C1259. CARLO MARIA GIULINI Cond.Chicago Orch.: The Chicago Years, incl. Beethoven, Berlioz, Brahms, Mahler, Bruckner & Stravinsky. (E.U.) 4-Warner 31752, recorded 1969-76, in Boxed Set. [Between 1969 and 1976, Carlo Maria Giulini and the Chicago Symphony Orchestra made these important recordings, representing their extraordinary working relationship. This 2013 Warner box set is a reissue of the 2004 EMI box, and it contains 4 CDs in the same track configuration, covering the repertoire that Giulini found most congenial to play in Chicago, especially the symphonic music of Beethoven, Mahler, Brahms, and Bruckner, which dominated orchestral concerts in the 1970s. Of course, Giulini's interpretations were among the most balanced and refined of any conductor's, and the CSO enjoyed its status as one of the world's leading orchestras, so the performances are among the finest in the catalog.] - 5099943175222
"'I prefer not to say I conducted them, rather that I made music with these marvellous musicians and human beings.' So Carlo Maria Giulini described his legendary partnership with the Chicago Symphony Orchestra - a relationship that was marked by mutual respect and affection and resulted in some of the greatest performances in the orchestra's history. The recordings here mainly date from Giulini's years as Principal Guest Conductor of the CSO and include magisterial and intensely expressive readings of Berlioz, Brahms, Bruckner and Mahler, as well as accounts of Stravinsky's fiendishly difficult ballet suites that showcase the orchestra's virtuoso musicians at their very best."
“The Italian conductor and musician Carlo Maria Giulini was known for the dynamism, purity and the spacious Romantic sound he was able to cultivate, but also his nobility and gentle spirit. This Chicago set gives a wide-ranging view of the breadth of work to which Carlo Maria Giulini devoted himself - the colour and vibrancy of his recorded legacy. Also featured are fascinating bonus features such as a documentary on Giulini’s life and career, with contributions by the conductor himself and some of the musicians who worked closely with him.”
“An acclaimed and versatile conductor, Carlo Maria Giulini started his musical studies as a violinist, attending the Santa Cecilia Conservatory in Rome. He studied conducting with Bernardino Molinari at Santa Cecilia and Alfredo Casella at Accademia Chigiana in Siena. After graduation, he joined the Augusteo Orchestra in Rome as a violist. As an orchestral musician, he came in contact with the great conductors of the time, including Strauss, Mengelberg, Walter, Klemperer, and Furtwängler. After receiving his conscription notice for military service during World War II, Giulini, an ardent anti-Fascist, decided to go into hiding. When the Allies liberated Rome in 1944 he emerged and conducted the orchestra he used to play in (now known as the Orchestra of the Accademia di Santa Cecilia) in a Brahms symphony to celebrate the liberation. This was his début as a conductor.
He was subsequently hired as an assistant conductor for the Italian Radio Orchestra, becoming chief conductor in 1946. During his tenure as conductor of the Italian Radio (RAI) Orchestra of Rome, he attracted notice for his innovative programming which included revivals of forgotten operas by Italian Baroque composers, such as Domenico Scarlatti. His theatrical début was at Bergamo, in Verdi's LA TRAVIATA.
In 1950, he was sent to help organize a new RAI orchestra in Milan. His broadcast reviving the nearly forgotten Haydn opera IL MONDO DELLA LUNA was noticed by many, including legendary conductor Arturo Toscanini and La Scala's principal conductor, Victor de Sabata. He began conducting at Milan's La Scala in 1952, débuting with Manuel de Falla's LA VIDA BREVE. He was engaged as an assistant conductor, succeeding de Sabata as principal conductor in 1953. Among his most notable performances was a classic TRAVIATA with Maria Callas. Giulini added new works to the La Scala repertory, including Bartók's BLUEBEARD'S CASTLE and Monteverdi's L'INCORONAZIONE DI POPPEA, and worked with stage directors such as Franco Zeffirelli and Luchino Visconti. Although Giulini premiered in England at Glyndebourne in FALSTAFF, it was his direction of Visconti's production of DON CARLOS at Covent Garden that made him well-known in Britain. In 1955, he débuted in the United States with the Chicago Symphony Orchestra.
Giulini developed a symphonic repertoire slowly, devoting much attention to each new score; thus, he did not conduct Mozart or Beethoven symphonies until he was in his fifties. He was appointed principal guest conductor of the Chicago Symphony in 1969, and was the director of the Vienna Symphony Orchestra from 1973 to 1976. He succeeded Zubin Mehta as musical director of the Los Angeles Philharmonic in 1978, remaining at that post until 1984.
Giulini's conducting incorporates elements of Furtwängler's and Toscanini's styles. His dynamism and purity of sound are reminiscent of Toscanini, but the spacious, Romantic approach reminds one of Furtwängler. His particular attentiveness to inner voices results in a rich sound. Giulini eschews podium theatrics or autocratic attitudes. Instead, he approaches the musicians as co-workers serving the music. After his retirement from Los Angeles, Giulini continued working as a guest conductor, mostly in Paris, Chicago, Milan, Berlin, and Vienna, and eventually limiting his activities to appearances with the major orchestras of these cities.”
- Joseph Stevenson, allmusic.com
CD1: Symphony Number 1 in D (Gustav Mahler). Romeo and Juliet (Berlioz).
CD2: Romeo and Juliet conclusion (Berlioz). Symphony Number.7 in A opus 92 (Beethoven).
CD3: Symphony Number 9 in d minor (Bruckner). Symphony Number 4 in e minor opus 98 beginning (Brahms).
CD4: Symphony Number 4 in e minor opus 98 conclusion (Brahms). The Firdbird - Suite 1919 (Stravinsky). Petrushka - Suite (Stravinsky).