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Home , Adrian Boult, Leopold Stokowski, Pines of Rome

Heitor Villa-Lobos

1 Uirapurú, & Ballet for 14:09

Heitor Villa-Lobos No. 1

2 II. Modinha (Prelude) 08:04

Sergei Prokofiev, arr. by , Suite from the ballet with excerpts from Opp. 87, 107 & 108

3 I. Fairy of Spring - Fairy of Summer 03:41

4 II. Cinderella Goes to the Ball 01:05

5 III. Cinderella in the Castle 07:01

6 IV. Cinderella and the Prince 04:09

7 V. Cinderella's Waltz - Midnight 04:04

8 VI. Apotheosis - Finale 03:36

Stadium Symphony Orchestra of New York / Leopold Stokowski, Conductor VILLA-LOBOS: Uirapurú There is an interesting parallel between is witnessed by all the members of the noc- Heitor Villa-Lobos’ symphonic poem turnal animal and insect kingdoms – glow Modinha from Bachianas Brasileiras Uirapurú and Stravinsky’s Firebird. Both worms, crickets, owls, enchanted birds, bats, No. 1 are musical portrayals of an enchanted bird and crawling things. which is transformed into a human being, PROKOFIEV: Cinderella – Ballet Suite and both were written during earlier periods “A beautiful maiden appears, also lured by of their composers’ careers, pointing the way the sweet song of Uirapurú. Armed with Leopold Stokowski the their music would follow in later years. bow and arrow, she catches up with the Stadium Symphony Orchestra of Enchanted Bird, piercing its heart, where- New York Urapurú was composed in 1917. It was one upon the Singing Bird is immediately trans- of the first successful symphonic works in formed into a handsome youth. which Villa-Lobos made use of folk mate- rial he had been gathering from the interior “The Happy Huntress, who has thoroughly regions of his native Brazil. captivated the handsome youth, followed by the amazed natives, is about to leave the The instrumentation of Uirapurú is exten- forest when they are halted by the shrill, sive and unusual. Besides the conventional unpleasant notes of a distant nose-. orchestral instruments, it includes the Suspecting the arrival of the ugly Indian, violinophone (a violin with a horn attached) seeking revenge for the merciless beating and such Latin American noisemakers as the they had administered, the natives hide in cóco, tamborim, tambur surdo and réco- the dense woods. The unsuspecting youth réco. boldly confronts the ugly Indian, who slays him with a perfectly played arrow. As the On the score of Uirapurú Villa-Lobos has Indian maidens tenderly carry the body to a printed the following story, upon which the nearby fountain, it is suddenly transformed symphonic poem is based. It is an original into a beautiful bird, which flies, its sweet tale, which the composer concocted from song diminishing into the silence of the several different Brazilian folk legends. forest.”

“This is the story of Uirapurú – a legendary Enchanted Bird. Fetish worshipers consid- Modinha from Bachianas Brasileiras ered it the King of Love. Its nightly song lured No. 1 the Indians into the woods in search of the enchanting singer. In his series of nine Bachianas Brasileiras, which are written for various combinations “In such a search, a gay group of young of instruments and voices, Villa-Lobos has natives comes upon an ancient and ugly attempted to fuse spirit and technique of Indian seated in the forest, playing upon his his idol, Bach, with the melodic contours of nose-flute. Resenting the invasion of their the Brazilian folk idiom. The first of these forest by this unsightly old man, the natives immensely attractive little suites dates beat him mercilessly and drive him out. from 1930. It is scored for an orchestra of Continued search for the elusive Uirapurú ‘, and is in three movements: Embolada (Introduction), Modinha (Prelude) and Neither of these suites follows the sequence Conversa (Fugue). Emolada implies “expan- of the ballet; each is arranged for musical sion:” Modinha is a form of Brazilian song, balance and variety rather than for chrono- and is here treated in the manner of a Bach logical exactitude. In arranging the present aria; Conversa, as its name implies, is a sort six-movement suite, Leopold Stokowski has of conversation. The lyrical Modinha is fre- attempted to combine both elements, adher- quently performed out of context, and it is as ing to the order of the ballet and, at the same a separate movement that it is heard on this time, achieving musical variety. In so doing, record. he has drawn two movements from each suite and has added two movements - Cinderella and the Prince and Apotheosis – Finale – from Prokofiev: Cinderella – Ballet Suite the body of the ballet score. The movements as recorded here are: 1. Fairy of Spring Cinderella was Sergei Prokoviev’s next to last and Fairy of Summer (Suite II, No. 3); 2. ballet. Begun in 1941, it was interrupted by Cinderella Goes to the Ball (I, 6) 3. Cinderella the German invasion of Russia, and was not at the Castle (II, 6); 4. Cinderella and the completed until 1944. It was first presented Prince; 5. Cinderella’s Waltz – Midnight (I, 7); as the first new post-war work at the Bolshoi 6. Apotheosis – Finale. Theatre in Moscow at the end of 1945. The libretto was by Nicolai Volkov, choreog- Notes by PAUL AFFELDER raphy by Rostislav Zakharov, sets by Peter Williams, and Galina Ulanova danced the title role. This version differs somewhat from the one familiar to American audiences, as offered here on tour and on television by the Royal Ballet. The latter boasts choreography by Frederick Ashton and sets by Jean-Danis Malclés. It was first seen at ’s Covent Garden in December, 1948, with Moira Shearer, substituting as Cinderella for the indisposed Margot Fonteyn, who was later the principal interpreter of the part. With the exception of minor departures, both versions follow the familiar fairy tale by Perrault.

For Cinderella Prokofiev wrote some of his most ingratiating music, a combination of his best efforts as a composer of fairy-tale music and music for the ballet. Some time after completing Cinderella, he extracted two concert suites from the score, which were published as his Op. 107 and Op. 108. Some notes on the history of Everest …from the original LP release: system, but naturally will be most appreci- Records and the digital remastering ated by the audiophile with the very finest hi-fi “This Everest Recording is a Product of Belock equipment. When EVEREST recordings are When was founded by Recording, a division of the Belock Instrument played in the Belock studio through top quality Harry Belock in 1958 as a division of Belock Corp. An EVEREST recording represents a hi-fi equipment similar to that found in home Instrument Corp., the aim was to produce a new peak of achievement in the recording art. use, the resulting sound is indistinguishable catalogue of stereo recordings of the highest As a product of Belock Instrument Corp. this from the master tape. Since Belock Recording possible technical standard, with interesting recording enjoys unique advantages shared unconditionally guarantees that their tapes and and innovative classical repertoire played by by few, if any other record company. The par- stereo disks are genuine stereophonic record- some of the best artists and . ent company is considered one of the world’s ings, they are designated as CERTIFIED finest precision electronic facilities and is STEREO-MASTER RECORDINGS. The fre- For the first Everest recording sessions in engaged chiefly in the development and pro- quency range of EVEREST recordings is 1958, an Ampex 300-3 half-inch three-chan- duction of ultra-secret military devices. The 20 to 20,000 cycles. It is important to note, nel recorder was used. Later on the label company was one of the earliest involved in that many companies specify wide frequency moved to use a Westrex 35mm 3-track mag- the electronics aspects of ballistic missiles response, and while this is an important part netic film recorder, which had a wider possible and is pre-eminent in the fields of radar, and of hi-fi recording, the distortion content of the dynamic range, less print-through, less tape fire-power computers and stabilization sys- recording is, if anything, even more important. stretch and less ‘wow and flutter’, and which tems. Harry Belock, founder of the company, All EVEREST recordings are free of audible was the basis for the highly acclaimed typical is an international authority on sound, and distortion throughout the entire frequency “Everest-sound”. has designed magnetic film recorders which range. Carefully wipe surface with soft damp are in use throughout the world. To EVEREST cloth. Return to wrapper after each play.” For the process of digital remastering of the 35 he brings all his talents and the vast techni- mm master tapes a modified Albrecht MB 51 cal resources of his company. This recording machine was used for analog playback. The was made in the new Belock Recording studio, MB 51 was equipped with a specially designed which is constructed along the most advanced Executive Producer: Mark Jenkins for Countdown Laser Shrinkage Detector (L.S.D.) which ideas in acoustics for recording. The very latest Media/Everest • Project Coordinator: Helge Jürgens allows optimal playback of shrunk magnetic Telefunken, AKG and Neumann microphones for Countdown Media • Digital Transfers and film. The output was captured in highest digital were utilized, feeding into the new Ampex 300 Remastering: Lutz Rippe at Countdown Media using resolution of 192 kHz sampling rate and 24 bit self-sync stereo recorders on half inch tape. the original master tapes • Artwork preparation: word length using state-of-the-art converters. A specially-designed Ampex with low-noise Eckhard Volk at Countdown Media • Digital Booklet: In the digital domain the recording was care- amplifiers is used to produce the dubbing mas- böing gestaltung • Original Producer: Bert Whyte for Everest Records • Original Recording Engineer: fully restored and remastered using top-quality ter. Tape duplication is accomplished on modi- Aaron Nathanson • Original Recording Director: mastering and restoration equipment. fied Ampex machines in the Belock studios, so Raoul Poliakin • Original Technical Director: Robert that maximum quality control is exercised at Engler • Original Cover Artwork: Alex Steinweiss • all times. For stereo disc, the tape is fed into Recording Location and Date: Manhattan Center, modified Westrex stereo cutterhead, mounted New York (October 1958) • Original Recording on on Scully lathes. A former Westrex design engi- 3-track, half-inch tape, originally released in 1958 neer is on the Belock Recording stuff to insure as SDBR 3016 • Analog playback of the 35mm copy master tapes on a modified Albrecht MB 51, equipped optimum quality in stereo disc operations. The with a specially designed Laser Shrinkage Detector results of all this painstaking care are to be (L.S.D.) (Uirapuru & Modinha) • Analog playback of heard on any EVEREST recording. The record- ¼’’ copy master tape on a Studer A 807 (Cinderella) ings will give superb sound on any playback ℗ & © Countdown Media GmbH Below is a listing of the currently available Everest albums in this series. For more information and an updated listing please visit www.everestrecords.com

SDBR-3001 Prokofiev : Chout (“The Buffoon”), Ballet Suite, Op. 21a SDBR-3016 Villa-Lobos: Uirapurú & Modinha (from Bachianas London Symphony Orchestra & Sir Eugene Goossens, Brasileiras No. 1) & Prokofiev: Cinderella (Ballet Suite) Conductor Stadium Symphony Orchestra of New York & Leopold Stokowski, Conductor SDBR-3002 Copland: Appalachian Spring & Gould: Spirituals for String and Orchestra SDBR-3017 Milhaud: La Création du Monde / Stravinsky: L’Histoire London Symphony Orchestra & , Conductor du Soldat London Symphony Orchestra Chamber Group & John Carewe, SDBR-3003 Antill: Corroboree - Ginastera: Panambi Conductor London Symphony Orchestra & Sir Eugene Goossens, Conductor SDBR-3018 Copland: Symphony No. 3 London Symphony Orchestra & , Conductor SDBR-3005 Mahler: Symphony No. 1 in D Major “Titan” London Philharmonic Orchestra & Sir , SDBR-3021 Arnold: 4 Scottish Dances / Symphony No. 3 Conductor London Philharmonic Orchestra & , Conductor SDBR-3006 Vaughan Williams: Symphony No. 9 in E Minor London Philharmonic Orchestra & Sir Adrian Boult, SDBR-3022 Kodály: Psalmus Hungaricus - Bartók: Dance Suite Conductor London Philharmonic Orchestra & János Ferencsik, Conductor SDBR-3007 Shostakovitch: Symphony No. 6 in B Minor, Op. 54 London Philharmonic Orchestra & Sir Adrian Boult, SDBR-3023 Strauss: Till Eulenspiegel / Salome / Conductor Stadium Symphony Orchestra of New York & Leopold Stokowski, Conductor SDBR-3008 Hindemith: Symphony in E-flat Major London Philharmonic Orchestra & Sir Adrian Boult, SDBR-3025 Waltz Masterpieces Conductor Stadium Symphony Orchestra of New York & Raoul Poliakin, Conductor SDBR-3009 Stravinsky: Ebony Concerto & Symphony in 3 Movements SDBR-3026 Rimsky-Korsakov: Scheherazade Woody Herman and his Orchestra / London Symphony London Symphony Orchestra & Sir Eugene Goossens, Orchestra & Sir Eugene Goossens, Conductor Conductor

SDBR-3011 Tchaikovsky: Francesca da Rimini & SDBR-3027 Raymond Paige’s Classical Spice Shelf Stadium Symphony Orchestra of New York & Leopold Stadium Symphony Orchestra of New York & Raymond Paige, Stokowski, Conductor Conductor

SDBR-3012 Charles K. L. Davis sings Romantic Arias from Favorite SDBR-3028 Strauss: A Night in Venice Original Cast & Thomas Martin, Conductor Stadium Symphony Orchestra of New York, Wilfred Pelletier, Conductor & Charles K. L. Davis, Tenor SDBR-3030 Brahms: Symphony No. 3 in F Major, Op. 90 Symphony Orchestra & Leopold Stokowski, SDBR-3014 Mahler: Symphony No. 5 in C-Sharp Minor Conductor London Symphony Orchestra & Sir Rudolf Schwarz, Conductor SDBR-3031 Wagner: - Good Friday Spell “Karfreitagszauber” & Symphonic Synthesis Act 3 SDBR-3015 Copland: Billy The Kid & Statements for Orchestra Orchestra & Leopold Stokowski, London Symphony Orchestra & Aaron Copland, Conductor Conductor SDBR-3032 Scriabin: The Poem of Ecstasy - Amirov: Azerbaijan SDBR-3045 Sibelius: in D Minor & , Tone Houston Symphony Orchestra & Leopold Stokowski, Poem, Op. 112 Conductor London Symphony Orchestra, Tauno Hannikainen, Conductor & Tossy Spivakovsky, Violin SDBR-3033 Stravinsky: Petrouchka London Symphony Orchestra & Sir Eugene Goossens, SDBR-3046 Schubert: Symphony No. 8 in B Minor, D 759 Conductor “Unfinished” - Mozart: Symphony No. 40 in G Minor, K. 550 SDBR-3034 Prokofiev: Symphony No. 5 London Symphony Orchestra & Leopold Ludwig, Conductor London Symphony Orchestra & Sir , Conductor SDBR-3047 Stravinsky: (“Le Sacre du Printemps”) SDBR-3035 Tchaikovsky: Manfred Symphony London Symphony Orchestra & Sir Eugene Goossens, London Symphony Orchestra & Sir Eugene Goossens, Conductor Conductor SDBR-3049 Tchaikovsky: Violin Concerto in D Major, Op. 35 SDBR-3036 Schumann: Concerto in A Minor, Op. 54 & & Melody, Op. 42/3 Franck: Variations Symphoniques London Symphony Orchestra, Walter Goehr, Conductor & London Symphony Orchestra, Sir Eugene Goossens, Tossy Spivakovsky, Violin Conductor & Peter Katin, Piano SDBR-3050 Mahler: Symphony No. 9 in D Minor SDBR-3037 Berlioz: Symphonie Fantastique London Symphony Orchestra & Leopold Ludwig, Conductor London Symphony Orchestra & Sir Eugene Goossens, Conductor SDBR-3051 Respighi: The Fountains of & The London Symphony Orchestra & Sir Malcolm Sargent, SDBR-3038 : Ein Heldenleben Conductor London Symphony Orchestra & Leopold Ludwig, Conductor SDBR-3052 Khatchaturian: Gayne (Ballet Suite) SDBR-3039 Tchaikovsky: Symphony No. 5 in E Major, Op. 64 London Symphony Orchestra & , London Symphony Orchestra & Sir Malcolm Sargent, Conductor Conductor SDBR-3053 Mussorgsky: Pictures at an Exhibition & Night On Bald SDBR-3040 Hindemith: Violin Concerto & Mozart: Violin Concerto Maountain London Symphony Orchestra, Sir Eugene Goossens, London Symphony Orchestra & Sir Malcolm Sargent, Conductor & Joseph Fuchs, Violin Conductor

SDBR-3041 Villa-Lobos: The Little Train of Caipira (from Bachianas SDBR-3054 Shostakovich: Symphony No. 9 & Lieutenant Kijé Suite Brasileiras No. 2) – Ginastera: Estancia & Panambi London Symphony Orchestra & Sir Malcolm Sargent, London Symphony Orchestra & Sir Eugene Goossens, Conductor Conductor SDBR-3055 Khatchaturian: Concerto for Piano and Orchestra in SDBR-3042 Mozart: Serenades No. 11 in E-flat major (K. 375) and D-flat Major No. 12 in C minor (K. 388) London Symphony Orchestra, , Conductor & Everest Woodwind Octet Peter Katin, Piano

SDBR-3043 Prokofiev: , Op. 67 SDBR-3056 Dvorˇák: Symphony No. 9 in E Minor, Op. 95 “From the Stadium Symphony Orchestra of New York, Leopold New World” Stokowski, Conductor & Captain Kangaroo (), London Symphony Orchestra & Leopold Ludwig, Conductor Narrator SDBR-3057 De Falla: The Three Cornered Hat (Complete Ballet) SDBR-3044 Grofé: Grand Canyon Suite & Concerto for Piano and London Symphony Orchestra & Enrique Jordá, Conductor Orchestra in D Minor Rochester Philharmonic Orchestra & Ferde Grofé, SDBR-3058 Irving Berlin: Great Man of American Music - A New Conductor Interpretation Raoul Poliakin and his orchestra SDBR-3059 Works of Lili Boulanger: Du fond de l’abîme (Psaume SDBR-3074 Beethoven: Symphony No. 6 in F Major, Op. 68 130), Psaume 24, Psaume 129, Vieille Prière “Pastoral” Bouddhique & Pie Jesu London Symphony Orchestra & Josef Krips, Conductor Lamoureux Concert Association Orchestra, Elisabeth Brasseur Choir & Igor Markevtich, Conductor SDBR-3076 Duo Piano Recital: Pierre Luboshutz & Genia Nemenoff, Pianists SDBR-3060 Debussy: - Ravel: La Valse & Rhapsodie Espagnol Rochester Philharmonic Orchestra & Theodore Bloomfield, SDBR-3079 A Chopin Piano Recital Conductor Jorge Bolet, Piano

SDBR-3061 A Memorial Album: Ernst von Dohnányi Plays His Own SDBR-3086 Beethoven: Symphony No. 5 in C Minor, Op. 67 Music for Piano London Symphony Orchestra & Josef Krips, Conductor Ernst von Dohnányi, Piano SDBR-3087 Beethoven: Symphony No. 3 in E-flat Major, Op. 55 SDBR-3062 Jorge Bolet playing the music of : Piano London Symphony Orchestra & Josef Krips, Conductor Concerto No. 1 in E-Flat Major & Mephisto Waltz No. 1 SDBR-3088 Beethoven: Symphony No. 7 in A Major, Op. 92 Symphony of the Air, Robert Irving, Conductor & Jorge London Symphony Orchestra & Josef Krips, Conductor Bolet, Piano SDBR-3089 Beethoven: Symphonies No. 1 & 8 SDBR-3063 Bennett: A Commemoration Symphony to Stephen London Symphony Orchestra & Josef Krips, Conductor Foster & A Symphonic Story of Jerome Kern Pittsburgh Symphony Orchestra, Mendelssohn Choir of SDBR-3110 Beethoven: Symphony No. 9 in D Minor, Op. 125 Pittsburgh & , Conductor “Choral” London Symphony Orchestra & Josef Krips, Conductor SDBR-3064 Liszt: Sonata in B Minor, Funerailles & Mephisto Waltz No. 1 SDBR-3113 Beethoven: Symphonies No. 2 & 4 Jorge Bolet, Piano London Symphony Orchestra & Josef Krips, Conductor

SDBR-3066 Brahms: Symphony No. 4 in E minor, Op. 98 Pittsburgh Symphony Orchestra & William Steinberg, Conductor

SDBR-3067 Gershwin: & An American in Pittsburgh Symphony Orchestra, William Steinberg, Conductor & Jesus Maria Sanroma, Piano

SDBR-3068 Sibelius: Symphony No. 5 in E-Flat Major, Op. 82 & , Op. 26 Rochester Philharmonic Orchestra & Theodore Bloomfield, Conductor

SDBR-3069 Bartók: Concerto for Orchestra Houston Symphony Orchestra & Leopold Stokowski, Conductor

SDBR-3070 Wagner: Magic Fire Music & Wotan’s Farewell - Chopin: Mazurkas, Op. 17, Preludes, Op. 28 & Waltzes, Op. 64 (transcribed for Orchestra) Houston Symphony Orchestra & Leopold Stokowski, Conductor

SDBR-3071 Robert-Alexander Bohnke: The Great New Virtuoso