The Chicago Symphony Orchestra. Interview with Jeff Alexander, CSO President

Alberto Foncerrada: The Chicago Symphony Orchestra has a rich history dating back to its founding in 1891. What do you think are the key milestones that have shaped it over the years?
Jeff Alexander: The Chicago Symphony Orchestra was established to showcase Chicago as a cultural community during the 1893 World’s Columbian Exposition. Theodore Thomas, a renowned conductor, was invited to become the CSO’s founding music director, bringing his talent and musicians from New York. The CSO’s success has been underpinned by exceptional conductors, strong community support, and a commitment to musical excellence.

I think there are two or three basic reasons why a symphony orchestra is great, becomes great or remains great. And it has to do with the quality of the conductors and the music directors and how they’re able to train the musicians and get them to focus and work as an ensemble, and of course, the support from the community.

AF: The COVID-19 pandemic presented significant challenges for the performing arts. How did the CSO adapt? Could you share some insights into the innovative strategies that the CSO implemented to keep its connection with music lovers alive during the pandemic?
JA: The pandemic brought unprecedented challenges to the performing arts, including the CSO. I’ll never forget we had a concert scheduled for March 12^th, 2020, at eight o’clock. And at five o’clock, we received the notice from the Mayor’s office that we were not allowed to go ahead with the concert. We had to shut down as was the case with so many others. And we all thought it would be a two or three-week event. It turned out to be much more serious than that. It soon became clear that it was going to be a long term shutdown.

Despite concert cancellations, the orchestra adapted by having musicians create YouTube videos from their homes. They also organized chamber music concerts for streaming, initially behind a paywall, but later shifted to free streaming to engage a broader audience. These initiatives helped maintain connections with both musicians and music enthusiasts.

And we heard from many, many people during that time and we’re still hearing from them that those videos really helped them make it through the pandemic themselves by having something to look forward to and listening to these great musicians play chamber music.

AF: Could you discuss the CSO’s international initiatives and are there any specific international collaborations in the pipeline that you’d like to highlight?
JA: The orchestra has been touring internationally since 1892. In our very second season, we undertook a tour to Canada and for many years there were annual tours to that country. Then of course, as we got into the 20^th century, the tours expanded into Europe and Asia. So the orchestra has performed in 29 different countries around the world over the years. These tours not only showcase their talent but also promote cultural exchange and diplomacy.

They’re typically three-week tours with 14 or 15 concerts in them. And it’s always very heartwarming to see the audiences wherever we are, whether it’s Tokyo or Beijing or Hong Kong or Paris. The concerts sell out well in advance. People are eager to attend the concerts, there are even people scalping tickets outside the concerts as if it was a rock concert.

In addition to the evening concerts for the general public, we undertake significant education projects in every city that we’re in. Members of the orchestra will go into schools, they’ll give master classes, or an ensemble from the orchestra will go into a school and perform a concert. Our musicians will also go into care centers and hospitals.

AF: How do you envision further cooperation and cultural exchanges with Mexican institutions such as UNAM?
JA: Regarding Mexico, the CSO has had a longstanding relationship and hopes to further collaborations with Mexican institutions like UNAM. Possibilities include ensemble exchanges and educational programs to foster a deeper connection.

We could invite students from Mexico to come to Chicago to experience our concerts and perhaps have some interaction with the musicians. So there’s any number of ways and we’re very open to those ideas.

AF: How do you see classical music evolving and what role do you believe the CSO plays in shaping the future of this art form?
JA: I do remain very optimistic about the future of classical music, emphasizing its timeless appeal and the importance of live performances for human connection. I envision a vibrant future where classical music continues to enrich lives.

AF: What steps is the CSO taking to promote diversity among its musicians and its programming?
JA: Diversity is a priority for the CSO. There are programs like the Percussion Scholarship Program, the Chicago Symphony Orchestra Latino Alliance, and the Chicago Symphony African American Alliance to promote diversity among musicians and audiences [see box]. Additionally, they launched the Chicago Musical Pathways Initiative, offering free lessons and exposure to young musicians of color, aiming to diversify the pool of future orchestra candidates.

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