OHS neg.,324 bb 00 GENEVIEVE J. LONG 6 Making “Good Music”

The and Music Director , 1962–1971

Show me an orchestra that likes its conductor and I’ll show you a lousy orchestra. — Goddard Lieberson

A conductor is exactly that, do you know what I mean? Like a conductor of elec- tricity. He does not originate the electricity of the music, but that current must pass through him. — Jacques Singer

WRAPPED IN A LONG CAMEL-HAIR COAT, Jacques Singer arrived In this publicity photograph from around 1966, Jacques Singer — conductor and for his first rehearsal with the Portland Symphony Orchestra looking to one music director of the Portland (now Oregon) Symphony Orchestra from 1962 to 1971 musician every inch the New Yorker. It was February 1962, and Singer was — sits by a poster from the London Philharmonic, which he had conducted for the serving as guest conductor. Tall and craggy, Singer had a habit of raking first time in 1962. his hands through his curly black hair when he was excited or frustrated. Some of the performers were dubious of his ability to lead an orchestra. well-known throughout the Pacific Northwest and improved its standing “He looked so wild,” recalls clarinetist Cheri Ann Egbers. “I thought, ‘This in the ranks of American orchestras. Although not the sole architect of is the conductor?’ ” Singer’s first Portland performance, however, was a changes in the 1960s, Singer’s presence as a leader and community figure success. “Never has the orchestra been more responsive to a baton,” wrote drew attention — and much-needed funds — to the organization. His music editor Martin Clark of the Portland Oregon Journal. The orchestra, volatile temperament, however, led many musicians under his baton to conductor, and soloist received “a tremendous ovation.”1 Two months later, call him difficult, even abusive. Many challenged his conducting skills and in April 1962, the Portland Symphony’s governing organization, the Port- musicianship, while others supported him in a controversy that divided the land Symphony Society, chose Singer as the organization’s next permanent organization. Ultimately, Singer’s problems at the podium led to his highly conductor and music director. publicized dismissal, a decision that placed the Oregon Symphony at the Jacques Singer, who Oregonians came to know for his exciting conduct- center of civic debate. ing style and gregarious nature, helped bring patrons together in efforts The Portland Symphony Orchestra, forerunner of the Oregon Symphony, to raise the orchestra’s status. His efforts made the Portland Symphony gave its first concert under that name on October 30, 1896. Orchestras and

 OHQ vol. 109, no. 1 © 2008 Oregon Historical Society Long, Oregon Symphony and Jacques Singer, 1962–1971  amateur musical societies had previously performed in Portland under During the fifteen years from that reorganization to Jacques Singer’s various names, and they continued to do so after the Portland Symphony’s arrival, the Portland Symphony faced two challenges: lack of stable funding 1896 debut. In 1911, the Portland Symphony Society reorganized on a more and a subsequent lack of continuity in programming and leadership.5 Oregon permanent basis, rotating conducting duties among five musicians. By 1918, audiences acclaimed performances led by (1947–1949), James audience interest had grown to the point that local business leaders con- Sample (1949–1953), (1955–1959), and vinced the Portland Symphony Society to choose a permanent director, and (1959–1961), but all of those directors left their posts after only a few seasons, the symphony appointed a talented local musician named .2 mainly because the orchestra lacked solid financial backing. “The symphony By the 1950s, Oregon was home to enough ensembles that Interna- lacks patrons of great wealth,” a Portland City Club report noted, “and has tional Musician, the journal of the American Federation of Musicians of no appreciable endowment income,” a situation fairly common among the United States and Canada, dubbed it “the Athens of the West.”3 That United States orchestras of the time, which made the Portland Symphony’s statewide interest in music was a boon to the Portland Symphony, helping annual fundraising drives its “lifeblood.” Like most mid–twentieth-century boost box-office receipts and making it possible to hire more musicians. American orchestras, the Portland Symphony generated approximately half Because of that interest, the Portland Symphony’s first music director, Carl its budget from annual fundraising drives and the rest from ticket sales, Denton, saw increases in ticket sales and was able to add to the number of making its survival dependent on community interest.6 orchestra musicians during his 1918–1925 tenure. His successor, Willem van The symphony’s financial troubles affected musicians directly. At the Hoogstraten (1925–1938), conducted the orchestra in performances that were time, most North American orchestras paid their players per service — that broadcast nationally on the radio and commanded attention from musi- is, per two-and-a-half-hour block of rehearsal or performance time. Because cians and the public alike. The Great Depression, however, ushered in nearly symphony seasons were shorter in the 1950s and 1960s than they are today, thirty years of financial instability. In 1938, the Portland Symphony board many as brief as twenty weeks, few musicians could earn a living wage from voted to suspend operations due to lack of funds; van Hoogstraten left, and their orchestra jobs alone. Many held other jobs to make ends meet. Payroll the musicians joined smaller groups and a Works Progress Administration is an orchestra’s largest expense, and limiting performances allowed ensem- (WPA) orchestra. It was not until 1947, when the Portland Symphony Society bles to continue operating, effectively subsidized by the low wages of their reorganized after the hardships of World War II and gained financial sup- employees.7 In the mid-twentieth century, American orchestral musicians port from audience members and the musicians’ union, that the Portland began protesting the low wages and relatively little power they wielded in Symphony Orchestra was able to perform again.4 comparison with the music directors, boards of directors, and management staff who led orchestra organizations. Unlike their European colleagues, some of whom were organized in collectives with the power to hire or fire The Portland Symphony Orchestra’s second music director and conductor, Willem conductors, American musicians had little job security and were subject to van Hoogstraten — pictured at center with the orchestra during the 1925–1926 music directors who could determine employment.8 The desire for better season — served from 1925 to 1938. working conditions prompted delegates from a handful of North American orchestras to found the International Conference of Symphony and Opera Musicians (ICSOM) in 1962. Though the Oregon Symphony members would not join ICSOM until the early 1970s, at least some of them were aware of its existence and its potential impact on the power balance between players and

7883 CN 01 OHS neg., administration. Fred Sautter, former Oregon Symphony principal trumpet, who joined the organization in 1968, remembers that “ICSOM seemed to represent those concerns of symphonic musicians which I had experienced having been resolved” in the Philharmonic State Orchestra of Hamburg, where he had formerly played. He and other musicians played a role in the Oregon Symphony Orchestra’s joining ICSOM in 1971.9

 OHQ vol. 109, no. 1 Long, Oregon Symphony and Jacques Singer, 1962–1971  73 0 The 1960s were also a time of itself (dedicated patrons and volunteers), and musicians who were willing change for orchestra management to travel were partly responsible for increased attendance, the changes were and administration. Orchestras also due to Singer’s vocal advocacy for the symphony. Newspaper interviews were bidding for funds from new portrayed him as an ebullient champion of what he called “good music.”

OHS neg., CN 000 OHS neg., sources, including grants from the As he explained to a local reporter, “There is no ‘old’ music or ‘new.’ There Ford Foundation and the National was only the good and the bad,” music that takes the listener “out of himself Endowment for the Arts, which and give[s] him something beautiful to think back on when he goes about was founded in 1965.10 The Portland his own work.”15 Symphony sought grant funding to Singer had toured extensively as a guest conductor by the time he arrived pursue the same goals as its coun- in Portland as permanent conductor and music director in August 1962. terparts nationwide: extending the Critics in Buenos Aires, Argentina, had called Singer “a miracle worker” for performance season, increasing the his reorganization of that city’s symphony orchestra, which culminated in orchestra’s size, and offering suf- wildly acclaimed performances at the city’s beloved opera house.16 Singer ficient wages to attract and retain had a history of revitalizing regional and national orchestras, and anyone outstanding performers. It also familiar with his career could reasonably have hoped he would do the same needed a conductor who would stay in Oregon. “They say that Jacques Singer doesn’t just play music when he on the podium. Even its immediate goes to a new city,” noted the local paper, “he sells and promotes the product past music director and conductor, with great fire and enthusiasm.”17 Piero Bellugi was photographed on Piero Bellugi, who led the Portland Orchestra conductors are also instrumental musicians, and Singer was a December 14, 1958, before his 1959–1961 Symphony in the 1959–1960 and violinist, a prodigy who had made his debut at New York’s Town Hall at age tenure as conductor of the Portland 1960–1961 seasons, refused to return fourteen. He was born in Przemysl, , to symphony conductor Meyer Symphony. for a scheduled guest performance Singer and his wife Rachela “Rose” Bach. The Singers emigrated to the United in the spring of 1962, claiming the States in 1921 and settled in Jersey City.18 Singer received one of the best musi- programs offered insufficient scope for his talents.11 cal educations then available. He won a scholarship to the recently founded The board lost no time in securing Bellugi’s replacement. Jacques Singer Curtis Institute of Music in Philadelphia in 1925 and attended The Juilliard had been one of several guest conductors in the 1961–1962 season and had School from 1927 to 1930. Singer studied with some of the greatest violinists received the most enthusiastic acclaim from audience members, who were of the day, including Carl Flesch, Paul Kochanski, and Leopold Auer.19 While asked to vote for their favorites.12 Oregon Symphony musician Alan Pierce at Juilliard, he joined the Philadelphia Orchestra under , notes that many orchestra members also supported Singer’s hire, includ- who likely had an influence on Singer’s podium style. Both men engaged ing some who later lobbied for his dismissal. “Some of the players went to in the practices, not uncommon at that time, of conducting without score management and pleaded with them to hire Jacques Singer,” Pierce recalls. or baton, making didactic comments to the audience during performances, “They got their wish, and later wanted him removed.”13 Like other sym- and occasionally halting performances if a disturbance occurred.20 Stokowski phonies across the nation, the Portland Symphony was facing a “customer encouraged symphony musicians to conduct rehearsals and, by 1936, Singer slump,” caused in part by the burgeoning record industry that made living was conducting the Philadelphia Orchestra’s new, popular youth symphony. rooms more convenient than concert halls.14 The board hired Singer, a Just twenty-six years old, he was hailed in the music pages of the New York conductor who had a reputation for creating excitement and raising sales, Times as a conductor to watch.21 because they hoped he would draw audiences back to Portland’s Municipal True to that critic’s prediction, Singer’s time directing Philadelphia’s Auditorium. youth symphony was short. In 1937, he began conducting the newly reor- It worked. By the end of the decade, audiences had increased in Portland ganized Dallas Symphony Orchestra. Audiences showed up in droves, and and gathered to hear the symphony in towns across the Pacific Northwest. reported that the symphony’s budget was “more than Although the Portland Symphony Society’s board of directors, the society twice as large” as in any previous season.22 With his success in Dallas, Singer

 OHQ vol. 109, no. 1 Long, Oregon Symphony and Jacques Singer, 1962–1971  established a pattern for the rest of his career. Hired by a languishing regional Reviews of the new group’s first concerts were mixed. One program orchestra, he helped generate excitement with his forceful personality and featured Beethoven’s Ninth Symphony, which Singer conducted without a dynamic podium style, and ticket sales increased. In the spring of 1939, the score. Victoria Symphony Orchestra Conductor Hans Gruber complained Dallas Symphony offered two youth concerts that sold out immediately. One that the orchestra was unprepared, the chorus was incompetent, and “some of the performances coincided with the matinee opening of Walt Disney’s of the orchestra even stopped playing at intervals.” The Vancouver Sun’s Snow White, but prospective audience members had to be turned away at the music critic, however, described the performance as “precise, glowing, alive.” door.23 In just four seasons (1938–1942), subscriptions tripled. Then World To Gruber’s critique that “it was a crime to go before an audience in such an War II took the conductor away from Dallas. unprepared state,” Singer replied, “it is the privilege of every man to make By the beginning of 1942–1943 season, most Dallas Symphony musicians an ass of himself. Gruber has abused that privilege.”29 had enlisted in the armed forces. Singer also enlisted, and his superiors During the following two years, Singer conducted for Broadway shows quickly tapped him to lead Army bands. In three years of service, he earned as and other performances in New York. In 1953, he visited Israel as guest con- many battle stars in the Pacific and conducted the first music on Corregidor ductor of the Haifa Symphony Orchestra, Israel Philharmonic Orchestra, after Allied liberation, “A Mighty Fortress Is Our God.” The response of his and Jerusalem Radio Orchestra. During the 1950s, he also conducted in fellow soldiers to such works fired Singer with enthusiasm. He dreamed of an Buenos Aires, Caracas, Seville, Guatemala City, Lima, and North Ameri- All-Veterans Symphony Orchestra that would tour every state, taking music can cities including Rochester, New York, and Indianapolis, Indiana. In to “the people in the little towns, in the faraway places.”24 An “All-Veteran June 1954, Singer began directing the Corpus Christi Symphony in Corpus Symphony Orchestra” did organize, giving at least one concert at Hunter Christi, Texas, where he and his College in March 1947, but Singer had accepted a new post as director of family lived until they arrived the Vancouver Symphony Orchestra (VSO) in Vancouver, British Columbia, in Portland in August 1962.30 by that time.25 Singer’s wife, pianist Leslie Singer’s 1947–1951 Vancouver tenure began with promise and ended in Wright Singer, participated financial disarray. The season before Singer arrived, the group had given 00 bb 3245OHS neg., as a performer in symphony just twelve performances; in 1947–1948, there were fifty-two, and in March and community events. The 1948, the Canadian weekly Saturday Night called the Vancouver Symphony younger of the Singers’ four “the orchestra of the year.” The VSO had careful management, active auxil- children also took part in Port- iaries, and highly competent musicians, and reports in the Canadian press land symphony activities, car- credited Singer with galvanizing all those forces.26 He created a program to rying flowers to soloists after educate the public and support contemporary composers, and he organized performances and performing the Symposium of Canadian Contemporary Music, which brought artists with the Portland Sympho- from across Canada to Vancouver in the spring of 1950. By the end of his nette, a chamber orchestra whirlwind second season, Singer was urging city leaders to build a concert that the symphony developed hall, saying, “a city remains indistinguishable from a large village unless it in the late 1960s to tour local has an auditorium.” The symphony’s board of directors, however, noted that schools.31 the VSO was running a deficit (not uncommon for orchestras then or now) The Portland Symphony and proposed a shortened 1950–1951 season. In an open letter published in Society’s board of directors local papers, Singer vigorously opposed the plan, urging Vancouverites to had hired Jacques Singer as throw their support behind “good music,” ever his rallying cry, and con- the orchestra’s conductor and tending that the VSO’s $19,000 deficit was “smaller than that of any city on Jacques Singer poses with his family in about music director in April 1962. 27 August 1962. From left are Jacques Singer, the North American continent maintaining a major orchestra.” When the Gregory Singer, Lori Singer, Leslie Wright The board was the execu- board did not back down, Singer resigned and organized a rival orchestra, Singer, , and Claude Singer tive branch of the Portland the British Columbia Philharmonic.28 (standing). Symphony Society, a larger,

 OHQ vol. 109, no. 1 Long, Oregon Symphony and Jacques Singer, 1962–1971  voluntary organization of supporters who handled various duties ranging OHS neg., CN 00 5739 from raising funds to producing programs. As music director, Singer was responsible not only for leading performances but also for shaping the orchestra’s artistic direction, including choosing music for each season’s programs and taking part in hiring and firing musicians.32 The bargaining that preceded Singer’s 1962 hire was portrayed by Oregon newspapers as shrouded in secrecy. The board of directors apparently offered sufficient incentive to gain Singer’s unconditional release from a three-year contract he had recently signed with the symphony in Corpus Christi. On Singer’s move to Portland, one Texas music critic commented, “Singer has a volatile personality and there will be problems. But your orchestra will never sound better.”33 Portland audiences greeted Singer’s first season with enthusiasm. “We played some of the best concerts the orchestra ever played,” remembers tubaist John Richards, who played with the Oregon Symphony from 1947 to 1999. “When we took our bows, we wanted to cheer too because the per- formance had been so exciting.” Oregon Journal music editor Martin Clark proclaimed, “a new musical era is at hand for Portland.”34 The first steps in the symphony’s expansion were an increase in the number of regularly scheduled performances from twenty-two to forty-eight and, because several works were played at each performance, a corresponding rise in the number of compositions played. Singer announced that the orchestra would perform all nine Beethoven symphonies by 1965, evidence that the leaderless days Jacques Singer conducts the Portland Symphony Ensemble, made up of Portland were over and that, as Oregonian noted, “Mr. Singer . . . will be with us for Symphony musicians, at Reed College’s Cerf Amphitheater on July 27, 1964. some time.”35 In his first season, 1962–1963, the Portland Symphony played forty-seven works — more than all but one other orchestra of its size in the United States. Attendance also grew, albeit modestly at first, from 39,530 to dreamed of touring the United States with an All-Veterans Orchestra was 42,600; and the budget increased from $228,000 in 1962–1963 to $290,000 not content to keep the Portland Symphony at home. “We visited twenty- in 1964–1965. There was also a notable increase in musician salaries during one places regularly that we don’t go now,” recalls Richards. The season- the 1960s. After a 22 percent decrease during the period from 1952 to 1962, opening tour of 1963–1964 was an important step toward a year-round salaries increased 63 percent from 1962 to 1972.36 orchestra with full-time musicians. “This accelerated activity brings much Some of the increase in audiences occurred outside Portland. “There’s nearer the time when the Portland orchestra will be the full-time occupa- no reason why the Portland Symphony shouldn’t be the state’s orchestra,” tion of all its musicians,” wrote Oregonian editor Herbert Lundy, “and good said Singer. “I would like to see it playing the year around in concerts and in music, ‘live,’ will be a full-time opportunity for the hundreds of thousands music festivals all over the state.” In March 1963, Pacific University in Tacoma, of persons residing within range of the orchestra’s travels.”38 , invited the Portland Symphony to perform, prompting the In the 1964–1965 season, violinist Nathan Milstein, cellist Zara Nelsova, Oregonian to note, “the local symphony is, indeed, a regional rather than a and comedian Jack Benny all performed with the Portland Symphony.39 local institution.”37 The 1963–1964 season opened with an October tour of While hiring one famous artist is a tried-and-true way to sell tickets to Pendleton, Hood River, Bend, Roseburg, Medford, and Coos Bay — funded a single concert, booking several stars boosts sales for season tickets. In by the host communities — with concerts in Salem, Tacoma, Eugene, and the 1950s and 1960s, many classical performers — Artur Rubinstein, Van Longview planned during the regular season. The conductor who had Cliburn, Andres Segovia — were household names, known to wider audi-

 OHQ vol. 109, no. 1 Long, Oregon Symphony and Jacques Singer, 1962–1971  ences than, for example, violinist Anne-Sophie Mutter or pianist Lang Lang season, but it drew different patrons than the more established, Monday today.40 Benny’s appearance was the result of networking by board members; night concert series held downtown.44 Some patrons of the Monday night although Singer was the community figure, when additional attractions were series were willing to forego attendance altogether when it meant cross- needed, the board took on the responsibility of providing them. ing town, potentially crippling the growing symphony, which expected to Civic pride, belief in the power of “good music” to educate and elevate derive two-thirds of its $300,000 budget from ticket sales. Four hundred audiences, and desire to attract business leaders to Oregon compelled the new subscribers, however, helped defray the loss. Oregon Journal columnist Portland Symphony Society to work toward developing a major orches- Doug Baker assessed the symphony as it began the 1965–1966 season, noting tra.41 Major orchestras of the time were financially defined by a budget of it had “an assured contract with Maestro Jacques Singer who, despite his $500,000 or more and by the number of orchestra members who received temperamental flamboyance, is generally regarded as a conductor who can weekly salaries instead of being paid per service. By comparison, the continue to develop the symphony’s potential”; a “firm” contract between Symphony was considered major with its $500,000 budget and eighty-three the musicians’ union and the symphony; a new business manager, Robert musicians receiving weekly salaries. Portland employed approximately eighty “Robbie” Thomsen, who was liked by both union members and the board; musicians and, in the 1964–1965 season, placed two on weekly contracts and a “broader-based” orchestra that included Joyce Ann Johnson, the first — the first in the organization’s history.42 woman to serve as principal trumpet, and William Brent, assistant principal The most sweeping changes in the early- and cellist and the symphony’s first African American musician.45 Despite the 6 mid-1960s were to the symphony’s venue and its defection of some patrons, the symphony was still growing, with the modern financial status. In the May and November elec- performance hall the most visible symbol of that growth. tions of 1964, Portland voters first rejected and Adding youth concerts was another aspect of the symphony’s growth, one then, after a vigorous citizens’ campaign, passed in which both the symphony society’s auxiliaries and Singer played key roles. 00 bb 325OHS neg., a $4 million bond measure to remodel the city’s During 1963 and 1964, the symphony had begun playing in local schools, each performance hall, the Municipal Auditorium of which paid fifty dollars for the performance. During the 1965–1966 season, (later Civic, now Keller Auditorium). The city youth concerts were held in the Oriental Theatre and, beginning in 1966, the began work on a design that civic leaders lauded symphony traveled to schools throughout Oregon and Washington, aided for its modern convenience and open plan. The by $100 million appropriated by the federal government to bring artists and original building, which one Portland reporter musicians to public schools. In early 1967, a formal youth series was instituted dubbed the “Odditorium,” had an ancient and in Portland’s Civic Auditorium. Tickets cost fifty cents — “about half the cost dangerous electrical switchboard and lacked of a hamburger and a coke at [Yaw’s] The Top Notch,” a popular hangout rehearsal rooms. The hall’s capacity was reduced — and the Parent Teacher Association offered scholarships to students who when it re-opened in 1968, seating just over 3,000 could not afford the two-dollar fee for four concerts.46 As for the maestro, patrons instead of 5,500, but compensations “youth [was] his favorite audience,” recalls Oregon Symphony bass player included modern conveniences such as drinking William Ofstad. “He didn’t water it down for the kids. We played pieces fountains and elevators.43 which today would not be considered music for children, and he explained During the auditorium remodel, the sym- the pieces.” Singer had to “order them [students] to leave” so ushers could phony temporarily moved across the Willamette prepare for the next group.47 During ensuing years, the symphony’s Music for River. From 1965–1967, the Oriental Theatre at Youth concerts became a fixture of Oregon cultural life. By the early1 970s, Southeast Belmont and Grand streets served as the Oregon Symphonette, a group of thirty-eight orchestra musicians, drew This campaign flyer, likely the symphony’s home. The 1927 movie house on National Endowment for the Arts funds to tour schools in the Portland created by the Citizens’ 48 Auditorium Committee, made a memorable concert hall, its walls adorned area and gave Christmas concerts in Portland neighborhoods. shows an architectural with life-size friezes of elephants and apes. A By far the most important milestone of the symphony’s development rendering of the proposed Tuesday night concert series had been established in the 1960s was a $1.25 million grant awarded by the Ford Foundation in new auditorium. at the Oriental Theatre during the 1963–1964 1966.49 The criteria for awards included an ensemble’s recent achievements

 OHQ vol. 109, no. 1 Long, Oregon Symphony and Jacques Singer, 1962–1971  OHS neg.,3253 bb 00 and long-range plans. In late 1965, Portland Symphony Society president department at Portland State University Dr. Frederick Bentley and symphony manager Robbie Thomsen had met and agreed to lead a three-concert series with foundation representatives to present the Portland Symphony’s plans called “Portland Pops” for the 1970–1971 to extend the symphony season, to expand the group’s touring capacity, and season. The concerts sold out immedi- to increase the number of musicians in the orchestra and the number on ately, and Leyden made them a fixture that weekly contracts. Ford Foundation grants allowed many orchestras to extend is still popular today.56 their performance seasons, in turn providing musicians with something With a new hall, $50,000 in annual closer to full-time employment.50 In what 1966 Symphony Society president Ford Foundation support, and a mon- Marion Vester called “an impressive vote of confidence in our musicians eymaking pops series, the Oregon Sym- and conductor, Jacques Singer,” the Portland Symphony received a two-part phony was distinctly better off in 1970 grant: $250,000 to be paid over a five-year period and $1 million that had to than it had been a decade before. In the be matched to remain in the organization’s coffers. The $250,000 portion fall of 1970, amicable negotiations between of the grant would support the symphony during the intensive fundraising the players’ union and the symphony necessary to match the $1 million endowment.51 board resulted in the organization’s first The Oregonian’s music critic, Hilmar Grondahl, called the award “the two-year contract with the musicians’ biggest news since reactivation of the orchestra in 1947” and noted that “an union, which promised wage increases endowment fund is a truly stabilizing fact of life in an orchestra’s orderly at the beginning of each of the following existence. It is what can prevail against the agonizing hand-to-mouth exis- two seasons and funding for ten additional This cover of a January 20, 1971, tence that results when the Society must face each season with a maintenance musicians. Thirty players were placed on program for a concert in the fund drive.”52 Prior to receiving the Ford Foundation grant, the symphony weekly contracts, and those without con- Portland Pops series lists Singer realized approximately $2,500 annually from its $66,000 endowment. tracts were playing more often and earn- as music director and conductor and as guest The interest from $2 million would mean much more income. As Vester ing almost ten dollars more per service conductor. said, the Ford grant “gives to Portland and the State of Oregon a golden than they had a few years previously.57 As opportunity to build the orchestra into one of major symphony status . . . the 1970s began, the symphony seemed A full orchestra, ensemble groups, quartets, quintets and summer ‘Pops’ poised for another decade of growth with Jacques Singer at its head. A 1969 will become a reality. A musical fate long dreamed of but not within our marketing survey had found that more than 25 percent of non-symphony abilities until now.”53 According to Bentley, developing the symphony into patrons recognized a photograph of the conductor, illustrating, as violinist a major regional attraction was a matter of civic duty: “In our expanding Mary Ann Coggins Kaza notes, that “Singer was ‘Mr. Music.’ ”58 To an increas- state, where business firms are increasingly concerned for the quality of life ing number of symphony musicians, however, he was also a chief source of available to their staffs, we must have a secure and progressive Symphony the organization’s problems. Orchestra.” To reflect its expansion and mission of serving the entire state, As early as eighteen months after Jacques Singer’s arrival in August 1962, and to encourage support from patrons outside the Portland area, the board there were rumors that his volatile temperament was taxing musicians’ renamed the orchestra the Oregon Symphony in 1967.54 energy and patience. In February 1964, Oregon Journal columnist Doug Baker The newly christened Oregon Symphony expanded further with the 1968 wrote of “a growing feel of resentment against the conductor, occasioned arrival of Portland Junior Symphony conductor Norman Leyden and the by the maestro’s flashes of temper both during concerts and rehearsals” but establishment of a popular music, or “pops,” series.55 The talent for which also noted that “it is almost unanimous opinion that he has done a fine job Oregonians came to know Leyden best was arranging popular music for with the Portland Symphony.” Some players supported Singer, including orchestra, band, and voice. During World War II, Leyden had played under principal string bass player Herman Jobelmann, a longtime member of the Captain Glenn Miller, the famous swing band leader, and he later worked as orchestra. Prompted by Baker’s February column, Jobelmann wrote, “Mr. an arranger for singers and bandleaders including Mitch Miller, Frank Sina- Singer . . . does lose his temper at times. Most all conductors seemingly ‘pick’ tra, and Sarah Vaughn. Leyden joined the Oregon Symphony and the music on sections and [/] or individuals, sometimes unmercifully. The big thing to

 OHQ vol. 109, no. 1 Long, Oregon Symphony and Jacques Singer, 1962–1971  temperament and the fact that it could be difficult to play for him.” He notes, however, that

Maestro Singer came from the time of conductors’ dictatorship. If Reiner or Szell or Toscanini said one plus one equaled three, then it was three, or you would not be back OHS neg., OrHi 75753 OrHi OHS neg., the next season. Some of the conductors from that period could be very brutal on the musicians, but … if you came prepared, on time, and played your part, chances are you would not be bothered. There were always enough musicians who didn’t take care of business the conductors could pick on.61 Some musicians accepted Singer’s brusque style, while others resented it strongly. William Ofstad came directly from the New England Conserva- tory of Music when he joined the Oregon Symphony’s bass section in 1968. He recalls being singled out at his first rehearsal: “The maestro called out, ‘Hey, you! That was not very good.’ And it wasn’t.” Bass trombonist Alan Pierce recalls, “I was seventeen when I joined the symphony, and I thought [Singer’s] personality was a lot like my dad’s. He wanted to be the boss; he didn’t like to be challenged.” Older musicians were less willing to put up with a dictatorial style. Ofstad remembers one occasion when Singer was unhappy with a passage and had the bass musicians play their parts in turn Singer’s casual dress while on the podium suggests that this photograph was taken at so he could identify the problem. The most senior member of the bass a rehearsal rather than a performance. Like his mentor Leopold Stokowski, Singer section felt the exercise was demeaning; “when his turn came, he said ‘No, frequently conducted without a baton. Maestro,’ put down his music and walked out.” James Eoff recalls that his father, Oregon Symphony violinist James “Jimmy” Eoff, quit the symphony because he had another job in music and found working under Singer too remember is what they are trying to accomplish, and that is to make great stressful. Singer’s podium style was apparently different from his everyday music.” He concluded, “The Portland Symphony is now in better shape than manner. “On the podium, he became a tyrant,” says Kaza. “Off the podium,” it has been for a long time, both musically and financially. Let’s hope . . . that she continued the members of the orchestra themselves realize that a little temperament never hurt anyone.”59 he had a good sense of humor, he was well-educated, and he was very compassionate. Many of the musicians who played with Singer agree that his manner If a player was sick, he would call, not to ask why they had missed rehearsal but to see how they were. Because he didn’t drive, I drove him around town a lot, and he was very could have caused resentment. Egbers recalls that players who did not thoughtful; he always bought me a little gift for my birthday.62 know their parts at rehearsal time were “called out and yelled at.” His style at rehearsals could be intimidating, as Kaza remembers: “He was unforgiv- In the later years of Singer’s tenure, rumors of trouble threatened to ing with wrong notes. If he felt you weren’t getting it, he would come down taint the symphony’s public image. The 1969 marketing survey included from the podium, march up to you, and holler, ‘Play!’ Sometimes you feared a questionnaire mailed to all eighty-three orchestra musicians. Members for your career.” Egbers notes that taking offense was counterproductive: returned their surveys anonymously, and the response rate was 77 percent. “If you let it go, there would be no problem. If you remembered and spoke The anonymous comments reflected divisions not only between the conduc- about it, you would get in trouble.”60 tor and musicians but also within the body of the orchestra. Some players Trumpet player Ron Modell, who served on the faculty of Northern described Singer as a good musician, though temperamental, who “was Illinois University with Singer in the late 1970s, says, “As principal trumpet always striving and pushing orchestra members to perform at their best.” in the Dallas Symphony (1960–1969), I had heard stories about the maestro’s Others described him as a poor conductor who blamed musicians for his

 OHQ vol. 109, no. 1 Long, Oregon Symphony and Jacques Singer, 1962–1971  OHS neg., CN 00 own mistakes and was unnecessarily harsh. Specific comments included: “Exceptional musician,” “Knows the Romantic period very well in regard to style and phrasing,” “Lacks good conducting techniques,” “Does not know

how to treat all musicians with dignity, hence probably does not get best 7 1 2 0 performance from many players,” and “Repertoire limited.” The survey firm concluded that “there [was] an acute rapport problem between the conductor and musicians” and that “conductor evaluations by audience and orchestra are diametrically opposite.” Sixty percent of audience members who evalu- ated the maestro rated Singer “excellent,” with another 28 percent assessing him as “very good.”63 The discord that developed between Singer and the Oregon Symphony’s musicians stemmed from Singer’s bombastic personality on the podium and his conducting style. Like many conductors of his time, Singer had been trained as a soloist rather than as a conductor. Former Oregon Symphony concertmaster Hugh Ewart suggests that Singer was “not quite prepared” for the multifaceted role he played. As a violinist, Singer’s musicianship was never in doubt. John Richards remembers that, early in the maestro’s tenure, This 1966 artist’s sketch depicts the proposed new auditorium. After renovation, Singer held out his hand for the concertmaster’s violin to demonstrate a the building reopened as Portland’s Civic Auditorium 1968. Now called Keller Auditorium, it hosts performances by the Portland Opera and other groups. passage. “He tucked it under his chin and played four or five bars to show what he wanted. The rest of the string section sat openmouthed at how well he could play.”64 Singer could conduct stunning performances of pieces he knew well. out. Singer praised the “constantly increasing capabilities” of the orchestra “When he was good, he was very, very good,” says Ewart. “When he knew and the “ever-increasing interest” of the public. He continued, “early in a piece well, he could inspire,” but when the music was less familiar, and my time here we would not have considered performing the Mahler Fifth especially when Singer conducted without a score, he could err. “He was a Symphony . . . nor some of the contemporary works . . . [but] there are few chance-taker,” says Ofstad. “He conducted by the seat of his pants sometimes. scores we would hesitate to tackle at the present level.”68 Singer’s contract If he thought he could take a faster tempo, make things more exciting, he was set to expire at the end of the 1970–1971 season, and the board renewed would go for it, and sometimes he would lose control of the orchestra.”65 it in the spring of 1970 on the recommendation of a special committee it had One Oregon Symphony musician reported incidents of missed timing, as appointed to study the symphony’s progress. The maestro’s new contract when Singer apparently cued a percussionist too early, interrupting a solo made him conductor and music director through the spring of 1973. He violin passage by Isaac Stern.66 On another occasion, Singer omitted two of spent the summer of 1970 jetting to assignments around the world, including the three soft chords that end the third movement of Tchaikovsky’s Serenade London’s Royal Philharmonic Orchestra, where he had conducted in 1962 for Strings. Sweeping straight into the crashing chords opening the fourth and would be invited to conduct again in the spring of 1972.69 movement, he left the orchestra scrambling to catch up. “I leave off two Those votes of confidence at home and abroad did nothing, however, chords,” the maestro reportedly grumbled later, “and the stupid orchestra to allay the disquiet of Oregon Symphony musicians. Matters came to a won’t follow me.” Poor eyesight probably contributed to Singer’s conducting head at the beginning of the 1971–1972 season, when concertmaster Hugh problems. Pierce notes that Singer did not see well, and Kaza recalls that, Ewart’s contract expired and Oregon Symphony management offered him because he refused to wear glasses, he sometimes had trouble recognizing a position among the first violins — a decision in which Singer, as music musicians who sat in the back rows.67 director, would have played a major role. Ewart declined, seeking recourse Despite internal conflicts, the new 3,000-seat Civic Auditorium was fre- through the musicians’ union, American Federation of Musicians (AFM) quently full on concert nights, and the Portland Pops series continued to sell Local 99, and a contract that specified he could not be fired from his posi-

 OHQ vol. 109, no. 1 Long, Oregon Symphony and Jacques Singer, 1962–1971  tion except for cause.70 A rift between an orchestra’s conductor and con- In a flurry of letters, Oregonians debated the orchestra’s quality, critiqued certmaster is a serious breach. The concertmaster mediates, musically and Singer’s musicianship, and argued for and against his reinstatement. Douglas otherwise, between the conductor and musicians, so the proposed demotion L. Butler, music director at the First Unitarian Church in downtown Portland, and Ewart’s resistance had the potential to throw the orchestra into chaos.71 wrote that he had “canceled [his] season subscriptions for musical reasons Oregon Symphony’s non-renewal of Ewart’s contract as concertmaster was only,” citing “repeatedly confusing and tasteless renderings” of the standard also controversial because Singer and the board planned to hire a more repertoire “due to an uninspiring conductor.” Audience member Susan virtuoso concertmaster from outside the local area — and from outside the Evon remarked that the “quality of symphonic performance has . . . risen union local, whose rules held that “imported” players should be considered from abysmal to mediocre, under Jacques Singer’s tenure,” faulting “Singer’s only if there were no appropriate local candidates.72 personality or musicianship or both.” Oregon Symphony musician Margaret Ewart had served as concertmaster since 1949. A Juilliard-trained violinist, Moore described Singer as “an ineffective musical director and conductor” he had toured the United States and Canada early in his career under the with an “appalling lack of conducting technique” and an “infuriating need direction of Dimitri Mitropoulos. He was popular with concertgoers, and to blame the orchestra when it subsequently falters.” Singer’s supporters Singer’s ninth season with the Oregon Symphony was off to a poor start replied passionately in his defense. Concertgoers Arvid and Shirley Orbeck when, shortly after being denied a new contract, Ewart refused to stand pointed to “the acclamation of the happy majority buying tickets, giving when the maestro walked on stage. Since musicians traditionally follow the ovations, [and] swelling once-empty houses,” and Wanda Hoggan protested concertmaster’s lead in acknowledging the conductor, Ewart committed the that “until dissension impaired performance, our orchestra developed and entire orchestra to a gesture of protest. As one local newspaper editor noted vastly improved. I recall nights of enthusiastic appreciation when applause in response to the incident, “rising at the conductor’s entrance doesn’t nec- crescendoed into unquestioning acclaim.”76 essarily affirm that you love the guy, but it does imply that you respect the Oregon Symphony musicians who played under Singer attest that his position he holds relative to the orchestra.”73 The next night, patrons who stick technique could be erratic at times. John Richards and other musi- had organized in support of Ewart booed when Singer came on stage. The cians describe what they called the “circle beat”: “He would be conducting, booing was promptly drowned in applause, but such open disapprobation beating time, and when he got lost his arm would simply move in a circle. suggests that anger and frustration had spread beyond the rehearsal stage. If the score called for an accelerando, the circles would get faster.” Occasion- Stickers reading “Drop Jacques!” appeared around Portland State University, ally, the maestro lost his place in the score, once halting a performance in where the symphony sometimes rehearsed, and rumors flew that a petition Roseburg, Oregon, of Igor Stravinsky’s Petrouchka. Egbers suspects Singer was being circulated for the conductor’s dismissal.74 had the composer’s The Rite of Spring, which the symphony performed more Perhaps hoping to secure his position, Singer asked the Symphony Society frequently, in mind. “Eight or ten bars in, he got lost,” she remembers. “And board in the fall of 1971 to confirm that a new contract would be forthcoming we just stopped. We stopped, he started us again from the beginning, and when the current one expired in April 1973. The board appointed another then we were fine.”77 review committee, which produced majority and minority opinions; both Despite frustrating many musicians, Singer was attractive to the public. supported renewal but they differed in the length of time they recommended Key for an orchestra in dire need of financial backing, he was an “excellent for Singer’s new contract. Despite these reports, the board decided against social mixer” who was photographed viewing patrons’ art collections or pre- offering Singer another contract. Thirty-two of the Oregon Symphony tending to conduct a group of board members or the obliging family dog.78 board of directors’ forty-one members voted for non-renewal, effectively He was a prominent member of the community, with a wife and family who firing Singer. Board president Leighton Platt attributed the decision to “non- participated in orchestra events and performed with the symphony. Singer musical influences” and insisted that “the Society was not in any way giving provided what the symphony had needed — a constant, visible presence that in to the players,” despite what local papers termed the “near-open warfare raised public awareness. Longtime Oregon Symphony members Richards between the players backing Ewart and the management.” After eight suc- and Ewart agreed that Singer brought the orchestra to a level where it could cessful seasons, the symphony was effectively leaderless again. “What one make money, which led to developments such as season expansion, tours, and sees ahead in this troublesome period,” wrote local music critic Hilmar an increased number of musicians.79 Ultimately, however, his limitations as Grondahl, “is a round of guest conductorships.”75 an administrator and conductor caused an irreparable rift with musicians.

 OHQ vol. 109, no. 1 Long, Oregon Symphony and Jacques Singer, 1962–1971  2 1 In late 1971, the longest run of any The Oregon Symphony remained a metropolitan orchestra through the 47 Oregon Symphony music director 1970s, and became full-time, attaining major orchestra status, in the early since the 1930s was all but over. 1980s. In 1984, the group moved into Portland’s Arlene Schnitzer Concert Along with the volley of opin- Hall, a venue primarily dedicated to the symphony where musicians could

OHS neg., CN 01 OHS neg., ion in local papers and concert- rehearse on the stage where they performed.84 Singer never again served as hall demonstrations against the permanent director of an orchestra. Though he remained on the Oregon maestro, the end of 1971 brought Symphony’s payroll through April 1973, the symphony board bought out the conclusion of a highly suc- the remainder of his contract and released him from conducting in the cessful campaign to match the 1972–1973 season.85 With his wife and two younger children, he returned to Ford Foundation grant awarded New York. In the late 1970s, Singer conducted concerts for the Naumburg five years before. The Oregon series in Central Park; and, from 1977 to 1980, he taught conducting at Symphony was the only group Northern Illinois University (NIU) in DeKalb, Illinois, where Leslie Wright of its size in the nation to raise Singer served on the piano faculty.86 more than the required $1 mil- Some of the same musicians who had challenged Singer’s ability to lion — $1,070,000.80 The Oregon lead the Oregon Symphony supported his application for the post at NIU. Symphony seasons of 1971–1972 Former Oregon Symphony principal trumpet Fred Sautter notes, “he was, and 1972–1973, however, were after all, a fine musician, a great human being, and had much to share.”87 two of the most tumultuous in Ron Modell, who was Singer’s colleague at NIU, says that Singer’s “batteries the organization’s history. The were re-energized by the spirit and enthusiasm he was able to generate. . . . orchestra was once more without He found late in life an excitement and energy with the NIU Philharmonic.” Singer and his family dog, Gina, were a music director and would soon But that fruitful second career was short. In August 1980, Singer died of photographed on August 2, 1962, on the 88 steps of their Portland home on Southeast lack a manager, and the organiza- cancer in Manhattan. Thirtieth Avenue. tion was involved in bitter labor In Singer, the Oregon Symphony acquired a music director who was and personnel disputes, including enthusiastic about music, the city, the state, and the musical education of those involving concertmaster citizens. The growth he helped to generate created more change. By 1971, the Ewart and associate conductor Leyden. Martin Clark, music editor for the musicians of the expanded Oregon Symphony had joined ICSOM and, with Oregon Journal, called the period from December 1971 through the begin- their colleagues across the nation, were exchanging conductor evaluations ning of the 1973–1974 season a “three-ring circus . . . without benefit of comic and demanding more collaboration with management, board members, relief from clowns.”81 and music directors on employment and musical matters. The Oregon In 1972, the symphony lost pops conductor Norman Leyden, who started Symphony, like many of its counterparts nationwide, was on surer financial an independent pops series. Mindful of Leyden’s value to the organization, footing than before, with the capacity to withstand continued expansion. No James P. Rogers — now head of the symphony’s board — and the Oregon longer struggling, it was less dependent on a single charismatic leader. Symphony’s newly hired manager, David Hyslop, moved quickly to bring him “Singer brought an excitement to playing with the symphony that no back into the fold. Five Oregon Symphony pops concerts were planned for one else has ever brought, before or since,” John Richards recalls. “He had a 1973–1974, and Leyden was tapped to help continue the symphony’s expansion magic about him. He wasn’t perfect, and every concert wasn’t perfect, but by leading tours and youth concerts. In January 1974, the board appointed there was an immense excitement to those performances and everyone felt Leyden associate conductor.82 The labor dispute was also speedily resolved. it.”89 When the Portland Symphony Orchestra became the Oregon Symphony What had only been hopes a decade before — youth concerts, regular tours, in 1967, music director and conductor Jacques Singer was an important and a pops series — were flourishing sufficiently to need a leader. In May part of the change. Though the group had grown steadily since its found- 1973, Michael Foxman, a twenty-six-year-old violinist from , was ing in 1896, it was no coincidence that the move from local to metropolitan hired as concertmaster, with Ewart named as associate concertmaster.83 orchestra occurred under this ambitious, highly visible leader who played

 OHQ vol. 109, no. 1 Long, Oregon Symphony and Jacques Singer, 1962–1971  an important role in changes from climbing ticket sales to a major remodel 1967), 59. For a contemporary discussion of rium, see “Move to Auditorium Encourages of Portland’s municipal auditorium. From a period of dedicated musical orchestra endowments, see John H. Mueller, Symphony Ticket Sellers,” Oregonian, May The American Symphony Orchestra: A Social 23, 1968. efforts, but stagnant growth, the Oregon Symphony had become the state’s History of Musical Taste (Bloomington: Indi- 15. William Swing, “New Director Has orchestra. By the early 1970s, it was a focus of Portland’s civic development ana University Press, 1951), 335–36. Goal of ‘Good Music’,” Oregonian, June 10, and an attraction and educational opportunity for other Oregon com- 7. See Tom Hall, “ICSOM: A Review,” 1962. See also “Jacques Singer Fiery Musician, munities. Even the controversy of Singer’s later years sparked growth in International Conference of Symphony Promoter,” Oregonian, April 12, 1962. the form of increased public discussion about the symphony’s future. If and Opera Musicians, http://www.icsom. 16. “U.S. Conductor Praised,” New York org/handbook/handbook2a.html (accessed Times, June 24, 1958. See also Robert Lindley, Singer eventually served as a lightning rod for criticism, his presence also December 31, 2007); William Swing, “Mil- “Fifty Years of Teatro Colon,” New York Times, sparked dialogue about both the nature of good music and the symphony lion Dollar Symphony,” Oregonian, October June 1, 1958. as a cultural institution. 9, 1966; and Julie Ayer, More Than Meets the 17. “Jacques Singer Fiery Musician, Pro- Ear: How Symphony Musicians Made Labor moter,” Oregonian, April 12, 1962. History (Minneapolis: Syren Book Company, 18. “Portland Symphony Signs New 2005), 94–96. Conductor,” Oregon Journal, April 12, 1962; 8. Union regulations did place some con- “Two Young Violinists Appear,” New York NOTES trols on music directors but did not include Times, February 12, 1925; and Jacques Singer, strong provisions for orchestral musicians at application for account number, U.S. Social The author thanks the Oregon Symphony author’s possession; Martin Clark, “ ‘Singer the time. See Samuel R. Rosenbaum, “Finan- Security Act, Internal Revenue Service, U.S. musicians and administrative personnel All the Way,’ In Monday Concert,” Oregon cial Evolution of an Orchestra,” in Swoboda, Treasury Department, December 1936. who provided information on the Singer Journal, February 20, 1962; and Hilmar Gron- American Symphony Orchestra, 166–67; Ayer, 19. Joanne Seitter (archivist, Curtis In- years, including Cheri Ann Egbers, Hugh dahl, “Segovia, Singer Offer Treat for Music More Than Meets the Ear, 34–38, 149; and stitute of Music), email message to author, Ewart, Mary Ann Coggins Kaza, Ruth Lovers,” Oregonian, February 20, 1962. Norman Lebrecht, The Maestro Myth (New July 23, 2003; Meredith Gordon (alumni Matinko-Wald, Patricia Messick, Ralph Nel- 2. See William C. Crane, “The Early York: Birch Lane Press, 1991), 2–3. office, The Juilliard School), email message son, William (Bill) Ofstad, Sherril Osborn, Years,” and Ralph C. Nelson, “Carl Denton: 9. Tom Hall, “An Introduction to the to author, July 22, 2003. See also “Win Music John K. Richards, Alan Pierce, and Fred Saut- The Founding Conductor,” in Oregon Sym- ICSOM History Files,” http://www.icsom. Scholarships,” New York Times, October 3, ter. Thanks also to Kenneth Shirk, secretary phony: The First Century, 1896–1996, ed. Ruth org/history/introduction.pdf (accessed De- 1925. of American Federation of Musicians Local Matinko-Wald (Portland, Ore.: Bridgetown cember 31, 2007); and Fred Sautter, e-mail 20. John Ardoin, ed., The Philadelphia 99, and to Jacques Singer’s former university Printing, 1996), 4, 8. message to the author, May 1, 2007. Orchestra: A Century of Music (Philadelphia: colleagues, Ron Modell of Northern Illinois 3. “Music in Oregon,” International Musi- 10. See Ayer, More than Meets the Ear, Temple University Press, 1999); Norman University and J. Stanley Barlow of Staten cian (June 1954), 8–18. 86–96. Lebrecht, The Maestro Myth (New York: Island Community College. Joanne Seitter of 4. See Susan G. Butruille, “Willem Van 11. See Ross Parmenter, “Music World,” Birch Lane Press, 1991), 140–48; and Ewart, Curtis Institute of Music, Meredith Gordon Hoogstraten: Man of Elegance and Style,” in New York Times, July 15, 1962; and “Conductor discussion. of The Juilliard School, and the staff of the Oregon Symphony, 12; and Susan G. Butruille, Backs Out of Guest Spot, Program ‘Beyond 21. “With Some Orchestras,” New York Multnomah County Central Library in Port- “The Ups and Downs of the Portland Sym- His Dignity’, ” Oregonian, April 11, 1962. Times, November 8, 1936; and “Jacques land, Oregon, provided invaluable assistance, phony during the 1930s through 1950s,” in 12. Cay Kersher, ed., Symphony Notes Singer’s Role: Violinist Engaged to Conduct as did Claudia Messier of the Vancouver Oregon Symphony, 18. (Portland, Ore.: Portland Symphony Or- the Dallas Symphony,” New York Times, De- Public Library in Vancouver, British Co- 5. Butruille, “The Ups and Downs,” 18. chestra, February 1962). See also Symphony cember 8, 1937. lumbia, Canada, and the staff of the Oregon Though the orchestra had no music direc- Notes, October 1961. 22. “Story of an Orchestra,” New York Historical Society Research Library. tor in the 1953–1954 and 1954–1955 seasons, a 13. Oregon symphony musician Alan Times, September 4, 1938. See also “News of Epigraph. Philip Hart, Fritz Reiner: A number of world-class conductors filled the Pierce, telephone conversation with the the Orchestral World,” New York Times, No- Biography (Northwestern University Press, podium during this time, including Dimitri author, April 25, 2007. Interview notes in the vember 13, 1938; and “Notes Here and Afield,” 1997), 102; and Charlie Hanna, “Singer Says Mitropoulos and Igor Stravinsky. See “Music author’s possession. New York Times, December 4, 1938. Music’s Current Must Pass Through Conduc- in Oregon.” 14. Leon Botstein, “Music of a Century: 23. “Opera and Concert,” New York tor,” Oregonian, October 21, 1967. 6. Herbert Lundy, “A Major Asset,” Museum Culture and the Politics of Subsidy,” Times, March 5, 1939; and “Orchestral News,” 1. Cheri Ann Egbers, Oregon Symphony Oregonian, March 27, 1960. See also Helen in Nicholas Cook and Anthony Pople, eds., New York Times, April 16, 1939. See also “Story musician, in discussion with the author, Au- M. Thompson and Max Rudolf, “The The Cambridge History of Twentieth Century of an Orchestra,” New York Times, September gust 2004; Hugh Ewart, former Oregon Sym- Symphony Orchestra and the Conductor,” Music (Cambridge: Cambridge University 4, 1938. phony concertmaster, in discussion with the in The American Symphony Orchestra, ed. Press, 2004), 41–42. For a discussion of sym- 24. Bill Cunningham, “Vets Symphony author, March 2005, interview notes in the Henry Swoboda (New York: Basic Books, phony leaders’ hopes for the Civic Audito- Singer’s Dream,” Boston Herald, November 7,

 OHQ vol. 109, no. 1 Long, Oregon Symphony and Jacques Singer, 1962–1971  1945. ; and Bill Cunningham, “He’s Setting a to of Singer at this time, see the November three sons, became a violinist and violin Than Meets the Ear, Appendix I. Dream to Music,” Reader’s Digest, May 1946, 13, 1950, Vancouver Sun, which photographed dealer, while his twin sister Lori became a 37. “Orchestra Tour of Oregon is Set,” 6–8. See also “In the World of Music,” New the maestro, his wife, and sons Claude and cellist, winning the Bergen Philharmonic New York Times, August 25, 1963; and Herbert York Times, July 22, 1945. Marc on their departure for New York. competition in 1980. Both Lori Singer and Lundy, “Regional Orchestra,” Oregonian, 25. Cunningham, “He’s Setting a Dream 29. “Podial Peeves,” Saturday Night, May her older brother Marc became film and March 9, 1963. to Music,” 8; Morris C. Hastings, “Veterans 22, 1951. television actors, while the eldest, Claude, be- 38. Herbert Lundy, “Symphony Base Form Own Orchestra,” New York Times, 30. See New York Times, April 5, 1953, came a writer. See Hilmar Grondahl, “Musical Wide,” Oregonian, October 20, 1963; and March 2, 1947; “Walter Hendl Leads Veter- which describes guest engagements in the Summer School Draws Portland Youngsters,” Richards, discussion. ans’ Concert,” New York Times, March 10, Middle East. For more on Singer’s time in Oregonian, September 21, 1969. 39. “Portland Symphony Signs Contract 1947; and “New Leader Heads Vancouver Israel and some commentary on its musical 32. The Portland Symphony Society’s With Artists Providing Guest Appearances Symphony,” Musical America, March 25, 1947. scene in the early 1950s, see New York Times, newsletter for patrons, Symphony Notes for 1964–65 Season,” Oregonian, June 28, See also “It Happens in Music: All-Veterans May 11, 1953, and May 17, 1953. Although the (Portland, Ore.: Portland Symphony Or- 1964; and B.J. Schrick, “Symphony Gets Symphony Orchestra Planned to Tour In Ev- latter two articles refer to his “help[ing] train” chestra), provides a good overview of the Benny As Fund Drive Starts,” Oregonian, ery State,” New York Times, April 21, 1946; and and “reorganiz[ing]” the Haifa Symphony, symphony’s basic organizational structure at August 21, 1964. Leopold Stokowski, “Innovations: Acoustics available materials do not reveal how long the time. The OSO is structured somewhat 40. American Symphony Orchestra and Seating,” in Swoboda, American Sym- Singer stayed in Haifa or precisely what he differently today; see http://www.oregon- League, “History,” http://www.ameri- phony Orchestra, 115–16. did there. See Robert Lindley, “Fifty Years of symphony.org/about/ for details (accessed canorchestras.org/utilities/history.html 26. See John H. Yocom, “Notes From the Teatro Colon,” New York Times, June 1, 1958. January 21, 2008). (accessed January 30, 2008). Van Cliburn West,” Saturday Night, March 6, 1948, 24; and Singer also guest conducted in Mexico City, 33. Doug Baker, “Symphony, Conductor is the stage name, first and last, of Harvey Fred Kaufman, “Jacques Singer of Vancou- Havana, Lisbon, and Toronto. His appoint- Clash Over ‘Curses’,” Oregon Journal, Febru- Lavan Cliburn, Jr. ver,” Canadian Business, January 1950, 86. ment as music director of the Corpus Christi ary 27, 1964. See “Rumor Names Symphony 41. Lundy, “A Major Asset.” 27. Kaufman, “Jacques Singer,” 86; and Symphony was announced in the June 20, Head,” Oregonian, April 11, 1962; “Portland 42. Hilmar Grondahl, “Portland to Make Jacques Singer, “To the President, A Chal- 1954 New York Times. Symphony Signs New Conductor,” Oregon Majors With Well-Paid Symphony,” Orego- lenge,” Saturday Night, August 15, 1950. For 31. See “New Orchestra Director Arrives Journal, April 12, 1962; and “Singer Gets Un- nian, June 28, 1964. a snapshot of the financial status of most to Busy Times,” Oregonian, August 3, 1962; conditional Release From Texas Symphony 43. Ralph C. Nelson, “The 60s and 70s: North American orchestras at this time, see “Symphonette Plays to Teens,” Oregonian, to Assume Portland Position,” Oregonian, Roller Coaster Years,” in Oregon Symphony, Samuel R. Rosenbaum, “Financial Evolution February 2, 1972; and Kay Anderson, “Lori April 13, 1962. 28; and William Sanderson, “Will Our New of an Orchestra,” in Swoboda, American Singer – Nobody Else Could Have Played 34. Musician John K. Richards, longtime Auditorium Revive Portland Arts?” Orego- Symphony Orchestra, 166–76. Julie Miller,” Fame Forever (fan site), http:// Oregon Symphony member and principal nian, April 28, 1968. 28. Ross Parmenter, “World of Music,” www.fameforever.com/series/interviews. tuba, in discussion with the author, August 44. Hilmar Grondahl, “Director Grati- New York Times, October 22, 1950. For a pho- Gregory Singer, the youngest of the Singers’ 2004, interview notes in author’s posses- fied With Oregon Symphony Expansion,” sion; and Martin Clark, “Major and Minor,” Oregonian, April 23, 1971. For photographs Oregon Journal, December 1, 1962. and more information on Portland’s Ori- 35. Herbert Lundy, “Symphony Has ental Theatre, demolished in the early

3 Future,” Oregonian, September 10, 1962. The 1970s to make room for a parking lot, see orchestra did perform the Beethoven sym- Puget Sound Theatre Organ Society “Puget phonies between January 1963 and April 1965, Sound Pipeline Online,” http://www.pstos. some at all-Beethoven concerts. See Portland org/instruments/or/portland/oriental.htm Symphony and Oregon Symphony programs (accessed January 30, 2008). in the collection of the Multnomah County 45. Ibid; and Doug Baker, “City’s Sym- 9 66 CN 01 OHS neg., (Central) Library, Portland, Oregon. phony Faces Brigade of ‘Holdouts’,” Oregon 36. “Dr. Jacques Singer Inks Music Pact,” Journal, September 30, 1965. Singer took an Oregonian, August 5, 1964. See “Comparative important step in hiring Brent. The Cleveland Growth in Orchestra Annual Salaries, 1952– Orchestra and the New York Philharmonic 2001,” from the records of the International had only recently integrated their playing Conference of Symphony and Opera Musi- rosters, in 1957 and 1962 respectively. See Julie cians (ICSOM). The survey was published Ayer, More Than Meets the Ear, 105–106, on in the ICSOM newsletter Senza Sordino in integration in U.S. orchestras. Jacques Singer and the Oregon Symphony, onstage at Civic Auditorium in about 1968 March 2001 and is reprinted in Ayer, More 46. B.J. Noles, “School Youths Respond

 OHQ vol. 109, no. 1 Long, Oregon Symphony and Jacques Singer, 1962–1971  to Concerts,” Oregonian, January 25, 1967. University. and Pierce, discussion. Martin Clark, “Symphony Conductor Ar- See also “Symphony May Travel,” Oregonian, 56. See Hilmar Grondahl, “Conductor 68. Hilmar Grondahl, “Director Grati- rives With Family,” Oregon Journal, August June 6, 1965; and “Symphony is Musical Treat Leyden’s Musical Experience Rich in Breadth, fied With Oregon Symphony Expansion,” 3, 1962. for Portland Area Students,” Oregonian, No- Depth,” Oregonian, September 15, 1968; Oregonian, April 27, 1971. 79. Ewart, discussion; and Richards, vember 13, 1963. Grondahl, “Pops Success Proves Wisdom 69. Martin Clark, “Oregon Symphony discussion. Also Pierce, discussion; and Kaza, 47. Noles, “School Youths Respond.” Also of Leyden’s Move to Oregon,” Oregonian, Head Wins Praise, Unanimous Backing,” discussion. William Ofstad in discussion with the author, May 6, 1973; Martin Clark, “Norm Signed Oregon Journal, March 9, 1970; “Symphony 80. “Symphony Fund Goals Reached,” April 2007. Interview notes in the author’s by Symphony,” Oregon Journal, March 30, Chief Signs,” Oregonian, March 10, 1970; Oregonian, December 25, 1971. possession. The series was supported by a 1973; and John Wendeborn, “Serious, Popular and “Singer Flies to London,” Oregonian, 81. Martin Clark, “Norm’s Back and National Endowment for the Arts grant and Music Combined,” Oregonian, February 3, April 12, 1970. the Symphony’s Got Him!” Oregon Journal, funding from the Fred Meyer Charitable 1974. Films for which Leyden composed and 70. See John Wendeborn, “Symphony March 30, 1973. Trust (now Meyer Memorial Trust). arranged include Cinderella, Alice in Wonder- Society, Local Musicians Union in Con- 82. Ibid; “Leyden to Aid Tour,” Orego- 48. On the symphony’s youth program land, 20,000 Leagues Under the Sea, Peter Pan, troversy,” Oregonian, December 26, 1971. In nian, April 1, 1973; and “Symphony Gets New and role played by the symphony Women’s Winnie-the-Pooh, and Pinocchio. accordance with the OSO contract, Ewart Assistant,” Oregon Journal, January 21, 1974. Association, see Ruth Matinko-Wald, “Fuel- 57. “Musicians Sign Contract With Sym- had been notified a year previously that 83. Ralph C. Nelson, “The ‘60s and ‘70s: ing the Passion for Symphonic Music: The phony Society,” Oregonian, October 4, 1970. his contract as concertmaster would not Roller Coaster Years,” Oregon Symphony, Oregon Symphony’s Proud History of Music 58. The Oregon Symphony: Its Market and be renewed but that he would be offered a 28–29; and Martin Clark, “Californian Ap- Education,” in Oregon Symphony, 16–17. See Public Image (Portland, Ore.: Bardsley and contract as a first violinist instead. pointed Concertmaster,” Oregon Journal, also “Symphonette Plays to Teens,” Orego- Haslacher, March 1969), in the Performing 71. See Fred Plotkin, Classical Music 101 May 23, 1973. nian, February 2, 1972; and Hilmar Grondahl, Arts Collection, MSS 1149, Oregon Histori- (New York: Hyperion, 2002), 57–58. 84. Ruth Matinko-Wald, “Reaching New “Symphonette Opens Tour,” Oregonian, cal Society Research Library. Also Mary Ann 72. Oregonian, September 23, 1972. Heights in the 1980s with ‘Jimmy’,” Oregon December 12, 1970. Coggins Kaza, Oregon Symphony musician, 73. See Herbert Lundy, “Sour Note,” Symphony, 34–35. 49. See Hilmar Grondahl, “Ford Founda- telephone conversation with the author, May Oregonian, October 30, 1971. 85. “Jacques Singer Freed,” Oregonian, tion Grant to Symphony Offers Challenge,” 2, 2007. 74. Ibid. See also Doug Baker, “Jeers for August 9, 1972. See also “Symphony Society Oregonian, July 16, 1966. 59. Doug Baker, “Symphony, Conduc- Jacques,” Oregon Journal, October 27, 1971; Buys Singer Contract,” Oregon Journal, Au- 50. Hilmar Grondahl, “Plight of Nation’s tor Clash Over ‘Curses’,” Oregon Journal, and Pierce, discussion. gust 8, 1972. According to Sherril Osborn, Orchestras Led to Ford Foundation Grant,” February 27, 1964; and Doug Baker, “Top 75. Hilmar Grondahl, “Non-Renewal of executive secretary for the Oregon Symphony Oregonian, July 24, 1966; and Ayer, More Than Bull Fiddle Player Defends Maestro Singer,” Singer’s Contract, ‘Import’ Question Under board, meeting minutes from July 10, 1972, Meets the Ear, 92–100. Oregon Journal, February 29, 1964. Fire,” Oregonian, December 26, 1971; and record the vote to buy out Jacques Singer’s 51. “Ford Grants $1,250,000 to Orches- 60. Egbers, discussion; and Kaza, dis- John Wendeborn, “Symphony Society, Local contract. Telephone conversation with the tra,” Oregon Journal, July 7, 1966; and “Sym- cussion. Musicians Union in Controversy,” Oregonian, author, May 24, 2007. phony Grant Comes After Detailed Survey,” 61. E-mail message to author, May 31, December 26, 1971. See also “Symphony 86. Charles T. Blickhan, Assistant Direc- Oregonian, July 7, 1966. 2007. Conductor Singer Fired,” Oregon Journal, tor and Coordinator of Graduate Studies, 52. Hilmar Grondahl, “Ford Founda- 62. Ofstad, discussion; Kaza, discussion. December 18, 1971; and Early Deane, “Sym- Northern Illinois University School of Music, tion Grant to Symphony Offers Challenge,” Alan Pierce, telephone conversation with phony Ends Jacques Singer’s 10-Year Tenure,” e-mail message to author, May 2, 2007. See Oregonian, July 17, 1966. the author, April 2007. James Eoff, telephone Oregonian, December 18, 1971. also “Music in Review,” New York Times, 53. Marion Vester, letter to patrons, conversation with the author, May 2, 2007. 76. Douglas L. Butler, “Musical Protest,” December 15, 1974; Raymond Ericson, “Elkan Portland Symphony Orchestra Program, Notes in the author’s possession. Oregonian, December 30, 1971; Susan Evon, Naumburg’s Gift Plays On,” New York Times, October 10–11, 1966. 63. See The Oregon Symphony, 43–48. “Thanks and Look,” Oregonian, January 17, May 27, 1977; David Hunt, “Why Is An Out- 54. Hilmar Grondahl, “Symphony Dona- 64. Ewart, discussion; and Richards, 1972; Margaret Moore, “Ruining Symphony,” door Concert Like a Tax Rebate?” New York tion Must Be Matched,” Oregonian, August discussion. Oregonian, January 19, 1972; Arvid and Shir- Times, June 12, 1977; and “Jubilee for Fuchs 7, 1966. On the Minneapolis Symphony’s 65. Ewart, discussion; and Ofstad, dis- ley Orbeck, “Singer ‘Power Play’,” Oregonian, and Singer,” New York Times, July 5, 1979. similar name change in 1968, see Ayer, More cussion. January 9, 1972; and Wanda Hoggan, “Ap- 87. Fred Sautter, e-mail message to au- Than Meets the Ear, 169–80. 66. The musician asked to remain plauds Singer,” Oregonian, January 11, 1972. thor, May 1, 2007. 55. “Leyden to Aid Tour,” Oregonian, anonymous. The anecdote also appears 77. Richards, discussion; and Egbers, 88. Ron Modell, e-mail message to au- April 1, 1973. Leyden, who arrived in 1968 to in the Wikipedia entry devoted to Jacques discussion. See also musician comments in thor, May 31, 2007; “Jacques Singer, 70, Dies; conduct the Portland Junior Symphony while Singer: http://en.wikipedia.org/w/index. The Oregon Symphony: Its Market. Led Orchestras in West,” New York Times, director Jacob Avshalomov was on sabbatical, php?title=Jacques_Singer&oldid=102112800 78. Ewart, discussion. See also B.J. Noles, August 12, 1980; and “Ex-Oregon Conductor had founded and directed the Westchester (accessed February 3, 2007). “Bon Jour: Symphony Offering Labor of Singer Dies,” Oregonian, August 14, 1980. Youth Symphony and taught at Columbia 67. Ewart, discussion; Kaza, discussion; Love,” Oregonian, October 21, 1968; and 89. Richards, discussion.

 OHQ vol. 109, no. 1 Long, Oregon Symphony and Jacques Singer, 1962–1971 