When Samuel Magad auditioned for the Chicago Symphony Orchestra as a 26-year-old vet fresh from the U.S. Army Orchestra, he of course was accepted — the violinist had already debuted with the CSO as an 11-year-old prodigy during World War II.
But there was one issue.
"You're a good player, but could you get a better violin?" asked music director Fritz Reiner, who studied under Bartok.
No, that wasn't possible, in the short term.
"I had a junk violin, but I was broke," Magad recalled. "I had a wife, two babies and not a penny. He said, 'I'll take you anyway.'"
In the long term, however, a better violin would come. By the time Magad's nearly half-century with the CSO ended, he was playing the 1710 Stradivari "Vieuxtemps Hauser."
After a lifetime of playing music at the highest levels, including as the backbone of the CSO for 48 years, Magad died in Buffalo Grove on May 25 at age 94.
"It’s mind-boggling to think of the changes Sam navigated during his years under four very different Chicago Symphony music directors," said Wynne Delacoma, the former longtime classical music critic at the Sun-Times. "He arrived in 1958 during the reign of the legendarily precise Fritz Reiner and rose to assistant concertmaster in 1966 during Jean Martinon’s relatively short tenure. Georg Solti named him concertmaster in 1972, and Sam held that front-row seat for two decades as the high-octane CSO-Solti chemistry turned the orchestra into an international powerhouse. He was a steady presence during the next 15 years when Daniel Barenboim’s approach to a piece of music could change from one performance to the next. Sam’s impeccable technical skills and open mindset were invaluable assets to whomever was on the podium."
The concertmaster is the unsung backstop who not only cues the A note — usually played by the oboist — which the orchestra tunes their instruments to at the start of each piece, but he sees that the conductor's wishes are obeyed and facilitates logistics. If a star violin soloist breaks a string mid-performance, the concertmaster will swap instruments.
Some concertmasters are mere mouthpieces of the conductor; not Magad.
"Magad saw himself as a colleague of the orchestra's players, walking the players' side of the divide with management," Anne Mischakoff Heiles writes in "America's Concertmasters." "Giving voice to their concerns, he endeavored to use his voice to promote the welfare of his colleagues."
But there was one issue.
"You're a good player, but could you get a better violin?" asked music director Fritz Reiner, who studied under Bartok.
No, that wasn't possible, in the short term.
"I had a junk violin, but I was broke," Magad recalled. "I had a wife, two babies and not a penny. He said, 'I'll take you anyway.'"
In the long term, however, a better violin would come. By the time Magad's nearly half-century with the CSO ended, he was playing the 1710 Stradivari "Vieuxtemps Hauser."
After a lifetime of playing music at the highest levels, including as the backbone of the CSO for 48 years, Magad died in Buffalo Grove on May 25 at age 94.
"It’s mind-boggling to think of the changes Sam navigated during his years under four very different Chicago Symphony music directors," said Wynne Delacoma, the former longtime classical music critic at the Sun-Times. "He arrived in 1958 during the reign of the legendarily precise Fritz Reiner and rose to assistant concertmaster in 1966 during Jean Martinon’s relatively short tenure. Georg Solti named him concertmaster in 1972, and Sam held that front-row seat for two decades as the high-octane CSO-Solti chemistry turned the orchestra into an international powerhouse. He was a steady presence during the next 15 years when Daniel Barenboim’s approach to a piece of music could change from one performance to the next. Sam’s impeccable technical skills and open mindset were invaluable assets to whomever was on the podium."
The concertmaster is the unsung backstop who not only cues the A note — usually played by the oboist — which the orchestra tunes their instruments to at the start of each piece, but he sees that the conductor's wishes are obeyed and facilitates logistics. If a star violin soloist breaks a string mid-performance, the concertmaster will swap instruments.
Some concertmasters are mere mouthpieces of the conductor; not Magad.
"Magad saw himself as a colleague of the orchestra's players, walking the players' side of the divide with management," Anne Mischakoff Heiles writes in "America's Concertmasters." "Giving voice to their concerns, he endeavored to use his voice to promote the welfare of his colleagues."
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Interesting bio. I didn't know what a concert master was.
ReplyDeleteWhat a beautiful and well-lived life, all in Chicago with his high school sweetheart. It made me feel good to read his obituary.
ReplyDeleteHow wonderful that a working class kid from Chicago achieved one of the most prestigious jobs in the symphonic world - in Chicago.
ReplyDeleteLovely tribute.
ReplyDeleteI struggle daily to understand music.
ReplyDeleteI marvel at my hates and tastes.
I count my blessings that my grandparents radios were tuned to WFMT for as long as they existed. On the rare occasion something else was dialed in, it was at the behest of an uppity grandchild on the off chance one of my grandparent's children were driving.
From the Beatles to the Monkeys, The Four Seasons to the New Colony Six, Beethoven to Bach, Solti to Spector. Sometimes I wish more youngsters understood the beauty of classical music. Sometimes I wish crowds grew twice as large for the lone cellist on the state street red line platform than of the DJ at Daley Plaza.
But then I remember how little i like rap and my mind goes back to the begging...
I struggle daily to understand music.
And again I marvel at my hates and tastes.
I think it goes to context. You have to understand that not all music is for you — I'm not a big fan of rap either, but then, I'm not the audience. And certain rap songs appealed to me — I liked "The Power" and "Oops Up" by a German group, Snap! Also you have to listen for a while. Initially, Billy Eilish seemed autotuned and weird. Then I heard her theme song to the "Barbie" movie, "What Was I Made For?" which is haunting and beautiful. Now I think she's a genius.
DeleteI agree, Neil.
DeleteI suppose one of life's greatest gifts is the chance to grow old and complain about how terrible music is today.
I will forever be in awe of Sound Opinions on NPR/PRX. How Jim DeRogatis and Greg Kot are able to do what they do is incredible. I just keep going back to Can't Buy a Thrill, Rubber Soul, and the greatest hits from august of 1968 while they are able to dive into the deep end of new music.
Maybe its time to dust off my gramophone and listen to some new musicians
Fifty years of Steely Dan. Will never grow tired of hearing them, or of seeing them live. Back in '92, I reconnected with my college sweetheart, whom I first met in 1965, at 18.
DeleteWe were both divorced, and both 45. Had not communicated since '71. Imagine the thrill (which was too priceless to buy) and the delight in discovering that we were both Die-Hard Dan Fans.
"You walked in...and my life began again..." Still together. 34 years.
I should have known, Grizz. I love Steely Dan. When I was 17, "Deacon Blues" was my theme song. I find myself listening to them more and more lately. Amazing how many great songs they have.
DeleteThat's when I first got into them...1977-78...thanks to a guy I worked with at the Sun-Times. Rikki, My Old School, Kid Charlemagne. Dude lived in Logan Square and had a whole wall of LPs. Everything Steely Dan had done up to that point. '78 was also when we saw Elvis Costello at the Aragon...and some kid puked on my brand-new shoes. Chicago Fun Times.
DeleteMine is Pink Floyd. I've seen them live 26 times from Seattle to London and everywhere in between. Soundtrack of my life. About three years ago Roger Waters played at the United Center and I went with a friend. I should have listened to more of his music before wasting my money. What a disappointment he was.
DeleteColbert "introduced" me to Billie Eilish during the pandemic and I agree -- I think that she is brilliant. I also truly enjoy Beyonce but as much as I try, I don't "get" Taylor Swift.
DeleteI also love Steely Dan and went to HS with their early vocalist Michael McDonald. He was part of an amazing group of young musicians in North St.Louis County in the 60's and early 70's.
DeleteGrizz... sounds like you had bad sneakers after that show. ; )
DeleteGave the kid a roll of Tums and told him:
Delete"You might use it if you feel better
When you get home..."
What of his fiddle? The Strad? I'd love to know the status of the instrument. Most often these days when a Strad comes on the market it is bought by an investor, or multiple investors, and then made available to an up and coming concert violinist for use. There are Missing Strads. Stolen long ago. Still out there. Of the 1000 or so string instruments attributed to him there are several hundred that go unaccounted for. Lost to European wars through the centuries. Lost in fires. Nazi and Soviet plunder still secreted in Swiss safe deposit boxes, etc. It is a fascinating topic.
ReplyDeleteAutoTune and Pitch Correction has poisoned most all music today. Even orchestral recordings are being molested including past recordings. God bless the real musicians playing through their instruments, their bodies and minds.
ReplyDeletewe fortunate to live in Chicago with such an outstanding and excellent orchestra; for a number of years we had one of the short season tickets; when we lived in St. Louis we also had season tix to that symphony orchestra; St. Louis was more creative (one time to expose more people to the orchestra every seat in the house was $5! And they often had some very creative pieces. But we loved going to the CSO too. One of the best in the country!
ReplyDelete