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I Columbia] KStereoJ
MS 7504
MASTERWORKS
GREATEST HITS Ode to Joy, Fifth Symphony (First Movement), Moonlight Sonata (First Movement), and more
BERNSTEIN ORMANDY NEW YORK PHILHARMONIC PHILADELPHIA ORCHESTRA
PHILIPPE MORMON ENTREMONT TABERNACLE CHOIR
Produced by John McClure and Thomas Frost
BEETHOVEN'S GREATEST HITS
Side 1
FIRST MOVEMENT (Allegro con brio) from SYMPHONY NO. 5 IN C MINOR, Op. 67 (s:»)
NEW YORK PHILHARMONIC LEONARD BERNSTEIN, Conductor
MINUET IN G (2:57)
Arranged by Thomas Frost THE PHILADELPHIA ORCHESTRA EUGENE ORMANDY, Conductor
FUR ELISE (3:24)
Arranged by William Smith THE PHILADELPHIA ORCHESTRA WILLIAM SMITH, Conductor
FIRST MOVEMENT (Adagio sostenuto) from SONATA NO. 14 IN C-SHARP MINOR, Op. 27, No. 2,"Moonlight" (6:54)
PHILIPPE ENTREMONT, Piano
TURKISH MARCH from "RUINS OF ATHENS" (i:»> THE PHILADELPHIA ORCHESTRA EUGENE ORMANDY, Conductor
Side 2
FINAL MOVEMENT (Presto; Allegro assai; Rezitativo; Allegro assai) from SYMPHONY NO. 9 IN D MINOR,
Op. 125,"Choral" (23:50) LUCINE AMARA, Soprano; LILI CHOOKASIAN,
Contralto; JOHN ALEXANDER, Tenor; JOHN MACURDY, Bass
THE MORMON TABERNACLE CHOIR
RICHARD P. CONDIE, Director
THE PHILADELPHIA ORCHESTRA EUGENE ORMANDY, Conductor
The selections are in the public domain.
Leonard Bernstein has defined the genius of Ludwig van
Beethoven (1770-1827) as "simplicity itself made mani¬
fest. In all the realm of the arts you will never find a sim¬
plicity to match Beethoven's. It is a simplicity that shines
all the more purely for the intricacy of human feeling that
envelops it. For Beethoven, like the greatest of the proph¬
ets and teachers, knew how to pluck from the air the
essential, the elementally true, and develop from it a com¬
plex super-structure that embraces all human experience."
"Simplicity" and "complexity"—two words say it all
about the art and the creator who burst u^on the music
scene at the end of the 18th century. Beethoven's music
can, indeed, be simplicity itself (as in this album's "Fur
Elise") or dramatically complex (as in the Chorale finale
to the Ninth Symphony). But whether expressed in a
simple work for piano or in an ambitious work for chorus
and orchestra, the human condition is always ennobled
and made universal.
As a man, Beethoven was disarmingly simple and mad¬
deningly complex. Contemporary accounts reported that
he was "short and insignificant, with an ugly red face,
full of pockmarks," that he was "strong of frame like
Napoleon, the neck short, the shoulders broad, the head
large and round." This "insignificant" man, who was later
to be extolled as a superman of music, was rude, proud,
self-obsessed and, often, cruelly cynical. Of a lifelong
friend who had done him many favors, Beethoven once
wrote, "I rate him and those of his species only according
to what they bring me; I regard them purely and simply
as instruments on which I play when I please." But he
could also be almost humble. In replying to the adulation
of an admirer, he once said, "I have never thought of
writing for renown and glory. What I have in my heart
must out: That is why I write."
As imperious and forbidding as he often was, Beet¬
hoven still could inspire great love. One of the most
touching of all moments in music occurred on May 7,
1823, at the premiere performance of his Ninth Sym¬
phony in Vienna. The composer, who was by then totally
deaf, shared the podium with the conductor. A music
journal later reported that the symphony was acclaimed
"with enthusiastic shouts raised to the master from over¬
flowing hearts, for his inexhaustible genius had opened
up a new world to us, and unveiled never-heard, never-
suspected magical secrets of divine music!"
But, as Beethoven's pupil and biographer Anton
Schindler reported: "Alas, the man to whom all this honor
was addressed could hear none of it, for when, at the end
of the performance, the audience broke into enthusiastic
applause, he remained standing with his back to them.
Then it was that Caroline Unger [one of the singers] had
the presence of mind to turn the master and show him the
cheering crowd throwing hats into the air and waving
handkerchiefs. He acknowledged his gratitude with a
bow. This set off an almost unprecedented volley of
jubilant applause that went on and on as the joyful listen¬
ers sought to express their thanks for the pleasure they
had just been granted."
Library of Congress catalog card number R68-3741 applies to MS 7504.
Other Greatest Hits albums:
SSacb’s GREATEST HITS von
Jesu, Joy of Man’s Desiring/A Mighty Fortress Toccata and Fugue in D Minor, and more
ORMANDY PHILADELPHIA ORCHESTRA E. Power BIGGS Pablo CASALS
Walter Carlos with (Switched-On Bach)
STRAUSS* GREATEST HITS
Blue Danube Waltz, Pizzicato Polka, Tales From the Vienna Woods,
and more ORMANDY
PHILADELPHIA ORCHESTRA
MS 7501 MS 7502
Tchaikovsky’s GREATEST HITSvoU
1812 Overture, Waltz of the Flowers, Andante Cantabile, and more
BERNSTEIN ORMANDY NEW YORK PHILADELPHIA
PHILHARMONIC ORCHESTRA
MS 7503 MS 7506
CHOPIN’S GREATEST HITS:
Minute Waltz/Military Poionaise Fantaisie Impromptu and others
Eugene Ormandy Andre Kosteianetz Philadelphia New York Orchestra Philharmonic
Philippe Entremont
MOZART’S GREATEST HITS
neluding the (heme from "Elvira Madigan.Don Giovanni Minuet, Rondo AHaTurca, Marriage of Figaro Overture,
and others Eugene Ormandy George Szeit
tiiladelphia Orchestra Cleveland Orchestn Philippe Entremoni
MS 7507
MS 7504 Columbia
MASTERWORKS
4
COLUMBIA STEREO RECORDS CAN BE PLAYED ON TODAY'S MONO RECORD PLAYERS WITH EXCELLENT RESULTS. THEY WILL LAST AS LONG AS
MONO RECORDS PLAYED ON THE SAME EQUIPMENT, YET WILL REVEAL FULL STEREO SOUND WHEN PLAYED ON STEREO RECORD PLAYERS.
Cover art: Milton Glaser / Manufactured by Columbia Records/CBS, Inc./51 W. 52 Street, New York, N.Y./ ® “Columbia," “Masterworks," Marcas Reg. Printed in U.S.A.
GREATEST Hi