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Byron JanisSending happy ninetieth birthday wishes to the legendary pianist Byron Janis!

Between 1952 and 1974, Janis appeared with the Chicago Symphony Orchestra on numerous occasions at Orchestra Hall, in Milwaukee, and at the Ravinia Festival, under the batons of music directors Fritz Reiner and Jean Martinon; associate conductors Walter Hendl and Irwin Hoffman; Ravinia Festival music directors Seiji Ozawa and James Levine; and guest conductors Leonard Bernstein, André Cluytens, Igor Markevitch, Dimitri Mitropoulos, Hans Rosbaud, Joseph Rosenstock, William Steinberg, Leopold Stokowski, Willem Van Otterloo, and David Zinman.

Janis made his debut with the Orchestra at the Ravinia Festival on July 10, 1952, in Beethoven’s Third Piano Concerto with Dimitri Mitropoulos conducting.

Two years later—a few weeks shy of his twenty-sixth birthday—he first performed in Orchestra Hall on March 4 and 5, 1954, in Tchaikovsky’s First Piano Concerto with Fritz Reiner on the podium. “If you have it, you have it, and Mr. Janis does,” wrote Claudia Cassidy in the Chicago Tribune following his debut. “He has good fingers, a direct approach, and a good tone. He has temperament and fire and he wants, perhaps more than anything else in the world, to play the piano. You can always tell that by the sound. It comes out in the explosions of the double octaves, in the instinctive sensing of the crest of a phrase, in the way a Russian song suddenly knows pain, which is not quite the same thing as being sad. Because of these things, because he is such a pianist, his Tchaikovsky was big, beautiful, and dynamic, yet with all its tensions it sensed the relaxed sweep of the grand style. Few things could be more stupid than to patronize such playing, which Reiner and the orchestra gave superb collaboration, part Russian song, part Russian bear. When I look forward to what that playing can be, I am speaking of it in Janis’s own terms. Give him time to strengthen those fingers, to deepen and polish that tone. But listen as he does it, for he is worth hearing now.”

He most recently appeared with the CSO in Orchestra Hall on April 20 and 21, 1967, in Prokofiev’s First Piano Concerto and Strauss’s Burleske with Irwin Hoffman conducting, and at the Ravinia Festival on August 15, 1974, in Saint-Saëns’s Fifth Piano Concerto under the baton of David Zinman.

Janis also made several recordings with the Chicago Symphony Orchestra, as follows:

RACHMANINOV Piano Concerto No. 1 in F-sharp Minor, Op. 1
Fritz Reiner, conductor
Recorded March 2, 1957, in Orchestra Hall by RCA

Byron Janis’s complete RCA catalog—including his recordings with the CSO—recently was re-released in a box set.

STRAUSS Burleske for Piano and Orchestra
Fritz Reiner, conductor
Recorded March 4, 1957, in Orchestra Hall by RCA

SCHUMANN Piano Concerto in A Minor, Op. 54
Fritz Reiner, conductor
Recorded February 21, 1959, in Orchestra Hall by RCA

LISZT Totentanz for Piano and Orchestra
Fritz Reiner, conductor
Recorded February 23, 1959, in Orchestra Hall by RCA

PROKOFIEV Piano Concerto No. 1 in D-flat Major, Op. 10
Irwin Hoffman, conductor
Recorded by WFMT on April 20 and 21, 1967, in Orchestra Hall
Released in 1995 on From the Archives, vol. 10: Great Soloists

Happy, happy birthday!

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Irwin Hoffman

The Chicago Symphony Orchestra family joins the music world in mourning the death of Irwin Hoffman, a titled conductor with the Chicago Symphony Orchestra from 1964 until 1970. Hoffman died yesterday at the age of 93.

On August 13, 1964, Merrill Shepard, then-president of The Orchestral Association, announced that Hoffman had been engaged as the CSO’s new assistant conductor, beginning with the 1964-65 season. Hoffman was to serve the Orchestra and assist music director Jean Martinon in a variety of capacities, including conducting rehearsals and concerts (including youth concerts), leading the Civic Orchestra of Chicago, as well as new score review.

Hoffman’s debut program with the Orchestra was as follows:

December 17 & 18, 1964
VILLA-LOBOS Uirapurú
BARTÓK Violin Concerto No. 1
Victor Aitay, violin
MAHLER Symphony No. 1 in D Major

Program book announcement from January 1968

Program book announcement from January 1968

Martinon promoted Hoffman to associate conductor the following year. He would serve in that capacity for three seasons, and in January 1968, Association president Louis Sudler announced that Hoffman would be acting music director for the 1968-69 season. (On December 17, 1968, the Association announced that Georg Solti would become the Orchestra’s eighth music director, beginning with the 1969-70 season.)

For the 1969-70 season, Hoffman’s title was conductor and he led several weeks of subscription and popular concerts. In subsequent seasons, he returned as a guest conductor and most recently led the Orchestra in January 1977 with the following program:

January 12, 13, 14 & 15, 1977
January 17, 1977 (Uihlein Hall, Milwaukee)
KAY Of New Horizons
SIBELIUS Violin Concerto in D Minor, Op. 47
Esther Glazer, violin
PROKOFIEV Symphony No. 5 in B-flat Major, Op. 100

Irwin Hoffman with score

Hoffman made his conducting debut at the age of seventeen with the Philadelphia Orchestra at Robin Hood Dell. He also studied at the Juilliard School and later with Serge Koussevitzky at the Tanglewood Music Festival. Hoffman has held titled positions with several orchestras, including the Grant Park Music Festival; Vancouver Symphony Orchestra; Martha Graham Dance Company; Florida Gulf Coast Symphony, later the Florida Orchestra; Bogotá Philharmonic in Colombia; Costa Rican National Symphony Orchestra; and the Santiago Philharmonic Orchestra in Chile.

Kurt Loft of the Florida Orchestra has posted a beautiful tribute here.

RCA Red Seal Records (a division of Sony Classical) is releasing a set of complete Chicago Symphony Orchestra recordings—some available for the first time on CD—led by Seiji Ozawa, recorded during his tenure as the first music director of the Ravinia Festival from 1964 until 1968.

“With the success of [Fritz] Reiner’s CSO recordings, RCA was eager to continue expanding its catalog with the Orchestra, and the label wasted no time engaging both [Jean] Martinon (who began his tenure as the orchestra’s seventh music director in 1963) and Ozawa,” writes Frank Villella in the liner notes for the set. “Martinon first recorded with the Orchestra for RCA in November 1964, and Ozawa’s first recording—Bartók’s Third Piano Concerto with [seventeen-year-old Peter] Serkin—was made at Orchestra Hall in June 1965.”

Additional highlights from the set include Serkin performing Bartók’s First Piano Concerto and Schoenberg’s Piano Concerto, one of the seven recordings of the Orchestra performing Ravel’s orchestration of Mussorgsky’s Pictures at an Exhibition, Britten’s Young Person’s Guide to the Orchestra, Stravinsky’s The Rite of Spring, Beethoven and Tchaikovsky’s Fifth symphonies, and Schubert’s Unfinished Symphony, among others.

When Ozawa announced that he would step down as the Festival’s music director, he said that “Ravinia was the first organization to invite me to be its music director. Without the belief you had in me, I do not think I would have any career at this moment. The Chicago Symphony is one of the greatest orchestras I have ever conducted, and I have had no greater glory in music than I have experienced here.”

The set is available for pre-order via the Symphony Store here. It will be available domestically on April 21, 2017.

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In March 1898, Theodore Thomas and the Chicago Orchestra embarked on a monthlong tour through Maryland, Massachusetts, New York, Ohio, Pennsylvania, Rhode Island, and Washington, D.C. In New York, the tour included six concerts at the Metropolitan Opera House, one at the Brooklyn Academy of Music, and the Orchestra’s debut in Carnegie Hall on March 7.

March 7, 1898

March 7, 1898

The program for Carnegie was entirely comprised of music by French composers, featuring the U.S. premiere of Franck’s Variations symphoniques and Saint-Saëns’s Fifth Piano Concerto, both with Raoul Pugno as soloist. Composer Alexandre Guilmant also appeared, as organ soloist in his Adoration, Allegro, and Final à la Schumann, as well as Lefebvre’s Méditation. Berlioz’s Overture to King Lear, Franck’s Le chasseur maudit, Saint-Saëns’s Le rouet d’Omphale, and Massenet’s Suite from Les Erinnyes rounded out the program.

The reviewer in Harper’s Bazaar praised the performances of both Pugno and Guilmant, “and the enjoyment of the afternoon was increased by the good work done by the Chicago Orchestra.” The New York Times added, “The Orchestra was heard to great advantage in Saint-Saëns’s symphonic poem, which was played with consummate finish, and Mr. Thomas’s accompaniments to the soloists were a source of joy.” And the New York Tribune heralded the concert as “an exhibition of virtuosity.”

The Orchestra has returned to Carnegie Hall on numerous occasions, under music directors Frederick Stock, Rafael Kubelík, Fritz Reiner, Jean Martinon, Sir Georg Solti, Daniel Barenboim, and Riccardo Muti; principal guest conductors Carlo Maria Giulini, Claudio Abbado, and Pierre Boulez; principal conductor Bernard Haitink; chorus director and conductor Margaret Hillis; and associate conductor Henry Mazer.

This article also appears here.

Muenzer, Edgar1

The Chicago Symphony Orchestra family notes with sorrow the passing of Edgar Muenzer, a member of the violin section from 1956 until 2003. He died on July 22, 2016, at the age of 88, following a long illness.

Music was long the lifeblood of the Muenzer family. Edgar’s father, Hans, was concertmaster of the Chicago Theater Orchestra, the WGN Symphonietta, and head of the string department at the University of Iowa; his mother, Esther Payne, was a concert pianist and teacher. His brother Albert was professor of violin at the University of Houston and served as concertmaster of the Houston Grand Opera until his retirement; and his sister, Louise Bruyn, pursued modern dance and taught in Boston.

An alumnus of Lane Technical High School in Chicago and the Peabody Conservatory in Baltimore, Muenzer was a musician in the U.S. Air Force for nearly a decade. Following his military service, he was appointed by Fritz Reiner to the Chicago Symphony Orchestra’s second violin section in March 1956, moving to the first violin section in October of that year. In addition to previous solo work with orchestras and in recital, Muenzer was an active chamber musician as a member of the Chadamin Trio and the Chicago Symphony String Quartet. He was professor of violin at Northwestern University from 1970 until 1988 and concertmaster of the Northbrook Symphony Orchestra from 1988 until 1994.

Serving under four music directors—Reiner, Jean Martinon, Sir Georg Solti, and Daniel Barenboim—Muenzer retired from the Chicago Symphony Orchestra in 2003 after forty-seven years. In his retirement, he was a longtime member of the Chicago Symphony Orchestra Alumni Association, serving for many years on the board of directors.

Muenzer, Edgar2

In 1994, Muenzer and his wife Nancy founded the Park Ridge Civic Orchestra. For nearly twenty years, he was music director, growing the ensemble into one of Illinois’s finest professional orchestras and featuring soloists that included CSO concertmasters Samuel Magad and Robert Chen, violinist Rachel Barton Pine, CSO principal cello John Sharp, CSO principal trumpet Adolph Herseth, and baritone William Warfield, among many others. Under Muenzer’s leadership, the ensemble received numerous awards, including Orchestra of the Year from the Illinois Council of Orchestras in 2000 and the Governor’s Hometown Award in 1998. In 2002, Muenzer won the Illinois Council of Orchestras’ Conductor of the Year Award, and in 2004, he and Nancy received a Studs Terkel Humanities Service Award. Following his retirement in March 2013, he passed the baton to his son Victor and became music director emeritus.

Edgar Muenzer is survived by his beloved wife, Nancy; three sons Victor, Peter, and James; and grandchildren Gregory and Gabriel. Services have been held.

Upon his retirement, Muenzer recalled one of his early experiences in the Orchestra: “One of my most memorable performances was shortly after I joined the Orchestra. We did a staged version of Richard Strauss’s Elektra, with Fritz Reiner conducting. It was as if I hit the ceiling, it was such a wonderful experience—not only to be able to play that music, but to hear it, right in the orchestra. That was the first of many high points, experiences that I will never forget.”

An obituary was posted by the Chicago Tribune on July 25, 2016.

Phyllis Curtin

The Chicago Symphony Orchestra family joins the music world in mourning the loss of the extraordinary American soprano Phyllis Curtin, a frequent guest artist who performed under three music directors—Fritz Reiner, Jean Martinon, and Sir Georg Solti—between 1957 and 1972. Curtin died on June 5, 2016, at her home in Great Barrington, Massachusetts. She was 94.

Curtin made her debut with the Chicago Symphony Orchestra at the Ravinia Festival in 1957, and she most recently appeared at Orchestra Hall in 1972. A complete list of her appearances with the Orchestra is below (subscription concerts at Orchestra Hall, unless otherwise noted):

July 7, 1957 (Ravinia Festival)
FOSS The Song of Songs
Lukas Foss, conductor
Phyllis Curtin, soprano

Reiner B9

April 27 and 28, 1961
BEETHOVEN Symphony No. 9 in D Minor, Op. 125
Fritz Reiner, conductor
Phyllis Curtin, soprano
Florence Kopleff, contralto
John McCollum, tenor
Donald Gramm, bass-baritone
Chicago Symphony Chorus
Margaret Hillis, director
Beethoven’s Ninth Symphony was recorded by RCA on May 1 and 2, 1961, in Orchestra Hall. The recording recently was re-released as part of a sixty-three-disc set featuring Reiner’s complete discography with the Orchestra.

April 26 and 27, 1962
HANDEL Israel in Egypt
Fritz Reiner, conductor
Phyllis Curtin, soprano
Carol Smith, mezzo-soprano
Richard Lewis, tenor
Chicago Symphony Chorus
Margaret Hillis, director

July 9, 1964 (Ravinia Festival)
MOZART Voi che sapete from The Marriage of Figaro, K. 492
MOZART Alleluia from Exsultate, jubilate, K. 165
J. STRAUSS, Jr. Czárdás and Mein Herr Marquis from Die Fledermaus
KORNGOLD Glück das mir verblieb from Die tote Stadt
LEHÁR Dein is mein ganzes Herz from Das Land des Lächelns
SIECZYNSKI Wien, du Stadt meiner Träume
Andre Kostelanetz, conductor
Phyllis Curtin, soprano

April 22, 23, and 24, 1965
HAYDN The Seasons
Jean Martinon, conductor
Phyllis Curtin, soprano
Charles Bressler, tenor
Ara Berberian, bass
Chicago Symphony Chorus
Margaret Hillis, director

January 6, 7, and 8, 1966
PERGOLESI Stabat Mater
Jean Martinon, conductor
Phyllis Curtin, soprano
Betty Allen, mezzo-soprano
STRAVINSKY Les noces
Jean Martinon, conductor
Phyllis Curtin, soprano
Betty Allen, mezzo-soprano
André Montal, tenor
Peter Harrower, bass-baritone
Mary Sauer, Laurence Davis, Louis M. Kohnop, and Eloise Niwa, pianos
Donald Koss, Gordon Peters, James J. Ross, Sam Denov, Albert Payson, and Norbert Szymanski, percussion
Chicago Symphony Chorus
Margaret Hillis, director

December 1, 2, and 3, 1966
MARTINON The Rose of Sharon (U.S. premiere)
Jean Martinon, conductor
Phyllis Curtin, soprano
Ernst Haefliger, tenor
Joseph Brewer, tenor
Harold Robinson, baritone
Mary Sauer and Harriet Wingreen, pianos
Chicago Symphony Chorus
Margaret Hillis, director

May 14 and 15, 1970
JANÁČEK Glagolitic Mass
Charles Mackerras, conductor
Phyllis Curtin, soprano
Joan Caplan, mezzo-soprano
John Alexander, tenor
Ara Berberian, bass
Mary Sauer, organ
Chicago Symphony Chorus
Margaret Hillis, director

January 20, 21, and 22, 1972
SHOSTAKOVICH Symphony No. 14, Op. 135
Carlo Maria Giulini, conductor
Phyllis Curtin, soprano
Raffaele Arié, bass

June 27, 1972 (Ravinia Festival)
BRITTEN War Requiem, Op. 66
István Kertész, György Fischer, and Margaret Hillis, conductors
Phyllis Curtin, soprano
Robert Tear, tenor
John Shirley-Quirk, bass-baritone
Chicago Symphony Chorus
Margaret Hillis, director
Northwestern University Chorus and Northwestern University Concert Choir
Margaret Hillis, director
Glen Ellyn Children’s Theatre Chorus
Doreen Rao, director

November 30 and December 1, 1972
BERLIOZ The Damnation of Faust, Op. 24
Sir Georg Solti, conductor
Phyllis Curtin, soprano (substituting for contralto Josephine Veasey)
Stuart Burrows, tenor
Robert Savoie, baritone
Roger Soyer, bass
Chicago Symphony Chorus
Margaret Hillis, director
Glen Ellyn Children’s Theatre Chorus
Doreen Rao, director

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December 26, 1892

Program for the first half of the December 26, 1892, concert at the Grand Opera House in London, Ontario

During the second season, Theodore Thomas and the Chicago Orchestra traveled through Illinois, Iowa, Indiana, Kentucky, Michigan, New York, Ohio, Pennsylvania, and Wisconsin. Their travels also took them out of the United States for the first time for three concerts in Ontario, Canada.

The first Canadian concert was given on December 26 at the Grand Opera House in London, and on December 28 the Orchestra performed at the Grand Opera House in Hamilton. The program for those two concerts featured soprano Agnes Thomson in arias from Dvořák’s Saint Ludmila and Gounod’s Mireille, along with the Orchestra’s principal harp Edmund Schuecker in his Fantasia for Harp. Thomas also led Tchaikovsky’s Suite from The Nutcracker and selections from Moszowski’s Boabdil (most likely the Canadian premieres of both works, since they had just received their U.S. premieres in Chicago with the Orchestra under Thomas on October 22, 1892), Brahms’s Hungarian Dances nos. 17 through 21, Dvořák’s Symphonic Variations, Massenet’s Overture to Phèdre, and Wagner’s Forest Murmurs from Siegfried. The December 27 concert was given at the Pavilion in Toronto and featured composer and pianist Ferruccio Busoni in Liszt’s Second Piano Concerto.

The Orchestra returned to Canada on numerous occasions under Thomas, Frederick Stock, Désiré Defauw, Jean Martinon, and Lawrence Foster, most recently appearing there in May 1976 under Sir Georg Solti.

This article also appears here.

MENDELSSOHN Wedding MarchThe commercial recording legacy of the Chicago Symphony Orchestra—under second music director Frederick Stock—began on May 1, 1916. For the Columbia Graphophone Company (at an undocumented location in Chicago), they recorded Mendelssohn’s Wedding March from A Midsummer Night’s Dream; Wagner’s Ride of the Valkyries from Die Walküre; and Grieg’s Two Elegiac Melodies, Heart Wounds and The Last Spring.

Mendelssohn’s Wedding March and Grieg’s The Last Spring were each on the first 80-rpm disc issued in October 1916, and a Columbia Records sales brochure raved, “The deepest glories vibrant in such a familiar composition as Mendelssohn’s Wedding March are unguessed until interpreted by such an orchestra as this. From the first trumpet fanfare to the great central crescendo is very joy and glory articulate! . . . There can be no pleasure beyond enjoying such music as the Chicago Symphony here brings to every music-loving home.”

Recording_Centennial_Rotunda_Display_102.75x60

To commemorate this legacy, this collage of record and CD labels is on display in the first floor of Symphony Center’s Rotunda through the end of the Orchestra’s current—the 125th—season. Details of all of the recordings included are below (all recordings were made at Orchestra Hall unless otherwise noted).

BEETHOVEN Piano Concerto No. 4-2Austrian pianist Artur Schnabel made his debut with the Orchestra at the Ravinia Festival on July 11, 1942, performing Beethoven’s Fourth Piano Concerto with George Szell conducting. On July 22 and 24, Schnabel and the Orchestra recorded the Fourth along with Beethoven’s Fifth Piano Concerto at Orchestra Hall for Victor Records. Frederick Stock conducted these, his last, recording sessions with the Orchestra; he died a few short months later on October 20.

PROKOFIEV Scythian Suite-2 WAGNER Prelude and Liebestod-2The Chicago Symphony Orchestra gave the U.S. premiere of Prokofiev’s Scythian Suite under the baton of the composer on December 6, 1918. On March 16, 1945, third music director Désiré Defauw recorded the work for RCA.

Fourth music director Artur Rodzinski led the Orchestra in a complete performance of Wagner’s Tristan and Isolde—with Set Svanholm and Kirsten Flagstad in the title roles—at the Civic Opera House on November 16, 1947. A month later on December 14, he led the Orchestra in recording sessions for the Prelude and Liebestod at Orchestra Hall.

STRAUSS Ein HeldenlebenMUSSORGSKY Pictures at an ExhibitionFor Mercury Records, fifth music director Rafael Kubelík led the Orchestra’s first recording of Ravel’s orchestration of Mussorgsky’s Pictures at an Exhibition on April 23 and 24, 1951. Principal trumpet Adolph Herseth performed the opening fanfare.

On March 6, 1954, sixth music director Fritz Reiner and the Orchestra recorded together for the first time: Strauss’s Dance of the Seven Veils from Salome and Ein Heldenleben for RCA. (Reiner’s complete CSO catalog recently was re-released by RCA.)

BARTOK Music for Strings, Percussion, and CelestaBRAHMS Piano Concerto No. 2At the third annual Grammy awards ceremony on April 12, 1961, the Orchestra’s recording of Bartók’s Music for Strings, Percussion, and Celesta received the award for Best Classical Performance–Orchestra. Reiner had conducted the RCA release. That same evening, the Orchestra’s recording of Brahms’s Second Piano Concerto—also on RCA and with Erich Leinsdorf conducting—earned the award for Best Classical Performance–Concerto or Instrumental Soloist for Sviatoslav Richter. These were the first two Grammy awards earned for recordings by the Chicago Symphony Orchestra.

SCHUMANN Piano ConcertoPROKOFIEV Alexander NevskyReiner led the Orchestra, Chicago Symphony Chorus (prepared by its founder Margaret Hillis), and mezzo-soprano Rosalind Elias in Prokofiev’s Alexander Nevsky for RCA—the first recording collaboration with the Orchestra and the Chorus—on March 7, 1959, at Orchestra Hall.

Two years after winning the prestigious 1958 Tchaikovsky Competition in Moscow, Van Cliburn made his first recording with the Orchestra on April 16, 1960: Schumann’s Piano Concerto with Reiner conducting for RCA. (A complete list of Cliburn’s appearances and recordings with the Chicago Symphony Orchestra can be found here.)

MARTIN Concerto for Seven WindsOn March 19, 1966, seventh music director Jean Martinon led the Orchestra in recording sessions for Martin’s Concerto for Seven Wind Instruments, Timpani, Percussion, and String Orchestra for RCA. Featured soloists were CSO principals Clark Brody (clarinet), Willard Elliot (bassoon), Donald Peck (flute), Dale Clevenger (horn, in his first week on the job), Ray Still (oboe), Adolph Herseth (trumpet), Donald Koss (timpani), and Jay Friedman (trombone). (Martinon’s complete CSO catalog recently was re-released by RCA.)

SHOSTAKOVICH Symphony No. 6-2NIELSEN Clarinet Concerto-2Benny Goodman recorded Nielsen’s Clarinet Concerto with the Orchestra on June 18, 1966, for RCA. Morton Gould conducted. (Gould’s complete CSO catalog recently was re-released by RCA.)

At Medinah Temple on February 20 and 21, 1968, Leopold Stokowski and the Orchestra recorded Shostakovich’s Symphony no. 6  for RCA.

BERLIOZ Romeo and Juliet-2RIMSKY-KORSAKOV Sheherazade-2Carlo Maria Giulini—the Chicago Symphony Orchestra’s first principal guest conductor—recorded selections from Berlioz’s Romeo and Juliet for Angel on October 13 and 14, 1969, at Medinah Temple.

The Orchestra made its second recording of Rimsky-Korsakov’s Sheherazade on June 30 and July 1, 1969, at Medinah Temple for Angel. Seiji Ozawa, the Ravinia Festival’s first music director, conducted and concertmaster Victor Aitay was violin soloist.

DVORAK Cello Concerto-2MAHLER Symphony no. 5During eighth music director Georg Solti‘s first season as music director, the Orchestra performed Mahler’s Fifth Symphony at Carnegie Hall on January 9, 1970, and were called back for twelve curtain calls. Beginning on March 26 at Medinah Temple, Solti and the Orchestra committed their performance to disc—their first recording together—for London Records.

Daniel Barenboim, who would later become ninth music director, made his first recording with the Orchestra on November 11, 1970, at Medinah Temple. For Angel, he led sessions for Dvořák’s Cello Concerto with his wife Jacqueline du Pré as soloist. (A summary of du Pré’s association with the Orchestra is here.)

MAHLER Symphony No. 8-2Before the Chicago Symphony Orchestra performed the first concert of its first tour to Europe in 1971, Solti led recording sessions for Mahler’s Eighth Symphony at the Sofiensaal in Vienna on August 30, 31, and September 1. Soloists included Heather HarperLucia Popp (more about Popp’s performances with the Orchestra is here), Arleen AugérYvonne MintonHelen WattsRené KolloJohn Shirley-Quirk, and Martti Talvela. The recording won three 1972 Grammy awards for Album of the Year–Classical, Best Choral Performance–Classical (other than opera) (for the Chorus of the Vienna State OperaSingverein Chorus, and Vienna Boys’ Choir), and Best Engineered Recording–Classical.

BEETHOVEN Fidelio BRUCKNER Symphony No. 6-2On December 13, 1977, Barenboim and the Orchestra recorded Bruckner’s Sixth Symphony for Deutsche Grammophon, part of a complete cycle of the composer’s symphonies that also included the Te Deum, Helgoland, and Psalm 150.

Following concerts in Orchestra Hall and Carnegie Hall, Solti led the Orchestra, Chorus, and soloists (including Hildegard Behrens as Leonore and Peter Hofmann as Florestan) and in recording sessions for Beethoven’s Fidelio—”the first digitally recorded opera to be released,” according to Gramophone—at Medinah Temple on May 21, 22, 23, and 24, 1979.

ORFF Carmina Burana DOWNS Bear Down, Chicago BearsSecond music director of the Ravinia Festival, James Levine led the Orchestra, Chorus, Glen Ellyn Children’s Chorus, and soloists (June Anderson, Phillip Creech, and Bernd Weikl) in sessions for Orff’s Carmina burana on July 9 and 10, 1984, for Deutsche Grammophon. The recording was awarded the 1986 Grammy Award for Best Choral Performance (other than opera).

At the end of a subscription concert at Orchestra Hall on January 23, 1986, Solti led the Orchestra and Chorus in a spirited encore of  the Chicago Bears‘ fight song “Bear Down, Chicago Bears” in anticipation of the team’s Super Bowl victory. The day after the game, the work was recorded by London Records.

BRAHMS Double Concerto-2BEETHOVEN Symphony No. 9-2Solti led recording sessions at Medinah Temple for Beethoven’s Ninth Symphony—the second time he and the Orchestra and Chorus had recorded the work—on September 28, 30, and October 7, 1986, for London. Soloists were Jessye Norman, Reinhild Runkel, Robert Schunk, and Hans Sotin. The release was awarded the 1987 Grammy Award for Best Orchestral Performance.

Claudio Abbado, second principal guest conductor, led the Orchestra in Brahms’s Double Concerto with Isaac Stern and Yo-Yo Ma (future Judson and Joyce Green Creative Consultant) as soloists on November 7 and 8, 1986, for CBS Records.

SHOSTAKOVICH Symphony No. 7CORIGLIANO Symphony No. 1Closing the 97th season in June 1988, Leonard Bernstein led the Orchestra in performances of Shostakovich’s First and Seventh symphonies. Recorded live by Deutsche Grammophon, the release received the 1990 Grammy Award for Best Orchestral Performance.

On March 15, 16, and 17, 1990, Barenboim led the world premiere performances of composer-in-residence John Corigliano’s Symphony no. 1, commissioned for the Orchestra. The live recording—Barenboim and the Orchestra’s first on the Erato label—was awarded two 1991 Grammy awards for Best Orchestral Performance and Best Contemporary Composition.

Fantasia 2000BARTOK The Wooden PrinceThe recording of Bartók’s The Wooden Prince and Cantata profana led by Pierre Boulez for Deutsche Grammophon—recorded on December 19, 20, and 21, 1991—was awarded four 1993 Grammy awards: Best Classical Album, Best Orchestral Performance, Best Performance of a Choral Work, and Best Engineered Recording–Classical. (A complete list of Boulez’s recordings with the Orchestra is here and his complete Grammy awards are here.)

Between 1993 and 1996, Levine led the Orchestra and Chorus in recording sessions at Medinah Temple for Disney‘s feature film Fantasia 2000. The movie was released on January 1, 2000.

VARESE Amerique etcFALLA Gardens of SpainShortly after being named the Orchestra’s third principal guest conductor, Boulez led sessions for Varèse’s Amériques, Arcana, Déserts, and Ionisation in December 1995 and 1996. The Deutsche Grammophon release was awarded the 2001 Grammy Award for Best Orchestral Performance.

In May 1997 at Medinah Temple, the Orchestra recorded Falla’s Nights in the Gardens of Spain and The Three-Cornered Hat for Teldec. For Nights in the Gardens of Spain, Barenboim was piano soloist and Plácido Domingo conducted; for The Three-Cornered Hat, Jennifer Larmore was mezzo-soprano soloist and Barenboim conducted.

MAHLER Symphony no. 3BRAHMS Violin ConcertoA former Youth Auditions winner and member of the Civic Orchestra of Chicago, Rachel Barton recorded Brahms’s and Joachim’s violin concertos for Cedille Records on July 2 and 3, 2002. Carlos Kalmar conducted.

In his first concerts as principal conductor on October 19, 20, and 21, 2006, Bernard Haitink led the Orchestra, women of the Chorus (prepared by Duain Wolfe), the Chicago Children’s Choir, and mezzo-soprano Michelle DeYoung in Mahler’s Third Symphony. The work is recorded as the inaugural release on CSO Resound.

SHOSTAKOVICH Symphony No. 4CSOR_SP_booklet_rainbow_nobox.inddIn May 2008, Haitink and the Orchestra recorded Shostakovich’s Fourth Symphony for CSO Resound. The release was awarded the 2008 Grammy Award for Best Orchestral Performance.

Boulez led the Orchestra in Stravinsky’s Pulcinella, Symphony in Three Movements, and Four Studies in February and March 2009 for CSO Resound. Soloists in the Pulcinella were Roxana Constantinescu, Nicholas Phan, and Kyle Ketelsen.

BERLIOZ Symphonie fantastiqueVR_booklet_CSOR_901_1008.inddOn January 15, 16, and 17, 2009, Riccardo Muti—in his first concerts as music director designate—led the Orchestra, Chorus, and soloists (Barbara FrittoliOlga Borodina, Mario Zeffiri, and Ildar Abdrazakov) in Verdi’s Requiem. The subsequent CSO Resound recording was awarded 2010 Grammy awards for Best Classical Album and Best Choral Performance.

Following his first concert as the Chicago Symphony Orchestra’s tenth music director (for more than 25,000 people in Millennium Park) in September 2010, Muti led the Orchestra, Chorus, and soloists (Gérard Depardieu, Mario Zeffiri, and Kyle Ketelsen) in Berlioz’s Symphonie fantastique and Lélio. The two-disc set was released on CSO Resound in September 2015.

VERDI OtelloBates and ClyneOn April 7, 9, and 12, 2011, Muti led concert performances—recorded by CSO Resound—of Verdi’s Otello at Orchestra Hall. Along with the Orchestra, Chorus, and Chicago Children’s Chorus, soloists included Aleksandrs Antonenko in the title role, Krassimira Stoyanova as Desdemona, and Carlo Guelfi as Iago.

In February 2012, Muti led world premieres by the Orchestra’s Mead Composers-in-Residence: Anna Clyne’s Night Ferry and Mason Bates’s Alternative Energy. Both works were recorded for CSO Resound and released as digital downloads.

LincolnFor Sony Classical, composer John Williams led the Orchestra and Chorus in recording sessions at Orchestra Hall for his soundtrack for the motion picture Lincoln. Director Steven Spielberg was on hand to supervise.

Cheers to the next 100!

Over the course of three short weeks in late 1938, Chicago hosted an embarrassment of riches for violin fans.

November 1938

November 24 and 25, 1938

On November 20 and 26, respectively, Fritz Kreisler and Joseph Szigeti appeared in recital at Orchestra Hall. The following week on December 4, Jascha Heifetz gave a recital at the Civic Opera House. Kreisler returned to Chicago a few days later on December 8 and 9, as soloist with the Orchestra in Brahms’s Violin Concerto under the baton of second music director Frederick Stock.

And right in the middle of all of that, twenty-two-year-old Yehudi Menuhin made his debut with the Chicago Symphony Orchestra on November 24 (Thanksgiving Day) and 25, 1938, performing Beethoven’s Violin Concerto with Stock conducting.

“His way with the Beethoven was magnificent in every aspect—in singing tone, in brilliance of passage work, in dazzling sparkle of cadenzas, in the deep song of the haunting larghetto, and in the suddenly glittering shift of mood that announces the rondo,” wrote Claudia Cassidy in the Chicago Tribune. “Mr. Stock and the Orchestra gave him a rare opportunity and he responded with an unforgettable performance.”

On April 22, 2016, we celebrate the 100th anniversary of the birth of Menuhin, who—for well over forty years and under seven music directors—was a regular visitor with the Chicago Symphony Orchestra, both at Orchestra Hall and the Ravinia Festival. A complete list of his appearances with the Orchestra is below (subscription concerts at Orchestra Hall, unless otherwise noted):

November 24 and 25, 1938
BEETHOVEN Violin Concerto in D Major, Op. 61
Frederick Stock, conductor

November 9 and 10, 1939
BRAHMS Violin Concerto in D Major, Op. 77
Hans Lange, conductor

February 13 and 14, 1941
BEETHOVEN Violin Concerto in D Major, Op. 61
Frederick Stock, conductor

Menuhin 1

July 24, 1941 (Ravinia Festival)
BEETHOVEN Violin Concerto in D Major, Op. 61
Carlos Chávez, conductor

July 26, 1941 (Ravinia Festival)
MENDELSSOHN Violin Concerto in E Minor, Op. 64
Carlos Chávez, conductor

April 14, 1942
BRAHMS Violin Concerto in D Major, Op. 77
Hans Lange, conductor

April 16 and 17, 1942
PAGANINI Violin Concerto No. 1 in D Major, Op. 6
Frederick Stock, conductor

November 2 and 3, 1944
BEETHOVEN Violin Concerto in D Major, Op. 61
Désiré Defauw, conductor

February 21 and 22, 1946
ELGAR Violin Concerto in B Minor, Op. 61
Désiré Defauw, conductor

January 22 and 23, 1948
BEETHOVEN Violin Concerto in D Major, Op. 61
Artur Rodzinski, conductor

November 2 and 3, 1950
BEETHOVEN Violin Concerto in D Major, Op. 61
Rafael Kubelík, conductor

October 24 and 25, 1957
BARTÓK Violin Concerto No. 2
Fritz Reiner, conductor

Menuhin 2

October 31, November 1 and 2, 1963
SHOSTAKOVICH Violin Concerto No. 1 in A Minor, Op. 99
Jean Martinon, conductor

November 18 and 19, 1965
PÁRTOS Violin Concerto
Jean Martinon, conductor

December 15, 16, and 17, 1966
BEETHOVEN Violin Concerto in D Major, Op. 61
Rafael Kubelík, conductor

Thursday, December 14 and 15, 1967
BERG Violin Concerto
Sixten Ehrling, conductor

December 18, 19, and 20, 1969
BARTÓK Violin Concerto No. 2
Georg Solti, conductor

March 10, 1981 (Musicians’ Pension Fund concert)
ELGAR Violin Concerto in B Minor, Op. 61
Henry Mazer, conductor

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Ernest Ansermet and the Orchestra onstage at the Ravinia Festival on July 3, 1936 (Ravinia Festival photo)

Ernest Ansermet and the Orchestra onstage at the Ravinia Festival on July 3, 1936 (Ravinia Festival photo)

On July 3, 1936, Ernest Ansermet and the Chicago Symphony Orchestra inaugurated the first season of the Ravinia Festival* with a program that included Wagner’s Prelude to Die Meistersinger von Nürnberg, Beethoven’s Seventh Symphony, Berlioz’s Roman Carnival Overture, Clouds and Festivals from Debussy’s Nocturnes, and Stravinsky’s Suite from The Firebird.

“Three days ago the last seat in the pavilion was sold. The audience was socially brilliant and musically responsive, so that a full-length Beethoven symphony and the most sonorous of the preludes which Wagner wrote for any of his music-dramas evoked a veritable tumult of applause,” wrote Glenn Dillard Gunn in the Herald & Examiner following that first concert. “For the next five weeks the Chicago Symphony will continue the season begun last night, playing on Thursday, Friday, Saturday, and Sunday evenings and offering programs quite as serious as those presented in Orchestra Hall during the winter season.”

July 3, 1936

July 3, 1936

Several notable conductors made their Chicago Symphony Orchestra debuts at the Ravinia Festival, including future music directors Riccardo Muti, Georg Solti, Jean Martinon, Fritz Reiner, and Artur Rodzinski; future festival music directors James Conlon, Christoph Eschenbach, James Levine, and Seiji Ozawa; and prominent guest conductors Sir Thomas Beecham, Leonard Bernstein, Josef Krips, Erich Leinsdorf, Kurt Masur, Pierre Monteux, Eugene Ormandy, George Szell, and Michael Tilson Thomas.

“I look around at the beauty of the park, the acoustics and proportion of the Pavilion . . . and the Chicago Symphony Orchestra and Chorus in residence,” commented James Levine in the 1985 book Ravinia: The Festival at Its Half Century. “Look at how these people work during the Festival weeks—putting on performances of difficult music under extreme weather conditions sufficiently well to be worthy of recording, finishing one concert and getting up the next morning to rehearse for another. . . . Most of the people around Ravinia seem to find a rejuvenation synonymous with summer from the change of pace, the change of style, the challenge of new repertoire, and the opportunity to work from a different vantage point. It’s that kind of thinking, that buoyant spirit, which has been prevalent throughout the unique history of Ravinia. And it’s that spirit which makes Ravinia truly magical!”

*Ravinia Park had opened on August 15, 1904, and Frederick Stock and the Orchestra first performed at the park’s theater on November 20, 1905. The Orchestra appeared there semiregularly through August 1931, after which the park was closed for most of the Great Depression.

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