Manuel de Falla The Three Cornered Hat („El Sombrero de Tres Picos“) London Symphony Orchestra / Enrique Jordá, Conductor

1 I. Introduction 01:34

2 II. Afternoon 02:36

3 III. The Procession 03:04

4 IV. Dance of the Miller‘s Wife 02:45

5 V. The Corregidor 00:19

6 VI. The Miller‘s Wife 00:42

7 VII. The Grapes 04:12

8 VIII. The Neighbor‘s Dance 03:09

9 IX. The Miller‘s Dance 02:33

10 X. The Miller‘s Arrest 04:53

11 XI. Dance of the Corregidor 05:47

12 XII. Final Dance 06:03 Manuel De Falla: Here is a colorful, authentic Spanish bal- The ballet was first presented at the let, brilliantly interpreted by a noted Spanish Alhambra Theatre in London on July 22, The Three-Cornered Hat – conductor, and thrillingly reproduced in 1919, by the Diaghilev troupe. Massine and Complete Ballet Everest’s incomparable sound, including the Tamara Karsavina danced the respective first appearance of the complete ballet in roles of the miller and his wife; Pablo Picasso Enrique Jordá conducting stereo. designed the scenery, and Ernest Ansermet The London Symphony Orchestra conducted. While on a visit to Spain with his Ballets Barbara Howitt, Soprano Soloist Russes, Sergei Diaghilev became acquainted The setting of the ballet shows the miller’s with some of the music of Manuel de Falla, house, near which is a bridge over the mill- and thereupon commissioned him to write stream. In the opening scene, the miller’s music for a ballet to be based on El Sombrero wife flirts with a passing dandy, until her jeal- de Tres Picos (The Three-Cornered Hat), a ous husband drives him off. Martial strains story by the nineteenth century Spanish accompany the entrance of the Corregidor, author, Pedro Antonio de Alarcón. Actually, the despotic old governor of the province, de Falla had little to do, because he had with his young wife and the members of his already written most of the music to accom- fearful bodyguard. The old roué is attracted pany a pantomime entitled The Corregidor by the miller’s pretty wife, and plans a return and the Miller’s Wife, based on the same story visit. and produced in Madrid in 1917. (The great German song composer, Hugo Wolf, had After a brief flirtation of his own with a also used this tale as the basis for his opera village girl, the miller goes into the house, Der Corregidor, which had its premiere in leaving his wife alone outside dancing a fan- Mannheim in 1896. And in 1934, Howard dango. The amorous old Corregidor returns Dietz and Arthur Schwartz converted and begins his conquest, but she leads him this same story into a Broadway musical, a merry chase, until finally he falls to the Revenge with Music). Nevertheless, de Falla, ground exhausted. As the miller and his wife together with Diaghilev and the choreog- pick him up, they display great contempt, rapher, Leonide Massine, traveled through and the Corregidor hobbles off, swearing Andalusia seeking native background for vengeance. the ballet. For his part, the composer merely added two sections to his original music Neighbors arrive for a gay fiesta. The for the pantomime, enlarged the orchestral miller serves them wine, then performs a scoring, and he had his portion of the project brilliant farruca. As night falls and the fes- completed. tivities reach their height, the Corregidor’s henchmen enter and escort the miller off to prison. With his rival out of the way, the ENRIQUE JORDÁ was born in 1911 at Corregidor returns once more, this time San Sebastion. He received his education bent on seducing the miller’s wife. He finally there at St. Mary’s College, at the University catches her in an embrace on the bridge, of Madrid and at the Sorbonne in Paris. but she manages to break free. In so doing, From 1937 to 1939 he was musical direc- she throws the old man off balance, and he tor of the Basque Ballet, and from 1943 to falls into the stream. Dampened but still 1945 he conducted the Madrid Symphony undaunted, the governor continues his pur- Orchestra. For the next two years he served suit, which is brought to an end only when as guest conductor throughout Europe, and the miller’s wife confronts him with her then in 1947 took over the directorship of husband’s musket. Soaked and shivering, the Cape Town Symphony Orchestra. After the Corregidor sheds his clothes outside the making a number of guest appearances with house, hangs up his three-cornered hat, dons the San Francisco Symphony Orchestra, he the miller’s nightshirt and cap, and collapses was appointed its conductor in 1954, and on the miller’s bed. has filled the post with distinction.

At dawn, the miller, having escaped from Original Liner Notes taken from Library of jail, returns and finds the telltale clothes out- Congress Catalog Card Number: R60-1084 side his house. At first he is enraged; then he decides to play a trick on the old roué. He draws a caricature of the Corregidor on the wall, seizes his hat and clothes, and runs off to pay court to the Corregidor’s wife.

The Corregidor’s bodyguard enters; they mistake the governor for their escaped pris- oner, beat him unconscious, then drag him off. The miller and his wife are reunited, and the whole village joins in a final dance of cel- ebration, during which a straw effigy of the Corregidor is tossed in a blanket. 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. (November 1959) • Original Recordings on 35 ing tape. Because of this great channel width, mm 3-track magnetic film, originally released in …from the original LP release: it is possible to produce stereo recordings in To assure maintaining the high quality of April 1960 as SDBR 3057 • Analog playback of which the usual background noise is inaudi- EVEREST sound on every EVEREST record- original 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