Sometimes we think of classical music as an escape from daily life, a refuge from news reports and personal crises. However, musicians are people too, and subject to the same forces on society as everyone else. In 1951, anti-communist sentiment was raging throughout the U.S., the popular media, and the government. But how did McCarthyism create a classical music scandal… in Canada?
The current iteration of the Toronto Symphony Orchestra (TSO) as founded in 1922 (as the “new symphony orchestra” to distinguish it from a previous disbanded group) and has a leading musical institution in Canada ever since. One factor in the orchestra’s growth and reputation was the 25-year tenure of Sir Ernest MacMillan. MacMillan, spent decades known as English Canada’s most prominent musician, and remains the only Canadian musician to be knighted.
MacMillan knew that his orchestra did not have the wide-ranging reputation of orchestras in the U.S. and the U.K., and he hoped that by performing internationally, the TSO would start to be recognized as one of North America’s leading ensembles. The orchestra management especially coveted an invitation to Carnegie Hall in New York. In 1951, the first part of the plan was put into action, the TSO’s first performance outside of Canada. It would be a short trip, a November performance in Detroit. The Detroit series was a prestigious one (other groups participating were the Boston Symphony and Philadelphia Orchestra) and a successful performance would open the door for future engagements in the U.S. and elsewhere.
The problem began when U.S. immigration officials scrutinized the roster of musicians due to play the concert. Several players were denied entry. The result was a years-long controversy that became known as the “Symphony Six’s affair. While some asked the orchestra to cancel the American performance, the TSO decided to play there anyway, without the players in question. The performance in Detroit was deemed a success, with positive reviews from both Canadian and American press.
This was not the end of the story. After the end of the season, management told the six players their contracts would not be renewed. They were, in effect, being fired. The stated reason was they did not play for all rehearsals and performances as indicated in their contract. The stunned players appealed to the orchestra board and to MacMillan. The board supported management, and conductor MacMillan while publicly saying nothing, was also thought to agree with the decision. The orchestra assumed it would be playing many more concerts in the U.S. in the near future and having to find substitutes for every performance would be unworkable. The players pursued matters with the local union, which, again took the side of management. This led to months of public debate, with many news and opinion articles being published, meetings being held everywhere from Toronto City Hall to the Canadian Labour Congress, and consequences such as the resignations of 2 members of the TSO board and a number of supporters canceling their subscriptions.
Only two players of the Symphony Six ever performed with the TSO again. Ruth Budd, Canada’s first professional double bassist, spent time playing in other Canadian groups before being rehired by the TSO in 1964. She continued with the group becoming one of the most beloved members of the orchestra until her retirement in 1989. Violinist Steven Staryk, went on to have a glittering international career, becoming concertmaster of the Royal Philharmonic in London, concertmaster of the Amsterdam Concertgebouw Orchestra and then the Chicago Symphony. He then toured as a soloist before rejoining the TSO as concertmaster 1982-1987.
Later on the Toronto Symphony Orchestra would have great success at Carnegie Hall but was not the first Canadian orchestra to play there. The TSO did not make their debut in New York until 1963.
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Written by Jonathan Gresl.