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Dvořák Symphonic Variations SYMPHONY NO.8 Sir Charles Mackerras Conductor LONDON PHILHARMONIC ORCHESTRA Dvořák Symphonic Variations

Dvořák Symphonic Variations SYMPHONY NO.8 Sir Charles Mackerras Conductor LONDON PHILHARMONIC ORCHESTRA Dvořák Symphonic Variations

dvoŘÁk Symphonic variations SYMPHONY NO.8 sir charles mackerras conductor LONDON PHILHARMONIC ORCHESTRA dvoŘÁk symphonic variations

According to one account, Dvořák’s Symphonic from the orchestra is instantly mocked by Variations were the result of a dare. A friend high woodwind. Equally delicious are the pointed to the angular, chromatic melody in alternating muted horn and flute (against a one of Dvořák’s partsongs for male chorus, background of soft strings) in Variation 14, entitled Huslar (‘The Fiddle-player’), and and the combination of hymn-like horns and challenged him to write a set of variations dancing high string figurations in Variation 18. on such an ‘intractable’ theme. What And while most of the Finale is earnestly fugal, Dvořák produced in response is generally high spirits break out again at the end as the acknowledged to be the finest set of variations tempo notches higher and higher, and the full in any format. Dvořák obviously realised that orchestra sounds out like the joyous pealing the theme’s starkly individual characteristics of bells. – the simple but memorable rhythm of the first phrase, its arresting chromaticism (a Stephen Johnson sharpened fourth soon followed by a ‘pure’ fourth) and its irregular phrase-lengths - could symphony no.8 prove fertile for development.

The Symphonic Variations were a turning Following one of the occasional disagreements point for Dvořák. He had already completed he had with his German publisher, Dvořák five symphonies by the time he came to write arranged for the British firm of Novello to them, but the symphony he wrote after the publish this Symphony in G. Hence the work Variations, No. 6 (1880), shows a new level of was once known as his ‘English’ symphony. mastery in developing motifs and the use of The first performance was on 2 February 1890 the orchestra. The 27 variations and the fugal in Prague under the composer’s direction. Finale are endlessly inventive. While the Finale London heard the new symphony two makes great show of Dvořák’s contrapuntal months later. The symphony quickly became skills, there are wonderful touches of humour popular, being the most national in flavour throughout the work, especially in Variation 15, of Dvořák’s nine. It belongs to a period when where a brassy, self-assured opening statement his creative ideas were flowing with especial ease, charming the listener by its tunefulness, rises to a big climax making the formerly rhythmic felicity and fresh, individual scoring. implied pathos explicit. In the second subject reprise the tune appears in the strings. With seven symphonies behind him Dvořák was technically equipped to venture some The graceful third movement has the character departures from conventional symphonic of the Slavonic dumka with its alternation form. So the Eighth Symphony opens with between melancholy and cheerful moods. A two strongly contrasted ideas, whose flowing theme is introduced by the violins with elements are then combined to make up the an undulating woodwind accompaniment and first subject. After a climax a transitional repeated in different scoring. The contrasting string melody leads to the second subject, trio section is a waltz with a syncopated a theme with an octave leap for flutes and accompaniment. The first section is repeated clarinets, and there follows a vigorously in full, and the movement ends with a lively, grandiose pendant theme to cap the speeded up version of the trio theme. exposition. The opening passage reappears quietly at the start of the development For his finale Dvořák adopts variation form. and again in a fully scored version with The movement begins with a trumpet fanfare, trumpets to herald a shortened reprise. heralding a theme on cellos. Seven variations follow in rapid succession, the fifth (begun The second movement may be taken as a by oboes and clarinets) being march-like. The reflection on Czech village life and the peace return of the fanfare on horns and trumpets of the countryside that Dvořák loved. A touch leads to the cellos’ resumption of the theme, of pathos is felt in the strings’ meditation, which is repeated several times in varying punctuated by suggestions of birdsong on instrumental dress. The tempo gradually flutes and oboes. Anxiety briefly intrudes, slackens until the full orchestra re-enters and but a flute and oboe introduce a long, lyrical whirls the symphony to a bright conclusion. second subject, to which a solo violin replies. A climax gives way to a varied reprise: first Eric Mason the bird calls, then the opening theme, which Sir charles mackerras conductor

Sir Charles Mackerras can rightly be called the Orchestra and many aspects of Czech a legendary figure. His career spanned an musical life. extraordinary six decades of achievement. He made his début with Sadler’s Wells Sir Charles worked with the London Opera (now ) in 1948 Philharmonic Orchestra over a period of 45 and went on to enjoy a lifelong association years, conducting the Orchestra at London’s with the company. Royal Festival Hall and at Festival Opera. He was a regular guest with the He was First Conductor of the Hamburg Opera Orchestra with whom (1966-69) and Musical Director of both Sadler’s he made his Salzburg Festival début in 1988 Wells (1970-77), and of conducting Le Nozze di Figaro. He made his (1987-92). From 1982-85 Sir Charles was Chief début with the Berlin Philharmonic Orchestra Conductor of the Symphony Orchestra: in 2004. he conducted the Orchestra in the opening concert of the Concert Hall of the Sydney In addition to his many appearances with the Opera House in 1973, which featured Birgit , he had a long association Nilsson in the all-Wagner programme. Sir with the , New York. In Charles was Conductor Laureate of the Scottish Europe he conducted regularly in the opera Chamber Orchestra, Conductor Emeritus of houses of Paris, Berlin, Prague and in his the Orchestra of the Age of Enlightenment, native Australia at the . Conductor Laureate of the Brno Philharmonic Sir Charles made his operatic début with the Orchestra, Principal Guest Conductor of House, Covent Garden in 1964, , Conductor Emeritus where he since conducted 34 operas, including of the Welsh National Opera and Principal Un Ballo in Maschera which celebrated his Guest Conductor Emeritus of the San Francisco 50th anniversary and 80th birthday in 2005. Opera. A specialist in Czech repertory, he 2002 marked Sir Charles’ 50th year with the was Principal Guest Conductor of the Czech Edinburgh Festival, in which he conducted Philharmonic Orchestra from 1997 - 2003, Donizetti’s , Handel’s Jeptha and following his life-long association with both Mozart’s Gran Partita. At the 2006 Edinburgh Festival he memorably conducted the complete Beethoven symphonies. In 2008, he was named Honorary President of the Edinburgh International Festival Society.

His lifelong association with Czech music produced many milestones, including the British premieres of Janáček’s Katya Kabanova (1951), The Makropulos Case (1964) and From the House of the Dead (1965), and his career- defining Janáček recordings with the Vienna Philharmonic Orchestra. His vast discography reflects his pioneering interest in performance practice with the symphonies of Mozart, Beethoven and Brahms.

In his final season he conducted his beloved Scottish Chamber and Philharmonia Orchestras in Edinburgh and London and he returned to © Clive Barda Barda © Clive three of his favourite opera houses: English National Opera for The Turn of the Screw which Medal of Merit from the Czech Republic in he had last conducted in London in 1956 at the 1996, made a Companion of the Order of Scala Theatre sharing the baton with Britten; Australia in 1997 and a Companion of Honour the , Covent Garden for The in the 2003 Queen’s Birthday Honours. In Cunning Little Vixen; and Glyndebourne Festival May 2005 he was presented with the Royal Opera for Cosi fan Tutte where on 12 June 2010 Philharmonic Society Gold Medal and in the he conducted his final public performance. same year was the first recipient of the Queen’s Medal for Music. Sir Charles received a CBE in 1974 and was knighted in 1979. He was honoured with the Sir Charles Mackerras died in 2010 aged 84. London Philharmonic orchestra

The London Philharmonic Orchestra is known May each year. In summer, the Orchestra as one of the world’s great orchestras with moves to Sussex where it has been Resident at a reputation secured by its performances in Glyndebourne Festival Opera for over 40 years. the concert hall and opera house, its many The Orchestra also performs at venues around award-winning recordings, its trail-blazing the UK and has made numerous tours to international tours and its pioneering America, Europe and Japan, and visited India, education work. Distinguished conductors Hong Kong, China, South Korea, Australia, who have held positions with the Orchestra South Africa and Abu Dhabi. since its foundation in 1932 by Sir include Sir , Sir John The London Philharmonic Orchestra made its Pritchard, , Sir , first recordings on 10 October 1932, just three Klaus Tennstedt, Franz Welser-Möst and Kurt days after its first public performance. It has Masur. Vladimir Jurowski was appointed the recorded and broadcast regularly ever since, Orchestra’s Principal Guest Conductor in and in 2005 established its own record label. March 2003 and became Principal Conductor These recordings are taken mainly from live in September 2007. The London Philharmonic concerts given by conductors including LPO Orchestra has been resident symphony Principal Conductors from Beecham and Boult, orchestra at Southbank Centre’s Royal Festival through Haitink, Solti and Tennstedt, to Masur Hall since 1992 and there it presents its main and Jurowski. www.lpo.org.uk series of concerts between September and © Patrick Harrison © Patrick Also available on the London Philharmonic Orchestra’s label For more information or to purchase CDs telephone +44 (0)20 7840 4242 or visit www.lpo.org.uk

LPO-0051 LPO-0054 LPO-0043

Haydn Seven Last Words Mahler Symphony No.2 Brahms Symphonies Nos.1 & 2

LPO-0047 LPO-0016 - 0020 LPO-0042

Holst Elgar 5 CD Set incl. Mackerras Dvořák Requiem conducting Enigma Variations and Imperial March antonÍn dvoŘÁk (1841–1904)

01 22:47 Symphonic Variations

37:34 Symphony No.8

02 09:55 I. Allegro con brio 03 11:16 II. Adagio 04 06:17 III. Allegretto grazioso 05 10:06 IV. Allegro ma non troppo

sir charles mackerras conductor lONDON PHILHARMONIC ORCHESTRA Duncan Riddell guest leader

Recorded live at Southbank Centre’s ROYAL FESTIVAL HALL, London

LPO – 0055

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