Piotr Ilyich Tchaikovsky Violin Concerto in D Major, Op. 35 London Symphony Orchestra /Walter Goehr, Conductor / Tossy Spivakovsky, Violin

1 I. Allegro moderato 18:34

2 II. Andante 06:49

3 III. Allegro vivacissimo 09:38

Piotr Ilyich Tchaikovsky London Symphony Orchestra/Walter Goehr, Conductor/ Tossy Spivakovsky, Violin

4 Melody, Op. 42, No. 3 04:14 TCHAIKOVSKY In music, we have the three great Bs – It took Tchaikovsky only one month to VIOLIN CONCERTO IN D MAJOR, Bach, Beethoven and Brahms; and among write the Violin Concerto, and this included OP. 35 violin concerti, there are the three great D the complete rewriting of the second move- Majors – the works in that key by Beethoven, ment. The work was finished at the end of TOSSY SPIVAKOVSKY VIOLIN Brahms and Tchaikovsky. Like its two com- April, 1878. WALTER GOEHR CONDUCTING THE panions, the third of these concerti requires LONDON SYMPHONY ORCHESTRA a true virtuoso to revea1 it in its proper The new concerto ran into difficulties light. Fortunately, such a virtuoso is Tossy long before it ever came to performance. Spivakovsky. Fortunately, too, Spivakovsky First of all, Tchaikovsky’s own Mme. von has the benefit of today’s finest recorded Meck expressed disappointment and dissat- sound – Everest sound. isfaction with the work, particularly the first movement. Then Leopold Auer, the highly In the spring of 1878, Tchaikovsky and his esteemed virtuoso, professor of violin at the brother Anatol were in Clarens, Switzerland, Imperial Conservatory at St. Petersburg, and where the composer had been brought to the Czar’s personal court violinist, to whom recuperate from the effects of his disastrous, Tchaikovsky had dedicated the concerto, short-lived marriage with Antonina Ivanova declared it unplayable and refused to per- Miliukov. With the two brothers was the form it. violinist, Joseph Kotek, a former pupil of Joachim. Finally, Adolf Brodsky, after a lapse of two years, due to admitted laziness and indeci- It was at this time that Tchaikovsky first sion, began working on the concerto, and became acquainted with Lalo’s Symphonie prevailed upon Hans Richter to include it on Espagnole for Violin and Orchestra, and he his program with the Vienna Philharmonic wrote to his “beloved friend,” Mme. von Orchestra on December 4, 1881. According Meck, praising the work most highly. Many to Brodsky, there was only one rehearsal believe that it was his contact with the of the new work, and the orchestral parts Symphonie Espagnole that gave Tchaikovsky “swarmed with errors.” Since many of these the sudden inspiration to drop everything had not been corrected by concert time, the else he was doing and write a violin concerto. men played the entire accompaniment pia- There is, in fact, an actual similarity of mel- nissimo, so that everything would not go to ody and mood between the slow movements pieces. of the two works. Of course, the presence of Kotek must also have had something to do As might have been expected, the pre- with the composition of the concerto, for he miere of the concerto was an utter fiasco. At and the composer discussed it at length dur- its conclusion, the hisses drowned out the ing the period of its creation. applause. Then, to cap the climax, the vitu- perative Eduard Hanslick wrote such a scath- ing review of the new work that the words are said to have haunted Tchaikovsky, who knew them by heart, till his dying day. Here, in part, in Hanslick’s criticism: “For a while the concerto has propor- The first movement of the concerto,Allegro tion, is musical, and is not without genius, moderato, is both brilliant and melodious. but soon savagery gains the upper hand and It dispenses with the traditional orchestral lords it to the end of the first movement. The statement of the principal thematic material violin is no longer played. It is yanked about. before it is played by the solo violin, and it It is torn asunder. It is beaten black and blue. includes an extended cadenza for the solo I do not know whether it is possible for any- instrument. The second movement is the one to conquer these hair-raising difficulties, songful Canzonetta, marked Andante, which but I do know that Mr. Brodsky martyrized is so reminiscent of the fourth movement of his hearers as well as himself. The Adagio, Lalo’s Symphonie Espagnole. A brief cadenza with its tender national melody, almost con- leads from this into the final Allegro vivacis- ciliates, almost wins us. But it breaks off simo, a dashing, dance-like rondo, full of abruptly to make way for a finale that puts us dazzling pyrotechnics. Both of the principal in the midst of the brutal and wretched jollity themes of this movement have a folkish char- of a Russian kermess. We see wild and vulgar acter, the first being a form of the Russian faces, we hear curses, we smell bad brandy. dance known as the trepak. Friedrich Vischer once asserted in reference to lascivious painting that there are pictures Accompanying the solo violin is an which ‘stink in the eye.’ Tchaikovsky’s violin orchestra composed of two flutes, two oboes, concerto brings us for the first time the hor- two clarinets, two bassoons, four horns, two rid idea that there may be music that stinks trumpets, kettledrums and strings. in the ear.” TOSSY SPIVAKOVSKY was born in Despite all the attacks leveled against it, Odessa, but was taken to Berlin before he the concerto eventually made its way into was two. After studies with Arrigo Serato the standard repertoire, thanks largely to the and Willi Hess, he made his debut there at missionary efforts of Brodsky. In gratitude, the age of ten. Fours of Europe, Australia Tchaikovsky rededicated the work to him. and New Zealand followed. From 1933 to 1940, Spivakovsky taught at the University Belated justice came to Tchaikovsky in Conservatorium of Melbourne. In the latter other ways, too. Hanslick actually bestowed year, he came to the United States, which warm praise upon the Pathétique Symphony, has remained his home ever since. For three while Auer, after making some revisions in seasons, from 1942 to 1945, he served as the solo part of the concerto, played it fre- concertmaster of The Cleveland Orchestra. quently in concert, taught it to most of his Since that time he has been concertizing illustrious pupils, and in 1912 wrote a long throughout the world. Everywhere he is letter to The Musical Courier, explaining his acclaimed for his brilliant virtuosity. whole attitude toward the work. But the composer never knew anything about this Original Liner Notes letter he had been dead for nineteen years. 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 October 1960 as SDBR 3049 • 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