When Eugene Istomin won the Leventritt Competition in October 1943, the first prize was simply a concert with the New York Philharmonic. Since this concert was broadcast on Sunday afternoon throughout the United States, for some eight million listeners, it was enough to launch a career! Artur Rodzinski, its music director, asked the young pianist which concerto he wanted to play, and he was amazed by the answer: Brahms’ Second Concerto! Indeed, nobody could imagine at that time, and even now, that a young pianist, who was not yet eighteen, might approach this intimidating work in a convincing way. Perplexed, Rodzinski suggested that Istomin come and play at a rehearsal of the orchestra. He entrusted his assistant, Leonard Bernstein, to conduct the orchestra and sat alone in Carnegie Hall. He needed to only hear the first movement to give his approval.
At the concert, Istomin was very nervous and was troubled when sitting at the piano to realize that it was not the instrument he had chosen and played at the rehearsal. He did not play as well as he could. This did not prevent the audience from cheering him on and calling him back on stage six times. As for Rodzinski, he was very satisfied, and quickly invited him again for performing Beethoven’s 4th Concerto in December of the next year. It was a huge success with the public and critics. Rodzinski then suggested that he return in October 1946 to play Beethoven’s Emperor Concerto, that Istomin was to perform for the first time.
Rodzinski did even more. In January 1947, he wrote a letter to his colleagues in the other major American orchestras (Koussevitsky, Monteux, Szell, Golschmann, Mitropoulos, Dorati…) to suggest that they invite Istomin: “For the past two years, the young pianist, EUGENE ISTOMIN, has played with the Philharmonic-Symphony Orchestra. He has a great talent. I think so highly of him that I have recommended to our Board of Directors, his re-engagement for the next season. Because I know you are always looking for the best soloists to appear with your own orchestra, I recommend him also to you – and very highly indeed. You will find him excellent to work with, a fine artist of mature attainment, although very young in years.” It was a striking proof of Rodzinski’s confidence in Istomin’s talent, and a demonstration of generosity worthy of Rodzinski’s greatness of soul.
Rodzinski had been one of the most unanimously acclaimed conductors in the United States in the 1930s and 1940s. He was such a fantastic builder of orchestra that Toscanini entrusted him with the recruitment (hiring) and the preparation of the orchestra that NBC had created for him. But a conflict with Judson, the most powerful personality in the American musical world, who combined the role of impresario for all the main conductors and manager of the New York Philharmonic and the Philadelphia Orchestra, forced him to leave New York in 1947. To improve the quality of the orchestra, he thought it was necessary to fire twelve musicians, including the concertmaster. As Judson did not agree, he asked the Board to choose between Judson and him. His departure caused many protests and even made the cover of Time Magazine. The Chicago Symphony, which had been keen to hire him for a long time, immediately offered him the position of musical director but Judson, unforgiving, schemed to prevent his contract with Chicago from being renewed. Rodzinski was deeply affected physically and morally. He pursued a career as a guest conductor, mostly in Europe, but prematurely died in 1958. Istomin had been touched by this drama. It had helped to convince him that the absolute power of the managers over the musicians was absurd and cruel. Thirty years later, he was still revolted, and he repeated, incredulous: “Rodzinski was shattered by these people!”
1943, Novembre 21. Carnegie Hall. Brahms, Concerto No. 2. New York Philharmonic. Recorded concert.
1944, December 9 & 10. Carnegie Hall. Beethoven, Concerto No. 4. New York Philharmonic. Recorded concert.
1946, October 19. Carnegie Hall. Beethoven, Concerto No. 5. New York Philharmonic.
Brahms, Concerto No. 2 in B flat major op. 83: the beginning
Eugene Istomin, New York Philharmonic Orchestra, Artur Rodzinski. Carnegie Hall, November 21, 1943. Copy of the slides recorded in 78 rpm in direct engraving. The sound is more than precarious, but it is a moving document…