Antonin Dvorák Symphony No. 9 in E Minor, Op. 95 „From the New World“ London Symphony Orchestra / Leopold Ludwig, Conductor

1 I. Adagio – Allegro molto 08:10

2 II. Largo 12:57

3 III. Scherzo – Molto vivace 06:37

4 IV. Allegro con fuoco 09:51 DVORˇ ÁK was terribly homesick. Therefore when, in nal school of composition, to be developed Symphony No. 5 in E minor, Op.95 the spring of 1895, Mrs.Thurber offered to in the United States. When first I came here (“From the New World”) renew his contract, he politely declined, and I was impressed with this idea, and it has sailed for home. developed into a settled conviction. These LEOPOLD LUDWIG beautiful and varied themes are the product Conducting This feeling of homesickness is reflected of the soil. They are American. They are the The London Symphony Orchestra in Dvorˇák’s New World Symphony. He began folk-songs of America, and your composers work on it on December 19, 1892, shortly must turn to them. All the great musicians The new sounds he heard in the New after his arrival here, and completed it on have borrowed from the songs of the com- World were important elements of inspira- May 25, 1893. During that period, he was mon people.” This statement gave the clue tion to Antonin Dvorˇák when he composed visited frequently by one of his students, H. T. to those who thought they heard not only his Symphony No. 5 in E Minor. The brilliant Burleigh, later to become a prominent Negro Negro but American Indian themes in the new sounds of this Everest recording of this , composer and arranger. Burleigh symphony. ever-popular masterpiece will be an ear- played and sang to him many Negro spiritu- opener to you as you listen to it in your home als. Dvorˇák was fascinated by this music. A Several years later, however, in a letter and a potent force in making the music that special favorite of his was Swing Low, Sweet to the German conductor, Oscar Nedbal, much more inspiring. Chariot, and a derivation of this melody may Dvorˇák wrote: “I send... Kretzschmar’s anal- be heard in the opening movement of the ysis of the symphony, but omit that non- In the fall of 1892, Dvorˇák came to the symphony. Otherwise, there is little that is sense about my having made use of ‘Indian’ United States. He came, after much per- truly American in the work. and ‘American’ themes – that is a lie. I tried suasion, at the invitation of Mrs. Jeanette to write only in the spirit of those national M. Thurber, wealthy patroness of the arts, Appropriately, the symphony had its American melodies.” And Anton Seidl’s who had recently founded the National world premiere in New York. Anton Seidl own comment, after conducting the work in Conservatory of Music in New York. Mrs. conducted it at a concert of the New York New York, was: “It is not a good name, ‘New Thurber wanted him to be the director, to Philharmonic Orchestra at Carnegie Hall on World Symphony!’ It is homesickness, home- teach composition, to conduct student con- December 15, 1893. Three days later, Dvorˇák longing.” certs and to present some programs of his wrote to his publisher, Simrock, in : own music. As bait, she offered him the munif- “The success of the symphony was magnifi- To sum up, then, despite its title and the icent sum of $15,000 as an annual salary, cent. The newspapers say that never has a single quotation of an American Negro spir- with four months off in the summer. Since composer had such a triumph. I was in a box itual, the New World Symphony is not writ- Dvorˇák had just accepted a post as Professor and the hall was filled with the most select ten in the America but in the Bohemian of Music at the Prague Conservatory for less public in New York. The public applauded so folk idiom. This is especially true of the last than one-sixth that amount, he couldn’t much that I felt like a king in my box.” two movements. What many have failed to very well afford to refuse. Together with his note is that there is a marked resemblance wife and six children, he occupied an apart- Ever since its inception, the New World between much of the music of the American ment on East 17th Street, not far from the Symphony has been the center of an argu- Indian and that of the Czech peasant. Conservatory. He spent the summer of 1893 ment as to whether it is American or not. in the town of Spillville, Iowa, a commu- Shortly before its premiere, Dvorˇák issued Original Liner Notes taken from Library of nity inhabited largely by his fellow Czechs, this statement: “I am satisfied that the future Congress Catalog Card Number: R60-1049 and he went hack home to Bohemia for the music of this country must be founded upon summer of 1894. But despite the fact that what are called the Negro melodies. These he enjoyed his work and his stay here, he can be the foundation of a serious and origi- Some notes on the history of Everest Below is a graphic representation of this new “wow and flutter” to an absolute minimum. recordings made anywhere in the world. By Records and the digital remastering material. What you see here, your ears will The film has another advantage in its great utilizing specially designed portable versions quickly verify when you listen to an EVER- tensile strength which effectively eliminates of EVEREST 35 mm equipment, EVEREST When Everest Records was founded by Harry EST recording. pitch changes due to “tape stretch”, a condi- engineers are able to make recordings and Belock in 1958 as a division of Belock Instru- tion heretofore almost impossible to control. maintain the rigid standards and excellence ment Corp., the aim was to produce a cata- Notice that now EVEREST engineers have of quality available in the Studios. logue of stereo recordings of the highest pos- over 3 times the normal space available Drawing on the extensive experience in the sible technical standard, with interesting and [than] on ¼” tape. This means distortion free, motion picture sound field BELOCK INSTRU- The advanced engineering and special equip- innovative classical repertoire played by some perfect sound. 35 mm magnetic film allows MENT (of which EVEREST is a division), ment, in addition to meticulous attention of the best artists and orchestras. EVEREST engineers to make recordings with requested Westrex Corporation to build spe- to detail, results in the EVEREST sound, a cial equipment to EVEREST’S exacting sound that has been acclaimed as superb by For the first Everest recording sessions in • No distortion from print through specifications in order to accomplish these critics and record enthusiasts throughout the 1958, an Ampex 300-3 half-inch three- • No distortion from lack of channel width advantages. This equipment includes the use world. channel recorder was used. Later on the label • Absolute minimum of “wow or flutter” of special recording heads which afford com- moved to use a Westrex 35 mm 3-track mag- • Highest possible signal to noise ratio plete wide band frequency response beyond netic film recorder, which had a wider possible • Greatest quality and dynamic range ever that normally specified in any present-day dynamic range, less print-through, less tape recorded motion picture recording. It is of interest to stretch and less ‘wow and flutter’, and which note, that when soundtracks of great motion was the basis for the highly acclaimed typical With 35 mm magnetic film, the base mate- pictures originally recorded on 35 mm mag- “Everest-sound”. rial on which the magnetic oxide is coated netic film are released as phonograph records, Executive Producer: Mark Jenkins for Countdown Media/Everest • Digital Transfers and Remastering: is five times thicker than conventional tape that normal technique is to re-record the Lutz Rippe at Countdown Media using the original For the process of digital remastering of the and is similar to the film used for motion pic- sound from 35 mm magnetic film to conven- master tapes • Artwork preparation: Eckhard Volk 35 mm master tapes an Albrecht MB 51 tures. This thickness permits the recording of tional tape. EVEREST, through its advanced at Countdown Media • Digital Booklet: Dirk Böing, machine was used for analog playback. The extremely high sound intensities without the processes and equipment, is the only record Martina Grüthling • Original Producer: Bert Whyte output was captured in highest digital reso- danger of layer-to-layer “print-through”. The company able to transfer all Master Records for Everest Records • Original Recording Engineer: lution of 192 kHz sampling rate and 24 bit width of 35 mm magnetic film is such that directly from the 35 mm magnetic film to the Aaron Nathanson • Recording Location and Date: word length using state-of-the-art convert- it can accommodate three channels, each of recording heads. Walthamstow Assembly Hall, London (November 1959) • Original Recordings on 35 mm 3-track ers. In the digital domain the recording was which is as wide as the standard ¼” record- magnetic film, originally released in March 1960 as carefully restored and remastered using top- ing tape. Because of this great channel width, To assure maintaining the high quality of SDBR 3056 • Analog playback of original master quality mastering and restoration equipment. it is possible to produce stereo recordings in EVEREST sound on every EVEREST record- tapes on an Albrecht MB 51 • Digital restoration and which the usual background noise is inaudi- ing, the same equipment that is used in the remastering using Algorithmix software products …from the original LP release: ble. Another similarity of magnetic film to BELOCK Recording studios is utilized for ℗ & © Countdown Media GmbH motion picture is that it has sprocket holes “The remarkable EVEREST sound on this cut along each edge. The drive mechanism is record is the result of a revolutionary new also similar to motion picture cameras in that method of magnetic recording developed by sprocket gears engage these sprocket holes EVEREST utilizing 35 mm magnetic film. affording a smoothness of motion that reduces 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 : 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 & , 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 & , 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 & , 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