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Product details
File Size: 4100 KB
Print Length: 272 pages
Publisher: University of Illinois Press (October 11, 2017)
Publication Date: October 11, 2017
Sold by: Amazon Digital Services LLC
Language: English
ASIN: B076LYP1XV
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I was a thirteen-year-old kid in Cleveland when George Szell became Music Director of The Cleveland Orchestra. Cathedral Latin, my high school, and the Cleveland Museum of Art, where I landed my first job as a sixteen-year-old second assistant gardener, were in University Circle, within the shadow of Severance Hall. My musical awareness and appreciation was profoundly influenced by Szell’s Cleveland Orchestra. So I welcome any chance to find out more about them. This book was no disappointment.Marcia Hansen Kraus has here an engaging, informative, and enjoyable book, generously illustrated, that presents several facets of George Szell’s tenure as Music Director of The Cleveland Orchestra. Rather than follow a strict chronological format Kraus imaginatively organizes her material around themes, personnel, and the like that figured in Szell’s tenure. What emerges is an illuminating context at the center of which there is, of course, Szell. There are, for example, chapters on the various sections of the orchestra, their challenges and achievements; on Robert Shaw, conductor of The Cleveland Orchestra Chorus under Szell, and even on Robert Conrad, founder of the WCLV which has broadcast the orchestra’s concerts now for more than fifty years. A photograph of Szell standing alongside one of the powerful cars he loved to drive reminded me of the excitement outside Severance Hall when 1-SZ (or SZ-1 perhaps) was seen making its way through the parking lot: Szell had arrived to conduct the evening’s concert! Most fascinating for me were the chapters on the genesis, development, and construction of the Blossom Music Pavilion, which beame an architectural, engineering, ands acoustical marvel. Szell’s growing interest in and visits to that project is humorously relayed in the account of his often touring the site in hard hat and galoshes! There is as well the Szell increasingly disillusioned with American politics and asking the audience at his first concert after the Kent State shootings for a moment of silence in recognition of this “human tragedy.†Finally, however, what comes through is Szell’s lifelong and heroic dedication to music, fittingly climaxed with the Eroica Symphony, the last work he conducted (in Anchorage, Alaska, at the end of the orchestra’s 1970 Far Eastern tour). He was too weak to return n to the stage to accept the applause of a very grateful audience. (His 1957 recording of that Beethoven symphony has an absolutely electrifying finish.) George Szell’s Reign is a fitting, inspiring tribute to his legacy and achievement
As an admirer of both George Szell and the Cleveland Orchestra, I eagerly awaited publication of this new book by Marcia Hansen Kraus. It does not disappoint.George Szell is quite unique, in that he was both one of the truly great conductors of the 20th century and possibly the greatest ‘orchestra builder’ of that century - transforming the Cleveland Orchestra from an essentially regional institution into one that was the equal of any in the world. That this was accomplished on budgets that were far smaller those of other leading U.S. orchestras, and in an industrial city in the U.S. mid-west with little pre-existing ‘cultural cachet’, borders on the miraculous.The fact that this orchestra retains a lofty global stature nearly half a century after Szell’s death is a tribute not only to the ongoing commitment of Cleveland’s musical community, but also to the enduring strength of the foundation that Szell set down. To the present day, the Cleveland Orchestra plays like a ‘super chamber ensemble’, very much in keeping with Szell’s vision for his orchestra. This is especially evident when hearing the orchestra in concert.Kraus’s entry is a significant and welcome addition to the Szell/Cleveland literature . The spouse of the late Cleveland Orchestra oboist Felix Kraus – who served for 7 years under Szell – Kraus delivers a very well written, entertaining and convincing portrait of Szell from a working musicians’ perspective.Kraus brings to her book a definite point of view, doubtless informed and influenced by the experiences of her husband as a player under Szell. She does not, however, leave this reader with the impression of an agenda or any particular axe to grind, apart from expressing and expounding upon her obvious admiration of Szell’s artistry and achievements in Cleveland.I see on this website some critiques of Kraus’s book, in matters of accuracy or fairness. Having no personal connection to any of the principals – but having read quite widely on most the subjects covered in Kraus’s book – these criticisms strike me as at least somewhat misplaced, if undoubtedly sincere. What should be remembered is that Kraus’s book provides the perspectives of a sample of players from the dwindling ranks of living Szell-era Cleveland Orchestra musicians. It does not purport to be a comprehensive biography, with all the additional obligations to ‘balance’ that would imply. Nevertheless, judging by her extensive endnotes, it seems to this reader that Kraus has made a good-faith effort to draw upon available written sources of information, as complements to her own interviews with Cleveland Orchestra alumni.With specific reference to principal oboist Marc Lifschey – whose dramatic departure from the orchestra in 1965 is covered in this book- I do not see Kraus’s account as unfair or inconsistent with other accounts. Kraus does, however, shed additional light on the effects which Lifschey’s often-difficult relationship with Szell had on at least some other players in the orchestra. As in other accounts, Lifschey emerges from Kraus’s book as a uniquely gifted musician - and possibly the most important player in the orchestra (Szell certainly seemed to think so) - but not always a team player in the Szell/Cleveland mold. The fact that Szell accommodated Lifschey’s independent streak for so long speaks to his exceptionally high regard for Lifschey as an artist - a regard which Kraus makes very clear in her book.In more general terms, what emerges most strongly from this book is Szell’s profound and abiding sense of duty to both the great composers and to his Cleveland Orchestra musicians – at least to those musicians who shared and met Szell’s musical standards, his vision, and his sense of commitment.Kraus paints a portrait of a conductor doing his best, within the realm of the possible, to improve economic conditions for his musicians. She also provides many examples of Szell’s concern for the well-being of his players in non-material matters, even if his methods (driven by an apparent psychological need for control) sometimes got in the way of his objectives. These anecdotes are often funny, and sometimes quite touching.Through her account, Kraus has added appreciably to my understanding of Szell, as both artist and human being: his warts, insecurities, and obsessions, as well as his finer and nobler qualities, all of which found expression in the extraordinary music he made with his Cleveland Orchestra musicians. After reading her book, I have a better understanding of how the Cleveland Orchestra came to be – as Szell promised at the outset of his tenure – “second to noneâ€, and why many recordings from the Szell/Cleveland partnership will be listened to, and treasured, by music lovers down the centuries.This is a fairly short book, but an important one. I am grateful to the author for her efforts in bringing this account of “George Szell’s Reign†into print.
Other musicians from the Szell era have called me over the last couple of days to tell me about the chapter in this book referring to my husband, Marc Lifschey. I did not know aboutthe book but purchased it on my Kindle immediately. The author did not do me the courtesy of contacting me to ask if I would object to her portrayal of Marc's personality and his relationship to the other musicians, nor to the accuracy ofwhat she states as fact. Bottom line, the tone is mean-spirited.This week marks the 17th anniversary of his death, and surely the negative gossip andreports of his behavior pale in comparison to his musical legacy.
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