C1665. KLAUS TENNSTEDT Cond. NYPO: Symphony #5 in B-flat (Prokofiev); w.MIRIAM FRIED: Violin Concerto in D (Beethoven). (Canada) 2-St Laurent Studio YSL T-748, Live Performance, 1 March, 1977, Avery Fisher Hall. Transfers by Yves St Laurent.
“Miriam Fried has been recognized for years as one of the world’s preeminent violinists. A consummate musician - equally accomplished as recitalist, concerto soloist or chamber musician - she has been heralded for her ‘fiery intensity and emotional depth’ (MUSICAL AMERICA) as well as for her technical mastery. Fried has played with virtually every major orchestra in the United States and Europe and has been a frequent guest with the principal orchestras of Boston, Chicago, Cleveland, New York, Philadelphia, and Pittsburgh, as well as with the Israel Philharmonic, the London Symphony, the Royal Philharmonic, and the Vienna Symphony. Recital tours have taken her to all of the major music centers in North America and to Brussels, London, Milan, Munich, Rome, Paris, Salzburg, Stockholm, and Zürich. She premiered a violin concerto written for her by Donald Erb with the Grand Rapids Symphony and recorded the work for Koss in 1995.
Since 1993, she been chair of the faculty at the Steans Institute for Young Artists at the Ravinia Festival, one of the country’s leading summer programs for young musicians. Her involvement there has included regular performances, including recitals and concerts with the Chicago Symphony. Fried’s highly praised 1985 New York recitals of the complete Bach Sonatas and Partitas for solo violin were the culmination of three years of international performances. She returned to this music with a recording made in France for the Lyrinx label. She has also made a prize-winning, best-selling recording of the Sibelius Concerto for the Finlandia label with the Helsinki Philharmonic under the direction of Okko Kamu.
Miriam Fried’s successful solo career was launched in 1968 after she was awarded First Prize in Genoa’s Paganini International Competition. Three years later she claimed top honors in the Queen Elisabeth International Competition, where she gained further world attention by becoming the first woman ever to win the prestigious award. Her early childhood included lessons with Alice Fenyves in Tel Aviv, as well as the opportunity to meet and play for the many great violinists who visited Israel, including Isaac Stern, Nathan Milstein, Yehudi Menuhin, Henryk Szeryng, Zino Francescatti, and Erica Morini. She came to the United States as a protégée of Isaac Stern, and continued her studies with Ivan Galamian at the Juilliard School and with Joseph Gingold at Indiana University.”
- New England Conservatory of Music
“Because he spent the beginning of his career in East Germany, Klaus Tennstedt was virtually unknown in the West until he was in his late 40s. But his international career took off after he left East Germany in 1971. From the time he made his first appearances in North America, with the Toronto and Boston Symphony Orchestras in 1974, he was regarded as an uncommonly probing, expressive conductor of works from the mainstream Romantic repertory.
Mr. Tennstedt was born in Merseburg, Germany, on 6 June, 1926. When he was 15, he enrolled at the Leipzig Conservatory, where he studied violin, piano and music theory. He also studied in Dresden during World War II, and he told one interviewer that after the firebombing of Dresden in 1944, he was in the fire brigade and assigned to dig bodies out of the rubble.
In 1948 he was appointed concertmaster of the Halle Municipal Theater Orchestra, where his father was a violinist. Four years later he began conducting the Orchestra, and he soon became its music director. In 1958, he became music director of the Dresden Opera and in 1962 he took over the Schwerin State Orchestra and the Schwerin State Theater. During the 1960s, Mr. Tennstedt had an active touring schedule in East Germany, and was a frequent guest of the Leipzig Gewandhaus Orchestra, the Dresden Philharmonic, the Dresden Staatskapelle and the Berlin Radio Orchestra. He also performed in the Soviet Union and in Czechoslovakia. When preparing for a tour in 1971, Mr. Tennstedt found that his passport had been mistakenly stamped with an exit visa for the West. He left East Germany for Sweden, announced his intention not to return, and persuaded the East German Government to allow his wife to join him. In Sweden, he became the director of the Stora Theater in Goteborg and the conductor of the Swedish Radio Symphony Orchestra in Stockholm. In 1972, he became director of the Kiel Opera in West Germany.
Mr. Tennstedt's first break in North America occurred after the death of Karel Ancerl, the director of the Toronto Symphony Orchestra. When the Orchestra's managing director, Walter Homburger, went to Europe in search of a replacement, he read some reviews of Mr. Tennstedt's work in Kiel. After hearing him conduct Bruckner's Seventh Symphony, he hired him for a series of Toronto concerts in May 1974. He made his Boston Symphony debut later that year. [This outstanding performance, described as a 'once in a lifetime' event, in which Tennstedt gave the Boston audience and radio listeners a positively electrifying account of Bruckner's 8th, is still talked about in Boston to this day! After rehearsing, the Orchestra spontaneously broke into applause during a coffee break.]
Mr. Tennstedt became principal guest conductor of the London Philharmonic in 1977, served as principal guest conductor of the Minnesota Orchestra from 1979 to 1982, and returned to the London Philharmonic as its music director from 1983 to 1987. After he relinquished the post, he became the Orchestra's conductor laureate.”
- Allan Kozinn, THE NEW YORK TIMES, 13 Jan., 1998