Dimitri Mitropoulos;  Bernstein;  Jennie Tourel  -  Mahler 10th & Kindertotenlieder   (Archipel 0529)
Item# C0995
Regular price: $29.90
Sale price: $14.95
Availability: Usually ships the same business day

Product Description

Dimitri Mitropoulos;  Bernstein;  Jennie Tourel  -  Mahler 10th & Kindertotenlieder   (Archipel 0529)
C0995. DIMITRI MITROPOULOS Cond. NYPO: Symphony #10 in f-sharp, Live Performance, 13 March, 1958; LEONARD BERNSTEIN Cond. NYPO, w.Jennie Tourel: Kindertotenlieder – Live Performance, 12 Feb., 1960 (both Mahler); Mitropoulos Cond. Kölner Rundfunk S.O.: La Mer (Debussy), Live Performance, 24 Oct., 1960. (Germany) Archipel 0529. Long out-of-print, Final Sealed Copy! - 4035122405293


“One wonders where Gustav Mahler would be today, both for audiences and performers, had it not been for the intercession on the composer’s behalf in the 1960s of Leonard Bernstein and his New York Philharmonic. New Yorkers had already been exposed to the conductor-composer, first by Mahler himself in the early years of the century, then by Bruno Walter and by Dimitri Mitropoulos, Bernstein’s predecessor as the orchestra’s music director. But the Bernstein image and influence, with the support of CBS’ recording arm Columbia and its TV network, turned Mahler from a special-circumstances visitor to a repertory mainstay, to be pursued by every conductor with a name, or those trying to make one.”

- Herbert Glass, THE LOS ANGELES TIMES, 3 Jan., 1993

“Conductor Dimitri Mitropoulos stood apart from the European traditions that dominated first-rank American orchestras for much of the twentieth century. After attending the Athens Conservatory, where he studied piano and composition, his opera BÉATRICE was presented there. The French composer Saint-Saëns was in the audience, and was so impressed that he arranged a scholarship that enabled the 24-year-old to study composition with the Belgian composer Paul Gilson and piano with Busoni in Berlin. Busoni persuaded him to abandon composition and concentrate on becoming a conductor.

From 1921 to 1925, Mitropoulos assisted Erich Kleiber at the Berlin State Opera and on Kleiber's recommendation, was appointed conductor of the Hellenic Conservatory Symphony Orchestra in Athens. In 1927, he became conductor of the Greek State Symphony Orchestra and in 1930 was engaged to conduct the Berlin Philharmonic Orchestra, where he instituted the practice of conducting from the piano.

In 1937 Mitropoulos succeeded Eugene Ormandy as musical director of the Minneapolis Symphony Orchestra. He became a U.S. citizen in 1946, and remained in America until 1959. After 12 years in Minneapolis, he was invited to share the conductorship of the New York Philharmonic Orchestra with Stokowski, becoming its conductor when Stokowski resigned in 1950. Mitropoulos resigned the post after sharing the podium with Leonard Bernstein, his co-principal conductor, in the Orchestra's 1958 tour of Latin America. From 1954, he was a dynamic force as Bruno Walter's successor at the Metropolitan Opera, where he introduced many new operas, including ones by Richard Strauss and Samuel Barber.

Mitropoulos never conducted his own works, but considered his best composition to be a Concerto Grosso written in 1929. He lived simply and took little part in social activities. His conducting style was passionate, highly-charged and demonstrative; he had a phenomenal memory and rarely used a baton. He programmed much modern music and particularly admired Schönberg and the Second Viennese School, such as Webern and Berg, as well as twentieth century American and British composers. His recording of Mahler's First Symphony made with the Minneapolis Symphony Orchestra in 1941 was the first ever made in the U.S. of that work, and Mitropoulos was awarded the American Mahler Medal of Honor in 1950 for his work in promoting the composer's music. He died while rehearsing Mahler's Third Symphony with Toscanini's famous La Scala Orchestra.”

- Roy Brewer, allmusic.com

“Bernstein gave a credibility to American musicianship that hadn’t existed before, easing our sense of inferiority. He came along and did what seemed impossible: bringing Mahler back to Vienna!

He loved storytelling, and music for him was just a vehicle for telling stories. Often his stories had important morals as well: There was always a lesson to be learned. For me that was a big takeaway. He was so many things: a great conductor, great composer, great pianist. But he was also a TV star, he was a thinker, he was a philosopher, he was a political activist. How many people could wear all of those hats at once? It’s a rare thing.”

-Marin Alsop, THE NEW YORK TIMES, 23 Aug., 2018