Narrated by

Dame Edna Everage

The Young Person’s Guide to the OrchestraBabar The Elephant

have always loved music and Iʼm not ashamed to say that music rather loves me! Although Iʼm not a trained singer, internationally acclaimed conductors and music buffs the world over always put me up there with Dame Joan Sutherland,

Dame Kiri and any other dame you care to mention. Needless to say, itʼs a big thrill for me to at last record one of my favourite pieces of classical music, Peter and the Wolf. I tend to believe in reincarnation, call me old fashioned but I do, and it may interest you to know that I am actually the reincarnation of Serge Prokofievʼs mother. She was a wonderful old Russian housewife, and when little Serge was knee-high to a grasshopper she would put him on her knee and croon old-fashioned folk-tunes to him. Needless to say, this had a profound effect on the young composer and most of those tunes his mother hummed are in his masterpiece, Peter and the Wolf.

Thatʼs why Iʼm an absolute natural to record this work. Many people have done it before, I know, but this has to be the authentic performance. After all, I actually wrote it in a spooky kind of way, so-I ought to know how to perform it - donʼt you agree, possums? To make this the absolute definitive performance the orchestra is the Melbourne Symphony Orchestra, hand-picked players from my own home town, and arguably the finest group of musicians on the planet.

Iʼve always been a big Benjamin Britten fan, possums, and his masterpiece, The Young Personʼs Guide to the Orchestra is one of my favourite pieces. Itʼs tuneful and educational,

8.554170 2 8.5541707

Melbourne Symphony Orchestra Widely acclaimed as one of Australiaʼs finest orchestras, the Melbourne Symphony

Orchestra has delighted audiences for over 65 years, with musicians such as Paderewski, Klemperer, Stravinsky, Kubelik, Barbirolli, Menuhin, Perlman, Ashkenazy, Rostropovich, Te Kanawa and the Three Tenors. It has also enjoyed notable collaborations with Elton John, Frank Sinatra and Barbara Cook. Each year the Melbourne Symphony Orchestra presents over 150 concerts ranging across the spectrum of symphonic repertoire and featuring internationally acclaimed conductors and guest artists. It also tours widely, with notable successes in North America, Canada, Korea, Japan and New Zealand.

John Lanchbery John Lanchbery was born in London and studied at the Royal Academy of Music with

Sir Henry Wood. He worked with the Metropolitan Ballet and Sadlerʼs Wells Theatre Ballet before his appointment in 1960 as Principal Conductor of the Royal Ballet, for which he arranged many scores, including La fille mal gardée, The House of Birds and The Dream. He subsequently became Musical Director of the Australian Ballet, arranging further ballet scores, and between 1978 and 1980 was Music Director of American Ballet Theatre. He has maintained a close association with the Royal Ballet whilst pursuing a varied international career, which has included many appearances with the Halle, the Philharmonia and the Houston and Los Angeles Symphony Orchestras, as well as recordings with the Melbourne and Sydney Symphony Orchestras and the Philharmonia. John Lanchbery is also renowned as a composer of music for films and television; his work on the film score The Tales of Beatrix Potter was highly acclaimed. More recently he composed scores for the silent films The Birth of a Nation and The Iron Horse, the latter of which was shown with full orchestral accompaniment in London in 1996. Amongst the honours he has received are the OBE, the Bolshoi Medal, the Queen Elizabeth II Coronation Award from the Royal Academy of Dance and the Carina Ari Medal ‘for the furtherance of the Art of Danceʼ. In 1997 he returned to the Australian Ballet as Principal Guest Conductor.

and I know this magnificent recording featuring myself will earn him many new fans. Poor old Benjamin rather blotted

his copybook in Australia many moons ago when he visited the Sydney Opera House as it was being

constructed. Admittedly, that famous building was having a few teething troubles and the orchestra pit was a bit on the cramped side. When Benjamin saw it he commented on its dimensions, and an Australian official - I think it was Sir Les Patterson - said “Whatʼs wrong with it? You can fit a whole orchestra in there”. “Perhaps”, replied Benjamin in a rather English voice (excusable, since he was English) “a whole orchestra of Japanese piccolo players!”

It was a rather cruel thing to say, I suppose, and Australians rather took it to heart, banning

performances of his music throughout Australia for many years thereafter. Now, however, the thaw has

set in and dear old Benjaminʼs music is being played once more in Australia, on this

occasion by my favourite band, the Melbourne Symphony Orchestra. Let

me guide you through it on this magnificent compact disc. Oh yes, I nearly forgot; also on this recording, my manager

Barry Humphries does a reasonably good job of narrating the story of Babar the Elephant. I used to read this wonderful story to my children when they were young. Itʼs by a Frenchman, but very good nonetheless. It would be mean of me to say anything derogatory about Barryʼs performance, since he tries very, very hard and the music is absolutely gorgeous.

8.55417038.554170 6

in the string section of the orchestra). The percussion (drums, triangle, tambourine and cymbals) does what it can with the melody before the return of the full orchestra.

The first variation starts with the highest woodwind instrument, the piccolo, and two flutes, accompanied by the harp and violins. The oboes are given fuller accompaniment, leading to the clarinets demonstrating their agility, and to the deepest instruments of the woodwind section, the bassoons. The string section is allowed four variations, for violins, for violas, for cellos and for double basses. Four French horns introduce the brass section with its second variation for trumpets and its third for trombones and bass tuba. The kettle-drums (timpani) are joined by the bass drum and cymbals, tambourine and triangle, side drum and Chinese block, xylophone, castanets and gong, and, finally, the whip, simulated by hinged slats of wood brought smartly together.

The Young Personʼs Guide ends with a fugue, a traditional form of composition in which one part enters after another, using the same theme, so that the music grows gradually in size and intensity. The piccolo starts and the other instruments enter in order - flutes, oboes, clarinets and bassoons, lead to violins, violas, cellos, double basses and harp, and then French horns, trumpets trombones and tuba, followed by the percussion. At the most exciting part of the fugue, the brass instruments play again the original theme, leading to a grand conclusion.

8.554170 4

Sergey Prokofiev (1891–1953) Peter and the Wolf, Op. 67

The Russian composer Sergey Prokofiev wrote his Peter and the Wolf in 1936 to introduce to children the instruments of the orchestra. He had taken his two sons to see performances at the Moscow Childrenʼs Music Theatre and this had suggested to him the possibility of a composition of this kind. The boy Peter, represented by the strings, is playing in the meadow, forbidden territory. A bird, shown by the flute, sings in a tree: a duck, the oboe, swims in the pond, and a cat, the clarinet, comes onto the scene, sending the bird up to a higher branch. Peterʼs grandfather, the bassoon, warns the boy not to venture out, but meanwhile a wolf, the French horns, comes into the meadow, chases and swallows the duck whole, and lays siege to the cat and the bird, both now up the tree. Peter tells the bird to distract the wolf, while he catches it with a rope. Hunters then approach, their guns shown by the drums, and help to carry the wolf off to the zoo in a grand procession, with the duck still quacking inside the wolf and grandfather still complaining.

Francis Poulenc (1899–1963) orch. Jean Françaix The Story of Babar, the Little Elephant

Francis Poulencʼs L ʼHistoire de Babar offers a series of musical comments on one of the well known illustrated childrenʼs stories by Jean de Brunhoff. Poulenc had known the Brunhoff brothers, Michel and Jean, for many years, but his musical treatment of the first of the Bapar stories came about through the intervention of the daughter of one of his cousins. Obliged to serve in the army in 1918, he had been called up again in early 1940, to be demobilised in the summer of that year. He was staying with his friend Marthe Bosredon in Brive-la-Gaillarde, when they were visited by cousins of his. Poulenc was improvising at the piano, when he was interrupted by the daughter of one of the visitors, complaining that what

8.5541705

he was playing was boring and demanding, instead, that he play her book, which she placed in front of him. Poulenc proceeded to provide musical illustrations for the story, taking note of whatever seemed to please his audience. He only returned to the work in earnest, at the prompting of the same young relative, in 1945, now providing the singer Pierre Bernac with a speaking rôle, as the story is told, while the piano adds the necessary musical picture in the form of a lullaby, a galop, a nocturne and other appropriate interventions. The composer Jean Françaix later orchestrated L ʼHistoire de Babar.

Jean de Brunhoffʼs story centres on the little elephant Babar, whose mother has been killed by a hunter. He meets a dear old lady, who gives him a fine new suite and a splendid car, but Babar longs to return to the forest. He meets his cousins Arthur and Celeste and goes away with them, soon to be elected King of the Elephants, to replace the old King, who has died from eating poisonous mushrooms. Babar marries Celeste and the story ends with the couple dreaming, under a starry sky, of their future happiness.

Benjamin Britten (1913–1976) The Young Person's Guide to the Orchestra, Op. 34 (Variations and Fugue on a Theme of Purcell)

Ten years after the premiere of Peter and the Wolf, in 1946, the English composer Benjamin Britten was asked to write music for an educational film introducing the instruments of the orchestra. For the purpose he chose a theme by the great seventeenth century English composer Henry Purcell and wrote a set of variations, each of which shows the characteristics of a particular instrument or group of instruments. The alternative title of the work, Variations and Fugue on a Theme of Purcell, is an exact description. The other title, The Young Personʼs Guide to the Orchestra, makes fun of the titles much favoured by writers of moral tales in the nineteenth century, providing ‘young persons’ with advice on how to regulate every aspect of their lives.

The theme, taken from music Purcell wrote for Aphra Behnʼs play Abdelazer or The Moor's Revenge, is played six times. At first the full orchestra plays the theme, followed by the woodwind (flutes, oboes, clarinets and bassoons). The theme is played a third time, this time by the brass (horns, trumpets, trombones and tuba), and then by the strings (violins, violas, cellos, double basses, and, as extra, by the harp, an instrument not generally included

8.554170 4

Sergey Prokofiev (1891–1953) Peter and the Wolf, Op. 67

The Russian composer Sergey Prokofiev wrote his Peter and the Wolf in 1936 to introduce to children the instruments of the orchestra. He had taken his two sons to see performances at the Moscow Childrenʼs Music Theatre and this had suggested to him the possibility of a composition of this kind. The boy Peter, represented by the strings, is playing in the meadow, forbidden territory. A bird, shown by the flute, sings in a tree: a duck, the oboe, swims in the pond, and a cat, the clarinet, comes onto the scene, sending the bird up to a higher branch. Peterʼs grandfather, the bassoon, warns the boy not to venture out, but meanwhile a wolf, the French horns, comes into the meadow, chases and swallows the duck whole, and lays siege to the cat and the bird, both now up the tree. Peter tells the bird to distract the wolf, while he catches it with a rope. Hunters then approach, their guns shown by the drums, and help to carry the wolf off to the zoo in a grand procession, with the duck still quacking inside the wolf and grandfather still complaining.

Francis Poulenc (1899–1963) orch. Jean Françaix The Story of Babar, the Little Elephant

Francis Poulencʼs L ʼHistoire de Babar offers a series of musical comments on one of the well known illustrated childrenʼs stories by Jean de Brunhoff. Poulenc had known the Brunhoff brothers, Michel and Jean, for many years, but his musical treatment of the first of the Bapar stories came about through the intervention of the daughter of one of his cousins. Obliged to serve in the army in 1918, he had been called up again in early 1940, to be demobilised in the summer of that year. He was staying with his friend Marthe Bosredon in Brive-la-Gaillarde, when they were visited by cousins of his. Poulenc was improvising at the piano, when he was interrupted by the daughter of one of the visitors, complaining that what

8.5541705

he was playing was boring and demanding, instead, that he play her book, which she placed in front of him. Poulenc proceeded to provide musical illustrations for the story, taking note of whatever seemed to please his audience. He only returned to the work in earnest, at the prompting of the same young relative, in 1945, now providing the singer Pierre Bernac with a speaking rôle, as the story is told, while the piano adds the necessary musical picture in the form of a lullaby, a galop, a nocturne and other appropriate interventions. The composer Jean Françaix later orchestrated L ʼHistoire de Babar.

Jean de Brunhoffʼs story centres on the little elephant Babar, whose mother has been killed by a hunter. He meets a dear old lady, who gives him a fine new suite and a splendid car, but Babar longs to return to the forest. He meets his cousins Arthur and Celeste and goes away with them, soon to be elected King of the Elephants, to replace the old King, who has died from eating poisonous mushrooms. Babar marries Celeste and the story ends with the couple dreaming, under a starry sky, of their future happiness.

Benjamin Britten (1913–1976) The Young Person's Guide to the Orchestra, Op. 34 (Variations and Fugue on a Theme of Purcell)

Ten years after the premiere of Peter and the Wolf, in 1946, the English composer Benjamin Britten was asked to write music for an educational film introducing the instruments of the orchestra. For the purpose he chose a theme by the great seventeenth century English composer Henry Purcell and wrote a set of variations, each of which shows the characteristics of a particular instrument or group of instruments. The alternative title of the work, Variations and Fugue on a Theme of Purcell, is an exact description. The other title, The Young Personʼs Guide to the Orchestra, makes fun of the titles much favoured by writers of moral tales in the nineteenth century, providing ‘young persons’ with advice on how to regulate every aspect of their lives.

The theme, taken from music Purcell wrote for Aphra Behnʼs play Abdelazer or The Moor's Revenge, is played six times. At first the full orchestra plays the theme, followed by the woodwind (flutes, oboes, clarinets and bassoons). The theme is played a third time, this time by the brass (horns, trumpets, trombones and tuba), and then by the strings (violins, violas, cellos, double basses, and, as extra, by the harp, an instrument not generally included

and I know this magnificent recording featuring myself will earn him many new fans. Poor old Benjamin rather blotted

his copybook in Australia many moons ago when he visited the Sydney Opera House as it was being

constructed. Admittedly, that famous building was having a few teething troubles and the orchestra pit was a bit on the cramped side. When Benjamin saw it he commented on its dimensions, and an Australian official - I think it was Sir Les Patterson - said “Whatʼs wrong with it? You can fit a whole orchestra in there”. “Perhaps”, replied Benjamin in a rather English voice (excusable, since he was English) “a whole orchestra of Japanese piccolo players!”

It was a rather cruel thing to say, I suppose, and Australians rather took it to heart, banning

performances of his music throughout Australia for many years thereafter. Now, however, the thaw has

set in and dear old Benjaminʼs music is being played once more in Australia, on this

occasion by my favourite band, the Melbourne Symphony Orchestra. Let

me guide you through it on this magnificent compact disc. Oh yes, I nearly forgot; also on this recording, my manager

Barry Humphries does a reasonably good job of narrating the story of Babar the Elephant. I used to read this wonderful story to my children when they were young. Itʼs by a Frenchman, but very good nonetheless. It would be mean of me to say anything derogatory about Barryʼs performance, since he tries very, very hard and the music is absolutely gorgeous.

8.55417038.554170 6

in the string section of the orchestra). The percussion (drums, triangle, tambourine and cymbals) does what it can with the melody before the return of the full orchestra.

The first variation starts with the highest woodwind instrument, the piccolo, and two flutes, accompanied by the harp and violins. The oboes are given fuller accompaniment, leading to the clarinets demonstrating their agility, and to the deepest instruments of the woodwind section, the bassoons. The string section is allowed four variations, for violins, for violas, for cellos and for double basses. Four French horns introduce the brass section with its second variation for trumpets and its third for trombones and bass tuba. The kettle-drums (timpani) are joined by the bass drum and cymbals, tambourine and triangle, side drum and Chinese block, xylophone, castanets and gong, and, finally, the whip, simulated by hinged slats of wood brought smartly together.

The Young Personʼs Guide ends with a fugue, a traditional form of composition in which one part enters after another, using the same theme, so that the music grows gradually in size and intensity. The piccolo starts and the other instruments enter in order - flutes, oboes, clarinets and bassoons, lead to violins, violas, cellos, double basses and harp, and then French horns, trumpets trombones and tuba, followed by the percussion. At the most exciting part of the fugue, the brass instruments play again the original theme, leading to a grand conclusion.

have always loved music and Iʼm not ashamed to say that music rather loves me! Although Iʼm not a trained singer, internationally acclaimed conductors and music buffs the world over always put me up there with Dame Joan Sutherland,

Dame Kiri and any other dame you care to mention. Needless to say, itʼs a big thrill for me to at last record one of my favourite pieces of classical music, Peter and the Wolf. I tend to believe in reincarnation, call me old fashioned but I do, and it may interest you to know that I am actually the reincarnation of Serge Prokofievʼs mother. She was a wonderful old Russian housewife, and when little Serge was knee-high to a grasshopper she would put him on her knee and croon old-fashioned folk-tunes to him. Needless to say, this had a profound effect on the young composer and most of those tunes his mother hummed are in his masterpiece, Peter and the Wolf.

Thatʼs why Iʼm an absolute natural to record this work. Many people have done it before, I know, but this has to be the authentic performance. After all, I actually wrote it in a spooky kind of way, so-I ought to know how to perform it - donʼt you agree, possums? To make this the absolute definitive performance the orchestra is the Melbourne Symphony Orchestra, hand-picked players from my own home town, and arguably the finest group of musicians on the planet.

Iʼve always been a big Benjamin Britten fan, possums, and his masterpiece, The Young Personʼs Guide to the Orchestra is one of my favourite pieces. Itʼs tuneful and educational,

8.554170 2 8.5541707

Melbourne Symphony Orchestra Widely acclaimed as one of Australiaʼs finest orchestras, the Melbourne Symphony

Orchestra has delighted audiences for over 65 years, with musicians such as Paderewski, Klemperer, Stravinsky, Kubelik, Barbirolli, Menuhin, Perlman, Ashkenazy, Rostropovich, Te Kanawa and the Three Tenors. It has also enjoyed notable collaborations with Elton John, Frank Sinatra and Barbara Cook. Each year the Melbourne Symphony Orchestra presents over 150 concerts ranging across the spectrum of symphonic repertoire and featuring internationally acclaimed conductors and guest artists. It also tours widely, with notable successes in North America, Canada, Korea, Japan and New Zealand.

John Lanchbery John Lanchbery was born in London and studied at the Royal Academy of Music with

Sir Henry Wood. He worked with the Metropolitan Ballet and Sadlerʼs Wells Theatre Ballet before his appointment in 1960 as Principal Conductor of the Royal Ballet, for which he arranged many scores, including La fille mal gardée, The House of Birds and The Dream. He subsequently became Musical Director of the Australian Ballet, arranging further ballet scores, and between 1978 and 1980 was Music Director of American Ballet Theatre. He has maintained a close association with the Royal Ballet whilst pursuing a varied international career, which has included many appearances with the Halle, the Philharmonia and the Houston and Los Angeles Symphony Orchestras, as well as recordings with the Melbourne and Sydney Symphony Orchestras and the Philharmonia. John Lanchbery is also renowned as a composer of music for films and television; his work on the film score The Tales of Beatrix Potter was highly acclaimed. More recently he composed scores for the silent films The Birth of a Nation and The Iron Horse, the latter of which was shown with full orchestral accompaniment in London in 1996. Amongst the honours he has received are the OBE, the Bolshoi Medal, the Queen Elizabeth II Coronation Award from the Royal Academy of Dance and the Carina Ari Medal ‘for the furtherance of the Art of Danceʼ. In 1997 he returned to the Australian Ballet as Principal Guest Conductor.

Narrated by

Dame Edna Everage

The Young Person’s Guide to the OrchestraBabar The Elephant