The artistic life of Sir Neville Marriner is closely intertwined with the Chamber Orchestra Academy of St Martin in the Fields. But it started initially independent of it. Marriner was born on April 15, 1924. British Lincoln. studied at the Royal College of Music in London and was accepted as a talented violinist in the violin class of RenÉ Benedetti at the Paris Conservatoire. Until 1948, he honed his skills in Eaton, then was 2.Geiger the Martin Quartet and founded the Jacobean Ensemble. Soon he himself taught at the Royal College and trained at Pierre Monteux in orchestral conducting further. Marriner proven itself, was violinist in the Philharmonia Orchestra in London, in 1956 then head of the second violins at the London Symphony Orchestra (until 1968). this period also saw the founding of the ensemble, which was to influence and change his artistic work fell.
It began with the fact that the organist John Churchill anno 1958 Neville Marriner commissioned to create an orchestra that was to be called the history of music famous church in Trafalgar Square. His choice was good because the experienced chamber musician and concertmaster had something special in mind. He wanted to create a large ensemble with transparent sound whose party do not submit to the dictates of eccentric conductor, but should equally participate in the elaboration of works. Marriner was about the authenticity of the sound, music historically founded and possible implemented exactly with like-minded people. In the season 1958/59 the young orchestra of the Academy Of debuted St. Martin in the Fields in his eponymous church with FIVE concerts, several broadcasts followed. When the music publisher Louise Hanson-Dyer shortly thereafter got a fOr the BBC arisen demo tape of the Academy in their hands, they recognized its potential and undertook the ensemble for your label L'Oiseau-Lyre. Already the first shots were praised effusively by the press. However, ended 1962 death Hanson-Dyer's first ascent of Marriners project.
After all, there came the time for Argo / Decca, acoustically excellent accommodation spaces as the Kingsway Hall and last but not least excellent sound engineer Kenneth Wilkinson and Stan Goodall, who significantly influenced by clever miking the sound of the archive. So went substantive care, technical refinement and artistic development hand in hand. The Academy became among Marriners line with their albums and concerts to one of the most prestigious chamber ensembles in the world. They became a symbol of the utmost simplicity and directness of the sound, to the reference adequate sound design with historical awareness. To include about the recording of the complete Mozart piano concertos, which emerged over the seventies and early eighties years with Alfred Brendel as soloist, at the best recordings of these works at all. Marriner also worked with Jessye Norman, Kiri Te Kanawa, Viktoria Mullova, Bryn Terfel, Anne Sofie Von Otter, Sylvia McNair, Thomas Allen, Barbara Hendricks, Karita Matilla, Lucia Popp and Imogen Cooper.
Moreover, leaving Marriner in other places his tracks. From 1969 on, he was music director of the Chamber Orchestra of Los Angeles (to 1979), by the way deputy head of the Northern Sinfonia Orchestra (1971-73), music director of the orchestra of Minnesota (1979-86) and chief conductor of the Symphony Orchestra of the South German Radio (1986 -89). He conducted premieres as William Walton's "Sonata for Strings" (1972) and Peter Maxwell Davis "Sinfonia Concertante" (1983). Among the numerous awards that Marriner and the Academy were honored, including four Grammys (1977, 1981, 1984, 2002) among others for "Best Classical Album", which he in 1984 for the soundtrack to Milos Forman's film "Amadeus" Presented got and 2002 for the "Best instrumental Soloist (s) performance (with Orchestra)" who received Marriner and violinist Hilary Hahn for violin concertos by Brahms and Stravinsky. In 1979 he was made a Commander of the Order of the British Empire and in 1985 he was elevated to the peerage. In addition, he was awarded by the French government for his contributions to classical French music 1995 Ordre des Arts et Lettres.
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