Claude Debussy Iberia Rochester Philharmonic Orchestra / Theodore Bloomfield, Conductor

1 I. Par les rues et par les chemins 07:08

2 II. Les parfums de la nuit 08:27

3 III. Rondes de printemps 04:27

Maurice Ravel Rochester Philharmonic Orchestra / Theodore Bloomfield, Conductor

4 La Valse 11:54

Maurice Ravel Rhapsodie espagnole Rochester Philharmonic Orchestra / Theodore Bloomfield, Conductor

5 I. Prelude a la Nuit 04:21

6 II. Malaguena 02:01

7 III. Habanera 02:33

8 IV. Feria 06:03 Debussy: Ibéria orchestral pieces. As it turned out, he never falls; nature sleeps and is at rest until bells Ravel: La Valse – a choreographic did orchestrate Gigues; that task he assigned and aubades announce the dawn, and the poem /Rapsodie Espagnole to his pupil André Caplet. world awakens to life.” Theodore Bloomfield conducting The Rochester Philharmonic The first sketches for Ibéria date from Ravel: La Valse Orchestra 1906. At one point during its composition, Debussy wrote his publisher that he had in Maurice Ravel composed his choreo- With these three colorful French orches- mind three different finales for Ibéria, and graphic poem La Valse in 1920 at the sugges- tral masterpieces, a brilliant young American didn’t know whether to toss a coin in order to tion of Sergei Diaghilev, who wished to have conductor – Theodore Bloomfield – and a decide which to use or to sit down and devise an “Apotheosis of the Waltz” to make into great American orchestra – the Rochester a fourth ending. a ballet for his Russian troupe. When Ravel Philharmonic – make their debuts on Everest showed him the music, however, he did not Records. Thanks to the unsurpassed fidelity Ibéria finally had its first performance find it to his liking, and told the composer of Everest sound, it is possible to enjoy exact by the Orchestre des Concerts Colonne in so. As a result, a quarrel ensued, causing the duplicates of the original live performances. Paris on February 20, 1910. The conduc- permanent estrangement of the composer tor on that occasion was the noted French and the impresario. Debussy: Ibéria composer, Gabriel Pierné, who once com- plained to Debussy that the score was too La Valse was first played in an arrangement Ibéria is the second of Claude Debussy’s difficult for either the orchestra or the con- for two pianos by Ravel and the Italian com- three Images pour Orchestre. The first of the ductor. This premiere may be said to have poser-conductor-pianist, Alfredo Casella, in Images – Gigues – was intended as a musical been quite successful, considering the fact Vienna in November, 1920. In its orchestral impression of England; the third – Rondes de that in those days Debussy was looked upon dress, it was first heard on December 12th Printemps – was meant to serve a similar role as an ultra-modern composer. His constitu- of that year, at a concert of the Lamoureux for France. The most popular of the three, ents in the audience were so vociferous in Orchestra in Paris, conducted by Camille Ibéria, as its name implies, evokes impres- their demands for a repetition of the work Chevillard. sions of Spain. The eminent Spanish com- that Pierné was about to signal the orches- poser, Manuel de Falla, a recognized author- tra to play it again. It was then, however, that Ravel originally called this composition ity on the music of his native land, once the anti-Debussy faction made itself heard. Wien (Vienna), and the score bears the indi- declared that in Ibéria Debussy had captured Its hissing protest caused the conductor to cation, Movement of a Viennese Waltz. There the letter and spirit of Spanish music and had change his mind and proceed with the rest are some who find much irony in this music, expressed it more vividly than had many a of the program. as if Ravel were painting a musical picture of Spaniard. Yet in his entire lifetime, Debussy nineteenth century Vienna as seen through spent only a few hours in Spain, when he The three sections of Ibéria, which are the disillusioned eyes of the twentieth cen- went to San Sebastian to watch a bullfight. played with out-out pause, bear these respec- tury. Included in the music is a traceable tive headings: In the Streets and Byways; quotation from the Treasure Waltz from the The three Images required about six years Fragrances of the Night, and The Morning of a younger Johann Strauss’ opera The Gypsy for completion. When Debussy first con- Festival Day. After the first performance, one Baron. ceived them, they were to be for two pianos, French critic gave an appropriate descrip- in order to complement two earlier sets of tion of the work, declaring that the music Casella described La Valse as “a sort Images for solo piano. But he later found that takes the listener right to Spain. “The bells of of triptych: a. The Birth of the Waltz. this medium would be inadequate for his horses and mules are heard,” he wrote, “and (The poem begins with dull rumors, as in purposes, so he decided to develop them into the joyous sounds of wayfarers. The night Rheingold, and from this chaos gradually on March 15, 1908. Its reception was quite Albert Coates, Sir Eugene Goossens, José takes form and development). b. The Waltz. enthusiastic, but most of that enthusiasm Iturbi, Erich Leinsdorf, and now Theodore c. The Apotheosis of the Waltz.” is said to have emanated from the upper Bloomfield. reaches of the auditorium. After the playing On the score is printed the follow- of the second movement – the Malaguena – Appointed musical director of the ing description, written by Ravel himself: one adherent, the noted French composer Rochester Philharmonic in March, 1958, “Whirling clouds give glimpses, through Florent Schmitt, shouted to Ravel from the Theodore Bloomfield is the first American- rifts, of couples waltzing. The clouds scat- balcony, “Play it once again for the people born permanent conductor in the orches- ter, little by little. One sees an immense hall downstairs who have not understood it!” The tra’s history. He had already established an peopled with a twirling crowd. The scene is movement was duly repeated. But when the international reputation as conductor of the gradually illuminated. The light of the chan- applause at the end of the Rapsodie was not Portland (Oregon) Symphony Orchestra deliers bursts forth, fortissimo. An Imperial vociferous enough to suit Schmitt, he yelled, and guest conductor of leading orchestras Court about 1855.” “If it had been something by Wagner you throughout the United States and Europe. would have found it very beautiful!” Bloomfield is noted for the brilliance and Ravel: Rapsodie Espagnole excitement of his Interpretations, which now Actually, the Rapsodie Espagnole is a suite come so vividly to life in Everest recordings. There is a close kinship between Debussy’s in four brief movements. The first, entitled Ibéria and Ravel’s Rapsodie Espagnole. Both Prelude a la Nuit, is a languorous nocturne, Original Liner Notes are works in the Spanish idiom by French the principal motif of which makes a fleet- composers; both were written about the ing reappearance in the second and fourth same time, and both received their initial per- movements. The second section is the afore- formances within two years of one another, mentioned Malaguena, a Spanish dance in by the same orchestra and under similar triple meter, with an improvisatory English circumstances. But whereas Debussy was a horn solo in the middle. The third move- Frenchman through and through who barely ment is none other than that early Habanera set foot in Spain, Ravel was born only a short for two pianos, first written in 1895 and distance from the Spanish border, at Ciboure enlarged and orchestrated for use in the in the Basses-Pyréneés. Besides, his mother Rapsodie. The suite then concludes with the was a Basque. Tracing through the list of his lively Feria (The Fair), in which once again compositions, one finds that among his very we hear a contrasting solo in the middle for first works was a Habanera for two pianos, English horn. while among his very last was the Bolero. In between lie such Spanish-style compositions The Rochester Philharmonic Orchestra as the Alborada del Graciodo, the Vocalise has been ranked among the major sym- en forme d’Habanera, the opera L’Heure phonic groups in America ever since it was Espagnole, and the Rapsodie Espagnole. founded in 1922. It is unique among the nation’s symphonic organizations in that it The Rapsodie Espagnole was Ravel’s first is supported by the world’s largest commu- large orchestral work. It was written in one nity music group, the Rochester Civic Music month during the summer of 1907, in the Association, which has more than 13,000 seclusion of a friend’s yacht, and was first subscribers. During its history, the orches- performed at a Colonne Concert in Paris tra has had only five permanent conductors: 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 was the basis for the highly acclaimed typical With 35 mm magnetic film, the base mate- pictures originally recorded on 35 mm mag- “Everest-sound”. rial on which the magnetic oxide is coated netic film are released as phonograph records, Executive Producer: Mark Jenkins for Countdown is five times thicker than conventional tape that normal technique is to re-record the Media/Everest • Digital Transfers and Remastering: 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- Lutz Rippe at Countdown Media using the original 35 mm master tapes an Albrecht MB 51 tures. This thickness permits the recording of tional tape. EVEREST, through its advanced master tapes • Artwork preparation: Eckhard machine was used for analog playback. The extremely high sound intensities without the processes and equipment, is the only record Volk at Countdown Media • Digital Booklet: Dirk output was captured in highest digital reso- danger of layer-to-layer “print-through”. The company able to transfer all Master Records Böing, Martina Grüthling • Original Producer: 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 Bert Whyte for Everest Records • Recording word length using state-of-the-art convert- it can accommodate three channels, each of recording heads. Location and Date: Rochester, February 1960 • Original Recordings on 35 mm 3-track magnetic ers. In the digital domain the recording was which is as wide as the standard ¼” record- film, originally released in 1960 as SDBR 3060 carefully restored and remastered using top- ing tape. Because of this great channel width, To assure maintaining the high quality of • Analog playback of original master tapes on quality mastering and restoration equipment. it is possible to produce stereo recordings in EVEREST sound on every EVEREST record- 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 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