Qbaîrmwphvn STEREO 439 896-2 Em DEBUSSY- LA MER • NOCTURNES Jeux - Rhapsodie pour clarinette et orchestre The Cleveland Orchestra • Pierre Boulez WD 1 m 0 CLAUDE DEBUSSY (1862-1918) m>x h CO O) Nocturnes O r 00 G) 28943 98962 00 m I. Nuages [6Ï5] Modéré - Un peu animé HO DIGITAL • STEREO x m II. Fêtes [6’31] m ro Animé et très rythmé - Modéré mais toujours très rythmé 439896-2 o£ III. Sirènes [9’40] Modérément animé m (avec chœur de femmes/with women’s chorus/mit Frauenchor/con coro femminile) £2 The Cleveland Orchestra Chorus o m (Chef de chœur/Chorus Master / Einstudierung / Maestro deI coro: Gareth MorellJ O* 3 z s x O Première Rhapsodie* [8’33] @)IdTdTd1 m o pour orchestre avec clarinette principale AUDIO RECORDING SU p LU _l Rêveusement lent A new dimension in clarity and realism * O FRANKLIN COHEN, clarinet ^ m 0) ffi 00 C/> LU ^ O • m Jeux [16*03] r~ m m c SÉ Poème dansé Nx O LU Très lent - Scherzando (Tempo initial) o x zo . X oc O La Mer LU o Trois esquisses symphoniques 2 Z 33 I. De l’aube à midi sur la mer [8’45] —..1 LUMl Très lent m II. Jeux de vagues [7’06] 3<-> Allegro (dans un rythme très souple) 00W LUX III. Dialogue du vent et de la mer [7’41] O I- Animé et tumultueux -P» CO CO 00 The Cleveland Orchestra • PIERRE BOULEZ Cover Illustration: Pham van My CO u O CT) < LU Manufactured and Marketed by t Œ PolyGram Classics & Jazz, (5 [U * |D|D|D| • ©1995 Deutsche Grammophon GmbH, Hamburg • [70’58] a Division of PolyGram Records, ÛCO Inc., New York, NY 1 Photo: Charlotte Oswald 439 896-2 Œ

CLAUDE DEBUSSY (I862-1918) Nocturnes LD 1. Nuages [6T5] Modéré - Un peu animé ® II. Fêtes [6’31] Animé et très rythmé - Modéré mais toujours très rythmé E III. Sirènes [9’40] Modérément animé (avec chœur de femmes / with women’s chorus / mit Frauenchor / con coro femminile) The Cleveland Orchestra Chorus (Chef de chœur/Chorus Master/Einstudierung/Maestro de1 coro: Gareth MorellJ

E Première Rhapsodie* [8'33] pour orchestre avec clarinette principale Rêveusement lent FRANKLIN COHEN, clarinet [I] Jeux [16’03] Poème dansé Très lent - Scherzando (Tempo initial) La Mer Trois esquisses symphoniques E 1. De l’aube à midi sur la mer [8’45] Très lent E II. Jeux de vagues [7’06] Allegro (dans un rythme très souple) E III. Dialogue du vent et de la mer [7-41] Animé et tumultueux

The Cleveiand Orchestra • PIERRE BOULEZ

* 1DIDIDI • ® 1995 Deutsche Grammophon GmbH, Hamburg • [70’58]

0501 CLAUDE DEBUSSY to commit itself to any tune, and only gradually do held high, bounds across. He disappears ... Then the thèmes gain power, through passages of un- two girls corne on, fearful and curious. They seem NOCTURNES • LA MER • JEUX • RHAPSODIE precedented intricacy. The centrepiece, in its to be looking only for somewhere to exchange hesitancy and constant change, looks forward to confidences. They start to dance, one after the Jeux. And though the finale is, as its title says, a other. Suddenly they stop, disconcerted by the The subjects of the three main works here are Sirènes is a seascape, in which the sirens appear dialogue, it works not so much with different mo¬ noise of disturbed leaves. The young man is to be perhaps different metaphors for the freedom as wordless voices. tives as with different approaches to music and to seen, his gaze following their movements from the that was Debussy’s principal wish for his music. Debussy’s sea music, lapping around the edges of life: it is a dialogue of spontaneity and planning. branches. They make to leave. But he brings them Just as, in the night, our dependence on our ears Pelléas, reached its apotheosis in the composition Jeux, Debussy’s last orchestral work, is the end of back tactfully and persuades one of them to dance brings us the world in less solid and particular he began in 1903, the year following the opera’s one journey and the beginning of another, in that it with him; he even steals a kiss. The spite or jeal- form, so in the Nocturnes we receive fragmentary completion: La Mer. He seems to hâve started was a principal key to the music of the next gén¬ ousy of the other girl sets off an ironie, mocking and sometimes conflicting messages. In La Mer, work during a summer in Burgundy - far from the ération but one: for Boulez it marked “the arrivai of dance {2/a) and draws the attention of the young the sea is a measure of musical forces that are actual sea, as he noted in a letter to André Mes¬ a kind of musical form which, renewing itself from man: he invites her into a waltz (3/e), which he unstable and unpredictable. And Jeux flows with sager. “But I hâve innumerable memories, and moment to moment, implies a similarly instantane- leads, the girl following him at first mockingly, then games played out by instruments, harmonies, those, in my view, are worth more than a reality ous mode of perception”. The work was written in letting herself be captivated by the charm of the thèmes. Such freedom had to be worked for. De¬ which, charming as it may be, tends to weigh too 1912-13 for a ballet by Nijinsky, and a subséquent dance. But the first girl, abandoned, makes to bussy wrote to his publisher that the Nocturnes heavily on the imagination.” Of Fêtes, likewise, he programme note, in which Debussy may well hâve leave. The other restrains her (3/4, très modéré) had given him more trouble than his opéra Pelléas had written to Paul Dukas that the music “was had a hand, connects the musical events with with tender insistence, and the dance becomes a et Mélisande, and indeed the project seems to based, as always, on distant memories”, this time those of Nijinsky’s tennis-party scénario. threesome (3/s), growing more and more excited hâve woven itself through his thoughts for several of a festival in the Bois de Boulogne. It was not that “After a préludé of a few bars, very slow, soft and up to a moment of eestasy, interrupted by another years before the score was finished, in 1899 - five he was against évocation - he balked when the dreamy, where a sustained tonie B in the violins is falling lost tennis bail, which causes the three years after his previous orchestral piece, the Pré¬ critic Pierre Lalo, at the first performance of La Mer the background for the various inversions of the young people to flee: the chords of the préludé re¬ in 1905, failed to “see or smell the sea” in the piece lude à l’après-midi d’un faune. Along the way, chord formed from ail the notes of the whole-tone turn; a few notes still slip by furtively, and it is ail fascinating possibilities were discarded: a violin - but music for him was rooted in memory, not di¬ scale, there appears a first scherzando motif, in 3/a, over.” concerto entitled Scènes au crépuscule-, a work, rect expérience. soon interrupted by the return of the préludé, this A lyrical envoi: the Première Rhapsodie (there was again with solo violin, where the orchestra would Besides the power of the sea, La Mer may convey time underlined by rumblings low in the strings; no deuxième) was composed in 1909-10 as a that of the composer at a time when his opéra had consist of strings in the first movement, of flûtes, then the scherzando starts again with a second Conservatoire test piece (for the annual practical brass and harps in the second, and of both groups brought him prestige, and when he had renewed motif. At this point the action begins: the bail falls exams) and orchestrated in 1911. in the third. Yet shadows of these shadows remain his private life by leaving his wife to take up with onto the stage; a young man in tennis kit, racket Paul Griffiths in what emerged. Nuages, with its cor anglais (Eng- the moneyed and talented Emma Bardac: their lish horn) solo and oscillating chords remembered child was born in the month of the work’s première. ^5)lDlD|D| . * (dTdTdI from a Mussorgsky song, the composer described La Mer is the most public in tone of his orchestral AUDIO RECOROING 1—'—' as rendering “the slow, solemn motion of clouds” works, the only important one to end emphatically, Recording: Cleveland, Masonic Auditorium, 3/1991 (Rhapsodie)* & 3/1993 (another image of the unfixed). “Fêtes gives us vi¬ the only one to retain links with conventional form Executive Producer: Roger Wright; Alison Ames (Rhapsodie) brant atmosphère, with sudden flashes of light”, that justify the subtitle, “three symphonie Recording Producer: Karl-August Naegler • Tonmeister (Balance Engineer): Helmut Burk Recording Engineers: Klaus Behrens / Stephan Flock; Rainer Maillard/Andrew Wedman (Rhapsodie) and with a procession “which passes through the sketches”. Even so, the first movement is far from ©1995 Deutsche Grammophon GmbH, Hamburg festive scene and becomes merged into it.” Finally, an orthodox sonata allegro. It begins as if unwilling © 1995 Paul Griffiths Cover Illustration: Pham van My, c/o Margarethe Hubauer • Art Direction: Hartmut Pfeiffer THE 4 TECHNICAL DIMENSIONS: @)[DlDTDl Remote-controlled microphone pre-amplifier AUDIO RECORDING Deutsche Grammophon has designed its own low-interference PIERRE BOULEZ ON DEUTSCHE GRAMMOPHON microphone pre-amplifier which, with a minimum of noise and dis- tortion, augments the analogue signal from the microphone. A newly developed remote-control function allows the pre-amplifier WHAT IS 4D AUDIO RECORDING? to be installed very near to the microphone - as close as possible to the musical event - thus eliminating the transmission inter¬ BÊLA BARTOK_ ALBAN BERG_ PIERRE BOULEZ 4D AUDIO RECORDING férence associated with conventional pre-amplification methods. is an overall concept in sound recording from Deutsche Gram- Concerto for Orchestra Chamber Concerto ... explosante-fixe ... mophon. It is based on the notion that, by using the most sophisti- 21 -bit digital-floating analogue-digital converter cated technology available today, it is virtually possible to eliminate The 21 -bit digital-floating technique combines two A/D (analogue- 4 Pièces for Orchestra Daniel Barenboim ■ Pinchas Zukerman Structures Book 2 the listener’s awareness of the technical medium, allowing the en- digital) converters with a resolution of 18 bit each. One is driven Chicago Symphony Orchestra Ensemble InterContemporain Notations l-XII joyment of a completely natural sound quality. 4D Audio Recording with an 18 dB higher gain - équivalent to 3 bit. A digitally controlled is now the standard adopted by Deutsche Grammophon for its addition process with the two converters yields the final output res¬ CD mm 437 826-2 Q0 Pierre-Laurent Aimard recordings. olution of 21 bit. Deutsche Grammophon is a leader in the continu- ing development of this technology. 4P AUDIO RECORDING IGOR STRAVINSKY Florant Boffard 4D AUDIO RECORDING Ensemble InterContemporain makesuseof technology which, in this configuration, is unique Stagebox principle/Digital network Ebony Concerto ■ 8 Miniaturen Pre-amplifier and A/D converter System are mounted in a single in the recording industry. A numberof the individual components Dumbarton Oaks CD 0001445 833-2 IgIhi were designed in coopération with Yamaha, but overall develop¬ physical unit (Stagebox). Because the A/D conversion now takes ment of this digital mobile classical recording System took place at place on the recording stage, the long analogue pathway which Ensemble InterContemporain 4P AUDIO RECORDING Deutsche Grammophon’s own Recording Centre. The 4D Audio previously lay between microphone and studio - a potential source Divertimento ■ Dance Suite Recording System incorporâtes advances in four technical dimen¬ of interférence - is eliminated. It has been replaced by a galvani- Two Pictures • Hungarian Sketches CD mm 447 405-2 NEW 1995 sions: cally-separated digital network, developed by Deutsche Grammo¬ • Remote-controlled microphone pre-amplifier phon, which ensures interference-free transmission and offers Chicago Symphony Orchestra The Originals • 21 -bit digital-floating analogue-digital converter audio-data transport of up to 24-bit word-length per channel. This • Stagebox principle/Digital network mobile digital network is a crucial link in the recording chain, and it CD mm 445 825-2 IgIhi NEW 1995 • All-digital mixing/Authentic Bit Imaging is a development which is already capable of handling future ad¬ CLAUDE DEBUSSY_ vances in A/D conversion. 4P AUDIO RECORDING 4D AUDIO RECORDING allows the Tonmeister (Balance Engineer) a highly sophisti- All-digital mixing/Authentic Bit Imaging NEW 1995 Images pour Orchestre cated control of the recording process. It is Deutsche Grammo¬ The all-digital mixing process allows for an exceptionally précisé Lulu Printemps phon’s philosophy that technology alone is never sufficient: opti¬ mixdown. It employs the Yamaha DMC 1000 mixing console, mal sound quality can be achieved only when technology is guided equipped with control software developed specially for Deutsche Stratas ■ Minton • Schwarz • Mazura Prélude à l'Après-midi d'un Faune by the trained ear of a Tonmeister who combines technical exper¬ Grammophon. This proprietary software incorporâtes the expéri¬ Riegel • Blankenheim • Tear • Pampuch tise with a thorough musical éducation. ence of Deutsche Grammophon’s Tonmeister, and it helps to The Cleveland Orchestra achieve the spatial depth characteristic of 4D Audio Recording by Cantata profana Orchestre de l'Opéra de Paris 4D AUDIO RECORDING allowing the exact synchronization of ali microphone signais. The Wooden Prince CD mm 435 766-2 00 offers the artist idéal conditions for the realization of his or her Authentic Bit Imaging, the requantizing procedure developed by CD mm 415 489-2 OEM] musical intentions. The combination of advanced technology Deutsche Grammophon, allows the extraordinarily high quality John Aler • John Tomlinson and the musical expérience of the Tonmeister has as its aim the of this mixdown to be transferred optimally to digital sound carriers Chicago Symphony Orchestra and Chorus 3 Compact Dises faithful documenting of the sounds conceived by the artist. (such as CD). CD mm 435 863-2 00 La Mer ■ Trois Nocturnes ■ Jeux Rhapsodie pour Clarinette HARRISON BIRTWISTLE et Orchestre Duke Bluebeard's Castie Secret Theatre ■ Tragoedia The Cleveland Orchestra & Chorus Five Distances Jessye Norman • Lâzlo Polgâr CD fPiDOi 439 896-2 00 3 Settings of Celan* Chicago Symphony Orchestra 4P AUDIO RECORDING Christine Whittlesey* WARNING! AN rights reserved. CD mm 447 040-2 igfhi Ensemble InterContemporain NEW 1995 Unauthorized copying, reproduction, hiring, lending, public performance and broadcasting prohibited. 4P AUDIO RECORDING CD IdIdTdI 430 910-2100 Manufactured and Marketed by PolyGram Classics & Jazz, NEW 1995 4D AUDIO RECORDING a Division of PolyGram Records, Inc., New York, New York. NEW 1995 GYÔRGY LIGETI_ OLIVIER MESSIAEN The Firebird ■ Fireworks ■ 4 Etudes Chamber Concerto • Ramifications Chicago Symphonÿ Orchestra RAVEL • BOLERO DEBUSSY- LA MER • NOCTURNES Et exspecto resurrectionem Mo Mère l'Oye Rapsodie espognofe Une Barque sur l'océan Jeux - Rhapsodie pour clarinette et orchestre Aventures mortuorum CD GEO 437 850-2 GH BERLINER PHILHARMONIKER PIERRE BOULEZ The Cleveland Orchestra • Pierre Boulez Thomas ■ Manning • Pearson Chronochromie 4D AUDIO RECORDING Ensemble InterContemporain La Ville d'en haut 2nd String Quartet* The Cleveland Orchestra LaSalle Quartet CD 000 445 827-2 GH Songs Lux aeterna* 4P AUDIO RECORDING Olivier Messiaen Phyllis Bryn-Julson ■ Ann Murray ET EXSPECTO RESURRECTIONEM MORTUORUM NDR-Chor ■ Helmut Franz Chronochromie - La Ville d'en haut NEW 1995 Robert Tear • John Shirley-Quirk The Cleveland Orchestra Pierre Boulez CD m / * mm 423 244-2 go Ensemble InterContemporain 20th-Century Classics CD 1ÂEE1431 751-2 GO MAURICE RAVEL 20th-Century Classics STRAVINSKY THE FIREBIRD Oer Feuervogel L'Oiseau de feu BOULEZ CONDUCTS LIGETI 4 ETUDES • FIREWORKS CONCERTOS FOR C£LLO-VIOLIN-PIANO Boléro • Ma Mère l'Oye Chicago Symphony Orchestra • Pierre Boulez Ceilo Concerto ENSEMBLE INTERCONTEMPORAIN Une Barque sur l'océan Violin Concerto Alborada del Gracioso RICHARD WAGNER_ Piano Concerto Rapsodie espagnole Parsifal Jean-Guihen Queyras Berliner Philharmoniker Saschko Gawriloff Jones ■ King ■ Stewart • Crass • Mclntyre Pierre-Laurent Aimard CD GGGI 439 859-2 GH Ridderbusch Ensemble InterContemporain 4D AUDIO RECORDING Chor und Orchester der Bayreuther Festspiele Wiener Philharmoniker - Pierre Boulez CD GGGI439 808-2 GH CD EEE1435 718-2 GEMI Daphnis et Chloé* 3 Compact Dises La Valse GUSTAV MAHLER BARTOK: DIVERTIMENTO DANCE SUITE BOULEZ conducts WEBERN Rundfunkchor Berlin* HUNGARIAN SKETCHES TWO PICTURES wuses • 5 Pièces op.10 • Concerto - üuattet Pi Chicago Symphony Orchestra • Pierre Boulez Françoise Pollet ■ Christiane Oelze Symphonie No. 6 Berliner Philharmoniker ANTON WEBERN_ Wiener Philharmoniker CD GGGI 447 057-2 GH Songs and Choruses CD GEO 445 835-2 GH 4P AUDIO RECORDING 5 Pièces op. 10 4D AUDIO RECORDING Concerto op. 24 NEW 1995 NEW 1995 Quartett op. 22 Piano Quintet op. post. Françoise Pollet ■ Christiane Oelze IGOR STRAVINSKY_ BBC Singers Le Sacre du Printemps ■ Pétrouchka Ensemble InterContemporain The Cleveland Orchestra_ CD EIPID1437 786-2 GH CD EGO 435 769-2 GH NEW 1995 S @)[dTdTd1 AND Op THE OVVn^ ^ AUDIORECORDING DIGITAL RECORDING DIGITAL AUDIO ‘M Première Rhapsodiepourorchestre avecclarinette The ClevelandOrchestra Chorus(tr.3)^ The ClevelandOrchestra oV4^THOR,SED C°PYlH Franklin Cohen(tr.4) CLAUDE DEBUSSY Jeux •LaMer Pierre Boulez principale* Nocturnes Grammophon GmbH,. Made inUSA 439 896-2 STEREO Deutsche Hamburg © 1995

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