Billy the Kid, Ballet Suite London Symphony Orchestra /Aaron Copland, Conductor

1 I. The Open Prairie 03:02

2 II. Street in a Frontier Town 06:25

3 III. Card Game At Night 02:59

4 IV. Gun Battle 01:55

5 V. Celebration after Billy's Capture 02:05

6 VI. Epilogue: The Open Prairie Again 02:41

Aaron Copland Statements, for Orchestra London Symphony Orchestra /Aaron Copland, Conductor

7 I. Militant 02:39

8 II. Cryptic 03:27

9 III. Dogmatic 01:39

10 IV. Subjective 03:49

11 V. Jingo 02:33

12 VI. Prophetic 03:39 COPLAND: Billy the Kid – Ballet Suite When one listens to music from France, the film music forThe Red Pony, even dipping Statements for Orchestra Germany, England, Italy, and particularly south of the border with the earliest of all Aaron Copland the Russia and Spain, he can usually discover these works, El Salón México. London Symphony Orchestra its origin from the particular national flavor which dominates it. Until a few years ago, When Lincoln Kirstein, director of the however, it was all but impossible to do this American Ballet Caravan, approached with American music. The reason was not Copland in 1938 with a commission to write hard to find: the European nations were music for a ballet dealing with the adven- rich in folk songs and dances whose char- tures of Billy the Kid, the composer accepted acteristics of rhythm, melody, harmony or with some misgivings. He realized that a color were reflected in the works of native work of this kind should have some cowboy composers. America, the great melting-pot, music in it, yet he admitted that he frankly on the other hand, possessed no such deep- disliked cowboy songs. Still, as he worked rooted national musical language, no folk on the composition during five weeks in the heritage upon which to base a characteristic summer of 1938, first in Paris, later in New style. The only true American musical idiom York, and finally at the Macfrowell Colony in was jazz, so it seemed, and that wasn’t being Peterborough, New Hampshire, he discov- worked into concert music very successfully. ered that his attitude toward these popular ballads had suddenly changed. As a result, Today, all these concepts have changed; the score of Billy the Kid contains literal or and one of the men chiefly responsible for disguised references to such cowboy tunes as changing them is Aaron Copland. More Great Granddad, Git Along Little Dogies, The than twenty years ago, he realized that if Old Chisholm Train, Goodbye Old Paint and American music were to get anywhere, it The Dying Cowboy. Conspicuously absent, must speak to the average man in a language however, is Home on the Range. “I had to and through a medium he could understand. draw the line somewhere,” remarked the As a result, Copland began composing for composer. such mass media as the radio, the movies and the ballet. Furthermore, he took a leaf Billy the Kid, with scenario by Kirstein, from the book of the European composer choreography by Eugene Loring, who also and started infusing his works with mate- danced the title role, and music by Copland, rial derived from folk or popular sources, at was first presented by the American Ballet the same time expressing himself with com- Caravan in Chicago in October, 1938. The plete but palatable individuality. As a result earliest performances were given with the one can now travel across the country with accompaniment of only two pianos. But on Copland’s music – from the New England May 24, 1939, the work entered the reper- pictured in his score for the film Our Town, toire of Ballet Theatre, which organization through the farmland of Pennsylvania with presented it for the first time with orchestra, the ballet music for Appalachian Spring Fritz Kitzinger conducting, at the Martin (Everest SDBR 3002, LPBR 6002), and on Beck Theatre in New York. It has remained out into the wide open spaces of the West among the company’s most popular ballets with the ballets Billy the Kid and Rodeo and ever since. In the summer of 1939, Copland compiled ever, were presented by the orchestra, under a concert suite from Billy the Kid which uses Eugene Ormandy’s direction, on an NBC between a half and two-thirds of the com- broadcast on January 9, 1936. plete music. Printed on the flyleaf is the fol- lowing synopsis of the ballet; When Statements for Orchestra was finally given in its entirety for the first time by “The action begins and closes on the open Dimitri Mitropoulos and the New York prairie. The central portion of the Ballet con- Philharmonic on January 7, 1942, Copland cerns itself with the significant moments in provided this explanatory note: the life of Billy the Kid. The first scene is a street in a frontier town. Familiar figures “The title ‘statement’ was chosen to indi- amble by Cowboys saunter into town, some cate a short, terse, orchestral movement of on horseback, others with their lassos. a well-defined character, lasting about three Some Mexican women do a Jarabe, which is minutes. The separate movements were interrupted by a fight between two drunks. given suggestive titles as an aid to the public Attracted by the gathering crowd, Billy is in understanding what the composer had in seen for the first time as a boy of twelve mind when writing these pieces. with his mother. The brawl turns ugly, guns are drawn, and in some unaccountable way “The ‘militant’ statement is based on a single Billy’s mother is killed. Without an instant’s theme, announced unisono at the begin- hesitation, in cold fury, Billy draws a knife ning by three flutes, two oboes, bassoon and from a cow-hand’s sheath and stabs his moth- strings. The ‘cryptic’ statement is orches- er’s slayers. His short but famous career has trated for brass and flute alone with an occa- begun. In swift succession we see episodes sional use of bass, clarinet and bassoon. The in Billy’s later life. At night, under the stars, ‘dogmatic’ statement is in tri-partite form; in a quiet card game with his outlaw friends. the middle section quotes the theme of the Hunted by a posse led by his former friend, composer’s Piano Variations. The ‘subjective’ Pat Garrett, Billy is pursued. A running battle statement is scored for strings alone, without ensues, Billy is captured. A drunken celebra- double basses. The ‘jingo’ statement utilizes tion takes place. Billy in prison is, of course, the full orchestra. It is built in rondo form on followed by one of Billy’s legendary escapes. a chromatic melody with occasional bows to Tired and worn in the desert, Billy rests with a well-known tune. The final section, a ‘pro- his girl. Starting from a deep sleep, he senses phetic’ statement, is rhapsodic in form and movement in the shadows. The posse has centers about a chorale-like melody sung by finally caught up with him.” the solo trumpet.”

Statements for Orchestra was begun in 1933 Original Liner Notes by PAUL AFFELDER and completed in 1935. This work, in six short movements, was commissioned by the League of Composers, and was intended for performance by the Minneapolis Symphony Orchestra. Only the last two sections, how- Some notes on the history of Everest …from the original LP release: system, but naturally will be most appreci- Records ated by the audiophile with the very finest hi-fi “This Everest Recording is a Product of equipment. When EVEREST recordings are When Everest Records was founded by Harry Belock Recording, a division of the Belock played in the Belock studio through top quality Belock in 1958 as a division of Belock Instru- Instrument Corp. An EVEREST recording hi-fi equipment similar to that found in home ment Corp., the aim was to produce a cata- represents a new peak of achievement in the use, the resulting sound is indistinguishable logue of stereo recordings of the highest pos- recording art. As a product of Belock Instru- from the master tape. Since Belock Record- sible technical standard, with interesting and ment Corp. this recording enjoys unique advan- ing unconditionally guarantees that their tapes innovative classical repertoire played by some tages shared by few, if any other record com- and stereo disks are genuine stereophonic of the best artists and orchestras. pany. The parent company is considered one of recordings, they are designated as CERTI- the world’s finest precision electronic facilities FIED STEREO-MASTER RECORDINGS. The For the first Everest recording sessions in and is engaged chiefly in the development and frequency range of EVEREST recordings is 1958, an Ampex 300-3 half-inch three-chan- production of ultra-secret military devices. 20 to 20,000 cycles. It is important to note, nel recorder was used. Later on the label The company was one of the earliest involved that many companies specify wide frequency moved to use a Westrex 35mm 3-track mag- in the electronics aspects of ballistic missiles response, and while this is an important part netic film recorder, which had a wider possible and is pre-eminent in the fields of radar, and of hi-fi recording, the distortion content of the dynamic range, less print-through, less tape fire-power computers and stabilization- sys recording is, if anything, even more important. stretch and less ‘wow and flutter’, and which tems. Harry Belock, founder of the company, All EVEREST recordings are free of audible was the basis for the highly acclaimed typical is an international authority on sound, and distortion throughout the entire frequency “Everest-sound”. has designed magnetic film recorders which range. Carefully wipe surface with soft damp are in use throughout the world. To EVEREST cloth. Return to wrapper after each play.” he brings all his talents and the vast techni- cal resources of his company. This recording was made in the new Belock Recording studio, which is constructed along the most advanced ideas in acoustics for recording. The very latest Telefunken, AKG and Neumann were utilized, feeding into the new Ampex 300 self-sync stereo recorders on half inch tape. A specially-designed Ampex with low-noise Executive Producer: Mark Jenkins for Countdown amplifiers is used to produce the dubbing mas- Media/Everest • Digital Transfers and Remastering: ter. Tape duplication is accomplished on modi- Lutz Rippe at Countdown Media • Artwork fied Ampex machines in the Belock studios, so preparation: Eckhard Volk at Countdown Media • that maximum quality control is exercised at Digital Booklet: Dirk Böing, Martina Grüthling • all times. For stereo disc, the tape is fed into Original Producer: Bert Whyte for Everest Records modified Westrex stereo cutterhead, mounted • Original Recording Director: Raoul Poliakin • on Scully lathes. A former Westrex design engi- Original Recording Engineer: Joe Kane • Recording Location and Date: Walthamstow Assembly Hall, neer is on the Belock Recording stuff to insure London (November 1958) • Original Recording optimum quality in stereo disc operations. The on 3-track ½ inch tape, released as SDBR 3015 results of all this painstaking care are to be in February 1959 • Digital restoration and heard on any EVEREST recording. The record- remastering using Algorithmix software products ings will give superb sound on any playback ℗ & © Countdown Media GmbH Below is a listing of the currently available Everest albums in this series. For more information and an updated listing please visit www.everestrecords.com

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SDBR-3003 Antill: Corroboree - Ginastera: Panambi SDBR-3023 Strauss: Till Eulenspiegel / Salome / Don Juan London Symphony Orchestra & Sir Eugene Goossens, Stadium Symphony Orchestra of New York & Leopold Conductor Stokowski, Conductor

SDBR-3005 Mahler: Symphony No. 1 in D Major “Titan” SDBR-3025 Waltz Masterpieces London Philharmonic Orchestra & Sir , Stadium Symphony Orchestra of New York & Raoul Conductor Poliakin, Conductor

SDBR-3006 A Memorial Tribute to : SDBR-3026 Rimsky-Korsakov: Scheherazade Symphony No. 9 in E Minor London Symphony Orchestra & Sir Eugene Goossens, London Philharmonic Orchestra & Sir Adrian Boult, Conductor Conductor SDBR-3027 Raymond Paige’s Classical Spice Shelf SDBR-3007 Shostakovitch: Symphony No. 6 in B Minor, Op. 54 Stadium Symphony Orchestra of New York & Raymond London Philharmonic Orchestra & Sir Adrian Boult, Paige, Conductor Conductor SDBR-3028 Strauss: A Night in Venice SDBR-3008 Hindemith: Symphony in E-flat Original Cast & Thomas Martin, Conductor London Philharmonic Orchestra & Sir Adrian Boult, Conductor SDBR-3031 Wagner: Parsifal - Good Friday Spell “Karfreitagszauber” & Symphonic Synthesis Act 3 SDBR-3009 Stravinsky: Ebony Concerto & Symphony in Houston Symphony Orchestra & , 3 Movements Conductor Woody Herman and his Orchestra / London Symphony Orchestra & Sir Eugene Goossens, Conductor SDBR-3032 Scriabin: The Poem of Ecstasy - Amirov: Azerbaijan Mugam SDBR-3011 Tchaikovsky: Francesca da Rimini & Hamlet Houston Symphony Orchestra & Leopold Stokowski, Stadium Symphony Orchestra of New York & Leopold Conductor Stokowski, Conductor SDBR-3033 Stravinsky: Petrouchka SDBR-3012 Charles K. L. Davis sings Romantic Arias from Favorite London Symphony Orchestra & Sir Eugene Goossens, Operas Conductor Stadium Symphony Orchestra of New York, Wilfred Pelletier, Conductor & Charles K. L. Davis, Tenor SDBR-3034 Prokofiev: Symphony No. 5 London Symphony Orchestra & Sir , SDBR-3015 Copland: Billy The Kid & Statements for Orchestra Conductor London Symphony Orchestra & Aaron Copland, Conductor SDBR-3035 Tchaikovsky: Manfred Symphony SDBR-3018 Copland: Symphony No. 3 London Symphony Orchestra & Sir Eugene Goossens, London Symphony Orchestra & Aaron Copland, Conductor Conductor

SDBR-3021 Arnold: 4 Scottish Dances / Symphony No. 3 SDBR-3036 Schumann: Piano Concerto in A Minor, Op. 54 & Franck: London Philharmonic Orchestra & , Variations Symphoniques Conductor London Symphony Orchestra, Sir Eugene Goossens, Conductor & Peter Katin, Piano SDBR-3037 Berlioz: Symphonie Fantastique SDBR-3051 Respighi: The Fountains of Rome & The Pines of London Symphony Orchestra & Sir Eugene Goossens, Rome Conductor London Symphony Orchestra & Sir Malcolm Sargent, Conductor SDBR-3038 Richard Strauss: Ein Heldenleben London Symphony Orchestra & Leopold Ludwig, SDBR-3052 Khatchaturian: Gayne (Ballet Suite) Conductor London Symphony Orchestra & Anatole Fistoulari, Conductor SDBR-3039 Tchaikovsky: Symphony No. 5 in E Major, Op. 64 London Symphony Orchestra & Sir Malcolm Sargent, SDBR-3053 Mussorgsky: Pictures at an Exhibition & Night on Conductor Bald Mountain London Symphony Orchestra & Sir Malcolm Sargent, SDBR-3040 Hindemith: Violin Concerto & Mozart: Violin Concerto Conductor No. 3 London Symphony Orchestra, Sir Eugene Goossens, SDBR-3054 Shostakovich: Symphony No. 9 / Lieutenant Kijé Suite Conductor & Joseph Fuchs, Violin London Symphony Orchestra & Sir Malcolm Sargent, Conductor SDBR-3041 Villa-Lobos: The Little Train of the Caipira (from Bachianas Brasileiras No. 2) SDBR-3055 Khatchaturian: Concerto for Piano and Orchestra in Ginastera: Estancia & Panambi (Ballet Suites) D-flat Major London Symphony Orchestra & Sir Eugene Goossens, London Symphony Orchestra, Hugo Rignold, Conductor & Conductor Peter Katin, Piano

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SDBR-3045 Sibelius: Violin Concerto in D Minor & Tapiola, SDBR-3057 De Falla: The Three Cornered Hat (Complete Ballet) Tone Poem, Op. 112 London Symphony Orchestra & Enrique Jordá, Conductor London Symphony Orchestra, Tauno Hannikainen, Conductor & Tossy Spivakovsky, Violin SDBR-3058 Irving Berlin: Great Man of American Music - A New Interpretation SDBR-3046 Schubert: Symphony No. 8 in B Minor, D 759 Raoul Poliakin and his orchestra “Unfinished” - Mozart: Symphony No. 40 in G Minor, K. 550 SDBR-3059 Works of Lili Boulanger: Du fond de l’abîme London Symphony Orchestra & Leopold Ludwig, (Psaume 130), Psaume 24, Psaume 129, Vieille Prière Conductor Bouddhique & Pie Jesu Lamoureux Concert Association Orchestra, Elisabeth SDBR-3047 Stravinsky: The Rite of Spring (“Le Sacre du Brasseur Choir & Igor Markevitch, Conductor Printemps”) London Symphony Orchestra & Sir Eugene Goossens, SDBR-3060 Debussy: Iberia - Ravel: La Valse & Rhapsodie Conductor Espagnol Rochester Philharmonic Orchestra & , SDBR-3049 Tchaikovsky: Violin Concerto in D Major, Op. 35 & Conductor Melody, Op. 42/3 London Symphony Orchestra, Walter Goehr, Conductor & SDBR-3061 A Memorial Album: Ernst von Dohnányi Plays His Own Tossy Spivakovsky, Violin Music for Piano Ernst von Dohnányi, Piano SDBR-3050 Mahler: Symphony No. 9 in D Minor London Symphony Orchestra & Leopold Ludwig, SDBR-3062 Jorge Bolet playing the music of Franz Liszt: Piano Conductor Concerto No. 1 in E-Flat Major & Mephisto Waltz No. 1 Symphony of the Air, Robert Irving, Conductor & 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 & , Conductor

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SDBR-3067 Gershwin: Rhapsody in Blue & An American in Paris Pittsburgh Symphony Orchestra, William Steinberg, Conductor & Jesus Maria Sanroma, Piano

SDBR-3068 Sibelius: Symphony No. 5 in E-Flat Major, Op. 82 & Finlandia, Op. 26 Rochester Philharmonic Orchestra & Theodore Bloomfield, Conductor

SDBR-3069 Bartók: Concerto for Orchestra Houston Symphony Orchestra & Leopold Stokowski, Conductor

SDBR-3070 Wagner: Magic Fire Music & Wotan’s Farewell – Chopin: Mazurka, Op. 17/4, Prelude, Op. 28/24 & Waltz, Op. 64/2 – Canning: Fantasy on a Hymn Tune by Justin Morgan Houston Symphony Orchestra & Leopold Stokowski, Conductor

SDBR-3074 Beethoven: Symphony No. 6 in F Major, Op. 68 “Pastoral” London Symphony Orchestra & Josef Krips, Conductor

SDBR-3079 A Chopin Piano Recital Jorge Bolet, Piano

SDBR-3086 Beethoven: Symphony No. 5 in C Minor, Op. 67 London Symphony Orchestra & Josef Krips, Conductor

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