The Chicago Symphony Orchestra is one of the three most acclaimed orchestras in America and one of the few serious rivals the New York Philharmonic has had in its long history. Curiously, the histories of the two orchestras are somewhat intermingled.

Theodore Thomas had organized and led orchestras in New York during the 1870s and 1880s, competing with the Philharmonic Society of New York for audiences, soloists, and American premieres of works. His orchestra did very well as a major rival to the group that would become the New York Philharmonic. The orchestra visited Chicago during several seasons, and it was intended that he would be music director of the 1893 World's Columbian Exposition in that city. However, in 1891, he abandoned New York entirely in favor of Chicago and arrived as the first conductor of what was then called the Chicago Orchestra. Thomas held that position until his death in 1905. In his honor, the Chicago Orchestra changed its name to the Theodore Thomas Orchestra in 1906. Six years later, the group was renamed the Chicago Symphony Orchestra.

It was under the leadership of Thomas' assistant, Frederick Stock, that the Chicago Symphony's modern reputation was formed. From 1905 until his death in 1942, Stock led the orchestra in decades of programs that featured not only the established classics but the American premieres of many post-romantic works. Additionally, Stock raised the level of performance and the financial status of his players and established the orchestra in a major teaching role for aspiring musicians in its home city. Its recordings were relatively few in number because the long-playing record -- central to the appreciation of classical music -- had not yet been invented, which means there is little evidence by which modern listeners can judge the work of the orchestra during this period, but some of the recordings from that era were among the best in the world at the time. Among the few available from the period on major labels are the Beethoven Piano Concertos Nos. 4 and 5 on the BMG label, featuring soloist Arthur Schnabel with Stock conducting.

Stock's death in 1942 precipitated a difficult decade for the orchestra. Apart from the general complications of World War II, it had a great deal of trouble finding acceptable leadership. Désiré Defauw lasted for only four years, from 1943 until 1947, and Artur Rodzinski (best known for his leadership of the New York Philharmonic) was in the job for only one year (1947-1948). Rafael Kubelik served three years as music director from 1950 until 1953, but his gentlemanly manner and decidedly modern, European-centered taste in music proved unsuited to the players, critics, and management -- although it was under Kubelik that the orchestra made its first successful modern recordings, for the Mercury label, many of which were reissued in the mid-'90s.

Fritz Reiner became the music director of the Chicago Symphony in 1953, beginning the modern renaissance and blossoming of the orchestra. Under Reiner, the orchestra's playing sharpened and tightened, achieving a clean, precise, yet rich sound that made it one of the most popular orchestras in the United States. The Chicago Symphony under Reiner became established once and for all as an international-level orchestra of the first order, rivaling the New York Philharmonic, the Philadelphia Orchestra, and the Boston Symphony. Moreover, Reiner's arrival with the orchestra coincided with its move to RCA Victor, which, in 1954, was beginning to experiment with stereo recording. With Reiner as conductor, these "Living Stereo" recordings -- characterized by vivid textures, sharp stereo separation, and microphone placement that gave the impact of a live performance -- became some of the best-selling classical albums of all time and have since been reissued numerous times on compact disc to new acclaim from critics and listeners, more than a generation removed from their original era.

Reiner's death in 1963 led to another interregnum period, during which conductor Jean Martinon led the orchestra (1963-1968). In 1969, Sir Georg Solti joined the orchestra as its music director. Under Solti, the orchestra's national and international reputations soared, as did its record sales. Reiner had begun the process of cultivating the burgeoning audience for late-romantic composers such as Mahler, but it was with Solti that the works of Mahler and Bruckner became standard fare in the orchestra's programs, right alongside those of Beethoven and Mozart. The playing standard achieved during Solti's tenure, in concert and recordings, was the highest in the history of the orchestra. Additionally, the orchestra under Solti began a quarter-century relationship with London Records that resulted in some of the best-sounding recordings of the era. Solti's approach to performance was very flamboyant yet intensely serious -- even his performances of lighter opera and concert overtures strike a perfect balance between broad gestures and finely wrought detail, attributes that have made him perhaps the most admired conductor of a major American orchestra, if not the most famous (Leonard Bernstein inevitably got more headlines during the 1960s, especially with his knack for publicity). Solti was both popular and respected, and his tenure with the Chicago Symphony coincided with his becoming the winner of the greatest number of Grammy Awards of any musician in history (he also recorded with orchestras in London and Vienna). Daniel Barenboim succeeded Solti and served as music director from 1991 until 2006, with Solti transitioning to the post of music director emeritus. Bernard Haitink was named the orchestra's first principal conductor, holding this position from 2006 through 2010. Riccardo Muti was chosen as the tenth music director in the orchestra's history in 2010.

As with other major American orchestras, the Chicago Symphony found itself competing with its own history, especially where recordings are concerned. Reissues of its work under Reiner and Solti continue to sell well and are comparable or superior to the orchestra's current recordings in sound and interpretive detail. Even the early-'50s recordings under Kubelik were reissued by Mercury in the late '90s, while RCA-BMG and some specialty collector's labels have re-released the recordings under Stock. The recordings of Solti and Reiner leading the Chicago Symphony are uniformly excellent, and virtually all of them can be recommended. The orchestra also maintains composer-in-residence and artist-in-residence partnerships; in 2023, Jessie Montgomery occupied the former, and Hilary Hahn the latter. ~ Bruce Eder

Through his far-reaching endeavors as composer, performer, educator, and ethnomusicolgist, Béla Bartók emerged as one of the most forceful and influential musical personalities of the 20th century.

Born in Nagyszentmiklós, Hungary (now Romania), on March 25, 1881, Bartók began his musical training with piano studies at the age of five, foreshadowing his lifelong affinity for the instrument. Following his graduation from the Royal Academy of Music in 1901 and the composition of his first mature works -- most notably, the symphonic poem Kossuth (1903) -- Bartók embarked on one of the classic field studies in the history of ethnomusicology. With fellow countryman and composer Zoltán Kodály, he traveled throughout Hungary and neighboring countries, collecting thousands of authentic folk songs. Bartók's immersion in this music lasted for decades, and the intricacies he discovered therein, from plangent modality to fiercely aggressive rhythms, exerted a potent influence on his own musical language.

In addition to his compositional activities and folk music research, Bartók's career unfolded amid a bustling schedule of teaching and performing. The great success he enjoyed as a concert artist in the 1920s was offset somewhat by difficulties that arose from the tenuous political atmosphere in Hungary, a situation exacerbated by the composer's frank manner. As the specter of fascism in Europe in the 1930s grew ever more sinister, he refused to play in Germany and banned radio broadcasts of his music there and in Italy. A concert in Budapest on October 8, 1940, was the composer's farewell to the country which had provided him so much inspiration and yet caused him so much grief. Days later, Bartók and his wife set sail for America.

In his final years Bartók was beleaguered by poor health. Though his prospects seemed sunnier in the final year of his life, his last great hope -- to return to Hungary -- was dashed in the aftermath of World War II. He died of leukemia in New York on September 26, 1945. The composer's legacy included a number of ambitious but unrealized projects, including a Seventh String Quartet; two major works, the Viola Concerto and the Piano Concerto No. 3, were completed from Bartók's in-progress scores and sketches by his pupil, Tibor Serly.

From its roots in the music he performed as a pianist -- Mozart, Beethoven, Chopin, Brahms -- Bartók's own style evolved through several stages into one of the most distinctive and influential musical idioms of the first half of the 20th century. The complete assimilation of elements from varied sources -- the Classical masters, contemporaries like Debussy, folk songs -- is one of the signal traits of Bartók's music. The polychromatic orchestral textures of Richard Strauss had an immediate and long-lasting effect upon Bartók's own instrumental sense, evidenced in masterpieces such as Music for Strings, Percussion, and Celesta (1936) and the Concerto for Orchestra (1945). Bartók demonstrated an especial concern with form in his exploitation and refinement of devices like palindromes, arches, and proportions based on the "golden section." Perhaps above all other elements, though, it is the ingenious application of rhythm that gives Bartók's music its keen edge. Inspired by the folk music he loved, Bartók infused his works with asymmetrical, sometimes driving, often savage, rhythms, which supply violent propulsion to works such as Allegro barbaro (1911) and the Sonata for Two Pianos and Percussion (1937). If a single example from Bartók's catalogue can be regarded as representative, it is certainly the piano collection Mikrokosmos (1926-1939), originally intended as a progressive keyboard primer for the composer's son, Peter. These six volumes, comprising 153 pieces, remain valuable not only as a pedagogical tool but as an exhaustive glossary of the techniques -- melodic, harmonic, rhythmic, formal -- that provided a vessel for Bartók's extraordinary musical personality. ~ Michael Rodman

The London Philharmonic Orchestra is a central institution of the British classical concert scene, performing major repertory works, British standards, contemporary music, and more. Especially on recordings, the group has also engaged with music from beyond the classical sphere.

The London Philharmonic Orchestra was formed in 1932 in response to a consensus that London's major orchestras, lacking strong artistic leadership, were inferior to those in Germany and even the U.S. So conductor Sir Thomas Beecham assembled a crack membership of 106 players, and the new orchestra was successful from the start. Beecham steered the group through financial difficulties at the beginning of World War II before resigning for health reasons and due to conflicts over the ensemble's artistic direction. Postwar conductors included Eduard van Beinum (1947 to 1951) and Sir Adrian Boult (1951 to 1958); the latter inaugurated an active recording program, releasing albums that remain standards to this day.

In 1966, Bernard Haitink became the orchestra's principal conductor; his tenure, lasting until 1979, was longer than that of any other conductor of the group until Vladimir Jurowski. The orchestra renovated a disused church, renamed it Henry Wood Hall, and began to use the space for rehearsals and recordings in 1975. Haitink's successor was another giant, Sir Georg Solti, who served as principal conductor from 1979 to 1983 and continued as conductor emeritus afterward, often appearing and recording with the orchestra. Solti was succeeded by a trio of Germans, Klaus Tennstedt in 1983, Franz Welser-Möst in 1990, and Kurt Masur in 2000. Welser-Möst officially installed the orchestra as the resident ensemble of the Royal Festival Hall, which remains its main concert venue.

The orchestra has also had numerous guest conductors over the years, and these have been responsible for many of its crossover releases. Although not as active in this field as the London Symphony Orchestra, the London Philharmonic has made high-visibility film soundtrack recordings. These include soundtracks for such films as Jesus Christ Superstar (1973), The Fly (1986), and the trilogy The Lord of the Rings, as well as the anthology Academy Award Themes (1984). The orchestra has released albums devoted to the music of progressive rock bands Pink Floyd and Yes, and as far back as 1959, it released the album Hawaiian Paradise. In 2011, the London Philharmonic recorded 205 national anthems in preparation for the London Olympic Games of the following year. The orchestra's album releases, classical and otherwise, numbered 280 by 1997 and has increased by well over 250 albums since then; in the year 2001 alone, the orchestra released 21 albums. The London Philharmonic established its own LPO label in the mid-2000s decade and has issued large amounts of music, both classical and not, including Genius of Film Music: Hollywood Blockbusters 1980s to 2000s, in 2018.

In 2007, the London Philharmonic was in the forefront of taking advantage of the wave of talented Russian musicians who had emigrated to the West, installing Vladimir Jurowski as principal conductor. He remained in the post until 2020, becoming the orchestra's longest-serving conductor and leading the group in a 2021 recording of Mahler's Symphony No. 8 ("Symphony of a Thousand"). In 2020, Karina Canellakis became the orchestra's first female principal guest conductor. Jurowski was succeeded in 2021 by Edward Gardner, who became the group's first British principal conductor for decades. ~ James Manheim

Hungarian composer Zoltán Kodály is today remembered as much for his contributions to the fields of ethnomusicology and music education as he is for his own musical creations. Born in 1881, Kodály was the son of a local railway station master and amateur violinist who provided a rich musical environment for his child. Young Zoltán's early exposure to the German classics was tempered by an interest in the folk heritage of his native land; in 1900, after graduating from the Archiepiscopal Grammar School in Nagyszombat, he enrolled simultaneously at Budapest University (where he studied Germanic and Hungarian literature) and at the Budapest Academy of Music. Composition studies at the Academy were fruitful for Kodály, and he took a diploma in the subject in 1904. In 1905 he received a second diploma in music education, and in 1906 Kodály crowned his academic career with a Ph.D. earned for his thorough structural analysis of Hungarian folksong. During the preparation of this dissertation Kodály went on the first of many excursions into rural Hungary to record and transcribe authentic folk music, and in doing so built a strong and lasting friendship with Béla Bartók (who was engaged in the same practice at the time, and with whom Kodály would go on to publish several collections of Hungarian folk music).

Kodály's debut as a composer came in October 1906 with a successful performance of his orchestral poem Summer Evening (Nyári este) at the Academy of Music. Two months later Kodály left Hungary for the first time, having received funding from the Academy for a period of study in Berlin and Paris. Upon his return in 1907 he was appointed to the faculty of the Academy, eventually succeeding his teacher Koessler as professor of composition (and becoming Dohnányi's assistant when the latter was appointed director of the Academy in 1919). With the creation of the New Hungarian Music Society in 1911, Kodály firmly established himself alongside Bartók and Dohnányi as a powerful force in Hungary's developing musical culture.

Kodály produced a steady stream of music (his most famous works being the opera Háry János from 1927 and the orchestral suite from that opera) and important educational works (which have collectively become known to music educators as the Kodály method, and rank in significance alongside similar contributions by Orff and Dalcroze) until his death in 1967. In later years he made frequent concert tours during which he appeared as a conductor of his own music, though he never abandoned what he himself considered to be his primary work: the collection and systematization of Hungarian folk music and culture, and a corresponding assimilation of that body of work into a new Hungarian artistic aesthetic (a goal also shared by his friend Bartók). In the years after the Second World War he was honored by countless academic, musical, and political organizations around the globe; in 1961 he served as president of the International Folk Music Council, and, in 1964, as honorary president of the International Society of Music Educators.

The Budapest Festival Orchestra is far from being the ad hoc summer ensemble its name might suggest. With a varied repertory, an international touring schedule, and a top-flight set of soloists annually, the orchestra was named one of the top ten in the world by Gramophone magazine.

The Budapest Festival Orchestra was formed in 1983 by conductor Iván Fischer and pianist Zoltán Kocsis, drawing its members from the ranks of the most talented young musicians in Hungary; Fischer has remained the chief conductor since the orchestra's inception. The group garnered critical acclaim from the start, and by 1992, it was considered a permanent fixture of orchestral music in Budapest, giving concerts at the Béla Bartók National Auditorium as well as abroad. In 2000, the Budapest Festival Orchestra inaugurated full orchestral seasons. It has been backed by its own foundation, supported by the city of Budapest. Away from home, the orchestra has appeared at such major halls as the Konzerthaus in Vienna, Carnegie Hall in New York, and the Concertgebouw in Amsterdam, and appears at major summer festivals. It has attracted to Budapest such internationally renowned soloists as Gidon Kremer, Yehudi Menuhin, and Georg Solti, who until his death was the group's permanent guest conductor. The group has often participated in operatic productions, and its repertory ranges from the Baroque to contemporary music. In the latter category, it has often favored the works of Hungarian composers. The orchestra has also often performed and recorded the music of Mahler, and Fischer founded the Budapest Mahlerfest.

Beginning in the 1990s, the Budapest Festival Orchestra has been much in demand among recording companies. The group has recorded for Philips, Decca, and most often, Channel Classics, where it issued a recording of Mahler's Das Lied von der Erde in 2020. The Budapest Festival Orchestra maintains an orchestral academy for recent university graduates. ~ James Manheim

Leo Weiner was one of the leading Hungarian music educators of the first half of the twentieth century and a skilled composer who produced a large number of very charming and conservative works.

He had his first music and piano lessons from his brother, but soon after starting, largely taught himself. He entered the Landesakademie (or High School) of Musical art in Budapest in 1901. He studied with János Koessler and while there won numerous prizes. Among them were the Franz Liszt Stipend, the Volkmann Prize, and the Erkel Prize, all for one composition, his Serenade, Op 3. Another, the Haynald Prize, was for some choral pieces.

He had an interest in the well-known varieties of Hungarian folk music (at a time when the slightly older Bartók and Kodály were discovering the virtually unknown ancient true folk music of the country). A composition for two typically Hungarian instruments, the taragato (a folk variant of the clarinet) and the cimbalom (a hammered dulcimer or zither) called Hungarian Fantasy won him yet another award, the Schwunda Prize. All these works and several other of his student compositions were accepted for publication by national and international publishing companies.

He got a job as a repetiteur (i.e., one who coaches solo singers in the overall interpretation of the opera) at the Budapest Comique Opera (Vigopera) upon graduation. He won a special prize given in connection with the coronation of Emperor Franz Joseph, enabling him to visit and take musical studies in Vienna, Munich, Berlin, and Paris.

He returned to the Landesakademie in 1908, now as a theory teacher. He remained a faculty member there for the rest of his life, being appointed Professor of Composition in 1912 and Professor of Chamber Music in 1920. In 1949 he became an emeritus professor, continuing to teach.

He was one of the great chamber music instructors. To him primarily is credited the reputation of Hungarian musicians for their accuracy and depth of interpretation in chamber music, qualities that carry over into their solo and orchestral concert work as well.

As a composer, the Romantics from Beethoven through Mendelssohn most strongly affected his musical approach. Astute commentators have noted that his sense of orchestral color seems to relate to those French composers who were not notably affected by Wagner, especially Bizet. This solid and conservative Romantic approach formed the basis of his style. To it was added, at about the time of the fall of the Austro-Hungarian Empire and subsequent full independence of Hungary, a strong interest in Hungarian folk music.

He did not research folk music, but he shared with Bartók and Kodály their interest in Hungarian nationalism and did employ both the traditional gypsy-derived "Hungarian" folk music and some of his colleagues' discoveries, though his harmonic language was not affected by his use of this material. As Hungarian nationalism became twisted into an increasingly Fascist state in the late 1930s, the nationalistic element in Weiner's music declined, reappearing to lesser extend in the 1950s.

Among Weiner's notable compositions are three string quartets, two violin sonatas, five divertimenti for orchestra and a symphonic poem (but no symphonies), and a quantity of other chamber and piano music.

Honors coming to him include a Coolidge Prize in 1922 for his F sharp minor String Quartet, the Kossuth Prize (1950 and 1960), and designation as an "Eminent Artist of the Hungarian People's Republic" in 1953.

Of a generation whose conservative composers became overlooked in music history, his works, which tend to be bright and entertaining, showed signs of revival at the start of the twenty-first century.