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Wishing a very happy birthday to Michael Gielen, celebrating his ninetieth on July 20, 2017!

Between 1973 and 2002, Maestro Gielen led the Chicago Symphony Orchestra in a broad range of repertoire. A complete list of his appearances (all concerts at Orchestra Hall unless otherwise noted) is below:

December 6 and 7, 1973
December 10, 1973 (Uihlein Hall, Milwaukee)
HAYDN Symphony No. 95 in C Minor
SZYMANOWSKI Violin Concerto No. 2, Op. 61
Wanda Wilkomirska, violin
PENDERECKI Capriccio for Violin and Orchestra
Wanda Wilkomirska, violin
SCRIABIN Symphony No. 3, Op. 43 (The Divine Poem)

March 21, 22, 23, and 26, 1996
MAHLER Symphony No. 6 in A Minor

March 28, 29, and 30, 1996
J. STRAUSS, Jr. Overture to Die Fledermaus
STUCKY Pinturas de Tamayo (Paintings of Tamayo) (world premiere)
BEETHOVEN Symphony No. 6 in F Major, Op. 68 (Pastoral)

October 29, 30, 31, and November 1, 1997
BEETHOVEN Leonore Overture No. 2, Op. 72
CARTER Piano Concerto
Ursula Oppens, piano
Richard Graef, flute
Grover Schiltz, oboe and english horn
J. Lawrie Bloom, clarinet
David Taylor, violin
Charles Pikler, viola
Stephen Balderston, cello
Joseph Guastafeste, bass
SCHUBERT Incidental Music from Rosamunde, D. 797
BEETHOVEN Leonore Overture No. 3, Op. 72

January 11, 12, 13, and 16, 2001
BEETHOVEN Overture to Egmont, Op. 84
BEETHOVEN/Liszt Andante cantabile from the Piano Trio in G-flat Major, Op. 97 (Archduke)
BEETHOVEN/Gielen Grosse Fuge in B-flat Major, Op. 133
SCHOENBERG Pelleas and Melisande, Op. 5

January 18, 20, and 23, 2001
MAHLER Adagio from Symphony No. 10
LISZT Piano Concerto No. 1 in E-flat Major
Zoltán Kocsis, piano
KURTÁG . . . quasi una fantasia . . .
Zoltán Kocsis, piano
SCHUBERT Symphony No. 8 in B Minor, D. 759 (Unfinished)

January 17, 18, 29, and 22, 2002
BEETHOVEN Piano Concerto No. 4 in G Major, Op. 58
Elena Bashkirova, piano
BEETHOVEN Symphony No. 3 in E-flat Major, Op. 55 (Eroica)

January 24, 25, 26, and 29, 2002
RAVEL Valses nobles et sentimentales
DUTILLEUX Symphony No. 2 (Le double)
Alex Klein, oboe
Larry Combs, clarinet
David McGill, bassoon
Craig Morris, trumpet
Jay Friedman, trombone
Mary Sauer, piano
Melody Lord-Lundberg, celesta
Donald Koss, timpani
Samuel Magad, violin
Joseph Golan, violin
Charles Pikler, viola
John Sharp, cello
POULENC Concerto for Organ, Strings, and Timpani in G Minor
David Schrader, organ
Donald Koss, timpani
RAVEL La valse

Happy, happy birthday!


Ray Still - 1950s

Orchestral and chamber musician, soloist with countless ensembles, and lifelong teacher and coach Ray Still—a member of the Chicago Symphony Orchestra’s oboe section for forty years, serving as principal for thirty-nine years—died peacefully on March 12, 2014, surrounded by family in Woodstock, Vermont. He was 94.

Born on March 12, 1920, in Elwood, Indiana, Still began playing clarinet as a teenager. During the Great Depression, his family moved to California, where he was able to regularly hear performances of the Los Angeles Philharmonic as a volunteer usher. After hearing the masterful technique and elegant phrasing of Henri de Busscher—principal oboe in Los Angeles from 1920 until 1948—Still switched to the oboe.

Still graduated from Los Angeles High School and at the age of nineteen joined the Kansas City Philharmonic as second oboe in 1939, where he was a member until 1941 (and also where he met and married Mary Powell Brock in 1940). For the next two years, he studied electrical engineering, served in the reserve US Army Signal Corps, and worked nights at the Douglas Aircraft factory. During the height of World War II, Still joined the US Army in September 1943 and served until June of 1946.

Immediately following his honorable discharge from the Army, Still enrolled at the Juilliard School where he studied with Robert Bloom. The following year in 1947, he began a two-year tenure as principal oboe with the Buffalo Philharmonic Orchestra under the baton of William Steinberg. Beginning in 1949, Still was principal oboe of the Baltimore Symphony Orchestra for four years.

Fritz Reiner and the newest members of the Orchestra in the fall of 1953. From left to right: Nathan Snader, violin; Juan Cuneo, violin; Joseph Golan, violin; Alan Fuchs, horn; Sheppard Lehnhoff, viola; Ray Still, oboe; Sheppard Lehnhoff, viola; and János Starker, cello.

Fritz Reiner and the newest members of the Orchestra in the fall of 1953. From left to right: Nathan Snader, violin; Juan Cuneo, violin; Joseph Golan, violin; Alan Fuchs, horn; Ray Still, oboe; Sheppard Lehnhoff, viola; and János Starker, cello.

In the fall of 1953, Still auditioned for Fritz Reiner, the Chicago Symphony Orchestra’s recently named music director. Reiner invited him to be the Orchestra’s second-chair oboe and the following year promoted him to the principal position. Still would serve the Orchestra in that capacity—under music directors Reiner, Jean Martinon, Sir Georg Solti, and Daniel Barenboim—until his retirement in 1993.

Still appeared with the Chicago Symphony Orchestra as soloist on countless occasions, including the Orchestra’s first performances of works for solo oboe by Albinoni, Bach, Barber, Mozart, Richard Strauss, and Telemann. His extensive discography includes Bach’s Wedding Cantata on RCA with Kathleen Battle as soloist and James Levine conducting, and Mozart’s Oboe Concerto in C minor on Deutsche Grammophon with Claudio Abbado conducting.

Still performed with numerous other ensembles including the Juilliard, Vermeer, and Fine Arts string quartets; he recorded with Itzhak Perlman, Pinchas Zukerman, and Lynn Harrell; and regularly appeared at many music festivals, including those at Aspen, Stratford, and Marlboro, among others.

A tireless educator, Still taught at the Peabody Institute from 1949 until 1953, Roosevelt University from 1954 until 1957, and at Northwestern University for forty-three years until 2003. Throughout his tenure with the Chicago Symphony Orchestra, he coached members of the Civic Orchestra of Chicago. At the invitation of Seiji Ozawa, he spent the summers of 1968 and 1970 as a visiting member of the Japan Philharmonic Orchestra in Tokyo, where he held coaching sessions for the wind section, conducted chamber music classes, and lectured at Toho University.

Ray Still - 1970s

Following his retirement from Northwestern, he moved to Annapolis, Maryland—where he continued to give master classes and lessons—with his beloved wife Mary and son James to live near his daughter Susan. In 2013, he moved to Saxtons River and later Woodstock, Vermont, where he lived near Susan, his granddaughter Madeline, and her two daughters.

Still is survived by his daughter and son-in-law, Mimi and Kent Dixon of Springfield, Ohio; his son and daughter-in-law, Tom and Sally Still of Big Timber, Montana; his daughter and son-in-law, Susan Still and Peter Bergstrom of Saxtons River, Vermont; six grandchildren, and three great-grandchildren. He was preceded in death in 2012 by his wife of almost 72 years, Mary Brock Still, and his son James Still.

Services will be private and details for a memorial in Chicago are pending. In lieu of flowers, the family asks for donations to the Institute for Learning, Access, and Training at the Chicago Symphony Orchestra.

When interviewed for an article in the Chicago Tribune in 1988, Still was asked why he thought the Chicago Symphony Orchestra was the world’s greatest. His reply: “It’s like a great baseball team. We have a blend of youth and experience, and they work very well together. A lot of orchestras have this. The thing that makes the Chicago Symphony Orchestra very unusual is the tremendous—I hate to use the word—discipline. There is a certain pride, and I think it goes back to the days of Theodore Thomas, the founder. There is something about the tradition of this Orchestra and the level the main body of musicians has come to expect of itself. There’s just a longer line of tradition.”

More information can be found at

János Starker

Legendary cellist and teacher János Starker, principal cello (1953–1958) and frequent soloist with the Chicago Symphony Orchestra, died on April 28, 2013, in Bloomington, Indiana. He was 88.

János Starker was born in Budapest, Hungary to Russian émigré parents. He began cello studies at age six, taught his first lesson at age eight, and gave his first public performance at age ten. He studied at the Franz Liszt Royal Academy, where faculty included Béla Bartók, Zoltan Kodály, Ernst von Dohnányi, and Leo Weiner. It was also at the Liszt Academy where he met his lifelong friend and future CSO concertmaster, Victor Aitay.

After imprisonment in a internment camp (on Csepel Island, in the Danube next to Budapest) during World War II, Starker became principal cello of the Budapest Opera and Philharmonic orchestras. With Aitay, he left Hungary in 1946 for Vienna, performing as soloist and in Aitay’s string quartet. Starker immigrated to the United States in 1948 and joined the Dallas Symphony Orchestra as principal cello at the invitation of Antal Doráti. The next year, he occupied the same position in New York City’s Metropolitan Opera under the direction of fellow Hungarian Fritz Reiner. With Reiner, Starker came to Chicago and became principal cello of the Chicago Symphony Orchestra in 1953. He became an American citizen in 1954.

The maestro joined the newest members of the Orchestra for an informal photo in 1953. The new musicians are (left to right): Nathan Snader, violin; Juan Cuneo, violin; Joseph Golan, violin; Alan Fuchs, horn; Sheppard Lehnhoff, viola; Ray Still, oboe; and János Starker, cello.

Fritz Reiner and the newest members of the Orchestra in 1953: Nathan Snader, violin; Juan Cuneo, violin; Joseph Golan, violin; Alan Fuchs, horn; Sheppard Lehnhoff, viola; Ray Still, oboe; and Starker.

In 1958, Starker left Chicago and resumed his career as an international soloist and for the next five decades, he appeared in recitals and as soloist with the world’s leading orchestras. In addition to performing all the major works from the cello repertoire, he performed concertos written for him by David Baker, Doráti, Bernhard Heiden, Jean Martinon, Miklós Rózsa, Robert Starer, and Chou Wen-chung. Starker was the subject of countless news articles, magazine profiles, and television documentaries, and his performances have been broadcast on radio and television around the world.

Starker’s discography includes more than 270 recordings of over 180 pieces, many of which have become landmark records of cello literature. He made an unprecedented five recordings of J.S. Bach’s Six Suites for Unaccompanied Cello; the final album received the 1997 Grammy Award for best instrumental soloist performance (without orchestra). Starker’s first recording of Kodály’s Sonata for Unaccompanied Cello received France’s Grand prix du disque in 1948.

Starker was equally renowned as a teacher. He joined the faculty of Indiana University in 1958 and was named a distinguished professor in 1962. He taught at the Banff Centre in Alberta, Canada for seventeen years and at the Hochschule für Musik in Essen, Germany for five years, and many of his students (including the CSO’s own Brant Taylor) have won prestigious awards and occupy prominent positions in chamber ensembles and major orchestras. Starker published and recorded a series of studies entitled An Organized Method of String Playing which remains an important piece of cello instruction. He published or edited numerous musical scores and articles, and developed the Starker Bridge designed to enhance the acoustics of stringed instruments. His autobiography, The World of Music According to Starker, was published by Indiana University Press in 2004.

Starker received five honorary degrees and numerous awards including the Kodály Commemorative Medallion from the Government of Hungary in 1983 and the Chevalier de l’Order des Arts et des Lettres from the French Republic in 1997. He played the Lord Aylesford Stradivarius cello between 1950 and 1964, and he also played a 1705 Matteo Goffriller cello throughout his career.

For the United States premiere of Martinon’s Cello Concerto on July 31, 1965, former principal cello János Starker returned as soloist at the Ravinia Festival. Shown here during a rehearsal are the composer, soloist, and conductor, Ravinia music director Seiji Ozawa.

Starker was soloist in the United States premiere of Martinon’s Cello Concerto at the Ravinia Festival on July 31, 1965. Seiji Ozawa, the Festival’s music director, conducted.

A complete list of János Starker’s solo appearances with the Chicago Symphony Orchestra are below (subscription concerts at Orchestra Hall, unless otherwise noted):

November 19 and 20, 1953
DVOŘÁK Cello Concerto in B Minor, Op. 104
Fritz Reiner, conductor

November 24, 1953
SCHUBERT/Cassadó Cello Concerto in A Minor
Fritz Reiner, conductor

February 4 and 5, 1954
BEETHOVEN Triple Concerto in C Major, Op. 56
Bruno Walter, conductor
George Schick, piano
John Weicher, violin

January 6 and 7, 1955
BRAHMS Double Concerto in A Minor, Op. 102
Bruno Walter, conductor
John Weicher, violin

April 14 and 15, 1955
PROKOFIEV Violin Concerto in E Minor, Op. 58
Fritz Reiner, conductor

October 6, 7, and 11, 1955
STRAUSS Don Quixote, Op. 35
Fritz Reiner, conductor
John Weicher, violin
Milton Preves, viola

January 5 and 6, 1956
SCHUMANN Cello Concerto in A Minor, Op. 129
Fritz Reiner, conductor

February 28, March 1, and 12, 1957
BRAHMS Double Concerto in A Minor, Op. 102
Fritz Reiner, conductor
John Weicher, violin

March 14 and 15, 1957
SAINT-SAËNS Cello Concerto in A Minor, Op. 33
Fritz Reiner, conductor

June 28, 1957 (Ravinia Festival)
DVOŘÁK Cello Concerto in B Minor, Op. 104
Igor Markevitch, conductor

December 5 and 6, 1957
HINDEMITH Cello Concerto
Fritz Reiner, conductor

March 20, 21, and 25, 1958
STRAUSS Don Quixote, Op. 35
Fritz Reiner, conductor
John Weicher, violin
Milton Preves, viola

October 19 and 20, 1961
PROKOFIEV Symphony-Concerto for Cello, Op. 125
Erich Leinsdorf, conductor

July 23, 1963 (Ravinia Festival)
DVOŘÁK Cello Concerto in B Minor, Op. 104
Hans Schmidt-Isserstedt, conductor

July 30, 1963 (Ravinia Festival)
WALTON Cello Concerto
Sir William Walton, conductor

December 3 and 4, 1964
HAYDN Cello Concerto in C Major
TCHAIKOVSKY Variations on a Rococo Theme, Op. 33
Jean Martinon, conductor

July 31, 1965 (Ravinia Festival)
MARTINON Cello Concerto, Op. 52
Seiji Ozawa, conductor

July 29, 1967 (Ravinia Festival)
LALO Cello Concerto in D Minor
Jean Martinon, conductor

May 9 and 10, 1968
HINDEMITH Cello Concerto
Jean Martinon, conductor

July 18, 1970 (Ravinia Festival)
DVOŘÁK Cello Concerto in B Minor, Op. 104
István Kertész, conductor

November 4 and 5, 1971
RÓZSA Cello Concerto, Op. 32
Georg Solti, conductor

July 15, 1972 (Ravinia Festival)
HAYDN Cello Concerto in C Major
István Kertész, conductor

July 21, 1973 (Ravinia Festival)
BEETHOVEN Triple Concerto in C Major, Op. 56
BRAHMS Double Concerto in A Minor, Op. 102
Sergiu Comissiona, conductor
Rudolf Buchbinder, piano
Franco Gulli, violin

July 27, 1974 (Ravinia Festival)
SAINT-SAËNS Cello Concerto in A Minor, Op. 33
TCHAIKOVSKY Variations on a Rococo Theme, Op. 33
Kazimierz Kord, conductor

August 2, 1975 (Ravinia Festival)
SHOSTAKOVICH Cello Concerto No. 1 in E-flat Major, Op. 107
Lawrence Foster, conductor

October 7, 8, and 9, 1976
SAINT-SAËNS Cello Concerto in A Minor, Op. 33
Sir Georg Solti, conductor

November 22, 24, and 25, 1978
BOCCHERINI Cello Concerto B-flat Major
Sir Georg Solti, conductor

November 25, 27, and 28, 1987
HINDEMITH Cello Concerto
Erich Leinsdorf, conductor


In September 1995, Sir Georg Solti led three concert performances of Wagner’s Die Meistersinger von Nürnberg at Orchestra Hall. The performances were split: the first two acts on one concert and the third act on a separate concert over the course of two open dress rehearsals and four concerts.

Pictured here at a rehearsal, Solti discusses the score with Joseph Golan, a member of the Orchestra since 1953 and principal second violin since 1969. Tenor Herbert Lippert looks on.

The cast included Karita Mattila, Iris Vermillion, José van Dam, Alan Opie, René Pape, Ben Heppner, and Herbert Lippert, and the Chicago Symphony Chorus (prepared by Duain Wolfe).

For London Records, the recording was produced by Michael Woolcock; James Lock, John Pellowe, and Neil Hutchinson were the balance engineers; and Krzysztof Jarosz was the location engineer.

The recording won the 1997 Grammy Award for Best Opera Recording.

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