You are currently browsing the tag archive for the ‘Art Institute of Chicago’ tag.
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.
____________________________________________________
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 Pictures’ Humoresque—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.
____________________________________________________
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.
_________________________________________________
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 Studio. The 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.
____________________________________________________
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.
____________________________________________________
December 8, 1893
The Art Institute of Chicago opened its new building—completed in time for the second year of the World’s Columbian Exposition—on December 8, 1893, at the intersection of Michigan Avenue and Adams Street. For the opening reception, Theodore Thomas and the Orchestra performed Schubert’s Three Marches (from the Six Grand Marches, D. 819, orchestrated by Thomas), the second movement of Beethoven’s Second Symphony, Dvořák’s Second Slavonic Rhapsody, Goldmark’s Serenade from The Rustic Wedding, the Elegy and Waltz from Tchaikovsky’s Serenade for String Orchestra, and Wagner’s Forest Murmurs from Siegfried.
The Spirit of Music in its original location on Michigan Avenue
The Art Institute’s south garden was the first site of The Spirit of Music, a memorial to Thomas, originally dedicated on April 24, 1924. It was designed by architect Howard Van Doren Shaw and sculpted by Albin Polasek. Subsequently moved on multiple occasions and even temporarily presumed to be lost, the memorial ultimately was moved to Grant Park at the intersection of Michigan and Balbo avenues and rededicated on October 18, 1991, at the conclusion of the Orchestra’s centennial celebration.
Directly behind the statue is a carved frieze including images of musicians. In its center is an inscription with text culled from a telegram sent from Ignace Paderewski to Rose Fay Thomas on January 5, 1905, the day following her husband’s death. Upon hearing the news, Paderewski had written: “Scarcely any man in any land has done so much for the musical education of the people as did Theodore Thomas in this country. The nobility of his ideals with the magnitude of his achievement will assure him everlasting glory.”
This article also appears here and portions previously appeared here and here.
____________________________________________________
Boulez speaking at a reception celebrating his seventieth birthday in Orchestra Hall’s Grainger Ballroom on March 30, 1995 (Cheri Eisenberg photo)
After his 1969 debut with the Chicago Symphony Orchestra, Pierre Boulez returned as guest conductor in 1987 and, beginning in 1991, appeared annually in Chicago. During celebrations for his seventieth birthday, he was named the Chicago Symphony Orchestra’s third principal guest conductor on March 30, 1995.
Boulez led the Orchestra in an extraordinary breadth of repertoire, including the music of Bartók, Berg, Berio, Bruckner, Carter, Debussy, Janáček, Ligeti, Mahler, Messiaen, Prokofiev, Rands, Ravel, Schoenberg, Scriabin, Strauss, Stravinsky, Varèse, and Webern, in addition to his own compositions. He conducted world premieres by the Orchestra’s composers-in-residence Shulamit Ran and Augusta Read Thomas, as well as by Philippe Manoury and Matthias Pintscher.
Boulez traveled with the Orchestra to New York’s Carnegie Hall and on tour to England, Germany, Hungary, and Japan. He curated several MusicNOW concerts; delivered lectures at the Art Institute of Chicago; collaborated in Beyond the Score presentations both in Chicago and in New York; and conducted the Civic Orchestra on several occasions, both in concert and in reading sessions of new music.
Boulez and Daniel Barenboim acknowledge applause following a performance of Bartók’s First Piano Concerto on April 1, 1995 (Cheri Eisenberg photo)
Several of his many recordings with the Orchestra were Grammy winners in multiple categories, including Bartók’s Bluebeard’s Castle, The Wooden Prince, Cantata profana, and Concerto for Orchestra; Mahler’s Ninth Symphony; and Varèse’s Amériques, Arcana, Déserts, and Ionisation. In fact, Boulez is the third all-time Grammy winner—behind Sir Georg Solti (thirty-one) and Alison Krauss and Quincy Jones (twenty-seven each)—with twenty-six awards to his credit.
In 2006, Boulez was named the Orchestra’s Helen Regenstein Conductor Emeritus.
Boulez’s most recent residency in Chicago was during two weeks in 2010. On November 26 and 27, he led Debussy’s Selections from The Martyrdom of Saint Sebastian, Ligeti’s Violin Concerto with concertmaster Robert Chen, Ravel’s Mother Goose Suite, and Debussy’s La mer. The following week, on December 2, 3, and 4, he conducted Schoenberg’s Transfigured Night and Janáček’s Glagolitic Mass with vocal soloists Christine Brewer, Nancy Maultsby, Lance Ryan, and Mikhail Petrenko; organist Paul Jacobs; and the Chicago Symphony Chorus.
This article also appears here.
from the archives 