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The Chicago Symphony Orchestra family mourns the loss of Paul Phillips, who served as a member of the violin section from 1980 until 2020. He died March 27, 2024, following a long illness, at home in Chicago. Phillips was seventy-seven.
Born in Canton, Ohio, Paul Phillips began violin studies at the age of four. His father had played the violin as a youth and, when cleaning out a closet one day, he showed his son his old instrument and said, “Do you want to play the violin?” Paul innocently answered, “Yes!”—and so he did. One of Phillips’s first teachers was William Taylor (father of David Taylor, CSO assistant concertmaster) and he later attended the Cleveland Institute of Music, studying violin and chamber music with William Kroll of the Kroll Quartet and Endre Granat, assistant concertmaster of the Cleveland Orchestra. He also received advanced coaching from Donald Weilerstein, first violinist of the Cleveland Quartet.
To earn his way through conservatory training, Phillips worked at a “fancy French restaurant,” where he developed a taste for fine cuisine, later preparing it for countless guests in his home and appreciating it in restaurants around the world.
In 1968, at the invitation of music director Izler Solomon, Phillips became a member of the Indianapolis Symphony Orchestra, also regularly performing as a member of the Indianapolis String Quartet. Four years later in 1972, he joined the Detroit Symphony Orchestra, serving under music directors Sixten Ehrling, Aldo Ceccato, and Antal Doráti.
In 1980, eighth music director Sir Georg Solti invited Phillips to join the Chicago Symphony Orchestra. He served in the first violin section for forty years, retiring in June 2020. An avid chamber musician, Phillips performed regularly with flutist Donald Peck and pianist Melody Lord, as well as with the Gold Coast Chamber Players, Chicago Nine Ensemble, Ensemble à Corde, Chicago Pro Musica, and the Chicago Symphony String Quartet, along with Music of the Baroque. For many years, Phillips performed on a 1760 Joseph Gagliano violin.
Phillips was a longtime member of the Chicago Symphony Orchestra Alumni Association, serving most recently as the organization’s president.
“The CSO has always been the premier orchestra for me in the United States,” remarked Phillips at the time of his retirement in 2020. “One of my best friends in school was from Chicago, so we used to come to hear the Orchestra. We would sit there and look at each other and say, ‘oh my, I’ll never be in this orchestra!’ . . . As good as it was when I joined in 1980, at this point under Riccardo Muti, I think it’s the best it’s ever sounded . . . it’s continued to develop and evolve into this now elegant playing orchestra with such a beautiful sound.”
“I am profoundly saddened. I have lost a dear friend, a wonderful colleague, a marvelous person,” wrote Riccardo Muti, the CSO’s music director emeritus for life. “An exemplary artist and gentleman. I will never forget him.”
Paul Phillips is survived by his beloved husband Lloyd Palmiter, a sister Sheila Ghezzi, and a nephew. Details for services are pending.
Memorial gifts may be made to the Chicago Symphony Orchestra, here.
This article also appears here.
Dame Kiri Te Kanawa (IMG Artists photo)
Wishing a very happy eightieth 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
Sir Georg Solti, conductor
Kiri Te Kanawa, soprano
Bernd Weikl, baritone
Chicago Symphony Chorus
Margaret Hillis, director
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
Kiri Te Kanawa, soprano
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
Sir Georg Solti, conductor
Kiri Te Kanawa, soprano
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
Kiri Te Kanawa, soprano
March 19 and 21, 1987
BACH Saint Matthew Passion, BWV 244
Sir Georg Solti, conductor
Kiri Te Kanawa, soprano
Anne Sofie von Otter, mezzo-soprano
Anthony Rolfe Johnson, 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
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.
June 28, 1987, Ravinia Festival
MOZART Così fan tutte, K. 588
James Levine, conductor
Kiri Te Kanawa, soprano
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
October 9, 1987, Orchestra Hall (A Concert in Honor of the 75th Birthday of Sir Georg Solti)
VERDI Excerpts from Act 1 of Otello
Sir Georg Solti, conductor
Kiri Te Kanawa, soprano
Plácido Domingo, tenor
Joseph Wolverton, tenor
Kurt R. Hansen, tenor
Richard Cohn, baritone
David Huneryager, bass
Chicago Symphony Chorus
Margaret Hillis, director
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
Sir Georg Solti, conductor
Kiri Te Kanawa, soprano
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
Kiri Te Kanawa, soprano
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
Kiri Te Kanawa, soprano
Happy, happy birthday!
This article also appears here.
Wishing a very happy seventy-fifth birthday to the wonderful American soprano, Barbara Hendricks!
Hendricks has appeared as soloist with the Chicago Symphony Orchestra on a number of notable occasions—including the world premiere and recording of David Del Tredici‘s Final Alice under the baton of eighth music director Sir Georg Solti—between 1974 and 1985, all indicated below:
December 5, 6, and 7, 1974, Orchestra Hall
AMY D’un epace deploye (U.S. premiere)
Barbara Hendricks, soprano
Anthony Paratore, piano
Joseph Paratore, piano
Sir Georg Solti, conductor
Gilbert Amy, conductor
MOZART Vorrei spiegarvi, oh Dio!, K. 418
Barbara Hendricks, soprano
Sir Georg Solti, conductor
October 7, 8, and 9, 1976, Orchestra Hall
DEL TREDICI Final Alice (world premiere)
Barbara Hendricks, soprano
Sir Georg Solti, conductor
March 3, 4, and 5, 1977, Orchestra Hall
March 7, 1977, Uihlein Hall, Milwaukee, Wisconsin
DEBUSSY La Damoiselle élue
Barbara Hendricks, soprano
Ellen Stanley, mezzo-soprano
Chicago Symphony Chorus
Margaret Hillis, director
Gennady Rozhdestvensky, conductor
October 27 and 28, 1977, Orchestra Hall
October 31, 1977, Carnegie Hall
MAHLER Symphony No. 8 in E-flat Major
Sir Georg Solti, conductor (October 27 and 28)
Margaret Hillis, conductor (October 31)
Christiane Eda-Pierre, soprano
Lucia Popp, soprano
Barbara Hendricks, soprano
Jan DeGaetani, mezzo-soprano
Helen Watts, contralto
Kenneth Riegel, tenor
William Walker, baritone
Donald Gramm, bass
Chicago Symphony Chorus
Margaret Hillis, director
Glen Ellyn Children’s Chorus
Doreen Rao, director
October 26 and 27, 1979, Orchestra Hall
DEL TREDICI Final Alice
Barbara Hendricks, soprano
Sir Georg Solti, conductor
Recorded by London Records on October 27, 1979, and January 29, and 30, 1980, in Orchestra Hall. The recording was produced by James Mallinson; James Lock, John Dunkerley, and Michael Mailes were the recording engineers. Most recently, the recording was re-released and included in the 108-CD set commemorating Solti’s complete Chicago Symphony Orchestra discography, and it also was featured on a recent nationally syndicated CSO radio broadcast, here. Solti’s marked score, used for the premiere, is now housed at Harvard University’s Loeb Music Library, and two pages can be seen here.
December 19, 20, and 21, 1985, Orchestra Hall
STRAUSS Scenes from Der Rosenkavalier, Op. 59
Mechthild Gessendorf, soprano
Barbara Hendricks, soprano
Ann Murray, mezzo-soprano
Erich Leinsdorf, conductor
Happy, happy birthday!
This article also appears here.
The Chicago Symphony Orchestra family joins the music world in mourning the loss of Pulitzer Prize–winning American composer David Del Tredici, who died on Saturday, November 18, 2023, at his home in Greenwich Village. He was eighty-six.
In Orchestra Hall on October 7, 8, and 9, 1976, eighth music director Sir Georg Solti led the Chicago Symphony Orchestra in the world premiere performances of Del Tredici’s Final Alice. Twenty-seven-year-old Barbara Hendricks was the soprano soloist. The work was performed again on October 26 and 27, 1979, and recorded by London Records with sessions on October 27, 1979, and January 29 and 30, 1980. The recording was produced by James Mallinson; James Lock, John Dunkerley, and Michael Mailes were the recording engineers.
Most recently, the recording was re-released and included in the 108-CD set commemorating Solti’s complete Chicago Symphony Orchestra discography, and it also was featured on a recent nationally syndicated CSO radio broadcast, here. Solti’s marked score, used for the premiere, is now housed at Harvard University’s Loeb Music Library, and two pages can be seen here.
The composer supplied comments for the recording’s liner notes: “Final Alice, commissioned for the Chicago Symphony Orchestra by the National Endowment for the Arts in celebration of the U.S. Bicentennial . . . is dedicated to Sir Georg Solti. Scored for huge forces—an amplified soprano/narrator, a solo concertante group of folk instruments (mandolin, banjo, accordion, two soprano saxophones) and a very large orchestra—Final Alice unfolds a series of elaborate arias interspersed and separated by dramatic episodes from the last two chapters of [Lewis Carroll’s] Alice’s Adventures in Wonderland: the Trial in Wonderland (which gradually turns to pandemonium) and Alice’s subsequent awakening and return to ‘dull reality.’ To these I have added an Apotheosis. The work teeters between the worlds of opera and symphonic music, and were I to invent a category I would call Final Alice an ‘Opera, written in concert form.’
“Final Alice tells two stories at once; primarily, it is the tale of Wonderland itself, with all its bizarre and unpredictable happenings painted as vividly as possible. But between the lines, as it were, is the implied love of Lewis Carroll for Alice Liddell, as suggested by ‘Alice Gray’ and the Acrostic Song. By introducing these additional poems into the Trial as depositions of evidence, given by the White Rabbit (acting as a kind of chief prosecutor), I wished to bring that love story closer to the surface—not so close as to disturb the amusing, eccentric, sometimes terrifying story, but close enough to leave a recognition. I wished, that is, to add what one might call the human dimension of the man, seen only intermittently to be sure, but, hopefully, always affectingly—perhaps lingering in the memory after the dream of Wonderland itself has faded.”
The Chicago Symphony Orchestra, under the baton of Michael Tilson Thomas, also gave the world premiere of Del Tredici’s March to Tonality, on June 13, 14, and 15, 1985. The composer provided the following for the program note: “March to Tonality [is] the first purely orchestral piece I have written since 1969—the fateful year I met, compositionally speaking, Lewis Carroll, whose poetry and stories inspired all of my subsequent musical compositions. [The title] is an acrostic. The initial letters of each word (MTT) duplicate those of Michael Tilson Thomas. The coincidence is meant as a tribute. . . . Three times during the piece—at the start, at the conclusion of the Marcia Triste, and at the very end—I ask the orchestra to whisper the initials of my own name (DDT). Besides the obvious programmatic aspect to this, whispering has also the function of being a unique sound effect, clearly marking important structural moments as the work unfolds.”
This is very similar to what the composer does at the conclusion of Final Alice, adding his own musical signature to the work. Again, in his words, “a thirteen-time repetition of a three-note figure on E [is] counted, in Italian, by the soprano, and are played on the crotale . . . The repetitions grow ever slower and softer, with the whisper-chorus joining the soprano on the recitation of the last number—’Tredici.'”
Numerous tributes have appeared online, including at the New York Times and OperaWire, among others.
This article also appears here.
Wishing a very happy seventy-fifth birthday to the remarkable American soprano Kathleen Battle!
Battle has appeared with the Chicago Symphony Orchestra (*and, occasionally, with members of the Orchestra) in Orchestra Hall, at the Ravinia Festival and Carnegie Hall, and in the recording studio as follows:
Kathleen Battle (Christian Steiner photo)
June 27, 1974, Ravinia Festival
MAHLER Symphony No. 8 in E-flat Major
James Levine, conductor
Edda Moser, soprano
Clarice Carson, soprano
Kathleen Battle, soprano
Beverly Wolff, contralto
Gwendolyn Killebrew, contralto
Kenneth Riegel, tenor
Lawrence Shadur, baritone
Justino Díaz, bass
Chicago Symphony Chorus
Margaret Hillis, director
Glen Ellyn Children’s Chorus
Doreen Rao, director
June 26, 1975, Ravinia Festival
MOZART Mass in C Minor, K. 427
James Levine, conductor
Kathleen Battle, soprano
Maria Ewing, soprano
Kenneth Riegel, tenor
Ara Berberian, bass
Chicago Symphony Chorus
Margaret Hillis, director
June 26, 1976, Ravinia Festival
BACH Weichet nur, betrübte Schatten, BWV 202 (Wedding Cantata)
*Ravinia Chamber Soloists
James Levine, conductor
Kathleen Battle, soprano
Ray Still, oboe
July 17, 1976, Ravinia Festival
MOZART Bella mia fiamma . . . Resta, o cara, K. 528
James Levine, conductor
Kathleen Battle, soprano
July 2, 1977, Ravinia Festival
MAHLER Symphony No. 2 in C Minor (Resurrection)
James Levine, conductor
Kathleen Battle, soprano
Beverly Wolff, mezzo-soprano
Chicago Symphony Chorus
Margaret Hillis, director
July 6, 1977, Ravinia Festival
BACH Weichet nur, betrübte Schatten, BWV 202 (Wedding Cantata)
*Chicago Symphony Orchestra Soloists
James Levine, conductor
Kathleen Battle, soprano
Ray Still, oboe
Samuel Magad, violin
Joseph Golan, violin
Edgar Muenzer, violin
Milton Preves, viola
Frank Miller, cello
Joseph Guastafeste, bass
Mary Sauer, harpsichord
The ensemble recorded the work—along with Bach’s Brandenburg Concertos nos. 2 and 5—on July 13, 1977, at Medinah Temple for RCA. Paul Goodman was the recording engineer.
July 23, 1977, Ravinia Festival
MOZART Vorrei spiegarvi, oh Dio, K. 418
James Levine, conductor
Kathleen Battle, soprano
July 24, 1977, Ravinia Festival
HADYN The Creation
James Levine, conductor
Kathleen Battle, soprano
Benita Valente, soprano
Seth McCoy, tenor
Donald Gramm, bass-baritione
Arnold Voketaitis, bass-baritone
Chicago Symphony Chorus
Margaret Hillis, director
June 24 1978, Ravinia Festival
MENDELSSOHN Selections from A Midsummer Night’s Dream, Op. 61
James Levine, conductor
Kathleen Battle, soprano
Claudine Carlson, mezzo-soprano
Women of the Chicago Symphony Chorus
Margaret Hillis, director
June 30, 1978, Ravinia Festival
BERLIOZ Les Troyens, part 1
James Levine, conductor
A Trojan Soldier, Pantheus John Cheek, bass
Cassandra Nadine Denize, soprano
Chorebus Lenus Carlson, baritone
Aeneas Guy Chauvet, tenor
Helenus David Kuebler, tenor
Ascanius Kathleen Battle, soprano
Hecuba Patricia O’Neill, soprano
Priam, The Ghost of Hector Ara Berberian, bass
A Greek Captain Philip Kraus, bass
Chicago Symphony Chorus
Margaret Hillis, director
July 1, 1978, Ravinia Festival
BERLIOZ Les Troyens, part 2
James Levine, conductor
Dido Shirley Verrett, soprano
Anna, Ghost of Cassandra Claudine Carlson, mezzo-soprano
Iopas David Kuebler, tenor
Ascanius Kathleen Battle, soprano
Pantheus, Mercury, Ghost of Priam John Cheek, bass
Narbal, Ghost of Hector Ara Berberian, bass
Aeneas Guy Chauvet, tenor
Hylas Philip Creech, tenor
First Sentry, Ghost of Chorebus James Kalkbrenner, bass
Second Sentry Philip Kraus, bass
Chicago Symphony Chorus
Margaret Hillis, director
July 9, 1978, Ravinia Festival
MENDELSSOHN Elijah, Op. 70
James Levine, conductor
Sherrill Milnes, baritone
Jessye Norman, soprano
Kathleen Battle, soprano
Beverly Wolff, mezzo-soprano
Isola Jones, mezzo-soprano
Philip Creech, tenor
Kirk Stuart, tenor
John Cheek, bass-baritone
Chicago Symphony Chorus
Margaret Hillis, director
July 16, 1978, Ravinia Festival
BACH Saint Matthew Passion, BWV 244
James Levine, conductor
Kathleen Battle, soprano
Beverly Wolff, mezzo-soprano
Philip Creech, tenor
David Kuebler, tenor
John Cheek, bass-baritone
Arthur Thompson, bass
Chicago Symphony Chorus
Margaret Hillis, director
Glen Ellyn Children’s Theatre Chorus
Doreen Rao, director
July 3, 1980, Ravinia Festival
SCHUBERT Mass No. 6 in E-flat Major, D. 950
James Levine, conductor
Kathleen Battle, soprano
Florence Quivar, mezzo-soprano
Vinson Cole, tenor
Philip Creech, tenor
John Cheek, bass-baritone
Chicago Symphony Chorus
Margaret Hillis, director
July 13, 1980, Ravinia Festival
BACH Saint Matthew Passion, BWV 244
James Levine, conductor
Kathleen Battle, soprano
Florence Quivar, mezzo-soprano
Vinson Cole, tenor
Philip Creech, tenor
John Cheek, bass-baritone
Arthur Thompson, bass
Chicago Symphony Chorus
Margaret Hillis, director
June 30, 1983, Ravinia Festival
BRAHMS A German Requiem, Op. 45
James Levine, conductor
Kathleen Battle, soprano
Håkan Hagegård, baritone
Chicago Symphony Chorus
Margaret Hillis, director
Brahms’s Requiem was recorded in Orchestra Hall on July 5 and 6, 1983, for RCA. Thomas Z. Shepard was the producer, Paul Goodman the recording engineer, and John Newton and Thomas MacCluskey were engineers. The recording won the 1984 Grammy Award for Best Choral Performance from the National Academy of Recording Arts and Sciences.
July 3, 1983, Ravinia Festival
HANDEL L’Allegro ed il Penseroso from L’Allegro, il Penseroso ed il Moderato
James Levine, conductor
Kathleen Battle, soprano
Philip Creech, tenor
John Cheek, bass-baritone
Mary Sauer, harpsichord
Chicago Symphony Chorus
James Winfield, associate director
April 25, 26, and 27, 1985, Orchestra Hall
April 29, 1985, Carnegie Hall
VERDI Falstaff
Sir Georg Solti, conductor
Sir John Falstaff Guillermo Sarabia, baritone
Ford Wolfgang Brendel, baritone
Fenton Yordi Ramiro, tenor
Dr. Caius Heinz Zednik, tenor
Bardolph Francis Egerton, tenor
Pistol Aage Haugland, bass
Mistress Alice Ford Katia Ricciarelli, soprano
Nannetta Kathleen Battle, soprano
Mistress Quickly Christa Ludwig, mezzo-soprano
Mistress Meg Page Ann Murray, mezzo-soprano
Chicago Symphony Chorus
Margaret Hillis, director
June 29, 1986, Ravinia Festival
BACH Jauchzet Gott in allen Landen, BWV 51
VILLA-LOBOS Bachiana Brasileira No. 5
MAHLER Symphony No. 4
James Levine, conductor
Kathleen Battle, soprano
Adolph Herseth, trumpet
Lynn Harrell, cello
July 3, 1987, Ravinia Festival
STRAUSS Ariadne auf Naxos, Op. 60
James Levine, conductor
A Music Master Hermann Prey, baritone
The Major-Domo Nico Castel, tenor
The Composer Susanne Mentzer, mezzo-soprano
The Tenor, Bacchus Gary Lakes, tenor
An Officer Edward Ozaki, tenor
A Dancing Master Andrea Velis, tenor
A Wig Maker David Huneryager, bass
A Lackey Richard Cohn, baritone
Zerbinetta Kathleen Battle, soprano
Prima Donna, Ariadne Margaret Price, soprano
Harlequin Christopher Trakas, baritone
Scaramuccio Allan Glassman, tenor
Truffaldino James Courtney, bass
Brighella Philip Creech, tenor
Naiad Gail Dobish, soprano
Dryad Hillary Johnsson, mezzo-soprano
Echo Dawn Upshaw, soprano
February 4, 5, and 6, 1988, Orchestra Hall
BRAHMS A German Requiem, Op. 45
Sir Georg Solti, conductor
Kathleen Battle, soprano
Alfred Muff, baritone
Chicago Symphony Chorus
Margaret Hillis, chorus director
July 8, 1988, Ravinia Festival
MOZART Don Giovanni, K. 527
James Levine, conductor
Leporello Renato Capecchi, baritone
Donna Anna Karen Huffstodt, soprano
Don Giovanni Thomas Hampson, baritone
Commendatore Jeffrey Wells, bass-baritone
Don Ottavio Vinson Cole, tenor
Donna Elvira Patricia Schuman, soprano
Zerlina Kathleen Battle, soprano
Masetto Julien Robbins, baritone
Chicago Symphony Chorus
Margaret Hillis, director
June 21, 1991, Ravinia Festival
DONIZETTI The Elixir of Love
James Levine, conductor
Giannetta Dawn Upshaw, soprano
Nemorino Luciano Pavarotti, tenor
Adina Kathleen Battle, soprano
Belcore Mark Oswald, baritone
Dulcamara Paul Plishka, bass
Chicago Symphony Chorus
Margaret Hillis, director
July 24, 1993, Ravinia Festival
PREVIN Honey and Rue
DONIZETTI C’en est donc fait . . . Par le rang et par l’opulence from The Daughter of the Regiment
John Nelson, conductor
Kathleen Battle, soprano
July 29, 1994, Ravinia Festival
GOUNOD Je veux vivre from Romeo and Juliet
BERLIOZ Je vais le voir from Beatrice and Benedict
VILLA-LOBOS Bachiana Brasileira No. 5
Hugh Wolff, conductor
Kathleen Battle, soprano
Opening Night Gala on September 16, 1994, in Orchestra Hall (Jim Steere photo)
September 16, 1994, Orchestra Hall
MOZART Exsultate, jubilate, K. 165
STRAUSS Ständchen, Op. 17, No. 2
STRAUSS Morgen!, Op. 27, No. 4
STRAUSS Ich schwebe, Op. 48, No. 2
GERSHWIN Summertime from Porgy and Bess
BERNSTEIN Somewhere from West Side Story
PREVIN Take My Mother Home from Honey and Rue
ELLINGTON/Sadin Come Sunday
Daniel Barenboim, harpsichord, piano, and conductor
Kathleen Battle, soprano
August 5, 1995, Ravinia Festival
MOZART Deh vieni non tardar from The Marriage of Figaro, K. 492
MOZART Misera! dove son . . . Ah! non son io che parlo, K. 369
MOZART Un moto di gioia mi sento, K. 579
STRAVINSKY No word from Tom from The Rake’s Progress
Christoph Eschenbach, conductor
Kathleen Battle, soprano
July 11, 1998, Ravinia Festival
July 11, 1998, Ravinia Festival
VERDI Sul fil d’un soffio estesio from Falstaff
ROSSINI Una voce poco fa from The Barber of Seville
ROSSINI Dunque io son from The Barber of Seville
MOZART Crudel! perchè finora from The Marriage of Figaro, K. 492
GOUNOD Je veux vivre from Romeo and Juliet
KORNGOLD Glück, das mir verblieb from Die tote Stadt
Christoph Eschenbach, conductor
Kathleen Battle, soprano
Dmitri Hvorostovsky, baritone
July 12, 2003, Ravinia Festival
MOZART Deh vieni non tardar from The Marriage of Figaro, K. 492
GOUNOD Amour ranime mon courage from Romeo and Juliet
GABRIEL/Sadin His Eye is on the Sparrow
TRADITIONAL/Smith Witness
TRADITIONAL/Bonds He’s Got the Whole World in His Hands
Bobby McFerrin, conductor
Kathleen Battle, soprano
Denyce Graves, mezzo-soprano
Chicago Children’s Choir
Josephine Lee, director
Between 1993 and 1996, James Levine led the Chicago Symphony Orchestra in recording sessions at Medinah Temple for Fantasia 2000, the long-awaited sequel to Disney’s classic 1940 Fantasia. One of the works recorded was excerpts from Elgar’s Pomp and Circumstance marches featuring Battle and the Chicago Symphony Chorus.
Under the auspices of Allied Arts, CSO Presents, and Symphony Center Presents, Battle also gave several recitals in Orchestra Hall, as follows:
April 20, 1986
Works by Duparc, Fauré, Gershwin, Gounod, Hahn, Mendelssohn, Purcell, Schubert, and spirituals
Lawrence Skrobacs, piano
Larry Combs, clarinet
December 13, 1991
Works by Bellini; Duparc; Mendelssohn; Mozart; Obradors; Reger; Schubert; J. Strauss, Jr.; and spirituals
Margo Garrett, piano
April 24, 1996
Works by Bellini, Donizetti, Handel, Liszt, R. Strauss, Wolf, and spirituals
Cliff Jackson, piano
April 18, 1999
Works by Donizetti, Fauré, Gounod, Guastavino, Guridi, Handel, Mozart, Obradors, R. Strauss, Villa-Lobos, and spirituals
Martin Katz, piano
April 11, 2001
Works by Handel, Joplin, Massenet, Puccini, Ravel, Schubert, and spirituals
Martin Katz, piano
Happy, happy birthday!
This article also appears here.
The Chicago Symphony Orchestra family joins the music world in grieving the loss of legendary American pianist André Watts, who died on July 12, 2023. He was seventy-seven.
Watts was born on June 20, 1946, in Nuremberg, Germany, to a Hungarian mother and an African American U.S. Army soldier. His mother was his first piano teacher, and by the age of nine, he had won a competition to perform on a children’s concert with the Philadelphia Orchestra. Watts became a part of the American musical fabric when, at the age of sixteen, he appeared on a nationally televised Young People’s Concert with the New York Philharmonic on January 15, 1963, performing Liszt’s First Piano Concerto under the baton of Leonard Bernstein. Two weeks later, an ailing Glenn Gould canceled with the Philharmonic, and Bernstein invited Watts to perform the same Liszt concerto on subscription concerts on short notice. Columbia Masterworks soon recorded Watts’s interpretation, and the release The Exciting Debut of André Watts won the 1963 Grammy Award for Most Promising New Classical Recording Artist.
Watts became a student of Leon Fleisher at the Peabody Conservatory, combining his studies with a packed concert schedule that quickly included as many as 150 concerts a year. He soon made his debut with the Chicago Symphony Orchestra at the Ravinia Festival in June 1965, one day before his nineteenth birthday. Performing at the inauguration of U.S. President Richard Nixon in 1969, Watts had become a symbol for the civil rights movement, a quiet fighter “who lets his good example as a famous artist have the effect of a thousand protesters,” according to Norman Darden, writing in the Saturday Review in July 1969. In 1976, Watts gave a recital televised on PBS’s Live from Lincoln Center series, making him the first pianist to have a full-length recital broadcast on television in the United States.
Watts was the youngest person ever to receive an honorary doctorate from Yale University, and he received the Avery Fisher Prize in 1988 and the National Medal of Arts in 2011. He was inducted into the Hollywood Bowl of Fame in 2006, the American Classical Music Hall of Fame in 2014, and the American Academy of Arts and Sciences in 2017. Watts was appointed to the faculty of the Jacobs School of Music at Indiana University in 2004, and in 2017 he was named a distinguished professor, the highest academic rank the university bestows upon its faculty.
Watts was a frequent guest, appearing with the Chicago Symphony Orchestra on many occasions, as follows:
June 19, 1965, Ravinia Festival
MACDOWELL Piano Concerto No. 2 in D Minor, Op. 23
Seiji Ozawa, conductor
May 7, 8, and 9, 1970, Orchestra Hall
BRAHMS Piano Concerto No. 2 in B-flat Major
Irwin Hoffman, conductor
July 14, 1970, Ravinia Festival
BEETHOVEN Piano Concerto No. 4 in G Major, Op. 58
István Kertész, conductor
May 20, 21, and 22, 1971, Orchestra Hall
TCHAIKOVSKY Piano Concerto No. 1 in B-flat Minor, Op. 23
Henry Mazer, conductor
December 2 and 3, 1971, Orchestra Hall
MOZART Piano Concerto No. 24 in C Minor, K. 491
Carlo Maria Giulini, conductor
July 18, 1972, Ravinia Festival
TCHAIKOVSKY Piano Concerto No. 1 in B-flat Minor, Op. 23
Seiji Ozawa, conductor
July 3, 1974, Ravinia Festival
BEETHOVEN Piano Concerto No. 5 in E-flat Major, Op. 73 (Emperor)
James Levine, conductor
August 3, 1975, Ravinia Festival
TCHAIKOVSKY Piano Concerto No. 1 in B-flat Minor, Op. 23
Lawrence Foster, conductor
July 15, 1976, Ravinia Festival
MACDOWELL Piano Concerto No. 2 in D Minor, Op. 23
James Levine, conductor
July 7, 1977, Ravinia Festival
FRANCK Symphonic Variations
LISZT Totentanz
James Levine, conductor
May 31 and June 1, 1979, Orchestra Hall
BRAHMS Concerto for Piano No. 2 in B-flat Major, Op. 83
Sir Georg Solti, conductor
July 7, 1979, Ravinia Festival
RACHMANINOV Piano Concerto No. 2 in C Minor, Op. 18
James Levine, conductor
July 11, 1980, Ravinia Festival
FRANCK Symphonic Variations
SAINT-SAËNS Piano Concerto No. 2 in G Minor, Op. 22
James Levine, conductor
June 28, 1981, Ravinia Festival
BEETHOVEN Piano Concerto No. 5 in E-flat Major, Op. 73 (Emperor)
James Levine, conductor
August 7, 1982, Ravinia Festival
TCHAIKOVSKY Piano Concerto No. 1 in B-flat Minor, Op. 23
Maxim Shostakovich, conductor
July 13, 1984, Ravinia Festival
BEETHOVEN Piano Concerto No. 4 in G Major, Op. 58
James Levine, conductor
July 12, 1985, Ravinia Festival
RACHMANINOV Piano Concerto No. 2 in C Minor, Op. 18
James Levine, conductor
January 23, 24, and 26, 1986, Orchestra Hall
LISZT Piano Concerto No. 1 in E-flat Major
LISZT Totentanz
Sir Georg Solti, conductor
July 11, 1986, Ravinia Festival
SAINT-SAËNS Piano Concerto No. 2 in G Minor, Op. 22
James Levine, conductor
August 15, 1987, Ravinia Festival
BRAHMS Piano Concerto No. 2 in B-flat Major, Op. 83
George Cleve, conductor
July 2, 1989, Ravinia Festival
SAINT-SAËNS Piano Concerto No. 2 in G Minor, Op. 22
James Levine, conductor
July 20, 1991, Ravinia Festival
BEETHOVEN Piano Concerto No. 5 in E-flat Major, Op. 73 (Emperor)
Gennady Rozhdestvensky, conductor
July 17, 1992, Ravinia Festival
LISZT Piano Concerto No. 2 in A Major
James Conlon, conductor
February 25, 26, 27, and 28, 1993, Orchestra Hall
MENDELSSOHN Piano Concerto No. 1 in G Minor, Op. 25
David Loebel, conductor
July 23, 1993, Ravinia Festival
BRAHMS Piano Concerto No. 2 in B-flat Major, Op. 83
John Nelson, conductor
November 1, 1993, Orchestra Hall
RACHMANINOV Piano Concerto No. 2 in C Minor, Op. 18
Gerhardt Zimmermann, conductor
August 6, 1994, Ravinia Festival
TCHAIKOVSKY Piano Concerto No. 1 in B-flat Minor, Op. 23
Riccardo Chailly, conductor
June 30, 1995, Ravinia Festival
BEETHOVEN Piano Concerto No. 5 in E-flat Major, Op. 73 (Emperor)
Christoph Eschenbach, conductor
January 24 and 25, 1996, Orchestra Hall
LISZT Piano Concerto No. 2 in A Major
LISZT Totentanz
Daniel Barenboim, conductor
January 26, 1996, Orchestra Hall
LISZT Piano Concerto No. 1 in E-flat Major
LISZT Totentanz
Daniel Barenboim, conductor
January 27, 1996, Orchestra Hall
LISZT Piano Concerto No. 1 in E-flat Major
Daniel Barenboim, conductor
July 2, 1996, Ravinia Festival
BRAHMS Piano Concerto No. 1 in D Minor, Op. 15
MACDOWELL Piano Concerto No. 2 in D Minor, Op. 23
LUTOSŁAWSKI Variations on a Theme by Paganini
Hermann Michael, conductor
August 1, 1997, Ravinia Festival
RACHMANINOV Piano Concerto No. 2 in C Minor, Op. 18
Christoph Eschenbach, conductor
May 14, 15, 16, and 19, 1998, Orchestra Hall
BRAHMS Piano Concerto No. 2 in B-flat Major, Op. 83
Franz Welser-Möst, conductor
August 14, 1998, Ravinia Festival
FRANCK Symphonic Variations
SAINT-SAËNS Piano Concerto No. 2 in G Minor, Op. 22
Christoph Eschenbach, conductor
July 16, 1999, Ravinia Festival
BEETHOVEN Piano Concerto No. 4 in G Major, Op. 58
Claus Peter Flor, conductor
November 2, 1999, Orchestra Hall
TCHAIKOVSKY Piano Concerto No. 1 in B-flat Minor, Op. 23
William Eddins, conductor
January 11, 2000, Orchestra Hall
BRAHMS Piano Concerto No. 1 in D Minor, Op. 15
BRAHMS Piano Concerto No. 2 in B-flat Major, Op. 83
Daniel Barenboim, conductor
August 4, 2000, Ravinia Festival
LISZT Piano Concerto No. 1 in E-flat Major
Roberto Abbado, conductor
April 19, 20, and 21, 2001, Orchestra Hall
LISZT Piano Concerto No. 2 in A Major
Daniel Barenboim, conductor
July 1, 2001, Ravinia Festival
SCHUBERT/Stein Fantasy in F Minor, D. 940
LISZT Totentanz
Christoph Eschenbach, conductor
July 29, 2005, Ravinia Festival
BEETHOVEN Piano Concerto No. 3 in C Minor, Op. 37
Leonard Slatkin, conductor
August 5, 2007, Ravinia Festival
BEETHOVEN Piano Concerto No. 4 in G Major, Op. 58
James Conlon, conductor
July 8, 2011, Ravinia Festival
LISZT Piano Concerto No. 2 in A Major
Christoph Eschenbach, conductor
Numerous tributes have been posted online, including articles at Indiana University and Indiana Public Media, among others.
This article also appears here.
On May 23, 2023, we commemorate the centennial of legendary Spanish pianist Alicia de Larrocha (1923–2009). Over the course of four decades, she was a frequent soloist with the Chicago Symphony Orchestra in Orchestra Hall, the Ravinia Festival, in Carnegie Hall, and in Milwaukee. As a recitalist, she regularly appeared under the auspices of Allied Arts and Symphony Center Presents between 1967 and 2001.
De Larrocha’s auspicious CSO and Carnegie Hall debuts occurred on November 8, 1966, when she performed one of her signature works, Falla’s Nights in the Gardens of Spain under the baton of seventh music director Jean Martinon. “Miss de Larrocha is a marvel. Her playing has perfect finish, complete authority, and rhythmic suppleness,” wrote Harold C. Schonberg in the New York Times. “As a Spaniard, she brings special authority to the Falla work, that curious and attractive hybrid of Spanish feeling and French technique. . . . She is a wonderful pianist and more: she is an artist.”
“The diminutive pianist from Barcelona may be the youngest seventy-six-year-old virtuoso before the public,” according to John von Rhein in the Chicago Tribune, following de Larrocha’s July 10, 1999, appearance with the Orchestra at the Ravinia Festival. “Her splendidly even fingering, rounded tone, pearly legato runs, and springy rhythmic articulations made her an ideal interpreter for Mozart’s sunny Piano Concerto no. 19 in F, K. 459. Everything was in the best of taste, nothing was overdone or excessively manicured, making this perfect midsummer Mozart.”
A complete list of Alicia de Larrocha’s appearances with the Chicago Symphony Orchestra is below.
November 8, 1966, Carnegie Hall
FALLA Nights in the Gardens of Spain
Jean Martinon, conductor
November 26, 1966, Orchestra Hall
MONTSALVATGE Concerto breve
Irwin Hoffman, conductor
October 3 and 4, 1968, Orchestra Hall
SCHUMANN Piano Concerto in A Minor, Op. 54
István Kertész, conductor
August 11, 1973, Ravinia Festival
MOZART Piano Concerto No. 27 in B-flat Major, K. 595
Lawrence Foster, conductor
April 29, 30, and May 1, 1976, Orchestra Hall
May 12, 1976, Carnegie Hall
MOZART Piano Concerto No. 27 in B-flat Major, K. 595
Sir Georg Solti, conductor
July 8, 1976, Ravinia Festival
RAVEL Piano Concerto in G Major
RAVEL Piano Concerto for the Left Hand in D Major
James Levine, conductor
August 10, 1978, Ravinia Festival
CHOPIN Piano Concerto No. 2 in F Minor, Op. 21
James Conlon, conductor
December 13, 14, 15, and 16, 1978, Orchestra Hall
December 18, 1978, Uihlein Hall, Milwaukee
MOZART Piano Concerto No. 25 in C Major, K. 503
Sir Georg Solti, conductor
July 10, 1981, Ravinia Festival
RAVEL Piano Concerto in G Major
James Levine, conductor
October 15, 16, 17, and 1981, Orchestra Hall
MOZART Piano Concerto No. 22 in E-flat Major, K. 482
FALLA Nights in the Gardens of Spain
Garcia Navarro, conductor
July 30, 1983, Ravinia Festival
BEETHOVEN Piano Concerto No. 1 in C Major, Op. 15
FALLA Nights in the Gardens of Spain
Jesús López-Cobos, conductor
August 10, 1985, Ravinia Festival
BEETHOVEN Piano Concerto No. 3 in C Minor, Op. 37
Michael Tilson Thomas, conductor
December 5, 6, and 7, 1985, Orchestra Hall
RAVEL Piano Concerto in G Major
Erich Leinsdorf, conductor
July 12, 1986, Ravinia Festival
SCHUMANN Piano Concerto in A Minor, Op. 54
James Levine, conductor
July 16, 1988, Ravinia Festival
MOZART Piano Concerto No. 9 in E-flat Major, K. 271 (Jeunehomme)
Dennis Russell Davies, conductor
August 10, 1989, Ravinia Festival
BEETHOVEN Piano Concerto No. 1 in C Major, Op. 15
BEETHOVEN Piano Concerto No. 2 B-flat Major, Op. 19
BEETHOVEN Piano Concerto No. 3, C Minor, Opus 37
Edo de Waart, conductor
August 12, 1989, Ravinia Festival
BEETHOVEN Piano Concerto No. 4 in G Major, Op. 58
BEETHOVEN Piano Concerto No. 5 in E-flat Major, Op. 73 (Emperor)
Edo de Waart, conductor
October 12, 13, and 14, 1989, Orchestra Hall
MOZART Piano Concerto No. 21 in C Major, K. 467
FALLA Nights in the Gardens of Spain
David Zinman, conductor
July 28, 1990, Ravinia Festival
MOZART Piano Concerto No. 25 in C Major, K. 503
Gianluigi Gelmetti, conductor
August 2, 1991, Ravinia Festival
MOZART Piano Concerto No. 24 in C Minor, K. 491
Marek Janowski, conductor
July 18, 1992, Ravinia Festival
SCHUMANN Piano Concerto in A Minor, Op. 54
James Conlon, conductor
July 17, 1994, Ravinia Festival
BEETHOVEN Piano Concerto No. 4 in G Major, Op. 58
Semyon Bychkov, conductor
July 22, 1995, Ravinia Festival
RAVEL Piano Concerto in G Major
Riccardo Chailly, conductor
February 29, March 1, 2, 3, and 5, 1996, Orchestra Hall
MOZART Piano Concerto No. 23 in A Major, K. 488
Daniele Gatti, conductor
August 2, 1996, Ravinia Festival
FALLA Nights in the Garden of Spain
Christoph Eschenbach, conductor
July 10, 1999, Ravinia Festival
MOZART Piano Concerto No. 19 in F Major, K. 459
Semyon Bychkov, conductor
This article also appears here.
The Chicago Symphony Orchestra family joins the music world in mourning the loss of German-born Israeli-American pianist and teacher Menahem Pressler. He died in London on Saturday, May 6, 2023, at the age of ninety-nine.
Born in Magdeburg, Germany in 1923, Pressler emigrated to Israel after fleeing Nazi Germany in 1939. He won first prize at the Debussy International Piano Competition in San Francisco in 1946 and made his U.S. debut in Schumann’s Piano Concerto with the Philadelphia Orchestra and Eugene Ormandy at Carnegie Hall on December 9, 1947.
The Beaux Arts Trio—with Pressler, violinist Daniel Guilet, and cellist Bernard Greenhouse—made their debut on on July 13, 1955, at the Berkshire Music Festival in Massachusetts. The ensemble would flourish for more than fifty years—with Pressler at the helm as the trio’s only pianist—and was later called “the gold standard for trios throughout the world” by the Washington Post and “in a class by itself” by the New York Times. The ensemble gave its farewell performances in August and September 2008, at Tanglewood and Lucerne, respectively.
For more than sixty years, Pressler served on the faculty at Indiana University’s Jacobs School of Music. He received several honorary doctorates, six Grammy nominations, lifetime achievement awards from Gramophone magazine and the International Chamber Music Association, Chamber Music America’s Distinguished Service Award, the Gold Medal of Merit from the National Society of Arts and Letters, and the Music Teachers National Association Achievement Award.
In Chicago, twenty-six-year-old Pressler made his debut with the Chicago Symphony Orchestra at the Ravinia Festival in July 1950, performing Rachmaninov’s Rhapsody on a Theme of Paganini and Grieg’s Piano Concerto. Most recently—at the age of ninety-two—he appeared in recital at Orchestra Hall on January 24, 2016, performing works by Mozart, Schubert, Kurtag, Debussy, and Chopin.
A complete list of his performances with the Chicago Symphony Orchestra—as piano soloist and as a member of the Beaux Arts Trio—is below.
July 27, 1950, Ravinia Festival
RACHMANINOV Rhapsody on a Theme of Paganini
William Steinberg, conductor
Menahem Pressler, piano
July 30, 1950, Ravinia Festival
GRIEG Piano Concerto in A Minor
William Steinberg, conductor
Menahem Pressler, piano
July 26, 1957, Ravinia Festival
BEETHOVEN Concerto for Piano, Violin, and Cello in C Major, Op. 56 (Triple)
Georg Solti, conductor
Beaux Arts Trio
Menahem Pressler, piano
Daniel Guilet, violin
Bernard Greenhouse, cello
June 8 and 9, 1972, Orchestra Hall
CHOPIN Piano Concerto No. 2 in F Minor, Op. 21
Aldo Ceccato, conductor
Menahem Pressler, piano
July 29, 1984, Ravinia Festival
BEETHOVEN Fantasy in C Minor for Piano, Chorus, and Orchestra, Op. 80 (Choral Fantasy)
Kurt Masur, conductor
Menahem Pressler, piano
Sally Schweikert, soprano
Elaine Rogala, soprano
Cynthia Anderson, mezzo-soprano
Thomas Dymit, tenor
Timothy O’Connor, tenor
Richard Cohn, baritone
Chicago Symphony Chorus
Margaret Hillis, director
July 11, 1997, Ravinia Festival
BEETHOVEN Piano Concerto No. 4 in G Major, Op. 58
Donald Runnicles, conductor
Menahem Pressler, piano
July 13, 2002, Ravinia Festival
MOZART Concerto for Three Pianos in F Major, K. 242
Peter Oundjian, conductor
Leon Fleisher, piano
Claude Frank, piano
Menahem Pressler, piano
July 7, 2007, Ravinia Festival
BEETHOVEN Concerto for Piano, Violin, and Cello in C Major, Op. 56 (Triple)
James Conlon, conductor
Beaux Arts Trio
Menahem Pressler, piano
Daniel Hope, violin
Antônio Meneses, cello
Numerous tributes have been published online, including the New York Times, Indiana University, the Times, and the Washington Post, among others.
This article also appears here.
Wishing a very happy eighty-fifth birthday to John Corigliano!
The recipient of numerous honors—including a Pulitzer Prize, an Academy Award, the Grawemeyer Award, and multiple Grammy awards—Corigliano served as the Chicago Symphony Orchestra’s first composer-in-residence from 1987 until 1990.
The Orchestra first performed Corigliano’s Concerto for Piano in February 1969, with Sheldon Shkolnik as soloist and acting music director Irwin Hoffman on the podium. Under the baton of Sir Georg Solti, the Orchestra performed the Concerto for Clarinet with Larry Combs, as well as the Tournaments Overture on concerts in Orchestra Hall and during the 1985 tour to Europe, performing the work in Hamburg, Madrid, Paris, and London.
On March 15, 1990, music director designate Daniel Barenboim led the world premiere of Corigliano’s Symphony No. 1, jointly commissioned for the Orchestra’s centennial by the Chicago Symphony and the Meet-the-Composer Orchestra Residencies Program.
“During the past decade I have lost many friends and colleagues to the AIDS epidemic, and the cumulative effect of those losses has, naturally, deeply affected me. My First Symphony was generated by feelings of loss, anger, and frustration,” wrote Corigliano in the program note for the premiere. “A few years ago, I was extremely moved when I first saw ‘The Quilt,’ an ambitious interweaving of several thousand fabric panels, each memorializing a person who had died of AIDS, and, most importantly, each designed and constructed by his or her loved ones. This made me want to memorialize in music those I have lost, and reflect on those I am losing.”
The live recording—Barenboim and the Orchestra’s first on the Erato label—featured principal cello John Sharp and, offstage, pianist Stephen Hough. The recording was recognized with two 1991 Grammy awards for Best Orchestral Performance and Best Contemporary Composition. Barenboim programmed the symphony again in 1992, also taking it on tour to Carnegie Hall, Madrid, and London.
Corigliano’s First Symphony also has been performed at the Ravinia Festival under the batons of Christoph Eschenbach in 1996 and Marin Alsop in 2003; Eschenbach also led performances in Orchestra Hall in 1998.
With the Orchestra, Neeme Järvi conducted the Pied Piper Fantasy with Sir James Galway; Eschenbach led The Red Violin: Chaconne for Violin and Orchestra with Joshua Bell; William Eddins conducted Phantasmagoria on The Ghosts of Versailles; and Leonard Slatkin has led Three Hallucinations, Fantasia on an Ostinato, and The Mannheim Rocket.
To celebrate Sir Georg Solti’s seventy-fifth birthday in 1987, associate conductor Kenneth Jean led the Orchestra in the world premiere of Corigliano’s Campane di Ravello. Written while on vacation in Ravello, Italy, the composer remarked, “On Sundays, the multitude of churches in Ravello and the surrounding towns play their bells, each in a different key and rhythm. The cacophony is gorgeous, and uniquely festive. My tribute to Sir Georg attempts to make the sections of the symphony orchestra sound like pealing bells: that tolling, filigreed with birdcalls in the woodwinds, provides the backdrop for a theme that grows more and more familiar as it is clarified. At the end, it is clear and joyous—a tribute to a great man.”
Jean also led the work on the Centennial Gala concert on October 6, 1990, and current music director Riccardo Muti conducted it on September 19, 2015, on the Symphony Ball concert launching the Chicago Symphony Orchestra’s 125th season.
MusicNOW, the Orchestra’s contemporary music series, kicked off its twentieth season on October 2, 2017, at the Harris Theater with a concert celebrating past composers-in-residence. Samuel Adams and Elizabeth Ogonek honored their predecessors by programming works by Anna Clyne, Osvaldo Golijov, and Mark-Anthony Turnage, along with—in attendance—Mason Bates, Shulamit Ran, Augusta Read Thomas, and Corigliano.
Most recently, in January 2019, the Orchestra performed “One Sweet Morning” from the song cycle of the same name, with baritone Thomas Hampson as soloist and Bramwell Tovey conducting. In Chicago Classical Review, Lawrence A. Johnson wrote that Corigliano’s song, “made an apt and hopeful coda, envisioning a world with no more war . . . Hampson was able to convey the gentle optimism of the Yip Harburg text, and Corigliano’s fragile, bird-like rising line.”
Happy, happy birthday!
This article also appears here.
Georg Solti—who would serve as the Chicago Symphony Orchestra’s eighth music director from 1969 until 1991—received his first Grammy at the Recording Academy’s fifth awards ceremony in May 1963, for the RCA recording of Verdi’s Aida with Leontyne Price in the title role. Over the next two decades, he steadily increased his count, and at the 26th ceremony in February 1984, Solti received four awards, bringing his total to twenty-three and surpassing Henry Mancini’s record of twenty awards. Ultimately, Sir Georg would receive thirty-one awards—twenty-four with the Chicago Symphony Orchestra and Chorus—and he reigned as the all-time Grammy champ for nearly forty years.
At the the 65th Grammy Awards on February 5, 2023, Beyoncé received four statuettes, bringing her total to thirty-two and crowning her as the new champ. Quincy Jones follows Solti with twenty-eight awards, Alison Krauss and Chick Corea each has twenty-seven, and Pierre Boulez—former CSO conductor emeritus and principal guest conductor—is in fifth place, with twenty-six Grammy awards, including eight with the Chicago Symphony Orchestra and Chorus.
In addition, Solti and producer John Culshaw received the Academy’s first Trustees’ Award in 1967 for their “efforts, ingenuity, and artistic contributions” in connection with the first complete recording of Wagner’s Der Ring des Nibelungen with the Vienna Philharmonic. Sir Georg also received the Academy’s 1995 Lifetime Achievement Award.
Following is a complete list of Sir Georg Solti’s thirty-one Grammy awards and seventy-four nominations.*
5th Annual Grammy Awards (1962)
Best Opera Recording (nom 1, win 1)
VERDI Aida
Georg Solti, conductor
Leontyne Price, Rita Gorr, Jon Vickers, Robert Merrill, Giorgio Tozzi
Rome Opera House Orchestra
Rome Opera House Chorus
Giuseppe Conca, director
RCA
STRAUSS Salome
Best Opera Recording (nom 2)
Georg Solti, conductor
Birgit Nilsson, Gerhard Stolze, Grace Hoffman, Eberhard Wächter, Waldemar Kmentt
Vienna Philharmonic
London
6th Annual Grammy Awards (1963)
Best Opera Recording (nom 3)
WAGNER Siegfried
Georg Solti, conductor
Birgit Nilsson, Wolfgang Windgassen, Hans Hotter, Gerhard Stolze, Gustav Neidlinger, Joan Sutherland
Vienna Philharmonic
London
7th Annual Grammy Awards (1964)
Album of the Year–Classical (nom 4)
Best Opera Recording (nom 5)
VERDI Falstaff
Georg Solti, conductor
Geraint Evans, Giulieta Simionato, Ilva Ligabue, Robert Merrill, Mirella Freni, Alfredo Kraus, Rosalind Elias
RCA Italiana Opera Orchestra
RCA Italiana Opera Chorus
Nino Antonellini, director
RCA
8th Annual Grammy Awards (1965)
Best Opera Recording (nom 6)
WAGNER Götterdämmerung
Georg Solti, conductor
Birgit Nilsson, Wolfgang Windgassen, Gottlob Frick, Dietrich Fischer-Dieskau, Christa Ludwig, Claire Watson, Gustav Neidlinger
Vienna Philharmonic
Men of the Vienna State Opera Chorus
Wilhelm Pitz, director
London
9th Annual Grammy Awards (1966)
Album of the Year–Classical (nom 7)
Best Opera Recording (nom 8, win 2)
WAGNER Die Walküre
Georg Solti, conductor
Birgit Nilsson, Régine Crespin, Christa Ludwig, James King, Hans Hotter, Gottlob Frick
Vienna Philharmonic
London
10th Annual Grammy Awards (1967)
Best Classical Performance–Orchestra (nom 9)
MAHLER Symphony No. 2 in C Minor (Resurrection)
Georg Solti, conductor
Heather Harper, Helen Watts
London Symphony Orchestra
London Symphony Orchestra Chorus
John Alldis, director
London
11th Annual Grammy Awards (1968)
Best Opera Recording (nom 10)
STRAUSS Elektra
Georg Solti, conductor
Birgit Nilsson, Marie Collier, Regina Resnik, Gerhard Stolze, Tom Krause
Vienna Philharmonic
Vienna State Opera Chorus
London
13th Annual Grammy Awards (1970)
Best Classical Performance–Orchestra (nom 11)
MAHLER Symphony No. 6 in A Minor
Georg Solti, conductor
Chicago Symphony Orchestra
London
Best Opera Recording (nom 12)
STRAUSS Der Rosenkavalier
Georg Solti, conductor
Régine Crespin, Yvonne Minton, Helen Donath, Luciano Pavarotti, Manfred Jungwirth
Vienna Philharmonic
Vienna State Opera Chorus
Norbert Balatsch, director
London
14th Annual Grammy Awards
Best Opera Recording (nom 13)
MOZART The Magic Flute, K. 620
Georg Solti, conductor
Pilar Lorengar, Christina Deutekom, Stuart Burrows, Dietrich Fischer-Dieskau, Hermann Prey, Martti Talvela
Vienna Philharmonic
Vienna State Opera Chorus
Norbert Balatsch, director
London
15th Annual Grammy Awards (1972)
Album of the Year–Classical (nom 14, win 3)
Best Choral Performance–Classical (other than opera) (nom 15, win 4)
MAHLER Symphony No. 8 in E-flat Major
Georg Solti, conductor
Heather Harper, Lucia Popp, Arleen Augér, Yvonne Minton, Helen Watts, René Kollo, John Shirley-Quirk, Martti Talvela
Chicago Symphony Orchestra
Vienna State Opera Chorus
Singverein Chorus
Norbert Balatsch, director
Vienna Boys’ Choir
Helmut Froschauer, director
London
Best Classical Performance–Orchestra (nom 16, win 5)
MAHLER Symphony No. 7 in E Minor
Georg Solti, conductor
Chicago Symphony Orchestra
London
Album of the Year–Classical (nom 17)
Best Opera Recording (nom 18)
WAGNER Tannhäuser
Georg Solti, conductor
René Kollo, Christa Ludwig, Hans Sotin, Helga Dernesch
Vienna Philharmonic
Vienna State Opera Chorus
Norbert Balatsch, director
Vienna Boys’ Choir
Wilhelm Pitz, director
London
16th Annual Grammy Awards (1973)
Album of the Year–Classical (nom 19)
BEETHOVEN Piano Concertos
BEETHOVEN Piano Concerto No. 1 in C Major, Op. 15
BEETHOVEN Piano Concerto No. 2 in B-flat Major, Op. 19
BEETHOVEN Piano Concerto No. 3 in C Minor, Op. 37
BEETHOVEN Piano Concerto No. 4 in G Major, Op. 58
BEETHOVEN Piano Concerto No. 5 in E-flat Major, Op. 73 (Emperor)
Sir Georg Solti, conductor
Vladimir Ashkenazy, piano
London
Best Classical Performance–Orchestra (nom 20)
BEETHOVEN Symphony No. 9 in D Minor, Op. 125
Sir Georg Solti, conductor
Pilar Lorengar, Yvonne Minton, Stuart Burrows, Martti Talvela
Chicago Symphony Orchestra
Chicago Symphony Chorus
Margaret Hillis, director
London
Best Opera Recording (nom 21)
WAGNER Parsifal
Sir Georg Solti, conductor
René Kollo, Dietrich Fischer-Dieskau, Hans Hotter, Gottlob Frick, Zoltán Kélémen, Christa Ludwig
Vienna Philharmonic
Vienna State Opera Chorus
Norbert Balatsch, director
Vienna Boys’ Choir
Anton Neyder, director
London
17th Annual Grammy Awards (1974)
Album of the Year–Classical (nom 22, win 6)
Best Classical Performance–Orchestra (nom 23, win 7)
BERLIOZ Symphonie fantastique, Op. 14
Sir Georg Solti, conductor
Chicago Symphony Orchestra
London
Best Opera Recording (nom 24, win 8)
PUCCINI La bohème
Sir Georg Solti, conductor
Montserrat Caballé, Judith Blegen, Plácido Domingo, Sherrill Milnes, Vicente Sardinero, Ruggero Raimondi
London Philharmonic Orchestra
John Alldis Choir
John Alldis, director
Wandsworth School Boys’ Choir
Russell Burgess, director
RCA
Best Opera Recording (nom 25)
MOZART Così fan tutte, K. 588
Sir Georg Solti, conductor
Ryland Davies, Tom Krause, Gabriel Bacquier, Pilar Lorengar, Teresa Berganza, Jane Berbié
London Philharmonic Orchestra
Royal Opera House Chorus
Douglas Robinson, director
London
18th Annual Grammy Awards (1975)
Album of the Year–Classical (nom, 26, win 9)
Best Classical Performance–Orchestra (nom 27)
Beethoven’s Symphonies
BEETHOVEN Symphony No. 1 in C Major, Op. 21
BEETHOVEN Symphony No. 2 in D Major, Op. 36
BEETHOVEN Symphony No. 3 in E flat Major, Op. 55 (Eroica)
BEETHOVEN Symphony No. 4 in B flat Major, Op. 60
BEETHOVEN Symphony No. 5 in C Minor, Op. 67
BEETHOVEN Symphony No. 6 in F Major, Op. 68 (Pastoral)
BEETHOVEN Symphony No. 7 in A Major, Op. 92
BEETHOVEN Symphony No. 8 in F Major, Op. 93
BEETHOVEN Symphony No. 9 in D Minor, Op. 125
BEETHOVEN Overture to Egmont, Op. 84
BEETHOVEN Overture to Coriolan, Op. 62
BEETHOVEN Leonore Overture No. 3, Op. 72b
Sir Georg Solti, conductor
Pilar Lorengar, Yvonne Minton, Stuart Burrows, Martti Talvela
Chicago Symphony Orchestra
Chicago Symphony Chorus
Margaret Hillis, director
London
19th Annual Grammy Awards (1976)
Best Classical Orchestral Performance (nom 28, win 10)
STRAUSS Also sprach Zarathustra, Op. 30
Sir Georg Solti, conductor
Chicago Symphony Orchestra
London
Album of the Year–Classical (nom 29)
Best Opera Recording (nom 30)
BIZET Carmen
Sir Georg Solti, conductor
Tatiana Troyanos, Kiri Te Kanawa, Plácido Domingo, José van Dam
London Philharmonic Orchestra
John Alldis Choir
John Alldis, director
Boys’ Chorus from Haberdashers’ Aske’s School, Elstree
Alan Taylor and Jean Povey, directors
London
Best Classical Orchestral Performance (nom 31)
ELGAR Symphony No. 2 in E-flat Major
Sir Georg Solti, conductor
London Philharmonic Orchestra
London
20th Annual Grammy Awards (1977)
Best Choral Performance (other than opera) (nom 32, win 11)
VERDI Messa da Requiem
Sir Georg Solti, conductor
Leontyne Price, Janet Baker, Veriano Luchetti, José van Dam
Chicago Symphony Orchestra
Chicago Symphony Chorus
Margaret Hillis, director
RCA
Album of the Year–Classical (nom 33)
DEBUSSY Prelude to The Afternoon of a Faun and La mer
RAVEL Boléro
Sir Georg Solti, conductor
Chicago Symphony Orchestra
London
Best Classical Orchestral Performance (nom 34)
RAVEL Boléro
Sir Georg Solti, conductor
Chicago Symphony Orchestra
London
Best Opera Recording (nom 35)
WAGNER The Flying Dutchman
Sir Georg Solti, conductor
Norman Bailey, Martti Talvela, Janis Martin, René Kollo
Chicago Symphony Orchestra
Men of the Chicago Symphony Chorus
Margaret Hillis, director
London
21st Annual Grammy Awards (1978)
Best Choral Performance, Classical (other than opera) (nom 36, win 12)
BEETHOVEN Missa solemnis in D Major, Op. 123
Sir Georg Solti, conductor
Lucia Popp, Yvonne Minton, Mallory Walker, Gwynne Howell
Chicago Symphony Orchestra
Chicago Symphony Chorus
Margaret Hillis, director
London
Best Choral Performance, Classical (other than opera) (nom 37)
WALTON Belshazzar’s Feast
Sir Georg Solti, conductor
Benjamin Luxon, baritone
London Philharmonic Orchestra
London Philharmonic Choir
John Alldis, director
London
22nd Annual Grammy Awards (1979)
Best Classical Album (nom 38, win 13)
Best Classical Orchestral Recording (nom 39, win 14)
Brahms’s Symphonies
BRAHMS Symphony No. 1 in C Minor, Op. 68
BRAHMS Symphony No. 2 in D Major, Op. 73
BRAHMS Symphony No. 3 in F Major, Op. 90
BRAHMS Symphony No. 4 in E Minor, Op. 98
BRAHMS Academic Festival Overture, Op. 80
BRAHMS Tragic Overture, Op. 81
Sir Georg Solti, conductor
Chicago Symphony Orchestra
London
Best Choral Performance, Classical (other than opera) (nom 40, win 15)
BRAHMS A German Requiem, Op. 45
Sir Georg Solti, conductor
Kiri Te Kanawa, Bernd Weikl
Chicago Symphony Orchestra
Chicago Symphony Chorus
Margaret Hillis, director
London
Best Classical Orchestral Recording (nom 41)
HOLST The Planets
Sir Georg Solti, conductor
London Philharmonic Orchestra
Women of the London Philharmonic Choir
John Alldis, director
London
23rd Annual Grammy Awards (1980)
Best Classical Album (nom 42)
Best Classical Orchestral Recording (nom 43, win 16)
BRUCKNER Symphony No. 6 in A Major
Sir Georg Solti, conductor
Chicago Symphony Orchestra
London
Best Opera Recording (nom 44)
BARTÓK Bluebeard’s Castle
Sir Georg Solti, conductor
Kolos Kováts, Sylvia Sass, István Sztankay
London Philharmonic Orchestra
London
24th Annual Grammy Awards (1981)
Best Classical Album (nom 45, win 17)
Best Classical Orchestral Recording (nom 46, win 18)
MAHLER Symphony No. 2 in C Minor (Resurrection)
Sir Georg Solti, conductor
Isobel Buchanan, Mira Zakai
Chicago Symphony Orchestra
Chicago Symphony Chorus
Margaret Hillis, director
London
25th Annual Grammy Awards (1982)
Best Classical Album (nom 47)
Best Choral Performance (other than opera) (nom 48, win 19)
BERLIOZ The Damnation of Faust, Op. 24
Sir Georg Solti, conductor
Frederica von Stade, Kenneth Riegel, José van Dam, Malcolm King
Chicago Symphony Orchestra
Chicago Symphony Chorus
Margaret Hillis, director
Glen Ellyn Children’s Chorus
Doreen Rao, director
London
26th Annual Grammy Awards (1983)
Best Classical Album (nom 49, win 20)
Best Classical Orchestral Recording (nom 50, win 21)
MAHLER Symphony No. 9 in D Major
Sir Georg Solti, conductor
Chicago Symphony Orchestra
London
Best Opera Recording (nom 51, win 22)
MOZART The Marriage of Figaro, K. 492
Sir Georg Solti, conductor
Kiri Te Kanawa, Lucia Popp, Frederica von Stade, Samuel Ramey, Thomas Allen, Kurt Moll
London Philharmonic Orchestra
London Opera Chorus
London
This recording tied with the soundtrack for Verdi’s La traviata with James Levine conducting the Metropolitan Opera Orchestra and Teresa Stratas, Plácido Domingo, and Cornell MacNeil.
Best Choral Performance (other than opera) (nom 52, win 23)
HAYDN The Creation
Sir Georg Solti, conductor
Norma Burrowes, Sylvia Greenberg, Rüdiger Wohlers, James Morris, Siegmund Nimsgern
Chicago Symphony Orchestra
Chicago Symphony Chorus
Margaret Hillis, director
London
27th Annual Grammy Awards (1984)
Best Classical Orchestral Recording (nom 53)
MAHLER Symphony No. 4 in G Minor
Sir Georg Solti, conductor
Kiri Te Kanawa, soprano
Chicago Symphony Orchestra
London
28th Annual Grammy Awards (1985)
Best Opera Recording (nom 54, win 24)
SCHOENBERG Moses und Aron
Sir Georg Solti, conductor
Franz Mazura, Philip Langridge
Chicago Symphony Orchestra
Chicago Symphony Chorus
Margaret Hillis, director
London
29th Annual Grammy Awards (1986)
Best Classical Orchestral Recording (nom 55, win 25)
LISZT A Faust Symphony
Sir Georg Solti, conductor
Siegfried Jerusalem, tenor
Chicago Symphony Orchestra
Men of the Chicago Symphony Chorus
Margaret Hillis, director
London
Best Classical Album (nom 56)
MENDELSSOHN Symphony No. 3 in A Minor, Op. 56 (Scottish)
MENDELSSOHN Symphony No. 4 in A Major, Op. 90 (Italian)
Sir Georg Solti, conductor
Chicago Symphony Orchestra
London
Best Opera Recording (nom 57)
VERDI Un ballo in maschera
Margaret Price, Kathleen Battle, Christa Ludwig, Luciano Pavarotti, Renato Bruson
National Philharmonic Orchestra
London Opera Chorus
Terry Edwards, director
Royal College of Music Junior Department Chorus
Vaughan Meakins, director
London
30th Annual Grammy Awards (1987)
Best Classical Album (nom 58)
Best Orchestral Recording (nom 59, win 26)
BEETHOVEN Symphony No. 9 in D Minor, Op. 125
Sir Georg Solti, conductor
Jessye Norman, Reinhild Runkel, Robert Schunk, Hans Sotin
Chicago Symphony Orchestra
Chicago Symphony Chorus
Margaret Hillis, director
London
Best Opera Recording (nom 60)
MOZART The Abduction from the Seraglio, K. 384
Sir Georg Solti, conductor
Edita Gruberová, Kathleen Battle, Gösta Winbergh, Heinz Zednik, Martti Talvela
Vienna Philharmonic
Vienna State Opera Concert Choir
Martha Heigl, director
London
31st Annual Grammy Awards (1988)
Best Classical Album (nom 61)
Best Opera Recording (nom 62, win 27)
WAGNER Lohengrin
Sir Georg Solti, conductor
Jessye Norman, Eva Randová, Plácido Domingo, Siegmund Nimsgern, Hans Sotin, Dietrich Fischer-Dieskau
Vienna Philharmonic
Vienna State Opera Concert Choir
London
Best Chamber Music Performance (nom 63, win 28)
BARTÓK Sonata for Two Pianos and Percussion
Sir Georg Solti and Murray Perahia, pianos
Evelyn Glennie and David Corkhill, percussion
CBS
Best Orchestral Recording (nom 64)
BRUCKNER Symphony No. 7 in E Major
Sir Georg Solti, conductor
Chicago Symphony Orchestra
London
Best Choral Performance (other than opera) (nom 65)
BACH Saint Matthew Passion, BWV 244
Sir Georg Solti, conductor
Kiri Te Kanawa, Anne Sofie von Otter, Anthony Rolfe Johnson, Hans Peter Blochwitz, Olaf Bär, Tom Krause
Chicago Symphony Orchestra
Chicago Symphony Chorus
Margaret Hillis, director
London
33rd Annual Grammy Awards
Best Orchestral Performance (nom 66)
BEETHOVEN Symphony No. 7 in A Major, Op. 92
BEETHOVEN Symphony No. 8 in F Major, Op. 93
Sir Georg Solti, conductor
Chicago Symphony Orchestra
London
34th Annual Grammy Awards (1991)
Best Performance of a Choral Work (nom 67, win 29)
BACH Mass in B Minor, BWV 232
Sir Georg Solti, conductor
Felicity Lott, Anne Sofie von Otter, Hans Peter Blochwitz, William Shimell, Gwynne Howell
Chicago Symphony Orchestra
Chicago Symphony Chorus
Margaret Hillis, director
London
35th Annual Grammy Awards (1992)
Best Classical Album (nom 68)
Best Opera Recording (nom 69, win 30)
STRAUSS Die Frau ohne Schatten
Sir Georg Solti, conductor
Hildegard Behrens, Júlia Várady, Sumi Jo, Reinhild Runkel, Plácido Domingo, José van Dam
Vienna Philharmonic
Vienna State Opera Chorus
Vienna Boys’ Choir
Helmuth Froschauer, director
40th Annual Grammy Awards (1997)
Best Classical Album (nom 70)
Best Opera Recording (nom 71, win 31)
WAGNER Die Meistersinger von Nürnberg
Sir Georg Solti, conductor
Karita Mattila, Iris Vermillion, Ben Heppner, Herbert Lippert, José van Dam, Alan Opie, René Pape
Chicago Symphony Orchestra
Chicago Symphony Chorus
Duain Wolfe, director
London
Best Opera Recording (nom 72)
MOZART Don Giovanni, K. 527
Sir Georg Solti, conductor
Bryn Terfel, Renée Fleming, Ann Murray, Michele Pertusi, Herbert Lippert, Monica Groop, Robert Scaltriti, Mario Luperi
London Philharmonic Orchestra
London Voices
Terry Edwards, director
London
41st Annual Grammy Awards (1998)
Best Classical Album (nom 73)
Best Choral Performance (nom 74)
BARTÓK Cantata profana
WEINER Serenade for Small Orchestra, Op. 3
KODÁLY Psalmus Hungaricus, Op. 13
Sir Georg Solti, conductor
Tamás Daróczi, Alexandru Agache
Budapest Festival Orchestra
Choir of the Hungarian Radio and Television
Kálmán Strausz, director
Children’s Choir of Hungarian Radio and Television
Gabriella Thész, director
Schola Cantorum Budapestiensis
Tamás Bubnó, director
*A database of former Grammy Award winners can be found using the search function here; category titles have changed over the years. For opera recordings, only principal soloists are listed.
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