DGG 2-LPs 2741-010: MAHLER - Symphony No. 3 - Claudio ABBADO - 1982 GERMANY
C$
70
$
51
Dec 10, 2021
Sold Date
Jan 22, 2019
Start Date
1
Number Of Bids
Canada
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Description
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Background -
Claudio Abbado was one of the leading conductors of the late twentieth and early twenty-first centuries. He held a number of prestigious posts, any one of which would be a crowning achievement for a conductor, and his musical presence in both concert and recordings left an undeniable legacy of excellence.His family traced its roots to a prominent Moorish family expelled from Spain in 1492 and is said to include the architect of the Alhambra. His father was Michelangelo Abbado, a violinist and teacher who gave both Claudio and his brother, Marcello Abbado, their first piano and music lessons (Marcello has gone on to become a pianist and composer).
Claudio was educated at the Milan Conservatory, graduating in 1955 with a certificate in piano. While a student there, he also studied conducting with Antonio Votto. In 1955, he studied piano with Friedrich Gulda in Salzburg, and then (from 1956-1958) attended Hans Swarowsky's conducting classes at the Vienna Academy of Music.
In 1958, he made his conducting debut in Trieste, and won the Koussevitzky Competition at Tanglewood. This led to his engagement in several provincial opera houses and orchestras, as well as a teaching position at Parma Conservatory. After winning the 1963 Dimitri Mitropoulos Prize, he was awarded a five-month position on the staff of the New York Philharmonic, with which he made his American professional debut on April 7, 1963. The year 1965 marked his debut with the Vienna Philharmonic at the Salzburg Festival, but more so for his return to his hometown of Milan to conduct at La Scala. He would conduct there again in 1967, become the company's resident director in 1968, and be named music director in 1971.
Abbado was credited with raising the performing standards at La Scala, and for broadening its repertory. He also organized its orchestral players into the Orchestra della Scala, whose performances of works by such composers as Schoenberg, Nono, Ligeti, Stockhausen, and Berio brought Abbado special acclaim as an interpreter of modern works.
In 1971, he was appointed principal conductor of the Vienna Philharmonic. Soon after, he formed a relationship with the London Symphony Orchestra, of which he became principal conductor in 1979, and finally music director, a post he retained until 1988. Other activities during this period included the founding of the European Community Youth Orchestra, the Chamber Orchestra of Europe, and the Gustav Mahler Youth Chamber Orchestra.
For the period 1982-1986, Abbado served as principal guest conductor at the Chicago Symphony Orchestra, after which he was appointed music director of the Vienna State Opera. The Viennese further honored him by appointing him general music director of the city. During his tenure, he founded (1988) the Wien Modern music festival, which has now grown to encompass all forms of contemporary art.
Abbado succeeded Herbert von Karajan as music director of the Berlin Philharmonic in 1989. In 1991, he relinquished his position at the Vienna State Opera, but he has maintained a presence in the city by founding the annual Vienna prize for young composers. In 1994, he succeeded to another post once held by Karajan, namely the directorship of the Salzburg Easter Festival. Following a bout with cancer in 2000, Abbado formed the Lucerne Festival Orchestra in 2003 with the orchestra's artistic and executive director, Michael Haefliger. Though Abbado briefly suspended his activities in 2007, he took up the baton again after a two month absence. In later years, Abbado reduced his workload due to illness, but still found time to conduct concerts and record with his hand-picked Orchestra Mozart, and worked with several youth orchestras across Europe.
Abbado was an exciting conductor who relished the beauty of tone. His extensive discography includes the complete symphonic works of Mahler, Schubert, Ravel, Tchaikovsky, Mendelssohn, and Beethoven, and dozens of other recordings. - Joseph Stevenson
A prominent American soprano, Jessye Norman was the daughter of a schoolteacher and an insurance broker. She started singing spirituals at the age of four at Mount Calvary Baptist Church; one Saturday while doing her chores she heard an opera for the first time, broadcast on the radio. She became an instant opera fan and started listening to recordings of Marian Anderson and Leontyne Price. Nat "King" Cole was also a major inspiration for her.
When she was 16, she started studying at Howard University in Washington, where her voice teacher was Carolyn Grant. She sang in the university chorus and had a job as soloist the Lincoln Temple United Church of Christ. In 1965 she won the National Society of Arts and Letters singing competition. She continued her studies at Peabody Conservatory of Music in Baltimore, and at the University of Michigan in Ann Arbor, where her most important studies were with Elizabeth Mannion and Pierre Bernac.
In 1968 she won the Munich Competition, leading to her operatic debut as Elisabeth in Wagner's Tannhäuser in Berlin. A major European operatic career quickly developed: she appeared as Meyerbeer's L'Africaine at Maggio Musicale in Florence in 1971, Verdi's Aïda at La Scala in Milan in 1972, and as Cassandra in Berlioz's Les Troyens at London's Covent Garden the same year. These roles are all princesses and bespeak a major part of her stage persona, a commanding and noble bearing, partly due to her uncommon height and size. But this is even more a function of her unique, rich, and powerful voice. She has an uncommonly wide range, encompassing all female voice registers from contralto to high dramatic soprano.
As her operatic career developed, she also made important recital debuts, including London and New York in 1973. She made an extensive North American concert debut in 1976 and 1977, but did not appear in opera in the United States until 1982. This was with the Opera Company of Philadelphia, in a double bill as Dido in Purcell's Dido and Aeneas and Queen Jocasta in Stravinsky's Oedipus Rex. Her Metropolitan Opera debut was as Cassandra in 1983, the opening night of the Met's centennial season.
Her interpretation of Strauss's Four Last Songs is legendary. Its slowness is controversial, but the tonal qualities of her voice are ideal for these final works of the great Romantic German lieder tradition. She also sings the Gurrelieder of Arnold Schoenberg, and the same composer's Erwartung. She sang that opera on a memorable double bill at the Met with Bartók's Bluebeard's Castle, which was broadcast nationally. She has also appeared on live broadcasts of season-opening concerts of the New York Philharmonic.
In addition to the direct and emotionally expressive qualities of her singing, her performances also impress through formidable intellectual understanding of the music and its style, as well as first-rate musicianship. She studies the languages of the music she sings, and has been acclaimed in her singing of Mussorgsky songs in the original Russian, in the German Romantic lieder repertoire, and in French music from Berlioz to contemporary composers. - Joseph Stevenson
This stereo recorded 2-LP box set features symphonic music written by Gustav Mahler and recorded/released in 1982 on the DGG record label. Performers include Claudio Abbado conducting the Chicago Symphony. Superb performance throughout! The LPs were made in Germany and have the DGG logo on the record labels. This item is in remarkable condition given it's age (see below for details).
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LPs made by DGG - Deutsche Grammophon Gesellschaft Records, in GERMANY
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LPs released in 1982
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LPs are recorded in STEREO (Digital)
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Record Catalog Number: 2741 010
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Record Labels are primarily yellow with red, blue and silver lettering, with the DGG logo on the labels.
Gustav Mahler // Claudio Abbado // Jessye Norman
Symphony No. 3
Track Listing: A. Kräftig. Entschieden.
B1. Tempo Di Menuetto. Sehr Mässig.
B2. Comodo. Scherzando. Ohne Hast.
C1. Sehr Langsam. Misterioso. Durchaus PPP - Text : Friedrich Nietzsche
C2. Lustig Im Tempo Und Keck Im Ausdruck - Text: Des Knaben Wunderhorn.
D. Langsam. Ruhevoll. Empfunden.
Performers / Credits / Other Information: • Choir – Die Wiener Sängerknaben, Konzertvereinigung Wiener Staatsoperchor
• Composed By – Gustav Mahler
• Conductor – Claudio Abbado
• Edited By – Christopher Alder
• Engineer – Karl-August Naegler
• Horn, Soloist – Adolf Holler
• Orchestra – Wiener Philharmoniker
• Producer, Recording Supervisor – Rainer Brock
• Soprano Vocals – Jessye Norman
• Violin, Soloist – Gerhart Hetzel
contains pamphlet with details of the music and words to Zarathustra's Midnight Song
• Matrix / Runout (side A): 2560 035 S1 4 320 1*5 P
• Matrix / Runout (side B): 25X60 035 S2=2 320 R 5A
• Matrix / Runout (side C): 2560 036 S3=3 320 3 N
• Matrix / Runout (side D): 2560 036 S4 320 1 N
CONDITION Details: The 2-LP box is in near mint minus condition! The box has NO splits or crushed corners. The corners and seams are solid with just some light shelf wear noticeable. The colors on the jacket are sharp and clean. There are some newspaper clippings (reviews, etc.) affixed to the inside of the box and to the paper insert, with some writing. The box has some minor writing on the back panel.
The set comes with a paper insert / libretto detailing the performance and performers.
The 2-LPs are in near mint minus condition! We found that the vinyl looked excellent on this vintage LP set. There are no significant marks on the vinyl and the LPs retain much of the original gloss and sheen - obviously well taken care of! They do have a bit of dust and perhaps a finger print or two on them so they should be cleaned before playing for best results. There are NO serious spindle marks on the record labels. Just beautifully made vinyl! That said, acquiring a vintage LP like this is for the performance and rarity of the LP, not necessarily for the sound quality.
A Short Note About LP GRADING -- Mint = Only used for sealed items.
- Near Mint = Virtually flawless in every way.
- Near Mint Minus = Item has some minor imperfections, some audible.
- Excellent = Item obviously played and enjoyed with some noise.
- Very Good Plus = Many more imperfections which are noticeable and obtrusive.
For best results, always properly clean your LPs before playing them.
The LP is an audiophile quality pressing (any collector of fine MFSL, half speeds, direct to discs, Japanese/UK pressings etc., can attest to the difference a quality pressing can make to an audio system).
Do not let this rarity slip by!
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