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Wishing a very happy seventy-fifth birthday to American pianist André Watts!
Watts was born in Nuremberg, Germany, to a Hungarian mother and an African American U.S. Army soldier. His mother was his first piano teacher, and by the age of nine, he had won a competition to perform on a children’s concert with the Philadelphia Orchestra. Watts became a part of the American musical fabric when, at the age of sixteen, he appeared on a nationally televised Young People’s Concert with the New York Philharmonic on January 15, 1963, performing Liszt’s First Piano Concerto under the baton of Leonard Bernstein. Two weeks later, an ailing Glenn Gould canceled with the Philharmonic, and Bernstein invited Watts to perform the same Liszt concerto on subscription concerts on short notice. Columbia Masterworks soon recorded Watts’s interpretation, and the release The Exciting Debut of André Watts won the 1963 Grammy Award for Most Promising New Classical Recording Artist.
Watts became a student of Leon Fleisher at the Peabody Conservatory, combining his studies with a packed concert schedule that quickly included as many as 150 concerts a year. He soon made his debut with the Chicago Symphony Orchestra at the Ravinia Festival in June 1965, one day before his nineteenth birthday. Since then, Watts has been a frequent guest, appearing with the Orchestra on many occasions, as follows:
June 19, 1965, Ravinia Festival
MACDOWELL Piano Concerto No. 2 in D Minor, Op. 23
Seiji Ozawa, conductor
May 7, 8, and 9, 1970, Orchestra Hall
BRAHMS Piano Concerto No. 2 in B-flat Major
Irwin Hoffman, conductor
July 14, 1970, Ravinia Festival
BEETHOVEN Piano Concerto No. 4 in G Major, Op. 58
István Kertész, conductor
May 20, 21, and 22, 1971, Orchestra Hall
TCHAIKOVSKY Piano Concerto No. 1 in B-flat Minor, Op. 23
Henry Mazer, conductor
December 2 and 3, 1971, Orchestra Hall
MOZART Piano Concerto No. 24 in C Minor, K. 491
Carlo Maria Giulini, conductor
July 18, 1972, Ravinia Festival
TCHAIKOVSKY Piano Concerto No. 1 in B-flat Minor, Op. 23
Seiji Ozawa, conductor
July 3, 1974, Ravinia Festival
BEETHOVEN Piano Concerto No. 5 in E-flat Major, Op. 73 (Emperor)
James Levine, conductor
August 3, 1975, Ravinia Festival
TCHAIKOVSKY Piano Concerto No. 1 in B-flat Minor, Op. 23
Lawrence Foster, conductor
July 15, 1976, Ravinia Festival
MACDOWELL Piano Concerto No. 2 in D Minor, Op. 23
James Levine, conductor
July 7, 1977, Ravinia Festival
FRANCK Symphonic Variations
LISZT Totentanz
James Levine, conductor
May 31 and June 1, 1979, Orchestra Hall
BRAHMS Concerto for Piano No. 2 in B-flat Major, Op. 83
Sir Georg Solti, conductor
July 7, 1979, Ravinia Festival
RACHMANINOV Piano Concerto No. 2 in C Minor, Op. 18
James Levine, conductor
July 11, 1980, Ravinia Festival
FRANCK Symphonic Variations
SAINT-SAËNS Piano Concerto No. 2 in G Minor, Op. 22
James Levine, conductor
June 28, 1981, Ravinia Festival
BEETHOVEN Piano Concerto No. 5 in E-flat Major, Op. 73 (Emperor)
James Levine, conductor
August 7, 1982, Ravinia Festival
TCHAIKOVSKY Piano Concerto No. 1 in B-flat Minor, Op. 23
Maxim Shostakovich, conductor
July 13, 1984, Ravinia Festival
BEETHOVEN Piano Concerto No. 4 in G Major, Op. 58
James Levine, conductor
July 12, 1985, Ravinia Festival
RACHMANINOV Piano Concerto No. 2 in C Minor, Op. 18
James Levine, conductor
January 23, 24, and 26, 1986, Orchestra Hall
LISZT Piano Concerto No. 1 in E-flat Major
LISZT Totentanz
Sir Georg Solti, conductor
July 11, 1986, Ravinia Festival
SAINT-SAËNS Piano Concerto No. 2 in G Minor, Op. 22
James Levine, conductor
August 15, 1987, Ravinia Festival
BRAHMS Piano Concerto No. 2 in B-flat Major, Op. 83
George Cleve, conductor
July 2, 1989, Ravinia Festival
SAINT-SAËNS Piano Concerto No. 2 in G Minor, Op. 22
James Levine, conductor
July 20, 1991, Ravinia Festival
BEETHOVEN Piano Concerto No. 5 in E-flat Major, Op. 73 (Emperor)
Gennady Rozhdestvensky, conductor
July 17, 1992, Ravinia Festival
LISZT Piano Concerto No. 2 in A Major
James Conlon, conductor
February 25, 26, 27, and 28, 1993, Orchestra Hall
MENDELSSOHN Piano Concerto No. 1 in G Minor, Op. 25
David Loebel, conductor
July 23, 1993, Ravinia Festival
BRAHMS Piano Concerto No. 2 in B-flat Major, Op. 83
John Nelson, conductor
November 1, 1993, Orchestra Hall
RACHMANINOV Piano Concerto No. 2 in C Minor, Op. 18
Gerhardt Zimmermann, conductor
August 6, 1994, Ravinia Festival
TCHAIKOVSKY Piano Concerto No. 1 in B-flat Minor, Op. 23
Riccardo Chailly, conductor
June 30, 1995, Ravinia Festival
BEETHOVEN Piano Concerto No. 5 in E-flat Major, Op. 73 (Emperor)
Christoph Eschenbach, conductor
January 24 and 25, 1996, Orchestra Hall
LISZT Piano Concerto No. 2 in A Major
LISZT Totentanz
Daniel Barenboim, conductor
January 26, 1996, Orchestra Hall
LISZT Piano Concerto No. 1 in E-flat Major
LISZT Totentanz
Daniel Barenboim, conductor
January 27, 1996, Orchestra Hall
LISZT Piano Concerto No. 1 in E-flat Major
Daniel Barenboim, conductor
July 2, 1996, Ravinia Festival
BRAHMS Piano Concerto No. 1 in D Minor, Op. 15
MACDOWELL Piano Concerto No. 2 in D Minor, Op. 23
LUTOSŁAWSKI Variations on a Theme by Paganini
Hermann Michael, conductor
August 1, 1997, Ravinia Festival
RACHMANINOV Piano Concerto No. 2 in C Minor, Op. 18
Christoph Eschenbach, conductor
May 14, 15, 16, and 19, 1998, Orchestra Hall
BRAHMS Piano Concerto No. 2 in B-flat Major, Op. 83
Franz Welser-Möst, conductor
August 14, 1998, Ravinia Festival
FRANCK Symphonic Variations
SAINT-SAËNS Piano Concerto No. 2 in G Minor, Op. 22
Christoph Eschenbach, conductor
July 16, 1999, Ravinia Festival
BEETHOVEN Piano Concerto No. 4 in G Major, Op. 58
Claus Peter Flor, conductor
November 2, 1999, Orchestra Hall
TCHAIKOVSKY Piano Concerto No. 1 in B-flat Minor, Op. 23
William Eddins, conductor
January 11, 2000, Orchestra Hall
BRAHMS Piano Concerto No. 1 in D Minor, Op. 15
BRAHMS Piano Concerto No. 2 in B-flat Major, Op. 83
Daniel Barenboim, conductor
August 4, 2000, Ravinia Festival
LISZT Piano Concerto No. 1 in E-flat Major
Roberto Abbado, conductor
April 19, 20, and 21, 2001, Orchestra Hall
LISZT Piano Concerto No. 2 in A Major
Daniel Barenboim, conductor
July 1, 2001, Ravinia Festival
SCHUBERT/Stein Fantasy in F Minor, D. 940
LISZT Totentanz
Christoph Eschenbach, conductor
July 29, 2005, Ravinia Festival
BEETHOVEN Piano Concerto No. 3 in C Minor, Op. 37
Leonard Slatkin, conductor
August 5, 2007, Ravinia Festival
BEETHOVEN Piano Concerto No. 4 in G Major, Op. 58
James Conlon, conductor
July 8, 2011, Ravinia Festival
LISZT Piano Concerto No. 2 in A Major
Christoph Eschenbach, conductor
Happy, happy birthday!
Robert Rada at the CSO Alumni Association reunion, November 30, 2012 (Dan Rest photo)
The Chicago Symphony mourns the loss of Robert Rada, a member of the Orchestra’s trombone section from 1954 until 1957. He died in Hilton Head, South Carolina on February 17, 2019, at the age of 88.
Born on the south side of Chicago on August 14, 1930, Rada began playing the cornet in grade school, later adding the trombone in high school at the Farragut Career Academy. He performed with the Youth Orchestra of Greater Chicago and studied with Chicago Symphony Orchestra members David Anderson (trombone, 1929-1955) and Arnold Jacobs (principal tuba, 1944-1988). While attending the University of Chicago and Chicago Musical College, Rada was a member of the Civic Orchestra of Chicago from 1948 until 1950.
During the summer of 1950, Rada was a member of the Denver Symphony Orchestra, performing on several occasions under the baton of Igor Stravinsky. Later that same year through the fall of 1954, Rada attended the United States Military Academy as a member of the West Point Band. While at West Point, he studied with Neal DiBiase, principal trombone of the NBC Symphony Orchestra, and he also performed as an extra with the ensemble on two occasions under the baton of Arturo Toscanini. During his years at the academy, Rada met his soon-to-be wife Lindsley Burnham, and he also developed a strong interest in aviation.
In 1954, Rada was invited by Fritz Reiner to join the Chicago Symphony Orchestra, where he would serve through the 1956-57 season. His love of airplanes eventually led him to start his own aviation company, in which he sold corporate business jets. Rada occasionally subbed with the Philadelphia Orchestra and performed with the Kennett Symphony in Pennsylvania, and later he also was a member of the Hilton Head Orchestra. He was a longtime member of the Chicago Symphony Orchestra Alumni Association.
When interviewed for the Rosenthal Archives’s oral history project in 1995, Rada reflected on his years in the Orchestra under Reiner: “He made phenomenal music and he did it in a demanding way. He may have ruled with fear, but he produced a quality of music that I have never experienced before or since.”
Rada is survived by his wife of nearly sixty-four years, Lindsley; his three children; David (Sally), Paul (Anna) and Gretchen Willingham (John); and six grandchildren, Pamela, Michael, Molly, Madison, Sawyer, and Payton. A memorial service will be given on March 9, 2019, at the TidePointe Clubhouse (arrangements through Island Funeral Home and Crematory). An obituary also is posted here.
Step into Your Place, David Allen & Sons, England, 1915
The recruitment poster at left, from the Pritzker Military Museum & Library collections, shows men in civilian attire falling into formation, joining ranks of soldiers marching into the distance.
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Walter Guetter and Wendell Hoss
Bassoon Walter Guetter (1895–1937) was hired by Frederick Stock in 1915, after auditioning at Willow Grove Park, where the Chicago Symphony Orchestra regularly performed summer concerts. He was promoted to principal bassoon during his second season and temporarily left the Orchestra in 1918 to serve in the U.S. Navy at the Great Lakes Naval Training Station. After the war, Guetter returned to the principal chair through 1922 until he was invited by Leopold Stokowski to join the Philadelphia Orchestra, also as principal bassoon.
Wendell Hoss (1892–1980) joined the Chicago Symphony Orchestra’s horn section in June 1917 for the Ravinia Park and subsequent downtown seasons, and he joined the U.S. Navy the following summer, serving at the Great Lakes Naval Training Station. After his year in the Navy, Hoss played in the Los Angeles Symphony Orchestra and the Cleveland Orchestra before returning to Chicago for one season as principal horn in 1922–23. He later taught at the Eastman School of Music, performed in the Disney recording studios, and was a co-founder of the International Horn Society.
Otto, Edward, and Henri Hyna
Czechoslovakia native Otto Hyna (1886–1951) emigrated to the U.S. in 1904 and later served in the National Guard as a member of the First Wisconsin Regiment of Field Artillery in 1917. Following his military service, he was principal bass of the Minneapolis Symphony Orchestra from 1921 until 1923. Hyna joined the Chicago Symphony Orchestra’s bass section in 1930, where he remained until 1950. Otto’s brothers Edward and Henri also were members of the Orchestra’s string section. Edward (1897–1958) served as a violinist from 1929 until 1943, and Henri (1901–1955) also was a violinist from 1928 until 1932.
For the final concert of the 1917–18 season, Frederick Stock opened the concert with America and closed with his Festival March and The Star-Spangled Banner. A new stage decoration recognized musicians serving the U.S. military. The article is here.
Fort Sheridan Water Tower in 1898 (Detroit Photographic Company image)
Frederick Stock led the Orchestra in a concert at Fort Sheridan on October 21, 1917. According to the Chicago Tribune, Company 21 celebrated after the concert with a dinner that included: “Turkey à la Cook (in honor of company commander Captain Louis H. Cook), oyster dressing à la Smith (in honor of company instructor Captain Horace Smith), first platoon gravy, Murphys [potatoes] à la pick and shovel, shrapnel peas, dugout olives, bayonet celery, grenade cranberry sauce, trench coffee, [and] periscope pie . . .” The article is here.
During the 1919–20 season, Frederick Stock inaugurated three major initiatives to cultivate future generations of musicians and concertgoers: a regular series of Children’s Concerts, Youth Auditions, and the Civic Music Student Orchestra.
Chicago Tribune, January 30, 1920
One of the goals of the Civic Orchestra was “to reduce the dependence of this country upon European sources of supply for trained orchestral musicians” as well as to function as a reserve of talent from which to draw into the Chicago Symphony Orchestra. The article is here.
First Civic Orchestra Program, March 29, 1920
Five hundred young musicians auditioned in January 1920, eighty-six were accepted, and the first rehearsal was held in Orchestra Hall on January 27.
Stock and the Civic Orchestra in March 1920
The ensemble made its debut on March 29, 1920, and the roster included future Chicago Symphony Orchestra members (including John Weicher, who became concertmaster in 1937). Frederick Stock, Eric DeLamarter, and George Dasch (also a member of the Orchestra’s violin and viola sections from 1898 until 1923) shared conducting duties, leading works by Halvorsen’s Triumphal Entry of the Boyards, Godard’s Adagio pathétique, Tchaikovsky’s Fifth Symphony, Grieg’s Suite no. 1 from Peer Gynt, Keller’s Souvenir and Valse, and one of Elgar’s Pomp and Circumstance marches.
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A Time for Reflection—A Message of Peace—a companion exhibit curated by the Rosenthal Archives of the Chicago Symphony Orchestra in collaboration with the Pritzker Military Museum & Library—will be on display in Symphony Center’s first-floor rotunda from October 2 through November 18, and the content also will be presented on CSO Sounds & Stories and the From the Archives blog.
This article also appears here. For event listings, please visit cso.org/armistice.
This exhibit is presented with the generous support of COL (IL) Jennifer N. Pritzker, IL ARNG (Retired), Founder and Chair, Pritzker Military Museum & Library, through the Pritzker Military Foundation.
Additional thanks to Shawn Sheehy and Jenna Harmon, along with the Arts Club of Chicago, Newberry Library, Poetry Foundation, and Ravinia Festival Association.
In the spring of 1976, the major American political parties had not yet hosted their conventions to nominate candidates for president. But on May 11—the day after the first of three concerts at Carnegie Hall by the Chicago Symphony Orchestra and Sir Georg Solti—Donal Henahan of The New York Times had a suggestion:
“Solti’s Chicagoans Stimulate a Yen to Yell”
It is pretty well agreed now, among decibel collectors, that the audiences at Chicago Symphony concerts make more noise than anybody. If you happen to pass Carnegie Hall tomorrow or Friday night and notice that sturdy old monument rocking slightly on its foundations, do not worry: It is only the Chicago orchestra’s fans going happily mad over a performance conducted by Sir Georg Solti. (Don’t run out to buy tickets, by the way; Chicago Symphony concerts are invariably sold out as soon as they are announced.)
The sheer fervor, somewhat resembling religious fanaticism, that characterizes the New York ovations for Chicago/Solti, is a phenomenon worth some sociologist’s study. Of course, the Chicago Symphony is one of the world’s great orchestras, and Sir Georg is undeniably one of the world’s most exciting conductors. The cheering is, therefore, aimed at real quality.
But the Dionysian frenzy that many observers have commented upon goes beyond ordinary enthusiasm into the category of the demonstration. Chicago players and Sir Georg himself have confessed that the intensity of these ovations in New York takes them aback. Thoughtful musicians cross their fingers, in fact. They have seen reputations rise and fall, for what seems too little reason either way, and know how capricious and irrational audiences can be.
The Chicago/Solti phenomenon has been compared to the cult that grew up around Toscanini and his NBC Symphony a generation ago, to the Stokowski fan clubs of his Philadelphia Orchestra years and to the von Karajan mystique in some sectors of the musical world today. Unsophisticated music listeners, with the help of judicious publicity agents, love to fasten upon an idol, to proclaim this or that artist “the greatest” and fall prostrate at mention of the holy name. Other and wiser folk simply like to cheer what they regard as the best. Cheering is an emotional purgative, a primal scream that often seems to do the screamer more good than the
The New York Times, May 11, 1976
Beyond the obvious fact of its lofty quality, there are several arguable rationalizations for the kind of hysteria regularly generated by the Chicago under Sir Georg. When the orchestra made its first Carnegie Hall appearances under him six years ago, many knowledgeable New Yorkers were simply flattened by what they heard. The Chicago Symphony—unlike the Cleveland under Szell, the Boston under Leinsdorf, the Philadelphia under Ormandy—had not been a regular visitor.
Fritz Reiner, who built the orchestra to its current level in the late 1950s, hated touring. He refused to do the kind of barnstorming to high prestige places that would have made the Chicago Symphony’s greatness apparent to more than the blessed few who heard it regularly in its own Orchestra Hall during Dr. Reiner’s ten‐year regime.
The fact, which Sir Georg readily admits, is that the Chicago Symphony as it stands (or sits) is largely the product of the Reiner years. The Solti genius has consisted in making splendid use of a ready‐made instrument. Not the least amazing thing about the Chicago’s current status as a symbol of excellence is that of all major American orchestras it is the oldest: Most of the players date back to the Reiner years before.
Another possible factor in the Chicago’s popularity is the high percentage of opera fans who frequent these concerts. One of Sir Georg’s first smash successes at Carnegie came in 1971 with a concert performance of Wagner’s Das Rheingold, and he subsequently offered four other operatic attractions. His sixth, on Friday night, will be The Flying Dutchman.
Sir Georg, you remember, had been artistic director of London’s Covent Garden opera house, and his renown as an opera conductor fattened considerably when he completed the first Ring cycle ever produced on commercially available recordings, for London Records. And, since opera enthusiasts on the whole are famous—or notorious, as you wish—for treating their heroes and heroines to hysterical ovations, Chicago/Solti has not suffered from being attractive to the opera set.
Another and probably more disputable conjecture: there existed in New York at the time of the Chicago/Solti arrival on the scene, a considerable number of people who yearned to hear concerts led by an unashamedly passionate “maestro,” preferably someone cast in the Toscanini mold. To some extent, Leonard Bernstein in his early years with the Philharmonic fulfilled the needs of this sizable and vocal constituency.
But when Pierre Boulez took charge of the Philharmonic these New Yorkers missed their former feeling of audience participation. They came to regard themselves as disenfranchised musical citizens. Mr. Boulez seemed to them more acoustical scientist than performer, and his analytical talents and objective approach to music were largely unappreciated. For this emotional breed of listener, the coming of Chicago/Solti offered a chance not merely to applaud but also—almost in the political sense of the word—to demonstrate. It was as if they were sending a message.
The yen to yell can come to be as important to certain audiences as the music itself. Opera fans, in particular, seem to regard their demonstrations of affection and approbation as part of the performance, and that can be obnoxious when carried too far. But any continuing audience, such as the one attracted by the Chicago/Solti concerts, is also acting out a communal claim to eliteness. It is proclaiming its own superior taste and knowledge, as well as showing the performers how much they are appreciated: We happy few who know what’s what, we proud melomaniacs, we who make (and can easily break) heroes, salute.
In any event, the Chicago Solti ovations are likely to go down among the legends of New York’s cultural life. And perhaps the explanation is simpler than suggested here. When the inevitable ranting and raving is heard at Carnegie Hall, it may merely be one sector of the musical electorate voting for its concept of what orchestral concerts should be. The Chicago Symphony for President, as it were. Well, we could do worse.
The 1976 U.S. presidential election was held on November 2, 1976. Georgia governor Jimmy Carter, the Democratic party candidate, ran against and defeated incumbent president Gerald Ford, the Republican candidate.
On June 11, 2015, we celebrate the centennial of Arnold Jacobs, former longtime principal tuba of the Chicago Symphony Orchestra.
Jacobs was born in Philadelphia and was raised in California. The product of a musical family, he credited his mother, a keyboard artist, for his original inspiration in music and spent a good part of his youth progressing from bugle to trumpet to trombone and finally to tuba. Jacobs entered Philadelphia’s Curtis Institute of Music as a fifteen-year-old on scholarship, where he studied with Philip Donatelli and Fritz Reiner.
After his graduation from Curtis in 1936, Jacobs played two seasons in the Indianapolis Symphony Orchestra under Fabien Sevitsky. From 1939 to 1944 he was the tubist of the Pittsburgh Symphony Orchestra under Reiner. In 1941 Jacobs toured the country with Leopold Stokowski and the All-American Youth Orchestra.
At the invitation of music director Désiré Defauw, he joined the Chicago Symphony Orchestra in 1944 and remained a member until his retirement in 1988. He appeared as soloist with the Orchestra on numerous occasions, recording Vaughan Williams’s Tuba Concerto in 1977 for Deutsche Grammophon with Daniel Barenboim conducting (re-released in 2003 on The Chicago Principal). Jacobs also was a founding member of the Chicago Symphony Brass Quintet, and along with his CSO colleagues, was part of the famous 1968 recording of The Antiphonal Music of Gabrieli with members of the Philadelphia and Cleveland orchestras.
Sir Georg Solti congratulates Jacobs following his retirement ceremony on September 29, 1988
Internationally recognized as an educator, Jacobs taught tuba at Northwestern University for more than twenty years and gave master classes and lectured at clinics all over the world. He was especially known for his ability to motivate and inspire not only brass but also woodwind players and singers by teaching new breathing techniques, and many considered him the greatest tubist in the world.
Arnold Jacobs: The Legacy of a Master, a series of writings collected by M. Dee Stewart, was published in 1987 by The Instrumentalist Publishing Company, and Arnold Jacobs: Song and Wind, by his assistant Brian Frederiksen, was published in 1996 by WindSong Press.
Jacobs’s honors included the highest award from the second International Brass Congress in 1984 and honorary doctor of music degrees from VanderCook College of Music and DePaul University. In 1994 the Chicago Federation of Musicians awarded him for Lifetime Achievement at the first Living Art of Music Award Ceremony. Mayor Richard M. Daley proclaimed June 25, 1995, “Arnold Jacobs Day in Chicago” as part of the celebration of his eightieth birthday. Along with Gizella, his wife of over sixty years, he was an active member of the Chicago Symphony Orchestra Alumni Association. Jacobs last appeared onstage at Orchestra Hall on June 7, 1998, appearing with members of the Chicago Symphony Orchestra and guests, at a special concert celebrating the fiftieth anniversary of principal trumpet Adolph Herseth.
Jacobs died on October 7, 1998, at the age of 83, and on December 17, a special memorial program was given at Orchestra Hall. Performers included current and former members of the Chicago Symphony Orchestra along with brass players from the Lyric Opera of Chicago Orchestra, Northwestern University, DePaul University, Roosevelt University, and the VanderCook College of Music, all led by Daniel Barenboim.
In May 2001, the Chicago Symphony Orchestra Association announced that its principal tuba chair had been generously endowed in honor of Jacobs. The Arnold Jacobs Chair, endowed by Christine Querfeld, currently is occupied by Gene Pokorny.
Last evening we received word that William Schoen, a longtime member of the Chicago Symphony Orchestra’s viola section from 1964 until 1996, passed away yesterday, July 21, following a brief illness. He was 94.
Before coming to Chicago, Schoen served as principal viola of the Philadelphia Orchestra and was soloist with that ensemble under the baton of Eugene Ormandy. In 1964 he was invited by CSO music director Jean Martinon to be the Orchestra’s assistant principal viola, a post he held for twenty-four years. In 1988, he became assistant principal emeritus and served in that capacity until his retirement in 1996. Schoen made his debut as soloist with the CSO under Antonio Janigro, and also made solo appearances with maestros Martinon and James Levine.
Born in Czechoslovakia of Hungarian parents and raised in Cleveland, William Schoen received his bachelor of music degree from the Eastman School of Music. He was chosen by Leopold Stokowski to tour with the All-American Youth Orchestra and during the Second World War he served as a member of the United States Marine Band and Orchestra, was featured as a concerto soloist, and appeared numerous times with ensembles for Presidents Roosevelt and Truman at The White House. After the war he was solo viola of the Columbia Broadcasting System in New York for eight years. While in New York, Schoen was a member of the Guilet and Claremont string quartets, with which he toured and made many recordings.
Schoen received his master of music degree from Chicago Musical College of Roosevelt University and later also served as a member of the faculty and a member of the Roosevelt Trio. In 1991, he was invited to be a recitalist and lecturer at the International Viola Congress in Ithaca, New York.
An active chamber musician, he performed with many of his CSO colleagues, frequently as a member of the Chicago Symphony String Trio. Schoen was a founding member of the Chicago Arts Quartet, which in addition to performances at the Bruckner Festival in Linz, Austria and at the Tokyo School of Music, the quartet gave many college concerts, appeared on the CSO’s Chamber Music Series, and was featured on WFMT radio broadcasts. As a member of Indiana University’s Berkshire Quartet, he performed at Music Mountain in Falls Village, Connecticut for several summers, and he also was a participant at the Marlboro Festival in Vermont.
Schoen and his wife Mona Reisman Schoen, a former member of the Lyric Opera Orchestra, performed in duo concerts, as soloists with orchestra, at university concerts, and at the Frank Lloyd Wright estates in Wisconsin and Arizona. In their retirement, the Schoens were active members of the CSO Alumni Association, and in 1998, the Chicago Viola Society awarded William Schoen their lifetime achievement award.
He is survived by his beloved wife Mona. Funeral services will be held this Thursday, July 24, at noon at Anshe Emet Synagogue, 3751 North Broadway in Chicago. Interment will be at Memorial Park Cemetery, 9900 Gross Point Road in Skokie immediately following.
An obituary was posted to the Chicago Tribune website on July 22, 2014.
from the archives 