The Chicago Symphony Orchestra family mourns the death of preeminent record producer James Mallinson. For London/Decca, he produced nearly two hundred recordings, including many with the Chicago Symphony Orchestra under eighth music director Sir Georg Solti.

James Mallinson discusses with Sir Georg Solti during playbacks for Mahler’s Third Symphony in November 1982.

Mallinson also was instrumental in the launch of CSO Resound, producing most of the Orchestra’s early releases led by principal conductor Bernard Haitink, including Bruckner’s Seventh Symphony; Mahler’s First, Second, Third, and Sixth symphonies, Ravel’s Daphnis and Chloe and Poulenc’s Gloria; and Strauss’s Ein Heldenleben and Webern’s Im Sommerwind.

With Solti and the Chicago Symphony Orchestra, Mallinson produced a number of legendary recordings for London Records, including Bartók’s Concerto for Orchestra; Berlioz’s The Damnation of Faust; Brahms’s symphonies and A German Requiem; Bruckner’s Fourth and Fifth symphonies; Del Tredici’s Final Alice; Mahler’s First, Second, Third, Fourth, and Ninth symphonies; Mussorgsky’s Pictures at an Exhibition, Schoenberg’s Moses und Aron; Tippett’s Fourth Symphony; and Verdi’s Four Sacred Pieces; among others.

With Daniel Barenboim and the Orchestra, Mallinson also produced several recordings for Erato Records, including Corigliano’s Symphony no. 1, Mahler’s Das Lied von der Erde, and tone poems by Richard Strauss (Don Juan, Don Quixote, Ein Heldenleben, and Till Eulenspiegel’s Merry Pranks).

In 1980, Mallinson became the recipient of the first Grammy Award for Producer of the Year, Classical, and he won a total of sixteen awards in a variety of categories, including Best Classical Album and Best Opera Recording. Mallinson’s most recent Grammy win was for producing the Chicago Symphony Orchestra and Haitink’s recording of Shostakovich’s Fourth Symphony, which won for Best Orchestral Performance.

Lady Solti shared her thoughts. “I was so very sad to hear of James’ passing. What a fantastic amount of iconic recordings he masterminded that were such a very important part of not only the Chicago Symphony Orchestra’s legacy but also Solti’s own personal catalog. I especially remember him working so hard to get the breathing right in Tippett’s extraordinary Fourth Symphony and the balances in Schoenberg’s Moses und Aron, and the wonderful Brahms symphonies. James was a man of great skill and diplomacy, always so calm and self-effacing, one of the great unsung heroes.”

Retired WFMT engineering producer and Rosenthal Archives preservation engineer Mitchell G. Heller remembered his longtime colleague and friend. “I was privileged to know and work with James Mallinson for over four decades. He was a sensitive and skilled recording artist. His work with the Chicago Symphony Orchestra especially captured and preserved the unique quality of the orchestra in every album he produced. He will be missed.”

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