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Solti - The Legacy release

We just received copies of an excellent new two-CD set from Decca Classics (one of their many releases and re-releases commemorating Solti’s centennial). It’s called Solti: The Legacy, 1937–1997 and includes studio, live, and rehearsal recordings—the majority of them released for the very first time—covering a sixty-year span.

A few highlights:

• A twenty-four-year-old Georg Solti playing the glockenspiel in Mozart’s The Magic Flute with Arturo Toscanini conducting baritone Willi Domgraf-Fassbaender and the Vienna Philharmonic at the Salzburg Festival in 1937.

Renata Tebaldi and Richard Tucker performing the duet “Vicino a te” from Giordano’s Andrea Chenier, performed at Lyric Opera of Chicago
on November 10, 1956, during Solti’s debut season there.

• Two selections from Solti’s 75th birthday concert with the Chicago Symphony Orchestra at Orchestra Hall on October 9, 1987: Mozart’s Concerto for Two Pianos in E-flat major, K. 365 with Murray Perahia and Solti (conducting from the keyboard); and Kiri Te Kanawa and Plácido Domingo performing the duet “Già nella notte densa” from Verdi’s Otello.

Check it out!

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At the beginning of a video documentary chronicling the recording sessions for Bartók’s Sonata for Two Pianos and Percussion in 1987, Sir Georg Solti said, “I was fortunate enough. I met in my life many great musicians, composers, conductors, piano players. But if I’m looking back on my long life now today, who is the musician whom I admire most, I think it is Bartók.”

Solti was also a part of the premiere in Hungary, and recounted in his Memoirs: “I remember that in 1938, when Bartók and his wife, Ditta Pásztory, gave the Hungarian premiere of his Sonata for Two Pianos and Percussion, with Ernest Ansermet conducting, at the Budapest Opera, I was called upon at the last minute to turn pages for Mrs. Bartók. As I had not seen the complicated score before, the task was not easy. I have never in my life attended any other performance that had as little success as this one. When the piece ended, most of the audience remained silent; then there were a few perfunctory claps. I felt sad and embarrassed for Bartók.”

With fellow pianist Murray Perahia and percussionists Evelyn Glennie and David Corkhill, Solti recorded the sonata at Snape Maltings Concert Hall in October 1987. For the release, the sonata was paired with Solti and Perahia’s account of Brahms’s Variations on a Theme by Haydn recorded in September 1982.

For CBS Masterworks Records, Anthony B. Faulkner was the control engineer, Peter Jones was the tape operator and technical supervisor, and Thomas MacCluskey was the editor. The recording won the 1988 Grammy Award for Best Chamber Music Performance from the National Academy of Recording Arts and Sciences.

The video documentary was released by Kultur and was directed by Herbert Chappell. A few excerpts from the program are posted below.

The attached YouTube videos are not the property of the Chicago Symphony Orchestra Association. We just thought they were interesting.

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To honor Sir Georg Solti’s seventy-fifth birthday, the Chicago Symphony Orchestra and Chorus gave a gala concert of the highest order on October 9, 1987.

Governor James R. Thompson opened the concert with welcoming remarks, and after the intermission, Mayor Harold Washington presented Sir Georg with the City of Chicago’s Medal of Merit. The concert program was as follows:

CORIGLIANO Campane di Ravello (world premiere)
Kenneth Jean, conductor

J. STRAUSS Overture to Die Fledermaus
Plácido Domingo, conductor

MOZART Concerto for Two Pianos in E-flat Major, K. 365
Sir Georg Solti, conductor and piano
Murray Perahia, piano

STRAUSS Don Juan, Op. 20
Sir Georg Solti, conductor

Plácido Domingo and Kiri Te Kanawa perform a scene from Verdi’s Otello

VERDI Excerpts from Act 1 of Otello
Sir Georg Solti, conductor
Kiri Te Kanawa, soprano
Plácido Domingo, tenor
Kurt R. Hansen, tenor
Joseph Wolverton, tenor
Richard Cohn, baritone
David Huneryager, bass
Chicago Symphony Chorus
Margaret Hillis, director

The commemorative program contained letters and testimonials from numerous public officials, conductors, musicians, and industry professionals, including: Ronald Reagan, James R. Thompson, Harold Washington, Claudio Abbado, Daniel Barenboim, Carlo Maria Giulini, Rafael Kubelík, John Corigliano, Christoph von Dohnányi, Rudolf Serkin, Henry Fogel, Michael Tilson Thomas, Christa Ludwig, Birgit Nilsson, Witold Lutosławski, Sir Charles Mackerras, Mstislav Rostropovich, Klaus Tennstedt, David Del Tredici, Leonard Bernstein, Leonard Slatkin, Werner Klemperer, José van Dam, Elliott Carter, Karel Husa, Isaac Stern, Morton Gould, Hans Werner Henze, Itzhak Perlman, Anja Silja, Erich Leinsdorf, Josef Suk, Plácido Domingo, Michael Tippett, Kiri Te Kanawa, Murray Perahia, Leontyne Price, András Schiff, Kenneth Jean, Andrzej Panufnik, Dame Janet Baker, Pierre Boulez, Yvonne Minton, Herbert Blomstedt, Mira Zakai, Margaret Hillis, Gunther Herbig, Ray Minshull, Ann Murray, Philip Langridge, Raymond Leppard, Vladimir Ashkenazy, George Rochberg, Gwynne Howell, Ardis Krainik, Michael Morgan, Anne-Sophie Mutter, Wolfgang Sawallisch, Henry Mancini, and Barbara Hendricks.

Solti and Perahia as soloists in Mozart’s Concerto for Two Pianos

The concert was covered widely in the press, in the Chicago Tribune (here, here, and here) and Sun-Times (here and here), as well as Time, Newsweek, the Post-Tribune, and the San Francisco Chronicle, among many others.

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Just after winning the Avery Fisher Prize (an award he shared with Lynn Harrell), twenty-seven-year-old Murray Perahia made his debut with the Chicago Symphony Orchestra in January 1975 under the baton of Sir Georg Solti, performing Mendelssohn’s Second Piano Concerto. His program book biography is here.

In the Chicago Sun-Times, Perahia was praised for his “bravura in the most generous measure . . . perfectly suited to this repertory. . . . [he] has all the flair for color and phrasing, all the skill in nuance and expression needed to make a Mendelssohn concerto sound worthy of Mozart. It was a gracious, lyric performance for all its energy, and a very exciting debut.” And in the Chicago Tribune, “Perahia is no ordinary pianist. At 27, he has considerably more behind him than the customary string of awards. . . . [He is] an immensely talented musician who seemingly had everything.” The complete reviews are here, here, and here.

With Solti and the CSO at Orchestra Hall, Perahia also appeared in Mozart’s Piano Concerto no. 20 on April 21, 22, and 23, 1977; in Beethoven’s First Piano Concerto on November 30, December 1, and 2, 1978; in Mendelssohn’s First Piano Concerto on October 9, 10, and 11, 1980; in Schumann’s Piano Concerto on September 24, 25, and 26, 1987; and in Mozart’s Piano Concerto no. 24 on March 14, 15, and 18, 1997.

Out of town, he performed with Solti and the Orchestra in Mozart’s Piano Concerto no. 20 on April 20 at the University of Chicago and April 25, 1977, in Milwaukee; and in Mendelssohn’s First Piano Concerto on October 13, 1980, also in Milwaukee.

Perahia also appeared on a special concert at Orchestra Hall celebrating Sir Georg’s seventy-fifth birthday on October 9, 1987, in Mozart’s Concerto for Two Pianos in E-flat major with the maestro conducting from the keyboard.

He also recorded with Solti on two occasions: in 1982 performing Brahms’s Variations on a Theme by Haydn for Two Pianos, and in 1987 performing Bartók’s Sonata for Two Pianos and Percussion (with Evelyn Glennie and David Corkhill). Both recordings were for CBS Records.

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To launch the Chicago Symphony Orchestra’s 100th season, an all-star cast of conductors and soloists was assembled for a gala opening concert on October 6, 1990. From left to right, back row: Associate Conductor Kenneth Jean, András Schiff, Lorin Maazel, Gary Lakes, Sylvia McNair, Samuel Ramey; middle row: Music Director Designate Daniel Barenboim, Lady Valerie Solti, Music Director Sir Georg Solti, Leonard Slatkin, Yo-Yo Ma; front row: Isaac Stern, Mstislav Rostropovich, Susanne Mentzer, and Murray Perahia.

Lady Solti served as host and the concert program was as follows:

WAGNER Prelude to Die Meistersinger von Nürnberg
Sir Georg Solti, conductor

BIZET Adagietto from L’arlésienne Suite No. 1
Lorin Maazel, conductor

HAYDN Allegro molto from Cello Concerto in C Major, Hob. VIIb:1
Yo-Yo Ma, cello
Leonard Slatkin, conductor

DVOŘÁK Allegro from Cello Concerto in B Minor, Op. 104
Mstislav Rostropovich, cello
Lorin Maazel, conductor

CORIGLIANO Bells of Ravello
Kenneth Jean, conductor

MOZART Adagio in E Major, K. 261 and Rondo in C Major, K. 373
Isaac Stern, violin
Leonard Slatkin, conductor

BARBER Essay No. 2, Op. 17
Leonard Slatkin, conductor

MOZART Andante and Allegro vivace assai from Piano Concerto No. 21 in C Major, K. 467
Murray Perahia, piano and conductor

BRAHMS Rondo: Allegro non troppo from Piano Concerto No. 1 in D Minor, Op. 15
András Schiff, piano
Mstislav Rostropovich, conductor

STRAUSS Till Eulenspiegel’s Merry Pranks, Op. 28
Daniel Barenboim, conductor

BEETHOVEN Finale: Ode, “To Joy” from Symphony No. 9 in D Minor, Op. 125
Sylvia McNair, soprano
Susanne Mentzer, mezzo-soprano
Gary Lakes, tenor
Samuel Ramey, bass
Chicago Symphony Chorus
Margaret Hillis, chorus director
Sir Georg Solti, conductor

the vault

Theodore Thomas

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Last night - Maestro Riccardo Muti and the CSO with pianist Kirill Gerstein (@kgerstein) perform Puccini’s Preludio sinfonico, R. Strauss’ Suite from Le bourgeois gentilhomme and Brahms’ Piano Concerto No. 1. Photos by @toddrphoto.

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