Begins With The Oboe A History of The Toronto Symphony Orchestra 9781442671232 Compress

BEGINS WITH THE OBOE
A History of the
Toronto Symphony Orchestra
This page intentionally left blank
BEGINS WITH
THE OBOE
A History or the
Toronto Symphony
Orchestra
RICHARD S. WARREN
UNIVERSITY OF TORONTO PRESS

Toronto Buffalo London
www.utppublishing.com
Estate of Richard S. Warren, 2002

Published by University of Toronto Press Incorporated
Toronto Buffalo London
Printed in Canada
ISBN 0-8020-3588-4
Printed on acid-free paper
National Library of Canada Cataloguing in Publication Data
Warren, Richard S.
Begins with the oboe : a history of the Toronto Symphony
Orchestra / Richard S. Warren.
Included bibliographical references and index.

ISBN 0-8020-3588-4
1. Toronto Symphony Orchestra. I. Title.
ML205.8.T72T73 2002 785'.06'2713541 C2002-901111-6
Photographs are from the Toronto Symphony Orchestra archives, or are used with kind
permission of Dr Fred Fallis, Frank Harmantas, and Brian Pickell.
University of Toronto Press acknowledges the financial assistance to its publishing program
of the Canada Council for the Arts and the Ontario Arts Council.
University of Toronto Press acknowledges the financial support for its publishing activities
of the Government of Canada through the Book Publishing Industry Development
Program (BPIDP).
To Marian
Contents
Foreword - Sir Andrew Davis ix
Preface xi
Acknowledgments xiii
ONE Prelude 3
TWO 1922-1931: Luigi von Kunits 9
THREE 1931-1945: Sir Ernest MacMillan, Part 1 19
FOUR 1945-1956: Sir Ernest MacMillan, Part 2 41
FIVE 1956-1965: Walter Susskind 61
six 1965-1973: Seiji Ozawa and Karel Ancerl 81
SEVE 973-1975: Victor Feldbrill, Resident Conductor 109
EIGHT 1975-1982: Andrew Davis at Massey Hall 121
NINE 1982-1987: Andrew Davis at Roy Thomson Hall 145
TEN 1988-1994: Gunther Herbig 181
ELEVEN 1994-2000: Jukka-Pekka Saraste 199
Toward the Unknown: 2001-2002 217
Afterword - The Honourable Bob Rae 223
Notes 227
VIM CONTENTS
Appendices
A. Musicians of the Toronto Symphony Orchestra 229
B. Music Directors, Conductors, and Composers 249
C. Presidents/Chairmen of the Board of Directors 251
D. Canadian Works Commissioned by the Toronto
Symphony Orchestra 252
E. Discography 255
Select Bibliography 261
Index 263
Foreword
In 1976 the administration of the Toronto Symphony Orchestra wisely decided that an
archives section should be installed for the retention of important documents to
maintain the history of the orchestra. Richard Warren volunteered to be the archivist.
In 1995 Richard decided that it was time for a book giving a more in-depth account of
the Orchestra's colourful history. After seven years of intense research and writing that
chronicle has arrived.
I knew Richard personally from his first year with the orchestra; his enthusiasm
and dedication have been an inspiration to musicians, administration staff, directors,
and myself alike. He and I often discussed the works of English composers, especially
Elgar, for whom we had a kindred fascination. Richard was also greatly interested in the
historical fortunes of other orchestras, particularly the BBC Symphony Orchestra and
the City of Birmingham Symphony Orchestra, both of which were founded in his
lifetime.
What many of us would not give to have witnessed first-hand the work of the great
conductors of the past. For me in particular, the chapters on Luigi von Kunits, Ernest
MacMillan, and Walter Susskind provide a fascinating glimpse into the minds and
musical souls of men who guided the orchestra through such important times.
Richard's invaluable, dedicated service to the Toronto Symphony Orchestra is
revealed through the pages of this illuminating volume, which faithfully narrates the
complex course of the orchestra's history, relishing the good times while not white-
washing the not-so-good. Everyone who cherishes the Toronto Symphony Orchestra
will also cherish this book. Happy reading!
Sir Andrew Davis

Music Director, Lyric Opera, Chicago
Conductor Laureate, Toronto Symphony Orchestra
Preface
The title of this book - Begins with the Oboe - could be a crossword clue, but within the
world of symphony orchestras this phrase is a fact of life. Once the orchestra has
assembled on stage, the concertmaster will arise and look toward the principal oboe
to indicate that he requires the 'A' to be played. At this signal, the principal oboist
plays the 'A 440' and the members of the orchestra tune their instruments. Then the
rehearsal or concert is ready to proceed.
I have often given thought to writing a book on the history of the Toronto
Symphony Orchestra, but I always came up with the excuse that an archivist is too
close to the scene to give a fair record of events. However, since a close friend who is
also the archivist of a major orchestra in England successfully completed a volume for
his orchestra, I adjusted my thinking, and decided to make a similar attempt.
This book is intended as a history of the Toronto Symphony Orchestra: a chronicle
of achievements, challenges, and outstanding events during the past eighty years. My
aim, in writing this history, was to give the reader an enlightening and accessible
insight into the Orchestra.
On a few occasions I deviate from the main theme of the book in order to describe
a certain personality, such as a conductor or a guest artist. I have done so because I feel
that this additional information adds colour and provides another level of interest to
the association of performance between orchestra and artist.
Acknowledgments
I am deeply indebted to the many friends and associates who have been so very helpful
in my endeavour to write this book. My thanks go especially to Joanne Harada, who
over the past three years patiently put words and letters in the correct order; Pat
Wardrop, who straightened out the historical content; Beresford King-Smith, whose
inspiration prompted me to take the plunge in writing this book; Dr Tim Maloney,
Music Division of the National Library of Canada, for assistance with the Sir Ernest
MacMillan Archives; Neil Cory, Senior Music Producer, CBC Radio Music Depart-
ment; Gail Donald, Co-ordinator, English Radio Network Archives; William Littler,
music critic, Toronto Star, for the very informative interview he gave me on his many
years of reviews with the TSO; to Bill Harnum, Suzanne Rancourt, Ruth Pincoe, and
all their colleagues at University of Toronto Press, for all the hard work they have put
into the production of this book; to Walter Homburger, who for many years has kept
informed about the history of the orchestra; and finally to Loie Fallis, Roberta Smith,
and all members past and present of the TSO music department, for their undying
support in making this project possible, and to all members, past and present, of the
orchestra, who, through conversations and recorded interviews, have enriched my
knowledge of the TSO.
BEGINS WITH THE OBOE
A History of the
CHAPTER ONE
Prelude
tttor0ttt0
g>gmplj0tttj (®rrf}£Btra
FRANK S, WELSMAN, Conductor.
Mme. JOHANNA GADSK1

Soprano Soloist
First Concert
1S0S°9
Tuesday Evening, December 8th, 1908
MASSEY MUSIC HALL.
Music is in the air - you simply take as much as you require!
EDWARD ELGAR
In 1920 Edward Johnson (1878-1959), the eminent Canadian tenor and Metropolitan
Opera star, said, 'I want to see Toronto produce and maintain a full time professional
symphony orchestra. This city is a very important metropolis of North America and it
therefore needs and must have one.' Undoubtedly, Johnson was well aware of the
unsuccessful attempts made over the past sixty years.
The musical situation in Toronto before the advent of the present Toronto
Symphony Orchestra is important because it encompasses the many elements that led
to the orchestra's eventual formation. During the latter half of the nineteenth century
the musical life of Toronto was dominated by choral music, owing in large part to the rich
tradition of choral singing that had been brought by many British immigrants from their
homeland. The Toronto Philharmonic Society was not a single organization, but rather a
series of successive societies. The first was organized in 1845 by John McCaul (1807-86)
and was for a time the centre of musical life in the city. Over the next ten years,
performances of oratorios along with some instrumental selections were organized and
conducted by various musicians including James P. Clarke, James D. Humphreys, Henry
Schallehn, and George W. Strathy at a number of locations in the city, including St
Lawrence Hall, the Royal Lyceum Theatre, and City Hall. However, the organization
folded in 1855 because of financial problems. After many attempts, the Philharmonic
Society was revived in 1872, with McCaul as president and James P. Clarke (1807-77) as
conductor, for a performance of Handel's Messiah given at Shaftesbury Hall in February
1873. That year Frederick Torrington (1837-1917) took over as conductor and in
following years the Society presented Canadian premieres of Mendelssohn's oratorios
Elijah (1874) and St Paul (1876), and Charles Gounod's La redemption (1882, the year of
its composition).
At this time concert orchestras were assembled for each performance from a core
of regimental, theatre, and band musicians, augmented by amateur and professional
musicians borrowed from neighbouring communities. Even then, specific instru-
ments were sometimes missing and consequently the balance was often unsatisfac-
PRELUDE 5
tory. Regular rehearsal was almost im-

possible; programs were restricted to
works ten to twenty minutes in length,
and symphonies were represented by sin-
gle movements. By the turn of the twen-
tieth century, visits by American and
European orchestras formed the real ba-
sis of the musical season for Toronto. A
number of American orchestras, includ-
ing the Boston Symphony, the Theodore
Thomas Orchestra, and the New York
Philharmonic, made regular visits to To-
ronto, on many occasions joining forces
with local groups such as the Toronto
Mendelssohn Choir. Without a doubt,
these visits stimulated a desire by local
Frank Welsman (1873-1952) musicians for a well-established symphony
orchestra of their own.
During this time several attempts were made to create a permanent orchestra. The
first group to call itself the Toronto Symphony Orchestra appeared in 1890-1, under
the baton of Francesco D'Auria (1841-after 1913), an Italian conductor who also
taught voice at the Toronto Conservatory of Music. Then, in 1900, organizers an-
nounced the formation of an orchestra under the leadership of Frederick Torrington.
This orchestra was to present regular concerts and to tour within Canada and abroad.
Unfortunately, the first concert of the Toronto Permanent Orchestra, given after
extensive rehearsals, also proved to be its last. The following year, another Toronto
Symphony Orchestra, conducted by James Dickinson, gave a single concert before it too
folded for lack of financial support.
In 1906 the situation began to look a little brighter. That year Dr Edward Fisher
(1848-1913), the director of the Toronto Conservatory of Music, called a meeting to
discuss the possibility of forming an orchestra. The outcome was a decision to organize
financing and invite a prominent musician - Frank Welsman (1873-1952), a former
student of the Conservatory - to join the teaching staff. Welsman accepted the offer
and, in an agreement with Dr Fisher, formed an orchestra under the auspices of the
Conservatory. The musicians of the Toronto Conservatory Symphony Orchestra were
drawn from faculty members, students, and talented amateurs. After two successful
6 B E G I N S WITH THE O B O E
MUSICAL FESTIVAL OF
THE EMPIRE
PRESIDENT
HIS EXCELLENCY EARL GREY, P.C., G.C.M.G.
THE ARENA, MONTREAL

MONDAY, TUESDAY & WEDNESDAY EVENINGS,
MARCH 27, 28, 29, 1911, AT 8.15.
THREE GRAND FESTIVAL CONCERTS

UNDER THE DIRECTION OF DR. CHARLES HARRISS
THE SHEFFIELD CHOIR OF ENGLAND

TWO HUNDRED VOICES
"THE DREAM OF GERONTIUS"

CONDUCTED BY THE COMPOSER
SIR EDWARD ELGAR
GRAND MISCELLANEOUS FESTIVAL CONCERT

CONDUCTED BY
DR, HENRY COWARD
CORONATION EMPIRE CONCERT

CONDUCTED BY
DR. CHARLES HARRISS
ARTISTS
MISS JENNIE TAGGART MISS MAUD WILLBY
LADY NORAH NOEL
MISS GERTRUDE LONSDALE MISS ALICE HEELEY
MR. HENRY TURNPENNEY MR. WILFRID VIRGO
MR. ROBERT CHARLESWORTH MR. ROBERT CHIGNELL
SOLO ORGANIST AND CHORUS ACCOMPANIST

MR. J. EDWARD HODGSON, Mus. Bac., F.R.C.O.
THE TORONTO SYMPHONY ORCHESTRA

SEVENTY PERFORMERS
CONDUCTOR
MR. FRANK WELSMAN
CONDUCTORS
SIR EDWARD ELGAR, DR. HENRY COWARD and DR. CHARLES HARRISS
Heintzman Piano used exclusively by the Sheffield Choir on their Canadian Tour
Playbill from Montreal performance of The Dream of Cerontius conducted by Edward Elgar; the
concert was repeated in Toronto on 4, 5, and 6 April 1911.
PRELUDE 7
seasons, the connection with the Conservatory was dropped, and on 8 December 1908,
the new Toronto Symphony Orchestra presented its first official subscription concert.
The following morning, Toronto newspapers were full of praise not only for soloist
Johanna Gadski, the Wagnerian soprano from the Metropolitan Opera, but also for the
outstanding performance by the orchestra. At this time an Executive Committee was
formed under the chairmanship of Herbert C. Cox (the president of Canada Life
Assurance), giving the orchestra a firm financial foundation. The orchestra's success
continued through eight seasons, and featured well-known guest artists including Fritz
Kreisler, Mischa Elman, Eugene Ysaye, Jan Kubelik, and Serge Rachmaninoff. Appar-
ently Rachmaninoff came totally unprepared for a Canadian winter and, convinced by
Welsman that a fur coat was required, was taken to Holt Renfrew to purchase a suitable
garment. They had nothing to fit his tall stature so he settled for the best possible fit -
the sleeves ended midway between his elbow and wrist, and the coat reached just below
his knees.
On 4 April 1911 the orchestra took part in a performance of Sir Edward Elgar's
The Dream of Gerontius conducted by the composer. This concert was part of a three -
day Musical Festival of the Empire, and was one of six performances of this program to
be presented in Montreal and Toronto. After the concert, Elgar, who was at the end of
an intensive North American tour and was not enjoying the best of health, travelled
directly to New York to embark for England. Shortly after his return he was present at
the Queen's Hall in London for the premiere of his Symphony No. 2 in E flat major.
With the outbreak of the First World War in 1914 the activities of the orchestra
were curtailed. The Executive Committee was of the opinion that monies needed for
the support of the orchestra should instead be directed toward the war effort, and
suspended future plans for the orchestra. Frank Welsman, however, felt that the
orchestra should continue to function as well as possible under wartime conditions and
took on the duties of both administrator and music director-conductor. During the first
three years of the war the conditions became increasingly difficult and audience
support fell off. In the summer of 1918, Welsman finally gave up what seemed to be an
endless struggle, and Toronto's first permanent symphony orchestra came to an end. A
few years would pass before the musicians of a Toronto orchestra would again be able to
tune to the A played by the principal oboist.
The success of this first Toronto Symphony Orchestra left a deep impression on the
musicians. The opportunity to perform together and to build a first-class orchestra was
imbedded in their memories. Within a few years, some of them would decide to attempt
to form yet another permanent symphony orchestra.
8 BEGINS WITH THE OBOE
Members of the orchestra for the 1923-4 season, from the program for the first Twilight Concert,
25 September 1923 at 5:00 p.m. in Massey Hall.
CHAPTER TWO 1922-1931
Luigi von Kunits

Mozart - the admiration of my youth, the desperation of my mature years,
the consolation of my old age,
GIOACHINO ROSSINI
During the 1920s most of the professional musicians in Toronto were employed in the
numerous theatres throughout the city. Many of these musicians were anxious to play
classical repertoire, and a number of them had performed in the Welsman orchestra. In
the early spring of 1922, these musicians met to discuss the possibilities of once again
building a symphony orchestra. They delegated violinist Louis Gesensway and flutist
Abe Fenbogue to approach Luigi von Kunits to see whether he would be willing to
rehearse and conduct an orchestra.
Luigi von Kunits (1870-1931) was born and raised in the musically rich city of
Vienna. He studied violin with Jakob Griin and Otakar Sevcik, composition with Anton
Bruckner, and music history with Eduard Hanslick. At age eleven he had been asked by
Brahms, who knew his father, to play second violin in one of the composer's string
quartets. He was also acquainted with Karl Goldmark and Johann Strauss II. At age
twenty-one he had the opportunity to perform his own violin concerto with the Vienna
Philharmonic Orchestra. In 1893 he travelled to the United States to perform with an
Austrian orchestra at the Chicago World's Fair, where he also won the best solo
violinist trophy in open competition. Von Kunits decided to stay in the United States,
where he taught violin first in Chicago (1893-6) and later at the Pittsburgh Conserva-
tory (1896-1910). He was also concertmaster of the Pittsburgh Symphony Orchestra
from 1897 to 1910. He spent the following two years touring in Europe as a violin
soloist. During this time, he was offered the conductorship of the Philadelphia Orches-
tra, and he also received an invitation to teach at the Canadian Academy of Music in
Toronto. He chose the less stressful position in Toronto for health reasons, and the
Philadelphia position was given to Leopold Stokowski. Von Kunits remembered To-
ronto from performances the Pittsburgh Symphony Orchestra gave with the Toronto
Mendelssohn Choir, and he felt that there was a great future for music in Toronto.
When von Kunits came to the Canadian Academy of Music as head violin teacher
in 1912, he was well known for his superb playing and was equally renowned for his
conducting abilities.
Von Kunits considered the request from the Toronto musicians and, sensing their
LUIGI VON KUNITS 11
determination and staunch enthusiasm, decided almost immediately to undertake the

task. He knew most of the musicians and had personally taught many of the violinists.
All the musicians in the new orchestra were professionals except for two: R.L. Jose,
who played French horn, and Dr J. Pilcher, a bass clarinettist who was on the faculty of
Wycliffe College. Rehearsals commenced in the fall of 1922, initially in the von Kunits
home and later in the basement of Massey Hall. Because most of the musicians were
employed full-time in the theatres, rehearsals were held in the morning. By the early
spring of 1923, the orchestra was ready for its first concert. It was decided that the
concert would begin at 5:00 p.m. and would last approximately an hour with no
intermission; this would allow sufficient time for the musicians to return to their places
of regular employment and, as publicity for the concert pointed out, time for the
audience to reach home before evening dinner.
The musicians gave their first concert on 23 April 1923 in Massey Hall under the name 1922-1923
New Symphony Orchestra. It is easy to imagine the anticipation, excitement, and
apprehension on stage for this first concert, but von Kunits knew that the orchestra was
ready to perform for the public. The principal oboe played an A and the orchestra
tuned. Then Dr von Kunits stepped onto the podium, raised his baton, gave the
downbeat, and they were away into the Overture to Der Freischutz by Carl Maria von
Weber. The remainder of the program consisted of a Slavonic Dance by Antonin
Dvorak, two Hungarian Dances by Johannes Brahms, and the Symphony No. 5 in
E minor by Pyotr Il'yich Tchaikovsky.
Next morning the Toronto press was full of praise for both orchestra and conduc-
tor, confident that Toronto once again was on the threshold of having its own perma-
nent symphony orchestra. Each musician received $3.95 for the concert and four
rehearsals, but these musicians were performing for the sheer joy of being able to make
music as part of a symphony orchestra. Two more concerts were planned and presented
in May. Tickets were priced at seventy-five, fifty, and twenty-five cents, with no seats
reserved within each section. All the music presented in this inaugural season was
orchestral. There were no soloists, but the three programs included compositions by a
number of major composers and covered a wide spectrum of international orchestral
repertoire. All the works performed involve approximately the same instrumentation.
The following announcement appeared in the first program.
The New Symphony Orchestra is the result of a voluntary effort on the part of
Toronto musicians who decided that a real Symphony Orchestra could be established
on a musical conception alone. That is, players who wished an opportunity to express
themselves through playing symphonic music without considering the immediate
financial returns, found themselves in a sufficient numbers to establish themselves as
a Symphony Orchestra, and it is believed that there are in Toronto a sufficient
number of people who understand and appreciate a Symphony Orchestra, to make a
fair audience whenever it is announced that the Orchestra has a program sufficiently
rehearsed.
The response to the initial concerts by the public was so good that in the summer of
1923 subscriber applications appeared for the 1923-4 season. H.C. Wotherspoon, who
had been orchestra manager for the first season, was replaced by H.J. Elton, who left the
flute section to assume this position.
1923-1924 The 1923-4 season witnessed several changes. The size of the orchestra increased from
sixty-five to seventy-five musicians, and soloists were invited to perform with the
orchestra. Concerts were scheduled to take place every other Tuesday throughout the
season. Another innovation in this second season was a series of pre-concert talks,
presented on Monday evenings prior to the Tuesday concerts in the Women's Art
Association Gallery by Lois Wilson. Each lecture interpreted and explained the music
being performed at the upcoming concert.
The first concert of the second season opened with the Overture to Wagner's Die
Meistersinger von Ntimberg- undoubtedly Dr von Kunits was anxious to make good use
of the enlarged orchestra. J. Campbell Mclnnes sang an aria from Handel's opera
Berenice and the concert ended with Beethoven's Symphony No. 3 in E flat major
('Eroica'). A note in the program explained that there could be no encores, owing to
the limited time allotted for these concerts. Other major works presented during the
1923-4 season included the Piano Concerto No. 5 in E flat major ('Emperor') by
Ludwig van Beethoven, the Symphony No. 9 in E minor ('From the New World') by
Antomn Dvorak, the Piano Concerto in A minor by Edvard Grieg, and two Tchaikovsky
compositions - Variations on a Rococo Theme and the Symphony No. 6 in B minor
('Pathetique').
On 30 November, in response to widespread demand, the orchestra gave its first
Pops Concert. This new venture was a good indication of the rapidly developing interest
of the audience in the orchestra, and its resulting financial stability. The first financial
statement issued by secretary-treasurer A.E. Gesensway, covering the period from
24 April 1923 to 6 December 1923, showed a balance of cash in hand of $259.19.
LUIGI VON KUNITS 13
Toronto Symphony Orchestra with conductor Luigi von Kunits at the Arcadian Court in the Robert
Simpson department store, circa 1929
Yet another undertaking of the orchestra's first full season was the formation of the
Toronto Symphony Orchestra Women's Committee (now the TS Volunteer Commit-
tee). This strong, dynamic group, a continuing source of substantial financial support
for the orchestra, was initiated in 1923 by Mrs Luigi von Kunits, who enlisted a group of
women to form the Women's Orchestral Association of Toronto to secure interest in
and finances for the New Symphony Orchestra. In 1924 this group joined with the
Executive Committee of the orchestra to create the New Symphony Orchestra Asso-
ciation, the aim being to establish an efficient and capable organization that could
sustain the orchestra. A.E. Gooderham was elected president of the new association
and Mrs W.A. (Mary) Austin, who had been president of the Women's Orchestral
Association, was chosen as one of the two vice-presidents. The Association agreed that
the musicians should be paid at least $12.00 per concert, a substantial increase from the
$3.95 they had been receiving.
For the next eighteen months there was no separate women's volunteer group, but
it soon became obvious that one was needed. On 11 May 1926, a group of women who
were members of the New Symphony Orchestra Association agreed to form a Women's
Committee. The first president of the Women's Committee was Mrs J.F. Ross. The
Women's Committee took over most of the responsibility for the ticket sales and
introduced a plan for season tickets to be sold in book form at $10.00 for ten concerts.
The innovation proved to be a great success.
In the second half of the 1923-4 season (January to May) twelve concerts were
given. One interesting program involved two conductors, Ernest MacMillan and Frank
Welsman, along with Luigi von Kunits as soloist, and included two Canadian works.
Overture Ernest MacMillan

(conducted by Ernest MacMillan)
Violin Concerto in E minor Luigi von Kunits
(Luigi von Kunits, violin, conducted by
Frank Welsman)
Prelude and Love Death from Tristan und Isolde Richard Wagner
(conducted by Ernest MacMillan)
1924-1925 The 1924-5 season included the first orchestra concert for children, sponsored jointly
by the Toronto Board of Education and the Toronto Catholic School Board. The
concert took place on a Saturday morning at 10 a.m. in Massey Hall. The one-hour
program included excerpts from compositions by Haydn, Edward German, Edward
LUICI VON KUNITS 15
Elgar, and Handel. Duncan McKenzie, the supervisor of music for the Toronto Board of
Education, gave a short introduction to each piece. It could be said that this concert
was the beginning of the TSO Education Programs, the development of which will be a
continuing theme in later chapters. At the end of this third season a deficit of $2,200
was erased by a generous anonymous donor.
The first concert of the 1925-6 season opened with the concert overture In the South by 1925-1926
Edward Elgar and also included the Piano Concerto No. 1 in B flat minor by Tchaikovsky,
played by the well-known Canadian pianist Ernest Seitz. On 19 October 1925, a
sincere and impassioned plea for maintaining the orchestra on a permanent basis
appeared as an editorial in The Globe. The editorial was reprinted in the program for the
second concert of the season.
Once more our symphony orchestra has begun its modest season of twilight concerts
with no positive assurance that the series planned can be carried out. This annual
effort is a venture of faith only, faith in the community's civic pride and good taste,
for no endowment fund or private guarantee exists to make certain the continuance
of these artistic opportunities... The New Symphony is a genuinely community affair,
of the people, for the people, by the people, and its perpetuation depends entirely
upon popular support... 'Music is what awakes in us when we are reminded by the
instruments.' We all need as much of this awakening to higher things as our daily
grind makes possible, and there is no tranquilizing of the spirit or recreating joy in
beauty comparable to that bestowed by this twilight hour dedicated to the supreme
form of this supreme art.
On 10 November Frank Welsman returned to conduct a performance of the

Double Concerto in A minor for Violin and Cello, op. 102, by Brahms with soloists
Luigi von Kunits and Leo Smith. Halfway through this season there was a deficit of
$2,073, but through a concentrated effort in ticket sales, along with more innovative
programming, it was reduced to $641 by the end of the season.
November 1925 also saw the first attempt to broadcast a portion of one of
the concerts. CKVL, a local radio station, began negotiations with the musicians of
the orchestra and the musicians' union for permission to broadcast. Unfortunately,
a final decision, which depended on a unanimous vote of the musicians, was not
forthcoming, so the technicians removed their equipment and the broadcast fell
through.
1926-1927 The 1926-7 season opened with a new

concertmaster: Grant Milligan took over
from Moses Garten, who had left the or-
chestra. Publicity was intensified and, with
the inspiration of Association Committee
Chairman A.E. Gooderham, corporate
sponsorship was introduced. Leading solo-
ists who appeared with the orchestra this
season included British pianist Katherine
Bacon, who performed the Piano Concerto
No. 2 in G minor by Saint-Saens, and
Kathleen Parlow, the internationally ac-
claimed Canadian violinist, who played
the Paganini Violin Concerto No. 4 in
D major.
Frank Welsman returned as guest conductor in

1927-1928 1925 The beginning of the 1927-8 season saw
a significant change: the New Symphony
Orchestra officially became the Toronto Symphony Orchestra. The charter bearing the
name 'Toronto Symphony Orchestra' was presented to the orchestra by Herbert Cox,
who had been chairman of the TSO under Welsman. Cox also owned the library of the
orchestra and had obligingly loaned scores and parts to the new TSO, which had not
yet built up its own library. A number of problems that had developed as the orchestra
grew in prominence were resolved through lengthy discussions between the orchestra
management and the musicians' union. This meant that the orchestral musicians now
received a more reasonable financial return for their efforts.
The 1927-8 season brought yet another change of concertmaster, when Donald
Heins joined the orchestra. Donald Heins (1878-1949) was born in England, but on
the advice of Pablo de Sarasate had gone to the Leipzig Conservatory to study with
Hans Sitt. In Leipzig he also studied harmony with Gustav Schreck and orchestration
with Richard Hoffman, and later in England he continued his violin studies with
August Wilhemj. Heins came to Canada in 1902 and settled in Ottawa, where he
taught at the Canadian Conservatory of Music and also directed the Conservatory
orchestra. During his years with that orchestra, he conducted Ottawa premieres of a
number of works from the standard orchestral repertoire. Donald Heins was also a
composer, and on 31 January 1928 the TSO program included a performance of his
LUICI VON KUNITS 17
Concertino in D minor for violin and orchestra, with Heins as the soloist. Heins
remained concertmaster until Ernest MacMillan became conductor in 1931, when he
became both the principal violist and the TSO's first assistant conductor. This season also
included a performance by lyric soprano Lady Eaton, singing an aria from the opera
Mignon by Ambroise Thomas.
The 1928-9 season bought the orchestra's first evening performance: a non-subscrip- 1928-1929
tion joint concert with the Schubert Choir of Brantford. The program consisted of
short pieces for choir and orchestra. There had been many requests from concert-goers
regarding the possibility of 8 p.m. performances, and perhaps this joint concert was a
test of public reaction. On 29 January Ernest MacMillan was the guest conductor for a
performance of Hubert Parry's The Pied Piper ofHamelin, and the Toronto Conservatory
Choir joined the orchestra for this fine setting of Browning's poem. As with the
preceding seasons, the orchestra ran a deficit of $3,000 to $4,000. An urgent appeal for
1,000 members to join the orchestra Association at a fee of $10 each underlined the
need for additional funding.
In the fall of 1929 the TSO embarked upon a new venture in music making with a 1929-1930
much larger audience than could be accommodated in Massey Hall. Sunday, 20 Octo-
ber marked the Toronto Symphony Orchestra's first radio broadcast across Canada on
the CNR Radio Network. This initial effort was a success, with congratulatory tel-
egrams and letters arriving from across the country. The following telegram was sent to
Dr von Kunits by E. A. Weir, the director of CNR Radio.
Dr von Kunits:
Your performance magnificent. A wonderful representation on the air, for Canada.
Entire programme outstanding success. Congratulations.
E.A. Weir, Director of Radio.
Such success did not come easily. Special equipment had to be obtained from New York,
and since Massey Hall was not completely soundproof, a broadcasting venue had to be
found. The Arcadian Court, an expansive dining area on the eighth floor of the Simp-
son's department store, turned out to be highly suitable for broadcasting purposes, and
C.L. Burton, president of Simpson's, generously made this space available to the
orchestra. This first broadcast was not only a momentous occasion for the orchestra but
also an important step for Canadian radio, and it marked the beginning of the TSO's
long association with this media. Broadcast concerts took place on Sundays, which was
most convenient for the musicians as there were no Sunday theatre performances.
Much of the information about the program content for these broadcasts has since been
lost; most likely the orchestra repeated music from that week's Massey Hall concert.
This season also included some outstanding concerts on stage. One was a perform-
ance of Edward Elgar's Sea Pictures, sung by the renowned English contralto Muriel
Brunskill. Another was the North American premiere of Constant Lambert's The Rio
Grande, with pianist Ernest Seitz and the Toronto Conservatory Choir, conducted by
Ernest MacMillan. In addition, the children's concerts were resumed after a break of
three years - an unfortunate disruption caused by the resignation of Duncan McKenzie
as supervisor of music for the Toronto Board of Education. His position was filled by
Emily Tedd, who had been his assistant.
1930-1931 During the 1930-1 season the venue for the CNR broadcasts changed from the
Arcadian Court to the studios of CFRB Radio. The reason for the move remains a
mystery, as no official documentation has survived. On 7 April 1931 a special full-
length evening concert was given for the purpose of reducing the orchestra's deficit of
$6,000. Both conductor and musicians donated their services, as did the Toronto
Conservatory Choir, for this most ambitious program.
Overture Ernest MacMillan

Symphony in D minor Cesar Franck
Violin Concerto in E minor Felix Mendelssohn
(Leon Zighera, violin)
Prelude and Fugue in G minor J.S. Bach, arr. Ernest MacMillan
St Patrick's Breastplate Arnold Bax
This concert was significant for two reasons. One was that this would be the last time
Luigi von Kunits conducted the orchestra, for he died six months later on 8 October
1931. The Franck symphony and the Mendelssohn concerto were two of his personal
favourites. The other point of significance is that the program included two works by
Ernest MacMillan, who was to be the next conductor of the TSO. In addition, the
performance of St Patrick's Breastplate was a North American premiere. All in all, it was
a prestigious event for the end of a season, and the end of an era.
Luigi von Kunits gave his life to music and devoted many hours of work to establish-
ing a solid foundation for the orchestra. His dedication made it possible for the TSO to
move on to a new stage of development under the leadership of Ernest MacMillan.
CHAPTER THREE 1931-1945
Sir Ernest MacM.il/an,

Parti
I am convinced that there are universal currents of Divine Thought
vibrating the ether everywhere and that any who can feel these vibrations
is inspired ...
R I C H A R D WAGNER
Ernest MacMillan (1893-1973), one of the most prominent figures of his time in
Canadian music history, was born in Mimico, Ontario. He began organ studies at the
age of eight and soon was performing in public. During a family sojourn in Edinburgh
(1905-8) he continued his organ studies with Alfred Hollins, and also attended music
classes at the University of Edinburgh. Back at home, he served as organist of Knox
Presbyterian Church in Toronto for two years and then spent an additional year
studying music in Britain. On his return to Toronto, he studied modern history at the
University of Toronto and simultaneously served as organist and choirmaster at St
Paul's Presbyterian Church in Hamilton. In 1914, he journeyed to Paris to study piano
with Therese Chaigneau. The outbreak of the First World War in 1914 found him in
Germany with the intention of attending the Wagner Festival at Bayreuth. He was
consequently detained as an enemy alien, and spent most of the war in a prisoner-of-
war camp at Ruhleben, near Berlin. However, he did not allow this confining situation
to interrupt his music studies. During the first months of the war, while he was detained
in Nuremberg, he wrote the first version of his String Quartet in C minor. Later,
through the Prisoners-of-War Education Committee, he submitted a setting of
Swinburne's ode England as part of the requirements for a doctorate of music from
Oxford University. On returning home, MacMillan embarked upon an intense music
career not only in Toronto and Ontario but also across Canada. Around this time
MacMillan was becoming interested in conducting. In 1924 Luigi von Kunits invited
him to conduct the TSO in a performance of his Overture. Von Kunits approved of
MacMillan's conducting and in 1931, during his last illness, suggested that MacMillan
should be his successor. MacMillan had already been booked to conduct the first two
concerts of the 1931-2 season, owing to the serious condition of von Kunits's health,
and on 23 October 1931 he was appointed conductor of the orchestra.
1931-1932 The appointment of Ernest MacMillan to the position of conductor only four days
before the first concert of the new season did not result in a smooth transition. There
SIR ERNEST MACMILLAN, PART 1 21
had been a number of applicants for the position, and while the local press was of the
opinion that MacMillan was the right choice, many people favoured Reginald Stewart,
another serious contender. Like MacMillan, Stewart was of Scottish descent, and he
had strong support. His conducting technique and interpretation were considered to be
more mature. However, the orchestra committee's decision prevailed and MacMillan
accepted without hesitation. The next day, he made his plans for the future of the
orchestra known to the players - including some major changes in personnel. The
musicians' immediate reaction was negative and they made it known that they did not
appreciate MacMillan's high-handed attitude. Within the next day or two MacMillan
realized the error of his ways, and on 24 October 1931 wrote 'Statement re Orchestra
Situation,' which opens as follows:
When last evening I announced my acceptance of the position as conductor of The

Toronto Symphony Orchestra, I thought I was doing so with the unanimous support
of the members of the orchestra. Had this not been so, I should certainly have refused
or at least delayed my acceptance until we should have had time to come to a com-
plete understanding on all points at issue. Having announced my acceptance, I was
surprised to learn by chance today that some dissension had since arisen with regard
to the reorganization which I outlined to the orchestra yesterday.1
MacMillan went on to suggest that the musicians had misunderstood his plans and that
he had no intention of introducing measures that could be interpreted as destroying the
pioneering work done by Luigi von Kunits.
MacMillan had little knowledge of professional orchestras or the temperament of
musicians. He was, however, taking over an orchestra that had been well prepared
and developed by a master. He soon realized that there was a lot to learn. He handled
future situations with more diplomacy, but there were occasional incidents when
MacMillan acted in haste and showed some insensitivity.
The first concert of the 1931-2 season, presented on 27 October, opened with the
second movement from the Symphony No. 3 in E flat major ('Eroica') by Beethoven,
played as a memorial to the late Dr Luigi von Kunits. The program included the Piano
Concerto No. 1 in E minor by Chopin with soloist Ernest Seitz and Beethoven's
Symphony No. 8 in F major.
Throughout his career Ernest MacMillan was an enthusiastic proponent of music
education for young people. He wrote numerous articles on the subject and gave many
speeches on music education throughout Canada. In an article for the Ontario Educa-
tional Association in 1944 he commented that the greatest function of school music
was that of building future audiences: 'Music is not primarily something you do - it is
something you live.'
Emily Tedd had been involved with Toronto school concerts since 1926, when she
was appointed successor to Duncan McKenzie as supervisor of music for the Toronto
Board of Education. It was in 1931 that the school concerts began to really flourish.
Emily Tedd and MacMillan shared a strong desire to present music to schoolchildren
with the emphasis and quality it deserved. The first concert on which they collaborated
took place on 3 November 1931; details of that concert have been lost, but the second
concert, presented on 1 December 1931, gives an indication of how varied and
interesting the programs were.
Prelude to Lohengrin, Act III Richard Wagner

'Berceuse' from Jocelyn Benjamin Godard
Overture to The Magic Flute Wolfgang Amadeus Mozart
Kol Nidrei Max Bruch
Dances from Henry VIII Edward German
Selections from the William Tell Overture Gioachino Rossini
The programs began at 4:15 p.m. because the Toronto Board of Education would not
relinquish school time for children to attend the concerts.
The 1931-2 season saw the first indications that the one-hour Twilight Concerts
were coming to an end. Three or four concerts were given in the evening, commencing
at 8:30 p.m. and lasting for two hours. There were also some changes in personnel.
Donald Heins, who had been concertmaster under von Kunits, was appointed assistant
conductor as well as principal viola. The new concertmaster, Elie Spivak (1902-60),
had studied at the Paris Conservatoire and the Royal College of Music in Manchester.
He spent a year in New York before moving in 1926 to Toronto, where he taught at the
Conservatory and, from 1929 to 1942, played first violin in the Conservatory String
Quartet. For the subscription concert on 10 November, Spivak gave an outstanding
performance of the Symphonic espagnole by Edouard Lalo.
The second half of the 1931-2 season opened on 12 January with a concert
featuring the well-known Chilean pianist Alberto Guerrero, who was the soloist for the
colourful and exhilarating Nights in the Gardens of Spain by Manuel de Falla. On
20 January Reginald Stewart played the Piano Concerto No. 2 in C minor by Serge
Rachmaninoff in a concert that was upgraded from a twilight to an evening event. The
program also included the suite from Tchaikovsky's ballet The Nutcracker and Brahms's
Toronto Symphony Orchestra with conductor Sir Ernest MacMillan on stage at Massey Hall
Symphony No. 2 in D major. The concert for 23 February included a performance of

the Symphony No. 2 in D major by Jean Sibelius. The program for this concert
included a notice requesting the audience to kindly refrain from applauding between
the movements of the symphony. Perhaps MacMillan was a little annoyed with the
disturbance. An all-British program on 8 March included the Toronto premiere of
Benedicite, a cantata by Ralph Vaughan Williams. Soprano Agnes Smith Kelsey and the
Toronto Conservatory Choir joined the orchestra for this work. The final concert of
the season was devoted to works of Wagner, including the overtures to The Flying
Dutchman and Tannhduser, and two other favourites, the Siegfried Idyll and the 'Ride of
the Valkyries' from Die Walkure. This ambitious season could be counted a success -
especially in the midst of the Depression.
Since A.E. Gooderham had decided to step down, the Board of Directors had to choose 1932-1933
a new president. Vincent Massey, who was elected to take his place, immediately
proposed that Col Gooderham, the man whose guidance and drive had done much to
maintain the momentum during the first crucial years of the orchestra, be named
Honorary President.
At a Board meeting in the late summer of 1932, MacMillan put forward a plan for
the upcoming season and suggested that concerts should start at 8.30 p.m. and should
be two hours long. He was also anxious to bring the size of the orchestra to ninety
musicians. His plan had great merit. Movie theatre orchestras were rapidly becoming
redundant with the advent of 'talkies' and subsequently musicians were available for
evening concerts. A new and better salary scale was agreed upon for rehearsals and
concerts, and these increased costs resulted in higher ticket prices: the new tickets
ranged from 500 to $2.50 (a substantial increase from the previous 250 to 750). The
Board accepted MacMillan's plan - a significant decision considering that Canada was
still in the grip of the Depression. The program for the first concert showed both
virtuosity and intensity - a clear indication that MacMillan's knowledge of repertoire
was developing.
Overture to Ruslan and Lyudmila Mikhail Glinka

Suite from Water Music George Frideric Handel,
arr. Hamilton Harty
Piano Concerto No. 4 in G major Ludwig van Beethoven
(Viggo Kihl, piano)
Symphony No. 1 in C minor Johannes Brahms
Robertson Davies, who was a student at Upper Canada College when MacMillan
took over the TSO in 1931, wrote, 'With MacMillan came rather a lot of Wagner and I
recall feeling crushed under the intensity of the Liebestod.'2 MacMillan was indeed a
Wagner enthusiast and during his tenure he was to conduct many concerts devoted to
the composer. A Wagner program on 6 December presented the Prelude to Act I, the
Good Friday music, and the final scene from Parsifal followed by the final scene of Die
Meistersinger von Nurnberg. The Toronto Conservatory Choir joined the orchestra for
the two final scenes. MacMillan's great interest in Wagner later led him to publish an
article entitled 'Hitler and Wagnerism,' in which he suggests that it is necessary to
understand 'Wagnerism' in order to understand the perversions of Hitler. However, he
argues for the continued acceptance of the superb music of a great composer, divorced
from that composer's dubious and unoriginal philosophical ideas, and for music to be
kept in the concert hall and out of politics.3
The season also included Brahms's Violin Concerto in D major, with Geza de Kresz
as soloist, and Sibelius's Symphony No. 2. Canadian pianist, composer, and conductor
Rex Battle had presented the TSO with the score and parts for Ernest Chausson's
Symphony in B flat major, and the symphony was performed on 7 February. At the
following concert on 21 February Rex Battle was piano soloist with the string section
for the Concerto Grosso No. 1 by Ernest Bloch. In March, when spring is on the minds
of most people, Elie Spivak and the orchestra appropriately gave a performance of
Vaughan Williams's The Lark Ascending. The last subscription concert of the season was
devoted to two Beethoven symphonies: No. 1 in C major and No. 9 in D minor with
soprano Jeanne Pengelly, contralto Mabel Beddoe, tenor Julian Oliver, baritone George
Lambert, and the Toronto Conservatory Choir. An additional concert added to the
season on 4 April included the North American premiere of George Dyson's The
Canterbury Pilgrims.
The opening concert of the TSO's twelfth season began almost where the previous 1933-1934
season had left off, with a large portion of Wagner. The second half of the concert was
devoted to a performance of Tchaikovsky's Symphony No. 5 in E minor. Wagner was
well represented this season. Lord Bessborough, the Governor-General of Canada, and
his wife were interested in Wagner's music, and asked to hear the all-Wagner program
on 9 January 1934. At the end of the season an extra concert was added to commemo-
rate the centennial of the city of Toronto. Half the program was devoted to Wagner and
the other half to Beethoven's Symphony No. 9 with soprano Jeanne Pengelly, contralto
Eileen Marshall, tenor Leslie Mardall, baritone George Lambert, and the Toronto
Conservatory Choir.
The 1933-4 season also saw an increase in the engagement of international artists:
Jeanne Dusseau sang Three French Canadian Sea Songs arranged by Ernest MacMillan
and 'Abscheulicher' from Fidelio by Beethoven. The following concert on 5 December
brought Ruggiero Ricci, a twelve-year-old violin prodigy. His performance of the
Symphonie espagnole by Edouard Lalo received rave reviews and a standing ovation in
Massey Hall. Harriet Cohen, the renowned English pianist, was the soloist for the
Canadian premiere of Arnold Bax's Symphonic Variations. On 6 February Gregor
Piatigorsky, the world-acclaimed Russian cellist, played the Cello Concerto No. 1 in A
minor by Camille Saint-Saens. In February or March the TSO, under the direction of
MacMillan, performed at the Toronto Skating Club in a program entitled 'Carnival -
Follies of 1934.' Guest skaters Sonja Henie and Karl Schaffer appeared in what was the
first interpretation on ice of Maurice Ravel's Bolero. On 6 March the Toronto Con-
servatory Choir, the Madrigal Singers of Peterborough, and a schoolchildren's choir led
by Emily Tedd joined forces with the orchestra for a performance of Gabriel Pierne's
The Children's Crusade. For the last concert of the regular season Ernest Seitz, Viggo
Kihl, and Alberto Guerrero were soloists for Mozart's Concerto in F major for three
pianos, K 242. The orchestra had planned a short spring tour of western Ontario,
including concerts in Kitchener-Waterloo and London. However, because of a disa-
greement between the Toronto and London musicians' unions over percentage pay
from box office receipts, the tour was cancelled.
For many years TSO musicians had experienced difficulty in finding employment
from April to September, when there were no regular concerts. This situation changed
in the summer of 1934 when Reginald Stewart, in association with the Toronto
Musicians Protective Association, founded a summer series of weekly Promenade
Symphony Concerts given in Varsity Arena, on the University of Toronto campus. The
orchestra of seventy-five to ninety musicians (mainly TSO members) was first known
as the Promenade Symphony Orchestra. The Promenade Concerts continued until
1956, although the orchestra changed its name to the Toronto Philharmonic Orchestra
in 1941.
1934-1935 MacMillan's devotion to Wagner was once again represented with two concerts of his
compositions. The concert on 11 December presented the Prelude and 'Liebestod' from
Tristan und Isolde and the aria 'Dich, theure Halle' (Dear Hall of Song) from Tannhduser
with Lotte Lehmann as soloist. The last concert of the regular season was a Wagner
evening of opera in concert, consisting of the Prelude and Act I of Lohengrin in the first
half, and excerpts from Act III of Die Meistersinger in the second half. Although the
main season had come to a close, the month of April was a busy one. On 12 April the
annual benefit concert was given to raise money for the orchestra's Sustaining Fund.
This was followed on 23-4 April by two concerts with the Toronto Mendelssohn Choir
for the Choir's Spring Festival at Maple Leaf Gardens. On the first night the choir sang
selections from the Liebeslieder Waltzes, op. 52, by Johannes Brahms and the 'Sanctus'
from Bach's Mass in B minor, and the orchestra played the Symphony No. 4 in F minor
by Tchaikovsky. The program for the second night consisted of a selection of English
folk songs and part songs and other choral works. On 27 April the TSO participated in
a concert at Massey Hall that was part of the trans-Canada jubilee tour of the original
Hambourg Trio: pianist Mark Hambourg, violinist Jan Hambourg, and cellist Boris
Hambourg. The interesting program took full advantage of all three soloists.
Coriolan Overture Ludwig van Beethoven

Two Romances for Violin Ludwig van Beethoven
Triple Concerto, op. 56 Ludwig van Beethoven

(Canadian premiere)
Variations on a Rococo Theme Pyotr IPyich Tchaikovsky
Piano Concerto No. 1 in B flat minor Pyotr IPyich Tchaikovsky
With the death of H.J. Elton in January 1935 the Toronto Symphony Association
and members of the Orchestra lost their highly respected secretary and business
manager. Elton had joined the orchestra in 1923 and, while continuing to play in the
flute section, had also become the head of administration. His loyalty and untiring
efforts were crucial in maintaining the orchestra in its early years.
Two important events took place during the summer of 1935. In June the Toronto 1935-1936
Symphony Orchestra Association was entirely reorganized and a new charter written.
Under the reorganization, five women were added to the Board of Directors, and five
standing committees were appointed: Executive, Finance, Program and Publicity, Edu'
cation, and Entertainment. Then, in July 1935, in the last honours for Canada, King
George V bestowed the decree title, honour, and dignity of a knight bachelor upon
Ernest Campbell MacMillan. The honour was given in recognition of MacMillan's
work not only with the Toronto Symphony Orchestra, but also for music across Canada.
The practice of granting Canadian titles had been discontinued after the First World
War, but was resumed in 1934 by the government of R.B. Bennett. Others honoured in
this final list were Charles G.D. Roberts and A.E. Gooderham, the Honorary President.
The 1935-6 season introduced a second series of concerts held on Saturday
afternoons. These concerts presented a completely different program from the regular
Tuesday subscription concerts, and ticket prices ranged from fifty cents to a dollar -
about half the price of the Tuesday series. The opening Tuesday concert of the season
was devoted to works by Brahms, while the opening concert of the new Saturday series
presented music by Wagner, Tchaikovsky, and Beethoven. On Tuesday, 26 November,
William Primrose, the renowned English violist, made his debut with the orchestra
playing the Concerto in B minor for viola and orchestra by George Frideric Handel.
Saturday, 7 December, was the birthday of Jean Sibelius, and the program was devoted
to his works, including Symphony No. 2. On Sunday, 8 December, the Toronto
Symphony Orchestra and the Toronto Conservatory Choir gave a performance of
Brahms's A German Requiem in memory of Albert Edward Gooderham, the first presi-
dent of the New Symphony Orchestra (from 1922 to 1931), who had died the previous
week. Gooderham's generous financial support and dedication had ensured the survival
of the orchestra in its early days.
No season during the early years of MacMillan's conductorship went by without at
least one concert devoted to Wagner and this year, 10 December was 'Bayreuth Night.'
The first Christmas Box Symphony, presented on 17 December 1935, was so successful
that it set a pattern for future Christmas concerts. The musicians donated their services
for a light-hearted program with opportunities for audience participation. The sixth
subscription concert, scheduled for 21 January 1936, was postponed owing to the death
of King George V, and finally given on 5 March. The final concert of the season closed
with a performance of Beethoven's Ninth Symphony. At the end of the fiscal year the
orchestra posted a deficit of just over $30,000, caused by rising expenditures due to an
increase in salaries and other disbursements.
1936-1937 Since the Saturday afternoon concerts initiated in the previous season had not been
successful, they were discontinued in the 1936-7 season. Obviously this time slot did
not attract the audiences that had been anticipated. The season opened with a diverse
program: the tone poem Don Juan by Richard Strauss, the Violin Concerto in A minor
by Alexander Glazunov with soloist Michel Piastre, and the Symphony No. 9 in
C major ('Great') by Franz Schubert.
The following week's program featured the Canadian premiere of William Walton's
Symphony No. 1. Walton had permitted a performance of the first three movements as
an unfinished work in 1934, and the first complete performance was given in Novem-
ber 1935 at a BBC concert by the London Symphony Orchestra under Sir Hamilton
Harty. For the annual Wagner night, on 1 December, soprano Florence Austral from
the Metropolitan Opera sang 'Senta's Ballad' from Act II of The Flying Dutchman and
'Brunnhilde's Immolation' from Gotterdammerung.
The programs for the Wagner concert included a ballot for a request concert to be
performed on 6 April 1937, the last concert of the season. Patrons were asked to select
an overture, a symphony, and one other piece, and the works receiving the most votes
would make up the program. The most popular overture - the Prelude to Lohengrin -
was predictable, considering the enormous amount of Wagner's music that MacMillan
had subjected the audience to! More surprisingly, the longer work chosen was the
Symphony in D minor by Cesar Franck. The 'miscellaneous' selection for this concert
was another surprise choice - the 'Polka and Fugue' from Jaromir Weinberger's opera
Schwanda the Bagpiper. The program also included a work that did not receive any votes:
Falstaff, by Edward Elgar. Most likely, this was MacMillan's personal choice, consider-
ing his enthusiasm for the works of Elgar and the fact that this piece had never been
performed in Toronto.
On 5 January 1937 Igor Stravinsky made his debut with the orchestra, when he
conducted suites from two of his ballets: Petrushka and L'oiseau de feu (The Firebird).
The concert for 9 February featured another conductor-composer, the well-known
Rumanian violinist George Enescu, who played the Brahms Violin Concerto in D
minor and then conducted his Rumanian Rhapsody No. I . On 2 March the orchestra
gave a joint program with the Toronto Mendelssohn Choir. Although this was not the
first time the two organizations had performed together (both groups participated in a
concert at Maple Leaf Gardens in 1935), it was the first time they had been on stage
together to perform a major choral work. It is curious that it took so long for this co-
operation to occur, as the choir was known throughout North America for its excel-
lence. Herbert Austin Fricker, the music director of the choir, conducted the choral
works and William Walton's Belshazzar's Feast, the final work on the program, while
MacMillan conducted Tchaikovsky's Symphony No. 6 in B minor ('Pathetique'). The
1936-7 season, one of the most ambitious to date, gave the musicians an opportunity to
work with several guest conductors - an essential element in the development of an
orchestra.
During the last few seasons, there had been some dissension among the musicians over 1937-1938
the occasional concerts they had been asked to give without pay. They had cooperated
in good faith, but the musicians now felt they were being manipulated. The Board, now
chaired by James E. Hahn, was aware of the situation, but made no statement on the
matter, and MacMillan, who was very much in sympathy with the musicians, felt that
to make a statement at this time would not be advantageous.
The concert on 9 November 1937 brought conductor Heinz Unger to Toronto for
the first time; in fact this was his first visit to North America. Unger was born in Berlin
and received most of his musical training there. He made his conducting debut with the
Berlin Philharmonic Orchestra, and during the 1920s and early 1930s was active as a
conductor in Europe and the Soviet Union. In 1933 he and his family had left Germany
for political reasons and settled in London, England. From 1934 to 1936, he was
conductor of the Leningrad Radio Orchestra. For the Toronto concert, he conducted
an unforgettable performance of the Symphonic fantastiaue by Hector Berlioz. This was
not the last time Toronto audiences were to have the pleasure of attending outstanding
orchestral concerts conducted by Dr Unger. The annual Wagner night on 7 December
included an opera-in-concert performance of the Prelude and final scene from Act III
of Die Meistersinger von Nurnberg, with Paul Althouse singing the part of Walther.
For the first concert of the new year, Percy Grainger joined the orchestra to
perform his favourite piano concerto - the Piano Concerto in A minor by Edvard
Grieg. The program also included two of Grainger's compositions, conducted by Grainger
with Ernest MacMillan at the piano. Reginald Stewart was guest conductor for a special
concert on 15 February. The rivalry between MacMillan and Stewart was still a topic of
discussion within music circles in the city, and MacMillan was well aware that many
patrons and musicians felt that Stewart should have been appointed conductor in 1931.
Consequently, MacMillan made a point of engaging Stewart as conductor or soloist to
demonstrate that he recognized Reginald Stewart's musical achievements. This concert
was undoubtedly an excellent demonstration of Stewart's abilities. The program opened
with a performance of Mozart's Piano Concerto No. 20 in D minor, K 466, in which
Stewart was the soloist and conducted from the keyboard. This was followed by two
Stewart transcriptions of music by J.S. Bach: the Fugue in G minor and the Choral
Prelude 'I call on the Lord' for full orchestra. The concert ended with an outstanding
performance of Franck's Symphony in D minor. On 22 February Tchaikovsky's Piano
Concerto No. 1 in B flat minor was played by Winifred Christie on a Moor double-
keyboard piano. This instrument was a sensation of the concert platform at the time,
but its fame was short-lived and there is no account of the piano ever being used again
by the TSO. Meanwhile the children's concerts, conducted by Donald Heins, were
growing in popularity. In this season one concert was devoted to music from Britain and
another to music from France. The final subscription concert of the season was once
again a request program.
1938-1939 This season saw the innovation of a new concert series: the Symphony Nine O'Clocks.
These extra concerts were held on Tuesday evenings, beginning at 9 p.m. in order to
accommodate the CBC radio network's broadcast schedule. As musical adviser for the
CBC, MacMillan had suggested that the TSO and the Montreal Symphony Orchestra
should make regular broadcasts. A total of nineteen concerts - ten subscription con-
certs plus nine Pops concerts - were included in the broadcast plans for the 1938-9
season. A note printed in the programs advised patrons that encores could not be
Violinist Albert Pratz became concertmaster of the orchestra in 1971

accommodated as the broadcast portion of the concert ran precisely from 9:30 to
10:30 p.m.
The season was one of highs and lows. On the plus side there were several
interesting guest artists, including Jan Peerce, the celebrated tenor, on 8 November. On
15 November 1939 Albert Pratz, a gifted young violinist who was a member of the TSO
and would later become concertmaster of the orchestra, played the Glazunov Violin
Concerto in A minor. On 29 November, Heinz Unger was invited back to conduct the
orchestra for a second time. Unger's conducting skills and interpretation had been well
received the previous season, and at this concert, he again gave an outstanding
performance, which included Brahms's Symphony No. 4 in E minor and the Romeo and
Juliet fantasy overture by Tchaikovsky. Hans Kindler, the founder and conductor of the
National Symphony Orchestra in Washington, made his conducting debut with the
orchestra on 24 January 1939. On 7 February, George Enescu conducted the first half of
the concert, and was the soloist for the Beethoven Violin Concerto in D major after the
intermission. Two weeks later, Henry Swoboda, the Czech conductor, led the orchestra
in works by Antonin Dvorak and Bedrich Smetana while MacMillan conducted the
remainder of the program.
The Opera Guild of Toronto joined forces with the Toronto Symphony Orchestra
in a complete concert performance of Wagner's Lohengrin. The opera was performed on
28 February and 2 March, with Sir Ernest conducting the first night and Ettore
Mazzoleni on the podium for the second. The final subscription concert of the season
was a request program with the nine-year-old pianist Valdine Conde as guest artist for a
performance of the Liszt Piano Concerto No. 1 in E flat major.
The season ended with a deficit of almost $40,000, and the future of the orchestra
was unclear. MacMillan was unhappy with the circumstances and began questioning
his conducting ability in comparison with that of conductors such as Heinz Unger,
Eugene Ormandy, or Leopold Stokowski. He gave thought to stepping down, and
actually forwarded two letters of resignation (on 28 March and 11 April) citing the
nervous strain caused by the difficult conditions, especially in view of the possibility of
war. MacMillan had also written of his intentions to Arthur Judson of Columbia Con-
certs in New York in September 1938, but Judson advised him to be patient and to build
on the foundation of his good work in Toronto, which would pay dividends in the long
run. MacMillan, however, did make enquiries in London and New York about possible
appointments. One of his justified complaints was the number of concerts in the season
- there were only nineteen. He had asked the TSO Board to review the musicians'
salaries with a view to raising the scale to allow for more concerts and additional
personnel. During the summer of 1939 his strategy was to encourage the Board to adopt
his scheme. However, with war imminent, he was apprehensive that symphony orches-
tras, like other arts organizations, might be seen as a low priority, and thus he distanced
himself from confrontation as he prepared for the new season. Board member J.E. Hahn
wanted to place the orchestra on a 'share' plan, similar to an arrangement made with
von Kunits in the early days of the orchestra. MacMillan had the foresight to know that
this would not be beneficial for the continuance of the orchestra. 'People need music,'
he wrote, 'and need it badly in wartime.'4 He was not prepared to see his orchestra suffer
the same fate as the first TSO under Frank Welsman in 1918. Hahn retracted his
position and MacMillan won the day. W.G. Watson, who had been elected President of
the Board (a position he was to hold until 1953), agreed with MacMillan that for the
next season the orchestra should be maintained at all costs.
During the First World War works by German composers had been almost forbidden, 1939-1940
but the first concert of this season opened with two works by Beethoven: the Coriolan
Overture and the Symphony No. 3 in E flat major ('Eroica'). It seems that music
appreciation and understanding had risen to a more sophisticated level and composi-
tions were accepted for what they were rather than rejected because of the country
from which they originated. The concert of 5 December further demonstrated this
musical acceptance, with performances of These Things Shall Be by John Ireland and the
Symphony No. 9 in D minor by Beethoven. The first concert in the new year was to
include works by George Butterworth, Mozart, and Brahms, but this was changed to a
program of music by the Finnish composer Jean Sibelius. The concert represented an
expression of support for the Finnish people in their strong and determined resistance
to the invasion of Finland by Russian forces that began on 1 December 1939. The
request program that brought the season to a close on 26 March included Tchaikovsky's
Symphony No. 6 in B minor and his fantasy overture Romeo and Juliet. The program-
ming for this first wartime season was not audacious. The Board, wanting to maintain
good audience attendance, had approved a season that contained well known and
accepted repertoire, and the season saw a slight but encouraging increase in ticket sales.
The children's concert on 1 November included a work that was, and still is, a favourite 1940-1941
for young people's concerts - The Carnival of the Animals by Camille Saint-Saens. Sir
Ernest conducted, and had the audience join in singing 'There'll Always Be an Eng-
land.' For the opening concert of the subscription series on 29 October, William
Primrose, the internationally acclaimed violist, returned to give an outstanding per-
formance of Harold in Italy by Hector Berlioz, and also played the Ballade for Viola and
String Orchestra by Canadian composer Godfrey Ridout. On 26 November, Sir Thomas
Beecham made his debut with the TSO in a program of Beecham favourites, including
The Faithful Shepherd (a suite of music by Handel, arranged by Sir Thomas), Frederick
Delius's On Hearing the First Cuckoo in Spring, and two Mozart works - the Symphony
No. 31 in D major, K. 297, and the Overture to The Marriage of Figaro. The evening
ended with Brahms's Symphony No. 2 in D major. The concert was well received and
there was much speculation about possible return visits, since Beecham was now
resident in the United States and his visits would have benefited both MacMillan and
the orchestra. The first concert of 1941 included the world premiere of Symphonic Suite
by the Canadian composer and arranger Robert Farnon. The concert for 21 January had
a British theme. The program included Ralph Vaughan Williams's cantata Dona Nobis
Pacem. Walt Whitman's text for this choral work expresses the desire of all people for
peace. The evening also featured a performance of Sir Ernest MacMillan's England.
MacMillan wrote this work while in a prisoner-of-war camp during the First World
War; it was first performed in 1921 by the Sheffield Musical Union with Henry Coward
conducting. The Toronto Mendelssohn Choir gave the Canadian premiere in 1921
with the Philadelphia Orchestra at Massey Hall. On 4 February Kathleen Parlow, the
internationally renowned violinist who was born in Calgary, played the Sibelius Violin
Concerto.
A number of high school students had approached Emily Tedd to ask about the
possibility of longer concerts with more adult content because school concerts no
longer met their needs. Emily Tedd discussed this suggestion with MacMillan and they
decided to arrange a full evening concert to see what response was generated. This first
Secondary Schools concert took place on 11 February 1941. The program was a good
mix of works including Edvard Grieg's Piano Concerto in A minor and the first
movement of Vaughan Williams's A London Symphony. The admission price was forty
cents and tickets could only be obtained at the high schools. The concert proved a
success and a second was planned for 1 April.
At the beginning of the 1940-1 season Zara Nelsova, who had studied with Pablo
Casals and Gregor Piatigorsky, became the principal cellist. Her brilliant playing had
already made her a household name in Canada. On 18 March her dazzling musicianship
was fully demonstrated in her performance of Schumann's Cello Concerto in A minor.
The season had been a success and had strengthened the argument for continuing
orchestra performances during wartime.

The total income for the season was
$47,596 (including $10,000 from broad-
casting fees) and the excess of revenue
over expenses was $246, making an
overall balance in hand of $2,507. Fur-
thermore, two outstanding Canadian
musicians - Kathleen Parlow and Zara
Nelsova - had made their debuts with
the orchestra.
The previous season had been reassuring, 1941-1942

but the 1941-2 season was to be one of
the most exciting to date. With the
United States now fully involved in the
Arthur Rubinstein made his debut with the ISO war> many artists were limited to touring
in 1941 in North America and this situation was
reflected in the season's programs. In No-
vember Kathleen Parlow returned to perform the Tchaikovsky Violin Concerto in
D major. On 3 February Arthur Rubinstein made his debut with the TSO in a
performance of Brahms's Piano Concerto No. 2 in B flat major. Joseph Szigeti came a
month later to play the Brahms Violin Concerto in D major.
Because of the success of the two Secondary Schools concerts in the previous
season, MacMillan and the Board decided to increase the number of student concerts
to five, keeping the admission price of forty cents. In addition, a Student Council was
formed, made up of two representatives from each high school in the city. At the first
meeting, held at Jarvis Collegiate, Victor Feldbrill (who later became a well-known
Canadian conductor) was elected president. The council also included another cel-
ebrated name in the musical world - Harry Somers.
Back in 1940 the orchestra management had begun negotiations with RCA Victor
on the production of recordings. RCA was interested and it was hoped that a contract
would be signed so that recording could commence in 1941. Much discussion took
place between RCA and MacMillan regarding the selection of music to be recorded.
MacMillan wanted to include the Enigma Variations by Edward Elgar, but RCA felt that
four movements from The Planets by Gustav Hoist along with Elgar's Pomp and Circum-
stance Marches would be more profitable. After many months of negotiation, the RCA
choice of music was agreed upon and the recording sessions were finally undertaken on
27 March 1942. These recordings were made in Massey Hall late in the evening so as to
avoid as much extraneous street noise as possible. Other changes that took place during
the 1941-2 season included an alteration in the CBC broadcasting schedule. The CBC
requested that the one-hour broadcast portion of the concerts begin at 9:30 p.m.
Consequently, the symphony changed the concert time to 8:30 p.m.
This season also included a number of special events. A special Dominion Day
concert celebrating the seventy-fifth anniversary of Confederation was picked up by the
BBC in England for re-broadcast in the British Isles. Undoubtedly this was done so that
the many thousands of Canadian Forces stationed there would have the opportunity to
hear the concert. In August 1942, the orchestra was engaged by the IBM company for a
concert at the Canadian National Exhibition, and in October 1942 they were back in
Maple Leaf Gardens for two concerts with the Coliseum Chorus.
1942-1943 The season opened with a change of assistant conductor. Donald Heins resigned from
the position, but remained a member of the viola section of the orchestra. Ettore
Mazzoleni (1905-68) was invited by MacMillan to join the orchestra as Associate
Conductor. Mazzoleni was born in Switzerland but moved to England as a child. While
a student at the Royal College of Music, he had come into contact with Sir Adrian
Boult and Ralph Vaughan Williams. Mazzoleni came to Canada in 1929 as music
master of Upper Canada College, and in 1934 succeeded Donald Heins as conductor
of the Toronto Conservatory of Music Symphony Orchestra. He had also been program
annotator for the TSO, and was a brother-in-law of Sir Ernest.
In February 1942, when Herbert Austin Fricker resigned his position as music
director of the Toronto Mendelssohn Choir because of poor health, MacMillan was
invited to take over. The most significant change he made was to absorb the Toronto
Conservatory Choir into the Mendelssohn Choir. This gave him the opportunity to
perform large choral works with the TSO. The first concert of the reorganized choir
with the orchestra was a performance of Handel's Messiah in December 1942. The
concert on 19 January 1943 included two major choral works: Blest Pair of Sirens by
Hubert Parry and Verdi's Messa da Requiem, composed in honour of Alessandro Manzoni.
The Requiem was repeated on 25 April for a special Easter Sunday broadcast concert
over the CBC national network in Canada and the Columbia Broadcasting System in
the United States. Two more choral works were given in a special concert on 6 April:
For the Fallen by Edward Elgar and Beethoven's Symphony No. 9 in D minor.
Ettore Mazzoleni joined the orchestra as Associate Conductor in 1942
On 10 November the Canadian Trio - Zara Nelsova, Kathleen Parlow, and Ernest
MacMillan - were soloists for a performance of the Beethoven Triple Concerto in
C major, op. 56, conducted by Ettore Mazzoleni (who, at the time, was conductor for
the Secondary Schools concerts). On 30 March, the young man who had been the first
president of the Student Council made his conducting debut with the orchestra. The
occasion was a Parents and Students concert, and the work chosen for Victor Feldbrill
to conduct was Kunstler'Leben (Artist's Life), op. 316, a waltz by Johann Strauss II. This
event marked the beginning of Feldbrill's long association with the orchestra.
The ongoing war was beginning to affect the orchestra, with personnel changing as
members joined the armed forces. In addition, the transportation authority made two
requests: first, that concerts begin at 8:10 p.m. and finish by 10 p.m., and second, that
the children's afternoon concerts be cancelled. Both requests were due to transporta-
tion difficulties. The Women's Committee, which was responsible for the Children's
Concerts, decided to postpone them because of the war. However, to maintain the
commitment to music education, the CBC produced a series of ten broadcasts entitled
'Music for Young Folk' with the TSO participating in four broadcasts. The Children's
Concerts were restored in 1946. Financially speaking, the season closed on a good note
with a surplus of $224 (compared to a deficit of $2,751 in the previous year).
The 1942-3 season was the 50th anniversary of Massey Hall, and Nathan Milstein
was back once again, on this occasion to play the Tchaikovsky Violin Concerto. Owing
to a train delay Milstein arrived only a few minutes before the performance began and
he had to play the concert without rehearsal. Arthur Rubinstein also returned to
perform the Piano Concerto No. 4 in G major by Beethoven.
1943-1944 For a number of years the TSO Board and Management had been lobbying the Toronto
City Council for financial support, and in December 1943 the Council opened the door
with a donation of $1,500. Admittedly it was a small amount but it was an indication
that the orchestra was recognized as an important participant in Toronto's performing
arts scene. The musicians' union, however, was beginning to flex its muscles with a
demand to increase each musician's salary by five dollars per week. Negotiations were
lengthy and controversial, and caused a delay in the publication of the season program.
Finally it was agreed that the musicians were to be engaged at the previous season's
salary rates. Presumably, due to wartime conditions, it would have been insensitive on
the part of the union or the musicians to consider strike action.
In 1943 the size of the orchestra was eighty-one musicians, five of whom had been
members of the orchestra for the first concert on 23 April 1923. The opening concert of
the season included the Prelude and Venusberg music from Wagner's opera Tannhduser,
but the Wagner nights that had been a regular feature before the war were now reduced
to an occasional Wagner overture. Benjamin Britten, who was becoming more recog-
nized, was represented on this occasion by a performance of his Soirees musicales.
Canadian composers were prominent in the programs that began the new year. The
program for 4 January included Godfrey Ridout's Festal Overture, a work written in 1939
and inspired by a poem by Walt Whitman. On 18 January, the Toronto Mendelssohn
Choir joined forces with the TSO for a performance of Healey Willan's Brebeuf. This
historical pageant for orchestra, choir, and two narrators was commissioned by the
CBC and is based on E.J. Pratt's epic poem Brebeuf and His Brethren, which tells the
heroic story of the Jesuit mission and martyrdom in Huronia during the period from
1625 to 1649. The concert ended with Vaughan Williams's Benedicite, a cantata
composed in 1929 for solo soprano, chorus, and orchestra. The text of this work is
taken from the Boole of Common Prayer of the Church of England. On 28 March the
TSO and the Toronto Mendelssohn Choir again joined forces for an extra concert that
included a performance of Ein deutsches Requiem by Johannes Brahms.
Since the Secondary Schools concerts were in need of increased financial support,
the Toronto Symphony Orchestra Student Council designated the first week of Febru-
ary as 'Symphony Week' and arranged a full week of events including a Symphony Hop
at the Royal York Hotel. The 1943-4 season proved to be a most satisfactory financial
success, to the extent that the musicians were paid an unexpected but welcome bonus
of approximately forty-eight dollars each.
The Board of Directors had proposed a twelve-concert subscription series with the 1944-1945
musicians contracted for twenty weeks, but the Toronto Musicians Protective Associa-
tion insisted on a longer contract. In addition, the CBC was anxious to broadcast as
many as twelve TSO concerts. The Board, realizing that this would result in a consider-
able increase in revenue, agreed to a season of thirty-eight concerts, thirty in Toronto
and eight out of town. This would extend the season into April and give subscribers
two additional concerts. There were also ten Secondary Schools and Young People's
concerts, held on Tuesdays, and a new Pops Concert series of eight concerts on Friday
evenings. The new arrangement for the season was a challenge for both the orchestra
and the Board, but early response indicated that patrons enjoyed the new format. The
innovative series of Pops Concerts was an immediate success, with a number of
businesses and clubs purchasing blocks of seats a month before the season commenced.
The season opened on 31 October with the distinguished Polish pianist Witold
Malcuzynski playing Chopin's Piano Concerto No. 2 in F minor. Two weeks later the
equally distinguished Russian pianist Alexander Brailowsky played the Piano Concerto
No. 2 in C minor by Serge Rachmaninoff. From 17 to 24 November the orchestra was
off on a mini-tour of Ontario, visiting London, Guelph, and Hamilton. The American
pianist Leonard Shure joined the orchestra for performances of Tchaikovsky's Piano
Concerto No. 1 in B flat minor. These occasional provincial tours were not without
benefits, and MacMillan was no doubt aware of the patronage to be derived by exposing
a professional orchestra to people living outside of Toronto.
Back in Massey Hall on 28 November, Healey Willan's Piano Concerto in C minor
was given its first concert performance with Canadian pianist Agnes Butcher, for whom
the work had been written. On 23 January Gustav Mahler's Das Lied von der Erde was
given its first Toronto performance with contralto Eileen Law and tenor Joseph Victor
Laderoute. This was the first Mahler com-

position to be performed by the TSO.
However, within a few years, MacMillan
added Mahler's first and third sympho-
nies to his repertoire.
The subscription concert for 6 Feb-
ruary was designated for a performance
of Gabriel Pierne's The Children's Cru-
sade, with the Toronto Mendelssohn
Choir, the Children's Choir (trained by
Emily Tedd), the Leslie Bell Singers,
and five soloists joining the orchestra
for this intriguing choral masterpiece.
On 6 March Marcel Grandjany, the in-
ternationally acclaimed harpist, made
Arthur Fiedler, conductor of the Boston Pops,
his TSO debut. Ettore Mazzoleni was
guest conductor in March 1945
the conductor for a varied program that
included Grandjany's Rhapsodie, two lute
pieces transcribed for harp, and Handel's Harp Concerto in B flat major.
During the month of January the orchestra visited Montreal for the first time.
They were well received and enjoyed excellent reviews in the Montreal press. The Pops
Concerts were also being met with great success. On 9 March Arthur Fiedler, the
conductor of the Boston Promenade Orchestra (now the Boston Pops), made his TSO
debut as guest conductor. The extremely successful season, supported by an enthusiastic
audience, was reflected by a healthy financial report revealing an end-of-year balance
in hand of $854. This season was to be the last under wartime conditions. MacMillan
had maintained the TSO through difficult times, and in spite of numerous changes in
personnel, the orchestra's musicianship and quality of performance had been adeptly
preserved.
CHAPTER FOUR 1945-1956
Sir Ernest MacMil/an

Part 2
The trouble with music appreciation in general is that people are taught to
have too much respect for music; they should be taught to love it instead.
IGOR STRAVINSKY
1945-1946 After six years of war, with all its uncertainty, anguish, and tension, it was time for
regrouping and rebuilding. Musicians who had been away on active service with the
Canadian Forces returned. Unlike the situation at the end of the First World War, the
orchestra was still fully intact. President of the Board W.G. Watson and MacMillan
had stressed the importance of music as a significant element in morale building
during the war, and with determination and dedication had maintained regular
concerts. The size of the postwar orchestra increased from eighty-one to eighty-four
musicians.
This first postwar season totalled fifty-seven concerts (compared to thirty-nine in
the previous season), including twenty-four Pops Concerts that were sponsored by the
Robert Simpson Co. and broadcast by the CBC across Canada. The CBC paid $65,000
for broadcast of these concerts. The Toronto Board of Education also proposed the
broadcast of five sets of Secondary Schools concerts at $500 per concert. This expan-
sion in concert activity meant that the musicians' salaries were increased by almost 35
per cent and the administrative expenses by almost 50 per cent. For example, the rent
for Massey Hall was almost double due to the extended use of the facility. The Board
also approved an initial transfer of $3,000 from the Toronto Symphony Association
general funds to establish the Toronto Symphony Orchestra Retirement Fund.
The opening concert of the season, as might be expected, was a 'Victory Pro-
gramme,' but much of the 'international' music was somewhat unconventional. China
was represented with New China March by Morton Gould, and England by the 'Gavotte
and Cachuca' from The Gondoliers by Arthur Sullivan. Canada was represented by a
waltz from the Symphonic Suite by Robert Farnon. The United States seemed to be the
only country properly represented - with the Liberty Bell march by John Philip Sousa.
The work chosen to end the concert, Beethoven's Symphony No. 5 in C minor, was also
appropriate, as the opening three measures of the first movement had become a victory
theme for the Allied Forces.
Engagements of guest artists were also substantially increased. To open the season
Sir Ernest MacMillan and Metropolitan Opera star Regina Resnick, April 1946
of subscription concerts, Rudolf Firkusny was at the keyboard for Antonfn Dvorak's
Piano Concerto in G minor. Claudio Arrau made his debut with the orchestra on
19 November in a performance of the Piano Concerto No. 4 in G major by Beethoven.
On 19 March, Zino Francescatti played the Violin Concerto No. 1 in E flat major by
Niccolo Paganini. The last subscription concert of the season featured another interna-
tionally acclaimed pianist, Alexander Brailowsky, playing the Tchaikovsky Piano Con-
certo No. 1 in B flat minor. The season also gave Toronto audiences the opportunity to
hear two mezzo-sopranos from the New York Metropolitan Opera: Gladys Swarthout,
who joined the orchestra for the Pops Concert on 15 March, and Regina Resnik, who
sang in the last Pops Concert of the season. In addition MacMillan relinquished the
podium to six guest conductors, the most fascinating of whom was undoubtedly Ethel
Stark, the first woman to conduct the TSO. Ethel Stark was born in Montreal, where
she began her violin studies. Later, at the Curtis Institute of Music in Philadelphia, she
studied violin with Lea Luboshutz and conducting with Artur Rodzinsky and Fritz
Reiner. She was involved with a number of women's musical ensembles, including the
Montreal Women's Symphony Orchestra, which she founded in 1940. The extensive
and varied program for her concert on 8 February included Mendelssohn's Symphony
No. 4 in A major ('Italian'), the 'Polka and Fugue' from Schwanda the Bagpiper by
Jaromir Weinberger, and the Overture to Ruslan and Lyudmila by Mikhail Glinka. On
8 March Jean-Marie Beaudet, the CBC music director for the Quebec region, con-
ducted a program consisting mainly of French works, including Le festin de I'araignee
(The Spider's Feast) by Albert Roussel. Samuel Hersenhoren was on the podium for a
Pops Concert with the Leslie Bell Singers on 7 December. The three remaining guest
conductors for the season came from the United States: Hans Kindler (conductor
of the National Symphony Orchestra in Washington), Fabien Sevitsky (conductor of
the Indianapolis Symphony Orchestra), and Arthur Fiedler, who returned once again
for what was becoming his annual visit.
A National Film Board film of the TSO,1 which had been in production at the end
of the previous season, had its premiere screening at the Imperial Theatre in Toronto
during the first week of November, after which it was shown across Canada. This was
the first film of a symphony orchestra to have been produced in Canada. Royalties
received from the NFB totalled $7,000, but production costs paid by the TSO Associa-
tion were slightly in excess of the income.
On 26 January the orchestra played a special concert for CBC Radio Canada
International that was broadcast in Australia on the occasion of that country's national
holiday. The following month, the orchestra was joined by the Toronto Mendelssohn
Choir for a performance of Sir Edward Elgar's The Dream ofGerontius.
This first postwar season was an outstanding success, and the enthusiasm on the
part of both audience and orchestra was reflected in the financial report. The total
earned income was $164,166 - an increase of $79,000 over the previous season - but
expenditures had also increased by $91,000 to a total of $209,500. The gap between
expenditure and earned income was eliminated by a contribution of $47,000 from the
Sustaining Fund (including $24,600 from the Women's Committee).
The renewed effort and exhilaration that had prevailed during the 1945-6 season 1946-1947
continued. A new contract between the musicians and the Board extended the season
by one week for a total of twenty-three weeks, and raised the minimum salary from sixty
to sixty-five dollars per week. Additional services included six extra concerts and
thirty-nine hours of rehearsal time.
The office staff was kept busy owing to the increased activities of the orchestra.
Jack Elton (son of the late H.J. Elton), who had been appointed Orchestra Manager in
1946, was soon given an increase in salary and Joseph Cartan was appointed as office
assistant. Joe, as he soon became known, was at the time on the staff of Massey Hall. Joe
had a supportive influence on the orchestra during its time in Massey Hall, which
lasted until 1982.
Financially the orchestra was about to face what would prove to be a continual
challenge: the difficulty of convincing the different levels of government of the impor-
tance of their financial support. The TSO was not alone in this situation - symphony
orchestras worldwide were coming face to face with the same dilemma, with the
exception of orchestras that were state controlled or financed. The Toronto City
Council had increased its grant to $2,500, but since the Board had applied for $5,000, a
proposal was made to ask the provincial government for additional support. The Robert
Simpson Co. had generously agreed to assist in underwriting the Pops Concerts to the
amount of $12,000. Another unexpected donation came from the Sir Joseph Flavelle
Foundation, which gave $10,000 for the Orchestra Pension Fund. The Toronto Board
of Education also continued to sponsor the children's concerts, and the Hamilton
Board of Education donated $2,000 toward the three TSO children's concerts to be
given in the Hamilton area.
Musically the 1946-7 season was shaping up to be extremely busy, with more than
one hundred concerts scheduled. For the pair of student concerts on 14-15 January,
MacMillan invited a fourteen-year-old pianist who was already becoming recognized
locally as something of a 'whiz kid.' He had rapidly caught the imagination of the local
press, especially in his interpretation of Bach's music. This kid, Glenn Gould, was
invited to perform Beethoven's Piano Concerto No. 4 in G major. As MacMillan was in
Australia on an exchange of podiums with Bernard Heinze, it was the latter who
conducted this historic performance. Glenn Gould's first concert with a professional
orchestra was without any doubt a cornerstone of what was to become a brilliant career.
This season also introduced an even younger prodigy - Patricia Parr - who at the
age of nine was invited to play the Haydn Piano Concerto in D major with MacMillan
conducting. She also performed three pieces she had composed herself - Nocturne,
Rhapsody, and Train Ride. The following year she made her New York debut in a pops
concert with the New York Philharmonic at Carnegie Hall. On 5 November the TSO
was invited to participate in a concert for the Canadian Council of Laymen. The two
soloists were Fritz Kreisler, who played the Violin Concerto in E minor by Mendelssohn,
and baritone Lawrence Tibbett, who sang 'Evening Star' from Tannhduser by Wagner,
'Vision Fugitive' from Herodiade by Jules Massenet, and an excerpt from The Emperor
Jones by Louis Gruenberg. On 10 December George Enescu returned as violinist for the
Brahms Violin Concerto in D major, and also conducted his own Rumanian Rhapsody
No. I in A major.
In spite of a most successful season, an accumulated deficit of $4,144 had emerged.
Since the Tuesday evening concerts had been a continuous sell-out with many patrons
unable to obtain tickets, the Board agreed that next season the Tuesday subscription
concerts would be repeated on Wednesday evenings, thus increasing the number of
seats available for subscription sales.
The American Federation of Musicians announced that the Toronto Symphony
Orchestra had been classified as a major ensemble, the only Canadian orchestra to be so
acknowledged at the time. This recognition, long overdue, echoed a perception held by
many who knew of the orchestra's significance and influence.
1947-1948 Ettore Mazzoleni made a request to be relieved of some conducting duties, as his
responsibilities as principal of the Royal Conservatory of Music were becoming more
demanding, but he wanted to retain his position as Associate Conductor. MacMillan
and the Board agreed that Paul Scherman, a violinist in the orchestra, should take over
as Assistant Conductor for most of the Pops Concerts. Mazzoleni was to conduct two
pairs of subscription concerts, three Pops Concerts, two Schools Concerts, and one out-
of-town performance. However, on 19 April 1948 Mazzoleni forwarded his letter of
resignation as Associate Conductor to the Board. The Board put on record that his
contribution towards the development of the orchestra was greatly appreciated and that
he would on occasion be invited back as a guest conductor.
The other major change that took place with the Orchestra concerned Elie Spivak,
who had been concertmaster since 1931. With the increase in the orchestra's activities,
the strain of maintaining a high quality of performance was beginning to tell. Spivak's
playing was deteriorating, because of a serious illness, and MacMillan was forced to
make a difficult decision. Spivak and MacMillan had been good friends, but it is
difficult to tell a friend that he should resign. MacMillan's letter requesting Spivak's
resignation was both diplomatic and compassionate, but Elie Spivak was naturally hurt
and distraught. After a few days, with extreme sadness, he submitted a letter of
resignation. In his hand-written reply accepting Spivak's resignation MacMillan wrote,
'It will be a genuine pleasure to have you as guest artist in the coming season.'
The season offered a number of exciting concerts. On 18 November the Toronto
Mendelssohn Choir joined the orchestra for a performance of Mendelssohn's Elijah with
soprano Helen Simmie, contralto Eileen Law, tenor Albert Marson, bass John Brownlee,
and boy soprano Barry Knibbs. In December the TSO and the Mendelssohn Choir
again combined for two performances of Handel's Messiah, an event that has continued
as a seasonal tradition for more than fifty years.
Eileen Farrell, the American soprano, made her TSO debut on 30 January in a Pops
Concert conducted by Arthur Fiedler. Dame Myra Hess also made her TSO debut on
6-7 January playing the Piano Concerto No. 3 in C minor by Beethoven. On 13-14
April William Kapell performed the Rachmaninoff Piano Concerto No. 3 in D minor.
Another important TSO debut in this season was by Isaac Stern, who performed the
Prokofiev Violin Concerto No. 1. America's foremost (and reputedly Toscanini's
favourite) tenor Jan Peerce joined the orchestra in a concert conducted by Ettore
Mazzoleni. He sang the arias 'II mio tesoro' from Don Giovanni by Mozart, 'Sound an
Alarm' from Judas Maccabeus by Handel, and 'O Paradise' from Uafricaine by Giacomo
Meyerbeer.
In 1947 MacMillan, who was a strong advocate of Canadian music, was appointed
Honorary President of the Composers, Authors and Publishers Association of Canada
(CAPAC). With CAPAC funds he proposed and conducted a special concert of
Canadian music with the TSO, consisting of Healey Willan's Symphony No. 1 in
D minor along with shorter works by Godfrey Ridout, Leo Smith, Claude Champagne,
Jean Vallerand, John Weinzweig, and Maurice Dela. MacMillan made a strong appeal
for patrons to come and hear music composed by Canadians, but unfortunately the
attendance was disappointing. Financially the concert showed a deficit of almost
$3,000, which was sustained by CAPAC. However, the doubling of the subscription
concerts had proved a success and the financial situation at the end of the season was
extremely healthy.
The season opened with a new concertmaster, Hyman Goodman, who had joined the 1948-1949
orchestra in 1931. During the summer months, Massey Hall had undergone extensive
restoration, mainly to comply with Toronto fire regulations, which required specific
alterations beneath the stage. One re-

quirement involved poured concrete,
which in turn caused acoustical prob-
lems and deterioration. The staff said
the hall would be ready for the TSO's
opening concert on 22 October, but not
without some inconvenience, because
there were no new seats in the balcony.
The 1948-9 season had a number of
important guest artists. On 1-2 February
Clifford Curzon, the brilliant English pi-
anist, played Mozart's Piano Concerto
No. 24 in C minor, K 491, and the Hun-
Dame Myra Hess gave a special recital for the
garian Fantasy by Liszt. The previous
TSO musicians' Sustaining Fund in 1949 month, Witold Malcuzynski, a world-
acclaimed pianist from Poland, performed
the Piano Concerto No. 3 in D minor by
Rachmaninoff. Metropolitan opera stars also were featured. Eileen Farrell joined the
orchestra for a Wagner night, and according to reviews the following day, her perform-
ance of the Wesendonck Lieder and three extracts from Gotterddmmerung was outstand-
ing. Other members of the Metropolitan 'contingent' who made Toronto Symphony
Orchestra debuts were Robert Merrill, Richard Tucker, and Nan Merriman. William
Primrose, the eminent violist, gave fine performances of Arthur Benjamin's Concerto on
Themes by Cimarosa and Harold in Italy by Berlioz. On 9 February, Myra Hess returned
to Toronto to give a special recital for the TSO musicians' Sustaining Fund. On
previous visits to Toronto Dame Myra had become quite friendly with MacMillan and
Pearl Whitehead, a member of the Board, and discussion arose among them regarding
the orchestra's Sustaining Fund. The resulting highly successful recital added almost
$6,000 to the fund.
On 22 February the TSO and the Mendelssohn Choir joined forces for a significant
historical performance of J.S. Bach's Mass in B minor, conducted by Sir Ernest MacMillan.
The soloists included sopranos Lois Marshall and Mary Morrison, contralto Margaret
Stillwell, tenor Pierre Boutet, baritone Donald Brown, bass Eric Tredwell, and Greta
Kraus playing the harpsichord. On 8 March MacMillan conducted the orchestra and
choir for a Secondary Schools concert in a predominately British program which
included William Walton's Belshazzar's Feast and Songs of the Sea, op. 91, by Charles
Villiers Stanford.
A sold-out Friday night Pops Concert in Massey Hall, 1949

The financial situation at the end of the season illustrates how corporations and
the Toronto Symphony Women's Committee came forward to eliminate a deficit of
$49,000. The Women's Committee donated $14,000 and corporations contributed
the balance into the operating fund, enabling the TSO Association to show a surplus
of $2,500.
1949-1950 Originality in programming for 1949-50 seemed to be non-existent in comparison to

the previous season. Perhaps MacMillan had lost interest in contemporary works and
especially in Canadian music. In past seasons he had introduced plenty of new music,
much of which was British. Indications were that the standard of playing was becoming
static, and that there would be little change in the foreseeable future. MacMillan and
the Board were well aware of the type of music most patrons desired and were not about
to embark on new policies that might cause a reduction in seat sales.
On 13-14 December, however, the orchestra did venture into a new field when the
CBC Opera Company produced a concert version of George Bizet's Carmen. The
conductor for this production was Nicholas Goldschmidt, with Herman Geiger-Torel
as artistic adviser. The CBC Opera Company had been broadcasting operas from the
Toronto CBC studios since 1948 but this presentation in Massey Hall was their
first public peformance.
Pianist Benno Moiseiwitsch performed at two TSO concerts. On 6-7 December he
played the Tchaikovsky Piano Concerto No. 2 in G major. The following 14-15
February he returned, rather unexpectedly, to play Beethoven's Piano Concerto No. 3
in C minor. Dame Myra Hess, the soloist for this February concert, had to cancel owing
to a sudden illness and Moiseiwisch, who was on a North American tour, was
fortunately available to fulfil the engagement. On 17-18 January Yehudi Menuhin
played the Elgar Violin Concerto in B minor. Menuhin had recorded this concerto in
1932 with Elgar conducting.
1950-1951 Once again the programming was predictable, with the usual large helpings of Wagner,
Tchaikovsky, and Mozart. However several exciting events enlivened the season. On
3 April, Walter Homburger's International Artists booked the TSO for a concert in
Massey Hall under the baton of one of the world's great conductors of the time, Victor
de Sabata, co'director with Toscanini of La Scala in Milan. Sabata's program was an
interesting and innovative mix. The first half opened with Rossini's Overture to La
gazza ladra, followed by an electrifying and inspiring interpretation of Brahms's Sym-
SIR E R N E S T MACMILLAN, PART 2 51
phony No. 1 in C minor. After the intermission came the Mother Goose Suite by
Maurice Ravel and Richard Strauss's Till Eulenspiegels lustige Streiche. The concert was
an enormous success, and audience and critics alike were enthralled. The musicians
were full of praise for Sabata and undoubtedly stimulated by the opportunity to work
with a world-renowned maestro. Homburger commented that a number of audience
members found it difficult to believe that this was the same TSO they were accustomed
to hearing from week to week.
On 15 November the TSO was engaged for a performance of Verdi's Requiem by
the Toronto Mendelssohn Choir with soprano Lois Marshall, mezzo-soprano Louise
Roy, tenor Pierre Boutet, and bass Desire Ligeti. The choir and orchestra joined forces
again on 21 February for an all-British program consisting of Walton's Belshazzar's Feast
and the Canadian premiere of Benjamin Britten's Spring Symphony. On 13 December
the CBC called on the services of the TSO for a CBC Opera Company concert version
of Verdi's Rigoietto, with Nicholas Goldschmidt conducting and Herman Geiger-Torel
as artistic director. The TSO season, it appears, was saved from insignificance by the
efforts of organizations that undertook to employ the orchestra.
This season opened with an important change. The Pops Concerts that had been 1951-1952
sponsored by the Robert Simpson Co. for the past six seasons were now sponsored by
Canada Packers Ltd. An announcement printed in the first program of the season
stated that the concerts would continue in the same style and that twenty-six of the
concerts would be broadcast.
The TSO was invited to participate in the 'Major Symphony Series' at the
Masonic Auditorium on 27 November in Detroit. Other orchestras appearing in the
series were the Boston Symphony Orchestra, the Chicago Symphony Orchestra, the
Cleveland Orchestra, and the Philadelphia Orchestra. This would be the orchestra's
first appearance in the United States, and was an indication that the TSO was regarded
as one of the top orchestras in North America. In accordance with U.S. immigration
regulations, the TSO submitted the names of all musicians and administrative staff who
would be entering the United States. When the lists were returned, approval had been
given to all but seven musicians. The Board and MacMillan agreed that the seven who
were refused entry visas would be replaced for the concert. One musician was later
cleared and so what, eventually happened became known as the saga of the 'Symphony
Six.' The concert in Detroit was a success and reviews in both the American and
Canadian press were full of praise for the high quality of the symphony's musicianship.
However, this was not the end of the affair.
Toward the end of the season when it came time to renew the musicians' contracts
the Board and MacMillan decided that the six individuals who had been unable to go
to Detroit due to the intervention of the United States government would not have their
contracts renewed. The rationale for this decision was that the musicians had not
fulfilled their contractual agreements, and that their status with U.S. immigration
would cause further problems when the orchestra was invited to return to Detroit in the
following season. The Board's announcement had repercussions not only in Toronto
but nationwide, and the news media made banner headlines of the situation. There was
a split within the Board in which two members resigned, and a number of subscribers
cancelled their subscriptions. To make matters worse, MacMillan did not attend two of
the Board meetings at which the whole matter was discussed, although it has been
indicated that he briefed orchestra manager Jack Elton on what to report.
The whole situation became very muddied but the important issue was whether or
not the six musicians should be kept on and replaced with substitutes as necessary for
future engagements in the United States. The Board left the whole matter to Elton,
who took the issue to the Toronto Musicians' Association, who agreed with the Board's
original decision to let the musicians go. The six players presented their own appeal to
the Toronto Musicians' Association, but this was turned down; the union maintained
that according to TSO contracts players must fulfil all out-of'town commitments.
However it was not the players who had refused to go to Detroit, but rather the
government of the United States that had denied them entry. Many agreed with the
action taken by the Amsterdam Concertgebouw, which had cancelled an extensive
tour of the United States because several of their members had been denied entry.
MacMillan has been described as being rather quiet about the situation, but in
correspondence he stated that he fully concurred with the Board's decision. There
was no doubt where MacMillan stood, and it indicated a certain insensitivity toward
the musicians. Although MacMillan believed in democracy and the freedoms it stood
for, he had been instrumental in depriving these six musicians of their democratic
rights.
The six musicians affected were violinist Steven Staryk, double bass players Ruth
(Ross) Budd, Abe Mannheim, and William Kuinka, flutist Dirk Keetbaas, and violinist
John Moscow. (Perhaps the only problem the U.S. government had with John was his
family name.) Public opinion was split over the Board's and MacMillan's action, but
many felt that the U.S. authorities did not have the right to dictate who could play in
the TSO and that the TSO should have taken the same action as the Concertgebouw.
Had this position been taken, the Toronto Symphony Orchestra might have avoided
criticism both in Canada and internationally. Instead, this saga remains, and every time
the orchestra celebrates an important anniversary, the media resurrects this unfortu-
nate episode from the past.
The season, however, did include many outstanding concerts. On 1-2 January
1952 the orchestra and the Toronto Mendelssohn Choir joined to present George
Frideric Handel's Messiah. This particular performance was significant because it was
recorded by Beaver Records on the then new LP 331/3 system. The technicians and
equipment for this occasion were hired from RCA Victor. The soloists were soprano
Lois Marshall, contralto Mary Palmateer, tenor Jon Vickers, and bass James Milligan,
with harpsichordist Greta Kraus. The recording was a great success; in two years Beaver
Records Canada and RCA Bluebird Classics in the United States sold 45,000 copies.
Leopold Stokowski made his first visit to the orchestra on 19-20 February. The
program included two of his symphonic transcriptions (five pieces by Henry Purcell and
J.S. Bach's Passacaglia and Fugue in C minor), Edmund Rubbra's Symphony No. 5 in
B flat major, Antonio Vivaldi's Concerto Grosso in D minor, and the Prelude and Love
Death from Wagner's Tristan und Isolde. On 5-6 February Clifford Curzon was soloist for
Beethoven's Piano Concerto No. 5 in E flat major ('Emperor'). The original program
for this concert was altered in view of the recent death of King George VI. The first half
(during which the audience was requested not to applaud) consisted of an orchestral
arrangement of the Chorale Prelude In Thee O Lord Do I Put My Trust by Johann
Sebastian Bach, followed by Beethoven's Symphony No. 3 in E flat major ('Eroica').
On 28 February, the orchestra was back in Maple Leaf Gardens to give a gala
concert for the Toronto Police Association, conducted by Heinz Unger with baritone
Todd Duncan and members of the National Ballet of Canada. The dancers performed
the pas de deux from Don Quixote by Ludwig Minkus and the Polovetsian Dances from
Prince Igor by Alexander Borodin. Finally, two young Canadian artists who were
receiving public acclaim across North America were back to perform with the orches-
tra. Lois Marshall appeared in a subscription concert on 11 April 1952 and also sang
with the orchestra in Detroit in November 1951. Glenn Gould was soloist for an all-
Beethoven concert on 12 December.
Repercussions over the 'Symphony Six' controversy were still being felt. Numerous 1952-1953
meetings involving the six musicians were held with the Civil Liberties Association,
the Toronto Board of Control, the TSO Board, and the Toronto Musicians' Associa-
tion, but nothing changed. The Toronto Musicians' Association stood by its decision to
support the action taken the Board and

MacMillan. Unfortunately, support for
the six musicians was negated by the lead-
ership of the Canadian Labour Congress,
who washed their hands of the matter.
Regretfully the musicians lost. The saga
was ended but not forgotten.
The Board planned a series of three
special concerts called the 'Biggest "Lit-
tle Series"' to raise money for the orches-
tra's Sustaining Fund. The first concert,
on 23 February, was a recital given by
British pianist Clifford Curzon; his pro-
Violinist Blain Mathe gram consisted of works by Brahms, Liszt,
and Schubert, along with Beethoven's
Piano Sonata in C sharp minor, op. 27, no. 2 ('Moonlight'). On 11 March Victor de
Sabata returned to conduct a varied program consisting of the Symphony No. 4 in
E minor by Brahms, Le tombeau de Couperin by Maurice Ravel, and Ottorino Respighi's
The Pines of Rome. The final concert of this series was given on 20 May by the Boston
Symphony Orchestra conducted by Charles Munch in a program that included Jeu de
cartes by Igor Stravinsky, Prelude a I'apres-midi dun faune by Claude Debussy, and the
Symphony No. 4 in A major ('Italian') by Felix Mendelssohn. The series was budgeted to
raise $6,000 but it fell a little short.
The main subscription series saw performances by prominent international artists.
Yehudi Menuhin played the Mendelssohn Violin Concerto in E minor. Otto Klemperer,
on his first visit to the TSO, conducted an all-Beethoven program including Symphony
No. 6 in F major and Symphony No. 7 in A major. Isaac Stern was back once again, on
this occasion performing the Violin Concerto in D minor by Sibelius. Rudolf Serkin
came at the end of March to play the Mozart Piano Concerto in D minor, K 466. On
9 December the orchestra made a return visit to Detroit for a concert in the Masonic
Auditorium, apparently with no visa problems. The program consisted of the Academic
Festival Overture by Brahms, Modest Mussorgsky's Pictures at an Exhibition, and William
Walton's Symphony No. 1. Financially, the season was comparatively successful, with a
relatively small deficit of $9,000, but this was a substantial change from the previous
season's surplus of $300.
SIR E R N E S T MACMILLAN, PART 2 55
W.G. Watson, who had been President of the Board for the past fourteen years, 1953-1954
resigned as President, although he remained involved with the symphony as a Board
member. His successor was Trevor Moore, brother of the eminent accompanist Gerald
Moore. This would be the first of two terms Trevor Moore would serve as head of the
TSO Board.
The deficit at the end of the 1952-3 season caused the Board some discomfort.
E.H. Ely, a new Board member, outlined a campaign to raise $100,000 that he hoped
would be completed by 15 December, but, by the time the Board met on 18 January
only $57,000 had been raised. It was therefore suggested that the appeal should be
extended to radio, television, and newspapers. By this time the Toronto City Council's
annual donation to the orchestra was in the region of $5,000. (Since this money was
placed in the overall Sustaining Fund, it is difficult to know the precise amount.) The
Board also considered the possibility of a joint appeal for a provincial government grant
to support several organizations who were facing similar financial problems - the
National Ballet of Canada, the Canadian Opera Company, the Toronto Mendelssohn
Choir, and the Art Gallery of Toronto.
The 1953-4 season presented its full share of outstanding international artists.
On 20 October Mieczyslaw Horszowski made his Toronto debut with the orchestra in
a performance of the Piano Concerto No. 4 in G major by Beethoven, and on
3-4 November Benno Moiseiwitsch played the Rhapsody on a Theme of Paganini by
Rachmaninoff. Two weeks later Joseph Szigeti returned to play the Beethoven Violin
Concerto in D major. On 5-6 January the outstanding young Austrian pianist Paul
Badura-Skoda made his TSO debut with a performance of Bela Bartok's Piano Concerto
No. 3. On 19-20 January Betty-Jean Hagen, a talented twenty-three-year-old Cana-
dian violinist and recipient of many awards, gave an exciting interpretation of Edouard
Lalo's Symphonie espagnole.
The Women's Committee, which had become a dynamic force in raising funds for
the orchestra, entered into discussions on becoming incorporated. This meant that
while they would still be part of the TSO organization, they would be totally responsi-
ble for their own operation. The last concert of the season was sponsored by the
Women's Committee to raise money for the orchestra's Sustaining Fund. The guest
artist was the celebrated clarinettist Benny Goodman, who played the Concertino for
Clarinet and Orchestra by Carl Maria von Weber. The concert was an overwhelming
success. Varsity Arena, with a seating capacity of more than 5,000, was sold out and the
Sustaining Fund received over $3,000.
56 B E G I N S WITH THE OBOE
1954-1955 Finances were again the main topic at the beginning of the season. The accumulated
deficit of $21,500 was aggravated by a demand by the musicians' union for a substantial
increase in salary. In addition, Canada Packers, who had sponsored the Pops Concerts
for a number of seasons, hinted that they might discontinue their support next season.
This action could put an end to the Pops Concerts and consequently the broadcast
revenue from the CBC. After two days of non-stop negotiations the union agreed to
allow the renewal of the musicians' contracts at the same rates as last season. The
Sustaining Fund also received a welcome injection of extra dollars when the grant from
the Toronto City Council was increased by $3,000 to a total of $13,000. The Women's
Committee also increased its fundraising activities and was able to raise a record
amount of $45,000. If expenses were kept in line with the previous season, the
projected deficit for the season would be $29,000.
The Board had another urgent situation to deal with during this season. On
14 January, Sir Ernest MacMillan sent a letter to Trevor Moore advising him that he
wanted to retire at the end of the 1955-6 season. This would be his twenty-fifth season
with the orchestra and he felt that the time had come for him to step down. MacMillan's
resignation was accepted, and on 26 January the Board agreed to form a selection
committee to find a suitable replacement. At the Board meeting on 7 April this
committee reported that they had decided to recommend the appointment of Walter
Susskind, the former conductor of the Scottish National Orchestra. The recommenda-
tion that Susskind be offered a three-season contract, effective November 1956, was
approved unanimously.
Among the many international artists to appear with the orchestra during the
1954-5 season were soprano Irmgard Seefried, who was the soloist for the second Pops
Concert, and Clifford Curzon, who returned to play the Piano Concerto No. 4 in
G major by Beethoven. The Old Vic Theatre Company from London, England,
engaged the TSO to play Mendelssohn's incidental music for performances of Shake-
speare's A Midsummer Night's Dream on 14-16 December at Maple Leaf Gardens. The
cast included Stanley Holloway, Moira Shearer, and Robert Helpmann, and the orches-
tra was conducted by Hugo Rignold, who was born in England but had spent much of
his youth in Canada.
Maureen Forrester made her TSO debut on 14 January, singing two arias: 'Che faro
senza Euridice' from Orpheus ed Euridice by Christoph Willibald Gluck and the well-
known 'Amour, viens aider ma faiblesse' from Samson et Dalila by Camille Saint-Saens.
On 1 February Zino Francescatti played Tchaikovsky's Violin Concerto in D major in a
concert that also included Vaughan Williams's Sinfonia Antartica. On 9 February the
Canadian Music Associates presented a concert of new Canadian music with MacMillan
conducting the TSO. The program included compositions by Murray Adaskin, Frangois
Morel, Godfrey Ridout, Andrew Twa, Udo Kasemets, Adone Zecchi, and Robert
Fleming. On 15-16 February, Boyd Neel, the founder of the famous Boyd Neel Orches-
tra in England, was the guest conductor. Andres Segovia made his TSO debut on
15 March with a performance of the Concerto for Guitar and Orchestra in D major,
op. 99, by Mario Castelnuovo-Tedesco. For the last concert of the subscription season,
Yehudi Menuhin returned to play the Violin Concerto in E minor by Mendelssohn.
The twenty-fifth and final season for Sir Ernest MacMillan was one of exceptional 1955-1956
diversity in terms of artists and programming. Walter Susskind, Music Director and
Conductor Designate, made his North American debut with the TSO with two weeks
of subscription concerts, a Secondary Schools Concert, and a Pops Concert. The
program for the first pair of subscription concerts, presented on 22-3 November,
included Beethoven's Piano Concerto No. 5 in E flat major ('Emperor') with Leon
Fleisher as soloist and Nocturne by Canadian composer Harry Freedman. Freedman had
joined the orchestra in 1946 as an oboist and English horn player. He remained with
the TSO until 1970, and for his last season he was the orchestra's first composer-in-
residence. For the second pair of concerts the following week Susskind was the soloist
for Mozart's Piano Concerto in D minor, K 466, conducting from the keyboard.
Vaughan Williams's A London Symphony completed the program. For the Pops Concert
Susskind was joined by soprano Mary Simmons, who sang the aria 'Hear ye, Israel' from
Mendelssohn's Elijah, as well as 'Voi lo sapete' from Cavalleria rusticana by Pietro
Mascagni, and 'Pace, pace mio dio' from Verdi's La forza del destine. On 8-9 November
Heinz Unger conducted a program that included two symphonies: Beethoven's Sym-
phony No. 8 in F major and Tchaikovsky's Symphony No. 5 in E minor. During
December the Sadler's Wells Ballet (now the Royal Ballet) from the Royal Opera
House, Covent Garden, London, came to Toronto for three performances at Maple
Leaf Gardens. Robert Irving conducted the Toronto Symphony Orchestra for these
performances.
On 10 January the TSO was back once again in Detroit with a program that
included New York Profiles, a suite for orchestra by the young American composer
Norman Dello Joio. Canada was represented by Harry Freedman's Nocturne. Detroit
audiences had been appreciative of the Toronto Symphony Orchestra, and on each
visit the press lavished praise on the orchestra. During January, two distinguished
violinists were back: Isaac Stern on 17-18 January to play the Beethoven Violin
Concerto in D major, and Jascha Heifetz on 31 January and 1 February for the Sibelius
Violin Concerto in D minor.
On 7 February MacMillan conducted a choral concert with the combined forces of
the Toronto Mendelssohn Choir and the TSO. The program consisted of two promi-
nent choral works: Mozart's Mass in C minor, K427, with soloists Lois Marshall, Mary
Morrison, Jon Vickers, and Donald Garrard, and Vaughan Williams's Dona Nobis
Pacem, a cantata for soprano, baritone, and chorus, with soloists Lois Marshall and
Donald Garrard.
On 21 February the orchestra once again went to Maple Leaf Gardens, this time for
the annual Toronto Police Association concert. Paul Whiteman conducted an all-
Gershwin gala that naturally included the ever-popular Rhapsody in Blue, a work that
George Gershwin had written for Whiteman. Towards the end of this season, Pierre
Monteux, who at eighty-one was still one the world's leading conductors, made his TSO
debut on 13-14 March with a program that included two works by French composers:
the Ballade for piano and orchestra by Gabriel Faure, and the Concertino for Piano and
Orchestra by Jean Frangaix. Canadian pianist Raymond Dudley was the soloist for both
works. Mozart's Symphony No. 39 in E flat major, K 543, Symphony No. 2 by Paul
Creston, and Richard Strauss's Till Eulenspiegels lustige Streiche completed an outstand-
ing concert. Two weeks later, Sir Thomas Beecham made a long-awaited return to
conduct the orchestra. His program consisted of works by composers that he had
championed in more than sixty years of conducting. The concert opened with The
Great Elopement Suite - music by Handel, arranged by Beecham - followed by Mozart's
Symphony No. 41 in C major, K 551 ('Jupiter'). Frederick Delius (on whose works
Beecham was an authority) was represented with scenes from Act 2 of Irmelin. The
Symphony No. 7 by Jean Sibelius rounded out the program; Beecham was fascinated
with the music of Sibelius and recorded many of his works.
Sir Ernest MacMillan's final appearance as conductor of the TSO came in the pair
of concerts on 10-11 April. The Toronto Mendelssohn Choir, soprano Mary Simmons,
contralto Maureen Forrester, tenor Jon Vickers, and baritone James Milligan were all
participants in a full evening of great music making. The concert opened with
MacMillan's setting of the Te Deum Laudamus, which he had composed in 1936,
followed by Tchaikovsky's symphonic fantasia Francesca da Rimini. Schicksalslied (Song
of Destiny), a short choral work by Brahms, concluded the first half of the evening. The
balance of the concert was given over to an exceptional performance of Beethoven's
Symphony No. 9 in D minor. This impressive concert was a lasting tribute to a man
who had dedicated so much of his career to promoting music in Toronto. Surprisingly,
the music of Wagner was not included in this last concert.
Sir Ernest MacMillan was, from an orchestral standpoint, a good, if perhaps not
great, conductor. He emphasized diversity in programming, and introduced new works
to the orchestra's repertoire. There were, however, some missed opportunities that
might have promoted the TSO as an international ensemble. The orchestra's occa-
sional visits to Detroit and Michigan were the only efforts in this direction. MacMillan
sometimes gave the impression that he was more concerned about his own reputation
than that of the orchestra, and he may have been unaware that at times he alienated
himself from the orchestra.
However, Sir Ernest will always be remembered for his determination to maintain
the orchestra during the Second World War. In no way did he allow this orchestra to
deteriorate, as had been the case during the First World War. His second and perhaps
most important contribution was his dedication to music education for school children
and young people. His personal concern and enthusiasm has carried on through the
years, and music education is still a high priority within the TSO today. MacMillan was
a member of the Canada Council from 1957 to 1963. In 1957, he was awarded the
Richard Strauss medal (an honour little known outside of Europe) by the German
Performing Rights Society in recognition of his outstanding dedication to the protec-
tion of copyright. MacMillan was also an accomplished composer and instrumentalist.
Augustus Bridle, the music critic of the Toronto Daily Star, wrote this description of Sir
Ernest: 'He is a keyboard virtuoso, soloizes on the organ, and plays piano-solo accompa-
niments so superbly that the singer or the violinist is not conscious that the audience
may sometimes listen to the piano. As an organist he would have been among the
world's greatest. At times he conducts an orchestra as though he were playing it on
keyboard and pedals.'
In his later years Sir Ernest was recognized as one of Canada's elder statesmen, and
was awarded Canada's highest civilian honour when he was made a Companion of the
Order of Canada.
CHAPTER FIVE 1956-1965
Walter Susskma
Tones that sound, and roar and storm about me until I have set them down
in notes.
LUDWIG VAN BEETHOVEN
Although Walter Susskind was well known at the time in Britain and Europe, his
North American presence consisted of his recent guest appearances with the TSO.
Walter Susskind (1913-80) was born in Prague. He received his musical education at
the Prague State Conservatory, where he studied piano with Karel Hoffmeister and
composition with Josef Suk and Alois Haba, and at the German Academy of Music,
where he studied conducting with George Szell. After his graduation, he became
assistant conductor of the German Opera in Prague, and from 1933 to 1942 he was also
the pianist with the Czech Trio. In 1938 he left Prague after his parents, who were
unable to leave the country, had urged him not to remain in Czechoslovakia under the
deteriorating conditions of the Nazi regime. He later learned that his mother had been
interned at the same time as Karel Ancerl.
Susskind eventually settled in England, where he resumed his conducting career in
1941 and in 1946 became a British citizen. He held music director positions with the
Carl Rosa Opera Company (1943-5), the Scottish National Orchestra (1946-52), and
finally the Victoria Symphony Orchestra in Melbourne, Australia (1953-5). Walter
Legge engaged Susskind to conduct the Philharmonia Orchestra for a 1945 recording of
the Sibelius Violin Concerto with the French violinist Ginette Neveu. In 1950, when
Jascha Heifetz joined the Philharmonia Orchestra for a recording session that included
the Tchaikovsky and Walton violin concertos, Susskind was again chosen to conduct.
1956-1957 The TSO's 1956-7 season opened with enthusiasm and a sense that a new episode in
the life of the orchestra was about to begin. The deficit had been drastically reduced
and the number of subscriptions was the largest in the orchestra's history. Also, the
Junior Auxiliary of the Women's Committee had raised funds to purchase new chairs
for the orchestra, which were greatly appreciated by the musicians.
For Susskind's inaugural subscription concert Massey Hall was festooned with floral
decorations, palms, and evergreens. When Susskind came on stage and stepped onto
WALTER S U S S K I N D 63
the podium the audience of 3,000 stood with the orchestra and applauded enthusiast^
cally for several minutes. Susskind was noticeably touched by the warm-hearted recep-
tion. The superb program opened with two shorter works - the Overture to Oberon by
Carl Maria von Weber and the Symphonic Metamorphosis after Themes by Carl Maria von
Weber by Paul Hindemith. This was followed by Beethoven's Piano Concerto No. 2 in
B flat major, with Glenn Gould as soloist, and the Symphony No. 9 in E minor ('From
the New World') by Antonin Dvorak.
The new music director had assured both orchestra and audience that many more
inspired concerts were in store. The following day Hugh Thomson of the Toronto Daily
Star wrote, 'You could tell from the very opening of the first work of the Orchestra's
agenda that Susskind was going to give quality performances.' The long-awaited new
era had arrived.
On 6 November, Susskind conducted the Canadian premiere of Vaughan Williams's
Symphony No. 8. Two weeks later Elisabeth Schwarzkopf, the internationally ac-
claimed soprano, was soloist for a performance of Richard Strauss's Four Last Songs. Sir
Thomas Beecham returned with a less characteristic Beecham program that included
Beethoven's Symphony No. 4 in B flat major and Dvorak's The Golden Spinning Wheel
In January Mischa Elman was the soloist for a performance of Mendelssohn's Violin
Concerto in E minor, a work that he had also played in December 1912 with the former
Toronto Symphony Orchestra under Frank Welsman.
On 6 February the Toronto Mendelssohn Choir joined the TSO for a performance
of La damnation de Faust by Berlioz, with soloists Lois Marshall, Richard Cassilly, James
Milligan, and Victor Braun. On 26-7 February, Boyd Neel was the guest conductor for a
concert that featured four principals of the orchestra. Violinist Hyman Goodman and
cellist Rowland Pack played the Double Concerto in A minor, op. 102, by Brahms.
Then they were joined by violist Stanley Solomon and violinist Harold Sumberg
for the quartet in Introduction and Allegro by Elgar. The season also included guest
artists pianist Witold Malcuzynski on 12-13 March and violinist Nathan Milstein on
26-7 March.
At the beginning of Susskind's first season the musicians had been a little less than
enthusiastic about his appointment. Many felt that the musicians had been 'sidelined'
by the Board because they were not consulted. However, by the end of the season all ill
feeling was dispelled as they realized the calibre of Susskind's dexterity and musician-
ship. Harry Freedman, oboist and Canadian composer, said that Susskind was unques-
tionably a superb musician. Susskind had also undertaken to conduct his full share of
the Sunday afternoon Pops Concerts. The season was a financial success, closing with a
small surplus of $2,400. Trevor Moore, who had completed his term as President of the
Board, resigned at the end of this season.
1957-1958 Susskind was quick to realize that the TSO was an orchestra with immense potential
and he was most anxious to develop it as a major international ensemble. To accom-
plish this he undertook some necessary adjustment within the orchestra ranks; four
members were dismissed and three took retirement.
Thomas S. Johnson, the new President of the Board, met with officials of the
recently formed Canada Council in Ottawa, and on his return reported that the TSO
Association could look forward to a grant of approximately $25,000. The Canada
Council grant was approved in November. In addition, the grant from the Toronto City
Council was now $15,000. Some of this funding provided for the addition of three full-
time musicians and an extra hour of rehearsal each week.
There was a feeling of anticipation that the upcoming season would be another year
of superb performances. The opening subscription concert featured Denis Matthews, an
English pianist noted for his brilliant interpretations of the Beethoven concertos. For
his TSO debut he played Beethoven's Piano Concerto No. 4 in G major. On 30 Oc-
tober the orchestra played a special concert in Peterborough, Ontario, for that city's
Rotary Club. The program included Mozart's Piano Concerto in A major, K488, with
Walter Susskind as soloist, conducting from the keyboard. On 5-6 November mezzo-
soprano Jennie Tourel made her TSO debut, singing two arias by Mozart and the Lieder
eines fahrenden Gesellen (Songs of a Wayfarer) by Gustav Mahler. Tourel had also
appeared the previous summer in Toronto in a concert with the Israel Philharmonic
Orchestra conducted by Walter Susskind. Early in December Yehudi Menuhin returned
to perform Beethoven's Violin Concerto in D major. On 10 December the orchestra
returned to Detroit where Susskind again played the Mozart A major piano concerto
and conducted from the keyboard. This work was also repeated for the first subscription
concert in the new year. On 14-15 January Alexander Brailowsky was soloist for
Rachmaninoff's Piano Concerto No. 2 in C minor. On 22 January, at a concert
sponsored by the York Concert Society, Heinz Unger conducted an augmented orches-
tra of 102 musicians along with the Bach-Elgar Choir of Hamilton, Ontario, soprano
Mary Simmons, and contralto Elizabeth Benson-Guy in the Canadian premiere of
Mahler's Symphony No. 2 ('Resurrection'). For the Pops Concert on 26 January, Joan
Hammond, one of the leading sopranos from the Covent Garden Opera, made her
TSO debut in a program that included the Prelude and Liebestod from Wagner's opera
Tristan und Isolde, and the 'Letter aria' from Eugene Onegin by Tchaikovsky. Heinz
Jack Benny rehearsing with the ISO before his Canadian debut on 12 November 1957
Unger returned on 11-12 February to conduct the Canadian premiere of Phantastic

Apparitions of a Theme by Hector Berlioz by the German composer Walter Braunfels. The
Toronto Daily Starcontributed $3,000 toward the sponsorship of an all-Canadian
concert on 5 March. However, the only Canadian work to be presented was Healey
Willan's Symphony No. 2 in C minor. The remainder of the program consisted of
Edvard Grieg's Piano Concerto in A minor with Patricia Parr as soloist, and the
overture to Giuseppe Verdi's opera La forza del destino. For a Toronto Mendelssohn
Choir concert with the TSO on 19 March, Susskind conducted a performance of
Arthur Honegger's dramatic oratorio Jeanne a"Arc au bucher (Joan of Arc at the Stake).
The singing roles were performed by Ilona Kombrink, Irene Byatt, Alan Crofoot,
Donald Young, and Donald Bartle, while the speaking roles of Joan of Arc and Brother
Dominic were played by Vera Zorina and John Drainie respectively. Offstage voices
included William Hutt, Frank Peddie, and Cynthia Michaelis.
The concerts on 25-6 March included the North AAmerican premiere of Walter
Susskind's Nine Slovak Sketches. In his program note Susskind states, 'You may rightly
wonder how a humble composition of my own found its way into a program otherwise
devoted to the works of several great masters. In case it occurred to you that I simply
forced the piece on the orchestra, your assumption was quite right. They had no choice
in the matter.' The work was well received and demonstrated not only that Susskind
was a competent composer but also that he had a sense of humour. For the last
subscription concert of the season, soprano Irmgard Seefried made a welcome return to
sing J.S. Bach's Cantata No. 202: The Wedding and three songs by Richard Strauss
('Morgen,' 'Wiegenlied,' and 'Standchen').
Financially the season had been an outstanding success, probably due to the
excellent programming and choice of guest artists. The accumulated deficit was only
$1,265. In his report to the annual general meeting on 29 May 1958, manager Jack
Elton said that the season had been one of continued progress.
1958-1959 During the summer of 1958 a complex situation arose regarding the relationship
between the TSO and the CBC. The first issue was that the CBC wanted to reschedule
the broadcasts of the CBC Symphony Orchestra to Sunday afternoons - the time slot
allotted to the TSO Pops Concerts. Since all these concerts were broadcast live to air,
this was a serious problem. If the CBC did not broadcast the Pops Concerts, the TSO
would lose not only the broadcast revenue but also the financial support of the concert
sponsors, and this would make the Pops Concerts financially unviable.
The CBC was also giving serious thought to developing the CBC Symphony
Orchestra into a full-time ensemble with year-round contracts. This change would
create serious difficulties for the TSO. Fifty per cent of the TSO musicians also played
in the CBC Symphony Orchestra. Under the existing arrangement, musicians who
played in both orchestras could supplement their twenty-six-week TSO contracts with
additional engagements in the CBC Symphony Orchestra to create more continuous
employment. If the CBC went ahead with their plan for a full-time orchestra, the TSO
would lose most of its prime musicians. After a series of discussions between the TSO
management, the CBC, and the musicians' union, the CBC decided to put their plan
on hold, and both orchestras began preparations for their regular seasons. Meanwhile,
in October the TSO received a Canada Council grant of $25,000 for the season.
The TSO season opened on 26 October with the first of twenty-six Sunday
afternoon Pops Concerts sponsored by Canada Packers and broadcast live over the
CBC trans-Canada network with Walter Susskind conducting. The program included
Motdau from Ma Vlast by Bedrich Smetana to commemorate the fortieth anniversary of
the founding of the Czechoslovakian Republic. For the first subscription concert on
28-9 October guest pianist Byron Janis played Rachmaninoff's Piano Concerto No. 3
in D minor. On 11-12 November Dietrich Fischer-Dieskau, the famous German
baritone was soloist for Cantata No. 56:

Ich will den Kreuzstab gerne tragen by J.S.
Bach and Mahler's Kindertotenlieder. On
19 November, the TSO was presented by
International Artists in a concert devoted
to arias from operas by Puccini and Verdi
sung by soprano Frances Yeend and tenor
Eugenio Fernandi.
During the week of 7 December
the distinguished British conductor Sir
Malcolm Sargent made his TSO debut.
First he conducted a Pops Concert that
included works by Frederick Delius and
Edward Elgar as well as his own concert
arrangement of Ottorino Respighi's La
boutique fantasque. His program for the
Sir Malcom Sargent subscription concerts on 9-10 December
consisted of Vaughan Williams's Over-
ture to The Wasps, The Walk to the Paradise Garden by Frederick Delius, Elgar's Enigma
Variations, and Brahms's Symphony No. 4 in E minor. True to form, on both occasions
he came on stage with his traditional carnation boutonniere. A few days after Christ-
mas Godfrey Ridout (who in later years became the program annotator for the TSO)
conducted a Pops Concert that featured popular music from the light-hearted operettas
by William S. Gilbert and Arthur Sullivan. This program was typical for Ridout. He
had a great passion for England, and he loved the music of British composers.
The TSO had been invited to give a concert in the Buffalo Philharmonic Orches-
tra subscription series during the 1958-9 season at Kleinhans Music Hall. The program
presented on 13-14 January included the Fairy Tale Suite by Josef Suk, Divertimento for
Strings by Canadian composer Oskar Morawetz, and Symphony No. 2 by Dmitri
Kabalevsky. The Buffalo press enthusiastically praised the TSO for its steady rich sound
and well-proportioned string tone as well as the precision of the woodwind, brass, and
percussion sections.
Boyd Neel, another notable English conductor, was invited back to the TSO on
1 February. Neel was already well known in the Canadian music scene, not only as the
founder and conductor of the Boyd Neel Orchestra but also as the dean of the Faculty
of Music at the University of Toronto and the Royal Conservatory of Music. On
11 February the Toronto Mendelssohn Choir joined forces with the TSO in a perform-
ance of Verdi's Requiem. On 25 February musicians from the TSO and the CBC
Symphony Orchestra gave the Canadian premiere of Gustav Mahler's Symphony No. 5
for the York Concert Society with Dr Heinz Unger conducting. Before the concert
Geoffrey Waddington presented Unger with the Mahler medal from the Bruckner
Society of America, given in recognition of Unger's efforts on behalf of Mahler's music
in Canada. Other recipients of the Mahler medal include Bruno Walter, Otto Klemperer,
and Leonard Bernstein. The soloist for this memorable concert was Moura Lympany,
who played the Beethoven Piano Concerto No. 4 in G major.
It was evident that Susskind's approach to concert presentation, program, content,
and orchestral development was helping the TSO to become an ensemble of interna-
tional stature. Within three years he had introduced twenty-seven new or seldom heard
works, many of them Canadian premieres, and fourteen new works were planned for
the upcoming season. In addition two Mahler Symphonies, No. 2 and No. 5, had their
Canadian premieres under Heinz Unger, using some TSO musicians. Susskind pos-
sessed an indisputable high regard for the pre-eminent musicianship of the orchestra. It
might be said that during this three-year period the TSO changed from a local
orchestra into a Canadian orchestra of international prominence.
During this season, however, it seemed that the Board of Directors had lost track of
the ongoing life of the orchestra. According to the Board records, the four meetings
called between January and May 1959 were all cancelled owing to lack of a quorum.
When a meeting was at last convened, the minutes reveal that the CBC had aban-
doned any ideas of organizing concerts or broadcasts that would interfere with TSO
concerts. The accumulated deficit had reached $6,300 but Sir Ernest MacMillan
magnanimously contributed $2,000 from his retirement grant. The minutes also
report that the Ford Motor Company of Canada had agreed to co-sponsor the Pops
Concerts for the 1959-60 season.
1959-1960 The first Board meeting of the season was once again cancelled owing to lack of a
quorum. In exasperation President Thomas Johnson sent a letter to all members
pointing out that it was difficult to carry out the business of the orchestra when Board
members failed to attend meetings that were called.
The Canada Council had increased its grant by $5,000, for a total of $30,000, but
due to the ever-increasing costs of maintaining the orchestra - now considered one of
the major arts organizations in the country - the Board planned to make a separate
presentation to the Canada Council for special financial consideration. The Board had
hoped to be able to inaugurate the musicians' pension plan during the 1959-60 season,
but this move was delayed owing to a lack of substantial funds. The musicians' union,
however, asked the Board to reconsider this decision, since the plan had already been
deferred once in 1958. The pension plan represented an important element in the
upcoming contract negotiations. The Board knew it would be difficult to reach a new
agreement without either a pension plan or a substantial salary increase. Many Board
members still seemed oblivious to these serious issues, and several more meetings
were cancelled owing to lack of a quorum. However, during a discussion held between
those members who were in attendance and Jack Elton, the orchestra manager, Elton
reported that he had made an initial offer to the union regarding the new contract for
the 1960-1 and 1961-2 seasons: a two-year contract of twenty-five weeks per year,
plus a salary increase of five dollars per week. The union wanted a contract for twenty-
six weeks per year plus an increase of ten dollars per week. Since the current contract
was for twenty-four weeks, under the union's proposal the orchestra would be able to
give four or five additional concerts.
Walter Susskind attended the Board meeting on 31 March 1960 to review the
status of the orchestra. He reported that the orchestra was improving slowly but
steadily, and said that a weakness in the violin section could be remedied by the
addition of one or two players from the CBC Symphony Orchestra - particularly Albert
Pratz, the concertmaster. Susskind considered Pratz to be the finest violinist in Canada
and definitely wanted him in the TSO. Susskind also requested an extra hour of
rehearsal for the subscription concerts. It was reported that an amendment to the Lord's
Day Act (Ontario) had received royal assent, and consequently the TSO was free to
charge admission for Sunday concerts. Another problem to be dealt with was the
decision by Ford Motor Company not to continue co-sponsorship with Canada Packers
of the Pops Concerts. If another co-sponsor could not be found, the TSO would lose
about $30,000 in broadcast revenue from the CBC.
Artistically the 1959-60 season maintained a high calibre. On 27-8 October
Geza Anda played the Piano Concerto for the Left Hand by Maurice Ravel, and on
10-11 November Pierre Fournier gave a performance of the Elgar Cello Concerto in
E minor. Myra Hess, a great friend of the TSO, returned to perform Beethoven's Piano
Concerto No. 4 in G major in a special concert on 27 January. She had recently
recovered from a mild heart attack and there were indications that certain engage-
ments might be cancelled, but she apparently was determined to proceed with her
North American tour. Guest conductors during the season included Bernard Heinze,
John Barbirolli, Boyd Neel, and Ernest MacMillan. The concerts on 2-3 February
included the world premiere of Symphony No. 2 by Oskar Morawetz, a work that had
been commissioned by the TSO under a grant from the Canada Council. The season
closed with a small surplus of $547, made possible by an anonymous donation of
$7,100.
1960-1961 Finding a new joint sponsor for the Pops Concerts was proving difficult. Finally the
TSO decided to underwrite the first half of the season while Canada Packers supported
the second. On 20 October the musicians' union accepted an offer from the TSO for
$105.50 per week base pay for a twenty-five week season. Jack Elton met with the
Canada Council in January 1961 to explore an increase in the grant. Members of
the Council raised the point about integration of the CBC Symphony Orchestra and
the TSO. The Council agreed that there was no need for two symphony orchestras in
Toronto, and said that the TSO should arrange its schedule to accommodate CBC
Symphony Orchestra requirements. This would mean that the TSO would be in a
position to allow year-round employment to musicians.
Contract negotiations between the union and the TSO dragged on through the
year; by the end of the season neither side had budged. At the annual meeting
on 1 June 1960 T.S. Johnson was able to report only that the TSO management was
standing firm. Financially the season ended with its largest accumulated deficit to date -
$30,000 - due primarily to the costs of financing half of the Pops season. Manager Jack
Elton had been dealing with media reports that were critical of the TSO management.
When Johnson, who had suffered a heart attack and been advised to rest, announced his
resignation, the Board decided that his replacement needed to have experience in
handling labour relations. On 20 July 1961 the Board announced that they had persuaded
Trevor Moore to return as president for the 1961-2 season. Moore was well qualified, and
he had the expertise to cope with the situation.
Meanwhile the orchestra's high quality of performance was maintained through
another season of great music. For the opening concert Louis Kentner played the
Concerto symphonique by Ernest Bloch, a first performance by the TSO. On 30 Novem-
ber, the Toronto Mendelssohn Choir joined the orchestra for a performance of Carl
Orff's Carmina Burana. A dress rehearsal of the work was also included in the Second-
ary Schools concert on 29 November. Glenn Gould returned on 6 December for the
Canadian premiere of Arnold Schoenberg's Piano Concerto. In January the French
conductor Pierre Monteux made his TSO conducting debut in a program that included
the Symphony 'Mathis der Maler' by Paul Hindemith and Maurice Ravel's second suite
from Daphnis et Chloe. However, because of illness, Dame Myra Hess was unable to fulfil
her engagement for concerts on 7-8 February. Walter Susskind was re-engaged as Music
Director and Conductor for the next three seasons.
The negotiations between the musicians' union and the TSO management had not 1961-1962
proceeded satisfactorily for either side. Management made an offer of $105.50 per week
for twenty-four weeks for the 1961-2 season and $110 per week for twenty-five weeks
for the 1962-3 season. This final offer was to expire at 11 a.m. on 1 November 1961. If
the offer was not accepted, the manager was authorized to cancel or postpone concerts
scheduled for the first two weeks of the season. Walter Susskind, who was sympathetic
toward the musicians' situation, said that he felt the musicians' demands were quite
justified if they were to build an orchestra of the calibre that Toronto should have, but
he also understood the Board's dilemma in raising finances. In this precarious situation
it looked as if the future of the orchestra was in doubt, but on 15 November, after two
weeks without concerts, an agreement was finally reached, giving the musicians an
extra week in the 1962-3 season and a weekly base rate of $110. The orchestra was able
to resume its concerts and fulfil an engagement with the Toronto Mendelssohn Choir
for a performance of La damnation de Faust by Hector Berlioz.
The TSO season opened on 19 November with a Pops Concert featuring Joseph
Rouleau, a great Canadian bass at the Royal Opera House, Covent Garden. The first
subscription concerts on 22-3 November included guest artist Yehudi Menuhin playing
the Violin Concerto No. 1 by Dmitri Shostakovich. Management, always aware of
increasing expenses, placed a request in the program for the donation of a backstage
rehearsal piano.
Jack Elton, who had been under a great deal of stress during the last two seasons,
approached Walter Homburger regarding the possibility of his taking over the position
of Managing Director for the orchestra. Homburger's expertise and knowledge as a
concert impresario were well known, and Elton's suggestion was welcomed. Trevor
Moore, Jack Elton, and Walter Homburger reached an agreement and the Board
accepted their proposal that Walter Homburger become Managing Director on 1
February 1962. Jack Elton assumed the position of Assistant Managing Director.
On 13 February a performance of the Sacred Service - Avodath an hakodesh by Ernest
Bloch was given by the Toronto Mendelssohn Choir and the TSO, conducted by
Walter Susskind with Norman Summers as cantor and Rabbi Gunther Plaut as narrator.
The Toronto Symphony Orchestra in Massey Hall, Walter Susskind conducting
Daniel Barenboim was the soloist for the concert on 10 April, performing Beethoven's
Piano Concerto No. 5 in E flat major ('Emperor'). The last concert of the season was a
performance of J.S. Bach's St Matthew Passion at Convocation Hall, University of
Toronto, with the Toronto Mendelssohn Choir, soprano Elizabeth Benson Guy, tenor
John Boyden, baritone William Perry, and bass Robert Reid, all conducted by Sir Ernest
MacMillan.
When Trevor Moore, having fulfilled his mandate as President of the Board,
stepped down at the end of the season, he left the TSO in a more secure position.
With a new Managing Director at the helm the ship was back on course. R. William
Finlayson became the new President of the Board.
1962-1963 Walter Susskind's six seasons with the TSO were an unqualified success. He not only
had raised the standard of the subscription concerts but that of the Sunday Pops series
as well. He had also introduced a system of rotation for the string sections (with the
exception of the first desks), a practice that was quite common in major symphony
orchestras. Hyman Goodman, who was concertmaster during the Susskind years, de-
scribed Susskind in a letter to the TSO Archives in 1990: 'He had a great sense of
humour and could conjure up a speech in front of an audience that would be witty and
intelligent. He had great knowledge of the scores, and was very responsive towards the
requirements of soloists.'
The second pair of subscription concerts for the 1962-3 season included Vladimir
Ashkenazy playing Rachmaninoff's Piano Concerto No. 3 in D minor. Three guest
conductors were on the podium during the season: Sir Malcolm Sargent in January, and
Thomas Schippers and Josef Krips in February. Teresa Stratas, who at the time was one
of the youngest singers at the Metropolitan Opera, was guest soloist on 26-7 March.
Five years previously, Walter Susskind had chosen her to sing Mimi in Giacomo
Puccini's La boheme with the Canadian Opera Company - an engagement that launched
her international career. The orchestra also went on a spring tour, giving concerts in
Ann Arbor and Holland, Michigan, and Windsor, Ontario.
Negotiations were still continuing on the eventual integration of the TSO and
the CBC Symphony Orchestra. Walter Susskind had met with CBC Music Director
Geoffrey Waddington to discuss the matter and a basic agreement had been ap-
proved. The CBC apparently wanted to keep the negotiations private so no formal
statement was made.
The 1963-4 season commenced with the introduction of Boris Brott as Assistant 1963-1964
Conductor. Brott, the son of well-known Montreal musician and composer Alexander
Brott, had at fourteen been awarded a scholarship to study with Igor Markevitch.
During the previous TSO season he had made a brilliant debut with the orchestra in a
special series featuring Canadian talent. Now, at twenty years of age, he was the
youngest assistant conductor of a major orchestra in North America.
This was also to have been Susskind's last season as Music Director, but the Board
asked him to remain for an additional year so that the search for his replacement could
be completed, and Susskind agreed to stay.
To open the season John Browning played the Piano Concerto by Samuel Barber in
a program that also included the Canadian premiere of Benjamin Britten's Sinfonia da
Requiem. For the third pair of subscription concerts Susskind conducted the Canadian
premiere of the Symphony No. 7 by American composer Walter Piston. Then, on
29 November, the orchestra departed on a seven-day tour of the eastern United States,
which included their first performance in Carnegie Hall, as part of the International
Festival of Visiting Orchestras series. The well-balanced program consisted of Vier
letzte Lieder (Four Last Songs) by Richard Strauss with Lois Marshall as soloist, Harry
Somers's Movement for Orchestra, Paul Hindemith's Nobilissima visione, and Dvorak's
Symphony No. 7 in D minor, op. 70. The New York critics were full of praise: on
5 December 1963 a review in the New York Times said, 'It is a smooth, responsive,
accurate ensemble' and gave high praise to the string and woodwind sections. The
New York Post reviewer wrote, 'Its musical elegance and artistic maturity, however,
revealed a classic, precise splendor that marked it as a formidable rival in the major
league.'
The new year was heralded by the appearance of Seiji Ozawa, a young Japanese
conductor who had been one of the New York Philharmonic Orchestra's assistant
conductors. Leonard Bernstein had brought this young conductor to the attention of
Walter Homburger. On this recommendation Ozawa was invited to conduct the TSO
on 8-9 January. His program opened with Requiem, a work for string orchestra by Toru
Takemitsu, a composer whose music was well known to Ozawa. The program also
included the Symphony No. 5 by Sergei Prokofiev and the Symphony No. 5 in E minor
by Tchaikovsky. The response to Ozawa was so overwhelming and his impact so great
that he was invited back to conduct a special concert on 4 March. For this concert
Ozawa chose Beethoven's Symphony No. 1 in C major, to be followed by Gabriel
Faure's Ballade, op. 19, for piano and orchestra with Seiji Ozawa's wife, Kyoko Edo-
Ozawa, as soloist. To complete the program Ozawa led the orchestra in a masterful
performance of Symphonie fantastique by Berlioz.
A unique concert on 14 January was co-sponsored by the Canadian Accordion
Teacher's Association and featured the classically trained Danish accordionist Mogens
Ellegaard. At the time, many people were not accustomed to hearing classical music
played on the accordian. Ellegaard had based his career on bringing the accordian and
classical music together, and at this concert he performed an accordion concerto
written for him by Niels Viggo Bentzon.
On 21-2 January David and Igor Oistrakh, the famous Russian violinists, were guest
artists for an exciting evening of concertos. The concert opened with the Concerto in
D minor for two violins and strings by J.S. Bach, performed by father and son. This was
followed by the Mendelssohn Violin Concerto in E minor played by Igor and Beethoven's
Violin Concerto in D major performed by David. On 25 March, the Toronto
Mendelssohn Choir joined the TSO for a performance of Bach's Mass in B minor,
conducted by Walter Susskind. The performance was a success, but during rehearsal the
Assistant Conductor Boris Brott, Concertmaster Hyman Goodman, and Music Director Walter
Susskind in front of Carnegie Hall in New York, December 1963
Members of the ISO outside Carnegie Hall, December 1963
choir had a few problems, Susskind stopped the rehearsal and, with his typical humour
said, 'We are supposed to be singing a Mass in B minor, but I think we are in a B major
mess.' The rehearsal proceeded and all was well.
Following the last concert of the season the orchestra left for a two-week tour of
the United States. In June it was announced that Seiji Ozawa had been appointed the
new Music Director beginning with the 1965—6 season. The appointment was received
with overwhelming approval by both the orchestra and the public. Ozawa had endeared
himself to everyone. Financially the orchestra was in a sound position with a relatively
small deficit of $17,000.
1964-1965 Susskind's last season was an eventful one. The disbanding of the CBC Symphony
Orchestra left the TSO as the main orchestra in Toronto, and the TSO was to fulfil
some engagements that had been planned for the CBC Symphony Orchestra, including
the Concerts of the Two Worlds series. For smaller performances the CBC hired part of
CARNEGIE HALL / 72nd Season
INTERNATIONAL FESTIVAL
OF VISITING ORCHESTRAS
Wednesday Evening, December 4, 1963, at 8:30 o'clock
THE CARNEGIE HALL CORPORATION

in association with THE J. M. KAPLAN FUND, INC.
***»* The Toronto

Symphony Orchestra
Walter SllSskilld,Music Direct
Boris Brott, Assistant Conductor
Lois Marshal^ Soprano
THE STAR SPANGLE0 BANNER
GOD SAVE THE QUEEN
Hindeiaitli NOBILISS1MA VLSIONE (Spite from the Ballet,

also called "St. Francis")
Einleitung und Rondo
Marsch und Pastorate
Passac&glia
Soniers MOVEMENT FOR ORCHESTRA
Strauis FOUR LAST SONGS

"FruhUng"
"September"
"Beim ScMafongehen"
"Im Abendrat"
Soloist: Miss Marshall
INTERMISSION
Dvorak SYMPHONY NO. 2 IN D MINOR, Op. 70

Allegro maestoso
Poco adagio
Scherzo: Vivace—Poco meno mosso
Finale: AUegro
Toar DirecttOR: Columbia Artists Management, Inc.

Personal Direction; Judd, Ries & Dahlgren
Carnegie Hall Playbill, December 1963

Lois Marshall with the ISO at Carnegie Hall, December 1963

WALTER SUSSKIND 79
the TSO as the CBC Toronto Orchestra, but this ensemble was not often needed and
after a short period was discontinued.
The orchestra was enlarged from eighty-three musicians to eighty-six. The new-
comers - violinists Jean Todd and Myron Moskalyk, and double bass player Larry
Pohjola - had all been members of the National Youth Orchestra of Canada. Susskind
had founded the National Youth Orchestra of Great Britain and, on coming to Canada,
was anxious to build a similar organization. In 1960 he initiated an orchestral workshop
in Stratford, Ontario, which led directly to the founding of the National Youth
Orchestra (NYO). Susskind was director of the NYO until 1964, and conducted the
1961 and 1963 sessions. He was also the conductor for the NYO's European tour in
1966. The NYO and other youth orchestras had an important impact on the TSO, as
later chapters will show.
Also during the 1964-5 season, the Players Committee wrote a letter to the
chairman of the Board of Trustees of Massey Hall asking them to resolve the acoustical
problems on the stage of Massey Hall. Although the acoustics for the audience were
considered good, the musicians on stage found it difficult to hear other sections of the
orchestra, and these problems were definitely affecting the quality of performance. The
Committee asked that the necessary renovations be completed before the beginning of
the 1965-6 season.
The winter of 1965 brought several untimely deaths. In January Cameron McKay,
the principal double bass of the orchestra, died suddenly. Then on 25 February Heinz
Unger, a frequent guest conductor with TSO, passed away, shortly after completing a
rehearsal with the orchestra. Two weeks previously, he had conducted the TSO in a
performance of Mahler's Symphony No. 3 for broadcast on the CBC's Sunday Night
series. The musicians had great respect for Unger, and remembered him for his original
interpretation and expressive performance on the podium. Principal horn player Eugene
Rittich admired his profound and philosophical understanding of music.
One highlight of the 1964-5 season was the orchestra's first television appearance.
The show, produced by CFTO, was pre-taped on 25 March with Walter Susskind
conducting. Artistically, the season was a great success. There were three guest conduc-
tors: Hans Schmidt-Isserstadt, founder of the Nordwest Deutsche Rundfunk Orchestra,
Istvan Kertesz, music director of the Cologne Opera, and, of course, Seiji Ozawa. Guest
artists included Hermann Prey, Nathan Milstein, Van Cliburn, Emil Gilels, Leonard
Rose, and Daniel Barenboim. For his last choral concert of the season, Walter Susskind
conducted a performance of Benjamin Britten's War Requiem with soloists soprano Lois
Marshall, tenor Peter Pears (who had sung in the world premiere of the work at
Coventry Cathedral in 1962), and baritone Victor Braun. The Toronto Mendelssohn
Choir rehearsed for the concert under their new conductor, Elmer Iseler.
Walter Susskind's final concert as Music Director of the TSO opened with his Nine
Slovak Sketches. The soloist for this concert was Leonard Rose, who played Dvorak's
Cello Concerto in B minor, and the program concluded with Le socre du printemps by
Stravinsky. Walter Susskind had made an important contribution to the overall devel-
opment of the orchestra. With highly skilled musicianship he had placed the orchestra
in the international sphere. The TSO was no longer just an orchestra somewhere in
Canada. It is surprising that no attempt was made to secure a recording contract during
his tenure since he had made a number of recordings with the Philharmonia Orchestra
in England. There are only two recordings of the TSO under Susskind. One is of
Gabriel Pierne's Children's Crusade with the Mendelssohn Choir, made in 1960 on the
Beaver label. The other, made for Capitol in 1965, contains two Canadian works:
Roger Matton's Concerto for Two Pianos (with duo-pianists Renee Morisset and Victor
Bouchard), and Oskar Morawetz's Piano Concerto No. 1 (with pianist Anton Kuerti).
CHAPTER SIX 1965-1973
Seiji Ozawa ana

Karel Ancerl
Musicke, the Mosaique of the Air.
ANDREW MARVELL
This chapter covers the orchestra under two different music directors. One was an
enthusiastic, charismatic young man, who almost overnight had enthralled music
critics across North America. The other was a mature elder statesman who was one of
the predominant maestros of the European classical music scene. Neither stayed with
the TSO for long. The younger conductor moved on to new challenges, while the more
senior conductor unfortunately succumbed to a long and painful illness. Both men had
a profound effect on the future of the TSO.
1965-1966 Seiji Ozawa received his early musical training in Japan, where he first studied piano
but after a hand injury switched to conducting and composition. He moved to Paris
where, in 1959, he was awarded first prize at the International Conductors' Competi-
tion at Besangon. Charles Munch, one of the judges, invited him to the Berkshire
Music Center (Tanglewood), where he studied conducting with Munch and Pierre
Monteux, and also received the Koussevitsky Memorial Scholarship. Ozawa next
moved to Berlin, where he studied with Herbert von Karajan. While in Berlin, he met
Leonard Bernstein, who offered him a position as assistant conductor with the New
York Philharmonic. Ozawa held this job from 1961 to 1965, when he became the music
director of the TSO. Bernstein personally introduced Ozawa to the TSO on the
morning of his first rehearsal.
Ozawa's acceptance of the position as music director and conductor immediately
heightened the enthusiasm of the TSO audiences. His previous guest appearances had
generated much interest, which was reflected in a demand for subscription series
tickets. In an interview with Sylvia Fraser of the bygone Star Weekly Ozawa said, 'They
want to make music in Toronto - the audience and the musicians - and that is very
important. I do not want to be a fancy director in a fancy house - a mere decoration.
The Toronto Symphony is a good orchestra - the relationship between a conductor
and an orchestra is a kind of marriage.' During his first season Ozawa conducted
SEIJI OZAWA AND KAREL ANCERL 83
eleven of the fifteen pairs of subscription concerts. The orchestra had also been
invited to England to represent Canada for the Commonwealth Arts Festival. The
expenses of the tour were fully covered by the Canadian government and the Festival
of Britain.
Before Toronto audiences saw Ozawa in his new position as Music Director of the
TSO in Massey Hall, he and the orchestra, along with members of the National Ballet
of Canada and the Canadian Opera Company, were invited to participate in a special
concert on 14 September to celebrate the opening of the new Toronto City Hall. Thus
the orchestra was first conducted by Ozawa along with George Crum, conductor for the
National Ballet, and two conductors for the Canadian Opera Company, James Craig
and Ernesto Barbini. The TSO entourage was then off to Britain to participate in the
Commonwealth Arts Festival from 23 September to 1 October, followed by three
concerts in France - two in Paris and one in Lyon. In Britain they gave concerts in
Glasgow, Liverpool, London, and Cardiff. The tour repertoire included Tchaikovsky's
Symphony No. 5 in E minor, Harry Somers's Suite for Harp and Chamber Orchestra,
Prokofiev's Romeo and Juliet, and Berlioz's Roman Carnival Overture. In London Lois
Marshall joined the orchestra for Maurice Ravel's Sheherazade, and in Paris and Lyon
she sang 'Ah perfido' from Beethoven's opera Fidelia. Judy Loman, principal harpist of
TSO, was the soloist for Harry Somers's Suite for Harp and Chamber Orchestra. The tour
was very successful. A critic for the London Sunday Times said the TSO presented
'orchestral virtuosity of the great international class,' and the London Daily Express
commented that 'Toronto's orchestra has little to fear from European rivals.' French
critics were equally ecstatic.
The concert in Cardiff took place in Llandaff Cathedral, where applause was not
permitted. The musicians were somewhat perplexed, and had little idea of how their
performance had been received - that is, until they came outside and found the
audience applauding enthusiastically for what had been an outstanding concert. An-
other problem with Llandaff was the lack of heat. Cathedrals can be quite cool,
especially on late September evenings - so cool that some musicians wore their coats.
The TSO returned to Toronto amid accolades and praise from all levels of
government. On 12 October, following the opening night concert, Toronto mayor
Phil Givens and the Toronto City Council hosted a magnificent reception at the new
City Hall in honour of Seiji Ozawa and members of the orchestra. On the same
occasion, Mayor Givens presented Sir Ernest MacMillan with the Civic Award of
Merit, the highest honour bestowed by the City of Toronto, for his distinguished public
service.
The tour had proved that the TSO had an international identity, and the orchestra
revelled in the tributes lavished on their new Music Director. Isadore Dubinsky, one of
the few musicians left from the von Kunits days, was apparently very moved by the
overwhelming success of the tour.
For the opening subscription concert in Massey Hall, Seiji Ozawa chose an orches-
tral program: the Royal Fireworks Music by George Frideric Handel, the Symphony No.
1 in C minor by Georges Bizet, and the first TSO performance of Harry Freedman's
Chaconne. At this time Freedman played oboe and English horn in the orchestra. The
concert ended with Ravel's transcription of Modest Mussorgsky's Pictures at an Exhibi^
tion. The evening was an overwhelming success. The orchestra and Ozawa treated the
Toronto audience to the brilliant playing that had enthralled the public and critics
alike in Britain and France. Ozawa was also building his reputation as a superb
conductor; Leonard Bernstein said of him, 'Seiji is a genius - and 1 don't throw the
word around lightly.'
On 26-7 October, contralto Maureen Forrester and the Toronto Men Teachers'
Choir gave a performance of Brahms's Alto Rhapsody. On 16 November Claudio Arrau
played Beethoven's Piano Concerto No 4 in G major. Georg Solti, music director of the
Royal Opera House, Covent Garden, made his TSO debut on 30 November in an
orchestral program that included Robert Schumann's Symphony No. 4 in D minor and
Bela Bartok's Concerto for Orchestra. Hermann Scherchen, another internationally
acclaimed conductor, led the TSO in a concert that included Anton Bruckner's
Symphony No. 2 in C minor. Lukas Foss, conductor of the Buffalo Philharmonic
Orchestra, made his TSO debut on 28 December.
On 10 January, the orchestra departed on a short tour of eastern Ontario and
Quebec that included an exchange subscription concert with the Montreal Symphony
Orchestra. In return, the Montreal orchestra under Zubin Mehta gave a concert in
Massey Hall that included Lignes et points by Canadian composer Pierre Mercure and
Ein Heldenleben by Richard Strauss.
The 8 February concert featured the talented young violinist Itzhak Perlman, who
had made his New York debut in 1963 and had instantly been engaged for performances
with all the leading orchestras in North America. For his TSO debut, he played
Prokofiev's Violin Concerto No. 2. On 1-2 March Jesse Kregal, who was in his second
season as the TSO timpanist, performed the Canadian premiere of the Concerto for Five
Kettledrums by Robert Parris with the composer in the audience. This work had been
written for Kregal and was premiered by the National Symphony Orchestra in Wash-
ington the previous year. The following week both a guest conductor and a guest soloist
Georg Solti made his TSO debut in 1965, conducting works by Schumann and Bartok
made TSO debuts: Andre Previn conducted a program that included one of his own
compositions - Overture to a Comedy - and John Ogdon, the British pianist who had
won the Liverpool International Competition in 1959, was the soloist for Schumann's
Piano Concerto in A minor.
During the 1965-6 season the orchestra welcomed seven new members: Corol
McCartney, violin; Richard Armtn, cello; Nancicarole Musser, double bass; Robert
Aitken, principal flute; Norman Tobias, bassoon; Fredrick Rizner, horn; and Eugene
Violinists Agnes Roberts, Teresa Obercian, Corol McCartney
Watts, principal trombone. This season was also marked by the death of Harry Warlow.
Warlow had been closely associated with the orchestra for twenty'Seven years, mainly
as public relations counsel. He was highly respected by both musicians and members of
the orchestra association. Walter Homburger, who had now completed three years as
Managing Director of the TSO, was chosen by Macleans magazine as one of the outstand-
ing Canadians for 1965. Edward Pickering, a vice-president of Simpson Sears, was elected
president of the Board at the 1966 annual general meeting. Pickering, who was anxious to
increase the size of the Board of Directors and reorganize its operations for greater
efficiency, asked Board member Terence Wardrop to propose a plan of reorganization.
Wardrop made extensive recommendations for a structured committee system and the
by-laws of the TSO Association were also revised. The Board was increased from thirty
to fifty-five members and directors were elected on a rotating basis. A fixed quorum of
twenty-three would also eliminate the problem of meetings being cancelled because of
the lack of a quorum. The financial situation was healthy. The CBC had increased their
fees for remote broadcasts by $5,500 and Toronto City Council had raised its grant from
$37,500 to $43,500. Sales of subscription series also increased. The Ozawa charisma
had taken hold of the symphony audiences and their enthusiasm had made a profound
impression on the TSO. The overall deficit was now down to a manageable $35,500.
Artistically all things appeared to be going well, and generally speaking the organiza- 1966-1967
tion of the orchestra was sound. However, several problems were appearing on the
horizon. Neither the musicians nor Ozawa were happy with the continuing onstage
acoustic problem at Massey Hall. Both Edward Pickering and Walter Homburger were
aware of the difficulty, and principal trumpet Joseph Umbrico, chairman of the Players
Committee, forwarded a letter expressing the musicians' serious concerns and request-
ing the Board to take some action to rectify the problem. The Planning Committee of
the Board recommended that a study should be undertaken. Homburger contacted
William Severns, past Managing Director of the Los Angeles Philharmonic, who
agreed to come to Toronto in November to conduct a study. The Severns report
intimated that, in the long term, it would be better to plan for a new hall. In May 1967
the Board established a committee to study the requirements for and feasibility of a new
concert hall, and what was needed to bring this about.
The orchestra entered the television arena with four broadcasts - three for CBC
and one for CTV. In September 1966 there was a televised performance of Beethoven's
Symphony No. 9 in D minor conducted by Seiji Ozawa, with Lois Marshall, Maureen
Forrester, Leopold Simoneau, Donald Bell, the Festival Singers of Canada, and mem-
bers of the Toronto Mendelssohn Choir. On 24 November a CTV program titled
'A Gift of Music' was taped for broadcast during the Christmas season, again with
Ozawa conducting. A CBC program on 10 February consisted of two cello concertos
played by Mstislav Rostropovich: the Cello Concerto No. 2 by Dmitri Shostakovich
and the Cello Concerto in C major by Franz Joseph Haydn. Rostropovich's perform-
ance of the Shostakovich concerto for the subscription series in Massey Hall earlier
that week was the North American premiere of this work. For a CBC telecast on 17
May Igor Stravinsky conducted his Oedipus Rex with the Festival Singers of Canada, a
choral ensemble he greatly admired.
Colin Davis, Niklaus Wyss, Rafael Kubelik, and Paul Kletzki were all guest
conductors for the 1966-7 season. Guest artists included two world-renowned cel-
lists: Mstislav Rostropovich and Jacqueline du Pre, who played the Cello Concerto
No. 1 in A minor by Camille Saint-Saens. Reri Grist, who was rapidly becoming an
acclaimed opera star, made her TSO debut singing two concert arias by Mozart - Mia
Seiji Ozawa conducts the ISO for a CBC Television broadcast, 1967
speranza adorata, K 416, and Vorrei spiegarvi, K 418 - and Zerbinetta's recitative and
aria from Richard Strauss's opera Ariadne auf Naxos. On 14 November entertainer
Danny Kaye conducted the orchestra for a most hilarious and successful Pension Fund
concert.
Within the orchestra ranks there were a number of changes. Three musicians
joined the orchestra: Thomas Monohan became principal double bass, Barbara Bloomer
joined the horn section, and John Wyre took over as timpanist. Departures at the close
of the season included those of principal cellist Malcolm Tait, who resigned to become
artist'hvresidence at the University of New Brunswick; Niklaus Wyss, who vacated the
position of Assistant Conductor; and Hyman Goodman, who resigned as concertmaster
to seek sunshine and studio work in southern California. Apparently there had been
some disagreements between Goodman and Ozawa. Goodman may have had difficulty
accepting a young and charismatic conductor. Goodman later said, 'He was 28 and 1
was 53. He didn't like me and I've got a poor poker face. I figured the best thing to do
SEIJI OZAWA AND KAREL A N C E R L 89
Danny Kaye conducting the ISO in rehearsal for a Pension Fund benefit concert, November 1966
was to get out of the orchestra.' During the season Ozawa had introduced a system in
which the concertmaster shared his duties with associate concertmaster Isidor Desser
and principal second violin Clifford Evens.
Touring was also part of the season. A ten-day tour of Florida was followed by a
successful six-day tour of the eastern United States that included Washington and New
York. Back in Canada the orchestra was invited by the Centennial Commission to
participate in a series of concerts in Montreal during a festival of international artists
and ensembles at Expo '67. The TSO's special concert in the Place des Arts was
conducted by Seiji Ozawa, with soprano

Lois Marshall, who sang the Vier ktzte
Lieder (Four Last Songs) by Richard
Strauss. The concert also included the
world premiere of Contrastes by Cana-
dian composer, teacher, and violinist Otto
Joachim, a work which was commissioned
by the Toronto Symphony Orchestra.
Carl Nielsen's Symphony No. 5, op. 50,
completed a program that had been made
possible through a grant from the Cen-
tennial Commission. For a Centennial
Project the TSO received a grant from
IBM to make two recordings for Colum-
bia Records. The first was a recording of
Symphonie fantastique by Berlioz. The sec-
Tom Monohan, principal double bass ond was a selection of music by Cana-
dian composers including Two Sketches
for String Orchestra by Ernest MacMillan, Images by Harry Freedman, Triptyque by Pierre
Mercure, and L'etoile noire by Frangois Morel. Both recordings were distributed free of
charge to 3,000 schools across Canada, courtesy of IBM.
This busy season also included two major administrative changes. First, the To-
ronto Symphony Orchestra changed its name to The Toronto Symphony (TS). The
original name of the orchestra was reinstated some twenty-seven years later.
The second administrative change was the incorporation of the Toronto Sym-
phony Foundation, an entirely separate organization from the TS Association. The
Foundation's single purpose was to establish an endowment fund that would maintain
continuing financial support for the orchestra. Many of the leading orchestras in the
United States had adopted this approach as a result of reduced financial support from
governments (which had fallen to an average of approximately 22 per cent of total
revenues). However, until the mid-1980s, grants from federal, provincial, and munici-
pal governments accounted for approximately 48 per cent of the overall TS budget. At
the annual general meeting on 12 September 1967, Board President Edward Pickering
reported that the Toronto Symphony Foundation had been established in order to
create an endowment fund that would make an important contribution to orchestra
revenues. Unfortunately, his statement was not taken seriously. Ten years later the
Endowment Fund still had less than a million dollars. The fact that government grants
might well be drastically reduced was ignored by both Board and management, a
complacent attitude that was seen in almost every major orchestra in Canada. Years
later, when government funding was indeed sharply reduced, attempts were made to
catch up. However, at the turn of the twenty-first century, while major orchestras in the
United States had accumulated substantial endowment funds in the area of two
hundred million dollars, the TS fund stood at about fifteen million.
The new contract for the musicians was possibly the most encouraging working agree- 1967-1968
ment they had ever negotiated. The minimum weekly salary was increased from $130
to $180 per week, and the season was extended from thirty to forty-two weeks. There
was also a clause whereby the management could contract the orchestra for additional
services for radio, opera, and television and could schedule these services into the
season. However the TS management was aware that these salaries were still low in
comparison to those of other major orchestras in North America. The budget of
$1,172,000 involved the largest operating deficit in the history of the orchestra, but
there was also some relief. The Canada Council increased its grant to $200,000, while
grants from the Ontario Arts Council and the Metropolitan Toronto Council were
increased by $25,000 and $7,000 respectively. The Women's Committee had also raised
$100,000. These increases assisted in closing the gap between expenses and earned
income.
The concern over the formation of a government-sponsored permanent orchestra
in Ottawa had partially dispersed. The National Arts Centre plan for a ninety-member
symphony orchestra had been abandoned in favour of a chamber orchestra of forty-five
musicians. However, a subsidy to maintain even a small orchestra in Ottawa could
potentially divert approximately one million dollars of Canada Council funds, reducing
the amount to be allocated to existing orchestras in Montreal and Toronto.
The TS opened its season with a tour of Ontario sponsored by the planning
department of the Ontario Centennial Commission. Seiji Ozawa was conductor and
the soloists were violinist Gerard Kantarjian, the new concertmaster, and world-
renowned Canadian baritone Victor Braun. For the opening subscription concert, the
women in the orchestra sported fashionable new black centennial concert dresses - the
subject of an amusing photo call by the local press. This concert also included a
performance of Otto Joachim's Contrastes, which the orchestra had premiered in
Montreal in May 1967. An announcement in the program for the 17-18 October
concert indicated that, following the practice of other orchestras in Canada and Great
Britain, the national anthem would be played only at the beginning and end of each
season and on special occasions when royalty was in attendance. Karel Ancerl, the
music director of the Czech Philharmonic Orchestra, made his TS debut on 21 Nov-
ember with a program that included works by two well-known Czech composers: the
concert overture Othello by Antonm Dvorak and two movements, S drka and Tabor,
from Ma Vlast by Bedrich Smetana. Walter Susskind returned to the podium on
23 January 1968 for a concert that demonstrated three aspects of his career: he
conducted the orchestra; he was the soloist in Leos Janacek's Concertino for Piano; and
the program included his orchestral transcription of Sergei Prokofiev's piano work
Visions fugitives. Susskind is not well known as a composer, but Janice Susskind,
recalling her late husband, said that he composed constantly. One of his works, written
in Toronto, is a concerto for timpani and orchestra, which unfortunately was never
performed by the TS.
Per Bastiana Ted-Yang Chen, a new composition by Luigi Nono that had been
commissioned by the TS under a grant from the Centennial Commission, had its world
premiere on 31 October. The work was scored for magnetic tape and instruments. John
Beckwith's program note stated, 'It is a fifteen-minute work, composed on fifteen large
graph-paper pages - one minute per page. The tape part is here indicated by special
graphic notations so that its gestures can be followed.' Verdi's Rigoletto was chosen for a
concert performance on 11 and 13 January with a cast that featured Reri Grist, George
Shirley, and Louis Quilico, along with the newly formed Toronto Symphony Chorus,
whose choral director was Lloyd Bradshaw. Meanwhile, with opera in mind, serious
negotiations were under way with the Canadian Opera Company to engage the TS for
the six-week opera season from mid-September to mid-October. The last concert of the
'Jazz and the Symphony' series on 27 April featured guest artist Benny Goodman. The
program opened with J.S. Bach's Brandenburg Concerto No. 1 in F major, BWV 1046,
followed by Weber's Clarinet Concerto No. 2 with Goodman as soloist. The second
half of the concert was devoted to Benny Goodman and his sextet for an evening where
jazz and the classics were blended with masterful skill.
The unexpected news in February that Seiji Ozawa was resigning at the end of the
1968-9 season to take up the position of music director and conductor of the San
Francisco Symphony stunned both musicians and audience. Unfortunately the news
was given to the media by the San Francisco Symphony before checking with the TS
Board on the timing of joint announcements. This situation put the TS Board in the
embarrassing situation of calling a press conference to confirm Ozawa's resignation.
S E I J I OZAWA AND KAREL A N C E R L 93
Under Ozawa's leadership the high quality of the orchestra had become known interna-
tionally. In view of such recognition, it is difficult to understand why no attempt
appears to have been made to retain Ozawa at any cost. In his statement to the Board
concerning Ozawa's decision to leave, managing director Walter Homburger reported
that Ozawa felt that after four years with the TS the musicians would have acquired all
the knowledge he could impart and that the time had come for a change.
The selection committee that was formed wasted no time in searching for a new
conductor. Homburger submitted names that might be considered, but indicated that
not all would be available. After some discussion it became obvious that Karel Ancerl,
the conductor of the Czech Philharmonic Orchestra, might be free and should be
approached. Homburger went to Zurich, and after lengthy discussions with Ancerl,
advised the selection committee that Ancerl was willing to accept the position.
The full Board discussed and endorsed the appointment of Karel Ancerl as Music
Director and Conductor of the TS with a contract for three seasons commencing with
the 1969-70 season.
January 1968 marked the death of Vincent Massey, who had been President of the
Board from 1931 to 1934. Massey had been instrumental in governing the orchestra in
its early days and he was also the first Canadian to be appointed Governor General of
Canada. At the end of the 1967-8 season, Jack Elton, the assistant managing director
and a long'time member of the administration, decided to retire. Elton had given many
years of devoted service and had shown exemplary management skills in his time with
the orchestra.
The 1968-9 season opened with an expectation that it would be a memorable one. The 1968-1969
orchestra was now the accompanying ensemble for the Canadian Opera Company
season from September to mid-October at the O'Keefe Centre. The operas were Aida
by Giuseppe Verdi, La Boheme and Tosca by Giacomo Puccini, Salome by Richard
Strauss, and Louis Riel by Canadian composer Harry Somers. The conductors were
Ernesto Barbini, Victor Feldbrill, and Samuel Krachmalnick from the New York City
Center Opera. Both Herman Geiger-Torel (the general director of the Canadian Opera
Company) and Walter Homburger were happy with the collaboration.
Three TS tours were planned for the season: two to the eastern United States, and
one to Japan. The first U.S. tour, which took the orchestra to Burlington (Vermont)
and Boston, was combined with visits to Montreal and Ottawa; the second tour
included New York and Philadelphia. In addition, two recordings scheduled with RCA
Victor introduced Ozawa to the international recording industry. These recordings

featured four compositions by Toru Takemitsu - Asterism, November Steps, Green
(November Steps II), and Requiem for Strings - and Olivier Messiaen's Turangalila
symphonie. Kazuyoshi Akiyama had made his North American debut with the TS
during the 1967-8 season, and was appointed Assistant Conductor. His conducting
duties for the current season included student concerts and out-of-town engagements
as well as several subscription concerts.
The zenith of Ozawa's tenure was undoubtedly the tour to his homeland. There
were three concerts in Osaka, one in Nagoya, and four in Tokyo. All were successful
and greatly appreciated by Japanese audiences. The musicians had an exciting time,
enjoying not only the concerts but also the sights and sounds of Japan and their
experiences with Japanese culture and customs.
On 25-6 February 1969 Eliahu Inbal made his Canadian debut as a guest conduc-
tor with a program that included Arthur Honegger's Symphony No. 2 (Symphonie pour
cordes) for string orchestra with solo trumpet. Charles Munch was to have conducted
this concert but had cancelled because of an illness that eventually caused his death in
1968. The performance of Honegger's symphony was dedicated to his memory. Josef
Krips, conductor of the San Francisco Symphony, conducted an all-Brahms concert on
28-9 Jan-uary with guest soloist Masuko Ushioda playing the Violin Concerto in D
major. On 4-5 March, two young musicians gave one of the most anticipated concerts
of the season: conductor Daniel Barenboim and Jacqueline du Pre (the remarkable
young English cellist who was acclaimed by New York critics as the first lady in music)
in an impressive performance of the Elgar Cello Concerto in E minor. Other prominent
guest artists included pianists Lorin Hollander, Byron Janis, and Peter Serkin. There
were two major choral works in Ozawa's final season with the TS. On 25-6 March he
conducted a performance of La damnation de Faust with the Toronto Symphony Chorus
and soprano Lois Marshall, tenor John McCollum, bass Ezio Flagello, and baritone
Leonid Skirko. On 6-7 May the Toronto Symphony Chorus and Orchestra, joined by
soprano Helen Boatwright and baritone Tom Krause, combined for a performance of
Em deutsches Requiem (A German Requiem) by Brahms. On 10 May Duke Ellington
and his orchestra were guest artists for a concert in the 'Jazz and the Symphony' series.
The final concert for Seiji Ozawa as Music Director and Conductor of the TS in
Toronto took place on 14 May. The program consisted of Three Places in New England
by Charles Ives, Mozart's Piano Concerto No. 23 in A major, K 488, with pianist John
Browning, Johann Strauss's overture to Der Zigeunerbaron (The Gypsy Baron), and the
suite from Richard Strauss's Der Rosenkavalier. Ozawa's last engagement with the TS was
Cellist Jacqueline du Pre

KarelAncerl (1908-1973)
a concert for the opening of the National Arts Centre in Ottawa on 6 June. According
to Jacob Siskind of the Montreal Star, there was 'a smash bang performance of
Tchaikovsky's Symphony No. 4 that shot the audience from its seats liked popped corn
even before the last drum rolls had stormed to an end.' Then it was time to say goodbye.
It is interesting to speculate that if Ozawa, at age fifteen, had not broken both forefin-
gers in an accident during a football match, he might still be a pianist rather than an
internationally acclaimed conductor.
During this season, Terence Wardrop, a Board member with great enthusiasm and
concern for the day-to-day operations and future plans of the orchestra, presented two
important proposals to the Board. The first concerned the Co-ordinated Arts Services,
an organization founded in Toronto under the sponsorship of the Canada Council and
the Ontario Arts Council for the purpose of helping arts organizations to decrease
expenses by eliminating duplication of operating procedures. The TS joined this plan,
along with a number of other groups, including the Canadian Opera Company and the
National Ballet of Canada. The Co-ordinated Arts Services took over subscription
services for all member organizations and was to become an important element in all
facets of the TS administration.
Wardrop's second proposal came from the planning committee, of which he was
chairman. This proposal was for a summer home for the TS at Niagara-on-the-Lake,
in conjunction with the Shaw Festival. Performance facilities were to be built on
land allocated by the Department of Northern Affairs, and both the federal and
provincial governments seemed enthusiastic about the project. Wardrop requested a
moral commitment from the Board so that planning could go ahead, but the motion
that was finally made, seconded, and carried contained too many conditions and
exceptions. The plan dissolved, and an opportunity to lengthen the concert season,
give the orchestra a permanent summer home, and create a new summer audience
was lost.
The arrival of Karel Ancerl as Music Director and Conductor was an auspicious event. 1969-1970
Karel Ancerl (1908-73) had been conducting since the age of twenty-three. He studied
composition and conducting at the Prague Conservatory, and composed numerous
works, including a suite for string orchestra in quarter-tones. He was a member of
Hermann Scherchen's conducting class in Strasbourg and later became his assistant,
and he also studied conducting with Vaclav Talich in Prague. In 1933 he began a career
as conductor for the theatre and for Prague radio. During the war years he was
imprisoned at Auschwitz, where his parents, wife, and child were put to death.
After the war, Ancerl returned to Prague, where he eventually remarried and held
conducting appointments with the Prague Opera (1945-8) and the Czech Radio
Symphony Orchestra (1947-50). In October 1950 he was appointed artistic director of
the Czech Philharmonic Orchestra, a position he held until 1968. The Russian inva-
sion of Czechoslovakia that occurred while Ancerl was guest conducting in North
America prevented him from returning to his orchestra, and he decided to make his
home in North America. At first the TS musicians were not unanimously excited about
AncerPs appointment, but after a few weeks both players and Board realized their good
fortune in attracting one of the world's most respected conductors. He had built the
Czech Philharmonic into one of Europe's most accomplished orchestras, and was
obviously also aiming high for the TS.
For his first concerts, on 14 and 15 October, Ancerl chose Bedrich Smetana's
symphonic poem Wallensteiris Camp, Schumann's Piano Concerto in A minor with
Rudolf Firkusny as the soloist, and Dvorak's Symphony No. 6 in D major. On 4 and
5 November British soprano Heather Harper made her Canadian debut in a perform-
ance of the Vier letzte Lieder (Four Last Songs) by Richard Strauss. In the same concert
Ancerl conducted the orchestra in its first performance of Mahler's Symphony No. 5.
November saw Ancerl's first choral con'

certs with the TS: three outstanding per-
formances of Britten's War Requiem with
soprano Lois Marshall, tenor Gerald Eng-
lish, baritone Victor Braun, the Toronto
Mendelssohn Choir, and the Canadian
Children's Opera Chorus. Percussionist
Paul Caston recalled the excitement of
the performance and how Ancerl kept
the various forces under tight control
while still allowing the music to speak
for itself.
Ancerl told a story about his early
attempts at English pronunciation. In
Australia he was rehearsing the Mel-
Leontyne Price bourne Symphony Orchestra and Cho-
rus in Dvorak's Stabat Mater. The chorus
had not been well trained and were breathing unevenly. Ancerl stopped them in
despair and said, 'Ladies and gentleman, please! Hold your breasts!'
Guest conductors for the 1969-70 season included Rafael Fruhbeck de Burgos,
Lawrence Foster, David Oistrakh, and Seiji Ozawa, who returned for a Pension Fund
concert with soloist Leontyne Price. Ozawa also conducted two subscription series
concerts during his two-week return. The one on 24-5 March included the Grande
messe des marts (Requiem) by Hector Berlioz with tenor Anastasios Vrenios and the
Toronto Mendelssohn Choir, performed in memory of the late Charles Munch. Ancerl
conducted two concerts that revealed his strong Czechoslovakian roots. The program
for 28-9 April included the Symphony in D major by the Czech composer Jan Vaclav
Vons ek. On 5-6 May violinist Josef Suk played the Fantosie for Violin written by his
grandfather, also named Josef Suk. At the end of the subscription season Ancerl
conducted the Canadian premiere of Dvorak's Requiem with the Toronto Mendelssohn
Choir and soprano Edith Mathis, mezzo-soprano Lili Chookasian, tenor Peter Schreier,
and bass Franz Mazura as soloists.
In addition to the regular season, Walter Homburger had negotiated a three-week
Beethoven Festival to be held at the O'Keefe Centre from 1 to 19 June, with Ancerl
conducting a stunning line-up of twelve concerts. Pianist Joseph Kalichstein, violinist
Lorand Fenyves, and cellist Peter Schenkman performed the Triple Concerto in
SEIJI OZAWAAND KAREL ANCERL 99
C major, op. 56. Vladimir Ashkenazy played the Piano Concerto No. 3 in C minor. At
the third concert Andre Watts played the Piano Concerto No. 4 in G major, and during
the second week Josef Suk returned for the Violin Concerto in D major. The third week
included a performance of the Piano Concerto No. 5 in E flat major ('Emperor') with
Alfred Brendel as soloist. The final concert presented the Symphony No. 8 in F major
and the Symphony No. 9 in C minor with the Toronto Mendelssohn Choir and soloists
soprano Clarice Carson, mezzo-soprano Huguette Tourangeau, tenor Wilmer Neufeld,
and bass Thomas Paul. Artistically and financially the festival was a success, in spite of
initially slow ticket sales.
Meanwhile, the Toronto Mendelssohn Choir was celebrating its seventy-fifth
anniversary season. In addition to exceptional concerts in the TS season, the choir
presented two concerts of their own with the support of the TS. The anniversary
concert on 14 January was a performance Handel's Israel in Egypt J.S. Bach's St Matthew
Passion was presented in February.
Artistically, the Toronto Symphony presented a season of outstanding concerts,
including performances of seventeen works by Canadian composers. Financially, the
picture was not so bright. On 18 March, at a special meeting called to address the dire
financial situation, Frank McEachren, the chairman of the Board, said that every cloud
had a silver lining, but as far as the orchestra was concerned, the reverse was true. The
silver lining was on the outside, outlining the enormity and blackness of the cloud.
There was an overall deficit of $185,000 and a forecasted deficit of $320,000 by the end
of the season. In addition, negotiations with the musicians' union for a new contract
were about to take place. The situation was extremely serious and unless a solution was
found it was quite possible that the orchestra would fold. A crisis committee, consisting
of two members of the Board, the chairman of the Women's Committee, two members
of the Players Committee, the president of the musicians' union, and the president of
the TS, was established and given two months to present a plan to the Board. Ontario
Premier John Robarts met with the committee and promised to see what could be done
to re-evaluate the province's financial support. At the same time the crisis committee
was also negotiating with the Canada Council and Metropolitan Toronto. Gradually
the financial black cloud began to lighten. The provincial government announced a
one-time debt-reduction grant of $162,780 and also increased the 1970-1 grant by
$70,000 over the previous year. The Canada Council increased their annual grant to
$320,000 and gave an additional $30,000 to be applied directly to the deficit. The
Metropolitan Toronto grant of $50,000 for the 1970-1 season remained unchanged
from the previous year.
). Allan Wood of the Toronto Musicians' Association, ISO Director Mel Kenny, double bass player
Ruth Budd, and ISO President Frank McEachren at the signing of the new Master Agreement
A one-year contract agreement with the musicians' union had been reached with
an overall pay increase of 6.35 per cent plus an increase in vacation pay from two weeks
to three. Four new members joined the orchestra ranks. Albert Pratz returned after
three years as concertmaster of the Buffalo Philharmonic Orchestra. Pratz was last in
Toronto six years earlier as concertmaster of the CBC Symphony Orchestra, and prior
to that had played in the NBC Symphony Orchestra under Arturo Toscanini. The
other newcomers were violinist Eugene Kowalski, who came from the Winnipeg
Symphony Orchestra, violinist Janice McRae, who for the past seven years had been a
member of the Rochester Philharmonic Orchestra, and William Findlay, who had been
principal cellist of the National Ballet Orchestra.
1970-1971 The previous season had confirmed Karel Ancerl's skill in interpretation, conducting
technique, and development of the orchestra. Even the sceptics (and there were a few)
SEIjl OZAWA AND KAREL ANCERL 101
had been convinced that the TS had a distinguished conductor, and Ancerl's second
season was awaited with anticipation and enthusiasm. When Gerard Kantarjian, who
had been concertmaster for the past two seasons, resigned to pursue a career in chamber
music, Albert Pratz was appointed to the position in an acting capacity until 1 January,
when he officially assumed the position on the recommendation of Maestro Ancerl,
who had been pleased with his work. Both Susskind and Ozawa had admired Pratz's
playing and had wanted him as concertmaster. The orchestra's annual engagement with
the Canadian Opera Company for its fall season continued, but Ancerl was never
pleased with the arrangement. He felt that the orchestra's standards deteriorated during
its six-week stint as a pit orchestra.
For the opening concert for the season Emil Gilels played the Piano Concerto No.
5 in E flat major ('Emperor') by Beethoven in a program that also included the
Symphony No. 6 in B minor ('Pathetique') by Tchaikovsky and Mendelssohn's over-
ture to The Fair Melusina. Other artists of international prominence who performed
with the orchestra before the Christmas break included pianist Alicia de Larrocha,
cellist Jacqueline du Pre, and singers Maureen Forrester, Reri Grist, Stuart Burrows, and
Simon Estes. An all-Brahms concert on 11 December featured violinist Ida Haendal in
the Violin Concerto in D major, along with the Symphony No. 3 in F major. During the
rehearsal of the symphony Ancerl commented that the end of the last movement was
the only Wagnerian moment in all of Brahms.
At the beginning of the new year, Karel Ancerl went on a European tour to fulfil
guest conducting engagements, including a successful concert with the Israel Philhar-
monic Orchestra, but while in Israel, he fell ill. After extensive tests it was determined
that he was suffering from a recurrence of a chronic illness. On the recommendation of
doctors he entered hospital in Stuttgart for treatment and further tests. While Ancerl
was recuperating, Homburger flew to Stuttgart to meet with him. They discussed a
three-year contract extension, to which Ancerl agreed. This ensured that Ancerl would
be with the orchestra until the end of the 1974-5 season.
In January, Walter Susskind returned as guest conductor for a program that in-
cluded the Canadian premiere of his Capriccio Concertante. In February James Levine,
the assistant conductor of the Cleveland Orchestra, conducted a pair of concerts with
guest artist Yehudi Menuhin performing Mozart's Violin Concerto No. 5 in A major, K
219, and took the orchestra through its paces in a colourful performance of Symphonie
fantastique by Berlioz. Also in February, Czech conductor Martin Turnovsky, who had
received his musical training in Prague under the guidance of Ancerl, was guest conduc-
tor. When Ancerl was unable to conduct a pair of subscription concerts in April,
Karel Ancerl, Victor Feldbrill, Greta Kraus, Geza Anda, and Denis Langelier at the 1970 Piano
Competition
because of illness, Victor Feldbrill took over at short notice. Toward the end of the
season, the Toronto Mendelssohn Choir joined the TS for a performance of Krzysztof
Penderecki's choral work Passio et mors dommt nosfti Jem Christi secundum Lucam (The
St Luke Passion) conducted by Elmer Iseler. Karel Ancerl attended the performance,
and at the end of the work was overheard commenting to his wife, 'Mein Gott! Two
hours without an allegro.'
With the main season completed, the orchestra embarked on its first summer
season in the newly built Ontario Place, a cultural and amusement park situated on
reclaimed land in the Toronto harbour. These concerts were sponsored by the
Ontario government through the Ontario Arts Council as part of a program to
present the performing arts to the public at the extremely low price of three dollars,
the price of admission to the park. The fifteen TS concerts in the series were well
received and attended by more than 100,000 people, who were able to listen to music
on a relaxed summer's evening. At one concert, there were over 12,000 in the
audience. The conducting duties were shared by Karel Ancerl, Walter Susskind,
Seiji Ozawa, Boris Brott, Boyd Neel, and Victor Feldhrill. Minds and thoughts
were now focused on the upcoming season, the fiftieth anniversary of the Toronto
Symphony.
The fiftieth anniversary season represented a time of reflection upon the many dedi- 1971-1972
cated people who over the years had made the orchestra possible: the musicians who
had served with dedication and professionalism, even when monetary returns were low;
the Board of directors and their committees who continually lobbied governments,
corporations, and individuals to support a high-quality orchestra that was rapidly
becoming internationally recognized; the Women's Committee with its long, successful
history of raising substantial revenues; and finally the audiences who loyally bought
subscriptions and individual tickets. All had contributed to the success of the Toronto
Symphony in its first fifty years.
Frank McEachren, the chairman of the Board, announced the formation of the
Associates of the Toronto Symphony, a new support group that was intended to permit
younger people interested in the orchestra and its activities to take part in fund-raising
projects while simultaneously providing a social milieu for its members. The Associates
soon became active and in April announced two Tre-Concert Discussions' led by
Canadian composers: the first with Harry Somers on Stereophony and the second with
Oskar Morawetz on From the Diary of Anne Frank.
Special projects for the year included the creation of a medallion to commemorate
the anniversary season. The issue consisted of 150 medals in gold, priced at $262.50,
and 850 in silver, priced at $52.50, but unfortunately the response did not generate the
expected revenue. In addition, Rothmans of Pall Mall Canada contributed funding for
the production of a book by Arnold Edinborough entitled The First Fifty. This publica-
tion provided an informative history of the orchestra, but it gave the appearance of
having been hastily produced. On 26 October, the orchestra presented the world
premiere of Harry Freedman's Graphic I: 'Out of silence...,' a work commissioned by the
TS for the opening of its fiftieth season.
In December 1971, the Board gave approval for a 1974 European tour. This
represented a substantial financial undertaking. The anticipated revenue of $150,000
from the federal government plus $100,000 in tour fees left an estimated deficit of
$50,000 to be funded by sponsorships.
While the TS anniversary was toasted by various personalities, a wide range of
music from the world's foremost composers - an essential ingredient to this momentous
occasion - was performed. A large percentage of the conducting was undertaken by
Maestro Ancerl, augmented by visits from James Levine, Seiji Ozawa, Roger Wagner,
Arthur Fiedler, Walter Susskind, and Andre Kostelanetz. The guest artists for the
season - including Elly Ameling, Vladimir Ashkenazy, Barry Tuckwell, Mstislav
Rostropovich, Lois Marshall, and Itzhak Perlman - also reflected the high status that
TS had attained in its first fifty years.
A wealth of choral concerts presented a number of works not often performed. On
7-8 December Elmer Iseler was guest conductor for a program that consisted of Roger
Matton's Te Deum (composed in 1967), Arnold Schoenberg's Friede auf Erden (Peace
on Earth), and Arthur Honegger's Une cantate de Noel. Baritone Louis Quilico and the
Toronto Mendelssohn Choir participated in all three works and the Canadian Chil-
dren's Opera Chorus joined in for Honegger's cantata. The work of Honegger was again
featured on 1-2 February with a performance of his dramatic oratorio Jean d'Arc au
bucher (Joan of Arc at the Stake). Performers included soloists Denise Pelletier, Jean-
Louis Roux, Claude Corbeil, Gerald English, Lynne Cantlon, Patricia Harton, and
Nicole Lorange, along with the Toronto Mendelssohn Choir and the Canadian Chil-
dren's Opera Chorus, all conducted by Ancerl. A third choral work was presented on
22-3 February in a program of two Berlioz works: the Symphonie fantastique and its
choral sequel, Lelio. The supporting artists were actor Colin Fox, tenor John Mitchinson,
and baritone Peter Barcza, along with the Toronto Mendelssohn Choir. The season
closed on 23, 24, and 26 May with Verdi's Requiem, conducted by Ancerl with soprano
Elinor Ross, contralto Lili Chookasian, tenor John Alexander, bass Bonaldo Giaiotti,
and the Toronto Mendelssohn Choir.
Following the success of the Beethoven Festival at the O'Keefe Centre in June
1971, a Brahms Festival for this season was given in the same venue. The three-week
event featured all of Brahms's symphonies and concertos. There was also a performance
of Em deutsches Requiem (A German Requiem) with soprano Lynne Cantlon and
baritone Victor Braun, and Maureen Forrester sang the Vier ernste Gesange (Four
Serious Songs), op. 121, and the Alto Rhapsody. All the concerts were conducted by
Karel Ancerl.
The annual performances of Handel's Messiah by the TS and the Toronto
Mendelssohn Choir over this Christmas season were in the hands of guest conductor
Roger Wagner. On January 25 Czech pianist Jan Panenka made his Canadian debut
with a performance of the Piano Concerto No. 3 by Bohuslav Martinu. Ancerl opened
the concerts on 21-2 March with the world premiere of Reflections for Orchestra
by Czech composer Tomas Svoboda. The season also included Van Cliburn play-
ing Beethoven's Piano Concerto No. 5 in E flat major ('Emperor'). The program for
23 April, a repeat of the orchestra's first concert, given on 23 April 1923, included
Tchaikovsky's Symphony No. 5 in E minor, a work that apparently was not one of
AncerPs favourites. During rehearsal, a bassoonist made an error and Ancerl stopped
the orchestra to correct him. The bassoonist replied, 'It must be a mistake in the part.'
Ancerl asked him to correct the mistake and play it the way he had asked, but the
bassoonist did not give up so easily. 'I thought you must have marked the parts yourself,'
he explained, 'so I played it the way it is in the music.' Ancerl calmly put down his
baton and said, 'The last time I performed this music was thirty-five years ago.'
The anniversary euphoria carried over into the summer season at Ontario Place.
Ancerl conducted two concerts, and guest conductors included Seiji Ozawa, Arthur
Fiedler, Walter Susskind, and Andre Kostelanetz. There were also several personnel
changes within the orchestra. New string players included violinist Richard Roberts,
who became associate concertmaster, double bass player Edward Tait, violinist Carol
Lieberman, and cellist Audrey King. Additions to the wind and brass section included
Harry Sargous, who was installed as principal oboe, flutist Marjorie Yates, French horn
players John Cahill and George Stimpson, and trombonist Frank Harmantas. An
exciting and memorable season, which also included visits to New York, Washington,
and Ottawa, had come to an end. It had not always been easy, but this anniversary year
was an annis mirabilis and everyone turned with confidence to the next fifty seasons.
A new word was working its way into the TS vocabulary: lottery. During the last season, 1972-1973
Co-ordinated Arts Services had set up a plan to hold a lottery that would provide
financial assistance for arts organizations. In the first Lottario, held during the 1971-2
season, $70,000 was turned over to the Toronto Symphony Trust Fund, and it was
hoped that this season the amount would increase.
At the end of the last season Karel Ancerl had made a request to increase the size of
the orchestra to ninety-eight musicians over the next three years. This proposal was
accepted in principle, providing the budget could sustain the additional salaries. New
faces for the 1972-3 season included violinists Ronald Gorevic, Terry Moore, and
Winston Webber, oboist Frank Morphy, French horn players Brad Warnaar and Rich-
ard Cohen, double bass player John Gowen, and percussionist Paul Caston. One of the
nine musicians leaving the orchestra was violinist Isadore Dubinsky, who had been a
member of the TSO since the first concert in 1923.
The 1972-3 season seemed to be plagued with illness. When Emil Gilels had to
cancel his scheduled performance he was replaced by Lorin Hollander, who played the
Saint-Saens Piano Concerto No. 5 in F major. Rudolf Serkin was replaced by John
Browning, who performed the originally programmed Brahms Piano Concerto No. 2 in
B flat major. Albert Pratz, the concertmaster, who was unable to play the Violin
Concerto in A minor by Alexander

Glazunov, was replaced by Anton Kuerti,
who performed the Mendelssohn Piano
Concerto No. 1 in G minor. Illness also
prevented Karel Ancerl from conduct-
ing the opening pair of subscription con-
certs on 24—5 October, so Victor Feldbrill,
who had been conducting in England
and Italy, stepped onto the podium.
Late on the evening of 2 November,
Ancerl was taken ill with a recurrence of
hepatitis, an infection that he had con-
tracted during his years in German con-
centration camps during the Second
World War. His doctors advised him not
Karel Ancerl to resume conducting. Donald Johanos,
associate conductor of the Pittsburgh
Symphony Orchestra, stepped in at short notice for an unplanned debut with the TS,
as did pianist Eugene Istomin. Mfl Vlast by Smetana was withdrawn from the program
and replaced with Haydn's Symphony No. 8 in G major ('Le soir'). The remainder of
the program consisted of Stravinsky's suite from his ballet Loiseau de feu (The Firebird),
Chopin's Piano Concerto No. 2 in F minor with Istomin as soloist, and Dvorak's
Scherzo caprictioso. Sergiu Comissiona also made his TS debut appearance along with
violinist Gyorgy Pauk. Seiji Ozawa returned for an outstanding interpretation of
Berlioz's Romeo et Juliette with mezzo-soprano Rosalind Elias, tenor George Shirley,
baritone Victor Braun, and the Toronto Mendelssohn Choir.
When Sir Ernest MacMillan died on 6 May 1973 the orchestra mourned the loss of
its long'time dedicated conductor and friend. In mid-May Karel Ancerl announced
that ill health prevented him from extending his contract beyond the end of the 1974-
5 season. In the meantime the Board had resolved that Victor Feldbrill should be
appointed as Associate Conductor on the understanding that this appointment did not
indicate that he would become Music Director upon Ancerl's retirement.
Six weeks later, on 3 July, Karel Ancerl died at the age of sixty-five. For many years
the maestro had suffered from hepatitis complicated by diabetes, but his death came as
a shock to the Toronto Symphony and the musical community worldwide. The sense of
loss felt by so many people was an indication of the extraordinary human qualities he
possessed. His attempts to make the TS an ensemble of international distinction

resulted in new standards of performance, and he instilled individual musicians with
that same sense of achievement. As William Littler, music critic for the Toronto Star,
wrote, 'Ancerl had a very high level of musicianship, he tuned the Orchestra.' At the
end of the fiftieth anniversary season the orchestra had come to the end of an era,
which ended sadly and suddenly on 3 July 1973. Hanna Ancerl kept the urn containing
Karel's ashes in the Ancerl home, and after her death in 1986 the remains of Karel and
Hanna were returned to Czechoslovakia for interment in Prague at the Slavin cem-
etery, where many distinguished Czechs are buried.
CHAPTER SEVEN 1973-1975
Victor FelaDrill,
Resident Conductor
Music is an agreeable harmony for the honour of God and the permissable
delights of the soul.
JOHANN SEBASTIAN BACH
1973-1975 The Concise Oxford Dictionary describes 'intermezzo' as 'a short connecting instrumen-
tal movement in an opera or other musical work.' In 1973 the Toronto Symphony
Orchestra had reached a point that could be identified as the end of Act 1. This
'intermezzo' chapter records how the TS dealt with the situation that had been
suddenly thrust upon them, and how it prepared for the beginning of the next act. The
death of Karel Ancerl, which had stunned the music community in Toronto, across
Canada, and abroad, placed the TS in a situation that required decisive managerial
action. The 1973-4 season had been planned and publicized and contracts had been
signed for the European tour. After consultations with the Board, Walter Homburger
immediately left for Europe to attempt to resolve three important matters. The first was
to find a suitable conductor who could undertake a European tour with a possibly
unfamiliar orchestra and approve any program changes for the tour. The second matter
was to find conductors that might be available to take on some of the upcoming
Toronto concerts that had been allotted to Ancerl. The third, and most important
matter in the long term, was to consult other orchestra managers about a possible future
music director and conductor to succeed Ancerl.
Homburger solved the first problem with little delay. Kazimierz Kord, a prominent
Polish conductor, agreed to undertake the European tour. The second matter required
more negotiation. Homburger was particularly keen to meet a talented young German
conductor who had given outstanding concerts in East Germany and had recently been
allowed to cross into West Germany. Hearing that Klaus Tennstedt was conducting in
Kiel, Homburger made a quick side trip to hear the concert. He was impressed with
what he saw and heard, and after the concert he asked Tennstedt if he would come to
Toronto to conduct the TS. Tennstedt accepted, and on 14-15 May 1974 he led the
orchestra in an all-Beethoven program. This concert, his North American debut, was
an important step in his conducting career.
The third concern was to sound out managers in Britain and Europe on suggestions
as to who might be suitable and available to fulfil the position of TS Music Director and
VICTOR FELDBRILL 111
John Chong and Victor Feldbrill at the 1972 Student Composer Competition
Conductor. One name discussed in orchestra circles was that of a young English
conductor. Andrew Davis had emerged rather dramatically on the London music scene
in November 1970 when, at short notice, he took over a BBC Symphony Orchestra
performance of Leos Janacek's Glagolitic Moss at the Royal Festival Hall. The reviews
were full of praise and Davis was described as Britain's most promising conductor.
Homburger met with Davis and arranged for him to guest conduct the TS on 7-8 May
1974.
In August 1974 the Board wisely appointed Victor Feldbrill as Resident Conductor.
Feldbrill had worked closely with Ancerl and was well attuned to his orchestral goals
and overall strategy. He also had a long and dedicated association with the TS. At the
time Feldbrill was responsible for the new

series of Pops Concerts as well as the
Student's and Young People's Concerts,
and he was co-ordinator of the Public
Schools Concerts. Extra duties in his new
appointment included providing artistic
advice on programming for future sea-
sons and conducting some of the main
series of concerts.
Board members were aware of the
warm leadership qualities and vast musi-
cal knowledge Ancerl had brought to
the orchestra. At the annual general
meeting, James W. Westaway, recently
appointed President of the Board, com-
Victor Feldbrill, TS Resident Conductor mended the orchestra's high standard of
performance and also the efforts of Walter
Homburger at such a crucial time. He described Homburger as the most competent
orchestra manager in Canada and possibly in North America, internationally re-
spected among managers, conductors, and artists, and said that those who knew
Homburger's work would quickly recognize that he represented the orchestra's best
hope of finding a new conductor.
Financially, the orchestra was in good shape at the end of the 1972-3 season, and
subscription sales for the 1973-4 season had not dropped despite expectations of a
possible decrease in the wake of AncerFs death. In spite of a projected deficit of
$25,000, the season ended with a surplus of $1,800. During the year, a Canada Council
analysis of revenues of major symphony orchestras in Canada revealed that the TS
covered 50 per cent of its expenses through box office revenues - the highest of any
orchestra in the country. The average for other orchestras was 43 per cent
Guest conductors who were invited during these two intermezzo seasons included
Pierre He"tu, Walter Susskind, James Levine, Andrew Davis, Stanislaw Skrowaczewski,
Aldo Ceccato, Vaclav Neumann, Pinchas Zuckerman, Edo de Waart, Eduardo Mata,
and Erich Leinsdorf, Some conductors stayed for two or three weeks. The opening
concert for the 1973-4 season was conducted by Pierre Hetu, with Garrick Ohlsson
playing the Brahms Piano Concerto No. 2 in B flat major. Hetu also included Fantasmes
by Canadian composer Andre" Prevost in his debut concert. Walter Susskind's program
TS guest conductor Vaclav Neumann
presented Bedfich Smetana's Ma Vlast - an appropriate choice and a tribute to

one of his fellow countrymen. Kazimierz Kord made his debut with the TS on
5 February and conducted two more concerts the following week. His program included
some of the repertoire for the upcoming European tour. For James Levine's concerts on
19-20 February, two guest artists made their TS debuts: soprano Jessye Norman and
baritone John Shirley-Quirk sang Mahler's Lieder aus Des Knaben Wunderhorn in a
performance that critics described as sensational. For his Canadian (and TS) debut,
Andrew Davis conducted a performance of Janacek's Glagolitic Mass, with the Toronto
Mendelssohn Choir, soprano Lois Marshall, contralto Eleanor James, tenor Kenneth
Riegel, and baritone Michael Devlin. Pinchas Zukerman, who had appeared with the
TS as violinist, returned as conductor and was also soloist for the Mozart Serenade in
D major, K 250 ('Haffner'). Zukerman's program also included Hindemith's Concerto for
Trumpet and Bassoon with soloists Joseph Umbrico, trumpet, and Nicholas Kilburn,
bassoon. In his TS debut, Edo de Waart included Srul Irving Click's Lamentations for
String Quartet and Orchestra (Sinfonia concertante No. 2) with the principals of the string
sections playing the solo quartet parts:

violinists Alfred Pratz and Julian Kol-
kowski, violist Stanley Solomon, and
cellist Peter Schenkman.
On 24 March 1974 the orchestra
embarked on a long tour that took them
to many of the leading concert venues in
Europe, including Antwerp, Frankfurt,
Nuremberg, Stuttgart, Vienna, Munich,
and Bonn. The tour began on 13 March
1974 with a concert at the Royal Festival
Hall in London. The Royal Philharmonic
Society, which presented this concert,
had been formed in 1813 with the aim of
encouraging the appreciation of music.
This role was fulfilled by promoting
Jessye Norman
concerts, commissioning new works,
and awarding honours for outstanding
achievement in creativity and performance. The TS concert was the first time the
Society had presented a Canadian orchestra. In Vienna, there were gasps as the
orchestra took their positions on the stage of the Musikverein - at that time the Vienna
Philharmonic Orchestra had no female musicians. The twenty-two women musicians,
three of whom were double bass players, proved an interesting topic of discussion for
the Vienna audience.
Much of the programming for this tour had to be changed. The European tour
originally planned by Ancerl did not involve soloists. Evidently Ancerl felt that the
orchestra could hold its own before European audiences, and European concert man'
agements obviously considered AncerPs distinguished reputation sufficient to ensure
successful concerts. However, Ancerl's death had changed this thinking, and some
organizers requested that soloists be included in the programs for the tour. Conse-
quently, when Homburger was in Europe, one of his tasks had been to procure soloists
to perform with the orchestra, and to gain approval from the various concert organiza-
tions for the altered programming.
In the end, seven artists were contracted. Because of the short notice, no single
artist was available for the complete tour, so various artists were contracted for concerts
that fit within their individual schedules. Thus Radu Lupu played the Schumann Piano
VICTOR F E L D B R I L L 115
Principal harpist Judy Loman
Concerto in London, Hanover, and Munich; Maurice Andre played the Haydn Trum-
pet Concerto in Ludwigshafen; and Ida Haendal played the Sibelius Violin Concerto in
Antwerp, Stuttgart, Nuremberg, Augsburg, and Leverkusen. In Freiburg, Frankfurt, and
Landur, Shura Cherkassky played Chopin's Piano Concerto No. 2 in F minor, and in
Vienna and Linz Mischa Dichter played the Rhapsody on a Theme of Paganini by Rach-
maninoff. For the last concert of the tour Stefan Askenase played Mozart's Piano
Concerto No. 20 in D minor, K 466. With all these different guest artists, extra
rehearsal time was needed during the tour, which added to an already heavy schedule.
In spite of these additional pressures, the tour was a great success. Edward Greenfield
of the Guardian perhaps summed up the performances of the orchestra when he wrote,
The orchestra responded at every point with fine temperament. It is good in fact to
find that transatlantic orchestras do not all follow the high-powered pattern with
searing violins and shattering brass. The Toronto orchestra, no doubt shielded to a
degree by the 49th parallel, has relatively soft grained strings, woodwind that is rather
gentle in tone, responsiveness the keynote.' Kazimierz Kord, who had taken on the task
of conducting an orchestra that was completely new to him, was highly respected by
the musicians. They found him to be diligent in his rehearsals, demanding but appre-
ciative, and enthusiastic about the overall musicianship of the orchestra. Due to
unavoidable changes that were made, however, Walter Homburger reported to the
Board that the original tour budget would be exceeded by about $30,000.
With the tour completed, it was time to make the decision about who would be the
next Music Director of the TS. The selection committee and the artistic advisory
committee of the orchestra had given their input to the Board of Directors. Homburger
explained that certain criteria had been established, including the availability for a
specific number of weeks during any one season; the willingness to work under the
orchestra's labour agreement; and the cooperation and interest in programming the
required 10 per cent of works by Canadian composers. At a special meeting of the
Board on 27 June 1974 called to consider and approve the candidate for the position,
James Westaway, the President of the Board, reviewed the activities of the selection
committee. The committee had started with over thirty names, from which a shortlist
of five had been selected. All five had had an opportunity to conduct the orchestra
during the season. It was the unanimous choice of the selection committee that
Andrew Davis be appointed Music Director. This would be Andrew Davis's first full-
time appointment with an orchestra and, as such, it would allow him to develop his
own individual style with the TS. Subsequently, a three-year contract was signed,
commencing with the 1975-6 season.
The intermezzo years saw a number of personnel changes. In 1973 Isidor Desser,
who had been a member of the violin section for forty-three years including twenty-
three as assistant concertmaster, resigned, apparently as a result of a re-arrangement
that Ancerl had planned to make in the first violins. Ancerl's illness and subsequent
death had prevented a discussion of these changes with Desser, and the re-arrangement
was eventually put in place by Resident Conductor Victor Feldbrill. Desser departed
The Toronto Symphony with Victor Feldbrill, Resident Conductor
with some animosity and haste, which was most unfortunate; the Board, management,
and Andrew Davis had all hoped he would reconsider his decision. Others leaving the
orchestra at the end of the 1973-4 season were principal cello Peter Schenkman,
principal trombone Ralph Sauer, and flautist Marjorie Yates. There were also newcom-
ers. The 1973-4 season brought violists Maurice Pelletier and Gary Labovitz, percus-
sionist Daniel Ruddick, and French horn player Scott Wilson. Cellist Rafael Purer
came from the Soviet Union, where he had played with the Moscow Radio and
Television Orchestra. Newcomers at the beginning of the 1974-5 season included
violinists Leo Wigdorchik and Galina Bugajeva, violist Dan Orbach, Daniel Domb as
the new principal cellist, Nora Shulman as associate principal flute, and Gordon
Sweeney, the new principal trombone.
During this period there was also an important development in the Toronto
Symphony's ongoing music education program. Music education had been an impor-
tant element of the orchestra's activities since the early days. In 1925, the Women's
Committee established a special committee to develop a comprehensive program that
would provide music for schoolchildren. Over the years the program developed steadily
and involved students from kindergarten to the senior high school grades. The Wom-
en's Committee was responsible for much of the program's funding. Aspects of the
music education program included full orchestral concerts, in-school performances and
demonstrations by orchestra musicians, and opportunities for up-close encounters to

hear and learn about individual artists and their instruments. These activities provided
students with a wide variety of music experiences and an opportunity to appreciate the
pleasure that music can contribute to the fullness of life.
In June 1974 Board member John McDougalPs proposal for a youth orchestra under
the auspices of the TS received the unanimous support of the Board, which set up a
committee under McDougalPs chairmanship to oversee the formation of the Toronto
Symphony Youth Orchestra (TSYO). A budget of $10,000 was set aside for the
inaugural season, and Victor Feldbrill was chosen as Music Director. Feldbrill also
served on the committee, along with Douglas Clarke, Ezra Schabas, Robert E. Peel,
Terence Wardrop, Mrs W.D. Heintzman, and Albert Pratz. The faculty coaches were
Albert Pratz and Tom Monahan for strings, Christopher Weait for woodwinds, Eugene
Rittich for brass, and Donald Kuehn for percussion.
The inaugural concert of the TSYO was given on 2 February 1975 in the MacMillan
Theatre, University of Toronto. The diverse program was a challenge, considering the
orchestra was established only nine weeks before the concert. The first half of the
concert consisted of the Festive Overture by Dmitri Shostakovich, Antiphonie by
Canadian composer Frangois Morel, and Leopold Stokowski's arrangement of the
Passacaglia and Fugue in C minor by J.S. Bach. The Symphony No. 6 in D major by
Antonin Dvorak completed a gallant effort that showed great promise for the future.
TV Ontario created a documentary that shows the TSYO playing the Shostakovich
Festive Overture.
The history of the TSYO is a chronicle of ongoing endeavour and achievement.
The opportunity to develop their playing ability and gain experience in orchestral
performance has enabled many young musicians to move on to positions with estab-
lished orchestras. The TSYO is now approaching its thirtieth season. Certainly the
time has come for the publication of a comprehensive record of the many successes of
the young musicians who have given their time and talents to this orchestra over the
years.
In late 1973 the Canada Council announced that support to the performing arts
would be frozen. This measure had already caused the Montreal Symphony Orchestra
to seriously consider the possibility of suspending its activities. After much support
from other organizations across Canada, who made appeals to the Canada Council, the
Montreal Symphony was saved, but the Montreal crisis prompted the TS Board to take
stock of its own situation and initiate measures to ensure a more secure financial basis.
In mid-1975 the gap between expenses and revenues was around $75,000, but with
increasing expenses this gap was projected to be eight times as much by mid'1978. The
situation was discussed at a Board meeting, but the minutes do not reflect much
concern, other than Walter Homburger's statement that with a target of more than $3
million in expenditures within the next three years, the orchestra would have to raise
an extra $600,000 in order to remain on an 'even keel.'
On 7 June 1974 a group of twenty-nine performing arts organizations made a
presentation to the Secretary of State. Their statement explained the problems that the
funding freeze would inflict on the performing arts in Canada, and pointed out the
importance of the performing arts in Canada and their significance in strengthening
international relations. However, the Canada Council did have a point. In 1972, the
operating costs of all the arts organizations was estimated at $45 million, of which the
private sector contributed about $5 million. Within a decade, the estimated costs
would increase to $175 million, of which it was hoped the private sector would
contribute $24 million. Financially the TS was doing well. On average, the orchestra
was filling 90 per cent of the 2,700 seats in Massey Hall - one of the highest percent-
ages in North America - and at the end of the 1973-4 season there was an overall
surplus of $38,000. However, increasing costs combined with decreasing government
support emphasized the importance of building a substantial endowment fund. In
October 1974, the TS fund stood at $285,000. The Endowment Fund Committee,
under the chairmanship of WG.C. Howland, proposed an objective of $2 million to be
raised within five years. It is difficult to understand why there seemed to be no real
urgency to meet this goal, especially after the Canada Council's statement. As later
chapters will reveal, history often repeats itself.
A final note for this intermezzo period is that Godfrey Ridout - composer, teacher,
writer, and conductor - began writing the TS program notes. He said 'I like music and I
like writing about it.'
CHAPTER EIGHT 1975-1982
Andrew Davis at
Massey Hall
Music, in the best sense, does not require novelty; nay, the older it is, and
the more we are accustomed to it, the greater its effect.
JOHANN WOLFGANG VON GOETHE
'One day, whilst I was at King's College, Cambridge, a friend of mine asked if I would
conduct a small group for a performance of a Haydn divertimento. From then on I knew
that conducting was the career in music that I would follow,' Andrew Davis said in an
interview with the author.1 After this first experience, Davis conducted three contrast-
ing works for the Cambridge University Musical Society: Five Pieces for Orchestra, op.
16, by Arnold Schoenberg, Alban Berg's Violin Concerto, and Harold in Italy by Hector
Berlioz.
Andrew Davis began playing the piano at the age of six. He had little or no interest
in sports, and concentrated instead on music, with his parents' encouragement. At
Watford Grammar School he sang treble in the school choir and was conscripted to
conduct an orchestra that included some of his teachers. He also studied organ and in
1963, on the strength of his commitment, won an organ scholarship to King's College,
Cambridge. There he discovered the harpsichord and was encouraged to play the
instrument by the late Thurston Dart. In 1967 he accepted another scholarship, to
study conducting at the Accademia di Santa Cecilia in Rome under Franco Ferrara.
After his return to England in 1970, he was associate conductor of the BBC Scottish
Symphony Orchestra for two years. He was also principal guest conductor for the Royal
Liverpool Philharmonic Orchestra from 1974 to 1977. Davis had also been busy in the
London recording studios, not only conducting the Philharmonia Orchestra and Lon-
don Philharmonic Orchestra, but also playing harpsichord with smaller ensembles such
as the Academy of St Martin-in-the-Fields.
1975-1976 The 1975-6 season opened on 18 October with a Young People's Concert conducted by
Victor Feldbrill with Doug McCullough as narrator for Tubby the Tuba at the Circus.
This season of Young People's Concerts was ambitious. Feldbrill conducted four con-
certs with guests, including Bob McGrath and the Sesame Kids, the Paula Moreno
Spanish Dance Company, and David Amram and the Modern Fables Company. Andrew
ANDREW DAVIS AT MASSEY HALL 123
Andrew Davis and Isaac Stern in rehearsal, February 1977

Davis opened the subscription season on 21 October with Stravinsky's Petrushka and the
Symphony No. 3 in E flat major ('Eroica') by Beethoven. It was a full house and patrons
were not disappointed with what they heard and saw. Critics and audience alike were
convinced that the TS had made a wise choice in Andrew Davis. The concert was
repeated two days later in Hamilton at the Great Hall of Hamilton Place.
Davis had plans to conduct the complete cycle of Mahler symphonies. On
4-5 November, he programmed the Symphony No. 1 along with Jeux venitiens by
Witold Lutoslawski and Johann Nepomuk Hummel's Trumpet Concerto played by
Maurice Andre, who was making his Toronto debut. Davis believed in the impor-
tance of presenting the broadest possible musical spectrum and this program was no
exception.
Davis was also enthusiastic about the works of Edward Elgar. Edward Greenfield of
the Guardian had written, 'What is quite clear is that Davis is an Elgarian to his
fingertips. Davis seems to have a natural feeling for Elgarian ebb and flow.' In early
December, Elgar's Dream of Gerontius was presented with the Toronto Mendelssohn
Choir, mezzo-soprano Alfreda Hodgson, tenor Anthony Rolfe Johnson, and baritone
Douglas Lawrence. From the opening notes of the Prelude to the final Amen Davis was
in full command and demonstrated his ability to blend orchestra and voices with
finesse. This was the first time Davis worked with Elmer Iseler and the Toronto
Mendelssohn Choir, and over the years they developed a close relationship that
resulted in the presentation of many outstanding choral concerts.
On 24 May 1976 Andrew Davis and the TS set off on a twelve-day tour of eastern
Canada with concerts in Quebec City, Fredericton, St John's, Moncton, Charlottetown,
Wolfville, Halifax, and Saint John. The two soloists for the tour were principal cellist
Daniel Domb, for performances of Schumann's Cello Concerto in A minor, and princi-
pal bassoonist Christopher Weait, who played Mozart's Bassoon Concerto in B flat
major, K 191. There had been doubts about the advisability of this tour, but in his report
to the Board, Walter Homburger described the enthusiastic responses of capacity
audiences along with excellent reviews for the performances of both Maestro Davis and
the orchestra. Financially the tour was also a success, owing in part to the assistance
given by the Touring Office of the Canada Council.
During February Davis participated as both conductor and guest artist in Manuel de
Falla's Concerto for Harpsichord, a work that displayed Davis's musical dexterity and
erudition. The balance of the program consisted of the Concerto Grosso in B flat major,
op. 3, no. 1, by Handel, J.S. Bach's Brandenberg Concerto No. 5 in D major, BWV 1050,
and Stravinsky's Pukinella with soloists Janet Stubbs, John Martens, and Gary Relyea.
Andrew Davis had wisely restrained himself from overloading TS programming

with music by British composers. However, for the final concert of the Ontario Place
summer season, he 'let his hair down' with an all-English program consisting of Elgar's
Pomp and Circumstance March No. 5 and the Enigma Variations, Gustav Hoist's The
Planets, and the 'Intermezzo and Serenade' from Hassan by Frederick Delius.
In February 1976 the Co-ordinated Arts Services announced an archival program
for member organizations. They would provide a qualified professional archivist to train
volunteer archivists of cultural organizations. It was at this juncture that the author
became involved with the TS. The orchestra's archives were sadly depleted and much
had been destroyed when a water main burst and flooded the basement of Massey Hall.
Regretfully no one within the organization realized that many of the valuable docu-
ments could have been dried and saved. However, all was not lost. A complete set of
bound programs found in a disused cupboard in the offices at 215 Victoria Street
provided a helpful historical resource.
At the annual general meeting of the Board in October 1975 James Westaway
completed his term as President. The new President elected at this meeting was one of
the younger members of the Board. From the time he joined the Board in 1961, Terence
Wardrop had devoted himself to the future of the orchestra. He had served with
dedication on subcommittees and had given valuable guidance on many legal matters.
Wardrop was an excellent choice for President when a young music director was taking
over the podium. The enthusiasm of Davis and Wardrop, combined with the manage-
rial experience of Walter Homburger, made for a successful opening to the orchestra's
'second act.'
The season opened on a high note. A recording contract with Columbia Records, made 1976-1977
possible by a special financial contribution from the Women's Committee, had been
signed and plans for a tour to China in the 1977-8 season were proceeding satisfacto-
rily. The Beethoven Festival, also planned for the following season, had received the
support of a sponsor for half of the concerts, and it was likely that other sponsors would
be found. Andrew Davis, Klaus Tennstedt, and Erich Leinsdorf had all been engaged as
conductors for the Festival.
The partnership between the TS and the Canadian Opera Company had finally
been terminated. Financially, the arrangement had worked well for both Symphony
and Opera, but severe financial problems had forced the Canadian Opera Company to
curtail their season. The Canadian Opera Company decided it would be more
profitable if they could spread their pro-

ductions over the fall and winter rather
than presenting a concentrated season
in the early fall. This meant that the
Toronto Symphony would not be avail-
able as a pit orchestra, since their sea-
son was scheduled from September to
June.
The site for the 'new Massey Hall'
was resolved in late July 1976. The TS
had not been directly involved in this
decision; the main participants were
the trustees of Massey Hall, Marathon
Realty, the Toronto Historical Board, and
the City of Toronto. Indirect participa-
TS guest conductor Klaus Tennstedt
tion of the TS, however, served to clarify
the main purpose of the new hall, and
did much to counter opposition to the use of the hall as a primary residence for the
Toronto Symphony and the Toronto Mendelssohn Choir. Indeed, it was upsetting for
the managements of both symphony and choir to confront a rather callous attitude on
the part of municipal officials toward the existence and survival of their organizations,
and a lack of awareness of the value of the concerts they provided. This problem was
neither new nor specific to Toronto. In 1922, Bernard Shaw commented to Edward
Elgar on 'the indifference of a country where the capacity and tastes of youth and
sporting coster-mongers are the measure of metropolitan culture.' In a report to the
Board in October 1976, Wardrop said he did not believe that the municipality of
Metropolitan Toronto understood fully the contribution made by the performing arts
to the life of the community. However, federal, provincial, and municipal govern-
ments, through their respective arts councils, did continue to give valuable financial
assistance.
Once again the need for a substantial endowment fund became evident, as various
levels of government reviewed their budgets and expressed doubts about maintaining
current levels of support. On 13 April, the Board approved a plan for individuals or
corporations to endow chairs of principal players. Such endowments had long been in
operation with orchestras in the United States. However, the TS plan did not
succeed as well as it might have. By 1999, only five chairs had been endowed - three
by that ever-faithful group, the Women's

Committee.
Andrew Davis suggested that a
principal guest conductor be appointed
for four to six weeks of each season and
recommended that Klaus Tennstedt be
approached. In the long term the ap-
pointment of a principal guest conductor
could have been a financial advantage
because it would be more economical
than contracting the services of four to
six different guest conductors, but the
suggestion was put on the back burner.
At the end of the season, Victor Feldbrill
resigned his position as Resident Con-
TS guest conductor Erich Leinsdorf
ductor, noting that this position had be-
come unnecessarv since the orchestra
now had a Music Director resident in Toronto. However, Feldbrill remained as conduc-
tor of the Toronto Symphony Youth Orchestra and was also invited to guest conduct
the TS in the Light Classics Series, a project he had launched in 1974.
Andrew Davis continued his plan to conduct all the Mahler symphonies.
Symphony No. 3 was given on 7-8 December with contralto Maureen Forrester, the
women of the Toronto Mendelssohn Choir, and the choristers of St Michael's Cathe-
dral Choir School. The performance on 7 December was dedicated to Benjamin
Britten, who had died on 4 December. Mahler's Symphony No, 4 was performed on
17-18 May with soprano Susan Davenny Wyner in her TS debut.
On 29-30 March, Albert Pratz, the concertmaster of the TS, had a forty-year-old
dream come true when he played Max Bruch's Violin Concerto No, 3 in D minor, op,
58, for the first time. Pratz had first seen the concerto when he was a student in London
in the 1930s, and had been trying to obtain a copy ever since. Finally in Vienna, when
the TS was on its 1974 European tour, he asked a friend to look in Dopplinger's, a well-
known music store. To Pratz's surprise his friend returned with the violin and piano
parts, and the orchestral parts turned up at the CBC about a year later.
The major choral contribution to the season, performed on 10,11, and 13 May, was
Romeo et Juliette, Hector Berlioz's dramatic symphony, with the Toronto Mendelssohn
Choir, contralto Florence Quivar (her Canadian debut), tenor Leo Goeke, and bari-
tone James Morris. On 12, 13, and 15 April Mstislav Rostropovich made his Canadian
conducting debut with the TS in a solid Russian program that opened with Mikhail
Glinka's lively overture to his opera Ruslan and Lyudmila. This was followed by Dmitri
Shostakovich's Symphony No. 9 and Tchaikovsky's Symphony No. 4 in F minor.
The Ontario Place concerts for the summer of 1977 sparkled with an interesting
mix of guest conductors. Walter Susskind returned for the two opening concerts,
although unfortunately his second concert was rained out. Klaus Tennstedt, James
Conlon, Andre Kostelanetz, Erich Kunzel, and Franz Allers also conducted, and Andrew
Davis closed the season with Mahler's Symphony No. 1.
1977-1978 The highlight of the 1977-8 season was the historic three-week tour to Japan and
China. The TS was the first Canadian orchestra to be invited to enter China after the
Cultural Revolution. This tour, the most ambitious and exciting to date, was financed
by the Canada Council and the Department of External Affairs as well as by corporate
sponsorships. The only other symphony orchestra from North America to have played
in the People's Republic of China was the Philadelphia Orchestra in 1974. On
21 January 1978 the Toronto Symphony and two soloists, Maureen Forrester and Louis
Lortie, flew from Toronto to Tokyo, where they stayed for five days, giving two
concerts: one in the Bunka Kaikan Hall and the other in the NKH Hall. On 28 January,
they flew to Beijing to play three concerts. On 3 February they moved on to Shanghai
for two concerts, and the tour ended with two performances in Canton. The concerts
in China were almost as political as they were artistic. A short time earlier Western
music, particularly Beethoven and Schubert, was considered to be a corrupting bour-
geois influence, but there had been a sudden switch in official policy. In December
1976, when representatives from Ottawa and the TS visited Beijing to make final
arrangements for the tour, they found the Chinese officials most cooperative. The
symphony submitted four full programs and asked the Chinese authorities to choose
two: those chosen had Beethoven in one and Tchaikovsky in the other. Of the three
concerts given in Beijing, one included Tchaikovsky's Symphony No. 4 and songs from
Mahler's Des Knaben Wunderhorn sung by Maureen Forrester, and the other, Beethoven's
Symphony No. 5 in C minor and Liszt's Piano Concerto No. 1 in E flat major, with
Louis Lortie as soloist. The final concert in Beijing, given in the Capital Gymnasium
before an audience of 18,000, featured both of the guest artists on the tour. Maureen
Forrester, who was not originally scheduled to sing, became one of the hits of the
evening. The audience was particularly delighted when she sang a Chinese encore.
Louis Lortie was also a favourite, and at the end of the Liszt concerto, he seemed
overcome by the tremendous ovation he received. Li Teh'lun, the principal conductor
of the Beijing Capital Orchestra, asked Andrew Davis to conduct the Capital Orches-
tra in rehearsal, as they were preparing a Beethoven symphony for the first time. Davis
agreed to do so, and invited Li Teh'lun to conduct a TS rehearsal.
The People's Daily reported that the first night the TS performed in Beijing was
forty years to the day since Dr Norman Bethune came from Canada to China. 'We
wanted to pay back in friendship our moral debt to Dr Bethune.' While in the Beijing
area, the orchestra visited the Great Wall of China. Peering down from one of the
guard towers percussionist Daniel Ruddick said, 'Wouldn't it be funny if thousands of
Mongol hordes came riding over those hills?' 'There would be a lot of openings in the
orchestra next year,' retorted fellow percussionist Don Kuehn.
When the orchestra arrived in Shanghai they were greeted at the airport by the
clashing cymbals and booming drums of the Shanghai Ballet Orchestra. The hotel
assigned to the orchestra reminded Andrew Davis of the Adelphi in Liverpool with its
baronial English architecture. The entire serving staff lined the main staircase to
applaud the musicians as they arrived. At a reception after one of the concerts, Wang
Yi-ping, vice chairman of Shanghai's Municipal Revolutionary Committee, toasted the
TS, not with a typical Communist slogan, but with the venerable English toast,
'Bottoms up.'
The last concert of the tour was given in Canton. The TS had become one of the
hottest tickets in China and demand in Canton was so great that, unknown to the
players, local authorities had arranged a public Wednesday morning get-together for
members of the TS and the Kwang-chow (Canton) Philharmonic Society. That audi-
ence heard more than they expected. Not only did the Chinese players play traditional
pieces, they also played Western chamber music with members of the TS, and Andrew
Davis conducted the premiere of a piece he had written at breakfast! The entire
orchestra appeared on the evening program, playing music by Brahms, Morel, Liszt, and
Mahler. The Chinese officials, who were much taken by Maureen Forrester, asked if she
would sing again. Because of some last-minute confusion caused by Canton Television,
the stagehands had neglected to set enough chairs in the violin section for the Lizst
piano concerto. Unruffled, violinists Andrea Hansen and Sigmund Steinberg propped
themselves on an instrument case in the wings and started playing along. Harpist Judy
Loman asked, 'Where's your music?' 'You think we can't play it from memory by now?'
answered Steinberg. Following the concert, Arthur Menzies, the Canadian ambassador,
thanked the orchestra for accomplishing what no amount of diplomatic hospitality
The TS travellers at the Great Wall in China, with TS President Terence Wardrop in centre, February
1978
could have hoped to do. The Chinese officials were overjoyed and hailed the tour as a
complete success.
Recalling her personal impressions in the Globe and Mail, Maureen Forrester later
said, 'It was an incredibly interesting and fascinating tour. I have never travelled
anywhere where everybody was so co-operative. Peking had the best food, mostly
because we ended up in a hotel where the chef loved musicians.' Forrester, who was
contracted to sing at only five concerts, finished up singing at all ten.
The orchestra returned exhausted, but nothing could dampen their enthusiasm for
a most exciting and rewarding tour. External Affairs Minister Donald Jamieson, who
accompanied the orchestra on parts of the tour in both Japan and China, was also
appreciative of their success. CBC television produced an excellent documentary of the
tour, entitled 'Music East, Music West,' directed by Norman Campbell.
The TS on stage at the Capital Gymnasium in Beijing, 1978
Members of the TS meet with Chinese musicians, 1978

Meanwhile TS audiences had not been deprived of concerts: the Buffalo Philhar-
monic Orchestra, conducted by Michael Tilson Thomas, was engaged to play for the
first week of the TS's absence. Their program included Bela Bartok's suite The Miracu-
lous Mandarin (a touch of China?) and Tchaikovsky's Symphony No. 5 in E minor. The
Cleveland Orchestra, conducted by Lorin Maazel in his Toronto debut, filled in for two
subscription concerts in the second week, playing Schumann's Symphony No. 2 in C
major and Brahms's Symphony No. 1 in C minor.
Prior to the regular subscription season, the orchestra presented a highly successful
six-week Beethoven Festival with conductors Erich Leinsdorf, Klaus Tennstedt, and
Andrew Davis. Their different conducting styles and interpretations of Beethoven's
music added much interest. With a 97 per cent capacity, it was the most successful
festival the TS had produced.
Nicholas Fiore, the principal flute, retired at the end of the 1977-8 season. Bass
trombonist Murray Ginsberg, who was having a lip problem, would retire at the end of
the 1978-9 season. In his memoirs, Murray describes his audition with Walter Susskind
when he joined the orchestra. He played a number of pieces to demonstrate his
qualifications. 'That's all very charming,' Walter Susskind said. 'Now,' he continued,
'can you play the Bolero?' 'No,' I replied. 'Good,' Susskind responded with a twinkle in
his eye, 'You've got the job.'2 When Albert Pratz announced that he also intended to
retire at the end of the 1978-9 season, it was hoped that a Canadian could be found to
fill the position of concertmaster. Steven Staryk was a prime choice, but the conditions
under which he would agree to take the position were not in the best interests of the
orchestra. A leading member entitled by contract to be absent from a number of
concerts of his choosing would have a bad effect on the morale of other orchestra
personnel. Andrew Davis recommended that Staryk not be offered the position, but
since Walter Homburger indicated that there were no other Canadians who could be
considered, Davis suggested that the Board consider hiring the assistant concertmaster
from one of the major orchestras who had expressed interest in the position.
While the issue of a new concertmaster was under discussion Davis informed
Terence Wardrop and Walter Homburger that he would not be renewing his contract at
the end of the 1979-80 season. Davis explained that he was not accepting a post with
another orchestra but wanted to explore freelance opportunities, including opera. At
this time, four major North American orchestras were searching for music directors,
and a few months earlier, Davis had turned down an offer from one of them. After
discussions with Homburger, Davis agreed to stay for the 1980-1 season, which was to
be the opening season of the new hall. The TS was not prepared to lose Andrew Davis.
Within three years the orchestra had advanced considerably on the international
scene. A major recording contract with Columbia Masterworks, additional tours, and
the high quality of musicianship within the orchestra eventually convinced Davis to
stay; he remained in Toronto for a further ten years.
During the summer of 1978, on the recommendation of Davis, the Board completed 1978-1979
negotiations with Moshe Murvitz, assistant concertmaster of the Israel Philharmonic
Orchestra, who accepted the position of concertmaster of the TS on a two-year contract
beginning with the 1979-80 season. Two important administrative positions were also
vacant. Michael Aze and Stephen Adler had resigned their positions as Orchestra
Manager and Director of Public Relations respectively. Jack Mills became the new
Orchestra Manager and Douglas Allen was appointed to take over public relations.
On 12 September ground-breaking ceremonies took place for the 'new Massey
Hall' on the south-west corner of King Street West and Simcoe Street and construction
of the superstructure began the following spring. The new concert facility was to have
state-of-the-art acoustical qualities, but as later narrative will reveal, this promise was
not fully realized. The new permanent home for the Toronto Symphony and the
Toronto Mendelssohn Choir would cost $42 million, of which some $15 million was
raised by donations from the public.
A number of musicians had left at the end of the 1977-8 season, and a number of
new faces appeared. Jeanne Baxtresser, former principal flutist of the Montreal Sym-
phony Orchestra, took up the equivalent position in the TS. Patricia Krueger, the
percussionist and keyboard musician whose talents had been heard as an extra on
frequent occasions, joined the orchestra on a full-time basis. Other new faces included
double bass player Peter Madgett, who had been principal bassist with the Hamilton
Philharmonic Orchestra, and three violinists: Yoon Chang, James Wallenberg, and
Arkady Yanivker.
In mid-November 1978 the orchestra, with pianist Arthur Ozolins, made a one-
week tour that included concerts in Ottawa, at Carnegie Hall in New York, at Brooklyn
College in Brooklyn, and at the Kennedy Center in Washington, DC. For repertoire
Davis chose Beethoven's Leonore Overture No. 2, Brahms's Symphony No. 1 in C min-
or, Prokofiev's Piano Concerto No. 2, and Schubert's Symphony No. 9 in C major
('Great'). The orchestra received wide acclaim in both New York and Washington.
Theodore W Libbey Jr of the Washington Star stated, The "Great" C major Sym-
phony of Schubert was given a performance which made last week's effort by the
Philadelphia Orchestra look uninspired

at best, and coarse by comparison with
the Canadians' classy treatment.'
From 22 April to 10 May the orches-
tra was on tour in western Canada and
on the west coast of the United States.
They began in Calgary and Edmonton in
Alberta, then moved on to Saskatchewan
and British Columbia. In California con-
certs were given in Pasadena, Long Beach,
Fresno, and Santa Barbara. The two solo-
ists for the tour were harpist Judy Loman
and cellist Daniel Domb. For her per-
formance of Handel's Harp Concerto in
B flat major, op. 4, no. 6, Loman used the
edition prepared by the great harpist
Aaron Copland conducted the TS on 10 August
Carlos Salzedo with a cadenza by Marcel
1979 at Ontario Place Grand] any. Daniel Domb played the
Saint-Saens Cello Concerto No. 1 in
A minor.
The tour was not without mishaps. Concertmaster Albert Pratz suffered an angina
attack; although he was able to play the last concert, on his return to Toronto doctors
advised him not to perform for three months. Associate concertmaster Jascha Milkis
also suffered an angina attack. Violinist Jan Whyte was taken ill and had to return to
Toronto for surgery, cellist Rafael Purer had an emergency dental problem, and violinist
Georgina Roberts had to rush back to Toronto owing to the sudden death of her
husband.
To round out this eventful season, two internationally acclaimed singers made TS
debuts. On 16-17 January, mezzo-soprano Dame Janet Baker gave exquisite perform-
ances of the scena and aria 'Ah Perfido' from Beethoven's opera Fidelia and the five
Wesendonck Lieder by Richard Wagner. For the Pension Fund concert on 28 May, tenor
Luciano Pavarotti sang arias from several popular Italian operas. Both artists charmed
audiences in unforgettable concerts. On 3 April, cellist Yo-Yo Ma made his TS debut
playing the Elgar Cello Concerto in E minor with Victor Feldbrill conducting. About
twelve measures into the work, one of the strings on his cello snapped. Ma rushed off
stage and returned within a minute with a new string in place. Feldbrill turned to the
audience and said, 'I think we will start from the beginning once again,' and Yo-Yo Ma,
with a big smile on his face, fully agreed.
The new hall was slowly becoming a reality and enthusiasm for it was growing. Orches- 1979-1980
tra musicians began to express thoughts and feelings about both halls - old and new.
Bassist Jane McAdam said, 'What I look forward to most is not having to carry my bass
up and down stairs to the basement storage. Just try doing that in a long dress with a
purse on one arm!' French horn player Fredrick Rizner commented, 'I don't think I'll
really miss the old hall too much. A new hall will certainly give a lift in every way. It
may give us a better sense of identity as an orchestra.' The Seat Endowment Committee
of Roy Thomson Hall was constituted to encourage patrons to endow seats in the new
hall with a donation of $1,000. These endowed seats were identified by small metal
plaques bearing the names of donors or of individuals or organizations they wished to
honour. The concept took hold rapidly and by February 1979, 400 of the 2800 seats had
been endowed. A number of seats were endowed in honour of former members of the
orchestra such as violist Sydney Levy, who was an orchestra member from 1932 to 1970.
The children at one Toronto school raised enough money through their school concert
for a seat in the new hall. The Women's Committee magnanimously offered to purchase
a new Steinway concert grand piano for the orchestra, to be installed in the new hall. A
decision was made to purchase from Steinway in Hamburg and Vladimir Ashkenazy
generously offered to select the instrument. After a long and thorough examination
Ashkenazy chose a piano, which duly arrived from Hamburg in the late summer. This
piano remained in Roy Thomson Hall until 1999, when a replacement was required.
This time the order was placed with Steinway's New York office and Emanuel Ax
selected the instrument.
Opera was a growing interest for Andrew Davis. He had been conducting at
Glyndebourne, the English summer home for opera, since 1973, and now he had
engagements booked for Covent Garden and the Paris Opera. The first operatic
component of the TS season was the January presentation of Berlioz's 'legende
dramatique,' La damnation de Faust. Davis mustered a distinguished group of artists:
mezzo'soprano Maria Ewing, tenor Robert Tear, bass-baritone Jose van Dam, and bass
Christopher Cameron, along with the St Michael's Cathedral Choir School and the
Toronto Mendelssohn Choir. On 31 January and 1 February, Davis conducted a full-
length concert performance of Tchaikovsky's Eugene Onegin with a cast that would
have been the envy of any opera house: Lois Marshall, Elisabeth Soderstrom, Marianna
Yo-Yo Ma
Paunova, Nicolai Gedda, Pierre Boutet, Richard Stilwell, Don Garrard, and Christopher
Cameron, along with the Toronto Mendelssohn Choir, all singing superbly in Russian.
A second program on 22-4 April presented the Prelude and first act of Wagner's Die
Walkure with three internationally acclaimed Wagner interpreters: Jessye Norman,
Manfred Jung, and Aage Haugland. This performance was taken to Carnegie Hall on
26 April, where it received high praise from critics.
The season also had its full share of guest artists and conductors making TS debuts.
In January James Galway played Carl Reinecke's Flute Concerto in D major. On the
second night of the program, before he began the concerto, Galway countered a
lukewarm review with the announcement, 'Apparently one critic in this city doesn't
like good music.' For his debut Lazar Berman played Tchaikovsky's Piano Concerto
No. 1 in B flat minor and Brahms's Piano Concerto No. 1 in D minor. First'time guest
conductors included Charles Dutoit, Simon Rattle, Riccardo Chailly, Kurt Sanderling
(who was also making his Canadian debut), and Raymond Leppard (who conducted
the traditional Messiah performances). The Ontario Place summer season featured
conductor Calvin Simmons, dancers Karen Kain and Frank Augustyn from the Na-
tional Ballet of Canada, pianist Robert Kortgaard (winner of the 1979 Canadian Music
Competition), and pop composer Marvin Hamlisch.
Tuesday, 25 March 1980, marked the death of Walter Susskind in California at the
age of sixty-six. The concert on 8 April was dedicated to him, and the orchestra played
the Slavonic Dance No. 10 in E minor by Antonin Dvorak in his memory. At the end of
the 1979-80 season Moshe Murvitz, who had come from the Israel Philharmonic
Orchestra to take up the position of concertmaster, decided to return to Israel. Al-
though his contract was for two years, the conditions did not meet his requirements as
concertmaster. The announcement that the new hall would not be ready for the
planned opening in September 1981 and that a new opening date had been set for
September 1982 was no surprise - visual evidence indicated that another year of
construction would be required.
In February 1980 the Canada Council sent letters to all major Canadian orchestras
outlining decisions regarding future funding. One decision was that operational
grants would not be available to orchestras whose operational deficit was 30 per cent
or more of their total budget. Another controversial ruling concerned a Canadian
music quota system: one out of every ten works played had to be a Canadian
composition. If orchestras chose to perform additional Canadian works, they would
be eligible to apply for additional project funding which they might well need if a
shortfall were anticipated.
Jessye Norman performed in Act I of Die Walkure with the TS, April 1980
Finally, the Toronto Symphony Youth Orchestra participated in the Canadian

Festival of Youth Orchestras at the Banff Centre, where the TSYO performed under
guest conductor Nicholas Braithwaite. After the festival Ermanno Florio and David
Zafer conducted the TSYO for an extra concert in Lethbridge, Alberta, which resulted
in a Lethbridge Herald headline: 'Youth orchestra program provides spellbinding evening.'
The TS began the 1980-1 season in a sound financial position: a deficit of $92,000 1980-1981
against an operating budget of just over $5 million presented no cause for concern.
Concert attendance continued to grow and the orchestra now enjoyed one of the largest
subscription audiences in North America. The attendance at Ontario Place during the
previous summer had reached a total of 108,000 (12,000 higher than the previous
summer), much to the delight of the Ontario Place management, who readily invited
the orchestra back for the summer of 1981.
To open the season the orchestra played a new composition by Canadian composer
Norman Symonds: The Gift of Thanksgiving, commissioned by Imperial Oil. The music
reflects the tradition of Thanksgiving as seen by newcomers to this North American
custom. The orchestra also welcomed five new members to its ranks: clarinettist
Joaquin Valdepenas, originally from Mexico, violinists Hyung-Sun Paik from Los
Angeles and Mark Skazinetsky from Kitchener, violist Pamela Inkman from the Van-
couver Symphony Orchestra, and cellist Marie Gelinas, a new graduate from the
Juilliard School of Music.
The Toronto Symphony Youth Orchestra seemed to steal much of the limelight
during this season. In March 1981, as part of an exchange program with the Montreal
Civic Youth Orchestra, the TYSO travelled to Montreal. In addition to workshops and
masterclasses, the orchestra played concerts in Montreal and Trois-Rivieres. Ermanno
Florio shared conducting duties with string conductor David Zafer, woodwind coach
Christopher Weait, and brass coach Eugene Rittich for a formidable repertoire consist-
ing of Igor Stravinsky's Symphonies of Wind Instruments, Edvard Grieg's Holberg Suite,
Beethoven's Symphony No. 8 in F major, and Nikolai Rimsky-Korsakov's Capriccio
espagnole. The Youth Orchestra was well received. A review in the Trois-Rivieres La
Nouvelleste stated, 'The Toronto Symphony Youth Orchestra: Astonishing! ... Such a
concert proves that it is possible to attain excellent results even with musicians who
have not yet reached professional status.'3 The TSYO played two run-out concerts to
complete their season - one in the Scarborough Town Centre and one at the Guelph
Spring Festival. In the eight years since its inauguration, the Youth Orchestra's high
level of performance had been maintained by a faculty composed of musicians from the
TS and enhanced by masterclasses given by guest soloists performing with the TS.
The third concert of the TS season presented Haydn's Symphony No. 94 in
G major ('Suprise') along with contralto Maureen Forrester and tenor Siegfried Jerusa-
lem singing Mahler's Das Lied von der Erde. The following week Davis conducted the
North American premiere of Sir Michael Tippett's Triple Concerto for Violin, Viola and
Cello played by violonist Steven Staryk, violist Rivka Golani-Erdesz, and cellist Daniel
Domb. In November Erich Leinsdorf conducted a program of music by Richard Strauss
with soprano Gianna Rolandi, who was making her TS debut. Andrew Davis's Metro-
politan Opera debut in February 1981, conducting Richard Strauss's Salome, was an
instant hit with audience and press alike.
During October, a short tour in the United States took the orchestra to Kalamazoo
and Ann Arbor, Michigan, Oxford and Columbus, Ohio, and Huntington, West
Virginia. During the season, the TS sponsored a joint performance with the Canton
Acrobats in the O'Keefe Centre - a highly successful project that earned $45,000 for
the orchestra. Also, the Board approved plans for an extensive tour of England and
Europe during March 1983, including concerts in London, Manchester, Birmingham,
and Leeds, four concerts in Germany, and two in Vienna. John Wyre, who had been
principal timpanist for the past eight years, announced that he would be resigning at
the end of the season in order to spend more time with the percussion ensemble Nexus,
which was rapidly gaining popularity and was about to undertake its first European tour.
With the opening date for the new hall established, there were a number of issues
to be resolved between the boards of the hall and the TS. One important issue was the
rental fee, which had not yet been agreed upon. Another was the use of the rehearsal
hall; it was to have the same dimensions as the stage, but indications were that it might
fall short of serving the function for which it was intended. In an April 1981 update
Alan Marchment, Chairman of the TS Board, described a proposal that the Hall and
Symphony board members be members of both boards. Marchment said that this was
not possible and could lead to conflict of interest situations. He also emphasized the
importance of both boards being open to each other's problems and working together to
resolve them as quickly as possible. To that end, a joint committee of three members
from each board was formed.
1981-1982 The 1981-2 season turned out to be a historic one. The farewell to Massey Hall, which
had been the orchestra's home since 1922, gave rise to mixed emotions. The cramped
Maureen Forrester and Andrew Davis in rehearsal with the TS, September 1980
conditions backstage had become a way of life: a table tennis game provided a relaxing
break for musicians and the card table in a smaller adjacent room seemed to be a focal
point for string players, including the concertmaster. In the library, where scores and
parts were stacked to the ceiling, a ladder was sometimes used to procure music. The
green room was not a room but an area adorned by portraits, one of which was of Sir
Ernest MacMillan. As a concert hall, Massey Hall was acoutistically kind to the
audience but not to the musicians, who had difficulty in hearing other sections,
although for recitals it seemed a perfect venue. Audiences also had mixed feelings
about the upcoming change, and many were sad that this was to be the last season in the
'Old Lady of Shuter Street.' However, the new hall had its appeal. According to
descriptions, not one of the 2,800 comfortable seats would be more than 107 feet from
centre stage and there were no pillars to block sight lines. The expansive lobby area
would afford easy access to all seating areas and provide adequate space for a relaxing
intermission, in contrast to the crush of concert-goers in the small lounge at Massey
Hall.
Artistically, the TS decided that its last season at Massey Hall should be com-
memorative in nature. Seven conductors, including Giinther Herbig, Neeme Ja'rvi,
Walter Weller, and Jin Belohlavek, made their TS debuts. Soprano Kathleen Battle,
pianist Ken Noda, violinist Shlomo Mintz,

and oboist Heinz Holiiger also appeared
with the orchestra for the first time. In
addition, artists who had been guests on
numerous occasions came back for this
farewell season. On 20 and 21 October,
Davis conducted Mahler's Symphony No.
9, the second-last step in his project to
perform all of the Mahler symphonies with
the TS. On 18 and 19 May he also con-
ducted performances of Sir Michael Tip-
pett's The Vision of Saint Augustine with
bass-baritone John Shirley-Quirk and the
Toronto Mendelssohn Choir.
While the season was proceeding
some acrimony developed in the board-
rooms of both the new hall and the TS.
The main issue involved a decision by
Walter Homburger to offer International
Artists (a concert series sponsored by his
Andrew Davis and Walter Homburger,
June 1982
company, Walter Homburger Ltd.) for sale
to the TS. The Board, realizing that the
TS would require additional revenue to cover the higher costs of the new hall, accepted
Homburger's offer. Meanwhile, the board of the new hall announced plans to present
their own concerts; they had visions of obtaining International Artists as a basis for
their own series. Individuals who were members of both boards were faced with a
conflict of interest, and about six Board members of the TS resigned so that they could
continue to serve on the board of the new hall.
Other difficult issues to be negotiated included the rental fee, not only for the
auditorium but also for administrative space. At one point the board of the new hall
altered the rental figure, which in turn made it difficult for the TS Board to finalize a
budget for the new season. It seemed that neither board was fully briefed on the many
intricacies involved with relocating to the new hall.
In January 1982 the new hall was officially named Roy Thomson Hall, in apprecia-
tion to Kenneth Thomson for a donation of four million dollars for maintenance of the
hall. This decision was a disappointment to the concert-going public who felt that the
ANDREW DAVIS AT M A S S E Y HALL 143
Farewell to Massey Hall, June 1982
hall might have been named after a prominent Canadian musician such as Glenn
Gould.
The gala closing concert given in Massey Hall on 4 June 1982 included music from
the Toronto Symphony Orchestra's first performance on 23 April 1923. Andrew Davis
shared the podium with guest conductors Erich Kunzel and Elmer Iseler. The Toronto
Mendelssohn Choir, who had been tenants of Massey Hall since 1894, sang the
Hallelujah chorus from Handel's Messiah. Erich Kunzel conducted the SJaponic Dance
No. 1 by Dvorak. One highlight of the evening was the performance of A Farewell
Tribute to the Grand Old Lady of Shuter Street by composer Johnny Cowell, a member of
the trumpet section, commissioned by the Toronto Symphony to commemorate the
occasion. In his program note Cowell wrote, 'Some time ago the idea came to me that I
would like to write a farewell tribute to the Grand Old Lady of Shuter Street before the
Toronto Symphony Orchestra moved out of Massey Hall ... What I finally wrote was
my own personal feelings about a place where I have spent a good deal of my life.'4
Erich Kunzel conducted the orchestra in this world premiere performance. The concert
ended with Tchaikovsky's Symphony No. 5 in E minor, conducted by Andrew Davis.
After the concert, the audience, many of whom were dressed in fashions of the 1920s,
made their way to Roy Thomson Hall for a walk through the new facility and a glass of
champagne on stage, followed by a late-night supper across the street at the restaurant
Ed's Warehouse. This momentous evening of nostalgia mingled with exuberance was
both a fitting tribute to the old and a celebration of the new.
CHAPTER N I N E 1982-1987
Andrew Davis at
Roy Th omson Hall
Such sweet compulsion doth in music lie.
JOHN MILTON
1982-1983 On Sunday, 12 September, a special 'Hard Hat' concert was presented - a preview of
the gala concert to be given the following day as a thank-you to everyone who had been
involved in the construction of the hall. At noon on Monday, 13 September 1982, the
section of Simcoe Street from King Street to Front Street was closed to traffic for the
official opening of Roy Thomson Hall. Dignitaries representing the federal, provincial,
and municipal governments were in attendance, along with representatives of the
boards of Roy Thomson Hall, the Toronto Symphony, and the Toronto Mendelssohn
Choir. After the customary speeches had been made, Edward A. Pickering, President of
the Board of Governors of Roy Thomson Hall, cut the ribbon. Seventeen years of
planning, consultation, and building had come to fruition. The new home for the
Toronto Symphony and the Toronto Mendelssohn Choir was open!
An important occasion should have a fanfare, and Andrew Davis had spent part of
the previous summer reading through fifty-two anonymous scores that had been sub-
mitted to a fanfare competition. The winner of the competition would receive a
commission grant provided by the Ontario Arts Council, and the fanfare would be
played at the opening gala concert. The anonymous work that Davis chose was Fanfare
by Raymond Luedeke, scored for twelve valveless trumpets, orchestra, and organ. Ray,
the associate principal clarinettist of the TS, said that when Andrew Davis telephoned
him and said 'I have something to tell you,' his immediate thought was that his position
in the orchestra was finished, since he had not yet been given tenure. When Davis told
him that his composition had won the fanfare contest, Ray was amazed and relieved.
The gala concert, broadcast across Canada by the CBC, was given in the presence
of Edward Schreyer, the Governor General of Canada, and his wife, Lily. The concert
opened with Luedeke's Fanfare, followed by a choral work - William Walton's Belshazzw's
Feast, with baritone Victor Braun and the Toronto Mendelssohn Choir. The organ of
the new hall, built by Gabriel Kney, was featured in Francis Poulenc's Organ Concerto
in G minor, performed by organist Hugh McLean. Davis and McLean had been organ
scholars at King's College Chapel, Cambridge. The Mendelssohn Choir also sang two
A N D R E W DAVIS AT ROY THOMSON HALL 147
unaccompanied Canadian works: R.

Murray Schafer's Sun, and Sir Ernest
MacMillan's arrangement of the French
Canadian folk song Blanche comme la
neige. The second suite from Maurice Rav-
el's Daphnis et Chloe brought a colourful
and exciting day to a close.
The orchestra's first subscription con-
cert in Roy Thomson Hall, on 22 Sep-
tember, was also a gala affair. Andrew
Davis conducted Mahler's Symphony No.
2 in C minor, with contralto Maureen
Forrester, soprano Lilian Sukis (in her
TS debut), and the Toronto Mendels-
sohn Choir. This was also Steven Staryk's
Dame Janet Baker first season as concertmaster. Staryk had
first joined the orchestra as a teenager in
1950 and was one of the six musicians
who were refused admission to the United States for the TSO's concert in Detroit in
1951. The 'Symphony Six' left the orchestra when their contracts were not renewed. In
1956 Staryk went to London, England, where his outstanding musicianship was quickly
recognized. He was chosen by Sir Thomas Beecham as concertmaster of the Royal
Philharmonic Orchestra, the youngest musician to ever hold that post. In 1960, on the
recommendation of Rafael Kubelik, Staryk accepted the post of concertmaster of the
Concertgebouw Orchestra in Amsterdam and while with this orchestra he worked with
Eugen Jochum, Bernard Haitink, and George Szell. In 1963 he became concertmaster
of the Chicago Symphony Orchestra. Staryk had held three concertmaster positions by
the age of thirty-five.
Meanwhile, there were a number of technical and administrative problems to be
resolved. One of these was the scale of fees charged by Roy Thomson Hall for various
services including corkage, waiters, and lobby space, and for day-to-day operations,
including artists' rooms, security, the rehearsal hall, and air conditioning. Also, box
office difficulties had necessitated a separate TS box office. The problems between the
TS and Roy Thomson Hall were becoming public knowledge and the boards of both
organizations issued a press release explaining that these 'growing pains' were being
dealt with expeditiously.
Andrew Davis and Yehudi Menuhin, February 1982
The artistic presentation for the season was enhanced by two innovations. One was
the introduction of Evening Overtures - forty-five-minute concerts given at 6:45 p.m.,
before the main concert, featuring members of the orchestra in performances of
chamber music. On many occasions, Andrew Davis performed as a pianist or harpsi-
chordist. The second innovation was the Great Performers Series. This series was
actually a continuation of Walter Homburger's International Artists Series. Artists
featured in this opening season included Dame Janet Baker, Itzhak Perlman, Yo-Yo Ma,
Annie Fischer, Yehudi Menuhin, and Jessye Norman, along with two visiting orches-
tras: the Scottish National Orchestra, conducted by Sir Alexander Gibson, and the
Minnesota Orchestra, conducted by Neville Marriner.
To crown this historical and momentous season, the orchestra embarked on an
extremely successful European tour. With visits to seventeen cities in six different
countries, it was the longest tour undertaken by a Canadian orchestra. The two soloists
for the tour were pianist Andre Laplante and the orchestra's principal flute, Jeanne
Baxtresser. The tour repertoire included Beethoven's Symphony No. 6 in F major,
Dvorak's Symphony No. 7 in D minor, Mahler's Symphony No. 5, excerpts from
Prokofiev's first and second Romeo and Juliet suites, Carl Philipp Emanuel Bach's Flute
ANDREW DAVIS AT ROY THOMSON HALL 149
Concerto in D minor, Mendelssohn's Piano Concerto No. 1 in G minor, and Prokofiev's

Piano Concerto No. 2.
On 25 February the orchestra left Toronto for Manchester. The program for the
first concert, presented on Sunday, 27 February, in the Free Trade Hall, home of the
Halle Orchestra, included Laplante playing the Mendelssohn Concerto. According to
Michael Kennedy in the Daily Tekgraph, 'the orchestra had captured the Manchester
audience which gave it a rip-roaring ovation.' After the concert there was a reception
for the orchestra in Manchester's richly adorned city hall. On Sunday morning several
musicians made their way to Manchester Cathedral, where, after the service, associate
librarian Errol Gay was invited by the cathedral organist to play the organ. For the
concert in Leeds, given in the city hall, Jeanne Baxtresser was soloist for the C.P.E.
Bach flute concerto. Mahler's Symphony No. 5 made up the balance of the program.
The concert in Birmingham was held in the Town Hall, home of the City of Birming-
ham Symphony Orchestra since its inception in 1921, and was broadcast on BBC
Radio 3. Following the concert there was a reception at the Council House, hosted by
the lord mayor of Birmingham, who also invited the orchestra to a breakfast reception
in the city hall the following morning. These social occasions reflected the Birming-
ham city council's support for the arts.
From London there was a 'run-out' concert at the Hexagon Theatre in Reading.
The two London concerts in the Festival Hall were a fitting conclusion to the English
portion of the tour, and the London press was full of praise. Edward Greenfield of the
Guardian wrote that the orchestra 'has consistently established its claims as a strong
characterful team,' and Nicholas Kenyon of The Times said, 'the Toronto Symphony
Orchestra is a splendid orchestra.' While in London, Andrew Davis entertained the
orchestra with dinner at a restaurant in one of the old warehouses that still stand
alongside what was the St Katherine's Dock. The extensive advance press in England
heralded the arrival of the orchestra, and indeed much of the success of the tour in
England was due to the organizational skills of Belle Shenkman, a champion of
Canadian artists in Britain.
The first concert on the continent was at the Theatre musical de Paris (Chatelet)
with Barbara Hendriks as soloist in four songs by Gustav Mahler. Then it was on to
Frankfurt, Hanover, Bonn, and into Holland. The concert in Amsterdam was at the
Concertgebouw, where Steven Staryk had been concertmaster. Back in Germany there
were two more concerts - one in Leverkusen and one in Stuttgart - before moving on
to Switzerland for performances in Zurich, Geneva, and Lausanne. During the fourth
week of the tour the orchestra was in Vienna and Prague. This was the orchestra's
ISO BEGINS WITH THE OBOE
second visit to the Austrian capital. On their first visit, they had amazed Viennese
audiences not only with their performance, but also with the number of female
members in the ensemble. In Prague, Karel Ancerl was on the minds of everyone. The
two concerts there were dedicated to his memory, and the musicians were visibly
moved by a large portrait of the late maestro. Sweeping her hand across a picture of the
Czech Philharmonic Orchestra, French horn player Barbara Bloomer remarked, 'Now I
know why he could never understand women in the orchestra. Look - not one.' She
was right. That orchestra was an all-male ensemble. The TS was the first visiting
orchestra to be included in the Czech Philharmonic subscription series and the audi-
ence was overjoyed by the two concerts.
The tour was a success with rave reviews everywhere. On 26 March the orchestra
returned home, weary but satisfied that they had proved to England and Europe that
they were a top-notch ensemble.
On 2 May Dr Armand Hammer celebrated his eighty-fifth birthday with the
Toronto Symphony at a rehearsal conducted by Seiji Ozawa. Following a reception and
dinner party he presented the TS with a cheque for $140,000. At the end of the season
five long-time members of the orchestra retired: violinists Jose Sera and Berul Sugarman,
double bass player Sam Davis, trumpeter George Anderson, and clarinettist Bernard
Temoin. Berul Sugarman had been a member since 1925. And finally, the Executive
Committee of the Board agreed that two musicians should be nominated to join the
Board on an annual basis.
1983-1984 The season opened with continuing controversy between hall and orchestra over the
rental agreement. The TS administration had investigated rental costs incurred by
other North American orchestras and learned that their rent at Roy Thomson Hall was
the highest - it was even higher than the New York Philharmonic's fee for Avery Fisher
Hall. Since the Roy Thomson Hall board had imposed a fifty-cent surcharge on each
ticket to cover future maintenance costs, it was becoming increasingly difficult to
maintain reasonable ticket prices for TS concerts. In hindsight, it might have been
better if the hall had been planned with the TS as a one-third owner of the project.
Such an arrangement could be justified, since the TS performs more than a hundred
concerts each year, and these concerts also generate spin-off financial income from
sources such as parking, refreshment services, and the music store.
Andrew Davis agreed to a further one-year extension of his contract through the
1986-7 season. This meant that the artistic direction, including tours, could be planned
Andrew Davis and Elmer Iseler
well ahead. One possible tour under investigation for 1986 included participation in
the Edinburgh International Festival and the BBC Promenade Concerts at the Royal
Albert Hall in London.
The season opened with Deryck Cooke's reconstruction of the Symphony No. 10
in F sharp major by Gustav Mahler. With this performance, Davis fulfilled his objective
of conducting all the Mahler symphonies with the TS. For the first concert of the Great
Performers Series, Andrew Davis joined flutist Jeanne Baxtresser and clarinettist Joaquin
Valdepenas as pianist in works by Camille Saint-Saens, Francis Poulenc, Johannes
Brahms, Sergei Prokofiev, Leonard Bernstein, and Franz Doppler. Andrew Davis's
fascination with opera and his interest in Richard Strauss were combined on 17 and 19
November in a concert version of Strauss's opera Der Rosenkavalier with a cast worthy
of a leading opera house: sopranos Mechthild Gessendorf, Barbara Hendricks, and
Roxolana Roslak, mezzo-sopranos Patricia Kern and Cynthia Clarey, tenors Barry
Stilwell and Vinson Cole, baritone Derek Hammond-Stroud, and bass-baritone Rich-
ard Best, along with the Elmer Iseler Singers. On 11, 12, and 14 January Davis
conducted performances of Berlioz's L'enfance du Christ, with mezzo-soprano Catherine

Robbin, tenor Jerry Hadley, baritone Gary Relyea, bass-baritone Ingemar Korjus, and
the Toronto Mendelssohn Choir.
It has always been difficult to produce the correct tone of bells in the 'Dies irae'
section of Berlioz's Symphonic fantastique using ordinary tubular bells. In 1983 the TS
decided to purchase two bronze alloy bells. These were cast specifically for the orches-
tra at the Royal Bell Foundry in Aarle-Rixtel, Holland. The D bell weighs 119 pounds,
and the G bell 198 pounds. The new bells had their debut in a performance of
Symphonie fantastique on 8 February 1984.
Davis's third choral contribution to this season was the first Toronto Symphony
performance of Sir Edward Elgar's oratorio The Kingdom on 16-17 May with soprano
Margaret Marshall, contralto Alfreda Hodgson, tenor Kenneth Riegel, bass-baritone
John Cheek, and the Toronto Mendelssohn Choir. On 19 and 20 May the Toronto
Symphony and the Toronto Mendelssohn Choir gave two concerts at Carnegie Hall in
New York. The first was a repeat of Elgar's The Kingdom and the second was a
performance of Beethoven's Symphony No. 9 in D minor with soprano Esther Hinds,
mezzo-soprano Gabrielle Lavigne, tenor Jon Frederic West, and baritone Victor Braun.
Three guest orchestras participated in the TS subscription series. On 17 and
18 February the Philharmonia Orchestra from London, England, performed two con-
certs in the Great Performers Series, with Vladimir Ashkenazy as conductor and
soloist. On 14 and 15 March the Stuttgart Chamber Orchestra with conductor Karl
Miinchinger gave concerts in the regular subscription series. Later in March the Czech
Philharmonic Orchestra with conductor Vaclav Neumann also fulfilled concerts in the
subscription series. Neumann was back in Toronto in mid-April to conduct the TS, and
again in May for two more subscription series concerts, in addition to guest conducting
the Toronto Symphony Youth Orchestra.
During the Toronto International Festival in June 1984 performances took place
at various venues. The Toronto Symphony Youth Orchestra and the Toronto Mendels-
sohn Youth Choir gave a concert in the MacMillan Theatre, University of Toronto, on
11 June. On 19 and 21 June the senior groups of these organizations gave two perform-
ances of Hector Berlioz's Romeo et Juliette conducted by Andrew Davis, with mezzo-
soprano Florence Quivar, tenor Marc DuBois, and bass James Morris.
In addition to an already busy season, the American Symphony Orchestra League
and the Association of Canadian Orchestras held a joint conference in Toronto. This
was the first time the two national orchestra organizations had combined their annual
conferences, and also the first time the American Symphony Orchestra League had
held a conference outside the United States. The Toronto Symphony was the host
organization for this gathering, held at the Royal York Hotel on 5-9 June 1984. A large
display devoted to the TS archives proved to be one of the main attractions, with many
representatives examining the material closely and asking questions. In addition, on 6,
7, and 8 June the TS, as host orchestra, gave special concerts for the delegates at Roy
Thomson Hall, with violinist Ida Haendel as guest soloist.
The Ontario Place season included several interesting events. The concert on
10 July was dedicated to Estonian and Finnish music. It was conducted by Neeme Jarvi,
with guest artist Ida Haendel, who played the Sibelius Violin Concerto in D minor, and
the Estonian Choirs of Toronto, who sang Arvo Part's choral work Prates. Andrew
Davis conducted the last three concerts of the Ontario Place season. Two evenings
were devoted to ballet with guest artists Karen Kain and Frank Augustyn, principal
dancers with the National Ballet of Canada. The final concert was a performance of
Beethoven's Symphony No. 9 in D minor with soprano Frances Ginzer, mezzo-soprano
Sandra Graham, tenor John Absalom, baritone Gary Relyea, and the Toronto
Mendelssohn Choir. So ended another glorious season of music by Lake Ontario.
With the advantage of a fully air-conditioned concert hall, the TS also presented a
summer season of concerts in Roy Thomson Hall, a venture that would not have been
possible in Massey Hall. The music covered a wide spectrum, from a romantic evening
of Viennese selections by Franz Lehar and the Strauss family conducted by Franz Allers,
to a traditional Beethoven night conducted by Andrew Davis. In between there was a
'Pops and the Beatles' concert conducted by Eric Knight, an evening of music from
Czechoslovakia and Hungary with Victor Feldbrill on the podium, one of Erich Kunzel's
'Best of Broadway' concerts, and 'A Night of Gilbert and Sullivan' in which Andrew
Davis both sang and conducted.
At the opening of the season the TS was invited to perform for two high-profile events. 1984-1985
On 14 September, Pope John Paul II visited Toronto to light the flame in the Peace
Garden at Nathan Phillips Square. At Nathan Phillips Square, the orchestra was joined
by the Toronto Mendelssohn Choir and soprano Joanne Kolomyjec, mezzo-soprano
Sandra Graham, tenor Mark DuBois, and bass Christopher Cameron. The program
consisted of two excerpts from Handel's Messiah, Elgar's Pomp and Circumstance March
No. 1, the first movement from Brahms's Symphony No. 1 in C minor, and the overture
to Beethoven's opera Fidelia. The second event was a gala concert on 1 October 1984 at
Roy Thomson Hall with Queen Elizabeth II and the Duke of Edinburgh in attendance.
Andrew Davis and Alfred Brendel in rehearsal with the TS, May 1984
Artists included Guido Basso, Corey Cerovsek, Evelyn Hart, Frank Augustyn, Catherine
McKinnon, Jon Kimura Parker, and Marie-Josee Simard. The CBC televised this
concert nationally, with Veronica Tennant acting as host.
The opening concert of the regular season included a performance of Brandenburg
Concerto No. 1 in F major, BWV 1046, to commemorate the 300th anniversary of the
birth of Johann Sebastian Bach. Andrew Davis is known for his many accomplishments
in music, but he is rarely thought of as a composer. On 24-5 October, he conducted the
orchestra and the Toronto Children's Chorus in the world premiere of his Chansons
innocentes, about which he said, 'I have tried to write a short work that will be
challenging and fun for the singers (one hopes, for listeners too!) and that, at the same
time, explores the visionary worlds of perception that seem to be much closer to
children than to us when we "grow up.'"1 The text of the work consists of poems by e.e.
cummings, Thomas Nash, and William Blake.
On 24 November composer Godfrey Ridout, who for many years had written
program notes for the TS, passed away. His interesting and informative notes had
A N D R E W DAVIS AT ROY T H O M S O N HALL 155
helped audiences to better understand classical music. He enjoyed this writing because
it allowed him to make the world of music more accessible to others.
The concert on 14 November introduced English conductor Jeffrey Tate (for his
TS and North American orchestral debut) and pianist Brigitte Engerer (for her TS
debut). Engerer was soloist for the Piano Concerto No. 2 in G minor by Saint-Saens,
and Tate conducted the Leonore Overture No. 3 by Beethoven and the Symphony No. 1
in B flat major by Schumann. Helmuth Rilling, who ranks as one of the foremost choral
conductors in the world, made his TS debut on 30 January, conducting the TS and the
Toronto Mendelssohn Choir in a performance of J.S. Bach's St John Passion. The guest
artists were soprano Costanza Cuccaro, mezzo-soprano Linn Maxwell, tenor Aldo
Baldin, bass-baritone Wolfgang Schone (all of whom were making TS debuts), and
bass-baritone Gary Relyea. The orchestra was augmented by Patricia Krueger on
harpsichord, Mary Cyr on viola da gamba, and George Brought on organ.
At 2:00 p.m. on Sunday 17 March, the TS gave a special Maintenance Fund
concert in Maple Leaf Gardens. The distinguished guest artist was tenor Luciano
Pavarotti. Many people in the audience had travelled long distances to hear this famous
tenor. There was an outburst of applause after every aria, but nothing outshone the
cheers that followed Pavarotti's encore, 'Nessun dorma' from Turandot by Puccini.
Wynton Marsalis made his TS debut on 27 and 29 March playing the Trumpet
Concerto in E flat by Johann Nepomuk Hummel. While in Toronto Marsalis partici-
pated in a TS education presentation at Etobicoke Collegiate, giving advice and
demonstrating the art of trumpet playing to an enthusiastic student audience, and also
gave a master class for the brass section of the Toronto Symphony Youth Orchestra.
The end of the 1984-5 season witnessed the departure of two musicians who had
served twenty years with the orchestra. Christopher Weait, co-principal bassoon, took
a position as professor of bassoon at Ohio State University, and French horn player
Barbara Bloomer left to focus on her teaching career in Toronto. During July and August
the orchestra made its usual appearances at Ontario Place, where for many seasons it had
delighted audiences with well-known classics in the open air on summer evenings.
The summer of 1985 was one of great excitement for the Toronto Symphony Youth
Orchestra, which had had been invited to participate in the International Festival of
Youth Orchestras to be held in Aberdeen, Scotland. Youth orchestras from around the
world were invited to participate and perform. Conductor Ermanno Florio and string
conductor David Zafer shared conducting duties, and the TSYO's challenging program
set a high standard of performance for the festival: Weber's overture to his opera
Oberon, Passacaglia on a Bach Chorale by Canadian composer Oskar Morawetz, the
Luciano Pavarotti, March 1985

Concerto Grosso No. I by Ernest Bloch, and finally, the Symphony No. 5 by Sergei
Prokofiev.
After the performance in Aberdeen, the TSYO moved on to Stirling, where they
repeated their concert program in Dunblane Cathedral. In addition, the TSYO had
been chosen to participate in the opening concert in Hazlehead Park. This festive
event included Tchaikovsky's 1812 Overture, complete with fireworks, massed pipes
and drums, and the Concert Chorus of the University of the Philippines. The Interna-
tional Festivals of Youth Orchestras, which are now held frequently, prove the value of
supporting student performance in orchestras, choirs, and dance ensembles. BBC
Promenade Concerts now include youth orchestras from all parts of the world, paying
tribute to the importance of youth within the cultural scene.
A short excursion to Holland began with a reception hosted by the mayor of
Amsterdam, followed by concerts in Den Bosch, and in Haarlem at the Concertgebouw.
Back in Britain, there were two final performances. The first, on 9 August, was a lunch-
hour concert on the north lawn of Lincoln's Inn - the 'hallowed' ground of the legal
profession. The second concert, in Holland Park, was part of the London Youth
Festival. The TSYO was the only non-British youth orchestra to be invited. According
to the Times and Daily Telegraph, the TSYO concerts were a great success and repre-
sented an example of the high quality of performance possible from youth orchestras.
They returned to Toronto on 13 August tired but proud of their achievements.
This season opened with a number of diverse concerns. The musicians' contract was up 1985-1986
for negotiation, Andrew Davis announced that he would not renew his contract at the
end of the 1987-8 season, and managing director Walter Homburger announced his
intention to retire at the end of the 1985-6 season. On the artistic side, the orchestra
was about to undertake its fourth European tour, an expedition that included two 'firsts'
for a Canadian orchestra (performances at the Edinburgh International Festival and
the 'Proms'), and had signed a recording contract with EMI.
With an important European tour about to be finalized, it was necessary to arrive
at an amicable contract agreement within a reasonable time period. Negotiations
ended with a salary raise for the musicians of 3.6 per cent, and the addition of a
category for five to nine years of service in the seniority pay scale. However, a three-
year contract, which would have given management the stability needed for schedul-
ing, was not achieved. Negotiations were due to reconvene within six months, at which
time outstanding issues were to be addressed and resolved.
Conductor Ermanno Florio and string conductor David Zafer with the Toronto Symphony Youth
Orchestra, 1985
TSYO woodwind section

ISO percussionists Patricia Krueger and Daniel Ruddick
Andrew Davis's announcement that he was leaving the TS was not altogether a
surprise. It was well known that he wanted to move on. However, he was proud of the
TS, and his departure was not going to be easy. Walter Homburger, who had announced
his retirement, had spent a quarter of a century 'at the helm' of the orchestra. The
Board knew of the personal wishes of both these men, but regretted to see Davis and
Homburger leave.
In September assistant general manager Wray Armstrong met with representatives
of EMI/Angel to review a draft contract for future recordings, including a recording of
The Planets by Hoist during the current season. There were also plans for a recording of
Messiah and piano concertos featuring Alexander Toradze. The acoustics of Roy Thomson
Hall were a major concern. Davis met with Ed Pickering to discuss what could be done
to improve the situation and in early October Pickering announced that acoustician
Theodore Schultz had invited PA. de Lange to review the acoustics of the hall. This
was undoubtedly a result of Davis's meeting with Schultz and of the announcement
that EMI/Angel would not use Roy Thomson Hall for recording purposes because it was
not up to their standards. Consequently the TS recorded Hoist's The Planets at the
Centre in the Square in Kitchener. The recording was released in May 1986.
The major event of this season was the European tour, one of the most important
in the orchestra's history. The orchestra had been invited to participate in the Edin-
burgh International Festival and was the first Canadian orchestra to do so. The
Edinburgh International Festival was founded in 1947. The creation of an interna-
Rehearsal of Stravinsky's Oedipus Rex as part of the Edinburgh Festival, 1986
tional festival so soon after the end of the Second World War immediately caught the
attention of music organizations worldwide and the festival was soon recognized as an
important celebration of music and the arts. The founders of the festival believed that
the programs should be of the highest possible quality and presented by the best artists
in the world. The original intention that the festival should enliven and enrich the
culture of Britain and Europe is closely reflected and maintained in its current aims and
objectives.
The Toronto Symphony gave two concerts in Edinburgh's Usher Hall. The first
opened with Berlioz's Le corsaire ouverture, after which the orchestra was joined by Ivo
Pogorelich for the Tchaikovsky Piano Concerto No. 1 in B flat minor. The concert
concluded with the Symphony No. 5 by Sergei Prokofiev. The second concert con-
sisted of two compositions by Stravinsky. Contralto Alfreda Hodgson, tenors Robert
Tear and Maldwyn Davies, baritone Anthony Michaels-More, bass-baritone Stafford
Dean, and narrator John Neville, along with the Edinburgh International Festival
Chorus, gave an outstanding performance of Oedipus Rex. Then the TS repeated a
production of Lhistoire du soldat (The Soldier's Tale) that had been first presented at
Roy Thomson Hall in April 1983. Stravinsky said the work should be read, played, and
danced, in that order. The cast included narrator John Neville, with Jeff Hyslop as the
TS in rehearsal on tour
devil, and two leading dancers from the National Ballet of Canada - Karen Kain and
Peter Ottmann (who replaced Frank Augustyn on the tour owing to Augustyn's
illness). The seven musicians in the small onstage orchestra were violinist Jose-Luis
Garcia, bassist Thomas Monohan, clarinettist Joaquin Valdepenas, bassoonist David
McGill, trumpeter Larry Weeks, trombonist Gordon Sweeney, and percussionist David
Kent. It was a brilliant evening that the festival audience would long remember.
Next morning it was on to the 'fair city' of Dublin. There was an amusing incident
at the Edinburgh airport. The tour manager had announced that the flight would leave
from embarkation point three and made her way there, accompanied by two others, in
spite of an airport announcement specifying embarkation point twelve. The personnel
manager, this writer, and the rest of the orchestra found their way to the correct
location, where indeed there was a charter aircraft waiting to take the orchestra to
Dublin. However, the flight was delayed for about twenty-five minutes before airport
authorities found the three missing people. Perhaps it is wise to beware of tour
managers while on tours!
The orchestra's first visit to the Emerald Isle was a short one. The concert that
evening was held in the National Concert Hall with the Canadian ambassador, Dennis
McDermott, in attendance. The program consisted of Tchaikovsky's Piano Concerto
No. 1 in B flat minor with guest artist Ivo

Pogorelich followed by Mahler's Sym-
phony No. 9. The next morning the or-
chestra flew to London for a much
anticipated appearance at the Henry
Wood Promenade Concerts in the Royal
Albert Hall.
The Promenade Concerts began on
10 August 1895 in the Queen's Hall.
Robert Newman, the organizer of the con-
certs, appointed the twenty-six-year-old
Henry Wood as permanent conductor. In
Toronto Star music critic William Littler on 1927, when the Proms faced financial dif-
tour with the Toronto Symphony ficulties, the BBC agreed to take over this
internationally recognized festival of mu-
sic. The Toronto Symphony was the first
Canadian orchestra invited to take part in the Proms. This was also a special occasion
for Andrew Davis, who had conducted at the Proms since 1971, appearing with the
BBC Symphony, the London Philharmonic Orchestra, and the Philharmonia Orches-
tra. Now he was bringing to the Proms a Canadian orchestra that was capable of
maintaining the high standard of the Henry Wood Promenade Concerts.
The last stop in Britain was Cardiff, for the orchestra's second visit to Wales.
Cardiff now possessed a new concert hall with extremely good acoustics. St David's
Hall is modern in design with seating pods similar to those in Roy Thomson Hall, but
with a more classic appearance, not unlike the seating arrangement in the Berlin
Philharmonie. Ironically, the superb acoustics in Cardiff are due in part to the Cana-
dian pine used for the interior finish of the hall (not Canadian concrete!). The evening
before the concert in St David's Hall, Davis hosted a special party for the orchestra in
the banquet hall of Cardiff Castle, a magnificent room with a high timber-vaulted
ceiling, ornamented with the heraldic devices tracing the Bute ancestry. A delicious
meal was followed by entertainment highlighted by the superb singing of a Welsh
ladies' choir.
The TS program in Cardiff consisted of Le corsaire ouverture by Berlioz, Beethoven's
Piano Concerto No 2 in B flat major played by Louis Lortie, and Ravel's orchestration
of Mussorgsky's Pictures at an Exhibition. A saxophonist was required for this last work,
and Andrew Davis had the right musician in mind. Much to the delight of the
ANBREW DAVIS AT ROY THOMSON HALL 163
Trumpeter Johnny Cowell serenading passers-by from his hotel room in Brussels
On-flight negotiations en route to Helskini. From left to right: TSO Board President Tom Beck,
managers Wray Armstrong and Walter Homburger, and Board member David Howard
Andrew Davis and Brian MacDonald (seated) with Karen Kain, Frank Augustyn, and Jeff Hyslop,
from the April 1983 production of Stravinsky's L'histoire du soldat (The Soldier's Tale)
orchestra - especially the clarinet section - Jack Brymer, the internationally renowned
clarinettist, was invited to play the saxophone part. At the time, Brymer was writing a
book about orchestras in which he had played. He was impressed with the TS, and
devoted several pages to the orchestra. Reflecting on his forty minutes in the orchestra
ranks, he wrote:
In 1986 I was asked to join them for a concert they were giving in Cardiff, on a big
European tour, and at times I could hardly believe I was not in one of our British
orchestras - and it wasn't merely the language, or the fact that their conductor for the
past twelve years had been one of our own young stars, Andrew Davis. There was
something in their approach to the whole business of orchestral playing which was
familiar, comfortable and satisfactory. This is the case of course with most of the
world's orchestras, but particularly with them.
On 4 September the orchestra left for Bonn. After breakfast, buses conveyed all the
personnel to Cardiff Airport - or so they should have. This author, not continuing the
journey to Europe, returned to the hotel after seeing the coaches depart, to be greeted
by the Board chairman with, Thank goodness you are here. I thought that everybody
had left.' The author replied, 'The coaches have just departed.' The chairman and his
wife rushed to the door to get a taxi, and apparently reached the airport before the
coaches.
After their first concert on the continent at the Beethovenhalle in Bonn, the
orchestra travelled on to Belgium to participate in the Flanders Festival. The TS gave
one Festival concert at the Koninklijke Opera in Ghent, and a second at the
Filharmonische Verenniging in Brussels. Copenhagen was the next destination for a
concert in the famous Tivoli Gardens. From Denmark, the orchestra took a flight across
the Baltic Sea to Finland for two concerts in Helsinki, then to Sweden for three
concerts: one each in Stockholm, Malmo, and Goteborg. It was unfortunate that this
Scandinavian odyssey did not include at least one concert in Norway. While the
orchestra was on tour, the negotiations for a three-year contract were finalized and the
musicians held a meeting in Helsinki in order to accept the terms offered by the Board.
The final concert of the tour was given in Paris at the Salle Pleyel. Maria-Joao Pires was
guest artist for a performance of Mozart's Piano Concerto No. 23 in A major, K 488.
Then it was time to return to Toronto. The weary musicians knew that they had
completed a most successful tour of Europe.
On all tours there are occasions when the unexpected occurs. In this case the first
incident happened on the outgoing flight to Scotland. The tour schedule stated that
dinner would be served, but 'dinner' turned out to be a cheese roll wrapped in
cellophane! Part way through the same flight, violinist Peter Daminoff said he thought
he could smell something smouldering, and one of the cabin crew noticed the same
smell. After a thorough examination, the flight crew assured everyone that there was
no need to worry and that they would take care of the situation. They did just that -
they turned off the heat! Prestwick airport is not one of the world's most picturesque
airports, but it was a welcome sight next morning. At the hotel in Amsterdam, one of
the cellists decided to use the guest laundering facilities, but not being familiar with
European-style washing machines he threw his clothes, complete with detergent, into a
drier. After making enquires about the lack of water, he was introduced to a washer,
where he added more detergent. He was apparently next seen with suds up to his waist.
One of the most spectacular TS concerts of the 1985-6 season at Roy Thomson
Hall took place on 7 and 9 May. Andrew Davis conducted a concert performance of
Richard Strauss's one-act opera Daphne with members of the Toronto Mendelssohn
Choir and a cast that would have enhanced any of the world's opera houses: Catherine
Malfitano, Ortrun Wenkel, Chris Merritt, Jon Fredric West, Victor Braun, Joanne
Kolomyjec, Keith Olsen, Christopher Cameron, and John Fanning. Young People's
Concerts were also of keen interest to Andrew Davis, and on 18 January he conducted
an interesting program with the Toronto Children's Chorus. Engelbert Humperdinck's
prelude to Hansel and Gretel was followed by 'Oh, Had I Jubal's Lyre' from Handel's
oratorio Joshua, sung by the chorus, conducted by the choir's music director Jean
Ashworth Bartle with Andrew Davis at the organ. The concert ended with Andrew
Davis's Chansons innocentes. Davis was full of admiration for this choir and undoubtedly
enjoyed this concert as much as the young audience.
1986-1987 The euphoria of the last season continued in the minds of the Board and musicians as
the new season opened. In his report to the annual general meeting Thomas Beck,
President of the Board, spoke of the well-received European tour, and added that the
Board and musicians had reached a most satisfactory three-year settlement.
This was the last season under the management of Walter Homburger. Homburger,
who arrived in Canada in 1940, came from a family with a rich musical tradition, but
he never studied music himself. Homburger was head of his own International Artists
Concert Agency, which he established in 1947, and in 1962 he had also become
Managing Director of the TS. He was one of North America's leading arts administra-
tors and his admirable relationship with artists' managements in North America
extended to Britain and Europe. His musical vision was accompanied by his shrewd
business sense, and consequently he was able to negotiate contracts with many of the
world's leading artists. The fruits of his labours would be celebrated in the final concert
of the season, commemorating his twenty-fifth and last season as managing director.
The first TS recording with EMI - Hoist's The Planets - was successfully launched
and the second recording - Handel's Messiah - was to be recorded in December at the
Centre in the Square in Kitchener. Andrew Davis, after researching various previous
recordings, decided to use an arrangement similar to that of a recording made by Sir
Thomas Beecham in 1960 (which incidentally included Canadian tenor Jon Vickers).
Performers included soprano Kathleen Battle, mezzo-soprano Florence Quivar, tenor
John Aler, and bass Samuel Ramey, along with the Toronto Mendelssohn Choir. The
recording was a success, not only because of the excellent choice of artists, but also
because it was a welcome change from the traditional version presented year after year.
More than ten years later the TS recording was still highly praised and the orchestra
received reasonable royalties each year. In the meantime The Planets recording won the
1985 Juno award for the best classical recording.
Two key members of the administrative staff terminated their contracts: Harvey
Chusid, Director of Marketing, and Hubert Meyer, the Personnel Manager, who had
played tuba with the orchestra since 1957. Also, Steven Staryk was suffering from a
problem with his arm and was not able to rejoin the orchestra until after Christmas.
This problem had also prevented him from participating in the orchestra's European
tour. Gerald Jarvis, who had filled his place, remained as concertmaster until Staryk's
return.
The end of the season deficit of $1,075,000 may seem high but was not unworkable
given an overall budget of $13 million. Wray Armstrong, the assistant managing
director, announced that the Chrysler Corporation was interested in an arrangement
with the TS (similar to the one it had with Roy Thomson Hall) whereby Chrysler
supplied cars with small company insignia on the doors for business use. Discussions
between the management of Roy Thomson Hall and the TS continued, and although
some points of contention were cleared up there were no indications that the two
organizations had resolved their major differences. It was becoming more and more
evident that problems of varying importance were perhaps there to stay.
The last subscription season under Homburger's management reflected his exper-
tise in program planning. Guest conductors included Kurt Sanderling, Sir Neville
Marriner, Semyon Bychkov, and Pinchas Zukerman. The Great Performers Series
Kurt Sanderling and Murray Perahia, November 1986
graced the stage of Roy Thomson Hall with fourteen concerts by some of the greatest
names in music: pianists Alicia de Larrocha, Bella Davidovich, Ivo Pogorelich, and
Louis Lortie; opera stars Leontyne Price and Samuel Ramey; violinists Itzhak Perlman
and Nadja Salerno-Sonnenberg; and chamber music ensembles such as the Stuttgart
Chamber Orchestra, the Salzburg Musici, and the Sinfonietta of Israel.
Meanwhile preparations for the Great Gathering gala concert - a tribute to Walter
Homburger - were proceeding. Funds raised for the concert were likely to reach
$3 million, with additional financial support from the government of Ontario and the
CBC. Publicity for the event included articles in the Toronto Star, the Sunday Sun, the
Globe and Mail, the New York Times, and the Financial Post. The Great Gathering held
on 9 March 1987 was an evening that would be long remembered. It was a sensational
gala in every way. Celebrities, devoted subscription patrons, three hundred young
musicians from across the province (financed by the Ministry of Citizenship and
Culture), members of the TSYO, Ontario residents of the National Youth Orchestra,
diploma students from the Royal Conservatory of Music, and a student representing
each school board in Ontario - all witnessed this gathering of some of the world's
greatest artists. The conducting was shared by Seiji Ozawa, Andrew Davis, Victor
Isaac Stern, Murray Perahia, Yo-Yo Ma, and Pinchas Zuckerman rehearse for the Great Gathering,
March 1987
Feldbrill, and Elmer Iseler. Performers included cellists Yo-Yo Ma and Mstislav
Rostropovich, flutist Jean-Pierre Rampal, violinists Isaac Stern, Pinchas Zukerman,
and Midori, pianists Murray Perahia and Louis Lortie, contralto Maureen Forrester, and
the Toronto Mendelssohn Choir.
The final work on the program was the overture to Johann Strauss's opera Die
Fledermaus, with Isaac Stern as concertmaster, Yo-Yo Ma as principal cello, Pinchas
Zukerman as principal viola, Jean-Pierre Rampal as principal flute, and a percussion
section augmented with Maureen Forrester, Seiji Ozawa, Mstislav Rostropovich, Victor
Feldbrill, and Elmer Iseler. The program finally ended with a momentous finale at
1:00 a.m. and the entire concert was broadcast live by CBC-TV across Canada. This
event raised $1,150,000 for Toronto Symphony endowment fund.
Walter Homburger had provided excellent leadership to the orchestra for a quarter
Mstislav Rostropovich and Seiji Ozawa, March 1987 -The Great Gathering
century. In his final report to the annual meeting in October 1986 the traditional
summary of the past season's accomplishments was cast aside in favour of reminiscences
about behind-the-scenes adventures that the Board never got to hear about. Homburger
recalled some of his memorable experiences:
We always try to meet our artists at the airport, or, in former days at Union Station.
One day I went to the airport to meet Arthur Rubinstein. The plane arrived, every-
one was out of customs, but no Rubinstein. I called his hotel to find him happily
installed for six hours, what happened? He had woken up early in Chicago, decided
A N D R E W DAVIS AT ROY THOMSON HALL 171
ISO Managing Director Walter Homburger and Assistant Managing Director Wray Armstrong
to take an early flight and forgotten he was going to be met. You go to meet an artist,
whom you have not previously been acquainted, you have a photograph supplied by
the agent, so I go to meet the famed Guiomar Novaes, I look for a woman about 5ft 6
with loose hair, I miss her; she is 4ft 10 with upswept hair. Many years ago Andres
Segovia wanted some soda water at 2:00 a.m. He couldn't rouse anyone so he went in
his pyjamas and bathrobe to the front desk to get some. A pianist rehearses on the
piano he has selected, then just before the concert he decides to use the other one in
the hall but of course it hasn't been tuned. One of the many happy recollections was
the after-concert party when at 2:00 a.m. after a lot of celebrating Rostropovich took
out his cello and played an unaccompanied suite by Bach as beautiful as I have ever
heard.
Walter Homburger proposed that Wray Armstrong be appointed Managing Director at 1987-1988
the beginning of the season and this was approved by the Board. Armstrong had been
Homburger's assistant for five years and had been well trained in the difficult and
demanding aspects of managing a symphony orchestra. It was obvious that Armstrong,
a younger man, would use different meth'

ods to tackle day-to-day challenges and
problems. Although his outlook on the
orchestral scene was the same as that of
his predecessor, he took a somewhat
broader view.
The 1987-8 season was the culmina-
tion of Andrew Davis's tenure as Music
Director. After thirteen years with the
TS he would be returning to England to
take the highly prestigious positions of
Principal Second Violin Julian Kolkowski models
hats in Inuvik principal conductor for the BBC Sym-
phony Orchestra and music director of
the Glyndebourne Opera, organizations
he had been closely associated with for many years. The programs for his last season
reflected many of his achievements with the TS.
The season opened with the orchestra about to depart on a Canadian tour. With
Davis, the TS had undertaken tours to the west and the east of Canada. This tour
would take them north to the shores of the Beaufort Sea. The Canadian Odyssey
encompassed the far reaches of the Yukon and Northwest Territories as well as parts of
Northern Ontario and Western Canada. The orchestra gave thirteen full symphonic
concerts and twenty-seven chamber concerts, in which musicians formed small groups
for educational performances in more remote communities. The first three concerts
took place in Northern Ontario: North Bay, Sudbury, and Sault-Ste-Marie (where the
Governor General of Canada, Jeanne Sauve, was in attendance). The pinnacle of the
tour was Inuvik, where the orchestra gave two concerts. The first, held in the Sir
Alexander Mackenzie School auditorium on Saturday, 19 September, consisted of short
popular orchestral pieces including Berlioz's Roman Carnival Overture, Haydn's Trum-
pet Concerto, Emmanuel Chabrier's Espafia, and excerpts from Mussorgsky's Pictures at
an Exhibition. Canadian compositions were represented by Godfrey Ridout's Fanfare and
Weinzweig's 'Barn Dance' from his suite Red Ear of Corn. After the intermission, the
Inuvik Delta Drummers and Dancers gave a colourful performance in music and dance.
On the following day there was a chamber concert in the unique Igloo Church, while
small groups of musicians dispersed to other parts of the region to give education
concerts in Fort McPherson, Aklavik, and Tuktoyaktuk.
The TS had an extraordinary ice hockey team, the Flying Fortes. When the
Mario Duschenes conducts a sold-out Student Concert at the hockey arena in Sault Ste. Marie as
part of the Orchestra's Canadian Odyssey Tour
orchestra visited a place where ice hockey is played, a game was planned with a resident
team. In Inuvik everyone assumed that the ice would be in good condition for a game
with a local team, but there had been a warm fall, so the event became a street hockey
match. It must be noted that the TS team maintained its outstanding no-win record.
Another interesting feature of the visit to Inuvik was the cuisine, including fish cooked
in the true Arctic tradition.
The time spent in the Arctic resulted in additional visits by TS members and the
Toronto Symphony Youth Orchestra. Rhombus Media, in cooperation with the CBC,
produced an excellent film of the tour entitled 'Music in the Midnight Sun,' which
was broadcast on the CBC television network. Television services in other countries
also became interested in this extraordinary tour, and have programmed the film on
their respective networks. Newspapers such as the Globe and Mail, the Toronto Star,
the Chicago Tribune, and the New York Times, as well as the CBC national news, also
covered portions of the tour.
In mid-November 1987 the Board announced that Giinther Herbig had been
appointed Artistic Adviser for a one-year term. This appointment was immediately
recognized by the media and other personnel related to the orchestra as an indication
The TSO Flying Fortes prepare for a big game in Inuvik
Music Director Andrew Davis drops the puck at the face-off between Toronto and Finland
ANDREW DAVIS AT ROY T H O M S O N HALL 175
Violist Stanley Solomon instructs a young student in Tuktoyaktuk, September 1987
that Herbig would eventually become the new Music Director. Armstrong had initially
contacted two conductors about the position: Mariss Jansons was not available since he
had just completed negotiations for another position, and Kurt Sanderling replied that
he was too old and instead recommended Herbig. Armstrong met with Herbig in
Detroit (where he was the music director of the Detroit Symphony) and again in Israel.
After much planning and discussion Herbig agreed to come to the TS.
Meanwhile, some important changes were taking place within the orchestral
ranks. Jascha Milkis was promoted to second concertmaster and Steven Dann, a
Canadian violist who had previously been principal violist with the Amsterdam
Concertgebouw and the Vancouver Symphony Orchestra, signed a contract to become
principal violist with the TS. The search for a concertmaster was still proceeding, with
no immediate solution in sight.
The future of the Ontario Place summer season was also in doubt. Ontario Place
had requested more 'pops orientated' programs but wisely the orchestra responded by
asserting that they had no interest in backing up rock stars, and that they intended to
continue presenting classical music. (It should be remembered that when Ontario
Place opened, the provincial government stated that it was a place for all people, which
presumably includes those who enjoy the classical music repertoire.)
Principal flutist Nora Shulman with students from Detah, Northwest Territories,
September 1987
Double bass player Ruth Budd shares 'good vibrations' with students, Canadian
Odyssey tour, September 1987
In February 1988 the orchestra once again travelled west to take part in the
Olympic Arts Festival in Alberta. The first concert, given in the Jack Singer Concert
Hall in Calgary, featured Canadian artists Leslie Newman on flute, and Jennifer Swartz
on harp, playing Mozart's Concerto for Flute and Harp in C major, K 299. At the time
both young musicians were students in Toronto and were TSYO alumni. The program
concluded with Richard Strauss's Em Heldenleben, with Steven Staryk playing solo
violin. A second concert at the University of Lethbridge Theatre and a third in Banff at
the Banff Centre repeated the same program: Kke Wyck by Canadian composer Harry
Freedman, the Cello Concerto in A minor by Schumann with Canadian cellist Shauna
Rolston, and Brahms's Symphony No. 1 in C minor. For this tour the orchestra received
a grant of $225,000 from the Department of Communications.
A direct result of the recent Canadian Odyssey tour was the founding of 'Strings
Across the Sky,' the brainchild of TS violinist Andrea Hansen. In the spring of 1988,
Hansen, along with fellow TS musicians Patricia Krueger (percussion and keyboard)
and Ronald Laurie (cello), returned to the Arctic with a donation of nine violins for
children and videos of violin lessons by Andrea Hansen. These musicians realized the
desire of people in Inuvik, especially youth, for an opportunity to develop a deeper
musical knowledge and to learn to play classical music, and they saw an opportunity to
strengthen relations with the nation's northernmost citizens. Hansen, Krueger, and
Laurie left for the Arctic on 12 March, supported by funding from the Secretary of
State of Canada, Imperial Oil, and private donations. The TS Youth and Education
Committee later studied the feasibility of having the Toronto Symphony Youth Or-
chestra follow the senior orchestra's footsteps to the North. This project was presented
to the Board and received approval on 2 June, and the tour took place in May 1989.
Long-range planning is a necessary ingredient in the life of any symphony orches-
tra, but at the Board meeting in February it appeared that this planning was about to
assume greater importance. The Ontario Arts Council was involved in a long-range
plan that would cap grant increases to the five major arts organizations in the province
(the Canadian Opera Company, the National Ballet of Canada, the Shaw Festival, the
Stratford Festival, and the Toronto Symphony) and would allow discretion as to
individual allocation of funds. For the TS this announcement came at a difficult time.
Serious thought was being given to a permanent summer home and plans also included
additional touring to enhance the orchestra's international image.
The concerts for Andrew Davis's last season reflected the enthusiasm and
enjoyment he had in working with the TS. Gustav Mahler, a favoured composer, was
represented on 7 and 8 October with the Symphony No. 2 in C minor ('Resurrection'),
Andrew Davis's final concert as Music Director of the TS, April 1988. He is being presented with a
Canadian-made canoe by TS Board Presidents.
with soprano Joanne Kolomyjec, contralto Maureen Forrester, and the Toronto
Mendelssohn Choir. For the concerts on 3, 4, and 6 February 1988 Davis chose Edward
Elgar's The Dream of Gerontius, with mezzo-soprano Alfreda Hodgson, tenor Keith
Lewis, bass Stafford Dean, and the Toronto Mendelssohn Choir. Four performances of
Mahler's Symphony No. 8 brought together more soloists and choirs that Davis had
worked with: Faye Robinson, Mary Lou Fallis, Alfreda Hodgson, Gary Relyea, Phyllis
Bryn-Julson, Janis Taylor, Artur Korn, Timothy Jenkins, the Vancouver Bach Choir,
the Toronto Children's Chorus, the Toronto Boy's Choir, and the Toronto Mendelssohn
Choir with its conductor, Elmer Iseler. Davis had experienced wonderful co-operation
with the Mendelssohn Choir and Elmer Iseler, and their kindred affinity for choral
music had given Toronto many memorable choral performances.
On 31 October and 1 November, Andrew Davis was at Carnegie Hall for the last
time as Music Director of the TS. The first concert included Mendelssohn's Violin
Concerto in E minor with Itzhak Perlman as well as Stravinsky's Le sacre du printemps
(The Rite of Spring). Jon Vickers, who was to have been the guest artist for the second
concert, was taken ill at short notice. Fortunately, Itzhak Perlman agreed to fill Jon
Vickers's portion on the program by playing Beethoven's Violin Concerto in D major.
On 10 and 11 February pianist Mitsuko Uchida and violinist Steven Staryk (former
concertmaster of the TS) were soloists. Mitsuko Uchida played Arnold Schoenberg's
Piano Concerto and Steven Staryk played the solo violin for Em Heldenleben by Richard
Strauss. Andrew Davis also participated in an Evening Overture chamber concert and
conducted the TSYO during the season.
In his association with the TS, Davis had presented many different musical styles
and interpretations. He was confident in the position he had undertaken. In an early
interview, he said, 'Age doesn't enter into it. An orchestra can form an opinion of a
new conductor within a quarter of an hour, and if he can prove his abilities, they will
accept him.' Trumpeter Johnny Cowell said, 'We all knew very early that Davis was the
one. The talent was there at the first rehearsal.' At rehearsals, Davis shunned the
tantrums of the old'Style podium lions who used to rant and roar to achieve their
musical goals. He used humour as his preferred approach. At difficult rehearsals he
could be heard to say, 'I might as well save my breath to cool my porridge.' During his
tenure, Davis's efforts for and dedication to the orchestra had transformed it from 'just
another symphony orchestra' to a virtuoso ensemble. Fortunately, the orchestra was not
going to lose him entirely - he signed a contract to remain as conductor laureate, and
would consequently return every season to conduct one or two programs.
The season end also saw the retirement of four long-serving members of the
orchestra: Stanley Solomon, principal viola emeritus, left after forty-one years, clari-
nettist John Fetherston after thirty-two years, cellist George Horvath after thirty years,
and violinist Stanley Kolt after twenty-one years. It is always sad to see long-time
members depart because they have contributed so much talent and expertise to the
orchestra. Past members of an orchestra are also a fountain of knowledge, with their
recollections and reminiscences of people and events. Finally, principal bassoonist
David McGill left to take the same position with the Cleveland Orchestra.
The Board of Directors closed the season with two important decisions. First, in a
rather unorthodox move, they approved the appointment of Giinther Herbig in a series
of steps: as Artistic Director for the 1988-9 season, Music Director designate for the
1989-90 season, and Music Director for the 1990-1 and 1991-2 seasons. Second, on
Maestro Herbig's recommendation, they appointed Jacques Israelievitch, the
concertmaster of the St Louis Symphony Orchestra, to the same position with the TS,
beginning with the 1988-9 season.
CHAPTER TEN 1988-1994
Gunther Herbi
Music is the arithmetic of sounds as optics is the geometry of light.
CLAUDE DEBUSSY
Giinther Herbig made his debut with the TS in February 1982 with an inspired
performance of Bruckner's Symphony No. 8. Herbig was born in Usti nad Labem,
Czechoslovakia, in 1931. He began his music study at the age of nine with lessons in
piano, cello, and flute, and in the early 1950s studied conducting at the Musikhochschule
in Weimar with Hermann Abendroth. Later he also studied with Hermann Scherchen,
Arvids Jansons, and Herbert von Karajan. He held conducting positions at the Deutsches
Nationaltheatre (Weimar, 1957-62) and the Hans-Otto-Theatre (Potsdam, 1962-6),
the (East) Berlin Symphony Orchestra (1966-72 and 1977-83), and the Dresden
Philharmonic Orchestra (1972-7). In the late 1970s he began to appear in the West,
and was principal guest conductor for the Dallas Symphony Orchestra (1979-81) and
the BBC Northern Symphony Orchestra in Manchester (1981-4). In 1984 he was
appointed music director of the Detroit Symphony Orchestra, a position he held until
1990.
In addition to Jacques Israelievitch, the new concertmaster, and new principal
violist Steven Dann, there were six new faces in the orchestra: violinist Marie Berard
(who had been concertmaster of the TSYO), violist Dan Blackman, cellist Kirk
Worthington, bassist Charles Elliot, trumpeter James Spragg, and clarinettist Joseph
Orlowski. Principal violist Osher Green resigned to take up a position with the
Rochester Philharmonic Orchestra.
1988-1989 Everything looked promising for this new season. Subscriptions (totalling 45,247) were
up more than 1,000 from the previous season. The long-standing dispute with Roy
Thomson Hall on the amalgamation of box offices had been successfully resolved.
Long-range planning was a top priority, covering all the issues important to the future
of the orchestra. Many of the items up for discussion were linked with the ongoing
'Fund for the Future' campaign. The purpose of this venture was to build the Endow-
ment Fund up to a level that could realistically meet the requirements of a present-day
GUNTHER HERBIG 183
symphony orchestra. Other issues of vital importance included recording and broad-
casting strategies and attracting a younger audience. Another project was the establish-
ment of a summer home for the TS. In September, the Ontario Ministry of Culture
announced they were prepared to fund 50 per cent of the cost for a feasibility study to
investigate a suitable location.
The Toronto Symphony was asked by the Metropolitan Toronto Community
Foundation to administer the Tom Thomas Scholarship Fund. This fund, set up by TS
Board member Tom Thomas, was designed to provide financial assistance for serious
young music students in Toronto. The scholarship fund has continued to allow many
young talented musicians to develop their skills and become important participants in
the Canadian music scene.
Gunther Herbig conducted the opening concert of the 1988-9 season. The pro-
gram opened with the overture to Carl Maria von Weber's opera Oberon. Violinist
Midori joined the orchestra for the Violin Concerto in D minor by Sibelius, and the
concert ended with a performance of Brahms's Symphony No. 1 in C minor - a good
indication of Herbig's future plans for programming. His interpretation and intense
rehearsal technique reminded the musicians of Karel Ancerl, with his demanding
emphasis on detail and correct balance. On 26-7 July, during the 1989 summer season,
Herbig and Midori were back on stage with the young and talented cellist Matt
Haimovitz for a performance of the Brahms Double Concerto in A minor for violin and
cello, op. 102.
Andrew Davis returned to the orchestra for the first time under his new designa-
tion, Conductor Laureate, conducting a performance of Mendelssohn's Elijah - an
oratorio often performed during the late nineteenth and early twentieth centuries but
rather neglected these days. Davis brought together a group of artists with whom he had
been closely associated during his time in Toronto: mezzo-soprano Florence Quivar,
tenor Jerry Hadley, soprano Alessandra Marc, and treble Darren Dunstan. The Toronto
Children's Chorus, the Toronto Mendelssohn Youth Choir, and the Toronto
Mendelssohn Choir fulfilled the extensive choral requirements of the oratorio. The
other major choral presentation of the season was the performance of J.S. Bach's
magnificent St Matthew Passion, conducted by the pre-eminent German choral conduc-
tor Helmuth Rilling. With the Toronto Mendelssohn Choir were soprano Sylvia
McNair (making her TSO debut), mezzo-soprano Ursula Kunz, tenor Howard Crook,
tenor Scot Weir, bass Philippe Huttenlocher, and baritone Daniel Lichti. These choral
concerts were just a taste of the International Choral Festival to be held in Toronto
during June.
Conductor Zubin Mehta at 'A Fusion of Harmonies/ March 1989
On 16 March the Toronto Symphony and the Israel Philharmonic Orchestra

joined forces for a spectacular performance entitled 'A Fusion of Harmonies.' The two
orchestras were conducted individually and collectively by Zubin Mehta, conductor of
the Israel Philharmonic, and the two soloists represented the youth of both countries.
The concert opened with the Israel Philharmonic playing O Canada followed by
Weber's overture to Oberon. Corey Cerovsek, a young Canadian violinist, then joined
the IPO for Mozart's Rondo in C major, K 373, and Saint-Saens's Introduction et rondo
capriccioso. Then the IPO left the stage, and the Toronto Symphony took their place,
opening with the Israel national anthem, Hatikvah, followed by Beethoven's Egmont
Overture. Sharon Kam, a young Israeli clarinettist, joined the TS for Weber's Clarinet
CUNTHER HERBIC 185
Concerto in E flat major. After the intermission, both orchestras were on stage for a
most memorable performance of Berlioz's Symphonic fantastique. The concertmasters
and principals of the two orchestras changed places after the third movement, so that
they could all have the honour of leading this combined orchestra of 230 musicians. To
accommodate this large orchestra, the stage area of RTH was enlarged by approxi-
mately twelve feet, covering the first six rows of the main-floor seating. This joint
cultural event raised $340,000 for each orchestra. After the concert, about 200 musi-
cians trooped over to Shopsy's Delicatessen for a post-concert dinner, and the guy at
the end of the line did pay - after all, it was Zubin Mehta who had invited them for a
midnight 'nosh.'
The 1989 International Choral Festival that took place in June had been the
brainchild of entrepreneur extraordinaire Nicholas Goldschmidt, who has had the
amazing vision, expertise, and insight to know when, where, and how to produce
successful festivals. The Toronto Symphony participated in five Festival concerts. For
the gala opening on 1 June Gennady Rozhdestvensky conducted a program featuring
five scenes from Mussorgsky's opera Boris Godunov followed by Sergei Prokofiev's
Alexander Nevsky with the Poliansky Choir of Moscow, the Obretenov Choir of
Bulgaria, and boys from St Michael's Cathedral Choir School. The two soloists were
bass Nikita Storojev and mezzo-soprano Mariana Paunova. On 4 June the TS was
joined by the Ontario Choral Federation Choir and the Toronto Children's Chorus.
For this concert Robert Shaw conducted four choral works by Brahms, including the
Aito Rhapsody with contralto Maureen Forrester, but the major choral work in the
program was Arrigo Boito's Mefistofele with bass Thomas Paul. On 11 June Robert Shaw
conducted a performance of Beethoven's Missa Soiemnis, with the Toronto Symphony,
the Mennonite Festival Chorus, soprano Benita Valente, mezzo-soprano Janis Taylor,
tenor Richard Margison, and baritone Tom Krause. The concert on 14 June, conducted
by Elmer Iseler, featured Andrew Lloyd Webber's Requiem with the Toronto Mendelssohn
Choir, soprano Jane Thorngren, tenor Vinson Cole, and treble Darren Dunstan. The
Festival closed on 30 June with Giuseppe Verdi's Requiem presented by the TS and the
Tanglewood Festival Chorus, conducted by Charles Dutoit, with soprano Alessandra
Marc, mezzo-soprano Jard van Nes, tenor George Gray, and bass-baritone Simon Estes.
This season had been a busy but rewarding one. On the administration side, future
plans looked promising. Meanwhile, the Toronto Symphony Youth Orchestra made
history with an Arctic tour that included concerts in Whitehorse at the F.H. Collins
High School and in Inuvik at the Sir Alexander Mackenzie School, along with a
chamber music concert at Igloo Church. Three run-out concerts were planned to
The Toronto Symphony goes to Australia
Aklavik, Fort McPherson, and Tuktoyaktuk (although the Tuktoyaktuk event unfortu-
nately had to be cancelled at the last minute as most of the town went hunting when a
flock of geese flew into town). In Inuvik, the orchestra attended a party arranged by
their billeting families. The food included roast caribou meat, and the musicians of the
orchestra were entertained by the Grollier Hall Drummers.
1989-1990 Giinther Herbig's second season saw a major change in the stability and fortunes of the
orchestra. However, the event that dominated the season was the three-week Pacific
Rim Tour that took the orchestra down the west coast of the Pacific Ocean from
Vancouver to San Francisco before heading out over the Pacific to Australia, Singa-
pore, Taiwan, and Japan.
The repertoire for the tour included a work by the talented Canadian composer
Alexina Louie - Music for Heaven and Earth. The soloist on the tour was the renowned
Canadian pianist Jon Kimura Parker, who played the Beethoven Piano Concerto No. 3
in C minor for eight concerts, giving the same immaculate performance at each. The
repertoire also included Brahms's Symphony No. 2 in D major, Mahler's Symphony No.
7 in E minor, Tchaikovsky's Symphony No. 5 in E minor, and the overture to Carl
CUNTHER HERBIC 187
Pianist Louis Lortie and composer Alexina Louie with the Toronto Symphony on the Pacific Rim
tour
Maria von Weber's opera Oberon. Herbig had wisely chosen compositions that reflected
a broad spectrum of the symphonic repertoire, including works of which he was a
recognized interpreter. The orchestra was well received everywhere it went and critics
were full of praise. The Japanese audiences had one small complaint: they are avid
collectors of recordings, and were disappointed that no CDs of the orchestra conducted
by Maestro Herbig were available.
The Minnesota Orchestra was engaged to fill one subscription week while the
orchestra was on tour. Edo de Waart conducted a program consisting of Tromba Lontana
by John Adams followed by Beethoven's Piano Concerto No. 2 in B flat major with
Peter Serkin as soloist, and Eine Alpensinfonie by Richard Strauss. In the same week, the
Philadelphia Orchestra was engaged for a special concert. Riccardo Muti conducted
Ferruccio Busoni's Movements from the Turandot Suite, Richard Strauss's Don Juan, and
Tchaikovsky's Symphony No. 6, op. 74 ('Pathetique').
In November, the management of the Pantages Theatre approached the TS regard-
ing the possibility of a joint venture to produce a five-concert classical pops series on
Sundays. The concept was an exciting one - the TS would be the first 'non-Phantom'
event to be held in this grand theatre. (The Phantom of the Opera was then in the first
year of what became a ten-year run.) The TS management studied the economic
feasibility of the series and the orchestra rehearsed a pops program in the theatre on
5 November. All agreed it was a terrific venue, but after much discussion and delibera-
tion, it was felt that the series was not economically feasible. Perhaps there was a lack of
vision and the possibilities for the future were not realized at the time.
Artistically the season had been successful. Jessye Norman was guest artist for the
opening concert in a performance of Mahler's Symphony No. 3 in D minor, accompa-
nied by the women's voices of the Toronto Mendelssohn Choir and the Toronto Boys'
Choir, conducted by Giinther Herbig. The subscription concerts on 22, 23, and
25 November were a choral tribute to Elmer Iseler, who was celebrating his twenty-
fifth year as conductor of the Toronto Mendelssohn Choir. The program opened with
the Symphony No. 7 in C by Jean Sibelius, followed by the world premiere of Derek
Holman's Tapestry (Five Medieval Lyrics for Chorus and Orchestra) conducted by Iseler.
The second half of the program was devoted to a performance of the Msa Glagolskaja
(Glagolitic Mass) by Leos Janacek conducted by Andrew Davis. The soloists were
soprano Faye Robinson, mezzo-soprano Jean Stilwell, tenor John Mitchinson, and
baritone John Cheek, with organist Michael Bloss. These concerts were a tribute to an
eminent Canadian choral conductor.
Marilyn Home, the distinguished American mezzo-soprano, sang the Ruckert Lieder
by Mahler with the TS on 26 January. In February, the Latvian conductor Mariss
Jansons made his TS debut with a program consisting of the overture to Rossini's opera
La gazza ladra, the Liszt Piano Concerto No. 1 in E flat major with soloist Jean-Yves
Thibaudet, and a polished performance of Rachmaninoff's Symphony No. 2. This
season included one of the most entertaining and enjoyable fund-raising gala events in
the orchestra's history: Liza Minnelli gave an exuberant performance of songs associ-
ated with her and with her mother, Judy Garland. Minelli's enthusiasm and stage
presence left the audience satisfied that the evening had indeed been well spent.
The end of this season, however, revealed a serious financial situation. The deficit
had risen from $589,270 to $1,583,395. In his report at the Annual General meeting
treasurer T. Iain Ronald said that the primary causes for the deterioration in financial
stability were deficits from the Pacific Rim tour and a reduction in government grants.
The high operating deficit was a concern to the Board, and further opportunities for
expense reduction were actively pursued. The Board had been informed that all was
under control, but the facts did not support this statement. Another costly tour was
planned for the 1990-1 season - this time to Europe. In a memo to the Board of
Directors, Managing Director J. Wray Armstrong expressed his concerns regarding the
financial situation and recommended that the long-range planning approved during
the season be scaled down and that all expenses be closely examined.
GUNTHER HERBIG 189
The 1990-1 season, in which Giinther Herbig assumed the title of Music Director, was 1990-1991
a busy one with a full complement of concerts in Roy Thomson Hall and a mini-tour to
Ottawa, Montreal, and Carnegie Hall in New York, along with the much-discussed
two-week tour in Europe. A number of guest artists and conductors made their TS
debuts, including violinist Kyoko Takezawa, cellist Heinrich Schiff, soprano Christine
Brewer, recorder player Michala Petri, pianist Cecile Ousset, and conductors Mark
Elder and Velery Gergiev.
The mini-tour was well received. The program for Montreal and New York opened
with Anton Webern's Six Pieces for Orchestra, op. 6. Cho-Liang Lin joined the orchestra
for the Prokofiev Violin Concerto No. 1, and the concerts ended with Schubert's
Symphony No. 9 in C major ('Great'). The two concerts in Ottawa - part of the
National Arts Centre Orchestra subscription series - consisted of Claude Debussy's La
mer, Death and Transfiguration by Richard Strauss, and Prokofiev's Violin Concerto
No. 1, again played by Cho-Liang Lin.
There were a number of notable concerts in Toronto as well. On 5-6 October the
orchestra gave the world premiere of Canadian composer Gary Kulesha's The Midnight
Road with Simon Streatfield conducting. This work had been commissioned by the TS.
Franz-Paul Decker conducted the TS premiere of Schoenberg's Pelleas und Melisande. A
performance of Schoenberg's Violin Concerto, played by Christian Tetzlaff in his TS
debut, was also a TS concert premiere. Returning guest artists included Yo-Yo Ma,
Nigel Kennedy, Emanuel Ax, and Andre Watts.
In April of 1990, Herbig sent a memo to Wray Armstrong stating his personal
concerns about the future of the orchestra and the delay in acting on issues that had
been raised. Conductors have some degree of influence in orchestral administration.
Herbig was noted for his knowledge in this area and was well aware of the challenges
faced by board and management. Five main concerns had not been addressed: improve-
ment to the Roy Thomson Hall acoustics, a recording contract, an increase in the
orchestra's presence on television and radio, short tours, and a summer home. Herbig
stated that unless some definite action was taken in these areas, he would postpone
contract renewal negotiations until a later date. On 26 October the executive commit-
tee of the Board decided that because of the downturn of the economy it was not
possible to proceed as rapidly as Herbig desired. After full and thorough discussion the
Board reluctantly agreed that Maestro Herbig's contract would not be renewed after the
1991-2 season.
On 15 November, the Executive Committee of the Board had unanimously agreed
to cancel the European tour but a short time later new information came to light that
made them reconsider. For both artistic and financial reasons, the decision was reversed
and the Board, with the executive committee's blessing, decided to proceed with the
tour. The itinerary included two concerts in Britain (one at the Barbican in London
and the other in the Royal Concert Hall in Glasgow), followed by concerts in Paris,
Munich, Frankfurt, Hanover, Cologne, and Stuttgart. The repertoire consisted of The
North Wind's Gift by Raymond Luedeke, Bela Bartok's Viola Concerto with Yuri Bashmet
as soloist, Brahms's Symphony No. 1 in C minor, Anton Bruckner's Symphony No. 6 in
A major, Beethoven's Egmont Overture, and Mendelssohn's Violin Concerto in E minor
with Midori as soloist. The tour was well received. Critics praised the TS's performance
but also commented on the orchestra's financial woes and internal problems.
Meanwhile back in Toronto the financial situation was not improving - on the
contrary, things were getting worse. An accumulated deficit of over ten million dollars
was considered unacceptable and various suggestions for future plans were tabled at
Board meetings. Long-range planning was replaced with short-term survival. On 25
April Wray Armstrong, who had been Managing Director for the last four years,
announced that he had accepted a post at ICM Artists (London) effective 1 August
1991. Armstrong later commented that the Board appeared to be split in its thinking.
They had been supportive of the long-range plans that Armstrong had proposed, but
when it came time to put these plans into operation, the Board was not prepared to give
its approval.1 Many Board members felt that Armstrong was making changes too fast.
Armstrong also said that Giinther Herbig was more and more frustrated by the Board's
lack of vision and commitment, and indicated that Toronto was getting the orchestra it
deserved.
Now the Board was searching for a new managing director in addition to a
replacement for Maestro Herbig. To relieve the situation they asked Herbig if he would
be willing to extend his tenure until the end of the 1992-3 season. Herbig agreed, but
asked to retain the title of Music Director. His cooperation helped to provide much
needed continuity and artistic strength. However, the annual financial report showed a
season deficit of almost two million dollars.
1991-1992 This was the seventieth anniversary season of the Toronto Symphony, and the opening
night was truly special. The Lieutenant Governor of Ontario, Lincoln M. Alexander,
was in attendance. The concert, conducted by Gunther Herbig, opened with two
anthems - Godfrey Ridout's arrangement of O Canada and MacMillan's arrangement
of God Save the Queen - followed by the world premiere of Tradirunt me in manus
GUNTHER HERBIG 191
Concertmaster Jacques Israelievitch and Second Concertmaster Jascha Milkis
impiorium II, a work by the TS composer-in-residence Walter Boudreau. The composi-

tion, a TS commission for the gala concert, was designed to incorporate extra players by
doubling the wind parts, and on this occasion, the TS was joined by alumni of the
Toronto Symphony Youth Orchestra. Canadian contralto Maureen Forrester followed
with Brahms's Alto Rhapsody, and then Canadian pianist Andre Laplante and the
Toronto Mendelssohn Choir joined forces with the Toronto Symphony for a brilliant
performance of Beethoven's Fantasia for Piano, Chorus and Orchestra. The evening
concluded with Dvorak's Symphony No. 9 in E minor ('From the New World').
The first concert of the subscription series was also an exciting season opener.
Giinther Herbig conducted a Richard Strauss-Wagner program with the celebrated
soprano Jessye Norman. Richard Strauss's Don Juan was followed by Wagner's setting of
five poems by Mathilde Wesendonck, known as the Wesendonck Lieder, sung by Jessye
Norman. The balance of the program was devoted to excerpts from three of Wagner's
operas: the Prelude to Die Meistersinger von Nurnberg, the Prelude to Tannhauser, and
the Prelude and Liebestod from Tristan und Isolde, again with Jessye Norman.
Two choral concerts were devoted to the music of Mozart, in commemoration of
the 200th anniversary of his death. The first concert included the Requiem, K 626, with
Gunther Herbig and a young fan

G U N T H E R HERBIG 193
soprano Christine Brewer, contralto Catherine Wyn-Rogers, tenor Jon Garrison, and
bass Thomas Paul, and the Toronto Mendelssohn Choir. The second was the annual
performance of Messiah, on this occasion using the Mozart arrangement of Handel's
masterpiece. The conductor was Vittorio Negri, considered to be one of Europe's
foremost champions of the Baroque, and the soloists were soprano Faith Esham, mezzo-
soprano Marietta Simpson, tenor John Mark Ainsley, and baritone Gary Relyea.
The financial situation was not improving. In August 1991 the Board announced
that the cumulative deficit would be more than three and a half million dollars,
primarily due to low subscription sales, cancelled summer concerts, and fund-raising
expectations that were off by almost $400,000. Strategic plans made for the future were
delayed until February 1992, and it seemed that any major plans had been placed on
the back burner. At the beginning of the season Peter Ross, the Director of Develop-
ment, had been appointed acting Managing Director until a new Managing Director
could be found. In November William H. Broadhurst, the chairman of the Board,
announced that Max Tapper had been appointed to the position. Tapper had been the
executive director of the Winnipeg Symphony Orchestra. Prior to that appointment,
which he had held for six years, he was director of development for the Royal Winnipeg
Ballet. In an interview with Michael Crabb of the CBC, Tapper made several interest-
ing statements that raised a few eyebrows within the TS. When asked by Crabb how he
intended to deal with the accumulated debt of $3.7 million and how he intended to
save the orchestra, his reply was that the TS did not need saving, and that he was of the
opinion that the debt could be handled. At the end of the interview Crabb said, 'Max,
you really are an idealist! Is that what got you into this business?' Tapper replied, 'I got
into this business because I was a lousy actor. I was invited to begin some work in the
management side of things and I guess I found my role.' The point in all of this,
however, is that anyone who was engaged to take over the TS at this time would have
been in for a formidable challenge.
Tapper's first goal was to stop the bleeding. The musicians' contract gave a 6 per
cent raise in the second year and had a back-loading clause that would, with the
increase from forty-eight to fifty weeks, add an effective 12 per cent in the third year.
This was about to kick in. Tapper had a back-loaded three-year contract going into the
depth of a recession. In four months he had to cut more than two million dollars out of
the next season's budget. This meant a 15 per cent cut across the board. The musicians,
naturally, were angry and upset and the threat of bankruptcy hung over the whole
organization. No level of government offered a bailout. The offer made to the musi-
cians meant that the minimum pay would drop from $57,000 to $48,300 for a forty-
two-week season. On Thursday, 25 June, the musicians rejected the offer. On Friday,
26 June, the accountants added up the assets in preparation for filing for bankruptcy the
following Monday morning. All staff and musicians were asked to remove personal
belongings from the premises. During the weekend William Broadhurst, the chairman
of the Board, received a call from the musicians asking for a delay in the filing. They
wanted to discuss a plan of income sharing that Tapper had previously put forward. On
2 July, the negotiating teams met and reached an agreement under which management's
offer was accepted along with a plan whereby any income over the break-even point
would be shared between musicians and the organization. The musicians felt they had
been made to bear the brunt of bad management, and quite possibly they were right. With
a $15.5 million break-even budget set for the next year, the filing for bankruptcy was
withdrawn. The accumulated deficit at the end of the season was $3.3 million.
1992-1993 With the economic difficulties being dealt with and a pledge made to reduce the
cumulative deficit within three years, it was time to address the musicians' contract.
The management had asked the musicians to recommend a mediator to settle a number
of outstanding non-monetary issues, and during the summer months a representative of
Mediations Dispute Services had been working to bring both parties together. A further
session took place on 21 September. There were significant problems to be solved but a
resolution seemed possible. Rehearsals had begun and both management and the
musicians were operating in good faith. An agreement in principal had also been
reached with Roy Thomson Hall whereby the rent was reduced by 15 per cent and
other outstanding issues were resolved. In early November an agreement with the hall
was signed. The Canada Council and Metropolitan Toronto grants were frozen for one
year, and the Ontario Arts Council grant was reduced. Administrative staff was downsized
to forty-one from a high of sixty-one in August 1990. Many guest artists agreed to a
major reduction in their fees for the season, which resulted in a $350,000 savings, but a
downturn in the Canadian dollar produced some slippage in this area. The end-of-the-
season financial statement showed a surplus of $256,000, reducing the cumulative
deficit of $3,345,904 to $3,089,688 - an encouraging step in bringing the TS finances
to a more acceptable level.
The opening program of the 1992-3 season consisted of two major orchestral
works: the Serenade No. 2 in A major by Johannes Brahms and Eine Alpensinfonie by
Richard Strauss. Perhaps Herbig was making a statement that behind the mire of
financial controversy there was an excellent orchestra that deserved magnanimous
GUNTHER HERBIG 195
support. The season line-up of guest con-

ductors and artists certainly endorsed
the high distinction of the TS on the
North American concert scene. Among
the artists who appeared with the or-
chestra or in the Great Performers se-
ries were violinists Anne-Sophie Mutter,
Isaac Stern, and Itzhak Perlman, and
pianists Vladimir Ashkenazy, Emanuel
Ax, and Alfred Brendel. Mariss Jansons
conducted a superb performance of
Mahler's Symphony No. 2 ('Resurrec-
Emanuel Ax tion') with soprano Alessandra Marc,
mezzo-soprano Jard van Nes, and the
Toronto Mendelssohn Choir. Hugh Wolff conducted two subscription concerts. Jukka-
Pekka Saraste made his TS debut on 4 November in a program that included two
pieces by fellow countryman Jean Sibelius - Pohjola's Daughter and The Swan of
Tuonela. The soloist for Beethoven's Piano Concerto No. 5 in E flat major ('Em-
peror') was another fellow countryman - pianist Olli Mustonen. Helmuth Rilling
conducted performances of Haydn's oratorio The Seasons.
The season ended with an abundance of choral activity. The last subscription
concert was a performance of Mahler's Symphony No. 8 in E flat ('Symphony of a
Thousand') conducted by Giinther Herbig, with sopranos Faye Robinson, Edith Wiens,
and Tracy Dahl, mezzo-sopranos Marietta Simpson and Jean Stilwell, tenor Richard
Taylor, baritone Richard Stilwell, and bass-baritone Gary Relyea, supported by the
Toronto Mendelssohn Choir, the Vancouver Bach Choir, and the Toronto Children's
Chorus.
On 6 June the 1993 International Choral Festival opened in Roy Thomson Hall
under the artistic direction of Nicholas Goldschmidt. This was the second such festival
organized by Goldschmidt, and the TS was engaged to participate in four concerts. For
the opening concert, Benjamin Britten's War Requiem was presented with Bramwell
Tovey conducting. The choirs were the Mennonite Chorus and the Toronto Chil-
dren's Chorus, with soloists soprano Lorna Heywood, tenor Ben Heppner, and bass
William Stone. On 16 June, two works were programmed: Antonin Dvorak's Te
Deum and Jean Sibelius's choral symphony Kullervo, both conducted by the eminent
Russian conductor Gennady Rozhdestvensky. The two choirs participating were the
Tchaikovsky Conservatory Choir and the Kullervo Festival Chorus, with soprano
Soile Isokoski and baritone Walton Gronroos. The work chosen for the third con-
cert, also conducted by Rozhdestvensky, was Mendelssohn's oratorio St Paul, a com-
position that has been overshadowed by his more popular Elijah. The Toronto
Mendelssohn Choir was indeed the appropriate choir for this performance. The
soloists were soprano Wendy Neilson, mezzo-soprano Gabrielle Prata, tenor Richard
Margison, and baritone Cornelius Opthof, The closing concert of the festival pre-
sented Beethoven's Symphony No. 9 in D minor. Soprano Henriette Schellenberg,
mezzo-soprano Janis Taylor, tenor Michael Schade, and bass-baritone Gary Relyea,
along with the Prague Philharmonic Choir, the Toronto Mendelssohn Choir, and the
Toronto Symphony were all conducted by Jukka-Pekka Saraste. Artistically the
festival was an overwhelming success. Choirs from many corners of the world enjoyed
a wonderful experience, and the soloists were for the most part Canadian. Unfortu-
nately, the festival was not a financial success. The TS finished their season with a
small reduction in the overall deficit.
1993-1994 Maestro Gunther Herbig had agreed to remain as Music Director for an extra season
while the search committee continued to look for a suitable replacement. During the
latter portion of the 1992-3 season, a successor was found. On 29 September Robert
Gillespie, the chairman of the Board, announced that Jukka-Pekka Saraste had been
appointed Music Director and would take over at the beginning of the 1994-5 season.
Gunther Herbig had an extensive repertoire and he did not hesitate to take ad-
vantage of it during his tenure with the TS. Like Ancerl, Herbig was always prepared to
give instructive and informative rehearsals and he worked to cultivate in the orchestra
a rich 'European' tone. Like Ancerl, he was also a disciplinarian. He worked hard to
balance the sound of the orchestra - not an easy task considering the deceptive
acoustics of Roy Thomson Hall - and achieved a certain success that was evident when
the orchestra performed in concert halls that were more conducive to orchestral
playing. In addition to his broad knowledge of music, Herbig had an extensive under-
standing of orchestral administration, a valuable asset for preparing future programs. In
the matter of personnel, however, there were occasions when more discretion would
have been in order; it was in this area that some musicians had difficulty in accepting
Herbig.
Herbig's interpretation of the works of Brahms, Beethoven, Tchaikovsky, Shosta-
kovich, and Hindemith is still remembered by musicians and audience alike. He
GUNTHER HERBIG 197
opened his last TS season with a concert

performance of Beethoven's opera Fidelia.
The highly acclaimed cast included tenor
Ben Heppner, soprano Eva-Maria Bund-
schuh, bass John Macurdy, soprano Edith
Wiens, tenors Benoit Boutet and Andre
Clouthier, baritone Allan Monk, bass-
baritones Gary Relyea and Brian Mcln-
tosh, narrator Werner Klemperer, and the
Toronto Mendelssohn Choir. Herbig's
final concert as Music Director of the
Toronto Symphony featured two works
by Brahms: the Violin Concerto in D
major with Itzhak Perlman as soloist and
the Symphony No. 1 in C minor. As
Soprano Henriette Schellenberg
always, he gave a deeply felt and impec-
cably musical interpretation. On 20 Oc-
tober when Herbig programmed the Kammermusik, op. 49, for piano, brass, and harp by
Hindemith, the pianist was his charming wife, Jutta Czapski.
In December the Toronto Symphony gave a special concert in honour of the
hundredth anniversary of Sir Ernest MacMillan's birth. The concert opened with
Andrew Davis playing MacMillan's organ solo Cortege academique, then Davis con-
ducted the TS for Overture, a work composed by MacMillan in 1924. The next piece in
the program was Altitude by Claude Champagne, a close friend of MacMillan's. The
concert ended with Hoist's The Planets, a work that MacMillan had admired and had
recorded in 1943 with the TSO for RCA Victor. This centennial celebration was
commemorated by an exhibit in Ottawa at the National Library of Canada, and for
December, a portion of the exhibit was transferred to the lobby of Roy Thomson Hall.
The concerts on 20, 21, 22, and 25 April included works by Johann Hertal,
Frangois-Adrien Boieldieu, Richard Strauss, and Mozart. The soloists chosen were all
principals of the TS: violist Steven Dann, violinist Mark Skazinetsky, cellist Daniel
Domb, clarinettist Joaquin Valdepenas, bassoonist Michael Sweeney, timpanist David
Kent, and harpist Judy Loman. It seemed this was Herbig's way of acknowledging his
appreciation of the musicianship of the orchestra. In an interview, Herbig was asked
about the status of the artist in Europe compared to North America. His answer was
that in Europe the artist is more treasured, while in North America the artist is adored.
Herbig had, and still retains, a high regard for the Toronto Symphony, and when he
returns for guest engagements the musicians are reminded of his unique artistry.
Unfortunately the financial situation had not improved. At the end of the 1993-4
season the overall deficit was still over three million dollars, due mainly to a reduction
in subscription sales. Aggressive competition for the entertainment dollar in the
Greater Toronto Area also contributed to the situation - a challenge that the TS had to
address resolutely and expeditiously.
CHAPTER ELEVEN 1994-2000
Jukka-Pekka Saraste
Music is well said to be the speech of angels; in fact, nothing among the
utterances allowed to man is felt to be so divine. It brings us near to
the infinite.
THOMAS CARLYLE
Jorma Panula, now retired as professor of conducting at the Sibelius Academy in

Helsinki, is still in demand the world over as a juror and teacher. All teaching faculties
and orchestras want something of the man and the method that launched Esa-Pekka
Salonen, Osmo Vanska, Sakari Oramo, and Jukka-Pekka Saraste, to name but four
successful students. Three of these young conductors have held positions with British
orchestras. Vanska was chief conductor of the BBC Scottish Symphony Orchestra, and
Oramo is music director of the City of Birmingham Symphony Orchestra. Saraste was
principal conductor of the Scottish Chamber Orchestra before he was appointed Music
Director of the Toronto Symphony Orchestra. All of these conductors have great
admiration for Panula's unerring instinct for talent, and an appreciation of Finnish
culture and music that goes back to Sibelius and before.
For the previous thirty years the succession of music directors for the TSO had
followed a pattern of a young, developing conductor taking over from a older, experi-
enced one: Seiji Ozawa took over from Walter Susskind, Andrew Davis from Karel
Ancerl, and now Saraste was taking over from Giinther Herbig. In each case, the
younger conductor inherited an orchestra that played with a precision and style
developed by an older and more mature maestro.
Max Tapper had begun searching for a music director to replace Herbig in the
midst of the financial turmoil of 1991-2. The TSO needed a young, energetic, enter-
prising conductor with an interest in contemporary music. The aim was to develop
more publicity, attract younger audiences, and create musical excitement. Saraste made
his TSO debut in November 1992 to conduct a program of Beethoven, Sibelius, and
Scriabin. The entire orchestra immediately sensed something special. The musicians
liked Saraste, and Saraste liked the TSO. On 29 September 1993, it was announced
that Jukka-Pekka Saraste would become the next Music Director of the TSO. With
Saraste's arrival the orchestra reverted to the original form of its name - Toronto
Symphony Orchestra.
JUKKA-PEKKA SARASTE 201
Toronto Symphony Orchestra, Jukka-Pekka Saraste, Music Director
Jukka-Pekka Saraste's appreciation for his country's most famous composer, Sibelius, 1994-1995
was immediately apparent. The first concert of the subscription series was devoted to
three Sibelius Symphonies: No. 5 in E flat, No. 6 in D minor, and No. 7 in C major. For
the final concert in the Masterworks Series, Sibelius was again represented with the
suite from Tempest, the Violin Concerto with soloist Ida Haendel, and the Symphony
No. 1. Saraste also had an interest in assembling new suites of well-known composi-
tions: the concerts on 12, 13, and 15 October included his suite of selections from
Prokofiev's Romeo and Juliet, arranged to convey the action and emotions of the story.
In November Andrew Davis conducted a program entitled 'A Celebration of Strauss.'

Ben Heppner was the soloist for five arias, which later became the basis for an excellent
CBC recording of Richard Strauss's music played by the TSO with Davis conducting.
Recordings are vital to the professional status of a major orchestra, but the TSO had
been without a contract since the two recordings made with EMI in 1987. During the
mid-1980s Naxos was beginning to broaden its recording base, and had approached the
TSO, but after a consultation with the musicians the offer was turned down. This was
unfortunate, especially now that Naxos is receiving worldwide acclaim for high quality
budget-priced recordings. Both the Finnish Radio Symphony Orchestra and the Scot-
tish Chamber Orchestra had secured recording contracts under Saraste's conductor-
ship. On 5 April 1995 the TSO accepted a proposal from Warner Music to record seven
discs over the next three years - one with Warner's Erato label and six with the
Finlandia label, secured through Saraste's efforts.
The 1994-5 season also saw a sudden administrative change. In early April, Max
Tapper informed Board chairman Robert Martin of his decision to resign as Managing
Director of the TSO effective 30 April 1995, in order to pursue another career
direction. Speculation, however, suggested that his reason for leaving may have been
personal. Tapper had been faced with many problems, the worst being in 1993 when
the orchestra narrowly avoided voluntary bankruptcy. The drastic measures he intro-
duced at that time had saved the orchestra. The Board felt that the TSO should not be
without executive leadership for an extended period. Someone who knew both the
demands of the art form and the business of symphony orchestras was needed immedi-
ately. To that end, the Executive Committee unanimously recommended the tempo-
rary appointment of Stanley Shortt, a long-time member of the Board who had
extensive experience within the business community, as Managing Director until a
permanent replacement could be found.
1995-1996 In Canada during the 1990s various levels of government were reducing their support
of performing arts organizations to such a degree that it seemed they were neglecting
of the cultural heritage of the nation - or at least setting a new basis for funding
whereby arts organizations were forced go to the corporate and private sectors for
substantial financial support. Total cuts in government support for the 1995-6 season
amounted to 13.9 per cent with a further 20.8 per cent anticipated for the 1996-7
season. In the United States, a support framework of corporate and private donors is
commonplace and, to a certain extent, successful, owing to generous tax breaks given
Larry Weeks, Principal Trumpet, 1983-97
to sponsors of the arts. Advantages available to American orchestras also include postal
subsidies, and exemptions from sales tax and from capital gains tax for gifts of appreci-
ated property. Orchestras in cities such as New York, Boston, Cleveland, and Chicago
have built up substantial endowments because of such advantageous arrangements.
Contract negotiations with the musicians were also scheduled during this season -
the first contract negotiations since the 15 per cent cut in 1995. It would not be easy to
reach a settlement when cash-flow difficulties were an ongoing challenge and reduced
support from all levels of government was reflected in an overall deficit of $3.6 million
by the end of the year. However the new four-year contract completed in March 1995
allowed for break-even budgets for all subsequent years. The musicians had agreed to an
increase to forty-three weeks in the 1997-8 season and to forty-four in the 1998-9
season. They would receive a 1 per cent increase in 1996-7 and 2Vi per cent in 1997-8.
Stanley Shortt reported that this agreement had been achieved through hard work and
cooperation from all parties.
While financial problems were being dealt with, the orchestra continued to present
interesting and exciting concerts. On Saturday, 9 March, the TSO performed at
Carnegie Hall, New York, with guest artist Frank Peter Zimmermann, who played
Beethoven's Violin Concerto in D major. Two Sibelius symphonies - No. 6 in D minor
and No. 7 in C major - completed a well-received program. The President's Evening on
21 May was a fund-raising gala concert in support of the TSO. Two internationally
acclaimed artists - Itzhak Perlman and Pinchas Zukerman - played the J.S. Bach
Concerto for Two Violins in D minor and Mozart's Sinfonia Concertante in E flat
major, and Jukka-Pekka Saraste conducted the Funtek and Gortchakov arrangement of
Mussorgsky's Pictures at an Exhibition to complete the concert. This festive evening
added a net profit of more than $200,000 to the TSO's depleted treasury.
1996-1997 After a season in which money problems had clouded the artistic scene, the celebration
of the seventy-fifth anniversary of the TSO promised a refreshing change. The main
theme for the season was an invitation to all previous music directors and assistant
conductors to return for a visit and once again conduct the orchestra. On 29 November
Seiji Ozawa came for a memorable program of Toru Takemitsu's Requiem for Strings,
Mozart's Piano Concerto in A major, K 414, with Leon Fleisher, and Dvorak's Sym-
phony No. 9 in E minor ('From the New World'). This concert was the focal point for
the launching of the Fund for the Future campaign - a project planned to raise $10
million to strengthen the Endowment Fund so that it could play a more significant role
in the financial life of the orchestra. Andrew Davis, the TSO Conductor Laureate,
returned for two consecutive weeks. His first week included Brahms's Piano Concerto
No. 2 in B flat major, with Emanuel Ax as soloist, and Richard Strauss's Ein Heldenleben
(A Hero's Life). In his second week he presented a choral work that had played an
important part in his conducting career: Leos Janacek's Glagolitic Mass with soprano
Eva Urbanova, mezzo-soprano Maria Popescu, tenor Gary Lakes, bass-baritone Gary
Relyea, organist John Tuttle, and the Toronto Mendelssohn Choir. Between the main
concerts Davis also conducted a Young People's Concert (a series he often led during
his years as Music Director). The last work on the program was Carnival of the Animals
by Camille Saint-Saens, with pianists Andrew Davis wearing a lion costume and
Patricia Krueger wearing a lion tamer's costume complete with black leather boots! Did
those children enjoy the afternoon? Their laughter and screams of delight almost
drowned out the music, and they will undoubtedly remember that day every time they
hear this music.
Victor Feldbrill began his long association with the TSO in high school when he
became his school's representative for the student concerts under Sir Ernest MacMillan.
MacMillan also gave him an opportunity to conduct the TSO in 1943. Feldbrill was a
violinist in the orchestra from 1949 to 1956. In the mid-1970s he created and devel-
oped the orchestra's Light Classics series. For this seventy-fifth season he conducted the
opening concert of that series. Feldbrill also founded the TSYO and served as conduc-
tor from 1974 to 1978.
Kazuyoshi Akiyama, who was an as-

sistant conductor of the TSO during
the Ozawa years, came back on 5, 6, and
8 March to conduct a program that in-
cluded Rachmaninoff's Piano Concerto
No. 2 with Arthur Ozolins as soloist, and
Tchaikovsky's Symphony No. 4 in F
minor. In the Great Composers series,
Giinther Herbig, who was well known
for his interpretations of works by Brahms,
returned to conduct two Brahms sym-
phonies: No. 1 in C minor and No. 3 in
F major.
For the opening concerts of this
seventy-fifth season Yo-Yo Ma was the
guest artist performing the Elgar Cello
Andrew Davis in costume for a performance Concerto in E minor on 17 September
of Carnival of the Animals
and the Dvorak Cello Concerto in B mi-
nor on 18 September. In that same week,
the TSO returned to Massey Hall for a special seventy-fifth anniversary concert,
complete with nostalgic repertoire and a video produced by Norman Campbell portray-
ing many of the orchestra's historical milestones. Shuter Street was closed between
Victoria Street and Yonge Street to allow for further festivities after the concert. One
work included in the concert was A Summer Idyll by Leo Smith, the principal cellist of
the TSO from 193 2 to 1940.
The President's Evening concert saw Anne-Sophie Mutter return to perform
Mozart's Violin Concerto No. 4 in D major, K 218, and the Carmen fantasie by Pablo de
Sarasate. During this season, the TSO participated in a week-long Canadian music
celebration involving a collaboration of several new music organizations in Toronto
and entitled 'Made in Canada.' The TSO also participated in the Northern Encounters
Festival, a celebration of music and arts of the circumpolar nations. The TSO's
contribution was three weeks of concerts, including a performance of Sibelius's Kullervo
with the distinguished Polytech Choir of Finland.
The season closed with a free lunchtime concert in Metro Square on 20 June 1997.
Mary Lou Fallis, dressed in the colours of the Canadian flag, joined Jukka-Pekka
Saraste and the TSO to sing O Canada at the top of the program. Later, she entertained
the audience with two of her favourite songs: Paddle Your Own Canoe and Oh! What a
Difference Since the Hydro Came.
On 3 July, Stanley Shorrt welcomed and introduced Gary Kulesha to the TSO
Board as Composer Adviser. This position had been established to support and review
the many contemporary scores that were submitted to the orchestra.
1997-1998 Over the past few seasons, ticket prices had become a subject of much discussion. The
TSO, like other performing arts organizations, realized that patrons were more budget
conscious. In the 1950s, 1960s, and 1970s patrons who purchased subscription tickets
for series of ten to twelve concerts considered it no great loss if they found they were
unable to attend two or three performances. However with the less stable financial
situation of the mid-1980s patrons had become more concerned about their entertain-
ment dollar. If they purchased a series, they wanted to be sure that all the tickets would be
used. Consequently, single tickets sales began to rise while subscriptions were on a down-
swing. This was especially true for large series; smaller series also were losing ground but
not as quickly.
In his memoirs, Sir Georg Solti made the following observation about subscription
series:
Every system has its disadvantages, and to my mind a common disadvantage in the
United States is the subscription series, which is needed because there are no state
subsidies. If well over ninety per cent of the seats for an entire concert season are sold
many months in advance by subscription, as was the case in Chicago during my time
there, the organization enjoys a wide margin of financial safety, but subscriptions do
not always create the best atmosphere for music-making. An ideal audience is made
up of people who see that a certain programme is going to be given, are interested in
hearing those pieces, and buy their tickets accordingly. Many subscribers attend
concerts simply because they have already paid for their tickets. Regardless of the
works being performed or who is performing them, they go every Tuesday, Thursday
or Saturday, even if they aren't in the mood. Many are easily distracted and cough or
clear their throats during soft passages or long-held notes. I found this so annoying
once that I turned to the audience and said: 'If you knew how long we worked on this
pianissimo phrase, you would control your coughing.'1
Solti may not be alone in his opinion. On one occasion, when an excessive amount of
coughing during a slow movement of a symphony was followed by a crescendo of

coughing during the short break, Andrew Davis turned to the audience and said, 'Let's
all clear our throats so we can enjoy the music.' For the balance of the evening there
was noticeable restraint.
The season opened with Mahler's Symphony No. 8 in E flat ('Symphony of a
Thousand'). The large cast engaged for the three performances included sopranos Edith
Wiens, Christine Brewer, and Valdine Anderson, mezzo-sopranos Sara Fulgoni and
Christine Cairns, tenor Michael Sylvester, baritone Richard Zeller, and bass-baritone
Gary Relyea, along with the Toronto Mendelssohn Choir, the Kitchener-Waterloo
Philharmonic Choir, and the Toronto Children's Chorus. Including the orchestra,
Saraste was conducting a gathering of about 400 performers.
The orchestra left town for concerts in several other venues. The first was a visit to
the new Living Arts Centre in Mississauga. Hammerson Hall (its official title) was an
extremely pleasant facility with good acoustic qualities. The TSO was conducted by
Pinchas Zukerman, who also played the Mozart Violin Concerto No. 3 in G major, K
216, and Schubert's Rondo in A major for violin and string orchestra. The second out-
of-town concert was at Carnegie Hall in New York. The orchestra was joined by the
percussion ensemble Nexus for Toru Takemitsu's From me flows what you call time, a
work commissioned by Carnegie Hall for its 1990-1 centennial celebration. John
Wyre, one of the five members of Nexus, had been a percussionist in the TSO for a
number of years. The other work on the program was Lemminkdinen Suite by Jean
Sibelius, with the English horn solos magnificently played by the TSO's Gary Ebli.
Under Andrew Davis, the TSO had been fortunate to be invited to Carnegie
Hall on an annual basis. Unfortunately, during the recent financial struggles the
orchestra management unwisely cancelled a booking, with the result that Carnegie
Hall did not extend an invitation for the next few years. Concerts in this famous hall
are of vital importance to the ongoing reputation of any orchestra - on a par with
performances at the Salzburg Festival, the Edinburgh International Festival, or the
BBC Proms in Royal Albert Hall. At these venues, the proficiency of an orchestra is
demonstrated to the world, and excellent performances are remembered.
The Toronto Symphony Youth Orchestra was invited to participate in the highly
regarded Guelph Spring Festival. Under conductor David Zafer, they gave a high-
spirited and well-received performance of the overture to Mozart's opera The Marriage
of Figaro, Mendelssohn's Violin Concerto in E minor with soloist Shane Kim (a former
TSYO concertmaster), and Symphony No. 4 in F minor by Tchaikovsky.
The TSO also gave two concerts in the second 'Made in Canada' festival. The
first concert presented a number of new compositions by Canadian composers. The

second included the suite from Stravinsky's L'oiseau de feu (The Firebird). Perhaps
festival organizers were thinking of Ralph Vaughan Williams, who wrote, 'Many
young composers make the mistake of assuming that they can be universal before
they had been local.' The Stravinsky suite is perhaps an example of what it takes to
become universal.
On 25 June, George Tiviluk, the chairman of the Board, announced that Catherine
Cahill had been appointed Executive Director as of the end of August. The 'Fund for
the Future' campaign was also proceeding satisfactorily, with $6 million of a $10 million
goal raised to date.
1998-1999 Catherine Cahill came from the New York Philharmonic Orchestra, where she held
the position of general manager. She was energetic and enthusiastic, and was undoubt-
edly keen to undertake her new position. One of her first decisions was to cancel a
performance of Schoenberg's Gurrelieder. Planning for the production was already at
an advanced stage, due to the large choral forces needed for the work, but Cahill
decided that in view of the expense involved, it would be more profitable to open the
season with a three-week Beethoven festival. Cahill's decision did have some merit,
considering the TSO's large accumulated deficit, but since the last season had closed
with a Beethoven festival, it might have been better to present a Tchaikovsy or
Schubert festival.
A tour to Florida, the first tour the orchestra had undertaken since its European
tour of 1992, was the most exciting event of the season. The orchestra left Toronto on
25 January and gave its first concert in West Palm Beach. The soloist for the tour was
the young Canadian pianist Stewart Goodyear, who played the Rachmaninoff Rhapsody
on a Theme ofPaganini. Other tour repertoire included Jean Sibelius's Symphony No. 1,
Gary Kulesha's The Gates of Time (written in 1991 on a commission from CBC Radio),
and Beethoven's Symphony No. 3 in E flat major ('Eroica').
Conductor Laureate Andrew Davis returned to lead two moving performances of
Benjamin Britten's War Requiem with soprano Elena Prokina, tenor Ben Heppner,
baritone Hakan Hagegard, the Toronto Mendelssohn Choir, and the Toronto Chil-
dren's Chorus.
At the end of February 1999, the orchestra was surprised to learn that Catherine
Cahill had given notice to the Board that she was resigning. She said that she was
extremely sad to leave the orchestra, but because of family circumstances she had no
alternative but to take this step. This

was an unfortunate situation, since the
search committee set up by the Board
had spent much time in finding a suit-
able person for this important job. The
close of the season also meant that the
musicians' current contract had expired,
and there was every indication that the
new round of negotiations would be ex-
tremely difficult.
The 1999-2000 season was one of the 1999-2000

most controversial in the history of the
Toronto Symphony Orchestra, and by
Tenor Ben Heppner the end, the organization was faced with
many new challenges and conditions.
With the departure of Catherine Cahill,
the Board decided to engage the services of Nick Webster as adviser to management.
Webster had many years of experience on the administrative staff of the New York
Philharmonic Orchestra dealing with musician-management negotiations.
At a Board meeting on 13 May 1999 Gary Labovitz, chairman of the Orchestra
Committee, presented a statement reflecting the expectations of the musicians as they
headed into negotiations. He reminded the Board of the sacrifices the musicians had
already made. When bankruptcy was threatened in the mid-1990s, they took a 15 per
cent cut in salary (equal to eight weeks of work) to ensure the future of the orchestra.
The musicians had also agreed to reduce the orchestra's complement by three members
in order to keep costs down, to perform eight donated services per year (the equivalent
of one full week), and to virtually eliminate overtime payments by adding fifteen
minutes to the length of concerts. Labovitz went on to state that the musicians felt it
was unfortunate that the Board had not capitalized on these sacrifices.
On 18 August George Tiviluk, chairman of the Board, announced the cancellation
of an eighteen-day European tour planned for February and March 2000. Two or three
sources of significant funding that seemed certain a few months ago were now reluctant
to confirm their support, and without appropriate funding the Board was forced to
make this decision. Meanwhile, since contract negotiations were proceeding with no
prospect of a firm deal, the musicians announced that they would go on strike as of
Saturday, 25 September. The opening concert of the season on 23 September, with
Kathleen Battle as soloist, and two run-out concerts (to Barrie on 18 September and
Uxbridge on 19 September) were given before the strike deadline.
As of Saturday, 25 September, at 5:00 p.m. the TSO musicians were on strike for
the second time in the orchestra's seventy-five-year history. The first concerts were
cancelled immediately and cancellations continued as each week passed. In the midst
of the strike, however, two concerts with pop singer James Taylor were already sold out.
The musicians decided to suspend their strike just long enough to play the concerts, but
at the last moment, the plan fell apart and the musicians were left in an uncomfortable
situation with the union. The union had suggested to the TSO management that they
play the two concerts as a benefit for the striking TSO musicians. Meanwhile, James
Taylor had left Boston airport with the understanding that the concerts were on. Upon
his arrival in Toronto he was informed that they had been cancelled, so he stayed in the
airport and returned to Boston on the next flight. The many patrons who had bought
tickets for these two shows were not impressed and expressed their displeasure in
numerous letters, e-mails, and faxes.
As the strike continued through October and November, the musicians arranged
their own concerts at various venues in the city. One concert took place in the
warehouse of the Toronto Daily Bread Food Bank, and others were given in the Ford
Centre for the Performing Arts, the Columbus Centre, and the Rex Hotel. In an
interview on CBC Jukka-Pekka Saraste offered support for the musicians, but predicted
disaster for Ontario's foundering arts institutions unless a consensus in the community
was reached on how the arts were to be funded. 'If a society of culture wants to maintain
a first-rate arts organization such as this orchestra,' he said, 'it has to be prepared to pay
for it.' On Wednesday, 3 November, talks resumed for the first time since the strike
began, but broke off hours later when the negotiating committee representing the
striking musicians rejected what management called its final offer. At this point, the
Board took an unusual and controversial step: they sent copies of the proposal by
courier to each musician of the orchestra, advocating that the offer be put to a vote of
the whole orchestra - a questionable tactic when tensions were running high on both
sides. In early November, Jukka-Pekka Saraste called on Toronto mayor Mel Lastman
to step in and help to negotiate a settlement. On 1 December, a closed meeting took
place between management and City Hall. The mayor's office indicated they would
help only if both sides showed an interest in working toward a solution, and now both
parties appeared to be on board. On 7 December, the musicians and management met

in an attempt to resolve the wage dispute and were able to reach to an agreement on a
new four'year contract, which both sides consequently ratified. This meant that the
scheduled TSO concerts could resume, beginning with the annual performances of
Handel's Messiah conducted by Andrew Davis.
The agreement meant an increase in the minimum salary for the musicians from
$53,169 to $69,000 in year four (an increase of 29.8 per cent over four years). Despite
the savings on musicians' salaries, guest-artist fees, hall rental, and technicians' fees,
the TSO lost about $500,000 during the seventy-four-day strike. If the strike had
continued much longer, the shortened European tour that the Executive Committee
had finally approved would also have been lost. The shortened tour included concerts
in Germany, Austria, and Hungary; concerts in England and Spain that had been part
of the original tour were cancelled.
The strike left much to contemplate, including whether or not Toronto really
values its symphony orchestra. The quick answer is 'not much' - compared with the
public support shown by the citizens of Detroit, Cleveland, and Boston. In his column
in the Toronto Star on 18 December music critic William Littler commented that
perhaps the real question was whether we truly do want such an orchestra. The
musicians were surprised to learn of the apathy of the public towards their cause. Such a
thing could not happen in Cleveland - a city that cares enough about its orchestra
to have cushioned it with a multi-million dollar endowment and to have spent
$36 million to expand, renovate, and restore Severance Hall, making it once again a
state-of-the-art concert hall.
Early in 2000, preparations were made for the European tour. The soloists were all
resident in Europe, which relieved the TSO of additional travelling expenses. One of
the soloists was Sabine Meyer, a clarinettist who had for a short while been principal
clarinet for the Berlin Philharmonic Orchestra under Herbert von Karajan. She had
found it difficult to be the only female musician in the orchestra and had left to
eventually become one of the leading wind soloists of her generation. Meyer joined the
TSO for concerts in Berlin and Vienna, and at the Berlin Philharmonic she played
Weber's Clarinet Concerto No. 1 in F minor. German violinist Christian Tetzlaff
performed at four concerts: he played the Dvorak Violin Concerto in Stuttgart and
Cologne, and the Bartok Violin Concerto No. 2 in Frankfurt and Vienna. The balance
of the tour repertoire consisted of Dance Suite by Bela Bartok, Beethoven's Symphony
No. 7 in A major, Gary Kulesha's The True Colour of the Sky (a TSO commission), Peter
Lieberson's Fire, and Rachmaninoff's Sym-

phonic Dances. The third soloist was cel-
list Clemens Hagen, who played the
Shostakovich Cello Concerto No. 1 in
Vienna and Budapest.
The first concert in Europe was at
the Liederhalle in Stuttgart. This was fol-
lowed by performances at the Philharmonic
in Berlin, the Philharmonic in Cologne,
and the Patria Hall in Budapest. The tour
culminated with the prestigious Triale at
the Musikverein. One international or-
chestra is invited each season to give this
jukka-Pekka Saraste
series of three different programs. The visit
to Vienna had been in question just be-
fore the orchestra left Toronto. The inclusion of Joerg Haider's far-right Freedom Party
in Austria's coalition government had raised international concerns and the orchestra
questioned whether or not they should perform in Austria. Finally the orchestra
decided to go to Vienna, since the majority of Austria's population was not sympathetic
towards Haider, and was very much concerned about the situation. Other performing
organizations had the same dilemma, including the City of Birmingham Symphony
Orchestra and the Scottish Opera, but they all decided not to boycott Austria.
In all tours there are unexpected problems, and on this tour the problems involved
illness. Timpanist David Kent had to be admitted to a Berlin Hospital with a serious
bout of pneumonia and composer Gary Kulesha suffered serious migraine headaches
which forced him to return to Toronto. The most bizarre incident did not occur until
the TSO arrived back at Toronto Airport. In the excitement of a reunion with her
husband and daughter, violist Mary Carol Nugent left her valuable instrument on the
floor of the parking garage at Terminal 2. Both she and her husband thought that the
other had picked it up. On returning to the airport the viola was gone, but surprisingly
it was returned intact two months later. The person returning the instrument said he
had found it in the trunk of his car.
The tour proved a success, and demonstrated that the TSO produced a brilliant
sound, given the right facility in which to perform. Reviews received from all cities
where the orchestra played were highly appreciative and favourable.
At the beginning of April 2000, Jukka-Pekka Saraste announced to the Board that
he would be resigning at the end of the 2000-1 season. His reasons were simply that he
wished to return to Finland to continue to conduct the Finnish Radio Symphony
Orchestra, and also to become more involved in the European music scene. This
situation left the TSO without a music director to consult for the preparation of the
2001-2 season. The Board and management discussed the situation and decided to
approach Conductor Laureate Sir Andrew Davis for advice as to who might be avail-
able. Davis quickly remedied the problem by offering to assist, and Saraste also offered
to guest conduct the TSO for four weeks.
The opening of the 2000-1 season was a complete change from the usual format for 2000-2001
TSO 'first nights.' The orchestra made its season debut with an acoustical reading
session in the Apotex Theatre within the Toronto Centre for the Arts. The purpose of
this exercise was to evaluate the possibilities of this 1,800-seat auditorium for future
TSO use. In order to fulfil its mandate for more outreach the TSO was planning more
concerts in the Greater Toronto Area, and the Apotex Theatre was one of the facilities
chosen. The acoutistical reading sessions included excerpts from works by Samuel
Barber, Leonard Bernstein, Johannes Brahms, Dmitri Shostakovich, Igor Stravinsky,
Pyotr IPyich Tchaikovsky, and John Williams, with the conducting shared between
Errol Gay and Gary Kulesha. The results of the session were favourable and a group of
programs were chosen to be performed there at the end of the season.
The second performance of the season was another 'first.' The TSO, conducted by
Michael Lankester, was invited to play Prokofiev's memorable film score written for
Sergei Eisenstein's classic 1938 silent film Alexander Nevsky for a screening in Massey
Hall during the Toronto International Film Festival, as part of a special program for the
festival's twenty-fifth anniversary. The third 'opening night' for the season was origi-
nally planned to include Kennedy but he had cancelled due to recording commitments.
Christian Tetzlaff, who had performed with the orchestra on its recent European tour,
fulfilled the engagement with an outstanding performance of Brahms's Violin Concerto
in D major. For the Monday matinee repeat of the program, the talented young
Catherine Manoukian gave a vivacious performance of Dvorak's Violin Concerto in
A minor.
The 2000-1 season included two Canadian premieres. The first of these was the
Symphony No. 3 by Edward Elgar. The symphony had been commissioned by the BBC
in 1932, but was unfortunately left incomplete at Elgar's death in 1934. Elgar had asked
for the incomplete score to be burnt, but this did not happen. Instead, his daughter
The TSO's first release on Finlandia/Warner
Caroline presented the assorted sketches to Sir Adrian Boult as a representative of the
BBC. In 1993, after consultations with the Elgar family, AnAthony Payne began working
on a reconstruction of the symphony. The world premiere of the reconstructed work was
given by the BBC Symphony Orchestra conducted by Andrew Davis on 15 February
1998 in the Royal Festival Hall, London. The North American premiere was given the
following November by the Philadelphia Orchestra, again conducted by Davis. The
Canadian performance, originally scheduled for December 1999, had been postponed
because of the musicians' strike, but finally, on 6 December 2000, the Toronto Sym-
phony Orchestra gave the Canadian premiere of Anthony Payne's reconstruction of Sir
Edward Elgar's Symphony No. 3. The performance was an immense success. Andrew
Davis described the reconstruction as one of the greatest achievements of musical

detection, and praised Payne's imaginative creativity in his use of Elgar's sketches. The
musicians agreed that the score was woven together so well that it was difficult to
recognize the portions that were not Elgar's original.
Schoenberg's song cycle Gurrelieder - settings of Danish poems by Jens Peter
Jacobsen composed between 1900 and 1911 - requires an orchestra of 140 musicians -
the largest individual orchestra assembled on Roy Thomson Hall's stage to date. The
Toronto Mendelssohn Choir was augmented by the Victoria Scholars for a total of
200 voices and the stage was extended to allow room for the podium and the soloists.
The soloists for this exciting performance were soprano Andrea Gruber, mezzo-soprano
Lilli Paasikivi, tenors Ben Heppner and Benjamin Butterfield, bass-baritone Gary
Relyea, and narrator Ernst Haefliger. This presentation of the Gurrelieder given on 14
and 16 June was the farewell performance for Jukka-Pekka Saraste as Music Director of
the TSO.
In February 2001 the Toronto Symphony Orchestra was awarded its third Juno,
this time for a recording of the Four Lemminkdinen Legends by Jean Sibelius. For both
Saraste and the orchestra this was an honour to be cherished. During his tenure Jukka-
Pekka Saraste had with justified pride conducted the entire Sibelius orchestral reper-
toire, with special emphasis on the less familiar works such as these legends. Audiences
had been enriched by the opportunity to become closer acquainted with the music of
Sibelius.
In the early spring the board and management of Roy Thomson Hall announced a
major renovation to commence in March 2002. Plans included alterations to the
interior of the hall to address the acoustic problems, adjustments to the ground-level
seating to create two aisles to allow easier access, removal of the carpet from the ground
floor, and installation of new adjustable sound baffles. The cost for these major altera-
tions was estimated at $20 million.
The 2000-1 season closed with nine summer concerts in four different Toronto
locations: four on Centre Island, two at Harbourfront, two at the Toronto Centre for
the Arts, and a mid-day concert in Roy Thomson Hall. These concerts were conducted
by Christopher Seaman, Carl Davis, and Errol Gay, and brought an inspiring end to a
full season.
It is fitting that this chapter should close with an important reference to the future.
From the early days, education has been an important element in the life of the TSO.
Performance events have included Young People's Concerts on Saturday afternoons
and an extensive series of school concerts, when thousands of students come to Roy
Thomson Hall for concerts. Under the Adopt-a-Player program, musicians lead a class
of students in the creation of a new piece of music. The Toronto Symphony Youth
Orchestra, formed in 1974 under Victor Feldbrill, has been perhaps the most prominent
of the TSO's education projects. Many of these young musicians have gone on to join
orchestras in North America and abroad, and some have 'graduated' to the senior
orchestra. Recently the TSYO celebrated its twenty-fifth anniversary, and to com-
memorate this occasion the orchestra was invited to represent Canada at the Interna-
tional Festival of Youth Orchestras in Banff. Unfortunately there was little media
coverage, especially in Toronto, of this important event in the lives of the many highly
talented young musicians.
The 'torch' of education has passed from Emily Tedd and Sir Ernest MacMillan to
dedicated personnel such as Barbara Manktelow, Loie Fallis, and Roberta Smith.
The future of classical music rests in the hands of young, talented, enthusiastic, and
dedicated purveyors. It is our task to provide and encourage them in their challenge in
order to produce great music for years to come.
Toward the Unknown: 2001—2002
... toward the unknown region,

where neither ground is for the feet, nor any path to follow?
No map, there, nor guide,
nor voice sounding ...
-Walt Whitman
The future for symphony orchestras in Canada is, at best, unpredictable. It seems that
governments at all levels have failed to realize the importance of cultural organizations
and the benefits they bestow on the nation. The Toronto Symphony Orchestra is a
great orchestra but it cannot maintain its high standards if it must constantly worry
about where the next dollar is coming from. In the last week of September 2001 the
Toronto Symphony Orchestra found itself in challenging circumstances.
Jukka-Pekka Saraste's tenure had been one of administrative turmoil. When Saraste
took up the position of Music Director, Max Tapper was General Manager of the
orchestra, but a year later Tapper suddenly resigned and for the next six years Saraste
was without the support of a permanent Managing Director. Board member Stanley
Shortt had been asked to take care of basic management duties for what was intended
as a one-year arrangement while the Board searched for a suitable replacement. Three
years later, Catherine Cahill was appointed, but she resigned after six months, to be
followed by two management consultants. The first, Nick Webster, was an adviser who
came from the New York Philharmonic. Eighteen months later Webster's place was
taken by Jack Murta, who was brought in as chairman of the management team.
The long wait for a new Executive Director for the TSO came to an end in October
2000, when Robert Weiss announced the appointment of Ed Smith. Smith had begun
his twenty-two years as chief executive of the City of Birmingham Symphony Orches-
tra at a time when that orchestra was facing difficulties due to the sudden departure of
conductor Louis Fremaux. Smith took a bold step of putting the orchestra into the
hands of a young conductor whom he had known from his days with the Royal
Liverpool Philharmonic Orchestra. Simon Rattle was appointed principal conductor of
the City of Birmingham Symphony Orchestra in 1979. Since then, the orchestra has
become a highly regarded ensemble and Sir Simon Rattle is now one of the foremost
international conductors. Ed Smith's management style was unobtrusive but strikingly
imaginative and effective.
In early August 2001 Ed Smith forwarded an extensive and detailed memorandum
to the chairman of the Board and the chairman of the finance committee. The memo
posed a number of forthright questions addressing not only present problems but also
challenges to be faced over the next five to ten years. Did the TSO have sufficient
confidence to sustain itself artistically and fiscally and to work its way out of the deficit?
What was the predicted viability of attracting an energetic and inspiring Music Direc-
tor? During the 2000-1 season there had been a shortfall of $1,650,000. A number of
reasonable assumptions made in 2000 had proved to be either unachievable in the
short term or over-optimistic for the long term. This could also be said for the prior
season. Smith listed several issues in the area of musician-management relationships.
The agreement negotiated with the musicians contained ambiguities and negativism.
Furthermore, management's ability to effect change through negotiation was compro-
mised because the financial settlement with the musicians extended to 2003. Smith
also pointed to evidence of a deep-seated culture of mistrust between musicians and
management that manifested itself in either open hostility or suppressed frustration.
With mistrust and deception comes a sense of fear and intimidation that, Smith said,
was probably a result of a ten-year lack of realistic leadership within the body of
musicians, both musically and politically.
Both Board and management were aware of this situation, but over thirteen years
crucial matters had been swept under the carpet in hopes that they would be forgotten
or would disappear. Instead, the situation had broadened and deepened. The sense of
goodwill and trust that had existed among musicians, management, and the Board
some fifteen to thirty years ago had been slowly and effectively destroyed by internal
bickering and scepticism. It should also be noted that the situation facing the orchestra
was not unique to the TSO, but was prevalent in other symphony orchestras, especially
on the western side of the Atlantic Ocean.
At a Board meeting on 24 September 2001 Ed Smith announced his resignation. In
early July he had indicated that he was not sure that the TSO would survive, and now
he had come to the conclusion that the infrastructure of the TSO was not robust
enough to support another crisis. Smith emphasized that this was not simply a financial
TOWARD THE UNKNOWN 219
issue. It is true that you can't have a great orchestra without substantial financial
resources, but those resources alone will not guarantee excellence. Problems that began
over a decade ago had insidiously eaten into the corporate body and embedded
themselves firmly in the culture of the orchestra itself. During his short tenure, Smith
had indeed pinpointed the problems within the organization. The Board agreed with
his diagnosis and appreciated his honesty, but they disagreed with his statement that
there was no cure. Board members felt that the diverse body of individuals who
maintain and value the Toronto Symphony Orchestra had the ability to navigate a
course that would restore, preserve, and consolidate their orchestra.
On the following day, 25 September, Board chairman Robert Weiss called a
meeting of musicians and administration at Roy Thomson Hall. In the fiscal year
ending 30 June 2001 the orchestra had incurred an operating deficit of over
$2 million, which increased the overall deficit to $7 million. On 28 September the
TSO would theoretically run out of money. In the light of this challenging situation
the Board had decided on a restructuring plan that would come into effect within the
next few days. A chief restructuring officer was to have full authority over TSO
operations. The momentous task now facing the orchestra was to secure $1.5 million
in new operating funds by 30 November and to increase the operating line of credit
by more than $1 million.
The TSO press release issued on 28 September provoked an immediate reaction
from orchestral associations across North America. When a major symphony orchestra
is seriously threatened, other orchestras look to their own situations and study their
financial positions closely. As Norman Lebrecht wrote in the London Daily Telegraph,
'Orchestras in North America are entering a nightmare zone. A crisis in Toronto has
triggered shockwaves across the continent with even the mightiest fingering their
inside collar.'2 Orchestras in Britain and Europe received the disconcerting news via
the Internet. As the affair became known internationally the press coverage, with
varying degrees of sensationalism and truthfulness, increased to such a level that in
mid-October a media black-out was imposed.
On 29 September Robert Weiss announced that Lambert Huizingh had been
appointed chief restructuring officer. Huizingh, a former partner of Price Waterhouse
Cooper, immediately formed a restructuring committee consisting of six board mem-
bers, three musicians, and three individuals from the Toronto business community,
along with Board Chairman Bob Rae as an adviser. At this point the TSO had run out
of operating funds and needed $1.5 million to continue through until 30 November.
This pressure was relieved somewhat when Douglas Derry, chairman of the Toronto
Symphony Foundation, announced that the foundation had agreed to advance

$1.5 million to meet the orchestra's immediate needs.
By December the situation had become slightly clearer. The annual general meet'
ing planned for mid-November was rescheduled for mid-December, owing to delays on
the part of government departments in authorizing the payment of approximately
$5 million from the foundation. The annual meeting date was again postponed, this
time to early January 2002, at which time it was hoped that a new Executive Director
would be appointed.
Meanwhile the orchestra had maintained its program schedule with concerts
conducted by a distinguished group of guest conductors including Giinther Herbig,
Andrew Davis, Jiff Belohlavek, Emmanuel Kirvine, Richard Hickox, and Yakov Kreizberg.
Toronto Mayor Mel Lastman declared 13 December as 'Toronto Symphony Orchestra
and Yo-Yo Ma Day.' The concert that evening was given as a benefit for
the TSO. Ma played two well-known concertos: the Cello Concerto in C major, Hob.
VIIb/5, by Franz Joseph Haydn, and the Cello Concerto in B minor, op. 104, by
Antonin Dvorak. This concert also included a performance of Wagner's overture to
The Flying Dutchman for which musicians from the TSYO joined the senior orchestra.
With funding in place, the balance of the 2001-2 season now seemed secure, and plans
for the 2002-3 season, the Toronto Symphony Orchestra's eightieth, were under way.
In an open letter from the Toronto Symphony Orchestra dated 11 December 2001, Bob
Rae stated that the Toronto Symphony Orchestra remained committed to providing
the citizens of Toronto and Canada with a world-class musical experience.
In order to receive the special emergency funding the TSO had to produce a
balanced budget. Both musicians and senior staff were asked to accept pay cuts in order
to safeguard the continued survival of the orchestra, and the viability of maintaining a
ninety-eight-member orchestra was also questioned. (It should be noted that many of
the world's leading ensembles range between eighty-five and ninety musicians.) Finally,
the Board accepted the need to update its own structure and operations. At the next
annual general meeting the Board of sixty-plus members would be replaced by a
significantly smaller body.
Where does the future lie for symphony orchestras? The plan proposed for the TSO
looks good and gives the impression that many of the problems may be solved, but will
the solution be long-lasting? In an article in the Toronto Star William Littler wrote,
'Why this roller coaster between solvency and panic? Because our orchestras lack
financial security. They are so inconsistently funded that they lurch from crisis to
resolution and back to crisis again with frightening ease.'3 The need for and importance
TOWARD THE UNKNOWN 221
of a major symphony orchestra in Toronto is as real in the early years of the twenty'first
century as it was at the beginning of the twentieth century, when Edward Johnson
made his appeal for a symphony orchestra. It is unthinkable that the symphony
orchestra of a major city in North America should face a crisis situation every three to
four years because of a lack of financial support. The musicians of the TSO are
dedicated to performing orchestral works by great composers, and they do not want to
see the orchestra disintegrate. An orchestra can be destroyed in one hour - to rebuild
could take four to five years. However, there is much going for the future of the TSO.
The refurbishment of Roy Thomson Hall will provide much-needed improvements to
the acoustical qualities of the hall, which will in turn enhance the sound of the
orchestra. Audiences will have the opportunity to hear how vibrant the TSO has
sounded in the great concert halls of Europe. The education projects, another impor-
tant asset to the life of the orchestra, reach more than 10,000 each year. The Toronto
Symphony Youth Orchestra also has a high profile. The future of classical music rests in
the hands of such talented, enthusiastic, and dedicated young players. It is our task to
provide all we can to encourage them in achieving their artistic goals. A promising
future for the Toronto Symphony Orchestra requires the cooperation and dedication of
everyone involved in that future - musicians, administration, volunteers, committee
members, Board members, volunteers, and funding bodies, both government and
corporate, and audiences. With such support, we can find our way through the un-
known region.
Afterword
Richard Warren's death meant that he was not able to complete the final chapter on
the latest challenges facing the TSO. Richard was a wonderful devotee of the TSO. He
lived and breathed it for years, and saw it come through its last crisis. This book is a
wonderful and entirely fitting tribute to his passion for music, and his deep commit-
ment to the Toronto Symphony.
But in every sense there can be no 'final word.' There will be many views about
what happened in the year 2001. This writer was originally asked to act as an adviser to
an organization in crisis, with the almost immediate prospect of insolvency.
I now write as chair of the TSO, an organization that has a new President, Andrew
Shaw, a new and smaller board, and that will be playing in a substantially renovated
hall. We have come through our financial crisis stronger than ever. With the assistance
of the TSO Foundation, the support of the federal and provincial governments, and,
most important, the musicians themselves, we have effected changes which give us the
opportunity to grow.
I recently had the chance to share some further thoughts with a Toronto audience.
Let me share them with you, the reader:
I can remember walking down the street not too long ago in the middle of the well-
publicized crisis at the symphony and a woman stopped me and said, 'Mr Rae, can you
imagine anything worse than the city of Toronto not having a symphony orchestra?'
I said, 'Well, yes I can actually.' And she said, 'But this is such a great orchestra.'
So I asked her what she thought of the concert last week. 'Oh,' she signed, 'I haven't
been to the symphony in years.'
Toronto really is a city that's at a crossroads. The place that we grew up in has
changed tremendously in just a few decades. Our home has grown from a regional
centre to a national hub, and now we realize that we're at the centre of an increasingly
global society.
We've learned to preserve a lot of good things: tolerance, respect for law, respect
224 AFTERWORD
for one another, respect for our diversity, and we've added an energy that attracts
people from around the world. It's been a terrific transformation.
But I think we also - all of us - recognize that we have some clear challenges ahead.
Many of us have been thinking - in fact some of us have been worried - about the
future of this place. We face a serious deficit in terms of our infrastructure, in terms of
our investment and renewal in the quality of our lives. And for me, the personal
venture was the financial crisis that was faced by many of our cultural organizations,
specifically for me, the Toronto Symphony Orchestra.
Whenever we think about the great cities of the world, whenever we come back
from a great city, and say, 'I was just in Barcelona, what a wonderful city!' or, 'I was just
in Paris, or Vienna,' we don't think of the big towers in these centres; we don't think of
the material wealth. Most of us don't, anyway. We think instead of the vitality of the
cultural life that we've been able to see, that we've been able to experience.
We have to recognize that we have not only a challenge, but also an opportunity.
The opportunity is to do something wonderful with what we have. It is a symbol, it
seems to me, of the renewal that is taking place. But I want to say this: it is not a big
number, it's not a huge amount that people are looking for.
I also want to make it clear that government programs are designed - every one of
them, whether it's the matching money from the federal government to get us to our
million, or whether it's the SuperBuild program that requires an incredible amount of
private donations - to get the community to match what they are doing. So you have to
ask yourselves the question, in terms of your own lives and your own sense of where you
want to give and how you want to give: What kind of city do I want to live in? And
what kind of city do I want to leave to my children and to my grandchildren?
I can't answer that question for you. I have already in some ways, I suppose, by
spending as much time as I have helping these organizations to grow and to change and
to renew.
The truth is you can't do things the same old way. Boards have to get smaller. They
have to be more representative, they have to reach out to all of the city in all its
diversity. We have to make sure that every cultural group and every individual, people
of all backgrounds, feel comfortable and at home, and feel that the orchestra is theirs,
the conservatory belongs to them, the ballet is connected to a wide audience, and not
to a small coterie of people.
It's up to you in your workplaces. It's up to you in the lives that you choose to lead.
And it's up to the extent to which you are prepared to support these great organizations.
Because without you, they will die.
AFTERWORD 225
When someone says to me, 'Can you imagine anything worse?' the answer is yes, I
can. And I can also tell you how it happens: it happens because of neglect. It happens
because people say it's somebody else's job to give; it's somebody else's job to go; it's
somebody else's job to care. That is the beginning of civil neglect. That's the beginning
of civic decline.
The choice is ours. We can begin a process of civil renewal - the kind of city we say
we want to live in, one in which we can be proud. Where we will have great
institutions. But not just great institutions: great experiences, great moments.
I don't think there is anyone who has not been moved - moved by great art, moved
by great ballet, moved by great music. That's how we express ourselves. It's a language
that we've now been able to define.
I want to close with a quotation from Duke Ellington, who said, 'We aren't worried
about posterity; we just want it to sound good.'
The Honourable Bob Rae

Notes
THREE: 1931-1945: Sir Ernest MacMillan, Part 1
1 Ernest MacMillan, letter to Toronto Symphony Orchestra members, 24 October 1931.

2 Robertson Davies, 'Fifty-seven years of the TSO: Memories of a concert-goer,' Toronto Symphony
Magazine, 23 April-15 June 1986.
3 Ernest MacMillan, 'Hitler and Wagnerism,' Queens Quarterly (summer 1941), 97-105.
4 Ernest MacMillan, letter to J.E. Hahn, 11 September 1939, quoted in Ezra Schabas, Sir Ernest
MacMillan: The Importance of Being Canadian (Toronto: University of Toronto Press, 1994),
p. 163.
FOUR: 1945-1956: Sir Ernest MacMillan, Part 2
1 In 1945 the National Film Board made two films of the Toronto Symphony Orchestra conducted
by Ernest MacMillan. Toronto Symphony No. I presents Arthur Benjamin's Jamaican Rhumba,
MacMillan's arrangement of the French Canadian folk song A Saint-Malo from his Two Sketches
for String Orchestra, and the overture to the 1937 opera Colas Breugnon by Dmitri Kabalevsky.
Toronto Symphony No. 2 presents the third movement of Tchaikovsky's Symphony No. 6 in B
minor ('Pathetique'). Both films were directed by Julian Roffman.
2 Ernest MacMillan, letter to Elie Spivak, n.d., quoted in Ezra Schabas, Sir Ernest MacMiiJan: The
Importance of Being Canadian (Toronto: University of Toronto Press, 1994), 195.
FIVE: 1956-1965: Walter Susskind
1 Revenue for the season was $223,878. Expenditures of $384,133 resulted in an excess of expenses
over revenue of $160,255. This initial deficit was reduced by donations and grants of $158,322 to
$1933, which when added to the accumulated deficit totalled $6,552.23. However, this deficit
was erased by an anonymous donation of $7,100, giving a surplus of $547.77.
EIGHT: 1975-1982: Andrew Davis at Massey Hall
1 Andrew Davis, interview with Richard Warren, 1978.

2 Murray Ginsberg, They Loved to Play: Memories of the Golden Age in Canadian Music (Toronto:
Eastendbooks, 1998), p. 179.
3 Review in La Nouvelleste, quoted in The Toronto Symphony News, 14 (1980-1), no. 7, p. 2.
4 Johnny Cowell, note in program for Gala Concert, 4 June 1982.
NINE: 1982-1987: Andrew Davis at Roy Thomson Hall
1 'Programme Notes,' Toronto Symphony program for 24-5 October 1984.

228 NOTES
2 Jack Brymer, In the Orchestra (London: Hutchinson, 1987), 172.

3 Andrew Davis, interview with Richard Warren, 1978.
TEN: 1988-1994: Giinther Herbig
1 Wray Armstrong, interview with Richard Warren in London, England, 1998.
ELEVEN: 1994-2000: Jukka-Pekka Saraste
1 Georg Solti, Solti on Solti: A Memoir, with assistance from Harvey Sachs (London: Chatto and
Windus, 1997), p. 169.
TWELVE: 2001-2002: Toward the Unknown
1 Walt Whitman, from opening two stanzas of the poem 'Darest Thou Now, O Soul,' from Leaves of
Grass, The entire poem was set for SATB chorus and orchestra under the title Towards the Lin-
known Region by Ralph Vaughan Williams in 1904-6, during the time he was also working on
A Sea Symphony (Symphony No. 1).
2 Norman Lebrecht, 'A crescendo of cash crisis,' London Daily Tekgraph, 1 November 2001.
3 William Littler, There's a price to pay for excellence,' Toronto Star, 12 November 2001.
APPENDIX A
Musicians of the Toronto Symphony

Orchestra
Note: Several musicians listed below were engaged as occasional players, especially before 1960.
Name Instrument Years Notes

Aaron, H. violin 1923/4
Adaman, Anatoly violoncello 1957/8-1959/60
Adams, Patricia violin 1951/2-1957/8
Adaskin, John violoncello 1925/6-1926/7;
1928/9-1937/8
Adaskin, Murray violin 1923/4-1935/6
Adaskin, Harry violin 1923/4
Addison, L.F. double bass 1923/4-1926/7;
1929/30-1945/6
Adeney, Marcus violoncello 1925/6; 1928/9-
1948/9
Ainley, Ernest percussion 1923/4-1926/7;
1928/9-1938/9;
1945/6-1956/7;
1959/60-1962/3
Aitken, Robert flute 1965/6-1969/70 Co-Principal
Alexander, Ivan, violin 1981/2-present
aka Paul Thompson
Anderson, George trumpet 1945/6-1956/7; Principal 1945/6-1956/7
1967/8-1982/3
Anderson, W.T. violin 1931/2
Andrews, F.W. tuba 1932/3-1939/40
Angelo, M. trumpet 1933/4
Angus, Robert trombone 1960/1
Annetts, Madge violin 1936/7-1944/5
Antonacci, Anthony flute/piccolo 1953/4-1955/6;
1958/9-1988/9
Armin, Adele violin 1997/8-present
Armin, Richard violoncello 1965/6-1968/9
Ash, Peter trombone 1958/9-1959/60
Atkinson, Keith oboe 1985/6-present Associate Principal
Aylward, Albert E. violin 1923/4; 1925/6;
1927/8-1929/30; 1932/3;
1942/3-1950/1;
1961/2-1962/3
Babiak, Walter viola 1957/8-1959/60
230 MUSICIANS OF THE TORONTO S Y M P H O N Y O R C H E S T R A
APPENDIX A
Musicians of the Toronto Symphony Orchestra - continued
Bankas, Atis violin 1982/3-present

Barclay, Hugh percussion 1959/60
Barker, Geoffrey double bass 1943/4-1950/1
Barkin, Leo pianoforte 1946/7-1962/3
Barrow, B.H. French horn 1927/8-1931/2 Principal
Barrow, R.H. French horn 1925/6; 1927/8-1932/3; Principal 1932/3
1934/5-1957/8
Barshtz, B. viola 1923/4-1926/7
Bartmann, Erich violoncello 1932/3-1940/1
Bauman, Perry W. oboe 1940/1-1955/6; Principal 1940/1-1955/6;
1964/5-1970/1 Co-Principal 1964/5-
1970/1
Baxtresser, Jeanne flute 1978/9-1983/4 Principal 1978/9-1983/4
Beard, H. violin 1923; 1923/4
Bedford, H. viola 1929/30-1945/6 Principal until 1930/1?
Bell, Goldie violin 1946/7-1952/3; 1957/8;
1962/3-1963/4
Benac, Andrew violin 1951/2-1957/8;
1987/8-1990/1
Bennett, Margaret violoncello 1938/9
Berard, Marie violin 1988/9-1989/90
Bergart, Harry violin 1938/9-1959/60;
1962/3-1977/8
Berul, GJ. violin 1923/4-1926/7
Biloshysky, Halina violin 1959/60 see also Bobrow
Biloshysky, Leon double bass 1952/3-1971/2
Bilton, Lionel H. violoncello 1923/4 Principal
Biniowsky, Morris violin 1951/2-1970/1
Blachford, Frank violin 1932/3-1945/6
Blackburn, A. violin 1923/4-1931/2
Blackman, Daniel viola 1988/9-present
Blackstone, Milton viola 1923; 1923/4-1925/6 Principal 1923/4-1924/5
Blackwell, G.T. trombone 1923; 1923/4-1926/7 Principal 1923/4-1925/6
Blenkin, Frank French horn 1928/9-1945/6
Bloomer, Barbara French horn 1966/7-1984/5
Bobrow, Halina violin 1960/1-1966/7 see also Biloshysky
Boltyansky, Eduard viola 1975/6-1984/5
Booth, C.E. bassoon 1925/6-1926/7
Bosman, J. violin 1923/4-1924/5
Boucher, E. trumpet 1923; 1923/4-1927/8; Principal 1923;
1929/30-1935/6 1923/4-1927/8; 1929/30-
1930/1
Bourque, David bass clarinet 1983/4-present
MUSICIANS OF THE TORONTO S Y M P H O N Y ORCHESTRA 231
APPENDIX A
Bower, Bruce contrabassoon 1975/6-1978/9

Boyko, Lisa viola 1989/90-1990/1 listed as Nelson for 1989/90
Bradfield, H.H. flute/piccolo 1924/5; 1931/2-1940/1 Principal 1937/8-1940/1
Braunstein, Steven contrabassoon 1979/80-1988/9
Brennand, T.E. violin/viola 1928/9-1936/7
Bridges., E. French horn 1923/4-1926/7
Broadfoot, Hugh violin 1925/6-1926/7
Browne, R.O. bassoon 1923/4
Bruce, George A. violoncello 1923/4-1931/2; 1933/4- Personnel Manager 1938/9-
1956/7 1955/6
Bruce, Alfred viola 1928/9-1945/6
Budd, Philip oboe 1942/3-1945/6
Budd, Ruth double bass 1964/5-1988/9
Bugaeva, Galina violin 1974/5-1989/90
Burghauser, Hugo bassoon 1938/9-1940/1 Principal
Burgin, Arthur French horn 1961/2-1969/70
Burry, Thomas J. timpani 1923; 1923/4-1939/40; Principal 1962/3-1963/4
1945/6-1963/4
Bursh, J. viola 1923
Burul, J. violin 1923/4
Busby, H. double bass/ 1925/6-1931/2
tuba
Cadesky, Macey viola 1957/8-1970/1
Cahill, John French horn 1971/2-1972/3
Capper, Vair percussion 1954/5-1966/7
Carter, Harold viola 1944/5-1951/2;
1963/4-1974/5
Carter, W. violoncello 1923/4; 1924/5
Carver, Frank double bass 1922/3-1923/4; 1927/8-
1929/30; 1933/4-1937/8
Cassidy, Varia violin/viola 1933/4-1941/2; 1947/8- see also Niemiec
1953/4
Caston, Paul timpani/ 1972/3-1974/5
percussion
Caswell, W.A. percussion 1929/30
Causton, Clarence violin 1932/3
Causton, C. violin 1942/3-1945/6
Causton, C.P. violin 1923/4
Causton, R.O., Jr clarinet 1923/4-1931/2
Chambers, L. French horn 1932/3-1933/4
Chang, Yoon Im violin 1978/9-1980/1
Charles, W.A. violin 1957/8
Chenhall, Martin violoncello 1925/6-1926/7
232 MUSICIANS OF THE TORONTO SYMPHONY ORCHESTRA
APPENDIX A
Chomyk, Stephanie viola 1953/4-1980/1

Chuchman, Josephine violin 1952/3-1956/7 see also Toth
Chun, Sydney violin 1999/2000-present
Clark, B. violin 1922/3-1924/5
Clark, T. violin 1922/3
Clarke, Benedick violin 1923/4-1925/6
Clarke, G.C. violoncello 1922/3
Clarke, Henry viola 1925/6-1926/7
Clarke, Mitchell bassoon 1973/4-present
Cochrane, Robert double bass 1923/4-1925/6; 1929/30- Principal 1923/4-1925/6;
1945/6 1938/9-1941/2
Coghill, Eugene French horn 1957/8-1958/9
Cohen, Richard French horn 1972/3-present
Cooper, Archie percussion/ 1940/1-1953/4
timpani
Corrin, Gary librarian 1991/2-present Principal
Cowell, John trumpet 1952/3-1990/1
Cox, Roy oboe 1956/7-1976/7
Craig, Maude C. harp 1935/6; 1937/8; see also Watterworth
1940/1-1948/9
Crang, Frank L. French horn 1922/3-1927/8 1923 listed as Krang, L.
Creech, Robert French horn 1952/3-1954/5
Crewe, Murray bass trombone 1989/90-1993/4
Cross, William trombone 1985/6-present
Crown, J.C. French horn 1923/4
Crowther, H. bassoon 1927/8-1945/6 Principal 1927/8-1929/30;
1936/7-1937/8
Culbert, Arlene violin 1960/1
Culley, Charles E. timpani 1923/4-1927/8
Culley, H.T. flute 1924/5; 1933/4
Culley, William R. trombone 1934/5; 1940/1-1954/5 Principal 1934/5
Curtis, Charles H. violoncello 1922/3-1926/7; 1928/9-
1929/30; 1932/3
Daminoff, Peter violin 1963/4-1994/5
Dann, Steven viola 1987/8-2000/1 Principal
Darida, Ladislau viola 1981/2-2000/1
Davidson, Castor violin 1923/4-1935/6; 1937/8
Davidson, Erica violin 1967/8-1972/3 see also Zentner
Davidson, Rosalind violoncello 1961/2-1964/5 see also Sartori
Davis, Sam double bass 1963/4-1982/3 Principal 1965/6
Dawson, Timothy double bass 1979/80-present
Day, Gordon flute 1941/2-1948/9 Principal
De Bystrice, Count violin 1933/4-1935/6
MUSICIANS OF THE TORONTO S Y M P H O N Y O R C H E S T R A 233
APPENDIX A
Dembeck, John violin 1941/2-1947/8;

1957/8-1960/1
Dementev, Tanya violin 1977/8-Dec. 1997
Dempster, Agnes violin 1959/60; 1963/4-1965/6 see also Roberts
Dennis, F.E. bassoon 1922/3-1926/7; Principal 1923; 1925/6-
1931/2-1933/4 1926/7
DeSotto, Peter violin 1986/7-1992/3
Desser, Isidor violin 1931/2-1972/3 Assistant Concertmaster
1959/60-1972/3
Diamond, Hillel violin 1948/9-1950/1
Dineen, D. violin 1923/4
Dixon, R.J. trombone 1923/4; 1927/8
Dlouhy, Jonathan oboe 1977/8-1978/9 Associate Principal
Dobias, Charles violin 1961/2-1969/70
Domb, Daniel violoncello 1974/5-2001/2 Principal
Donnellan, Muriel E harp 1923/4; 1924/5-1927/8;
1932/3-1941/2
Dorsey, Richard oboe 1979/80-present Associate Principal 1979/
80-1981/2; Principal
1982/3-2000/1
Dowell, E. violin 1932/3-1935/6
Dubinsky, Isadore violin 1922/3-1971/2
Dudley, William clarinet 1923/4-1924/5; 1933/4- Principal 1923; 1923/4-
1935/6 1924/5
Dunk, EC. double bass 1924/5
Ebli, Gary English horn/ 1991/2-2000/1
oboe
Elliott, Anthony violoncello 1970/1-1972/3
Elliott, Charles double bass 1988/9-present
Elton, H.J. flute/piccolo 1922/3-1930/1 Orchestra Manager
1924/5-1926/7
Emerson, Carla harp 1957/8
Engelman, John percussion 1968/9-1971/2 Principal
Evens, Clifford violin 1961/2-1968/9 Principal Second 1965/6-
1968/9
Evens, Mary violoncello 1961/2-1969/70
Everson, R. trumpet 1924/5-1925/6; 1928/9; Principal 1928/9
1936/7-1943/4
Eyles, Christine violin 1931/2-1941/2; 1960/1
Fancher, Joelle double bass 1989/90
Farquhar, Susan viola 1970/1-1972/3 see also Lipchak
Feldbrill, Victor violin 1949/50-1956/7 Resident Conductor
1973/4-1974/5
APPENDIX A
Fenbogue, A.E. flute 1922/3-1924/5 1924/5 - 9 or 10 concerts

Fenwick, John librarian 1981/2-1989/90 Principal 1982/3-1989/90
Fetherston, Douglas E. violin 1931/2-1961/2
Fetherston, John clarinet 1956/7-1987/8 Principal 1956/7-1957/8
Figelski, Cecil violin/viola 1932/3; 1934/5-1935/6; Principal 1938/9-1943/4
1937/8-1943/4
Findlay, William violoncello 1963/4; 1969/70-present
Finney, P.S. double bass 1936/7-1937/8; 1942/3-
1946/7
Fiore, Nicholas flute 1952/3-1977/8 Principal, 1952/3-1964/5;
1970/ 1-1977/8; Co-
Principal 1965/6-1969/70
Fischer-Byfield,
Betty-Ann violin 1963/4-1978/9 1978/9 listed as Fischer
Fleisher, Martin oboe 1939/40 Principal
Fogle, Meyer violin/viola 1923/4-1926/7; 1929/30-
1962/3
Fontana, N.J. flute/piccolo 1922/3-1930/1; 1934/5-
1952/3
Forsyth, Amanda violoncello 1990/1
Franks, C. violin 1924/5-1930/1; 1931/2
Freedman, Harry oboe/ 1946/7-1969/70
English horn
Friedlander, Fowler bassoon 1941/2 Principal
Fryer, Simon violoncello 1989/90-present
Fujino, Carol Lynn violin 1992/3-present
Purer, Rafael violoncello 1973/4-1989/90
Fusco, Francesco violin 1928/9-1941/2; 1946/7-
1952/3; 1957/8-
1959/60; 1962/77
Galper, Avrahm clarinet 1947/8-1955/6; 1958/9- Principal 1952/3-1955/6,
1978/9 1958/9-1972/3; Co-
Principal 1973/4-1978/9
Gardiner, James trumpet 1999/2000-present
Garten, Moe violin 1922/3; 1923/4-1925/6; Concertmaster 1923/4-
1940/1-1945/6 1925/6
Garten, N. violin 1922/3; 1923/4-1924/5 Principal Second violin
Gartner, Esther violoncello 1972/3-2000/1
Gay, Errol librarian 1982/3-present Associate Principal 1982/3-
1988/9; 1991/2-present;
Acting Principal 1989/90-
1990/1
Gelinas, Marie violoncello 1980/1-2000/1
APPENDIX A
Gelsin, L. violin 1930/1-1937/8

Geringas, Yaakov violin 1975/6-1989/90
Gesensway, Louis violin 1922/3; 1923/4-1925/6
Gesensway, A.S. violin 1922/3; 1923/4
Gibson, Georgina celesta/ 1951/2-1952/3 see also Roberts
violoncello
Ginsberg, Murray bass trombone 1961/2-1978/9
G inter, Anthony violin 1957/8-1963/4
Ginzler, Seymour trombone 1935/6-1939/40 Principal
Girard, Keith flute 1958/9-1983/4
Glionna, M.A. viola 1923/4-1931/2
Glover, Lorna violin 1967/8-1970/1
Godwin, Kenneth French horn 1946/7-1970/1
Goldberg, Grigory violoncello 1986/7-1988/9
Gomberg, H. oboe 1938/9 Principal
Gongos, Christopher French horn 1998/9-present
Goodman, Erica harp 1964/5-1965/6
Goodman, Hyman violin 1932/3-1941/2; 1946/7- Concertmaster 1948/9-
1947/8 1966/7
Goodman, Nathan oboe/ 1944/5-1945/6
English horn
Gorevic, Ronald violin 1972/3-1973/4
Goroshin, Naum violoncello 1925/6-1926/7
Gowen, John double bass 1972/3-present
Gray, J.W. trombone 1927/8-1935/6 Principal 1927/8-1931/2
Green, B. violin 1922/3-1923/4
Green, Nathan viola 1942/3-1972/3
Green, Osher viola 1985/6-Sept. 1988 Principal 1985/6-1986/7
Greenwood, Charles double bass/ 1925/6-1949/50 Principal 1932/3-1937/8
tuba
Greenwood, W. oboe 1932/3-1935/6; 1937/8
Griss, Murray violin 1922/3; 1923/4-1925/6; 1923 listed as Griss, N.
1929/30-1932/3
Groob, Jacob violin 1946/7-1948/9; 1953/4-
1958/9; 1964/5-1981/2
Grunsky, Wolfgang violoncello 1953/4_1970/l
Guise, Clifford English horn/ 1923/4-1926/7; 1928/9;
oboe 1931/2-1933/4
Hale, Leonard French horn 1950/1-1951/2
Hall, Jeffrey bass trombone 1994/5-present
Halperin, B. violin 1936/7-1950/1
Hansen, Andrea violin 1977/8-2000/1
Hardwick, Fred violin 1923/4-1926/7
APPENDIX A
Haris, E. violin/viola 1928/9-1929/30 Principal

Harmantas, Frank trombone 1971/2-2000/1 Associate Principal 1990/1-
2000/1
Harper, James librarian 1966/7-1974/5
Harrisay, Vino violin 1931/2
Hart, Arthur clarinet 1946/7
Harwick, Fred violin 1923/4-1926/7
Hashizume, Miho violin 1992/3-1996/7
Haslam, H. percussion 1923/4-1924/5
Hawe, H.E. trombone 1923/4-1926/7; 1936/7- Principal 1926/7; 1940/1-
1950/1 1946/7
Hayes, Edward violoncello 1970/1-1988/9
Hearn, Miles French horn 1970/1-1971/2
He ins, Donald violin/viola 1927/8-1947/8 Concertmaster 1927/8-
1930/1; Principal 193 1/2-
1937/8
Henderson, Floyd tuba 1949/50-1950/1
Henniger, Harcus French horn 1985/6-present
Hersenhoren, S. violin 1925/6-1943/4
Hetherington, David violoncello 1970/1-present Assistant Principal 1996/7-
1997/8, 1999/2000; Acting
Principal 1998/9, 2000/1-
present
Himbury, Lola violin 1948/9-1951/2
Hoffman, Sidney violin/viola 1923/4-1935/6
Holowach, Terry violin 1970/1-1971/2; 1974/5-
present
Horny ansky, Joyce violoncello 1931/2-1935/6
Horvath, George violoncello 1950/1-1987/8
Hossack, Donna harp 1953/4-1958/9 Principal 1957/8-1958/9
Hudson, Eugene viola 1957/8-1973/4 see also Rosenfield, P. in
violins
Huggins, Ernest contrabassoon 1934/5-1958/9
Hunt, Bridget violin 1995/6-present
Hunter, James violoncello 1948/9-1955/6
Hurwitz, Ronald viola 1975/6-present
Hutcheon, D.S.B. English horn/ 1924/5; 1926/7-1928/9; Principal 1926/7-1928/9
oboe 1933/4; 1935/6-1937/8;
1939/40-1943/4
Hutchings, Edward oboe 1954/5-1955/6
Imajishi, Fujiko violin 1973/4-1976/7
Inkman, Pamela viola 1980/1
Innes, James Jr. violin 1947/8-1949/50
APPENDIX A
Innes, James violin 1944/5-1956/7

Isenbaum, M. trumpet 1942/3-1947/8 Principal 1942/3-1943/4
Israelievitch, Jacques violin 1988/9-present Concertmaster
Jackson, Fraser contrabassoon 1990/1-present
Jansonn, Glen French horn 1961/2
Jansonn, Julia violin 1961/2
Jennings, H. violoncello 1922/3; 1923/4-1926/7;
1930/1-1931/2; 1936/7-
1937/8
Jennings, H. bassoon 1926/7-1929/30
Jewell, Jeffery bass clarinet 1937/8-1954/5
Joanou-Canzoneri,
Amalia violin 1994/5-present
Johnson, Donald trumpet 1946/7; 1948/9-1951/2
Johnson, Ernest violin 1923/4-1957/8
Jones, A.J. trumpet 1929/30-1931/2; 1936/7- Principal 1931/2; also listed
1944/5 as Jones, Bert
Jones, T.B. tuba 1922/3; 1923/4-1925/6
Jose, R.L. French horn 1922/3-1927/8 Principal 1923/4-1924/5,
1926/7
Jun, Sonia violin 1993/4-1999/2000 Principal 1995/6-1998/9
Kantarjian, Gerard violin 1967/8-1969/70 Concertmaster
Karp, D. French horn 1923/4
Kash, Eugene violin 1934/5-1941/2 1934/5-1935/6 listed as
Kash, J.
Keetbrass, D. flute 1949/50-1951/2 Principal
Kent, David timpani 1981/2-present Principal; Personnel Man-
ager 1986/7-present
Kernerman, Morry violin 1973/4-1988/9 Assistant Concertmaster
Kersting, Boris double bass 1961/2-1962/3
Keyho, W.A.G. double bass 1924/5
Kilburn, Michael violoncello 1956/7-1963/4
Kilburn, Nicholas bassoon 1959/60-1990/1 Principal 1959/60-1967/8;
Co-Principal 1968/9-
1984/5; Associate
Principal 1985/6-1990/1
Kim, Mi Hyon violin 1988/9-present
King, Audrey violoncello 1971/2-present
Kirshner, Debbie violin 1989/90
Klepacki, Veronica double bass 1953/4-1958/9
Knaggs, E.S. violin 1923/4
Knaggs, F.E. double bass 1924/5-1926/7
Knowles, Leslie violin 1977/8-present see also Ryker
238 MUSICIANS OF THE TORONTO S Y M P H O N Y O R C H E S T R A
APPENDIX A
Koldofsky, Adolph violin 1922/3; 1923/4-1924/5;

1927/8; 1932/3-1937/8
Kolkowski, Julian violin 1957/8-1968/9; 1972/3- Principal Emeritus
1999/2000 1995/6-1999/2000
Kolt, Stanley violin 1958/9-1959/60;
1968/9-1987/8
Kowalski, Eugene violin 1969/70
Krang, L. French horn 1923/4
Kregal, Jesse timpani 1964/5-1965/6
Kreit, F. double bass 1922/3
Kreit, D.F. bassoon 1922/3-1923/4
Krueger, Patricia keyboard/ 1978/9-present Principal 1990/1-present
percussion
Kuehn, Donald percussion 1973/4-present Principal 1973/4-1992/3
Kuinka, William double bass 1951/2
Kuyvenhoven, Cora violoncello 1988/9-1990/1
Kwasniak, Olga violoncello 1957/8-1959/60
Labovitz, Gary viola 1973/4-present
Langeley, W. violin 1923/4
Langley, John violin 1923/4-1928/9
Langley, John bass trombone 1979/80-1988/9
Lasserre, Henri violoncello 1923/4-1925/6
Laurie, Ronald violoncello 1956/7-1995/6 Assistant Principal 1975/6-
1995/6; Assistant Per-
sonnel Manager 1983/4-
1986/7
Lechow, Ross viola 1949/50-1957/8
Lee, R.E. trombone 1924/5-1926/7; 1929/30-
1931/2 Principal 1932/3-1933/4
Lenzer, Hyman violin 1925/6
Letvak, Philip violin 1935/6-1956/7
Levine, Sam double bass 1949/50-1978/9
Levy, Sidney viola 1932/3-1969/70
Lieberman, Carol violin 1971/2
Lipchak, Susan viola 1973/4-present Assistant Principal 1975/6-
1983/4, 1985/6-2000/1;
Acting Co-Principal
1984/5; Acting Principal
2000/1-present; see also
Farquhar
Locksley, Roy trumpet 1924/5-1928/9; 1931/2;
1933/4-1935/6
MUSICIANS OF THE TORONTO SYMPHONY ORCHESTRA 239
APPENDIX A
Lodge, R.H. oboe 1922/3-1930/1; 1932/3- Principal 1929/30-1930/1;

1940/1 1932/3-1937/8
Loman, Judy harp 1959/60-2001/2 Principal
Longenecker, David double bass 1983/4-present
Louis, Charmain viola 1981/2; 1984/5-present
Luedeke, Raymond clarinet/ 1981/2-present Associate Principal 1981/2-
E flat clarinet 2000/1
Lustig, Morris violin/viola 1924/5-1926/7; 1928/9;
1931/2-1932/3
Lustig, L. viola 1933/4-1934/5
MacKay, Cameron G. Personnel 1956/7-1963/4
Manager
Macklem, Heloise harp 1923/4-1930/1
MacRitchie, G.R. bassoon 1922/3-1924/5 Principal 1924/5; listed
as Dr
Madgett, Peter double bass 1978/9-present Assistant Personnel
Manager 1993/4-present
Mair, John violin 1949/50-1951/2
Malowaney, Leslie violin/viola 1952/3-1956/7
Marriott, Isaac violoncello 1941/2-1949/50 Principal 1943/4-1949/50
Mannheim, Abe double bass 1949/50-1951/2
Manson, R.G. violin/viola 1925/6-1939/40
Marcel, Ray violoncello 1938/9-1946/7; 1962/3-
1968/9
Markson, Virginia flute 1986/7-present
Mason, Fred trumpet 1925/6-1926/7; 1929/30;
1931/2
Mathe, Blain violin 1932/3-1939/40; 1959/60 Principal Second 1962/3-
1964/5
Mathe, Charles violoncello 1938/9-1956/7
Mathis, Nancy violin 1970/1
McAdam, Jane double bass 1968/9-1988/9 Acting Assistant Principal
1979/80
McCandless, Andrew trumpet 1999/2000-present Principal
McCartney, Corol violin 1957/8-1963/4; 1965/6-
1972/3; 1974/5-1979/80;
1983/4-1993/4
McCartney, Stanley clarinet/ 1964/5-1979/80 Associate Principal 1970/1-
E flat clarinet 1972/3; Co-Principal
1973/4-1978/9; Princi-
pal 1979/80
McGill, David bassoon 1985/6-1987/8 Principal
APPENDIX A
McKay, Cameron G. double bass 1938/9-1942/3; 1946/ Principal 1961/2-1963/4

7-1963/4
McLean, Kathleen bassoon 1988/9; 1992/3-present Acting Principal 1988/9;
Associate Principal
1992/3-present
McLintock, Ellis trumpet 1940/1-1941/2; 1944/5 Principal
McNamee, John bassoon 1924/5-1926/7; 1930/1- Principal 1930/1-1935/6
1937/8
McRae, Janice violin 1969/70
Meyer, Hubert C. tuba 1957/8-1983/4 Principal; Personnel Man-
ager 1965/6-1985/6
Meyer, Marilyn viola 1962/3-1997/8
Meyer, Paul violin 1979/80-2000/1 Principal Second 2000/1-
present
Middleton, ? violin 1923/4-1924/5
Milkis, Jascha (Yakov) violin 1975/6-1992/3 Acting Concertmaster
1980/1-1981/2; Second
Concertmaster, 1987/8-
1992/3
Milligan, Grant violin 1923/4-1924/5; 1925/6; Concertmaster Oct. 1924
1964/5
Milne, J. contrabassoon 1929/30-1933/4
Misener, Erland violin/viola 1923/4-1931/2
Mondzak, Sigmund M. violoncello 1922/3-1931/2
Monohan, Nancicarole double bass 1968/9-1977/8 see also Musser
Monohan, Thomas double bass 1966/7-1992/3 Principal 1966/7-1990/1;
Principal Emeritus
1991/2-1992/3
Moore, Terry violin 1972/3-1974/5
Morphy, Frank oboe 1973/4-present Acting Associate Principal
1984/5
Morris, W. French horn 1922/3-1923/4
Mosher, Wayland bassoon/ 1946/7-1974/5 Assistant Librarian 1975/6-
contrabassoon Aug. 1982
Moskalyk, John violin 1945/6-1951/2 listed in programs as
John Moscow
Moskalyk, Myron violin 1964/5-1972/3
Mulliner, G. Arthur viola 1925/6-1926/7; 1933/4-
1962/3
Mulloy, Teresa violin 1956/7-1963/4 see also Obercian
Murvitz, Moshe violin 1979/80 Concertmaster
Musser, Nancicarole double bass 1965/6-1967/8 see also Monohan
MUSICIANS OF THE TORONTO S Y M P H O N Y O R C H E S T R A 241
APPENDIX A
Neal, Ronald trumpet 1946/7-1974/5 Stage Librarian 1968/9-

1975/6; Librarian 1975/6-
1981/2
Neilsen, J. violin/viola 1932/3-1935/6; 1939/40- 1932/3 listed as Neilson, J.
1941/2; 1945/6-1952/3
Nelson, Lisa viola 1989/90 see also Boyko
Nelsova, Zara violoncello 1940/1-1942/3 Principal
Newham, George percussion 1929/30-1931/2
Nichols, R.G. bass clarinet 1932/3-1935/6
Nicholson, H. timpani 1922/3-1923/4
Niemiec, Varia viola 1954/5-1956/7 see also Cassidy
Nikonov, Sergei violin 1999/2000-present
Norton, Earl percussion 1930/1; 1932/3; 1940/1
Nugent, Mary Carol viola 1987/8-present
Obercian, Leslie double bass 1956/7-1970/1
Obercian, Teresa violin 1964/5-1993/4
Orbach, Daniel viola 1974/5-1975/6; 1983/4 Principal 1983/4
Orlowski, Joseph clarinet 1988/9-present
Pack, Roland violoncello 1948/9-1956/7 Principal 1953/4-1956/7
Paik, Hyung-Sun violin 1980/1-present
Palmason, Pearl violin 1941/2-1946/7; 1948/9- Principal Second 1960/1-
1959/60; 1972/3- 1961/2
1980/1
Palmer, H.E violoncello 1923/4
Palmer, Harry violoncello 1936/7
Palmer, W.H. violoncello 1923/4
Palyga, Katherine violin 1992/3-1994/5
Park, Young-Dae violin 1979/80-present Acting Assistant Principal
1988/9
Parkinson, Harry C. viola 1923/4 also H.G.
Peel, J. trombone 1923/4-1924/5; 1927/8-
1929/30
Pelletier, Maurice viola 1973/4-1985/6 Acting Assistant Principal
1984/5
Pelletieri, V.F. violin 1922/3-1931/2 1923 listed as Pelletiere, J.
Perit, Roland French horn 1955/6-1956/7; 1959/60-
1960/1
Perras, John flute/piccolo 1956/7-1957/8
Pertsovsky, Semyon violin 1979/80-present
Peters, George F. violin 1923/4-1927/8
Pilcher, C.V. bass clarinet 1923; 1923/4-1931/2
Pohjola, Larry double bass 1964/5
Policy, Victoria violin 1967/8-1970/1 see also Richards
APPENDIX A
Pollock, H. violin 1922/3-1923/4

Poole, Gordon oboe 1946/7-1953/4
Poure, M. viola 1930/1-1932/3
Powdermaker, Frank violin 1989/90-1990/1
Pratz, Albert violin 1933/4-1940/1, 1969/70- Acting Concertmaster
1978/9 1970/1; Concertmaster
1971/2-1978/9
Prystawski, Walter violin 1953/4-1957/8
Puchtiar, Philip violin 1951/2-1965/6
Pulis, Gordon trombone 1958/9-1964/5; 1968/9 Principal, portion of 1968/9
Purvis, Douglas tuba 1985/6
Pye, Herbert C. clarinet 1925/6-1945/6 Principal 1925/6-1935/6
Pyper, George E. violin 1957/8; 1959/60-1962/3
Quarrington, Joel double bass 1991/2-present Principal
Radcliffe, Frank violin 1952/3-1961/2
Ranson, A.E. double bass 1923/4-1925/6
Ranti, Julie flute 1985/6-present Associate Principal 1990/1-
present
Rapson, Anne violin 1973/4
Rapson, Peter violoncello 1990/1-1991/2
Ravening, Jan violin 1957/8
Ray, Marcel violoncello 1938/9-1946/7; 1962/3-
1968/9
Redfield, Christopher viola 1989/90-present
Reeves, Anthony French horn 1959/60-1960/1
Reid, Duncan percussion 1941/2-1944/5
Reilly, Raymond percussion 1967/8-1991/2 Acting Principal 1972/3
Reynolds, Frank trombone 1967/8-1979/80
Richards, Victoria violin 1971/2-1973/4; 1975/6- see also Policy
present
Richardson, Florence violin/viola 1931/2-1943/4
Richer, L. viola 1923/4-1929/30
Riddleswick, A. trombone/ 1923/4-1926/7;
double bass 1928/9; 1930/1-1944/5
Rini, Michael violoncello 1960/1-1962/3
Rittich, Eugene French horn 1952/3-1988/9 Principal 1952/3-1972/3;
Co-Principal 1973/4-
1984/5; Associate Prin-
cipal 1985/6-1988/9
Rizner, Fredrick French horn 1965/6-present Associate Principal 1970/1-
1972/3; Co-Principal
1973/4-1984/5; Principal
1985/6-present
M U S I C I A N S OF THE TORONTO S Y M P H O N Y O R C H E S T R A 243
APPENDIX A
Robb'Barrow, Mary French horn 1939/40-1950/1 Principal 1939/40-1944/5

Roberts, Agnes violin 1958/9; 1966/7; 1968/9; see also Dempster
1970/1-1974/5; 1989/90
Roberts, Georgina violoncello/ 1953/4-1955/6; 1960/1; see also Gibson
celesta 1963/4-1985/6
Roberts, Oswald violoncello 1923/4-1935/6; 1937/8- Principal 1923/4-193 1/2
1950/1
Roberts, Richard violin 1971/2-1972/3 Associate Concertmaster
Robertson, John trumpet 1931/2-1932/3 Principal
Robin, Bertrand violin 1997/8-1998/9
Roderman, T. trombone 1957/8 Principal
Rogers, Nora harp 1949/50-1952/3
Rogers, Paul double bass 1989/90-present
Rogers, Robert clarinet 1936/7-1957/8 Principal 1936/7-195 1/2
Rose, Charles double bass 1923/4-1926/7; 1933/4- Principal 1923/4-1926/7
1934/5; 1937/8-1941/2;
1947/8-1951/2
Rose, Wendy violin 1981/2-present Assistant Principal 1984/5-
present
Rosenfield, P. violin 1922/3-1925/6
Ross, Ruth double bass 1947/8-1951/2 see also Budd
Roth, M. violin 1923; 1923/4
Rowe, Carol viola 1971/2-1972/3
Ruddick, Daniel percussion 1973/4-present
Rudolph, John percussion 1997/8-present Principal
Ryker, Leslie violin 1975/6-1976/7 see also Knowles
Sands, Joyce violoncello 1940/1-1944/5
Sargous, Harry oboe 1971/2-1981/2 Principal 1971/2-1981/2
Sartori, Rosalind violoncello 1965/6-1969/70 see also Davidson
Sauer, Ralph trombone 1968/9-1973/4 Principal
Saunders, H.S. violoncello 1923; 1923/4-1937/8
Savoie, Marc-Andre violin 1990/1 -present Assistant Concertmaster
Schenkman, Peter violoncello 1967/8-1973/4 Principal
Scherman, Issay violin 1931/2-1932/3; 1934/5-
1943/4
Scherman, Paul violin 1944/5-1951/2
Schmidt, D. double bass 1922/3; 1923/4
Schwalm, Charles double bass 1924/5-1928/9; 1932/3-
1935/6; 1939/40-1940/1
Schweers, James tuba 1952/3-1954/5
Scuse, J.F. violin 1923/4-1925/6
244 MUSICIANS OF THE TORONTO SYMPHONY O R C H E S T R A
APPENDIX A
Sera, Josef violin 1946/7-1959/60, 1961/2- Principal Second 1957/8-

1982/3 1959/60; Assistant Prin-
cipal 1975/6-1982/3;
Assistant Personnel Man-
ager 1977/8-1982/3
Shea, D'Arcy violin 1971/2-1976/7
Sherman, Isidore violin 1925/6; 1926/7
Sherman, Louis violin 1925/6-1941/2; 1945/6-
1947/8
Shrubsole, E.W. violin 1922/3-1926/7
Shulman, Nora flute 1974/5-present Associate Principal
1974/5-1983/4; Acting
Principal, 1984/5-1985/6;
Principal 1986/7-present
Simonelli, John French horn 1962/3-1964/5;
Mar. 1976-1996/7
Sinden, Mark trumpet 1945/6
Skazinetsky, Mark violin 1980/1-present Associate Concertmaster
1988/9-present
Skura, Harry viola 1975/6-present
Slater, Harold percussion 1929/30; 1933/4-1958/9
Smeall, E. trumpet 1922/3-1923/4; 1929/30; 1923 listed as Smeal, E.
1932/3
Smith, E.T. flute 1923/4; 1925/6-1932/3; Principal 1925/6-1930/31
1938/9-1956/7
Smith, Frank Converse viola 1923/4-1927/8; 1932/3- Principal 1925/6-1927/8
1935/6
Smith, Leo violoncello 1932/3-1939/40 Principal
Sobel, M. violin 1923/4-1924/5
Solomon, Stanley viola 1946/7-1987/8 Principal 1949/50-1982/3;
Principal Emeritus 1983/4-
1987/8
Solway, Maurice violin 1923/4-1925/6; 1933/4-
1948/9
Sommerville, Buena violin 1942/3-1944/5
Sommerville, James French horn 1997/8
Sparkes, Doug bass trombone 1993/4
Sparling, Lillian violin 1932/3-1946/7
Spearing, Clifford C. French horn 1925/6; 1932/3-1938/9; Principal 1936/7-1938/9;
1940/1-1970/1 1945/6-1949/50
Spergel, Robert violoncello 1947/8-1948/9; 1965/6-
1971/2
Spivak, Elie violin 1931/2-1947/8 Concertmaster
MUSICIANS OF THE TORONTO SYMPHONY ORCHESTRA 245
APPENDIX A
Spivak, Philip violoncello 1931/2-1961/2 Principal 1950/1-1952/3

Spragg, James trumpet 1987/8-present
Stansfield, B. violin 1923/4
Staryk, Steven violin 1950/1-1951/2; 1982/3- Concertmaster 1982/3-
1986/7 1986/7
Steinberg, Albert violin 1936/7-1945/6
Steinberg, M. trumpet 1924/5-1925/6
Steinberg, Sigmund violin 1934/5-1977/8
Sterin, J. violoncello 1922/3-1923/4 Principal 1923, 1923/4
Stevenson, Harry trombone/ 1951/2-1966/7
bass trombone
Stevenson, Wilma celesta 1934/5
Stimpson, George French horn 1971/2
Sturm, K. violin 1923/4; 1924/5
Sturm, Vaughn violoncello 1923/4; 1924/5-1962/3
Sugarman, Berul violin 1925/6-1937/8, 1942/3-
1982/3
Sullivan, Peter tenor trombone 1984/5
Sumberg, Harold violin 1928/9-1956/7, 1961/2- Principal Second
1974/5
Sweeney, Gordon trombone 1974/5-present Principal
Sweeney, Michael bassoon 1989/90-present Principal
Tait, Edward double bass 1971/2-present Assistant Principal 1975/6-
present
Tait, Malcolm violoncello 1957/8-1966/7 Principal
Tarnowsky, Vera violin 1961/2-1968/9; 1976/7-
1985/6
Taylor, HJ. violin 1922/3-1926/7
Teeple, Kent viola 1977/8-present Assistant Personnel
Manager 1987/8-1992/3
Temoin, Bernard clarinet/ 1955/6-1982/3
bass clarinet
Tetel, Mihai violoncello 1990/1-present
Tetreault, Mark tuba 1986/7-present Principal
Thomas, Rachel trombone 1990/1
Thompson, Jack tuba 1951/2
Thompson, Jennifer violin 1999/2000-present
Titmarsh, Gurney tuba/ 1940/1-1948/9
double bass
Tobias, Fred violin 1925/6-1927/8
Tobias, Norman bassoon 1965/6-1972/3
Todd, Jean violin 1964/5-1967/8 see also Wulkan, Jean
Toews, Angelique violin 1996/7-present
APPENDIX A
Tong, W. trumpet 1923/4

Toth, Josephine violin 1957/8 see also Chuchman
Tweedie, H.S. violin 1923/4; 1924/5-1927/8
Umbrico, Joseph trumpet 1957/8-1998/9 Principal 1957/8-1982/3;
Principal Emeritus
1983/4-1998/9; Assistant
Personnel Manager
1972/3-1976/7
Valdepenas, Joaquin clarinet 1980/1-present Co-Principal 1980/1;
Principal 1981/2-present
Van Sickle, H.L violin 1922/3; 1923/4-1924/5
Van Sickle, R. double bass 1952/3
Van Vugt, John violin 1922/3-1967/8 Assistant 18 concerts
1923/4, 1924/5-1935/6,
1938/9-1945/6; Librarian
1946/7-1967/8
Vearncombe, H. viola 1922/3-1923/4 Assistant Librarian 1923/4
Veary, A. piccolo 1925/6
Voisey, W. French horn 1922/3-1926/7
Vopni, F.B. French horn 1923/4-1925/6; 1933/4- Principal 1933/4-1935/6
1950/1
Vrba, Cenek violin 1971/2-1975/6
Waddington, Geoffrey violin 1925/6-1927/8
Wahlberg, Elver bassoon/ 1942/3-1967/8 Principal 1942/3-1958/9
contrabassoon
Waizman, Louis viola 1923/4-1931/2 Librarian 1923/4-1945/6;
Honorary Librarian
1946/7-1948/9
Wakefield, William percussion 1963/4
Wallenberg, James violin 1978/9-present
Warburton, Robert viola 1932/3-1948/9; 1957/8- Principal 1944/5-1948/9
1977/8
Warnaar, Brad French horn 1972/3-1974/5
Warrington, Martha viola 1979/80
Watkin, Fenwick trombone 1955/6-1956/7
Watson, Joan French horn 1988/9; 1991/2-2001/2 Associate Principal 1991/2-
2001/2
Watterworth, Maude harp 1930/1-1934/5 see also Craig
Watts, Eugene trombone 1965/6-1967/8 Principal
Watts, Camille flute/piccolo 1989/90-present
Weait, Christopher bassoon 1968/9-1984/5 Co-Principal
Webber, Winston violin 1972/3-1978/9
MUSICIANS OF THE TORONTO SYMPHONY O R C H E S T R A 247
APPENDIX A
Weeks, Larry trumpet 1975/6-1996/7 Associate Principal 1975/

6-1981/2; Principal Elect
1982/3; Principal 1983/4-
1996/7
Wegiel, Annette violin 1960/1
Wells, Sydney D. double bass 1931/2-1960/1 Principal 1942/3-1960/1
Wells, Virginia Chen violin 1991/2-present
Werner, Michael percussion 1993/4_1994/5 Principal 1993/4-1994/5
Wherry, Donald percussion 1960/1-1972/3
Whitaker, Walter flute 1931/2-1936/7 Principal
Whitnall, Frank violoncello 1943/4-1947/8
Whitney, E.G. percussion 1922/3- 1923/4
Whitton, Don violoncello 1949/50-1959/60
Whyte, Jan violin 1958/9-2000/1
Wiebe, Thomas violoncello 1993/4-2000/1
Wigdorchik, Leo violin 1974/5-1990/1
Williams, A.J. trumpet 1932/3-1939/40 Principal 1933/4-1939/40
Wilson, Scott French horn 1973/4-present
Witham, A.E. violin 1922/3-1928/9; 1930/1-
1932/3
Witte, Monica violin 1970/1
Wood, Alan tuba 1956/7
Wood, Alfred trombone 1945/6-1956/7 Principal 1947/8-1956/7
Wood, Reginald H. double bass 1946/7-1948/9; 1957/8- Principal 1964/5
1974/5
Wood, Stanley oboe/ 1956/7-1990/1 Principal 1956/7-1963/4;
English horn Co-Principal 1964/5;
Principal 1988/9-1990/1
Woods, J.J. double bass 1922/3- 1923/4
Woods, Maxine bassoon 1934/5-1935/6
Wood, Oliver E. oboe/ 1922/3-1925/6; 1931/2 Principal 1925/6; 1931/2
English horn
Woomert, Barton trumpet 1982/3-present Associate Principal 1983/4-
1997/8, 1999/2000-
present; Acting Principal
1998/9
Worthington, Kirk violoncello 1988/9-present
Wotherspoon, H.C. Orchestra 1923/4 1927/8-1945/6 and after
Manager 1956/7
Wulkan, David violin 1952/3-1986/7
Wulkan, Jean violin 1968/9-present see also Todd
Wunder, Kathryn violin 1973/4-1974/5
APPENDIX A
Wyre, John timpani 1966/7-1971/2; 1975/6-

1980/1
Wyshniowsky, B. double bass 1952/3-1955/6; 1959/60-
1962/3
Yanivker, Arkady violin 1978/9-present
Yates, Marjorie flute 1971/2-1973/4 Associate Principal 1971/2-
1973/4
Ysselstyn, C.G. violoncello 1927/8; 1945/6-1947/8
Zafer, David violin 1956/7-1958/9
Zentner, Erica violin 1958/9-1967/8 see also Davidson
Zuchter, Victor viola 1946/7-1950/1; 1963/4-
1973/4
Zuckert, Leon violin/viola 1952/3-1956/7; 1961/2-
1962/3
While every effort has been made to ensure the completeness, and accuracy of this list, some errors or
omissions may exist. The publisher would be grateful to be notified of such errors so that they may be
corrected in future printings.
APPENDIX B
Music Directors, Conductors, and Composers

Luigi von Kunits Music Director and Conductor 1923-31
Ernest MacMillan Music Director and Conductor 1931-56
Donald Heins Assistant Conductor 1931-42
Ettore Mazzoleni Assistant Conductor 1942-8
Paul Sherman Assistant Conductor 1947-55
Walter Susskind Music Director and Conductor 1956-65
Boris Brott Assistant Conductor 1963-4
SeijiOzawa Music Director and Conductor 1965-9
Nicklaus Wyss Assistant Conductor 1966-7
Kazuyoshi Akiyama Assistant Conductor 1968-9
Karel Ancerl Music Director and Conductor 1969-73
Victor Feldbrill Resident Conductor 1973-8
Andrew Davis Music Director and Conductor 1975-88
Conductor Laureate 1988-
Ermanno Florio Apprentice Conductor 1976-9
John Kim Bell Apprentice Conductor 1980-1
Eric Hall Apprentice Conductor 1984-6
Giinther Herbig Artistic Advisor 1988-9
Music Director Designate 1989-90
Music Director and Conductor 1990-4
Jukka- Pekka Saraste Music Director and Conductor 1994-2001
Toronto Symphony Youth Orchestra
Victor Feldbrill Conductor 1974-8

Leonard Atherton Conductor 1978-9
Ermanno Florio Conductor 1979-86
Nurhar Arman Conductor 1986-7
David Zafer Conductor 1988-1999
Joaquin Valdepenas Conductor 1988-1999
Susan Haig Conductor 2001-
250 MUSIC DIRECTORS, CONDUCTORS, AND C O M P O S E R S
Composers
Harry Freedman Composer-in-residence 1970-1

Walter Boudreau Composer-in-residence 1990-2
GaryKulesha Composer adviser 1995-present
Barbara Croall Composer affiliate 1998-2000
Paul Steehuisen Composer affiliate 1998-2000
Eric Morin Composer affiliate 2000-2
Jeffrey Ryan Composer affiliate 2000-2
APPENDIX C
Presidents/Chairmen of the Board of Directors
Albert E. Gooderham 1923-31

Vincent Massey 1931-4
James E. Hahn 1934-6
Arthur E. Bishop 1936-9
William G. Watson 1939-53
Trevor E Moore 1953-7
Thomas S. Johnson 1957-61
Trevor E Moore 1961-3
R. William Finalyson 1963-4
Edward A. Pickering 1964-7
Robert E Chisholm 1967-9
Frank E McEachren 1969-73
James W. Westaway 1973-5
Terence A. Wardrop 1975-8
Alan R. Marchment 1978-82
William G. Boggs 1982-5
H. Tom Beck 1985-7
Geoffrey G. Mckenzie 1987-9
David E. Howard 1989-91
William Broadhurst 1991-3
Robert Gillespie 1993-5
Robert Martin 1995-8
George Tiviluk 1998-2000
Robert Weiss 2000-2
The Hon. Bob Rae 2002-
APPENDIX D
Canadian Works Commissioned by the

Toronto Symphony Orchestra (since 1960)
Composer Premiere Title
Oskar Morawetz 2 February 1960 Symphony No. 2

Harry Somers 19 March 1963 Stereophony for Orchestra
Otto Joachim 10 October 1967 Contrasts for Orchestra
Luigi Nono 31 October 1967 Per Bastiana Tai-Yang Chin
Jacques Hetu 14 May 1967 L' apocalypse, op. 14
Norman Symonds 18 March 1969 Impulse
R. Murray Schafer 16 February 1971 No Longer than Ten Minutes
Harry Freedman 26 October 1971 Graphic I ( 'Out of silence ...')
John Beckwith, text 7 April 1973 All the Bees and All the Keys
by James Reaney
Norma Beecroft 1973 Improwisazioni concertanti no. 3
Walter Buczynski 1973 Three against Many
Lothar Klein 24 February 1976 Musica Antiqua
Morris Surdin 23 October 1976 Eine kleine 'Hammer Klapper' Musi/c
Harry Somers 2 June 1981 Ekgy, Transformation, ]ubilation
Harry Freedman 29 September 1982 Concerto for Orchestra
John Weinzweig 13 October 1982 Divertimento #9 for Orchestra
Steven Gellman 16 February 1983 Awakening
*Anne Lauber, text by 5 November 1983 Beyond the Sound Barrier (joint commission
Paule Tardif-Delorme of the TSO and the Quebec Symphony
Orchestra)
Godfrey Ridout 18 January 1984 No Mean City: Scenes from Childhood
Raymond Luedeke 8 February 1984 Shadow Music
Michael Colgrass 27 September 1984 Chaconne for Viola and Orchestra
*Raymond Luedeke 6 March 1985 The Moon in the Labyrinth
Glenn Buhr 11 September 1985 Beren and Luthien
Steven Gellman 8 January 1986 Universe Symphony
Alexina Louie 14 May 1986 The Eternal Earth
Raymond Luedeke 10 December 1986 The Transparency of Time
Glenn Buhr 30 March 1988 Lure of the Fallen Seraphim
R. Murray Schafer 6 April 1988 Concerto for Harp and Orchestra
* Raymond Luedeke 22 February 1989 Tales of the Netsilik (commissioned by the
TSO, with joint support of the orchestras
from Montreal, Edmonton, London,
Calgary, and Quebec, and with the finan-
cial assistance of the Canada Council)
CANADIAN WORKS COMMISSIONED BY THE TORONTO SYMPHONY ORCHESTRA 253
APPENDIX D
Canadian Works Commissioned by the Toronto Symphony Orchestra since 1960 - continued
*Istvan Anhalt 13 September 1989 Sonance Resonance: Wekhe Tone?
Derek Holman 22 November 1989 Tapestry
*R. Murray Schafer 21 March 1990 Concerto for Guitar and Orchestra (co-
commissioned by the TSO, the Montreal
Symphony Orchestra, and the Calgary
Philharmonic Orchestra)
Alexina Louie 25 April 1990 Music for Heaven and Earth
*Michael Conway Baker 2 June 1990 Timedancers
Stephen Chatman 20 September 1990 Piano Concerto
Gary Kulesha 5 October 1990 The Midnight Road (Third Essay for
Orchestra)
**Tomas Dusatko 31 January 1991 Eine kleine Traummusik
**Walter Boudreau 28 February 1991 Encore ces questions sans reponses
(Again, those unanswered questions)
R. Murray Schafer 17 April 1991 The Darkly Spkndid Earth: The Lonely Traveller
Raymond Luedeke 24 April 1991 The North Wind's Gift (co-commissioned by
the TSO, the Calgary Philharmonic
Orchestra, and the Vancouver Symphony
Orchestra)
Walter Boudreau 7 September 1991 Tradiderunt me in manus imporium II
Walter Boudreau 19 September 1991 Berliner Momente, Zweiter Teil
*Glenn Buhr 8 January 1992 Double Concerto for Flute, Harp, and Orchestra
(co-commissioned by the TSO, the Hamil-
ton Philharmonic Orchestra, and the
National Arts Centre Orchestra)
Srul Irving Glick 15 January 1992 The Reawakening
* Michael Colgrass 6 May 1992 Arias for Clarinet and Orchestra
* Peter Lieberson 17 February 1993 Viola Concerto
Alex Pauk 26 March 1993 Portals of Intent
R. Murray Schafer 31 March 1993 Concerto for Accordion and Orchestra
Ian McDougall 6 December 1993 Concerto for Bass Trombone and Orchestra
Omar Daniel 5 October 1995 Strategies against Architecture
Barbara Croall 11 June 1997 The Four Directions (inspired by Vivaldi)
Raymond Luedeke 8 November 1997 Concerto for Double Bass and Orchestra
Gary Kulesha 11 February 1998 Symphony
Barbara Croall 12 November 1998 When Push Came to Shove (excerpt)
Henry Kucharyk 12 November 1998 Prosthetic (Part 3)
Paul Steenhuisen 12 November 1998 Ciphering in Tongues
Alexander Levkovich 15 April 1999 There is no end for my sorrow
Gary Kulesha 16 February 2000 The True Colour of the Sky
Stewart Goodyear 4 March 2000 Allegro brillante for String Orchestra (commis-
sioned by the TSO Volunteer Committee in
honour of their 75th anniversary and the
TSYO's 25th Season)
254 CANADIAN WORKS COMMISSIONED BY THE TORONTO SYMPHONY ORCHESTRA
APPENDIX D
Canadian Works Commissioned by the Toronto Symphony Orchestra since 1960 - concluded
Eric Morin 27 September 2000 Bombs Away
Barbara Croall 7, 8, 10 June 2000 When Push Came to Shove (completed)
Paul Steenhuisen 2 February 2000 Airstream
Peter Lieberson 24 May 2000 The Six Realms1
Derek Holman 1 June 2000 The Invisible Reality2
James Rolfe, text by 7 October 2000 Mechanical Danny and How He Saved the
Dennis Lee Children
Jeffrey Ryan 18 April 2001 Violet Crumble
Eric Morin 16 May 2001 Elegy
Jeffrey Ryan 17 April 2002 The Chalice of Becoming
Paul Steenhuisen 29 May 2002 Pensacola
*Kelly-Marie Murphy 12 June 2002 And Then at Night 1 Paint the Stars
(joint commission of the TSO and the CBC)
*joint commissions
**commissioned for 'Evening Overtures'
1
Commission for Music Canada Musique, patron: The Fleck Family Foundation
2
Commission for Music Canada Musique, patron: The Roy Thomson Hall Founders Fund
Since 1982, the Toronto Symphony Orchestra has commissioned new works annually for the 'Evening
Overtures' chamber music series.
APPENDIX E
Discography
Conducted by Sir Ernest MacMillan

William Byrd Jacob Suite 1942 RCA Victor 11 -8726- A
Jean Coulthard A Winter's Tale 1942 RCI No. 2
Franz Joseph Haydn Serenade 1942 RCA Victor 11-8726-B
Edward Elgar Pomp and Circumstance 1942 RCA Victor M9 11
Marches 1—4
Gustav Hoist The Planets 1943 RCA Victor CM 928
John Weinzweig Interlude in an Artist's Life 1946 RCI
Oskar Morawetz Carnival Overture 1947 RCI No. 41
Eldon Rathburn Cartoon No. 2 1947 RCI No. 41
John Weinzweig Our Canada 1947 RCI No. 41
Robert McMullin 'Pass River' (from Sketches 1950 RCI No. 19
from the Rocky Mountains)
Eldon Rathburn Images of Childhood 1950 RCI No. 19
Harry Freedman Symphonic Suite 1950 RCI No. 19
Serge Rachmaninoff Piano Concerto No. 3 [1950?] IPA 507
Darius Milhaud Suite frangaise 1950 RCI 18
Benjamin Britten Canadian Carnival 1950 RCI 18
Arthur Benjamin Red River Jig 1950 RCI 18
George Frideric Handel Messiah 1952 Beaver LPS-001
(USA - RCA Victor)
Herbert Elwell Pastorale for voice and piano 1953 Hallmark CS-2
Robert Fleming Shadow on the Prairie 1953 RCI No. 129
Wolfang Amadeus Mozart Exultate jubilate 1953 Hallmark CS-S
Giuseppe Verdi 'Pace Pace' 1953 Hallmark SS-1
Pyotr Il'yich Tchaikovsky Symphony No. 5 1954 Beaver LP 1001
Conducted by Geoffrey Waddington

Murray Adaskin Ballet Symphony 1952 RCI No. 71
Alexander Brott Concertino for violin and 1952 RCI No. 71
Orchestra
Harry Freedman Nocturne 1952 Music Canada RM222
Conducted by Victor Feldbrill

Norma Beecroft Improvisation concertanti 1961 Audat 477-4001
Harry Freedman Tangents 1961 Audat 477-4001
256 DISCOCRAPHY
Appendix E
Discography - continued
John Weinzweig Concerto for Piano and
Orchestra 1966 CBCSM-104
Norman Symonds The Nameless Hour 1966 CBCSM-104
Godfrey Ridout Fall Fair 1966 Audat 477-4001
Godfrey Ridout 'Scenes from Childhood' 1990 Centre Disc 3890
Godfrey Ridout No Mean City 1990 Centre Disc 3890
Godfrey Ridout Music for a Young Prince 1990 Centre Disc 3890
Godfrey Ridout Cantiones mysticae 1990 Centre Disc 3890
Godfrey Ridout Ballade for Viola and 1990 Centre Disc 3890
Orchestra
Godfrey Ridout La Prima Ballerina, Suite No. 1 1990 Centre Disc 3890
Conducted by Walter Susskind

Gabriel Pierne The Children's Crusade 1960 Beaver LPS003
Oskar Morawetz Piano Concerto No. I 1965 Capitol SW 61 23
Roger Matton Concerto for Two Pianos 1965 Capitol SW 6 123
Conducted by Jean Deslauriers

Oskar Morawetz Symphony No. 2 1966 CBC SM-104
Turner Three Episodes 1966 CBC SM-4
Conducted by Seiji Ozawa

Hector Berlioz Symphonic fantastique 1967 CBS M2S-756
Harry Freedman Images 1967 CBS M2S-756
Pierre Mercure Triptyque 1967 CBS M2S-756
Frangois Morel L'etoile noire 1967 CBS M2S-756
Olivier Messiaen Turangalila Symphony 1968 RCALSC-7051
Toru Takemitsu November Steps 1968 RCALSC-7051
Toru Takemitsu Asterism 1970 RCA LSC-3099
Toru Takemitsu Requiem 1970 RCA LSC-3099
Toru Takemitsu Green (November Steps II) 1970 RCA LSC-3099
Toru Takemitsu The Dorian Horizon 1970 RCA LSC 3099
Conducted by Karel Ancerl

Healey Willan Symphony No. 2 1970 CBC SM- 133
Bohuslav Martinu Symphony No. 5 1971 CBCSM-218
Ludwig van Beethoven Symphony No. 6 ('Pastoral') 1972 CBC SM-150
Clermont Pepin Guernica 1972 Audat 477 4002
Conducted by Kazuyoshi Akiyama

Ottorini Respighi The Fountains of Rome 1972 CBCSM-218
Igor Stravinsky The Firebird 1980 CBC SM-5004
DISCOCRAPHY 257
Appendix E
Conducted by Hermann Scherchen
Gustav Mahler Symphony No. 7 (recorded 1965) 1991 Music & Arts CD 695
Conducted by Andrew Davis

Alexander Borodin Symphony No. 1 1977 CBS M2-34587
Alexander Borodin Prince Igor: Overture 1977 CBS M2-34587
Alexander Borodin Polovtsian Dances 1977 CBS M2-34587
(Borodin set re-released on CD) 1989 CBS WMDK 44910
Johannes Brahms Symphony No. 4 1977 CBC SM-327
Leosjanacek The Cunning Little Vixen 1978 CBSM-35117
Leosjanacek Taras Eulba 1978 CBSM-35117
Pyotr IPyitch Tchai' The Nutcracker (complete) 1979 CBSM2-35196
kovsky (re-released) 1990 Sony VMK-38975
Georges Bizet Carmen: Suite No. I 1980 CBC SM-5003
Jules Massenet Scenes pittoresques 1980 CBC SM-5003
Richard Strauss Der Rosenkavalier Suite 1980 CBC SM-5003
Georges Bizet L'arlesienne Suites Nos I and 2 1981 CBSIM-36713
Antonin Dvorak Symphony No. 9 ('New World') 1981 CBC SM-5007
Ottorini Respighi La boutique fantastique 1981 CBS IM-35842
Jean Sibelius Symphony No. 2 1983 CBS IM-37801
Igor Stravinsky The Rite of Spring 1983 CBC SM-5019
Ludwig van Beethoven Piano Concertos Nos 1-5 1984 CBC SM-5027 (Digital)
Antonin Dvorak Slavonic Dances, op. 46 1984 CBC SM-501 2 (Digital)
Dmitri Shostakovich Violin Concerto, op. 99 1984 CBC SM-5037 (Digital)
Richard Strauss Ein Heldenleben 1984 CBC SM-5036 (Digital)
Richard Strauss Salome (highlights) 1985 CBS IM-42019 (Digital)
Richard Strauss Four Last Songs 1985 CBS IM-42019 (Digital)
Richard Strauss Maivern 1985 CBS IM-42019 (Digital)
Ludwig van Beethoven Piano Concerto No. 5 1986 CBCSMCD-5155
Ludwig van Beethoven Fantasia for Piano, Chorus and 1986 CBCSMCD-5155
Orchestra
Ludwig van Beethoven King Stephen Overture 1986 CBCSMCD-5155
Gustav Hoist The Planets 1986 EMI DS-4DS-37362
EMICD-CDC-7474172
George Frideric Handel Messiah 1987 EMI DSB-49027
EMI CDCB 49027
258 DISCOGRAPHY
Appendix E
George Frideric Handel Messiah 1988 EMI4DS-49407
EMI CDC 7494072
Orchestra Spectaculars 1988 CBC SM-5068
CD SMCD-5068
Michael Colgrass Chaconne for Viola and Orchestra 1990 CBC SM-5087
CBC SMCD-5087
Ernest Bloch Suite Hebrdique 1990 CBC SM-5087
CBC SMCD-5087
Paul Hindemith Trauermusik 1990 CBC SM-5087
CBC SMCD-5087
Benjamin Britten Lachrymae 1990 CBC SM-5087
CBC SMCD-5087
Richard Strauss Die Liebe der Danae, op. 83 1990 CBS WMDK-45804 CD
R. Murray Schafer Harp Concerto 1992 CBCSMCD-5114
R. Murray Schafer The Darkly Splendid Earth: The 1992 CBCSMCD-5114
Lonely Traveller
R. Murray Schafer Concerto for Flute and Orchestra 1992 CBCSMCD-5114
Richard Strauss eight songs (Ben Hepner) 1995 CBCSMCD-5142
Conducted by Giinther Herbig

Ludwig van Beethoven Symphony No. 3 ('Eroica') 1992 Analekta AN 2 8201
Ludwig van Beethoven Romance No. 1 for Violin 1992 Analekta AN 2 8201
& Orchestra
Ludwig van Beethoven Romance No. 2 for Violin 1992 Analekta AN 2 8201
& Orchestra
Conducted by Mario Bernardi

Ernst van Dohnanyi Variations on a Nursery Son£ 1987 CBC SMCD-5052
Serge Rachmaninoff Piano Concerto No. 1 1987 CBC SMCD-5052
Henry Litolff Scherzo 1987 CBC SMCD-5052
Serge Rachmaninoff Piano Concerto No. 2 1991 CBCSMCD-5108
Healey Willan Piano Concerto 1991 CBCSHCD-5108
Serge Rachmaninoff Concerto for Piano and 1993 CBCSMCD-5129
Orchestra No. 4
Serge Rachmaninoff Rhapsody on a Theme of 1993 CBCSMCD-5129
Paganini
Serge Rachmaninoff Cinq etudes-tableaux 1993 CBCSMCD-5129
(arr. Respighi)
Serge Rachmaninoff Piano Concerto No. 3 1993 CBCSMCD-5128
Richard Strauss Burkske for Piano and 1993 CBCSMCD-5128
Orchestra
Conducted by Jukka-Pekka Saraste

Modest Mussorgsky Pictures at an Exhibition 1996 Finlandia 244911
Modest Mussorgsky Night on Bald Mountain 1996 Finlandia2-14911
DISCOCRAPHY 259
Appendix E
Discography - concluded
Modest Mussorgsky Prelude to Khovanschina 1996 Finlandia 2-14911
Modest Mussorgsky Scherzo in B flat 1996 Finlandia 2-14911
Modest Mussorgsky March: The Capture of Kars 1996 Finlandia 2-14911
Alexander Scriabin Prometheus 1997 Finlandia 2-17277
Serge Rachmaninoff Piano Concerto No. 4 1997 Finlandia 2-17277
Igor Stravinsky Concerto for Piano and Winds 1997 Finlandia 2-17277
Sergei Prokofiev Romeo and Juliet Suite 1997 Finlandia 2-19050
BelaBartok The Wooden Prince Suite 1998 Finlandia 2-21029
BelaBartok Music for Strings, Percussion 1998 Finlandia 2-21029
and Celeste
BelaBartok Dance Suite 1998 Finlandia 2-21029
Henri Dutilleux Symphony No. 2 1999 Finlandia 2-25324
Henri Dutilleux Metaboles 1999 Finlandia 2-25324
Henri Dutilleux Timbres, espace, mouvement 1999 Finlandia 2-25324
Jean Sibelius Night Ride and Sunrise 2000 Finlandia 2-27890
Jean Sibelius Lemminkdinen Suite 2000 Finlandia 2-27890
Peter Paul Koprowski Concerto for Flute and Orchestra 2001 CBC SMCD-5206
Peter Paul Koprowski Concerto for Accordian and 2001 CBC SMCD-5206
Orchestra
Peter Paul Koprowski Concerto for Viola and Orchestra 2001 CBC SMCD-5206
Select Bibliography
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University Press, 1989.
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Ginsberg, Murray. They Loved to Play: Memories of the Golden Age in Canadian Music. Toronto:
Eastendbooks, 1998.
Kallman, Helmut, Gilles Potvin, and Kenneth Winters, eds. Encyclopedia of Music in Canada,
2nd ed. Toronto: University of Toronto Press, 1992.
MacMillan, Keith, and John Beckwith, eds. Contemporary Canadian Composers. Toronto: Oxford
University Press, 1975.
Randel, Don Michael, ed. The Harvard Biographical Dictionary of Music. Cambridge, MA: Belnap
Press of Harvard University Press, 1996.
Sadie, Stanley, ed. The New Grove Dictionary of Music and Musicians, 2nd ed. 29 vols. London:
Macmillan, 2001.
Schabas, Exra. Sir Ernest MacMillan: The Importance of Being Canadian. Toronto: University of
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Slonimsky, Nicola, rev. Bakers Biographical Dictionary of Musicians, 8th edition. New York: Schirmer,
1992.
Solti, Georg, with assistance from Harvey Sachs. Sold on Sold: A Memoir. London: Chatto and
Winds, 1997.
Index
Page references in italic indicate a photograph. Anderson, George, 150

Anderson, Valdine, 207
Abendroth, Hermann, 182 Andre, Maurice, 115, 124
Aberdeen (Scotland), 155 Ann Arbor (Michigan), 73, 140
Absalom, John, 153 anniversaries (of TSO): eightieth, 220; fiftieth,
Academy of St Martin-in-the-Fields, 122 102-3; seventieth, 190-1; seventy-fifth,
Adams, John: Tromba Lontana, 187 204-5
Adaskin, Murray, 57 Antwerp (Belgium), 114, 115
Adler, Stephen, 133 Arcadian Court (in Simpson's department
Ainsley, John Mark, 193 store), 13, 17
Aitken, Robert, 85 archives (of TSO), 125, 153
Akiyama, Kazuyoshi, 94, 205 Armin, Richard, 85
Aklavik (Northwest Territories), 172, 186 Armstrong, Wray, 159, 163, 167, 171, 175; as
Aler, John, 167 Managing Director, 171-2; on TSO finan-
Alexander, John, 104 cial problems, 188, 190
Alexander, Lincoln M., 190 Arrau, Claudio, 43, 84
Allen, Douglas, 133 Art Gallery of Toronto, 55
Allers, Franz, 128, 153 Ashkenazy, Vladimir, 73, 99, 103, 135, 152,
Althouse, Paul, 30 195
Ameling, Elly, 103 Ashworth Bartle, Jean, 166
American Federation of Musicians, 46 Askenase, Stefan, 115
American Symphony Orchestra League, 152-3 Associates of the Toronto Symphony, 103
Amram, David, 122 Association of Canadian Orchestras, 152-3
Amsterdam, 149, 157, 166 Augsburg (Germany), 115
Amsterdam Concertgebouw Orchestra, 52, Augustyn, Frank, 137, 153, 154, 161, 164
147, 175 Austin, Mrs. A.W. (Mary), 14
Ancerl, Hanna, 107 Austral, Florence, 28
Ancerl, Karel, 97-107; and 1974 European tour Australia, 186
program, 110, 114; appointment of, 93, 97; Ax, Emanuel, 135, 189, 195, 204
career in Europe, 97, 150; in German con- Aze, Michael, 133
centration camps, 62, 97, 107; as guest con-
ductor, 92; illness and death of, 101, 106-7; Bach, Carl Philipp Emanuel: Flute Concerto in
on Penderecki, 102; photographs of, 96, D Minor, 148, 149
102, 106; style and contributions of, 107, Bach, Johann Sebastian: Brandenburg Con-
112, 183, 200; on Tchaikovsky's Symphony certo No. 1, 92, 154; Brandenburg Concerto
No. 5, 104-5 No. 5, 124; Cantata No. 56: Ich will den
Anda, Geza, 69, 102 Kreuzstab gerne tragen, 67; Cantata No. 202:
264 INDEX
The Wedding, 66; Choral Prelude: In Thee O Beethoven, Ludwig van, 27, 110, 153, 196,
Lord Do I Put My Trust (orch arr.), 53; Con- 200, 208; Coriolan Overture, 26, 33; Egmont
certo for Two Violins in D minor, 74, 203-4; Overture, 184, 190; FantasiaforPia.no, Chor-
Fugue in G minor (transcr. Stewart), 30; us and Orchestra (Choral Fantasy), 191;
Mass in B minor, 26, 48, 74, 76; Passacaglia Fidelio, 25, 83, 134, 153, 197; Leonore Over-
and Fugue in C minor (transcr. Stokowski), ture No. 2, 133; Leonore Overture No. 3, 155;
53, 118; Prelude and Fugue in G minor (arr. Missa solemnis in D major, 185; Piano Con-
MacMillan), 18; St John Passion, 155; St certo No. 2, 63, 162, 187; Piano Concerto
Matthew Passion, 72, 99, 183 No. 3, 47, 50, 99, 186; Piano Concerto No.
Bach-Elgar Choir of Hamilton, 64 4, 24, 38, 43, 45, 55, 56, 64, 68, 69, 84, 99;
Bacon, Katherine, 16 Piano Concerto No. 5 ('Emperor'), 12, 53,
Badura-Skoda, Paul, 55 57, 72, 99, 101, 104, 195; Piano Sonata in C
Baker, Janet, 134, 147, 148 sharp minor, op. 27, no. 2 ('Moonlight'), 54;
Baldin, Aldo, 155 Symphony No. 1, 25, 74; Symphony No. 3
Banff (Alberta), 177, 216 ('Eroica'), 12, 21, 33, 53, 124, 208; Sym-
bankruptcy, 193-4, 202, 209, 219-20 phony No. 4, 63; Symphony No. 5, 42, 128;
Barber, Samuel, 213; Piano Concerto, 73 Symphony No. 6, 54, 148; Symphony No. 7,
Barbini, Ernesto, 83, 93 54, 211; Symphony No. 8, 21, 57, 99, 139;
Barbirolli, John, 70 Symphony No. 9, 25, 28, 33, 36, 58, 87, 99,
Barcza, Peter, 104 152, 153, 196; Triple Concerto in C major
Barenboim, Daniel, 72, 79, 94 (for piano, violin, and cello), 27, 37, 98-9;
Barrie (Ontario), 210 Violin Concerto, 32, 55, 58, 64, 74, 99, 179,
Bartle, Donald, 65 203; Violin Romances (op. 40 and op. 50), 26
Bartok, Bela: Concerto for Orchestra, 84; Dance Beethoven Festivals: in 1970, 98-9; in 1977,
Suite, 211; The Miraculous Mandarin, 132; 125, 132; in 1998, 208
Piano Concerto No. 3, 55; Viola Concerto, Beijing (Peking, China), 128-9, 130, 131
190; Violin Concerto No. 2, 211 Beijing Capital Orchestra, 129
Bashmet, Yuri, 190 Belgium, 165
Basso, Guido, 154 Bell, Donald, 87
Battle, Kathleen, 141, 167, 210 bells (for Symphonie fantastique), 152
Battle, Rex, 24 Belohlavek, Jin, 141, 220
Bax, Arnold: St Patrick's Breastplate, 18; Sym- Benjamin, Arthur: Concerto on Themes by
phonic Variations, 25 Cimarosa, 48; Jamaican Rhumba, 227n
Baxtresser, Jeanne, 133, 148, 149, 151 Benny, Jack, 65
BBC Northern Symphony Orchestra, 182 Benson Guy, Elizabeth, 64, 72
BBC Promenade Concerts, 151, 157, 162, 207 Bentzon, Niels Viggo, 74
BBC Radio, 149 Berard, Marie, 182
BBC Scottish Symphony Orchestra, 122, 200 Berg, Alban: Violin Concerto, 122
BBC Symphony Orchestra, 111, 162, 172, 214 Berlin, 212
Beaudet, Jean-Marie, 44 Berlin Philharmonic Orchestra, 29, 211
Beaver Records, 53,80 Berlioz, Hector: Le corsaire ouverture, 160, 162;
Beck, Thomas, 163, 166 La damnation de Faust, 63, 71, 94, 135;
Beckwith, John, 92 L'enfance du Christ, 152; Grande messe des
Beddoe, Mabel, 25 marts, 98; Harold in Italy, 34, 48, 122; Lelio,
Beecham, Thomas, 34, 58, 63, 147, 167; The 104; Roman Carnival Overture, 83, 172;
Faithful Shepherd Suite (arr.), 34; The Great Romeo et Juliet, 106, 127, 152; Symphonie
Elopement Suite (arr.), 58 fantastique, 29, 74, 90, 101, 104, 152, 185
INDEX 265
Berman, Lazar, 137 and cello, 15, 63, 183; Hungarian Dances, 11;
Bernstein, Leonard, 68, 74, 82, 84, 151, 213 Liebeslieder Waltzes, 26; Piano Concerto No.
Bessborough, Lord (Governor General of 1, 137; Piano Concerto No. 2, 35, 105, 112,
Canada), 25 204; SchicksakJied (Song of Destiny), 58;
Best, Richard, 151 Serenade No. 2 in A major, 194; Symphony
Bethune, Norman, 129 No. 1, 24, 50-1, 132, 133, 153, 177, 183,
Birmingham (England), 140, 149 190, 197, 205; Symphony No. 2, 22-3, 34,
Bizet, Georges: Carmen, 50; Symphony No. 1, 186; Symphony No. 3, 101, 205; Symphony
84 No. 4, 32, 54, 67; Vier ernste gesdnge (Four
Blackman, Dan, 182 Serious Songs), 104; Violin Concerto, 24,
Blake, William, 154 29,35,46,94,101,197,213
Bloch, Ernest: Concerto Grosso No. 1, 25, 157; Brahms Festival (1971), 104
Concerto symphonique, 70; Sacred Service, 71 Brailowsky, Alexander, 39, 43, 64
Bloomer, Barbara, 88, 150, 155 Braithwaite, Nicholas, 139
Bloss, Michael, 188 Braun, Victor, 91; in Beethoven Symphony No.
Board of Directors: and 1970 financial crisis, 9, 152; in Berlioz La damnation de Faust, 63;
99; and 2001 financial crisis, 218-20; in Berlioz Romeo et Juliet, 105; in Brahms
Composer Adviser on, 206; long-range German Requiem, 104; in Britten War
planning, 182, 188, 190; musicians on, 150; Requiem, 80, 98; in Strauss Daphne, 166; in
structure of, 27, 68, 86, 220; and Symphony Walton Belshazzar's Feast, 146
Six, 52, 53; women on, 27 Braunfels, Walter: Phantasmic Apparitions of a
Boatwright, Helen (soprano), 94 Theme by Hector Berlioz, 65
Boieldieu, Frangois-Adrien, 197 Brendel, Alfred, 99, 154, 195
Boito, Arrigo: Mefistofele, 185 Brewer, Christine, 189, 193, 207
Bonn, 114, 149 Bridle, Augustus, 59
Bonn (Germany), 165 Britten, Benjamin, 127; Sinfoniada, 73; Soirees
Borodin, Alexander: Polovetsian Dances from musicales, 38; Spring Symphony, 51; War
Prince Igor, 53 Requiem, 79-80, 98, 195, 208
Boston, 93 Broadhurst, William H., 193, 194
Boston Pops Orchestra, 40 Brooklyn (New York), 133
Boston Promenade Orchestra, 40 Brott, Alexander, 73
Boston Symphony Orchestra, 5, 51, 54 Brott, Boris, 73, 75, 102
Bouchard, Victor, 80 Brough, George, 155
Boudreau, Walter: Tradirunt me in manus Brown, Donald, 48
impiorium.ll, 190-1 Browning, John, 73, 94, 105
Boult, Adrian, 36, 214 Brownlee, John, 47
Boutet, BenoTt, 197 Bruch, Max: Kol Nidrei, 22; Violin Concerto
Boutet, Pierre, 48, 51, 137 No. 3, 127
box office revenues, 112 Bruckner, Anton, 10; Symphony No. 2, 84;
Boyden, John, 72 Symphony No. 6, 190; Symphony No. 8, 182
Boyd Neel Orchestra, 57, 67 Bruckner Society of America, 68
Bradshaw, Lloyd, 92 Brunskill, Muriel, 18
Brahms, Johannes, 27, 33, 54, 129, 151, 196, Brussels (Belgium), 163, 165
213; Academic Festival Overture, 54; Alto Brymer, Jack, 165
Rhapsody, 84, 104, 185, 191; Eindeutsches Bryn-Julson, Phyllis, 178
Requiem (A German Requiem), 27, 39, 94, Budapest (Hungary), 212
104; Double Concerto in A Minor for violin Budd, Ruth (Ross), 52, 100, 176
266 INDEX
Buffalo (New York), 67 Canadian Opera Company, 55, 73, 83, 96, 177;
Buffalo Philharmonic Orchestra, 67, 84, 100, TS as orchestra for, 92, 93, 101, 125-6
132 Cantlon, Lynne, 104
Bugajeva, Galina, 117 Canton (China), 128, 129
Bundschuh, Eva-Maria, 197 Canton Acrobats, 140
Burlington (Vermont), 93 Capitol Records, 80
Burrows, Stuart, 101 Cardiff (Wales), 83, 162
Burton, C.L., 17 Carl Rosa Opera Company, 62
Busoni, Ferruccio: Turandot suite, 187 Carnegie Hall (New York), 46, 133, 137, 152,
Butcher, Agnes, 39 178, 189, 203, 207; TSO debut at, 74, 75,
Butterfield, Benjamin, 215 76, 77, 78
Butterworth, George, 33 Carnival Follies (1934), 25
Byatt, Irene, 65 Carson, Clarice, 99
Bychkov, Semyon, 167 Cartan, Joseph (Joe), 45
Casals, Pablo, 34
Cahill, Catherine, 208-9, 217 Cassilly, Richard, 63
Cahilljohn, 105 Castelnuovo-Tedesco, Mario: Concerto for
Cairns, Christine, 207 Guitar and Orchestra in D major, 57
Calgary (Alberta), 134, 177 Caston, Paul, 98, 105
Cambridge University Musical Society, 122 Catholic School Board, 14
Cameron, Christopher, 135, 137, 153, 166 CBC (Canadian Broadcasting Corporation):
Campbell, Norman, 205 broadcast revenue from, 39, 56, 66, 86;
Canada Council: analysis of orchestra rev- Concerts of the Two Worlds series, 76; 'Music
enues, 112; Canadian music quota system, for the Young Folk,' 38; radio broadcasts, 30,
137; and Co-ordinated Arts Services, 96; 36, 39, 42, 51, 56, 66, 146; Radio Canada
funding freeze, 118-19, 194; grants to International, 44; recordings, 202; Sunday
commission works, 70; grants to orchestras, Night, 79; television broadcasts, 87, 88, 154,
91, 118-19, 137; grants to TSO, 64, 66, 169,173
68-9, 70, 91, 99, 124, 128; MacMillan on, CBC Opera Company, 50, 51
59 CBC Symphony Orchestra, 66, 68, 70, 73, 76,
Canada Packers Ltd., 51, 56, 66, 69, 70 100
Canadian Academy of Music (Toronto), 10 CBC Toronto Orchestra, 79
Canadian Accordion Teacher's Association, 74 Ceccato, Aldo, 112
Canadian Children's Opera Chorus, 98, 104 Centennial Commission, 89, 90, 92
Canadian Conservatory of Music (Ottawa), 16 Centre in the Square (Kitchener), 159, 167
Canadian Council of Laymen, 46 Cerovsek, Corey, 154, 184
Canadian Festival of Youth Orchestras (Banff CFRB Radio, 18
1980), 139 CFTO (television), 79
Canadian Labour Congress, 54 Chabrier, Emmanuel: Espana, 172
Canadian music and composers, 47, 50, 57, 65, Chaigneau, Therese, 20
99, 103, 116; Canada Council quotas for, Chailly, Riccardo, 137
137; 'Made in Canada' festivals, 205, 207-8; Champagne, Claude, 47; Altitude, 197
works commissioned by TSO, 70, 90, 92, Chang, Yoon, 133
103,143,189,211 Charlottetown, 124
Canadian Music Associates, 57 charter (of TSO), 16
Canadian Music Competition, 137 Chausson, Ernest: Symphony in B flat major,
Canadian National Exhibition, 36 24
INDEX 267
Cheek, John, 152, 188 Conde, Valdine, 32

Cherkassky, Shura, 115 Conlon, James, 128
Chicago Symphony Orchestra, 51, 147 Conservatory String Quartet, 22
Chicago Tribune, 173 contract negotiations and salary scales: in
Children's Choir (Toronto), 40 1920s, 11, 16; in 1930s, 24, 32-3; in 1940s,
children's concerts. See young people, concerts 38, 42, 45; in 1950s, 69; in 1960s, 70, 71,
and education programs for 91; in 1970s, 100; in 1980s, 157, 163, 165;
China, People's Republic of, 125, 128-31 post-1990, 193-4, 203, 209, 211, 219, 220;
Chong, John, 111 musicians' sacrifices, 29, 203, 220; share
Chookasian, Lili, 98, 104 plan, 33, 194; strike (1999), 210-11
Chopin, Frederic: Piano Concerto No. 1,21; Cooke, Deryck, 151
Piano Concerto No. 2, 106, 115 Co-ordinated Arts Services, 96, 105, 125
Christie, Winifred, 30 Copenhagen, 165
Christmas Box Symphony, 28 Copland, Aaron, 134
Chrysler Corporation, 167 Corbeil, Claude, 104
Chusid, Harvey, 167 Covent Garden Opera, 64, 135
City of Birmingham Symphony Orchestra, 149, Coventry Cathedral, 80
200,212,217-18 Coward, Henry, 34
Civil Liberties Association, 53 Cowell, Johnny, 163, 179; A Farewell Tribute to
CKVL (Toronto radio station), 15 the Grand Old Lady ofShuter Street, 143-4
Clarey, Cynthia, 151 Cox, Herbert C, 7, 16
Clarke, Douglas, 118 Crabb, Michael, 193
Clarke, James P., 4 Craig, W. James, 83
Cleveland Orchestra, 51, 101, 132, 179, 211 Creston, Paul: Symphony No. 2, 58
Cliburn, Van, 79, 104 Crofoot, Alan, 65
Clouthier, Andre, 197 Crook, Howard, 183
CNR Radio Network, 17 Crum, George, 83
Cohen, Harriet, 25 CTV (television), 87
Cohen, Richard, 105 Cuccaro, Costanza, 155
Cole,Vinson, 151, 185 cummings, e.e., 154
Coliseum Chorus, 36 Curzon, Clifford, 48, 54, 56
Cologne (Germany), 190, 211, 212 Cyr, Mary, 155
Cologne Opera, 79 Czapski, Jutta, 197
Columbia Broadcasting System, 36 Czech Philharmonic Orchestra, 92, 93, 97,
Columbia Concerts, 32 150, 152
Columbia Masterworks, 133 Czech Radio Symphony Orchestra, 97
Columbia Records, 90, 125 Czech Trio, 62
Columbus (Ohio), 140
Columbus Centre (Toronto), 210 Dahl, Tracy, 195
Comissiona, Sergiu, 106 Dallas Symphony Orchestra, 182
Commonwealth Arts Festival, 83 Daminoff, Peter, 166
Composers, Authors and Publishers Associa- Dann, Steven, 175, 182, 197
tion of Canada (CAPAC), 47 Dart, Thurston, 122
composers-in-residence: Walter Boudreau, 191; D'Auria, Francesco, 5
Harry Freedman, 57 Davidovich, Bella, 168
Concert Chorus of the University of the Davies, Maldwyn, 160
Philippines, 157 Davies, Robertson, 24
268 INDEX
Davis, Andrew, 122-79; appointment and Dichter, Mischa, 115

contracts, 116, 132-3, 150, 200; on audience Dickinson, James, 5
noise, 207; career, 111, 122; Chansons mno- Domb, Daniel, 117, 124, 134, 140, 197
centes, 154, 166; as Conductor Laureate, 179, Doppler, Franz, 151
183, 204, 208, 213, 219; contributions of, Drainie, John, 65
179, 207; and Isidor Desser, 117; and fanfare Dresden Philharmonic Orchestra, 182
competition, 146; as guest conductor, 111, Dubinsky, Isadore, 84, 105
112, 113, 188, 202, 208, 211,220; as key- Dublin (Ireland), 161-2
board artist, 148, 150, 151, 166, 197, 204; DuBois, Mark, 152, 153
performances of Elgar, 124, 214-15; perform- Dudley, Raymond, 58
ances of Mahler, 124, 127, 142, 151; per- Duncan, Todd, 53
formances of opera, 135, 140, 151, 166; Dunstan, Darren, 183, 185
photographs of, 121, 123, 141, 148, 151, Du Pre, Jacqueline, 87, 94, 95, 101
154, 164, 174; and Promenade Concerts Duschenes, Mario, 173
(London), 162; proposal for principal guest Dusseau, Jeanne, 25
conductor, 127; resignation, 157, 159, 172; Dutoit, Charles, 137, 185
and Steven Staryk, 132; and Young People's Dvorak, Antonin, 32; Cello Concerto, 80, 205,
Concerts, 166, 204 220; The Golden Spinning Wheel, 63; Othello
Davis, Carl, 215 concerto overture, 92; Piano Concerto, 43;
Davis, Colin, 87 Requiem, 98; Scherzo capriccioso, 106; Slav-
Davis, Sam, 150 onic Dances, 11, 137, 143; Stabat Mater, 98;
Dean, Stafford, 160, 178 Symphony No. 6, 97, 118; Symphony No. 7,
Debussy, Claude: La mer, 189; Prelude a I'apres- op. 70, 74, 148; Symphony No. 9, op. 95, 12,
midi d'un faune, 54 63, 191, 204; Te Deum, 195; Violin Con-
Decker, Franz-Paul, 189 certo, 211, 213
deficits: in 1920s, 15, 17, 18; in 1930s, 28, 32; Dyson, George: The Canterbury Pilgrims, 25
in postwar 1940s, 44, 46, 50; in 1950s, 54,
55, 56, 68; in 1960s, 70, 76, 87, 91; in 1970s, East Berlin Symphony Orchestra, 182
99, 118-19; in 1980s, 139, 167; in 1990s, Eaton, Lady (soprano), 17
188, 190, 193, 194, 196, 198, 203; 2000- Edinborough, Arnold, 103
2001,218,219 Edinburgh International Festival, 151, 157,
de Kresz, Geza, 24 159-61, 207
Dela, Maurice, 47 Edinburgh International Festival Chorus,
Delius, Frederick, 67; On Hearing the First 160
Cuckoo in Spring, 34; Intermezzo and Ser- Edo-Ozawa, Kyoto, 74
enade from Hassan, 125; Irmelin (Act II), 58; Education Committee. See young people,
The Walk to the Paradise Garden, 67 concerts and education programs for
Delia Joio, Norman: New York Profiles, 57 Elbi, Gary, 207
Den Bosch (Holland), 157 Elder, Mark, 189
Depression, the (1930s), 22, 23, 24 Elgar, Edward, 14, 67, 124, 126; Cello Con-
Derry, Douglas, 219 certo, 69, 94, 134, 205; The Dream ofGer-
De Sabata, Victor, 50, 54 ontius, 6, 8, 44, 124, 178; Enigma Variations,
Desser, Isidor, 89, 116-17 35, 67, 125; Falstaff, 29; For the Fatten (from
Detah (Northwest Territories), 176 The Spirit of England), 36; In the South, 15;
Detroit (Michigan), 51, 54, 57, 59 Introduction and Allegro, 63; The Kingdom,
Detroit Symphony Orchestra, 175, 182 152; Pomp and Circumstance Marches, 35, 125,
Devlin, Michael, 113 153; Sea Pictures, 18; Symphony No. 2, 7;
INDEX 269
Symphony No. 3 (Payne reconstruction), 204; and Light Classics series, 204; as opera
213-15; Violin Concerto, 50 conductor, 93; photographs of, 102, 109,
Elias, Rosalind, 106 1 1 1 , 112, 117; as Resident Conductor,
Elizabeth II, queen of England, 153 111-12, 116, 117, 127; and Student Coun-
Ellegaard, Mogens, 74 cil, 35, 204; andTSYO, 118, 127, 204,
Ellington, 'Duke,' 94 216
Elliott, Charles, 182 Fenbogue, Abe, 10
Elman, Mischa, 7, 63 Fenyves, Lorand, 98
Elmer Iseler Singers, 151 Fernandi, Eugenio, 67
Elton, H.J., 12, 27,45 Ferrara, Franco, 122
Elton, Jack W.: as Orchestra Manager, 45, 66, Festival of Britain, 83
69, 70; retirement, 93; and Symphony Six, Festival Singers of Canada, 87
52; and Walter Homburger, 71 Fetherston, John, 179
Ely, E.H, 55 Fiedler, Arthur, 40, 44, 47, 103, 105
EMI, 157, 159,167, 202 films and videos (of TSO), 44, 173, 205, 227n
Endowment Fund, 90-1, 119, 126-7; Commit- Finance Committee, 27
tee, 119; 'Fund for the Future' campaign, Financial Post, 168
182, 204, 208 Findlay, William, 100
Enescu, George, 29, 32, 46; Roumanian Rhap- Finlandia/Warner, 214
sody No. 1,29,46 Finlayson, R. William, 72
Engerer, Brigette, 155 Finnish Radio Symphony Orchestra, 202, 213
English, Gerald, 98, 104 Fiore, Nicholas, 132
Entertainment Committee, 27 Firkusny, Rudolf, 43,97
Esham, Faith, 193 First Fifty, The (Edinborough), 103
Estes, Simon, 101, 185 First World War, 8, 20, 33, 34, 42
Estonian Choirs of Toronto, 153 Fischer, Annie, 148
evening concerts, switch to, 22 Fischer-Dieskau, Dietrich, 66
Evening Overtures, 148, 179 Fisher, Edward, 5
Evens, Clifford, 89 Flagello, Ezio, 94
Ewing, Maria, 135 Flanders Festival, 165
Executive Committee (of New Symphony Fleisher, Leon, 57, 204
Orchestra), 14 Fleming, Robert, 57
Executive Committee (of TSO), 27 Florio, Ermanno, 139, 155, 158
Expo '67, 89-90 Flying Fortes, 172-3, 174
Ford Centre for the Performing Arts, 210
Falla, Manuel de: Concerto for Harpsichord, 124; Ford Motor Company of Canada, 68, 69
Nights in the Gardens of Spain, 22 Forrester, Maureen, 87, 101, 141; at Great
Fallis, Loie, 216 Gathering, 169; at MacMillan's final con-
Fallis, Mary Lou, 178, 205-6 cert, 58; performances of Brahms, 84, 104,
Fanning, John, 166 185, 191 performances of Mahler, 127, 128,
Farnon, Robert: Symphonic Suite, 34, 42 140, 147, 178; withTS in China, 128, 129,
Farrell, Eileen, 47, 48 130; TSO debut, 56
Faure, Gabriel: Ballade, 58, 74 Fort McPherson (Northwest Territories), 172,
Feldbrill, Victor: as Associate Conductor, 106; 186
conducting debut, 37, 204; and education Foss, Lukas, 84
program, 122, 216; at Great Gathering gala, Foster, Lawrence, 98
169; as guest conductor, 102, 127, 134, 153, Fournier, Pierre, 69
270 INDEX
Fox, Colin, 104 Garrison, Jon, 193

Francaix, Jean: Concertino for Piano and Orches- Garten, Moses, 16
tra, 58 Gay, Errol, 149, 213, 215
Francescatti, Zino, 43, 56 Gedda, Nicolai, 137
Franck, Cesar: Symphony in D minor, 18, 28, Geiger-Torel, Herman, 50, 51, 93
30 Gelinas, Marie, 139
Frankfurt (Germany), 114, 115, 149, 190, 211 Geneva, 149
Fraser, Sylvia, 82 George V, king of England, 27, 28
Fredericton, 124 George VI, king of England, 53
Freedman, Harry, 63, 84; Chaconne, 84; Graph- Gergiev, Velery, 189
ic 1: 'Out of silence ...,' 103; Images, 90; Klee German, Edward, 14; Dances from Henry VIII,
Wyck, 111; Nocturne, 57 22
Freiburg (Germany), 115 German Performing Rights Society, 59
Fremaux, Louis, 217 Gershwin, George: Rhapsody in Blue, 58
Fresno (California), 134 Gesensway, Louis, 10
Fricker, Herbert Austin, 29, 36 Gesenway, A.E., 12
Fruhbeck de Burgos, Rafael, 98 Gessendorf, Mechthild, 151
Fulgoni, Sara, 207 Ghent (Belgium), 165
funding: contribution of Women's Committee, Giaiotti, Bonaldo, 104
44, 50, 56, 91, 103; from corporate sector, Gibson, Alexander, 148
202; Endowment Fund, 90-1, 119, 126-7, Gilbert, W.S., 67, 153
182, 204, 208; from governments, 45, 55, Gilels.Emil, 79, 101, 105
90-1, 126, 177, 202-3; from lotteries, 105; Gillespie, Robert, 196
Maintenance Fund, 155; for orchestras in Ginsberg, Murray, 132
U.S., 90-1, 126-7, 202-3; from private Ginzer, Frances, 153
sector, 114, 202; Retirement Fund, 42; Givens, Phil, 83
Sustaining Fund, 26, 44, 48, 54, 55, 56; Glasgow, 83
Toronto Symphony Trust Fund, 105 Glasgow (Scotland), 190
fund-raising events: 'A Fusion of Harmonies,' Glazunov, Alexander: Violin Concerto in A
184-5; Great Gathering gala, 168-9, 169, minor, 28, 32, 106
170; Maintenance Fund concert, 155; Glick, Srul Irving: Lamentations for String
Minnelli concert, 188; President's Evening, Quartet and Orchestra, 113
203-4, 205; Yo-Yo Ma concert, 220 Glinka, Mikhail: Ruslan and Lyudmila overture,
Purer, Rafael, 117, 134 24, 44, 128
Globe, The, 15
Gadski, Johanna, 3, 7 Globe and Mail, 130, 168, 173
gala concerts and special events: Great Gather- Gluck, Christoph Willibald: Orfeus ed Euridice,
ing, 168-9, 169, 170; Massey Hall farewell 56
concert, 143, 143-4; President's Evenings, Glyndebourne Opera, 135, 172
203-4, 205; for Queen Elizabeth II, 153; for Godard, Benjamin: Berceuse from Jocelyn, 22
Roy Thomson Hall opening, 146-7; for Goeke, Leo, 127
seventieth anniversary, 190-1; for seventy- Golani-Erdesz, Rivka, 140
fifth anniversary, 205 Goldmark, Karl, 10
Galway, James, 137 Goldschmidt, Nicholas, 50, 51, 185, 195
Garcia, Jose-Luis, 161 Gooderham, A.E. (Albert Edward), 14, 16, 23,
Garland, Judy, 188 27-8
Garrard, Donald, 58, 137 Goodman, Benny, 55, 92
INDEX 271
Goodman, Hyman, 47, 63, 73, 75, 88-9 Hambourg, Michael, 26, 55
Goodyear, Stewart, 208 Hambourg Trio, 26
Gorevic, Ronald, 105 Hamilton (Ontario), 39, 45, 124
Goteborg (Sweden), 165 Hamilton Board of Education, 45
Gould, Glenn, 45, 53, 63, 70, 143 Hamilton Philharmonic Orchestra, 133
Gould, Morton: New China March, 42 Hamlisch, Marvin, 137
Gounod, Charles: La redemption, 4 Hammer, Armand, 150
Gowen, John, 105 Hammerson Hall (Mississauga), 207
Graham, Sandra, 153 Hammond, Joan, 64
Grainger, Percy, 30 Hammond-Stroud, Derek, 151
Grand]any, Marcel, 40, 134; Rhapsodie, 40 Handel, George Frideric, 14; Berenice, 12;
Gray, George, 185 Concerto Grosso, op. 3, no. 1, 124; The
Great Composers series, 205 Faithful Shepherd Suite (arr. Beecham), 34;
Great Gathering gala concert, 168-9, 169, 170 The Great Elopement Suite (arr. Beecham),
Great Performers series, 148, 151, 152, 167-8, 58; Harp Concerto in B flat, 40, 134; Israel in
194 Egypt, 99; Joshua, 166; Judas Maccabeus, 47;
Green, Osher, 182 Messiah, 4, 36, 47, 53, 104, 137, 143, 153,
Greenfield, Edward, 116, 124, 149 159, 167, 193, 211; Royal Fireworks Music,
Grieg, Edvard: Holberg Suite, 139; Piano Con- 84; Viola Concerto in B minor, 27; Water
certo, 12, 30, 34, 65 Music (arr. Harty), 24
Grist, Reri, 87-8, 92, 101 Hanover (Germany), 115, 149, 190
Grollier Hall Drummers, 186 Hansen, Andrea, 129, 177
Gronroos, Walton, 196 Hanslick, Eduard, 10
Gruber, Andrea, 215 'Hard Hat' concert (1982), 146
Gruenberg, Louis: Emperor Jones, 46 Harmantas, Frank, 105
Griin, Jakob, 10 Harper, Heather, 97
Guardian, 116, 124 Harriss, Charles, 6
Guelph (Ontario), 39 Hart, Evelyn, 154
Guelph Spring Festival, 139, 207 Harton, Patricia, 104
Guerrero, Alberto, 22, 25 Harty, Hamilton, 24, 28
Hatikvah, 184
Haarlem, 157 Haugland, Aage, 137
Haba, Alois, 62 Haydn, Franz Joseph, 14; Cello Concerto in C
Hadley, Jerry, 152, 183 major, 87, 220; Piano Concerto in D major,
Haefliger, Ernst, 215 46; The Seasons, 195; Symphony No. 8 ('Le
Haendal,Ida, 101, 115, 153,201 soir'), 106; Symphony No. 94 ('Surprise'),
Hagegard, Hakan, 208 140; Trumpet Concerto, 115, 172
Hagen, Betty-Jean, 55 Heifetz, Jascha, 57, 62
Hagen, Clemens, 212 Heins, Donald, 16-17, 22, 30, 36; Concertino in
Hahn, James E., 29, 33 D minor, 16
Haider, Joerg, 212 Heintzman, Mrs. W.D., 118
Haimovitz, Matt, 183 Heinze, Bernard, 45, 69
Haitink, Bernard, 147 Helpmann, Robert, 56
Halifax (Nova Scotia), 124 Helsinki, 163, 165
Halle Orchestra, 149 Hendriks, Barbara, 149, 151
Hambourg, Boris, 26 Henie, Sonja, 25
Hambourg, Jan, 26 Heppner, Ben, 195, 197, 202, 208, 209, 215
272 INDEX
Herbig, Gunther, 181, 182-98, 192; appoint- Howland, W.G.C., 119

ment and contract, 173,175,179,189,190, Huizingh, Lambert, 219
200; contributions of, 196-7; as guest con- Hummel, Johann Nepomuk: Trumpet Con-
ductor, 205, 220; on status of artist, 197 certo, 124,155
Hersenhoren, Samuel, 44 Humperdink, Engelbert: Prelude to Hansel and
Hertal, Johann Wilhelm, 197 Gretel, 166
Hess, Myra, 47, 48, 69, 71 Humphreys, James D., 4
Hetu, Pierre, 112 Hungary, 211
Hey wood, Lorna, 195 Huntington (West Virginia), 140
Hickox, Richard, 220 Hutt, William, 65
Hindemith, Paul, 196; Concerto for Trumpet and Huttenlocher, Philippe, 183
Bassoon, 113; Kammermusik, op. 49, 197; Hyslopjeff, 160,164
Nobilissima visione, 74; Symphony 'Mathis der
Maler, '71; Symphonic Metamorphosis after IBM, 36, 90
Themes by Carl Maria von Weber, 63 Imperial Oil, 139
Hinds, Esther, 152 Inbal, Eliahu, 94
Hitler, Adolf, 24 Indianapolis Symphony Orchestra, 44
hockey, 173, 174 Inkman, Pamela, 139
Hodgson, Alfreda, 124, 152, 160, 178 International Artists Concert Agency, 166
Hoffman, Richard, 16 International Artists series, 50, 67, 142, 148
Hoffmeister, Karel, 62 International Choral Festival: in 1989, 183,
Holland (Michigan), 73 185; in 1993, 195-6
Hollander, Lorin, 94, 105 International Festival of Youth Orchestras, 155,
Holliger, Heinz, 142 157,216
Hollins, Alfred, 20 international status (of TSO), 46, 51, 59, 64,
Holloway, Stanley, 56 68, 107, 133
Holman, Derek: Tapestry, 188 Inuvik (Northwest Territories), 172, 173, 177,
Hoist, Gustav: The Planets, 35, 125, 159, 167, 185,186
197 Inuvik Delta Drummers and Dancers, 172
Homburger, Walter, 142, 163, 171; and Ancerl, Ireland, John: These Things Shall Be, 33
93, 101; arrangements following AncerPs Irving, Robert, 57
death, 110-11, 112, 114; career of, 166-7; Iseler, Elmer, 151; as conductor of Mendelssohn
and Davis, 111, 116, 132; Great Gathering Choir, 80, 102, 104, 124, 143, 169, 178, 185,
tribute to, 168; and International Artists, 50, 188; and Andrew Davis, 124
142, 148, 166; as Managing Director, 71, 86, Isokoski, Soile, 196
87, 98, 112, 124, 125, 166-7; and Ozawa, 74, Israelievitch, Jacques, 179, 182, 191
93; reminiscences of, 170-1; retirement of, Israel Philharmonic Orchestra, 64, 101, 133,
157, 159, 167, 170; and Steven Staryk, 132; 137, 184-5
on TS deficit, 119 Istomin, Eugene, 106
Honegger, Arthur: Jeanne d' Arc au bucher (Joan Ives, Charles: Three Places in New England, 94
of Arc at the Stake), 65, 104; Symphony No.
2 (Symphonie pour cordes), 94; Une cantate de Jacobsen, Jens Peter, 215
Noel, 104 James, Eleanor, 113
Home, Marilyn, 188 Jamieson, Donald, 130
Horvath, George, 179 Janacek, Leos: Concertino for Piano, 92; Ms a
Horzowski, Mieczyslaw, 55 Glagolskaja (Glagolitic Mass), 111, 113, 188,
Howard, David, 163 204
INDEX 273
Janis, Byron, 66, 94 Kim, Shane, 207

Jansons, Arvids, 182 Kindler, Hans, 32, 44
Jansons, Mariss, 175, 188, 195 King, Audrey, 105
Japan, 93, 94, 128, 186, 187 Kirvine, Emmanuel, 220
Jarvi, Neeme, 141, 153 Kitchener (Ontario), 159, 167
Jarvis, Gerald, 167 Kitchener-Waterloo Philharmonic Choir, 207
jazz, 92, 94 Kleinhans Music Hall (Buffalo), 67
Jazz and the Symphony, 92, 94 Klemperer, Otto, 68
Jenkins, Timothy, 178 Klemperer, Werner, 197
Jerusalem, Siegfried, 140 Kletzki, Paul, 87
Joachim, Otto: Contrastes, 90, 91 Kney, Gabriel, 146
Jochum, Eugen, 147 Knibbs, Barry, 47
Johanos, Donald, 106 Knight, Eric, 153
John Paul II, Pope, 153 Knox Presbyterian Church (Toronto), 20
Johnson, Anthony Rolfe, 124 Kolkowski, Julian, 114, 172
Johnson, Edward, 4, 221 Kolomyjec, Joanne, 153, 166, 178
Johnston, Thomas S., 64, 68, 70 Kolt, Stanley, 179
Jose, R.L., 11 Kombrink, Ilona, 65
Judson, Arthur, 32 Kord, Kazimierz, 110, 113, 116
Jung, Manfred, 137 Korjus, Ingemar, 152
Juno awards, 167, 215 Korn, Artur, 178
Kortgaard, Robert, 137
Kabalevsky, Dmitri: Colas Breugnon overture, Kostelanetz, Andre, 103, 105, 128
227n; Symphony No. 2, 67 Kowalski, Eugene, 100
Kain, Karen, 137, 153, 161, 164 Krachmalnick, Samuel, 93
Kalamazoo (Michigan), 140 Kraus, Greta, 48, 53, 102
Kalichstein, Joseph, 98 Krause, Tom, 94, 185
Kam, Sharon, 184 Kregal, Jesse, 84
Kantarjian, Gerard, 91, 101 Kreisler, Fritz, 7, 46
Kapell, William, 47 Kreizberg, Yakov, 220
Karajan, Herbert von, 82, 182, 211 Krips, Josef, 73,94
Kasemets, Udo, 57 Krueger, Patricia, 133, 155, 159, 177, 204
Kaye, Danny, 88, 89 Kubelik, Jan, 7
Keetbaas, Dirk, 52 Kubelik, Rafael, 87, 147
Kelsey, Agnes Smith, 23 Kuehn, Donald, 118, 129
Kennedy (violinist), 189, 213 Kuerti, Anton, 80, 106
Kennedy, Michael, 149 Kuinka, William, 52
Kennedy, Nigel. See Kennedy Kulesha, Gary, 206, 212, 213; The Gates of
Kennedy Center (Washington), 133 Time, 208; The Midnight Road, 189; The True
Kenny, Mel, J 00 Colour of the Sky, 211
Kent, David, 161, 197, 212 Kullervo Festival Chorus, 196
Kentner, Louis, 70 Kunits, Luigi von, 9, 10-18, 13; and Ernest
Kenyon, Nicholas, 149 MacMillan, 20; Violin Concerto in E Minor,
Kern, Patricia, 151 14; as violinist, 14, 15
Kertesz, Istvan, 79 Kunits, Mrs Luigi von, 14
Kihl, Viggo, 24, 25 Kunz, Ursula, 183
Kilburn, Nicholas, 113 Kunzel, Erich, 128, 143, 144, 153
274 INDEX
Kwang-Chow (Canton) Philharmonic Society, Littler, William, 107, 162, 211, 220
129 Liverpool (England), 83
Liverpool International Competition, 85
Labovitz, Gary, 117,209 Lloyd Webber, Andrew: Requiem, 185
Laderoute, Joseph Victor, 39-40 Loman, Judy, 83, 115, 129, 134, 197
Lakes, Gary, 204 London (England), 83, 115, 140, 149, 157,
Lalo, Edouard: Symphonie espagnok, 22, 25, 55 162, 190
Lambert, Constant: The Rio Grande, 18 London (Ontario), 39
Lambert, George, 25 London Daily Express, 83
Landur (Germany), 115 London Daily Tekgraph, 149, 157, 219
Lange, P.A. de, 159 London Philharmonic Orchestra, 122, 162
Langelier, Denis, 102 London Symphony Orchestra, 28
Lankester, Michael, 213 London Times, 83, 149, 157
Laplante, Andre, 148, 191 London Youth Festival, 157
Larrocha, Alicia de, 101, 168 Long Beach (California), 134
Lastman, Mel, 210, 220 Lorange, Nicole, 104
Laurie, Ronald, 177 Lortie, Louis, 128, 129, 162, 168, 169,
Lausanne, 149 187
Lavigne, Gabrielle, 152 Lottario, 105
Law, Eileen, 39, 47 Louie, Alexina, 187; Music for Heaven and
Lawrence, Douglas, 124 Earth, 186
Lebrecht, Norman, 219 Luboshutz, Lea, 44
Leeds (England), 140, 149 Luedeke, Raymond: Fanfare, 146; The North
Legge, Walter, 62 Wind's Gift, 190
Lehar, Franz, 153 Lupu, Radu, 115
Lehmann, Lotte, 26 Lutoslawski, Witold: Jeux. venitiens, 124
Leinsdorf, Erich, 112, 125, 127, 132, 140 Lympany, Moura, 68
Lenningrad Radio Orchestra, 29
Leppard, Raymond, 137 Ma, Yo-Yo, 134-5, 136, 148, 169, 189, 205,
Leslie Bell Singers, 40, 44 220
Lethbridge (Alberta), 139, 177 Maazel, Lorin, 132
Lethbridge Herald, 139 MacDonald, Brian, 164
Leverkusen, 115, 149 Maclean's Magazine, 86
Levine, James, 101, 103, 112, 113 MacMillan, Ernest, 20-40, 42-59, 204; ap-
Levy, Sydney, 135 pointment of, 20-1; awards and honours, 27,
Lewis, Keith, 178 47, 59, 83, 197; and CAPAC, 47; career, 20;
Libbey, Theodore W., Jr, 133 as a conductor, 32-3, 58-9; as conductor of
Lichti, Daniel, 183 Mendelssohn Choir, 36; death of, 106; as
Lieberman, Carol, 105 guest conductor, 14, 17, 18, 20, 70, 72; in-
Lieberson, Peter: Fire, 212 terest in music education, 22, 59, 204, 216;
Ligeti, Desire, 51 photographs of, 19, 23, 41, 43; as pianist, 30,
Light Classics series, 127, 204 37; plan for orchestra (1930), 24; portrait of,
Lin, Cho-Liang, 189 141; relationship with TSO musicians, 21,
Linz, (Austria), 115 52; retirement, 56, 58-9; and Elie Spivak,
Liszt, Franz, 54, 129; Hungarian Fantasy, 48; 46-7; and Reginald Stewart, 21, 30; and
Piano Concerto No. 1, 32, 128, 188 Symphony Six, 52; Wagner performances
LiTeh-lun, 129 by, 24, 25, 26, 28, 59; works: arr. of Bach
INDEX 275
Prelude and Fugue in G minor, 18; Blanche Messiah, 53; in Janacek Glagolitic Mass, 113;
comme la neige, 147; Cortege academique, 197; in Mozart Mass in C minor, 58; in Strauss
England, 20, 34; God Save the Queen (arr.), Vier letzte Lieder, 74, 90; in Tchaikovsky's
190; 'Hitler and Wagnerism,' 24; Overture Eugene Onegin, 135; on TSO 1965 European
(1924), 14, 18, 20, 197; String Quartet in tour, 83; in Verdi Requiem, 51
C minor, 20; Te Deum Laudamus, 58; Three Marshall, Margaret, 152
French Canadian Sea Songs, 25; Two Sketches Marson, Albert, 47
for String Orchestra, 90, 227n Martens, John, 124
Macurdy, John, 197 Martin, Robert, 202
Madgett, Peter, 133 Martinu, Bohuslav: Piano Concerto No. 3, 104
Madrigal Singers (Peterborough), 25 Mascagni, Pietro: Cavalleria rusticana, 57
Mahler, Gustav, 39-40, 129, 149; Kindertoten- Massenet, Jules: Herodiade, 46
lieder, 67; Des Knaben Wunderhorn, 113, 128; Massey, Vincent, 23, 93
Lieder eines fahrenden Geselien (Songs of a Massey Hall, 45, 49, 143; 1948 restoration,
Wayfarer), 64; Dos Lied von der Erde, 39, 47-8; acoustical problems, 48, 79, 87, 141;
140; Ruckert Lieder, 188; Symphony No. 1, farewell gala concert, 143, 143-4; fiftieth
68, 124, 128; Symphony No. 2, 64, 68, 147, anniversary season, 38; post-1982 TSO
177, 195; Symphony No. 3, 79, 127, 188; performances in, 205, 213; TS final season
Symphony No. 4, 127; Symphony No. 5, 68, in, 140-2
97, 148, 149; Symphony No. 7, 186; Sym- Masterworks series, 201
phony No. 8, 178, 195, 207; Symphony No. Mata, Eduardo, 112
9, 142, 162; Symphony No. 10 (Cooke Mathe, Blain, 54
reconstruction), 151 Mathis, Edith, 98
Mahler medal, 68 Matthews, Denis, 64
Maintenance Fund concert (1985), 155 Matton, Roger: Concerto for Two Pianos, 80;
Malcuzynski, Witold, 39, 48, 63 Te Deum, 104
Malfitano, Catherine, 166 Maxwell, Linn, 155
Malmo (Sweden), 165 Mazura, Franz, 98
Manchester (England), 140, 149 Mazzoleni, Ettore, 32, 36, 37, 40, 46, 47
Manktelow, Barbara, 216 McAdam, Jane, 135
Mannheim, Abe, 52 McCartney, Corol, 85, 86
Manoukian, Catherine, 213 McCaul, John, 4
Maple Leaf Gardens, 26, 29, 36, 53, 56, 57, 58, McCollum, John, 94
155 McCullough, Doug, 122
Marathon Realty, 126 McDermott, Dennis, 161
Marc, Alessandra, 183, 185, 195 McDougall, John, 118
Marchment, Alan, 140 McEachren, Frank, 99, 100, 103
Mardall, Leslie, 25 McGill, David, 161, 179
Margison, Richard, 185, 196 McGrath, Bob, 122
Markevitch, Igor, 73 Mclnnes, J. Campbell, 12
Marriner, Neville, 148, 167 Mclntosh, Brian, 197
Marsalis, Wynton, 155 McKay, Cameron, 79
Marshall, Eileen, 25 McKenzie, Duncan, 15, 18, 22
Marshall, Lois, 53, 78, 104; in Bach Mass in B McKinnon, Catherine, 154
minor, 48; in Beethoven Symphony No. 9, McLean, Hugh, 146
87; in Berlioz La damnation de Faust, 63, 94; McNair, Sylvia, 183
in Britten War Requiem, 19, 98; in Handel McRae, Janice, 100
276 INDEX
Mediations Dispute Services, 194 Montreal (Quebec), 6, 40, 84, 89-90, 93, 139,
Mehta, Zubin, 84, 184, 185 189
Melbourne Symphony Orchestra, 98 Montreal Civic Youth Orchestra, 139
Mendelssohn, Felix: Elijah, 4, 47, 57, 183, 196; Montreal Star, 96
The Fair Melusina overture, 101; A Midsum- Montreal Symphony Orchestra, 30, 84, 118,
mer Night's Dream, 56; Piano Concerto No. 1, 133
106, 149; St Paul, 4, 196; Symphony No. 4 Montreal Women's Symphony Orchestra, 44
('Italian'), 44, 54; Violin Concerto in E min- Moore, Gerald, 55
or, 18, 46, 54, 57, 63, 74, 178,190, 207 Moore, Terry, 105
Mennonite Chorus, 195 Moore, Trevor, 55, 56, 64, 70, 71, 72
Mennonite Festival Chorus, 185 Morawetz, Oskar: From the Diary of Anne Frank,
Menuhin, Yehudi, 50, 54, 57, 64, 71, 101, 148 103; Divertimento for Strings, 67; Passacaglia
Menzies, Arthur, 129 on a Bach Chorale, 155; Piano Concerto No.
Mercure, Pierre: Lignes et points, 84; Triptyque, 1,80; Symphony No. 2, 70
90 Morel, Frangois, 57, 129; Antiphonie, 118;
Merrill, Robert, 48 Uetoik noire, 90
Merriman, Nan, 48 Morisset, Renee, 80
Merritt, Chris, 166 Morphy, Frank, 105
Messiaen, Olivier: Turangalila symphonie, 94 Morris, James, 128, 152
Metropolitan Opera (New York), 44, 48, 73, Morrison, Mary, 48, 58
140 Moscow, John, 52
Metropolitan Toronto Council, 91, 99, 194 Moscow Radio and Television Orchestra, 117
Metro Square (Toronto), 205 Moskalyk, Myron, 79
Metro Toronto Community Foundation, 183 Mozart, Wolfgang Amadeus, 33, 50, 64, 197;
Meyer, Hubert, 167 arrangement of Handel's Messiah, 193; Bas-
Meyer, Sabine, 211 soon Concerto, K 191, 124; Concerto for
Meyerbeer, Giacomo: L'africaine, 47 Flute and Harp, K 299, 177; Concerto in F
Michaelis, Cynthia, 65 for three pianos, K 242, 25-6; Don Giovanni,
Michaels-More, Anthony, 160 47; The Magic Flute overture, 22; Marriage of
Midori (violinist), 169, 183, 190 Figaro overture, 34, 207; Mass in C minor, K
Milkis, Jascha, 134, 175, 191 427, 58; Mia speran^a adorata, K 416, 87-8;
Milligan, Grant, 16 Piano Concerto in A major, K 414, 204;
Milligan, James, 53, 58, 63 Piano Concerto in A major, K 488, 64, 94,
Mills, Jack, 133 165; Piano Concerto in C minor, K 491, 48;
Milstein, Nathan, 38, 63, 79 Piano Concerto in D minor, K 466, 30, 54,
Minkus, Ludwig: Pas de deux from Don Quixote, 57, 115-16; Requiem, 191; Rondo in C
53 major, K 373, 184; Serenade in D major, K
Minnelli, Liza, 188 250 ('Haffner'), 113; Sinfonia Concertante,
Minnesota Orchestra, 148, 187 K 364, 204; Symphony No. 31, K 297, 34;
Mintz, Shlomo, 142 Symphony No.39,K5 43,58; Symphony
Mitchinson, John, 104, 188 No. 41, K 551, 58; Violin Concerto No. 3, K
Modern Fables Company, 122 216, 207; Violin Concerto No. 4, K 218,
Moiseiwitsch, Benno, 50, 55 205; Violin Concerto No. 5, K 219, 101;
Moncton (New Brunswick), 124 Vorrei spiegarvi, K 418, 88
Monk, Allan, 197 Munch, Charles, 54, 82, 94, 98
Monohan, Thomas, 88, 90, 118, 161 Miinchinger, Karl, 152
Monteux, Pierre, 58, 70, 82 Munich, 114, 115, 190
INDEX 277
Murta, Jack, 217 New York Philharmonic, 5, 46, 74, 82, 150,
Murvitz, Moshe, 133, 137 208, 209, 217
Musical Festival of the Empire (1911), 6, 7 New York Post, 74
'Music in the Midnight Sun' (film), 173 New York Times, 74, 168, 173
Musikverein (Vienna), 114, 212 Nexus, 140, 207
Musser, Nancicarole, 85 Niagara-on-the-Lake, 97
Mussorgsky, Modest: Boris Godunov, 185; Nielsen, Carl: Symphony No. 5, 90
Pictures at an Exhibition, 54, 84, 162, 172, Noda, Ken, 142
204,214 Nono, Luigi: Per Bastiana Tai-Yang Cheng, 92
Mustonen, Olli, 195 Nordwest Deutsche Rundfunk Orchestra, 79
Muti, Riccardo, 187 Norman, Jessye, 113, 114, 137, 138, 148, 188,
Mutter, Anne-Sophie, 195, 205 191
North Bay (Ontario), 172
Nagoya (Japan), 94 Northern Encounters Festival, 205
name changes (of TSO), 16, 90, 200 Novaes, Guiomar, 171
Nash, Thomas, 154 Nugent, Mary Carol, 212
Nathan Phillips Square (Toronto), 153 Nuremburg (Germany), 114, 115
National Arts Centre (Ottawa), 91, 96
National Arts Centre Orchestra, 91, 189 Obercian, Teresa, 86
National Ballet of Canada, 53, 55, 83, 96, 137, Obretenov Choir (Bulgaria), 185
153,161,177 O Canada (Calixa Lavalee), 184, 205; arr.
National Ballet Orchestra, 100 Godfrey Ridout, 190
National Film Board, 44 Ogdon, John, 85
National Library of Canada, 197 Ohlsson, Garrick, 112
National Symphony Orchestra (Washington), Oh.' What a Difference Since the Hydro Came, 206
32, 44, 84 Oistrakh, David, 74, 98
National Youth Orchestra of Canada, 79, 168 Oistrakh, Igor, 74
National Youth Orchestra of Great Britain, O'Keefe Centre (Toronto, now Hummingbird
79 Centre), 93, 104, 140
Naxos, 202 Old Vic Theatre Company, 56
NBC Symphony Orchestra, 100 Oliver, Julian, 25
Neel, Boyd, 57, 63, 67-8, 70, 102 Olsen, Keith, 166
Negri, Vittorio, 193 Olympic Arts Festival (Alberta), 177
Neilson, Wendy, 196 Ontario Arts Council, 91, 96, 102, 146, 177,
Nelsova, Zara, 34, 35, 37 194
Nes, Jard van, 185, 195 Ontario Centennial Commission, 91
Neufeld, Wilmer, 99 Ontario Choral Federation Choir, 185
Neumann, Vaclav, 112, 113, 152 Ontario Educational Institution, 21
Neveu, Ginette, 62 Ontario Place (Toronto), 102, 105, 128, 137,
Neville, John, 160 139, 153,155,175
Newman, Leslie, 177 Opera Guild of Toronto, 32
Newman, Robert, 162 Opthof, Cornelis, 196
New Symphony Orchestra, 11-16, 28; Associa- Oramo, Sakari, 200
tion, 14; Executive Committee, 14; first Orbach, Dan, 117
performance (1923), 8, 11, 38, 143 Orchestra Committee, 209
New York, 89, 93, 105, 133, 189 Orff, Carl: Carmina Burana, 70
New York City Center Opera, 93 Orlowski, Joseph, 182
278 INDEX
Ormandy, Eugene, 32 Pengelly, Jeanne, 25

Osaka (Japan), 94 Pension Fund, 45; Concerts, 65, 88, 89, 98, 134
Ottawa, 93, 105, 189 pension plan, 69
Ottmann, Peter, 161 Peopk's Daily, 129
Ousset, Cecile, 189 Perahia, Murray, 168, 169
Oxford (Ohio), 140 Perlman, Itzhak, 84, 104, 148, 168, 178, 195,
Ozawa, Seiji, 81, 82-96, 170; appointment and 197, 203
contracts, 76, 82-3, 200; at Great Gathering Perry, William, 72
gala, 168, 169, 170; as guest conductor, 74, Peterborough (Ontario), 64
79, 98, 102, 103, 105, 106, 204; and Hyman Petri, Michala, 189
Goodman, 88-9; resignation, 92-3 Philadelphia (Pennsylvania), 93
Ozolins, Arthur, 133, 205 Philadelphia Orchestra, 10, 34, 51, 128, 134,
187, 214
Paasikivi, Lilli, 215 Philharmonia Orchestra (London), 62, 80, 122,
Pack, Rowland, 63 152, 162
Paddle Your Own Canoe, 206 Philip, duke of Endinburgh, 153
Paganini, Nicolo: Violin Concerto No. 1, 43; photographs (of TSO): in Australia, 186; with
Violin Concerto No. 4, 16 Jack Benny, 65; at Carnegie Hall, 76, 78; in
Paik, Hyung-Sun, 139 China, 130, 131; with Andrew Davis, 161;
Palmateer, Mary, 53 with Victor Feldbrill, 117; at Great Gather-
Panenka, Jan, 104 ing Concert, 170; with Danny Kaye, 89;
Pantages Theatre (Toronto), 187 with Luigi von Kunits, 13; with Ernest
Panula, Jorma, 200 MacMillan, 23, 49; with Lois Marshall, 78;
Paris, 149, 165, 190 at Massey Hall farewell concert, 143; at Roy
Paris Opera, 135 Thomson Hall, 145; with Jukka-Pekka
Parker, Jon Kimura, 154, 186 Saraste, 201; with Walter Susskind, 72
Parlow, Kathleen, 16, 34, 35, 37 Piastre, Michel, 28
Parr, Patricia, 45-6, 65 Piatigorsky, Gregor, 25, 34
Parris, Robert: Concerto for Five Kettledrums, 84 Pickering, Edward A., 86, 87, 90, 146, 159
Parry, Hubert: Blest Pair of Sirens, 36; The Pied Pierne, Gabriel: La croisade des enfants (The
Piper of Hamelin, 17 Children's Crusade), 25, 40, 80
Part, Arvo: Prates, 153 Pilcher, DrJ., 11
Pasadena (California), 134 Pires, Maria-Joao, 165
Pauk, Gyorgy, 106 Piston, Walter: Symphony No. 7, 73
Paul, Thomas, 99, 185, 193 Pittsburgh Conservatory, 10
Paula Moreno Spanish Dance Company, 122 Pittsburgh Symphony Orchestra, 10, 106
Paunova, Marianna, 137, 185 Planning Committee, 87
Pavarotti, Luciano, 134, 155, 156 Plaut, Rabbi Gunther, 71
Payne, Anthony, 214-15 Players Committee, 79, 87, 99
Pears, Peter, 79 Pogorelich, Ivo, 160, 162, 168
Peddie, Frank, 65 Pohjola, Larry, 79
Peel, Robert E., 118 Poliansky Choir of Moscow, 185
Peerce, Jan, 32, 47 Polytech Choir of Finland, 205
Pelletier, Denise, 104 Pops Concerts: in 1920s, 12; in 1940s, 39, 40,
Pelletier, Maurice, 117 44, 46, 47, 49; in 1950s, 56, 57, 63, 67; in
Penderecki, Krzysztof: Passio et mors domini 1960s, 71, 72; in 1970s, 112; CBC broadcast
nostrijesu Christi secundum Lucam, 102 of, 39, 42, 51, 56, 66; Pantages Theatre
INDEX 279
proposal, 187-8; sponsorship for, 42, 51, 56, Rae, Bob, 219, 220
66, 68, 69, 70 Ramey, Samuel, 167, 168
Popescu, Maria, 204 Rampal, Jean-Pierre, 169
Poulenc, Francis, 151; Organ Concerto in Rattle, Simon, 137, 218
G minor, 146 Ravel, Maurice: Bolero, 25, 132; Daphnis et
Prague (Czechoslovakia), 149, 150 Chloe suite No. 2, 71, 147; Mother Goose
Prague Opera, 97 Suite, 50-1; orchestration of Mussorgsky's
Prague Philharmonic Choir, 196 Pictures at an Exhibition, 84, 162; Piano
Prata, Gabrielle, 196 Concerto for the Left Hand, 69; Sheherazade,
Pratt, E.J.: Brebeuf and His Brethren, 38 83; Le tombeau de Couperin, 54
Pratz, Albert, 31, 69, 100, 134; as RCA Bluebird Classics, 53
concertmaster, 101; retirement, 132; as RCA Victor, 35-6, 53, 197
soloist, 32, 105-6, 114, 118, 127; andTSYO, Reading (England), 149
118 recordings, 80; with Beaver Records, 53, 80;
Previn, Andre, 85; Overture to a Comedy, 85 with Capitol, 80; with CBC, 202; with
Prevost, Andre: Fantasmes, 112 Columbia, 90, 125, 133; with EMI, 157, 159,
Prey, Hermann, 79 167, 202; Juno awards, 167, 215; with RCA
Price, Leontyne, 98, 168 Victor, 35-6, 93-4, 197; with Warner Music
Primrose, William, 27, 34, 48 (Erato and Finlandia labels), 202, 214
Program and Publicity Committee, 27 Reid, Robert, 72
Prokina, Elena, 208 Reinecke, Carl: Flute Concerto in D major,
Prokofiev, Sergei, 151; Aleksandr Nevsky, 185, op. 283, 137
213; Piano Concerto No. 2, 133, 149; Romeo Reiner, Fritz, 44
and Juliet, 83, 148, 201; Symphony No. 5, 74, Relyea, Gary, 153; in Bach St John Passion, 155;
157, 160; Violin Concerto No. 1, 47, 189; in Beethoven Fideiio, 197; in Beethoven
Violin Concerto No. 2, 84; Vision fugitives Symphony No. 9, 196; in Berlioz Lenfance
(transcr. Susskind), 92 du Christ, 152; in Elgar Dream ofGerontius,
Promenade Concerts (London), 151, 157, 162, 178; in Handel Messiah, 193; in Janacek
207 GJagoiitic Mass, 204; in Mahler Symphony
Promenade Symphony Orchestra, 26 No. 8, 195, 207; in Schoenberg Gurrelieder,
Public Schools Concerts, 112 215; in Stravinsky Pukinella, 124
Puccini, Giacomo, 67; La boheme, 73, 93; request concerts, 28, 30
Tosca, 93; Turandot, 155 Resnik, Regina, 43, 44
Purcell, Henry, 53 Respighi, Ottorino: La boutique fantasque, 67;
The Pines of Rome / I pini di Roma, 54
Quebec City, 124 Retirement Fund, 42
Quilico, Louis, 92, 104 Rex Hotel (Toronto), 210
Quivar, Florence, 127, 152, 167, 183 Rhombus Media, 173
Ricci, Ruggiero, 25
Rachmaninoff, Serge, 7; Piano Concerto No. 2 Richard Strauss medal, 59
in C minor, 22, 39, 64, 205; Piano Concerto Ridout, Godfrey, 47, 57, 67, 119, 154-5;
No. 3 in D minor, 47, 48, 66, 73; Rhapsody Ballade for Viola and String Orchestra, 34;
on a Theme of Paganini, 55, 115, 208; Sym- Fanfare, 172; Festai Overture, 38; O Canada
phonic Dances, 212; Symphony No. 2, op. 27, (arr.), 190
188 Riegel, Kenneth, 113, 152
radio broadcasts: in 1920s, 15, 17-18; with Rignold, Hugo, 56
CBC, 30, 36, 39, 42, 44, 51, 56, 66, 146 Rilling, Helmuth, 155, 183, 195
280 INDEX
Rimsky-Korsakov, Nikolai: Cappriccio espagnole, 162, 189, 196; box office, 147, 182; con-
139 struction and financing of, 133, 135, 137; and
Rittich, Eugene, 79, 118, 139 International Artists, 142; musicians' com-
Rizner, Frederick, 85, 135 ments on, 135; naming of, 142-3; negotiations
Robarts, John, 99 with TSO Board, 140, 167; opening ceremo-
Robbin, Catherine, 152 nies, 144, 146-7; orchestral piano for, 135;
Roberts, Agnes, 86 planning of, 87, 126; rehearsal hall, 140; re-
Roberts, Charles G.D., 27 novation of, 215, 221; rental and service fees,
Roberts, Georgina, 134 140, 142, 147, 150, 194; Seat Endowment
Roberts, Richard, 105 Committee, 135; seating and lobby areas, 141;
Robert Simpson Co., 42, 45, 51; Arcadian summer seasons at, 153; TSO administrative
Court, 17, 18 space in, 142; TSO on stage at, 145
Robinson, Faye, 178, 188, 195 Roy Thomson Hall Board, 140, 142
Rochester Philharmonic Orchestra, 100, 182 Rozhdestvensky, Gennady, 185, 195, 196
Rodzinsky, Artur, 44 Rubbra, Edmund: Symphony No. 5 in B flat
Roffman, 227n major, 53
Rolandi, Gianna, 140 Rubinstein, Arthur, 35, 38, 170
Rolston, Shauna, 177 Ruddick, Daniel, 117, 129, 159
Ronald, T. Iain, 188
Rose, Leonard, 79, 80 Sadler's Wells Ballet (later Royal Ballet), 57
Roslak, Roxolana, 151 St David's Hall (Cardiff), 162
Ross, Elinor, 104 Saint John (New Brunswick), 124
Ross, Mrs J.F., 14 St Louis Symphony Orchestra, 179
Ross, Peter, 193 St Michael's Cathedral Choir School, 127, 135,
Rossini, Gioacomo: La boutique fantasque, 67; 185
La gazza ladra overture, 50, 188; William Tell Saint-Saens, Camille, 151; Carnival of the
overture, 22 Animals, 33, 204, 205; Cello Concerto No. 1,
Rostropovich, Mstislav, 87, 104, 128, 169, 170, 25, 87, 134; Introduction et rondo capriccioso,
171 184; Piano Concerto No. 2, 16, 155; Piano
Rothmans of Pall Mall Canada, 103 Concerto No. 5, 105; Samson et Dalila, 56
Rouleau, Joseph, 71 salary scales. See contract negotiations and
Roussel, Albert: Le festin de I'araignee (The salary scales
Spider's Feast), 44 Salerno-Sonnenberg, Nadja, 168
Roux, Jean-Louis, 104 Salonen, Esa-Pekka, 200
Roy, Louise, 51 Salzburg Festival, 207
Royal Albert Hall (London), 151, 162, 207 Salzburg Musici, 168
Royal College of Music, 36 Salzedo, Carlos, 134
Royal Conservatory of Music, 46, 67, 168 Sanderling, Kurt, 137, 167, 168, 175
Royal Festival Hall (London), 111, 114, 214 San Francisco, 186
Royal Liverpool Philharmonic Orchestra, 122, San Francisco Symphony, 92, 94
218 Santa Barbara (California), 134
Royal Lyceum Theatre (Toronto), 4 Sarasate, Pablo de: Carmen fantasie, 205
Royal Opera House, Covent Garden, 57, 71, 84 Saraste, Jukka-Pekka, 199, 200-16, 212, 214,
Royal Philharmonic Orchestra, 147 217; appointment and contract, 196, 200;
Royal Philharmonic Society (Britain), 114 as guest conductor, 195, 196, 213; perform-
Royal Winnipeg Ballet, 193 ances of Sibelius, 195, 201, 215; resignation,
Roy Thomson Hall: acoustical problems of, 159, 212-13; support for musicians, 210
INDEX 281
Sargent, Malcolm, 67, 73; arr. of Respighi's La Seefried, Irmgard, 56, 66

boutique fantasque, 67 Segovia, Andres, 57, 171
Sargous, Harry, 105 Seitz, Ernest, 15, 18, 21, 25
Saskatchewan, 134 Sera, Joseph, 150
Sauer, Ralph, 117 Serkin, Peter, 94, 187
Sault-Ste-Marie (Ontario), 172, 173 Serkin, Rudolf, 54, 105
Sauve, Jeanne, 172 Sesame Kids, 122
Schabas, Ezra, 118 S evak, Otakar, 10
Schade, Michael, 196 Severns, William, 87
Schafer, R. Murray: Sun, 147 Sevitsky, Fabien, 44
Schaffer, Karl, 25 Shaftesbury Hall (Toronto), 4
Schallehn, Henry, 4 Shakespeare, William: A Midsummer Night's
Schellenberg, Henriette, 196, 197 Dream, 56
Schenkman, Peter, 98, 114, 117 Shanghai (China), 128, 129
Scherchen, Hermann, 84, 97, 182 Shanghai Ballet Orchestra, 129
Scherman, Paul, 46 Shaw, George Bernard, 126
Schiff, Heinrich, 189 Shaw, Robert, 185
Schippers, Thomas, 73 Shaw Festival (Ontario), 97, 177
Schmidt-Isserstadt, Hans, 79 Shearer, Moira, 56
Schoenberg, Arnold: Five Pieces for Orchestra, Sheffield Choir, 6
122; Friede aufErden, 104; Gurrelieder, 208, Shenkman, Belle, 149
215; Pelkas und Melisande, 189; Piano Con- Shirley, George, 92, 106
certo, 70, 179; Violin Concerto, 189 Shirley-Quirk, John, 113, 142
Schone, Wolfgang, 155 Shortt, Stanley, 202, 203, 206, 217
Schreck, Gustav, 16 Shostakovich, Dmitri, 196, 213; Cello Con-
Schreier, Peter, 98 certo No. 1, 212; Cello Concerto No. 2, 87;
Schreyer, Edward and Lily, 146 Festive Overture, 118; Symphony No. 9, 128;
Schubert, Franz, 54; Rondo in A major, D 438, Violin Concerto No. 1, 71
207; Symphony No. 9 in C major ('Great'), Shulman, Nora, 117, 176
D 944, 28, 133, 189 Shure, Leonard, 39
Schubert Choir (Brantford, Ontario), 17 Sibelius, Jean, 27, 33, 200; Kulkrvo, 195, 205;
Schultz, Theodore, 159 Lemminkdinen Suite, 195, 207, 215; Pohjola's
Schumann, Robert: Cello Concerto, 34, 124, Daughter, 195; The Swan of Tuonela, 195;
177; Piano Concerto, 85, 97, 114-15; Symphony No. 1, 201, 208; Symphony No.
Symphony No. 1, 155; Symphony No. 2, 2, 23, 24, 27; Symphony No. 5, 201; Sym-
132; Symphony No. 4, 84 phony No. 6, 201, 203; Symphony No. 7, 58,
Schwarzkopf, Elisabeth, 63 188, 201, 203; Tempest suite, 201; Violin
Scotland, 155, 157 Concerto, 34, 54, 58, 62, 115, 153, 183, 201
Scottish Chamber Orchestra, 200, 202 Sibelius Academy (Helsinki), 200
Scottish National Orchestra, 56, 62, 148 Simard, Marie Josee, 154
Scottish Opera, 212 Simmie, Helen, 47
Scriabin, Alexander, 200 Simmons, Calvin, 137
Seaman, Christopher, 215 Simmons, Mary, 57, 58, 64
Secondary Schools concerts. See young people, Simoneau, Leopold, 87
concerts and education programs for Simpson, Marietta, 193, 195
Second World War, 33-40, 42, 59; Nazi re- Sinfonietta of Israel, 168
gime, 62, 97; 'Victory Programme' after, 42 Singapore, 186
282 INDEX
Sir Joseph Flavelle Foundation, 45 Zigeunerbaron (The Gipsy Baron) overture,

Siskind, Jacob, 96 94
Sitt, Hans, 16 Strauss, Richard, 140, 197, 202; Eine Alpen-
Skazinetsky, Mark, 139, 197 sinfonie, 187, 194; Ariadne aufNaxos, 88;
Skirko, Leonid, 94 Daphne, 166; Death and Transfiguration, 189;
Skrowaczewski, Stanislaw, 112 Don Juan, 28, 187, 191; Bin Heldenkben, 84,
Smetana, Bedfich, 32; Ma Vlast, 106, 113; 177, 179, 204; Der Rosenkavalier, 94, 151;
Moldau, 66; S drka and Tabor, 92; Walkn- Salome, 93, 140; songs ('Morgen,' 'Wiegen-
steins Camp, 97 lied,' 'Standchen'), 66; Till Euknspiegels
Smith, Ed, 217-19 lustige Streiche, 51, 58; Vier ktzte Lieder (Four
Smith, Leo, 15, 47; A Summer Idyll, 205 Last Songs), 63, 74, 97
Smith, Roberta, 216 Strauss medal, 59
Soderstrom, Elisabeth, 135 Stravinsky, Igor, 213; L'histoire du soldat (The
Solomon, Stanley, 63, 114, 175, 179 Soldier's Tale), 160-1, 164; Jeu de cartes, 54;
Solti, Georg, 84, 85, 206 L'oiseau de feu (The Firebird), 29, 106, 208;
Somers, Harry, 35; Louis Riel, 93; Movement for Oedipus Rex, 87, 160; Petrushka, 29, 124;
Orchestra, 74; Stereophony, 103; Suite for Harp Pukinella, 124; Le sacre duprintemps (The
and Chamber Orchestra, 83 Rite of Spring), 80, 178; Symphonies of Wind
Sousa, John Philip: Liberty Bell, 42 Instruments, 139
Spivak, Elie, 22, 25, 46-7 Streatfield, Simon, 189
Spragg, James, 182 strike (1999), 209-10
Stanford, Charles Villiers: Songs of the Sea, 48 'Strings Across the Sky,' 177
Stark, Ethel, 44 Stubbs, Janet, 124
Star Weekly, 82 Students' Concerts. See young people, concerts
Staryk, Steven, 132, 140, 147, 149, 167, 177, and education programs for
179; and Symphony Six, 52, 147 Stuttgart (Germany), 114, 115, 149, 190, 211,
Steinberg, Sigmund, 129 212
Stern, Isaac, 47, 54, 58, 123, 169, 195 Stuttgart Chamber Orchestra, 152, 168
Stewart, Reginald, 21, 26, 30 subscription audiences: in 1980s, 139, 182; in
Stillwell, Margaret, 48 1990s, 193, 198, 206
Stilwell, Barry, 151 subscription services, 96
Stilwell, Jean, 188, 195 Sudbury (Ontario), 172
Stilwell, Richard, 137, 195 Sugarman, Berul, 150
Stimpson, George, 105 Suk, Josef (the elder): Fairy Tak suite, 67;
Stirling (Scotland), 157 Fantasie for Violin, 98
Saint John's (Newfoundland), 124 Suk, Josef (the younger), 62, 98, 99
Saint Lawrence Hall (Toronto), 4 Sukis, Lilian, 147
Stockholm, 165 Sullivan, Arthur, 67, 153; The Gondoliers, 42
Stokowski, Leopold, 10, 32, 53; orchestral Sumberg, Harold, 63
transcriptions by, 53, 118 Summers, Norman, 71
Stone, William, 195 summer season: at Centre Island, 215; at
Storojev, Nikita, 185 Harbourfront, 215; at Ontario Place, 102,
Stratas, Teresa, 73 105, 128, 137, 139, 153, 155, 175; perma-
Stratford Festival, 177 nent home for, 97, 177, 183, 189; at Roy
Strathy, George W., 4 Thomson Hall, 153, 183, 215; at Toronto
Strauss, Johann II, 10; Die Fledermaus, 169; Centre for the Arts, 215
Kiinsterkben (Artist's Life), 37; Der Susskind, Janice, 92
INDEX 283
Susskind, Walter, 57, 61, 62-80, 72, 75; ap- Taylor, Richard, 195
pointment and contracts, 56, 62, 63, 71, 73, Tchaikovsky, Pyotr Il'yich, 27, 50, 196, 213;
200; career, 62; contributions of, 72-3, 80; 1812 Overture, 157; Eugene Onegin, 64, 135,
death, 137; and Murray Ginsberg, 132; as 137; Francesca da Rimini, 58; The Nutcracker
guest conductor, 92, 101, 102, 103, 105, 112, suite, 22; Piano Concerto No. 1, 15, 27, 30,
113, 128; humour, 66, 76; and National 39, 43, 137, 160, 161-2; Piano Concerto
Youth Orchestra, 79; as pianist, 57, 64, 92; No. 2, 50; Romeo and Juliet fantasy overture,
and Albert Pratz, 69, 101; on status of 32, 33; Symphony No. 4, 26, 96, 128, 205,
orchestra (1960), 69; support of musicians, 207; Symphony No. 5, 11, 25, 57, 74, 83,
71; works: Capriccio Concertante, 101; con- 104-5, 128, 132, 144, 186; Symphony No. 6
certo for tympani, 92; Nine Slovak Sketches, ('Pathetique'), 12, 29, 33, 101, 187, 227n;
65, 80; transcription of Prokofiev's Vision Variations on a Roccoco Theme, 12, 27; Violin
fugitives, 92 Concerto, 35, 38, 56, 62
Sustaining Fund, 44, 48, 55, 56; benefit con- Tchaikovsky Conservatory Choir, 196
certs for, 26, 55; Biggest Little Series (1953), Tear, Robert, 135, 160
54 Tedd, Emily (N.E.), 18, 22, 25, 34, 40, 216
Svoboda, Tomas: Reflections for Orchestra, 104 television broadcasts, 79, 87, 88, 154, 169, 173
Swarthout, Gladys, 44 Temoin, Bernard, 150
Swartz, Jennifer, 177 Tennant, Veronica, 154
Sweden, 165 Tennstedt, Klaus, 110, 125, 126, 127, 128, 132
Sweeney, Gordon, 117, 161 Tetzlaff, Christian, 189, 211, 213
Sweeney, Michael, 197 Theodore Thomas Orchestra, 5
Swinburne, Algernon, 20 'There'll Always Be an England' (Ross Parker
Swoboda, Henry, 32 and Hugh Charles), 33
Sydney (Australia), 186 Thibaudet, Jean-Yves, 188
Sylvester, Michael, 207 Thomas, Ambroise: Mignon, 17
Symonds, Norman: The Gift of Thanksgiving, 139 Thomas, Michael Tilson, 132
Symphony Nine O'Clocks, 30 Thomas, Tom, 183
Symphony Six, 51-2, 53-4, 147 Thomson, Hugh, 63
Szell, George, 62, 147 Thomson, Kenneth, 142
Szigeti, Joseph, 35, 55 Thorngren, Jane, 185
Tibbett, Lawrence, 46
Tait, Edward, 105 ticket prices: in 1920s, 11; in 1930s, 24; in
Tait, Malcolm, 88 1990s, 206; at Roy Thomson Hall, 150
Taiwan, 186 Tippet, Michael: Triple Concerto for Violin, Viola
Takemitsu, Toru, 74; Asterism, 94; Green (No- and Cello, 140; The Vision of Saint Augustine,
vember Steps II), 94; From me flows what you 142
call time, 207; November Steps, 94; Requiem Tiviluk, George, 208, 209
for Strings, 74, 94, 204 Tobias, Norman, 85
Takezawa, Kyoko, 189 Todd, Jean (Jean Wulkan), 79
Talich, Vaclav, 97 Tokyo (Japan), 94, 128
Tanglewood (Berkshire Music Center), 82 Tom Thomas Scholarship Fund, 183
Tanglewood Festival Chorus, 185 Toradze, Alexander, 159
Tapper, Max, 193-4, 200, 202, 217 Toronto: 19th-century orchestral concerts in,
Tate, Jeffrey, 155 4-5; centennial of, 25; theatre orchestras in,
Taylor, James, 210 10
Taylor, Janis, 178, 185, 196 Toronto Board of Control, 53
284 INDEX
Toronto Board of Education, 14, 15, 18, 22, 42, 34; MacMillan Te Deum Laudamus, 58;
45 Mahler Symphony No. 2, 147, 178, 195;
Toronto Boys' Choir, 178, 188 Mahler Symphony No. 3, 127, 188; Mahler
Toronto Catholic School Board, 14 Symphony No. 8, 178, 195, 207; Matton Te
Toronto Centre for the Arts, 213, 215 Deum, 104; Mendelssohn Elijah, 47, 183;
Toronto Children's Chorus, 154, 166, 178, 183, Mendelssohn St Paul, 196; Mozart Mass in
185, 195, 207, 208 C minor, 58; Mozart Requiem, 191; Orff
Toronto City Council, 38, 45, 55, 56, 64, 83, Carmina Burana, 70; Penderecki Passio et
86-7 mors domini nostri Jesu Christi secundum
Toronto City Hall, 83 Lucam, 102; Pierne Children's Crusade, 40,
Toronto Conservatory Choir, 17, 18, 23, 24, 80; Schoenberg Friede aufErden, 104;
25, 27, 36 Schoenberg Gurrelieder, 215; Stanford Songs
Toronto Conservatory of Music, 5 of the Sea, 48; Tchaikovsky Eugene Onegin,
Toronto Conservatory Symphony Orchestra, 5, 137; Tippet The Vision of Saint Augustine,
36 142; Vaughan Williams Dona Nobis Pacem,
Toronto Daily Bread Food Bank, 210 58; Verdi Requiem, 51, 68, 104; Walton
Toronto Historical Board, 126 Belshazzar's Feast, 29, 48, 51, 146; Willan
Toronto International Festival (1984), 152 Brebeuf, 38-9
Toronto International Film Festival, 213 Toronto Mendelssohn Youth Choir, 152, 183
Toronto Mendelssohn Choir, 55; at Carnegie Toronto Men Teachers' Choir, 84
Hall, 152; concerts with touring orchestras, Toronto Musicians Protective Association, 26,
5, 10, 34; first major concert with TSO, 29; 39
at Great Gathering gala, 169; Iseler as con- Toronto Musicians Association, 52, 53
ductor of, 80, 188; Macmillan as conductor Toronto Permanent Orchestra, 5
of, 36; at MacMillan's final concert, 58; at Toronto Philharmonic Orchestra, 26
Massey Hall farewell concert, 143; seventy- Toronto Philharmonic Society, 4
fifth season, 99; Spring Festival (1935), 26 Toronto Police Association, 53, 58
Toronto Mendelssohn Choir, works performed Toronto Skating Club, 25
by: Bach Mass in B minor, 48, 74, 76; Bach Toronto (Daily) Star, 59, 63, 65, 107, 168, 173,
St John Passion, 155; Bach St Matthew Passion, 211, 220
72, 99, 183; Beethoven Fantasia for Piano, Toronto Sun, 168
Chorus and Orchestra, 191; Beethoven Toronto Symphony (Orchestra) Association,
Fidelio, 197; Beethoven Symphony No. 9, 27, 42, 64, 86, 90
58, 87, 99, 152, 153, 196; Berlioz La damna- Toronto Symphony Chorus, 92, 94
tion de Faust, 63, 71, 135; Berlioz Lenfance Toronto Symphony Foundation, 90, 220
du Christ, 152; Berlioz Grande messe des Toronto Symphony Orchestra (conducted by
marts, 98; Berlioz Romeo et Juliet, 106, 127, D'Auria), 5
152; Bloch Sacred Service, 71; Brahms Ger- Toronto Symphony Orchestra (conducted by
man Requiem, 39, 104; Britten War Requiem, Dickinson), 5
79-80, 98, 208; Dvorak Requiem, 98; Elgar Toronto Symphony Orchestra (conducted by
Dream ofGerontius, 44, 124, 178; Elgar The Welsman), 5-7, 16, 63
Kingdom, 152; Handel Israel in Egypt, 99; Toronto Symphony Trust Fund, 105
Handel Messiah, 47, 53, 104, 137, 143, 153, Toronto Symphony Youth Orchestra (TSYO),
167, 193; Honegger Une cantate de Noel, 158; Arctic tour, 173, 177, 185-6; concerts
104; Honegger Jeanne d' Arc au bucher, 104; in and near Toronto, 139, 152, 179, 207,
Janacek Glagolitic Mass, 113, 188, 204; Lloyd 220; concerts with TSO, 191; formation of,
Webber Requiem, 185; MacMillan England, 118, 216; at Great Gathering gala, 168; im-
INDEX 285
portance of, 216, 221; at International Festi- Vancouver (British Columbia), 134, 186
val of Youth Orchestras, 139, 216; master Vancouver Bach Choir, 178, 195
class with Marsalis, 155; tour of Britain and Vancouver Symphony Orchestra, 139, 175
Europe, 155, 157. See also young people, con- van Dam, Jose, 135
certs and education programs for Vanska, Osmo, 200
Torrington, Frederick, 4, 5 Vaughan Williams, Ralph, 36, 208; Benedicite,
Toscanini, Arturo, 50, 100 23, 38; Dona Note Pacem, 34, 58; The Lark
Tourangeau, Huguette, 99 Ascending, 25; A London Symphony, 34, 57;
Tourel, Jennie, 64 Sinfonia antartica, 56; Symphony No. 8, 63;
tours: in Arctic (Canadian Odyssey, 1987), The Wasps overture, 67
172-3, 175, 176, 177; in Asia: (1969), 93, Verdi, Giuseppe, 67; Aida, 93; Laforza del
94; (1978), 125, 128-31; (1989), 186-7, destino, 57, 65; Requiem, 36, 51, 104, 185;
188; in Britain and Europe: (1965), 83-4; Rigoktto, 51, 92
(1974), 103, 110, 113, 114-16, 127; (1983), Vickers, Jon, 53, 58, 167, 178
140, 148-50; (1986), 151, 157, 159-66; Victoria (British Columbia), 134
(1991), 189-90; (2000), 209, 211-12; in Victoria Scholars, 215
eastern Canada, 40, 84, 93, 124, 189; in Victoria Symphony Orchestra (Australia), 62
eastern U.S., 51, 54, 67, 73-4, 89, 133, 140, Vienna (Austria), 114, 115, 127, 140, 149-50,
208; in Ontario, 25, 39, 64, 73, 84, 91, 93, 211, 212
105, 189; in western Canada, 134, 177; in Vienna Philharmonic Orchestra, 10, 114
western U.S., 186-7 Vivaldi, Antonio: Concerto Grosso in D minor,
Tovey, Bramwell, 195 53
Tredwell, Eric, 48 Volunteer Committee (formerly Women's
Trois-Rivieres (Quebec), 139 Committee): on crisis committee (1970), 99;
Tubby the Tuba at the Circus, 122 endowment of principal chairs, 127; forma-
Tucker, Richard, 48 tion of, 14; fundraising, 44, 50, 56, 91, 103;
Tuckwell, Barry, 103 incorporation of, 55; Junior Auxiliary, 62;
Tuktoyaktuk (Northwest Territories), 172, 175, purchase of piano, 135; support of education
186 program, 37, 117-18; support of recordings,
Turnovsky, Martin, 101 125
Tuttle, John, 204 Vons ek, Jan Vaclav: Symphony in D major, 98
Twa, Andrew, 57 Vrenios, Anastasios, 98
Uchida, Mitsuko, 179 Waart.Edode, 112, 113, 187

Umbrico, Joseph, 87, 113 Waddington, Geoffrey, 68, 73
Unger, Heinz, 29-30, 32, 53, 57, 65, 68, 79 Wagner, Richard, 27, 50; Derfliegende Hollander
University College (Toronto), 4 (The Flying Dutchman), 23, 28, 220; Got-
University of Toronto: Convocation Hall, 72; terddmmerung, 28, 48; Lohengrin, 22, 26, 28,
Faculty of Music, 67; MacMillan Theatre, 32; MacMillan's performances of, 24, 25, 26,
118, 152, 158; Varsity Arena, 26, 55 28, 59; Die Meistersinger von Ntimberg, 12,
Urbanova, Eva, 204 24, 26, 28, 30, 191; Parsifal, 24; Siegfried Idyll,
Ushioda, Masuko, 94 23; Tannhduser, 23, 26, 38, 46, 191; Tristan
Uxbridge (Ontario), 210 und Isolde, 14, 26, 53, 64, 191; Die Walkure,
23, 137; Wesendonck Lieder, 48, 134, 191
Valdepenas, Joaquin, 139, 151, 161, 197 Wagner, Roger, 103, 104
Valente, Benita, 185 Wales, 162
Vallerand, Jean, 47 Wallenburg, James, 133
286 INDEX
Walter, Bruno, 68 Wigdorchik, Leo, 117

Walton, William: Belshazzar's Feast, 29, 48, 51, Wilhelmj, August, 16
146; Symphony No. 1, 28, 54; Violin Con- Willan, Healey: Brebeuf, 38-9; Piano Concerto
certo, 62 in C minor, 39; Symphony No. 1 in D minor,
Wang, Yi-ping, 129 47; Symphony No. 2 in C minor, 65
Wardrop, Terence, 86, 96, 118, 125, 126, 130, Williams, John, 213
132 Wilson, Lois, 12
Warlow, Harry, 86 Wilson, Scott, 117
Warnaar, Brad, 105 Windsor (Ontario), 73
Warner Music, 202 Winnipeg Symphony Orchestra, 100, 193
Washington (DC), 89, 105, 133 Wolff, Hugh, 195
Washington Star, 133 Wolfville (Nova Scotia), 124
Watson, William G., 33, 42, 55 women: on Board of Directors, 27; as conduc-
Watts, Andre, 99, 189 tors, 44; in European orchestras, 114, 150,
Watts, Eugene, 85-6 211; new concert dresses for, 91
Weait, Christopher, 118, 124, 139, 155 Women's Art Association Gallery, 12
Webber, Winston, 105 Women's Committee. See Volunteer Com-
Weber, Carl Maria von: Clarinet Concerto mittee
No. 1, 211; Clarinet Concerto No. 2, 92, Women's Orchestra Association of Toronto,
184-5; Concertino for Clarinet and Orches- 14
tra, 55; Der Freischutz overture, 11; Oberon Wood, Henry, 162
overture, 63, 155, 183, 184, 186-7 Wood, J. Allan, 100
Webern, Anton: Six Pieces for Orchestra, 189 Worthington, Kirk, 182
Webster, Nick, 209, 217 Wotherspoon, H.C., 12
Weeks, Larry, 161, 203 Wyner, Susan Davenny, 127
Weinberger, Jaromir: Polka and Fugue from Wyn-Rogers, Catherine, 193
Schwanda the Bagpiper, 28-9, 44 Wyre, John, 88, 140, 207
Weinzweig, John, 47; Barn Dance from Red Ear Wyss, Niklaus, 87, 88
of Corn, 172
Weir.E.A., 17 Yanivker, Arkady, 133
Weir, Scot, 183 Yates, Marjorie, 105, 117
Weiss, Robert, 217, 219 Yeend, Frances, 67
Weller, Walter, 141 York Concert Society, 64, 68
Welsman, Frank, 5, 5-8, 16, 63; as guest Young, Donald, 65
conductor, 14, 15 young people, concerts and education programs
Wenkel, Ortrun, 166 for, 215-16, 221; Adopt-a-Player program,
Wesendonck, Mathilde, 191 216; children's concerts (1920s to 1940s),
West, John Frederic, 152 14-15, 18, 22, 30, 33, 37-8, 45; Education
West, Jon Frederic, 166 Committee (later Youth and Education
Westaway, James W, 112, 116, 125 Committee), 27; education program, 15,
West Palm Beach (Florida), 208 117-18, 155; Feldbrill's involvement in,
Whitehead, Pearl, 48 112, 216; MacMillan's involvement in, 59;
Whitehorse (Yukon), 185 Secondary Schools concerts, 34, 35, 37, 39,
Whiteman, Paul, 58 42, 48, 57, 70; 'Strings Across the Sky,' 177;
Whitman, Walt, 34, 38, 217 Student Council, 35, 39, 204; Students'
Whyte, Jan, 134 Concerts, 112; Tom Thomas Scholarship
Wiens, Edith, 195, 197, 207 Fund, 183; Young People's Concerts, 39,
INDEX 287
112, 122, 166, 204, 215-16. See also Toronto zeller, Richard, 207
Symphony Youth Orchestra Zighera, Leon, 18
Ysaye, Eugene, 7 Zimmermann, Frank Peter, 203
Yukon, 172 Zorina, Vera, 65
Zukerman, Pinchas, 112, 113, 167, 169, 203,
Zafer, David, 139, 155, 158, 207 207
Zecchi, Adone, 57 Zurich, 149

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BEGINS WITH THE OBOE

UNIVERSITY OF TORONTO PRESS

Estate of Richard S. Warren, 2002

Printed on acid-free paper

National Library of Canada Cataloguing in Publication Data

Included bibliographical references and index.

ML205.8.T72T73 2002 785'.06'2713541 C2002-901111-6

Foreword - Sir Andrew Davis ix

TWO 1922-1931: Luigi von Kunits 9

THREE 1931-1945: Sir Ernest MacMillan, Part 1 19

FOUR 1945-1956: Sir Ernest MacMillan, Part 2 41

FIVE 1956-1965: Walter Susskind 61

six 1965-1973: Seiji Ozawa and Karel Ancerl 81

SEVE 973-1975: Victor Feldbrill, Resident Conductor 109

EIGHT 1975-1982: Andrew Davis at Massey Hall 121

NINE 1982-1987: Andrew Davis at Roy Thomson Hall 145

TEN 1988-1994: Gunther Herbig 181

ELEVEN 1994-2000: Jukka-Pekka Saraste 199

Toward the Unknown: 2001-2002 217

Afterword - The Honourable Bob Rae 223

Select Bibliography 261

Sir Andrew Davis

Mme. JOHANNA GADSK1

tory. Regular rehearsal was almost im-

THE ARENA, MONTREAL

THREE GRAND FESTIVAL CONCERTS

THE SHEFFIELD CHOIR OF ENGLAND

"THE DREAM OF GERONTIUS"

GRAND MISCELLANEOUS FESTIVAL CONCERT

CORONATION EMPIRE CONCERT

SOLO ORGANIST AND CHORUS ACCOMPANIST

THE TORONTO SYMPHONY ORCHESTRA

Luigi von Kunits

determination and staunch enthusiasm, decided almost immediately to undertake the

Overture Ernest MacMillan

On 10 November Frank Welsman returned to conduct a performance of the

1926-1927 The 1926-7 season opened with a new

Frank Welsman returned as guest conductor in

Overture Ernest MacMillan

Sir Ernest MacM.il/an,

When last evening I announced my acceptance of the position as conductor of The

Prelude to Lohengrin, Act III Richard Wagner

Symphony No. 2 in D major. The concert for 23 February included a performance of

Overture to Ruslan and Lyudmila Mikhail Glinka

Coriolan Overture Ludwig van Beethoven

Triple Concerto, op. 56 Ludwig van Beethoven

Violinist Albert Pratz became concertmaster of the orchestra in 1971

orchestra performances during wartime.

The previous season had been reassuring, 1941-1942

Ettore Mazzoleni joined the orchestra as Associate Conductor in 1942

Laderoute. This was the first Mahler com-

Sir Ernest MacMil/an

alterations beneath the stage. One re-

A sold-out Friday night Pops Concert in Massey Hall, 1949

1949-1950 Originality in programming for 1949-50 seemed to be non-existent in comparison to

support the action taken the Board and

Unger returned on 11-12 February to conduct the Canadian premiere of Phantastic

baritone was soloist for Cantata No. 56:

The Toronto Symphony Orchestra in Massey Hall, Walter Susskind conducting

Members of the ISO outside Carnegie Hall, December 1963

CARNEGIE HALL / 72nd Season

Wednesday Evening, December 4, 1963, at 8:30 o'clock

THE CARNEGIE HALL CORPORATION