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by Linda Wolfe

Frederick Stock (George Nelidoff photo)

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.

Elisabeth and Frederick Stock in May 1896 (Linda Wolfe collection)

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.

Vera and Elisabeth Stock (Linda Wolfe collection)

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.”

Plaque in Jülich, Germany, dedicated in June 1994

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.

Sir Georg Solti (Yousuf Karsh photo)

As the summer of 1997 drew to a close, the Chicago Symphony Orchestra Association was putting the finishing touches on Symphony Center, culminating a three-year, $120 million project. To celebrate the renovation of Orchestra Hall and facilities expansion, a three-week festival was planned that included gala concerts and the first Day of Music, twenty-four hours of free, live performances across all genres in multiple Symphony Center venues.

One of the gala concerts was scheduled for Saturday, October 25, with Music Director Laureate Sir Georg Solti leading the Orchestra in an all-Beethoven program: the Seventh Symphony and the Emperor Piano Concerto with Music Director Daniel Barenboim as soloist. The concert would celebrate not only Solti’s 85th birthday (October 21, 1997) but also his 1,000th concert with the Orchestra. In November, he was scheduled to return for two weeks of subscription concerts, leading Ives’s Decoration Day, Schumann’s Symphony no. 3, and Mendelssohn’s Symphony no. 3, along with a full program of choruses from Wagner’s operas with the Chicago Symphony Chorus, to be recorded live by London.

Over the Labor Day holiday weekend, the world had been rocked with the news of the tragic death of Diana, Princess of Wales, on Sunday, August 31. Barely a week later on the morning of September 5 (the day before Diana’s funeral), news outlets reported the death of Mother Teresa in Calcutta, India. And late that same evening, we heard the unthinkable. While on holiday with his family in Antibes, France, Sir Georg Solti had taken ill and died peacefully in his sleep.

Michigan Avenue entrance of Orchestra Hall on September 6, 1997 (Marilyn Arado photo)

“I had just returned hours earlier from Europe, where I was working with Daniel Barenboim on Solti’s 85th birthday celebration concert,” remembered Martha Gilmer, former vice president for artistic planning. After confirming with Charles Kaye, Solti’s longtime assistant, she called Barenboim in Bayreuth, waking him to relay the news.

“I was stunned,” recalled Henry Fogel, then president of the CSO Association. The following morning, senior staff met to determine how to proceed with the plans for the festival, among several other issues. As some of them approached the entrance, “We were very touched because when we came to Orchestra Hall, one person had left a bouquet of flowers at the Michigan Avenue entrance.”

Daniel Barenboim leads Mozart’s Requiem on October 22, 1997 (Jim Steere photo)

The festival would continue mostly as planned. The Symphony Center inaugural gala opened with Barenboim leading Nimrod from Elgar’s Enigma Variations, performed in Solti’s memory. A special, free memorial concert was added on October 22 with Barenboim leading Wagner’s Prelude to Die Meistersinger von Nürnberg and the Prelude and Liebestod from Tristan and Isolde, followed by Mozart’s Requiem with Emily Magee, Anna Larsson, John Aler, René Pape, and the Chicago Symphony Chorus, prepared by Duain Wolfe.

Richard L. Thomas receives one of Solti’s batons from Lady Valerie Solti on October 25, 1997 (Jim Steere photo)

The program for the celebration concert on October 25 changed slightly, and Barenboim led Beethoven’s Third Piano Concerto from the keyboard along with the Seventh Symphony. At the beginning of the concert, Lady Valerie Solti presented Richard L. Thomas (chairman of the CSO Association from 1986 until 1991) with one of Solti’s batons.

A special commemorative program book for the memorial and celebration concerts was prepared, and it included tributes from President Bill Clinton, Illinois governor Jim Edgar, and Chicago mayor Richard M. Daley, along with Solti’s colleagues from all over the world, members of the Orchestra, and administrative staff. (The program book is available here.)

The block of Adams Street between Michigan and Wabash avenues was named honorary Sir Georg Solti Place on October 24, 1997. The following spring (just before the beginning of the fifteenth European tour with concerts in Paris and Berlin), a small contingent of Orchestra family traveled to Budapest for a ceremony on March 28, 1998, in which Solti’s ashes were interred next to the grave of his teacher, Béla Bartók. During the ceremony, Charles Pikler, then–principal viola, performed Ravel’s Kaddish.

Fogel continued, “One thought that I did keep having was how sad it was that Maestro Solti would never see the renovated hall, with which I believe he would have been thrilled.”

“Solti, so vibrant, such energy, such magnetism, such a life force,” added Gilmer. “It was impossible to believe that it ended so quietly and in a place so far away. . . . He was a young 84-year-old and what occurred to all of us is that we had all been robbed of wonderful musical memories that were yet to be made.”

This article also appears here.

Michael Morgan in 1986 (Jim Steere photo)

The Chicago Symphony Orchestra family mourns the death of Michael Morgan, who died on August 20, 2021, in Oakland, California. Morgan served as assistant conductor of the Chicago Symphony Orchestra from 1986 until 1993. He was sixty-three.

“Michael Morgan was a very important part of the Chicago Symphony Orchestra,” wrote Henry Fogel, who served as executive director and president of the Chicago Symphony Orchestra Association from 1985 until 2003. “As an assistant conductor, he gave a number of important performances, and he was an extraordinarily valuable part of the CSO’s educational and community engagement programs. As one of the first African American conductors to achieve an important career, Michael was a true pioneer. His thirty-year tenure as music director of the Oakland Symphony is a testament to his skills as a musician and a leader. I am deeply saddened to learn of his passing, which happened far too soon.”

In March 1986, Sir Georg Solti announced the appointment of Kenneth Jean as associate conductor and Michael Morgan as assistant conductor, beginning with the 1986–87 season: “I think we have found two young men with both musical and personal credentials that will be a great asset to the Orchestra in its important community programs.”

Less than a week after the announcement was made, Morgan joined the Chicago Symphony Orchestra—along with Solti and guest conductor Daniel Barenboimon tour to Asia. He made his podium debut with the Civic Orchestra on April 10, 1987, leading Verdi’s Overture to La forza del destino, Tchaikovsky’s Violin Concerto with Michi Sugiura, Mozart’s Symphony no. 36, and Ravel’s La valse, and the following month, he made his debut conducting the Chicago Symphony Orchestra on a series of concerts for children.

Michael Morgan leads the Chicago Symphony Orchestra in Arutunian’s Trumpet Concerto with Robert Klug as soloist, during the Illinois Young Performers Competition on May 2, 1989 (Jim Steere photo)

In late May 1987, Solti suffered a knee injury, causing him to cancel concerts in Chicago. Morgan was called upon to make an unexpected subscription concert debut on May 26, conducting two “of the most formidable works in the symphonic repertory, Richard Strauss’s Ein Heldenleben and Stravinsky’s The Rite of Spring, without benefit of rehearsal,” according to John von Rhein in the Chicago Tribune. “The conductor was obviously well prepared. He kept his wits about him. He maintained a clear, steady beat. . . . This great ensemble was willing to provide the same, highly disciplined level of performance that it would produce for Solti or any famous guest conductor.”

Morgan continued to be a frequent presence on the podium, regularly leading subscription concerts, run-outs to Christ Universal Temple, youth and high school concerts, and the Illinois Young Performers Competition. In November 1992, he led a concert version of Anthony Davis’s X, The Life and Times of Malcom X.

When his and Jean’s appointments were first announced, Morgan commented, “I consider the members of the CSO to be our primary teachers. Because it’s highly unlikely either of us is going to say anything to them that they haven’t heard before. So, it’s wonderful when they come to us and share their experiences with so many of the world’s great conductors. It helps you feel a part of the family.”

Numerous tributes have been posted, including the Washington Post, the San Francisco Chronicle, and the Mercury News, among others.

This article also appears here.

Sir Georg Solti (Yousuf Karsh photo)

As the summer of 1997 drew to a close, the Chicago Symphony Orchestra Association was putting the finishing touches on Symphony Center, culminating a three-year, $120 million project. To celebrate the renovation of Orchestra Hall and facilities expansion, a three-week festival was planned that included gala concerts and the first Day of Music, twenty-four hours of free, live performances across all genres in multiple Symphony Center venues.

One of the gala concerts was scheduled for Saturday, October 25, with music director laureate Sir Georg Solti leading the Orchestra in an all-Beethoven program: the Seventh Symphony and the Emperor Piano Concerto with music director Daniel Barenboim as soloist. The concert would celebrate not only Solti’s 85th birthday (October 21, 1997) but also his 1,000th concert with the Orchestra. In November, he was scheduled to return for two weeks of subscription concerts, leading Ives’s Decoration Day, Schumann’s Symphony no. 3, and Mendelssohn’s Symphony no. 3, along with a full program of choruses from Wagner’s operas with the Chicago Symphony Chorus, to be recorded live by London.

Over the Labor Day holiday, the world had been rocked with the news of the tragic death of Princess Diana on Sunday, August 31. The day before her funeral on September 5, news outlets began to report the death of Mother Teresa in Calcutta, India. And late that same evening, we heard the unthinkable. While on holiday with his family in Antibes, France, Sir Georg Solti had taken ill and died peacefully in his sleep.

Michigan Avenue entrance of Orchestra Hall on September 6, 1997 (Marilyn Arado photo)

“I had just returned hours earlier from Europe, where I was working with Daniel Barenboim on Solti’s 85th birthday celebration concert,” remembered Martha Gilmer, former vice president for artistic planning. After confirming with Charles Kaye, Solti’s longtime assistant, she called Barenboim in Bayreuth, waking him to relay the news.

“I was stunned,” recalled Henry Fogel, then president of the CSO Association. The following morning, senior staff held a meeting to determine how to proceed with the plans for the festival, among several other issues. As some of them approached the entrance, “We were very touched because when we came to Orchestra Hall, one person had left a bouquet of flowers at the Michigan Avenue entrance.”

Daniel Barenboim leads Mozart’s Requiem on October 22, 1997 (Jim Steere photo)

The festival would continue mostly as planned. The Symphony Center inaugural gala opened with Barenboim leading a performance of Nimrod from Elgar’s Enigma Variations, performed in Solti’s memory. A special, free memorial concert was added on October 22 with Barenboim leading Wagner’s Prelude to Die Meistersinger von Nürnberg and the Prelude and Liebestod from Tristan and Isolde, followed by Mozart’s Requiem with Emily Magee, Anna Larsson, John Aler, René Pape, and the Chicago Symphony Chorus, prepared by Duain Wolfe.

Richard L. Thomas receives one of Solti’s batons from Lady Valerie Solti on October 25, 1997 (Jim Steere photo)

The program for the celebration concert on October 25 changed slightly, and Barenboim led Beethoven’s Third Piano Concerto from the keyboard along with the Seventh Symphony. At the beginning of the concert, Lady Valerie Solti presented Richard L. Thomas (chairman of the CSO Association from 1986 until 1991) with one of Solti’s batons.

A special commemorative program book for the memorial and celebration concerts was prepared, and it included tributes from President Bill Clinton, Illinois governor Jim Edgar, and Chicago mayor Richard M. Daley, along with Solti’s colleagues from all over the world, members of the Orchestra, and administrative staff. The program book is available here.

The block of Adams Street between Michigan and Wabash avenues was named honorary Sir Georg Solti Place on October 24, 1997. The following spring (just before the beginning of the fifteenth European tour with concerts in Paris and Berlin), a small contingent of Orchestra family traveled to Budapest for a ceremony on March 28, 1998, in which Solti’s ashes were interred next to the grave of his teacher, Béla Bartók. During the ceremony, principal viola Charles Pikler performed Ravel’s Kaddish.

Fogel continued, “One thought that I did keep having was how sad it was that Maestro Solti would never see the renovated hall, with which I believe he would have been thrilled.”

“Solti, so vibrant, such energy, such magnetism, such a life force,” added Gilmer. “It was impossible to believe that it ended so quietly and in a place so far away. . . . He was a young 84-year-old and what occurred to all of us is that we had all been robbed of wonderful musical memories that were yet to be made.”

Decca Classics is releasing a 108-CD set of Sir Georg Solti’s entire catalog with the Chicago Symphony Orchestra and Chorus in the United States on September 15, 2017. It can be pre-ordered here.

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date (Dan Rest photo)

July 22, 2001 (Dan Rest photo)

On July 22, 2001, Daniel Barenboim and the Orchestra were scheduled to give a free outdoor concert beginning at 6:00 p.m. in Harrison Park in Chicago’s Pilsen neighborhood. However, shortly after 5:00, strong wind gusts and torrential rain left the musicians waiting out the storm in the nearby Mexican Fine Arts Center Museum,* which had co-sponsored the daylong Plazas de México arts festival.

According to Wynne Delacoma in the Chicago Sun-Times, “At 6:10 p.m., as the wind subsided and the rain began to let up, Henry Fogel, the CSO’s rain-soaked president, announced that he was ‘willing to give it a try.’ The hardy audience members, many of them crowded under the museum’s sheltering eaves, began returning to the park, with their folding chairs, soggy blankets, and children in tow.”

Following a quick cleanup of the stage, Barenboim greeted the nearly 2,000-member audience and began the concert, barely an hour after it was scheduled to begin. He led the Orchestra in works by Latin American composers, including Carlos Gardel, José Pablo Mancayo, Mariano Mores, Astor Piazzolla, Silvestre Revueltas, Gerardo Matos Rodríguez, and Horacio Salgán (due to the delayed start, Ravel’s Boléro was omitted from the program).

The Orchestra’s music director “lived in Buenos Aires for the first decade of his life, and the infectious, syncopated rhythms and folk-inspired melodies of Latin music, especially the tango, are in his blood,” continued Delacoma. “Between pieces Sunday, Barenboim chatted easily with the audience in Spanish. This was not a program conjured out of nowhere simply to raise the CSO’s profile in Chicago’s Latin community. . . . The CSO wants residents of Pilsen—and every other Chicago neighborhood—to know that classical music isn’t the exclusive property of people who can afford the most expensive seats in Symphony Center. That message came through loud and clear Sunday.”

*The museum changed its name to the National Museum of Mexican Art in December 2006.

This article also appears here.

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Barenboim, Solti, and Kubelík onstage at the end of the concert

Barenboim, Solti, and Kubelík onstage at the end of the concert (Jim Steere photo)

On October 18, 1991, new music director Daniel Barenboim shared the podium with two of his predecessors, Rafael Kubelík and Sir Georg Solti, to bring the Chicago Symphony Orchestra’s centennial celebration to a grand conclusion. The program was a recreation of the Orchestra’s inaugural concerts, conducted by its first music director, Theodore Thomas, on October 16 and 17, 1891.

The program opened with Barenboim leading Wagner’s A Faust Overture, followed by Solti conducting both Beethoven’s Fifth Symphony and Tchaikovsky’s First Piano Concerto (with Barenboim as soloist). Kubelík concluded the program with Dvořák’s Husitská Overture.

Centennial Gala Finale program

The concert was unexpectedly interrupted shortly after intermission. Several patrons who attended a preconcert dinner were given digital clocks as a gift, several of which had unintentionally been preset to start beeping at 9:15 p.m., just as Tchaikovsky’s concerto began. After the first movement, “Solti halted the proceedings, telling the audience it was impossible to continue as long as the noise persisted. . . . Executive director Henry Fogel, visibly embarrassed, explained the problem and requested everyone who was holding one of the clocks to please check them with an usher. Meanwhile, the source of the beeping was traced to the lower balcony. Out went the alarms,” wrote John von Rhein in the Chicago Tribune. “Huge sigh of relief. On with the Tchaikovsky. On with the show.”

A particularly special moment of the evening was the performance of the final work on the program. According to von Rhein, “Clearly this music touched a deep vein of national pride in the seventy-seven-year-old Kubelík, and he inspired the Orchestra to its finest work of the evening. It made an unforgettable coda to the CSO’s first 100 years. . . . Kubelík drew a prolonged standing ovation, with the Orchestra members remaining seated as he took his bows, refusing to steal his limelight until he was finally able to persuade them to stand. . . . As the applause continued, he was joined on stage by Barenboim and Solti. The CSO responded with a tusch (brass fanfare), the traditional gesture of acclamation for conductors.”

Some of this content was previously posted here; this article also appears here.

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To honor Sir Georg Solti’s seventy-fifth birthday, the Chicago Symphony Orchestra and Chorus gave a gala concert of the highest order on October 9, 1987.

Governor James R. Thompson opened the concert with welcoming remarks, and after the intermission, Mayor Harold Washington presented Sir Georg with the City of Chicago’s Medal of Merit. The concert program was as follows:

CORIGLIANO Campane di Ravello (world premiere)
Kenneth Jean, conductor

J. STRAUSS Overture to Die Fledermaus
Plácido Domingo, conductor

MOZART Concerto for Two Pianos in E-flat Major, K. 365
Sir Georg Solti, conductor and piano
Murray Perahia, piano

STRAUSS Don Juan, Op. 20
Sir Georg Solti, conductor

Plácido Domingo and Kiri Te Kanawa perform a scene from Verdi’s Otello (Jim Steere photo)

VERDI Excerpts from Act 1 of Otello
Sir Georg Solti, conductor
Kiri Te Kanawa, soprano
Plácido Domingo, tenor
Kurt R. Hansen, tenor
Joseph Wolverton, tenor
Richard Cohn, baritone
David Huneryager, bass
Chicago Symphony Chorus
Margaret Hillis, director

The commemorative program contained letters and testimonials from numerous public officials, conductors, musicians, and industry professionals, including: Ronald Reagan, James R. Thompson, Harold Washington, Claudio Abbado, Daniel Barenboim, Carlo Maria Giulini, Rafael Kubelík, John Corigliano, Christoph von Dohnányi, Rudolf Serkin, Henry Fogel, Michael Tilson Thomas, Christa Ludwig, Birgit Nilsson, Witold Lutosławski, Sir Charles Mackerras, Mstislav Rostropovich, Klaus Tennstedt, David Del Tredici, Leonard Bernstein, Leonard Slatkin, Werner Klemperer, José van Dam, Elliott Carter, Karel Husa, Isaac Stern, Morton Gould, Hans Werner Henze, Itzhak Perlman, Anja Silja, Erich Leinsdorf, Josef Suk, Plácido Domingo, Michael Tippett, Kiri Te Kanawa, Murray Perahia, Leontyne Price, András Schiff, Kenneth Jean, Andrzej Panufnik, Dame Janet Baker, Pierre Boulez, Yvonne Minton, Herbert Blomstedt, Mira Zakai, Margaret Hillis, Gunther Herbig, Ray Minshull, Ann Murray, Philip Langridge, Raymond Leppard, Vladimir Ashkenazy, George Rochberg, Gwynne Howell, Ardis Krainik, Michael Morgan, Anne-Sophie Mutter, Wolfgang Sawallisch, Henry Mancini, and Barbara Hendricks.

Solti and Perahia as soloists in Mozart’s Concerto for Two Pianos (Jim Steere photo)

The concert was covered widely in the press, in the Chicago Tribune (here, here, and here) and Sun-Times (here and here), as well as Time, Newsweek, the Post-Tribune, and the San Francisco Chronicle, among many others.

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