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From 1993 until 2000, recordings by Daniel Barenboim and the Chicago Symphony Orchestra were recorded and released by Teldec, following the acquisition of Erato by Warner Music in 1992. A complete list of Barenboim’s catalog with the CSO on Teldec is below (all recordings were made in Orchestra Hall, unless otherwise noted).

Cover image: Ludwig Mies van der Rohe’s apartment buildings at 860-880 North Lake Shore Drive*

BERIO Continuo
Daniel Barenboim, conductor
Recorded January 9, 1993

BERLIOZ Symphonie fantastique, Op. 14
Daniel Barenboim, conductor
Recorded May 11, 12, and 13, 1995

BERNSTEIN Symphonic Dances from West Side Story
Daniel Barenboim, conductor
Recorded in Medinah Temple May 23, 1997

BOULEZ Notations For Orchestra VII
Daniel Barenboim, conductor
Recorded January 28, 2000

BRAHMS Concerto for Violin in D Major, Op. 77
Maxim Vengerov, violin
Daniel Barenboim, conductor
Recorded October 15, 16, 17, 18, and 21, 1997

BRAHMS Concerto for Violin and Cello in A Minor, Op. 102 (Double)
Itzhak Perlman, violin
Yo-Yo Ma, cello
Daniel Barenboim, conductor
Recorded September 26, 27, and 28, 1996

CARTER Partita
Daniel Barenboim, conductor
Recorded at the Philharmonie in Cologne, Germany on June 1, 1994

DEBUSSY La mer
Daniel Barenboim, conductor
Recorded January 28 and 29, 2000

FALLA Nights in the Gardens of Spain
Daniel Barenboim, piano
Plácido Domingo, conductor
Recorded in Medinah Temple on May 13, 15, 16 and 17, 1997

FALLA The Three-Cornered Hat
Jennifer Larmore, mezzo-soprano
Daniel Barenboim, conductor
Recorded in Medinah Temple on May 22, 23, 24, and 25, 1997

Cover image: an aerial view of Chicago in 1945*

FURTWÄNGLER Symphony No. 2 in E Minor
Daniel Barenboim, conductor
Recorded December 12, 13, 14 and 15, 2001

GERSHWIN Cuban Overture
Daniel Barenboim, conductor
Recorded in Medinah Temple May 23, 1997

HANNIBAL African Portraits
Alhaji “Papa” Bunka Susso, griot
Eye Plus One Drummers (Paul A. Cotton, Mesha’ch Silas, Enoch Williamson; Clifton Robinson, director)
Jevetta Steele, gospel singer
David “Honeyboy” Edwards, vocal
Hannibal Lokumbe Quartet (Hannibal Lokumbe, Ron Burton, Cecil McBee, Cecil Brooks III)
Barton Green, tenor
David van Abbema, baritone
Theodore Jones, baritone
Brian Smith, boy soprano
Morgan State University Choir
Nathan Carter, director
Kennedy-King College Community Chorus
Randall Johnson, director
Doris Ward Workshop Chorale
Lucius Robinson, director
Daniel Barenboim, conductor
Recorded May 4, 5, and 9, 1995

MAHLER Symphony No. 5
Daniel Barenboim, conductor
Recorded at the Philharmonie in Cologne, Germany on June 4 and 5, 1997

NIELSEN Concerto for Violin, Op. 33
Maxim Vengerov, violin
Daniel Barenboim, conductor
Recorded January 8 and 9, 1996

ROUGET DE L’ISLE/Berlioz La Marseillaise
Plácido Domingo, tenor (recorded at the Hochschule für Musik Mozarteum, Salzburg, Austria)
Chicago Symphony Chorus
Duain Wolfe, director
Daniel Barenboim, conductor
Recorded May 15, 1995

SCHOENBERG Five Pieces for Orchestra, Op. 16
Daniel Barenboim, conductor
Recorded October 3 and 7, 1994

SCHOENBERG Transfigured Night, Op. 4
Daniel Barenboim, conductor
Recorded October 3 and 7, 1994

SIBELIUS Concerto for Violin in D Minor, Op. 47
Maxim Vengerov, violin
Daniel Barenboim, conductor
Recorded January 8 and 9, 1996

STRAUSS Concerto for Horn No. 1 in E-flat Major, Op. 11
Dale Clevenger, horn
Recorded October 2 and 5, 1998
Daniel Barenboim, conductor
2001 Grammy Award: Best Instrumental Soloist(s) Performance (with Orchestra)

Cover image: Marina City Building*

STRAUSS Concerto for Oboe and Small Orchestra in D Major
Daniel Barenboim, conductor
Alex Klein, oboe
Recorded October 2, 5, and 6, 1998
2001 Grammy Award: Best Instrumental Soloist(s) Performance (with Orchestra)

STRAUSS Duet-Concertino in F Major
Daniel Barenboim, conductor
Larry Combs, clarinet
David McGill, bassoon
Recorded October 2 and 5, 1998
2001 Grammy Award: Best Instrumental Soloist(s) Performance (with Orchestra)

STRAVINSKY Concerto for Violin in D Major
Daniel Barenboim, conductor
Itzhak Perlman, violin
Recorded September 22, 23, and 24, 1994

STRAVINSKY The Rite of Spring
Daniel Barenboim, conductor
Recorded January 28 and 29, 2000

TAKEMITSU Visions
Daniel Barenboim, conductor
Recorded January 9, 1993

Cover image: Carson, Pirie, Scott and Company Building (now Sullivan Center)*

TCHAIKOVSKY 1812 Overture, Op. 49
Daniel Barenboim, conductor
Recorded October 30, 1995

TCHAIKOVSKY Romeo and Juliet
Daniel Barenboim, conductor
Recorded October 20, 1995

TCHAIKOVSKY Symphony No. 4 in F Minor, Op. 36
Daniel Barenboim, conductor
Recorded January 30, 31, February 1, and 4, 1997

TCHAIKOVSKY Symphony No. 5 in E Minor, Op. 64
Daniel Barenboim, conductor
Recorded October 26, 27, 28, and 30, 1995

Cover image: Old Colony Building*

TCHAIKOVSKY Symphony No. 6 in B Minor, Op. 74 (Pathéthique)
Daniel Barenboim, conductor
Recorded February 5, 6, 7, and 10, 1998

WAGNER Overture to The Flying Dutchman
Daniel Barenboim, conductor
Recorded May 7, 1994

WAGNER Prelude to Act 1 of Lohengrin
Daniel Barenboim, conductor
Recorded May 7, 1994

WAGNER Prelude to Act 3 of Lohengrin
Daniel Barenboim, conductor
Recorded May 7, 1994

WAGNER Prelude to Act 1 of Die Meistersinger von Nürnberg
Daniel Barenboim, conductor
Recorded September 26, 1992

WAGNER Prelude to Act 3 of Die Meistersinger von Nürnberg
Daniel Barenboim, conductor
Recorded January 6 and 8, 1999

WAGNER Prize Song from Die Meistersinger von Nürnberg (arranged for horn)
Daniel Barenboim, conductor
Dale Clevenger, horn
Recorded January 6 and 8, 1999

WAGNER Prelude and Good Friday Spell from Parsifal
Daniel Barenboim, conductor
Recorded January 8 and 13, 1999

WAGNER Overture to Rienzi
Daniel Barenboim, conductor
Recorded January 6 and 13, 1999

WAGNER Siegfried Idyll
Daniel Barenboim, conductor
Recorded January 13, 1999

WAGNER Overture to Tannhäuser
Daniel Barenboim, conductor
Recorded May 7, 1994

WAGNER Prelude to Act 3 of Tannhäuser
Daniel Barenboim, conductor
Recorded January 8, 1999

WAGNER Prelude and Liebestod from Tristan und Isolde
Daniel Barenboim, conductor
Recorded January 16, 1993

*Historic photographs of iconic Chicago buildings were provided to Teldec by David R. Phillips of the Chicago Architectural Photographing Company

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Before and during his tenure as the Chicago Symphony Orchestra’s ninth music director, Daniel Barenboim was firmly committed to introducing new works to Chicago audiences. He also was instrumental in the continued cultivation of the Orchestra’s composer-in-residence program, frequently conducting works by John Corigliano, Shulamit Ran, and Augusta Read Thomas. With the Orchestra, Barenboim led over thirty world and U.S. premieres, and a complete list is below (all performances in Orchestra Hall, unless otherwise noted; an asterisk (*) indicates a work commissioned by the Chicago Symphony Orchestra).

Barenboim and John Corigliano review the score to his Symphony no. 1 in March 1990 (Terry’s photo)

World premieres

March 8, 1990
*Tōru Takemitsu Visions
Daniel Barenboim, conductor

March 15, 1990
*John Corigliano Symphony No. 1
Stephen Hough, piano
John Sharp, cello
Daniel Barenboim, conductor

September 14, 1990 (Edman Memorial Chapel, Wheaton College, Wheaton, Illinois)
*Stephen Kowalsky Last Voyage
Daniel Barenboim, conductor

Barenboim acknowledges Shulamit Ran following the world premiere of her Legends on October 7, 1993 (Jim Steere photo)

April 30, 1991
*Ellen Taaffe Zwilich Concerto for Bass Trombone, Strings, Timpani, and Cymbals
Charles Vernon, bass trombone
Daniel Barenboim, conductor

February 4, 1993
*Melinda Wagner Falling Angels
Daniel Barenboim, conductor

October 7, 1993
*Shulamit Ran Legends for Orchestra
Daniel Barenboim, conductor

Barenboim and the Orchestra acknowledge Elliott Carter following the world premiere of his Partita on February 17, 1994 (Jim Steere photo)

February 17, 1994
*Elliott Carter Partita
Daniel Barenboim, conductor

October 12, 1995
*York Höller Aura
Daniel Barenboim, conductor

January 30, 1997
*Jay Alan Yim Rough Magic
Daniel Barenboim

May 15, 1997
*Aribert Reimann Violin Concerto
Gidon Kremer, violin
Daniel Barenboim, conductor

February 5, 1998
*Sir Harrison Birtwistle Exody
Daniel Barenboim, conductor

February 12, 1998
Max Raimi Elegy
Daniel Barenboim, conductor

Two pages of Pierre Boulez’s manuscript score for Notations VII

January 14, 1999
*Pierre Boulez Notations VII for Orchestra
Daniel Barenboim, conductor

February 11, 1999
Elias Tanenbaum First Bassman for Contrabass and Orchestra
Joseph Guastafeste, bass
Daniel Barenboim, conductor

January 6, 2000
*Augusta Read Thomas Ceremonial
Daniel Barenboim, conductor

September 13, 2001 (Kultur- & Kongresszentrum, Lucerne, Switzerland)
*Hanspeter Kyburz Noesis for Large Orchestra
Daniel Barenboim, conductor

September 27, 2001
*Elliott Carter Cello Concerto
Yo-Yo Ma, cello
Daniel Barenboim, conductor

Texts for the first two sections of Bernard Rands’s apókryphos, as included in the printed score

May 8, 2003
*Bernard Rands apókryphos
Angela Denoke, soprano
Chicago Symphony Chorus
Duain Wolfe, director
Daniel Barenboim, conductor

May 22, 2003
*Melinda Wagner Extremity of Sky (Concerto for Piano and Orchestra)
Emanuel Ax, piano
Daniel Barenboim, conductor

May 29, 2003
Elliott Carter Of Rewaking
Michelle DeYoung, mezzo-soprano
Daniel Barenboim, conductor

October 9, 2003
*Lalo Schifrin Fantasy for Screenplay and Orchestra
Daniel Barenboim, conductor

May 19, 2005
*George Benjamin Dance Figures (Nine choreographic scenes for orchestra)
Daniel Barenboim, conductor

Title page detail for Augusta Read Thomas’s score for Astral Canticle

October 6, 2005
*Elliott Carter Soundings
Daniel Barenboim, piano and conductor

February 16, 2006
*Isabel Mundry Nocturno
Daniel Barenboim, conductor

June 1, 2006
*Augusta Read Thomas Astral Canticle
Mathieu Dufour, flute
Robert Chen, violin
Daniel Barenboim, conductor

United States premieres

November 7, 1985
Siefgried Wagner Sehnsucht
Daniel Barenboim, conductor

May 9, 1991
Pierre Boulez Four movements from Le visage nuptial
(I. Conduite; II. Gravité. L’emmuré; IV. Evadné; and V. Post-scriptum)
Phyllis Bryn-Julson, soprano
Lucy Shelton, soprano
Women of the Chicago Symphony Chorus
Margaret Hillis, director
Daniel Barenboim, conductor

In 1995, Teldec released recordings of three CSO world premieres, all conducted by Barenboim: Carter’s Partita, Berio’s Continuo, and Takemitsu’s Visions.

May 16, 1991
Edison Denisov Symphonie pour grande orchestra
Daniel Barenboim, conductor

January 7, 1993
*Luciano Berio Continuo
Daniel Barenboim, conductor

October 1, 1998
Rodion Shchedrin Concerto cantabile
Maxim Vengerov, violin
Daniel Barenboim, conductor

September 30, 1999
*Wolfgang Rihm Sotto voce
Daniel Barenboim, piano and conductor

Barenboim with Augusta Read Thomas during a rehearsal for the world premiere of her Aurora—co-commissioned by the Chicago Symphony Orchestra and the Berlin Philharmonic—in Berlin in June 2000

February, 24, 2000
Elliott Carter What Next?
Simone Nold, soprano
Lynne Dawson, soprano
Hilary Summers, contralto
William Joyner, tenor
Hanno Müller-Brachmann, bass-baritone
Michael John Devine, boy soprano
Daniel Barenboim, conductor

September 21, 2000
*Augusta Read Thomas Aurora
Elizabeth Norman, soprano
Daniel Barenboim, piano and conductor

October 4, 2001
*Isabel Mundry Panorama ciego
Daniel Barenboim, piano and conductor

December 13, 2001
Wilhelm Furtwängler Symphony No. 2 in E Minor
Daniel Barenboim, conductor

Orchestra Hall, January 19, 1958

On January 19, 1958, fifteen-year-old Daniel Barenboim made his piano recital debut at Orchestra Hall, with the following program:

BACH/Liszt Prelude and Fugue in A Minor, BWV 543
BEETHOVEN Sonata No. 23 in F Minor, Op. 57 (Appassionata)
BRAHMS Sonata No. 1 in C Major, Op. 1
BEN-HAIM Intermezzo and Toccata, Op. 34

The next day in the American, Roger Dettmer wrote, “Only very occasionally some youngster will happen along who seems to have been born adult . . . The prodigy turned out yesterday afternoon to be Daniel Barenboim, born fifteen years ago in Argentina. The talent is huge, the technique already formidable and he applied both to a virtuoso program [with] secure musical training and uncommon sensitivity of touch.”

He returned in November of that year and again every couple of years after that for more solo piano recitals, including—over the course of a month between February 26 and March 27, 1986—a series of eight concerts, traversing Beethoven’s complete cycle of piano sonatas.

After becoming the Chicago Symphony Orchestra’s ninth music director in September 1991, Barenboim made regular appearances as piano recitalist and chamber musician, collaborating with an extraordinary roster of instrumentalists and singers. He performed a dizzying array of repertoire, including Albéniz’s Iberia; Bach’s Goldberg Variations; Bartók’s Sonata for Two Pianos and Percussion; Beethoven’s Diabelli Variations; Berg’s Chamber Concerto for Piano, Violin, and Thirteen Wind Instruments (with Pierre Boulez conducting); Brahms’s cello sonatas; Mahler’s Des Knaben Wunderhorn, Songs of a Wayfarer, and Rückert Lieder; Messiaen’s Quartet for the End of Time; Mozart’s complete violin sonatas; Schubert’s Winterreise; Schumann’s Frauenliebe und -leben; Wagner’s Siegfried Idyll and Wesendonk Lieder; and Wolf’s Italian Songbook; along with other piano works by Chopin, Debussy, Liszt, Schoenberg, and Schubert, among others.

Barenboim’s collaborators included instrumentalists Héctor Console, Lang Lang, Radu Lupu, Yo-Yo Ma, Rodolfo Mederos, Itzhak Perlman, András Schiff, Deborah Sobol, Maxim Vengerov, and Pinchas Zukerman, along with singers Kathleen BattleCecilia Bartoli, Angela Denoke, Plácido Domingo, Thomas Hampson, Robert Holl, Waltraud Meier, Thomas Quasthoff, Peter Schreier, and Bo Skovhus. He also invited countless members of the Orchestra to join him, including Stephen Balderston, Li-Kuo Chang, Robert Chen, Dale Clevenger, Larry Combs, Louise Dixon, Edward Druzinsky, Jay Friedman, Rubén González, Richard Graef, Joseph Guastafeste, John Hagstrom, Adolph Herseth, Richard Hirschl, Alex Klein, Donald Koss, Burl Lane, Samuel Magad, David McGill, Michael Mulcahy, Lawrence Neuman, Bradley Opland, Nancy Park, Donald Peck, Gene Pokorny, Mark Ridenour, James Ross, Norman Schweikert, John Sharp, Gregory Smith, Charles Vernon, Gail Williams, and members of the Chicago Symphony Chorus (prepared by Duain Wolfe), among many others.

June 4 and 11, 2006

During the final residency of his tenure as music director, Barenboim presented Bach’s The Well-Tempered Clavier in two piano recitals: the first book on June 4, 2006; and the second book a week later, on June 11.

Reviewing the June 4 concert, John von Rhein in the Chicago Tribune wrote that Barenboim, “brought the full color resources of a modern concert grand to bear on Bach’s pristinely ordered sound-world . . . Bach never intended for musicians to perform all the preludes and fugues in one gulp, but when they are executed at so exalted a level of thought, feeling, and spirituality, who’s to say they shouldn’t?”

Following the second installment, Wynne Delacoma in the Chicago Sun-Times added, “One of Barenboim’s gifts as a pianist is his ability to etch clear, long-lined, richly colored phrases with seemingly no effort [and in Bach’s music] we heard the foundation on which the rest of his music-making has been built. . . . The applause that brought Barenboim back for extra bows was fervent and heartfelt. Barenboim’s annual piano recitals have been high points of Chicago’s musical life for the past fifteen years. They are appreciated and will be deeply missed.”

The Chicago Symphony Orchestra Association offers a variety of internships in all departments, and we are always lucky to engage young, smart, and eager individuals—current students and recent graduates—from all disciplines. Working here can provide an in-depth look at not only the Orchestra’s rich history but also insight into the day-to-day operations of a performing arts organization. We recently reached out to former Rosenthal Archives interns to see what they have been up to . . .

Stephen Abitbol

A digital cinema graduate from DePaul University, Stephen Abitbol processed audio and video recording collections in the archives. “It was incredible to see how much dedication, love, and patience it takes from each musician to work as a whole to create a unique sound. It helped me understand how important it is to work as a team in my personal and professional relationships to grow together.” Stephen currently lives in Haifa, Israel, working as a digital marketer in a variety of startups. This fall, he is a full-time student there in language school to learn Hebrew.

Kathryn Antonelli

After her recent tenure in the archives, Kathryn Antonelli completed internships at Princeton University and the University of Hawaii, working with born-digital and moving-image collections. “Working at the CSO was what opened the doors to these amazing new experiences, and I am so glad I had the opportunity to spend a season there.” She will soon graduate from the University of South Carolina with her master of library and information science degree (MLIS) and plans to reside and work in Philadelphia.

Sierra Campbell

Sierra Campbell completed degrees in fine arts from Harold Washington College and English literature from the University of Illinois at Chicago before earning an MLIS degree at the University of Illinois at Urbana-Champaign. “Working at the CSO impacted both my personal and professional paths, as I was able to meet the friendly employees and volunteers. They were all so gracious and willing to help out in any way, and no act of recognition was too small to have been noticed.” Sierra currently works at Fox College, managing libraries on two campuses.

Kerry Fulara

Kerry Fulara earned a bachelor’s degree in history from Michigan State University and an MLIS (with a specialization in archives, preservation, and records management) degree from the University of Pittsburgh. Following her internship, she worked with Rush Hour Concerts and formally established its archives. “My time at the CSO taught me the importance and benefits of networking, connecting with people, and building relationships.” Kerry later worked as a records manager and now as a real estate analyst with Invenergy. Continuing her archival work, she currently volunteers with the Richard H. Driehaus Museum, developing its restoration archive.

John Garvens (Sarah Pemberton photo)

Since working in the archives, John Garvens has transitioned from music to retail to fitness to software to advertising to consulting while serving in the U.S. Army Reserve as a trombone player from 2004 until 2016. He especially remembers two visitors to the archives, Yo-Yo Ma and Pierre Boulez. “Both men were musical heroes of mine; it was an honor to meet them. It also was really cool to archive the media from Riccardo Muti’s earliest years with the CSO.” John earned a bachelor of music degree in trombone performance from Illinois State University.

Matthew Greenman (reverb.com photo)

Matthew Greenman completed a bachelor of music degree in performing arts management from DePaul University in 2016 before his CSO internships in the archives and the marketing department. “My time in the archives greatly enhanced my organizational skills, formed my fascination of and appreciation for the orchestra, and rekindled my love of live music.” Matthew later worked as a listings coordinator at reverb.com in Lakeview, and he is preparing to take the exam to join the New York City Fire Department.

Andrew Lyon (E. Lyon photo)

After earning his bachelor’s degree in saxophone performance from Illinois State University, Andrew Lyon joined the staff, processing and cataloguing the Margaret Hillis score collection. He later completed a master’s degree in orchestral conducting from Butler University and has since returned to the archives on numerous occasions to utilize the score and audio collections. In the archives, “once you’re a part of it, you’re a part for life. You have your own page in the CSO history books.” Andrew currently is artistic and music director of The 65th Street Klezmorim and on faculty at Ivy Tech Community College.

Elliot Mandel (Dawn Mueller photo)

Before working for the American Library Association and Rush Hour Concerts, as well as writing classical concert reviews for local websites, Elliot Mandel graduated with a bachelor’s degree in English and creative writing from Bradley University. “I loved my time in the archives, getting to know the rich history of the orchestra that I have enjoyed seeing perform since I was a kid.” He has since started his own photography business, where his clients include the Chicago Children’s Choir, Chicago Philharmonic, Chicago Youth Symphony Orchestra, Chicago Symphony Orchestra, Eighth Blackbird, Kurt Elling, Spektral Quartet, and the Collaborative Arts Institute of Chicago.

Brian Maloney

“Working in the archives taught me an appreciation and understanding for how people can work together to create one cohesive production for all to enjoy and always instilled in me a deep sense of awe and respect for the CSO’s rich historical tapestry,” remembers Brian Maloney, who earned a bachelor’s degree in music education from Saint Xavier University. He currently holds multiple band director and instructor jobs in the Chicago suburbs, with School District 95, Divine Providence School, Soli Deo Gloria Brass Band, and Evergreen Park Community High School.

Shridar Mani

Shridar Mani completed a bachelor’s degree in music (with honors) from the University of Chicago while an intern in the archives, where one of his projects was processing and cataloguing a collection of manuscripts by Chicago composer William Lester (see here and here). After graduation, he returned home to Singapore where he has worked for the past several years as a programming officer at the Esplanade–Theatres on the Bay, producing a wide variety of concerts in all genres. “Working at the CSO helped me realize that working in the arts was a calling, and it has led to my career for the past six years and many more to come.”

Charles Russell Roberts (Mike Grittani photo)

With degrees from the University of Florida and the Eastman School of Music, Charles Russell Roberts currently is finishing a master’s degree in performing arts administration at Roosevelt University. “The archives internship was my first foray into working at a cultural institution in a capacity beyond the stage, and it gave me a deep understanding and respect for the integrity and preservation of not only physical archives but also the importance of records and data in understanding how an organization changes over time.” Charles—also an alumnus of the Civic Orchestra of Chicago—currently balances a full-time job as a project manager with Grenzebach Glier and Associates with performances with the Gaudete Brass Quintet.

Andrew Song

Before completing a bachelor of arts degree in biological sciences from the University of Chicago, Andrew Song worked at the CSO as an archives intern and patron services associate. “I gained strong insight into how a large organization can foster meaningful long-term relationships with its patrons as well as nurture its community through education and outreach . . . I also realized, for the first time, the greater institutional sense of community oriented self-efficacy: a pride that I was part of a great organization that made such fantastic concerts possible for the sake of our audience members.” Andrew currently is a student at Harvard Medical School.

Gregory Starr

“Working with the archives really strengthened my attention to detail,” remembers Gregory Starr, whose internship helped fulfill a class requirement for his bachelor’s degree in music business from Western Illinois University. Once after assisting with an exhibit, he mentioned that he “enjoyed getting to see more of our own collection and getting to show it off to others.” He continued to volunteer with the CSO as he worked toward a degree in digital forensics and network security at Elgin Community College, and he recently took a position as a technology support specialist—concentrating on networking troubleshooting and architecture—at The Packaging Wholesalers.

Jack Vishneski

Jack Vishneski studied history (with minors in ethnomusicology and music) at Beloit College and was working as a freelance audio engineer and singer when he began his internship in the archives, where he learned about “the value of cultivating institutional memory, especially as a key component of the storytelling needed to (at minimum) survive and (one hopes) thrive in the non-profit arts sector.” Jack completed a master’s degree in musicology from the University of Minnesota, and he and his wife are expecting their first child in November.

Joe White

Following his internship in the archives, Joe White earned a master’s degree in composition from the Conservatory of Music at Brooklyn College and has been active in the New York music and theater scene ever since. “Working at CSO right after undergrad was very affirming on many levels, as it provided confirmation that I wanted to seek out, and participate in, artistic communities. I learned that there was a place for me professionally and personally in my post-academic life.” His most recent work is the score to Alex Borinsky’s Clubbed Thumb play Of Government.

Cassandra Wilson

Cassandra Wilson completed her MLIS from Dominican University before starting her internship in the archives. “The CSO was the most amazing place to intern because I could marry my love of music with history and archives. It is also very hard to describe what it feels like to be going about your day with the life mask of Beethoven sitting on your work surface and watching over your every move!” Now residing in Houston, she freelances as a webmaster and researcher, and she currently is assisting a new company with planning and implementing its corporate archives. Cassandra also is personal assistant to her sister—opera singer and recent Richard Tucker Music Foundation award recipient—Tamara Wilson.

Wishing the happiest of birthdays to conductor Herbert Blomstedt, celebrating his ninetieth today!

Over the past thirty years, Maestro Blomstedt has appeared with the Chicago Symphony Orchestra on several occasions:

January 7, 9, 9, and 12, 1988
MOZART Piano Concerto No. 25 in C Major, K. 503
Ivan Moravec, piano
BRUCKNER Symphony No. 6 in A Major

February 22, 23, 24, and 27, 1990
HADYN Symphony No. 86 in D Major
LADERMAN Cello Concerto (world premiere)
Yo-Yo Ma, cello
DVORÁK Symphony No. 7 in D Minor, Op. 70

January 24, 25, 26, and 29, 1991
SIBELIUS The Swan of Tuonela from Four Legends of the Kalevala, Op. 22
Grover Schiltz, english horn
SIBELIUS Violin Concerto in D Minor, Op. 47
Rubén González, violin
NIELSEN Symphony No. 3, Op. 27 (Sinfonia espansiva)
Jane Green, soprano
William Diana, baritone

Herbert Blomstedt (Martin Lengemann photo)

March 5, 6, 7, and 11, 1998
MENDELSSOHN The Hebrides Overture, Op. 26
DUTILLEUX Tout un monde lointain . . .
Lynn Harrell, cello
DVORÁK Symphony No. 8 in G Major, Op. 88

June 21, 22, 23, and 24, 2007
BEETHOVEN Symphony No. 9 in D Minor, Op. 125
Annalena Persson, soprano
Ingeborg Danz, contralto
Robert Künzli, tenor
Matthias Goerne, baritone
Chicago Symphony Chorus
Duain Wolfe, chorus director

Blomstedt’s colleagues at the Berlin Philharmonic have just posted this delightful tribute (added on July 14, 2017):

Happy, happy birthday!

Herbert Blomstedt appears with the Chicago Symphony Orchestra on March 1, 2, and 3, 2018, leading Mozart’s Symphony no. 39 and Beethoven’s Symphony no. 3.

john-williams

Wishing a very happy eighty-fifth birthday to the incomparable John Williams! Composer, conductor, winner of five Academy Awards (and fifty nominations) and twenty-two Grammy awards, he has given us several of the most popular movie soundtracks in the history of cinema.

When Williams became the first composer to be awarded the American Film Institute‘s lifetime achievement award in 2016, his longtime collaborator Steven Spielberg said, “Without John Williams, bikes don’t really fly, nor do brooms in Quidditch matches, nor do men in red capes. There is no Force, dinosaurs do not walk the Earth, we do not wonder, we do not weep, we do not believe.”

Erich Kunzel first led the Chicago Symphony Orchestra in Williams’s music—selections from Star Wars: Episode IV–A New Hope—at the Ravinia Festival on August 13, 1978. Williams himself first guest conducted the Orchestra at Ravinia on July 31, 1994, and at Orchestra Hall on November 28, 29, and December 2, 2003. During that first downtown residency on November 29, he led the Orchestra in the world premiere of his Concerto for Horn and Orchestra, dedicated to then–Principal Horn Dale Clevenger. The work was commissioned by the Edward F. Schmidt Family Commissioning Fund for the Chicago Symphony Orchestra.

Under the baton of the composer, the Orchestra recorded a suite from Memoirs of a Geisha in August 2008, with Yo-Yo Ma as soloist. In May 2012, Williams led the Orchestra and the Chicago Symphony Chorus in sessions for the soundtrack for Lincoln, later nominated for both Grammy and Academy awards.

John Williams will return again to lead the Chicago Symphony Orchestra in April 2018 (details will soon be available here, here, and here).

Happy, happy birthday!

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Inaugurating its new thousand-watt transmitter, WMAQ used seven microphones in picking up the first Chicago Symphony Orchestra radio broadcast on December 10, 1925. Frederick Stock conducted at Orchestra Hall, and, seated in the organ loft with a clear view of the Orchestra, assistant conductor Eric DeLamarter operated the radio-control unit used to regulate the microphones (switching in and out, but not controlling volume) in order to produce the best possible balance.

Chicago Daily News, December 9, 1925

Chicago Daily News, December 9, 1925

The concert, a potpourri of popular favorites, included Mendelssohn’s Overture to A Midsummer Night’s Dream, Theodore Thomas’s arrangement of “Träume” from Wagner’s Wesendonck Lieder, Massenet’s Meditation from Thaïs with concertmaster Jacques Gordon, Saint-Saëns’s The Swan from The Carnival of the Animals with principal cello Alfred Wallenstein, and Tchaikovsky’s Capriccio italien. Interspersed throughout the program, contralto Sophie Braslau, accompanied by pianist Louise Linder, performed several songs (including Schubert’s “Der Erlkönig”) from WMAQ’s studio on the eighteenth floor of the LaSalle Hotel.*

Elmer Douglass in the Chicago Tribune called the broadcast “a marvelous success. When the Orchestra broke in with the soft opening tones of Halvorsen’s March of the Boyards, it was realized that all was well. It was phenomenally clear and pure, and, best of all, the true, pure, characteristic tones as though they were heard from a choice seat in Orchestra Hall itself. We could all but see the separate instruments.”

“An artistic and mechanical triumph,” reported the Chicago Daily News (which then also owned WMAQ). “The applause of the radio audience in the form of telephone calls, telegrams, letters, and postal cards is sweeping like an avalanche.”

Subsequent radio broadcasts were carried over a variety of stations, the longest syndication on WFMT from 1976 through 2001. The Chicago Symphony Orchestra returned to the airwaves in April 2007, syndicated throughout the U.S. by WFMT, featuring performances recorded live as well as recordings from its extensive discography. The first program included Miguel Harth-Bedoya leading Rossini’s Overture to The Italian Girl in Algiers, Yanov-Yanovsky’s Night Music: Voice in the Leaves, Chen and He’s The Butterfly Lovers with erhu soloist Betty Xiang, and Dvořák’s Cello Concerto with Yo-Yo Ma.

* The LaSalle Hotel, located on the northwest corner of LaSalle Street and Madison Street, was completed in 1909 and demolished in 1976. The lot currently is the home of Two North LaSalle Street, completed in 1979.

This article also appears here.

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Yo-Yo Ma in August 2010 (Todd Rosenberg photo)

Yo-Yo Ma in August 2010 (Todd Rosenberg photo)

On December 14, 2009, cellist Yo-Yo Ma was appointed the Chicago Symphony’s first Judson and Joyce Green Creative Consultant, “to deepen the Orchestra’s engagement with the Chicago community and to nurture the legacy of the CSO while supporting a new generation of musicians.”

One of Ma’s most important projects—launched in January 2011, during Riccardo Muti’s first season as music director—was the Citizen Musician initiative, encouraging people of all ages, interests, skill levels, and backgrounds to generously use and promote the power of music to make meaningful contributions to their communities. Over the course of the initiative and with Ma’s leadership, Citizen Musician activities engaged tens of thousands of people in schools, hospitals, churches, youth detention centers and prisons, universities, and conservatories in Chicago and around the world.

December 13, 14, and 15, 1979

December 13, 14, and 15, 1979

In collaboration with the staff of the Association’s Negaunee Music Institute, Ma also has worked extensively with the musicians of the Civic Orchestra, developing a variety of artistic challenges, including residencies at Chicago Public Schools, in-depth explorations of core orchestral repertoire (including Beethoven’s Sixth Symphony, Strauss’s Don Quixote, and Tchaikovsky’s symphonies), and performances of Bach’s Brandenburg Concertos in community venues across the city. He has been an advocate for the value of arts education in the lives of students, and his involvement, on behalf of the Chicago Symphony Orchestra, was influential in the swift development of the district’s first Arts Education Plan, approved by the Chicago Board of Education in October 2012.

Yo-Yo Ma made his debut with the Orchestra on December 13, 1979, at Orchestra Hall in Kabelevsky’s Cello Concerto with Leonard Slatkin conducting; he first appeared at the Ravinia Festival on July 1, 1982, in Haydn’s Cello Concerto in D major with Charles Dutoit conducting. With the Orchestra, he has recorded Bloch’s Schelomo, Brahms’s Double Concerto (twice), and Williams’s Suite from Memoirs of a Geisha. Ma has been one of Orchestra Hall’s most frequent guest artists, performing not only as a soloist with the Orchestra but also as a chamber musician in a wide variety of ensembles.

This article also appears here.

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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Stern bio

Nineteen-year-old Isaac Stern first appeared with the Chicago Symphony Orchestra on January 11 and 12, 1940. Frederick Stock conducted an all-Sibelius program, and Stern was soloist in the Violin Concerto.

According to the Chicago Daily News, “Dr. Frederick Stock had been invited to conduct the Sibelius concert with the Helsingfors Orchestra [arranged when Stock visited Sibelius in Finland the previous summer] as a special feature of the Olympic Games.* But Finland has had to abandon peacetime pursuits and now Isaac can thank the Russian regime for both his American citizenship and the chance to play the Sibelius D minor concerto with one of the world’s great orchestras.”

“True to the topsy-turvy condition of the world we live in, while the Finns are playing havoc with the Russians, at home a Russian-born violinist, young Isaac Stern, was the sensation of Mr. Stock’s memorable Sibelius concert at Orchestra Hall last night,” wrote Claudia Cassidy in the Journal of Commerce. “[Stern] has a commanding and comprehensive technique, a bold and beautiful tone never blatant and he has an urgent intensity of projection that seems to start in his firmly planted heels and flow like fire into the hands that make his music. . . . Stock’s accompaniment was brilliant in the perceptive richness that makes so many soloists prefer him to any other conductor.”

Isaac Stern and music director designate Daniel Barenboim after the Centennial Gala concert on October 6, 1990

Isaac Stern and music director designate Daniel Barenboim after the Centennial Gala concert on October 6, 1990 (Jim Steere photo)

Over the course of the next fifty-two years, Stern was one of the Orchestra’s most frequent guests at Orchestra Hall, the Ravinia Festival, and at the Pabst Theater in Milwaukee, performing under six music directors (Stock, Rafael Kubelík, Fritz Reiner, Jean Martinon, Sir Georg Solti, and Daniel Barenboim) and a variety of guest conductors, including Fritz Busch, Andrew Davis, Carlo Maria Giulini, Otto Klemperer, Josef Krips, Pierre Monteux, Eugene Ormandy, Seiji Ozawa, and Leonard Slatkin. In 1986, Stern and Yo-Yo Ma recorded Brahms’s Concerto for Violin and Cello with Claudio Abbado for CBS.

*On July 16, 1938, a year after the outbreak of the Second Sino-Japanese War, it was announced that the 1940 Summer Olympics would not be held in Tokyo, as originally scheduled. The International Olympic Committee then awarded the games to Helsinki, the runner-up city in the original bidding process. However, following the outbreak of World War II on September 1, 1939, the Olympic Games were indefinitely suspended and did not resume until 1948.

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