The Post-War Revival

Malcolm Arnold b. 1921 01 7:10 Beckus the Dandipratt, overture for orchestra Op.5× (1943)* Gustav Mahler 1860 – 1911 16:36 Lieder eines fahrenden Gesellen× (1912) 02 4:04 Wenn mein Schatz Hochzeit macht 03 4:17 Ging heut’ morgens übers Feld 04 3:04 Ich hab’ ein glühend Messer THE POST-WAR REVIVAL 05 5:11 Die zwei blauen Augen Ludwig van Beethoven 1770 – 1827 EDUARD vAN BEINUM CONDUCTS 06 9:16 Overture, Leonore No.1 Op.138¤ (1832) THE LONDON PHILHARMONIC ORCHESTRA Johannes Brahms 1833 – 1897 16:30 Variations on a theme by Haydn Op.56a (St Anthony Chorale)¤ (1873) 07 1:57 Thema: Chorale St Anthony (Andante) 08 1:18 Variation I (Poco più animato) 09 0:54 Variation II (Più vivace) ARNOLD Beckus the Dandipratt 10 1:42 Variation III (Con moto) MAHLER Songs of a Wayfarer 11 2:10 Variation IV (Andante con moto) 12 0:50 Variation V (Vivace) BEETHOVEN Overture, Leonore No 1 13 1:15 Variation VI (Vivace) BRAHMS Variations on a theme by Haydn 14 2:10 Variation VII (Grazioso) 15 0:58 Variation VIII (Presto non troppo) ELGAR The Wand of Youth, Suite No 2 16 3:16 Finale (Andante) Edward Elgar 1857 – 1934 14:48 The Wand of Youth, Suite No.2 Op.1b¤ (1908) 17 3:53 March 18 2:24 The Little Bells 19 2:01 Moths and Butterflies 20 2:41 Fountain Dance 21 1:43 The Tame Bear 22 2:06 The Wild Bears EUGENIA ZARESKA mezzo soprano EDUARD VAN BEINUM conductor LONDON PHILHARMONIC ORCHESTRA ANDREW COOPER× DAVID WISE¤ leaders *world première recording LPO – 0011 A Fruitful Anglo-Dutch Relationship

At the time Eduard van Beinum became they received a welcome boost when van principal conductor of the London Beinum’s soloist, Eugenia Zareska, sang Philharmonic Orchestra – the official the cycle soon afterwards at three concerts announcement was made on 24 January in and around London with the LPO under 1949 – he was best known in international Furtwängler. Van Beinum’s relationship circles as head of the famed Concertgebouw with the LPO developed to the point in Orchestra of Amsterdam. With his Dutch 1949 that he felt he could combine the players he appeared in London in March role of chief conductor of both the London 1946, when the Decca Company made and the Amsterdam orchestras – but it some first recordings with them, but that was destined to last only for a short period same year he was invited to become one of before the ill-health that was to plague him a distinguished group of conductors from for the rest of his life became apparent. For overseas who were coming to London then a time he shared the LPO’s rostrum with to work with the London Philharmonic Sir Adrian Boult, who became principal Orchestra both in the concert hall and conductor when van Beinum left. They on record. He was in good company: knew each other well: Boult had been Wilhelm Furtwängler, Victor de Sabata, the first British conductor to conduct the Charles Münch, Erich Leinsdorf, Clemens Concertgebouw Orchestra after the war. Krauss, Erich Kleiber, Georg Szell and Carl Eduard van Beinum’s taste in music was Schuricht were some of the others. catholic in the best sense, ranging from No time was lost: van Beinum’s first Haydn, Mozart and Schubert through recordings with the LPO, all dating from Beethoven and Brahms to Mahler and 1946, were of Brahms’s third and Haydn’s Bruckner and to Sibelius and Bartók, and Military symphonies, closely followed by he had a strong feeling for the French the Mahler song-cycle included on this disc. school, especially Debussy and Ravel. In Amsterdam van Beinum’s predecessor, He was also a champion of his own and Eduard van Beinum conducting the London Philharmonic Orchestra, the legendary Willem Mengelberg, had other countries’ contemporary composers, Kingsway Hall London, November 1946. long been a pioneer of Mahler’s music, invariably featuring the works of Dutch but this was the first time that any of composers on his overseas tours. He was a work by his friend Matthijs Vermeulen feeling for the music of Benjamin Britten, the composer’s song-cycles had been always greatly interested in their reception was sent to the composer with the cryptic whose Four Sea Interludes from Peter Grimes recorded in England. When the records outside Holland, and he could be quite comment: ‘Enclosed a criticism. Rubbish.’ were among his first Decca recordings with were released in the autumn of 1948 partisan: an English newspaper review of Among the English school he had a special the Concertgebouw Orchestra. In 1949 he conducted the première of Britten’s Spring Philharmonic Orchestra as from his Lieder eines fahrenden Gesellen Songs of a Wayfarer Symphony (with Kathleen Ferrier among Concertgebouw players, while the fiery Text Gustav Mahler Text Gustav Mahler the soloists) at that year’s Holland Festival. Beethoven overture - a rarity in those Another native composer to benefit days (as indeed the Elgar was) - and Wenn mein Schatz Hochzeit macht When my darling has her wedding-day from his wide-ranging sympathies was reverential Brahms Haydn Variations Malcolm Arnold, whose comedy overture display the attitude of a man for whom Wenn mein Schatz Hochzeit macht When my darling has her wedding-day, Beckus the Dandipratt received its first the self-glorification of the conductor’s fröhliche Hochzeit macht, her joyous wedding-day, concert performance (16 November 1947) role and art was total anathema; his aim hab’ ich meinen traurigen Tag! I will have my day of mourning! and subsequent recording at the hands of was always, as he put it himself, ‘simply to Geh’ ich in mein Kämmerlein, I will go to my little room, van Beinum and the London Philharmonic make music together with the orchestra’. dunkles Kämmerlein, my dark little room, Orchestra. ‘I was first trumpet in the The friendliness towards players for which weine, wein’ um meinen Schatz, and weep, weep for my darling, orchestra then’, the composer recalled he became renowned, and the absolute um meinen lieben Schatz! for my dear darling! ‘and Dennis Egan played the cornet part. trust he placed in them together with Blümlein blau! Verdorre night! Little blue flower! Do not wither! Van Beinum had already conducted the his desire to seek musical satisfaction Vöglein süß! Du singst auf grüner Sweet little bird – you sing on the green overture at one of our concerts, so one through a mutual sense of purpose, Heide. heath. day when we had some time in the studio endeared him to everybody, ultimately Ach, wie ist die Welt so schön! Oh, how is it that the world is so beautiful! he put it in. It was as simple as that.’ It earning both respect and devotion. Ziküth! Ziküth! Chirp! Chirp! was the first music by Malcolm Arnold to Eduard van Beinum’s eventual recorded Singet nicht! Blühet night! Do not sing! Do not bloom! be recorded, and the brilliant record that legacy with the London Philharmonic Lenz ist ja vorbei! Spring is past! resulted was used as a demonstration Orchestra included, apart from the above, Alles Singen ist nun aus. All singing must now stop. disc by Decca for years afterwards. Bizet’s music for L’Arlésienne, excerpts from Des Abends, wenn ich schlafen geh’, At night when I go to sleep, Elgar was another of the Dutch Beethoven’s Prometheus ballet, Mozart’s denk’ ich an mein Leide. I think of my sorrow. conductor’s predilections, and it was Haffner Symphony, Handel’s Water Music, An mein Leide! Of my sorrow! fascinating in the post-war period in Tchaikovsky’s fantasy overture Romeo England to be able to hear a foreign and Juliet, Borodin’s Polovtsian Dances Ging heut’ morgen übers Feld I walked across the fields this morning maestro’s view of Cockaigne, the Cello and the violin concertos of Mendelssohn, Concerto and The Wand of Youth music, Sibelius and Lalo. There was also an LP Ging heut’ morgen übers Feld, I walked across the fields, this morning; all recorded in London. The brilliant, collection of six Beethoven overtures, tau noch auf den Gräsern hing. dew still hung on the grass. sure-footed playing in The Wand of Youth but the version of Leonore No 1 heard on Sprach zu mir de lust’ge Fink, The merry finch said to me, heard on this disc testifies to the alert, this reissue was excluded from it, and it “Ei du! Gelt? Guten Morgen! Ei gelt?” “Hey you! Isn’t it a good morning? Hey! warm-hearted response he was capable was only ever issued in 78rpm format. Du! Wird’s nicht eine schöne Welt? You! Isn’t it becoming a beautiful world? of obtaining as much from the London Zink! Zink! Schön und flink! Chirp! Chirp! Beautiful and agile! Wie mir doch die Welt gefällt!” Oh but how the world delights me!” conducted the première of Britten’s Spring Philharmonic Orchestra as from his Lieder eines fahrenden Gesellen Songs of a Wayfarer Symphony (with Kathleen Ferrier among Concertgebouw players, while the fiery Text Gustav Mahler Text Gustav Mahler the soloists) at that year’s Holland Festival. Beethoven overture - a rarity in those Another native composer to benefit days (as indeed the Elgar was) - and Wenn mein Schatz Hochzeit macht When my darling has her wedding-day from his wide-ranging sympathies was reverential Brahms Haydn Variations Malcolm Arnold, whose comedy overture display the attitude of a man for whom Wenn mein Schatz Hochzeit macht When my darling has her wedding-day, Beckus the Dandipratt received its first the self-glorification of the conductor’s fröhliche Hochzeit macht, her joyous wedding-day, concert performance (16 November 1947) role and art was total anathema; his aim hab’ ich meinen traurigen Tag! I will have my day of mourning! and subsequent recording at the hands of was always, as he put it himself, ‘simply to Geh’ ich in mein Kämmerlein, I will go to my little room, van Beinum and the London Philharmonic make music together with the orchestra’. dunkles Kämmerlein, my dark little room, Orchestra. ‘I was first trumpet in the The friendliness towards players for which weine, wein’ um meinen Schatz, and weep, weep for my darling, orchestra then’, the composer recalled he became renowned, and the absolute um meinen lieben Schatz! for my dear darling! ‘and Dennis Egan played the cornet part. trust he placed in them together with Blümlein blau! Verdorre night! Little blue flower! Do not wither! Van Beinum had already conducted the his desire to seek musical satisfaction Vöglein süß! Du singst auf grüner Sweet little bird – you sing on the green overture at one of our concerts, so one through a mutual sense of purpose, Heide. heath. day when we had some time in the studio endeared him to everybody, ultimately Ach, wie ist die Welt so schön! Oh, how is it that the world is so beautiful! he put it in. It was as simple as that.’ It earning both respect and devotion. Ziküth! Ziküth! Chirp! Chirp! was the first music by Malcolm Arnold to Eduard van Beinum’s eventual recorded Singet nicht! Blühet night! Do not sing! Do not bloom! be recorded, and the brilliant record that legacy with the London Philharmonic Lenz ist ja vorbei! Spring is past! resulted was used as a demonstration Orchestra included, apart from the above, Alles Singen ist nun aus. All singing must now stop. disc by Decca for years afterwards. Bizet’s music for L’Arlésienne, excerpts from Des Abends, wenn ich schlafen geh’, At night when I go to sleep, Elgar was another of the Dutch Beethoven’s Prometheus ballet, Mozart’s denk’ ich an mein Leide. I think of my sorrow. conductor’s predilections, and it was Haffner Symphony, Handel’s Water Music, An mein Leide! Of my sorrow! fascinating in the post-war period in Tchaikovsky’s fantasy overture Romeo England to be able to hear a foreign and Juliet, Borodin’s Polovtsian Dances Ging heut’ morgen übers Feld I walked across the fields this morning maestro’s view of Cockaigne, the Cello and the violin concertos of Mendelssohn, Concerto and The Wand of Youth music, Sibelius and Lalo. There was also an LP Ging heut’ morgen übers Feld, I walked across the fields, this morning; all recorded in London. The brilliant, collection of six Beethoven overtures, tau noch auf den Gräsern hing. dew still hung on the grass. sure-footed playing in The Wand of Youth but the version of Leonore No 1 heard on Sprach zu mir de lust’ge Fink, The merry finch said to me, heard on this disc testifies to the alert, this reissue was excluded from it, and it “Ei du! Gelt? Guten Morgen! Ei gelt?” “Hey you! Isn’t it a good morning? Hey! warm-hearted response he was capable was only ever issued in 78rpm format. Du! Wird’s nicht eine schöne Welt? You! Isn’t it becoming a beautiful world? of obtaining as much from the London Zink! Zink! Schön und flink! Chirp! Chirp! Beautiful and agile! Wie mir doch die Welt gefällt!” Oh but how the world delights me!” 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, gutter 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 funklen 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 and 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 and 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, gutter 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 funklen 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 and 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 and Welt und Traum! and world and dream! EUGENIA ZARESKA soprano citizenship she made guest appearances EDUARD VAN BEINUM conductor to me’, he said of Bruckner, ‘I can never from 1947 onwards at Covent Garden have enough of him.’ Later in the 1930s, The Ukranian-born mezzo-soprano (including the title role in Carmen and Eduard van Beinum was born in Arnhem when other orchestras were pursuing him, Eugenia Zareska (1922-79) made her Cherubino in Le Nozze di Figaro) and she in 1900, the son of a double-bass player the Concertgebouw players urged the debut as Dorabella in Così fan tutte in was a noted lieder singer. She made some in the local orchestra, and studied at management to appoint van Beinum as first Milan in 1941, and later sang the role distinguished recordings and, in retirement, the Amsterdam Conservatory where he conductor alongside Mengelberg. They did, for Glyndebourne. After taking British lived in Paris where she taught singing. became a brilliant pianist and accompanist. and he stayed in Amsterdam; then when, He actually made his debut as a pianist, in 1945, Mengelberg’s long reign (it had playing Franck’s Symphonic Variations, in begun in 1895) came to an end van Beinum the Amsterdam Concertgebouw, but his succeeded him as principal conductor, interests soon widened to conducting and remaining in that position for the rest of his at 27 he applied for the post of conductor life. In addition to his association with the of the Haarlem Orchestral Society, making London Philharmonic Orchestra, in 1956 such strides there that within two van Beinum began a series of annual visits years he was offered a concert with the to the Los Angeles Philharmonic. But he Concertgebouw Orchestra itself. When remained rooted in Amsterdam from where the Concertgebouw’s second conductor, he led the Orchestra on many European Cornelis Dopper, resigned in 1931 van and overseas tours, notably to the USA Beinum was appointed his successor. At in 1954, and it was in Amsterdam that in his first concert he included the Eighth 1959 he died during a rehearsal with the Symphony of Bruckner, whose music he Concertgebouw Orchestra: he was only 58. promoted subsequently with the same zeal that Willem Mengelberg had brought to Notes and biographies by Lyndon Jenkins Mahler. ‘He is really like bread and butter EUGENIA ZARESKA soprano citizenship she made guest appearances EDUARD VAN BEINUM conductor to me’, he said of Bruckner, ‘I can never from 1947 onwards at Covent Garden have enough of him.’ Later in the 1930s, The Ukranian-born mezzo-soprano (including the title role in Carmen and Eduard van Beinum was born in Arnhem when other orchestras were pursuing him, Eugenia Zareska (1922-79) made her Cherubino in Le Nozze di Figaro) and she in 1900, the son of a double-bass player the Concertgebouw players urged the debut as Dorabella in Così fan tutte in was a noted lieder singer. She made some in the local orchestra, and studied at management to appoint van Beinum as first Milan in 1941, and later sang the role distinguished recordings and, in retirement, the Amsterdam Conservatory where he conductor alongside Mengelberg. They did, for Glyndebourne. After taking British lived in Paris where she taught singing. became a brilliant pianist and accompanist. and he stayed in Amsterdam; then when, He actually made his debut as a pianist, in 1945, Mengelberg’s long reign (it had playing Franck’s Symphonic Variations, in begun in 1895) came to an end van Beinum the Amsterdam Concertgebouw, but his succeeded him as principal conductor, interests soon widened to conducting and remaining in that position for the rest of his at 27 he applied for the post of conductor life. In addition to his association with the of the Haarlem Orchestral Society, making London Philharmonic Orchestra, in 1956 such strides there that within two van Beinum began a series of annual visits years he was offered a concert with the to the Los Angeles Philharmonic. But he Concertgebouw Orchestra itself. When remained rooted in Amsterdam from where the Concertgebouw’s second conductor, he led the Orchestra on many European Cornelis Dopper, resigned in 1931 van and overseas tours, notably to the USA Beinum was appointed his successor. At in 1954, and it was in Amsterdam that in his first concert he included the Eighth 1959 he died during a rehearsal with the Symphony of Bruckner, whose music he Concertgebouw Orchestra: he was only 58. promoted subsequently with the same zeal that Willem Mengelberg had brought to Notes and biographies by Lyndon Jenkins Mahler. ‘He is really like bread and butter Also available from the London Philharmonic Orchestra J B Priestley in discussion with Eduard For more information or to purchase CDs telephone +44 (0)20 7840 4242 van Beinum at the official announcement or visit www.lpo.org.uk of the maestro’s Principal Conductorship of the London Philharmonic Orchestra on 24 January 1949. LPO-0001 LPO-0002 LPO-0003

Left to right: Dr Jane de Iongh (Cultural Attache, Netherlands Embassy), Mrs. van Beinum, Eduard van Beinum and J B Priestley

LONDON PHILHARMONIC ORCHESTRA LPO-0004 LPO-0005 LPO-0006

Left to right: Dr Jane de Iongh (Cultural Attache, Netherlands Embassy), Mrs. van Beinum, Eduard van Beinum and J B Priestley

LONDON PHILHARMONIC ORCHESTRA LPO-0004 LPO-0005 LPO-0006

The London Philharmonic Orchestra has was appointed the Orchestra’s Principal long established a high reputation for its Guest Conductor in March 2003. versatility and artistic excellence. These The London Philharmonic Orchestra has are evident from its performances in the been resident symphony orchestra at the concert hall and opera house, its many Royal Festival Hall since 1992 and there it award-winning recordings, its trail-blazing presents its main series of concerts between international tours and its pioneering September and May each year. In summer, education work. Kurt Masur has been the Orchestra moves to Sussex where it the Orchestra’s Principal Conductor since has been the resident symphony orchestra LPO-0007 LPO-0008 LPO-0010 September 2000, extending the line at Glyndebourne Festival Opera for over of distinguished conductors who have 40 years. The Orchestra also performs held positions with the Orchestra since at venues around the UK and has made its foundation in 1932 by Sir Thomas numerous tours to America, Europe and Beecham. These have included Sir Adrian Japan, and visited India, Hong Kong, China, Boult, Sir John Pritchard, Bernard Haitink, South Korea, Australia and South Africa. Sir Georg Solti, Klaus Tennstedt and Franz Welser-Möst. Vladimir Jurowski Malcolm Arnold b. 1921 01 7:10 Beckus the Dandipratt, overture for orchestra Op.5× (1943)* Gustav Mahler 1860 – 1911 16:36 Lieder eines fahrenden Gesellen× (1912) 02 4:04 Wenn mein Schatz Hochzeit macht 03 4:17 Ging heut’ morgens übers Feld 04 3:04 Ich hab’ ein glühend Messer THE POST-WAR REVIVAL 05 5:11 Die zwei blauen Augen Ludwig van Beethoven 1770 – 1827 EDUARD vAN BEINUM CONDUCTS 06 9:16 Overture, Leonore No.1 Op.138¤ (1832) THE LONDON PHILHARMONIC ORCHESTRA Johannes Brahms 1833 – 1897 16:30 Variations on a theme by Haydn Op.56a (St Anthony Chorale)¤ (1873) 07 1:57 Thema: Chorale St Anthony (Andante) 08 1:18 Variation I (Poco più animato) 09 0:54 Variation II (Più vivace) ARNOLD Beckus the Dandipratt 10 1:42 Variation III (Con moto) MAHLER Songs of a Wayfarer 11 2:10 Variation IV (Andante con moto) 12 0:50 Variation V (Vivace) BEETHOVEN Overture, Leonore No 1 13 1:15 Variation VI (Vivace) BRAHMS Variations on a theme by Haydn 14 2:10 Variation VII (Grazioso) 15 0:58 Variation VIII (Presto non troppo) ELGAR The Wand of Youth, Suite No 2 16 3:16 Finale (Andante) Edward Elgar 1857 – 1934 14:48 The Wand of Youth, Suite No.2 Op.1b¤ (1908) 17 3:53 March 18 2:24 The Little Bells 19 2:01 Moths and Butterflies 20 2:41 Fountain Dance 21 1:43 The Tame Bear 22 2:06 The Wild Bears EUGENIA ZARESKA mezzo soprano EDUARD VAN BEINUM conductor LONDON PHILHARMONIC ORCHESTRA ANDREW COOPER× DAVID WISE¤ leaders *world première recording LPO – 0011