1 Nikolai Rimsky-Korsakov Scheherazade – Symphonic Suite, 10:29 Op. 35 I. The Sea and Sindbad’s Ship 2 Pyotr Ilyich Tchaikovsky Manfred Symphony, Op. 58 09:08 II. Vivace con spirito 3 Hector Berlioz Symphonie fantastique, Op. 14 10:22 V. Dream of a Witches’ Sabbath 4 Ottorino Respighi Feste Romane I. Circuses 04:32 5 Igor Stravinsky Symphony in 3 Movements I. Overture. Allegro 10:24 6 Igor Stravinsky Petrouchka – Ballet Suite in 4 Scenes for 05:26 Orchestra, Scene I I. The Shrovetide Fair 7 Igor Stravinsky Petrouchka – Ballet Suite in 4 Scenes for 01:34 Orchestra, Scene I II. Magic Trick 8 Igor Stravinsky Petrouchka – Ballet Suite in 4 Scenes for 02:20 Orchestra, Scene I III. Russian Dance 9 Igor Stravinsky Petrouchka – Ballet Suite in 4 Scenes for 03:57 Orchestra, Scene II IV. Petrouchka’s Room 10 Heitor Villa-Lobos Bachianas Brasileiras No. 2, W247 04:36 The Little Train of the Caipira 11 Alberto Ginastera Estancia – Ballet Suite, Op. 8a 03:37 IV. Final Dance “Malambo” 12 Alberto Ginastera Panambi – Ballet Suite, Op. 1a 05:36 I. Moonlight on the Parana 13 Alberto Ginastera Panambi – Ballet Suite, Op. 1a 01:13 II. Invocation of the Powerful Spirits 14 Alberto Ginastera Panambi – Ballet Suite, Op. 1a 02:29 III. Lament of the Maidens and Rondo of the Maidens 15 Alberto Ginastera Panambi – Ballet Suite, Op. 1a 03:23 IV. Dance of the Warriors London Symphony Orchestra / Sir Eugene Goossens, Conductor IN MEMORIAM THE GREATNESS OF Side No. 4: TCHAIKOVSKY: Manfred Symphony • Sir GOOSSENS VILLA-LOBOS: The Little Train of the Caipira Eugene Goossens conducting the London SIR EUGENE GOOSSENS – GINASTERA: Estancia – “Malambo” Symphony Orchestra (SDBR-3035) Conducting The London Symphony Orchestra GINASTERA: Panambi – Ballet Suite STRAVINSKY: Petrouchka – Complete Ballet (original version) • Sir Eugene Goossens Side No. l: Here is a cross section of the type of music Sir conducting the London Symphony Orchestra RIMSKY-KORSAKOV: Scheherazade – “The Eugene had championed from his early days (SDBR-3033) Sea and Sinbad’s Ship” on the podium until the last in an effort to provide an audience for the new schools in SCHUMANN: Concerto for Piano and TCHAIKOVSKY: Manfred Symphony - Vivace musical thought. Orchestra in A Minor, Op. 54 • Franck: con spirito Variations Symphoniques for Piano and Orchestra • Peter Katin, piano, with the In these selections, the orchestra glows with London Symphony Orchestra, conducted by the richness and color that Sir Eugene could The following albums by Sir Eugene Goossens Sir Eugene Goossens (SDBR-3036) conjure in interpreting the Russians. are available on Everest: BERLIOZ: Symphonie Fantastique, Op. 14 • ANTHEIL: Corroboree • Ginastera Panambi Sir Eugene Goossens conducting the London Side No. 2: • Sir Eugene Goossens conducting the Symphony Orchestra (SDBR-3037) BERLIOZ: Symphonie Fantastique – “Dream London Symphony Orchestra. (SDBR-3003) of a Witches’ Sabbath” HINDEMITH: Concerto for Violin and RESPIGHI: Feste Romane • Rachmaninoff: Orchestra (World Premiere Recording) • RESPIGHI: Feste Romane – “Circus Maximus” Symphonic Dances • Sir Eugene Goossens Mozart: Concerto for Violin and Orchestra conducting the London Symphony Orchestra No. 3 in G Major (K. 216) • Joseph Fuchs, This side embraces the full gamut of “pro- (SDBR-3004-2) violin, with the London Symphony Orchestra, gramme music,” ranging from the innovator conducted by Sir Eugene Goossens (SDBR- of music that tells a story to a 20th Century STRAVINSKY: Symphony in Three 3040) practitioner. The works were created a full Movements • Sir Eugene Goossens con- century apart. ducting the London Symphony Orchestra VILLA-LOBOS • The Little Train of the • Stravinsky: Ebony Concerto • Woody Caipira from Bachianas Brasilieras No. 2 Herman and his orchestra (SDBR-3009) • Ginastera: Estancia • Panambi (Ballet Side No. 3: Suites) • Sir Eugene Goossens conducting STRAVINSKY: Symphony in Three ANTHEIL: Symphony No. 4 (1942) • the London Symphony Orchestra (SDBR- Movements – Overture (Allegro) Ginastera: Estancia - Ballet Suite • Sir 3041) Eugene Goossens conducting the London STRAVINSKY – Petrouchka – Scenes I & II Symphony Orchestra (SDBR-3013) STRAVINSKY – The Rite of Spring (Le Sacre du Printemps) • Sir Eugene Goossens con- RIMSKY-KORSAKOV: Scheherazade • ducting The London Symphony Orchestra Symphonic Suite after “The Thousand Nights (SDBR-3047) and a Night,” Op. 35 • Sir Eugene Goossens conducting the London Symphony Orchestra • Hugh Maguire, solo violin (SDBR-3026) ON JUNE 13, 1962, THE BATON OF ONE At the age of 10, he entered the Bruges properly shaping each phrase dates back to OF THE GREATEST CONDUCTORS OF Conservatoire, and at 13, he enrolled in the this vital period when the artist himself was OUR TIME WAS STILLED FOREVER. Liverpool College of Music. While there, being moulded. he was awarded a scholarship to the Royal Sir Eugene Goossens, leading member of College of Music where he won numerous While he was a member of the Queen’s Hall England’s Royal Family of Music, passed honors in composition, piano and violin. At Orchestra, Goossens was active in other from the scene, after more than fifty years the Royal College, he studied mainly with areas of the music realm. He joined the noted on the concert stages of the world. With his Sir Charles Stanford in composition, and the Philharmonic String Quartet. In addition, death, a century old tradition was ended. For violin with Serge Rivarde. he composed numerous works. Goossens the first time in more than a hundred years, started creating his own compositions at the a Eugene Goossens no longer occupies an Goossens made his first professional appear- age of 18, the year he joined the orchestra, orchestra podium. ance in London at the age of 16. He was and wrote at least three works a year. During called at the last minute to substitute in an his first year, he wrote his Variations on a He was the third in an illustrious line to bear emergency for one of the second violinists Chinese Theme for Orchestra, Miniature that celebrated name. His father and grand- at Covent Garden. The youngster welcomed Phantasy for String Orchestra, and his Octet father, both named Eugene, were noted con- the rare experience for the orchestra was for Flute, Clarinet, Horn, Harp, and Strings. ductors of their day. His mother, Annie Cook, under the baton of the famed Wagnerian He gained prominence as a composer during was a famous contralto, and the daughter interpreter, Hans Richter. At 18, following the early days of World War I. His works of the popular basso cantante, T. Aynsley his graduation from the Royal College, he revealed a deep devotion to polish and ele- Cook, well known as a member of the Carl joined the Queen’s Hall Orchestra as a violin- gance, attributes that were ever present in Rosa Opera Company. His brother, Leon, is ist, and remained with that esteemed organi- his conducting. acclaimed among the greatest virtuosi of the zation for four years. oboe. His twin sisters, Marie and Sidonie, are It was as a conductor, however, that he was world renowned harpists. Another brother, This was excellent groundwork for one who destined to gain his greatest acclaim, inherit- also a distinguished musician, was killed in was to emerge among the foremost con- ing from father and forefather the rare talent World War I. ductors of his time. In addition to his own to bend the orchestra to his will, and make it family environment so steeped in music, the speak with a voice of genius. To Sir Thomas Eugene Goossens was born into this environ- youth was afforded the priceless experience Beecham goes the credit for discovering that ment on May 26, 1893, and from the start, of playing under the leading baton mas- Goossens had within him the makings of a his life was predestined to be devoted to the ters of the day, including even the legend- great conductor. After considerable coun- realm of music. His father was the conductor ary Nikisch. Later in life, he recalled these seling and urging from Beecham, Goossens of the Carl Rosa Company’s orchestra, as was formative years as time devoted to the finest accepted a last minute assignment to con- his father before him. He once recalled that training any one could have received. Each duct Sir Charles Stanford’s operatic version between his father and grandfather, every night, a different symphony was performed. of “The Critic”. Goossens was 23 years old at important opera in repertoire had been pro- One can well imagine what a wide range of the time. duced. His boyhood days were spent watch- orchestral literature was covered within a ing his father rehearse the orchestra. From single season. It was, perhaps, during these The performance was so successful that the countless hours devoted to sitting in the early years in his career that he acquired his Goossens decided to heed Beecham’s advice empty hall and listening to the rehearsals, penetrating insight into the full rainbow of to forsake the fiddle in favor of the baton. He Goossens became thoroughly acquainted symphonic repertoire. It may well be that joined the Beecham Opera Company as an with the scores of all the standard operas by his characteristic meticulous attention to associate conductor, and remained with him the time he was ten years old. until Beecham’s temporary retirement from the music world in 1920. Under Beecham’s By 1923, a mere seven years after his debut From these, Everest Records has selected guiding hand, Goossens’ innate gift as a con- as a conductor, he had become so renowned, a representative array of examples of Sir ductor flourished. his fame had reached this country. The Eugene’s genius. To be sure, it is impossible 30 year old conductor was invited to become to distill almost a half century of artistry with After several years with Beecham, he the permanent conductor of the Rochester a single album, but the selections comprise a was signed by the British National Opera Philharmonic.