Lorin Varencove Maazel (/məˈzɛl/,[1] March 6, 1930 – July 13, 2014) was an American conductor, violinist and composer. He began conducting at the age of eight and by 1953 had decided to pursue a career in music. He had established a reputation in the concert halls of Europe by 1960 but, by comparison, his career in the U.S. progressed far more slowly. He served as music director of The Cleveland Orchestra, Orchestre National de France, Pittsburgh Symphony Orchestra, Bavarian Radio Symphony Orchestra, and the New York Philharmonic, among other posts. Maazel was well-regarded in baton technique and possessed a photographic memory for scores. Described as mercurial and forbidding in rehearsal, he mellowed in old age.[2]
Early life
Maazel was born to American parents of Russian Jewish origin in Neuilly-sur-Seine, France.
His grandfather Isaac Maazel (1873–1925), born in Poltava, Ukraine, then in the Russian Empire, was a violinist in the Metropolitan Opera orchestra.[3] He and his wife Esther Glazer (1879–1921), originally from Kharkiv, Ukraine, then in the Russian Empire, came to North America in 1900 after the birth of their eldest son Marvin (1899–1988), who later became a pianist and composer.
In the early 1950s, Maazel toured as the conductor with the Gershwin Concert Orchestra. The orchestra consisted of 25 members and a noted array of soloists. The orchestra was organized in cooperation with Ira Gershwin, to give the public a comprehensive Gershwin program. The list of soloists included George Gershwin's friend, Jesús María Sanromá, Carolyn Long and Theodor Uppman.[17]
At the age of 13, Lorin Maazel was introduced to the citizens of Cleveland in a pension fund concert at Public Hall on March 14, 1943. He conducted a selection of pieces that included the overture from Wagner’s opera Rienzi and Schubert’s “Unfinished” symphony, and his orchestra featured 14-year-old prodigy Patricia Travers on violin.[18] Earlier in his young career, Maazel had already guest conducted the NBC Symphony, New York Philharmonic, Los Angeles Philharmonic, and Pittsburgh Symphony.[19] It was Artur Rodziński, in the midst of defending his decision to leave Cleveland for a post with the New York Philharmonic, who half-jokingly stated: “Look [Maazel] over, he may be your next conductor."[19] However, it would be nearly thirty years before Maazel would become music director of The Cleveland Orchestra, succeeding George Szell in 1972.
In the wake of Szell’s crisp, chamber-like style, many critics fretted over Maazel’s emotional interpretations. Shortly after Maazel was named to the post in Cleveland, though, his status was buoyed by both an endorsement from Philadelphia Orchestra music director Eugene Ormandy[20] and the promise of a recording contract with Decca Records.[20] In addition, Maazel chose to revitalize the Orchestra’s educational outreach programs for the city’s schoolchildren. He envisioned an annual concert at Public Hall where the chorus would be made up of area students. This project launched on May 19, 1973, with a program that included music from Gershwin’s opera Porgy and Bess, Copland’s A Lincoln Portrait, and an English-language version of the “Ode to Joy” from Beethoven’s Ninth Symphony.[21] With more than 5,000 people in attendance, the concert provided a capstone to Maazel’s first season in Cleveland.
A month later, the Orchestra completed its first recording in three years — Prokofiev’s Romeo and Juliet for Decca. The ensemble also returned to international touring during the 1973-74 season with a first-ever visit to Australia and New Zealand.[22] Because of a tightly-packed schedule, conducting duties were split between Maazel, Stanislaw Skrowaczewski, and former music director Erich Leinsdorf. The season, which also featured performances of Strauss’s one-act opera Elektra at Cleveland’s Severance Hall and New York’s Carnegie Hall, closed with a dozen concerts across Japan.[23]
In 1974-75, Maazel led the Orchestra on a tour of South America and Central America.[24] He also conducted the ensemble’s recording of Gershwin’s Porgy and Bess — the Orchestra’s first recording of an opera and Decca’s first opera recording in the United States.[25] Three years later, on December 10, 1978, he guided the Orchestra’s 60th anniversary concert, which included Victor Herbert’s American Fantasy — also played during the ensemble’s debut concert on December 11, 1918.[26]
The following fall, however, rumors began to swirl that Maazel was the top candidate for the directorship of the Vienna State Opera. Although the appointment was still several years away, arrangements were made to have Maazel conduct The Cleveland Orchestra through the 1981-82 season before departing for Europe.[27] During the final years of Maazel’s tenure in Cleveland, the Musical Arts Association launched a concert to honor the life and works of Dr. Martin Luther King, Jr., which would become an annual tradition,[28] and the Orchestra hosted a 50th anniversary celebration for Severance Hall featuring the same program as the ensemble played on the concert hall’s opening night in 1931 — Bach’s Passacaglia in C Minor, Charles Martin Loeffler’s Invocation, Brahms’s First Symphony, and selections from Beethoven’s Missa Solemnis.[29]
Across Maazel’s final season with The Cleveland Orchestra, he would conduct only seven of the season’s subscription series concerts. His last performance at Severance Hall, on May 15, 1982, included a presentation of Verdi’s Requiem, which he also brought on tour the following week to Lincoln Center, Carnegie Hall, and Woolsey Hall at Yale University.[30] The Verdi had been Maazel’s debut piece in New York with The Cleveland Orchestra at the start of his tenure in 1972.[30]
From 1982 to 1984, Maazel served at the Vienna State Opera as general manager and principal conductor. In 1980, he succeeded Willi Boskovsky as conductor at the Vienna New Year's Concert and he led this televised annual event each year, until 1986. He returned to it four times: in 1994, 1996, 1999 and 2005.
From 1984 to 1988, Maazel was the music consultant to the Pittsburgh Symphony Orchestra, and its music director from 1988 to 1996.
In 1989, expecting to become successor to Herbert von Karajan as chief conductor of the Berlin Philharmonic, Maazel suddenly and publicly severed all connections with the orchestra when it was announced that Claudio Abbado was to take over. He claimed that his decision was because he was concerned for the orchestra's well-being.[31]
In 2000, Maazel made a guest-conducting appearance with the New York Philharmonic in two weeks of subscription concerts after an absence of over twenty years,[32] which met with positive reaction from the orchestra musicians.[33] This engagement led to his appointment in January 2001 as the orchestra's next music director, starting in 2002, succeeding Kurt Masur.[34][35] Maazel conducted the New York Philharmonic on their landmark visit to Pyongyang, North Korea on February 26, 2008. He led the orchestra in renditions of the North Korean and United States national anthems, Dvořák's New World Symphony, George Gershwin's An American in Paris, and closed with the traditional Korean folk song "Arirang". Maazel stepped down from the New York Philharmonic after the 2008/09 season.
External image
Photograph of
Lorin Maazel rehearsing the Vienna Philharmonic Orchestra in 2004 Here on Getty Images
In 2004, Maazel became the music director of the Arturo Toscanini Philharmonic. From September 2006 till March 2011, he was the musical director of the Orquestra de la Comunitat Valenciana, the house orchestra of the opera housePalau de les Arts, Valencia, Spain. His last concert there as Music Director took place on his 81st birthday on March 6, 2011, conducting his only opera 1984. In March 2010, Maazel was named chief conductor of the Munich Philharmonic, effective with the 2012/13 season.[36] Early in 2014, Maazel cancelled concert engagements as a result of ill health. Subsequently, in June 2014, he announced his resignation as music director of the Munich Philharmonic, effective immediately.[37]
Maazel conducted the music for three operatic films, Don Giovanni (1979), Carmen (1984) and Otello (1986). His own compositions included a poorly reviewed opera, 1984, based on the George Orwell novel Nineteen Eighty-Four and a humorous work for orchestra, flute and narrator which he composed for James Galway: Irish Vapors and Capers.[38][39] He was depicted conducting Vienna's New Year concert on an Austrian postage stamp issued in 2005.[40] Maazel and his wife, Dietlinde Turban together operated a summer music festival called Castleton Festival at their Castleton, Virginia 600-acre (2.4 km2) estate, Castleton Farms.[41] Maazel arranged Wagner's Ring Cycle into a 70-minute suite, The 'Ring' Without Words, which he recorded in 1987 with the Berlin Philharmonic.
Death
Maazel died on July 13, 2014, at his Castleton Farms estate in Virginia, from complications of pneumonia.
Honors
External audio
You may hear Lorin Maazel with James Galway performing his "Irish Vapors and Capers" and "Farewell's", Op. 14 in 2005 Here on Archive.org
Maazel's catalogue contained over 300 recordings of works by Beethoven, Brahms, Mahler, Mozart, Schubert, Richard Strauss and others. He earned 10 Grand Prix du Disque awards.[38]
Maurice Ravel: L'Heure espagnole, with the French National Radio Orchestra, featuring soloists Jane Berbie (Concepcion, Torquemada's Wife), Jean Gireadeau (Torquemada), Gabriel Bacquier (Ramiro, muleteer), Jose van Dam (Don Iñigo Gomez, banker), Michel Senechal (Gonzalve, student) (DG) Recorded 2/1965
Nicholas Rimsky-Korsakov: Suite from The Golden Cockerel, with the Cleveland Orchestra (Decca) Recorded 10/1979
Nicholas Rimsky-Korsakov: Symphony No.2, with the Pittsburgh Symphony Orchestra (Telarc) Recorded 3/1986
External audio
You may hear Lorin Maazel with the Israel Philharmonic in selected overtures by Beethoven: Leonore No. 1, Op. 138 Leonore No. 2, Op. 72A Leonore No. 3, Op. 72A Fidelio Overture, Op. 72B in 1962 Here on Archive.org
Franz Schubert: with the Berlin Philharmonic Orchestra (DG)
The Châteauville Foundation was established at Castleton Farms, VA in 1997 by Lorin and Dietlinde Maazel. The Foundation's mission is to nurture young artists, foster collaborative artistic enterprise and create opportunities within the community for shared cultural experience.
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