LPO-379 Mahler Booklet AW2.Indd

Home , Bernard Haitink, Vienna State Opera

GUSTAV MAHLER (1860–1911)

Symphony No.2 ‘Resurrection’ CD1 25:02 MAHLER 01 25:02 I. Allegro maestoso. Mit durchaus ernstem und feierlichem Ausdruck. SYMPHONY NO.2 ‘RESURRECTION’ CD2 67:48 KLAUS TENNSTEDT conductor 01 12:10 II. Andante Moderato. Sehr gemächlich. Nie eilen. 02 11:24 III. Scherzo. In ruhig ﬂ iessender Bewegung. YVONNE KENNY soprano 03 6:14 IV. ‘Urlicht’. Sehr feierlich, aber schlicht. JARD VAN NES mezzo soprano 04 21:18 V. Finale. Im Tempo des Scherzo. Wild herausfahrend. 05 7:51 ‘Aufersteh’n.’ Langsam Misterioso. LONDON PHILHARMONIC ORCHESTRA and CHOIR 06 8:51 ‘O Glaube, mein Herz.’ Etwas bewegter.

KLAUS TENNSTEDT conductor YVONNE KENNY soprano JARD VAN NES mezzo soprano LONDON PHILHARMONIC ORCHESTRA and CHOIR David Nolan leader Malcolm Hicks off-stage conductor Richard Cooke chorus master

Recorded live at Southbank Centre’s ROYAL FESTIVAL HALL London

LPO – 0044

LLPO-379PO-379 MahlerMahler Booklet_AW2.inddBooklet_AW2.indd SpreadSpread 1 ofof 8 - Pages(16,Pages(16, 1)1) 222/12/20092/12/2009 10:3010:30 MAHLER SYMPHONY NO.2 ‘RESURRECTION’ Highlights from Klaus Tennstedt and the London Philharmonic Orchestra Introduction: Tennstedt, Mahler and Morrison on-stage realisation of Mahler’s printed For more information or to purchase CDs telephone +44 (0)20 7820 4242 It took Mahler fi ve years to conceive, sculpt scores. For those who were present at his or visit www.lpo.org.uk and fi nally release the work that would make concerts there are vivid memories: the lolling, his career and arguably prove to be his most clumsy podium physique; the intense passion longstanding and resonant. But even before and exhaustion; the human contexts of illness LPO-0003 LPO-0008LPOO-0008 LPO-0012LPOPO-0012 it was fi nally presented in public in December and exile. For those who weren’t, there are the 1894, the impact of the Resurrection Symphony sonic hallmarks of a handful of recordings: was telling: the conductor Hans von Bülow, extraordinary orchestral depth; an unerring granted a private piano play-through of just sense of direction; a palpable emotional one section of the fi rst movement, struggled thrust and a strange meeting of the fresh to reconcile what he heard with his defi nition and the ‘lived-in’. of ‘music’ as he held his hands to his ears. In fact, Tennstedt’s performances prompted In its fi nal incarnation, the Resurrection some of the most eloquent critical journalism Symphony is huge: 90 minutes, fi ve movements, committed to paper in recent history. At his two soloists, a large chorus and an orchestra performances, critics seemed reborn as naïve Wagner Operas Haydn The Creation Mahler Songs of a Wayfarer that includes ten horns, eight trumpets and a and excited concertgoers, joining audiences Symphony No.1 raft of percussion. Its narrative is itself obvious and even Royal Festival Hall ushers in rapturous and uplifting: the realisation of mortality, the standing ovations. Richard Morrison was one LPO-0032LPO-0032 LPO-0026LPOO-0026 LPO-0038LPPO-0038 fear of death and the implications of faith in of them. In the 1990 article from the journal resurrection – told in part through Friedrich Musical Life reprinted here he offers a rare Klopstock’s verse Resurrection Ode. Add Mahler’s analysis of just what Tennstedt did to the penetrating music and a conductor like Klaus music he conducted in live performance. Tennstedt, and you have a recipe for living art of the most acute profundity. The very fact that the archive recording Morrison heard is now available here Describing the ‘Tennstedt effect’ in words is represents something of a Mahlerian struggle a compromised business. In one sense, you in itself. No matter what our reaction to can’t explain or formulate the extraordinary this performance, the recording should be qualities of this particular conductor’s cherished as a record of an extraordinary Bruckner Symphony No.8 Beethoven Symphony No.9 Mahler Symphony No.6

LLPO-379PO-379 MahlerMahler Booklet_AW2.inddBooklet_AW2.indd SpreadSpread 2 ofof 8 - Pages(2,Pages(2, 15)15) 222/12/20092/12/2009 10:3010:30 MAHLER SYMPHONY NO.2 ‘RESURRECTION’ Highlights from Klaus Tennstedt and the London Philharmonic Orchestra Introduction: Tennstedt, Mahler and Morrison on-stage realisation of Mahler’s printed For more information or to purchase CDs telephone +44 (0)20 7820 4242 It took Mahler fi ve years to conceive, sculpt scores. For those who were present at his or visit www.lpo.org.uk and fi nally release the work that would make concerts there are vivid memories: the lolling, his career and arguably prove to be his most clumsy podium physique; the intense passion longstanding and resonant. But even before and exhaustion; the human contexts of illness LPO-0003 LPO-0008LPOO-0008 LPO-0012LPOPO-0012 it was fi nally presented in public in December and exile. For those who weren’t, there are the 1894, the impact of the Resurrection Symphony sonic hallmarks of a handful of recordings: was telling: the conductor Hans von Bülow, extraordinary orchestral depth; an unerring granted a private piano play-through of just sense of direction; a palpable emotional one section of the fi rst movement, struggled thrust and a strange meeting of the fresh to reconcile what he heard with his defi nition and the ‘lived-in’. of ‘music’ as he held his hands to his ears. In fact, Tennstedt’s performances prompted In its fi nal incarnation, the Resurrection some of the most eloquent critical journalism Symphony is huge: 90 minutes, fi ve movements, committed to paper in recent history. At his two soloists, a large chorus and an orchestra performances, critics seemed reborn as naïve Wagner Operas Haydn The Creation Mahler Songs of a Wayfarer that includes ten horns, eight trumpets and a and excited concertgoers, joining audiences Symphony No.1 raft of percussion. Its narrative is itself obvious and even Royal Festival Hall ushers in rapturous and uplifting: the realisation of mortality, the standing ovations. Richard Morrison was one LPO-0032LPO-0032 LPO-0026LPOO-0026 LPO-0038LPPO-0038 fear of death and the implications of faith in of them. In the 1990 article from the journal resurrection – told in part through Friedrich Musical Life reprinted here he offers a rare Klopstock’s verse Resurrection Ode. Add Mahler’s analysis of just what Tennstedt did to the penetrating music and a conductor like Klaus music he conducted in live performance. Tennstedt, and you have a recipe for living art of the most acute profundity. The very fact that the archive recording Morrison heard is now available here Describing the ‘Tennstedt effect’ in words is represents something of a Mahlerian struggle a compromised business. In one sense, you in itself. No matter what our reaction to can’t explain or formulate the extraordinary this performance, the recording should be qualities of this particular conductor’s cherished as a record of an extraordinary Bruckner Symphony No.8 Beethoven Symphony No.9 Mahler Symphony No.6

LLPO-379PO-379 MahlerMahler Booklet_AW2.inddBooklet_AW2.indd SpreadSpread 2 ofof 8 - Pages(2,Pages(2, 15)15) 222/12/20092/12/2009 10:3010:30 LONDON PHILHARMONIC ORCHESTRA

The London Philharmonic Orchestra is known of concerts between September and May night in London’s musical history that is still its players and audiences gave him a happiness as one of the world’s great orchestras with each year. In summer, the Orchestra moves talked about two decades on. Jon Tolansky, and fulfi lment he never experienced elsewhere. a reputation secured by its performances in to Sussex where it has been Resident at co-founder of the Music Performance Research Precious few know the reasons for that, but the the concert hall and opera house, its many Glyndebourne Festival Opera for over 40 Centre (MPRC), the organisation responsible nearest we can get to experiencing the results award-winning recordings, its trail-blazing years. The Orchestra also performs at venues for hanging the microphones, explains below of it today are captured with piercing strength international tours and its pioneering around the UK and has made numerous how it came to pass that the performance on on this release. education work. Distinguished conductors tours to America, Europe and Japan, and 20 February 1989 was allowed to be taped and who have held positions with the Orchestra visited India, Hong Kong, China, South Korea, why the resulting recording has fi nally entered Andrew Mellor (2009) since its foundation in 1932 by Sir Thomas Australia, South Africa and Abu Dhabi. the public domain. Beecham include Sir Adrian Boult, Sir John Pritchard, Bernard Haitink, Sir Georg Solti, The London Philharmonic Orchestra made As for Klaus Tennstedt, he remains a Klaus Tennstedt, Franz Welser-Möst and Kurt its fi rst recordings on 10 October 1932, just phenomenon even today, despite his death Masur. Vladimir Jurowski was appointed the three days after its fi rst public performance. in 1998 after a long battle with cancer. For a Orchestra’s Principal Guest Conductor in It has recorded and broadcast regularly while that battle joined him on the podium; March 2003 and became Principal Conductor ever since, and in 2005 established its it was partly this, particularly in respect to the in September 2007, succeeding Kurt Masur. own record label. These CDs are unique: performance of Mahler’s Resurrection Symphony The London Philharmonic Orchestra has amongst them are archive, studio and live recorded here, that lent his concerts such been resident symphony orchestra at concert recordings including world-première intensity and atmosphere. At the time of this Southbank Centre’s Royal Festival Hall since performances. These are also available as recording, Tennstedt’s illness had already forced 1992 and there it presents its main series high quality downloads. www.lpo.org.uk him to stand down as the London Philharmonic Orchestra’s Principal Conductor, which he did in 1987 after seven years with the ensemble, the fi rst three as Principal Guest Conductor.

Though he ofﬁ cially retired altogether from conducting in 1994, Tennstedt’s late career was always in the shadow of the great things he achieved with the London Philharmonic Orchestra. While he brought something sonically very special from the ensemble, © Patrick Harrison © Patrick

LLPO-379PO-379 MahlerMahler Booklet_AW2.inddBooklet_AW2.indd SpreadSpread 3 ofof 8 - Pages(14,Pages(14, 3)3) 222/12/20092/12/2009 10:3110:31 LONDON PHILHARMONIC ORCHESTRA

LLPO-379PO-379 MahlerMahler Booklet_AW2.inddBooklet_AW2.indd SpreadSpread 3 ofof 8 - Pages(14,Pages(14, 3)3) 222/12/20092/12/2009 10:3110:31 Richard Morrison: Tennstedt Taped but the sheer emotional charge that Tennstedt LONDON PHILHARMONIC CHOIR For me, listening to the Music Performance brought to each phrase was astonishing. Research Centre’s recording of Klaus Tennstedt’s live Royal Festival Hall performance of Mahler’s That in itself confi rmed to me one essential The London Philharmonic Choir was them Pierre Boulez, Mark Elder, Sir John Eliot Second Symphony was nothing short of difference between concert-hall and founded in 1947 as the chorus for the Gardiner, Bernard Haitink, Kurt Masur, Sir Roger revelatory. But fi rst let me explain how I recording-studio interpretation. A conductor London Philharmonic Orchestra. It is widely Norrington, Sir Simon Rattle, Sir Georg Solti came to it. I had, of course, long admired working in the studio is thinking primarily of acclaimed as one of the nation’s fi nest choirs and Klaus Tennstedt. The London Philharmonic Tennstedt’s remarkable EMI recording of communication with posterity – whether that and consistently meets with critical acclaim. Choir has participated in more than seventy the Resurrection Symphony, dating from posterity is the person who hears the records Continuing to perform regularly with the recordings, including a Gramophone Award 1982. Even in the recording studio, with six months later or sixty years later. In the London Philharmonic Orchestra, the London winning performance of Mahler’s Eighth all the artifi cial creation of “performance concert hall, however, the great conductor Philharmonic Choir also works with many Symphony under Klaus Tennstedt. The Choir ambience” which that implies, Tennstedt is most interested in the Here and Now. other orchestras throughout the United often travels overseas and in recent years manages to bring an emotional weight to Subjective mood can, and perhaps should, Kingdom and makes annual appearances at it has appeared at the Canary Islands and Mahler that no other living conductor, with outweigh cold calculation. Excitement and the BBC Proms. It has performed under some of Lucerne music festivals, and given concerts in the possible exception of Leonard Bernstein, risk should take precedence over technical the world’s most eminent conductors – among Europe, Hong Kong, Malaysia and Australia. can rival. And the Resurrection does seem perfection; the heart should rule the head. to have a special signifi cance for Tennstedt. Its theme, of the indomitable human spirit When I came to the Barbican Library to hear overcoming mortal fear, clearly carries special the MPRC’s live recording of the second Festival meaning for a conductor who has himself Hall concert (the one I had not attended), lived with, and overcome, serious illness. I was amazed yet again. For here was an interpretation quite different – not only in Last year (1989), Tennstedt came to London small details but in general atmosphere – from to give two performances of Mahler’s Second the fi rst concert, which had, after all, taken Symphony with the London Philharmonic place only a couple of days earlier. In “repeat” Orchestra, whose Principal Conductor he performances the orchestra and conductor was until his illness forced him to relinquish might be forgiven for relaxing into a path the post. I attended the fi rst of these which, by already trodden and tested. Not so here. any standards, was an extraordinary occasion. The risk element is, if anything, heightened. It was loaded with more palpable tension than It is one of the most startling interpretations a Wimbledon men’s singles fi nal: the orchestra I have ever heard, not just in obvious matters – playing was not quite immaculate (how could such as its emphatic breadth and its superb

it be in such highly-charged circumstances?), emphasis on inner orchestral detail – but in its Ltd © GreenEgg

LLPO-379PO-379 MahlerMahler Booklet_AW2.inddBooklet_AW2.indd SpreadSpread 4 ofof 8 - Pages(4,Pages(4, 13)13) 222/12/20092/12/2009 10:3110:31 Richard Morrison: Tennstedt Taped but the sheer emotional charge that Tennstedt LONDON PHILHARMONIC CHOIR For me, listening to the Music Performance brought to each phrase was astonishing. Research Centre’s recording of Klaus Tennstedt’s live Royal Festival Hall performance of Mahler’s That in itself confi rmed to me one essential The London Philharmonic Choir was them Pierre Boulez, Mark Elder, Sir John Eliot Second Symphony was nothing short of difference between concert-hall and founded in 1947 as the chorus for the Gardiner, Bernard Haitink, Kurt Masur, Sir Roger revelatory. But fi rst let me explain how I recording-studio interpretation. A conductor London Philharmonic Orchestra. It is widely Norrington, Sir Simon Rattle, Sir Georg Solti came to it. I had, of course, long admired working in the studio is thinking primarily of acclaimed as one of the nation’s fi nest choirs and Klaus Tennstedt. The London Philharmonic Tennstedt’s remarkable EMI recording of communication with posterity – whether that and consistently meets with critical acclaim. Choir has participated in more than seventy the Resurrection Symphony, dating from posterity is the person who hears the records Continuing to perform regularly with the recordings, including a Gramophone Award 1982. Even in the recording studio, with six months later or sixty years later. In the London Philharmonic Orchestra, the London winning performance of Mahler’s Eighth all the artifi cial creation of “performance concert hall, however, the great conductor Philharmonic Choir also works with many Symphony under Klaus Tennstedt. The Choir ambience” which that implies, Tennstedt is most interested in the Here and Now. other orchestras throughout the United often travels overseas and in recent years manages to bring an emotional weight to Subjective mood can, and perhaps should, Kingdom and makes annual appearances at it has appeared at the Canary Islands and Mahler that no other living conductor, with outweigh cold calculation. Excitement and the BBC Proms. It has performed under some of Lucerne music festivals, and given concerts in the possible exception of Leonard Bernstein, risk should take precedence over technical the world’s most eminent conductors – among Europe, Hong Kong, Malaysia and Australia. can rival. And the Resurrection does seem perfection; the heart should rule the head. to have a special signifi cance for Tennstedt. Its theme, of the indomitable human spirit When I came to the Barbican Library to hear overcoming mortal fear, clearly carries special the MPRC’s live recording of the second Festival meaning for a conductor who has himself Hall concert (the one I had not attended), lived with, and overcome, serious illness. I was amazed yet again. For here was an interpretation quite different – not only in Last year (1989), Tennstedt came to London small details but in general atmosphere – from to give two performances of Mahler’s Second the fi rst concert, which had, after all, taken Symphony with the London Philharmonic place only a couple of days earlier. In “repeat” Orchestra, whose Principal Conductor he performances the orchestra and conductor was until his illness forced him to relinquish might be forgiven for relaxing into a path the post. I attended the fi rst of these which, by already trodden and tested. Not so here. any standards, was an extraordinary occasion. The risk element is, if anything, heightened. It was loaded with more palpable tension than It is one of the most startling interpretations a Wimbledon men’s singles fi nal: the orchestra I have ever heard, not just in obvious matters – playing was not quite immaculate (how could such as its emphatic breadth and its superb

it be in such highly-charged circumstances?), emphasis on inner orchestral detail – but in its Ltd © GreenEgg

LLPO-379PO-379 MahlerMahler Booklet_AW2.inddBooklet_AW2.indd SpreadSpread 4 ofof 8 - Pages(4,Pages(4, 13)13) 222/12/20092/12/2009 10:3110:31 JARD VAN NES mezzo soprano refusal to accept any previous “norms” as unremarkably performed – the macabre, binding. And if it were not for the presence of relentless momentum of the third is superbly the MPRC microphones, the interpretation sustained, and the beautifully tranquil oasis of After fi nishing piano studies, Jard van Nes Philharmonic Orchestra, conducted by would never have been preserved! “Urlicht” is marvellously conjured – but because started vocal studies with Herman Woltman Leon Botstein. Tennstedt’s approach to the second movement at the Royal Conservatory in The Hague. The fi rst movement is slower, more tragic in and the fi nale is so much more unusual. Jard van Nes retired from the concert stage countenance, than anything that Tennstedt Jard van Nes quickly became one of the at the end of 2000 and dedicates her time might have dared in the recording studio. The second movement is one of those most sought-after mezzo sopranos of her to coaching and serves on the jury of many Woodwind entries are accented on their fi rst Mahlerian creations whose irony is ambiguous generation. She worked with the world’s different singing competitions. In 2002 Her notes like nails being driven into a coffi n; enough to be read in many different ways. great conductors including Pierre Boulez, Majesty Queen Beatrix of the Netherlands string tremolandos have a shuddering, That gentle, deceptively simple triple-time Riccardo Chailly, Charles Dutoit, Carlo Maria appointed her “Ridder in de Orde van de macabre quality. The orchestral sound is dance, like some distant memory of an ancient Giulini, Bernard Haitink, Mariss Jansons, Nederlandse Leeuw” in recognition of her stabbed but at the same time thick and minuet, is presented too idiosyncratically to be Kurt Masur, Esa-Pekka Salonen, Georg Solti, contribution to Dutch cultural life. brooding – yet the rising string phrases are regarded as pastiche, yet too straight to fi t into Klaus Tennstedt and Edo de Waart. milked for every consolation they can offer. the usual theory of how Mahler distorts folk material to refl ect the distortions within his Van Nes’s repertoire ranged from the Baroque From this huge, lumbering funeral procession, own personality. Conductors are consequently to pieces specially commissioned. She gained Tennstedt gradually releases the development left with a major dilemma. a special reputation with the music of Mahler section – an accelerando into a false dawn of with worldwide performances of his orchestral joy and hope, blaring with unnaturally strident For Tennstedt, however, there is no dilemma. song cycles, solos in the symphonies and his jubilation. It is a masterstroke because it makes His unrelentingly tragic view of the symphony songs. In recital van Nes performed in the the subsequent collapse into catastrophe, admits no respite. So instead, he takes his Concertgebouw in Amsterdam, Carnegie Hall where the music swirls furiously like a great sea- cue in this movement from the remarkable in New York and the Musikverein in Vienna storm round a shipwreck, all the more powerful. orchestration of the opening theme – thick amongst others with esteemed pianists with lower strings – and presents it with including Gérard van Blerk and Roger Vignoles. At the end of this opening movement, even deliberate solemnity and grave emotion. a listener feels drained of emotion. What the Then, when the upper strings enter, the Her discography is extensive, many players must have felt like is hard to imagine. articulation is again stabbing, pugnacious and recordings having received prizes such as an Yet this apocalyptic symphonic journey has sharply projected. Later, the interplay between Edison, Diapason d’Or, Preis der Deutschen barely begun. upper and lower strings is wonderfully Schallplattenkritik and a Grammy nomination. characterful, the pizzicato grotesque yet Her last recording was Symphony No.1 by We may pass quickly over the third and strangely dignifi ed; and there is one audacious Karl Amadeus Hartmann with the London fourth movements, not because they are and breathtaking rallentando and glissando.

LLPO-379PO-379 MahlerMahler Booklet_AW2.inddBooklet_AW2.indd SpreadSpread 5 ofof 8 - Pages(12,Pages(12, 5)5) 222/12/20092/12/2009 10:3110:31 JARD VAN NES mezzo soprano refusal to accept any previous “norms” as unremarkably performed – the macabre, binding. And if it were not for the presence of relentless momentum of the third is superbly the MPRC microphones, the interpretation sustained, and the beautifully tranquil oasis of After fi nishing piano studies, Jard van Nes Philharmonic Orchestra, conducted by would never have been preserved! “Urlicht” is marvellously conjured – but because started vocal studies with Herman Woltman Leon Botstein. Tennstedt’s approach to the second movement at the Royal Conservatory in The Hague. The fi rst movement is slower, more tragic in and the fi nale is so much more unusual. Jard van Nes retired from the concert stage countenance, than anything that Tennstedt Jard van Nes quickly became one of the at the end of 2000 and dedicates her time might have dared in the recording studio. The second movement is one of those most sought-after mezzo sopranos of her to coaching and serves on the jury of many Woodwind entries are accented on their fi rst Mahlerian creations whose irony is ambiguous generation. She worked with the world’s different singing competitions. In 2002 Her notes like nails being driven into a coffi n; enough to be read in many different ways. great conductors including Pierre Boulez, Majesty Queen Beatrix of the Netherlands string tremolandos have a shuddering, That gentle, deceptively simple triple-time Riccardo Chailly, Charles Dutoit, Carlo Maria appointed her “Ridder in de Orde van de macabre quality. The orchestral sound is dance, like some distant memory of an ancient Giulini, Bernard Haitink, Mariss Jansons, Nederlandse Leeuw” in recognition of her stabbed but at the same time thick and minuet, is presented too idiosyncratically to be Kurt Masur, Esa-Pekka Salonen, Georg Solti, contribution to Dutch cultural life. brooding – yet the rising string phrases are regarded as pastiche, yet too straight to fi t into Klaus Tennstedt and Edo de Waart. milked for every consolation they can offer. the usual theory of how Mahler distorts folk material to refl ect the distortions within his Van Nes’s repertoire ranged from the Baroque From this huge, lumbering funeral procession, own personality. Conductors are consequently to pieces specially commissioned. She gained Tennstedt gradually releases the development left with a major dilemma. a special reputation with the music of Mahler section – an accelerando into a false dawn of with worldwide performances of his orchestral joy and hope, blaring with unnaturally strident For Tennstedt, however, there is no dilemma. song cycles, solos in the symphonies and his jubilation. It is a masterstroke because it makes His unrelentingly tragic view of the symphony songs. In recital van Nes performed in the the subsequent collapse into catastrophe, admits no respite. So instead, he takes his Concertgebouw in Amsterdam, Carnegie Hall where the music swirls furiously like a great sea- cue in this movement from the remarkable in New York and the Musikverein in Vienna storm round a shipwreck, all the more powerful. orchestration of the opening theme – thick amongst others with esteemed pianists with lower strings – and presents it with including Gérard van Blerk and Roger Vignoles. At the end of this opening movement, even deliberate solemnity and grave emotion. a listener feels drained of emotion. What the Then, when the upper strings enter, the Her discography is extensive, many players must have felt like is hard to imagine. articulation is again stabbing, pugnacious and recordings having received prizes such as an Yet this apocalyptic symphonic journey has sharply projected. Later, the interplay between Edison, Diapason d’Or, Preis der Deutschen barely begun. upper and lower strings is wonderfully Schallplattenkritik and a Grammy nomination. characterful, the pizzicato grotesque yet Her last recording was Symphony No.1 by We may pass quickly over the third and strangely dignifi ed; and there is one audacious Karl Amadeus Hartmann with the London fourth movements, not because they are and breathtaking rallentando and glissando.

LLPO-379PO-379 MahlerMahler Booklet_AW2.inddBooklet_AW2.indd SpreadSpread 5 ofof 8 - Pages(12,Pages(12, 5)5) 222/12/20092/12/2009 10:3110:31 It is in the fi nale, though, that the full urgency, The origins of this recording YVONNE KENNY AM soprano terror and hard-won exultation of Tennstedt’s When the London Philharmonic Orchestra interpretation is revealed. From the colossal presented two performances of Mahler’s beginning, like the foundations of the whole Resurrection Symphony at the Royal Festival Yvonne Kenny is one of the most distinguished Yvonne Kenny was made a member of the earth opening up, through the tremendous Hall in February 1989, the Music Performance sopranos of her generation. She has performed Order of Australia (1989) and was awarded an drum-rolls which Tennstedt extends boldly, to Research Centre – now Music Preserved – was a in most of the world’s leading opera houses and honorary Doctorate of Music from the University the beseeching violin phrases, there is a sense recently constituted facility that provided the sole concert halls, having built an enviable reputation of Sydney (1999). She is Professor of Voice at of desperation, of matters coming to the point opportunity to record the concerts. Before the as a fi ne Mozartian, a dazzling interpreter London’s Guildhall School of Music & Drama. of fi nal reckoning. creation of the MPRC, unless a live performance of works by Handel and more recently for www.yvonnekenny.com in a concert hall or opera house was being her performances of the Richard Strauss Then comes the soprano’s fi rst magical broadcast or recorded by a commercial company, heroines, most notably as the Marschallin entry, the hushed arrival of the choir, the complex copyright issues prevented any offi cial (Der Rosenkavalier) and Countess (Capriccio). growth of certainty, and the fi nal glorious recording being made for archival purposes. bars, played with enormous breadth She appears regularly at major international and grandeur. The orchestral playing Those issues were resolved with the arrival festivals, at Carnegie Hall and at the BBC throughout is very high in quality. Equally, of the MPRC following many years of broadly Promenade concerts. Australian performances the electricity of this performance, its based negotiations. From the autumn of 1987, include national tours for Musica Viva, sense of immediate communication, live events that otherwise would be lost to Australian Chamber Orchestra and the would be gained nowhere except in a hall posterity could be preserved. The recordings Australian Brandenburg Orchestra as well packed with an expectant audience. could only be made subject to strict contractual as regular guest appearances with the agreements stipulating that they could be Australian symphony orchestras. Richard Morrison, Musical Life (1990) only be heard at the listening studio opened by the MPRC at the Barbican Centre’s library. Her discography includes over 50 releases on At the time of writing this article in 1990, At that time, this condition was essential: international labels as well as the best-selling Richard Morrison was Deputy Arts Editor of without it, the recording that can now, for the discs Simple Gifts, Handel Arias, Make Believe, The Times, of which he is now a columnist fi rst time, offi cially be issued here could never The Salley Gardens, Clair de lune, and Vienna and Chief Music Critic. have been made. City of My Dreams, all for ABC Classics. Recent appearances include Countess Jon Tolansky (2009) (Capriccio, Dresden State Opera), Marschallin (Der Rosenkavalier, Vienna State Opera) and Jon Tolansky is co-founder of the Music for Opera Australia, The Merry Widow, Der Performance Research Centre, now known Rosenkavalier, La Voix Humaine and Blanche in

as Music Preserved. André Previn’s opera A Streetcar Named Desire. Saunders © Keith

LLPO-379PO-379 MahlerMahler Booklet_AW2.inddBooklet_AW2.indd SpreadSpread 6 ofof 8 - Pages(6,Pages(6, 11)11) 222/12/20092/12/2009 10:3110:31 It is in the fi nale, though, that the full urgency, The origins of this recording YVONNE KENNY AM soprano terror and hard-won exultation of Tennstedt’s When the London Philharmonic Orchestra interpretation is revealed. From the colossal presented two performances of Mahler’s beginning, like the foundations of the whole Resurrection Symphony at the Royal Festival Yvonne Kenny is one of the most distinguished Yvonne Kenny was made a member of the earth opening up, through the tremendous Hall in February 1989, the Music Performance sopranos of her generation. She has performed Order of Australia (1989) and was awarded an drum-rolls which Tennstedt extends boldly, to Research Centre – now Music Preserved – was a in most of the world’s leading opera houses and honorary Doctorate of Music from the University the beseeching violin phrases, there is a sense recently constituted facility that provided the sole concert halls, having built an enviable reputation of Sydney (1999). She is Professor of Voice at of desperation, of matters coming to the point opportunity to record the concerts. Before the as a fi ne Mozartian, a dazzling interpreter London’s Guildhall School of Music & Drama. of fi nal reckoning. creation of the MPRC, unless a live performance of works by Handel and more recently for www.yvonnekenny.com in a concert hall or opera house was being her performances of the Richard Strauss Then comes the soprano’s fi rst magical broadcast or recorded by a commercial company, heroines, most notably as the Marschallin entry, the hushed arrival of the choir, the complex copyright issues prevented any offi cial (Der Rosenkavalier) and Countess (Capriccio). growth of certainty, and the fi nal glorious recording being made for archival purposes. bars, played with enormous breadth She appears regularly at major international and grandeur. The orchestral playing Those issues were resolved with the arrival festivals, at Carnegie Hall and at the BBC throughout is very high in quality. Equally, of the MPRC following many years of broadly Promenade concerts. Australian performances the electricity of this performance, its based negotiations. From the autumn of 1987, include national tours for Musica Viva, sense of immediate communication, live events that otherwise would be lost to Australian Chamber Orchestra and the would be gained nowhere except in a hall posterity could be preserved. The recordings Australian Brandenburg Orchestra as well packed with an expectant audience. could only be made subject to strict contractual as regular guest appearances with the agreements stipulating that they could be Australian symphony orchestras. Richard Morrison, Musical Life (1990) only be heard at the listening studio opened by the MPRC at the Barbican Centre’s library. Her discography includes over 50 releases on At the time of writing this article in 1990, At that time, this condition was essential: international labels as well as the best-selling Richard Morrison was Deputy Arts Editor of without it, the recording that can now, for the discs Simple Gifts, Handel Arias, Make Believe, The Times, of which he is now a columnist fi rst time, offi cially be issued here could never The Salley Gardens, Clair de lune, and Vienna and Chief Music Critic. have been made. City of My Dreams, all for ABC Classics. Recent appearances include Countess Jon Tolansky (2009) (Capriccio, Dresden State Opera), Marschallin (Der Rosenkavalier, Vienna State Opera) and Jon Tolansky is co-founder of the Music for Opera Australia, The Merry Widow, Der Performance Research Centre, now known Rosenkavalier, La Voix Humaine and Blanche in

as Music Preserved. André Previn’s opera A Streetcar Named Desire. Saunders © Keith

LLPO-379PO-379 MahlerMahler Booklet_AW2.inddBooklet_AW2.indd SpreadSpread 6 ofof 8 - Pages(6,Pages(6, 11)11) 222/12/20092/12/2009 10:3110:31 KLAUS TENNSTEDT conductor MAHLER SYMPHONY NO.2 ‘RESURRECTION’ Text is taken from Friedrich Klopstock’s Resurrection Ode

Born in East Germany, Klaus Tennstedt studied expression of Mahler’s true self. In addition 03 Urlicht Primordial Light at the Leipzig Conservatory and conducted to regular programming in concerts, many of throughout his native land but it was not until which were broadcast, he recorded it in the Mezzo soprano he moved to the West in 1971 that he started studio in 1981 with the London Philharmonic O Röschen rot! O red rose! to achieve world recognition. He made his Orchestra for EMI. Der Mensch liegt in grösster Not! Mankind lies in greatest need! American debut with the Boston Symphony Der Mensch liegt in grösster Pein! Mankind lies in greatest pain! Orchestra in 1974 and his London debut was Je lieber möcht’ich im Himmel sein! Far rather would I be in Heaven! with the London Symphony Orchestra in Da kam ich auf einen breiten Weg; I came upon a broad pathway; 1976, his debut with the London Philharmonic da kam ein Engelein und wollt’mich abweisen. a little angel came and wanted to turn me aside. Orchestra following in 1977. He had an Ach nein! Ich liess mich nicht abweisen! Ah no! I would not be turned aside! instant rapport with the London Philharmonic Ich bin von Gott und will wieder zu Gott! I am from God and would return to God! Orchestra that resulted in return invitations and Der liebe Gott wird mir ein Lichtchen geben, Dear God will give me a little light, his appointment as the Orchestra’s Principal wird leuchten mir bis in das ewig selig Leben! will light me to the eternal blessed life! Conductor and Music Director in 1983. This developed into a unique and remarkable 05 Auferstehung Resurrection relationship until illness ﬁ nally brought it to a premature end some ten years later. Chorus and soprano Klaus Tennstedt died in 1998. Aufersteh’n, ja aufersteh’n wirst du, Rise again, yes you will rise again, mein Staub, nach kurzer Ruh! my dust, after a short rest! Tennstedt was particularly renowned for Unsterblich Leben Immortal life his performances of the German repertoire, wird der dich rief dir geben. He who called you will grant you. especially Mahler whose symphonies he conducted regularly with the London Wieder aufzublüh’n wirst du gesät! To bloom again you are sown! Philharmonic Orchestra at the Royal Festival Der Herr der Ernte geht The Lord of the Harvest goes Hall and in the recording studio to huge und sammelt Garben and gathers like sheaves public acclaim. His energy, musicianship and uns ein, die starben! each of us who died! emotional involvement combined with a rare humility endeared him to audiences and musicians alike. Mahler’s Symphony No.2 is a work that Tennstedt maintained was the ﬁ rst

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Mezzo soprano Soprano, mezzo soprano and chorus O glaube, mein Herz, o glaube, O believe, my heart, o believe, O Schmerz! Du Alldurchdringer! O pain! You that pierce all things! es geht dir nichts verloren! nothing is lost to you! Dir bin ich entrungen! From you I have been wrested! Dein ist, was du gesehnt, Yours is what you longed for, O Tod! Du Allbezwinger! O death! You all-conqueror! dein was du geliebt, yours what you loved, Nun bist du bezwungen! Now you have been conquered! was du gestritten! what you fought over! Mit Flügeln, die ich mir errungen With wings, which I gained for myself Soprano in heissem Liebesstreben, in love’s hot strife, O glaube, O believe, werd’ ich entschweben I shall soar away du warst nicht umsonst geboren! you were not born in vain! zum Licht, zu dem kein Aug’ gedrungen! to the light, whither no eye has penetrated! Hast nicht umsonst gelebt, Have not in vain lived, Sterben werd’ ich, um zu leben! I shall die so as to live! gelitten! suffered! Aufersteh’n, ja aufersteh’n wirst du, Rise again, yes you will rise again, mein Herz, in einem Nu! my heart, in an instant! Chorus and mezzo soprano Was du geschlagen What you have beaten Was entstanden ist What has come into being zu Gott wird es dich tragen! will bear you to God! das muss vergehen! must pass away! Was vergangen, auferstehen! What passed away, rise again! English translation © Eric Mason Hör’ auf zu beben! Stop trembling! Bereite dich zu leben! Prepare yourself to live!

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LLPO-379PO-379 MahlerMahler Booklet_AW2.inddBooklet_AW2.indd SpreadSpread 8 ofof 8 - Pages(8,Pages(8, 9)9) 222/12/20092/12/2009 10:3110:31 GUSTAV MAHLER (1860–1911)

KLAUS TENNSTEDT conductor YVONNE KENNY soprano JARD VAN NES mezzo soprano LONDON PHILHARMONIC ORCHESTRA and CHOIR David Nolan leader Malcolm Hicks off-stage conductor Richard Cooke chorus master

Recorded live at Southbank Centre’s ROYAL FESTIVAL HALL London

LPO – 0044

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Although serious illness had forced him to relinquish the Principal Recorded live at Southbank Conductorship of the London Philharmonic Orchestra in 1987, Klaus Centre’s Royal Festival Hall, London on 20 February 1989

Tennstedt was able to return a number of times in the following years as TENNSTEDT Conductor Laureate. In February 1989 he conducted two performances of Recording and Balance Engineer LPO – 0044 LPO of archive recording: Tony Faulkner Mahler’s mighty Resurrection Symphony at the Royal Festival Hall in London. Post-Production Producer: Andrew Walton, The concerts quickly acquired legendary status; those present talked of an K&A Productions incredible interpretation shot through with emotion, conviction, musical Mastering Engineer: Andrew Lang,

depth and tangible atmosphere, captured here in this live recording. K&A Productions ‘RESURRECTION’ NO.2 SYMPHONY MAHLER conducts Design and artwork: Harrison + Co Creative

GUSTAV MAHLER (1860–1911) Total playing time: 93:57 Booklet text in English. Symphony No.2 ‘Resurrection’ DDD CD1 25:02 Stereo

01 25:02 I. Allegro maestoso The release of this recording has been made possible with the kind assistance of the Council of Music Preserved, and the CD2 67:48 London Philharmonic Orchestra wishes to thank Roger Neill, Roger Beardsley and 01 12:10 II. Andante Moderato Jon Tolansky for their assistance. 02 11:24 III. Scherzo 03 6:14 IV. ‘Urlicht’ LPO – 0044 04-06 38:00 V. Finale Made in Germany © 2010 London Philharmonic Orchestra Ltd 2010 London Philharmonic Orchestra Ltd KLAUS TENNSTEDT conductor YVONNE KENNY soprano JARD VAN NES mezzo soprano LONDON PHILHARMONIC ORCHESTRA and CHOIR

conducts MAHLER SYMPHONY NO.2 ‘RESURRECTION’ David Nolan leader Malcolm Hicks off-stage conductor Richard Cooke chorus master LPO – 0044 Recorded live at Southbank Centre’s

TENNSTEDT ROYAL FESTIVAL HALL London

8 54990 00144 4