A BIOGRAPHY AND SURVEY OF THE MUSICAL CAREER OF GROVER SCHILTZ
DOCUMENT
Presented in Partial Fulfillment of the Requirements for
The Degree of Doctor of Musical Arts
In the Graduate School of The Ohio State University
By
Robyn Dixon Costa, M.M.
*****
The Ohio State University 2009
Document Committee:
Professor Robert Sorton, Adviser Approved by: Dr. Russel Mikkelson
Dr. Gregory Proctor ______Adviser Music Graduate Program
Copyright by Robyn Dixon Costa 2009
ABSTRACT
Grover Schiltz, a prominent oboist and English hornist, was a member of the
Chicago Symphony Orchestra (CSO) from 1959-2005. This document details his musical training and career with special emphasis on his tenure with the Chicago
Symphony. Included is a survey of prominent English horn symphonic repertoire performed and recorded by Schiltz with the CSO. The survey lists the date, conductor, location, and frequency each composition was recorded or performed. The names of soloists, record labels, catalog numbers and special notes about the concerts/recordings are listed when applicable.
This document also provides an historical overview on how the job of the orchestra musician and the audition process has transformed throughout the years. This includes details from Schiltz’s own experiences along with research regarding the formation of the International Conference of Symphony and Opera Musicians (ICSOM) and orchestra players’ committees.
In addition, Schiltz’s views about life as an orchestral musician are discussed.
Among the topics are, soloing with the Chicago Symphony Orchestra, playing chamber music, performing, practicing, and teaching, as well as a conversation on what equipment he uses and his life outside of the orchestra. Of special interest are comments regarding Schiltz as a teacher and mentor from eight professional musicians who studied with him at crucial points in their careers.
ii
Dedicated to my father, Dr. William L. Dixon 1943-2009
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ACKNOWLEDGEMENTS
This project would not have been possible without the help of so many people.
First thanks go to Grover Schiltz for sharing the memories of his life and career with me.
I am honored to have gotten to know him. I am deeply indebted to the Rosenthal
Archives of the Chicago Symphony Orchestra, especially Frank Villella, who was so generous with his time and knowledge in helping me navigate the vast amount of information stored there. I am very appreciative of Rebecca Henderson, Carolyn Hove,
Judith Zunamon Lewis, Washington McClain, Marianne Petersen, Michael Schultz,
Robert Sheena, and Lissa Stolz for sharing their comments about Grover Schiltz. Thank you to my committee members, Robert Sorton, Russel Mikkelson, Gregory Proctor and
Christopher Weait, for your support, expertise and inspiration. And finally, I am especially grateful to three amazing people who helped me at crucial points in this project; my mother Barbara Dixon, my friend Karen Smythers and my husband Anthony
Costa. I could not have completed this without you.
iv
VITA
July 25, 1971………………………………………………………….Born – Milford, Delaware
University of Cincinnati, College-Conservatory of Music…………………………1988-1992 -Bachelor’s of Music (B.M.) Cum laude (Oboe Performance)
Temple University, Esther Boyer College of Music……………………………….1992-1995 -Master’s of Music (M.M.) (Oboe Performance)
The Ohio State University……………………………………………………………2001-2003 Graduate Teaching Assistant
University of Dayton………………………………………………………………….2001-2008 Adjunct Professor of Music
Otterbein College……………………………………………………………………..2002-2008 Adjunct Professor of Oboe and Ear Training
Capital University Conservatory of Music………………………………………….2007-2008 Adjunct Associate Professor of Oboe
Dayton Philharmonic Orchestra………………………………………………….2001-present Principal English Horn/3rd Oboe
FIELDS OF STUDY
Major Field: Music
v RECORDINGS
“A Celebration of Flight” Dayton Philharmonic (Neal Gittleman, Mus. Director)……...2004 (Albany Records Troy 672)
“America’s Robin Hood” Dayton Ballet Association and Encore Studios……………..2003
“Amaranth,” Robert Agis (Produced by Damon Sink and Robert Agis)……………….2000
“Distant Melodies: Postcards from Europe”……………………………………………...1994 WUNC Video Documentary
“Cincinnati Wind Symphony”: Druckman, Diamond, Kurka and Others……………...*1994 Eugene Corporon (Klavier - #11051) (*re-released)
“Temple People Perform” (An Introduction to the Artistry……………………………….1993 of the Esther Boyer College of Music)
“The Gustav Mahler re-orchestration of Beethoven Symphony No. 9”………………..1992 Cincinnati Philharmonia Orchestra, Gerhard Samuel, conductor (Centaur Records, Inc CRC 2107)
“Hearts Music” Univ. of Cincinnati College Conservatory of Music…………………….1990 Wind Symphony, Eugene Corporon (Mark MCD-780)
“Made in America” Univ. of Cincinnati College-Conservatory of Music………………..1989 Wind Symphony, Eugene Corporon (CCM 421)
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TABLE OF CONTENTS
Abstract...... ii
Dedication ...... iii
Acknowledgements ...... iv
Vita...... v
List of Tables...... ix
Abbreviations...... x
Introduction...... 1
Chapter 1: Biography...... 5
Chapter 2: The Transformation of the Job of Orchestra Musician...... 20
Chapter 3: Schiltz on Auditions...... 28
Chapter 4: Schiltz and Chamber Music...... …34
Chapter 5: Schiltz on Performing, Practicing and Equipment...... ….38
Chapter 6: Schiltz on Teaching...... 44
Chapter 7: In Their Words – Former Students of Grover Schiltz……………………….. ..49
Chapter 8: Schiltz and Hobbies ...... 56
Chapter 9: Schiltz in His Own Words...... 58
vii Chapter 10: Catalogs of Repertoire, Performances and Recordings...... 72
Repertoire List of Prominent English Horn Symphonic Literature ...... 73
Key to Performance Catalog and CSO Tour Dates ...... 75
Catalog of Schiltz’s Performances of Prominent English Horn Repertoire...... 77
Key to Discography...... 147
Discography of Schiltz’s Prominent English Horn Symphonic Repertoire...... 149
Performances of Solo Repertoire with the Chicago Symphony Orchestra...... 167
Conclusion ...... 170
Appendix A: Schiltz’s Orchestral Work History...... 173
Appendix B: A Sampling of Schiltz’s Concert Reviews ...... 175
Appendix C: CSO Music Directors and Oboe Section 1959-2005...... 185
Appendix D: Biographies (CSO Music Directors, Oboe Section, Former Students) .....187
Appendix E: Interview Transcripts ...... 203
Schiltz-Dixon Costa Interview, April 23, 2009, Part 1 ...... 204
Schiltz-Dixon Costa Interview, April 23, 2009, Part 2 ...... 219
Schiltz-Dixon Costa Interview, June 2007, Day 1...... 237
Schiltz-Dixon Costa Interview, June 2007, Day 2...... 265
References...... 290
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LIST OF TABLES
Table 1: Index of Prominent English Horn Symphonic Repertoire...... 73
Table 2: Catalog of Schiltz's Performances of Prominent English Horn Repertoire...... 77
Table 3: Discography of Schiltz's Prominent English Horn Symphonic Repertoire...... 149
Table 4: Schiltz's Solo Repertoire Performances with the Chicago Symphony Orchestra...... 167
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ABBREVIATIONS
AFM American Federation of Musicians, founded 1896
CSO Chicago Symphony Orchestra
ICSOM International Conference of Symphony and Opera Musicians, founded 1962
UNIV University
x
INTRODUCTION
This document discusses the career biography of Grover Schiltz with emphasis on his tenure as principal English horn with the Chicago Symphony Orchestra. The paper commences with an overview of Schiltz’s early training and professional career path and then examines in detail how the job of the orchestra musician, specifically
Schiltz’s job with the Chicago Symphony, has changed from 1959, when he first became a member, to 2005, when he retired from the orchestra. The transformation of the audition process for symphony orchestra positions is addressed, along with Schiltz’s own audition experiences in the 1950s, and his later involvement as an adjudicator. Also discussed is Schiltz’s role as both a soloist with the CSO and a chamber musician, as well as his views about performing, practicing, and teaching. Included is a conversation about the equipment he uses and a glimpse into his personal life outside the orchestra.
Of special interest are comments regarding Schiltz as a teacher and mentor from eight professional musicians who studied with him at crucial points in their careers.
This information was extracted from five interviews conducted over a period of 10 years. Three of the interviews were on cassette tape in the Rosenthal Archives: a 1989 interview done by Frank Monnelly, and two interviews conducted by Gerald Stein in
1998 and 2006, both as part of the CSO’s “Living Oral History Project.” The interviews were transferred to CD and then transcribed by me. The transcripts are currently available in the Rosenthal Archives of the Chicago Symphony.
1 I conducted the most recent interviews with Schiltz, which are also now available in the Rosenthal Archives. The first of these interviews was conducted at Schiltz’s home in June, 2007, over a period of two days. The second interview was conducted on April
23, 2009, by telephone. Throughout the writing process, I have consulted with Grover
Schiltz via email or telephone, and have given him advanced copies of the chapters as I have written them so that he can verify that his comments are current and were captured correctly.
Following these chapters is a section of quotes, which were taken from the interviews listed above. Here, Schiltz recounts stories of some of the conductors and colleagues with whom he has worked, as well as some of his specific experiences with the orchestra. A more complete transcription from the Schiltz-Dixon Costa interviews in
2007 and 2009 can be found in Appendix E.
An extensive catalog section at the end of the paper details Schiltz’s performances and recordings with the CSO of prominent English horn symphonic repertoire. Repertoire was chosen by researching audition lists for the position of English horn from professional orchestras. Many of the lists consulted were gathered from my personal audition experiences. Also conferred was a compilation by Brent Register, which was published in the International Double Reed Society Journal (Register, 1986), and Patricia Emerson Mitchell’s website, which has a section entitled, “Past Audition
Repertoire for American Orchestras.” (oboeinsight, 2004) Some of the audition lists that have been consulted are from the following orchestras:
Baltimore Symphony Columbus Symphony Boston Symphony Dayton Philharmonic Buffalo Philharmonic Florida Orchestra Chicago Symphony Florida West Coast Symphony Cincinnati Symphony Fort Wayne Philharmonic Cleveland Orchestra Fort Worth Symphony Colorado Symphony Grand Rapids Symphony
2 Harrisburg Symphony Oregon Symphony Honolulu Symphony Philadelphia Orchestra Houston Symphony Richmond Symphony Kansas City Symphony San Antonio Symphony Memphis Symphony Savannah Symphony Milwaukee Symphony Toledo Symphony Nashville Symphony Tucson Symphony National Symphony Tulsa Philharmonic New Jersey Symphony Virginia Symphony New Zealand Symphony
In addition to including prominent English horn symphonic repertoire, which is commonly found on audition lists, I wanted to include pieces that were significant to
Schiltz. To this end, together, we came up with a list of 51 compositions on which to base my research. Using the resources of the Rosenthal Archives of the Chicago
Symphony Orchestra, I was able to discover the date, location, and conductor for each piece on the list, as well as how often each was recorded or performed by Schiltz during his time as principal English horn of the CSO (1964-2005). I also included the names of soloists, labels, catalog numbers, and special notes about the concerts/recordings where applicable. These catalogs will serve both to chronicle Schiltz’s orchestral performances and to provide a sampling of what the job of principal English horn in a major symphony orchestra entails.
Lastly, the appendices include an outline of Schiltz’s orchestral work history, a selection of concert reviews throughout his tenure from Chicago and New York newspapers, and an overview of the CSO music directors and oboe section from 1959-
2005. Also listed are the biographies of the CSO music directors and the oboe section with whom Schiltz worked, as well as the biographies of the professional musicians who are former students of Schiltz and who contributed their comments regarding Schiltz as a teacher. Complete transcriptions of the Schiltz-Dixon Costa interviews from 2007 and
2009 follows.
3 Throughout this project, it has remained clear to me how imperative it is to document the history of our celebrated orchestral musicians. The career of the symphony musician is a unique and fragile field. It is important that future generations of musicians understand the struggles and triumphs of their predecessors in order to comprehend the significance of the AFM, orchestra boards, executive directors and music directors and why they function the way they do. It would be interesting to research more musicians of Schiltz’s generation from other orchestras to see how their experiences compare. One might also want to explore the plight of minorities and women in the orchestral field. Another avenue for further study would be to compare the development of the American symphony with the European orchestra tradition in regards to working conditions, compensation and job satisfaction.
It is my hope that this document will not only serve as an overview of the life of a symphony musician – specifically a survey of Grover Schiltz’s career with the Chicago
Symphony – but that it will also be a tribute to this man who has given so much to his colleagues, his audience, his students, and his art.
4
CHAPTER 1
BIOGRAPHY
In 2005, Grover Schiltz retired as the Solo English Hornist from the Chicago Symphony Orchestra. His tenure in the orchestra spanned over forty-five years.
Born Grover Edward Schiltz on November 6th, 1931, Grover grew up in Aurora,
Illinois, about 45 minutes outside of Chicago. He and his older sister, Joanne (now)
Miller lived with their parents, Roland and Cleora, until Grover was five, and then with their father and grandparents after their parents’ divorce. His grandparents had a rustic cottage on Fox River where the family spent three months each summer “... far from the softening influences of running water and indoor plumbing. We loved it, with boating, swimming and fishing filling our days.” (Fox Valley Arts, 2002) A few years later,
Grover’s dad married his step-mother, Esther, and from then on, they were a family unit.
His parents were appreciative of music, but were not musicians. His father, Roland, worked in a factory as a drill press operator, and his step-mother, Esther, was a commercial artist and free-lance photographer, who eventually became a draftsman for one of the power tool companies in Aurora.
Schiltz attended Center School in Aurora. Early on he was interested in music, excelling in his general music classes and becoming a boy soprano soloist for Trinity
Episcopal Church. He sang in the choir and often performed as a soloist. Some of his recital programs for solo voice and organ were broadcast on the local radio station,
WNRO. He continued with singing until his voice changed. By that time he was taking
5 private lessons on the oboe, and he decided to leave singing and concentrate on the oboe. (Monnelly, 1989 [1], pp. 1-2)
Schiltz’s foray into instrumental music reads like a poster child for the public school band program. When he was in the third grade, a group of students from the East
High School band came over to Center Elementary to recruit for the band by giving demonstrations on their instruments. Schiltz was “hooked.” He originally wanted to play clarinet, but due to his small hand size, which made the reach on the clarinet a struggle, and the fact that the band director needed an oboe player, he was encouraged to try the oboe. Schiltz recalls that his director gave him, “... a certain amount of propaganda about how oboe players were always available for scholarships, and there was money always available for advanced education in universities,” and says, “So that, to a certain extent, encouraged me to stay with the oboe.” He also started enjoying the soloistic quality of the oboe and says, “The die was cast from about the third or fourth grade on.”
(Monnelly, 1989 [1], p. 1)
Schiltz says that once he got involved in the band, he started listening to classical music. At that time, the local radio station had a morning program of light classics that he would listen to every morning when he woke up. He also listened to the live radio broadcasts of the New York Philharmonic and the NBC Symphony. He did not own many recordings, but he was able to acquire some via his uncle, and he played them on a wind-up 78 player. Schiltz laughs when he talks about his step-mother’s brother. “He wasn’t any more honest than he should have been, and he used to – somehow or other – collect records; and we never asked where they came from.” (Dixon
Costa, 2007 [1], p. 244)
Schiltz’s first instruction came from his band director, Jim Trotto. Mr. Trotto was a trombone player and the school’s geography teacher, who taught basic musicianship but 6 knew very little about the oboe. The school had an old, military system oboe that Schiltz said only had about seven keys. Desperate to secure their only oboe player, the school agreed to buy his oboe reeds for him. He played on Ruckle Reeds which cost about $.75 a piece. Leo Ruckle was the second oboist of the Chicago Symphony Orchestra from
1920-1940 and had a commercial reed business. Schiltz is sure that Ruckle did not make the reeds himself, because the quality was very poor.
Despite the reeds, as a talented youngster and the only oboe player on the east side of Aurora, when Schiltz was in elementary school, he was encouraged to play in the junior high band, and when he was in junior high, he was encouraged to play in the high school band. During this time he joined a youth orchestra, an extra-curricular project of the high school orchestra director that met on Saturday mornings. The director would take the orchestra to Chicago to hear Pops Concerts on some Saturday nights, and this provided his first exposure to the Chicago Symphony. Schiltz continued to study with his band directors until he was around 14, when he joined the Aurora Civic Symphony (an amateur group for adult musicians) as their second oboe player. He then got a little instruction from the principal oboist of the Aurora Civic, Bill Vruels, an amateur from
Lockport, IL. Soon, however, Vruels was sent into service for World War II, and Schiltz found himself, at 15, the new principal oboist of the orchestra.
When he first joined the Aurora Civic Symphony, Schiltz decided that he needed some real instruction, so he contacted Florian Mueller (principal oboist of the Chicago
Symphony from 1931-1954) who directed him to Robert Mayer (CSO principal English horn 1938-1943, 1945-1956). Schiltz got a job in the public library after school and on weekends so that he could pay for his lessons. He began to take the train into Chicago weekly for a 30 minute lesson with Mayer.
7 Schiltz recalls this about his study with Mayer:
Bob was a very, very strong teacher. He was out of the old French school. He studied with Alexander Duvoir. Duvoir was principal of the Minneapolis Orchestra, and that’s where Bob studied with him. And it was old school, French short scrape, and that’s the way Bob taught and played. But – no nonsense. I mean, Bob ... I only had half-hour lessons all through high school, but he started out the lesson with two major and two minor scales – both diatonic – and then thirds. And if you didn’t get any farther than that – you didn’t get any farther than that. And so if you wanted to play your etudes and you wanted to play your solos, you learned to play your scales. And he was very interested in absolutely no nonsense. Not only that, but right away, as soon as – by the second or third lesson – ‘let’s get going on reeds’. And so, we had a reed lesson, and I was expected to bring in a new reed every week after that. (Dixon Costa, 2007 [1], p. 242)
Once he began studying with Mayer, Schiltz would come in to Chicago as often as possible to hear concerts, and Mayer would even take him to some of his CSO rehearsals at the Ravinia Festival in the summers.
At 15, Schiltz wanted to trade in his school-owned military-style oboe and purchase a better instrument of his own. So he got a job in a grocery store, because it paid better than the library. Mr. Mayer found him a used AL series Loree, which cost about $450. The young Schiltz couldn’t afford it outright, and asked his teacher if he could pay for it in weekly installments. Unbeknownst to him, his parents had arranged to pay Mayer for the instrument, but let their son believe he was paying weekly. The teacher took his pupil’s money and simply sent it back to the parents. Years later, Schiltz learned what his parents had done, and was glad of the lesson in responsibility that they taught him.
8 For the rest of high school, Schiltz studied and gained experience in the Aurora
Civic Symphony. When asked what his most prominent memory was of that time, Schiltz says:
I remember particularly, we were playing Beethoven’s 7th. And I had never heard Beethoven 7. I had no idea what it was all about. And so, here came this opening chord, and I was on the high A,
It was when Schiltz was a senior and participated in the Fox Valley Festival
Orchestra as principal oboe that a prophetic moment occurred. The guest conductor of the festival happened to be William D. Revelli – the infamous tyrant who was the director of bands at the University of Michigan from 1935-1971. He heard Schiltz play and asked him where he was planning to go to college. Schiltz replied that he had scholarships from both Northwestern and the University of Chicago. Even though it was already past the school deadline, Revelli got him a better offer from the University of Michigan, which determined the course of his next four years. Schiltz laughs and says this about the experience:
I’m really not sure why I chose Michigan, except for the fact that I was pretty much in awe with Revelli – the way he worked with an organization. I didn’t see the really sadistic side of him at that moment. And he was a sadist. He really browbeat people. Again, it was one of these things where he ruled through fear. Maybe I’m grateful to him, because, if I could put up with him, I could put up with Reiner. The two of them had a lot in common. There wasn’t an awful lot of jocularity involved in either one of them. But, I was quite young.... (Dixon Costa, 2007, [1], p. 245)
Schiltz attended the University of Michigan from 1948-1952, eventually graduating with a bachelor’s of music in Woodwinds. Revelli had a reputation of turning
9 out good college teachers. Schiltz tried the Education program for one semester, but quickly decided that his interest lay more in performance. His primary teacher was Lare
Wardrop (English horn player, Detroit Symphony). It turned out that Mr. Wardrop was often more interested in playing golf on the university’s golf course, or other pastimes, than teaching. Schiltz recalls, “I more or less learned from some of the older students, and when visiting orchestras would come in, I would hit on some of the oboe players for lessons. When Boston came, Jack Holmes was principal oboe at the time, and I had a few oboe lessons with him.” (Dixon Costa, 2007 [1], p. 251) Visiting orchestras continued to be a huge opportunity for learning. At that time Marcel Tabuteau, often touted as the father of American oboe playing, inspired him greatly when he came to town with the
Philadelphia Orchestra. Schiltz says:
We were all in awe of him as a player. The Philadelphia Orchestra used to come up to Ann Arbor every spring. And they’d do six concerts in four days. And so, we’d all just cut classes and go listen to the rehearsals, and just absorbed the whole thing. We thought we’d died and gone to heaven. So, I certainly got to hear plenty of his playing and, of course at that time, he was pretty much a demi-god. By this time, he’d already turned out so many wonderful players -- Lifschey
During his college years, Grover Schiltz was introduced to the English horn, because Revelli wanted his principal oboe players to play the English horn solos in the band repertoire. However, his initial major experience with the English horn came during his first year at Tanglewood (the Boston Symphony’s summer home) in the summer of
1951, after his junior year in college. The piece was Debussy’s Nocturnes and the conductor was the world-renowned Charles Munch. Schiltz laughs as he remembers the challenge of playing four against six, under fire, and quickly learning the (previously
10 unknown to him) composition. He spent the next summer (1952) at Tanglewood, as well, and gained much from playing great pieces with exceptional musicians.
During his senior year at the University of Michigan, Schiltz began actively looking for a job. He found out there was a second oboe opening in the Indianapolis
Symphony and wrote to the personnel manager to ask for an audition. After playing for the conductor, Fabian Sevitsky, he was offered the job. But that was thwarted when he was drafted into the army. Immediately after he returned from Tanglewood his second year, he was to go to basic training. He was sent to Fort Sheridan in Chicago and immediately auditioned for The Fifth Army Band. He was accepted, but would have had to enlist, meaning a three-year commitment, instead of the two that was required of a draftee. He did his basic training in Fort Leonard, Missouri, and discovered happily that their oboe player was just about to be released. So, after basic training, he auditioned and joined the Army Band at Fort Leonard Wood where he spent most of the next two years.
In the army, Schiltz played oboe in the concert band and baritone saxophone in the dance band. When asked what his duties were, he responded “to hold a saxophone,” and said it was “mostly just a loafer’s life.” (Dixon Costa, 2007 [1], p. 249) However, at that time, there was a program called the Armed Forces Unification Program, where the army could send two of their members to study for six months at the Navy School of
Music in Anacostia, Washington D.C. Schiltz was chosen to go, so from June through
December 1953, he moved to the Navy Base. It was then that he had the opportunity to go to Philadelphia and study with Marcel Tabuteau.
Marcel Tabuteau was perhaps the most sought after oboist of his time, but he was also notorious for being unforgiving of mistakes, and very blunt about what he
11 thought. Schiltz had heard the stories, and, wanting to know what to expect before he went, asked his friend Wayne Rapier to help prepare him for the experience. Rapier was in the Marine Band at that time and had been studying with Tabuteau privately for several years. Still, Schiltz recalls, the actual meeting with Tabuteau took him by surprise. “He didn’t waste any time on niceties. You know – I’d play the first three notes and he’d say – ‘Don’t be an idiot, don’t be a damn fool, don’t be a jackass’ – and it went on from there!” (Dixon Costa, 2007 [1], p. 250) Despite Tabuteau’s intimidating gruffness, Schiltz remarked that he was “tremendously focused and concentrated” and that even though they had just met, Tabuteau taught him with the same intensity that he taught his students that he had for years. At the end of his six months at the Navy Base, and thus the end of his lessons with Tabuteau, Schiltz asked his teacher what he thought his chances were in the profession. Tabuteau replied, “You have a good tone.
You have a good tongue. You should get with a good teacher.” Then he asked if Schiltz had a cold and upon hearing that he didn’t, asked to see his reed. After playing on it, he asked Schiltz if he needed it back and said, “I will give you a staple and two pieces of cane for this reed.” (Dixon Costa, 2007 [1], p. 250) So Tabuteau took his reed and left
Schiltz bewildered, but flattered that he liked it enough to want to keep it.
In January, Schiltz returned to his band at Fort Leonard Wood to finish the rest of his service. Late that summer, when he was discharged, he returned to Chicago. He had been a few credits shy of graduating when he had been drafted, and so he enrolled in
Roosevelt University to complete his degree requirements. After taking a couple of academic courses, he transferred his credits back to the University of Michigan and officially graduated in 1954. (Monnelly, 1989 [1], p. 2)
12 Around the same time (1954), Ray Still was appointed principal oboe of the
Chicago Symphony. Schiltz remembers hearing him play in the Grant Park Symphony and being impressed. He asked Still if he could study with him. Soon after, Schiltz was accepted into the Civic Orchestra of Chicago; a training Orchestra sponsored by the
Chicago Symphony. That position gave him a weekly stipend and free lessons with Still.
Still was supportive of Schiltz and recommended him for playing opportunities. Schiltz played in Civic and studied with Still for about a year. In 1955 he auditioned for and was accepted as the second oboist of both the Chicago Lyric Opera Orchestra and the Grant
Park Symphony. He stayed with the Chicago Lyric for a year until he won the principal oboe position with the Kansas City Philharmonic starting in the 1956 season. He was able to keep his position with the Grant Park Symphony through 1959, because it was a summer festival.
On June 16, 1956, Grover married Beverly Spera. They had met while students at the University of Michigan. Beverly had transferred from the University of Wichita and they spent two years together at the U. of M. A professional bassist, she played for two years in the New Orleans Philharmonic during the time that Schiltz was in the army. She then enrolled at Northwestern University for her master’s degree. When they came to
Chicago they got together again, and have been together ever since. They are approaching their 53rd anniversary this year.
Fortunately, the Kansas City Philharmonic also had a bass opening the same year (1956). Beverly auditioned and won the position – they would both have a job in
Kansas City. In the spring of 1956, before the Kansas City season started, both he and
Beverly went on tour with the Boston Pops Tour Orchestra under the direction of Arthur
Fiedler. Beverly had already played a few tours with the group and found out that there
13 was a second oboe opening. It happened that Fiedler was in town conducting the CSO in a program for the 4H club (something he did yearly). Grover went and played for him and was immediately accepted. The tour was for three months and the musicians traveled across the country and back on a bus. It was grueling, but it was employment until the Kansas City Philharmonic’s playing season began.
The Boston Pops Tour Orchestra was one of many touring groups that were around at that time. Other tours were led by band leaders such as Mitch Miller or
Mantovani, or groups such as the Sadler’s Wells Ballet or the Royal Ballet. Musicians could piece together a modest living by going from one tour to another. The travel was brutal, though. They were allowed only three days off during the entire three months, traveled up to 400 miles each day, and played a full concert, long enough to have two intermissions each night; then woke up and did the same thing the next day. The musicians were expected to find and pay for their own accommodations and meals.
Schiltz recalls:
The orchestra got so upset about the fact that we had no representation that a little committee got formed, and I don’t know if you knew Dave Zauder, but he was a trumpet player and personnel manager of the Cleveland Orchestra. He was one of the trumpet players on the tour. So he decided that he’d fire off this letter or telegram to Petrillo
Eventually their group started looking up the names of hotels in the towns to which they would be traveling, and sent postcards ahead asking for a group rate. (Dixon Costa,
2007 [1], p. 256)
14 The programs that the Boston Pops Tour Orchestra played were usually divided in to three parts. Schiltz says that there was:
… an upbeat opener, like a polonaise. And the second half, you would have a piano concerto, a Rhapsody on a Theme of Paganini, a Mendelssohn in G Major, and we would do “On the Trail” from the Grand Canyon Suite; also a Sorcerer’s Apprentice – things like that. And then in the third portion of the program, he would do, like, Look Sharp, B Sharp March, and the Waltzing Cat, and that sort of thing. (Dixon Costa, 2007 [1], p. 255)
Schiltz recalls that the first oboist on the tour was often sick or over-medicated, and would hand him his solos to play at the last minute. When they were touring through
Chicago, Schiltz took the opportunity to go up to Fiedler and request to play first oboe for his home town concert. Fiedler accepted without hesitation because he knew that Schiltz had covered for the first oboe player many times during the tour.
That fall, Grover and Beverly moved to Kansas City to start their positions with the Philharmonic. At that time, the Philharmonic’s season was only twenty weeks. The couple decided they wanted a pet to fill up some of their extra time, so they found a breeder and adopted a Dachshund. This was the start of a life-long passion for raising and showing dogs. The couple played in Kansas City from 1956-1959. Always, they were searching for better jobs. During this time there were two different openings for principal oboe in the St. Louis Symphony. Even though Schiltz wrote to the personnel manager several times asking to audition, he never heard from them (more about auditions in chapter three). However, in the spring of 1959, after the Kansas City
Philharmonic season ended, Schiltz toured with the St. Louis Sinfonietta for three weeks.
In January of 1959, Schiltz was informed of an opening for the assistant principal oboe position in the Chicago Symphony and was invited to audition. Schiltz auditioned for Music Director, Fritz Reiner, and Assistant Conductor, Walter Hendl, that spring. In 15 mid-summer, the CSO contacted him to tell him he was hired. By that time, he had already signed a contract for the next season with Kansas City. Schiltz had to ask to be released from his contract and agreed to pay for any expenses (phone calls, telegrams, travel, etc.) the orchestra incurred to find his replacement. (Monnelly, 1989 [1], p. 4)
So, in the fall of 1959, Schiltz began his tenure with the Chicago Symphony
Orchestra as the new assistant principal oboe, playing next to his teacher, Ray Still, and under the baton of Fritz Reiner. Schiltz discovered that being assistant principal was a very different job than the job as principal that he had held the year before in Kansas
City. He remarked:
The job was a little different then from what it is now. There was a lot less rotation in those days, because when Reiner conducted, he wanted to see all his principals. And so, it was with torpor or terror you’d sit in the basement for six weeks, and then get put up to … maybe the principal player gets sick, and maybe you have to do the second concert on Friday night on sight, doing some incredibly difficult thing like, the Bartok Miraculous Mandarin, or something like that with no rehearsal. And that’s a hard way to go. (Dixon Costa, 2007 [1], p. 258)
Schiltz says that it took him a few months to figure out the job of assistant principal and how to pace himself. Most of his job was spent doubling on forte passages in the orchestral literature or playing children’s concerts; or practicing the literature as if he were going to play the concert, even though most of the time he did not. Of course when he was called on to play principal on a subscription concert, it was usually at the last minute and without the benefit of rehearsals. (Monnelly, 1989 [1], p. 6)
When I commented that he must be very good at working under pressure, he simply smiled and said, “I’m still here. I haven’t turned into a total wreck yet.” He said this about preparing for the job:
16 It helps if you’re a good sight reader in the first place. And it helps if you’ve heard the piece before. But, it’s like being a bridesmaid -- you never know – you think you’re out of the woods, and the piece is being performed, so you sort of go to sleep at the switch, and … that’s the wrong time. And we used to do a television show every Sunday night, and 28 weeks of television shows. And often, Ray would decide not to do them. Even though Reiner wasn’t conducting, you knew he was home watching the television set. So, it was always a pressure job. (Dixon Costa, 2007 [1], p. 259)
Schiltz remained assistant principal for five years. Then, in the spring of 1964,
Laurence Thorstenberg left the CSO for the Boston Symphony, leaving the orchestra without an English hornist. Schiltz borrowed an English horn from the Civic Orchestra and finished the season. Here is the story as Schiltz tells it:
Larry was hired as assistant principal in 1956. And when Bob Mayer retired from the orchestra, then Larry moved to English horn … The Boston audition came up, and he told the management that he was going to go audition, and he was going to have to miss a rehearsal. And they said, ‘You miss a rehearsal and we’ll fire you.’ And he said, ‘Well, I’m going anyway.’ So he went and he got the job, and came back and they fired him. And he took it to appeal, to arbitration, and he lost in arbitration. (Dixon Costa, 2007 [1], p. 259)
Even though Thorstenberg was going to one of the top orchestras in the country, at that time, it still left him without a job for six months. So being fired, and then losing the appeal was a major financial blow (more about job security in the next chapter). (Dixon Costa, 2007 [1], pp. 259-260)
The next time the CSO went on tour to New York, Schiltz bought a
Chauvet English horn. A few years after that, Ray Still brought back a Loree
English horn from the Loree factory in Paris, where he had been selecting instruments. He offered it to Schiltz, who purchased it and began playing on it.
17 In the fall of the next season, Music Director, Jean Martinon offered
Schiltz the choice of whether to stay on English horn or go back to his old job as assistant principal. He says:
Well, at that time Ray…still wanted to do most of the playing…I was tired of this routine – that you sit in the basement and chew your nails and worry about whether you’re going to get called on. And, it’s awfully easy to let things slack a little bit if you don’t play much. And so, I thought – OK, it’s my own gig. I know to prepare what I have to prepare, and it’s a good solo position, and, why not? (Dixon Costa, 2007 [1], p. 260)
From then on, until retirement, Schiltz occupied the English horn seat. He was with the orchestra through many transformations of conductors, audition processes, working conditions, and season lengths. When he first joined the
CSO, the season was 30 weeks long with six weeks at Ravinia in the summer.
That left 16 weeks without a paycheck. Most players had to find other work to keep themselves afloat in the off-weeks. Some musicians worked in factories, were door-to-door salesmen, or drove cabs; Grover and Beverly Schiltz ran a dog kennel.
When they moved to Chicago they had two dogs – a wire-haired and a smooth-haired Dachshund – and had some experience showing and training the dogs in Kansas City. Back in Chicago they took a summer job working in a boarding kennel. When the summer was over, the kennel owner offered them a position living and working at his second kennel. With the promise of free room and board, their own apartment, a salary, and a place to raise their own dogs, the
Schiltz’s readily accepted. After a few years, the kennel that they operated was sold. By that time they had saved enough to buy an acre of land with a small farmhouse. They added a kennel wing and continued business at their new
18 location in Half Day. (Monnelly, 1989 [1], pp. 8-9) Schiltz explained that, at first, it was a relatively easy business to keep up, even during the orchestra season, because most of the busiest times for the kennel were during the holidays when the orchestra was not in session. What started as a way to help make ends meet ended as a way to cover the expenses of breeding and showing their own dogs –
Dachshunds and Welsh Corgis. They finished 24 champions throughout their years in the business. They operated the kennel from 1962 until 1988 when the symphony schedule, especially the touring schedule, got to be too arduous to do both.
Schiltz played English horn with the CSO for a little over 41 seasons.
During that time he went on every tour and made numerous recordings. Deciding to retire was not an easy decision. However he felt strongly about leaving while still playing at an exceptional level. He says, “I just decided that it’s better to go out while people still appreciate your playing and don’t make excuses for it.” And with his typical wry sense of humor, he added, “Not only that, but the season that was upcoming was mostly hard work and not much gratification!” (Dixon Costa,
2007 [2], p. 265)
19
CHAPTER 2
THE TRANSFORMATION OF THE JOB OF SYMPHONY ORCHESTRA MUSICIAN
When Schiltz joined the Chicago Symphony Orchestra in the fall of 1959, the orchestra, under Dr. Reiner’s baton, was transitioning from being considered a good, regional orchestra to one of national prominence. At the beginning of Schiltz’s tenure with the CSO, the orchestra was starting to get some exposure from their weekly television program entitled, “Great Music from Chicago.” In fact, at the time of Reiner’s arrival, the CSO was the only major symphony appearing regularly on television. The program ran from 1958 to 1963 and significantly enhanced the visibility of the orchestra as well as Reiner’s marketability. (Morgan, 2005, p. 160)
Still, there was no significant touring. There would not be any international touring until 1971. The orchestra was having trouble competing with the orchestras of
New York, Philadelphia and Boston, partly because it had neither the international stature, nor the budget to attract the top players. After Dr. Reiner came to the CSO, he started to bring in replacements from outside the local pool of talent. With a broader base to choose from, the level of playing in the orchestra went up. (Monnelly, 1989 [2], p. 3)
At that time, the regular season was 30 weeks with six to seven weeks of work in the summer at Ravinia. The job paid $90/week and had a $900/year pension. As hard as it is to believe now, the Chicago Symphony was a part time orchestra. All of the
20 musicians had to find other work to supplement the four months out of the year that the orchestra was not working. When they were working, however, the day belonged to the
Maestro who dictatorially led the musicians. Although they had set rehearsal times, the conductor could choose to go into overtime or call extra rehearsals if he thought it was necessary. Schiltz recalls:
We had basically no limit on the services when I started. We were doing every Sunday a Kinescope or a television show live called “Great Music from Chicago,” … and Reiner was doing a fair amount of recording also during the days when we didn’t have rehearsals scheduled. So we would sometimes go six and eight weeks without a day off. (Dixon Costa, 2009 [1], p. 205)
Orchestra musicians at that time had no job security. Conductors could fire or replace people without cause. Often, they brought in their own people when they began their tenure with the orchestra. When Kubelík came to the CSO in 1950, he brought with him as his new principal winds, Leonard Sharrow, Clark Brody and Julius Baker, leaving the players originally holding those positions without a job. (Monnelly, 1989 [2], p. 3)
Schiltz said that during Reiner’s tenure with the Cincinnati Symphony (1922-1933), he was known to fire 10-15 players a year. Everyone played scared. If someone made a mistake, they expected to be demoted or fired. It happened routinely. Also, because there was no job security, the musicians’ could not count on their pensions. For example, Schiltz related that their piccolo player, Emil Eck, was fired at 29 years and 6 months thereby losing his entire pension. (Dixon Costa, 2009 [1], p. 204) With no health insurance, no paid vacation, no tenure, it is no wonder that Schiltz’s contract in 1959 was only one page long!
Eventually, musicians, tired of being treated like second class citizens began to organize. Although several orchestras had formed committees within their membership in attempts to better their working conditions, these committees were mostly powerless.
21 (Ayer, 2005, p. 32) In 1958, the St. Louis Symphony’s players’ committee had the idea of joining forces with other orchestras for more negotiating power. They developed an in- depth survey regarding work benefits and compensation in order to learn what was happening in other places. They sent the survey to orchestras who had a comparable season and budget to theirs. What the committee discovered was that, out of 20 major orchestras, none offered full-time employment. A mere five of the twenty orchestras had the right to ratify their contracts, only seven had any sort of pension plan, three provided hospitalization coverage and just one, the New York Philharmonic, offered paid vacation time. (Ayer, 2005, pp. 38-39)
Although there was a musician’s union, the American Federation of Musicians (or
AFM) founded in 1896, did not advocate for orchestra musicians when it came to matters of compensation, job security or working conditions. Unlike other professional unions, the majority of the membership (and consequently the voting power) worked as casual musicians who made their living doing something besides music. They were free- lancers for big bands, recording studios, theater and other “popular” venues. Without the consistency of having one main employer, these musicians just “jobbed” around and were hired on a day to day basis. Consequently, there was no union bargaining for regulated wages. As a result, the majority membership of the AFM was unfamiliar with and did not understand the plight of the symphony musician. Instead, the union often sympathized with the Orchestra Board and management’s financial concerns over those of the musicians. (Ayer, 2005, pp.31-32)
Because of this lack of representation, in 1962, forward thinking musicians formed the International Conference of Symphony and Opera Musicians (or ICSOM).
ICSOM was created with the intention of working within the organization of the AFM. The wish was to provide an organized, unified voice in order to make the specific issues of
22 symphony musicians heard and understood. As the group gained stability and international visibility, it was eventually able to provide a support system to symphony musicians, helping them to gain more autonomy, better working conditions and better compensation. (Ayer, 2005, pp. 61-63)
However, the AFM viewed ICSOM, and even the formation of individual orchestra’s players’ committees, as a threat. They were afraid that orchestras would break from the AFM and form their own union, thus weakening the AFM’s bargaining power. (Ayer, 2005, pp. 31-32) Schiltz says:
The union was very suspicious of the members’ committee during its first years because they felt that it, in some way, could be interpreted as it being dual unionism and that what we were trying to do was to supplant or subvert the American Federation of Musicians, which we weren’t. What we were trying to do was to, in a sense, better control our own destiny. And who better knew what our problems were and our needs were then us, ourselves. (Monnelly, 1989 [2], p. 6)
Heretofore, the union conducted contract negotiations with management without any musician involvement. The process was called “local autonomy,” and it allowed union representatives to negotiate the contracts of orchestra musicians, disallowing them from any part of the process. Musicians had no choice but to accept whatever they were offered. (Ayer, 2005, p. 32) During this time the Chicago Union (Local 10) was being run by a very ambitious man named James Petrillo who governed with absolute authority through intimidation. He was not about to give up any of his power by recognizing any formal committee of musicians and, in fact, tried to stop any committees from being formed. However, ICSOM continued to strengthen and eventually became a great bargaining agent.
Meanwhile, in Chicago 1959, during the summer season at Ravinia, the
Orchestra Board, backed by the union, suddenly announced to the orchestra that they
23 would be scaling back the season. This would result in a significant pay cut for the musicians. The orchestra immediately formed a players’ committee to address these concerns. Oboist, Ray Still was the first chairman of the committee. The committee, although not formally recognized by the union until 1962, began to put pressure on the union and management and served to help organize the musicians. Within about a year
(1960), the committee was able to help negotiate a new contract. (Ayer, 2005, p. 43)
The first years of the formation of ICSOM and players’ committees were tremulous times for musicians. Those involved were considered revolutionaries by management and sometimes faced discrimination because of it. In More Than Meets the
Ear, Julie Ayer writes, “In 1961, Rudy Nashan experienced consequences that confirmed some players’ fears about participating in committee activism. After ten years of distinguished service with the orchestra – Chicago’s trumpet section was world renowned – Nashan found himself suddenly demoted from second to fourth trumpet.” (p.
45) It is reported that after this, Nashan went to Reiner and asked if he was unhappy with his playing. Reiner said no, but that there was nothing he could do to retract the demotion. (Legally, he could have, but he chose not to.) Nashan then went to Petrillo, the local 10 president, who gruffly informed him he was demoted for musical reasons so nothing could be done. Nashan had no recourse and had to accept the demotion. (Ayer,
2005, pp. 45-46)
Many musicians, afraid of retaliation like this, wanted to steer clear of the controversy. Others felt that they had no right to stand against management. Schiltz recalls:
I remember one of our outstanding wind players getting up before the orchestra meeting and saying, “Look, the committee didn’t hire me, the union didn’t hire me -- the management hired me. My loyalty is towards the management.” This person later did a 180-
24 degree turn when all of a sudden we got health benefits, and we got better pension, and when we got tenure, when we got more job security, when we got better travel conditions, and all of these things that didn’t come about until there had been pressure brought to the union on the part of the members’ committee and the orchestra as a part of the union bargaining agent. (Stein, 2006 [1], p. 4)
Schiltz was a proponent of the committee and saw the good it could do for the orchestra members. He was very much involved in the early 1960s as the committee started to solidify and served as secretary. It was not until 1962 that James Petrillo and the union acquiesced to recognize the CSO players’ committee, allowing them to participate in their own negotiations and to ratify their own contracts. Joseph Golan, the committee chair at that time started pushing hard for a 52-week contract. He justified the change to full-time by saying that, when musicians had to take other work in the off- season, it made them rusty on their instruments and that the year-long contract would go a long way towards improving the orchestra. In addition, he said, it was appropriate to give musicians, “a fair wage for men who have studied, worked, and rehearsed most of their lives trying to create good music.” The 1962 negotiations were at an impasse until the orchestra threatened a strike, at which point the management and union agreed to
“an improved basic pay scale, a longer season, provisions for grievance and dismissal procedures, pension and health benefits, and recognition of the Chicago Symphony
Orchestra players committee.” (Ayer, 2005, p. 56)
Schiltz believes that the committee has been very important to the CSO in part because “it provides a forum where we can all, in a sense, interact and resolve a lot of situations that could be problematical within the orchestra and outside the orchestra.” He goes on to say that it allows the orchestra to act much more efficiently in regard to grievances that need to be brought up to management. It also, he says, allows management to more quickly react to the orchestra’s concerns. (Monnelly, 1989 [2], p. 6)
25 All in all, symphony orchestras have made great strides in musician’s rights over the last several decades. By 1976, eleven U.S. orchestras paid all of their musicians on a fifty-two week basis. (Ayer, 2005, p. 124) Other changes have included the following:
Rights for all orchestra members to ratify their employment contracts (by American Federation of Musicians bylaws amendment); Legal representation for musicians; Players’, audition, dismissal review, and artistic advisory committees of musicians; Tenure systems; Pension benefits; Sick leave regulations and benefits; Health, life, disability, dental insurance; Maternity and paternity leave; Strike funds; Formal process for conductor evaluation by musicians; Year-round contracts; AFM Symphony Department; and Recording, audiovisual, and Internet agreements and revenue sharing (Ayer, 2005, p. xxvi)
These days, the Chicago Symphony Orchestra enjoys good benefits (in 2007, said Schiltz, the pension benefit was $70,000/year) and a highly esteemed international reputation, which, in large part, was due to the significant amount of recording done by the CSO for domestic and international release. (Dixon Costa, 2007 [2], p. 265) Many positive changes have been made, not only making it possible to make a living wage in the orchestra, but, also, to reward and protect the high caliber of musicians that make up the CSO.
Unfortunately, because the economy is currently in a downward spiral, many orchestras are not able to keep up the funding for a 52-week work schedule or the salary and benefits that symphony musicians have come to expect and depend on. Orchestras in general are not recording much anymore largely due to the fact that it no longer is a profit making endeavor. There are also problems with attracting audiences. As funding
26 gets cut from schools, arts programs are some of the first things to go. Plus, there is not the tradition of classical music in American families as there once was.
Not only that, but there are not as many conductors willing to take on the role of music director to a top orchestra. Many conductors have become prominent without being attached to a specific orchestra and would rather guest conduct all over the world than to do the “grunt” work involved in scheduling a season, setting up tours, participating in the community and promoting the orchestra. Daniel Barenboim was the
CSO’s last music director (1991-2006) and he left in part for that reason. As a result, the
CSO has been and will be without a music director until Ricardo Muti assumes the role in the 2010-2011 season. (Chicago Symphony Orchestra, n.d.)
27
CHAPTER 3
SCHILTZ ON AUDITIONS
Auditioning for Symphony Orchestras has changed a lot over the years. When
Schiltz began taking auditions in the 1950s, orchestras were not mandated to advertise their position openings. There were no hiring ads in the American Federation of
Musicians union paper as there are today. Schiltz said that he “kept an ear out” for who was retiring or changing positions, and then wrote to the personnel manager of the orchestra to inquire about an audition. Auditions were by invitation only. There were some orchestras that Schiltz wrote regarding auditions that never responded to his inquiries. This was very common, especially if the orchestras were used to filling their positions from a particular place (often a specific school or teacher’s recommendation).
Schiltz says:
It was fairly common practice – when Alexander Hilsberg went to the New Orleans Philharmonic in 1952, he took the whole graduating class from Curtis – John Mack, Harriet Edwards, Paul Schaller played clarinet in that group, Otto Eifert was the bassoonist, Ned Meredith was the trombone, Gil Johnson played trumpet. He just raided the senior class -- just about everybody of any importance in the old orchestra . . . . Could be done in those days. (Dixon Costa, 2007 [1], p. 240)
Schiltz took his first professional audition when he was a senior at the University of Michigan. He auditioned for the second oboe position of the Indianapolis Symphony.
His audition was for the conductor, Fabien Sevitsky. Schiltz recalls that he played
Handel’s c minor Sonata as his solo piece. He says, “I later discovered that you wouldn’t
28 get (the) job unless you played Handel, and I, just out of dumb luck played Handel c minor . . . . It was one of the two or three oboe pieces he knew!” (Dixon Costa, 2007 [1], p. 254)
In addition to the difficulty of learning about openings and securing auditions, there was no standard way of auditioning. Schiltz says that there was never a set audition list as there is today. He remembers auditioning for the first oboe position in
Houston for Stokowski and being asked to play Stokowski’s own arrangements of pieces like Night on Bald Mountain. There was absolutely no way of knowing what you were to play and no guarantee that you would have ever had the opportunity to see the music before. (Dixon Costa, 2007 [1], p. 254)
Schiltz had been playing in the Kansas City Philharmonic under Hans Schweiger for almost three seasons when the CSO personnel manager, George Kuyper, wrote to
Schiltz to inform him of an opening for the assistant principal oboe position. On January
8, 1959, Schiltz responded in a hand-written letter that he was indeed interested in the position, and outlined his schedule of when he would be available to come to Chicago for an audition. (Kuyper, 1959 & Schiltz, 1959) His audition took place in March. Schiltz played his audition in Dr. Reiner’s studio for the Maestro and Walter Handl, not exactly an easy audience! He prepared everything that he could think of that was in the standard literature, since he had no idea what they were going to ask him to play. He says this about the audition:
Usually an audition for oboe would consist of something like: La Scala di Seta, Rossini to show fast technique and tonguing, perhaps La Mer of Debussy to show high register facility, Le Tombeau de Couperin to show overall technique, usually Brahms’ Violin Concerto or one or more of the Brahms Symphonies to show a more melodic style and to show that you know the orchestral excerpts well, and possibly even some sight reading. I remember also he asked for a movement from the Bartok Concerto for Orchestra to indicate low register staccato and
29 general technical proficiency, tonguing. So, that was basically the audition, and I would say it probably lasted twenty minutes to a half an hour. (Monnelly, 1989 [1], p. 4)
Schiltz recalls his feelings at the time, saying, “It’s kind of an overpowering experience to have both the director of the CSO and the assistant conductor both there, focusing on you, and with no distractions, with no one else to . . . nowhere to hide!
(Monnelly, 1989 [1], p. 4)
Schiltz had to wait a long time before he found out that he would be offered the position. On March 14, 1959, Schiltz wrote again to George. Kuyper to inquire about the outcome of his audition. He also requested reimbursement for his plane fare, which amounted to $44.00. (Schiltz, 1959) On March 16, 1959, the manager of the CSO wrote to Schiltz enclosing his expense check, thanking him for his audition, and writing, “Dr.
Reiner does not feel that he can use you for next season, but we shall surely keep you in mind should another vacancy exist.” (Kuyper, 1959) That spring, Schiltz signed a contract to play the next season in Kansas City. Meanwhile, Reiner kept auditioning people on into the summer until, in July, while Schiltz was playing with the Grant Park
Symphony, he was offered the job. The CSO archives has Reiner’s letter to Kuyper, in which, he asks the manager to hire Schiltz. The letter is dated June 30, 1959, and says, in part:
Ray Still called me on Sunday. Both he and Thorstenberg recommend strongly Schiltz for the position. He is the first oboe in Kansas City, plays 2nd oboe in Grant Park and I have auditioned him at that office several months ago . . . . He is a member of the Chicago Local and the boys vouch for him. Since I do not believe that at this late hour I could find anybody better in New York – please sign him up. (Reiner, 1959)
30 Although very excited about the new position, Schiltz then had to ask to be released from his contract with Kansas City. Because it was summer, most players had already found work for the next season. Schiltz recommended Carl Sonik, the second oboist of the Kansas City Philharmonic (who was also from Chicago and had studied with Still), to replace him. After going through their auditions, the orchestra did, indeed, hire Carl Sonik, and then had to hire a new second oboist. Because he was asking to be released from his contract, Schiltz was responsible for any expenses the orchestra incurred in the hiring of his replacement. All in all, Schiltz says, it cost him about $100 to be released from his contract. (Monnelly, 1989 [1], p. 5)
The audition process started changing in the late 1960s as the orchestra gained more autonomy and more job security. As the musicians, working through ICSOM, fought and won more rights, they wanted a fairer system. When Schiltz first joined the
CSO in 1959, “. . . there was a whole generation who had never come through an audition procedure.” (Stein, 2006 [1], p.12) Some people had gotten into the orchestra by being recommended by a principal player, or, often, a conductor would bring in his own players when he took over the orchestra (essentially firing the ones that were displaced). As a result, many qualified candidates were blocked out of the audition process. (Monnelly, 1989 [2], p. 3)
In her book on symphony musicians and their labor revolution entitled, More than
Meets the Ear, Julie Ayer writes:
Nepotism and favoritism by conductors ended with the establishment of audition procedures, which guaranteed the participation of musician committees, negotiated into each orchestra’s master agreements in the 1970s. Since that time, job openings in the top orchestras have been filled through open, international auditions that are designed, literally, to screen out prejudice . . . (p. 144)
31 In 1984, ICSOM created a “Code of Ethical Practices for National and
International Auditions.” This code was intended, not as an absolute rule of hiring procedures, but rather as a guideline to help orchestras run fair auditions. The code calls for, among other things, international advertisements of positions and insuring that all applicants are given the details of the auditions in advance (including time, date, and repertoire). ICSOM also wrote a “Conduct of Auditions.” The Conduct of Auditions spells out how a fair audition is run, and includes advocating musicians’ involvement in the audition procedure, notification of the audition outcome to all applicants in a timely manner, and no discrimination on the basis of “race, sex, age, creed, national origin, religion, or sexual preference . . . .” (Ayer, 2005, pp. 145-147)
Today, auditions are much more democratic. An audition committee, composed of members of the orchestra, sits behind a screen and listens to candidates anonymously. The CSO’s audition committee is composed of nine musicians. There are several sections of the orchestra represented, although the committee likes to have a good representation of the instrument that is being auditioned. A candidate may successfully pass to the next round with six votes. The music director usually comes in on the final round. He is not allowed to pick someone with less than six votes, but he can choose not to hire anyone at all. If that happens, another audition is held until the position is filled. (Dixon Costa, 2009 [1], p. 216)
Every effort is made to insure fairness of the process. A candidate is not allowed to speak directly to the committee, but may only ask questions through a proctor. Usually a carpet is laid down for the candidate to walk on stage so that no discernment about gender can be made from the candidate’s footsteps. Auditionees do not use their names during the process, but are given numbers or letters upon their arrival. Though
32 sometimes the screen is removed for the final round, often it is not, and the audition stays “blind” until the end.
These procedures have cut down on discrimination against women and minorities and have helped to enable truly the best candidate being hired for the job.
There are a few drawbacks, though. The process today is very impersonal. Work ethic, personality, and experience become non-factors. Players are hired based on how well they play during the audition period only, and some auditions are just a few minutes in length. This could result in problems if the fit is not right between the new hire and the orchestra. Another drawback is the length of the process. It is not uncommon to have between 50 and 250 candidates auditioning, and the committee hears all of them in a very short span of time. There is the possibility of letting a good candidate slip through the cracks because of a waning attention span of the committee. It is an imperfect process to be sure, but all of these changes have been made to encourage growth in the orchestra and to keep it a vital entity.
33
CHAPTER 4
SCHILTZ AND CHAMBER MUSIC
Chamber music is classical music played by a small number of people.
Traditionally, the name also means that the music was played in a “chamber” or small room. Today, chamber music is often heard in the large concert hall. In general, though, a chamber music concert is more intimate than an orchestra concert, because, with fewer musicians playing, each part is more independent and more easily identifiable to the listener. Chamber musicians do not use a conductor, and so each musician has a leadership role and leads or follows their colleagues as the music dictates. The music becomes a conversation on stage between the musicians. Many orchestral players love to play chamber music for these reasons and Schiltz is no exception.
What follows will describe some of the groups he has played with over the years.
The Chicago Symphony Winds was an octet formed by former CSO principal oboist, Ray
Still. This group was a wind octet composed of CSO musicians and consisted of pairs of oboes, clarinets, bassoons and horns. The Chicago Symphony Winds did collaboration projects with other artists, toured, played concerts, and recorded. Examples of past projects include a series of five concerts at the University of Chicago, performing all of the wind music of Mozart and a recording (on vinyl, now out of print) of Mozart’s
Serenade #11 in E-flat Major, K. 375 on Sheffield Records. (Ray Still, n.d.)
Schiltz also played in the Chicago Symphony Woodwind Quintet, a quintet composed of the assistant principal wind players in the orchestra. They often performed
34 in the area schools, but they also did some recording and commissioning of music. The
Quintet has evolved over the years as the assistant principal positions change personnel. Even though these ensembles were formed from CSO musicians and were often advertised and contracted through the CSO, chamber music is not part of the orchestral contract. It is considered an “outside gig” and paid in supplement to their contract. (Dixon Costa, 2009 [1], p. 211)
Other ensembles for which Schiltz has played include Chicago Pro Musica, a chamber ensemble composed of a varying number of players. This group was formed and directed by CSO clarinetist, John Bruce Yeh, in 1979 and has done extensive recording, and touring. Schiltz has also been involved in the Chicago Symphony’s innovative music series, MusicNOW, which specializes in new compositions and is composed of CSO musicians. This group was formed in 1998 and is a performance venue for the world’s leading, living composers. One of the unique features of
MusicNOW is that it offers the audience a chance to meet and talk to the performers and composers at receptions held after each concert. (Chicago Symphony Orchestra, n.d.)
One of Schiltz’s greatest interests, however, is early music. He became a fan of
Concentus Musicus, an early music ensemble,which was recording at the time. When the Vienna Symphony came to Chicago on tour, Schiltz went to talk to the principal oboist, Jurg Schaftlein, who also played in the Concentus Musicus ensemble. He asked
Schaftlein if he knew where he could purchase a replica of a baroque oboe. Schaftlein had brought his replica on tour because he did not want to travel with his original instrument and risk it being damaged. So, he told Schiltz he would sell him the one he had brought, as he had just finished with the tour and was about to go home to Vienna.
Schiltz accepted and remembers, “And so we got together, and he sold me the oboe and
35 gave me two reeds, and a fingering chart, and a demonstration, and said, ‘Good luck!’”
(Dixon Costa, 2009 [1], p. 212) After that, he was hooked.
Schiltz and some of his colleagues formed a quintet of original instruments in the
1970s called Fiori Musicali. During the time they were together, the group performed numerous concerts around Chicago. The group was composed of Schiltz on baroque oboe, Richard Graef, (assistant principal flutist, CSO) Ken Slovic, (currently head of music for Smithsonian) David Hildner (violinist with Lyric Opera) and Robert Conant
(freelance harpsichordist). (Dixon Costa, 2009 [1], p. 211) Another group that used
Schiltz’s skills on baroque oboe was The City Musik, a group that played baroque through twentieth century music, and, which specialized in historical performances played on period instruments. (Monnelly, 1989 [4], p. 11)
Occasionally, during the summers, Schiltz would attend a few days of Oberlin’s
Baroque Performance Institute, sometimes taking a lesson with Michel Piguet (a Swiss baroque oboe virtuoso and recording artist). (Dixon Costa, 2009 [1], p. 212 & The
Baroque Performance Institute, n.d.) When asked if he had to study ornamentation upon taking up the baroque oboe, he replied, “Well, it comes with the territory. It’s assumed that if you play an early instrument, that you know how to ornament, and that you’ve done all the necessary dog work of going through some of the more scholarly tomes, and reading the tutors of the time.” (Dixon Costa, 2009 [1], p. 212) Schiltz suggests reading treatises by Johann Joaquim Quantz, Jacques-Martin Hotteterre, and the current day, Robert Donnington. He also recommends working on the Methodical Sonatas by
Georg Philipp Telemann.
The Methodicals are good, because sometimes he’ll (Telemann) repeat the same phrase two or three times within the slow movement, and each time, show you a different method of ornamentation . . . After all, he was considered a superior composer to Bach in his own time. And, if someone like Telemann
36 tells you what is a fitting ornament, then you’d better believe it. (Dixon Costa, 2009 [1], pp. 212-213)
Schiltz believes that playing chamber music is instrumental in developing as a musician and even helps to improve one’s orchestral playing. He says:
The more you interact with other musicians, the more you can bring to your job within the orchestra. After all, almost any chamber group is a subunit from the symphony, and as a subunit, you learn how each person within that group plays. And then, when you have something to do with them in the orchestra, you can react better to them because you may know how this person tunes, or that person does his dynamics, or whatever. And, if you do a great deal of Mozart with the Chicago Symphony Winds, then when you play a Mozart Symphony, you bring a lot of that style back to the orchestra, and you learn how to interact with the other units of the winds . . . . It makes you a more understanding musician and a more subtle, more perceptive player by doing more chamber music. (Monnelly, 1989 [4], pp. 11-12)
37
CHAPTER 5
SCHILTZ ON PERFORMING, PRACTICING, AND EQUIPMENT
On Performing:
Schiltz has been performing most of his life. He has had the opportunity to play with, and be counted among, the best musicians in the world. It is a job that does not come without a fair amount of stress – from the early days under Reiner, where a musician could be fired or demoted at the whim of the conductor, to today, where the
Chicago Symphony Orchestra is one of the most highly revered orchestras in history with a very demanding concert and touring schedule. He admits that there is a fair amount of tension in the job; however, he says, “If you’re well-prepared, if you’re well- trained, and if you have the chops . . . then it shouldn’t be different from any other type of job.” (Stein, 2006 [2], p. 2) He goes on to say that, “I think those who do well are those who are tested early on – who have been challenged and have shown that they can rise to the challenge and survive under the strain.” His method of managing anxiety is preparation. He explains that a musician’s work is not something that happens only on stage; it is in the reed-making and practicing, the studying of scores and recordings, and the intricate work of deciding what to do with each note, each phrase. He likens the job to that of a professional athlete or a circus performer. He tells his students, “If you walk on a high-wire thirty times a day, it becomes a walk in the park! On the other hand, if you do it once a year, it’s a real traumatic event.” (Stein, 2006 [2], p. 2)
38 Schiltz does not have much in the way of concert or recital day rituals. He tries to get a nap in the afternoon, he says, eat an early dinner, and he makes sure to get to the hall early enough so he can “get in the mood.” (Dixon Costa, 2009 [2], p. 222)
Schiltz says that when performing, there is some level of alertness that is always present. Though the tension may fall if he is playing a march, and rise if he is playing the
Swan of Tuonela, some tension is always there. When the concentration goes, he says, that is when mistakes happen. He believes that a successful performer has to have a combination of good pitch, good listening skills, good hand-eye coordination and the ability to respond very quickly to change. (Stein, 2006 [2], pp. 4-5)
When asked about the difference between being onstage and listening in the audience, he says that performers hear the concert differently than an audience member does. When he is performing, he explains, he is completely immersed in the details of playing his instrument and weaving his part into the intricate ebb and flow of the sounds around him. While this kind of narrow attention is necessary to successfully perform, it is not the “big picture.” It limits him being able to appreciate the broad spectrum of sounds that comprise a composition. Schiltz goes on to say that when he is in the audience listening to a piece that he has played before, he still “lives” the English horn part, and the skills involved in playing that part. It is hard for him to disassociate the playing of the piece with the listening of it. He says that he can listen as an audience member more easily when he is hearing a piece for the first time. (Stein, 2006 [1], pp. 11-12)
39 On Practicing:
“While you are resting, someone else is practicing for another hour.” - Grover Schiltz (Dixon Costa, 2009 [2], p. 227)
Schiltz credits his high school teacher, Robert Mayer, with instilling in him the importance of fundamentals. He had to play scales, and scales in thirds at every lesson.
He says, “Mayer was a terrific technician, and, by the time I was sixteen, I had been all the way through Barret and Ferling, and I was starting on Bruyant. And he pushed me hard every week.” He goes on to say in the same interview that, even today, he starts his practice sessions the same way – with scales. He tells his students that scales are simply “the tools of the trade.” He uses them to warm up his articulation, finger technique, and breath support. If there is something very technical that he needs to learn for his next concert, he takes the passages and makes up exercises around them. If it is in the off-season, he practices etudes. (Dixon Costa, 2009 [2], pp. 219-220 & Dixon
Costa, 2007 [1], p. 264) He believes in having a strong command of the instrument because, without thorough knowledge of the basics, making a phrase, he says, is impossible. (Schiltz, 1992)
Schiltz takes a more organic approach to the rest of his practice routine. He practices what he happens to be playing at the time. When asked if his practice time changes on tour, he replies that it depends on the time demands of the tour. “There’s times when you just really can’t do anything except travel, check into your hotel, get a bite to eat and go over to the hall. So you just rely on the past year’s worth.” (Dixon
Costa, 2009 [2], p. 221) He implies that the key is to have practiced consistently all year long so your playing can withstand missing some practice time during a tour if necessary.
40 An orchestral English horn player often plays both English horn and oboe in the orchestra, so Schiltz has to constantly switch back and forth. Some players have a problem with going from the bigger instrument with a wider reed and longer finger stretch to a smaller instrument, but not Schiltz. He says it was never an issue for him, partly because he plays so many instruments (he also plays oboe d’amore and baroque oboe), and he is simply accustomed to the switching. At one time, he says, he was making reeds for five different instruments! (Dixon Costa, 2009 [2], p. 220)
Schiltz approaches reed making much like he practices. He says he “. . . always
(has) a good selection of reeds on hand and (keeps) trying to make better what (he) already (has).” Dixon Costa, 2009 [2], p. 221) He tends to make a reed based on the
English horn repertoire coming up in his schedule, and, he says, he almost always finishes his reeds in the hall, often working on them after a morning rehearsal or the hour before a concert.
When on tour, Schiltz does without gougers and shapers and, instead, takes only shaped cane and numerous reeds in varying states that he has made beforehand. When he gets to the playing venue, he goes through his box of reeds and figures out what plays the best, adjusting them as he goes. If he is unsatisfied with those reeds, he takes out a partially finished one and finishes it. (Dixon Costa, 2007 [2], p. 281)
Always practical, Schiltz views practicing as a means to an end. He does not dwell on whether it is enjoyable; he simply does what needs to be done. He, of course, finds practicing solo material and sonatas fun, but, about the rest of it, he says:
(There are) some things that, no matter how much you practice, they’re never going to be as comfortable as what you would like …. I think almost everybody has that little solo that brings them upright in their bed in the middle of the night. Yeah, there’s some things you just have to keep practicing because you know that if you don’t, it’s going to backslide … the mechanical parts about it are like housekeeping – you know when dust is falling here, you
41 are dusting over there, and the dust is falling wherever you haven’t dusted, and you’ve got to go back again and again and again, and its never over. And it’s that way until the last day you play your instrument – you’re just going to have to grind out certain aspects of performance on the instrument. So you may not look forward to it, but you know you have to do it. (Dixon Costa, 2009 [2], p. 222)
On Equipment:
It is a given that when musicians of like instruments get together, they inevitably end up talking about equipment. The tools that musicians use to craft their art sometime take on mythical qualities, with many apprentice players thinking that if they can just use the same instrument, bocal, cane, etc., as their mentor, it would fix all of their problems.
The truth is that equipment will fix some problems, but all players are built differently and need to find their own way. As a teacher, though, it is helpful to have students learn on equipment that is a known entity, so most teachers switch their students to equipment that they themselves use. After all, one can only teach what one knows.
Schiltz learned from many different people. Whenever he heard something he liked, he tried to find out how it was done. He grew up listening to the Chicago
Symphony, and the sound of the CSO was a constant from an early age and throughout his professional career, culminating in his year of studying with Ray Still (CSO principal oboe 1953-1993). It is likely that this had a substantial influence on his equipment and style of playing.
Schiltz’s first instrument was a Chauvet oboe, but he quickly switched to a Loree in high school. When he bought his first English horn, again, he chose a Chauvet, but switched to Loree when Still brought one back from the Loree factory in Paris.
In 1999, the Fox Products Corporation (based in South Whitley, Indiana and founded by Hugo Fox, former bassoonist of the Chicago Symphony 1922-1949), which
42 had made a name for itself making professional and student model bassoons and oboes, began a line of professional model English horns. (Fox Products, n.d.) The company offered Schiltz the fourth instrument off the line and asked him for suggestions.
He suggested they add a third octave key, which had become standard on Loree English horns by that time, and “a few minor tuning things,” but was very pleasantly surprised at the quality and ease of the instrument. He started playing this same English horn, the
Fox #4, in the CSO. Soon after, he picked up a remodeled instrument, the Fox #8, and has been playing on that ever since. Schiltz praises its freeness in the low register, which makes soft attacks and fast, low articulation (often problematic on the English horn) much easier. (Dixon Costa, 2009 [2], pp. 217-218)
As an aside, in 2000 and 2002, Schiltz helped write two instructional booklets for the Fox Company entitled, “Let’s Play Oboe” and “Let’s Play English Horn.” These booklets are geared towards beginners and music educators. (Fox Products, n.d.)
He pairs a bocal made by Philip Ross (second oboist of the St. Louis Symphony) with his instrument. Ross’ bocals are available through his family’s woodwind business,
Ross Woodwinds Specialists. (Ross Woodwind Specialists, n.d.) Schiltz makes his
English horn reeds with a Falstaff shape, and gouges cane on one of his two gougers: a
Graf gouger (made by Robert Graf, a machinist from New Jersey) or a Lym gouger
(made by William Lym, a west coast oboe maker and machinist in the 1950s). As for knives, he looks in old junk shops or flea markets for straight razors, and makes his own knives by honing the blades so they are appropriate for scraping reeds and then fitting them into new handles. Schiltz says, “You shop all your life for better equipment.” (Dixon
Costa, 2009 [2], p. 217) Searching for good equipment is an ongoing process. It progresses as different needs arise.
43
CHAPTER 6
SCHILTZ ON TEACHING
Schiltz’s own musical training has been a very eclectic process. His high school teacher, Robert Mayer, taught him the building blocks – scales in various forms, etudes, and reeds. Schiltz learned a short scrape reed from him, which is more common in
Europe. While his college teacher, Lare Wardrop, was less helpful, he was exposed to other musicians who helped him develop his long scrape reed style (more fitting for
North American orchestras), among other things. He took advantage of his circumstances by “picking the brains” of older students and the many oboists he met from visiting orchestras. From Revelli and Reiner, he learned to stand up well under pressure. And when he finally got to study with the larger-than-life, Marcel Tabuteau, he learned perfection. Ray Still was very influential in his learning about the Chicago
Symphony sound and what it took to play in an orchestra of that caliber. Still also helped him to become an established free-lancer in the Chicago area before Schiltz went on to play in the Kansas City Philharmonic. Over all, though, he learned to search out how he wanted to sound, emulate it, and be self-reliant. (Dixon Costa 2007 [1], p. 253)
Schiltz views his role as a college teacher as someone who will talk straight to the student, show them what it takes to be successful in the business and give them a realistic view of where they stand. He recognizes that it is a tough business, and that most people do not get to achieve their goal of playing in a major symphony orchestra.
He says, “If they want to be a professional, they have to be – not the best in their class,
44 or the best in Chicago, or the best in Illinois – they have to be one of the best in the country.” (Dixon Costa, 2009 [2], p. 227) His students have to have a strong work ethic.
He says he is supportive, but not a “hand-holder.” He expects his students to be self- sufficient, much in the way that he had to be when he was coming up in the profession.
He says, “I know what it takes to become a professional, and to get the job, and keep the job, so, I’m not doing you any favor by making all your reeds for you, or finishing your reeds for you, or whatever.” (Dixon Costa, 2007 [1], p. 264)
Schiltz acknowledges that career opportunities for aspiring orchestral oboe/English hornists are currently very slim. He feels a responsibility to his students to let them know by the end of their sophomore year if he thinks they have a chance at being successful in the orchestral field, or if they should move on to something else. He rattles off a number of orchestras who are in severe financial trouble and says that many orchestras are not replacing positions of players who retire. Even without harsh economic times, he says, a number of today’s prominent principal oboe and principal
English horn positions have just been filled by young, super-star players. That means those positions may not be open again for decades. (Dixon Costa, 2009 [2], pp. 230-
231)
Schiltz believes that the level of playing for a performance degree at a state university should be the same as is required in a conservatory. After all, the students will be competing with each other for the same jobs regardless of where they went to school.
Furthermore, there are many more people graduating with performance degrees than there are jobs, which, makes the field more and more competitive. (Dixon Costa, 2009
[2], pp. 227-229)
He gets animated when he talks about the dichotomy of schools that encourage unqualified students to be performance majors in order to fill their class quota. In his own
45 experience, he has observed that many students entering college are deficient in basic skills of their instrument, like being able to play diatonic scales and scales in thirds.
Students who are considering a performance degree, he says, should be learning skills like these, along with reed making, in high school. He sums up his frustration by saying:
Young musicians may pay a terrific price for the responsibilities their college professors shirked in not steering them away from a performance major. Serious students can aspire to professional careers in music, and less serious ones may study for their cultural enrichment. Their education, however, should not be for the benefit of a school’s physical plant or needy faculty. (Schiltz, 1992)
Part of the education in a performance degree is learning orchestral excerpts and how to take auditions. Schiltz has been on a number of audition committees during his tenure in the CSO. He says with a groan that he once listened to 125 tuba auditions!
When asked what the committee is looking for in a candidate, he quickly says,
“Perfection!” He adds that most people who audition for a high caliber orchestra such as the CSO know how to play the right notes, have good rhythm, and a good tone. It takes more than that to pull away from the crowd, especially when so many are auditioning for one job. He goes on to say:
You look for somebody who has star quality. And, there are plenty of people who can play the notes. But there are only a limited number who can affect you above and beyond the run of the mill. So, you know, you can tell, usually, within about the first 16 bars whether this is somebody worth listening to, or whether you’re going to go back to your crossword puzzle. (Dixon Costa, 2009 [1], p. 213)
He brought up David McGill (bassoon) and Alex Klein (oboe) as two examples of musicians that had that special quality that immediately set them above the rest. He went on to say that a successful candidate would use every note to portray the feeling of the phrase.
46 His advice to young auditioners is to know the excerpts so well that they can be played from memory, and to know what they are doing on every note so that absolutely no guesswork is involved. He emphasizes thorough preparation. About those players who believe they will be inspired to play musically when they are “in the moment,” he says, “There’s no time to wait for the lightning to strike . . . . While you’re waiting for the lightning to strike – practice.” (Dixon Costa, 2009 [1], p. 217)
While Schiltz’s performing has touched the lives of many audience members, his teaching has had a profound effect on the lives of his students. He is currently on faculty at Northwestern and Roosevelt Universities. He gives lessons at both and he also teaches a term-long class on the English horn at Northwestern. For this class he uses the book, The Art of Cor Anglais, by Geoffrey Browne as a jumping off point into the
English horn orchestral repertoire. He structures the rest of the class around the particulars of students’ needs each quarter. (Dixon Costa, 2009, May 10, telephone conversation)
Schiltz has also taught and coached the Civic Orchestra oboists and has taught at the University of Illinois, Circle Campus. He is often approached by young professionals who are trying to polish their audition preparation. They come to him for coaching, and to benefit from his vast knowledge and experience. Many of his students have gone on to become professional musicians. Some of his students have risen to the top of the profession. On the following pages is a sample of some of the professionals who have studied with him at some point in their careers. It should be noted that eight people were contacted and invited to share their comments about Grover Schiltz. All eight responded with tremendous enthusiasm. It is clear that he inspires the utmost respect, dedication, and affection from these musicians.
47 Those contacted were asked to relate three things: 1.) dates, location and school affiliation (if any) when they studied with Schiltz, 2.) a favorite memory of their time studying with Schiltz, and 3.) any comments about his teaching style or anything else of importance regarding their time spent with Schiltz.
48
CHAPTER 7
IN THEIR WORDS - FORMER STUDENTS OF GROVER SCHILTZ
Rebecca Henderson Associate Professor of Oboe The University of Texas at Austin
1) Dates, location and school affiliation (if any) that you studied with Mr. Schiltz.
I studied with Grover as a part of the Chicago Civic Orchestra. We were given a stipend and lessons with a member of the CSO. The year was 1982-83.
2) Most memorable things you recall from your time studying with him.
Actually, the most memorable thing was when I called him to set up my first lesson. He picked up the phone and *slowly* brought it to his ear. All the while, what sounded like 20 dogs were barking furiously in the background. Finally, after what seemed like a full 30 seconds of barking dogs, he said "GRRRRRRROVER." I was so flustered and confused that I hung up! It took a while for me to get the courage to call again - and only after checking several times to make sure I had the right number. I never admitted to him that I was the one who hung up, but thought he must have known. After getting to know him, I realized that he raised dachshunds, and the way he answered the phone was just his wacky sense of humor, which I loved!
3) Any additional comments you would like to make about his teaching style, etc.
I didn't get to study with him for long, since I was only in Chicago one year, and we didn't have lessons every week. But I remember that Grover was very down-to-earth and straightforward. I learned so much from him, especially about orchestral playing. Specifically, he consistently stressed how important it is to play with excellent rhythm, to be very precise with everything I played, and to project to a larger audience. Grover was always very kind and easy to work with. He never gushed, but neither did he criticize harshly. He made it possible for me to feel like a professional because he was such a pro himself. Every time I've seen him or spoken with him since that year, I've been struck with that quality of consummate professionalism; it's such a fundamental part of his character.
(Rebecca Henderson, personal communication, April 18, 2009)
49 Carolyn Hove Solo English horn Los Angeles Philharmonic
1) Dates, location and school affiliation (if any) that you studied with Mr. Schiltz.
I became a student of Grover's in 1975, while a high school student and lessons took place at his home. At his insistence, I matriculated to Oberlin College to study with James Caldwell; however I continued my studies with Grover during winter breaks and summer vacations. Following my graduation from Oberlin, I returned to the Chicago area and had numerous coachings with Grover until 1986, when I became the Assistant Principal oboe and English Horn player in the San Antonio Symphony. I recall playing for him in 1988 prior to the English Horn audition for my current position as solo English Horn in the Los Angeles Philharmonic.
2) Most memorable things you recall from your time studying with him.
Due to our long association and friendship, it is difficult to list only two or three things of the many things I learned from him. One of the first topics of study was Baroque ornamentation of both the French and Italian styles. Grover taught ornamentation very well and, as a result, I became quite enamored with Baroque music. During my sophomore year at Oberlin, my off-campus Winter Term project was learning to play the Baroque oboe from Grover. Several years later, we played together in an early music ensemble in Chicago.
Grover had a real "no nonsense" approach to teaching, which I always appreciated. His standards were always extremely high and he not only expected, but encouraged me to do my best at all times. I learned a great deal about musicianship and musicality from him. He also coached me on countless orchestral excerpts in preparation for auditions. Included in the coaching was a lot of advice on audition preparation, covering not only how to practice, but also how to psychologically prepare for the rigors of the experience.
It's doubtful that I would have become an English Horn player without Grover's encouragement and guidance. My first English Horn had previously belonged to him. He sold it to me in the early 1980's and I won both the San Antonio Symphony and Los Angeles Philharmonic auditions on that instrument. We worked intensively on the numerous aspects of English Horn playing and it became clear to me that my goal was to attain a solo English Horn position in a major U.S. symphony orchestra. I have never looked back from that decision.
3) Any additional comments you would like to make about his teaching style, etc.
Grover presented himself as an excellent role model in terms of his sense of ethics, honesty and fair treatment of others. The most important lesson of all that I learned from him was to concentrate on my own work and career interests, to let my playing speak for itself, and not to realize my ambitions at the expense of others. His example and advice has served me well throughout my career in the music business.
(Carolyn Hove, personal communication, May 1, 2009)
50 Judi Zunamon Lewis Lyric Opera Orchestra of Chicago
I remember the very first time I heard Grover play. I was 7 years old, and my parents took me to hear the Chicago Symphony. They were performing Dvorak’s New World Symphony. When I heard the English horn in the 2nd movement, I thought some day I would like to play that solo. His sound was so captivating and his phrasing tasteful. I did not actually meet Grover until I was 18 years old and a freshman at Northwestern University. I was assigned some English horn parts to play and was struggling. He met me in the basement of what was then called “Orchestra Hall” and spent 2 ½ hours with me. I left with several pieces of shaped cane, 4 or 5 wonderful reeds and much wisdom on how to interpret the various solos I was working on. I don’t think he charged me either. When he asked what my aspirations were, I told him, quite presumptuously, that some day I hoped to be sitting in his chair. He found this mildly amusing and invited me to call him any time for more lessons. I continued to study with him occasionally until my junior year at Northwestern when he joined the faculty, and I attempted to be the first English horn major that the school had ever known. Lessons were rarely under 2 hours, and he was never in a bad mood. When I brought in the most hideous excuses for reeds, he magically transformed them into respectable ones that I could be proud of. He is probably the most giving teacher I have ever known and I was always struck by his Renaissance qualities. He would talk at great length on many topics, to include, gourmet cooking, Persian rugs, mushrooms, travel, and Welsh Corgis. His sense of humor and wit always entertained me and his devotion and caring for his students helped me and so many others attain their goals. Looking back on my education, I can honestly say that his teaching/playing had an enormous impact on who I am today. Thank you Grover!
(Judith Zunamon Lewis, personal communication, April 21, 2009)
Washington McClaine Baroque Oboist and Professor of baroque oboe The Early Music Institute of Indiana University in Bloomington
Thanks so much for your e-mail! This is a wonderful honour -- especially since my time spent in Chicago with Grover remains the greatest part of my life. It is going to be very difficult to be concise, give that Grover was teacher, father, brother and friend all rolled into one. This is a great thing you are doing -- thank you for including me!
1) Dates, location and school affiliation (if any) that you studied with Mr. Schiltz.
I studied with Grover Schiltz at Northwestern University, in Evanston, IL during the school year of 1981-1982, and I continued studying with him in the years following my graduation and through much of my time as a freelance musician in the Chicago area before I won the position of 2nd oboe with Tafelmusik Baroque Orchestra in Toronto, Ontario.
51 2) Most memorable things you recall from your time studying with him.
There are so many!! Grover took me in as a student at Northwestern, even after his own studio had been closed to new students. He took me under his wing, and helped me to become a more focused and disciplined oboist. He also was the one who exposed me to the baroque oboe, which, since that time, remains my principal instrument.
3) Any additional comments you would like to make about his teaching style, etc. There are many reasons for Grover's success as a teacher and performer. His standards are extremely high -- therefore, he expected those of his students to be as well.
He always instilled in his students a sense of great professionalism. I was always absolutely thrilled and honoured to be able to play with him on gigs in the Chicago area, or, even more thrilling, to be hired as an extra with the CSO.
In my own teaching, I find myself using some of the same methods he used to teach me répertoire or orchestral excerpts.
I feel eternally grateful to Grover for helping to shape my career!
Thank you for giving me a chance to write this to you. I am sure your project will absolutely be a great tribute to Grover!
(Washington McClain, personal communication, April 21, 2009)
Marianne Petersen Solo English horn Louisville Orchestra
Robyn, Interestingly enough, I have recently been talking to Grover quite a bit and as usual; he has been most helpful. I will try to answer your questions. I hope this is helpful. And, I might add, that as an ongoing professional, Grover has come up with some marvelous ideas, even recently, to help me navigate difficult situations in the orchestra. He also is a strong advocate for players being treated by colleagues, management and conductors with respect. Marianne
1) Dates, location and school affiliation (if any) that you studied with Mr. Schiltz.
As an undergraduate student at Northwestern University from 1965 -1968. Then again I went back and worked on my master's degree in 1985. I worked with him also at that time. Then during the last 30 years of my career as solo English horn with the Louisville Orchestra, I have gone up for lessons on and off and have stayed in contact. Many times we would just talk over the phone as he gave me good ideas for a tricky passage or some sort of symphonic problem.
52 2) Most memorable things you recall from your time studying with him.
I particularly remember working on the oboe solo from Shostakovich 1st Symphony. Grover gave me a whole new perspective on that solo that has made it/and other solos like it for both oboe and English horn; easier to understand and manage. I also remember him playing with a lit cigarette burning between his fingers as he navigated technical passages. Mostly Grover has such and intelligent and insightful way of approaching the instrument and the music. He helped me with sound, vibrato and tuning and uncovered issues I did not know I had and helped me fix them!
3) Any additional comments you would like to make about his teaching style, etc.
I liked that Grover was not temperamental and took his job as a teacher very seriously. He was on time. He knew what he was doing and knew how to help me understand. These sound like simple things, but there are many prima donnas out there as we all know.
(Marianne Petersen, personal communication, April 18, 2009)
Michael Schultz Associate Principal Oboe and Solo English horn North Carolina Symphony
Your bio of Grover is a great idea.
1) Dates, location and school affiliation (if any) that you studied with Mr. Schiltz.
I studied with him my first two years at Northwestern, starting in the fall of 1965. I had met him the year before when he did some coaching for the Civic Orchestra of Chicago. While my study with Ray Still did a lot to firm up the technical side of my playing, I credit Grover with laying the basic foundations of my musicianship. He always plays with exquisite taste and style, and it is his example I always try to emulate. Whenever I have had a problem or felt I needed help with any aspect of my playing, it has always been Grover that I have returned to for help, and he has always been most generous with his time whenever I have needed him.
2) Most memorable things you recall from your time studying with him.
The story that I should relate to you that exemplifies what Grover means to me as a teacher and mentor occurred during the spring of my sophomore year that would have been 1967. I was already principal oboe of both the NU orchestra and the top band. The English horn player of the St. Louis Symphony became ill just before the orchestra was going on the three-week tour of the SE. The 1st oboe at the time was a Still student, and he called Ray for a recommendation for a sub. Ray called Grover since it was for an English horn player, and Grover recommended me. This meant leaving school for three weeks, so I had to scramble to get permission from all my professors. Everyone was elated that I should get such an opportunity, except the assistant band director. John
53 Paynter, the director of bands, was on sabbatical, the assistant was in charge and I was going to miss the big spring concert. He seemed to feel his band concert was more important than three weeks experience with a major symphony orchestra, so he said no, I couldn't go. Grover called him and said if the band concert was so important, he would sub for me! Needless to say the band director backed down, one of the other students played the concert, and I went on tour. If Grover had not backed me is such a bold manner, I may never have become a professional player, as that tour was one of the most pivotal events in my career.
(Michael Schultz, personal communication, April 18, 2009)
Robert Sheena Solo English horn Boston Symphony Orchestra (BSO) Boston Pops Orchestra (BPO).
1) Dates, location and school affiliation (if any) that you studied with Mr. Schiltz.
I studied privately with Grover off and on from approximately 1985-1987. Lessons with him came after I finished my Master's degree at Northwestern, a one-year program with Ray Still that I completed in 1984. My lessons were mostly at (what was then called) Orchestra Hall, although occasionally I would venture out to the house he and Bev owned at the time that had the Dog Kennel that they ran for many years. All those barking pooches made quite a welcoming committee!
2) Most memorable things you recall from your time studying with him.
Looking back at the great players/teachers I was lucky enough to study with (including William Banovetz, Ray Still and John Mack), I often felt that Grover was the most balanced and well-rounded teacher of the bunch. He had a very no-nonsense style that was also supportive. He could be bluntly critical but without theatrics. Because he is a fine baroque oboist, he was especially helpful and insightful with baroque music. I remember how much he liked to have me try to change the color of the sound with variations in vibrato speed/activity. He spoke about vibrato a great deal with mostly a very tasteful "less is more" approach.
Interestingly, most of the lessons I had with him were oboe lessons - perhaps only a half-dozen or so on the English horn. Of the many things in his teaching style that I have tried to emulate, perhaps the most important is that I expect my students to work hard to learn to be fine oboists, even if they have a special interest in the English horn. I still perform chamber music regularly as an oboist and I'm proud to say that I know my colleagues in the BSO oboe section are happy to have me playing oboe in the section, as well as EH. I can still completely hold my own on the oboe, occasionally playing Principal in the BSO and BPO when needed, as well as second and third, etc. This work ethic I got from Grover.
54 3) Any additional comments you would like to make about his teaching style, etc.
Another thing I really appreciate about him is that he's always been very easy to talk to, even when he was my teacher. While he was always Mr. Schiltz when I was studying with him, he's been Grover for many years now. While he's really a mentor to me, it was very easy to make a transition from his student to his colleague/friend. I still keep in touch with him.
(Robert Sheena, personal communication, April 19, 2009)
Lissa Stolz Solo English horn, Louisiana Philharmonic Orchestra Principal oboe, Quad Cities Symphony Orchestra
1) Dates, location and school affiliation (if any) that you studied with Mr. Schiltz.
I studied privately with Mr. Schiltz in Chicago from 99-01 and then as a performance certificate student at Roosevelt University from 01 - 03.
2) Most memorable things you recall from your time studying with him.
Before I began studying with him, I used to attend the Friday matinee performances of the CSO and was always in awe of Mr. Schiltz's beautiful English horn playing. I'm fortunate I finally found the courage to call him for a lesson.
Now that I'm teaching, I truly appreciate what a gifted teacher Mr Schiltz is. His love for the oboe and English horn is infectious, as is his curiosity and drive to always improve. His knowledge, generosity, and humor provided a wonderful and successful learning environment for me.
3) Any additional comments you would like to make about his teaching style, etc.
I was always blown away by his ability to remember absolutely everything. As soon as I would mention a piece, he would know where and when he had played it, who he had performed it with, and could play any part of the piece from memory.
His encouragement meant a lot to me and it's something I try to pass on to my students.
(Lissa Stolz, personal communication, May 6, 2009)
55
CHAPTER 8
SCHILTZ AND HOBBIES
You have to maintain a sense of sanity – you have to figure there is more to life than what’s on the stage. –Grover Schiltz (Dixon Costa, 2009 [2], p. 235)
Grover and Beverly Schiltz have always made time to explore their interests outside of music, and there are quite a few of them. One of their longest running passions has been raising and showing dogs. They started this when they lived in
Kansas City and continued with it for over 20 years. They showed Dachshunds and
Welsh Corgis and can boast finishing 24 champions. After having dogs for so much of their lives, Schiltz says that life feels funny without one. At present, they have a cat,
Streaker, who rules the roost and provides comic relief for the household. (Dixon Costa,
2007 [2], p. 288)
Another lifelong interest for the Schiltz’s is collecting antique, nomadic rugs.
Schiltz says that it started with one rug, and eventually turned into 30 years of collecting and traveling to learn more about them. When I first interviewed him in 2006, he and his wife had just returned from an international conference on oriental rugs in Istanbul.
Currently, they are planning a trip to Transylvania with world-renowned rug scholar,
Alberto Boralevi, in June of 2009. They will be viewing and learning about rugs in
Transylvanian churches. Of course, they have brought home many wonderful souvenirs over the years! (Dixon Costa, 2009 [2], p. 233 & Dixon Costa, 2007 [2], p. 271)
56 The Schiltz’s love to travel. The many years of touring with the CSO was not a hardship for Grover, and Beverly was often able to accompany him. They love to meet new people, learn about different cultures, taste different cuisines, sample good wine, visit museums, and just see the sites. Traveling has spurred other hobbies, like photography. Schiltz shoots mostly digital pictures now, but likes to document the places he has traveled. His photographs have even been shown in an exhibit of musician’s tour photos, which, for several months, were on display in the ballroom of Orchestra Hall.
(Dixon Costa, 2009 [2], p. 235)
Their travels have also influenced what they do at home. Grover is an avid chef and does the cooking for the household. He dabbles in many different cuisines, including
Chinese, French, and Italian. Basically, he says, he just learns to cook what he likes to eat! And the Schiltz’s love to read. Grover reads mostly non-fiction; history and politics.
Beverly likes reading fiction. They both enjoy a little gardening.
When asked if it has been hard to balance his demanding musical life with his outside interests, Grover laughs and says:
You know, a lot depends on your natural abilities. There are those who have to work very hard every day in order to stay up with the needs of the job. And there are those who seem to take it out of the case, play the concert, and forget about the instrument until the next concert. I’m neither of those! (Dixon Costa, 2009 [2], p. 235)
Whatever he might say, though, he has lived a very well-rounded and fulfilled life, while maintaining the highest artistic standards at the top of his field.
57
CHAPTER 9
SCHILTZ IN HIS OWN WORDS
On Fritz Reiner
(On Schiltz’s arrival into the orchestra) . . . the orchestra was brilliant. Reiner had already had five years, actually six years to impose his style and taste and also to bring in some of his own people. So, by that time, it was pretty much Reiner’s orchestra. He had also had a chance to determine what repertoire he wanted to do with the orchestra. He had already started doing a fair amount of recording with the orchestra and the orchestra was achieving a national profile, whereas it had only had a regional or local profile prior to that time. (Monnelly, 1989 [1], p. 7)
Dr. Reiner was a man of no patience, a man of brilliance, a man of very strong musical tastes which were underestimated by a great many of the musical public in general because he was kind of a well held secret. He was marvelously known in Chicago, of course, after the first few years. But, until his records (with the CSO) started to be released, I think he was vastly underestimated and underrated. He had the reputation of being witty, of being a tyrant, of being very hard on his musicians. He was not given to throwing compliments around easy. He had a tremendous sense of what was going on in the orchestra. He was totally at ease with the orchestra and he was sort of on the lookout for the slightest flaw – a stern taskmaster and could be very sarcastic. (Monnelly, 1989 [2], p. 1)
He had a way about him that more or less struck terror into the players. I’ve heard many, many times from other people in the orchestra that they swore that all throughout the entire concert that he was staring exactly at them and yet, you know, obviously he couldn’t look at 103 people at one time. But he seemed to have x-ray vision. He knew where the weak spots or the difficult spots for every player were and he would probe to see when that spot came by, whether you were up to it or whether you might buckle under the pressure. He tested everybody that came in the orchestra. If you cut the mustard, then fine. If not, you could very easily be gone. (Monnelly, 1989 [2], p.1)
He could give indications just with a flick of a wrist or with just the slightest movement of the baton . . . It was almost like it was an effort of will that he was almost communicating telepathically to the orchestra. He wanted absolute precision of ensemble. He wanted good intonation. And everybody played for his life – just every minute that he was there. You never slacked off. You never relaxed. Every rehearsal was like a concert . . . There was never the chance to let up for even the slightest and the orchestra played brilliantly all the time. (Monnelly, 1989 [2], p. 2)
58 Reiner was a man of remarkable wit and great intelligence. He was given to puns and plays on words and all that and for someone for whom English was not his native language, it’s quite a feat . . . I remember on one occasion we were recording Das Lied von der Erde and Richard Lewis and Maureen Forrester were the soloists and he came out and he looked at this absolute mess of microphones and he said, “I cannot see the Forrester for the trees.” (Monnelly, 1989 [2], p.4)
I think it was Reiner who, on one occasion, said there is one tempo for every symphony, and that the tempos of the movements were multiples or divisions or proportions of that basic tempo. So that the proportionality is kept, just as, so that you have a meter relationship or a tempo relationship, which is much like the key relationship. That you may, in a symphony, go tonic for the first movement, subdominant for the second movement, dominant for the third movement and then back to the tonic key for the fourth movement and that your tempo relationships have almost that same kind of interlocked or interrelating kind of proportion. (Monnelly, 1989 [3], p. 4)
On Rafael Kubelik
When he came here as music director he was a very young man and he tended to be headstrong. He wanted to make a very strong imprint in the city very quickly, and, as a result, he felt that one of the ways that he could do so was by replacing a lot of the players in the orchestra . . . . (Monnelly, 1989 [2], p.3)
Players had no security or tenure at that time. When Kubelik came here, he brought three new principal players with him when he came. And the people who were already here, he didn’t even know how they played. So, Clark Brody and Leonard Sharrow and Julie Baker came here as principal woodwinds all in one year. And, I think, that it caused a lot of uncomfortable feeling within the orchestra because the players who had been here were summarily dismissed without even a hearing. I think many thought that was unfair and many felt that it was capricious. (Monnelly, 1989 [2], p.3)
Also, the story is told, that when Kubelik wanted to do some replacing, he called in the principal cello and he said, “I want to fire half the cellos, tell me which half to fire.” And Dudley Powers, who was the principal cello at that time said, “Well, these are all my friends. I really can’t make any personal recommendation because I think they all play well. If you have to do it, I can’t be the agent for you.” And even at that time, that took a certain amount of bravery on Powers’ part because, again, conductors were gods in those days. Players had no rights; they had no security and no recourse. If you were fired, there was nowhere you could go for any kind of redress or for any kind of vindication or reinstatement. It was a fete accomplis and that was the end of that.
Monnelly: What was the outcome of that cello firing? Were they fired or…?
Schiltz: Kubelik got fired.
(Monnelly, 1989 [2], p. 3)
59 On Jean Martinon
. . . As an unknown, he just did not really set the record sales on fire. Also, he did a repertoire that we weren’t really that familiar or known for. He didn’t do many of the things that Reiner did. He did – he liked his own repertoire and he was a composer, so we did many of his pieces and recorded some of his pieces as a matter of fact. (Monnelly, 1989 [2], p.6)
Some of the recordings that we made with him were excellent recordings and things that still stand up well after all these years. The Frank Martin Concerto for Seven Instruments, Daphnes and Chloe, Mother Goose Suite, Rhapsodie Espagnole, things of that sort. They were extremely well done. (Monnelly, 1989 [2], p. 6)
He would not be as traditionally minded about interpretations. Just in one instance, for example, we did Berlioz, Symphony Fantastique and in the slow movement, at the opening the oboe and English horn call to one another and at the end of the movement, the English horn is alone. Now, he rewrote it so that the oboe also called at the end of the movement and it’s distinctly against Berlioz’s programmatic instructions. So, it was one case which he overruled something which I think was specific in its programmatic implications. (Monnelly, 1989 [2], p. 6)
The orchestra really held up very well through the Martinon years, even though we were getting a lot of bad publicity. Part of the problem was that one of the most influential critics in Chicago – THE most influential – was a lady named Claudia Cassidy. She was the reporter – critic – for the Chicago Tribune. And the orchestra hired the second string critic – his name was Seymour Raven – and they hired him as Manager of the orchestra. Well he and Martinon got in a terrible fight. And each of them went to the Association and said, “Look, if he stays, I have to go.” And Martinon was in the first year of a 5-year contract, and so they let Raven go. And Claudia was furious about it -- her friend, Seymour, had been shafted by the CSO. And after that, we couldn’t do anything right. I mean, it was just week after week – just diatribes against the orchestra – and against Martinon, personally. So – with bad press, and being an unknown conductor, where ya gonna go? (Dixon Costa, 2007 [2], p. 267)
If you have the critics behind you, then they can help mold opinion. But if the critics are against you, then it’s an uphill fight because even people who don’t go to the concerts read the reviews and say, “They’re having trouble. What’s going on there?” and, “I don’t know if I’d go.” It lends the appearance that we’re in disarray. It lends the appearance that things are not good and that we’re falling apart as an ensemble which may be far from the truth, but critics can, in that sense, point and show what they want to show. (Monnelly, 1989 [2], p. 8)
On Comparing Jean Martinon and Fritz Reiner
Martinon tended to want to teach you more than Reiner did. Reiner hired people whose musical taste he trusted and then he turned them loose. Martinon never had that kind of freedom with his players . . . The performances, he wanted to be his performances, not as with Reiner, where, if he trusted you, the sky was the limit. I don’t think Martinon ever
60 felt comfortable about just turning you loose and letting you play. (Monnelly, 1989 [2], p. 7)
On Georg Solti
He was very realistic. He said that as with marriages, it takes a little work on both parts in order to make the marriage go and he was going to give it all the good will in the world and he was going to try to get us international status and he outlined his plans to take us on European tours and recordings. So, it portended right away to be much better for the fortunes of the orchestra . . . I think in the public image or the public mind, it was the image of Solti – Chicago, and that image, I think, helped us a great deal because it was like a pairing of Szell with Cleveland or Ormandy with Philadelphia. The two became synonymous . . . Solti, however, was somewhat of a realist. I remember he said that, “Don’t forget my dears that someday the other shoe can drop.” In other words, we had become the cult figure, we could also un-become the cult figure. I think what he meant was that we have to work extra hard in order to maintain our prestige and therefore these concerts in New York were always very special occasions. (Monnelly, 1989 [3], p. 1)
He’s constantly reevaluating even the most standard pieces. We can work just as hard on a Beethoven 5th . . . as a piece we’d never played before because he’s constantly reviewing, he’s constantly rethinking what the piece means to him. I don’t think he regards any piece as ever really finished. I think most musicians don’t. (Monnelly, 1989 [3], p. 2)
He is very intent on the drama of the piece. On the emotional content of a piece and tempo is also very important to him. He feels that if he gets the tempo wrong, then the piece can’t really have the kind of motion that he wants – the kind of pacing that he wants. So, he’s very careful that he knows the tempo that he wants and that everything becomes, in a sense, an outgrowth of that. Tempo is a very important factor in the pacing of a piece, because it’s the interrelation of tempos within a four movement composition like a symphony that makes it either hang together or not hang together as a work of art. (Monnelly, 1989 [3], pp. 3-4)
I think he presents two different facets. The one is the man who is very impatient to get things done. He’s no nonsense. He’s not given to dawdling or small talk or anything of that sort. Once he’s off the stage, he’s got an agenda and he tries to keep to that agenda. If there’s something that you need to know from him – fine. He’ll work with you as long as there’s a problem to be solved. But, generally speaking, once that problem is solved or once the business portion of it is over, then he goes on to his agenda. (Monnelly, 1989 [3], p. 6)
Even though he gives the appearance of being a little bit brusque, he’s also concerned about the people in the orchestra. Whenever there’s a medical problem, whenever there’s an emotional problem or a death in your family or something like that – he knows about it and he sends communications to you if you lose a member of your family or something like that – you’ll always hear from him. Good things and bad – congratulations for good things as well as sympathy for bad things. He’s a very concerned man about
61 the health of his organization and his orchestra and he regards it as his family. He also has a lot of compassion for the members of the orchestra. If someone’s experiencing a bad patch, has some problems that he knows are emotionally involved, why, he’ll give you time to work it out. As far as I know, he’s never fired anyone in the twenty years that he’s been music director and I think that’s a record. Well, I just don’t know of any other music directors who could match him in that regard. I think he feels that we’ve achieved a great deal of success with the family the way that it is and from that standpoint, let’s keep the family together if at all possible. And he’s done so. It’s really remarkable. He’s never happier than when he’s juggling half a dozen soloists, a chorus, three off- stage bands and ten or twenty other things. He’s just, he’s really happy with that sort of thing and he does it masterfully . . . It’s one of the glories as Solti as a conductor is his organizational abilities and the triumph of his will in melding all these disparate forces together. (Monnelly, 1989 [3], p. 6)
Every once in a while, Solti would lighten up. I remember on one occasion, we were doing Bartók, Bluebeard’s Castle. The baritone sang something and I echoed it. And, I played it very expressively, you might have even said I overplayed it a little bit, and Solti looked at me and he said, “It’s very super-Hungarian, but very good!” So, every time we played that little passage, he kind of smirked a bit. Also, when Peck was doing something like that in a Brahms Symphony and he got a little too – just a little bit too rhapsodic and Solti looked at me and he said, “Is allowed only one super-Hungarian.” (Monnelly, 1989 [4], p. 13)
Whenever he was faced with the problem of a very soft pianissimo attack or something very difficult, and he saw something wasn’t going as well as he would like, he’d say, “Safety first, my dear.” He’d take a slightly slower tempo or he’d let you raise the dynamic level a little bit so that it gave a sense of security to the performance . . . He was almost always encouraging. Intimidating in the sense that he always demanded excellence from the orchestra and yet, at the same time, he would say something like, “Coraggio!” if you dared something and it didn’t quite come off. (Stein, 1998 [1], p.3)
Solti looked more to the big picture, trying to get a scope and the mood, the atmosphere that he wanted. He was always concerned about tempo. He kept our stage manager timing his performances, for example, and he always wanted to make sure that it was always to within a certain accuracy from one performance to another, because I think that he felt very strongly that tempo and motion were a very big part of his interpretation and even in the recordings, when he would listen to the playback, the first thing he would do is get out his metronome and make sure that he had exactly the tempo that he had picked for the piece. So, that was very much on his mind, and propulsion - the idea of never letting the music languish. (Stein, 1998 [1], p. 4)
Solti’s conducting technique was not pretty. It got the job done, but I always felt that he had rather limited vocabulary in regards to conducting technique. He, himself, was kind of ungainly, and not every conductor is pretty. But he, evidently, had some sort of neck or back problem which precluded a certain range of motion. So, from that standpoint, he sometimes had to explain what he wanted, rather than showing you with his beat … Almost all Solti’s motions were big motions and, well, and awkward, because he stabbed himself on at least two or three occasions – once in the head, once in his other hand. So, from that standpoint, it was not a thing of beauty. (Stein, 1998 [1], p.7)
62 Damnation of Faust . . . (with Solti) was a tremendously wonderful thing. I thought that our first Mahler 5’s in Europe were just electrifying – and in New York, too. Those were terrific. And, his Bruckner Symphonies were extremely good. His French repertoire, I wasn’t quite as taken with, but his Shostakovich was great and I especially remember the tours that we took when he did Shostakovich 8, which, has a huge English horn solo in it, and it was always a special treat to do those. His Heldenleben was marvelous. As I say, the bigger things, tended to be – and his Elgar was extremely good. He captured that sense of geniality and kind of bittersweet, end of empire sort of feeling that Elgar had written and so, those were the things that I especially remember. But he could also stir up a lot of fire with a Berlioz, Roman Carnival or whatever. His Symphonie Fantastique was extremely good. And he did learn new scores and he worked very hard on them. Like Corigliano Symphony and Final Alice of Del Tredici and a number of other things. He didn’t always like them. I remember when we finished recording Final Alice, he closed the book and he said, “I hope I never see this again,” or he said, “Burn it!” or something like that. (Stein, 1998 [2], p. 3)
I recall on one occasion we were doing the St. Matthew Passion and there’s this one little aria that calls for two English horns and strings and I didn’t know whether he was going to do it in four or in eight and I made the wrong choice, I thought he was doing it in four and he was doing it in eight – so, obviously I doubled the tempo. And he said, “No, no, no my dears, it’s not Woogy, Woogy!”
Georg Solti and Recordings
Part of the legacy is certainly in the recordings. They’ll be recordings that will be referred to for a long time to come as being a benchmark kind of thing – as Bruno Walters’ were, or as Szell’s were, or as van Beinum’s were or as Furtwängler’s were, or Toscanini’s. (Monnelly, 1989 [3], pp. 6-7)
On Daniel Barenboim
Now, we’ve (the CSO) changed, certainly, since Danny has taken over because he wants a different quality of sound. But it’s also interesting that Danny, for some instruments, has a very personal feeling of what quality of sound he wants. He likes a very Germanic oboe sound . . . he’d love to have us play more like German oboe players. And that’s hard for us to do because we’ve had a lifetime of playing our own sound and we feel we’re an American orchestra, not a German orchestra. (Stein, 1998 [2], p.1)
He had incredible natural talents. He has perfect pitch, he has a photographic memory. He has enormous physical dexterity, and a very good musical sense. So, all of these things together made him just almost the most ideal person for the job. I think he really
63 feels a very strong urge to just get out there in front of a public and show off – almost an exhibitionist. (Stein, 2006 [1], p. 6)
Barenboim, I think, had the respect of the orchestra because of his abilities and certainly when he did a Mozart Concerto with the orchestra, why, everybody was wonderfully satisfied. (Stein, 2006 [1], p. 7)
I think that part of the problem with Barenboim and the orchestra lay in the fact that he was sometimes inconsistent – that he’d rehearse something one way and then, at the concert, it would go a different way, and he didn’t always tell you in advance. He expected you to know what he was doing, and you didn’t, and then when it didn’t happen the way he wanted it to, then he’d blame you. So, I think that many in the orchestra preferred more consistency . . . his claim is that music is constantly evolving, that one should never take anything for granted, that the evening of the concert, if it’s a different hall, it may mean that you’ll have to take a different tempo, or that you’ll have to, in a sense, space things out differently because the acoustics of the hall are different. But, it may be that he’s just had some new thoughts through the course of the afternoon and decided, “Well, I’ll try it this way.” (Stein, 2006 [1], p. 7)
I remember once we were doing the Debussy tone poem La Mer, and he decided all of a sudden that he was going to take the second movement in one, instead of three, and doing it in one means taking a faster tempo – so fast that you can’t even really articulate it. He tried it twice, and it just didn’t come off as well as it should have, and finally he relented, and on the third performance he went back to three in a bar. But, during the first two performances he made life miserable for us in the second movement! He told me later, he said, “All my life I wanted to do that part in one.” Yeah, well – thanks a lot. (Stein, 2006 [1], p. 7)
Barenboim’s (interpretation) was more sumptuous, more voluptuous. I recall once he asked me to play more freely, and I said, “Well, okay. It’s just that I’ve been drilled for 25 years not to play that freely in that particular place,” and he says “I’m tired of hearing that,” . . . with Barenboim, you had to be on top of it all the time, because he might decide in the middle of a phrase to take a rubato that he never had done before. I remember one night that he did just exactly that, and if you missed it, then you’d get a scowl . . . (Stein, 2006 [1], pp. 9-10)
I hope it’s not apocryphal, but Barenboim, of course, has a renowned wit, and he was reputed to have asked Francis Akos when he was planning to retire. And Akos said, “I plan to die in the chair.” And Barenboim said, “Well, we can arrange to have it delivered to your home.” (Stein, 2006 [2], p.11)
I once asked Barenboim . . . “Are you hearing two performances at once?” And he said, “Well, yes. Basically, I have the visualization of the ideal, and then I’m dealing with the practical at the same time. And so, from that standpoint, why, I’m trying to reconcile it - trying to make sure that the one follows the other.” (Dixon Costa, 2007 [2], p. 278)
64 On Carlo Maria Giulini
Giulini, of course, was our principal guest conductor when Solti first came and he split our first European tour with Solti. The two of them shared the concerts . . . each conducted half the concerts. They’re really quite different conductors if you were to consider Solti to be Apollonian. Certainly the Dionysian side is more represented by Giulini who tends to be a little less organized and a little more the dreamer in that regard. He can sometimes be a little self-indulgent, but when he does a job on something like Pictures at an Exhibition or a Dvořak Symphony or something of that sort, why, it can be a remarkable work – or a Mahler 9th with Giulini. (Monnelly, 1989 [3], p.7)
So, this is what makes life in the orchestra so interesting is to see how the same work can be transfigured and transformed through the eyes and ears of a Solti or a Giulini or an Abbado or whoever is up there on the podium. The only thing that we can’t stand is somebody who has no ideas and who just does a time beating job and who conducts the work as a blueprint rather than as a full-fledged image or a vision. So, we would consider someone like that to be a traffic cop rather than an interpreter. The worst crime of all is to have no interpretation. I’d rather have a bad one than none. Also, I think – and Giulini was much loved by the men in the orchestra. I think he was very warm and a very mellow sort of man and, again, personally very warm and very friendly. (Monnelly, 1989 [3], p. 8)
On Lorin Maazel
It was a wonderful performance. He’s a, again, another incredible, natural talent. He’s got it all. He’s got the great ear, he’s got – and wonderful baton technique – absolutely wonderful. A conductor can save himself a lot of time in rehearsal if he does have a good baton technique because he can communicate without having to stop and talk to the orchestra about what he wants. All the orchestra has to do is look at his arms and his hands and they’ll know the style it is of what he wants. It means saving him hours and hours of talk. (Monnelly, 1989 [3], p. 8)
He’s probably one of the best baton technicians I’ve ever seen. He’s so good, that he just can’t resist showing off.
Oh, he’s a very free spirit in the way that he conducts and in the way that he talks to the orchestra. He doesn’t conduct an orchestra unless he likes it a great deal to start with.
65 He has no patience with an orchestra that he feels he’s going to have to teach the works or something like that. He just regards it as a musical party with a group of friends. His interpretation is quite elastic. It works better in some works than in others. I feel, for myself, that his Mozart was perhaps a little more romantic than I would have liked it, but, certainly, his Brahms was gorgeous and many other things that he did were quite remarkable. (Monnelly, 1989 [3], p.9)
Kleiber was not a task master. He had a way of describing what he wanted to the orchestra that was unique in that, for example, in the Brahms Second he would say, “In this passage, imagine that you are on the bow of a ship in the Caribbean and you see the porpoises playing in front of the bow. Letter B.” And with that word picture, it gave you an idea of what he was thinking about, and it set a mood that lasted. (Stein, 2006, [2], p. 8)
On Seiji Ozawa
Oh, a tremendously talented youngster – just enormously gifted, and a very quick study. I remember on one occasion we did a performance of Carmina Burana out at Ravinia. And, at the rehearsal, he was stumbling all over himself, but by the concert he’d gotten it together and he turned in an absolutely blazing performance of it – one in which men in the orchestra still talk about over twenty years later. So, the man is an enormously gifted, natural talent. But when he was music director of Ravinia, he was in his late 20s. Most of the stuff he was doing with us, he’d never conducted before in front of an orchestra. As a result, he was learning on us . . . . But, he was kind of daring, even in those days and we did some very exciting stuff with him. But he was all potential at that time. (Monnelly, 1989 [4], p. 2)
Beecham, who used to keep a chair alongside the podium and if he got tired during a performance, he’d sit down between movements. And he conducted wearing his carpet slippers so that he could be comfortable. And I recall him sitting down in between movements of the Eroica and turning to Frank Miller and wiping his brow and saying, “Going rather well, don’t you think?” (Monnelly, 1989 [4], pp. 12-13)
On Whom He Thinks Are The Greatest Conductors He Has Worked With
Well, certainly Reiner. Chailly I think is world class. Haitink, Giulini . . . (what sets them apart is) A real - well, musical talent to start with, but a real devotion to what it was that they were doing. They could – they weren’t enormous egos, as some conductors can and will be. They had a thorough knowledge of the score, they had a wonderful concept of the music they were conducting, and they served the music rather than serving themselves. They were more humble before the music than many others are . . . (Stein, 2006 [2], p. 7)
66 On What He Views Was The Orchestra’s Finest Hour
I think the 71 European tour. We were there for six weeks and the Europeans finally got an idea of what all the shouting was about. And to hear the way they received us was just very heart warming in every city we played in. That has to be among my proudest moments to think we go to Europe for the first time and really just bowl them over. (Monnelly, 1989 [4], p. 12)
On The Orchestra’s Showpiece, Mahler 5
When we’d go to European festivals and hear the response of the audiences to our initial performances, they’d never heard us live before, and it was tremendously stimulating and embracing to hear, particularly the response of the audience after the Mahler 5th, which was Solti’s showpiece for the first European tour. And audiences just went on and on and on, shouting and screaming, and finally Solti would dismiss us from the stage and then come back and forth to take bows. We’d already be packed up and leaving and he’d still be going back and forth out onto the stage and taking bows. (Stein, 1998 [1], p. 3)
On His Most Memorable Concert
I think Tristan with Barenboim. The Carnegie Hall concert was just spectacular . . . Tristan is especially memorable for me by virtue of the fact that there’s a huge English horn solo at the beginning of the third act. And it went very well at Carnegie and it’s probably some of the best playing I’ve ever done. So certainly that would stick out in my mind, at least as a personal best, and Barenboim does the piece incredibly well also. (Stein, 2006 [2], p. 13)
On His More Unusual Secondary Instruments
For some of these things also I doubled on harmonica . . . or tuned water glasses . . . . A piece by Dalbavie. We were sitting up in the balcony playing harmonicas. There were four or five of us. And we had this harmonica virtuoso named Howard Levy . . . So he taped up the harmonicas so we couldn’t play anything wrong.
On J.S. Bach’s, The Passion of St. Matthew
I remember we recorded it with Solti . . . Of course, when you’re recording, you try to do the biggest pieces first and then let people go, let people go, let people go – and the last thing we did was this little soprano solo for two English horns and flute – after a full day of recording! And the chops were just a little bit . . . (hanging off) But we were running out of recording time, and that meant that if we ran over, they’d have to pay the entire
67 orchestra, rather than just the three of us, so – we had to get it right the first time. Talk about a little pressure. (Dixon Costa, 2007 [1], p. 261)
On His Favorite Recordings With The CSO
Debussy Nocturnes, the “Nuages” is awfully good. Actually the Shostakovich 8th is not bad also … And there’s a CD that was turned out by the orchestra – I’m the soloist -- doing Swan of Tuonela with Blomstedt. That’s very good. That’s quite acceptable. But, you know, you’re never totally happy. You think to yourself, this could have been a little bit better, that could have been better. (Dixon Costa, 2007 [1], pp. 262-263)
On Soloing With The CSO
Ferlendis was a very hard, very long concerto. And, of course, you’re accustomed to incidental solos, up to and including things like Shostakovich 8 – and you stand up there as a target for 28 minutes . . . It becomes something else. But you have to formulate a plan for the whole concerto – you’re accustomed to thinking about a solo and pacing a solo that’s three minutes at the longest, and, all of a sudden, you have to think about how to scale a whole movement, or how to scale a movement in comparison with another movement. So you have to really think large scale. (Dixon Costa, 2009 [1], p. 210)
On The Overture of Rob Roy
I’d been warned about that overture. Once when we were in Edinburgh, the London Symphony was there at the same time, and Tony Camden was with us at the time—I think he was playing English horn. And we got together and chatted, and he said, “For god’s sake, look out for Previn – he likes to do Rob Roy.” Previn came to town, and we did Rob Roy. (Dixon Costa, 2007 [2], p. 276)
On Touring Repertoire
Now, we did Three Cornered Hat on European tour, and we also did it in the States on tour, and then recorded it commercially, too. It’s not a nice thing to take on tour. You have to keep making reeds and finding reeds that work, and, like Solti took Shostakovich 8 to Europe, and on an American tour, and so that puts you on kind of a short leash. (Dixon Costa, 2007 [2], p. 280)
On Recording
I have no idea why Solti decided he had to record Mahler 8 in Vienna! After all, we had the wonderful chorus in Chicago, and you can bring soloists to Chicago. And so it really didn’t make a lot of sense. But we recorded in Sofiensaal which is one of the main recording venues in Vienna. I mean it’s a good hall from the standpoint of acoustics. But
68 there’s kind of an interesting anecdote about it. They make intercuts and so they announced that they were going to do an intercut from so-and-so to so-and-so. And it called for a violin solo. And Victor Aitay thought that they were going to punch in at a certain point. So he didn’t play this one little spot, and they punched in – and there is now a blank spot . . . . They didn’t catch it. Oh – there are a number of accidents that have happened. I think it’s in Mahler 6, there’s a cymbal that gets dropped.
There’s only one or two that I missed. I was also in an automobile accident, and when I was in the hospital, they recorded the Antar Symphony of Rimsky-Korsakov. I think De Vere Moore played English horn on that. That’s almost the only thing I missed … Matter of fact, Martinon called me up when I was still in the hospital and said, “You know -- we have a recording session coming up in two weeks. Do you think you’re going to be able to make it?”
On Playing In Carnegie Hall
Well, it’s a wonderful hall. You know, I think it should be part of every subscriber’s experience that they should at some time listen to us in either Symphony Hall in Boston or in Carnegie Hall in New York or in some other great concert hall, like the Concertgebouw in Amsterdam or in the Großer Musikvereinsaal in Vienna because I think they would discover a different experience listening to the orchestra in an ambience which is, as far as I’m concerned, a little more grateful to the orchestra. Different halls have their own personalities and these halls tend to be a little more luscious, a little more warm, a little less difficult to play in. Orchestra hall is not the easiest hall in the world to play in . . . It has some wonderful places to listen, but the stage itself is very difficult to work on. (Monnelly, 1989 [3], p. 5)
On His Colleagues
(Ray Still) I studied with him and I’ve worked in the same section with him for thirty years now and he’s always been an inspiration to me and his dedication to the orchestra has certainly been complete. It’s been 100% of whatever time he had. Also Bud Herseth – he’s been a real giant, I think. Trumpet players all over the world look up to him as being the best there is in the business and I’m not going to disagree with them at all. There have been others over the years, too. Frank Miller, for example, who was a giant of a cellist. Most of the players in the orchestra are considered to be at the very front rank of instrumentalists who are performing today. I mean, players like Dale Clevenger or Larry Combs – you just don’t find any better in any orchestra. We have among the very best in just about every chair of what’s out there today and we’re very lucky in that regard. (Monnelly, 1989 [4], p.12)
69 Ray (Still) worked very hard to get done what he did. We’d go out on tour and he’d spend all day every day just sitting in his hotel room making reeds. He was very devoted. (Stein, 2006 [2], p. 5)
Alex (Klein) is probably the most accomplished performer I’ve ever heard in my life . . . Mathieu Dufour is a fantastic flutist. David McGill is probably the best bassoonist I’ve ever heard. But Alex certainly is at the top of the game in terms of being an oboist goes. (Stein, 2006 [2], p. 4)
On Felix Kraus
I just met him when he was in the Army Field Forces Band in Washington. And he was the one - the Tabuteau reed story about me and Tabuteau and his taking my reed away from me. It turns out that that reed was made from some of his (Tabuteau’s) cane. Felix had given me a couple pieces of his cane. We’d been up to the studio before one of the Philly concerts and he said, “Would you like to try some of Tabuteau’s cane?” I said, “Yeah!” He said, “I’ll give you two pieces but for god sake, don’t tell him I gave them to you!
On The Infamous Firing Of Ray Still By Jean Martinon
Well – Ray had been one of Reiner’s pets, and he couldn’t do anything wrong. And Reiner gave him practically free rein to do anything he wanted to do, because he just loved to hear him play. And it was very imaginative, and very good playing. And then when Martinon came in, Martinon was a different kind of conductor altogether. He was much more controlling. And he tried to tell Ray how to play his solos and all that sort of thing. And Ray really resented it. And, basically Ray just ended up being very contemptuous of him, cutting up on stage, and putting his oboe up over the stand and all that sort of thing, and just acting out the Bad Boy . . . And finally Martinon had enough of it and he fired him. Insubordination and blah, blah, blah. And so, it was a pretty nasty period. There were those that felt that Martinon was justified in firing Ray. And there were something like 10 people who testified against him. And there were an equal number who testified on his behalf. So the arbitrator decided in Ray’s favor and he was reinstated. And I vividly remember the day he came back to the orchestra. He came out on stage, and the orchestra was warming up, and he sat there and cried. And he got a spontaneous ovation from the audience as he came out on stage. It was a very emotional time for him. (Dixon Costa, 2007 [2] p. 286)
But Martinon had Margaret Hillis come to me and said – and asked me -- whenever Martinon conducts, could I play first oboe? I said, “I can’t do that. In the first place, Ray would bring me up on charges with the union. I mean, he’s the section leader and it’s his position. It’s his chair.” I said, “I’m flattered that you asked, but I just can’t do it.” So she relayed the message back to Martinon, and nothing ever further got said about it. (Dixon Costa, 2007 [2], p. 286)
70 On Playing In Orchestra
I think we all have certain repertoires that we like better than others … Not everyone can like everything. I don’t like liver so I don’t eat it.
71
CHAPTER 10
CATALOGS OF REPERTOIRE, PERFORMANCES, AND RECORDINGS
This chapter gives insight into the prominent repertoire a professional English hornist performs and the frequency that those compositions are programmed. It is also a record of Schiltz’s performances of this repertoire with the Chicago Symphony
Orchestra. Table 1 is an index of pieces that are commonly asked for in an orchestral audition for the position of English horn. It also includes compositions that are an integral part of the symphonic repertoire. Table 2 is a catalog of the CSO’s performances of said repertoire during Schiltz’s tenure as principal English horn with the orchestra. It includes the specifics of each concert: conductor, date, location, soloists (if applicable) and any special notes about the concert.
Table 3 is a register of the recordings done by the CSO of this repertoire during this same time period (1964-2005). In addition to the pertinent information of conductor, location, date recorded, and soloists (if applicable), this discography also includes the label and format of the recordings as well as any awards accrued. Table 4 is a list of
Schiltz’s appearances as a soloist with the CSO. All information was collected from the archived programs and indexes of the CSO, which are housed in the Rosenthal
Archives.
72 Composer Work
Bach, J.S. Mass in b minor, BWV 232 Bach, J.S. The Passion of Our Lord According to St. Matthew, BWV 244 Bartok Concerto for Orchestra Bartok Duke Bluebeard's Castle Bartok The Miraculous Mandarin, Op. 19 Bartok The Wooden Prince Berg Chamber Concerto for Piano, Violin, and Thirteen Wind Instruments, Op. 8 Berlioz The Damnation of Faust, Op. 24 Berlioz Rob Roy Overture Berlioz Roman Carnival Overture, Op. 9 Berlioz Romeo and Juliet Dramatic Symphony, Op. 17 Berlioz Symphonie Fantastique, Op. 14 Copland Quiet City Debussy Images for Orchestra Debussy La Mer Debussy Nocturnes Diamond Elegies for Flute, English Horn and String Orchestra Dvořak Carnival Overture, Op. 92 Dvořak Symphony No. 9 in e minor, Op. 95 (From the New World) de Falla The Three Cornered Hat, Complete Ballet Music Ferlendis/Kraus, M. English Horn Concerto in C Major Franck Symphony in d minor, Op. 48 Mahler Kindertotenlieder Mahler Rückert Lieder, Five Songs to Poems Mahler Symphony No. 6 in a minor Mahler Symphony No. 7 in e minor (Song of the Night) Mahler Symphony No. 8 in E-flat Major (The Symphony of a Thousand) Ravel Daphnis et Chloe (Complete Ballet) Ravel Ma Mere l’oye (Mother Goose Suite) (Five Children's Pieces) Ravel Piano Concerto in G Major Ravel Rhapsodie Espagnole Respighi The Pines of Rome Rodrigo Concierto de Aranjuez Rossini William Tell Overture Schöenberg Five Pieces for Orchestra, Op. 16 Schöenberg Moses und Aron Shostakovich Symphony No. 4, Op. 43 Shostakovich Symphony No. 7 in C Major, Op. 60 (Leningrad)
Table 1. Repertory List of Prominent English Horn Symphonic Literature
73 Table 1. continued Shostakovich Symphony No. 8 in c minor, Op. 65 Shostakovich Symphony No. 10 in e minor, Op. 93
Shostakovich Symphony No. 11, Op. 103, (The Year 1905) Sibelius Swan of Tuonela, Legend No. 3 from the Four Legends of the Kalevala, Op. 22 Strauss, R Alpine Symphony, Op. 64 Strauss, R Also Sprach Zarathustra, Op. 30 Strauss, R Die Frau ohne Schatten Symphonic Fantasy, Op. 65 Strauss, R Don Quixote, Fantastic Variations, Op. 35 Strauss, R Ein Heldenleben, Op. 40 Strauss, R Til Eulenspiegels lustige Streiche, Op. 28 (Til Eulenspiegel’s Merry Pranks) Stravinsky Petrushka 1911 Version Stravinsky Petrushka 1947 Version Stravinsky Le sacre du printemps (The Rite of Spring) Wagner Tristan und Isolde
74 Key To Performance Catalog
Grover Schiltz English Horn, April 1964 – May 2005 Chicago Symphony Orchestra
The following is a list of major symphonic repertoire for the English horn which has been performed by Grover Schiltz with the Chicago Symphony Orchestra. This list includes the conductor, location, season and date of each performance. A letter(s) followed by the season number indicates a work performed on a non-subscription concert. The list also specifies soloists and any special notes about the concert (if applicable).
KEY:
(M) Milwaukee concert (OT) Run-out or out-of-town concert (P) Popular concert (SC) Special concert (ET) European tour (JT) Japanese tour (FET) Far East tour (AT) Australian tour (RT) Russian tour (SAT) South American tour
Though not every tour included one of the pieces on this list, it should be noted that in his career, Schiltz performed with the Chicago Symphony Orchestra on all of the orchestra’s tours. All total there were twenty-three European tours, four Japanese tours, one South American tour, one Russian tour, one Far East tour and one Australian tour.
75 Chicago Symphony Orchestra Tour Dates
European tours:
August 26 – October 6, 1971 June 4 – 10, 1997 September 6 – 28, 1974 April 2 – 8, 1998 August 26 – September 23, 1978 September 3 – 19, 1998 August 25 – September 20, 1981 March 31 – April 3, 1999 January 15 – February 2, 1985 April 21 – May 3, 2000 August 24 – September 19, 1989 September 7 – 16, 2001 April 7 – 16, 1991 September 13 – 15, 2003 June 1 – 9, 1992 April 17 – 19, 2003 May 25 – June 10, 1993 September 13 – 15, 2003 May 19 – June 4, 1994 April 7 – 9, 2004 April 3 – 6, 1996 March 24 – April 6, 2005 September 8 – 14, 1996
Japanese Tours:
June 3 – 30, 1977 April 7 – 27, 1990 May 26 – June 6, 1995 October 24 – May 3, 2003
Far East Tour:
March 23 – April 13, 1986
Australian Tour:
February 26 – March 20, 1988
Russian Tour:
November 18 – December 1, 1990
South American Tour:
October 4 – 12, 2000
(This information was collected from the Rosenthal Archives of the Chicago Symphony Orchestra)
76
Bach, J.S. – Mass in b minor, BWV 232
Season: 77 (SC) Dec. 17, 1967 Conductor: Margaret Hillis Soloists: Teresa Orantes, Florence Kopleff, Robert Johnson, Yi-Kwei Sze, Chicago Symphony Chorus Notes: Chicago Symphony Chorus 10th Anniversary Concert
Season: 81 Dec. 16-18, 1971 Conductor: Carlo Maria Giulini Soloists: Margaret Price, Josephine Veasey, Luigi Alva, John Shirley-Quirk, Chicago Symphony Chorus (Dir. Margaret Hillis)
Season: 86 (SC) Jan. 4, 1977 Conductor: Margaret Hillis Soloists: Phyllis Bryn-Julson, Florence Kopleff, Seth McCoy, Thomas Paul, Chicago Symphony Chorus (Dir. Margaret Hillis) Notes: Chicago Symphony Chorus 20th Anniversary Concert
Season: 91 Apr. 8-10, 1982 Conductor: Georg Solti Soloists: Yvonne Kenny, Florence Quivar, Anthony Rolfe Johnson, Malcolm King, Dale Clevenger, Louise Dixon, Willard Elliot, Samuel Magad, Donald Peck, Donald Peck, Grover Schlitz, David Schrader, Wilbur Simpson, Ray Still, Chicago Symphony Chorus (Dir. Margaret Hillis)
Season: 99 Jan. 25-26 and 28, 1990 Conductor: Georg Solti Soloists: Felicity Lott, Anne Sofie von Otter, Hans Peter Blochwitz, William Shimell, Gwynne Howell, Chicago Symphony Chorus (Dir. Margaret Hillis)
Bach, J.S. – The Passion of Our Lord According to St. Matthew, BWV 244
Season: 80 (SC) Apr. 9-10, 1971 Conductor: Georg Solti Soloists: Heather Harper, Helen Watts, Richard Lewis, Tom Krause, Donald Gramm Notes: In memory of Igor Stravinsky 1882-1971
Table 2. Catalog of Schiltz’s Performances of Prominent English Horn Repertoire
77 Table 2. continued
Season: 83 Apr. 12-13, 1974 Conductor: Georg Solti Soloists: Heather Harper, Helen Watts, Jerry Jennings, Mallory Walker, Gwynne Howell, Philip Booth Notes: Make-up concert for the Thursday A-1 Series, Sept. 27, 1973 (extended labor contract negotiations)
Season: 94 Apr. 4 and 6, 1985 Conductor: Georg Solti Soloists: Pamela Coburn, Brigitte Fassbaender, Thomas Moser, Siegmund Nimsgern Notes: In honor of the 300th anniversary of the composer's birth
Season: 96 Mar. 19 and 21, 1987 Conductor: Georg Solti Soloists: Kiri Te Kanawa, Anne Sofie von Otter, Hans Peter Blochwitz, Thomas Moser, Olaf Bar, Tom Krause
Season: 106-Mar. 6, 7, 8, and 11, 1997 Conductor: Peter Schreier Soloists: Peter Schreier, Julie Kaufmann, Monica Groop, Steve Davislim, Klaus Mertens, Peter Lika
Bartok – Concerto for Orchestra
Season: 78 Nov. 7-8, 1968 Conductor: Jean Martinon
Season: 78 (M) Nov. 18, 1968 Conductor: Jean Martinon Notes: Milwaukee, Wisconsin
Season: 80 Nov. 26-27, 1970 Conductor: Georg Solti Notes: All Bartok Program Commemorating the 25th Anniversary of the Composer's Death
78 Continued Table 2. continued Season: 80 (ET) First European Concert Tour: Sept. 23, 27-29, Oct. 1, 2, 4, 1971 Conductor: Georg Solti Notes: All Bartok Program Commemorating the 25th Anniversary of the Composer's Death
Season: 81 (OT) Nov. 16-17, 1971 Conductor: Georg Solti Notes: Dartmouth College, Hanover, NH and Carnegie Hall, New York City
Season: 82 (P) Apr. 14, 1973 Conductor: Guido Milwaukee Notes: Winner of the Sir Georg Solti Competition of Conductors
Season: 85 Oct. 2-4, 1975 Conductor: Erich Leinsdorf
Season: 85 (OT) Sept. 22 and 24, 1975 Conductor: Erich Leinsdorf Notes: Springfield High School Auditorium, Springfield, Ill. Univ. Union and Auditorium, Illinois State Univ. Normal, Ill
Season: 88 Mar. 29-30, and Apr. 1, 1979 Conductor: Janos Ferencsik
Season: 88 (SC) Apr. 30, 1979 Conductor: Georg Solti Notes: James Lane Memorial Concert
Season: 90 Oct. 9-11, 1980 Conductor: Georg Solti
Season: 90 (ET) Fourth European Concert Tour: Aug. 29-30 Sept. 5, 7, 8, and 15, 1981 Conductor: Georg Solti Notes: Alte Oper, Frankfurt, Germany. Grosses Festspiel, Salzburg, Austria. Royal Albert Hall, London, England. La Scala, Milan, Italy. Palais de Beaux Arts, Brussels, Belgium.
79 Continued Table 2. continued Season: 90 (M) Oct. 13, 1980 Conductor: Georg Solti Notes: Milwaukee, Wisconsin
Season: 90 (OT) Apr. 28, 1981 Conductor: Georg Solti Notes: Carnegie Hall, New York City
Season: 90 (SC) Apr. 24, 1981 Conductor: Georg Solti Notes: Musicians Pension Fund Concert
Season: 91 (OT) Jan. 20, 22, 24, 26, 1982 Conductor: Georg Solti Notes: Utah Symphony Hall, Salt Lake City, Utah. Gammage Center, Arizona State Univ., Tempe, Arizona. Louise M. Davies, Symphony Hall, San Francisco, Calif. Dorothy Chandler Hall, Denver, Colorado
Season: 96 Feb. 26-28, 1987 Conductor: Michael Tilson Thomas
Season: 98 Sept. 29-30, Oct. 1, 1988 Conductor: Georg Solti
Season: 98 (SC) Sept. 28, 1988 Conductor: Georg Solti Notes: Music is the Message
Season: 100 (RT) First Russian Tour: Nov. 28, 1990 Conductor: Georg Solti Notes: Budapest, Hungary
Season: 102 Nov. 25, 27-29, Dec. 1, 1992 Conductor: Pierre Boulez
Season: 102 (SC) Nov. 2, 1992 Conductor: Kenneth Jean Notes: High School Concert
80 Continued Table 2. continued Season: 107 Dec. 17-20, 1997 Conductor: Christoph Eschenbach
Season: 114 Mar. 10-12, 2005 Conductor: Pierre Boulez
Season: 114 (OT) May 14, 2005 Conductor: Pierre Boulez Notes: Carnegie Hall, New York City
Season: 114 (ET) Twenty Third European Tour: Mar. 25, 28, 31, April 4, 2005 Conductor: Pierre Boulez Notes: Berlin, Germany; Budapest, Hungary; London, England
Bartok – Duke Bluebeard's Castle
Season: 76 Apr. 27-29, 1967 Conductor: Jean Martinon Soloists: Evelyn Lear, Thomas Stewart
Season: 83 Apr. 25 and 27, 1974 Conductor: Georg Solti Soloists: Tatiana Troyanos, Zoltan Kelemen
Season: 83 (OT) May 1, 1974 Conductor: Georg Solti Soloists: Tatiana Troyanos, Zoltan Kelemen Notes: Carnegie Hall, New York City
Season: 98 Jan. 26-28 and 30, 1989 Conductor: Georg Solti and Kenneth Jean (Jan. 28) Soloists: Klara Takacs, Aage Haugland, Miklos Simon
Season: 103 Dec. 2, 4, and 7, 1993 Conductor: Pierre Boulez Soloists: Jessye Norman, Laszlo Polgar, Larry Russo
81 Continued Table 2. continued Bartok – The Miraculous Mandarin
Season: 87 Jan. 26-28, 1978 Conductor: Leonard Slatkin Soloists: Chicago Symphony Chorus (Asst. Dir. James Winfield)
Season: 87 (SC) Jan. 25, 1978 Conductor: Leonard Slatkin Soloists: Chicago Symphony Chorus (Asst. Dir. James Winfield) Notes: University Night, Concert of Junior Governing Board
Season: 87 (M) Jan. 30, 1978 Conductor: Leonard Slatkin Soloists: Chicago Symphony Chorus (Asst. Dir. James Winfield) Notes: Milwaukee, Wisconsin
Season: 104 Dec. 15-17, 1994 Conductor: Pierre Boulez Soloists: Chicago Symphony Chorus (Dir. Duain Wolfe)
Season: 110 May 3-6 and 8, 2001 Conductor: Pierre Boulez
Bartok – The Miraculous Mandarin Suite
Season: 74 Oct. 8-9, 1964 Conductor: Jean Martinon
Season: 75 May 5-7, 1966 Conductor: Jean Martinon
Season: 75 (M) May 9, 1966 Conductor: Jean Martinon Notes: Milwaukee, Wisconsin
Season: 78 Sept. 26-28, 1968 Conductor: Istvan Kertesz
82 Continued Table 2. continued Season: 78 (OT) Oct. 5, 1968 Conductor: Istvan Kertesz Notes: Ann Arbor, Michigan
Season: 83 Jan. 31 and Feb 1, 1974 Conductor: Christoph von Dohnanyi
Season: 89 May 22-24, 1980 Conductor: Christoph von Dohnanyi
Season: 89 (M) May 26, 1980 Conductor: Christoph von Dohnanyi Notes: Milwaukee, Wisconsin
Season: 97 Feb. 11-13, 1988 Conductor: Georg Solti
Season: 97 (AT) First Australian Concert Tour: Mar. 3, 9, 17 and 19, 1988 Conductor: Georg Solti Notes: Perth, Adelaide, Sydney, Brisbane
Season: 98 (OT) Feb. 11, 1989 Conductor: Georg Solti Notes: Carnegie Hall, New York City
Season: 99 (ET) Sixth European Tour: Sept. 4-5, 7, 9, and 11-12, 1989 Conductor: Georg Solti Notes: Lucerne, Switzerland; Munich, Germany; Dusseldorf, Germany; Copenhagen, Denmark; Stockholm, Sweden
Season: 112 Nov.14-15, 17 and 19, 2002 Conductor: Lorin Maazel
83 Continued Table 2. continued Bartok – The Wooden Prince
Season: 97 Oct. 22-23 and 25, 1987 Conductor: Pierre Boulez Season: 101 Dec. 19-20 and 22, 1991 Conductor: Pierre Boulez
Season: 108 Dec. 10-12 and 15, 1998 Conductor: Pierre Boulez
Season: 114 Nov. 4-6, 2004 Conductor: David Robertson
Berg – Chamber Concerto for Piano, Violin, and Thirteen Wind Instruments, Op. 8
Season: 79 (SC) June 20, 1970 Conductor: Irwin Hoffman Notes: Post-Season Popular Concert
Season: 103 Feb. 3-5, 1994 Conductor: Daniel Barenboim Soloists: Peter Serkin, Ruben D'Artagnan Gonzalez, Richard Graef, Walfrid Kujala, Michael Henoch, Grover Schlitz, Larry Combs, John Bruce Yeh, J. Lawrie Bloom, Willard Elliot, Burl Lane, Adolph Herseth, Dale Clevenger, Norman Schweikert, Jay Friedman
Season: 107 Feb 12-14, 1998 Conductor: Daniel Barenboim Soloists: Pamela Frank, Peter Serkin, Walfrid Kujala, Donald Peck, Michael Henoch, Grover Schlitz, Larry Combs, John Bruce Yeh, J. Lawrie Bloom, David McGill, Burl Lane, Adolph Herseth, Dale Clevenger, Norman Schweikert, Jay Friedman
84 Continued Table 2. continued Berlioz – The Damnation of Faust, Op. 24
Season: 75 Sept. 23-24, 1965 Conductor: Jean Martinon Soloists: Marilyn Horne, Richard Verreau, Ezio Flagello, Children's Symphony Chorus (Dir. Margaret Hillis), Chicago Children's Choir (Dir. Christopher Moore)
Season: 82 Nov. 30 and Dec. 1, 1972 Conductor: Georg Solti Soloists: Phyllis Curtin, Stuart Burrows, Robert Savoie, Roger Soyer, Chicago Symphony Chorus (Dir. Margaret Hillis), Glen Ellyn Children's Chorus (Dir. Doreen Rao)
Season: 82 (OT) Dec. 6, 1972 Conductor: Georg Solti Soloists: Josephine Veasey, Stuart Burrows, Robert Savoie, Roger Soyer, Chicago Symphony Chorus (Dir. Margaret Hillis), Glen Ellyn Children's Chorus (Dir. Doreen Rao) Notes: Carnegie Hall, New York City
Season: 90 Apr. 23 and 25, 1981 Conductor: Georg Solti Soloists: Mary Beth Stephen, Kenneth Riegel (Thurs only), Claudine Carlson, Peyo Garazzi (Sat. only), Jose van Dam, Malcolm King, Chicago Symphony Chorus (Dir. Margaret Hillis), Glen Ellyn Children's Chorus (Dir. Doreen Rao)
Season: 90 (OT) May 1-2, 1981 Conductor: Georg Solti Soloists: Frederica von Stade, Kenneth Riegel (May 1), Peyo Garazzi (May 2), Jose van Dam, Malcolm King, Chicago Symphony Chorus (Dir. Margaret Hillis), Glen Ellyn Children's Chorus (Dir. Doreen Rao) Notes: Carnegie Hall, New York City
Season: 98 May 18-20, 1989 Conductor: Georg Solti Soloists: Anne Sofie von Otter, Keith Lewis, Jose van Dam, Peter Rose, Chicago Symphony Chorus (Dir. Margaret Hillis)
85 Continued Table 2. continued Season: 99 (ET) Sixth European Tour: Aug. 28 and 30, 1989 Conductor: Georg Solti Soloists: Anne Sofie von Otter, Keith Lewis, Jose van Dam, Peter Rose, Chicago Symphony Chorus (Dir. Margaret Hillis) Notes: London, England; Salzburg, Austria
Berlioz – Rob Roy Overture
Season: 86 Mar. 3-5, 1977 Conductor: Gennady Rozhdestvensky
Season: 86 (M) Mar. 7, 1977 Conductor: Gennady Rozhdestvensky Notes: Milwaukee, Wisconsin
Berlioz – Roman Carnival Overture, Op. 9
Season: 76 (P) May 13, 1967 Conductor: Jean Martinon Season: 79 (SC) Sept. 16-17, 1970 Conductor: Henry Mazer Notes: Contributors' Concerts
Season: 81 (P) Apr. 29, 1972 Conductor: Henry Mazer
Season: 82 (OT) Mar. 18, 1973 Conductor: Henry Mazer Notes: Elgin Civic Center, Elgin, Illinois
Season: 82 June 7-8, 1973 Conductor: Henry Mazer
Season: 83 (OT) Apr. 20, 1974 Conductor: Henry Mazer Notes: Illinois State University
86 Continued Table 2. continued Season: 83 (P) May 17, 1974 Conductor: Henry Mazer
Season: 86 (OT) Sept. 14-15, 17-18, 21-22 and 25, 1976 Conductor: Leonard Slatkin Notes: Pre-Season Downstate Illinois Tour
Season: 87 (SC) Sept. 17, 1977 Conductor: Leonard Slatkin Notes: Presented by Allied Arts Corp.
Season: 88 (SC) Oct. 23, 1978 Conductor: Henry Mazer Notes: American Society of Anesthesiologists
Season: 93 Apr. 12-14, 1984 Conductor: Georg Solti
Season: 99 Nov. 16, 1989 Conductor: Kenneth Jean
Season: 100 (OT) Aug. 13, 1990 Conductor: Erich Kunzel Notes: Illinois State Fair
Season: 101 Mar. 17 and 24, 1992 Conductor: Daniel Barenboim
Season: 101 (OT) April 30, 1992 Conductor: Kenneth Jean Notes: Paramount Arts Centre, Aurora, Illinois
Season: 101 (ET) Eighth European Tour: June 7, 1992 Conductor: Daniel Barenboim Notes: Salzburg Whitsun Concerts
87 Continued Table 2. continued Season: 103 (SC) Dec. 5, 1993 Conductor: Michael Morgan Notes: Benefit for St. Ignatius College Preparatory High School
Season: 106 (SC) Nov. 11, 1996 Conductor: Christoph Eschenbach Notes: Jewish Community Centers of Chicago Benefit Concert
Season: 107 (OT) Sept. 24, 1997 Conductor: Christoph Eschenbach Notes: Foellinger Great Hall, University of Illinois
Season: 107 (OT) Sept. 25, 1997 Conductor: Christoph Eschenbach Notes: Hill Auditorium, University of Michigan
Season: 110 Dec. 14-16, 2000 Conductor: Lorin Maazel
Berlioz – Romeo and Juliet Dramatic Symphony, Op. 17
Season: 113 Dec. 11-13, 2003 Conductor: Pierre Boulez Soloists: Michelle DeYoung, Matthew Polenzani, Robert Holl, Chicago Symphony Chorus (Dir. Duain Wolfe)
Berlioz – Romeo and Juliet Dramatic Symphony, Op. 17, Queen Mab Scherzo
Season: 79 Sept. 25-27, 1969 Conductor: Carlo Maria Giulini
Season: 79 (OT) Sept. 29, 1969 Conductor: Carlo Maria Giulini Notes: University of Iowa, Iowa City, Illinois
Season: 80 (SC) Mar. 13, 1971 Conductor: Carlo Maria Giulini Notes: Pension Fund Concert
88 Continued Table 2. continued Season: 80 (SC) May 14, 1971 Conductor: Henry Mazer Notes: 80th Birthday Ball
Season: 80 (M) Mar. 15, 1971 Conductor: Carlo Maria Giulini Notes: Milwaukee, Wisconsin
Season: 80 (ET) First European Concert Tour: Sept. 6 and Sept. 26, 1971 Conductor: Carlo Maria Giulini Notes: Sept. 6 1971 Usher Hall, Edinburgh, Scotland. Sept. 26, 1971 Grosser Musikvereinssaal, Vienna, Austria
Season: 85 Dec. 11-12, 1975 Conductor: Carlo Maria Giulini
Season: 85 (OT) Dec. 13, 14, 18 and 19, 1975 Conductor: Carlo Maria Giulini Notes: Brooklyn College Center for the Performing Arts, Kennedy Center, Carnegie Hall, and Academy of Music (Philadelphia, PA)
Season: 87 Oct. 13-15, 1977 Conductor: Georg Solti
Season: 87 (SC) Oct. 17-18, 1977 Conductor: Georg Solti Notes: Taping of Concerts for Unitel TV
Season: 97 Jan. 21-22 and 24, 1988 Conductor: Hugh Wolff
Berlioz – Symphonie Fantastique, Op. 14
Season: 74 Feb. 11-13, 1965 Conductor: Jean Martinon
89 Continued Table 2. continued Season: 74 (M) Feb. 15, 1965 Conductor: Jean Martinon Notes: Milwaukee, Wisconsin
Season: 77 Dec. 7-8, 1967 Conductor: Jean Martinon
Season: 79 Sept. 29, 1969 Conductor: Rafael Frühbeck de Burgos Season: 81 (OT) Apr. 15, 1971 Conductor: Georg Solti Notes: Brooklyn College, Brooklyn, NY
Season: 81 (OT) Apr. 22, 1971 Conductor: Georg Solti Notes: Carnegie Hall, New York City
Season: 81 (OT) Apr. 23, 1971 Conductor: Georg Solti Notes: Kennedy Center, Washington DC
Season: 81 Apr. 13-14, 1972 Conductor: Georg Solti
Season: 84 May 15-16, 1975 Conductor: Henry Mazer
Season: 86 May 26-28, 1977 Conductor: Georg Solti
Season: 86 (JT) First Japanese Concert Tour: June 10, 17-18, 23, 1977 Conductor: Georg Solti Notes: Hokkaido Kosei-Nenkin Kaikan, Sapporo. Ishikawa Kosei- Nenkin Kaikan Kanazawa. Festival Hall, Osaka. NHK Hall, Tokyo
Season: 89 Mar. 20-22, 1980 Conductor: Rafael Kubelik
90 Continued Table 2. continued Season: 91 (OT) June 19, 1981 Conductor: Varujan Kojian Notes: Rockford Metro Centre, Rockford, Illinois
Season: 92 Feb. 17-19, 1983 Conductor: Claudio Abbado
Season: 92 (OT) Sept. 18, 1982 Conductor: Reynald Giovaneinetti Notes: Sangamon State University, Springfield, Illinois
Season: 92 (OT) Sept. 21, 1982 Conductor: Reynald Giovaneinetti Notes: Oscar Meyer Theatre, Madison, Wisconsin
Season: 92 (OT) Sept. 23, 1982 Conductor: Reynald Giovaneinetti Notes: Krannert Center for the Performing Arts, University of Illinois, Urbana
Season: 92 (OT) Sept. 28, 1982 Conductor: Reynald Giovaneinetti Notes: Virgil M. Hancher Auditorium, University of Iowa, Iowa City
Season: 96 Jan. 22-24, 1987 Conductor: Georg Solti
Season: 96 (OT) Jan. 27, 1987 Conductor: Georg Solti Notes: Orpheum Theater, Omaha, Nebraska
Season: 96 (OT) Feb. 5, 1987 Conductor: Georg Solti Notes: Arlington Theater, Santa Barbara, California
Season: 96 (OT) Feb. 7, 1987 Conductor: Georg Solti Notes: Dorothy Chandler Pavilion, Los Angeles, California
91 Continued Table 2. continued Season: 96 (OT) Feb. 10, 1987 Conductor: Georg Solti Notes: Gammage Center, Arizona State University, Tempe, Arizona
Season: 96 (OT) Feb. 13, 1987 Conductor: Georg Solti Notes: Jones Hall, Houston, Texas
Season: 98 Oct. 20-22, + 25, 1988 Conductor: Daniel Barenboim
Season: 101 (ET) Eighth European Tour: June 8, 1992 Conductor: Georg Solti Notes: Salzburg Whitsun Concerts
Season: 102 April 22-23, 1993 Conductor: Myung-Whun Chung
Season: 104 May 11-13 and 16, 1995 Conductor: Daniel Barenboim
Season: 105 Jan. 27, Feb. 2-3, 1996 Conductor: Daniel Barenboim
Season: 105 (ET) Eleventh European Tour: Apr. 3, 1996 Conductor: Daniel Barenboim Notes: Berlin
Season: 108 Mar. 18 and 20, 1999 Conductor: Pierre Boulez
Season: 108 (SC) Mar. 19, 1999 Conductor: Pierre Boulez Notes: Symphony Center Presents Great Performer Series – International Orchestras
92 Continued Table 2. continued Season: 110 May 24-26, 2001 Conductor: Christoph Eschenbach
Season: 112 Jan. 16-18, 2003 Conductor: Charles Dutiot
Copland – Quiet City
Season: 71 Dec. 24, 1961 (Playback Dec.31, 1961) Conductor: Arthur Fiedler Soloists: Adolph Herseth (trumpet) and Grover Schlitz (English Horn) Notes: "Great Music from Chicago" Show (Kinescope) #61-11 GN #2051; Sunday night weekly TV show. Schlitz substituted for Laurence Thorstenberg, who was ill.
Season: 85 Oct. 2-4, 1975 Conductor: Erich Leinsdorf Soloists: Adolph Herseth (trumpet) and Grover Schlitz (English Horn)
Season: 96 Oct. 2-3 and 5, 1986 Conductor: Georg Solti Soloists: William Scarlett (trumpet) and Grover Schiltz (English Horn)
Debussy – Images for Orchestra
Season: 76 Jan. 19-21, 1967 Conductor: Jean Martinon
Season: 93 Mar. 29-31, 1984 Conductor: Garcia Navarro
Season: 93 (M) Apr. 2, 1984 Conductor: Garcia Navarro Notes: Milwaukee, Wisconsin
93 Continued Table 2. continued Season: 112 Nov. 29-30, Dec. 3, 2002 Notes: Pierre Boulez
Debussy – Images for Orchestra, No. 1 Gigues
Season: 97 Nov. 25, 27-28, 1987 Conductor: Erich Leinsdorf
Debussy – Images for Orchestra, No. 2 Iberia
Season: 104 Mar. 30-31, Apr. 1, 1995 Conductor: Pierre Boulez
Season: 111 May 30-31, June 1 and 4, 2002 Conductor: Daniel Barenboim
Debussy – Images for Orchestra, No. 3 Rondes de printemps
Season: 97 Nov. 25, 27-28, 1987 Conductor: Erich Leinsdorf
Debussy – La Mer
Season: 74 Apr. 10, 18 and 19, 1965 Conductor: Jean Martinon
Season: 74 (M) Apr. 12, 1965 Conductor: Jean Martinon Notes: Milwaukee, Wisconsin
Season: 77 May 9-10, 1968 Conductor: Jean Martinon
Season: 78 (OT) Apr. 7, 1969 Conductor: Irwin Hoffman Notes: East Lansing, Michigan
94 Continued Table 2. continued Season: 78 (P) Apr. 19, 1969 Conductor: Jean Martinon
Season: 79 Feb. 5-6, 1970 Conductor: Carlo Maria Giulini
Season: 82 (OT) Nov. 20, 1972 Conductor: James Dixon Notes: Hancher Auditorium, Iowa City, Iowa
Season: 82 (OT) June 15, 1973 Conductor: Carlo Maria Giulini Notes: Wolf Trap Park, Vienna, Virginia
Season: 82 (SC) June 13, 1973 Conductor: Carlo Maria Giulini Notes: Benefit Concert sponsored by he Women’s Association of the CSO
Season: 85 Apr. 29-30 and May 1, 1976 Conductor: Georg Solti
Season: 85 (OT) May 11, 1976 Conductor: Georg Solti Notes: Bushnell Auditorium, Hartford, Conn.
Season: 85 (OT) May 12, 1976 Conductor: Georg Solti Notes: Carnegie Hall, New York City
Season: 86 (JT) First Japanese Concert Tour: June 10, 17-18, 23, 1977 Conductor: Georg Solti Notes: Hokkaido Kosei-Nenkin Kaikan, Sapporo. Ishikawa Kosei- Nenkin Kaikan Kanazawa. Festival Hall, Osaka. NHK Hall, Tokyo
95 Continued Table 2. continued Season: 87 (ET) Third Concert Tour of Europe: Aug. 30, Sept. 1, Sept. 10, Sept. 19, 1978 Conductor: Georg Solti Notes: Grosses Festspielhaus, Salzburg, Austria. Maison de Congres, Montreux, Switzerland. Philharmonie, Berlin, Germany. Palais de Beaux Arts, Brussels, Belgium
Season: 87 (M) Jan. 16, 1978 Conductor: Erich Leinsdorf Notes: Milwaukee, Wisconsin
Season: 89 (OT) Sept. 26-29, 1979 Conductor: Erich Leinsdorf Notes: Pre-Season Illinois State Tour
Season: 90 (OT) Aug. 11, 13-14, 1980 Conductor: Erich Leinsdorf Notes: Pre-Season Tour
Season: 91 Jan. 16-18, 1982 Conductor: Georg Solti
Season: 91 (OT) Jan 29, 1982 Conductor: Georg Solti Notes: Boettcher Concert Hall, Denver, Colorado
Season: 91 (SC) Jan. 13, 1982 Conductor: Georg Solti Notes: University Night, Concert of Junior Governing Board
Season: 94 May 16-18, 1985 Conductor: Erich Leinsdorf
Season: 99 Oct. 12-14, 1989 Conductor: David Zinman
Season: 101 Oct. 11-12, 1991 Conductor: Georg Solti
96 Continued Table 2. continued Season: 103 Feb 17-19, 1994 Conductor: Daniel Barenboim
Season: 103 May 10, 1994 Conductor: Daniel Barenboim
Season: 103 (OT) East Coast Tour: May 13, 1994 Conductor: Daniel Barenboim Notes: Avery Fisher Hall, New York, NY
Season: 103 (ET) Tenth European Tour: May 19, 25, 26, 29, 31, June 1, 1994 Conductor: Daniel Barenboim Notes: Berlin, Germany; Vienna, Austria; Frankfurt, Germany; Frankfurt, Germany; Paris, France; Cologne, Germany
Season: 105 Dec. 7-9, 12, 1995 Conductor: Pierre Boulez
Season: 108 Nov. 27-28, Dec. 1, 1998 Conductor: Pierre Boulez
Season: 109 Oct. 21-23, 1999 Conductor: Daniel Barenboim
Season: 109 (ET) Sixteenth European Tour: Apr. 21, 27, 28, and May 2, 2000 Conductor: Daniel Barenboim Notes: Berlin, Germany; Cologne, Germany; Madrid, Spain
Season: 110 (SAT) First South American Tour: Oct. 7 and 11, 2000 Conductor: Daniel Barenboim Notes: Sao Paulo and Buenos Aires
97 Continued Table 2. continued Debussy – Nocturnes
Season: 74 Nov. 26-28, 1964 Conductor: Jean Martinon Soloists: Members of the Chicago Symphony Orchestra Chorus (Dir. Margaret Hillis)
Season: 78 Mar. 6-8, 1969 Conductor: Carlo Maria Giulini Soloists: Chicago Symphony Women's Chorus (Dir. Margaret Hillis, prepared for this performance by Robert Frisbie, Asst. Dir.)
Season: 78 (M) Mar. 10, 1969 Conductor: Carlo Maria Giulini Soloists: Chicago Symphony Women's Chorus (Dir. Margaret Hillis, prepared for this performance by Robert Frisbie, Asst. Dir.) Milwaukee, Wisconsin
Season: 84 Dec. 5-7, 1974 Conductor: Georg Solti Soloists: Chicago Symphony Women's Chorus (Dir. Margaret Hillis, prepared for this performance by Richard Boldrey, Asst. Dir.)
Season: 87 Nov. 8-10, 1977 Conductor: Daniel Barenboim Soloists: Members of the Chicago Symphony Women's Chorus (Prepared by Asst. Dir. James Winfield)
Season: 91 Dec. 17-18 and 20, 1981 Conductor: Raymond Leppard Soloists: Members of the Chicago Symphony Women's Chorus (Prepared by Asst. Dir. James Winfield)
Season: 95 Oct. 3-5, 1985 Conductor: Georg Solti Soloists: Members of the Chicago Symphony Chorus (Dir. Margaret Hillis)
Season: 98 Feb. 16-18 and 21, 1989 Conductor: Erich Leinsdorf
98 Continued Table 2. continued Season: 99 Jan. 18-20 and 30, 1990 Conductor: Georg Solti Soloists: Members of the Chicago Symphony Women's Chorus (Dir. Margaret Hillis)
Season: 101 Dec. 12-14 and 17, 1991 Conductor: Pierre Boulez Soloists: Members of the Chicago Symphony Women's Chorus (Asst. Dir. Cheryl Frazes Hill)
Season: 108 Nov. 27-28, Dec. 1, 1998 Conductor: Pierre Boulez Soloists: Members of the Chicago Symphony Women's Chorus (Asst. Dir. Cheryl Frazes Hill)
Season: 114 Mar. 17-19, 2005 Conductor: Pierre Boulez Soloists: Members of the Chicago Symphony Women's Chorus (Dir. Duain Wolfe)
Debussy – Nocturnes, Nuages (Clouds)
Season: 80 (P) Sept. 26, 1970 Conductor: Henry Mazer
Debussy – Nocturnes, Fetes (Festivals)
Season: 80 (P) Sept. 26, 1970 Conductor: Henry Mazer
Season: 94 (SC) Sept. 24, 1984 Conductors: Georg Solti Notes: In Memoriam John S. Edwards
99 Continued Table 2. continued Diamond – Elegies for Flute, English Horn and String Orchestra
Season: 82 Feb. 15-16, 1973 Conductor: Henry Mazer Soloists: Grover Schlitz (English Horn), Donald Peck (Flute)
Dvořak – Carnival Overture, Op. 92
Season: 75 (P) Feb. 19, 1966 Conductor: Jean Martinon
Season: 81 Mar. 2-4, 1972 Conductor: Zdenĕk Macal
Season: 81 (M) Mar. 6, 1972 Conductor: Zdenĕk Macal Notes: Milwaukee, Wisconsin
Season: 86 (SC) Feb. 12, 1977 Conductor: John Green Notes: Augustana Center Benefit Concert
Season: 88 (SC) Sept. 30, 1978 Conductor: Leonard Slatkin Notes: Presented by Allied Arts for the benefit of the Illinois Medical Center
Season: 89 (OT) Jan. 12, 1980 Conductor: Charles Mackerras Notes: Quincy Junior High School Auditorium
Season: 89 (SC) Jan. 10 and 11, 1980 Conductor: Charles Mackerras Notes: Special Non-subscription Concert
Season: 94 (SC) Mar. 5, 1985 Conductor: Lawrence Block Notes: University Night, Concert of the Junior Governing Board
100 Continued Table 2. continued Season: 96 (OT) May 25, 1987 Conductor: Michael Morgan Notes: Special Outdoor Memorial Day Concert at Chicago State University
Season: 101 Oct. 31-Nov. 1 and 3, 1991 Conductor: Michael Morgan
Season: 107 (OT) Sept. 26, 1997 Conductor: Christoph Eschenbach Notes: Hill Auditorium, University of Michigan, Ann Arbor, Michigan
Season: 113 (OT) July 24, 2004 Conductor: James Conlon Notes: Millenium Park Gala, Pritzker Pavilion, Chicago
Season: 113 (SC) Apr. 23, 2004 Conductor: William Eddins Notes: Musicians Pension Fund Concert
Dvořak – Symphony No. 9 in e minor, Op. 95, (From the New World)
Season: 75 (M) Nov. 22, 1965 Conductor: Jean Martinon Notes: Milwaukee, Wisconsin
Season: 75 (P) Nov. 20, 1965 Conductor: Serge Fournier
Season: 83 Jan. 31 and Feb. 1-2, 1974 Conducor: Christoph von Dohnanyi
Season: 86 Mar. 31 and Apr. 1-2, 1977 Conductor: Carlo Maria Giulini
101 Continued Table 2. continued Season: 86 (M) Apr. 4, 1977 Conductor: Carlo Maria Giulini Notes: Milwaukee, Wisconsin
Season: 90 Feb. 6-7, 1981 Conductor: Erich Leinsdorf
Season: 90 (M) Feb. 9, 1981 Conductor: Erich Leinsdorf Notes: Milwaukee, Wisconsin
Season: 90 (OT) Sept. 17, 1980 Conductor: Henry Mazer Notes: Paramount Arts Center, Aurora, Illinois
Season: 90 (SC) Oct. 27, 1980 Conductor: Henry Mazer Notes: Music is the Message, Concert of the Junior Governing Board
Season: 90 (SC) Feb. 5, 1981 Conductor: Erich Leinsdorf Notes: University Night, Concert of the Junior Governing Board
Season: 92 Jan. 13-15, 1983 Conductor: Georg Solti
Season: 92 (M) Apr. 11, 1983 Conductor: Georg Solti Notes: Milwaukee, Wisconsin
Season: 92 (OT) Apr. 14-16 and 19, 1983 Conductor: Georg Solti Notes: Hill Auditorium, University of Michigan; Finney Chapel, Oberlin College Conservatory of Music; Symphony Hall, Boston; Carnegie Hall, New York City
102 Continued Table 2. continued Season: 92 (SC) Jan. 12, 1983 Conductor: Georg Solti Notes: University Night, Concert of the Junior Governing Board
Season: 94 (SC) Nov. 5 and Dec. 9, 1984 Conductor: Henry Mazer Notes: Music is the Message, Concert of the Junior Governing Board; Benefit Concert for St. Ignatius College Prep
Season: 97 Apr. 7-9 and 12, 1988 Conductor: Kenneth Jean
Season: 101 (SC) Mar. 22, 1992 Conductor: Kenneth Jean Notes: Private performance for Infiniti Pops
Season: 102 Mar. 18-20 and 23, 1992 Conductor: Roger Norrington
Season: 107 (OT) Sept. 24, 1997 Conductor: Christoph Eschenbach Notes: Foellinger Great Hall, Krannert Center, University of Illinois, Champaign, Illinois
Season: 107 (OT) Sept. 26, 1997 Conductor: Christoph Eschenbach Notes: Hill Auditorium, University of Michigan, Ann Arbor, Michigan
Season: 110 Nov. 16-18 and 24-25, 2000 Conductor: Daniel Barenboim
Season: 113 Mar. 18-20, 2004 Conductor: David Robertson
103 Continued Table 2. continued de Falla – The Three Cornered Hat, Complete Ballet Music
Season: 82 Jun. 7-8, 1973 Conductor: Rafael Frühbeck de Burgos Soloists: Teresa Orantes
Season: 91 Oct. 15-17, 1981 Conductor: Garcia Navarro Soloists: Barbara Pearson
Season: 106 May 22-25 and 27, 1997 Conductor: Daniel Barenboim Soloists: Jennifer Larmore
Season: 109 (ET) Seventeenth European Tour: Apr. 27-28 and May 2, 2000 Conductor: Daniel Barenboim Soloists: Elisabete Matos Notes: Berlin, Germany; Cologne, Germany; Madrid, Spain
Season: 109 (OT) Mar. 5, 2000 Conductor: Daniel Barenboim Soloists: Lynne Dawson Notes: Carnegie Hall, New York City
Season: 110 (SAT) First South American Tour: Oct. 7 and 11, 2000 Conductor: Daniel Barenboim Soloists: Alejandra Malvino Notes: Sao Paulo and Buenos Aires
Season: 113 Sept. 21 and 23, 2003 Conductor: William Eddins Soloists: Suzanne Mentzer
de Falla – The Three Cornered Hat, Suites No. 1 and 2
Season: 73 Feb. 20-21, 1964 Conductor: Jean Martinon
104 Continued Table 2. continued de Falla – The Three Cornered Hat, Suite No. 2 (Three Dances)
Season: 75 (P) Oct. 23, 1965 Conductor: Irwin Hoffman
Season: 77 Jan. 25-26, 1968 Conductor: Ernest Ansermet
Season: 78 May 1-2, 1969 Conductor: Rafael Frühbeck de Burgos
Season: 78 (M) May 5, 1969 Conductor: Rafael Frühbeck de Burgos Notes: Milwaukee, Wisconsin
Season: 80 (P) Jan. 16, 1971 Conductor: Henry Mazer
Season: 82 Oct. 19-20, 1972 Conductor: Carlo Maria Giulini
Season: 99 May 24-25, 27 and 29, 1990 Conductor: Kenneth Jean
de Falla – The Three Cornered Hat, Miller's Dance
Season: 93 (SC) March 16, 1984 Conductor: Henry Mazer
Season: 112 Sept. 25-28, 2002 Conductor: Daniel Barenboim
Season: 112 (OT) Oct. 2, 2002 Conductor: Daniel Barenboim Notes: Carnegie Hall, New York City
105 Continued Table 2. continued Ferlendis/Kraus, M. – English Horn Concerto in C Major
Season: 102 Feb 18-20 and 23, 1993 Conductor: Kenneth Jean Soloists: Grover Schlitz (English Horn)
Franck – Symphony in d minor, Op. 48
Season: 73 Dec. 19-20, 1963 Conductor: Walter Hendl
Season: 77 (P) Mar. 30, 1968 Conductor: Irwin Hoffman
Season: 79 (P) Apr. 4, 1970 Conductor: Henry Mazer
Season: 80 (SC) Mar. 23, 1971 Conductor: Henry Mazer Notes: Music is the Message, Junior Governing Board Concert
Season: 81 Nov. 24 and 26-27, 1971 Conductor: Henry Mazer
Season: 84 (P) May 17, 1975 Conductor: Antonio de Alemeida
Season: 88 May 25-26, 1979 Conductor: Henry Mazer
Season: 88 (SC) May 2 and 7, 1979 Conductor: Henry Mazer Notes: Risk and Insurance Management Society; Music is the Message, Concert of the Junior Governing Board
Season: 93 (SC) Mar. 16, 1984 Conductor: Henry Mazer
106 Continued Table 2. continued Season: 95 Dec. 12-13 and 15, 1985 Conductor: Erich Leinsdorf
Mahler – Kindertotenlieder
Season: 75 Feb. 10-11, 1966 Conductor: Jean Martinon Soloists: Hermann Prey
Season: 79 (OT) Jan. 9, 1970 Conductor: Georg Solti Soloists: Helen Watts Notes: Carnegie Hall, New York City
Season: 112 (ET) Twentieth European Tour: Apr. 17, 2003 Conductor: Daniel Barenboim Soloists: Thoas Quasthoff Notes: Berlin Festtage
Mahler – Rückert Lieder, Five Songs to Poems
Season: 90 Feb. 19-20 and 22, 1981 Conductor: Claudio Abbado Soloists: Hanna Schwarz
Season: 106 Nov. 29-30 and Dec. 3, 1996 Conductor: Pierre Boulez Soloists: Juliane Banse
Season: 112 May 1-3, 2003 Conductor: Daniel Barenboim Soloists: Andreas Schmidt
Season: 112 (ET) Twentieth European Tour: Apr. 19, 2003 Conductor: Daniel Barenboim Soloists: Violeta Urmana Notes: Berlin Festtage
107 Continued Table 2. continued Mahler – Symphony No. 6 in a minor
Season: 77 Jan. 4-5, 1968 Conductor: Antal Dorati
Season: 79 Apr. 2-3, 1970 Conductor: Georg Solti
Season: 79 (M) March 30, 1970 Conductor: Georg Solti Notes: Milwaukee, Wisconsin
Season: 83 Nov. 8 and 10-11, 1973 Conductor: Georg Solti
Season: 83 (OT) Nov. 17, 1973 Conductor: Georg Solti Notes: Carnegie Hall, New York City
Season: 88 Feb. 1-2 and 4, 1979 Conductor: Claudio Abbado
Season: 96 June 11-13, 1987 Conductor: Günther Herbig
Season: 100 Dec. 20-22, 1990 Conductor: Christoph Eschenbach
Season: 103 Nov. 26-27 and Dec. 3, 1993 Conductor: Pierre Boulez
Season: 105 Mar. 21-23 and 26, 1996 Conductor: Michael Gielen
Season: 108 Oct. 15-17, 1998 Conductor: Christoph Eschenbach
108 Continued Table 2. continued Season: 114 April 21-22, 2005 Conductor: Myung-Whun Chung
Season: 114 Apr. 26, 2005 Conductor: Leonard Slatkin
Mahler – Symphony No. 7 in e minor (Song of the Night)
Season: 80 Nov. 19-21, 1970 Conductor: Georg Solti
Season: 80 (M) May 3, 1971 Conductor: Georg Solti Notes: Milwaukee, Wisconsin
Season: 80 (OT) Dec. 7, 1970 Conductor: Georg Solti Notes: Carnegie Hall, New York City
Season: 93 Jan. 5-7, 1984 Conductor: Claudio Abbado
Season: 93 (OT) Jan, 23, 26, and 28, 1984 Conductor: Claudio Abbado Notes: Dade County Auditorium, Miami, Florida; Mershon Auditorium, Ohio State University; Kennedy Center, Washington DC
Season: 94 (M) Feb 18, 1985 Conductor: Claudio Abbado Notes: Milwaukee, Wisconsin
Season: 94 (OT) May 3, 1985 Conductor: Claudio Abbado Notes: Carnegie Hall, New York City
109 Continued Table 2. continued Season: 94 (SC) Feb. 16, 1985 Conductor: Claudio Abbado Notes: University Night, Concert of the Junior Governing Board
Season: 104 Dec. 8-10, 1994 Conductor: Pierre Boulez
Season: 110 Sept. 21-23 and 26, 2000 and Feb. 25, 2001 Conductor: Daniel Barenboim
Season: 110 (OT) Mar. 10, 2001 Conductor: Daniel Barenboim Notes: Carnegie Hall, New York City
Season: 110 (SAT) First South American Tour: Oct. 6 and 12, 2000 Conductor: Daniel Barenboim Notes: Sao Paulo and Buenos Aires
Season: 111 (ET) Eighteenth European Tour: Sept. 7 and 13, 2001 Conductor: Daniel Barenboim Notes: London, England; Lucerne, Switzerland
Season: 111 (OT) Oct. 19, 2001 Conductor: Daniel Barenboim Notes: Carnegie Hall, New York City
Mahler – Symphony No. 8 in E-flat Major (Symphony of a Thousand)
Season: 80 May 7-8, 1971 Conductor: Georg Solti Soloists: Elsa Charlston, Ella Lee, Barbara Pearson, Betty Allen, Helen Watts, Robert Johnson, William Walker, Michael Devin, Chicago Symphony Chorus (Dir. Margaret Hillis), NW University Concert Choir (Dir. Margaret Hillis), North Park College Chorus (Dir. David Thorburn), Glen Ellyn Children's Theatre Chorus (Dir. Barbara Born)
110 Continued Table 2. continued Season: 87 (OT) Oct. 31, 1977 Conductor: Margaret Hillis Soloists: Christiane Eda-Pierre, Lucia Popp, Barbara Hendricks, Jan de Gaetani, Helen Watts, Kenneth Riegel, William Walker, Donald Gramm, Chicago Symphony Chorus (Dir. Margaret Hillis), Glen Ellyn Children's Chorus (Dir. Doreen Rao) Notes: Carnegie Hall, New York City
Season: 87 (SC) Oct. 27-28, 1977 Conductor: Georg Solti Soloists: Christiane Eda-Pierre, Lucia Popp, Barbara Hendricks, Jan de Gaetani, Helen Watts, Kenneth Riegel, William Walker, Donald Gramm, Chicago Symphony Chorus (Dir. Margaret Hillis), Glen Ellyn Children's Chorus (Dir. Doreen Rao) Notes: Special Non-subscription concerts
Season: 90 Oct. 2-4 and 6, 1980 Conductor: Georg Solti Soloists: Faye Robinson, Teresa Cahill, Jo Ann Pickens, Jan de Gaetani, Mira Zakai, Kenneth Riegel, Brent Ellis, Theo Adam, Chicago Symphony Chorus (Dir. Margaret Hillis), Glen Ellyn Children's Chorus (Dir. Doreen Rao)
Season: 90 (SC) Oct. 6, 1980 Conductor: Georg Solti Soloists: Jill Gomez, Teresa Cahill, Jo Ann Pickens, Jan de Gaentani, Mira Zakai, Dennis Bailey, Brent Ellis, Theo Adam, Chicago Symphony Chorus (Dir. Margaret Hillis), Glen Ellyn Children's Chorus (Dir. Doreen Rao) Notes: Special Non-subscription Concert
Season: 105 May 30-June 1, 1996 Conductor: Christoph Eschenbach Soloists: Sharon Sweet, Marvis Martin, Ying Huang, Florence Quivar, Janis Taylor, Vinson Cole, Richard Zeller, Eric Halfvarson, Chicago Symphony Chorus (Dir. Duain Wolfe), Waukegan Concert Choir (Dir. Don Horisberger), Glen Ellyn Children's Chorus (Dir. Sandra Prodan Murphy)
111 Continued Table 2. continued Ravel – Daphnis et Chloe (Complete Ballet)
Season: 77 Nov. 2-4, 1967 Conductor: Jean Martinon Soloists: Chicago Symphony Orchestra Chorus (Dir. Margaret Hillis)
Season: 77 (OT) Nov. 12, 1967 Conductor: Jean Martinon Soloists: Chicago Symphony Orchestra Chorus (Dir. Margaret Hillis) Notes: Carnegie Hall, New York City
Season: 91 Mar. 18-20, 1982 Conductor: Andre Previn
Season: 107 Nov. 20-22 and 25, 1997 Conductor: Pierre Boulez Soloists: Chicago Symphony Orchestra Chorus (Dir. Duain Wolfe)
Ravel – Daphnis et Chloe, Suite 1 (fragments)
Season: 74 Nov. 26-28, 1964 Conductor: Jean Martinon Soloists: Chicago Symphony Orchestra Chorus (Dir. Margaret Hillis)
Season: 81 June 1-3, 1972 Conductor: Aldo Ceccato Soloists: Chicago Symphony Orchestra Chorus (Dir. Margaret Hillis)
Season: 103 Mar. 17-19 and 22, 1994 Conductor: Riccardo Chailly
Ravel Daphnis et Chloe, Suite 2 (fragments)
Season: 74 Nov. 26-28, 1964 Conductor: Jean Martinon Soloists: Chicago Symphony Orchestra Chorus (Dir. Margaret Hillis)
112 Continued Table 2. continued Season: 76 (M) May 1, 1967 Conductor: Jean Martinon Notes: Milwaukee, Wisconsin
Season: 79 (P) May 16, 1970 Conductor: Richard Dufallo
Season: 81 June 1-3, 1972 Conductor: Aldo Ceccato Soloists: Chicago Symphony Orchestra Chorus (Dir. Margaret Hillis)
Season: 82 (P) Feb. 17, 1973 Conductor: James de Preist
Season: 86 Mar. 3-5, 1977 Conductor: Gennady Rozhdestvensky Soloists: Chicago Symphony Orchestra Chorus (Dir. Margaret Hillis)
Season: 86 (M) Mar. 7, 1977 Conductor: Gennady Rozhdestvensky Soloists: Chicago Symphony Orchestra Chorus (Dir. Margaret Hillis) Notes: Milwaukee, Wisconsin
Season: 88 Mar. 8-10, 1979 Conductor: Daniel Barenboim
Season: 93 (OT) Sept. 15, 17-18, 21 and 24, 1983 Conductor: Garcia Navarro Notes: Pre-Season Tour: Braden Auditorium, Illinois State University; Sangamon State University; Krannert Center for the Performing Arts, University of Illinois; University of Texas; Texas A&M University
Season: 93 (SC) Oct. 22, 1983 Conductor: Garcia Navarro Notes: University Night, Concert of the Junior Governing Board
Season: 96 Jan. 15-17 and 20, 1987 Conductor: Georg Solti
113 Continued Table 2. continued Season: 96 (OT) Jan. 27, Feb. 5, 7, 10, and 13, 1987 Conductor: Georg Solti Notes: Orpheum Theater, Omaha, Nebraska; Arlington Theater, Santa Barbara, California; Dorothy Chandler Pavilion, Los Angeles, California; Gammage Center, Arizona State University, Tempe, Arizona; Jones Hall, Houston, Texas
Season: 99 Nov. 16, 1989 Conductor: Kenneth Jean
Season: 100 May 9-11 and 14, 1991 Conductor: Daniel Barenboim
Season: 101 Feb 19-22, 1992 Conductor: Pierre Boulez
Season: 103 Mar. 17-19 and 22, 1994 Conductor: Riccardo Chailly
Season: 105 Feb. 22-24, 1996 Conductor: Mariss Jansons
Season: 106 Sept. 26-28, 1996 Conductor: Daniel Barenboim
Season: 110 (SC) May 16, 2001 Conductor: Cliff Colnot Notes: Donors Concert
Season: 111 Dec. 6-8, 2001 Conductor: Daniel Barenboim
Season: 114 Sept. 12 and 14, 2004 Conductor: Andrew Davis Season: 114 Feb. 5, 2005 Conductor: Daniel Barenboim
114 Continued Table 2. continued Season: 114 (ET) Twenty Third European Tour: Mar. 24, 2005 Conductor: Daniel Barenboim Notes: Philharmonie, Berlin, Germany
Season: 114 (SC) Sept. 11, 2004 Conductor: Andrew Davis Notes: Marshall Fields Day of Music
Ravel – Ma Mere l'Oye (Mother Goose) Ballet Music
Season: 73 Feb. 20-21, 1964 Conductor: Jean Martinon
Season: 87 Jan. 26-28, 1978 Conductor: Leonard Slatkin
Season: 87 (M) Jan. 30, 1978 Conductor: Leonard Slatkin Notes: Milwaukee, Wisconsin
Season: 87 (SC) Nov. 14, 1977 Conductor: Leonard Slatkin Notes: Music is the Message, Junior Governing Board concert for high school and junior high school students
Season: 100 Jan. 17-19 and 22, Apr. 5 and 7, 1991 Conductor: Kenneth Jean
Season: 112 Jan. 16-18, 2003 Conductor: Charles Dutiot
Season: 114 Sept. 12 and 14, 2004 Conductor: Andrew Davis
Season: 114 Feb. 5, 2005 Conductor: Daniel Barenboim
115 Continued Table 2. continued Season: 114 (ET) Twenty Third European Tour: Mar. 24, 2005 Conductor: Daniel Barenboim Notes: Philharmonie, Berlin, Germany
Season: 114 (SC) Sept. 11, 2004 Conductor: Andrew Davis Notes: Marshall Fields Day of Music
Ravel – Ma Mere l’Oye (Mother Goose Suite) (Five Children's Pieces)
Season: 76 (P) Mar. 11, 1967 Conductor: Irwin Hoffman
Season: 77 Feb. 22-24, 1968 Conductor: Sixten Ehrling
Season: 77 (M) Feb. 26, 1968 Conductor: Morton Gould Notes: Milwaukee, Wisconsin
Season: 77 (OT) Mar. 29, Apr. 1, and May 27-28, 1968 Conductor: Jean Martinon Notes: Quincy, Illinois; East Lansing, Michigan; Evanston, Illinois (2)
Season: 82 Oct. 19-20, 1972 Conductor: Carlo Maria Giulini
Season: 98 (SC) Nov. 29, 1988 Conductor: Michael Morgan Notes: Benefit concert for the Jewish Community Centers of Chicago
Season: 106 Jan. 23-25 and 28, 1997 Conductor: Daniel Barenboim
116 Continued Table 2. continued Ravel – Piano Concerto in G Major
Season: 79 (P) Mar. 28, 1970 Conductor: Irwin Hoffman Soloists: Evelyne Crochet
Season: 80 Feb. 25-26, 1971 Conductor: Irwin Hoffman Soloists: Peter Frankl
Season: 82 Jan. 11-13, 1973 Conductor: Erich Leinsdorf Soloists: Ralph Votapek
Season: 82 (M) Jan. 15, 1973 Conductor: Erich Leinsdorf Soloists: Ralph Votapek Notes: Milwaukee, Wisconsin
Season: 83 (P) May 17, 1974 Conductor: Henry Mazer Soloist: Natalie Hinderas
Season: 89 Apr. 10-11,13, 1980 Conductor: Georg Solti Solist: Mark Westcott
Season: 91 Mar. 18-20, 1982 Conductor: Georg Solti Soloist: Christina Ortiz
Season: 95 Dec. 5-7, 1985 Conductor: Erich Leinsdorf Soloist: Alicia de Larrocha
Season: 108 Nov. 12 and 13, 1998 Conductor: Riccardo Chailly Soloist: Ivan Moravec
117 Continued Table 2. continued Season: 110 May 3, 4, 5, 2001 Conductor: Pierre Boulez Soloist: Mitsuko Uchida
Ravel – Rhapsodie Espagnole
Season: 74 Feb. 4-5, 1965 Conductor: Carlo Maria Giulini
Season: 76 Mar. 30-31, 1967 Conductor: Jean Martinon
Season: 76 (M) Apr. 17, 1967 Conductor: Jean Martinon Notes: Milwaukee, Wisconsin
Season: 77 Feb. 22-24, 1968 Conductor: Sixten Ehrling
Season: 77 (M) Feb. 26, 1968 Conductor: Morton Gould Notes: Milwaukee, Wisconsin
Season: 77 (OT) Mar. 28-29 and Apr. 1, 1968 Conductor: Jean Martinon Notes: Macomb, Illinois; Quincy, Illinois; East Lansing, Michigan
Season: 78 (OT) Sept. 6-7, 1968 Conductor: Irwin Hoffman Notes: Washington Park and Garfield Park, Chicago, Illinois
Season: 78 (P) Oct. 19, 1968 Conductor: Jean Martinon Season: 80 Oct. 1-3, 1970 Conductor: Carlo Maria Giulini
118 Continued Table 2. continued Season: 80 (ET) First European Concert Tour: Sept. 7, Oct. 5, 1971 Conductor: Carlo Maria Giulini Notes: Sept. 7, 1971 Usher Hall, Edinburgh, Scotland. Oct. 5, 1971 Royal Festival Hall, London, England
Season: 80 (M) Oct. 5, 1970 Conductor: Carlo Maria Giulini Notes: Milwaukee, Wisconsin
Season: 85 Oct. 17-18, 1975 Conductor: Erich Leinsdorf
Season: 85 (SC) Oct. 20, 1975 Conductor: Erich Leinsdorf Notes: University Night, Concert of the Junior Governing Board
Season: 91 Oct. 9-10, 1981 Conductor: Garcia Navarro
Season: 91 (M) Oct. 12, 1981 Conductor: Garcia Navarro Notes: Milwaukee, Wisconsin
Season: 95 June 5, 7, and 9, 1986 Conductor: Jesus Lopez-Cobos
Season: 99 Mar. 8-10 and 13, 1990 Conductor: Daniel Barenboim
Season: 99 (JT) Second Japan Tour: Apr. 25, 1990 Conductor: Daniel Barenboim Notes: Bunka Kaiwan, Tokyo
Season: 99 (SC) Mar. 20, 1990 Conductor: Kenneth Jean Notes: Private performance for Harris Bankcorp
119 Continued Table 2. continued Season: 101 (SC) Oct. 15, 1991 Conductor: Daniel Barenboim Notes: Private performance for Mercedes-Benz
Season: 103 Dec. 9-11 and 14, 1993 Conductor: Pierre Boulez
Season: 104 May 18-20, 1995 Conductor: Daniel Barenboim
Season: 104 (JT) Third Japanese Tour: May 29, 1995 Conductor: Daniel Barenboim Notes: Tokyo (Boulez Festival concert)
Season: 106 Jan. 23-25 and 28, 1997 Conductor: Daniel Barenboim
Season: 112 Sept. 25-28, 2002 Conductor: Daniel Barenboim
Season: 112 (OT) Oct. 2, 2002 Conductor: Daniel Barenboim Notes: Carnegie Hall, New York City
Season: 112 (SC) Apr. 1, 1003 Conductor: Cliff Colnot Notes: Donor Appreciation Concert
Season: 114 (ET) Twenty Third European Tour: Mar. 24, 2005 Conductor: Daniel Barenboim Notes: Philharmonie, Berlin, Germany
Respighi – Pines of Rome
Season: 75 (M) Feb. 7, 1966 Conductor: Jean Martinon Notes: Milwaukee, Wisconsin
120 Continued Table 2. continued Season: 75 (P) Feb. 5, 1966 Conductor: Irwin Hoffman
Season: 78 (P) Jan 11, 1969 Conductor: Jean Martinon
Season: 80 (P) Feb. 27, 1971 Conductor: Irwin Hoffman
Season: 88 (SC) Nov. 27, 1978 Conductor: Robert Zeller Notes: Allied Arts for the Jewish Community Centers of Chicago
Season: 97 June 2-4, 1988 Conductor: Kenneth Jean
Season: 97 (SC) June 6, 1988 Conductor: Kenneth Jean Notes: Concert for delegates to International Monetary Conference
Season: 106 (SC) Mar. 25, 1997 Conductor: Yaron Traub Notes: Donor Appreciation Concert
Season: 106 Apr. 10-12 and 15, 1997 Conductor: Yaron Traub
Respighi – The Pines of Rome, The Pines of the Appian Way
Season: 86 (SC) May 24, 1977 Conductor: Henry Mazer Soloists: Lane Technical HS Brass Choir, Coached by Maurice Golden Notes: Music is the Message, Concert for the Junior Governing Board
121 Continued Table 2. continued Rodrigo – Concierto de Aranjuez
Season: 75 (P) Oct. 23, 1965 Conductor: Irwin Hoffman Soloist: Narcisco Yepes
Season: 79 (P) May 16, 1970 Conductor: Richard Dufallo Soloist: Rey de la Torre
Season: 111 May 30-June 1 and 4, 2002 Conductor: Daniel Barenboim Soloist: John Williams
Rossini – William Tell Overture
Season: 75 Nov. 25-27, 1965 Conductor: Jean Martinon
Season: 80 (OT) July 12, July 21, 1971 Conductor: Leonard Slatkin Notes: Symphony in the Streets
Season: 88 (SC) Jan. 29, 1979 Conductor: Henry Mazer Notes: Music is the Message, Concert for the Junior Governing Board
Season: 91 May 20, 1982 Conductor: Varujan Kojian
Season: 91 (OT) May 22, 1982 Conductor: Kojian, Varujan Notes: Ames International Orchestra Festival, Iowa State Center
Season: 93 (SC) May 11, 1984 Conductor: Henry Mazer Notes: Music is the Message, Junior Governing Board
122 Continued Table 2. continued Season: 105 Mar. 14-16 and 19, 1996 Conductor: Riccardo Chailly
Season: 110 (SC) Feb. 16, 2001 Conductor: David Alan Miller Notes: Musica! (Special non-subscription concert)
Season: 111 Mar. 28-30 and Apr. 2, 2002 Conductor: William Eddins
Season: 111 (SC) May 21, 2002 Conductor: William Eddins Notes: Corporate Night
Schöenberg – Five Pieces for Orchestra, Op. 16
Season: 76 Oct. 6-7, 1966 Conductor: Jean Martinon
Season: 82 (P) Feb. 17, 1973 Conductor: James de Preist
Season: 85 Feb. 19-21, 1976 Conductor: Gennady Rozhdestvensky
Season: 85 (M) Feb. 23, 1976 Conductor: Gennady Rozhdestvensky Notes: Milwaukee, Wisconsin
Season: 100 Feb. 28-Mar. 2, 1991 Conductor: Jahja Ling
Season: 103 Sept. 30-Oct. 2 and 5, 1993 Conductor: Daniel Barenboim
Season: 104 May 26-27,1995 Conductor: Daniel Barenboim
123 Continued Table 2. continued Season: 104 (JT) Third Japanese Tour: May 26-27, 1995 Conductor: Daniel Barenboim Notes: Hamamatsu, Tokyo
Season: 106 (ET) Twelfth European Tour: Sept. 9 and 12, 1996 Conductor: Daniel Barenboim Notes: Dublin, Ireland; London, England
Season: 107 (OT) Oct. 7, 1997 Conductor: Daniel Barenboim Notes: Carnegie Hall, New York City
Season: 108 (ET) Fourteenth European Tour: Sept. 8-9, 12 and 15, 1998 Conductor: Daniel Barenboim Notes: Brussels, Belgium; Baden-Baden, Germany; Lucerne, Switzerland; Vienna, Austria
Season: 112 (OT) Oct. 3, 2002 Conductor: Daniel Barenboim Notes: Carnegie Hall, New York City
Season: 114 Oct. 21-23, 2004 Conductor: Daniel Barenboim
Season: 114 (OT) May 11, 2004 Conductor: Daniel Barenboim Notes: Verizon Hall, Kimmel Center for the Performing Arts, Philadelphia, Pennsylvania
124 Continued Table 2. continued Schöenberg – Moses und Aron
Season: 81 Nov. 11-13, 1971 Conductor: Georg Solti Soloists: Richard Lewis, Hans Hotter, Conald Gramm; plus Karen Altman, Nancy Clevenger, Barbara Pearson, Emile Miller, Sharon Powell, Elizabeth Muir-Lewis, Kenneth Riegel, William Wahman, Alfred Reichel, Jack Abraham, Stephen Swanson, Arthur Berg, Eugene Johnson, Benjamin Matthews, Chicago Symphony Chorus (Dir. Margaret Hillis), Glen Ellyn Children's Chorus (Dir. Barbara Born)
Season: 81 (OT) Nov. 20, 1971 Conductor: Georg Solti Soloists: Richard Lewis, Hans Hotter, Conald Gramm; plus Karen Altman, Nancy Clevenger, Barbara Pearson, Emile Miller, Sharon Powell, Elizabeth Muir-Lewis, Kenneth Riegel, William Wahman, Alfred Reichel, Jack Abraham, Stephen Swanson, Arthur Berg, Eugene Johnson, Benjamin Matthews, Chicago Symphony Chorus (Dir. Margaret Hillis), Glen Ellyn Children's Chorus (Dir. Barbara Born) Notes: Carnegie Hall, New York City
Season: 93 Apr. 19 and 21, 1984 Conductor: Georg Solti Soloists: Franz Mazura, Philip Langridge, Aage Haugland, Barbara Bonney, Mira Zakai, Daniel Harper, Thomas Dymit, Herbert Wittges, Kurt Link, Jean Braham, Barbara Pearson, Cynthia Anderson, Karen Zajac, Richard Cohn, Paul Grizzell, Sally Schweikert, Elizabeth Gottlieb, Karen Brunssen, Roald Henderson, Bradley Nystrom, William Kirkwood, Chicago Symphony Chorus (Dir. Margaret Hillis), Glen Ellyn Children's Chorus (Dir. Doreen Rao)
Season: 108 Mar. 24 and 26, 1999 Conductor: Pierre Boulez Soloists: David Pittman Jennings, Chris Merritt, Carola Hohn, Uta Priew, Stephan Rugamer, Antti Suhonen, Kwangchul Youn, Julia Bentley, Stacy Eckert, Mary Zitnik, Matthew Greenberg, Stephen Brett Hyberger, Ned Lott, Debra DeNoon, Jessie Raven, Buffy Baggott, Thomas E. Dymit, Paul Grizzell, Peter Van De Graaff, Angela Presutti, Chicago Symphony Chorus (Dir. Duain Wolfe), Chicago Children's Chorus (Dir. William Chin)
125 Continued Table 2. continued Season: 108 (ET) Sixteenth European Tour: April 1, 1999 Conductor: Pierre Boulez Soloists: David Pittman Jennings, Chris Merritt, Carola Hohn, Uta Priew, Stephan Rugamer, Antti Suhonen, Kwangchul Youn, Julia Bentley, Stacy Eckert, Mary Zitnik, Matthew Greenberg, Stephen Brett Hyberger, Ned Lott, Debra DeNoon, Jessie Raven, Buffy Baggott, Thomas E. Dymit, Paul Grizzell, Peter Van De Graaff, Angela Presutti, Chicago Symphony Chorus (Dir. Duain Wolfe), Aureilus Boys Choir Notes: Philharmonie, Berlin, Germany
Shostakovich – Symphony No. 4, Op. 43
Season: 85 Mar. 11-12 and 14, 1976 Conductor: Bernard Haitink
Season: 86 Jan. 27-28 and 30, 1977 Conductor: Andre Previn
Season: 86 (M) Jan. 31, 1977 Conductor: Andre Previn Notes: Milwaukee, Wisconsin
Season: 99 Nov. 30, Dec. 1,3 and 5, 1989 Conductor: Gennady Rozhdestvensky
Shostakovich – Symphony No. 7 in C Major, Op. 60 (Leningrad)
Season: 93 Feb. 23-24 and 26, 1984 Conductor: Leonard Slatkin
Season: 93 (SC) Feb. 24, 1984 Conductor: Leonard Slatkin Notes: University Night, Concert of the Junior Governing Board
Season: 95 May 22-24, 1986 Conductor: Günther Herbig
126 Continued Table 2. continued Season: 97 June 21-22, 1988 Conductor: Leonard Bernstein
Season: 97 (OT) June 24, 1988 Conductor: Leonard Bernstein Notes: Avery Fisher Hall, Lincoln Center, New York City
Season: 104 Apr. 6-8 and 11, 1995 Conductor: Mark Wigglesworth
Shostakovich – Symphony No. 8 in c minor, Op. 65
Season: 82 Oct. 5-6, 1982 Conductor: Carlo Maria Giulini
Season: 82 (M) Oct. 16, 1982 Conductor: Carlo Maria Giulini Notes: Milwaukee, Wisconsin
Season: 84 Oct. 10-11,13, 1974 Conductor: Gennady Rozhdestvensky
Season: 84 (M) Oct. 14, 1974 Conductor: Gennady Rozhdestvensky Notes: Milwaukee, Wisconsin
Season: 91 Oct. 22-24, 1981 Conductor: Leonard Slatkin
Season: 91 (SC) Oct. 21, 1981 Conductor: Leonard Slatkin Notes: University Night, Concert of Junior Governing Board
Season: 98 Feb. 2-4, 1989 Conductor: Georg Solti
127 Continued Table 2. continued Season: 98 (OT) Feb. 8, 10, 12, 1989 Conductor: Georg Solti Notes: Kennedy Center for the Performing Arts, Washington, DC; Carnegie Hall, New York City; Symphony Hall, Boston, MA
Season: 99 (ET) Sixth European Tour: Aug. 31, Sept. 3, 8, 15, 16, 18, 1989 Conductor: Georg Solti Notes: Salzburg, Austria; Lucerne, Switzerland; Hamburg, Germany; Paris, France; Amsterdam, The Netherlands; London, England
Season: 99 (JT) Second Japanese Tour: Apr. 12, 1990 Conductor: Georg Solti Notes: Tokyo
Season: 106 Apr. 24-26, 1997 Conductor: Mstislav Rostropovich
Season: 114 Nov. 11-12 and 14, 2004 Conductor: Semyon Bychkov
Shostakovich – Symphony No. 10 in e minor, Op. 93
Season: 75 Mar. 24-25, 1966 Conductor: Leopold Stokowski
Season: 85 June 3-4, 1976 Conductor: Leonard Slatkin
Season: 91 Mar. 11-13, 1982 Conductor: André Previn
Season: 100 Oct. 4, 11-13, 16 and 18, 1990 Conductor: Georg Solti
128 Continued Table 2. continued Season: 101 (OT) Aug. 4, 1991 Conductor: Gennady Rozhdestvensky Notes: Kresge Auditorium, Interlochen, Michigan
Season: 108 June 3-4, 1999 Conductor: Mstislav Rostropovich
Season: 111 Jan. 10-12, 2002 Conductor: Antonio Pappano
Season: 113 Apr. 29-May 1, 2004 Conductor: Mstislav Rostropovich
Shostakovich – Symphony No. 11, Op. 103, (The Year 1905)
Season: 92 May 12-13 and 15, 1983 Conductor: Leonard Slatkin
Season: 92 (SC) May 11, 1983 Conductor: Leonard Slatkin Notes: University Night, Concert of the Junior Governing Board
Season: 105 Feb. 29-Mar. 3 and 5, 1996 Conductor: Daniele Gatti
Season: 108 June 11-12, 1999 Conductor: Mstislav Rostropovich
Sibelius – The Four Legends of the Kalevala, Op. 22
Season: 106 Nov. 14-16, 1996 Conductor: Robert Spano Notes: Grover Schlitz (English Horn)
129 Continued Table 2. continued Sibelius – Swan of Tuonela, Legend No. 3, from the Four Legends of the Kalevala, Op. 22
Season: 75 (P) Nov. 6, 1965 Conductor: Morton Gould Soloist: Grover Schlitz (English Horn) Notes: Recorded by the Chicago Symphony Orchestra
Season: 82 (SC) Mar. 15, 1973 Conductor: Henry Mazer Soloist: Grover Schlitz (English Horn) Notes: Music is the Message, Junior Governing Board Concert
Season: 85 (SC) Oct. 27, 1975 Conductor: Henry Mazer Soloist: Grover Schlitz (English Horn) Notes: Dental Association Concert
Season: 91 Apr. 1-2 and 4, 1982 Conductor: Leonard Slatkin Soloist: Grover Schlitz (English Horn)
Season: 100 Jan. 24-26 and 29, 1991 Conductor: Herbert Blomstedt Soloist: Grover Schlitz (English Horn)
Strauss, R. – Alpine Symphony, Op. 64
Season: 85 Feb. 19-21, 1976 Conductor: Gennady Rozhdestvensky
Season: 85 (M) Feb. 23, 1976 Conductor: Gennady Rozhdestvensky Notes: Milwaukee, Wisconsin
Season: 88 Apr. 19-21, 1979 Conductor: Andre Previn
130 Continued Table 2. continued Season: 88 (M) Apr. 23, 1979 Conductor: Andre Previn Notes: Milwaukee, Wisconsin
Season: 102 Sept. 24-26 and 29, 1992 Conductor: Daniel Barenboim
Season: 109 Apr. 13-15, 2000 Conductor: Markus Stenz
Strauss, R. – Also Sprach Zarathustra, Op. 30
Season: 75 Apr. 28-29, 1966 Conductor: Irwin Hoffman
Season: 79 May 7-9, 1970 Conductor: Irwin Hoffman
Season: 84 Jan. 30-31 and Feb. 1, 1975 Conductor: Georg Solti
Season: 84 (M) Apr. 14, 1975 Conductor: Georg Solti Notes: Milwaukee, Wisconsin
Season: 84 (OT) May 2 and 4, 1975 Conductor: Georg Solti Notes: Carnegie Hall, New York City and Kennedy Center, Washington, DC
Season: 87 (SC) Jan. 11, 1978 Conductor: Erich Leinsdorf Notes: University Night, Concert of Junior Governing Board
Season: 91 Apr. 20-31 and May 1, 1982 Conductor: Georg Solti
131 Continued Table 2. continued Season: 93 June 7-9, 1984 Conductor: Klaus Tennstedt
Season: 97 May 19-20, 1988 Conductor: Georg Solti
Season: 97 May 21, 1988 Conductor: Kenneth Jean
Season: 106 Dec. 12-14 and 17, 1996 Conductor: Pierre Boulez
Season: 112 Nov. 21-23, 2002 Conductor: Lorin Maazel
Strauss, R. – Die Frau ohne Schatten Symphonic Fantasy, Op. 65
Season: 102 Sept. 24-26 and 29, 1992 Conductor: Daniel Barenboim
Strauss, R. – Die Frau ohne Schatten Interludes (arr. Leinsdorf)
Season: 90 Feb. 12-14, 1981 Conductor: Erich Leinsdorf
Strauss, R. – Don Quixote, Fantastic Variations, Op. 35
Season: 77 Jan. 11-13, 1968 Conductor: Eugene Ormandy Soloists: Frank Miller, Milton Preves
Season: 77 (M) Jan. 15, 1968 Conductor: Eugene Ormandy Soloists: Frank Miller, Milton Preves Notes: Milwaukee, Wisconsin
132 Continued Table 2. continued Season: 87 (OT) Sept. 25, 1977 Conductor: Henry Mazer Soloists: Frank Miller, Milton Preves Notes: Krannert Center for the Performing Arts, Univ. of Illinois, Urbana, Ill.
Season: 87 Oct. 20-22, 1977 Conductor: Henry Mazer Soloists: Frank Miller, Milton Preves
Season: 87 (M) Oct. 24, 1977 Conductor: Henry Mazer Soloists: Frank Miller, Milton Preves Notes: Milwaukee, Wisconsin
Season: 87 (SC) Nov. 9 and Nov. 14, 1977 Conductor: Henry Mazer Soloists: Frank Miller, Milton Preves Notes: University Night and Music is the Message, Junior Governing Board concerts
Season: 100 May 23-25 and 28, 1991 Conductor: Daniel Barenboim Soloists: John Sharp, Charles Pikler
Season: 100 (OT) Sept. 18 and 21, 1990 Conductor: Daniel Barenboim Notes: Illinois Tour: Champaign and Carbondale
Strauss, R. – Ein Heldenleben, Op. 40
Season: 74 Oct. 15-16, 1964 Conductor: Jean Martinon
Season: 74 (P) Oct. 17, 1964 Conductor: Jean Martinon
133 Continued Table 2. continued Season: 74 (M) Oct. 19, 1964 Conductor: Jean Martinon Notes: Milwaukee, Wisconsin
Season: 78 Dec. 12-13, 1968 Conductor: William Steinberg
Season: 82 Nov. 9-10, 1972 Conductor: Georg Solti
Season: 82 (M) Nov. 13, 1972 Conductor: Georg Solti Notes: Milwaukee, Wisconsin
Season: 82 (OT) Dec. 5, 1972 Conductor: Henry Mazer Notes: Jorgensen Auditorium, University of Connecticut
Season: 82 (OT) Dec. 7, 1972 Conductor: Georg Solti Notes: Memorial Auditorium, University of Vermont
Season: 82 (OT) Dec. 9, 1972 Conductor: Georg Solti Notes: Carnegie Hall, New York City
Season: 82 (OT) Dec. 10, 1972 Conductor: Georg Solti Notes: Kennedy Center, Washington, DC
Season: 82 (OT) Mar. 18, 1973 Conductor: Henry Mazer Notes: Hemmens Memorial Auditorium, Michigan State University
Season: 82 (OT) May 6, 1973 Conductor: Georg Solti Notes: Municipal Auditorium, University of Texas
134 Continued Table 2. continued Season: 82 (OT) May 11, 1973 Conductor: Georg Solti Notes: Flint Center for the Performing Arts, DeAnza College, Cupertino, California
Season: 86 Sept. 30 and Oct.1-2, 1976 Conductor: Georg Solti
Season: 86 (M) Oct. 4, 1976 Conductor: Georg Solti Notes: Milwaukee, Wisconsin
Season: 90 Nov. 26 and 28-29, 1980 Conductor: Varujan Kojian Soloist: Samuel Magad
Season: 94 Oct. 11-13, 1984 Conductor: Adam Fischer
Season: 94 (M) Mar. 25, 1985 Conductor: Adam Fischer Notes: Milwaukee, Wisconsin
Season: 96 Apr. 2-4, 1987 Conductor: Georg Solti Soloist: Ruben Gonzalez
Season: 96 May 26, 1987 Conductor: Yoshimi Takeda Soloist: Ruben Gonzalez
Season: 96 (OT) May 19 and 22, 1987 Conductor: Yoshimi Takeda Notes: Carnegie Hall, New York City and Tilles Center, Long Island, New York
Season: 100 (SC) Sept. 13, 1990 Conductor: Daniel Barenboim Notes: Private performance for Mercedes-Benz
135 Continued Table 2. continued Season: 100 (OT) Sept. 14, 16 and 18, 1990 Conductor: Daniel Barenboim Notes: Illinois Tour: Wheaton, Springfield, and Champaign
Season: 100 Oct. 5, 1990 Conductor: Daniel Barenboim Soloist: Samuel Magad
Season: 101 (ET) Eighth European Tour: Apr. 7, 10, and 14-16, 1992 Conductor: Daniel Barenboim Soloist: Ruben Gonzalez Notes: Auditorior Nacional, Madrid; Royal Festival Hall, London; Theatre du Chatelet, Paris; Philharmonie, Cologne
Season: 101 (OT) Mar. 30-Apr. 3, 1992 Conductor: Daniel Barenboim Soloist: Ruben Gonzalez Notes: Hill Auditorium, Ann Arbor, Michigan; Kennedy Center, Washington, DC; Carnegie Hall, New York City
Season: 104 May 18 and 20, 1995 Conductor: Daniel Barenboim
Season: 104 (JT) Third Japanese Tour: May 26-27, 30, June 3 and 6, 1995 Conductor: Daniel Barenboim Notes: Hamamatsu, Tokyo, Niigata, and Takamatsu
Season: 108 Dec. 17-20, 1998 and Jan. 12, 1999 Conductor: Daniel Barenboim
Season: 108 (ET) Sixteenth European Tour: Apr. 3, 1999 Conductor: Daniel Barenboim Notes: Philharmonie, Berlin, Germany
Season: 112 May 29-31, 2003 Conductor: Daniel Barenboim Soloist: Samuel Magad
136 Continued Table 2. continued Season: 113 (ET) Twenty First European Tour: Sept. 13, 2003 Conductor: Daniel Barenboim Notes: Kultur & Kongresszentrum, Lucrene, Switzerland
Strauss, R. – Til Eulenspiegels lustige Streiche, Op. 28
Season: 75 Jan. 27-28, 1966 Conductor: Hans Schmidt-Isserstedt
Season: 75 (M) Mar. 28, 1966 Conductor: Seiji Ozawa Notes: Milwaukee, Wisconsin
Season: 75 (P) Mar. 26, 1966 Conductor: Seiji Ozawa
Season: 76 Apr. 6, 1967 Conductor: Erich Leinsdorf
Season: 77 Feb. 8-9, 1968 Conductor: Jean Martinon
Season: 78 (M) Mar. 24, 1969 Conductor: Georg Solti Notes: Milwaukee, Wisconsin
Season: 83 Feb. 7-9, 1974 Conductor: Christoph von Dohnanyi
Season: 83 (M) Feb. 11, 1974 Conductor: Christoph von Dohnanyi Notes: Milwaukee, Wisconsin
Season: 84 (M) Apr. 14, 1975 Conductor: Georg Solti Notes: Milwaukee, Wisconsin
137 Continued Table 2. continued Season: 84 (OT) May 6, 1975 Conductor: Georg Solti Notes: Mandel Hall, University of Chicago
Season: 85 Apr. 22-24, 1976 Conductor: Georg Solti
Season: 85 (OT) May 10 and 15, 1976 Conductor: Georg Solti Notes: Carnegie Hall, New York City and National Arts Centre, Ottawa, Ontario, Canada
Season: 86 (JT) First Japanese Concert Tour: June 7, 1977 Conductor: Georg Solti Notes: Bunka Kaikan, Tokyo
Season: 87 (OT) Sept. 25, 1977 Conductor: Henry Mazer Soloists: Frank Miller, Milton Preves Notes: Krannert Center for the Performing Arts, University of Illinois, Urbana
Season: 87 (SC) Oct. 17 and 19, 1977 Conductor: Georg Solti Notes: Taping of Concerts for Unitel TV
Season: 88 (SC) Sept. 30, 1979 Conductor: Leonard Slatkin Notes: Allied Arts for the Illinois Masonic Medical Center
Season: 89 (OT) Sept. 26-29, 1979 Conductor: Georg Solti Notes: Pre-Season Illinois State Tour
Season: 90 Feb. 12-14, 1981 Conductor: Erich Leinsdorf
138 Continued Table 2. continued Season: 90 (OT) Aug, 11, 13-14, 1980 Conductor: Erich Leinsdorf Notes: Pre-Season Tour: Eastman Theatre, Rochester, NY; Kresge Auditorium, Interlochen, Michigan; and Meadow Brook Music Festival, Detroit, Michigan
Season: 91 (OT) Jan. 22, 1982 Conductor: Georg Solti Notes: Gammage Center, Arizona State University
Season: 97 June 17, 1988 Conductor: Leif Bjaland
Season: 97 (SC) Dec. 2, 1987 Conductor: Michael Morgan Notes: Music is the Message
Season: 97 (SC) June 16, 1988 Conductor: Leif Bjaland Notes: Special nonsubscription concert
Season: 99 Mar. 8-10 and 13, 1990 Conductor: Daniel Barenboim
Season: 99 (JT) Second Japanese Tour: Apr. 25, 1990 Conductor: Daniel Barenboim Notes: Bunka Kaiwan, Tokyo
Season: 100 (OT) Sept. 16 and 21, 1990 Conductor: Daniel Barenboim Notes: Illinois Tour: Springfield and Carbondale
Season: 100 (SC) Sept. 13 and Oct. 6, 1990 Conductor: Daniel Barenboim Notes: Private performance for Mercedes-Benz; Centennial Gala Concert for Musicians' Pension Fund
Season: 100 Oct. 5, 1990 Conductor: Daniel Barenboim
139 Continued Table 2. continued Season: 101 (ET) Seventh European Tour: Apr. 7, 14-16, 1992 Conductor: Daniel Barenboim Notes: Madrid, Spain; Paris, France; Cologne, Germany
Season: 101 (OT) Mar. 30 and Apr. 3, 1992 Conductor: Daniel Barenboim Notes: Hill Auditorium, Ann Arbor, Michigan; Carnegie Hall, New York City
Season: 103 Apr. 28-30 and May 10, 1994 Conductor: David Zinman (Daniel Barenboim, May 10)
Season: 103 (OT) May 13, 1994 Conductor: Daniel Barenboim Notes: Avery Fisher Hall, Lincoln Center, New York
Season: 103 (ET) Tenth European Tour: May 19, 25-26 and June 4, 1994 Conductor: Daniel Barenboim Notes: Berlin, Germany; Frankfurt, Germany; London, England
Season: 105 Nov. 24-25 and 28, 1995 Conductor: Pierre Boulez
Season: 106 Sept. 21 and 24, 1996 Conductor: Daniel Barenboim
Season: 106 (SC) Sept. 20, 1996 Conductor: Daniel Barenboim Notes: Opening Night - Musicians' Pension Fund Concert
Season: 106 (SC) Mar. 25, 1997 Conductor: Yaron Traub Notes: Donor Appreciation Concert
Season: 108 (ET) Fourteenth European Tour: Apr. 3, 1998 Conductor: Daniel Barenboim Notes: Philharmonie, Berlin, Germany
140 Continued Table 2. continued Season: 112 Mar. 6-8, 2003 Conductor: Daniel Barenboim
Season: 113 (SC) Oct. 4, 2003 Conductor: Daniel Barenboim Notes: Marshall Fields Day of Music
Season: 113 (ET) Twenty-first European Tour: Sept. 13, 2003 Conductor: Daniel Barenboim Notes: Kultur & Kongresszentrum, Lucerne, Switzerland
Strauss, R. – Til Eulenspiegels lustige Streiche, Op. 28, Rondo
Season: 73 Apr. 23-24, 1964 Conductor: Jean Martinon
Stravinsky – Petrushka 1911 Version
Season: 101 Nov. 27, and 29-30, 1991 Conductor: Pierre Boulez
Season: 103 Nov. 5-6, 1993 Conductor: Georg Solti
Season: 108 Jan. 28-30, 1999 Conductor: David Robertson
Season: 114 Apr. 28-29, 2005 Conductor: Valery Gergiev
Season: 114 Apr. 30, 2005 Conductor: Leonard Slatkin
141 Continued Table 2. continued Stravinsky – Petrushka 1947 Version
Season: 75 Dec. 2-3. 1965 Conductor: Jean Martinon
Season: 76 Oct. 20-21, 1966 Conductor: Jean Martinon
Season: 79 Sept. 26-27, 1969 Conductor: Carlo Maria Giulini
Season: 79 (OT) Sept. 29, 1970 Conductor: Carlo Maria Giulini Notes: University of Iowa, Iowa City
Season: 83 Dec. 13-14, 1973 Conductor: John Nelson
Season: 83 (M) Dec. 17, 1973 Conductor: John Nelson Notes: Milwaukee, Wisconsin
Season: 84 Feb. 6-8, 1975 Conductor: Rafael Frühbeck de Burgos
Season: 88 Nov. 16-18, 1978 Conductor: Edo de Waart
Season: 88 (M) Nov. 20, 1978 Conductor: Edo de Waart Notes: Milwaukee, Wisconsin
Season: 94 May 23-25, 1985 Conductor: Adam Fischer
Season: 111 May 23-25 and 28, 2002 Conductor: Ivan Fischer
142 Continued Table 2. continued Stravinsky –Le sacre du printemps
Season: 74 Apr. 1-2, 1965 Conductor: Jean Martinon
Season: 77 Sept. 28-29, 1967 Conductor: Jean Martinon
Season: 77 (OT) Sept. 30, 1967 Conductor: Jean Martinon Notes: Ann Arbor, Michigan
Season: 79 Feb. 26-28, 1970 Conductor: Georg Solti
Season: 83 Apr. 18-19, 1974 Conductor: Georg Solti
Season: 83 (OT) Apr. 30 and May 4, 1974 Conductor: Georg Solti Notes: Dartmouth College, Hanover, NH and Carnegie Hall, New York City
Season: 83 (ET) Second European Tour: Sept 12, 14-15, 23-24, 1974 Conductor: Georg Solti Notes: Grosser Musikverein, Vienna, Austria. Kongress-Hall im Deutschen Museum, Munich, Germany, Jahrhunderthalle, Frankfurt, Germany. Royal Festival Hall, London, England. Theatre National de l’Opera, Paris, France
Season: 89 (SC) Apr. 2, 1980 Conductor: Georg Solti Notes: University Night, Concert of Junior Governing Board
Season: 89 Apr. 3-5, 1980 Conductor: Georg Solti
143 Continued Table 2. continued Season: 89 (OT) Apr. 28 and 30, 1980 Conductor: Georg Solti Notes: Carnegie Hall, New York City
Season: 95 Mar. 6 and 8, 1986 Conductor: Daniel Barenboim
Season: 96 Mar. 26-27, 1987 Conductor: Georg Solti
Season: 96 May 26, 1987 Conductor: Michael Morgan
Season: 96 (OT) May 19 and 22, 1987 Conductor: Georg Solti Notes: Carnegie Hall, New York City; Tiles Center, CW Post University, Long Island, New York
Season: 102 Dec. 17-19, 1992 Conductor: Pierre Boulez
Season: 103 May 5-7, 1994 Conductor: Daniel Barenboim
Season: 103 (ET) Tenth European Tour: May 21, 25, 27, 31, and June 1,1994 Conductor: Daniel Barenboim Notes: Salzburg, Austria; Vienne, Austria; Frankfurt, Germany; Cologne, Germany
Season: 105 Jan. 4-7, 1996 Conductor: Daniel Barenboim
Season: 109 Jan. 6-8, 2000 Conductor: Daniel Barenboim
144 Continued Table 2. continued Season: 109 (ET) Seventeenth European Tour: Apr. 22, 2000 Conductor: Daniel Barenboim Notes: Philharmonie, Berlin, Germany
Season: 110 Mar. 6, 2001 Conductor: Daniel Barenboim
Season: 110 (OT) Mar. 9, 2001 Conductor: Daniel Barenboim Notes: Carnegie Hall, New York City
Season: 113 (JT) Fourth Japanese Tour: Nov. 2-3, 2003 Conductor: Daniel Barenboim Notes: Tokyo Bunka Kaikan, Tokyo, Japan
Season: 113 June 1, 2004 Conductor: Daniel Barenboim
Wagner – Tristan und Isolde
Season: 111 Oct. 13 and 16, 2001 Conductor: Daniel Barenboim Soloists: Waltraud Meier, Nadja Michael, Christian Franz, Julie Tomlinson, Andreas Schmidt, Brian Davis, Mark Eldred, Michael Brauer, Marcel Reijans, Men of the Chicago Symphony Chorus (Dir. Duain Wolfe) Grover Schiltz (English Horn)
145 Continued Table 2. continued Season: 111 (OT) Oct. 20, 2001 Conductor: Daniel Barenboim Soloists: Waltraud Meier, Nadja Michael, Christian Franz, Julie Tomlinson, Andreas Schmidt, Brian Davis, Mark Eldred, Michael Brauer, Marcel Reijans, Men of the Chicago Symphony Chorus (Dir. Duain Wolfe) Grover Schiltz (English Horn) Notes: Carnegie Hall, New York City
(This information was retrieved form the Rosenthal Archives of the Chicago Symphony Orchestra)
146
Key to Discography
Grover Schiltz English horn, April 1964 – May 2005 Chicago Symphony Orchestra Prominent English Horn Symphonic Repertoire
The following is a list of major symphonic repertoire for the English horn which has been recorded by Grover Schiltz with the Chicago Symphony Orchestra. This list includes the conductor, date recorded and label information of each piece. Also included is a list of soloists, and Grammy Awards* won if applicable. The recording venue is always Orchestra Hall, Chicago, Illinois, unless otherwise notated.
This list was compiled from a document produced by the Chicago Symphony
Orchestra Archives titled Recordings by the Chicago Symphony Orchestra 1916-2003;
Eighty-Seven Years of Recorded History (Revised through 3 June 2003).
Key: (cart) cartridge - four or eight track tape (cas) cassette (dcc) digital compact cassettes (cd) compact discs (videocassette) videocassettes (laser discs) laser discs (dvd) digital versatile discs (+) multiple record/disc/tape releases PAL European laser discs (not compatible with most equipment in the United States)
*Grammy Award is a registered trademark of the National Recording Arts and Sciences, Inc.
147
Foreign releases are specified by country:
(AR) Argentina (AU) Australia (AS) Austria (BN) Benelux (BZ) Brazil (BX) British made, Export and International (C) Canada (DDR) East Germany (E) England (F) France (G) Germany (I) Italy (J) Japan (K) Korea (M) Mexico (N) Netherlands (R) Russia (SA) South Africa (S) Spain (T) Taiwan
The Recordings by the Chicago Symphony Orchestra 1916-2003 document states that
“The Chicago Symphony Orchestra was the first major American symphony to record under its own music director.” Furthermore, it says, “Commercial recordings that are currently available are listed in monthly catalogs.” The Chicago Symphony runs a
Symphony Store where the available recordings can be purchased either in-store or on- line.
(This information was retrieved from the Rosenthal Archives of the Chicago Symphony
Orchestra)
148
Bach, J.S. - Mass in B Minor, BWV 232
Year: 1990 Conductor: Georg Solti Soloists: Felicity Lott, Anne Sofie von Otter, Hans Peter Blochwitz, William Shimell, Gwynne Howell, Chicago Symphony Chorus (Dir. Margaret Hillis) Awards: 1991 Grammy Award Best Classical Performance - Choral Label: LONDON: 430 353-2LH2 (cd)(+), 430 353-4LH2 (cas)(+) Location: Orchestra Hall
Year: 1987 Conductor: Georg Solti Soloists: Kiri Te Kanawa, Anne Sofie von Otter, Hans Peter Blochwitz, Thomas Moser, Olaf Bar, Tom Krause,Chicago Symphony Chorus (Dir. Margaret Hillis) Glen Ellyn Children's Chorus (Dir. Doreen Rao) Label: LONDON: 421 177-1LH3 (+), 421 177-2H3 (cd)(+), 421 177-4LH3 (cas)(+) Location: Orchestra Hall
Bach, J.S. – The Passion of Our Lord According to St. Matthew, BWV 244
Year: 1987 Conductor: Georg Solti Soloists: Kiri Te Kanawa, Anne Sofie von Otter, Hans Peter Blochwitz, Thomas Moser, Olaf Bar, Tom Krause, Chicago Symphony Chorus (Dir. Margaret Hillis) Glen Ellyn Children's Chorus (Dir. Doreen Rao) Label: LONDON: 421 177-1LH3 (+), 421 177-2H3 (cd)(+), 421 177-4LH3 (cas)(+) Location: Orchestra Hall
Table 3. Discography of Schiltz's Prominent English Horn Symphonic Repertoire
149 Table 3. continued Bach, J.S. – The Passion of Our Lord According to St. Matthew, BWV 244 (Selections)
Year: 1987 Conductor: Georg Solti Soloists: Kiri Te Kanawa, Anne Sofie von Otter, Hans Peter Blochwitz, Thomas Moser, Olaf Bar, Tom Krause,Chicago Symphony Chorus (Dir. Margaret Hillis) Glen Ellyn Children's Chorus (Dir. Doreen Rao) Label: DISNEY: 60986-7 (cd). Location: Orchestra Hall
Bartok – Bluebeard’s Castle
Year: 1993 Conductor: Perre Boulez Soloists: Jessye Norman, Laszlo Polgar Awards: 1998 Grammy Award, Best Opera Label: DGG: 447 040-2GH (cd). Location: Orchestra Hall
Bartok – Concerto for Orchestra
Year: 1969 Conductor: Seiji Ozawa Label: ANGEL: S-36035, CDC-47837 (cd), 4XS-36035 (cas), 8XS-36035 (cart); HMV: ED-290134-1 (E); PATHE: ED-290134-1 (F), TC- 290134-4 (cas) (F); EMI: CDC-747837 2 (cd) (E); ELECTROLA: IC 063-02010 (G). Location: Medinah Temple
Year: 1981 Conductor: Georg Solti Label: LONDON: LDR-710361, LDR5-710361 (cas), 417 754-2LM (cd), 400 042-2CJ (cd); DECCA: 6.42670 AZ (G), 400 052-2LH (cd) (G), 436 610-2DSE (cd) (E); JUBILEE: JL-41037 (E), JL-41037 (cas) Location: Orchestra Hall
150 Continued Table 3. continued Year: 1989 Conductor: James Levine Label: DGG: 429 747-2 (cd), 429 747-4GH (cas). Location: Orchestra Hall
Year: 1990 Conductor: Georg Solti Label: LONDON: 071 277 1LH (laser disc), 071 277 3LH (video cassette); DECCA: 071 277 1DH (laser disc) (E) (PAL). Location: Budapest Convention Centre, Budapest, Hungary
Year: 1992 Conductor: Pierre Boulez Awards: 1994 Grammy Award Best Classical Album, Best Orchestral Performance Label: DGG: 437 826-2GH (cd). Location: Orchestra Hall
Bartok - The Miraculous Mandarin, Op. 19
Year: 1994 Conductor: Pierre Boulez Soloists: Chicago Symphony Chorus (Dir. Duain Wolfe) Label: DGG: 447 747-2GH (cd). Location: Orchestra Hall
Bartok - The Miraculous Mandarin, Op. 19, Suite
Year: 1967 Conductor: Jean Martinon Label: RCA: LM-3004, LSC-3004, 09026-63315-2 (cd). Location: Medinah Temple
Year: 1968 Conductor: Istvan Kertesz Label: CSO: 90/12-5 (cd) (+). Location: Orchestra Hall
151 Continued Table 3. continued Year: 1989 – 1990 Conductor: Georg Solti Label: LONDON: 430 352-2LH (cd), 430 352-4LH (cas), 436 610-2DSE (cd), 430 352-5 (dcc). Location: Orchestra Hall
Bartok – The Wooden Prince
Year: 1991 Conductor: Pierre Boulez Awards: 1993 Grammy Award, Best Classical Album, Best Engineered Recording - Classical, Best Orchestral Performance Label: DGG: 435 863-2GH (cd). Location: Orchestra Hall
Berlioz – Romeo and Juliet, Dramatic Symphony, Op. 17, Excerpts
Year: 1969 Conductor: Carlo Maria Giulini Label: ANGEL: S-36038, RL-32035, M 36038 (or), 4AE-34467 (cas) 4RL-32035 (cas), CDC-47616 (cd), CDC 7-47616-2 (cd), 4XS- 36038 (cas); EMI: AE-34467 (G), CDC7-47616-2 (cd) (E). Location: Orchestra Hall
Berlioz – Symphonie Fantastique, Op. 14
Year: 1972 Conductor: Georg Solti Awards: 1974 Grammy Award, Album of the Year, Best Classical Performance - Orchestra, Best Engineered Recording – Classical Label: LONDON: CS-6790, 414 307-1LJ, 414 307-2LM (cd), 414 307- 4LJ (cas), M-86790 (cart), L-46790 (or), 417 705-2LM (cd), 430 421-2LM (cd), 303 008, 303 008 (cas), 417705-2LM (cd); DECCA: SXL-6571 (E), 7.148 (F), 436 613-2DSE (cd) (E), 16.35 067 (G). Location: Krannert Center, Urbana Illinois
Year: 1983 Conductor: Claudio Abbado Label: DGG: 410 895-1GH, 410 895-2GH (cd), 410 895-4GH (cas), 419 827-4GH (cas). Location: Orchestra Hall
152 Continued Table 3. continued Year: 1992 Conductor: Georg Solti Label: LONDON: 436 839-2DH (cd). Location: Grosses Festspielhaus, Salzburg, Austria
Berlioz – Symphonie Fantastique, Op.14, March to the Scaffold
Year: 1972 Conductor: Georg Solti Label: LONDON: 289 460 469-2 (cd). Location: Krannert Center, Urbana, Illinois
Year: 1995 Conductor: Daniel Barenboim Label: TELDEC: 8301 P-A (cd). Location: Orchestra Hall
Berlioz – The Damnation of Faust, Op. 24
Year: 1981 Conductor: Georg Solti Soloists: Frederica von Stade, Kennety Riegel, Jose van Dam, Malcolm King, Chicago Symphony Chorus (Dir. Margaret Hillis), Glen Ellyn Children's Chorus (Dir. Doreen Rao) Awards: 1982 Grammy Award, Best Classical Performance – Choral Label: LONDON: LDR-73007 (+), LDR5-73007 (cas) (+), 414 680-2LH2 (cd) (+); DECCA: 6.35586 (G) (+). Location: Medinah Temple
Year: 1989 Conductor: Georg Solti Soloists: Anne Sofie von Otter, Keith Lewis, Jose van Dam, Peter Rose, Chicago Symphony Chorus (Dir. Margaret Hillis), Choristers of Westminster Cathedral (Dir. Rodney Greenberg). Label: LONDON: 071 410-3LH (video cassette), 071 510-1LH (laser disc) (+); DECCA: 071 410-1DH (laser disc) (+) (E) (PAL). Location: Orchestra Hall
153 Continued Table 3. continued Berlioz – The Damnation of Faust, Op. 24 (Excerpts)
Year: 1981 Conductor: Georg Solti Soloists: Frederica von Stade, Kennety Riegel, Jose van Dam, Malcolm King, Chicago Symphony Chorus (Dir. Margaret Hillis), Glen Ellyn Children's Chorus (Dir. Doreen Rao) Label: LONDON: 410 181-2LH (cd). Location: Medinah Temple
Berlioz – The Damnation of Faust, Op. 24, Rakoczy March
Year: 1990 Conductor: Georg Solti Label: CBS/SONY: CSLM 915 (laser disc) (J). Location: Suntory Hall, Tokyo, Japan
Berlioz – Romeo and Juliet, Dramatic Symphony, Op. 17 (Excerpts)
Year: 1977 Conductor: Georg Solti Label: LONDON: 071 201-1LH (laser disc), W48V 4509 (video cassette) (J). Location: Orchestra Hall
Berlioz – Symphonie Fantastique, Op.14
Year: 1995 Conductor: Daniel Barenboim Label: TELDEC: 4509-98850-2 (cd), 8573-82121-2 (cd). Location: Orchestra Hall
de Falla – The Three-Cornered Hat
Year: 1997 Conductor: Daniel Barenboim Soloist: Jennifer Larmore Label: TELDEC: 0630-17145-2 (cd). Location: Medinah Temple
154 Continued Table 3. continued Year: 2001 Conductor: Daniel Barenboim Soloist: Elisahete Matos Label: EROARTS: 14381-0765-2 (dvd). Location: Kölner Philharmonie, Cologne, Germany
de Falla – The Three-Cornered Hat Suite No. 2 (Three Dances)
Year: 1968 Conductor: Ernest Ansermet Label: CSO: 90/2 (cd) (+), 90/2 (cas) (+). Location: Orchestra Hall
Debussy – Images for Orchestra
Year: 1967 Conductor: Jean Martinon Label: CSO: CD97-2 (cd) (+). Location: Orchestra Hall
Debussy – La Mer
Year: 1976 Conductor: Georg Solti Label: LONDON: CS-7033, CS5-7033 (cas), 417 704-2LM (cd), 303 008, 303 008 (cas),CSO-7033-A (or), 430 444-2LM (cd), IRI-6632 (or), CS8-7033 (cart); DECCA: 16.35 069-4 (G); JUBILEE: 417 603- 1LJB (N), 417 603-44LJB (cas) (N). Location: Medinah Temple
Year: 1978 Conductor: Erich Leinsdorf Label: CSO: 90/2 (cd) (+), 90/2 (cas) (+) Location: Orchestra Hall
Year: 1991 Conductor: Georg Solti Label: LONDON: 436 468-2DH (cd). Location: Orchestra Hall
155 Continued Table 3. continued Year: 2000 Conductor: Daniel Barenboim Label: TELDEC: 81702-2 (cd). Location: Orchestra Hall
Year: 2001 Conductor: Daniel Barenboim Label: EUROARTS: 14381-0765-2 (dvd). Location: Kölner Philharmonie, Cologne, Germany
Debussy – Nocturnes
Year: 1990 Conductor: Georg Solti Soloists: Women of the Chicago Symphony Chorus; (Dir. Margaret Hillis) Label: LONDON: 436 468-2DH (cd). Location: Orchestra Hall
Dvořak – Symphony No. 9 in e minor, Op. 95 (From the New World)
Year: 1977 Conductor: Carlo Maria Giulini Label: DGG: 2530 881, 423 882-2GGA (cd), 3300 881 (cas). Location: Orchestra Hall
Year: 1981 Conductor: James Levine Label: RCA: ATC1-4248, ARC1-4552, ARE2-4552 (cas), RCD1-4552 (cd), 74321 68013-2 (cd), EF-89917 (E), RC-330.89917 (F), RL- 14248 (F), GL-89917 (I), GK-89917 (cas) (I), AG-89917 (N), ATK1-4248 (cas). Location: Medinah Temple
Year: 1983 Conductor: Georg Solti Label: LONDON: 410 116-1LH, 410 116-2LH (cd), 410 116-4LH (cas); DECCA: 436 616-2DSE (cd) (E); ETERNA: 7 29 282 (DDR), 1 29 282 (cas) (DDR) Location: Orchestra Hall
156 Continued Table 3. continued Mahler – “The Symphonies”
Year: 1970, 1971, 1980, 1982, 1983 Conductor: Georg Solti Soloists: Isobel Buchanan, Mira Zakai, Helga Dernesch, Kiri Te Kanawa, Heather Harper, Lucia Popp, Arleen Auger, Yvonne Minton, Helen Watts, Rene Kollo, John Shirley-Quirk, Martti Talvela, Chicago Symphony Chorus (Dirs. Margaret Hillis and James Winfield), Glen ell Label: LONDON: 430 804-2LCI10 (cd) (+). Location: Orchestra Hall; Medinah Temple; Krannert Center, Urbana, Illinois; and Sofiensaal, Vienna, Austria.
Mahler – Rückert Lieder, Five Songs to Poems
Year: 1981 Conductor: Claudio Abbado Soloist: Hanna Schwarz Label: DGG: 2707 128, 423 928-2GGA2 (cd), 419 835-4GPM (cas), 3307 042 (cas). Location: Orchestra Hall
Mahler – Symphony No. 6 in a minor
Year: 1970 Conductor: Georg Solti Label: LONDON: CSA-2227 (+), 414 674-2LH2 (cd) (+), K-80321 (or); DECCA: 16.35 068-17/18 (+) (G). Location: Medinah Temple
Year: 1979 Conductor: Claudio Abbado Label: DGG: 2707 117 (+), 3370 031 (+), 423 928-2GGA2 (cd) (+). Location: Orchestra Hall
157 Continued Table 3. continued Mahler – Symphony No. 7 in e minor (Song of the Night)
Year: 1971 Conductor: Georg Solti Awards: 1972 Grammy Award, Best Classical Performance – Orchestra Label: LONDON: CSA-2231 (+), L-10249 (+), SLC-2311-2 (J) (+), 414 675-2LH (cd) (+), K-48049 (or), K-10249 DP (cas) (+); DECCA: 6.35195 (+) (G) 593049 BA-367 (+) (F), 16.35 068-19/20 (+) (G), SET 518/519 (+) (G). Location: Krannert Center, Urbana, Illinois
Year: 1980 Conductor: James Levine Awards: 1982 Grammy Award, Best Classical Performance - Orchestra, Best Engineered Recording – Classical Label: RCA: ARC2-4254 (+), ARC2-4581 (+), ARE2-4581 (cas) (+), RCD2-4581 (cd) (+), ATC2-4245 (+), ATK2-4254 (cas). Location: Medinah Temple
Year: 1984 Conductor: Claudio Abbado Label: DGG: 413 733-1GH2 (+), 413 733-2GH2 (cd) (+), 413 733-4GH2 (cas) (+). Location: Orchestra Hall
Mahler – Symphony No. 8 in E-flat Major (The Symphony of a Thousand)
Year: 1971 Conductor: Georg Solti Soloists: Heather Harper, Lucia Popp, Arleen Auger, Yvonne Minton, Helen Watts, Rene Kollo, John Shirley-Quirk, Martti Talvela, Chorus of the Vienna State Opera (Dir. Norbert Balatsch), Vienna Singverein (Dir. Helmut Froschauer), The Vienna Boys Choir Awards: 1972 Grammy Award, Album of the Year, Best Classical Performance - Choral, Best Engineered Recording – Classical Label: LONDON: 1295 (+), OSA-1295 (cas) (+), SLA 1039-40 (+) (J), 414 493-2LH2 (cd) (+), 414 493-4LH2 (cas) (+), K-90211 (or), K- 490211 (or); DECCA: SET-534/535 (+) (E), 16.35 068-21/22 (+) (G), 460 972-2DM (cd) (+); FRANKLIN MINT: 99/100. Location: Sofiensaal, Vienna, Austria
158 Continued Table 3. continued Mahler – Symphony No. 8 in E-flat Major (The Symphony of a Thousand) Part 1: Hymnus: Veni, Creator Spiritus
Year: 1979 Conductor: James Levine Soloists: Carol Neblett, Judith Blegen, Jann Jaffe, Isola Jones, Brigit Finnilae, Kenneth Riegel, Ryan Edwards, John Cheek, Chicago Symphony Chorus (Dir. Margaret Hillis), Glen Ellyn Children's Chorus (Dir. Doreen Rao) Label: CSO: 90/12-5 (cd) (+). Location: Ravinia, Highland Park, Illinois
Ravel – Daphnis et Chloe, Orchestral Fragments (Second Series)
Year: 1964 Conductor: Jean Martinon Label: RCA: LM-2806, LSC-2806, FTC-2196 (or), R8S-1043 (cart), 09026 63683-2 (cd), GL-42701 (E), GK-42701 (cas) (E); RCA/BMG: BVCC-1893/1894 (cd) (+) (J); QUINTESSENCE: PMC-7017 Location: Orchestra Hall
Ravel – Daphnis et Chloe, Orchestral Fragments (Second Series)
Year: 1987 Conductor: Georg Solti Label: CSO: 90/12-12 (cd) (+). Location: Orchestra Hall
Year: 1991 Conductor: Barenboim Label: ERATO: 2292-45766-2 (cd), 2292-45766-4 (cas); TELDEC: 8573- 82121-2 (cd). Location: Orchestra Hall
159 Continued Table 3. continued Ravel – Ma Mere l'oye (Mother Goose) Suite
Year: 1968 Conductor: Jean Martinon Label: RCA: LSC-3093, AGL1-5061, AGK-5061 (cas), 09026 63682-2 (cd); RCA/BMG: BVCC-1893/1894 (cd) (+) (J). Location: Medinah Temple
Ravel – Rhapsodie Espagnole
Year: 1968 Conductor: Jean Martinon Label: RCA: LSC-3093, AGL1-5061, AGK1-5061 (cas), 09026 63682-2 (cd); RCA/BMG: BVCC-8893/8894 (cd) (+) (J). Location: Medinah Temple
Year: 1991 Conductor: Daniel Barenboim Label: ERATO: 2292-45766-2 (cd), 2292 -45766-4 (cas); TELDEC: 8573- =82121-2 (cd). Location: Orchestra Hall
Ravel – Rhapsodie Espagnole (Feria)
Year: 1968 Conductor: Jean Martinon Label: RCA: LM-5002, LSC-5002. Location: Medinah Temple
Respighi – The Pines of Rome (Excerpts)
Year: 1993 Conductor: James Levine Label: DISNEY: 60986-7 (cd). Location: Orchestra Hall
160 Continued Table 3. continued Schöenberg – Five Pieces for Orchestra, Op. 16
Year: 1994 Conductor: Daniel Barenboim Label: TELDEC: 4509-98256 (cd). Location: Orchestra Hall
Schöenberg – Moses und Aron
Year: 1984 Conductor: Georg Solti Soloists: Franz Mazura, Philip Langridge, Aage Hagland, Barbara Bonney, Mira Zakai, Daniel Harper, Thomas Dymit, Herbert Wittges, Kurt Link, Jean Braham, Barbara Pearson, Cynthia Anderson, Karan Zajac, Richard Cohn, Paul Grizzel, Sally Schweikert, Elizabeth Gottlie Awards: 1985 Grammy Award, Best Opera Recording Label: LONDON: 414 264-1LH2 (+), 414-2LH2 (cd) (+), 414 264-4LH2 (cas) (+). Location: Orchestra Hall
Shostakovich – Symphony No. 10 in e minor, Op. 93
Year: 1966 Conductor: Leopold Stokowski Label: CSO: 90/12-11 (cd) (+). Location: Orchestra Hall
Year: 1990 Conductor: Georg Solti Label: LONDON: 433 073-2LH (cd). Location: Orchestra Hall
Shostakovich – Symphony No. 4, Op. 43
Year: 1977 Conductor: Andre Previn Label: ANGEL: S-37284; EMI: ASD-3440 (quadraphonic) (E), ICO63- 02956 (quadraphonic) (G), 7243-5-72658-29 (cd). Location: Medinah Temple
161 Continued Table 3. continued Shostakovich – Symphony No. 7 in C Major, Op. 60 (Leningrad)
Year: 1988 Conductor: Leonard Bernstein Awards: 1990 Grammy Award, Best Classical Performance – Orchestra Label: DGG: 427 632-2GH2 (cd) (+), 427 632-4GH2 (cas) (+). Location: Orchestra Hall
Shostakovich – Symphony No. 8 in c minor, Op. 65
Year: 1989 Conductor: Georg Solti Label: LONDON: 425 675-2LH (cd) (+), 425 675-4LH (cas) (+). Location: Orchestra Hall
Sibelius – The Swan of Tuonela, Legend No. 3, from The Four Legends of the Kalevala, Op. 22
Year: 1991 Conductor: Herbert Blomstedt Soloist: Grover Schiltz Label: CSO: CD01-2 (cd) (+). Location: Orchestra Hall
Strauss, R. – Also Sprach Zarathustra, Op. 30
Year: 1975 Conductor: Georg Solti Awards: 1976 Grammy Award, Best Classical Performance – Orchestra Label: LONDON: CS-6978, CSO-6978-A (or), CS5-6978 (cas), 414 043- 2LH (cd), 430 445-2LM (cd), 303 008, 303 008 (cas), CS8-6978 (cart), 430 445-4LM, IRI-6667 (or), 440 618-2DF2; DECCA: SXL- 6749 (E), 411 240-1 (N), 411 240-4 (cas) (N), 436 632-2DSE (cd), 16.35 069- Location: Medinah Temple
Year: 1982 Conductor: Georg Solti Label: CLARION: LP-101 (video cassette) (CSO-M12). Location: Orchestra Hall
162 Continued Table 3. continued Year: 1996 Conductor: Pierre Boulez Label: DGG: 457 649-2GH (cd). Location: Orchestra Hall
Strauss, R. – Also sprach Zarathustra, "Sunrise" section
Year: 1975 Conductor: Georg Solti Label: RCA: DPL1-0245 (CSO-M2); LONDON: 289 460 469-2 (cd). Location: Medinah Temple
Strauss, R. – An Alpine Symphony, Op. 64
Year: 1992 Conductor: Daniel Barenboim Label: ERATO: 2292-45997-2 (cd). Location: Orchestra Hall
Strauss, R. – Die Frau ohne Schatten, Symphonic Fantasy, Op. 65
Year: 1992 Conductor: Daniel Barenboim Label: ERATO: 2292-45997-2 (cd). Location: Orchestra Hall
Strauss, R. – Don Quixote Fantastic Variations, Op. 35
Year: 1991 Conductor: Daniel Barenboim Soloists: Samuel Magad, Charles Pickler, John Sharp Label: ERATO: 2292-45625-2 (cd), 2292-61268-2 (cd); TELDEC: 8573- 82130-2 (cd). Location: Orchestra Hall
163 Continued Table 3. continued Strauss, R. – Ein Heldenleben, Op. 40 (A Hero's Life)
Year: 1990 Conductor: Daniel Barenboim Label: ERATO: 2292-45621-2 (cd), 2292-61131-2 (cd); TELDEC: 8573- 82130-2 (cd). Location: Orchestra Hall
Strauss, R. – Til Eulenspiegels lustige Streiche Op. 28 (Til Eulenspiegel's Merry Pranks)
Year: 1975 Conductor: Georg Solti Label: LONDON: CS-6978, CSP-6978-A (or), IRI-6667 (or), 414 043-2LH (cd), 430 445-2LM (cd), 303 008, 303 008 (cas), CS5-6978 (cas), CS8-6978 (cart); DECCA: SXL-6749 (E), 411 240-1 (N), 411 240- 4 (cas) (N), 436 623-2SE (cd), 16.35 069-1 (G), 440 618-2DF2 (cd) (G) Location: Orchestra Hall
Year: 1990 Conductor: Daniel Barenboim Label: ERATO: 2292-45621-2 (cd), 2292-61131-2 (cd); TELDEC: 8573- 82130-2 (cd). Location: Orchestra Hall
Stravinsky, Le sacre du printemps (The Rite of Spring)
Year: 1968 Conductor: Seiji Ozawa Label: RCA: LSC-3026, LSC-5018, 60541-2RV (cd), 60514-4RV (cas), 74321- 21298-2 (cd) (G), LM-3026, ERPA-3026-C (or), RK-1222 (cas), R8S-1222 (cart), 09026-63311-2 (cd); AMERICAN EXPRESS and RCA SPECIAL PRODUCTS: A-468 314; VICTROLA: VCS: 7099 Location: Orchestra Hall
Year: 1974 Conductor: Georg Solti Label: LONDON: CS-6885, E-46885 (or), 417 704-2LM (cd); DECCA: 16.35 069-16 (G); JUBILEE: 421 704-2LM (cd) (E). Location: Medinah Temple
164 Continued Table 3. continued Year: 2000 Conductor: Daniel Barenboim Label: TELDEC: 8573-81702-2 (cd). Location: Orchestra Hall
Stravinsky – Le sacre du printemps (The Rite of Spring) Sacrificial Dance
Year: 1968 Conductor: Seiji Ozawa Label: RCA: 09026-68581-2 (cd). Location: Orchestra Hall
Stravinsky – Le sacre du printemps (The Rite of Spring) The Adoration of the Earth
Year: 1968 Conductor: Seiji Ozawa Label: VICTROLA: VICS: 7079 Location: Orchestra Hall
Stravinsky – Petrushka, Complete Ballet Music (1911)
Year: 1993 Conductor: Georg Solti Label: DECCA: 443 775-2 (cd) (E); LONDON: 443 775-2LH Location: Orchestra Hall
Stravinsky – Petrushka, Ballet Suite (1947)
Year: 1969 Conductor: Carlo Maria Giulini Label: ANGEL: S-36039, M-36039 (or), 4XS-36039 (cas); EMI: ASD- 2614 (E), 2C 269-02070 (cas) (F). Location: Medinah Temple
165 Continued Table 3. continued Stravinsky – Petrushka, Complete Ballet Music (1947)
Year: 1977 Conductor: James Levine Label: RCA: ARL1-2615, ARS1-2615 (cart), ARK1-2615 (cas). Location: Medinah Temple
(This information was retrieved form the Rosenthal Archives of the Chicago Symphony Orchestra)
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Copland – Quiet City
Date: 12/24/61 (recorded), 12/31/61 (aired) Conductor: Arthur Fiedler Location: TV studio Kinnescope Notes: Adolph Herseth,solo trumpet. Schiltz substituted for Laurence Thorstenberg
Date: Oct. 2-4, 1975 Conductor: Erich Leinsdorf Location: Orchestra Hall Soloist: Adolph Herseth (trumpet)
Date: Oct. 2-3 and 5, 1986 Conductor: Georg Solti Location: Orchestra Hall Soloist: William Scarlett (trumpet)
Diamond – Elegies for Flute, English Horn and String Orchestra
Date: Feb. 15-16, 1973 Conductor: Henry Mazer Location: Orchestra Hall Soloist: Donald Peck (flute)
Ferlendis/Kraus, M. – English Horn Concerto in C Major
Date: Feb 18-20 and 23,1993 Conductor: Kenneth Jean Location: Orchestra Hall
Table 4. Schiltz’s Solo Repertoire Performances with the Chicago Symphony Orchestra
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Table 4. continued Sibelius – Swan of Tuonela, Legend No. 3 from the Four Legends of the Kalevala, Op. 22
Date: Nov. 6, 1965 Conductor: Morton Gould Location: Orchestra Hall Notes: Recorded by the Chicago Symphony Orchestra
Date: Mar. 15, 1973 Conductor: Henry Mazer Location: Orchestra Hall Notes: Music is the Message, Junior Governing Board Concert
Date: Oct. 27, 1975 Conductor: Henry Mazer Location: Orchestra Hall Notes: Dental Association Concert
Date: Apr. 1-2 and 4, 1982 Conductor: Leonard Slatkin Location: Orchestra Hall
Date: Jan. 24-26 and 29, 1991 Conductor: Herbert Blomstedt Location: Orchestra Hall
Date: Nov. 14-16, 1996 Conductor: Robert Spano Location: Orchestra Hall
Continued
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Table 4. continued Wagner – Tristan und Isolde
Date: Oct. 13 and 16, 2001 Conductor: Daniel Barenboim Location: Orchestra Hall Soloists: Waltraud Meier, Nadja Michael, Christian Franz, Julie Tomlinson, Andreas Schmidt, Brian Davis, Mark Eldred, Michael Brauer, Marcel Reijans, Men of the Chicago Symphony Chorus (Dir. Duain Wolfe)
Date: Oct. 20, 2001 Conductor: Daniel Barenboim Location: Carnegie Hall, New York City Soloists: Waltraud Meier, Nadja Michael, Christian Franz, Julie Tomlinson, Andreas Schmidt, Brian Davis, Mark Eldred, Michael Brauer, Marcel Reijans, Men of the Chicago Symphony Chorus (Dir. Duain Wolfe)
(This information was retrieved from the Rosenthal Archives of the Chicago Symphony Orchestra)
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CONCLUSION
Grover Schiltz quickly worked his way up through the ranks to the top of the orchestral world. He went from the Civic Orchestra of Chicago to the Chicago Lyric
Opera, and Grant Park Symphony to the Kansas City Philharmonic, and finally into the
Chicago Symphony Orchestra, in just five years from embarking on his professional career. He was a member of the Chicago Symphony Orchestra from the age of 27 through 73.
During his tenure he lived through major transformations that occurred within
American orchestras. The inception of ICSOM and a musicians’ players’ committee provided a method for the musicians to improve their working conditions; thereby turning the job of a symphony musician into one with a living wage, a more democratic audition process, health insurance (and other benefits), pensions, and a tenure process providing more job security.
Schiltz toured and played in performance halls all over the world. He had the opportunity to work with almost every major conductor, all the time playing with some of the most accomplished musicians in one of the best orchestras in the world. He performed countless orchestral and chamber music concerts, and recorded numerous pieces.
Schiltz also had the opportunity to teach at several universities, including
Northwestern and Roosevelt Universities, and to give back by teaching at the very institution that gave him his first start in the business – the Civic Orchestra of Chicago.
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Musicians have come from all over the world to work with him and hear what he has to say, and many of those musicians have risen to the top of the field.
He believes that being a professional orchestral musician is like being part of a large, extended family. He says:
You’ll have squabbles, you’ll have disagreements, you’ll have times when you just want to chuck the whole thing. But . . . usually in times of emergencies, you pull together and react as a family. After all, you travel together, you eat together, you sleep in the same hotels, you’re together many times on tour for six weeks at a time – every day, all day. It’s a unique relationship.(Monnelly,1989 [4], p.13)
Schiltz remarks that, along with talent and hard work, there is also some luck involved in getting an orchestral job. Part of the reason for this is that people tend to hold on to a job once they get it, and many musicians end up playing well past traditional retirement age. When this happens, there is not an opening for sometimes thirty, forty, or even fifty years. Even though there may be many qualified musicians on the job circuit, if there is no opening, there is no job. (Monnelly, 1989 [4], pp. 12-13)
Schiltz’s career is truly one to be envied and respected. One should not forget that he has achieved this success with his humor, his marriage, and his humanity in tact.
He is a very intelligent, well-rounded individual, and he has been able to blend his passion and talent for music with his many interests and hobbies. Though he is now retired, Schiltz is still an active performer and teacher with no signs of slowing down. He feels very fortunate to have had “. . . a chance to spend so many years playing with great musicians, and have them regard me as part of their family, and to be able to interact with them and to be part of their goals, their aspirations, their life . . . .” He sums
171 up his career in the Chicago Symphony Orchestra by saying simply, “It’s a very satisfying life.” (Monnelly 1989 [4], p. 14)
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APPENDIX A
SCHILTZ’S ORCHESTRAL WORK HISTORY
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Schiltz’s Orchestral Work History
1948 – 1952 University of Michigan, student
1952 2nd Oboe, Indianapolis Symphony
(not able to take job because was drafted)
1952 – 1954 Army 6th Armored Division Band (Fort Leonard Wood, Missouri)
1954 – 1955 Civic Orchestra of Chicago
1955 – 1956 2nd Oboe, Chicago Lyric Opera Orchestra
1955 – 1959 2nd Oboe, Grant Park Symphony Orchestra
1956 2nd Oboe, Boston Pops Orchestra (3 month tour)
1956 – 1959 Principal Oboe, Kansas City Philharmonic
1959 St. Louis Sinfonietta (3 week tour)
1959 – 1964 Assistant Principal Oboe, Chicago Symphony Orchestra
1964 – 2005 Principal English Horn, Chicago Symphony Orchestra
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APPENDIX B
A SAMPLING OF SCHILTZ’S CONCERT REVIEWS
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Concert Reviews
BACH, J.S. (1685-1750) Mass in b minor, BWV 232 (1749)
Chicago Tribune-April 10, 1982 Author: John von Rheim Memo: Classical Review Edition: North Final Section: News Column: Weekend Entertainment Page: A13
George Solti’s CSO B-minor Mass Promissory Note on Bach to Come Nothing but unqualified praise must go to the principal string and wind players for their exceptionally well taken obligato solos, particularly Ray Still and Grover Schiltz, oboes d’ amore.
BACH, J.S. (1685-1750) The Passion According to St. Matthew, BWV 244 (1724)
Chicago Tribune-June 9, 2001 Author: John von Rhein, Tribune music critic Memo: Classical Review Edition: North Final Section: News Column: Weekend Entertainment Page: 23
Closing with a “Passion” Some CSO players coped more adeptly with the peculiarities of period instruments than others. Of the obbligato and continuo players, the standouts were oboists Alex Klein and Grover Schiltz, bassoonist William Buchman and cellist Stephen Balderston.
BERLIOZ, HECTOR (1803-1869) Roman Carnival Overture (1843-4)
Chicago Tribune-February 19, 1983 Author: John von Rhein, Tribune music critic Section: 1 Entertainment Page: 10
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Pogorelich’s CSO Debut Puts New Life in Some Old Standards Special praise is due Grover Schiltz’s splendidly mournful English horn solos in the “Scene in the Country”
Chicago Sun-Times-December 16, 2000 Author: Wynne Delacoma Edition: Late Sports Final Section: 2; Features Column: Review Page: 24
Chicago Symphony Orchestra Review The concert opened with a lackluster reading of the overture to Berlioz's "Roman Carnival," full of blaring brass and little dramatic urgency. Grover Schiltz's English horn solo in the opening pages was the work's main redeeming feature.
BERLIOZ, HECTOR (1803-1869) Symphonie Fantastique (1830)
Chicago Tribune-July 6, 1966 Author: Thomas Willis Section: 2 Page: 3
Weather Obscures Peaks for Symphony at Ravinia The eloquent Pastorale answered Grover Schiltz’s expert on stage English horn first with offstage oboe, then with burring double tympani.
Chicago Tribune-January 18, 2003 Author: John von Rhein, Tribune music critic Memo: Classical Review Edition: North Final Section: News Page: 31
No-Show Good For the Goose Indeed, his highly charged but controlled treatment of the opening movement made this music sound as dangerous as the composer intended. "A Ball" waltzed with a ravishing lilt, while the "Scene in the Country" was a poignant little tone poem -- Grover Schiltz's solo English horn calling forlornly to the offstage oboe. No more rousing "March to the Scaffold" or more eerily evocative "Dream of a Witches' Sabbath" could be imagined.
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BIRTWISTLES, HARRISON (B. 1934) The Triumph of Time (1972)
Chicago Sun-Times-October 11, 1996 Author: Wynne Delacoma Section: Features Page: 40
Violinist Stays On Course Orchestral voices glistened with distinctive color, whether the penetrating eloquence of Grover Schiltz's English horn or the sharp, metallic clatter of muted trombones.
CARTER, ELLIOT (B. 1908) What Next? (1997)
New York Times-March 7, 2000 Author: Kyle Gann retrieved April 5, 2009 from: http://www.nytimes.com/2000/03/07/arts/opera-review-on-life-s-list-of-things-to- do-opera.html?fta=y New York Edition Section: E Page:5
Opera Review; On Life’s List of Things to Do: Opera There was one exception: if 90 percent of ''What Next?'' harked back to Mr. Carter's ultracomplex style of the 1960's and 70's, there was a wordless meditation in the very middle in which, for a couple of minutes, Grover Schiltz's English horn solo threaded its way through a lovely collage of pastel orchestral colors.
Chicago Sun-Times-March 8, 2000 Author: Andrew Patner Edition: Late Sports Final Section: 2; Features Column: Review Page: 48
Chicago Symphony Orchestra at Carnegie Hall Sunday afternoon brought the New York premiere of Elliott Carter's 45-minute comic opera "What Next?" English horn Grover Schiltz led the moving orchestral interlude.
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COPLAND, AARON (1900-1990) Quiet City (1940)
Chicago Sun-Times-October 3, 1986 Author: Robert C. Marsh Section: Features Column: Classical Music Page: 41
CSO Soloist Program Offers Mixed Success Copland's "Quiet City" was probably the best known work in this series, night music for English horn and trumpet with Grover Schiltz and William Scarlett featured. Once more Solti was throughly involved, a mood was defined and sustained, and you heard some excellent playing.
DVOŘÁK, ANTON (1841-1904) Symphony No. 9 (From the New World) (1893)
Chicago Tribune-April 2, 1977 Author: Thomas Willis Section: 1 Page: 16
Carlo Giulini’s ‘New World’ is his own ‘voyage’ With the aid of infallibly superior performances, among which Grover Schiltz’s English horn must be singles out as one among equals
Chicago Tribune-January 13, 1983 Section: 3 Tempo Page: 10
Tcherepnin Work Flexes CSO Muscle Grover Schiltz’s English horn solo was purest pastoral poetry
Chicago Sun-Times-November 17, 2000 Author: Wynne Delacoma Edition: Late Sports Final Section: 2; Features Column: Overnight Reviews Page: 54
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Chicago Symphony Orchestra Review The concert opened with a lushly romantic reading of Dvorak's "New World" Symphony. Without a hint of sentimentality, English horn soloist Grover Schiltz found the melancholy depth of the second movement's well-known theme
Chicago Tribune-June 1, 2002 Author: John von Rhein, Tribune music critic Memo: Classical Review Edition: North Final Section: News Page: 31
Williams’ Has a Latin Beat Grover Schiltz sang the famous English horn tune beautifully.
Chicago Tribune-March 20, 2004 Author: John von Rhein, Tribune music critic Edition: Chicago Final Section: News Page: 27
New “Tangle” Gives a Fresh Perspective to Old Favorites There was plenty of residual energy at the podium and in the orchestra to guarantee a Dvorak "New World" fairly bursting with drama and excitement, balanced by a warmly spontaneous lyricism in the famous Largo that owed much to Grover Schiltz's sensitive English horn solo.
FERLENDIS, GIUSEPPE (1755-1802) English Horn Concerto in C Major
Chicago Sun-Times-February 19, 1993 Author: Wynne Delacoma Section: Features Column: Classical Music Page: 33
Schiltz Hits CSO Spotlight With English Horn Work But the evening, conducted by CSO associate conductor Kenneth Jean, was redeemed by Grover Schiltz's dazzling work as soloist in Giuseppe Ferlendis' English Horn Concerto in C Major.
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Schiltz, the CSO's English horn player and a CSO member since 1959, plays with such offhand ease that listeners might have been tempted to go home and try a little English-horn playing themselves. The instrument's tone, a mix of mellow, full-bodied clarinet and sharp, penetrating oboe, nestled comfortably against the scaled-down orchestral accompaniment. Schiltz never seemed to need to take a breath, no matter how sustained or complicated his musical line. In the cadenza near the end of the first movement, he leapt all over the scale, regularly plunging back to a repeated low note before pulling away again. His tone was invariably full and seamless
Chicago Tribune-February 19, 1993 Author: John von Rhein, music critic Edition: North Sports Final Section: News Column: Overnight. Music. Page: 20
CSO Takes a Walk on Odd Side Having so splendid a soloist as Schiltz to play it is surely a luxury greater than such trivial music deserves. His mellow-toned instrument poured out the central romanza with poise and feeling, and his rapid tonguing in the fast variations was something to marvel over.
FRANCK, César (1822-1890) Symphony in d minor (1888)
Chicago Tribune-July 31 1978 Author: John von Rheim Section: A6
De Waart Makes Standards Shine The English horn of the Allegretto movement found an eloquent voice in Grover Schiltz.
HANDEL, GEORGE FRIDERIC (1685-1759) Apollo e Dafne (1709-10)
Chicago Tribune-May 19, 1986 Author: John von Rhein, music critic Edition: Sports Final Section: Chicagoland Page: 8
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Musick Doesn’t Miss a Beat with Handel Her initial aria could also boast a gorgeous oboe solo from Grover Schiltz, a luxury fit for a Greek goddess.
KNUSSEN, OLIVER (B. 1952) Song Without Voices (1991-2)
Chicago Sun-Times-March 19, 2001 Author: Wynne Delacoma Edition: Late Sports Final Section: 2; Features Column: Reviews Page: 40
MusicNOW at Buntrock Hall In Oliver Knussen's "Songs without Voices," Grover Schiltz's English horn was an exotic, dark-tinged focal point, moving calmly forward as the ensemble eddied and clamored around it.
KNUSSEN, OLIVER (B. 1952) Where The Wild Things Are (1979-1983)/Higglety, Pigglety, Pop! (1984-1990)
Chicago Sun-Times-March 20, 1998 Author: Andrew Patner Edition: Late Sports Final Section: 2; Features Column: Reviews Page: 44
Chicago Symphony Orchestra Review Hats off to the CSO strings and section soloists including Adolph Herseth, trumpet, Grover Schiltz, English horn, David McGill, bassoon, and Gene Pokorny, tuba, for helping Knussen recapture an unjustly maligned arrangement that should be before the public much more often.
RAVEL, MAURICE (1875-1937) Piano Concerto in G Major (1929-1931)
Chicago Tribune-December 6, 1985 Author: John von Rhein, music critic Edition: Sports Final Section: Chicagoland Page: 10
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A Concert Worthy of Copland The pianist was perhaps more attracted to the score`s kaleidoscopic play of Gallic color than to its cheeky jazziness, reserving her most limpid and exquisite playing for the tender cantabile of the slow movement, ideally matched by Grover Schiltz`s lovely cor anglais solo.
RAVEL, MAURICE (1875-1937) Rapsodie Espagnole (1907)
Chicago Tribune (IL)-September 24, 2005 Author: John von Rhein, Tribune music critic Edition: Chicago Final Section: Weekend Page: 27
Countdown to Barenboim Exit Opens with a Modest Winner His voluptuous account of "Rapsodie Espagnole" was full of arresting first-chair contributions, such as Chris Martin's debonair trumpet licks and Grover Schiltz's indolent English-horn solo
ROSSINI, GIOACHINO (1792-1868) William Tell Overture (1829)
Chicago Tribune (IL)-July 18, 2005 Author: John von Rhein, Tribune music critic Edition: Chicagoland Final Section: Tempo Page: 1
Cliburn’s Return to Ravinia Proves You Can’t Go Home Again The CSO kicked up its collective heels in the Ponchielli ballet, while shapely first-chair solos from John Sharp on cello and Grover Schiltz on English horn distinguished the Rossini.
SHOSTAKOVICH, DMITRI (1906-1975) Symphony No. 8, Op. 65 (1943)
Chicago Tribune (IL)-November 13, 2004 Author: John von Rhein, Tribune music critic Edition: Chicago Final Section: News Page: 27
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CSO Delivers a Ferocious Shostakovich Symphony This music is made to order for the CSO's full-metal brilliance and jaw-dropping virtuosity. Every department came through exceptionally well for Bychkov, while the various solos bespoke the highest musical imagination and skill; special kudos to Grover Schiltz's plaintive English-horn obbligato.
SIBELIUS, JEAN (1865-1957) “The Swan Of Tuonela” (1893)
Chicago Sun-Times-November 15, 1996 Author: Wynne Delacoma Section: Features Page: 37
Heartrending Music for City in Mourning As English horn soloist in The Swan of Tuonela movement, Grover Schiltz played with a strong, even tone, creating an image of a powerful, graceful creature gliding implacably toward eternity.
Chicago Tribune-November 16, 1996 Author: John von Rhein, Tribune music critic Edition: North Sports Final Section: News Column: Arts Watch. Classical review Page: 23
Finnish Anthem English horn soloist Grover Schiltz beautifully sang the still, somber song of "The Swan of Tuonela" over the dark, icy waters of whirring violins, and Spano brought the hero's exploits to an exciting finish with "Lemminkainen's Return."
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APPENDIX C
CHICAGO SYMPHONY ORCHESTRA
MUSIC DIRECTORS AND OBOE SECTION
1959-2005
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CSO Music Directors and Oboe Section
1959 – 2005
Changes in personnel are printed in bold:
1959 - 1961 Conductor Fritz Reiner Principal Ray Still Assistant Principal Grover Schiltz 2nd Oboe Jerry Sirucek English Horn Laurence Thorstenberg
1961 – 1964 Conductor(s) Fritz Reiner (until 1962), Jean Martinon Principal Ray Still Assistant Principal Grover Schiltz 2nd Oboe Richard Kanter English Horn Laurence Thorstenberg
1964 – 1972 Conductor(s) Jean Martinon (until 1968), Georg Solti Principal Ray Still Assistant Principal De Vere Edward Moore 2nd Oboe Richard Kanter English Horn Grover Schiltz
1972 – 1995 Conductor(s) Georg Solti (until 1991), Daniel Barenboim Principal Ray Still (until 1993), Michael Henoch (acting principal) Assistant Principal Michael Henoch 2nd Oboe Richard Kanter English Horn Grover Schiltz
1995 – 2005 Conductor Daniel Barenboim Principal Alex Klein (until 2004), Michael Henoch (acting principal) Assistant Principal Michael Henoch 2nd Oboe Richard Kanter (until 2002), Scott Hostetler English Horn Grover Schiltz
186
APPENDIX D
BIOGRAPHIES
(CSO MUSIC DIRECTORS, OBOE SECTION, FORMER STUDENTS)
187
Music Directors (Chicago Symphony Orchestra, n.d.)
Fritz Reiner
Born December 19, 1888, Budapest, Hungary. Died November 15, 1963, New York City.
MUSIC DIRECTOR (1953-1962) MUSICAL ADVISOR (1962-1963)
Fritz Reiner studied at the music academy in Budapest. His conducting debut was sudden-when the staff conductor at the Budapest Opera was taken ill, Reiner (then its young rehearsal coach) was thrust onto podium to direct that evening's performance of Bizet's Carmen. His full command of the situation subsequently led to his appointment as first conductor at the Laibach (now Ljubljana) National Opera.
From 1911 to 1914, Reiner was conductor of the People's Opera in Budapest and went on to head the renowned Dresden Opera. He achieved great success conducting the music of Richard Strauss and premiered many of the composer's works at Dresden.
Reiner came to the United States in 1922 and became conductor of the Cincinnati Symphony, where he remained until 1931; during this time he also was a frequent guest orchestral and operatic conductor in San Francisco, Philadelphia, and Chicago. In the 1934-35 season, Reiner organized the Philadelphia Opera Association and became its chief conductor. In 1938 he accepted the post of music director of the Pittsburgh Symphony, where he would remain for ten seasons until becoming principal conductor of the Metropolitan Opera.
Having previously guest conducted at both Orchestra Hall and the Ravinia Festival, Fritz Reiner was no stranger to the Chicago Symphony Orchestra when he became its music director in 1953. Under his leadership, the Orchestra made several landmark recordings for RCA Records including Bartók's Concerto for Orchestra, Strauss's Ein Heldenleben, and Prokofiev's Alexander Nevsky. In 1957, Reiner invited Margaret Hillis to form the Chicago Symphony Chorus, which became the first permanent choral ensemble in the United States to be affiliated with a major symphony orchestra.
By 1960, Reiner's failing health began to restrict his concert work and he was forced to share his conducting season with several guest conductors. In 1962 he stepped down as music director and was named musical advisor and conductor for the 1962-63 season. Reiner and his wife Carlotta returned to Rambleside, their home in Westport, Connecticut, in the summer of 1963. His plans for guest appearances were limited to conducting in Chicago and at the Metropolitan Opera. In early November, Reiner had begun rehearsals for a production of Wagner's Götterdämmerung at the Met, but he contracted pneumonia and died in New York City on November 15, 1963.
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Jean Martinon
Born January 10, 1910, Lyons, France. Died March 1, 1976, Paris, France.
MUSIC DIRECTOR (1963-1968)
Jean Martinon studied violin at the Paris Conservatory. He continued studies in composition with Albert Roussel and conducting with Charles Munch. During World War II, he enlisted in the French Army and was taken prisoner in 1940. Martinon spent two years in a German camp, where he wrote many compositions, such as Stalag 9 (or Musique d'exil) and Absolve Domine for men's chorus and orchestra (without violins) in memory of French musicians killed in the war.
Upon his release, Martinon conducted the Concerts du Conservatoire de Paris, when he was appointed conductor of the Bordeaux Symphony. During this time, he also appeared with the London Philharmonic, Radio Eireann in Ireland, and with the Israel Philharmonic. Martinon's American debut was with the Boston Symphony in 1957. He also guest conducted in Chicago and received praise for performances of his own Second Symphony (Hymne à la vie). He served as director of the Düsseldorf Symphony from 1960 until 1966.
Martinon was invited to serve as music director of the Chicago Symphony Orchestra in 1963. He directed the Orchestra away from the Germanic in favor of the French style that was more fluid than bold. Martinon conducted a series of contemporary concerts, funded by the Rockefeller Foundation, at the University of Chicago, and he also led a baroque music festival. During the Orchestra's seventy-fifth anniversary season (1965- 66), he presented several world premieres, including his own Fourth Symphony (Altitudes).
Georg Solti
Born October 21, 1912, Budapest, Hungary. Died September 5, 1997, Antibes, France.
MUSIC DIRECTOR (1969-1991) MUSIC DIRECTOR LAUREATE (1991-1997)
Sir Georg Solti was born in Budapest in 1912 and studied piano, composition, and conducting with Bartók, Dohnányi, Kodály, and Leo Weiner. Although he made his concert debut as a pianist, the Budapest Opera soon engaged him as a conductor. In 1937 Toscanini selected him as his assistant at the Salzburg Festival. Before the outbreak of World War II, Solti went to Switzerland as a refugee, turning again to the piano for his livelihood, and in 1942 he won first prize in the Concours International in Geneva.
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Following the war in 1946, he was invited by the American military government to conduct Beethoven's Fidelio in Munich. The success of this performance led to his appointment as music director of the Bavarian State Opera, whose quality and reputation he firmly reestablished over the next six years. During his tenure in Munich, the Salzburg Festival was revived, and Solti appeared there, as well as in Vienna, Berlin, Paris, Rome, Florence, and Buenos Aires.
In 1952 Solti accepted the post of artistic and music director of the Frankfurt City Opera, where he remained for nine years. From 1961 until 1971, he was music director of the Royal Opera House, Covent Garden, and in 1992 was named music director laureate. During his tenure there he achieved international fame for his performances of Die Frau ohne Schatten, the British premiere of Moses and Aron, and Wagner's Ring cycle. He recorded the entire Ring with the Vienna Philharmonic, a historic undertaking which required seven years to complete and was the first complete studio recording.
Solti's remarkable partnership with the Chicago Symphony began in 1954, when he first led the Orchestra at the Ravinia Festival. He returned to Chicago for guest engagements with the Lyric Opera in 1956, conducting Die Walküre, Salome, and La forza del destino. His Orchestra Hall debut took place on December 9, 1965, and his first concerts as music director were in September 1969. Solti served as music director for twenty-two years and is credited with greatly extending and enhancing the Orchestra's worldwide reputation; its first overseas tour in 1971 was under his direction. As music director laureate, he continued his association with the Orchestra several weeks each year in concerts and recordings until his death on September 5, 1997.
For his outstanding contribution to music, he received a knighthood from Queen Elizabeth II of Great Britain in 1972. From 1979 to 1984, he served as principal conductor and artistic director of the London Philharmonic Orchestra and subsequently as conductor emeritus.
Honored with a lifetime achievement award in 1996 from the National Academy of Recording Arts and Sciences, Solti made his first recordings for Decca in 1947, as a pianist with Kulenkampff and as a conductor with the Zurich Tonhalle Orchestra. During his forty-nine-year association with London/Decca, he recorded over forty operas and over 250 discs, chiefly with the Chicago Symphony (over one hundred discs), the Vienna Philharmonic, the London Philharmonic, and the London Symphony orchestras. He won thirty-one Grammy® awards (more than any other classical or popular recording artist.)
Sir Georg Solti received honorary doctor of music degrees from Oxford University, the University of London, and the universities of Durham, Leeds, and Surrey; and in the United States from Roosevelt and DePaul universities in Chicago, Yale and Harvard universities, and the Eastman School of Music. He also received an honorary doctor of humanities degree from Furman University in South Carolina and an honorary degree "in the disciplines of art, music, and drama" from the University of Bologna.
His major awards were numerous. In 1989, Solti received the Gold Medal of the Royal Philharmonic Society, Great Britain's highest musical honor, and he was an honorary fellow of the Royal College of Music in London. In 1985, he was given the title of
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Professor Honoris Causa by the Minister-President of Baden-Württemberg in Germany. He also received the Knight Commander's Cross (with badge and star) of the Order of Merit from the Federal Republic of Germany and the 1987 Loyola-Mellon Humanities Award. That year, on the occasion of his seventy-fifth birthday, Solti received the Medal of Merit, Chicago's highest award, and was honored with the dedication of a bronze bust of his likeness in Lincoln Park.
He also received the Order of the Flag of the Republic of Hungary and was named "Musician of the Year" by Musical America. He received the 1988 Edward Moss Martin Award from the Union League Civic and Arts Foundation in Chicago and the 1992 Leonie Sonning Music Prize from Denmark. In 1993, he received the Middle Cross of the Order of Merit with Star from the Republic of Hungary and the highest German decoration, the Grosses Verdienstskreuz mit Stern und Schulterband. That same year, to mark his eightieth birthday and a collaboration of over forty years, the Vienna Philharmonic Orchestra struck and presented to Sir Georg as its first recipient the Hans Richter Medal.
In 1993 he was awarded the Berlin Philharmonic Orchestra's Von Bülow Medal, the Kennedy Center Honors, and the Belgium title of Commandeur de l'Ordre de Leopold. In 1994, he received the Ordem Militar De Santiago De Espada, Portugal's highest civilian honor. He held the French Légion d'Honneur and in 1995 received the Commandeur de l'Ordre des Arts et des Lettres. In 1996, he was given the honor Knight Grand Cross of the Order of Merit of the Republic of Italy and the Académie du Disque Lyrique in Paris established the Solti Prize, to be awarded annually to an outstanding young singer.
Daniel Barenboim
Born November 15, 1942 Buenos Aires, Argentina.
MUSIC DIRECTOR (1991-2006)
Throughout a remarkable international career spanning more than five decades, Daniel Barenboim, ninth music director of the Chicago Symphony Orchestra and has established himself as one the finest concert pianists, conductors, and chamber musicians in the world today. Mr. Barenboim first conducted the CSO in 1970. Over the course of his more than thirty-year collaboration with the Orchestra, he has appeared frequently in Chicago as conductor, orchestra soloist, and recitalist.
Daniel Barenboim was born in Buenos Aires, Argentina in 1942. When he was five years old, he began his first piano lessons with his mother, continuing with his father, who remained his only other teacher. In August 1950, when the young artist was just seven, he gave his first official concert in Buenos Aires.
Mr. Barenboim received his general education in Israel, where his family moved in 1952. Artur Rubinstein and Adolf Busch, who had already made great impressions on him in 191
Argentina, as well as Edwin Fischer and Wilhelm Furtwängler, whom he met in Salzburg, became important influences in his development as a musician. He also attended Igor Markevitch's conducting classes in Salzburg and studied harmony and composition with Nadia Boulanger in Paris.
Mr. Barenboim made his debut as a pianist in Vienna and Rome in 1952, in Paris in 1955, in London in 1956, in New York in 1957 with Leopold Stokowski, and in Chicago in 1958. From then on, he made annual concert tours of the United States and Europe. He toured Australia in 1958 and soon became known as one of the most versatile pianists of his generation. His recording activities as a pianist began in 1954 and, during the 1960s, he recorded the Beethoven piano concertos with Klemperer, the Brahms concertos with Barbirolli, and all the Mozart concertos in the dual role of soloist and conductor with the English Chamber Orchestra.
During the same period, Mr. Barenboim started to devote more time to conducting and, in 1965, he established a close relationship with the English Chamber Orchestra that was to last for more than a decade. Together they played innumerable concerts in England, the United States, and Japan. Mr. Barenboim made his conducting debut in London with the New Philharmonia Orchestra in 1967, Berlin in 1969, and in New York soon after that.
Daniel Barenboim has always been active as a chamber musician, with his late wife, cellist Jacqueline du Pré, and with Gregor Piatigorsky, Itzhak Perlman, and Pinchas Zukerman, among others. As a lieder accompanist, he has performed extensively with Dietrich Fischer-Dieskau.
Between 1968 and 1970, Mr. Barenboim served as artistic director of South Bank Music in London and, until 1973, also was director of the Israel Festival. From 1975 to 1989, Mr. Barenboim was music director of the Orchestre de Paris placing special emphasis on contemporary music, giving performances of works by Lutoslawski, Berio, Boulez, Henze, and Dutilleux. He also founded the chorus of the Orchestre de Paris.
Daniel Barenboim first conducted opera at the Edinburgh Festival in 1972. He has been associated with the Bayreuth Festival since 1981, leading performances of Tristan and Isolde, Parsifal, and the complete Ring cycle. In 1982, Mr. Barenboim created a Mozart festival with the Orchestre de Paris, leading performances of The Marriage of Figaro, Don Giovanni, and Così fan tutte as well as concerts of the composer's orchestral works. In 1987, he led a new production of The Magic Flute that inaugurated the season of the newly restored Théâtre des Champs-Elysées.
Daniel Barenboim was appointed as music director designate of the Chicago Symphony Orchestra in 1989 and began his tenure as music director in 1991. His music directorship has been distinguished by the opening of Chicago's new Symphony Center in 1997, highly praised operatic productions at Orchestra Hall, numerous virtuoso appearances with the Orchestra in the dual role of pianist and conductor, twenty-one international tours, and an ongoing series of composer perspectives woven into the Orchestra's subscription series. In his seventeen years in Chicago, he ensured high quality orchestral playing by the CSO, overseeing the appointment of forty musicians to
192 the ranks of the Orchestra, including nine in principal positions. In 1995, he named Pierre Boulez to the position of Principal Guest Conductor. A champion of music of our time, Mr. Barenboim led world premiere performances of more than twenty new works during his time in Chicago. His tenure has also been marked by a dedication to the next generation of orchestral musicians through his continued advocacy of the Civic Orchestra program.
Throughout the year 2000, Mr. Barenboim commemorated fifty years of professional performance on the stage with worldwide celebrations and performances in Chicago, New York, Berlin, and Buenos Aires. In New York, Carnegie Hall honored this special anniversary by presenting fifteen concerts and The Daniel Barenboim Workshop for Pianists and Conductors throughout the year 2000 as part of the Perspectives: Daniel Barenboim series.
Mr. Barenboim is General Music Director of the Deutsche Staatsoper Berlin for life. In recent years, he has established close relationships with the Berlin Philharmonic and Vienna Philharmonic, with whom he often tours, and has maintained a busy schedule of performances, appearing in recitals and with orchestras worldwide.
Mr. Barenboim's extensive discography with the CSO on the Teldec label includes Richard Strauss' wind concertos; an all-Falla disc with Jennifer Larmore and Plácido Domingo; Tchaikovsky's symphonies nos. 4, 5, and 6; and Mahler's Symphony No. 5. His newest CD is a recording of piano concertos by Tchaikovsky and Mendelssohn with the CSO and young pianist Lang Lang as soloist, released by Deutsche Grammophon. This disc reached number one on Billboard's Traditional Classical chart shortly after its release. In addition, he has numerous video credits, including the last eight Mozart concertos with the Berlin Philharmonic and the complete Ring cycle at Bayreuth, as well as Parsifal with the Berlin Philharmonic and Wozzeck with the Deutsche Staatsoper Berlin.
In 1999, Mr. Barenboim and the late Edward Said established the annual West-Eastern Divan Workshop for young Israeli and Arab musicians, which has been held in Weimar, Germany and Chicago, and now makes its home in Seville, Spain. In 2002, he and Mr. Said were awarded Spain's Prince of Asturias Concord Prize for their joint efforts in promoting cross-cultural dialogue through the Workshop. That same year, Parallels and Paradoxes: Explorations in Music and Society, a book consisting of conversations between Said and Barenboim was published by Pantheon Books. In December 2003, Mr. Barenboim received Israel's prestigious Wolf Prize, honoring his dedication to human rights causes and commitment to bringing people together through music. An updated version of Mr. Barenboim's book A Life in Music was released by Arcade Publishing, also in 2003.
Mr. Barenboim was appointed the 2006 Charles Eliot Norton Professor at Harvard University, joining a long list of distinguished artists, arts scholars, and professionals who have received the Norton honor since its establishment in 1925.
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Oboe Section (Chicago Symphony Orchestra, n.d.)
Michael Henoch
Michael Henoch was a student at Northwestern University when, in 1972, Sir Georg Solti appointed him to his position of assistant principal oboe, making him one of the youngest members in the history of the Orchestra to hold a titled chair. Michael has performed as the principal oboe on more than fifty of the Orchestra's recordings, many of them Grammy Award winners.
Michael earned his bachelor's and master's degrees in music from Northwestern University, both awarded with highest honors. His teacher was Ray Still, former principal oboe of the CSO. He also studied with Gladys Elliot in Chicago and with Rhadames Angelucci at the National Music Camp in Interlochen, Michigan. While a college student, Michael was a regular member of the Lyric Opera of Chicago Orchestra for three years.
His Carnegie Hall debut as a soloist with the New York String Orchestra in 1970 led to an invitation from Rudolf Serkin to participate in the Marlboro Music Festival in Vermont, where he was the principal oboe in the orchestra under the baton of Pablo Casals. He has performed at many other prestigious summer festivals, including Lincoln Center's Mostly Mozart Festival and the Carmel Bach Festival in California.
In 1996 Michael was named the artistic co-director of The Chicago Chamber Musicians (CCM), an ensemble with which he has performed since its inception in 1986. Michael is credited with the idea for CCM's highly successful Music at the Millennium series. In the development of this festival, he has worked closely with Pierre Boulez, who serves as music advisor for the series. This three-year celebration of twentieth-century music was presented each May from 1998 through 2000 at Chicago's Museum of Contemporary Art. The series has been extended through 2002.
As a soloist, recitalist, and chamber player, Michael has toured extensively throughout North America and Europe. In September 1999, he was invited to perform as principal oboe of an international festival orchestra in Tokyo. This ensemble was composed of leading orchestral players from all over the world. He has performed as a soloist with many orchestras, appearing with such noted conductors as Sir Georg Solti, Daniel Barenboim, David Zinman, and Alexander Schneider.
Michael has two children, Kimberly, a graduate student at Boston University, and Katherine, a sophomore at Carleton College.
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Scott Hostetler
Scott Hostetler joined the Chicago Symphony Orchestra as second oboe in 2002 and was appointed to the position of English horn in 2008. He was previously principal oboe and an artist in residence of the Kalamazoo Symphony Orchestra in Michigan, and he has also performed with the Michigan Opera Theatre, the Florida Orchestra, and with the Cleveland Orchestra during its 1999 European tour. A native of Indiana, he began studying the oboe at the age of 11 and made his solo debut with orchestra at age 14. While in high school, he was principal oboe of the Kokomo Symphony Orchestra, and at age 16 he was invited to perform the Mozart oboe quartet with members of the Indianapolis Symphony Orchestra. He received his bachelor's of music degree from the Cleveland Institute of Music, where he was a student of John Mack. He subsequently studied with Elaine Douvas at the Juilliard School in New York, and he has attended the Aspen Music Festival in Colorado.
Richard Kanter
Richard Kanter (born in 1935) is a native Chicagoan who joined the Chicago Symphony Orchestra in 1961, Richard Kanter began to study the oboe in 1949 with Robert Mayer. After graduation from high school, he received a scholarship to the Curtis Institute of Music in Philadelphia, where his teachers included Marcel Tabuteau and John de Lancie. He also studied with Ray Still and Robert Bloom. While at Curtis, Kanter played principal oboe for the Lyric Opera of Chicago Orchestra for one season and with the Grant Park Symphony for several summers, switching to English horn. After graduation, he served as first oboe of the U.S. Navy Band in Washington, D.C. for four years. Richard Kanter retired from the Chicago Symphony Orchestra in 2002.
Alex Klein
Alex Klein (born 1964, Porto Alegre) joined the Chicago Symphony Orchestra as principal oboe in 1995. Alex began his musical studies in his native Brazil at the age of nine, and made his solo orchestral debut the following year. At the age of eleven he was invited to join the Camerata Antigua, one of Brazil's foremost chamber ensembles, with which he performed, recorded, and toured extensively. During his teenage years he toured and performed as a soloist, recitalist and as a member of several professional orchestras in Brazil. He then transferred his studies to the Oberlin Conservatory of Music where he studied with James Caldwell, earning a BM and an artist diploma in music performance.
After a year at Oberlin he won first prize in the first Lucarelli International Competition for Solo Oboe Players held at New York’s Carnegie Hall. Following this, he won numerous prestigious awards and competitions worldwide, notable the 1988 International Competition for Musical Performers in Geneva, Switzerland, where he was the first
195 oboist to be awarded first prize since the eminent Swiss oboist Heinz Holliger received it three decades earlier.
Alex has performed as soloist with the CSO under Daniel Barenboim and Christoph Eschenbach, the Philadelphia Orchestra under William Smith, and the Orchestre de la Suisse Romande under its music director Armin Jordan. He has appeared throughout the Chicago area as soloist with the Chicago Sinfonietta, Northbrook Symphony, and Highland Park Strings. He also performs on oboes typical of the baroque and classical periods, and has recorded Bach’s Brandenburg Concertos with the Brandenburg Collegium on period instruments under Anthony Newman for Newport Classics. He has recorded concertos by Vivaldi, Krommer, Hummel, and Strauss, as well as solo and chamber works by Bach, Telemann and Schubert. He has recorded for Teldec, Boston Records, Newport Classics, Musical Heritage Society and Cedille Records.
Alex won the 2002 Grammy Award for Best Instrumental soloist with Orchestra for his recording of Richard Strauss' Oboe Concerto with Daniel Barenboim and the Chicago Symphony.
Alex left the Chicago Symphony in July 2004 due to musician's focal dystonia which had begun within two years of his assuming the first chair. He currently performs as soloist and conductor, at the same time serving as a "Professor of Oboe" at his alma mater, the Oberlin Conservatory. (CSO archives & wikipedia.org)
De Vere Moore
De Vere Moore, a native of Joliet, studied oboe with Alfred Barthell, Robert Sprenkle and Robert Bloom, and holds Bachelor and Master of Music degrees form Eastman School of Music. He has been a faculty member at Indiana University, Oberlin College, and Roosevelt University in Chicago.
Moore was a member of the Rochester Philharmonic under Erich Leinsdorf, the Daniel Saidenburgh Symphonette, the Wagner Opera Company, the Baltimore Symphony Orchestra, and the Oklahoma City Symphony under Guy Fraser Harrison. He was first oboist for two seasons with the Buffalo Philharmonic under Josef Krips. He was appointed assistant first oboist of the Chicago Symphony Orchestra in 1964. Moore played two summers at the Marlboro Festival under Rudolph Serkin and Pablo Casals.
In 1971, Moore and his family emigrated to Wellington, New Zealand, where he played principal oboe with the New Zealand Broadcasting Corporation. He then came back to the states to play English horn in the Dallas Symphony for a time. After which, he taught at the University of Cincinnati Conservatory of Music until he retired in the mid 1980s.
Moore passed away in March of 1998. (CSO archives & http://www.idrs.org/publications/DR/DR21.2/memorium.pdf)
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Jerry Sirucek
Jerry Sirucek (born 1922, Chicago) began his career in 1940 with the Tulsa Symphony Orchestra. In 1941, at the age of 19, he became the youngest member of the Chicago Symphony Orchestra. After serving four years in the United States Navy Band and attending Rensselear Polytechnic Institute for officer training, he returned to the Orchestra in 1946, where he remained until 1961. He attended Chicago's Roosevelt University, earning a bachelor's degree in mathematics in 1948. In addition to his tenure with the Chicago Symphony, Sirucek was a member of the Chicago Symphony Orchestra Woodwind Quintet and taught at Northwestern University and Sherwood Music School. He went to Indiana University School of Music in 1961 at the invitation of Dean Wilfred C. Bain to become professor of oboe. While at IU, he also participated in the Aspen Music and Chautauqua festivals and was music coach to the National Orchestra of Spain. For 28 years, Sirucek was professor of oboe and English horn at IU until his retirement in May, 1988.
Sirucek passed away in August of 1996. (CSO archives & http://www.music.indiana.edu/apps/scholarship/index.php?id=113)
Ray Still
Ray Still, the first oboist of the Chicago Symphony for forty years, has enjoyed a long and distinguished career in orchestral, solo, and chamber music. He has played under almost all the major conductors of the last half of the 20th century and has recorded much of the oboe solo repertoire with such artists as the Fine Arts Quartet, Itzhak Perlman, Pinchas Zukerman, Lynn Harrell, and Kathleen Battle. The many students he has taught in graduate and undergraduate programs and international clinics and master classes now staff symphonies and universities around the world. Since retirement, he has toured in Europe, Ireland, Canada and Japan, taught at Northwestern and the University of Maryland, and is now engaged in writing a book on playing the oboe, which will make available to many the ideas he has developed over 60 years. His distinctive tone and musical style have influenced and inspired oboists throughout the world.
Still was with the Chicago Symphony for forty years, during which time he made hundreds of orchestral recordings, many solo appearances and some solo recordings with the orchestra. His favorite solo recordings with the Chicago Symphony are the Mozart Oboe Concerto, Claudio Abbado conducting, (a recording made in approximately forty minutes) and Bach’s Wedding Cantata with the Ravinia Festival orchestra (CSO members) Kathleen Battle and James Levine. His older son, Thomas Still, two years old when Still started at Juilliard, wrote the cadenzas for the Mozart, which many think are the very best ever heard for this concerto.
He has played much chamber music and done extended coaching while attending the Aspen Festival in Colorado, the Marlboro Festival in Vermont, the Festival in Vasa, Finland, Canada, with many master classes in China, England, Ireland, the Hochschule
197 of Vienna, in Rotterdam, in all the Scandinavian countries, and in Mexico, Japan, China, Korea, France etc.
Ray Still taught at the Peabody Institute in Baltimore (1949-53), Roosevelt University in Chicago (1954-1957), and for 43 years as professor at Northwestern University in Evanston, Illinois. (http://raystill.com/bio.html)
Laurence Thorstenberg
Laurence Thorstenberg joined the Boston Symphony Orchestra in 1964, when he was chosen by Erich Leinsdorf to succeed Louis Speyer as solo English horn. On various occasions over the years, he has played in every position in the oboe section, including principal oboe, and regularly as solo oboe d’amore. His performance as English horn soloist in Sibelius’s Swan of Tuonela wit the Boston Symphony Orchestra under the direction of Sir Colin Davis may be heard on Philips records.
Born in Salt Lake City, Utah, Mr. Thorstenberg served in the United States Army in Europe during World War II as an infantryman in combat, later as a bandsman, and then as first oboist in the G.I. Symphony Orchestra. He studied oboe and chamber music under Marcel Tabuteau on f full scholarship at the Curtis Institute of Music; after graduation he particiapated for two years as solo oboe at the Marlboro Music Festival, coaching with Marcel Moyse and Rudolf Serkin. Mr. Thorstenberg has played major engagements on oboe or English horn with the symphony orchestras of Utah, Baltimore, Dallas, and Philadelphia, as well as in the Grant Park Symphony and the Ravinia Festival in Chicago.
He joined the Chicago Symphony as assistant principal oboe at the invitation of Fritz Reiner (in 1954), later becoming solo English horn (in 1956) and remaining with that orchestra during Reiner’s decade as its music director (until 1964).
Mr. Thorstenberg appears occasionally in chamber music performance, and teaches at the New England Conservatory, Boston University, and privately. In addition, he continually spends much time making, adjusting, and worrying over the reeds for his instruments. He has been listed in “Who’s Who in America,” “Who’s Who in Entertainment,” and “Who’s Who in Society.”
Thorstenberg is deeply engaged in health pursuits and especially spiritual concerns, philosophy, and practices such as yoga, meditation – and humor. Thorstenberg retired from the Boston Symphony in August of 1993. (Boston Symphony archives, March 1991, January 1993)
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Former Students
A prize winner in the 1995 New York International Competition for Solo Oboists and in the 1988 Lucarelli International Solo Oboe Competition, Rebecca Henderson has performed as Acting Principal Oboist with the National Symphony and Colorado Symphony orchestras, as Guest Principal Oboist with the St. Paul Chamber Orchestra, the Seattle Symphony Orchestra, the Oregon Symphony Orchestra, and the Rochester Philharmonic, and has been a member of the Colorado Symphony and the Santa Fe Opera Orchestras. She has performed as concerto soloist with the St. Paul Chamber Orchestra, the Colorado Symphony Orchestra, the National Symphony of Ecuador, and the Philharmonia Northwest Chamber Orchestra in Seattle. Festival performances include the Aspen, Cabrillo, Bellingham, and Boulder Bach Festivals, and she is currently on the faculty of the International Festival Institute at Round Top in Texas. She has been featured on numerous film scores, including Imax films such as “Everest” and “Olympic Glory,” as well as feature films and network television mini-series. As a soloist and chamber musician she has recorded for the Boston Records, Centaur, RCA Masterworks, and RCWinds labels. Her solo CD, ”...is but a dream,” has been hailed by critics as “exquisite…a CD that you will play over and over” (Gramophone), and “superb…a wonderfully vibrant, almost luscious sound” (American Record Guide). Ms Henderson holds degrees from the Oberlin Conservatory and the Eastman School of Music, where she was also awarded the distinguished “Performer’s Certificate.” Her teachers include Richard Henderson, James Caldwell, Richard Killmer, John Mack, John de Lancie, and Grover Schiltz. Ms. Henderson serves on the faculty of The University of Texas at Austin, where she has been an Associate Professor since the fall of 2001. (University of Texas at Austin, n.d.)
Carolyn Hove has been the solo English horn player in the Los Angeles Philharmonic since 1988.
Following her graduation from the Oberlin College Conservatory of Music, until she assumed the English horn position with the San Antonio Symphony in 1986, Ms. Hove had an active musical career in the Chicago area, where she performed with numerous ensembles and was a member of the faculties of Elmhurst College and Northern Illinois University. It was at this time that she developed her enduring interest in new music as the result of her association with prestigious Contemporary Chamber Players of the University of Chicago under the direction of composer/conductor Ralph Shapey.
Ms. Hove has appeared as a soloist in many venues, including a recital on the acclaimed Dame Myra Hess Concert Series in Chicago and appearances with the La Jolla Chamber Music Society, the Los Angeles Philharmonic and many other leading ensembles. In 1993, she performed the U.S. premiere of Esa-Pekka Salonen’s Second Meeting, for oboe and piano, on the Philharmonic’s Green Umbrella New Music Series, with pianist Gloria Cheng. In 1995, she performed the U.S. Premiere of Salonen’s Mimo II (a work derived from Second Meeting) for oboe and orchestra, with the Los Angeles 199
Philharmonic. In Los Angeles, in March of 1999, she performed to critical acclaim, the world premiere of William Kraft’s Encounters XI: The Demise of Suriyodhaya for English horn and percussion, which was followed by a repeat performance in Alice Tully Hall in Lincoln Center in New York. This work was commissioned by the Los Angeles Philharmonic and written for Ms. Hove and Raynor Carrol, the orchestra’s principal percussionist. In January 2003, Ms. Hove performed the world premiere of William Kraft’s Concerto for English Horn and Orchestra with the Los Angeles Philharmonic, conducted by its Music Director, Esa-Pekka Salonen. The work was commissioned by the Los Angeles Philharmonic and written expressly for Ms. Hove. In addition, she has premiered works by Gerhard Samuel, Paul Turok and many others.
Ms. Hove maintains a busy schedule as a teacher whose activities have included guest lectureship at leading music schools throughout the U.S., Europe and Canada including the Royal Academy of Music and the Guildhall School (London), the Royal Northern College of Music (U.K.), The Banff Centre (Canada), the University of Texas, and the Music Academy of the West. She also has presented the annual "English Horn Master Classes with Carolyn Hove" held at Brigham Young University. For 2009 the venue has been changed to Ball State University. She has served on the Executive Committee of International Double Reed Society. (Carolyn Hove, n.d.)
Judith Zunamon Lewis is a member of the Lyric Opera Orchestra of Chicago. She has performed with the Chicago, Boston, Honolulu, and Milwaukee Symphony Orchestras, as well as the Music of the Baroque, Grant Park Music Festival, Chicago Philharmonic, and Bach Week Festival. In addition, she has appeared with the Chicago Chamber Musicians, Vermeer Quartet, Bay Chamber Music Festival in Maine, and every summer, the Midsummer's Music Festival in Door County. She earned her B.A. and M.A. music degrees from Northwestern University, was named a Tanglewood Fellow, won the Coleman Chamber Music Competition in 1982, and was a finalist for the Third Lucarelli International Oboe Competition. Life is complete with husband, renowned horn maker, Steven, daughter, Marion, and Siberian cats, Tootsie, and Rosi. (Judith Zunamon Lewis, personal communication, April 22, 2009)
Washington McClain holds degrees in musicology and oboe performance from Northeast Louisiana University and a master in oboe performance from Northwestern University in Evanston, Illinois. A specialist on Baroque and Classical oboes, he has performed with many groups in the United States, including The City Musik (Chicago), Seattle Baroque Orchestra, Philharmonia Baroque Orchestra (San Francisco), Apollo’s Fire (Cleveland), Opera Lafayette (Washington, D.C.), and Washington Bach Consort.
In Canada and Europe, Washington has performed with Tafelmusik Baroque Orchestra, serving as core oboist for seven years, Pacific Baroque Orchestra (Vancouver), The Netherlands Bach Society, and is currently principal oboist of l’Ensemble Arion in Montréal, Québec.
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Washington’s extensive teaching and performing experience in workshops and festivals in North America include The Amherst Early Music Festival, Albuquerque Baroque Double Reeds, the Madison Early Music Festival, The International Baroque Institute at Longy (Boston), Festival International de Musique Baroque de Lamèque (New Brunswick, Canada), The Staunton Music Festival (Virginia), and the Boston Early Music Festival. He is also the first period instrument performer to be featured in an article of Windplayer Magazine.
Washington has recorded for the Sony Classical, ATMA, Analekta, Naxos, Centaur, and CBC Records labels, and currently teaches at The Early Music Institute at Indiana University in Bloomington. He makes his home in Windsor, Ontario (Canada). (Washington McClain, personal communication, April 21, 2009)
Marianne Petersen is the English horn player with the Louisville Orchestra and is going on her 30th season. She is a native of the Chicago area and studied with all CSO players; Robert Mayer, Grover Schiltz, and Ray Still. She has a master's degree in performance from Northwestern University and has also played extensively in Canada where she was a winner of a grant from the Canada Council for the Arts. (Marianne Petersen, personal communication, April 18, 2009)
Associate Principal Oboe and Solo English horn player, Michael Schultz has been a member of the North Carolina Symphony since 1973. A native of Chicago, Michael attended Northwestern University and studied with Chicago Symphony oboists Jerry Sirucek, Grover Schiltz, and Ray Still. He was also a member of the Chicago Symphony's training orchestra, the Civic Orchestra of Chicago. While still a student at Northwestern, he substituted on a tour with the St. Louis Symphony and cemented his desire to become a professional symphony musician. Prior to joining the North Carolina Symphony, Michael served with the US Air Force in the NORAD Band, and put his string background to use playing viola with the Colorado Springs Symphony.
As a music educator, Michael teaches oboe at the University of North Carolina at Chapel Hill. He also performs in the faculty woodwind quintets at UNC and St. Augustine's College. An avid bird watcher, Michael and his wife Lois have traveled the United States and Canada from Key West to the Bering Sea locating more than 650 species of birds. He also has a keen interest in black and white photography. His prints have been featured in many of the past North Carolina Photographers Annual juried shows, and have won awards in the Burke County Arts Council and North Carolina State Fair competitions. (North Carolina Symphony, n.d.)
Since 1994 Robert Sheena has been the principal English horn player for the Boston Symphony Orchestra (BSO) and Boston Pops Orchestra (BPO). As a result of his mastery of his instrument, Mr. Sheena has been honored with several premieres and
201 appearances as soloist with the BSO/BPO and has received much critical and audience acclaim. At Tanglewood in 1996 he was a featured soloist with the BSO in André Previn’s Reflections for English horn, cello, and chamber orchestra. In 1999 he performed the solo English horn in Sibelius’s Swan of Tuonela with the BSO in Symphony Hall, and on Opening Night at Tanglewood in 2000 he was a soloist, with then-principal trumpet Charles Schlueter, with the BSO in Aaron Copland’s Quiet City, a work he has also performed with the BPO. In 1998 David Alan Miller and the Albany Symphony commissioned a work for English horn and orchestra, Gabriel Gould’s Watercolors, expressly for Mr. Sheena, who premiered and later recorded the piece with that orchestra under Mr. Miller’s direction. He gave the premiere of Dan Pinkham’s Odes for English horn and Organ at the American Guild of Organists convention in 1998. As a teacher of oboe and English horn, Mr. Sheena is currently on the faculties of Boston University, the Boston Conservatory, and the Longy School of Music. An alumnus of the Tanglewood Music Center, he now works with TMC Fellows in chamber music coachings and master classes at Tanglewood. Along with BSO principal oboe John Ferrillo, he co-directs an intensive two-week summer workshop for young oboists at the Boston University Tanglewood Institute.
Prior to joining the BSO Mr. Sheena performed frequently as an extra with the Chicago Symphony Orchestra. From 1987 to 1991 he was assistant principal oboe and solo English horn with the Hong Kong Philharmonic Orchestra and with the San Antonio Symphony from 1991 to 1994. He received his bachelor of music degree from the University of California at Berkeley and his master of music degree from Northwestern University. He has studied the oboe intensively such masters of the instrument as Ray Still, Grover Schiltz, William Banovetz, John Mack and Marc Lifschey. (Boston Symphony Orchestra, n.d.)
Lissa Stolz is the newly appointed solo English horn player of the Louisiana Philharmonic Orchestra. A native of Iowa, she received her bachelor’s degree from the University of Iowa, where she was awarded first prize in the Midwest Double Reed Society solo competition. She received her master’s degree from the Hartt School of Music and a performance certificate from the Chicago College of Performing Arts at Roosevelt University. Her principal teachers include Bert Lucarelli, Grover Schiltz and Alex Klein. She performed for three seasons with the Civic Orchestra of Chicago training orchestra. Ms. Stolz is the principal oboist of the Quad Cities Symphony Orchestra and has performed with the Spoleto Festival Orchestra, the Florida West Coast Symphony, and the Charleston Symphony. An active freelancer in the Chicagoland area, she is a frequent sub with the Grant Park Festival Orchestra and the Chicago Symphony Orchestra. Also devoted to chamber music, Ms. Stolz was a founding member of the Fifth House Ensemble in Chicago and performs regularly with the Midsummer’s Music Festival in Door County, Wisconsin. Ms. Stolz is the oboe instructor at Coe and Cornell Colleges and is currently the Visiting Assistant Professor of Oboe at the University of Iowa. (Lissa Stolz, personal communication, May 6, 2009 and May 19, 2009)
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APPENDIX E
INTERVIEW TRANSCRIPTS
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Schiltz-Dixon Costa Phone Interview, April 23, 2009, Part 1
DIXON COSTA: How has the CSO season changed during your tenure in the orchestra?
SCHILTZ: Well, the first 12 years we didn’t do any foreign touring. It wasn’t until Solti came to the CSO in 71 that we took our first European tour. Although we’d been to some outlying areas, of the states with Martinon in the 60s, the farthest away that we got was Alaska. So the orchestra was very excited of course when Solti came and insisted on at least one foreign tour every three years.
Of course the length of the season was an issue that we were concerned about with the negotiations. We only had a 30-week downtown season and six or seven weeks out at Ravinia. So, there was almost four months out of the year we had no employment and no income. As the years went on, the length of the season increased, also the fact that we were paid year-round came into being. Also paid vacations, which was not the case when I joined on. And also, what was a one-page contract, evolved into a very complex, and, almost the size of a small book contract by the time I left, because there were lots of areas that had been the subject of a lot of friction. And with each contract, we sought clarification for some of the things that had come up over the last three years that needed clarifying or reorganizing. And as a result, why, the contract has evolved into something that is a lot more specific than what it was. After all, a one-page contract can’t tell you much.
DIXON COSTA: Right, you probably didn’t have much. How about health insurance? Did you have that when you started?
SCHILTZ: No.
DIXON COSTA: Okay, and just a very small pension you said?
SCHILTZ: $900 a year, yeah.
DIXON COSTA: Alright.
SCHILTZ: Which they could take away or amend or withhold. They had total control over it. You had no participatory aspect to it. And so they could fire you six months short of your thirty years that was the guaranteed, and you wouldn’t get anything.
DIXON COSTA: Right, like they did to the piccolo player, right?
SCHILTZ: Right, Emil Eck.
DIXON COSTA: Do you know about how many services you had when you first started, and then what you had when you ended?
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SCHILTZ: Well we had almost -- we had basically no limit on the services when I started. We were doing every Sunday a Kinescope or a television show live called “Great Music from Chicago,” so that was usually on Sundays. So that took care of that. And Reiner was doing a fair amount of recording, also, during the days when we didn’t have rehearsals scheduled. So we would sometimes go six and eight weeks without a day off.
DIXON COSTA: Wow!
SCHILTZ: And there was . . . you know, as I said, there was no protection built in. There was no minimum or maximum in the contract as far as how many days a week we could work.
DIXON COSTA: It was just the whim of the conductor?
SCHILTZ: Yes, right, basically. And also what the management set up.
DIXON COSTA: Okay, and did you have a specific number in 2005?
SCHILTZ: Oh sure, yeah. I think what we had worked out was an average of seven or seven and a half services a week.
DIXON COSTA: Okay, and that’s pretty normal.
SCHILTZ: Yeah, that’s pretty standard. It was usually that . . .
DIXON COSTA: Did you find that you were busier?
SCHILTZ: Four rehearsals and three concerts, or four rehearsals and four concerts, with the fourth concert maybe every other third week.
DIXON COSTA: So, you were actually busier in those weeks that you were working when it was a part-time orchestra.
SCHILTZ: Oh, it was frantic, yeah.
DIXON COSTA: Wow, huh. Because I look at the Chicago season now, and, you know, there are several different shows a week – just a lot of stuff to put together . . .
SCHILTZ: Well yes, because the management has tried to get more things under the orchestra umbrella. There’s a lot of things, the CO presents and MusicNOW and Beyond the Score. A lot of things that are intended to be outreach or intended to reach a different audience from what we did ordinarily. So, when I first started in the orchestra, we only had two subscription concerts a week --Thursday and Friday. Saturdays were Pops Concerts, and that meant that . . . also we had a Tuesday afternoon series that didn’t last very long—they dropped that a couple years after I joined. But it was quite a different schedule from what we have now.
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DIXON COSTA: Okay, alright. And that has kind of lead us into the working conditions changing . . . so, basically, it’s changed with more benefits and more job security? And a limit on the amount of services?
SCHILTZ: Right, and a limit to overtime, and also more strict regulation of life on the road as to the hours during which transportation can take place, and the number days of week we can play, and a required number of days off. And we, also, are required to have a free day after . . . at least one, or possibly . . . depending on the length of the tour . . . we have a couple, three days when we come back from a tour.
DIXON COSTA: Oh, okay . . .
SCHILTZ: You’ve got to get your laundry done sometimes.
DIXON COSTA: I know, seriously . . . Let’s come back to the audition.
SCHILTZ: Sure!
DIXON COSTA: So, I read that the players’ committee was formed in 1959?
SCHILTZ: Yeah.
DIXON COSTA: And was that just the time when the members of the orchestra thought they should be able to govern themselves more, or was there any specific event that set it off?
SCHILTZ: It was a combination of factors. In the first place, there were younger players that were coming into the orchestra, and they felt that there were some things about the working conditions, and about other facets of orchestra life that they felt needed to be codified, and that the players themselves should have a little more voice in some of the situations, vis-a-vis, the union. The union, in those days, was very dictatorial and authoritarian. They didn’t want members of the orchestra to have any voice in the making of the contract, for example.
DIXON COSTA: Yeah – that really surprised me. You had recommended Julie Ayer’s book to me, and so I’ve read that. I guess I just didn’t understand, when we originally talked, the battle between the union, which I always think of as helpful, and the orchestra.
SCHILTZ: Right. Well, Petrillo thought we were trying to form our own union, and break away, as Cecil Read had done so out in California. And the thought was, Petrillo wanted to forestall anything like that. And so he tried to suppress the Members’ Committee, and the formation of the Members’ Society, and so it was a very antagonistic kind of relationship. And it wasn’t until we formed a sort of an opposition slate, and members of the Lyric Opera Orchestra and the Chicago Symphony, together, went over one afternoon and voted the opposition slate into office. And that was the beginning of the end, because Petrillo lost the election, and the opposition slate had run on the idea of support for the Members’ Committee, and support for the relationship, which was
206 intended to be advisory and helpful in regards to forming new contracts, rather than antagonistic.
DIXON COSTA: And were you involved in that?
SCHILTZ: Well, let’s see . . . not my first year, because the first year you’re on probation, and
DIXON COSTA: Right. I read the story about having balloons in the Orchestra Hall -- that were announcing the meetings – because you weren’t allowed to put anything on the bulletin board . . .
SCHILTZ: Oh sure. He locked bulletin boards so that you couldn’t post notices. He wouldn’t allow orchestra meetings in the Hall. And there were just any number of things like that that he did to try to discourage us. And fortunately, his tenure wasn’t very long. As soon as Jean Martinon came in, Martinon insisted on taking over the role that he was hired for, which was Music Director, and Raven had been sort of acting Music Director, because we had none at the time. So it was up to Raven to engage soloists, establish programs, hire guest conductors, all that sort of thing. He was, in effect, an acting Music Director. And he got to like it. And so when Martinon came in, and rightfully demanded what his contract called for, he went head-to-head with Seymour Raven. It finally got to the point where each of them went to the Board of Directors and said, “If he stays, I have to go.” And Martinon had signed a five-year contract. And they let Raven go.
DIXON COSTA: That started the whole Cassidy debacle.
SCHILTZ: Uh-hmm. Right.
DIXON COSTA: What would you say, in the early 60s, what would you guess was the early ratio between the people who didn’t want to go against management or the director, and the people who wanted to be more self-governed?
SCHILTZ: For the first three or four years, it was almost 50/50. But the people who were against the committee, who were in favor of the management, were mostly very influential people – like the personnel manager, and a number of the old guard – the people who had been in important positions for a long time, and were paid quite a bit over scale. And so they felt that their loyalty was to the management, because these things, again, were not handled through the union, and were not handled contractually. They were handed out by the Trustees. So there were a number of people who felt very strongly tied to the Trustees. And we also had a president of the Board of Trustees who was a very dictatorial, very authoritarian guy – a neurosurgeon – who felt, if he wasn’t God, he was at least God’s right-hand man. His name was Dr. Eric Oldberg. And, again, he was very antagonistic about the idea of union strength in the orchestra. So anybody
207 who felt they had loyalty to Dr. Oldberg, I think, quietly did what they could to suppress the Members’ Committee. It was a very “clubby” kind of thing during the early 50s.
DIXON COSTA: Right. OK. That’s great information. So, going back to our list . . . talking about the audition process. We talked about how it changed over the years from your audition at the beginning, to how it is now. Again, I know how it has changed, but was there any event that happened that made people go, “Oh, we need to transform the audition process”?
SCHILTZ: Well – of course, my audition was just for Dr. Reiner and Walter Hendl.
DIXON COSTA: Right. And you had written to the personnel manager about the opening. And he had invited you – correct?
SCHILTZ: Right. That’s the way it was done in most orchestras in those days. As the major orchestras developed these kinds of auditions – procedures that we use now, then the smaller orchestras also adopted them. And this is one of the things that we’ve noticed, is, that as we led and got in better contract conditions – a longer season and healthcare and all that – then the players in the smaller orchestras began to agitate for the same things, because many of them had been, say, students of the players in the major orchestras, and as they stayed in touch with their teachers, or, like those of us in Chicago who played in Civic, we were quite close with the members of the CSO. And so, when the CSO started getting the things that we now have in the contract, the smaller orchestras said, “Hey – why not us?” And so, I don’t think there are any orchestras who don’t have some sort of audition committee now.
DIXON COSTA: So basically, as the political climate changed over time, and the members got more power, then the audition process just kind of went along with that.
SCHILTZ: Yes – because at one time, there may not have even been auditions. The manager would say to the concert master, “Hey – got a good student? We’ve got another member who’s retiring.” And so, people just walked into the orchestra.
DIXON COSTA: And then sometimes a new conductor would bring his own?
SCHILTZ: Oh yeah – when Reiner came – or, no, when Kubelik came, he fired three of the principal chair players and got three new ones in. And so Julie Baker came on principal flute, and Iggy Gennusa came in on clarinet – or no, Gennusa was fired to make room for Clark Brody, then Leonard Sharrow came in on principal bassoon. When the NBC Orchestra broke up, after Toscanini’s death, an awful lot of these musicians were available, because the network didn’t want to support the NBC Symphony after Toscanini died. So players just sort of spread out over the country as openings became available.
DIXON COSTA: That makes sense – I hadn’t thought about that part of it.
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SCHILTZ: But players could be fired for no reason at all. Rene Rateau is a perfectly fine flute player, but Kubelik wanted Julie Baker. That was that. And Iggy Gennusa was a fine clarinetist, but he wanted Clark Brody. And that was that.
DIXON COSTA: They just wanted to bring in people they were familiar with.
SCHILTZ: Yeah – or that had been recommended to them, or whatever. Kubelik was a Czech conductor, and he had very little experience in the United States. He was only 33 years old when he started conducting the Chicago Symphony.
DIXON COSTA: Wow, that’s young!
SCHILTZ: Um hmm. Well, Seiji Ozawa was 28 when he was appointed the Music Director of the Ravinia Festival.
DIXON COSTA: Oh, that’s right! That’s incredible. OK. So, in the 70s, when the CSO went to a 52-week season, was that when the orchestra became a living wage – when you could live on that salary?
SCHILTZ: Yeah. Sure. It was . . . we talked about the kind of conditions when people would go out and work day jobs during the off season. But, since you had a 52-week season . . . but of course, we had paid vacations, which made it unnecessary to go out and hustle for work. But players still would do things during the off season. There was playing summer music festivals, things like that. But it wasn’t where you had to take a profession totally different than your own to make a living wage for the year.
DIXON COSTA: Right – except for you guys kept your kennel business for awhile.
SCHILTZ: Well, yeah. It was partly because of the fact that we wanted to continue raising and showing our own dogs. And it was mostly a money-losing proposition.
DIXON COSTA:
SCHILTZ: So we used the income from the boarding kennel to help supplement our show career.
DIXON COSTA: Oh – OK. That makes sense, too. So, how long did you hang on to the kennel?
SCHILTZ: Well, we established it in 1962, and we gave it up in 1988.
DIXON COSTA: That’s a long time.
SCHILTZ: Uh hmm.
DIXON COSTA: You must have liked it. I loved Rebecca’s story that she told . . . about calling you?
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SCHILTZ: Oh, yes!
DIXON COSTA: OK – on to something less political . . . What was your most memorable experience playing as a soloist?
SCHILTZ: Well, there have been a couple, but I think one of them was certainly doing the Tristan off-stage solo with the orchestra at Carnegie Hall. It wasn’t actually off-stage. It was in a box off to the side of the auditorium.
DIXON COSTA: Oh, and that’s the one where you said they put a big spotlight on you.
SCHILTZ: Yeah – right. Which I hadn’t expected. It was memorable!
DIXON COSTA: And that was in 2000?
SCHILTZ: If you say so.
DIXON COSTA: OK. I think it was around there. How about when you did the Ferlendis with the orchestra?
SCHILTZ: Well, that was pretty hectic, because Ferlendis was a very hard, very long concerto. And, of course, you’re accustomed to incidental solos, up to and including things like Shostakovich 8 – and you stand up there as a target for 28 minutes…
DIXON COSTA: Right.
SCHILTZ: . . . It becomes something else. But you have to formulate a plan for the whole concerto – you’re accustomed to thinking about a solo and pacing a solo that’s three minutes at the longest, and, all of a sudden, you have to think about how to scale a whole movement, or how to scale a movement in comparison with another movement. So you have to really think large scale.
DIXON COSTA: That makes sense. By the way, just as an aside – you have a beautiful review in the Tribune about that concert!
SCHILTZ: Oh! Always happy to read the good ones.
DIXON COSTA: So, anything else about playing as a soloist?
SCHILTZ: Oh, of course, the first time I had a chance to do Swan of Tuonela, and my whole family came into Chicago and formed a cheering section, as it were. There is a real funny story that I hadn’t told to you before, but Judi Lewis, a student of mine – her name was Judi Zunamon when she was a student at Northwestern – but at any case, she got to play extra with the Chicago Symphony. Her mother was just bursting with pride and all that, so, what happened
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DIXON COSTA: But she got to play!?
SCHILTZ: Play, yeah – but her mother got her camera taken away.
DIXON COSTA: Oh – her mother had the camera. My mother would totally do that!
SCHILTZ: OK!
DIXON COSTA: Oh, that’s funny.
SCHILTZ: Mom just couldn’t resist. It’s her daughter – BIG TIME!
DIXON COSTA: And the very first solo capacity that you played with the CSO was when you subbed for Thorstenberg on the Kinescope, right? In 1961?
SCHILTZ: Yeah. That was Quiet City with Herseth.
DIXON COSTA: Right. How about chamber music?
SCHILTZ: Well, over the years we’ve done quite a lot of chamber music. As a member of the Chicago Symphony Winds, which Ray Still initiated – it was a woodwind octet – and we used to do a number of programs. That was certainly one aspect. And also we had a woodwind quintet made up of assistant principal members of the CSO that we – well – we did school concerts basically. So that was a large thing. Then the MusicNOW – that was an extra thing . . .
DIXON COSTA: So, the octet that Ray Still organized, and the woodwind quintet made up of assistant principals, and the MusicNOW, in which you did new music. Plus, you did early music, correct?
SCHILTZ: Right. Yes. And which leads to another question about the early music aspect: we formed a quintet of players on original instruments back in the early 70s, and a couple of us were from the CSO – Richard Graef, our assistant principal flutist, and I, were CSO members, and then the others in the group were Ken Slovic, who is now head of music for Smithsonian, and David Hildner, a violinist with Lyric Opera, and Robert Conant, who was a freelance harpsichordist. And we called ourselves Fiori Musicali. And we did lots of small ensemble playing on early instruments.
DIXON COSTA: And before I forget – was any of that chamber music part of your contract, or was it all extra?
SCHILTZ: None of it was part of the contract. It was all . . . some of it was under the auspices of the CSO, but it was not contractual. In other words, we had a Chicago Symphony Woodwind Quintet, and the school concerts were booked through the symphony office, but it was outside the contract, and we were paid extra.
DIXON COSTA: OK, so it was like a sidelight. Alright – so how did you get into playing the Baroque oboe?
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SCHILTZ: I started listening to early music recordings, like Concentus Musicus and one or two other groups that were available at that time, and just became curious as to what it was all about, and how the instrument differed from the modern instrument, and I was fascinated by the sound. And so when the Vienna Symphony came to Chicago . . . the principal oboist was Jurg Schaftlein . . . who also was the oboist with Concentus Musicus. And so I contacted him and asked him if he knew where I could buy a replica Baroque oboe. And he told me that he had one with him, because he didn’t want to bring his original to the United States – he was afraid of it cracking or becoming damaged, and so he was playing on a facsimile. But he was just getting ready to go back to Vienna, so he said, “I will sell you this if you are interested.” And so we got together, and he sold me the oboe and gave me two reeds, and a fingering chart, and a demonstration, and said, “Good luck!”
DIXON COSTA: Oh, well that’s neat. So, then, ever since . . .
SCHILTZ: Yeah. And sometimes I would have two or three days free during the summer during a period of time when the Baroque Institute was going at Oberlin, and I would go down for maybe three days, and I would listen to a couple of master . . . or play in some master classes, take a lesson with Michel Piguet and hear a recital or two, and just sort of get my battery recharged.
DIXON COSTA: That’s neat. Did you have to do much studying on ornamentation and that kind of thing?
SCHILTZ: Oh sure – well, it comes with the territory. It’s assumed that if you play an early instrument that you know how to ornament and that you’ve done all the necessary dog work of going through some of the more scholarly tomes, and reading the tutors of the time. And so, everybody read Quantz’s treatise on playing the flute, which had a big section on ornamentation, and also Robert Donnington, who has compiled a big anthology of all the early tutors. But sometimes you’d read the early tutors themselves – like Hotteterre’s treatise on the oboe. And there were two or three others that were considered to be very important. And they all had sections on ornamentation.
There’s a very enlightening series of sonatas that was written by Telemann – they’re called Methodical Sonatas. And they deal with simple melodic line and his concept of ornamentation that he felt was fitting for that particular line.
DIXON COSTA: Oh, interesting.
SCHILTZ: Yeah. It was originally published for any treble, but mostly flute players buy it. But there are 12 sonatas in two volumes. It’s a Barenreiter
DIXON COSTA: Oh, OK. Alright. I know the Fantasias, but I don’t know the other one.
SCHILTZ: The Methodicals are good, because sometimes he’ll repeat the same phrase two or three times within the slow movement, and each time, show you a different method of ornamentation.
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DIXON COSTA: Oh, that’s great. I’ll definitely check that out.
SCHILTZ: Yeah. It’s really good to have. After all, he was considered a superior composer to Bach in his own time. And, if someone like Telemann tells you what is a fitting ornament, then you’d better believe it!
DIXON COSTA: Right. No Kidding. So you’ve been into early music since the 70s.
SCHILTZ: Um hmm.
DIXON COSTA: OK. Have you ever gotten to play chamber music with your wife? Does she play chamber music?
SCHILTZ: Well, yes. Of course, she does mostly orchestral things, since she’s a bass player. So there’s not a lot of chamber music. But we’ve done Michael Hayden Quartet for English Horn and Strings. We’ve done Prokofiev Quintet . . . things of that sort. But the amount of material that’s available for string bass and oboe is limited.
DIXON COSTA: I know – very limited. I was just curious. That’s how I met my husband – playing in a woodwind quintet.
SCHILTZ: OK.
DIXON COSTA: OK. Do you mind if we talk about auditions?
SCHILTZ: Not at all!
DIXON COSTA: OK. So, I would imagine that you’ve been on a million audition committees.
SCHILTZ: Oh yeah, for 25 or 30 years.
DIXON COSTA: Can you explain what the committee is looking for in a candidate?
SCHILTZ: Perfection.
DIXON COSTA:
SCHILTZ: It’s one of those things that, when you get an orchestra that’s at the level of the CSO, almost everybody can play the notes, almost everybody can play most of the standard literature quite adequately. And so you look for a whole lot more than adequate. You look for something in addition to perfection – or, not perfection, but good rhythm, good pitch, a good tone – you look for somebody who has star quality. And, there are plenty of people who can play the notes. But there are only a limited number who can affect you above and beyond the run of the mill. So, you know, you can tell, usually, within about the first 16 bars whether this is somebody worth listening to, or whether you’re going to go back to your crossword puzzle.
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DIXON COSTA:
SCHILTZ: Well, some do, some don’t.
DIXON COSTA:
SCHILTZ: There are some god-awful players who just sort of slipped in there by mistake . . . . And what do you do? I mean, it’s a mercy killing.
DIXON COSTA: Right.
SCHILTZ: And, we take everybody who comes down the pike. Some orchestras don’t do that. And, if we had a strong selection process, then we might be bored a little – well, we certainly would have shorter auditions. I’ve listened to 125 tuba players!
DIXON COSTA: Uhg. Geez.
SCHILTZ: And we sent 124 of them home.
DIXON COSTA: Yeah. Right. And sometimes you send 125 of them home.
SCHILTZ: Oh yeah. Sure. We’ve done that often too. After all, it took three rounds of English horn playing, and we still didn’t take anybody.
DIXON COSTA: Right. Piccolo, too, I think.
SCHILTZ: And three rounds of clarinet, and we still haven’t found anyone to replace Larry Combs yet – and we had a long arduous process picking a new first trumpet.
DIXON COSTA: And weren’t there two years between Ray Still and Alex Klein?
SCHILTZ: Yeah.
DIXON COSTA: So you just played with . . .
SCHILTZ: Michael subbed and was acting principal, and the rest of us just sort of sucked it up and filled in.
DIXON COSTA: Oh. So you didn’t have many new people coming in to try it out, like . . .
SCHILTZ: We had some try -- to play with the orchestra for a period. But we didn’t do like Boston and have guest oboists every week for three years, or whatever it was.
DIXON COSTA: That’s crazy!
SCHILTZ: Right! We did most of that at Ravinia during the summers. We had, Liang Wang, and we had Frank Rosenwein, and we had Ariana Ghez. Most of the name players.
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DIXON COSTA: Right. Alright. That sounds interesting. So, is there anything that you have found lacking in the auditions of most candidates?
SCHILTZ: Well, the thing that’s missing is kind of indefinable. It’s a certain star quality. You know, when Alex played, you heard it.
DIXON COSTA: Right.
SCHILTZ: And also when David McGill played, you knew that, hey, here’s somebody who had the whole package, and then some. And you wanted to hear more, not less.
DIXON COSTA: So it’s just that sparkle . . . .
SCHILTZ: Yeah it’s something . . . it’s as though you’re changing from a black and white television set to a color set.
DIXON COSTA: Is it like . . . can you hear a command of confidence?
SCHILTZ: Oh sure. And it’s like this person knows what he’s going to do on every note. Some people just play it like it’s a phone book. It’s all correct and, like that, but it says nothing more than a recitation, rather than the feeling that this person is on fire inside. This person has more feeling for what the phrase is supposed to say than what somebody else does.
DIXON COSTA: Right.
SCHILTZ: And talent is just so hard to define, it’s like the Supreme Court said about obscenity – you know it when you see it.
DIXON COSTA: Right. How about when a candidate comes and when he warms up before he plays? Do you have any opinion about how a person does their little warm-up? Because some people do.
SCHILTZ: Well, you know, everybody gets a chance to play a little bit because the feeling of the stage is a different from the room where you’ve been warming up. You’d like to have an idea about . . . maybe if it’s an oboist, he might want to see – if he has two reeds that are a little bit different – he might have a chance to play the reed that he is playing, and maybe decide whether this is the better reed for the audition, or if he should switch to a different one. A brass player would probably not switch mouth pieces, and a string player probably wouldn’t switch bows, but, for the reed players, I think that does make a little bit of a difference.
Now I know there’s a case in which this English horn player . . . he was purported to have switched bocals and switched reeds all through the audition.
DIXON COSTA: Oh, geez
SCHILTZ: I don’t know. I think better the devil you know than the devil you don’t know.
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DIXON COSTA: Right.
SCHILTZ: But, no, we don’t want anybody to play a concerto, but at the same time, we usually say, “Play a few notes if you like, to warm up, or to get the feeling of the hall, and the way the reed feels out there, and then, go at it.”
DIXON COSTA: OK. So, in addition to doing crossword puzzles, are there other sections in the orchestra – other instrumentalists who are on the audition committee who are listening for anything different? Is a string player listening for something different than a percussionist?
SCHILTZ: Oh, let’s see. Well, certainly, most of the string players have perfect pitch, and so they’re very, very conscious of intonation.
DIXON COSTA: I was wondering about that.
SCHILTZ: Whereas the percussionists aren’t especially attuned to that. So each person brings his or her own prejudices and delights to the audition. Of course, as double-reed players, we have a more intimate insight into what’s going on. I mean, for example, you listen to some oboe player play and you think, boy his F-sharps are a little dull, or those C-sharps are awfully iffy, or, like that. And so, you approach it, critically, more differently from what a string player would. It’s just that we know more of the problems. And I think part of what we base our selection on is how good this player solves the problems. Like, it’s so hard to get a match up and down the instrument between a D-flat and a C-natural. OK – so you’d better be a pretty good reed-maker, or else that C-natural is going to sound much brighter and much thinner than the D-flat. So, OK, how has this player solved the problem? Now, that wouldn’t be something that a string player would be especially conscious of, or, a trombone player.
DIXON COSTA: Right. Right.
SCHILTZ: So, we listen with different ears. But, I think we all recognize good musicianship when we hear it. And sometimes they’re willing to let the vote be swayed by, say, a preponderance of double-reed players at an oboe or a bassoon audition. Or they might be asking questions, like, is this common or is this something I should worry about, or, is this something that is typical of all oboists? You know, they want information. They don’t necessarily want your opinion, but it might change their vote from a minus to a plus. But we try to, for every audition, get a majority of players from that family. If not all oboists, at least the majority wind players.
DIXON COSTA: Oh -- on the committee. How big is your committee?
SCHILTZ: Nine. And we have to pass a player to finals with six votes.
DIXON COSTA: OK. And then the Music Director comes in for the finals?
SCHILTZ: Yes. Right. He’s not allowed to select anybody who hasn’t got six votes. And he doesn’t have to take anybody if he doesn’t want them, even if they have six votes.
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DIXON COSTA: So, do you have any advice for English hornists that are in the audition trenches now – other than the things you’ve already talked about?
SCHILTZ: Of course, our position’s taken now – Scott’s got it. So that’s that. But – know your material so thoroughly that, if you’re asked to play it from memory, you can. That’s the only way that I feel that you’ve got command of that material. You’re not going to be playing as though you’re sight reading. If you don’t know what the next note is going to be – you’re not ready for the job. And if you can’t play New World from memory, if you can’t play Roman Carnival from memory, if you can’t play most of the common literature from memory, you just haven’t studied hard enough.
DIXON COSTA: Right – you’re in trouble.
SCHILTZ: It has to be so ingrained in you – I tell my students, look, if I were to wake you at two in the morning, and hand you an oboe, and say play me the Brahms Violin Concerto solo, you can. That’s almost the way it has to be. You know – there’s no guess work involved, because, like I said before, almost everybody’s going to play the notes, at the CSO level, almost everybody’s going to play pretty well in tune, and, many of these people have done five and ten auditions before this. And so, just – thorough, thorough preparation. And a knowledge of what you’re going to do with every note. And there’s no time to wait for the lightning to strike. It just can’t happen. While you’re waiting for the lightning to strike – practice.
DIXON COSTA:
SCHILTZ: Yeah.
DIXON COSTA: And are you still playing on a Philip Ross bocal?
SCHILTZ: Yeah, I am. I like it very much.
DIXON COSTA: Is it one of the early ones that he made?
SCHILTZ: I think – yeah. I’ve had it for at least five or six years.
DIXON COSTA: OK. You know, after I met with you, I called him up and tried one. And I found a gold one that I really like. The tonguing in the low register is much easier than the other one I was using. And the pitch is a lot better. So . . . thanks for that.
SCHILTZ: Good! You know . . . you shop all your life for better equipment.
DIXON COSTA: Right. I’m always looking for a little more sparkle.
SCHILTZ: If one thing works better than something else, it’s worth picking up. I felt, for example, when I switched to the Fox, it probably extended my career, because it made some things that were a little bit problematic on the Loree, a little easier on the Fox.
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DIXON COSTA: Like low tonguing?
SCHILTZ: Low register tonguing, for example, because it’s freer. And I just felt a lot safer in soft low register attacks.
DIXON COSTA: Interesting.
SCHILTZ: We just bought one for Northwestern, and we bought the plastic top joint, because that’s where most of the problems occur, and with a university instrument, it gets handed from person to person throughout the year, and, so, it’s much more goof- proof. So, if you get a chance sometime, do take a turn at playing one – you know, if you’re at a convention or a meeting or something like that, or you know somebody else who’s got one, it’s worth a tweet.
DIXON COSTA: OK. Well, certainly, I will. Do you remember the suggestions that you had for tuning?
SCHILTZ: Well, the first one I had didn’t have a third octave key for one thing, and it’s pretty essential for English horn. Anything above E-flat is no-no land if you don’t have a third octave key.
DIXON COSTA: Right.
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Schiltz-Dixon Costa Phone Interview, April 23, 2009, Part 2
DIXON COSTA: Okay, so we were talking about a third octave key—that’s the last thing I heard you say.
SCHILTZ: Hmm Hmm, and just a few tuning things –very small things. But the instruments just felt so right, that not much of anything had to be done.
DIXON COSTA: Well, that’s great. Okay, so everybody’s going to want to know what kind of shape you use and all that stuff so . . .
SCHILTZ: I use Falstaff . . .
DIXON COSTA: Okay, Falstaff shape—that’s a pretty wide shape isn’t it?
SCHILTZ: Yeah, but I think a lot depends on what bocal you use it with and what the pitch of your instrument is.
DIXON COSTA: Yes, I mean I’ve heard great things about it. Do you use that exclusively? Pretty much?
SCHILTZ: Pretty much, yeah.
DIXON COSTA: You don’t like to mess around with what works . . . .
SCHILTZ: Well, I have a couple others but that’s my fall back.
DIXON COSTA: How about a gouger?
SCHILTZ: Let’s see . . . I have two English horn gougers. I have a Graf and I also have one that was built by Bill Lym a west coast oboe maker and mechanic. He was active on the west coast in the Los Angeles area back in the 50s.
DIXON COSTA: Okay, how about a knife?
SCHILTZ: I don’t usually use commercial knives. I buy straight razors.
DIXON COSTA: Oh, okay.
SCHILTZ: And so I haunt junk shops and flea markets and I find old straight razors and mount them in handles and usually I look for double hollow grounds.
DIXON COSTA: Okay, how about practicing? Do you have a daily warm-up that you do?
SCHILTZ: I almost always do scales, scales in thirds. If I have something difficult technically, I usually sort of make up exercises around it . . . and it depends on what’s
219 coming up - if it’s in the off season I may just go through and review a number of Ferlings or Brod or something like that. Or the 16 Grand Etudes.
DIXON COSTA: So you are creative about it. It’s as things come up, it’s not a set thing that you go through every day?
SCHILTZ: Oh sure.
DIXON COSTA: Okay.
SCHILTZ: Somebody - I may have told you this anecdote - somebody once asked Dale Clevanger, our principal horn, how he warmed up and he said “Warm up? I never cool down!”
DIXON COSTA: Wow. And I was wondering, as an English horn player myself, you do have to play oboe and English horn. How do you balance your work on both of those instruments? Is that, again, as things come up you spend more time on one than . . . ?
SCHILTZ: Oh sure, right. Of course since I’m teaching mostly oboe now—English horn doesn’t figure in quite as prominently . . . except during the school year I teach a class on English horn that runs for the full quarter. So we go through the excerpts and talk about bocals and reed making and that sort of thing, too. Even through the school year kids are assigned to play English horn and they have a problem or they want some coaching on solos - things like that, why, I’m always available to help them or work with them.
DIXON COSTA: When you were in the orchestra and had a heavy English horn week, would you go the week without playing oboe at all? I mean some people think that messes up their English horn playing and some people think you have to have both of them going at the same time.
SCHILTZ: I never had a lot of trouble going back and forth because, of course, I played in the octet and did the woodwind quintet and there were school ensembles too . . . there were times when I was playing as many as four different instruments. Perhaps playing an oboe d’amore concerto with one of the local civic orchestras and then playing English horn in the orchestra and then playing baroque oboe with Fiori Musicali . . . there was one time that I was making reeds for five different instruments.
DIXON COSTA: Okay, so that part was easy for you?
SCHILTZ: Yeah, I never had special problems with it.
DIXON COSTA: Okay, well that’s neat. So, I’m assuming then - your practicing – is it the same when you go on tour?
SCHILTZ: Well it depends on what the schedule is . . . .
DIXON COSTA: You may have less time on tour . . . .
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SCHILTZ: Oh, yeah . . . there’s times when you just really can’t do anything except travel, check into your hotel, get a bite to eat and go over to the hall.
DIXON COSTA: Right.
SCHILTZ: So you just rely on the past year’s worth.
DIXON COSTA: Okay, it just depends on the schedule. How did you organize your time and reed making when you were in the orchestra? Now, I know that you said when you were playing assistant principal you could often go a month without playing in the orchestra—but certainly that wasn’t the case later on.
SCHILTZ: Well, it depends on how much the conductors that came in wanted doubling. When I was playing assistant principal often times almost anything that called for more players than a Mozart or Haydn symphony, they would ask for doubles. For Brahms symphonies, for Beethoven symphonies, for Bruckner symphonies, Schumann, Schubert –they would ask for doubles. So you spent a lot of time on stage even though you weren’t playing any of the solos—you were just playing tutti’s.
DIXON COSTA: Hm, fun!
SCHILTZ: It got pretty boring sometimes, especially on Friday afternoon in the slow movement of the Bruckner 8.
DIXON COSTA: Right. About your practicing and reed making time, where you pretty organic about that as well? You just did it as it came up?
SCHILTZ: Yeah, you always keep reeds coming, and of course with English horn, it depends on the literature as to how frantic you could get about reeds. If you’re going to play Tristan, it would call for one kind of reed if you were going to play something as simple as Roman Carnival—you didn’t worry about the endurance qualities for example of the reed, so you always had a pretty good selection of reeds on hand and kept trying to better what you already had with - in the case of the solo that was upcoming. Many times I would stay downtown for an afternoon - we would have a morning rehearsal and then an early evening concert, so I would stay downtown, maybe teach a student and then work on reeds for the rest of the afternoon.
DIXON COSTA: Well, that makes sense—because they always play differently in the hall than they do at home, don’t they?
SCHILTZ: I almost never finished a reed at home. How it plays in the hall is what is important. Sometimes I’d get on stage an hour early before the hall opened so I could really hear what they were like.
DIXON COSTA: That makes sense. Now, Tony thought this was a weird question, but I always like to ask people this . . . . Do you like to practice?
SCHILTZ: Parts of it, yes.
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DIXON COSTA: What I mean by that is some people don’t like to practice and they just like the performing. But some people really like the whole learning aspect of practicing and I’m assuming here that everything is going okay—because obviously we don’t like to practice when things are horrible.
SCHILTZ: Well, there’s some things which, no matter how much you practice, they’re never going to be as comfortable as what you would like. And you always have a few bugaboos—things that, uh, you know, I’ve heard a lot of oboe players fall all over themselves playing the Ravel G Major Piano Concerto – you know the chromatic episode in the first movement?
DIXON COSTA: Oh right, sure.
SCHILTZ: I think almost everybody has that little solo that brings them upright in their bed in the middle of the night. Yeah, there’s some things you just have to keep practicing because you know that if you don’t, it’s going to backslide. You know, you keep your tonguing and your articulation as clean as possible – you keep your intervals as clean as possible—the mechanical parts about it are like housekeeping – you know when dust is falling here, you are dusting over there, and the dust is falling wherever you haven’t dusted and you’ve got to go back again and again and again and its never over. And it’s that way until the last day you play your instrument – you’re just going to have to grind out certain aspects of performance on the instrument. So you may not look forward to it, but you know you have to do it. But as far as practicing sonatas and practicing solo materials, certainly I found that to be enjoyable.
DIXON COSTA: Okay, alright. And do you have any concert day rituals? Recital day rituals? Things you normally do to help get yourself in the frame of mind . . . .
SCHILTZ: I try to get a nap in the afternoon. And I often - I don’t eat very close to concert time. Because I usually get very sleepy after I eat.
DIXON COSTA: Ah.
SCHILTZ: And if I have an eight o’clock concert, I’d rather eat around five. And that way I’ve gone through my period of lethargy and may be on the way back up.
DIXON COSTA: And you get to the hall early?
SCHILTZ: I usually do get to the hall early. I know some people who just walk in and walk on stage but I just can’t do that.
DIXON COSTA: Okay.
SCHILTZ: I sort have to get in the mood.
DIXON COSTA: Yeah, I do too. Okay, can we talk about reeds?
SCHILTZ: Must we?
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DIXON COSTA: So, who do you think was your most influential reed person in your life?
SCHILTZ: Well the person who taught me the basics was Bob Mayer. He was very insistent right from the very start. As soon as you started studying with him – your second or third lesson you were out to his house for a day of reed making and you learned the basics. From then on, you were expected to bring in a reed for him to look at every week.
DIXON COSTA: Has your style stayed pretty much true to his view of what a reed should look like?
SCHILTZ: No, not at all. He was old school French short scrape. He had studied with an oboist named Alexander Duvoir who was principal oboe in the Minneapolis Symphony. And strictly old school . . . .
DIXON COSTA: So, where did you learn to do the long scrape?
SCHILTZ: Well, when I was in college.
DIXON COSTA: Okay.
SCHILTZ: And even at that I didn’t have a lot of help from my university instructor who was Lare Wardrop. Lare made reeds in a very unorthodox way and, not only that, but he had almost no skills at fixing student reeds.
DIXON COSTA: Really?
SCHILTZ: No.
DIXON COSTA: That’s unfortunate.
SCHILTZ: Yes it is. But it made me a lot more self-reliant a lot more quickly.
DIXON COSTA: So really - trial by fire?
SCHILTZ: Yeah, basically so. When visiting oboists would come to town I would try and get a lesson or some help from them – Jack Holmes from the Boston Symphony helped me – Boston used to come for two concerts every year—so they were free during the day between concerts. And a couple times I got in touch with Jack and we got together and I picked his brains about how he made reeds. He had studied with Sprenkle and so he was more into long scrape. Also, we had a music literature professor whose name was Theodore Heger, and his son Ted Heger was an oboist who studied with Tabuteau at Curtis. He was there at the same time I was at the University of Michigan – he was at Curtis, so young Ted would come home and tell his dad what Tabuteau had taught him about reed making and so Ted senior, who was also an amateur oboe player invited me to his house one day and showed me what young Ted had told him about the Tabuteau scrape and pattern.
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DIXON COSTA: Okay.
SCHILTZ: And so I picked that up. And then I got some help from Ralph Gomberg when I was a student at Tanglewood.
DIXON COSTA: Okay, alright, so you just kind of got it from here and there but Bob Mayer was the one who introduced you to being independent . . . .
SCHILTZ: . . . Basically taught me the rudiments, yeah, the rudiments and forced me to make reeds that were good enough to bring in and play at a lesson.
DIXON COSTA: Okay, I did wonder when Ray Still retired and Alex Klein came in, did you have to change your reeds or your instruments to have the same good blend in the orchestra? Did that . . .
SCHILTZ: No.
DIXON COSTA: Okay—what I mean by that is that some players . . . I know in the clarinet world if the principal player switches to a Selmer, then the other players have to switch to a Selmer. You know what I mean?
SCHILTZ: Yeah, I know what you mean but, uh . . .
DIXON COSTA: . . . Obviously you are all amazing . . . .
SCHILTZ: Alex played a Loree with a low A and that meant it had somewhat of a different sound than a normal AK oboe or a Royal – and he played the way he wanted to play and he didn’t care what you did as long as the ensemble was good and the intonation was good, and, like that. He never forced me to do anything other than what I was doing. But at the same time, I think, when the second position came open he got pretty fussy about who got into the finals. There was a girl from . . . and he told her, he said, look if you get the job, you are going to have to totally change the way you play. And then he left . . . so, what’s a mother to do?
DIXON COSTA: Right. Was he talking about the sound then, I guess?
SCHILTZ: I haven’t any idea what he was talking about—of course, he has a unique sound and I don’t know that everybody can get there from here. It’s partly in his reeds and part in the way he blows and its part in the equipment. But, it’s hard to describe. It’s rather a covered sound but it has rather a hard quality to it. It’s not the covered sound you would get from a Mack for example which has thickness to the sound.
DIXON COSTA: But you, yourself, didn’t have any trouble when he came in?
SCHILTZ: No, I just told him – well, if he ever said anything—I just told him to kiss off.
DIXON COSTA:
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SCHILTZ: I was a lot older than he was - you bet ya
DIXON COSTA: Oh, I love that.
SCHILTZ: And he put up with it.
DIXON COSTA: Oh, that’s great. So, who do you think was your most influential teacher?
SCHILTZ: Again it wasn’t one teacher; there were different teachers who were strongly influential for different things. Mayer was a terrific technician, and by the time I was sixteen I had been all the way through Barret and Ferling and I was starting on Bruyant. And he pushed me hard every week. And even at that I only had half-hour lessons.
DIXON COSTA: Yeah, that amazes me.
SCHILTZ: We had to get through a lot in a half-hour.
DIXON COSTA: And so when you went to college, your teacher there was more interested in golf and coffee?
SCHILTZ: And drinking. And finding new wives.
DIXON COSTA: You wouldn’t say that he was very influential then . . . .
SCHILTZ: Uh, no. He had some good musical ideas but at the same time he was he was quite a nervous player . . . he eventually just dropped out of the orchestra and embarked on a whole new career as a photographer.
DIXON COSTA: Interesting.
SCHILTZ: Plus, I think I’d been hearing about Tabuteau since I was 14 years old and so when I finally got to have a few lessons with him, I was already in fear and trembling and had heard so much about him and about how he taught and his demeanor and all that sort of thing and even before I went to see him or play for him I did some preparatory get-togethers with Wayne Rapier who was in the Marine Band at the time in Washington and who had been studying with Tabuteau privately for a couple of years.
DIXON COSTA: And so he kind of - let me get this straight - so Tabuteau was Tabuteau and you learned all the wonderful things he does with expression and all that kind of stuff? But Wayne had been studying with him and kind of gave you an in . . .
SCHILTZ: Yeah, and he sort of prepared me for what Tabuteau was going to put me through.
DIXON COSTA: Alright. Okay.
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SCHILTZ: And, of course, I don’t think anybody who’s ever had contact with Tabuteau will forget him.
DIXON COSTA: His personality you mean?
SCHILTZ: Yeah, well he was larger than life. It was just the sort of thing that he over powered you.
DIXON COSTA: Plus, I mean myths were formed around him so, of course, like you said, you had to approach him with fear and trembling, I’m sure.
SCHILTZ: Yeah—you know you would play something and he would say “Don’t be an idiot. Don’t be a damn fool. Play it like this.” And then he would play it and it would just fill the room.
DIXON COSTA: Wow, well at least he had the goods to back it up – right?
SCHILTZ: Oh yeah, he could put his money where his mouth was. Yeah it was - he would . . . he loved to show off—he just loved it.
DIXON COSTA: Oh, did he?
SCHILTZ: Oh, yeah. He was great. He knew it and it was sort of like Heifitz.
DIXON COSTA: How did he show off, with, you know, fast technical stuff or –
SCHILTZ: Well, he could play anything that he needed to and, of course, it was in his last year and he was a little arthritic, so one or two of his intervals maybe weren’t quite as clean as they should have been—but he still had the breath control, he still had the wonderful attacks, he still had incredible dynamic range. It was - and this great vibrant live sound all the way through his dynamic range and all the registers of the instrument.
DIXON COSTA: Oh that’s neat. I would have loved to have heard him in person.
SCHILTZ: He was hard on himself, and because he was, he felt he could be hard on his students.
DIXON COSTA: Right. So, about you as a teacher . . . why is it important for you to teach? Is it something you like to do or something you just feel a responsibility to do for the next generation?
SCHILTZ: Well, some of both. I mean there is - you get a real feeling of reward when one of your kids does well and goes on into the profession. Those of us who – well, in the first place I think English horn players don’t get some of the oboe students that aspire to be first oboists. Usually, most young oboe students think, “Well I have to go study with a first oboist.” So, I think more people were drawn to Mack from that standpoint then were ever drawn to Harvey McGuire or to Felix. I think those who have professional aspirations go in that direction. So it means that you may have more
226 mediocre people to work with. And it’s harder and harder to get those kinds of players up to the point where they can compete with say the best of Curtis or the best of Juilliard or the best of Eastman.
DIXON COSTA: Hmm, okay . . . I see.
SCHILTZ: And most of the state schools are competing with those conservatory schools like Indiana, Oberlin, Juilliard, Eastman. And God knows, there are more than enough oboe players who come out of just those four schools to repopulate the orchestras four to five times over. But what I try to do is, I try to work to get them, number one, to understand the difficulty of the problem – of competing with those people and what they have to do in order to be able to compete. If they want to be a professional they have to be not the best in their class or the best in the Chicago, or the best in Illinois. They have to be one of the best in the country. So, they really have to know where they are in relationship to the other players, and they have to be realistic about what they need to get there. I usually tell them, look while you are resting, someone else is practicing for another hour.
DIXON COSTA: Right, right.
SCHILTZ: They have to have a good work ethic and I try very hard to build that work ethic into them. To show them what it takes to become a good player and to show them what’s expected of them in a professional engagement. So, if you do anything less than that you aren’t really doing right for them.
DIXON COSTA: So in a sense, the students that come to college as a performance major - it should almost be like a tech school where you are teaching them how to get the job.
SCHILTZ: Well yeah, but it’s also showing them what they need both artistically and technically. One without the other is hopeless.
DIXON COSTA: Oh no, I actually just meant that it’s not so much education for the sake of education – it’s education for the purpose of getting a job.
SCHILTZ: Well yeah, music schools are more like trade schools anymore.
DIXON COSTA: Yeah, that’s what I meant - trade schools.
SCHILTZ: It’s not a university education; it’s a music school education. But it depends, to a certain aspect, on what the student wants to do. At a university, there are a number of courses that they can choose. They might want to be a musicologist, they might want to be a music educator, they might want to be a composer. So I have to know what their motivation is and what their aspirations are so that I can point them in the right direction. If I have a music education student, I think probably what I’m going to be more interested in doing is teaching them the mechanics of teaching. Rather than, okay, let’s hear Le Tombeau De Couperin. Also, I feel a responsibility by the time they get to be, say, at the
227 end of their sophomore year, if they haven’t got a prayer – let’s think about plan B. You have to be – it’s sort of like you have to be cruel to be kind . . . .
DIXON COSTA: I see. I see.
SCHILTZ: Yeah, and I was teaching at Circle Campus at the University of Illinois campus in Chicago. I had a student that I tried to work with for two years and I finally said to the head of the department, I said, “If she comes back . . . I’m not.”
DIXON COSTA: Oh, wow.
SCHILTZ: And she came back and I was not.
DIXON COSTA: Wow, okay.
SCHILTZ: I was too depressed. She was the only student I had there.
DIXON COSTA: Well, that makes sense then.
SCHILTZ: Yeah, and she wasn’t trying, she didn’t improve. She had such a lethargic attitude that I felt there just was no point to it.
DIXON COSTA: So where are you teaching now?
SCHILTZ: At Roosevelt University and at Northwestern.
DIXON COSTA: But you have also taught at Circle campus? And anywhere else?
SCHILTZ: Umm . . . that’s pretty much it. I coached Civic orchestra.
DIXON COSTA: Oh, Civic Orchestra.
SCHILTZ: Yeah, for a number of years.
DIXON COSTA: Right, okay, and how did you get those jobs? Was it your reputation and affiliation with the orchestra? Did they call you and say, will you please come and teach here?
SCHILTZ: Yeah, well, Roosevelt decided they were going to try and - they created a new department - The Chicago Department of Performing Arts - within Roosevelt University. And they were determined to make this a professional grade conservatory. They wanted to certainly get some high profile marquee type names to help attract students and so Alex taught there and now Eugene Izotov also has a student there so it puts their name on the mast head.
DIXON COSTA: Sure.
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SCHILTZ: And I’ve taught at Northwestern, I think, three times on and off. And again, they wanted professional names to help attract students. It’s unfortunate that that is not always indicative of the quality of the teacher but it does help, I think, to attract people – because there is a lot of competition among the schools for talent and we’re finding that some of these kids are shopping—some are auditioning at five and six schools. So we may find that we are competing with Eastman and Oberlin and Indiana for a student, and then they shop scholarships.
DIXON COSTA: Right, right, I know all about that stuff. So, I have a feeling I know how you are going to answer this question . . . but, how do you view the career opportunities for aspiring oboists today?
SCHILTZ: Well, they’re not as good as they were. And the fact that the schools are – or that orchestras are retrenching, shortening seasons, failing - Brooklyn Philharmonic has canceled its next season—and you know about Columbus.
DIXON COSTA: Yes, I do.
SCHILTZ: And many orchestras are in trouble. Some orchestras, when players retire, they are not replacing them. So, it’s a - I don’t know. Unless I get some real hot-shot, I just wonder if it is not wiser for them to think about a double major so that they have a plan B. I have one student who is graduating from Northwestern this spring and she is looking for a summer job and she can’t even find anything of a clerical nature—just the dog work!
DIXON COSTA: It’s hard.
SCHILTZ: Yeah, and you don’t want to hold out false hopes—because otherwise these people are liable to have gone through four years that they could have been spending more productively at something else. Sometimes it’s difficult because, after all, they’re hiring you to teach the instrument. You have to think about - you don’t want to be unfaithful to the school—because, after all, the school hired you. But at the same time, you also don’t want to be unfaithful to the student. So it puts you on the horns of a dilemma. What I try to do is state things as factually as they are and then let the student make up his mind or her mind.
DIXON COSTA: Yeah, that’s very admirable I think. And then - what do you think about English horn majors? I know that you studied oboe and you became an English horn player as well just because it kind of happened. But, now there are people majoring in English horn and just specializing in that and don’t take oboe auditions, etc, etc.
SCHILTZ: Well, there are a lot fewer openings. As far as I know, there was only San Diego this year. I don’t know of much of anything else. So there’s been four or five oboe openings . . . and once the English horn positions have been filled with younger players, it’s going to be a long time before the position evolves.
DIXON COSTA: Right, right. So you think that that is kind of a limiting thing . . . .
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SCHILTZ: I think it’s a limiting factor, sure. I know Stacy, for example, was an English horn major but I think that he was the only one at Eastman who was deciding to be an English horn major - and things certainly worked out for him. Of course that was, what, forty years ago?
DIXON COSTA: True, true.
SCHILTZ: But, it used to be that if a player heard about an English horn audition—he’d borrow an English horn, make a reed, and, if he got the job, then he’d buy an English horn.
DIXON COSTA: Mm hm.
SCHILTZ: Larry Thorstenberg, my predecessor in the CSO—he came—he joined the CSO as assistant principal also. He was principal in Dallas and then in Chicago as assistant to Ray and when Bob Mayer left the orchestra, Larry moved to the English horn chair.
DIXON COSTA: Interesting.
SCHILTZ: Wally Kujala, our piccolo player for many years joined the CSO as assistant principal. When Ben Gaskins committed suicide, then Wally moved over to piccolo.
DIXON COSTA: Oh, okay, alright.
SCHILTZ: So it happens often that way.
DIXON COSTA: And so a good musician is a good musician.
SCHILTZ: Right.
DIXON COSTA: So then, I wanted to ask you if you have found that students have changed over the years while you’ve been teaching. Like with work ethic or attitude or talent?
SCHILTZ: I think there’s so many more distractions these days. What, with all of the electronics and all the other kind of paraphernalia that is involved with student life, I mean, they have got the Internet, they’ve got iPhones, and iPods and, of course, I think that Northwestern is not a typical career oriented school in the sense that Juilliard or Eastman are. I just don’t think there is the intensity of purpose—because for a long time Northwestern did not have the reputation of a conservatory type school. It was a general music school. So it was almost a given that if you went to Eastman, you were there to pursue a career as a professional musician. I don’t know that the same was true at Northwestern.
DIXON COSTA: Okay, so we have talked about how the career has changed since you began your professional life—so now I just want to get to the last two questions. Where
230 do you see it going? Where do you see the music career going and do you have any advice for the next generation of English horn players?
SCHILTZ: That’s a very broad question and I wish I had my crystal ball wired up. For those who can get to the better orchestras, it’s a wonderful life and a wonderful career— it’s exciting, it’s satisfying and I’m terrifically happy that I was able to be where I was and doing what I did. For example - and it’s different depending on what you’re going after because most of the first oboe jobs have been filled by young players now, and it’s going to mean a long time before there’s a turn over. So it might be twenty years before a decent opening might come along for a principal chair. In the last three years - last four years, it has been a merry-go-round as you know.
DIXON COSTA: Right, right.
SCHILTZ: With so many people retiring, so many people changing jobs . . . look at Liang Wang . . . he had won three jobs in a row.
DIXON COSTA: Yeah, right—amazing.
SCHILTZ: Yeah and unless you’re close to that level of performer, a first oboe job is a mirage almost.
DIXON COSTA: So what do you do? You slug away in the minors and wait your turn or do you go into teaching and put out yet even more oboe players?
SCHILTZ: All of the above.
DIXON COSTA: Yeah, that makes sense.
SCHILTZ: Yeah, because . . .
DIXON COSTA: We already have so many people out there . . . .
SCHILTZ: Well yeah, it’s not as though we have a shortage of oboe players.
DIXON COSTA: Exactly.
SCHILTZ: But, uh, look how John Ferrillo was absolutely devastated by the fact that he had played so many auditions and not gotten anything that he finally quit auditioning for awhile and taught at Illinois-Normal, and then finally he got back and into the MET! And I saw him when he was in Chicago with the MET orchestra and said, “John, you know there is an opening at the CSO. How about coming and blowing a set with us?”
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And he said “No, you know I have played so many auditions and I’ve finally got a good job,” and he said, “I feel very comfortable where I am.” And the next thing I hear he’s in the Boston Symphony!
DIXON COSTA: Well, he changed his mind -
SCHILTZ: And it took him a long time to get there.
DIXON COSTA: Right.
SCHILTZ: Of course, we’ve all known people who have gone to audition and audition and audition and never quite got it.
DIXON COSTA: Never quite got there . . .
SCHILTZ: So what can you say – they go as far as they can and then they try and make a life.
DIXON COSTA: Right, right. Exactly, exactly.
SCHILTZ: And in spite of all your good advice, there’s people that think—hey, it’s worth going. It’s worth doing. You know, for some people it is, and a lot depends on your determination, but, then again, without that special little something—without that talent, you can only go so far.
DIXON COSTA: Yeah, very true.
SCHILTZ: Yeah, you have to be a realist about it.
DIXON COSTA: Yeah, you have to make a living, but if this is something you really, really want to do, then, I don’t know, I think people do it until they’re not happy doing it anymore.
SCHILTZ: Yeah, well sometimes you may find that in order to make a better living you may have to take a job that you didn’t want - like Lora Schaefer. She’s our new second oboist. She’s coming from ten years as principal oboe in Kansas City. But, with all the first jobs filled up, she wanted to make the big time and make the big bucks – so she got a second oboe job. Now she has a chance, with Michael Henoch being around sixty years old, that in the next four or five years, he’s liable to retire. And she can go after that assistant principal job.
DIXON COSTA: Right, right.
SCHILTZ: So, you know, it could be a stepping stone.
DIXON COSTA: Yes, yes. That’s true. And there are some people that actually really like playing second oboe.
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SCHILTZ: Well, I’ve heard of some, yes.
DIXON COSTA: Well, thank you for talking so much about the career and, I’m sorry, did you have something else?
SCHILTZ: No - but if there’s anything more that you want to ask we can have another session or whatever you’d like. I’ll jabber on . . . you talked something about hobbies?
DIXON COSTA: I did and that’s what I wanted to get to. I don’t know you very well, but my impression is that you are pretty darn well rounded. And seem to me to be pretty happy, so - I just wondered what your hobbies were and how you - and again - the last question, how you balance your career with a fulfilling life, because we are not just someone who blows into a piece of wood.
SCHILTZ: Oh yeah. I’ve enjoyed a couple of sidelines. I - certainly for many years we were raising show dogs.
DIXON COSTA: Yes, show dogs . . .
SCHILTZ: Yeah, we raised Dachshunds and we also raised Welsh Corgis and we finished twenty-four champions over the years.
DIXON COSTA: Twenty-four champions – wow.
SCHILTZ: And also . . .
DIXON COSTA: . . . And the rugs . . .
SCHILTZ: Yes, we’re both interested in oriental rugs and, as a matter of fact, we’re about to embark on a trip to Transylvania in the beginning of June to see rugs in Transylvanian churches.
DIXON COSTA: Oh wow. That’s exciting.
SCHILTZ: Yeah—it should be fun.
DIXON COSTA: Because the last time I had talked to you at your house, you had just come back from Istanbul . . .
SCHILTZ: Right, and we just entertained, for the last two days, an important Italian rug dealer and scholar - a fellow by the name of Alberto Boralevi - who has written extensively on oriental rugs and who will be going along with us on this trip to Transylvania.
DIXON COSTA: Oh wow, that’s neat. So you and your wife love to travel then?
SCHILTZ: Yeah, we enjoy it. Well, it’s an opportunity to meet new people, to eat new food and to see new sites and to just top it all off.
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DIXON COSTA: And I read that you also enjoy cooking?
SCHILTZ: Yeah.
DIXON COSTA: So do you do a lot of that these days?
SCHILTZ: Oh yeah, I do all of it.
DIXON COSTA: Oh yeah? What is your specialty?
SCHILTZ: Well, I do lots of different cuisines . . . I like to do Chinese . . . I do a great deal of French cooking, Italian. I try to develop a little facility in a number of cuisines so that it doesn’t get so boring. You know, meatloaf once a week is not going to do it.
DIXON COSTA: Right. So you just like to cook anything that you like to eat.
SCHILTZ: Exactly, right.
DIXON COSTA: Did you study cooking with anyone?
SCHILTZ: No.
DIXON COSTA: Just picked it up with books and . . . ?
SCHILTZ: Yeah, mm hm.
DIXON COSTA: Oh, that’s neat.
SCHILTZ: Yeah, I think that if you approach it right you can learn a great deal from some of the better materials being published today – you don’t necessarily have to go to a cooking class. There are some benefits from hands on, certainly. If I spent three years at the CIA - that’s the Cooking Institute of America. If I spent three years there I’d come out a lot better cook than I am now. Because it would mean a full time hands on - like a university course.
DIXON COSTA: Right.
SCHILTZ: Life’s a little short for that.
DIXON COSTA: Right.
SCHILTZ: So I do as well as I can with the self help and just try to compare what I do with what I eat in a restaurant and see how close I can come.
DIXON COSTA: So, cooking and rugs and dogs . . .
SCHILTZ: And a little photography on the side.
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DIXON COSTA: Oh, photography. Did I read that some of your photographs have been shown in the CSO something - like in the hall?
SCHILTZ: Yes, we had an exhibit of photographs that members of the orchestra had taken while on tour.
DIXON COSTA: Oh, okay.
SCHILTZ: And it was posted on boards in the ballroom and it was up for a couple months showing what interested members of the orchestra and what they wasted their photographic skills on.
DIXON COSTA:
SCHILTZ: No, not anymore—we mostly go digital now.
DIXON COSTA: Oh, okay. But you did before?
SCHILTZ: Oh yeah, well, for black and whites, for slides. But, usually it’s just much easier to have them processed.
DIXON COSTA: Right, okay. So, what’s been your philosophy, so to say, on how to balance your real life with a musical life? I’m not saying that very well. I mean, your other life with your musical life. Have you had to work hard to have your hobbies in your life?
SCHILTZ: Let’s just say that I haven’t been a slave to the English horn.
DIXON COSTA: Okay.
SCHILTZ: You know, a lot depends on your natural abilities. There are those who have to work very hard every day in order to stay up with the needs of the job. And there are those who seem to take it out of the case, play the concert and forget about the instrument until the next concert. I’m neither of those!
DIXON COSTA: Yeah, that’s neat. Do you read fiction or non-fiction?
SCHILTZ: I mostly read non-fiction. My wife reads a lot of fiction.
DIXON COSTA: Really - what do you like? Memoirs or history . . . ?
SCHILTZ: History, mostly. I’m reading a new book on the Crusades right now. And also with the current economic situation, there’s a great deal of literature being published - and also it’s been fascinating to see about dissections of the role that the Bush administration played in world affairs for the last eight years.
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DIXON COSTA: Yeah.
SCHILTZ: So it’s, uh . . . there’s a lot of grist for the mill.
DIXON COSTA: Right, right.
SCHILTZ: So, we enjoy, also, visiting art museums, and so we’ve taken side trips to Indianapolis and other places to visit their museums and we like lots of crafts. So we enjoy going to Washington D.C., for example, to - particularly at holiday time, because, over Christmas and New Years, Congress is not in session and there’s almost nobody in the city.
DIXON COSTA: Right.
SCHILTZ: So you can get into restaurants, you can get into museums and the hotels are very reasonable. So it makes an ideal time to go to Washington. And there’s more than enough to see.
DIXON COSTA: Right, right. Well, like I said, it seems like you have a very well rounded life and I admire that greatly. So, this has been a joy for me to work on this.
SCHILTZ: Oh!
DIXON COSTA: I just want to thank you for all the time that you spent with me and . . .
SCHILTZ: Well, you know, it’s . . . what you really don’t know is what a son-of-a-bitch I am!
DIXON COSTA: Now, none of your former students said that in their comments of you!
SCHILTZ: Well, when you can fake sincerity then you’ve got it made!
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Schiltz-Dixon Costa Interview, June 2007, Day 1
DIXON COSTA: (recording starts in the middle of a conversation about the project) . . . What I did today is, I just started making a list of major pieces for the English horn, and then I cross referenced them with what the orchestra has played, and how many times, and who conducted, and all that kind of stuff. And I was thinking that, that might be a better way to go, because most of what we were getting was more -- obscure pieces. That is interesting, but since my main focus of the project is more on your life than all the obscure pieces that you’ve played in your life . . . SCHILTZ: Philippe Manoury is not likely to show up more than once. DIXON COSTA: Right. Exactly. And it was hard to find the instrumentation for many of those pieces. We were reading program notes, and sometimes they said, and sometimes they didn’t. SCHILTZ: For some of these things also I doubled on harmonica, or . . . DIXON COSTA:
237 were a number of small ensembles – quartets, quintets, playing Bach chorales – not necessarily at the same time or in the same order. And between them were some soloists – a violinist playing Sevcik or something like that, and a trumpet player was playing some Arben Studies. And there was an Indian doing some war chants. So while all this was going on, why the audience was sitting there — Hey Maude, what’s going on here? Let’s go have a drink.
238 for as long as you have. And so I’m interested in your views about how you’ve seen things change over the years. SCHILTZ: Well, the whole audition procedure is much, much more structured and more the same from orchestra to orchestra, by virtue of the fact that ICSOM has come into being. When I first joined the orchestra, ICSOM was not even formed yet. DIXON COSTA: Really? SCHILTZ: Our committee was in the first years of its being and it was a very, very touch- and-go kind of situation because, number 1, we didn’t have any protections built in like we have today. And there was no such thing as tenure. There was no such thing as job protection. There was no such thing as the right of appeal and arbitration in case you were fired. So people were really sticking their necks out in order to participate, and to even have the temerity to go in the face of Petrillo – who was the head of the Chicago Federation of Musicians at the time that I joined the orchestra. I remember once when Bev and I were out on tour with the Boston Pops. We were out on a 12-week tour in really inhuman conditions. We had three days off in three months. And we’d go up to 400 miles a day, and still play two and a half hour concerts. We had programs with two intermissions. And you’d get back on the bus at 8:00, and it’s morning. And on, and on, and on. We felt we’d died and gone to heaven when we finally got to a town like Los Angeles where we could do a few days of run-outs and do our dirty laundry – and it was mighty dirty by then. But the orchestra got so upset about the fact that we had no representation that a little committee got formed, and I don’t know if you knew Dave Zauder, but he was a trumpet player and personnel manager of the Cleveland Orchestra. He was one of the trumpet players on the tour. So he decided that he’d fire off this letter or telegram to Petrillo asking if we could get some representation. And Petrillo sent him back a six word telegram – said, Be grateful you have a job. No recourse -- No nothing. It was just lawless on the road. The only thing we were guaranteed was that we’d be paid, and that was that. We were left to make our own arrangements for hotels, for meals, all that. And we’d get to a town and they’d just open the door and say we’ll see you at 8:00 here tomorrow morning. It was pretty brutal. And, of course, when I got into the CSO, I thought I’d died and gone to heaven. Good heavens, I mean, they bussed your baggage and
239 never got an answer back. And in two of the three years I was in Kansas City, they had auditions and hired a new first oboist. And I never even got a chance to play. So that was the way things were in those days. It depended totally on the personnel manager and whether he even wanted to consider you or not. DIXON COSTA: Wow. More the personnel manager than the music director? SCHILTZ: Oh, the music director probably never got any of that information or material. Of course, I later found out that St. Louis had a real pipeline to Curtis. DIXON COSTA: Oh. SCHILTZ: You know, they just sent whoever graduated that year from Curtis. And it was fairly common practice when Alexander Hilsberg went to the New Orleans Philharmonic in 1952, he took the whole graduating class from Curtis – John Mack, Harriet Edwards, Paul Schaller played clarinet in that group, Otto Eifert was the bassoonist, Ned Meredith was the trombone, Gil Johnson played trumpet. He just raided the senior class -- just about everybody of any importance in the old orchestra . . . . Could be done in those days. I mean, Reiner used to fire routinely 10 or 15 players a year. Stokowski was heard to say, Well, musicians are like birds. They don’t like to perch anywhere for too long. So – yeah, it was a very chancy thing. DIXON COSTA: Things have changed a lot, since now there’s a huge process to go through to get a tenured musician out of the orchestra. Wow. SCHILTZ: Yeah. But Frank Crisafulli, who was our principal trombone player for many years, screwed up on Bolero. And he got demoted to second trombone just immediately. There was no mercy shown in those days. And players almost didn’t expect it. It was just one of those things – you took your chances. But the orchestra and the members ran scared all the time, because there was no job security. And, even at that, if you put in your 30 years, there was no guarantee of a decent pension. I mean your pension was $900 a year, and they could take it away any time they wanted to. They fired Emil Eck our piccolo player at 29 years and 6 months, so he wasn’t entitled to a dime of pension. It happened routinely. But during the days when the committee was being formed, there were a number of players in the orchestra who felt that it wasn’t our place to form a committee. And I recall some of our outstanding principal players getting up and saying, Look, the committee didn’t hire me. The union didn’t hire me. The conductor hired me. I’m with the conductor. And we’d almost have fist fights. And yet, at the end of the day, after the meeting was over, we’d have to go up on stage and act as if nothing happened, because Reiner didn’t care. All he cared about was how you sounded, and how you played. So some of the hot heads that were on the edge of a fist fight just had to act as if nothing had ever happened. But eventually, when the auditions started to get better -- when we started to get a lengthened season -- when we started to get paid vacations -- when we started to get health care -- then all of a sudden, Hey – maybe this isn’t so bad after all. And some of those who were ardently anti-committee, all of a sudden decided, Well – maybe I’ll join on after all. So . . . COSTA: So what year was the committee formed?
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SCHILTZ: Well, it started up about a year or two before I joined the orchestra – about 1958. DIXON COSTA: Were you involved? SCHILTZ: I was involved in the earlier years, in 1961 or 62 when the orchestra was growing. I was secretary of the committee, and was active in the committee. DIXON COSTA: So that’s something you always thought was important? SCHILTZ: Sure. I didn’t have as much to lose as some of the other people. After all, some of the others had children in college. They had heavy expenses. And we had no healthcare then. And so it meant that we were heavily dependent on our salary, or else carrying private health insurance. So it was very touchy. And, as I said, there was no such thing as tenure. Six weeks’ notice was all it took to say ‘Bye-bye.’ DIXON COSTA: Wow! I’m totally getting out of chronological order here, but I’m interested in what you’re saying. Do you have any idea about how the access to benefits compared in the orchestra to other jobs in the country? I mean, was it pretty normal not to have healthcare, or . . . SCHILTZ: Well, in some of the strong unionized industries -- the auto workers and some of the others -- they early on got healthcare. And some of them even threw in retirement -- which we don’t have. And it’s one of those things that’s burdening the auto industry today because of this incredible fixed cost that they can’t do anything about, because they guaranteed it in the contracts. So they’re trying to work their way out from under. And it’s a real burden. But I think it depended on the individual industry. Some industries tend to be much more paternalistic, and tended to be much more interested in the welfare of the employees. So I just don’t know how we related to the rest of the industries. You mentioned you wanted more biographical material? DIXON COSTA: Well – yes. SCHILTZ: We might as well start from there. OK – Well, I grew up in Aurora IL. Center School was my grade school. The first exposure to music was when a group of kids from the East High School band came over and did some demos. They played their instruments, and, sort of in a sense, recruited for the grade school band. The band didn’t exist within school hours. We had to meet before school started. And the school’s geography teacher, who was a trombone player, conducted the band and was my first exposure to music. I started out on a clarinet, but they needed an oboe more than they needed clarinets. And so our band director just sort of moved me over . . . Here, I think you’d like this. DIXON COSTA: Sure you would! SCHILTZ: Yeah. It was an old military system oboe – it had about 7 keys. DIXON COSTA: Was it metal? SCHILTZ: No it wasn’t metal, but I don’t think any body would dare put their name on it. So the only thing that was positive about it was that they needed an oboe player so badly that they agreed to buy my reeds for me.
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DIXON COSTA: Great! SCHILTZ: So throughout my entire grade school and high school career, I was the only oboe player on the east side of Aurora. So I pretty much had the turf all to myself. And the band directors, they encouraged me to come over and play with the junior high band. And when I was in junior high, they encouraged me to come over and play with the high school band. But when I was about 14, I decided that -- well, I wasn’t really going much of anywhere with it without some instruction. So, I took a job in the public library when I was about 14, working after school and on weekends, to pay for oboe lessons in Chicago. And I first went to Mueller, who was the first oboe player in the symphony at the time, and asked if he’d take me on as his student. And he said – well, he had a full schedule, but that he had arranged for me to take lessons with Bob Mayer, who was the English horn player in the orchestra. So I went in for my first lesson with Mayer, and, of course, he was sort of horror-stricken at the reeds I was playing with, and all that sort of thing. But it’s fairly natural when you’re a kid going in from a school district that had . . . nobody really even played an oboe. DIXON COSTA: Do you remember the brand of the reeds? SCHILTZ: Yeah. Ruckle. He was second oboist in the orchestra. And he had this commercial reed business. And so, the Ruckle reed served as my . . . and they were terrible. DIXON COSTA: Really? SCHILTZ: Oh yeah – they were god-awful! I am sure he didn’t make them himself. He probably had some kid making them, or whatever . . . . DIXON COSTA: Do you remember how much they were? SCHILTZ: Oh dear – I think they were 75 cents apiece or something like that. Since I didn’t have to pay for them, why . . . DIXON COSTA: You didn’t care. SCHILTZ: Yeah. Right.
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SCHILTZ: Oh it’s about 45 minutes by train – 35 miles – something like that. And then, when I was 15, I got a job in a grocery store because it paid better. And I wanted to buy my own oboe. And so I talked to Mayer about it, and he said, Well, I’ll see what I can find. And he found a used Loree – it was an AL series Loree, and it was, I think $450. I said, Well, I haven’t got the money, but I can pay for it weekly – on time. And he said, Well, you do that. And what I didn’t know was that my parents had set the whole thing up. And so the money I was giving to him he was just sending back to my folks. And they paid for it. They were afraid I was going to lose it. But I didn’t find out until many years later that this was something my parents set up. They encouraged me to save, and to - they, I’m sure, felt that it offered me more incentive and meant more to me if I put my own money into it. DIXON COSTA: Right. That’s a good life lesson. SCHILTZ: Yeah. It was. DIXON COSTA: I read your dad was a metal worker? SCHILTZ: Yeah. He worked in a factory. He was a press operator. DIXON COSTA: In steel? – I’m sorry – a what? SCHILTZ: A drill press operator. DIXON COSTA: What did your mom do? SCHILTZ: She worked as a commercial artist. DIXON COSTA: Oh - Cool! SCHILTZ: She did free-lance photography and she – this was a stepmother – she ran her own photo studio, and she eventually ended up as a draftsman for one of the power tool companies in Aurora. DIXON COSTA: That sounds interesting. SCHILTZ: Yeah – for somebody who didn’t even finish high school, she was self-taught, but really quite a good artist. DIXON COSTA: And you have a sister . . . SCHILTZ: Yeah – She lives out in Montgomery. She’s a little older than I am. DIXON COSTA: I can’t remember her name. SCHILTZ: Joanne. DIXON COSTA: Joanne. Is she a musician? SCHILTZ: No. No. She made a stab at it, but it didn’t take. DIXON COSTA: So, let me make sure before I forget that I have your birth date right. It’s November 6, 1931? SCHILTZ: Um hmm. DIXON COSTA: So how did you, I mean, you didn’t get your love of music from your family? Or did you?
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SCHILTZ: No – not necessarily. We didn’t have good music in the house. DIXON COSTA: You were enthralled with the band? SCHILTZ: Yeah, once I got in the band and got going with that, then I started listening. We used to have a program in the morning. One of the local stations that played semi- classical – things like Wolf-Ferrari’s Secret of Suzanne or Morning, Noon and Night in Vienna – things like that – light classics. And I used to listen to it every morning when I got up. And at that time, there was a fairly large amount of live music on AM radio – we had the New York Philharmonic on Sunday afternoon, and NBC on Saturday night, and many of the local stations had fine arts music hours. And so I got to the point that I knew where they all were and what time they were all on, and I didn’t have – well – I had a few recordings – I got a little windup – a terrible little 78 player, and my stepmother’s brother – he wasn’t any more honest than he should have been. And he used to – somehow or another -- collect records. And, we never asked where they came from. DIXON COSTA: Right
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DIXON COSTA: Is that the first big piece you remember playing? SCHILTZ: Yeah – I think so – as first oboist, anyway. But then – well, when I was a senior, I was playing first oboe in the Fox Valley Festival Orchestra, and William D. Revelli from the University of Michigan was the guest conductor for this festival. DIXON COSTA: Did he do all the bands – Revelli band? What am I thinking of? He was the big band guy? SCHILTZ: He was at the University of Michigan. Yeah. DIXON COSTA: OK. SCHILTZ: And he heard me play. And I’d already got scholarships to two or three colleges and universities, and so he said, I think we can do better. And I said, Well – it’s already past the decision date. And he said, Well, I think we can work it out. And sure enough - he did. DIXON COSTA: And that’s how you ended up going to the University of Michigan? SCHILTZ: Yeah. DIXON COSTA: Where else were you thinking about? SCHILTZ: I had scholarships to Northwestern and the University of Chicago, both. I’m really not sure why I chose Michigan, except for the fact that I was pretty much in awe with Revelli – the way he worked with an organization. I didn’t see the really sadistic side of him at that moment. And he was a sadist. He really browbeat people. Again, it was one of these things where he ruled through fear. Maybe I’m grateful to him, because, if I could put up with him, I could put up with Reiner. The two of them had a lot in common. There wasn’t an awful lot of jocularity involved in either one of them. But, I was quite young – I started college when I was 16. DIXON COSTA: Oh – how’d you do that? SCHILTZ: Well, I started school at mid year, and then skipped a half year. DIXON COSTA: Oh, OK. SCHILTZ: Yeah – I went through high school in three and a half years. I just took extra courses and . . . DIXON COSTA: Wow. SCHILTZ: You could do it if you just accumulated enough credits. So if you just took an extra course here and an extra course there, it’d give you enough credits, that, if you came in at mid year, then you could just graduate a half year early, basically. Which is what I did. DIXON COSTA: So I see that you got a bachelor of music in Woodwinds. SCHILTZ: Um hum. Yeah – the program in Michigan in those days was – you spent four years on your major, but you also minored on all the other woodwinds. So I played a little clarinet, I played some flute, I played some saxophone, I played some bassoon, and... DIXON COSTA: Oh – so there wasn’t really a performance major option – that was how they did it. It was your major plus all the woodwinds.
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SCHILTZ: Yeah. It was an applied major. You spent four years on your major instrument. COSTA: Is that because of all the doubling that was going on at that time? SCHILTZ: Yeah – all the studio work, all that sort of thing. Plus the fact that Revelli was very strong in turning out college teachers and, at the time, many colleges and universities could only afford one woodwind teacher. And as a result, you had to sort of be a jack-of-all-trades. Most of the people could --- most of the clarinetists had to play saxophone and vice versa. And there wasn’t the emphasis on saxophone in some of the schools that there is today. In Northwestern, there are something like 20 saxophone majors. And where are they going to play? Classical saxophone is sort of a dead end street. I have some real differences with people about that. Having sat through a lot of saxophone juries . . . . DIXON COSTA: And so who was your teacher? SCHILTZ: Lare Wardrop. He was the English horn player in the Detroit Symphony at that time. DIXON COSTA: So you studied with two English horn players right away? SCHILTZ: Yeah. DIXON COSTA: Did that color your . . . SCHILTZ: You know that was a question I was asking myself today. I was just thinking – you know, even though I never really played much English horn – I never played it in high school -- and I was expected to play some English horn in the University Band -- for whatever reason, Revelli decided that his principal oboe would also play the English horn solos. It’s like the old Italian bands. I mean, most of them had the English horn part written in the first oboe book, figuring, I guess, that the first oboist was the only one who could play well enough to play the English horn solos.
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DIXON COSTA: Really? SCHILTZ: Yeah. Um hm. We had a great, great bassoon section – Matt Ruggiero who was assistant Principal in Boston later on, and Otto Eifert who was principal in Cincinnati, Arthur Weisberg, who didn’t do too badly, and Nick Kilbourn who was principal bassoon in CBC – They were monsters. All Schoenbach students. DIXON COSTA: Wow. So what did you think that you were going to do, at the University of Michigan, with your degree? Because you were in awe of the band director. So, did you think that you were going to teach? SCHILTZ: I was in the Education program for one semester, and I thought – NO. DIXON COSTA: Really? SCHILTZ: I thought, I don’t want to teach. If I can’t play, I’ll do something totally different. Do something else. DIXON COSTA: So you immediately knew that you were going for the orchestral path, rather than college teaching? SCHILTZ: Oh yeah. Well, my senior year, I auditioned for and got second oboe in the Indianapolis Orchestra. DIXON COSTA: That’s not a bad first gig. SCHILTZ: It was OK. DIXON COSTA:
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DIXON COSTA: So – that must have been a very big disappointment – to have a second oboe job in Indianapolis and get drafted. SCHILTZ: Well, yeah – I was looking forward to it and a chance to make a living. At that time, orchestras only played 20 weeks – unless you were in one of the major orchestras. Of course, Boston had the best season because you had the Pops, and the Esplanade, and all that. The other orchestras didn’t have that kind of thing. So, even the Chicago Symphony, when I first joined, they had 30 weeks in the winter and six weeks in the summer. You had 16 weeks when you weren’t paid. Of course, we’ll get into that a little bit later. DIXON COSTA: So how was Indianapolis at that time? How did it compare? SCHILTZ: 20 weeks and about $80 dollars a week. DIXON COSTA: Really? SCHILTZ: That was about par for the course. DIXON COSTA: So was that considered a middle of the road orchestra? SCHILTZ: Umm – they were about where they are now – in the third-ranked orchestras. You know, you consider the first-ranked orchestras like St. Louis, Detroit, the Big Five, and then the second ranked orchestras, and then below that Kansas City, Denver, Indianapolis, Buffalo, orchestras like that. They were almost all at 20 weeks and about the same salary. DIXON COSTA: Wow. So – when you were drafted, you were based in Missouri? SCHILTZ: Yeah – Fort Leonard Wood. DIXON COSTA: So did they place you there because you were a musician? Did you enlist? I mean, I know that a lot of people, when they were drafted, enlisted so that they could join one of the service bands. SCHILTZ: Well, I was drafted, which meant that I only had to serve two years. That was the draftee’s minimum requirement. But, I was sent into Chicago to Fort Sheridan, just over where you got off the train, at the reception center at the time for the Fifth Army area. And I went over and auditioned for the band there. The Fifth Army Band was headquartered there. And they said, Sure, we’d love to have you, but you have to enlist for that extra year, so that would make it a 3-year enlistment, or else we can’t use you in the band. So I said, I’m not really sure whether I want to do that. And they said, Well – you’re going to go to basic training anyway, so let us know if you want to change your U.S. designation to R.A., that is for 3 years, and we’ll requisition you back for the band. So I had an insurance policy, already, right from the reception center. DIXON COSTA: So you went through basic training? SCHILTZ: Yeah. I went down to Fort Leonard Wood and the reception center there was across the street from the band barracks. So my second summer at Tanglewood (Bev was there with me) and she had played in the Wichita Symphony. And two friends of hers from the Wichita Symphony were visiting Tanglewood. And one of them, Gary Fletcher, was on leave from Fort Leonard Wood. He had had a hernia surgery and so he was on medical leave. So I was introduced to him, and he said, Ha, ha – If you ever get down to Fort Leonard Wood, look me up – Ha, ha. And so, one day I was standing
248 outside the barracks and I said, Hey, Gary!
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SCHILTZ: Right – Before I went to Philly for my first lesson with him. Wayne Rapier was in the Marine Band at the same time that I was in Washington. And he’d been studying with Tabuteau privately for a couple of years. So I said, Wayne, I’d sure like to know what to expect. And so I went over and he sort of prepped me on what to expect from Tabuteau. But - I wasn’t quite ready for it. I was playing a Chauvet oboe at the time, and Tabuteau was entranced by that, and, of course, he proceeded to tell me why it was a terrible instrument. But that’s neither here nor there. But I played it, and had my lessons on it. But he, umm, he didn’t waste any time on niceties. You know – I’d play the first three notes and he’d say, Don’t be an idiot. Don’t be a damn fool. Don’t be a Jackass. And it went on from there.
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SCHILTZ: Yeah. What did that mean? And he said, Just buy some tickets to the concert series. You’ll get to hear the pieces. And, it was pretty discouraging. But I later discovered that he discouraged almost everybody. He was not that encouraging. He was not a very upbeat sort of person in that regard. But I had wanted to play for him with the idea that maybe I would transfer and try to get in Curtis. But he certainly didn’t offer me any encouragement. DIXON COSTA: Was Robert Bloom in Philly at that time? SCHILTZ: No, Minsker was the English horn player at that time – John Minsker. I got to hear McClain play. That was a treat – Pines of Rome. I still remember it to this day. The Philadelphia recording of that – it’s a real classic. But, I didn’t even think about approaching Tabuteau at the time. He was just too much of a demi-god, as it were. I’d better work my way up. But Wardrop was not that organized a teacher. He was not very structured and he liked to play golf. He liked to come out and play golf on the university golf course . . . And he’d say, Hey Grov, I can’t stand the noise. Let’s go have a cup of coffee.
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Which he did do. But
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DIXON COSTA: Yeah. Do you remember what your first gig was? Do you remember your first paid gig? SCHILTZ: Yeah. I started jobbing as soon as I got out of the service. I was playing in the Civic. They were paying me to play. And also I started free-lancing in the city. They used to have, on Mondays, a roundup over at the union hall. And these conductors who had obtained a gig from the Music Performance Trust Fund – they would line up an orchestra to go out and do school concerts, rest homes, or things like that. And also there was a conductor named Herbert Zipper, who was just establishing a music school on the North Shore. And he put together an orchestra, which did a three week series of concerts – all over the North Shore in order to, #1, enhance the music programs in the school, and to bring in people for the music center school. And so, even though I wasn’t eligible to play a contract job, he talked the union into hiring me because he said he needed me. And so they gave an exception. And both Bev and I did these school music series’. And we did that twice a year, three weeks at a time. Because of that, together with the free-lance engagements, I started to get known, because Chicago had been pretty bereft of oboe players. There wasn’t much happening, teaching-wise. There wasn’t a system like Philadelphia, where you had a feeder system, and Curtis turning out people. But, I played Civic that first year. Then I got Grant Park Symphony, and I also got Lyric Opera. And then the same year, Bev and I went out on the Boston Pops tour. And then right after that we auditioned for, and got, the Kansas City Philharmonic. DIXON COSTA: And did you move back to Chicago just because it was a good place to be, and you were kind of from the area? SCHILTZ: Well – yeah. Ray Still had just joined the orchestra, and I knew Chicago. I had to go somewhere. And I thought, well, it’s close to my home, and it’s as good a place as any to get a start. And I heard Ray play in the Grant Park Symphony, and I thought, Hey, this guy’s got something I could use. And so I asked him if I could study with him, and started the relationship. And then I got in Civic, which gave me free lessons with him, as well as a weekly stipend. DIXON COSTA: So how was that? SCHILTZ: It was OK. I think Ray felt that I had what it took, and he tried to be as encouraging as possible. And he helped me – recommended me for things. DIXON COSTA: Oh – when you went to college, were you working on the short scrape - - reed? SCHILTZ: When I started college, yeah. No, Wardrop played a long scrape reed, so I had to make the change. And I had this type-cast little vibrato that came with the short- scrape reed, and the old school French style. You know this Geoffrey Burgess compilation of the first 50 years? DIXON COSTA: Yeah. SCHILTZ: To hear some of those early players is pretty useful. I remember when I was a student at Tanglewood, the English horn player was Louie Speyer and Louis had this nanny goat vibrato. And everybody used to – e-e-e-e- Louie-e-e-e
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SCHILTZ: Fabien Sevitsky was the conductor. I later discovered that you wouldn’t get a job unless you played a Handel Sonata, and I, just out of dumb luck, played the Handel c minor Sonata. DIXON COSTA: Really? SCHILTZ: Yeah – It was one of the two or three oboe pieces he knew.
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SCHILTZ: I especially liked the movement, the ‘Battle of the Earthworms’ – growling around in the basement. I don’t think you get above E-flat in the whole movement. DIXON COSTA: You like that movement? SCHILTZ:
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SCHILTZ: Oh – they were tour rats. At that time, there were an awful lot of tours going. DIXON COSTA: So they’d just go from one to another? SCHILTZ: They’d go from one to another. Yeah. Mantovani would take a show out on the road. And then Mitch Miller would take a show out on the road. And then Sadler’s Wells Ballet would go, and then the Royal Ballet. And some of these people just went from road show to road show. DIXON COSTA: So they were just very accustomed to travel. SCHILTZ: Oh yeah. A lot of them were brown baggers. They’d stay in cheap hotels – real flea bags in Hotel Dixie for a buck and a quarter a night, and cook on a hot plate in the room, and like that. DIXON COSTA: They didn’t put you up? SCHILTZ: No. No . . . you found your own accommodations. DIXON COSTA: Really? SCHILTZ: Uh hmm. DIXON COSTA: Right. Well that would be very tricky. SCHILTZ: It got to the point that we formed up a group and wrote ahead. During those days there were a lot of sort of middle-class commercial hotels where a lot of traveling people would stay. The motel thing was still in its infancy. So there were still a lot of commercial hotels in the center of most towns. And we would just get out the Hotel Red Book, and a bunch of postcards, and fill out the dates of such and such that we were going to be in town, and asked for a group rate. And, so, we had to do our own. We had a personnel manager, but he was drunk most of the time. And he was a personal friend of Arthur’s, and he played cello. And drank. DIXON COSTA: Wow. So you came back in – what year was that? SCHILTZ: 1956. Then in the fall, we went to Kansas City. And got married in the meantime. DIXON COSTA: You got married in 1956? SCHILTZ: Yeah. Yeah – last year was our 50th. DIXON COSTA: Congratulations. SCHILTZ: Thank you. DIXON COSTA: What was the date? SCHILTZ: June 16. DIXON COSTA: You said that very quickly.
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SCHILTZ: You mean in Kansas City? DIXON COSTA: Yeah – that’s pretty unusual. SCHILTZ: Well, there were two openings. There was a first oboe and a bass opening. And in those days conductors liked to hire couples because they felt, number one, they made out better financially, and were more tempted to stay, since they were both working. Undoubtedly, both of you know people who – one of a married couple – both of whom are professionals, one of whom gets a better offer, and then you really think it over because maybe the other won’t have the opportunity to play wherever you end up going. DIXON COSTA: Yep. That’s very true. SCHILTZ: So I think they feel there’s more stability with a married couple -- particularly after a certain number of years. I mean, if you start a family, and get embedded in the community, and you start doing free-lance work in the town, and the next thing you know, you’d really think twice. Some of my students here in Chicago, as soon as they get out of school, they have to scuffle a little bit to find work. But sooner or later, they catch on. And then they get more and more selective about what they even go and audition for, because they just think, Hey, I’m making $35- or $40,000 a year here in Chicago. I have to get a fairly decent job offer to pull up stakes and go somewhere else. DIXON COSTA: And you think twice about wanting to move to Arkansas. SCHILTZ: Yeah, right.
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DIXON COSTA: Yeah – I have it here. I’ll show you. Cause it’s kind of funny. I mean, it’s not funny, it’s neat. There. There you are.
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SCHILTZ: Well – there was always a certain amount of tension.
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DIXON COSTA: Wow! SCHILTZ: So he went, and he got the job and came back, and they fired him. And he took it to appeal, to arbitration, and he lost in arbitration. So he was without a job for almost six months – the audition was in March, and the job didn’t start until October. I had to finish the season on English horn and I didn’t even own an English horn. DIXON COSTA: Wow. But you had played before . . . SCHILTZ: Yeah – I’d done a little bit. Yeah. DIXON COSTA:
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DIXON COSTA: OK. I’ll look it up. OK – so – what do we think about these pieces? And should we add anything? They’re alphabetical. You never performed Cantata No. 1 with the orchestra. SCHILTZ: Sorry! DIXON COSTA:
261 it. I own the recording, but I didn’t even open the jacket. I just thought to myself, I know it’s going to be a piece of crap. And I don’t even want to listen to it because I’m going to be embarrassed, and I’m going to think, everybody’s listening to it -- and I really felt very badly about it. And one day, a few years later, somebody from the orchestra came in and said, Hey, I heard your Shostakovich 8 – you sounded very good on it! DIXON COSTA:
DIXON COSTA: Really? SCHILTZ: No – not commercially. I mean there are tapes – probably a number of tapes from various years. DIXON COSTA: You certainly played it a lot. SCHILTZ: Oh yeah – it’s a very popular overture. COSTA: Do you have a favorite recording of yours? SCHILTZ: Of mine – Debussy Nocturnes, the ‘Nuages’ is awfully good. Actually the Shostakovich 8th is not bad also. COSTA: The same one you wouldn’t listen to for so long? SCHILTZ: Yeah! I was happily surprised. But I’d have to go through the list to think about it. DIXON COSTA: The orchestra has a full discography, which I’m going to compile for your years. Would you be able to tell which pieces you played on? SCHILTZ: Oh sure.
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DIXON COSTA: OK. There’s a lot. You guys recorded A LOT! I’m talking about the commercial recordings. SCHILTZ: There’s a good New World with Jimmy Levine. That turned out nicely. Again, that was a different company. DIXON COSTA: So when I get that done, then I’ll send that to you as well, and we can talk about it. It will take me awhile. SCHILTZ: And there’s a CD that was turned out by the orchestra – I’m the soloist -- doing Swan of Tuonela with Blomstedt. That’s very good. That’s quite acceptable. But, you know, you’re never totally happy. You think to yourself, this could have been a little bit better, that could have been better. COSTA: Are there situations where you get to play your solo a couple of times and they would let you pick which one? SCHILTZ: Oh sure. Some years back I did a Ferlendis Concerto with the orchestra and, Felix Kraus’ wife, Marcia, did the orchestration and transcription of it. DIXON COSTA: That’s a lovely piece. SCHILTZ: It’s hard as hell, too! DIXON COSTA: Yes it is! SCHILTZ: The last movement is a bear! DIXON COSTA: Doesn’t it end on a high G or something? SCHILTZ: Yeah, it ends on a high G. DIXON COSTA
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DIXON COSTA: Well this is fun! I’m so happy that you’re agreeing to do this. SCHILTZ: I see my life flashing before my eyes.
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Schiltz-Dixon Costa Interview, June 2007, Day 2
DIXON COSTA: Was it hard for you to retire? SCHILTZ: Well – I had moments that I wondered whether I should do it or not, but I’d seen some players who held on beyond their best playing days, and, so, to have to apologize for your playing, or something like that – I just didn’t think it was what I really wanted to go through. And so, I just decided that it’s better to go out while people still appreciate your playing and don’t make excuses for it and all that. And so, I just arbitrarily said, OK . . . not only that, but the season that was upcoming wasn’t . . . was mostly hard work and not much gratification. DIXON COSTA: If there had been some gems in there, you may have . . . SCHILTZ: Oh yeah. DIXON COSTA: . . . stayed for another year.
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SCHILTZ: It’s like Solti said one day about someone who had been kind of . . . oh, yeah, there’s this Indian fellow named, Adi Jehangir, who was just a tremendous Solti fan. And, whenever Solti would be doing performances, Adi had to drop everything and go. He was from a very wealthy family in Bombay. His family established the Bank of India. And so, money was no object for Adi. But we got to know him because he would pop in, in Chicago. He was a real groupie. He got to hang out with the troops and all that sort of thing and talk about Solti in performances, and he got to know Solti quite well also. So we had been to Bombay with a chamber group, and came back, and I saw Solti and said, Adi sends his regards. And he said, Oh that man, he knows more about me than I do!
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SCHILTZ: And yet, here we are with three recordings competing with one another. I mean, economically, it just doesn’t make a great deal of sense. And I think that’s one of the things that contributed to the demise of the recording industry. There’s just no way that you can re-record – unless you get a new technology -- as soon as we starting doing CDs – OK, fine. And digital -- that gave new life to it. But what’s going to be the next innovation? And you’ve got surround sound, you’ve got home theaters, you’ve got all the bells and whistles. How much better does it have to be?
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SCHILTZ: Oh yeah. DIXON COSTA: So how much advance notice did you have? SCHILTZ: Not very much. And, of course, I had to find a reed and all that sort of thing. DIXON COSTA: Right – like maybe a few days? SCHILTZ: Yeah. I think probably a week or so. Maybe a little bit more. Details are a little fuzzy after 40 years. DIXON COSTA: Yeah. And I noticed you played in the orchestra – and then you came out and you soloed. Or maybe you didn’t play the first piece, but you were there, in the section. And then you went back in the section. Do you remember being really nervous? SCHILTZ: Oh yes!
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SCHILTZ: I mentioned that I had done a tour with Fiedler – a three month tour, and I said, You know -- he threw a party for us after. And the guy said, I can finish the story for you. And he said, You had a party and you had hotdogs and warm local beer. And I said, Yeah – you named it. COSTAS & SCHILTZ:
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SCHILTZ: The one with Blomstedt? DIXON COSTA: Uh – is that right? SCHILTZ: Yeah. It’s an album of all soloists? DIXON COSTA: Yeah. SCHILTZ: Yeah – that’s a good one. DIXON COSTA: What brought you to Istanbul? SCHILTZ: Oh – it was an international conference on oriental carpets. DIXON COSTA: Neat! SCHILTZ: Um hm. As you can see, we’re fans. And we’ve collected antique, nomadic rugs for at least 30 years. And this was an opportunity – it was the first time they had ever held a conference in a major rug-producing area. So Istanbul is loaded with both museums, and rug dealers, and collectors. So we went there for a four day conference, and got to see an awful lot of great private collections and museum collections, as well as hear lectures and seminars, and all that sort of thing. So – it was a terrific time! DIXON COSTA: Did you bring home any souvenirs? SCHILTZ: Yes! DIXON COSTA: Was that your first time? SCHILTZ: First time in Istanbul, yes. I can demonstrate what we brought home.
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SCHILTZ: And nothing’s going to happen – well, something’s always going to happen. My stepmother died when we were in Moscow - or, no, in St. Petersburg. The orchestra offered to fly me home for the funeral, but . . . DIXON COSTA: And she’s the one you grew up with, right? SCHILTZ: Yeah. But, it couldn’t happen, really, because I would have had to get an Aeroflot trip to somewhere in Scandinavia, and get a KLM to the United States, and then get back to Budapest for a television show two days later. So I called my sister and said, Joanne, I just don’t think I can make it. And she said, Cool – it’s just going to be a graveside service with the family, and we understand, and we figured you probably wouldn’t anyway. So . . . that’s the way it happened. But on the train going from St. Petersburg to Moscow, Solti was in the same car. He dropped by. He heard that my stepmother had passed away, and he offered his condolences, and we chatted for a few minutes. And he said, How old was she? And she was the same age as Solti! DIXON COSTA: No! SCHILTZ: And I said, But she smoked. DIXON COSTA: And hopefully he didn’t.
272 you can see the luminescence as the dolphins play on the bow of the ship – letter B. This word picture just sort of --- oh – okay, yeah -- now I know what he’s talking about. DIXON COSTA: That’s neat. What was his home orchestra – did he have one? SCHILTZ: He didn’t have one. No. He never did have music directorship. He may have had, for a few years, with a minor German orchestra. But, his father being Erich Kleiber – and Carlos being better known in Europe – he could pretty much go where he wanted, and do what he wanted. Some directors just don’t want to do a music directorship. They figure that there’s just too much crap that they have to involve themselves in -- besides conducting. I mean, this is one of the things that led to Danny’s leaving . . . We had worked with him since about 1970, as a guest conductor. And I had first worked with him about 1957. He was 16 years old, and he was on his first tour of the United States. He did a Beethoven Concerto in Kansas City Philharmonic when I was there. So the relationship goes a long ways back. DIXON COSTA: So, then the Chicago Symphony went through a few years after Barenboim left – went through a few years of not having a music director . . . . SCHILTZ: We still don’t. DIXON COSTA: Ok. So Haitink is not . . . SCHILTZ: Haitink is chief conductor. DIXON COSTA: OK. Is there a search going on still? SCHILTZ: Oh sure. And then we have Boulez who is conductor emeritus, and both of them take chunks of the year. And the rest of the year is filled up with guest conductors. And, I’m just not really sure how it’s going to sort out, because part of the search committee is looking for somebody who is a superstar. Somebody who can come in and immediately draw big audiences, and an international name. But there aren’t that many of them. And those who do have that status are very busy. And can pick and choose among the orchestras, and don’t have to take music directorships if they don’t want to. On the other hand, there are some who like the idea of getting a young, dynamic American who can make his home in Chicago and (or her home) and schmooze with the patrons, and raise money, and press the flesh, and all that sort of thing. Somebody like a David Robertson, for example. He would be probably their ideal, as far as it goes. But there are drawbacks to both. The superstars – they tend to make their homes in Europe, and the day they’re finished with their conducting stint, they’re back to the old country. I mean – I don’t think the sun ever set on Solti – but his home was in London – his kids were there, his wife was there, and that’s basically his home base, so, he had no plans to stay in Chicago a minute longer than he had to. Now Reiner stayed in the United States, but he had a home in Connecticut. Martinon didn’t stay here – and he was a mountain climber. He loved tramping around the Alps. Matter of fact, we recorded his fourth symphony, and I think it was called the Alpine. Or Altitudes, it was called Altitudes. DIXON COSTA: Yeah – I’ve heard of it. Well, it will be interesting to see what happens with that. Do you think they’ll go a few – I mean, there’s probably no way of knowing, whether the Orchestra will go a few more years of not having a music director . . . . SCHILTZ: Well, it saves a lot of money. We were paying Barenboim around two million dollars a year for 12 weeks of work. And it was really brutal trying to get him to do
273 anything, or pin him down to – well let’s sit down and plan these programs. Let’s sit down and talk about guest conductors. Let’s sit down and talk about soloists . . . . DIXON COSTA: So who does that now? SCHILTZ: Well, we have an artistic adviser. DIXON COSTA: OK. SCHILTZ: Martha Gilmore is her name. And I think, also, they more or less consult with both Haitink and Boulez particularly. Boulez can certainly advise in regards to contemporary literature. But Boulez has his favorites, and, for whatever reason, both he and Barenboim decided they liked Elliot Carter. DIXON COSTA:
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SCHILTZ: They’d just go in a box, and then someday somebody will say, What the hell is this? DIXON COSTA:
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DIXON COSTA: With the skip . . . . SCHILTZ: Yeah – play what’s on the page. Be aware of the fact that there are possibly two ways of doing this. It’s like a question of articulations. Again, I try to warn them that this may be articulated in a different way, depending on what edition is used. So . . . this is the danger in using your own material in an audition. It’s a possibility that what they’re seeing out there in an audience is not what you have on your page. And so, usually, I caution them, Look, if you’re going to take some of your own music, tell the proctor in advance to announce that the contestant is using his or her own music. DIXON COSTA: Oh – that’s interesting. I never thought about doing that. I usually just compare, quickly, my music with the music that’s on the stand and make sure that it’s - SCHILTZ: Kids, when they’re young, they can freeze up. They’re not that flexible. So they’re not self-possessed enough to take the time, look at the part, and analyze it. Most of the time,
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DIXON COSTA: Yeah. So what we did -- St. Matthew, Bartok Concerto for Orchestra, Rob Roy, the Sibelius, Quiet City, and the Ravel Piano Concerto – those we have the specific dates and conductors listed. Other than that, we have just pieces and cryptic little things. SCHILTZ: On the Ravel G Major – we did that with Previn, and Christina Ortiz was the piano soloist. DIXON COSTA: So that was 1982. SCHILTZ: Now – is it not listed with Previn? DIXON COSTA: Uh uh. SCHILTZ: Well it may not have been recorded, but uh … DIXON COSTA: Well these are your concerts, actually. This is the season that it was programmed. And these are the dates. SCHILTZ: ‘Cause we did it with Previn. And I think that’s a mistake that we did it with Solti and Ortiz. DIXON COSTA: OK. It’s very possible. SCHILTZ: The reason I’m so sure is that . . . DIXON COSTA: I believe you.
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COSTA: Did he switch it – with the concert then? SCHILTZ: Well, I told him I’d rather see a subdivided three, rather than 6/8. DIXON COSTA: But was he doing that in rehearsal? SCHILTZ: No, he wasn’t doing it during the rehearsal. DIXON COSTA: So he just all of a sudden did 6/8 . . . SCHILTZ: Yeah. He just all of a sudden decided he would . . . yeah – he was a very unpredictable conductor. DIXON COSTA: Do you remember about what year that was – around – 80s? SCHILTZ: Yeah – something like that – in that period – 80, 83 … DIXON COSTA: And probably the Rob Roy Overture was around the same time? SCHILTZ: Yeah. I don’t remember doing it with Rozhdestvensky . . . I thought it was with Previn. DIXON COSTA: Yeah – I’ll check that out. Here we thought this list gave us all this information.
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SCHILTZ: Why don’t you take some liberties? And he chided me a couple of times. Don’t be so straight-laced about this or that. And after 25 years of Solti, you got pretty used to it. Because he was just tremendously organized. And he would even conduct the opening of Afternoon of a Faun, whereas most conductors, you know . . . It’s yours. But it takes a little while to get used to that kind of freedom. It’s like the plow horse that’s just let out to pasture . . . he doesn’t know what to do. But something like Tristan -- Danny’s got no control over that. There’s kind of an interesting thing with Tristan. We did it twice in Chicago and took it to New York to Carnegie Hall, and, of course, it’s off stage for the Third Act – at least the opening. And so for the Chicago performances, they put me up in the organ loft. DIXON COSTA: Oh, neat. SCHILTZ: And there was no organ loft at Carnegie. Yeah. And so, what the hell ya gonna do? So they put me in a box right along the stage in the first balcony. And so we rehearsed it there. And, OK, fine. Came the performance and, I didn’t know it, but all of a sudden, here came a spotlight on me. SCHILTZ & COSTAS:
279 of a problem with Europe. And the same thing is true of Japan. It’s pretty much sea coast and pretty level. Most of the major towns are on the coasts – with the exception of Kyoto. But Kyoto is only, what, 30-35 miles inland from Osaka. So it’s not that much of a problem. DIXON COSTA: So do you think I missed anything from the list? SCHILTZ: Well, we’d have to scan the list . . . . Of course Symphonie Fantastique I think we recorded three times. And we talked about Quiet City . . . Images - I don’t think we recorded that. Oh! One thing that we recorded that I think went very well was with Abbado – Rückert Leider DIXON COSTA: Oh – and that’s just been released. SCHILTZ: Oh has it? Abbado’s Rückert Leider? DIXON COSTA: I don’t know, but I’ll check that. I listened to something yesterday. Did you do it with Boulez, too? SCHILTZ: I did it with Barenboim, but that was just on a . . . I was talking about a commercial CD. The Rückert Leider . . . was with Hanna Schwarz as the soloist, but the recording quality – again – not London – I think he was recording for DG at the time. . COSTA: We haven’t had a chance to go through the commercial recording stuff yet – this is mostly a list of your performances with the orchestra . . . DIXON COSTA: Right. COSTA: And just like how many times you’ve performed the piece . . . SCHILTZ: Um-hmm. Some of them are just one shot and that’s sad, like this Diamond thing – Elegy for Flute, English Horn and String Orchestra. DIXON COSTA: I never heard of that piece. SCHILTZ: Good! DIXON COSTA: Oh – OK
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SCHILTZ: Not until after the last concert. DIXON COSTA: When you went on tour, did you just bring a bunch of blanks, or did you actually tie everything there in Europe? SCHILTZ: I just made a lot of reeds. DIXON COSTA: You made a lot of reeds before hand? SCHILTZ: Yeah, and then just went through them and found out what worked best, and adjusted them as I went. There were some that were just partially made, and so I felt if there was nothing in the box, then I would finish something. DIXON COSTA: But you weren’t in the hotel gouging cane and all that kind of thing? SCHILTZ: I don’t take gougers. I don’t even take shapers. I just take shaped cane. Franck – we never did record commercially. There’s a recording out with Monteux, but that was with Thorstenberg playing oboe from about l960 or something like that. I think this particular piece from the Rückert Leider is for oboe d’amore . . . . DIXON COSTA: Oh. OK. Yeah – this looks like you took it on the European tour in 2003. So which Mahler symphonies do you think would be important to talk about? SCHILTZ: We can think about probably Mahler 6 that has some relatively important – or a few nice English horn things in the slow movement. It also calls for two English horns – just for about six bars. I had mentioned before that we had three Mahler 7s in the catalog all at one time. The first one that we recorded was with Solti in the 1971 tour – we did Mahler 8 in Vienna. And we used the Vienna State Opera Chorus for it, which made Margaret Hillis furious because she conducts the CSO Chorus. DIXON COSTA: Right. SCHILTZ: And she said, You do that again and I’m out of here. DIXON COSTA: But bringing a chorus on tour . . . SCHILTZ: Yeah – would have been impossible. DIXON COSTA: . . . a nightmare
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SCHILTZ: Yeah, right. DIXON COSTA: Well, there’s something so wonderful about – like yesterday – hearing a live concert. And now, the recording process is so intricate, that you can do note by note and it’s . . . it’s wonderful, it’s perfect, but you lose something. SCHILTZ: Yeah – you lose fallibility. After all, people are human, people make mistakes. DIXON COSTA: Right. Some excitement, too, I think. SCHILTZ: Well, this is why we, in later years with the orchestra, went into live recordings. DIXON COSTA: Ah. SCHILTZ: Because most conductors felt there was more of a sense of spontaneity -- more of a feeling of a live performance. So, we almost did no studio recordings after Danny – even before Danny, we were doing mostly live performances. DIXON COSTA: So Mahler 6, 7, and 8 . . . SCHILTZ: Yeah, we’ve done all these any number of times. DIXON COSTA: Right. Can you think of any other Ravels that are important? SCHILTZ: Well, I talked about the Piano Concerto. We never did record it commercially. You know, there’s a Philadelphia recording of the Ravel, and de Lancie holds Louie’s D- sharp right before he goes up
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But there are a number of places where there is safety in numbers. For example, on every audition you see the second movement of the Nocturnes.
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DIXON COSTA: And things that I wondered about, such as Wagner or Verdi – I mean, we have the whole opera stuff, but I’m not sure that we should get into that. SCHILTZ: Yeah, we did Otello. DIXON COSTA: Did you do a concert version of that with soloists? SCHILTZ: Yeah, we did it in concert and we also did studio recordings of it. We did it with Pavarotti and Kiri te Kanawa. Pavarotti was such a pig! Kiri te Kanawa would be singing along, and Pavarotti would be sitting there eating an apple or a banana, something like that. DIXON COSTA: During the recording? SCHILTZ: Yeah. DIXON COSTA: Couldn’t you hear it? SCHILTZ: No. It was just disrespectful. And, I guess, she finally told him, Look, knock it off or else I’m out of here. But, you know, Pavarotti couldn’t read music. DIXON COSTA: I didn’t know that. SCHILTZ: No. He could read words, but he couldn’t read music. And he has his own personal prompter. They even set up a prompter’s booth right in front of him. And somebody drew a crescent moon right on the side of it
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SCHILTZ: Yeah. Let it heal. But sometimes, you just have to do it. And I did a Bach cantata once with stitches in my jaw. Or in my gums. I had a wisdom tooth taken out. And, there it was – it had to be done. DIXON COSTA: OK. So I can pretty much assume that you played on most anything during that time. SCHILTZ: Yeah. I had a gall bladder out on a Friday, and Tuesday I was back in rehearsal. COSTA: That’s tough! SCHILTZ: Well, it’s better than it used to be. They do it arthroscopically. DIXON COSTA: Students today – they don’t get that – this work ethic that, especially your generation has, of just the show goes on and you’re there. SCHILTZ: I had to double as both the assistant principle and English horn about 1970 because De Vere Moore, who was the assistant principal quietly sold his house and moved to New Zealand over the Christmas holidays. DIXON COSTA: He didn’t tell anybody? SCHILTZ: Didn’t tell anybody. He just went. DIXON COSTA:
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SCHILTZ: Well – Ray had been one of Reiner’s pets, and he couldn’t do anything wrong. And Reiner gave him practically free rein to do anything he wanted to do, because he just loved to hear him play. And it was very imaginative, and very good playing. And then when Martinon came in, Martinon was a different kind of conductor altogether. He was much more controlling. And he tried to tell Ray how to play his solos and all that sort of thing. And Ray really resented it. And, basically Ray just ended up being very contemptuous of him, cutting up on stage, and putting his oboe up over the stand and all that sort of thing, and just acting out the Bad Boy . . . And finally Martinon had enough of it and he fired him. Insubordination and blah, blah, blah. And so, it was a pretty nasty period. There were those that felt that Martinon was justified in firing Ray. And there were something like 10 people who testified against him. And there were an equal number who testified on his behalf. So the arbitrator decided in Ray’s favor and he was reinstated. And I vividly remember the day he came back to the orchestra. He came out on stage, and the orchestra was warming up, and he sat there and cried. And he got a spontaneous ovation from the audience as he came out on stage. It was a very emotional time for him. DIXON COSTA: Wow. How long was he out? SCHILTZ: He was out for almost a year. DIXON COSTA: Oh! SCHILTZ: He went on tour with the Boston Opera – just to make some bucks during that period of time. It was a hard go . . . . But when De Vere left and went to New Zealand, and left us with a short-handed orchestra in the oboe section, I was alternating back and forth between assistant and English horn. And I had a hernia at the time. I couldn’t take time out to get it fixed. So I’d play eight bars and push it back . . . DIXON COSTA: Oh man! SCHILTZ: That was at Christmas time, and it wasn’t until June that I managed to get the thing fixed. DIXON COSTA: I can’t imagine playing with a hernia. SCHILTZ: Oh, it’s not that bad. COSTA: So when Still came back, did he ‘behave’, or was he still . . . SCHILTZ: Umm -- I think he’d been chastened somewhat. He realized things can happen. But Martinon had Margaret Hillis come to me and said – and asked me -- whenever Martinon conducts, could I play first oboe? I said, I can’t do that. In the first place, Ray would bring me up on charges with the union. I mean, he’s the section leader and it’s his position. It’s his chair. I said, I’m flattered that you asked, but I just can’t do it. So she relayed the message back to Martinon, and nothing ever further got said about it. DIXON COSTA: So was Ray Still the one that picked who was going to play what? SCHILTZ: Yeah – he assigned parts – not for me – but he assigned parts to the assistant. DIXON COSTA: Anytime there was an extra, or for an assistant . . . SCHILTZ: Yeah.
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DIXON COSTA: So that was his prerogative to do that? Nobody said . . . SCHILTZ: Yeah. But there are times when somebody becomes ill and you move people around just trying to get the parts covered. Currently Mike Henoch, who was our assistant principal, is playing English horn. Now Scott, who was our second, plays assistant principal on occasion when Eugene wants time off. Then we bring in a second oboist named Jelena Dirks. DIXON COSTA: Oh – she was there last night. SCHILTZ: Yeah. Right. Her mother is a violist in the orchestra. DIXON COSTA: Is she a free-lancer? SCHILTZ: Yeah. A free-lancer. And a very good one. She’s a marvelous second oboist. And she studied with Harry Sargous at Michigan State. And she did some work with me on English horn, and did also a little oboe work with Alex . . . DIXON COSTA: Who did he study with? SCHILTZ: He studied with Jimmy Caldwell. DIXON COSTA: Oh – and that’s why he’s at Oberlin now. SCHILTZ: Jimmy’s dead. Oh --yeah. Alex is at Oberlin now. Yeah. Right. And Jimmy sent him to Dick and he spent a year at Curtis. DIXON COSTA: Oh, so he studied with Dick Woodhams for a year? SCHILTZ: Yeah. But Dick didn’t want him to play anything except Ferling and orchestral excerpts. And he said, that’s not what I want to do. And so he came back to Oberlin and finished his degree at Oberlin. DIXON COSTA:
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SCHILTZ: Yeah, if you can be granted a leave of absence . . . I mean, the problem with some of these orchestras is, unless you’ve had a certain number of years, they won’t give you a leave of absence. They say, you’re gone – you’re gone. Cleveland is that way. Once you go out the door, it’s bye-bye birdie. There’s no tomorrow. DIXON COSTA: Alright. Well good. This has been great.
288 lots of people just chose to do that. And many of them who were well-off people would have their own professional handler. For example, we all know about Florsheim Shoes – well, the Florsheim estate is just about five minutes from here and this guy had his own handler and his own veterinarian right there on the property. He never saw the inside of a show ring unless he wanted to. But they raised Welsh Terriers and Fox Terriers and Airedales and a well-known name of the breed. There are some well-known breeders who’ve got bucks and they can do that sort of thing. Same thing with a kennel, uh, Cocker Spaniels over here – Clarkdale. They have the top rated Cocker in the country – Clarkdale’s capital stock. And, again, they have a professional handler who’s done all their handling for them. In some instances, professional handlers have their own breed and so they show their own breed and then they’ll show other breeds for other breeders. It’s a very competitive field. There are some handlers who are all around handlers and they’ve got dogs of any breed – and some that do only sporting breeds. There was a very famous toy-breed handler named Clara Alfred and she handled Pomeranians, Pekingese and other small breeds like that. But for the big breeds you have to run. I mean, how’re you gonna show an Irish Wolfhound with baby steps. I mean, those guys take one step and you take three! So you’re getting ready to . . . ? COSTA: Yeah, we gotta hit the road. SCHILTZ: Would you like a sandwich before you go? THE END
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