"Imagine the universe beginning to sing and resound," Mahler wrote of his Symphony No. 8, the "Symphony of a Thousand." "It is no longer human voices; it is planets and suns revolving." Mahler was late Romantic music's ultimate big thinker. In his own lifetime he was generally regarded as a conductor who composed on the side, producing huge, bizarre symphonies accepted only by a cult following.

Born in 1860 in Kalischt, Bohemia, he came from a middle-class family. He entered the Vienna Conservatory in 1875, studying piano, harmony, and composition in a musically conservative atmosphere. Nevertheless, he became a supporter of Wagner and Bruckner, both of whose works he would later conduct frequently, and became part of a social circle interested in socialism, Nietzschean philosophy, and pan-Germanism. Around 1880, he began conducting and wrote his first mature work, Das klagende Lied. Mahler's conducting career advanced rapidly, moving him from Kassel to Prague to Leipzig to Budapest; he was usually either greatly respected or thoroughly despised by the performers for his exacting rehearsals and perfectionism. In 1897 he became music director of the Vienna Court Opera and then, a year later, of the Vienna Philharmonic. Mahler's conducting career permitted composition only during the summers, in a series of "composing huts" he had built in picturesque rural locations. He reserved this time for symphonies, all of them large-scale works, and song cycles. He completed his first symphony in 1888, but it met with utter audience incomprehension. In Das Lied von der Erde (The Song of the Earth), he merged the two forms into an immense song-symphony. The Viennese public largely failed to understand his music, but Mahler took their reactions calmly, accurately predicting that "My time will yet come." Meanwhile, his autocratic ways as a conductor alienated musicians. In 1901, the press and the musicians essentially forced his resignation from the Philharmonic. He married a young composition student, Alma Schindler in 1902, and they soon had two daughters. By 1907 Mahler was increasingly away from Vienna, conducting his own works, and thus he resigned from the opera as well. Just after accepting the position of principal conductor of New York's Metropolitan Opera, but before leaving Vienna, Mahler's older daughter, age four, died from scarlet fever and diphtheria, and he learned he himself had a defective heart valve. In New York, he was impressed by the caliber of talent and quickly gained audience approval. In 1909 he became conductor of the New York Philharmonic, which he found much more agreeable than opera work by this time. The following year, he had a triumphant premiere of his massive Symphony No. 8 in Munich. Despite the professional successes, his personal life suffered another blow when his and Alma's marriage began to deteriorate. They stayed together, and after he became ill in February 1911, she saw to it that he made it back to Vienna, where he died on May 18.

The conductors Bruno Walter, Otto Klemperer, Willem Mengelberg, and Maurice Abravanel kept Mahler's legacy alive, and Mahler's are now among the most often recorded of any symphonies. His frequent incorporation of vocal elements into symphonic writing brought to full fruition a process that had begun with Beethoven's Symphony No. 9, demonstrating his music's firm roots in the Germanic classical tradition. However, it was his huge tapestries of shifting moods and tones, ranging from tragedy to bitter irony (often explicitly indicated in performance directions), from café music to evocations of the sublime, that portended a century in which multiplicity ruled. ~ Rovi Staff

One of the top conductors of the 20th century, Claudio Abbado left an enormous recording catalog covering a wide range of composers from the Classical era to the early modern period. He was chief conductor and artistic director of the Berlin Philharmonic Orchestra from 1989 to 2002.

Abbado was born in Milan, Italy, on June 26, 1933, into an old family that traced its roots to Moorish-era Spain. His father, Michelangelo Abbado, was a prominent violinist and a professor at the Giuseppe Verdi Conservatory, and his mother, Maria Carmela Savagnone, was a skilled pianist. Abbado and his brother Marcello, who also became a pianist and composer, had their first lessons from their father. Their careers were interrupted by the Nazi occupation of Milan during World War II; Abbado's mother was arrested for giving refuge to a Jewish child, and the young Claudio became a confirmed anti-fascist who scrawled "Viva Bartók" on a wall and triggered an unsuccessful manhunt. He enthusiastically attended performances at Milan's La Scala opera house and, when he could, orchestral rehearsals led by the likes of Arturo Toscanini and Wilhelm Furtwängler.

Abbado went on to the Milan Conservatory, graduating in 1955 as a pianist. He also studied conducting with Antonio Votto. He then moved to Vienna, studying piano with Friedrich Gulda and conducting with Hans Swarowsky at the Vienna Academy of Music. He and his classmate Zubin Mehta joined the school's chorus so that they could observe the conducting technique of such legends as Bruno Walter and Herbert von Karajan. After more classes at the Chigiana Academy in Siena, Italy, he made his debut as a conductor in Trieste, leading a performance of Prokofiev's Love for Three Oranges. In the summer of 1958, Abbado had a major breakthrough when he won the Koussevitzky Conducting Competition at the Tanglewood Festival in Massachusetts. That led to various European conducting engagements and, in 1960, to a conducting debut at La Scala.

Advancement in the Western hemisphere came in 1963 when Abbado was awarded the Dmitri Mitropoulos Prize. That came with the chance to conduct the New York Philharmonic for five months. In 1965, Abbado conducted the Vienna Philharmonic Orchestra for the first time at Austria's Salzburg Festival. In the late '60s, he conducted several productions at La Scala, and in 1971, he was named the company's music director. He raised the opera orchestra's standards and formed it into an independent Orchestra della Scala, which often performed contemporary works. Abbado also became principal conductor of the Vienna Philharmonic in 1971, and he also began to appear frequently with the London Symphony Orchestra, becoming its principal conductor in 1979 and later its music director. His recording career stretched far back into the LP era; with the London Symphony, he made a notable early recording in 1972 of Rossini's opera La Cenerentola. Abbado also found time to conduct the European Community Youth Orchestra, the Chamber Orchestra of Europe, and the Gustav Mahler Youth Chamber Orchestra, and he mentored many young musicians.

Abbado served as principal guest conductor of the Chicago Symphony Orchestra from 1982 to 1986. He was then appointed music director of the Vienna State Opera, and he also held the post of general music director for the city of Vienna. In 1988, he established the Wien Modern music festival, which flourished and now encompasses other media in addition to music. In 1989, Abbado succeeded von Karajan as music director of the Berlin Philharmonic, remaining in that post until 2002. He gave up his Vienna State Opera post in 1991 but remained active in Vienna. Abbado made recordings with all the major orchestras with which he was associated, and he was prolific even by the standards of the 20th century classical recording golden age. After his death, reissues of his recordings continued to appear, and by the early 2020s, his catalog comprised well over 500 items. Deeply thoughtful in his approach, Abbado was an expert in a wide variety of music, from Mozart to Iannis Xenakis. He often conducted from memory. Abbado cut back his pace after a bout with cancer in 2000 but continued to perform and record, often leading youth orchestras. He died in Bologna, Italy, on January 20, 2014. ~ James Manheim