Ludwig van Beethoven Symphony No. 9 in D Minor, Op. 125 „Choral“ London Symphony Orchestra/Josef Krips, Conductor/BBC Chorus/Leslie Woodgate, Chorus Master Jennifer Vyvyan, Soprano Shirley Carter (Verrett), Mezzo-Soprano Rudolf Petrak, Tenor / Donaldson Bell, Bass

1 I. Allegro ma non troppo, un poco maestoso 16:03

2 II. Molto vivace 09:44

3 III. Adagio molto e cantabile 15:01

4 IV. Presto – Allegro assai – Choral Finale 24:39 JOSEF KRIPS conducting the London “In the Ninth Symphony, Beethoven cre- tones ... “ In effect: away with the conflict, Symphony Orchestra ated his most masterful structure. His con- away with the memory of pain and of death – ception reveals its staggering grandeur from “Let us raise our voices in pleasing and more BEETHOVEN SYMPHONY NO.9 the very first, in the way he arrives at the joyful sounds!” Each time I conduct this WITH FINAL CHORUS ON SCHILLER’S opening theme – the fifth step of the scale, music I experience it anew as something that “ODE TO JOY,” Op.125 the first step, then down subdominant and is ineffably complete in itself. In the other so on, like open triads. These notes begin symphonies, Beethoven speaks of redemp- Soloists: JENNIFER VYVYAN • the struggle of life and death, and for the tion through freedom, through nature, SHIRLEY CARTER • RUDOLPH first two movements Beethoven is engaged through the conquest of fate, through divine PETRACK • DONALD BELL • BBC in mortal combat. When I conduct the sec- gaiety and the boundless energies of the CHORUS • Chorus Master: LESLIE ond movement, I cannot escape the sen- dance, but here the theme is man’s deliver- WOODGATE sation that death itself is staring over my ance through joy. shoulder. Even the Presto brings no relief; for all its sweetness it is only a spectre that Josef Krips flickers briefly across the scene. In the third movement Beethoven approaches his end. Death knocks at the door with trumpets, and Beethoven refuses, in the violins. His answer Following is an excerpt from is “no” until the very last movement. But Time Magazine of August 17, 1962: at the close of this movement he meets his inevitable death. For decades I have felt it in The conductor appeared transformed by just this way. For me the finale simply does the music. His body swayed on the podium; not take place here on earth. It is dangerous his moon face was pop-eyed with pleasure. to talk so specifically about one’s personal Occasionally, listeners close to the stage visions, but in my mind’s eye, I see quite could hear him snort with excitement. At clearly the instant in which Beethoven enters Manhattan’s Lewisohn Stadium, Conductor Heaven. The finale tells me of his arrival, and Josef Krips gave agile proof that he is how all of Heaven stands still at his presence. descended from a long line of conductors of Significantly enough, Beethoven no longer the Viennese school, a special breed that has found sufficient means within the orchestra all but disappeared from the world’s concert to tell us all he wanted to say in this music. halls, a line that once rang with such great He returned, instead, to the fountainhead names as Gustav Mahler, Felix Weingartner of all instruments, to the human voice – the (Krips’s teacher), Franz Schalk and Bruno voice of man, whom God created in His own Walter. What those artists had in common, image. Beethoven prepared us for the entry says Krips, was a sense of continuity, a con- of this voice in the course of an elaborate viction that music should be “one long legato and symbolic transition. The recitative for line.” Krips’s own legato line as he conducts contra-basses in the finale’s introduction is Beethoven and Brahms is as admired as any constantly interrupted by themes from ear- in the world, and at Lewisohn it has become lier movements. What does he mean by these the artistic high point of the summer concert interruptions? They are explained by the season. soloist’s first words: “Oh friends, not these The hallmark of a Krips performance, as Now one of the world’s most widely capacity crowds learned last week, is not only traveled conductors (120 concerts and continuity but clarity, momentum, and an 76,000 miles in a recent season); Krips unremitting sense of tension that lends new moves restlessly between an apartment in life to the weariest warhorses in the world of Buffalo, a chalet in Switzerland, and hotel music. Last week the programs included the suites around the world. At 60 he believes Beethoven Ninth symphony, and the Third that “human life is too short to know even “Leonore” Overture – and for each work, Krips one great work to perfection”; although provided fine readings that did full justice he has conducted Beethoven Symphonies to the music’s grand design while ignoring again and again (17 times this season), he none of its wondrous intricate detail. feels that he is a long way from mastering it. (“In five years my Beethoven will be entirely Krips’s belief that “we must apply the different.”) He recalls that 14 years ago technique of the singer to the instruments” he heard the late Bruno Walter lead a daz- stems from his own early training. Son of zling performance of Schubert’s “Unfinished” a physician, he sang for ten years in boys’ Symphony. Backstage, Conductor Walter choirs under Vienna’s leading conductors. responded to Krip’s congratulations with a Weingartner hired him as chorus master of look of surprise. “But, my dear,” said he, “you the Volksoper when he was only 18, and by must not forget that I am 71.” his mid-20s, when he was appointed music director of the Hoftheater in Karlsruhe, he Original Liner Notes was already building a reputation as one of Europe’s finest opera conductors. For three wartime years (1942-45), he labored in a pickle factory; at war’s end he virtually rebuilt the musical life of Vienna by pull- ing together the Staatsoper and the Vienna Philharmonic.

Krips took over the Buffalo Symphony in 1954; and under him it has performed with a professional polish that would do credit to a city several times Buffalo’s size. Part of the trick in leading an orchestra, suggests Krips, is adroit use of psychology. For the first year, he asked the Buffalo musicians to pray before every concert: “I told them we are not playing Beethoven, we are privileged to play Beethoven; let us pray that we have the blessing to play it well.” Some notes on the history of Everest Below is a graphic representation of this new “wow and flutter” to an absolute minimum. recordings made anywhere in the world. By Records and the digital remastering material. What you see here, your ears will The film has another advantage in its great utilizing specially designed portable versions quickly verify when you listen to an EVER- tensile strength which effectively eliminates of EVEREST 35 mm equipment, EVEREST When Everest Records was founded by Harry EST recording. pitch changes due to “tape stretch”, a condi- engineers are able to make recordings and Belock in 1958 as a division of Belock Instru- tion heretofore almost impossible to control. maintain the rigid standards and excellence ment Corp., the aim was to produce a cata- Notice that now EVEREST engineers have of quality available in the Studios. logue of stereo recordings of the highest pos- over 3 times the normal space available Drawing on the extensive experience in the sible technical standard, with interesting and [than] on ¼” tape. This means distortion free, motion picture sound field BELOCK INSTRU- The advanced engineering and special equip- innovative classical repertoire played by some perfect sound. 35 mm magnetic film allows MENT (of which EVEREST is a division), ment, in addition to meticulous attention of the best artists and orchestras. EVEREST engineers to make recordings with requested Westrex Corporation to build spe- to detail, results in the EVEREST sound, a cial equipment to EVEREST’S exacting sound that has been acclaimed as superb by For the first Everest recording sessions in • No distortion from print through specifications in order to accomplish these critics and record enthusiasts throughout the 1958, an Ampex 300-3 half-inch three- • No distortion from lack of channel width advantages. This equipment includes the use world. channel recorder was used. Later on the label • Absolute minimum of “wow or flutter” of special recording heads which afford com- moved to use a Westrex 35 mm 3-track mag- • Highest possible signal to noise ratio plete wide band frequency response beyond netic film recorder, which had a wider possible • Greatest quality and dynamic range ever that normally specified in any present-day dynamic range, less print-through, less tape recorded motion picture recording. It is of interest to stretch and less ‘wow and flutter’, and which note, that when soundtracks of great motion was the basis for the highly acclaimed typical With 35 mm magnetic film, the base mate- pictures originally recorded on 35 mm mag- Executive Producer: Mark Jenkins for Countdown “Everest-sound”. rial on which the magnetic oxide is coated netic film are released as phonograph records, Media/Everest • Digital Transfers and Remastering: Lutz Rippe at Countdown Media using the original is five times thicker than conventional tape that normal technique is to re-record the master tapes • Artwork preparation: Eckhard Volk For the process of digital remastering of the and is similar to the film used for motion pic- sound from 35 mm magnetic film to conven- at Countdown Media • Digital Booklet: Dirk Böing, 35 mm master tapes an Albrecht MB 51 tures. This thickness permits the recording of tional tape. EVEREST, through its advanced Martina Grüthling • Original Producer: Bert Whyte machine was used for analog playback. The extremely high sound intensities without the processes and equipment, is the only record for Everest Records • Original Recording Engineer: output was captured in highest digital reso- danger of layer-to-layer “print-through”. The company able to transfer all Master Records Aaron Nathanson • Recording Location and Date: lution of 192 kHz sampling rate and 24 bit width of 35 mm magnetic film is such that directly from the 35 mm magnetic film to the Walthamstow Assembly Hall, London (January 1960) word length using state-of-the-art convert- it can accommodate three channels, each of recording heads. • Original Recordings on 35 mm 3-track magnetic film, originally released in August 1960 as SDBR ers. In the digital domain the recording was which is as wide as the standard ¼” record- 3065 (the complete 9 Symphonies) and in July 1963 carefully restored and remastered using top- ing tape. Because of this great channel width, To assure maintaining the high quality of as SDBR 3110 • Analog playback of original master quality mastering and restoration equipment. it is possible to produce stereo recordings in EVEREST sound on every EVEREST record- tapes on an Albrecht MB 51 • Digital restoration and which the usual background noise is inaudi- ing, the same equipment that is used in the remastering using Algorithmix software products …from the original LP release: ble. Another similarity of magnetic film to BELOCK Recording studios is utilized for ℗ & © Countdown Media GmbH motion picture is that it has sprocket holes “The remarkable EVEREST sound on this cut along each edge. The drive mechanism is record is the result of a revolutionary new also similar to motion picture cameras in that method of magnetic recording developed by sprocket gears engage these sprocket holes EVEREST utilizing 35 mm magnetic film. affording a smoothness of motion that reduces EVEREST is recorded on tape 35 mm wide

½” Tape used for Conventional stereo recording Standard ¼” Recording Tape Below is a listing of the currently available Everest albums in this series. For more information and an updated listing please visit www.evereststereo.com

SDBR-3003 Antill: Corroboree - Ginastera: Panambi SDBR-3034 Prokofiev: Symphony No. 5 London Symphony Orchestra & Sir Eugene Goossens, London Symphony Orchestra & Sir Malcolm Sargent, Conductor Conductor

SDBR-3005 Mahler: Symphony No. 1 in D Major “Titan” SDBR-3037 Berlioz: Symphonie Fantastique London Philharmonic Orchestra & Sir Adrian Boult, London Symphony Orchestra & Sir Eugene Goossens, Conductor Conductor

SDBR-3006 A Memorial Tribute to Ralph Vaughan Williams: Symphony SDBR-3038 Richard Strauss: Ein Heldenleben No. 9 in E Minor London Symphony Orchestra & Leopold Ludwig, Conductor London Philharmonic Orchestra & Sir Adrian Boult, Conductor SDBR-3039 Tchaikovsky: Symphony No. 5 in E Major, Op. 64 London Symphony Orchestra & Sir Malcolm Sargent, SDBR-3009 Stravinsky: Ebony Concerto & Symphony in 3 Movements Conductor Woody Herman and his Orchestra / London Symphony Orchestra & Sir Eugene Goossens, Conductor SDBR-3040 Hindemith: Violin Concerto & Mozart: Violin Concerto No. 3 London Symphony Orchestra, Sir Eugene Goossens, SDBR-3018 Copland: Symphony No. 3 Conductor & Joseph Fuchs, Violin London Symphony Orchestra & Aaron Copland, Conductor SDBR-3041 Villa-Lobos: The Little Train of the Caipira (from Bachianas SDBR-3022 Kodály: Psalmus Hungaricus - Bartók: Dance Suite Brasileiras No. 2) London Philharmonic Orchestra & János Ferencsik, Ginastera: Estancia & Panambi (Ballet Suites) Conductor London Symphony Orchestra & Sir Eugene Goossens, Conductor SDBR-3025 Waltz Masterpieces Stadium Symphony Orchestra of New York & Raoul SDBR-3044 Grofé: Grand Canyon Suite & Concerto for Piano and Poliakin, Conductor Orchestra in D Minor Rochester Philharmonic Orchestra & Ferde Grofé, SDBR-3026 Rimsky-Korsakov: Scheherazade Conductor London Symphony Orchestra & Sir Eugene Goossens, Conductor SDBR-3045 Sibelius: Violin Concerto in D Minor & Tapiola, Tone Poem, Op. 112 SDBR-3027 Raymond Paige’s Classical Spice Shelf London Symphony Orchestra, Tauno Hannikainen, Conductor Stadium Symphony Orchestra of New York & Raymond & Tossy Spivakovsky, Violin Paige, Conductor SDBR-3046 Schubert: Symphony No. 8 in B Minor, D 759 “Unfinished” SDBR-3031 Wagner: Parsifal - Good Friday Spell “Karfreitagszauber” - Mozart: Symphony No. 40 in G Minor, K. 550 & Symphonic Synthesis Act 3 London Symphony Orchestra & Leopold Ludwig, Conductor Houston Symphony Orchestra & Leopold Stokowski, Conductor SDBR-3047 Stravinsky: The Rite of Spring (“Le Sacre du Printemps”) London Symphony Orchestra & Sir Eugene Goossens, SDBR-3032 Scriabin: The Poem of Ecstasy - Amirov: Azerbaijan Mugam Conductor Houston Symphony Orchestra & Leopold Stokowski, Conductor SDBR-3049 Tchaikovsky: Violin Concerto in D Major, Op. 35 & Melody, Op. 42/3 SDBR-3033 Stravinsky: Petrouchka London Symphony Orchestra, Walter Goehr, Conductor & London Symphony Orchestra & Sir Eugene Goossens, Tossy Spivakovsky, Violin Conductor SDBR-3050 Mahler: Symphony No. 9 in D Minor London Symphony Orchestra & Leopold Ludwig, Conductor SDBR-3051 Respighi: The Fountains of Rome & The Pines of Rome SDBR-3064 A Liszt Recital: Piano Sonata in B Minor / Funerailles / London Symphony Orchestra & Sir Malcolm Sargent, Mephisto Waltz No. 1 Conductor Jorge Bolet, Piano

SDBR-3052 Khatchaturian: Gayne (Ballet Suite) SDBR-3067 Gershwin: Rhapsody in Blue & An American in Paris London Symphony Orchestra & Anatole Fistoulari, Pittsburgh Symphony Orchestra, William Steinberg, Conductor Conductor & Jesus Maria Sanroma, Piano

SDBR-3053 Mussorgsky: Pictures at an Exhibition & Night on Bald SDBR-3068 Sibelius: Symphony No. 5 in E-Flat Major, Op. 82 & Mountain Finlandia, Op. 26 London Symphony Orchestra & Sir Malcolm Sargent, Rochester Philharmonic Orchestra & Theodore Bloomfield, Conductor Conductor

SDBR-3054 Shostakovich: Symphony No. 9 / Lieutenant Kijé Suite SDBR-3069 Bartók: Concerto for Orchestra London Symphony Orchestra & Sir Malcolm Sargent, Houston Symphony Orchestra & Leopold Stokowski, Conductor Conductor

SDBR-3055 Khatchaturian: Concerto for Piano and Orchestra in D-flat SDBR-3070 Wagner: Magic Fire Music & Wotan’s Farewell – Chopin: Major Mazurka, Op. 17/4, Prelude, Op. 28/24 & Waltz, Op. 64/2 London Symphony Orchestra, Hugo Rignold, Conductor & – Canning: Fantasy on a Hymn Tune by Justin Morgan Peter Katin, Piano Houston Symphony Orchestra & Leopold Stokowski, Conductor SDBR-3056 Dvoˇrák: Symphony No. 9 in E Minor, Op. 95 “From the New World” SDBR-3074 Beethoven: Symphony No. 6 in F Major, Op. 68 London Symphony Orchestra & Leopold Ludwig, “Pastorale” Conductor London Symphony Orchestra & Josef Krips, Conductor

SDBR-3057 De Falla: The Three Cornered Hat (Complete Ballet) SDBR-3086 Beethoven: Symphony No. 5 in C Minor, Op. 67 London Symphony Orchestra & Enrique Jordá, Conductor London Symphony Orchestra & Josef Krips, Conductor

SDBR-3058 Irving Berlin: Great Man of American Music - A New SDBR-3087 Beethoven: Symphony No. 3 in E-flat Major, Op. 55 Interpretation London Symphony Orchestra & Josef Krips, Conductor Raoul Poliakin and his orchestra SDBR-3088 Beethoven: Symphony No. 7 in A Major, Op. 92 SDBR-3059 Works of Lili Boulanger: Du fond de l’abîme (Psaume London Symphony Orchestra & Josef Krips, Conductor 130), Psaume 24, Psaume 129 & Vieille Prière Bouddhique SDBR-3089 Beethoven: Symphonies No. 1 & 8 Lamoureux Concert Association Orchestra, Elisabeth London Symphony Orchestra & Josef Krips, Conductor Brasseur Choir & Igor Markevtich, Conductor SDBR-3110 Beethoven: Symphony No. 9 in D Minor, Op. 125 “Choral” SDBR-3060 Debussy: Iberia - Ravel: La Valse & Rhapsodie Espagnol London Symphony Orchestra & Josef Krips, Conductor Rochester Philharmonic Orchestra & Theodore Bloomfield, Conductor SDBR-3113 Beethoven: Symphonies No. 2 & 4 London Symphony Orchestra & Josef Krips, Conductor SDBR-3061 A Memorial Album: Ernst von Dohnányi Plays His Own Music for Piano Ernst von Dohnányi, Piano

SDBR-3062 Jorge Bolet playing the music of Franz Liszt: Piano Concerto No. 1 in E-Flat Major & Mephisto Waltz No. 1 Jorge Bolet, Piano

SDBR-3063 Bennett: A Commemoration Symphony to Stephen Foster & A Symphonic Story of Jerome Kern Pittsburgh Symphony Orchestra, Mendelssohn Choir of Pittsburgh & William Steinberg, Conductor