On August 26, 1971, members of the Chicago Symphony Orchestra departed for Vienna, embarking on the first leg of the first European tour. On August 29, Solti met the musicians at the Wiener Konzerthaus for their first tour rehearsal together, and the next day—before the Orchestra had performed their first tour concert—they began recording Mahler’s monumental Eighth Symphony.
There were four recording sessions at the Sofiensaal in Vienna: one each on August 30 and September 1, and two on August 31. (The first concert of the tour was given on September 3 in Edinburgh.)
The all-star cast was as follows:
Heather Harper, soprano
Lucia Popp, soprano
Arleen Augér, soprano
Yvonne Minton, mezzo-soprano
Helen Watts, contralto
René Kollo, tenor
John Shirley-Quirk, baritone
Martti Talvela, bass
Chorus of the Vienna State Opera
Norbert Balatsch, chorus master
Helmut Froschauer, chorus master
Vienna Boys’ Choir
Edward Greenfield‘s review in Gramophone magazine raved: “Now at last Mahler’s Symphony of a Thousand can be heard on record at something approaching its full, expansive stature. Here is a version from Solti which far more clearly than any previous one conveys the feeling of a great occasion. Just as a great performance, live in the concert-hall, takes off and soars from the very start, so the impact of the great opening on ‘Veni Creator Spiritus’ tingles here with electricity. There was something of that charismatic quality in the recording of Bernstein with the LSO, but with superb atmospheric recording and a sense of space more than in rival versions, not to mention playing from the Chicago orchestra that shows up all rivals in precision of ensemble, Solti’s performance sets standards beyond anything we have known before. . . .
“Solti, characteristically, refuses to accept half measures. This is as near a live performance as the dynamic Solti can make it. At times the sheer physical impact makes one gasp for breath, and I found myself at the thunderous end of the first movement shouting out in joyous sympathy, so overwhelming is the build-up of tension. Maybe this is not a record which one will be able to cope with emotionally in frequent repetition, but to my mind it justifies Mahler’s great scheme in emotional as well as intellectual terms to a degree unknown on record before . . . No doubt one day the achievement of this first really great recording of Mahler’s Eighth will be surpassed, but in the meantime I can only urge all Mahlerians—and others too—to share the great experience which Solti and his collaborators offer.”
David Harvey produced the recording, and Gordon Parry and Kenneth Wilkinson were the engineers for London Records. The recording won the 1972 Grammy Award for Album of the Year—Classical, Best Choral Performance—Classical (other than opera), and Best Engineered Recording—Classical from the National Academy of Recording Arts and Sciences.