<\/p>\n
Michael Tilson Thomas circa January 1993.<\/p>\n
David Farrell\/Redferns<\/p>\n
Michael Tilson Thomas leads the audience in a stirring rendition of the national anthem during the Opening Gala of the 1996-97 season.\u00a0<\/p>\n
Chris Stewart\/S.F. Chronicle<\/p>\n
Michael Tilson Thomas uses\u00a0computerized software to notate and manipulate his scores at his San Francisco home with dog\u00a0Sheyna by his side in February 2002.<\/p>\n
Deanne Fitzmaurice\/S.F. Chronicle<\/p>\n
Michael Tilson Thomas conducts his final performance with the orchestra during the \u201cMTT 80th Birthday Concert\u201d at Davies Symphony Hall in April 2025.<\/p>\n
Jana A\u0161enbrennerov\u00e1\/For the S.F. Chronicle<\/p>\n
Michael Tilson Thomas conducts his final performance with the orchestra during the \u201cMTT 80th Birthday Concert\u201d at Davies Symphony Hall in April 2025.<\/p>\n
Jana A\u0161enbrennerov\u00e1\/For the S.F. Chronicle<\/p>\n
For a quarter-century and beyond,\u00a0Michael Tilson Thomas<\/a> and San Francisco were practically synonymous in the world of classical music. To speak of either Thomas or the San Francisco Symphony was to speak of the other, and doing so almost always meant celebrating the unique artistic partnership that emerged in Davies Symphony Hall over the decades.<\/p>\n Thomas\u2019 25-year tenure as the orchestra\u2019s music director, from 1995 to 2020, was a golden age of musical achievement in the Bay Area, during which his prodigiously versatile gifts as a conductor, pianist, composer and educator helped to create a nexus of excitement around Davies that could be felt throughout the region \u2014 even by those whose interest in orchestral music was limited or nonexistent. Thomas also remained an outsize presence even after he stepped down in the midst of the COVID-19 pandemic, taking on the title of the orchestra\u2019s music director laureate.<\/p>\n Now that presence is gone. Thomas died at home Wednesday, April 22, nearly five years after\u00a0first being diagnosed<\/a> with a brain tumor that was later identified<\/a> as glioblastoma multiforme, an aggressive form of brain cancer. He died surrounded by family and friends, according to a Symphony spokesperson. He was 81.<\/p>\n Article continues below this ad<\/p>\n His death comes just two months after his husband and business manager,\u00a0Joshua Robison<\/a>, died Feb. 24 from complications after a fall in their Pacific Heights home.<\/p>\n Thomas leaves no immediate survivors.<\/p>\n San Francisco Chronicle Logo<\/p>\n Make us a Preferred Source to get more of our news when you search.<\/p>\n <\/p>\n Add Preferred Source<\/p>\n <\/a><\/p>\n \u201cMTT didn\u2019t just lead the Symphony,\u201d board chair Priscilla Geeslin said in a statement. \u201cHe became part of the cultural fabric of San Francisco itself, expanding what it meant to be an orchestra in a city like ours. His impact reached far beyond the concert hall, touching the life of the city in ways both visible and deeply personal. We were, quite simply, so lucky to have him.\u201d<\/p>\n Article continues below this ad<\/p>\n Micahel Tilson Thomas and his husband, Joshua Robison, at the San Francisco Symphony Opening Night Gala in September 2014.\u00a0<\/p>\n Alex Washburn\/S.F. Chronicle<\/p>\n Symphony leaders also emphasized the breadth of his impact, both within the institution and across the wider musical world.<\/p>\n \u201cHe was a brilliant conductor, a generous teacher, and a deeply original human being,\u201d Symphony CEO Matthew Spivey said in a statement. \u201cHe reimagined what this orchestra\u00a0\u2014 and classical music in a city like ours\u00a0\u2014 could be. San Francisco and the musical world are better for his life.\u201d<\/p>\n The sense of connection extended to the musicians who worked closely with him.<\/p>\n \u201cHis commitment to reaching deep into the hearts and minds of his musician colleagues and his listeners up to the very last row of the balcony will always be present in those of us lucky enough to have shared the stage with him,\u201d Barbara Bogatin, a longtime member of the orchestra\u2019s cello section, said in a statement.<\/p>\n Article continues below this ad<\/p>\n That same intensity was paired with a restless creative energy.<\/p>\n \u201cHe was always dreaming, always exploring,\u201d said former Executive Director Peter Pastreich, who was there for Thomas\u2019 hiring. \u201cA lot of conductors reach a certain point where they still do great work, but it doesn\u2019t get any better.<\/p>\n \u201cBut Michael never stopped growing as an artist. That\u2019s what helped make his 25 years possible.\u201d<\/p>\n Over the course of a long and richly varied career, Thomas established himself as one of the preeminent figures in late 20th and early 21st century classical music, as persuasive in the standard repertoire as in the more arcane corners of the landscape.<\/p>\n Aside from opera, where his forays were comparatively rare, Thomas commanded a vast swath of musical terrain. He was an early champion of the music of Charles Ives, Carl Ruggles and Henry Cowell, at a time when those thorny American pioneers were still too little known to the general public.\u00a0<\/p>\n Article continues below this ad<\/p>\n Michael Tilson Thomas rehearses Gershwin\u2019s \u201cRhapsody in\u00a0Blue\u201d with the San Francisco Symphony.\u00a0<\/p>\n Liz Hafalia\/S.F. Chronicle<\/p>\n In his performances with the Symphony, as well as with other orchestras around the world, he illuminated the music of Debussy, Stravinsky, Beethoven and many other composers\u00a0\u2014 Mahler above all.\u00a0<\/p>\n He was a tireless advocate for contemporary music as well, from Steve Reich and John Cage in the 1970s to Steve Mackey and Mason Bates in more recent years.<\/p>\n Throughout it all, Thomas remained committed to an aesthetic of spontaneity, freedom and exploration. His performances of even a well-worn score could vary subtly from night to night, and widely from year to year. He remained open\u00a0\u2014 and encouraged his musical collaborators to remain open\u00a0\u2014 to the rewards of sudden inspiration.<\/p>\n \u201cI\u2019m happiest when I feel the music gets to a place where no one is really quite sure who is making the music,\u201d he told the Chronicle<\/a> in 2020. \u201cIt just seems to be happening wonderfully, miraculously, rather than as a result of someone who\u2019s saying, \u2018Follow me.\u2019\u201d<\/p>\n Article continues below this ad<\/p>\n Thomas\u2019 relationship with the San Francisco Symphony dated back to 1974, when he made his debut conducting Mahler\u2019s Ninth Symphony. He returned regularly to the Bay Area in the subsequent years, leading the orchestra in a range of repertoire, and twice planning and conducting a summer Beethoven Festival.\u00a0<\/p>\n But it was his appointment as music director in 1995, succeeding Herbert Blomstedt, that began what would eventually emerge as the single most important chapter in the Symphony\u2019s more than century-long history.<\/p>\n The appointment also marked a homecoming of sorts for Thomas, who was born Dec. 21, 1944, in Los Angeles, and grew up there amid the hothouse cultural milieu created by postwar European emigres, including Stravinsky, Schoenberg and others.<\/p>\n Guests arrive at Davies Symphony Hall in April 2025 for the \u201cMTT 80th Birthday Concert.\u201d<\/p>\n Jana A\u0161enbrennerov\u00e1\/For the S.F. Chronicle<\/p>\n Show business was the family business. Thomas\u2019 paternal grandparents, Boris and Bessie Thomashefsky, had been the leading figures in the world of the New York Yiddish Theater in the early decades of the 20th century. Although Boris died before his grandson was born, Bessie was an influential figure throughout his childhood.\u00a0<\/p>\n Thomas\u2019 father, Ted Thomas, who had changed his name from Thomashefsky, was a theatrical stage manager. He and Thomas\u2019 mother, Roberta, helped inculcate their only child in the ways of musical theater.<\/p>\n As a teenage musician\u00a0\u2014 first a pianist, then increasingly a conductor\u00a0\u2014 Thomas became a fixture in the Los Angeles world of experimental and concert music. He took part in the city\u2019s famous Monday Evening Concerts series, helping to premiere works by Stravinsky, Pierre Boulez, Karlheinz Stockhausen and Aaron Copland. He served as a piano accompanist for such old-world figures as violinist Jascha Heifetz and cellist Gregor Piatigorsky.<\/p>\n Michael Tilson Thomas on March 19, 1985.<\/p>\n Eric Lus\/S.F. Chronicle<\/p>\n After graduating in 1967 from the University of Southern California, Thomas won a conducting fellowship at Tanglewood, the summer home of the Boston Symphony, where he won the coveted Koussevitzky Prize, named for the orchestra\u2019s renowned music director Serge\u00a0Koussevitzky. It was as a result of that success that Thomas first got to know the conductor and composer Leonard Bernstein, who became a lifelong friend, mentor and role model.<\/p>\n In 1969, at just 24, Thomas was appointed assistant conductor of the Boston Symphony. Within weeks, he was called on to step in for the orchestra\u2019s ailing music director, William Steinberg, in a dramatic last-minute substitution that called to mind Bernstein\u2019s similar career-making appearance in 1943 with the New York Philharmonic.<\/p>\n Thomas became associate conductor in Boston in 1970 and the next year began an eight-year stint as music director of the Buffalo Philharmonic. From 1981 to 1985, he was the principal guest conductor of the Los Angeles Philharmonic, and he served as principal conductor of the London Symphony Orchestra from 1988 to 1995.<\/p>\n Along with the San Francisco Symphony, Thomas\u2019 major institutional affiliation was with the New World Symphony, the Miami Beach training orchestra that he founded in 1987. Over the ensuing decades, it has become an essential feeder for most of America\u2019s major symphony orchestras.<\/p>\n Michael Tilson Thomas is given flowers by then-San Francisco Mayor London Breed after the opening night performance of the Symphony in September 2019.<\/p>\n Gabrielle Lurie\/S.F. Chronicle<\/p>\n Thomas\u2019 appointment in the San Francisco Symphony marked a significant turning point for the orchestra, and he lost no time in establishing new artistic directions. For the season-opening concert, he commissioned a fanfare from the great American experimentalist Lou Harrison\u00a0\u2014 a longtime resident of Santa Cruz County whose music had never been performed by the Symphony\u00a0\u2014 and concluded his inaugural season with a two-week celebration of American music that included a performance of music by Cage featuring members of the Grateful Dead.\u00a0<\/p>\n Between those two bookends, Thomas made a point of featuring at least one work by an American composer on every program he conducted.<\/p>\n As the ensuing seasons unfolded, the orchestra\u2019s programming grew ever broader, with a blend of new music, standard repertoire and little-known historical gems. Operas by such composers as Richard Wagner, Benjamin Britten and Nikolai Rimsky-Korsakov appeared in Davies Hall in semi-staged productions, and each season brought a plentiful helping of premieres.<\/p>\n But the single unifying thread running throughout Thomas\u2019 tenure was the music of Mahler, whose symphonies and song cycles appeared on the schedule every year, often more than once. The ongoing exploration of the Austro-Bohemian Late Romantic composer\u2019s body of music \u2014 culminating in a complete recording cycle that won no fewer than seven Grammy Awards \u2014 taught an entire generation of Bay Area audiences to love and appreciate Mahler\u2019s work.<\/p>\n Michael Tilson Thomas speaks to the audience after receiving an arm full of flowers after the Symphony\u2019s opening night performance in 2019.<\/p>\n Gabrielle Lurie\/S.F. Chronicle<\/p>\n The same educational and evangelizing impulse was evident in \u201cKeeping Score,\u201d the massive multimedia project Thomas envisioned and undertook. Its videos, radio broadcasts and audio recordings served as both an introduction to classical music for the eager beginner and a detailed plunge into that world for more experienced travelers.<\/p>\n Midway through his time as the Symphony\u2019s music director, Thomas began to revive his interest in composition, an activity that had long been relegated to the background. He introduced orchestral song cycles based on the poetry of Emily Dickinson and Walt Whitman, as well as quirkier projects such as the contrabassoon concerto \u201cUrban Legend.\u201d \u201cGrace,\u201d a four-disc box set released in October 2024 on the Pentatone label, offered a collection of his major compositions.<\/p>\n In 2017, Thomas announced his decision<\/a> to step down as music director at the end of the 2019-20 season. But the celebrations that were planned to attend the final months of his valedictory season were wiped away by the COVID-19 pandemic. No sooner had musical life begun to return to normal than Thomas\u2019 cancer diagnosis caused him to withdraw from public appearances.<\/p>\n Yet with almost miraculous stamina and longevity, Thomas continued to conduct, record and teach\u00a0\u2014 as if the sheer act of making music was enough to keep him healthy and active.\u00a0<\/p>\n Michael Tilson Thomas and Rep. Nancy\u00a0Pelosi watch the unveiling of the street sign of Michael Tilson Thomas Way during a ceremony for the commemorative renaming of Grove Street in December 2023.<\/p>\n Michaela Vatcheva\/For the S.F. Chronicle<\/p>\n He guest-conducted widely, across the United States and Europe, in addition to making return visits to Davies Symphony Hall to lead performances of\u00a0Beethoven\u2019s Ninth<\/a> and, in his final subscription program with the Symphony, Mahler\u2019s Sixth<\/a>. In 2023, the block of Grove Street between Franklin Street and Van Ness Avenue, which runs between Davies and the War Memorial Opera House, was\u00a0renamed MTT Way<\/a> in his honor.<\/p>\n \u201cMichael Tilson Thomas was a visionary leader in San Francisco\u2019s music and arts community and helped shape our entire city\u2019s cultural identity. In his time leading the San Francisco Symphony, Michael elevated the city\u2019s music scene onto the global stage through innovative performances and a passion for bringing music to more people,\u201d Mayor Daniel Lurie said in a statement. \u201cHis legacy will live on for generations to come.\u201d<\/p>\n Thomas\u2019 last subscription program with the Symphony, in January 2024, was characteristically devoted to Mahler\u2019s Fifth Symphony. His final public appearance was in April 2025, when he led the orchestra in music by Britten and Respighi during an event celebrating his 80th birthday the previous December.<\/p>\n The Symphony\u2019s scheduled June performances of Beethoven\u2019s Ninth Symphony will be dedicated to Thomas. The Symphony plans to announce details of a special celebratory concert at a later date.<\/p>\n Joshua Kosman is the Chronicle\u2019s former classical music critic.<\/p>\n","protected":false},"excerpt":{"rendered":"Michael Tilson Thomas circa January 1993. 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