuna” 2:26
2 No. 2: “Fortune plango vulnera” 2:44
I. PRIMO VERE
3 No. 3: “Veris leta facies” 4:32
4 No. 4: “Omnia Sol temperat” 2:15
5 No. 5: “Ecce gratum” 2:29
UF DEM ANGER
6 No. 6: Dance 1:41
7 No. 7: “Floret silva nobilis” 3:03
8 No. 8: “Chramer, gip die varwe mir” 3:26
9 No. 9: Reie – 2:19
a “Swaz hie gat umbe” – 3:04
“Chume, chum, geselle min!” –
“Swaz hie gat umbe”
b No. 10: “Were diu werlt alle min” 0:49
Original LP: M/MQ 33172 Released February 1975
Recorded: Cleveland, Masonic Auditorium, August 5/6, 1974 & New York City, Columbia 30th Street Studio, September 4, 1974
Producer: Andrew Kazdin
Recording Engineers: Bud Graham & Ray Moore
LP Matrix Nos.: AL 33172 [1–12], BL 33172 [13–26]; QAL 33172 [1–12], QBL 33172 [13–26]
Publisher: European-American Music
P 1975 Sony Music Entertainment
II. IN TABERNA
c No. 11: “Estuans interius” 2:21
d No. 12: “Olim lacus colueram” 3:30
e No. 13: “Ego sum abbas” 1:46
f No. 14: “In taberna quando sumus” 2:58
III. COUR D’AMOURS
g No. 15: “Amor volat undique” 4:08
h No. 16: “Dies, nox et omnia” 2:50
i No. 17: “Stetit puella” 1:51
j No. 18: “Circa mea pectora” 1:57
k No. 19: “Si puer cum puellula” 0:53
l No. 20: “Veni, veni, venias” 0:52
m No. 21: “In trutina” 2:36
n No. 22: “Tempus est iocundum” 2:19
o No. 23: “Dulcissime” 0:45
BLANZIFLOR ET HELENA
p No. 24: “Ave, formosissima” 2:01
FORTUNA IMPERATRIX MUNDI
q No. 25: “O Fortuna” 2:32
Judith Blegen soprano
Kenneth Riegel tenor
Peter Binder baritone
The Cleveland Orchestra Chorus
The Cleveland Orchestra Boys Choir
Robert Page director
The Cleveland Orchestra
LUDWIG VAN BEETHOVEN 1770–1827
König Stephan op. 117
King Stephen
Incidental Music to August von Kotzebue’s Play
1 Overture. Andante con moto – Presto 6:49
2 Chorus: “Ruhend von seinen Taten” 2:11
3 Chorus: “Auf dunklem Irrweg in 1:14 finstern Hainen”
4 Siegesmarsch 3:40
Victory March
5 Chorus: “Wo die Unschuld Blumen 2:40 streute”
6 Chorus: “Eine neue strahlende Sonne” 0:40
7 Melodrama 1:12
8 Geistlicher Marsch 3:00
Priestly March
Chorus: “Heil unserm Könige”
9 Chorus: “Heil! Heil!” 2:15
a Elegischer Gesang op. 118 7:04
Elegiac Song
Lyrics: Johann Christoph Friedrich Haug
b Opferlied op. 121b 7:48
Lyrics: Friedrich von Matthisson
c Bundeslied op. 122 4:03
Lyrics: Johann Wolfgang von Goethe
Original LP: M/MQ 33509 Released September 1975
d Meeresstille und glückliche Fahrt op. 112 8:35
Calm Sea and Prosperous Voyage
Sostenuto – Allegro vivace
The Ambrosian Singers
John McCarthy director
Lorna Haywood soprano [11]
London Symphony Orchestra
Recorded: London, Abbey Road Studios, December 19–21, 1974
Producer: Paul Myers
Recording Engineers: Mike Ross-Trevor & Robert Gooch
LP Matrix Nos.: AL 33509 [1–9], BL 33509 [10–13]; QAL 33509 [1–9], QBL 33509 [10–13]
P 1975 Sony Music Entertainment
Recording Beethoven, December 1974
GEORGE GERSHWIN 1898–1937
1 Rhapsody in Blue 13:42
Original Version for Piano and Jazz Band Orchestration: Ferde Grofé
George Gershwin piano (recorded with the 1925 piano roll)
Columbia Jazz Band
2 An American in Paris 18:34
New York Philharmonic
Original LP: M/MQ 34205 Released September, 1976
Recorded: New York, Columbia 30th Street Studio, June 23, 1976 [1]; New York City, Philharmonic Hall (now David Geffen Hall), February 11, 1974 [2]
Producer: Andrew Kazdin
Recording Engineers: Bud Graham, Milt Cherin & Ray Moore
LP Matrix Nos.: AL 34205 [1], BL 34205 [2]; QAL 34205 [1], QBL 34205 [2]
P 1976 Sony Music Entertainment
ANTONÍN DVOR ˇ ÁK 1841–1904
The American Flag op. 102
Cantata for Soloists, Chorus and Orchestra
Lyrics: Joseph Rodman Drake
NO. 1: THE COLORS OF THE FLAG
1 “When Freedom from her 5:24 mountain-height” (chorus)
NO. 2: APOSTROPHE TO THE EAGLE
2 First Apostrophe to the Eagle: 1:36 “Majestic Monarch of the cloud!” (bass solo, chorus)
3 Second Apostrophe to the Eagle: 1:36 “Child of the sun!” (bass solo, chorus)
Original LP: M 34513 Released March 1977
Recorded: Berlin, Philharmonie, June 16/17, 1976
Producer: Paul Myers
Recording Engineers: Mike Ross-Trevor & Wolfgang Gülich
LP Matrix Nos.: AL 34513 [1–8], BL 34513 [9–13]
P 1977 Sony Music Entertainment
NO. 3: THREE APOSTROPHES
4 Orchestral Interlude. Allegro giusto, 2:08 alla Marcia
5 First Apostrophe to the Flag 2:16
The Foot-Soldier: “Flag of the brave!” (tenor, chorus)
6 Second Apostrophe to the Flag 2:21
The Cavalryman: “And, when the cannon-mouthings loud” (bass, chorus)
7
Third Apostrophe to the Flag 2:35
The Sailor: “Flag of the seas!” (chorus, bass)
FINALE (PROPHETIC)
8 “Flag of the free heart’s hope 2:32 and home” (bass, chorus)
Joseph Evans tenor
Barry McDaniel baritone
RIAS Kammerchor
Chor der St.-Hedwigs-Kathedrale Berlin
Uwe Gronostay director
Rundfunk-Sinfonieorchester Berlin Suite in A major “American” op. 98b for Orchestra
Berlin
Gershwin on Broadway
GEORGE GERSHWIN 1898–1937
Broadway Overtures
Arrangements: Don Rose 1 Oh, Kay!
Buffalo Philharmonic
Original LP: M 34542 Released November 1977
Recorded: Buffalo, Kleinhans Hall, May 12, 1976
Producer: Steven Epstein
Recording Engineers: Bud Graham, Milton Cherin & Frank Abbey
LP Matrix Nos.: AL 34542 [1–3], BL 34542 [4–6]
Publisher: New World Music
P 1977 Sony Music Entertainment
The Complete Music of Carl Ruggles
CARL RUGGLES 1876–1971
Toys
Vôx clamans in deserto
Men
Angels
Men and Mountains
Angels
Sun-Treader
Portals
Evocations
Organum
Exaltation
Original LPs: M2 34591 (M 35059/60)
Released September 1978
Recorded: Buffalo, Kleinhans Hall, May 12, 1976
[CD 8: 1–6/10; CD 9: 1/10]; November 25, 1975 [CD 8: 7–9; CD 9: 2–9]; March 7, 1977 [CD 8: 10; CD 9: 11]; November 24, 1975 [CD 8: 11]
Publisher: New World Music P 1978 Sony Music Entertainment
Brass
Gerard
PYOTR ILYICH TCHAIKOVSKY 1840–1893
Orchestral Suite No. 3 in G major op. 55
1 I Élégie. Andante molto cantabile 10:30
2 II Valse mélancolique. Allegro moderato 5:39
3 III Scherzo. Presto 4:47
4 IV Tema con variazioni. 19:39 Andante con moto –
Var. I –
Var. II. Molto più mosso –
Var. III. Tempo del Tema –
Var. IV. Tempo del Tema –
Var. V. Allegro risoluto –
Var. VI. Allegro vivace –
Var. VII. Moderato –
Var. VIII. Largo –
Var. IX. Allegro molto vivace –
Var. X. Allegro vivo e un poco rubato –
Var. XI. Moderato mosso –
Var. XII. Finale. Polacca.
Moderato assai – Allegro moderato –Tempo di Polacca, molto brillante
Los Angeles Philharmonic
Original LP: M 35124 Released May 1979
Recorded: Los Angeles, December 4, 1977
Producer: Steven Epstein
Recording Engineers: Bud Graham & Milton Cherin
LP Matrix Nos.: AL 35124 [1–3], BL 35124 [4]
P 1979 Sony Music Entertainment
LUDWIG VAN BEETHOVEN 1770–1827
Symphony No. 6 in F major “Pastoral” op. 68
1 I Erwachen heiterer Empfindungen 12:03 bei der Ankunft auf dem Lande Allegro ma non troppo Awakening of Cheerful Feelings upon Arrival in the Country
2 II Szene am Bach 12:18 Andante molto moto Scene by the Brook
3 III Lustiges Zusammensein 5:19 der Landleute. Allegro Merry Gathering of Country Folk
4 IV Gewitter, Sturm. Allegro 3:07 Thunderstorm
5 V Hirtengesang. Frohe und dankbare 9:57
Gefühle nach dem Sturm. Allegretto Shepherd’s Song. Happy and Thankful Feelings after the Storm
Original LP: M 35169 Released November 1979
Recorded: London, Henry Wood Hall, October 16/17, 1978
Producer: Steven Epstein
Recording Engineers: Robert Auger & Milton Cherin
LP Matrix Nos.: AL 35169 [1/2], BL 35169 [3–5]
P 1979 Sony Music Entertainment
English Chamber Orchestra
OTTORINO RESPIGHI 1879–1936
Feste romane
Roman Festivals
Symphonic Poem
Moderato – Molto allegro
2 II Il giubileo 7:32
The Jubilee Doloroso e stanco – Allegro moderato –Allegro festoso
3 III L’Ottobrata 7:44
The October Festival
Allegro gicioso – Allegretto vivace –Andante lento ed espressivo
4 IV La Befana
Epiphany Vivo – Vivacissimo
Original LP: M 35846 Released August 1980
Recorded: Los Angeles, UCLA, Royce Hall, December 22/23, 1978
Producer: Steven Epstein
Recording Engineer: Bud Graham
LP Matrix Nos.: AL 35846 [1–4], BL 35846 [5–8]
P 1980 Sony Music Entertainment
Fontane di Roma
The Fountains of Rome
Symphonic Poem
5 I La fontana di Valle Giulia all’alba 4:39
The Giulia Valley Fountain at Daybreak Andante mosso
Manfred Symphony op. 58 Symphony in B minor in Four Scenes after the Dramatic Poem by Lord Byron
Symphony Orchestra
Original LP: M 36673 Released November 1980
Recorded: London, Abbey Road Studios, June 4/5, 1979
Producer: Steven Epstein
Recording Engineers: Arthur Kendy & Robert Gooch
LP Matrix Nos.: AL 36673 [1/2], BL 36673 [3/4]
P 1980 Sony Music Entertainment
London
PYOTR ILYICH TCHAIKOVSKY
1840–1893
Orchestral Suite No. 2 in C major “Suite caractéristique” op. 53
1 I Jeu de sons 11:15
Play of Sounds
Andantino un poco rubato –
Allegro molto vivace
2 II Valse 5:49
Waltz
Moderato. Tempo di valse
3 III Scherzo burlesque 5:10
Vivace, con spirito
4 IV Rêves d’enfant 10:01
Children’s Dreams
Andante molto sostenuto
5 V Danse baroque (style Dargomyjski) 3:54
Baroque Dance (in the style of Dargomyzhsky)
Vivacissimo – Prestissimo
Philharmonia Orchestra
Original LP: IM 36702 Released December 1981
Recorded: London, Abbey Road Studios, May 30, 1980 [1–4]; June 1, 1980 [6–8]
Producer: Steven Epstein
Recording Engineers: Bud Graham & Neville Boyling
LP Matrix Nos.: DAL 36702 [1–4], DBL 36702 [5–9]
P 1981 Sony Music Entertainment
Orchestral Suite No. 4 in G major “Mozartiana” op. 61
6 I Gigue
after Mozart’s Eine kleine Gigue for Piano K 574
Allegro
7 II Menuet 3:56
after Mozart’s Minuet for Piano K 355
Moderato
8 III Preghiera 4:31
after Liszt’s piano transcription of Mozart’s Ave verum corpus for Chorus, Strings and Organ K 618
Andante non tanto
9 IV Thème et variations 13:09
after Mozart’s 10 Variations for Piano K 455 on the theme “Unser dummer Pöbel meint” by Christoph Willibald Gluck Allegro giusto
Philharmonia Orchestra Carl Pini solo violin
IGOR STRAVINSKY 1882–1971 Pétrouchka Burlesque in 4 Scenes 1946/47 Version
Original LP: IM 37271 Released March 1982
Recorded: London, Abbey Road Studios, Studio 1, November 19/20, 1980
Producer: Steven Epstein
Recording Engineers: Bud Graham & Neville Boyling
LP Matrix Nos.: DAL 37271 [1–6], DBL 37271 [7–18]
Publisher: Boosey & Hawkes
P 1982 Sony Music Entertainment
8 Fête populaire de la semaine 1:04
grasse (vers le soir)
The Shrovetide Fair (toward evening)
9 Danse des nounous 2:37
The Wet Nurses’ Dance
a Le Paysan et l’ours 1:29
The Peasant and the Bear
b Un marchand fêtard avec deux 1:13
tziganes
The Jovial Merchant with Two Gypsy Girls
c Danse des cochers et des palefreniers 2:21
Dance of the Coachmen and the Grooms
d Les Déguisés 1:34
The Masqueraders
e La Rixe. Le Maure et Pétrouchka 0:48
The Fight. The Moor and Petrushka
f Mort de Pétrouchka 0:52
Death of Petrushka
g La Police et le Charlatan 1:27
The Police and the Juggler
h Apparition du double de Pétrouchka 0:54
Apparition of Petrushka’s Double
Vivian Troon piano
i Scherzo à la russe 3:54
Symphonic Version
Philharmonia Orchestra
Gershwin Live!
GEORGE GERSHWIN 1898–1937
Medley from Porgy and Bess
Libretto: Ira Gershwin & DuBose Heyward
Arrangement: Marty Paich
1 Introduction – Summertime – 7:52
It Ain’t Necessarily So –
I Loves You, Porgy
Medley
Lyrics: Ira Gershwin
Arrangement: Marty Paich & Michael Tilson Thomas
2 But Not for Me from Girl Crazy – 9:39
Love Is Here to Stay from the film
The Goldwyn Follies – Embraceable You –
Someone to Watch Over Me from Oh, Kay!
3 Sweet and Low-Down 3:36 from Tip-Toes
Libretto: Ira Gershwin
4 Fascinating Rhythm 4:04 from Lady, Be Good!
Libretto: Ira Gershwin
Arrangement: Marty Paich
5 Do It Again! 5:24 from The French Doll
Libretto: B. G. DeSylva
Original LP: FM 37277 Released May 1982
Recorded: Los Angeles, Dorothy Chandler Auditorium, February 1/2, 1982
Producer: Steven Epstein
Recording Engineer: Bud Graham
LP Matrix Nos.: AL 37277 [1–5], BL 37277 [6–9]
Publishers: W.B. Music [4]; W.B. Music / New World Music [7]; W.B. Music / Chappell & Co. [9]
P 1982 Sony Music Entertainment
6 My Man’s Gone Now 5:52 from Porgy and Bess
Libretto: Ira Gershwin & DuBose Heyward
7 The Man I Love 10:03 from Strike Up the Band
Libretto: Ira Gershwin
Arrangement: Marty Paich
Medley
Lyrics: Ira Gershwin · Irving Caesar*
Arrangement: Marty Paich
8 Nice Work If You Can Get It 6:57 from the film A Damsel in Distress –They Can’t Take That Away from Me from the film Shall We Dance –’S Wonderful from Funny Face –Swanee* –
Strike Up the Band from Strike Up the Band
ENCORE
Medley
Lyrics: Ira Gershwin
Arrangement: Marty Paich
9 I’ve Got a Crush on You 7:34 from Treasure Girl and Strike Up the Band –A Foggy Day from the film A Damsel in Distress
Sarah Vaughan vocals
George Gaffney piano [1/2/4/6–9]
Andy Simpkins bass [1/2/4/6–9]
Harold Jones drums [1/2/4/6–9]
Los Angeles Philharmonic [1/2/4/6–9]
Michael Tilson Thomas pianist [3/5/7] & conductor
LUDWIG VAN BEETHOVEN 1770–1827
Symphony No. 4 in B-flat major op. 60
“Ah! perfido!” op. 65
Scene and Aria for Soprano and Orchestra
Lyrics: Pietro Metastasio (Part 1)
Allegro con brio – Aria. Adagio
Éva Marton soprano
English Chamber Orchestra
Original LP: IM 37209 Released September 1982
Recorded: London, Abbey Road Studios, October 19/21, 1980 [1–4]; April 3, 1982 [5]
Producer: Steven Epstein
Recording Engineer: Neville Boyling
LP Matrix Nos.: DAL 37209 [1–3], DBL 37209 [4/5] P 1982 Sony Music Entertainment
Concertgebouworkest Amsterdam
Original LP: IM 37300 Released October 1982
Recorded: Amsterdam, Concertgebouw, August 24/25, 1981
Producer: David Mottley
Recording Engineer: Michael Gray LP Matrix Nos.: DAL 37300 [1/2], DBL 37300 [3–5]
Publishers: Faber Music / Southern Music Publishing P 1982 Sony Music Entertainment
SERGEI PROKOFIEV 1891–1953
Lieutenant Kijé Suite op. 60
Andante – Allegretto (Poco meno del doppio movimento) – Tempo I 3 III Kijé’s Wedding
Moderato – Allegro con brio
Andante assai – Allegro moderato
L’Amour des trois oranges
Orchestral Suite op. 33a
The Love for Three Oranges
The Clowns Vivo 7 II Le Magicien Tchélio et 3:01
Fata Morgana jouent aux cartes (Scène infernale)
The Magician Tchelio and Fata Morgana Play Cards (Infernal Scene)
Allegro moderato 8 III Marche 1:30
Tempo di marcia
Original LP: M 36683 Released April 1983
Recorded: Los Angeles, UCLA, Royce Hall, December 23, 1978 [1–11]; Los Angeles, Dorothy Chandler Pavilion, February 6, 1982 [12]
Producer: Steven Epstein
Recording Engineers: Arthur Kendy & Bud Graham
LP Matrix Nos.: AL 36683 [1–5], BL 36683 [6–12]
P 1983 Sony Music Entertainment
9 IV Scherzo 1:23
Allegro con brio
a V Le Prince et la princesse 4:04
The Prince and the Princess Andantino
b VI La Fuite 2:14
The Flight Allegro
Los Angeles Philharmonic Bruce Bransby bass viol [2]
c Overture in B-flat major “American” 7:45 op. 42
Members of the Los Angeles Philharmonic
LUDWIG VAN BEETHOVEN 1770–1827
No. 5 in C minor op. 67
from the Music to Johann Wolfgang von Goethe’s Tragedy
Sostenuto, ma non troppo – Allegro
English Chamber Orchestra
Original LP: IM 37288 Released May 1983
Recorded: London, Abbey Road Studios, May 10/11, 1980
Producer: Steven Epstein
Recording Engineer: Neville Boyling
LP Matrix Nos.: DAL 37288 [1/2], DBL 37288 [3–5]
P 1983 Sony Music Entertainment
CLAUDE DEBUSSY 1862–1918
La Mer L 109
The Sea
3 Symphonic Sketches
1 I De l’aube à midi sur la mer 9:24
From Dawn to Midday on the Sea
Très lent
2 II Jeux de vagues 7:18
Play of the Waves
Allegro
3 III Dialogue du vent et de la mer 8:11
Dialogue of the Wind and the Sea
Animé et tumultueux
Nocturnes L 91
Symphonic Triptych for Orchestra and Choirs
4 Nuages 8:42
Clouds
Modéré – Un peu animé
5 Fêtes 6:25
Celebrations
Animé et très rythmé – De plus en plus sonore et en serrant le mouvement
6 Sirènes 12:18
Mermaids
Modérément animé
Original LP: IM 37832 Released August 1983
Ambrosian Singers [6]
John McCarthy director
Philharmonia Orchestra
Recorded: London, Abbey Road Studios, Studio 1, May 4/5, 1982
Producer: David Mottley
Recording Engineer: Michael Gray
LP Matrix Nos.: DAL 37832 [1–3], DBL 37832 [4–6]
P 1983 Sony Music Entertainment
FELIX MENDELSSOHN 1809–1847
Concerto for Violin and Orchestra in E minor op. 64 1 I Allegro molto appassionato – attacca 13:29
CAMILLE SAINT-SAËNS
1835–1921
Concerto for Violin and Orchestra No. 3 in B minor op. 61
Original LP: IM 39007 Released January 1984
Allegro non troppo – Più allegro
Cho-Liang Lin violin Philharmonia Orchestra
Recorded: London, Abbey Road Studios, October 26, 1982 [1–3]; October 27, 1982 [4–6]
Producer: Steven Epstein
Recording Engineers: Dane Brewer, Martha de Francisco & Peter Bown
LP Matrix Nos.: DAL 39007 [1–3], DBL 39007 [4–6]
P 1984 Sony Music Entertainment
English Chamber Orchestra
Original LP: M 39052 Released September 1984 (digital recording with M instead of IM prefix)
Recorded: London, Abbey Road Studios, March 31 & April 1, 1982
Producer: Steven Epstein
Recording Engineers: Bud Graham & Neville Boyling
LP Matrix Nos.: DAL 39052 [1/2], DBL 39052 [3/4]
P 1984 Sony Music Entertainment
Concertgebouw Chorus [6]
Concertgebouworkest
Original LP: IM 37823 Released January 1985
Recorded: Amsterdam, Concertgebouw, May 10, 1982 [1–3]; April 19, 1982 [4–6]
Producer: David Mottley
Recording Engineer: Michael Gray
LP Matrix Nos.: DAL 37823 [1–3], DBL 37823 [4–6]
Publishers: Associated Music Publishers [1–3];
Peer International [4–6] P 1985 Sony Music Entertainment
Bernstein on Broadway
LEONARD BERNSTEIN 1918–1990
West Side Story
Excerpts from the Musical in 2 Acts
Based on a Conception of Jerome Robbins
Book: Arthur Laurents · Lyrics: Stephen Sondheim
Orchestration: Leonard Bernstein, Sid Ramin & Irwin Kostal
Recorded: Los Angeles, RCA Studio A, June 20/21, 1984 & Munich, Unions Studio, October 17/18, 1984
Producer: Steven Epstein LP Matrix Nos.: AL 39535 [1–6], BL 39535 [7–12] Publishers: Universal-Polygram International [1–12]; Chappell [1–8] P
On the Town
Excerpts from the Musical Comedy in 2 Acts
Based on an idea of Jerome Robbins
Book & Lyrics: Betty Comden & Adolph Green
Additional Lyrics: Leonard Bernstein
Orchestrations: Hershy Kay, Don Walker, Elliott Jacoby, Ted Royal, Bruce Coughlin & Leonard Bernstein
ACT II
9 Ballet: The Imaginary Coney Island: 3:47
a) Subway Ride
a Some Other Time 4:21
Mass
Excerpts from the Theater Piece for Singers, Players and Dancers
Text from the liturgy of the Roman Mass
Additional Texts: Stephen Schwartz & Leonard Bernstein
I. DEVOTIONS BEFORE MASS
b No. 2: Hymn and Psalm: 4:51
A Simple Song
XVII. PAX
c Communion (Secret Songs) 5:54
Deborah Sasson soprano
Peter Hofmann tenor
Members of the Los Angeles Philharmonic
GEORGE GERSHWIN 1898–1937
1 Rhapsody in Blue 15:49 for Piano and Orchestra Orchestration: Ferde Grofé
Los Angeles Philharmonic
Lorin Levee clarinet
Michael Tilson Thomas conductor & pianist
2 3 Preludes for Piano 7:15
No. 1: Allegro ben ritmato e deciso
No. 2: Andante con moto e poco rubato
No. 3: Allegro ben ritmato e deciso 3
Original LP: IM 39699 Released May 1985
Gershwin Melody No. 40
Arrangement: Michael Tilson Thomas
Michael Tilson Thomas piano
Recorded: Los Angeles, Dorothy Chandler Pavillion, February 5, 1982 [1]; October 21, 1983 [5/8]; New York City, RCA Studio A, March 19–21, 1984 [2–4/6/7]
Producer: Steven Epstein
Recording Engineers: Bud Graham [1/5/8]; Tim Geelan [2–4/6/7]
LP Matrix Nos.: DAL 39699 [1–4], DBL 39699 [5–8]
Publishers: Warner Bros. Music / New World Music [3/4/6]
P 1985 Sony Music Entertainment
Gershwin Melody No. 79 Realization: Michael Tilson Thomas 7 Sleepless Night 4:30
Gershwin Melody No. 17 Michael Tilson Thomas piano
FOR PROMOTION ONLY FSONYMUSICENTERTAINMENT
English Chamber Orchestra Original LP: IM 39707 Released February 1986
Recorded: London, Abbey Road Studios, December 18/19, 1982 [1–4]; September 12, 1982 [5–8]
Producer: Steven Epstein
Recording Engineer: Neville Boyling
LP Matrix Nos.: DAL 39707 [1–3], DBL 39707 [4–8]
P 1986 Sony Music Entertainment
JOHANNES BRAHMS 1833–1897
Quartet for Piano, Violin, Viola and Cello No. 1 in G minor op. 25
Orchestration: Arnold Schoenberg
1 I Allegro – Animato – Tranquillo 13:53
2 II Intermezzo. Allegro ma non troppo – 7:41
Trio. Animato – Coda
3 III Andante con moto – Animato 9:52
4 IV Rondo alla zingarese. Presto – 8:16
Meno presto – Cadence –
Meno presto – Poco più presto –
Molto presto
JOHANN SEBASTIAN BACH 1685–1750
5 Schmücke dich, o liebe Seele BWV 654 4:58
Chorale Prelude
Orchestration: Arnold Schoenberg
Werner Thomas cello
6 Komm, Gott Schöpfer, heiliger Geist 2:19
BWV 631
Chorale Prelude
Orchestration: Arnold Schoenberg
Symphonieorchester des Bayerischen Rundfunks
Original LP: IM 42129 Released May 1986
Recorded: Munich, Herkulessaal, February 6–8, 1985
Producer: David Mottley
Recording Engineer: Martin Wöhr
LP Matrix Nos.: DAL 42129 [1/2], DBL 42129 [3–6]
P 1986 Sony Music Entertainment
LUDWIG VAN BEETHOVEN 1770–1827
Symphony No. 8 in F major op. 93
Symphony No. 9 in D minor “Choral” op. 125
Original LPs: M2 39711 (M 39712/13) Released March 1987 (digital recording with M instead of IM prefix)
Recorded: London, Abbey Road Studios, November 24/25, 1985 [CD 29]; May 15 & September 9/10, 1983 & November 26, 1984 [CD 30]
3 III Adagio molto e cantabile – 15:14 Andante moderato – Adagio
4 IV Presto – Allegro assai – Presto 6:30
5 Recitativo: “O Freunde, nicht 17:10 diese Töne!” – Allegro assai –Allegro assai vivace. Alla Marcia –Andante maestoso – Adagio ma non troppo ma divoto – Allegro energico, sempre ben marcato – Allegro ma non tanto – Poco adagio – Prestissimo Final chorus from Schiller’s ode “To Joy”
Suzanne Murphy soprano
Carolyn Watkinson mezzo-soprano
Dennis O’Neill tenor
Gwynne Howell bass
Tallis Chamber Choir
Philip Simms director
English Chamber Orchestra
AARON COPLAND 1900–1990
Old American Songs – Set I arco 65.1 for Medium Voice, Chorus and Orchestra
Arrangements: Irving Fine
1 No. 1: The Boatmen’s Dance 3:05 Minstrel Song
2 No. 2: The Dodger 2:09 Campaign Song
3 No. 3: Long Time Ago 3:12 Ballad
4 No. 4: Simple Gifts 1:26 Shaker Song
5 No. 5: I Bought Me a Cat 2:13 Children’s Song
Old American Songs – Set II arco 68.1 for Medium Voice, Chorus and Orchestra
Arrangements: Irving Fine, R. Wilding White & Glenn Koponen
6 No. 1: The Little Horses 3:14 A Children’s Lullaby from the Southern States of the U.S.A.
7 No. 2: Zion’s Walls 1:47 A Revivalist Song
8 No. 3: The Golden Willow Tree 3:21 Variant of the Anglo-American Ballad known as “The Golden Vanity”
Original LP: M 42140 Released May 1987 (digital recording with M instead of IM prefix)
Note: The a cappella arrangements of Copland’s Old American Songs by Irving Fine, R. Wilding White, and Glenn Koponen were created with the supervision of Aaron Copland, and are sung concurrently with Mr. Copland's orchestral arrangements.
Recorded: Salt Lake City, Mormon Tabernacle, November 19–22, 1985
Producer: David Mottley
Recording Engineer: Bud Graham LP Matrix Nos.: DAL 42140 [1–10], DBL 42140 [11–15]
Publisher: Boosey & Hawkes P 1987 Sony Music Entertainment
9 No. 4: At the River 2:45
Hymn Tune
a No. 5: Ching-a-Ring Chaw 1:36
Minstrel Song
Don Becker baritone [1/2]
Mormon Tabernacle Choir
Jerold D. Ottley director
Utah Symphony
b Canticle of Freedom arco 71 13:50 for Chorus and Orchestra
Lyrics: John Barbour
Mormon Tabernacle Choir
Jerold D. Ottley director
Utah Symphony
4 Motets arco 4 for Chorus
c No. 1: Help Us, O Lord 2:52
d No. 2: Thou, O Jehovah, Abideth Forever 2:31
e No. 3: Have Mercy on Us, O My Lord 4:14
f No. 4: Sing Ye Praises to Our King 1:42
Mormon Tabernacle Choir
Jerold D. Ottley director
C D 3 2 / 3 3
GEORGE GERSHWIN 1898–1937
Of Thee I Sing
Let ’Em Eat Cake
Original LPs: S2M 42522 (SM 42638/39)
Released October 1987
Recorded: New York City, RCA, Studio A, March 19/20/23/25/26, 1987
a “Un tal baccano in chiesa!” 3:44 (Scarpia, sagrestano, Spoletta)
b “Or tutto è chiaro” … 3:23
“Tosca? Che non mi veda” (Scarpia, Tosca, sagrestano)
c “Ed io venivo a lui tutta dogliosa” 4:36 (Tosca, Scarpia)
D 4 4
d Finale I: “Tre sbirri, una carrozza” 4:02 (Scarpia, Spoletta, chorus)
CD 44 71:11 ACT II
1 “Tosca è un buon falco!” 3:19
(Scarpia, Sciarrone)
2 “Ha più forte sapore” 1:21
(Scarpia, Sciarrone, Spoletta)
3 “O galantuomo, come andò la caccia?” 1:05
(Scarpia, Spoletta, chorus, Cavaradossi, Tosca)
4 “Meno male!” 2:42
(Scarpia, Spoletta, chorus, Cavaradossi)
5 “Ov’è Angelotti?” 3:10
(Scarpia, Cavaradossi, Spoletta, Tosca)
6 “Ed or fra noi parliam da buoni amici” 1:12
(Scarpia, Tosca)
7 “Sciarrone: che dice il cavalier?” 2:56 (Scarpia, Sciarrone, Tosca, Cavaradossi)
8 “Orsù, Tosca, parlate” 3:07
(Scarpia, Tosca, Cavaradossi, Spoletta)
9 “Nel pozzo, nel giardino!” 1:38
(Tosca, Scarpia, Sciarrone, Cavaradossi)
a “Nel pozzo del giardino! Va’, Spoletta!” 1:46
(Scarpia, Cavaradossi, Tosca, Sciarrone)
b “Salvatelo!” … “Io? Voi!” 2:08
(Tosca, Scarpia)
c “Se la giurata fede devo tradir” 3:45 (Scarpia, Tosca)
d “Vissi d’arte” (Tosca, Scarpia) 3:33
e “Vedi” … “le man giunte io stendo 3:44 a te!” (Tosca, Scarpia, Spoletta)
f “E qual via scegliete?” 6:55 (Scarpia, Tosca)
ACT III
g “Io de’ sospiri te ne rimanno tanti” 7:09 (pastore)
h “Mario Cavaradossi? A voi” 2:56 (carceriere, Cavaradossi)
i “E lucevan le stelle” (Cavaradossi) 3:17
j “Ah! Franchigia a Floria Tosca” 2:46 (Cavaradossi, Tosca)
k “O dolci mani mansuete e pure” 1:44 (Cavaradossi, Tosca)
l “Senti, l’ora è vicina” 4:06 (Tosca, Cavaradossi, carceriere)
m “E non giungono” 2:59 (Tosca, Cavaradossi, carceriere)
n “Come è lunga l’attesa!” (Tosca) 2:24
o “Presto, su! Mario!” 1:20 (Tosca, Spoletta, Sciarrone, soldati)
Éva Marton Floria Tosca (soprano)
José Carreras Mario Cavaradossi (tenor)
Juan Pons Baron Scarpia (baritone)
Ferenc Gerdesits Spoletta (tenor)
István Gáti Cesare Angelotti (baritone)
Italo Tajo sagrestano (bass)
József Németh Sciarrone (bass)
József Gregor carceriere (bass)
Benedek Héja pastore (alto)
Hungarian State Radio and Television Chorus
Hungarian State Orchestra
Serenade No. 1 in D major op. 11
Tragic Overture in D minor
Allegro ma non troppo – Molto più moderato –Tempo I (ma tranquillo) 8 Akademische Festouvertüre op. 80 10:33
Academic Festival Overture in C minor
Allegro – L’istesso tempo, un poco maestoso –Animato – Maestoso
London Symphony Orchestra
Original CD: SK 45932 Released September 25, 1990
Recorded: London, Abbey Road Studios, Studio No. 1, September 22, 1989
Producer: David Mottley
Recording Engineer: Michael Sheady P 1990 Sony Music Entertainment
Recording Ives
quoted by Charles Ives in his Symphony No. 4
5 In the Sweet By and By
Music: Joseph Philbrick Webster
Lyrics: S. Fillmore Bennett 6 Beulah Land (organ solo)
Music: John R. Sweney 7 Ye Christian Heralds
Music: Heinrich Zeuner
Lyrics: Bourne H. Draper 8 Jesus, Lover of My Soul
Music: Simeon Butler Marsh
Lyrics: Charles Wesley
9 Nearer, My God, to Thee
Music: Lowell Mason
Lyrics: Sarah Fuller Adams
Members of the Chicago Symphony Chorus
Margaret Hillis director
Original CD: SK 44939 Released June 1991
No. 4
I Prelude. Maestoso 3:15
II Allegretto 11:58 c III Fugue. Andante moderato 7:36 d IV Very slowly. Largo maestoso 7:58
Mary Sauer piano
Chicago Symphony Orchestra
Richard R. Webster organ
Recorded: Chicago, Medinah Temple, April 15, 1989
Producer: Steven Epstein · Recording Engineer: Bud Graham
Publishers: Peermusic Classical [1–4]; Associated Music
Publishers [10–13]
P 1991 Sony Music Entertainment
RICHARD STRAUSS 1864–1949
Also sprach Zarathustra TrV 176 (op. 30)
Thus Spoke Zarathustra
Tone Poem for Large Orchestra
freely after Friedrich Nietzsche
1 Einleitung 1:48
Introduction Sehr breit
2 Von den Hinterweltlern 3:40
Of the Backworldsmen
Weniger breit – Mäßig langsam, mit Andacht
3 Von der großen Sehnsucht 1:58
Of the Great Longing Bewegter
4 Von den Freuden und Leidenschaften 2:03
Of Joys and Passions
Bewegt
5 Das Grablied 2:30
The Song of the Grave Etwas ruhiger
6 Von der Wissenschaft 4:43
Of Science and Learning
Sehr langsam – Schnell – Sehr langsam
7 Der Genesende 1:42
The Convalescent Energisch – Immer bewegter – Sehr schnell
8 Ziemlich langsam – Schnell 3:32
Original CD: SK 45970 Released July 16, 1991
Recorded: London, Walthamstow Assembly Hall, May 14, 1990
Producer: David Mottley
Recording Engineer: Michael Sheady P 1991 Sony Music Entertainment
Das Tanzlied 8:02 The Dance Song a Nachtwandlerlied 1:11
Song of the Night Wanderer
b Langsam 3:55
c Don Juan TrV 156 (op. 20) 18:14
Tone Poem for Large Orchestra after Nikolaus Lenau Allegro molto con brio
Alexander Barantschik violin
London Symphony Orchestra
PYOTR ILYICH TCHAIKOVSKY
Swan Lake op. 20
Ballet in 4 Acts
Scenario: W. P. Begitschew & W. F. Geltzer
1840–1893
Original CDs: S2K 46592 Released September 10, 1991
Recorded: London, Watford Town Hall, May 8, 1990
Producer: David Mottley
Recording Engineer: Sid McLauchlan P 1991 Sony Music Entertainment
1 Introduction. Moderato assai – 3:19
Allegro non troppo – Tempo I
I
2 No. 1: Scène. Allegro giusto 2:51
3 No. 2: Valse. Tempo di valse 7:20
4 No. 3: Scène. Allegro moderato 3:45
No. 4: Pas de trois
5 a. Intrada. Allegro 2:19
6 b. Andante sostenuto 2:39
7 c. Allegro semplice – Presto 1:08
8 d. Moderato 1:16
9 e. Allegro 1:03
a f. Coda. Allegro vivace 1:39
No. 5: Pas de deux
b a. Tempo di valse ma non troppo 2:26 vivo, quasi moderato
c b. Andante – Allegro 5:25
d c. Tempo di valse 1:27
e d. Coda. Allegro molto vivace 1:54
f No. 6: Pas d’action. 2:22
Andantino quasi moderato – Allegro
g No. 7: Sujet 0:34
h No. 8: Danse des coupes 5:18
Tempo di polacca
k No. 11: Scène. Allegro moderato – 5:22
Moderato – Allegro vivo
l No. 12: Scène. Allegro – 3:39
Moderato assai quasi andante
No. 13: Danses des cygnes
m a. Tempo di valse 2:30
n b. Moderato assai 1:39
o c. Tempo di valse 1:45
p d. Allegro moderato 1:28
q e. Pas d’action. Andante – 7:19 Andante non troppo – Tempo I –Allegro
i No. 9: Finale. Sujet. Andante 2:56 ACT II j No. 10: Scène. Moderato 3:13
1 f. Tempo di valse 1:37
2 g. Coda. Allegro vivo 1:43
3 No. 14: Scène. Moderato 3:15
ACT III
4 No. 15: Allegro giusto 2:33
5 No. 16: Danses du corps de ballet 2:26 et des nains. Moderato assai –
Allegro vivo
6 No. 17: Scène. Sortie des invités 8:04 et valse. Allegro – Tempo di valse
7 No. 18: Scène. Allegro – Allegro giusto 1:34
8 No. 19: Pas de six. Intrada 2:41
Moderato assai
9 Var. I. Allegro 1:19
a Var. II. Andante con moto 3:07
b Var. III. Moderato 0:42
c Var. IV. Allegro 0:53
d Var. V. Moderato – Allegro semplice 1:23
e Coda. Allegro molto 1:51
f No. 20: Danse hongroise. Czardas 3:11
Moderato assai – Allegro moderato –
Vivace
g No. 20a: Danse russe. Moderato – 4:42
Andante semplice – Allegro vivo –
Presto
h No. 21: Danse espagnole 2:39
Allegro non troppo (Tempo di bolero)
i No. 22: Danse napolitaine 2:10
Allegro moderato – Andantino quasi moderato – Presto
j No. 23: Mazurka. Tempo di mazurka 4:38
k No. 24: Scène. Allegro – Valse – 3:23
Allegro vivo ACT IV
l No. 25: Entr’acte. Moderato 1:43
m No. 26: Scène. Allegro non troppo 1:48
n No. 27: Danses des petits cygnes 5:12
Moderato
o No. 28: Scène. Allegro agitato – 2:57
Molto meno mosso – Allegro vivace
p No. 29: Scène finale. Andante – 6:30
Allegro agitato – Alla breve. Moderato e maestoso – Moderato
Alexander Barantschik violin London Symphony Orchestra
ADOLPHE ADAM 1803–1856
Giselle ou Les Wilis
Ballet-Pantomime in 2 Acts
Scenario: Jules-Henri Vernoy de Saint-Georges, Théophile Gautier, Jean Coralli & Jules Perrot ACT I
1 Introduction 2:21
2 Entrée joyeuse des vendangeurs 1:26 et vendangeuses
Joyful entrance of the grape-pickers
3 Entrée d’Albrecht, accompagné 1:27 de son écuyer Wilfried
Albrecht enters, accompanied by his squire Wilfried
4 Albrecht est resté seul – 1:27 Entrée de Giselle
Albrecht is left alone – Giselle enters
5 Scène d’amour: Giselle et Albrecht 4:09 échangent des aveux – Elle aperçoit
Hilarion et repousse son sommage –
Albrecht ménace Hilarion qui se retire furieux
Love Scene: Giselle et Albrecht exchange their love-vows – She sees Hilarion and rejects his suit – Albrecht threatens Hilarion, who withdraws angrily
Original CD: SK 42450 Released December 10, 1991 (22 minutes previously released on the soundtrack FM 42565 Dancers in December 1987)
Recorded: London, Henry Wood Hall, September 1–5, 1986
Producer: David Mottley
Recording Engineer: Tony Faulkner P 1987/1991 Sony Music Entertainment
6
Retour des vendangeurs 1:02
The grape-pickers return
7 Valse (Danse générale) 3:04
Waltz (General Dance)
8 Pas de deux (Giselle et Albrecht) 1:38
9 La Chasse 2:58
The Hunt
a Marche des vignerons 3:37
The Grape-Pickers’ March
b Variation de Giselle 2:14
c Galop général 3:04
d Hilarion s’élance au milieu de la foule 2:40
Hilarion rushes into the crowd
e Scène de folie 2:15
Scene of delirium
f Scène de folie 1:32
Scene of delirium
g La mémoire lui revient – Elle meurt 1:35
Memories return to Giselle – She dies
ACT II
h Introduction 1:05
i Hilarion aperçoit la tombe de Giselle – 2:16
Minuit – Apparition des feux follets
Hilarion finds Giselle’s grave – Midnight –
Will-o’-the Wisps appear
j Apparition et scène de Myrtha 2:07
Appearance and Scene of Myrtha
k Myrtha cueille la branche de romarin – 6:40
Evocation magique –
Apparition des autres Wilis
Myrtha plucks a branch of rosemary –Magical evocation – Other Wilis appear
l Apparition de Giselle 1:34
Apparition of Giselle
m Les Wilis écoutent et se cachent – 2:04
Entrée d’Albrecht
The Wilis are startled by sounds of men approaching and hide – Albrecht enters
n Albrecht aperçoit l’ombre de Giselle 1:33 qui lui apparaît
Albrecht perceives the spectre of Giselle
o Pas de deux (Giselle et Albrecht) 3:07
p Pas de deux 2:01
q Scène des Wilis – Entrée d’Hilarion 2:06
The Wilis’ Scene – Hilarion enters
r Les Wilis aperçoivent Albrecht 1:27
The Wilis notice Albrecht
s Grand pas de deux (Giselle et Albrecht) 4:21
t Grand pas de deux 1:37
u Variation d’Albrecht 0:54
v Variation de Giselle 1:25
w Ensemble des Wilis 1:49
x Finale 4:12
London Symphony Orchestra
Serenade No. 2 in A major op. 16 for Small Orchestra
Variations on a Theme by Joseph Haydn
Original CD: SK 47195 Released January 14, 1992
Recorded: London, Abbey Road Studios, Studio 1, September 20–26 & November 20/21, 1989
Producer: David Mottley
Recording Engineer: Michael Sheady P 1992 Sony Music Entertainment
Hungarian Dances WoO 1
g No. 1 in G minor
Orchestration: Johannes Brahms
Allegro molto
h No. 3 in F major
Orchestration: Johannes Brahms
Allegretto
i No. 10 in F major
Orchestration: Johannes Brahms
Presto
j No. 17 in F-sharp minor 3:47
Orchestration: Antonín Dvorˇák
Andantino – Vivace
k No. 18 in D major
Orchestration: Antonín Dvorˇák
Molto vivace
l No. 19 in B minor
Orchestration: Antonín Dvorˇák
Allegretto
m No. 20 in E minor 3:09
Orchestration: Antonín Dvorˇák
Poco allegretto – Vivace
n No. 21 in E minor 1:22
Orchestration: Antonín Dvorˇák
Vivace
London Symphony Orchestra
Glagolitic Mass (Mša glagolskaja)
Text: Old Church Slavonic texts arranged by Miloš Weingart
Gabriela Beňačková soprano
Felicity Palmer mezzo-soprano
Gary Lakes tenor
Anatoly Kotcherga bass
John Scott organ
Sinfonietta op. 60
Original CD: SK 47182 Released July 14, 1992
London Symphony Orchestra
Recorded: London, Tooting, All Saints Church, September 17/18, 1990 [1–8, orchestra & vocals]; Ratzeburg, Ratzeburger Dom, November 28, 1991 [1–8, organ]; London, Watford Town Hall, October 2, 1990 [9–13]
Producer: David Mottley
Recording Engineer: Sid McLauchlan P 1992 Sony Music Entertainment
CLAUDE DEBUSSY 1862–1918
1 Prélude à l’après-midi d’un faune L 86 10:57
Prelude to the Afternoon of a Faun
Très modéré
La Boîte à joujoux L 128
The Toy-Box
Ballet for Children in 4 Tableaux
Scenario: André Hellé
Orchestration completed by André Caplet
PRÉLUDE
2 Le Sommeil de la boîte 3:03
The Toy-Box Asleep
Très modéré
TABLEAU I
3 Le Magasin de jouets 11:02
The Toy Shop
Modéré – Animé – Pas de l’éléphant. Très modéré –
Le soldat anglais. Mouvement de Marche modéré –Polichinelle. Animé – Le nègre... dans quelques mesure: Le policeman. Modéré – Danse de la poupée. Valse – Danse de l’arlequin. Scherzando –
Vif et gai – Poco rubato
TABLEAU II
4 Le Champ de bataille 9:42
The Battlefield
Lent et mystérieux – Modérément animé –Mouvement de marche – Animé et féroce
Original CD: SK 48231 Released July 30, 1992
Recorded: London, Abbey Road Studios, Studio 1, February 18, 1991 [1–7]; October 14, 1991 [8]
Producer: Andreas Neubronner
Recording Engineer: Marcus Herzog P 1992 Sony Music Entertainment
5 La Bergerie à vendre 7:09
The Sheepfold for Sale 2
6 Après fortune faite 1:31
After Making a Fortune
Modérément animé – Maestoso –Tempo di Polka 7 ÉPILOGUE 1:37
8 Jeux L 126 17:58
Poème dansé
Très lent – Scherzando (Tempo initial)
London Symphony Orchestra
London Symphony Orchestra
Original CD: SK 48239 Released December 8, 1992
Recorded: London, Abbey Road Studios, Studio 1, April 30 – May 2, 1991
Producer: David Mottley
Recording Engineer: Marcus Herzog P 1992 Sony Music Entertainment
CLAUDE DEBUSSY 1862–1918
Le Martyre de saint Sébastien L 124
The Martyrdom of Saint Sebastian Incidental music to the Mystery in 5 Acts by Gabriele D’Annunzio
ACT I: LA COUR DES LYS
The Court of Lilies
1 No. 1: Prélude. Lent – 7:46 “Frère, que sera-t-il le monde” (les Jumeaux)
2 No. 2: “Sébastien! Sébastien! 2:06
Sébastien!” (chorus)
3 No. 3: Danse extatique de Sébastien 6:08 sur les charbons embrasés. Assez animé –“Hymnes, toute l’ombre s’efface” (les Jumeaux, chorus)
ACT II: LA CHAMBRE MAGIQUE
The Magic Chamber
4 No. 1: Prélude. Très modéré 3:46
5 No. 2: “Je fauchais l’épi de froment” 2:17 (la Vierge Érigone)
Recorded: London, Abbey Road Studios, Studio 1, November 20, 1992 [1–3]; May 12–13, 1993 [4–7]
Producer: Andrew Keener
Recording Engineer: Simon Rhodes P 1993 Sony Music Entertainment
Concerto!
Concerto! was a Channel 4 TV series that showed participating soloists in rehearsal, in conversation with Dudley Moore and Michael Tilson Thomas, and, ultimately, in performance.
Original CDs
09026 61676 2 Released August 1993 [CD 57: 1–3]
09026 61789 2 Released July 1993 [CD 57: 4–6]
09026 61679 2 Released August 1993 [CD 58: 1–3]
09026 61678 2 Released August 1993 [CD 58: 4–7]
09026 61790 2 Released August 1993 [CD 58: 8/9]
Recorded: London, Blackheath Concert Halls, June 15, 1992 [CD 57: 1–3]; September 3, 1992 [CD 58: 5–7]; London, Abbey Road Studios, Studio 1, September 5, 1992 [CD 57: 4–6]; November 17, 1992 [CD 58: 1–3]; September 8, 1992 [CD 58: 4]; November 18, 1992 [CD 58: 8/9]
Producers: John H. West [CD 57/CD 58: 4]; Andrew Keener [CD 58: 1–3/5–7]; Max Wilcox [CD 58: 8/9]
Recording Engineers: Mike Hatch [CD 57: 1–3; CD 58: 5–7]; Simon Rhodes [CD 57: 4–6; CD 58: 1–4/8/9]; Max Wilcox & Mark Vigars [CD 58: 8/9]
P 1993 Sony Music Entertainment
LUDWIG VAN BEETHOVEN
Concerto for Piano and Orchestra No. 1
1
SERGEI RACHMANINOFF 1873–1943
Concerto for Piano and Orchestra No. 2 in C minor op. 18
I Moderato – Più vivo – Allegro – 10:54
Maestoso (Alla marcia) – Moderato
2 II Adagio sostenuto 11:34
3 III Allegro scherzando – Moderato – 11:09
Allegro scherzando – Presto –
Moderato – Allegro scherzando –
Alla breve – Presto – Maestoso –
Risoluto
Barry Douglas piano
London Symphony Orchestra
CAMILLE SAINT-SAËNS 1835–1921
4 Le Cygne 3:21
The Swan from Le Carnaval des animaux R 125
Steven Isserlis cello
Michael Tilson Thomas piano
Dudley Moore piano
Concerto for Cello and Orchestra No. 1 in A minor op. 33
5 Allegro non troppo – 5:38
6 Allegretto con moto (– Cadenza) – 4:40
7 Tempo I – Un peu moins vite – 8:26
Molto allegro
Steven Isserlis cello
London Symphony Orchestra
AARON COPLAND 1900–1990
8 Concerto for Clarinet and String 16:44 Orchestra (with Harp and Piano) arco 62
Slowly and expressively – Cadenza – Rather fast
GORDON JENKINS 1910–1984
9 Goodbye (In Memory of Benny) 4:19
Arrangement: Bill Douglas
Richard Stoltzman clarinet
London Symphony Orchestra
London
Original CD: SK 53275 Released November 22, 1993
Recorded: London, Abbey Road Studios, Studio 1, September 13/14, 1991 [1–7]; October 14/15, 1991 [8–10]
Producer: Andreas Neubronner
Recording Engineer: Marcus Herzog
Publishers: Boosey & Hawkes [1–3]; European American Music [4–10] P 1993 Sony Music Entertainment
6 Lieder nach Gedichten von Clemens Brentano TrV 235 (op. 68)
6 Songs on Poems by Clemens Brentano
1 No. 1: An die Nacht 3:35
2 No. 2: Ich wollt ein Sträußlein binden 3:19
3 No. 3: Säusle, liebe Myrthe! 5:10
4 No. 4: Als mir dein Lied erklang 3:38
5 No. 5: Amor 2:59
6 No. 6: Lied der Frauen 6:45
Edita Gruberová soprano
7 Zueignung TrV 141/1 (op. 10/1) 1:48
Lyrics: Hermann von Gilm
8 Muttertändelei TrV 196/2 (op. 43/2) 2:16
Lyrics: Gottfried August Bürger
9 Meinem Kinde TrV 187/3 (op. 37/3) 2:40
Lyrics: Gustav Falke
a Die heiligen drei Könige 6:51 aus Morgenland TrV 220/6 (op. 56/6)
Lyrics: Heinrich Heine
b Frühlingsfeier TrV 220/5 (op. 56/5) 3:14
Lyrics: Heinrich Heine
Karita Mattila soprano
Original CD: SK 48242 Released August 22, 1994
Recorded: London, Abbey Road Studios, Studio 1, February 6, 1991 [1–6]; October 3, 1991 [7–11]; May 21, 1993 [12–15]
Producer: David Mottley
Recording Engineers: Sid McLauchlan [1–11]; Marcus Herzog [12–15]
P 1994 Sony Music Entertainment
Vier letzte Lieder TrV 296
4 Last Songs
c No. 1: Frühling 2:57
Lyrics: Hermann Hesse
d No. 2: September 4:36
Lyrics: Hermann Hesse
e No. 3: Beim Schlafengehen 5:21
Lyrics: Hermann Hesse
f No. 4: Im Abendrot 7:11
Lyrics: Joseph von Eichendorff
Lucia Popp soprano
London Symphony Orchestra
FOR PROMOTION ONLY FSONYMUSICENTERTAINMENT
SERGEI PROKOFIEV 1891–1953
Romeo and Juliet op. 64
Scenes from the Ballet in 4 Acts
Arrangement: Michael Tilson Thomas
1 No. 1: Introduction to Act I 2:43
2 No. 2: Romeo (reflective). Andante 1:42
3 No. 3: The Street Awakens. Allegretto 1:26
4 No. 5: The Quarrel. Allegro brusco 1:47
5 No. 6: The Fight. Presto 2:35
6 No. 7: The Prince’s Decree. Andante 1:40
7 No. 8: Interlude 2:12
8 No. 9: Preparations for the Ball 2:16 (Juliet and the Nurse) Andante assai. Scherzando
9 No. 10: Juliet the Young Girl. Vivace 3:38
a No. 11: Arrival of the Guests (Minuet) 4:11 Assai moderato
b No. 13: The Knights’ Dance 4:35 (Juliet’s and Paris’s Dance) Allegro pesante
c No. 15: Mercutio. Allegro giocoso 2:16
d No. 16: Madrigal. Andante tenero 2:01
e No. 18: Gavotte (Departure of the 2:47 Guests). Allegro
Original CD: 09026 68288 2 Released February 1996
Recorded: San Francisco, Louise Davies Symphony Hall, September 20–24, 1995
Producer: Andreas Neubronner
Recording Engineer: Marcus Herzog P 1996 Sony Music Entertainment
f No. 19: Balcony Scene. Larghetto 8:15
g No. 37: Introduction to Act III. Andante 1:14
h No. 22: Folk Dance 4:07 (Introduction to Act II). Allegro giocoso
i No. 25: Dance with Mandolins. Vivace 1:55
j No. 30: The People Continue to Make 2:48 Merry. Vivo
k No. 32: Tybalt Meets Mercutio 1:45 Moderato
l No. 33: Tybalt and Mercutio Fight. 1:23 Precipitato
m No. 35: Romeo Resolves to Avenge 1:14 Mercutio’s Death Andante. Animato – Presto
n No. 36: Finale of Act II 2:20 (Cortège with Tybalt’s Body) Adagio dramatico
3 Apparition de l’Oiseau de feu, 2:21 poursuivi par Ivan Tsarévitch
Appearance of the Firebird, pursued by Ivan Tsarevich
4 Danse de l’Oiseau de feu 1:25
Dance of the Firebird
5 Capture de l’Oiseau de feu par 0:57
Ivan Tsarévitch
Ivan Tsarevich captures the Firebird
6 Supplication de l’Oiseau de feu – 8:27
Apparition des treize princesses enchantées
The Firebird’s entreaties –
Appearance of the 13 enchanted princesses
7 Jeu des princesses avec 2:27 les pommes d’or (Scherzo)
The Princesses’ Game with the Golden Apples
8 Brusque apparition d’Ivan Tsarévitch 1:30
Sudden appearance of Ivan- Tsarevich
9 Khorovode (Ronde) des princesses 4:40
The Princesses’ Round Dance
a Lever du jour – Ivan Tsarévitch 1:25 pénètre dans le palais de Kachtcheï
Daybreak – Ivan Tsarevich enters Kashchei’s palace
b Carillon féerique, apparition des 5:24 monstres-gardiens de Kachtcheï et capture d’Ivan Tsarévitch –Arrivée de Kachtcheï l’Immortel –
Dialogue de Kachtcheï avec Ivan Tsarévitch – Intercession des princesses –Apparition de l’Oiseau de feu
Magic carillon, appearance of Kashchei’s guardian monsters and the capture of Ivan Tsarevich –Arrival of Kashchei the Immortal – Kashchei’s dialogue with Ivan Tsarevich – Intercession of the princesses – Appearance of the Firebird
c Danse de la suite de Kachtcheï, 0:48 enchantée par l’Oiseau de feu
Dance of Kashchei’s retinue, under the Firebird’s spell
d Danse infernale de tous les sujets 10:23 de Kachtcheï –
Infernal dance of all of Kashchei’s subjects
TABLEAU II
e Disparition du palais et des sortilèges 3:24 de Kachtcheï, animation des chevaliers pétrifiés, allégresse générale
Disappearance of the palace and dissolution of Kashchei’s enchantments; animation of the petrified knights; general rejoicing
Le Sacre du printemps
The Rite of Spring Scenes of Pagan Russia in 2 Parts
PART 1:
DE
Perséphone
Melodrama in 3 Parts
for Tenor, Female Narrator, Mixed Chorus, Children’s Choir and Orchestra
Libretto: André Gide
Abduction of Persephone
Stuart Neill tenor
Stephanie Cosserat narration
San Francisco Symphony Chorus
Vance George director
San Francisco Girls Chorus
Sharon J. Paul director
Ragazzi, The Peninsula Boys Chorus
Joyce Keil director
San Francisco Symphony
Copland the Populist
AARON COPLAND 1900–1990
Billy the Kid Suite arco 33-A
Original CDs: 09026 63511 2 Released May 17, 2000 [1–23] RCDJ-63719-2 Released 2000 [24]
4 Dance Episodes from Rodeo arco 47a k Buckaroo Holiday
o Fanfare for the Common Man arco 51 3:35 for Brass and Percussion
San Francisco Symphony
Recorded: San Francisco, Davies Symphony Hall, May 19–23, 1999
Producer: Andreas Neubronner · Recording Engineer: Markus Heiland
Publisher: Boosey & Hawkes · P 2000 Sony Music Entertainment l Corral Nocturne 3:56
Aaron Copland –The Man and His Music
A lecture by Michael Tilson Thomas (2000)
Introduction to The Modernist and Symphonic Ode
It’s the year 2000, and as we have been celebrating the beginning of a new century, a century which was in so many ways the century of American music, we are also celebrating the 100th birthday of Aaron Copland, who was one of the most important figures in American music, one of the defining figures in American music, one of the men who really determined the sound that we now think of as being American music.
Copland was born to a Jewish immigrant family who were mostly shopkeepers and early-generations scholars, and who came to the United States and brought their young son, Aaron, to grow up in Brooklyn, New York. And there in Brooklyn, he was surrounded by a very diverse community of people, immigrants from many different countries, all having alike the responsibilities of finding their new identities as Americans in a new land.
I think it’s no accident that in later times Aaron’s music reflected so many different, diverse cultural elements which went into the mixing and the forging of a great society in the United States: sounds and personalities in people that he heard as a young man growing up there in Brooklyn, and that became an essential part of him and of his music.
From his very early days, Aaron said he wanted to have a music which would let people know what it was like to be alive and living in Brooklyn, living in New York, in the same way that when people listened to Mozart or Schubert or Mahler, they could have an idea of what it was like to be living in Vienna of an earlier day or in – listening to Rimsky-Korsakov or Mussorgsky – a Saint Petersburg of an earlier day. This
was his mission: that the music really has a sound in it which would be original and at the same time encouraging, including many people who would recognize themselves in this music.
How did this all begin? Well, he was a young kid in a family there in Brooklyn. Many of his siblings had taken music lessons before him, but he was insistent that he, too, must have a chance to take music lessons, which he remembered his father wasn’t too pleased about because his father felt he had given music lessons to so many other kids in the family. None of them had become musicians. It was just wasted money to go on with another kid’s music lessons.
But Aaron was insistent. He practiced more than anybody else in the family did, and very early became interested in composition. And he really insisted that his parents give him a wider and wider education, that he could go into New York to study with more sophisticated teachers. And he began writing a kind of music which was already, as a youngish boy, rather daring. It had some modernist elements in it which his teacher was trying to contain.
And this then brought him to the point in his life where he thought he really must go to Paris, which was the center of new musical ideas and new thinking in music because of people like Debussy and Stravinsky and Ravel. And this is where he went. And as a young man in Paris, he right away attracted some attention by some little salon pieces he wrote, one particularly called The Cat and the Mouse, a very cute little salon piece.
This brought him to the attention of a publisher very early and also, I think, his teacher, Nadia Boulanger, who became such a famous instructor of so many Americans, made her feel that this was a special young man, and she interested Koussevitzky, the great Russian conductor, in knowing Aaron and in giving Koussevitzky the idea to perhaps commission Aaron to write a piece.
And this began Aaron’s first style, which are pieces like Grohg and the Organ Symphony, kind of big, mostly European in feeling, assertive pieces, but already from the beginning containing a certain American element, primarily in the presence of what was then a very daring use of jazz harmonies and a few actual thematic ideas that came from jazz.
So already in the ’20s, this was a kind of direction in which he was going. But it was very clear to Aaron when he used jazz – or later on folk melodies, or blues, or whatever he was using that came from
vernacular music – that the purpose of the music was to be a serious classical piece. It might have elements of pop music, but the shape of the pieces, the size of the pieces, their purpose in being something that you would listen to again and again, and as you heard the piece more often, more clearly understand it. This was his mission to really write the kind of music that grabbed you symphonically and did things for you.
Music for the Theater became a very important piece in that it focused him on the idea of using these jazz harmonies in a much more pared-down way, of stripping away all the unnecessary notes – a big part of Boulanger’s message – and coming just to the succinct, focused message of what the music must say.
And this led him in the later ‘20s to some of his biggest and most serious pieces, which were the pieces we now think of as Aaron’s modernist pieces. Now, these pieces were big, craggy, serious statements, but they had in them a kind of tremendous vitality, which was a reflection of the time in which they were written. A piece like the Symphonic Ode has enormous spans of melody, which seem to suggest the kinds of big spans of metal that were going into the enormous bridges that were being built at the same time in America.
There’s a kind of wild rhythmic clangor in the pieces, which seems to evoke the kind of sound of the big construction sites of America at that time. And, of course, so much building was going on in America, it seemed like the whole country was one big construction site of kind of clanging and banging and noise layered over noise. Some of this exultant freedom and excitement of building something new went into pieces like the Symphonic Ode, which had, on the one hand, the big, vaulting kinds of themes, and, on the other hand, this scurrying, wild, syncopated, ever-evolving, rhythmic frenzy, owing things to jazz, owing things to mechanical ideas, but building this breathless excitement that would come into the music.
And this became an essential part of Aaron’s music in this period, this sort of dialog between the severe, powerful, monolithic, and then the kind of scurrying, scampering, and then a third element – which I think more powerfully than anything else relates to his Jewish heritage – a kind of very mournful and almost prayerful kind of quality, which emerges throughout all of his pieces.
And indeed, it’s important to remember in listening to something like the Symphonic Ode. But you could already hear a lot of the future of music – Aaron’s music and other music – because in this music,
there is the same aching harmonic quality that we know in his more familiar music, the kind of drive of the more popular jazzy rhythmic pieces of later years, and also even, interestingly enough, a certain protominimalist element.
In fact, the thing about Aaron’s music at this time, which was considered the most avant-garde, was his use of repetitive rhythms that could lock into an idea like [playing piano]. And that going at the rhythm [playing piano] was something that really made the more conservative members of the audience quite crazy. They thought: “Oh, this is so obsessive. It’s dangerous.” But, of course, for young musicians, it had something utterly fresh that had not appeared in music before in quite that way. The Symphonic Ode proved to be such a challenge for orchestras and for Koussevitzky – Copland’s major musical maestro champion – that it really set his music into a very different place. It was a crisis for him, actually, that he could spend so many years writing such an enormous piece of music, which proved to be too difficult for people to play: The notation of it, the rhythms of it, the technical demands of it; it seemed to be beyond what Koussevitzky could do, beyond what Aaron himself could do as a conductor. And there he was, trying to revise it and in some way simplify this huge thing and sort of waiting. In fact, he waited many, many years, the course of his whole lifetime, in fact, before we’ve come to a point in time where young musicians trained and experienced with contemporary music – with jazz idioms, with all of the kind of syncopated difficulties people mastered first in Stravinsky’s music – could come to this piece of Aaron’s and bring the kind of confident performance that he imagined when he was writing it.
The piece makes its big statement with an homage to Mahler, an homage to Stravinsky, and, of course, that huge American confident sense of city building, bridge building, and, above all, the big message of the streets of Brooklyn. All that’s there in the Symphonic Ode, which now in this new century stands for a kind of big confidence and a kind of almost aggressive “We can do it and we’re gonna do it” quality, which built the great America.
Concerto for Piano and Orchestra
Copland’s Piano Concerto was conceived of by him as a vehicle for his own performance. And, in fact, he was a tremendous pianist. That early piano lessons that his parents gave him had really paid off, and he
had developed a very special technique. He had his own way of getting virtuoso effects on the piano. He later said he hated to play scales as a kid, so he tried to invent a way that he could sound impressive, powerful, and interesting, but not have to play any scales. And this became a major feature of all of his piano music through his whole life. Nearly no scales. Chords, skips, runs, terrifying things, actually, to do, but no scales.
One of the things he enjoyed very much, like all wild modernist kids in those days, was playing the sound we call “tone clusters.” That’s when several notes are bunched up together [playing piano]. And the second movement of the piece made special use of these in a kind of wild, impudent, piano-destroying kind of way like a naughty kid making the kinds of noises his parents wouldn’t want him to make. But the Piano Concerto itself, perhaps, is the closest to the kind of big symphonic jazz idiom that other composers in the United States made really their own – notably George Gershwin.
Gershwin and Copland were, of course, close in terms of the generation in which they belonged to, but they went in entirely different directions. But right then in the mid ’20s, around 1924/26, the spirit of jazz and blues was really in the air, both in the United States, in New York, and in Paris, where Aaron had gone to study. Even French composers like Darius Milhaud were writing pieces like Création du monde, which used this bluesy, jazzy element. And there was just that one little moment in time where you could imagine that Aaron might have gone more in that jazz-fusion, blues-fusion kind of direction.
In the Piano Concerto, you can hear some big cityscape kind of moments which suggest that kind of music. And there are that, you know, kind of big, almost movie-score elements in the lushness of the orchestration, cut by the acerbic aggressiveness of the piano writing. But in the end, it’s all absolutely Aaron, with its impudent kind of stop and go, always going back to the beginning and spinning out a new variation of this hyperactive, jittery, kind of energetic writing that he wanted to communicate. The Piano Concerto stands as a two-movement “omaggio,” again, to the whole young confidence of America.
Orchestral Variations
By the end of the 1920s, Copland had become a totally confident composer with his own instantly recognizable style. Now he progressed onward to perhaps the most daring music of his entire career. This
came in 1930 with the composition of what was first known as the Piano Variations. It was a clangorous virtuoso piece, about 13 minutes long, for solo piano. Aaron spent years writing it, first improvising it bit by bit, deciding what the variations would be, and then assembling them in different orders until he found exactly the right way that it should go.
This piece is especially important to me because it was a piece that I, like so many young Americans, learned when I was a rebellious teenager. The piece seemed so fresh, and it seemed so defiant that it struck a chord in me as a kind of expression of my own musical independence. And this is exactly what the piece meant to many, many generations of young American musicians. It’s a big piece, and Leonard Bernstein used to say he would play it regularly when he wanted to empty the room of people because it can strike you as being really aggressive kind of “in your face” sort of music.
But underlying it, there really is a haunting kind of beauty: The theme is introduced right at the beginning in the piano, or, of course, in the orchestration that Aaron later did, in the instruments of the brass. And the theme, when first presented, goes like this: [playing piano]. Aaron deliberately presents it this way the first time to make it seem much more modern and defiant than it actually is because, if you hear those notes a little bit closer together, you realize it’s a kind of wonderful little tune, very simple, that could really be from the Jewish tradition or really almost from the African-American blues tradition [playing piano].
What follows is a series of character variations: some melancholy, some capricious, some very, very jazzy, almost like scat singing [playing piano], some defiant [playing piano], some humorous. He makes complete use of this material, transforming it with a wonderful sense of invention, humor, and mystery.
For years, this piece became one of the most important new works of American music, recognized worldwide as a completely fresh new voice in the concept of what American music could be. Utterly identifiable as American, there was all the jazz influence, the blues influence, the Jewish influence, even some Latin American influence, the clangorous construction noise, all of it there, yet pared down, absolutely fresh, absolutely original, seeming to owe everything and nothing to its origins.
Years later, Aaron was commissioned to write an orchestration of this piece by the Louisville Orchestra, which he called, not surprisingly, the Orchestral Variations. But over the years, I used to talk
with Aaron about this piece, which, although very adroitly created for orchestra, was a little bit contained by the fact that the Louisville Orchestra that had commissioned the piece was not that large an orchestra, and the piece seemed to require or call out for – in various places – a few more brass instruments, a few more percussion instruments, a few extra punchy kinds of sounds to let the piece open up in the orchestra, to push it to the very threshold of an orchestra’s possibilities in sound the same way that it pushes the piano’s threshold of sound.
I went to visit Aaron up at his house up on the Hudson one day, and told him I was about to do the piece and had these thoughts about it and suggested some possibilities of adding some instruments and some effects to the piece – effects and sounds of instrumental colors that existed in some of Aaron’s own larger orchestra pieces. I’m happy to say that that day he gave me his blessing and permission to accomplish that. And so going through the score under his direction, I opened the piece up a little bit just to give it a few extra touches of power and breath that to me have such a part of it. And I’m happy that on this performance with the San Francisco Symphony, you are going to be hearing this version which, with the composer’s blessing, I have faithfully accomplished.
Short Symphony
One of the qualities in music that Aaron most prized was clarity, focus, brevity. He always was telling his students that they should try and compose less notes or go through the notes that they had composed and get rid of the unnecessary ones. And no one was more devoted to this process of working than Aaron himself in his own music.
It’s extraordinary for us to listen to pieces of his, some of which are not very long, and realize that years and years were spent getting them to be as lapidary, as absolutely focused as we now accept them as being, and it seems inevitable that that’s the only way they could be.
A work that really stands out like this is the Short Symphony. It’s got some of the best qualities of Aaron’s modernist music, as well as some of the kind of catchy infectious, joyous quality of some of his later ballet music. It’s in three short movements which are interconnected: a kind of bouncy first movement, a bluesy second movement, and an equally bouncy and slightly obsessive third movement.
With Aaron Copland
They all feed off of each other and introduce a new kind of element in Aaron’s music, a presence of Latin American influence.
Many composers from Latin America and from Cuba were very close with Aaron. He met some of them in Paris, and he went on to meet them in Cuba and in Mexico throughout the ’30s. Composers like Chávez, like Roldán and others really were good friends whose music he championed and also allowed some of the qualities of these sounds and percussion and certain rhythmic and melodic elements to become part of his natural musical language.
You can hear all of these things decorating and sparkling the musical arguments in Short Symphony. Yes, it’s a neoclassical piece, yes, it certainly owes a lot to Stravinsky, but there is a wonderful kind of fun, entertaining element that’s part of the serious symphonic argument, which says: “Aaron, Aaron, Aaron, Aaron.”
Introduction to The Populist
After the avant-garde, modernist, craggy, and aggressive pieces of the late ’20s and early ’30s, Copland began to evolve in a new musical direction. Why did this happen? Part of it, I think, had to do with simply the difficulties of getting his music performed. These big pieces on which he had labored so much proved just too difficult for that time and place.
But there were other reasons as well. A new political mood was sweeping through the United States at this time, and Aaron, whose politics were quite left, was definitely part of it. He had a real concern in these years for what music could do for the people, and he began to imagine that it might be possible that music could be a kind of rallying point for people and bring them together in society in a way that was really not possible through any other means.
So he began to experiment, as many other composers and artists did at this time, with the idea of introducing more elements coming from folklore. And he began at this time a lifelong interest in folk melody and in traditional kinds of American music making, such as shape-note singing, such as music from the Yankee singing schools, cowboy songs, all of the kinds of origins of American culture.
What was he imagining here? Well, I think he was imagining that to people who were coming from such disparate places as citizens of the United States – all the immigrants coming from Eastern Europe,
from South American countries, from countries in Asia, from wherever people were coming – that here in America, they had to try and forge an identity where they could all feel as one people. And that even though their families had come from different places, for them all to begin to collectively imagine a time and place earlier in America in which they could have a stake might be very important, that they could think about the cowboy era, or they could think about the cabin building in American Appalachia or any place on the American frontier. And it really was the frontier that was the center of it all, that concept of a place where people could come from wherever they had come and build something new.
And that became the underlying principle of Aaron’s populist pieces. He listened to folkloric music of America and took recognizable elements from it. The open fourths and fifths [playing piano] from the tuning of folk instruments, the particular odd out-of-tune notes that could be a feature of country-westry music or cowboy ballads, the sort of very easy loping-along-the-trail kinds of rhythms that were in this music – all of this went into this new style.
It wasn’t that it specifically used one tune or another, although from time to time, he did that. But it was the sort of sound that surrounded all of this music, that all this music had in common, and that created a kind of new music in which everyone could feel he had a stake. You could recognize something that you knew coming from somewhere in your tradition in this music, and it was universal enough that people thought: “Hey, that’s mine.”
This was an astonishing piece of generous imagination. And it’s amazing that today when people hear music which they think sounds like the American plains or like the American frontier or cowboy music, what they’re really hearing is something which was completely imagined by a Jewish-American son of immigrants, Aaron Kaplan, now called Aaron Copland. It’s an extraordinary achievement. And it wasn’t that easy for him to do this.
Other composer friends of his who were more of an avant-garde or intellectual mind, thought: “What’s he doing? Is he really selling out? Is he taking the easy way out?” They didn’t understand the larger implication that his musical development would have in the country, which was to give it a real American musical identity.
Billy the Kid
One of the most important pieces that began this trend was the ballet Billy the Kid. In its use of melodies which had this kind of haunted American sound, it bridged the space between Aaron’s older and newer and then later music.
He also imagined, apart from the story of the ballet, that it could begin with an evocation of the American landscape. And, in fact, the opening and the end of the ballet, perhaps the most effective things in it, are this evocation of the big space, the open place of the plain of the prairie, which is the background to the story but, in the way Copland writes about it, almost becomes the major character, the land itself which became this underlying and grateful evocative energy which was in all of these populist pieces.
Appalachian Spring
Another concern that gave direction energy to Aaron’s populist writing were the political events of the ’30s leading up to the Second World War. The war clouds had been looming for a very long time over the world, and people in the United States were very aware of what was coming up.
Aaron began to imagine that this musical language that he was building could be a uniting force in getting the people to think about working together toward this very important defense of democracy and American freedom, which they were going to have to undertake.
It’s fascinating that during the war years the pieces that Aaron wrote were uniformly upbeat in quality. There were no aggressive “let’s go kill somebody or conquer somebody” kinds of pieces. There were, on the contrary, pieces which focused on the unity and the strength and the generosity of what America at its best could represent.
And one of the most important pieces of this kind, and many people think Aaron’s greatest piece, is the ballet he wrote for Martha Graham called Appalachian Spring. This piece allowed Aaron to write a kind of hovering, simple music which had in it, by its very nature, a wonderfully sweet and generous expression – with a very interesting similarity in some way to the composer that he so admired, although very few people realized how much he admired him: Gustav Mahler.
The thing that Aaron loved so much about Mahler’s music was the way Mahler could slow down harmony to almost an absolute stop where harmonies just seemed to hover in the air. In Mahler’s great song cycle Das Lied von der Erde much of the poignancy was achieved by the use of triads floating in space, triads that you really couldn’t tell from the way they were used, whether they were major and minor, this kind of sound: [playing piano]. That sound [playing piano] was used by Aaron very effectively right at the opening of Appalachian Spring [playing piano].
But he added another triad transposed above [playing piano]. And the two together [playing piano] seem to evoke a whole new tender and wondrous place that Americans could imagine as part of their heritage [playing piano]: a clearing in the woods. This sound was to become one of the most recognizable musical signatures of Aaron.
In Appalachian Spring, all the joyous events of a young couple meeting, getting together, building a new house, setting out on a new life, were set forth. But in the complete ballet, which we’ve recorded on this record, there was another remarkable episode. It was introduced at first by the inclusion of what’s since become one of the most famous American songs, Simple Gifts [playing piano]. The words of this song:
The gift to be simple, ’tis the gift to be free, ’tis the gift to come down where we ought to be, and when we find ourselves in the place just right, we’ll be in the garden of love and delight. When true simplicity is gained, to bow and to bend, we shan’t be ashamed.
To turn, turn, will be our delight, till by turning, turning, we come out right.
However, the Shakers may have meant these words when they wrote them; to Aaron – as a mid-20thcentury American in a country on the verge of making a colossal commitment to defend personal freedoms – this song had a very, very powerful message.
And it also was in keeping with his musical philosophy: “’Tis the gift to be simple, ’tis the gift to be free, ’tis the gift to come down where you ought to be.” This became a kind of spiritual credo of this piece. And in the work, it goes through a series of wonderful variations before arriving at the moment when an enormous climax of the piece could take place.
That’s what happens in the suite. But in the ballet, something different happens: Just at that moment, a short pause introduces a much more mysterious kind of music, which is the entry of a fire-andbrimstone preacher. In the middle of this piece, which has nearly been all happy and celebratory, he introduces in the ballet an element of uncertainty, where he says: Things don’t always work out as you plan; there’s a lot of sacrifice and danger and difficult and tempestuous events which are part of life. And Aaron wrote music for this, absolutely wild, again, proto-minimalist kind of music, which takes the music to the edge of absolute frenzy. You will hear this music in our performance of the complete ballet.
And at the end of this frenzied section, which lasts about an additional ten minutes, the music hits a kind of climax, seems to slow down, regain its composure, and then, after a moment’s pause, launch into the most incredibly powerful and grateful reassertion of “It’s the gift to be simple, it’s the gift to be free, and when we find ourselves in the place just right, we’ll be in the valley of love and delight.”
It packs such a punch because you feel that this simplicity, this recommitment to community, has been gained through great sacrifice and through attempting to take on the dangerous and noble cause. This is absolutely Aaron’s spirit, his own personal spirit, as expressed so simply in his music.
The following pages of Appalachian Spring, its coda, are again some of the most luminous, haunting, and hovering in all American music, and never failed to bring a tear to my eye.
Rodeo
Rodeo, Aaron’s last cowboy ballet, turned out to be perhaps his most popular. It was commissioned by Agnes de Mille and was imagined by her as a light-hearted romp, which would give the opportunity to combine elements of ballet with American folk-dancing and square-dancing kinds of styles.
Agnes de Mille, you remember, had also brought incredible vitality to the choreography that she had done for shows like Oklahoma!, which had revolutionized the whole nature of what people imagine
Broadway dancing could be. Now she brought her imagination into the field of ballet, American ballettheater world, imagining this piece to be a tremendous vehicle for her own ballet talents. She brought tremendous comedic verve to the role of the cowgirl who has to decide between two wranglers on the ranch as she’s having her first experience in romance.
Some of the most famous parts of Rodeo turned out to be the inclusion of some real cowboy songs like If He’d Be a Buckaroo by His Trade, and the evocation of violin fiddle tunes, which really is so infectiously presented in the “Hoe-Down,” perhaps Aaron’s most famous piece, which has been arranged for every conceivable instrument ensemble and played by rock groups, crossover groups, pops orchestras, dance bands – you can’t escape it.
On First Meeting Aaron Copland, and Aaron Copland the Man
I first met Aaron Copland when I was about 18 years old, backstage at a rehearsal at Hollywood Bowl in Los Angeles. I was already working on several of his piano pieces and was to have the opportunity that day to play the Piano Variations for him.
After rehearsal, I waited until the entire orchestra had left, and then, in a small little rehearsal space, began to play. I thought he would be tired after rehearsal; I was completely unprepared for his utter focus and generosity of his time. We went over every phrase, and he sang and/or played the whole piece for me, variation by variation, making it clear to me the way it should go.
He had a way of talking and a way of playing and singing his own music, which was very direct, very American: “Attaboy,” he’d say, “go after that one, solid, you know, be mysterious” – whatever. It was a wonderful combination of American kind of folksy humorous directness, and at the same time with an incredible serious focus. He knew just how he wanted the music to be, but his seriousness about his musical vision was coupled with a wonderful sense of humor that just made you laugh and forget about your nervousness and really go after making the music as personal as possible.
Generosity – that term I keep thinking of when I think about Aaron. He had such generosity. You can hear it in the music. There is this expression, this openness, this not-exactly-hard-on-the-sleeve quality, but utter simplicity, lack of disguise in the music’s making its friendly assertions.
He also had enormous time for students and other composers. Whenever you met him, he was always asking you what you were doing and remarkably remembering what you had told him the last time about a new piece or a new concert or a new project that you had. “How’s that going?” he would say. “What happened about that concert? What happened about your sonata? Did you get more of it written down?” That’s the time he had for other people – remarkable, considering his own intense schedule of composition and increasingly touring and performing, conducting, coaching, teaching.
He really cared about the direction music was going, not just in the United States, but in the whole world. And he was always championing music by composers like Tōru Takemitsu, Hans Werner Henze, David Del Tredici, and letting you know about the new piece that had been performed at one music festival or another.
He had colossal interest in music as an expression, a universal expression of mankind – much further than just the limits of the kind of music he decided to write. It was the big picture that mattered to him and the idea that people would be interested in pursuing music as a language that would express more and more of the different ways that people thought about life.
Over the years, as I premièred from time to time pieces of his or came to seek his advice about how I should perform or record many of his pieces, he had that same keen interest in letting you know how he really felt about the performance without imposing dictatorially one way of thinking about the music, but always asking you whether you felt comfortable with the quality of the expression, the intensity of communication, the naturalness, the simplicity that he wanted the music to have.
He wanted it to be succo, powerful, expressive, whimsical, humorous, all those things essential. But at the same time, he wanted it to happen without any artifice. He was always saying: “Let it sing simply, let it sing freely.” And sometimes he would say to the orchestra things which I know they wouldn’t even understand, like he’d say: “Play that in the gray part of the bow.” “Put a twinkle in that clarinet.” “Percussion: Wake me up.” You know, those kinds of terms with which he would speak, always trying to make the music as ingenuous, simple, affecting, memorable as possible.
He wanted the music to evoke the actual experience of life. And I think that’s why after all the styles have come and gone in the 20th century, his music still has that essential quality. We want to remember
it because it says what he meant to say and what he as a human being was about. And that thing was generosity, friendliness, courage, moving on with it, great qualities which we as Americans particularly treasure.
Introduction to Fanfare for the Common Man
Along with Appalachian Spring, the most important, and as it turns out, inspiring, and hugely influential piece that Aaron wrote during the war years was the Fanfare for the Common Man. A series of American composers were asked to write fanfares celebrating the war effort, and Aaron came up, as usual, with an utterly original solution. Fanfares have been written to extol one army or another, or one royal personage or another. But the idea in Aaron’s mind that there could be a fanfare which would extol the virtues of the common man of the people themselves, this was something new and different.
The piece used again the fourths and fifths of the kind of folk music that Aaron was exploring at this time [playing piano]. It’s so simple but instantly recognizable, and it has a proclamatory joyousness to it.
The piece brought enormous hope to all those who heard it, and as the war years ended, Aaron got the idea of using it as the opening of the last movement of his Third Symphony, the piece which summed up all of the sacrifice and dedication that had gone into those war years by the people of the United States.
As we look back at this piece through the perspective of history, however, it seems to stand for something much more universal. The common man now has become the cause of all of those who believe in freedom, who can hear the open-hearted and generous tones that Aaron put into this piece, and, along with him, rededicate themselves to the idea of plain and free speaking of thought and of music, those qualities which endear Aaron to us, and for him were the mightiest and most important things in music.
Transcription of the spoken text
FOR PROMOTION ONLY FSONYMUSICENTERTAINMENT
Note: In September 1986 CBS Masterworks released the recording of Tchaikovsky’s Nutcracker with the Philharmonia Orchestra on LP set I2M 42173 and later on CD M2K 42173 under license. On March 6, 2008, RCA Red Seal released John Tavener’s The Repentant Thief with the London Symphony Orchestra under license. Both recordings are now being distributed by third party.
In 1993 RCA Victor Red Seal released a series of VHS videos called Dudley Moore Introduces Concerto!, produced by Great Britain’s Channel 4 Television. For the present set, we have compiled the featured concerto recordings on CDs 57/58.
RCA Red Seal prepared several promotional samplers for MTT’s new releases: 1997 RCDJ-68887–2 The Making of… – excerpts of new releases presented by William Livingstone, Stereo Review; 1998 RCDJ-63381–2 –an extended version of RCDJ-68887–2; 1999 RCMJ-63346–2 The Maestro and the Music – excerpts of new releases compiled for United Airlines.
All of MTT’s original recordings to these samplers are included in this set. On the occasion of Aaron Copland’s 100th anniversary, RCA Red Seal re-issued MTT’s Copland – The Modernist and Copland – The Populist in the set The Essence of America, adding RCDJ-63719–2 Aaron Copland – The Man and His Music as a bonus. On the last of those three discs, Michael Tilson Thomas comments on Copland and his recordings. We have made this program available online for streaming and added a transcript of the lecture to the present booklet.
Recorded: Fort Lauderdale, Broward Center for the Performing Arts, Au-Rene Theater, April 25/26, 2000
Producer: Jay David Saks
Recording Engineer: Tom Lazarus
Assistant Engineers: Marc Stedman & Evan Sanchez
Publisher: Hendon Music c/o Boosey & Hawkes
New World Symphony
Charles Ives – An American Journey CHARLES IVES 1874–1954
From the Steeples and the Mountains 4:13 Moderato
The Things Our Fathers Loved 1:47
Lyrics: Charles Ives
3 The Pond (Remembrance) 1:42 from Set No. 7: Water Colors
Lyrics: Charles Ives
Lyrics: Charles Ives
A: Very Pleasant. Presto –
B: Rather Sad. Adagio 5 Charlie Rutlage
Lyrics: Dominick John “Kid” O’Malley, collected by John A. Lomax in Cowboy Songs and Other Frontier Ballads 6 The Circus Band 3:02 after March for Piano: The Circus Band
Lyrics: Charles Ives
Original LP: 09026 63703 2 Released February 5, 2002
Recorded: San Francisco, Davies Symphony Hall, September 30 & October 1–3, 1999
Producer: Andreas Neubronner
Recording Engineer: Markus Heiland Publishers: Peer International [1/2/4/6/10/11/17]; Merion Music [3/7–9/12/14/16]; Associated Music Publishers [5/13/15] P 2002 Sony Music Entertainment
Orchestral Set No. 1
Three Places in New England
7 I The “St. Gaudens” in Boston 8:51
Common (Col. Shaw and his Colored Regiment)
Very slowly
8 II Putnam’s Camp, Redding, 5:22
Connecticut Allegro (quickstep time)
9 III The Housatonic at Stockbridge 4:06 after the Poem by Robert Underwood Johnson Adagio molto
a In Flanders Fields 2:41
Lyrics: John McCrae
Orchestration: David Del Tredici
b They Are There!
Fighting for the People’s New Free World
Lyrics: Charles Ives, adapted from the text of He Is There!
c Tom Sails Away 2:48
Lyrics: Charles Ives
Symphony No. 4
d III Fugue. Andante moderato 6:38
e Psalm 100 1:35
Text: Psalm 100 in the King James Version
f Serenity 2:00
A Unison Chant
Lyrics: John Greenleaf Whittier
Orchestration: John Adams
g General William Booth 5:42
Enters into Heaven
Lyrics: Vachel Lindsay
h The Unanswered Question 6:19 for Trumpet, Flute Quartet and Strings
Thomas Hampson baritone [2–5/10–12/15/16]
San Francisco Girls Chorus [6/14/16]
Sharon J. Paul director
San Francisco Symphony Chorus [6/9/11/14/16]
Vance George director
San Francisco Symphony [1/3/5–11/13–17]
Glenn Fischthal trumpet [17]
Michael Tilson Thomas conductor & pianist [2/4/12]
PYOTR ILYICH TCHAIKOVSKY 1840–1893
Concerto for Violin and Orchestra in D major op. 35 1 I Allegro moderato 19:32 2 II Canzonetta. Andante – attacca 6:34
III Finale. Allegro vivacissimo 10:46 4 Méditation op. 42/1 9:39 from Souvenir d’un lieu cher Arrangement: Alexander Glazunov
5 Danse russe 4:29 Russian Dance from Swan Lake op. 20
Joshua Bell violin
Berliner Philharmoniker
Original CD: SK 93922 Released September 20, 2005
Recorded: Berlin, Philharmonie, January 27–31, 2005
Producer: Andrew Keener
Recording Engineer: Arne Akselberg P 2005 Sony Music Entertainment
With Joshua Bell
SERGEI RACHMANINOFF 1873–1943
Concerto for Piano and Orchestra No. 2 in C minor op. 18
1 I Moderato – Più vivo – Allegro – 10:49
Maestoso (Alla marcia) – Moderato
2 II Adagio sostenuto 12:16
3 III Allegro scherzando – Moderato – 11:27
Allegro scherzando – Presto –
Moderato – Allegro scherzando – Alla
breve – Presto – Maestoso – Risoluto
FRANZ LISZT 1811–1886
Concerto for Piano and Orchestra No. 1 in E-flat major S 124
4 Allegro maestoso. Tempo giusto – 5:38
5 Quasi Adagio – 5:00
6 Allegretto vivace – Allegro animato – 4:12
Tempo I (Allegro maestoso) –
7 Allegro marziale animato – Presto 4:17
Kazune Shimizu piano London Symphony Orchestra
Recorded: London, Abbey Road Studios, Studio 1, February 10/11, 1986 [1–3], February 10/12/14/15, 1986 [4–6]
Producer: David Mottley
Recording Engineer: Tony Faulkner P 1986/1988 Sony Music Entertainment
Original LP: 28AC-2152 Released Released May 21, 1986 [1-–3]
Original CD: 30DC-5058 Released June 22, 1988 [4–6]
PYOTR ILYICH TCHAIKOVSKY 1840–1893
Concerto for Piano and Orchestra No. 1 in B-flat minor op. 23
1 I Allegro non troppo e molto 20:36 maestoso – Allegro con spirito
2 II Andantino semplice – Prestissimo – 7:44
Tempo I
3 III Allegro con fuoco 7:06
Kazune Shimizu piano
London Symphony Orchestra
IGOR STRAVINSKY 1882–1971
Pétrouchka
Burlesque in 4 Scenes
1946/47 Version
SCENE 1
4 Fête populaire de la semaine grasse 5:00
The Shrovetide Fair
5 Le Tour de passe-passe 1:57
The Magic Trick
6 Danse russe 2:30
Russian Dance
Original LP: 28AC-2152 Released May 21, 1986 [1-–3]
SCENE 2
7 Chez Pétrouchka 3:59
Petrushka’s Room
SCENE 3
8 Chez le Maure 2:39
The Moor’s Room
9 Danse de la Ballerine 0:45
Dance of the Ballerina
a Valse. La Ballerine et le Maure 3:01
Waltz. The Ballerina and the Moor
SCENE 4
b Fête populaire de la semaine 1:06
grasse (vers le soir)
The Shrovetide Fair (toward evening)
c Danse des nounous 2:21
The Wet Nurses’ Dance
d Le Paysan et l’ours 1:37
The Peasant and the Bear
e Un marchand fêtard avec deux 0:52
tziganes
The Jovial Merchant with Two Gypsy Girls
f Danse des cochers et des palefreniers 1:56
Dance of the Coachmen and the Grooms
g Les Déguisés 1:37
The Masqueraders
h La Rixe. Le Maure et Pétrouchka 0:53
The Fight. The Moor and Petrushka
i Mort de Pétrouchka 0:35
Death of Petrushka
j La Police et le Charlatan 1:19
The Police and the Juggler
k Apparition du double de Pétrouchka 0:50
Apparition of Petrushka’s Double
Boston Symphony Orchestra
Michael Tilson Thomas piano
Seiji Ozawa conductor
Original LP: LSC-3167 Released September 1970 [4–20]
Recorded: London, Abbey Road Studios, Studio 1, February 14/15, 1986 [1–3]; Boston, Symphony Hall, November 24, 1969 [4–20]
Producers: David Mottley [1–3]; Peter Dellheim [4–20]
Recording Engineers: Tony Faulkner [1–3]; Bernard Keville [4–20]
P 1970/1986 Sony Music Entertainment
Discography
ADOLPHE ADAM
Giselle ou Les Wilis
Mark J. Inouye trumpet
JOHANN SEBASTIAN BACH
Orchestration: Arnold Schoenberg Symphonieorchester des Bayerischen Rundfunks
Suzanne Murphy soprano
Carolyn Watkinson mezzo-soprano
Dennis O’Neill tenor
Gwynne Howell bass
Tallis Chamber Choir
English Chamber Orchestra
HECTOR BERLIOZ
Lélio, ou Le Retour à la vie op. 14b
LEONARD BERNSTEIN
Deborah Sasson soprano
Peter Hofmann tenor
Members of the Los Angeles Philharmonic
On the Town
Deborah Sasson soprano
Peter Hofmann tenor Members of the
West Side Story
Deborah Sasson soprano
Peter Hofmann tenor
Members
JOHANNES BRAHMS
CLAUDE DEBUSSY
Ann
Nathalie
Leslie
London
London Symphony Orchestra
Barry
Audra McDonald soprano
Brian Stokes Mitchell baritone
San Francisco
George Gaffney
Andy Simpkins
Harold Jones
Los
Larry Kert · Maureen McGovern
Jack Dabdoub · George Dvorsky
Haskell Gordon · Casper Roos
Merwin Goldsmith · Walter Hook
Frank Kopyc · Raymond Thorne
Mark Zimmerman · Paige O’Hara
New York Choral Artists
of St. Luke’s
Not for Me – Love Is Here to Stay –
Embraceable You –
Someone to Watch Over Me
Sarah Vaughan vocals
George Gaffney piano
Andy Simpkins bass
Harold Jones drums
Los Angeles Philharmonic
Nice Work If You Can Get It –
They Can’t Take That Away from Me –’S Wonderful – Swanee – Strike Up the Band
Sarah Vaughan vocals
George Gaffney piano
Andy Simpkins bass
Harold Jones drums
Los Angeles
I’ve Got a Crush on You – A Foggy Day
Sarah Vaughan vocals
George Gaffney piano
Andy Simpkins bass
Harold Jones drums Los
Of Thee I Sing
Maureen McGovern · Paige O’Hara
Jack Dabdoub · George Dvorsky
Louise Edeiken · Walter Hook
Frank Kopyc · Casper Roos
Raymond Thorne · Mark Zimmerman
New York Choral Artists
Orchestra of St. Luke’s
Oh, Kay!
Concerto in F
Garrick Ohlsson piano
San Francisco Symphony
Porgy and Bess
Sarah Vaughan vocals
George Gaffney piano
Andy Simpkins bass
Harold Jones drums Los Angeles
Sarah Vaughan vocals
George Gaffney piano
Andy Simpkins bass
PAUL HINDEMITH
Thomas Hampson baritone September & October 1999
San Francisco Symphony Chorus
San Francisco Symphony
Sails Away
Thomas Hampson baritone September & October 1999
San Francisco Symphony
LEOŠ JANÁC
EK
Glagolitic Mass
(Mša glagolskaja)
Gabriela Benackova soprano
Felicity Palmer mezzo-soprano
Gary Lakes tenor
Anatoly Kotcherga bass
John Scott organ
London Symphony Orchestra
Symphony Orchestra
November 1991
GORDON JENKINS
FRANZ LISZT
STEVEN MACKEY
Musical Partners
GUSTAV MAHLER
5 Rückert-Lieder London, November 1987
Janet Baker mezzo-soprano
London Symphony Orchestra
Das klagende Lied
Marina Shaguch soprano
Michelle DeYoung mezzo-soprano
Thomas Moser tenor
Sergei Leiferkus baritone
San Francisco Symphony Chorus
San Francisco Symphony
3
Janet Baker mezzo-soprano
London Symphony Chorus
Southend Boys’ Choir
London Symphony Orchestra Symphony No. 7
London Symphony Orchestra
& June 1996
November 1997
SIMEON BUTLER MARSH
LOWELL MASON
JOHN McLAUGHLIN
London Symphony Orchestra
Mahavishnu Orchestra
London Symphony Orchestra
London Symphony Orchestra
Michael Tilson Thomas piano
FELIX MENDELSSOHN
DARIUS MILHAUD
Composer / Works
Musical Partners
WOLFGANG AMADEUS MOZART
Concerto for Flute, Harp and London, September 1992 CD 09026 61789 2 57
Orchestra K 299 (297c)
James Galway flute
Marisa Robles harp
London Symphony Orchestra
CARL ORFF
Carmina Burana Cleveland, August 1974 & LP M/MQ 33172 3
Judith Blegen soprano New York City, September 1974
Kenneth Riegel tenor
Peter Binder baritone
The Cleveland Orchestra Chorus
The Cleveland Orchestra Boys Choir
The Cleveland Orchestra
SERGEI PROKOFIEV
10 Pieces for Piano Princeton, November 1988
MK 44818 41 from Romeo and Juliet op. 75
Vladimir Feltsman piano Classical Symphony (No. 1) op. 25 London, April & May 1991
London Symphony Orchestra
48239
Composer / Works Recording Original Release
Musical Partners
GIACOMO PUCCINI
Tosca Budapest, December 1988 CDs S2K 45847 43/44
Éva Marton soprano
José Carreras tenor
Juan Pons baritone
Ferenc Gerdesits tenor
István Gáti baritone
Italo Tajo bass
József Németh bass
József Gregor bass
Benedek Héja alto
Hungarian State Radio and Television Chorus
Hungarian State Orchestra
SERGEI RACHMANINOFF
Piano Concerto No. 2 op. 18
Barry Douglas piano
London Symphony Orchestra
Kazune Shimizu piano
London Symphony Orchestra
London, November 1992 CD 09026 61679 2 58
London, February 1986 LP 28AC-2152 79
DAVID RAKSIN
MAURICE RAVEL
Arrangement: Arthur Hoérée
London
John Harle soprano
Le Carnaval des animaux R 125 Le Cygne
Steven Isserlis cello
Michael Tilson Thomas piano
Dudley Moore piano
Violin Concerto No. 3 op. 61
Cho-Liang Lin violin
Philharmonia Orchestra
STANLEY SILVERMAN
Karen Altman · Susan Belling
Luther Enstad · Roland Gagnon
Larry Marshall · Luther Rix
Marilyn Sokol · Philip Steele
Chorus · Rock Band
Electronic Tape
Raga Group Tape Recorder
Gypsy Ensemble · Elephants
JOHN STAFFORD SMITH
Arrangement: Igor Stravinsky
London Symphony Orchestra
Edita Gruberová soprano
London Symphony Orchestra
Karita Mattila soprano London
Karita Mattila soprano
Karita Mattila soprano
IGOR STRAVINSKY
Jerome Simas clarinet
Mark Niehaus trumpet New World Symphony
Stuart Neill tenor
Stephanie Cosserat narration
San Francisco Symphony Chorus
San Francisco Girls Chorus
Ragazzi, The Peninsula Boys Chorus
San Francisco Symphony
Seiji
JOHN R. SWENEY
quoted by Charles Ives in his Symphony No. 4
Richard R. Webster organ
PYOTR ILYICH TCHAIKOVSKY
Kazune Shimizu piano
London
Joshua
Berliner
Joshua
Berliner
HEITOR VILLA-LOBOS
JOSEPH PHILBRICK WEBSTER
Richard R. Webster organ
KURT WEILL
Julia Migenes
Robert Tear tenor
Stuart Kale tenor
Alan Opie baritone
Roderick Kennedy bass
HEINRICH ZEUNER
Ye Christian Heralds
Chicago, April 1989 CD SK 44939 46 quoted by Charles Ives in his Symphony No. 4 Members of the Chicago Symphony Chorus Chicago Symphony Orchestra Richard R. Webster organ
MICHAEL T ILSON T HO M AS
THE COMPLETE COLUMBIA, SONY, AND RCA RECORDINGS
Produced by Joshua Robison & Robert Russ with Thomas Edler & Oliver Theil
Booklet Editors: Jochen Rudelt & Marvin J. Deitz, texthouse
Design: [ec:ko] communications
Production Managers: Miriam Rodriguez & Tom Laskey
Mastering: Martin Kistner, b-sharp music & media solutions
Consists of previously released material
Photos – cover: Chris Wahlberg; pp. 2/3, 94, 96, 99, 111: Terry Lott; p. 4: Carol Friedman; pp. 6, 68: Ron Harris; p. 10: Eugene Cook; p. 15: John Gotman; pp. 18/9, 39, 40: Clive Barda; p. 24: Steven Epstein private archive; p. 32: Bill King; p. 67: Waring Abbott; p. 112: Bob Rush; p. 135: James R. Holland; p. 136: Nancy Ellison Rollnick; p. 144: Alex Gort; p. 162: Joshua Robison; p. 176 Peter Adanik, Bill Phelps; pp. 180/181: Don Hunstein; p. 221: Art Streiber; pp. 16, 20, 23, 27, 30, 104: photographers unknown
This compilation P & C 2024 Sony Music Entertainment
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