Symphony No. 2 in D Major, Op. 36 London Symphony Orchestra /Josef Krips, Conductor

1 I. Adagio molto – Allegro con brio 12:46

2 II. Larghetto 11:19

3 III. Scherzo: Allegro 03:32

4 IV. Allegro molto 06:25

Ludwig van Beethoven Symphony No. 4 in B-Flat Major, Op. 60 London Symphony Orchestra /Josef Krips, Conductor

5 I. Adagio – Allegro vivace 10:56

6 II. Adagio 08:37

7 III. Allegro vivace 05:44

8 IV. Allegro ma non troppo 06:55 BEETHOVEN SYMPHONIES No. 2 & 4 SYMPHONY NO.2 IN D MAJOR. It seems other hand, the third and fourth movements JOSEF KRIPS conducting the London to me that the first real Beethoven symphony almost play themselves; the finale particularly Symphony Orchestra is the Second. It marks the beginning of his is a virtuoso piece for orchestra that presents struggle with life. While Opus 21 is a brilliant not the slightest problem for the conductor. musical entertainment, Opus 36 can be called Coming between the drama of the Third and a full-fledged dramatic work, particularly in the Fifth Symphonies, the Fourth is a study in the first and the last movements. And at the serenity. What emerges in this sunlit work is a same time the Scherzo emerges here in all its marvelous affirmation; I regard the Fourth as glory, not merely as a humorous interlude, but Beethoven’s way of saying “Yes” to life. as a form capable of conveying the very breath of life. Beethoven had paid his respects to the Commentaries by Josef Krips era of Haydn and Mozart; in this symphony he embarks on his own course and proceeds to encounter the problems which any revolution brings with it. As a dramatist and an architect Following is an excerpt from Time he was magnificently equipped to deal with Magazine of August 17, 1962: them. A new romantic freedom is embodied in the pages of this score, the exuberance of a The conductor appeared transformed by young master in full command of his powers. the music. His body swayed on the podium; Surely the Second is Beethoven’s declaration of his moon face was pop-eyed with pleasure. musical independence. Occasionally, listeners close to the stage could hear him snort with excitement. At SYMPHONY NO.4 IN B FLAT MAJOR. The Manhattan’s Lewisohn Stadium, Conductor Fourth Symphony, to me, expresses a divine Josef Krips gave agile proof that he is lightness of spirit; it reflects much the same descended from a long line of conductors of mood as the Eighth. But where the latter is the the Viennese school, a special breed that has most Viennese, the most charming of all the all but disappeared from the world’s concert symphonies, the Fourth contains a slow move- halls, a line that once rang with such great ment of indescribable depth. For the conduc- names as Gustav Mahler, tor this Adagio is the most difficult part of the (Krips’s teacher), Franz Schalk and Bruno entire work. I must confess that I worked on it Walter. What those artists had in common, for some thirty years before solving the essen- says Krips, was a sense of continuity, a con- tial rhythmic problem of this movement, which viction that music should be “one long legato is, after all, in 3/4 time as written, and not – as line:” Krips’s own legato line as he conducts is usually assumed for the sake of convenience Beethoven and Brahms is as admired as any – in 6/8. The opening movement also presents in the world, and at Lewisohn it has become a challenge. The first theme can hardly be the artistic high point of the summer concert called a theme at all, and yet what Beethoven season. makes of this melodic fragment is simply fan- tastic. To hold the first movement together The hallmark of a Krips performance, as so that it neither falls nor falters along the capacity crowds learned last week, is not only way is not the easiest of assignments. On the continuity but clarity, momentum, and an unremitting sense of tension that lends new Buffalo, a chalet in , and hotel life to the weariest warhorses in the world of suites around the world. At 60 he believes music. Last week the programs included the that “human life is too short to know even Beethoven Ninth symphony, and the Third one great work to perfection”; although “Leonore” Overture – and for each work, Krips he has conducted Beethoven Symphonies provided fine readings that did full justice again and again (17 times this season), he to the music’s grand design while ignoring feels that he is a long way from mastering it. none of its wondrous intricate detail. (“In five years my Beethoven will be entirely different.”) He recalls that 14 years ago Krips’s belief that “we must apply the he heard the late Bruno Walter lead a daz- technique of the singer to the instruments” zling performance of Schubert’s “Unfinished” stems from his own early training. Son of Symphony. Backstage, Conductor Walter a physician, he sang for ten years in boys’ responded to Krip’s congratulations with a choirs under Vienna’s leading conductors. look of surprise. “But, my dear,” said he, “you Weingartner hired him as chorus master of must not forget that I am 71.” the Volksoper when he was only 18, and by his mid-20s, when he was appointed music Original Liner Notes director of the Hoftheater in Karlsruhe, he was already building a reputation as one of Europe’s finest opera conductors. For three wartime years (1942-45), he labored in a pickle factory; at war’s end he virtually rebuilt the musical life of Vienna by pull- ing together the Staatsoper and the .

Krips took over the Buffalo Symphony in 1954; and under him it has performed with a professional polish that would do credit to a city several times Buffalo’s size. Part of the trick in leading an orchestra, suggests Krips, is adroit use of psychology. For the first year, he asked the Buffalo musicians to pray before every concert: “I told them we are not playing Beethoven, we are privileged to play Beethoven; let us pray that we have the blessing to play it well.”

Now one of the world’s most widely traveled conductors (120 concerts and 76,000 miles in a recent season); Krips moves restlessly between an apartment in Some notes on the history of Everest Below is a graphic representation of this new “wow and flutter” to an absolute minimum. recordings made anywhere in the world. By Records and the digital remastering material. What you see here, your ears will The film has another advantage in its great utilizing specially designed portable versions quickly verify when you listen to an EVER- tensile strength which effectively eliminates of EVEREST 35 mm equipment, EVEREST When Everest Records was founded by Harry EST recording. pitch changes due to “tape stretch”, a condi- engineers are able to make recordings and Belock in 1958 as a division of Belock Instru- tion heretofore almost impossible to control. maintain the rigid standards and excellence ment Corp., the aim was to produce a cata- Notice that now EVEREST engineers have of quality available in the Studios. logue of stereo recordings of the highest pos- over 3 times the normal space available Drawing on the extensive experience in the sible technical standard, with interesting and [than] on ¼” tape. This means distortion free, motion picture sound field BELOCK INSTRU- The advanced engineering and special equip- innovative classical repertoire played by some perfect sound. 35 mm magnetic film allows MENT (of which EVEREST is a division), ment, in addition to meticulous attention of the best artists and orchestras. EVEREST engineers to make recordings with requested Westrex Corporation to build spe- to detail, results in the EVEREST sound, a cial equipment to EVEREST’S exacting sound that has been acclaimed as superb by For the first Everest recording sessions in • No distortion from print through specifications in order to accomplish these critics and record enthusiasts throughout the 1958, an Ampex 300-3 half-inch three- • No distortion from lack of channel width advantages. This equipment includes the use world. channel recorder was used. Later on the label • Absolute minimum of “wow or flutter” of special recording heads which afford com- moved to use a Westrex 35 mm 3-track mag- • Highest possible signal to noise ratio plete wide band frequency response beyond netic film recorder, which had a wider possible • Greatest quality and dynamic range ever that normally specified in any present-day dynamic range, less print-through, less tape recorded motion picture recording. It is of interest to stretch and less ‘wow and flutter’, and which note, that when soundtracks of great motion Executive Producer: Mark Jenkins for Countdown was the basis for the highly acclaimed typical With 35 mm magnetic film, the base mate- pictures originally recorded on 35 mm mag- Media/Everest • Digital Transfers and Remastering: “Everest-sound”. rial on which the magnetic oxide is coated netic film are released as phonograph records, Lutz Rippe at Countdown Media using the original master tapes • Artwork preparation: Eckhard is five times thicker than conventional tape that normal technique is to re-record the Volk at Countdown Media • Digital Booklet: Dirk For the process of digital remastering of the and is similar to the film used for motion pic- sound from 35 mm magnetic film to conven- Böing, Martina Grüthling • Original Producer: Bert 35 mm master tapes an Albrecht MB 51 tures. This thickness permits the recording of tional tape. EVEREST, through its advanced Whyte for Everest Records • Original Recording machine was used for analog playback. The extremely high sound intensities without the processes and equipment, is the only record Engineer: Aaron Nathanson • Recording Location output was captured in highest digital reso- danger of layer-to-layer “print-through”. The company able to transfer all Master Records and Date: Walthamstow Assembly Hall, London lution of 192 kHz sampling rate and 24 bit width of 35 mm magnetic film is such that directly from the 35 mm magnetic film to the (January 1960) • Original Recordings on 35 word length using state-of-the-art convert- it can accommodate three channels, each of recording heads. mm 3-track magnetic film, originally released in August 1960 as SDBR 3065 (the complete ers. In the digital domain the recording was which is as wide as the standard ¼” record- 9 Symphonies) and in October 1963 as SDBR carefully restored and remastered using top- ing tape. Because of this great channel width, To assure maintaining the high quality of 3113 • Analog playback of original master tapes quality mastering and restoration equipment. it is possible to produce stereo recordings in EVEREST sound on every EVEREST record- on an Albrecht MB 51 • Digital restoration and which the usual background noise is inaudi- ing, the same equipment that is used in the remastering using Algorithmix software products …from the original LP release: ble. Another similarity of magnetic film to BELOCK Recording studios is utilized for ℗ & © Countdown Media GmbH motion picture is that it has sprocket holes “The remarkable EVEREST sound on this cut along each edge. The drive mechanism is record is the result of a revolutionary new also similar to motion picture cameras in that method of magnetic recording developed by sprocket gears engage these sprocket holes EVEREST utilizing 35 mm magnetic film. affording a smoothness of motion that reduces 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 : 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 & , 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 & , 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 & , 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 : 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