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The Rosenthal Archives recently received a collection of materials documenting the life of violinist, influential teacher, and member of the Chicago Symphony Orchestra, Leon Sametini.
Sametini was born on March 16, 1886, in Rotterdam, Holland, where his father Samual was principal flute in the Royal Opera Orchestra. He showed early promise on the violin and soon became a protégé of Queen Wilhelmina of the Netherlands, who funded his study with the famed violin pedagogue Otakar Ševčík for one year.
When Sametini was fifteen, the Queen gifted to him an early eighteenth-century Serafin violin and funded his enrollment at the Prague Conservatory from 1902 until 1903. There he continued his studies with Ševčík and with then-director of the conservatory, Antonín Dvořák.
Sametini cited violinist and composer Eugène Ysaÿe as a particularly important influence on his playing, despite not formally studying with him: “It was after I had finished with all my teachers that I really began learning how to play violin: above all from Ysaÿe, whom I went to hear play wherever and whenever I could.”
A year after graduating, Sametini embarked on a decade of international travel, beginning with a six-month concert tour through Holland before moving to London and touring both England and Ireland. In 1905, he first appeared with the renowned soprano Nellie Melba, one of the first Australian classical musicians to win international recognition. Sametini also gave recitals throughout 1907 and 1908 with Australian contralto Ada Crossley and her eponymous Concert Company. Also supporting Crossley in her tour of England was composer and pianist Percy Grainger. With Crossley’s company, Sametini went on to tour Australia and New Zealand, as well as India and Indonesia, in 1908.
In 1912, Sametini departed London for Chicago, where he had accepted a position as the head of the violin department at the Chicago Musical College (now a division of the Chicago College of Performing Arts at Roosevelt University), a position he would hold for the remainder of his life. Soon after his arrival, Sametini rehearsed Brahms’s Violin Concerto with Frederick Stock, and it became clear that there were plans in the works for him to soon perform with the Theodore Thomas Orchestra (as the ensemble was then known).
However, this opportunity came about sooner than anticipated. Mischa Elman was scheduled to perform Saint-Saëns’s Third Violin Concerto with the Orchestra on January 24 and 25, 1913. However, Frederick Wessels, the Orchestral Association’s manager, received a telegram from Elman at 10:11 a.m. on January 24, stating that Elman was “ill with grip [the flu] in hospital, Madison [Wisconsin]. Doctors Head and Jackson refuse to allow me leave, therefore impossible to play today or tomorrow.”
Stock immediately contacted Sametini, who, with mere hours’ notice, replaced Elman and performed Brahms’s Violin Concerto with the Orchestra. In spite of these unfavorable circumstances, the violinist’s dramatic debut was received enthusiastically by Chicago audiences and critics. Sametini earned “much applause and great success,” wrote Maurice Rosenfeld in the Chicago Daily News, and “belongs to the list of brilliant young violin virtuosos. . . . Sametini’s playing of the difficult Brahms concerto disclosed him to be an artist of eminent qualities [with the ] technical equipment of the leading virtuosos of the day.” In the Chicago Tribune, Glenn Dillard Gunn added, “Such a feat inspires respect. It attests to the courage and decision of character as well as to abundant talent and sterling qualities of musicianship. These were the salient elements revealed in [Sametini’s] interpretation.”
Sametini performed a similar act of musical heroism just a week later, on February 2, 1913, with the Chicago Grand Opera Company. He stepped in as a last-minute replacement for Efrem Zimbalist, performing the final two movements of Mendelssohn’s Violin Concerto along with Saint-Saëns’s Introduction and Rondo capriccioso. “Mr. Sametini proved again his right to be reckoned among the foremost artists of he city with a musicianly performance . . singing qualities of tone, with accentuation of rhythm, and with musical phrasing,” wrote the critic in the Chicago Examiner.
The violinist became a frequent soloist across the city and surrounding areas, and Sametini would feature as soloist with the Chicago Symphony Orchestra on two more occasions. On December 20 and 21, 1918, he appeared with the CSO playing Saint-Saëns’s Third Violin Concerto, conducted by Eric DeLamarter. Just over a decade later, on December 28 and 29, 1928, he returned, this time performing Lalo’s Violin Concerto in F minor and Saint-Saëns’s Introduction and Rondo capriccioso under Stock’s baton. At Stock’s invitation, Sametini joined the Orchestra’s first violin section for the 1942-43 season. He died of a heart ailment in Chicago on August 20, 1944, at the age of fifty-eight.
Leon Sametini is best remembered for his contributions as a pedagogue, working with many notable violinists, and his teaching philosophy is reflected in the diverse achievements of his protégés. He encouraged his students to not only consider a career as a soloist, but also to explore the broad range of opportunities available in an orchestra. Sametini recognized the distinct skills required of both the soloist and the orchestral violinist, treating both roles with impartiality and encouraging his students to pursue whichever best played to their strengths.
Writing in The Musical Leader, Sametini expressed his philosophy. “There is every opportunity in this country to become an able musician and a great violinist, and those who do not attain the rank of soloists need not feel that they are any less musicians on that account. Their unique talents simply make them better orchestral musicians than soloists, and who is to say there is any degree of superiority between these two branches of the same art?”
Sametini’s students included many orchestral string players, including several members of the Chicago Symphony Orchestra: William Faldner (violin, 1956–1994), Victor Charbulak (violin, 1922–1967), Samuel Thaviu (violin, 1934–1937), and Sheppard Lehnhoff (viola, 1930–45 and 1953–1978). Milton Preves also studied with Sametini before being appointed to the CSO’s viola section by Frederick Stock, achieving the ranks of assistant principal and principal in 1936 and 1939 respectively, serving until his retirement in 1986. Mildred Brown studied with Sametini in 1915 before becoming a charter member of the Civic Orchestra during the 1919–20 season. Brown was invited to return to the Civic by Stock in 1922, becoming the ensemble’s first female concertmaster. Fred Spector, another of Sametini’s students, also was concertmaster of the Civic before joining the CSO’s first violin section in 1956, serving until his retirement in 2003. Sametini also taught composer and violinist Silvestre Revueltas, whose works have been performed by the Orchestra on several occasions.
The Leon Sametini Collection in the Rosenthal Archives contains the violinist and teacher’s collection of musical memorabilia from his decades of performance, including clippings of concert reviews from his years as an international soloist, as well as autographed portraits of his many friends, teachers, and collaborators within the musical world.
This article also appears here.
With her masters in musicology from Northwestern University, Sara Mercurio is an acquisitions assistant for Northwestern’s libraries and an intern in the Chicago Symphony Orchestra Association’s Rosenthal Archives. In the fall of 2023, she will begin a master’s degree in library and information science at the University of Illinois Urbana-Champaign.
by Linda Wolfe
My parents were Frederick and Lorraine Wolfe. My father was the eldest of two sons of Vera and Alfred Wolfe, my grandparents. Vera was the only daughter of Frederick and Elisabeth Stock, my great-grandparents.
I have often been asked if I heard a lot of Frederick Stock stories growing up in Colorado, but unfortunately not. Stock was a formal photo on the wall with intensely piercing eyes. After my father died on March 13, 1989, I found a bundle of photographs and a packet of letters from Stock to my grandmother, his daughter Vera. The letters were full of cartoon characters and love. I was intrigued and wondered if Chicago knew that side of Stock.
A short time later, I was listening to the Colorado Springs Philharmonic on the radio. Henry Fogel, then executive director of the Chicago Symphony Orchestra, was in town hosting their radiothon fundraiser. I reached out to him, and he said the CSO was preparing for its centennial season (1990–91), and they had been searching for my grandmother to invite her to Chicago for the festivities. I let him know that, unfortunately, she had died in January 1975. So, instead, Henry invited me to attend several events to celebrate the conclusion of the CSO’s centennial.
I traveled to Chicago for the first time with my oldest son, and we had the privilege of representing the Stock family. It was a whirlwind of activities, from attending the gala dinner with Theodore Thomas’s grandson and his wife, seeing three CSO music directors—Daniel Barenboim, Sir Georg Solti, and Rafael Kubelik—conducting on the same concert, having lunch with Lady Solti, attending the rededication of the Spirit of Music statue (the Theodore Thomas memorial, at the corner of Balbo and Michigan), seeing Stock’s full-size painting in the stairwell that leads up to the ballroom, and standing on the stage to see Orchestra Hall as Stock saw it. I was practically speechless.
I discovered that a biography about Stock had not been written, so I began a project to gather as much information as I could. The Glessner journals were an incredible source of information, as Stock wrote hundreds of letters to them. While Stock was music director, he and his wife Elisabeth were guests at the Glessner home on an almost weekly basis, joining them for holidays and special events. Frederick and Elisabeth also often spent time at the Glessner farm, The Rocks, in New Hampshire.
It has been a wonderful experience doing research and I am honored to present another side of Stock, his family story.
Frederick Wilhelm August Stock was born on November 11, 1872, in Jülich, Germany, a small fortress town about thirty miles west of Cologne. He was the second son of Frederick Wilhelm Carl Stock, a Kapellmeister in the Prussian Army and Maria Lein. Frederick’s mother died on June 9, 1874, apparently never recovering from complications during his birth. His father remarried in 1887 to Johanna Maria Louise Bister and they had three more children—Maria, Louise, and Wilhelm.
In 1887, at the age of fourteen, Frederick won a scholarship to the Cologne Conservatory. His teachers included conductor Franz Wüllner and composer Englebert Humperdink, and one of his fellow students was Wilhelm Mengleberg, the famous Dutch conductor. While a student, he also became a member of the Gürzenich Orchestra Cologne.
In 1895, Theodore Thomas—the CSO’s founding music director—was in Germany, and twenty-two-year-old Frederick auditioned for him in Cologne, playing Bruch’s First Violin Concerto. Thomas told Stock if he made his way to America, he would have a position in the Chicago Orchestra. On September 22, 1895, Stock sailed from Hamburg to New York on the ship Prussia, and on that same voyage was Elisabeth Musculus, who would become his wife in May 1896. Upon his arrival in Chicago, Stock was given the position of assistant principal viola.
In Chicago on May 8, 1902, Frederick and Elisabeth welcomed a daughter, Vera Fredericka Stock. She would be their only child.
According to ocean liner passenger lists, Frederick returned to Europe at least twenty-five times. He met with the musical leaders of the European scene, reviewed new scores, and visited family. Most often Elisabeth accompanied him on his travels, and Vera also joined them several times.
In late September 1912, Frederick traveled on the Lusitania from Liverpool to New York. In a letter to the Glessners, he wrote “This is the finest boat I ever travelled on, very comfortable indeed. A trip on a boat like this spoils one for anything else, because it is the most delightful thing imaginable.” And in a letter dated September 15, 1920, “One of the novelties I brought from London is called The Planets composed by Gustav (von) Holst . . . Don’t be afraid of all those novelties. I shall stick them into the programs at places where you won’t find them, but they will be there just the same.”
On April 8, 1924, in what was described as the “social event of the year,” Vera married Alfred Morris Wolfe, and Fourth Presbyterian Church on Michigan Avenue was filled to capacity. Soprano Claire Dux, a frequent CSO soloist, sang Stock’s “A Love Letter” with Eric DeLamarter at the organ. The reception was held nearby at the Drake Hotel.
On January 18, 1928, Frederick and Elisabeth’s first grandson, Frederick Stock Wolfe (my father), was born. On June 28, 1929, their second grandchild was born, Alfred “Murph” Morris Wolfe, Jr.
In 1927, the Stocks started building a vacation home in Door County, Wisconsin, overlooking Sister Bay. It was designed by Chicago architect, William Bernhard, who the Stocks undoubtedly met at the Glessner home. This beloved home was a welcome retreat from life in Chicago where the Stock family would spend summers and holidays.
The CSO’s 1942-43 season began with Stock’s usual robustness and enthusiasm, but on October 20, he died suddenly of a heart attack at home at 1325 North Astor Street. During the intermission of the New York Philharmonic’s broadcast on November, 1, Deems Taylor spoke the following: “Let us not again let men like this go, without telling them that we love them. They would appreciate our love. We use many words on Hitler and like creatures, but never the least word to men who have made us better human beings, who have given us a bulwark against cruelty, bigotry, and stupidity. We have all, all good and bewildered people, died a little with Mr. Stock.”
Vera’s husband Alfred Wolfe was originally from Colorado Springs, and after Frederick’s death, they moved Elisabeth and the grandchildren to Colorado. Elisabeth died on August 15, 1951, and Vera and Murph brought her ashes to Chicago. She was interred in the crypt with her beloved husband in the mausoleum at Rosehill Cemetery.
In June 1994, Daniel Barenboim and the Chicago Symphony Orchestra were on tour in Europe, and several musicians traveled to Jülich to attend a plaque unveiling at the Citadel, commemorating Stock’s birth. The mayor of Julich and I unveiled the plaque, which read:
In memory of the conductor and composer
Friedrich Wilhelm August Stock
November 11, 1872 (Jülich) – October 20, 1942 (Chicago)
The son of a Prussian military band master stationed in the citadel, he studied at the Cologne Conservatory (1891) and then joined the Gürzenich Orchestra Cologne as a violinist.
In 1895 he was hired as a violist at the Chicago Symphony Orchestra.
In 1905 he became music director and, over the next 37 years, led the CSO to international fame.
The City of Jülich
Linda Wolfe is the great-granddaughter of Frederick Stock.
This article also appears here.
In the early part of its history, the Chicago Symphony Orchestra was in the pit for an astonishing number of opera performances, first with singers from the Metropolitan Opera on tour at the Auditorium Theatre (from 1891 through 1899) and again with Ravinia Park Opera in Highland Park (from 1912 until 1931). This included fifty performances of Pietro Mascagni‘s Cavalleria rusticana featuring some of the greatest singers of the era in the role of Santuzza.
Jane Abercrombie
Wisconsin native Jane Abercrombie (1878–1961, three performances in 1912) was a member of the Lyceum and Aborn opera companies and the prima donna of the first season of Ravinia Park Opera. Over the course of a month in the summer of 1912, she sang the leading soprano roles in multiple performances of La bohème, Cavalleria rusticana, Les contes d’Hoffman, Faust, Lucia di Lammermoor, Madama Butterfly, Martha, Rigoletto, Thaïs, Tosca, and La traviata.
Marguerite Bériza
Marguerite Bériza (1880–1970, four performances between 1916 and 1917) trained at the Paris Conservatory and made her professional debut at the Opéra-Comique in Paris in 1900 as a mezzo-soprano, performing mostly comprimario roles. She created the role of Geoffroy in the world premiere of Rabaud’s La fille de Roland in 1904, and two years later, she was Kate Pinkerton in the French premiere of Madama Butterfly; she also sang the role of Suzuki in later performances. In 1910, Bériza created the role of Pénélope in the world premiere of Terrasse’s Le mariage de Télémaque. By 1912, she was performing soprano roles, and she made her U.S. debut with the Boston Opera Company in 1914 as Musetta (with Maggie Teyte as Mimì) in La bohème. In 1915, Bériza made her Broadway debut in Atteridge’s Maid in America and her Chicago Grand Opera Company debut, singing the title role in Février’s Monna Vanna.
Emma Calvé
French soprano Emma Calvé (1858–1942, five performances between 1894 and 1899) was a student of Mathilde Marchesi and made her debut as Marguerite in Gounod’s Faust at the Théâtre de la Monnaie in Brussels in 1881. Following debuts at the Opéra-Comique in Paris and La Scala in Milan, she was selected by Mascagni to create the role of Suzel in the composer’s L’amico Fritz on October 31, 1891, at the Teatro Costanzi in Rome. Calvé first performed at Covent Garden the following year before making her debut with the Metropolitan Opera on November 29, 1893, as Santuzza. “Calvé is a dramatic soprano of the first rank. It is long since New York opera goers have had the pleasure of seeing and hearing an artist of such splendid emotional force,” wrote William James Henderson in The New York Times. “She is at all times eloquent and powerfully influenced; and she knows how to put emotional meaning into her singing, never hesitating to sacrifice mere sensuous beauty of tone to true dramatic significance. Her success was immediate, pronounced, and thoroughly deserved.” She was later hailed for her interpretation of Bizet’s Carmen and performed the role over 150 times with the Metropolitan.
Emma Eames
American soprano Emma Eames (1865–1952, one performance in 1891) studied with Clara Munger in Boston and Mathilde Marchesi in Paris before making her professional debut on March 13, 1889, in Gounod’s Roméo et Juliette at the Palais Garnier. Eames made her debut with the Metropolitan Opera on tour in Chicago on November 9, 1891, as Elsa in Lohengrin; her performance of Santuzza with the Met on December 4 also marked the company’s first performance of the opera. She also regularly performed at Covent Garden, in Madrid, and with the Monte Carlo Opera in Monaco. Eames was noted for her interpretations of the leading soprano roles in Aida, Un ballo in maschera, Cavalleria rusticana, Don Giovanni, Faust, Lohengrin, Die Meistersinger von Nürnberg, Le nozze di Figaro, Otello, Tosca, Il trovatore, Die Walküre, Werther, and Die Zauberflöte.
Florence Easton
A student of Agnes Larkcom at London’s Royal Academy of Music and Elliott Haslam in Paris, English soprano Florence Easton (1882–1955, five performances between 1919 and 1924) made her professional debut as the Shepherd in Tannhäuser with the Moody-Manners company in Newcastle upon Tyne, and she later was a member of the Berlin Royal and Hamburg opera companies. She made her U.S. debut with the Chicago Grand Opera Company in 1915 as Brünnhilde in Wagner’s Siegfried; of her performance, Eric DeLamarter in the Chicago Tribune wrote, “with the superb tone, the enunciation, and the style . . . Fresh and most satisfying as to timbre in the scene of the awakening, the voice fell on the ear like a benediction after the three-hour fusillade of declamation,” With the Metropolitan Opera, Easton made her debut as Santuzza on December 7, 1917, and she was chosen by Puccini to create the role of Lauretta—who sings “O mio babbino caro”—in his Gianni Schicchi on December 14, 1918, also at the Metropolitan.
Lois Ewell
Lois Ewell (1885–?, two performances in 1913) was born in Memphis, Tennessee. Before turning her sights to opera, she enjoyed a successful career on Broadway, performing leading roles in Victor Herbert’s Dream City and The Magic Night (a burlesque of Wagner’s Lohengrin), George M. Cohan’s Forty-five Minutes from Broadway, and Lehár’s The Merry Widow. In addition to Santuzza during her single summer with Ravinia Park Opera, Ewell also performed the lead soprano roles in Aida, Lohengrin, Madama Butterfly, Pagliacci, Thaïs (she “does this sort of part very well, according to the Chicago Tribune. “She has abundant temperament for the plentiful theatrical trickery of the part.”), and Il trovatore. She later was a company member with the Century Opera Company in New York, where she performed the title roles in Aida and Tosca.
Bettina Freeman
Bettina Freeman (1889–?, four performances in 1915) was born and raised in Boston, and she made her professional debut as Siébel in Gounod’s Faust with the Boston Opera Company. After moving to New York, she joined the Quinlan Opera Company and later the San Carlo Opera Company. At Ravinia Park in 1915, she also sang the title roles in Aida, Madama Butterfly, Thaïs, Tosca, and Il trovatore. Regarding her performance as Tosca that summer, Musical America reported, “Miss Freeman’s singing of the aria, ‘Vissi d’arte,” and in the duet of the last act was highly artistic. The aria, which called forth outbursts of applause, was delivered with dramatic fervor and style.”
Alice Gentle
Alice Gentle (1885–1958, six performances between 1919 and 1926) began her career performing in the chorus at Oscar Hammerstein’s Manhattan Opera Company beginning in 1908. She frequently said that, “Mr. Hammerstein ‘discovered’ her and was ‘both my artistic father and my mascot'” (according to her New York Times obituary), and he began casting her in secondary roles during her second season with the company. At the Metropolitan, she made several appearances during the 1918-19 season, most notably as Frugola in the world premiere of Puccini’s Il tabarro. Later a film actress, Gentle appeared in The Song of the Flame, Golden Dawn, and A Scene from Carmen.
Claudia Muzio
Italian soprano Claudia Muzio (1889–1936, three performances in 1918) studied in Turin with Annetta Casaloni and in Milan with Elettra Callery-Viviani. She made her professional debut in Manon on January 15, 1910, in Arezzo, and debuts at La Scala, the Paris Opera, and Covent Garden quickly followed. Muzio first sang in the United States at the Metropolitan Opera on December 4, 1916, in Tosca, alongside Enrico Caruso as Cavaradossi. During her one summer with the Ravinia Park Opera, she also performed the lead soprano roles in Aida, L’amore dei tre re, La bohème, Faust, Madama Butterfly, Manon, Pagliacci, Il segreto di Susanna, Tosca, and Il trovatore. On October 15, 1932, she performed the title role in Tosca to inaugurate San Francisco’s War Memorial Opera House (the first act was broadcast and can be heard here).
Frances Peralta (left) and Florence Easton
Born in England, Frances Peralta (1883–1933, one performance each in 1921 and 1922) and her family moved to California when she was a child. She received her early training in San Francisco and later performed with the Boston and Saint Louis opera companies, in New York’s Globe Theatre, and with the Chicago Opera Association. Peralta made her debut at the Metropolitan Opera on December 25, 1920, as Elena in Mefistofele and over the next ten years, she was a regular company member, performing the leading soprano roles in Aida, Andrea Chénier, Cavalleria rusticana, Così fan tutte, Don Carlo, La forza del destino, La gioconda, Guillaume Tell, Tannhäuser, Tosca, and Il trovatore, among others.
Rosa Raisa
Rosa Raisa (1893–1963, two performances in 1925) was born in Poland and in order to escape anti-Semitic persecution, she fled to Naples at the age of fourteen. There she studied at the Conservatorio di San Pietro a Majella with Barbara Marchisio and made her debut in Verdi’s Oberto in Parma on September 6, 1913. Marchisio soon introduced her to Cleofonte Campanini, conductor of the Chicago Grand Opera Company, and he engaged her to make her debut as Aida in Chicago on November 29, 1913. She enjoyed continued success in Rome, London, Rio de Janeiro, Montevideo, São Paulo, and Milan, where she created the title role in Puccini’s Turandot under Arturo Toscanini’s baton at La Scala on April 25, 1926. She sang the title role in Aida for the opening of the Civic Opera House in Chicago on November 4, 1929. In 1959, Raisa sat down with Studs Terkel, reflecting on her career and successes in Chicago; the interview can be heard here.
Elisabeth Rethberg
German-American soprano Elisabeth Rethberg (1894–1976, twelve performances between 1927 and 1931) studied at the Dresden Conservatory and made her professional debut as Arsena in Johann Strauss, Jr.’s Der Zigeunerbaron at the Dresden Court Opera in 1915. She made her U.S. debut at the Metropolitan Opera on November 22, 1922, in the title role in Verdi’s Aida. In The New York Times, Richard Aldrich praised “her high, clear, liquid tones of a singular brightness floating above Verdi’s orchestration with unforced ease.” Rethberg’s association with the company continued for twenty years, and she was featured on four Met opening nights. In 1928, Richard Strauss invited Rethberg to create the title role in his Die ägyptische Helena in Dresden.
Ivy Scott
Ivy Scott (1886–1947, one performance in 1914) was born in Java and made her stage debut at the age of five in Sydney Australia. She came to the U.S. in 1910 and appeared at Ravinia Park in the lead soprano roles in Aida, Madama Butterfly, and Il trovatore. On the radio, Scott was the original Mrs. Hudson in NBC’s Sherlock Holmes series, performed on The Goldbergs, and also hosted her own radio show. On Broadway, she appeared regularly between 1932 and 1946, in Music in the Air, Revenge with Music, Three Waltzes, Too Many Girls, Liberty Jones, Sunny River, and Song of Norway.
On February 6, 7, and 8, 2020, Anita Rachvelishvili sings the role of Santuzza in Mascagni’s Cavalleria rusticana with the Chicago Symphony Orchestra and Chorus. Riccardo Muti conducts. An abbreviated version of this article also appears in the program book for these performances.
Civic Music Student Orchestra, onstage at Orchestra Hall in March 1920 (William T. Barnum photo)
We recently received an extraordinary donation to our collections: a mounted photograph—in remarkable condition—of the Civic Music Student Orchestra onstage in Orchestra Hall from March 1920. This image appeared in the Civic’s first program book (see here), and previously, the only copies in our collections were quite grainy and not the best quality.
In this newly acquired image, clearly visible—downstage, front and center—is the Civic’s founding leadership: (standing) Chicago Symphony Orchestra music director Frederick Stock and (seated, left to right) assistant conductors Eric DeLamarter (the CSO’s assistant and associate conductor from 1918 until 1936) and George Dasch (a member of the CSO’s violin and viola sections from 1898 until 1923).
Mildred Brown in the early 1920s (Image courtesy of the Archives of the Sisters of Saint Francis, Rochester, Minnesota)
Also clearly visible in the assistant concertmaster chair is Mildred Brown, the previous owner of this artifact. The photograph came to us from the archives of the Sisters of Saint Francis in Rochester, Minnesota, where Brown—later Sister M. Ancille—lived from 1924 until her death in 1963. The handwriting at the bottom of the image reads, “Mildred Brown (Sr. Ancille), Assistant concert mistress, Front & center,” and an arrow points to her.
Born in Chicago on March 23, 1894, Brown earned a master’s degree in violin at the Chicago Musical College in 1915, where she studied with Alexander Sebald, and Leon Sametini, along with Chicago Symphony Orchestra assistant concertmaster Hugo Kortschak. She also attended the Juilliard School where she was a student of Franz Kneisel.
February 8, 1923
Brown was a member of the Civic Orchestra for its first season in 1919-20, one of fourteen women on the ensemble’s roster. At Stock’s invitation, she returned to the Civic in 1922-23, this time as concertmaster—the first woman to hold that position in the ensemble. During that season, Stock also invited her to be a soloist with the Chicago Symphony Orchestra on a Popular concert on February 8, 1923. Brown performed Wieniawski’s Fantaisie brillante (based on themes from Gounod’s Faust).
After her first year in the Civic Orchestra, Brown embarked on a solo career and enjoyed considerable success. A press brochure itemized generous critical praise:
- “Miss Brown has traveled far upon the road to success [performing] with so much brilliance, so much technical clarity with tone so pure and round. Hers is an admirable gift” (Felix Borowski, Chicago Record Herald).
- “A young violinist of high attainments, both in the technical and interpretative sense (Eric DeLamarter, Chicago Tribune).
- “She dashed into the finale with brilliance and carried it off with joyous abandon. Miss Brown has the right stuff in her and made such a ‘hit’ with the audience that she had to give an encore (Karleton Hackett, Chicago Evening Post)
- “Mildred Brown possesses all the attributes of the finished artist [with] rich tone and brilliant technique. . . . The difficult harmonic passages were played with security and in a flawless fashion” (Milwaukee Free Press).
Sister M. Ancille in the early 1960s (Image courtesy of the Archives of the Sisters of Saint Francis, Rochester, Minnesota)
While on tour in 1923, she performed a concert at the College of Saint Teresa in Winona, Minnesota and served as an instructor for its summer session. In January 1924, she joined the Sisters of Saint Francis. As a postulant, she directed the Teresan Orchestra and gave frequent concerts, and later—as Sister M. Ancille—she served on the faculties of the School of Musical Art and Lourdes High School (both in Rochester) and the College of Saint Teresa. She completed a second master’s degree in music from the University of Michigan in 1941 (likely attending for several summers, as it was common for Sisters teaching at the high school and college levels to continue work on advanced degrees by taking summer classes).
Sister Ancille died unexpectedly on November 19, 1963, at the age of sixty-nine. An obituary published in The Campanile (the college’s newspaper), she was remembered for “her performances as presentations of impeccable technique, finesse of style, and the artistry of a great musician, [always] striving for perfection. Sister Ancille had a reserve and repose that persons of all ages admired and respected. Her complete composure and graciousness exemplified the fullness of her life as a Franciscan. It seems, to us, very fitting that God called her home on the feast of Saint Elizabeth of Hungary, the patron of all Third Order Franciscans.”
Mildred Brown in the second chair of the Civic Orchestra’s first violin section in 1920
Special thanks to the Archives of the Sisters of Saint Francis in Rochester, Minnesota, and congregational archivist Sister Marisa McDonald, OSF
Chicago’s Welcome to Our Heroes, Kaufmann & Fabry, U.S., 1919
Looking south from the Art Institute, a parade of American soldiers marches up Michigan Avenue in this image from the Pritzker Military Museum & Library collections. Orchestra Hall—complete with movie marquee—can be seen at the far right.
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Chicago Tribune, August 25, 1920
The Nineteenth Amendment—giving women the right to vote—passes the House of Representatives on May 21 and the Senate on June 4, 1919, and is ratified on August 18, 1920. Chicago’s League of Women Voters soon parade through the city, encouraging women to register to vote in upcoming presidential election.
The influenza epidemic in Chicago first appeared at the Great Lakes Naval Training Station on September 8, 1918, and two weeks later, cases began appearing within the city. At the height of the epidemic in October, all of the city’s theaters—including Orchestra Hall—movie houses, and night schools were ordered closed, disrupting the CSO season for two weeks. By the epidemic’s end in November, over 50,000 cases of influenza and pneumonia had been reported. The article is here.
Prokofiev’s program biography, December 1918
During Sergei Prokofiev’s first visit to America, he appears with the Chicago Symphony Orchestra on December 6 and 7, 1918, in two U.S. premieres: as soloist in his First Piano Concerto (under the baton of assistant conductor Eric DeLamarter) and conducting his Scythian Suite.
December 16 and 17, 1921
Prokofiev returns to Chicago and performs as soloist with the Orchestra on December 16 and 17, 1921, giving the world premiere of his Third Piano Concerto with Frederick Stock conducting. Two weeks later, he leads the Chicago Opera in the world premiere of his The Love for Three Oranges at the Auditorium Theatre on December 30.
On July 27, 1919, seventeen-year-old Eugene Williams, an African American, was swimming in Lake Michigan when he crossed the unofficial barrier at 29th Street between the city’s “black” and “white” beaches. A group of white men pelted stones at Williams and he soon drowned. Black eyewitnesses identified the aggressors when the police arrived, but they refused to arrest them. News of the event spread and violence soon erupted, primarily in the city’s South Side neighborhoods. Riots, shootings, and arson attacks continued through August 3, leaving nearly forty dead, over 500 injured, and more than 1,000 black families homeless. The article is here.
On October 9, 1919, the Cincinnati Reds clinch their first World Series victory, winning game eight against the Chicago White Sox, amid suspicions that the games had been fixed. A grand jury convenes in September 1920 and indicts eight White Sox players who, though acquitted in 1921, are permanently banned from the game. The article is here.
Chicago Tribune, January 15, 1920
The Eighteenth Amendment to the U.S. Constitution is ratified on January 16, 1919 authorizing prohibition of the manufacture, transportation, and sale of alcohol, beginning the following year. The amendment’s passing on December 17, 1917, was possible in part due to the wave of anti-German sentiment. Since many of the nation’s beer brewers were German, Prohibition became closely tied to American patriotism. The amendment is repealed on December 5, 1933, with the ratification of the Twenty-first Amendment.
First Children’s Concert program and Anita Malkin
On November 20, 1919, Frederick Stock leads the first of a regular series of Children’s Concerts specifically designed to introduce young Chicagoans to music. After hearing several auditions from promising young instrumentalists, Stock chooses eight-year-old Anita Malkin to become the first youth soloist on a Children’s Concert, and she performs the first movement of Rode’s Violin Concerto with the Orchestra on February 12, 1920.
Sergei Rachmaninov (Kubey-Rembrandt Studio, Library of Congress) and Orchestra Hall in the summer of 1920
January 23 and 24, 1920, Sergei Rachmaninov is soloist in his Third Piano Concerto. Frederick Stock conducts.
During the summer months, Orchestra Hall frequently was used as a movie house, and in 1920, Paramount Pictures’ Humoresque—a silent film based on Fannie Hurst’s short story—enjoyed a multi-week run.
On December 31, 1920, Frederick Stock leads the Orchestra in the U.S. premiere of Gustav Holst’s The Planets, less than two months after the world premiere in London. Stock also leads the Orchestra in the U.S. premiere of Gustav Mahler’s Seventh Symphony on April 15, 1921.
Chicago American, December 19, 1921
On December 18, 1921, Richard Strauss returns to Chicago to lead the Orchestra in a special concert at the Auditorium Theatre. The program includes his Also sprach Zarathustra, Death and Transfiguration, and the love scene from his opera Feuersnot, along with several songs—“Morgen!,” “Wiegenlied,” “Freundliche Vision,” and “Ständchen”—with soprano Claire Dux.
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A Time for Reflection—A Message of Peace—a companion exhibit curated by the Rosenthal Archives of the Chicago Symphony Orchestra in collaboration with the Pritzker Military Museum & Library—will be on display in Symphony Center’s first-floor rotunda from October 2 through November 18, and the content also will be presented on CSO Sounds & Stories and the From the Archives blog.
This article also appears here. For event listings, please visit cso.org/armistice.
This exhibit is presented with the generous support of COL (IL) Jennifer N. Pritzker, IL ARNG (Retired), Founder and Chair, Pritzker Military Museum & Library, through the Pritzker Military Foundation.
Additional thanks to Shawn Sheehy and Jenna Harmon, along with the Arts Club of Chicago, Newberry Library, Poetry Foundation, and Ravinia Festival Association.
Enlist: On Which Side of the Window are
You?, Laura Brey, U.S., 1917
The recruitment poster at right, from the Pritzker Military Museum & Library collections, shows a civilian man looking out a window as soldiers march to service.
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Boston Globe, March 26, 1918
For a Boston Symphony Orchestra performance in Providence on October 30, 1917, several Rhode Island ladies’ clubs had contacted orchestra manager Charles Ellis, requesting the addition of The Star-Spangled Banner to the concert. After consulting with BSO founder Henry Higginson, Ellis decided not to change the program. Unaware of the request, music director Karl Muck—born in Germany but naturalized as a Swiss citizen—after the concert was accused in the press of working for the German cause and eventually arrested on March 25, 1918. He also was imprisoned at Fort Oglethorpe in Georgia until August 1919, when he and his wife were deported. The article is here.
Ernst and Lina Kunwald, December 8, 1917 (National Archives and Records Administration)
Music director of the Cincinnati Symphony Orchestra since 1912, Ernst Kunwald continued to express pride in his Austrian heritage during the war. He led The Star-Spangled Banner before one concert but only after expressing to the orchestra and the mostly German audience that his sympathies were with his homeland. Kunwald was arrested by the U.S. Marshals Service on December 8, 1917, and released the following day, whereupon he resigned his post as conductor. One month later, he was interned under the Alien Enemies Act at Fort Oglethorpe and was deported soon thereafter.
Theodore Thomas and Frederick Stock
At the invitation of founder and first music director Theodore Thomas, Frederick Stock came to the U.S. in 1895 to join the Orchestra as assistant principal viola. He applied for his first U.S. citizenship papers four days after his arrival, but inadvertently neglected to complete the process. He was promoted to assistant conductor in 1899, and shortly after Thomas’s unexpected death on January 4, 1905, the board of trustees soon elected Frederick Stock as the Orchestra’s second music director on April 11.
Columbia Graphophone Company 1917 recording
Stock’s arrangement of The Star-Spangled Banner
In 1916, on the eve of U.S. involvement in the war, President Woodrow Wilson ordered The Star-Spangled Banner to be played at military and other notable events. Stock made his own orchestration of the Banner along with America (My Country ’Tis of Thee) and recorded both with the Orchestra for the Columbia Graphophone Company on May 28, 1917.
Stock’s fingerprints (FBI Case Files, National Archives)
When the trustees encouraged Stock to finalize his citizenship—to deflect concerns over his German heritage—he discovered that his 1895 application was invalid and needed to start the process a second time. But first, Stock had to submit a Registration Affidavit of Alien Enemy, complete with fingerprints, on February 7, 1918.
With his citizenship status incomplete and the country at war, on August 17, 1918, Frederick Stock made the decision to resign, asserting his loyalty to the U.S. “I do not hesitate to classify myself as American, because all who know me are aware that at heart, in thought and in spirit, as well as in action and deed, I am American, just as willing as any patriot to give my last drop of blood and my last penny for the land of my adoption and of my affections.” Stock’s handwritten letter and a transcript are here.
The trustees of the Orchestral Association reluctantly accepted Stock’s resignation on October 1, 1918. Acknowledging that he had changed the language at rehearsals to English in 1914 and had programmed countless works by American composers, the board expressed its hope that the separation would be temporary, and it would soon be their “joy to welcome to our conductor’s stand Citizen Stock.” The transcript of the board meeting minutes is here.
Eric DeLamarter
Chicago composer Eric DeLamarter, was hired as assistant conductor and led the first concerts of the 1918-19 season. DeLamarter also served as organist at Fourth Presbyterian Church from 1914 and as the first conductor of the Grant Park Music Festival beginning in 1935.
Chicago Daily News, February 20, 1919
At the trustees’ meeting on February 14, 1919, Orchestra manager Frederick Wessels reported that Stock “had complied with all the requirements of the law,” having filed the necessary papers on February 7; ninety days later, his citizenship would be complete. The executive committee met five days later and unanimously resolved that Stock should resume his music directorship the following week.
February 28, 1919
On February 28, 1919, “as Mr. Stock came through the door . . . cheers sounded in the upper tiers, and the audience rose to utter its gladness that he was back at the post.” That evening’s program began with The Star-Spangled Banner and concluded with the world premiere of Stock’s new March and Hymn to Democracy, “conceived,” according to the composer, “in the spirit of our day, a spirit, indeed, of world-wide turbulence and strife, but also a spirit imbued with unending hope and implicit faith in the ultimate regeneration of humanity.”
Linda Wolfe at the Frederick Stock School
Linda Wolfe, Stock’s great-granddaughter, added: “Most of Frederick Stock’s adult life had been with the Chicago Symphony Orchestra—ten years as a violist and thirteen as music director—when he was classified as an alien enemy. He was forced to temporarily step down from the podium, and I cannot imagine his anguish and heartache. However, Stock’s devotion to the ensemble and the city did not waver during this dark time, as he spent his exile developing plans for the Civic Orchestra, the series of children’s concerts, and the youth auditions, all endeavors that continue to thrive today.”
Wolfe is pictured here at the Frederick Stock School in Chicago’s Edison Park neighborhood. Opened in 1955, Stock School is a Chicago Public School early childhood center for students between the ages of three and five, providing a model program for children with and without disabilities.
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A Time for Reflection—A Message of Peace—a companion exhibit curated by the Rosenthal Archives of the Chicago Symphony Orchestra in collaboration with the Pritzker Military Museum & Library—will be on display in Symphony Center’s first-floor rotunda from October 2 through November 18, and the content also will be presented on CSO Sounds & Stories and the From the Archives blog.
This article also appears here. For event listings, please visit cso.org/armistice.
This exhibit is presented with the generous support of COL (IL) Jennifer N. Pritzker, IL ARNG (Retired), Founder and Chair, Pritzker Military Museum & Library, through the Pritzker Military Foundation.
Additional thanks to Shawn Sheehy and Jenna Harmon, along with the Arts Club of Chicago, Newberry Library, Poetry Foundation, and Ravinia Festival Association.
Step into Your Place, David Allen & Sons, England, 1915
The recruitment poster at left, from the Pritzker Military Museum & Library collections, shows men in civilian attire falling into formation, joining ranks of soldiers marching into the distance.
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Walter Guetter and Wendell Hoss
Bassoon Walter Guetter (1895–1937) was hired by Frederick Stock in 1915, after auditioning at Willow Grove Park, where the Chicago Symphony Orchestra regularly performed summer concerts. He was promoted to principal bassoon during his second season and temporarily left the Orchestra in 1918 to serve in the U.S. Navy at the Great Lakes Naval Training Station. After the war, Guetter returned to the principal chair through 1922 until he was invited by Leopold Stokowski to join the Philadelphia Orchestra, also as principal bassoon.
Wendell Hoss (1892–1980) joined the Chicago Symphony Orchestra’s horn section in June 1917 for the Ravinia Park and subsequent downtown seasons, and he joined the U.S. Navy the following summer, serving at the Great Lakes Naval Training Station. After his year in the Navy, Hoss played in the Los Angeles Symphony Orchestra and the Cleveland Orchestra before returning to Chicago for one season as principal horn in 1922–23. He later taught at the Eastman School of Music, performed in the Disney recording studios, and was a co-founder of the International Horn Society.
Otto, Edward, and Henri Hyna
Czechoslovakia native Otto Hyna (1886–1951) emigrated to the U.S. in 1904 and later served in the National Guard as a member of the First Wisconsin Regiment of Field Artillery in 1917. Following his military service, he was principal bass of the Minneapolis Symphony Orchestra from 1921 until 1923. Hyna joined the Chicago Symphony Orchestra’s bass section in 1930, where he remained until 1950. Otto’s brothers Edward and Henri also were members of the Orchestra’s string section. Edward (1897–1958) served as a violinist from 1929 until 1943, and Henri (1901–1955) also was a violinist from 1928 until 1932.
For the final concert of the 1917–18 season, Frederick Stock opened the concert with America and closed with his Festival March and The Star-Spangled Banner. A new stage decoration recognized musicians serving the U.S. military. The article is here.
Fort Sheridan Water Tower in 1898 (Detroit Photographic Company image)
Frederick Stock led the Orchestra in a concert at Fort Sheridan on October 21, 1917. According to the Chicago Tribune, Company 21 celebrated after the concert with a dinner that included: “Turkey à la Cook (in honor of company commander Captain Louis H. Cook), oyster dressing à la Smith (in honor of company instructor Captain Horace Smith), first platoon gravy, Murphys [potatoes] à la pick and shovel, shrapnel peas, dugout olives, bayonet celery, grenade cranberry sauce, trench coffee, [and] periscope pie . . .” The article is here.
During the 1919–20 season, Frederick Stock inaugurated three major initiatives to cultivate future generations of musicians and concertgoers: a regular series of Children’s Concerts, Youth Auditions, and the Civic Music Student Orchestra.
Chicago Tribune, January 30, 1920
One of the goals of the Civic Orchestra was “to reduce the dependence of this country upon European sources of supply for trained orchestral musicians” as well as to function as a reserve of talent from which to draw into the Chicago Symphony Orchestra. The article is here.
First Civic Orchestra Program, March 29, 1920
Five hundred young musicians auditioned in January 1920, eighty-six were accepted, and the first rehearsal was held in Orchestra Hall on January 27.
Stock and the Civic Orchestra in March 1920
The ensemble made its debut on March 29, 1920, and the roster included future Chicago Symphony Orchestra members (including John Weicher, who became concertmaster in 1937). Frederick Stock, Eric DeLamarter, and George Dasch (also a member of the Orchestra’s violin and viola sections from 1898 until 1923) shared conducting duties, leading works by Halvorsen’s Triumphal Entry of the Boyards, Godard’s Adagio pathétique, Tchaikovsky’s Fifth Symphony, Grieg’s Suite no. 1 from Peer Gynt, Keller’s Souvenir and Valse, and one of Elgar’s Pomp and Circumstance marches.
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A Time for Reflection—A Message of Peace—a companion exhibit curated by the Rosenthal Archives of the Chicago Symphony Orchestra in collaboration with the Pritzker Military Museum & Library—will be on display in Symphony Center’s first-floor rotunda from October 2 through November 18, and the content also will be presented on CSO Sounds & Stories and the From the Archives blog.
This article also appears here. For event listings, please visit cso.org/armistice.
This exhibit is presented with the generous support of COL (IL) Jennifer N. Pritzker, IL ARNG (Retired), Founder and Chair, Pritzker Military Museum & Library, through the Pritzker Military Foundation.
Additional thanks to Shawn Sheehy and Jenna Harmon, along with the Arts Club of Chicago, Newberry Library, Poetry Foundation, and Ravinia Festival Association.
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Inaugurating its new thousand-watt transmitter, WMAQ used seven microphones in picking up the first Chicago Symphony Orchestra radio broadcast on December 10, 1925. Frederick Stock conducted at Orchestra Hall, and, seated in the organ loft with a clear view of the Orchestra, assistant conductor Eric DeLamarter operated the radio-control unit used to regulate the microphones (switching in and out, but not controlling volume) in order to produce the best possible balance.
Chicago Daily News, December 9, 1925
The concert, a potpourri of popular favorites, included Mendelssohn’s Overture to A Midsummer Night’s Dream, Theodore Thomas’s arrangement of “Träume” from Wagner’s Wesendonck Lieder, Massenet’s Meditation from Thaïs with concertmaster Jacques Gordon, Saint-Saëns’s The Swan from The Carnival of the Animals with principal cello Alfred Wallenstein, and Tchaikovsky’s Capriccio italien. Interspersed throughout the program, contralto Sophie Braslau, accompanied by pianist Louise Linder, performed several songs (including Schubert’s “Der Erlkönig”) from WMAQ’s studio on the eighteenth floor of the LaSalle Hotel.*
Elmer Douglass in the Chicago Tribune called the broadcast “a marvelous success. When the Orchestra broke in with the soft opening tones of Halvorsen’s March of the Boyards, it was realized that all was well. It was phenomenally clear and pure, and, best of all, the true, pure, characteristic tones as though they were heard from a choice seat in Orchestra Hall itself. We could all but see the separate instruments.”
“An artistic and mechanical triumph,” reported the Chicago Daily News (which then also owned WMAQ). “The applause of the radio audience in the form of telephone calls, telegrams, letters, and postal cards is sweeping like an avalanche.”
Subsequent radio broadcasts were carried over a variety of stations, the longest syndication on WFMT from 1976 through 2001. The Chicago Symphony Orchestra returned to the airwaves in April 2007, syndicated throughout the U.S. by WFMT, featuring performances recorded live as well as recordings from its extensive discography. The first program included Miguel Harth-Bedoya leading Rossini’s Overture to The Italian Girl in Algiers, Yanov-Yanovsky’s Night Music: Voice in the Leaves, Chen and He’s The Butterfly Lovers with erhu soloist Betty Xiang, and Dvořák’s Cello Concerto with Yo-Yo Ma.
* The LaSalle Hotel, located on the northwest corner of LaSalle Street and Madison Street, was completed in 1909 and demolished in 1976. The lot currently is the home of Two North LaSalle Street, completed in 1979.
This article also appears here.
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During Sergei Prokofiev’s first visit to America, he appeared with the Orchestra as conductor and piano soloist in two U.S. premieres. He was soloist in his First Piano Concerto (under the baton of assistant conductor Eric DeLamarter), and after intermission he conducted his Scythian Suite.
“Prokofiev made his first Chicago appearances as pianist, conductor, and composer at the Chicago Symphony Orchestra concert yesterday afternoon, and in all three musical capacities proved himself a sensational figure, one who must be reckoned with in the future,” wrote Maurice Rosenfeld in the Chicago Daily News. “He is a remarkably gifted pianist; virile, full of exuberant activity, equipped with a wonderfully complete technique, extraordinary supple wrists which dash off octaves with lightning like rapidity and brilliance, steely fingers which reel forth scale passages of great clarity, and a touch which is directed to reproduce tones which range from mere whisperings to thunderous masses of sound. As a composer, he disclosed himself in his concerto for piano with orchestral accompaniment as a musician of great originality, as a writer who finds beauty in music in rhythmic combination more than in melodic lines, and emotional expression in masses of varying degrees of tones and contrasting dynamic changes.”
December 6 and 7, 1918
Over the next twenty years, Prokofiev returned regularly to Chicago to perform with the Orchestra, both as conductor and soloist. His December 1921 appearances included the world premiere of his Third Piano Concerto (and he conducted the world premiere of his Love for Three Oranges with the Chicago Opera Association at the Auditorium Theatre), and he led the U.S. premieres of his Divertimento in 1930 and the first suite from his ballet Romeo and Juliet in 1937.
This article also appears here.
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November 20, 1919
During the 1919–20 season, music director Frederick Stock inaugurated three major initiatives to cultivate future generations of musicians and concertgoers: a regular series of Children’s Concerts, Youth Auditions, and the Civic Music Student Orchestra.
On November 20, 1919, Stock led the first of a regular series of Children’s Concerts specifically designed to introduce young Chicagoans to music. After hearing several auditions from promising young instrumentalists, Stock chose eight-year-old Anita Malkin to become the first youth soloist on a Children’s Concert; she performed the first movement of Rode’s Violin Concerto with the Orchestra on February 12, 1920.
Anita Malkin
The initial goal of the Civic Music Student Orchestra was threefold: “To give an opportunity to capable players to acquire orchestral routine and experience, fitting themselves for positions in the symphony orchestras of the country; to reduce the dependence of this country upon European sources of supply for trained orchestral musicians; and to take orchestral concerts to outlying districts where people, because of their remoteness, are denied the privilege of hearing good music.”
March 29, 1920
The ensemble made its debut on March 29, 1920, and the roster included several future Chicago Symphony Orchestra members (including concertmaster John Weicher). Frederick Stock, Eric DeLamarter, and George Dasch shared conducting duties, leading Halvorsen’s Triumphal Entry of the Boyards, Godard’s Adagio pathétique, Tchaikovsky’s Fifth Symphony, Grieg’s Suite no. 1 from Peer Gynt, Keller’s Souvenir and Valse, and one of Elgar’s Pomp and Circumstance marches.
Chicago Tribune, January 30, 1920
In the Chicago Tribune, William Lines Hubbard reported, “And O, the youthful enthusiasm and ‘pop’ of it all! The whole room tingled with the vigor and impulse of youth and the audience feeling it grew glad and radiant. At the close of the first half of the program, Mr. Wessling, the concertmaster, presented a baton to Mr. Stock with expression of the players’ thanks for all he had done, and he in return voiced his admiration for the devotion the young people had shown and his appreciation of the wonderful worth of the material Chicago had furnished. . . . Stock used his new baton for the Elgar march, which closed the concert.”
This article also appears here.
from the archives 