Mahler Symphony No.9 MAHLER

SignumClassics Philharmonia Orchestra

SIGCD133 sir charles mackerras Schubert Symphony no.9

SIGCD188 Esa-Pekka Salonen sir charles mackerras mahler Symphony no.9 MAHLER

www.signumrecords.com www.philharmonia.co.uk Symphony no.4

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MAHLER Symphony No.4 (1899-1901) Gustav Mahler (1860-1911) My fourth will probably be on the given the nature of the work, the trombone programme in Vienna in October section and the tuba are also deemed Symphony No.4 in G major and then you will glimpse an aspect surplus to requirements, and the trumpets, of me that you do not yet know. All horns, woodwind and strings are also scaled 1 I. Bedächtig, Nicht eilen 16.12 I fear is that this aspect will please down. Its duration further enhances the 2 II. In gemächlicher Bewegung 9.11 you most, so that, henceforth, you notion of a lighter-weighted work. A mere will only look at me from one side. 55 or so minutes long, it is generally his 3 III. Ruhevoll 21.44 shortest symphony in performances, some Mahler’s gnomic utterance to his confidante, 40 minutes shy of the Third’s mammoth 4 IV. Sehr behaglich 9.36 Nana Spiegler, hints at some aspects of length, and even pipping his First by a his Fourth Symphony that have absorbed couple of minutes. The Fourth’s lighter, Total timings 56.43 both critics, apologists and audiences from lyrical, playful character, comparatively its first performance until relatively recent devoid of Mahlerian clouds, gloom and doom times. It also reveals his own cognisance of or frenzied outbursts, is at least part of ‘the the symphony’s unique position as a turning aspect of me that you do not yet know’. Philharmonia Orchestra point in his output. This is no gargantuan It breathes much the same air as Haydn orchestral affair, unlike his previous three and Mozart, and although written at a time Sarah fox soprano symphonies, with the scoring, for Mahler at of great stress, may well reflect Mahler’s Sir Charles Mackerras conductor least, being relatively restrained. There is no contentment at having returned, in 1897, place for the chorus as in the Second and to his adopted city in the powerful position www.signumrecords.com Third Symphonies and, perhaps more tellingly of director of the Vienna Court Opera. 2 3 In 1899, firmly ensconced in the Austro- summer in the more conducive atmosphere were later published in his Lieder aus Des ‘alien to his nature’. And yet, in time, the Hungarian capital, he began to sketch out of Maiernigg, in Carinthia. During this Knaben Wunderhorn. The fifth, which did Fourth became the first of his symphonies a plan for the symphony. His previous three composing ‘holiday’ he radically restructured not make it into the collection, was Das which begin to make inroads into the works in the genre had each come with an things. Das irdische Leben was extracted to himmlische Leben. It was earmarked it for orchestral repertory, clearing the way for explanatory programme or at least movement become an orchestral song, Morgenglocken inclusion into the Third Symphony, but on the Mahler revival several decades later. titles giving both audiences and musicians was integrated into the Third Symphony and realizing its potential, he instead re-employed clear cues as to the composer’s intentions. Die Welt ohne Schwere is assumed by many it as the final movement of the Fourth. The Symphony No.4 in G Major opens with The Fourth was initially no different, the a scholar to have become the Scherzo in his a ‘Once upon a time’ introduction of jingling plan of action being sketched as follows: succeeding Fifth Symphony. Such tinkerings Whether in unwitting scorn or utter sleigh bells and chirping flutes and without and wholesale revisions were far from unusual comprehension, the critic Max Graf the call to action from the brass or the 1. Die Welt als ewige Jetztzeit – for Mahler. There are numerous instances of was precise in declaring after the first portentous strings of Mahler’s earlier (and The World as Eternal Present overlaps, interpolations and occasions where performance of the work that it must be indeed many later) symphonies. Instead we 2. Das irdische Leben – The Earthly Life the symphonies spill over into each other. The ‘read from back to front like a Hebrew have an almost child-like innocence and 3. Caritas – Adagio eventual final movement of the Fourth is one Bible’. As well as harking back to the Third joy. The argument proper then begins with of the more spectacular cases, having been Symphony, Das himmlische Leben, the last an almost classically balanced exposition, 4. Morgenglocken – Morning Bells composed some nine years before appearing movement of the Fourth, informs the three with two clear-cut themes that remind us 5. Die Welt ohne Schwere – in its final guise. In 1892, after almost two movements which precede it since they all of Schubert’s Vienna and pastoral calm The World without Gravity years of composing next to nothing, he was include musical material that is extrapolated respectively. The development section is 6. Das himmlische Leben – The Heavenly Life rejuvenated by revisiting a collection of folk backwards from the finale whilst appearing another matter entirely as Mahler shows poems entitled Des Knaben Wunderhorn. to the listener to build inexorably from another new aspect of himself – a new However, as Mahler set to work on the piece, Collected, edited, and sometimes freely movement to movement toward a satisfying mastery of counterpoint that would never in the Salzkammergut spa town of Aussee, composed by Achim von Arnim and Clemens close. The première of the symphony took leave his writing thereafter. Motifs are the plan was set to change. The holiday was Brentano, the poems presented an idealised, place on 25 November 1901, with the shuffled and transformed into new and yet a disaster, cold weather and the proximity bucolic vision that re-ignited a love of German composer conducting the Kaim Orchestra and still comfortably recognisable complexes until of the local bandstand disturbing the super- folk song, in composer and burgher alike, soprano soloist, Margarete Michalek. Despite the trumpets blaze, in anticipation, elements sensitive composer. With the busy opera and contributed much to the Romantic Movement a return to Viennese classicism of a sort, the of the song that will end the symphony. The concert season looming again, he launched in the arts and suffused Mahler’s first four event and subsequent performances were Scherzo is essentially in ländler rhythm, into a frenetic couple of weeks’ intense symphonies. He produced five songs to routinely booed, Mahler being charged with which is occasionally visited by grotesqueries work which was to bear fruit the following Wunderhorn texts in 1892 of which four posturing and dealing in musical material including the use of a violin tuned higher 4 5 than normal, initially annotated with The final movement and progenitor of the Movement IV: Soprano solo Text and Translation the legend, ‘Friend Death strikes up the symphony as a whole, is the disarmingly dance’. Although often eerie in effect, simple orchestral song, Das himmlische Das himmlische Leben The Heavenly Life the movement ends quietly without Leben. It is delivered by the soprano in a Wir genießen die himmlischen Freuden, We enjoy the delights of Heaven, real rancour, the composer explaining joyful, child-like manner and, the composer Drum tun wir das Irdische meiden. so we do shun what is earthly. that, ‘it wasn’t meant so seriously after insisted, without any hint of parody. The Kein weltlich Getümmel No worldly hubbub all’. The spectacularly beautiful Adagio delights of heavenly food are extolled: hört man nicht im Himmel! is here in Heaven! which follows is one of Mahler’s finest the angels are baking bread, greens are Lebt alles in sanftester Ruh! All live in gentlest calm! slow movements, and although he plentiful and wine is free and flowing - even Wir führen ein eng’lisches Leben! We lead an angelic life submitted no final written programme the lowing of the soon to be dispatched Sind dennoch ganz lustig daneben! but are quite cheerful besides! for the symphony, he described it thus: cattle is a simple inevitable event. Mahler Wir tanzen und springen, We dance and jump, lovingly paints the text with his orchestra, St Ursula herself, the most serious wir hüpfen und singen! we hop and sing! the overwhelming joy of the music of of all the saints, presides with a Sankt Peter im Himmel sieht zu! St Peter in Heaven looks on! the heavens, and the symphony itself, smile, so gay in this higher sphere. Johannes das Lämmlein auslasset, John let the lamb go, played out by quiet, celestial harps. Her smile resembles that on the der Metzger Herodes drauf passett! and butcher Herod looks out for it! prone statues of old knights or © M Ross Wir führen ein geduldigs, We lead a patient, prelates one sees lying in churches, unschuldigs, geduldigs, blameless, patient, their hands joined on their bosoms ein liebliches Lämmlein zu Tod! a dear little lamb to death! and with the peaceful gentle Sankt Lukas den Ochsen tät schlachten St Luke does slaughter the ox expressions of men who have ohn einigs Bedenken und Achten. without any scruple or worry. gained access to a higher bliss; Der Wein kost kein Heller Wine costs not a penny solemn, blessed peace; serious, im himmlischen Keller; in the heavenly cellar; gentle gaiety, such is the character die Eng’lein, die backen das Brot. the angels, they bake the bread. of this movement, which also has Gut Kräuter von allerhand Arten, Good greens of all sorts, deeply sad moments, comparable, die wachsen in himmlischen Garten. they grow in the garden of Heaven! if you wish, to reminiscences of Gut Spargel, Fisolen, Good asparagus, beans earthly life, and other moments und was wir nur wollen! and whatever we wish for, when gaiety becomes vivacity.

6 7 Ganze Schüsseln voll sind uns bereit! whole dishes full are ready for us! Gut Äpfel, gut Birn und gut Trauben, Good apples, good pears and good grapes, Biographies die Gärtner, die alles erlauben! the gardeners allow everything! Willst Rehbock, willst Hasen? D’you want venison, d’you want rabbits? Auf offener Straßen On the open streets Sir Charles Mackerras sie laufen herbei! they run about! (1925 – 2010) Sollt ein Festtag etwa kommen, When a feast day approaches, alle Fische gleich mit Freuden angeschwommen! all the fishes swim up gladly. Sir Charles can rightly be called a legendary Conductor of the Philharmonia Orchestra, Dort läuft schon Sankt Peter Off runs St Peter figure. His career spanned an extraordinary Conductor Emeritus of the Welsh National mit Netz und mit Köder with net and with bait six decades of achievement. He made his Opera and Principal Guest Conductor Emeritus zum himmlischen Weiher hinein, to the heavenly pond. conducting debut with Sadler’s Wells Opera of the San Francisco Opera. A specialist in Sankt Martha die Köchin muß sein! St Martha has to be the cook. (now English National Opera) in 1948 and Czech repertory, Sir Charles was Principal Kein Musik ist ja nicht auf Erden, No music is anywhere on earth went on to enjoy a lifelong association with Guest Conductor of the Czech Philharmonic die unsrer verglichen kann werden. that can be compared with ours. the company. Orchestra from 1997–2003, following his life- Elftausend Jungfrauen Eleven thousand virgins long association with both the Orchestra and zu tanzen sich trauen! are bold enough to dance! He was First Conductor of the Hamburg Opera many aspects of Czech musical life. Sankt Ursula selbst dazu lacht! Even St Ursula laughs! (1966–69) and Musical Director of both Cäcilia mit ihren Verwandten Cecilia and her relations Sadler’s Wells (1970–77) and Welsh National He was a regular guest with the Vienna sind treffliche Hofmusikanten! are excellent court-musicians! Opera (1987–92). From 1982–85 Sir Charles Philharmonic Orchestra with whom he Die englischen Stimmen The angelic voices was Chief Conductor of the Sydney Symphony made his Salzburg Festival debut in 1988 conducting Le Nozze di Figaro. He made his ermuntern die Sinnen delight the senses, Orchestra: he conducted the Orchestra in the opening concert of the Concert Hall of the debut with the Berlin Philharmonic Orchestra daß alles für Freuden erwacht! so that for joy all things awake! Sydney Opera House in 1973, in which Birgit in 2004. In addition to his many appearances Nilsson sang in the all-Wagner programme. with the San Francisco Opera, he had a long English translation © William Mann Sir Charles was Conductor Laureate of the association with the Metropolitan Opera, Scottish Chamber Orchestra, Conductor New York. In Europe he conducted regularly Emeritus of the Orchestra of the Age of in the opera houses of Paris, Berlin, Prague Enlightenment, Conductor Laureate of the and in his native Australia at the Sydney Brno Philharmonic Orchestra, Principal Guest Opera House. Sir Charles made his operatic

8 debut with the Royal Opera House, Covent In his final season he conducted Sarah Fox Garden in 1964, where he subsequently his beloved Scottish Chamber and conducted 34 operas, including Un Ballo Philharmonia Orchestras in Edinburgh and Having studied at the University of London and She recently toured throughout Europe in Maschera which celebrated his 50th London and he returned to three of his the Royal College of Music, the soprano Sarah and the USA as Josabeth (Athalia) with anniversary and 80th birthday in 2005. favourite opera houses: English National Fox won the Kathleen Ferrier Memorial Award the Köln Konzert under Sir Ivor Bolton. 2002 marked Sir Charles’s 50th year Opera for The Turn of the Screw, which he in 1997 and the John Christie Award in 2000. In concert she has performed with with the Edinburgh Festival, in which he had last conducted in London in 1956 at the Bach Choir, the Hallé, the City of conducted Donizetti’s Maria Stuarda, the Scala Theatre sharing the baton with At The Royal Opera, Covent Garden she Birmingham Symphony Orchestra and Handel’s Jeptha and Mozart’s Gran Britten; the Royal Opera House, Covent has sung Woglinde (Das Rheingold and The English Concert. On Chandos Sarah Partita. At the 2006 Edinburgh Festival Garden for The Cunning Little Vixen; and Götterdämmerung), Waldvogel (Siegfried), Fox can be heard in recordings of The he memorably conducted the complete Glyndebourne Festival Opera for Cosi Zerlina (Don Giovanni) Asteria (Tamerlano) Magic Flute, Owen Wingrave, Kenneth Beethoven symphonies. In 2008, he was fan Tutte where on 12 June 2010 he and Lucy Lockit, while at the Glyndebourne Leighton’s Second Symphony, and named Honorary President of the Edinburgh conducted his final public performance. Festival her roles have included Zerlina Christmas music by Vaughan Williams. International Festival Society. and Susanna (Le nozze di Figaro). She has Sir Charles received a CBE in 1974 and further sung Anne Page (Sir John in Love) His lifelong association with Czech music was knighted in 1979. He was honoured with English National Opera, Merab (Saul) produced many milestones, including with the Medal of Merit from the Czech with Opera North, Servilia (La Clemenza the British premières of Janáček’s Kát’a Republic in 1996, made a Companion of di Tito) with Welsh National Opera and Kabanová (1951), The Makropulos the Order of Australia in 1997 and made a Iphis (Jephtha) and Cleofide (Poro) at the Case (1964) and From the House Companion of Honour in the 2003 Queen’s Edinburgh International Festival. Abroad she of the Dead (1965), and his career Birthday Honours. In May 2005 he was has performed Ilia (Idomeneo) at De Vlaamse defining Janáček discography with the presented with the Royal Philharmonic Opera, Michal (Saul), Asteria (Tamerlano) Vienna Philharmonic Orchestra. His vast Society Gold Medal and in November and Eurydice (Orphée et Eurydice) at the discography reflects his pioneering interest in 2005 was the first recipient of the Bayerische Staatsoper, Munich, Susanna performance practice with the symphonies of Queen’s Medal for Music. at the Royal Danish Opera, Woglinde (Das Mozart, Beethoven and Brahms. Rheingold) at the Salzburg Festival and Zerlina at the Cincinnati Opera Festival.

11 The Philharmonia Orchestra is one of the the Soloists of the Philharmonia Orchestra, world’s great orchestras. Acknowledged and recording scores for films, CDs and as the UK’s foremost musical pioneer, computer games. Since 1995 the Orchestra’s with an extraordinary recording legacy, the work has been underpinned by its much Philharmonia leads the field for its quality of admired UK Residency Programme, which playing, and for its innovative approach to began with the launch of its residencies at audience development, residencies, music the Bedford Corn Exchange and London’s education and the use of new technologies Southbank Centre, and now also includes in reaching a global audience. Together De Montfort Hall in Leicester, the Anvil in with its relationships with the world’s most Basingstoke and a series of partnerships sought-after artists, most importantly its across Kent and the Thames Gateway, based Principal Conductor and Artistic Advisor Esa- in Canterbury. The Orchestra’s international Pekka Salonen, the Philharmonia Orchestra extensive touring schedule each season is at the heart of British musical life. involves appearances at the finest concert halls across Europe, the USA and Asia. Today, the Philharmonia has the greatest have included Lorin Maazel (Associate Principal The Philharmonia Orchestra continues to claim of any orchestra to be the UK’s During its first six decades, the Philharmonia Conductor), Riccardo Muti (Principal Conductor pride itself on its long-term collaborations National Orchestra. It is committed to Orchestra has collaborated with most of the and Music Director) and Giuseppe Sinopoli with the finest musicians of our day, presenting the same quality, live music- great classical artists of the 20th century. (Music Director). As well as Esa-Pekka Salonen, supporting new as well as established artists. making in venues throughout the country as Conductors associated with the Orchestra current titled conductors are Christoph von This policy extends into the Orchestra itself, it brings to London and the great concert include Furtwängler, Richard Strauss, Dohnányi (Honorary Conductor for Life), Sir where many of the players have solo or halls of the world. Every year the Orchestra Toscanini, Cantelli, Karajan and Giulini. Otto Charles Mackerras (Principal Guest Conductor), chamber music careers alongside their work performs more than 200 concerts, as well Klemperer was the first of many outstanding Kurt Sanderling (Conductor Emeritus) and with the Orchestra. The Philharmonia’s Martin as presenting chamber performances by Principal Conductors, and other great names Vladimir Ashkenazy (Conductor Laureate). Musical Scholarship Fund has for many years

12 13 and in 2010 audiences can engage with both the RPS Audience Development and the Orchestra through webcasts, podcasts, Creative Communication Awards, and after downloads, computer games and film appearances in London and Leicester will be scores as well as through its unique touring to Lisbon and Dortmund in 2010/11. interactive music education website, The Sound Exchange (www.philharmonia.co.uk/ Recording and broadcasting both continue thesoundexchange). More than 3500 to play a significant part in the Orchestra’s people a month download free monthly activities, notably through its partnership with Philharmonia video podcasts, which include Signum Records, releasing new live recordings artist interviews and features on repertoire of Philharmonia performances with its key and projects; these films are also watched conductors. Since 2003 the Philharmonia has by more than 100,000 people on YouTube. enjoyed a major partnership with Classic FM, In May 2010 the Orchestra’s digital “virtual as The Classic FM Orchestra on Tour, as well Philharmonia Orchestra” project, RE-RITE, won as continuing to broadcast on BBC Radio 3.

supported talented musicians at the start of from composers including Sir Harrison Recorded live at the Queen Elizabeth Hall, Southbank Centre, London, 16 February 2006 Producer: Misha Donat their careers, including an Orchestral Award, Birtwistle, Sir Peter Maxwell Davies, Mark- Engineer: Tony Faulkner, Green Room Productions which allows two young players every year Anthony Turnage and James MacMillan. Photographs: Richard Haughton to gain performing experience within the Design: Richard Slaney (for the Philharmonia Orchestra) and Andrew Giles Orchestra. The Orchestra is also recognised Throughout its history, the Philharmonia for its innovative programming policy, at the Orchestra has been committed to finding heart of which is a commitment to performing new ways to bring its top quality live www.signumrecords.com www.philharmonia.co.uk and commissioning new works by leading performance to audiences worldwide, and ® 2010 The copyright in this recording is owned by Philharmonia Orchestra © 2010 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd. composers, among them the Artistic Director to using new technologies to achieve this. of its Music of Today series, Julian Anderson. Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Discs constitutes an infringement of copyright and will render the infringer liable to an action by law. Many millions of people since 1945 have Licenses for public performances or broadcasting may be obtained from Phonographic Performance Ltd. All rights reserved. No part of this booklet may be reproduced, stored in a retrieval system, Since 1945 the Philharmonia Orchestra has enjoyed their first experience of classical or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission from Signum Records Ltd. commissioned more than 100 new works music through a Philharmonia recording, SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, UK. +44 (0) 20 8997 4000 E-mail: [email protected]

14 15 CTP Template: CD_INL1 COLOURS Compact Disc Back Inlay CYAN MAGENTA Customer Signum Records YELLOW Catalogue No. SIGCD219 BLACK Job Title Mahler - Symphony No.4 SIGNUM CLASSICS

SIGCD219 GUSTAV MAHLER (1860-1911) TRA S

Symphony No.4 in G major MAHLER

ONIA ORCHE I. Bedächtig, Nicht eilen 16.12 SY M

II. In gemächlicher Bewegung 9.11 M PHONY HILHAR P III. Ruhevoll 21.44 N O.4 IV. Sehr behaglich 9.36

Total timings 56.43 O.4 N

PHILHARMONIA ORCHESTRA P HILHAR PHONY

M SIR CHARLES MACKERRAS conductor M SY SARAH FOX soprano ORCHE ONIA

Recorded live at the Queen Elizabeth Hall, Southbank Centre, London LC15723 MAHLER S www.signumrecords.com www.philharmonia.co.uk TRA

Signum Records Ltd, Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, United Kingdom SIGCD219