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Ludwig van Beethoven 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, Felix Weingartner 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 Switzerland, 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 Vienna Philharmonic. 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.

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