You are currently browsing the tag archive for the ‘London Records’ tag.

We have just heard news of the death of the wonderful Irish soprano Heather Harper, as reported in The Guardian. She was 88.

Harper appeared with the Chicago Symphony Orchestra on a number of notable occasions, as listed below (all appearances are subscription concerts at Orchestra Hall, unless otherwise noted):

April 3, 4, and 5, 1969
MAHLER Symphony No. 2 in C Minor (Resurrection)
Georg Solti, conductor
Helen Watts, contralto
Chicago Symphony Chorus
Margaret Hillis, director

December 11 and 12, 1969
HAYDN The Creation
Georg Solti, conductor
Stuart Burrows, tenor
Giorgio Tozzi, bass
Chicago Symphony Chorus
Margaret Hillis, director

August 30, 31 & September 1, 1971 (recording sessions at the Sofiensaal in Vienna)
MAHLER Symphony No. 8 in E-flat Major
Georg Solti, conductor
Lucia Popp, soprano
Arleen Augér, soprano
Yvonne Minton, mezzo-soprano
Helen Watts, contralto
René Kollo, tenor
John Shirley-Quirk, bass-baritone
Martti Talvela, bass
Chorus of the Vienna State Opera
Norbert Balatsch, chorus master
Singverein Chorus
Helmut Froschauer, chorus master
Vienna Boys’ Choir
David Harvey produced the recording, and Gordon Parry and Kenneth Wilkinson were the engineers for London Records. The recording won the 1972 Grammy Award for Album of the Year—Classical, Best Choral Performance—Classical (other than opera), and Best Engineered Recording—Classical from the National Academy of Recording Arts and Sciences.

Mahler's Symphony no. 8 in E-flat Major, recorded in Vienna in 1971

Mahler’s Symphony no. 8 in E-flat Major, recorded in Vienna in 1971

March 30, 31, and April 1, 1972
HANDEL Jephtha
Margaret Hillis, conductor
Helen Watts, contralto
Richard Lewis, tenor
Robert Johnson, tenor
Barry McDaniel, baritone
Boris Carmeli, bass
Chicago Symphony Chorus
Margaret Hillis, director

October 12, 13, and 14, 1972
VIVALDI Gloria
ROSSINI Stabat mater
Carlo Maria Giulini, conductor
Julia Hamari, mezzo-soprano
Veriano Luchetti, tenor
Raffaele Arié, bass
Chicago Symphony Chorus
Margaret Hillis, director

March 7, 8, and 9, 1974
TIPPETT Symphony No. 3
Sir Michael Tippett, conductor

April 12 and 13, 1974
BACH Saint Matthew Passion, BWV 244
Sir Georg Solti, conductor
Helen Watts, contralto
Jerry Jennings, tenor
Mallory Walker, tenor
Gwynne Howell, bass
Philip Booth, bass
Chicago Symphony Chorus
Margaret Hillis, director
Glen Ellyn Children’s Chorus
Doreen Rao, director

Advertisements

Dame Kiri Te Kanawa (IMG Artists photo)

Wishing a very happy seventy-fifth birthday to the celebrated New Zealand soprano Dame Kiri Te Kanawa!

With the Chicago Symphony Orchestra and Chorus, Te Kanawa has appeared in concert—in Orchestra Hall, at the Ravinia Festival, and in Carnegie Hall—and on recording on a number of notable occasions. The complete list is below.

May 4, 5, and 6, 1978, Orchestra Hall
May 12, 1978, Carnegie Hall
BRAHMS A German Requiem, Op. 45
Bernd Weikl, baritone
Chicago Symphony Chorus
Margaret Hillis, director
Sir Georg Solti, conductor
Recorded at Medinah Temple on May 15 and 16, 1978. For London Records, James Mallinson was the recording producer, and Kenneth Wilkinson and Colin Moorfoot were the balance engineers.

March 23, 24, 25, and 26, 1983, Orchestra Hall
DUPARC Melodies françaises
MAHLER Symphony No. 4 in G Major
Sir Georg Solti, conductor
Mahler’s Fourth Symphony was recorded in Orchestra Hall on April 28 and 29, 1983. For London Records, James Mallinson was the recording producer, and James Lock and John Dunkerley were the balance engineers.

October 1, 2, and 9, 1984, Orchestra Hall (recording sessions only)
HANDEL Messiah
Anne Gjevang, contralto
Keith Lewis, tenor
Gwynne Howell, bass-baritone
Chicago Symphony Chorus
Margaret Hillis director
For London Records, Ray Minshull was the recording producer, and James Lock and Simon Eadon were the balance engineers.
Handel’s
Messiah also was performed on subscription concerts on September 27, 28, and 29, 1984. In addition to the cast above, Elizabeth Hynes was the soprano soloist.

June 29, 1985, Ravinia Festival
HANDEL Let the Bright Seraphim from Samson
MOZART Bella mia fiamma, K. 528
STRAUSS Four Last Songs
James Levine, conductor

March 19 and 21, 1987
BACH Saint Matthew Passion, BWV 244
Anne Sofie von Otter, mezzo-soprano
Thomas Moser, tenor
Tom Krause, bass
Hans Peter Blochwitz, tenor
Olaf Bär, baritone
Richard Cohn, baritone
Patrice Michaels, soprano
Debra Austin, mezzo-soprano
William Watson, tenor
Chicago Symphony Chorus
Margaret Hillis, director
Glen Ellyn Children’s Chorus
Doreen Rao, director
Sir Georg Solti, conductor
Recorded in Orchestra Hall on March 23, 24, 28, 30, and 31, 1987. For London Records, Andrew Cornall was the recording producer, and Simon Eadon and John Pellowe were the balance engineers.

Sir Georg Solti leads the Orchestra along with Plácido Domingo and Kiri Te Kanawa in the final scene from act 1 of Verdi’s Otello on October 9, 1987 (Jim Steere photo)

June 28, 1987, Ravinia Festival
MOZART Così fan tutte, K. 588
Dawn Upshaw, soprano
Tatiana Troyanos, mezzo-soprano
Jerry Hadley, tenor
Håkan Hagegård, baritone
John Cheek, bass-baritone
Chicago Symphony Chorus
Margaret Hillis, director
Richard Garrin, director
James Levine, conductor

October 9, 1987, Orchestra Hall (A Concert in Honor of the 75th Birthday of Sir Georg Solti)
VERDI Excerpts from Act 1 of Otello
Plácido Domingo, tenor
Joseph Wolverton, tenor
Kurt R. Hansen, tenor
Richard Cohn, baritone
David Huneryager, bass
Chicago Symphony Chorus
Margaret Hillis, director
Sir Georg Solti, conductor
The concert was recorded for radio broadcast, and for WFMT, Norman Pellegrini was the producer and Mitchell G. Heller was the engineer. The duet “Già nella notte densa” was released on Solti: The Legacy in 2012, and for London Records, Matthew Sohn was the restoration engineer.

April 8 and 12, 1991, Orchestra Hall
April 16 and 19, 1991, Carnegie Hall
VERDI Otello
Luciano Pavarotti, tenor
Leo Nucci, baritone
Elzbieta Ardam, mezzo-soprano
Anthony Rolfe Johnson, tenor
John Keyes, tenor
Dimitri Kavrakos, bass
Alan Opie, baritone
Richard Cohn, baritone
Chicago Symphony Chorus
Margaret Hillis, director
Terry Edwards, guest chorus master
Chicago Children’s Choir (April 8 and 12)
Leslie Britton, director
Metropolitan Opera Children’s Chorus (April 16 and 19)
Elena Doria, director
Recorded live in Orchestra Hall on April 8 and 12 and in Carnegie Hall on April 16 and 19, 1991. For London Records, Michael Haas was the recording producer, Christopher Pope was the assistant recording producer, and James Lock and John Pellowe were the balance engineers.

July 28, 2001, Ravinia Festival
STRAUSS Four Last Songs
LÉHAR “Lippen Schweigen” from Die lustige Witwe
LÉHAR “Vilja” from Die lustige Witwe
LÉHAR “Meine Lippen, sie küssen so heiss” from Giuditta
Christoph Eschenbach, conductor

July 19, 2008, Ravinia Festival
STRAUSS Morgen!, Op. 27, No. 4
STRAUSS Ständchen, Op. 17, No.2
STRAUSS Cäcilie, Op. 27, No. 2
CANTELOUBE Baïlèro, La delaïssádo, and Lo fiolairé from Chants d’Auvergne
PUCCINI Mi chiamano Mimì and Donde lieta uscì from La bohème
CILEA Io son l’umile ancella from Adriana Lecouvreur
James Conlon, conductor

Happy, happy birthday!

Kiri Te Kanawa and Luciano Pavarotti onstage at Orchestra Hall in April 1991 (Jim Steere photo)

Renée Fleming (Timothy White photo for Decca)

Wishing a very happy sixtieth birthday to the incomparable American soprano Renée Fleming!

For nearly thirty years, Fleming has been a regular guest with the Chicago Symphony, both in Orchestra Hall and at the Ravinia Festival, as follows:

January 16, 17, and 18, 1992, Orchestra Hall
MOZART Requiem in D Minor, K. 626
Waltraud Meier, mezzo-soprano
John Aler, tenor
Peter Rose, bass
Chicago Symphony Chorus
Margaret Hillis, director
Daniel Barenboim, conductor

January 27, 28, 29, and 30, 1993, Orchestra Hall
FAURÉ Requiem in D Minor, Op. 48
Andreas Schmidt, baritone
Chicago Symphony Chorus
Vance George, director
Daniel Barenboim, conductor

August 5, 1994, Ravinia Festival
VERDI Te Deum from Quattro pezzi sacri
ROSSINI Stabat mater
Denyce Graves, mezzo-soprano
Gregory Kunde, tenor
Dean Peterson, bass-baritone
Chicago Symphony Chorus
Duain Wolfe, director
Riccardo Chailly, conductor

January 15, 16, 17, and 20, 1998, Orchestra Hall
MOZART Exsultate, jubilate, K. 165
STRAUSS Moonlight Music and Morgen mittag um elf! from Capriccio
Christoph Eschenbach, conductor

Plácido Domingo and Renée Fleming onstage at Orchestra Hall, January 26, 1998 (Dan Rest photo)

January 26, 1998, Orchestra Hall
BERNSTEIN Tonight from West Side Story
BERNSTEIN Somewhere from West Side Story
GOUNOD Il se fait tard . . . O nuit d’amour from Faust
VERDI Già nella notte densa from Otello
LEHÁR Lippen schweigen from The Merry Widow
ELLINGTON In a Sentimental Mood
Plácido Domingo, tenor
Daniel Barenboim, conductor and piano
This special concert—entitled Star-Crossed Lovers—featured Fleming with 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.

August 8, 1998, Ravinia Festival
STRAUSS Four Last Songs
BARBER Knoxville: Summer of 1915, Op. 24
Christoph Eschenbach, conductor

July 31, 2004, Ravinia Festival
STRAUSS Marie Theres’! . . . Hab’ mir’s gelobt and Ist ein Traum from Der Rosenkavalier
Heidi Grant Murphy, soprano
Susan Graham, mezzo-soprano
Christoph Eschenbach, conductor

August 1, 2004, Ravinia Festival
HANDEL Morrai, sì l’empia tua testa and Ombre, piante from Rodelinda
MASSENET Adieu, notre petite table and Obéissons quand leur voix appellee from Manon
STRAUSS Moonlight Music and Morgen mittag um elf! from Capriccio
TRADITIONAL/Grusin Shenandoah
TRADITIONAL/Grusin The Water is Wide
PORTER So in Love from Kiss Me, Kate
RODGERS You’ll Never Walk Alone from Carousel
CATALANI Ebben, ne andrò lontana from La Wally
PUCCINI O mio babbino caro from Gianni Schicchi
VERDI Merci jeunes amies from Les vêpres siciliennes
Christoph Eschenbach, conductor

August 5, 2006, Ravinia Festival
BARBER Knoxville: Summer of 1915, Op. 24
CILEA Poveri fiori from Adriana Lecouvreur
PUCCINI O mio babbino caro from Gianni Schicchi
PUCCINI Vissi d’arte from Tosca
Miguel Harth-Bedoya, conductor

Chicago Symphony Orchestra opening night gala, October 3, 2009

October 3, 2009, Orchestra Hall
BARBER Knoxville: Summer of 1915, Op. 24
STRAUSS Freundliche Vision, Op. 48, No. 1
STRAUSS Zueignung, Op. 10, No. 1
STRAUSS Winterweihe, Op. 48, No. 4
STRAUSS Verführung, Op. 33, No. 1
Paavo Järvi, conductor

July 24, 2010, Ravinia Festival
STRAUSS Four Last Songs
Christoph Eschenbach, conductor

In recital, Fleming also has appeared in Orchestra Hall on three occasions:

October 27, 1996
SCHUBERT Die Männer sind méchant, D. 866, No. 3
SCHUBERT Du bist die Ruh, D. 776
SCHUBERT Im Frühling, D. 882
SCHUBERT Der Tod und das Mädchen, D. 531
SCHUBERT Nacht und Träume, D. 827
SCHUBERT Gretchen am Spinnrade, D. 118
STRAUSS Befreit, Op. 39, No. 4
STRAUSS Muttertändelei, Op. 43, No. 2
STRAUSS Waldseligkeit, Op. 49, No. 1
STRAUSS Cäcilie, Op. 27, No. 2
WOLF Heiß’ mich nicht reden (Mignon I)
WOLF Nur wer die Sehnsucht kennt (Mignon II)
WOLF So laßt mich scheinen (Mignon III)
WOLF Kennst du das Land (Mignon’s Song)
FAURÉ Lydia, Op. 4, No. 2
FAURÉ Clair de lune, Op. 46, No. 2
FAURÉ Chanson d’amour, Op. 27, No. 1
FAURÉ Les roses d’Ispahan, Op. 39, No. 4
FAURÉ Après un rêve, Op. 7, No. 1
ELLINGTON Prelude to a Kiss
ELLINGTON Do Nothin’ till You Hear from Me
ELLINGTON In a Sentimental Mood
ELLINGTON It Don’t Mean a Thing
Christoph Eschenbach, piano

January 24, 1999
SCHUBERT Suleika I, D. 720
SCHUBERT Scene from Faust, D. 126
SCHUBERT Gretchen am Spinnrade, D. 118
GLINKA Gretchen am Spinnrade
LISZT Kennst du das Land, S. 275/1
MENDELSSOHN Suleika, Op. 57, No. 3
WOLF Heiss mich nicht reden (Mignon I)
WOLF Nur wer die Sehnsucht kennt (Mignon II)
WOLF So lasst mich scheinen (Mignon III)
WOLF Kennst du das Land (Mignon IV)
DEBUSSY Ariettes oubliée
STRAUSS Einerlei, Op. 69, No. 3
STRAUSS Ich trage meine Minne, Op. 32, No. 1
STRAUSS Efeu from Mädchenblumen, Op. 22, No. 3
STRAUSS All mein’ Gedanken, Op. 21, No. 1
STRAUSS Morgen!, Op. 27, No. 4
STRAUSS Ich liebe dich, Op. 37, No. 2
Steven Blier, piano

April 18, 2004
HANDEL Ritorna, o caro e dolce mio tesoro from Rodelinda
HANDEL Mio caro bene! from Rodelinda
SCHUBERT Lachen und Weinen, D. 777
SCHUBERT Die Männer sind méchant, D. 866, No. 3
SCHUBERT Du bist die Ruh, D. 776
SCHUBERT Seligkeit, D. 433
BERG Seven Early Songs
PREVIN The Giraffes Go to Hamburg
RAVEL Shéhérazade
Mary Stolper, flute and alto flute
Richard Bado, piano

And be sure to catch Fleming with Evgeny Kissin in recital next season at Symphony Center, on Sunday, April 19, 2020!

Happy, happy birthday!

Wishing a very happy eightieth birthday to the fantastic Australian mezzo-soprano, Yvonne Minton!

Minton has appeared as soloist with the Chicago Symphony Orchestra on a number of notable occasions—in concert and on recording—between 1970 and 1981, indicated below:

April 2 and 3, 1970, Orchestra Hall
MAHLER Lieder eines fahrenden Gesellen
Yvonne Minton, mezzo-soprano
Georg Solti, conductor
Recorded by London Records on April 1 and 7, 1970, in Orchestra Hall. The recording was produced by David Harvey; Gordon Parry and James Lock were the balance engineers.

April 1 and 7, 1970 (recording sessions only, no public performances)
MAHLER Songs from Des Knaben Wunderhorn (“Das irdische Leben,” “Verlorne Müh’,” “Wo die schönen Trompeten blasen,” and “Rheinlegendchen”)
Yvonne Minton, mezzo-soprano
Georg Solti, conductor
Recorded by London Records in Orchestra Hall. The recording was produced by David Harvey; Gordon Parry and James Lock were the balance engineers.

May 4, 5, and 6, 1972, Orchestra Hall
MAHLER Das Lied von der Erde
Yvonne Minton, mezzo-soprano
René Kollo, tenor
Sir Georg Solti, conductor
Recorded by London Records on May 8 and 9, 1972, at the Krannert Center for the Performing Arts, University of Illinois at Urbana-Champaign. The recording was produced by David Harvey; Kenneth Wilkinson and Gordon Parry were the balance engineers.

May 12 and 13, 1972, Orchestra Hall
BEETHOVEN Symphony No. 9 in D Minor, Op. 125
Pilar Lorengar, soprano
Yvonne Minton, mezzo-soprano
René Kollo, tenor
Martti Talvela, bass
Chicago Symphony Chorus
Margaret Hillis, director
Sir Georg Solti, conductor
Recorded by London Records on May 15, 16, and 26, 1972, at the Krannert Center for the Performing Arts, University of Illinois at Urbana-Champaign. The recording was produced by David Harvey; Kenneth Wilkinson and James Lock were the balance engineers. This recording was ultimately released as part of a set of Beethoven’s complete symphonies (along with three overtures: Egmont, Coriolan, and Leonore no. 3); that set won the 1975 Grammy Award for Classical Album of the Year from the National Academy of Recording Arts and Sciences.

April 24 and 26, 1975, Orchestra Hall
April 30, 1975, Carnegie Hall
VERDI Requiem
Sir Georg Solti, conductor
Leontyne Price, soprano
Yvonne Minton, mezzo-soprano
Luciano Pavarotti, tenor
Gwynne Howell, bass
Chicago Symphony Chorus
Margaret Hillis, director

May 5, 6, and 7, 1977, Orchestra Hall
May 13, 1977, Carnegie Hall
BEETHOVEN Missa solemnis in D Major, Op. 123
Lucia Popp, soprano
Yvonne Minton, mezzo-soprano
Mallory Walker, tenor
Gwynne Howell, bass
Chicago Symphony Chorus
Margaret Hillis, director
Sir Georg Solti, conductor
The work was recorded in Chicago’s Medinah Temple on May 16, 17, and 18, 1977. For London Records, Ray Minshull was the producer and Kenneth Wilkinson, John Dunkerley, and Michael Mailes were the engineers. The recording won the 1978 Grammy Award for Best Choral Performance, Classical (other than opera) from the National Academy of Recording Arts and Sciences.

March 26, 27, and 28, 1981, Orchestra Hall
BRUCKNER Te Deum
Jessye Norman, soprano
Yvonne Minton, mezzo-soprano
David Rendall, tenor
Samuel Ramey, bass
Chicago Symphony Chorus
Margaret Hillis, director
Daniel Barenboim, conductor
The work was recorded in Orchestra Hall on March 28, 1981. For Deutsche Grammophon, Steven Paul was the executive producer, Werner Mayer the recording producer, and Klaus Scheibe was the balance engineer and editor. 

Happy, happy birthday!

Wishing a very happy seventieth birthday to the wonderful American soprano, Barbara Hendricks!

Hendricks has appeared as soloist with the Chicago Symphony Orchestra on a number of notable occasions between 1974 and 1985, indicated below:

December 5, 6, and 7, 1974, Orchestra Hall
AMY D’un epace deploye (U.S. premiere)
Barbara Hendricks, soprano
Anthony Paratore, piano
Joseph Paratore, piano
Sir Georg Solti, conductor
Gilbert Amy, conductor
MOZART Vorrei spiegarvi, oh Dio!, K. 418
Barbara Hendricks, soprano
Sir Georg Solti, conductor

October 7, 8, and 9, 1976, Orchestra Hall
DEL TREDICI Final Alice (world premiere)
Barbara Hendricks, soprano
Sir Georg Solti, conductor

March 3, 4, and 5, 1977, Orchestra Hall
March 7, 1977, Uihlein Hall, Milwaukee, Wisconsin
DEBUSSY La Damoiselle élue
Barbara Hendricks, soprano
Ellen Stanley, mezzo-soprano
Women of the Chicago Symphony Chorus
Margaret Hillis, director
Gennady Rozhdestvensky, conductor

October 27 and 28, 1977, Orchestra Hall
October 31, 1977, Carnegie Hall
MAHLER Symphony No. 8 in E-flat Major
Sir Georg Solti, conductor (October 27 and 28)
Margaret Hillis, conductor (October 31)
Christiane Eda-Pierre, soprano
Lucia Popp, soprano
Barbara Hendricks, soprano
Jan DeGaetani, mezzo-soprano
Helen Watts, contralto
Kenneth Riegel, tenor
William Walker, baritone
Donald Gramm, bass
Chicago Symphony Chorus
Margaret Hillis, director
Glen Ellyn Children’s Chorus
Doreen Rao, director

David Del Tredici with Sir Georg Solti and Barbara Hendricks in Chicago, October 1976 (Terry’s photo)

October 26 and 27, 1979, Orchestra Hall
DEL TREDICI Final Alice
Barbara Hendricks, soprano
Sir Georg Solti, conductor
Recorded by London Records on October 27, 1979, January 29, and 30, 1980, in Orchestra Hall. The recording was produced by James Mallinson; James Lock, John Dunkerley, and Michael Mailes were the recording engineers.

December 19, 20, and 21, 1985
STRAUSS Scenes from Der Rosenkavalier, Op. 59
Mechthild Gessendorf, soprano
Barbara Hendricks, soprano
Ann Murray, mezzo-soprano
Erich Leinsdorf, conductor

Happy, happy birthday!

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

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

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

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

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

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

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

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

Wishing a very happy eightieth birthday to the wonderful Welsh bass, Gwynne Howell!

Gwynne Howell (Guy Gravett photo)

Howell has appeared with the Chicago Symphony Orchestra on a number of notable occasions and on several award-winning recordings between 1974 and 1990. A complete list is below (concerts at Orchestra Hall, unless otherwise noted).

April 12 and 13, 1974
BACH Saint Matthew Passion, BWV 232
Sir Georg Solti, conductor
Heather Harper, soprano
Helen Watts, contralto
Jerry Jennings, tenor
Mallory Walker, tenor
Gwynne Howell, bass
Chicago Symphony Chorus
Margaret Hillis, director
Glen Ellyn Children’s Chorus
Doreen Rao, director

April 24 and 26, 1975
April 30, 1975 (Carnegie Hall)
VERDI Requiem
Sir Georg Solti, conductor
Leontyne Price, soprano
Yvonne Minton, mezzo-soprano
Luciano Pavarotti, tenor
Gwynne Howell, bass
Chicago Symphony Chorus
Margaret Hillis, director

January 29, 30, and 31, 1976
STRAVINSKY Oedipus Rex
Sir Georg Solti, conductor
Peter Pears, tenor
Josephine Veasey, mezzo-soprano
Donald Gramm, bass-baritone
Gwynne Howell, bass
Mallory Walker, tenor
Dominic Cossa, baritone
Werner Klemperer, narrator
Men of the Chicago Symphony Chorus
Margaret Hillis, chorus director

May 5, 6, and 7, 1977
May 13, 1977 (Carnegie Hall)
BEETHOVEN Missa solemnis, Op. 123
Sir Georg Solti, conductor
Victor Aitay, violin
Lucia Popp, soprano
Yvonne Minton, mezzo-soprano
Mallory Walker, tenor
Gwynne Howell, bass
Chicago Symphony Chorus
Margaret Hillis, director
The work was recorded in Chicago’s Medinah Temple on May 16, 17, and 18, 1977. For London Records, Ray Minshull was the producer and Kenneth Wilkinson, John Dunkerley, and Michael Mailes were the engineers. The recording won the 1978 Grammy Award for Best Choral Performance, Classical (other than opera) from the National Academy of Recording Arts and Sciences.

May 10 and 12, 1979
May 19, 1979 (Carnegie Hall)
BEETHOVEN Fidelio, Op. 72
Hildegard Behrens, soprano
Sona Ghazarian, soprano
Peter Hofmann, tenor
David Kübler, tenor
Theo Adam, baritone
Hans Sotin, bass
Gwynne Howell, bass
Robert Johnson, tenor
Philip Kraus, baritone
Chicago Symphony Chorus
Margaret Hillis, chorus director
The opera was recorded at Medinah Temple on May 21, 22, 23, and 24, 1979. For London Records, Ray Minshull was the producer, Michael Haas was the assistant producer, and James Lock, David Frost, and Tony Griffiths were the engineers.

April 7, 9, and 12, 1983
April 18, 1983 (Carnegie Hall)
WAGNER Das Rheingold
Siegmund Nimsgern, bass-baritone
Hermann Becht, baritone
Gabriele Schnaut, mezzo-soprano
Siegfried Jerusalem, tenor
Robert Tear, tenor
Jan DeGaetani, mezzo-soprano
Malcolm Smith, bass
Gwynne Howell, bass
Mary Jane Johnson, soprano
John Cheek, bass-baritone
Dennis Bailey, tenor
Michelle Harman-Gulick, soprano
Elizabeth Hynes, soprano
Emily Golden, mezzo-soprano

September 27, 28, and 29, 1984
HANDEL Messiah
Elizabeth Hynes, soprano
Anne Gjevang, contralto
Keith Lewis, tenor
Gwynne Howell, bass
David Schrader, harpsichord
Chicago Symphony Chorus
Margaret Hillis, director
The work was recorded in Orchestra Hall on October 1, 2, and 9, 1984. For London Records, Ray Minshull was the producer, and James Lock and Simon Eadon were balance engineers.

January 25, 26, and 28, 1990
BACH Mass in B Minor, BWV 232
Felicity Lott, soprano
Anne Sofie von Otter, mezzo-soprano
Hans Peter Blochwitz, tenor
William Shimell, baritone
Gwynne Howell, bass
Chicago Symphony Chorus
Margaret Hillis, director
The work was recorded on January 25, 26, and 28, 1990, in Orchestra Hall. For London Records, Michael Haas was the recording producer, and Stanley Goodall and Simon Eadon were the balance engineers. The recording won the 1991 Grammy Award for Best Performance of a Choral Work from the National Academy of Recording Arts and Sciences.

Check out the video below, produced by Wild Plum Arts, in which Howell talks about working with Solti and many others.

Happy, happy birthday!

The Chicago Symphony Orchestra’s first performances of Mahler’s Ninth Symphony were given on April 6 and 7, 1950, in Orchestra Hall under the baton of guest conductor George Szell. Since then, the work has been led by music directors Rafael Kubelík, Sir Georg Solti, and Daniel Barenboim; principal conductor Bernard Haitink; principal guest conductors Carlo Maria Giulini and Pierre Boulez; and Ravinia Festival music directors James Levine and James Conlon; along with guest conductors Sir John Barbirolli, Lawrence Foster, Michiyoshi Inoue, Hans Rosbaud, and Michael Tilson Thomas.

The Orchestra has recorded the work on three notable occasions, as follows.

Carlo Maria Giulini, the Orchestra’s first principal guest conductor, led Mahler’s Ninth Symphony in December 1971 and March 1975 before returning in April 1976 to perform and record the work. Following the first concert of that residency, Karen Monson in the Chicago Daily News wrote that “each time the aristocratic maestro meets the transcendent symphony, the relationship becomes more and more special, Giulini and the Orchestra have delved into the deepest secrets of this music, and Thursday evening they delivered a performance so rich and complete . . .”

In the Chicago Tribune, Thomas Willis called the performance “one of Giulini’s great nights in Orchestra Hall.” Recording sessions were scheduled for the following week, and “by the time the tape is rolling, this could be the most heartfelt and compelling recorded version of Mahler’s grief-stricken penultimate symphony. . . . The Chicago Symphony players will take any risks for Giulini. If he wishes them to play softer than soft, applying bow to string, or breath to mouthpiece or reed, they proceed to just this side of bobble or discomfiting silence. . . . No other guest has such control over orchestral color and emotional variation.”

Deutsche Grammophon was on hand on April 5 and 6, 1976, to record the symphony in Medinah Temple. Günther Breest was the executive producer and Klaus Scheibe the recording engineer. The release won the 1977 Grammy Award for Best Classical Orchestral Performance from the National Academy of Recording Arts and Sciences.

Eighth music director Sir Georg Solti first led the Orchestra in Mahler’s symphony at Orchestra Hall and Carnegie Hall in April 1981 before taking it on the road to Lucerne, Paris, Amsterdam, and London later that year. Back in Chicago, Solti led a concert performance (benefiting the musicians’ pension fund) on April 28, 1982, and recorded the symphony on May 2 and 4 in Orchestra Hall.

Reviewing in Gramophone magazine, Richard Osborne noted: “When Solti conducted Mahler’s Ninth Symphony in London in the autumn of 1981 the critic of The Financial Times observed: ‘Solti obviously knew how this music should gobut not why.’ Such a reading would be an evident act of self-parody, for it is to this very theme—the modern world’s nightmarish preoccupation with sensation, spiraling, self-referring and impossible to assuage—that Mahler so fearlessly addresses himself in the symphony’s third movement, the Rondo Burleske. It’s clear, though, from the present recording, made in Orchestra Hall, Chicago in May 1982, that Solti’s sense of the music is a good deal more rooted than it appeared to be amid the unsettling razzmatazz of an end-of-tour London performance.

“The new performance has a measure of repose about it as well as much splendour. The second movement is robust and resilient as Mahler directs. There is defiance and obstinacy in the third movement, an awful power which illuminates the music rather than the orchestra’s known expertise.”

James Mallinson produced the recording, and James Lock was the engineer for London Records. The recording won 1983 Grammy awards for Best Orchestral Recording, Best Engineered Recording—Classical, and Best Classical Album.

Soon after being named as the Orchestra’s third principal guest conductor, Pierre Boulez was in Chicago to lead four performances of Mahler’s Ninth in November December 1995.

In the Chicago Sun-Times, Wynne Delacoma wrote that Boulez led “one of classical music’s most profound meditations on relentless death and tumultuous life” as a “study in musical clarity, elegant balances, and proportion. . . . Many conductors play up the contrasts, creating dramatic mood shifts. Boulez and the CSO were after something more subtle.” John von Rhein in the Chicago Tribune added that Boulez “[filtered] the work through his own modernist sensibility. Granted, there are ambiguities and uncertainties in this symphony that resist so rational an approach. But there are also levels of purely musical meaning few other conductors have uncovered. The otherworldly stillnesses, the demonic humor, the desolate nostalgia, the strange lapses into folkish banality registered that much more strongly because the hand organizing them was so calm and precise. . . . Let us hope the studio sessions capture in full the splendor of the live performances.”

For Deutsche Grammophon, the work was recorded at Medinah Temple on December 2 and 4, 1995. Roger Wright was the executive producer, Karl-August Naegler recording producer and editor, Ulrich Vette was the balance engineer, and Jobst Eberhardt and Stephan Flock were recording engineers. The release won the 1998 Grammy Award for Best Orchestral Performance.

Esa-Pekka Salonen leads the Chicago Symphony Orchestra in Mahler’s Symphony no. 9 on May 17, 18, 19, and 22, 2018.

Under the leadership of chorus directors Margaret Hillis and Duain Wolfe, the Chicago Symphony Chorus has won ten Grammy awards from the National Academy of Recording Arts and Sciences in the category of Best Choral Performance.*

Recordings have been led by music directors Sir Georg Solti and Riccardo Muti, principal guest conductor Pierre Boulez, and Ravinia Festival music director James Levine on RCA, London, Deutsche Grammophon, and CSO Resound.

1977 – Best Choral Performance–Classical
VERDI Requiem
Sir Georg Solti, conductor
Leontyne Price, soprano
Janet Baker, mezzo-soprano
Veriano Luchetti, tenor
José van Dam, bass-baritone
Chicago Symphony Chorus
Margaret Hillis, director
Recorded in Medinah Temple on June 1 and 2, 1977, for RCA
Thomas Z. Shepard, producer
Paul Goodman, recording engineer

1978 – Best Choral Performance–Classical
BEETHOVEN Missa solemnis in D Major, Op. 123
Sir Georg Solti, conductor
Victor Aitay, violin
Lucia Popp, soprano
Yvonne Minton, mezzo-soprano
Mallory Walker, tenor
Gwynne Howell, bass
Chicago Symphony Chorus
Margaret Hillis, director
Recorded in Medinah Temple on May 16, 17, and 18, 1977, for London
Ray Minshull, producer
Kenneth Wilkinson, John Dunkerley, and Michael Mailes, balance engineers

1979 – Best Choral Performance–Classical
BRAHMS A German Requiem, Op. 45
Sir Georg Solti, conductor
Kiri Te Kanawa, soprano
Bernd Weikl, baritone
Chicago Symphony Chorus
Margaret Hillis, director
Recorded in Medinah Temple on May 15 and 16, 1978, for London
James Mallinson, recording producer
Kenneth Wilkinson and Colin Moorfoot, balance engineers

1982 – Best Choral Performance–Classical
BERLIOZ The Damnation of Faust, Op. 24
Sir Georg Solti, conductor
Frederica von Stade, mezzo-soprano
Kenneth Riegel, tenor
José van Dam, bass-baritone
Malcolm King, bass
Chicago Symphony Chorus
Margaret Hillis, director
Recorded in Medinah Temple on May 4, 5, 6, and 7, 1981, for London
James Mallinson, recording producer
James Lock and Simon Eadon, balance engineers

1983 – Best Choral Performance
HAYDN The Creation
Sir Georg Solti, conductor
Sylvia Greenberg, soprano
Norma Burrowes, soprano
Rudiger Wohlers, tenor
James Morris, bass-baritone
Siegmund Nimsgern, bass
David Schrader, harpsichord
Frank Miller, cello
Joseph Guastafeste, bass
Chicago Symphony Chorus
Margaret Hillis, director
Recorded in Orchestra Hall on November 9, 10, and 11, 1981, for London
Paul Myers, recording producer
James Lock and John Dunkerley, balance engineers

1984 – Best Choral Performance
BRAHMS A German Requiem, Op. 45
James Levine, conductor
Kathleen Battle, soprano
Håkan Hagegård, baritone
Chicago Symphony Chorus
Margaret Hillis, director
Recorded in Orchestra Hall on July 5 and 6, 1983, for RCA
Thomas Z. Shepard, producer
Paul Goodman, recording engineer
John Newton and Thomas MacCluskey, engineers

1986 – Best Choral Performance
ORFF Carmina burana
James Levine, conductor
June Anderson, soprano
Philip Creech, tenor
Bernd Weikl, baritone
Chicago Symphony Chorus
Margaret Hillis, director
Recorded in Orchestra Hall on July 9 and 10, 1984, for Deutsche Grammophon
Steven Paul, producer
Cord Garben, recording supervisor
Klaus Scheibe, recording engineer
Jürgen Bulgrin, editing

1991 – Best Performance of a Choral Work
BACH Mass in B Minor, BWV 232
Sir Georg Solti, conductor
Felicity Lott, soprano
Anne Sofie von Otter, mezzo-soprano
Hans Peter Blochwitz, tenor
William Shimmell, baritone
Gwynne Howell, bass
Richard Webster, organ
John Sharp, cello
Willard Elliot, bassoon
Joseph Guastafeste, bass
Chicago Symphony Chorus
Margaret Hillis, director
Recorded in Orchestra Hall on January 25, 26, and 28, 1990, for London
Michael Haas, recording producer
Stanley Goodall and Simon Eadon, balance engineers

1993 – Best Performance of a Choral Work
BARTÓK Cantata profana
Pierre Boulez, conductor
John Aler, tenor
John Tomlinson, bass
Chicago Symphony Chorus
Margaret Hillis, director
Recorded in Orchestra Hall on December 16, 1991, for Deutsche Grammophon
Alison Ames, executive producer
Karl-August Naegler, recording producer
Rainer Maillard, balance engineer
Oliver Rosalla, editing

2010 – Best Choral Performance
VERDI Messa da Requiem
Riccardo Muti, conductor
Barbara Frittoli, soprano
Olga Borodina, mezzo-soprano
Mario Zeffiri, tenor
Ildar Abdrazakov, bass
Chicago Symphony Chorus
Duain Wolfe, director
Recorded in Orchestra Hall on January 15, 16, and 17, 2009, for CSO Resound
Christopher Alder, producer
Christopher Willis, recording engineer
David Frost and Tom Lazarus, mixing
Silas Brown and David Frost, stereo mastering

*The name of the category has changed slightly over the years; see here for details.

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 vault

Theodore Thomas

csoarchives twitter feed

chicagosymphony twitter feed

disclaimer

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

visitors

  • 322,239 hits
Advertisements
%d bloggers like this: