arlo Maria Giulini’s finest another. As as assistant director he Immediately afterwards, in the violon- second theme in F major; then follows “Suddenly the explosion, the fight of spending months of hiding as a political the first theme in F minor. The return to the human being against everything, dissentient during the Nazi occupation ate ... the music was served in several theaters and eventu- cellos, the melody of Ex. 4 is heard. ally he went to Prague and later to Leip- Following these two themes the mu- the key of D major is accomplished against his own weakness, and against of Italy, it was an intensely gratifying ~~ First Symphony, and the. zig. He received his first appointment as sic goes into a development of the the- through a tremendous orchestral climax; his death. But in the human life there is occasion for Giulini when in 1944 he was impassioned, marvelously balanced director at the Budapest Opera where matic material; in the course of the the ‘‘triumphal’” coda is built on the tenderness; there is also victory. It is asked to conduct the first performance performance was of monumental he remained for two years. In 1891 he development the main theme of the last theme with which the introduction to the enough to be a man. It doesn’t matter of the Augusteo Orchestra at the Teatro Adriano to celebrate the liberation of stature. became director of the Hamburg Opera, movement may be heard. © first movement of the symphony began. what the man is if at the end he can feel a position he left in 1897 to become The recapitulation begins with the Frederick Stock conducted the first his life has been worthwhile. Often you Rome. “No, Mr. Giulini did not choose to director of the Vienna Opera where he horn theme in D major, which opened performance of this composition in its see people with humble work, you see In 1944, he was also appointed assis- play the ‘Blumine’ second move- remained for ten years. During his last the development section and continues, four-movement form at the concerts of their life is a breath of spring, friend- tant conductor of the Rome Radio Or- ment rediscovered in 1968, but | years, after 1907, he was conductor of in an abbreviated form, with themes the Chicago Symphony Orchestra on No- ship and love. Genius expresses the vic- chestra and two years later, at 32, be- the New York Philharmonic and he also from the exposition. vember 6, 1914. The most recent per- tory of man against adversity.’’ came its musical director and principal cannot say that | missed it. The pro- conducted at the Metropolitan Opera ll. “Kraftig bewegt,’’ A major, 3-4 formance, which included the ‘“Blumine’’ Giulini’s knowledge and musicianship conductor, quickly earning a reputation cession from endless spring to House. time. This scherzo movement is in the movement, was conducted by Eugene Or- may very well be the cornerstone of the not only as a symphonic conductor, but minor ‘Frére Jacques’ funeral march It was probably through the influence style of the “Landler,’an Austrian dance mandy on April 17-18, 1969. immediately apparent rapport between an operatic one as well, with broadcasts ranging from the works of Rossini and to brass-bound inferno to paradise of Richard Strauss that Mahler was pre- popular in the early nineteenth century. — AARAND PARSONS orchestra and conductor in the concert vailed on to call his symphony “Titan,” The form of the movement follows the From the Program Notes of the hall and in the recording auditorium. Verdi, to Bizet, Humperdinck and Mus- offers sufficient sonic excitement Chicago Symphony Orchestra after a novel by Jean Paul Richter, and classical pattern: the opening section Now in his second year as the Chicago sorgsky. for anyone, particularly with the or- to supply each movement with a title is followed by a trio and a return to the Symphony Orchestra’s Principal Guest The year 1951 was memorable for chestra in these hands.” and brief program. He later omitted material of the opening section. Conductor, he shared in the venerable Giulini in a special sense. The Milan both, and, in a letter to Max Marschalk A short introduction precedes the institution’s 80th season during 1970-71 Radio Orchestra (which he founded) — Thomas Willis, Chicago Tribune, broadcast a performance of Haydn’s op- written in 1896, after this critic and ens ——— with programs such as the Mahler First commenting on the Chicago Symphony first theme which begins as shown in WES ae Orchestra concert, March 18, 1971. composer had written a favorable re- 4 3, reading and thereby furthered the long era, ‘Il Mondo della luna,” and among | view of a performance of the First Sym- The trio, in the key of F major, begins and felicitous association which began the listeners was . After phony, he expressed his attitude regard- with Ex. 6. - more than a decade and a half ago. the performance the great man invited ing programs: A section in G major leads to the key “Giulini is a great musician,’’ 7 re- the young conductor to his home. The “There is some justification for the of A major and a return of the first part marked one of the orchestra members, close master-pupil relationship estab- title, ‘Titan,’ and for the program; of the movement. “because he takes the time to know his lished that day ended only with Tosca- that is, at the time my friends persuaded |II. Feierlich und gemessen’”’ (solemn music before he ever sets foot in the re- nini’s death in 195/. me to provide a kind of program for the 1952 marked Giulini’s debut at La D major Symphony in order to make it and measured), D minor, 4-4 time. Mah- hearsal hall. Once he’s there, he is able Chicago Symphony easier to understand. Therefore, | had ler’s sense of the theater seems evident to demand, and get what he wants from Scala when he conducted Falla’s “La thought up this title and explanatory when, at the end of the preceding move- each of us because he knows. For me, Vida breve”: following Victor de Saba- material after the actual composition. | ta’s retirement in 1954, he became prin- (rchestra left them out for this performance, not ment, he cautions the conductor, “Here, that’s the key to the man and his musi- only because | think they are quite make a rather long pause before begin- cianship.”’ cipal conductor at the illustrious opera inadequate and do not even characterize Giulini himself once said: “A really house. Subsequently, his performance of the music accurately, but also because | ning the next movement.” In this man- Gluck’s ‘‘Iphigénie en Tauride’”’ at Aix- have learned through past experience great piece of music must be approached ner he sought to dramatize the contrast ~en-Provence established his reputation Mahler: 56:52 how the public has been misled by between these two movements. Dika from the composer’s standpoint — as them.... in France; his 1955 appearance at the Newlin has described this movement as must all music.”’ To achieve the perfor- ‘In the third movement (funeral march) mance he desires, Giulini is, with him- Edinburgh Festival where he conducted it is true that | got the immediate ‘Psychologically . . . one of the most ‘Falstaff’ introduced him to Great Brit- inspiration from the well-known chil- subtle delineations of bitter irony in the self as well as with others, a firm disci- Symphony No.1 in D ain and in 1958, he conducted Luchino dren’s picture (‘The Huntsman’s Funeral’) whole of musical literature, and, in fact, plinarian and this, in turn, has made him (New Critical Edition) [after Callot]. But in this place it is the dedicated servant of the composer. Visconti’s production of Verdi’s “Don irrelevant what is represented—the only the first of its kind.” Carlo’ at Covent Garden with historic important thing is the mood which Four parts may be readily discerned in His rules for himself are as strict as SUCCESS. Side One (24:42) should be expressed and from which the this movement. The first part, after two Several days after the historic Orchestra those for his musicians: study the score, fourth movement then springs suddenly, Hall performance, Carlo Maria Giulini learn the composer’s intent and what he Today, Giulini looks back upon his |. Langsam schleppend like lightning from a dark cloud. It is measures played by the kettledrum, in- American debut some 16 years ago with, troduces a melody which resembles the and the Chicago Symphony Orchestra was trying to say—above all, do not ap- Band 1 (16:43) simply the cry of a deeply wounded appropriately, the Chicago Symphony Or- ‘heart, preceded by the ghastly brooding gathered in Medinah Temple to record proach the music until you are ready. It familiar ‘“Frére Jacques.” It is treated chestra, as the beginning of another re- ll. Kraftig bewegt oppressiveness of the funeral march.” canonically, starting with a muted string the Mahler First Symphony for Angel is this direct, thoroughly musical atti- Band 2 (7:54) Many of the themes of the First Sym- Records. During a break in the schedule, tude which has, indeed, earned for him warding era in his continuing career. bass solo, shown in Ex. 7. “Orchestra Hall? Ah, it is special to me. Side Two (32:10) _ phony are taken from an earlier compo- For the second part, the two oboes Maestro Giulini discussed the music: the respect of his fellow musicians. sition by Mahler, ‘‘Lieder eines fahren- For many years now | have had the. Ill. Feierlich und gemessen, ohne present a new theme and, at the same “In no other music is there quite the Of his particular affinity for the Chi- privilege of making music there. It is den Gesellen’”’ (Songs of a Wayfarer). time, a counter theme appears in the same_sense of the silence and mystery cago strings: “l.am especially close to Zu schleppen The nature of this material gives a lyri- perfect as a concert hall because the trumpets. With the entrance of the bass of nature, the sense of life surrounding. the string players since | started my ‘audience is involved in the music. The IV. Stiirmisch bewegt cal emphasis to the symphony. There is drum and cymbals, while the strings |” you, a feeling of isolated silence. It is music as a violist.” His violist days also a detailed structural element in the first time | played there | knew this to play with the sticks of their bows, the marvelous how Mahler..transforms the began during the mid-1930’s at Rome’s ‘be true. And the players? Ah! The Chi- work, pervading each movement, which score is marked ‘With parody.” This ‘sound ofthe cuckoo into a beautiful_| Academy of Santa Cecilia as a student pay ‘cago Symphony Orchestra is one of the # Mahler composed his Symphony No. 1 helps to give musical unity to the whole: brief and ironic section leads to a new song. You start to become a part of na- of Remy Principe. It was at the Academy between 1883 and 1888. He conducted the use of the interval of the fourth. absolutely top orchestras in the world. section which is a contrast in mood and ture, you sing with the.birds. and. the where he also studied composition. Later Most of all, | would like to make music the first performance of the work on The first melodic interval heard in the key — the more extended third part. wind in the trees, you feel the joy of he won a much-coveted place in the November 20, 1889, in Budapest, where opening of the first movement is the with them for many years to come... In G major, the following theme, ‘participation in the life of nature. viola section of the Augusteo Orchestra And recording with them is so gratifying he was serving as director of the Royal fourth; subsequently, in innumerable in- based on another song from “The Songs “The first symphony has as its basic of Rome. “Winning the viola competition for me. It is—how do you say—another Opera. In its original version the Sym- stances and in each of the four move- of a Wayfarer” (near the end of No. 4, conception really the human being with and taking my place in the back row was phony was labeled a symphonic poem ments, this interval is given some em- dimension for this great orchestra and with the text, “Auf der Strasse stand his problems, but the second movement the most memorable thing that had hap- oa its MUSIC. * ) annotation Editor: JANICE MAY and was called ‘Titan,’ after a novel phasis. ein Lindenbaum’), is presented by the is a feast of life, and in it we sense the pened to me (he was later to become by Jean Paul Richter.j The five move- |. The first movement is marked violins (Ex. 8). Bohemian background of Mahler. | re- first chair) . . . this was a great time ments were arranged if two parts, with “‘Langsam’’ (slow) and ‘‘schleppend”’ For the fourth part there is a return member in Prague the beautiful cos- musically in Italy with men like Bruno THE CHICAGO SYMPHONY ON ANGEL titles as follows: (drawling); in addition, Mahler identifies to the canonic melody in E flat minor; tumes, the strong dancing of the men Walter and coming as CONDUCTED BY CARLO MARIA GIULINI: Part |. Aus den Tagen der Jugend the mood of the piece with “Wie ein there is a brief reference to the “par- and the languid and sweet dances of the guests. Berlioz: Romeo and Juliet (The Orchestral (From the Days of Youth) Naturlaut”’ (Like the sound of nature). In “Playing viola under the great con- Music). SF0-3603 ody” section. The key of D minor returns of the girls. It is the smile with a tear Brahms: Symphony No. 4 in E minor, Op. 98. 1. Friihling und kein Ende Mahler’s program notes, he called it and the movement gradually moves into which is found so often in Mahler’s mu- ductors taught me the importance of a SF0-36040 (Spring without End) “Spring without End.” The introduction complete silence. The dynamic range of sic... The greatest feeling in Mahler conductor’s first meeting with an or- Mahler: Symphony No. 1 in D (New Critical 2. Blumine (from ‘‘Blumen’’—flowers) portrays the awakening of nature in the the movement has been limited from is the sense of melancholy. chestra and it is a lesson | have never Edition). $-36047 3. Mit vollen Segeln early morning.”’ The first theme of the ‘‘y”’ to “‘ppp,’’ except for one brief forgotten. Some refer to an orchestra as Stravinsky: Petrouchka (Suite, 1947 (Under Full Sail) “In the third movement | feel that in Version); The Firebird (Suite, 1919 first movement (Ex. 1) is taken from one chord. the night the forest belongs to the ani- an ‘instrument.’ This | never do. We Part 11. Commedia Umana (The Human Version). SF0-36039 of the songs contained in the cycle IV. “Stiirmisch bewegt,” F minor, 2-2 mals, the real life of the forest begins must never forget that the orchestra is Comedy) “Song of a Wayfarer,” No. 2: ‘Ging CONDUCTED BY : 4. Todtenmarsch in Callots Manier time. A stormy opening makes a tre- then. made up of individual players possess- Dvorak: Cello Concerto in B minor, Op. 104; (Funeral March after Callot) heut’ morgen ibers Feld.” mendous contrast with the quiet of the “But | think ‘there is somebody else ing a body, a heart and a soul... if the Silent Woods, Op. 68. With Jacqueline du 5. D’all Inferno al’ Paradiso As a counterpart to this opening mel- preceding movement. The movement be- there, a boy and a girl perhaps, looking human contact ever goes from conduct- . Pré (cello). S-36046 (From Inferno to Paradise) ody, the theme shown as Ex. 2 is intro- gins in F minor and ends in D major, the at the moon and listening to nature; ing | will not continue.” CONDUCTED BY SEIJI OZAWA: The score was revised in 1893, and duced. basic key of the symphony. The laying something more than love, something so Of his initial decision to concentrate Bartok: Concerto for Orchestra; Kodaly: when it was performed in 1894, it still After reaching a cadence in A major, out of the form of the movements is un- sweet and so beautiful, so moving and on conducting: “| felt that nothing had Dances of Galadnta. SF0-36035 had five movements. However, when the the whole first part of the movement is usual — it represents a broad handling so touching, a moment of the greatest really changed . . . | had just changed Jandcek: Sinfonietta; Lutoslawski; Con- places in the orchestra. . . | feel that | certo for Orchestra. $-36045 work was published in 1899, there were repeated. of the sonata form. happiness, a quiet ecstasy. There is, Rimsky-Korsakov: Scheherazade; Borodin: only four movements, and without the The section which follows may be con- The first theme, already introduced too, something strangely on the thresh- am playing now with the same dedication Polovtsian Dances from ‘‘Prince Igor.” titles; the second movement “Blumine,” sidered comparable to the development in the first movement, is presented in old of suffering, a magic mixture of the that | did when | was a member of the SF0-36034 heavy, the grotesque aspect of the hunt- violi.”’ had been dropped. section of a sonata-allegro form. (It is the key of F minor (Ex. 9). Producer: Christopher Bishop In 1968, the ‘‘Blumine’”’ movement was.. unusual, however, for a composer to The second theme, in the key of D er’s funeral and the suspicion someone Giulini’s biography reveals that when Recording Engineer: Carson Taylor discovered again and has been per- linger so long, at this point, in the flat major, follows; it is shown as Ex. 10. else is there. The procession goes away he had received a diploma in a post- Executive Producer: Peter Andry, and then returns, goes away again and graduate conducting course given by the EMI-London formed as the second movement of the tonic key, D major.) This lengthy section The development section, after treat- Recorded in Medinah Temple, Chicago symphony. comprises a return, modified, of ma- ing the first theme, returns to the ma- then the silence returns. It is the si- Augusteo’s principal conductor Bernar- Cover Photo: Richard Rankin/Ken Veeder Mahler’s ability as an opera conductor terial from the introduction, and an en- terial from the first movement and its lence before the storm, real silence, dino Molinari, World War II intervened Art Direction and Design: Marvin Schwartz and director was recognized early and tirely new theme in D major, played by extended introduction. everything is immobile, not even a leaf in the young conductor’s career. After Library of Congress Catalog Card Number he moved from one important post to the horns as shown in Ex. 3. The recapitulation begins with the of the trees moves. reluctantly entering military service and 72-752500 applies to this recording.

TO THE BETTERMENT OF RECORDED MUSIC & LITERATURE. MANUFACTURED BY CAPITOL RECORDS, INC., A SUBSIDIARY OF CAPITOL INDUSTRIES, INC., HOLLYWOOD AND VINE STREETS, HOLLYWOOD. CALIFORNIA, FACTORIES: LOS ANGELES, CALIFORNIA, JACKSONVILLE, ILLINOIS, WINCHESTER, VIRGINIA zi *) THIS RECORD IS ENGINEERED & MANUFACTURED IN ACCORDANCE WITH STANDARDS DEVELOPED BY THE RECORDING INDUSTRY ASSOCIATION OF AMERICA, INC., A NON-PROFIT ORGANIZATION DEDICATED JACKET MADE IN CANADA WRrec 3 (94