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The Post-War Revival

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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 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.
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