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The Chicago Symphony Orchestra family joins the music world in mourning the loss of English conductor Sir Andrew Davis, a frequent and beloved guest on the podium for nearly fifty years. He died in Chicago on April 20, 2024, at the age of eighty.
Sir Andrew Davis served as music director and principal conductor of Lyric Opera of Chicago from 2000 until 2021, in addition to holding posts with the BBC Symphony Orchestra, Glyndebourne Festival Orchestra, Melbourne Symphony Orchestra, Toronto Symphony Orchestra, and the Royal Liverpool Philharmonic. Born in 1944 in Hertfordshire, England, Davis studied at King’s College, Cambridge, where he was an organ scholar before studying conducting. In 1992, he was made a Commander of the British Empire, and in 1999 he was designated a Knight Bachelor in the New Year Honors List.
“I first heard Andrew Davis conduct in the fall of 1975 when I was a student at the New England Conservatory. It was a Boston Symphony Orchestra concert, and the main work was Ein Heldenleben, a glorious performance I remember in great detail to this day,” remarked Jeff Alexander, president of the Chicago Symphony Orchestra Association. “I then had the honor of working with him while serving as general manager of the Cincinnati Symphony Orchestra in the 1980s and ’90s, as he often appeared there as guest conductor. Once again, the concerts were beautifully conducted, and getting to know him was a genuine pleasure. How fortunate we have been at the Chicago Symphony Orchestra to have enjoyed Sir Andrew’s music-making, jovial nature, and good wit for nearly fifty years, most recently conducting his orchestration of Handel’s Messiah this past December. The world has lost a great artist, true gentleman, and dear friend. Our memories of his concerts, kind nature, and that ever-present twinkle in his eye will live with us forever.”
“I’m deeply saddened by the news of Andrew’s passing. I’ve known him since my days as the music director of the Philharmonia Orchestra, where he served as my associate conductor,” wrote Riccardo Muti, the CSO’s music director emeritus for life. “Since then, our relationship of friendship and admiration has been long and uninterrupted. My condolences go out to all his family members, to whom I feel close in this sad moment.”
“The news of his passing has come as a shock and is terribly sad,” added Cristina Rocca, vice president of artistic planning for the CSOA. “Sir Andrew was a wonderful, warm, charming person, and a brilliant conductor who served music with such love, passion, knowledge, and commitment! His legacy is huge, and he will be remembered with great fondness and deep respect everywhere. His performances of Messiah, in his own orchestration, back in December, were joyful and marvelous and we were very much looking forward to his return to our stage. He gave so much to music, and we will miss him greatly.”
Davis made his debut with the Chicago Symphony Orchestra in February 1975, leading Elgar’s Introduction and Allegro for Strings, Birtwistle’s The Triumph of Time, and Berlioz’s Harold in Italy with Milton Preves. He first conducted the ensemble at the Ravinia Festival in July 1976, in Lees’s Concerto for String Quartet and Orchestra with the Chicago Symphony String Quartet (Victor Aitay, Edgar Muenzer, Milton Preves, and Frank Miller), Mozart’s Piano Concerto no. 20 with Emanuel Ax, and Beethoven’s Symphony no. 7.
Most recently, Davis led the Orchestra at the Ravinia Festival in July 2016, conducting Vaughan Williams’s Fantasia on a Theme by Thomas Tallis, Elgar’s Cello Concerto with Alisa Weilerstein, and Beethoven’s Symphony no. 5. In December 2023, he was on the podium for the U.S. premiere of his own orchestration of Handel’s Messiah, with the Chicago Symphony Orchestra and Chorus (prepared by James K. Bass) and soloists Joélle Harvey, Jennifer Johnson Cano, Matthew Polenzani, and John Relyea.
A complete list of his performances with the Chicago Symphony Orchestra and Chorus is below.
February 13 and 14, 1975, Orchestra Hall
ELGAR Introduction and Allegro for Strings, Op. 47
BIRTWISTLE The Triumph of Time
BERLIOZ Harold in Italy, Op. 16
Milton Preves, viola
July 29, 1976, Ravinia Festival
LEES Concerto for String Quartet and Orchestra
Chicago Symphony String Quartet
Victor Aitay, violin
Edgar Muenzer, violin
Milton Preves, viola
Frank Miller, cello
MOZART Piano Concerto No. 20 in D Minor, K. 466
Emanuel Ax, piano
BEETHOVEN Symphony No. 7 in A Major, Op. 92
July 31, 1976, Ravinia Festival
BERLIOZ Overture to Beatrice and Benedict
BRAHMS Violin Concerto in D Major, Op. 77
Isaac Stern, violin
ELGAR Variations on an Original Theme, Op. 36 (Enigma)
December 16, 17, and 18, 1976, Orchestra Hall
SUBOTNICK Before the Butterfly
BEETHOVEN Piano Concerto No. 1 in C Major, Op. 15
Stephen Bishop-Kovacevich, piano
DVOŘÁK Symphony No. 7 in D Minor, Op. 70
November 21, 23, and 24, 1979, Orchestra Hall
November 26, 1979, Uihlein Hall, Milwaukee
CHOPIN Piano Concerto No. 1 in E Minor, Op. 11
Jorge Bolet, piano
DVOŘÁK Symphony No. 6 in D Major, Op. 60
June 12, 13, and 14, 1986, Orchestra Hall
BRITTEN Four Sea Interludes from Peter Grimes, Op. 33a
BEETHOVEN Piano Concerto No. 4 in G Major, Op. 58
Mitsuko Uchida, piano
PROKOFIEV Symphony No. 5 in B-flat Major, Op. 100
March 4, 5, 6, and 9, 1999, Orchestra Hall
MOZART Piano Concerto No. 27 in B-flat Major, K. 595
Andreas Haefliger, piano
ELGAR/Payne Symphony No. 3
March 15, 16, and 17, 2001, Orchestra Hall
HAYDN Symphony No. 104 in D Major (London)
BRITTEN Serenade for Tenor, Horn, and Strings, Op. 31
Kurt Streit, tenor
Dale Clevenger, horn
WALKER Lyric for Strings
STRAVINSKY Symphony in Three Movements
July 13, 2001, Ravinia Festival
BRAHMS Violin Concerto in D Major, Op. 77
Sarah Chang, violin
STRAUSS Also sprach Zarathustra, Op. 30
July 14, 2001, Ravinia Festival
BACH/Webern Fuga (Ricercata) a 6 voci from The Musical Offering, BWV 1079
BERG Violin Concerto
Leonidas Kavakos, violin
MENDELSSSOHN Incidental Music to A Midsummer Night’s Dream, Op. 61
John de Lancie, actor
John Mahoney, actor
Janet Zarish, actor
Timothy Gregory, actor
Stacey Tappan, soprano
Lauren McNeese, mezzo-soprano
Chicago Children’s Choir
July 15, 2001, Ravinia Festival
MOZART Piano Concerto No. 12 in A Major, K. 414
Leon Fleisher, piano
MOZART Symphony No. 39 in E-flat Major, K. 543
MOZART Clarinet Concerto in A Major, K. 622
Larry Combs, clarinet
February 6, 7, 8, and 11, 2003, Orchestra Hall
BERLIOZ Overture to Benvenuto Cellini
HINDEMITH Der Schwanendreher
Charles Pikler, viola
DVOŘÁK Symphony No. 6 in D Major, Op. 60
March 19, 2003, Orchestra Hall (MusicNOW)
HOLT Lilith
ANDERSON Alhambra Fantasy
Musicians from the Chicago Symphony Orchestra
June 5, 6, and 7, 2003, Orchestra Hall
HAYDN Symphony No. 92 in G Major (Oxford)
TIPPETT The Rose Lake
BEETHOVEN Symphony No. 8 in F Major, Op. 93
November 8 and 11, 2003, Orchestra Hall
VAUGHAN WILLIAMS Serenade to Music
Samuel Magad, violin
Chicago Symphony Singers
Duain Wolfe, director
TCHAIKOVSKY Romeo and Juliet
January 8, 9, and 10, 2004, Orchestra Hall
JONES at the exactest point (world premiere)
PROKOFIEV Selections from Cinderella, Op. 87
RACHMANINOV Piano Concerto No. 3 in D Minor, Op. 30
Louis Lortie, piano
Stephen Jones’s at the exactest point was released by Tantara Records in 2004
February 10, 2004, Orchestra Hall
BEETHOVEN Symphony No. 9 in D Minor, Op. 125
Deborah Voigt, soprano
Marietta Simpson, mezzo-soprano
Clifton Forbis, tenor
Robert Holl, bass
Chicago Symphony Chorus
Duain Wolfe, director
Davis was a last-minute replacement for Daniel Barenboim, who canceled due to illness.
February 12, 13, and 14, 2004, Orchestra Hall
STRAVINSKY Divertimento, Suite from The Fairy’s Kiss
LIEBERSON Red Garuda for Piano and Orchestra
Peter Serkin, piano
BEETHOVEN Symphony No. 5 in C Minor, Op. 67
September 10, 2004, Orchestra Hall (Opening Night)
TCHAIKOVSKY Violin Concerto in D Major, Op. 35
Nikolaj Znaider, violin
GRIEG Selections from Peer Gynt
Wynton Marsalis, narrator
Valdine Anderson, soprano
Lincoln Center Jazz Orchestra
MARSALIS Expressbrown Local from All Rise
Lincoln Center Jazz Orchestra
Wynton Marsalis, trumpet
September 11, 2004, Orchestra Hall (Marshall Field’s Day of Music)
STRAVINSKY Fireworks
TCHAIKOVSKY Violin Concerto in D Major, Op. 35
Nikolaj Znaider, violin
RAVEL Mother Goose Suite
RAVEL Daphnis and Chloe Suite No. 2
September 12 and 14, 2004, Orchestra Hall
STRAVINSKY Fireworks
SZYMANOWSKI Violin Concerto No. 1, Op. 35
Nikolaj Znaider, violin
RAVEL Mother Goose Suite
RAVEL Daphnis and Chloe Suite No. 2
June 2, 3, and 5, 2005, Orchestra Hall
HANDEL The King Shall Rejoice
HANDEL My Heart is Inditing
HANDEL Zadok the Priest
Chicago Symphony Chorus
Duain Wolfe, director
TIPPETT A Child of Our Time
Nicole Cabell, soprano
Guang Yang, mezzo-soprano
Scott Ramsay, tenor
Christian van Horn, bass-baritone
Chicago Symphony Chorus
Duain Wolfe, director
October 20, 2005, Orchestra Hall
BEETHOVEN Piano Concerto No. 2 in B-flat Major, Op. 19
Evgeny Kissin, piano
BEETHOVEN Piano Concerto No. 1 in C Major, Op. 15
Evgeny Kissin, vgeny; piano
BEETHOVEN Piano Concerto No. 3 in C Minor, Op. 37
Evgeny Kissin, piano
October 22 and 25, 2005, Orchestra Hall
BEETHOVEN Piano Concerto No. 4 in G Major, Op. 58
Evgeny Kissin, piano
BEETHOVEN Piano Concerto No. 5 in E-Flat Major, Op. 73 (Emperor)
Evgeny Kissin, piano
July 30, 2008, Ravinia Festival
BEETHOVEN Fidelio Overture, Op. 72c
BEETHOVEN Piano Concerto No. 5 in E-Flat Major, Op. 73 (Emperor)
Leon Fleisher, piano
BEETHOVEN Symphony No. 3 in E-flat Major, Op. 55 (Eroica)
October 29, 30, and 31, 2009, Orchestra Hall
STRAVINSKY Concerto in E-flat (Dumbarton Oaks)
PRIMOSCH Songs for Adam (world premiere)
Brian Mulligan, baritone
MENDELSSOHN Symphony No. 3 in A Minor, Op. 56 (Scottish)
November 18, 20, 21, and 23, 2010, Orchestra Hall
TURNAGE Texan Tenebrae (U.S. premiere)
BEETHOVEN Piano Concerto No. 4 in G Major, Op. 58
Vladimir Feltsman, piano
VAUGHAN WILLIAMS Symphony No. 9 in E Minor
October 15, 2015, Orchestra Hall
BACH/Davis Passacaglia and Fugue in C Minor, BWV 582
STRAVINSKY Divertimento, Suite from The Fairy’s Kiss
TCHAIKOVSKY Piano Concerto No. 1 in B-flat Minor, Op. 23
Evgeny Kissin, piano
July 16, 2016, Ravinia Festival
VAUGHAN WILLIAMS Fantasia on a Theme by Thomas Tallis
ELGAR Cello Concerto in E Minor, Op. 85
Alisa Weilerstein, cello
BEETHOVEN Symphony No. 5 in C Minor, Op. 67
January 30, January 31, February 1, and 4, 2020, Orchestra Hall
TIPPETT Little Music for String Orchestra
BEETHOVEN Piano Concerto No. 1 in C Major, Op. 15
Paul Lewis, piano
TIPPETT Praeludium for Brass, Bells, and Percussion
BEETHOVEN Piano Concerto No. 4 in G Major, Op. 58
Paul Lewis, piano
December 21, 22, and 23, 2023, Orchestra Hall
HANDEL/Davis Messiah (U.S. premiere)
Joélle Harvey, soprano
Jennifer Johnson Cano, mezzo-soprano
Matthew Polenzani, tenor
John Relyea, bass
Chicago Symphony Chorus
James K. Bass, guest director
Numerous tributes have appeared online, including the BBC, Guardian, Daily Mail, and AP News, among others.
This article also appears here.
Six degrees of separation is the theory that all people are no more than six social connections away from each other. It is usually used to connect living individuals, but we also can stretch it back to link people through history.
Throughout his career, Riccardo Muti has been connected to the music of Ludwig van Beethoven. During his tenure as the Chicago Symphony Orchestra’s tenth music director, he has conducted all of the composer’s major orchestral works—including the nine symphonies—and he will conclude his tenure with the monumental Missa solemnis. So, how might Maestro Muti be connected to Beethoven? Let’s find out, perhaps through the historic roster of the Chicago Symphony Orchestra . . .
Beginning with his debut in 1973 and continuing through his tenure as music director, Muti has collaborated with two musicians who hold the record as the longest-serving members of the Chicago Symphony Orchestra: Lynne Turner, second harp, and Jay Friedman, principal trombone. Both were hired by sixth music director Fritz Reiner in October 1962, and in June 2023 both will complete their sixty-first seasons as members of the Orchestra. (The record previously was held by Adolph “Bud” Herseth, who served for fifty-six seasons, fifty-four as principal trumpet.) Turner, who first performed with the CSO as a soloist on youth concerts at the age of fourteen, joined the Orchestra shortly after becoming the first American to win top prize in the International Harp Contest in Israel. Friedman, after four years as a member of the Civic Orchestra of Chicago and two with the Florida Symphony, was hired as assistant principal trombone, and in 1965, he was promoted to principal by seventh music director Jean Martinon.
Turner and Friedman performed for several years alongside colleagues Milton Preves and Frank Crisafulli, each of whom served in the Orchestra for over fifty years and both were hired by second music director Frederick Stock. Preves joined the Orchestra’s viola section in 1934, became assistant principal in 1936 and principal in 1939, remaining in that post for forty-seven years until his retirement in 1986. Crisafulli began his tenure in the trombone section in 1938, serving as principal from 1939 until 1945 and again from 1946 until 1955. He retired in 1989.
Preves and Crisafulli certainly would have known Franz Esser and Hjalmar Rabe, also members of the Orchestra for more than fifty years. Esser joined the violin section at the beginning of the second season in 1892, later serving as principal viola from 1898 until 1926 and principal second violin from 1926 until 1939; he retired in 1945. Rabe joined the violin section in 1895 but also played the bassoon; he was principal of that section for one season, 1918–19, and also principal contrabassoon in his final season, 1944–45.
Of course, both Rabe and Esser were hired by the Chicago Orchestra’s founder and first music director Theodore Thomas.
That brings us up to four degrees: Muti to Turner and Friedman to Preves and Crisafulli to Esser and Rabe to Thomas.
In early 1850, fourteen-year-old Theodore Thomas was performing in New York as a violinist in pit orchestras. He caught the attention of Karl Eckert, who hired him into the Italian Opera Company as leader of the second violins. Eckert was succeeded the following year by composer, violinist, and conductor Luigi Arditi, who promoted Thomas to the role of concertmaster as well as contractor to engage the members of the orchestra. As a member of the Italian company, Thomas had a front-row seat to hear and collaborate with two of the most important musicians of the day: Swedish soprano Jenny Lind (also known as the “Swedish Nightingale” whose American tours were organized and promoted by none other than P.T. Barnum) and German soprano Henriette Sontag.
In 1823, Carl Maria von Weber heard Sontag—then only seventeen—in Vienna, in Rossini’s La donna del lago and offered her the title role in his new opera, Euryanthe, which premiered to great success later that year. Her career continued to flourish as she performed throughout Europe. Her single tour to the United States was in 1852 and included several performances with the Italian Opera Company in New York, with then sixteen-year-old Thomas in the pit.
Thomas expressed in his autobiography: “I do not remember another singer in whom art and experience were combined with such freshness and quality of voice. . . . neither of these exceptional women conquered the world with voice and execution alone. It was the perfection and blending of these qualities, together with the single aim—that of truthful expression, which gave greatness to whatever they rendered. I have never heard their equals.” And according to Thomas’s widow Rose Fay in the Memoirs, “nothing was more helpful to young Thomas [and] at this time the greatest singers the world has ever heard were singing in New York. . . . [Lind and Sontag] possessed the true secret of tone quality, and it occurred to him that the same kind of tone which they produced with the voice could also be created on the violin . . . as he listened to these great artists . . . he endeavored to reproduce their singing, tone for tone, on his beloved instrument.”
Nearly thirty years before her United States tour, eighteen-year-old Henriette Sontag sealed her place in music history. On May 7, 1824, in Vienna, she was the soprano soloist in three sections—Kyrie, Credo, and Agnus Dei—of the Missa solemnis and the premiere of the Ninth Symphony, conducted by the composer, Ludwig van Beethoven.
That’s six degrees of separation, mostly through the Chicago Symphony Orchestra family: Riccardo Muti to Lynne Turner and Jay Friedman to Milton Preves and Frank Crisafulli to Franz Esser and Hjalmar Rabe to Theodore Thomas to Henriette Sontag to Ludwig van Beethoven.
This article also appears here.
The Rosenthal Archives recently received a collection of materials documenting the life of violinist, influential teacher, and member of the Chicago Symphony Orchestra, Leon Sametini.
Sametini was born on March 16, 1886, in Rotterdam, Holland, where his father Samual was principal flute in the Royal Opera Orchestra. He showed early promise on the violin and soon became a protégé of Queen Wilhelmina of the Netherlands, who funded his study with the famed violin pedagogue Otakar Ševčík for one year.
When Sametini was fifteen, the Queen gifted to him an early eighteenth-century Serafin violin and funded his enrollment at the Prague Conservatory from 1902 until 1903. There he continued his studies with Ševčík and with then-director of the conservatory, Antonín Dvořák.
Sametini cited violinist and composer Eugène Ysaÿe as a particularly important influence on his playing, despite not formally studying with him: “It was after I had finished with all my teachers that I really began learning how to play violin: above all from Ysaÿe, whom I went to hear play wherever and whenever I could.”
A year after graduating, Sametini embarked on a decade of international travel, beginning with a six-month concert tour through Holland before moving to London and touring both England and Ireland. In 1905, he first appeared with the renowned soprano Nellie Melba, one of the first Australian classical musicians to win international recognition. Sametini also gave recitals throughout 1907 and 1908 with Australian contralto Ada Crossley and her eponymous Concert Company. Also supporting Crossley in her tour of England was composer and pianist Percy Grainger. With Crossley’s company, Sametini went on to tour Australia and New Zealand, as well as India and Indonesia, in 1908.
In 1912, Sametini departed London for Chicago, where he had accepted a position as the head of the violin department at the Chicago Musical College (now a division of the Chicago College of Performing Arts at Roosevelt University), a position he would hold for the remainder of his life. Soon after his arrival, Sametini rehearsed Brahms’s Violin Concerto with Frederick Stock, and it became clear that there were plans in the works for him to soon perform with the Theodore Thomas Orchestra (as the ensemble was then known).
However, this opportunity came about sooner than anticipated. Mischa Elman was scheduled to perform Saint-Saëns’s Third Violin Concerto with the Orchestra on January 24 and 25, 1913. However, Frederick Wessels, the Orchestral Association’s manager, received a telegram from Elman at 10:11 a.m. on January 24, stating that Elman was “ill with grip [the flu] in hospital, Madison [Wisconsin]. Doctors Head and Jackson refuse to allow me leave, therefore impossible to play today or tomorrow.”
Stock immediately contacted Sametini, who, with mere hours’ notice, replaced Elman and performed Brahms’s Violin Concerto with the Orchestra. In spite of these unfavorable circumstances, the violinist’s dramatic debut was received enthusiastically by Chicago audiences and critics. Sametini earned “much applause and great success,” wrote Maurice Rosenfeld in the Chicago Daily News, and “belongs to the list of brilliant young violin virtuosos. . . . Sametini’s playing of the difficult Brahms concerto disclosed him to be an artist of eminent qualities [with the ] technical equipment of the leading virtuosos of the day.” In the Chicago Tribune, Glenn Dillard Gunn added, “Such a feat inspires respect. It attests to the courage and decision of character as well as to abundant talent and sterling qualities of musicianship. These were the salient elements revealed in [Sametini’s] interpretation.”
Sametini performed a similar act of musical heroism just a week later, on February 2, 1913, with the Chicago Grand Opera Company. He stepped in as a last-minute replacement for Efrem Zimbalist, performing the final two movements of Mendelssohn’s Violin Concerto along with Saint-Saëns’s Introduction and Rondo capriccioso. “Mr. Sametini proved again his right to be reckoned among the foremost artists of he city with a musicianly performance . . singing qualities of tone, with accentuation of rhythm, and with musical phrasing,” wrote the critic in the Chicago Examiner.
The violinist became a frequent soloist across the city and surrounding areas, and Sametini would feature as soloist with the Chicago Symphony Orchestra on two more occasions. On December 20 and 21, 1918, he appeared with the CSO playing Saint-Saëns’s Third Violin Concerto, conducted by Eric DeLamarter. Just over a decade later, on December 28 and 29, 1928, he returned, this time performing Lalo’s Violin Concerto in F minor and Saint-Saëns’s Introduction and Rondo capriccioso under Stock’s baton. At Stock’s invitation, Sametini joined the Orchestra’s first violin section for the 1942-43 season. He died of a heart ailment in Chicago on August 20, 1944, at the age of fifty-eight.
Leon Sametini is best remembered for his contributions as a pedagogue, working with many notable violinists, and his teaching philosophy is reflected in the diverse achievements of his protégés. He encouraged his students to not only consider a career as a soloist, but also to explore the broad range of opportunities available in an orchestra. Sametini recognized the distinct skills required of both the soloist and the orchestral violinist, treating both roles with impartiality and encouraging his students to pursue whichever best played to their strengths.
Writing in The Musical Leader, Sametini expressed his philosophy. “There is every opportunity in this country to become an able musician and a great violinist, and those who do not attain the rank of soloists need not feel that they are any less musicians on that account. Their unique talents simply make them better orchestral musicians than soloists, and who is to say there is any degree of superiority between these two branches of the same art?”
Sametini’s students included many orchestral string players, including several members of the Chicago Symphony Orchestra: William Faldner (violin, 1956–1994), Victor Charbulak (violin, 1922–1967), Samuel Thaviu (violin, 1934–1937), and Sheppard Lehnhoff (viola, 1930–45 and 1953–1978). Milton Preves also studied with Sametini before being appointed to the CSO’s viola section by Frederick Stock, achieving the ranks of assistant principal and principal in 1936 and 1939 respectively, serving until his retirement in 1986. Mildred Brown studied with Sametini in 1915 before becoming a charter member of the Civic Orchestra during the 1919–20 season. Brown was invited to return to the Civic by Stock in 1922, becoming the ensemble’s first female concertmaster. Fred Spector, another of Sametini’s students, also was concertmaster of the Civic before joining the CSO’s first violin section in 1956, serving until his retirement in 2003. Sametini also taught composer and violinist Silvestre Revueltas, whose works have been performed by the Orchestra on several occasions.
The Leon Sametini Collection in the Rosenthal Archives contains the violinist and teacher’s collection of musical memorabilia from his decades of performance, including clippings of concert reviews from his years as an international soloist, as well as autographed portraits of his many friends, teachers, and collaborators within the musical world.
This article also appears here.
With her masters in musicology from Northwestern University, Sara Mercurio is an acquisitions assistant for Northwestern’s libraries and an intern in the Chicago Symphony Orchestra Association’s Rosenthal Archives. In the fall of 2023, she will begin a master’s degree in library and information science at the University of Illinois Urbana-Champaign.
The Chicago Symphony Orchestra family wishes the magnificent pianist and conductor Vladimir Ashkenazy a very happy eighty-fifth birthday!
Ashkenazy catapulted onto the world stage in 1955 after winning second prize in the International Chopin Piano Competition in Warsaw. He was awarded first prize in both the Queen Elisabeth Competition in Brussels in 1956 and the International Tchaikovsky Competition in 1962.
“Pound for pound, he may be the most pyrotechnic pianist in the whole world,” wrote Seymour Raven in the Chicago Tribune, following Ashkenazy’s Orchestra Hall recital debut, presented under the auspices of Allied Arts on October 19, 1958. Seven years later, after his Chicago Symphony Orchestra debut in Prokofiev’s Second Piano Concerto, Thomas Willis (also in the Tribune) commented, the “volcanic [pianist], whose two previous recitals here marked him as a man to watch, had everything it takes to get the locomotor going full speed and most of the qualities to sustain momentum. The big tone for melodies framed the structure in iron. The bravura technique took in stride the hammering octaves, scales which sweep the keyboard, and arpeggio lightning which galvanizes the Russian bear intermezzo into a furious climax. . . . This combination of work, soloist, and orchestra could lift you right out of your seat more than once.”
During the first tour to Europe in 1971, Ashkenazy joined the Orchestra on the first leg in Edinburgh on September 5, performing Mozart’s Piano Concerto no. 20 under Georg Solti. In May 1971 and 1972, he recorded Beethoven’s five piano concertos with the CSO, again with Solti conducting. Recording sessions took place at the Krannert Center for the Performing Arts at the University of Illinois at Urbana-Champaign, and for London Records, the recording was produced by David Harvey and Kenneth Wilkinson was the recording engineer. The set of all five concertos won the 1973 Grammy Award for Best Classical Performance—Instrumental Soloist or Soloists (with orchestra).
For nearly fifty years, Vladimir Ashkenazy was a regular visitor to the stage in Orchestra Hall. In January 2020, he announced that he would be retiring from public performance, capping a career that spanned nearly seventy years.
A complete list of his appearances—with the Chicago Symphony Orchestra, as a piano recitalist, and as a guest conductor with visiting orchestras—is below.
October 28, 29, and 30, 1965, Orchestra Hall
November 1, 1965, Pabst Theater, Milwaukee
PROKOFIEV Piano Concerto No. 2 in G Minor, Op. 16
Irwin Hoffman, conductor
March 27, 1967, Pabst Theater, Milwaukee
30 and 31, 1967, Orchestra Hall
BEETHOVEN Piano Concerto No. 3 in C Minor, Op. 37
Jean Martinon, conductor
July 25, 1968, Ravinia Festival
BEETHOVEN Piano Concerto No. 4 in G Major, Op. 58
Alfred Wallenstein, conductor
December 5, 6, and 7, 1968, Orchestra Hall
December 9, 1968, Pabst Theater, Milwaukee
PROKOFIEV Piano Concerto No. 3 in C Major, Op. 26
William Steinberg, conductor
October 30, 31, and November 1, 1969, Orchestra Hall
November 3, 1969, Pabst Theater, Milwaukee
MOZART Piano Concerto in D Minor, K. 466
Eliahu Inbal, conductor
July 16, 1970, Ravinia Festival
PROKOFIEV Piano Concerto No. 2 in G Minor, Op. 16
István Kertész, conductor
May 7 and 8, 1971, Orchestra Hall
BEETHOVEN Piano Concerto No. 5 in E-flat Major, Op. 73 (Emperor)
Georg Solti, conductor
July 20, 1971, Ravinia Festival
RACHMANINOV Piano Concerto No. 3 in D Minor, Op. 30
István Kertész, conductor
September 5, 1971, Usher Hall, Edinburgh, Scotland
MOZART Piano Concerto in D Minor, K. 466
Georg Solti, conductor
May 20, 1972, Orchestra Hall
BEETHOVEN Piano Concerto No. 2 in B-flat Major, Op. 19
BEETHOVEN Piano Concerto No. 4 in G Major, Op. 58
Sir Georg Solti, conductor
May 21, 1972, Krannert Center for the Performing Arts, University of Illinois at Urbana-Champaign, Urbana
BEETHOVEN Piano Concerto No. 1 in C Major, Op. 15
Sir Georg Solti, conductor
March 1, 2, and 3, 1973, Orchestra Hall
RACHMANINOV Piano Concerto No. 3 in D Minor, Op. 30
Lorin Maazel, conductor
November 7, 8, and 9, 1974, Orchestra Hall
PROKOFIEV Piano Concerto No. 5 in G Major, Op. 55
Carlo Maria Giulini, conductor
January 18 and 20, 1980, Orchestra Hall
BEETHOVEN Piano Concerto No. 4 in G Major, Op. 58
Sir Georg Solti, conductor
Under the auspices of Allied Arts and Symphony Center Presents, Ashkenazy has appeared as piano recitalist, chamber musician, and guest conductor, as follows (*program book not on file; repertoire culled from advertisements and newspaper clippings).
October 19, 1958, Orchestra Hall
BRAHMS Variations and Fugue on a Theme by Handel, Op. 24
CHOPIN Nocturne in B Major, Op. 9, No. 3
CHOPIN Scherzo No. 4 in E Major, Op. 54
LISZT Mephisto Waltz No. 1
RACHMANINOV Variations on a Theme by Corelli, Op. 42
PROKOFIEV Sonata No. 7 in B-flat Major, Op. 83
*November 18, 1962, Orchestra Hall
MOZART Sonata No. 9 in D Major, K. 311
PROKOFIEV Sonata No. 6 in A Major, Op. 82
CHOPIN Etudes, Op. 25
*May 16, 1971, Orchestra Hall
HAYDN Sonata in E-flat Major, Hob. XVI:52
BEETHOVEN Piano Sonata No. 23 in F Minor, Op. 57 (Appassionata)
CHOPIN Sonata No. 3 in B Minor, Op. 58
March 4, 1973, Orchestra Hall
DOHNÁNYI String Quartet No. 3 in A Minor, Op. 33
SHOSTAKOVICH String Quartet No. 2 in A Major, Op. 68
SCHUMANN Piano Quintet in E-flat Major, Op. 44
Chicago Symphony String Quartet
Victor Aitay, violin
Edgar Muenzer, violin
Milton Preves, viola
Frank Miller, cello
*February 17, 1974, Orchestra Hall
BEETHOVEN Sonata No. 3 in C Major, Op. 2, No. 3
BEETHOVEN Sonata No. 30 in E Major, Op. 109
CHOPIN Fantasy in F Minor, Op. 49
CHOPIN Impromptu in F-sharp Major, Op. 36
CHOPIN Ballade No. 4 in F Minor, Op. 52
CHOPIN Scherzo in E Major, Op. 54
*March 20, 1977, Orchestra Hall
SCRIABIN Sonata No. 2 in G-sharp Minor, Op. 19
SCRIABIN Two Poems, Op. 32
SCRIABIN Sonata No. 7, Op. 64 (White Mass)
SCRIABIN Sonata No. 10, Op. 70
SCRIABIN Four Pieces, Op. 56
RACHMANINOV Études-Tableaux, nos. 2 (Allegro in C major), 6 (Allegro con fuoco in E-flat major), 7 (Moderato in G minor), and 3 (Grave in C minor)
RACHMANINOV Selections from Ten Preludes, Op. 23 and Thirteen Preludes, Op. 32
*January 21, 1979, Orchestra Hall
BEETHOVEN Sonata No. 16 in G Major, Op. 31, No. 1
SCHUMANN Davidsbündlertänze, Op. 6
CHOPIN Fantasy in F Minor, Op. 49
CHOPIN Ballade in A-flat
CHOPIN Nocturne in F-sharp Minor, Op. 48, No. 2
CHOPIN Scherzo in C-sharp Minor
*February 20, 1981, Orchestra Hall
BEETHOVEN Sonata No. 31 in A-flat Major, Op. 110
BEETHOVEN Sonata No. 32 in C Minor, Op. 111
CHOPIN Sonata No. 3 in B Minor, Op. 58
CHOPIN Nocturne in D-flat Major, Op. 27, No. 2
*March 20, 1983, Orchestra Hall
BEETHOVEN Sonata No. 28 in A Major, Op. 101
BEETHOVEN Sonata No. 30 in E Major, Op. 109
SCHUBERT Klavierstücke No. 1 in E-flat Minor and No. 2 in E-flat Major, D. 946
SCHUBERT Fantasy in C Major, D. 760 (Wanderer)
*April 29, 1984, Orchestra Hall
SCHUBERT Sonata in B-flat Major, D. 960
SCHUMANN Papillons, Op. 2
SCHUMANN Symphonic Etudes, Op. 13
December 9, 1990, Orchestra Hall
BEETHOVEN Sonata No. 31 in A-flat Major, Op. 110
BEETHOVEN Sonata No. 32 in C Minor, Op. 111
BRAHMS Klavierstücke, Op. 119
BRAHMS Variations on a Theme by Handel, Op. 24
November 15, 1992, Orchestra Hall
MENDELSSOHN Selections from A Midsummer Night’s Dream, Op. 61
BAX Tintagel
SHOSTAKOVICH Symphony No. 10 in E Minor, Op. 93
Royal Philharmonic Orchestra
November 10, 1997, Orchestra Hall
KODÁLY Dances of Galánta
MENDELSSOHN Violin Concerto in E Minor, Op. 64
Christian Tetzlaff, violin
BRAHMS Symphony No. 1 in C Minor, Op. 68
Deutsches Symphonie-Orchester Berlin
March 31, 2000, Orchestra Hall
JANÁČEK Suite from The Cunning Little Vixen
DVOŘÁK Violin Concerto in A Minor, Op. 53
Kurt Nikkanen, violin
PROKOFIEV Symphony No. 5 in B-flat Major, Op. 100
Czech Philharmonic
March 7, 2003, Orchestra Hall
SHOSTAKOVICH/Barshai Chamber Symphony for Strings in C Minor, Op. 110a
PROKOFIEV Piano Concerto No. 1 in D-flat Major, Op. 10
Lukáš Vondráček, piano
DVOŘÁK Symphony No. 7 in D Minor, Op. 70
Czech Philharmonic
Happy, happy birthday!
This article also appears here.
The Chicago Symphony Orchestra family remembers one of its iconic musicians, Milton Preves (1909–2000), in honor of the anniversary of his birth on June 18.
Born in Cleveland, Preves moved to Chicago as a teenager and attended Senn High School. He was a student of Leon Sametini at Chicago Musical College, Richard Czerwonky at the Bush Conservatory of Music, and Albert Noelte and Ramon Girvin at the Institute of Music and Allied Arts before attending the University of Chicago.
Preves joined the Little Symphony of Chicago in 1930, regularly worked in radio orchestras, and was invited by Mischa Mischakoff (then CSO concertmaster) to join the Mischakoff String Quartet in 1932. Two years later, second music director Frederick Stock appointed Preves to the Chicago Symphony Orchestra’s viola section, promoting him to assistant principal in 1936 and principal in 1939. He would remain in that post for the next forty-seven years, serving under a total of seven music directors, including Désiré Defauw, Artur Rodzinski, Rafael Kubelík, Fritz Reiner, Jean Martinon, and Sir Georg Solti.
Preves performed as a soloist with the Orchestra on dozens of occasions, including the world premieres of David Van Vactor’s Viola Concerto and Ernest Bloch’s Suite hébraïque for Viola and Orchestra, both dedicated to him. Under Reiner, he recorded Richard Strauss’s Don Quixote—along with cellist Antonio Janigro and concertmaster John Weicher—with the Chicago Symphony Orchestra for RCA in 1959.
A lifelong educator, Preves served on the faculties of Roosevelt, Northwestern, and DePaul universities, and he also always taught privately out of his home. An avid conductor, he held titled posts with the North Side Symphony Orchestra of Chicago, Oak Park–River Forest Symphony, Wheaton Summer Symphony, Gary Symphony, and the Gold Coast Chamber Orchestra. As a chamber musician, he performed with the Budapest, Fine Arts, Gordon, and Chicago Symphony string quartets, as well as the Chicago Symphony Chamber Players.
As reported in his obituary in the Chicago Tribune, “It was while directing the Oak Park–River Forest group that he gained an unusual measure of national attention. He briefly became an icon of the fledgling civil rights movement in 1963, when he resigned from the community orchestra because it would not allow a Black violinist he had invited to perform with the group.” (More information can be found here.)
Preves died at the age of ninety on June 11, 2000, following a long illness. Shortly thereafter, his family began donating materials to the Rosenthal Archives, establishing his collection of correspondence, contracts, photographs, scrapbooks, programs, and recordings. Most recently, his children donated additional photographs, mostly portraits of music directors and guest conductors, all autographed and dedicated to Preves. A sample of that collection is below.
In October 1984, on the occasion of Milton Preves’s fiftieth anniversary with the Chicago Symphony Orchestra, fellow viola Isadore Zverow (1909–1999) composed this poem to honor his colleague:
It’s no mean feat, without retreat
To hold the forte so long,
To stroke and pluck in cold and heat—
All to produce a song.
Toward music bent, with single intent,
Unyielding dedication,
You of yourself so gladly lent
Your valued perspiration.
You sat and played and marked and bowed
And sometimes e’en reproached
And sometimes we squirmed (just a bit)
We didn’t wanna be coached.
And yet whene’er the chips were down
Throughout these fifty anna,
Your steadfast presence was a crown
Aiming at Nirvana.
This article also appears here.
The Chicago Symphony Orchestra family joins the music world in mourning the loss of American cellist and teacher Lynn Harrell, who died on Monday. He was seventy-six.
“Lynn Harrell collaborated with me as a soloist in Philadelphia,” commented Riccardo Muti from his home in Italy. “He was an extraordinary musician and a man of great humanity. We will miss him!”
For fifty years, Harrell was a frequent and favorite guest with the Chicago Symphony, appearing with the Orchestra at the Ravinia Festival and in Orchestra Hall. A complete list of his appearances is below.
July 17, 1966, Ravinia Festival
MILHAUD Cello Concerto No. 1, Op. 136
Lukas Foss, conductor
June 30, 1973, Ravinia Festival
DVOŘÁK Cello Concerto in B Minor, Op. 104
James Levine, conductor
July 20, 1974, Ravinia Festival
SCHUMANN Cello Concerto in A Minor, Op. 129
James Levine, conductor
July 12, 1975, Ravinia Festival
PROKOFIEV Symphony-Concerto in E Minor, Op. 125
James Levine, conductor
April 8, 9, and 11, 1976, Orchestra Hall
BOCCHERINI Concerto for Violoncello in B-flat Major
TCHAIKOVSKY Pezzo capriccioso, Op. 62
Kirill Kondrashin, conductor
July 3, 1976, Ravinia Festival
BEETHOVEN Concerto for Violin, Cello, and Piano in C Major, Op. 56 (Triple)
Robert Mann, violin
André-Michel Schub, piano
James Levine, conductor
July 28, 1977, Ravinia Festival
HAYDN Cello Concerto No. 2 in D Major, H. VIIb:2
BRAHMS Concerto for Violin and Cello in A Minor, Op. 102 (Double)
Itzhak Perlman, violin
James Conlon, conductor
July 7, 1979, Ravinia Festival
STRAUSS Don Quixote, Op. 35
Milton Preves, viola
James Levine, conductor
July 24, 1980, Ravinia Festival
DVOŘÁK Cello Concerto in B Minor, Op. 104
James Conlon, conductor
July 3, 1981, Ravinia Festival
SAINT-SAËNS Cello Concerto No. 1 in A Minor, Op. 33
James Levine, conductor
November 26 and 27, 1982, Orchestra Hall
ELGAR Cello Concerto in E Minor, Op. 85
Varujan Kojian, conductor
July 1, 1983, Ravinia Festival
BRAHMS Concerto for Violin and Cello in A Minor, Op. 102 (Double)
Elmar Oliveira, violin
James Levine, conductor
July 20, 1985, Ravinia Festival
SCHUMANN Cello Concerto in A Minor, Op. 129
Adam Fischer, conductor
September 26, 27, and 28, 1985, Orchestra Hall
SHOSTAKOVICH Cello Concerto No. 1, Op. 107
Sir Georg Solti, conductor
June 28, 1986, Ravinia Festival
DVOŘÁK Cello Concerto in B Minor, Op. 104
BRAHMS Concerto for Violin and Cello in A Minor, Op. 102 (Double)
Shlomo Mintz, violin
James Levine, conductor
June 29, 1986, Ravinia Festival
VILLA-LOBOS Bachiana Brasileira No. 5
Kathleen Battle, soprano
James Levine, conductor
June 22 1991, Ravinia Festival
STRAUSS Don Quixote, Op. 35
Charles Pikler, viola
James Levine, conductor
July 31, 1993, Ravinia Festival
BLOCH Schelomo (Hebraic Rhapsody)
HAYDN Cello Concerto No. 1 in C Major, H. VIIb:1
Carlo Rizzi, conductor
March 5, 6, 7, and 11, 1998, Orchestra Hall
DUTILLEUX Tout un monde lointain . . .
Herbert Blomstedt, conductor
September 17, 1999, Orchestra Hall
BEETHOVEN Concerto for Violin, Cello, and Piano in C Major, Op. 56 (Triple)
Pinchas Zukerman, violin
William Eddins, piano and conductor
September 18, 1999, Orchestra Hall
SAINT-SAËNS Cello Concerto No. 1 in A Minor, Op. 33
Pinchas Zukerman, conductor
March 28, 29, 30, and April 2, 2002, Orchestra Hall
LUTOSŁAWSKI Cello Concerto
William Eddins, conductor
June 20, 2003, Ravinia Festival
BRAHMS Concerto for Violin and Cello in A Minor, Op. 102 (Double)
Nadja Salerno-Sonnenberg, violin
Marin Alsop, conductor
August 8, 2004, Ravinia Festival
DVOŘÁK Cello Concerto in B Minor, Op. 104
James Conlon, conductor
January 26, 27, and 28, 2006, Orchestra Hall
ELGAR Cello Concerto in E Minor, Op. 85
Mark Elder, conductor
July 21, 2007, Ravinia Festival
BLOCH Schelomo (Hebraic Rhapsody)
BOCCHERINI/Grützmacher Cello Concerto in B-flat Major, G. 482
Andrew Litton, conductor
August 21, 2016, Ravinia Festival
TCHAIKOVSKY Variations on a Rococo Theme in A Major, Op. 33
Itzhak Perlman, conductor
Numerous tributes have appeared online, on NPR, Gramophone, and The Dallas Morning News, among many others.
Wishing a very happy ninetieth birthday on September 8, 2019, to legendary German conductor Christoph von Dohnányi! For nearly forty-five years, he has been a frequent guest conductor with the Chicago Symphony Orchestra, both in Orchestra Hall and at the Ravinia Festival, as follows:
January 31, February 1, and 2, 1974, Orchestra Hall
BARTÓK Suite from The Miraculous Mandarin, Op. 19
SIBELIUS Violin Concerto D Minor, Op. 47
György Pauk, violin
DVOŘÁK Symphony No. 9 in E Minor, Op. 95 (From the New World)
February 7, 8, and 9, 1974, Orchestra Hall
SCHUMANN Overture, Scherzo, and Finale, Op. 52
MOZART Concerto for Two Pianos in E-flat Major, K. 365
Anthony and Joseph Paratore, pianos
LIGETI Lontano
STRAUSS Till Eulenspiegel’s Merry Pranks, Op. 28
April 5, 6, and 7, 1979, Orchestra Hall
MOZART Adagio and Fugue in C Minor, K. 546
SCHUMANN Piano Concerto in A Minor, Op. 54
Maurizio Pollini, piano
BEETHOVEN Symphony No. 8 in F Major, Op. 93
April 12, 13, and 14, 1979, Orchestra Hall
MENDELSSOHN Symphony No. 1 in C Minor, Op. 11
HENZE Symphony No. 5
SCHOENBERG Erwartung, Op. 17
Anja Silja, soprano
May 22, 23, and 24, 1980, Orchestra Hall
BARTÓK Suite from The Miraculous Mandarin, Op. 19
SCHOENBERG Six Songs with Orchestra, Op. 8
Anja Silja, soprano
SCHUMANN Symphony No. 4 in D Minor, Op. 120
March 4, 5, and 6, 1982, Orchestra Hall
RIHM Tutuguri II, Music after Artaud
HANDEL/Schoenberg Concerto for String Orchestra and Orchestra
Chicago Symphony String Quartet
Victor Aitay, violin
Edgar Muenzer, violin
Milton Preves, viola
Frank Miller, cello
SCHUMANN Symphony No. 2 in C Major, Op. 61
November 7, 8, and 9, 2002, Orchestra Hall
IVES The Unanswered Question
Craig Morris, trumpet
LUTOSŁAWSKI Concerto for Orchestra
BRAHMS Symphony No. 1 in C Minor, Op. 68
May 6, 7, and 8, 2004, Orchestra Hall
PÄRT Fratres
Yuan-Qing Yu, violin
PROKOFIEV Symphony No. 1 in D Major, Op. 25 (Classical)
MAHLER Symphony No. 1 in D Major
July 2, 2004, Ravinia Festival
MOZART Piano Concerto No. 27 in B-flat Major, K. 595
Emanuel Ax, piano
IVES Three Places in New England
SCHUMANN Symphony No. 2 in C Major, Op. 61
May 11, 12, and 13, 2006, Orchestra Hall
MOZART Symphony No. 25 in G Minor, K. 183
STRAUSS Till Eulenspiegel’s Merry Pranks, Op. 28
BRAHMS Piano Concerto No. 1 in D Minor, Op. 15
Emanuel Ax, piano
November 1, 2, 3, and 4, 2007, Orchestra Hall
SIBELIUS Violin Concerto in D Minor, Op. 47
Arabella Steinbacher, violin
BRUCKNER Symphony No. 4 in E-flat Major (Romantic)
November 19, 20, 21, and 22, 2009, Orchestra Hall
BARTÓK Divertimento for String Orchestra
MOZART Piano Concerto No. 12 in A Major, K. 414
Paul Lewis, piano
SCHUMANN Symphony No. 2 in C Major, Op. 61
July 14, 2011, Ravinia Festival
BRAHMS Symphony No. 2 in D Major, Op. 73
BRAHMS Piano Concerto No. 1 in D Minor, Op. 15
Emanuel Ax, piano
July 15, 2011, Ravinia Festival
BRAHMS Symphony No. 3 in F Major, Op. 90
BRAHMS Piano Concerto No. 2 in B-flat Major, Op. 83
Emanuel Ax, piano
July 11, 2013, Ravinia Festival
BEETHOVEN Symphony No. 3 in E-flat Major, Op. 55 (Eroica)
BEETHOVEN Piano Concerto No. 3 in C Minor, Op. 37
Emanuel Ax, piano
July 12, 2013, Ravinia Festival
BEETHOVEN Symphony No. 4 in B-flat Major, Op. 60
BEETHOVEN Piano Concerto No. 5 in E-flat Major, Op. 73 (Emperor)
Emanuel Ax, piano
May 1, 2, and 3, 2014, Orchestra Hall
LUTOSŁAWSKI Funeral Music
BEETHOVEN Piano Concerto No. 3 in C Minor, Op. 37
Paul Lewis, piano
TCHAIKOVSKY Symphony No. 6 in B Minor, Op. 74 (Pathétique)
June 9, 10, and 11, 2016, Orchestra Hall
MOZART Symphony No. 25 in G Minor, K. 183
BEETHOVEN Piano Concerto No. 2 in B-flat Major, Op. 19
Martin Helmchen, piano
MOZART Symphony No. 41 in C Major, K. 551 (Jupiter)
Happy, happy birthday!