CSO and Muti close their Carnegie Hall stand in ‘Triumph’ | Chicago Symphony Orchestra (original) (raw)

Riccardo Muti and the Chicago Symphony Orchestra take a bow at their second Carnegie Hall concert Oct. 5.

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For the second concert of their sold-out, season-opening engagement at New York’s Carnegie Hall, the Chicago Symphony Orchestra and Riccardo Muti took a voyage to Italy, anchored by Mendelssohn’s Italian Symphony and Strauss’ Aus Italien. Launching the ship of musical state was Philip Glass’ The Triumph of the Octagon, a work inspired by a photo of the 13th-century Italian citadel Castel del Monte, which the composer happened to spot in Muti’s office at Symphony Center.

Fittingly, Glass dedicated the work, a CSO commission, to Maestro Muti, who grew up near the region where the landmark castle still stands. When The Triumph of the Octagon received its world premiere during CSO concerts Sept. 28-30 in Chicago, Glass could not attend. But for the work’s New York premiere Oct. 5 at Carnegie Hall, Glass, a longtime Manhattanite, was in the audience and was acknowledged with rapt applause.

In its review, the New York Times wrote of the Glass work: “The music gradually accumulated a mysterious timelessness with the shifting emphases of its time signatures and the delicate deployment of woodwind timbres.” Earlier in the review, the Times declared: “Under Muti, the Chicago Symphony is all power and finesse with no unsightly edges. ... The orchestra’s playing, strong yet nimble, drew on reserves of unforced power and charm.”

After the CSO returns to Chicago, there will be another New York connection. Jaap van Zweden, now in his last season as music director of the New York Philharmonic, will lead the CSO in Beethoven’s Fifth Symphony and songs from Mahler’s Des Knaben Wunderhorn, the latter featuring baritone Christian Gerhaher, in concerts Oct. 12-15.

Backstage at Carnegie Hall is lined with posters commemorating historic concerts, including many by the CSO.

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Before the concert, Maestro Muti meets with composer Philip Glass backstage at Carnegie Hall.

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Anne MacQuarrie, CSO manager of orchestra personnel, makes sure everyone is in place onstage.

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Built in 1891, Carnegie Hall is known for its extraordinary acoustics.

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A service dog rests quietly in an aisle as the concert proceeds.

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In the box tier, Philip Glass waves to the crowd after the CSO and Muti perform his "The Triumph of the Octagon."

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The CSO woodwind section comes into view during Mendelssohn's "Italian" Symphony.

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CSO trumpet John Hagstrom (left) and Principal Trumpet Esteban Batallán zoom into view.

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Two patrons are seen in silhouette from an upper balcony at Carnegie Hall.

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During intermission, CSO musicians, including violinist Mateous Michal (far right), relax backstage.

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Maestro reads a mash note in Italian from a 8-year-old fan, who wonders if a backstage visit afterward might be possible.

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As the second half begins, the camera captures the CSO from the rear of the stage.

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The CSO violas and cellos come into view during the concert's second half.

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Maestro Muti, as usual, serves as the epitome of grace while on the podium.

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Vadim Karpinos, assistant principal timpani, takes charge of the triangle during the Strauss.

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CSO Principal Trombone Jay Friedman stands for a bow.

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After the concert, CSO musicians, including Joyce Noh, bring their instruments backstage, where the travel crates await.

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Stage Manager Christopher Lewis begins the load-out process for the trip back to Chicago.

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Outside Carnegie Hall, CSO horn James Smelser greets a concertgoer after the performance.

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To mark their Carnegie Hall engagement, CSO musicians participated in this YouTube video, accessible here.