Ravel in Chicago

Ravel arrived in Chicago on 17 January 1928 after travelling by overnight train from New York, and, as elsewhere, the press took great interest in his every move: “Maurice Ravel’s first day in Chicago [18 January] consisted of a three hours’ rehearsal with the Chicago Symphony Orchestra in the morning, a luncheon engagement at the Cliff Dwellers wherein he was the guest of honor, an afternoon so far unaccounted for, and an evening concert in the Gold Room of the Congress hotel under the auspices of Pro Musica, in which he, Jacques Gordon and Lisa Roma put over a program of his own works.” (Edward Moore, in Chicago Tribune, 19 January 1928, part 3, p.23**).

The press notices for the recital expressed familiar reservations about Ravel’s skills as a pianist. 

“Only a supreme ironist would consent to play his own beautiful music in public as badly as Ravel plays it… However it is a tradition that composers play badly and no one can complain that Ravel does not respect it.” (Glen Dillard Gunn, in Chicago Herald and Examiner, 20 January 1928, p.11**). But there was much interest in the Sonate pour violon et piano which was being presented for the first time, especially on account of its elements of jazz; the second movement “Blues” received an encore. (Chicago Daily News, 19 January 1928, p.15**).

On 20 January Ravel appeared as conductor of the Chicago Symphony Orchestra at Orchestra Hall, again with Lisa Roma as soloist. 

He had established a good rapport with the orchestra during rehearsals, and on this occasion the critical response in the press was more in accord with the enthusiasm of the audience, even though it was recognised that Ravel was not a professional conductor. “The fascinating part was to note how his mind worked. He has imagination, poetry, exquisitely delicate sense of color and fascinating rhythmic elasticity… From the point of view of the public, the music has been much more effectively played. But his actual presence and attitude toward the music gave it a new meaning.” (Karleton Hackett, in Chicago Evening Post, 21 January 1928, p.5**). The orchestra expressed its appreciation by playing a ‘tusch’ (fanfare) for Ravel at the end of the concert. (Chicago Tribune, 21 January 1928, p.13**).

The concert was repeated on 21 January. The audience for this performance was disconcerted to find that it did not begin on time, and no explanation was given when it eventually started half an hour late. Behind the scenes, while Ravel was dressing for the concert, he discovered that he did not have his evening shoes, and since he was particular to the point of obsession about being properly dressed he refused to go on stage without them. After some frantic searching, it was realised that the shoes must be in his trunks which were already at the station awaiting his departure. Lisa Roma, his soloist, offered to go to look for them; she took a taxi to the station, and after looking through his luggage she found the shoes and returned with them to the concert hall. The concert could at last begin. (Goss [1940] p.230).

Ravel was enthusiastic about the city of Chicago and his reception in it, as well as being impressed by the extremes of its weather: “Trouvé le printemps à Chicago mais hier, en 1 heure, un froid glacial et un vent de tous les diables qui vous emporte le portrait, et l’eau et la glace sont parfumés à l’eau de Javel. La ville est extraordinaire, bien plus que New-York.” (Letter to his brother, in Chalupt [1956] p.226).

Ravel’s next engagement was in Cleveland.

(** as quoted in Dunfee [1980] pp.79-90.)