The 108th Release
In Celebration: An Overture for Orchestra
STEREO
LS-716
MORTON GOULD
“Soundings”
“Columbia”
MORTON GOULD, Conducting
CARLISLE FLOYD
N JORGE MESTER, Conducting
FIRST EDITION RECORDS
A COLLECTION FOR CONNOISSEURS
THE LOUISVILLE PHILHARMONIC
SOCIETY, INC.
(a non-profit organization)
operating»
THE LOUISVILLE ORCHESTRA
JORGE MESTER, Music Director
The month of October, 1970, signaled an event
of real importance to all of music — the re-
lease of THE LOUISVILLE ORCHESTRA’S
100th recording on its own label.
To celebrate this unique achievement, the
100TH GOLDEN EDITION, Phiilip Rhodes
composed a work for premiere by the Orches-
tra and for release on the First Edition Rec-
ords label. The 100th GOLDEN EDITION
(LS-704) presents two works of stunningly dif-
ferent musical styles — Rhodes’ The Lament
of Michal and Richard Strauss’ previously un-
recorded Six Songs, Op. 68 (after Brentano).
The soprano soloists in these fine compositions,
Phyllis Bryn-Julson and Rita Shane, are
blessed with superb voiees and talents well
suited to the performance of the two works.
Here, indeed, is a recording totally in keeping
with an event of such importance.
1970 is the 17th consecutive year for THE
First Edition Records are available on order
through your record dealer, or on order direct-
lv from The Louisville Orchestra.
RECENT RELEASES
JORGE MESTER, CONDUCTING
“681 Henry Cowell: Sinfonietta; Carlos
Surinach: Melorhythmic Dramas.
*682 Robert Starer: Mutabili; Charles
Koechlin: Cinq Chorals dans les
Modes du Moyen-Age; Henry Cow-
ell: Ballad, Hymns and Fuguing Tunes
Nos. 2 and 3.
*683 Dmitri Shostakovich: Suite from
“Hamlet,” Op. 32; Leon Kirchner:
Toccata for Strings, Solo Winds, and
Percussion.
*684 Paul Hindemith: Kammermusik No.
2, Op. 36, No. 1 (Lee Luvisi. Pianist):
Goftredo Petrassi: “Noche Oscura,”
Cantata for Mixed Chorus and Or-
chestra.
*685 Boris Blacher: Orchestra Ornament:
Francis Poulenc: Deux Marches et
un Interméde; Darius Milhaud: Cor-
tege Funebre.
*686 Leonardo Balada: Guernica; Gunther
Schuller: Five Bagatelles for Orches-
tra; Luigi Dallapiccola: Piccola Mu-
sica Notturna.
*691 Peter Schickele, Robert Dennis, Stan-
ley Walden: Three Views from “The
Open Window.”
*692 William Schuman: Symphony No. 4:
Robert Bernat: In Memoriam: John
F. Kennedy.
#693 Peter Mennin: Concerto for Cello
and Orchestra (Janos Starker, Cell-
ist); Arthur Honegger: Prelude to
“Aglavaine et Selysette.”
#694 Paul Hindemith: Concert Music for
Solo Viola and Large Chamber Or-
chestra, Op. 48 (Raphael Hillyer.
Violist); Easley Blackwood: Concerto
for Violin and Orchestra, Op. 21
(Paul Kling, Violinist).
nn
*695 Heitor Villa-Lobos: Danses Afri-
caines; John Addison: Concerto for
Trumpet. Strings, and Percussion
(Leon Rapier, Trumpet).
#696 Silvestre Revueltas: Redes (complete):
Alberto Ginastera: “Ollantay,’ A
Symphonic Triptych.
“701 Antonio Tauriello: “Ilinx,” for Clari-
net Solo and Orchestra (James Liv-
ingston, Clarinetist); Marcel Grand-
jany: Aria in Classic Style for Harp
and Strings (Taka Kling, Harpist):
Matyas Seiber: Concertino for Clari-
net and Strings (James Livingston.
Clarinetist).
+702 Hector Tosar: Toccata: Ernst Toch:
Miniature Overture; Jacques Ibert:
Bacchanale: Yoav Talmi: Overture
on Mexican Themes (Yoav. Talmi,
Conductor); Camargo Guarnieri:
Three Dances for Orchestra.
+703 Julius Rietz: Concert Overture, Op.
7; Max Bruch: Symphony No. 2 in F
minor, Op. 36.
+704 Richard Strauss: Six Songs, Op. 68.
“Brentano” (Rita Shane, Soprano):
Phillip Rhodes: “The Lament of
Michal,” for Soprano and Orchestra
(Phyllis Bryn-Julson, Soprano).
+705 Joseph Joachim: Violin Concerto in
D minor, Op. 11 “Hungarian Con-
certo” (Charles Treger, Violinist).
+706 Vincent Persichetti: Symphony No. 8;
Wallingford Riegger: Study in Sonority.
* Available im both monaural and stereo.
*Available in compatible stereo only. May
be played with equally excellent fidelity on
either monaural or stereo equipment.
Produced by Howard Scott
LOUISVILLE ORCHESTRA to release six
records on its own label. The recording pro-
gram received its initial impetus with a major
grant from The Rockefeller Foundation. This
grant provided the necessary funds for the
commissioning and recording of works from
1954 until the completion of this phase of the
program in 1960. The decade of the 60’s saw
the continuation of the recording program with
emphasis on release of previously unrecorded
works. First Edition Records, called “. . . the
most distinguished series of phonograph rec-
ords yet issued” (Paul Hume, Washington
Post), is a living library of the world’s finest
creative musical art.
October, 1970, also marks the beginning of
Jorge Mester’s fourth season as music direc-
tor and conductor of THE LOUISVILLE
ORCHESTRA. Appointed in 1967 after the
retirement of Robert Whitney, the Orchestra’s
Past, present and future recordings are also
available at special subscription rates through
our unique and personalized record subscrip-
tion plan.
founder and only permanent conductor, Jorge
Mester gave to THE LOUISVILLE OR-
CHESTRA and the entire community of Lou-
isville a vitality and standard of excellence
which have sparked new interest in all the local
performing arts.
A graduate of The Juilliard School, and at
that time the youngest member of its faculty,
Jorge Mester has conducted numerous orches-
tras, ballet and opera companies in the United
States and abroad. A partial list includes the
orchestras of Boston, Cincinnati, Pittsburgh,
New Orleans, Indianapolis, Denver, and Phil-
adelphia, the Washington, D.C. Opera Society,
the New York City Opera, the Spoleto Festival
and Ballet, the American Ballet and American
Dance Theatres. In 1968 Mester won the famed
Naumberg Foundation Award. In 1969, he was
appointed music director of the Aspen Festival,
assuming that post in the summer of 1970.
For information, write:
The Louisville Orchestra
211 Brown Building, 321 West Broadway
Louisville, Kentucky 40202
EARLIER RECORDINGS
ROBERT WHITNEY, CONDUCTING
Almand: John Gilbert. Antheil: Opera, “The
Wish”. Bacon: Enchanted Island. Badings:
Louisville Symphony. Bazelon: Short Sym-
phony. Ben Haim: “To the Chief Musician”,
Pastorale Variée. Bentzon: Pezzi Sinfonici.
Berger: Polyphony. Bergsma: Carol on
Twelfth Night. Berkeley: Four Ronsard Son-
nets. Blacher: Studie im Pianissimo, Orches-
tral Fantasy. Bliss: Discourse. Bloch: Proc-
lamation. Borowski: The Mirror. Britten:
Violin Concerto No. 1. Caamano: Magnifi-
cat. Carter: Variations, Symphony No. 1.
Castelnuovo - Tedesco: Overture. “Much
Ado”. Chou Wen-Chung: Fallen Petals,
Spring Wind, Soliloquy. Copland: Orches-
tral Variations. Cowell: Symphony No. 11,
Ongaku. Thesis. Creston: Invocation, Cor-
inthians XIII. Dahl: Tower of St. Barbara.
Dallapiccola: Variazioni, Due Pezzi. Dia-
mond: Overture, “Timon of Athens’. Egge:
Symphony No. 3. Egk: “Abraxas” Suite. Von
Einem: Meditations. Elwell: Concert Suite.
Etler: Concerto for Wind Quintet, Triptych.
Fine: Serious Song, Diversions. Finney:
Symphonies 1. 2 and 3. Fischer: Overture.
Floyd: “The Mystery”. Fricker: Symphony
No. 1. Garcia-Morillo: Variaciones Olimpi-
cas. Gerhard: “Alegrias”. Giannini: Diverti-
mento. Ginastera: Pampeana No. 3. Glan-
ville-Hicks: Opera, “The Transposed Heads”.
Goeb: Concertino. Guarnieri: Suite IV
Centenario. Haieff: Ballet in E, Diverti-
mento. Halffter: Suite, “La Madrugada”.
Hamilton: Scottish Dances. Harris: Ken-
tucky Spring, Symphony No. 5, Epilogue to
“Profiles’—JFK. Harrison: Four Strict
Songs, Suite for Strings. Helm: Second
Piano Concerto. Henze: Wedding Music.
Herder: Movements. Hindemith: Sinfonietta
in E. Hoiby: Opera, “Beatrice”. Honegger:
Suite Archaique. Hovhaness: Concerto No.
7 for Orchestra, Magnificat, “Silver Pilgrim-
age’. Ibert: Louisville Concerto. Ives: Dec-
oration Day, “America” Variations. Jolivet:
Suite Transoceane. Kay: Serenade, Umbrian
Scene. Keyes: Suite. Klein: Musique a Go-
Go. Kodaly: Symphony (1961). Korn: Vari-
ations. Kraft: Concerto Grosso. Krenek:
Eleven Transparencies. Kubik: Symphony
No. 2. Kupferman: Symphony No. 4. Kurka:
Symphony No. 2, Serenade, Op. 25, Suite
from “Schweik”. Lees: Concerto for Orches-
tra, Symphony No. 2. Letelier: “Aculeo”.
Liebermann: Opera, “School for Wives”.
Lopatnikoff: Variazioni, Music for Orchestra.
Luening - Ussachevsky: Rhapsodic Varia-
tions. Luke: Symphony No. 2. Malipiero:
Fantasie, Piano Concerto No. 2, Notturno.
Martin: Violin Concerto. Martinu: Es-
tampes, Symphony No. 5. Mzyuzumi: Pieces
for Prepared Piano, “Samsara”. McPhee:
Symphony No. 2. Mennin: Symphonies 2,
5 and 6. Milhaud: Ouverture Mediterran-
neenne. Mohaupt: Opera, “Double Trouble”,
Town Piper. Monc:. 0: Cumbres. Morel:
Antiphonie. Morris: Passacaglia. Muczynski:
Piano Concerto No. 1. Muller: Cello Con-
certo. Nabokov: “Symboli Chrestiani’, Op-
era, “Holy Devil”. Nono: Espressione I.
Nordoff: Winter Symphony. Orrego-Salas:
Serenata, Symphony No. 2. Overton: Sym-
phony No. 2. Panufnik: Sinfonia Elegiaca,
Nocturne, Rhapsody. Perle: Rhapsody. Persi-
chetti: String Symphony, Serenade No. 5.
Petrassi: Orchestra Concerto No. 5. Pink-
ham: Symphony No. 2, Signs of the Zodiac.
Piston: Serenata, Viola Concerto, Symphony
No. 5. Porter: Symphony No. 2. Rathaus:
Prelude. Read: Toccata, Night Flight.
Reichel: Suite. Revueltas: Ventanas. Riegger:
Piano Variations, Violin Variations, Sym-
phony No. 4. Rieti: Introduzione. Roch-
berg: Night Music. Symphony No. 1. Rod-
rigo: “Cuatro Madrigales”, Cello Concerto.
Rogers: Dance Scenes. Rohe: Mainescape.
Rorem: Design, Eleven Studies. Rosenberg:
Louisville Concerto. Rubbra: Improvisation.
Saeverud: Peer Gynt No. 1. Sanders: Sym-
phony No. 2, Symphony in G. Sauguet:
Trois Lys. Schuller: Dramatic Overture.
Schuman: “Judith”. Serebrier: Partita. Ses-
sions: “Idyll of Theocritus”. Shapero: Credo.
Partita in C. Somers: Passacaglia and Fugue.
Sowerby: Summer’s Day. Stevens: Triskelion.
Sinfonia Breve. Surinach: Sinfonietta Fla-
menca, Feria Magica, Variations. Sydeman:
Abstractions. Tansman: Capriccio. Tcherep-
nin: Suite; Op. 87, Piano Concerto No. 2.
Symphony No. 2. Thomson: Flute Concerto.
Toch: Notturno, Peter Pan, “Jephta”. Van
Vactor: Fantasia. Villa-Lobos: “Tropical
Forest”. Vincent: Symphony in D., Wage-
naar: Concert Overture. Ward: Euphony.
Weber: Prelude and Passacaglia, Dolmen.
Whitney: Concertino.
(Some available only in monaural)
Louisville Orchestra First Edition Records
Jorge Mester, Conductor
LS-716
COMPATIBLE
STEREO—MONAURAL
This record can be played safely on today’s monaural
phonographs to the maximum sound capabilities of
your equipment, yet will provide full stereo when
played on stereo equipment.
108th Release
“SOUNDINGS” (15:46)
I. Threnodies
II. Paeans .
“COLUMBIA” (9:10)
(Broadsides for Orchestra on Columbian Themes)
by Morton Gould
Born December 10, 1913, Richmond Hill, N.Y.
Now living in Great Neck, N.Y.
MORTON GOULD, Conducting
(Recorded November 24, 1971)
Notes by the Composer:
I composed Soundings during the summer of 1969 on commission by the
Junior League of Atlanta for Robert Shaw and the Atlanta Symphony, who
premiered the work on September 18, 1969. The title implies both intent and
content. Soundings probes and explores orchestral textures, and evokes sounds
heard and recalled. It is also, in large part, an avowedly expressionist reflection
of personal feelings and attitudes, as evidenced by the “Threnodies” and “Paeans”
designations for the two sections or movements that make up the work.
“Threnodies” is elegiac and reflective, starting quietly with chant-like phrases
and litanies, and bell-like resonances. An ominous and eerie premonition intrudes,
punctuated by a sudden, violent outburst of alarms and upheavals. These subside
to quiet lamentations that end the movement.
“Pgeans” is affirmative and extroverted. After a short declamatory intro-
duction in which a fleeting reference to “We Shall Overcome” is heard, the
second violins sound.a lyrical and extended instrumental song against organ-like
rapid woodwind figures. Other sections of the orchestra join in an accumulating
and sustained intensity to a brass and percussion climax. Out of this emerges a
rhythmic dance pattern that grows in intensity and density to the end of the
work. The strings throughout are treated as two choirs, half unmuted and half
muted, and the general character of the instrumentation moves the musical
patterns from “open” to “echo” effects. Along with the divided strings, the work
is scored for triple woodwinds, horns, brass, timpani, percussion and harp.
Soundings is dedicated to “Robert Shaw—the Atlanta Symphony—and Peace.”
Columbia was commissioned by the National Symphony Orchestra and the
Rouse Company, under a matching grant from the National Endowment for the
Arts. The premiere performance was on July 14, 1967, Dr. Howard Mitchell con-
ducting, at the opening ceremonies for the dedication of the Merriweather Post
Pavilion, the new summer home of the National Symphony Orchestra. The work
is named for the town of Columbia, Maryland in which the outdoor auditorium
is situated. Dr. Mitchell suggested something along the lines of my American
Salute (based on When Johnny Comes Marching Home), but in more extended
form. We both agreed that Hail Columbia and Columbia, the Gem of the Ocean
would be fitting and appropriate material to base the work on — and pertinent to
the place and occasion. Hail Columbia, which was George Washington’s inaugura-
tion music, is the main ingredient of the composition with Columbia, the Gem of
the Ocean as secondary thematic material. I have subtitled the work Broadsides
for Orchestra on Columbian Themes using the word “broadsides,” not in, its mili-
tary or naval connotation, but in its literary meaning — the colonial’ ‘eiitivalent of
our present day news bulletins and publications. The word “Columbian” refers,
of course, to the source and the traditional national imagery these songs evoke.
In this context the subtitle reflects my intentions and the nature of this work.
The form is a set of contrasting sequences in the shape of pronouncements, a
airs, dances, memorials, hymns, parades and flourishes. Columbjat? the Gem of the
Ocean is not stated until the slow middle ‘
minor key. Both themes are used literally in the parade variation, where they
are heard as two distant marching bands, one moment. far off, suddenly near, oe"
receding into the distance. The work, composed and! completed in i ay
here recorded in the composer’s shortened versio:
kok ok
MORTON GOULD, one of today’s most prolific and multi-talented com-
poser-conductors, is a major influence on the American musical scene in all its
varied facets — concert, ballet, radio, theatre, movies, television, recordings, and
education. }
Among his works which have won world-wide recognition are the Spirituals
for Orchestra, Dance Variations, Jekyll and Hyde Variations, Venice, and Vivaldi
Gallery for orchestra, the ballets Fall River Legend and Interplay,-the scores for
the movies Cae Holiday and Windjammer.
(Continued'on Reverse Side)
‘memorial” section, and then in the -
(Continued from Reverse Side)
Among his recordings are the first recordings of Shostakovich’s Second and
Third Symphonies with the Royal Philharmonic Orchestra, and the Grammy
Award-winning recording of Charles Ives’ First Symphony with the Chicago
Symphony.
IN CELEBRATION:
AN OVERTURE FOR ORCHESTRA (9:55)
by Carlisle Floyd
Born June 11, 1926, Latta, South Carolina — Now living in Tallahassee, Florida
JORGE MESTER, Conducting
(Recorded March 16, 1972)
Notes by Robert McMahan:
Carlisle Floyd’s Overture for Orchestra was written in response to a request
from the South Carolina Tricentennial Commission. The group’s choice was an
appropriate one as Floyd, besides being one of his generation’s most talked about
and most performed composers, is also an illustrious son of the Palmetto State.
But music for orchestra alone is something of an unusual venture for the com-
poser; his first successes were in the realm of vocal music for soprano and orches-
tra (Nocturne — Out of the Cradle Endlessly Rocking and The Mystery: Five
Songs of Motherhood, the latter recorded by the Louisville Orchestra on LOU-635)
and for the dramatic stage. With his award-winning setting of the Biblical story
of Susannah and the Elders, Floyd captured the attention of a musical public
keenly interested in the establishment of a native American musical drama, able
to compete with the national opera of’ the European countries. Following
Susannah (1955), there appeared settings of Wuthering Heights (1958), the
Passion of Jonathan Wade (1962)) and The Sojourner and Mollie Sinclair
(1963). In this series of ambitious works one could see the simple tunes and tonal
harmonies of the first works gradually taking on more sophistication, although
Floyd never moves to the point of abandoning his roots in the traditional music
of the rural Southland.
The outstanding feature of the Overture for Orchestra is its formal clarity.
This spacious and energetic work falls into several sections of markedly different
characters, with each of these organized around one or more basic elements that
provide a thread of continuity for the entire passage. The initial section (Largo
maestoso) is built upon a distinctive short-long rhythmic motive heard both in the
long notes, and also in the crisp rhythmic gestures that appear on each quarter-
beat. Despite the wealth of chromatic tones the music remains firmly rooted
around the strong D’s in the bass, even when the music moves on to a more
flowing cantabile section in 6/8. Three measures of the Largo return to frame the
first part, but suddenly the tempo is doubled and the oboe and clarinet announce
a perky tune that dances along briskly for the next several pages. The clever touch
that animates this Vivace comes in the rapid alternation of 3/4 and 5/8 meters.
The listener’s ear is beguiled into solving the resulting eleven note pattern but a
sly composer soon begins to vary the regularity of the time changes. A second tune
(winds and strings) enters with no slackening of pace, but the combination of the
two ideas is interrupted by the sudden return of the opening material.
Soon the music shifts to G for a more tranquil episode (marked Lento
mosso) in which the folkish element of Susannah plays a prominent part. With
the removing of mutes the string writing soars expressively in this central panel,
but soon the Overture begins to thread its way through a varied reprise of most
of the material already heard. Floyd gives special attention to the return of the
opening, with a flourish on the timpani broadening out the final bars in a most
colorful manner.
LOUISVILLE ORCHESTRA FIRST EDITION RECORDS
Brown Bldg., Louisville, Kentucky 40202
James D. Hicks, Executive Manager
Producer: Howard Scott
O THE
Y LOUISVILLE
JORGE MESTER, Conductor
R)
ay 108th Rel
LS-716
Compatible
Stereo-Mono
SOUNDINGS (15:46)
32 MORTON
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