Gustav Mahler 1860 – 1911

19:50 Lieder eines fahrenden Gesellen (1897) 01 4:59 Wenn mein Schatz Hochzeit macht 02 4:44 Ging heut’ morgen übers Feld 03 3:48 Ich hab’ ein glühend Messer 04 6:19 Die zwei blauen Augen von meinem Schatz GUSTAV MAHLER

52:33 Symphony No.1 in D (1899) Songs of a Wayfarer 05 15:39 Langsam. Schleppend – Immer sehr gemächlich Symphony No.1 in D (Slow. Dragging – always very steady) 06 7:28 Kräftig bewegt, doch nicht zu schnell (Ländler Scherzo) (With vigorous movement, but not too fast) THOMAS HAMPSON baritone 07 10:22 Feierlich und gemessen, ohne zu schleppen – (Solemn and measured, without dragging) KLAUS TENNSTEDT conductor 08 19:04 Stürmisch bewegt LONDON PHILHARMONIC ORCHESTRA (With stormy movement)

THOMAS HAMPSON baritone KLAUS TENNSTEDT conductor London Philharmonic Orchestra David Nolan leader

LPO – 0012 A BBC recording Gustav Mahler 1860 – 1911 and for a performance of a revised version in Hamburg in 1893, Mahler provided Gustav Mahler was not only a great their diction finds a counterpart in the movement titles and an explanatory composer but also one of the most simple melodic shapes of the vocal line; but programme drawn from Jean Paul’s novel celebrated and sought-after conductors in other ways the score is extraordinarily Titan. But by the time the work reached of his age. This meant that his time for sophisticated, with minute indications of publication in 1899, it was called simply composition was severely limited (in later dynamics and expression in the orchestral ‘Symphony in D major’ and had lost all years to summer holidays in the mountains), parts, and restless inflections of tempo. its programmatic references (as well as and he was forced to concentrate on a In the first song, the wayfarer reflects on losing one of its original five movements, small number of major works. These belong his sadness at his girl-friend’s marriage to an Andante called ‘Blumine’ which had entirely to two categories, sometimes someone else, but finds solace in nature. been placed second). Nevertheless, it overlapping: one was the song-cycle or In the second, he expresses his delight at remains as autobiographical in feeling song collection with orchestra, a genre setting out through the fields on a fine as, say, Berlioz’s Symphonie fantastique or which he virtually invented; the other was morning, but concludes sadly that his joy Tchaikovsky’s later symphonies, and its the symphony, a form to which he brought will not bloom again. The third song, in cross-references to the ideas and moods an unprecedented expansion of scale and which he describes his suicidal impulses, of the Lieder eines fahrenden Gesellen expressive range. And his first masterpieces brings a sudden outburst of violence, in offer some clues to Mahler’s intentions. in each category, composed within a few which (almost) the full orchestral forces The first movement begins with a slow years of each other during his twenties, are are used together for the only time. In minor-key introduction, a nature scene of closely related musically and emotionally. contrast, the last song is a restrained immense space and stillness with birdsong, Mahler’s Lieder eines fahrenden Gesellen, funeral march, as the wayfarer finds lasting distant fanfares, and pregnant stirrings ‘Songs of a Wayfarer’, were written towards peace in death under the linden-tree. of melody. A figure appears in this spring the end of 1884, while he was working Mahler’s First Symphony constitutes landscape with a paraphrase of the second at the court theatre in Kassel; they were an astonishing début in the form, with its of the Fahrenden Gesellen songs, which is orchestrated early in the following decade, assured and imaginative scoring for very repeated: it seems that the main Allegro and revised before their first performance in large orchestra, its unconventional formal of the movement is under way. But the Berlin in 1896 and publication the following construction, and its apparent eccentricities slow nature music returns, to launch a year. The poems, Mahler’s own, reflect the of gesture and mixing of styles. It was wide-ranging development section which failure of his love affair with a singer in the mostly written in a frenzy of creativity in throws up new ideas en route to a fanfaring Kassel company: their protagonist, he said, six weeks in early 1888, while Mahler was climax and the exuberant return of the is ‘a wayfarer who has met with adversity working at the Leipzig Opera. At its first song material. The second movement is an setting out into the world and wandering performance, in Budapest in November A major scherzo in rustic ländler rhythm, on in solitude’. The folk-like simplicity of 1889, it was called ‘symphonic poem’; with a trio section full of lazy Viennese Royal College of Music, Royal London Gustav Mahler 1860 – 1911 and for a performance of a revised version in Hamburg in 1893, Mahler provided Gustav Mahler was not only a great their diction finds a counterpart in the movement titles and an explanatory composer but also one of the most simple melodic shapes of the vocal line; but programme drawn from Jean Paul’s novel celebrated and sought-after conductors in other ways the score is extraordinarily Titan. But by the time the work reached of his age. This meant that his time for sophisticated, with minute indications of publication in 1899, it was called simply composition was severely limited (in later dynamics and expression in the orchestral ‘Symphony in D major’ and had lost all years to summer holidays in the mountains), parts, and restless inflections of tempo. its programmatic references (as well as and he was forced to concentrate on a In the first song, the wayfarer reflects on losing one of its original five movements, small number of major works. These belong his sadness at his girl-friend’s marriage to an Andante called ‘Blumine’ which had entirely to two categories, sometimes someone else, but finds solace in nature. been placed second). Nevertheless, it overlapping: one was the song-cycle or In the second, he expresses his delight at remains as autobiographical in feeling song collection with orchestra, a genre setting out through the fields on a fine as, say, Berlioz’s Symphonie fantastique or which he virtually invented; the other was morning, but concludes sadly that his joy Tchaikovsky’s later symphonies, and its the symphony, a form to which he brought will not bloom again. The third song, in cross-references to the ideas and moods an unprecedented expansion of scale and which he describes his suicidal impulses, of the Lieder eines fahrenden Gesellen expressive range. And his first masterpieces brings a sudden outburst of violence, in offer some clues to Mahler’s intentions. in each category, composed within a few which (almost) the full orchestral forces The first movement begins with a slow years of each other during his twenties, are are used together for the only time. In minor-key introduction, a nature scene of closely related musically and emotionally. contrast, the last song is a restrained immense space and stillness with birdsong, Mahler’s Lieder eines fahrenden Gesellen, funeral march, as the wayfarer finds lasting distant fanfares, and pregnant stirrings ‘Songs of a Wayfarer’, were written towards peace in death under the linden-tree. of melody. A figure appears in this spring the end of 1884, while he was working Mahler’s First Symphony constitutes landscape with a paraphrase of the second at the court theatre in Kassel; they were an astonishing début in the form, with its of the Fahrenden Gesellen songs, which is orchestrated early in the following decade, assured and imaginative scoring for very repeated: it seems that the main Allegro and revised before their first performance in large orchestra, its unconventional formal of the movement is under way. But the Berlin in 1896 and publication the following construction, and its apparent eccentricities slow nature music returns, to launch a year. The poems, Mahler’s own, reflect the of gesture and mixing of styles. It was wide-ranging development section which failure of his love affair with a singer in the mostly written in a frenzy of creativity in throws up new ideas en route to a fanfaring Kassel company: their protagonist, he said, six weeks in early 1888, while Mahler was climax and the exuberant return of the is ‘a wayfarer who has met with adversity working at the Leipzig Opera. At its first song material. The second movement is an setting out into the world and wandering performance, in Budapest in November A major scherzo in rustic ländler rhythm, on in solitude’. The folk-like simplicity of 1889, it was called ‘symphonic poem’; with a trio section full of lazy Viennese Royal College of Music, Royal London charm and a shortened reprise. The ‘solemn Lieder eines fahrenden Gesellen Songs of a Wayfarer and measured’ D minor third movement Text Gustav Mahler Text Gustav Mahler was inspired by an engraving of a hunter’s funeral procession accompanied by all the Wenn mein Schatz Hochzeit macht When my darling has her wedding-day forest animals. The main rondo theme is a parodistic version of ‘Frère Jacques’, Wenn mein Schatz Hochzeit macht When my darling has her wedding-day, or to German children ‘Bruder Jakob’, in fröhliche Hochzeit macht, her joyous wedding-day, a grotesque round led by solo double- hab’ ich meinen traurigen Tag! I will have my day of mourning! bass; contrasting episodes bring echoes Geh’ ich in mein Kämmerlein, I will go to my little room, of klezmer music, traditionally associated dunkles Kämmerlein, my dark little room, with Jewish funerals, and a paraphrase weine, wein’ um meinen Schatz, and weep, weep for my darling, of the resigned ending of the Fahrenden um meinen lieben Schatz! for my dear darling! Gesellen cycle. The last and most complex Blümlein blau! Verdorre night! Little blue flower! Do not wither! movement breaks in with what Mahler Vöglein süß! Du singst auf grüner Sweet little bird – you sing on the green called ‘the sudden outburst of a wounded Heide. heath. heart’, creating an impact comparable Ach, wie ist die Welt so schön! Oh, how is it that the world is so beautiful! to that of the third Fahrenden Gesellen Ziküth! Ziküth! Chirp! Chirp! song (though with different music). This Singet nicht! Blühet night! Do not sing! Do not bloom! ‘stormy’ F minor introduction leads to a Lenz ist ja vorbei! Spring is past! resolute march theme and a yearning Alles Singen ist nun aus. All singing must now stop. violin melody, followed by a development Des Abends, wenn ich schlafen geh’, At night when I go to sleep, section bringing back ideas from the first denk’ ich an mein Leide. I think of my sorrow. movement and again generating new ones, An mein Leide! Of my sorrow! in what becomes a tumultuous struggle to regain the Symphony’s home key. The first Ging heut’ morgen übers Feld I walked across the fields this morning glimpse of it is short-lived, fading to the nature-music of the opening and disjointed Ging heut’ morgen übers Feld, I walked across the fields, this morning; fragments of themes including the yearning tau noch auf den Gräsern hing. dew still hung on the grass. string melody. But the resolute march Sprach zu mir de lust’ge Fink, The merry finch said to me, reasserts itself, to lead the way to a second “Ei du! Gelt? Guten Morgen! Ei gelt?” “Hey you! Isn’t it a good morning? Hey! fanfaring return to D major, consolidated Du! Wird’s nicht eine schöne Welt? You! Isn’t it becoming a beautiful world? this time in a triumphant conclusion. Zink! Zink! Schön und flink! Chirp! Chirp! Beautiful and agile! Wie mir doch die Welt gefällt!” Oh but how the world delights me!” Anthony Burton 2006 charm and a shortened reprise. The ‘solemn Lieder eines fahrenden Gesellen Songs of a Wayfarer and measured’ D minor third movement Text Gustav Mahler Text Gustav Mahler was inspired by an engraving of a hunter’s funeral procession accompanied by all the Wenn mein Schatz Hochzeit macht When my darling has her wedding-day forest animals. The main rondo theme is a parodistic version of ‘Frère Jacques’, Wenn mein Schatz Hochzeit macht When my darling has her wedding-day, or to German children ‘Bruder Jakob’, in fröhliche Hochzeit macht, her joyous wedding-day, a grotesque round led by solo double- hab’ ich meinen traurigen Tag! I will have my day of mourning! bass; contrasting episodes bring echoes Geh’ ich in mein Kämmerlein, I will go to my little room, of klezmer music, traditionally associated dunkles Kämmerlein, my dark little room, with Jewish funerals, and a paraphrase weine, wein’ um meinen Schatz, and weep, weep for my darling, of the resigned ending of the Fahrenden um meinen lieben Schatz! for my dear darling! Gesellen cycle. The last and most complex Blümlein blau! Verdorre night! Little blue flower! Do not wither! movement breaks in with what Mahler Vöglein süß! Du singst auf grüner Sweet little bird – you sing on the green called ‘the sudden outburst of a wounded Heide. heath. heart’, creating an impact comparable Ach, wie ist die Welt so schön! Oh, how is it that the world is so beautiful! to that of the third Fahrenden Gesellen Ziküth! Ziküth! Chirp! Chirp! song (though with different music). This Singet nicht! Blühet night! Do not sing! Do not bloom! ‘stormy’ F minor introduction leads to a Lenz ist ja vorbei! Spring is past! resolute march theme and a yearning Alles Singen ist nun aus. All singing must now stop. violin melody, followed by a development Des Abends, wenn ich schlafen geh’, At night when I go to sleep, section bringing back ideas from the first denk’ ich an mein Leide. I think of my sorrow. movement and again generating new ones, An mein Leide! Of my sorrow! in what becomes a tumultuous struggle to regain the Symphony’s home key. The first Ging heut’ morgen übers Feld I walked across the fields this morning glimpse of it is short-lived, fading to the nature-music of the opening and disjointed Ging heut’ morgen übers Feld, I walked across the fields, this morning; fragments of themes including the yearning tau noch auf den Gräsern hing. dew still hung on the grass. string melody. But the resolute march Sprach zu mir de lust’ge Fink, The merry finch said to me, reasserts itself, to lead the way to a second “Ei du! Gelt? Guten Morgen! Ei gelt?” “Hey you! Isn’t it a good morning? Hey! fanfaring return to D major, consolidated Du! Wird’s nicht eine schöne Welt? You! Isn’t it becoming a beautiful world? this time in a triumphant conclusion. Zink! Zink! Schön und flink! Chirp! Chirp! Beautiful and agile! Wie mir doch die Welt gefällt!” Oh but how the world delights me!” Anthony Burton 2006 Auch die Glockenblum’ am Feld Also, the bluebells in the field, Wenn ich in dem Himmel seh’, When I look up into the sky, hat mir lustig, guter Ding’, merrily and with good spirits, seh’ ich zwei blaue Augen stehn. I see two blue eyes. mit den Glöckchen, klinge, kling, chimed out to me with their bells, ding, ding, O Weh! Wenn ich im gelben Felde geh’, Oh Woe! When I go into the yellow field, ihren Morgengruß geschellt, their morning greeting, seh’ ich von fern das blonde Haar I see her blond hair in the distance “Wird’s nicht eine schöne Welt? “Isn’t it becoming a beautiful world? im Winde wehn. blowing in the wind. Kling, kling! Schönes Ding! Ding, ding! Beautiful thing! O Weh! Oh Woe! Wie mir doch die Welt gefällt! Heia!” How the world delights me! Hey!” Wenn ich aus dem Traum auffahr’ When I wake from a dream Und da fing im Sonnenschein And then, in the sunshine, und höre klingen ihr silbern’ Lachen, O Weh! and hear the tinkle of her silvery laugh, Oh Woe! gleich die Welt zu funkeln an; the world suddenly began to glitter; Ich wollt’, ich läg auf der schwarzen Bahr’, I wish that I was lying on my black bier, alles Ton und Farbe gewann everything gained sound and colour könnt’ nimmer die Augen aufmachen! and that I could never again open my eyes! im Sonnenschein! in the sunshine! Blum’ und Vogel, groß und klein! Flower and bird, large and small! Die zwei blauen Augen The two blue eyes “Guten Tag, ist’s nicht eine schöne Welt? “Good day, is it not a beautiful world? Ei du, gelt! Schöne Welt?” Hey you! Isn’t it a beautiful world?” Die zwei blauen Augen von meinem Schatz, The two blue eyes of my darling, die haben mich in die weite Welt geschickt. they have fated me to go into the wide world. Nun fängt auch mein Glück wohl an? Will my happiness also begin now? Da mußt ich Abschied nehmen I must to take my leave Nein, nein, das ich mein’, No, no, my happiness vom allerliebsten Platz! of this beloved place! Mir nimmer blühen kann! can never bloom! O Augen blau, warum habt ihr mich angeblickt? Oh blue eyes, why did they gaze at me? Nun hab’ ich ewig Leid und Grämen. Now I will have eternal sorrow and grief. Ich hab’ ein glühend Messer I have a glowing knife Ich bin ausgegangen in stiller Nacht I went out into the still night Ich hab’ein glühend Messer, I have a glowing knife, wohl über die dunkle Heide. far across the dark heath. ein Messer in meiner Brust. a knife in my chest. Hat mir niemand Ade gesagt. No-one said farewell to me. O Weh! Das schneid’t so tief Oh! It cuts so deeply Ade! Mein Gesell’ war Lieb’ und Leide! Farewell! My companions are love and sorrow! in jede Freud’ und jede Lust. into every joy and delight. Auf der Straße steht ein Lindenbaum, On the road stands a linden tree, Ach, was ist das für ein böser Gast! Ah, what an evil guest it is! Da hab’ ich zum ersten Mal im Schlaf geruht! and there for the first time I rested in sleep! Nimmer halt er Ruh’, nimmer halt er Rast, Never does it rest, never does it ease, nicht bei Tag, noch bei Nacht, not by day or by night, Unter dem Lindenbaum, der hat Under the linden tree that wenn ich schlief. when I would sleep. Seine Blüten über mich geschneit, snowed its blossoms onto me, O Weh! Oh Woe! Da wußt’ ich nicht, wie das Leben tut, I did not know how life went on, War alles, alles wieder gut! and everything, everything was well again! Alles! Alles, Lieb und Leid All! All, love and sorrow und Welt und Traum! and world and dream! Auch die Glockenblum’ am Feld Also, the bluebells in the field, Wenn ich in dem Himmel seh’, When I look up into the sky, hat mir lustig, guter Ding’, merrily and with good spirits, seh’ ich zwei blaue Augen stehn. I see two blue eyes. mit den Glöckchen, klinge, kling, chimed out to me with their bells, ding, ding, O Weh! Wenn ich im gelben Felde geh’, Oh Woe! When I go into the yellow field, ihren Morgengruß geschellt, their morning greeting, seh’ ich von fern das blonde Haar I see her blond hair in the distance “Wird’s nicht eine schöne Welt? “Isn’t it becoming a beautiful world? im Winde wehn. blowing in the wind. Kling, kling! Schönes Ding! Ding, ding! Beautiful thing! O Weh! Oh Woe! Wie mir doch die Welt gefällt! Heia!” How the world delights me! Hey!” Wenn ich aus dem Traum auffahr’ When I wake from a dream Und da fing im Sonnenschein And then, in the sunshine, und höre klingen ihr silbern’ Lachen, O Weh! and hear the tinkle of her silvery laugh, Oh Woe! gleich die Welt zu funkeln an; the world suddenly began to glitter; Ich wollt’, ich läg auf der schwarzen Bahr’, I wish that I was lying on my black bier, alles Ton und Farbe gewann everything gained sound and colour könnt’ nimmer die Augen aufmachen! and that I could never again open my eyes! im Sonnenschein! in the sunshine! Blum’ und Vogel, groß und klein! Flower and bird, large and small! Die zwei blauen Augen The two blue eyes “Guten Tag, ist’s nicht eine schöne Welt? “Good day, is it not a beautiful world? Ei du, gelt! Schöne Welt?” Hey you! Isn’t it a beautiful world?” Die zwei blauen Augen von meinem Schatz, The two blue eyes of my darling, die haben mich in die weite Welt geschickt. they have fated me to go into the wide world. Nun fängt auch mein Glück wohl an? Will my happiness also begin now? Da mußt ich Abschied nehmen I must to take my leave Nein, nein, das ich mein’, No, no, my happiness vom allerliebsten Platz! of this beloved place! Mir nimmer blühen kann! can never bloom! O Augen blau, warum habt ihr mich angeblickt? Oh blue eyes, why did they gaze at me? Nun hab’ ich ewig Leid und Grämen. Now I will have eternal sorrow and grief. Ich hab’ ein glühend Messer I have a glowing knife Ich bin ausgegangen in stiller Nacht I went out into the still night Ich hab’ein glühend Messer, I have a glowing knife, wohl über die dunkle Heide. far across the dark heath. ein Messer in meiner Brust. a knife in my chest. Hat mir niemand Ade gesagt. No-one said farewell to me. O Weh! Das schneid’t so tief Oh! It cuts so deeply Ade! Mein Gesell’ war Lieb’ und Leide! Farewell! My companions are love and sorrow! in jede Freud’ und jede Lust. into every joy and delight. Auf der Straße steht ein Lindenbaum, On the road stands a linden tree, Ach, was ist das für ein böser Gast! Ah, what an evil guest it is! Da hab’ ich zum ersten Mal im Schlaf geruht! and there for the first time I rested in sleep! Nimmer halt er Ruh’, nimmer halt er Rast, Never does it rest, never does it ease, nicht bei Tag, noch bei Nacht, not by day or by night, Unter dem Lindenbaum, der hat Under the linden tree that wenn ich schlief. when I would sleep. Seine Blüten über mich geschneit, snowed its blossoms onto me, O Weh! Oh Woe! Da wußt’ ich nicht, wie das Leben tut, I did not know how life went on, War alles, alles wieder gut! and everything, everything was well again! Alles! Alles, Lieb und Leid All! All, love and sorrow und Welt und Traum! and world and dream! THOMAS HAMPSON baritone KLAUS TENNSTEDT conductor

American baritone Thomas Hampson is numerous Grammy nominations and a Born in East Germany, Klaus Tennstedt were broadcast, he recorded it five times, recognised for his versatility and breadth Grammy Award for Best Opera Recording studied at the Leipzig Conservatory and three times with the London Philharmonic of achievement in opera, song, recording, for Tannhäuser in 2002 (TELDEC), two conducted throughout his native land Orchestra (including this live recording) research and pedagogy. He studied with Edison Prizes, three Gramophone Awards but it was not until he moved to the and with the Chicago Symphony Orchestra, Sr. Marietta Coyle, Elisabeth Schwarzkopf, (1994), the 1992 Grand Prix de la Nouvelle West in 1971 that he started to achieve and the Boston Symphony Orchestra. Martial Singher, and Horst Günther, and Académie du Disque, the Grand Prix du world recognition. He made his American enjoys the reputation of being one of Disque, the 1994 Charles Cros Académie debut with the Boston Symphony today’s most respected, innovative and du Disque Lyrique, as well as the esteemed Orchestra in 1974 and his debut with sought-after soloists. Toblacher Prize for his recordings of Mahler. the London Philharmonic Orchestra in Hampson’s operatic roles span an Further information on Thomas Hampson 1977. He had an instant rapport with the enormous diversity of repertoire from can be found at www.hampsong.com London Philharmonic Orchestra which Rossini to Verdi and Puccini and from resulted in return invitations and his Monteverdi to Britten and Henze. He appointment as the Orchestra’s Principal is a regular guest on the world’s most Conductor and Music Director in 1983. This prestigious opera stages – Metropolitan developed into a unique and remarkable Opera, Wiener Staatsoper, Opernhaus relationship until illness finally brought Zurich, San Francisco Opera and the Royal it to a premature end some ten years Opera House Covent Garden. later. Klaus Tennstedt died in 1998. Thomas Hampson is a passionate singer Tennstedt was particularly renowned for of Lieder from Schubert, Mahler, and Wolf to his performances of the German repertoire, the songs of American poets and composers especially Mahler whose symphonies like Walt Whitman and Copland. As The he conducted regularly with the London Times observed from this 1991 concert Philharmonic Orchestra at the Royal recording of Lieder eines fahrenden Gesellen: Festival Hall and on disc to huge public ‘Thomas Hampson impressively sustained acclaim. His energy, musicianship and his long lines, finding an enviable colour emotional involvement combined with a between and within songs’. rare humility endeared him to audiences In demand as a soloist as well as a and musicians alike. Mahler’s Symphony recitalist, he is the most recorded artist of No.1 is a work with which Tennstedt had a his generation. Many of his recordings have very special affinity. In addition to regular received critical and public acclaim: concert performances, many of which Simon Fowler Holt Richard Also available from the London Philharmonic Orchestra LONDON PHILHARMONIC ORCHESTRA For more information or to purchase CDs telephone +44 (0)20 7840 4242 or visit www.lpo.org.uk The London Philharmonic Orchestra has Möst. Vladimir Jurowski was appointed long established a high reputation for its the Orchestra’s Principal Guest Conductor LPO-0001 LPO-0002 LPO-0003 versatility and artistic excellence. These in March 2003. The London Philharmonic are evident from its performances in the Orchestra has been resident symphony concert hall and opera house, its many orchestra at the Royal Festival Hall since award-winning recordings, its trail-blazing 1992 and there it presents its main series international tours and its pioneering of concerts between September and May education work. Kurt Masur has been each year. In summer, the Orchestra moves the Orchestra’s Principal Conductor since to Sussex where it has been the resident September 2000, extending the line of symphony orchestra at Glyndebourne distinguished conductors who have held Festival Opera for over 40 years. The Orchestra positions with the Orchestra since its also performs at venues around the UK and foundation in 1932 by Sir Thomas Beecham. has made numerous tours to America, LPO-0004 LPO-0005 LPO-0006 These have included Sir Adrian Boult, Sir Europe and Japan, and visited India, Hong John Pritchard, Bernard Haitink, Sir Georg Kong, China, South Korea, Australia and Solti, Klaus Tennstedt and Franz Welser- South Africa.

LPO-0007 LPO-0008 LPO-0010

The London Philharmonic Orchestra with Klaus Tennstedt Also available from the London Philharmonic Orchestra LONDON PHILHARMONIC ORCHESTRA For more information or to purchase CDs telephone +44 (0)20 7840 4242 or visit www.lpo.org.uk The London Philharmonic Orchestra has Möst. Vladimir Jurowski was appointed long established a high reputation for its the Orchestra’s Principal Guest Conductor LPO-0001 LPO-0002 LPO-0003 versatility and artistic excellence. These in March 2003. The London Philharmonic are evident from its performances in the Orchestra has been resident symphony concert hall and opera house, its many orchestra at the Royal Festival Hall since award-winning recordings, its trail-blazing 1992 and there it presents its main series international tours and its pioneering of concerts between September and May education work. Kurt Masur has been each year. In summer, the Orchestra moves the Orchestra’s Principal Conductor since to Sussex where it has been the resident September 2000, extending the line of symphony orchestra at Glyndebourne distinguished conductors who have held Festival Opera for over 40 years. The Orchestra positions with the Orchestra since its also performs at venues around the UK and foundation in 1932 by Sir Thomas Beecham. has made numerous tours to America, LPO-0004 LPO-0005 LPO-0006 These have included Sir Adrian Boult, Sir Europe and Japan, and visited India, Hong John Pritchard, Bernard Haitink, Sir Georg Kong, China, South Korea, Australia and Solti, Klaus Tennstedt and Franz Welser- South Africa.

LPO-0007 LPO-0008 LPO-0010

The London Philharmonic Orchestra with Klaus Tennstedt Gustav Mahler 1860 – 1911

THOMAS HAMPSON baritone KLAUS TENNSTEDT conductor London Philharmonic Orchestra David Nolan leader

LPO – 0012 A BBC recording