Bach's 21st cantata, "Ich hatte viel Bekümmernis, BWV 21" ("I had much grief"), with Jonathan Sternberg conducting Hugues Cuénod and other soloists, chorus and orchestra.
"What speaks for the Solomons' steadfastness in their taste and their task", wrote a Billboard journalist in November 1966, "is that this record is still alive in the catalogue (SC-501).
Their singers, Phil Ochs and Judy Collins, were recorded at Newport, as was dynamic young Columbia artist Bob Dylan.
Solomon insisted on a clean appearance on stage, and clear diction, views in accord with majority public opinion at the time.
[citation needed] The numerous popular classical music series released by the Solomons on Vanguard and Bach Guild between 1950 and 1966 include, in addition to 22 Bach cantatas, pieces from the English Madrigal School performed by the Deller Consort, Italian and French madrigal masterpieces, Elizabethan and Jacobean music, Henry Purcell and the virtuoso trumpet, virtuoso flute and virtuoso oboe, along with German University Songs with Erich Kunz, songs of the Auvergne, Viennese dances with Willi Boskovsky, traditional songs by Roland Hayes, Vivaldi's Four Seasons and other concertos from I Solisti di Zagreb, music by Ralph Vaughan Williams, numerous Haydn symphonies performed by the Esterhazy Orchestra, a double LP of Gluck's opera Orfeo ed Euridice sung in Italian with the Vienna State Opera Orchestra led by Charles Mackerras, and an influential Mahler cycle with the Utah Symphony conducted by Maurice Abravanel.
[3] Solomon later began a second career as a musicologist, notably as author of composer biographies, and his work (particularly his studies of Mozart and Beethoven) has met with both acclaim and criticism.
Where Solomon's work stands out is in his ability and willingness to launch striking and novel claims, often in the face of skepticism from the scholarly community.
The data he used were in general not new to scholarship, but he attempted to sift through the facts in novel ways: things like the details of mail coach schedules, close interpretation of letters, study of slang terms used by gay people, and so on, were marshaled to make the case for the surprising conclusion.
For instance, Tellenbach describes his work as involving "anachronistic assumptions and a lack of understanding of eighteenth- and nineteenth-century German.
[9] It was the suggestion that Schubert was gay that gave rise to the greatest controversy, attracting sufficient attention to be reported in the New York Times.
[11][12] Her position is summarized in the last sentences of Steblin (1993:27): To put it bluntly, there is no evidence that Schubert or the members of his circle were homosexuals.
An associate editor of American Imago, and co-founder of the Bach Guild (a subsidiary Vanguard record label), he also published articles in applied psychoanalysis and edited several books on aesthetics.