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The Manuel de Falla Orchestra Directed by WALDO DE LOS RIOS

Published by: Barnegat Music (BMI)

A Hispavox Production Directed by Rafael Trabucchelli ©MCMLXXII AND MANUFACTURED BY UNITED ARTISTS RECORDS, INC., LOS ANGELES, CALIFORNIA 90028 PRINTED IN U.S.A.

United Artists Records Inc IF Entertainment from

: Transamerica Corporation —

UAS-5554. ALSO AVAILABLE ON UNITED ARTISTS STEREO-TAPE. “i

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Everyone knows that Mozart was a child prodigy. Very well known

is the image, conveyed by an old

engraving of a child barely six years old, with powdered wig and silk overcoat, seated on a pile of cushions at the harpsichord, and with his feet hardly visible underneath the key- board. That child named Wolfgang Amadeus Mozart, was “happening”

with his music in all Royal Courts in Europe, and in spite of the fact that he was only 35 when he died, he was able to cultivate all the musical genders that existed at that time.The classification of his works made for the monumental and critical edition published in 1886,

took ten years of preparation by a

group of experts. The child, and later the young

Mozart, was extremely popular. His

father organized continual trips to Paris, London, Milan, Prague,

Berlin..., for which Mozart had to

prepare presentations of new works. Not having time for anything else, he used to write the music while traveling in the stage coach. During a trip from Salzburg to Paris he composed a symphony. At a stop while they were changing the horses

of the coach, he heard somebody

singing a song, and on this melody he composed the entire work.

Metaphorically, Mozart can be

compared to a fountain, a spon- taneous spring, fresh and natural. Melodies flowed as if they were already orchestrated and harmo- nized. They flowed, without obstacle,

from his heart into his pen. The well-organized mind, so evident in

other musicians such as John

Sebastian Bach, or Beethoven,

seems unnecessary in Mozart, since everything is presented as if naturally pre-arranged. The result

is that his music, was in those times

and still is today, simple, popular, and easy for everybody. Whenever

someone was to be married, Mozart

was requested to compose a

Casation; if someone was going to

celebrate a birthday, Mozart would

write a divertimento, or a serenade if it was for the celebration of a highly important person. Whenever the young Mozart, who enjoyed all

types of merriment, met with his

friends, he would write a musical joke. Whatever the occasion, the ©

performances were always impro-

vised; they were played so that the

guests at the reunion would dance. For this reason, dance numbers are

always present in these pieces, as, for example, the Minuet, the Rondo,

etc.... It is well known that Mozart experienced a great satisfaction

when, unexpectedly, he happened

to hear some of his melodies in a public ball or simply hummed by people, in the streets, with simpli-

city and naturalness. Mozart wrote music as an

expression of his feelings and as a means of enjoyment, fun and pleas-

ure. He never thought that he would be considered as a severe, profound

and serious-looking musician be- cause his deepness — undoubtedly a quality of his music— originates from

young ear in order to understand

this fantastic achievement by Waldo

de los Rios. Boldness, good taste,

and an overwhelming musical quality define the work of this Argentinian musical genius. He knows perfectly that the Mozartinian melody comes and goes just as life

does, that its rhythm is the rhythm

of the world. Mozart's music is of yesterday today and tomorrow.

It is eternal.

SIDE ONE 1. MOZART’S 13th —Serenade

No. 13 in G major NIGHT OF MUSIC (Eine Kleine Nachtmusik

KV 525) a) ALLEGRO 3:35 b) ANDANTE — Romanza 3:30

c) MENUETTO 2:03 d) RONDO 2:32 , (W.A. Mozart — Adapted by Waldo De Los Rios)

2. WHAT IS LOVE (Aria from The Marriage of Figaro KV 492) 2:56 (Interpreted by Maria Lalanne/ W.A. Mozart — Adapted by

Waldo De Los Rios)

SIDE TWO

something which is far beyond what 1. OVERTURE 492 (The Marriage we ordinarily consider profound.

Mozart lived a simple life and, there was something within him —

sensitivity, intuition, or mystery —

which changed him into the trans-

mitter of the emotions and of the most evident experiences of the life that he lived, perhaps without even

understanding it, but which he masterfully and deeply expressed.

It can be said that Mozart's music is young, and it always will be. This is how Waldo de los Rios feels it, and with a deep knowledge of its

message has accomplished, with prodigious mastery, these adapta-

tions of some of the most popular

works by Mozart. It is necessary to feel free of

prejudice. It is necessary to have a

of Figaro K 492) 3:21

(W.A. Mozart — Adapted by Waldo De Los Rios) |

2. MOZART 21 (Concerto No. 21

for Piano & Orch. in C Major K 467—2nd Movement

“Adante’”) 5:05

(W.A. Mozart — Adapted by

Waldo De Los Rios)

3. MUSICAL CHARADE (Musikalischer Spass, 4th tempo

“Presto’) 2:27 (W.A. Mozart — Adapted by

Waldo De Los Rios)

4, MOZART NOVA (Variations on the Theme “Dear Harmony” from The Magic Flute) 5:24 (W.A. Mozart — F. Sor —Adapted by Waldo De Los Rios)

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SIDE 1 STEREO

UAS-5554

DE LOS RIOS ! Mozartmania

1. MOZART’S 13th— Serenade #13 in G Major : _ NIGHT OF mulc (EINE ENG NACHTMUSIK KV 525)

ALLEGRO ° 3:3 b) ANDANTE — ROMANZA © 3:30 c) MENUETTO ° 2:03 d) RONDO 2: 32.

(W. A. Mozart — Adapted by cos De Los Rios) 2. WHAT IS LOVE «

(Aria from THE MARRIAGE OF FIGARO KV 492) (Interpreted by Maria pane a A. Mozart—

SIDE 2

STEREO

UAS-5554

UNITED ARTISTS RECORDS

WALDO : DE LOS RIOS oe Mozartmania

1. OVERTURE 492 (The Marriage of Figaro K. 492) * 3:21 W. A. Mozart— Adapted by Waldo De Los Rios)

2. MOZART’S 21st (Concerto #21 for Piano & Orchestra in C Major, K. 467 — 2nd Movement ANDANTE) « 5:05

(W. A. Mozart — Adapted by Waldo De Los Rios) 3. MUSICAL CHARADE

(Musikalischer Spass, 4th Tempo PRESTO) ° 2:27 SF (W. A. Mozart — Adapted by Waldo De Los Rios)

4. MOZART NOVA (Variations from the Theme DEAR HARMONY SS from THE MAGIC FLUTE) « 5:24 <y,

(W. A. Mozart/F. Sor—Adapted by Waldo De Los Rios) © Pub. by Barnegat Music BMI y

The Manuel de Falla Orchestra > ° Directed by Waldo De Los Rios su

Recorded in Spain by Hispavox, S.A. ® Os under the direction of r\\Ps

val Rafael Trabucchelli or

» LOS ANGELES, CO