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LENINGRAD STATE PHILHARMONIC ORCHESTRA conducted by NIKOLAT RABINOVITCH

+« MOZART symphony No. 25 in 6 Minor (K. 183)

*« BEETHOVEN Lenore Overture No. 2

This recording was processed from the original maste

NOTES by Irvinc ROSENTHAL

It has always been a knotty problem for a young and

unknown composer to find the means of presenting his

work before a public for nothing but the sometimes

dubious prestige of recognition. What is true today was

even more pronounced in the early nineteenth century

when general concern for youthful aspirations was some-

what limited. The composer of that time was first and

foremost a pianist, usually of virtuoso stature. If he could also display talent as a composer, all to the. better but

the mark upon the public was made primarily as a per-

former. Hector Berlioz was among the first musicians

to destroy that tradition—he played nothing but the flute and guitar and considered himself, first and foremost a composer.

Berlioz was born in the year 1803 and was the son of a gifted provincial doctor. In spite of an early and marked aptitude for music, (indeed, he evidenced a strong talent for composition even before he knew anything about elemental theory or counterpoint) his father sent him off to Paris to continue his studies in medicine. Music, as a

profession, was not looked upon with favor by his family and it was thought best that young Berlioz follow in the surety of the paternal path.

Paris, however, proved to be the undoing of Berlioz’ medical pursuits. He rapidly fell under the spell of Par- isian musical life where he attended many operatic per- formances and acquainted himself with numerous music students. Finally, he could resist his Muse no longer and staunchly decided that he must become a musician. He entered M. Lesueur’s class at the Paris Conservatoire — needless to say, much to his family’s consternation. It should be noted that in Berlioz’ development as a musj- cian, he became a man of the theatre as well.

In the year 1828 a theatrical troupe from England was performing Shakespeare before enthusiastic Parisian aud- iences, not the least of whom included the highly impres- sionable Berlioz. The leading feminine role was played by a beautiful English girl by the name of Harrict Smith- son and young Berlioz promptly fell in love with her. He sought in vain to capture her attention but being an obscure music student did not facilitate matters at all. However, Berlioz was made of resourceful stuff. He resolved upon a bold plan, ostensibly to make his exist- ence known to his beloved Miss Smithson. He would give a concert made up of his own compositions and _per- formed by the best musicians available. This was some-

thing quite new to Paris and had never been attempted in France before by any musician, let alone a student at the Conservatoire. Just to make sure that his name would be carried to the ears of Miss Smithson, Berlioz contacted all the newspapers. This should insure general commen- tary at the very least.

It was at this concert held on May 26th, 1828 that Berlioz performed The Waverley Overture, his first major

orchestral work. The entire affair was considered a

triumph. The only thing that went awry was that the

inadvertent instigator of the entire venture, the beautiful

Miss Smithson, remained completely oblivious. She had

heard nothing of the concert taking place or its signifi-

cance. Berlioz was later to settle his account with her for she eventually became his wife.

The Waverley Overture was directly inspired by the novels of Sir Walter Scott for whom Berlioz had a deep

admiration. Although the overture is his earliest orches-

tral composition, his instinctive knowledge of instrumen-

tation bears an unmistakable Berlioz stamp. The work is in the “French” form of the overture, starting with a

slow movement and finishing with a typical Berliozian

‘allegro vivace’. The overture naturally is cast in a slightly immature mold but easily foreshadows his later “Romeo and Juliet’ and ‘Benvenuto Cellini.

SYMPHONY IN G MINOR NO. 25 (K. 183)

by W. A. MOZART Mozart was a ripe sixteen years old when he wrote the

early G Minor Symphony in the year 1773. He had re- cently returned to his native Salzburg after a fruitful soujourn in Vienna where the many beneficial influences of the skilled composers residing there produced in Mozart a mastery and craftsmanship that remained with him throughout the rest of his life. The G Minor Sym-

phony, however, was not just a mere piece of honest craftsmanship. The very choice of key set a mood which strongly foreshadowed the later masterpiece, the G Minor Symphony of 1788 and was indicative of a new direction in Mozart’s rapid development. Moreover, the instrumen- tation was a bit more unusual since it was scored for two oboes, two bassoons, and two pairs of horns, besides the

usual strings. As in his later G Minor Symphony, Mozart omitted the trumpets and tympani.

Perhaps the most striking aspect of this symphony is the very opening passage with its syncopated restlessness and the drama of the dynamic changes. Never before had Mozart used string tremolos with such starkness of effect. And, although it would not be quite in order to compare this early work with his later G Minor Symphony, we could, nevertheless, make some interesting observations inasmuch as there are a few points about both works which are similar.

In the second movement, for instance, both symphonies revert to the key of E flat which is not the relative major of G minor and does not follow the compositional practise of that time. This Andante is a rather short but concen- trated movement with an abundance of melodic suspen- sions and accented appoggiaturas. The Menuetto movement also has a striking similarity to the later sym- phony by its dark, almost foreboding, mood of G minor. The Trio in both symphonies is much brighter in vein since Mozart uses only the winds of the orchestra in a typically sweet G major passage which reminds one of

« |SWL15002

LIBERTY

*«K BERLIOZ Overture to Waveriey

r tapes through arrangement with Leeds Music Corporation, New York, Nex.

the many wind serenades and divertimentos which

Mozart had composed for the more festive occasions.

The Finale of this symphony again moves forward with

an almost unrelentless energy. A subtie unity is achieved

with the first movement of the work by Mozart’s use of

syncopated accents, which is not so much observed on the

surface as to be felt. The entire work is a surprising gem

of creation and gives promise that is later more than

fulfilled.

LEONORE OVERTURE NO. 2

by Lupwic VAN BEETHOVEN Tradition has tenaciously kept the label of No. 2 on this

overture to Beethoven’s only operatic work, Fidelio.

Actually, this overture was played at the premiere per-

formance of the opera given in Vienna in 1805 and should

therefore be known as the first Leonore Overture.

Although this work is overshadowed by the great Leonore

Overture No. 3 (which is more of a symphonic poem

than an overture), it has great intrinsic merit of its own

and is heard frequently in the concert hall. Beethoven’s Fidelio was never considered a success

and he revised the opera three times before the final

version was completed. Unfortunately, it was not the music but the weakness of the libretto which doomed

his only operatic attempt for the opera has some great

moments. Also, one must take into consideration that

Beethoven wrote the work during his earlv middle period

for it is known as Opus 72. He also composed what is now known as the ‘Fidelio’ overture for the final version .of

the opera. It is, however, much lighter in substance than

his previous compositions for the score. In the shuffles of revision, Beethoven’s early biogra-

phers undoubtedly lost the correct chronology of the overtures. However, what is important is that the music is still played very frequently and is among his finest works for the orchestra. Occasionally, the opera is revived but only if there is a soprano available who can sing the role of Leonore without permanently damaging her lungs.

About The Leningrad Philharmonic Orchestra

The Leningrad Philharmonic Orchestra has long been said to be the outstanding musical aggregation of the Soviet Union. To the discerning listener, this recording should serve to include this orchestra among the half- dozen of the world’s finest ensembles. On one of its all too rare visits outside Russia, the Leningrad Philhar- monic appeared at the 1956 Vienna Festival where they elicited the highest praise and commentary.

Joseph Wechsberg, writing in the Saturday Review, enthusiastically said “...the violin section seems to be composed of distant relatives of Messrs. Heifetz, Oistrakh, Milstein, and other great fiddlers...they played with a full, strong, sensuous tone and their bowing was incisive ...the whole group has an astonishing ability for dynamic sweep and fine tonal nuances...”

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