You are currently browsing the tag archive for the ‘Rafael Kubelík’ tag.
Ruggiero Ricci in Prague in 1958 (CTK/Alamy photo)
On July 24, 2018, we celebrate the centennial of the birth of the remarkable American violinist Ruggiero Ricci (1918-2012), a frequent soloist with the Chicago Symphony Orchestra.
A student of Louis Persinger, Ricci played his first solo recital at Carnegie Hall at the age of eleven and was a noted interpreter of Paganini. A celebrated teacher himself, Ricci also taught at the universities of Michigan and Indiana, the Juilliard School, and Salzburg Mozarteum.
Between 1951 and 1972, Ricci appeared with the Orchestra on numerous occasions in Orchestra Hall, at the Ravinia Festival, and in Milwaukee, and a complete list of his appearances is below (all concerts in Orchestra Hall unless otherwise noted):
November 8 and 9, 1951
MOZART Violin Concerto No. 4 in D Major, K. 218
Rafael Kubelík, conductor
August 5, 1954, Ravinia Festival
PAGANINI Violin Concerto No. 1 in D Major, Op. 6
Georg Solti, conductor
August 7, 1954, Ravinia Festival
BRAHMS Concerto for Vioin and Cello in A Minor, Op. 102 (Double)
Paul Tortelier, cello
Georg Solti, conductor
July 5, 1962, Ravinia Festival
MOZART Violin Concerto No. 5 in A Major, Op. 47
STRAVINSKY Violin Concerto in D
Walter Hendl, conductor
Ruggiero Ricci in 1965 (Getty Images)
December 19 and 20, 1963
GINASTERA Violin Concerto, Op. 30
Walter Hendl, conductor
December 21, 1963
PAGANINI Violin Concerto No. 1 in D Major, Op. 6
Walter Hendl, conductor
June 30, 1964, Ravinia Festival
SIBELIUS Violin Concerto in D Minor, Op. 47
Seiji Ozawa, conductor
July 2, 1964, Ravinia Festival
LALO Symphonie espagnole in D Minor, Op. 21
André Previn, conductor
February 27, 1971
GLAZUNOV Violin Concerto in A Minor, Op. 82
WIENIAWSKI Violin Concerto No. 2 in D Minor, Op. 22
Irwin Hoffman, conductor
January 6 and 7, 1972
January 10, 1972 (Pabst Theater, Milwaukee)
PROKOFIEV Violin Concerto No. 2 in G Minor, Op. 63
John Pritchard, conductor
On July 18, 2018, Riccardo Muti led the Orchestra Giovanile Luigi Cherubini in a concert at the Ravenna Festival, in tribute to Ricci’s centennial. The program included Rossini’s Overture to Il viaggio a Reims, Beethoven’s Seventh Symphony, and Paganini’s Violin Concerto no. 4 in D minor, featuring Wilfried Hedenborg—a violinist with the Vienna Philharmonic for almost three decades and a student of Ricci’s at the Mozarteum in Salzburg in 1989—as soloist.
Advertisements
The Chicago Symphony Orchestra’s first performances of Mahler’s Ninth Symphony were given on April 6 and 7, 1950, in Orchestra Hall under the baton of guest conductor George Szell. Since then, the work has been led by music directors Rafael Kubelík, Sir Georg Solti, and Daniel Barenboim; principal conductor Bernard Haitink; principal guest conductors Carlo Maria Giulini and Pierre Boulez; and Ravinia Festival music directors James Levine and James Conlon; along with guest conductors Sir John Barbirolli, Lawrence Foster, Michiyoshi Inoue, Hans Rosbaud, and Michael Tilson Thomas.
The Orchestra has recorded the work on three notable occasions, as follows.
Carlo Maria Giulini, the Orchestra’s first principal guest conductor, led Mahler’s Ninth Symphony in December 1971 and March 1975 before returning in April 1976 to perform and record the work. Following the first concert of that residency, Karen Monson in the Chicago Daily News wrote that “each time the aristocratic maestro meets the transcendent symphony, the relationship becomes more and more special, Giulini and the Orchestra have delved into the deepest secrets of this music, and Thursday evening they delivered a performance so rich and complete . . .”
In the Chicago Tribune, Thomas Willis called the performance “one of Giulini’s great nights in Orchestra Hall.” Recording sessions were scheduled for the following week, and “by the time the tape is rolling, this could be the most heartfelt and compelling recorded version of Mahler’s grief-stricken penultimate symphony. . . . The Chicago Symphony players will take any risks for Giulini. If he wishes them to play softer than soft, applying bow to string, or breath to mouthpiece or reed, they proceed to just this side of bobble or discomfiting silence. . . . No other guest has such control over orchestral color and emotional variation.”
Deutsche Grammophon was on hand on April 5 and 6, 1976, to record the symphony in Medinah Temple. Günther Breest was the executive producer and Klaus Scheibe the recording engineer. The release won the 1977 Grammy Award for Best Classical Orchestral Performance from the National Academy of Recording Arts and Sciences.
Eighth music director Sir Georg Solti first led the Orchestra in Mahler’s symphony at Orchestra Hall and Carnegie Hall in April 1981 before taking it on the road to Lucerne, Paris, Amsterdam, and London later that year. Back in Chicago, Solti led a concert performance (benefiting the musicians’ pension fund) on April 28, 1982, and recorded the symphony on May 2 and 4 in Orchestra Hall.
Reviewing in Gramophone magazine, Richard Osborne noted: “When Solti conducted Mahler’s Ninth Symphony in London in the autumn of 1981 the critic of The Financial Times observed: ‘Solti obviously knew how this music should gobut not why.’ Such a reading would be an evident act of self-parody, for it is to this very theme—the modern world’s nightmarish preoccupation with sensation, spiraling, self-referring and impossible to assuage—that Mahler so fearlessly addresses himself in the symphony’s third movement, the Rondo Burleske. It’s clear, though, from the present recording, made in Orchestra Hall, Chicago in May 1982, that Solti’s sense of the music is a good deal more rooted than it appeared to be amid the unsettling razzmatazz of an end-of-tour London performance.
“The new performance has a measure of repose about it as well as much splendour. The second movement is robust and resilient as Mahler directs. There is defiance and obstinacy in the third movement, an awful power which illuminates the music rather than the orchestra’s known expertise.”
James Mallinson produced the recording, and James Lock was the engineer for London Records. The recording won 1983 Grammy awards for Best Orchestral Recording, Best Engineered Recording—Classical, and Best Classical Album.
Soon after being named as the Orchestra’s third principal guest conductor, Pierre Boulez was in Chicago to lead four performances of Mahler’s Ninth in November December 1995.
In the Chicago Sun-Times, Wynne Delacoma wrote that Boulez led “one of classical music’s most profound meditations on relentless death and tumultuous life” as a “study in musical clarity, elegant balances, and proportion. . . . Many conductors play up the contrasts, creating dramatic mood shifts. Boulez and the CSO were after something more subtle.” John von Rhein in the Chicago Tribune added that Boulez “[filtered] the work through his own modernist sensibility. Granted, there are ambiguities and uncertainties in this symphony that resist so rational an approach. But there are also levels of purely musical meaning few other conductors have uncovered. The otherworldly stillnesses, the demonic humor, the desolate nostalgia, the strange lapses into folkish banality registered that much more strongly because the hand organizing them was so calm and precise. . . . Let us hope the studio sessions capture in full the splendor of the live performances.”
For Deutsche Grammophon, the work was recorded at Medinah Temple on December 2 and 4, 1995. Roger Wright was the executive producer, Karl-August Naegler recording producer and editor, Ulrich Vette was the balance engineer, and Jobst Eberhardt and Stephan Flock were recording engineers. The release won the 1998 Grammy Award for Best Orchestral Performance.
Wishing a very happy birthday to our friends at the New York Philharmonic, as today they celebrate the 175th anniversary of their very first concert, given on December 7, 1842!
March 24, 1912
It would be nearly seventy years before the Philharmonic made their debut in Chicago, on March 24, 1912, in Orchestra Hall. That concert was led by their new music director Josef Stránský (who had succeeded Gustav Mahler the year before) and the program was as follows:
WEBER Overture to Der Freischütz
MENDELSSOHN Violin Concerto in E Minor, Op. 64
Jan Kubelík, violin
LISZT Tasso, Symphonic Poem No. 2
SAINT SAËNS Introduction and Rondo capriccioso, Op. 28
Jan Kubelík, violin
DVOŘÁK Symphony No. 9 in E Minor, Op. 95 (From the New World)
An image of the program—courtesy of the New York Philharmonic’s Leon Levy Digital Archives—can be found here.
“Interest in the New York Philharmonic Society’s first Chicago concert was so great that Orchestra Hall was sold out yesterday afternoon [with patrons] curious to hear America’s oldest orchestra . . .” wrote Glenn Dillard Gunn in the Chicago Daily Tribune. “Conductor Stránský is a man of force and originality, as his interpretations of the Freischütz Overture, Liszt’s symphonic poem Tasso, and The New World Symphony of Dvořák abundantly demonstrated. . . . It was in the scherzo and finale of the symphony, however, that he achieved his most impressive results. He brought to light a wealth of contrapuntal interest not discovered by other interpreters of the symphony, yet supported them with an unfailing clarity and grace in the presentation of the dominant melodic line and with qualities of rhythmical life and accent . . .”
Regarding the violin soloist Jan Kubelík (and father of future Chicago Symphony Orchestra music director Rafael), Gunn added, “the Bohemian violinist played with his wonted certainty and purity of tone and intonation and with something more than his usual measure of conviction.”
This past February, the Chicago Symphony Orchestra helped both the Vienna and New York philharmonics launch the celebration of their joint 175th anniversaries by loaning the manuscript score of Richard Strauss’s Symphony no. 2 in F minor (from the Theodore Thomas Collection in the Rosenthal Archives) for an exhibit. Details of that collaboration are here and here, and a virtual tour of the exhibit is here.
Happy, happy birthday!
The Chicago Symphony Orchestra family notes with sorrow the passing of Rudolph “Rudy” Nashan, a member of the trumpet section from 1950 until 1963. He died on August 9, 2017, at the age of 94.
The Chicago Symphony Orchestra trumpet section in the fall of 1950: left to right, Renold Schilke, Gerald Huffman, Rudolph Nashan, and Adolph Herseth
Nashan was born in Münster, Germany on July 25, 1923, and the family soon immigrated to the United States, settling in Chicago. He began playing the trumpet in elementary school and continued lessons while attending Lane Tech. Nashan was a member of the Civic Orchestra of Chicago from 1941 until 1943, and following the outbreak of World War II, in 1942 he joined the U.S. Army, serving in a military band in Skokie, Illinois. During his service, he worked not only as a trumpeter but also as a translator for incoming German war prisoners who had been transported to the United States as farm laborers from South Africa.
After the war, Nashan attended the New England Conservatory of Music and studied with Georges C. Mager, then principal trumpet of the Boston Symphony Orchestra. Shortly after receiving his performer’s certificate, new music director Rafael Kubelík invited him to join the Chicago Symphony Orchestra as second trumpet, where he served for ten years, moving to fourth trumpet in 1960.
As a tireless advocate for the rights of musicians, in 1962 Nashan was one of the founding members of the International Conference of Symphony and Opera Musicians. He resigned his post with the Chicago Symphony Orchestra in 1963 when he was elected vice president of the Chicago Federation of Musicians, where he was instrumental in completing the merger of the segregated Chicago locals.
Nashan later worked as an artist representative for the National Endowment for the Arts for the New England area and also served as principal trumpet and personnel manager of the Syracuse Symphony Orchestra. Upon his retirement, he and his wife Catherine moved to Belfast, Maine, where he taught several young trumpeters privately and at local colleges. Nashan was a longtime member of the Chicago Symphony Orchestra Alumni Association.
His first wife Catherine preceded him in death. Nashan is survived by his second wife Patricia and two children from his first marriage, Rebecca Devereaux and Georges Nashan. Service details are pending.
In 2012, ICSOM held its fiftieth anniversary meeting in Chicago and to commemorate the event, a documentary was produced. Nashan was one of several Chicago Symphony Orchestra musicians prominently featured in the film, offering first-hand accounts of working conditions in orchestras in the early years.
Chicago Daily News, November 19, 1931
Chicago audiences were first introduced to music from Bedřich Smetana’s Má vlast by the Chicago Orchestra’s founder and first music director Theodore Thomas: Vltava in January 1894, Šárka in October 1895, and Vyšehrad in April 1896. Thomas and his successor Frederick Stock regularly included these three symphonic poems on their concerts, but it wasn’t until the Orchestra’s forty-first season that Stock programmed the complete cycle, for a special concert on November 18, 1931, honoring Chicago’s rich Czech heritage.
On November 15, Edward Moore, writing for the Chicago Tribune, happily reported that he was able to hear the work a few days before the performance. The headline read, “Records give preview of new musical event: Critic hears Smetana’s music, Má vlast, on phonographic disks.” Moore wrote that courtesy of Dr. J.E.S. Vojan, president of the Bohemian Arts Club of Chicago (which would sponsor the concert), “through the medium of disk and needle, I have been enabled to hear it in advance of the concert audience.”
Title page of the score to Šárka used by Thomas and Stock
Title page of the score to Vyšehrad used by Thomas and Stock
(The recording most likely was the one made by the Czech Philharmonic in 1929, under the baton of its chief conductor Václav Talich, who later taught Karel Ančerl and Charles Mackerras. This not only was the ensemble’s first commercial recording but also the first complete recording of Smetana’s cycle of tone poems. It was released on ten, twelve-inch 78 rpm discs—just under eighty minutes of music—by His Master’s Voice.)
“Through a course of years, Mr. Stock [along with Thomas before him] and the Chicago Symphony Orchestra have made Vltava or the Moldau popular with Chicago audiences,” Moore continued. “They have played Vyšehrad a number of times, and Šárka less frequently. The other three are to come as a first performance next Wednesday.”
Following the November 18 concert, Eugene Stinson in the Daily News wrote, “Through these six works there sweeps the refreshing fragrance of a national spirit. Smetana was not merely the father of a national Bohemian music and the teacher of Dvořák. He was one of the first composers in any land to see the possibilities of such a music, founded on characteristic themes and breathing out the soul of a race.”
Title page of the score to Blaník used by Stock
Title page of the score to Tábor used by Stock
“History, legend, national songs, tonal description of nature, and a poetic imagination to transfigure them all, are in it,” added Moore in his review for the Tribune. “When one considers that Smetana wrote it under the most tragic infliction that may visit a musician, total deafness, it becomes not only one of the masterpieces of the world but the act of one of the world’s great heroes.”
“There is nothing to write but gratitude to the Chicago Bohemians and to Mr. Stock, whose combined efforts acquainted us with this lovely work,” concluded Herman Devries in the American. “What a lesson to the modern school of would-be musical alchemists with their abracadabra of gibberish and geometry, of dissonance and self-conscious abstruseness. Here is pure inspiration. Here is music that wells, untrammeled, from a source of inexhaustible creative talent. Here is melody, melody so simple, so tender, so touching; melody so poetic, so passionate, so spontaneous that one listens happily, without the need of indulgence, excuse, or partiality. But beneath all this simplicity, one hears and senses the mastermind of the great orchestral technician.”
Otto, Edward, and Henri Hyna
Devries also noted that several musicians in the Orchestra that evening were of Bohemian descent, including John Weicher (a member of the violin section from 1923 until 1969; he became concertmaster in 1937), Vaclav Jiskra (principal bass, 1908–1949), Rudolph Fiala (viola, 1922–1952), Joseph Houdek (bass, 1914–1944), and the Hyna brothers: Otto, Edward, and Henri, pictured at right. Natives of Bohemia, the Hyna brothers all served as members of the Chicago Symphony Orchestra’s string section. Otto (1886–1951) was in the bass section from 1930 until 1950, Edward (1897–1958) served as a violinist from 1929 until 1943, and Henri (1901–1955) also was a violinist from 1928 until 1932.
The Orchestra next performed the complete cycle twenty years later on October 23 and 24, 1952, under the baton of fifth music director—and Czech native—Rafael Kubelík. On December 4 and 5 of that year, the work was recorded in Orchestra Hall by Mercury Records. Returning as a guest conductor, Kubelík led performances of the six symphonic poems on January 23 and 24, 1969, and again on October 27, 28, and 29, 1983.
At the Ravinia Festival, James Levine most recently led the work on June 27, 1987. Jakub Hrůša’s upcoming performances will mark the Chicago Symphony Orchestra’s sixth traversal of Smetana’s cycle of symphonic poems.
__________
Boston Symphony Orchestra program from April 24 and 25, 1896
A footnote: Theodore Thomas and the Chicago Orchestra almost were able to claim the U.S. premiere performance of Vyšehrad, the first symphonic poem of Smetana’s Má vlast. However, Emil Paur and the Boston Symphony Orchestra literally were minutes ahead. Both orchestras had 2:30 p.m. matinees on Friday, April 24, 1896, but Boston’s concert was one hour earlier (railway time zones had been standardized in 1883). Also, Vyšehrad was the first work on Paur’s program, while Thomas had programmed the work to follow Tchaikovsky’s Marche slave and Berlioz’s Roman Carnival Overture and selections from The Damnation of Faust.
Boston also claimed the U.S. premiere of Šárka, performing it on January 25, 1895. Thomas led the first Chicago performance exactly nine months later on October 25.
Portions of this article accompany the program notes for the May 18, 19, and 20, 2017, performances. Special thanks to Bridget Carr, archivist for the Boston Symphony Orchestra. Program page image courtesy of HENRY, the Boston Symphony Orchestra Archives’s online performance history search engine.
The Chicago Symphony Orchestra has recorded each of Brahms’s four symphonies multiple times and also has recorded the complete cycle on three different occasions. A complete listing is below.
During his tenure as Ravinia Festival music director, James Levine recorded the symphonies with the Orchestra for RCA at Medinah Temple. The recordings were produced by Thomas Z. Shepard and Paul Goodman was the recording engineer. Jay David Saks also co-produced the First Symphony, which was recorded in July 1975. The remaining three were recorded in July 1976.
Eighth music director Sir Georg Solti also led the Orchestra in sessions at Medinah Temple. For London, the four symphonies (along with the Academic Festival and Tragic overtures) were produced by James Mallinson; Kenneth Wilkinson, Colin Moorfoot, and Michael Mailes were the engineers. The Third and Fourth symphonies were recorded in May 1978, and the First and Second were recorded in January 1979. The set won 1979 Grammy awards for Best Classical Album and Best Classical Orchestral Recording from the National Academy of Recording Arts and Sciences.
Daniel Barenboim, the Orchestra’s ninth music director, recorded the four symphonies (along with the Academic Festival and Tragic overtures and the Variations on a Theme by Haydn) live at Orchestra Hall for Erato. Vic Muenzer was producer, Lawrence Rock was the sound engineer, assisted by Christopher Willis; and Konrad Strauss was the mastering engineer. All four symphonies were recorded live in 1993: the First and Third in May, the Fourth in September, and the Second in October.
Recordings of the individual symphonies by other conductors are listed below.
Symphony No. 1 in C Minor, Op. 68
Rafael Kubelík, conductor
Recorded by Mercury in Orchestra Hall in April 1952
David Hall, recording director
C. Robert Fine and George Piros engineers
Günter Wand, conductor
Recorded live for RCA in Orchestra Hall in January 1989
Norman Pellegrini and David Frost, producers
Mitchell Heller, recording engineer
John Purcell, post-production engineer
Symphony No. 3 in F Major, Op. 90
Frederick Stock, conductor
Recorded by Columbia in New York’s Liederkranz Hall in November 1940
Fritz Reiner, conductor
Recorded by RCA in Orchestra Hall in December 1957
Richard Mohr, producer
Symphony No. 4 in E Minor, Op. 98
Carlo Maria Giulini, conductor
Recorded by Angel in Medinah Temple in October 1969
Peter Andry, producer
Carson Taylor, balance engineer
Riccardo Muti and the Chicago Symphony Orchestra perform Brahms’s four symphonies at Orchestra Hall in May. Details here and here.
Riccardo Muti (Todd Rosenberg photo)
A recent Gramophone magazine article lists its fifty greatest conductors of all time, and several Chicago Symphony Orchestra titled conductors are prominently featured!
Current music director Riccardo Muti and former music directors Daniel Barenboim, Rafael Kubelík, Fritz Reiner, and Sir Georg Solti are squarely included, along with principal guest conductors Claudio Abbado, Pierre Boulez, and Carlo Maria Giulini; principal conductor Bernard Haitink; and Ravinia Festival music directors James Levine and Seiji Ozawa.
According to the article, “A great conductor illuminates music you thought you knew in a way that you couldn’t possibly have imagined.” Indeed.
____________________________________________________
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
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.
____________________________________________________
March 9 and 10, 1928
On March 9 and 10, 1928, Vladimir Horowitz first appeared with the Orchestra in Rachmaninov’s Third Piano Concerto with Frederick Stock conducting. His U.S. debut had been less than two months before, at Carnegie Hall on January 12, when he was soloist in Tchaikovsky’s First Piano Concerto with the New York Philharmonic under Sir Thomas Beecham.
In the Herald & Examiner, Glenn Dillard Gunn proclaimed the twenty-four-year old pianist the greatest talent to come out of Russia since Rachmaninov. “Whether he sustains a tenuous thread of melody or thunders more loudly than the Orchestra’s basses and percussions, his playing has diction. He never fails to impart to every moment of his performance that especial inflection, accent, or rhythmic impulse which adds eloquence to mere tonal beauty.” Herman Devries in the Chicago American took it even further, saying, “A sensation, nothing less, one of the most amazingly legitimate sensations of the generation. . . . The Orchestra itself, Mr. Stock, too, whose accompaniment was actually emotionally inspired, was visibly moved and impressed. Don’t ask me to describe his playing, just go. It’s something one does not have to describe. No one can dissect genius—and Horowitz is a genius—a young demi-god.”
Advertisement for Horowitz’s March 26 and 27, 1953 concerts (canceled due to illness)
Horowitz returned regularly for more than twenty years, performing under music directors Désiré Defauw and Artur Rodzinski and guest conductor Eugene Ormandy in concertos by Beethoven, Brahms, Liszt, and Tchaikovsky. To celebrate the twenty-fifth anniversary of his U.S. debut, he was scheduled to appear again in Rachmaninov’s Third Piano Concerto under Rafael Kubelík in March 1953, but having fallen ill with the flu, he was forced to cancel.
He returned to Chicago on several occasions to perform in recital, and his last appearance—at the age of eighty-three— was on October 26, 1986. “Sunday’s concert found the great pianist in a generally more introspective mood,” wrote John von Rhein in the Chicago Tribune. Horowitz played with “a lyrical sensitivity, a limpid and beautifully proportioned pianism, a seamless, purling legato of the sort no other pianist can duplicate.”
This article also appears here.
____________________________________________________
Rafael Kubelík, Chicago, November 1951
On October 23 and 24, 1952, fifth music director Rafael Kubelík led the Chicago Symphony Orchestra in the music most closely associated with his native Czechoslovakia, Smetana’s Má vlast.
“Smetana’s My Country is regarded in Kubelík’s Czechoslovakia with a reverence which rises superior to admiration and becomes a symbol of patriotic love,” wrote Felix Borowski in the Chicago Sun-Times. He continued that Kubelík’s interpretation “transcended mere music making. It was an impressive, even jubilant, rite. . . . It was evident that Orchestra Hall realized that this concert was more than ordinarily important to its conductor. Kubelík never previously had led his orchestra with so much outward disclosure of inspiration, nor indeed, had the players responded with so much zest. . . . The Moldau was received with notable enthusiasm, and this was as it should be, for the work rarely has been given with so much color and brilliance of effect.”
On December 4 and 5 of that year, the work was recorded by Mercury Records. Returning as a guest conductor, Kubelík led performances of the six symphonic poems on January 23 and 24, 1969, and again on October 27, 28, and 29, 1983.
October 27, 28, and 29, 1983
John von Rhein in the Chicago Tribune called Kubelík’s third complete cycle with the Orchestra “his finest. One has only to compare it with the famous recording of Má vlast he made with the Chicago Symphony in 1952 at the start of his final season as CSO music director. In every respect the present performance was superior, not just because Kubelík is a more searching interpreter than he was thirty-one years ago, but also because the Orchestra responds with so much more skill and understanding. And why not? Kubelík taught them the style.”
This article also appears here.
