with the Berlin Philharmonic, Boston Symphony, Chicago Symphony, Cleveland, Israel Philharmonic, London Symphony, New York Philharmonic, Vienna Philharmonic and Royal Concertgebouw orchestras, among others. His final concert was with the Czech Philharmonic. Last years In 1985, ill-health (notably severe arthritis in his back) caused Kubelík to retire from full-time conducting, but the fall of Communism in his native land led him to accept an invitation to return in 1990 to conduct the Czech Philharmonic at the festival he had founded, the Prague Spring Festival. He recorded Smetana's Má Vlast live with the Czech Philharmonic for Supraphon, his fifth recording of the piece. He also recorded the Mozart "Prague" Symphony and Dvořák's "New World" Symphony at the festival. During the rehearsal of the "New World," he told the Czech Philharmonic, "It is my joy to hear this. I always wanted it to sound like this but never really found it with any other orchestra in the world. That eighth [note] is great!" On October 18, 1991, Kubelík shared the podium with Sir Georg Solti and Daniel Barenboim and the Chicago Symphony Orchestra in a performance that re-created the orchestra's inaugural October 16 and 17, 1891, concerts. Kubelík led the final work on the program: Antonín Dvořák's Husitská Overture. Kubelík died in 1996, aged 82, in Kastanienbaum, in the Canton of Lucerne, Switzerland. His ashes are interred next to the grave of his father in Slavín, Vyšehrad cemetery in Prague. Compositions Among Kubelík's compositions are five operas, three symphonies, three settings of the requiem, other choral works, many pieces of chamber music, and songs. Salter describes his musical style as "neo-romantic". Selected recordings Kubelík recorded a large repertory, in many cases more than once per work. There are two complete recordings of his traversals of three major symphony cycles – those of Brahms, Schumann, and Beethoven. When Kubelík recorded his first complete Beethoven symphony cycle for Deutsche Grammophon, he employed nine different orchestras, one for each symphony. His complete cycle of Mahler's symphonies (recorded from 1967 to 1971 with the Bavarian Radio Symphony Orchestra) is highly regarded. Of his Mahler, Daniel Barenboim remarked, "I often thought I was missing something in Mahler until I listened to Kubelík. There is a lot more to be discovered in these pieces than just a generalized form of extrovert excitement. That is what Kubelík showed." Kubelík also left much-admired recordings of operas by Verdi (his Rigoletto