Sending off a beloved maestro with a special tradition, the tusch

Riccardo Muti received a special tribute Sunday, this time in music: a fanfare known as a tusch.

After the last of three performances of Beethoven’s Missa solemnis by the Chicago Symphony Orchestra and Chorus, along with guest vocalists, members of members of the brass and percussion sections stood and honored Muti with a tusch — a musical flourish that honors a retiring maestro or musician. Music director since 2010-11, Muti is stepping down after 13 seasons, and his musicians wanted to honor the occasion.

The event was organized by Principal Trumpet Esteban Batallán, and he and his colleagues persuaded Principal Tuba Gene Pokorny (Missa solemnis lacks a tuba part) to join them for the salute.

“The tusch that the CSO brass and timpani section offered to Maestro Muti on his last concert at Orchestra Hall as music director was a public recognition of his legacy,” Batallán said. “I personally belong to Muti’s era, since I was appointed principal trumpet under his tenure. Now, my mission, as well as the mission of all CSO musicians, is to keep this legacy of excellence alive and make sure that the tradition of the CSO brass, which has been going on for decades, prevails and stays alive for generations to come.”

Second trumpet John Hagstrom, who joined the CSO in 1996, recalled that the orchestra had previously performed tusches for Music Director Georg Solti, Principal Trumpet Adolph Herseth, Music Director Daniel Barenboim, Principal Conductor Bernard Haitink and Principal Horn Dale Clevenger upon their retirements. “This is the just fifth one we’ve done [since 1990s],” he said. “It’s rare, and it’s done with great consideration for the moment.”

The tradition originated in the 17th century, and when it is performed, the first trumpet sounds the initial notes. “A tusch is a way of saying well done! It’s a show of solidarity and respect, and an indication one’s legacy will live on,” Hagstrom said. “It is something deeper; it’s not just a tip of hat. Muti appreciated the gesture and was surprised to see Gene. We’re happy that it came off the way it was intended.”

Orchestra members also expressed gratitude that Muti chose such a challenging work for his valedictory program. The maestro himself has mentioned many times that he waited to tackle Missa solemnis because he felt he was not quite ready to lead Beethoven’s monumental work. 

“Muti is able at 81 to meet a challenge and pull it off,” Hagstrom said. “That serves as a testament to his musicians that he wouldn’t choose to make his last concert a victory lap of sorts. Muti is like Solti, who was still studying scores the day he died. Muti is all about that.”