Heitor Villa-Lobos Bachianas Brasileiras No. 2 London Symphony Orchestra / Sir Eugene Goossens, Conductor

1 The Little Train of the Caipira 04:36

Alberto Ginastera Estancia – Ballet Suite London Symphony Orchestra / Sir Eugene Goossens, Conductor

2 I. Land Workers 02:46

3 II. Wheat Dance 03:42

4 III. The Cattlemen 01:48

5 IV. Final Dance („Malambo“) 03:37

Alberto Ginastera Panambi – Ballet Suite London Symphony Orchestra / Sir Eugene Goossens, Conductor

6 I. Moonlight on the Parana 05:36

7 II. Invocation of the Powerful Spirits 01:13

8 III. Lament of the Maidens and Rondo of the Maidens 02:29

9 IV. Dance of the Warriors 03:23 VILLA-LOBOS of musical composition based on an intimate gested some musical ideas to the composer, a THE LITTLE TRAIN OF THE CAIPIRA knowledge of the great works of J. S. Bach, man who has written some of his best works from Bachianas Brasileiras No. 2 and the harmonic, contrapuntal and melodic in the midst of the most distracting environ- atmosphere of the folklore of the northeast- ment. Within an hour he had completed the GINASTERA: ern region of Brazil. The composer considers toccata, which he scored originally for cello ESTANCIA • PANAMBI Bach a universal and rich folkloristic source, and piano; and that very night he and his (Ballet Suites) deeply rooted in the folk-music of every wife tried it over. (It might be noted, paren- Sir EUGENE GOOSSENS country in the world. Thus Bach is a media- thetically, that it was the rhythmic noises of conducting The London Symphony tor among all races.” a train between New York and Boston that Orchestra gave George Gershwin the basic inspiration Sir Eugene Goossens, conductor of the for his Rhapsody in Blue.) In 1938, at the In recent years, hi-fi fans have delighted in present recording of The Little Train of the suggestion of Villa-Lobos’ close friend, the the realistic recordings of big steam locomo- Caipira, has this to say about the Bachianas Brazilian conductor Burle Marx, the com- tives and other railroad sounds. For some, it Brasileiras No. 2, from which it is drawn: poser arranged the Bachianas Brasileiras No. is more thrilling to have a fast freight roar- “Undoubtedly both the form and the spirit of 2 for chamber orchestra. It is in this form ing through the living room than to hear the this work are inspired by the great German that it has gained its widest popularity. music of Beethoven or Tchaikovsky. Here, master, and its four movements – Preludio, though, is a recording tailor-made for both Aria, Danza, and Toccata – are conscien- The orchestra called for in The Little Train the audiophile and the music lover. With tious imitations of the Bachian forms. But of the Caipira comprises a flute (interchange- Everest’s startlingly lifelike sound, coupled there the resemblance pretty much ends, able with piccolo), oboe, clarinet, tenor sax- with the vivid imagination of Villa Lobos, for the Villa-Lobos music is based not on the ophone (interchangeable with baritone sax- you can hear a musical train come to life on melodic and rhythmic formulae of Bach as ophone), two horns, trombone, bass drum, your phonograph. we know them, but on primitive Brazilian snare drum, cymbals, triangle, tambourine, melodies. Harmonically and instrumentally reco-reco (a notched wooden cylinder), chu- “In music circles the name of Heitor Villa the work is quite uninhibited, and the list of calho (a rattle with gourd seeds), ganza (a Lobos is almost synonymous with Brazil,” percussion instruments is patently formida- metal tube filled with gravel), matraca (a wrote Louis Biancolli in the program book of ble. Incidentally, four of these instruments ratchet), celesta, piano and strings. the New York Philharmonic.” Indo-Brazilian are authentically Brazilian, and they add lore and the country’s colorful history find considerable descriptive color to the puffings Of the toccata, Goossens has written that concrete expression in his art through a and gaspings of the Caipira express (?) in the it “is sufficiently vivid to enable me to dis- rhythmic and melodic medium of marked last movement.” pense with much verbal description. The lit- national character. What Jean Sibelius is to tle train puffs and chugs along, and save for Finland, Carlos Chavez to Mexico, Georges The Little Train of the Caipira was inspired a solitary emergency stop (with great squeal- Enesco to Roumania, Heitor Villa-Lobos is to by a ride that Villa-Lobos took in 1931 ing of brakes) towards the middle of the his native Brazil, and perhaps more. on just such a train that was transporting journey, proceeds to its distant destination berry-pickers and farm laborers between vil- which it reaches safely in a process of grad- “Villa-Lobos has written nine suites lages in the Brazilian province of Sao Paolo. ual deceleration and much exhaust steam. A for varying combinations of instruments, (“Caipira” means “yokel” or “rustic,” and is mighty and startling chord marks the end.” to which he has given the generic title derived from “curupira,” a word from the Bachianas Brasileiras. Concerning this unu- language of the Tupi Indians in Brazil.) As sual but immensely intriguing music, the the train chugged, bumped, squeaked and composer has written: “This is a special kind wheezed along, its sounds and rhythms sug- Ginastera: Estancia – Ballet Suite wins his suit by demonstrating most effec- ment is most spectacularly evident in the sec- tively that he can beat the gauchos at their ond movement which is scored for percus- Alberto Ginastera, one of Argentina’s most own game. sion and brass only, and in the Dance of the successful teachers and composers, was born Warriors which works up to a tremendous in Buenos Aires in 1916 and studied there at The movements of the ballet suite, drawn final climax. the National Conservatory of Music, where from four of the five scenes, are: 1. The Land he is now professor of composition. He is Workers; 2. Wheat Dance; 3. The Cattlemen; Original Liner Notes by DAVID HALL also director of the Conservatory of Music 4. Final Dance, “Malambo.” The malambo is and Scenic Arts of the Province of Buenos a lively, exciting and often very long dance Aires at La Plata. He has written music in tournament between two gauchos. As might many forms, some of it commissioned by be expected, this is the most animated sec- North Americans, whom he met while work- tion of the suite. ing in the United States on a Guggenheim Fellowship in 1946. Original Liner Notes by PAUL AFFELDER

Estancia is a one-act ballet in five scenes. It was commissioned in 1941 by Lincoln Kirstein for his American Ballet Caravan, then touring South America, and was to have had choreography by George Balanchine. But Ginastera: Panambi – Ballet Suite the troupe disbanded in 1942, and Estancia was not presented in ballet form until August Panambi brought Ginastera’s name to the 19, 1952 when it was mounted at the Teatro attention of a worldwide audience when the Colon in Buenos Aires, with choreography late Erich Kleiber conducted its American by Michel Borovski and with Juan Emilio premiere With the NBC Symphony Orchestra Martini conducting. Meanwhile, however, on February 24, 1946. Ginastera was just 20 Ginastera extracted a four-movement suite when he composed the ballet, Panambi, the from the ballet, which was premiered by story of which is based on a South American the Teatro Colon Orchestra, under Ferruccio Indian legend. Juan Jose Castro conducted Calusio, on May 12, 1943. the world premiere of the five movement orchestral suite recorded here on November Estancia is the Argentine word for “ranch.” 27, 1937 in Buenos Aires. The entire ballet In his music for this, his second ballet, was presented at the Teatro Colón on July Ginastera endeavored to reflect all aspects of 12, 1940. Argentine ranch life. The five movements of the Panambi bal- Briefly, the story of the ballet concerns a let suite vary in style from modern impres- city boy who has difficulty winning a ranch sionism to sophisticated primitivism – the girl. She considers him a weakling, unable titles being, 1. Moonlight on the Parana; 2. to compete with the athletic gauchos (cow- Invocation of the Powerful Spirits; 3. Lament boys) on the ranch. Ultimately, the city boy of the Maidens; 4. Rondo of the Maidens; 5. Dance of the Warriors. The primitivistic ele- 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 Executive Producer: Mark Jenkins for Countdown Media/ stretch and less ‘wow and flutter’, and which note, that when soundtracks of great motion Everest • Digital Transfers and Remastering: Lutz Rippe was the basis for the highly acclaimed typical With 35 mm magnetic film, the base mate- pictures originally recorded on 35 mm mag- at Countdown Media using the original master tapes • “Everest-sound”. rial on which the magnetic oxide is coated netic film are released as phonograph records, Artwork preparation: Eckhard Volk at Countdown Media • Digital Booklet: Dirk Böing, Martina Grüthling • Original is five times thicker than conventional tape that normal technique is to re-record the Producer: Bert Whyte for Everest Records • Original For the process of digital remastering an and is similar to the film used for motion pic- sound from 35 mm magnetic film to conven- Recording Engineer: Aaron Nathanson (Little Train of Albrecht MB 51 machine was used for ana- tures. This thickness permits the recording of tional tape. EVEREST, through its advanced Caipira / Panambi) / Joe Kane (Estancia) • Recording log playback of the 35 mm master tapes extremely high sound intensities without the processes and equipment, is the only record Location and Date: Walthamstow Assembly Hall, London and an Otari MX5050 for the ½ inch mas- danger of layer-to-layer “print-through”. The company able to transfer all Master Records in August 1958 (Little Train of Caipira & Panambi) & ter tapes. The output was captured in highest width of 35 mm magnetic film is such that directly from the 35 mm magnetic film to the November 1958 (Estancia) • Original Recordings on digital resolution of 192 kHz sampling rate it can accommodate three channels, each of recording heads. 3-track, half-inch tape (Little Train of Caipira / Panambi) and 35 mm 3-track magnetic film (Estancia), originally and 24 bit word length using state-of-the- which is as wide as the standard ¼” record- released in February 1960 as SDBR 3041 • Analog art converters. For the whole restoration and ing tape. Because of this great channel width, To assure maintaining the high quality of playback of original master tapes on an Albrecht MB 51 (35 remastering process top quality restoration it is possible to produce stereo recordings in EVEREST sound on every EVEREST record- mm) and Otari MX5050 (half inch) • Digital restoration and mastering software from the company which the usual background noise is inaudi- ing, the same equipment that is used in the and remastering using Algorithmix software products Algorithmix was used. ble. Another similarity of magnetic film to BELOCK Recording studios is utilized for ℗ & © Countdown Media GmbH motion picture is that it has sprocket holes …from the original LP release: cut along each edge. The drive mechanism is also similar to motion picture cameras in that “The remarkable EVEREST sound on this sprocket gears engage these sprocket holes record is the result of a revolutionary new affording a smoothness of motion that reduces method of magnetic recording developed by EVEREST is recorded on tape 35 mm wide EVEREST utilizing 35 mm magnetic film.

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