Born in 1943, the English conductor John Eliot Gardiner initially devoted himself to the historical performance practice of the music of the 17th and 18th centuries. In 1990 he founded the Orchestre Révolutionnaire et Romantique, which specializes in music of the classical and romantic eras and always has exciting surprises in store for its audience. Gardiner numbers among the most renowned opera and concert conductors of the late 20th century.
Schubert, String Quartet No.14 in D minor, D.810 (Der Tod und das Mädchen)
Schubert, Symphony No.9 in C major, D. 944
This concert featuring the Bavarian Radio Symphony Orchestra under Leonard Bernstein was recorded live in June 1987 in the Congress Hall of the Deutsches Museum in Munich.
Schubert, Impromptu op.90 No.4, D.899
Schubert, Impromptu op.90 No.3, D.899
Schubert, Impromptu op.90 No.2, D.899
Schubert, Impromptu op.90 No.1, D.899
Schubert, Schwanengesang (Swan Song), D.957. Lieder Cycle based on poems by J.G. Seidl, H. Heine and L. Rellstab
The internationally acclaimed baritone Hermann Prey was born in Berlin in 1929. He made his breakthrough in 1956 as Figaro in the Vienna State Opera’s production of Rossini’s “Barber of Seville”. He has since performed at all of the world’s great opera houses and festivals. Hermann Prey has always loved lieder, especially the works of Franz Schubert. This inspired him to found the Schubertiade, a festival in Hohenems, Austria, entirely devoted to this composer’s works. He also established the New York Schubertiade in 1988. Hermann Prey and his accompanist Leonard Hokanson plumb the lyrical depths and heights of Schubert’s “Schwangengesang” with unequalled mastery.
Schubert, Symphony No.8 in B minor “Unfinished”, D. 759
Sir Georg Solti (1912-1997), one of the greatest conductors of the 20th century, was a testament to the elegance and impeccable tastefulness of Central European music-making. Born in Budapest in 1912, he studied with Béla Bartók, Ernö von Dohnányi, Zoltán Kodály and Leo Weiner. In 1937, Toscanini chose him to be his assistant at the Salzburg Festival. After the war, Solti was appointed Music Director of the Bavarian State Opera. Further stations in his career were the Frankfurt Opera, the Royal Opera House Covent Garden and the London Philharmonic. His remarkable partnership with the Chicago Symphony began in 1954; he was named Music Director in 1969 and held this post for a phenomenal 22 years. He is credited with greatly extending and enhancing the orchestra’s worldwide reputation. Solti died in September 1997, just before his 85th birthday. Schubert began working on his Symphony No. 8 in October 1822, and finished the first two movements as well as the first measures of the Scherzo. But then he laid the work aside. It will never be known why he did not continue…¿Even as a torso, this mighty work continues to fascinate musicians and audiences alike with its stately, almost mysterious grandeur, romantic appeal and typically Viennese charm.
Schubert, Symphony No.6 in C major, D.589
Sir Georg Solti (1912-1997), one of the greatest conductors of the 20th century, was a testament to the elegance and impeccable tastefulness of Central European music-making. Born in Budapest in 1912, he studied with Béla Bartók, Ernö von Dohnányi, Zoltán Kodály and Leo Weiner. In 1937, Toscanini chose him to be his assistant at the Salzburg Festival. After the war, Solti was appointed Music Director of the Bavarian State Opera. Further stations in his career were the Frankfurt Opera, the Royal Opera House Covent Garden and the London Philharmonic. His remarkable partnership with the Chicago Symphony began in 1954; he was named Music Director in 1969 and held this post for a phenomenal 22 years. He is credited with greatly extending and enhancing the orchestra’s worldwide reputation. Solti died in September 1997, just before his 85th birthday. Schubert wrote this work at the age of 21 for a small orchestra that had grown out of a string quartet that used to get together in Schubert’s apartment. It was not given its first public performance until December 1828, the month after Schubert’s death. Though the Sixth sometimes evokes Beethoven’s First Symphony, it also recalls the spirit of Haydn and even of Rossini, who was then very popular in Vienna.