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Byron JanisSending happy ninetieth birthday wishes to the legendary pianist Byron Janis!

Between 1952 and 1974, Janis appeared with the Chicago Symphony Orchestra on numerous occasions at Orchestra Hall, in Milwaukee, and at the Ravinia Festival, under the batons of music directors Fritz Reiner and Jean Martinon; associate conductors Walter Hendl and Irwin Hoffman; Ravinia Festival music directors Seiji Ozawa and James Levine; and guest conductors Leonard Bernstein, André Cluytens, Igor Markevitch, Dimitri Mitropoulos, Hans Rosbaud, Joseph Rosenstock, William Steinberg, Leopold Stokowski, Willem Van Otterloo, and David Zinman.

Janis made his debut with the Orchestra at the Ravinia Festival on July 10, 1952, in Beethoven’s Third Piano Concerto with Dimitri Mitropoulos conducting.

Two years later—a few weeks shy of his twenty-sixth birthday—he first performed in Orchestra Hall on March 4 and 5, 1954, in Tchaikovsky’s First Piano Concerto with Fritz Reiner on the podium. “If you have it, you have it, and Mr. Janis does,” wrote Claudia Cassidy in the Chicago Tribune following his debut. “He has good fingers, a direct approach, and a good tone. He has temperament and fire and he wants, perhaps more than anything else in the world, to play the piano. You can always tell that by the sound. It comes out in the explosions of the double octaves, in the instinctive sensing of the crest of a phrase, in the way a Russian song suddenly knows pain, which is not quite the same thing as being sad. Because of these things, because he is such a pianist, his Tchaikovsky was big, beautiful, and dynamic, yet with all its tensions it sensed the relaxed sweep of the grand style. Few things could be more stupid than to patronize such playing, which Reiner and the orchestra gave superb collaboration, part Russian song, part Russian bear. When I look forward to what that playing can be, I am speaking of it in Janis’s own terms. Give him time to strengthen those fingers, to deepen and polish that tone. But listen as he does it, for he is worth hearing now.”

He most recently appeared with the CSO in Orchestra Hall on April 20 and 21, 1967, in Prokofiev’s First Piano Concerto and Strauss’s Burleske with Irwin Hoffman conducting, and at the Ravinia Festival on August 15, 1974, in Saint-Saëns’s Fifth Piano Concerto under the baton of David Zinman.

Janis also made several recordings with the Chicago Symphony Orchestra, as follows:

RACHMANINOV Piano Concerto No. 1 in F-sharp Minor, Op. 1
Fritz Reiner, conductor
Recorded March 2, 1957, in Orchestra Hall by RCA

Byron Janis’s complete RCA catalog—including his recordings with the CSO—recently was re-released in a box set.

STRAUSS Burleske for Piano and Orchestra
Fritz Reiner, conductor
Recorded March 4, 1957, in Orchestra Hall by RCA

SCHUMANN Piano Concerto in A Minor, Op. 54
Fritz Reiner, conductor
Recorded February 21, 1959, in Orchestra Hall by RCA

LISZT Totentanz for Piano and Orchestra
Fritz Reiner, conductor
Recorded February 23, 1959, in Orchestra Hall by RCA

PROKOFIEV Piano Concerto No. 1 in D-flat Major, Op. 10
Irwin Hoffman, conductor
Recorded by WFMT on April 20 and 21, 1967, in Orchestra Hall
Released in 1995 on From the Archives, vol. 10: Great Soloists

Happy, happy birthday!

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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.

Fritz Reiner (Oscar Chicago photo)

One of Fritz Reiner’s primary goals, early in his tenure as the Chicago Symphony Orchestra’s sixth music director, was to program major choral works. However, the repertory he wished to perform was, in his opinion, too demanding for the amateur and student groups usually engaged.

While visiting New York in February 1954, Reiner observed a rehearsal of the New York Concert Choir, under the direction of its founder, Margaret Hillis. He was so impressed that on his return to Chicago, Reiner convinced the board of trustees to hire Hillis and her ensemble for performances the following season of Barber’s recently composed Prayers of Kirkegaard and Orff’s Carmina burana, both new to the Orchestra’s repertoire. (For performances of Beethoven’s “less demanding” Ninth Symphony, the local Swedish Choral Club was engaged.)

Margaret Hillis

Hillis and the New York Concert Choir first traveled to Chicago in March 1955 for three performances of the works by Barber and Orff. Roger Dettmer, writing for the American, exclaimed, “it was Miss Hillis’s magnificent choir of sixty which matched most closely the Orchestra’s astonishing virtuosity by giving Dr. Reiner the fullest measure of choral artistry.” In the Daily News, Irving Sablosky added, “We’re not used to hearing choral singing of such refinement and nuance in symphony concerts. I hope we’ll hear more.”

Despite scheduling challenges, Reiner reengaged Hillis the following season for Mozart’s Mass in C minor and Bruckner’s Te Deum in January 1956. Dettmer wrote that the Orchestra and “Margaret Hillis’s magnificent [choir], easily the finest professional chorus in this country today, [performed] with uncommon brilliance, and maestro himself was in supremely spirited command.”

For the 1957–58 season, Reiner hoped to perform and record Verdi’s Requiem, and again he contacted Hillis. The New York Concert Choir averaged only sixty voices, and she informed Reiner they would need nearly double that in order to do justice to the Verdi. It would simply be too expensive.

This impasse gave Reiner an idea. He persuaded board president Eric Oldberg to hire Hillis to organize a chorus permanently affiliated with the Orchestra in Chicago. She initially agreed to advise on how to audition a director and choristers, but Reiner insisted there would be no chorus unless Hillis herself was the director. At the trustees meeting on September 20, 1957, Oldberg reported on successful negotiations and the plan to hire Hillis was approved.

Chicago Tribune, September 22, 1957

“As choral literature takes on increasing importance in the orchestral sphere, the Chicago Symphony is making its move to institutionalize the trend,” wrote Seymour Raven in the Chicago Tribune on September 22. “From Orchestra Hall comes word that the Chicago Symphony Orchestra Chorus is to be a new factor in the city’s musical life.”

Auditions began on October 5, and in less than two weeks the Sun-Times reported that they had “produced an exceptionally high rate of successful applicants. . . . Skill in sight-reading, interpretative ability, and voice quality were the main prerequisites for success. Voices with a tremolo or breathless quality were automatically rejected.” On October 13, the Daily News advertised that auditions were continuing: “Men’s voices are still urgently needed.”

Chicago Tribune, December 1, 1957

The Chicago Symphony Chorus, nearly one hundred voices strong, began rehearsals on October 28, and on November 30, the ensemble made an informal debut at a private concert for guarantors and sustaining members. On the first half of the concert, Reiner led Cailliet’s orchestration of Bach’s Little G minor fugue and Strauss’s Oboe Concerto (with principal Ray Still), and after intermission, Hillis took the podium, becoming the first woman to conduct the Chicago Symphony Orchestra. She led the Orchestra and Chorus in Thompson’s Alleluia and Billings’s Modern Music (both a cappella), the final section of Purcell’s Ode for Saint Cecilia’s Day, and the Servants’ Chorus from Donizetti’s Don Pasquale. Dettmer reported in the American that the debut was “more than promising . . . Miss Hillis’s choristers were fresh-voiced, musically sensitive, already balanced internally . . . she has accomplished much in the briefest time span.”

When popular guest conductor Bruno Walter informed the Orchestral Association that his March 1958 appearances would be his last in Chicago, Oldberg insisted that he should lead Mozart’s Requiem with the new chorus as his swansong. To prepare for both sets of concerts, Hillis and the Chorus began their work in earnest on Mozart’s and Verdi’s requiems, with Reiner regularly attending rehearsals.

Chicago Tribune, March 14, 1958

On March 13 and 14, 1958, the Chicago Symphony Chorus made its official debut in Mozart’s Requiem, under Walter’s baton with soloists Maria Stader, Maureen Forrester, David Lloyd, and Otto Edelmann. In the Chicago Tribune, Claudia Cassidy wrote: “The Chicago Symphony Orchestra is in high estate, with the kind of clairvoyance that gives a conductor what he wants in sound. . . . The evening’s card up the Mozartean sleeve was the new Chicago Symphony Orchestra Chorus of about 100 voices, expertly chosen and admirably trained by Margaret Hillis. It had balance and hints of brilliance, it was adroit in attack and it had moments of reassuringly imaginative song. The Confutatis in particular caught the haunted terror that was Mozart’s when the mysterious commission for the Requiem convinced him that the death knell he wrote was his own.”

Program page for Verdi’s Requiem, performed on April 3 and 4, 1958. It was repeated the following Tuesday, April 8.

Less than a month later, the Chorus appeared in Verdi’s Requiem with Reiner conducting and soloists Leonie Rysanek, Regina Resnik, David Lloyd, and Giorgio Tozzi. In the Sun-Times, Robert C. Marsh wrote that “Miss Hillis’s chorus proved its virtues earlier this season. Again its excellent enunciation, reliable intonation, and intelligent response were praiseworthy.”*

The following season, at Reiner’s invitation, Hillis conducted the Orchestra and Chorus in Honegger’s Christmas Cantata in December 1958. In the Daily News, Donal Henahan wrote, “Miss Hillis, who has been until now unknown except by name to most symphony subscribers, ruled her vast forces with a firm beat and a sure hand.” And the critic in the American noted, “With a clear (if inflexible) beat, Miss Hillis marshalled her forces, choral and orchestra, in a tight, sensitive, sweet-sounding statement of the music. . . . All in all, a glorious Christmas program.”

The Chicago Symphony Orchestra and Chorus onstage in March 1959. Also pictured is chorus director Margaret Hillis, music director Fritz Reiner, and associate conductor Walter Hendl (Oscar Chicago photo).

Later that season in March 1959, Reiner led Prokofiev’s cantata Alexander Nevsky. “The climactic ‘Battle on the Ice’ was approached with expansive calm and deliberation. . . . A conductor who tries to pile climax after climax into this work can never achieve the hair-raising thrust that Reiner drew from Margaret Hillis’s Chicago Symphony Chorus at such a moment,” observed Henahan in the Daily News. The Chorus “produced a pleasing sound in all voices and a more homogeneous tone than at any time since Miss Hillis began her missionary work in Chicago.” On March 7, Reiner, the Orchestra, and Chorus committed their performance to disc for RCA, collaborating for the first time in recording sessions.

The Chorus’s first recording with the Orchestra: Prokofiev’s Alexander Nevsky, released by RCA in May 1960

Margaret Hillis directed the Chicago Symphony Chorus for thirty-seven years, preparing and leading concerts—in Orchestra Hall and at the Ravinia Festival, as well as on tour to Carnegie Hall, London’s Royal Albert Hall, and Salzburg’s Grosses Festspielhaus—and amassing an award-winning discography. Following her death in February 1998, the Rosenthal Archives received her collection of papers, photographs, over 1,000 scores bearing her markings, awards (including nine Grammy statuettes), recordings, and memorabilia. Representing an exceptional and pioneering career, the collection is regularly accessed by researchers, scholars, and musicians.

In June 1994, following an international search, music director Daniel Barenboim appointed Duain Wolfe to succeed Hillis. Currently in his twenty-fourth season, Wolfe continues in Hillis’s tradition, maintaining the Chorus’s extraordinarily high standards of excellence.

*Due to scheduling conflicts, Reiner was unable to get the soloists—primarily Zinka Milanov and Jussi Björling—he wanted to record Verdi’s Requiem in Chicago. He, along with Leontyne Price, Rosalind Elias, Björling (in his last commercial recording), and Giorgio Tozzi, recorded it in Vienna in June 1960 with the Vienna Singverein and Philharmonic for RCA.

This article also appears in the Chicago Symphony Orchestra’s March 2018 program book and here.

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

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

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

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

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

Symphony No. 1 in C Minor, Op. 68

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

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

Symphony No. 3 in F Major, Op. 90

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

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

Symphony No. 4 in E Minor, Op. 98

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

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

leontyne-price

Today we send all best wishes for a very happy ninetieth birthday to the legendary soprano, Leontyne Price! Several excellent tributes have been written (here, here, and here, among many others) to recognize her extraordinary and groundbreaking career as an artist—in opera, concert, and on recording.

Price has appeared with the Chicago Symphony Orchestra on numerous occasions, at Orchestra Hall, the Ravinia Festival, Carnegie Hall, and the Pabst Theater in Milwaukee, as follows:

February 28 and March 1, 1963 (Orchestra Hall)
BERLIOZ Les nuits d’été, Op. 7
FALLA El amor brujo
Fritz Reiner, conductor

March 13, 1971 (Orchestra Hall)
March 15, 1971 (Pabst Theater)
BARBER “Give me my robe” from Antony and Cleopatra
MOZART “Dove sono” from Le nozze di Figaro, K. 492
STRAUSS Four Last Songs
Carlo Maria Giulini, conductor

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

July 11, 1975 (Ravinia Festival)
PUCCINI “Un bel di vedremo” from Madama Butterfly
VERDI “Ernani! Ernani, involami” from Ernani
MOZART “D’Oreste, d’Ajace” from Idomeneo, K. 366
STRAUSS “Zweite Brautnacht” from Die ägyptische Helena
James Levine, conductor

Proof sheet detail from recording sessions for Verdi's Requeim at Medinah Temple in June 1977

Proof sheet detail from recording sessions for Verdi’s Requiem at Medinah Temple in June 1977 (Robert M. Lightfoot III photo)

July 2, 1976 (Ravinia Festival)
PUCCINI “Senza mamma” from Suor Angelica
PUCCINI “Vissi d’arte” from Tosca
VERDI “Pace, pace, mio Dio” from La forza del destino
MOZART “Come scoglio” from Così fan tutte, K. 588
WAGNER “Dich, teure Halle” from Tannhäuser
James Levine, conductor

May 31, 1977 (Orchestra Hall)
VERDI Requiem
Sir Georg Solti, conductor
Leontyne Price, soprano
Dame Janet Baker, mezzo-soprano
Veriano Luchetti, tenor
José van Dam, bass-baritone
Chicago Symphony Chorus
Margaret Hillis, director

June 22, 1979 (Ravinia Festival)
VERDI La forza del destino
James Levine, conductor
Leontyne Price, soprano
Isola Jones, mezzo-soprano
Sharon Graham, mezzo-soprano
Giuseppe Giacomini, tenor
Andrea Velis, tenor
Cornell MacNeil, baritone
Renato Capecchi, baritone
Carl Glaum, baritone
Bonaldo Giaiotti, bass
Julien Robbins, bass
Daniel McConnell, bass
Chicago Symphony Chorus
Margaret Hillis, director

Price onstage with Solti and the Orchestra at Carnegie Hall on April 29, 1980 (Robert M. Lightfoot III photo)

Price onstage with Solti and the Orchestra at Carnegie Hall on April 29, 1980 (Robert M. Lightfoot III photo)

April 29, 1980 (Carnegie Hall)
WAGNER “Dich, teure Halle” from Tannhäuser
WAGNER Liebestod from Tristan und Isolde
Sir Georg Solti, conductor

July 13, 1985 (Ravinia Festival)
PUCCINI “Vissi d’arte” from Tosca
PUCCINI “Chi il bel sogno di Doretta” from La rondine
VERDI “Ernani! Ernani, involami” from Ernani
VERDI “D’amor sull’ali rosee” from Il trovatore
WAGNER Liebestod from Tristan und Isolde
STRAUSS Final Scene from Salome
James Levine, conductor

Advance notice for Price's 1963 debut with the Chicago Symphony Orchestra

Advance notice for Price’s 1963 debut with the Chicago Symphony Orchestra

Price also recorded with the Orchestra—including two Grammy Award winners—as follows:

BERLIOZ Les nuits d’été, Op. 7
FALLA El amor brujo
Fritz Reiner, conductor
Recorded on March 2 and 3, 1963 in Orchestra Hall by RCA
Richard Mohr produced the recording, and Lewis Layton was the engineer. The recording won the 1964 Grammy Award for Best Classical Performance–Vocal Soloist (with or without orchestra) from the National Academy of Recording Arts and Sciences.

VERDI Requiem
Sir Georg Solti, conductor
Leontyne Price, soprano
Dame Janet Baker, mezzo-soprano
Veriano Luchetti, tenor
José van Dam, bass-baritone
Chicago Symphony Chorus
Margaret Hillis, director
Recorded on June 1 and 2, 1977, in Medinah Temple by RCA
Thomas Z. Shepard produced the recording, and Paul Goodman was the engineer. The recording won the 1977 Grammy Award for Best Choral Performance (other than opera).

WAGNER “Dich teure Halle” from Tannhäuser
Sir Georg Solti, conductor
Recorded by WFMT on April 29, 1980, in Carnegie Hall
Released on Chicago Symphony Orchestra: The First 100 Years during the Orchestra’s centennial season in April 1991

Under the auspices of Allied Arts and CSO Presents, Price also gave numerous recitals in Orchestra Hall on the following dates:

  • May 6, 1956
  • April 7, 1957
  • December 6, 1958
  • May 30, 1962
  • February 3, 1963
  • February 1, 1970
  • February 27, 1972
  • April 4, 1976
  • January 29, 1984
  • November 11, 1990
  • April 24, 1994
  • February 16, 1997

Happy, happy birthday!

Portions of this article previously appeared here.

thomas-at-desk

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

barenboim-brahms-5-erato

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

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

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

wagner-prelude-and-liebestod

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

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

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

elgar-enigma

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

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

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

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

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

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

gould-tchaikovsky-waltzes-rca

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

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

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

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

Phyllis Curtin

The Chicago Symphony Orchestra family joins the music world in mourning the loss of the extraordinary American soprano Phyllis Curtin, a frequent guest artist who performed under three music directors—Fritz Reiner, Jean Martinon, and Sir Georg Solti—between 1957 and 1972. Curtin died on June 5, 2016, at her home in Great Barrington, Massachusetts. She was 94.

Curtin made her debut with the Chicago Symphony Orchestra at the Ravinia Festival in 1957, and she most recently appeared at Orchestra Hall in 1972. A complete list of her appearances with the Orchestra is below (subscription concerts at Orchestra Hall, unless otherwise noted):

July 7, 1957 (Ravinia Festival)
FOSS The Song of Songs
Lukas Foss, conductor
Phyllis Curtin, soprano

Reiner B9

April 27 and 28, 1961
BEETHOVEN Symphony No. 9 in D Minor, Op. 125
Fritz Reiner, conductor
Phyllis Curtin, soprano
Florence Kopleff, contralto
John McCollum, tenor
Donald Gramm, bass-baritone
Chicago Symphony Chorus
Margaret Hillis, director
Beethoven’s Ninth Symphony was recorded by RCA on May 1 and 2, 1961, in Orchestra Hall. The recording recently was re-released as part of a sixty-three-disc set featuring Reiner’s complete discography with the Orchestra.

April 26 and 27, 1962
HANDEL Israel in Egypt
Fritz Reiner, conductor
Phyllis Curtin, soprano
Carol Smith, mezzo-soprano
Richard Lewis, tenor
Chicago Symphony Chorus
Margaret Hillis, director

July 9, 1964 (Ravinia Festival)
MOZART Voi che sapete from The Marriage of Figaro, K. 492
MOZART Alleluia from Exsultate, jubilate, K. 165
J. STRAUSS, Jr. Czárdás and Mein Herr Marquis from Die Fledermaus
KORNGOLD Glück das mir verblieb from Die tote Stadt
LEHÁR Dein is mein ganzes Herz from Das Land des Lächelns
SIECZYNSKI Wien, du Stadt meiner Träume
Andre Kostelanetz, conductor
Phyllis Curtin, soprano

April 22, 23, and 24, 1965
HAYDN The Seasons
Jean Martinon, conductor
Phyllis Curtin, soprano
Charles Bressler, tenor
Ara Berberian, bass
Chicago Symphony Chorus
Margaret Hillis, director

January 6, 7, and 8, 1966
PERGOLESI Stabat Mater
Jean Martinon, conductor
Phyllis Curtin, soprano
Betty Allen, mezzo-soprano
STRAVINSKY Les noces
Jean Martinon, conductor
Phyllis Curtin, soprano
Betty Allen, mezzo-soprano
André Montal, tenor
Peter Harrower, bass-baritone
Mary Sauer, Laurence Davis, Louis M. Kohnop, and Eloise Niwa, pianos
Donald Koss, Gordon Peters, James J. Ross, Sam Denov, Albert Payson, and Norbert Szymanski, percussion
Chicago Symphony Chorus
Margaret Hillis, director

December 1, 2, and 3, 1966
MARTINON The Rose of Sharon (U.S. premiere)
Jean Martinon, conductor
Phyllis Curtin, soprano
Ernst Haefliger, tenor
Joseph Brewer, tenor
Harold Robinson, baritone
Mary Sauer and Harriet Wingreen, pianos
Chicago Symphony Chorus
Margaret Hillis, director

May 14 and 15, 1970
JANÁČEK Glagolitic Mass
Charles Mackerras, conductor
Phyllis Curtin, soprano
Joan Caplan, mezzo-soprano
John Alexander, tenor
Ara Berberian, bass
Mary Sauer, organ
Chicago Symphony Chorus
Margaret Hillis, director

January 20, 21, and 22, 1972
SHOSTAKOVICH Symphony No. 14, Op. 135
Carlo Maria Giulini, conductor
Phyllis Curtin, soprano
Raffaele Arié, bass

June 27, 1972 (Ravinia Festival)
BRITTEN War Requiem, Op. 66
István Kertész, György Fischer, and Margaret Hillis, conductors
Phyllis Curtin, soprano
Robert Tear, tenor
John Shirley-Quirk, bass-baritone
Chicago Symphony Chorus
Margaret Hillis, director
Northwestern University Chorus and Northwestern University Concert Choir
Margaret Hillis, director
Glen Ellyn Children’s Theatre Chorus
Doreen Rao, director

November 30 and December 1, 1972
BERLIOZ The Damnation of Faust, Op. 24
Sir Georg Solti, conductor
Phyllis Curtin, soprano (substituting for contralto Josephine Veasey)
Stuart Burrows, tenor
Robert Savoie, baritone
Roger Soyer, bass
Chicago Symphony Chorus
Margaret Hillis, director
Glen Ellyn Children’s Theatre Chorus
Doreen Rao, director

MENDELSSOHN Wedding MarchThe commercial recording legacy of the Chicago Symphony Orchestra—under second music director Frederick Stock—began on May 1, 1916. For the Columbia Graphophone Company (at an undocumented location in Chicago), they recorded Mendelssohn’s Wedding March from A Midsummer Night’s Dream; Wagner’s Ride of the Valkyries from Die Walküre; and Grieg’s Two Elegiac Melodies, Heart Wounds and The Last Spring.

Mendelssohn’s Wedding March and Grieg’s The Last Spring were each on the first 80-rpm disc issued in October 1916, and a Columbia Records sales brochure raved, “The deepest glories vibrant in such a familiar composition as Mendelssohn’s Wedding March are unguessed until interpreted by such an orchestra as this. From the first trumpet fanfare to the great central crescendo is very joy and glory articulate! . . . There can be no pleasure beyond enjoying such music as the Chicago Symphony here brings to every music-loving home.”

Recording_Centennial_Rotunda_Display_102.75x60

To commemorate this legacy, this collage of record and CD labels is on display in the first floor of Symphony Center’s Rotunda through the end of the Orchestra’s current—the 125th—season. Details of all of the recordings included are below (all recordings were made at Orchestra Hall unless otherwise noted).

BEETHOVEN Piano Concerto No. 4-2Austrian pianist Artur Schnabel made his debut with the Orchestra at the Ravinia Festival on July 11, 1942, performing Beethoven’s Fourth Piano Concerto with George Szell conducting. On July 22 and 24, Schnabel and the Orchestra recorded the Fourth along with Beethoven’s Fifth Piano Concerto at Orchestra Hall for Victor Records. Frederick Stock conducted these, his last, recording sessions with the Orchestra; he died a few short months later on October 20.

PROKOFIEV Scythian Suite-2 WAGNER Prelude and Liebestod-2The Chicago Symphony Orchestra gave the U.S. premiere of Prokofiev’s Scythian Suite under the baton of the composer on December 6, 1918. On March 16, 1945, third music director Désiré Defauw recorded the work for RCA.

Fourth music director Artur Rodzinski led the Orchestra in a complete performance of Wagner’s Tristan and Isolde—with Set Svanholm and Kirsten Flagstad in the title roles—at the Civic Opera House on November 16, 1947. A month later on December 14, he led the Orchestra in recording sessions for the Prelude and Liebestod at Orchestra Hall.

STRAUSS Ein HeldenlebenMUSSORGSKY Pictures at an ExhibitionFor Mercury Records, fifth music director Rafael Kubelík led the Orchestra’s first recording of Ravel’s orchestration of Mussorgsky’s Pictures at an Exhibition on April 23 and 24, 1951. Principal trumpet Adolph Herseth performed the opening fanfare.

On March 6, 1954, sixth music director Fritz Reiner and the Orchestra recorded together for the first time: Strauss’s Dance of the Seven Veils from Salome and Ein Heldenleben for RCA. (Reiner’s complete CSO catalog recently was re-released by RCA.)

BARTOK Music for Strings, Percussion, and CelestaBRAHMS Piano Concerto No. 2At the third annual Grammy awards ceremony on April 12, 1961, the Orchestra’s recording of Bartók’s Music for Strings, Percussion, and Celesta received the award for Best Classical Performance–Orchestra. Reiner had conducted the RCA release. That same evening, the Orchestra’s recording of Brahms’s Second Piano Concerto—also on RCA and with Erich Leinsdorf conducting—earned the award for Best Classical Performance–Concerto or Instrumental Soloist for Sviatoslav Richter. These were the first two Grammy awards earned for recordings by the Chicago Symphony Orchestra.

SCHUMANN Piano ConcertoPROKOFIEV Alexander NevskyReiner led the Orchestra, Chicago Symphony Chorus (prepared by its founder Margaret Hillis), and mezzo-soprano Rosalind Elias in Prokofiev’s Alexander Nevsky for RCA—the first recording collaboration with the Orchestra and the Chorus—on March 7, 1959, at Orchestra Hall.

Two years after winning the prestigious 1958 Tchaikovsky Competition in Moscow, Van Cliburn made his first recording with the Orchestra on April 16, 1960: Schumann’s Piano Concerto with Reiner conducting for RCA. (A complete list of Cliburn’s appearances and recordings with the Chicago Symphony Orchestra can be found here.)

MARTIN Concerto for Seven WindsOn March 19, 1966, seventh music director Jean Martinon led the Orchestra in recording sessions for Martin’s Concerto for Seven Wind Instruments, Timpani, Percussion, and String Orchestra for RCA. Featured soloists were CSO principals Clark Brody (clarinet), Willard Elliot (bassoon), Donald Peck (flute), Dale Clevenger (horn, in his first week on the job), Ray Still (oboe), Adolph Herseth (trumpet), Donald Koss (timpani), and Jay Friedman (trombone). (Martinon’s complete CSO catalog recently was re-released by RCA.)

SHOSTAKOVICH Symphony No. 6-2NIELSEN Clarinet Concerto-2Benny Goodman recorded Nielsen’s Clarinet Concerto with the Orchestra on June 18, 1966, for RCA. Morton Gould conducted. (Gould’s complete CSO catalog recently was re-released by RCA.)

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

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

The Orchestra made its second recording of Rimsky-Korsakov’s Sheherazade on June 30 and July 1, 1969, at Medinah Temple for Angel. Seiji Ozawa, the Ravinia Festival’s first music director, conducted and concertmaster Victor Aitay was violin soloist.

DVORAK Cello Concerto-2MAHLER Symphony no. 5During eighth music director Georg Solti‘s first season as music director, the Orchestra performed Mahler’s Fifth Symphony at Carnegie Hall on January 9, 1970, and were called back for twelve curtain calls. Beginning on March 26 at Medinah Temple, Solti and the Orchestra committed their performance to disc—their first recording together—for London Records.

Daniel Barenboim, who would later become ninth music director, made his first recording with the Orchestra on November 11, 1970, at Medinah Temple. For Angel, he led sessions for Dvořák’s Cello Concerto with his wife Jacqueline du Pré as soloist. (A summary of du Pré’s association with the Orchestra is here.)

MAHLER Symphony No. 8-2Before the Chicago Symphony Orchestra performed the first concert of its first tour to Europe in 1971, Solti led recording sessions for Mahler’s Eighth Symphony at the Sofiensaal in Vienna on August 30, 31, and September 1. Soloists included Heather HarperLucia Popp (more about Popp’s performances with the Orchestra is here), Arleen AugérYvonne MintonHelen WattsRené KolloJohn Shirley-Quirk, and Martti Talvela. The recording won three 1972 Grammy awards for Album of the Year–Classical, Best Choral Performance–Classical (other than opera) (for the Chorus of the Vienna State OperaSingverein Chorus, and Vienna Boys’ Choir), and Best Engineered Recording–Classical.

BEETHOVEN Fidelio BRUCKNER Symphony No. 6-2On December 13, 1977, Barenboim and the Orchestra recorded Bruckner’s Sixth Symphony for Deutsche Grammophon, part of a complete cycle of the composer’s symphonies that also included the Te Deum, Helgoland, and Psalm 150.

Following concerts in Orchestra Hall and Carnegie Hall, Solti led the Orchestra, Chorus, and soloists (including Hildegard Behrens as Leonore and Peter Hofmann as Florestan) and in recording sessions for Beethoven’s Fidelio—”the first digitally recorded opera to be released,” according to Gramophone—at Medinah Temple on May 21, 22, 23, and 24, 1979.

ORFF Carmina Burana DOWNS Bear Down, Chicago BearsSecond music director of the Ravinia Festival, James Levine led the Orchestra, Chorus, Glen Ellyn Children’s Chorus, and soloists (June Anderson, Phillip Creech, and Bernd Weikl) in sessions for Orff’s Carmina burana on July 9 and 10, 1984, for Deutsche Grammophon. The recording was awarded the 1986 Grammy Award for Best Choral Performance (other than opera).

At the end of a subscription concert at Orchestra Hall on January 23, 1986, Solti led the Orchestra and Chorus in a spirited encore of  the Chicago Bears‘ fight song “Bear Down, Chicago Bears” in anticipation of the team’s Super Bowl victory. The day after the game, the work was recorded by London Records.

BRAHMS Double Concerto-2BEETHOVEN Symphony No. 9-2Solti led recording sessions at Medinah Temple for Beethoven’s Ninth Symphony—the second time he and the Orchestra and Chorus had recorded the work—on September 28, 30, and October 7, 1986, for London. Soloists were Jessye Norman, Reinhild Runkel, Robert Schunk, and Hans Sotin. The release was awarded the 1987 Grammy Award for Best Orchestral Performance.

Claudio Abbado, second principal guest conductor, led the Orchestra in Brahms’s Double Concerto with Isaac Stern and Yo-Yo Ma (future Judson and Joyce Green Creative Consultant) as soloists on November 7 and 8, 1986, for CBS Records.

SHOSTAKOVICH Symphony No. 7CORIGLIANO Symphony No. 1Closing the 97th season in June 1988, Leonard Bernstein led the Orchestra in performances of Shostakovich’s First and Seventh symphonies. Recorded live by Deutsche Grammophon, the release received the 1990 Grammy Award for Best Orchestral Performance.

On March 15, 16, and 17, 1990, Barenboim led the world premiere performances of composer-in-residence John Corigliano’s Symphony no. 1, commissioned for the Orchestra. The live recording—Barenboim and the Orchestra’s first on the Erato label—was awarded two 1991 Grammy awards for Best Orchestral Performance and Best Contemporary Composition.

Fantasia 2000BARTOK The Wooden PrinceThe recording of Bartók’s The Wooden Prince and Cantata profana led by Pierre Boulez for Deutsche Grammophon—recorded on December 19, 20, and 21, 1991—was awarded four 1993 Grammy awards: Best Classical Album, Best Orchestral Performance, Best Performance of a Choral Work, and Best Engineered Recording–Classical. (A complete list of Boulez’s recordings with the Orchestra is here and his complete Grammy awards are here.)

Between 1993 and 1996, Levine led the Orchestra and Chorus in recording sessions at Medinah Temple for Disney‘s feature film Fantasia 2000. The movie was released on January 1, 2000.

VARESE Amerique etcFALLA Gardens of SpainShortly after being named the Orchestra’s third principal guest conductor, Boulez led sessions for Varèse’s Amériques, Arcana, Déserts, and Ionisation in December 1995 and 1996. The Deutsche Grammophon release was awarded the 2001 Grammy Award for Best Orchestral Performance.

In May 1997 at Medinah Temple, the Orchestra recorded Falla’s Nights in the Gardens of Spain and The Three-Cornered Hat for Teldec. For Nights in the Gardens of Spain, Barenboim was piano soloist and Plácido Domingo conducted; for The Three-Cornered Hat, Jennifer Larmore was mezzo-soprano soloist and Barenboim conducted.

MAHLER Symphony no. 3BRAHMS Violin ConcertoA former Youth Auditions winner and member of the Civic Orchestra of Chicago, Rachel Barton recorded Brahms’s and Joachim’s violin concertos for Cedille Records on July 2 and 3, 2002. Carlos Kalmar conducted.

In his first concerts as principal conductor on October 19, 20, and 21, 2006, Bernard Haitink led the Orchestra, women of the Chorus (prepared by Duain Wolfe), the Chicago Children’s Choir, and mezzo-soprano Michelle DeYoung in Mahler’s Third Symphony. The work is recorded as the inaugural release on CSO Resound.

SHOSTAKOVICH Symphony No. 4CSOR_SP_booklet_rainbow_nobox.inddIn May 2008, Haitink and the Orchestra recorded Shostakovich’s Fourth Symphony for CSO Resound. The release was awarded the 2008 Grammy Award for Best Orchestral Performance.

Boulez led the Orchestra in Stravinsky’s Pulcinella, Symphony in Three Movements, and Four Studies in February and March 2009 for CSO Resound. Soloists in the Pulcinella were Roxana Constantinescu, Nicholas Phan, and Kyle Ketelsen.

BERLIOZ Symphonie fantastiqueVR_booklet_CSOR_901_1008.inddOn January 15, 16, and 17, 2009, Riccardo Muti—in his first concerts as music director designate—led the Orchestra, Chorus, and soloists (Barbara FrittoliOlga Borodina, Mario Zeffiri, and Ildar Abdrazakov) in Verdi’s Requiem. The subsequent CSO Resound recording was awarded 2010 Grammy awards for Best Classical Album and Best Choral Performance.

Following his first concert as the Chicago Symphony Orchestra’s tenth music director (for more than 25,000 people in Millennium Park) in September 2010, Muti led the Orchestra, Chorus, and soloists (Gérard Depardieu, Mario Zeffiri, and Kyle Ketelsen) in Berlioz’s Symphonie fantastique and Lélio. The two-disc set was released on CSO Resound in September 2015.

VERDI OtelloBates and ClyneOn April 7, 9, and 12, 2011, Muti led concert performances—recorded by CSO Resound—of Verdi’s Otello at Orchestra Hall. Along with the Orchestra, Chorus, and Chicago Children’s Chorus, soloists included Aleksandrs Antonenko in the title role, Krassimira Stoyanova as Desdemona, and Carlo Guelfi as Iago.

In February 2012, Muti led world premieres by the Orchestra’s Mead Composers-in-Residence: Anna Clyne’s Night Ferry and Mason Bates’s Alternative Energy. Both works were recorded for CSO Resound and released as digital downloads.

LincolnFor Sony Classical, composer John Williams led the Orchestra and Chorus in recording sessions at Orchestra Hall for his soundtrack for the motion picture Lincoln. Director Steven Spielberg was on hand to supervise.

Cheers to the next 100!

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James Levine in the early 1970s (Metropolitan Opera photo)

James Levine in the early 1970s (Metropolitan Opera photo)

As a last-minute replacement conductor for the opening concert of the Ravinia Festival’s thirty-sixth season on June 24, 1971, James Levine led the Orchestra, Chorus, and soloists in Mahler’s Second Symphony. Having just made his debut at the Metropolitan Opera leading Puccini’s Tosca on June 5, he conducted both the rehearsals and the performance of the Mahler without a score.

In the Chicago Daily News, Bernard Jacobson reported that the reverberations of Mahler’s symphony “were matched at the end of the performance by the ovation that greeted conductor James Levine. And indeed, this gifted twenty-eight-year-old musician earned every last resounding cheer. He had taken the concert over at a week’s notice from István Kertész (who was himself a replacement for the originally scheduled Eugene Ormandy), and everything he did was proof of thorough preparation, fine artistic judgment, and the ability to communicate ideas to an orchestra and, through it, to the audience.”

By February 1972, the Metropolitan announced that Levine would become its first principal conductor, and that October, Ravinia announced that he would be the festival’s second music director, succeeding Kertész, who had served as principal conductor from 1970 through the 1972 season.

Levine launched the first of his twenty years at the Ravinia Festival on June 27, 1973, leading the Orchestra, Chorus, and soloists in Beethoven’s Missa solemnis. His tenure was marked with an astonishing range of repertoire: cycles of symphonies by Brahms and Mahler; Bach’s Brandenburg Concertos and Beethoven’s piano concertos; choral masterworks by Berlioz, Haydn, Mendelssohn, Orff, Schoenberg, and Stravinsky; and concert performances of operas by Bellini, Donizetti, Mozart, Puccini, Saint-Saëns, Strauss, Tchaikovsky, Verdi, and Wagner, all with the leading singers of the day.

Carmina burana

Levine amassed an extensive discography with the Orchestra and Chorus (including several Grammy winners) on Deutsche Grammophon, Philips, and RCA, recorded at Orchestra Hall and in Medinah Temple, including Beethoven’s five piano concertos with Alfred Brendel; Berg’s Violin Concerto and Rihm’s Time Chant with Anne-Sophie Mutter; Brahms’s four symphonies and A German Requiem with Kathleen Battle and Håkan Hagegård; Gershwin’s Rhapsody in Blue (conducting from the keyboard); Holst’s The Planets; Mahler’s symphonies no. 3 with Marilyn Horne, no. 4 with Judith Blegen, and no. 7; and Schubert’s Ninth Symphony.

Twenty years to the day of his first concert as music director, Levine capped his tenure on June 27, 1993, leading the Orchestra and Chorus in Stravinsky’s Symphony of Psalms, Strauss’s Death and Transfiguration, and Beethoven’s Seventh Symphony.

This article also appears here.

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