Unprecedented ovation for Chicago’s outcast first horn
NewsMahler’s ninth symphony by the Chicago Symphony Orchestra and conductor Jakub Hrusa went well. Chicago Classical Review noted:
Primus inter pares was principal horn David Cooper, who delivered a virtual seminar in Mahler playing—finely polished, sensitive to dynamics and providing the most beautiful and expressive moments of the night. His section colleagues were on a comparable level.
Cooper, however, had just been turned down for tenure in the orchestra – and the audience knew it. Our correspondent adds:
David Cooper, the Principal Horn who was denied tenure by the CSO, received ovations from the audience, as well as visible praises from the Maestro and some (though not all) of his colleagues (some musicians also gave Mr. Cooper a standing ovation).
Several readers provided their opinions on the comment section of Mr. Johnson’s article – samples below:
“I was in attendance Thursday night, and the acclaim from the audience when Jakub Hrusa motioned to David Cooper for a solo bow could only be described as explosive. In forty years I have never heard such an ovation at Orchestra Hall. The denial of tenure to Mr. Cooper is one of several extremely stupid decisions by the CSO in recent years, and we can only hope that they don’t blow it again with their choice of their next music director.”
“Tonight, David Cooper received a standing ovation from his own colleagues. I have never seen the musicians stand in front of a pal before. Well deserved!!! “
“During Saturday’s performance, David Cooper definitely received the loudest cheers and one of the clarinetists stood up from his chair on stage to join the ovation! Were the differences really so irreconcilable such that they would allow such rare talent to escape?”
“A wonderful concert and very fine review. For me, however, the elephant in the hall was — how in the world could the cso not grant tenure to David Cooper. He was, as usual, fabulous, and the roar of approval from the audience should echo large with whomever is in charge.”
“I’ll join the other commenter regarding soloists and especially David Cooper. Fix your tenure problem, Chicago.”
“I was happy for David Cooper, not only that he played so magnificently, but that his performance was so visibly appreciated by his colleagues in the orchestra. “
“Why Cooper has not been granted tenure is puzzling. Frankly, Cooper has become an audience favorite. Cooper is now being considered to fill the position of Associate Principal Horn with the La Philharmonic. If so, the CSO’s loss is LA’s gain! Sad! Subscribers deserve an explanation WHY! “
“Re: David Cooper- he clearly deserves the top spot in one of the world’s top orchestras, but I’m afraid it’s not going to be Chicago, or at least not for many years until most of the current section members have aged out. “
Though the fact was not made public, Maestro Muti was the tie breaker in the controversial tenure decision which pitted a relatively small group of musicians (who eventually had their way) against the majority of the orchestra.
Yes, stupid on the surface, but perhaps clashes of orchestral personalities and management perhaps and jealousy, otherwise you just do wonder why?
Classical music, especially in the US, has become a padded room for lunatics. And it explains quite a bit about the dysfunction and incompetence of administration and artists. Good luck and good night.
Weird I didn’t realize Cooper was also black. I’m told only blacks don’t receive tenure in the racists S-hole USA. Or something.
Anyway I’m sure there will be equally outraged protest of this as well.
Your conclusion is untrue and flawed.
That was my first thought! LOL. But of course if he was black just imagine the uproar and cries of racism
Sometimes it’s about more than just how someone plays. One has to fit in also on a human and personal level.
You are correct about this. This is one of the flaws in the audition process, however. The playing is all that matters. The sometimes lengthy trial period is where the human is evaluated. Unfortunately, it messes with the candidate’s life, family, career, and psyche.
4 years trial period is incredibly long! In Europe it’s rather 1-2 years.
I can only conclude from Max Raimi’s total silence on this subject for over 2 years, despite his being vocal about everything else regarding the CSO, that he is among those who do not support giving Cooper tenure.
Explain.
Indeed. It’s exceedingly rare for Max “How can I find a way to make this be about me/the CSO?” Raimi to remain silent.
I was not on the committee and not in his section, and had no say in this decision. To be honest, I am not sure what the issues were that led to this. Those charged with making tenure decisions don’t tend to broadcast their opinions. I can say that I am very fond of David personally and greatly admire his playing; I will miss him. I was one of his colleagues who was standing for him Saturday night.
Are you the two nasty old men (I would guess you are old and male) who vote thumbs down on every single comment I make here? Just curious. You sure are brave about insulting people behind fake names, aren’t you?
I have the integrity to use my own name. Why are you two such gutless contemptible cowards about it?
I also use my own name. This is a classical music blog; you wouldn’t think it was so controversial that some posters would resort to guerilla tactics to avoid detection.
Max, I, for one, am happy that as distinguished a musician as yourself comments on this blog under his own name.
Long may you continue to do so!
And some persons are still wondering why us classical music is on life support.
Max Raimi has his merits. If memory serves me well, he posted a wonderful comment in the Makela / BPO review article (“Critics are the eunuchs in the harem” or some jewel along those lines) which did make the article about himself and perfectly encapsulated the phallus-centered “spiritual” worldview of the CSO male orchestra members under Muti, their phallic master who loves to make dick jokes (see Muti interview with Fabio Fazio on youtube, with a really “hilarious” dick joke, not in Latin).
Mr. Cooper is better off in LA, as that is an orchestra with a bright future. I’ll come to listen to you Mr. Cooper if you go there, and I think I will not be alone!
T minus 15 …. !!! :-DDDD
“Their phallic master who loves to make dick jokes”
And here we go! The Rat’s Daily Anti-Muti rant!
Pity, cos you were actually making sense in the first nine lines.
Maybe simply because these are deliberations internal to a divided orchestra and making them public won’t do any good?
If we are paying the orchestra through tickets, season tickets, multiple donations, lenghty trusts, extensive wills, etc.etc.we demand answers from these persons.
Not even adding a little “please” to the thundering order “Explain”?
Are you Mr. Raimi’s supervisor? Or how can you order him around to do your bidding? I am, frankly, amazed by this tone.
I’m sorry, but violists (even in the CSO) have no influence on what’s going on in the brass section or for anything else for that matter! LOL
Recently on this website there was quite the debate over the denial of tenure to a black percussionist in the Kansas City Symphony. Many insisted that it was apparent that racism was at play, however failing to explain why he would have been hired in the first place. Anyway, this situation in Chicago demonstrates that it’s a brutal business and that it is not uncommon for fine players to be denied tenure for one reason or another. I feel for both of them since they’re probably both fine players but for better or worse, that is the business.
I am not speaking about either situation, but just because a minority gets “hired in the first place” does not imply that the institution is free of racism. The two are not mutually exclusive.
That is true. But by the same token it is also true that a denial of tenure to “a minority” does not mean that the institution is NOT free of racism.
To be fair, the KCS audition was fully screened.
Dear Sir, Madame,
Are they screened for the entire process, or does the screen come down in the finals/super finals? And also NO access to CVs, resumes, etc. ?
Puhlease, they know. Look at the TN orchestra oboe debacle.
The tenure process was not.
It’s always abt race in the us empire. Always. That’s why Mr. Coopers likely did not get the tenure thing. Good day.
…imagine if Mr. Cooper were a minority, the s-storm that would cause
The CSO is only a microcosm of U.S. society and it reflects the country in its own way.
Just like in the rest of the U.S., EVERYTHING is divided and judged along very polarized and simplistic opinions, into black and white, good and bad, friend and enemy, Republican or Democrat, everything there is polarized, so much so that in the end, talented, highly motivated, good and decent people get pushed aside and are “canceled” and the greater body, the nation, or in this case the CSO loses out. The U.S. has reached the point where it is totally possible for a musician not be given tenure for completely non-musical, non criminal reasons. Somebody incorrectly may think that a musician is not woke enough for their tastes and therefor he or she is not worthy of tenure, or anything as non-musical and remote as that. I have a friend in a U.S. big five orchestra who shares with me some of the things that transpire there and many of those things are extremely shocking and remind one of how it used to be in the former Soviet Union, in China or in North Korea. You can be excluded and “destroyed” just for not towing the “party line” and supporting whatever attitude is the “flavor of the month”.
This may or may not be the case here, as I don’t know the reasons behind Mr. Cooper being refused tenure, but I can only say from my own multiple experiences working in the U.S. and from what U.S. based friends share with me, that more often than not extraneous things weigh heavier in the decision making process than the actual skills and abilities. It was exactly that attitude that lead to the fall of Communism and the lack of innovation that led to their economic collapse. When everybody thinks the same way and must say and believe the same things, society is the biggest loser and economic and societal collapse is always on the horizon.
Why america Failed by Morris Berman discusses americans and their “thinking” process-it’s Manichean. That is, everything by the us populace is seen as “good” or “bad”, white hats versus black hats, no grey, very little nuanced thinking/nor critical thinking.
That probably manifests itself in large urban centers. In the smaller towns (like where I live) diversity of opinion and race is fairly common. Definitely not a hive mind mentality everywhere.
His playing was, as always, an absolute highlight of the performance. So heartening to see his colleagues stomping and applauding him as well. Clearly he will be missed by many.
Same reaction from audience Friday…
The culture of hiring and the culture in general has turned completely rotten in the second half of Muti’s tenure. The musicians are ruled by fear and exaggerate their own value against potential candidates out of insecurity, knowing well that they usually don’t play up to their own reputation.
If sections go unfilled and unlead for 10-15 years, what exactly is it that is being preserved and protected? What is the legacy being built? An entire generation of the orchestra is being wasted, growing jaded, and becoming quite accustomed to emotional abuse.
Congratulations to Mr. Cooper for getting out.
Which ones of Muti’s hires do you consider unworthy of the CSO?
Muti has imprinted a fear-based standard that has led to hire-paralysis and inability to be comfortable with the result of open auditions. Some sections have enjoyed good hires, but the reluctance to hire and leave chairs open has had dramatic negative effects on the culture of the orchestra.
Hold an internal audition for promotion in the orchestra? Almost always a hire, even if they play far below open audition standards. Once you’re in it’s a circlejerk, one in which you actively despise most of your colleagues. A miserable orchestra.
I find this commentary enlightening. I am not inside the orchestra to judge, but from the outside, I perceive the Muti-CSO music and controlled, restrained and, above all, joyless.
Lack of joy, lack of feeling, spontaneity; excess of control, micromanagent are my main perceptions when I hear Muti’s interpretations.
If the orchestra is in a state of fear, or generally very uncomfortable, that is more understandable.
Esteban for sure is one
Agree, I continue to be baffled by the hiring of Esteban, who’s sound is not remotely a match for the orchestra and consistently plays over everyone else. Likeable person, at least.
Maybe Martin was too weak and you got used to it…go back to CSO-Solti era and learn tradition…
What does this mean? I’ve been attending CSO since the 80s.
Tell him to play less hahah
Man, you lost your track…
You definitely got use to listen to a group without the excitement of those days. Maybe share your opinions with the CSO management or the musicians and see what u get
Your first paragraph may be true. I don’t know. But having been close to the orchestra during the middle Solti years, I cannot imagine that group allowing themselves to be ruled by fear. Obviously the current orchestra is a totally different collection of people.
“Maestro Muti was the tie breaker in the controversial tenure decision which pitted a relatively small group of musicians (who eventually had their way) against the majority of the orchestra.”
Why need tiebreaker when a relatively small group of musicians (who eventually had their way) against the majority of the orchestra.”??
It could be because the orchestra committee, presided by Muti, is rigged? Not saying it is, but it could be.
Perhaps because (a) the tenure committee doesn’t comprise all orchestra members, so the will of the majority may not be representative of the tenure committee’s representation; or (b) if the decision isn’t unanimous (whatever the majority), the MD can cast the deciding vote?
There’s where the problem lies. What relatively small group’s opinion would outweigh the majority? It sounds almost as if it’s the other horn players who have the problem.
Yes, Muti based his vote (or at least stated that he did) because the horn section did not want Cooper. I’m not suggesting there’s not much more at play here, but on the surface it seems like a sound reason and I think Muti’s getting a little too much of the blame. “Where the problem lies” is with whatever prompted the existing section members to reject him.
The bucks stops with Muti, but don’t expect him to put that sign on his desk.
A reader in the sample comments mentioned how this is another incredibly stupid decision by the CSO, under the leadership of Muti and Jeff Alexander. We dare not be so bold, though people should decide for themselves. We would not judge the decision stupid, as there are clear motives behind it and lawyers were brought into the picture to provide a shield for Muti and the orchestra committee’s actions. We would definitely repeat that it is an act of musical vandalism that Muti should, but is not owning up to.
By my conservative estimate, the organization spent well in excess of $30 million on the Italian conductor music directorship over his 13 years of tenure. Here is how to arrive at that number: Muti’s CSO concert fees are approximately $45,000 per concert in the US, and $50,000 (or more) per international concert. In the 2022/23 season, Muti will have conducted in excess of 40 concerts, putting his concerts fees alone in the $1,750,000 / $1,800,000 zone. Previous seasons featured a comparable number of concerts. Maybe take a $3-4M hair cut on concert fees to account for COVID stops.
Music directorship compensation is on top of concert payments. We estimate that the directorship compensation figure was well in excess of $750,000 annually, depending on the year. Unless we err, unlike Maestro Dudamel who generously gave up his entire compensation to support the LA Phil, Muti decided that he was entitled to music director compensation during COVID (despite the fact that he did close to nothing as music director for the duration of the stop).
Next year, under Alexander’s leadership, assuming Muti’s concert fees are unchanged, the organization will continue to pay the Italian conductor an exorbitant amount. He will conduct for six weeks (3 in the US, 3 on the European tour). That makes his estimated pay close to another million US dollars (assume 3 concert per week in the US: $45,000 x 3 for three weeks = $405,000; and 11 tour concerts: $550,000, a portion of which should be a pass through amount paid by the presenters). Close to one million for only six weeks of efforts – if our assumptions are accurate.
The same will be the case in the 2024/25 where Muti will conduct again for six weeks (including a tour) – something that the fearful Alexander, completely unable to come up with a plan to move the organization past Muti, has already agreed upon in principle.
Add to this expenses for first class flights and lavish stays in one of Chicago’s top luxury hotels. Add to this other expenses for personal “Muti support”, a very controversial topic which we’ll leave for another post.
It would be most interesting to conduct a survey of Chicago audiences to ask whether they would prefer to stop inviting Muti and invest those resources in raising Cooper’s annual salary to listen to him as a contracted First Horn every night of the year in Orchestra Hall for the next five years.
By the end of the five years his enemies in the orchestra might be retired, Muti permanently out of the picture, and he should be able to obtain tenure by popular acclamation.
“as there are clear motives behind it and lawyers were brought into the picture to provide a shield for Muti and the orchestra committee’s actions.” Motives that obviously you cannot even mention, despite the protection provided by the anonymous alias.
Nothing new under the sun, just the same insinuations with nothing to back them up. Same as for “the personal “Muti support”, a very controversial topic” whose substantiation you have left to “another post” for several years, waiting probably for all forum members to retire.
However, kudos to your great idea of paying a player’s salary to impose him to an orchestra that clearly does not want him. Muti has nothing on you as an orchestra builder!
You have not been paying attention: the orchestra does want him!
Superb post.
BSing pays off
Andrew Bain, the current principal in LA, is one of the finest first horns in the world. If David Cooper joins him, LA will have a truly outstanding section.
I attended the Chicago Symphony’s performance on Saturday night of Mahler 9th, and I must echo the sentiment of what is being shared by the Chicago Classical Review and the other audience members. The conclusion of Mahler 9th was met with immediate applause and standing ovation, and Mr. Hrusa gave almost all members of the orchestra standing bows. Many were warmly recognized by both audience and colleague, but when they arrived at 1st horn (David Cooper), the ovation was unlike anything I’d ever seen, just as loud as the initial wave of applause at the conclusion of the piece.
The entire brass section, who were in the back stage right, shot up out of their seats and gave Mr. Cooper a standing ovation. The 4th horn player and E-flat clarinetist did as well. Notably, it appeared to me that some members of the horn section, while clapping, did not share the same enthusiasm. Mr. Hrusa, the conductor, also seemed to beam proudly at David Cooper’s performance.
As to Mr. Cooper’s playing that day, I was blown away. He has such a precision, clarity, and power to his sound that commands almost instant attention from the audience whenever he plays, yet in the passages that call for warmth, he can provide tenderness in abundance. If the rumors are true that he will be departing the CSO next year, I am disappointed to hear that. Mr. Cooper, thank you for your wonderful musicianship over the past few years. I feel blessed to have heard you play.
If I might speculate on the situation (and this is just speculation), it would seem that there is division in the horn section on the issue of Mr. Cooper’s tenure-ship, based on the applause that I noticed. It’s still surprising to me that the musicians committee did not grant him tenure when it’s clear the entire brass had a great appreciation for his playing. Perhaps there were issues with blend with his woodwind colleagues, but if so, I could not detect any in his playing.
I was also at Saturday’s performance, and noticed the same thing… the fourth horn stood and the others did not. I think it is safe to say something is going on behind the scenes that has nothing to do with the quality of playing.
A fantastic concert, BTW. Hopefully Hrusa is on the MD shortlist.
Thank you. That is very interesting. What is ‘fascinating’ so to speak is the fact that Mr. Cooper was also denied tenure in the BPO after only one year (2017-18 season?). I didn’t watch the CSO Mahler 9th (I wish I could!) but I watched that on the BPO digital concert hall (Haitink conducting) and indeed I really appreciate Mr. Cooper’s playing (dare I day sometimes even more than Stefan Dohr’s?).I really wonder what can be so wrong in Mr.Cooper that caused two of the most prestigious orchestras in the world (at least for horn players) to deny him tenure.
Cooper left BPO before his tenure decision was made
Not the entire brass section…
3 horns and 1 trumpet did not stand for him…
Cooper was not denied tenure by both Chicago and Berlin because of his playing or his deportment. He has some profound personal challenges that make consistently showing up for work impossible in a permanent setting. Any orchestra cannot function if they don’t know if their first horn will be in the building or not. The ovation by his fellow players was likely an acknowledgement of their love and respect for him and their sadness that his challenges prevent him from holding the job. Goes to show that things are not always what they seem from the outside. Muti and the players are blameless here.
Could you elaborate on this? I remember him saying in an interview that he had a difficult period in his younger years, after his father died when he was 18. He dropped out of Curtis after two years, without finishing his degree, and stopped playing for a time. I was greatly inspired by his comeback story. His being denied tenure is a shame.
Thank you. I wrote my comment (above) before reading yours, which somehow partly answers my question.
Muti blameless …. I love sarcastic posts.
Thank you for your clear words that clearly demonstrates once again the zero worth of anything CSOA Insider writes
@Randolph are you still on about something rumored to have happened in Berlin? That’s a pretty um, unique perspective.
That is absolutely false.
Sounds like professional jealousy. When one member of an orchestra gets all the attention and accolades it tends to ruffle the egos of the others. On the other hand if that person is difficult and doesn’t work well with his colleagues it can be very disruptive. The politics of music ensembles is often in a delicate balance, something the audience shouldn’t have to deal with.
Mr. Cooper put on a truly fine performance back in February in an even bigger piece for him, Mahler’s 5th
I was there for Thursday and Friday’s performances and can confirm all of this. Cooper really is a special talent and it will be sad to see him go. Best of luck to him.
Unfortunately, with orchestras, it‘s usually the small group of the loudest voices that gets its way.
I’ve been told the tenure decision is really complicated and nothing to do with egos and hurt feelings…
As a person who has attended CSO concerts for more than 20 years I find the decision to let a player like Cooper go beyond disappointing. The horn section has really stagnated over the last 10 years. Maybe they don’t know what a great horn player sounds like anymore.
Forgive me, but I strenuously disagree: THEY DO KNOW. They have the sorts of D. Gingrich and D. Griffin in that section, MONUMENTAL PLAYERS AND ARTISTS in their own right. Let us thread carefully here and not fire a duck-billed shotgun wantonly disregarding collateral damage.
Gingrich and Griffin are not worth of shining Mr. Cooper’s shoes, and they know it!!
There is a reason why some players stood to celebrate Cooper and others DIDN’T!!
Full disclosure, Burham (if that is not a pseudonym): Mr. Griffin DID rise to applaud his colleague. There is no need whatsoever to throw aspersions at the professional integrity of Mr. Gingrich and Mr. Griffin. I STAND FOR THEM. You may peruse the clip of John Goodman’s monologue in the film the THE GAMBLER as my reaction to your grossly abusive tirade.
Griffin and Gingrich both voted YES for Cooper’s tenure.
A comment like that reflects total incompetence and lack of knowledge.
Gingrich plays it safe, all the time. He is a fine player and that’s it.
Cooper is in an incredible, incredible horn player, absolutely mind blowing. Better than Clevenger, and I do not care how many thumbs down I will get. He has a passion, a power, a tenderness that none of the other players have. Technically he can do whatever he wants. He is the only reason I continued to go to concerts in Chicago.
This is an incredible blow to an orchestra that could have rebuilt a myth after all these years of boredom. What a mistake they made on this one!
Mr. Cooper is a formidable instrumentalist. I will not dare question that. What I find uncalled-for is the comparison to Mr. Dale Clevenger. Mr. Clevenger was a unique player in an exceptional historical moment in America’s orchestral culture. It is like attempting to compare Mr. Vincent D’Rosa to Mr. James Thatcher. All of those artists brought something to the artform unattainable by most players alive in those days. They are all BEYOND CATEGORY.
@Rafael- Dan and David G are great musicians. But the section was lacking in leadership since Dale’s decline began (Dan is not the guy who’s going to take anyone aside and tell them they haven’t been cutting it.) I’ve seen David Cooper struggle to elevate the section back to a level fitting a city of millions, and clearly feathers were ruffled. Despite how things are gone, I’m thankful to him for trying. Some boats need rocking.
I’ve seen Cooper try to lead and Smelser completely go against him. His job as a second player is to match the principal and he certainly failed at that… what can Cooper do in that situation when he is the one whose job is compromised
I guess it depends what portion of Clevenger’s career you are comparing? The last 10 years were pretty rough!
Seems odd that the MD would only have one vote on the tenure committee, equal to all other musician members. I guess when you publish anonymous comments in a blog post you are likely to get that sort of questionable information. I’m happy to hear more if anyone knows the reality of Chicago’s CBA.
Muti has the only vote that matters in the tenure decision. He listens to what the committee members have to say and makes the final decision.
So if it’s not his playing, maybe he pissed off the wrong somebodies in the breakroom?
If Muti is the “tie-breaker” in a lopsided non-tie, then it’s really Muti, and the tally of the fers and agins is insignificant.
Hmmm, denied tenure. Bet there’s no uproar or articles demanding the CSO grant him tenure like in Kansas. Wonder why…..?
Because Josh Jones has developed a cult of personality around his playing on social media. He’s convinced an entire generation of younger, stupider players that because he can “hear the electric current in his walls” and “control the micro-motions of his left pinky to affect the tone of his bass drum stroke” that he’s the next greatest thing. Most of the people who are running to his defence online are young high schoolers think watching a 3 hour youtube video of his playing equates to years of instruction with a qualified teacher.
and David Cooper didn’t need to earn praise via accusations of racism!
“Should echo large with whoever is in charge”.
Uh …. Muti is in charge.
What is the real story? Cooper was also the principal Horn at the Berlin Philharmonic from 2017-2018. Why wasn’t he granted tenure there?
And would be happy as a #2 playerin LA after being #1 in Dallas Berlin, and Chicago?
It’s the best move for him right now. Glad the position was open at the right time. If you want to know what happened in Berlin, you’ll have to do your homework like the rest of us– pore through comments on old Slipped Disc posts about him and try to decide what’s accurate.
His time in Berlin ended because he couldn’t sustain his personal life as it was and stay there.
No wonders why he went though a divorce as he moved to Chicago and now has a beautiful new family.
Also, Dallas pays better than Berlin.
Maybe he didn’t get it because he’s white….it must be a racial thing, right….
Yes, being awake is very important to the US populace and their subordinates in the EU
He just won associate in LA and will prob win principal in San Fran as well LOL. Chicago’s loss!
Maybe he can win the audition but not keep the job.
Yes, can he keep the job? Tick tock rock. There will likely be lotsa LA style- pr /marketing /propaganda to the overzealous patrons, then 1 year or so later. it’s bye bye. why?
Asst Principal Horn of SF, Mark Almond has just been given a two week trial with Chicago.
That sounds like he is subbing, not trialing for a permanent position.
thats nuts
I give Mark a 20% Chance of deciding to move to Chicago regardless of how the trial goes.
ALmond the doctor/hornist is Another foreigner with Bain too? Aren;t their any US citizen players out of 335 million US persons?
Mr Almond is a British doctor and hornist, and Mr Bain is an Aussie. When are US persons going to get hired?
“Why Cooper has not been granted tenure is puzzling. Frankly, Cooper has become an audience favorite. Cooper is now being considered to fill the position of Associate Principal Horn with the La Philharmonic. If so, the CSO’s loss is LA’s gain! Sad! Subscribers deserve an explanation WHY! “ … So this audience member wants the orchestra to list the reasons why David was not given tenure, because apparently it’s inconceivable that a fantastic player might not be so fantastic at other things, such as showing up early to rehearsals, leading a section, communicating with other musicians, all things that are a part of being a “principal” musician. So once again, this time regardless of the race, the public has put a major symphony orchestra in a situation where they must defend the choices about their personal publicly, otherwise they are wrong. Get a grip people, and also these articles don’t help anybody Norman.
These Orchestras are all(mostly) 501c3 non-profits. They are given preferential tax status and the best access to private donor funds in the world in exchange for providing what should be a “public good or service.”
It is wholly reasonable to propose that the personnel decisions of the most prominent public figures in the organization should be made publicly available much as the rest of the functioning(finances, etc) are.
These aren’t privately held for-profit corporations and when decisions that are seemingly mind-boggling to the outside observer are made; public accountability should be in order.
My guess is that he’s a Republican and has suffered for it.
Cooper is indeed a wonderful horn player. It’s very odd, however, that history seems be repeating itself (but not exactly): only a few years ago he was briefly a member of the horn section of the Berlin Phil. As I understand it, he did secure tenure in the BPO, but for some reason returned to the USA.
He was denied tenure in Berlin and sent home early after not even playing a full season.
There’s many reasons–tons of “great” players but there are many other factors Amigo.
He also had tenure in Dallas which he gave up because Muti assured him that he wasn’t going to let him go…. That until he had to repay a favor to someone who didn’t like Cooper so much
And, at the same web site, this just dropped:
https://chicagoclassicalreview.com/2023/06/the-riccardo-muti-era-at-cso-first-class-hires-memorable-opera-nights-and-bland-repetitive-programs/
Many different evaluations of the CSO Muti’s era are coming out these days, as it approaches its conclusion
https://cso.org/experience/article/13859/through-his-cso-tenure-riccardo-muti-reveals
One reader provides a link to an independent, objective article. The other provides a link to a sycophantic V Rein article published in house by the CSO PR department. And V Rein in his own time wasn’t as sycophantic as Weiss and today’s critics (you have to grab an air sickness bag once you start reading them).
Johnson said it SO WELL in his article: “Yet it became clear early on that when it comes to the media, Muti didn’t want critics—he wanted disciples.
The conductor seemed to expect the fanboy celebrity adulation he routinely receives from the Italian press to be repeated in Chicago. He bristled at negative reviews and criticism of his repetitive programming.
He soon emphasized interviews with national and international outlets, where the coverage tends to be more laudatory and the questions innocuous (and often uninformed).
Locally, Muti prefers controlled meetings where he can hold court, limited to the least critical of writers—individuals with a strange psychological desire to be close to the throne, and/or those who view the role of arts journalists as collaborative partners in a kind of kumbaya cultural chamber of commerce.”
Worth the read (the first link, NOT the second!)
V Rhein was lobbying for Muti to come to Chicago before the decsion was made.
Unfortunately the Chicago Symphony has a history of not picking critic/audience favorites which is why their current sound under their current conductor can only be described as “industrial.”
Bingo! Muti is all glossy, thick neo-wannabe-Karajan, but never willing to let the music go where it wants to go, lest he have to make motions on the podium that would make him look less than suave.
So right!
I attended the Saturday concert and David was superb. I wish there was a way he could stay in Chicago. He has been a great public ambassador for classical music.
To answer the myraid distasteful ‘expert’ opinions, wild speculations and conspiracy theories from people who have no knowledge of what has transpired let me state something that should be self-evident.
An orchestra wants the best person for the job. It is in their interests to provide excellence for the sake of their survival, like any other business.
Best means the candidate most likely to yeild the best results and there are many factors other than playing a great Mahler 9.
People get refused tenure for all sorts of reasons. Believe it or not, the musicians know what they are doing.
One of America’s finest horn players, and a great human being as well. A travesty for the CSO.
I think the problem is in Cooper. He had been co-principal horn in the Berlin Philharmonic Orchestra, and left after one or two seasons. I did not hear why he departed from Berlin. Now that this has happened two times, I suspect Mr. Cooper’s personality has a problem.
He is a fantastic colleague , a great artist, one of the most skillful horn players in the world and he shines on stage, maybe a bit too bright for our jealous coworkers
Sad they are getting rid of Cooper a few short years after they let Chris Martin get away. Two superstars of the brass world. What’s going on in Chicago?
Letting Chris Martin get away…Ok he is fantastic but it worked out in the end… they now have Esteban in that chair…a magnificent trumpeter and musician. We should trust the tenure committee made a fair and honest decision based on the complete picture they had.
Yes they now have Esteban, the most vanilla player, an absolute average trumpet!
You are not seriously saying Martin and Esteban are in the same league??
Do you guys have even ears? There is a reason the CSO has lost public!
You’re calling Esteban average? wow.
He is one of the most remarkable trumpet players i’ve ever heard, and has been doing a phenomenal job sitting principal trumpet in Chicago Symphony.
Agree that “Vanilla” is a weird characterization for Esteban, agree that he is a remarkable and exciting trumpeter, but his sound is a bizarre match for the CSO, and he is almost always too loud.
Go to the glorious CSO-Solti days and you’ll find a lot of common things between Battalan and Herseth. Martin is phenomenal, but very weak leading a powerful section
Sorry, no, Esteban’s sound has more in common with Maynard Ferguson’s than with Bud’s. I’m not saying he needs to sound like Herseth, but I don’t see your point at all. Do you attend CSO performances?
Yes I do, and have been since 1984, and probably in a seat closer to the orchestra than you will ever be able to be: inside
Interesting parallel– both players really blossomed when they knew they would be free of CSO soon.
Good point! Where is Max Raimi to defend all the fantastic decisions of CSO’s board and financial supporters!??
I attended the concert on Tuesday evening and I loved every bit of it. Not only David Cooper, but all musicians such as the guest principal Violist Teng Li had a huge role in this wonderful performance.
Out of curiosity, what’s Cooper’s stand with the “Safe & Effective” camp?
<> What does this mean?
I think what the Retiree meant is that after the departure of Dale Clevenger, the horn section has adopted a more “safe and effective” sound approach as opposed to the more energized sound that Clevenger used to project when he was younger and healthy. In my opinion as a humble concertgoer sitting in the rafters, there is some merit in this approach after bearing witness to a full decade of decline in Clevenger’s playing towards the end of his career. During those days, any horn passage would become a high-wire act, often to tragic ends. This safer approach in the post-Clevenger era stabilized the section and avoided further embarrassments for the orchestra. Now with the arrival of Batallan as principal trumpet, the horn section is perhaps needed to up their ante again, and for that they will need a new section leader who can push them out of Clevenger’s shadows (or an MD who knows how to challenge the players to the best of their abilities).
Thanks stickie. I remember sitting on my hands and holding my breath and praying that Dale would score at least a B+ on a horn solo all too well in his last years. If the current approach comes across as “Safe and Effective” it just seems to me as a function of who the current players are…. I’m not really sure how any of this relates to David Cooper though– if you don’t think he “pushed the section out of Clevenger’s Shadows” you haven’t been attending regularly.
He is too good for this mediocre orchestra
Regardless of the circumstance under which Cooper’s tenure was decided, for the past last year, he has been exemplary in both playing and onstage presence with the CSO. He continues to play almost all the programs under Muti and appears not to hold any grudges nor to show any kind of bitterness towards Muti and the orchestra. I sincerely wish him the best wherever he ends up in the future.
This tells me that Cristina Rocca, a lady of impeccable judgment, has lost all influence over Muti.
You must be joking. The lady in charge of the CSO dull programming which has driven out audiences, and who has recycled the same Muti programs for years, has “impeccable judgement”?
Judging from the half empty halls, Rocca is far from being a success story.
She has two faces, bad mouthing Alexander or Muti depending on who she is talking to at the moment.
She speaks Italian, which for the provincial Muti is a plus (only for him). The ridiculous Italian ring rules the CSO
I’m concerned that this might be becoming a systemic trend in symphony orchestras.
Of course, melanin content is VERY important for certain americans to feed their emptiness. They need to help with the diversities, and equities. Just ask Mr James Zimmermann, clarinet.
Remember the cowboy blasting with him coming out of a shipping crate as part of a marketing schtick fun skit that Berlin Phil put on. Then Mr Cooper left abruptly leaving us all in the lerch. Then he went Chicagos, where he then left again. Something is up. We need to find out. Because our horn player need support, kindness, and understanding to find out what’s going on. Maybe we can all be proud that he shared his love of the horn with us all given the anemic state of classical music in America. Thanks
Tenure isn’t a reward for outstanding playing, tenure is a decision to spend the rest of your professional life with someone, to sit next to him for the next 50 years, it’s a marriage…with no divorce possible.
For whatever reason — professional or personal, musical or not — 200 colleagues at 2 orchestras in 2 continents after spending a year with him, made their decision.
Some people are not suited to be organizational men, some people are suited to be soloists. In exchange for job security, one gets freedom of artistic expression.
Eight CSO tenure committee members voted 4 yea and 4 yea. RM was the tie breaker Ayin. The overwhelming majority of musicians are still in shock…
Wrong. 5 voted yes and 4 no. One of the 4 even changed their mind. Muti did as he pleased or he decided to please someone specifically.
Who told you that his colleagues voted against him?
Maybe you want to think that way but the truth is we, his colleagues and the public and I am almost certain that even the administration wanted him to stay. He is a great musician and a good leader and an amazing person to work with.
What? 200 colleagues??
200 colleagues did not get to vote, or they would have voted to keep him!!! In Chicago, for sure!!!
To my knowledge, in german orchestras the vote comes down to the entire group of players.
Maybe vote with your wallets/wills/trusts/donations/tax subsidies/federal grants, and other welfare….maybe that will show this orchestra who’s in charge. We are done with the opaque nature of this nonense , good players being given the shaft and politi /awakening fads -trends etc…
Too many people here who don’t know anything about David’s situation are commenting as if they know everything.
Most of us do not know why he was not granted tenure, and it’s not most of our businesses to know why.
The amount of ignorance on this comment thread is unfathomable.
Hey, at least the folks who can’t be bothered to even read through the prior comments are a step above the non-sequitur racial comments…
Where is the WON (White Orchestral Network) helping here? The Black Orchestral Network did such a great job of trying to intervene on a certain percussionist not getting tenure after multiple extensions on his tenure case, that this surely must be racism too. No? Ok, how about Left-handed Orchestral Network? One Testical Orchestral Network? Damn, how can we make David a minority enough to get him a Network?????!!!!!
News from the Chicago Symphony tonight is they appointed Muti as Music Director Emeritus for Life. He’ll conduct 6 weeks of concerts in the 24/25 season and will tour with the orchestra for years to come.
Cooper’s playing has been superb, he is a great colleague and he grew tremendously as a musicians and as a person from day one until today. His problem was: he saw his colleagues as friends, trusted them and didn’t take sides. He didn’t inflate egos and showed up to do his best every single time.
Mr Cooper, LA has the best!
In these final CSO performances, DC was replaced by (I think) Mark Almond from the SFSO. Certainly a fine horn player, but there’s an energy missing from the sound that has been part of the section’s style (to my ear anyway). I found Almond’s solo in the Tchaikovsky 5 yesterday to be dreary. Fitting maybe.
I’m sorry but this needs to be interjected; Listen to David Cooper’s 3rd interview of Dale Clevenger. Clevenger Certainly had an ego Yes .. but (bless his heart) he was trying to bring David Cooper up to speed as Quickly as Possible. Dale LOVED David Cooper; David Cooper just isn’t Ready for that level of Artistic Responsibility Yet; Please Understand that this was the Only Responsible decision that the CSO Horns could Make. The Horn Section AND Muti were on the same page; It wasn’t personal. This ENTIRE thing is about preserving an Almost impossibly high standard. You simply cannot just give that job to someone who is extremely good at playing horn. Please parce out this paragraph Carefully … because every word is true AND necessary❤️
Can you explain what you mean by “artistic responsibility”?
Based on all the comments below it’s obvious David Cooper was too good for CSO. In any organization those who want the spotlight will sabotage anyone who will take spotlight away from them. It’s all based on jealousy. Basically immature emotionally challenged behavior. It’s a sign of insecurity as a musician. David Cooper will be tenured in LA Philharmonic when time comes.