Respighi: Feste Romane (Remastered) London Symphony Orchestra & Sir Eugene Goossens

• Ottorino Respighi (1879 - 1936): Feste Romane, P. 157:
• 1 I. Circuses 04:31
• 2 II. The Jubilee 07:34
• 3 III. The October Festival 07:30
• 4 IV. The Epiphany 04:36
• Total Runtime 24:11

Info for Respighi: Feste Romane (Remastered)

Since we were on the subject of Everest and Sir Eugene Goosens, I wanted to bring another early Everest recording to your attention. This was Everest's forth release from 1958, and like it's Corroborree by the same forces, it is a sonic spectacular. In fact the engineers were so pleased with the awesome dynamic range captured on the tape, that a highly unusual decision was made. Rather than limit the dynamics, as they would have to be compressed to fit on a single disc, it was decided to spread the work over three sides, allowing the earth shatteing dynamic range that was present on the master tape to be fully realized on disc. The Rachmaninoff "Symphonic Dances" was selected for Side Four, filling out this two record set. Recommended! (Source: listeningnotes.blogspot.de)

London Symphony Orchestra
Sir Eugene Goossens, conductor

Digitally remastered

Eugene Goossens/strong>
was born into a family of musicians: his grandfather (who moved to Britain from Belgium in 1873) and father, both called Eugene, were prominent conductors, mainly of opera; Eugene’s brother Leon was one of the most distinguished oboists of the twentieth century, his sisters Marie and Sidonie were harpists, and another brother, Adolph, who was killed in the First World War, played the horn.

Eugene Goossens (III) was born in London on 26 May 1893, though the family home was in Liverpool. At the age of eight he was sent to boarding school in Bruges, and at ten he began to study music in the Conservatory there, as his grandfather had done; from the age of thirteen he attended the Liverpool College of Music. In 1907 he went to the Royal College of Music in London, studying violin and, from 1910, composition, with Sir Charles Villiers Stanford and with Charles Wood.

He had begun to conduct as a student, and in 1913 he conducted one of Sir Henry Wood’s Promenade Concerts at the Queen’s Hall. Initially, though, he earned his living as a violinist, playing in several string quartets. In January 1916 (a heart condition having saved him from war service) he stood in for Beecham at the first performances of Stanford’s opera The Critic, and thus began a fruitful relationship with Beecham as protégé and deputy.

In 1921 he established an orchestra for five concerts of modern music, one of which (7 June 1921) included the first UK performance of The Rite of Spring, in the presence of Stravinsky, Diaghilev and Massine. Diaghilev responded by engaging Goossens to conduct the Ballets Russes. In 1923 Goossens was appointed conductor of the Rochester Philharmonic in upstate New York, and in 1931 he became conductor of the Cincinnati Symphony Orchestra, remaining there until 1946. The next year he took up the position of director of the New South Wales Conservatory of Music, a post he held until 1956, by which time he was also chief conductor of the Sydney Symphony Orchestra. He was knighted in 1955. He resigned his posts in 1956 and spent the rest of his career working free-lance until his death on 13 June 1962.

Although Goossens’ first compositions were small-scale – piano pieces, songs, chamber music – he was writing confidently for orchestra from early on, producing the Variations on a Chinese Theme (1911), Miniature Fantasy for strings (1911), Perseus, a symphonic poem (1914), and Ossian, a symphonic prelude (1915). At this stage his music generally shows the influence of the French school, Debussy in particular. His First Symphony was completed in 1940, in Cincincatti, and the Second Symphony was premiered in 1946. Goossens composed two operas, Judith (1925) and Don Juan de Mañara (1934), a massive oratorio, Apocalypse (1951), and a generous quantity of other works, orchestral, chamber, instrumental. His music was lost from sight for some years after his death but began to re-emerge from the mid-1990s with recordings from the Australian Broadcasting Corporation.