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Gary Graffman (Carol Rosegg photo)

Wishing a very happy (albeit slightly belated) ninetieth birthday to the great American pianist and teacher Gary Graffman!

Graffman appeared as soloist with the Chicago Symphony Orchestra on a number of occasions between 1951 and 1976, listed below:

January 13, 1951, Orchestra Hall
RACHMANINOV Piano Concerto No. 2 in C Minor, Op. 18
George Schick, conductor

April 7, 1956, Orchestra Hall
TCHAIKOVSKY Piano Concerto No. 1 in B-flat Minor, Op. 23
George Schick, conductor

February 10, 12, and 13, 1959, Orchestra Hall
BEETHOVEN Piano Concerto No. 3 in C Minor, Op. 37
Walter Hendl, conductor
Recorded by RCA on May 5, 1959, in Orchestra Hall. Richard Bayne was the engineer and Richard Mohr was the producer.

February 18, 1961, Orchestra Hall
RACHMANINOV Piano Concerto No. 2 in C Minor, Op. 18
Walter Hendl, conductor

July 29, 1961, Ravinia Festival
BEETHOVEN Piano Concerto No. 3 in C Minor, Op. 37
Paul Hindemith, conductor

August 5, 1961, Ravinia Festival
RACHMANINOV Rhapsody on a Theme by Paganini, Op. 43
Izler Solomon, conductor

January 10, 11, and 13, 1974, Orchestra Hall
RACHMANINOV Rhapsody on a Theme of Paganini, Op. 43
Guido Ajmone-Marsan, conductor

July 22, 1976, Ravinia Festival
PROKOFIEV Piano Concerto No. 3 in C Major, Op. 26
André Previn, conductor

October 14, 15, and 17, 1976, Orchestra Hall
MENDELSSOHN Piano Concerto No. 1 in G Minor, Op. 25
Sir Georg Solti, conductor

Happy, happy birthday!

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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.

 

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

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

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

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

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

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

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

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

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

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

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

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

Happy, happy birthday!

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The Chicago Symphony Orchestra and Chorus onstage in March 1959. Also pictured is chorus director Margaret Hillis, music director Fritz Reiner, and associate conductor Walter Hendl.

The Chicago Symphony Orchestra and Chorus onstage in March 1959. Also pictured is chorus director Margaret Hillis, music director Fritz Reiner, and associate conductor Walter Hendl (Oscar Chicago photo).

The Chicago Symphony Orchestra and Chorus first performed Sergei Prokofiev’s cantata Alexander Nevsky at Orchestra Hall on March 5, 6, and 10, 1959. Fritz Reiner conducted and Rosalind Elias was the mezzo-soprano soloist.

“The fever and excitement latent in this muscular music originally part of the score for the Sergei Eisenstein movie was brought out by Reiner gradually with a slow-fuse sort of detonation,” according to Donal Henahan in the Chicago Daily News. “The climactic Battle on the Ice was approached with expansive calm and deliberation, and thus aroused the audience’s martial blood properly. A conductor who tries to pile climax after climax into this work can never achieve the hair-raising thrust that Reiner drew from Margaret Hillis’s Chicago Symphony Chorus [singing in English] at such a moment. No one can write a march like Prokofiev, and it was grand to hear this one played with power but without hysterics. The Chorus, although called on for less heroic vocal effort than in some other works it has sung, produced a pleasing sound in all voices and a more homogeneous tone than at any time since Miss Hillis began her missionary work in Chicago.”

Nevsky album cover

The subsequent RCA release—the first recording collaboration with the Orchestra and the Chicago Symphony Chorus—was made on March 7, 1959, at Orchestra Hall.

This article also appears here.

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biography

April 7 and 8, 1960

Two years after winning the prestigious 1958 Tchaikovsky Competition in Moscow, Van Cliburn made his first appearances with the Chicago Symphony Orchestra on April 7 and 8, 1960, performing Brahms’s Second Piano Concerto with Fritz Reiner conducting. On April 12 he was soloist in Schumann’s A minor concerto with the Orchestra, also with Reiner on the podium.

“Van Cliburn cannot be accused of looking for the easy road to success,” wrote Donal Henahan in the Chicago Daily News following the first performance of Brahms’s concerto. The twenty-five year-old pianist gave “a performance of glitter and grace, and one that was breathtakingly well played . . . perhaps no one but Horowitz today could play those double-note scales in both hands with as much apparent ease.”

recording

RCA’s release of Schumann’s Piano Concerto, recorded in Orchestra Hall on April 16, 1960

Cliburn would appear four more times during Reiner’s tenure, and their performances of Beethoven’s Fourth Piano Concerto in April 1963 were Reiner’s last public appearances. Cliburn later appeared in Chicago under Jean Martinon as well as at the Ravinia Festival with Georges Prêtre, Seiji Ozawa, Donald Johanos, Bruno Maderna, and James Levine. His final appearance with the Orchestra was on July 16, 2005, at Ravinia in Grieg’s Piano Concerto, under festival music director James Conlon.

On the RCA label, he made several recordings with the Orchestra, including Beethoven’s Fourth and Fifth concertos, Brahms’s Second, Rachmaninov’s Second, and Schumann’s concerto with Reiner; and MacDowell’s Second and Prokofiev’s Third concertos with Walter Hendl.

A complete list of Van Cliburn’s appearances and recordings with the Chicago Symphony Orchestra can be found here.

This article also appears here.

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Bartok album cover

At the third annual Grammy ceremony on April 12, 1961, the Orchestra’s recording of Bartók’s Music for Strings, Percussion, and Celesta received the award for Best Classical Performance–Orchestra. Fritz Reiner had conducted the RCA release. That same evening, the Orchestra’s recording of Brahms’s Second Piano Concerto—also on RCA and with Erich Leinsdorf conducting—earned the award for Best Classical Performance–Concerto or Instrumental Soloist for Sviatoslav Richter. These were the first two Grammy awards earned for recordings by the Chicago Symphony Orchestra.

Reiner’s commitment to the music of Bartók—one of his teachers at the Liszt Academy in Budapest—was “unmatched by any other contemporary composer, for Reiner had an understanding and devotion of Bartók’s music that no other conductor of his time equaled,” according to Philip Hart in Fritz Reiner: A Biography. He and the Orchestra had first recorded music by Bartók on October 22, 1955: the Concerto for Orchestra. Along with the composer’s Hungarian Sketches, Reiner and the Orchestra recorded the Music for Strings, Percussion, and Celesta at Orchestra Hall on December 28 and 29, 1958.

Richter album cover

Richter made his U.S. debut with the Orchestra on October 15, 1960, in Brahms’s Second Piano Concerto, and the work was recorded in Orchestra Hall two days later with Leinsdorf conducting. Reiner originally was scheduled to lead both the concert and recording; however, he suffered a heart attack in early October, forcing the cancellation of several concerts and recording sessions (including MacDowell’s Second Piano Concerto and Prokofiev’s Third Piano Concerto with Van Cliburn, also for RCA and ultimately led by associate conductor Walter Hendl). Reiner returned to the podium in January 1961.

Since 1961, recordings by the Chicago Symphony Orchestra have earned sixty-two Grammy awards from the National Academy of Recording Arts and Sciences.

This article also appears here.

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Ozawa headshotAs a last-minute replacement for Georges Prêtre in July 1963, Seiji Ozawa was called upon to lead the Orchestra in two concerts at the Ravinia Festival. The twenty-seven-year-old conductor made his debut with the Chicago Symphony Orchestra on July 16 in Beethoven’s Leonore Overture no. 3, Grieg’s Piano Concerto with Byron Janis, and Dvořák’s Ninth Symphony. Thomas Willis in the Chicago Tribune reported that Ozawa was “instantly in command when in possession of a baton and a musical idea. His conducting technique reminds you of his teacher, Herbert von Karajan, in that it lays the score in the lap of the Orchestra with transparency of gesture and human communication, then commands acceptance.” On July 18, he conducted Rossini’s Overture to The Barber of Seville, Tchaikovsky’s Violin Concerto with Christian Ferras, Debussy’s Prelude to The Afternoon of a Faun, Takemitsu’s Requiem for Strings, and selections from Prokofiev’s Romeo and Juliet.

Only a month later it was announced that Ozawa would become the Ravinia Festival’s first music director and resident conductor beginning with the 1964 season, replacing Walter Hendl, who had served as artistic director since 1959. For his first concert as music director on June 16, 1964, Ozawa led the Orchestra in Beethoven’s Egmont Overture, Barber’s Piano Concerto with John Browning, and Berlioz’s Symphonie fantastique.

Reverse jacket of Angel Records recording of Bartók’s Concerto for Orchestra and Kodály’s Dances of Galánta, made at Medinah Temple on June 30 and July 1, 1969

Reverse jacket of Angel Records recording of Bartók’s Concerto for Orchestra and Kodály’s Dances of Galánta, made at Medinah Temple on June 30 and July 1, 1969

He served as music director of the Ravinia Festival through the 1968 season and as principal conductor for the 1969 season, returning regularly as a guest conductor. Ozawa most recently appeared there on July 14, 1985, leading Mozart’s Rondo for Piano and Orchestra in D major and Takemitsu’s riverrun with Peter Serkin, along with Tchaikovsky’s Pathétique Symphony.

Between 1965 and 1970—at both Orchestra Hall and in Medinah Temple— Ozawa and the Orchestra recorded a number of works for both Angel and RCA, including Bartók’s First and Third piano concertos and Schoenberg’s Piano Concerto with Peter Serkin, Beethoven’s Fifth Symphony, Lutosławski’s Concerto for Orchestra, Ravel’s orchestration of Mussorgsky’s Pictures at an Exhibition, Rimsky-Korsakov’s Sheherazade with concertmaster Victor Aitay, Stravinsky’s The Rite of Spring, and Tchaikovsky’s Fifth Symphony.

Some of this content was previously posted here; this article also appears here.

Ozawa headshot

Congratulations to Seiji Ozawa—the Ravinia Festival‘s first music director from 1964 until 1968—who will be a recipient of this year’s Kennedy Center Honors! Additional honorees, announced today, include American rock band the Eagles, singer-songwriter Carole King, filmmaker George Lucas, actress and singer Rita Moreno, and actress Cicely Tyson.

The gala event will be broadcast on CBS on December 29, 2015.

As a last-minute replacement for Georges Prêtre in July 1963, Seiji Ozawa was called upon to lead the Orchestra in two concerts at the Ravinia Festival. The twenty-seven-year-old conductor made his debut with the Chicago Symphony Orchestra on July 16, leading Beethoven’s Leonore Overture no. 3, Grieg’s Piano Concerto with Byron Janis, and Dvořák’s Ninth Symphony. Thomas Willis in the Chicago Tribune reported that Ozawa was “instantly in command when in possession of a baton and a musical idea. His conducting technique reminds you of his teacher, Herbert von Karajan, in that it lays the score in the lap of the orchestra with transparency of gesture and human communication, then commands acceptance.” On July 18, he conducted Rossini’s Overture to The Barber of Seville, Tchaikovsky’s Violin Concerto with Christian Ferras, Debussy’s Prelude to The Afternoon of a Faun, Takemitsu’s Requiem for Strings, and selections from Prokofiev’s Romeo and Juliet.

June 16, 1964

June 16, 1964

Only a month later it was announced that Ozawa would become the Ravinia Festival’s first music director and resident conductor beginning with the 1964 season, replacing Walter Hendl, who had served as artistic director since 1959. For his first concert as music director on June 16, 1964, Ozawa led the Orchestra in Beethoven’s Egmont Overture, Barber’s Piano Concerto with John Browning, and Berlioz’s Symphonie fantastique.

He served as music director of the Ravinia Festival through the 1968 season and as principal conductor for the 1969 season, returning regularly as a guest conductor. Ozawa most recently appeared there on July 14, 1985, leading Mozart’s Rondo for Piano and Orchestra in D major and Takemitsu’s riverrun with Peter Serkin, along with Tchaikovsky’s Pathétique Symphony.

Ozawa LP

Between 1965 and 1970—both at Orchestra Hall and in Medinah Temple—Ozawa and the Orchestra recorded a number of works for both Angel and RCA, including Bartók’s First and Third piano concertos and Schoenberg’s Piano Concerto with Peter Serkin, Beethoven’s Fifth Symphony, Lutosławski’s Concerto for Orchestra, Ravel’s orchestration of Mussorgsky’s Pictures at an Exhibition, Rimsky-Korsakov’s Sheherazade with concertmaster Victor Aitay, Stravinsky’s The Rite of Spring, and Tchaikovsky’s Fifth Symphony, among numerous others.

Ozawa most recently appeared in Chicago at Orchestra Hall on February 9, 1996, leading the Boston Symphony Orchestra, the Chicago Symphony Chorus (prepared by Duain Wolfe), Heidi Grant Murphy, and Michelle DeYoung in Mahler’s Second Symphony; and on January 10, 2001, conducting Mahler’s Ninth Symphony with the Saito Kinen Orchestra.

Congratulations, Maestro Ozawa!

The Chicago Symphony Orchestra and Chorus onstage in March 1959, with Margaret Hillis, Fritz Reiner, and Walter Hendl.

The Chicago Symphony Orchestra and Chorus onstage in March 1959, with Margaret Hillis, Fritz Reiner, and Walter Hendl (Oscar Chicago photo)

The Chicago Symphony Orchestra and Chorus first performed Sergei Prokofiev‘s cantata Alexander Nevsky at Orchestra Hall on March 5, 6, and 10, 1959. Fritz Reiner conducted and Rosalind Elias was the mezzo-soprano soloist. The original program note is here.

Following the first performance, Dan Tucker in the American reported that Prokofiev’s score “may well be the finest movie music ever written. That does not mean it’s great music: you can’t write great music for a film because it would distract the audience’s attention and ruin the film. Prokofiev did a wonderful job, though, in writing music to heighten the moods of somber grandeur or heroic fervor. If it isn’t ‘great’ in itself, it is admirably suited to a great subject. There is a splendor about the mere sound of massed chorus and orchestra that this core exploits to the full.” The complete review is here.

In the Chicago Tribune, even though Claudia Cassidy lamented the absence of the film, she praised the work of the Chorus (only in its second season), “at its best in the enthusiasm of attack, a fresh, accurate, all-out attack which might actually have been defending Mother Russia.” The complete review is here.

And in the Daily News, Donal Henahan added: “The fever and excitement latent in this muscular music originally part of the score for the Sergei Eisenstein movie, was brought out by Reiner gradually with a slow-fuse sort of detonation. The climactic ‘Battle on the Ice’ was approached with expansive calm and deliberation, and thus aroused the audience’s martial blood properly. A conductor who tries to pile climax after climax into this work can never achieve the hair-raising thrust that Reiner drew from Margaret Hillis‘s Chicago Symphony Chorus [singing in English] at such a moment. No one can write a march like Prokofiev, and it was grand to hear this one played with power but without hysterics. The chorus, although called on for less heroic vocal effort that in some other works it has sung, produced a pleasing sound in all voices and a more homogeneous tone than at any time since Miss Hillis began her missionary work in Chicago.” The complete review is here.

Alexander Nevsky

The subsequent recording—the first collaboration with the Orchestra and the Chicago Symphony Chorus—was made on March 7, 1959, at Orchestra Hall. Richard Mohr was the producer and Lewis Layton was the recording engineer. It recently was re-released as part of a comprehensive box set of Fritz Reiner’s complete recordings with the CSO on RCA.

There will be a free screening of Eisenstein’s film on Tuesday, January 20. Riccardo Muti leads the Chicago Symphony Orchestra and Chorus in Prokofiev’s cantata on January 22, 23, and 24 at Orchestra Hall and on February 1 at Carnegie Hall.

Just before the opening of the Chicago Symphony Orchestra’s seventieth season, our sixth music director Fritz Reiner suffered a heart attack on October 7, 1960. He had been scheduled to conduct the first four weeks of concerts, but his recuperation forced the cancellation of his remaining appearances for the calendar year.

Maria Callas with Antonino Votto

Antonino Votto was one of Maria Callas‘s integral collaborators, leading many of her important productions at La Scala in the 1950s. He also was conductor of several of her landmark recordings on EMI including Puccini’s La bohème, Verdi’s Un ballo in maschera, Bellini’s La sonnambula, and Ponchielli’s La Gioconda.

Replacement conductors included CSO associate conductor Walter Hendl, Robert Shaw (leading Beethoven’s Missa solemnis), Erich Leinsdorf (to conduct a special Saturday evening concert on October 15 featuring the U.S. debut of Sviatoslav Richter as soloist in Brahms’s Second Piano Concerto), and Antonino Votto (who would soon become Riccardo Muti‘s conducting teacher).

Votto was in Chicago to make his debut at Lyric Opera of Chicago and (according to their Performance + Cast Archive) he led the season opening performances of Verdi’s Don Carlo on October 14, 21, and 24. The cast included Giulietta Simionato, Margherita Roberti, Richard Tucker, Tito Gobbi, and Boris Christoff. Votto also conducted performances of Verdi’s Aida on October 17, 19, 22, and 28, with a cast that included Leontyne Price, Simionato, Carlo Bergonzi, and Robert Merrill.

Antonino Votto and Guiomar Novaes's program book biographies

Antonino Votto and Guiomar Novaes’s program book biographies

According to an October 16, 1960, CSO press release: “Antonino Votto will conduct the subscription concerts in the third week of the Chicago Symphony Orchestra’s current season. The concerts of Tuesday afternoon, October 25, and the subscription pair of Thursday-Friday, October 27-28, originally scheduled for music director Fritz Reiner, will be directed by the Italian conductor who is currently in Chicago for his first season with the Lyric Opera. A leading conductor of both opera and symphony concerts at La Scala in Milan, Maestro Votto’s appearance with the Orchestra has been made possible through the courteous cooperation of Miss Carol Fox, General Manager of the Lyric Opera.”

October 25, 1960 - revised program

October 25, 1960 – revised program

October 25, 1960 - original program advertisement

October 25, 1960 – original program advertisement

Both programs were modified (see images right and below) to accommodate conductor and soloist. According to Claudia Cassidy in the Chicago Tribune regarding the first concert on October 25: “From the start of Haydn’s London Symphony thru the Mozart with Guiomar Novaes and Debussy’s Faun to the perfectly planned and executed climax of a stunning Pictures at an Exhibition this was a major concert on the sounder shores of style” (complete review is here). Also according to Cassidy, word traveled fast and the following two concerts on Thursday and Friday quickly sold out: “. . . Votto is a man to respect a score, an orchestra and a soloist. When you add that to knowing your business and you can work with other musicians on a high level remarkable things can happen. Such as orchestral equilibrium, a sense of proportion in displaying a soloist, a mounting excitement on the stage and in the audience. In other words, quite a concert” (complete review is here).

October 27 & 28, 1960 - revised program

October 27 & 28, 1960 – revised program

October 27 & 28, 1960 - original program advertisement

October 27 & 28, 1960 – original program advertisement

According to a newspaper account, Reiner—from his hospital bed at Presbyterian/Saint Luke’s—was able to hear a portion of the Friday afternoon matinee via “telephone from a remote pickup thru a microphone in the concert hall to a loudspeaker in the manager’s office.” Reiner’s statement: “Please convey my warm compliments on the splendid performance of Mme. Novaes and Maestro Votto. I enjoyed very much the finesse and style of the orchestra, which has been inoculated in the years of our association.”

Votto was re-engaged at Lyric the following season for Donizetti’s Lucia di Lammermoor on October 14, 16, and 18, 1961 (with Joan Sutherland, Bergonzi, and Tucker); Giordano’s Andrea Chenier on October 20, and 25, 28 (with Shakeh Vartenissian and Jon Vickers); and the company premiere of Boito’s Mefistofele on October 21, 23, and 27 (with Ilva Ligabue, Christa Ludwig, Christoff, and Bergonzi).

Votto returned to Italy and in November 1962, twenty-one-year-old Riccardo Muti met him during his first year as a student at the Milan Conservatory. Muti remembers: “And then there was Votto, whom I recall so vividly. He was solemn and incredibly strict, and had worked with [Arturo] Toscanini during his years at La Scala. . . . Within a few days, however, I realized that Votto had taken a liking to me, to the point of giving me—as if to prefer me over less talented students, or ones he didn’t like as much—some pieces to conduct for the performances the following year. Not only did I take a class with him, but I also attended some of his rehearsals at La Scala. . . . I was particularly struck when he did Falstaff: he didn’t have the score! Now, it’s one thing to conduct from memory, but to try that with Falstaff is one of those things that just leaves you flabbergasted and makes you think that maybe, with such experts around, you’d best find another job. I asked him something along those lines, and he replied: ‘If you had worked with Him, you would do the same.’ ‘Him,’ of course, meant Toscanini, with whom such work was an intense, special months-long undertaking; after that, going on memory became spontaneous, the natural result of having complete mastery of the score. . . .

“Votto’s approach was based on conductorial efficiency, music for music’s sake, no frills, no bells and whistles, going straight to the heart of opera, only essential gestures, nothing more than was absolutely necessary. In his classes he’d often repeat, ‘Don’t annoy the orchestra.’ To the uninitiated that phrase might seem absurd or misleading, calling into question the orchestra conductor’s usefulness. In reality he just wanted to advise us that, once the orchestra was on an orderly, rhythmic path (the obvious outcome of long rehearsing), the maestro mustn’t disturb that natural gait, and must therefore avoid rash gestures while on the podium, steering clear of any temptation to become a court jester; basically, he mustn’t alter what the nature of the piece itself had established. And such a position was a clear, complete reflection of Arturo Toscanini’s.”

Their friendship continued well beyond the conservatory, and when Muti married Maria Cristina Mazzavillani on June 1, 1969, in Ravenna, Votto was best man (“while Sviatoslav Richter became our ad hoc photographer and took some of the best photos”).

Excerpts from Riccardo Muti, An Autobiography: First the Music, Then the Words.

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Theodore Thomas

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Marin Alsop conducts the CSO in the world premiere of Threnos by Bruno Mantovani, Prokofiev’s haunting Third Piano Concerto - performed by pianist Daniil Trifonov - and Copland’s Third Symphony. Photos by @toddrphoto. As part of a series of events honoring the 100th anniversary of the World War I Armistice, this concert features works that encourage reflection and inspire hope. Chamber music performances of works from the World War I era by musicians of the Civic Orchestra of Chicago as well as a free lecture featuring Mark Clague, foremost scholar on the Star Spangled Banner preceded the concert.
In a program that reflects on the patriotism and adversity of World War I, tenor Mario Rojas and baritone Christopher Kenney—both from the Ryan Opera Center—and pianist Shannon McGinnis showcase works by Ives, Butterworth, Gurney and more at the Pritzker Military Museum & Library. Dr. William Brooks is the guest speaker. Photos by @toddrphoto. This performance is part of a series of public programs to commemorate the 100th anniversary of the Armistice that ended World War I, and is presented with leadership support from @tawanienterprises and @pritzkermilitary. And if you missed it, you can see this program on 10/23 at the @maynestage. #Armistice100
Tonight, the CSO performed Mahler’s monumental Third Symphony conducted by Andrés Orozco-Estrada. Over 600 students attended our College Night event, and Maestro Orozco-Estrada participated in a Q&A with the CSO Latino Alliance at their pre-concert networking event. Photos by @toddrphoto.

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