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Andrew Penny and WASO during the Perth recording sessions

Karl Akers and Ray Irving

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West Australian Symphony Orchestra

The West Australian Symphony Orchestra (WASO) is a vibrant leader among Australia’s cultural organizations, and Western Australia’s largest and busiest performing arts company. Established in 1928, it plays a central rôle in the cultural life of Western Australia, performing over Mario 130 concerts each year with some of the world’s finest conductors and soloists. WASO’s 83 full-time musicians CASTELNUOVO-TEDESCO perform a broad range of music designed to reach a wide (1895-1968) cross-section of the community. WASO’s award winning education programme Discover regularly tours to regional areas across Western Australia bringing music to remote communities. The Orchestra reaches an even Shakespeare Overtures • 1 larger audience through its regular concert broadcasts, CD recordings and live streaming of concerts on its website. With an innovative approach to music 1 Giulio Cesare (Julius Caesar), Op. 78 (1934, a Bernardino Molinari) 11:19 programming, performing both artistically vibrant Photo: Matt Galligan classical music as well as original contemporary music, 2 La bisbetica domata (The Taming of the Shrew), Op. 61 (1930, a Petruchio) 9:22 WASO is at the forefront of Australian orchestras in 3 Antony and Cleopatra, Op. 134 (1947) 17:49 commissioning original works from the country’s leading composers and the development of the next generation of orchestral musicians. In 2009 Paul Daniel began his three year tenure as WASO’s Principal Conductor and Artistic 4 A Midsummer Night’s Dream Op. 108 (1940) 6:43 Adviser. 5 The Tragedy of Coriolanus, Op. 135 (1947) 9:14 WASO’s vision is - To touch souls and enrich lives through music. 6 La dodicesima notte (Twelfth Night), Op. 73 (1933, a Lorenzo) 10:40

Joel Marangella, Solo Oboe • Jay Harrison, Solo Cor Anglais Ashley Arbuckle, Solo Violin • Michael Goldschlager, Solo Cello West Australian Symphony Orchestra (Concertmaster: Ashley Arbuckle) Andrew Penny

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Andrew Penny Mario Castelnuovo-Tedesco (1895-1968): Shakespeare Overtures • 1 Andrew Penny was born in Hull and entered the Royal Manchester College of Music in 1971 to study the clarinet Mario Castelnuovo-Tedesco, born in Florence, Italy, Il mercante di Venezia (The Merchant of Venice), with Sidney Fell. As a postgraduate he was the first holder studied composition and pianoforte at the Istituto Op. 76 (1933) of the Rothschild Scholarship in Conducting at the Royal Musicale Cherubini and later at the Liceo Musicale of Giulio Cesare (Julius Caesar), Op. 78 (1934) Northern College of Music, studying with Sir Charles Bologna. His mentors were Pizzetti and Casella, Il racconto d’inverno (The Winter’s Tale), Groves and Timothy Reynish, subsequently receiving the members of the influential and progressive Società Op. 80 (1935) Ricordi Prize. He gained invaluable experience with the Italiana di Musica, a group of composers (including A Midsummer Night’s Dream, Op. 108 (1940) Opera Unit during this time and was associated with many Malipiero and Respighi), with whom Castelnuovo- King John, Op. 111 (1941) of the operas presented by the College in its early years Tedesco became closely associated. Antony and Cleopatra, Op. 134 (1947) both in Manchester and at Sadler’s Wells Theatre. He also In 1938, as a result of Mussolini’s anti-Jewish The Tragedy of Coriolanus, Op. 135 (1947) studied with Sir Edward Downes on courses in Holland edicts, Castelnuovo-Tedesco decided to leave for the Much Ado about Nothing, Op. 164 (1953) and on the BBC Conductors Seminar in 1985. Since 1992 United States. From Switzerland he wrote to Toscanini As You Like It, Op. 166 (1953) he has made over 35 recordings for the Naxos and Marco and Heifetz who both promised him friendship, lodging Polo labels. Much of the repertoire is of British Music and and the possibility of further work in the film studios of Throughout his eleven overtures Castelnuovo-Tedesco includes symphonies by Sir Malcolm Arnold and MGM. On his arrival in New York in July 1939 he was creates impressions of specific aspects of the drama Havergal Brian, film music by Vaughan Williams and met by Heifetz who also commissioned a violin concerto rather than following closely the details of the plot. Photo: Mark Kensett Walton, theatre music by Sullivan and Holbrooke and which was fulfilled straightaway. Toscanini performed Direct quotations from the texts introduce musical ideas, light music by Coates and Arnold. His complete cycle of the overture The Taming of The Shrew later that year continuing through the score to signify new sections or the nine symphonies by Arnold was produced in time for the composer’s eightieth birthday in October 2001 and has “more admirably than I ever heard it before.” After change of mood. The works are written for large subsequently become the BBC Music Magazine’s top recommendation. In the Gramophone Awards of 1999 the settling in California Castelnuovo-Tedesco became a orchestra, though the first, The Taming of the Shrew, Editor’s Choice Award was made to 22 Naxos Discs as an outstanding contribution to Twentieth Century British prolific writer of film music between 1940 and 1956, in being less ambitious, uses strings, double woodwind, Music. Three of those releases were conducted by Andrew Penny; the Arnold Third and Fourth Symphonies the same period composing more than seventy concert four horns, two trumpets, one trombone (no tuba), (8.553739) and two discs of Walton’s music for the Olivier films of Shakespeare’s Henry V, Hamlet and As You Like works. As a member of the faculty of the Los Angeles timpani, piano and harp, and a generous percussion It (Naxos 8.553343-44). Andrew Penny has been Musical Director of the Hull Philharmonic Orchestra since 1982. Conservatory of Music, he numbered among his pupils section including xylophone and glockenspiel. Henry Mancini, Nelson Riddle, André Previn, and the As the overtures grew in magnitude, orchestral composer John Williams. His works include operas, specifications often employed triple woodwind; three ballets, film scores, orchestral works, a quantity of flutes (one with piccolo), two oboes and cor anglais, two choral pieces and songs, chamber music, piano clarinets and bass clarinet, three bassoons, and (on one compositions, and over a hundred pieces for guitar, occasion) contra-bassoon. Brass requirements consist of ranging from concertos to many solos and duos. four horns, three trumpets, three trombones and tuba. The art of William Shakespeare was a recurring Two harps are needed, sometimes with celesta and fascination for Mario Castelnuovo-Tedesco. In the early piano. Timpani is used alongside a percussion group of 1920s he set to music 33 songs from the plays as well as tubular bells, xylophone, glockenspiel, bass drum, side 35 sonnets. In addition to the six Overtures on this drum, cymbals, triangle and castanets. A large string recording and the five on Volume 2 (Naxos 8.572501), section is required with frequent solos and regular use of he also wrote two Shakespearean operas, The Merchant divided parts. of Venice (1956) and All’s Well That Ends Well (1957). The overture for Julius Caesar opens with Roman The eleven overtures1 were composed in the citizens on their way to make holiday to see Caesar and following order: to rejoice in his triumph. A series of fanfares present a La bisbetica domata (The Taming of the Shrew), descending theme illustrating the Soothsayer’s Op. 61 (1930) cautionary Beware the Ides of March. Caesar’s Nor La dodicesima notte (Twelfth Night), Op. 73 (1933) heaven nor earth have been at peace tonight, in Act II, 8.572500 63 8.572500 8.572500 bk CastelTedesco-1_US 22-06-2010 21:55 Pagina 4

Scene 2, presages a brooding section where distant ponder the complexities of Antony’s desertion of his theme, with varying moods, is intensely dramatic. The strings, counterpointing the Malvolio music. A fanfares alternate with other declamatory moments. wife, Octavia, for Cleopatra. Finally, in A Mausoleum in single leitmotif is deployed almost with excessive Gagliardo is incorporated, its witty ending evoking the Calphurnia’s advice to her husband, Caesar, follows, Do Alexandria, Antony, on hearing false reports of the repetition but various compositional devices, such as comedy’s final words, But that’s all one, our play is not go forth to-day: call it my fear / That keeps you in the queen’s death, attempts suicide, before dying in canon and counterpoint, present a brilliant display of done / And we’ll strive to please you every day. house, and not your own, recalling the Soothsayer’s Cleopatra’s arms. She then kills herself by means of a orchestral colour in an imaginative enactment of the fall earlier descending theme, which moves into a reprise of poisonous snake. The composer added two quotations to of Coriolanus. Andrew Penny and Graham Wade the fast section to depict The noise of battle hurtled in the score for this scene, Cleopatra’s words to the Clown The title page to Twelfth Night features the immortal the air. The Soothsayer’s warning figure returns. In Act (who has brought the asp in a basket to her), in Act V, words spoken by Orsino, Duke of Illyria, If music be the With grateful acknowledgement to Vi King Lim, III, Scene 1, Caesar, surrounded by conspirators in the Scene 2, Hast thou the pretty worm of Nilus there, / That food of love, play on, followed by his request, in Act II, National Music Library Manager at Symphony Services Capitol, is stabbed and dies uttering the words, Et tu, kills and pains not? followed by Octavius Caesar’s Scene 4, to Viola (disguised as the boy, Cesario), Now, Australia Ltd, for extra research into the dedications Brute? Then fall, Caesar! A funeral march begins on concluding elegy, She shall be buried by her Antony: / good Cesario, but that piece of song, / That old and and quotations on the scores of four of these overtures. bass clarinet, subsequently evoking the opening No grave upon the earth shall clip in it / A pair so antique song we heard last night. The music begins with fanfares, as Antony, addresses the mob and argues I famous. This distillation of the plot into a musical a cor anglais solo marked Andantino malinconico. A come to bury Caesar, not to praise him. This builds to a representation demonstrates Castelnuovo-Tedesco’s quicker section entitled Malvolio (vivo e burlesco) with 1The five Overtures with Italian titles – La bisbetica mighty statement as Antony’s speech reaches its climax style to perfection. His use of the intervals of fourths in prominent bassoons, has trumpets in three parts, domata, La dodicesima notte, Il mercante di Venezia, with Here was a Caesar! When comes such another? an emphatic re-statement of a theme or contrasting representing the popular song Three merry men be we, Giulio Cesare and Il racconto d’inverno – were before the music fades to distant fanfares on three harmonizations of a repeated leitmotif, are some of his referred to by Sir Toby Belch (Act II, Scene 3), in the engraved by Casa Ricordi in Italy. The remaining trumpets and the fall of the curtain. most characteristic compositional devices. The more lines, My lady’s a Cataian, we are politicians, overtures were titled in English and for this recording The Taming of the Shrew reveals Castelnuovo- grandiloquent moments anticipate the epic sweep of Malvolio’s a Peg-a-Ramsey, and ‘Three merry men be the manuscripts were sent to the library of the ABC in Tedesco at his most lyrical. Though no quotations from Miklós Rózsa’s film scores for Ben Hur or Quo Vadis of we’. The cor anglais tune returns for the last song, When Sydney and copied there. A Midsummer Night’s Dream the play were included in the score, the main dramatis the 1950s, though Castelnuovo-Tedesco never claimed that I was and a little tiny boy… For the rain it raineth also appears in some Ricordi catalogues under its Italian personae, Katharina, the Shrew, and Petruchio, a to be the first practitioner in this genre. every day. This is taken up in the major key by unison title Sogno di una notte di mezza estate. Gentleman of Verona, Suitor to Katharina, are A Midsummer Night’s Dream, less than seven announced early on. An opening figure on trumpets and minutes in duration, opens with repeated chords on xylophone, and a further rollicking theme, lead on to a woodwind and horns, recalling Mendelssohn’s tribute to delicate oboe interlude. A stronger version, superbly this play, to which all pay homage. A theme on muted written for horns, throws the theme around the ensemble strings and a cello solo give way to the impish Puck and in an orchestral tour de force. A brief episode for solo mischievous fairies. This evocation of the woodland violin and cello, marked Appassionato ma largamente, does not venture far into the plot in its treatment of expresses the developing relationship with a light touch. disunited lovers or the mocking of the rude mechanicals. At just over seventeen minutes, Antony and There is no braying ass and little of sinister Oberon in Cleopatra is the longest of the overtures. The this most atmospheric of works. protagonists, following Julius Caesar’s assassination The overture to Coriolanus, without a dedication or and the battle of Philippi, are Octavius Caesar and Mark quotations, takes as its single theme a leitmotif for Antony, the latter infatuated with Cleopatra, Queen of Coriolanus. Caius Marcius Coriolanus is a Roman Egypt. The first part, entitled On the Nile, depicting general who aspires to be elected as Consul, but having Antony and Cleopatra together, begins with a flute won support in the Senate, he loses the popular vote, theme over the harp’s accompanying octaves. The commenting in Act III, Scene 1, that for ‘the rabble’ to second episode, A Rock Near Actium, starts with quiet have any influence is to bring in the crows / To peck the fanfares from afar. Antony has returned to Rome and the eagles. Coriolanus is subsequently condemned as a themes pile up, one against another. A strong ascending traitor and banished. Exiled, he decides to march on chromatic idea emerges resulting in a further reprise of Rome but instead concludes a peace treaty with his the main theme. The cor anglais plays meditatively enemies. Conspirators, however, taking revenge for his while the darker cellos and violas with bass clarinet betrayal, kill him as a traitor. The treatment of this single 8.572500 4 5 8.572500 8.572500 bk CastelTedesco-1_US 22-06-2010 21:55 Pagina 4

Scene 2, presages a brooding section where distant ponder the complexities of Antony’s desertion of his theme, with varying moods, is intensely dramatic. The strings, counterpointing the Malvolio music. A fanfares alternate with other declamatory moments. wife, Octavia, for Cleopatra. Finally, in A Mausoleum in single leitmotif is deployed almost with excessive Gagliardo is incorporated, its witty ending evoking the Calphurnia’s advice to her husband, Caesar, follows, Do Alexandria, Antony, on hearing false reports of the repetition but various compositional devices, such as comedy’s final words, But that’s all one, our play is not go forth to-day: call it my fear / That keeps you in the queen’s death, attempts suicide, before dying in canon and counterpoint, present a brilliant display of done / And we’ll strive to please you every day. house, and not your own, recalling the Soothsayer’s Cleopatra’s arms. She then kills herself by means of a orchestral colour in an imaginative enactment of the fall earlier descending theme, which moves into a reprise of poisonous snake. The composer added two quotations to of Coriolanus. Andrew Penny and Graham Wade the fast section to depict The noise of battle hurtled in the score for this scene, Cleopatra’s words to the Clown The title page to Twelfth Night features the immortal the air. The Soothsayer’s warning figure returns. In Act (who has brought the asp in a basket to her), in Act V, words spoken by Orsino, Duke of Illyria, If music be the With grateful acknowledgement to Vi King Lim, III, Scene 1, Caesar, surrounded by conspirators in the Scene 2, Hast thou the pretty worm of Nilus there, / That food of love, play on, followed by his request, in Act II, National Music Library Manager at Symphony Services Capitol, is stabbed and dies uttering the words, Et tu, kills and pains not? followed by Octavius Caesar’s Scene 4, to Viola (disguised as the boy, Cesario), Now, Australia Ltd, for extra research into the dedications Brute? Then fall, Caesar! A funeral march begins on concluding elegy, She shall be buried by her Antony: / good Cesario, but that piece of song, / That old and and quotations on the scores of four of these overtures. bass clarinet, subsequently evoking the opening No grave upon the earth shall clip in it / A pair so antique song we heard last night. The music begins with fanfares, as Antony, addresses the mob and argues I famous. This distillation of the plot into a musical a cor anglais solo marked Andantino malinconico. A come to bury Caesar, not to praise him. This builds to a representation demonstrates Castelnuovo-Tedesco’s quicker section entitled Malvolio (vivo e burlesco) with 1The five Overtures with Italian titles – La bisbetica mighty statement as Antony’s speech reaches its climax style to perfection. His use of the intervals of fourths in prominent bassoons, has trumpets in three parts, domata, La dodicesima notte, Il mercante di Venezia, with Here was a Caesar! When comes such another? an emphatic re-statement of a theme or contrasting representing the popular song Three merry men be we, Giulio Cesare and Il racconto d’inverno – were before the music fades to distant fanfares on three harmonizations of a repeated leitmotif, are some of his referred to by Sir Toby Belch (Act II, Scene 3), in the engraved by Casa Ricordi in Italy. The remaining trumpets and the fall of the curtain. most characteristic compositional devices. The more lines, My lady’s a Cataian, we are politicians, overtures were titled in English and for this recording The Taming of the Shrew reveals Castelnuovo- grandiloquent moments anticipate the epic sweep of Malvolio’s a Peg-a-Ramsey, and ‘Three merry men be the manuscripts were sent to the library of the ABC in Tedesco at his most lyrical. Though no quotations from Miklós Rózsa’s film scores for Ben Hur or Quo Vadis of we’. The cor anglais tune returns for the last song, When Sydney and copied there. A Midsummer Night’s Dream the play were included in the score, the main dramatis the 1950s, though Castelnuovo-Tedesco never claimed that I was and a little tiny boy… For the rain it raineth also appears in some Ricordi catalogues under its Italian personae, Katharina, the Shrew, and Petruchio, a to be the first practitioner in this genre. every day. This is taken up in the major key by unison title Sogno di una notte di mezza estate. Gentleman of Verona, Suitor to Katharina, are A Midsummer Night’s Dream, less than seven announced early on. An opening figure on trumpets and minutes in duration, opens with repeated chords on xylophone, and a further rollicking theme, lead on to a woodwind and horns, recalling Mendelssohn’s tribute to delicate oboe interlude. A stronger version, superbly this play, to which all pay homage. A theme on muted written for horns, throws the theme around the ensemble strings and a cello solo give way to the impish Puck and in an orchestral tour de force. A brief episode for solo mischievous fairies. This evocation of the woodland violin and cello, marked Appassionato ma largamente, does not venture far into the plot in its treatment of expresses the developing relationship with a light touch. disunited lovers or the mocking of the rude mechanicals. At just over seventeen minutes, Antony and There is no braying ass and little of sinister Oberon in Cleopatra is the longest of the overtures. The this most atmospheric of works. protagonists, following Julius Caesar’s assassination The overture to Coriolanus, without a dedication or and the battle of Philippi, are Octavius Caesar and Mark quotations, takes as its single theme a leitmotif for Antony, the latter infatuated with Cleopatra, Queen of Coriolanus. Caius Marcius Coriolanus is a Roman Egypt. The first part, entitled On the Nile, depicting general who aspires to be elected as Consul, but having Antony and Cleopatra together, begins with a flute won support in the Senate, he loses the popular vote, theme over the harp’s accompanying octaves. The commenting in Act III, Scene 1, that for ‘the rabble’ to second episode, A Rock Near Actium, starts with quiet have any influence is to bring in the crows / To peck the fanfares from afar. Antony has returned to Rome and the eagles. Coriolanus is subsequently condemned as a themes pile up, one against another. A strong ascending traitor and banished. Exiled, he decides to march on chromatic idea emerges resulting in a further reprise of Rome but instead concludes a peace treaty with his the main theme. The cor anglais plays meditatively enemies. Conspirators, however, taking revenge for his while the darker cellos and violas with bass clarinet betrayal, kill him as a traitor. The treatment of this single 8.572500 4 5 8.572500 8.572500 bk CastelTedesco-1_US 22-06-2010 21:55 Pagina 6

Andrew Penny Mario Castelnuovo-Tedesco (1895-1968): Shakespeare Overtures • 1 Andrew Penny was born in Hull and entered the Royal Manchester College of Music in 1971 to study the clarinet Mario Castelnuovo-Tedesco, born in Florence, Italy, Il mercante di Venezia (The Merchant of Venice), with Sidney Fell. As a postgraduate he was the first holder studied composition and pianoforte at the Istituto Op. 76 (1933) of the Rothschild Scholarship in Conducting at the Royal Musicale Cherubini and later at the Liceo Musicale of Giulio Cesare (Julius Caesar), Op. 78 (1934) Northern College of Music, studying with Sir Charles Bologna. His mentors were Pizzetti and Casella, Il racconto d’inverno (The Winter’s Tale), Groves and Timothy Reynish, subsequently receiving the members of the influential and progressive Società Op. 80 (1935) Ricordi Prize. He gained invaluable experience with the Italiana di Musica, a group of composers (including A Midsummer Night’s Dream, Op. 108 (1940) Opera Unit during this time and was associated with many Malipiero and Respighi), with whom Castelnuovo- King John, Op. 111 (1941) of the operas presented by the College in its early years Tedesco became closely associated. Antony and Cleopatra, Op. 134 (1947) both in Manchester and at Sadler’s Wells Theatre. He also In 1938, as a result of Mussolini’s anti-Jewish The Tragedy of Coriolanus, Op. 135 (1947) studied with Sir Edward Downes on courses in Holland edicts, Castelnuovo-Tedesco decided to leave for the Much Ado about Nothing, Op. 164 (1953) and on the BBC Conductors Seminar in 1985. Since 1992 United States. From Switzerland he wrote to Toscanini As You Like It, Op. 166 (1953) he has made over 35 recordings for the Naxos and Marco and Heifetz who both promised him friendship, lodging Polo labels. Much of the repertoire is of British Music and and the possibility of further work in the film studios of Throughout his eleven overtures Castelnuovo-Tedesco includes symphonies by Sir Malcolm Arnold and MGM. On his arrival in New York in July 1939 he was creates impressions of specific aspects of the drama Havergal Brian, film music by Vaughan Williams and met by Heifetz who also commissioned a violin concerto rather than following closely the details of the plot. Photo: Mark Kensett Walton, theatre music by Sullivan and Holbrooke and which was fulfilled straightaway. Toscanini performed Direct quotations from the texts introduce musical ideas, light music by Coates and Arnold. His complete cycle of the overture The Taming of The Shrew later that year continuing through the score to signify new sections or the nine symphonies by Arnold was produced in time for the composer’s eightieth birthday in October 2001 and has “more admirably than I ever heard it before.” After change of mood. The works are written for large subsequently become the BBC Music Magazine’s top recommendation. In the Gramophone Awards of 1999 the settling in California Castelnuovo-Tedesco became a orchestra, though the first, The Taming of the Shrew, Editor’s Choice Award was made to 22 Naxos Discs as an outstanding contribution to Twentieth Century British prolific writer of film music between 1940 and 1956, in being less ambitious, uses strings, double woodwind, Music. Three of those releases were conducted by Andrew Penny; the Arnold Third and Fourth Symphonies the same period composing more than seventy concert four horns, two trumpets, one trombone (no tuba), (8.553739) and two discs of Walton’s music for the Olivier films of Shakespeare’s Henry V, Hamlet and As You Like works. As a member of the faculty of the Los Angeles timpani, piano and harp, and a generous percussion It (Naxos 8.553343-44). Andrew Penny has been Musical Director of the Hull Philharmonic Orchestra since 1982. Conservatory of Music, he numbered among his pupils section including xylophone and glockenspiel. Henry Mancini, Nelson Riddle, André Previn, and the As the overtures grew in magnitude, orchestral composer John Williams. His works include operas, specifications often employed triple woodwind; three ballets, film scores, orchestral works, a quantity of flutes (one with piccolo), two oboes and cor anglais, two choral pieces and songs, chamber music, piano clarinets and bass clarinet, three bassoons, and (on one compositions, and over a hundred pieces for guitar, occasion) contra-bassoon. Brass requirements consist of ranging from concertos to many solos and duos. four horns, three trumpets, three trombones and tuba. The art of William Shakespeare was a recurring Two harps are needed, sometimes with celesta and fascination for Mario Castelnuovo-Tedesco. In the early piano. Timpani is used alongside a percussion group of 1920s he set to music 33 songs from the plays as well as tubular bells, xylophone, glockenspiel, bass drum, side 35 sonnets. In addition to the six Overtures on this drum, cymbals, triangle and castanets. A large string recording and the five on Volume 2 (Naxos 8.572501), section is required with frequent solos and regular use of he also wrote two Shakespearean operas, The Merchant divided parts. of Venice (1956) and All’s Well That Ends Well (1957). The overture for Julius Caesar opens with Roman The eleven overtures1 were composed in the citizens on their way to make holiday to see Caesar and following order: to rejoice in his triumph. A series of fanfares present a La bisbetica domata (The Taming of the Shrew), descending theme illustrating the Soothsayer’s Op. 61 (1930) cautionary Beware the Ides of March. Caesar’s Nor La dodicesima notte (Twelfth Night), Op. 73 (1933) heaven nor earth have been at peace tonight, in Act II, 8.572500 63 8.572500 8.572500 bk CastelTedesco-1_US 22-06-2010 21:55 Pagina 2

West Australian Symphony Orchestra

The West Australian Symphony Orchestra (WASO) is a vibrant leader among Australia’s cultural organizations, and Western Australia’s largest and busiest performing arts company. Established in 1928, it plays a central rôle in the cultural life of Western Australia, performing over Mario 130 concerts each year with some of the world’s finest conductors and soloists. WASO’s 83 full-time musicians CASTELNUOVO-TEDESCO perform a broad range of music designed to reach a wide (1895-1968) cross-section of the community. WASO’s award winning education programme Discover regularly tours to regional areas across Western Australia bringing music to remote communities. The Orchestra reaches an even Shakespeare Overtures • 1 larger audience through its regular concert broadcasts, CD recordings and live streaming of concerts on its website. With an innovative approach to music 1 Giulio Cesare (Julius Caesar), Op. 78 (1934, a Bernardino Molinari) 11:19 programming, performing both artistically vibrant Photo: Matt Galligan classical music as well as original contemporary music, 2 La bisbetica domata (The Taming of the Shrew), Op. 61 (1930, a Petruchio) 9:22 WASO is at the forefront of Australian orchestras in 3 Antony and Cleopatra, Op. 134 (1947) 17:49 commissioning original works from the country’s leading composers and the development of the next generation of orchestral musicians. In 2009 Paul Daniel began his three year tenure as WASO’s Principal Conductor and Artistic 4 A Midsummer Night’s Dream Op. 108 (1940) 6:43 Adviser. 5 The Tragedy of Coriolanus, Op. 135 (1947) 9:14 WASO’s vision is - To touch souls and enrich lives through music. 6 La dodicesima notte (Twelfth Night), Op. 73 (1933, a Lorenzo) 10:40

Joel Marangella, Solo Oboe • Jay Harrison, Solo Cor Anglais Ashley Arbuckle, Solo Violin • Michael Goldschlager, Solo Cello West Australian Symphony Orchestra (Concertmaster: Ashley Arbuckle) Andrew Penny

8.572500 27 8.572500 8.572500 bk CastelTedesco-1_US 22-06-2010 21:55 Pagina 8

Andrew Penny and WASO during the Perth recording sessions

Karl Akers and Ray Irving

8.572500 8 8.572500 rr CastelTedesco-1_US 22-06-2010 21:59 Pagina 2

CMYK CMYK

20 TH C E N T U R Y I T

A 8.572501 8.572013 L I A N C L A S

S 8.572413 8.570877 I C S 8.572500 rr CastelTedesco-1_US 22-06-2010 21:59 Pagina 1

CMYK NAXOS NAXOS The art of Shakespeare was a recurring fascination for Mario Castelnuovo-Tedesco. In addition to two operas and numerous settings of songs and sonnets, he wrote 11 Shakespeare Overtures which here receive their first ever complete recording. Deploying all the resources of the symphony orchestra, these are some of the twentieth century’s most dramatic and tuneful orchestral works, spectacular evocations CASTELNUOVO-TEDESCO: 8.572500 CASTELNUOVO-TEDESCO: of Shakespeare’s greatest plays. Volume Two is available on Naxos 8.572501. Castelnuovo-Tedesco’s settings of Shakespeare songs can be heard on Marco Polo 8.223729. DDD Mario Playing Time CASTELNUOVO-TEDESCO 65:07 (1895-1968) Shakespeare Overtures • 1 1 Giulio Cesare (Julius Caesar), Op. 78 11:19 2 La bisbetica domata (The Taming of the Shrew), Op. 61 9:22 3

Shakespeare Overtures • 1 Antony and Cleopatra, Op. 134 17:49 Shakespeare Overtures • 1 4 A Midsummer Night’s Dream, Op. 108 6:43 www.naxos.com ắ 5 Disc made in Canada. Printed and assembled USA. Booklet Notes in English The Tragedy of Coriolanus, Op. 135 9:14 &

6 La dodicesima notte (Twelfth Night), Op. 73 10:40 Ả 2010 Naxos Rights International Ltd. WORLD PREMIERE RECORDINGS Joel Marangella, Solo Oboe • Jay Harrison, Solo Cor Anglais Ashley Arbuckle, Solo Violin • Michael Goldschlager, Solo Cello West Australian Symphony Orchestra (Concertmaster: Ashley Arbuckle) Andrew Penny

8.572500 Recorded in the WASO Studios, Perth, Australia, 14th-22nd April, 1994 8.572500 Producer: Ray Irving • Engineers: Karl Akers and Chris White Booklet notes: Andrew Penny and Graham Wade • Release editor: Peter Bromley Cover: Paolo Zeccara • Publisher: 1-2, 4, 6 (Casa Ricordi/Universal Music Publishing); 3, 5 (Unpublished / Copyright Lisbet Castelnuovo-Tedesco) Naxos wishes to acknowledge the support of the late Lorenzo Castelnuovo-Tedesco for making available manuscript scores of the unpublished Overtures with English titles.