Veteran conductor Neeme Järvi has led many orchestras in Europe and the U.S. over a career stretching back to the 1950s. With his children now as rivals, he has remained a busy star on the international conducting scene well into his eighties, and he is among the most prolific conductors of modern times in the recording studio.

Born in the Estonian capital of Tallinn on June 7, 1937, and brought up within the Soviet Union's system for developing musical talent, Järvi studied percussion and conducting at the Tallinn Music School. He made his debut as a conductor at age 18. From 1955 to 1960, he pursued further studies at the Leningrad Conservatory, where his principal teachers were Nikolaï Rabinovich and Yevgeny Mravinsky. Järvi took a leading role in the musical life of his homeland. In 1963, he assumed the directorship of the Estonian Radio & Television Orchestra, his first important post. He also founded the Tallinn Chamber Orchestra and, for 13 years, was the chief conductor of Opera House Estonia in Tallinn. From 1976 to 1980, he was chief conductor and artistic director of the Estonian State Symphony Orchestra, then in its infancy. By the late '70s, his fame had spread throughout the Soviet Union and Eastern Europe, and he received favorable notices for his appearances in the West. He made history by leading the first performances of Strauss' Der Rosenkavalier and Gershwin's Porgy and Bess ever given in the USSR.

Järvi developed a particular interest in unearthing and performing neglected repertory by both little-known and important composers, and his recorded output in this area dates back to well before Estonia's independence. He began recording for the BIS label in the early '80s. He was a champion of the Estonian composers Eduard Tubin and Arvo Pärt. In 1979, he premiered Pärt's Credo, a work that represents a turning point in that composer's stylistic evolution. Järvi, recognizing the importance of Credo (which incorporates biblical texts), presented it without first navigating through the usual channels of the Communist Party or the Composers' Union. The resulting controversy and official disfavor induced Järvi to emigrate. He was permitted to leave Estonia in 1980; within a month of his departure, he made his debut performances with the Boston Symphony, the Philadelphia Orchestra, and the New York Philharmonic. He quickly received important appointments: principal guest conductor of the City of Birmingham Symphony Orchestra in England (1981-1983) and the Japan Philharmonic; music director of the Royal Scottish Orchestra (1984-1988) and the Gothenburg (Sweden) Symphony Orchestra (1982-2004). Järvi became an American citizen in 1985. In 1990, he assumed the post of music director of the Detroit Symphony Orchestra, remaining there until 2005. He led that ensemble through a troubled period and made some 30 recordings with the group on the Chandos label. He has also served as principal conductor of the New Jersey Symphony, the Residentie Orchestra of The Hague, and the Orchestre de la Suisse Romande.

Järvi's concert appearances gradually slowed as he approached his ninth decade, but his recorded legacy has continued to grow at an impressive pace. For the BIS label, he recorded a great deal of unfamiliar Scandinavian music with various orchestras from the 1980s to the 2020s. Järvi has also recorded for Deutsche Grammophon and Orfeo. His recording projects include cycles of orchestral music by Sibelius, Prokofiev, Shostakovich, and others. In late Romantic repertory, especially from France and the Scandinavian countries, he remains one of the world's great specialists, and he has maintained relationships with many of the ensembles he has headed. The year 2016 alone saw no fewer than seven new releases, including the continuation of a symphony cycle devoted to composer Kurt Atterberg, recorded with the Gothenburg Symphony Orchestra. Devoting himself mostly to substantial symphonic works, Järvi nevertheless did not disdain lighter fare; in 2015, he released, with the Royal Scottish National Orchestra, the album A Festival of Fucik, devoted to the composer of the familiar circus march Entry of the Gladiators. He remains a fixture of Chandos' catalog, issuing a pair of new albums on the label, one of orchestral works by composers Artur Kapp, Mihkel Lüdig, and Artur Lemba, and the other of ballet music by Léo Delibes in 2020. He made several recordings during the COVID-19 pandemic, and in 2023, he led the Estonian National Symphony Orchestra, backing pianist Anna Shelest in a recording of the first two piano concertos of Anton Rubinstein. By that time, Järvi's recording catalog comprised more than 400 albums.

Järvi's children have made their mark on the musical world as well: sons Paavo and Kristjan have gained international reputations as conductors. Daughter Maarika was the principal flutist with the RTVE Symphony Orchestra in Madrid. Neeme has written an Estonian-language memoir, Kunstniku elu (The Maestro's Touch). ~ James Manheim & Joseph Stevenson

In the decades since its founding, the Royal Scottish National Orchestra has earned a reputation as a distinguished ensemble with an extensive concert schedule, wide-ranging repertoire, and a significant representation on recordings. In 2021, the orchestra was heard on the album Xiaogang Ye: Winter, as well as a recording of Mozart Concertos, backing Francesca Dego.

The Royal Scottish National Orchestra is the direct descendant of the Scottish Orchestra, founded in Glasgow in 1891. Throughout its first 40 years, the Scottish Orchestra had a series of principal conductors, beginning with George Henschel from 1893 until 1895. In 1933, while the orchestra -- along with the rest of the world -- was facing financial difficulties, subscribers and patrons kept the ensemble afloat. That year, John Barbirolli assumed the post of principal conductor; since that time, the orchestra has been helmed by many well-known conductors, including George Szell, Walter Süsskind, and Alexander Gibson (the first Scot to lead the ensemble and the longest-tenured), among others. Under Süsskind's leadership, with the establishment of the Scottish National Orchestra Society with monies from several Scottish cities, the Scottish Orchestra became a permanent ensemble, changing its name to the Scottish National Orchestra in 1950.

During its early years, the orchestra played its Glasgow concerts in the acoustically wonderful St. Andrew's Hall. From the time the hall was destroyed by fire in 1962, the Scottish National Orchestra played in a series of venues of varying suitability. In 1977, during Gibson's tenure, Queen Elizabeth II granted the orchestra royal patronage; Gibson also earned his knighthood that year during the Queen's Silver Jubilee and Birthday Honours. The redesign of the Trinity Church on Claremont Street in 1979 gave the Scottish National Orchestra a new home: Henry Wood Hall. In 1991, the orchestra changed its name to the Royal Scottish National Orchestra, affirming its royal patronage. It was briefly named the Royal Scottish Orchestra but reverted to its present name in 1992.

While the orchestra boasts a wide-ranging repertoire, it has been singled out for its recordings of Bruckner, Barber, and 20th century British composers like Bax, MacMillan, and Holst. It has also earned a particular reputation for recorded performances of film scores, including a Gramophone Award in 1997 for its recording of Bernard Herrmann's score to Vertigo. In 2015, the orchestra moved to its current home, the RSNO Centre at the Glasgow Royal Concert Hall. Neeme Järvi (principal conductor from 1984 until 1988) is the orchestra's conductor laureate, and Alexander Lazarev (principal conductor from 1997 until 2005) is conductor emeritus. Following a six-year stint as principal guest conductor, the Royal Scottish National Orchestra appointed Thomas Søndergård its music director, effective in 2018. In 2021, the orchestra was heard on a collection of works by Xiaogang Ye on BIS and, under Roger Norrington, backed Francesca Dego on a Chandos recording of Mozart Concertos. ~ TiVo Staff