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RCA Red Seal Records (a division of Sony Classical) is releasing a set of complete Chicago Symphony Orchestra recordings—some available for the first time on CD—led by Seiji Ozawa, recorded during his tenure as the first music director of the Ravinia Festival from 1964 until 1968.
“With the success of [Fritz] Reiner’s CSO recordings, RCA was eager to continue expanding its catalog with the Orchestra, and the label wasted no time engaging both [Jean] Martinon (who began his tenure as the orchestra’s seventh music director in 1963) and Ozawa,” writes Frank Villella in the liner notes for the set. “Martinon first recorded with the Orchestra for RCA in November 1964, and Ozawa’s first recording—Bartók’s Third Piano Concerto with [seventeen-year-old Peter] Serkin—was made at Orchestra Hall in June 1965.”
Additional highlights from the set include Serkin performing Bartók’s First Piano Concerto and Schoenberg’s Piano Concerto, one of the seven recordings of the Orchestra performing Ravel’s orchestration of Mussorgsky’s Pictures at an Exhibition, Britten’s Young Person’s Guide to the Orchestra, Stravinsky’s The Rite of Spring, Beethoven and Tchaikovsky’s Fifth symphonies, and Schubert’s Unfinished Symphony, among others.
When Ozawa announced that he would step down as the Festival’s music director, he said that “Ravinia was the first organization to invite me to be its music director. Without the belief you had in me, I do not think I would have any career at this moment. The Chicago Symphony is one of the greatest orchestras I have ever conducted, and I have had no greater glory in music than I have experienced here.”
The set is available for pre-order via the Symphony Store here. It will be available domestically on April 21, 2017.
All of a sudden, Vladimir Horowitz is everywhere. Especially in Chicago.
In addition to Deutsche Grammophon releasing Horowitz: Return to Chicago, Sony Classical has issued a set of the pianist’s unreleased live recital recordings, covering thirteen programs recorded at twenty-five concerts in fourteen different venues between 1966 and 1983. And four of those concerts were recorded in Chicago’s Orchestra Hall, on May 12, 1968; November 2, 1975; and April 8 and 15, 1979.
These live recordings were made by Columbia Masterworks (1966–1968) and RCA Red Seal (1975–1983), and—with the exception of a few tracks released on compilation albums—the vast majority of the material has never been previously available. The fifty-disc set recently was nominated for a Grammy Award for Best Historical Album.
“Vladimir Horowitz’s piano technique is so comprehensive that it diminishes everyone else,” wrote Thomas Willis in the Chicago Tribune, following the November 1975 performance, presented under the auspices of Allied Arts. “When he summons the power and clangor for bravura passages, the other powerhouses by comparison sound like lightweights. But when he relaxes into pellucid cascades of an impressionist Liszt tone poem, other light-fingered specialists seem to have developed fingers of lead. . . . Horowitz is not only in a class by himself, he is apparently indestructible. Ten years after his return to the concert stage, the seventy-one-year-old virtuoso has the endurance, the control, and the coiled-spring presence to make each appearance an unforgettable event. . . . Horowitz today is as much a giant as ever.”
In addition to the works on the program, the audience—including an extra 150 on the stage—demanded no less than six encores: Schumann’s Träumerei from Kinderszenen; Scarlatti’s Sonata in A major, K. 322; Moszkowski’s Étincelles; Chopin’s Black Key Etude in G-flat major, op. 10, no. 5 and Mazurka in A minor, op. 17, no. 4; and finally Rachmaninov’s Étude-Tableaux in D major, op. 39, no. 9. All are included on the release.
RCA Red Seal Records (now a division of Sony Masterworks) has just released the complete Chicago Symphony Orchestra recordings—some available for the first time on CD—led by Morton Gould, a frequent and favorite guest conductor in the 1960s.
“This set of recordings documents an unusual relationship Gould had with the Chicago Symphony Orchestra,” writes Alan G. Artner in the set’s liner notes. “[This] collection represents something close to the height of Gould’s work in the recording studio, made with the finest orchestra he conducted, taking chances with a good deal of music just being discovered in that adventurous, bygone time.”
Highlights of the six-CD set include several works by Ives, including The Unanswered Question, Variations on America, Robert Browning Overture, Putnam’s Camp, the first recording of Orchestral Set no. 2, and the Symphony no. 1 (which won the 1966 Grammy Award for Album of the Year—Classical). Also featured are Rimsky-Korsakov’s Antar Symphony, Miaskovsky’s Symphony no. 21, several waltzes by Tchaikovsky, Copland’s Dance Symphony, Gould’s Spirituals for Orchestra, and two works by Nielsen: the Symphony no. 2 and Clarinet Concerto featuring Benny Goodman. A special bonus track is Goodman performing Gould’s arrangement of Fred Fisher’s song Chicago (previously only available on LP, released in conjunction with the CSO’s second Marathon fundraiser in 1977).
In 1985, the Chicago Symphony gave the world premiere of Gould’s Flute Concerto, commissioned for the Orchestra, principal flute Donald Peck, and music director Sir Georg Solti. In the program note, the composer recalled, “Among my most pleasant memories are those years when I was guest conductor with the Chicago Symphony Orchestra.”
RCA Red Seal Records (now a division of Sony Masterworks) recently released the complete Chicago Symphony Orchestra recordings—some available for the first time on CD—led by our seventh music director Jean Martinon. (The set has not yet been released in the United States but is available from several European and Japanese distributors.)
“It’s always a very delicate and perilous business for a conductor to take over a renowned orchestra that has just passed through a glorious and legendary era under a charismatic predecessor,” writes Christoph Schlüren in the accompanying booklet, referring to Martinon succeeding Fritz Reiner. “Martinon was not blessed by fate in Chicago. The problem was not that the orchestra failed to appreciate him, nor that the ensemble’s outstanding level dropped under his leadership. The surviving recordings are no less brilliant than Reiner’s. . . . In any event, the standard view that the Chicago Symphony Orchestra did not really get going until Martinon gave way to Georg Solti is true only with regard to its commercial success and resultant worldwide fame, not to the perfection of its playing.”
The set includes a number of works, most notably Martin’s Concerto for Seven Winds, Timpani, Percussion, and String Orchestra (featuring several CSO principal players); Mennin’s Symphony no. 7; Varèse’s Arcana; and Weber’s Clarinet Concertos nos. 1 and 2 with Benny Goodman. Additionally, two very special works are heard: an arrangement of Paganini’s Moto perpetuo as arranged by the CSO’s second music director Frederick Stock (according to Schlüren, “wittily peppered with fragments from the finale of [Beethoven’s] Eroica“) as well as Martinon’s own Symphony no. 4 (Altitudes), commissioned for the Orchestra’s seventy-fifth season. And similar to the previously issued Reiner set, the booklet includes numerous images from the collections of the Rosenthal Archives.
RCA Red Seal Records (now a division of Sony Masterworks) has just released—for the first time as a set—the complete Chicago Symphony Orchestra recordings led by our sixth music director, the legendary Fritz Reiner. The sixty-three discs are beautifully presented in replicas of the original album jackets (front and back), spanning the recording of Richard Strauss’s Dance of the Seven Veils from Salome and Also sprach Zarathustra, recorded in March 1954, through Beethoven’s Piano Concerto no. 4 with Van Cliburn, recorded in April 1963.
The beautifully packaged set includes a detailed booklet with repertoire and recording details, along with an excellent article by Kenneth Morgan (author of Fritz Reiner: Maestro and Martinet).
The set also includes Reiner’s last recording (made in September 1963, barely two months before his death): Haydn’s Symphonies nos. 95 and 101. The ensemble is billed as “Fritz Reiner and his Symphony Orchestra,” which included musicians from “the Chicago Symphony Orchestra, the Metropolitan Opera Orchestra, the New York Philharmonic, the Symphony of the Air (formerly NBC Symphony), and others.”