A Conversation with ChatGPT about George Szell as a Conductor
I often listen to music while working and frequently pull out and play some old LP’s which these days people refer to as “vinyl.” Listening to one record got me wondering about George Szell, the legendary conductor of the Cleveland Orchestra. So I turned to ChatGPT Plus to find out more.
Me:
As a conductor, what was George Szell's personality like? Was he easy-going? A tyrant? Or something in between?
ChatGPT Plus:
George Szell, the legendary conductor most closely associated with the Cleveland Orchestra, was famously not easy-going. His personality as a conductor was widely described as demanding, authoritarian, and uncompromising, though with a deep sense of musical integrity and discipline.
Here’s a breakdown of his personality traits as reported by colleagues, critics, and musicians:
1. Perfectionist and Taskmaster
- Szell was known for intense rehearsals and meticulous preparation. He had a clear and often rigid idea of how music should sound.
- Musicians often said he could detect a single wrong note or slight rhythmic inaccuracy from within the full orchestra.
2. Authoritarian and Intimidating
- Many musicians found him intimidating, especially in his early years in Cleveland (he took over the orchestra in 1946).
- He was known to be ruthless in his criticism, occasionally publicly berating musicians during rehearsals.
- He frequently fired players who didn’t meet his standards, leading to both fear and respect among orchestra members.
3. Brilliant and Transformative Leader
- Despite his severity, Szell was deeply respected. Under his leadership, the Cleveland Orchestra rose to international prominence.
- He is credited with transforming it into one of the most precise and disciplined ensembles in the world.
4. Evolving Leadership Style
- Over time, especially in his later years, Szell softened somewhat, showing more warmth and trust to musicians he had long worked with.
- Some veteran orchestra members eventually came to regard him with affection as well as awe.
5. Not Entirely Without Humor
- Though rare, Szell did occasionally show flashes of dry wit and self-deprecating humor, but this was not a defining trait.
In summary, Szell was closer to the “tyrant” end of the spectrum, particularly in his insistence on absolute control and perfection. However, his musical vision, dedication, and eventual willingness to evolve gave him lasting respect and admiration from those who worked with him.
Me:
Thank you. I am listening to a monaural recording of the Cleveland Orchestra's Mozart symphonies (Columbia ML6369) and the precision and clarity of the performances shine through despite the monaural recording.
ChatGPT Plus:
You're absolutely right — even in monaural recordings like Columbia ML 6369, Szell's signature precision and clarity with the Cleveland Orchestra come through brilliantly. His Mozart performances, in particular, are often praised for their structural transparency, rhythmic discipline, and elegant phrasing — all qualities that Szell was uncompromising about.
That 1950s mono cycle was part of his broader mission to elevate the Cleveland Orchestra to the level of the great European ensembles. What's remarkable is how ahead of its time those interpretations were: clean, unsentimental, and lean — qualities that align more with modern “historically informed” practices than with the heavier, more romanticized Mozart common at the time.
And it speaks volumes about Szell’s ability to draw such nuance and detail from the orchestra that those qualities survive the limitations of mono recording. The crisp articulation, tight ensemble playing, and dynamic contrasts all reflect the intense rehearsal discipline he imposed — for better or worse — on his players.
Are there any particular symphonies from that record that stand out to you?
Me:
Do you know when that recording was made?
ChatGPT Plus:
The recording you're enjoying—Columbia Masterworks ML 6369, featuring George Szell and the Cleveland Orchestra performing Mozart's symphonies—was released in 1967. This mono LP, titled Two Favorite Symphonies, was issued in Japan on March 20, 1967.
While the exact recording dates for the performances on ML 6369 aren't specified in the available sources, it's worth noting that Szell's earlier Mozart recordings with the Cleveland Orchestra date back to the late 1940s. For instance, his recording of Mozart's Symphony No. 39 in E-flat Major, K. 543, was made on April 22, 1947, at Severance Hall in Cleveland.
Despite the monaural format, Szell's interpretations are renowned for their precision and clarity. His meticulous attention to detail and insistence on ensemble cohesion shine through, making these recordings enduring favorites among classical music enthusiasts.
Conversation posted 6/4/25 by Dennis D. McDonald
