University of California Berkeley Philip S. Boone THE SAN FRANCISCO SYMPHONY, 1940-1972 Regional Oral History Office The Bancroft Library All uses of this manuscript are covered by a legal agreement between the Regents of the University of California and Philip S. Boone dated 22 March 1978. The manuscript is thereby made available for research purposes, All literary rights to publish are reserved to Philip S. Boone until 1 January 1998. No part of the manuscript may be quoted for publication without the written per mission of the Director of The Bancroft Library of the University of California at Berkeley. Requests for permission to quote for publication should be addressed to the Regional Oral History Office, 486 Library, and should include identification of the specific passages to be quoted, anticipated use of the passages, and identification of the user. The legal agreement with Philip S. Boone requires that he be noti fied of the request and allowed thirty days in which to respond. Philip S. Boone ' The Bancroft Library University of California/ Berkeley Regional Oral History Office The Arts and the Community Oral History Project Philip S. Boone THE SAN FRANCISCO SYMPHONY, 1940-1972 An Interview Conducted by Harriet Nathan in 1973-1974 Copy No. 1978 by The Regents of the University of California TABLE OF CONTENTS Philip S. Boone PREFACE i INTERVIEW HISTORY iii A PERSONAL INTRODUCTION by Philip S. Boone v I FAMILY LIFE, EARLY YEARS, AND A LOVE OF MUSIC 1 [Interview 1, September 21, 1973] Parents and Grandparents 1 Current Rock Music Culture 4 Idealism and Popular Musicians 6 Creative Expression 8 Writing Music for the Stage 10 The Depression 13 II THE BERKELEY CAMPUS AND THE SAN FRANCISCO SYMPHONY 15 Season Tickets to the Symphony 15 Box E on Saturday Nights 16 Howard Skinner and Selling Box Seats 17 A Music Room in Stephens Union 18 Music Forum 19 Monteux at Lupo's 21 Student Control of Tickets, and Student Choices 22 Dean Putnam's Question 23 Student Night 24 Forum Supporters and Antagonists 25 Observations on the Influence of the City 27 [Interview 2, November 2, 1973] Remembering Monteux 29 Mrs. Armsby as Catalyst 31 Campus: Forum and Box Distribution 31 The Flavor of Campus Life 32 III WORLD WAR II YEARS AND THE U.S. NAVY 35 Training and Orders 35 Reunion and Marriage 36 Significance of the Navy Experience 37 A Jazz Band on the Reno 39 A Single Plane 41 IV POST-WAR JOBS 42 The DuPont Option 42 Opening an Advertising Agency 43 V RENEWING THE SYMPHONY TIE 47 Tombola Festival 47 The San Francisco Symphony Foundation vis-a-vis the Association 48 Financial Realities 50 Critics: "Help the Music Teachers" 51 [Interview 3, November 16, 1973] Departure of Monteux and Choice of His Successor 52 Jorda and Various Responses 53 Problems and Conflicts 54 Board Members' Petition 58 The Szell Incident 59 The Pischel Fund and a Planned Reception 59 A Resignation 60 [Interview 4, November 30, 1973] Howard Skinner in the Jorda Affair 62 The Search: Josef Krips 63 Building an Orchestra 64 Communication in Symphony Management 66 The Oakland Symphony and a Proposal 67 VI PRESIDENCY OF THE SAN FRANCISCO SYMPHONY ASSOCIATION 70 Criteria and Challenge 71 A Decision to Accept 72 The Acoustical Shell 74 Krips: His Style and Background 75 Mitzi Krips 77 Conductor-Orchestra Relationship and a Taste for Hierarchy 80 82 Grievances , Communications and a Night Meeting From Skinner to Scafidi 84 [Interview 5, December 14, 1973] An Array of Problems 85 The Symphony's Potential and the Board's Function 88 Personal Interests and Avocations 90 Consultants and Structure of the Board 91 The Press and the Critics' Role 95 The Orchestra's External Benefits and Internal Friction 98 Sunday Afternoons and Krips 's View of Ozawa 101 Ford Foundation Plan and Fund-raising Techniques 102 Financial Support and the Question of Leadership 107 Overview of an Orchestra and Its Musicians 111 Union v. Orchestra Committee 113 Relationships Within the Symphony 114 Some Key Issues for the Orchestra 116 The 1968 Strike 117 [Interview 6, January 11, 1974] After the Strike: Results and Sidelights 119 Strike Settlement and the Mayor's Role 121 Re-seating, Auditioning, Advancement 124 The Krips Situation and Discussions with Ozawa 126 [Interview 7, January 25, 1974] Ozawa in San Francisco 131 Ozawa and the Push for Excellence 133 The Boston Offers and Three Requirements 136 Overlapping Seasons and an Infinity Contract 138 VII FRIENDSHIP, CULTURAL LIFE, AND POLITICS 140 Prentis Cobb Hale and Harold Zellerbach 140 Mayor Christopher and the Opera Negotiations 141 Mayor Shelley's Lessons on the Labor Movement 142 Mayor Alioto Acts on the Study Report 142 The CAO, the Hotel Tax, and the Role of Government 143 The Money Problem 145 VIII THE SAN FRANCISCO SYMPHONY IN THE SCHOOLS 148 Concerts at Hunters Point 148 Mrs. Albert's Gift and Free Summer Music Training 149 The Fall Program 151 IX THE SYMPHONY: SOME OPERATING RELATIONSHIPS 152 President and General Manager 152 Conductor and General Manager 153 Board and Staff: Three Issues 154 Succession to the Presidency 155 Awarding Medals 156 X CONVERSATION WITH THE CRITICS 160 [Interview 8, April 26, 1974. Alexander Fried and Robert Commanday with Philip Boone] Purpose of the Session 160 The Ozawa Era 161 The Cycle for Conductors 166 Communication with Musicians 167 Commitment to Three Orchestras 173 Magic, Decisions, and a Poker Game 178 Associate Conductors 180 Canin and Krachmalnick 182 Room for Two Major Orchestras? 183 The Foundation v. the Association 187 Renewal of the Jorda Contract 188 INDEX 190 PREFACE The Arts and the Community Series was undertaken by the Regional Oral History Office to document the state of the arts in the San Francisco Bay Area especially in San Francisco and to note the public and private patronage the arts have received in the past. In addition, the purpose is to trace new developments in federal, state and local governmental support stimulated by the establishment of the National Endowment for the Arts and the emergence of state and local art councils and commissions. Early discussions with Harold L. Zellerbach and Philip Ehrlich, Sr. during 1970 presaged the on-going interest in and support of the project by the Zellerbach Family Fund of San Francisco. The Fund for many years has contributed to both traditional and community arts activities. Mr. Zellerbach provided the first memoir, "Art, Business, and Public Life in San Francisco" and served as chief consultant and advisor for the series from its inception until his death in January 1978. The oral history process at the University of California at Berkeley con sists of tape-recorded interviews with persons who have played significant roles in some aspect of the development of the West, in order to capture and preserve for future research their perceptions, recollections and observations. Research and the development of a list of proposed topics precede the interviews. The taped material is transcribed, lightly edited and then approved by the memoir ist before final processing: final typing, photo-offset reproduction, binding and deposit in The Bancroft Library and other selected depositories. The product is not a publication in the usual sense but primary research material made available under specified conditions to qualified researchers. The series on the arts and the community, with its focus on San Francisco, will supplement memoir collections produced by the Regional Oral History Office in such fields as Books and Fine Printing; Arts, Architecture and Photography; memoirs of individual artists; and the Social History of Northern California. The Regional Oral History Office is under the administrative supervision of Professor James D. Hart, the director of The Bancroft Library. Willa K. Baum, Department Head Regional Oral History Office Harriet Nathan, Project Director The Arts and the Community Series 30 March 1978 Regional Oral History Office 486 The Bancroft Library University of California at Berkeley ii -THE ARTS AND THE COMMUNITY INTERVIEW SERIES Zellerbach, Harold L., Art. Business and Public Life in San Francisco. 1978. Boone, Philip S., The San Francisco Symphony. 1940-1972. 1978, Asawa, Ruth, Art. Competence and Citywide Cooperation for San Francisco. 1979. San Francisco Neighborhood Arts Project. 1979. Snipper, Martin, The Art Commission and the Neighborhood Arts Project Cid, Maruja, NAP Community Organization in the Mission District Goldstine, Steve, The City, The Artists, The Project and Harold Zellerbach Kreidler, John, Developing Employment for Artists; CETA in San Francisco and Alameda County ill .INTERVIEW HISTORY Philip S . Boone was interviewed for the Regional Oral History Office as " part of a series on "The Arts and the Community . The interviews were con ducted by Harriet Nathan, interviewer and editor for the Regional Oral History Office. Time and Set ting of the The eight interviews were held at Mr. Boone f s office and in Interviews : the conference room at 1010 Battery Street, San Francisco, Dancer-Fitzgerald-Sample, Inc. Interview 1 Sept. 21, 1973 Interview 5 Dec. 14, 1973 Interview 2 Nov. 2, 1973 Interview 6 Jan. 11, 1974 Interview 3 Nov. 16, 1973 Interview 7 Jan. 25, 1974 Interview 4 Nov. 30, 1973 Interview 8 April 26, 1974 Conduct of the Interview: Interview sessions usually began at about one p.m. and lasted from one and a half to two hours. The Dancer-Fitzgerald- Sample advertising agency is located in a boldly renovated brick structure reported to have once housed a glass factory. The strong proportions, materials, and exposed beams provided an effective and handsome setting. In an inner-conference room near his own office on the second 'floor, Philip Boone would move the paraphernalia of advertising conferences aside, puff a cigar, and evoke the past.