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Current music director Riccardo Muti and former music directors Daniel Barenboim, Rafael Kubelík, Fritz Reiner, and Sir Georg Solti are squarely included, along with principal guest conductors Claudio Abbado, Pierre Boulez, and Carlo Maria Giulini; principal conductor Bernard Haitink; and Ravinia Festival music directors James Levine and Seiji Ozawa.
According to the article, “A great conductor illuminates music you thought you knew in a way that you couldn’t possibly have imagined.” Indeed.
The Chicago Symphony Orchestra family mourns the loss of Deborah Guscott, who was a member of the Chicago Symphony Chorus’s alto section for twenty-eight seasons. Having most recently performed in Berlioz’s Romeo and Juliet and Verdi’s Falstaff this past April under Riccardo Muti, she died on August 10, 2016, following a long illness.
A graduate of Oak Park and River Forest High School and the University of Illinois Urbana-Champaign, Guscott joined the Chicago Symphony Chorus at the invitation of founder and longtime director Margaret Hillis in 1987. For nearly thirty years, she regularly performed with the Chicago Symphony Orchestra under three music directors—Sir Georg Solti, Daniel Barenboim, and Muti—as well as Pierre Boulez, Bernard Haitink, James Levine, Christoph Eschenbach, and James Conlon, among many others. Guscott appeared on numerous recordings—several of them Grammy Award winners—and performed in Orchestra Hall, Medinah Temple, and Carnegie Hall; at the Ravinia Festival; and on tour with the Orchestra and Chorus to London, Salzburg, and Berlin.
Guscott was a fixture on the Chicago vocal scene, performing with countless ensembles, including the Grant Park Chorus, Light Opera Works, Music of the Baroque, Lyric Opera of Chicago, the Ravinia Festival Orchestra, Bach Week Festival, Oriana Singers, and Chicago a cappella, among many others. She was a soloist on several occasions for the Do-it-Yourself Messiah under Hillis and with the Symphony of Oak Park and River Forest under its music director Jay Friedman. An active liturgical musician, Guscott worked at many churches and temples in the Chicagoland area, most recently as music director and cantor at both Saint Domitilla Parish in Hillside and Divine Providence Parish in Westchester.
Duain Wolfe, director of the Chicago Symphony Chorus since 1994, described his longtime colleague: “An alto with a particularly rich, luscious sound, Deb contributed significantly to the highly lauded sound of the Chicago Symphony Chorus. We are all very grateful for her gifts, both as an important musician in our ranks and as a strong, positive force who always found the silver lining in every cloud. Deb’s indomitable spirit has been an inspiration to all of us, and we will miss her greatly.”
Music director of the Symphony of Oak Park and River Forest—and CSO principal trombone—Jay Friedman added, “Deb Guscott was my go-to contralto for the past twenty years in many solo roles from opera to oratorio. She possessed a true contralto voice, something rare and perfect for Mahler, Wagner, and many other great masters. Deb was a fun person and a joy to work with—always upbeat and willing to rehearse at a moment’s notice—and she will be greatly missed.”
Christopher Bell, director of the Grant Park Chorus since 2002, shared his thoughts with the musicians of his chorus: “I was privileged to have Deb—a well known and beloved singer in Chicago—in the Grant Park Chorus and honored to be able to call her a friend. My abiding memory of my last visit with her will be of much laughter and hilarity, as we shared many memories and reminiscences. The Chicago singing community is a strong and closely knit one, and I know that you, like me, are saddened and shocked by this loss of one of our own. Today, I am thinking of you all and sharing your sorrow.”
There will be a service in her memory given at Our Lady of Sorrows Basilica (3121 West Jackson Boulevard, Chicago 60612) on Saturday, September 3, 2016, beginning at 11:00 a.m. The upcoming Chicago Symphony Orchestra and Chorus performances of Brahms’s A German Requiem on November 10, 11, and 12, 2016—a work that Guscott performed on many occasions with the Chorus—will be dedicated to her memory.
One of Guscott’s many solo performances with the Symphony of Oak Park and River Forest under Friedman was of Mahler’s Resurrection Symphony on November 16, 2003. A live recording of her singing the fourth movement—Urlicht—is available in the link below.
In March 1898, Theodore Thomas and the Chicago Orchestra embarked on a monthlong tour through Maryland, Massachusetts, New York, Ohio, Pennsylvania, Rhode Island, and Washington, D.C. In New York, the tour included six concerts at the Metropolitan Opera House, one at the Brooklyn Academy of Music, and the Orchestra’s debut in Carnegie Hall on March 7.
The program for Carnegie was entirely comprised of music by French composers, featuring the U.S. premiere of Franck’s Variations symphoniques and Saint-Saëns’s Fifth Piano Concerto, both with Raoul Pugno as soloist. Composer Alexandre Guilmant also appeared, as organ soloist in his Adoration, Allegro, and Final à la Schumann, as well as Lefebvre’s Méditation. Berlioz’s Overture to King Lear, Franck’s Le chasseur maudit, Saint-Saëns’s Le rouet d’Omphale, and Massenet’s Suite from Les Erinnyes rounded out the program.
The reviewer in Harper’s Bazaar praised the performances of both Pugno and Guilmant, “and the enjoyment of the afternoon was increased by the good work done by the Chicago Orchestra.” The New York Times added, “The Orchestra was heard to great advantage in Saint-Saëns’s symphonic poem, which was played with consummate finish, and Mr. Thomas’s accompaniments to the soloists were a source of joy.” And the New York Tribune heralded the concert as “an exhibition of virtuosity.”
The Orchestra has returned to Carnegie Hall on numerous occasions, under music directors Frederick Stock, Rafael Kubelík, Fritz Reiner, Jean Martinon, Sir Georg Solti, Daniel Barenboim, and Riccardo Muti; principal guest conductors Carlo Maria Giulini, Claudio Abbado, and Pierre Boulez; principal conductor Bernard Haitink; chorus director and conductor Margaret Hillis; and associate conductor Henry Mazer.
This article also appears here.
Austrian pianist Till Fellner is in Chicago this week to perform Mozart’s Piano Concerto no. 22 with the Orchestra under the baton of Bernard Haitink. And in between rehearsals, he visited the Rosenthal Archives to do a little research on his great-grandfather’s brother’s son—that would be his first cousin twice removed—Hugo Kortschak, who was a former violinist and assistant concertmaster of the Chicago Symphony Orchestra!
Here’s a summary of what Fellner discovered:
After studying violin with Otakar Ševčík and composition with Antonín Dvořák at the Prague Conservatory, Hugo Kortschak (1884–1957) briefly was a member of the Berlin Philharmonic. He soon moved to Frankfurt to accept a position with the Museums Quartet and to be an instructor with Hugo Heermann‘s violin school. In 1906 (possibly 1907), he followed Heermann to Chicago, when the latter accepted a post at the Chicago Musical College; and upon his arrival, Kortschak accepted an invitation from second music director Frederick Stock to join the Chicago Symphony Orchestra for the 1907–08 season. He briefly returned to Europe to pursue further study before coming back to Chicago as assistant concertmaster in 1910 through 1912 and (following a European concert tour in 1912–13) again for the 1913–14 season. While in Chicago, he founded the Kortschak Quartet in 1913 which, with the encouragement of Elizabeth Sprague Coolidge, became the Berkshire String Quartet. After his tenure in Chicago, Kortschak later was head of the violin department at Yale University and in his retirement was a member of the Honolulu Symphony Orchestra.
Kortschak also was soloist with the Orchestra on several occasions—all with Stock conducting—as follows:
March 17 and 18, 1911
AULIN Violin Concerto No. 3 in C Minor, Op. 14
March 22 and 23, 1912
MOZART Violin Concerto No. 4 in D Major, K. 218
December 5 and 6, 1913
NOREN Violin Concerto in A Minor, Op. 38 (U.S. premiere)
October 30 and 31, 1914
GOLDMARK Violin Concerto in A Minor, Op. 28
The commercial recording legacy of the Chicago Symphony Orchestra—under second music director Frederick Stock—began on May 1, 1916. For the Columbia Graphophone Company (at an undocumented location in Chicago), they recorded Mendelssohn’s Wedding March from A Midsummer Night’s Dream; Wagner’s Ride of the Valkyries from Die Walküre; and Grieg’s Two Elegiac Melodies, Heart Wounds and The Last Spring.
Mendelssohn’s Wedding March and Grieg’s The Last Spring were each on the first 80-rpm disc issued in October 1916, and a Columbia Records sales brochure raved, “The deepest glories vibrant in such a familiar composition as Mendelssohn’s Wedding March are unguessed until interpreted by such an orchestra as this. From the first trumpet fanfare to the great central crescendo is very joy and glory articulate! . . . There can be no pleasure beyond enjoying such music as the Chicago Symphony here brings to every music-loving home.”
To commemorate this legacy, this collage of record and CD labels is on display in the first floor of Symphony Center’s Rotunda through the end of the Orchestra’s current—the 125th—season. Details of all of the recordings included are below (all recordings were made at Orchestra Hall unless otherwise noted).
Austrian pianist Artur Schnabel made his debut with the Orchestra at the Ravinia Festival on July 11, 1942, performing Beethoven’s Fourth Piano Concerto with George Szell conducting. On July 22 and 24, Schanbel and the Orchestra recorded the Fourth along with Beethoven’s Fifth Piano Concerto at Orchestra Hall for Victor Records. Frederick Stock conducted these, his last, recording sessions with the Orchestra; he died a few short months later on October 20.
The Chicago Symphony Orchestra gave the U.S. premiere of Prokofiev’s Scythian Suite under the baton of the composer on December 6, 1918. On March 16, 1945, third music director Désiré Defauw recorded the work for RCA.
Fourth music director Artur Rodzinski led the Orchestra in a complete performance of Wagner’s Tristan and Isolde—with Set Svanholm and Kirsten Flagstad in the title roles—at the Civic Opera House on November 16, 1947. A month later on December 14, he led the Orchestra in recording sessions for the Prelude and Liebestod at Orchestra Hall.
For Mercury Records, fifth music director Rafael Kubelík led the Orchestra’s first recording of Ravel’s orchestration of Mussorgsky’s Pictures at an Exhibition on April 23 and 24, 1951. Principal trumpet Adolph Herseth performed the opening fanfare.
On March 6, 1954, sixth music director Fritz Reiner and the Orchestra recorded together for the first time: Strauss’s Dance of the Seven Veils from Salome and Ein Heldenleben for RCA. (Reiner’s complete CSO catalog recently was re-released by RCA.)
At the third annual Grammy awards ceremony on April 12, 1961, the Orchestra’s recording of Bartók’s Music for Strings, Percussion, and Celesta received the award for Best Classical Performance–Orchestra. Reiner had conducted the RCA release. That same evening, the Orchestra’s recording of Brahms’s Second Piano Concerto—also on RCA and with Erich Leinsdorf conducting—earned the award for Best Classical Performance–Concerto or Instrumental Soloist for Sviatoslav Richter. These were the first two Grammy awards earned for recordings by the Chicago Symphony Orchestra.
Reiner led the Orchestra, Chicago Symphony Chorus (prepared by its founder Margaret Hillis), and mezzo-soprano Rosalind Elias in Prokofiev’s Alexander Nevsky for RCA—the first recording collaboration with the Orchestra and the Chorus—on March 7, 1959, at Orchestra Hall.
Two years after winning the prestigious 1958 Tchaikovsky Competition in Moscow, Van Cliburn made his first recording with the Orchestra on April 16, 1960: Schumann’s Piano Concerto with Reiner conducting for RCA. (A complete list of Cliburn’s appearances and recordings with the Chicago Symphony Orchestra can be found here.)
On March 19, 1966, seventh music director Jean Martinon led the Orchestra in recording sessions for Martin’s Concerto for Seven Wind Instruments, Timpani, Percussion, and String Orchestra for RCA. Featured soloists were CSO principals Clark Brody (clarinet), Willard Elliot (bassoon), Donald Peck (flute), Dale Clevenger (horn, in his first week on the job), Ray Still (oboe), Adolph Herseth (trumpet), Donald Koss (timpani), and Jay Friedman (trombone). (Martinon’s complete CSO catalog recently was re-released by RCA.)
Benny Goodman recorded Nielsen’s Clarinet Concerto with the Orchestra on June 18, 1966, for RCA. Morton Gould conducted. (Gould’s complete CSO catalog recently was re-released by RCA.)
The Orchestra made its second recording of Rimsky-Korsakov’s Sheherazade on June 30 and July 1, 1969, at Medinah Temple for Angel. Seiji Ozawa, the Ravinia Festival’s first music director, conducted and concertmaster Victor Aitay was violin soloist.
During eighth music director Georg Solti‘s first season as music director, the Orchestra performed Mahler’s Fifth Symphony at Carnegie Hall on January 9, 1970, and were called back for twelve curtain calls. Beginning on March 26 at Medinah Temple, Solti and the Orchestra committed their performance to disc—their first recording together—for London Records.
Daniel Barenboim, who would later become ninth music director, made his first recording with the Orchestra on November 11, 1970, at Medinah Temple. For Angel, he led sessions for Dvořák’s Cello Concerto with his wife Jacqueline du Pré as soloist. (A summary of du Pré’s association with the Orchestra is here.)
Before the Chicago Symphony Orchestra performed the first concert of its first tour to Europe in 1971, Solti led recording sessions for Mahler’s Eighth Symphony at the Sofiensaal in Vienna on August 30, 31, and September 1. Soloists included Heather Harper, Lucia Popp (more about Popp’s performances with the Orchestra is here), Arleen Augér, Yvonne Minton, Helen Watts, René Kollo, John Shirley-Quirk, and Martti Talvela. The recording won three 1972 Grammy awards for Album of the Year–Classical, Best Choral Performance–Classical (other than opera) (for the Chorus of the Vienna State Opera, Singverein Chorus, and Vienna Boys’ Choir), and Best Engineered Recording–Classical.
On December 13, 1977, Barenboim and the Orchestra recorded Bruckner’s Sixth Symphony for Deutsche Grammophon, part of a complete cycle of the composer’s symphonies that also included the Te Deum, Helgoland, and Psalm 150.
Following concerts in Orchestra Hall and Carnegie Hall, Solti led the Orchestra, Chorus, and soloists (including Hildegard Behrens as Leonore and Peter Hofmann as Florestan) and in recording sessions for Beethoven’s Fidelio—”the first digitally recorded opera to be released,” according to Gramophone—at Medinah Temple on May 21, 22, 23, and 24, 1979.
Second music director of the Ravinia Festival, James Levine led the Orchestra, Chorus, Glen Ellyn Children’s Chorus, and soloists (June Anderson, Phillip Creech, and Bernd Weikl) in sessions for Orff’s Carmina burana on July 9 and 10, 1984, for Deutsche Grammophon. The recording was awarded the 1986 Grammy Award for Best Choral Performance (other than opera).
At the end of a subscription concert at Orchestra Hall on January 23, 1986, Solti led the Orchestra and Chorus in a spirited encore of the Chicago Bears‘ fight song “Bear Down, Chicago Bears” in anticipation of the team’s Super Bowl victory. The day after the game, the work was recorded by London Records.
Solti led recording sessions at Medinah Temple for Beethoven’s Ninth Symphony—the second time he and the Orchestra and Chorus had recorded the work—on September 28, 30, and October 7, 1986, for London. Soloists were Jessye Norman, Reinhild Runkel, Robert Schunk, and Hans Sotin. The release was awarded the 1987 Grammy Award for Best Orchestral Performance.
Claudio Abbado, second principal guest conductor, led the Orchestra in Brahms’s Double Concerto with Isaac Stern and Yo-Yo Ma (future Judson and Joyce Green Creative Consultant) as soloists on November 7 and 8, 1986, for CBS Records.
Closing the 97th season in June 1988, Leonard Bernstein led the Orchestra in performances of Shostakovich’s First and Seventh symphonies. Recorded live by Deutsche Grammophon, the release received the 1990 Grammy Award for Best Orchestral Performance.
On March 15, 16, and 17, 1990, Barenboim led the world premiere performances of composer-in-residence John Corigliano’s Symphony no. 1, commissioned for the Orchestra. The live recording—Barenboim and the Orchestra’s first on the Erato label—was awarded two 1991 Grammy awards for Best Orchestral Performance and Best Contemporary Composition.
The recording of Bartók’s The Wooden Prince and Cantata profana led by Pierre Boulez for Deutsche Grammophon—recorded on December 19, 20, and 21, 1991—was awarded four 1993 Grammy awards: Best Classical Album, Best Orchestral Performance, Best Performance of a Choral Work, and Best Engineered Recording–Classical. (A complete list of Boulez’s recordings with the Orchestra is here and his complete Grammy awards are here.)
Between 1993 and 1996, Levine led the Orchestra and Chorus in recording sessions at Medinah Temple for Disney‘s feature film Fantasia 2000. The movie was released on January 1, 2000.
Shortly after being named the Orchestra’s third principal guest conductor, Boulez led sessions for Varèse’s Amériques, Arcana, Déserts, and Ionisation in December 1995 and 1996. The Deutsche Grammophon release was awarded the 2001 Grammy Award for Best Orchestral Performance.
In May 1997 at Medinah Temple, the Orchestra recorded Falla’s Nights in the Gardens of Spain and The Three-Cornered Hat for Teldec. For Nights in the Gardens of Spain, Barenboim was piano soloist and Plácido Domingo conducted; for The Three-Cornered Hat, Jennifer Larmore was mezzo-soprano soloist and Barenboim conducted.
A former Youth Auditions winner and member of the Civic Orchestra of Chicago, Rachel Barton recorded Brahms’s and Joachim’s violin concertos for Cedille Records on July 2 and 3, 2002. Carlos Kalmar conducted.
In his first concerts as principal conductor on October 19, 20, and 21, 2006, Bernard Haitink led the Orchestra, women of the Chorus (prepared by Duain Wolfe), the Chicago Children’s Choir, and mezzo-soprano Michelle DeYoung in Mahler’s Third Symphony. The work is recorded as the inaugural release on CSO Resound.
In May 2008, Haitink and the Orchestra recorded Shostakovich’s Fourth Symphony for CSO Resound. The release was awarded the 2008 Grammy Award for Best Orchestral Performance.
Boulez led the Orchestra in Stravinsky’s Pulcinella, Symphony in Three Movements, and Four Studies in February and March 2009 for CSO Resound. Soloists in the Pulcinella were Roxana Constantinescu, Nicholas Phan, and Kyle Ketelsen.
On January 15, 16, and 17, 2009, Riccardo Muti—in his first concerts as music director designate—led the Orchestra, Chorus, and soloists (Barbara Frittoli, Olga Borodina, Mario Zeffiri, and Ildar Abdrazakov) in Verdi’s Requiem. The subsequent CSO Resound recording was awarded 2010 Grammy awards for Best Classical Album and Best Choral Performance.
Following his first concert as the Chicago Symphony Orchestra’s tenth music director (for more than 25,000 people in Millennium Park) in September 2010, Muti led the Orchestra, Chorus, and soloists (Gérard Depardieu, Mario Zeffiri, and Kyle Ketelsen) in Berlioz’s Symphonie fantastique and Lélio. The two-disc set was released on CSO Resound in September 2015.
On April 7, 9, and 12, 2011, Muti led concert performances—recorded by CSO Resound—of Verdi’s Otello at Orchestra Hall. Along with the Orchestra, Chorus, and Chicago Children’s Chorus, soloists included Aleksandrs Antonenko in the title role, Krassimira Stoyanova as Desdemona, and Carlo Guelfi as Iago.
In February 2012, Muti led world premieres by the Orchestra’s Mead Composers-in-Residence: Anna Clyne’s Night Ferry and Mason Bates’s Alternative Energy. Both works were recorded for CSO Resound and released as digital downloads.
For Sony Classical, composer John Williams led the Orchestra and Chorus in recording sessions at Orchestra Hall for his soundtrack for the motion picture Lincoln. Director Steven Spielberg was on hand to supervise.
Cheers to the next 100!
Bernard Haitink made his debut with the Chicago Symphony Orchestra in March 1976, leading Ravel’s Alborada del gracioso, Stravinsky’s Symphony in Three Movements, and Mendelssohn’s Third Symphony. After return engagements in 1997 and early 2006, it was announced in April 2006 that Haitink would become the Orchestra’s principal conductor beginning the following season, as the search for a new music director continued. (In February 2004, Daniel Barenboim had announced that he would step down as music director when his contract expired at the end of the 2005–06 season.)
Haitink led his first concerts as principal conductor on October 19, 20, and 21, 2006, in Mahler’s Third Symphony featuring mezzo-soprano Michelle DeYoung, the women of the Chicago Symphony Chorus (prepared by Duain Wolfe), and the Chicago Children’s Choir (prepared by Josephine Lee). In April 2007, the work was the initial release on CSO Resound, the Orchestra’s new, in-house recording label.
During his four-year tenure as principal conductor, Haitink led numerous subscription weeks in addition to concerts at the Ravinia Festival; in Carnegie Hall; and on tour to Europe and Asia, including the Orchestra’s first concerts in China. Additional releases on CSO Resound included Bruckner’s Seventh Symphony; Mahler’s First and Sixth symphonies; Strauss’s Ein Heldenleben and Webern’s Im Sommerwind; Mahler’s Second Symphony, Poulenc’s Gloria, and Ravel’s Daphnis and Chloe featuring the Chicago Symphony Chorus (prepared by Duain Wolfe); and Shostakovich’s Fourth Symphony, which won the 2008 Grammy Award for Best Orchestral Performance.
This article also appears here.
Duain Wolfe first prepared the Chicago Symphony Chorus as a guest for a Ravinia Festival program of opera choruses in August 1993 and again early the following February for downtown performances of Schoenberg’s Friede auf Erden. Concluding a three-year search on February 10, 1994, Daniel Barenboim announced that Wolfe would succeed Chorus founder Margaret Hillis, who had served as director since 1957. He officially took directorship of the Chorus on June 1 and Hillis became director laureate.
“There are very few choruses in the world that perform at such a consistently high level, which is, of course, a tribute to Margaret Hillis’s brilliant leadership,” commented Daniel Barenboim in a press release. “The unique thing about the Chicago Symphony Chorus is its continuity. Its members, many of whom have been with the Chorus for a long time, are used to the sound of the Orchestra and to the methods of one director. This has enabled them to achieve their remarkable results. With Duain Wolfe I hope this tradition will develop even further and I look forward to our work together.”
During his tenure, Wolfe has prepared the Chorus for concerts at Orchestra Hall and the Ravinia Festival, as well as on tour in Carnegie Hall and the Philharmonie in Berlin. He also has prepared the Chorus for numerous recordings on American Gramaphone, Deutsche Grammophon, London, Teldec, and CSO Resound, including two Grammy winners: Wagner’s Die Meistersinger von Nürnberg conducted by Sir Georg Solti and Verdi’s Requiem conducted by Riccardo Muti. In 1995, Wolfe inaugurated Welcome Yule!—a popular series of holiday concerts that featured the Orchestra and Chorus along with children’s choruses, dancers, and actors—that enjoyed a twenty-year run.
This article also appears here.
Congratulations to Bernard Haitink—the Chicago Symphony Orchestra’s principal conductor from 2006 until 2010 and a frequent guest conductor—the recipient of this year’s Gramophone magazine award for lifetime achievement!
On the magazine’s website, several of Haitink’s colleagues offered tributes, including Emanuel Ax: “Bernard Haitink has been an inspiration to all of us in the world of music. He has combined never-ending search for truth in the works he conducts with the ability to make each performance sound inevitably right. It has been an incredible privilege for me to share a few steps on his musical journeys, and to witness his devotion and insatiable curiosity for all composers.” And Sir András Schiff added: “Bernard is unique because, of all the conductors I know, he has the least ego. It’s like a breath of fresh air! The way he loves music, and respects and reveres great composers, and how he sees his role, is exactly as it should be: as a medium between the composer and the players and the listeners.”
James Jolly, Gramophone‘s editor-in-chief wrote: “Had Bernard Haitink not conducted another note after stepping down as principal conductor of Amsterdam’s Concertgebouw Orchestra in 1988, his position as one of the world’s great conductors would have been secure enough. . . . But he went on [and is enjoying a] glorious Indian Summer that shows no sign of drawing to a close. . . . As the Grand Old Man of the conducting world, his love for the music remains palpable and we’re delighted to honor him with this special award.”
Congratulations, Maestro Haitink!
That first performance of the symphony (sandwiched between Handel’s Concerto grosso, op. 6, no. 2 and Schumann’s Piano Concerto with Josef Hofmann) on November 6, 1914, left Ronald Webster of the Chicago Daily Tribune a bit puzzled: “The Mahler symphony is less important but more interesting to talk about because it is strictly earthy. There is a suggestion in the program notes that Mahler was not wholly serious in this symphony. It was obvious yesterday that he was not serious at all. Even the finale is not serious, though it is tiresome, being too long. But it is the quality of the humor which is likely to cause people to turn up their noses. The humor is a little coarse, definitely ironical, of a barnyard kind and healthy. Mahler is himself partly to blame for such ideas about him. Definite conceptions such as his (though he may not have been serious about them either) are death to all mystic attitude toward this work. . . . He suggests that the first movement is nature’s awakening at early morning. One suspects that Mahler included in nature the cows and chickens as well as the cuckoo and the dewy grass.” The complete review is here.
Despite that critic’s early apprehensions, the symphony soon became a staple in the Orchestra’s repertoire and has been led—at Orchestra Hall, the Ravinia Festival, and on tour—by a vast array of conductors, including: Roberto Abbado, Claudio Abbado, Daniel Barenboim, Pierre Boulez, James Conlon, Christoph von Dohnányi, Gustavo Dudamel, Christoph Eschenbach, Adam Fischer, Carlo Maria Giulini, Bernard Haitink, Irwin Hoffman, Paul Kletzki, Kirill Kondrashin, Rafael Kubelík, James Levine, Lorin Maazel, Igor Markevitch, Henry Mazer, Eugene Ormandy, Seiji Ozawa, George Schick, Leonard Slatkin, Sir Georg Solti, William Steinberg, Klaus Tennstedt, Michael Tilson Thomas, Edo de Waart, Bruno Walter, and Jaap van Zweden.
And the Orchestra has recorded the work six times, as follows:
Carlo Maria Giulini, conductor
Recorded by Angel at Medinah Temple in March 1971
Christopher Bishop, producer
Carson Taylor, engineer
Giulini’s recording won the 1971 Grammy Award for Best Classical Performance—Orchestra from the National Academy of Recording Arts and Sciences.
Claudio Abbado, conductor
Recorded by Deutsche Grammophon at Orchestra Hall in February 1981
Rainer Brock, producer
Karl-August Naegler, engineer
Klaus Tennstedt, conductor
Recorded by EMI at Orchestra Hall in May and June 1990
John Fraser, producer
Michael Sheady, engineer
Bernard Haitink, conductor
Recorded by CSO Resound at Orchestra Hall in May 2008
James Mallinson, producer
Christopher Willis, engineer
For more information on Muti’s performances of Mahler’s First this week, please visit the CSO’s website.
Sir Georg Solti led the Chicago Symphony Orchestra’s fifth tour to Europe in January and February 1985, including stops in Belgium, England, France, Germany, The Netherlands, Spain, Sweden, and Switzerland.
January 15, 1985 – Konserthuset, Stockholm, Sweden
January 17, 1985 – Beethovenhalle, Bonn, Germany
January 20, 1985 – Alte Oper, Frankfurt, Germany
January 21, 1985 – Tonhalle, Zurich, Switzerland
January 24, 1985 – Teatro Real, Madrid, Spain
January 27, 1985 – Salle Pleyel, Paris, France
January 29, 1985 – Concertgebouw, Amsterdam, The Netherlands
January 31, 1985 – Royal Festival Hall, London, England
SHOSTAKOVICH Symphony No. 9 in E-flat Major, Op. 70
BRUCKNER Symphony No. 9 in D Minor (Unfinished)
January 16, 1985 – Musikhalle, Hamburg, Germany
January 23, 1985 – Teatro Real, Madrid, Spain
January 26, 1985 – Salle Pleyel, Paris, France
February 2, 1985 – Royal Festival Hall, London, England
CORIGLIANO Tournaments Overture
MOZART Symphony No. 39 in E flat Major, K. 543
TCHAIKOVSKY Symphony No. 4 in F Minor, Op. 36
January 18, 1985 – Tonhalle, Düsseldorf, Germany
MOZART Symphony No. 39 in E flat Major, K. 543
BRUCKNER Symphony No. 9 in D Minor (Unfinished)
January 30, 1985 – Palais des Beaux Arts, Brussels, Belgium
SHOSTAKOVICH Symphony No. 9 in E-flat Major, Op. 70
TCHAIKOVSKY Symphony No. 4 in F Minor, Op. 36