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On a personal note . . .
I never met Sir Georg. But as a member of the Chicago Symphony Chorus, I had the pleasure of sharing the stage with him on three occasions: Shostakovich’s Symphony no. 13 (Babi Yar) in February 1995, Wagner’s Die Meistersinger von Nürnberg in September 1995, and Stravinsky’s Symphony of Psalms in March 1997. Even as music director laureate, Solti still commanded the podium and demanded the very best from everyone. It may have taken him an extra moment to get to the podium, but once he arrived, there was work to be done. And everyone—Orchestra, Chorus, soloists—sat up, took notice, and delivered. We all simply played and sang better than our best when he was onstage.
And here in the Chicago Symphony Orchestra’s Rosenthal Archives, I have the privilege of documenting, preserving, and providing access to so many aspects of Sir Georg’s legacy to not only his longtime admirers—and they are a fierce bunch—but also to new generations of musicians and music lovers.
Indeed, a pleasure and a privilege. And again, thank you, Sir Georg.
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György Stern was born in Budapest, Hungary, on October 21, 1912.
Near the end of his Memoirs—completed when he was eighty-four—Solti wrote:
“I have had an enormously lucky life. I have said many times, and believe more every day, that I have a guardian angel who guides me and protects me. Looking back, there have been disappointments and unachieved ambitions, but all in all, I have had a wonderful time.
“I have no intention of slowing down: pacing myself, yes, but slowing down, no. I am grateful that I am still able to work because I believe that I am continuing to develop as a musician, and that I still have much to give. . . .
“My life is the clearest proof that if you have talent, determination, and luck, you will make it in the end. My motto is ‘Never Give Up.'”
For your abundant gifts of music, thank you, Sir Georg.
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Sir Georg Solti conducted his beloved Chicago Symphony Orchestra for the last time in March 1997. His performance on March 29 was his 999th time conducting the Orchestra.
The program included Mussorgsky’s Prelude to Khovanshchina, Shostakovich’s orchestration of Mussorgsky’s Songs and Dances of Death with bass Sergei Aleksashkin, and Shostakovich’s Symphony no. 15.
In the Chicago Sun-Times, Wynne Delacoma wrote that Solti “is a latecomer to Shostakovich’s music and he is trying to make up for lost time. He has recorded three of the composer’s symphonies with the CSO in recent seasons and these performances are being taped for London Records. He resisted the composer’s music because of Shostakovich’s seeming cooperation with the Soviet regime but has changed his mind as details about the composer’s politics became known. As is usually the case with Solti, details were neatly in place Thursday night.”
And John von Rhein in the Chicago Tribune wrote: “Solti’s response to the symphony was to lay everything out with the utmost clarity and precision and to assign each climax its proper weight, so that the listener was free to decide what it all means. At his jaunty tempo, the opening Allegretto was all forced jollity, just right, while the scherzo masked its sardonic intentions behind a poker face. If the funeral march was more brazenly loud than deeply disturbing, the finale was as equivocal as Shostakovich meant it to be.”
For the recording, Michael Woolcock was the producer, James Lock and Philip Siney were the balance engineers, Duncan Mitchell was the location engineer, and Simon Bertram and Matthew Hutchinson were the recording editors.
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The work most closely identified with Sir Georg Solti’s tenure as music director of the Chicago Symphony Orchestra would arguably be Mahler’s Fifth Symphony.
During his final season as music director, Solti and the Orchestra recorded Mahler’s Fifth a second time for London Records. The work was recorded live in concert at the Musikverein in Vienna on November 30, 1990, during the Orchestra’s tour to Russia, Hungary, and Austria.
For London, Michael Haas was the producer, Stanley Goodall was the engineer, and Matthew Hutchinson was the tape editor.
In his Memoirs, Solti wrote: “it was Mahler’s Fifth which I shall always associate with the Chicago Symphony. It was part of our first tour program together, to Carnegie Hall in New York [in January 1970]. We went with a certain trepidation, not knowing how New Yorkers would receive us, as we were still an unknown quantity. When we finished the last movement, the audience stood up and screamed hysterically as if it were a rock concert. The applause seemed endless; they had fallen under the spell of our exceptional performance. I had never experienced such an overwhelming phenomenon in my life and probably never will again.” (Shortly after the concert in New York, the symphony was recorded in Chicago’s Medinah Temple in March 1970.)
In the second edition of Paul Robinson’s Solti, the author stated: “In November 1990, Solti and the CSO toured Europe to great acclaim. In Vienna their program included the Mahler Fifth and the Decca engineers were there to record the event for posterity. It turned out to be an even finer recording than the one they had made in Chicago twenty years before. The virtuosity is on the same high level but there is a depth of feeling, particularly in the Adagietto, that is quite striking. The sound quality is also remarkable, taking advantage of the latest in digital technology. There are numerous subtleties of soft playing only hinted at in the earlier recording. One of Mahler’s most original touches of orchestration is the use of a tam-tam in the second movement. It is marked piano and in most recordings it is simply not audible. But in this one it has an altogether distinctive presence that colors the whole texture of the music. Wonderful! There are times when one misses the expansiveness of expression that is so moving in the [Leonard] Bernstein or [Herbert von] Karajan recordings, but this is nonetheless one of [the] best documentations of Solti and the CSO in their prime together.”
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In addition to his incredibly vast discography, Sir Georg Solti has left behind a distinct legacy, dedicated not only to the next generations of musicians but also to music lovers.
Headquartered in Belgium, The Solti Foundation provides support to young instrumentalists and composers from all over the world, preparing to embark on international careers. On the foundation’s website, Lady Valerie Solti provides this mission: “Following his death my daughters and I established the Solti Foundation as a memorial to his life by continuing the help he gave. Graduating from a music school is a critical time—financial support comes to an end as well as pastoral care. The Solti Foundation’s aim is to assist this transition period. The small grants are not intended to replace awards and bursaries from larger institutions, they are to be used for projects such as coaching, travel to competitions and auditions, short periods of study, the hire of rehearsal facilities. A team of volunteers also provides pastoral care and career advice.”
The mission of The Solti Foundation U.S., also founded shortly after Sir Georg’s death, is “to assist talented young American musicians at the start of their professional careers. It has made annual grants to awardees since 2003. Since 2004 it has focused on helping exceptional young conductors.” Lady Solti reiterated: “Sir Georg Solti believed in a guardian angel that guided his life and he was grateful to the agents of that angel—the people who helped him at difficult times. The Solti Foundation believes that music is essential—especially during these troubled times—to healing and connecting individuals and global lives. Therefore, we are committed to realizing Sir Georg’s passion for excellence in music and extending help to further the early careers of those with exceptional talent.”
According to their website, the Georg Solti Accademia “aims to educate highly talented young singers and repetiteurs from all over the world in the art of Italian opera and song. The Accademia offers masterclasses of the highest standards in musicianship, language and dramatic interpretation, providing students with the vital bridge between the end of formal training and professional life. . . . [The] annual Georg Solti Accademia di Bel Canto takes place in the Tuscan seaside town of Castiglione della Pescaia where Solti spent his summers. The course brings together the greatest living interpreters and teachers with outstanding student singers and repetiteurs. Each summer twelve young singers receive scholarships to come to Castiglione for three weeks of intensive training in Italian music, culture and language. The Accademia has already established itself as one of the leading Italian opera courses in the world, and in 2008 added a two-week programme for repetiteurs.”
Sponsored primarily by the Alte Oper, the Frankfurt Opera House and Museum’s Orchestra, and the Frankfurt Radio Symphony Orchestra, the International Sir Georg Solti Conductors’ Competition seeks to discover and identify new talents. The mission statement on their website includes: “Numerous competitions are being organised for instrumentalists, ensembles, and even for composers; conductors rarely have the chance to match with their competitors. This made it an urgent need to create a forum where young talents can present themselves and receive competent assessment of the standard they have reached. The competition’s superior rank can also be found in its name: Sir Georg Solti, who led the Frankfurt Opera during 1952-1961, referred to this decade as ‘ten happy and fruitful years.’ But how is one to select? What paths does one follow in one’s search? And how does one best present one’s findings to orchestra and public alike? These considerations make the conductors’ competition more than just a qualifying contest; it also offers an opportunity for all involved to usefully gather and exchange experiences.”
The Sir Georg Solti Conducting Apprenticeship, hosted by the Chicago Symphony Orchestra, invites young conductors to “apply for a two-year conducting apprenticeship. The winning candidate, chosen by an international jury chaired by Maestro Riccardo Muti, will have unique access to the CSO’s music director and to key guest conductors of the CSO. Both Riccardo Muti and his predecessor Sir Georg Solti (CSO music director 1969–91) followed the same traditional path to their conducting careers through their work in the opera house. Maestro Muti remains passionate about the importance of a conductor’s ability to rehearse with an artist at the piano. . . . As the CSO’s Conducting Fellow, the winning candidate will have invaluable access to observe and study with preeminent musical leaders. The apprenticeship offers the opportunity, over two consecutive seasons, to spend at least four weeks a year in Chicago studying with CSO Music Director Riccardo Muti, Helen Regenstein Conductor Emeritus Pierre Boulez, and other guest conductors of the Chicago Symphony Orchestra and the Civic Orchestra of Chicago.”
Founded in 1995 by Sir Georg Solti to commemorate the fiftieth anniversary of the United Nations and to reaffirm, in his words, “the unique strength of music as an ambassador for peace,” the World Orchestra for Peace “draws its players come from orchestras all over the world, many of them concert masters and section leaders in their own right, and the orchestra has no existence outside the very special occasions that call it into being. The orchestra is also unique in practical terms. There’s the logistical challenge of assembling everyone. The eminent players must put aside issues of status: their seating positions rotate, and the section leaders vary from work to work. Even tuning can be tricky since orchestras play at different pitches across the world. Its members do not draw a salary from it, yet return time after time to bear witness to the spirit which animates it.”
“Solti only conducted the first concert in Geneva on July 5, 1995. But this key element of his legacy has been kept alive and administered by Director and General Manager Charles Kaye, Solti’s former executive assistant, who invited Valery Gergiev to take over the baton as its conductor. In the seventeen years since—culminating in the Centenary Concert at Orchestra Hall in Chicago on Solti’s 100th birthday (October 21, 2012)—the World Orchestra for Peace has given twenty concerts in fourteen countries, with the participation of 388 players representing over seventy-five orchestras from more than sixty countries of the world.”*
And finally, in addition to the bust of Solti that resides in Grant Park, there is a small legacy here in Chicago that many of my colleagues and I walk by nearly every day. At the corner of Michigan Avenue and Adams Street and the corner of Adams and Wabash Avenue, there are honorary street signs—identifying Honorary Sir Georg Solti Place—that were dedicated on October 24, 1997. The signs serve as a small reminder to us of the musician who contributed so much to our Chicago community.
*The second paragraph of the section regarding the World Orchestra for Peace—provided by a representative from the ensemble—was added on January 24, 2013.
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”During the first six years of my life, Hungary was one of the most important components of the Habsburg dynasty’s vast Austro-Hungarian Empire, but after World War I it became an independent national entity As a result of the subsequent upsurge in Hungarian nationalism, many Hungarians with Germanic surnames were encouraged to adopt Hungarian equivalents. My parents kept the family’s original surname, Stern, but my father decided that my sister and I should change it to facilitate our careers. He chose a new name at random: Solti—the name of a small Hungarian town. My first name, György, remained the same until I left Hungary, but then, as no one abroad could cope with the pronunciation of this strangely spelled name, it was changed to Georg in German-speaking countries and pronounced like George in English-speaking countries. . . .
“My father, Mórícz Stern, born in 1878, in Balatonfökajár, moved to Budapest as a young man, along with two of his brothers. He was a sweet man but utterly untalented at business, despite which, he kept trying all his life—first as a flour merchant, then as an insurance salesman, and finally as a real estate broker. . . . My mother, Teréz Rosenbaum, came from Ada, a village in the Bácska region of southern Hungary (now Croatia), between the Danube and the Tisza rivers. . . . My mother’s family had several extraordinary members, the most celebrated of whom was her second cousin László Moholy-Nagy, the painter, photographer, and cofounder of the Bauhaus. . . .
“My mother was still in her midteens when she met and married my father, and only eighteen when my sister, Lilly, was born in 1904; my father was twenty-six. I appeared eight years later, on October 21, 1912. My birthplace was an apartment in Vérmezö Street in Buda. (Buda, on the west bank of the Danube, and Pest, on the east bank, were separate cities until 1872.) I didn’t live there for long, however. When I was two, World War I broke out; although my father was already thirty-six and considerably overweight, he volunteered to work in a military office in the town of Veszprém, northwest of Lake Balaton, and he took his family with him. . . . My earliest memories date from our years in Veszprém. . . .
“When I was six—the year we returned to Budapest from Veszprém, and the year I started school—my mother, who was very musical, noticed that I sang well and clearly, and she decided that I had a good ear . . . my mother devoted all her time and energy to my musical development and made up her mind that I would take lessons. . . .
“I was about eight years old at the time [when] Lilly, my sister, who was sixteen, had begun to study singing, and my parents thought they might save a little money if I could accompany her; I think this was a major issue for them. (Lilly eventually had a minor career as a singer. Like our father, she had a nice voice but was not very musical, and after two years of singing in provincial Germany theaters, she buried her operatic ambitions and got married.) On the other hand, my mother truly believed that I had the makings of a musician. She even resisted the advice of one of her brothers to make me learn an ‘real’ profession, rather than music. In the vast majority of cases, his advice would have been correct. Only a tiny percentage of the children who take music lessons have the talent, ambition, and stamina to work ceaselessly, the toughness to survive the bad patches, and the sheer luck to succeed in a musical career. But I undoubtedly owe my life in music to my mother. . . .
“On August 15, 1939, at the age of twenty-six, I said good-bye to my mother and sister, picked up a little suitcase containing a pair of shoes, some clean shirts and underpants, and my Harris tweed suit from London, and with my father took a tram to Budapest’s Western Railroad Station. My father was the mildest, sweetest man imaginable. He had never scolded me or denied me anything. I was the light of his life, and he cared more about me than about anything else in the world, just as I now feel about my own daughters. I loved him, too, but was not as devoted to him as he was to me. . . .
“When we got to the station, we stood on the platform, chatting, as the train arrived. Just as I was about to climb aboard, my father began to cry. I was very embarrassed. ‘Why are you crying?’ I asked him. ‘Look, can’t you see I’m only taking this one little suitcase? I’m coming back in ten days’ time!’ But it was as if he knew with certainty we would be parted forever.
“The sight of his tears and the harsh tone of my voice have haunted me ever since. I have never forgiven myself for my abruptness. I was never to see him again.”
Text excerpted from Memoirs by Sir Georg Solti.
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In 1990, Sir Georg Solti and Dudley Moore collaborated with Channel 4 to present an educational documentary series of programs entitled Orchestra! The programs were later released on video by London Records; an audio recording of excerpts—including works by Bach, Beethoven, Berlioz, Brahms, Corelli, Haydn, Mozart, Ravel, Schubert, R. Strauss, Stravinsky, and Wagner, among others—also was released.
According to Jan Younghusband’s liner notes, “The series introduces the music and instruments of the orchestra by tracing its history through a selection of works by the great composers, from Bach in the early eighteenth century to Lutosławski in present times, and shows how instrumental music-making grew from a small group of players huddled round a keyboard instrument into the modern symphony orchestra of over a hundred musicians.
“Sir Georg Solti, probably the greatest living Maestro, and Dudley Moore, a star of worldwide appeal, were invited to take part in the series, as both combine great humor with a serious classical music background and virtuoso musicianship. Young musicians were drawn from all over the world to form the Schleswig-Holstein Festival Orchestra.”
Solti also added to the note: “It has always been my wish, my dream, to show people that good music is not difficult to understand, and to share with them this great marvel of human civilization, orchestral music. If anything can bring peace to this world it is music, and nothing is more beautiful than a good piece of music. All my life I have loved to make music with young people. I decided to work with a group of young musicians from all over the world, who come together for the Schleswig-Holstein Music Festival in Germany, and seeing these young people making music together warms my heart.”
Selections from the first episode of the series—entitled “Introduction to Orchestra!”—can be viewed below:
The attached YouTube videos are not the property of the Chicago Symphony Orchestra Association. We just thought they were interesting.
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According to Sir Georg Solti’s entry at the Internet Movie Database, his recordings have been included on numerous movie soundtracks.
Specifically for the soundtrack for the 1994 film Immortal Beloved, he conducted a number of works by Beethoven with the London Symphony Orchestra.
Several works by Tchaikovsky were included in the 1997 film Anna Karenina. Excerpts from Mozart’s Requiem were included in 1993’s The Heartbreak Kid, and selections from Bach’s Saint Matthew Passion were included in 1995’s Casino and 2005’s Domino.
Excerpts from Solti’s opera recordings have been used on many movie soundtracks. 1996’s Thieves and 2010’s Eat Pray Love featured music from Mozart’s Die Zauberflöte, and 2004’s Closer included music from Così fan tutte. Arias from Verdi’s Rigoletto were heard in 1987’s Aria and 1999’s Analyze This. And an excerpt from Strauss’s Salome was included in 1987’s Mascara.
Selections from Wagner operas have been frequently used, including: the opening to Das Rheingold (1979’s Nosferatu the Vampyre), the prelude to act 3 of Lohengrin (2000’s Ready to Rumble), and the first act of Die Walküre (2004’s Birth).
Of course, the most frequently used excerpt is the Ride of the Valkyries from the third act of Wagner’s Die Walküre. It has been heard in 1987’s Critical Condition, 1993’s Café au lait, 2001’s Freddy Got Fingered, 2005’s Jarhead, 2007’s Norbit, and perhaps most famously in 1970’s Apocalypse Now.
The scene from Apocalypse Now is viewable below (warning: for mature audiences only).
Movie poster images from the Internet Movie Database. And the attached YouTube video is not the property of the Chicago Symphony Orchestra Association. We just thought it was interesting.