Dimitri Shostakovich Symphony No. 9 in E-flat Major, Op. 70 London Symphony Orchestra / Sir Malcolm Sargent, Conductor

1 I. Allegro 05:54

2 II. Moderato 06:52

3 III. Presto 03:24

4 IV. Largo 02:55

5 V. Allegretto 06:24

Sergei Prokofiev Lieutenant Kijé Suite, Op. 60 London Symphony Orchestra / Sir Malcolm Sargent, Conductor

6 I. The Birth of Kijé 04:10

7 II. Romance 04:55

8 III. Kijé‘s Wedding 02:44

9 IV. Troika 03:04

10 V. The Burial of Kijé 05:40 SHOSTAKOVITCH: Two brilliant – often witty – modern spending several hours each day with his Symphony No. 9, Op. 70 Russian scores are presented here in ster- friend, Dmitri Kabalevsky, playing four-hand ling performances. This is the first time the arrangements, of Haydn, Mozart and early PROKOFIEV: Shostakovitch Symphony No. 9 has appeared Beethoven symphonies. Some of the classi- Lieutenant Kije-Suite, Op. 60 in a stereo edition. Appreciation of both cism had rubbed off. these colorful works will be vastly enhanced Sir Malcolm Sargent conducting the by Everest’s superior sound. The Ninth Symphony had a most suc- London Symphony Orchestra cessful world premiere by the Leningrad Shostakovitch: Symphony No. 9 Philharmonic Orchestra under Eugene Mravinsky’s direction at the inaugu- Ever since Beethoven’s time, the number ral concert of its twenty-fifth season, on nine has held great significance for compos- November 3, 1945. On July 25, 1946, Serge ers of symphonies. Few indeed have even Koussevitzky and the Boston Symphony attained that number, and practically all Orchestra introduced the symphony to those who have defied the fates by attempt- America at the opening concert of that sum- ing a ninth symphony have approached their mer’s Berkshire Festival at Tanglewood, task in a serious frame of mind. Witness as Lenox, Massachusetts. For a year, the sym- examples the ninth symphonies of Schubert, phony enjoyed a wide and warm reception in Mahler and Bruckner – the last left unfin- Russia. Then suddenly an article appeared in ished at the composer’s death. Culture and Life, an official publication of the Agitation and Propaganda Committee of the Not so Dmitri Shostakovitch. This daring Central Committee of the Communist Party, musician, who startled the world with his sharply attacking both the symphony and its refreshing First Symphony when he was only composer for their failure “to reflect the true nineteen, completed his Ninth Symphony on spirit of the Soviet people.” Elsewhere, the August 30, 1945, four weeks before his thirty- symphony continues to appear on orchestral ninth birthday, and after only six weeks of programs and to enjoy public favor. work. Four days later, Shostakovitch played over his new symphony for an audience of The symphony is in five movements, the four friends at the home of Vladimir Vlasov, last three played without pause. The opening director of the Moscow Philharmonic. To movement is a classically-flavored Allegro those who expected a work of large propor- that reflects the spirit of Haydn coupled tions – perhaps a “Victory” Symphony, after with modern twists. The second movement the titanic, stormy wartime Seventh and is a romantically lyrical Moderato, featuring Eighth Symphonies – the Ninth must have a solo for clarinet. A precipitous Scherzo, come as a shock; albeit a pleasant one. For marked Presto, follows; it has a contrast- here was Shostakovitch in a fairly relaxed, ing middle section that has a note of pathos jovial mood, writing music in an almost clas- about it. The ensuing Largo is like an inter- sical vein. The explanation was not hard mezzo between the Scherzo and Finale. to find. During the time he was compos- The bassoon is heard here in a long, quasi- ing the new symphony, at a composer’s rest improvisational solo, punctuated by thrusts home near Ivanovo, Shostakovitch had been from the brasses. The final Allegretto, while The first movement, The Birth of Kije retaining its classical undertone, brings to (Allegro), begins with a fanfare for the cor- the fore Shostakovitch’s love of buffoonery. net, played offstage. Flute and military drum introduce a march-like theme, and we real- An orchestra of almost classical propor- ize at once that our hero has been born a tions is called for in the score. It comprises full-fledged officer. Next comes a Romance two flutes, piccolo, two oboes, two clarinets, (Andante), a song for baritone with an two bassoons, four horns, two trumpets, alternative instrumental version contain- three trombones, tuba, kettledrums, bass ing important solos for the doublebass and drum, military drum, cymbals, triangle, tam- tenor saxophone. Kije’s Wedding (Allegro fas- bourine and strings. toso) presents a saucy little melody in the brasses. It leads directly into the equally spir- Prokofiev: Lieutenant Kije-Suite ited fourth movement, Troika (Moderato), a rollicking tavern song, again scored for bar- Few motion picture scores are of a calibre itone but played here by the full orchestra, suitable for the permanent concert reper- including sleigh-bells to suggest the motion toire. Two notable exceptions, however, are of a Russian three-horse sleigh. The offstage Sergei Prokofiev’s music forAlexander Nevsky cornet introduces the final movement, The and Lieutenant Kije. The latter film was pro- Burial of Kije (Andante assai). Like Siegfried’s duced by the Belgoskino studio in 1933. The Funeral March in Götterdämmerung, this story was based on an incident which is sup- movement sums up the hero’s brief existence posed to have taken place during the reign by bringing back snatches of themes from of Czar Nicholas I. The Czar misreads the earlier sections of the suite. With the final name of an officer whose military exploits faint sound of the cornet, Kije is laid quietly have been highly praised. Rather than dare to rest, much to the relief of the courtiers. to contradict their ruler, the courtiers invent such an officer – Lieutenant Kije – and make Original Liner Notes up all sorts of stories about him. The Czar is so filled with admiration for this mythical officed that he expresses a desire, to meet him. At this point, it becomes necessary for the courtiers to so arrange their story that Kije is killed on the battlefield.

For such a charming tale Prokofiev devised music full of humor and high spirits. In 1934 he composed a five-movement suite based on the film score. It received its first performance that same year in Moscow, and has been a popular concert work throughout the world ever since. 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. (October 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 August 1960 as SDBR 3054 • 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