In 1939, Leopold Stokowski walked away from his directorship of the Philadelphia Orchestra, announcing he had “accepted the invitation of eight South American republics” to organize an orchestra that would tour these countries during 1940.
This coincided with a strengthening of Pan-Americanism as the United States grew closer to being drawn into World War II. In particular, eyes were turned to South America in the face of Nazi propagandizing throughout the region. The need to neutralize South America became an important part of American policy, and music would figure generously into the plan.
In December, 1939, Stokowski met with Juan Lecuna, Venezuelan embassy attaché, and others to discuss plans “for recruiting a 109-member, all-American youth orchestra to make a 90-day tour of South America.” It was quite ambitious, but of course that was a trademark of Stokowski.
Within weeks, Stokowski was making plans of what music his All-American Youth Orchestra would take on their ambitious tour. No North American music was on the program; instead it was a mix of European classical and music of Latin America. He knew what would be popular.
National auditions were held for places in the orchestra. In the end, for that space and time, the orchestra was surprisingly diverse. Of the 100 members selected by Stokowski, 20 were young women. Fifteen additional members were recruited as ringers, of sorts, from the Philadelphia Orchestra.
On July 25, 1940, the well-drilled youth orchestra played to at least 10,000 people at New York City’s Lewisohn Stadium. The program opened with Stokowski's transcription of Bach's “Little Fugue in G.”
The orchestra would go on to play in thirteen Latin American cities, including Havana, Caracas, and São Paulo. On their return the orchestra was met by no less than First Lady Eleanor Roosevelt. This was, indeed, a triumph of Pan-Americanism.
As Stokowski was organizing, then deploying his orchestra, the American government, wary of a fascist movement taking hold in Latin America, embarked upon a Good Neighbor policy toward our neighbors to the south. Even Walt Disney came on board, offering two movies, Saludos Amigos in 1942 and The Three Caballeros in 1944.
Under the umbrella of the Good Neighbors came the creation of Viva America, an American musical radio program which was broadcast live over the CBS radio network, with a signal which reached both North and South America via the Network of the Americas.
By design, Viva America and other programs Pan-American in nature featured an imaginative array of popular singers and bandsfrom both the U.S. and Latin America.
Enter now the noted conductor Alfredo Antonini, who was appointed to conduct live orchestral programs as part of Viva America's offerings.
By 1945, performances by the orchestra on the CBS "La Cadena de los Americas" radio network were enjoyed by audiences in twentyLatin American nations and throughout North America. It was a two way street, with performances of music from both North and South America. On the North side we were introduced to not only Spanish, but also Portuguese along with the music of Alberto Ginastera, Carlos Chavez, and Heitor Villa-Lobos, all of whom have taken their places in anyone's version of a Great Americas Songbook.
There are more Momentos Musicales every weekday afternoon at 2:00 p.m. on KPAC 88.3 FM. Please encourage your friends to listen!
