Lorin Varencove Maazel was born of American parents in Neuilly, France on March 6, 1930 and the family returned to Los Angeles when Lorin was still an infant. He exhibited a remarkable ear and musical memory when very young; he had perfect pitch and sang back what he heard. He was taken at age five to study violin with Karl Moldrem. At age seven he started studying piano with Fanchon Armitage. When he became fascinated with conducting, his parents took him to symphony concerts, then arranged for him to have lessons with Vladimir Bakaleinikov, then assistant conductor of the Los Angeles Philharmonic.
Herbert von Karajan recorded almost everything in the standard orchestral repertoire once, many works two or three times, between his 1950s recordings for EMI with the Philharmonia Orchestra, the early 1960s for Decca with the Vienna Philharmonic, and his 1960s - 1989 recordings, mostly with the Berlin Philharmonic, for Deutsche Grammophon.
"He will quickly be forgotten." That was Rimsky-Korsakov's unkind but not inaccurate prediction made shortly after his pupil Anton Arensky's death from tuberculosis at the age of 35. His prediction was unkind in the sense that Arensky's stylish and lyrical works rank with those of Liadov, Kalinnikov, and Ippolitov-Ivanov for melodic charm and orchestral color. But his prediction was accurate to the extent that there have been few performances or recordings of Arensky's music in the century since his death in 1906. Indeed, aside from this undated recording with Evgeny Svetlanov leading the Academic Symphony Orchestra, there has apparently been only one other recording of Arensky's symphonies in the past half century – Valery Polyansky's on Chandos – and none before that at all. For die-hard fans of Russian music, this state of affairs is a shame because as Svetlanov's performances demonstrate, Arensky's symphonies deserve to be heard.
Even when the Symphony No. 1 debuted in 1831, it was considered old fashioned. Although it was well received, audiences that same year were also exposed to Berlioz’s Symphonie fantastique and Beethoven’s Symphony No. 9. Old fashioned or not, Onslow’s first symphony was performed throughout Europe to generally high acclaim. There were some dissenters who felt Onslow’s themes would have been better served in chamber works using fewer musicians (Symphony No. 3 actually began as a string quintet), but other people felt Onslow moved the symphony in a new direction and his works should not be compared to the symphonies of other composers. Onslow’s symphonies are classical in structure: four movements, not straying too far from the Classical notions of harmony; however they embrace the burgeoning Romanticism of the time. Onslow’s symphonies may not be as adventurous as Symphonie fantastique or Beethoven’s Ninth, but they’re well crafted, abundantly tuneful, and often quite atmospheric and imaginative.
Elgar's two symphonies are good example of interpretations of music being stuck thanks to the strange British conservatism. If you listen to 10 recordings of these symphonies by 10 British conductors, they all sound more or less same in terms of interpretation: controlled, noble, beautiful Elgarian rubato and so on.