| San Francisco Symphony | |
|---|---|
| Orchestra | |
_(cropped).jpg) Orchestra at Davies Symphony Hall, San Francisco, California, October 2021 | |
| Founded | 1911; 115 years ago (1911) |
| Location | San Francisco, California, U.S. |
| Concert hall | Louise M. Davies Symphony Hall atSan Francisco War Memorial and Performing Arts Center |
| Music director | (vacant) |
| Website | sfsymphony.org |
 | |
TheSan Francisco Symphony, founded in 1911,[1] is an American orchestra based inSan Francisco,California. Since 1980 the orchestra has been resident at theLouise M. Davies Symphony Hall in the city'sHayes Valley neighborhood. TheSan Francisco Symphony Youth Orchestra (founded in 1981) and theSan Francisco Symphony Chorus (1972) are part of the organization.Michael Tilson Thomas became the orchestra's music director in 1995,[2] and concluded his tenure in 2020 whenEsa-Pekka Salonen took over the position.[3]
Among the orchestra's awards and honors are anEmmy Award and 15Grammy Awards in the past 26 years.
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In 1909 the Musical Association (MA) was founded by a group of San Francisco citizens with the goal of establishing a professional symphony orchestra in San Francisco. Among the founding board members of the MA was composer, lawyer, and opera librettistJoseph Redding. Redding played an instrumental role in steering the MA's board during the establishment of the San Francisco Symphony and it is largely through his recommendation that conductor-composerHenry Kimball Hadley was appointed San Francisco Symphony's first principal conductor. Redding also selected the orchestra's first concertmaster, the Dutch violinist Eduard Tak. The governing board of the MA continued to manage the San Francisco Symphony until 1935.[4]
The orchestra's first concerts were led by Hadley in 1911. There were sixty musicians in the orchestra at the beginning of their first season. The first concert included music byWagner,Tchaikovsky,Haydn, andLiszt. There were thirteen concerts in the 1911–1912 season, five of which were popular music.
In 1915,Alfred Hertz succeeded Hadley. Hertz helped to refine the orchestra and arranged for theVictor Talking Machine Company to record it at their new studio inOakland in early 1925.[5] Hertz also led the orchestra during a number of radio broadcasts, including onThe Standard Hour, a weekly concert series sponsored byStandard Oil of California. The series began in 1926 when the orchestra faced bankruptcy; Standard Oil of California paid the orchestra's debts and in return was given broadcast rights to that year's concert series. The first broadcast aired on the NBC Pacific Network, on October 24, 1926.[6] and the broadcasts continued for more than 30 years.[7]: 633
After Hertz's retirement in 1930, two conductors,Basil Cameron andIssay Dobrowen, jointly headed the orchestra. During theGreat Depression, the Symphony's existence was threatened by bankruptcy and the 1934–35 season was cancelled; the people of San Francisco passed a bond measure to provide public financing and ensure the organization's continued existence.Pierre Monteux (1875–1964) was subsequently hired to restore the orchestra. Monteux succeeded to the point where NBC began broadcasting some of its concerts and RCA Victor offered the orchestra a new recording contract in 1941. In 1949, Monteux invitedArthur Fiedler to lead summer "pops" concerts in the Civic Auditorium. Fiedler also conducted the orchestra at free concerts inSigmund Stern Grove in San Francisco and theFrost Amphitheater atStanford University. Fiedler's relationship with the orchestra continued until the mid-1970s.
When Monteux left the orchestra in 1952, various conductors led the orchestra, includingLeopold Stokowski,Georg Solti,Erich Leinsdorf,Karl Münchinger,George Szell,Bruno Walter,Ferenc Fricsay, andWilliam Steinberg. Stokowski made a series ofRCA Victor recordings with the orchestra in 1952 and 1953.
In 1954, the board hiredEnrique Jordá as music director. Surviving eyewitness and newspaper accounts describe him as having youthful enthusiasm, energy, and charm. Jordá sometimes conducted so vigorously that his baton flew from his hand.[8] As the years passed, Jordá reportedly failed to maintain discipline or provide sufficient leadership, resulting in inadequate rehearsal of the orchestra[9]George Szell (1897–1970), the longtime music director of theCleveland Orchestra, guest-conducted the orchestra in 1962 and was so dismayed by the lack of discipline that he publicly condemned Jordá and even chastisedSan Francisco Chronicle music criticAlfred Frankenstein for commending Jordá and the orchestra.[10] Szell's comments, along with growing dissatisfaction among musicians and the public, led the symphony board to dismiss Jordá.
In the fall of 1963,Josef Krips (1902–1974) became music director. He quickly became known as a benevolent autocrat, and would not tolerate sloppy playing. He soon began to refine the performance of the musicians, particularly of the standard German-Austrian repertoire. One of his innovations was an annual tradition on New Year's Eve, "A Night in Old Vienna", which was devoted to music ofJohann Strauss and other Viennese masters of the nineteenth century. Similar concerts continued into the 2000s, though the format has changed in recent years. Krips would not make recordings with the orchestra, insisting they weren't ready. He did agree to allowKKHI to broadcast some of the Friday evening concerts. He also paved the way for his successor when he invitedSeiji Ozawa to guest conduct the orchestra; Ozawa impressed critics and audiences with his fiery Bernstein-like conducting, particularly in the performances of theMussorgsky-RavelPictures at an Exhibition, theTchaikovsky Fourth Symphony, andSymphonie Fantastique byHector Berlioz. Krips retired at the end of the 1969–70 season and only returned once, to guest conduct the orchestra in Stern Grove, before his death in 1974.
Seiji Ozawa guest appearances had generated interest before he became the symphony's director in 1970. Concerts were frequently sold out. He greatly improved the quality of the orchestra's performances and convincedDeutsche Grammophon (DG) to record the orchestra in 1972. A special concert series devoted toRomeo and Juliet, as interpreted byHector Berlioz,Peter Tchaikovsky, andSergei Prokofiev andLeonard Bernstein's symphonic dances fromWest Side Story, inspired DG to record the same music with Ozawa. He introduced a number of innovations, including presenting partially staged versions ofLa vida breve byManuel de Falla andBeatrice and Benedict byBerlioz. He had dancers on the stage for some modern ballets performed by the orchestra. For a few seasons Ozawa used local university choruses when needed, but later formed a San Francisco Symphony Chorus to ensure consistent singing. Ozawa purchased a home in San Francisco, planning to stay for many years. However, he agreed to become music director of theBoston Symphony Orchestra and for a time simultaneously directed both orchestras. After leaving San Francisco, Ozawa has returned twice as guest conductor.
Edo de Waart succeeded Ozawa in 1977. Though considered to be not as flamboyant as Ozawa, de Waart maintained the orchestra's high standards, leading to additional recordings, including its first digital sessions. He conducted the orchestra's first performances in the newly constructedLouise M. Davies Symphony Hall in September 1980, including the nationally televised gala. At this time the regular season was extended, beginning in September and lasting until May. This was possible because San Francisco now had two major classical venues, Davies Hall and theWar Memorial Opera House. Consequently, musicians could choose to play in the Symphony, or the Opera and Ballet. A largeFratelli Ruffatti concert organ featuring five manuals, 147 registers and 9235 pipes, was added to the new hall. This organ was used in the orchestra's performance of the recording ofSaint-Saëns' third symphony withMichael Murray as soloist. Philips also tapedJoseph Jongen'sSymphonie Concertante andCésar Franck'sFantaisie in A. A highlight of de Waart's final season, 1984–85, was four sold-out performances of Mahler's eighth symphony, incorporating the Symphony Chorus, theMasterworks Chorale, theSan Francisco Boys Chorus, and theSan Francisco Girls Chorus.
Herbert Blomstedt became music director as of the 1985–1986 season. He had been offered the position immediately after guest conducting for two weeks in 1984, while he was music director ofStaatskapelle Dresden. He emphasized precision and confidence, and worked to develop sensitivity, warmth and feeling in the orchestra's performances. The orchestra began its annual tours of Europe and Asia under Blomstedt, and resumed syndicated weekly radio broadcasts. He recognized the continuing shortcomings ofDavies Symphony Hall's acoustics, helping push for a major renovation, completed in 1992, contributing a substantial amount of money to the cause. He has remained Conductor Laureate of the orchestra, conducting several weeks of concerts each year.
Michael Tilson Thomas (known colloquially as "MTT") became music director in 1995, coming from theLondon Symphony Orchestra. Thomas had guest conducted the orchestra as far back as 1974, and already had a relationship with the musicians. Like Ozawa, Thomas ensured that the orchestra played more American music and this has been carried through to its recordings, for RCA/BMG and its own label SFS Media.
Thomas focused on Russian music, particularly Stravinsky, as well as a prominent Mahler cycle. He recruitedLondon Symphony Orchestra leaderAlexander Barantschik to become SFSconcertmaster. During his leadership the Symphony achieved financial and artistic stability. Thomas is currently the longest-serving music director in the Symphony's history.
In October 2017, the orchestra announced that Thomas was to conclude his tenure as its music director at the close of the 2019–2020 season, and subsequently to take the title of music director laureate.[11][12] Thomas was inducted into the California Hall of Fame in 2017.[13]
Esa-Pekka Salonen guest-conducted the orchestra in 2004, 2012, and 2015. In December 2018, the orchestra announced the appointment of Salonen as its next music director, effective for the 2020–2021 season, with an initial contract of 5 seasons.[14]
In March 2024, Salonen announced that he would be leaving the San Francisco Symphony when his contract expires in 2025, stating that "I do not share the same goals for the future of the institution as the Board of Governors does."[15]
The San Francisco Symphony was the first to feature symphonic radio broadcasts in 1926, and in 2003 the Symphony was heard in syndicated radio broadcasts on over 300 radio stations. There were regular live, stereo broadcasts for many years onKKHI in San Francisco featuring music directors Josef Krips and Seiji Ozawa, including the first live transatlantic stereo satellite broadcast in 1973, originating in Paris.
The orchestra makes regular tours of the United States, Europe and Asia. Its first tour was from March 16 – May 10, 1947, when Pierre Monteux conducted the musicians in 57 concerts in 53 American cities. Josef Krips led them on a Japanese tour in 1968, in which they gave 12 concerts in 7 cities. The May 15 – June 17, 1973, tour saw then-music director Seiji Ozawa and Niklaus Wyss conduct the orchestra in 30 concerts in 19 cities in Europe and the Soviet Union. They returned to Japan from June 4–19, 1975, with Ozawa and Wyss and played 12 concerts in 11 cities. Edo de Waart and David Ramadanoff led an American tour from October 20 – November 2, 1980, giving 10 concerts in 7 cities. There was another American tour from October 27 – November 12, 1983, again led by Edo de Waart, with 13 concerts in 11 cities.
The San Francisco Symphony has toured regularly with current music director Michael Tilson Thomas, most recently a highly successful East Coast tour in April 2016 which included performances in Carnegie Hall, The Kennedy Center, and the New Jersey Performing Arts Center. In November 2016, the San Francisco Symphony, together with Michael Tilson Thomas, embarked on its fourth tour of Asia with performances in Seoul, South Korea; Tainan, Taiwan; Taipei, Taiwan; Shanghai, China; Beijing, China; Osaka, Japan; and Tokyo, Japan.[16]
In 2006, the San Francisco Symphony launchedKeeping Score – MTT on Music, a series of projects comprising audio-visual performances for DVD and broadcast onPBS'sGreat Performances, multimedia websites, and educational programs for schools.
Throughout its history the San Francisco Symphony has had numerous great conductors, instrumentalists and singers as guests. Many famous composers have also led the orchestra over the years. In 1915,Saint-Saëns (1835–1921) conducted the orchestra at thePanama-Pacific International Exposition held that year in San Francisco's Marina District. In 1928,Maurice Ravel conducted some of his music including La Valse and Rapsodie espagnole. In 1937,George Gershwin (1898–1937) conducted a suite from his operaPorgy and Bess, then was soloist in hisConcerto in F andRhapsody in Blue with Pierre Monteux conducting.Igor Stravinsky (1882–1971) was a regular guest conductor, appearing periodically from 1937 until 1967.Aaron Copland (1900–1990) conducted the orchestra in 1966. Other composers who have led the orchestra includeErnst von Dohnányi in 1927,Ottorino Respighi in 1929,Arnold Schoenberg in 1945,Darius Milhaud in 1949,Manuel Rosenthal in 1950,Leon Kirchner in 1960,Jean Martinon in 1970,Witold Lutoslawski in 1986 andHoward Hanson.John Adams, composer-in-residence from 1979 to 1985, also frequently conducts his own works with the orchestra.
Besides visiting composers, some legendary conductors have led the orchestra, includingArtur Rodziński,Walter Damrosch, SirThomas Beecham,John Barbirolli,Andre Kostelanetz,Lorin Maazel,Leonard Bernstein,Guido Cantelli,Victor de Sabata,Dimitri Mitropoulos,Erich Leinsdorf,George Szell,Charles Münch,Paul Paray,Rafael Kubelík,Daniel Barenboim,István Kertész,Karl Richter,Antal Doráti,Leonard Slatkin,Andrew Davis,Nikolaus Harnoncourt,Yevgeny Svetlanov,Simon Rattle,Kurt Masur,Neeme Järvi,Kiril Kondrashin,Eugene Ormandy,Georg Solti,Alex Shkurko,Michael Kamen,Christopher Hogwood and Bruno Walter.
Some of the many soloists who have appeared with the orchestra include violinistsJascha Heifetz,Fritz Kreisler,Yehudi Menuhin,Midori,Itzhak Perlman,Isaac Stern,Joshua Bell,Gil Shaham, andEfrem Zimbalist; pianistsVladimir Horowitz,Horacio Gutierrez,Vladimir de Pachmann,Peter Serkin,Rudolf Serkin,Ruth Slenzynska,Patricia Benkman,Ozan Marsh,Yuja Wang, andAndré Watts; and organistsAlexander Frey andPaul Jacobs.
The San Francisco Symphony gave its first performance on Friday, December 8, 1911, in theCort Theater at 64 Ellis Street. The Symphony stayed at the Cort Theater when it was renamed the Curran Theatre in 1918 (not to be confused with the present dayCurran Theater at 445 Geary Street, which wasn't built until 1922).[17] The Symphony then moved to the Tivoli Theater at 75 Eddy Street for the 1921–22 season, then moved to the newly constructed Curran Theater in 1922 and stayed until 1931, then back to the Tivoli Theater from 1931 to 1932. On November 11, 1932, the Symphony moved to the newWar Memorial Opera House at 301 Van Ness Avenue, where most of their concerts were given until June 1980. The pops concerts were usually presented at theCivic Auditorium. The final concert in the opera house, aBeethoven program conducted byLeonard Slatkin, was in June 1980. The orchestra now plays almost exclusively inLouise M. Davies Symphony Hall at Grove Street and Van Ness Avenue, which opened in September 1980 with a gala concert conducted byEdo de Waart, televised live on PBS and hosted by violinist/conductorYehudi Menuhin. Davies Symphony Hall underwent extensive remodeling in the 1990s to correct a number of acoustical problems. The hall is also home to the second largest concert hall organ in North America, aFratelli Ruffatti 5–147.
The orchestra has a long history of recordings, most notably those made with Pierre Monteux forRCA Victor,Herbert Blomstedt forDecca, andMichael Tilson Thomas for RCA Victor and the orchestra's own label, SFS Media.
The first recording, of Auber's overture toFra Diavolo, was made on January 19, 1925. The early recordings, for theVictor Talking Machine Company, included music byAuber andRichard Wagner, conducted byAlfred Hertz. Hertz also conducted the orchestra's first electrical recordings for Victor in mid 1925. These recordings were produced by Victor's Oakland plant, which had opened in 1924. The 1927 recordings were made on the stage of San Francisco's Columbia Theater, now known as theAmerican Conservatory Theater. In 1928, the orchestra made a series of recordings at Oakland's Scottish Rite Temple on Madison Avenue near Lake Merritt, now the Islamic Cultural Center of Northern California. One early complete set was of the ballet music fromLe Cid byJules Massenet. During the 1925–30 recordings, Hertz conducted music byLudwig van Beethoven,Johannes Brahms,Léo Delibes,Alexander Glazunov,Charles Gounod,Fritz Kreisler,Franz Liszt,Alexandre Luigini,Felix Mendelssohn,Moritz Moszkowski,Nikolai Rimsky-Korsakov,Franz Schubert andCarl Maria von Weber. All of these recordings were issued only on 78 rpm discs and are prized by collectors, although restored versions are now available from France'sPristine Audio.
Monteux's recordings were made for RCA Victor in the War Memorial Opera House from 1941 to 1952, at first piping the microphone feed from San Francisco to Los Angeles and then in the later 1940s on magnetic tape; there was also a stereo session for RCA Victor with Monteux in January 1960. Monteux's first released album with the orchestra was of theSymphony in D Minor byCésar Franck (the first recorded wasMaurice Ravel'sLa Valse); his last was ofSiegfried Idyll byRichard Wagner andDeath and Transfiguration byRichard Strauss. Some of the recordings have been re-released on LPs and compact discs, as well as internationally via the Pierre Monteux Edition from RCA. A substantial selection of Monteux's live broadcasts onThe Standard Hour have been released by the Music & Arts label.
Enrique Jordá made several stereo recordings for RCA in 1957 and 1958, and an album for CRI in 1962. Jorda's recording of Rachmaninoff's second piano concerto, with pianistAlexander Brailowsky was in the catalogue for many years. The recording of Manuel de Falla's "Nights in the Gardens of Spain" with pianistArthur Rubinstein has remained available.
Commercial recordings resumed in June 1972 with Seiji Ozawa for Deutsche Grammophon in the Flint Center atDe Anza College inCupertino, California. In May 1975 Ozawa recordedBeethoven'sSymphony No. 3 in E-flat andDvořák'sCarnival Overture andSymphony No. 9 in E Minor for Philips. For Deutsche Grammophon, Ozawa and the orchestra recordedWilliam Russo's "Three Pieces for Blues Band and Symphony Orchestra" with the Siegel-Schwall Blues Band, and Bernstein's Orchestral Dances fromWest Side Story. These recordings featured solo performances from hornist David Krehbiel, concertmaster Stuart Canin, trumpeter Don Reinberg, and violist Detlev Olshausen. Recordings of the SFS under the direction of Edo de Waart, includingdigital recordings made in Davies Symphony Hall, were released by Philips and Nonesuch. One of de Waart's sets of digital recordings was devoted to the four piano concertos ofSergei Rachmaninoff, featuring pianistZoltán Kocsis. A number of works by American composerJohn Adams were premiered and recorded by the SFS under de Waart's leadership, andHarmonium was also released with Adams conducting.
Soon after the arrival of Herbert Blomstedt, the SFS signed contracts with the British labelDecca resulting in 29 CDs released in the U.S. under theLondon label. Several of the recordings won international awards. Among their recording projects were the complete symphonies ofNielsen andSibelius, choral works ofBrahms, and orchestral works ofRichard Strauss andHindemith. The recordings helped to build the orchestra's worldwide reputation as one of the best in the United States.
In 1999, the Symphony hit a new commercial high on the albumS&M withheavy metal bandMetallica. The album reached number two on theBillboard 200, selling 2.5 million units and earningplatinum status five times over. The track "No Leaf Clover" was number one on the Mainstream Rock Charts, 18 on Modern Rock Charts and 74 on theBillboard Hot 100. The version of "The Call of Ktulu" featured on the album won theGrammy Award for Best Rock Instrumental Performance.
The orchestra returned to RCA Victor when Michael Tilson Thomas became music director. Its first recording of the new contract was extended excerpts fromProkofiev'sRomeo and Juliet. There were special tributes to three American composers,Charles Ives,Aaron Copland, andGeorge Gershwin, on the occasion of what would have been his 100th birthday. With the RCA label decision to cease from producing new classical recordings, the SFS created its own label, SFS Media, and continued producing itsMahler recording cycle, which was completed in the Fall of 2010.
Recorded live in concert and engineered at Davies Symphony Hall, the audio recordings are released on hybrid SACD and in high-quality digital formats. SFS Media has garnered eight Grammy awards,[18] the most current for its recording of John Adams’Harmonielehre andShort Ride in a Fast Machine and seven for its recordings of MTT and the SFS performing all nine of Gustav Mahler's symphonies, the Adagio from the unfinished Tenth Symphony, and his songs for voice, chorus and orchestra. With a slate of new recordings and releases of music by Harrison, Cowell, Varèse, Beethoven, Ives, and Copland, the orchestra's recordings continue to reflect the artistic identity of the San Francisco Symphony's programming.
In 2014, Michael Tilson Thomas and the San Francisco Symphony released a live recording on the SFS Media label of the first-ever concert performances ofLeonard Bernstein’s complete score for the musicalWest Side Story featuring a Broadway cast includingCheyenne Jackson (Tony),Alexandra Silber (Maria), and theSan Francisco Symphony Chorus. The two-disc set includes a 100-page booklet featuring a new interview with MTT, notes fromRita Moreno andJamie Bernstein, as well as a West Side Story historical timeline, archival photographs, complete lyrics, and rehearsal and performance photos from the June 2013 live performances at Davies Symphony Hall. The album was nominated for aGrammy Award in the category ofBest Musical Theater Album.
In November 2014 on their SFS Media label, Michael Tilson Thomas and the San Francisco Symphony releasedMasterpieces in Miniature, a collection of short orchestral works by Mahler, Debussy, Schubert, Dvořák, Sibelius, Ives, and featuring PianistYuja Wang in Litolff’s Scherzo from Concerto symphonique No. 4. The recording was released in conjunction with the celebration of MTT's 20th season as music director of the SF Symphony. In May 2015, MTT and the SFS released a live recording of Tchaikovsky’s Symphony No. 5 andRomeo and Juliet Fantasy-Overture, followed by another release in August 2015 – a live audio recording ofAbsolute Jest andGrand Pianola Music byJohn Adams. The album contains the first-ever recording ofAbsolute Jest, originally commissioned by the SF Symphony and premiered in 2012 during the orchestra'sAmerican Mavericks festival.
In November 2015, SFS Media released "Beethoven: Piano Concerto No. 3 & Mass in C." In March 2016, it released its album of music by Mason Bates, "Works for Orchestra", which includes the first recordings of the SF Symphony-commissionedThe B-Sides andLiquid Interface, plus the first CD release ofAlternative Energy. In October of the same year, the label released "Debussy: Images, Jeux & La plus que lente", which was subsequently nominated for a 2018 Grammy award in the category of Best Orchestral Performance. In 2017, SFS Media released two albums: "Berg: Three Pieces for Orchestra", the label's first digital-only album, and "Schumann: Symphonies Nos. 1–4".
The SFS has won 19 awards from the American Society of Composers, Authors and Publishers for programming of new music and commitment to American music. In 2001, the San Francisco Symphony gave the world premiere ofHenry Brant'sIce Field, which later won that year's Pulitzer Prize for Music.[20]
When the San Francisco Symphony Orchestra was founded in 1911, its first music director,Henry Hadley, began the tradition of "pops" concerts, devoted to lighter classics and special arrangements of music from operettas, musicals, and popular tunes. With the completion of the Civic Auditorium in 1915, most of the "pops" concerts were held in that 10,000-seat auditorium. Eventually, municipal taxes helped to keep ticket prices very affordable.
Arthur Fiedler of theBoston Pops Orchestra was invited by music directorPierre Monteux to lead the Pops Orchestra, which Fiedler did from 1951 to 1978.[22] Besides the regular concerts in the Civic Auditorium, Fiedler led annual performances at Sigmund Stern Grove, as well as occasional performances at Stanford University'sFrost Amphitheater and Oakland's Paramount Theatre.
While the SF Symphony does not have a specific pops orchestra today, they present pops genre programming periodically throughout the year, particularly in the summer months, with most concerts occurring atDavies Symphony Hall. They also present an annual concert of July 4 at theShoreline Amphitheatre.
