DE 32870 13491 32872 0

Executive Producers: Amelia S. Haygood,Carol Rosenberger

Recording Producers: Michael Fine (Fountains, Pines),Adam Stern (Festivals)

Recording Engineers: John M. Eargle (Pines, Festivals),Jeff Mee (Fountains)

Associate Engineers: Andrés Villalta (Fountains, Pines),Peter Alward, John Frazee (Festivals)

Editing: Michael Fine, Andrés VillaltaProduction Assistant: Tamra Saylor Fine

Recorded: January 9 & 10, 2001 (Fountains, Pines),May28 & 29, 1987 (Festivals)

Arlene Schnitzer Auditorium, Portland, OregonThe recording of Roman Festivals was made possible by agrant from WTD Industries, Inc.Monitor Loudspeakers (recording): JBL LSR Series

(post-production): JBL 250TiDigital Processing: Apogee A-D 8000Microphones: Sanken CU-41, Schoeps MK-2, NeumannKM100 Series, AKG 451 & 480

Console: Spirit LX7

DePreist Photo:Wendy LeherOther Photos: Harry Pack

Creative Direction: Harry Pack, Tri Arts and AssociatesGraphics: Mark Evans

Special thanks: Kurt Bevers, Brownell Sound, Portland;Michael Johnson & the technical staff of the ArleneSchnitzer Auditorium; the Rodgers Organ Company,Hillsboro, Oregon, for the use of the Rodgers Oxford 925Classic Organ.

7 & W 1987, 2001 Delos Productions, Inc., P.O. Box 343, Sonoma, California 95476-9998(707) 996-3844 • Fax (707) 320-0600 • (800) 364-0645 • Made in USA • www.delosmusic.comVIRTUAL REALITY RECORDING, VR2, and the VR2 logo are trademarks of Delos Productions, Inc.

This program has been produced with the Dolby Surround™ encoding system, and is fully compatible with stereo ormonaural reproduction. Dolby and the double-D symbol are trademarks of Dolby Laboratories Licensing Corporation

Ottorino Respighi ~ (1879–1936)

Fountains of Rome (Fontana di Roma) [17:14]1. I. The Fountain of the Giulia Valley at Dawn

(La fontana di Valle Giulia all’alba) (5:16)2. II. The Triton Fountain in the Morning

(La fontana del Tritone al mattino) (2:33)3. III. The Trevi Fountain at Midday

(La fontana di Trevi al meriggio) (3:35)4. IV. The Villa Medici Fountain at Sunset

(La fontana di Villa Medici al tramonto) (5:50)

Pines of Rome (Pini di Roma) [32:49]5. I. The Pines of the Villa Borghese (I pini di Villa Borghese) (2:50)6. II. Pines near a Catacomb (Pini presso una catacomba) (6:55)7. III. The Pines of the Janiculum (I pini del Gianicolo) (7:27) *8. IV. The Pines of the Appian Way (I pini della Via Appia) (5:36)

Roman Festivals (Feste romane) [20:34]9. I. The Circus Maximus (Circenses) (4:23)10. II. The Jubilee (Il Giubileo) (8:18)11. III. The October Festival (L’Ottobrata) (7:52)12. IV. The Epiphany (La Befana) (5:12)

TOTAL PLAYING TIME: 65:50

JAMES DEPREIST, CONDUCTOROREGON SYMPHONY

David Bamonte, offstage trumpet *

This recording was madepossible through the Gretchen Brooks Recording

Fund for the Oregon Symphony.

Prior to the emergence of Ottorino Respighi (1879 –1936), Italy had produced no significant composerof non-vocal music since the high Baroque. Like

the other young composers of his generation whosought to veer away from the nation’s operatic tradition,Respighi was inspired by the polemical writings of themusicologist Fausto Torrefranca, whose influential Riv-ista Musicale Italiana argued that the only way to re-cap-ture the vanished glory of Italian instrumental musicwas to absorb the style and spirit of Vivaldi, Corelli,Scarlatti, Tartini, and the other giants of the 17th and18th centuries. While Respighi would eventually putthese theories into practice with delightful arrangementslike the Ancient Airs and Dances for the Lute and The Birds,his original music would draw inspiration from a vari-ety of additional sources. Shortly after the turn of thecentury, he visited Russia twice, where his lessons withRimsky-Korsakov would have a decisive impact on hisorchestration; his studies in Berlin introduced him to themusic of Richard Strauss, Debussy and Ravel, all ofwhich would influence him to the end of his career. Hewas also passionately devoted to the austerities of Gre-gorian chant as well as to ancient Roman painting andarchitecture, which would provide the subject matter ofsome of his best-known works.

Composed during the First World War and firstheard at a concert on March 11th, 1917 conducted by An-tonio Guarnieri, the Fountains of Rome was the first ofRespighi’s works to fully reveal his distinctive gifts, in-cluding a genius for vivid pictorial writing and one ofthe century’s most sophisticated orchestral palettes. Thefirst panel of Respighi’s “Roman trilogy” is a celebrationof four of the City’s famous fountains, “contemplated atthe hour in which their character is most in harmonywith the surrounding landscape, or in which theirbeauty appears most impressive to the observer.”The hushed murmur of violins begins The Fountain of

the Giulia Valley at Dawn, an image of “droves of cattlepassing and disappearing in the fresh, damp mists of aRoman dawn” in the parklands north of the Villa Borgh-ese. As though played by shepherds, snatches of pastoraltunes appear in the woodwinds.Of The Triton Fountain in the Morning, the composer

writes:“A sudden loud and insistent blast of horns abovethe trills of the whole orchestra introduces the sec-ond part, the Triton Fountain. It is like a joyous call,summoning troops of naiads and tritons, who comerunning up, perusing each other and mingling inthe frenzied dance between the jets of water.”A solemn theme, “borne on the undulations of the or-

NOTES ON THE PROGRAM

chestra,” launches The Trevi Fountain at Midday. “Thesolemn theme, passing from the woodwinds to thebrass, assumes a triumphal character. Trumpets peal,and across the radiant surface of the water passes Nep-tune’s chariot, drawn by sea horses and followed by atrain of sirens and tritons. The procession vanishes,while faint trumpet blasts resound in the distance.”The last and most poetic of the movements, The

Villa Medici Fountain at Sunset, “is announced by a sadtheme [flute and English horn] which rises above asubdued warbling. It is the nostalgic hour of sunset.The air is full of the sound of tolling bells, birds twit-tering, leaves rustling. Then all dies peacefully into thesilence of the night.”Although given an indifferent reception at its world

premiere in March of 1917, Respighi’s Fountains of Romecaused a sensation when Arturo Toscanini conducted itin Milan on February 10th, 1918 at a concert for the bene-fit of Italian artists disabled during the First World War.Its triumphant international progress began in the fol-lowing year when Sir Thomas Beecham introduced thework to London. In her biography of her husband, thecomposer’s widow Else suggests that Respighi soon“felt the urge to express Rome’s sublime beauty inmusic, and now this new symphonic poem would revealnew images, ideas and sensations.”

Compared to Fountains of Rome, Pines of Rome was con-ceived on a far more ambitious scale, as the purpose of

the work was not to paint nature pictures but to evokevisions stimulated by various Roman scenes. To thehuge, post-Romantic orchestra of the Fountains, Respighiadded a large complement of extra brass players to-gether with piano, organ, and the actual recorded soundof a nightingale, which technically makes the Pines thefirst known example of electronic music. While the firstperformance in Rome on December 14th, 1924 was a suc-cess, it was not until Toscanini led the American pre-miere early in 1926 that the Pines found the championthat would make it world famous.Like the Fountains, the Pines of Rome is cast in four

movements which are played without pause.In describing The Pines of the Villa Borghese, the com-

poser writes: “Children are at play in the pines of theVilla Borghese, dancing the Italian equivalent of ‘Ringaround a Rosy.’ They play at soldiers, marching andfighting. They twitter and shriek like swallows atevening. They come and go in swarms.”In keeping with music describing the play of chil-

dren, the orchestra’s lower instruments are virtuallysilent throughout the movement.Following a final discordant snarl in the trumpets,

the mood changes abruptly for Pines near a Catacomb.“We see the shadows of the pines, which overhang theentrance of the catacomb. From the depths rises a chant,which echoes solemnly, like a hymn, and is then mysteri-ously silenced.”The silence is broken by a series of rising piano

arpeggios, which introduce The Pines of the Janiculum.“There is a thrill in the air. The full moon reveals the pro-file of the pines of Gianicolo’s hill. A nightingale sings.”The scene of the final movement, The Pines of the Ap-

pian Way, is the ancient thoroughfare built in 312 B.C. tolink Rome with Capua. “Misty dawn on the AppianWay. The tragic country is guarded by solitary pines. In-distinctly, incessantly, the rhythm of unending steps. Thepoet has a fantastic vision of a newly risen sun; the armyof the Consul bursts forth toward the Sacred Way,mounting in triumph the Capitoline Hill.” The spectacu-lar march, which swells to one of the most famouscrescendos of 20th century music, not only looks back-ward to the grandeur of the Roman past, but also for-ward to the glorious future. It was no accident that oneof the principal mourners at Respighi’s funeral in 1936was his ardent admirer, Benito Mussolini.

Unlike its far more impressionistic predecessors, Festeromane (Roman Festivals) is more frankly pictorial,evoking specific festival scenes from ancient, medievaland modern Rome. For its first performance byToscanini and the New York Philharmonic on February21, 1929, the composer provided a detailed descriptionof Feste Romane’s four immensely dramatic, vividlycolorful sections:

“‘The Circus Maximus’ — A threatening skyhangs over the Circus Maximus, but the mob is in

a festive mood. ‘Ave Nero!’ The iron gates openand the air is filled with a religious chant and theroaring of wild beasts. The mob surges and shud-ders with excitement. Imperturbably, the song ofthe martyrs spreads, dominates and is fully sub-merged in the tumult.

“‘The Jubilee’ —Weary, the pilgrims drag them-selves over the long road, praying as they go. Themelody of their prayer announced by the solo clar-inet and bassoon has been identified with an earlyGerman Easter hymn, Christ ist erstanden/von derMarten alle, which has been traced back in variousforms as far back as the 12th century. At last, fromthe summit of Mount Mario, the first height fromwhich a pilgrim coming from the north has an ex-tended view of Rome, there appears to their long-ing eyes and thirsty souls the holy city: ‘Rome!Rome!’ A hymn of jubilation is answered by thechorus of church bells of all Rome.

“‘The October Festival’ — Traditional Roman fes-tival days in October on the outskirts of Romewhere the small medieval towns are festoonedwith vine leaves; there are echoes of the hunt —tinklings of harness bells — love songs. Then onthe balmy evening air there floats the sound of aromantic serenade.

“‘The Epiphany’ — Epiphany Eve in PiazzaNavona; a characteristic rhythm of small trumpetsdominates the frantic clamor: on the tide of thenoise float now and again rustic tunes, the cadenceof saltarellos, the strain of a barrel organ from abooth, the exhortations of a ‘barker,’ the harsh

song of a drunkard [solo trombone], and the proudstrain of the stornello, asserting the popular mood:Lassátece passá, semo Romani! [We are Romans. Letus pass!]”

Jim Svejda

We are at a new golden age in sound recording. Since theearly days of the art of recording, the industry has strivenfor realism; the improvements of the LP, stereo, and digi-tal technology have each represented great steps forward.Now we are entering the era of ddiissccrreettee ssuurrrroouunndd ssoouunnddplayback in the home. Virtual Reality Recording (VR2)represents Delos’ commitment to this new medium.

In terms of recording technology, each VR2 recording be-gins as a set of multiple stereo program pairs which are

mixed into normal two-channel stereo for current CD re-

lease, and archived for later mixdown into surround

sound. While actual audio consumer carriers of discrete

surround are now in development, this stereo CD can be

heard in surround through Dolby Pro-Logic surround

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theater systems, as well as via Delos’ series of discrete

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John Eargle

John Eargle describes VR 2 and Surround Sound™

Orchestra Personnel for Fountains and Pines

MUSIC DIRECTOR AND CONDUCTORJames DePreistThe Jean Vollum Music Directorand Conductor Chair

ASSOCIATE CONDUCTORNorman LeydenThe Tom & Gretchen Holce As-sociate Conductor Chair

RESIDENT CONDUCTORMurry SidlinThe Harold & Arlene SchnitzerResident Conductor Chair

VIOLIN IMichael Foxman, Janet & Richard Geary Concertmaster Chair

Peter Frajola, Del M. Smith &Maria Stanley Smith AssociateConcertmaster ChairPaloma Griffin, Acting Harold & Jane Pollin Assistant Concertmaster Chair

Kathryn GrayAida Baker **Eileen DeissClarisse AtchersonMary Ann Coggins KazaDeborah SingerMarlene MajovskiJonathan DubayRonald BlessingerDavid BrubakerMarty JenningsKathleen Follett *Robin Cook *Tina Alexander *

VIOLIN IIChong-Chien Tan, Truman Collins, Sr., Principal Second Violin Chair

Dolores D’Aigle, Assistant Principal

Ginger IlesLynne FinchDaniel Ge FengJulie Coleman, Friends of the Oregon Symphony Centennial Young Musician Chair

Leah FrajolaEileen LandeLisa HansenAnn Leeder-BeesleyDenise HuizengaMargaret Bichteler *Dawn Carter *

VIOLAJoël Belgique, Maybelle Clark Macdonald Fund Principal Viola Chair

Charles Noble, Assistant Principal

Martha WarringtonPatricia MillerBrian QuinceyConnie WhelanStephen PriceAnna SchaumPeggy SwaffordNancy LochnerKaren Tsao ***Kjersten O’Quist ***

CELLONancy Ives, Mr. & Mrs. EdmundHayes, Jr. Principal Cello ChairDavid Socolofsky, Assistant Principal

Naomi BlumbergTimothy ScottBridget KellyStephanie McDougalKenneth FinchGayle Budd-O’GradyDeloris PlumPansy Chang

BASSFrank Diliberto, PrincipalKenneth Baldwin, Assistant Principal

Tommy ThompsonJeffrey JohnsonDonald HermannsGeoffrey Osika *William OftstadJason Schooler

FLUTEDawn Weiss, ** Bruce & Judy Thesenga Principal FluteChairMartha Herby, Acting PrincipalGeorgeanne Ries *Carla Wilson

PICCOLOCarla Wilson

OBOEFrederick Korman, PrincipalKaren Wagner **Harris OremAdam Hollander ***

ENGLISH HORNHarris Orem

CLARINETYoshinori Nakao, PrincipalCheri Ann EgbersTodd Kuhns

E FLAT/BASS CLARINETTodd Kuhns

BASSOONMark Eubanks, PrincipalRobert NagleeJuan de Gomar

CONTRABASSOONJuan de GomarHORNJohn Cox, PrincipalJoseph Berger, Associate Principal

Lawrence Johnson, Assistant Principal

Mary GrantBarton Parker

TRUMPETFred Sautter, PrincipalSally Nelson Kuhns, Assistant Principal

David Bamonte, Musicians of the Oregon SymphonyRichard Thornburg Trumpet Chair

Steve Conrow ***Mark Emery ***Craig Gibson ***Garen Horgan ***

TROMBONENeil Hatler, * Acting PrincipalRobert TaylorAlan PierceScott Thornton ***

BASS TROMBONEAlan PierceDoug Peebles ***

TUBAJaTtik Clark, Principal

KEYBOARD (PIANO, ORGAN

AND CELESTE)Katherine George, PrincipalCarol Rich ***Tomas Svoboda ***

HARPJennifer Craig, PrincipalJenny Lindner ***

TIMPANIPaul Salvatore, Principal

PERCUSSIONNiel DePonte, PrincipalSteve LawrenceChristine PerryGordon Rencher ***Rachel Dubrow ***

LIBRARIANRobert Olivia

ASSISTANT LIBRARIANJoy Fabos

PERSONNEL MANAGERMary Ann Coggins Kaza

STAGE MANAGERBob McClung

* acting** sabbatical*** extra musician

Orchestra Personnel for Roman Festivals

MUSIC DIRECTOR ANDCONDUCTORJames DePreist

ASSOCIATE CONDUCTORNorman Leyden

ASSISTANT CONDUCTORChing-Hsin HsuAffiliate Artist/National Endowment for the Arts Assistant Conductor

VIOLIN IMichael Foxman, Janet & Richard Geary Concertmaster Chair

Hugh Ewart, Associate Concertmaster

Peter Frajola, Assistant Concertmaster

Greta EderKathryn GrayAida BakerEileen DeissTristan LehnertClarisse AtchersonMary Ann Coggins KazaSigrid Clark Deborah SingerRon WilliamsMarlene MajovskiJonathan DubayRonald BlessingerMichael Hansen +

VIOLIN IILajos Balogh, PrincipalDolores D'Aigle, Assistant Principal

Ginger Iles

Lynne FinchGyrid Hyde-Towle Michael SigellJudith HunyadiLeah FrajolaEileen LandeCatherine Noll Ann Leeder-BeesleyJean Lawrence +Roy Stilwell +

VIOLARandall Vemer, Principal Christina Derdul, Assistant Principal

Martha WarringtonPatricia MillerAudrey May PearnMarian FoxConnie WhelanStephen PriceAnna SchaumPeggy SwaffordMartha Cannon +Van Hodge +

CELLOIndia Zerby Jobelmann, Prin-cipal David Socolofsky, Assistant Principal

Naomi BlumbergTimothy ScottBridget KellyStephanie McDougalHarold LawrenceKenneth FinchGayle Budd O'GradyDeloris Plum

BASSFrank Diliberto, PrincipalKenneth Baldwin, Assistant Principal

Tommy ThompsonRichard MansfieldJeffrey JohnsonWilliam OfstadJerome MagillPhillip Murthe

FLUTEDawn Weiss, PrincipalMartha HerbyCarla Wilson

PICCOLOCarla Wilson

OBOEFrederick Korman, PrincipalJudith LittHarris Orem

ENGLISH HORNHarris Orem

CLARINETYoshinori Nakao, PrincipalCheri Ann EgbersTodd KuhnsJohn Breda +Richard Gellman +

E FLAT/BASS CLARINETTodd Kuhns

BASSOONMark Eubanks, PrincipalRobert NagleeJuan de Gomar

CONTRABASSOONJuan de Gomar

HORNJohn Cox, PrincipalJoseph Berger, Associate Principal

Barton ParkerPatrick Fay +Wilfred Mackie +Willam Stalnaker III +

TRUMPETFred Sautter, PrincipalSally Nelson Kuhns, Assis-tant Principal

Richard ThornburgBernard Blumberg +Steven Conrow +Daniel Strauss +David Wood +

TROMBONEWarren Baker, PrincipalJack ElmoreAlan PiercePeter Ellefson +

BASS TROMBONEAlan Pierce

TUBAJohn Richards, Principal

KEYBOARDKatherine George, PrincipalMerle Lotz +

HARPJennifer Craig, PrincipalJenny Lindner +

TIMPANIPaul Salvatore, PrincipalPERCUSSIONNiel DePonte, PrincipalSteve LawrenceChristine PerryRoger Allen +Jeffrey Cumpson +Mark Goodenberger +Wayne Mercer +Jeffrey Peyton +Luanne Warner +

MANDOLINKen Culver

ORGANJonas Nordwall

LIBRARIANSJohn RichardsCheri Ann Egbers

PERSONNEL MANAGERMary Ann Coggins Kaza

STAGE MANAGERBruce Chaddock

+ extra musician

Music Director of the Oregon Symphony since 1980, James DePreist justcompleted four years as Music Director of the Monte-Carlo Philharmonic.Born in Philadelphia in 1936, he studied composition with Vincent Per-sichetti at the Philadelphia Conservatory and obtained Bachelor of Scienceand Master of Arts degrees from the University of Pennsylvania. In 1962,while on a State Department tour in Bangkok, he contracted polio but recov-ered sufficiently to win a first prize in the 1964 Dimitri Mitropoulos Interna-tional Conducting Competition. He was selected by Leonard Bernstein to bean assistant conductor of the New York Philharmonic for the 1965-66 season.

DePreist made his highly acclaimed European debut with the RotterdamPhilharmonic in 1969. In the same year he was awarded a Martha BairdRockefeller grant. Concerts soon followed in Stockholm, Amsterdam,Berlin, Munich, Stuttgart, Belgium, and Italy. In 1971 Antal Dorati chose De-Preist to become his Associate Conductor with the National Symphony Or-chestra in Washington, D.C. In 1976 DePreist became Music Director of theQuebec Symphony, Canada’s oldest orchestra, where he remained until1983. In 1980 he was named Music Director and Conductor of the OregonSymphony, which two years later he guided into the ranks of the majorUnited States orchestras. He recently extended his contract with the Ore-gon Symphony through the 2004-2005 season.

Ovation critic Paul Turok wrote of Bravura (DE 3070), DePreist’s firstrecording with the Oregon Symphony: “In less than a decade, James De-Preist has built an orchestra of regional significance into one worthy of na-tional, and perhaps even international, attention…” This widely acclaimeddisc was followed by five others, which have clearly established the OregonSymphony and James DePreist as major additions to the recording arena.

Much in demand as a guest conductor, DePreist pursues a distinguished ca-reer in America and abroad, regularly performing with the major Americanorchestras, including the Philadelphia Orchestra, the Chicago Symphonyand the New York Philharmonic. In 1997 he made an impressive subscrip-tion concert debut with the Boston Symphony and was immediately re-en-gaged to appear with the Boston Symphony at the 1998 Tanglewood MusicFestival and then to conduct the orchestra for the Festival’s closing concertsin the summer of 1999. He also conducted the opening concert for the 50thAnniversary season of the Aspen Music Festival and 1999’s opening WolfTrap concert with the Philadelphia Orchestra. Abroad recent and future en-

gagements include appearances in Amsterdam, Tokyo, Helsinki, Prague,Vienna, England, France and Australia. In the spring of 1998 he led theMonte-Carlo Philharmonic on a second United States tour.

From 1991 to 1994 DePreist recorded extensively in Sweden for BIS with theRoyal Stockholm Philharmonic and the Malmö Symphony, where he servedas Chief Conductor. In addition, he made an internationally acclaimed se-ries of recordings of Shostakovich symphonies with the Helsinki Philhar-monic on the Delos label. In 1994 he undertook a series of recordings withthe Monte-Carlo Philharmonic. His recorded repertoire now includes 35compact discs, with at least three new discs scheduled for release within thenext two years.James DePreist has been awarded 13 honorary doctorates and is the authorof two books of poetry. He is an elected fellow of the American Academy ofArts and Sciences and the Royal Swedish Academy of Music and is a recipi-ent of the Insignia of Commander of the Order of the Lion of Finland andthe Officer of the Order of Cultural Merit of Monaco. DePreist is thenephew of the legendary contralto Marian Anderson.

The Oregon Symphony is the oldest orchestra in the west and the sixtholdest major orchestra in the United States. Founded as the Portland Sym-phony in 1896, and renamed the Oregon Symphony in 1967, it has grown tobe one of the finest major orchestras in the nation. Ovation critic Paul Turokwrote of Bravura (DE 3070), the Oregon Symphony’s first recording underJames DePreist: “In less than a decade, James DePreist has built an orches-tra of regional significance into one worthy of national, and perhaps eveninternational, attention...” In press commentary on Bravura and subsequentrecordings, the Symphony has been ranked “first-class” by Gramophone and“a virtuoso ensemble” by The Washington Post. The Oregon Symphony has the highest per capita subscription attendanceof any major orchestra in the United States, and serves its entire region withan innovative touring program. In 1996 it used the touring model to launcha local series of free neighborhood parks concerts and educational outreachevents funded through the Regional Arts and Culture Council by the city ofPortland. In May of 1997 the orchestra was featured on PBS’ Newshourwith Jim Lehrer; a 90-minute television special produced by CBS affiliateKOIN Channel 6 in honor of the Symphony’s Centennial featured a per-formance of Rachmaninoff’s Symphony No. 2 and was awarded a North-west Regional Emmy in June of 1997.

ARTIST BIOGRAPHIES

OTHER DELOS RECORDINGS FEATURING JAMES DEPREIST AND THE OREGON SYMPHONY

BRAVURA • RESPIGHI: Roman Festivals• STRAUSS: Don Juan • LUTOSLAWSKI:Concerto for Orchestra • Recording ofDistinction, Ovation • DE 3070 (DDD)

TCHAIKOVSKY: 1812 Overture • Hamlet• The Tempest • “… unquestionably themost successful modern recording.”Gramophone • DE 3081 (DDD)

RACHMANINOFF: The Sea and the Gulls(Étude-Tableau Op. 39 No. 2, orch.Respighi) • Symphony No. 2 • Vocalise •Recording of Distinction, Ovation • DE 3071 (DDD)

MUSIC of STRAVINSKY: The Rite of Spring• The Firebird Suite (1919 version)DE 3278 (DDD)

KORNGOLD: The Sea Hawk • Symphonyin F-Sharp • DE 3234 (DDD)

AMERICAN CONTRASTS – BenjaminLees: Passacaglia for Orchestra • VincentPersichetti: Symphony No. 4 • MichaelDaugherty: Philadelphia Stories for Orchestra: Sundown on South Street;Hell's Angels • DE 3291 (DDD)

SHOSTAKOVICH: Symphony No. 11 TheYear 1905 • DE 3329 (DDD)

SIBELIUS: Symphony No. 2 • SymphonyNo. 7 • Recorded Live • DE 3334 (DDD)

WALTON: Suite from Henry V, Cello Concerto, Violin & Piano Sonata •RANDS: Tre Canzoni senza Parole • Mark Kosower, cello; Herbert Greenberg,violin; Ann Schein, piano • DE 3342 (DDD)

TRAGIC LOVERS – WAGNER: Prelude andLiebestod from Tristan und Isolde •BERLIOZ: Romeo et Juliette, Op. 17 - II.Scene d’amour • TCHAIKOVSKY: Romeoand Juliet Fantasy-Overture • DE 3369(DDD)