Feste Romane London Symphony / Sir Eugene Goossens, Conductor

1 I. Circuses 04:32

2 II. The Jubilee 07:35

3 III. The October Festival 07:30

4 IV. The Epiphany 04:37 RESPIGHI lacking in humor. The orchestra used in Feste Eugene Goossens was born into this environ- feste romana Romane is huge, calling for organ, , ment on May 26, 1893, and from the start, bells, mandolin, and a small army of percus- his life was predestined to be devoted to the (ROMAN FESTIVALS) sionists. realm of music. His father was the conductor of the Carl Rosa Company’s orchestra, as was Ottorino Respighi shared with Rachmaninoff Original Liner Notes by DAVID HALL his father before him. He once recalled that a love of melody and a lack of sympathy with between his father and grandfather, every “modernist” tendencies in 20th century important in repertoire had been pro- music. He may have lacked Rachmaninoff’s duced. His boyhood days were spent watch- sheer melodic impulse, but he was a superb ing his father rehearse the orchestra. From orchestral colorist (befitting a Rimsky­ the countless hours devoted to sitting in the Korsakov pupil) and he had a wonderful Sir Eugene Goossens and The empty hall and listening to the rehearsals, way with other people’s melodies, as wit- London Symphony Orchestra Goossens became thoroughly acquainted ness his three lovely suites of Old Airs and with the scores of all the standard by Dances and . Of his purely original ON JUNE 13, 1962, THE BATON OF ONE the time he was ten years old. works, the so-called Roman Cycle – Fountains OF THE GREATEST CONDUCTORS OF of (1916), Pines of Rome (1924), and OUR TIME WAS STILLED FOREVER. At the age of 10, he entered the Bruges Roman Festivals (1928) – remains the best Conservatoire, and at 13, he enrolled in the known and most played of his output. The Sir Eugene Goossens, leading member of Liverpool College of Music. While there, sheer sensual poet is most evident in the ear- England’s Royal Family of Music, passed he was awarded a scholarship to the Royal liest of these pieces, while the “Pines” reveals from the scene, after more than fifty years College of Music where he won numerous something of Respighi’s pre­occupation with on the concert stages of the world. With his honors in composition, piano and violin. At Gregorian Chant, Roman Festivals is the most death, a century­old tradition was ended. For the Royal College, he studied mainly with “vulgar” of the three – and indeed the sadism the first time in more than a hundred years, Sir Charles Stanford in composition, and the implied in the climax of the opening Circus a Eugene Goossens no longer occupies an violin with Serge Rivarde. Maximus movement, depicting Christians orchestra podium. being torn to pieces by lions in the Rome of Goossens made his first professional appear- the Caesars, would seem more appropriate He was the third in an illustrious line to bear ance in London at the age of 16. He was to the Rome of the unlamented Mussolini. that celebrated name. His father and grand- called at the last minute to substitute in an Jubilee evokes the feelings of footsore pil- father, both named Eugene, were noted con- emergency for one of the second violinists grims at long last reaching their goal of the ductors of their day. His mother, Annie Cook, at Covent Garden. The youngster welcomed Eternal City. It is in The October Fetes that was a famous contralto, and the daughter the rare experience for the orchestra was Respighi the tone poet comes truly into his of the popular basso­cantante, T. Aynsley under the baton of the famed Wagnerian own, conjuring up a marvelous vision of the Cook, well known as a member of the Carl interpreter, Hans Richter. At 18, following Roman night with mandolin serenades and Rosa Opera Company. His brother, Leon, is his graduation from the Royal College, he distant hunting horns. La Bejana (“Epiphany acclaimed among the greatest virtuosi of the joined the Queen’s Hall Orchestra as a violin- Eve in Piazza Navona”) can only be appreci- . His twin sisters, Marie and Sidonie, are ist, and remained with that esteemed organi- ated by one who knows Rome and her folk- world renowned harpists. Another brother, zation for four years. ways; for here is the absolute apotheosis of also a distinguished musician, was killed in the modern Roman populace on a gigantic World War I. This was excellent groundwork for one who spree. One can almost smell the scene, and was to emerge among the foremost con- Respighi’s musical treatment is by no means ductors of his time. In addition to his own family environment so steeped in music, the By 1923, a mere seven years after his debut youth was afforded the priceless experience as a conductor, he had become so renowned, of playing under the leading baton masters his fame had reached this country. The of the day, including even the legendary 30­year­old conductor was invited to become Nikisch. Later in life, he recalled these for- the permanent conductor of the Rochester mative years as time devoted to the finest Philharmonic. He held that post with dis- training any one could have received. Each tinction until 1931. A pair of guest concerts night, a different symphony was performed. with the Cincinnati Symphony Orchestra so One can well imagine what a wide range of profoundly moved the audiences there, he orchestral literature was covered within a was appointed its permanent director. He single season. It was, perhaps, during these occupied the Cincinnati podium from 1931 early years in his career that he acquired his to 1947, a period during which the orches- penetrating insight into the full rainbow of tra grew in stature as one of this country’s symphonic repertoire. It may well be that outstanding symphonic organizations. From his characteristic meticulous attention to 1947 to 1956, he served as the resident con- properly shaping each phrase dates back to ductor of the Sydney (Australia) Symphony this vital period when the artist himself was Orchestra. being moulded. He utilized the opportunity of each of these After several years with Beecham, he appointments – as well as in his extensive was signed by the British National Opera tours as a guest conductor – to help cultivate Company where he conducted some 50 dif- his audiences’ taste for the music of the mod- ferent operas. During this period, he was erns. He introduced numerous new works, appointed to conduct the Diaghilev Ballet. and to a great extent, continued to serve as His love for the Russian ballet brought him a disciple of the contemporary composer. In back to London during the summer of 1926 this regard, he remained active to the last. from the U.S. to conduct the Diaghilev season at His Majesty’s Theater. This personal favor- He became ill during a vacation in itism for the music of the ballet masters was Switzerland. On Tuesday, June 12, he was clearly evident in the programs he prepared flown to a hospital in London. Death came during his later years. the following day.

Goossens, in 1921, formed his own sym- Original Liner Notes by LEE ZHITO phony orchestra in London, and devoted its concerts to bringing contemporary composi- tions to the fore. Its first performance was so highly successful that he repeated the same program by popular request. His dedication to bringing new works to audiences was a lifelong mission. His programs in this coun- try always revealed that he was a champion of the modern composer. Some notes on the history of Everest …from the original LP release: system, but naturally will be most appreci- Records and the digital remastering ated by the audiophile with the very finest hi-fi “This Everest Recording is a Product of Belock equipment. When EVEREST recordings are When Everest Records was founded by Recording, a division of the Belock Instrument played in the Belock studio through top quality Harry Belock in 1958 as a division of Belock Corp. An EVEREST recording represents a hi-fi equipment similar to that found in home Instrument Corp., the aim was to produce a new peak of achievement in the recording art. use, the resulting sound is indistinguishable catalogue of stereo recordings of the highest As a product of Belock Instrument Corp. this from the master tape. Since Belock Recording possible technical standard, with interesting recording enjoys unique advantages shared unconditionally guarantees that their tapes and and innovative classical repertoire played by by few, if any other record company. The par- stereo disks are genuine stereophonic record- some of the best artists and . ent company is considered one of the world’s ings, they are designated as CERTIFIED finest precision electronic facilities and is STEREO-MASTER RECORDINGS. The fre- For the first Everest recording sessions in engaged chiefly in the development and pro- quency range of EVEREST recordings is 1958, an Ampex 300-3 half-inch three-chan- duction of ultra-secret military devices. The 20 to 20,000 cycles. It is important to note, nel recorder was used. Later on the label company was one of the earliest involved in that many companies specify wide frequency moved to use a Westrex 35mm 3-track mag- the electronics aspects of ballistic missiles response, and while this is an important part netic film recorder, which had a wider possible and is pre-eminent in the fields of radar, and of hi-fi recording, the distortion content of the dynamic range, less print-through, less tape fire-power computers and stabilization sys- recording is, if anything, even more important. stretch and less ‘wow and flutter’, and which tems. Harry Belock, founder of the company, All EVEREST recordings are free of audible was the basis for the highly acclaimed typical is an international authority on sound, and distortion throughout the entire frequency “Everest-sound”. has designed magnetic film recorders which range. Carefully wipe surface with soft damp are in use throughout the world. To EVEREST cloth. Return to wrapper after each play.” he brings all his talents and the vast techni- cal resources of his company. This recording was made in the new Belock Recording studio, which is constructed along the most advanced ideas in acoustics for recording. The very latest Telefunken, AKG and Neumann were utilized, feeding into the new Ampex 300 self-sync stereo recorders on half inch tape. A specially-designed Ampex with low-noise amplifiers is used to produce the dubbing mas-

ter. Tape duplication is accomplished on modi- Digital Transfers and Remastering: Lutz Rippe fied Ampex machines in the Belock studios, so at Countdown Media • Artwork preparation: that maximum quality control is exercised at Nicholas Humphrey at Countdown Media • Digital all times. For stereo disc, the tape is fed into Booklet: Dirk Böing • Original Producer: Bert modified Westrex stereo cutterhead, mounted Whyte for Everest Records • Original Recording on Scully lathes. A former Westrex design engi- Engineer: Aaron Nathanson • Recording Location and Date: Walthamstow Assembly Hall, London neer is on the Belock Recording stuff to insure (August 1958) • Original Recording on 3-track, optimum quality in stereo disc operations. The half-inch tape, originally released in December results of all this painstaking care are to be 1958 as SDBR 3004 (together with Rachmaninoff heard on any EVEREST recording. The record- – Symphonic Dances) and in 1962 as SDBR-3150 ings will give superb sound on any playback ℗ & © Countdown Media GmbH, a BMG company Below is a listing of the currently available Everest albums in this series. For more information and an updated listing please visit www.everestrecords.com

SDBR-3001 Prokofiev : Chout (“The Buffoon”), Ballet Suite, Op. 21a SDBR-3016 Villa-Lobos: Uirapurú & Modinha (from Bachianas London Symphony Orchestra & Sir Eugene Goossens, Brasileiras No. 1) & Prokofiev: Cinderella (Ballet Suite) Conductor Stadium Symphony Orchestra of New York & , Conductor SDBR-3002 Copland: Appalachian Spring & Gould: Spirituals for String Choir and Orchestra SDBR-3017 Milhaud: La Création du Monde / Stravinsky: L’Histoire London Symphony Orchestra & Walter Susskind, Conductor du Soldat London Symphony Orchestra Chamber Group & John Carewe, SDBR-3003 Antill: Corroboree - Ginastera: Panambi Conductor London Symphony Orchestra & Sir Eugene Goossens, Conductor SDBR-3018 Copland: Symphony No. 3 London Symphony Orchestra & , Conductor SDBR-3005 Mahler: Symphony No. 1 in D Major “Titan” London Philharmonic Orchestra & Sir , SDBR-3021 Arnold: 4 Scottish Dances / Symphony No. 3 Conductor London Philharmonic Orchestra & , Conductor SDBR-3006 Vaughan Williams: Symphony No. 9 in E Minor London Philharmonic Orchestra & Sir Adrian Boult, SDBR-3022 Kodály: Psalmus Hungaricus - Bartók: Dance Suite Conductor London Philharmonic Orchestra & János Ferencsik, Conductor SDBR-3007 Shostakovitch: Symphony No. 6 in B Minor, Op. 54 London Philharmonic Orchestra & Sir Adrian Boult, SDBR-3023 Strauss: Till Eulenspiegel / Salome / Don Juan Conductor Stadium Symphony Orchestra of New York & Leopold Stokowski, Conductor SDBR-3008 Hindemith: Symphony in E-flat Major London Philharmonic Orchestra & Sir Adrian Boult, SDBR-3025 Waltz Masterpieces Conductor Stadium Symphony Orchestra of New York & Raoul Poliakin, Conductor SDBR-3009 Stravinsky: Ebony Concerto & Symphony in 3 Movements SDBR-3026 Rimsky-Korsakov: Scheherazade Woody Herman and his Orchestra / London Symphony London Symphony Orchestra & Sir Eugene Goossens, Orchestra & Sir Eugene Goossens, Conductor Conductor

SDBR-3011 Tchaikovsky: Francesca da Rimini & Hamlet SDBR-3027 Raymond Paige’s Classical Spice Shelf Stadium Symphony Orchestra of New York & Leopold Stadium Symphony Orchestra of New York & Raymond Paige, Stokowski, Conductor Conductor

SDBR-3012 Charles K. L. Davis sings Romantic Arias from Favorite SDBR-3028 Strauss: A Night in Venice Operas Original Cast & Thomas Martin, Conductor Stadium Symphony Orchestra of New York, Wilfred Pelletier, Conductor & Charles K. L. Davis, Tenor SDBR-3030 Brahms: Symphony No. 3 in F Major, Op. 90 Houston Symphony Orchestra & Leopold Stokowski, SDBR-3014 Mahler: Symphony No. 5 in C-Sharp Minor Conductor London Symphony Orchestra & Sir Rudolf Schwarz, Conductor SDBR-3031 Wagner: Parsifal - Good Friday Spell “Karfreitagszauber” & Symphonic Synthesis Act 3 SDBR-3015 Copland: Billy The Kid & Statements for Orchestra Houston Symphony Orchestra & Leopold Stokowski, London Symphony Orchestra & Aaron Copland, Conductor Conductor SDBR-3032 Scriabin: The Poem of Ecstasy - Amirov: Azerbaijan SDBR-3045 Sibelius: Violin Concerto in D Minor & Tapiola, Tone Houston Symphony Orchestra & Leopold Stokowski, Poem, Op. 112 Conductor London Symphony Orchestra, Tauno Hannikainen, Conductor & Tossy Spivakovsky, Violin SDBR-3033 Stravinsky: Petrouchka London Symphony Orchestra & Sir Eugene Goossens, SDBR-3046 Schubert: Symphony No. 8 in B Minor, D 759 Conductor “Unfinished” - Mozart: Symphony No. 40 in G Minor, K. 550 SDBR-3034 Prokofiev: Symphony No. 5 London Symphony Orchestra & Leopold Ludwig, Conductor London Symphony Orchestra & Sir , Conductor SDBR-3047 Stravinsky: (“Le Sacre du Printemps”) SDBR-3035 Tchaikovsky: Manfred Symphony London Symphony Orchestra & Sir Eugene Goossens, London Symphony Orchestra & Sir Eugene Goossens, Conductor Conductor SDBR-3049 Tchaikovsky: Violin Concerto in D Major, Op. 35 SDBR-3036 Schumann: Piano Concerto in A Minor, Op. 54 & & Melody, Op. 42/3 Franck: Variations Symphoniques London Symphony Orchestra, Walter Goehr, Conductor & London Symphony Orchestra, Sir Eugene Goossens, Tossy Spivakovsky, Violin Conductor & Peter Katin, Piano SDBR-3050 Mahler: Symphony No. 9 in D Minor SDBR-3037 Berlioz: Symphonie Fantastique London Symphony Orchestra & Leopold Ludwig, Conductor London Symphony Orchestra & Sir Eugene Goossens, Conductor SDBR-3051 Respighi: The Fountains of Rome & The Pines of Rome London Symphony Orchestra & Sir Malcolm Sargent, SDBR-3038 : Ein Heldenleben Conductor London Symphony Orchestra & Leopold Ludwig, Conductor SDBR-3052 Khatchaturian: Gayne (Ballet Suite) SDBR-3039 Tchaikovsky: Symphony No. 5 in E Major, Op. 64 London Symphony Orchestra & Anatole Fistoulari, London Symphony Orchestra & Sir Malcolm Sargent, Conductor Conductor SDBR-3053 Mussorgsky: Pictures at an Exhibition & Night On Bald SDBR-3040 Hindemith: Violin Concerto & Mozart: Violin Concerto Maountain London Symphony Orchestra, Sir Eugene Goossens, London Symphony Orchestra & Sir Malcolm Sargent, Conductor & Joseph Fuchs, Violin Conductor

SDBR-3041 Villa-Lobos: The Little Train of Caipira (from Bachianas SDBR-3054 Shostakovich: Symphony No. 9 & Lieutenant Kijé Suite Brasileiras No. 2) – Ginastera: Estancia & Panambi London Symphony Orchestra & Sir Malcolm Sargent, London Symphony Orchestra & Sir Eugene Goossens, Conductor Conductor SDBR-3055 Khatchaturian: Concerto for Piano and Orchestra in SDBR-3042 Mozart: Serenades No. 11 in E-flat major (K. 375) and D-flat Major No. 12 in C minor (K. 388) London Symphony Orchestra, Hugo Rignold, Conductor & Everest Woodwind Octet Peter Katin, Piano

SDBR-3043 Prokofiev: , Op. 67 SDBR-3056 Dvorˇák: Symphony No. 9 in E Minor, Op. 95 “From the Stadium Symphony Orchestra of New York, Leopold New World” Stokowski, Conductor & Captain Kangaroo (Bob Keeshan), London Symphony Orchestra & Leopold Ludwig, Conductor Narrator SDBR-3057 De Falla: The Three Cornered Hat (Complete Ballet) SDBR-3044 Grofé: Grand Canyon Suite & Concerto for Piano and London Symphony Orchestra & Enrique Jordá, Conductor Orchestra in D Minor Rochester Philharmonic Orchestra & , SDBR-3058 : Great Man of American Music - A New Conductor Interpretation Raoul Poliakin and his orchestra SDBR-3059 Works of Lili Boulanger: Du fond de l’abîme (Psaume SDBR-3074 Beethoven: Symphony No. 6 in F Major, Op. 68 130), Psaume 24, Psaume 129, Vieille Prière “Pastoral” Bouddhique & Pie Jesu London Symphony Orchestra & Josef Krips, Conductor Lamoureux Concert Association Orchestra, Elisabeth Brasseur Choir & Igor Markevtich, Conductor SDBR-3076 Duo Piano Recital: Pierre Luboshutz & Genia Nemenoff, Pianists SDBR-3060 Debussy: Iberia - Ravel: La Valse & Rhapsodie Espagnol Rochester Philharmonic Orchestra & , SDBR-3079 A Chopin Piano Recital Conductor Jorge Bolet, Piano

SDBR-3061 A Memorial Album: Ernst von Dohnányi Plays His Own SDBR-3086 Beethoven: Symphony No. 5 in C Minor, Op. 67 Music for Piano London Symphony Orchestra & Josef Krips, Conductor Ernst von Dohnányi, Piano SDBR-3087 Beethoven: Symphony No. 3 in E-flat Major, Op. 55 SDBR-3062 Jorge Bolet playing the music of Franz Liszt: Piano London Symphony Orchestra & Josef Krips, Conductor Concerto No. 1 in E-Flat Major & Mephisto Waltz No. 1 SDBR-3088 Beethoven: Symphony No. 7 in A Major, Op. 92 Symphony of the Air, Robert Irving, Conductor & Jorge London Symphony Orchestra & Josef Krips, Conductor Bolet, Piano SDBR-3089 Beethoven: Symphonies No. 1 & 8 SDBR-3063 Bennett: A Commemoration Symphony to Stephen London Symphony Orchestra & Josef Krips, Conductor Foster & A Symphonic Story of Jerome Kern Pittsburgh Symphony Orchestra, Mendelssohn Choir of SDBR-3110 Beethoven: Symphony No. 9 in D Minor, Op. 125 Pittsburgh & , Conductor “Choral” London Symphony Orchestra & Josef Krips, Conductor SDBR-3064 Liszt: Sonata in B Minor, Funerailles & Mephisto Waltz No. 1 SDBR-3113 Beethoven: Symphonies No. 2 & 4 Jorge Bolet, Piano London Symphony Orchestra & Josef Krips, Conductor

SDBR-3066 Brahms: Symphony No. 4 in E minor, Op. 98 Pittsburgh Symphony Orchestra & William Steinberg, Conductor

SDBR-3067 Gershwin: & An American in Paris Pittsburgh Symphony Orchestra, William Steinberg, Conductor & Jesus Maria Sanroma, Piano

SDBR-3068 Sibelius: Symphony No. 5 in E-Flat Major, Op. 82 & Finlandia, Op. 26 Rochester Philharmonic Orchestra & Theodore Bloomfield, Conductor

SDBR-3069 Bartók: Concerto for Orchestra Houston Symphony Orchestra & Leopold Stokowski, Conductor

SDBR-3070 Wagner: Magic Fire Music & Wotan’s Farewell - Chopin: Mazurkas, Op. 17, Preludes, Op. 28 & Waltzes, Op. 64 (transcribed for Orchestra) Houston Symphony Orchestra & Leopold Stokowski, Conductor

SDBR-3071 Robert-Alexander Bohnke: The Great New Virtuoso