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The Chicago Symphony Orchestra has recorded each of Brahms’s four symphonies multiple times and also has recorded the complete cycle on three different occasions. A complete listing is below.

During his tenure as Ravinia Festival music director, James Levine recorded the symphonies with the Orchestra for RCA at Medinah Temple. The recordings were produced by Thomas Z. Shepard and Paul Goodman was the recording engineer. Jay David Saks also co-produced the First Symphony, which was recorded in July 1975. The remaining three were recorded in July 1976.

Eighth music director Sir Georg Solti also led the Orchestra in sessions at Medinah Temple. For London, the four symphonies (along with the Academic Festival and Tragic overtures) were produced by James Mallinson; Kenneth Wilkinson, Colin Moorfoot, and Michael Mailes were the engineers. The Third and Fourth symphonies were recorded in May 1978, and the First and Second were recorded in January 1979. The set won 1979 Grammy awards for Best Classical Album and Best Classical Orchestral Recording from the National Academy of Recording Arts and Sciences.

Daniel Barenboim, the Orchestra’s ninth music director, recorded the four symphonies (along with the Academic Festival and Tragic overtures and the Variations on a Theme by Haydn) live at Orchestra Hall for Erato. Vic Muenzer was producer, Lawrence Rock was the sound engineer, assisted by Christopher Willis; and Konrad Strauss was the mastering engineer. All four symphonies were recorded live in 1993: the First and Third in May, the Fourth in September, and the Second in October.

Recordings of the individual symphonies by other conductors are listed below.

Symphony No. 1 in C Minor, Op. 68

Rafael Kubelík, conductor
Recorded by Mercury in Orchestra Hall in April 1952
David Hall, recording director
C. Robert Fine and George Piros engineers

Günter Wand, conductor
Recorded live for RCA in Orchestra Hall in January 1989
Norman Pellegrini and David Frost, producers
Mitchell Heller, recording engineer
John Purcell, post-production engineer

Symphony No. 3 in F Major, Op. 90

Frederick Stock, conductor
Recorded by Columbia in New York’s Liederkranz Hall in November 1940

Fritz Reiner, conductor
Recorded by RCA in Orchestra Hall in December 1957
Richard Mohr, producer

Symphony No. 4 in E Minor, Op. 98

Carlo Maria Giulini, conductor
Recorded by Angel in Medinah Temple in October 1969
Peter Andry, producer
Carson Taylor, balance engineer

Riccardo Muti and the Chicago Symphony Orchestra perform Brahms’s four symphonies at Orchestra Hall in May. Details here and here.

thomas-at-desk

Theodore Thomas, the Chicago Orchestra‘s first music director, died on January 4, 1905. For many years after, the Orchestra would dedicate the first concerts of the new year to his memory, frequently performing works closely associated with their founder. We continue that tradition on this week’s radio broadcast, as Frank Villella, director of the CSO’s Rosenthal Archives, co-hosts a retrospective of works that Thomas introduced to audiences in the United States, both with the Chicago Orchestra and other ensembles.

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BRAHMS Academic Festival Overture, Op. 80
Daniel Barenboim, conductor
Recorded by Erato in Orchestra Hall, September 1993

In 1879, the University of Breslau in Poland bestowed upon Johannes Brahms an honorary doctorate, and to show his appreciation, he composed the Academic Festival Overture the following summer. The composer himself led the first public performance at the university in January 1881, and later that year on November 29, Thomas led the U.S. premiere in New York.

Daniel Barenboim, early in his tenure as the Chicago Symphony Orchestra’s ninth music director, recorded Brahms’s complete symphonies, along with the Tragic Overture, Variations on a Theme by Haydn, and the Academic Festival Overture, all for Erato Records.

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WAGNER Prelude and Liebestod from Tristan and Isolde
Artur Rodzinski, conductor
Recorded by RCA in Orchestra Hall, December 1947

In the nineteenth century, Thomas was Richard Wagner’s greatest advocate in the United States, both before and after he founded the Chicago Orchestra. During his fourteen seasons as music director, he programmed Wagner’s music on nearly half of his concerts, both in Chicago and with the Orchestra on tour. Thomas gave the U.S. premiere of the Prelude from Tristan and Isolde in New York on February 10, 1866, less than a year after the opera’s first complete performances in Munich; and he also gave the first U.S. performance of the Prelude paired with the Liebestod in Boston on December 6, 1871. Thomas programmed these two works together fifteen times on subscription concerts during his tenure as music director.

Artur Rodzinski was the Orchestra’s fourth music director for only one season (1947–48). One of his great successes was a concert performance of Wagner’s Tristan and Isolde in November 1947, featuring soprano Kirsten Flagstad in her first operatic appearance in the United States since the end of World War II. The legendary Chicago Tribune critic Claudia Cassidy called the performance “the dawn of a new operatic day in Chicago.” A month later, Rodzinski and the Orchestra recorded the Prelude and Liebestod for RCA.

elgar-enigma

ELGAR Variations on an Original Theme, Op. 36 (Enigma)
Sir Georg Solti, conductor
Recorded by London in Medinah Temple, May 1974

Thomas gave the U.S. premiere of Sir Edward Elgar’s Enigma Variations with the Chicago Orchestra on January 3, 1902, and it was such a crowd-pleaser that he programmed it a second time later that season. A few years later in April 1907, second music director Frederick Stock invited the composer himself to lead several of his works, including In the South, the first Pomp and Circumstance March, and the Enigma Variations. The Chicago Tribune reported that, “The men of the Orchestra gave him their closest attention and heartiest sympathy yesterday, and the result was a performance of the three compositions which was technically and tonally of highest worth. Sir Edward himself seemed genuinely pleased and his assertion after the concert that the ‘work of the Orchestra surpassed all his fondest expectations’ evidently was the expression of his true feeling.”

Sir Georg Solti, the Chicago Symphony Orchestra’s eighth music director, recorded the Enigma Variations on May 15, 1974, at Medinah Temple for London Records.

reiner-heldenleben
STRAUSS Ein Heldenleben, Op. 40
Fritz Reiner, conductor
Recorded by RCA in Orchestra Hall, March 1954

During the summer of 1883, Thomas visited Europe and according to his Memoirs—edited by his widow, Rose Fay Thomas—the conductor, “had met, in Munich, a young and almost unknown composer, one Richard Strauss, who has recently finished writing a symphony. Thomas secured the first movement of the work, and was so much impressed with it that he requested young Strauss to let him have the other movements, promising to bring out the whole work in a concert of the Philharmonic Society.” Thomas kept that promise and in New York in December 1884, he led the world premiere of the Second Symphony in F minor—the first music of Richard Strauss to be performed in the United States. Strauss would later send new scores, and Thomas introduced several works to the United States with the Orchestra, including Till Eulenspiegel’s Merry Pranks, Also sprach Zarathustra, Don Quixote, along with Ein Heldenleben, first performed in Chicago on March 9, 1900.

Near the end of his first season as sixth music director, Fritz Reiner made his first recordings with the Orchestra for RCA. In Orchestra Hall on March 6, 1954, they recorded Strauss’s Dance of the Seven Veils from Salome and Ein Heldenleben, with violin solos performed by then-concertmaster John Weicher. Reiner’s CSO recordings of music by Strauss have never been out of print, and in 2013, Sony re-issued Reiner’s complete CSO catalog on RCA, a boxed set of sixty-three CDs.

gould-tchaikovsky-waltzes-rca

TCHAIKOVSKY Final Waltz and Apotheosis from The Nutcracker, Op. 71
Morton Gould, conductor
Recorded by RCA in Orchestra Hall, January 1966

Thomas gave the U.S. premiere of a suite from Pyotr Ilyich Tchaikovsky’s Nutcracker on October 22, 1892, on the first concert of the Orchestra’s second season. The program note described Tchaikovsky as the “composer, who, in his fifth symphony, has led us into the highest realms of art and stirred our very soul,” and the note described the selections from the ballet as “miniature pictures painted with infinite grace and care,” showing the composer, “in one of his playful and trifling moods.”

Morton Gould, a frequent guest conductor on Popular concerts in the 1960s, recorded selections from Tchaikovsky’s Nutcracker at Orchestra Hall on January 31, 1966, for RCA. A six-disc set of Gould’s complete recordings with the Orchestra was released by Sony in February 2016.

In May 2016, the Chicago Symphony Orchestra celebrated 100 years of recording.

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Sir Georg Solti acknowledges Witold Lutosławski following the premiere of his Third Symphony on September 29, 1983 (Terry’s photo)

To open the Chicago Symphony Orchestra’s ninety-third season on September 29, 1983, Sir Georg Solti led the world premiere of Witold Lutosławski’s Symphony no. 3. The work had been commissioned by the Orchestra and was made possible by a generous gift from Mr. and Mrs. John C. Stetson.

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Detail of the opening bars of Lutosławski’s Third Symphony

The composer was in Chicago for the premiere and contributed to the program notes: “I began sketching my Third Symphony as early as in 1972. In the following years I composed the main movement, but subsequently I discarded it completely. It took several years for the idea to become mature and it was only in January 1983 that the whole score finally was ready. . . . When composing the symphony, I had constantly in mind the magnificent sound of the Chicago Symphony Orchestra, whose recordings are still in my working room. It was a tremendous stimulus for my imagination. But on the other hand, the weight of responsibility when writing a work for such an extraordinary ensemble made me especially exacting towards myself. That is probably why the work on the symphony cost me such a long time.”

The symphony was recorded for radio broadcast on WFMT, and the recording was later released on Chicago Symphony Orchestra: The First 100 Years, issued during the centennial season in 1991. Daniel Barenboim and the Orchestra also recorded it live in concert in October 1992 for Erato Records.

This article also appears here and portions previously appeared here.

MENDELSSOHN Wedding MarchThe 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.”

Recording_Centennial_Rotunda_Display_102.75x60

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).

BEETHOVEN Piano Concerto No. 4-2Austrian 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, Schnabel 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.

PROKOFIEV Scythian Suite-2 WAGNER Prelude and Liebestod-2The 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.

STRAUSS Ein HeldenlebenMUSSORGSKY Pictures at an ExhibitionFor 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.)

BARTOK Music for Strings, Percussion, and CelestaBRAHMS Piano Concerto No. 2At 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.

SCHUMANN Piano ConcertoPROKOFIEV Alexander NevskyReiner 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.)

MARTIN Concerto for Seven WindsOn 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.)

SHOSTAKOVICH Symphony No. 6-2NIELSEN Clarinet Concerto-2Benny 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.)

At Medinah Temple on February 20 and 21, 1968, Leopold Stokowski and the Orchestra recorded Shostakovich’s Symphony no. 6  for RCA.

BERLIOZ Romeo and Juliet-2RIMSKY-KORSAKOV Sheherazade-2Carlo Maria Giulini—the Chicago Symphony Orchestra’s first principal guest conductor—recorded selections from Berlioz’s Romeo and Juliet for Angel on October 13 and 14, 1969, at Medinah Temple.

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.

DVORAK Cello Concerto-2MAHLER Symphony no. 5During 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.)

MAHLER Symphony No. 8-2Before 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 HarperLucia Popp (more about Popp’s performances with the Orchestra is here), Arleen AugérYvonne MintonHelen WattsRené KolloJohn 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 OperaSingverein Chorus, and Vienna Boys’ Choir), and Best Engineered Recording–Classical.

BEETHOVEN Fidelio BRUCKNER Symphony No. 6-2On 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.

ORFF Carmina Burana DOWNS Bear Down, Chicago BearsSecond 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.

BRAHMS Double Concerto-2BEETHOVEN Symphony No. 9-2Solti 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.

SHOSTAKOVICH Symphony No. 7CORIGLIANO Symphony No. 1Closing 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.

Fantasia 2000BARTOK The Wooden PrinceThe 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.

VARESE Amerique etcFALLA Gardens of SpainShortly 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.

MAHLER Symphony no. 3BRAHMS Violin ConcertoA 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.

SHOSTAKOVICH Symphony No. 4CSOR_SP_booklet_rainbow_nobox.inddIn 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.

BERLIOZ Symphonie fantastiqueVR_booklet_CSOR_901_1008.inddOn January 15, 16, and 17, 2009, Riccardo Muti—in his first concerts as music director designate—led the Orchestra, Chorus, and soloists (Barbara FrittoliOlga 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.

VERDI OtelloBates and ClyneOn 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.

LincolnFor 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!

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Daniel Barenboim and John Corigliano review the score to Symphony no. 1 (Terry's photo)

Daniel Barenboim and John Corigliano review the score to Symphony no. 1 (Terry’s photo)

At the invitation of music director Sir Georg Solti, John Corigliano became the Chicago Symphony Orchestra’s first composer-in-residence in 1987, and his Symphony no. 1 was jointly commissioned for the Orchestra’s centennial by the Chicago Symphony and the Meet-the-Composer Orchestra Residencies Program.

“During the past decade I have lost many friends and colleagues to the AIDS epidemic, and the cumulative effect of those losses has, naturally, deeply affected me. My First Symphony was generated by feelings of loss, anger, and frustration,” wrote Corigliano in the program note for the premiere. “A few years ago, I was extremely moved when I first saw ‘The Quilt,’ an ambitious interweaving of several thousand fabric panels, each memorializing a person who had died of AIDS, and, most importantly, each designed and constructed by his or her loved ones. This made me want to memorialize in music those I have lost, and reflect on those I am losing.”

Corigliano album cover

Music director designate Daniel Barenboim conducted the world premiere of the symphony on March 15, 1990, with soloists principal cello John Sharp and, offstage, pianist Stephen Hough. The live recording—Barenboim and the Orchestra’s first on the Erato label—won two 1991 Grammy awards for Best Orchestral Performance and Best Contemporary Composition.

Corigliano served the Orchestra as composer-in-residence until 1990, and he was succeeded by Shulamit Ran (1990–1997), Augusta Read Thomas (1997–2006), Osvaldo Golijov and Mark-Anthony Turnage (2006–2010), Mason Bates and Anna Clyne (2010–2015), and Samuel Adams and Elizabeth Ogonek beginning in 2015. In January 2002, CSO trustee Cynthia Sargent and her sister, governing member Sally Hands, endowed the position, and Augusta Read Thomas became the Orchestra’s first Mead Composer-in-Residence.

This article also appears here.

Placido Domingo

Wishing the happiest of birthdays to Plácido Domingo, celebrating his seventh-fifth!

The legendary singer has appeared in Chicago on both concert and opera stages, performing with the Chicago Symphony Orchestra as vocal soloist and conductor at Orchestra Hall, the Ravinia Festival, and several other venues in Chicago and in Europe. A complete list of his performances with the Orchestra is below (all concerts at Orchestra Hall unless otherwise noted):

October 9, 1987 (special concert celebrating Sir Georg Solti‘s seventy-fifth birthday)
J. STRAUSS, Jr. Overture to Die Fledermaus
Plácido Domingo, conductor
VERDI Excerpts from Act 1 of Otello
Sir Georg Solti, conductor
Kiri Te Kanawa, soprano
Plácido Domingo, tenor
Joseph Wolverton, tenor
Kurt R. Hansen, tenor
David Huneryager, baritone
Richard Cohn, baritone
Chicago Symphony Chorus
Margaret Hillis, director

Solti 75

October 9, 1987 (Jim Steere photo)

June 27, 1992 (Ravinia Festival)
SAINT SAËNS Samson and Delilah
James Levine, conductor
Denyce Graves, mezzo-soprano
Plácido Domingo, tenor
David Anderson, tenor
John Concepcion, tenor
Sherrill Milnes, baritone
Bryn Terfel, bass-baritone
Sergei Koptchak, bass
Paul Grizzell, bass
Chicago Symphony Chorus
Margaret Hillis, director

June 27, 1994 (Petrillo Music Shell, Grant Park)
Miguel Roa, conductor
Veronica Villaroel, soprano
Plácido Domingo, tenor
SOROZÁBAL Madrileña bonita from La del manojo de Rosas
MORENO TORROBA Los vareadores from Luisa Fernanda
MORENO TORROBA En mi tierra extremena from Luisa Fernanda
PENELLA Torero quiero ser from El gato montés
MORENO TORROBA De este apacible rincón from Luisa Fernanda
GUERRERO Fiel espada from El Huésped del Sevillano
MORENO TORROBA Amor, vida de mi vida from Maravilla
CABALLERO No cantes mas from El duo de la Africana
SOROZÁBAL No puede ser from La tabernera del puerto
SERRANO Te quiero Morena from El trust de los tenorios
LARA Granada

July 6, 1994 (Ravinia Festival)
Plácido Domingo, conductor
TCHAIKOVSKY Romeo and Juliet
SAINT SAËNS Introduction and Rondo capriccioso in A Minor, Op. 28
Sarah Chang, violin
SARASATE Concert Fantasies on Carmen, Op. 25
Sarah Chang, violin
TCHAIKOVSKY Symphony No. 4 in F Minor, Op. 36

July 8, 1994 (Ravinia Festival)
Eugene Kohn, conductor
Kallen Esperian, soprano
MOZART Dalla sua pace from Don Giovanni, K. 527
MOZART Ma qual mai soffre, O Dei, from Don Giovanni, K. 527
VERDI Quando le sere al placido from Luisa Miller
VERDI Già nella notte densa from Otello
PUCCINI E lucevan le stelle from Tosca
MEYERBEER O, Paradis! from L’africaine
GOUNOD Il se fait tard . . . O nuit d’amour from Faust
DONIZETTI Caro elisir . . . Trallarallara . . . Esulti pur la barbara from L’elisir d’amore

May 2, 1996 (special concert celebrating Daniel Barenboim‘s Silver Jubilee)
Daniel Barenboim, conductor
Plácido Domingo, tenor
MOZART Dalla sua pace from Don Giovanni, K. 527
BERLIOZ Invocation to Nature from The Damnation of Faust, Op. 24
VERDI Otello’s Death from Otello
WAGNER Winterstürme from Die Walküre
TCHAIKOVSKY Lenski’s Aria from Eugene Onegin

May 12, 1997 (United Center)
Daniel Barenboim, conductor
Elizabeth Futral, soprano
Plácido Domingo, tenor
MASSENET Ô souverain, ô juge, ô père from Le Cid
CILÈA E’ la solita storia from L’Arlesiana
WAGNER Winterstürme from Die Walküre
DONIZETTI Caro elisir . . . Trallarallara . . . Esulti pur la barbara from L’elisir d’amore
PUCCINI E lucevan le stelle from Tosca
MASCAGNI Suzel, buon dì! from L’amico Fritz
LEHÁR Dein ist mein ganzes Herz from The Land of Smiles
LEHÁR Lippen schweigen from The Merry Widow
MOZART Là ci darem la mano from Don Giovanni, K. 527
SOROZÁBAL No puede ser from La tabernera del puerto
LARA Granada
VERDI Brindisi—Libiamo, libiamo ne’ lieti calici from La traviata

Star-Crossed Lovers

January 26, 1998 (Dan Rest photo)

May 13, 15, 16, and 17, 1997 (Medinah Temple)
June 8 and 9, 1997 (Philharmonie, Cologne, Germany)
FALLA Nights in the Gardens of Spain
Plácido Domingo, conductor
Daniel Barenboim, piano

October 4, 1997 (Symphony Center Opening Night Gala)
Daniel Barenboim, conductor
Soile Isokoski, soprano
Plácido Domingo, tenor
VERDI Già nella notte densa from Otello
VERDI Niun mi tema from Otello

January 26, 1998 (Star-Crossed Lovers)
Daniel Barenboim, conductor and piano
Renée Fleming, soprano
Plácido Domingo, tenor
BERNSTEIN Tonight from West Side Story
GOUNOD Il se fait tard . . . O nuit d’amour from Faust
VERDI Già nella notte densa from Otello
LEHÁR Dein ist mein ganzes Herz from The Land of Smiles
LEHÁR Lippen schweigen from The Merry Widow
GARDEL El día que me quieras
MORENO TORROBA ¡Quisiera verte y no verte!
MORENO TORROBA Jota castellana

May 25, 26, 27, and 30, 2000
Plácido Domingo, conductor
WAGNER Siegfried Idyll
MENDELSSOHN Violin Concerto in E Minor, Op. 64
Rachel Barton, violin
BEETHOVEN Symphony No. 7 in A Major, Op. 92

August 4, 2007 (Ravinia Festival)
James Conlon, conductor
Ana María Martínez, soprano
Plácido Domingo, tenor
MASSENET Ô souverain, ô juge, ô père from Le Cid
CILÈA E’ la solita storia from L’Arlesiana
WAGNER Winterstürme from Die Walküre
VERDI Già nella notte densa from Otello
MORENO TORROBA Amor, vida de mi vida from Maravilla
MORENO TORROBA En mi tierra extremena from Luisa Fernanda
BERNSTEIN Tonight from West Side Story
SOROZÁBAL No puede ser from La tabernera del puerto
PENELLA Duet from El gato montés
LARA Granada
LEHÁR Lippen schweigen from The Merry Widow

Domingo also recorded with the Orchestra on three occasions:

VERDI Requiem
Recorded in Orchestra Hall on September 20 and 21, 1993
Daniel Barenboim, conductor
Alessandra Marc, soprano
Waltraud Meier, mezzo-soprano
Plácido Domingo, tenor
Ferruccio Furlanetto, bass
Chicago Symphony Chorus
Margaret Hillis, director
Erato
(Verdi’s Requiem was performed on September 17, 18, 23, and 25, 1993, with Vicente Ombuena singing the tenor solos; Domingo was in Chicago only on September 20.)

FALLA Nights in the Gardens of Spain
Recorded in Medinah Temple on May 13, 15, 16, and 17, 1997
Plácido Domingo, conductor
Daniel Barenboim, piano
Teldec

Star-Crossed Lovers
Recorded in Orchestra Hall on January 26, 1998
Daniel Barenboim, conductor and piano
Renée Fleming, soprano
Plácido Domingo, tenor
BERNSTEIN Tonight from West Side Story
GOUNOD Il se fait tard . . . O nuit d’amour from Faust
GARDEL El día que me quieras
MORENO TORROBA ¡Quisiera verte y no verte!
MORENO TORROBA Jota castellana
VERDI Già nella notte densa from Otello
LEHÁR Dein ist mein ganzes Herz from The Land of Smiles
LEHÁR Lippen schweigen from The Merry Widow
London

Happy, happy birthday!

Wishing a very happy seventieth birthday to Itzhak Perlman!

Itzhak Perlman

A frequent and favorite guest artist in Chicago, Perlman has appeared with the Chicago Symphony Orchestra as both violin soloist and conductor on numerous occasions. He first appeared with the Orchestra at the Ravinia Festival on August 4, 1966 (a few weeks shy of his twenty-first birthday), in Tchaikovsky’s Violin Concerto with Thomas Schippers conducting, and he first appeared at Orchestra Hall on May 11 and 12, 1967, in Prokofiev’s Second Violin Concerto with Jean Martinon conducting.

Most recently, Perlman was soloist with the Orchestra downtown on March 7, 2011, in Mendelssohn’s Violin Concerto and Clark McAlister’s arrangement of Kreisler‘s Liebesfreud with James DePreist conducting, and at Ravinia on August 7, 2013, in Mendelssohn’s Violin Concerto with Carlos Miguel Prieto conducting.

Itzhak Perlman (photo by Lisa Marie Mazzucco)

Itzhak Perlman (Lisa Marie Mazzucco photo)

As a conductor, Perlman first led the Chicago Symphony Orchestra at the Ravinia Festival on July 25, 1999, in Bach’s Second Violin Concerto and Beethoven’s First Romance for Violin (also performing as soloist), along with Schubert’s Overture to Rosamunde and Brahms’s Fourth Symphony. He has led the Orchestra at Orchestra Hall on one occasion, on November 17, 2008, in Bach’s First Violin Concerto (also performing as soloist), Mozart’s Symphony no. 35, and Tchaikovsky’s Fifth Symphony. Most recently, he conducted the Orchestra at the Ravinia Festival on August 8, 2013, leading Brahms’s Academic Festival Overture, Haydn’s Second Cello Concerto with Alisa Weilerstein, and Tchaikovsky’s Fifth Symphony.

Perlman also has recorded several times with the Orchestra, as follows:

BRAHMS Concerto for Violin in D Major, Op. 77
Recorded in Medinah Temple, November and December 1976
Carlo Maria Giulini, conductor
Angel
1978 Grammy Award for Best Classical Album

Perlman Brahms

BRAHMS Concerto for Violin and Cello in A Minor, Op. 102 (Double)
Recorded in Orchestra Hall, September 1996
Yo-Yo Ma, cello
Daniel Barenboim, conductor
Teldec

ELGAR Violin Concerto in B Minor, Op. 61
Recorded in Orchestra Hall, March 1981
Daniel Barenboim, conductor
Deutsche Grammophon
1982 Grammy Award for Best Classical Performance–Instrumental Soloist or Soloists (with orchestra)

MENDELSSOHN Violin Concerto in E Minor, Op. 64
Recorded in Orchestra Hall, May 1993
Daniel Barenboim, conductor
Erato

recording session

Barenboim and Perlman recording in Orchestra Hall in May 1993 (Jim Steere photo)

PROKOFIEV Violin Concerto No. 2 in G Minor, Op. 63
Recorded in Orchestra Hall, May 1993
Daniel Barenboim, conductor
Erato

STRAVINSKY Violin Concerto in D Major
Recorded in Orchestra Hall, September 1994
Daniel Barenboim, conductor
Teldec

Happy, happy birthday!

19 Boulez

Since 1991, Helen Regenstein Conductor Emeritus Pierre Boulez has amassed and extraordinary discography with the Chicago Symphony Orchestra, including landmark twentieth-century masterpieces by Béla Bartók, Igor Stravinsky, and Edgard Varèse, as well as Gustav Mahler and Richard Strauss. And in 2005 as part of the CSO’s From the Archives series, a two-disc tribute of radio broadcast performances was released. A complete list of those recordings is below:

BACH/Schoenberg Prelude and Fugue in E flat Major, BWV 552 (Saint Anne)
Recorded in Orchestra Hall, December 1991
CSO (From the Archives, vol. 19: A Tribute to Pierre Boulez)

Boulez Bluebeard

BARTÓK Bluebeard’s Castle
Jessye Norman, soprano
László Polgár, bass
Nicholas Simon, narrator
Recorded in Orchestra Hall, December 1993
Deutsche Grammophon
1998 Grammy Award for Best Opera

BARTÓK Cantata profana
John Aler, tenor
John Tomlinson, bass
Chicago Symphony Chorus
Margaret Hillis, director
Recorded in Orchestra Hall, December 1991
Deutsche Grammophon
1993 Grammy Awards for Best Classical Album, Best Engineered Recording–Classical, Best Performance of a Choral Work

Boulez Bartok Concerto

BARTÓK Concerto for Orchestra
Recorded in Orchestra Hall, November 1992
Deutsche Grammophon
1994 Grammy Awards for Best Classical Album and Best Orchestral Performance

BARTÓK Concerto for Piano No. 1
Krystian Zimerman, piano
Recorded in Orchestra Hall, November 2001
Deutsche Grammophon

Boulez Shaham

BARTÓK Concerto for Violin No. 2
Gil Shaham, violin
Recorded in Orchestra Hall, December 1998
Deutsche Grammophon

BARTÓK Dance Suite
Recorded in Orchestra Hall, December 1992
Deutsche Grammophon

BARTÓK Two Pictures for Orchestra, Op. 10
Recorded in Orchestra Hall, December 1992
Deutsche Grammophon

BARTÓK Divertimento for String Orchestra
Recorded in Orchestra Hall, December 1993
Deutsche Grammophon

BARTÓK Four Pieces for Orchestra, Op. 12
Recorded in Orchestra Hall, December 1992
Deutsche Grammophon
1994 Grammy Awards for Best Classical Album and Best Orchestral Performance

BARTÓK Hungarian Sketches
Recorded in Orchestra Hall, December 1993
Deutsche Grammophon

Boulez Mandarin

BARTÓK The Miraculous Mandarin, Op. 19
Chicago Symphony Chorus
Duain Wolfe, director
Recorded in Orchestra Hall, December 1994
Deutsche Grammophon

BARTÓK Music for Strings, Percussion, and Celesta
Recorded in Orchestra Hall, December 1994
Deutsche Grammophon

BARTÓK Rhapsody for Violin and Orchestra No. 1
Gil Shaham, violin
Recorded in Orchestra Hall, December 1998
Deutsche Grammophon

BARTÓK Rhapsody for Violin and Orchestra No. 2
Gil Shaham, violin
Recorded in Orchestra Hall, December 1998
Deutsche Grammophon

Boulez Prince

BARTÓK The Wooden Prince
Recorded in Orchestra Hall, December 1991
Deutsche Grammophon
1993 Grammy Award for Best Classical Album, Best Engineered Recording–Classical, and Best Orchestral Performance

BERG Lulu Suite
Christine Schäfer, soprano
Recorded in Kölner Philharmonie, Cologne, Germany, April 2000
EuroArts

BOULEZ Fanfare for the 80th Birthday of Sir Georg Solti
Recorded in Orchestra Hall, November 1992
CSO (From the Archives, vol. 19: A Tribute to Pierre Boulez)

BOULEZ Livre pour cordes
Recorded in Orchestra Hall, December 1999
CSO (From the Archives, vol. 19: A Tribute to Pierre Boulez)

DEBUSSY First Rhapsody for Clarinet and Orchestra
Larry Combs, clarinet
Recorded in Orchestra Hall, November 1994
CSO (From the Archives, vol. 15: Soloists of the Orchestra II)

Boulez EuroArts

DEBUSSY Le jet d’eau
Christine Schäfer, soprano
Recorded in Kölner Philharmonie, Cologne, Germany, April 2000
EuroArts

DEBUSSY Symphonic Fragments from Le martyre de Saint Sébastien
Recorded in Orchestra Hall, December 1995
CSO (From the Archives, vol. 19: A Tribute to Pierre Boulez)

DEBUSSY Three Ballads by François Villon
Christine Schäfer, soprano
Recorded in Kölner Philharmonie, Cologne, Germany, April 2000
EuroArts

JANÁČEK Glagolitic Mass
Elzbieta Szmytka, soprano
Nancy Maultsby, mezzo-soprano
Stuart Neill, tenor
Nathan Berg, bass-baritone
David Schrader, organ
Chicago Symphony Chorus
Duain Wolfe, director
Recorded in Orchestra Hall, November 2000
CSO (From the Archives, vol. 19: A Tribute to Pierre Boulez)

MAHLER Three Rückert-Lieder (Liebst du um Schönheit, Ich atmet’ einen linden Duft, and Ich bin der Welt abhanden gekommen)
José van Dam, bass-baritone
Recorded in Orchestra Hall, November 1996
CSO (From the Archives, vol. 19: A Tribute to Pierre Boulez)

MAHLER Symphony No. 1 in D Major
Recorded in Orchestra Hall, May 1998
Deutsche Grammophon

Boulez Mahler 9

MAHLER Symphony No. 9 in D Major
Recorded in Medinah Temple, December 1995
Deutsche Grammophon
1998 Grammy Award for Best Orchestral Performance

MAHLER Totenfeier
Recorded in Orchestra Hall, December 1996
Deutsche Grammophon

MESSIAEN L’ascension
Recorded in Orchestra Hall, November 1996
CSO (From the Archives, vol. 19: A Tribute to Pierre Boulez)

Boulez Pelleas

SCHOENBERG Pelleas und Melisande
Recorded in Orchestra Hall, December 1991
Erato

SCHOENBERG Variations for Orchestra, Op. 31
Recorded in Orchestra Hall, December 1991
Erato

SCRIABIN Piano Concerto in F-sharp Minor, Op. 20
Anatol Ugorski, piano
Recorded in Orchestra Hall, December 1996
Deutsche Grammophon

Boulez Prometheus

SCRIABIN Prometheus, Op. 60
Anatol Ugorski, piano
Chicago Symphony Chorus
Duain Wolfe, director
Recorded in Orchestra Hall, December 1996
Deutsche Grammophon

SCRIABIN Symphony No. 4, Op. 54 (The Poem of Ecstasy)
Recorded in Medinah Temple, November 1995
Deutsche Grammophon

Boulez Zarathustra

STRAUSS Also sprach Zarathustra, Op. 30
Recorded in Orchestra Hall, December 1996
Deutsche Grammophon

STRAUSS Till Eulenspiegel’s Merry Pranks, Op. 28
Recorded in Orchestra Hall, November 1995
CSO (From the Archives, vol. 19: A Tribute to Pierre Boulez)

STRAVINSKY The Firebird
Recorded in Orchestra Hall, December 1992
Deutsche Grammophon

STRAVINSKY The Firebird
Recorded in Kölner Philharmonie, Cologne, Germany, April 2000
EuroArts

Boulez Firebird

STRAVINSKY Fireworks, Op. 4
Recorded in Orchestra Hall, November 1992
Deutsche Grammophon

STRAVINSKY Four Studies
Recorded in Orchestra Hall, November 1992
Deutsche Grammophon

STRAVINSKY Four Studies
Recorded in Orchestra Hall, February and March 2009
CSO Resound

Boulez Pulcinella

STRAVINSKY Pulcinella
Roxana Constantinescu, mezzo-soprano
Nicholas Phan, tenor
Kyle Ketelsen, bass-baritone
Recorded in Orchestra Hall, March 2009
CSO Resound

STRAVINSKY Symphony in Three Movements
Recorded in Orchestra Hall, February and March 2009
CSO Resound

STRAVINSKY Symphony of Psalms
Chicago Symphony Chorus
Duain Wolfe, director
Recorded in Orchestra Hall, November 2000
CSO (From the Archives, vol. 22: Chicago Symphony Chorus: A Fiftieth Anniversary Celebration)

Boulez Thomas

THOMAS . . . words of the sea . . .
Recorded in Orchestra Hall, December 1996
ARTCD

VARÈSE Amériques
Recorded in Orchestra Hall, December 1995
Deutsche Grammophon
2001 Grammy Award for Best Orchestral Performance

VARÈSE Arcana
Recorded in Orchestra Hall, December 1996
Deutsche Grammophon
2001 Grammy Award for Best Orchestral Performance

Boulez Varèse

VARÈSE Déserts
Recorded in Orchestra Hall, December 1996
Deutsche Grammophon
2001 Grammy Award for Best Orchestral Performance

VARÈSE Ionisation
Recorded in Orchestra Hall, December 1995
Deutsche Grammophon
2001 Grammy Award for Best Orchestral Performance

The Orchestra also has recorded compositions by Boulez, released both commercially and as part of the From the Archives series:

BOULEZ Messagesquisse for Seven Cellos
Daniel Barenboim, conductor
John Sharp, Stephen Balderston, Philip Blum, Loren Brown, Richard Hirschl, Jonathan Pegis, and Gary Stucka, cellos
Recorded in Orchestra Hall, September 1994
CSO (From the Archives, vol. 21: Soloists of the Orchestra III)

Boulez Notations Barenboim

BOULEZ Notations for Orchestra I-IV
Recorded in Kölner Philharmonie, Cologne, Germany, April 2001
Daniel Barenboim, conductor
EuroArts

BOULEZ Notations for Orchestra VII
Daniel Barenboim, conductor
Recorded in Orchestra Hall, January 2000
Teldec

Numerous upcoming programs celebrate Pierre Boulez, including Beyond the Score: A Pierre Dream on November 14 and 16, 2014, and Boulez’s Piano Works on March 15, 2015, with Pierre-Laurent Aimard and Tamara Stefanovich.

As we count down the days to Giuseppe Verdi‘s 200th birthday and our performance and simulcast of his Requiem led by Riccardo Muti, here are all of the recordings of the work by the Chicago Symphony Orchestra and Chorus.

Our eighth music director, Sir Georg Solti, was the first to commercially record Verdi’s Requiem. The work was recorded in Medinah Temple on June 1 and 2, 1977.

Solti

1977 – Sir Georg Solti

The soloists were Leontyne Price, soprano; Janet Baker, mezzo-soprano; Veriano Luchetti, tenor; and José van Dam, bass-baritone. The Chicago Symphony Chorus was prepared by Margaret Hillis.

Thomas Z. Shepard produced the recording, and Paul Goodman was the engineer for RCA (this was one of the few records Solti made independent of London/Decca). The recording won the 1977 Grammy Award for Best Choral Performance (other than opera) from the National Academy of Recording Arts and Sciences.

Barenboim

1993 – Daniel Barenboim

Ninth music director Daniel Barenboim led recording sessions for Verdi’s Requiem on September 20 and 21, 1993, in Orchestra Hall.

Soloists included Alessandra Marc, soprano; Waltraud Meier, mezzo-soprano; Plácido Domingo, tenor; and Ferruccio Furlanetto, bass. The Chicago Symphony Chorus was prepared by Margaret Hillis.

Martin Sauer produced the recording; Jean Chatauret was the sound engineer, assisted by Christopher Willis; and Martine Guers was the editor for Erato.

In his first concerts at the CSO’s music director designate, Riccardo Muti led performances of Verdi’s Requiem at Orchestra Hall on January 15, 16, and 17, 2009. The performances were recorded live for CSO Resound.

Muti

2009 – Riccardo Muti

The soloists were Barbara Frittoli, soprano; Olga Borodina, mezzo-soprano; Mario Zeffiri, tenor; and Ildar Abdrazakov, bass. The Chicago Symphony Chorus was prepared by Duain Wolfe.

Christopher Adler produced the recording, and Christopher Willis was the recording engineer. David Frost and Tom Lazarus did the mixing, and Frost and Silas Brown performed the stereo mastering. The recording won 2010 Grammy Awards for Best Classical Album and Best Choral Performance from the National Academy of Recording Arts and Sciences.

But wait, there’s more . . .

Fritz Reiner, the CSO’s sixth music director, led performances of the Requiem at Orchestra Hall on April 3 and 4, 1958. Soloists included Leonie Rysanek, soprano; Regina Resnik, mezzo-soprano; David Lloyd, tenor; and Giorgio Tozzi, bass. The Chicago Symphony Chorus—in their second subscription concert appearances—was prepared by Margaret Hillis.

The March 4 performance was recorded for radio broadcast and since then, it has surfaced on a variety of unauthorized releases. An Italian release on Melodram in 1986 even mistakenly labeled the LP jacket as “Orchestra e Coro: Chicago Lyric Opera.” Most recently, we have seen it on a CD release from Archipel. Unfortunately, the sound quality on both is not great, even though it does provide an interesting snapshot of Reiner’s interpretation of the work, not to mention the sound of a very young Chicago Symphony Chorus.

____________________________________________________

During his twenty-two years as music director of the Chicago Symphony Orchestra (1969 until 1991), Sir Georg Solti shared the podium with several other titled conductors, who served in a variety of capacities.

Irwin Hoffman

Irwin Hoffman was appointed assistant conductor by Jean Martinon in 1964 and was promoted to associate conductor the following year. After Martinon’s departure and before Solti’s arrival, Hoffman served as the CSO’s acting music director for the 1968-69 season and held the title of conductor for the 1969-70 season.

Carlo Maria Giulini

Carlo Maria Giulini was the CSO’s first principal guest conductor, serving in that capacity for three seasons, beginning in 1969-70. A frequent guest conductor, Giulini appeared and recorded (for Angel and Deutsche Grammophon) with the Orchestra numerous times between 1955 and 1978, after which he began his tenure as music director of the Los Angeles Philharmonic. (An excellent biography of Giulini—Serving Genius—was recently published by the University of Illinois Press.)

Claudio Abbado

From 1982 until 1985, Claudio Abbado was the Orchestra’s second principal guest conductor. He also conducted and recorded (for Deutsche Grammophon) with the CSO numerous times between 1971 and 1991. Also during that time, he was music director at La Scala (1968 until 1986), principal conductor of the London Symphony Orchestra (1979 until 1987), music director of the Vienna State Opera (1986 until 1991), and chief conductor of the Berlin Philharmonic (beginning in 1989).

Henry Mazer

A former protégé of Fritz Reiner, Henry Mazer was appointed by Solti in 1970 as associate conductor, and he served the CSO in that capacity for sixteen years until 1986. He became music director of the Taipei Philharmonic Orchestra in 1985.

Margaret Hillis

Founder and longtime chorus director of the Chicago Symphony Chorus, Margaret Hillis was hired by Fritz Reiner in 1957 and was the first woman to conduct the Chicago Symphony Orchestra in November of that year. Of course, she prepared the Chorus for virtually all choral concerts during Solti’s tenure as music director, worked very closely with Solti on countless recordings, and appeared frequently as a guest conductor with the Civic Orchestra of Chicago and the Chicago Symphony Orchestra.

Kenneth Jean

Michael Morgan

In 1986, Sir Georg Solti appointed two American-born associate conductors, Kenneth Jean and Michael Morgan. Each served the Orchestra until 1993. In 1986, Jean also became music director of the Florida Symphony Orchestra. Morgan was named music director of the Oakland East Bay Symphony in 1990 and music director of the Sacramento Philharmonic Orchestra in 1997.

István Kertész

At the Ravinia Festival, two conductors served as titled conductors during Sir Georg Solti’s tenure. Fellow Hungarian István Kertész first led the CSO at Ravinia in 1967 and was principal conductor from 1970 until 1972. Prior to that, his posts included: chief conductor of the Philharmonic Orchestra in Hungary, general music director of the Augsburg Opera, general music director of the Cologne Opera, and principal conductor of the London Symphony Orchestra.

James Levine

On June 24, 1971, twenty-eight-year-old James Levine replaced an indisposed Kertész in a performance of Mahler’s Second Symphony with the Chicago Symphony Orchestra and Chorus at the Ravinia Festival. (He had made his debut with the Metropolitan Opera only a few weeks earlier, on June 5). Shortly thereafter, he was named the festival’s music director beginning in the summer of 1973 and held the post for twenty years, until 1993. Levine has been the longtime music director of the Metropolitan Opera since 1976.

Daniel Barenboim

Daniel Barenboim first guest conducted the Chicago Symphony Orchestra in 1970, and he subsequently was a frequent visitor on the podium and in recording (for Angel, Deutsche Grammophon, and Erato). On January 30, 1989, The Orchestral Association announced that he would become the Chicago Symphony Orchestra’s ninth music director, beginning in September 1991 (he had also succeeded Solti as music director of the Orchestra de Paris in 1975). Barenboim was given the title music director designate.

the vault

Theodore Thomas

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Riccardo Muti leads the CSO in a collection of Italian opera’s greatest masterpieces for a festive season finale. With works by Giuseppe Verdi including “Va, Pensiero” from Nabucco and the famous Anvil Chorus from Il trovatore, along with the Prologue from Boito’s Mefistofele, this performance is not be missed. There will be a post-concert CD signing with Maestro Muti on Sunday, June 25 and tickets for performances on June 23, 24 and 25 are still available - the link is in our bio. Photo by @toddrphoto.

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The opinions expressed here are mine and do not necessarily reflect those of my employer.

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