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8. chicago Reiner came to Chicago after a turbulent decade for the orchestra that followed half a century of stability. From its foundation in 1891 until 1942 the Chicago Symphony played under only two chief conductors, Theodore Thomas and Frederick Stock. Both were German-born, and both gained a reputation as orchestral builders and contributors to the civic life of Chicago. After the death of Stock several music directors came and went in quick succession. Désiré Defauw lasted four years (1943–47). Artur Rodzinski stayed for only a single season (1947–48). They were followed by two years of guest conductors. At this time Wilhelm Furtwängler was a leading contender for the post of music director. He withdrew his candidacy, however, when the cultural community of Chicago registered its disapproval: he had made himself persona non grata by continuing to conduct in Nazi Germany throughout the period of the Third Reich. Reiner issued a statement condemning Furtwängler as an opportunist who was morally guilty and supported criticisms of him by American colleagues.1 In 1950 Rafael Kubelik became the third permanent music director of the Chicago Symphony in seven years, but he occupied the post for only three seasons. Several reasons account for this quick turnover. Defauw, a Belgian violinist and conductor, scheduled interesting programs. Unfortunately, he was criticized relentlessly by Chicago’s most powerful music critic, Claudia Cassidy. Ticket sales dropped, and he made an early departure. Rodzinski’s position with the orchestra was canceled after a few months. He argued with management , which accused him of mounting overambitious programs. He was also charged with incurring severe financial problems by performing expensive operas in the concert hall and the Civic Opera House. Kubelik was attacked by 08.ch8.147-174/Morgan 7/12/05 10:39 AM Page 147 Cassidy for his lack of authority, for conducting the same repertoire over and over, for lack of showmanship, for uneven performances, and for disagreements with the orchestra. He was also accused, somewhat unfairly, of putting too much contemporary music into his programs.2 Despite these comings and goings, a twelve-CD collection of recordings by the Chicago Symphony Orchestra reveals that Defauw, Rodzinski, and Kubelik all drew impressive playing from the orchestra.3 Nevertheless, these rapid changes of music director had demoralized the orchestra by 1953. In that year Reiner became the sixth permanent conductor of the Chicago Symphony Orchestra and its fourth music director in nine years. His appointment arose after discussions with Dr. Eric Oldberg, a prominent Chicago surgeon who was president of the governing Orchestral Association. Oldberg wanted his friend George Szell, then in charge of the Cleveland Orchestra, to lead the Chicago Symphony, but this proved impossible because Cassidy unequivocally opposed Szell. And so the idea was dropped.4 Cassidy was crucial in deciding who gained preferment with the orchestra. With little formal background in the performing arts, she began to influence Chicago’s musical and theatrical life in the twenties. From 1942 until 1965 she was senior music critic for the Chicago Tribune, the largest nontabloid newspaper in America, with a daily circulation of more than one million readers. One might question the depth of her musical knowledge, but she had a keen critical instinct, a capacity to wound and destroy with a few barbed words, and a strong impact on the local musical scene. She was critical of the Chicago Symphony’s trustees— especially their treatment of Rodzinski—but still wielded influence over them. Though she attacked Defauw and Kubelik, she admired Reiner’s work.5 Oldberg also knew of Reiner’s qualities as an orchestral builder and world-famous musician and turned to him as the man to restore lost pride and prestige. He had little difficulty in persuading George A. Kuyper, the orchestra’s manager, and the rest of the board likewise.6 Reiner had met Cassidy in 1948, when he was about to take up his duties at the Met, and she became friendly with him and his wife.7 Reiner sounded out Cassidy privately about the Chicago appointment to ensure her support. She had praised his guest appearances in Chicago in 1950, commenting on his ability to secure “pinpoint accuracy and shining tone” in his interpretations and noting that it might be “a long, long time before the orchestra plays again with such magical finesse.”8 At that time, however, Reiner was passed over; his temperament and strong will made the Orchestral Association shy away from him...

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