Peter Maag

Peter Maag (Ernst Peter Johannes Maag) was a Swiss conductor. Life, He was born May 10, 1919 in St. Gallen, Switzerland and died April 16, 2001 in Verona, Italy. His father, Otto, was a Lutheran minister and his mother, Nelly, a violinist who performed in the Capet Quartet as second violinist. His great uncles were conductors Emil and Fritz Steinbach. Peter attended the universities of Zürich, Basel, and Geneva. He was mentored by Karl Barth and Emil Brunner in theology, and Karl Jaspers in philosophy. He studied piano and theory with Czesław Marek in Zürich and received further training on piano with Alfred Cortot in Paris. His conducting mentors were Ernest Ansermet, Wilhelm Furtwängler, and Franz von Hoesslin. Son Georg Maag is writer of children's books Georg maag. Association with Furtwangler, He described his association with Wilhelm Furtwängler to be the most important in his life. He performed as pianist in a Furtwängler concert with Beethoven's Piano Concerto No. 4 in G major. As recounted by Maag, Furtwängler told him: ""Why don't you try to conduct? I have observed you while you were playing the concert tonight, staring at the orchestra more than at the keyboard. It was more you than me that have given the entry". He followed Furtwängler advice to start out at a small theatre. His new career began as répétiteur and then director at the Swiss Theater Biel-Solothurn 1943-46. After the first season at Biel-Solothurn was over he served as an assistant to Furtwängler prior to the opening of his second season there. After Biel-Solothurn, he became Ernest Ansermet's assistant with the Orchestre de la Suisse Romande. Conductor, Maag was first conductor at the Düsseldorf Opera 1952-55. He became Generalmusikdirektor of the Bonn City Theater 1955-1959. His first appearance at the Royal Opera House Covent Garden was in 1959, with Mozart's Die Zauberflote. In the same year he made his debut at the Glyndebourne Festival Opera in Mozart's Le nozze di Figaro. His U.S. debut was as guest conductor in 1959 of the Minneapolis Symphony Orchestra, and he made his U.S. opera debut in 1961 at the Lyric Theatre in Chicago with Mozart's Così fan tutte. Retreat into Religion, In 1962, Maag abandoned his musical career. Believing he was losing touch with music and theology, he sought guidance first from the Greek Orthodox Church and then planned to spend a few months at a Buddhist monastery near Hong Kong. "I decided it was time to retire because I was having too much success," Maag said. A few months spread to over two years. "Those two years spent meditating and praying in a small cell purified my soul." Maag's retreat proved to be a detriment to his career when he returned to the world of conducting. Return to Conducting, He was the chief conductor of the Vienna Volksoper 1964-68. His Metropolitan Opera debut was made on September 23, 1972 with Mozart's Don Giovanni. He became artistic director of the Teatro Regio di Parma in 1972 and the Teatro Regio in Turin in 1974. He held posts at the RAI Symphony Orchestra, Turin and the Orquesta Nacional de España. He was the music director of the Berner Symphonie-Orchester 1984-91. He was also a frequent guest conductor with orchestras and opera houses worldwide. Recordings, He began recording for Decca Records in October 1950 with the Orchestre de la Suisse Romande. These monaural recordings included Mozart's Symphony No. 29 and Symphony No. 34 and Serenade No. 9 "Posthorn". Maag's early stereophonic sound recordings for Decca were well-received and many have remained in the catalogs for decades. The original LPs, particularly with the London Symphony Orchestra, have become collector's items. He began recording with the London Symphony Orchestra in February 1957. This included a series of Mendelssohn and Mozart works, and the Schumann Piano Concerto. Maag's favorite recordings came from this association: Mozart's Symphony No. 29 and Symphony No. 34. Maag also recorded two LPs with the Orchestre de la Société des Concerts du Conservatoire in November 1958 with works of Chopin, Delibes, and Rossini. For Decca he also recorded Verdi's Luisa Miller with the National Philharmonic Orchestra in June 1975 and Paer's Leonora with the Bavarian Symphony Orchestra (likely the Bavarian State Orchestra) in June and July 1978. Other labels he recorded for include Arts, Conifer, Deutsche Grammophon, MCA Records, Naxos Records, Nuova Era, RCA Red Seal Records, and Vox Records. Marriages and Children, Maag's first wife was Jasmina Božin, a stage designer from Bosnia-Herzegowina. Maag was survived by his second wife, Marica Franchi (Marika); a son (Georg, writer: 1) and a daughter (Costanza, from his second wife). Awards, Toscanini Medal (1968), Verdi Medal (1973), Toscanini Presentation Baton (1975) ...show more

Peter Maag (Ernst Peter Johannes Maag) was a Swiss conductor. Life, He was born May 10, 1919 in St. Gallen, Switzerland and died April 16, 2001 in Verona, Italy. His father, Otto, was a Lutheran minister and his mother, Nelly, a violinist who performed in the Capet Quartet as second violinist. His great uncles were conductors Emil and Fritz Steinbach. Peter attended the universities of Zürich, Basel, and Geneva. He was mentored by Karl Barth and Emil Brunner in theology, and Karl Jaspers in philosophy. He studied piano and theory with Czesław Marek in Zürich and received further training on piano with Alfred Cortot in Paris. His conducting mentors were Ernest Ansermet, Wilhelm Furtwängler, and Franz von Hoesslin. Son Georg Maag is writer of children's books Georg maag. Association with Furtwangler, He described his association with Wilhelm Furtwängler to be the most important in his life. He performed as pianist in a Furtwängler concert with Beethoven's Piano Concerto No. 4 in G major. As recounted by Maag, Furtwängler told him: ""Why don't you try to conduct? I have observed you while you were playing the concert tonight, staring at the orchestra more than at the keyboard. It was more you than me that have given the entry". He followed Furtwängler advice to start out at a small theatre. His new career began as répétiteur and then director at the Swiss Theater Biel-Solothurn 1943-46. After the first season at Biel-Solothurn was over he served as an assistant to Furtwängler prior to the opening of his second season there. After Biel-Solothurn, he became Ernest Ansermet's assistant with the Orchestre de la Suisse Romande. Conductor, Maag was first conductor at the Düsseldorf Opera 1952-55. He became Generalmusikdirektor of the Bonn City Theater 1955-1959. His first appearance at the Royal Opera House Covent Garden was in 1959, with Mozart's Die Zauberflote. In the same year he made his debut at the Glyndebourne Festival Opera in Mozart's Le nozze di Figaro. His U.S. debut was as guest conductor in 1959 of the Minneapolis Symphony Orchestra, and he made his U.S. opera debut in 1961 at the Lyric Theatre in Chicago with Mozart's Così fan tutte. Retreat into Religion, In 1962, Maag abandoned his musical career. Believing he was losing touch with music and theology, he sought guidance first from the Greek Orthodox Church and then planned to spend a few months at a Buddhist monastery near Hong Kong. "I decided it was time to retire because I was having too much success," Maag said. A few months spread to over two years. "Those two years spent meditating and praying in a small cell purified my soul." Maag's retreat proved to be a detriment to his career when he returned to the world of conducting. Return to Conducting, He was the chief conductor of the Vienna Volksoper 1964-68. His Metropolitan Opera debut was made on September 23, 1972 with Mozart's Don Giovanni. He became artistic director of the Teatro Regio di Parma in 1972 and the Teatro Regio in Turin in 1974. He held posts at the RAI Symphony Orchestra, Turin and the Orquesta Nacional de España. He was the music director of the Berner Symphonie-Orchester 1984-91. He was also a frequent guest conductor with orchestras and opera houses worldwide. Recordings, He began recording for Decca Records in October 1950 with the Orchestre de la Suisse Romande. These monaural recordings included Mozart's Symphony No. 29 and Symphony No. 34 and Serenade No. 9 "Posthorn". Maag's early stereophonic sound recordings for Decca were well-received and many have remained in the catalogs for decades. The original LPs, particularly with the London Symphony Orchestra, have become collector's items. He began recording with the London Symphony Orchestra in February 1957. This included a series of Mendelssohn and Mozart works, and the Schumann Piano Concerto. Maag's favorite recordings came from this association: Mozart's Symphony No. 29 and Symphony No. 34. Maag also recorded two LPs with the Orchestre de la Société des Concerts du Conservatoire in November 1958 with works of Chopin, Delibes, and Rossini. For Decca he also recorded Verdi's Luisa Miller with the National Philharmonic Orchestra in June 1975 and Paer's Leonora with the Bavarian Symphony Orchestra (likely the Bavarian State Orchestra) in June and July 1978. Other labels he recorded for include Arts, Conifer, Deutsche Grammophon, MCA Records, Naxos Records, Nuova Era, RCA Red Seal Records, and Vox Records. Marriages and Children, Maag's first wife was Jasmina Božin, a stage designer from Bosnia-Herzegowina. Maag was survived by his second wife, Marica Franchi (Marika); a son (Georg, writer: 1) and a daughter (Costanza, from his second wife). Awards, Toscanini Medal (1968), Verdi Medal (1973), Toscanini Presentation Baton (1975)

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