Chicago Tribune from Chicago, Illinois • 41

Chicago Tribune, Friday, March 23, 1973 Section 2 3 Wkend People The strength of Rafae Kube IK jf if by the orchestra's women's board Wednesday, he said the Chicago years had strengthened him. "If you are a musician and are courageous and ambitious enough to be in the public eye, you must take what the day brings. You must take it, you can-, not object, otherwise you have no right to stand on the platform. There are certain principles in life that one has to try to live up to." IN MANY WAYS, he finds the Chicago Symphony-much the same as when he left. "It still is very much on the German side.

There has always been that middle-European sound here, you despite adding the Metropolitan post. The 15 Munich concerts 14 subscription pairs and a "Musica Viva" evening of new music keep him there for three months. In May and June, 1975, he expects to bring, the orchestra to America and Japan for a 25th anniversary tour. Aside from a few guest-conducting and recording engagements made before his new appointment, that is all Kubelik plans. "I have three contracts, you see," he laughingly explained.

"One with the Met, one withv Munich, and one with my doctor in Switzerland." Gall bladder surgery forced cancellation of his Chicago engagement if 4 i i V7. pill A 11111? RAFAEL KUBELIK Is conducting to Chicago this weekend for what may very well be the last time, but when we saw him, his mind was on New York. The bulky Czech, who was the Chicago Symphony Orchestra's music director during three, turbulent years in -the 1950s, is now the Metropolitan Opera's music director. He has yet to conduct an opera there, but this is the season for. his advance plans, and Schuyler Chapin, the Met's acting general manager, had telephoned with an emergen- Dividing his time between opera and symphony is no new experience for Kubelik; who went from here to London's Covent Garden and has conducted operas in other European cities Thomas Willis' review of the Chicago Symphony Orchestra's concert last night will appear in Saturday's Tribune.

from La Scala to Hamburg. A self-styled musical Janus, he waxes eloquent on the complementary nature of tile two categories: "If you have no feel for drama and singing, you lose much of the music in symphonies. But in opera, if you can't visualize a whole act as a symphonic form, you will lose much of the drama." He gestured in a rainbow semicircle. "It is the dramatic line, the big arch, that holds everything IT IS KUBELIK the teacher talking, and one sees immediately why his many admirers in our orchestra like to work with him. A conductor in the true sense of the word, he leads players thru the scores, trying, as he says, "to be of help to the composer" but adjusting his concept of the work to the individuality of the performers.

really accomplish something, an orchestra must be a community of friendship and understanding. Without this family feeling, music cannot grow and When it happens, then it is fantastic. One becomes really strong. Then everyone realizes that music is not a luxury" the hand knifes thru the air "5ut a necessity, something that strikes directly to the core of man." It has been 20 years since Kubelik and the Chicago Symphony officially parted company "by mutual agreement," after a controversy that split this city's musical community down the middle and left still-unhealed scars. Today, he shows no discernible resentment.

At a luncheon given in his honor During the next three years, there are 17 new productions scheduled "enough to set a respectable standard." The worst productions in the repertory are being eliminated "they must go out, absolutely out. We are being merciless." Those In the middle, "merely in need of repair," will be fixed. Contrary to past Metropolitan policy, casts and conductors will be kept the same for at least one season, possibly for two. By slowly changing personnel "big revolutions, I don't want" he hopes to develop lines of style that will give the company the distinction it has been lacking in recent years. "The time is past when this company could present first-rate singers in third-rate productions and get away with it." Gentele's death notwithstanding, Kubelik insists that it takes two, and only two, to run an opera house.

"A troika will not work, only a pair. With two, if I cannot convince you and cannot convince me, we drop the case. With three, there is always a majority." The administrative precision of these words stood in sharp contrast to his previous speculations about the magic of music, the orchestra "family," and time as just "a little passing phenomenon." But both attitudes, in their way, are signs of strength. If this is Indeed his last Chicago visit, we may one day be missing more than his music. Thomas Willis Symphony slates new time slots THE CHICAGO Symphony Orchestra will switch 10 of its 30 Friday afternoon concerts to different time slots next season in an attempt to increase total season ticket sales.

Five of the concerts will be moved to Friday evening at 8:15, and five to Sunday afternoon at 3. The move, described by the Orchestral Association's president, Stuart S. Ball, "frankly experimental," will make two short subscription series available to symphony patrons for the first time. The present Friday afternoon series will be eliminated. In a letter to subscribers affected by the change, Ball stated, "Management has found that, altho tickets are available for two Friday afternoon series, there still is a great number of requests for more evening concerts." Trlbuni PAotc to Arthur Walker Kubelik rehearses the Chicago Symphony.

last' season; owing to that and subsequent bouts of gout, the 58-year-old Kubelik will spend Vk months a year resting and relaxing at home or on vacation. THE' METROPOLITAN Job promises to be tough. Next season he will make his conducting debut with the company's first performance of Berlioz's "Les Troyens" and continue with Wagner's "Die Goetterdaemenmg," the latter in preparation for taking over the entire "Ring" cycle in 1974-75. With the death of general manager-elect Goern Gentele last year, his planning load has know, but very polished, more brilliant American. This is the good side of America's orchestras, and it is still here." There has Deen a change, tho, and thinking of it was enough to make the musician's eyes catch fire and his voice drop with excitement.

"Now, everything is exact, really exact. It is joy. There are no weaknesses in this orchestra all departments are equally ctrong. The quality is tremendous." Kubelik has his own orchestra, the increasingly prestigious Bavarian Radio Orchestra, centered In Munich, Germany. He intends to remain with it, All right, we had an easy winter.

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