WWW.ALBANYRECORDS.COM TROY 1403 ALBANY RECORDS U.S. Re-issued 2013 by Albany Records 915 BROADWAY, ALBANY, NY 12207 TEL: 518.436.8814 FAX: 518.436.0643 © 2013 Albany Records MADE IN THE USA P & ©1993 KOCH International Classics. Jerome Moross A division of KOCH WARNING: COPYRIGHT SUBSISTS IN ALL RECORDINGS ISSUED UNDER THIS LABEL. COVER DESIGNED BY: JoAnn Falletta Kay Olivia Belth Arts Marketing Network, Inc. conductor DDD London Symphony Orchestra Symphony No. 1 The Last Judgement Variations on a Waltz for Orchestra World premiere recordings

Symphony Cover.indd 1 11/27/2012 3:14:56 PM Liner Inside.indd 2 11/27/2012 3:28:23 PM The World of Jerome Moross

In the beginning was the Land; and the Land was with Song; and the Land was Song. And perhaps the most exciting development in the history of American music was the moment when art-composers ‘heard’ that Song for the first time, realized that here was the basis for a music of their own, a music by America, of America and for America. Jerome Moross was in the vanguard of these composers; both historically and musically (some composers matter more historically than for the intrinsic quality of their music) he is a figure of national importance. Why, then, is he so little known? That is a complex question, and one that has nothing to do with the merit of his work, which no one can question. Extra-musical factors — the changing guard of contemporary music fashions, the composer’s own reluctance to promote his name and music in the mandatory socio-political ways (he was essentially a private person) — were more directly responsible. However the important fact is that now at last, with this premiere recording of three of Moross’ major scores, the long silence has been broken.

Moross was born in New York on August 1, 1913. He started playing piano and composing at an early age, and graduated from New York University School of Music at 18, having concurrently held a year’s Conducting Fellowship at Juilliard. Note that he never studied composition per se, only the basic tools of composition, of musical technique — harmony, counterpoint, fugue, form. This was a conscious decision on Moross’ part — even in his mid-teens he knew instinctively what he wanted, which was not a ready-made style im- posed from the outside by a teacher. Moross already had a style, or at least the raw materials of one: the American vernacular. The Song of the Land: blues, stomps, rags, foxtrots, one- steps, carousel waltzes. Moross grew up with and listened to jazz bands, played in theatre-pits and found that his own composing style was totally, spontaneously conditioned by it. He shared this early certainty — this precocity — with a contemporary whose compositional style set in a quite different mold, namely Bernard Herrmann; and both men, having found their metier relatively early in life, stuck to it through thick and thin to the end. The

Liner Inside.indd 3 11/27/2012 3:28:23 PM frame-of-reference itself changed hardly at all, although Moross constantly discovered new ways of making it interesting. And perhaps because he was so young when he found his voice, his music sounds young — always, early and late. The liner notes for the first soundtrack album of his classic film-scoreThe Big Country — composed in 1958, at the height of his career — described him as “one of the most exciting of America’s new composers.” “Exciting... new...” the words ring true even today. Moross’ music is ‘exciting,’ it does sound ‘new’ — in the sense not of revolutionary, but new-minted.

Typically, in his early New York days Moross consorted with notable mavericks like Herrmann, Percy Grainger, Henry Cowell and Charles Ives. At a time when Ives was still being totally ignored by the Establishment, Moross gave the first broadcast performance of a movement from the First Piano Sonata; he also (as did Herrmann) flirted briefly with the European avant-garde (Paeans, for chamber orchestra, written when the composer was 17) but dropped it almost at once, seeing no future in it for him. He had to go his own way. Yet one aspect of that way was as tradition-bound as could be: Moross never failed in allegiance to what he called the ‘classical verities.’ Look at the movement titles of the Symphony No. 1 — Theme and Variations, Sonata-Scherzo, Invention, Fugue: could be Beethoven or Brahms. Moross practiced classical disciplines (of form and compositional procedure) not merely in concert works, but also — less expectedly — in stage-works and even in film scores. For instance: what was originally the fourth part of Ballet Ballads (Ridinghood Revisited) is subtitled “A Silly Symphony” and the Overture is in strict classical sonata form (shades of Bernstein’s Candide, composed years later). And the texture of his music — for all its apparent simplicity and accessibility — is often quite sophisticated, and far from easy to project in performance. He is, for example, a master-contrapuntist: the third and fourth movements of the Symphony and The Last Judgement in its entirety, throw dramatic light on this aspect of his talent. But this should not surprise us once we recognize that counterpoint, whatever the connotations of its forbidding-sounding name, is basically the science of composition with melody; and the well-springs of melody flowed for few composers more abundantly than for Moross (try counting the tunes in The Last Judgement). This ongoing freshness of melodic invention — together with the bouncy, sexy rhythms derived from dance, i.e. from body language —

Liner Inside.indd 4 11/27/2012 3:28:23 PM make for a virile music which irresistibly celebrates life, the sheer joy of being alive. As long ago as 1936 Copland hailed the 23 year-old Moross as “probably the most talented” composer of his generation, commenting on the “quality of sheer physicalness” to be found in his music. Forty years later that quality was still well in evidence.

All Moross’ music has a strong theatrical — particularly balletic — dimension, and much of his best work was done for the theatre. Paul Bunyan: An American Saga was his first ballet; in his third and best known — Frankie And Johnny, composed in 1937 — Moross reckoned his mature style crystallized. During the 1940s he collaborated with the brilliant young lyricist John Latouche on Ballet Ballads, three (originally four: of the fourth, more anon) innovatory theatre-pieces that anticipated Stephen Sondheim in that they abandoned dialogue in favor of a continuous flow of song and dance.The Golden Apple (book and lyrics also by Latouche, first produced 1954) was Moross’ greatest theatrical success, whereasGentlemen, Be Seated! (completed 1961) was a failure that seriously undermined his self-esteem. He felt rejected by the medium that had claimed so many years of devoted labor. Ironically, the medium that brought him more fame and fortune than any other was the one which he took least seri- ously as a creative outlet, namely the cinema. Moross first worked in Hollywood in the 1940s but was too ‘modernistic’ to be turned loose on films of his own; instead he was assigned to established composers to help them orchestrate their scores (Copland’s Our Town was one). In the 1950s he began to do original film-scores and won a long-deserved world-wide ac- claim for The Big Country (1958). The Western-American style he devised for this film and other Westerns (The Proud Rebel, The Jayhawkers, Wagon Train) arose from a quasi-mystical ex- perience he had undergone 20 years before when traveling by bus to California and encoun- tering the Great Plains and American West for the first time. Arriving outside Albuquerque, New Mexico he was overwhelmed by the grandeur of the mountains and vast open spaces. A Tall Story (1938) was the first piece in which Moross attempted to evoke the American landscape; and at the end of the third movement of the Symphony (‘Invention’) the strings seem to rise higher and higher into a hazy vastness, like mountains cutting off the horizon.

Liner Inside.indd 5 11/27/2012 3:28:23 PM During the 1960s and 70s Moross concentrated on putting his major works in order and on a series of chamber works for different combinations (e.g. the Sonatina for Clarinet Choir, Sonatina for Contrabass and Piano, Concerto for Flute and String Quartet). His last theatre-pieces — in fact his last major work — was a one-act opera, Sorry, Wrong Number, based on the play by Lucille Fletcher (Bernard Herrmann’s first wife). He died in Miami, Florida, July 25, 1983, just a week short of his 70th birthday. Symphony No. 1

This work turned out to be Moross’ only symphony. (He worked on others but never completed them to his satisfaction and incorporated the material in other works.) He composed it between December 1941 and April 1942 at a time when, he said, “many people were feeling gloomy about the war and I thought it was right to try to cheer them up with a happy and hopeful piece. I realized the seriousness of the situation but I did not believe in being downhearted.” ‘Symphony’ is a daunting term, often intimating length and seriousness. Moross’ symphony is more of a suite of contrasting movements designed to be instantaneously understood and enjoyed; he has no qualms about going his own way and confounding expectations. Normally symphonies begin with a movement in classical sonata form (exposition — development — recapitulation). Moross begins with a Theme and Variations: the ‘theme’ being in two parts (the first rhythmic, the second lyric) that are treated individually in the first seven variations, then combined contrapuntally in the eighth and last. Then comes the Scherzo. Normally the Scherzo in a symphony is in tripartite (ABA) form: the middle contrasting (B) section is called the ‘Trio.’ Instead Moross here reverts to the sonata form he had bypassed in the first movement. Another unorthodoxy is the brilliant concertante part for solo piano, not featured anywhere else (I suspect this movement may have originated as a separate piece, or even as a movement in a projected Piano Concerto).

The slow movement (‘Invention’) did start life on its own — as a piece called “Ramble on a Hobo Tune” commissioned by the Columbia Broadcasting Company. The tune in question

Liner Inside.indd 6 11/27/2012 3:28:23 PM (Midnight Special) is heard in the violas and cellos 15 measures into the movement; in other words the flute-and-clarinet theme that plays beforehand is not the ‘tune’ but the composer’s own counterpoint to the ‘tune.’ The movement proceeds in strict two-part contrapuntal style with a bare minimum of harmonic filling, rarely admitting even a third voice. The mood is intimate, even austere. What a contrast with the fourth movement, ‘Fugue,’ which — though again within the confines of a rigid formal discipline — activates and energizes everyone in the orchestra. The main theme has more of the sturdy muscularity of a revivalist hymn-tune than the cut-and-thrust of a conventional fugue-subject, but J.S. Bach would have been the first to admire Moross’ technical dexterity in treating it: continuous lines, consistent figura- tions, incremental body-rhythms. Sum-total: affirmation of life, nowhere more abundant than in the final C major apotheosis.

No less unconventional than the Symphony itself were the circumstances of its first performance. In the early summer of 1943 Sir Thomas Beecham was conducting in the Hollywood Bowl. Moross (who was then living in California, working at Warner Brothers Studios) went round to see him after a concert and gave him a score of the Symphony. That, the young composer confidently expected, would be that. He was astonished therefore, to receive a call from the Seattle Symphony some months later to say that Sir Thomas was proposing to give the Symphony its first performance in the 1943-44 season — where were the orchestra parts? There were no parts, so Moross had a team of studio copyists hurriedly extract them, and the Beecham premiere duly took place on October 18, 1943. In November of the following year Alfred Wallenstein conducted three performances with the Los Angeles Philharmonic; for the one radio broadcast performance the composer had to substitute at the eleventh hour (without rehearsal) for the regular pianist. A ‘pirate’ tape of the performance was in circulation for many years and until now was the only means we all had to get to know the work.

Liner Inside.indd 7 11/27/2012 3:28:23 PM The Last JudgEment

Moross considered this ballet score one of his very best works and it is sad that he never had the chance to hear it complete in its orchestral form, which is that of a theatre orchestra rather than a symphonic combination, so that the overall sound is quite different from the Symphony or Variations on a Waltz. The Last Judgement was composed in 1953, but the projected production never materialized. “All very Women’s Lib. twenty years before that became fashionable” the composer wrote to me (February 15, 1973). “Exonerating women of the Original Sin — where will we go next?” Here is a boiled-down version of the scenario, which should be read in conjunction with the titles of the ten dances.

The ballet opens with a light on the body of Eve lying in her grave. The Angel Gabriel ap- pears and raises Eve from the dead. She discovers that she is in the presence of St. Peter and the 12 Judging Saints. Gabriel remains on stage all through the ballet as the recording Angel or the Sergeant-at-Arms of the court. The trial starts with the Saints questioning Eve. She protests her innocence. They bring on her husband, Adam. He shudders at the sight of her. He accuses her. She weeps violently. He dances about her exhibiting his loathing.

St. Peter intervenes and asks Adam to tell his story. He insists that Eve must help him act it out. They start Adam’s version of the crime (the original sin). It is the story of a pure young man married to a woman who is essentially corrupt. Whenever corruption starts becoming apparent in her movements she hides them from him. But he is unaware and between them is great love. At this point he informs the Saints they must have the figure of the Benefac- tor appear. They agree and with a wave of his hand Adam summons him up. He is very shadowy. You never quite see him but you do see him well enough to recognize him later on at his reappearance. The Benefactor is benevolence itself. He adores the struggling young couple and wants to help them. Then Eve decides to seduce the Benefactor, thinking that that will further her well-being. Adam discovers them at a climax of their affair. He rushes in and separates them. There is a violent scene ending with her destroying him. She pounds

Liner Inside.indd 8 11/27/2012 3:28:23 PM him with her fists and he slowly sinks down under the blows. The Benefactor, ashamed, rushes off.

Eve strongly protests this version of her story. She tells St. Peter that he must call up the real figure of the third person in the triangle. There is great consternation among the Saints and they argue as to whether it should be done or not. The Angel Gabriel intervenes, and he, Peter and the Saints conjure up the Evil One.

The Evil One appears. He struts about among the Saints, who are all agog at seeing him for probably the first time in their lives. He is the Benefactor of Adam’s story, but very Satanic and glittering. His offers of power and glory intrigue Adam but frighten Eve. Adam, though, wins out and slowly pushes Eve toward him. We now witness the growing corruption of Eve who, as she starts learning evil, becomes more and more debased. The dance mounts to a climax in which Eve finds herself enclasped by the Evil One with Adam watching like a voyeur. In a fit of loathing at what has become of herself, she turns on Adam destroying him (as before). The Evil One tries to take her back into his arms, but she throws him to the ground.

As the weeping Eve turns toward them, St. Peter and the Angel Gabriel come to her and raise her. The backdrop turns gold and the twelve Saints kneel in the beatitude position of Renaissance paintings as Peter and Gabriel accept Eve into Heaven.

Not the least interesting feature of The Last Judgement is the way Moross harnesses his extraordinary melodic fertility in the service of form. In a 1975 interview Moross stated, “In opera, ballet, even musical comedy, the roundness of the performance is aided by the music. Good ballets, in particular, are nearly always done to music which help them formally.” Moross’ idea was to invent new themes for nine of the ten dances (number ten reprises the main theme of number 1), but then — and nobody ever thought of this refinement — to make the primary theme of one dance become the secondary theme of the next. Frequently the two themes are heard contrapuntally combined, but generally not before they have been

Liner Inside.indd 9 11/27/2012 3:28:23 PM stated separately; the result is, as in the jazzy number VIII, ‘The Conjuring up of the Evil One,’ a quite complex multi-layering of melodies, colors and even keys (an occasional hint of bitonality) not normally found in Moross’ work. Elsewhere Moross’ strategy is almost absurdly simple — the main theme of number III, for instance, becomes the chordal ac- companiment (celesta, harp, vibraphone) to the heavenly melody of no. IV, ‘Adam and Eve in Eden.’ Yet this melody is not so ‘heavenly,’ not so sacrosanct, that it cannot be speeded up, even sent up, in the next dance, ‘Adam and Eve and the Benefactor.’ And so it goes on — the graceful flute theme of that movement becomes, slowed down, a bluesy, bleary trombone solo half-way through the next. The concept may sound intellectual, but the result is total music, no hint of contrivance. And always in this score there is tension between the diatonic and the chromatic. This is unusual for Moross, whose music is for the most part consistently diatonic — because its source, folk music, is diatonic. But throughout musical history (notably in the 16th and 19th centuries) advanced chromaticism has been a disinte- grative, destructive force and thence often associated with Evil, with the Devil and all his works. This explains its disruptive presence here. However even if perhaps the Devil runs off with some of the most beguiling instrumental sonorities (e.g. the inspired simplicity of number VIII, with its solo vibraphone, harp and xylophone) he certainly doesn't monopolize the best tunes. There are plenty of those for everyone. Variations on a Waltz

The program-note for the 1944 Hollywood Bowl performance of the Symphony advised patrons that the composer was currently working on a set of variations on a waltz-theme for piano duet. This was almost certainly the work that became, in 1966, Variations on a Waltz, for full orchestra. However there was another interior incarnation: for Ridinghood Revisited, originally the fourth part of Ballet Ballads incorporates almost note-for-note the episode that Moross later extracted, orchestrated and set up as a separate piece. In so doing, of course, he eliminated the voices; for Ballet Ballads (1940-1948) was what the title implies, a series of short theatre pieces consisting of ‘ballet’ (dancing) and ‘ballads’ (singing) but no

Liner Inside.indd 10 11/27/2012 3:28:23 PM dialogue. There are now three — Susanna and the Elders, Willie the Weeper and The Eccentrici- ties of Davy Crockett. Riding Hood, number four, was never produced and the composer eventually dropped it from the sequence. The Variations on a Waltz was a piece he liked and he scored it for a larger orchestra than he would ever have had at his disposal in the theatre. He makes no reference to its theatrical origins on the score and clearly expected it to stand on its own. However some knowledge of John Latouche’s scenario does, I suggest, add to one’s enjoyment and understanding of the music. The work’s title, for instance, takes on an added significance once we realized that the Wolf in this (somewhat unorthodox) version of the Riding Hood legend is, in Latouche’s words, “a Viennese wolf, aging a bit, grey at the temples, but still retaining his feral vivacity to the end.” A ‘Viennese’ waltz, then, for a ‘Viennese’ wolf; we are reminded, surely, that years later (1963) Moross composed a six- minute waltz for the Viennese episode in Otto Preminger’s filmThe Cardinal, which ranks among his finest inspirations. This waltz however — the Wolf’s Waltz — is not so much a waltz per se as a theme for variations, a means whereby to tell a story in terms of alternating song and dance. Here is a brief synopsis: Variation 1: Riding Hood and her current suitor, the Good Humor Man, encounter the Wolf, who has little difficulty in engaging attention. Variation 2: The Good Humor Man cautions Riding Hood against the Wolf, to little avail. Variation 3: The Wolf starts his seduction of a not-so-reluctant Riding Hood, first with champagne, then with a huge jeweled golden heart. Variation 4: Riding Hood does a frenzied dance. The Wolf licks his chops. Variation 5: Mother Nature counsels against corrupting the young — it can easily re bound on you, she warns, as it does on the Wolf in Variation 6. Variation 6: He tries to disengage himself, but Riding Hood clings to him grimly. Chase. Variation 7: Mother Nature works up a huge storm - wind, snow, rain, lightning, the works — in a vain endeavor to stop Riding Hood reaching her grandmother’s cottage before the Wolf does. Variation 8: Granny’s cottage: Granny, it seems, has been waiting for the Wolf to pay his respects for 50 years. Riding Hood bursts in, shuts Granny in the closet, puts on her nightcap and jumps into her bed. An exhausted Wolf arrives.

Liner Inside.indd 11 11/27/2012 3:28:23 PM Variation 9: General dance and finale, in which all participate. Cupid’s arrow strikes Rid ing Hood and she falls into the Good Humor Man's arms; Granny emerges from the closet and puts the nonplused Wolf into hers. Happy Ending.

© 1993, Christopher Palmer JoAnn Falletta

Photo by Mark Dellas JoAnn Falletta is internationally celebrated as a vibrant ambassador for music and an inspiring artistic leader. An effervescent and exuberant figure on the podium, she has been praised by The Washington Post as having “Toscanini’s tight control over ensemble, Walter’s affectionate balancing of inner voices, Stokowski’s gutsy showmanship, and a controlled frenzy worthy of Bernstein.” Acclaimed by The New York Times as “one of the finest conductors of her generation,” she serves as the Music Director of the Buffalo Philharmonic Orchestra and the Virginia Symphony Orchestra, Principal Conductor of the Ulster Orchestra in Belfast, Northern Ireland, and Principal Guest Conductor of the Brevard Music Center.

Liner Inside.indd 12 11/27/2012 3:28:23 PM Ms. Falletta is invited to guest conduct many of the world’s finest symphony orchestras. Highlights of her recent international guest conducting appearances include her South American debut with the Orquesta Sinfonica de Chile in Santiago Chile, and performances with the London Symphony, Korean Broadcast Symphony, Beijing Symphony, the Haifa Symphony (Israel), Goettingen Symphony (Germany), Netherlands Radio Orchestra, National Philharmonic of Lithuania, Orquestra de Extremadura (Spain), Warsaw National Philharmonic, Kraków Philharmonic, Orchestra National de Belgique, Seoul Philharmonic, BBC Philharmonic in Manchester, Ensemble Kanazawa (Japan), Tokyo Metropolitan Orchestra, Orchestra of Asturias (Spain), Rotterdam Philharmonic, Orchestre National De Lyon, Northwest German Philharmonic, Royal Scottish National Orchestra and the Lisbon Metropolitan Symphony, as well as a tour of Germany and Italy with the Sudwestdeutsche Philharmonie. She has guest conducted more than 100 orchestras in North America, including the orchestras of Philadelphia, Detroit, Montreal, San Francisco, Los Angeles, Milwaukee, Indianapolis, St. Louis, Houston, Rochester, Utah, Edmonton, Quebec and the National Symphony. Ms. Falletta’s summer activities have taken her to numerous music festivals including the Brevard Festival in North Carolina, where she is Principal Guest Conductor, Aspen, Tanglewood, Hollywood Bowl, Grand Teton, Wolf Trap, Eastern Music, Cabrillo, OK Mozart International, Lanaudiere, Peter Britt, Breckenridge, Brevard and Interlochen, among others. She is also Artistic Adviser to the Hawaii Symphony Orchestra that was founded in 2011

Ms. Falletta is the recipient of many of the most prestigious conducting awards including the Seaver/National Endowment for the Arts Conductors Award, the coveted Stokowski Competition, and the Toscanini, Ditson and Bruno Walter Awards for conducting, as well as the American Symphony Orchestra League’s prestigious John S. Edwards Award. She is an ardent champion of music of our time, introducing more than 400 works by American composers, including more than 100 world premieres. Hailing her as a “leading force for the music of our time,” she has been honored with eleven ASCAP awards. Ms. Falletta serves as a Member of the National Council on the Arts.

Liner Inside.indd 13 11/27/2012 3:28:24 PM Since stepping up to the podium as Music Director of the Buffalo Philharmonic Orches- tra in the fall of 1999, Maestro Falletta has been credited with bringing the Philharmonic to a new level of national and international prominence. Under her direction, the Buffalo Philharmonic has become one of the leading orchestras for the Naxos label, earning two Grammy Awards and five Grammy nominations. The orchestra is regularly featured on national broadcasts of NPR’s Performance Today and SymphonyCast, and international broadcasts through the European Broadcasting Union.

Under JoAnn Falletta’s direction, the Virginia Symphony Orchestra has risen to celebrated artistic heights. Recent achievements of the Virginia Symphony under her baton include 14 recordings, a performance of Peter and the Wolf that was aired on National Public Radio, new audience development through residences at the College of William and Mary, Newport News and Virginia Beach, and critically acclaimed performances at the Kennedy Center and New York’s Carnegie Hall.

As Principal Conductor of the Ulster Orchestra Falletta made her Proms debut in Royal Albert Hall in August 2012, and will conduct many of the main season programs, select regional concerts and other events. She is the first American and the first woman to lead the Orchestra. Under Falletta’s leadership, the Ulster Orchestra entered into an exciting new multi-year recording relationship with Naxos. The first disc was released in June 2012 and includes works of Gustav Holst, with upcoming discs to feature works of Moeran and Boyle.

With 18 Naxos discs released under her baton in the past ten years garnering nine Grammy nominations and two Grammy Awards, there were four additional recordings with four dif- ferent orchestras released in 2012; an exceptional accomplishment in the current recording environment. These include Naxos’ thirteenth disc featuring the Buffalo Philharmonic Orchestra (Gershwin), the first of three discs with the Ulster Orchestra (Gustav Holst), the 1st Naxos recording with the Virginia Symphony (Adolphus Hailstork), and a world premiere recording with the London Symphony (Kenneth Fuchs). In the past ten years, her

Liner Inside.indd 14 11/27/2012 3:28:24 PM recordings for Naxos have garnered nine Grammy nominations, including two Grammy awards in 2009 for John Corigliano’s Mr. Tambourine Man with the BPO. Maestro Falletta’s growing discography, which currently includes almost 70 titles, consists of recordings with the London Symphony, Buffalo Philharmonic, Virginia Symphony, Ulster Orchestra, Neth- erlands Radio Orchestra, Royal Scottish National Orchestra, English Chamber Orchestra, New Zealand Symphony, Long Beach Symphony, Czech National Symphony, Philadelphia Philharmonia and Women’s Philharmonic, among others.

Ms. Falletta received her undergraduate degree from the Mannes School of Music in New York, her master’s and doctorate degrees from The Juilliard School, and has been awarded twelve honorary doctorates.

Acknowledgments

Recorded March 1 and 2, 1993 at Abbey Road Studios, London Producer: Michael Fine Engineer: Simon Rhodes Production Coordinator: Susan Napodano

Special Thanks to: Susanna Moross Tarjan, Peter Tarjan, Christopher Palmer, and John Waxman.

All works published by Subito Music.

Liner Inside.indd 15 11/27/2012 3:28:24 PM WWW.ALBANYRECORDS.COM TROY 1403 ALBANY RECORDS U.S. Re-issued 2013 by Albany Records 915 BROADWAY, ALBANY, NY 12207 TEL: 518.436.8814 FAX: 518.436.0643 © 2013 Albany Records MADE IN THE USA P & ©1993 KOCH International Classics. Jerome Moross A division of KOCH WARNING: COPYRIGHT SUBSISTS IN ALL RECORDINGS ISSUED UNDER THIS LABEL. COVER DESIGNED BY: JoAnn Falletta Kay Olivia Belth Arts Marketing Network, Inc. conductor DDD London Symphony Orchestra Symphony No. 1 The Last Judgement Variations on a Waltz for Orchestra World premiere recordings

Symphony Cover.indd 1 11/27/2012 3:14:56 PM Tray Card.indd 1 Jerome Moross: Symphony No. 1 • london symphony orchestra • joann falletta TROY1403 17 16 15 X. 14 13 12 11 10 9 8 7 6 5 4 3 2 1 WARNING: COPYRIGHT SUBSISTSIN ALL RECORDINGSISSUEDUNDER THIS LABEL. Jerome Moross(1913-1983) TROY 1403 VIII. VII. IX. VI. III. IV. II. V. I.

TheBeatificationofEve: The Exorcising oftheEvilOne: Allegro molto[2:23] Adam’s (b.) Story Adam andEve andtheBenefactor: Allegretto [1:31] Variation 2: Conbrio[1:12] Variation 1: Allegro molto[1:02] Waltz: Allegretto [1:16] Eve’s Story: Allegro moderatoemarcato [4:47] Eve’s denial: Allegro manontroppo [1:16] Adam’s Eve (c.) andtheBenefactor: Story Allegro moderato[4:45] Adam’s (a.) Story Adam andEve InEden: Andante conmoto[2:23] Adam chargesEve withtheOriginalSin: Allegro marcato [1:04] Eve isrefused admittanceintoHeaven: Agitato manontroppo [1:12] The Resurrection ofEve: Poco allegretto [2:03] [3:21] Fugue [5:09] Invention Sonata Scherzo[7:06] Theme and Variations [4:22] Variations ona Waltz for Orchestra The LastJudgement John Alley,piano Symphony No. 1 WWW.ALBANYRECORDS.COM TEL: 518.436.8814FAX: 518.436.0643 915 BROADWAY, ALBANY, NY12207 RECORDSU.S.ALBANY (1941-42) [20:07] (1953) [23:24]

Andante conmoto[1:36] (1946/66)[14:16] DDD Classics. A divisionofKOCH P &©1993KOCH International MADE IN THE USA © 2013 Albany Records Re-issued 2013by Albany Records joann falletta london symphonyorchestra 24 23 22 21 20 19 18 Total Time =57:47 Variation 9: Vivace [1:23] Variation 8: Allegretto cantabile[2:31] Variation 7: Allegro leggiero [0:58] Variation 6: Allegro manontroppo [0:36] Variation 5: Andante [2:23] Variation 4: Presto [1:19] Variation 3: Grazioso[1:30]

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TROY1403 falletta joann • orchestra symphony london • 1 No. Symphony Moross: Jerome