Michael Tilson Thomas: The Complete Columbia, Sony and RCA Recordings

“Amazed by the scope of what we accomplished”

Recollections 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 analogue 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, Laser Discs, 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 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.

The early years of cutting tape to make edits was time-consuming, but 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.

My first recordings for Columbia/CBS were Apocalypse with John McLaughlins’ 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 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 music at age thirteen 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 Silberman 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 air check 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 the 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 softspot 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 are 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

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 Debussy’s Le Martyre de saint Sébastien with Leslie Caron, September 1991

December 1974

Recording Beethoven with the London Symphony Orchestra at Abbey Road Studios,

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: “3 – 2 – 1 – Michael, we can start.” And in short order, they work 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’ 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, was 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, including a variety of vocal and instrumental soloists. Among many others: Tosca in Budapest, Adam’s Giselle, 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 challenging and a fun experience. Even after all these years I still treasure fond memories of our working together.

with David Mottley

Tracklists

Apocalypse

Orchestrations: Michael Gibbs

JOHN McLAUGHLIN *1942

1 Power of Love 4:17

2 Vision Is a Naked Sword 14:23

3 Smile of the Beyond 8:05

Text: Mahalakshmi

4 Wings of Karma 6:10

5 Hymn to Him 19:21

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]

Original LP: C 32957 Released May 3, 1974

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

5

6

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

Patti

June Magruder · Patricia Price

Albertine Robinson · Maeretha Stewart Rose Taylor

Producers:

Recording

Mix

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 Engineer: Bud Graham & Ray Moore

LP Matrix Nos.: AL 33172 [1–12], BL 33172 [13–25]; QAL 33172 [1–12], QBL 33172 [13–25]

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

The Cleveland Orchestra

LUDWIG VAN BEETHOVEN 1770–1827

König Stephan op. 117 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

Text: Johann Christoph Friedrich Haug

b Opferlied op. 121b 7:48

Text: Friedrich von Matthisson

c Bundeslied op. 122 4:03

Text: Johann Wolfgang von Goethe

d Meeresstille und glückliche Fahrt 8:35

op. 112

The Ambrosian Singers John McCarthy chorus director London Symphony Orchestra

Sostenuto – Allegro vivace Original LP: M/MQ 33509 Released September 1975

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

CD 5 32:23

P 1976 Sony Music Entertainment Recording Beethoven, 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]

ANTONÍN DVOR ˇ ÁK 1841–1904

The American Flag op. 102

Cantata for Soloists, Chorus and Orchestra

Text: 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 TO THE FLAG.

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 bariton

RIAS Kammerchor

Chor der St.-Hedwigs-Kathedrale Berlin

Uwe Gronostay chorus director

Rundfunk-Sinfonieorchester Berlin

Music of Carl Ruggles

4

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. 5:39

Allegro moderato

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 35125 [1–3], BL 35124 [4]

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.

Awakening of Cheerful Feelings upon Arrival in the Country Allegro ma non troppo

2 II Szene am Bach 12:18

Scene by the Brook Andante molto moto

3 III Lustiges Zusammensein 5:19 der Landleute

Merry Gathering of Country Folk Allegro

4 IV Gewitter, Sturm 3:07

Thunderstorm Allegro

5 V Hirtengesang. Frohe und dankbare 9:57

Gefühle nach dem Sturm

Shepherd’s Song. Happy and Thankful

Feelings after the Storm Allegretto

English Chamber Orchestra

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

OTTORINO RESPIGHI 1879–1936

Feste romane

Roman Festivals · Symphonic Poem

1 I Circenses 4:26

Circuses

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 4:56

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

6 II La fontana del Tritone al mattino 2:26

The Triton Fountain in the Morning Vivo

7 III La fontana di Trevi al meriggio 3:15

The Trevi Fountain at Midday

Allegro moderato – Allegro vivace –Largamente – Calmo

8 IV La fontana di Villa Medici al tramonto 6:06

The Villa Medici Fountain at Sunset Andante

Los Angeles Philharmonic

PYOTR ILYICH TCHAIKOVSKY 1840–1893

Manfred op. 58

Symphony in B minor in Four Scenes after the Dramatic Poem by Lord Byron

1 I Lento lugubre 16:18

2 II Vivace con spirito 9:35

3 III Andante con moto 10:26

4 IV Allegro con fuoco 18:53

London Symphony Orchestra

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]

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

Matrix Nos.: DAL 36702 [1–4], DBL 36702 [5–9]

Orchestral Suite No. 4 in G major

“Mozartiana” op. 61

6 I Gigue 1:35 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. Andante non tanto 4:31 after Liszt’s Piano Transcription of Mozart’s Ave verum corpus for Chorus, Strings and Organ K 618)

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

Carl Pini solo violin Philharmonia Orchestra

IGOR STRAVINSKY 1882–1971

Pétrouchka

Burlesque in 4 Scenes

1946/47 Version SCENE 1

Fête populaire de la semaine grasse 5:33

The Shrovetide Fair 2 Le Tour de passe-passe 1:59 The Magic Trick 3 Danse russe 2:45 Russian Dance

Pétrouchka

Danse de la Ballerine 0:42 Dance of the Ballerina

Valse. La Ballerine et le Maure 3:19 Waltz. The Ballerina and the Moor Original LPs: 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

Publisher: Boosey & Hawkes

4

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

Michael Tilson Thomas conductor

Gershwin Live!

GEORGE GERSHWIN 1898–1937

Medley from Porgy and Bess

Text: Ira Gershwin & DuBose Heyward

Arrangement: Marty Paich

1 Introduction – Summertime – 7:52

It Ain’t Necessarily So – I Loves You, Porgy

Medley

Text: 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

Text: Ira Gershwin

4 Fascinating Rhythm 4:04 from Lady, Be Good!

Text: Ira Gershwin

Arrangement: Marty Paich

5 Do It Again! 5:24 from The French Doll

Text: B.G. DeSylva

Recorded: Los Angeles, Dorothy Chandler Auditorium, February 1/2, 1982

Producer: Steven Epstein Recording Engineer: Bud Graham

6 My Man’s Gone Now 5:52 from Porgy and Bess

Text: Ira Gershwin & DuBose Heyward

7 The Man I Love 10:03 from Strike Up the Band

Text: Ira Gershwin

Arrangement: Marty Paich

Medley

Text: 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 from Treasure Girl 7:34 and Strike Up the Band – A Foggy Day from the Film A Damsel in Distress

Sarah Vaughan vocals

Harold Jones drums [1/2/4/6–9]

George Gaffney piano [1/2/4/6–9]

Andy Simpkins bass [1/2/4/6–9]

Los Angeles Philharmonic

Michael Tilson Thomas pianist [3/5/7] & conductor

CD 17 48:25

LUDWIG VAN BEETHOVEN (1770–1827)

Symphony No. 4 in B-flat major op. 60

1 I Adagio – Allegro vivace 12:18

2 II Adagio 9:52

3 III Allegro vivace – 6:05 Trio. Un poco meno Allegro

4 IV Allegro ma non troppo 6:32

5 “Ah! perfido!” op. 65 13:26

Scene and Aria for Soprano and Orchestra

Text: Pietro Metastasio (Part 1) Allegro con brio – Aria. Adagio

Eva 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

Producer: Steven Epstein

Recording Engineer: Neville Boyling LP Matrix Nos.: DAL 37209 [1–3], DBL 37209 [4/5] P 1982 Sony Music Entertainment

18 37:49

IVES 1874–1954

Symphony No. 2

1 I Andante moderato – 5:47

2 II Allegro 11:11

5 V Allegro molto vivace 9:42

Concertgebouworkest Amsterdam

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]

Publisher: Southern Music Publishing

SERGEI PROKOFIEV 1891–1953

Lieutenant Kijé Suite op. 60

1 I Kijé’s Birth 4:06

Andante assai

2 II Romance 4:48

Andante – Allegretto (Poco meno del doppio movimento) – Tempo I

3 III Kijé’s Wedding 2:48

Allegro festoso

4 IV Troïka 2:45

Moderato – Allegro con brio

5 V Kijé’s Burial 5:57

Andante assai – Allegro moderato

L’Amour des trois oranges –

Orchestral Suite op. 33a

The Love for Three Oranges

6 I Les Ridicules 2:49

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 Engineer: Arthur Kendy & Bud Graham

Matrix Nos.: AL 36683 [1–5], BL 36683 [6–12]

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

LUDWIG VAN BEETHOVEN 1770–1827

Symphony No. 5 in C minor op. 67

1 I Allegro con brio 7:49

2 II Andante con moto 9:45

3 III Allegro – 4:49 attacca

4 IV Allegro 11:02

5 Egmont Overture op. 84 8:30 from the Music to Johann Wolfgang von Goethe’s Tragedy Sostenuto, ma non troppo – Allegro

La Mer L 109

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 chorus master

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

CD 22 58:35

FELIX MENDELSSOHN 1809–1847

Concerto for Violin and Orchestra in E minor op. 64

1 I Allegro molto appassionato – 13:29

attacca

2 II Andante – 8:23

attacca

3 III Allegretto non troppo – 6:44 Allegro molto vivace

CAMILLE SAINT-SAËNS 1835–1921

Concerto for Violin and Orchestra No. 3 in B minor op. 61

4 I Allegro non troppo 9:37

5 II Andantino quasi allegretto 8:49

6 III Molto moderato e maestoso – 11:27 Allegro non troppo – Più allegro

Cho-Liang Lin violin Philharmonia Orchestra

Original LP: IM 39007 Released January 1984

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

[1–3],

[4–6]

I Poco sostenuto – Vivace 15:11

II Allegretto 8:24

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

CHARLES IVES 1874–1954

Symphony No. 3 “The Camp Meeting”

1 I Old Folks Gatherin’ 8:00 Andante maestoso

2 II Children’s Day 6:46 Allegro

3 III Communion 8:21 Largo

Concertgebouw Chorus

Geert van Keulen director

Original LP: IM 37823 Released January 1985

Orchestral Set No. 2

4 I An Elegy to Our Forefathers 5:44 Very slowly

5 II The Rockstrewn Hills Join in 4:47 the People’s Outdoor Meeting Allegro

6 III From Hanover Square North, 9:55 at the End of a Tragic Day, the Voice of the People Again Arose. Very slowly – Andante maestoso

Concertgebouworkest Amsterdam

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]; Peermusic Classical [4–6]

P 1985 Sony Music Entertainment

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

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 Text: Leonard Bernstein

Orchestrations: Hershy Kay, Don Walker, Elliott Jacoby, Ted Royal, Bruce Coughlin & Leonard Bernstein

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

b No. 2: Hymn and Psalm: 4:51 A Simple Song

Deborah Sasson soprano

Peter Hofmann tenor

Members of the Los Angeles Philharmonic

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 1985 Sony Music Entertainment

c Communion (Secret Songs) 5:54

GEORGE GERSHWIN 1898–1937

1 Rhapsody in Blue 15:49 for Piano and Orchestra

Orchestration: Ferde Grofé

Lorin Levee clarinet

Los Angeles Philharmonic

Michael Tilson Thomas conductor & piano

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 Short Story 2:56

Reconstruction: Michael Tilson Thomas

4 Violin Piece 3:47

Gershwin Melody No. 40

Arrangement: Michael Tilson Thomas

Michael Tilson Thomas piano

Original LP: IM 39699 Released May 1985

5 Second Rhapsody 14:15 for Orchestra with Piano Original Version

Los Angeles Philharmonic

Michael Tilson Thomas conductor & piano

6 For Lily Pons 2:03

Gershwin Melody No. 79

Realization: Michael Tilson Thomas

7 Sleepless Night 4:30

Gershwin Melody No. 17

Michael Tilson Thomas piano

8 Promenade (“Walking the Dog”) 2:56

Los Angeles Philharmonic

Michael Tilson Thomas conductor & 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 [2–5/6/7]

LP Matrix Nos.: DAL 39699 [1–4], DBL 39699 [5–8]

Publishers: Warner Bros. Music [1–7]; New World Music [1/2–7]; Chappell [8]

P 1985 Sony Music Entertainment

1 I Adagio molto – Allegro con brio 12:55

2 II Larghetto 12:35

3 III Scherzo. Allegro – Trio 3:34

4 IV Allegro molto 6:12 Symphony No. 1 in C

5 I Adagio molto – Allegro con brio 9:39

6 II Andante cantabile con moto 8:28

7 III Menuetto. Allegro molto e vivace

8 IV Finale. Adagio – 5:48

Allegro molto e vivace

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

[1–4],

CD 28 46:59

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 – Kadenz –

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, Herculessal, February 6–8, 1985

Producer: David Mottley

Recording Engineer: Martin Wöhr

LP Matrix Nos.: DAL 42129 [1/2], DBL

LUDWIG VAN BEETHOVEN 1770–1827

Symphony

Original LPs: M2 39711 (M 39712/13) Released March 1987 (digital recording with M instead of IM prefix)

Recorded: London, Abbey Road, EMI Studios, November 24/25, 1985 [CD 29]; May 15, 1983, September 9/10, 1983 & November 26, 1984 [CD 30]

Producer: Steven Epstein

Recording Engineer: Neville Boyling

LP Matrix Nos.: DAL 39712 [CD 29], DBL 39712 [CD 30: 1], DAL 39713 [CD 30: 2/3], DBL 39713 [CD 30: 4]

6:30

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

31 50:09

AARON COPLAND 1900–1990

Old American Songs – Set I arco 65.1 for Medium Voice, Chorus and Orchestra

Arrangement: Irving Fine, R. Wilding White & Glenn Koponen

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

Arrangement: 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)

9 No. 4: At the River 2:45 Hymn Tune

a No. 5: Ching-a-Ring Chaw 1:36 Minstrel Song

Don Becker baritone

Mormon Tabernacle Choir

Jerold D. Ottley chorus master

Utah Symphony Orchestra

b Canticle of Freedom arco 71 13:50 for Chorus and Orchestra

Text: John Barbour

Mormon Tabernacle Choir

Jerold D. Ottley chorus master

Utah Symphony Orchestra

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]

Publishers: Boosey & Hawkes P 1987 Sony Music Entertainment

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 chorus master

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

Producer: Steven Epstein

Recording Engineer: Bud Graham

LP Matrix Nos.: DAL 42638 [CD 32: 1–11], DBL 42638 [CD 33: 12–22], DAL 42639 [CD 33: 1–8], DBL 42639 [CD 33: 9–30]

Publishers: W.B. Music

P 1987 Sony Music Entertainment

Of Thee I Sing

Lyrics: Ira Gershwin

Book: George S. Kaufman & Morrie Ryskind

Orchestration: Robert Russell Bennett, William Daly & George Gershwin

1 Overture 4:33

ACT I

2 Wintergreen for President (chorus) 1:31

3 Who Is the Lucky Girl to Be? 1:29 (Diana, chorus)

4 The Dimple on My Knee (Diana, chorus) 1:32

5 Because, Because (chorus) 1:19

6 Never Was There a Girl So Fair 5:01 (Fulton, committee, chorus, Diana, Wintergreen)

7 Some Girls Can Bake a Pie 1:44 (Wintergreen, Diana, committee, chorus)

8 Love Is Sweeping the Country 3:36 (Jenkins, Miss Benson, chorus)

9 Of Thee I Sing (Wintergreen, Mary, chorus) 2:05

a Supreme Court Judges 2:37 (chorus, Chief Justice, Wintergreen)

b A Kiss for Cinderella – Some Girls 9:15

Can Bake a Pie (Reprise) –

Of Thee I Sing (Reprise) (Wintergreen, chorus, company)

ACT II

c Hello, Good Morning 3:38 (chorus, Miss Benson, Jenkins)

d Who Cares? (chorus, Wintergreen, Mary) 2:23

e The Illegitimate Daughter – 6:26

Because, Because (Reprise) (chorus, French Ambassador, Wintergreen, committee, Diana, Mary)

f Who Cares? (Reprise) (Mary, Wintergreen) 1:01

g The Senator from Minnesota 2:21 (chorus, Throttlebottom)

h The Senate 2:09 (Chief Flunkey, Throttlebottom, chorus, Lyons, Jones, Fulton, French Ambassador)

i Jilted – I’m About to Be a Mother 5:40 (Diana, chorus, Throttlebottom, Wintergreen, Mary, French Ambassador, Chief Justice, committee)

j Posterity Is Just Around the Corner 1:16 (Wintergreen, Mary, chorus, committee)

k Trumpeter Blow Your Golden Horn 4:01 (chorus, Doctor, Chief Flunkey, Lippman, Gilhooley, Jones, Lyons)

l Finale Ultimo (company) 3:57

m Of Thee I Sing (Reprise) 1:23 (Wintergreen, company)

GEORGE GERSHWIN 1898–1937

Jack Gilford Alexander Throttlebottom

Larry Kert John P. Wintergreen

Maureen McGovern Mary Turner

Paige O’Hara Diana Devereaux

Jack Dabdoub French Ambassador

George Dvorsky Sam Jenkins · Chief Flunkey · Doctor

Louise Edeiken Miss Benson

Merwin Goldsmith, Louis Lippman (committee member)

Walter Hook Senator Robert E. Lyons (committee member)

Frank Kopyc Francis X. Gilhooley (committee member)

Casper Roos Chief Justice

Raymond Thorne Matthew Arnold Fulton (committee member)

Mark Zimmerman Senator Carver Jones (committee member)

New York Choral Artists

Joseph Flummerfelt director

Orchestra of St. Luke’s

Michael Feldman artistic director

Michael Tilson Thomas music director & conductor

Robert Fisher associate music director

Let ’Em Eat Cake

Lyrics: Ira Gershwin

Book: George S. Kaufman & Morrie Ryskind

Orchestration: Russell Warner

1 Overture 7:14 ACT I

2 Tweedledee for President (chorus) 4:43

3 Union Square (Kruger, chorus) 4:35

4 Store Scene: Shirts by the Millions 2:32 (chorus)

5 Comes the Revolution 2:44 (Throttlebottom, chorus)

6 Mine (Wintergreen, Mary, chorus) 3:13

7 Climb Up the Social Ladder 2:09 (The New Blue D.A.R.) (Mary, chorus)

8 The Union League 2:40 (Cloistered from the City Noise) (chorus)

9 On and On and On 2:53

(General Snookfield, Wintergreen, chorus)

FINALE ACT I

a Introduction (Lieutenant) 0:42

b I’ve Brushed My Teeth 3:36 (General Snookfield, chorus)

c The General’s Gone to a Party 1:15 (Lieutenant, Tweedledee, Wintergreen, chorus)

d Mothers of the Nation (Mary, chorus) 5:35

e Let ‘Em Eat Cake 2:08 (Wintergreen, Tweedledee, chorus) ACT II

f Blue, Blue, Blue (chorus) 3:58

g Who’s the Greatest? (Wintergreen, chorus) 1:14

h The League of Nations 1:05 (Lieutenant, Mary, Wintergreen, General Snookfield, chorus)

i No Comprenez, No Capish, No Versteh? 0:31 (Kruger, Wintergreen, chorus)

j When Nations Get Together 1:23 (Wintergreen, Mary, chorus)

k Why Speak of Money? – 3:35 Who’s the Greatest? (Reprise) (chorus, Kruger, Wintergreen)

l Up and at ‘Em (Chief Justice, chorus) 1:46

m The Trial of Throttlebottom: 1:39 That’s What He Did (Kruger, Wintergreen, Throttlebottom, chorus)

n I Know a Foul Ball 1:29 (Throttlebottom, Kruger, chorus)

o Throttle Throttlebottom 1:01 (Kruger, Wintergreen, Lippman, Lyons, Gilhooley, Fulton, Jones, chorus)

p The Trial of Wintergreen: 2:25

It Isn’t What You Did

(Wintergreen, Kruger, Lippman, Lyons, Gilhooley, Fulton, Jones, chorus)

q Mine (Reprise) (Wintergreen, Mary, chorus) 1:08

r First Lady and First Gent (Trixie, Kruger) 1:43

s Hanging Throttlebottom in the Morning 1:57 (chorus)

t Fashion Show (Mary, Diana, Kruger, chorus) 2:16

u Finale Ultimo – Of Thee I Sing (Reprise) 1:21

(Wintergreen, Mary, Throttlebottom, Trixie, Kruger, General Snookfield, chorus)

David Garrison Kruger

Jack Gilford Alexander Throttlebottom

Larry Kert John P. Wintergreen

Maureen McGovern Mary Wintergreen

Jack Dabdoub General Adam Snookfield

George Dvorsky Lieutenant

Haskell Gordon John P. Tweedledee

Casper Roos Chief Justice

Merwin Goldsmith Louis Lippman (committee member)

Walter Hook Senator Robert E. Lyons (committee member)

Frank Kopyc Francis X. Gilhooley (committee member)

Raymond Thorne Matthew Arnold Fulton (committee member)

Mark Zimmerman Senator Carver Jones (committee member)

Paige O’Hara Trixie Flynn · Diana Devereaux

New York Choral Artists

Joseph Flummerfelt director

Orchestra of St. Luke’s

Michael Feldman artistic director

Michael Tilson Thomas music director & conductor

Robert Fisher associate music director

CHARLES IVES 1874–1954

A Symphony: New England Holidays

1 I Washington’s Birthday (Winter). 10:27

Very slowly – Allegro – Andante

2 II Decoration Day (Spring). 9:57

Very slowly – Allegro

3 III The Fourth of July (Summer). 6:04 Adagio molto – Allegro con spirito

4 IV Thanksgiving and Forefather’s Day 14:57 (Fall). Adagio maestoso –Adagio cantabile – Maestoso

5 The Unanswered Question 7:13

Revised Version Largo molto sempre

6 Central Park in the Dark 7:26 Molto adagio – Allegro – Adagio molto

7 The Unanswered Question 7:01

Original Version Adagio

Chicago Symphony Chorus [4] Margaret Hillis director

Chicago Symphony Orchestra

Fred Spector jew’s harp [1]

Herseth trumpet [5/7]

Producer: Steven Epstein

Recording Engineer: Bud Graham P 1988 Sony Music Entertainment

d

Producer: David Mottley Recording Engineer: Michael Sheady

Symphony No. 3 in D minor

I

1 I Kräftig. Entschieden 7:09

2 Langsam. Schwer. 2:46

3 Tempo I 4:53

4 A tempo 6:22

5 Immer dasselbe Tempo (Marsch) 3:27

6 (Allegro moderato) 4:48

7 Tempo I 4:39

II

8 II Tempo di Menuetto. Sehr mäßig 2:56

9 A tempo 3:32

a Ganz plötzlich gemächlich. 3:25 Tempo di Menuetto

b III Comodo. Scherzando. Ohne Hast. 2:22

c Wieder sehr Gemächlich, 2:45 wie zu Anfang

d Sehr gemächlich (Posthorn) 5:17

e Tempo I 2:49

f Wieder sehr gemächlich, 5:06 beinahe langsam

1 IV Sehr Langsam. Misterioso. 5:16

Durchaus ppp.

“O Mensch! Gib Acht!”

Text: Friedrich Nietzsche

2 Più mosso subito. 4:55

3 V Lustig im Tempo und keck 4:24 im Ausdruck “Es sungen drei Engel”

Text from Des Knaben Wunderhorn

4 VI Langsam. Ruhevoll. Empfunden. 3:51

5 Nicht mehr so breit. 3:25

6 Tempo I. Ruhevoll 3:52

7 A tempo (Etwas bewegter) 3:59

8 Tempo I 3:09

9 Langsam. Tempo I 7:53

Janet Baker mezzo-soprano

London Symphony Chorus

Richard Hickox music director

Southend Boys’ Choir

Michael Crabb director

London Symphony Orchestra

Edwin Paling violin

Maurice Murphy post horn solo

5 Lieder nach Gedichten von Friedrich Rückert

5 Songs on Poems by Friedrich Rückert

a Ich atmet’ einen linden Duft 2:31

b Blick mir nicht in die Lieder! 1:23

c Um Mitternacht 6:39

d Liebst du um Schönheit 2:58

e Ich bin der Welt abhanden gekommen 7:13

Janet Baker mezzo-soprano

London Symphony Orchestra

6 V Unzucht 5:15

Lust

“Und wir fanden einen Mann in Boston” (Anna, family)

7 VI Habsucht 2:58

Avarice

“Wie hier in der Zeitung steht, ist Anna” (family)

8 VII Neid 4:18

Envy

“Und die letzte Stadt der Reise war San Francisco” (Anna, family)

9 Epilogue 1:28

“Darauf kehrten wir zurück nach Louisiana” (Anna)

Julia Migenes soprano

Robert Tear tenor

Stuart Kale tenor

Alan Opie baritone

Roderick Kennedy bass

London Symphony Orchestra

Kleine Dreigroschenmusik

Little Threepenny Music Suite for Wind Orchestra from The Threepenny Opera

I Ouvertüre 1:59 b II Die Moritat von Mackie Messer 1:58 The Ballad of Mack the Knife c III Anstatt-dass-Song 1:54 Instead-of Song

Tango-Ballade 2:45 g VI Kanonen-Song 2:36 Cannon Song h VII Dreigroschen-Finale

MAURICE RAVEL 1875–1937

Ma mère l’oye M 60

Mother Goose

Ballet

1 Prélude. Très lent 3:37

2 Tableau I: Danse du rouet et scène 3:39

Dance of the spinning wheel and scene

Allegro

3 Tableau II: Pavane de la Belle 3:03

au bois dormant

Pavan of the Sleeping Beauty

Lent – Allegro – Mouvement de valse modéré

4 Tableau III: Les entretiens de la Belle 6:14 et de la Bête

Conversation of Beauty and the Beast

Mouvement de valse modéré

5 Tableau IV: Petit Poucet 4:54

Tom Thumb

Très modéré

6 Tableau V: Laideronnette, 4:53

impératrice des pagodes

Laideronnette, Empress of the Pagodas

Mouvement de marche – Allegro – Très modéré

7 Apothéose: Le jardin féerique 4:03

The Fairy Garden

Lent et grave

Original CD: MK 44800 Released January 1989

8 Fanfare for the ballet 1:47

L’éventail de Jeanne M 80

Jeanne's fan

Allegro moderato

Rapsodie espagnole M 54

9 I Prélude à la nuit 5:15

Très modéré

a II Malagueña 2:10

Assez vif

b III Habanera 3:16

Assez lent et d’un rythme las

c IV Feria 6:40

Assez animé

d Vocalise-étude en forme 3:20

de habanera M 51

Arrangement: Arthur Hoérée

John Harle soprano saxophone

e Boléro M 81 15:24

Tempo di Bolero moderato assai

London Symphony Orchestra

Recorded: London, Abbey Road, EMI Studios & Henry Wood Hall, April 5/8/9, 1988

Producer: Steven Epstein

Recording Engineer: Bud Graham P 1989 Sony Music Entertainment

CD 40 62:46

RICHARD STRAUSS 1864–1949

Ein Heldenleben TrV 190 (op. 40)

A Hero’s Life

Tone Poem for Large Orchestra

1 Der Held 4:08

The Hero Lebhaft bewegt

2 Des Helden Widersacher 3:32

The Hero’s Adversaries

Etwas langsamer

3 Des Helden Gefährtin 7:31

The Hero’s Companion Lebhaft bewegt

4 Mässig langsam 6:38

5 Des Helden Walstatt 8:09

The Hero’s Battlefield Lebhaft

6 Des Helden Friedenswerke 5:48

The Hero’s Works of Peace

Mit großem Schwung und Begeisterung

7 Des Helden Weltflucht und 11:26 Vollendung

The Hero’s Retreat from the World and Fulfilment

Mäßig langsam

Original CD: MK 44817 Released January 1989

8 Till Eulenspiegels lustige Streiche 15:26

TrV 171 (op. 28) nach alter Schelmenweise (in Rondeauform)

Till Eulenspiegel’s Merry Pranks – after an old picaresque legend (in rondo form) London Symphony Orchestra

Recorded: London, Watford Town Hall, April 12/13, 1988 [1–6]; January 1989 [7]

Producer: David Mottley

Recording Engineer: Mike Ross-Trevor

P 1989 Sony Music Entertainment

Recording Ein Heldenleben

CD 41 55:50

SERGEI PROKOFIEV 1891–1953

Concerto for Piano and Orchestra No. 1 in D-flat major op. 10

1 Allegro brioso – Poco più mosso – 3:40 Tempo I – Più mosso –

2 Meno mosso – Più mosso 3:29 (Tempo I) – Animato –

3 Andante assai – 3:59

4 Allegro scherzando – Poco più 4:34 sostenuto – Più mosso – Animato

Concerto for Piano and Orchestra No. 2 in G minor op. 16

5 I Andantino – Allegretto – Tempo I 11:52

6 II Scherzo. Vivace 2:44

7 III Intermezzo. Allegro moderato 7:03

8 IV Finale. Allegro tempestoso 11:19

Vladimir Feltsman piano London Symphony Orchestra

Original CD: MK 44818 Released January 1989

10 Pieces for Piano from Romeo and Juliet op. 75

9 No. 10: Romeo and Juliet before Parting 6:58 Lento – Andante – Adagio – Poco più animato – Adagio –Andante

Vladimir Feltsman piano

Recorded: London, Abbey Road Studios, September 23/24, 1988 [1–8]; Princeton, Princeton University, Richardson Auditorium, November 7/8, 1988 [9]

Producer: Steven Epstein

Recording Engineer: Bud Graham

P 1989 Sony Music Entertainment

GIACOMO PUCCINI 1858–1924

Tosca

Opera in 3 Acts

Libretto: Giuseppe Giacosa and Luigi Illica

after Victorien Sardou

Original CDs: S2K 45847 Released September 25, 1990

Recorded: Budapest, Italian Institute, December 14–22, 1988

Producers: David Mottley & Jeno´´ Simon

Recording Engineer: Michael Gray

P 1990

CD 43 45:12

ACT I

1 “Ah! Finalmente!” 2:09 (Angelotti, sagrestano, Cavaradossi)

2 “E sempre lava!” 3:27 (sagrestano, Cavaradossi)

3 “Dammi i colori! Recondita armonia” 4:12 (Cavaradossi, sagrestano)

4 “Gente là dentro!” 1:10 (Cavaradossi, Angelotti, Tosca)

5 “Mario! Mario! Mario!” 3:01 (Tosca, Cavaradossi)

6 “Non la sospiri la nostra casetta” 4:20 (Tosca, Cavaradossi)

7 “Ah, quegli occhi!” … 5:51 “Qual occhio al mondo” (Tosca, Cavaradossi)

8 “È buona la mia Tosca” 3:36 (Cavaradossi, Angelotti, sagrestano, coro)

9 “Sommo giubilo, Eccellenza!” 1:39 (sagrestano, coro)

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 Finale I: “Tre sbirri, una carrozza” 4:02 (Scarpia, Spoletta, coro)

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, coro, Cavaradossi, Tosca)

4 “Meno male!” 2:42 (Scarpia, Spoletta, coro, 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 (un 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

José Carreras Mario Cavaradossi

Juan Pons Baron Scarpia

Ferenc Gerdesits Spoletta

István Gáti Cesare Angelotti

Italo Tajo Il Sagrestano

József Németh Sciarrone

József Gregor Un Carceriere

Benedek Héja Un Pastore

Hungarian State Radio and Television Chorus

Hungarian State Orchestra

CD 45 69:47

JOHANNES BRAHMS 1833–1897

Serenade No. 1 in D major op. 11

1 I Allegro molto 13:03

2 II Scherzo. Allegro non troppo – 7:23

Trio. Poco più moto

3 III Adagio non troppo 13:13

4 IV Menuetto I – Menuetto II 3:55

5 V Scherzo. Allegro – Trio 2:44

6 VI Rondo. Allegro 5:00

7 Tragische Ouvertüre 13:43 in D minor op. 81

Tragic Overture

Allegro ma non troppo – Molto più moderato –Tempo I (ma tranquillo)

8 Akademische Festouvertüre 10:33 in C minor op. 80

Academic Festival Overture

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

CD 46 77:11

CHARLES IVES 1874–1954

Symphony No. 1 in D minor

1 I Allegro 11:45

2 II Adagio molto (sostenuto) 6:46

3 III Scherzo. Vivace 4:29

4 IV Allegro molto 12:43 Hymns quoted by Charles Ives in his Symphony No. 4

5 In the Sweet By and By 1:52

Music: Joseph Philbrick Webster

Text: S. Fillmore Bennett

6 Beulah Land (Organ solo) 0:58

Music: John R. Sweney

7 Ye Christian Heralds 1:09

Music: Heinrich Zeuner

Text: Bourne H. Draper

8 Jesus, Lover of My Soul 1:49

Music: Simeon Butler Marsh

Text: Charles Wesley

9 Nearer, My God, to Thee 2:02

Music: Lowell Mason

Text: Sarah Fuller Adams

Members of the Chicago Symphony Chorus

Margaret Hillis director

Original CD: SK 44939 Released June 1991

Symphony No. 4

a I Prelude. Maestoso 3:15

b 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

53:23

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

9 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

Swan Lake op. 20

Ballet in 4 Acts

Scenario: W. P. Begitschew & W. F. Geltzer

Original CDs: S2K 46592 Released September 10, 1991

Recorded: London, Watford Town Hall, May 8, 1990

Producer: David Mottley

Recording Engineer: Sid McLauchlan

1 Introduction. Moderato assai – 3:19 Allegro non troppo – Tempo I

ACT 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

i No. 9: Finale. Sujet. Andante 2:56

ACT II

j No. 10: Scène. Moderato 3:13

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

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

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 1

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 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 Myrtha’s Scene

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

JOHANNES BRAHMS 1833–1897

Serenade No. 2 in A major op. 16 for Small Orchestra

1 I Allegro moderato 9:20

2 II Scherzo. Vivace – Trio 3:07

3 III Adagio non troppo 9:10

4 IV Quasi Menuetto – Trio 5:31

5 V Rondo. Allegro 6:12

Variations on a Theme by Joseph Haydn in B-flat major op. 56a

6 Thema. Chorale St. Antoni. Andante 2:10

7 Var. I. Poco più animato 1:18

8 Var. II. Più vivace 0:57

9 Var. III. Con moto 2:00

a Var. IV. Andante con moto 2:19

b Var. V. Vivace 0:52

c Var. VI. Vivace 1:19

d Var. VII. Grazioso 3:06

e Var. VIII. Presto non troppo 1:01

f Finale. Andante 3:43

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

Ungarische Tänze WoO 1

Hungarian Dances

g No. 1 in G minor 2:56

Orchestration: Johannes Brahms

Allegro molto

h No. 3 in F major 2:24

Orchestration: Johannes Brahms

Allegretto

i No. 10 in F major 1:48

Orchestration: Johannes Brahms

Presto

j No. 17 in F-sharp minor 3:47

Orchestration: Antonín Dvorˇák

Andantino – Vivace

k No. 18 in D major 1:27

Orchestration: Antonín Dvorˇák

Molto vivace

l No. 19 in B minor 1:58

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

CD 52 64:20

LEOŠ JANÁC ˇ EK 1854–1928

Glagolitic Mass (Mša glagolskaja)

Text: Old Church Slavonic Texts arranged by Miloš Weingart

1 I Úvod (Introduction) 3:18

2 II Gospodi pomiluj (Kyrie) 3:25

3 III Slava (Gloria) 6:30

4 IV Veˇruju (Credo) 12:14

5 V Svet (Sanctus) 5:54

6 VI Agnecˇe Božij (Agnus Dei) 5:49

7 VII Varhany sólo (Organ solo) 2:15

8 VIII Intrada 1:48

Gabriela Benackova soprano

Felicity Palmer mezzo-soprano

Gary Lakes tenor

Anatoly Kotcherga bass

John Scott organ

Sinfonietta op. 60

9 I Allegretto – Allegro – Maestoso 2:19

a II Andante – Allegretto 5:44

b III Moderato 5:18

c IV Allegretto 2:51

d V Andante con moto 6:48

London Symphony Orchestra

Original CD: SK 47182 Released July 14, 1992

Recorded: London, Tooting, All Saints Church, September 17/18, 1990 [1–8, Orchestra & Vocals]; Ratzeburg, Ratzeburger Dom, November 28, 1991 [1–8, Organ]; Watford, 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

TABLEAU III

5 La bergerie à vendre 7:09

The Sheepfold for sale

Très modéré – Animé – Lent et mélancolique –

Le double plus vite – Animé – Scherzando –

Modérément animé – Lent et mélancolique –

Trés modéré et en retentant

TABLEAU IV

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

Symphony Orchestra

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 Excerpts from the Mystère in 5 Acts Libretto: Gabriele D’Annunzio

ACT I: LA COUR DES LYS

The Court of Lilies

1 No. 1: Prélude – 7:46

“Frère, et que sera-t-il le monde allégé de tout notre amour ?” (Les Jumeaux)

2 No. 2: “Sébastien ! Sébastien ! 2:06 Sébastien !” (Chorus, le Saint)

3 No. 3: Danse extatique de Sébastien 6:08 sur les charbons embrasés –“Hymnes, toute l’ombre s’efface” (Les Jumeaux, chorus)

ACT II: LA CHAMBRE MAGIQUE

The Magic Chamber

4 No. 1: Prélude 3:46

5 No. 2: “Je fauchais l’épi de froment” 2:17 (La voix de la vierge Érigone)

6 No. 3: “Qui pleure mon enfant si doux” 5:37 (Vox coelestis)

Original CD: SK 48240 Released March 23, 1993

Recorded: London, Tooting, All Saints Church, September 30 – October 2, 1991

Producer: Andreas Neubronner

Recording Engineer: Marcus Herzog P 1993 Sony Music Entertainment

ACT III: LE CONCILE DES FAUX DIEUX

The Council of the False Gods

7 No. 1: Prélude – No 2: Modéré 1:58

8 No. 3: “Païan, lyre d’or, arc d’argent !” 1:46 (Chorus)

9 No. 4: “Avez-vous vu celui que j’aime” 8:50 (Le Saint, chorus, vox sola)

a No. 5: “Ne pleurez plus !” – 1:24 “Cessez, ô pleureuses !” (Vox sola)

b No. 6: “Io ! Io ! Adoniastes !” 0:43 (Chorus, le Saint)

c No. 7: “Il est mort, le bel Adonis” 3:00 (Chorus)

ACT IV: LE LAURIER BLESSÉ

The Broken Laurel

d No. 1: Prélude 4:22

e No. 2: “Il est là, le Pasteur. Regardez” 3:56

f No. 3: “Hélas !” (Chorus) 6:34

ACT V: LE PARADIS

Paradise

g No. 1: Interlude 1:14

h No. 2: “Gloire ! sous nos armures” 4:39 (Chorus)

Sylvia McNair soprano

Ann Murray mezzo-soprano

Nathalie Stutzmann contralto

Leslie Caron narrator

London Symphony Chorus

Stephen Westrop chorus master

London Symphony Orchestra

D 5 6

CD 56 63:12

BÉLA BARTÓK 1881–1945

Concerto for Violin and Orchestra No. 2

Sz 112

1 I Allegro non troppo 17:45

2 II Andante tranquillo – 11:44

Allegro scherzando – Tempo I

3 III Allegro molto 12:21

Rhapsody No. 1 (Folk Dances) for Violin and Orchestra Sz 87

4 I “Lassú”. Moderato 4:50

5 II “Friss”. Allegretto moderato 5:12

Rhapsody No. 2 (Folk Dances) for Violin and Orchestra Sz 90

6 I “Lassú”. Moderato 4:58

7 II “Friss”. Allegro moderato 6:10

Kyoko Takezawa violin London Symphony Orchestra

Original CD: 09026 61675 2 Released July 26, 1993

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 Four 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, 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

CD 58: 8/9]; Mark Vigars [CD 58: 8/9]

P 1993 Sony Music Entertainmentrtainment

CD 57 65:08

LUDWIG VAN BEETHOVEN 1770–1827

Concerto for Piano and Orchestra No. 1 in C major op. 15

1 I Allegro con brio 14:46

2 II Largo 11:11

3 III Rondo. Allegro 9:19

Alicia de Larrocha piano

WOLFGANG AMADEUS MOZART 1756–1791

Concerto for Flute, Harp and Orchestra in C major K 299 (297c)

4 I Allegro 11:00

5 II Andantino 9:33

6 III Rondeau. Allegro 9:14

James Galway flute Marisa Robles harp

London Symphony Orchestra

SERGEI RACHMANINOFF 1873–1943

Concerto for Piano and Orchestra No. 2 in C minor op. 18

1 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

Moderato – Allegro scherzando

Alla breve – Presto – Maestoso

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

Tempo I

Un peu moins vite

8:26

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

IGOR STRAVINSKY 1882–1971

of Psalms for Chorus and Orchestra on texts from Psalms 38, 39 and 150

I Exaudi orationem meam, Domine 3:09

II Expectans expectavi Dominum 6:45

III Alleluia, laudate Dominum 12:06

II Andante – Interlude. L’istesso tempo 6:23

III Con moto 6:15

62:46

RICHARD STRAUSS 1864–1949

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

Original CD: SK 48242 Released August 22, 1994

7 Zuneigung TrV 141/1 (op.10/1) 1:48 from 8 Gedichte aus “Letzte Blätter” von Herrmann von Gilm

8 Muttertändelei TrV 196/2 (op. 43/2) 2:16 from 3 Gesänge älterer deutscher Dichter

Text: Gottfried August Bürger

9 Meinem Kinde TrV 187/3 (op. 37/3) 2:40 from 6 Lieder

Text: Gustav Falke

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

6 Lieder TrV 220 (op. 56)

a No. 6: Die heiligen drei Könige 6:51 aus Morgenland

Text: Heinrich Heine

b No. 5: Frühlingsfeier 3:14

Text: Heinrich Heine

Karita Mattila soprano Vier letzte Lieder TrV 296 (o.op. 150)

4 Last Songs

Text: Joseph von Eichendorff [No. 4]

c No. 1: Frühling 2:57

Text: Hermann Hesse

d No. 2: September 4:36

Text: Hermann Hesse

e No. 3: Beim Schlafengehen 5:21

Text: Hermann Hesse

f No. 4: Im Abendrot 7:11

Text: Joseph von Eichendorff

Lucia Popp soprano

London Symphony Orchestra

SERGEI PROKOFIEV 1891–1953

Romeo and Juliet op. 64

Scenes from 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

o No. 38: Romeo and Juliet. Lento 1:17

p No. 39: The Last Farewell. 3:25 Andante – Adagio

q No. 43: Interlude. Adagio 1:25 (L’istesso tempo)

r No. 47: Juliet Alone. 1:54 Andante – Adagio – Andante

s No. 51: Juliet’s Funeral 6:08 (and Romeo’s death). Adagio funebre

t No. 52: Death of Juliet. 2:58 Adagio (meno mosso del tempo precedente)

San Francisco Symphony

Alma brasileira Music of Villa Lobos HEITOR VILLA-LOBOS 1887–1959

Bachianas Brasileiras No. 4 W 424 for Orchestra

1 I Prelúdio (Introdução) 4:01

2 II Coral (Canto do’ Sertão) 5:07

3 III Ária (Cantiga) 5:45

Moderato – Vivace – Moderato

4 IV Dansa (Miudinho) 3:44 Molto animato

New World Symphony

Original CD: 09026 68538 2 Released September 30, 1996

Recorded: Fort Lauderdale, Broward Center for the Performing Arts, January 16/17, 1996

Producer: Andreas Neubronner

Recording Engineer: Markus Heiland

Bachianas Brasileiras No. 5 W 389 for Soprano and Orchestra of Cellos

5 Ária (Cantilena) 6:36

Text: Ruth Corêa Adagio

6 Dança (Martelo) 4:31

Text: Manuel Bandeira Allegretto

Renée Fleming soprano

New World Symphony

Damon Coleman · Alexander East

Kenneth Freudigman · Eran Meir

Brad Ritchie · Pamela Smits

Robert Vos · Sofia Zappi cellos

Bachianas Brasileiras No. 9 W 449 for String Orchestra

b I Prelúdio 2:48

Vagaroso e místico c II Fuga 6:52

Pouco apressado

World Symphony

Chôros No.10 (Rasga o coração) 11:28 W 209 for Chorus and Orchestra

Text: Catullo da Paixão Cearense Animé – Lent – Animé – Très peu animé et bien rythmé

BBC Singers New World Symphony

Bachianas Brasileiras No. 7 W 432 for Orchestra

7 I Prelúdio (Ponteio) 7:39

Adagio

8 II Giga (Quadrilha caipira) 4:35 Allegretto scherzando

9 III Tocata (Desafio) 7:28

Andantino quasi Allegretto a IV Fuga (Conversa) 7:13

Andante

Copland the Modernist

AARON COPLAND 1900–1990

Concerto for Piano and Orchestra arco 12

1 I Andante sostenuto – 7:30 attacca

2 II Molto moderato – Allegro assai 9:27

Garrick Ohlsson piano

3 Orchestral Variations arco 76 13:29

Orchestration of Piano Variations arco 21

Theme. Grave – Var. – Var. II. Più mosso –

Var. III. Più mosso – Var. IV. Meno mosso –

Var. V – Var. VI. Più mosso – Var. VII –

Var. VIII. Più mosso ancora – Var. IX –

Var. X. Più largamente – Var. XI. Lento –

Var. XII. Subito allegretto – Var. XIII. Poco più mosso –

Var. XIV. Allegro con brio – Var. XV–XVIII –

Var. XIX. Molto meno mosso – Subito allegro –

Var. XX. [Allegro] – Allegro vivo – Poco accellerando ancora – Coda. Subito lento moderato –

Poco largamente – Più largamente ancora

Short Symphony (Symphony No. 2) arco 24

4 I Tempo = 144 (incisivo) 4:24

5 II Tempo = (circa) 44 – 5:01 attacca

Original CD: 09026 68541 2 Released October 15, 1996

6 III Tempo = 144 (preciso e ritmico) 5:52

7 Symphonic Ode arco 19 20:03 Largamente e maestoso

San Francisco Symphony

Recorded: San Francisco, Davies Symphony Hall, June 25, 1996

Producer: Markus Heiland

Recording Engineer: Ulrich Schneider

Publisher: Boosey & Hawkes

P 1996 Sony Music Entertainment

with Aaron Copland at Tanglewood, 1973

CD 64 75:39

Stravinsky in America

JOHN STAFFORD SMITH 1750–1836

1 The Star-Spangled Banner 1:50

Arrangement: Igor Stravinsky

Text: Francis Scott Key

IGOR STRAVINSKY 1882–1971

2 Circus Polka 3:25

Composed for a Young Elephant

3 Ode 10:17

Elegiacal Chant in 3 Parts for Orchestra

I Eulogy. Lento –

II Eclogue. Con moto –

III Epitaph. Lento

4 Scherzo à la russe 3:57

Symphonic Version Con moto – Trio I – Trio II

Original CD: 09026 68865 2 Released September 16, 1997

Recorded: London, Abbey Road Studios, Studio 1, April 22-23, 1996

Producers: Andreas Neubronner

Recording Engineer: Markus Heiland

P 1997 Sony Music Entertainment

5 Scènes de ballet 17:33

Introduction. Andante

Danses (Corps de ballet). Moderato

Variation (Ballerine). Con moto

Pantomime. Lento

Pas de deux. Adagio

Pantomime. Agitato ma tempo giusto Variation (Danseur). Risoluto

Variation (Ballerine). Andantino

Pantomime. Andantino

Danses (Corps de ballet). Con moto

Apothéose. Poco meno mosso

6 Concertino 6:32 for 12 Instruments

7 Agon 23:52

Ballet for 12 Dancers

Pas de quatre

Double pas de quatre

Triple pas de quatre

Prelude

1st Pas de trois

Sarabande-Step

Gaillarde

Coda

Interlude

2nd Pas de trois

Bransle simple

Bransle gay

Bransle double

Interlude

Pas de deux

Coda

4 Duos

4 Trios – Coda

8 Greeting Prelude after C. F. Summy’s 0:50

Happy Birthday to You for the 80th Birthday of Pierre Monteux

9 Canon on a Russian Popular Tune 0:49

London Symphony Orchestra

GUSTAV MAHLER 1860–1911

Das klagende Lied for Soprano, Contralto, Tenor, Baritone, Chorus and Orchestra

Text: Gustav Mahler

Original Version

1 I Waldmärchen 30:22

Forest Legend

Langsam und träumerisch

“Es war eine stolze Königin” (tenor, chorus)

“Im Wald eine rote Blume stand” (baritone, tenor, chorus)

“Zwei Brüder zogen zum Walde hin” (tenor, baritone, chorus)

“Als sie so zogen eine Weil’” (chorus, baritone, tenor)

“Der Junge zieht durch Wald und Heid’” (soprano, chorus, contralto, tenor, baritone)

“Der and’re zieht im wilden Hang” (chorus, soprano)

“Du wonnigliche Nachtigall” (soprano)

“Ein Auge blickt in wilder Freud’” (chorus, contralto)

“Ihr Blumen, was seid ihr vom Tau so schwer? (contralto, chorus)

Original CD: 09026 68599 2 Released May 20, 1997

Recorded: San Francisco, Davies Symphony Hall (live), May 29–31 & June 2, 1996

Producer: Andreas Neubronner

Recording Engineer: Markus Heiland

P 1997 Sony Music Entertainment

2 II

Der Spielmann 16:56

The Minstrel

Mit sehr geheimnisvollem Ausdruck

“Beim Weidenbaum, im kühlen Tann” (contralto, tenor, soprano)

“Ein Spielmann zog einst des Weges daher” (tenor, contralto, chorus)

“Der Spielmann setzt die Flöte an” (contralto, soprano, tenor)

“‘Ach Spielmann, lieber Spielmann mein!’” (contralto, boy soprano)

“Der Spielmann ziehet in die Weit’” (chorus, contralto, soprano, tenor)

3 III Hochzeitsstück 19:37

Wedding Piece

Mit höllischer Wildheit

“Vom hohen Felsen erglänzt das Schloss” (chorus)

“Und weißt du’s nicht, warum die Freud’?” (soprano, contralto, tenor, chorus)

“Was ist der König so stumm und bleich?” (contralto, chorus)

“‘Ach Spielmann, lieber Spielmann mein!’” (contralto, boy soprano, chorus)

“Auf springt der König von seinem Thron!” (chorus)

“‘Ach Bruder, lieber Bruder mein!’” (soprano, chorus)

“Am Boden liegt die Königin” (tenor, chorus, soprano)

Marina Shaguch soprano

Michelle DeYoung mezzo-soprano

Thomas Moser tenor

Sergei Leiferkus baritone

San Francisco Symphony Chorus

Vance George director

San Francisco Symphony

HECTOR BERLIOZ 1803–1869

Symphonie fantastique op. 14

Épisode de la vie d’un artiste

Episode in the Life of an Artist

1 I Rêveries – Passions 15:45

Dreams – Passions

Largo – Allegro agitato ed appassionato assai

2 II Un bal 6:50

A Ball

Valse. Allegro non troppo

3 III Scène aux champs 17:05

Scene in the Country Adagio

4 IV Marche au supplice 6:38

March to the Scaffold

Allegretto non troppo

5 V Songe d’une nuit de sabbat 9:23

Dream of a Sabbath Night

Larghetto – Allegro

Lélio, ou Le Retour à la vie op. 14b

Lélio, or The Return to Life

Excerpts from the Lyric Monodrama

6 II Chœur d’ombres 6:26

Chorus of Shades

7 VI Fantaisie sur La Tempête 12:45 de Shakespeare

Fantasia on Shakespeare’s The Tempest

Original CD: 09026 68930 2 Released May 19, 1998

San Francisco Symphony Chorus

Vance George director

San Francisco Symphony

Recorded: San Francisco, Davies Symphony Hall, July 1, 1997 [1–5]; March 2, 1998 [6/7]

Producer: Andreas Neubronner

Recording Engineer: Markus Heiland

P 1998 Sony Music Entertainment

CD 69 79:00

New World Jazz

JOHN ADAMS *1947

1 Lollapalooza 6:33 for Orchestra

GEORGE GERSHWIN 1898–1937

2 Rhapsody in Blue 17:18 for Piano and Orchestra Orchestration: Ferde Grofé

Jerome Simas clarinet Michael Tilson Thomas piano

LEONARD BERNSTEIN 1918–1990

3 Prelude, Fugue and Riffs 8:25 for Solo Clarinet and Jazz Ensemble I Prelude for the Brass II Fugue for the Saxes III Riffs for Everyone

Tad Caleara clarinet

New World Symphony

Original CD: 09026 68798 2 Released September 15, 1998

Recorded: Fort Lauderdale, Broward Center for the Performing Arts, January 26/27, 1997

Producer: Andreas Neubronner

Recording Engineer: Markus Heiland Publishers: Hendon Music [1]; Boosey & Hawkes [3/5]; Merion Music [4]; Schott [6]; Weintraub Music [7]; EMI Robbins [8] P 1998 Sony Music Entertainment

DARIUS MILHAUD 1892–1974

4 La Création du monde op. 81 17:47 The Creation of the World Ballet by Blaise Cendrars IGOR STRAVINSKY 1882–1971

5 Ebony Concerto 9:26 for Solo Clarinet and Jazz Ensemble

Allegro moderato – Andante – Moderato –Con moto – Moderato – Vivo

Jerome Simas clarinet

Mark Niehaus trumpet

PAUL HINDEMITH 1895–1963

6 Ragtime (wohltemperiert) 3:16 after Fugue BWV 847 from The Well-Tempered Clavier, Book I

GEORGE ANTHEIL 1900–1959

7 A Jazz Symphony 11:47

Michael Linville piano

Mark J. Inouye trumpet

CDs: 09026 63510

Released September 15, 1999 Recorded: London, Walthamstow Assembly Hall, November 11–13, 1997

Producer: Andreas Neubronner

Recording Engineer: Markus Heiland P 1999 Sony Music Entertainment

1 I Langsam (Adagio) – 21:44

Allegro risoluto, ma non troppo

2 II Nachtmusik. Allegro moderato 16:29

3 III Scherzo. Schattenhaft. 10:25

Fließend, aber nicht schnell; in den Anfangstakten noch etwas zögernd – Trio

1 IV Nachtmusik. Andante amoroso 14:04

2 V Rondo-Finale. Tempo I 18:07

(Allegro ordinario) – Gemessen!

Nicht schnell! Nicht eilen. Tempo II (Allegro moderato ma energico)

Ian Bousfield tenor horn London Symphony Orchestra

L’Oiseau de feu

Le Sacre du printemps Perséphone

San Francisco, Davies Symphony Hall (live), February 25–28, 1998 [CD

CD 73 33:55

L’Oiseau de feu

The Firebird

Fairy-Tale Ballet in 2 Tableaux

1 Introduction 2:33

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 –

2 Le Jardin enchanté de Kachtcheï 1:38

Kashchei’s Magic Garden

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

San Francisco Symphony CD 72 47:25

Apparition des treize princesses enchantées

The Firebird’s entreaties –

Appearance of the thirteen 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

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: L’ADORATION DE LA TERRE

The Adoration of the Earth

1 Introduction 3:35

2 Les augures printaniers – 3:13

Danses des adolescentes

The Auguries of Spring –

Dances of the Young Girls

3 Jeu du rapt 1:19

Game of Abduction

4 Rondes printanières 3:36

Spring Rounds

5 Jeux des cités rivales 1:45

Games of the Rival Tribes

6 Cortège du Sage 0:40

Procession of the Sage

7 Adoration de la terre – Le Sage 0:23

Adoration of the Earth – The Sage

8 Danse de la terre 1:08

Dance of the Earth

PART 2: LE SACRIFICE

The Sacrifice

9 Introduction 4:48

a Cercles mystérieux des adolescentes 3:15

Mystic Circles of the Young Girls

b Glorification de l’Élue 1:28

Glorification of the Chosen One

c Évocation des ancêtres 0:39

Evocation of the Ancestors

d Action rituelle des ancêtres 3:38

Ritual Action of the Ancestors

e Danse sacrale (L’Élue) 4:23

Sacrificial Dance (The Chosen One)

1 I Perséphone ravie 9:52

The Abduction of Persephone

2 II Perséphone aux enfers 23:19

Persephone in the Underworld

3 III Perséphone renaissante 14:51

Persephone Reborn

Stephanie Cosserat narration

Stuart Neill tenor

San Francisco Symphony Chorus

Vance George director

San Francisco Girls Chorus

Sharon J. Paul artistic director

Ragazzi, The Peninsula Boys Chorus

Joyce Keil music director

San Francisco Symphony

Aaron Copland –The Man and His Music

A lecture by Michael Tilson Thomas

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 generation’s 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 rightaway 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 if 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 clanger 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 this a 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 – known, 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 have 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.

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, Copeland 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,

with Aaron Copland

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-20th century 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 ballet theater 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 Copeland 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.

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 latter disc, 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.

2 The Things Our Fathers Loved 1:47

Charles Ives 3 The Pond (Remembrance) 1:42 from Set No. 7: Water Colors

Charles Ives

Memories 2:30

A: Very Pleasant. Presto –B: Rather Sad. Adagio

Charlie Rutlage 2:38

Text: Dominick John “Kid” O’Malley, collected by John A. Lomax in Cowboy Songs and Other Frontier Ballads

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

Text: John McCrae

Orchestration: David Del Tredici

b They Are There! 2:52

Fighting for the People’s New Free World

Text: Charles Ives, adapted from the text of He Is There!

c Tom Sails Away 2:48

Text: 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

Text: John Greenleaf Whittier Orchestration: John Adams

g General William Booth 5:42 Enters into Heaven

Text: 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 & piano [2/4/12]

CD 78 51:17

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 – 6:34 attacca

3 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

CD x xx:xx

CD 79 53:46

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) –attacca

7 Allegro marziale animato – Presto 4:17

Kazune Shimizu piano

London Symphony Orchestra

Original LP: 28AC2152 Released xxxx [1-–3]

Original CD: 30DC5058 Released xxxx [4–6]

Original LP xxxx Released xxxx

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

Recorded: LP Matrix Nos.: Publishers: P xxxx Sony Music Entertainment

xxxx Sony Music Entertainment

with Joshua Bell C

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 LPs

28AC2152 Released xxxx [1-–3]

LSC-3167 Released xxxx [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 xxxx Sony Music Entertainment

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

Discography

Composer / Works Recording Original Release CD #

Musical Partners

ADOLPHE ADAM

Giselle ou Les Wilis London, September 1986 CD SK 42450 50

London Symphony Orchestra JOHN ADAMS

Lollapalooza Fort Lauderdale, January 1997 CD 09026 68798 2 69 New World Symphony

GEORGE ANTHEIL

A Jazz Symphony Fort Lauderdale, January 1997 CD 09026 68798 2 69

Michael Linville piano

Mark J. Inouye trumpet New World Symphony

JOHANN SEBASTIAN BACH

Komm, Gott Schöpfer, Munich, February 1985 LP IM 42129 28

heiliger Geist BWV 631

Orchestration: Arnold Schoenberg

Symphonieorchester des Bayerischen Rundfunks

Composer / Works Recording Original Release

Musical Partners

Schmücke dich, o liebe Seele Munich, February 1985 LP IM 42129 28

BWV 654

Orchestration: Arnold Schoenberg

Werner Thomas cello

Symphonieorchester des Bayerischen Rundfunks

BÉLA BARTÓK

Kyoko Takezawa violin

London Symphony Orchestra

Kyoko Takezawa violin

London Symphony Orchestra Violin Concerto No. 2 Sz 112 London, November 1992 CD 09026 61675 2 56

Kyoko Takezawa violin

London Symphony Orchestra

LUDWIG VAN BEETHOVEN

12 Contredanses WoO 14

perfido!” op. 65

Eva Marton soprano

English Chamber Orchestra

Bundeslied op. 122

Ambrosian Singers

London Symphony Orchestra

Egmont Overture op. 84

English Chamber Orchestra

Elegischer Gesang op. 118

The Ambrosian Singers

London Symphony Orchestra

König Stephan op. 117

The Ambrosian Singers

London Symphony Orchestra

Meeresstille und glückliche Fahrt

December 1974

December

December 1974

M/MQ 33509 4 op. 112

The Ambrosian Singers

London Symphony Orchestra

London

Larrocha piano

London Symphony Orchestra

Composer / Works Recording Original Release CD #

Musical Partners

Symphony No. 8 op. 93 London, November 1985 LP M 39712 29

English Chamber Orchestra (I2M 39711)

Symphony No. 9 “Choral” London, May & September LP M 39712/13 30 op. 125 1983 & November 1984 (I2M 39711)

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

II Choeoeur d’ombres & San Francisco, March 1998 CD 09026 68930 2 66

VI Fantaisie sur La Tempête

San Francisco Symphony Chorus

San Francisco Symphony

Symphonie fantastique op. 14 San Francisco, July 1997 CD 09026 68930 2 66 San Francisco Symphony

Composer / Works Recording

Musical Partners

LEONARD BERNSTEIN

Mass

Deborah Sasson soprano Munich, October 1984

Peter Hofmann tenor

Members of the Los Angeles Philharmonic

On the Town

Excerpts Los Angeles, June 1984 &

Deborah Sasson soprano Munich, October 1984

Peter Hofmann tenor

Members of the Los Angeles Philharmonic

Prelude, Fugue and Riffs Fort Lauderdale, January

Tad Caleara clarinet

New World Symphony

West Side Story

Excerpts

Deborah Sasson soprano Munich, October 1984

Peter Hofmann tenor

Members of the Los Angeles Philharmonic

Works

Partners

JOHANNES BRAHMS

Akademische Festouvertüre

London, September 1989 CD SK 45932 45 op. 80

London Symphony Orchestra

Piano Quartet No. 1 op. 25 Munich, February 1985 LP IM 42129 28

Orchestration: Arnold Schoenberg Symphonieorchester des Bayerischen Rundfunks

Serenade No. 1 op. 11

London Symphony Orchestra

Serenade No. 2 op. 16

London, September 1989 CD SK 45932 45

SIMEON BUTLER MARSH

Jesus, Lover of My Soul Chicago, April 1989 CD SK 44939 46

quoted by Charles Ives in his Symphony No. 4 Richard R. Webster organ Members of the Chicago Symphony Chorus Chicago Symphony Orchestra

AARON COPLAND

London, September & CD SK 47195 51

London Symphony Orchestra November 1989

Tragische Ouvertüre op. 81 London, September 1989 CD SK 45932 45

London Symphony Orchestra

Ungarische Tänze WoO 1

Nos. 1/3/10/17–21

London, September & CD SK 47195 51

London Symphony Orchestra November 1989

Variations on a Theme

London, September & CD SK 47195 51 by Joseph Haydn op. 56a November 1989

London Symphony Orchestra

Musical Partners Canticle of Freedom arco 71

Mormon Tabernacle Choir

Utah Symphony Orchestra

Clarinet Concerto arco 62 London, November 1992 CD 09026 61790 2

Richard Stoltzman clarinet

London Symphony Orchestra

Fanfare for the Common Man San Francisco, May 1999 CD RCDJ-63719-2 75 arco 51

San Francisco Symphony

Old American Songs – Set I Salt Lake City, November 1985 LP M 42140 31 arco 65.1

Don Becker baritone

Mormon Tabernacle Choir

Utah Symphony Orchestra

American Songs

Don Becker baritone

Mormon Tabernacle Choir

Utah Symphony Orchestra

Orchestral Variations arco

San Francisco Symphony

Piano Concerto arco 12 San Francisco, June 1996 CD 09026 68541 2 63

Garrick Ohlsson piano

San Francisco Symphony

(Symphony No. 2) arco 24 San Francisco Symphony

Symphonic Ode arco 19

San Francisco Symphony

CLAUDE DEBUSSY

London

Philharmonia Orchestra

Le Martyre de saint Sébastien

L 124

Sylvia McNair soprano

Ann Murray mezzo-soprano

Nathalie Stutzmann contralto

Leslie Caron narrator

London Symphony Chorus

London Symphony Orchestra

Ambrosian Singers

Philharmonia Orchestra

Prélude à l’après-midi

d’un faune L 86

London Symphony Orchestra

Scenes from Porgy and Bess

Audra McDonald soprano

Brian Stokes Mitchell baritone

San Francisco Symphony

The American Flag op. 102 Berlin, 1976

Joseph Evans tenor

Barry McDaniel baritone

RIAS Kammerchor

Chor der St.-Hedwigs-Kathedrale Berlin

Rundfunk-Sinfonieorchester Berlin

“American”Suite op. 98b

Rundfunk-Sinfonieorchester Berlin

GEORGE GERSHWIN

3 Preludes for Piano

Michael Tilson Thomas piano

Sarah Vaughan vocals

Harold Jones drums

George Gaffney piano

Andy Simpkins bass

Los Angeles Philharmonic

’Em Eat Cake

David Garrison · Jack Gilford New York City, March

Larry Kert · Maureen McGovern (S2M 42522)

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

Orchestra of St. Luke’s

But Not for Me

Love Is Here to Stay

Embraceable You

Someone to Watch Over Me

Sarah Vaughan vocals

Harold Jones drums

George Gaffney piano

Andy Simpkins bass

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

Harold Jones drums

George Gaffney piano

Andy Simpkins bass

Los Angeles Philharmonic

I’ve Got a Crush on You – A Foggy Day

Sarah Vaughan vocals

Harold Jones drums

George Gaffney piano

Andy Simpkins bass

Los Angeles Philharmonic

Of Thee I Sing

Jack Gilford · Larry Kert New York City, March 1987

Maureen McGovern · Paige O’Hara (S2M 42522)

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

Garrick Ohlsson piano

Porgy and Bess Medley: Introduction

It Ain’t Necessarily So

Sarah Vaughan vocals

Harold Jones drums

George Gaffney piano

Andy Simpkins bass Los Angeles Philharmonic

I Loves You, Porgy

Sarah Vaughan vocals

Harold Jones drums

George Gaffney piano

Andy Simpkins bass

Los Angeles Philharmonic Promenade (“Walking the Dog”)

Michael Tilson Thomas conductor & piano

Los Angeles Philharmonic

Sarah Vaughan vocals

Harold Jones drums

George Gaffney piano

Michael Tilson Thomas piano

Andy Simpkins bass

Los Angeles Philharmonic

Sarah Vaughan vocals

Michael Tilson Thomas piano

Tip-Toes

Sweet and Low-Down Los Angeles, February 1982 LP FM 37277 16

Sarah Vaughan vocals

Michael Tilson Thomas piano

Violin Piece New York City, March 1984 LP IM 39699 26

Michael Tilson Thomas piano

PAUL HINDEMITH

/

They Are There! San Francisco, LP 09026 63703 2 77

Thomas Hampson baritone September & October 1999

San Francisco Symphony Chorus

San Francisco Symphony

Tom Sails Away San Francisco, LP 09026 63703 2 77

Thomas Hampson baritone September & October 1999

San Francisco Symphony Chorus

San Francisco Symphony

LEOŠ JANÁC

EK

Glagolitic Mass London, September 1990 & CD SK 47182 52

(Mša glagolskaja) Ratzeburg, November 1991

Gabriela Benackova soprano

Felicity Palmer mezzo-soprano

Gary Lakes tenor

Anatoly Kotcherga bass

John Scott organ

London Symphony Orchestra

Sinfonietta op. 60 Watford, October 1990 CD SK 47182 52

London Symphony Orchestra

GORDON JENKINS

Goodbye (In Memory of Benny) London, November 1992

Richard Stoltzman clarinet

London Symphony Orchestra

FRANZ LISZT

Piano Concerto No. 1 S 124

Kazune Shimizu piano

London Symphony Orchestra

STEVEN MACKEY

Composer / Works Recording Original Release CD #

Musical Partners

GUSTAV MAHLER

5 R̈ückert-Lieder

Janet Baker mezzo-soprano

London Symphony Orchestra

London, November 1987 CDs M2K 44553 37

Das klagende Lied San Francisco, CD 09026 68599 2 65

Marina Shaguch soprano May & June 1996

Michelle DeYoung mezzo-soprano

Thomas Moser tenor

Sergei Leiferkus baritone

San Francisco Symphony Chorus

San Francisco Symphony

Symphony No. 3

London Symphony Chorus

Southend Boys’ Choir

London Symphony Orchestra

Symphony No. 7

London Symphony Orchestra

London, November 1987 CDs M2K 44553 36/37

Composer / Works Recording Original Release CD #

Musical Partners

London, November 1997 CDs 09026 63510 2 70/71

LOWELL MASON

Nearer, My God, to Thee Chicago, April 1989 CD SK 44939 46

quoted by Charles Ives in his Symphony No. 4

Richard R. Webster organ

Members of the Chicago Symphony Chorus

Chicago Symphony Orchestra

JOHN McLAUGHLIN

5 Duos for Guitar and Piano Paris, November 1988 CD FM 45578 42

John McLaughlin guitar

Katia Labèque piano

Guitar Concerto Middlesex, September 1988 CD FM 45578 42 “The Mediterranean”

John McLaughlin guitar

London Symphony Orchestra

Hymn to Him London, March 1974 LP C 32957 1 Power of Love Smile of the Beyond Vision Is a Naked Sword Wings of Karma Mahavishnu Orchestra

London Symphony Orchestra

Composer / Works Recording Original Release CD #

Musical Partners

Composer / Works Recording Original Release CD #

Musical Partners

FELIX MENDELSSOHN

Violin Concerto op. 64 London, October 1982 LP IM 39007 22

Cho-Liang Lin violin

Philharmonia Orchestra

DARIUS MILHAUD

La Création du monde op. 81 Fort Lauderdale, January 1997 CD 09026 68798 2 69

New World Symphony

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 & Boys Choir

SERGEI PROKOFIEV

10 Pieces for Piano Princeton, November 1988 CD MK 44818 41 from Romeo and Juliet op. 75

Vladimir Feltsman piano

Classical Symphony (No. 1) London, April 1991 CD SK 48239 54 op. 25

London Symphony Orchestra

L’Amour des trois oranges – Los Angeles, December 1978 LP M 36683 19

Orchestral Suite op. 33a

Los Angeles Philharmonic

Lieutenant Kijé Suite op. 60 Los Angeles, December 1978 LP M 36683 19

Los Angeles Philharmonic

Overture in B-flat major Los Angeles, February 1982 LP M 36683 19

“American” op. 42

Members of the Los Angeles Philharmonic

Piano Concerto No. 1 op. 10 London, September 1988 CD MK 44818 41

Vladimir Feltsman piano

London Symphony Orchestra

Piano Concerto No. 2 op. 16 London, September 1988 CD MK 44818 41

Vladimir Feltsman piano

London Symphony Orchestra

Composer / Works Recording Original Release CD #

Musical Partners

Romeo and Juliet op. 64 San Francisco, September 1995 CD 09026 68288 2 61

San Francisco Symphony

Symphony No. 5 op. 100 London, April 1991 CD SK 48239 54

London Symphony Orchestra

GIACOMO PUCCINI

Tosca Budapest, December 1988 CDs S2K 45847 43/44

Éva Marton · José Carreras

Juan Pons · Ferenc Gerdesits

István Gáti · Italo Tajo

József Németh · József Gregor

Benedek Héja

Hungarian State Radio and Television Chorus

Hungarian State Orchestra

SERGEI RACHMANINOFF

Piano Concerto No. 2 op. 18

Barry Douglas piano London, November 1992 CD 09026 61679 2 58

London Symphony Orchestra

Kazune Shimizu piano

London Symphony Orchestra

Composer / Works Recording Original Release CD #

Musical Partners

London, February 1986 LP 28AC2152 80

DAVID RAKSIN

The Bad and the Beautiful Theme (Love is For the Very Young) Fort Lauderdale, January 1997 CD 09026 68798 2 69 New World Symphony

MAURICE RAVEL

Boléro M 81

London Symphony Orchestra

Fanfare for the ballet

L’éventail de Jeanne M 80

London Symphony Orchestra Ma Mère l’oye M 60

London Symphony Orchestra

espagnole M 54

London Symphony Orchestra

Vocalise-étude en forme

de habanera M 51

Arrangement: Arthur Hoérée

John Harle soprano saxophone

London Symphony Orchestra

OTTORINO RESPIGHI

Feste romane

Los Angeles Philharmonic

Los Angeles, December 1978 LP M 35846 12

Fontane di Roma Los Angeles, December 1978 LP M 35846 12

Los Angeles Philharmonic

CARL RUGGLES

Angels (Trumpet & Trombone Version) Buffalo, May 1976 LP M2 34591 8

Brass Ensemble

Angels (Original Trumpet Version) Buffalo, March 1977 LP M2 34591 8

Brass Ensemble

Evocations

John Kirkpatrick piano Buffalo, November 1975 LP M2 34591 9

Buffalo Philharmonic Buffalo, November 1975 LP M2 34591 9

Exaltation Buffalo, March 1977 LP M2 34591 9

Leonard Raver organ

Gregg Smith Singers

Brass Ensemble

Men Buffalo, May 1976 LP M2 34591 8

Buffalo Philharmonic

and Mountains

Philharmonic

Buffalo Philharmonic

Buffalo Philharmonic

Buffalo Philharmonic

Judith Blegen soprano

Michael Tilson Thomas piano

Vôx clamans in deserto

Beverly Morgan mezzo-soprano

Speculum Musicae

CAMILLE SAINT-SAËNS

Cello Concerto No. 1 op. 33 London, September 1992 CD 09026 61678 2 58

Steven Isserlis cello

London Symphony Orchestra

Le Carnaval des animaux R 125

Le Cygne London, September 1992 CD 09026 61678 2 58

Steven Isserlis cello

Michael Tilson Thomas piano

Dudley Moore piano

Violin Concerto No. 3 op. 61

Cho-Liang Lin violin

Philharmonia Orchestra

STANLEY SILVERMAN

JOHN STAFFORD SMITH

The Star-Spangled Banner London, April 1996 CD 09026 68865 2 64

Arrangement: Igor Stravinsky

London Symphony Orchestra RICHARD STRAUSS

6 Brentano-Lieder TrV 235 (op. 68) London, February 1991 CD SK 48242 60

Edita Gruberová soprano

London Symphony Orchestra

Musical Partners 6 Lieder TrV 220 (op. 56)

No. 5: Frühlingsfeier & London, October 1991

No. 6: Die heiligen drei Könige aus Morgenland

Karita Mattila soprano

London Symphony Orchestra Also sprach Zarathustra

TrV 176 (op. 30)

London Symphony Orchestra

London Symphony Orchestra

Meinem Kinde TrV 187/3 (op. 37/3)

Karita Mattila soprano

London Symphony Orchestra

Muttertändelei TrV 196/2 (op. 43/2)

Karita Mattila soprano

London Symphony Orchestra

Streiche TrV 171 (op. 28) London Symphony Orchestra

Musical Partners

Vier letzte Lieder TrV 296 (o.op. 150)

Lucia Popp soprano

London Symphony Orchestra

May 1993

Zuneigung TrV 141/1 (op.10/1) London, October 1991

Karita Mattila soprano

London Symphony Orchestra

IGOR STRAVINSKY

Agon

London Symphony Orchestra

Popular Tune

London Symphony Orchestra

Circus Polka

London Symphony Orchestra

Concertino

London Symphony Orchestra

Ebony Concerto

Jerome Simas clarinet

Mark Niehaus trumpet

New World Symphony

April

Greeting Prelude after

C. F. Summy’s

Happy Birthday to You

London Symphony Orchestra

Le Sacre du printemps San Francisco, September 1996

San Francisco Symphony L’Oiseau de feu

Stephanie Cosserat narration

Stuart Neill tenor

San Francisco Symphony Chorus

San Francisco Girls Chorus

Ragazzi, The Peninsula Boys Chorus

San Francisco Symphony

Pétrouchka Michael Tilson Thomas piano Boston, November 1969

Boston Symphony Orchestra

Seiji Ozawa conductor Vivian Troon piano

Musical Partners

Scènes de ballet

London Symphony Orchestra

Scherzo à la russe

April 1996

Philharmonia Orchestra London, November 1980 LP IM 37271 15

London Symphony Orchestra London, April 1996

Symphony in 3 Movements London, October 1991

London Symphony Orchestra Symphony in C London, September 1991

London Symphony Orchestra

Symphony of Psalms London, September 1991 CD SK 53275 59

London Symphony Chorus

London Symphony Orchestra

Variations – London, April 1996 CD 09026 68865 2 64

Aldous Huxley in memoriam

London Symphony Orchestra

JOHN R. SWENEY

Beulah Land Chicago, April 1989 CD SK 44939 46

quoted by Charles Ives in his Symphony No. 4

Richard R. Webster organ

Musical Partners

PYOTR ILYICH TCHAIKOVSKY

Manfred op. 58 London, June 1979 LP M 36673 13

London Symphony Orchestra

Méditation op. 42/1 Berlin, January 2005 CD SK 93922 78

Joshua Bell violin

Berliner Philharmoniker

Orchestral Suite No. 2

“Suite caractéristique” op. 53

Philharmonia Orchestra

Orchestral Suite No. 3 op. 55

Los Angeles Philharmonic

Orchestral Suite No. 4 London, June 1980

“Mozartiana” op. 61

Philharmonia Orchestra

36702

36702

Piano Concerto No. 1 op. 23 London, February 1986 LP 28AC2152 79

Kazune Shimizu piano

London Symphony Orchestra

Swan Lake op. 20

London Symphony Orchestra

Danse russe

Joshua Bell violin

Berliner Philharmoniker

Composer / Works Recording Original Release CD #

Musical Partners

Violin Concerto op. 35 Berlin, January 2005 CD SK 93922 78

Joshua Bell violin

Berliner Philharmoniker

HEITOR VILLA-LOBOS

Bachianas Brasileiras No. 4 Fort Lauderdale, January 1996 CD 09026 68538 2 62

W 424

New World Symphony

Bachianas Brasileiras No. 5 Fort Lauderdale, January 1996 CD 09026 68538 2 62

W 389

Renée Fleming soprano

New World Symphony

Bachianas Brasileiras No. 7 Fort Lauderdale, January 1996 CD 09026 68538 2 62

W 432

New World Symphony

Bachianas Brasileiras No. 9 Fort Lauderdale, January 1996 CD 09026 68538 2 62

W 449

New World Symphony

Chôros No.10 Fort Lauderdale, January 1996 CD 09026 68538 2 62

(Rasga o coração) W 209

BBC Singers

New World Symphony

Composer / Works Recording Original Release CD #

Musical Partners

JOSEPH PHILBRICK WEBSTER

In the Sweet By and By Chicago, April 1989 CD SK 44939 46

quoted by Charles Ives in his Symphony No. 4

Richard R. Webster organ Members of the Chicago Symphony Chorus Chicago Symphony Orchestra

KURT WEILL

Die sieben Todsünden London, July 1987 CD MK 44529 38

Julia Migenes soprano

Robert Tear tenor

Stuart Kale tenor

Alan Opie baritone

Roderick Kennedy bass London Symphony Orchestra

Kleine Dreigroschenmusik London, April 1988 CD MK 44529 38 Members of the London Symphony Orchestra

Composer / Works Recording Original Release CD #

Musical Partners

HEINRICH ZEUNER

Ye Christian Heralds Chicago, April 1989 CD SK 44939 46

quoted by Charles Ives in his Symphony No. 4

Richard R. Webster organ Members of the Chicago Symphony Chorus Chicago Symphony Orchestra

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

Cover Image: Chris Wahlberg; photos: p. 2, 94, 96, 99, 111: Terry Lott; p.4: Carol Friedman; p.6, 68: Ron Harris; p. 10: Eugene Cook; p. 15: John Gotman; p. 16: ?; pp. 18–19, 39, 40: Clive Barda; p. 20: ?; p. 23: ?; p. 24: ?; p. 27: ?; p. 30: ?; p. 32: Bill King; p. 67: Waring Abbott; p. 104: ?; p. 112: Bob Rush; p. 135: James R. Holland; p. 136: Nancy Ellison Rollnick; p. 144: Alex Gort; p. 162: Joshua Robison; p. 160: Peter Adanik, Bill Phelps; pp. 164–165: Don Hunstein; p. 205: Art Streiber

This compilation P & C 2024 Sony Music Entertainment

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