Sergei Prokofiev Symphony No. 5 in B-Flat Major, Op. 100 London Symphony Orchestra / Sir Malcolm Sargent, Conductor

1 I. Andante 13:41

2 II. Allegro marcato 08:30

3 III. Adagio 10:17

4 IV. Allegro giocoso 10:16 PROKOFIEV: In his estimable biography of Sergei As a symphonist, Prokofiev first burst Symphony No. 5 Prokofiev, Israel Nestyev writes that “the upon the musical world with his Classical in B flat major, Op. 100 Fifth Symphony embodies the highest Symphony, composed in 1916-17. This achievements of Prokofiev the orchestrator, delightful and perennially popular twen- Sir Malcolm Sargent uniting an intoxicating many-colored palette tieth century version of Mozart was fol- Conducting The London Symphony with a clean discipline of orchestral develop- lowed by the Second Symphony in 1924, the Orchestra ment.” Nowhere in recorded form have these Third Symphony in 1928, and the Fourth orchestral colors been captured with the Symphony in 1929, the latter written for the startling fidelity accorded them on Everest fiftieth anniversary of the Boston Symphony Records. With Everest’s brilliantly engi- Orchestra. None of these last three were neered reproduction, this bold and beautiful very successful; perhaps for that reason, he symphony emerges in a bright new light. abandoned the form for nearly fifteen years. When he took it up again in 1944 with the Nestyev’s remarks about the Fifth Fifth Symphony, he had a firm backlog of Symphony were written before the appear- musical ideas which helped to render it ance of the Sixth or Seventh, Prokofiev’s last one of the most important of all his orches- two works in symphonic form, but they are tral creations. With the renewed confidence still applicable. “In general,” he says, “lis- gained from the Fifth Symphony and its tening to the Fifth Symphony, one accepts immediate success with the press and pub- it as the most important summing-up of the lic the world over, he was able to begin work composer’s searches of many years in the almost immediately upon the Sixth. The domain of pure symphonic form. As rivers Seventh was completed in 1952, the year and streams flow into the ocean, so do the before his death. many previous compositions of Prokofiev – his sonatas, suites, and, in part, his operas On March 25, 1945, the New York Times – all nourish the imagery and thematic rich- printed an interview with Prokofiev by its ness of the Fifth Symphony, flowing into it Moscow correspondent, Robert Magidoff. through dozens of living waters.” “When war broke out,” the composer told him, “I feIt that everyone must do his share, The Fifth Symphony was one of the two and I began composing songs and marches products of the fruitful summer of 1944, for the front. But soon events assumed such the other being the Eighth Sonata for Piano. gigantic and far-reaching scope as to demand Prokofiev spent that summer at a rest home larger canvases. I wrote the Symphonic for composers at a Russian village near Suite, 1941, reflecting my first impressions Ivanovo. The rest home had been given by of the war. Then I wrote War and Peace. This the government to the Composers’ Union opera was conceived before the war, but so that its members could live and work the war made it compelling for me to com- there, undisturbed by the turmoil of war in plete it. Tolstoy’s great novel depicts Russia’s the big cities. Among those who shared the struggle against Napoleon, and then, as now, retreat with Prokofiev that summer were it was not a war of two armies but of peoples. Shostakovitch, Miaskovsky, Khachaturian and Kahalevsky. “Following the opera, I wrote the Ballad serves as a bridge into – and later out of – the of an Unknown Boy for orchestra, choir, Trio which, in contrast to the 4/4 of the main soprano and dramatic tenor to words of the section, is in 3/4. When the scherzo proper poet Pavel Antokolsky. Finally, I wrote my returns, it is in an altered guise, colored by an Fifth Symphony, on which I had been work- almost menacing snarl from the low-voiced ing for several years, gathering themes for trumpet. Most serious of the four move- it in a special notebook. I always work that ments is the third, marked Adagio. Its long- way, and probably that is why I write so fast. lined opening melody has a note of tragedy The entire score of the Fifth was written in in it, as has the contrasting middle section. one month in the summer of 1944. It took Throughout this movement are passages me another month to orchestrate it, and in reminiscent of Prokofiev’s Second Violin between I wrote the score for Eisenstein’s Concerto in G Minor. The finale begins with a film,lvan the Terrible.” suggestion of the principal theme of the first movement, heard in the lower strings. The Prokofiev himself conducted the Moscow darkness of the introduction is dispelled by Philharmonic Orchestra in the world pre- the main portion of the movement, Allegro miere of the Fifth Symphony. It was the giocoso, as the clarinet announces the perky featured portion of an entire program of chief theme. There is a decided note of satire his music, given in the Grand Hall of the in this movement, also a certain suggestion Moscow Conservatory on January 13, 1945. of brutality. A lengthy, turbulent coda brings Nestyev reports that “at the moment when the symphony to a close. the first chords of the symphony sounded in the Grand Hall of the Conservatory, we The scoring of the Fifth Symphony also heard the powerful cannon saluting the includes two flutes, two oboes, English horn, heroes of the crossing of the Vistula. This two clarinets, E flat clarinet, bass clarinet, coincidence seemed a striking symbol of the two bassoons, contra-bassoon, four horns, topical social significance of Prokofiev’s new three trumpets, three trombones, tuba, ket- composition.” tle drums, bass drum, military drum, cym- bals, triangle, tam-tam, tambourine, wood It would be stretching a point, however, to block, harp, piano and strings. look for social significance in this symphony. Prokofiev has left us no program for the work Original Liner Notes by PAUL AFFELDER other than his declaration that it is “a sym- phony about the spirit of man.”

The opening Andante of the Fifth Symphony is affirmatively melodic with many dramatic moments. The second move- ment, Allegro marcato, is a scherzo. Above a steady clucking figure, the principal theme hops about from one woodwind instrument to another. A brief passage for woodwinds Some notes on the history of Everest Below is a graphic representation of this new sprocket gears engage these sprocket holes BELOCK Recording studios is utilized for Records and the digital remastering material. What you see here, your ears will affording a smoothness of motion that reduces recordings made anywhere in the world. By quickly verify when you listen to an EVER- “wow and flutter” to an absolute minimum. utilizing specially designed portable versions When Everest Records was founded by Harry EST recording. The film has another advantage in its great of EVEREST 35 mm equipment, EVEREST Belock in 1958 as a division of Belock Instru- tensile strength which effectively eliminates engineers are able to make recordings and ment Corp., the aim was to produce a cata- Notice that now EVEREST engineers have pitch changes due to “tape stretch”, a condi- maintain the rigid standards and excellence logue of stereo recordings of the highest pos- over 3 times the normal space available tion heretofore almost impossible to control. of quality available in the Studios. sible technical standard, with interesting and [than] on ¼” tape. This means distortion free, innovative classical repertoire played by some perfect sound. 35 mm magnetic film allows Drawing on the extensive experience in the The advanced engineering and special equip- of the best artists and orchestras. EVEREST engineers to make recordings with motion picture sound field BELOCK INSTRU- ment, in addition to meticulous attention MENT (of which EVEREST is a division), to detail, results in the EVEREST sound, a For the first Everest recording sessions in • No distortion from print through requested Westrex Corporation to build spe- sound that has been acclaimed as superb by 1958, an Ampex 300-3 half-inch three- • No distortion from lack of channel width cial equipment to EVEREST’S exacting critics and record enthusiasts throughout the channel recorder was used. Later on the label • Absolute minimum of “wow or flutter” specifications in order to accomplish these world. moved to use a Westrex 35 mm 3-track mag- • Highest possible signal to noise ratio advantages. This equipment includes the use netic film recorder, which had a wider possible • Greatest quality and dynamic range ever of special recording heads which afford com- dynamic range, less print-through, less tape recorded plete wide band frequency response beyond Executive Producer: Mark Jenkins for Countdown stretch and less ‘wow and flutter’, and which that normally specified in any present-day Media/Everest • Digital Remastering: Bernie was the basis for the highly acclaimed typical motion picture recording. It is of interest to Grundman at Bernie Grundman Mastering, “Everest-sound”. With 35 mm magnetic film, the base mate- note, that when soundtracks of great motion Hollywood, CA, from the original analog tapes • rial on which the magnetic oxide is coated pictures originally recorded on 35 mm mag- Digital Transfers: Scott Sedillo for Bernie Grundman Mastering and Len Horowitz for History of For the process of digital remastering of the is five times thicker than conventional tape netic film are released as phonograph records, Recorded Sound • Additional Restoration Work 35 mm master tapes the original Westrex and is similar to the film used for motion pic- that normal technique is to re-record the and Re-Release Mastering Engineer: Lutz Rippe at 1551 machine was used for analog playback tures. This thickness permits the recording of sound from 35 mm magnetic film to conven- Countdown Media • Artwork preparation: Eckhard using modified new playback electronics and extremely high sound intensities without the tional tape. EVEREST, through its advanced Volk at Countdown Media • Digital Booklet: Dirk fitted with new playback heads. The output danger of layer-to-layer “print-through”. The processes and equipment, is the only record Böing, Martina Grüthling • Original Producer: Bert was captured in highest digital resolution width of 35 mm magnetic film is such that company able to transfer all Master Records Whyte for Everest Records • Original Recording of 192 kHz sampling rate and 24 bit word it can accommodate three channels, each of directly from the 35 mm magnetic film to the Engineer: Aaron Nathanson • Recording Location and Date: Walthamstow Assembly Hall, London length using state-of-the-art converters. which is as wide as the standard ¼” record- recording heads. (May 1959) • Original Recording on 35 mm ing tape. Because of this great channel width, 3-track magnetic film, released in February 1960 …from the original LP release: it is possible to produce stereo recordings in To assure maintaining the high quality of as SDBR 3034 • Analog playback of original which the usual background noise is inaudi- EVEREST sound on every EVEREST record- master tapes on a modified Westrex-1551 “The remarkable EVEREST sound on this ble. Another similarity of magnetic film to ing, the same equipment that is used in the ℗ & © Countdown Media GmbH record is the result of a revolutionary new motion picture is that it has sprocket holes method of magnetic recording developed by cut along each edge. The drive mechanism is EVEREST utilizing 35 mm magnetic film. also similar to motion picture cameras in that

EVEREST is recorded on tape 35 mm wide

½” Tape used for Conventional stereo recording Standard ¼” Recording Tape Below is a listing of the currently available Everest albums in this series. For more information and an updated listing please visit www.evereststereo.com

SDBR-3003 Antill: Corroboree - Ginastera: Panambi SDBR-3034 Prokofiev: Symphony No. 5 London Symphony Orchestra & Sir Eugene Goossens, London Symphony Orchestra & Sir Malcolm Sargent, Conductor Conductor

SDBR-3005 Mahler: Symphony No. 1 in D Major “Titan” SDBR-3037 Berlioz: Symphonie Fantastique London Philharmonic Orchestra & Sir Adrian Boult, London Symphony Orchestra & Sir Eugene Goossens, Conductor Conductor

SDBR-3006 A Memorial Tribute to Ralph Vaughan Williams: Symphony SDBR-3038 Richard Strauss: Ein Heldenleben No. 9 in E Minor London Symphony Orchestra & Leopold Ludwig, Conductor London Philharmonic Orchestra & Sir Adrian Boult, Conductor SDBR-3039 Tchaikovsky: Symphony No. 5 in E Major, Op. 64 London Symphony Orchestra & Sir Malcolm Sargent, SDBR-3009 Stravinsky: Ebony Concerto & Symphony in 3 Movements Conductor Woody Herman and his Orchestra / London Symphony Orchestra & Sir Eugene Goossens, Conductor SDBR-3040 Hindemith: Violin Concerto & Mozart: Violin Concerto No. 3 London Symphony Orchestra, Sir Eugene Goossens, SDBR-3018 Copland: Symphony No. 3 Conductor & Joseph Fuchs, Violin London Symphony Orchestra & Aaron Copland, Conductor SDBR-3041 Villa-Lobos: The Little Train of the Caipira (from Bachianas SDBR-3022 Kodály: Psalmus Hungaricus - Bartók: Dance Suite Brasileiras No. 2) London Philharmonic Orchestra & János Ferencsik, Ginastera: Estancia & Panambi (Ballet Suites) Conductor London Symphony Orchestra & Sir Eugene Goossens, Conductor SDBR-3025 Waltz Masterpieces Stadium Symphony Orchestra of New York & Raoul SDBR-3044 Grofé: Grand Canyon Suite & Concerto for Piano and Poliakin, Conductor Orchestra in D Minor Rochester Philharmonic Orchestra & Ferde Grofé, SDBR-3026 Rimsky-Korsakov: Scheherazade Conductor London Symphony Orchestra & Sir Eugene Goossens, Conductor SDBR-3045 Sibelius: Violin Concerto in D Minor & Tapiola, Tone Poem, Op. 112 SDBR-3027 Raymond Paige’s Classical Spice Shelf London Symphony Orchestra, Tauno Hannikainen, Conductor Stadium Symphony Orchestra of New York & Raymond & Tossy Spivakovsky, Violin Paige, Conductor SDBR-3046 Schubert: Symphony No. 8 in B Minor, D 759 “Unfinished” SDBR-3031 Wagner: Parsifal - Good Friday Spell “Karfreitagszauber” - Mozart: Symphony No. 40 in G Minor, K. 550 & Symphonic Synthesis Act 3 London Symphony Orchestra & Leopold Ludwig, Conductor Houston Symphony Orchestra & Leopold Stokowski, Conductor SDBR-3047 Stravinsky: The Rite of Spring (“Le Sacre du Printemps”) London Symphony Orchestra & Sir Eugene Goossens, SDBR-3032 Scriabin: The Poem of Ecstasy - Amirov: Azerbaijan Mugam Conductor Houston Symphony Orchestra & Leopold Stokowski, Conductor SDBR-3049 Tchaikovsky: Violin Concerto in D Major, Op. 35 & Melody, Op. 42/3 SDBR-3033 Stravinsky: Petrouchka London Symphony Orchestra, Walter Goehr, Conductor & London Symphony Orchestra & Sir Eugene Goossens, Tossy Spivakovsky, Violin Conductor SDBR-3050 Mahler: Symphony No. 9 in D Minor London Symphony Orchestra & Leopold Ludwig, Conductor SDBR-3051 Respighi: The Fountains of Rome & The Pines of Rome SDBR-3064 A Liszt Recital: Piano Sonata in B Minor / Funerailles / London Symphony Orchestra & Sir Malcolm Sargent, Mephisto Waltz No. 1 Conductor Jorge Bolet, Piano

SDBR-3052 Khatchaturian: Gayne (Ballet Suite) SDBR-3067 Gershwin: Rhapsody in Blue & An American in Paris London Symphony Orchestra & Anatole Fistoulari, Pittsburgh Symphony Orchestra, William Steinberg, Conductor Conductor & Jesus Maria Sanroma, Piano

SDBR-3053 Mussorgsky: Pictures at an Exhibition & Night on Bald SDBR-3068 Sibelius: Symphony No. 5 in E-Flat Major, Op. 82 & Mountain Finlandia, Op. 26 London Symphony Orchestra & Sir Malcolm Sargent, Rochester Philharmonic Orchestra & Theodore Bloomfield, Conductor Conductor

SDBR-3054 Shostakovich: Symphony No. 9 / Lieutenant Kijé Suite SDBR-3069 Bartók: Concerto for Orchestra London Symphony Orchestra & Sir Malcolm Sargent, Houston Symphony Orchestra & Leopold Stokowski, Conductor Conductor

SDBR-3055 Khatchaturian: Concerto for Piano and Orchestra in D-flat SDBR-3070 Wagner: Magic Fire Music & Wotan’s Farewell – Chopin: Major Mazurka, Op. 17/4, Prelude, Op. 28/24 & Waltz, Op. 64/2 London Symphony Orchestra, Hugo Rignold, Conductor & – Canning: Fantasy on a Hymn Tune by Justin Morgan Peter Katin, Piano Houston Symphony Orchestra & Leopold Stokowski, Conductor SDBR-3056 Dvoˇrák: Symphony No. 9 in E Minor, Op. 95 “From the New World” SDBR-3074 Beethoven: Symphony No. 6 in F Major, Op. 68 London Symphony Orchestra & Leopold Ludwig, “Pastorale” Conductor London Symphony Orchestra & Josef Krips, Conductor

SDBR-3057 De Falla: The Three Cornered Hat (Complete Ballet) SDBR-3086 Beethoven: Symphony No. 5 in C Minor, Op. 67 London Symphony Orchestra & Enrique Jordá, Conductor London Symphony Orchestra & Josef Krips, Conductor

SDBR-3058 Irving Berlin: Great Man of American Music - A New SDBR-3087 Beethoven: Symphony No. 3 in E-flat Major, Op. 55 Interpretation London Symphony Orchestra & Josef Krips, Conductor Raoul Poliakin and his orchestra SDBR-3088 Beethoven: Symphony No. 7 in A Major, Op. 92 SDBR-3059 Works of Lili Boulanger: Du fond de l’abîme (Psaume London Symphony Orchestra & Josef Krips, Conductor 130), Psaume 24, Psaume 129 & Vieille Prière Bouddhique SDBR-3089 Beethoven: Symphonies No. 1 & 8 Lamoureux Concert Association Orchestra, Elisabeth London Symphony Orchestra & Josef Krips, Conductor Brasseur Choir & Igor Markevtich, Conductor SDBR-3110 Beethoven: Symphony No. 9 in D Minor, Op. 125 “Choral” SDBR-3060 Debussy: Iberia - Ravel: La Valse & Rhapsodie Espagnol London Symphony Orchestra & Josef Krips, Conductor Rochester Philharmonic Orchestra & Theodore Bloomfield, Conductor SDBR-3113 Beethoven: Symphonies No. 2 & 4 London Symphony Orchestra & Josef Krips, Conductor SDBR-3061 A Memorial Album: Ernst von Dohnányi Plays His Own Music for Piano Ernst von Dohnányi, Piano

SDBR-3062 Jorge Bolet playing the music of Franz Liszt: Piano Concerto No. 1 in E-Flat Major & Mephisto Waltz No. 1 Jorge Bolet, Piano

SDBR-3063 Bennett: A Commemoration Symphony to Stephen Foster & A Symphonic Story of Jerome Kern Pittsburgh Symphony Orchestra, Mendelssohn Choir of Pittsburgh & William Steinberg, Conductor