X hits on this document

39 views

0 shares

0 downloads

0 comments

4 / 20

J. Office of Jean Martinon; 1962-1969 (4 linear feet in 10 boxes)

Jean Martinon, music director from 1963 until 1968, maintained his own office at Orchestra Hall, and this series consists of his personal correspondence and season planning files. As a composer, Martinon was very interested in the promotion and performance of new music. During his tenure, he led the CSO in performances of a number of world and American premieres, including compositions by Marius Constant, George Perle, Oedoen Partos, Hans Werner Henze, Donald Martino, Ulysses Kay, Easley Blackwood, and Roger Sessions. Martinon also premiered several of his own works, including Symphony no. 4 (Altitudes), commissioned for the 75th anniversary of the Orchestra. His files contain extensive correspondence with composers, as well as his personal comments and evaluations of various compositions. Extensive correspondence with conductors and guest artists is also included. A related collection is held at the Northwestern University Music Library, consisting of Martinon's compositions.

K. Office of Sir Georg Solti; 1969-1990 (5 boxes) This series contains correspondence, subject and planning files, and some personal memorabilia from the offices of Sir Georg Solti. The bulk of the collection dates from 1969 through 1978, and documents Solti's first decade as CSO music director. Correspondence includes letters to and from a number of noted conductors, artists, and composers including Claudio Abbado, Daniel Barenboim, Leonard Bernstein, Pierre Boulez, Elliott Carter, Carlo Maria Giulini, Morton Gould, Hans Werner Henze, Karel Husa, Igor Stravinsky, Alan Stout, and Michael Tippett. Solti's activities with other organizations—including the BBC, London Philharmonic, London/Decca Records, and the Royal Opera House—also are documented in this series.

Audio/Video Collections

Audio Recordings

Frederick Stock and the Orchestra recorded Mendelssohn's Wedding March from the Incidental Music to A Midsummer Night's Dream on May 1, 1916. The Columbia Graphophone Company r e l e a s e d t h e r e c o r d i n g i n O c t o b e r 1 9 1 6 . S i n c e t h e n , t h e O r c h e s t r a h a s a m a s s e d a d i s c o g r a p h y numbering over 900 works, and recordings by the Orchestra have earned fifty-eight Grammy Awards from the National Academy of Recording Arts and Sciences. A complete collection of commercial recordings is maintained in the Rosenthal Archives as well as a comprehensive discography. ®

Though the Orchestra's concert performances have been broadcast regularly since 1925, early concerts were aired live and were usually not recorded to disc, except by local enthusiasts with access to professional equipment. Many of these unique "off-the-air" recordings have been recovered and added to the collection. Additionally, the Archives is the repository for all radio broadcast master tapes recorded by the WFMT Fine Arts Network, encompassing nearly every subscription concert performed between 1965 and 1968 and from 1976 to 2001, numbering altogether over 1,000 programs. The broadcasts capture live performances, are mostly unedited, and contain many modern works not commercially recorded. The series of compact discs, From the Archives, produced every year for the Orchestra's Symphonython is assembled almost exclusively from this unique collection.

4

Document info
Document views39
Page views39
Page last viewedSun Dec 04 22:49:43 UTC 2016
Pages20
Paragraphs221
Words8733

Comments