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THE PHILADELPHIAORCHESTRA i isi‘«t EUGENE ORMANDY

Hallelujah Chorus © For Unto Us: ANgalcial @ialogers Hallelujah, Amen ee the (@xolavo(8(ciaiare) m (ice) @relaatar~ _ Water Music Suite | More ©

YULISH: Herr Handel, I—

HANDEL: No, no, no—you must, dear sir, address me instead as Mr. Handel. While of German birth, my life in England has determined my taste, my disposition, my altogether. | am a British subject and your humble and obedient servant, sir. By the by, this is, | grasp, an all-expense-paid dinner?

YULISH: Why yes, I—

HANDEL: Capital, capital now we can get down to some serious eating and pleasant conversation.

YutisH: Mr. Handel, while you enjoy renown as a man of con- siderable appetite, | should like to talk instead about your music and your impressions of the recording session for HALLELUJAH!

HANDEL: These new arrangements of my music—the effect is so galvanic, my joy borders upon sheer jealousy! But it takes some adjustment for mine ear to make, for you know we lacked such facile musical instruments in the 1700s. Would that | had such means at my disposal!—Oysters?

YULISH: Yes, thank you. | understand that it was quite fashion- able for you to, well, ‘‘borrow’’ previously composed music for reuse in new compositions, and you seem to have achieved historical notoriety as an expert at this.

HANDEL: Nothing untoward about it; such was common prac- tice at the time, and for good reason. You must understand that in my day the competition was fierce. We wrote music ‘on demand’’—it was simple commerce and economics. And a good tune is a good tune. If it pleases, why not reuse it with some embellishment? Ahhh, the pheasants—such succulent little devils!

YuLISH: You heard Arthur Harris’ reorchestration of your com- position The Cuckoo and the Nightingale. Is this—

HANDEL: That is just my point. | lifted that music from one of my earlier sonatas, and people surely enjoyed it in both set- tings. Yet there is always someone trying to spot these little switches or reuses; why these poor fellows bother is beyond me—they should instead just enjoy the music and the scenario.

YuLisH: Just what was the musical scene like in London back in the 1700s?

HANDEL: Dear me, it was chaos! You had to be there to believe it. Everything was so hectic and the competition unnerving.

MIRACLE 4 SURFACE’

This record is produced with a high-quality vinyl formulation containing a revolutionary antistatic ingredient which helps to keep the record dust free and to extend its life.

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It was difficult to make a living if you were a composer, for the public was fickle—their tastes and favorites kept changing.

YuLISH: You refer, no doubt, to the extraordinary vogue for opera, and then its sudden demise. | recall that when you were in charge of the Royal Academy during the 1720s you were in charge of all aspects of production, including composing, casting, staging and conducting.

HANDEL: Exactly. | spent all those years traveling, studying and composing opera after opera, hit after hit. And working with opera singers! | tell you it is a form of penance. They were vain to the point of sinfulness, inflexible, without subtlety— at times | could hardly control myself. Put them all together and you create an emotional and garlic-tinged atmosphere overwhelming in proportion.

YULISH: There’s a story that you once lost your temper, seized a soprano and held her out a window, threatening to drop her if she did not become more cooperative.

HANDEL: | could have strangled that prima donna! And all that effort, to what end? Opera faltered and failed in London. The castrati weren’t the only ones affected. | was financially ruined. Oh, wondrous delicacy—trout stuffed with avocado! Mmmmmmmm.

YULISH: Eventually you did recover your fortune, for you sensed that oratorios were the coming thing and quickly excelled in their composition, gaining widespread popularity and success.

HANDEL: Yes, quite so, but it was slow. Oratorios were much easier in one sense; they required no staging. It was Messiah that worked the wonder. | knew it would be popular, even though the first performance in Dublin in 1741 was not over- whelmingly received. Messiah has become my most often per- formed work. | must say your Philadelphia Orchestra arrange- ments of the music are marvelously done, the brass passages replacing the singers achieve a lofty, triumphant declamation. | noticed how delighted Sir Eugene Ormandy and the orchestra were while performing the excerpts.

YULISH: It’s not Sir, just Mister. You see, we don’t confer any titles of nobility in America.

HANDEL: Dear me. A noble land with no nobility—how disap- pointingly democratic. Well, as for Messiah, | recall that | think | did see all heaven before me and great God himself while writing the ‘‘Hallelujah’’ chorus. The arrangement | just heard not only calls on the heavens, it demands entry! And let me

Library of Congress card number: 70-752360

TMK(S) ® by RCA Corporation © 1971, RCA Records, New York, N.Y. @ Printed in U.S.A.

Stereo LSC-3226 HALLELUJAH! The Philadelphia Orchestra Eugene Ormandy, Conductor Conceived by R. Peter Munves Produced by Max Wilcox Recording Engineer: Richard Gardner

HANDEL

SIDE 1

Messiah: Hallelujah Chorus (3:55) For Unto Us a Child Is Born (4:04) Lift Up Ye Heads (3:03)

Pastoral Symphony (Transcribed by Eugene Ormandy) (ASCAP 4:44) Amen Chorus (3:22)

Judas Maccabaeus:

See the Conquering Hero Comes (4:08) SIDE 2 Hallelujah, Amen (1:22)

Samson: Awake the Trumpet’s Lofty Sound (2:05)

Concerto for Organ and Strings in F: Il. Allegro: The Cuckoo and the Nightingale (4:07)

Alexander’s Feast: Revenge, Timotheus Cries (2:03)

Water Music—Suite: Allegro pomposo; Air; Bourrée; Hornpipe; Minuet (77:32)

Arrangements by Arthur Harris, copyrighted 1971 K-M Music, Inc., BMI, except as noted.

tell you why else | like it—because the singers have been re- placed by instruments. | have told you about the difficulties working with singers—multiply them working with a chorus! The clarity of line in these new arrangements, the sinuous timbre—it is a revelation that stands out in bold relief. Please pass the pistachio gooseliver paté.

YULISH: As you know, this recording also has several move- ments from your Water Music. There is considerable specula- tion about the circumstances of the first performance of this work. Would you tell me about this?

HANDEL: | need a finger bowl and fresh plates, waiter! Oh, yes, the Water Music. Well, as you may know | was on the outs with King George, as | had committed a minor affront before he assumed the throne. Through the good offices of a friend | was permitted to mount a musical entertainment for the king and his entourage during an outing on the Thames. | en- sconced about 50 musicians on a special barge and traveled a discrete distance from the royal barge playing the Water Music. It was an exquisite summer day and the effect was dramatic.

YULISH: The king was pleased?

HANDEL: Pleased? He was delighted! He enjoyed it immensely. He bade us play it on and on—until well past two in the morn- ing—and forthwith | was in the best of good graces of His Majesty. My, King George would have swooned had he heard the brasses of this Philadelphia ensemble.

YULISH: Your showmanship and insight into the taste and whims of royalty and the populace gained you enduring popu- larity.

HANDEL: Erp! Quite so. And why? | shall tell you. A composer to be successful must display in equal proportion to his talent a mixture of perception and industriousness. When confronted with patrons and an audience whom you must please, strive not to elevate their taste; strive instead to gain their confi- dence through pleasing their sensibilities. Look at poor Bach. We were born the same year, and for years he was all but forgotten, slaving away in Leipzig, busy being difficult. | have made a soufflé of life. Look at this feast before us—I adore life’s tidbits.

YULISH: Tomorrow you return to England. What, that you have seen in America, would you most wish to take back with you?

HANDEL: In truth, sir, a doggie-bag.

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