Wishing a very happy eightieth birthday to the fantastic Australian mezzo-soprano, Yvonne Minton!

Minton has appeared as soloist with the Chicago Symphony Orchestra on a number of notable occasions—in concert and on recording—between 1970 and 1981, indicated below:

April 2 and 3, 1970, Orchestra Hall
MAHLER Lieder eines fahrenden Gesellen
Yvonne Minton, mezzo-soprano
Georg Solti, conductor
Recorded by London Records on April 1 and 7, 1970, in Orchestra Hall. The recording was produced by David Harvey; Gordon Parry and James Lock were the balance engineers.

April 1 and 7, 1970 (recording sessions only, no public performances)
MAHLER Songs from Des Knaben Wunderhorn (“Das irdische Leben,” “Verlorne Müh’,” “Wo die schönen Trompeten blasen,” and “Rheinlegendchen”)
Yvonne Minton, mezzo-soprano
Georg Solti, conductor
Recorded by London Records in Orchestra Hall. The recording was produced by David Harvey; Gordon Parry and James Lock were the balance engineers.

May 4, 5, and 6, 1972, Orchestra Hall
MAHLER Das Lied von der Erde
Yvonne Minton, mezzo-soprano
René Kollo, tenor
Sir Georg Solti, conductor
Recorded by London Records on May 8 and 9, 1972, at the Krannert Center for the Performing Arts, University of Illinois at Urbana-Champaign. The recording was produced by David Harvey; Kenneth Wilkinson and Gordon Parry were the balance engineers.

May 12 and 13, 1972, Orchestra Hall
BEETHOVEN Symphony No. 9 in D Minor, Op. 125
Pilar Lorengar, soprano
Yvonne Minton, mezzo-soprano
René Kollo, tenor
Martti Talvela, bass
Chicago Symphony Chorus
Margaret Hillis, director
Sir Georg Solti, conductor
Recorded by London Records on May 15, 16, and 26, 1972, at the Krannert Center for the Performing Arts, University of Illinois at Urbana-Champaign. The recording was produced by David Harvey; Kenneth Wilkinson and James Lock were the balance engineers. This recording was ultimately released as part of a set of Beethoven’s complete symphonies (along with three overtures: Egmont, Coriolan, and Leonore no. 3); that set won the 1975 Grammy Award for Classical Album of the Year from the National Academy of Recording Arts and Sciences.

April 24 and 26, 1975, Orchestra Hall
April 30, 1975, Carnegie Hall
VERDI Requiem
Sir Georg Solti, conductor
Leontyne Price, soprano
Yvonne Minton, mezzo-soprano
Luciano Pavarotti, tenor
Gwynne Howell, bass
Chicago Symphony Chorus
Margaret Hillis, director

May 5, 6, and 7, 1977, Orchestra Hall
May 13, 1977, Carnegie Hall
BEETHOVEN Missa solemnis in D Major, Op. 123
Lucia Popp, soprano
Yvonne Minton, mezzo-soprano
Mallory Walker, tenor
Gwynne Howell, bass
Chicago Symphony Chorus
Margaret Hillis, director
Sir Georg Solti, conductor
The work was recorded in Chicago’s Medinah Temple on May 16, 17, and 18, 1977. For London Records, Ray Minshull was the producer and Kenneth Wilkinson, John Dunkerley, and Michael Mailes were the engineers. The recording won the 1978 Grammy Award for Best Choral Performance, Classical (other than opera) from the National Academy of Recording Arts and Sciences.

March 26, 27, and 28, 1981, Orchestra Hall
BRUCKNER Te Deum
Jessye Norman, soprano
Yvonne Minton, mezzo-soprano
David Rendall, tenor
Samuel Ramey, bass
Chicago Symphony Chorus
Margaret Hillis, director
Daniel Barenboim, conductor

Happy, happy birthday!

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Wishing a very happy seventieth birthday to the wonderful American soprano, Barbara Hendricks!

Hendricks has appeared as soloist with the Chicago Symphony Orchestra on a number of notable occasions between 1974 and 1985, indicated below:

December 5, 6, and 7, 1974, Orchestra Hall
AMY D’un epace deploye (U.S. premiere)
Barbara Hendricks, soprano
Anthony Paratore, piano
Joseph Paratore, piano
Sir Georg Solti, conductor
Gilbert Amy, conductor
MOZART Vorrei spiegarvi, oh Dio!, K. 418
Barbara Hendricks, soprano
Sir Georg Solti, conductor

October 7, 8, and 9, 1976, Orchestra Hall
DEL TREDICI Final Alice (world premiere)
Barbara Hendricks, soprano
Sir Georg Solti, conductor

March 3, 4, and 5, 1977, Orchestra Hall
March 7, 1977, Uihlein Hall, Milwaukee, Wisconsin
DEBUSSY La Damoiselle élue
Barbara Hendricks, soprano
Ellen Stanley, mezzo-soprano
Women of the Chicago Symphony Chorus
Margaret Hillis, director
Gennady Rozhdestvensky, conductor

October 27 and 28, 1977, Orchestra Hall
October 31, 1977, Carnegie Hall
MAHLER Symphony No. 8 in E-flat Major
Sir Georg Solti, conductor (October 27 and 28)
Margaret Hillis, conductor (October 31)
Christiane Eda-Pierre, soprano
Lucia Popp, soprano
Barbara Hendricks, soprano
Jan DeGaetani, mezzo-soprano
Helen Watts, contralto
Kenneth Riegel, tenor
William Walker, baritone
Donald Gramm, bass
Chicago Symphony Chorus
Margaret Hillis, director
Glen Ellyn Children’s Chorus
Doreen Rao, director

David Del Tredici with Sir Georg Solti and Barbara Hendricks in Chicago, October 1976 (Terry’s photo)

October 26 and 27, 1979, Orchestra Hall
DEL TREDICI Final Alice
Barbara Hendricks, soprano
Sir Georg Solti, conductor
Recorded by London Records on October 27, 1979, January 29, and 30, 1980, in Orchestra Hall. The recording was produced by James Mallinson; James Lock, John Dunkerley, and Michael Mailes were the recording engineers.

December 19, 20, and 21, 1985
STRAUSS Scenes from Der Rosenkavalier, Op. 59
Mechthild Gessendorf, soprano
Barbara Hendricks, soprano
Ann Murray, mezzo-soprano
Erich Leinsdorf, conductor

Happy, happy birthday!

Chicago’s Welcome to Our Heroes, Kaufmann & Fabry, U.S., 1919

Looking south from the Art Institute, a parade of American soldiers marches up Michigan Avenue in this image from the Pritzker Military Museum & Library collections. Orchestra Hall—complete with movie marquee—can be seen at the far right.

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Chicago Tribune, August 25, 1920

The Nineteenth Amendment—giving women the right to vote—passes the House of Representatives on May 21 and the Senate on June 4, 1919, and is ratified on August 18, 1920. Chicago’s League of Women Voters soon parade through the city, encouraging women to register to vote in upcoming presidential election.

The influenza epidemic in Chicago first appeared at the Great Lakes Naval Training Station on September 8, 1918, and two weeks later, cases began appearing within the city. At the height of the epidemic in October, all of the city’s theaters—including Orchestra Hall—movie houses, and night schools were ordered closed, disrupting the CSO season for two weeks. By the epidemic’s end in November, over 50,000 cases of influenza and pneumonia had been reported. The article is here.

Prokofiev’s program biography, December 1918

During Sergei Prokofiev’s first visit to America, he appears with the Chicago Symphony Orchestra on December 6 and 7, 1918, in two U.S. premieres: as soloist in his First Piano Concerto (under the baton of assistant conductor Eric DeLamarter) and conducting his Scythian Suite.

December 16 and 17, 1921

Prokofiev returns to Chicago and performs as soloist with the Orchestra on December 16 and 17, 1921, giving the world premiere of his Third Piano Concerto with Frederick Stock conducting. Two weeks later, he leads the Chicago Opera in the world premiere of his The Love for Three Oranges at the Auditorium Theatre on December 30.

On July 27, 1919, seventeen-year-old Eugene Williams, an African American, was swimming in Lake Michigan when he crossed the unofficial barrier at 29th Street between the city’s “black” and “white” beaches. A group of white men pelted stones at Williams and he soon drowned. Black eyewitnesses identified the aggressors when the police arrived, but they refused to arrest them. News of the event spread and violence soon erupted, primarily in the city’s South Side neighborhoods. Riots, shootings, and arson attacks continued through August 3, leaving nearly forty dead, over 500 injured, and more than 1,000 black families homeless. The article is here.

On October 9, 1919, the Cincinnati Reds clinch their first World Series victory, winning game eight against the Chicago White Sox, amid suspicions that the games had been fixed. A grand jury convenes in September 1920 and indicts eight White Sox players who, though acquitted in 1921, are permanently banned from the game. The article is here.

Chicago Tribune, January 15, 1920

The Eighteenth Amendment to the U.S. Constitution is ratified on January 16, 1919 authorizing prohibition of the manufacture, transportation, and sale of alcohol, beginning the following year. The amendment’s passing on December 17, 1917, was possible in part due to the wave of anti-German sentiment. Since many of the nation’s beer brewers were German, Prohibition became closely tied to American patriotism. The amendment is repealed on December 5, 1933, with the ratification of the Twenty-first Amendment.

First Children’s Concert program and Anita Malkin

On November 20, 1919, Frederick Stock leads the first of a regular series of Children’s Concerts specifically designed to introduce young Chicagoans to music. After hearing several auditions from promising young instrumentalists, Stock chooses eight-year-old Anita Malkin to become the first youth soloist on a Children’s Concert, and she performs the first movement of Rode’s Violin Concerto with the Orchestra on February 12, 1920.

Sergei Rachmaninov (Kubey-Rembrandt Studio, Library of Congress) and Orchestra Hall in the summer of 1920

January 23 and 24, 1920, Sergei Rachmaninov is soloist in his Third Piano Concerto. Frederick Stock conducts.

During the summer months, Orchestra Hall frequently was used as a movie house, and in 1920, Paramount PicturesHumoresque—a silent film based on Fannie Hurst’s short story—enjoyed a multi-week run.

On December 31, 1920, Frederick Stock leads the Orchestra in the U.S. premiere of Gustav Holst’s The Planets, less than two months after the world premiere in London. Stock also leads the Orchestra in the U.S. premiere of Gustav Mahler’s Seventh Symphony on April 15, 1921.

Chicago American, December 19, 1921

On December 18, 1921, Richard Strauss returns to Chicago to lead the Orchestra in a special concert at the Auditorium Theatre. The program includes his Also sprach Zarathustra, Death and Transfiguration, and the love scene from his opera Feuersnot, along with several songs—“Morgen!,” “Wiegenlied,” “Freundliche Vision,” and “Ständchen”—with soprano Claire Dux.

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A Time for Reflection—A Message of Peace—a companion exhibit curated by the Rosenthal Archives of the Chicago Symphony Orchestra in collaboration with the Pritzker Military Museum & Library—will be on display in Symphony Center’s first-floor rotunda from October 2 through November 18, and the content also will be presented on CSO Sounds & Stories and the From the Archives blog.

This article also appears here. For event listings, please visit cso.org/armistice.

This exhibit is presented with the generous support of COL (IL) Jennifer N. Pritzker, IL ARNG (Retired), Founder and Chair, Pritzker Military Museum & Library, through the Pritzker Military Foundation.

Additional thanks to Shawn Sheehy and Jenna Harmon, along with the Arts Club of Chicago, Newberry Library, Poetry Foundation, and Ravinia Festival Association.

Assembly on Parade Ground at Great Lakes Naval Training Station, Kauffman & Fabry, U.S. 1918

Thousands of soldiers stand in formation at the Great Lakes Naval Training Station in this 1918 image at right from the Pritzker Military Museum & Library collections.

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During the second decade of the twentieth century, Chicago was an extraordinary hub of cultural activity. Art, architecture, literature politics, music, and sports all contributed to the city’s vibrant landscape.

Chicago Grand Opera Company program and Mary Garden (Herman Mishkin, Library of Congress)

The Chicago Grand Opera Company—the city’s first resident opera company—opens its first season on November 3, 1910, at the Auditorium Theatre. Cleofante Campanini conducts Verdi’s Aida with Janina Korolewicz in the title role, Nicola Zerola as Radamès, and Eleanor de Cisneros as Amneris. The fourth and final season of the company comes to a close on January 31, 1914, with a matinee of Février’s Monna Vanna starring Mary Garden and an evening performance of Flotow’s Martha with Jenny Dufau and Ralph Errolle under the baton of Arnold Winternitz.

Fine Arts Building (V.O. Hammon Publishing Company) and Rue Winterbotham Carpenter (Paul Thevenaz, Collection of the Arts Club of Chicago)

In 1912, Ellen Van Volkenburg and Maurice Browne establish the Chicago Little Theatre, performing Greek classics, works by contemporary writers, and puppetry at the Fine Arts Building. Founded in March 1916, the Arts Club of Chicago also moves into the Fine Arts Building on the fifth floor, and charter members include Rue Winterbotham Carpenter and her husband, composer John Alden Carpenter, along with Frederick Stock.

Ravinia Park and Poetry: A Magazine of Verse

During the first season of the Ravinia Opera Company in 1912, Gustav Hinrichs leads the Orchestra in acts and extended scenes from Puccini’s Madama Butterfly and La bohème; Verdi’s Aida , La traviata, and Il trovatore; Massenet’s Thaïs; Gounod’s Faust; Donizetti’s Lucia di Lammermoor; and Wagner’s Lohengrin. On August 21, the company presents its first full-length production: Masagani’s Cavalleria rusticana with Jane Abercrombie as Santuzza and Henri Baron as Turriddu.

Founded by Harriet Monroe, the first edition of Poetry: A Magazine of Verse is published in Chicago in October 1912.

Roosevelt in the Auditorium Theatre (Moffett Studio, Library of Congress)

The 1912 Progressive “Bull Moose” Party Convention culminates at the Auditorium Theatre on August 6 with Theodore Roosevelt, president from 1901 until 1909, proclaiming, “We stand at Armageddon, and we battle for the Lord!” He had attempted and failed to wrangle the Republican nomination from his successor and incumbent president William Howard Taft, so Roosevelt’s supporters declared their independence and formed a third party behind their candidate, who boasted he felt “strong as a bull moose.” Democratic New Jersey governor Woodrow Wilson won the November 5 election in a landslide against the divided Republicans.

In April 1913, the International Exhibition of Modern Art is mounted at the Art Institute of Chicago, introducing local audiences to the works of Marcel Duchamp, Wassily Kandinsky, and Pablo Picasso, among numerous others. Students at the School of the Art Institute hold a mock trial of “Henry Hair Mattress” (Henri Matisse), finding him guilty of “artistic murder, pictorial arson . . . and contumacious abuse of title” and burning copies of his Blue Nude, Luxury II, Red Madras Headdress, and The Red StudioThe articles are here and here.

Frank Lloyd Wright’s subscriber card and Morton’s Jelly Roll Blues William and Frederick Starmer, Will Rossiter Publishing)

An occasional Chicago Symphony Orchestra subscriber, Frank Lloyd Wright also has an office in Orchestra Hall from 1913 until 1916. (It has long been rumored that he skipped out without paying his final months’ rent.)

While living in Chicago, Ferd “Jelly Roll” Morton publishes his Jelly Roll Blues in 1915, widely acknowledged as the first published jazz composition.

On October 14, 1917, composer and pianist Ignace Paderewski gives a speech to over 40,000 people— “the largest Polish assemblage ever seen in Chicago,” according to the Chicago Tribune—at the Dexter Park Pavilion (a horse racing track located next to the Union Stock Yards) advocating for a Poland free of Austro-Hungarian rule. The article is here.

“King” Oliver and his band  (Frank Driggs Collection)

In early 1918, Joe “King” Oliver moves to Chicago, bringing his New Orleans brass and dance band style with him. To win over northern audiences, many jazz bands played up their southern roots while drawing on stereotypes made familiar through minstrel shows, as can be seen in this image. Oliver’s style also was called “hot jazz,” later inspiring the name of Louis Armstrong’s Hot Five and Hot Seven bands of the 1920s. By the end of the decade, Chicago develops a style all its own, emerging as an important center for the genre.

Geraldine Farrar (Bain Collection, Library of Congress) and Carl Sandburg (National Park Service)

Geraldine Farrar is the star of the Chicago Opera Association’s first season opening in November 1915, appearing in the title roles in Puccini’s Tosca, Madama Butterfly, and Bizet’s Carmen, and Marguerite in Gounod’s Faust.

In 1916, Carl Sandburg’s Chicago Poems is published. He is soon awarded the Pulitzer Prize for Poetry for his Cornhuskers, published in 1918 and written while he lived in Evanston and Elmhurst, Illinois.

Chicago White Sox (Bain Collection, Library of Congress)

The Chicago White Sox win the 1917 World Series on October 15, defeating the New York Giants in game six. The winning team included outfielders “Shoeless” Joe Jackson, Shano Collins, Happy Felsch, Eddie Murphy, and Nemo Leibold.

War Exposition (Pritzker Military Museum & Library)

The U.S. Government War Exposition travels to Grant Park and nearly two million Chicagoans visit between September 2 and 15, 1918. Designed to encourage public support of the war, the exposition includes displays of new technologies, trench warfare and weaponry, and medical treatments.

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A Time for Reflection—A Message of Peace—a companion exhibit curated by the Rosenthal Archives of the Chicago Symphony Orchestra in collaboration with the Pritzker Military Museum & Library—will be on display in Symphony Center’s first-floor rotunda from October 2 through November 18, and the content also will be presented on CSO Sounds & Stories and the From the Archives blog.

This article also appears here. For event listings, please visit cso.org/armistice.

This exhibit is presented with the generous support of COL (IL) Jennifer N. Pritzker, IL ARNG (Retired), Founder and Chair, Pritzker Military Museum & Library, through the Pritzker Military Foundation.

Additional thanks to Shawn Sheehy and Jenna Harmon, along with the Arts Club of Chicago, Newberry Library, Poetry Foundation, and Ravinia Festival Association.

Enlist: On Which Side of the Window are
You?,
Laura Brey, U.S., 1917

The recruitment poster at right, from the Pritzker Military Museum & Library collections, shows a civilian man looking out a window as soldiers march to service.

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Boston Globe, March 26, 1918

For a Boston Symphony Orchestra performance in Providence on October 30, 1917, several Rhode Island ladies’ clubs had contacted orchestra manager Charles Ellis, requesting the addition of The Star-Spangled Banner to the concert. After consulting with BSO founder Henry Higginson, Ellis decided not to change the program. Unaware of the request, music director Karl Muck—born in Germany but naturalized as a Swiss citizen—after the concert was accused in the press of working for the German cause and eventually arrested on March 25, 1918. He also was imprisoned at Fort Oglethorpe in Georgia until August 1919, when he and his wife were deported. The article is here.

Ernst and Lina Kunwald, December 8, 1917 (National Archives and Records Administration)

Music director of the Cincinnati Symphony Orchestra since 1912, Ernst Kunwald continued to express pride in his Austrian heritage during the war. He led The Star-Spangled Banner before one concert but only after expressing to the orchestra and the mostly German audience that his sympathies were with his homeland. Kunwald was arrested by the U.S. Marshals Service on December 8, 1917, and released the following day, whereupon he resigned his post as conductor. One month later, he was interned under the Alien Enemies Act at Fort Oglethorpe and was deported soon thereafter.

Theodore Thomas and Frederick Stock

At the invitation of founder and first music director Theodore Thomas, Frederick Stock came to the U.S. in 1895 to join the Orchestra as assistant principal viola. He applied for his first U.S. citizenship papers four days after his arrival, but inadvertently neglected to complete the process. He was promoted to assistant conductor in 1899, and shortly after Thomas’s unexpected death on January 4, 1905, the board of trustees soon elected Frederick Stock as the Orchestra’s second music director on April 11.

Columbia Graphophone Company 1917 recording

Stock’s arrangement of The Star-Spangled Banner

In 1916, on the eve of U.S. involvement in the war, President Woodrow Wilson ordered The Star-Spangled Banner to be played at military and other notable events. Stock made his own orchestration of the Banner along with America (My Country ’Tis of Thee) and recorded both with the Orchestra for the Columbia Graphophone Company on May 28, 1917.

Stock’s fingerprints (FBI Case Files, National Archives)

When the trustees encouraged Stock to finalize his citizenship—to deflect concerns over his German heritage—he discovered that his 1895 application was invalid and needed to start the process a second time. But first, Stock had to submit a Registration Affidavit of Alien Enemy, complete with fingerprints, on February 7, 1918.

With his citizenship status incomplete and the country at war, on August 17, 1918, Frederick Stock made the decision to resign, asserting his loyalty to the U.S. “I do not hesitate to classify myself as American, because all who know me are aware that at heart, in thought and in spirit, as well as in action and deed, I am American, just as willing as any patriot to give my last drop of blood and my last penny for the land of my adoption and of my affections.” Stock’s handwritten letter and a transcript are here.

The trustees of the Orchestral Association reluctantly accepted Stock’s resignation on October 1, 1918. Acknowledging that he had changed the language at rehearsals to English in 1914 and had programmed countless works by American composers, the board expressed its hope that the separation would be temporary, and it would soon be their “joy to welcome to our conductor’s stand Citizen Stock.” The transcript of the board meeting minutes is here.

Eric DeLamarter

Chicago composer Eric DeLamarter, was hired as assistant conductor and led the first concerts of the 1918-19 season. DeLamarter also served as organist at Fourth Presbyterian Church from 1914 and as the first conductor of the Grant Park Music Festival beginning in 1935.

Chicago Daily News, February 20, 1919

At the trustees’ meeting on February 14, 1919, Orchestra manager Frederick Wessels reported that Stock “had complied with all the requirements of the law,” having filed the necessary papers on February 7; ninety days later, his citizenship would be complete. The executive committee met five days later and unanimously resolved that Stock should resume his music directorship the following week.

February 28, 1919

On February 28, 1919, “as Mr. Stock came through the door . . . cheers sounded in the upper tiers, and the audience rose to utter its gladness that he was back at the post.” That evening’s program began with The Star-Spangled Banner and concluded with the world premiere of Stock’s new March and Hymn to Democracy, “conceived,” according to the composer, “in the spirit of our day, a spirit, indeed, of world-wide turbulence and strife, but also a spirit imbued with unending hope and implicit faith in the ultimate regeneration of humanity.”

Linda Wolfe at the Frederick Stock School

Linda Wolfe, Stock’s great-granddaughter, added: “Most of Frederick Stock’s adult life had been with the Chicago Symphony Orchestra—ten years as a violist and thirteen as music director—when he was classified as an alien enemy. He was forced to temporarily step down from the podium, and I cannot imagine his anguish and heartache. However, Stock’s devotion to the ensemble and the city did not waver during this dark time, as he spent his exile developing plans for the Civic Orchestra, the series of children’s concerts, and the youth auditions, all endeavors that continue to thrive today.”

Wolfe is pictured here at the Frederick Stock School in Chicago’s Edison Park neighborhood. Opened in 1955, Stock School is a Chicago Public School early childhood center for students between the ages of three and five, providing a model program for children with and without disabilities.

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A Time for Reflection—A Message of Peace—a companion exhibit curated by the Rosenthal Archives of the Chicago Symphony Orchestra in collaboration with the Pritzker Military Museum & Library—will be on display in Symphony Center’s first-floor rotunda from October 2 through November 18, and the content also will be presented on CSO Sounds & Stories and the From the Archives blog.

This article also appears here. For event listings, please visit cso.org/armistice.

This exhibit is presented with the generous support of COL (IL) Jennifer N. Pritzker, IL ARNG (Retired), Founder and Chair, Pritzker Military Museum & Library, through the Pritzker Military Foundation.

Additional thanks to Shawn Sheehy and Jenna Harmon, along with the Arts Club of Chicago, Newberry Library, Poetry Foundation, and Ravinia Festival Association.

Step into Your Place, David Allen & Sons, England, 1915

The recruitment poster at left, from the Pritzker Military Museum & Library collections, shows men in civilian attire falling into formation, joining ranks of soldiers marching into the distance.

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Walter Guetter and Wendell Hoss

Bassoon Walter Guetter (1895–1937) was hired by Frederick Stock in 1915, after auditioning at Willow Grove Park, where the Chicago Symphony Orchestra regularly performed summer concerts. He was promoted to principal bassoon during his second season and temporarily left the Orchestra in 1918 to serve in the U.S. Navy at the Great Lakes Naval Training Station. After the war, Guetter returned to the principal chair through 1922 until he was invited by Leopold Stokowski to join the Philadelphia Orchestra, also as principal bassoon.

Wendell Hoss (1892–1980) joined the Chicago Symphony Orchestra’s horn section in June 1917 for the Ravinia Park and subsequent downtown seasons, and he joined the U.S. Navy the following summer, serving at the Great Lakes Naval Training Station. After his year in the Navy, Hoss played in the Los Angeles Symphony Orchestra and the Cleveland Orchestra before returning to Chicago for one season as principal horn in 1922–23. He later taught at the Eastman School of Music, performed in the Disney recording studios, and was a co-founder of the International Horn Society.

Otto, Edward, and Henri Hyna

Czechoslovakia native Otto Hyna (1886–1951) emigrated to the U.S. in 1904 and later served in the National Guard as a member of the First Wisconsin Regiment of Field Artillery in 1917. Following his military service, he was principal bass of the Minneapolis Symphony Orchestra from 1921 until 1923. Hyna joined the Chicago Symphony Orchestra’s bass section in 1930, where he remained until 1950. Otto’s brothers Edward and Henri also were members of the Orchestra’s string section. Edward (1897–1958) served as a violinist from 1929 until 1943, and Henri (1901–1955) also was a violinist from 1928 until 1932.

For the final concert of the 1917–18 season, Frederick Stock opened the concert with America and closed with his Festival March and The Star-Spangled Banner. A new stage decoration recognized musicians serving the U.S. military. The article is here.

Frederick Stock led the Orchestra in a concert at Fort Sheridan on October 21, 1917. According to the Chicago Tribune, Company 21 celebrated after the concert with a dinner that included: “Turkey à la Cook (in honor of company commander Captain Louis H. Cook), oyster dressing à la Smith (in honor of company instructor Captain Horace Smith), first platoon gravy, Murphys [potatoes] à la pick and shovel, shrapnel peas, dugout olives, bayonet celery, grenade cranberry sauce, trench coffee, [and] periscope pie . . .” The article is here.

During the 1919–20 season, Frederick Stock inaugurated three major initiatives to cultivate future generations of musicians and concertgoers: a regular series of Children’s Concerts, Youth Auditions, and the Civic Music Student Orchestra.

Chicago Tribune, January 30, 1920

One of the goals of the Civic Orchestra was “to reduce the dependence of this country upon European sources of supply for trained orchestral musicians” as well as to function as a reserve of talent from which to draw into the Chicago Symphony Orchestra. The article is here.

First Civic Orchestra Program, March 29, 1920

Five hundred young musicians auditioned in January 1920, eighty-six were accepted, and the first rehearsal was held in Orchestra Hall on January 27.

Stock and the Civic Orchestra in March 1920

The ensemble made its debut on March 29, 1920, and the roster included future Chicago Symphony Orchestra members (including John Weicher, who became concertmaster in 1937). Frederick Stock, Eric DeLamarter, and George Dasch (also a member of the Orchestra’s violin and viola sections from 1898 until 1923) shared conducting duties, leading works by Halvorsen’s Triumphal Entry of the Boyards, Godard’s Adagio pathétique, Tchaikovsky’s Fifth Symphony, Grieg’s Suite no. 1 from Peer Gynt, Keller’s Souvenir and Valse, and one of Elgar’s Pomp and Circumstance marches.

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A Time for Reflection—A Message of Peace—a companion exhibit curated by the Rosenthal Archives of the Chicago Symphony Orchestra in collaboration with the Pritzker Military Museum & Library—will be on display in Symphony Center’s first-floor rotunda from October 2 through November 18, and the content also will be presented on CSO Sounds & Stories and the From the Archives blog.

This article also appears here. For event listings, please visit cso.org/armistice.

This exhibit is presented with the generous support of COL (IL) Jennifer N. Pritzker, IL ARNG (Retired), Founder and Chair, Pritzker Military Museum & Library, through the Pritzker Military Foundation.

Additional thanks to Shawn Sheehy and Jenna Harmon, along with the Arts Club of Chicago, Newberry Library, Poetry Foundation, and Ravinia Festival Association.

Teufel Hunden,
Charles Buckles Falls,
U.S., 1917

The recruitment poster at left, from the Pritzker Military Museum & Library collections, shows a “devil dog” bulldog wearing a U.S. Marine helmet chasing a dachshund wearing a German helmet.

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1913-14 Chicago Symphony Orchestra roster

Up until the outbreak of World War I, the roster of Chicago Symphony Orchestra musicians had primarily been European since its founding in 1891. The ensemble’s first two music directors—Theodore Thomas and Frederick Stock—were German immigrants, and their native language was spoken in leading rehearsals.

According to a report in the Chicago Tribune, tensions were high as the Orchestra performed works with strong nationalistic themes at a Ravinia Park matinee on August 14, 1914. Russian musicians taunted a Frenchman after Tchaikovsky’s 1812 Overture; Belgian principal clarinet Joseph Schreurs, “gritted his teeth as the musicians next swept through Die Wacht am Rhein,” a German patriotic anthem; and “several Germans snapped the strings on their violins while playing La Marseillaise . . . Quarrels arose [and] internal strife, fanned by patriotic fervor, threatened to disrupt the organization.” The article is here.

Chicago Symphony Orchestra, October 25, 1917 (Kaufmann & Fabry photo)

At the annual meeting of the Orchestral Association in December 1917, board president Clyde M. Carr addressed rumors regarding Orchestra members’ patriotism, reporting, “out of approximately one hundred members, there are only two who have not taken out their final papers,” completing their American citizenship. “There is no orchestra in America more unimpeachable in its Americanism.”

Musicians’ resolution

On April 6, 1918, Orchestra musicians drafted a resolution affirming their loyalty to the U. S. Charles Hamill, first vice president of the board, read the resolutions to the audience at that evening’s concert, declaring the Orchestra faithful to America “from the conductor to the kettle drum.”

While at Ravinia Park on August 6, 1918, seven members of the Orchestra were served notices to report to assistant district attorney Francis Borelli the following day, to answer charges that they had expressed pro-German sentiments. Accusations had been submitted against orchestra manager and trumpet Albert Ulrich; principal timpani Joseph Zettelmann, who had expressed contempt for The Star-Spangled Banner; trumpet William Hebs, who refused to stand during the anthem; and bass trombone Richard Kuss, who reportedly said he would kill any son of his who learned English. The article is here.

An August 16, 1918, letter to the Chicago Tribune editor expressed subscribers’ “faith in the loyalty of the majority of the members of the Orchestra.” The article is here.

Following the investigation, on October 10, 1918—the day before the first concert of the Orchestra’s twenty-eighth season—the Chicago Federation of Musicians announced that oboe Otto Hesselbach, bassoon William Krieglstein, bass trombone Richard Kuss, and principal cello Bruno Steindel were expelled from the union. All four had been tried on the same charge: “acting in a manner derogatory to the interests of the local and its members through unpatriotic actions and utterances.” The article is here.

Otto Hesselbach

In February 1919, the Chicago Federation of Musicians recommended conditional reinstatement of Hesselbach, Krieglstein, and Kuss, but not Steindel. Hesselbach and Krieglstein complied; Kuss did not. The article is here.

Otto Hesselbach (1862–?) was hired by Theodore Thomas in 1893 as oboe and principal english horn, and he also was occasionally listed as a member of the viola section. He was reinstated to the Orchestra in 1919 and served until 1928.

William Krieglstein and Richard Kuss

After emigrating from Austria in 1907, William Krieglstein (1884–1952) moved to Chicago and joined the Orchestra in 1912 as bassoon and principal contrabassoon, and beginning in 1915, he also was rostered as a bass. After his reengagement in 1919, Krieglstein was a member until 1929.

Richard Kuss (1883–1957) came to the U.S. from Germany in 1907 and served as bass trombone from 1912 until 1918. He was reinstated to the union in 1919 and remained in the city, primarily working for the Chicago Opera, but was not reengaged by the Orchestra.

Bruno Steindel

Former principal cello of the Berlin Philharmonic, Bruno Steindel (1866–1949) had played under Brahms, Dvořák, Grieg, Richard Strauss, and Tchaikovsky when he was chosen by Theodore Thomas as the Chicago Orchestra’s founding principal cello in 1891. Following the investigation, he tendered his resignation on October 1, 1918. Steindel continued to perform in Chicago, as principal cello of the Chicago Civic Opera and giving concerts for the benefit of German war orphans, despite protests by American Legion posts. The article is here.

Steindel Trio

Steindel’s wife Mathilde, a pianist who frequently performed with the Steindel Trio (along with CSO violin Fritz Itte), had become depressed over the countless accusations her husband had received in the press. On the evening of March 5, 1921, she committed suicide by drowning herself in Lake Michigan. The next morning at the foot of Farwell Avenue, the police found her automobile, its lights “still ablaze. Her expensive fur coat, which she had cast off before jumping into the lake, lay on the pier.” The article is here.

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A Time for Reflection—A Message of Peace—a companion exhibit curated by the Rosenthal Archives of the Chicago Symphony Orchestra in collaboration with the Pritzker Military Museum & Library—will be on display in Symphony Center’s first-floor rotunda from October 2 through November 18, and the content also will be presented on CSO Sounds & Stories and the From the Archives blog.

This article also appears here. For event listings, please visit cso.org/armistice.

This exhibit is presented with the generous support of COL (IL) Jennifer N. Pritzker, IL ARNG (Retired), Founder and Chair, Pritzker Military Museum & Library, through the Pritzker Military Foundation.

Additional thanks to Shawn Sheehy and Jenna Harmon, along with the Arts Club of Chicago, Newberry Library, Poetry Foundation, and Ravinia Festival Association.

Heroes of the Marne 117th Infantry Regiment, Georges Scott, France, 1915

The poster at left, from the Pritzker Military Museum & Library collections, shows French soldiers who fought in the First Battle of the Marne between September 6 and 12, 1914.

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In the years leading up to the United States entering World War I, the Chicago Symphony Orchestra gave a number of premieres, featured prominent guest soloists, and made its first commercial recording. Additionally, Orchestra Hall hosted an extraordinary variety of events, several of which are illustrated below (all events in Orchestra Hall unless otherwise noted).

Albert Spalding (Moffett Chicago photo) and Arnold Schoenberg (Egon Schiele, Museum of Fine Arts, Boston)

On December 8, 1911, Albert Spalding is soloist with the Chicago Symphony Orchestra in the U.S. premiere of Sir Edward Elgar’s Violin Concerto. Frederick Stock conducts.

Albert Capellani’s film Les misérables (parts 1 and 2)—starring Henry Krauss as Jean Valjean and billed as “the greatest motion picture ever made”—is screened from August 21 through October 10, 1913.

Frederick Stock leads the Orchestra in the U.S. premiere of Arnold Schoenberg’s Five Pieces for Orchestra on October 31, 1913. (On February 8 and 9, 1934, the composer returns to Chicago to lead the work as guest conductor.)

Helen Keller (Library of Congress)

On February 5, 1914, the North End Woman’s Club presents Anne Sullivan and Helen Keller in a demonstration of the technique used by Sullivan to teach Keller—blind and deaf since she was nineteen months old—how to speak.

William Henry Hackney presents a Colored Composers’ Concert featuring music by Samuel Coleridge-Taylor, Harry Burleigh, J. Rosamond Johnson, Will Marion Cook, and R. Nathaniel Dett on June 3, 1914. The Chicago Defender article (from June 6, 1914) describing the concert is here.

The Orchestra gives the U.S. premiere of Gigues from Claude Debussy’s Images for Orchestra on November 13, 1914. Frederick Stock conducts.

Apollo Club’s Messiah and Edith Lees with Havelock Ellis (Library of the London School of Economics and Political Science)

The Apollo Club of Chicago presents its annual performances of Handel’s Messiah at the Auditorium Theatre on December 27 and 28, 1914. Harrison M. Wild leads the Chicago Symphony Orchestra.

Edith Lees, author and the openly lesbian wife of Havelock Ellis, gives a lecture on February 4, 1915, advocating for the general acceptance of “deviants” (i.e. homosexuals). Offering Oscar Wilde and Michelangelo as examples of what the “abnormal” could accomplish, this is one of the earliest public calls for the acceptance of gay people.

On March 5, 1915, Frederick Stock leads the Orchestra in the U.S. premiere of Alexander Scriabin’s Prometheus.

Stock’s Festival Prologue

Celebrating the opening of the Orchestra’s twenty-fifth season on October 15, 1915, Frederick Stock leads the world premiere of his Festival Prologue, which he had written while in California for the Panama–Pacific International Exposition. Stock considered the work “an expression of his esteem not only for that noble band of artists which for a quarter of a century has uplifted and upheld the musical culture of our city, but also for those who have permitted themselves to be thus uplifted and upheld—the music-loving people of Chicago.”

Amy Beach and Percy Grainger (Library of Congress)

On February 4 and 5, 1916, Amy Beach is soloist in her Piano Concerto in C-sharp minor. Frederick Stock conducts.

Percy Grainger is soloist in the world premiere of John Alden Carpenter’s Concertino for Piano and Orchestra on March 10, 1916. Frederick Stock conducts.

Otterström’s American Negro Suite

On December 15, 1916, Frederick Stock leads the Orchestra in the world premiere of Thorwald Otterström’s American Negro Suite, incorporating melodies from Slave Songs of the United States—the first and most influential collection of African American music and spirituals, published in 1867.

Bengali poet and the first non-European recipient of the Nobel Prize for Literature, Sir Rabindranath Tagore reads from his own works on December 19, 1916.

On May 1, 1916, Frederick Stock and the Chicago Symphony Orchestra record for the first time (in an unidentified Chicago location): Mendelssohn’s Wedding March from A Midsummer Night’s Dream for the Columbia Graphophone Company.

Violinist Maud Powell and pianist Arthur Loesser (half-brother of Broadway composer Frank Loesser) appear in recital on February 18, 1917.

On March 25, 1917, Walter Damrosch leads the New York Symphony Orchestra in Beethoven’s Violin Concerto with Efrem Zimbalist and Brünnhilde’s Immolation from Wagner’s Götterdämmerung with Julia Claussen.

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A Time for Reflection—A Message of Peace—a companion exhibit curated by the Rosenthal Archives of the Chicago Symphony Orchestra in collaboration with the Pritzker Military Museum & Library—will be on display in Symphony Center’s first-floor rotunda from October 2 through November 18, and the content also will be presented on CSO Sounds & Stories and the From the Archives blog.

This article also appears here. For event listings, please visit cso.org/armistice.

This exhibit is presented with the generous support of COL (IL) Jennifer N. Pritzker, IL ARNG (Retired), Founder and Chair, Pritzker Military Museum & Library, through the Pritzker Military Foundation.

Additional thanks to Shawn Sheehy and Jenna Harmon, along with the Arts Club of Chicago, Newberry Library, Poetry Foundation, and Ravinia Festival Association.

Gary Graffman (Carol Rosegg photo)

Wishing a very happy (albeit slightly belated) ninetieth birthday to the great American pianist and teacher Gary Graffman!

Graffman appeared as soloist with the Chicago Symphony Orchestra on a number of occasions between 1951 and 1976, listed below:

January 13, 1951, Orchestra Hall
RACHMANINOV Piano Concerto No. 2 in C Minor, Op. 18
George Schick, conductor

April 7, 1956, Orchestra Hall
TCHAIKOVSKY Piano Concerto No. 1 in B-flat Minor, Op. 23
George Schick, conductor

February 10, 12, and 13, 1959, Orchestra Hall
BEETHOVEN Piano Concerto No. 3 in C Minor, Op. 37
Walter Hendl, conductor
Recorded by RCA on May 5, 1959, in Orchestra Hall. Richard Bayne was the engineer and Richard Mohr was the producer.

February 18, 1961, Orchestra Hall
RACHMANINOV Piano Concerto No. 2 in C Minor, Op. 18
Walter Hendl, conductor

July 29, 1961, Ravinia Festival
BEETHOVEN Piano Concerto No. 3 in C Minor, Op. 37
Paul Hindemith, conductor

August 5, 1961, Ravinia Festival
RACHMANINOV Rhapsody on a Theme by Paganini, Op. 43
Izler Solomon, conductor

January 10, 11, and 13, 1974, Orchestra Hall
RACHMANINOV Rhapsody on a Theme of Paganini, Op. 43
Guido Ajmone-Marsan, conductor

July 22, 1976, Ravinia Festival
PROKOFIEV Piano Concerto No. 3 in C Major, Op. 26
André Previn, conductor

October 14, 15, and 17, 1976, Orchestra Hall
MENDELSSOHN Piano Concerto No. 1 in G Minor, Op. 25
Sir Georg Solti, conductor

Happy, happy birthday!

Wishing a very happy birthday to our founder and first music director Theodore Thomas on the occasion of his 183rd birthday!

“His life was a strange succession of vicissitudes, adventures, poignant sacrifices, apparent disasters, and triumphs unseen. He had great and unaccountable gifts in his art, native gifts largely untrained, but indomitably efficient for the work he was to do. He was equipped with resources of character that made him seem almost mysteriously fitted to his task. Circumstances drove into his consciousness when still young and impressionable an intimate knowledge of the mentality of the people he was to serve; such a knowledge as no other musician of his day possessed. Often at the great crises of his career he was swept against his will or inclining to the very course that proved most helpful to his aim. When he desired to stay at home, he was compelled to travel; when his work was done in one field, conditions pushed him, over his protests, into another. Whenever the ground was ready anywhere for the peculiar seed-sowing he was engaged in, some circumstance arose to lead or drive him to that one glebe land. . . .

“The lives of millions of people are the brighter or the more endurable because of the work to which Theodore Thomas gave himself with all his heart and with all his soul and all his mind and all his strength; some millions to whom he is only a vague figure, other millions to whom he is not even a name. All their days they will be affected by what he did and the manner of it; their children will be affected after them and other generations after that.”

—excerpt from The American Orchestra and Theodore Thomas by Charles Edward Russell, 1927.

the vault

Theodore Thomas

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Last week, Symphony Center welcomed more than 17,500 audience members, including many Chicago Public Schools students who received free tickets and busing in celebration of the 100th season of the Orchestra’s concert series for children. Share your stories of the CSO School and Family concerts through the link in our description. Guest actors from The Second City joined the CSO to guide the audience in understanding the inner workings of the orchestra. Edwin Outwater led the orchestra in selections from Britten’s Young Person’s Guide to the Orchestra, Bernstein’s Overture to Candide, Dvořák’s Symphony No. 9, and Grieg’s Suite No. 1 from Peer Gynt. Photos from Saturday’s Family Matinee concerts by @toddrphoto.
CSO Concertmaster Robert Chen leads his fellow orchestra members in an all-Mozart program. The program is bookended with familiar works, opening with Eine kleine Nachtmusik and closing with Symphony No. 25. Chen is soloist in Violin Concerto No. 3 (Strassburg), and CSO Principal Flute Stefán Ragnar Höskuldsson makes his CSO solo debut with Flute Concerto No. 2. Link to tickets is in our bio. 📸: @toddrphoto
Curated by Mead Composer-in-Residence Missy Mazzoli, the 2018/19 season of MusicNOW continues with a program titled “Chicago’s Own,” featuring works from four composers with Chicago roots—Suzanne Farrin, Morgan Krauss, Drew Baker and Sky Macklay—as well as Icelandic composer Daníel Bjarnason. CSO Viola Weijing Wang is soloist in Suzanne Farrin’s Uscirmi di braccia, and CSO Cello Katinka Kleijn is soloist in Daníel Bjarnason’s three movement piece Bow to String. Conductor Alan Pierson leads an ensemble of musicians from the CSO and guest musicians. 📸: @toddrphoto

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