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

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

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

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

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

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

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

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

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

June 16, 1964

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Orchestra Hall, January 19, 1958

On January 19, 1958, fifteen-year-old Daniel Barenboim made his piano recital debut at Orchestra Hall, with the following program:

BACH/Liszt Prelude and Fugue in A Minor, BWV 543
BEETHOVEN Sonata No. 23 in F Minor, Op. 57 (Appassionata)
BRAHMS Sonata No. 1 in C Major, Op. 1
BEN-HAIM Intermezzo and Toccata, Op. 34

The next day in the American, Roger Dettmer wrote, “Only very occasionally some youngster will happen along who seems to have been born adult . . . The prodigy turned out yesterday afternoon to be Daniel Barenboim, born fifteen years ago in Argentina. The talent is huge, the technique already formidable and he applied both to a virtuoso program [with] secure musical training and uncommon sensitivity of touch.”

He returned in November of that year and again every couple of years after that for more solo piano recitals, including—over the course of a month between February 26 and March 27, 1986—a series of eight concerts, traversing Beethoven’s complete cycle of piano sonatas.

After becoming the Chicago Symphony Orchestra’s ninth music director in September 1991, Barenboim made regular appearances as piano recitalist and chamber musician, collaborating with an extraordinary roster of instrumentalists and singers. He performed a dizzying array of repertoire, including Albéniz’s Iberia; Bach’s Goldberg Variations; Bartók’s Sonata for Two Pianos and Percussion; Beethoven’s Diabelli Variations; Berg’s Chamber Concerto for Piano, Violin, and Thirteen Wind Instruments (with Pierre Boulez conducting); Brahms’s cello sonatas; Mahler’s Des Knaben Wunderhorn, Songs of a Wayfarer, and Rückert Lieder; Messiaen’s Quartet for the End of Time; Mozart’s complete violin sonatas; Schubert’s Winterreise; Schumann’s Frauenliebe und -leben; Wagner’s Siegfried Idyll and Wesendonk Lieder; and Wolf’s Italian Songbook; along with other piano works by Chopin, Debussy, Liszt, Schoenberg, and Schubert, among others.

Barenboim’s collaborators included instrumentalists Héctor Console, Lang Lang, Radu Lupu, Yo-Yo Ma, Rodolfo Mederos, Itzhak Perlman, András Schiff, Deborah Sobol, Maxim Vengerov, and Pinchas Zukerman, along with singers Kathleen BattleCecilia Bartoli, Angela Denoke, Plácido Domingo, Thomas Hampson, Robert Holl, Waltraud Meier, Thomas Quasthoff, Peter Schreier, and Bo Skovhus. He also invited countless members of the Orchestra to join him, including Stephen Balderston, Li-Kuo Chang, Robert Chen, Dale Clevenger, Larry Combs, Louise Dixon, Edward Druzinsky, Jay Friedman, Rubén González, Richard Graef, Joseph Guastafeste, John Hagstrom, Adolph Herseth, Richard Hirschl, Alex Klein, Donald Koss, Burl Lane, Samuel Magad, David McGill, Michael Mulcahy, Lawrence Neuman, Bradley Opland, Nancy Park, Donald Peck, Gene Pokorny, Mark Ridenour, James Ross, Norman Schweikert, John Sharp, Gregory Smith, Charles Vernon, Gail Williams, and members of the Chicago Symphony Chorus (prepared by Duain Wolfe), among many others.

June 4 and 11, 2006

During the final residency of his tenure as music director, Barenboim presented Bach’s The Well-Tempered Clavier in two piano recitals: the first book on June 4, 2006; and the second book a week later, on June 11.

Reviewing the June 4 concert, John von Rhein in the Chicago Tribune wrote that Barenboim, “brought the full color resources of a modern concert grand to bear on Bach’s pristinely ordered sound-world . . . Bach never intended for musicians to perform all the preludes and fugues in one gulp, but when they are executed at so exalted a level of thought, feeling, and spirituality, who’s to say they shouldn’t?”

Following the second installment, Wynne Delacoma in the Chicago Sun-Times added, “One of Barenboim’s gifts as a pianist is his ability to etch clear, long-lined, richly colored phrases with seemingly no effort [and in Bach’s music] we heard the foundation on which the rest of his music-making has been built. . . . The applause that brought Barenboim back for extra bows was fervent and heartfelt. Barenboim’s annual piano recitals have been high points of Chicago’s musical life for the past fifteen years. They are appreciated and will be deeply missed.”

Retired violists gather at the October 19, 1996, CSO Alumni Association reunion: William Schoen (1964–1996), Milton Preves (1934–1939, principal 1939–1986), Phillip Kauffman, Isadore Zverow, and Donald Evans (1948–1988)

Retired violists gather at the October 19, 1996, CSO Alumni Association reunion: William Schoen (1964–1996), Milton Preves (1934–1939, principal 1939–1986), Phillip Kauffman, Isadore Zverow, and Donald Evans (1948–1988) (Jim Steere photo)

Virtually every Chicago Symphony Orchestra musician studied with a great teacher, who studied with great teachers before that—a process that traces back to Bernstein, Brahms, and Bach. Along with our beloved Italian maestro, Riccardo Muti, the members of the Chicago Symphony Orchestra Alumni Association are a living link to past generations of legendary performers, conductors, and composers, and our artist musicians hail from many different countries who share a common musical heritage.

Lady Valerie Solti is greeted by CSOAA president Tom Hall at the Cliff Dwellers on October 16, 2009

Lady Valerie Solti is greeted by CSOAA president Tom Hall at the Cliff Dwellers on October 16, 2009 (Dan Rest photo)

As we conclude the celebrations surrounding the Orchestra’s festive 125th season, the CSOAA also celebrates an anniversary this year—its twenty-fifth. The CSOAA consists of nearly 130 members—including retired and former musicians, spouses, and children—an astonishing aggregate total of well over a thousand years of service to the Chicago Symphony Orchestra! In 1991, Isadore Zverow (viola, 1945–1988) fostered the idea of the CSOAA, and subsequent presidents have included Sam Denov (percussion, 1954–1985), Phillip Kauffman (violin and viola, 1927–1930 and 1964–1984), Jerry Sabransky (violin, 1949–1997), and currently Tom Hall (violin, 1970–2006).

Victor Aitay (assistant/associate concertmaster 1954–1967, concertmaster 1967–1986, concertmaster emeritus 1986–2003) and his daughter Ava along with Donald Peck (flute 1957–1958, principal 1958–1999) and Edward Druzinsky (seated, principal harp 1957–1997) at the Cliff Dwellers on October 16, 2009

Victor Aitay (assistant/associate concertmaster 1954–1967, concertmaster 1967–1986, concertmaster emeritus 1986–2003) and his daughter Ava along with Donald Peck (flute 1957–1958, principal 1958–1999) and Edward Druzinsky (seated, principal harp 1957–1997) at the Cliff Dwellers on October 16, 2009 (Dan Rest photo)

Having performed for many years together on stages all over the world, alumni continue to interact with each other through the CSOAA; and each season, members receive discounts to concerts and the Symphony Store. The organization enjoys the warm embrace of the Chicago Symphony Orchestra Association, which holds its former musicians close as senior members of the Orchestra’s family. Current CSOA President Jeff Alexander has been most gracious in supporting the retirees, some of whom are well into their nineties. The CSOAA board of directors meets several times a year to plan annual reunion dinners, which are usually held at the historic Cliff Dwellers club. Members also have contributed to the CSOA’s Rosenthal Archives—a treasure trove of history, recordings, music scores, artifacts, and databases of former orchestra members—lovingly curated and managed by our liaison, director Frank Villella.

Arnold (principal tuba 1944–1988) and Gizella Jacobs in Orchestra Hall’s Grainger Ballroom on October 19, 1996

Arnold (principal tuba 1944–1988) and Gizella Jacobs in Orchestra Hall’s Grainger Ballroom on October 19, 1996 (Jim Steere photo)

So the next time you stroll through Symphony Center’s first-floor arcade, try to imagine the many great musicians of earlier generations behind each portrait—beautifully taken by photographer Todd Rosenberg—of the superb musicians of the Chicago Symphony Orchestra.

This article also appears in the September/October CSO program book.

Donald Moline was a member of the Chicago Symphony Orchestra cello section from 1967 until 2006, and he currently serves as secretary of the CSOAA.

Edgar (violin 1956–2003) and Nancy Muenzer, Jacques Israelievitch (assistant concertmaster 1972–1978), and Samuel (violin 1958–1966, assistant concertmaster 1966–1972, concertmaster 1972–2007) and Miriam Magad in The Club at Symphony Center on June 3, 2011

Edgar (violin 1956–2003) and Nancy Muenzer, Jacques Israelievitch (assistant concertmaster 1972–1978), and Samuel (violin 1958–1966, assistant concertmaster 1966–1972, concertmaster 1972–2007) and Miriam Magad in The Club at Symphony Center on June 3, 2011 (Dan Rest photo)

Adolph Herseth (principal trumpet 1948–2001, principal trumpet emeritus 2001–2004) and Norman Schweikert (horn 1971–1997) on April 11, 2008, at the Cliff Dwellers

Adolph Herseth (principal trumpet 1948–2001, principal trumpet emeritus 2001–2004) and Norman Schweikert (horn 1971–1997) on April 11, 2008, at the Cliff Dwellers (Dan Rest photo)

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Stravinsky program page

Following the success of his Dumbarton Oaks Concerto—composed in 1938 to celebrate the thirtieth wedding anniversary of Mr. and Mrs. Robert Woods BlissIgor Stravinsky was commissioned that same year by Mrs. Bliss, Mrs. John Alden Carpenter, and several of their friends to compose a work to celebrate the Chicago Symphony Orchestra’s fiftieth season.

According to Phillip Huscher, Stravinsky “decided to tackle the ‘standard’ by writing a symphony in C in the four orthodox movements—sonata-allegro, slow movement, scherzo, finale—scored for a Beethoven orchestra (throwing in the tuba for added measure). He did not foresee that this work would become, in effect, his American passport—the score that would accompany his move to this country.”

CSO cello Robert Smith, principal clarinet Clark Brody, principal harp Edward Druzinsky, and assistant concertmaster Victor Aitay look on as Columbia producer John McClure and Igor Stravinsky review the Orpheus score.

CSO cello Robert Smith, principal clarinet Clark Brody, principal harp Edward Druzinsky, and assistant concertmaster Victor Aitay look on as Columbia producer John McClure and Stravinsky review the Orpheus score on July 20, 1964 (Arthur Siegel photo).

The composer himself was on hand on November 7 and 8, 1940, to lead the Chicago Symphony Orchestra in an entire evening of his music, including the world premiere of his Symphony in C. Edward Barry in the Chicago Tribune wrote, “In the course of the performance we caught ourselves muttering, ‘Ha! A major work!’ ” Robert Pollak in the Chicago Daily Times proclaimed that “Musical history is made at night and perhaps it was made last night at Orchestra Hall.” And Claudia Cassidy in the Journal of Commerce described the work as “both contemporary and timeless, autobiographical and impersonal. It has the lovely sense of form as much a part of all Stravinsky scores as indescribable richness of instrumentation is the signature of the finest. It is lyrical to the point of intoxication, and at the same time delicately, immaculately restrained.”

Stravinsky was a frequent guest conductor, leading the Orchestra in concerts at Orchestra Hall, the Pabst Theater in Milwaukee, and at the Ravinia Festival between 1925 and 1965. In July 1964, he led the Orchestra in recording sessions of his Orpheus ballet for Columbia Records.

This article also appears here.

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