You are currently browsing the tag archive for the ‘Igor Stravinsky’ tag.

Robert Rada at the CSO Alumni Association reunion, November 30, 2012 (Dan Rest photo)

The Chicago Symphony mourns the loss of Robert Rada, a member of the Orchestra’s trombone section from 1954 until 1957. He died in Hilton Head, South Carolina on February 17, 2019, at the age of 88.

Born on the south side of Chicago on August 14, 1930, Rada began playing the cornet in grade school, later adding the trombone in high school at the Farragut Career Academy. He performed with the Youth Orchestra of Greater Chicago and studied with Chicago Symphony Orchestra members David Anderson (trombone, 1929-1955) and Arnold Jacobs (principal tuba, 1944-1988). While attending the University of Chicago and Chicago Musical College, Rada was a member of the Civic Orchestra of Chicago from 1948 until 1950.

During the summer of 1950, Rada was a member of the Denver Symphony Orchestra, performing on several occasions under the baton of Igor Stravinsky. Later that same year through the fall of 1954, Rada attended the United States Military Academy as a member of the West Point Band. While at West Point, he studied with Neal DiBiase, principal trombone of the NBC Symphony Orchestra, and he also performed as an extra with the ensemble on two occasions under the baton of Arturo Toscanini. During his years at the academy, Rada met his soon-to-be wife Lindsley Burnham, and he also developed a strong interest in aviation.

In 1954, Rada was invited by Fritz Reiner to join the Chicago Symphony Orchestra, where he would serve through the 1956-57 season. His love of airplanes eventually led him to start his own aviation company, in which he sold corporate business jets. Rada occasionally subbed with the Philadelphia Orchestra and performed with the Kennett Symphony in Pennsylvania, and later he also was a member of the Hilton Head Orchestra. He was a longtime member of the Chicago Symphony Orchestra Alumni Association.

When interviewed for the Rosenthal Archives’s oral history project in 1995, Rada reflected on his years in the Orchestra under Reiner: “He made phenomenal music and he did it in a demanding way. He may have ruled with fear, but he produced a quality of music that I have never experienced before or since.”

Rada is survived by his wife of nearly sixty-four years, Lindsley; his three children; David (Sally), Paul (Anna) and Gretchen Willingham (John); and six grandchildren, Pamela, Michael, Molly, Madison, Sawyer, and Payton. A memorial service will be given on March 9, 2019, at the TidePointe Clubhouse (arrangements through Island Funeral Home and Crematory). An obituary also is posted here.

Advertisements

Archduke Franz Ferdinand and his wife Sophie, Duchess of Hohenberg (Library of Congress)

On June 28, 1914, heir-apparent to the throne of the Austro-Hungarian Empire Archduke Franz Ferdinand and his wife Sophie, Duchess of Hohenberg, are assassinated in Sarajevo by Gavrilo Princip, a Bosnian Serb and south Slav nationalist.

Austria declares war on Serbia on July 28, 1914, launching a chain reaction. In a few short weeks, the world is at war, ultimately pitting the Triple Entente (France, Russia, and Britain) against the Central Powers (Germany and Austria-Hungary). In an effort to cut off French forces, Germany invades Luxembourg and Belgium in early August with the eventual goal of occupying Paris.

First Battle of the Marne (Pritzker Military Museum & Library)

During the First Battle of the Marne, from September 6 through 12, 1914, the French army and British Expeditionary Force successfully thwart German progress just east of Paris. A major turning point early in the war, by August 1914, the entire Allied army on the Western Front is forced into a general retreat back towards Paris as the German armies continue through France.

RMS Lusitania (Bain Collection, Library of Congress) and an English recruiting poster (Sir Bernard Partridge)

To weaken the British war effort, Germany seeks to cut off U.S. aid to Britain through naval warfare, at its height when the passenger liner RMS Lusitania sets sail from New York for Liverpool. German submarines torpedo and sink the ship on May 7, 1915, killing 1,198 people, including 128 Americans. Germany limits submarine warfare due to U.S. outrage over the incident. Seen at right, a Parliamentary Recruiting Committee poster portrays Justice emerging from the sea, as the Lusitania sinks in the background.

Verdun, France and Battle of the Somme (Pritzker Military Museum & Library)

A German offensive on the French town of Verdun from February 21 through December 18, 1916—the largest and longest battle on the Western Front between the German and French armies—results in nearly one million casualties. The Battle of the Somme—fought by the armies of the British Empire and France against the Germans—begins on July 1, 1916, with the launch of an Allied offensive, initiating the largest battle of the war on the Western Front.

Chicago Tribune, April 3, 1917; Chicago Daily News, 1918

In January 1917, a telegram from German foreign secretary Arthur Zimmermann to U.S. German ambassador Count Johann von Bernstorff—offering financial aid to Mexico if it agrees to partner with Germany on the U.S. entering the war—is intercepted by British intelligence and forwarded to President Woodrow Wilson. The story reaches the public on March 1, as Germany reinstitutes unrestricted submarine warfare. On April 6, 1917, the U.S. declares war on Germany.

American forces land in France on June 25, 1917, and African American troops are the first to arrive, including the 370th Infantry Regiment from Illinois (many from Chicago’s Bronzeville neighborhood).

Second Battle of the Marne (Pritzker Military Museum & Library)

Led by Bolshevik Party leader Vladimir Lenin, leftist revolutionaries launch a takeover of the provisional government on November 6 and 7, 1917, marking the end of the Romanov dynasty and centuries of Russian Imperial rule.

The Second Battle of the Marne is fought on June 2, 1918, with American forces preventing Germans from crossing the Marne River at Château-Thierry.

Meuse-Argonne Offensive (Pritzker Military Museum & Library)

On September 26, 1918, Allied forces launch the Meuse-Argonne Offensive—part of the Hundred Days Offensive, the final series of Allied attacks—covering the entire Western Front between France, Belgium, and Germany. It is the largest and bloodiest attack of the war for the American Expeditionary Forces, involving over one million U.S. soldiers. The French map at the left illustrates the offensive and shows American daily lines of advance, divisions in lines, French colonial troops, enemy defenses, and railroads.

On November 11, 1918, Germany signs the Armistice of Compiègne. In accordance with the agreement, fighting ends at 11:00 a.m., Paris time, ending the war on the Western Front.

Ignace Paderewski and his wife Helena (Library of Congress)

Representatives from the Allied nations—including pianist Ignace Paderewski, newly appointed as prime minister of Poland—along with German authorities sign the Treaty of Versailles on June 28, 1919, signifying the end of the war.

____________________________________________________

Death in Venice and The War That Will End War

Thomas Mann’s novella Death in Venice (Der Tod in Venedig) is published in Germany in 1912.

George Bernard Shaw’s Pygmalion is first performed at the Hofburg Theatre in Vienna on October 16, 1913.

In August 1914, H.G. Wells begins publishing a series of articles in London newspapers, later published in the book The War That Will End War.

The New York Times, June 7, 1913, and The Saturday Evening Post (Norman Rockwell)

Pierre Monteux conducts the premiere of Igor Stravinsky’s The Rite of Spring with Sergei Diaghilev’s Ballets Russes at the Théâtre des Champs-Élysées in Paris on May 29, 1913. In Le Figaro, Henri Quittard calls the work, a “laborious and puerile barbarity.”

A painting by Norman RockwellMother’s Day Off—first appears on the cover of The Saturday Evening Post on May 20, 1916.

A family arrives in Chicago (University of Washington)

By 1916, the first wave of the Great Migration is fully underway, with nearly 1.5 million African Americans moving from the southern United States into the northern states, many settling in major cities, including New York, Chicago, Philadelphia, Saint Louis, and Detroit.

Stock and the Orchestra onstage at the Auditorium Theatre, April 24, 1917

Less than three weeks after the U.S. enters the war, second music director Frederick Stock leads the Chicago Symphony Orchestra’s first performances of Gustav Mahler’s Eighth Symphony on April 24, 26, and 28, 1917, at the Auditorium Theatre as part of the Chicago Music Festival. The Orchestra is expanded to 150 players vocalists included six local choruses, two hundred boys from Oak Park and River Forest, and eight soloists. The Chicago Tribune called it “the most important event of its kind the West has ever known.”

During the summer of 1917, International Harvester president Cyrus McCormick, Jr., travels as a government emissary and meets twenty-six-year-old Moscow Conservatory student Sergei Prokofiev at the Winter Palace in Petrograd (now Saint Petersburg).

CSO program book, November 23, 1917

Sixteen-year-old Jascha Heifetz debuts with the Orchestra on November 23, 1917, as soloist in Tchaikovsky’s Violin Concerto. Frederick Stock conducts.

On March 19, 1918, President Woodrow Wilson signs the Standard Time Act into law, implementing daylight saving time and authorizing the Interstate Commerce Commission to define time zones.

____________________________________________________

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.

125_blog_banner

____________________________________________________

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.

Here in the Archives, we frequently receive donations of old program books and occasionally, the programs are a little extra special when they contain annotations from their original owner. Just today we received a small collection from an anonymous donor, and a few of our favorites are below (click on the image for a larger view). Priceless.

xx

January 21 and 22, 1954

Guest conductor Ernest Ansermet led concerts in January 1954 that included Schumann’s First Symphony, Debussy’s Clouds and Festivals from Nocturnes, Honegger’s Fifth Symphony, and Falla’s Three Dances from The Three-Cornered Hat: “The Honegger was terrifying! Thank the Lord that Ansermet had the good sense to not end the program with it. If I ever hear that damn Schumann again I’ll go nuts. What nonsense it is.”

xx

March 25 and 26, 1954

The second program is from a March 1954 concert that included Joseph Szigeti as soloist in Tartini’s Concerto for Violin in D minor and Bartók’s First Portrait. Fritz Reiner, still in his first season as music director, also conducted Mendelssohn’s Ruy Blas Overture, the CSO’s first performances of Alvin Etler‘s First Symphony, Tommasini’s arrangement of Scarlatti’s ballet suite from The Good-Humored Ladies, and Sibelius’s Swan of Tuonela from Four Legends of the Kalevala and Alla Marcia from the Karelia Suite: “I can’t remember when I changed my mind so much about the merits of a work during its performance as I did during the premiere of Etler’s Symphony. I want very much to hear it again. Though I suspect it has no ‘guts,’ I also suspect it may have a long life. Szigetti [sic] was quite wonderful in the Bartók and Tartini. Reiner was better than I have ever heard him but Lord how uninspiring and competent he is.”

xx

February 16 and 17, 1956

In February 1956, Karl Böhm was in Chicago to lead the Orchestra in Weber’s Overture to Der Freischütz, Richard Mohaupt’s Town Piper Music, and Bruckner’s Seventh Symphony: “Karl Böhm was excellent; made a lasting impression. The Bruckner was magnificent!”

xxx

January 14 and 15, 1954

And finally, Igor Stravinsky was guest conductor in January 1954, leading his Divertimento The Fairy’s Kiss, the Capriccio for Piano and Orchestra (with his son Soulima Stravinsky as soloist), and suites from Petrushka and The Firebird: “A chaste, perilously classical, yet exciting performance. S[travinsky] took six bows—a real ovation. I could not help but lean over the gallery and shout: ‘Keep Reiner on vacation!'”

the vault

Theodore Thomas

csoarchives twitter feed

Error: Twitter did not respond. Please wait a few minutes and refresh this page.

chicagosymphony twitter feed

disclaimer

The opinions expressed here are mine and do not necessarily reflect those of my employer.

visitors

  • 328,332 hits
Advertisements
%d bloggers like this: