- 1 - AFRICA CAMILLE SAINT SAËNS success of The Carnival of the Animals, in his CAMILLE SAINT-SAËNS (1835-1921) (Paris, 1835 – Algiers, 1921) view a “private joke” which was not published in full until after his death (only The Swan saw 1 Africa – Fantasy for Piano and Orchestra Op. 89 [11.08] During a career spanning three-quarters of a the light of day during the composer’s lifetime; Gwendolyn Mok piano century, Saint-Saëns in his youth earned the it can now be heard in a specially-commissioned Parysatis – Airs de ballet admiration of Berlioz, yet he out-lived Debussy. arrangement played by the forty-strong London 2 I. Entréee [0.35] Like so many of the world’s great composers, Cello Orchestra on Cala Signum SIGCD2007). 3 II. No.1 [2.03] Saint-Saëns took to music almost from the 4 III. No.2 [3.26] cradle. By the age of six he was writing songs Saint-Saëns’s own musical credo was summed 5 IV. No.3 [1.52] and piano pieces and at ten he was playing up as follows: “The artist who does not feel 6 La jota aragonese Op. 64 [3.45] Mozart and Beethoven piano concertos in completely satisfied by elegant lines, harmonious 7 Samson and Delilah, Grand Fantasy Op.47 (arr. Luigini) [13.35] public. His prowess on the organ led to an early colours and a beautiful succession of chords does 8 Tarantelle for Flute, Clarinet and Orchestra Op.6 [5.36] appointment at the Church of the Madeleine, not understand the art of music.” Although not Susan Milan flute James Campbell clarinet where he was to occupy the post of organist for all his music reaches the heights of inspiration, Sarabande et Riguadon Op.93 nearly twenty years. As a student he wrote four many of the orchestral works in particular Tina Gruenberg violin symphonies, two of which received performances, are clearly scored by the hand of a master. 9 I. Sarabande [5.35] and in the 1860s he turned to the stage, 0 II. Rigaudon [3.06] although of his thirteen operas only Samson 1 Africa – Fantasy for Piano and Orchestra q Danse macabre Op.40 (song versión) [2.49] and Delilah has held a place in the repertoire. Op. 89 Anthony Roden tenor Gwendolyn Mok piano w Marche militaire française from Suite algérienne Op.60 [4.20] Liszt’s tone-poems inspired Saint-Saëns to e La muse et le poète Op.132 [15.16] produce a number of highly colourful orchestral In addition to his full-scale piano concertos, Stephanie Chase violin Robert Truman cello works of his own—Danse macabre being the Saint-Saëns wrote several other works for r Valse (Finale) from Ascanio [3.55] most popular—and his vast output included piano and orchestra, of which his Africa five piano concertos, in each of which he Fantasy is quite the most delightful. Total timings: [77.46] appeared as a highly successful soloist. He began sketching the music in the winter of LONDON PHILHARMONIC ORCHESTRA He was concerned to maintain the serious side of 1890 while on holiday in the Canary Islands. geoffrey simon conductor his output and would have been horrified at the Here he attempted to ensure complete solitude calasignum.com - 3 - for the task by adopting a false name, but Parysatis – Airs de ballet three exotic dances, was published separately scored, with castanets and tambourines his efforts at warding off the unwelcome 2 I. Entréee from the complete score and uses harps, adding appropriate local colour, and has been attentions of hotel guests and staff were 3 II. No.1 “crotales” (antique finger-cymbals) and striking surprisingly overlooked both in the concert-hall unsuccessful, since their interest became even 4 III. No.2 groupings of winds and strings to produce and on record, where it now makes its debut. more aroused by the curiously solitary behaviour 5 IV. No.3 a sequence of sensual, eastern abandon. of the mysterious, bearded “businessman” 7 Samson and Delilah, Grand Fantasy in their midst. In the event, Saint-Saëns had Parysatis, a play described as “a spectacular 6 La jota aragonese Op.64 Op.47 (arr. Luigini) to move to another hotel in order to escape drama based on the life of the bloodthirsty queen the impertinent inquisitiveness to which he of ancient Persia”, had its first performance The theme of this vivacious, short work will It is something seldom heard nowadays: a was being subject, and was only then able to on 17 August 1902 at the southern French instantly be recognised by anyone familiar with colourful, self-contained “pot-pourri” of tunes continue in peace with his jolly Africa Fantasy. resort of Béziers, not far north of the Spanish the Spanish Overture No.1 by Glinka. In 1844, the from a celebrated opera, arranged for orchestra border. Four years earlier, a rich impresario Russian composer was on a tour of Europe and but without any singers. Such creations were This sonic picture-postcard scherzo, which had acquired an enormous bull-ring there at the urging of Franz Liszt, his champion and extremely popular a hundred years ago: Sir Henry requires a virtuoso’s technique for the and converted it into an amphitheatre, to be admirer, Glinka made a point of visiting Spain Wood’s very first Promenade Concert in 1895 execution of its dazzlingly difficult solo part, the centre of attraction at a regular music in order to study and absorb the folk-music of featured a “Grand Selection” from Carmen, is a brilliant kaleidoscope of rhythms and festival. Although Saint-Saëns had a horror the country. His Spanish Overture is a “Capriccio while “orchestral fantasias” on such operas colours, and features a Tunisian folk-melody of blood-sports, the acoustics of the open-air Brillante” based on the “jota aragonesa” (a as Faust, Cavalleria Rusticana and Il Trovatore which forms the basis of its vivid conclusion. stadium were so good that he was persuaded to traditional Spanish folk-dance depicting rustic were the staples of concert fare at that time. inaugurate the first Béziers Festival with a lyric courtship) which he heard from a guitarist in tragedy entitled Déjanire, based on the life of Valladolid. Not to be outdone, Liszt himself used Here then is a revival of a splendid confection Hercules. The annual festival regularly focused the same melody in his Rhapsodie espagnole— dreamed up by Alexandre Luigini, the composer on his music, and the town itself honoured the one of his many piano works based on the of the Ballet Égyptien—one of those pieces composer with the “Avenue Saint-Saëns”. various “National Airs” of Spain, Italy, Hungary, which everyone knows upon hearing but cannot France, England and so on—and this was later quite put a name to. Luigini was born in France The incidental music to Jane Dieulafoy’s drama arranged for piano and orchestra by Busoni. of Italian origin and while still in his teens Parysatis called for a large orchestra, vocal conducted and composed for several French ballet soloists and a chorus, and was received with Saint-Saëns’s version of this music is actually companies. In 1877, he was appointed conductor tumultuous acclaim. The tuneful “Airs de Ballet”, described as a “transcription” and was published of the Grand Theatre Orchestra at Lyons, and which consists of a brief introduction and in 1881. It is a scintillating number, delightfully in that same year Samson and Delilah received

- 4 - - 5 - its first performance under Liszt’s sponsorship It should be noted that owners of ancient On that first occasion, of course, the two follows. This was a French folk-dance of at Weimar, although Paris had to wait until 78s might just have an old Regal recording soloists had a piano accompaniment. This the 17th century, and Saint-Saëns adds the 1891 before hearing what was to become the of this music on which Percy Pitt conducted was duly transformed by the composer woodwinds, brass and timpani for a vivacious most popular of Saint-Saëns’s thirteen operas. the BBC Wireless Orchestra. However, that into the exciting orchestration heard here little piece which has about it something Luigini’s Grand Fantasy encapsulates some of was a heavily abridged performance, tailored that whirls and weaves the two soloists of the quality of Bizet’s Symphony in C. the finest pages of the opera without in any way no doubt for the four-minute sides. This along like a dancing, spinning top. being inhibited by the original sequence of the version is absolutely complete, justifying q Danse macabre Op.40 (song version) plot: it launches straight into the finale where “World Premiere Recording” status! Sarabande et Riguadon Op.93 Anthony Roden tenor Delilah and her fellow-Philistines are making Orchestrated by Maurice Ravel sacrifices in the Temple of Dagon. A brief link 8 Tarantelle for Flute, Clarinet and Tina Gruenberg violin Although Saint-Saëns’s Danse macabre is one leads us into Delilah’s seductive Act 1 aria When Orchestra Op.6 9 I. Sarabande of his most popular orchestral works, he did in Twilight is Falling, played here on the cornet, an Susan Milan flute 0 II. Rigaudon fact write it first as a song for voice and piano instrument that was much in demand for solo James Campbell clarinet in 1873 to a poem by Henri Cazalis. As well as numbers in the popular concerts of Luigini’s day. This “concert pair” of orchestral dances dates expanding it into his celebrated tone-poem, The brass section is retained for the Act 1 Spring Here we find Saint-Saëns in Mendelssohnian from 1892 when the composer was 57. Saint-Saëns also arranged the original for voice Chorus, and then the listener is lulled into a state mood, or perhaps “Rossinian” would be more and orchestra, and it is this rarely performed of anticipation with a familiar oboe cadenza. The appropriate, since this sparkling tarantelle was, Ancient dances clearly appealed to Saint- version we hear next, in its first recording. unwary will think that this heralds the celebrated in fact, given its first performance in 1857 at the Saëns—he had written a five-movement Bacchanale, but Luigini is just teasing: what Parisian apartment to which Rossini had retired, Suite for Orchestra nearly thirty years earlier Cazalis’s poem is indeed ‘macabre’: “Zig-a-zig- we actually get is Samson’s stentorian aria Pray and to whom the 22-year-old Saint-Saëns had which also featured a sarabande. a-zig”—Death is tapping the tomb with his heel to God, also from Act 1. This gives way to the just been introduced. At that particular soirée, at midnight, playing an air on his out-of-tune music of the Love Duet, after which the massed the celebrated Italian composer mischievously This particular dance-form originated in 16th fiddle—“zig-a-zig-a-zag”. The winter wind violins blossom forth with Softly Wakes My Heart, pretended that the work was his own but century Spain in triple-time, either slow or fast, blows, and the night is gloomy—groans can perhaps Saint-Saëns’s best-known and most when the assembled listeners had finished and Saint-Saëns’s Sarabande Op.93, with its be heard in the trees. White skeletons dart moving operatic melody. It remains only for complimenting him on the “masterpiece” they distinctive emphasis on the second beat of the through the shadows, running and jumping in Luigini to concoct a stirring ending—he chooses had just heard, Rossini took Saint-Saëns’s bar, is marked “andante sostenuto—molto their great shrouds... “Zig-a-zig-a-zig”—They Samson’s exhortation Let Us Rise Once Again hand and replied: “I entirely agree. But I didn’t expressivo”. It is written for string orchestra each jig about, and one hears the clatter of the from Act 1, bringing what can only be described write it—this gentleman is the composer!” and violin soloist and its heartfelt style is dancers’ bones... A lascivious couple sits down as a “fun piece” to a rousing conclusion. well-contrasted with the lively rigaudon which on the moss as if to re-live the sweet-nothings

- 6 - - 7 - of yesteryear... “Zig-a-zig-a-zag”—Death The complete Algerian Suite incorporates The music takes the form of a wistful, rhapsodic mythical age of Venus and Diana, Bacchus scrapes endlessly on his sour instrument. A references to traditional Arab melodies, with the discourse which provides scope for much rubato and Psyche, and concludes with a dashing and veil is dropped, the dancer is nude, her young finale acknowledging Algeria’s absorption into and free tempo, embracing romantic moods jaunty Waltz for the entire corps de ballet. partner squeezes her lovingly; the lady, they say, Metropolitan France during the long period of on the one hand, and skittishness and passion is a marchioness or baroness, and the young military colonisation. In his book “Saint-Saëns on the other, with each instrument providing © Edward Johnson man a common wheelwright. Horror! Look how and his Circle”, James Harding puts forward the a calming influence on the more urgent she’s carrying on—as if the oaf was a baron!... view that this French Military March is almost “an outbursts of its partner. Although described as “Zig-a-zig-a-zig”— What a hullabaloo! These unintentional portrait of Saint-Saëns as he had “a conversation between the two instruments rings of corpses are all holding hands!—“Zig- become in the 1880s. While the buoyant rhythms rather than a competition between two virtuosi”, a-zig-a-zag”— One sees kings leaping about in hustle nervously on, it is possible to visualise the technical demands are considerable, the crowd with thieves... But hush! All at once the man himself—the bird-like gestures, the and bring to mind the Double Concerto of the dance stops. Elbowing each other aside, quick and eager speech that never succeeded Brahms written some two decades earlier. they rush, they flee; the cock has crowed. in keeping pace with his thoughts, and the urge to have done with a work because the idea for r Valse (Finale) from Ascanio Oh what a beautiful night for the poor of the another was already plaguing his restless brain.” world. Long live Death—and Equality!” Ascanio is a five-act opera (Saint-Saëns’s e La muse et le poète Op.132 seventh excursion into the field) which had w Marche militaire française Stephanie Chase violin its first Paris performance in 1890.Ascanio from Suite algérienne Op.60 Robert Truman cello was based on a play by Paul Meurice, which in turn derived from a biography Meurice had The Suite algérienne of 1880 has parallels A composition which was the product of written on the life of Benvenuto Cellini, the with Ippolitov-Ivanov’s Caucasian Sketches: Saint-Saëns’s old age comes next. He was 16th century Italian artist and sculptor. each has four movements; each is inspired 75 when he wrote this Grand Duo for Violin by exotic locales; and each has a final and Cello in memory of his friend Madame For the opera’s score, Saint-Saëns march which has become its most popular Henry Caruette, and it received its first atmospherically evoked the world of the French number and thus frequently extracted, performance in London on 7 June 1910. Like court of François I with ancient melodies he as here, for separate performance. many of his works, he wrote it while abroad discovered in the published music of the time. on holiday—in this case, at Luxor in Egypt. The Ballet Divertissement, which was performed during the course of the opera, represents the

- 8 - - 9 - GEOFFREY SIMON Te Deum for the King and Queen of Spain, and – violins, violas, cellos, double basses, horns, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt with the Sacramento Symphony he created trumpets, trombones and harps – drawn from and Franz Welser-Möst. Vladimir Jurowski was Australian conductor Geoffrey Simon is the World View series of concerts, attracting London’s leading solo, orchestral and chamber appointed the Orchestra’s Principal Guest resident in London and has appeared there audiences from twenty non-European cultures. musicians. Known as The London Sound Series, Conductor in March 2003 and it has recently with the London Philharmonic Orchestra, the recordings have attracted interest amongst been announced that he would become the London Symphony Orchestra, Philharmonia Geoffrey Simon is Music Director Emeritus of the instrumentalists worldwide. Geoffrey Simon’s Orchestra’s new Principal Conductor from the Orchestra, Royal Philharmonic Orchestra, Northwest Mahler Orchestra in Seattle, with which virtuoso 20-cello ensemble, The London Cello 2007/08 season. Mark-Anthony Turnage was London Chamber Orchestra, London Mozart he has conducted the Mahler symphonic cycle and Orchestra, has performed for H.M. The Queen appointed Composer in Residence in 2005. Players and English Chamber Orchestra. Messiaen’s Turangalîla Symphony. He is Consultant and H.R.H. The Duke of Edinburgh, and appeared for Classical Special Projects for Arts Global (a in New York, Switzerland and South Korea. The London Philharmonic Orchestra has been the Internationally, he has appeared with the foundation for emerging artists, London, Montreux resident symphony orchestra at the Royal Festival Adelaide, Atlanta, Bournemouth, Canberra, and New York) and has served as a jury member Hall since 1992 and there it presents its main City of Birmingham, Fort Worth, Melbourne, for Young Concert Artists, PianoTexas, Australian LONDON PHILHARMONIC series of concerts between September and May Milwaukee, Queensland, Sapporo, Shanghai, Cello Awards and Royal Over-Seas League. ORCHESTRA each year. During the current refurbishment of St Louis, Sydney, Tasmanian, Vermont and the Royal Festival Hall, the Orchestra is giving West Australian Symphony Orchestras, the Geoffrey Simon was a student of Herbert von The London Philharmonic Orchestra has the majority of its concerts at the Queen Elizabeth Israel, Moscow, Munich and New Japan Karajan, Rudolf Kempe, Hans Swarowsky and Igor long established a high reputation for its Hall next door. In summer, the Orchestra moves to Philharmonic Orchestras, the American Markevich, and a major prize-winner at the first versatility and artistic excellence. These are Sussex where it has been the resident symphony Symphony, the Residentie Orchestra John Player International Conductors’ Award. He evident from its performances in the concert orchestra at Glyndebourne Festival Opera for of The Hague, the Tokyo Metropolitan has made forty six recordings for a number of hall and opera house, its award-winning over 40 years. The Orchestra performs at venues Symphony and the Australian Opera. labels, combining discoveries with familiar works recordings, its trail-blazing international around the UK and has made numerous tours to by Tchaikovsky, Respighi, Borodin, Mussorgsky, tours and its pioneering education work. America, Europe and Japan, and visited India, His music directorships have included the Albany Smetana, Bloch, Grainger, Debussy, Ravel, Saint- Hong Kong, China, Australia and South Africa. Symphony Orchestra (New York), the Australian Saëns and Les Six. Amongst the contemporary Kurt Masur has been the Orchestra’s Principal Sinfonia (London), the Bloomington Symphony composers he has recorded are Barry Conyngham, Conductor since September 2000, extending the Orchestra (Indiana), the Orquestra Simfònica John Downey, Paul Patterson and Zhou Long. line of distinguished conductors who have held GWENDOLYN MOK de Balears “Ciutat de Palma” (Majorca) and positions with the Orchestra since its foundation the Sacramento Symphony (California). With the For Cala Signum, Geoffrey Simon has brought in 1932 by Sir Thomas Beecham. These have One of the leading experts in the piano music Palma Orchestra he conducted Paul Patterson’s together large ensembles of single instruments included Sir Adrian Boult, Sir John Pritchard, of Maurice Ravel, Gwendolyn Mok has appeared

- 10 - - 11 - with the world’s foremost orchestras and in She received her BA from Yale University where Antal Dorati, Jindrich feld, Edwin Roxburgh and London Symphony, Orchestre Symphonique de major concert halls since her 1988 debut with the she studied with Donald Currier and Claude Frank Robert Saxton. She is often heard on the BBC Montréal and the Russian Philharmonic. He has London Symphony Orchestra at the Barbican. and her MM and DMA from the State University of and records mainly for the Chandos label. collaborated and performed with many of the New York at Stony Brook, where she studied with world’s great musicians including the late Glenn She is a frequent soloist with the great Gilbert Kalish. Dr Mok was a recipient of a grant A professor and Fellow at the Royal College of Gould and Aaron Copland; as well as chamber orchestras of Europe and Asia and has from the French Ministry of Culture to work with music, Susan is a dedicated teacher and gives music tours with over 30 string quartets. recorded with the Philharmonia Orchestra Vlado Perlemuter from 1994-1995—who passed an annual master class course at Charterhouse and the London Philharmonic Orchestra with his knowledge of Ravel on to her. Perlemuter was School, Surrey. She has researched 19th century Of Campbell’s extensive discography many have conductor Geoffrey Simon for Cala Records. Ravel’s student from 1927- 1928 and was one flute repertoire for the publishers Boosey & won international acclaim. Releases include the The complete solo works of Ravel – Ravel of the world’s leading authorities of his music. Hawkes and is restoring and releasing her Brahms Clarinet Quintet, voted “Top Choice” Revealed, recorded on an 1875 Erard piano collection of historic flute recordings on CD. by BBC Radio 3; Brahms (orchestrated Berio) for Musicians Showcase Recordings, has been gwendolynmok.com Sonata Op.120 No.1 with the LSO and Geoffrey critically acclaimed and is regularly broadcast Simon and the Sony Classical re-release of in the United States and on the BBC in Britain. JAMES CAMPBELL Debussy’s Première Rhapsodie with Glenn Gould. SUSAN MILAN Dr Mok has also performed and recorded James Campbell has followed his muse to five with the Orchestra of St Luke’s, the Group for Susan Milan was the first woman to be television specials, more than 40 recordings, TINA GRUENBERG Contemporary Music and the Empyrean Ensemble. appointed a member and Principal of the Royal over 30 works commissioned, a Juno Award for She is invited regularly to adjudicate major Philharmonic Orchestra, beginning an extremely Stolen Gems (Marquis Records), a Roy Thomson Tina Gruenberg was born in London and made competitions and most recently served on an broad career as an orchestral principal, chamber Hall Award, Canada’s Artist of the Year and her concerto debut at the Aldeburgh Festival international panel of jurors for the Russian musician, soloist, teacher and lecturer. the Order of Canada. On the occasion of the at the age of nine. She was the youngest ever Piano Music Competition in San José. She has fiftieth Anniversary of the accession of Her soloist at the Three Choirs Festival where taught at the Royal College of Music, Dartington In the UK she has performed as soloist and Majesty the Queen to the Throne, Campbell she played with her father Erich Gruenberg International Summer School, Welsh College of principal with all the major orchestras and she received The Queen’s Golden Jubilee Medal. and the Royal Philharmonic Orchestra. Music and Drama, San Francisco Conservatory tours frequently throughout Europe, USA, Australia and was appointed the Coordinator of Keyboard and the Far East. She has given numerous UK Called by the Toronto Star “Canada’s pre-eminent She has appeared as soloist at the Royal Festival Studies at San José State University in 2006. and world premieres and has inspired many clarinetist and wind soloist”, James Campbell has Hall with the London Philharmonic Orchestra contemporary composers to write for her, among performed in most of the world’s major concert and the London Mozart Players. In 1990 she them Richard Rodney Bennett, Robert Simpson, halls and with over 50 orchestras including the was appointed Sub-Leader of the London

- 12 - - 13 - Philharmonic Orchestra where she has led for State Opera of South Australia, with which he interpretation was declared “one of the twenty ROBERT TRUMAN such conductors as Bernard Haitink, Zubin Mehta, performed the principal tenor roles in Idomeneo, most outstanding performances in the work’s Gennadi Rozhdestvensky, Sir Charles Mackerras, Samson, Fly (the premiere of Barry Conyngham’s recorded history” (Beethoven: Violin Concerto; Robert Truman was born in Sydney, Australia, Sir Andrew Davis and Franz Welser-Möst. opera), Don Giovanni, Fidelio and Tannhäuser. . Cambridge University Press) and honoured with where he studied at the Sydney Conservatorium the highest ratings by BBC Music Magazine and of Music with John Painter. In 1971 he moved Conductors with whom he has worked include Classic CD, including “Record of the Month”. to London where he furthered his studies ANTHONY RODEN Sir Charles Mackerras, Sir Bernhard Haitink, Sir with Derek Simpson and William Pleeth. John Pritchard, Sir Edward Downes, Antol Dorati, Renowned as a chamber musician, Ms Chase Anthony Roden studied with Arnold Matters, Sir Andrew Davis, Sir Colin Davis, Sir Roger is further applauded through her concert After spending four years in the London Donald Munro, Alexander Young, Erich Vietheer Norrington, Geoffrey Simon, Donald Runnicles, performances in the dual roles of violin Symphony Orchestra, Mr Truman was invited to and Professor Lorenzo Malfatti. After initially Richard Armstrong and Pinchas Steinberg. soloist and conductor, and her work as a become Principal Cello of the Royal Opera House attending the Adelaide Conservatorium he took music arranger has additionally met with Orchestra, Covent Garden, and in 1985 he joined a course at the London Opera Centre, which led STEPHANIE CHASE exceptional reviews. She has taught violin The London Philharmonic as Principal Cello, to contracts from the Arts Council to sing for at MIT and the Boston Conservatory, and staying for 20 years until 2005. Since leaving Opera for All and the English Opera Group. “One of the violin greats of our era” (Newhouse gives master classes at prominent music the London Philharmonic Orchestra, Robert Newspapers), Stephanie Chase is a remarkably conservatories throughout the United States. Truman has become very much in demand as a For the Glyndebourne Festival and Touring versatile musician who excels in the virtuoso guest principal cellist and chamber musician. Opera Anthony Roden sang the roles of Lensky, soloist’s repertoire, period instrument practice, stephaniechase.com Tamino, Belmonte, Don Ottavio, Gabriele contemporary music, chamber music and He plays on a Grancino instrument made in 1690. Adorno, Florestan and Vitek, and during this music education. As soloist with the world’s This is Robert Truman’s first solo recording. time he was awarded the John Christie Prize. most eminent orchestras, including those of He joined the Krefeld Stadtteater as principal London, Vienna, Chicago, San Francisco and Recorded in All Hallows Church, Gospel Oak, London P 1993 The copyright in this sound recording is owned by Cala Records, under exclusive license from 14-19 January and 2 April 1993 to Signum Records tenor and then the English National Opera, New York, her playing is widely acclaimed © 2019 The copyright in this CD booklet, notes and design is owned by Cala Signum. Producer – Tim Handley where he sang Alfredo (in La Traviata and for its “elegance, dexterity, rhythmic vitality Any unauthorised broadcasting, public performance, copying or re-recording of Cala Signum Com- Engineer – Nicholas Parker Die Fledermaus), Ferrando, Tamino, Don and great imagination” (Boston Globe). pact Discs constitutes an infringement of copyright and will render the infringer liable to an action Editor – Adrian Hunter by law. Licences for public performances or broadcasting may be obtained from Phonographic Ottavio, Camille, Werther and Idamante. Mixing – Tim Handley Performance Ltd. All rights reserved. No part of this booklet may be reproduced, stored Remastering – Phil Rowlands in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopy- Her recording of Beethoven’s Violin Concerto ing, recording or otherwise, without prior permission from Cala Signum Ltd. He returned to Australia and had many successful for Cala Records is the first ever on period Publishers – Durand Cala Signum, Suite 14, 21 Wadsworth Road, Perivale, Middlesex, UB6 7LQ, UK. years with the Victoria State Opera and the instruments and features her own cadenzas. Her +44 (0) 20 8997 4000 E-mail: [email protected] calasignum.com

- 14 - - 15 - ALSO AVAILABLE on CALA Signum

Saint-Saëns: Requiem, Organ Symphony Debussy: Engulfed Cathedral London Philharmonic Orchestra Philharmonia Orchestra Geoffrey Simon conductor Geoffrey Simon conductor SIGCD2163 SIGCD2092

“The works all get very good performances and recordings...the “Geoffrey Simon has assembled two brilliantly successful discs of Choruses are splendid, as is the LPO on top form. This is a very Debussy’s piano music dressed in orchestral garb.” worthwhile CD.” Classic FM Magazine International Record Review

Available through most record stores and at calasignum.com. For more information call +44 (0) 20 8997 4000

- 16 - - 16 - CTP Template: CD_INL1 COLOURS Compact Disc Back Inlay CYAN Customer SignumClassics-Cala MAGENTA YELLOW Catalogue No.SIGCD2162 BLACK Job Title: Africa

Cala Signum SIGCD2162 AFRICA CAMILLE SAINT-SAËNS (1835-1921)

Gwendolyn Mok piano Anthony Roden tenor Susan Milan flute Stephanie Chase violin SAINT-SAËNS: AFRICA LPO / SIMON / LPO AFRICA SAINT-SAËNS: James Campbell clarinet Robert Truman cello

Tina Gruenberg violin

1 Africa – Fantasy for Piano and Orchestra Op. 89 [11.08] 2-5 Parysatis – Airs de ballet [7.57] 6 La jota aragonese Op. 64 [3.45] 7 Samson and Delilah, Grand Fantasy Op.47 (arr. Luigini) [13.35] 8 Tarantelle for Flute, Clarinet and Orchestra Op. 6 [5.36] 9-0 Sarabande et Rigaudon Op. 93 [8.41] q Danse macabre Op. 40 (for Tenor and Orchestra) [2.49] w Marche militaire française from Suite algérienne Op. 60 [4.20] e La muse et le poète Op. 132 [15.16]

r Valse (Finale) from Ascanio [3.55] SAINT-SAËNS: AFRICA LPO / SIMON Total timings: [77.46] LONDON PHILHARMONIC ORCHESTRA GEOFFREY SIMON CONDUCTOR

LC15723

Cala Signum, Suite 14, 21 Wadsworth Road SIGCD2162 Perivale, Middlesex UB6 7LQ, UK. P 1993 Cala Records Ltd. DDD SIGCD2162 © 2019 Cala Signum Ltd. calasignum.com 24 bit digital recording 6 35212 21622 4 Cala Signum

CTP Template: CD_INL1 COLOURS Compact Disc Inside Inlay CYAN Customer SignumClassics MAGENTA YELLOW Catalogue No.SIGCD2162 BLACK Job Title: Africa