Flashback : Dallas

“Best friends” Menuhin and Dorati in Dallas, Jan. 1947

by Paula Bosse

When Antal Dorati was appointed conductor of the Dallas Symphony Orchestra in 1945, Dallas suddenly began to see a lot of violinist Yehudi Menuhin.

In a 1954 article about Yehudi Menuhin’s close ties to Dallas, John Rosenfield — the influential arts editor of The Dallas Morning News — wrote that when Menuhin was in town for a performance for the Civic Music Association in 1945, he was “casually asked” (probably by Rosenfield himself) what he thought of Antal Dorati as a possible conductor for the then-long-dormant Dallas Symphony Orchestra.

“He’s my best friend … he’s wonderful … he’s great,” said Yehudi, who was promptly carried around town to talk to businessmen again interested in re-forming the orchestra. (DMN, Sept. 5, 1954)

A short while later, Dorati was hired as musical director of the “new” Dallas Symphony Orchestra, and, as a result, best friend Yehudi was in and out of town frequently during Dorati’s four seasons in Dallas. Not only did he perform frequently as a soloist with the DSO, but it was not unheard of for Yehudi to sometimes drop by and sit in with the orchestra during rehearsals. Menuhin often stayed with Dorati when touring the central United States or based himself at the Melrose Hotel, which he used as a sort of mid-continent pied-à-terre.

One of the great passions the two men shared was a love for the music of Hungarian composer Bela Bartok. Dorati, born in Budapest, studied piano under Bartok and was a champion of his work throughout his career. Menuhin had performed Bartok’s Violin Concerto to great acclaim, and near the end of Bartok’s life, after the two men had met and bonded, Menuhin commissioned him to compose a sonata for violin.

Dorati and Menuhin often collaborated on performances featuring Bartok’s works, and when it was known that Dorati was all-but-signed to be the new DSO conductor, there was much speculation that Bartok himself might come to Dallas, but Bartok’s death in September, 1945 put an end to those hopes.

The first RCA Victor Red Seal recordings of Dorati’s Dallas Symphony Orchestra took place in January, 1946. One of the recordings featured Menuhin performing Bartok’s Concerto for Violin and Orchestra.

Denison Press, Jan. 4, 1946

Below, the first movement of the recording.

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The second movement is here; the third movement is here.

The recording was well-received.

Time  magazine, June 16, 1947

RCA Victor ad, 1947

Of perhaps greater note, was the fact that Yehudi Menuhin conducted for the very first time in Dallas — the first orchestra he ever waved a baton at was the Dallas Symphony Orchestra, in 1946. No doubt because of their great friendship, Dorati coached the 30-year-old Menuhin on the finer points of conducting when the violin virtuoso expressed interest in learning what things were like on the other side of the podium. Menuhin first conducted the DSO on April 6 1946, for an invited audience.

Santa Cruz (CA) Sentinel, Apr. 7, 1946

He was ready to go “public” on January 16, 1947, conducting the DSO for one of its regularly scheduled national broadcasts originating from WFAA.

Jan. 11, 1947

The text from the ad:

Yehudi Menuhin, one of the great violinists of modern concert history, makes his public debut as a symphony orchestra conductor, January 16. Antal Dorati, Conductor of the Dallas Symphony Orchestra, lends his baton to his protégé, Menuhin, for the entire one hour program.

Protégé!

Even though Menuhin insisted at the time that this brief foray into the world of conducting was fleeting and not a signal of any sort of career change, Yehudi Menuhin did go on later to direct many of the world’s great orchestras.

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The friendship between Dorati and Menuhin lasted (from what I can tell) until Dorati’s death in 1988 (the decade-younger Menuhin died in 1999). They were personal friends and like-minded professional equals.

Between Menuhin and Antal Dorati, the Dallas Symphony Orchestra conductor, exists a friendship and a mutuality of musical aspiration that has resulted in outstanding musical collaborations. (John Rosenfield, DMN, Jan. 15, 1947)

Below, the only film I’ve been able to find of the two men together, filmed in 1947 during the time when Dorati was engaged in Dallas (although this was not DSO-related and was filmed in Los Angeles). The piece being performed is Brahms’ Hungarian Dance No. 4; Dorati accompanies Menuhin on piano (you finally see him near the end!).

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Dorati, Menuhin, 1947 (fuzzy screenshot)

Younger… (via Tutti Magazine)

Older…

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Sources & Notes

Top photo of Menuhin and Dorati in preparation for Menuhin’s public debut as a conductor is from Texas Week magazine (Jan. 25, 1947), here.

The YouTube video of Brahms’ Hungarian Dance No. 4 was filmed at the Charlie Chaplin studios in Hollywood in the fall of 1947 (according to consumer reviews here).

Links-a-lot:

• Yehudi Menuhin Wikipedia entry is here. His obituary is here.
• Antal Dorati Wikipedia entry is here.
• Bela Bartok Wikipedia entry is here.

More on Dorati can be found in my post “Antal Dorati, The Conductor Who Revived The Dallas Symphony Orchestra — 1945-1949,” here.

Click pictures and clippings for larger images.

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Copyright © 2016 Paula Bosse. All Rights Reserved.

Antal Dorati, 1946 — on top of the world

 by Paula Bosse

The news this week that the Dallas Symphony Orchestra’s musical director, Jaap van Zweden, was leaving town to pursue a glitzier gig was seen as an inevitable move to many of his disappointed fans. The DSO has been something of a springboard for conductors working their way up the conductor career ladder. Another celebrated conductor who spent a few years in Big D before rising to the heights of international acclaim was Hungarian-born Antal Dorati (1906-1988).

Dallas had classical music concerts in the 19th century, but the roots of what we now know as the Dallas Symphony Orchestra reach back to about 1900, under the direction of Hans Kreissig, who had settled in Dallas in 1887.

Dallas Morning News, Jan. 13, 1897

For various reasons (lack of community interest, lack of financial support, etc.), some of these early seasons were truncated or suspended — there was a gap of several years after Kreissig’s tenure, for instance, and there were no performances during most of 1936 and 1937 because of activities surrounding the Texas Centennial and renovations to the Music Hall (the DSO performed at the Music Hall in Fair Park). The most noteworthy suspension of performances was during World War II when the symphony was “temporarily dissolved”: not only was the financial state of the organization not good at this time, but the war itself had depleted the ranks of the performers — the DSO shut down completely in 1942 because conductor Jacques Singer and several of his musicians had enlisted or were drafted. John Rosenfield, the arts editor of The Dallas Morning News and an ardent classical music lover, wrote often during this time how the loss of the DSO was a crushing cultural blow to the city.

When the war ended, Dallas’ music-lovers (and musicians) clamored for the return of the DSO. A search began for a conductor who was not only a superior musical director but who would also be able to build an orchestra from scratch; they found that man in 39-year-old Antal Dorati, a former student of Zoltan Kodaly and Bela Bartok who had made a name for himself as a musical director for ballet companies such as the Ballet Russe de Monte Carlo and the Ballet Theater — his DSO appointment was announced in the fall of 1945.

Somehow, in only two months, Dorati managed to put an orchestra together, prepare the season’s schedule, rehearse the musicians, and present the first performance of the “reborn” Dallas Symphony Orchestra on December 9, 1945.

DMN, Dec. 5, 1945

The response to that first concert was rapturous:

The crowd was somewhat stunned by the excellence of the ensemble that will bear Dallas’ name. To many, grown realistic or cynical in the years’ cultural struggles, the new orchestra was an unbelievably precious gift. Nothing so fine was expected by even the optimists. And it belonged to them with the promise that it would stay for all the time they could foresee. (John Rosenfield review, “Capacity Audience Thrills To Reborn Dallas Symphony, DMN, Dec. 10, 1945) 

During the intermission of this debut performance, Dorati was interviewed on the radio and had nice things to say about Dallas:

I fell in love with Dallas not last September when I was engaged but as far back as 1937. When I visited here year after year with the Ballet Theater. I said to myself that if I ever withdrew from the ballet and became a resident conductor for an American symphony, I would like it to be the Dallas Symphony Orchestra.” (DMN, Dec. 10, 1945)

One little thing the Maestro was unable to accomplish, though, was to find a place for his family to live. The severe lack of postwar housing affected even the wealthy cultural elite!

Dec. 13, 1945

And, with that, the DSO was back. It toured. A LOT. And made recordings. And appeared on national radio broadcasts. With Dorati at the helm, the Dallas Symphony Orchestra was making a name for itself and garnering a very positive national reputation.

A typical article about the young, photogenic Dorati went something like the one below, in which Dorati was described as “the wonderboy of Southwest symphonic circles.”

Texas Week, Aug. 17, 1946

After a fairly short but incredibly productive time in Dallas, Antal Dorati accepted the position of conductor of the Minneapolis Symphony Orchestra in January 1949. His successor, Walter Hendl (a startlingly “honest” obituary of the controversial Hendl appeared in the London Telegraph here), was appointed a few short weeks later, and Dorati’s final concert was April 3, 1949.

April 3, 1949

John Rosenfield’s melancholy review/farewell appeared the next day in The Dallas Morning News, and one imagines it tooks weeks for his tears to dry.

The spectacularly successful musical director and conductor, whose 4-season regime ended with an emotion-laden farewell concert, modestly disclaimed the founder’s role in Dallas Symphony history. The 1945-49 period was one of high-intentioned and nobly-adventurous endeavor….” (John Rosenfield, DMN, April 4, 1949)

And with that, the Maestro headed to Minneapolis, having built the post-war Dallas Symphony Orchestra into a nationally respected organization.

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Waco News Tribune, Dec. 6, 1946

Waco News Tribune, Dec. 13, 1946

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Sources & Notes

Top photo and article from the Aug. 17, 1946 issue of Texas Week, the short-lived magazine that was sort of a Texas version of Life, via the Portal to Texas History, here. Text may have been written by Paul Crume.

Linksapalooza:

• The Dallas Symphony Orchestra Wikipedia entry is here; the official DSO site is here; the Handbook of Texas entry is here.
• The Antal Dorati Wikipedia entry is here; his official site is here.

Listen to pianist William Kapell perform Prokofiev’s Piano Concerto No. 3 in C major, Op. 26 with the Dallas Symphony Orchestra under the direction of Antal Dorati (recorded at the Fair Park Auditorium the same week he made his “Adios, Dallas!” announcement in Jan., 1949), here.

More on Dorati and his close friend Yehudi Menuhin in my post “Yehudi Menuhin and Antal Dorati: A Collaborative Friendship,” here.

And, yes, the correct spelling should be “Antal Doráti.”

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Copyright © 2016 Paula Bosse. All Rights Reserved.