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The Chicago Symphony Orchestra Association offers a variety of internships in all departments, and we are always lucky to engage young, smart, and eager individuals—current students and recent graduates—from all disciplines. Working here can provide an in-depth look at not only the Orchestra’s rich history but also insight into the day-to-day operations of a performing arts organization. We recently reached out to former Rosenthal Archives interns to see what they have been up to . . .

Stephen Abitbol

A digital cinema graduate from DePaul University, Stephen Abitbol processed audio and video recording collections in the archives. “It was incredible to see how much dedication, love, and patience it takes from each musician to work as a whole to create a unique sound. It helped me understand how important it is to work as a team in my personal and professional relationships to grow together.” Stephen currently lives in Haifa, Israel, working as a digital marketer in a variety of startups. This fall, he is a full-time student there in language school to learn Hebrew.

Kathryn Antonelli

After her recent tenure in the archives, Kathryn Antonelli completed internships at Princeton University and the University of Hawaii, working with born-digital and moving-image collections. “Working at the CSO was what opened the doors to these amazing new experiences, and I am so glad I had the opportunity to spend a season there.” She will soon graduate from the University of South Carolina with her master of library and information science degree (MLIS) and plans to reside and work in Philadelphia.

Sierra Campbell

Sierra Campbell completed degrees in fine arts from Harold Washington College and English literature from the University of Illinois at Chicago before earning an MLIS degree at the University of Illinois at Urbana-Champaign. “Working at the CSO impacted both my personal and professional paths, as I was able to meet the friendly employees and volunteers. They were all so gracious and willing to help out in any way, and no act of recognition was too small to have been noticed.” Sierra currently works at Fox College, managing libraries on two campuses.

Kerry Fulara

Kerry Fulara earned a bachelor’s degree in history from Michigan State University and an MLIS (with a specialization in archives, preservation, and records management) degree from the University of Pittsburgh. Following her internship, she worked with Rush Hour Concerts and formally established its archives. “My time at the CSO taught me the importance and benefits of networking, connecting with people, and building relationships.” Kerry later worked as a records manager and now as a real estate analyst with Invenergy. Continuing her archival work, she currently volunteers with the Richard H. Driehaus Museum, developing its restoration archive.

John Garvens (Sarah Pemberton photo)

Since working in the archives, John Garvens has transitioned from music to retail to fitness to software to advertising to consulting while serving in the U.S. Army Reserve as a trombone player from 2004 until 2016. He especially remembers two visitors to the archives, Yo-Yo Ma and Pierre Boulez. “Both men were musical heroes of mine; it was an honor to meet them. It also was really cool to archive the media from Riccardo Muti’s earliest years with the CSO.” John earned a bachelor of music degree in trombone performance from Illinois State University.

Matthew Greenman (reverb.com photo)

Matthew Greenman completed a bachelor of music degree in performing arts management from DePaul University in 2016 before his CSO internships in the archives and the marketing department. “My time in the archives greatly enhanced my organizational skills, formed my fascination of and appreciation for the orchestra, and rekindled my love of live music.” Matthew later worked as a listings coordinator at reverb.com in Lakeview, and he is preparing to take the exam to join the New York City Fire Department.

Andrew Lyon (E. Lyon photo)

After earning his bachelor’s degree in saxophone performance from Illinois State University, Andrew Lyon joined the staff, processing and cataloguing the Margaret Hillis score collection. He later completed a master’s degree in orchestral conducting from Butler University and has since returned to the archives on numerous occasions to utilize the score and audio collections. In the archives, “once you’re a part of it, you’re a part for life. You have your own page in the CSO history books.” Andrew currently is artistic and music director of The 65th Street Klezmorim and on faculty at Ivy Tech Community College.

Elliot Mandel (Dawn Mueller photo)

Before working for the American Library Association and Rush Hour Concerts, as well as writing classical concert reviews for local websites, Elliot Mandel graduated with a bachelor’s degree in English and creative writing from Bradley University. “I loved my time in the archives, getting to know the rich history of the orchestra that I have enjoyed seeing perform since I was a kid.” He has since started his own photography business, where his clients include the Chicago Children’s Choir, Chicago Philharmonic, Chicago Youth Symphony Orchestra, Chicago Symphony Orchestra, Eighth Blackbird, Kurt Elling, Spektral Quartet, and the Collaborative Arts Institute of Chicago.

Brian Maloney

“Working in the archives taught me an appreciation and understanding for how people can work together to create one cohesive production for all to enjoy and always instilled in me a deep sense of awe and respect for the CSO’s rich historical tapestry,” remembers Brian Maloney, who earned a bachelor’s degree in music education from Saint Xavier University. He currently holds multiple band director and instructor jobs in the Chicago suburbs, with School District 95, Divine Providence School, Soli Deo Gloria Brass Band, and Evergreen Park Community High School.

Shridar Mani

Shridar Mani completed a bachelor’s degree in music (with honors) from the University of Chicago while an intern in the archives, where one of his projects was processing and cataloguing a collection of manuscripts by Chicago composer William Lester (see here and here). After graduation, he returned home to Singapore where he has worked for the past several years as a programming officer at the Esplanade–Theatres on the Bay, producing a wide variety of concerts in all genres. “Working at the CSO helped me realize that working in the arts was a calling, and it has led to my career for the past six years and many more to come.”

Charles Russell Roberts (Mike Grittani photo)

With degrees from the University of Florida and the Eastman School of Music, Charles Russell Roberts currently is finishing a master’s degree in performing arts administration at Roosevelt University. “The archives internship was my first foray into working at a cultural institution in a capacity beyond the stage, and it gave me a deep understanding and respect for the integrity and preservation of not only physical archives but also the importance of records and data in understanding how an organization changes over time.” Charles—also an alumnus of the Civic Orchestra of Chicago—currently balances a full-time job as a project manager with Grenzebach Glier and Associates with performances with the Gaudete Brass Quintet.

Andrew Song

Before completing a bachelor of arts degree in biological sciences from the University of Chicago, Andrew Song worked at the CSO as an archives intern and patron services associate. “I gained strong insight into how a large organization can foster meaningful long-term relationships with its patrons as well as nurture its community through education and outreach . . . I also realized, for the first time, the greater institutional sense of community oriented self-efficacy: a pride that I was part of a great organization that made such fantastic concerts possible for the sake of our audience members.” Andrew currently is a student at Harvard Medical School.

Gregory Starr

“Working with the archives really strengthened my attention to detail,” remembers Gregory Starr, whose internship helped fulfill a class requirement for his bachelor’s degree in music business from Western Illinois University. Once after assisting with an exhibit, he mentioned that he “enjoyed getting to see more of our own collection and getting to show it off to others.” He continued to volunteer with the CSO as he worked toward a degree in digital forensics and network security at Elgin Community College, and he recently took a position as a technology support specialist—concentrating on networking troubleshooting and architecture—at The Packaging Wholesalers.

Jack Vishneski

Jack Vishneski studied history (with minors in ethnomusicology and music) at Beloit College and was working as a freelance audio engineer and singer when he began his internship in the archives, where he learned about “the value of cultivating institutional memory, especially as a key component of the storytelling needed to (at minimum) survive and (one hopes) thrive in the non-profit arts sector.” Jack completed a master’s degree in musicology from the University of Minnesota, and he and his wife are expecting their first child in November.

Joe White

Following his internship in the archives, Joe White earned a master’s degree in composition from the Conservatory of Music at Brooklyn College and has been active in the New York music and theater scene ever since. “Working at CSO right after undergrad was very affirming on many levels, as it provided confirmation that I wanted to seek out, and participate in, artistic communities. I learned that there was a place for me professionally and personally in my post-academic life.” His most recent work is the score to Alex Borinsky’s Clubbed Thumb play Of Government.

Cassandra Wilson

Cassandra Wilson completed her MLIS from Dominican University before starting her internship in the archives. “The CSO was the most amazing place to intern because I could marry my love of music with history and archives. It is also very hard to describe what it feels like to be going about your day with the life mask of Beethoven sitting on your work surface and watching over your every move!” Now residing in Houston, she freelances as a webmaster and researcher, and she currently is assisting a new company with planning and implementing its corporate archives. Cassandra also is personal assistant to her sister—opera singer and recent Richard Tucker Music Foundation award recipient—Tamara Wilson.

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The Chicago Symphony Orchestra family notes with sorrow the passing of Rudolph “Rudy” Nashan, a member of the trumpet section from 1950 until 1963. He died on August 9, 2017, at the age of 94.

The Chicago Symphony Orchestra trumpet section in the fall of 1950: left to right, Renold Schilke, Gerald Huffman, Rudolph Nashan, and Adolph Herseth

Nashan was born in Münster, Germany on July 25, 1923, and the family soon immigrated to the United States, settling in Chicago. He began playing the trumpet in elementary school and continued lessons while attending Lane Tech. Nashan was a member of the Civic Orchestra of Chicago from 1941 until 1943, and following the outbreak of World War II, in 1942 he joined the U.S. Army, serving in a military band in Skokie, Illinois. During his service, he worked not only as a trumpeter but also as a translator for incoming German war prisoners who had been transported to the United States as farm laborers from South Africa.

After the war, Nashan attended the New England Conservatory of Music and studied with Georges C. Mager, then principal trumpet of the Boston Symphony Orchestra. Shortly after receiving his performer’s certificate, new music director Rafael Kubelík invited him to join the Chicago Symphony Orchestra as second trumpet, where he served for ten years, moving to fourth trumpet in 1960.

As a tireless advocate for the rights of musicians, in 1962 Nashan was one of the founding members of the International Conference of Symphony and Opera Musicians. He resigned his post with the Chicago Symphony Orchestra in 1963 when he was elected vice president of the Chicago Federation of Musicians, where he was instrumental in completing the merger of the segregated Chicago locals.

Nashan later worked as an artist representative for the National Endowment for the Arts for the New England area and also served as principal trumpet and personnel manager of the Syracuse Symphony Orchestra. Upon his retirement, he and his wife Catherine moved to Belfast, Maine, where he taught several young trumpeters privately and at local colleges. Nashan was a longtime member of the Chicago Symphony Orchestra Alumni Association.

His first wife Catherine preceded him in death. Nashan is survived by his second wife Patricia and two children from his first marriage, Rebecca Devereaux and Georges Nashan. Service details are pending.

In 2012, ICSOM held its fiftieth anniversary meeting in Chicago and to commemorate the event, a documentary was produced. Nashan was one of several Chicago Symphony Orchestra musicians prominently featured in the film, offering first-hand accounts of working conditions in orchestras in the early years.

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Helen Kotas

In 1941, Frederick Stock appointed Helen Kotas to the position of principal horn, making her the first woman to hold a rostered position in the Chicago Symphony Orchestra. She was the first female to secure such a position—in fact, the first woman to be hired as principal of any section, except harp—in a major U.S. orchestra.

While still a student, earning a degree in psychology from the University of Chicago (which she received in 1936), Kotas served as a member of the Civic Orchestra and principal horn in the Woman’s Symphony Orchestra. Stock hired her as a regular extra horn at the beginning of the Orchestra’s fiftieth season in 1940, although she was not under contract. In 1940 and 1941, Kotas performed in Leopold Stokowski’s All-American Youth Orchestra’s summer tours; also in 1941, Fritz Reiner offered her the third-chair seat in the horn section of the Pittsburgh Symphony.

Oct 1941 (Pottag, Erickson, Mourek, Verschoor, Kotas

Kotas surrounded by the rest of the horn section in October 1941: Max Pottag, Frank Erickson, Joseph Mourek, and William Verschoor

Shortly after her audition in Pittsburgh, Stock auditioned Kotas for principal horn to fill the vacancy left by Philip Farkas when he left to join the Cleveland Orchestra. Stock offered her the job and contacted Reiner, who agreed to release her from the Pittsburgh commitment. Kotas would serve as principal until 1947, when Farkas returned to the Orchestra. She moved to third chair for one season and left the Orchestra in 1948; she married University of Chicago pathologist Edwin Hirsch the following year.

Kotas later was principal horn of the Grant Park Orchestra from 1950 until 1958, and she also served as principal horn of the Lyric Opera of Chicago Orchestra from 1954 until 1959, and third horn until 1965, after which she largely retired from performing.

The first woman listed on the Orchestra’s roster was Mrs. Lawrence (Anna) Winch, second harp for the 1892–93 season. Other women subsequently performed as second harp; however, the position was not contracted and rostered full-time until the beginning of the 1957–58 season, when Carol Baum was hired as second harp. The first rostered woman in the string section was cellist Alice Lawrence in the 1942–43 season, and the first in the wind section was flutist Caroline Solfronk Vacha in the 1943–44 season.

This article also appears here.

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Boulez speaking at a reception celebrating his seventieth birthday in Orchestra Hall's Grainger Ballroom on March 30, 1995 (Cheri Eisenberg photo)

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)

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.

Adrian Da Prato (1)

Adrian Da Prato, a member of the Chicago Symphony Orchestra’s violin section from 1946 until 1996, died on Tuesday, March 17, 2015, in Chicago. He was 94.

Born in Barga in 1920, in the region of Tuscany, Da Prato became fascinated with the sound of the violin while attending silent movies as a child in his native Italy. The films were accompanied by piano and violin, and his attention invariably would turn from the motion picture to the violinist in the pit.

Da Prato began violin lessons at age nine after his family arrived in America. In Chicago he attended Lane Technical High School and the American Conservatory of Music, two schools he remembered warmly for instilling enthusiasm through their mutual support and continuous exchange of ideas among talented students. His first teacher was Pellegro Pacini, and he later studied with Scott Willits and CSO concertmaster John Weicher.

After being inducted in the 33rd Infantry Division in World War II, Da Prato later was assigned to special services in Hawaii, where he was active in all facets of performing for the troops throughout the islands. He was a member of the Illinois Symphony Orchestra and the Civic Orchestra of Chicago before music director Désiré Defauw invited him to join the Chicago Symphony Orchestra in 1946.

Da Prato cherished his friendship with Carlo Maria Giulini, the Orchestra’s principal guest conductor from 1969 until 1972, which dated back to 1955 when the Italian maestro arrived in Chicago for his American debut. He spoke little English and Da Prato was asked to help translate for him; but, as he recalled, “There was no real problem, because the rapport between the Orchestra and Maestro Giulini was such that words really were not necessary.”

Da Prato also was a member of the Chicago Strings, which toured throughout the United States and Europe. Additionally, he performed in chamber ensembles and in many schools throughout Chicago. His violin was a Peter Guarnerius of Mantua, dated 1710.

After forty-nine years with the Orchestra and serving under seven music directors—Defauw, Artur Rodzinski, Rafael Kubelík, Fritz Reiner, Jean Martinon, Sir Georg Solti, and Daniel Barenboim—Da Prato retired in 1996. In his retirement, Da Prato was a member of the Chicago Symphony Orchestra Alumni Association for many years.

Adrian Da Prato (2)

In an interview from the 1970s, Da Prato reflected on his time with the Orchestra. “When the players perform well—having been together, played together, lived together on tour, and seen each other every day—it helps enormously because we fit in. It’s just like a string quartet. You can have the four greatest players in the world, individually great, who will play together, but there must be that unity of purpose. Like an old bottle of wine, it has to have a good vintage to start out with, then it reaches a point where its fullness is realized. When an orchestra works together it grows; that is the beautiful experience. It is magic. It is a great orchestra.”

He is survived by his niece Paula Bertolozzi and several grandnieces, great-grandnieces, and great-grandnephews. There will be a funeral service on Friday, March 20, 2015, at Cumberland Chapels (8300 West Lawrence Avenue in Norridge) from 9:00 until 11:30 a.m., followed by mass at Our Lady Mother of the Church (8701 West Lawrence Avenue). In lieu of flowers, the family has requested donations to the Civic Orchestra of Chicago.

Sam Denov, a member of the Chicago Symphony Orchestra’s percussion section from 1954 until 1985, passed away on Wednesday, March 4, 2015, in Des Plaines, Illinois. He was 91.Sam Denov

Born in Chicago in 1923, Sam Denov attended Lane Technical High School and, following service in the U.S. Navy during World War II, he spent a year in the Civic Orchestra of Chicago before joining the San Antonio Symphony in 1947. Three years later he joined the Pittsburgh Symphony Orchestra where he remained for two seasons before returning to Chicago to operate his own high-fidelity equipment business. In 1954, he was invited by music director Fritz Reiner to join the Chicago Symphony Orchestra’s percussion section. Denov also later attended Roosevelt University, earning a bachelor’s degree in labor studies.

A tireless activist for musicians’ rights, Denov was a major force in the founding of the International Conference of Symphony and Opera Musicians, serving at various times as chairman, vice-chairman, and editor of the ICSOM newsletter Senza Sordino. Following his retirement from the Orchestra in 1985, he became a labor relations consultant, representing clients before the National Labor Relations Board. At the ICSOM annual conference in 2009, the delegates passed a resolution by unanimous consent honoring Denov for “his many contributions as an early leader in the orchestra field” and expressing “ICSOM’s respect and admiration as an ICSOM founder.” At the 2012 conference, he addressed the group’s fiftieth anniversary along with several of his CSO colleagues.

Widely known among percussionists, Denov authored three books: The Art of Playing Cymbals: A Complete Guide and Text for the Artistic Percussionist (1966), Symphonic Paradox: The Misadventures of a Wayward Musician (2002), and Boom and Crash Musician: A Percussive Memoir (2012). He also contributed numerous articles to professional journals.

Sam and Lorraine Denov at the CSO Alumni Association reunion in November 2012 (Dan Rest photo)

Sam and Lorraine Denov at the CSO Alumni Association reunion in November 2012 (Dan Rest photo)

In his retirement, Denov was an active member of the CSO Alumni Association, serving as its first president from 1993 until 1996, as a board member, and as secretary-editor.

Denov is survived by his beloved wife Lorraine, his son Ernie, and several nieces, nephews, step-children, and step-grandchildren. He was preceded in death by his first wife Charlotte and his son Tyrone Walls. A memorial service celebrating his life will be held at the Brookdale Plaza (800 South River Road, Des Plaines, Illinois) on Wednesday, March 11, 2015 at 11:00 a.m.

Chausow, Leonard

Leonard Chausow, a member of the Chicago Symphony Orchestra’s cello section from 1956 until 2003, passed away peacefully on Saturday, January 24. He was 86.

Chausow was one of four musical brothers (his brother Oscar was a member of the CSO’s violin section from 1938 until 1946). Although his parents were not musical, they loved having music in their home. After high school, Chausow joined the Minneapolis Symphony and, while there, served on the faculties of Carleton College and Saint Olaf College. He studied cello with Karl Fruh and Harry Sturm and later with Frank Miller in New York.

After service in the army during the Korean War, Chausow returned to Chicago. In 1956, he was invited by music director Fritz Reiner to join the Chicago Symphony Orchestra, and in 1964 he was promoted by music director Jean Martinon to serve as assistant principal cello. In addition, Chausow served as acting principal cello for two seasons during Sir Georg Solti’s tenure as music director. In 1993, he became assistant principal emeritus and served in that capacity until his retirement in 2003.

Chausow was active as a teacher not only in Minnesota, but also at Roosevelt University in Chicago, and he also taught privately. He regularly coached Civic Orchestra cellists and gave master classes and seminars at universities across the country.

Chausow, Leonard (3)

Also dedicated to chamber music, Chausow performed with the Chadamin Trio, Chicago Symphony String Quartet, and the Chicago Symphony Chamber Players. He was a founding member of the Evanston Chamber Ensemble for sixteen years. Chausow appeared as soloist on Chicago Symphony Orchestra subscription concerts under the baton of Sir Georg Solti, with many local orchestras, and on CSO Youth Concerts.

Chausow is survived by his beloved wife of sixty-three years Miriam (“Mickey”), daughters Lynn Chase and Carol Zens (Tim), and several grandchildren. His daughter Sharon Chausow (Michael Phillips, survived) passed away in 2013.

There will be a memorial service on Tuesday, January 27 at 12:00 noon at the Weinstein Funeral Home in Wilmette. In lieu of flowers, the family has requested donations be made to the Chicago Symphony Orchestra’s Endowment Fund.

Upon his retirement in 2003, Chausow reflected on his forty-seven years in the Orchestra: “As a native Chicagoan, spending most of my professional career with this great orchestra has been a dream come true. The opportunity to sit alongside my teacher, the legendary Frank Miller, as his assistant principal cellist was at once personally gratifying and a tremendous learning experience.”

Ray Still - 1950s

Orchestral and chamber musician, soloist with countless ensembles, and lifelong teacher and coach Ray Still—a member of the Chicago Symphony Orchestra’s oboe section for forty years, serving as principal for thirty-nine years—died peacefully on March 12, 2014, surrounded by family in Woodstock, Vermont. He was 94.

Born on March 12, 1920, in Elwood, Indiana, Still began playing clarinet as a teenager. During the Great Depression, his family moved to California, where he was able to regularly hear performances of the Los Angeles Philharmonic as a volunteer usher. After hearing the masterful technique and elegant phrasing of Henri de Busscher—principal oboe in Los Angeles from 1920 until 1948—Still switched to the oboe.

Still graduated from Los Angeles High School and at the age of nineteen joined the Kansas City Philharmonic as second oboe in 1939, where he was a member until 1941 (and also where he met and married Mary Powell Brock in 1940). For the next two years, he studied electrical engineering, served in the reserve US Army Signal Corps, and worked nights at the Douglas Aircraft factory. During the height of World War II, Still joined the US Army in September 1943 and served until June of 1946.

Immediately following his honorable discharge from the Army, Still enrolled at the Juilliard School where he studied with Robert Bloom. The following year in 1947, he began a two-year tenure as principal oboe with the Buffalo Philharmonic Orchestra under the baton of William Steinberg. Beginning in 1949, Still was principal oboe of the Baltimore Symphony Orchestra for four years.

Fritz Reiner and the newest members of the Orchestra in the fall of 1953. From left to right: Nathan Snader, violin; Juan Cuneo, violin; Joseph Golan, violin; Alan Fuchs, horn; Sheppard Lehnhoff, viola; Ray Still, oboe; Sheppard Lehnhoff, viola; and János Starker, cello.

Fritz Reiner and the newest members of the Orchestra in the fall of 1953. From left to right: Nathan Snader, violin; Juan Cuneo, violin; Joseph Golan, violin; Alan Fuchs, horn; Ray Still, oboe; Sheppard Lehnhoff, viola; and János Starker, cello.

In the fall of 1953, Still auditioned for Fritz Reiner, the Chicago Symphony Orchestra’s recently named music director. Reiner invited him to be the Orchestra’s second-chair oboe and the following year promoted him to the principal position. Still would serve the Orchestra in that capacity—under music directors Reiner, Jean Martinon, Sir Georg Solti, and Daniel Barenboim—until his retirement in 1993.

Still appeared with the Chicago Symphony Orchestra as soloist on countless occasions, including the Orchestra’s first performances of works for solo oboe by Albinoni, Bach, Barber, Mozart, Richard Strauss, and Telemann. His extensive discography includes Bach’s Wedding Cantata on RCA with Kathleen Battle as soloist and James Levine conducting, and Mozart’s Oboe Concerto in C minor on Deutsche Grammophon with Claudio Abbado conducting.

Still performed with numerous other ensembles including the Juilliard, Vermeer, and Fine Arts string quartets; he recorded with Itzhak Perlman, Pinchas Zukerman, and Lynn Harrell; and regularly appeared at many music festivals, including those at Aspen, Stratford, and Marlboro, among others.

A tireless educator, Still taught at the Peabody Institute from 1949 until 1953, Roosevelt University from 1954 until 1957, and at Northwestern University for forty-three years until 2003. Throughout his tenure with the Chicago Symphony Orchestra, he coached members of the Civic Orchestra of Chicago. At the invitation of Seiji Ozawa, he spent the summers of 1968 and 1970 as a visiting member of the Japan Philharmonic Orchestra in Tokyo, where he held coaching sessions for the wind section, conducted chamber music classes, and lectured at Toho University.

Ray Still - 1970s

Following his retirement from Northwestern, he moved to Annapolis, Maryland—where he continued to give master classes and lessons—with his beloved wife Mary and son James to live near his daughter Susan. In 2013, he moved to Saxtons River and later Woodstock, Vermont, where he lived near Susan, his granddaughter Madeline, and her two daughters.

Still is survived by his daughter and son-in-law, Mimi and Kent Dixon of Springfield, Ohio; his son and daughter-in-law, Tom and Sally Still of Big Timber, Montana; his daughter and son-in-law, Susan Still and Peter Bergstrom of Saxtons River, Vermont; six grandchildren, and three great-grandchildren. He was preceded in death in 2012 by his wife of almost 72 years, Mary Brock Still, and his son James Still.

Services will be private and details for a memorial in Chicago are pending. In lieu of flowers, the family asks for donations to the Institute for Learning, Access, and Training at the Chicago Symphony Orchestra.

When interviewed for an article in the Chicago Tribune in 1988, Still was asked why he thought the Chicago Symphony Orchestra was the world’s greatest. His reply: “It’s like a great baseball team. We have a blend of youth and experience, and they work very well together. A lot of orchestras have this. The thing that makes the Chicago Symphony Orchestra very unusual is the tremendous—I hate to use the word—discipline. There is a certain pride, and I think it goes back to the days of Theodore Thomas, the founder. There is something about the tradition of this Orchestra and the level the main body of musicians has come to expect of itself. There’s just a longer line of tradition.”

More information can be found at www.raystill.com.

Edward Kleinhammer in the early 1980s

Edward Kleinhammer in the early 1980s

We received word over the weekend that Edward Kleinhammer, a legendary member of the Chicago Symphony Orchestra’s trombone section from 1940 until 1985, died on November 30 at his home in Hayward, Wisconsin. He was 94.

Born in Chicago in 1919, Edward Kleinhammer started his musical training at age ten on the violin and switched to trombone when he was fourteen. He studied with David Anderson (CSO trombone and bass trombone, 1929–1959) and Edward Geffert (CSO trombone, 1921–1941) and joined the Civic Orchestra of Chicago in 1938 and served for two seasons, and in 1940 he joined Leopold Stokowski’s All-American Youth Orchestra following a nationwide competition. Later that same year—at the age of twenty-one—at the invitation of Frederick Stock, Kleinhammer joined the Chicago Symphony Orchestra as trombone and bass trombone.

Kleinhammer’s tenure with the Orchestra was interrupted by military service in the U.S. Army during World War II, when he served in the 447th Army Air Forces Band from June 1942 until August 1945. His book The Art of Trombone Playing was published by Summy-Birchard in 1963, and he also was the inventor and originator of the optional E attachment for bass trombone, manufactured by the Frank Holton Company. Kleinhammer also co-authored Mastering the Trombone with Douglas Yeo, a former student and retired bass trombone with the Boston Symphony Orchestra.

After forty-five years in the Orchestra—serving under seven music directors: Stock, Désiré Defauw, Artur Rodzinski, Rafael Kubelík, Fritz Reiner, Jean Martinon, and Sir Georg Solti—Kleinhammer retired in June 1985.

He is survived by his wife Dessie. Services will be private and plans for a memorial service in Hayward are pending.

Kleinhammer in 1959

Kleinhammer in 1959

In November 1985, Jay Friedman, principal trombone of the CSO, provided a tribute to Kleinhammer in The Instrumentalist following his colleague’s retirement. Friedman wrote: “What a joy it is to work with Ed; he is the most conscientious musician I have ever met. He is a fanatic about practicing and preparing material, taking great care to get something as simple as an attack absolutely perfect. He arrives hours before rehearsals and concerts to make sure his preparation is as good as it can be. Because his personal standards of playing and conduct are so high, Ed never tries to compete with anyone but himself. He is humble about his own talents and generous in praising others. Shortly before he retired I asked Ed if he would continue playing after he left the Orchestra. As I expected he said no. I knew there was only one way he could be a musician, and that was by giving 110% of himself. Things will never be the same without Ed Kleinhammer.”

Gina DiBello

Gina DiBello

The Chicago Symphony Orchestra recently announced Riccardo Muti‘s appointment of Gina DiBello to the Orchestra’s first violin section. She previously had served as principal second violin of the Minnesota Orchestra and as section first violin with the Detroit Symphony Orchestra, following studies at the Cleveland Institute of Music and The Juilliard School in New York.

Joseph DiBello (© Todd Rosenberg Photography 2010)

Joseph DiBello (©Todd Rosenberg Photography)

Gina is a Chicago native and has a deep connection to the Orchestra, as she also is the daughter of CSO bass Joseph DiBello (and Lyric Opera of Chicago violin Bonita DiBello), marking only the second father-daughter combination in our history.

Joseph originally studied the bass but initially pursued a career as a pharmacist. He later resumed his musical studies and from 1969 until 1973, he served as principal bass of Philadelphia Lyric Opera and the Delaware Symphony Orchestra. In 1973, he was appointed to the bass section of the Milwaukee Symphony Orchestra, and in 1976 Sir Georg Solti invited him to join the bass section of the Chicago Symphony Orchestra.

Lynne Turner (©Todd Rosenberg Photography 2010)

Lynne Turner (©Todd Rosenberg Photography)

Lynne Turner—currently in her fifty-first season as second harp—also is a CSO legacy, as she is the daughter of former CSO violin Sol Turner (1905–1979). At the age of twenty-one, Lynne was appointed in 1962 by then-music director Fritz Reiner, following her studies with Alberto Salvi in Chicago and with Pierre Jamet at the Paris Conservatory.

Sol Turner

Sol Turner

Sol Turner, a native of Russia, began his career as a violinist with the Civic Orchestra of Chicago from 1927 until 1931 (serving as concertmaster in 1928 and 1929), followed by twelve years in the Saint Louis Symphony Orchestra. Désiré Defauw appointed him to the CSO’s first violin section in 1943 and he served until 1949, when he left to perform with Chicago’s NBC studio orchestra. Sol returned to the CSO in 1963 and was rostered until his death in 1979.

Joseph Vito

Joseph Vito

But we also have to mention the father-daughter combination of Joseph Vito (1887–1970) and Geraldine Vito Weicher (1915–2006). Joseph served as principal harp from 1927 until 1957, and Geraldine was second harp from 1940 until 1957. However, during that time the position of second harp was hired only on an as-needed basis and was not a fully rostered position until the beginning of the 1957-58 season.

Joseph began his career as a harpist at the age of nine, and at twenty, debuted with the Pittsburgh Symphony Orchestra under Emil Paur. He regularly performed with both the San Francisco and Cincinnati symphony orchestras before Frederick Stock hired him as principal harp for the Chicago Symphony Orchestra in 1927.

Geraldine Vito Weicher

Geraldine Vito Weicher

Geraldine studied with her father, and she was a member of the Civic Orchestra from 1935 until 1938. She was also married to John Weicher (1904–1969), who spent forty-six years with the Orchestra from 1923 until 1969, serving as concertmaster, assistant concertmaster, principal second violin, personnel manager, and conductor of the Civic Orchestra.

Fathers and sons? Sisters? Brothers? Stay tuned . . .

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A wonderful end to a beautiful tour! The last stop on the CSO’s 2017 West Coast Tour was Walt Disney Concert Hall in Los Angeles. Last night, Maestro Riccardo Muti and the CSO performed Brahms’ Symphony No. 2 and No. 3.  Photos by @toddrphoto. #CSOonTour

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