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Adolph Herseth in the Grainger Ballroom, during his final season as the Chicago Symphony Orchestra’s principal trumpet (Gregory Morton)

“The Chicago Symphony Orchestra is a group of one hundred and five highly trained and experienced musicians. It is considered to be one of the finest orchestras in the world, and I feel that it is a great privilege to be a member of such an organization. . . . Now, to maintain a high standard of performance with a symphony orchestra requires a great deal of preparation, or rehearsal [and] besides the group practice, we must do a certain amount of individual practicing also. I used to think that if I ever practiced hard enough to get into a symphony, maybe I could ease up a bit. But I found that I practiced even harder after I got the job than I did before. And not entirely because I found it necessary (though I did), but because it gave me an increased incentive and stimulation. And where I had perhaps been over-optimistic about my abilities before, now I saw that I was really just beginning to become proficient. It brought to mind another old saying to the effect that the more you learn, the less you find you really know . . . that one never stops learning a trade or business or profession [and] one is a student, one is always preparing for something new, throughout the whole of a career.”

— Adolph Herseth address to the 1959 graduating class of Bertha High School in Minnesota, June 1959

“I don’t suppose a first trumpet ever came greener, but [my first] two seasons of guest conductors were good luck for me. It was great repertory experience. . . . It takes pure physical strength to play a trumpet. Like an athlete, you try to build up your reserve to the point that in performance you don’t have to dip down too deeply into the reserve, so that you get too fatigued. The longer you play, the more you find you don’t know about your instrument. I suppose it’s the same in any profession — there are some things you have to experience. No one can tell you. Of course, you hope your standards will go up and your understanding will also go on growing. . . . Whenever that downbeat comes, especially at the start of the fall season, when we haven’t played for a month or so, I never cease to get a thrill out of the wonderful sounds around me. I’ve never gotten over loving this.”

— Evanston Symphony Orchestra Keynotes, March 1965

Following his retirement in 2004, Herseth was interviewed by Phil Ponce for WTTW’s Chicago Tonight. The program was rebroadcast in 2013.

“I listened to jazz players as well as to classical players. Obviously, your own concepts develop and are influenced by listening. I’m sure that my style and sound have certainly expanded over the years playing in this orchestra. You spend 49 years playing the type of repertoire that the CSO plays, with the caliber of conductors I’ve worked under, and the style will come out of your ears! . . . Every time I play a piece that I’ve already played a hundred times, it’s still very exciting because I try not to play it the same way twice in a row.

“Let me say that if you hang around long enough you become notorious. Sometimes young players will ask me if I think it’s OK for them to play in a rock band, on dance gigs, or this, or that? I say the broader the experiences you have, the better off you’re going to be. It all comes together at some point or other, you know. And I say, ‘Just be sure that you do your darnedest, whatever kind of gig it is.’ I don’t care what kind of a gig it is, solo gig, orchestra gig, quartet gig, brass ensemble, dance band, do your best. That’s what counts!”

— “Adolph Herseth: In a Class by Himself” by Michael Tunnell, International Trumpet Guild Journal, February 1998

“That [CSO brass] sound was there for a long time before any of us were in the orchestra. They had some good players in this orchestra over the years, and it’s not only a matter of individual concepts of playing but an overall concept that has grown over the years. [There is an] ability and willingness to cope with the great variety of music that goes by on this assembly line. The programs go by each week and you grab what you can before the next batch comes along. Versatility comes from a motivation and a love of music. . . . You have to be motivated to want to get that music to sound the best that it can. Part of motivation is keeping an open mind about musical styles, so you can adapt your own personal style.”

— “The Evolution of the Chicago Symphony Brass Sound” by Harvey Phillips, The Instrumentalist, September 1989

“You know, every instrument is in a sense an attempt by man to imitate the human voice in some way — and basically that’s the ultimate goal that everybody should have in mind when they play an instrument. When you play some of the very disjointed things, especially in some of the avant-garde pieces, it’s rather hard to think in terms of vocal lyricism. But nevertheless it still helps your playing . . . more phrase-wise, with a better sound, a better projection of the idea — grotesque as it might be. I think that every instrumentalist can benefit greatly from listening to fine singers, especially opera or lieder where they are telling a story. And you can learn a lot listening to a great pop singer like Frank Sinatra. The guy really puts across the lyrics of a tune.”

— “‘Man Alive, What a Kick This Is!’: An Interview with Adolph ‘Bud’ Herseth” by Kenneth L. Neidig, The Instrumentalist, April 1977

“Every concert used to be taped for broadcast on WFMT, and in those days, I think about 300 stations around the world used to carry them. And I would listen to them. In fact, I’ve got tape of — I can’t tell you how many of them — audio tapes, and I would listen to them. Of course, a broadcast doesn’t give you the total picture of what it sounds like live in the hall or on a stage as a player, but I would hear certain passages, and I would say to myself, ‘Well, okay, okay, next time I’m going to do that a little different. I’m going to do something else because there’s a better way now. This was okay, but next time I hope I get it a little more this way.’ . . . I would hear a clarinet player playing a lick, and I’d think, ‘My God, if I ever got a lick like that, I wish I could do that.’ Or I’d hear a flute player doing something unbelievable — and this is what really keeps your musical mind open, you know? Hopefully you learn something every time.

“Nobody should try to imitate somebody else. Yeah, of course, I learned a lot hearing [Georges] Mager playing all the time in the Boston Symphony. I heard some nice things from hearing Roger Voisin, who was assistant [principal] then, and also hearing Bill Vacciano with the New York Philharmonic every Sunday. Yeah, you learn from other people, of course, but it’s your own individual expression of musical thought that really counts, and, of course, in a collective sense when it’s with a band, but when you are playing the lead part or a solo or important parts like that, if you try to sound like somebody else, you’re steering the wrong way. I hope I can pass on to others some of the wonderful concepts and ideas I have received from other people over the years. We’re all music lovers.”

— Interview with Adolph Herseth by John Hagstrom, International Trumpet Guild Journal, January 2004

This article also appears here.

On June 15, 2021, Frank Villella, director of the Rosenthal Archives of the Chicago Symphony Orchestra Association, sat down with Principal Trombone Jay Friedman and Second Trumpet John Hagstrom to discuss their friend and colleague, Adolph “Bud” Herseth.

The recording of the conversation is here:

A few edited highlights from the conversation are below.

Villella: There are a lot of really good trumpet players out there and a lot who have enjoyed long careers. For someone experiencing a vintage CSO recording for the first time, how would you explain Herseth’s significance and what made his sound special?

Hagstrom: I was about fifteen years old and I can tell you that what captured my imagination was the immediacy of the sound, the energy and the direction. That he could capture your imagination and hold you and lead you. It’s a powerful sense of confidence of course, that goes into that, a powerful sense of physical mastery, and a certain kind of contextual blend. He wasn’t dominating in a way that didn’t have a perfect balance within the group. While he was really iconic, it wasn’t to the exclusion or without immediate consideration of everything that was going on around him.

Friedman: One of the most amazing things about him, I’ve realized after all these years (because I played with him for forty-two years. I’m the luckiest man in the universe, sitting next to him!) is I was always amazed at the discipline that he had when he played. The whole orchestra would be playing a fortissimo tutti, and there was a huge amount of sound, and he’d be sitting there, playing exactly the dynamic that he needed to be heard and to soar over the orchestra. How do you do that? That’s a God-given talent that’s so rare.

Adolph Herseth performs as principal trumpet with the Chicago Symphony Orchestra in the 1970s (Robert M. Lightfoot III)

Villella: Please describe your first impressions of Herseth: the first time you heard a recording, the first time you heard him live and the first time you heard him as a colleague.

Hagstrom: The first time I played with him as a colleague was at Ravinia and it was Bruckner Nine in the summer of 1996. When the big first tutti of the first movement happened, I stopped playing. I couldn’t believe it, in terms of the force of energy, of course, the whole orchestra. It was little surreal because I had studied him so carefully, along with so many other people, so to be alongside of him was a real honor. But you have to play too! Now it was my job to contribute to this.

Friedman: He was the easiest player that I’ve ever sat next to as far as being able to follow and know where the beat was. There was no doubt where the pulse of the orchestra was when you sat next to him, because it was right on the conductor’s beat. He was so rhythmically solid. He was the easiest person I’ve ever played with. He also had one of the greatest ways of articulating notes. It was so exquisite and pristine. My teacher had that, I’ve always tried to get that and all of the principals had that. Dale Clevenger had it, Arnold Jacobs had it, all of the CSO principals had a way of starting notes where the sound literally jumped out of the horn. That’s the secret to the sound of the CSO brass. 

Villella: In the seven recordings of Mussorgsky’s Pictures at an Exhibition, how do you think Bud was able to achieve a different effect and a different sound for each one of those recordings?

Hagstrom: Herseth would always say that the best conductors were those that met you half way, collaborative conductors, not that we’re just going to re-make you exactly the way they want it. And so, we have to remember that part of his sound on those recordings was his contribution, and so he’s being influenced by Solti, influenced by the various other conductors. He was definitely following and trying to please them, but it wasn’t entirely their construction of what he sounded like. Those recordings vary in tempo, they vary in the clarity or the shape of each of those notes at the beginning of Pictures. Bud was never that exhaustively specific about speaking in regards to some of these things, but we do know is that he always intended to tell a story when he played. 

Friedman: I don’t ever remember any conductor telling him how to play the opening (and I’m on six of those seven recordings!). He played the way he felt it and it was always so good that the conductor was usually happy with the style.

This article also appears here.

During Adolph “Bud” Herseth’s tenure as principal trumpet, the Chicago Symphony Orchestra commercially recorded Maurice Ravel’s orchestration of Modest Mussorgsky’s Pictures at an Exhibition on seven occasions between 1951 and 1990.

Following are the first tracks from each of those seven recordings, each featuring Herseth performing the work’s opening promenade fanfare.

Recorded in Orchestra Hall in Chicago in April 1951 for Mercury
Rafael Kubelík conductor
Wilma Cozart recording producer
David Hall recording supervisor
C. Robert Fine and George Piros recording engineers

Recorded in Orchestra Hall in Chicago in December 1957 for RCA
Fritz Reiner conductor
Richard Mohr producer
Lewis Layton recording engineer
Mark Donahue mastering engineer

Recorded in Medinah Temple in Chicago in July 1967 for RCA
Seiji Ozawa conductor
Peter Dellheim producer
Bernard Keville and Ernest Oelrich recording engineers

Recorded in Medinah Temple in Chicago in April 1976 for Deutsche Grammophon
Carlo Maria Giulini conductor
Günther Breest producer and recording supervisor
Klaus Scheibe engineer

Recorded in Medinah Temple in Chicago in May 1980 by London
Sir Georg Solti conductor
James Mallinson recording producer
James Lock and John Dunkerley balance engineers

Recorded in Orchestra Hall in Chicago in November 1989 for Chandos 
Neeme Järvi conductor
Brian Couzens recording producer
Mitchell Heller location engineer
Paul Smith assistant engineer
Richard Lee editor

Recorded in Suntory Hall in Tokyo, Japan in April 1990 for Sony
Sir Georg Solti conductor
Humphrey Burton writer and director
Tomoyuki Tashiro and Renato Rezzonico executive producers
Shuji Fujii director
Juro Yokoyama recording director
Tetsuo Baba, Akira Fukada, and Andreas Neubronner recording engineers
Phil Piotrowsky lighting cameraman
Frank Baliello HDVS engineer
Armando Madaffari HDVS technician
Jean Rezzonico producer
John Dunkerley balance engineer
Martin Atkinson technical engineer
Terry Bennell editor

This article also appears here.

Chicago Symphony Orchestra Principal Trumpet Adolph “Bud” Herseth in the 1960s
Adolph Herseth in 1938 (Adolph Herseth collection, Rosenthal Archives of the Chicago Symphony Orchestra Association)
Avis Bottemiller and Adolph Herseth (center) in the 1930s in Bertha, Minnesota (Adolph Herseth collection, Rosenthal Archives of the Chicago Symphony Orchestra Association)
Adolph Herseth in the midst of the CSO’s brass section in 1988 (Jim Steere)
Adolph Herseth with Daniel Barenboim, the CSO’s ninth music director (Jim Steere)
Adolph Herseth in the 1980s (Jim Steere)
Adolph and Avis Herseth at the CSO Alumni Association reunion in the Club at Symphony Center on June 3, 2011 (Dan Rest)
Adolph Herseth and Doc Severinsen perform with the CSO in Orchestra Hall on June 7, 1988 (Jim Steere)
Adolph Herseth demonstrates his warm-up technique at the Ravinia Festival in the late 1970s
Adolph Herseth serving in the U.S. Navy in the 1940s
Adolph Herseth performs Taps at the gravesite of Sir Georg Solti in Budapest, Hungary on April 1, 2005 (Todd Rosenberg)
Adolph Herseth in the early 1990s (Jim Steere)
Adolph Herseth enjoying a round of golf in Lucerne, Switzerland in September 1978 (Adolph Herseth collection, Rosenthal Archives of the Chicago Symphony Orchestra Association)
Adolph Herseth’s first concert with the CSO was at the Ravinia Festival on June 29, 1948, under the baton of Eugene Ormandy.
Proof sheet from photo session featuring Adolph Herseth in the 1970s (Robert M. Lightfoot III)
CSO brass section musicians Adolph Herseth, Rudolph Nashan, Wayne Barrington, Arnold Jacobs, and Frank Crisafulli perform for Chicago schoolchildren in the 1960s
Newlyweds Avis and Adolph Herseth in 1943 (Adolph Herseth collection, Rosenthal Archives of the Chicago Symphony Orchestra Association)
The Chicago Symphony Orchestra and Assistant Conductor Tauno Hannikainen onstage in Orchestra Hall on October 14, 1948, at the beginning of Adolph Herseth’s first downtown season as principal trumpet
CSO trumpets Frank Holz, Renold Schilke, Gerald Huffman, and Adolph Herseth onstage at Orchestra Hall on October 14, 1948, at the beginning of Herseth’s first downtown season as principal trumpet
Gabriel’s Children, the concert celebrating Adolph Herseth’s fiftieth season as the CSO’s principal trumpet, on June 7, 1998
Adolph Herseth in the 1980s (Jim Steere)
The Herseth family’s 1953 Christmas card (Adolph Herseth collection, Rosenthal Archives of the Chicago Symphony Orchestra)
CSO brass section musicians Arnold Jacobs, Frank Crisafulli, Richard Oldberg, Vincent Cichowicz, and Adolph Herseth in the mid-1960s (Terry’s)
Karel Husa, Adolph Herseth, and Sir Georg Solti backstage following the world premiere of the composer’s Concerto for Trumpet and Orchestra on February 11, 1988 (Jim Steere)
Adolph Herseth in the early 1980s (Robert M. Lightfoot III)
Associate Conductor Kenneth Jean leads the CSO brass section in The National Anthem at Soldier Field on September 14, 1987, for the Chicago Bears‘ home opening game
Leonard Bernstein and Adolph Herseth discuss a detail in Shostakovich’s Seventh Symphony during a rehearsal break in Orchestra Hall in June 1988 (Jim Steere)
Adolph Herseth (far right) with fellow Luther College band members in 1940 (Adolph Herseth collection, Rosenthal Archives of the Chicago Symphony Orchestra)
MOZART Horn Concerto No. 3, Bassoon Concerto, and Oboe Concerto, and HAYDN Trumpet Concerto (Deutsche Grammophon, 1981–1984)
Valerie and Georg Solti greet Avis and Adolph Herseth in Orchestra Hall’s ballroom on March 18, 1969 (Terry’s)
Adolph Herseth and Sir Georg Solti rehearsing Husa’s Concerto for Trumpet and Orchestra in Perth, Australia in March 1988 (Jim Steere)
The school band in Bertha, Minnesota in 1929 (Adolph Herseth is pictured near the far right of the second row, second from the end) (Adolph Herseth collection, Rosenthal Archives of the Chicago Symphony Orchestra Association)
Clark Brody, Willard Elliot, Donald Peck, Dale Clevenger, Jean Martinon, Ray Still, Adolph Herseth, Donald Koss, and Jay Friedman backstage before a performance of Martin’s Concerto for Seven Wind Instruments, Timpani, Percussion, and String Orchestra in February 1966 (Terry’s photo)

This article also appears here.

Sir Georg Solti leads the Chicago Symphony Orchestra in a recording session for Mahler’s Symphony no. 3 in Orchestra Hall in November 1982 (Robert M. Lightfoot III photo)

During his tenure as principal trumpet, Adolph “Bud” Herseth and the Chicago Symphony Orchestra recorded an astonishing number of works, under five music directors and numerous guest conductors for Angel, Deutsche Grammophon, EMI, London, Mercury, and RCA. A sample of some of those iconic records is below.

BEETHOVEN Leonore Overture No. 3, Op. 72b
Sir Georg Solti conductor
Recorded in Krannert Center, University of Illinois in May 1972
London

BRUCKNER Symphony No. 4 in E-flat Major (Romantic)
Daniel Barenboim conductor
Recorded in Medinah Temple in November 1972
Deutsche Grammophon

DEBUSSY Nocturnes
Sir Georg Solti conductor
Women of the Chicago Symphony Chorus
Margaret Hillis director
Recorded in Orchestra Hall in January 1990
London

HANDEL The trumpet shall sound from Messiah
Sir Georg Solti conductor
Gwynne Howell bass-baritone
Recorded in Orchestra Hall in October 1984
London

JANÁČEK Sinfonietta
Seiji Ozawa conductor
Recorded in Medinah Temple in Jun 1970
Angel

MAHLER Symphony No. 1 in D Major
Carlo Maria Giulini conductor
Recorded in Medinah Temple March 1971
Angel

MAHLER Symphony No. 3 in D Minor
Sir Georg Solti conductor
Helga Dernesch mezzo-soprano
Women of the Chicago Symphony Chorus
James Winfield director
Glen Ellyn Children’s Chorus
Doreen Rao director
Recorded in Orchestra Hall in November 1982
London

MAHLER Symphony No. 5
Georg Solti conductor
Recorded in Medinah Temple in March 1970
London

MAHLER Symphony No. 7
Claudio Abbado conductor
Recorded in Orchestra Hall in January and February 1984
Deutsche Grammophon

NIELSEN Symphony No. 2, Op. 16 (The Four Temperaments)
Morton Gould conductor
Recorded in Orchestra Hall in June 1966
RCA

PROKOFIEV Lieutenant Kijé Suite, Op. 60
Fritz Reiner conductor
Recorded in Orchestra Hall in March 1957
RCA

RESPIGHI Pines of Rome
Fritz Reiner conductor
Recorded in Orchestra Hall in October 1959
RCA

ROSSINI Overture to William Tell
Fritz Reiner conductor
Recorded in Orchestra Hall in November 1958
RCA

SCRIABIN The Poem of Ecstasy, Op. 54
Pierre Boulez conductor
Recorded in Medinah Temple in November 1995
Deutsche Grammophon

SHOSTAKOVICH Symphony No. 5 in D Minor, Op. 47
André Previn conductor
Recorded in Medinah Temple in January 1977
EMI

SHOSTAKOVICH Symphony No. 7 in C Major, Op. 60 (Leningrad)
Leonard Bernstein conductor
Recorded in Orchestra Hall in June 1988
Deutsche Grammophon

STRAUSS Ein Heldenleben, Op. 40
Fritz Reiner conductor
Recorded in Orchestra Hall in March 1954
RCA

STRAVINSKY Song of the Nightingale 
Fritz Reiner conductor
Recorded in Orchestra Hall in November 1956
RCA

TCHAIKOVSKY Symphony No. 4 in F Minor, Op. 36
Rafael Kubelík conductor
Recorded in Orchestra Hall in November 1951
Mercury

VARÈSE Arcana
Jean Martinon conductor
Recorded in Orchestra Hall in March 1966
RCA

This article also appears here.

On July 25, 2021, we celebrate the centennial of Adolph “Bud” Herseth, who served the Chicago Symphony Orchestra for fifty-six years as principal trumpet (1948–2001) and principal trumpet emeritus (2001–2004).

Adolph “Bud” Herseth served the Chicago Symphony Orchestra as principal trumpet from 1948 until 2001 and principal trumpet emeritus from 2001 until 2004 (Jim Steere photo)

Born on July 25, 1921, in Lake Park, Minnesota, Herseth attended Luther College in Decorah, Iowa. He originally planned to become a teacher but gravitated to performance as a career while in the armed forces. During World War II, Herseth served as a bandsman at the pre-flight school in Iowa and at the U.S. Navy School of Music. He ended his military service with the Commander of the Philippine Sea Frontier in the South Pacific.

In early 1948 while studying for his master’s degree from the New England Conservatory of Music in Boston, Herseth was appointed by Music Director Artur Rodzinski to the post of principal trumpet of the Chicago Symphony Orchestra. He never performed with Rodzinski (whose music directorship ended in April 1948) but would go on to serve under five CSO music directors: Rafael KubelíkFritz ReinerJean MartinonSir Georg Solti, and Daniel Barenboim. Herseth made countless solo appearances and recorded extensively with the Orchestra, including seven recordings of Ravel’s orchestration of Mussorgsky’s Pictures at an Exhibition (under Kubelík, Reiner, Seiji OzawaCarlo Maria Giulini, Solti (twice), and Neeme Järvi).

Constantly devoted to the development of the next generation of symphony orchestra musicians, Herseth regularly gave seminars, coaching sessions and master classes in Chicago and throughout Europe and worked with the European Community Youth Orchestra, the West-Eastern Divan Workshop for Young Musicians and the Civic Orchestra of Chicago.

Herseth held honorary doctor of music degrees from DePaul University, Luther College, the New England Conservatory of Music, Rosary College, and Valparaiso University. He received the Living Art of Music Symphonic Musician Award in 1994, was named Instrumentalist of the Year by Musical America in 1995 and was an honorary member of the Royal Danish Guild of Trumpeters. In June 2001, Herseth received the American Symphony Orchestra League’s Gold Baton Award, marking the first time in the League’s history that the award was bestowed on an orchestral player, and he also was awarded an honorary membership from London’s Royal Academy of Music at its commencement exercises. He was accorded a singular honor in 1988, when the principal trumpet chair of the Chicago Symphony Orchestra, which he continued to occupy until 2001, was named after him.

On June 7, 1998, Herseth’s friends—including Doc Severinsen, Daniel Barenboim, Arnold Jacobs, Frank Crisafulli, Arturo Sandoval, and numerous brass players from around the world—appeared in a tribute performance at Orchestra Hall to celebrate his fiftieth anniversary with the CSO. On January 27, 2000, the CSOA’s Women’s Association recognized Herseth for his “one season plus five decades” as the CSO’s principal trumpet.

After the Ravinia Festival season in the summer of 2001, Herseth relinquished the principal trumpet chair and became principal trumpet emeritus. On February 21, 2004, he retired from the Chicago Symphony Orchestra after fifty-six years and received the Theodore Thomas Medallion for Distinguished Service. Following retirement, Herseth was a longtime member of the Chicago Symphony Orchestra Alumni Association.

Herseth was interviewed by John von Rhein in the Chicago Tribune in April 2001, shortly after the announcement that he would cede the principal trumpet chair. He said, “for years I’ve been telling people I am lucky to get here, fortunate to still be here and to have had all these marvelous experiences.” And when asked how he would like posterity to remember him, Herseth replied, “as a fairly decent guy who gave it his best every time he had the chance.”

Adolph Herseth died at home in Oak Park, Illinois, on April 13, 2013, at the age of ninety-one. He was surrounded by his family, including Avis, his beloved wife of nearly seventy years.

This article also appears here.

Willard Elliot in the early 1990s (Jim Steere photo)

For more than thirty years, Willard Elliot (1926-2000) was the foundation of the Chicago Symphony Orchestra’s wind section. A native of Fort Worth, Texas, he studied piano and clarinet before switching to the bassoon at the age of fourteen, even though he wanted to play the instrument much sooner. According to his widow, Patricia, “He was waiting until he was big enough to play the bassoon.” Elliot earned a bachelor’s degree from North Texas State University, and, at the age of nineteen, he completed a master’s degree in composition from the Eastman School of Music. He spent three years with the Houston Symphony and eleven years as principal bassoon with the Dallas Symphony Orchestra, in addition to performing with the Fourth Army Band at Fort Sam Houston in San Antonio. In 1964, Elliot was hired by seventh music director Jean Martinon as the Chicago Symphony Orchestra’s principal bassoon.

As a composer, Elliot was co-winner of the 1961 Koussevitzky Foundation Award for his Elegy for Orchestra. Under Seiji Ozawa, he was soloist with the CSO in the world premiere of his Concerto for Bassoon, first performed at the Ravinia Festival on June 27, 1965; and Richard Graef was soloist in The Snake Charmer (Concerto for Alto Flute and Orchestra), first performed on Youth Concerts on January 7, 1976, under the baton of then–associate conductor Henry Mazer. Elliot also composed two symphonies; arrangements of works by Glinka, Granados, Grieg, Mozart, Ravel, Scriabin, and Weber; along with numerous chamber works for a variety of instrument combinations.

During his thirty-three-year tenure, Elliot performed as a soloist under Claudio Abbado, Lawrence Foster, Carlo Maria Giulini, Morton Gould, Antonio Janigro, Martinon, and Sir Georg Solti. On March 19, 1966, he was a soloist—along with his colleagues Clark Brody, Dale Clevenger, Jay Friedman, Adolph Herseth, Donald Koss, Donald Peck, and Ray Still—in recording sessions for Martin’s Concerto for Seven Wind Instruments, Timpani, Percussion, and String Orchestra for RCA under Martinon’s baton. On February 4, 1984, Elliot recorded Mozart’s Bassoon Concerto with Abbado conducting for Deutsche Grammophon.


As an educator, Elliot taught at the University of North Texas and DePaul and Northwestern universities, and he also coached the Civic Orchestra of Chicago‘s bassoon section. Following his retirement from the Chicago Symphony Orchestra in 1996, Elliot and his wife moved to Fort Worth to teach music at Texas Christian University and give master classes around the country. They also continued their work with Bruyere Music Publishers (founded in 1986), preparing his compositions and arrangements for publication.

“When I joined the CSO in 1992, Willard was nearing the end of a long performing career. I was very aware of being a different generation from Willard, but he was very collegial from the first time we worked together,” commented William Buchman, assistant principal bassoon. “He encouraged me to play with real gusto and engagement. It made me feel like my contributions to the Orchestra’s sound were important.”

“Willard Elliot was a fascinating man and wonderful musician,” according to John Bruce Yeh, assistant principal clarinet. He was “a true renaissance musician: arranger, composer, educator, as well as orchestral bassoonist par excellence.” Elliot and Yeh were both founding members of the Chicago Symphony Winds, and together they toured and recorded Elliot’s transcription of Grieg’s Four Lyric Pieces as well as Mozart’s Serenade in E-flat major, K. 375, both for the Sheffield Lab label.

Willard Elliot in 1970 (Zeloof-Stuart Photography)

“In 1979, I formed Chicago Pro Musica,” Yeh continued, and “Willard and I were pleased to explore a wide range of chamber music with our CSO colleagues and guests.” In 1983, the ensemble recorded Stravinsky’s The Soldier’s Tale along with Elliot’s arrangement of Scriabin’s Waltz in A-flat major for their debut on Reference Recordings. “Willard loved the music of Scriabin and the composer’s exotic harmonies. Those of us in the CSO woodwind section to this day fondly remember some of the inspired little signature harmonic touches Willard would inject into standard repertoire, a small alteration that only those close by would be able to hear during a rehearsal, for example. He would always liven things up that way.” The ensemble won the 1985 Grammy Award for Best New Classical Artist.

“Willard was always an upbeat man with a smile on his face,” remembered Michael Henoch, assistant principal oboe. “He was, of course, a marvelous musician, a consummate master of the bassoon, but he had many other interests including geology, gardening, and researching his family’s genealogy. . . . He had a huge presence in the CSO woodwind section, and I was honored to perform with him. Over the years, I also played many chamber music concerts with him in the Chicago Symphony Chamber Players, Chicago Pro Musica, and the Chicago Chamber Musicians.  We played many of his own compositions and arrangements, all crafted with a high degree of professionalism.”

“I remember being aware that Willard was always so well-prepared and enthusiastic. He had played just about every piece at least once before, and he had a photographic memory of all of his previous performances,” added Buchman. “He also was remarkably organized with his reeds. He had a journal in which he kept notes about every reed he made and used, including what pieces he had used each reed for. . . . He adjusted well to retirement, though, and he kindly bestowed upon me a couple of large boxes of reed cane he had been storing for decades. I still have some of it today!”

Willard Elliot’s Two Sketches for Woodwind Quintet—performed by Jennifer Gunn, Michael Henoch, John Bruce Yeh, William Buchman, and Oto Carrillo—can be heard on CSO Sessions Episode 19, available on CSOtv from May 6 until June 4, 2021.

Elliot also can be heard as part of the continuo in the January 1990 London recording of Bach’s Mass in B Minor, under the baton of Sir Georg Solti and featured on the May 11, 2021, From the CSO’s Archives: The First 130 Years radio broadcast.

Wishing a very happy eightieth-fifth birthday to Zubin Mehta!

Zubin Mehta in 2016 (Wilfried Hösl photo)

A frequent and favorite guest conductor in Chicago, Mehta has appeared with the Chicago Symphony Orchestra on numerous occasions, both at Orchestra Hall and the Ravinia Festival.

December 1, 1986, Orchestra Hall
BRAHMS Piano Concerto No. 1 in D Minor, Op. 15
BRAHMS Piano Concerto No. 2 in B-flat Major, Op. 83
Daniel Barenboim, piano

November 17, 18, 19, and 22, 1988, Orchestra Hall
MAHLER Symphony No. 2 in C Minor (Resurrection)
Marvis Martin, soprano
Maureen Forrester, contralto
Chicago Symphony Chorus
Margaret Hillis, director

November 23, 25, and 27, 1988, Orchestra Hall
MESSIAEN Turangalîla-symphonie
Pierre-Laurent Aimard, piano
Jeanne Loriod, ondès martenot

August 9, 1991, Ravinia Festival
BRUCH Violin Concerto No. 1 in G Minor, Op. 26
Midori, violin
MAHLER Symphony No. 5

August 10, 1991, Ravinia Festival
BEETHOVEN Overture to Egmont, Op. 84
BARBER Knoxville: Summer of 1915, Op. 24
Marvis Martin, soprano
BEETHOVEN Symphony No. 9 in D Minor, Op. 125
Marvis Martin, soprano
Gweneth Bean, contralto
Ben Heppner, tenor
Julien Robbins, baritone
Chicago Symphony Chorus
Margaret Hillis, director

February 19, 20, 21, and 22, 1992, Orchestra Hall
BRAHMS Symphony No. 3 in F Major, Op. 90
FOSS Symphony No. 3 (Symphony of Sorrows) (world premiere)
RAVEL Suite No. 2 from Daphnis and Chloe

February 26, 27, 28, and 29, 1992, Orchestra Hall
MAHLER Symphony No. 3 in D Minor
Florence Quivar, mezzo-soprano
Women of the Chicago Symphony Chorus
Richard Garrin, director
Chicago Children’s Choir
Lucy Ding, director

February 2, 1993, Orchestra Hall
BEETHOVEN Leonore Overture No. 3, Op. 72
BEETHOVEN Symphony No. 7 in A Major, Op. 92
BEETHOVEN Piano Concerto No. 5 in E-flat Major, Op. 73 (Emperor)
Daniel Barenboim, piano

Zubin Mehta at La Scala in 2010 (Marco Brescia photo)

December 16, 17, and 19, 1993, Orchestra Hall
WEBERN Passacaglia for Orchestra, Op. 1
WEBERN Six Pieces for Orchestra, Op. 6
WEBERN Concerto, Op. 24
Richard Graef, flute
Michael Henoch, oboe
Larry Combs, clarinet
Gail Williams, horn
William Scarlett, trumpet
Jay Friedman, trombone
Samuel Magad, violin
Charles Pikler, viola
Mary Sauer, piano
SCHUBERT Symphony No. 9 in C Major, D. 944 (Great)

January 26, 27, and 31, 1995, Orchestra Hall
SCHUBERT Symphony No. 6 in C Major, D. 589
ORFF Carmina burana
Janet Williams, soprano
Frank Lopardo, tenor
Bo Skovhus, baritone
Chicago Symphony Chorus
Duain Wolfe, director
Chicago Children’s Choir
William Chin, director

February 2, 4, and 5, 1995
MOZART Symphony No. 40 in G Minor, K. 550
SCHOENBERG Chamber Symphony No. 1, Op. 9
Richard Graef, flute
Michael Henoch, oboe
Grover Schiltz, English horn
Larry Combs, clarinet
John Bruce Yeh, clarinet
J. Lawrie Bloom, bass clarinet
Willard Elliot, bassoon
Burl Lane, contrabassoon
Dale Clevenger, horn
Gail Williams, horn
Rubén González, violin
Joseph Golan, violin
Charles Pikler, viola
John Sharp, cello
Joseph Guastafeste, bass
WAGNER Siegfried Idyll
Donald Peck, flute
Michael Henoch, oboe
Larry Combs, clarinet
Gregory Smith, clarinet
Bruce Grainger, bassoon
Dale Clevenger, horn
Gail Williams, horn
Adolph Herseth, trumpet
Rubén González, violin
Joseph Golan, violin
Charles Pikler, viola
John Sharp, cello
Joseph Guastafeste, bass
MOZART Symphony No. 41 in C Major, K. 551 (Jupiter)

June 22 and 23, 1995, Ravinia Festival
WAGNER Prelude to Die Meistersinger von Nürnberg
BEETHOVEN Piano Concerto No. 3, C minor, Op. 37
Emanuel Ax, piano
GERSHWIN An American in Paris
RIMSKY-KORSAKOV Capriccio espagnol, Op. 34

June 24, 1995, Ravinia Festival
PUCCINI Tosca
Floria Tosca Elizabeth Holleque, soprano
Mario Cavaradossi Richard Leech, tenor
Baron Scarpia Sergei Leiferkus, baritone
Angelotti Stephen Morscheck, bass-baritone
Sacristan David Evitts, baritone
Spoletta Matthew Polenzani, tenor
Sciarrone Victor Benedetti, baritone
Jailer Mark McCrory, bass-baritone
A Young Shepherd Suzanne Shields, soprano
Chicago Symphony Chorus
Duain Wolfe, director
Glen Ellyn Children’s Chorus
Lisa Sirvatka, director

June 27, 1995, Ravinia Festival
BRAHMS Tragic Overture, Opus 81
BRAHMS Concerto for Violin and Cello A Minor, Op. 102 (Double)
Pinchas Zukerman, violin
Ralph Kirshbaum, cello
BRAHMS Symphony No. 2 in D Major, Op. 73

January 18, 19, and 20, 1996, Orchestra Hall
SCHUBERT Overture to Rosamunde, D. 644
SCHUBERT Symphony in B Minor, D. 759 (Unfinished)
STRAUSS Domestic Symphony, Op. 53

Zubin Mehta in 2007 (Oded Antman photo)

February 20, 21, 22, and 25, 1997, Orchestra Hall
LUTOSŁAWSKI Symphony No. 4
BEETHOVEN Symphony No. 3 in E-flat Major, Op. 55 (Eroica)

February 27, 28, and March 1, 1997, Orchestra Hall
KORNGOLD Suite from Much Ado About Nothing
BARTÓK Piano Concerto No. 2
Yefim Bronfman, piano
MENDELSSOHN Octet for Strings in E-flat Major, Op. 20

February 18, 20, and 22, 1998, Orchestra Hall
WAGNER A Faust Overture
HINDEMITH Symphony, Mathis der Maler
BRAHMS Piano Concerto No. 1 in D Minor, Op. 15
Daniel Barenboim, piano

February 26, 27, 28, and March 3, 1998, Orchestra Hall
CRUMB Ancient Voices of Children
Barbara Ann Martin, soprano
R. Anton Briones, boy soprano
Alex Klein, oboe and harmonica
Frederic Chrislip, mandolin and musical saw
Sarah Bullen, harp
Mary Sauer, electric piano and toy piano
Gordon Peters, percussion
Patricia Dash, percussion
Edward Atkatz, percussion
BRUCKNER Symphony No. 4 in E-flat Major (Romantic)

February 8, 9, and 10, 2001, Orchestra Hall
BERLIOZ The Trojans, Op. 29, Part 1: The Fall of Troy
Cassandra Deborah Voigt, soprano
Chorebus Roman Trekel, baritone
Aeneas Jon Villars, tenor
Ascanius Nancy Pifer, soprano
Hecuba Stacy Eckert, mezzo-soprano
Helenus James Cornelison, tenor
Panthus and A Soldier Timothy J. Quistorff, baritone
Priam, Spirit of Hector, and Greek Captain Andrew Funk, bass
Chicago Symphony Chorus
Duain Wolfe, director

April 4, 5, and 6, 2002, Orchestra Hall
STRAVINSKY Fireworks, Op. 4
STRAVINSKY Circus Polka
PROKOFIEV Violin Concerto No. 2 in G Minor, Op. 63
Nikolaj Znaider, violin
BEETHOVEN Symphony No. 7 in A Major, Op. 92

April 11, 12, and 13, 2002, Orchestra Hall
BERLIOZ The Trojans, Op. 29, Part 2: The Trojans at Carthage
Dido Nadja Michael, mezzo-soprano
Anna Nancy Maultsby, mezzo-soprano
Ascanius Meredith Barber, soprano
Spirit of Cassandra Stacy Eckert, mezzo-soprano
Aeneas Jon Villars, tenor
Iopas Nicholas Phan, tenor
Hylas Michael Sommese, tenor
Mercury and Spirit of Chorebus Michael Brauer, baritone
First Sentinel and Spirit of Hector Timothy J. Quistorff, baritone
Second Sentinel and Sprit of Priam Terry Cook, bass
Narbal Stephen Milling, bass
Chicago Symphony Chorus
Duain Wolfe, director

February 24, 2006, Orchestra Hall
BRAHMS Symphony No. 1 in C Minor, Op. 68
BRAHMS Piano Concerto No. 1 in D Minor, Op. 15
Daniel Barenboim, piano

Happy, happy birthday!

Wishing a very happy eighty-fifth birthday to the remarkable Japanese conductor Seiji Ozawa!

As a last-minute replacement for Georges Prêtre in July 1963, Ozawa was called upon to lead the Chicago Symphony Orchestra in two concerts at the Ravinia Festival. The twenty-seven-year-old conductor made his debut on July 16 in Beethoven’s Leonore Overture no. 3, Grieg’s Piano Concerto with Byron Janis, and Dvořák’s Ninth Symphony. Thomas Willis in the Chicago Tribune reported that Ozawa was “instantly in command when in possession of a baton and a musical idea. His conducting technique reminds you of his teacher, Herbert von Karajan, in that it lays the score in the lap of the Orchestra with transparency of gesture and human communication, then commands acceptance.”

Only a month later it was announced that Ozawa would become the Ravinia Festival’s first music director and resident conductor beginning with the 1964 season, replacing Walter Hendl, who had served as artistic director since 1959. For his first concert as music director on June 16, 1964, Ozawa led the Orchestra in Beethoven’s Egmont Overture, Barber’s Piano Concerto with John Browning, and Berlioz’s Symphonie fantastique.

Reverse jacket of Angel Records recording of Bartók’s Concerto for Orchestra and Kodály’s Dances of Galánta, made at Medinah Temple on June 30 and July 1, 1969

Reverse jacket of Angel Records recording of Bartók’s Concerto for Orchestra and Kodály’s Dances of Galánta, made at Medinah Temple on June 30 and July 1, 1969

He served as music director of the Ravinia Festival through the 1968 season and as principal conductor for the 1969 season, returning regularly as a guest conductor. Ozawa most recently appeared there on July 14, 1985, leading Mozart’s Rondo for Piano and Orchestra in D major and Takemitsu’s riverrun with Peter Serkin, along with Tchaikovsky’s Pathétique Symphony.

Between 1965 and 1970—at both Orchestra Hall and in Medinah Temple— Ozawa and the Orchestra recorded a number of works for Angel and RCA, including Bartók’s First and Third piano concertos and Schoenberg’s Piano Concerto with Peter Serkin, Beethoven’s Fifth Symphony, Lutosławski’s Concerto for Orchestra, Ravel’s orchestration of Mussorgsky’s Pictures at an Exhibition, Rimsky-Korsakov’s Sheherazade with concertmaster Victor Aitay, Stravinsky’s The Rite of Spring, and Tchaikovsky’s Fifth Symphony.

A complete list of his performances and recordings with the Chicago Symphony Orchestra is below:

July 16, 1963, Ravinia Festival
BEETHOVEN Leonore Overture No. 3, Op. 72a
GRIEG Concerto for Piano in A Minor, Op. 16
Byron Janis, piano
DVOŘÁK Symphony No. 9 in E Minor, Op. 95 (From the New World)

June 16, 1964

July 18, 1963, Ravinia Festival
ROSSINI Overture to The Barber of Seville
TCHAIKOVSKY Violin Concerto in D Major, Op. 35
Christian Ferras, violin
DEBUSSY Prelude to The Afternoon of a Faun
TAKEMITSU Requiem for String Orchestra (U.S. premiere)
PROKOFIEV Selections from Romeo and Juliet

June 16, 1964, Ravinia Festival
BEETHOVEN Overture to Egmont, Op. 84
BARBER Piano Concerto, Op. 38
John Browning, piano
BERLIOZ Symphonie fantastique, Op. 14

June 18, 1964, Ravinia Festival
POULENC Gloria
Barbara Garrison, soprano
Harvard Glee Club
Radcliffe Choral Society
Elliot Forbes, director
FAURÉ Requiem in D Minor, Op. 48
Barbara Garrison, soprano
Howard Nelson, baritone
Harvard Glee Club
Radcliffe Choral Society
Elliot Forbes, director

June 30, 1964, Ravinia Festival
HINDEMITH Symphony, Mathis der Maler
SIBELIUS Piano Concerto in D Minor, Op. 47
Ruggiero Ricci, violin
MUSSORGSKY/Ravel Pictures at an Exhibition

Ozawa and Igor Stravinsky in Orchestra Hall on July 20, 1964, while the composer was in town to lead recording sessions of his Orpheus with the CSO (Arthur Siegel photo)

July 7, 1964, Ravinia Festival
MOZART Overture to The Abduction from the Seraglio, K. 384
BEETHOVEN Piano Concerto No. 5 in E-flat Major, Op. 73 (Emperor)
Neal O’Doan, piano
GLUCK Divinités du Styx from Alceste
Dolores Ann White, mezzo-soprano
THOMAS Elle est la pres de lui from Mignon
Dolores Ann White, mezzo-soprano
ROSSINI Non più mesta from La cenerentola
Dolores Ann White, mezzo-soprano
LISZT Piano Concerto No. 1 in E-flat Major
Michael Rogers, piano

July 21, 1964, Ravinia Festival
BIZET Symphony No. 1 in C Major
RAVEL Alborada del gracioso
MOZART Concerto for Oboe in C Major, K. 314
Ray Still, oboe
TCHAIKOVSKY Francesca da Rimini, Op. 32

July 25, 1964, Ravinia Festival
SCHUMAN American Festival Overture
IVES Central Park in the Dark
STRAVINSKY Violin Concerto in D
Paul Makanowitzky, violin
FRANCK Symphony in D Minor

July 28, 1964, Ravinia Festival
WEBER Overture to Euryanthe, Op. 81
TCHAIKOVSKY Violin Concerto in D Major, Op. 35
Paul Makanowitzky, violin
BRAHMS Symphony No. 1 in C Minor, Op. 68

Leon Fleisher and Ozawa backstage on August 1, 1964 (Arthur Siegel photo)

August 1, 1964, Ravinia Festival,
BERNSTEIN Overture to Candide
MOZART Piano Concerto No. 23 in A Major, K. 488
Leon Fleisher, piano
TCHAIKOVSKY Symphony No. 5 in E Minor, Op. 64

June 15, 1965, Ravinia Festival
BERLIOZ Roman Carnival Overture, Op. 9
MOZART Serenade No. 10 for Winds in B-flat Major, K. 361
BRAHMS Symphony No. 2 in D Major, Op. 73

June 17, 1965, Ravinia Festival
WEBER Jubel Overture, Op. 59
RESPIGHI Ancient Airs and Dances Suite No. 1
DONIZETTI Una furtiva lagrima from L’elisir d’amore
Richard Tucker, tenor
VERDI Forse la soglia attinse from Un ballo in maschera
Richard Tucker, tenor
BIZET L’arlesienne Suite No. 2
BIZET La fleur que tu m’avais jetèe from Carmen
Richard Tucker, tenor
MASCAGNI Mamma, quel vino from Cavalleria rusticana
Richard Tucker, tenor

June 19, 1965, Ravinia Festival
HARRIS When Johnny Comes Marching Home
MACDOWELL Piano Concerto No. 2 in D Minor, Op. 23
André Watts, piano
NIELSEN Symphony No. 5, Op. 50

June 20, 1965, Ravinia Festival
COPLAND Fanfare for the Common Man
BLACHER Concertante Musik, Op. 10
DEBUSSY First Rhapsody
Clark Brody, clarinet
KABELEVSKY The Comedians, Op. 26
HINDEMITH Concerto for Winds, Harp, and Orchestra
RAMSIER Divertimento on a Theme of Couperin
Gary Karr, bass

June 22, 1965, Ravinia Festival
MOZART Symphony No. 32 in G Major, K. 318
PROKOFIEV Violin Concerto No. 2 in G Minor, Op. 63
Berl Senofsky, violin
BERLIOZ Funereal and Triumphal Symphony, Op. 15
BERLIOZ Selections from The Damnation of Faust, Op. 24

June 27, 1965, Ravinia Festival
ROUSSEL Symphony No. 3 in G Minor, Op. 42
BARTÓK Piano Concerto No. 3
Peter Serkin, piano
STRAVINSKY Four Etudes
ELLIOT Bassoon Concerto (world premiere)
Willard Elliot, bassoon
Bartók’s Third Piano Concerto was recorded on June 28, 1965, in Orchestra Hall. For RCA, Max Wilcox was the producer, and Bernard Keville and Ernest Oelrich were the recording engineers.

June 29, 1965, Ravinia Festival
HANDEL Concerto grosso in B Minor, Op. 6, No. 12
BEETHOVEN Concerto for Piano No. 3 in C Minor, Op. 37
Eugene Istomin, piano
SIBELIUS Violin Concerto in D Minor, Op. 47
Isaac Stern, violin

July 1, 1965, Ravinia Festival
MOZART Divertimento in D Major, K. 136
BRUCH Violin Concerto No. 1 in G Minor, Op. 26
Isaac Stern, violin
DVOŘÁK Cello Concerto in B Minor, Op. 104
Leonard Rose, cello

July 3, 1965, Ravinia Festival
MOZART Piano Concerto No. 24 in C Minor, K. 491
Eugene Istomin, piano
BRAHMS Concerto for Violin and Cello in A Minor, Op. 102 (Double)
Isaac Stern, violin
Leonard Rose, cello
BEETHOVEN Concerto for Violin, Cello, and Piano in C Major, Op. 56 (Triple)
Isaac Stern, violin
Leonard Rose, cello
Eugene Istomin, piano

July 4, 1965, Ravinia Festival
HOVHANESS Fantasy on Japanese Wood Prints, Op. 211 (world premiere)
Yoichi Hiraoka, xylophone
IVES The Fourth of July
GERSHWIN An American in Paris
GOTTLIEB Pieces of Seven Overture
BERNSTEIN Suite from Fancy Free

July 11, 1965, Ravinia Festival
GINASTERA Estancia Suite, Op. 8a
DEBUSSY/Caplet Children’s Corner
RIVIER Concerto brève
Kyoko Ozawa, piano
RIEGGER Dance Rhythms, Op. 58
RIEGGER Study in Sonority, Op. 7

July 15, 1965, Ravinia Festival
MOZART Sinfonia concertante for Violin and Viola in E-flat Major, K. 364
Victor Aitay, violin
Milton Preves, viola
STRAUSS Four Songs (Morgen, Waldseligkeit, Muttertändelei, and Zueignung)
Elisabeth Schwarzkopf, soprano
HINDEMITH Konzertmusik for String Orchestra and Brass, Op. 50
TCHAIKOVSKY Letter Scene from Eugene Onegin
Elisabeth Schwarzkopf, soprano

July 18, 1965, Ravinia Festival
IBERT Divertissement
ORFF Carmina burana
Julia Diane Ragains, soprano
Pierre Duval, tenor
Sherrill Milnes, baritone
Alfred H. Reichel, baritone
Chicago Symphony Chorus
Margaret Hillis, director
Chicago Children’s Choir
Christopher Moore, director

July 20, 1965, Ravinia Festival
RACHMANINOV Rhapsody on a Theme of Paganini, Op. 43
Gabriel Chodos, piano
DVOŘÁK First movement (Allegro) from Cello Concerto in B Minor, Op. 104
Daniel Domb, cello
RAVEL Piano Concerto in G Major
John C. Owings, piano
LISZT Piano Concerto No. 1 in E-flat Major
Adrian Ruiz, piano

For the U.S. premiere of Jean Martinon’s Cello Concerto on July 31, 1965, former principal cello János Starker returned as soloist at the Ravinia Festival. Shown here during a rehearsal are the composer, soloist, and conductor.

July 31, 1965, Ravinia Festival
COPLAND An Outdoor Overture
MARTINON Cello Concerto, Op. 52 (U.S. premiere)
János Starker, cello
TCHAIKOVSKY Symphony No. 4, F Minor, Op. 36

March 26, 1966, Orchestra Hall
March 28, 1966, Pabst Theater, Milwaukee
SCHUBERT Symphony No. 8 in B Minor, D. 759 (Unfinished)
WEBER Konzertstück for Piano in F Minor, Op. 79
Yuri Boukoff, piano
LISZT Piano Concerto No. 1 in E-flat Major
Yuri Boukoff, piano
STRAUSS Till Eulenspiegel’s Merry Pranks, Op. 28

March 31, April 1, and 2, 1966, Orchestra Hall
MOZART Symphony No. 36 in C Major, K. 425 (Linz) 
IVES Symphony No. 4
DVOŘÁK Violin Concerto in A Minor, Op. 53
Isaac Stern, violin

June 28, 1966, Ravinia Festival
BUSONI Lustspiel Overture, Op. 38
TAKEMITSU Requiem for String Orchestra
MAHLER Symphony No. 1 in D Major

June 30, 1966, Ravinia Festival
MUSSORGSKY/Rimsky-Korsakov A Night on Bare Mountain
MUSSORGSKY Selections from Boris Godunov
George London, bass-baritone
BORODIN Symphony No. 2 in B Minor

July 7, 1966, Ravinia Festival
HAYDN Symphony No. 86 in D Major
MOZART Piano Concerto No. 21 in C Major, K. 467
Peter Serkin, piano
BEETHOVEN Symphony No. 5 in C Minor, Op. 67

July 10, 1966, Ravinia Festival
TOCH Pinocchio, A Merry Overture
IBERT Symphonic Suite, Impressions of Paris
IVES/Schuman Variations on America
BARTÓK Piano Concerto No. 1
Peter Serkin, piano
Bartók’s First Piano Concerto was recorded on July 11, 1966, in Orchestra Hall. For RCA, Max Wilcox was the producer, and Bernard Keville and Ernest Oelrich were the recording engineers.

July 24, 1966, Ravinia Festival
FREEDMAN Images
BERG Violin Concerto
Paul Makanowitzky, violin
MOREL L’etoile noire
THOMSON Louisiana Story, Suite for Orchestra

July 26, 1966, Ravinia Festival
TCHAIKOVSKY Capriccio italien, Op. 45
RACHMANINOV Concerto for Piano No. 1 in F-sharp Minor, Op. 1
Byron Janis, piano
RACHMANINOV Piano Concerto No. 2 in C Minor, Op. 18
Byron Janis, piano

July 28, 1966, Ravinia Festival
HANDEL/Harty Suite from Music for the Royal Fireworks
RACHMANINOV Piano Concerto No. 3 in D Minor, Op. 30
Byron Janis, piano
RACHMANINOV Rhapsody on a Theme of Paganini, Op. 43
Byron Janis, piano

July 31, 1966, Ravinia Festival
LUTOSŁAWSKI Funeral Music
SHULMAN Theme and Variations for Viola and Orchestra
Milton Preves, viola
BERIO Serenata I for Flute and Fourteen Instruments
Donald Peck, flute
XENAKIS Eonta
Yuji Takahashi, piano
VARÈSE Hyperprism

August 11, 1966, Ravinia Festival
HOMMANN Overture for Orchestra
BERNSTEIN Symphony No. 1 (Jeremiah)
Mary Simmons, mezzo-soprano
TCHAIKOVSKY Piano Concerto No. 1 in B-flat Minor, Op. 23
Van Cliburn, piano

August 13, 1966, Ravinia Festival
BACH/Schoenberg Prelude and Fugue in E-flat Major, BWV 552 (Saint Anne)
BEETHOVEN Piano Concerto No. 5 in E-fat Major, Op. 73 (Emperor)
Van Cliburn, piano
BRAHMS Symphony No. 1 in C Minor, Op. 68

June 27, 1967, Ravinia Festival
GLUCK Overture to Iphigénie en Aulide
PROKOFIEV Piano Concerto No. 3 in C Major, Op. 26
Byron Janis, piano
MOZART Symphony No. 41 in C Major, K. 551 (Jupiter)
GINASTERA Estancia Suite, Op. 8a

June 29, 1967, Ravinia Festival
GERSHWIN An American in Paris
GERSHWIN/Bennett Porgy and Bess, A Symphonic Picture
GERSHWIN Cuban Overture
GERSHWIN Concerto in F for Piano and Orchestra
Byron Janis, piano

July 1, 1967, Ravinia Festival
VERDI Overture to I vespri siciliani
MENOTTI The Death of the Bishop of Brindisi
Julie Idione, soprano
Simon Estes, bass
All-City Chicago High School Chorus
Emile Serposs, director
MOZART Piano Concerto No. 23 in A Major, K. 488
Lili Kraus, piano
RESPIGHI Pines of Rome

July 9, 1967, Ravinia Festival
BACH Brandenburg Concerto No. 6 in B-flat Major, BWV 1051
BLOCH Concerto grosso No. 1
Mary Sauer, piano
SYMONDS Concerto grosso for Jazz Quintet and Orchestra
Kenny Soderblom Jazz Quintet
Kenny Soderblom, alto saxophone
John Avant, trombone
Bobby Roberts, guitar
Harold Jones, drums
Ernest Outlaw, bass
YASHIRO Cello Concerto
Tsuyoshi Tsutsumi, cello

July 13, 1967, Ravinia Festival
BRITTEN The Young Person’s Guide to the Orchestra (Variations and Fugue on a Theme of Purcell)
BEETHOVEN Piano Concerto No. 2 in B-flat Major, Op. 19
Peter Serkin, piano
MUSSORGSKY/Ravel Pictures at an Exhibition
Britten’s Young Person’s Guide and Mussorgsky’s Pictures at an Exhibition were recorded in Medinah Temple on July 18, 1967. For RCA, Peter Dellheim was the producer, and Bernard Keville and Ernest Oelrich were the recording engineers.

July 16, 1967, Ravinia Festival
MERCURE Triptyque for Orchestra
JOACHIM Contrasts for Orchestra (world premiere)
SCHULLER Recitative and Rondo (world premiere)
Victor Aitay, violin
MOZART Horn Concerto in E-flat Major, K. 495
Dale Clevenger, horn
SCHOENBERG Piano Concerto, Op. 42
Peter Serkin, piano
Schoenberg’s Piano Concerto was recorded in Medinah Temple on July 17, 1967. For RCA Max Wilcox was the producer and Richard Gardner was the recording engineer.

July 30, 1967, Ravinia Festival
RUSSO Symphony No. 2 in C, Op. 32 (Titans)
VIEUXTEMPS Violin Concerto No. 4 in D Minor, Op. 31
Young Uck Kim, violin
FOSS Baroque Variations in Three Movements (world premiere)
SCHUMAN Symphony No. 3

August 8, 1967, Ravinia Festival
VERDI Overture to La forza del destino
CHOPIN Piano Concerto No. 2 in F Minor
Gabriel Chodos, piano
SAINT-SAЁNS Piano Concerto No. 2 in G Minor
Patricia Hanson, piano

August 10, 1967, Ravinia Festival
BERNSTEIN Overture to Candide
BERNSTEIN Serenade after Plato’s Symposium
James Oliver Buswell IV, violin
BERNSTEIN Symphony No. 2 (The Age of Anxiety)
Leonard Pennario, piano

Ozawa and the CSO recording Stravinsky’s The Rite of Spring in Orchestra Hal on July 1, 1968 (Terry’s photo)

August 12, 1967, Ravinia Festival
BERNSTEIN Symphonic Dances from West Side Story
BERNSTEIN Symphony No. 3 (Kaddish)
Betty Allen, mezzo-soprano
Vera Zorina, speaker
Chicago Symphony Chorus
Margaret Hillis, director
Ronald B. Schweitzer, assistant director
Chicago Children’s Choir
Christopher Moore, director

August 15, 1967, Civic Center Plaza (now Richard J. Daley Center)
Dedication of The Chicago Picasso
GERSHWIN An American in Paris
BERNSTEIN Overture to Candide
BERNSTEIN Selections from Symphonic Dances from West Side Story

April 29, 1968, Orchestra Hall
BERNSTEIN Overture to Candide
BRAHMS Excerpt from Fourth movement (Adagio) from Symphony No. 1 in C Minor, Op. 68
MASCAGNI Voi lo sapete from Cavalleria rusticana
Grace Bumbry, soprano
PONCHIELLI Suicidio! from La gioconda
Grace Bumbry, soprano

June 27, 1968, Ravinia Festival
WAGNER Prelude to Die Meistersinger von Nürnberg
BEETHOVEN Symphony No. 7 in A Major, Op. 92
BERLIOZ Roman Carnival Overture
COPLAND Preamble for a Solemn Occasion
Marian Anderson, speaker
STRAVINSKY Suite from The Firebird

June 29, 1968, Ravinia Festival
BEETHOVEN Overture to The Creatures of Prometheus, Op. 43
BEETHOVEN Piano Concerto No. 3 C Minor, Op. 37
Byron Janis, piano
STRAVINSKY The Rite of Spring
Stravinsky’s The Rite of Spring was recorded in Orchestra Hall on July 1, 1968. For RCA, Peter Dellheim was the producer, and Bernard Keville and Ernest Oelrich were the recording engineers.

June 30, 1968, Ravinia Festival
WEBER Overture to Oberon
RACHMANINOV Piano Concerto No. 2 in C Minor, Op. 26
Susan Starr, piano
TCHAIKOVSKY Suite from Swan Lake
BOCK Selections from Fiddler on the Roof
GARLAND In the Mood

July 2, 1968, Ravinia Festival
CHABRIER España
TURINA Rapsodia sinfonica
Joaquín Achúcarro, piano
FALLA Nights In The Gardens of Spain
Joaquín Achúcarro, piano
FALLA Three Dances from The Three-Cornered Hat
RIMSKY-KORSAKOV Capriccio espagnol, Op. 34

July 6, 1968, Ravinia Festival
KRENEK Perspectives (world premiere)
RAVEL Piano Concerto for the Left Hand
Leon Fleisher, piano
TCHAIKOVSKY Symphony No. 5 in E Minor, Op. 64
Tchaikovsky’s Fifth Symphony was recorded in Orchestra Hall on July 8, 1968. For RCA, Peter Dellheim was the producer and Bernard Keville was the recording engineer.

July 7, 1968, Ravinia Festival
J. C. BACH Symphony No. 4 in D Major
SAINT-SAËNS Cello Concerto in A Minor, Op. 33
Lawrence Foster, cello
STRAVINSKY Fireworks
RUSSO Three Pieces for Blues Band and Orchestra (world premiere)
Stravinsky’s Fireworks was recorded in Orchestra Hall on July 8, 1968. For RCA, Peter Dellheim was the producer, and Bernard Keville and Ernest Oelrich were the recording engineers.

August 3, 1968, Ravinia Festival
SCHUBERT Symphony No. 8 in B Minor (Unfinished)
PUCCINI Sì, mi chiamano Mimì from La bohème
Anna Moffo, soprano
VERDI Scene from La traviata
Anna Moffo, soprano
DONIZETTI Mad Scene from Lucia di Lammermoor
Anna Moffo, soprano
BEETHOVEN Symphony No. 5 in C Minor, Op. 67
Beethoven’s Fifth Symphony and Schubert’s Eighth Symphony were recorded in Orchestra Hall on August 9, 1968. For RCA, Peter Dellheim was the producer and Bernard Keville was the recording engineer.

August 4, 1968, Ravinia Festival
STOUT Symphony No. 2 (world premiere)
SHOSTAKOVICH Cello Concerto in E-flat Major, Op. 107
Frank Miller, cello
GINASTERA Piano Concerto No. 1, Op. 28
Jerome Lowenthal, piano

August 6, 1968, Ravinia Festival
TOYAMA Rhapsody for Orchestra
TAKEMITSU November Steps
Kinshi Tsuruta, kinshi, biwa and voice
Katsuya Yokoyama, shakuhachi
TCHAIKOVSKY Violin Concerto in D Major, Op. 35
Young Uck Kim, violin

Seiji and Vera Ozawa at a Ravinia Festival picnic on August 4, 1968 (Nickerson Photo Company photo)

August 8, 1968, Ravinia Festival
MUSSORGSKY/Rimsky-Korsakov A Night on Bare Mountain
BRITTEN Scottish Ballad, Op. 26
Arthur Austin Whittemore, piano
Jack Lowe, piano
POULENC Concerto for Two Pianos in D Minor
Arthur Austin Whittemore, piano
Jack Lowe, piano
MENDELSSOHN Incidental Music from A Midsummer Night’s Dream, Op. 61
Mary Michel, speaker
Teresa Orantes, soprano
Diana Haskell, mezzo-soprano
Women of the Chicago Symphony Chorus
Margaret Hillis, director
Mussorgsky’s A Night on Bare Mountain was recorded in Orchestra Hall on August 9, 1968. For RCA, Peter Dellheim was the producer and Bernard Keville was the recording engineer.

August 10, 1968 (11:00 a.m.), Ravinia Festival
BERNSTEIN Prologue from West Side Story
DEBUSSY Clair de lune from Suite bergamasque
TOYAMA Rhapsody for Orchestra
MUSSORGSKY/Rimsky-Korsakov A Night on Bare Mountain
VERDI Overture to I vespri siciliani

August 10, 1968 (8:30 p.m.), Ravinia Festival
RESPIGHI The Birds
MOZART Piano Concerto No. 23 in A Major, K. 488
John Browning, piano
STRAVINSKY Capriccio for Piano and Orchestra
John Browning, piano
HINDEMITH Symphonic Metamorphosis on Themes of Carl Maria von Weber

June 26, 1969, Ravinia Festival
BEETHOVEN Piano Concerto in D Major (arranged from the Violin Concerto, Op. 61)
Peter Serkin, piano
BARTÓK Concerto for Orchestra
Bartók’s Concerto for Orchestra and Kodály’s Dances of Galánta (not performed in concert) were recorded in Medinah Temple on June 30 and July 1, 1969. For Angel, Peter Andry was the executive producer, Richard C. Jones was the producer, and Carson Taylor was the recording engineer.

June 28, 1969, Ravinia Festival
BERLIOZ The Damnation of Faust, Op. 24
Lois Marshall, soprano
Nicholas di Virgilio, tenor
Ezio Flagello, bass
Chicago Symphony Chorus
Margaret Hillis, director

June 29, 1969, Ravinia Festival
STRAUSS Horn Concerto No. 1 in E-flat Major, Op. 11
Dale Clevenger, horn
TAKEMITSU Asterism for Piano and Orchestra
Yuji Takahashi, piano
RIMSKY-KORSAKOFF Sheherazade, Op. 35
Victor Aitay, violin
Rimsky-Korsakov’s Sheherazade and the Polovtsian Dances from Borodin’s Prince Igor (not performed in concert) were recorded in Medinah Temple on June 30 and July 1, 1969. For Angel, Peter Andry was the executive producer, Richard C. Jones was the producer, and Carson Taylor was the recording engineer.

July 3, 1969, Ravinia Festival
MOZART Overture to Così fan tutte, K. 588
MOZART Piano Concerto No. 18 in B-flat Major, K. 456
Peter Serkin, piano
BRUCKNER Symphony No. 4 in E-flat Major (Romantic)

July 5, 1969, Ravinia Festival
HAYDN Symphony No. 75 in D Major
CHOPIN Piano Concerto No. 2 in F Minor, Op. 21
Maurizio Pollini, piano
TCHAIKOVSKY Symphony No. 1 in G Minor, Op. 13 (Winter Dreams)

July 6, 1969, Ravinia Festival
BACH Brandenburg Concerto No. 2 in F Major, BWV 1047
Victor Aitay, violin
Donald Peck, flute
De Vere Moore, oboe
Adolph Herseth, trumpet
Mary Sauer, harpsichord
TIRCUIT Concerto for Solo Percussionist and Orchestra
Stomu Yamash’ta, percussion
SHOSTAKOVICH Concerto for Piano, Trumpet, and String Orchestra in C Minor, Op. 35
Sheldon Shkolnik, piano
Adolph Herseth, trumpet
BERNSTEIN Chichester Psalms
Howard Pfeifer, boy soprano
Chicago Symphony Chorus
Margaret Hillis, director

June 25, 1970, Ravinia Festival
WAGNER Prelude and Liebestod from Tristan and Isolde
Eileen Farrell, soprano
JANÁČEK Sinfonietta
WAGNER A Faust Overture
WAGNER Brünnhilde’s Immolation from Götterdämmerung
Eileen Farrell, soprano
Janáček’s Sinfonietta was recorded in Medinah Temple on June 26, 1970. For Angel, Peter Andry was the executive producer and Carson Taylor was the recording engineer.

June 27, 1970, Ravinia Festival
MOZART Symphony No. 32 in G Major, K. 318
PROKOFIEV Piano Concerto No. 3 in C Major, Op. 26
Maurizio Pollini, piano
BERLIOZ Symphonie fantastique, Op. 14

June 28, 1970, Ravinia Festival
GABRIELI Sonata pian’ e forte
LUTOSŁAWSKI Concerto for Orchestra
SCHICKELE The Fantastic Garden
WALDEN Circus
DENNIS Pennsylvania Station
Lutosławski’s Concerto for Orchestra was recorded in Medinah Temple on June 29, 1970. For Angel, Peter Andry was the executive producer and Carson Taylor was the recording engineer.

Donald Peck and Edward Druzinsky rehearse with Ozawa and the Orchestra on July 8, 1971 (Donald Peck collection)

July 8, 1971, Ravinia Festival
MOZART Concerto for Flute and Harp in C Major, K. 299
Donald Peck, flute
Edward Druzinsky, harp
HUMMEL Concerto for Trumpet in E-flat Major
Adolph Herseth, trumpet
GABRIELI Canzon duodecimi toni
TAKEMITSU Cassiopeia for Solo Percussionist and Orchestra (world premiere)
Stomu Yamash’ta, percussion

July 10, 1971, Ravinia Festival
PROKOFIEV Excerpts from Romeo and Juliet
WIENIAWSKI Violin Concerto No. 2 in D Minor, Op. 22
Pinchas Zukerman, violin
BARTÓK The Miraculous Mandarin, Op. 19

February 1, 2, and 3, 1973, Orchestra Hall
February 5, 1973, Pabst Theater, Milwaukee
HAYDN Symphony No. 60 in C Major (Il distratto)
LIGETI Melodien
TCHAIKOVSKY Symphony No. 5 in E Minor, Op. 64

February 8, 9, and 10, 1973, Orchestra Hall
BOONE First Landscape
BEETHOVEN Piano Concerto No. 4 in G Major, Op. 58
Gina Bachauer, piano
STRAVINSKY The Firebird

July 14, 1985, Ravinia Festival
MOZART Rondo in D Major, K. 382
Peter Serkin, piano
TAKEMITSU Riverrun
Peter Serkin, piano
TCHAIKOVSKY Symphony No. 6 in B Minor, Op. 74 (Pathétique)

On tour with visiting orchestras, Ozawa also appeared in Orchestra Hall under the auspices of Allied Arts and Symphony Center Presents, as follows:

April 8 1975, Orchestra Hall
MOZART Piano Concerto No. 21 in C Major, K. 467
James Levine, piano
RAVEL Daphnis and Chloe
Ann Arbor Festival Chorus
Donald Bryant, director
Boston Symphony Orchestra

March 6, 1981, Orchestra Hall
BEETHOVEN Symphony No. 7 in A Major, Op. 92
STRAVINSKY The Rite of Spring
Boston Symphony Orchestra

April 24, 1991, Orchestra Hall
BEETHOVEN Symphony No 8 in F Major, Op. 93
BERLIOZ Symphonie fantastique, Op. 14
Boston Symphony Orchestra

February 9, 1996, Orchestra Hall
MAHLER Symphony No. 2 in C Minor (Resurrection)
Heidi Grant Murphy, soprano
Michelle DeYoung, mezzo-soprano
Chicago Symphony Chorus
Duain Wolfe, director
Boston Symphony Orchestra

January 10, 2001, Orchestra Hall
MAHLER Symphony No. 9 in D Major
Saito Kinen Orchestra

Wishing a very happy seventy-fifth birthday to legendary Israeli-American violinist, conductor, and teacher Itzhak Perlman!

Itzhak Perlman

A frequent and favorite guest artist in Chicago, Perlman has performed with the Chicago Symphony Orchestra as both violin soloist and conductor on numerous occasions.

Perlman made his Chicago debut as soloist with the Grant Park Symphony Orchestra on July 24 and 25, 1965, in Tchaikovsky’s Violin Concerto under the baton of Irwin Hoffman, and he first appeared locally in recital later that year on November 27 at KAM Isaiah Israel, performing Bloch, Brahms, Chausson, Mozart, Paganini, Sarasate, and Vivaldi with David Garvey at the piano.

He first appeared with the Chicago Symphony Orchestra at the Ravinia Festival on August 4, 1966 (a few weeks shy of his twenty-first birthday), in Tchaikovsky’s Violin Concerto with Thomas Schippers conducting. In Orchestra Hall, he first appeared under the auspices of Allied Arts with members of the CSO on an all-Stravinsky concert, in the Violin Concerto in D under the baton of Robert Craft.

As a conductor, Perlman first led the Chicago Symphony Orchestra at the Ravinia Festival on July 25, 1999, in Bach’s Second Violin Concerto and Beethoven’s First Romance for Violin (also performing as soloist), along with Schubert’s Overture to Rosamunde and Brahms’s Fourth Symphony. He has led the Orchestra at Orchestra Hall on one occasion, on November 17, 2008, in Bach’s First Violin Concerto (also performing as soloist), Mozart’s Symphony no. 35, and Tchaikovsky’s Fifth Symphony. Most recently, he conducted the Orchestra in an all-Tchaikovsky program at the Ravinia Festival on August 18, 2019, leading the Fourth Symphony, Variations on a Rococo Theme with Kian Soltani, and the 1812 Overture.

A complete list of Perlman’s appearances is below:

August 4, 1966, Ravinia Festival
TCHAIKOVSKY Violin Concerto in D Major, Op. 35
Thomas Schippers, conductor

May 11 and 12, 1967, Orchestra Hall
PROKOFIEV Violin Concerto No. 2 in G Minor, Op. 63
Jean Martinon, conductor

Itzhak Perlman (photo by Lisa Marie Mazzucco)

Itzhak Perlman (Lisa Marie Mazzucco photo)

July 6, 1967, Ravinia Festival
WIENIAWSKI Violin Concerto No. 2 in D Minor, Op. 22
Sir Malcolm Sargent, conductor

July 30, 1968, Ravinia Festival
PAGANINI Violin Concerto No. 1 in D Major, Op. 6
Moshe Atzmon, conductor

July 24, 1969, Ravinia Festival
BEETHOVEN Violin Concerto in D Major, Op. 61
István Kertész, conductor

April 16, 17, and 18, 1970, Orchestra Hall
BRUCH Violin Concerto No. 1 in G Minor, Op. 26
Rafael Frühbeck de Burgos, conductor

July 30, 1970, Ravinia Festival
BRAHMS Violin Concerto in D Major, Op. 77
Lawrence Foster, conductor

July 27, 1971, Ravinia Festival
DVOŘÁK Violin Concerto in A Minor, Op. 53
István Kertész, conductor

July 25, 1972, Ravinia Festial
LALO Symphonie espagnole in D Minor, Op. 21
Lawrence Foster, conductor

July 13, 1973, Ravinia Festival
BERG Violin Concerto
SAINT-SAËNS Introduction and Rondo capriccioso in A Minor, Op. 28
James Levine, conductor

May 8, 9, and 10, 1975, Orchestra Hall
BACH Concerto for Oboe and Violin in C Minor, BWV 1060
Ray Still, oboe
BRAHMS Violin Concerto in D Major, Op. 77
Sir Georg Solti, conductor

November 24, 26, and 28, 1976, Orchestra Hall
MOZART Violin Concerto No. 4 in D Major, K. 218
Carlo Maria Giulini, conductor

Perlman Brahms

November 29, 1976, Mandel Hall, University of Chicago
BRAHMS Violin Concerto in D Major, Op. 77
Carlo Maria Giulini, conductor
Recorded in Medinah Temple on November 30 and December 1, 1976. For Angel, Christopher Bishop was the producer and and Christopher Parker was the balance engineer. The recording won the 1978 Grammy Award for Best Classical Album from the National Academy of Recording Arts and Sciences.

July 28, 1977, Ravinia Festival
BRAHMS Concerto for Violin and Cello in A Minor, Op. 102 (Double)
Lynn Harrell, cello
MENDELSSOHN Violin Concerto in E Minor, Op. 64
James Levine, conductor

November 16, 17, and 18, 1978, Orchestra Hall
BEETHOVEN Violin Concerto in D Major, Op. 61
Edo de Waart, conductor

March 23, and 24, 1981, Orchestra Hall (recording sessions only)
ELGAR Violin Concerto in B Minor, Op. 61
Daniel Barenboim, conductor
For Deutsche Grammophon, Steven Paul was the producer, Werner Mayer was the recording supervisor, Klaus Scheibe was the recording engineer, and Christopher Adler and Joachim Niss were editors. The recording won the 1982 Grammy Award for Best Classical Performance–Instrumental Soloist or Soloists (with orchestra).

October 29, 30, and 31, 1981, Orchestra Hall
TCHAIKOVSKY Violin Concerto in D Major, Op. 35
Sir Georg Solti, conductor

March 1, 2, and 3, 1984, Orchestra Hall
ELGAR Violin Concerto in B Minor, Op. 61
Leonard Slatkin, conductor

August 7, 1986, Ravinia Festival
BRUCH Violin Concerto No. 1 in G Minor, Op. 26
SARASATE Carmen Fantasy, Op. 25
David Zinman, conductor

August 9, 1986, Ravinia Festival
TCHAIKOVSKY Violin Concerto in D Major, Op. 35
David Zinman, conductor

January 15, 16, 17, and 20, 1987, Orchestra Hall
DVOŘÁK Violin Concerto in A Minor, Op. 53
Sir Georg Solti, conductor

August 8, 1987, Ravinia Festival
BRAHMS Violin Concerto in D Major, Op. 77
Edo de Waart, conductor

December 6, 1988, Orchestra Hall
MOZART Rondo in C Major, K. 373
MOZART Rondeau: Allegro from Duet No. 1 for Violin and Viola in G Major, K. 423
MOZART Sinfonia concertante for Violin and Viola in E-flat Major, K. 364
Pinchas Zukerman, conductor and viola

July 15, 1989, Ravinia Festival
SIBELIUS Violin Concerto in D Minor, Op. 47
James Conlon, conductor

October 3, 5, and 6, and 7, 1989, Orchestra Hall
BRAHMS Violin Concerto in D Major, Op. 77
Daniel Barenboim, conductor

June 23, 1990, Ravinia Festival
MENDELSSOHN Violin Concerto in E Minor, Op. 64
James Levine, conductor

June 30, 1991, Ravinia Festival
BACH Violin Concerto in E Major, BWV 1042
BRAHMS Violin Concerto in D Major, Op. 77
James Levine, conductor

June 20, 1992, Ravinia Festival
TCHAIKOVSKY Violin Concerto in D Major, Op. 35
James Levine, conductor

May 13, 14, 15, and 18, 1993, Orchestra Hall
MENDELSSOHN Violin Concerto in E Minor, Op. 64
PROKOFIEV Violin Concerto No. 2 in G Minor, Op. 63
Daniel Barenboim, conductor
Recorded live by Erato. Victor Muenzer was the recording supervisor; Lawrence Rock and Konrad Strauss were sound engineers, assisted by Christopher Willis.

June 26, 1993, Ravinia Festival
BRUCH Violin Concerto No. 1 in G Minor, Op. 26
BRAHMS Violin Concerto in D Major, Op. 77
Mariss Jansons, conductor

July 30, 1994, Ravinia Festival
KHACHATURIAN Violin Concerto in D Minor
Hugh Wolff, conductor

September 22, 23, and 24, 1994, Orchestra Hall
STRAVINSKY Violin Concerto in D
BEETHOVEN Concerto for Violin, Cello and Piano in C Major, Op. 56 (Triple)
John Sharp, cello
Daniel Barenboim, conductor and piano
Stravinsky’s Violin Concerto was recorded live by Teldec. Nikolaus Deckenbrock was the executive producer, Martin Fouqué was the recording producer and editor, Michael Brammann was the recording engineer, and Wolfram Nehls and Philipp Nedel were the assistant engineers.

November 14, 1994, Orchestra Hall
BEETHOVEN Violin Concerto in D Major, Op. 61
Lawrence Foster, conductor

July 15, 1995, Ravinia Festival
BEETHOVEN Violin Concerto in D Major, Op. 61
Semyon Bychkov, conductor

July 18, 1996, Ravinia Festival
BRAHMS Violin Concerto in D Major, Op. 77
Christoph Eschenbach, conductor

September 26, 27, and 28, 1996, Orchestra Hall
BRAHMS Concerto in A Minor for Violin and Cello, Op. 102 (Double)
Yo-Yo Ma, cello
Daniel Barenboim, conductor
Recorded live by Teldec. Renate Kupfer was the executive producer, Martin Sauer was the recording producer, Michael Brammann was the recording engineer, Philipp Nedel and John Newton were assistant engineers, and Stefan Witzel was the digital editor.

November 11, 1996, Orchestra Hall
MASSENET Meditation from Thaïs
KREISLER Schön Rosmarin
TCHAIKOVSKY Violin Concerto in D Major, Op. 35
Christoph Eschenbach, conductor

June 22, 1997, Ravinia Festival
MENDELSSOHN Violin Concerto in E Minor, Op. 64
Christoph Eschenbach, conductor

January 22, 23, and 24, 1998, Orchestra Hall
BEETHOVEN Violin Concerto in D Major, Op. 61
William Eddins, conductor

July 19, 1998, Ravinia Festival
TCHAIKOVSKY Violin Concerto in D Major, Op. 35
Christoph Eschenbach, conductor

July 24, 1999, Ravinia Festival
DVOŘÁK Romance in F Minor, Op. 11
KREISLER Liebesleid
KREISLER Liebesfreud
KREISLER Tambourin chinois
Eiji Oue, conductor

July 25, 1999, Ravinia Festival
BACH Violin Concerto in E Major, BWV 1042
BEETHOVEN Romance No. 1 in G major, Op. 40
SCHUBERT Overture to Rosamunde, D. 797
BRAHMS Symphony No. 4 in E Minor, Op. 98
Itzhak Perlman, conductor and violin

June 1, 2, and 3, 2000, Orchestra Hall
BARBER Violin Concerto, Op. 14
Charles Dutoit, conductor

July 22, 2000, Ravinia Festival
BEETHOVEN Violin Concerto in D Major, Op. 61
Bernhard Klee, conductor

recording session

Perlman and Daniel Barenboim rehearsing with the CSO in May 1993 (Jim Steere photo)

July 23, 2000, Ravinia Festival
BACH Concerto for Oboe and Violin in C Minor, BWV 1060
Alex Klein, oboe
MOZART Symphony No. 29 in A Major, K. 201
VIVALDI Violin Concerto in G Minor, Op. 8, No. 2 (Summer)
BIZET Symphony in C Major
Itzhak Perlman, conductor and violin

November 8, 2000, Orchestra Hall
TCHAIKOVSKY Violin Concerto in D Major, Op. 35
Markus Stenz, conductor

December 6, 7, and 8, 2001, Orchestra Hall
BACH Brandenburg Concerto No. 5 in D Major, BWV 1050
Mathieu Dufour, flute
Daniel Barenboim, piano
MENDELSSOHN Violin Concerto in E Minor, Op. 64
Daniel Barenboim, conductor

June 21, 2002, Ravinia Festival
TCHAIKOVSKY Violin Concerto in D Major, Op. 35
William Eddins, conductor

June 22, 2002, Ravinia Festival
GLINKA Overture to Ruslan and Ludmilla
BACH Violin Concerto No. 1 in A Minor, BWV 1041
TCHAIKOVSKY Symphony No. 4 in F Minor, Op. 36
Itzhak Perlman, conductor and violin

June 23, 2002, Ravinia Festival
BEETHOVEN Overture to Egmont, Op. 84
BEETHOVEN Concerto for Violin, Cello and Piano in C Major, Op. 56 (Triple)
Kurt Nikkanen, violin
Zuill Bailey, cello
Navah Perlman, piano
BEETHOVEN Symphony No. 7 in A Major, Op. 92
Itzhak Perlman, conductor

June 28, 2003, Ravinia Festival
MOZART Violin Concerto No. 3 in G Major, K. 216
Robert Spano, conductor

June 29, 2003, Ravinia Festival
TCHAIKOVSKY Violin Concerto in D Major, Op. 35
Giora Schmidt, violin
SCHUBERT Symphony No. 9 in C Major, D. 944 (Great)
Itzhak Perlman, conductor

June 27, 2004, Ravinia Festival
BRUCH Violin Concerto No. 1 in G Minor, Op. 26
Peter Oundjian, conductor

July 9, 2005, Ravinia Festival
DVOŘÁK Romance in F Minor, Op. 11
KREISLER Liebesfreud
SAINT-SÄENS Introduction and Rondo capriccioso in A Minor, Op. 28
Marin Alsop, conductor

July 10, 2005, Ravinia Festival
BERLIOZ Roman Carnival Overture, Op. 9
BEETHOVEN Piano Concerto No. 1 in C Major, Op. 15
Lang Lang, piano
BRAHMS Symphony No. 4 in E Minor, Op. 98
Itzhak Perlman, conductor

October 1, 2005, Orchestra Hall
MOZART Violin Concerto No. 3 in G Major, K. 216 (Strassburg)
Daniel Barenboim, conductor

July 12, 2006, Ravinia Festival
MOZART Violin Concerto No. 5 in A Major, K. 219 (Turkish)
Yoel Levi, conductor

July 13, 2006, Ravinia Festival
BEETHOVEN Piano Concerto No. 5 in E-flat Major, Op. 73 (Emperor)
Emanuel Ax, piano
BEETHOVEN Symphony No. 3 in E-flat Major, Op. 55 (Eroica)
Itzhak Perlman, conductor

Perlman and Daniel Barenboim rehearsing with the CSO in May 1993 (Jim Steere photo)

November 17, 2008, Orchestra Hall
BACH Violin Concerto No. 1 in A Minor, BWV 1041
MOZART Symphony No. 35 in D Major, K. 385 (Haffner)
TCHAIKOVSKY Symphony No. 5 in E Minor, Op. 64
Itzhak Perlman, conductor and violin

March 7, 2011, Orchestra Hall
MENDELSSOHN Violin Concerto in E Minor, Op. 64
KREISLER/McAlister Liebesfreud
James DePreist, conductor

August 4, 2011, Ravinia Festival
BEETHOVEN Violin Concerto in D Major, Op. 61
James Conlon, conductor

August 6, 2011, Ravinia Festival
TCHAIKOVSKY Capriccio italien, Op. 45
MOZART Piano Concerto No. 12 in A Major, K. 414
Gabriela Martinez, piano
DVOŘÁK Symphony No. 9 in E Minor, Op. 95 (From the New World)
Itzhak Perlman, conductor

August 7, 2013, Ravinia Festival
MENDELSSOHN Violin Concerto in E Minor, Op. 64
Carlos Miguel Prieto, conductor

August 8, 2013, Ravinia Festival
BRAHMS Academic Festival Overture, Op. 80
HAYDN Cello Concerto No.2 in D Major
Alisa Weilerstein, cello
TCHAIKOVSKY Symphony No. 5 in E Minor, Op. 64
Itzhak Perlman, conductor

August 20, 2016, Ravinia Festival
BEETHOVEN Violin Concerto in D Major, Op. 61
Bramwell Tovey, conductor

August 21, 2016, Ravinia Festival
TCHAIKOVSKY Symphony No. 5 in E Minor, Op. 64
TCHAIKOVSKY Variations on a Rococo Theme, Op. 33
Lynn Harrell, cello
TCHAIKOVSKY 1812 Festival Overture, Op. 49
Itzhak Perlman, conductor

July 29, 2017, Ravinia Festival
HUPFELD/Williams As Time Goes By from Casablanca
MORRICONE/Williams Love Theme from Cinema Paradiso
WILLIAMS Theme from Far and Away
BARRY/Williams Main Title Theme from Out of Africa
KORNGOLD/Williams Marian and Robin Love Theme from The Adventures of Robin Hood
WILLIAMS Theme from Sabrina
WILLIAMS Theme from Schindler’s List
GARDEL/Williams Tango from Scent of a Woman
James Conlon, conductor

August 17, 2019, Ravinia Festival
BRUCH Violin Concerto No. 1 in G Minor, Op. 26
Krzysztof Urbański, conductor

August 18, 2019, Ravinia Festival
TCHAIKOVSKY Symphony No. 4 in F Minor, Op. 36
TCHAIKOVSKY Variations on a Rococo Theme, Op. 33
Kian Soltani, cello
TCHAIKOVSKY 1812 Festival Overture, Op. 49
Itzhak Perlman, conductor

Under the auspices of Allied Arts and Symphony Center Presents, Perlman also has appeared in Orchestra Hall on numerous times in recital, as follows:

Chicago Tribune, December 29, 1966

December 28, 1966, and January 1, 1967, Orchestra Hall
STRAVINSKY Violin Concerto in D
Members of the Chicago Symphony Orchestra
Robert Craft, conductor

April 2, 1967, Orchestra Hall
BEETHOVEN Sonata No. 8 in G Major, Op 30, No. 3
FRANCK Sonata in A Major
STRAVINSKY Suite italienne
BLOCH Nigun from Baal shem
WIENIAWSKI Scherzo tarantelle, Op. 16
Samuel Sanders, piano

January 12, 1969, Orchestra Hall
VIVALDI Sonata in A Major, RV 31
BACH Sonata No. 1 in G Minor, BWV 1001
BRAHMS Sonata No. 1 in G Minor, Op. 108
STRAVINSKY Duo concertant
PAGANINI Three Caprices
SARASATE/Zimbalist Carmen Fantasy
Samuel Sanders, piano

April 27, 1991, Orchestra Hall
MOZART Sonata in G Major, K. 301
MOZART Sonata in E-flat Major, K. 302
MOZART Sonata in C Major, K. 303
MOZART Sonata in E Minor, K. 304
MOZART Sonata in A Major, K. 305
MOZART Sonata in D Major, K. 306
Daniel Barenboim, piano

May 6, 1991, Orchestra Hall
MOZART Sonata in F Major, K. 376
MOZART Sonata in B-flat Major, K. 378
MOZART Sonata in F Major, K. 377
MOZART Sonata in C Major, K. 296
Daniel Barenboim, piano

October 7, 1991, Orchestra Hall
MOZART Sonata in G Major, K. 379
MOZART Sonata in E-flat Major, K. 481
MOZART Sonata in E-flat Major, K. 380
MOZART Sonata in B-flat Major, K. 454
Daniel Barenboim, piano

October 16, 1991, Orchestra Hall
MOZART Twelve Variations in G Major on the French Song La bergère Cèlimène, K. 359
MOZART Sonata in F Major, K. 547
MOZART Six Variations in G Minor on the French Song Hélas! j’ai perdu mon amant, K. 360
MOZART Sonata for Violin and Piano in A Major, K. 526
Daniel Barenboim, piano

May 10, 1993, Orchestra Hall
BEETHOVEN Sonata No. 1 in D Major, Op. 12, No. 1
BEETHOVEN Sonata No. 3 in E-flat Major, Op. 12, No. 3
BEETHOVEN Sonata No. 4 in A Minor, Op. 23
BEETHOVEN Sonata No. 5 in F Major, Op. 24 (Spring)
Daniel Barenboim, piano

May 16, 1993, Orchestra Hall
BEETHOVEN Sonata No. 2 in A Major, Op. 12, No. 2
BEETHOVEN Sonata No. 7 in C Minor, Op. 30, No. 2
BEETHOVEN Sonata No. 10 in G Major, Op. 96
Daniel Barenboim, piano

May 17, 1993, Orchestra Hall
BEETHOVEN Sonata No. 6 in A Major, Op. 30, No. 1
BEETHOVEN Sonata No. 8 in G Major, Op. 30, No. 3
BEETHOVEN Sonata No. 9 in A Major, Op. 47
Daniel Barenboim, piano

September 26, 1994, Orchestra Hall
BACH Sonata in G Major, BWV 1019
ELGAR Sonata in E Minor, Op. 82
STRAUSS Sonata in E-flat Major, Op. 18
Daniel Barenboim, piano

February 2, 1997, Orchestra Hall
SCHUBERT Sonata in G Minor, D. 408
SCHUBERT Sonata in A Major, D. 574 (Grand Duo)
SCHUBERT Fantasy in C Major, D. 934
Daniel Barenboim, piano

Perlman, Samuel Magad, Daniel Barenboim, John Sharp, and Pinchas Zukerman performing Brahms’s F minor quintet on October 9, 1997 (Jim Steere photo)

October 9, 1997, Orchestra Hall
WAGNER Siegfried Idyll
Samuel Magad, violin
Pinchas Zukerman, viola
John Sharp, cello
Joseph Guastafeste, bass
Donald Peck, flute
Alex Klein, oboe
Larry Combs, clarinet
Gregory Smith, clarinet
David McGill, bassoon
Dale Clevenger, horn
Norman Schweikert, horn
Adolph Herseth, trumpet
Daniel Barenboim conductor
MOZART Duo No. 1 for Violin and Viola in G Major, K. 423
Itzhak Perlman, violin
Pinchas Zukerman, viola
HALVORSEN Passacaglia on a Theme of Handel for Violin and Viola
Itzhak Perlman, violin
Pinchas Zukerman, viola
BRAHMS Quintet for Piano and Strings in F Minor, Op. 34
Itzhak Perlman, violin
Samuel Magad, violin
Pinchas Zukerman, viola
John Sharp, cello
Daniel Barenboim, piano

December 1, 1997, Medinah Temple
Brave Old World
The Klezmatics
The Andy Statman Klezmer Orchestra
The Klezmer Conservatory Band

October 17, 1999, Orchestra Hall
MOZART Sonata in F Major, K. 377
MOZART Sonata in A Major, K. 526
BEETHOVEN Sonata No. 9 in A Major, Op. 47 (Kreutzer)
Daniel Barenboim, piano

November 19, 2000, Orchestra Hall
SCHUMANN Piano Quintet in E-flat Major, Op. 44
BRAHMS Piano Quintet in F Minor, Op. 34
Robert Chen, violin
Pinchas Zukerman, viola
Yo-Yo Ma, cello
Daniel Barenboim, piano

December 9, 2001, Orchestra Hall
MOZART Sonata in G Major, K. 379
BRAHMS Sonata No. 2 in A Major, Op. 100
BEETHOVEN Sonata No. 7 in C Minor, Op. 30, No. 2
Daniel Barenboim, piano

May 3, 2006, Orchestra Hall
BACH/Goldberg Sonata for Two Violins and Keyboard in C Major, BWV 1037
MOZART Duo for Violin and Viola in G Major, K. 423
LECLAIR Sonata for Two Violins in F Major, Op. 3, No. 4
MOSZKOWSKI Suite for Two Violins and Piano in G Minor, Op. 71
Pinchas Zukerman, violin and viola
Rohan De Silva, piano

April 19, 2009, Orchestra Hall
MOZART Piano Quartet No. 2 in E-flat Major, K. 493
Itzhak Perlman, violin
Molly Carr, viola
Yves Dharamraj, cello
Kwan Yi, piano
MENDELSSOHN Octet for Strings in E-flat Major, Op. 20
Itzhak Perlman, violin
Erno Kallai, violin
Francesca Anderegg, violin
Wanzhen Li, violin
Kyle Armbrust, viola
Molly Carr, viola
Jia Kim, cello
Yves Dharamraj, cello

May 1, 2019, Orchestra Hall
MOZART Violin Sonata in D Major, K. 306
BRAHMS Violin Sonata No. 2 in A Major, Op. 100
BEETHOVEN Violin Sonata No. 9 in A Major, Op. 47 (Kreutzer)
Evgeny Kissin, piano

Happy, happy birthday!

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Theodore Thomas

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The opinions expressed here are mine and do not necessarily reflect those of my employer.

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