Claudio Abbado: Verskil tussen weergawes
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'''Claudio Abbado''' ([[26 Junie]] [[1933]] ‒ [[20 Januarie]] [[2014]])<ref>{{it}} [http://www.ilpost.it/2014/01/20/live-morte-claudio-abbado/ Il Post]</ref> was 'n [[Italië|Italiaanse]] [[dirigent]]. Hy is gebore op [[26 Junie]] [[1933]] in [[Milaan]]. Hy was die musiekdirekteur van die Luzern Feesorkes en voorheen musiekdirekteur van die La Scala opera in [[Milaan]], die Weense Staatsopera, die Londense Simfonieorkes, die Chicago Simfonieorkes en die [[Berliner Philharmoniker]].
==Familiegeskiedenis en vroeë lewe==
The Abbado family for several generations enjoyed both wealth and respect. Abbado's great-grandfather squandered the family fortune and reputation by gambling. His son, Abbado's grandfather, became a professor at the [[University of Turin]].<ref name=ew>{{harvnb|Ewen|1978|p=1}}</ref> His grandfather re-established the family's reputation and also showed talent as an amateur musician.{{citation needed|date=January 2019}}
Born in [[Milan]], [[Italy]] on June 26, 1933,<ref name=npr>{{cite web|url=http://www.npr.org/sections/deceptivecadence/2014/01/21/264506409/tracing-the-career-of-claudio-abbado-a-consummate-conductor|title = Abbado obituary | access-date =7 March 2019}}</ref> Claudio Abbado was the son of violinist and composer conductor Michelangelo Abbado,<ref name=EB/> and the brother of the musician [[Marcello Abbado]] (born 1926). His father, a professional violinist and a professor at the [[Milan Conservatory|Giuseppe Verdi Conservatory]], was his first piano teacher. His mother also was an adept pianist. Marcello Abbado later became a concert pianist and teacher at the [[Conservatorio Statale di Musica "Gioachino Rossini"|Rossini Conservatory]] in [[Pesaro]]. His sister also exhibited talent in music, but did not pursue a musical career after her marriage. His other brother later became a successful architect.<ref name=ew/><ref name=cb/>
Abbado's childhood encompassed the Nazi occupation of Milan. During that time, Abbado's mother spent time in prison for harbouring a Jewish child.<ref name="Telegraph">{{cite web | url=https://www.telegraph.co.uk/news/obituaries/10583860/Claudio-Abbado-obituary.html | title=Claudio Abbado – obituary | work=Telegraph | date=20 January 2014 | accessdate=22 March 2015}}</ref> This period solidified his anti-fascist political sentiments. Claudio himself is known for having a famous anecdote about how when he was just twelve years old he wrote "Viva [[Béla Bartók|Bartók]]" on a local wall which caught the attention of the [[Gestapo]] and sent them on the hunt for the culprit. His passionate opposition to fascism continued into his adult years.<ref name=npr/> However, his musical interests also developed, with attendance at performances at La Scala,<ref name=cb/> as well as orchestral rehearsals in Milan led by such conductors as [[Arturo Toscanini]] and [[Wilhelm Furtwängler]]. He later recalled that Toscanini's periods of abusive behaviour to musicians in rehearsal repelled him.<ref name="Telegraph"/>
Other conductors who influenced him as a child were [[Victor de Sabata]] and [[Rafael Kubelík]].<ref name=cb/> It was not until hearing [[Antonio Guarnieri]]'s conducting of [[Claude Debussy]]'s ''[[Nocturnes (Debussy)|Nocturnes]]'' that Abbado resolved to become a conductor himself.<ref>Phillip Scott, "Claudio Abbado: The Legacy", ''[[Limelight (magazine)|Limelight]]'', March 2014, p. 52</ref> At age 15, Abbado first met [[Leonard Bernstein]] when Bernstein was conducting a performance featuring Abbado's father as a soloist.<ref name=npr/> Bernstein commented, "You have the eye to be a conductor."<ref name=cb/>
==Musikale opvoeding==
[[File:Claudio Abbado 65.jpg|thumb|left|Claudio Abbado in 1965]]
Abbado studied piano, composition, and conducting at the [[Milan Conservatory]],<ref name=EB/><ref name="Harvard Bio">{{harvnb|Randel|1996|p=1}}</ref> and graduated with a degree in piano in 1955.<ref name=ew/> The following year, he studied conducting with [[Hans Swarowsky]] at the [[Vienna Academy of Music]],<ref name=EB/> on the recommendation of [[Zubin Mehta]].<ref name="Nice">{{cite web | author=David Nice | url=https://www.theguardian.com/music/2014/jan/20/claudio-abbado | title=Claudio Abbado obituary | work=[[The Guardian]] | date=20 January 2014 | accessdate=7 September 2014}}</ref> Abbado and Mehta both joined the Academy chorus to be able to watch such conductors as [[Bruno Walter]] and [[Herbert von Karajan]] in rehearsal.<ref name=ew/><ref name=cb/><ref name="Telegraph"/> He also spent time at the [[Accademia Musicale Chigiana|Chigiana Academy]] in [[Siena]].<ref name=EB/>
In 1958, Abbado made his conducting debut in [[Trieste]].<ref name=ew/> That summer, he won the international [[Serge Koussevitzky]] Competition for conductors<ref name="Harvard Bio"/> at the [[Tanglewood Music Festival]],<ref name=ew/><ref name=EB/> which resulted in a number of operatic conducting engagements in Italy. In 1959, he conducted his first opera, ''[[The Love for Three Oranges]]'', in Trieste. He made his [[La Scala]] conducting debut in 1960. In 1963, he won the [[Dimitri Mitropoulos]] Prize for conductors,<ref name=EB/><ref name="Harvard Bio"/> which allowed him to work for five months with the [[New York Philharmonic]] as an assistant conductor to Bernstein.<ref name=ew/> Abbado made his New York Philharmonic professional conducting debut on 7 April 1963. A 1965 appearance at the [[Rundfunk im amerikanischen Sektor|RIAS]] Festival in Berlin led to an invitation from [[Herbert von Karajan]] to the [[Salzburg Festival]] the following year to work with the [[Vienna Philharmonic]]. In 1965, Abbado made his British debut with the [[The Hallé|Hallé Orchestra]], followed in 1966 by his [[London Symphony Orchestra]] (LSO) debut.<ref name=EB/><ref name="Telegraph"/>
Abbado taught chamber music for 3 years during the early 1960s in Parma.<ref name="Service">{{cite web | author=[[Tom Service]] | url=https://www.theguardian.com/music/2007/aug/22/classicalmusicandopera.proms2007 | title=The Maestro | work=The Guardian | date=22 August 2007 | accessdate=7 September 2014}}</ref><ref name="Service2">{{cite web | author=[[Tom Service]] | url=https://www.theguardian.com/books/2009/aug/08/life-in-music-claudio-abbado | title=A life in music: Claudio Abbado | work=The Guardian | date=8 August 2009 | accessdate=4 April 2015}}</ref> His early advocacy of contemporary music included conducting the world premiere of [[Giacomo Manzoni]]'s ''Atomtod'', on 25 March 1965, in Milan.{{citation needed|date=January 2019}}
==Dirigeer loopbaan==
In 1969, Abbado became principal conductor at [[La Scala]]. Subsequently, he became the company's music director in 1972. He took the title of joint artistic director, along with [[Giorgio Strehler]] and [[Carlo Maria Badini]], in 1976.<ref name="Nice"/> During his tenure, he extended the opera season to four months, and focused on giving inexpensive performances for the working class and students. In addition to the standard opera repertoire, he presented contemporary operas, including works of [[Luigi Dallapiccola]] and of [[Luigi Nono]], in particular the world premiere of Nono's ''[[Al gran sole carico d'amore]]''. In 1976, he brought the La Scala company to the US for its American debut in [[Washington, D.C.]] for the [[American Bicentennial]].<ref>{{harvnb|Ewen|1978|pp=2–3}}</ref> In 1982, he founded the [[Filarmonica della Scala]] for the performance of orchestral repertoire by the house orchestra in concert. Abbado remained affiliated with La Scala until 1986.<ref name=iww>{{harvnb|Europa Publications|1996|p=2}}</ref>
On 7 October 1968, Abbado made his debut with the [[Metropolitan Opera]] with ''[[Don Carlo]]''. He began to work more extensively with the [[Vienna Philharmonic|Vienna Philharmonic (VPO)]] after 1971,<ref name=EB/> which included two engagements as conductor of the orchestra's New Year's Day concert, in 1988 and 1991. He was a recipient of both the Philharmonic Ring and the Golden Nicolai Medal from the [[Vienna Philharmonic]].<ref name="Hofmann">{{cite web | author=Paul Hoffmann | url=https://www.nytimes.com/1987/03/01/arts/how-claudio-abbado-wins-ovations-in-vienna.html| title=How Claudio Abbado Wins Ovations in Vienna | work=The New York Times | date=1 March 1987 | accessdate=22 March 2015}}</ref>
He served as Principal Guest Conductor of the [[London Symphony Orchestra]] (LSO)<ref name="Kozinn">{{cite web | author=Allan Kozinn | url=https://www.nytimes.com/2014/01/21/arts/music/claudio-abbado-italian-conductor-dies-at-80.html | title=Claudio Abbado, an Italian Conductor With a Global Reach, Is Dead at 80 | work=The New York Times | date=20 January 2014 | accessdate=7 September 2014}}</ref> from 1975 to 1979 and became its Principal Conductor in 1979,<ref name=iww/><ref name=EB/> a post he held until 1987 (he was also the LSO's Music Director from 1984 until the end of his principal conductor tenure).<ref>{{cite web|url=http://lso.co.uk/more/news/126-claudio-abbado-1933-2014|title = Claudio Abbado obituary | access-date =6 March 2016}}</ref> From 1982 to 1985, he was principal guest conductor of the [[Chicago Symphony Orchestra]] (CSO). In 1986, Abbado became the ''Generalmusikdirector'' (GMD) of the city of Vienna, and in parallel, was music director of the [[Vienna State Opera]] from 1986 to 1991.<ref name=iww/><ref name=EB>{{harvnb|Hoiberg|2010|p=8}}</ref> During his tenure as GMD in Vienna, in 1988, he founded the music festival [[Wien Modern]]. There he backed numerous contemporary composers including György Ligeti, Pierre Boulez, and Luigi Nono.<ref name=npr/>
===[[Berliner Philharmoniker]]===
Abbado first conducted the [[Berlin Philharmonic]] in December 1966. In the late 1980s it was suspected that he might become music director of the New York Philharmonic.<ref name=npr/> However, after 33 appearances as a guest conductor, in 1989, the Berlin Philharmonic elected him as its chief conductor and artistic director, in succession to [[Herbert von Karajan]].<ref name=iww/><ref name=EB/><ref>{{harvnb|Ross|2001}}</ref> During his Berlin tenure, he oversaw an increased presence in contemporary music in the orchestra's programming. In 1992, he co-founded 'Berlin Encounters', a [[chamber music]] festival.<ref name=iww/> In 1994, he became artistic director of the [[Salzburg Easter Festival]].<ref name=iww/> In 1998, he announced his departure from the Berlin Philharmonic after the expiration of his contract in 2002.<ref>{{cite web | author=Alan Riding | url= https://www.nytimes.com/1999/06/24/arts/simon-rattle-will-direct-the-berlin-philharmonic.html | title=Simon Rattle Will Direct The Berlin Philharmonic | work=The New York Times | date=24 June 1999 | accessdate=22 March 2015}}</ref> Prior to his departure, he was diagnosed with [[stomach cancer]] in 2000,<ref>{{cite web | author=Daniel J Wakin | url=https://www.nytimes.com/2007/09/07/arts/music/07abba.html | title=Abbado, Ill, Cancels Appearances | work=The New York Times | date=7 September 2007 | accessdate=7 September 2014}}</ref> which led to his cancellation of a number of engagements with the orchestra. Subsequent medical treatment led to the removal of a portion of his digestive system,<ref name="Service"/> and he cancelled his conducting activities for 3 months in 2001.<ref name="ilpost">{{cite web | url=http://www.ilpost.it/2014/01/20/live-morte-claudio-abbado/ | title=La morte di Claudio Abbado | work=[[Il Post]] | date=20 January 2014 | accessdate=7 September 2014}}</ref>
In 2004, Abbado returned to conduct the Berlin Philharmonic for the first time since his departure as chief conductor, for concerts of Mahler's [[Symphony No. 6 (Mahler)|Symphony No. 6]] recorded live for commercial release.<ref>{{cite web | author=David Gutman | url=http://www.gramophone.co.uk/review/mahler-symphony-no-6-11 | title=Mahler Symphony No 6 | work=Gramophone | date=2005 | accessdate=22 March 2015}}</ref> The resulting CD won Best Orchestral Recording and Record of the Year in ''[[Gramophone (magazine)|Gramophone]]'' magazine's 2006 [[Gramophone Award|award]]s. The Orchestra Academy of the Berlin Philharmonic established the ''Claudio Abbado Kompositionspreis'' (Claudio Abbado Composition Prize) in his honour, which has since been awarded in 2006, 2010 and 2014.
===Ander orkeste en post-Berlynse werk===
In addition to his work with long-established ensembles, Abbado founded a number of new orchestras with younger musicians at their core. These included the European Community Youth Orchestra (later the [[European Union Youth Orchestra]] (EUYO)), in 1978, and the Gustav Mahler Jugendorchester (GMJO; Gustav Mahler Youth Orchestra) in (1988).<ref name=iww/> In both instances, musicians from the respective youth orchestras founded spinoff orchestras, the [[Chamber Orchestra of Europe]] (COE) and the [[Mahler Chamber Orchestra]], respectively. Abbado worked with both these ensembles regularly as well, and was artistic advisor to the COE, though he did not hold a formal title with the Mahler Chamber Orchestra. In turn, the Mahler Chamber Orchestra formed the core of the newest incarnation of the [[Lucerne Festival Orchestra]], which Abbado and Michael Haefliger of the Lucerne Festival established in the early 2000s, and which featured musicians from various orchestras with which Abbado had long-standing artistic relationships.<ref name=Service/><ref>{{cite web | author=Andrew Clements | url=https://www.theguardian.com/music/2007/aug/24/proms2007.proms | title= Lucerne Festival Orchestra/Abbado | work=The Guardian | date=24 August 2007 | accessdate=7 September 2014}}</ref> The final new orchestra that Abbado helped to establish was the [[Orchestra Mozart]], of [[Bologna]], Italy, in 2004,<ref name="ilpost"/> and he served as its founding music director until his death.
In addition to his work with the EUYO and the GMJO, Abbado worked with the [[Orquesta Sinfónica Simón Bolívar]] of Venezuela.<ref>{{cite web | author=Charlotte Higgins | url=https://www.theguardian.com/music/2006/nov/24/classicalmusicandopera | title=Land of hope and glory | work=The Guardian | date=24 November 2006 | accessdate=7 September 2014}}</ref>
==Repertoire==
Amongst a wide range of [[Romantic music|Romantic]] works which he recorded and performed, Abbado had a particular affinity with the music of [[Gustav Mahler]], whose symphonies he recorded several times. Despite this, he never managed to complete a cycle with a single orchestra: in a mix of studio and concert releases, he recorded Symphonies 1–2 and 5–7 in Chicago, Symphonies 2–4, 9 and the Adagio from 10 in Vienna, Symphonies 1 and 3–9 in Berlin, and Symphonies 1–7 and 9 in Lucerne. A planned Eighth in Lucerne (the intended culmination of his traversal of the symphonies there) had to be cancelled owing to his ill health. The symphony was finally performed and recorded in 2016 under [[Riccardo Chailly]] as a tribute to Abbado.<ref>{{cite web|url=https://www.theguardian.com/music/2017/jun/22/mahler-symphony-no-8-dvd-review-chailly-pays-impressive-tribute-to-abbado|title=Mahler: Symphony No 8 DVD review – Chailly pays impressive tribute to Abbado|first=Andrew|last=Clements|date=22 June 2017|website=the Guardian}}</ref>
He was also noted{{by whom|date=January 2019}} for his interpretations of modern works by composers such as [[Arnold Schoenberg]], [[Karlheinz Stockhausen]], [[Giacomo Manzoni]], [[Luigi Nono]], [[Bruno Maderna]], [[György Ligeti]], [[Giovanni Sollima]], [[Roberto Carnevale]], [[Franco Donatoni]] and [[George Benjamin (composer)|George Benjamin]].
==Musikale styl==
Abbado tended to speak very little in rehearsal, sometimes using the simple request to orchestras to "Listen".<ref name="Telegraph"/> This was a reflection of his own preference for communication as a conductor via physical gesture and the eyes, and his perception that orchestras did not like conductors who spoke a great deal in rehearsal.<ref name="Hofmann"/> [[Clive Gillinson]] characterised Abbado's style as follows:
<blockquote>"...he basically doesn't say anything in rehearsals, and speaks so quietly, because he's so shy, so people can get bored. But it works because everyone knows the performances are so great. I've never known anybody more compelling. He's the most natural conductor in the world. Some conductors need to verbally articulate what they want through words, but Claudio just shows it, just does it."<ref name="Service2"/></blockquote>
In performance, Abbado often conducted from memory,<ref name=cb>{{harvnb|Moritz|Lohr|Sloan|Dugan|1974|p=1}}</ref> as he himself noted:
<blockquote>"...it is indispensable to know the score perfectly and be familiar with the life, the works and the entire era of the composer. I feel more secure without a score. Communication with the orchestra is easier." <ref name="Hofmann"/></blockquote>
== Verwysings ==
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