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Home , Leopold Stokowski, Peter Katin

Symphony No. 3 in F Major, Op. 90 Symphony / Leopold Stokowski, Conductor

1 I. Allegro con brio 10:16

2 II. Andante 10:52

3 III. Poco allegretto 06:22

4 IV. Allegro 09:42 BRAHMS: Symphony No. 3 in Brahms and Ignaz Brüll. One of those pre- There is a close connection between the F Major, Op. 90 sent at this private run-through was a man musical content of the Third Symphony and who was not ranked among the composer’s the circumstances of its second performance. Leopold Stokowski the many admirers. Consequently, when Ehrbar Some thirty years earlier, Brahms met the Orchestra reported to Brahms that the man had waxed Hungarian violinist, Joseph Joachim, and enthusiastic in his comments about the Third the two became fast friends. The two young Symphony, he retorted brusquely, “Have you men formed a sort of two-member club that Brahms was forty-three before he completed told him that he often lies when he opens his included practically everything but a secret his First Symphony, the composition which mouth?” handshake. Joachim, who was two years had occupied him, off and on, for more than older than Brahms, had already established fourteen years. The Second Symphony fol- The symphony had its first performance on himself in the musical world, and he was lowed only a year later, but there was a lapse December 2, 1883, at a concert of the Vienna able to give his colleague some valuable of six years between the Second and the Philharmonic Orchestra, Hans Richter con- advice concerning publishers and the busi- Third, which was not ready until 1883. ducting. As usual, Brahms was quite con- ness of giving concerts, in return for which cerned about how the public would receive Brahms taught him to smoke. When their The composer had not been idle in the mean- his new work. He expressed some dissat- activities kept them apart, the two musicians time; between these two symphonies he isfaction over the way the rehearsals had corresponded under romantic pseudonyms wrote his two famous overtures - the Tragic gone, yet the manuscript copy of the score and sent each other counterpoint exercises and Academic Festival - the celebrated Violin shows that he also took some cues from these for correction. Concerto and the Second . rehearsals and penciled in numerous cor- These works enhanced his reputation rections and revisions. The concert offered Joachim had adopted a motto consist- immensely, and aroused tremendous inter- a double premiere; in addition to the sym- ing of the notes F-A-E; they stood for “Frei est in the new Third Symphony. phony, Dvorˇák’s Violin Concerto was heard aber einsam” (Free but lonely”). Not to be for the first time, with Franz Ondricek as the outdone, Brahms took a motto of his own, Brahms began work on the Third Symphony soloist. changing Joachim’s E to an F, so that his in 1882. As was his custom, he spent the read “Frei aber froh” (“Free but happy”). summer of 1883 away from Vienna. That Though Wagner had died that year, the According to a count made by Robert Haven year, the place he chose for his retreat was a fierce Wagner-Brahms feud had not sub- Schauffler, this F-A-F motto appears in no house in Wiesbaden, where he occupied the sided in the least. Some of the more fanati- less than eleven of Brahms’ compositions. second floor. In her biography of the com- cal members of the Wagner cult attended Chief among these is, the Third Symphony, poser, Florence May relates how he used to the premiere of Brahms’ Third Symphony, where the motto has been altered to F-A flat- remove his boots when he returned home and tried to ruin the performance by hissing F. In that form it appears at the very opening every evening and walk upstairs in his stock- loudly between movements. But the enthu- of the symphony and at quite a few points in ing feet, in order not to disturb a sick old siastic ovation accorded the new work was the first movement, returning again at the woman who lived on the first floor. It was in more than sufficient to drown out the hisses. symphony’s close. Wiesbaden that Brahms completed the sym- The conflict, however, almost precipitated a phony. duel between one Brahmsian, Arthur Faber, About two years before the appearance of the and a Wagnerite who was sitting behind him. symphony, Brahms and Joachim had become The new composition was first tried out, as Happily, the affair was forgotten at a post- estranged because Brahms had sided with its two predecessors had been, at the Vienna concert party which Faber gave for Brahms, Joachim’s wife in a domestic dispute. Some home of Ehrbar, the piano manufacturer, Dvorˇák and a number of other musical dig- authorities believe that Brahms gave consid- the reduction for two pianos being played by nitaries. erable prominence to this motto as a means of communicating to his old friend in music note of the F-A flat-F motto, with which the what he could not say in words. The recon- work opens. In the transition from the pow- ciliation was effected when Joachim wrote erful first subject to the quieter second one to Brahms asking if he might be permitted there occurs a brief sighing passage. Several to conduct the symphony for the first time in commentators have called attention to the Berlin. The composer had already promised similarity between this passage and the this honor to Franz Wüllner, who released chorus for women’s voices at the end of the him from the commitment, and Joachim Venusberg scene in Wagner’s Tannhäuser. presented the new work on January 4, 1884. 1883, the year the Third Symphony was completed, was also the year of Wagner’s Two weeks later, Brahms came to Berlin death, and some believe that this may have and conducted the symphony him- been a quiet gesture of memorial tribute self with Wüllner’s orchestra, the Berlin from Brahms to his fiercest, musica1 adver- Philharmonic. He also appeared as soloist in sary. The second movement is an even-tem- his Piano Concerto No. 1 in D Minor. The late pered, almost hymn-like Andante. In place of Philip Hale recounted in his program notes the customary scherzo, there is a Poco alle- for the Boston Symphony Orchestra that he gretto that is a songful, if somewhat melan- attended that performance. “The symphony choly, intermezzo. The finalAllegro begins in was applauded enthusiastically,” he wrote, a mood of veiled mystery, but soon emerges “but Brahms was almost as incompetent a from the clouds into a stronger, more affirm- conductor as Joachim.” Hale also recalled ative heroic light. At the very dose of the that Brahms’ piano playing on that occasion movement, the symphonic cycle is rounded was “muddy and noisy.” out with a subdued restatement of the motto and opening theme from the first movement. When Hans von Bülow introduced the Third Symphony at Meiningen, he played it twice Notes by PAUL AFFELDER on the same program, in order that the audi- ence might become better acquainted with it. According to all reports, the applause was louder after the second performance.

The Third Symphony is scored for two flutes, two oboes, two clarinets, two bassoons, con- tra-bassoon, four horns, two trumpets, three trombones, kettledrums and strings.

The two end movements of the symphony have a heroic character. As a matter of fact, both Richter arid the critic Eduard Hanslick referred to this as Brahms’ Eroica. The prin- cipal theme of the first movement, Allegro con brio, grows immediately out of the last Some notes on the history of Everest Notice that now EVEREST engineers have tensile strength which effectively eliminates of EVEREST 35 mm equipment, over 3 times the normal space available pitch changes due to “tape stretch”, a condi- engineers are able to make recordings and [than] on ¼” tape. This means distortion free, tion heretofore almost impossible to control. maintain the rigid standards and excellence When Everest Records was founded by perfect sound. 35 mm magnetic film allows of quality available in the Studios. Harry Belock in 1958 as a division of Belock EVEREST engineers to make recordings with Drawing on the extensive experience in Instrument Corp., the aim was to produce a the motion picture sound field BELOCK The advanced engineering and special equip- catalogue of stereo recordings of the highest • No distortion from print through INSTRUMENT (of which EVEREST is a divi- ment, in addition to meticulous attention possible technical standard, with interesting • No distortion from lack of channel width sion), requested Westrex Corporation to build to detail, results in the EVEREST sound, a and innovative classical repertoire played by • Absolute minimum of “wow or flutter” special equipment to EVEREST’S exacting sound that has been acclaimed as superb by some of the best artists and . • Highest possible signal to noise ratio specifications in order to accomplish these critics and record enthusiasts throughout the • Greatest quality and dynamic range ever advantages. This equipment includes the use world. For the first Everest recording sessions in recorded of special recording heads which afford com- 1958, an Ampex 300-3 half-inch three- plete wide band frequency response beyond channel recorder was used. Later on the label With 35 mm magnetic film, the base mate- that normally specified in any present-day moved to use a Westrex 35mm 3-track mag- rial on which the magnetic oxide is coated motion picture recording. It is of interest to netic film recorder, which had a wider possible is five times thicker than conventional tape note, that when soundtracks of great motion dynamic range, less print-through, less tape and is similar to the film used for motion pic- pictures originally recorded on 35 mm mag- stretch and less ‘wow and flutter’, and which tures. This thickness permits the recording of netic film are released as phonograph records, was the basis for the highly acclaimed typical extremely high sound intensities without the that normal technique is to re-record the Executive Producer: Mark Jenkins for Countdown “Everest-sound”. danger of layer-to-layer “print-through”. The sound from 35 mm magnetic film to conven- Media/Everest • Project Coordinator: Helge Jürgens for Countdown Media • Digital Transfers width of 35 mm magnetic film is such that tional tape. EVEREST, through its advanced and Remastering: Lutz Rippe at Countdown Media it can accommodate three channels, each of processes and equipment, is the only record • Artwork preparation: Eckhard Volk at Countdown which is as wide as the standard ¼” record- company able to transfer all Master Records Media • Digital Booklet: böing gestaltung • Original …from the original LP release: ing tape. Because of this great channel width, directly from the 35 mm magnetic film to the Recording Director: Bert Whyte for Everest it is possible to produce stereo recordings in recording heads. Records • Technical Director (Original Recording): “The remarkable EVEREST sound on this which the usual background noise is inaudi- Robert J. Engler • Musical Director (Original record is the result of a revolutionary new ble. Another similarity of magnetic film to To assure maintaining the high quality of Recording): Raoul Poliakin • Original Recording Engineer: Aaron Nathanson • Original Cover method of magnetic recording developed by motion picture is that it has sprocket holes EVEREST sound on every EVEREST record- Artwork: Alex Steinweiss • Recording Location EVEREST utilizing 35 mm magnetic film. cut along each edge. The drive mechanism is ing, the same equipment that is used in the and Date: Houston Civic Center (March 18, 1959) also similar to motion picture cameras in that BELOCK Recording studios is utilized for • Original Recordings on 35 mm 3-track magnetic Below is a graphic representation of this sprocket gears engage these sprocket holes recordings made anywhere in the world. By film, originally released in 1959 as SDBR 3030 new material. What you see here, your ears affording a smoothness of motion that reduces utilizing specially designed portable versions ℗ & © Countdown Media GmbH will quickly verify when you listen to an “wow and flutter” to an absolute minimum. EVEREST recording. The film has another advantage in its great

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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.everestrecords.com

SDBR-3001 Prokofiev : Chout (“The Buffoon”), Ballet Suite, Op. 21a SDBR-3016 Villa-Lobos: Uirapurú & Modinha (from Bachianas Symphony Orchestra & Sir Eugene Goossens, Brasileiras No. 1) & Prokofiev: (Ballet Suite) Conductor Stadium Symphony Orchestra of New York & Leopold Stokowski, Conductor SDBR-3002 Copland: Appalachian Spring & Gould: Spirituals for String and Orchestra SDBR-3017 Milhaud: La Création du Monde / Stravinsky: L’Histoire London Symphony Orchestra & , Conductor du Soldat London Symphony Orchestra Chamber Group & John Carewe, SDBR-3003 Antill: Corroboree - Ginastera: Panambi Conductor London Symphony Orchestra & Sir Eugene Goossens, Conductor SDBR-3018 Copland: Symphony No. 3 London Symphony Orchestra & , Conductor SDBR-3005 Mahler: Symphony No. 1 in D Major “Titan” London Philharmonic Orchestra & Sir , SDBR-3021 Arnold: 4 Scottish Dances / Symphony No. 3 Conductor London Philharmonic Orchestra & , Conductor SDBR-3006 Vaughan Williams: Symphony No. 9 in E Minor London Philharmonic Orchestra & Sir Adrian Boult, SDBR-3022 Kodály: Psalmus Hungaricus - Bartók: Dance Suite Conductor London Philharmonic Orchestra & János Ferencsik, Conductor SDBR-3007 Shostakovitch: Symphony No. 6 in B Minor, Op. 54 London Philharmonic Orchestra & Sir Adrian Boult, SDBR-3023 Strauss: Till Eulenspiegel / Salome / Don Juan Conductor Stadium Symphony Orchestra of New York & Leopold Stokowski, Conductor SDBR-3008 Hindemith: Symphony in E-flat Major London Philharmonic Orchestra & Sir Adrian Boult, SDBR-3025 Waltz Masterpieces Conductor Stadium Symphony Orchestra of New York & Raoul Poliakin, Conductor SDBR-3009 Stravinsky: Ebony Concerto & Symphony in 3 Movements SDBR-3026 Rimsky-Korsakov: Scheherazade Woody Herman and his Orchestra / London Symphony London Symphony Orchestra & Sir Eugene Goossens, Orchestra & Sir Eugene Goossens, Conductor Conductor

SDBR-3011 Tchaikovsky: Francesca da Rimini & SDBR-3027 Raymond Paige’s Classical Spice Shelf Stadium Symphony Orchestra of New York & Leopold Stadium Symphony Orchestra of New York & Raymond Paige, Stokowski, Conductor Conductor

SDBR-3012 Charles K. L. Davis sings Romantic Arias from Favorite SDBR-3028 Strauss: A Night in Venice Operas Original Cast & Thomas Martin, Conductor Stadium Symphony Orchestra of New York, Wilfred Pelletier, Conductor & Charles K. L. Davis, Tenor SDBR-3030 Brahms: Symphony No. 3 in F Major, Op. 90 Houston Symphony Orchestra & Leopold Stokowski, SDBR-3014 Mahler: Symphony No. 5 in C-Sharp Minor Conductor London Symphony Orchestra & Sir Rudolf Schwarz, Conductor SDBR-3031 Wagner: Parsifal - Good Friday Spell “Karfreitagszauber” & Symphonic Synthesis Act 3 SDBR-3015 Copland: Billy The Kid & Statements for Orchestra Houston Symphony Orchestra & Leopold Stokowski, London Symphony Orchestra & Aaron Copland, Conductor Conductor SDBR-3032 Scriabin: The Poem of Ecstasy - Amirov: Azerbaijan SDBR-3045 Sibelius: Violin Concerto in D Minor & , Tone Houston Symphony Orchestra & Leopold Stokowski, Poem, Op. 112 Conductor London Symphony Orchestra, Tauno Hannikainen, Conductor & Tossy Spivakovsky, Violin SDBR-3033 Stravinsky: Petrouchka London Symphony Orchestra & Sir Eugene Goossens, SDBR-3046 Schubert: Symphony No. 8 in B Minor, D 759 Conductor “Unfinished” - Mozart: Symphony No. 40 in G Minor, K. 550 SDBR-3034 Prokofiev: Symphony No. 5 London Symphony Orchestra & Leopold Ludwig, Conductor London Symphony Orchestra & Sir , Conductor SDBR-3047 Stravinsky: (“Le Sacre du Printemps”) SDBR-3035 Tchaikovsky: Manfred Symphony London Symphony Orchestra & Sir Eugene Goossens, London Symphony Orchestra & Sir Eugene Goossens, Conductor Conductor SDBR-3049 Tchaikovsky: Violin Concerto in D Major, Op. 35 SDBR-3036 Schumann: Piano Concerto in A Minor, Op. 54 & & Melody, Op. 42/3 Franck: Variations Symphoniques London Symphony Orchestra, Walter Goehr, Conductor & London Symphony Orchestra, Sir Eugene Goossens, Tossy Spivakovsky, Violin Conductor & Peter Katin, Piano SDBR-3050 Mahler: Symphony No. 9 in D Minor SDBR-3037 Berlioz: Symphonie Fantastique London Symphony Orchestra & Leopold Ludwig, Conductor London Symphony Orchestra & Sir Eugene Goossens, Conductor SDBR-3051 Respighi: The Fountains of Rome & The London Symphony Orchestra & Sir Malcolm Sargent, SDBR-3038 : Ein Heldenleben Conductor London Symphony Orchestra & Leopold Ludwig, Conductor SDBR-3052 Khatchaturian: Gayne (Ballet Suite) SDBR-3039 Tchaikovsky: Symphony No. 5 in E Major, Op. 64 London Symphony Orchestra & Anatole Fistoulari, London Symphony Orchestra & Sir Malcolm Sargent, Conductor Conductor SDBR-3053 Mussorgsky: Pictures at an Exhibition & Night On Bald SDBR-3040 Hindemith: Violin Concerto & Mozart: Violin Concerto Maountain London Symphony Orchestra, Sir Eugene Goossens, London Symphony Orchestra & Sir Malcolm Sargent, Conductor & Joseph Fuchs, Violin Conductor

SDBR-3041 Villa-Lobos: The Little Train of Caipira (from Bachianas SDBR-3054 Shostakovich: Symphony No. 9 & Lieutenant Kijé Suite Brasileiras No. 2) – Ginastera: Estancia & Panambi London Symphony Orchestra & Sir Malcolm Sargent, London Symphony Orchestra & Sir Eugene Goossens, Conductor Conductor SDBR-3055 Khatchaturian: Concerto for Piano and Orchestra in SDBR-3042 Mozart: Serenades No. 11 in E-flat major (K. 375) and D-flat Major No. 12 in C minor (K. 388) London Symphony Orchestra, Hugo Rignold, Conductor & Everest Woodwind Octet Peter Katin, Piano

SDBR-3043 Prokofiev: , Op. 67 SDBR-3056 Dvorˇák: Symphony No. 9 in E Minor, Op. 95 “From the Stadium Symphony Orchestra of New York, Leopold New World” Stokowski, Conductor & Captain Kangaroo (), London Symphony Orchestra & Leopold Ludwig, Conductor Narrator SDBR-3057 De Falla: The Three Cornered Hat (Complete Ballet) SDBR-3044 Grofé: Grand Canyon Suite & Concerto for Piano and London Symphony Orchestra & Enrique Jordá, Conductor Orchestra in D Minor Rochester Philharmonic Orchestra & Ferde Grofé, SDBR-3058 Irving Berlin: Great Man of American Music - A New Conductor Interpretation Raoul Poliakin and his orchestra SDBR-3059 Works of Lili Boulanger: Du fond de l’abîme (Psaume SDBR-3074 Beethoven: Symphony No. 6 in F Major, Op. 68 130), Psaume 24, Psaume 129, Vieille Prière “Pastoral” Bouddhique & Pie Jesu London Symphony Orchestra & Josef Krips, Conductor Lamoureux Concert Association Orchestra, Elisabeth Brasseur Choir & Igor Markevtich, Conductor SDBR-3076 Duo Piano Recital: Pierre Luboshutz & Genia Nemenoff, Pianists SDBR-3060 Debussy: - Ravel: La Valse & Rhapsodie Espagnol Rochester Philharmonic Orchestra & Theodore Bloomfield, SDBR-3079 A Chopin Piano Recital Conductor Jorge Bolet, Piano

SDBR-3061 A Memorial Album: Ernst von Dohnányi Plays His Own SDBR-3086 Beethoven: Symphony No. 5 in C Minor, Op. 67 Music for Piano London Symphony Orchestra & Josef Krips, Conductor Ernst von Dohnányi, Piano SDBR-3087 Beethoven: Symphony No. 3 in E-flat Major, Op. 55 SDBR-3062 Jorge Bolet playing the music of : Piano London Symphony Orchestra & Josef Krips, Conductor Concerto No. 1 in E-Flat Major & Mephisto Waltz No. 1 SDBR-3088 Beethoven: Symphony No. 7 in A Major, Op. 92 Symphony of the Air, Robert Irving, Conductor & Jorge London Symphony Orchestra & Josef Krips, Conductor Bolet, Piano SDBR-3089 Beethoven: Symphonies No. 1 & 8 SDBR-3063 Bennett: A Commemoration Symphony to Stephen London Symphony Orchestra & Josef Krips, Conductor Foster & A Symphonic Story of Jerome Kern Pittsburgh Symphony Orchestra, Mendelssohn Choir of SDBR-3110 Beethoven: Symphony No. 9 in D Minor, Op. 125 Pittsburgh & William Steinberg, Conductor “Choral” London Symphony Orchestra & Josef Krips, Conductor SDBR-3064 Liszt: Sonata in B Minor, Funerailles & Mephisto Waltz No. 1 SDBR-3113 Beethoven: Symphonies No. 2 & 4 Jorge Bolet, Piano London Symphony Orchestra & Josef Krips, Conductor

SDBR-3066 Brahms: Symphony No. 4 in E minor, Op. 98 Pittsburgh Symphony Orchestra & William Steinberg, Conductor

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

SDBR-3068 Sibelius: Symphony No. 5 in E-Flat Major, Op. 82 & , 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: Mazurkas, Op. 17, Preludes, Op. 28 & Waltzes, Op. 64 (transcribed for Orchestra) Houston Symphony Orchestra & Leopold Stokowski, Conductor

SDBR-3071 Robert-Alexander Bohnke: The Great New Virtuoso