Begins with the Oboe : A History of the Toronto Symphony Orchestra

## 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 instruments were sometimes missing and consequently the balance was often unsatisfac-PRELUDE Frank Welsman (1873-1952) PRELUDE 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. Apparently 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 fitthe sleeves ended midway between his elbow and wrist, and the coat reached just below his knees.

The Toronto Symphony Orchestra has been a part of the arts scene in Toronto for eighty years. Richard Warren, the orchestra's archivist since 1976, uncovers taped interviews and other documentation of the orchestra's musicians, visiting artists, music directors, and administrative personnel, to present an insider's view of the orchestra, and by doing so makes the history of this great cultural institution come alive.

In describing the challenges, achievements, and trials of the orchestra, Warren includes the stories of artists who performed with the orchestra and who then went on to become outstanding performers on the world stage, including Seiji Ozawa, Sir Andrew Davis, Jon Vickers, Lois Marshall, Maureen Forrester, Zara Nelsova, and Ben Heppner, among many others. He also recounts the orchestra's tours through China, the United States, Britain, Japan, Australia, and Europe, and their performances in the renowned theatres of London, New York, Sydney, Vienna, and Berlin. The symphony has become an icon of Canadian culture and enriched the lives of Torontonians and all Canadians as an important part of our heritage.

The Toronto Symphony Orchestra has been a part of the arts scene in Toronto for eighty years. Richard Warren, the orchestra's archivist since 1976, uncovers taped interviews and other documentation of the orchestra's musicians, visiting artists, music directors, and administrative personnel, to present an insider's view of the orchestra, and by doing so makes the history of this great cultural institution come alive. In describing the challenges, achievements, and trials of the orchestra, Warren includes the stories of artists who performed with the orchestra and who then went on to become outstanding performers on the world stage, including Seiji Ozawa, Sir Andrew Davis, Jon Vickers, Lois Marshall, Maureen Forrester, Zara Nelsova, and Ben Heppner, among many others. He also recounts the orchestra's tours through China, the United States, Britain, Japan, Australia, and Europe, and their performances in the renowned theatres of London, New York, Sydney, Vienna, and Berlin. The symphony has become an icon of Canadian culture and enriched the lives of Torontonians and all Canadians as an important part of our heritage. Contents 7 Foreword – Sir Andrew Davis 9 Preface 11 Acknowledgments 13 ONE: Prelude 15 TWO: 1922-1931: Luigi von Kunits 23 THREE: 1931-1945: Sir Ernest MacMillan, Part 1 33 FOUR: 1945-1956: Sir Ernest MacMillan, Part 2 55 FIVE: 1956-1965: Walter Susskind 75 SIX: 1965-1973: Seiji Ozawa and Karel Ančerl 95 SEVEN: 1973-1975: Victor Feldbrill, Resident Conductor 109 123 EIGHT: 1975-1982: Andrew Davis at Massey Hall 135 NINE: 1982-1987: Andrew Davis at Roy Thomson Hall 159 TEN: 1988-1994: Gunther Herbig 195 ELEVEN: 1994-2000: Jukka-Pekka Saraste 213 Toward the Unknown: 2001-2002 231 Afterword - The Honourable Bob Rae 237 Notes 241 Appendices 243 Select Bibliography 275 Index 277 "The Toronto Symphony Orchestra has been a part of the arts scene in Toronto for eighty years. In the making of this history, Richard Warren, the orchestra's archivist from 1976 to 2002, uncovered taped interviews, newspaper articles, programs, photographs, and much more information about the orchestra's musicians, visiting artists, music directors, and administrative personnel. The result of this work is an insider's view of the orchestra in which the history of this great cultural institution comes alive."--Résumé de l'éditeur A wealth of archival material allows an insider's view of the orchestra that has become an icon of Canadian culture and enriched the lives of Torontonians and all Canadians for over eighty years.