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Home , Dahlem (Berlin), Erna Berger, Haus des Rundfunks, Heinz Tiessen, Leo Borchard, Sergiu Celibidache

THE Recordings 1945-1957 Erna Berger, soprano Margarete Klose, alto Lilia d’Albore, Helmut Heller, violin Hans Bottermund, cello Tibor de Machula, cello Gustav Scheck, flute Hans-Peter Schmitz, flute Helmut Schlövogt, oboe Karl Rucht, trumpet Raoul Koczalski,

Berliner Philharmoniker Rundfunk-Sinfonieorchester Berlin Radio-Symphonie-Orchester Berlin Bartholdy (1809-1847) Frédéric Chopin (1810-1849) No. 4 in A major, Op. 90 ‘Italian’ 28:38 Piano Concerto No. 2 in F minor, Op. 21 30:54 I. Allegro vivace 8:18 I. Maestoso 13:46 II. Andante con moto 7:10 II. Larghetto 8:44 III. Con moto moderato 7:38 III. Allegro vivace 8:24 IV. Saltarello. Presto 5:32 Raoul Koczalski, piano / Rundfunk-Sinfonieorchester Berlin Berliner Philharmoniker recording: 25-09-1948 / Haus des Rundfunks, Berlin recording: 09-11-1953 / Gemeindehaus Thielallee, Berlin- previously unreleased from original master from original master Hector Berlioz (1803-1869) ‘Das Märchen von der schönen Melusine’ Le Corsaire. Overture, Op. 21 9:31 Concert-Ouverture No. 4 in F major, Op. 32 Allegro assai – Adagio sostenuto – Allegro assai ‘The fable of the fairest Melusina’ 11:04 Berliner Philharmoniker Allegro con moto recording: 31-08-1947 / Haus des Rundfunks, Berlin from original master Rundfunk-Sinfonieorchester Berlin recording: 27-08-1945 / Haus des Rundfunks, Berlin previously unreleased from original master Georges Bizet (1838-1875) Symphony No. 1 in C major 26:39 (1756-1791) I. Allegro vivo 7:24 No. 5 in A major, K. 219 29:11 II. Adagio 9:03 I. Allegro aperto 10:16 III. Scherzo. Allegro vivace 4:19 II. Adagio 10:06 IV. Allegro vivace 5:53 III. Rondeau. Tempo di Menuetto – Allegro – Tempo di Menuetto 8:49 Berliner Philharmoniker Lilia d’Albore, violin / Berliner Philharmoniker recording: 09-11-1953 / Gemeindehaus Thielallee, Berlin-Zehlendorf recording: 06-03-1950 / Jesus-Christus-Kirche, Berlin-Dahlem from original master previously unreleased from original master Hector Berlioz Peter Ilyich Tchaikovsky (1840-1893) Le carnaval romain. Symphony No. 2 in C minor, Op. 17 33:32 Ouverture caractéristique, Op. 9 8:59 I. Andante sostenuto – Allegro vivo – Andante sostenuto 12:16 Allegro assai con fuoco II. Andantino marziale, quasi moderato 5:53 Berliner Philharmoniker III. Scherzo. Allegro molto vivace 5:09 recording: 19-04-1947 / Haus des Rundfunks, Berlin IV. previously unreleased from original master Finale. Moderato assai – Allegro vivo - Presto 10:14 Berliner Philharmoniker (1833-1897) recording: 21-02-1950 / Jesus-Christus-Kirche, Berlin-Dahlem from original master Symphony No. 4 in E minor, Op. 98 41:33 I. Allegro non troppo 12:06 Fantasy-Overture ‘Romeo and Juliet’ II. Andante moderato 13:01 (3rd version 1880) 24:59 III. Allegro giocoso 5:57 Berliner Philharmoniker IV. Allegro energico e passionato – Piú Allegro 10:29 recording: 25-03-1946 / Haus des Rundfunks, Berlin Berliner Philharmoniker from original master recording: 21-11-1945 / Haus des Rundfunks, Berlin previously unreleased from original master Nikolai Rimsky-Korsakov (1844-1908) Russian Easter Festival. (1864-1949) Overture on Liturgical Themes, Op. 36 15:58 Till Eulenspiegels lustige Streiche, Op. 28 15:52 Rundfunk-Sinfonieorchester Berlin Berliner Philharmoniker recording: 01-07-1945 / Haus des Rundfunks, Berlin live recording: 31-08-1947 / Haus des Rundfunks, Berlin previously unreleased from original master from original master Antonín Dvořák (1841-1904) (1860-1903) Cello Concerto in B minor, Op. 104 39:09 5 Orchesterlieder arr. Hugo Wolf 14:29 I. Allegro 14:51 I. Über Nacht (Julius Sturm) arr. Unknown 3:14 II. Adagio ma non troppo 12:22 II. Denk’ es, o Seele! (Eduard Mörike) 3:20 III. Finale. Allegro moderato 11:56 III. Gebet (Eduard Mörike) 3:06 IV. Anakreons Grab (J. W. v. Goethe) 2:53 Tibor de Machula, cello / Berliner Philharmoniker recording: 18-11-1945 / Berlin V. Gesang Weylas (Eduard Mörike) 1:56 previously unreleased from original master Margarete Klose, alto / Berliner Philharmoniker live recording: 20-01-1946 / Haus des Rundfunks, Berlin previously unreleased from original master Alexander Glazunov (1865-1936) Claude Debussy ‘Carnaval’. Overture for large Jeux. Poème dansé 15:51 and organ in F major, Op. 45 (beginning is missing) 10:02 Berliner Philharmoniker Rundfunk-Sinfonieorchester Berlin recording: 20-03-1948 / Jesus-Christus-Kirche, Berlin-Dahlem recording: 1945 / Berlin from original master previously unreleased from original master Nocturnes. Triptyque symphonique 7:02 César Cui (1835-1918) II. Fêtes ‘In modo populari’. Suite No. 3, Op. 43 26:57 Berliner Philharmoniker I. Allegro moderato – Poco più animato – Tempo primo 4:59 recording: 10-11-1946 / Haus des Rundfunks, Berlin from original master II. Moderato – Meno mosso – Andante – Allegro con moto – Moderato 5:35 III. Vivace – Pochettino meno mosso – Allegretto – Vivace 2:11 Camille Saint-Saëns (1835-1921) IV. Moderato – Pochettino più mosso – Poco meno mosso – Samson and Dalilah. Opera in three acts, Op. 47 6:34 ‘Sieh, mein Herz erschließet sich’. Aria of Dalilah (Act 2) Tempo primo 7:14 Margarete Klose, alto / Berliner Philharmoniker V. Allegretto – Pochettino meno mosso – Tempo primo 3:02 live recording: 20-01-1946 / Haus des Rundfunks, Berlin VI. Vivace, ma non troppo – Allegro moderato 3:56 previously unreleased from original master Rundfunk-Sinfonieorchester Berlin recording: 1945 / Berlin previously unreleased from original master Reinhold Glière (1874-1956) Concerto for and orchestra in F minor, Op. 82 13:10 Claude Debussy (1862-1918) I. Andante 8:15 . Trois esquisses symphoniques 25:46 II. Allegro – Animato – Più allegro – Presto 4:55 I. De l’aube à midi sur la mer 10:20 Erna Berger, soprano / Berliner Philharmoniker II. Jeux de vagues 6:41 recording: 07-07-1946 / Haus des Rundfunks, Berlin III. Dialogue du vent et de la mer 8:45 from original master Berliner Philharmoniker recording: 31-08-1947 / Haus des Rundfunks, Berlin from original master (1906-1975) (1866-1924) Symphony No. 9 in E-flat major, Op. 70 22:31 Berceuse élégiaque. The man‘s lullaby I. Allegro 4:58 at his mother‘s coffin, Op. 42 11:36 II. Moderato 5:45 Andantino calmo III. Presto 2:39 Rundfunk-Sinfonieorchester Berlin IV. Largo (attacca) 2:54 recording: 24-07-1945 / Haus des Rundfunks, Berlin previously unreleased from original master V. Allegretto – Pochissimo animato – Allegro 6:15 Berliner Philharmoniker recording: 31-08-1947 / Haus des Rundfunks, Berlin Sergei Prokofiev (1891-1953) from original master Symphony No. 1 in D major, Op. 25 ‘Symphonie classique’ 14:25 (1882-1971) I. Allegro 4:12 ‘Jeu de cartes’. Ballet en trois donnes II. Larghetto 4:25 (‘Card Game’. Ballet in three deals) 21:56 III. Gavotta. Non troppo allegro 1:41 I. First Deal (Première donne) (attacca) 5:21 IV. [Finale.] Molto vivace 4:07 II. Second Deal (Deuxième donne) 8:53 Berliner Philharmoniker III. Third Deal (Troisième donne) 7:42 recording: 06-07-1946 / Haus des Rundfunks, Berlin from original master Berliner Philharmoniker recording: 06-03-1950 / Jesus-Christus-Kirche, Berlin-Dahlem previously unreleased from original master Romeo and Juliet. Suite for orchestra No. 2, Op. 64 b 37:04 I. Montagues and Capulets. Andante – Allegro pesante 5:56 RuDi Stephan (1887-1915) II. The child Juliet. Vivace 4:17 Music for orchestra in one movement 19:24 III. Friar Laurence. Andante espressivo 3:00 Berliner Philharmoniker IV. Dance. Vivo 2:03 recording: 09-05-1949 / Jesus-Christus-Kirche, Berlin-Dahlem V. Romeo and Juliet before parting. Lento – Adagio 10:16 previously unreleased from original master VI. Dance of the Girls with Lilies. Andante con eleganza 2:08 VII. Romeo at Juliet’s Grave. Adagio funebre 9:24 Berliner Philharmoniker recording: 01-09-1946 / Haus des Rundfunks, Berlin from original master Albert Roussel (1869-1937) Günter Raphael (1903-1960) Petite Suite, Op. 39 13:36 Symphony No. 4 in C major, Op. 62 29:28 I. Aubade. Allegretto comodo 3:38 I. Langsam 9:54 II. Pastorale. Andante – Andantino – Andante 6:49 II. Sehr rhythmisch bewegt 3:55 III. Mascarade. Allegro con spirito 3:09 III. Langsam 8:39 Rundfunk-Sinfonieorchester Berlin IV. Frisch, lebendig 7:00 recording: 24-07-1945 / Haus des Rundfunks, Berlin Berliner Philharmoniker previously unreleased from original master recording: 08-12-1950 / Jesus-Christus-Kirche, Berlin-Dahlem previously unreleased from original master Darius Milhaud (1892-1974) Suite française, Op. 248 17:19 Carlos Chávez Ramírez (1899-1978) I. Normandie. Animato 1:42 Sinfonía de Antígona (Symphony No. 1) 10:12 II. Bretagne. Lento 5:04 Berliner Philharmoniker III. Île de . Vivo 1:55 recording: 06-12-1950 / Jesus-Christus-Kirche, Berlin-Dahlem IV. Alsace-Lorraine. Lento 5:44 previously unreleased from original master V. Provence. Animato 2:54 Samuel Barber (1910-1981) Berliner Philharmoniker recording: 31-03-1951 / Gemeindehaus Thielallee, Berlin-Zehlendorf Capricorn Concerto for flute, oboe, previously unreleased from original master trumpet and string orchestra, Op. 21 15:41 I. Allegro ma non troppo 7:24 Suite symphonique No. 2, Op. 57 (excerpts) 11:32 II. Allegretto 3:06 I. Ouverture. Modéré 4:17 III. Allegro con brio 5:11 IV. Nocturne. Souple et modéré 2:50 Hans-Peter Schmitz, flute / Helmut Schlövogt, oboe / Karl Rucht, trumpet / V. Final. Vif 4:25 Berliner Philharmoniker recording: 06-04-1950 / Jesus-Christus-Kirche, Berlin-Dahlem Berliner Philharmoniker previously unreleased from original master recording: 10-09-1949 / Jesus-Christus-Kirche, Berlin-Dahlem previously unreleased from original master Aaron Copland (1900-1990) Appalachian Spring (Concert version of ‘Ballet for Graham’) 26:23 Berliner Philharmoniker recording: 06-04-1950 / Jesus-Christus-Kirche, Berlin-Dahlem previously unreleased from original master Walter Piston (1894-1976) Henry Purcell (1659-1695) Symphony No. 2 27:31 King Arthur, or The British Worthy. I. Moderato – A tempo meno mosso 9:37 Suite for string orchestra arr. Julian Herbage 15:34 II. Adagio 13:12 I. Overture. Maestoso – Allegro (No. 2, 2nd music) 3:44 III. Allegro 4:42 II. Air. Tempo di Menuetto (No. 3, 2nd music) 2:02 rd Berliner Philharmoniker III. Hornpipe. Allegro non troppo (No. 30, 3 act) 0:35 recording: 06-04-1950 / Jesus-Christus-Kirche, Berlin-Dahlem IV. Faisrest Isle. Allegretto (No. 40, 4th act) 1:56 previously unreleased from original master V. Air. Allegro leggiero (No. 33, 5th act) 0:39 VI. Chaconne. Allegretto (No. 1, 1st music) 6:38 Edward MacDowell (1860-1908) Romance for Violoncello and Orchestra, Op. 35 5:08 (the numbers in brackets refer to the score of the whole opera, Novello 1972) Andante melancolico Rundfunk-Sinfonieorchester Berlin recording: 16-08-1945 / Haus des Rundfunks, Berlin Hans Bottermund, cello / Rundfunk-Sinfonieorchester Berlin previously unreleased from original master recording: 26-09-1945 / Haus des Rundfunks, Berlin previously unreleased from original master Antonio Vivaldi (1678-1741) Concerto for violin and strings (1913-1976) in D major, Op. 8/11 (RV 210) Sinfonia da Requiem, Op. 20 20:43 ‘Il cimento dell’armonica e dell’inventione’ 12:19 I. I. Lacrymosa. Andante ben misurato – Con moto – Allegro 4:21 II. Largamente, ma con animo deliberato (attacca) 9:18 Largo 3:48 III. 4:10 II. Dies irae. Allegro con fuoco – Con anima – Allegro Alla marcia (sempre in tempo giusto) – Avanti! – Helmut Heller, violin / Berliner Philharmoniker recording: 09-11-1953 / Jesus-Christus-Kirche, Berlin-Dahlem Poco a poco più lento (attacca) 4:42 previously unreleased from original master III. Requiem aeternam. Andante molto tranquillo – Largamente – Comodo 6:43 David Diamond (1915-2005) Berliner Philharmoniker Rounds for string orchestra 15:47 live recording: 10-11-1946 / Haus des Rundfunks, Berlin from original master I. Allegro molto vivace (attacca) 04:48 II. Adagio (attacca) 04:46 III. Allegro vigoroso 06:13 Berliner Philharmoniker recording: 06-04-1950 / Jesus-Christus-Kirche, Berlin-Dahlem previously unreleased from original master (1887-1971) (1770-1827) Vorspiel zu einem Revolutionsdrama, Op. 33 11:01 Leonore Overture No. 3, Op. 72a 16:21 Berliner Philharmoniker Adagio – Allegro – Presto recording: 08-12-1946 / Haus des Rundfunks, Berlin Berliner Philharmoniker previously unreleased from original master recording: 10-11-1946 / Haus des Rundfunks, Berlin from original master Joseph Haydn (1732-1809) Symphony No. 94 in G major, Hob. I:94 Ludwig van Beethoven ‘The Surprise’ (3rd London Symphony) 25:18 Symphony No. 7 in A major, Op. 92 (fragment) 28:46 I. Adagio – Vivace assai 8:15 I. Poco sostenuto – Vivace 13:58 II. Andante 7:15 II. Allegretto 9:06 III. Menuetto. Allegro molto 6:07 III. Presto (fragment) 5:39 IV. Finale. Allegro di molto 3:41 Deutsches Symphonie-Orchester Berlin (former: Radio-Symphonie-Orchester Berlin) Berliner Philharmoniker live recording: 07-10-1957 / Titania-Palast, Berlin live recording: 28-09-1946 / Haus des Rundfunks, Berlin previously unreleased from original master from original master HARALD GENZMER (1909-2007) Symphony No. 104 in D major, Hob. I:104 Concerto for Flute and Chamber Orchestra 24:47 ‘Salomon’ (7th London Symphony) 28:51 I. Lebhaft und schwungvoll 7:36 I. Adagio – Allegro 8:11 II. Ruhig fließend 6:41 II. Andante 9:35 III. Lebhaft. Scherzo 3:45 III. Menuetto. Allegro 6:16 IV. Rondo. Sehr lebhaft 6:42 IV. Finale. Allegro spiritoso 4:49 Radio-Symphonie-Orchester Berlin • Gustav Scheck, flute Berliner Philharmoniker live recording: 08-12-1950 / Jesus-Christus-Kirche, Berlin-Dahlem recording: 20-02-1950 / Jesus-Christus-Kirche, Berlin-Dahlem from original master previously unreleased from original master From passion to music riding a bicycle by an American soldier, at the helm of the , were leading protagonists of New Music As conductor of the Berlin Philharmonic and six days later Celibidache made his making him the obvious candidate as such as Hindemith, Stravinsky, Bartók, during the post-war era, Sergiu Celibi- début with the Berlin Philharmonic in a sole licensee of the orchestra after a Prokofiev, Shostakovich and Milhaud, or dache influenced as no other the musi- concert featuring the overture to Gioa­ short settling-in period (it was only two of Jewish descent and Ameri- cal life of that metropolis, still scarred chino Rossini’s Il barbiere di Siviglia, Carl years later that this position was distrib- can, Russian or British origins. by the war. At the age of thirty-two, his Maria von Weber’s bassoon concerto uted amongst several members of staff), Celibidache later admitted that he career enjoyed a meteoric rise which (with Oskar Rothensteiner) and Antonín whereupon he immediately gave up his “hadn’t made music” at that time and only still remains unrivalled in musical his- Dvořák’s New World Symphony. post with the Broadcasting Symphony learnt after painful insights and adjust- tory. Until then, he had merely con- Immediately after the end of the war, Orchestra. It is almost impossible to imag- ments that music “is more than fire and ducted university and amateur choirs Celibidache had been introduced to the ine Celibidache’s workload: not only was passion” – qualities for which the young and , when suddenly, as the Allied decision-makers as a superior tal- he in charge of the music, but, to all intents conductor received enthusiastic praise. unexpected winner of a competition, he ent. According to the unanimous opin- and purposes, was also manager of the The Berlin audience fell in love with his found himself directing the Broadcast- ion of the experts, he was not only an Berlin Philharmonic – without any prepa- wild temperament, his undisputedly rous- ing Symphony Orchestra with whom he accomplished and brilliant conductor, but ration period or experience. However, this ing musicality: his outstanding craftsman- made his first recording on 1 July 1945, also, according to the comments in his did not prevent him in the least from fulfill- ship was undoubted. But then Tiessen less than two months after the end of diploma made by his piano professor at ing his remaining duties with the Broadcast- came to him, his beloved professor to the war, of Nikolai Rimsky-Korsakov’s the Berlin Hochschule für Musik, Joachim ing Symphony Orchestra, rehearsing new whom he “owed everything”, and told concert overture La Grande Pâque Russe. Ansorge (1893-1947), “an extraordinary repertoire with the Berlin Philharmonic – him he had “learnt nothing. I have wasted He was appointed chief conductor, but pianistic talent, unquestionably of a very without a score from the first rehearsal, my time with you.” This occurred at the soon a series of fateful events would take rare format”, substantiating “the highest even in the early days – and beginning of December in 1945, just over its course: on 23 August – hopes for a truly great future”. And it is over 400 concerts during the first years. three months after his début with the the interim chief conductor of the Berlin recorded that it was Celibidache who A particular challenge at that time lay in Berlin Philharmonic – on 9 December Philharmonic who had been appointed played the four national anthems of the familiarising both the musicians and the Celibidache conducted the Berlin Phil- after Wilhelm Furtwängler had been Allied Forces on the piano for the first public with the music of all those compos- harmonic at a concert which formed part banned from all artistic activities during radio broadcast in Berlin after the end of ers who had been ostracised or neglected of the Beethoven Festival of the city of the Third Reich – was shot dead whilst the war. He immediately proved himself during the Third Reich, whether they Berlin, performing the overture to Corio- lan, the Third Piano Concerto and the Celibidache conducted his first Bruck- which the expert Klaus Lang reports Fifth Symphony by Beethoven together ner symphony as part of the Bruckner exhaustively in his book Celibidache und with the soloist Anneliese Schier-Ties- concerts promoted by the city of Berlin, Furtwängler (published by Wißner-Verlag). sen (1923-84), the wife of his mentor. celebrating the fiftieth anniversary of the On 21 September 1953, Celibidache Tiessen now induced him initially to study ’s death. It was the Seventh Sym- had an inspirational experience which simple forms in order to develop that abil- phony and afterwards Tiessen came to see influenced his music-making like nothing ity which would later become the founda- him and said: “Coming along.” (Until the else. At St Mark’s in Venice, he directed tion of Celibidache’s music-making – and early Sixties, Celibidache, who was to the choirs of the Teatro La Fenice and every truly faultless performance: the become a legendary Bruckner conduc- the Accademia di Santa Cecilia in works ability to form correlation, or coherent tor during his tenure in , towards for double choir by Giovanni Croce developments within the musical process the end of his career, only performed the and Claudio Monteverdi. Until the bearing the possibility to “experience the Fourth and the Seventh .) dress rehearsal, it did not go particu- © Archiv Berliner Philharmoniker end in the beginning and the beginning in In Celibidache’s career, the years larly well. But in the concert, he expe- the end”. The programmes of the Berlin between 1946 and 1953 could be described rienced for the first time the beginning Philharmonic reveal how Celibidache now as the phase of striving towards the ideal in the end and nothing tore the musician concentrated on the classical repertoire prescribed by Tiessen. During this time out of the continuous stream of music; (with a focus on Bach, Haydn, Mozart he also turned down the offer to become the dimension of temporal succession and early Beethoven) and even baroque chief conductor of the New York Philhar- had dissolved. Shortly afterwards, on works, as the oft-mentioned concert monic. However, he appeared increasingly 3 October, he worked again in Ber- of 21 March 1946 in the cultural affairs abroad, particularly in Latin America, and lin, performing a concert in aid of the office of a southwest Berlin suburb with due to Wilhelm Furtwängler’s gradual new concert hall for the Berlin Philhar- Vivaldi’s Concerto grosso in D minor, a return to the Berlin Philharmonic as chief monic (featuring the funeral march from suite from Telemann’s Tafelmusik as well as conductor, which Celibidache supported Beethoven’s Eroica, Schubert’s Unfinished, Haydn’s Symphony No 103 demonstrates. wholeheartedly, he performed less and the finale of Dvořák’s Symphony From Six months later, on 28 Septem- less in Berlin, where there were also sev- the New World and Wagner’s Tannhäuser © Archiv Berliner Philharmoniker ber 1946, at the Haus des Rundfunks, eral misunderstandings and arguments, overture), as well as conducting, on the two following days, George Bizet’s Sym- Orchestra – before turning away from From Russian Easter to gramme it again and again until his late era phony in C major, Stravinsky’s Concerto LPs since the acoustic distortion and the Die and Become! in Munich (he loved Roussel’s music gen- for Piano and Wind Instruments with Shura mechanical reproduction of a single musi- At the beginning of this edition is a series erally and also conducted the Suite en fa Cherkassky (1909-95) and Beethoven’s cal act “had taken man away from music of recordings with the Broadcasting Sym- and the Third Symphony). The same ses- Seventh Symphony. On 30 October he and made him poorer”. phony Orchestra, the majority of which sions also saw the recording of Ferruccio performed the Violin Concerto Op. 8, On 29 and 30 November 1954 Celibi- were made before Celibidache’s first Busoni’s legendary mysterious evocation, No 11 in D major by Vivaldi with Sieg- dache directed the Berlin Philharmonic engagement with the Berlin Philharmonic. Berceuse élégiaque, a poem for orchestra, fried Borries, Ravel’s suite Ma mère l’oye for the last time – at the concert hall of The overture to La Grande Pâque Russe written immediately after the death of and Beethoven’s Seventh once again. the Hochschule für Musik, performing (Great Russian Easter) is one of the most the composer’s mother. This recording This was followed, on 8 and 9 Novem- Ravel’s Alborada del gracioso, the premi- successful and popular works by Nikolai is an early example of his masterly abil- ber, by Mendelssohn’s Italian Symphony, ère of the new version of Heinz Tiessen’s Rimsky-Korsakov, whereas Glazunov’s ity to achieve a unity of vocal phrasing, Schumann’s Cello Concerto with Anto- Visions for violin and small orchestra with foot-tapping Carnaval overture is, at best, transparent balance and unfailingly vivid nio Janigro (1918-89) and Ravel’s . , the orchestra’s concert known in Russia. The Petite Suite No 3 “In colour which was such a characteristic Three of these works – the Vivaldi con- master, as soloist, and Bartók’s Concerto modo populari” (In popular mode), a pic- feature of the mature Celibidache. After certo, now with the violinist Helmut for Orchestra. And on 30 November 1954, turesque rarity by César Cui, the least his Berlin years, however, Celibidache Heller (1920-1993), the Bizet and Men- Wilhelm Furtwängler died. His successor well-known member of the legendary rarely conducted the music of Busoni, delssohn – were recorded in the studio as chief conductor of the Berlin Philhar- “Mighty Handful” of five composers (the whose aesthetics of a “young classicism” on 9 November: these were the last monic was – a harsh other members were Balakirev, Boro- was so close to his mentor Heinz Ties- recordings of the Berlin Philharmonic blow for Celibidache. Even though it was din, Mussorgsky and Rimsky-Korsakov), sen. The suite from King Arthur by Henry with Celibidache, and also the first never expressed publicly, Celibidache’s is not uninteresting historically, but cer- Purcell, whom Celibidache admired as the recordings representing the conductor in uncompromising stance on commercial tainly not the kind of music which Celibi- “master of small forms”, is no arrange- such a way that he was able, musically, to exploitation surely was the deciding fac- dache would have researched especially. ment, if one disregards the – historically accept. 1953 was also the year in which tor in Karajan’s appointment. The Petite Suite by Albert Roussel, on customary – instrumental version of the he made his last commercial record- the other hand, features false relations, famous song Fairest Isle. Naturally, this ing – the Brahms Violin Concerto with quirky metres and has an original, con- straight and powerful playing does not and the London Symphony trary charm and Celibidache would pro- yet reveal the master of subtle articula- tion and weightless flowing that would Amsterdam Concertgebouw Orches- its core not at all classical music” (Celi- become Celibidache’s hallmarks, also in tra, taking up the same position, Celibi- bidache) would become. It is particularly baroque works. Mendelssohn’s lyrical dache had repeatedly worked with him fortunate to have a recording, made a and perfectly shaped overture to The as a soloist, including for a recording day later, of the rarely performed (and Fair Melusina is a work which Celibidache of Édouard Lalo’s Cello Concerto. This never with such quality) Concerto for colo- liked but which he did not perform regu- recording was subsequently archived ratura soprano and orchestra by Reinhold larly. The idyllic Romance for Violoncello under the wrong name, identified as a Glière, the then 71-year-old teacher of and Orchestra by the American romantic falsification by Ernst Lumpe and was Prokofiev. Erna Berger (1900-90) inter- composer Edward MacDowell, finally, is then correctly assigned by one of his prets her vocalise part captivatingly and an exotic miniature with a cantabile con- star pupils and other experts. Two is accompanied lithely, sensitively and, in tribution from the short-lived cellist Hans months later, a concert recording was the repeatedly accelerating finale, with a Bottermund (1892-1949). made with the famous alto Margarete light sense of momentum. © Archiv Berliner Philharmoniker In Dvořák’s Cello Concerto and Klose (1899‑1968) of five Wolf songs and On 1 September he produced his next Brahms’ Fourth Symphony we hear the popular Saint-Saëns aria Softly awakes Soviet contribution, and this recording the Berlin Philharmonic after less than my heart (in German), and thereafter, for of the first suite from Prokofiev’s bal- three months’ work with Celibidache, a certain time, Celibidache’s work with let Romeo and Juliet is also remarkable and they had already noticeably grown the Berlin Philharmonic was regularly as Celibidache would later always pro- together; structural rigour, melodic documented. In March 1946 Tchaiko- gramme a version incorporating ele- intensity and freedom of expression are vsky’s dramatic Fantasy Overture Romeo ments from the first and second suites perceptible. Tibor de Machula (1912-82) and Juliet, a long runner in Celibidache’s which magnificently ends with Tybalt’s had been engaged in 1936 by Wilhelm repertoire, was recorded, followed by, Death. Here, we have Pater Lorenzo and Furtwängler as principal cello of the on 6 July, Prokofiev’sSymphonie classique, an ensuing fast dance: two numbers Berlin Philharmonic: he was one of the a famous performance with character- which Celibidache would later no longer finest cellists of his generation. During istic grasp of this music. It is revealing, conduct. On 28 September he recorded the short period between the end of however, how much more refined Celi- Haydn’s Surprise Symphony: firmly cap- © Archiv Berliner Philharmoniker the war and 1947 when he joined the bidache’s later performances of this “at tured stylistically, even if still a long way off the subtlety and tender elegance Berlioz’ Roman Carnival Overture was performed together Tchaikovsky’s First his tragically early death, had been one of which became characteristic of Celibi- made – a piece, on whose trivially slow Piano Concerto on 2 December 1945 the greatest hopes in German music, was dache’s Italian performances in the 1950s introduction Celibidache commented: alongside the Berlin Philharmonic, it is also later performed by Celibidache, in and 60s. Beethoven’s third Leonore over- “That is how my grandmother com- a more than happy coincidence that this exemplary fashion, both in Stuttgart and ture, on the other hand, suited his stormy posed.” On 31 August 1947, Berlioz’ recording, made two months before the in Munich. On 10 September 1949 he had approach better, and on the same day, theatrical concert overture Le Corsaire, pianist’s death, has survived, for it is a three movements from Darius Milhaud’s 10 November 1946, Debussy’s Fêtes, the Till Eulenspiegel’s Merry Pranks by Rich- historically significant lesson in natural Symphonic Suite recorded – another of his second movement from his Trois Noc- Strauss, Debussy’s La mer and the refinement, free of sentimental rubato favourite living composers. turnes, was also recorded, as well as the Ninth Symphony by Shostakovich were mannerisms, pianistic demonstration and During the spring of 1950, the Ber- bleak Sinfonia da Requiem of 1940 by the recorded, followed by Debussy’s Poème post-war objectivity. And the orchestra, lin Philharmonic and Celibidache had a now 33-year-old Benjamin Britten, which dansé “Jeux” on 20 March 1948. Neither under Celibidache, is the perfect coun- busy recording schedule. One day after are also fine examples of the orchestral Jeux nor Corsaire was ever conducted terpart. recording Haydn’s Symphony No 104 discipline and the charged expressiv- again by Celibidache, and in the case of We may assume that Heinz Tiessen there followed the relatively rarely heard ity which had developed under Celibi- Jeux this is truly regrettable, not only made his pupils aware of his fellow com- Second Symphony by Tchaikovsky, reveal- dache. Two months later followed, for with regard to Celibidache’s musical posers. Celibidache unfortunately (for ing Celibidache’s matured interpreta- the first time, a work by Heinz Tiessen: development, but also – particularly with nobody would have equalled him) did tional gift. On 6 March the recording of the Prelude to a revolutionary drama Op. 33 impressionist works – with regard to the not conduct any works of Emil Bohnke, Mozart’s A major Concerto was made of 1926 which shows him to be one of increasing technical quality of recordings. Philipp Jarnach, Eduard Erdmann or with the Italian violinist Lilia d’Albore the most important masters of German On 25 September 1948 Celibidache Ernst Krenek, but in Berlin he twice (born in 1914) with whom Celibidache expressionism of the Weimar Republic, made another recording with the Broad- programmed Paul Höffer (including the appeared several times during those furnished with a political message which, casting Symphony Orchestra, this time première of the Piano Concerto Op. 45 years, as well as Igor Stravinsky’s bal- only two years previously, would have accompanying the great Polish pianist with the composer as soloist) and on let Jeu de cartes which he performed cost him his life: the quotation of the Rus- and artistic descendant of Chopin, Raoul 9 May 1949 he recorded Music for Orches- regularly until the 1960s – a work sian tune, then imported by Hermann Koczalski (1885-1948) in the F minor tra by Rudi Stephan, who had been killed which served him as a prime example of Scherchen, Brothers, to the sun, to liberty. Piano Concerto by Frédéric Chopin. in action during the First World War. This Stravinsky’s non-symphonic style which Four months later, the recording of After Koczalski and Celibidache had masterwork of a young man, who, until feeds off a constant producing of new ideas and their ingenious combinations, a an ascetic, laconic piece of a ritualistic, a new concerto and eventually forgot several concerts, the last major record- “complementing through diversity”. abstract character and with an almost about the old one. Until today, the music ing sessions with the Berlin Philharmonic On 6 April 1950 an entirely US-Amer- geometric design. Its life-affirming coun- of Genzmer’s first flute concerto has not took place on 9 November 1953, form- ican programme featuring new works terpart is the Sinfonia India, written two been located. ing the pinnacle of the surviving sound (composed between 1943 and 1945) years later, which Celibidache often con- On the same day, 8 December 1950, documents of Celibidache and the Berlin was recorded: the compressed concert ducted, though sadly no recording of it Günter Raphael’s Fourth Symphony was Philharmonic. The insignificant lightweight version of Aaron Copland’s ballet Appa- survives. also recorded. As was the case with amongst these works is Vivaldi’s D major lachian Spring, the folk-like Rounds for Harald Genzmer’s first flute concerto composers including Ernst Pepping, Boris Concerto Op. 8 No 11, flawlessly played string orchestra by David Diamond, who of 1944 experienced a strange fate. Blacher, Reinhard Schwarz-Schilling and by the concertmaster, Helmut Heller (it had become famous as a neo-romantic This effective piece, captivating in its also Edmund von Borck and Heinz Schu- is not known why he replaced Siegfried symphonic composer, the capricious craftsmanship, was cultivated by Gustav bert who both died in the war, Raphael Borries, who had played it previously in Capricorn Concerto by Samuel Barber and Scheck (1901-84) and Celibidache, and belonged to a generation of excellently concert). George Bizet’s youthful and the contrapuntally sound and formally performed with a great sense of style and trained composers whose creative fresh Symphony in C major is performed demanding Second Symphony by Walter superior ease, making it a talking point. development collided with the rise of with a wonderful vivacious lightness, Piston (who, along with his successors The Italian flautist Severino Gazzeloni National Socialism and who fell behind carefully shaded precision and a cultivated William Schuman and Peter Mennin, is (1919-92), who also performed several after the war due to the changed ideals of cantabile style, with the heartfelt melan- probably the most important symphonic times with Celibidache, asked Genzmer modernity. Raphael’s Fourth is an impos- choly of the Adagio always remaining sen- composer of the USA) whose melismatic, to send him the music and also con- ing example of eclectic, free-tonal sym- sitively noble, never tipping the balance nocturne-like Adagio is particularly note- firmed that he had received it. But even phonic music of great dramatic impact, into sentimentalism. The same can be said worthy. after several attempts at making contact, contrapuntal agility and skilful orchestral of Mendelssohn’s Italian Symphony – both The next series of recordings was Genzmer heard no more of the composi- treatment, effectively handled under Celi- are perfect examples of performances of made in December 1950 and was once tion’s whereabouts, and in his hurry, he bidache’s direction. a musician at the height of his powers, again dedicated exclusively to contem- had not made a copy of the work. When In March 1951, Darius Milhaud’s and already looking ahead and carefully porary music. The Sinfonia de Antigona, Genzmer was asked for his flute concerto almost childlike, terse Suite française balancing. the First Symphony of the leading Mexi- by someone else, being an industrious and was recorded with great aptitude for its When Celibidache returned to Berlin in can composer Carlos Chávez Ramírez is practical composer, he simply composed unpretentious, direct tone. Following late September 1957 in order to prepare a programme with the Radio Symphony at the climax of the movement which is The title Stirb und Werde! [Die and his requisite expertise allowing him to Orchestra (a different radio orchestra to constructed with the opposition of stac- Become!] symbolises “the incessant self- develop a phenomenological method for the one previously mentioned, an orches- cato and tenuto, making the entire move- renewal within human life as a unity” musical work to Tiessen, and here he was tra which is known today as Deutsches ment sound like a completely different, (Tiessen). Conceived as a continuous able to give thanks to his teacher with Symphonie-Orchester Berlin, with whom new piece. The introduction is beauti- movement, this is magnificently through- three exemplary performances. These Celibidache had never worked before) fully expansive, and the ensuing Allegretto designed architecture which still contains performances demonstrate clearly that in honour of Heinz Tiessen’s seventieth unfolds in a wonderfully organic manner. a few echoes of the Wagner and Strauss Tiessen was a great master of modula- birthday, it was a feast for everyone It therefore is all the more regrettable tradition but which envelops the music in tion and operation generally within a who had missed him for such a long that the two remaining movements do a more austere expression, uniting sobri- free-tonal space, and Celibidache had time and, thereafter, would miss him for not survive. ety and emphasis. The Suite (1923) acquired through him a freedom, based much longer. Apart from his own works, Heinz Tiessen’s music has been crimi- in three movements originated from the on clear orientation, allowing him to Tiessen had asked him to programme nally neglected, and when one hears incidental music of 1920 to Shakespeare’s recognise and co-ordinate, beyond any his favourite Beethoven symphony, the these performances it is impossible to drama, directed by Max Reinhardt. Here, stylistic conventions, vital formal forces Seventh. The clarity, colour, supple power understand why. Tiessen was born in Tiessen found his very own, expres- enabling conditions under which music and stringency of this performance are Königsberg (today’s Kaliningrad) and sively condensed style. His oeuvre seemingly emerges on its own and as if extraordinary, and all is governed by an studied in Berlin where he was trained reaches its climax in the dance drama for the first time. unfaltering sense of orientation, a com- by the Walloon composer Philippe Salambo, Op. 34, composed in 1922/23, pelling coherence. The vivace tempo of Rüfer (1844-1919), a lecturer who taught its ecstatically flaring, organic forma- Christoph Schlüren the first movement is wider than normal at the Klindworth-Scharwenka Con- tion encompassing extreme contrasts Translation: Viola Scheffel but only like this can the actual rhythm servatory and the completely forgot- within exceptionally limited space. Ties- come into effect – a fast siciliano which ten creator of a remarkable symphony sen created the suite in two movements maintains its ternary inner structure and a charming violin concerto. Ties- in 1956 following Celibidache’s sugges- throughout and never runs the risk of sen then met Richard Strauss and came tion who premièred it in a concert given succumbing to binary articulation, thus under the spell of Arnold Schoenberg’s on 7 October 1957 which is documented communicating an immense inner tension. rising star. Tiessen’s Second Symphony here. The work is dedicated to “my friend This is of a particularly irresistible effect in F minor Op. 17 was written in 1911/12. ”. Celibidache owed Notes on the origins of easily. He realised only three concert the practical value for daily broadcast- Celibidache’s early Berlin programmes with this orchestra. The ing.) Fortunately, however, a fragment radio recordings first concert of 17, 18 and 20 Octo- of the SFB tape survives and is published During his Berlin period until 1954, ber 1948, an all-Gershwin programme, here for the first time. Sergiu Celibidache performed and made was broadcast by RIAS. The recording studio recordings with three Berlin of the Rhapsody in Blue has been pre- Celibidache and the Broadcasting orchestras1. The history of the making served [ 21.406]. The tapes of the Symphony Orchestra Berlin of these recordings and their survival is second concert, given in March 1949 and Celibidache’s time with the Broadcasting inextricably linked to the political turmoil also broadcast by RIAS, were deleted Symphony Orchestra Berlin (the Rund- of the post-war era. Whilst Celi­bidache’s soon afterwards. However, the third funk-Sinfonieorchester Berlin, as opposed time with the Berlin Philharmonic is concert, the celebratory concert for to the Radio-Symphonie-Orchester Ber- well-documented thanks to painstak- Heinz Tiessen’s seventieth birthday lin) in the then Eastern sector of the city ing research2, his work in on 7 October 1957, was broadcast both is virtually unknown. It lasted for only © Archiv Berliner Philharmoniker between 1945 and 1948 is largely con- by RIAS and (SFB). one season, from the summer of 1945 fined to obscurity due to a lack of avail- The three works by Tiessen are also until early 1946, when he was chief con- able documentation. issued as part of the afore-mentioned ductor of the orchestra before Artur audite edition; the recording of Beet­ Rother superseded him. The Broadcast- Celibidache and the hoven’s Seventh Symphony, on the other ing Symphony Orchestra Berlin was then RIAS Symphony Orchestra and hand, forms an exception. Celibidache’s (until the early 1950s) based at the Haus the Radio Symphony Orchestra Berlin obvious singing, stamping and shouting des Runfunks in the Masurenallee in the Celibidache’s work with the RIAS Sym- were surely the reason for the RIAS’ (West) Berlin district of . phony Orchestra, which was re-estab- original tape being deleted in the 1960s. The broadcasting station was under the lished as Radio Symphony Orchestra (What may seem incomprehensible now- control of the Soviet military administra- Berlin in 1956 and changed its name again adays should not be judged to harshly, for tion and became the GDR’s first radio to Deutsches Symphonie-Orchester Ber- then the documentary aspect of such a station. It was only in the autumn of 1952 lin in 1993, can be reconstructed most recording did not play as great a role as that it was moved to a newly built loca- © Archiv Berliner Philharmoniker tion in the Nalepastraße in the East Berlin by today’s rbb (Rundfunk Berlin-Branden- Philharmonic in this edition which were district of . NWDR, which district of Oberschöneweide. burg). (For this edition, all the original made by the summer of 1947, were made was later divided into two broadcasting Around a dozen recordings made with tapes of the DRA were used.) as studio productions at the Haus des companies, WDR (Westdeutscher Rund- Celibidache and the Broadcasting Sym- Runfunks. The aim was to create a col- funk, or West German Radio) and NDR phony Orchestra Berlin survive, nine Celibidache and the lection of programmes for broadcasting. (Norddeutscher Rundfunk, or North of which are included in this edition. Berlin Philharmonic This situation changed fundamentally German Radio), used the Berlin studio for The remainder are single movements of From the end of August 1945, Celibi- in the following year, 1948. Tensions reporting from Berlin and the “Eastern larger-scale works or recordings which, dache conducted concerts given by the between the political blocs escalated, zone”. Celibidache went to East Berlin at due to poor technical quality, did not Berlin Philharmonic and was appointed resulting in the Berlin Blockade dur- least once more in order to record Cho- seem suitable for publication. Not every Artistic Director of the orchestra as ing which the Western part of the city pin’s Second Piano Concerto with Raoul tape is dated but it can be assumed that soon as 1 December. In the following was sealed off on 24 June 1948 and Koczalski and the Broadcasting Symphony they were all made between July and years, particularly in 1946 and 1947, he subsequently sustained by the West- Orchestra Berlin on 25 September 1948. October 1945. Only the Second Piano conducted nearly every concert given ern Allies’ airlift. The American mili- All surviving recordings with Celibi- Concerto by Chopin with Raoul Koczal- by the Berlin Philharmonic. Many of the tary administration banned the Berlin dache presented here featuring the Ber- ski was recorded three years later. concert programmes at that time were Philharmonic from taking part in events lin Philharmonic between 1948 and 1950 After the German reunification the played at least twice: once in the Western organised by the Berlin Rundfunk and are studio productions of NWDR Berlin entire corpus of sound documents from sector, for instance at the Titania-Palast from appearing in the Eastern sector made at the Jesus-Christus-Kirche in the the GDR broadcasting companies, includ- in the district of , and a day later of the city. The concerts of the Ber- district of Dahlem. On occa- ing these Celibidache recordings with in the Eastern sector, often at the Haus lin Philharmonic were now broadcast sion, entire concert programmes were the Broadcasting Symphony Orchestra des Rundfunks or at the Admiralspalast. by RIAS (the Celibidache recordings of recorded, as for instance the all-Ameri- Berlin, were incorporated into the Ger- Since the West Berlin radio station RIAS the RIAS edition [audite 21.406] begin can programme of 4 April 1950 (Barber, man Radio Archive (Deutsches Rund- was establishing its own orchestra, the in October 1948). In addition to RIAS, Copland, Diamond and Piston) and the funkarchiv, or DRA), based in Babelsberg. East Berlin broadcasting company was the NWDR Berlin (Nordwestdeutscher concert of 7 December 1950 (Chávez, For a multi-part broadcasting series in able to book the Berlin Philharmonic for Rundfunk, or Northwest German Radio) Genzmer and Raphael). From a present- the early 1990s, copies of these tapes engagements at the Haus des Rundfunks. began broadcasting in August 1946, based day (and economic) perspective, it seems were sent to the SFB which are stored Nearly all the recordings of the Berlin at Heidelberger Platz in the West Berlin astonishing that the concert programme of 7 December was recorded one day About the edition them in such good condition today. It is the thematic opening of the work, and to later, on 8 December at the Jesus- This edition is exclusively based on certi- hardly surprising that certain recordings accept the loss of a few seconds’ worth Christus-Kirche by NWDR, and again on fied sound documents, i.e. original tapes bear some damage. A typical problem of undamaged tape. Finally, it is a mystery 9 December by RIAS, again at the Jesus- preserved today in the archives of Rund- lies in beginnings of tape having been cut why the last movement of Purcell’s King Christus-Kirche! funk Berlin-Brandenburg (rbb) and the off. That is the case with Shostakovich’s Arthur Suite is missing from the copy tape In 1951 and 1953, the NWDR record- Deutsches Rundfunkarchiv Babelsberg Ninth Symphony and Tiessen’s Prelude to stored at the rbb archives: the original at ings took place at the Gemeindesaal (DRA). As mentioned above, fragments a revolutionary drama where the anacrusis the DRA is complete and is included here Thielallee in the West Berlin district of and tapes whose technical condition and the first bar respectively are missing. in this form. Zehlendorf, perhaps because between does not allow publication were not There are two possible reasons for this: them, RIAS and considered. Also not considered were on the one hand, radio tapes were cut in used all available production dates so non-licensed on-air copies from the grey such a way that music began and ended that the NWDR had to find an alterna- market, as for instance the recording with an audible modulation in order to tive venue. Towards the end of 1954, of Shostakovich’s Seventh Symphony of avoid long pauses between music and NWDR Berlin was discontinued and 22 December 1946 whose original tape presentation. The second reason has transferred to the newly established SFB, cannot be traced at the present time. to do with the storage of the tapes – Sender Freies Berlin (Radio Free Berlin). The oldest recordings featured in this sometimes, the tape ends can become After 1953 the Berlin Philharmonic, on edition were made in the early days by detached, and if they end up between the the initiative of their new chief conductor way of magnetic tape recording, a tech- tape reel and the box, they can become 1 During the early 1960s, possibly also before, Herbert von Karajan, only made records nique which permitted the realisation of kinked in such a way that they become Celibidache also conducted the Staatskapelle and CDs and – with very few excep- music recordings at the radio from 1943, unusable. Exactly that may be the reason Berlin. tions – no more radio recordings (live following the discovery of high frequency behind the missing first twenty bars of 2 Klaus Weiler: Celibidache – Musiker und concerts of the Berlin Philharmonic are bias, and which was superior to wax cyl- Glazunov’s Carnaval overture, one of the Philosoph (eine Annäherung). Augsburg: broadcast to the present day). inders. Considering that these tapes were earliest recordings with Celibidache. In Wißner-Verlag 2008; Klaus Lang: Celibidache not confined to the “poison cabinet” after order to save the tape, the decision may und Furtwängler – Der große philharmoni- production but were frequently used for have been taken to let the music begin sche Konflikt in der Berliner Nachkriegszeit. broadcasting, it is astonishing to find one bar before number 1 in the score, Augsburg: Wißner-Verlag 2010. Thank you for your interest in this audite recording. Please note that this free PDF version of the booklet is for your perso- nal use only! We kindly ask you to respect our copyright and the intel- lectual property of our artists and writers – do not upload or otherwise make available for sharing our booklets or recordings.

eine Aufnahme von Rundfunk Berlin-Brandenburg (lizenziert durch RBB-Media) recording: P 1945-1951, 1953 + 1957 Rundfunk Berlin-Brandenburg remastering audite: P Ludger Böckenhoff, 2013 editor RBB: Dr. Christian Detig editor audite: Dipl.-Tonmeister Ludger Böckenhoff remastering: P Ludger Böckenhoff, 2013 rights: audite claims all rights arising from copyright law and competition law in relation to research, compilation and re-mastering of the original audio tapes, as well as the publication of these recordings. Violations will be prosecuted. The historical publications at audite are based, without exception, on the original tapes from broadcasting archives. In general these are the original analogue tapes, mstaster release which attain an astonishingly high quality, even measured by today’s standards, with their tape speed of up to 76 cm/sec. The remastering – professionally competent and sensitively applied – also uncovers previously hidden details of the interpreta- tions. Thus, a sound of superior quality results. CD publications based on private 1 recordings from broadcasts cannot be compared with these. photos: © Archiv Berliner Philharmoniker art direction and design: AB•Design

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Alte Bernburger Straße (1945)