Piano Trio, Op. 1, No. 1 · Divertimento for Cello and Orchestra

LSC-2770 STEREO HEIFETZ-PIATIGORSKY CONCERTS with Jacob Lateiner and Guests BEETHOVEN Piano Trio, Op. 1, No. 1 HAYDN Divertimento for Cello and Orchestra ROZSA Tema con Vatiazioni (for Violin, Cello and Orchestra RCA VICTOR RED SEALE DYNAGROOVE RECORDING Si a ee vsti eta Aha Sic CYL Sen a «Rese OOP ET ED RI OE eee” SL ORE RO SE rises MP OR tet et ee Mono LM-2770 Stereo LSC-2770 HEIFETZ-PIATIGORSKY CONCERTS with Jacob Lateiner and Guests BEETHOVEN Piano Trio, Op. 1, No. 1 HAYDN Divertimento for Cello and Orchestra ROZSA Tema con Variazioni (For Violin, Cello and Orchestra) Jascha Heifetz, Violinist + Gregor Piatigorsky, Cellist Jacob Lateiner, Pianist Recording Director: John F. Pfeiffer « Recording Engineers: Ivan Fisher and John Norman several isolated movements from the Divertimenti. For the 1963 Heifetz- For many years Jascha Heifetz and Gregor Piatigorsky Piatigorsky Concerts in Los Angeles, Mr. Piatigorsky requested Ingolf Dahl had enjoyed playing chamber music in the privacy of their to orchestrate three of these movements to form a little concerto for cello homes, a happy and noble form of music-making in which and orchestra. Mr. Dahl made only minor changes in the solo part except they were often joined by similarly addicted colleagues. to delete a few measures in the last movement to form an orchestral tutti. Eventually, in the summer of 1961, they decided to share He orchestrated in the Haydn manner for oboes and strings and in the their musical experiences and pleasures with music-lovers of second movement restored Haydn’s original harmonization. If this perform- the surrounding communities. They founded the Heifetz- ance could be seen as well as heard, the concertmaster of the orchestra Piatigorsky Concerts, anintimate series dedicated tochamber would be recognized as Jascha Heifetz—a tribute to his distinguished music masterpieces. colleague. 3 Since then concerts have been given not only in Holly - Miklés R6ézsa’s Tema con Variazioni is the second movement of a Double wood but also in San Francisco and, 1n 1964, in New York. Concerto for violin and cello commissioned by and composed for Mr. Heifetz and Piatigorsky have invited such distinguished Heifetz and Mr. Piatigorsky and written in constant consultation with artists as William Primrose, Leonard Pennario, Leon both on technical details. This movement, first performed at the Heifetz- Fleischer and Jacob Lateiner and a chamber orchestra to Piatigorsky Concerts in Los Angeles on September 29, 1963, was written collaborate with them 1n concert and 1n recording. in 1962; the concerto was completed in 1964. The theme, announced by the cello, is in the manner of a Hungarian folk song although original with the composer; seven variations follow, and the theme is repeated at the end by the violin over trills on the cello. The original accompaniment is for full orchestra; for the first performance the composer reduced ow 1, No. 1! The words have a challenging ring—like the opening of a it to a Mozartean complement of two oboes, two horns and strings. door or a card submitted to destiny. They could mean everything or This is not Mr. Rézsa’s first excursion into the concerto field. His nothing. Apparently they meant a great deal to the twenty-three-year-old Violin Concerto, composed for Mr. Heifetz and recorded by him with the Beethoven, for he chose the three Trios inscribed as his Opus 1 for his Dallas Symphony Orchestra, has enjoyed some seventy-five performances serious introduction to the great musical world of Vienna, where he had by various violinists in this country and abroad. The composer was born in arrived in 1792 from his native Bonn. The occasion was a select gathering Budapest in 1907 and was graduated from the Leipzig Conservatory in 1929. of invited guests at the home of Prince Lichnowsky, to whom the Trios He has composed extensively in the larger forms in addition to scores for are dedicated. Haydn, with whom Beethoven was studying, was among such film spectacles as ‘‘Ben Hur,’’ ‘Quo Vadis,’ ‘‘El Cid”? and “King of those present, and while he was complimentary, he advised the young Kings.”’ composer not to publish the third Trio. Beethoven, surprised and a bit 8 —ALBERT GOLDBERG resentful, attributed Haydn’s attitude to jealousy or ill-will. Music Critic, Los Angelés Times Actually, the Trios of Opus 1 were by no means Beethoven’s first compositions; he already had several published works to his credit, and earlier versions of the Trios may have been written before he left Bonn. DYNAGROOVE JACOB LATEINER, who joins Hei- Whether or not Haydn’s opinion had anything to do with it, the evidence Dynagroove records are the product seems to indicate that Beethoven revised the Trios before finally publishing fetz and Piatigorsky in the Beethoven of RCA Victor’s newly developed them in 1795. Trio, has played with virtually every system of recording which provides major American orchestra, and has toured © a spectacular improvement in the The Trio in E-Flat Major, Op. 1, No. 1, is in the traditional four- sound quality. Europe frequently and Australia twice movement form. The opening Allegro is notable for the free treatment of CHARACTERISTICS: since his New York debut at the age of the instruments, the abrupt modulations, the broad-scaled development. 1. Brilliance and clarity — the origi- nineteen. Born in Havana, he won, at nal sound in startling definition The emotional depths of Beethoven’s nature even this early are in evidence twelve, a scholarship to Curtis Institute 2. Realistic presence—sound pro- in the Adagio. The Scherzo is the first of the many Beethoven was to write of Music. While there he was chosen by jected in “photographic” perspec- tive as one of his most original contributions to music. The Finalé, Presto, Primrose and Piatigorsky for special coaching in chamber music with them. His 3. Full-bodied tone — even when you with its theme leaping upward over the interval of a tenth, is typical listen at low level professional debut, with the Philadelphia youthful Beethoven, ebullient and unrestrained. 4. Surface noise virtually eliminated! Orchestra, followed a tour as accompanist 5. Inner-groove distortion virtually The baryton is now one of the most thoroughly obsolete of instruments, for Efrem Zimbalist. In 1947 he played eliminated! but Haydn, by his own reckoning, wrote no less than 149 compositions with the Boston Symphony and the follow- To solve these old and obstinate prob- for it, including 125 Divertimenti. The reason for this huge output was ing year made his New York recital debut lems in disc recording, highly ingen- ious computers — “electronic brains’ that the baryton was a favorite instrument of Haydn’s patron, Prince at Carnegie Hall. Currently participating —have been introduced to audio for Nicholas Esterhazy, who seems to have played it with some skill. A relative in the Ford Foundation’s program for the first time. These remarkable new performers, the pianist is scheduled to electronic devices and processes grew of the viola da gamba, the baryton had six or seven gut strings extended out of an intense research program over the keyboard and about twice as many metallic strings stretched premiére Elliott Carter’s new concerto, which produced notable advances in which is being written for him under the virtually every step of the recording behind and under the open neck of the instrument. Thus while the bow science. grant. While a champion of contemporary played the gut strings, the left-hand thumb could pluck the metal strings, music, Lateiner is noted for his perform- The final test of any record is in the listening—compare the sound of Dyna- enabling the player to produce pizzicato (plucked) and arcato (bowed) ances of Beethoven. groove recordings! notes simultaneously. | Dynagroove recordings are mastered Some years ago Gregor Piatigorsky arranged for cello and piano on RCA Magnetic Tape. © 1964, RCA, New York, N.Y. @ Printed in U.S.A. pVI C .

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