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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)
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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!
In addition to releases with Deutsche Grammophon, Erato, and Teldec, Daniel Barenboim and the Chicago Symphony Orchestra made commercial recordings on several other labels. A complete list is below (all recordings made in Orchestra Hall unless otherwise noted).
Barenboim and du Pré at Medinah Temple on November 11, 1970 (Robert M. Lightfoot III photo)
Barenboim made his conducting debut with the Orchestra on November 4, 1970, on a concert at Michigan State University. The first work on that first program was Dvořák’s Cello Concerto, and the soloist was Barenboim’s wife, Jacqueline du Pré. One week later, they recorded the work—along with the same composer’s Silent Woods—with the Orchestra at Medinah Temple.
DVOŘÁK Concerto for Cello in B Minor, Op. 104
DVOŘÁK Silent Woods for Cello and Orchestra, Op. 68
Jacqueline du Pré, cello
Daniel Barenboim, conductor
Recorded in Medinah Temple on November 11, 1970
Angel Records
On January 26, 1998, in Orchestra Hall, Barenboim led—from the podium and the keyboard—a special concert called Star-Crossed Lovers, featuring Renée Fleming and Plácido Domingo in songs, arias, and duets along with narrators Lynn Redgrave and Timothy Dalton. The concert was recorded for a Great Performances telecast and a London Records release.
Domingo and Fleming on January 26, 1998 (Dan Rest photo)
BERNSTEIN Prologue, Tonight, Rumble, and Somewhere from West Side Story
ELLINGTON In a sentimental mood, Do nothin’ till you hear from me, and Prelude to a kiss
GARDEL El día que me quieras
GOUNOD Il se fait tard . . . Ô nuit d’amour! from Faust
LEHÁR Dein ist mein ganzes Herz from The Land of Smiles
LEHÁR Lippen schweigen from The Merry Widow
MORENO-TORROBA ¡Quisiera verte y no verte! and Jota castellana
VERDI Già nella notte densa from Otello
Renée Fleming, soprano
Plácido Domingo, tenor
Daniel Barenboim, piano and conductor
Recorded January 26, 1998
London Records
Barenboim led the Orchestra in the world premiere of composer-in-residence Shulamit Ran’s Legends in October 1993 and programmed the work again in June 2004. A recording of the second set of performances—along with Ran’s Violin Concerto, performed by Ittai Shapira with the BBC Concert Orchestra under Charles Hazlewood—was released by Albany Records in 2007.
RAN Legends
Daniel Barenboim, conductor
Recorded June 3, 4, 5, and 8, 2004
Albany Records
Three videos featuring the Orchestra and Barenboim, performing at the Philharmonie in Cologne, Germany, were also released, on the Arthaus Musik and EuroArts labels.
MAHLER Symphony No. 5
Daniel Barenboim, conductor
Recorded at the Philharmonie in Cologne, Germany on June 4 and 5, 1997
Arthaus Musik
SIBELIUS Concerto for Violin in D Minor, Op. 47
*BACH Sarabande from Partita No. 2 in D Minor, BWV 1004
*YSAŸE Ballad from Sonata No. 3 in D Minor
Maxim Vengerov, violin
Daniel Barenboim, conductor
FALLA Nights in the Gardens of Spain
Plácido Domingo, conductor
Recorded at the Philharmonie in Cologne, Germany on June 8 and 9, 1997
*Solo encores performed by Vengerov
Arthaus Musik
BOULEZ Notations for Orchestra I-IV
DEBUSSY La mer
FALLA The Three-Cornered Hat
*MORES/Carli El firulete
Elisabete Matos, mezzo-soprano
Daniel Barenboim, conductor
Recorded at the Philharmonie in Cologne, Germany on April 27 and 28, 2001
*Performed as an encore
EuroArts
In conjunction with the Chicago Symphony Orchestra Association’s annual Symphonython (previously Marathon and Radiothon) fundraiser, a themed collection of radio broadcasts was offered as a donation premium. Several works led by Barenboim were included on various sets, and one collection was dedicated solely to him.
Chicago Symphony Chorus: A Fortieth Anniversary Celebration
From the Archives, vol. 13 (1998)
BACH Singet dem Herr nein neues Lied, BWV 225
Chicago Symphony Chorus
Margaret Hillis, director
Daniel Barenboim, conductor
Recorded May 11 and 14, 1991
SCHUBERT Gesang der Geister über den Wassern, D. 714
Men of the Chicago Symphony Chorus
Margaret Hillis, director
Daniel Barenboim, conductor
Recorded May 9, 1991
Beethoven
From the Archives, vol. 17 (2003)
BEETHOVEN Elegy, Op. 118
Chicago Symphony Chorus
Duain Wolfe and Cheryl Frazes Hill, directors
Daniel Barenboim, conductor
Recorded September 17, 1994
A Tribute to Daniel Barenboim
From the Archives, vol. 20 (2006)
BERG Three Pieces for Orchestra, Op. 6
Daniel Barenboim, conductor
Recorded October 15, 1997
BERNSTEIN Symphony No. 1 (Jeremiah)
Birgitta Svendén, mezzo-soprano
Daniel Barenboim, conductor
Recorded February 15 and 16, 1996
FALLA El amor brujo
Jennifer Larmore, mezzo-soprano
Daniel Barenboim, conductor
Recorded May 22, 1997
HAYDN Symphony No. 48 in C Major (Maria Theresa)
Daniel Barenboim, conductor
Recorded May 20, 1993
MONIUSZKO Mazurka from Halka
Daniel Barenboim, conductor
Recorded at the Petrillo Music Shell in Grant Park, September 21, 1991
MORES/Carli El firulete
Daniel Barenboim, conductor
Recorded February 15, 2001
MOZART Finale Scene from The Marriage of Figaro, K. 492
Lella Cuberli, Joan Rodgers, Dawn Kotoski, sopranos
Cecilia Bartoli, Mimi Lerner, mezzo-sopranos
Graham Clark, tenor
Ferruccio Furlanetto, Michele Pertusi, Peter Rose, Günther von Kannen, basses
Daniel Barenboim, conductor
Recorded February 2, 7, and 12, 1992
SCHUBERT Psalm 23, D. 706
Women of the Chicago Symphony Chorus
Duain Wolfe, director
Daniel Barenboim, piano
Recorded October 3, 1996
THOMAS Ceremonial
Daniel Barenboim, conductor
Recorded January 6, 2000
WAGNER A Faust Overture
Daniel Barenboim, conductor
Recorded October 18, 1991
WOLF Der Feurreiter
Chicago Symphony Chorus
Duain Wolfe and Cheryl Frazes Hill, directors
Daniel Barenboim, conductor
Recorded September 17, 1994
Soloists of the Orchestra III
From the Archives, vol. 21
FISHER/Gould Chicago
Larry Combs, clarinet
Daniel Barenboim, conductor
Petrillo Music Shell, September 1991
BOULEZ Messagesquisse for Seven Cellos
John Sharp, solo cello
Stephen Balderston, Phillip Blum, Loren Brown, Richard Hirschl, Jonathan Pegis, and Gary Stucka, cellos
Daniel Barenboim, conductor
September 22, 1994
Additionally, two large collections of radio broadcast material were released as commercial recordings: a twelve-disc set to celebrate the the Orchestra’s centennial in 1990 and a ten-disc set as a retrospective of the twentieth century in 2000.
Chicago Symphony Orchestra: The First 100 Years (1990)
SCRIABIN Symphony No. 4, Op. 54 (The Poem of Ecstasy)
Daniel Barenboim, conductor
Recorded December 13, 14, and 16, 1984
BRAHMS Concerto for Piano No. 2 in B-flat Major, Op. 83
Daniel Barenboim, piano
Carlo Maria Giulini, conductor
Recorded November 28, 1977
RAN Concerto for Orchestra
Daniel Barenboim, conductor
Recorded October 20, 22, and 25, 1988
Chicago Symphony Orchestra in the Twentieth Century: Collector’s Choice (2000)
BUSONI Lustspiel Overture, Op. 38
Daniel Barenboim, conductor
Recorded January 4, 1996
MOZART/Busoni Overture to The Abduction from the Seraglio, K. 284
Daniel Barenboim, conductor
Recorded February 8, 1996
BEETHOVEN Christ on the Mount of Olives, Op. 85
Laura Aikin, soprano
Ben Heppner, tenor
René Pape, bass
Chicago Symphony Chorus
Duain Wolfe, director
Daniel Barenboim, conductor
Recorded February 15 and 16, 1996
From 1993 until 2000, recordings by Daniel Barenboim and the Chicago Symphony Orchestra were recorded and released by Teldec, following the acquisition of Erato by Warner Music in 1992. A complete list of Barenboim’s catalog with the CSO on Teldec is below (all recordings were made in Orchestra Hall, unless otherwise noted).
Cover image: Ludwig Mies van der Rohe’s apartment buildings at 860-880 North Lake Shore Drive*
BERIO Continuo
Daniel Barenboim, conductor
Recorded January 9, 1993
BERLIOZ Symphonie fantastique, Op. 14
Daniel Barenboim, conductor
Recorded May 11, 12, and 13, 1995
BERNSTEIN Symphonic Dances from West Side Story
Daniel Barenboim, conductor
Recorded in Medinah Temple May 23, 1997
BOULEZ Notations For Orchestra VII
Daniel Barenboim, conductor
Recorded January 28, 2000
BRAHMS Concerto for Violin in D Major, Op. 77
Maxim Vengerov, violin
Daniel Barenboim, conductor
Recorded October 15, 16, 17, 18, and 21, 1997
BRAHMS Concerto for Violin and Cello in A Minor, Op. 102 (Double)
Itzhak Perlman, violin
Yo-Yo Ma, cello
Daniel Barenboim, conductor
Recorded September 26, 27, and 28, 1996
CARTER Partita
Daniel Barenboim, conductor
Recorded at the Philharmonie in Cologne, Germany on June 1, 1994
DEBUSSY La mer
Daniel Barenboim, conductor
Recorded January 28 and 29, 2000
FALLA Nights in the Gardens of Spain
Daniel Barenboim, piano
Plácido Domingo, conductor
Recorded in Medinah Temple on May 13, 15, 16 and 17, 1997
FALLA The Three-Cornered Hat
Jennifer Larmore, mezzo-soprano
Daniel Barenboim, conductor
Recorded in Medinah Temple on May 22, 23, 24, and 25, 1997
Cover image: an aerial view of Chicago in 1945*
FURTWÄNGLER Symphony No. 2 in E Minor
Daniel Barenboim, conductor
Recorded December 12, 13, 14 and 15, 2001
GERSHWIN Cuban Overture
Daniel Barenboim, conductor
Recorded in Medinah Temple May 23, 1997
HANNIBAL African Portraits
Alhaji “Papa” Bunka Susso, griot
Eye Plus One Drummers (Paul A. Cotton, Mesha’ch Silas, Enoch Williamson; Clifton Robinson, director)
Jevetta Steele, gospel singer
David “Honeyboy” Edwards, vocal
Hannibal Lokumbe Quartet (Hannibal Lokumbe, Ron Burton, Cecil McBee, Cecil Brooks III)
Barton Green, tenor
David van Abbema, baritone
Theodore Jones, baritone
Brian Smith, boy soprano
Morgan State University Choir
Nathan Carter, director
Kennedy-King College Community Chorus
Randall Johnson, director
Doris Ward Workshop Chorale
Lucius Robinson, director
Daniel Barenboim, conductor
Recorded May 4, 5, and 9, 1995
MAHLER Symphony No. 5
Daniel Barenboim, conductor
Recorded at the Philharmonie in Cologne, Germany on June 4 and 5, 1997
NIELSEN Concerto for Violin, Op. 33
Maxim Vengerov, violin
Daniel Barenboim, conductor
Recorded January 8 and 9, 1996
ROUGET DE L’ISLE/Berlioz La Marseillaise
Plácido Domingo, tenor (recorded at the Hochschule für Musik Mozarteum, Salzburg, Austria)
Chicago Symphony Chorus
Duain Wolfe, director
Daniel Barenboim, conductor
Recorded May 15, 1995
Cover image: Marshall Field and Company Building*
SCHOENBERG Five Pieces for Orchestra, Op. 16
Daniel Barenboim, conductor
Recorded October 3 and 7, 1994
SCHOENBERG Transfigured Night, Op. 4
Daniel Barenboim, conductor
Recorded October 3 and 7, 1994
SIBELIUS Concerto for Violin in D Minor, Op. 47
Maxim Vengerov, violin
Daniel Barenboim, conductor
Recorded January 8 and 9, 1996
STRAUSS Concerto for Horn No. 1 in E-flat Major, Op. 11
Dale Clevenger, horn
Recorded October 2 and 5, 1998
Daniel Barenboim, conductor
2001 Grammy Award: Best Instrumental Soloist(s) Performance (with Orchestra)
Cover image: Marina City Building*
STRAUSS Concerto for Oboe and Small Orchestra in D Major
Daniel Barenboim, conductor
Alex Klein, oboe
Recorded October 2, 5, and 6, 1998
2001 Grammy Award: Best Instrumental Soloist(s) Performance (with Orchestra)
STRAUSS Duet-Concertino in F Major
Daniel Barenboim, conductor
Larry Combs, clarinet
David McGill, bassoon
Recorded October 2 and 5, 1998
2001 Grammy Award: Best Instrumental Soloist(s) Performance (with Orchestra)
STRAVINSKY Concerto for Violin in D Major
Daniel Barenboim, conductor
Itzhak Perlman, violin
Recorded September 22, 23, and 24, 1994
STRAVINSKY The Rite of Spring
Daniel Barenboim, conductor
Recorded January 28 and 29, 2000
TAKEMITSU Visions
Daniel Barenboim, conductor
Recorded January 9, 1993
Cover image: Carson, Pirie, Scott and Company Building (now Sullivan Center)*
TCHAIKOVSKY 1812 Overture, Op. 49
Daniel Barenboim, conductor
Recorded October 30, 1995
TCHAIKOVSKY Romeo and Juliet
Daniel Barenboim, conductor
Recorded October 20, 1995
TCHAIKOVSKY Symphony No. 4 in F Minor, Op. 36
Daniel Barenboim, conductor
Recorded January 30, 31, February 1, and 4, 1997
TCHAIKOVSKY Symphony No. 5 in E Minor, Op. 64
Daniel Barenboim, conductor
Recorded October 26, 27, 28, and 30, 1995
Cover image: Old Colony Building*
TCHAIKOVSKY Symphony No. 6 in B Minor, Op. 74 (Pathéthique)
Daniel Barenboim, conductor
Recorded February 5, 6, 7, and 10, 1998
WAGNER Overture to The Flying Dutchman
Daniel Barenboim, conductor
Recorded May 7, 1994
WAGNER Prelude to Act 1 of Lohengrin
Daniel Barenboim, conductor
Recorded May 7, 1994
WAGNER Prelude to Act 3 of Lohengrin
Daniel Barenboim, conductor
Recorded May 7, 1994
WAGNER Prelude to Act 1 of Die Meistersinger von Nürnberg
Daniel Barenboim, conductor
Recorded September 26, 1992
WAGNER Prelude to Act 3 of Die Meistersinger von Nürnberg
Daniel Barenboim, conductor
Recorded January 6 and 8, 1999
WAGNER Prize Song from Die Meistersinger von Nürnberg (arranged for horn)
Daniel Barenboim, conductor
Dale Clevenger, horn
Recorded January 6 and 8, 1999
WAGNER Prelude and Good Friday Spell from Parsifal
Daniel Barenboim, conductor
Recorded January 8 and 13, 1999
WAGNER Overture to Rienzi
Daniel Barenboim, conductor
Recorded January 6 and 13, 1999
WAGNER Siegfried Idyll
Daniel Barenboim, conductor
Recorded January 13, 1999
WAGNER Overture to Tannhäuser
Daniel Barenboim, conductor
Recorded May 7, 1994
WAGNER Prelude to Act 3 of Tannhäuser
Daniel Barenboim, conductor
Recorded January 8, 1999
WAGNER Prelude and Liebestod from Tristan und Isolde
Daniel Barenboim, conductor
Recorded January 16, 1993
*Historic photographs of iconic Chicago buildings were provided to Teldec by David R. Phillips of the Chicago Architectural Photographing Company
Daniel Barenboim in 1990 (Jim Steere photo for Erato)
On March 15, 1990—at the beginning of an open rehearsal for donors and patrons—the Orchestral Association announced that the Chicago Symphony Orchestra under its music director designate Daniel Barenboim would record exclusively for Erato Records. This would be the label’s first exclusive association with a major American orchestra, and it would begin with the world premiere of the Symphony no. 1 by John Corigliano, the Orchestra’s first composer-in-residence.
A complete list of Barenboim’s catalog with the CSO on Erato is below (all recordings were made in Orchestra Hall).
BEETHOVEN Missa solemnis in D Major, Op. 123
Tina Kiberg, soprano
Waltraud Meier, mezzo-soprano
John Aler, tenor
Robert Holl, bass
Chicago Symphony Chorus
Margaret Hillis, director
Daniel Barenboim, conductor
Recorded April 29, 30, May 1, and 4, 1993
BRAHMS Academic Festival Overture, Op. 80
Daniel Barenboim, conductor
Recorded September 19, 22, 24, and 28, 1993
BRAHMS A German Requiem, Op. 45
Daniel Barenboim, conductor
Janet Williams, soprano*
Thomas Hampson, baritone
Chicago Symphony Chorus
Margaret Hillis, director
Recorded September 17, 18, 19, and 22, 1992
*The fifth movement was re-recorded in a studio session with Williams as soloist on January 16, 1993.
BRAHMS Symphony No. 1 in C Minor, Op. 68
Daniel Barenboim, conductor
Recorded May 13, 14, and 18, 1993
BRAHMS Symphony No. 2 in D Major, Op. 73
Daniel Barenboim, conductor
Recorded October 7, 8, and 9, 1993
BRAHMS Symphony No. 3 in F Major, Op. 90
Daniel Barenboim, conductor
Recorded May 15 and 18, 1993
BRAHMS Symphony No. 4 in E Minor, Op. 98
Daniel Barenboim, conductor
Recorded September 19, 22, 24, and 28, 1993
BRAHMS Tragic Overture, Op. 81
Daniel Barenboim, conductor
Recorded September 17, 18, 19, and 22, 1992
BRAHMS Variations on a Theme by Joseph Haydn, Op. 56a
Daniel Barenboim, conductor
Recorded September 19, 22, 24, and 28, 1993
CORIGLIANO Symphony No. 1
Stephen Hough, piano
John Sharp, cello
Daniel Barenboim, conductor
Recorded March 15, 16, and 17, 1990
1991 Grammy Awards: Best Orchestral Performance, Best Contemporary Composition
LUTOSŁAWSKI Concerto for Orchestra
Daniel Barenboim, conductor
Recorded October 1, 2, and 3, 1992
LUTOSŁAWSKI Symphony No. 3
Daniel Barenboim, conductor
Recorded 1, 2, and 3, 1992
MAHLER Das Lied von der Erde
Waltraud Meier, mezzo-soprano
Siegfried Jerusalem, tenor
Daniel Barenboim, conductor
Recorded April 25, 26, 28, May 2, and 7, 1991
MENDELSSOHN Concerto for Violin in E Minor, Op. 64
Itzhak Perlman, violin
Daniel Barenboim, conductor
Recorded May 13, 14, 15, and 18, 1993
PROKOFIEV Concerto for Violin No. 2 in G Minor, Op. 63
Itzhak Perlman, violin
Daniel Barenboim, conductor
Recorded May 13, 14, 15, and 18, 1993
Barenboim and Perlman recording with the Orchestra in May 1993 (Jim Steere photo)
RAVEL Alborada del gracioso
Daniel Barenboim, conductor
Recorded October 2 and 3, 1991
RAVEL Boléro
Daniel Barenboim, conductor
Recorded October 2 and 3, 1991, and March 16, 1992
RAVEL Daphnis and Chloe Orchestral Fragments (Second Series)
Daniel Barenboim, conductor
Recorded October 2 and 3, 1991
RAVEL Pavane pour une infant défunte
Daniel Barenboim, conductor
Recorded October 2 and 3, 1991
RAVEL Rapsodie espagnole
Daniel Barenboim, conductor
Recorded October 2 and 3, 1991
RIMSKY-KORSAKOV Sheherazade, Op. 35
Samuel Magad, violin
Daniel Barenboim, conductor
Recorded February 4, 5, and 6, 1993
RIMSKY-KORSAKOV The Tale of Tsar Saltan Suite
Daniel Barenboim, conductor
Recorded January 21, 22, 23, and 24, 1993
J. STRAUSS, Jr. Annen Polka, Op. 117
Daniel Barenboim, conductor
Recorded September 16, 19, and 26, 1992
J. STRAUSS, Jr. Egyptian March, Op. 335
Daniel Barenboim, conductor
Recorded September 16, 19, and 26, 1992
J. STRAUSS, Jr. Emperor Waltz, Op. 437
Daniel Barenboim, conductor
Recorded March 16, September 16, 19, and 26, 1992
J. STRAUSS, Jr. On the Beautiful Blue Danube, Op. 314
Daniel Barenboim, conductor
Recorded September 16, 19, and 26, 1992
J. STRAUSS, Jr. Overture to Die Fledermaus
Daniel Barenboim, conductor
Recorded September 16, 19, and 26, 1992
J. STRAUSS, Jr. and J. STRAUSS Pizzicato Polka
Daniel Barenboim, conductor
Recorded September 16, 19, and 26, 1992
J. STRAUSS, Sr. Radetsky March, Op. 228
Daniel Barenboim, conductor
Recorded September 16, 19, and 26, 1992
J. STRAUSS, Jr. Tales from the Vienna Woods, Op, 325
Daniel Barenboim, conductor
Recorded September 16, 19, and 26, 1992
J. STRAUSS, Jr. Thunder and Lightning Polka, Op. 324
Daniel Barenboim, conductor
Recorded March 16, September 19, and 26, 1992
J. STRAUSS, Jr. Tritsch-Tratsch Polka, Op. 214
Daniel Barenboim, conductor
Recorded March 16, September 19, and 26, 1992
R. STRAUSS An Alpine Symphony, Op. 64
Daniel Barenboim, conductor
Recorded September 24, 25, 26, and 29, 1992
R. STRAUSS Don Juan, Op. 20
Daniel Barenboim, conductor
Recorded May 28, 1990
R. STRAUSS Don Quixote, Op. 35
John Sharp, cello
Charles Pickler, viola
Daniel Barenboim, conductor
Recorded May 28, 1991
R. STRAUSS Symphonic Fantasy on Die Frau ohne Schatten
Daniel Barenboim, conductor
Recorded September 24, 25, 26, and 28, 1992
R. STRAUSS Ein Heldenleben, Op. 40
Samuel Magad, violin
Daniel Barenboim, conductor
Recorded September 24 and 25, 1990
R. STRAUSS Till Eulenspiegel’s Merry Pranks, Op. 28
Daniel Barenboim, conductor
Recorded September 24 and 25, 1990
VERDI Messa da Requiem
Alessandra Marc, soprano
Waltraud Meier, mezzo-soprano
Plácido Domingo, tenor
Ferruccio Furlanetto, bass
Chicago Symphony Chorus
Margaret Hillis, director
Daniel Barenboim, conductor
Recorded September 20 and 21, 1993
WAGNER Dawn and Siegfried’s Rhine Journey, Siegfried’s Death and Funeral Procession, and Brünnhilde’s Immolation from Götterdämmerung
Daniel Barenboim, conductor
Deborah Polaski, soprano
Recorded October 7 and 8, 1991
WAGNER Forest Murmurs from Siegfried
Daniel Barenboim, conductor
Recorded October 8, 1991
WAGNER The Ride of the Valkryies from Die Walküre
Daniel Barenboim, conductor
Recorded October 7 and 8, 1991
For the Chicago Symphony Orchestra’s twelfth tour to Europe, Daniel Barenboim led three concerts at the Philharmonie in Berlin, in conjunction with the 1996 Easter Festival (Festtage).
Barenboim leads the Orchestra at the Philharmonie in Berlin on on April 3, 1996 (Monika Rittershaus photo)
April 3, 1996 – Philharmonie, Berlin, Germany
LISZT Piano Concerto No. 1 in E-flat Major
Martha Argerich, piano
BERLIOZ Symphonie fantastique, Op. 14
Daniel Barenboim, conductor
April 5, 1996 – Philharmonie, Berlin, Germany
WAGNER Prelude to Act 1 and Good Friday Music from Parsifal*
BRUCKNER Symphony No. 8 in C Minor
Daniel Barenboim, conductor
*Argerich originally was scheduled to perform Liszt’s Totentanz, but she canceled due to illness.
April 6, 1996 – Philharmonie, Berlin, Germany
LISZT Piano Concerto No. 2 in A Major
Martha Argerich, piano
TCHAIKOVSKY Symphony No. 5 in E Minor, Op. 64
Daniel Barenboim, conductor
Barenboim and the Orchestra returned to Europe later that same year, for a five-concert tour to England and Ireland. Sir Georg Solti led the fourth concert of the tour on September 13—Beethoven’s Ninth Symphony as part of at The Proms.
September 8, 1996 – Symphony Hall, Birmingham, England
September 14, 1996 – Bridgewater Hall, Manchester, England
VERDI Overture to La forza del destino
ELGAR Falstaff, Op. 68
TCHAIKOVSKY Symphony No. 5 in E Minor, Op. 64
Daniel Barenboim, conductor
Program book for the September 12, 1996, concert at the Royal Albert Hall
September 9, 1996 – National Concert Hall, Dublin, Ireland
September 12, 1996 – Royal Albert Hall, London, England
SCHOENBERG Five Pieces for Orchestra, Op. 16
BRUCKNER Symphony No. 8 in C Minor
Daniel Barenboim, conductor
The Orchestra’s fourteenth European tour included stops in Germany and France, with three Festtage concerts in Berlin.
June 4, 1997 – Kölner Philharmonie, Cologne, Germany
June 5, 1997 – Kölner Philharmonie, Cologne, Germany
REIMANN Violin Concerto
Gidon Kremer, violin
MAHLER Symphony No. 5
Daniel Barenboim, conductor
June 6, 1997 – Roncalliplatz, Cologne, Germany
GERSHWIN Cuban Overture
GERSHWIN Concerto in F for Piano and Orchestra
William Eddins, piano
GERSHWIN Rhapsody in Blue
William Eddins, piano
GERSHWIN An American in Paris
Daniel Barenboim, conductor
Vengerov rehearses Sibelius’s Violin Concerto under Barenboim’s baton at the Philharmonie in Cologne on June 8, 1997 (Klaus Rudolph photo)
June 8, 1997 – Kölner Philharmonie, Cologne, Germany
June 9, 1997 – Kölner Philharmonie, Cologne, Germany
HÖLLER Aura
Daniel Barenboim, conductor
SIBELIUS Violin Concerto in D Minor, Op. 47
Maxim Vengerov, violin
Daniel Barenboim, conductor
FALLA Nights in the Gardens of Spain
Daniel Barenboim, piano
Plácido Domingo, conductor
June 10, 1997 – Gewandhaus, Leipzig, Germany
MAHLER Symphony No. 5
Daniel Barenboim, conductor
Domingo congratulates Barenboim following a performance of Falla’s Nights in the Gardens of Spain at the Philharmonie in Cologne on June 8, 1997 (Astrid Kessler photo)
Barenboim and the Orchestra again returned to Berlin’s Festtage in the spring of 1998 for the fifteenth European tour
April 2, 1998 – Châtelet Théâtre Musical de Paris, Paris, France
WAGNER Prelude to Die Meistersinger von Nürnberg
BERG Three Pieces for Orchestra, Op. 6
BRAHMS Symphony No. 4 in E Minor, Op. 98
Daniel Barenboim, conductor
April 3, 1998 – Châtelet Théâtre Musical de Paris, Paris, France
MAHLER Symphony No. 5
Daniel Barenboim, conductor
April 6, 1998 – Philharmonie, Berlin, Germany
BRAHMS Violin Concerto in D Major, Op. 77
Maxim Vengerov, violin
BRAHMS Symphony No. 4 in E Minor, Op. 98
Daniel Barenboim, conductor
April 7, 1998 – Philharmonie, Berlin, Germany
BERG Three Pieces for Orchestra, Op. 6
MAHLER Symphony No. 5
Daniel Barenboim, conductor
April 8, 1998 – Philharmonie, Berlin, Germany
SCHUMANN Piano Concerto in A Minor, Op. 54
Jonathan Gilad, piano
BRUCKNER Symphony No. 7 in E Major
Daniel Barenboim, conductor
Program book for the September 5, 1998, concert in Birmingham’s Symphony Hall
The second trip to Europe in 1998 featured stops in England, Switzerland, Belgium, Germany, Austria, and the Orchestra’s first appearances in Romania.
September 3, 1998 – Royal Albert Hall, London, England
BIRTWISTLE Exody
MAHLER Symphony No. 5
Daniel Barenboim, conductor
September 4, 1998 – Royal Albert Hall, London, England
September 5, 1998 – Symphony Hall, Birmingham, England
September 11, 1998 – Kultur and Kongresszentrum, Lucerne, Switzerland
STRAUSS Till Eulenspiegel’s Merry Pranks, Op. 28
BERG Three Pieces for Orchestra, Op. 6
TCHAIKOVSKY Symphony No. 6 in E Minor, Op. 64 (Pathétique)
Daniel Barenboim, conductor
September 7, 1998 – Palais des Beaux Arts, Brussels, Belgium
BERG Three Pieces for Orchestra, Op. 6
MAHLER Symphony No. 5
Daniel Barenboim, conductor
Program book for the September 16, 1998, concert at the Musikvereinsaal in Vienna
September 8, 1998 – Palais des Beaux Arts, Brussels, Belgium
WAGNER Prelude to Lohengrin
SCHOENBERG Five Pieces for Orchestra, Op. 16
TCHAIKOVSKY Symphony No. 6 in E Minor, Op. 64 (Pathétique)
Daniel Barenboim, conductor
September 9, 1998 – Festspielhaus, Baden-Baden, Germany
September 15, 1998 – Musikverein, Vienna, Austria
SCHOENBERG Five Pieces for Orchestra, Op. 16
MAHLER Symphony No. 5
Daniel Barenboim, conductor
September 12, 1998 – Kultur and Kongresszentrum, Lucerne, Switzerland
SCHOENBERG Five Pieces for Orchestra, Op. 16
WAGNER Prelude and Liebestod from Tristan and Isolde
BEETHOVEN Symphony No. 7 in A Major, Op. 92
Daniel Barenboim, conductor
September 14, 1998 – Philharmonie am Gasteig, Munich, Germany
WAGNER Prelude and Liebestod from Tristan and Isolde
MAHLER Symphony No. 5
Daniel Barenboim, conductor
Program book for the spring 1999 Festtage in Berlin
September 16, 1998 – Musikverein, Vienna, Austria
September 18, 1998 – Sala Mare a Palatului, Bucharest, Romania
WAGNER Prelude to Lohengrin
BERG Three Pieces for Orchestra, Op. 6
TCHAIKOVSKY Symphony No. 6 in E Minor, Op. 64 (Pathétique)
Daniel Barenboim, conductor
September 19, 1998 – Sala Mare a Palatului, Bucharest, Romania
SCHUMANN Piano Concerto in A Minor, Op. 54
Radu Lupu, piano
MAHLER Symphony No. 5
Daniel Barenboim, conductor
For the 1999 Festtage , Barenboim invited the Chicago Symphony Chorus to join the Orchestra for two concerts in Berlin, including Pierre Boulez leading Schoenberg’s Moses und Aron on April 1.
March 31, 1999 – Philharmonie, Berlin, Germany
BRAHMS A German Requiem, Op. 45
Dorothea Röschmann, soprano
Thomas Quasthoff, baritone
Chicago Symphony Chorus
Duain Wolfe, director
Daniel Barenboim, conductor
Program book for the April 27 and 28, 2000, concerts in Cologne’s Philharmonie
April 3, 1999 – Philharmonie, Berlin, Germany
STRAUSS Don Juan, Op. 20
STRAUSS Till Eulenspiegel’s Merry Pranks, Op. 28
STRAUSS Ein Heldenleben, Op. 40
Daniel Barenboim, conductor
The Orchestra’s eighteenth European tour included Barenboim leading concerts in Germany, Spain, and Portugal, with Boulez taking the reins for two concerts in Cologne.
April 21, 2000 – Philharmonie, Berlin, Germany
BRAHMS Piano Concerto No. 2 in B-flat Major, Op. 83
Maurizio Pollini, piano
DEBUSSY La mer
BOULEZ Notations for Orchestra I-IV, VII
Daniel Barenboim, conductor
April 22, 2000 – Philharmonie, Berlin, Germany
BRAHMS Piano Concerto No. 1 in D Minor, Op. 15
Radu Lupu, piano
STRAVINSKY The Rite of Spring
Daniel Barenboim, conductor
Luggage sticker for the 2000 tour to Europe
April 27, 2000 – Philharmonie, Cologne, Germany
April 28, 2000 – Philharmonie, Cologne, Germany
BOULEZ Notations for Orchestra I-IV, VII
DEBUSSY La mer
FALLA The Three-Cornered Hat
Elisabete Matos, mezzo-soprano
Daniel Barenboim, conductor
April 30, 2000 – Palau de la Musica, Barcelona, Spain
May 1, 2000 – Auditoria Nacional de la Musica, Madrid, Spain
May 3, 2000 – Coliseu dos Recreios, Lisbon, Portugal
MAHLER Symphony No. 5
Daniel Barenboim, conductor
May 2, 2000 – Auditoria Nacional de la Musica, Madrid, Spain
DEBUSSY Prelude to The Afternoon of a Faun
DEBUSSY La mer
FALLA The Three-Cornered Hat
Elisabete Matos, mezzo-soprano
Daniel Barenboim, conductor
Orchestra Hall, January 19, 1958
On January 19, 1958, fifteen-year-old Daniel Barenboim made his piano recital debut at Orchestra Hall, with the following program:
BACH/Liszt Prelude and Fugue in A Minor, BWV 543
BEETHOVEN Sonata No. 23 in F Minor, Op. 57 (Appassionata)
BRAHMS Sonata No. 1 in C Major, Op. 1
BEN-HAIM Intermezzo and Toccata, Op. 34
The next day in the American, Roger Dettmer wrote, “Only very occasionally some youngster will happen along who seems to have been born adult . . . The prodigy turned out yesterday afternoon to be Daniel Barenboim, born fifteen years ago in Argentina. The talent is huge, the technique already formidable and he applied both to a virtuoso program [with] secure musical training and uncommon sensitivity of touch.”
He returned in November of that year and again every couple of years after that for more solo piano recitals, including—over the course of a month between February 26 and March 27, 1986—a series of eight concerts, traversing Beethoven’s complete cycle of piano sonatas.
After becoming the Chicago Symphony Orchestra’s ninth music director in September 1991, Barenboim made regular appearances as piano recitalist and chamber musician, collaborating with an extraordinary roster of instrumentalists and singers. He performed a dizzying array of repertoire, including Albéniz’s Iberia; Bach’s Goldberg Variations; Bartók’s Sonata for Two Pianos and Percussion; Beethoven’s Diabelli Variations; Berg’s Chamber Concerto for Piano, Violin, and Thirteen Wind Instruments (with Pierre Boulez conducting); Brahms’s cello sonatas; Mahler’s Des Knaben Wunderhorn, Songs of a Wayfarer, and Rückert Lieder; Messiaen’s Quartet for the End of Time; Mozart’s complete violin sonatas; Schubert’s Winterreise; Schumann’s Frauenliebe und -leben; Wagner’s Siegfried Idyll and Wesendonk Lieder; and Wolf’s Italian Songbook; along with other piano works by Chopin, Debussy, Liszt, Schoenberg, and Schubert, among others.
Barenboim’s collaborators included instrumentalists Héctor Console, Lang Lang, Radu Lupu, Yo-Yo Ma, Rodolfo Mederos, Itzhak Perlman, András Schiff, Deborah Sobol, Maxim Vengerov, and Pinchas Zukerman, along with singers Kathleen Battle, Cecilia Bartoli, Angela Denoke, Plácido Domingo, Thomas Hampson, Robert Holl, Waltraud Meier, Thomas Quasthoff, Peter Schreier, and Bo Skovhus. He also invited countless members of the Orchestra to join him, including Stephen Balderston, Li-Kuo Chang, Robert Chen, Dale Clevenger, Larry Combs, Louise Dixon, Edward Druzinsky, Jay Friedman, Rubén González, Richard Graef, Joseph Guastafeste, John Hagstrom, Adolph Herseth, Richard Hirschl, Alex Klein, Donald Koss, Burl Lane, Samuel Magad, David McGill, Michael Mulcahy, Lawrence Neuman, Bradley Opland, Nancy Park, Donald Peck, Gene Pokorny, Mark Ridenour, James Ross, Norman Schweikert, John Sharp, Gregory Smith, Charles Vernon, Gail Williams, and members of the Chicago Symphony Chorus (prepared by Duain Wolfe), among many others.
June 4 and 11, 2006
During the final residency of his tenure as music director, Barenboim presented Bach’s The Well-Tempered Clavier in two piano recitals: the first book on June 4, 2006; and the second book a week later, on June 11.
Reviewing the June 4 concert, John von Rhein in the Chicago Tribune wrote that Barenboim, “brought the full color resources of a modern concert grand to bear on Bach’s pristinely ordered sound-world . . . Bach never intended for musicians to perform all the preludes and fugues in one gulp, but when they are executed at so exalted a level of thought, feeling, and spirituality, who’s to say they shouldn’t?”
Following the second installment, Wynne Delacoma in the Chicago Sun-Times added, “One of Barenboim’s gifts as a pianist is his ability to etch clear, long-lined, richly colored phrases with seemingly no effort [and in Bach’s music] we heard the foundation on which the rest of his music-making has been built. . . . The applause that brought Barenboim back for extra bows was fervent and heartfelt. Barenboim’s annual piano recitals have been high points of Chicago’s musical life for the past fifteen years. They are appreciated and will be deeply missed.”
Illustration by Pam Rossi
After more than three years of planning, building, testing, and fine-tuning, Symphony Center—a $120 million project that included a facility expansion and extensive renovation of Orchestra Hall—opened its doors twenty years ago today, on October 4, 1997, with an opening night gala concert.
Led by acousticians Kirkegaard Associates and architects Skidmore, Owings & Merrill, the project encompassed additions and improvements to Orchestra Hall, including raising the roof line for increased sound reverberation, replacing plaster walls, decreasing the width and increasing the depth of the stage, adding an extensive riser system, replacing all seats and adding terrace seating behind the stage, installing an acoustic canopy (to improve onstage ensemble conditions and sound reflection to the audience), and increasing patron amenity spaces. In addition, the project included new administrative offices in the former Chapin & Gore building; Buntrock Hall, a multipurpose rehearsal and performance space; renovation of a private club (formerly the home of the Cliff Dwellers); and a multistory arcade and rotunda. The following year brought the opening of a new restaurant (originally Rhapsody and now tesori) and an education center.
Opening a three-week inaugural festival, the October 4 gala concert featured Daniel Barenboim leading the Chicago Symphony Orchestra, and the complete program was as follows:
Orchestra Hall at Symphony Center (Jim Steere photo)
ELGAR Nimrod from the Enigma Variations, Op. 36 (performed in memory of Sir Georg Solti)
VERDI Già nella notte densa from Otello, Act 1
Soile Isokoski, soprano
Plácido Domingo, tenor
VERDI Niun mi tema from Otello, Act 4
Plácido Domingo, tenor
BEETHOVEN Symphony No. 5 in C Minor, Op. 67
MOZART Piano Concerto No. 27 in B-flat Major, K. 595
Daniel Barenboim, piano
COPLAND Lincoln Portrait
William Warfield, narrator
BRUCKNER Te Deum
Soile Isokoski, soprano
Rosemarie Lang, mezzo-soprano
Thomas Moser, tenor
Matthias Hölle, bass
Chicago Symphony Chorus
Duain Wolfe, chorus director
Natyakalalayam Dance Company performing in Symphony Center’s rotunda on October 5, 1997 (Jeff Meacham photo)
Midnight marked the beginning of the first Marshall Field’s Day of Music: twenty-four hours of free, live performances of music across all genres in multiple Symphony Center venues, attended by more than 20,000 people. The festival also launched the newly renamed Symphony Center Presents series (formerly Allied Arts, begun by Harry Zelzer in the 1930s), with concerts by Barenboim, Itzhak Perlman, Pinchas Zukerman, Maurizio Pollini, and the Emerson String Quartet, along with the Dave Brubeck Quartet, Joe Williams, Oscar Peterson, Marcus Roberts Trio, and a tribute celebrating the eightieth-birthday anniversary of Thelonious Monk (led by his son Thelonious Monk, Jr.).
October 22, 1997 (Jim Steere photo)
Sadly, the many celebrations were bittersweet. Music director laureate Sir Georg Solti—who, during the festival would have celebrated not only his eighty-fifth birthday but also his 1,000th concert with the Orchestra—had unexpectedly died on September 5, 1997. A special, free memorial concert was added on October 22 that included Wagner’s Prelude to Die Meistersinger von Nürnberg and the Prelude and Liebestod from Tristan and Isolde, followed by Mozart’s Requiem with Emily Magee, Anna Larsson, John Aler, René Pape, and the Chicago Symphony Chorus. A celebration concert was given on October 25, with Barenboim conducting Beethoven’s Third Piano Concerto (from the keyboard) and the Seventh Symphony.
Portions of this article previously appeared here.
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Illustration by Pam Rossi
After more than three years of planning, building, testing, and fine-tuning, Symphony Center—a $120 million project that included a facility expansion and extensive renovation of Orchestra Hall—opened its doors on October 4, 1997, with an opening night gala concert.
Led by acousticians Kirkegaard Associates and architects Skidmore, Owings & Merrill, the project encompassed additions and improvements to Orchestra Hall, including raising the roof line for increased sound reverberation, replacing plaster walls, decreasing the width and increasing the depth of the stage, adding an extensive riser system, replacing all seats and adding terrace seating behind the stage, installing an acoustic canopy (to improve onstage ensemble conditions and sound reflection to the audience), and increasing patron amenity spaces. In addition, the project included new administrative offices in the former Chapin & Gore building; Buntrock Hall, a multipurpose rehearsal and performance space; renovation of a private club (formerly the home of the Cliff Dwellers); and a multistory arcade and rotunda. The following year brought the opening of a new restaurant (originally Rhapsody and now tesori) and an education center.
Natyakalalayam Dance Company performing in Symphony Center’s rotunda on October 5, 1997 (Jeff Meacham photo)
Launching a three-week inaugural festival, the October 4 gala concert was conducted by Daniel Barenboim and included excerpts from Verdi’s Otello with Soile Isokoski and Plácido Domingo, Beethoven’s Fifth Symphony, Mozart’s Piano Concerto no. 27 (with Barenboim conducting from the keyboard), Copland’s Lincoln Portrait with William Warfield, and Bruckner’s Te Deum with the Chicago Symphony Chorus. Midnight marked the beginning of the first Day of Music: twenty-four hours of free, live performances of music across all genres in multiple Symphony Center venues, attended by more than 20,000 people.
October 22, 1997 (Jim Steere photo)
Sadly, the many celebrations were bittersweet. Music director laureate Sir Georg Solti—who, during the festival would have celebrated not only his eighty-fifth birthday but also his 1,000th concert with the Orchestra—had unexpectedly died on September 5, 1997. A special, free memorial concert was added on October 22 that included Wagner’s Prelude to Die Meistersinger von Nürnberg and the Prelude and Liebestod from Tristan and Isolde, followed by Mozart’s Requiem with Emily Magee, Anna Larsson, John Aler, René Pape, and the Chicago Symphony Chorus. A celebration concert was given on October 25, with Daniel Barenboim conducting Beethoven’s Third Piano Concerto (from the keyboard) and the Seventh Symphony.
This article also appears here.
The commercial recording legacy of the Chicago Symphony Orchestra—under second music director Frederick Stock—began on May 1, 1916. For the Columbia Graphophone Company (at an undocumented location in Chicago), they recorded Mendelssohn’s Wedding March from A Midsummer Night’s Dream; Wagner’s Ride of the Valkyries from Die Walküre; and Grieg’s Two Elegiac Melodies, Heart Wounds and The Last Spring.
Mendelssohn’s Wedding March and Grieg’s The Last Spring were each on the first 80-rpm disc issued in October 1916, and a Columbia Records sales brochure raved, “The deepest glories vibrant in such a familiar composition as Mendelssohn’s Wedding March are unguessed until interpreted by such an orchestra as this. From the first trumpet fanfare to the great central crescendo is very joy and glory articulate! . . . There can be no pleasure beyond enjoying such music as the Chicago Symphony here brings to every music-loving home.”
To commemorate this legacy, this collage of record and CD labels is on display in the first floor of Symphony Center’s Rotunda through the end of the Orchestra’s current—the 125th—season. Details of all of the recordings included are below (all recordings were made at Orchestra Hall unless otherwise noted).
Austrian pianist Artur Schnabel made his debut with the Orchestra at the Ravinia Festival on July 11, 1942, performing Beethoven’s Fourth Piano Concerto with George Szell conducting. On July 22 and 24, 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.
The Chicago Symphony Orchestra gave the U.S. premiere of Prokofiev’s Scythian Suite under the baton of the composer on December 6, 1918. On March 16, 1945, third music director Désiré Defauw recorded the work for RCA.
Fourth music director Artur Rodzinski led the Orchestra in a complete performance of Wagner’s Tristan and Isolde—with Set Svanholm and Kirsten Flagstad in the title roles—at the Civic Opera House on November 16, 1947. A month later on December 14, he led the Orchestra in recording sessions for the Prelude and Liebestod at Orchestra Hall.
For Mercury Records, fifth music director Rafael Kubelík led the Orchestra’s first recording of Ravel’s orchestration of Mussorgsky’s Pictures at an Exhibition on April 23 and 24, 1951. Principal trumpet Adolph Herseth performed the opening fanfare.
On March 6, 1954, sixth music director Fritz Reiner and the Orchestra recorded together for the first time: Strauss’s Dance of the Seven Veils from Salome and Ein Heldenleben for RCA. (Reiner’s complete CSO catalog recently was re-released by RCA.)
At the third annual Grammy awards ceremony on April 12, 1961, the Orchestra’s recording of Bartók’s Music for Strings, Percussion, and Celesta received the award for Best Classical Performance–Orchestra. Reiner had conducted the RCA release. That same evening, the Orchestra’s recording of Brahms’s Second Piano Concerto—also on RCA and with Erich Leinsdorf conducting—earned the award for Best Classical Performance–Concerto or Instrumental Soloist for Sviatoslav Richter. These were the first two Grammy awards earned for recordings by the Chicago Symphony Orchestra.
Reiner led the Orchestra, Chicago Symphony Chorus (prepared by its founder Margaret Hillis), and mezzo-soprano Rosalind Elias in Prokofiev’s Alexander Nevsky for RCA—the first recording collaboration with the Orchestra and the Chorus—on March 7, 1959, at Orchestra Hall.
Two years after winning the prestigious 1958 Tchaikovsky Competition in Moscow, Van Cliburn made his first recording with the Orchestra on April 16, 1960: Schumann’s Piano Concerto with Reiner conducting for RCA. (A complete list of Cliburn’s appearances and recordings with the Chicago Symphony Orchestra can be found here.)
On March 19, 1966, seventh music director Jean Martinon led the Orchestra in recording sessions for Martin’s Concerto for Seven Wind Instruments, Timpani, Percussion, and String Orchestra for RCA. Featured soloists were CSO principals Clark Brody (clarinet), Willard Elliot (bassoon), Donald Peck (flute), Dale Clevenger (horn, in his first week on the job), Ray Still (oboe), Adolph Herseth (trumpet), Donald Koss (timpani), and Jay Friedman (trombone). (Martinon’s complete CSO catalog recently was re-released by RCA.)
Benny Goodman recorded Nielsen’s Clarinet Concerto with the Orchestra on June 18, 1966, for RCA. Morton Gould conducted. (Gould’s complete CSO catalog recently was re-released by RCA.)
At Medinah Temple on February 20 and 21, 1968, Leopold Stokowski and the Orchestra recorded Shostakovich’s Symphony no. 6 for RCA.
Carlo 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.
During eighth music director Georg Solti‘s first season as music director, the Orchestra performed Mahler’s Fifth Symphony at Carnegie Hall on January 9, 1970, and were called back for twelve curtain calls. Beginning on March 26 at Medinah Temple, Solti and the Orchestra committed their performance to disc—their first recording together—for London Records.
Daniel Barenboim, who would later become ninth music director, made his first recording with the Orchestra on November 11, 1970, at Medinah Temple. For Angel, he led sessions for Dvořák’s Cello Concerto with his wife Jacqueline du Pré as soloist. (A summary of du Pré’s association with the Orchestra is here.)
Before the Chicago Symphony Orchestra performed the first concert of its first tour to Europe in 1971, Solti led recording sessions for Mahler’s Eighth Symphony at the Sofiensaal in Vienna on August 30, 31, and September 1. Soloists included Heather Harper, Lucia Popp (more about Popp’s performances with the Orchestra is here), Arleen Augér, Yvonne Minton, Helen Watts, René Kollo, John Shirley-Quirk, and Martti Talvela. The recording won three 1972 Grammy awards for Album of the Year–Classical, Best Choral Performance–Classical (other than opera) (for the Chorus of the Vienna State Opera, Singverein Chorus, and Vienna Boys’ Choir), and Best Engineered Recording–Classical.
On December 13, 1977, Barenboim and the Orchestra recorded Bruckner’s Sixth Symphony for Deutsche Grammophon, part of a complete cycle of the composer’s symphonies that also included the Te Deum, Helgoland, and Psalm 150.
Following concerts in Orchestra Hall and Carnegie Hall, Solti led the Orchestra, Chorus, and soloists (including Hildegard Behrens as Leonore and Peter Hofmann as Florestan) and in recording sessions for Beethoven’s Fidelio—”the first digitally recorded opera to be released,” according to Gramophone—at Medinah Temple on May 21, 22, 23, and 24, 1979.
Second music director of the Ravinia Festival, James Levine led the Orchestra, Chorus, Glen Ellyn Children’s Chorus, and soloists (June Anderson, Phillip Creech, and Bernd Weikl) in sessions for Orff’s Carmina burana on July 9 and 10, 1984, for Deutsche Grammophon. The recording was awarded the 1986 Grammy Award for Best Choral Performance (other than opera).
At the end of a subscription concert at Orchestra Hall on January 23, 1986, Solti led the Orchestra and Chorus in a spirited encore of the Chicago Bears‘ fight song “Bear Down, Chicago Bears” in anticipation of the team’s Super Bowl victory. The day after the game, the work was recorded by London Records.
Solti led recording sessions at Medinah Temple for Beethoven’s Ninth Symphony—the second time he and the Orchestra and Chorus had recorded the work—on September 28, 30, and October 7, 1986, for London. Soloists were Jessye Norman, Reinhild Runkel, Robert Schunk, and Hans Sotin. The release was awarded the 1987 Grammy Award for Best Orchestral Performance.
Claudio Abbado, second principal guest conductor, led the Orchestra in Brahms’s Double Concerto with Isaac Stern and Yo-Yo Ma (future Judson and Joyce Green Creative Consultant) as soloists on November 7 and 8, 1986, for CBS Records.
Closing the 97th season in June 1988, Leonard Bernstein led the Orchestra in performances of Shostakovich’s First and Seventh symphonies. Recorded live by Deutsche Grammophon, the release received the 1990 Grammy Award for Best Orchestral Performance.
On March 15, 16, and 17, 1990, Barenboim led the world premiere performances of composer-in-residence John Corigliano’s Symphony no. 1, commissioned for the Orchestra. The live recording—Barenboim and the Orchestra’s first on the Erato label—was awarded two 1991 Grammy awards for Best Orchestral Performance and Best Contemporary Composition.
The recording of Bartók’s The Wooden Prince and Cantata profana led by Pierre Boulez for Deutsche Grammophon—recorded on December 19, 20, and 21, 1991—was awarded four 1993 Grammy awards: Best Classical Album, Best Orchestral Performance, Best Performance of a Choral Work, and Best Engineered Recording–Classical. (A complete list of Boulez’s recordings with the Orchestra is here and his complete Grammy awards are here.)
Between 1993 and 1996, Levine led the Orchestra and Chorus in recording sessions at Medinah Temple for Disney‘s feature film Fantasia 2000. The movie was released on January 1, 2000.
Shortly after being named the Orchestra’s third principal guest conductor, Boulez led sessions for Varèse’s Amériques, Arcana, Déserts, and Ionisation in December 1995 and 1996. The Deutsche Grammophon release was awarded the 2001 Grammy Award for Best Orchestral Performance.
In May 1997 at Medinah Temple, the Orchestra recorded Falla’s Nights in the Gardens of Spain and The Three-Cornered Hat for Teldec. For Nights in the Gardens of Spain, Barenboim was piano soloist and Plácido Domingo conducted; for The Three-Cornered Hat, Jennifer Larmore was mezzo-soprano soloist and Barenboim conducted.
A former Youth Auditions winner and member of the Civic Orchestra of Chicago, Rachel Barton recorded Brahms’s and Joachim’s violin concertos for Cedille Records on July 2 and 3, 2002. Carlos Kalmar conducted.
In his first concerts as principal conductor on October 19, 20, and 21, 2006, Bernard Haitink led the Orchestra, women of the Chorus (prepared by Duain Wolfe), the Chicago Children’s Choir, and mezzo-soprano Michelle DeYoung in Mahler’s Third Symphony. The work is recorded as the inaugural release on CSO Resound.
In May 2008, Haitink and the Orchestra recorded Shostakovich’s Fourth Symphony for CSO Resound. The release was awarded the 2008 Grammy Award for Best Orchestral Performance.
Boulez led the Orchestra in Stravinsky’s Pulcinella, Symphony in Three Movements, and Four Studies in February and March 2009 for CSO Resound. Soloists in the Pulcinella were Roxana Constantinescu, Nicholas Phan, and Kyle Ketelsen.
On January 15, 16, and 17, 2009, Riccardo Muti—in his first concerts as music director designate—led the Orchestra, Chorus, and soloists (Barbara Frittoli, Olga Borodina, Mario Zeffiri, and Ildar Abdrazakov) in Verdi’s Requiem. The subsequent CSO Resound recording was awarded 2010 Grammy awards for Best Classical Album and Best Choral Performance.
Following his first concert as the Chicago Symphony Orchestra’s tenth music director (for more than 25,000 people in Millennium Park) in September 2010, Muti led the Orchestra, Chorus, and soloists (Gérard Depardieu, Mario Zeffiri, and Kyle Ketelsen) in Berlioz’s Symphonie fantastique and Lélio. The two-disc set was released on CSO Resound in September 2015.
On April 7, 9, and 12, 2011, Muti led concert performances—recorded by CSO Resound—of Verdi’s Otello at Orchestra Hall. Along with the Orchestra, Chorus, and Chicago Children’s Chorus, soloists included Aleksandrs Antonenko in the title role, Krassimira Stoyanova as Desdemona, and Carlo Guelfi as Iago.
In February 2012, Muti led world premieres by the Orchestra’s Mead Composers-in-Residence: Anna Clyne’s Night Ferry and Mason Bates’s Alternative Energy. Both works were recorded for CSO Resound and released as digital downloads.
For Sony Classical, composer John Williams led the Orchestra and Chorus in recording sessions at Orchestra Hall for his soundtrack for the motion picture Lincoln. Director Steven Spielberg was on hand to supervise.
Cheers to the next 100!
