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The Chicago Symphony Orchestra family remembers one of its iconic musicians, Milton Preves (1909–2000), in honor of the anniversary of his birth on June 18.
Born in Cleveland, Preves moved to Chicago as a teenager and attended Senn High School. He was a student of Leon Sametini at Chicago Musical College, Richard Czerwonky at the Bush Conservatory of Music, and Albert Noelte and Ramon Girvin at the Institute of Music and Allied Arts before attending the University of Chicago.
Preves joined the Little Symphony of Chicago in 1930, regularly worked in radio orchestras, and was invited by Mischa Mischakoff (then CSO concertmaster) to join the Mischakoff String Quartet in 1932. Two years later, second music director Frederick Stock appointed Preves to the Chicago Symphony Orchestra’s viola section, promoting him to assistant principal in 1936 and principal in 1939. He would remain in that post for the next forty-seven years, serving under a total of seven music directors, including Désiré Defauw, Artur Rodzinski, Rafael Kubelík, Fritz Reiner, Jean Martinon, and Sir Georg Solti.
Preves performed as a soloist with the Orchestra on dozens of occasions, including the world premieres of David Van Vactor’s Viola Concerto and Ernest Bloch’s Suite hébraïque for Viola and Orchestra, both dedicated to him. Under Reiner, he recorded Richard Strauss’s Don Quixote—along with cellist Antonio Janigro and concertmaster John Weicher—with the Chicago Symphony Orchestra for RCA in 1959.
A lifelong educator, Preves served on the faculties of Roosevelt, Northwestern, and DePaul universities, and he also always taught privately out of his home. An avid conductor, he held titled posts with the North Side Symphony Orchestra of Chicago, Oak Park–River Forest Symphony, Wheaton Summer Symphony, Gary Symphony, and the Gold Coast Chamber Orchestra. As a chamber musician, he performed with the Budapest, Fine Arts, Gordon, and Chicago Symphony string quartets, as well as the Chicago Symphony Chamber Players.
As reported in his obituary in the Chicago Tribune, “It was while directing the Oak Park–River Forest group that he gained an unusual measure of national attention. He briefly became an icon of the fledgling civil rights movement in 1963, when he resigned from the community orchestra because it would not allow a Black violinist he had invited to perform with the group.” (More information can be found here.)
Preves died at the age of ninety on June 11, 2000, following a long illness. Shortly thereafter, his family began donating materials to the Rosenthal Archives, establishing his collection of correspondence, contracts, photographs, scrapbooks, programs, and recordings. Most recently, his children donated additional photographs, mostly portraits of music directors and guest conductors, all autographed and dedicated to Preves. A sample of that collection is below.
In October 1984, on the occasion of Milton Preves’s fiftieth anniversary with the Chicago Symphony Orchestra, fellow viola Isadore Zverow (1909–1999) composed this poem to honor his colleague:
It’s no mean feat, without retreat
To hold the forte so long,
To stroke and pluck in cold and heat—
All to produce a song.
Toward music bent, with single intent,
Unyielding dedication,
You of yourself so gladly lent
Your valued perspiration.
You sat and played and marked and bowed
And sometimes e’en reproached
And sometimes we squirmed (just a bit)
We didn’t wanna be coached.
And yet whene’er the chips were down
Throughout these fifty anna,
Your steadfast presence was a crown
Aiming at Nirvana.
This article also appears here.
During Women’s History Month, we celebrate and remember the remarkable Austrian violinist Erica Morini, who, over the course of nearly forty-five years, was a frequent and favorite soloist with the Chicago Symphony Orchestra and in recital in Orchestra Hall, at the Ravinia Festival, and in WGN‘s television studios.
Born in 1904, Morini was a seasoned performer by 1924, when her father purchased a $10,000 Stradivarius violin—made in 1727 and named for the Russian cellist Karl Davydov—for her. It soon became her instrument of choice and prized possession for the remainder of her career. Shortly before her death in October 1995, the instrument—along with artwork, correspondence, and annotated scores—was stolen from her apartment in New York City. The unsolved crime remains one of the FBI’s “Top Ten Art Crimes.”
Morini and her violin are the subject of a new documentary, Stolen: The Unsolved Theft of a $3,000,000 Violin. Several members of the CSOA family were interviewed for the film, including Robert Chen, concertmaster; Kenneth Olsen, assistant principal cello; Hilary Hahn, violinist and CSO Artist-in-Residence; Rachel Barton Pine, Chicago-based violinist; and Frank Villella, director of the Rosenthal Archives. (If you have any knowledge of the whereabouts of the Davidoff-Morini Stradivarius, please contact nyartcrime@fbi.gov.)
On November 18, 1921, seventeen-year-old Erica Morini made her debut with the Chicago Symphony Orchestra in Vieuxtemps’s First Violin Concerto with second music director Frederick Stock on the podium. “Good violinists, as all concert attendants know, are common enough these days, and most of them are young,” wrote Edward Moore in the Chicago Tribune. “Miss Morini, however, has a few things in her artistic makeup that take her widely out of even their class. It is not once in twenty times that one hears a violinist with the fiery vitality of this young girl. . . . She gave rise to more violinistic fireworks at higher speed and got more of them correct than any one who has been on the stage since the day that Jascha Heifetz took away the breath of the same audience a few years ago.”
One month later, Morini gave her debut recital in Orchestra Hall. In the Chicago Evening Post, Karleton Hackett wrote, “there was no doubt of the remarkable powers as well as the charm of this young artist. The tone was lovely in quality, the technique of extraordinary accuracy, and everything was done with gratifying ease. . . . Miss Morini has something to say with her violin and the power to say it.”
Morini later earned the distinction of being not only the first violinist but also the first woman to commercially record as a soloist with the Orchestra. On December 12, 1945, she recorded Tchaikovsky’s Violin Concerto under the baton of third music director Désiré Defauw in Orchestra Hall. The initial RCA Victor release was as a 78 RPM record, and the subsequent 1957 LP re-release featured album cover art by Andy Warhol. For WGN, Morini was soloist with the Orchestra for a television broadcast recorded on December 10, 1961, performing Mozart’s Fifth Violin Concerto with George Szell conducting. The video was later released by Video Artists International.
A complete list of Morini’s performances with the Chicago Symphony Orchestra is below.
November 18 and 19, 1921, Orchestra Hall
VIEUXTEMPS Violin Concerto No. 1 in E Major, Op. 10
Frederick Stock, conductor
December 8 and 9, 1922, Orchestra Hall
SPOHR Violin Concerto No. 9 in D Minor, Op. 55
SARASATE Fantasy on Carmen for Violin and Orchestra
Frederick Stock, conductor
November 14 and 15, 1930, Orchestra Hall
GLAZUNOV Violin Concerto in A Minor, Op. 82
Frederick Stock, conductor
December 14, 1937, Orchestra Hall
TCHAIKOVSKY Violin Concerto in D Major, Op. 35
Frederick Stock, conductor
December 16 and 17, 1937, Orchestra Hall
GLAZUNOV Violin Concerto in A Minor, Op. 82
Hans Lange, conductor
January 27, 1942, Orchestra Hall
SPOHR Violin Concerto No. 9 in D Minor, Op. 55
Frederick Stock, conductor
July 24, 1945, Ravinia Festival
BEETHOVEN Violin Concerto in D Major, Op. 61
Massimo Freccia, conductor
July 28, 1945, Ravinia Festival
GLAZUNOV Violin Concerto in A Minor, Op. 82
Massimo Freccia, conductor
December 3, 1945, Pabst Theatre, Milwaukee
December 6 and 7, 1945, Orchestra Hall
MENDELSSOHN Violin Concerto in E Minor, Op. 64
Hans Lange, conductor
December 11, 1945, Orchestra Hall
TCHAIKOVSKY Violin Concerto in D Major, Op. 35
Désiré Defauw, conductor
December 10, 1946, Orchestra Hall
December 16, 1946, Pabst Theatre, Milwaukee
BRUCH Violin Concerto No. 1 in G Minor, Op. 26
Désiré Defauw, conductor
December 12 and 13, 1946, Orchestra Hall
WIENIAWSKI Violin Concerto No. 2 in D Minor, Op. 22
Désiré Defauw, conductor
November 22, 1949, Orchestra Hall
TCHAIKOVSKY Violin Concerto in D Major, Op. 35
Rafael Kubelík, conductor
November 24 and 25, 1949, Orchestra Hall
MOZART Violin Concerto No. 5 in A Major, K. 219 (Turkish)
Rafael Kubelík, conductor
July 3, 1952, Ravinia Festival
BRAHMS Violin Concerto in D Major, Op. 77
George Szell, conductor
July 5, 1952, Ravinia Festival
BRAHMS Concerto for Violin and Cello in A Minor, Op. 102 (Double)
Leonard Rose, cello
George Szell, conductor
December 7 and 8, 1961, Orchestra Hall
BRAHMS Violin Concerto in D Major, Op. 77
George Szell, conductor
December 10, 1961, WGN Studios
MOZART Violin Concerto No. 5 in A Major, K. 219 (Turkish)
George Szell, conductor
January 14, 15, and 16, 1965, Orchestra Hall
MOZART Violin Concerto No. 5 in A Major, K. 219 (Turkish)
Irwin Hoffman, conductor
Erica Morini also gave three recitals in Orchestra Hall, as follows:
December 18, 1921
Emanuel Balaban, piano
January 14, 1923
Harry Kaufman, piano
April 3, 1949
Leon Pommers, piano
This article also appears here.
In February 2022, we celebrate the 125th anniversary of the birth of the great American contralto Marian Anderson. She was born in Philadelphia on February 27, 1897, and died in Portland, Oregon, on April 8, 1993, at the age of 96.
On November 18, 1929, Marian Anderson (under the management of Arthur Judson) made her debut in Orchestra Hall under the auspices of the Theta Omega chapter of Alpha Kappa Alpha sorority. That evening, Anderson “reached near perfection in every requirement of vocal art,” wrote Herman Devries in the Chicago Evening American. “The tone was of superb timbre, the phrasing of utmost refinement, the style pure, discreet, musicianly . . . a talent still unripe, but certainly a talent of potential growth.” In attendance were Ray Field and George Arthur, representatives from the Rosenwald Fund, who encouraged her to apply for a fellowship to further her studies in Europe. The following year, she received $1,500 to study in Berlin.
In 1939, the Daughters of the American Revolution refused Anderson the opportunity to give a concert for an integrated audience in Washington, D.C.’s Constitution Hall. With the support of President Franklin D. and First Lady Eleanor Roosevelt, she instead performed on the steps of the Lincoln Memorial on Easter Sunday, April 9, 1939, to a crowd of 75,000 people and over a million radio listeners. Anderson closed the recital with the spiritual “My soul is anchored in the Lord” in an arrangement by Florence Price.
A few weeks later, on May 20, 1939, Anderson was scheduled to make her debut with the Chicago Symphony Orchestra at the North Shore Music Festival, in Evanston’s Dyche Stadium (now Ryan Field). The afternoon program was to include arias from Donizetti’s La favorita and Debussy’s L’enfant prodigue, along with spirituals, all under the baton of Frederick Stock. A case of laryngitis, however, prevented her from performing, and soprano Kirsten Flagstad, scheduled for the evening concert, was asked to fill in for the matinee. According to the Chicago Daily News, there was no time for Flagstad to rehearse the extra program with the Orchestra due to “a purely feminine” hesitation: she needed a different dress for the matinee. Festival organizers quickly took her to Marshall Field’s to shop for a second dress, and the concert, featuring several excerpts from Wagner’s operas, was “amply redeemed by the artistry of Mme. Flagstad,” according to Janet Gunn in the Chicago Herald and Examiner.
Her debut performance with the CSO was at a concert opening the 48th Convention of the American Federation of Musicians on June 5, 1944, at the Stevens Hotel (now the Hilton Chicago). Under third music director Désiré Defauw, she sang “O mio Fernando” from Donizetti’s La favorita, “Mon coeur s’ouvre à ta voix” from Saint-Saëns’ Samson and Delilah, and spirituals.
Anderson broke barriers on January 7, 1955, when she made her debut at the Metropolitan Opera—in Verdi’s Un ballo in maschera as Ulrica—becoming the first African American to sing with the company. The following year, she opened the Ravinia Festival’s 21st season, along with the CSO under Eugene Ormandy in two programs, performing the following:
June 26, 1956
BRAHMS Dein blaues Auge, Op. 59, No. 8
BRAHMS Immer leiser wird mein Schlummer, Op. 105, No. 2
BRAHMS Der Schmied, Op. 19, No. 4
BRAHMS Von ewiger Liebe, Op. 43, No. 1
BRAHMS Alto Rhapsody, Op. 53 (with the Swedish Glee Club; Harry T. Carlson, director)
June 28, 1956
BIZET Agnus Dei
BIZET Ouvre ton coeur
SAINT-SAËNS Mon coeur s’ouvre à ta voix from Samson and Delilah
TCHAIKOVSKY None but the Lonely Heart, Op. 6, No. 6
TRADITIONAL IRISH Believe Me If All Those Endearing Young Charms
KREISLER The Old Refrain
According to Seymour Raven in the Chicago Tribune, a crowd of more than 4,000 attended the all-Brahms concert that “turned out to be perfect.” Anderson sang “introspectively and with tender regard [and] exceptional craftsmanship and feeling.”
On August 28, 1963, Anderson performed “He’s got the whole world in his hands” at the March on Washington for Jobs and Freedom, at which Martin Luther King, Jr. gave his “I Have a Dream” speech.
During the 1964-65 season, Anderson gave a farewell recital tour under the auspices of her longtime presenter, Sol Hurok. Her stop in Chicago’s Orchestra Hall on Dec. 6, 1964, was sold out (an additional 225 seats were onstage) and “well-wishers had also provided a red carpet, bouquets of red roses and white carnations by the armload,” according to the Chicago Tribune. “This is probably no time for sentiment,” Anderson commented. “But do let me say I find all of this today very touching.” Her encores included “There’s no hiding place down there” and Schubert’s “Ave Maria.”
On June 27, 1968, at Ravinia, Anderson made her final appearance with the CSO, as narrator in Copland’s Preamble for a Solemn Occasion. Festival music director Seiji Ozawa conducted. Reading the “stirring segment from the United Nations charter,” wrote Thomas Willis in the Chicago Tribune, Anderson was “radiant in a cherry red velvet cape [contributing] both the presence and conviction, which made her vocal performances such moving experiences.”
Anderson gave a total of 22 recitals in Orchestra Hall, as follows:
November 18, 1929
January 26, 1931
October 28, 1945
November 3, 1946
November 23, 1947
October 24, 1948
January 21, 1950
January 29, 1950
January 21, 1951
April 8, 1951
May 3, 1952
January 31, 1953
March 29, 1953
January 30, 1954
December 5, 1954
January 8, 1956
February 23, 1957
April 5, 1959
February 28, 1960
February 19, 1961
May 11, 1963
December 6, 1964
In September 2021, Sony Classical released Marian Anderson: Beyond the Music, a special fifteen-CD set of recordings representing her complete catalog on RCA Victor, from her debut in 1924 through her final LP in 1966. The set received a 2022 Grammy Award nomination for Best Historical Album.
Special thanks to Eva Wilhelm—a music business student at Indiana State University and an intern in the Chicago Symphony Orchestra Association’s Rosenthal Archives—for her exceptional research in preparing this article.
This article also appears here.
If you’ve tuned into CSOtv recently, you may have noticed that in the December 1953 concert, Lois Schaefer is sitting in the first-chair position!
Hired by fifth music director Rafael Kubelík in 1951, Schaefer served the Orchestra as assistant principal flute until 1954. She was the third woman rostered in the flute section, following Caroline Solfronk Vacha (1943-1946) and Peggy Hardin (1945-1951).
Born in Yakima, Washington, on March 10, 1924, Schaefer attended the Interlochen Summer Arts Camp as a teenager, later studying at the New England Conservatory of Music, where she studied with Georges Laurent (principal flute of the Boston Symphony Orchestra), Frank Horsfall, and Sebastian Caratelli. She completed her bachelor’s of music in flute performance in 1946 and an artist diploma the following year.
During her time in Chicago, Schaefer also taught at Chicago Musical College. By 1956, she returned east and was hired as principal flute of the New York City Opera, where she would remain for ten seasons. During this time, she also performed and recorded with the NBC Opera Theatre Orchestra, the RCA Victor Symphony Orchestra, and the Columbia Symphony Orchestra.
In 1965, Schaefer was hired by then–music director Erich Leinsdorf to the position of flute and principal piccolo for the Boston Symphony Orchestra, her “dream job.” During her twenty-five-year tenure, she also served as principal piccolo for the Boston Pops Orchestra. “In more than 2,000 Boston Pops performances of [John Philip Sousa‘s] ‘The Stars and Stripes Forever,’ a moment always arrived when Lois Schaefer was the star of the show,” wrote Bryan Marquard in the Boston Globe. “Though she was a master of the memorable piccolo solo that is the highlight of the song, she didn’t take her eyes off the musical score—not in her first concert, not in her 2,000th. She was determined to never make a mistake on her notoriously difficult instrument, which sometimes waits silently through portions of concerts, only to suddenly be highlighted for all ears to hear.”
Schaefer served on the faculty of the New England Conservatory of Music from 1965 until 1992. She also was a board member of the National Flute Association, receiving their second-ever lifetime achievement award in 1993.
According to her sister Winifred Mayes, a cellist with the BSO from 1954 until 1964, Schaefer was “very, very happy in Boston. . . . She loved the orchestra and the people in it. She always felt very secure and warm towards them, and they towards her. I think it was perfect for her.”
In her final season in Boston, Schaefer was soloist in Daniel Pinkham‘s Concerto Piccolo, written especially for her. Upon her retirement in 1990, Globe music critic Richard Dyer wrote, “For her twenty-five years as solo piccolo, Lois Schaefer has been the highest, brightest voice in the Boston Symphony Orchestra. . . . To hear her in a Rossini overture is like watching the sunlight dance on rippling water. She can also break your heart with a perfectly placed high pianissimo in a Mahler or Shostakovich slow movement.”
Lois Schaefer died at the home she shared with her sister in Sequim, Washington, on January 31, 2020, at the age of ninety-five. She was survived by her sister Winifred Mayes until her passing, also in Sequim, on December 15, 2020, at the age of one hundred and one.
Lois Schaefer performs as first-chair flute in a December 9, 1953, Hour of Music telecast, currently available on CSOtv. Guest conductor and former music director Désiré Defauw leads the Chicago Symphony Orchestra in Grétry’s Three Dances from Cephalus and Procris, a suite from Fauré’s Pelleas and Melisande, and Schumann’s Fourth Symphony.
Special thanks to Bridget Carr and the Boston Symphony Orchestra Archives.
The Chicago Symphony Orchestra family joins the music world in mourning the loss of legendary American pianist, conductor, and pedagogue Leon Fleisher, who died yesterday in Baltimore. He was ninety-two.
Leon Fleisher (Eli Turner photo)
Fleisher began playing the piano at the age of four, and five years later he became a student of Artur Schnabel. At sixteen in 1944, he made his debut performing Brahms’s First Piano Concerto with the San Francisco Symphony and then with the New York Philharmonic at Carnegie Hall, both under Pierre Monteux. The following year, he made his debut with the Chicago Symphony Orchestra with Leonard Bernstein conducting at the Ravinia Festival.
In 1964, Fleisher lost the use of his right hand due to focal dystonia, forcing him to concentrate on repertoire written for the left hand. By the late 1990s, he had regained use of his right hand. A tireless pedagogue, he was (according to his son Julian) still teaching and conducting master classes online as recently as last week.
Fleisher appeared with the Chicago Symphony Orchestra on numerous occasions, both in Orchestra Hall and at the Ravinia Festival. A complete list is below.
July 31, 1945, Ravinia Festival
BRAHMS Piano Concerto No. 1 in D Minor, Op. 15
Leonard Bernstein, conductor
August 4, 1945, Ravinia Festival
FRANCK Symphonic Variations
LISZT Piano Concerto No. 2 in A Major
Leonard Bernstein, conductor
July 4, 1946, Ravinia Festival
BRAHMS Piano Concerto No. 1 in D Minor, Op. 15
George Szell, conductor
July 7, 1946, Ravinia Festival
SCHUMANN Piano Concerto in A Minor, Op. 54
George Szell, conductor
July 11, 1946, Ravinia Festival
BEETHOVEN Piano Concerto No. 2 in B-flat Major, Op. 19
William Steinberg, conductor
July 14, 1946, Ravinia Festival
RACHMANINOV Piano Concerto No. 2 in C Minor, Op. 18
William Steinberg, conductor
Leon Fleisher in 1963 (Bender photo)
March 25, 1947, Orchestra Hall
RACHMANINOV Rhapsody on a Theme of Paganini, Op. 43
Désiré Defauw, conductor
March 27 and 28, 1947, Orchestra Hall
BRAHMS Piano Concerto No. 2 in B-flat Major, Op. 83
Désiré Defauw, conductor
February 18, 19, and 23, 1954, Orchestra Hall
BEETHOVEN Piano Concerto No. 2 in B-flat Major, Op. 19
Fritz Reiner, conductor
July 1, 1954, Ravinia Festival
BRAHMS Piano Concerto No. 2 in B-flat Major, Op. 83
William Steinberg, conductor
July 4, 1954, Ravinia Festival
BEETHOVEN Piano Concerto No. 4 in G Major, Op. 58
William Steinberg, conductor
July 13, 1956, Ravinia Festival
MOZART Piano Concerto No. 25 in C Major, K. 503
Igor Markevitch, conductor
July 14, 1956, Ravinia Festival
RACHMANINOV Rhapsody on a Theme of Paganini, Op. 43
Igor Markevitch, conductor
February 1, 1958, Orchestra Hall
BRAHMS Piano Concerto No. 1 in D Minor, Op. 15
Carlo Maria Giulini, conductor
July 26, 1958, Ravinia Festival
TCHAIKOVSKY Piano Concerto No. 1 in B-flat Minor, Op. 23
Igor Markevitch, conductor
July 29, 1958, Ravinia Festival
RACHMANINOV Rhapsody on a Theme of Paganini, Op. 43
Georg Solti, conductor
July 30, 1959, Ravinia Festival
BEETHOVEN Piano Concerto No. 5 in E-flat Major, Op. 73
André Cluytens, conductor
August 1, 1959, Ravinia Festival
BEETHOVEN Piano Concerto No. 2 in B-flat Major, Op. 19
André Cluytens, conductor
June 27, 1961, Ravinia Festival
BEETHOVEN Piano Concerto No. 5 in E-flat Major, Op. 73 (Emperor)
Walter Hendl, conductor
June 29, 1961, Ravinia Festival
MOZART Piano Concerto No. 25 in C Major, K. 503
Walter Hendl, conductor
April 25 and 26, 1963, Orchestra Hall
BEETHOVEN Piano Concerto No. 1 in C Major, Op. 15
Walter Hendl, conductor
July 25, 1963, Ravinia Festival
BRAHMS Piano Concerto No. 2 in B-flat Major, Op. 83
Hans Schmidt-Isserstedt, conductor
July 27, 1963, Ravinia Festival
BEETHOVEN Piano Concerto No. 2 in B-flat Major, Op. 19
Hans Schmidt-Isserstedt, conductor
July 30, 1964, Ravinia Festival
BRAHMS Piano Concerto No. 1 in D Minor, Op. 15
Stanisław Skrowaczewski, conductor
August 1, 1964, Ravinia Festival
MOZART Piano Concerto No. 23 in A Major, K. 488
Seiji Ozawa, conductor
July 6, 1968, Ravinia Festival
RAVEL Piano Concerto for the Left Hand in D Major
Seiji Ozawa, conductor
June 30, 1984, Ravinia Festival
RAVEL Piano Concerto for the Left Hand in D Major
James Levine, conductor
July 27, 1985, Ravinia Festival
BRITTEN Diversions for Piano Left Hand and Orchestra, Op. 21
James Conlon, conductor
August 14, 1986, Ravinia Festival
PROKOFIEV Piano Concerto No. 4 in B-flat Major for the Left Hand, Op. 53
James Conlon, conductor
July 28, 1988, Ravinia Festival
RAVEL Piano Concerto for the Left Hand in D Major
Yuri Temirkanov, conductor
July 28, 1989, Ravinia Festival
SCHMIDT Piano Concerto for the Left Hand in E-flat Major
Edo de Waart, conductor
Chicago Symphony Orchestra
July 26, 1990, Ravinia Festival
RAVEL Piano Concerto for the Left Hand in D Major
Gianluigi Gelmetti, conductor
December 3, 4, 5, and 8, 1992
RAVEL Piano Concerto for the Left Hand in D Major
Pierre Boulez, conductor
July 29, 1995, Ravinia Festival
FOSS Piano Concerto for the Left Hand
Manfred Honeck, conductor
December 14, 15, and 16, 1995, Orchestra Hall
RAVEL Piano Concerto for the Left Hand in D Major
Pierre Boulez, conductor
July 10, 1998, Ravinia Festival
RAVEL Piano Concerto for the Left Hand in D Major
Christoph Eschenbach, conductor
July 1, 1999, Ravinia Festival
MOZART Piano Concerto No. 12 in A Major, K. 414
Christoph Eschenbach, conductor
August 14, 1999, Ravinia Festival
BRAHMS Adagio from Piano Concerto No. 1 in D Minor, Op. 15
Christoph Eschenbach, conductor
July 15, 2000, Ravinia Festival
BRAHMS Piano Concerto No. 1 in D Minor, Op. 15
Iván Fischer, conductor
July 15, 2001, Ravinia Festival
MOZART Piano Concerto No. 12 in A Major, K. 414
Sir Andrew Davis, conductor
July 13, 2002, Ravinia Festival
MOZART Concerto for Three Pianos in F Major, K. 242 (Lodron)
Leon Fleisher, piano
Claude Frank, piano
Menahem Pressler, piano
Peter Oundjian, conductor
August 1, 2003, Ravinia Festival
BEETHOVEN Piano Concerto No. 5 in E-flat Major, Op. 73 (Emperor)
John Axelrod, conductor
July 30, 2008, Ravinia Festival
BEETHOVEN Piano Concerto No. 5 in E-Flat Major, Op. 73 (Emperor)
Sir Andrew Davis, conductor
July 28, 2013, Ravinia Festival
MOZART Concerto for Three Pianos in F Major, K. 242 (Lodron)
Leon Fleisher, piano
Katherine Jacobson Fleisher, piano
Alon Goldstein, piano
Numerous tributes have been posted online, including The Baltimore Sun, The New York Times, and NPR, among many others.
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Program for the first half of the December 26, 1892, concert at the Grand Opera House in London, Ontario
During the second season, Theodore Thomas and the Chicago Orchestra traveled through Illinois, Iowa, Indiana, Kentucky, Michigan, New York, Ohio, Pennsylvania, and Wisconsin. Their travels also took them out of the United States for the first time for three concerts in Ontario, Canada.
The first Canadian concert was given on December 26 at the Grand Opera House in London, and on December 28 the Orchestra performed at the Grand Opera House in Hamilton. The program for those two concerts featured soprano Agnes Thomson in arias from Dvořák’s Saint Ludmila and Gounod’s Mireille, along with the Orchestra’s principal harp Edmund Schuecker in his Fantasia for Harp. Thomas also led Tchaikovsky’s Suite from The Nutcracker and selections from Moszowski’s Boabdil (most likely the Canadian premieres of both works, since they had just received their U.S. premieres in Chicago with the Orchestra under Thomas on October 22, 1892), Brahms’s Hungarian Dances nos. 17 through 21, Dvořák’s Symphonic Variations, Massenet’s Overture to Phèdre, and Wagner’s Forest Murmurs from Siegfried. The December 27 concert was given at the Pavilion in Toronto and featured composer and pianist Ferruccio Busoni in Liszt’s Second Piano Concerto.
The Orchestra returned to Canada on numerous occasions under Thomas, Frederick Stock, Désiré Defauw, Jean Martinon, and Lawrence Foster, most recently appearing there in May 1976 under Sir Georg Solti.
This article also appears here.
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March 9 and 10, 1928
On March 9 and 10, 1928, Vladimir Horowitz first appeared with the Orchestra in Rachmaninov’s Third Piano Concerto with Frederick Stock conducting. His U.S. debut had been less than two months before, at Carnegie Hall on January 12, when he was soloist in Tchaikovsky’s First Piano Concerto with the New York Philharmonic under Sir Thomas Beecham.
In the Herald & Examiner, Glenn Dillard Gunn proclaimed the twenty-four-year old pianist the greatest talent to come out of Russia since Rachmaninov. “Whether he sustains a tenuous thread of melody or thunders more loudly than the Orchestra’s basses and percussions, his playing has diction. He never fails to impart to every moment of his performance that especial inflection, accent, or rhythmic impulse which adds eloquence to mere tonal beauty.” Herman Devries in the Chicago American took it even further, saying, “A sensation, nothing less, one of the most amazingly legitimate sensations of the generation. . . . The Orchestra itself, Mr. Stock, too, whose accompaniment was actually emotionally inspired, was visibly moved and impressed. Don’t ask me to describe his playing, just go. It’s something one does not have to describe. No one can dissect genius—and Horowitz is a genius—a young demi-god.”
Advertisement for Horowitz’s March 26 and 27, 1953 concerts (canceled due to illness)
Horowitz returned regularly for more than twenty years, performing under music directors Désiré Defauw and Artur Rodzinski and guest conductor Eugene Ormandy in concertos by Beethoven, Brahms, Liszt, and Tchaikovsky. To celebrate the twenty-fifth anniversary of his U.S. debut, he was scheduled to appear again in Rachmaninov’s Third Piano Concerto under Rafael Kubelík in March 1953, but having fallen ill with the flu, he was forced to cancel.
He returned to Chicago on several occasions to perform in recital, and his last appearance—at the age of eighty-three—was on October 26, 1986. “Sunday’s concert found the great pianist in a generally more introspective mood,” wrote John von Rhein in the Chicago Tribune. Horowitz played with “a lyrical sensitivity, a limpid and beautifully proportioned pianism, a seamless, purling legato of the sort no other pianist can duplicate.”
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The commercial recording legacy of the Chicago Symphony Orchestra—under second music director Frederick Stock—began on May 1, 1916. For the Columbia Graphophone Company (at an undocumented location in Chicago), they recorded Mendelssohn’s Wedding March from A Midsummer Night’s Dream; Wagner’s Ride of the Valkyries from Die Walküre; and Grieg’s Two Elegiac Melodies, Heart Wounds and The Last Spring.
Mendelssohn’s Wedding March and Grieg’s The Last Spring were each on the first 80-rpm disc issued in October 1916, and a Columbia Records sales brochure raved, “The deepest glories vibrant in such a familiar composition as Mendelssohn’s Wedding March are unguessed until interpreted by such an orchestra as this. From the first trumpet fanfare to the great central crescendo is very joy and glory articulate! . . . There can be no pleasure beyond enjoying such music as the Chicago Symphony here brings to every music-loving home.”
To commemorate this legacy, this collage of record and CD labels is on display in the first floor of Symphony Center’s Rotunda through the end of the Orchestra’s current—the 125th—season. Details of all of the recordings included are below (all recordings were made at Orchestra Hall unless otherwise noted).
Austrian pianist Artur Schnabel made his debut with the Orchestra at the Ravinia Festival on July 11, 1942, performing Beethoven’s Fourth Piano Concerto with George Szell conducting. On July 22 and 24, Schnabel and the Orchestra recorded the Fourth along with Beethoven’s Fifth Piano Concerto at Orchestra Hall for Victor Records. Frederick Stock conducted these, his last, recording sessions with the Orchestra; he died a few short months later on October 20.
The Chicago Symphony Orchestra gave the U.S. premiere of Prokofiev’s Scythian Suite under the baton of the composer on December 6, 1918. On March 16, 1945, third music director Désiré Defauw recorded the work for RCA.
Fourth music director Artur Rodzinski led the Orchestra in a complete performance of Wagner’s Tristan and Isolde—with Set Svanholm and Kirsten Flagstad in the title roles—at the Civic Opera House on November 16, 1947. A month later on December 14, he led the Orchestra in recording sessions for the Prelude and Liebestod at Orchestra Hall.
For Mercury Records, fifth music director Rafael Kubelík led the Orchestra’s first recording of Ravel’s orchestration of Mussorgsky’s Pictures at an Exhibition on April 23 and 24, 1951. Principal trumpet Adolph Herseth performed the opening fanfare.
On March 6, 1954, sixth music director Fritz Reiner and the Orchestra recorded together for the first time: Strauss’s Dance of the Seven Veils from Salome and Ein Heldenleben for RCA. (Reiner’s complete CSO catalog recently was re-released by RCA.)
At the third annual Grammy awards ceremony on April 12, 1961, the Orchestra’s recording of Bartók’s Music for Strings, Percussion, and Celesta received the award for Best Classical Performance–Orchestra. Reiner had conducted the RCA release. That same evening, the Orchestra’s recording of Brahms’s Second Piano Concerto—also on RCA and with Erich Leinsdorf conducting—earned the award for Best Classical Performance–Concerto or Instrumental Soloist for Sviatoslav Richter. These were the first two Grammy awards earned for recordings by the Chicago Symphony Orchestra.
Reiner led the Orchestra, Chicago Symphony Chorus (prepared by its founder Margaret Hillis), and mezzo-soprano Rosalind Elias in Prokofiev’s Alexander Nevsky for RCA—the first recording collaboration with the Orchestra and the Chorus—on March 7, 1959, at Orchestra Hall.
Two years after winning the prestigious 1958 Tchaikovsky Competition in Moscow, Van Cliburn made his first recording with the Orchestra on April 16, 1960: Schumann’s Piano Concerto with Reiner conducting for RCA. (A complete list of Cliburn’s appearances and recordings with the Chicago Symphony Orchestra can be found here.)
On March 19, 1966, seventh music director Jean Martinon led the Orchestra in recording sessions for Martin’s Concerto for Seven Wind Instruments, Timpani, Percussion, and String Orchestra for RCA. Featured soloists were CSO principals Clark Brody (clarinet), Willard Elliot (bassoon), Donald Peck (flute), Dale Clevenger (horn, in his first week on the job), Ray Still (oboe), Adolph Herseth (trumpet), Donald Koss (timpani), and Jay Friedman (trombone). (Martinon’s complete CSO catalog recently was re-released by RCA.)
Benny Goodman recorded Nielsen’s Clarinet Concerto with the Orchestra on June 18, 1966, for RCA. Morton Gould conducted. (Gould’s complete CSO catalog recently was re-released by RCA.)
At Medinah Temple on February 20 and 21, 1968, Leopold Stokowski and the Orchestra recorded Shostakovich’s Symphony no. 6 for RCA.
Carlo Maria Giulini—the Chicago Symphony Orchestra’s first principal guest conductor—recorded selections from Berlioz’s Romeo and Juliet for Angel on October 13 and 14, 1969, at Medinah Temple.
The Orchestra made its second recording of Rimsky-Korsakov’s Sheherazade on June 30 and July 1, 1969, at Medinah Temple for Angel. Seiji Ozawa, the Ravinia Festival’s first music director, conducted and concertmaster Victor Aitay was violin soloist.
During eighth music director Georg Solti‘s first season as music director, the Orchestra performed Mahler’s Fifth Symphony at Carnegie Hall on January 9, 1970, and were called back for twelve curtain calls. Beginning on March 26 at Medinah Temple, Solti and the Orchestra committed their performance to disc—their first recording together—for London Records.
Daniel Barenboim, who would later become ninth music director, made his first recording with the Orchestra on November 11, 1970, at Medinah Temple. For Angel, he led sessions for Dvořák’s Cello Concerto with his wife Jacqueline du Pré as soloist. (A summary of du Pré’s association with the Orchestra is here.)
Before the Chicago Symphony Orchestra performed the first concert of its first tour to Europe in 1971, Solti led recording sessions for Mahler’s Eighth Symphony at the Sofiensaal in Vienna on August 30, 31, and September 1. Soloists included Heather Harper, Lucia Popp (more about Popp’s performances with the Orchestra is here), Arleen Augér, Yvonne Minton, Helen Watts, René Kollo, John Shirley-Quirk, and Martti Talvela. The recording won three 1972 Grammy awards for Album of the Year–Classical, Best Choral Performance–Classical (other than opera) (for the Chorus of the Vienna State Opera, Singverein Chorus, and Vienna Boys’ Choir), and Best Engineered Recording–Classical.
On December 13, 1977, Barenboim and the Orchestra recorded Bruckner’s Sixth Symphony for Deutsche Grammophon, part of a complete cycle of the composer’s symphonies that also included the Te Deum, Helgoland, and Psalm 150.
Following concerts in Orchestra Hall and Carnegie Hall, Solti led the Orchestra, Chorus, and soloists (including Hildegard Behrens as Leonore and Peter Hofmann as Florestan) and in recording sessions for Beethoven’s Fidelio—”the first digitally recorded opera to be released,” according to Gramophone—at Medinah Temple on May 21, 22, 23, and 24, 1979.
Second music director of the Ravinia Festival, James Levine led the Orchestra, Chorus, Glen Ellyn Children’s Chorus, and soloists (June Anderson, Phillip Creech, and Bernd Weikl) in sessions for Orff’s Carmina burana on July 9 and 10, 1984, for Deutsche Grammophon. The recording was awarded the 1986 Grammy Award for Best Choral Performance (other than opera).
At the end of a subscription concert at Orchestra Hall on January 23, 1986, Solti led the Orchestra and Chorus in a spirited encore of the Chicago Bears‘ fight song “Bear Down, Chicago Bears” in anticipation of the team’s Super Bowl victory. The day after the game, the work was recorded by London Records.
Solti led recording sessions at Medinah Temple for Beethoven’s Ninth Symphony—the second time he and the Orchestra and Chorus had recorded the work—on September 28, 30, and October 7, 1986, for London. Soloists were Jessye Norman, Reinhild Runkel, Robert Schunk, and Hans Sotin. The release was awarded the 1987 Grammy Award for Best Orchestral Performance.
Claudio Abbado, second principal guest conductor, led the Orchestra in Brahms’s Double Concerto with Isaac Stern and Yo-Yo Ma (future Judson and Joyce Green Creative Consultant) as soloists on November 7 and 8, 1986, for CBS Records.
Closing the 97th season in June 1988, Leonard Bernstein led the Orchestra in performances of Shostakovich’s First and Seventh symphonies. Recorded live by Deutsche Grammophon, the release received the 1990 Grammy Award for Best Orchestral Performance.
On March 15, 16, and 17, 1990, Barenboim led the world premiere performances of composer-in-residence John Corigliano’s Symphony no. 1, commissioned for the Orchestra. The live recording—Barenboim and the Orchestra’s first on the Erato label—was awarded two 1991 Grammy awards for Best Orchestral Performance and Best Contemporary Composition.
The recording of Bartók’s The Wooden Prince and Cantata profana led by Pierre Boulez for Deutsche Grammophon—recorded on December 19, 20, and 21, 1991—was awarded four 1993 Grammy awards: Best Classical Album, Best Orchestral Performance, Best Performance of a Choral Work, and Best Engineered Recording–Classical. (A complete list of Boulez’s recordings with the Orchestra is here and his complete Grammy awards are here.)
Between 1993 and 1996, Levine led the Orchestra and Chorus in recording sessions at Medinah Temple for Disney‘s feature film Fantasia 2000. The movie was released on January 1, 2000.
Shortly after being named the Orchestra’s third principal guest conductor, Boulez led sessions for Varèse’s Amériques, Arcana, Déserts, and Ionisation in December 1995 and 1996. The Deutsche Grammophon release was awarded the 2001 Grammy Award for Best Orchestral Performance.
In May 1997 at Medinah Temple, the Orchestra recorded Falla’s Nights in the Gardens of Spain and The Three-Cornered Hat for Teldec. For Nights in the Gardens of Spain, Barenboim was piano soloist and Plácido Domingo conducted; for The Three-Cornered Hat, Jennifer Larmore was mezzo-soprano soloist and Barenboim conducted.
A former Youth Auditions winner and member of the Civic Orchestra of Chicago, Rachel Barton recorded Brahms’s and Joachim’s violin concertos for Cedille Records on July 2 and 3, 2002. Carlos Kalmar conducted.
In his first concerts as principal conductor on October 19, 20, and 21, 2006, Bernard Haitink led the Orchestra, women of the Chorus (prepared by Duain Wolfe), the Chicago Children’s Choir, and mezzo-soprano Michelle DeYoung in Mahler’s Third Symphony. The work is recorded as the inaugural release on CSO Resound.
In May 2008, Haitink and the Orchestra recorded Shostakovich’s Fourth Symphony for CSO Resound. The release was awarded the 2008 Grammy Award for Best Orchestral Performance.
Boulez led the Orchestra in Stravinsky’s Pulcinella, Symphony in Three Movements, and Four Studies in February and March 2009 for CSO Resound. Soloists in the Pulcinella were Roxana Constantinescu, Nicholas Phan, and Kyle Ketelsen.
On January 15, 16, and 17, 2009, Riccardo Muti—in his first concerts as music director designate—led the Orchestra, Chorus, and soloists (Barbara Frittoli, Olga Borodina, Mario Zeffiri, and Ildar Abdrazakov) in Verdi’s Requiem. The subsequent CSO Resound recording was awarded 2010 Grammy awards for Best Classical Album and Best Choral Performance.
Following his first concert as the Chicago Symphony Orchestra’s tenth music director (for more than 25,000 people in Millennium Park) in September 2010, Muti led the Orchestra, Chorus, and soloists (Gérard Depardieu, Mario Zeffiri, and Kyle Ketelsen) in Berlioz’s Symphonie fantastique and Lélio. The two-disc set was released on CSO Resound in September 2015.
On April 7, 9, and 12, 2011, Muti led concert performances—recorded by CSO Resound—of Verdi’s Otello at Orchestra Hall. Along with the Orchestra, Chorus, and Chicago Children’s Chorus, soloists included Aleksandrs Antonenko in the title role, Krassimira Stoyanova as Desdemona, and Carlo Guelfi as Iago.
In February 2012, Muti led world premieres by the Orchestra’s Mead Composers-in-Residence: Anna Clyne’s Night Ferry and Mason Bates’s Alternative Energy. Both works were recorded for CSO Resound and released as digital downloads.
For Sony Classical, composer John Williams led the Orchestra and Chorus in recording sessions at Orchestra Hall for his soundtrack for the motion picture Lincoln. Director Steven Spielberg was on hand to supervise.
Cheers to the next 100!
Over the course of three short weeks in late 1938, Chicago hosted an embarrassment of riches for violin fans.
November 24 and 25, 1938
On November 20 and 26, respectively, Fritz Kreisler and Joseph Szigeti appeared in recital at Orchestra Hall. The following week on December 4, Jascha Heifetz gave a recital at the Civic Opera House. Kreisler returned to Chicago a few days later on December 8 and 9, as soloist with the Orchestra in Brahms’s Violin Concerto under the baton of second music director Frederick Stock.
And right in the middle of all of that, twenty-two-year-old Yehudi Menuhin made his debut with the Chicago Symphony Orchestra on November 24 (Thanksgiving Day) and 25, 1938, performing Beethoven’s Violin Concerto with Stock conducting.
“His way with the Beethoven was magnificent in every aspect—in singing tone, in brilliance of passage work, in dazzling sparkle of cadenzas, in the deep song of the haunting larghetto, and in the suddenly glittering shift of mood that announces the rondo,” wrote Claudia Cassidy in the Chicago Tribune. “Mr. Stock and the Orchestra gave him a rare opportunity and he responded with an unforgettable performance.”
On April 22, 2016, we celebrate the 100th anniversary of the birth of Menuhin, who—for well over forty years and under seven music directors—was a regular visitor with the Chicago Symphony Orchestra, both at Orchestra Hall and the Ravinia Festival. A complete list of his appearances with the Orchestra is below (subscription concerts at Orchestra Hall, unless otherwise noted):
November 24 and 25, 1938
BEETHOVEN Violin Concerto in D Major, Op. 61
Frederick Stock, conductor
November 9 and 10, 1939
BRAHMS Violin Concerto in D Major, Op. 77
Hans Lange, conductor
February 13 and 14, 1941
BEETHOVEN Violin Concerto in D Major, Op. 61
Frederick Stock, conductor
July 24, 1941 (Ravinia Festival)
BEETHOVEN Violin Concerto in D Major, Op. 61
Carlos Chávez, conductor
July 26, 1941 (Ravinia Festival)
MENDELSSOHN Violin Concerto in E Minor, Op. 64
Carlos Chávez, conductor
April 14, 1942
BRAHMS Violin Concerto in D Major, Op. 77
Hans Lange, conductor
April 16 and 17, 1942
PAGANINI Violin Concerto No. 1 in D Major, Op. 6
Frederick Stock, conductor
November 2 and 3, 1944
BEETHOVEN Violin Concerto in D Major, Op. 61
Désiré Defauw, conductor
February 21 and 22, 1946
ELGAR Violin Concerto in B Minor, Op. 61
Désiré Defauw, conductor
January 22 and 23, 1948
BEETHOVEN Violin Concerto in D Major, Op. 61
Artur Rodzinski, conductor
November 2 and 3, 1950
BEETHOVEN Violin Concerto in D Major, Op. 61
Rafael Kubelík, conductor
October 24 and 25, 1957
BARTÓK Violin Concerto No. 2
Fritz Reiner, conductor
October 31, November 1 and 2, 1963
SHOSTAKOVICH Violin Concerto No. 1 in A Minor, Op. 99
Jean Martinon, conductor
November 18 and 19, 1965
PÁRTOS Violin Concerto
Jean Martinon, conductor
December 15, 16, and 17, 1966
BEETHOVEN Violin Concerto in D Major, Op. 61
Rafael Kubelík, conductor
Thursday, December 14 and 15, 1967
BERG Violin Concerto
Sixten Ehrling, conductor
December 18, 19, and 20, 1969
BARTÓK Violin Concerto No. 2
Georg Solti, conductor
March 10, 1981 (Musicians’ Pension Fund concert)
ELGAR Violin Concerto in B Minor, Op. 61
Henry Mazer, conductor
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On February 11, 1943, Edward L. Ryerson, president of the Orchestral Association, announced that Désiré Defauw would become the Chicago Symphony Orchestra’s third music director, beginning with the 1943–44 season. The Belgian conductor had made his debut with the Orchestra only a month before, leading one program of subscription concerts on January 7 and 8 (Wagner’s Overture to The Flying Dutchman, Debussy’s Clouds and Festivals from Nocturnes, Franck’s Le chasseur maudit, and Beethoven’s Seventh Symphony) and a Popular Concert on January 9 (Weber’s Overture to Euryanthe, Sibelius’s The Swan of Tuonela from Four Legends of the Kalevala, selections from Berlioz’s The Damnation of Faust, and Tchaikovsky’s Sixth Symphony).
Defauw’s years with the Orchestra coincided with the time when American involvement in World War II was at its peak, an unsettled era when musicians were off to war (making room for more women to join orchestras) and servicemen were able to hear concerts for free when seats were unsold or empty. Patriotism was in high gear and the Stars and Stripes became a permanent fixture over the stage of Orchestra Hall. For the first concerts of the fifty-fifth season on October 4 and 5, 1945—the first downtown concerts following the end of the war—Defauw led the Orchestra in the national anthems of the Allied nations: China, France, the Soviet Union, the United Kingdom, and the United States.
Music director Désiré Defauw and the Orchestra onstage on October 12, 1943
Serving for four seasons through 1946–47, Defauw introduced Chicago audiences to the works of several contemporary composers, including Barber, Bloch, Carpenter, Chadwick, Copland, Elgar, Goldmark, Milhaud, Sibelius, Walton, and Warlock. For RCA, Defauw and the Orchestra recorded a wide variety of repertoire, including works by Borodin, Franck, Grétry, Handel, Prokofiev, Respighi, Smetana, and Stravinsky, along with Mendelssohn’s Violin Concerto with Mischa Elman, Strauss’s Burleske and Weber’s Konzertstück with Claudio Arrau, and Tchaikovsky’s Violin Concerto with Erica Morini.
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from the archives 