The Chicago Symphony Orchestra family joins our friends at Steppenwolf Theatre Company in mourning the passing of beloved Chicago actor John Mahoney. He died in Chicago on February 4, at the age of 77.

John Mahoney in rehearsal at the Steppenwolf Theatre in 2008 (Chris Walker photo for the Chicago Tribune)

John Mahoney appeared with the Chicago Symphony Orchestra on three occasions, once at the Ravinia Festival and twice in Orchestra Hall, as follows:

July 14, 2001 (Ravinia Festival)
MENDELSSOHN A Midsummer Night’s Dream
Sir Andrew Davis, conductor
John de Lancie, Narrator/Puck and director
John Mahoney, Bottom
Janet Zarish, Titania
Timothy Gregory, Oberon
Stacey Tappan, soprano
Lauren McNeese, mezzo-soprano
Chicago Children’s Choir
Josephine Lee, director

In the Chicago Sun-Times, Wynne Delacoma set the stage. “It was a dream of a midsummer’s night at the Ravinia Festival Saturday, the kind of warm, clear evening just made for picnicking and listening to music outdoors. The music offered by the Chicago Symphony Orchestra and conductor Andrew Davis provided a perfect match. After intermission, the pavilion light dimmed and sprites with glowing wands flitted through the night as the orchestra, singers and actors including John Mahoney . . . as the bumptious Bottom [he was] an endearing monster.”

April 17, 18, 19, 20, and 21, 2002 (Orchestra Hall)
STRAVINSKY The Soldier’s Tale
William Eddins, conductor
Pinchas Zukerman, violin
John Mahoney, Narrator
Paul Adelstein, Soldier
Hollis Resnik, Devil
Tina Cannon, dancer
John Bruce Yeh, clarinet
David McGill, bassoon
Craig Morris, trumpet
Jay Friedman, trombone
Joseph Guastafeste, bass
Edward Atkatz, percussion
Peter Amster, director and choreographer
Rafael Viñoly, stage designer

“Seizing the opportunity to do something different, the CSO teamed with Steppenwolf Theatre to stage The Soldier’s Tale, which Stravinsky wrote in 1918 as a theater piece,” wrote Delacoma in the Chicago Sun-Times. “Mahoney was the dispassionate Narrator and Hollis Resnik a fashionable Devil in a generally lively staging by Peter Amster. Zukerman and six CSO musicians, conducted by William Eddins, perched on a tall, black platform centerstage, while Mahoney, Resnik, Paul Adelstein as the Soldier and dancer Tina Cannon spilled around the set of raised platforms and a few props devised by Rafael Viñoly. . . . Amster and his colleagues created a compelling drama. . . . Relaxed, making no judgments as he chronicled the Soldier’s victories and defeats, [Mahoney] was a sympathetic guide to Stravinsky’s morality tale.”

November 17, 18, 20, and 23, 2004 (Orchestra Hall)
BEETHOVEN Egmont
Mikko Franck, conductor
John Mahoney, narrator
Erin Wall, soprano

Again, Delacoma in the Chicago Sun-Times described the event. “Mahoney returned to Symphony Center Thursday night to narrate a rare performance of Beethoven’s complete incidental music to Goethe’s Egmont. Goethe’s play about a former loyalist fighting Spanish colonialism in the 16th century Netherlands was quickly forgotten, but Beethoven’s Egmont Overture has long been a concert hall staple. It was fascinating to hear it in its complete context, especially with the young Finnish conductor Mikko Franck honing in on the music’s noble bearing and expansive reach. . . . In the minimal staging devised by director Sheldon Patinkin, [Mahoney] managed to turn the obscure Egmont into a flesh-and-blood presence. With his straightforward delivery and Beethoven’s evocative music reinforcing each scene, he brought us glimpses of a brave soldier and king’s loyal administrator destroyed by political intrigue and despotism. The thirst for liberty is a recurring motif in Beethoven’s life and much of his music. Hearing the entire Egmont, the movie music of its day, was a reminder of how strongly Beethoven believed in that ideal.”

Numerous tribute have been posted online, including the Chicago Tribune, Chicago Sun-Times, The New York Timesand CNN, among others.

 

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Alan Stout in 1971

The Chicago Symphony Orchestra family notes with sorrow the passing of Alan Stout, composer and longtime composition and theory professor at Northwestern University. Stout died yesterday, February 1, 2018, at the age of 85.

Stout’s music was first performed by the Orchestra on two concerts given at Northwestern University’s Cahn Auditorium on May 29 and 31, 1967, when Esther Glazer was soloist in Movements for Violin and Orchestra with Henry Lewis conducting. Soon thereafter, the Chicago Symphony Orchestra presented four world premieres by Stout, under the batons of Seiji Ozawa, Sir Georg Solti, and Margaret Hillis, at the Ravinia Festival and in Orchestra Hall.

On August 4, 1968, Ozawa led the world premiere of Stout’s Symphony no. 2 at Ravinia. The work was commissioned by the Ravinia Festival Association through a grant from the Illinois Arts Council, and the performance was made possible by a Composer Assistance Grant from the National Endowment for the Arts.

World premiere of Stout’s Second Symphony at the Ravinia Festival on August 4, 1968

The symphony was “vivid [and] multi-dimensional . . . a collection of musical rituals,” according to Thomas Willis in the Chicago Tribune. “The work is a marvelous tapestry of textures, combining a superior craftsmanship, a remarkable ear, and encyclopedic knowledge of the inventions of his colleagues, [including] Messiaen, Penderecki, Elliott Carter, and Pierre Boulez . . .”

The composer’s Symphony no. 4 was commissioned by the Chicago Symphony Orchestra in celebration of its eightieth season and dedicated to Georg Solti, who led the world premiere performances on April 15, 16, and 17, 1971. The score calls for a small chorus, and members of the Chicago Symphony Chorus were prepared by assistant director Ronald Schweitzer.

The following year, Solti also led the world premiere of Stout’s George Lieder (Poems from Das neue Reich) on December 14, 15, and 16, 1972, with baritone Benjamin Luxon as soloist.

Composer and conductor review the score of the George Lieder in December 1972 (Terry’s photo)

Stout’s large-scale Passion for Soloists, Chorus, and Orchestra was commissioned by the Chicago Symphony Orchestra with assistance from the National Endowment for the Arts and was dedicated to Margaret Hillis and the Chicago Symphony Chorus. Hillis led the world premiere performances on April 15, 16, and 17, 1976. Soloists included Mary Sauer on organ, Elizabeth Buccheri on piano, along with soprano Phyllis Bryn-Julson, tenors Frank Little and John McCollum, baritones Leslie Guinn and LeRoy Lehr, and bass Monroe Olson.

The premiere of Stout’s Passion, on which the composer worked for over twenty years, was a “monumental undertaking [and] provided the most difficult music the Chorus has undertaken since Fritz Reiner brought Margaret Hillis here in 1957 to found the now internationally known ensemble,” wrote Willis in the Chicago Tribune. “Stout fashions his church Latin text into curtains and tapestries of sound. Like a sonic aurora borealis, they expand and contract as needed, supplying intimate but still objective commentary on an emotional-laden event, creating towering climaxing as the peak points of the action, or providing canopies of tightly woven, often contrapuntal sheets of sound against which other portions of the action can take place.”

Detail from the first section of Stout’s Passion, with markings by Margaret Hillis

 

Title page for the first printed edition of Bartók’s Concerto for Orchestra

Guest conductor George Szell led the Chicago Symphony Orchestra’s first performances of Bartók’s Concerto for Orchestra on December 2 and 3, 1948, almost exactly four years following the work’s premiere on December 1, 1944, with Serge Koussevitzky leading the Boston Symphony Orchestra.

In the Chicago Daily News, Clarence Joseph Bulliet called the work, “violent and awesome in its contrasts, sometimes as stormy as the most sensational of modern music. Then it calmed down to rival in delicacy the classicism of Haydn and Beethoven between which it was programmed at Orchestra Hall Thursday night.” (Haydn’s Oxford Symphony opened the concert, followed by the Bartók and Beethoven’s Emperor Piano Concerto, that featured the debut of Seymour Lipkin.) Felix Borowski, writing for the Chicago Sun, added, that Bartók’s Concerto was, “of more than ordinary worth . . . Modern, indeed it is, but there are ideas—often very beautiful ideas—in the course of it. The orchestration is rich and colorful, frequently with new and beguiling textures.”

Early in his tenure as sixth music director, Fritz Reiner first led the Orchestra in his friend and countryman’s work on October 13 and 15, 1955. “This wonderful score, a network of nerves spun and controlled by the most brilliant of nervous energies, was played as only great orchestras can play,” wrote Claudia Cassidy in the Chicago Tribune. “It is a superb work and a Reiner triumph.”

The following week, Reiner and the Orchestra committed their performance to disc on October 22; for RCA, Richard Mohr was the producer and Lewis Layton the recording engineer. In February 2016, Gramophone listed this release as one of the “finest recordings of Bartók’s music,” noting the “sheer fervour of Reiner’s direction . . . taut and agile . . . [his] precision and control is immediately apparent.”

The Orchestra has since recorded the work on five additional occasions, as follows:

During his year as principal conductor of the Ravinia Festival, Seiji Ozawa recorded the work in Orchestra Hall on June 30 and July 1, 1969, for AngelPeter Andry was the executive producer, Richard C. Jones the producer, and Carson Taylor was the recording engineer. Eighth music director Sir Georg Solti conducted the Concerto for London on January 19 and 20, 1981, in Orchestra Hall. James Mallinson was the producer and James Lock the balance engineer.

James Levine, Ravinia’s second music director, led sessions in Orchestra Hall on June 28, 1989, for Deutsche Grammophon. Steven Paul was executive producer, Christopher Alder the recording producer, and Gregor Zielinsky was balance engineer. During the 1990 tour to the Soviet Union, Hungary, and Austria, Solti conducted the Orchestra in an all-Bartók program, video recorded at the Budapest Convention Centre on November 28, 1990, for London. Humphrey Burton directed the production, and Katya Krausova was producer, Eric Abraham the executive producer, and Michael Haas the audio producer.

Most recently, Pierre Boulez recorded the work in Orchestra Hall on November 30, 1992, for Deutsche Grammophon. Roger Wright was the executive producer, Karl-August Naegler the recording producer, Rainer Maillard the balance engineer, and Jobst Eberhardt and Reinhild Schmidt were recording engineers. The release won 1994 Grammy awards for Best Classical Album and Best Orchestral Performance.

Guest conductor Rafael Payare makes his subscription concert debut leading the Chicago Symphony Orchestra in Bartók’s Concerto for Orchestra on January 18 and 20, 2018.

The advance notice for the November 9, 1891, performance of Lohengrin included the names of producers, principal singers, conductor, and stage manager, but not the accompanying orchestra.

Following the third subscription week of its first season, the Chicago Orchestra (as we were then known) was in the pit of the Auditorium Theatre for performances by the Metropolitan Opera Company from November 9 until December 12, 1891, including three run-out performances at the Amphitheatre Auditorium in Louisville, Kentucky on December 7 and 8.

The first opera given was Wagner’s Lohengrin—sung in Italian—led by Auguste Vianesi, the Orchestra’s first guest conductor. That performance featured no less than five singers making their U.S. debuts: soprano Emma Eames, mezzo-soprano Giulia Ravogli, baritone Antonio Magini- Coletti, and tenor and bass brothers Jean and Édouard de Reszke.

On November 10, 1891, the Chicago Daily Tribune reported that even though several patrons were late in arriving due to “the fact that carriages approached in single file and the process of unloading was rather slow . . . [they] failed to dismay Sig. Vianesi, who began his calisthenic exercise with the baton promptly at eight. Eighty-five musicians of the Chicago Orchestra played the graceful Lohengrin prelude in a style which in the show-bill style was ‘alone worth the price of admission.’”

Wood engraved print by Fred Pegram of Jean and Edouard de Reszke—as Lohengrin and Heinrich—from The Illustrated London News in 1891

In the title role, Jean de Reszke “has the dignity and aplomb of an artist to the manner born and the glittering armor of the Knight of the Grail becomes him well. . . . [He] is an artist to the tips of his mailed boots and gloves. He has immense personal magnetism, and when he casually conveyed to Elsa the information, ‘Io t’amo,’ there was a responsive thrill under many a pretty corsage bouquet.”

On November 14, The New York Times reported from Chicago. “It was though reason for not a little regret both in New York and this city when it was announced that the management of the Metropolitan Opera House, which in a measure seems to control the operatic destiny of the country, had decided to discontinue German opera this year and to substitute therefore Italian opera. By selecting Lohengrin as the opera with which to open the present season, Messrs. Abbey and Grau made a praiseworthy compromise. All fears that the season would be composed of a series of repetitious of hackneyed Italian operas were thus allayed. It is too early to pass any judgment, but, according to the indications to be found in this week’s performances, it is almost safe to assume that in many respects this year will witness some of the most brilliant performances of grand opera ever given in this country.”

Regarding Édouard de Reszke as Heinrich, the Times continued, that he was “endowed with a voice which for power and quality, richness and warmth, range and volume, has seldom been equaled. He displayed the highest art in the use of it. His acting also was artistic, and dignified, and his impersonation was in every respect a regal one.” As Ortrud, Giulia Ravogli, “displayed histrionic ability of an exceptionally high order and a mezzo-soprano voice of extensive compass and considerable power.”

Additional singers who appeared during the residency were among the most famous of the day, including sopranos Emma Albani, Lilli Lehmann, and Marie Van Zandt; mezzo-soprano Sofia Scalchi; tenor Fernando Valero; baritones Edoardo Camera and Jean Martapoura; and bass Jules Vinché. A staggering number of operas were performed, including Bellini’s Norma and La sonnambula; Flotow’s Martha; Gluck’s Orpheus and Eurydice; Gounod’s Faust and Romeo and Juliet; Mascagni’s Cavalleria rusticana; Meyerbeer’s Dinorah and Les Huguenots; Mozart’s Don Giovanni; Thomas’s Mignon; and Verdi’s Aida, Otello, and Rigoletto.

The final offering of the residency on December 12 was a fourth performance of Lohengrin, and changes in the cast included Valero in the title role, Albani as Elsa, and Vinché as Heinrich; Louis Saar conducted. Two days later on December 14, the company was back in New York for the Metropolitan Opera’s season opening: Gounod’s Romeo and Juliet featuring Eames and the de Reske brothers with Vianesi on the podium.

After a two run-out performances on December 15 (at the Odeon in Cincinnati) and 16 (in Indianapolis), founder and first music director Theodore Thomas and his Chicago Orchestra resumed the regular season with the fourth subscription week at the Auditorium on December 18.

An abbreviated version of this article appears in the program book for the December 14, 15, 16, and 19, 2017, CSO concerts led by Jaap van Zweden. Special thanks to our colleagues at the Metropolitan Opera and their performance history database.

Wishing a very happy birthday to our friends at the New York Philharmonic, as today they celebrate the 175th anniversary of their very first concert, given on December 7, 1842!

March 24, 1912

It would be nearly seventy years before the Philharmonic made their debut in Chicago, on March 24, 1912, in Orchestra Hall. That concert was led by their new music director Josef Stránský (who had succeeded Gustav Mahler the year before) and the program was as follows:

WEBER Overture to Der Freischütz
MENDELSSOHN Violin Concerto in E Minor, Op. 64
Jan Kubelík, violin
LISZT Tasso, Symphonic Poem No. 2
SAINT SAËNS Introduction and Rondo capriccioso, Op. 28
Jan Kubelík, violin
DVOŘÁK Symphony No. 9 in E Minor, Op. 95 (From the New World)

An image of the program—courtesy of the New York Philharmonic’s Leon Levy Digital Archives—can be found here.

“Interest in the New York Philharmonic Society’s first Chicago concert was so great that Orchestra Hall was sold out yesterday afternoon [with patrons] curious to hear America’s oldest orchestra . . .” wrote Glenn Dillard Gunn in the Chicago Daily Tribune. “Conductor Stránský is a man of force and originality, as his interpretations of the Freischütz Overture, Liszt’s symphonic poem Tasso, and The New World Symphony of Dvořák abundantly demonstrated. . . . It was in the scherzo and finale of the symphony, however, that he achieved his most impressive results. He brought to light a wealth of contrapuntal interest not discovered by other interpreters of the symphony, yet supported them with an unfailing clarity and grace in the presentation of the dominant melodic line and with qualities of rhythmical life and accent . . .”

Regarding the violin soloist Jan Kubelík (and father of future Chicago Symphony Orchestra music director Rafael), Gunn added, “the Bohemian violinist played with his wonted certainty and purity of tone and intonation and with something more than his usual measure of conviction.”

This past February, the Chicago Symphony Orchestra helped both the Vienna and New York philharmonics launch the celebration of their joint 175th anniversaries by loaning the manuscript score of Richard Strauss’s Symphony no. 2 in F minor (from the Theodore Thomas Collection in the Rosenthal Archives) for an exhibit. Details of that collaboration are here and here, and a virtual tour of the exhibit is here.

Happy, happy birthday!

Fred Spector with his 1733 Bergonzi violin (J.B. Spector photo)

For more than fifty years, Fred Spector—a member of the Chicago Symphony Orchestra’s violin section from 1956 until 2003—was the proud owner of a Carlo Bergonzi violin that dates from 1733. Bergonzi, of course, is widely considered to be the greatest pupil of the most significant maker of string instruments, Antonio Stradivari. Spector passed away earlier this year at the age of 92, and this past weekend’s concerts were dedicated to his memory.

Those concerts featured John Storgårds in his Chicago Symphony debut, leading the Orchestra in the Suite no. 1 from Grieg’s Peer Gynt, Sibelius’s Symphony no. 1, and Mendelssohn’s Violin Concerto with Gil Shaham, a longtime friend of Fred Spector.

Gil Shaham plays Spector’s Bergonzi on November 29 (Ari Spector photo)

A few weeks ago, the Spector family offered Shaham the opportunity to play the Bergonzi while he was in town. He arrived in Chicago early on Wednesday, November 29, in time for his first run-through of Mendelssohn’s concerto with Storgårds and the Orchestra, and just as the rehearsal ended, Fred’s widow Estelle and their son Ari arrived at Symphony Center with the violin in tow. We met Shaham backstage and introduced him to the Bergonzi.

“It’s wonderful, marvelous,” remarked Shaham after playing a little of the Mendelssohn followed by a taste of Korngold’s concerto. “It’s a privilege and so very special to play on this beautiful instrument.” He then switched to his Stradivarius, the Countess Polignac from 1699 (that he’s been playing since he was eighteen), and then went back to the Bergonzi for a section of one of Bach’s partitas. Needless to say, it was remarkable to hear the two instruments—played by a musician of Shaham’s caliber—back-to-back and up close.

Estelle Spector and Shaham during intermission on Sunday, December 3 (Frank Villella photo)

For the Sunday December 3 matinee, several of Spector’s family members were in attendance, including Estelle, their children—Lea, Mia, J.B., Julie, and Ari—grandchildren, former CSO members, and several friends. Following a spectacular performance of Mendelssohn’s Violin Concerto, Shaham returned to the stage but holding a different violin. After thanking the audience, he said, “Today is a very special day. This is a beautiful Bergonzi violin, that belonged to Fred Spector, a member of this Orchestra for nearly fifty years. And on it I would like to play for you a brief encore in his memory.” Shaham then performed the Gavotte en rondeau from Bach’s Violin Partita no. 3 in E major, BWV 1006.

During the intermission, Estelle graciously thanked Shaham for his generosity and kindness. “What a wonderful tribute to Fred, the Bergonzi, and the Orchestra. Thank you so much.”

A beautiful gesture from one extraordinary musician—and instrument—to another.

The Chicago Symphony Orchestra joins the classical music world in mourning the tragic loss of the remarkable Siberian baritone Dmitri Hvorostovsky at the age of fifty-five. His passing was announced on his website on Wednesday, November 22.

Hvorostovsky appeared with the Chicago Symphony Orchestra on three occasions—all at the Ravinia Festival—as follows:

July 11, 1998
ROSSINI Overture to La scala di seta
VERDI Sul fil d’un soffio estesio from Falstaff
VERDI Tutto e deserto . . . Il balen del suo sorriso from Il trovatore
ROSSINI Overture to The Barber of Seville
ROSSINI Una voce poco fa from The Barber of Seville
ROSSINI Largo al factotum from The Barber of Seville
ROSSINI Dunque io son from The Barber of Seville
MOZART Overture to The Marriage of Figaro, K. 492
MOZART Crudel! perchè finora from The Marriage of Figaro, K. 492
TCHAIKOVSKY Polonaise from Eugene Onegin
TCHAIKOVSKY Ya vas lyublyu bezmerno from Pique Dame, Op. 68
GOUNOD Je veux vivre from Romeo and Juliet
GOUNOD Avant de quitter ces lieux from Faust
LEHÁR Gold and Silver Waltz, Op. 79
KORNGOLD Glück, das mir verblieb from Die tote Stadt
J. STRAUSS, Jr. On the Beautiful Blue Danube, Op. 314
Kathleen Battle, soprano
Dmitri Hvorostovsky, baritone
Christoph Eschenbach, conductor

July 11, 1998, Ravinia Festival

August 3, 2002
TCHAIKOVSKY Waltz and Polonaise from Eugene Onegin
TCHAIKOVSKY Kogda bi zhizn domashnim krugom from Eugene Onegin
TCHAIKOVSKY/Glazunov Melodie from Souvenir d’un lieu cher, Op. 42, No. 3
Samuel Magad, violin
TCHAIKOVSKY Ya vas lyublyu bezmerno from Pique Dame, Op. 68
ROSSINI Overture to The Barber of Seville
ROSSINI Largo al factotum from The Barber of Seville
VERDI Overture to La forza del destino
VERDI Pietà, rispetto, amore from Macbeth
VERDI Ballet Music from Macbeth
VERDI Son io, mio Carlo . . . Per me giunto . . . O Carlo, ascolta from Don Carlo
VERDI Cortigiani, vil razza dannata from Rigoletto
Dmitri Hvorostovsky, baritone
Christoph Eschenbach, conductor
Soprano Karita Mattila also was scheduled to appear but canceled due to illness.

August 15, 2009
VERDI Rigoletto
Gilda Eglise Gutiérrez, soprano
Countess Ceprano Valerie Vinzant, soprano
Giovanna/Page Katherine Lerner, mezzo-soprano
Maddalena Natascha Petrinsky, mezzo-soprano
Matteo Borsa Hak Soo Kim, tenor
Duke of Mantua Stefano Secco, tenor
Count Ceprano/Court Usher Jonathan Beyer, baritone
Marullo Paul Corona, bass-baritone
Rigoletto Dmitri Hvorostovsky, baritone
Monterone Jason Stearns, baritone
Sparafucile Morris Robinson, bass
Apollo Chorus of Chicago
Stephen Alltop, director
James Conlon, conductor

At Orchestra Hall, Hvorostovsky appeared in recital on four occasions, as follows:

November 17, 1996
with the Saint Petersburg Chamber Choir
Nikolai Korniev, conductor

May 2, 1999
Mikhail Arkadiev, piano

October 22, 2000
Mikhail Arkadiev, piano

February 16, 2011
Ilja Ivari, piano

Countless tributes have been posted online, including websites of the Chicago Tribune, Chicago Sun-Times, The New York Times, and Opera News, among many others. A collection of his best performances on video can be found here.

Daniel Barenboim (Don Getsug photo)

Wishing a very happy seventy-fifth birthday to the Chicago Symphony Orchestra’s ninth music director, Daniel Barenboim!

Before and during his tenure as music director, Barenboim led the Orchestra on numerous international tours (see here, here, here, and here); made dozens of recordings for Deutsche Grammophon, Erato, and Teldec, in addition to other labels; conducted over thirty world and U.S. premieres; and was a frequent chamber music collaborator and recitalist.

From all of your friends here in Chicago, we wish you a happy, happy birthday, Maestro!

This article also appears here.

In addition to releases with Deutsche Grammophon, Erato, and Teldec, Daniel Barenboim and the Chicago Symphony Orchestra made commercial recordings on several other labels. A complete list is below (all recordings made in Orchestra Hall unless otherwise noted).

Barenboim and du Pré at Medinah Temple on November 11, 1970 (Robert M. Lightfoot III photo)

Barenboim made his conducting debut with the Orchestra on November 4, 1970, on a concert at Michigan State University. The first work on that first program was Dvořák’s Cello Concerto, and the soloist was Barenboim’s wife, Jacqueline du Pré. One week later, they recorded the work—along with the same composer’s Silent Woods—with the Orchestra at Medinah Temple.

DVOŘÁK Concerto for Cello in B Minor, Op. 104
DVOŘÁK Silent Woods for Cello and Orchestra, Op. 68
Jacqueline du Pré, cello
Daniel Barenboim, conductor
Recorded in Medinah Temple on November 11, 1970
Angel Records

On January 26, 1998, in Orchestra Hall, Barenboim led—from the podium and the keyboard—a special concert called Star-Crossed Lovers, featuring Renée Fleming and Plácido Domingo in songs, arias, and duets along with narrators Lynn Redgrave and Timothy Dalton. The concert was recorded for a Great Performances telecast and a London Records release.

Domingo and Fleming on January 26, 1998 (Dan Rest photo)

BERNSTEIN Prologue, Tonight, Rumble, and Somewhere from West Side Story
ELLINGTON In a sentimental mood, Do nothin’ till you hear from me, and Prelude to a kiss
GARDEL El día que me quieras
GOUNOD Il se fait tard . . . Ô nuit d’amour! from Faust
LEHÁR Dein ist mein ganzes Herz from The Land of Smiles
LEHÁR Lippen schweigen from The Merry Widow
MORENO-TORROBA ¡Quisiera verte y no verte! and Jota castellana
VERDI Già nella notte densa from Otello
Renée Fleming, soprano
Plácido Domingo, tenor
Daniel Barenboim, piano and conductor
Recorded January 26, 1998
London Records

Barenboim led the Orchestra in the world premiere of composer-in-residence Shulamit Ran’s Legends in October 1993 and programmed the work again in June 2004. A recording of the second set of performances—along with Ran’s Violin Concerto, performed by Ittai Shapira with the BBC Concert Orchestra under Charles Hazlewood—was released by Albany Records in 2007.

RAN Legends
Daniel Barenboim, conductor
Recorded June 3, 4, 5, and 8, 2004
Albany Records

Three videos featuring the Orchestra and Barenboim, performing at the Philharmonie in Cologne, Germany, were also released, on the Arthaus Musik and EuroArts labels.

MAHLER Symphony No. 5
Daniel Barenboim, conductor
Recorded at the Philharmonie in Cologne, Germany on June 4 and 5, 1997
Arthaus Musik

SIBELIUS Concerto for Violin in D Minor, Op. 47
*BACH Sarabande from Partita No. 2 in D Minor, BWV 1004
*YSAŸE Ballad from Sonata No. 3 in D Minor
Maxim Vengerov, violin
Daniel Barenboim, conductor
FALLA Nights in the Gardens of Spain
Plácido Domingo, conductor
Recorded at the Philharmonie in Cologne, Germany on June 8 and 9, 1997
*Solo encores performed by Vengerov
Arthaus Musik

BOULEZ Notations for Orchestra I-IV
DEBUSSY La mer
FALLA The Three-Cornered Hat
*MORES/Carli El firulete
Elisabete Matos, mezzo-soprano
Daniel Barenboim, conductor
Recorded at the Philharmonie in Cologne, Germany on April 27 and 28, 2001
*Performed as an encore
EuroArts

In conjunction with the Chicago Symphony Orchestra Association’s annual Symphonython (previously Marathon and Radiothon) fundraiser, a themed collection of radio broadcasts was offered as a donation premium. Several works led by Barenboim were included on various sets, and one collection was dedicated solely to him.

Chicago Symphony Chorus: A Fortieth Anniversary Celebration
From the Archives, vol. 13 (1998)

BACH Singet dem Herr nein neues Lied, BWV 225
Chicago Symphony Chorus
Margaret Hillis, director
Daniel Barenboim, conductor
Recorded May 11 and 14, 1991

SCHUBERT Gesang der Geister über den Wassern, D. 714
Men of the Chicago Symphony Chorus
Margaret Hillis, director
Daniel Barenboim, conductor
Recorded May 9, 1991

Beethoven
From the Archives, vol. 17 (2003)

BEETHOVEN Elegy, Op. 118
Chicago Symphony Chorus
Duain Wolfe and Cheryl Frazes Hill, directors
Daniel Barenboim, conductor
Recorded September 17, 1994

A Tribute to Daniel Barenboim
From the Archives, vol. 20 (2006)

BERG Three Pieces for Orchestra, Op. 6
Daniel Barenboim, conductor
Recorded October 15, 1997

BERNSTEIN Symphony No. 1 (Jeremiah)
Birgitta Svendén, mezzo-soprano
Daniel Barenboim, conductor
Recorded February 15 and 16, 1996

FALLA El amor brujo
Jennifer Larmore, mezzo-soprano
Daniel Barenboim, conductor
Recorded May 22, 1997

HAYDN Symphony No. 48 in C Major (Maria Theresa)
Daniel Barenboim, conductor
Recorded May 20, 1993

MONIUSZKO Mazurka from Halka
Daniel Barenboim, conductor
Recorded at the Petrillo Music Shell in Grant Park, September 21, 1991

MORES/Carli El firulete
Daniel Barenboim, conductor
Recorded February 15, 2001

MOZART Finale Scene from The Marriage of Figaro, K. 492
Lella Cuberli, Joan Rodgers, Dawn Kotoski, sopranos
Cecilia Bartoli, Mimi Lerner, mezzo-sopranos
Graham Clark, tenor
Ferruccio Furlanetto, Michele Pertusi, Peter Rose, Günther von Kannen, basses
Daniel Barenboim, conductor
Recorded February 2, 7, and 12, 1992

SCHUBERT Psalm 23, D. 706
Women of the Chicago Symphony Chorus
Duain Wolfe, director
Daniel Barenboim, piano
Recorded October 3, 1996

THOMAS Ceremonial
Daniel Barenboim, conductor
Recorded January 6, 2000

WAGNER A Faust Overture
Daniel Barenboim, conductor
Recorded October 18, 1991

WOLF Der Feurreiter
Chicago Symphony Chorus
Duain Wolfe and Cheryl Frazes Hill, directors
Daniel Barenboim, conductor
Recorded September 17, 1994

Soloists of the Orchestra III
From the Archives, vol. 21

FISHER/Gould Chicago
Larry Combs, clarinet
Daniel Barenboim, conductor
Petrillo Music Shell, September 1991

BOULEZ Messagesquisse for Seven Cellos
John Sharp, solo cello
Stephen Balderston, Phillip Blum, Loren Brown, Richard Hirschl, Jonathan Pegis, and Gary Stucka, cellos
Daniel Barenboim, conductor
September 22, 1994

Additionally, two large collections of radio broadcast material were released as commercial recordings: a twelve-disc set to celebrate the the Orchestra’s centennial in 1990 and a ten-disc set as a retrospective of the twentieth century in 2000.

Chicago Symphony Orchestra: The First 100 Years (1990)

SCRIABIN Symphony No. 4, Op. 54 (The Poem of Ecstasy)
Daniel Barenboim, conductor
Recorded December 13, 14, and 16, 1984

BRAHMS Concerto for Piano No. 2 in B-flat Major, Op. 83
Daniel Barenboim, piano
Carlo Maria Giulini, conductor
Recorded November 28, 1977

RAN Concerto for Orchestra
Daniel Barenboim, conductor
Recorded October 20, 22, and 25, 1988

Chicago Symphony Orchestra in the Twentieth Century: Collector’s Choice (2000)

BUSONI Lustspiel Overture, Op. 38
Daniel Barenboim, conductor
Recorded January 4, 1996

MOZART/Busoni Overture to The Abduction from the Seraglio, K. 284
Daniel Barenboim, conductor
Recorded February 8, 1996

BEETHOVEN Christ on the Mount of Olives, Op. 85
Laura Aikin, soprano
Ben Heppner, tenor
René Pape, bass
Chicago Symphony Chorus
Duain Wolfe, director
Daniel Barenboim, conductor
Recorded February 15 and 16, 1996

Daniel Barenboim led the Chicago Symphony Orchestra’s first South American tour—the fortieth international tour—in October 2000, with stops in Rio de Janeiro, São Paulo, and Barenboim’s hometown of Buenos Aires.

Barenboim and the Orchestra onstage at the Sala São Paulo on October 5, 2000 (Greg Morton photo)

October 4, 2000 – Teatro Municipal, Rio de Janeiro, Brazil
October 5, 2000 – Sala São Paulo, São Paulo, Brazil
MOZART Piano Concerto No. 25 in C Major, K. 503
MAHLER Symphony No. 1 in D Major
Daniel Barenboim, piano and conductor

October 6, 2000 – Sala São Paulo, São Paulo, Brazil
October 12, 2000 – Teatro Colon, Buenos Aires, Argentina
MAHLER Symphony No. 7
Daniel Barenboim, conductor

Program book for the three concerts at the Teatro Colon in Buenos Aires in October 2000

October 7, 2000 – Sala São Paulo, São Paulo, Brazil
October 11, 2000 – Teatro Colon, Buenos Aires, Argentina
DEBUSSY Prelude to The Afternoon of a Faun
DEBUSSY La mer
FALLA The Three-Cornered Hat
Alejandra Malvino, mezzo-soprano
Daniel Barenboim, conductor

October 10, 2000 – Teatro Colon, Buenos Aires, Argentina
MOZART Piano Concerto No. 25 in C Major, K. 503
BRUCKNER Symphony No. 4 in E-flat Major
Daniel Barenboim, piano and conductor

The Orchestra’s nineteenth European tour included concerts in London, Berlin, and Vienna, and one of the concerts in Lucerne featured the world premiere of Noesis, a new work by Swiss composer Hanspeter Kyburz.

September 7, 2001 – Royal Albert Hall, London, England
WAGNER Overture to Tannhäuser
CARTER Partita
MAHLER Symphony No. 1 in D Major
Daniel Barenboim, conductor

Barenboim and the Orchestra onstage at the Philharmonie in Berlin on September 9, 2001

September 8, 2001 – Royal Albert Hall, London, England
Daniel Barenboim, conductor
THOMAS Aurora
Micaela Haslam, soprano
MAHLER Symphony No. 7
Daniel Barenboim, piano and conductor

September 9, 2001 – Philharmonie, Berlin, Germany
September 15, 2001 – Musikverein, Vienna, Austria
September 16, 2001 – Musikverein, Vienna, Austria
MAHLER Symphony No. 7
Daniel Barenboim, conductor

September 11, 2001Kultur- & Kongresszentrum, Lucerne, Switzerland
SMITH/Stock The Star-Spangled Banner
MAHLER Symphony No. 7
Daniel Barenboim, conductor

September 12, 2001 – Kultur- & Kongresszentrum, Lucerne, Switzerland
CARTER Partita
MAHLER Symphony No. 5
Daniel Barenboim, conductor

September 13, 2001 – Kultur- & Kongresszentrum, Lucerne, Switzerland
KYBURZ Noesis for Large Orchestra
MAHLER Symphony No. 1 in D Major
Daniel Barenboim, conductor

During the Chicago Symphony Orchestra’s twentieth European tour, Barenboim conducted Bruckner’s Fourth, Seventh, and Ninth symphonies on three concerts at the Lucerne Festival.

Luggage sticker for the 2002 tour to Lucerne

September 13, 2002 – Kultur- & Kongresszentrum, Lucerne, Switzerland
BOULEZ Notations for Orchestra I-IV and VII
BRUCKNER Symphony No. 4 in E-flat Major
Daniel Barenboim, conductor

September 14, 2002 – Kultur- & Kongresszentrum, Lucerne, Switzerland
MOZART Piano Concerto No. 24 in C Minor, K. 491
BRUCKNER Symphony No. 7 in E Major
Daniel Barenboim, piano and conductor

September 15, 2002 – Kultur- & Kongresszentrum, Lucerne, Switzerland
BACH Brandenburg Concerto No. 3 in G Major, BWV 1048
BOULEZ Originel from . . . explosante-fixe . . .
Mathieu Dufour, flute
BRUCKNER Symphony No. 9 in D Minor
Daniel Barenboim, conductor

The Orchestra’s twenty-first European tour, to the annual Festtage in Berlin, featured Barenboim leading Mahler song cycles and Bruckner symphonies.

Program page for the April 17, 2003, concert in Berlin

April 17, 2003 – Philharmonie, Berlin, Germany
MAHLER Kindertotenlieder
Thomas Quasthoff, bass-baritone
BRUCKNER Symphony No. 4 in E-flat Major
Daniel Barenboim, conductor

April 18, 2003 – Philharmonie, Berlin, Germany
MAHLER Songs of a Wayfarer
Thomas Hampson, baritone
BRUCKNER Symphony No. 7 in E Major
Daniel Barenboim, conductor

April 19, 2003 – Philharmonie, Berlin, Germany
MAHLER Rückert Lieder
Violeta Urmana, mezzo-soprano
BRUCKNER Symphony No. 9 in D Minor
Daniel Barenboim, conductor

Returning again to the Lucerne Festival for the twenty-second European tour, the Orchestra performed several Strauss tone poems under Barenboim’s baton.

Program book for the three concerts in Lucerne in September 2003

September 13, 2003 – Kultur- & Kongresszentrum, Lucerne, Switzerland
STRAUSS Don Juan, Op. 20
MOZART Piano Concerto No. 23 in A Major, K. 488
MUNDRY Panorama ciego
STRAUSS Till Eulenspiegel’s Merry Pranks, Op. 28
Daniel Barenboim, piano and conductor

September 14, 2003 – Kultur- & Kongresszentrum, Lucerne, Switzerland
SCHOENBERG Transfigured Night, Op. 4
STRAUSS Death and Transfiguration, Op. 24
WAGNER Prelude and Liebestod from Tristan and Isolde
Daniel Barenboim, conductor

September 15, 2003 – Kultur- & Kongresszentrum, Lucerne, Switzerland
WAGNER Overture to Tannhäuser
SCHOENBERG Variations for Orchestra, Op. 31
STRAUSS Ein Heldenleben, Op. 40
Robert Chen, violin
Daniel Barenboim, conductor

The following month, Barenboim and the Orchestra traveled to Japan for the fifth Asian tour. The final concerts of the tour in Tokyo included works by Stravinsky and Ravel in a collaboration with the Tokyo Ballet, featuring Sylvie Guillem in Ravel’s Boléro.

Program book for the October 29, 2003, concert in Fukuoka

October 24, 2003 – Bunka Kaikan, Tokyo, Japan
October 27, 2003 – Festival Hall, Osaka, Japan
MAHLER Symphony No. 9 in D Major
Daniel Barenboim, conductor

October 26, 2003 – Bunka Kaikan, Tokyo, Japan
WAGNER Overture to Tannhäuser
SCHOENBERG Variations for Orchestra, Op. 31
TCHAIKOVSKY Symphony No. 5 in E Minor, Op. 64
Daniel Barenboim, conductor

October 26, 2003 – Bunka Kaikan, Tokyo, Japan
October 29, 2003 – Fukuoka Symphony Hall, Fukuoka, Japan
WAGNER Prelude and Liebestod from Tristan and Isolde
BRUCKNER Symphony No. 7 in E Major
Daniel Barenboim, conductor

November 1, 2003 – Bunka Kaikan, Tokyo, Japan
RAVEL Pavane pour une infante défunte
STRAUSS Death and Transfiguration, Op. 24
TCHAIKOVSKY Symphony No. 6 in B Minor, Op. 74 (Pathétique)
Daniel Barenboim, conductor

Tokyo

November 2, 2003 – Bunka Kaikan, Tokyo, Japan
November 3, 2003 – Bunka Kaikan, Tokyo, Japan
STRAVINSKY The Rite of Spring
STRAVINSKY The Firebird Suite
RAVEL Boléro
Tokyo Ballet
Sylvie Guillem, dancer
Daniel Barenboim, conductor

At the 2004 Festtage in Berlin, Barenboim led the Orchestra in works by Schoenberg—the Piano Concerto, Violin Concerto, and Variations for Orchestra—paired with Tchaikovsky’s final three symphonies.

April 7, 2004 – Philharmonie, Berlin, Germany
BACH Brandenburg Concerto No. 3 in G Major, BWV 1048
SCHOENBERG Piano Concerto, Op. 42
Peter Serkin, piano
TCHAIKOVSKY Symphony No. 5 in E Minor, Op. 64
Daniel Barenboim, conductor

April 8, 2004 – Philharmonie, Berlin, Germany
BACH Orchestral Suite No. 2 in B Minor, BWV 1067
SCHOENBERG Violin Concerto, Op. 36
Nikolaj Znaider, violin
TCHAIKOVSKY Symphony No. 4 in F Minor, Op. 36
Daniel Barenboim, conductor

April 9, 2004 – Philharmonie, Berlin, Germany
BACH Concerto for Two Pianos in C Major, BWV 1061
Peter Serkin, piano
SCHOENBERG Variations for Orchestra, Op. 31
TCHAIKOVSKY Symphony No. 6 in B Minor, Op. 74 (Pathétique)
Daniel Barenboim, piano and conductor

Pierre Boulez joined Barenboim for the Chicago Symphony Orchestra’s twenty-fourth European tour that included performances in Germany, Austria, Hungary, and England. Concerts at the Berlin Festtage—entitled Hommage à Pierre Boulez—celebrated Boulez’s eightieth birthday.

Catalog for the Budapest Spring Festival in 2005

March 24, 2005 – Philharmonie, Berlin, Germany
RAVEL Rapsodie espagnole
BARTÓK Piano Concerto No. 2
Lang Lang, piano
BOULEZ Originel from . . . explosante-fixe . . .
Mathieu Dufour, flute
RAVEL Mother Goose Suite
RAVEL Daphnis and Chloe Suite No. 2
Daniel Barenboim, conductor

March 25, 2005 – Philharmonie, Berlin, Germany
March 31, 2005 – National Philharmonic Hall, Budapest, Hungary
April 4, 2005 – Royal Festival Hall, London, England
BARTÓK Four Pieces for Orchestra
BARTÓK Piano Concerto No. 1
Daniel Barenboim, piano
BARTÓK Concerto for Orchestra
Pierre Boulez, conductor

Catalog for the 2005 Festtage in Berlin—Hommage à Pierre Boulez

March 26, 2005 – Philharmonie, Berlin, Germany
BARTÓK Piano Concerto No. 3
Mitsuko Uchida, piano
MAHLER Symphony No. 9
Daniel Barenboim, conductor

March 30, 2005 – Musikverein, Vienna, Austria
April 1, 2005 – National Philharmonic Hall, Budapest, Hungary
April 3, 2005 – Royal Festival Hall, London, England
April 5, 2005 – Bridgewater Hall, Manchester, England
April 6, 2005 – Symphony Hall, Birmingham, England
MAHLER Symphony No. 9
Daniel Barenboim, conductor

Daniel Barenboim’s final tour—the Chicago Symphony Orchestra’s twenty-fifth European and forty-eighth international tour—as ninth music director was a return to the Lucerne Festival.

Program book cover for the September 2005 concerts in Lucerne

September 16, 2005 – Kultur- & Kongresszentrum, Lucerne, Switzerland
MAHLER Symphony No. 9 in D Major
Daniel Barenboim, conductor

September 17, 2005 – Kultur- & Kongresszentrum, Lucerne, Switzerland
WAGNER Prelude to Parsifal
SCHOENBERG Five Pieces for Orchestra, Op. 16
BRUCKNER Symphony No. 9 in D Minor
Daniel Barenboim, conductor

September 18, 2005 – Kultur- & Kongresszentrum, Lucerne, Switzerland
FALLA Nights in the Gardens of Spain
ALBÉNIZ Evocación from Iberia
RAVEL Rapsodie espagnole
RAVEL Pavane pour une infante défunte
RAVEL Alborada del gracioso
RAVEL Boléro
Daniel Barenboim, piano and conductor

the vault

Theodore Thomas

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