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Title: Twenty-five years of the Philadelphia Orchestra, 1900-1925
Author: Frances Anne Wister
Release date: June 2, 2025 [eBook #76214]
Language: English
Original publication: Philadelphia: Women's Committees for the Philadelphia Orchestra, 1925
Credits: The Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive)
*** START OF THE PROJECT GUTENBERG EBOOK TWENTY-FIVE YEARS OF THE PHILADELPHIA ORCHESTRA, 1900-1925 ***
Transcriber’s Notes:
Underscores “_” before and after a word or phrase indicate _italics_
in the original text.
Small capitals have been converted to SOLID capitals.
Illustrations have been moved so they do not break up paragraphs.
Typographical and punctuation errors have been silently corrected.
Twenty-five Years
of the
Philadelphia Orchestra
1900-1925
_By_
FRANCES ANNE WISTER
PUBLISHED UNDER THE AUSPICES OF
THE WOMEN’S COMMITTEES FOR
THE PHILADELPHIA ORCHESTRA
COPYRIGHT 1925
FRANCES ANNE WISTER
EDWARD STERN & COMPANY. INC.
PRINTERS AND ENGRAVERS
PHILADELPHIA
TO
ALEXANDER VAN RENSSELAER, ESQ.
DEVOTED TO
THE CAUSE OF MUSIC IN THIS CITY
AND
FIRST AND ONLY
PRESIDENT
OF
THE PHILADELPHIA ORCHESTRA
ASSOCIATION
FOREWORD
This story of the Philadelphia Orchestra has been written during the
past few months, for the friends and supporters of the Philadelphia
Orchestra Association.
My endeavor has been to give the account in a simple form and to
use the Appendix for the statistics which should be recorded at a
Twenty-fifth Anniversary.
FRANCES ANNE WISTER
OCTOBER, 1925
ACKNOWLEDGMENTS
With much appreciation of their assistance
I desire to thank:
The Board of Directors of the Philadelphia
Orchestra Association
and
The Women’s Committees for the Philadelphia
Orchestra, who have made it possible to
publish this book.
Mr. Arthur Judson, Mr. Louis A. Mattson,
Miss Ruth O’Neill, Miss E. M. Russell of
the Philadelphia Orchestra Office.
Dr. Edward I. Keffer.
FRANCES ANNE WISTER
OCTOBER, 1925
Twenty-five Years
of the
Philadelphia Orchestra
1900-1925
CONTENTS
PART I
CHAPTER I 3
A ROAD ONE HUNDRED AND FIFTY YEARS LONG
Music in Philadelphia before 1900.
CHAPTER II 16
THE LAST TURN OF THE ROAD
The finding of Fritz Scheel at Woodside Park. The
Philadelphia Symphony Society. The Philippine
Concerts. First Concert 1900. Sketch of Scheel. The
formation of the Philadelphia Orchestra Association.
CHAPTER III 31
EARLY YEARS
Financial difficulties. Incorporation 1903. The
Beethoven Cycle. The Richard Strauss Concerts.
Popular Concerts.
CHAPTER IV 47
THE WOMEN’S COMMITTEES
The Women’s Committees in Harrisburg, Allentown,
Lancaster and Trenton. The Women’s Committee and
the First Ten Thousand. The Germantown and Chestnut
Hill Women’s Committee. The West Philadelphia
Women’s Committee. The Media, Chester and West
Chester Women’s Committee. Committees in Delaware
(Wilmington), Baltimore, Washington and Atlantic County.
CHAPTER V 62
THE GUARANTORS AND THE GUARANTEE FUND
CHAPTER VI 71
THE DEATH OF FRITZ SCHEEL
Illness and Death of Fritz Scheel. The Memorial
Tablet to Scheel. The Musical Record.
PART II
CHAPTER I 89
THE NEXT STEP
Engagement of Carl Pohlig as Conductor. Sketch of
Pohlig. The Musical Record.
PART III
CHAPTER I 99
THE COMING OF LEOPOLD STOKOWSKI
The engagement of Leopold Stokowski 1912. First
programme. The Mahler Symphony. The Philadelphia
Orchestra Chorus.
CHAPTER II 113
THE SEVEN YEAR ENDOWMENT FUND
Dissatisfaction with the Guarantee Fund. The
proposition of the “Unknown Donor,” 1916.
CHAPTER III 116
THE ORCHESTRA DURING THE WORLD WAR
Presentation of Flags by Women’s Committees. Concert
at Camp Dix. Red Cross Benefit Concert. The Liberty
Loans.
CHAPTER IV 122
THE TWENTIETH ANNIVERSARY MILLION DOLLAR
ENDOWMENT FUND CAMPAIGN
CHAPTER V 139
TWENTY YEARS OF PROGRESS
Twentieth Anniversary 1920. Presentation of Silver
Tankard to the President.
CHAPTER VI 143
MUSICAL NEIGHBORS
The co-operation of musical associations with the
orchestra. Philanthropic undertakings.
CHAPTER VII 148
THE SUPPORT OF THE PUBLIC PRESS
CHAPTER VIII 150
THE LISTENERS
CHAPTER IX 155
THE TWENTY-FIFTH ANNIVERSARY
A General Survey.
CHAPTER X 163
THE POINT OF THE STORY
IN MEMORIAM 170
APPENDIX
APPENDIX A 178
CHARTER OF THE PHILADELPHIA ORCHESTRA ASSOCIATION
APPENDIX B 180
EXECUTIVE COMMITTEE OF THE PHILADELPHIA ORCHESTRA
1900-1901
APPENDIX C 181
OFFICERS AND DIRECTORS OF THE PHILADELPHIA
ORCHESTRA ASSOCIATION 1900-1925
APPENDIX D 191
THE GUARANTORS OF THE PHILADELPHIA ORCHESTRA
ASSOCIATION 1900-1901
APPENDIX E 193
SUMMARY OF CONCERTS BY THE PHILADELPHIA ORCHESTRA
SEASONS 1900-1901 TO 1924-1925 INCLUSIVE
APPENDIX F 201
CONDUCTORS
PERSONNEL OF THE PHILADELPHIA ORCHESTRA 1900-1925
PERSONNEL OF THE PHILADELPHIA ORCHESTRA CHORUS 1920-1921
MANAGERS
OFFICE STAFF
APPENDIX G 216
ASSISTANT CONDUCTORS. GUEST CONDUCTORS
ORGANIZATIONS THAT HAVE APPEARED WITH THE PHILADELPHIA
ORCHESTRA. SOLOISTS WHO HAVE APPEARED WITH
THE PHILADELPHIA ORCHESTRA
APPENDIX H 228
SOME OF THE PRINCIPAL PLAYERS IN THE VARIOUS
SECTIONS OF THE PHILADELPHIA ORCHESTRA
APPENDIX I 232
PARTIAL LIST OF “FIRST PERFORMANCES” IN AMERICA
APPENDIX J 234
PROGRAMMES OF SIX CONCERTS OF THE
PHILADELPHIA ORCHESTRA 1900-1901
APPENDIX K 237
THE WOMEN’S COMMITTEES FOR THE
PHILADELPHIA ORCHESTRA
APPENDIX L 242
ANNOUNCEMENT OF CHILDREN’S CONCERTS
APPENDIX M 244
PHILADELPHIA PERMANENT ORCHESTRA PROSPECTUS
MARCH 3, 1899
APPENDIX N 250
LITERATURE OF EARLY DAYS
ILLUSTRATIONS
ALEXANDER VAN RENSSELAER, ESQ. _Opposite_ 16
FRITZ SCHEEL _Opposite_ 31
MRS. ALEXANDER J. DALLAS DIXON _Opposite_ 48
SCHEEL MEMORIAL TABLET _Opposite_ 85
CARL POHLIG _Opposite_ 90
LEOPOLD STOKOWSKI _Opposite_ 100
PHILADELPHIA ORCHESTRA AND MAHLER CHORUS _Opposite_ 105
ENDOWMENT FUND MEMORIAL TABLET _Opposite_ 126
ENDOWMENT FUND MEMORIAL TABLET _Opposite_ 128
PART I
Twenty-five Years of the Philadelphia Orchestra 1900-1925
CHAPTER I
A ROAD ONE HUNDRED AND FIFTY YEARS LONG
“_Time Was unlocks the riddle of Time Is_”
“BY PARTICULAR DESIRE[1]
“On Tuesday next, the 25th inst., at the Assembly Room
in Lodge Alley will be performed a Concert of Music,
under the direction of Mr. John Palma; to begin exactly
at six o’clock.
“Tickets to be had at the London Coffee House, at one
Dollar each; and no person to be admitted without a ticket.”
[1] O. G. Sonneck: “Early Concert Life in America.”
Such in January, 1757, was the announcement of the first public concert
in Philadelphia of which there is record. So began the approaches to
the Philadelphia Orchestra, like the approaches to a great bridge which
begin hundreds of feet away from the span.
There had been music in private and other entertainments previous to
this public concert and in spite of the disapproval of the Society of
Friends and of a number of religious sects music found its first refuge
in the church. As early as 1701 Justus Falckner, a German Lutheran,
wrote as follows:
“I will here take occasion to mention that many
others besides myself who know the ways of the land,
maintain that music would contribute much toward a
good Christian service. It would not only attract and
civilize the wild Indians, but it would do much good in
spreading the Gospel truths among the sects and others
by attracting them. Instrumental music is especially
serviceable here. Thus a well-sounding organ would
perhaps prove of great profit, to say nothing of the
fact that the Indians would come running from far and
near to listen to such unknown melody, and upon that
account might become willing to accept our language and
teaching, and remain with people who had such agreeable
things; for they are said to come ever so far to listen
to one who plays even a reed-pipe (rohrpfeiffe): such
an extraordinary love have they for any melodious and
ringing sound. Now as the melancholy, saturnine, stingy
Quaker spirit has abolished (relegiert) all such music,
it would indeed be a novelty here, and tend to attract
many of the young people away from the Quakers and
sects to attend services where such music was found,
even against the wishes of their parents. This would
afford a good opportunity to show them the truth and
their error.”[2]
When Falckner was ordained in Gloria Dei Church in 1703, the Hermits of
the Wissahickon played on the viol, hautboy, trumpets and kettledrums
(Pauken) and the service was opened with a voluntary on the little
organ, all of which he doubtless arranged and enjoyed. Gradually a
number of other churches followed suit and installed organs.
In regard to secular music in private houses, letters testify to its
existence early in the 18th century; and Whitefield on his arrival was
an ally to its opponents. One of his followers printed this information
for the public in 1740, although the statement was later denied:
“Since Mr. Whitefield’s Preaching here, the Dancing
School, Assembly and Concert Room have been shut up,
as inconsistent with the Doctrine of the Gospel: and
though the Gentlemen concern’d caus’d the Door to be
broke open again, we are inform’d that no Company came
to the last Assembly night.”[3]
[2] J. F. Sachse: “The Missive of Justus Falckner of Germantown,
Concerning the Religious Condition of Pennsylvania in the Year 1701.”
[3] Robert R. Drummond: “Early German Music in Philadelphia.”
But music was craved by some of the inhabitants or a sensation would
not have been made by the Musical Clock:
“The Unparallelled Musical Clock, made by that great
Master of Machinery, David Lockwood. It excels all
others in the Beauty of its Structure and plays the
choicest Airs from the most celebrated Operas with
the greatest Nicety and Exactness. It performs with
beautiful graces, ingeniously and variously intermixed,
the French Horn, Pieces, perform’d upon the Organ,
German and Common Flute, Flageolet, etc., Sonata’s,
Concerto’s, Marches, Minuetts, Jiggs and Scots Airs,
composed by Corelli, Alberoni, Mr. Händel and other
great and eminent Masters of Musick.”
It was not until Mr. Palma’s concert however, that there seems to have
been any music for which the public could buy tickets. This pioneer
effort was followed by others. The “Subscription Concerts of Musick”
became fashionable in 1764; and later the fortnightly “City Concerts”
under John Bentley at the City Tavern. The Amateur and Professional
Concerts were a popular series. Groups of men fostered music as the
years passed. Francis Hopkinson and his friends both professional and
amateur assembled regularly to play “Concerti Grossi.” This group of
about twelve musicians probably formed Philadelphia’s first Orchestra.
The first real musical impetus came undoubtedly from Francis Hopkinson,
signer of the Declaration of Independence and later member of Congress.
He was besides, a teacher, organist, poet, harpsichordist, essayist,
improver of the harpsichord and the first American composer. Among his
works are the song, “My Days have been so wondrous free,” the earliest
American secular composition extant; and “Seven Songs” dedicated to
Washington. John Adams described him as:—“One of your pretty, little
curious, ingenious men. His head is not bigger than a large apple.
I have not met with anything in natural history more amusing and
entertaining than his personal appearance, yet he is genteel and well
bred, and is very social.”[4]
[4] Sonneck: “Francis Hopkinson and James Lyon.”
Other composers were not lacking as is seen by the announcement of John
Gualdo, in 1769, of a concert in which five out of thirteen numbers
were composed by him. This is the first recorded composers’ concert in
this country and his name appeared with those of the famous composers
of Europe of the day, as Philadelphia was never far behind.
Benjamin Franklin interested himself in the art and constructed an
improved Armonica or Musical Glasses. Thus two important public men of
the time gave music their sanction and assisted its cause.
As the city grew the people began to feel the need of instruction in
music. From early times Philadelphia had its share of music teachers,
the first one to publicly advertise, being a woman. Among them were a
number of excellent Englishmen who presented at concerts the works of
the great masters of Europe; and there were a few Germans. One of these
was an accomplished person if the following announcement which appeared
in 1755, be true:
“The subscriber proposes to open a school on Monday
next, in the house where the late Mr. Quin formerly
dwelt, for the instruction of Gentlemen and Ladies, in
the following accomplishments:
“First, The French, Italian and German languages, in a
method concise and easy.
“Secondly, To play on the violin after the Italian
manner, with a peculiar method of bowing and shifting
in solos or concertos.
“Thirdly, Drawing and miniature painting with colours,
flowers, insects, etc.... Likewise to draw patterns for
embroidery, or any kind of needle work....
“He has a variety of music, composed by the most
eminent masters, for the violino solo, concembalo et
violoncello, to be disposed of on easy terms.
“JOHN MATTHIAS KRAMER”
Another German was H. B. Victor, who described himself as follows:
“Mr. Victor, Musician to her late Royal Highness the
Princess of Wales, and Organist at St. George’s in
London, lately arrived here, takes this method of
acquainting the Musical Gentry in general that he
gives instructions on the Harpsichord, or Forte Piano,
Violin, German Flute, etc., especially in the thorough
Bass both in theory and practice, for that his pupils may
soon come to a fundamental knowledge of that fine science.
“N. B. Mr. Victor intended to give a concert, and to
perform on his new musical instruments, but is obliged
to postpone it for want of able hands; the one he
calls Tromba doppia con Tympana, on which he plays
the first and second trumpet and a pair of annexed
kettledrums with the feet all at once; the other is
called cymbaline de amour, which resembles the musical
glasses played by harpsichord keys, never subject to
come out of tune, both of his own invention. He is to
be met with at his house in Callowhill street near
Water street.”[5]
[5] Drummond: “Early German Music in Philadelphia.”
The many quaint advertisements of those times give an idea of the
musical activities of the people. Amateurs often assisted professionals.
Joseph Cézar, pupil of Viotti, in 1792, announced that: “Many amateurs
of the first eminence being so kind as to honor him with their
patronage, will perform,” etc. Again we hear of “a young lady who
has never before appeared in public and therefore craves protection
from all manner of insult.” Often the professional was “assisted by a
gentleman.” Infant prodigies, who were always under ten, were numerous
and they had invariably appeared before the crowned heads of Europe.
Organ dealers, spinet, harpsichord and piano makers, as well as
dealers in musical merchandise began to appear. Michael Hillegas,
first Treasurer of the United States and first music dealer in
Philadelphia, dealt in organs as early as 1753. His stock of music
embraced all the popular and standard compositions of the day, and
included those of Tartini, Tessorini, Pepush, Corelli, Händel, Vivaldi,
Burney, Stamitz, Barbella, and Scarlatti. Besides sheet music,
many other articles were to be had at his shop as we see from this
advertisement:
“To be sold by Michael Hillegas, at his House in Second
street, opposite Samuel Morris, Esq., an extraordinary
good and neat Harpsichord with four stops; a good
Violin-cello, an Assortment of English and Italian
Violins, as well as common ones, as double lined, of
which some extraordinary; a parcel of good German
Flutes, imported here from Italy. Also imported in the
last ships from London, a large Assortment of Musick,
of the best Masters, viz: Solos, Overtures, Concertos,
Sonatas, and Duets, for Violins, German Flutes,
Hautboys, French Horns, Violoncellos, and Guitars,
Voluntaries, Lessons for Organs and Harpsichords, ruled
paper of various Sorts for Musick, and Musick Books,
Tutors or Books of Instructions to learn to play on the
Violin, German Flute, Hautboy, or Common Flute, without
a Master, Song Books, Cantatas, Songs on Sheets, and
a Choice Parcel of Violin Strings, etc.”
(Penna. Gazette, 1759.)
John Behrent has the honor of being the first piano forte maker in this
city. In 1775 his advertisement in the Pennsylvania Packet informed the
public that:
“John Behrent, Joiner and Instrument-Maker living in
Third street continued in Campington, directly opposite
Coate’s Burying-ground, Has just finished for Sale, an
extraordinary fine instrument, by the name of Piano
Forte, of Mahogany, in the manner of an harpsichord,
with hammers, and several changes: He intends to
dispose of it on very reasonable terms: and being a
master of such sort of work, and a new beginner in this
country, he requests all lovers of music to favour him
with their custom, and they shall not only be honestly
served, but their favours gratefully acknowledged, by
their humble servant, John Behrent.”[6]
[6] Drummond: “Early German Music in Philadelphia.”
Familiar professional names in the early days were James Bremner,
teacher of Hopkinson, John Gualdo, Stephen Forrage, George
d’Eissenburg, Philip Roth, Philip Phile, John Bentley, Henri Capron,
A. Juhan, Andrew Adgate, and Victor Pelissier, nearly all of whom
were teachers as well as performers and were strong influences in the
musical life of Philadelphia and in the training of the young who were
early taught to crave the best musically.
The American Revolution caused concerts and other entertainments to be
almost entirely abandoned, with the exception of the Mischianza and
other affairs in which the British were the leading spirits. Little
occurred during this period to advance musical art.
With the country again at peace and with the dawn of a new century,
interest in music revived and early in 1820 eighty-five men organized
the Musical Fund Society, so far Philadelphia’s greatest musical
achievement. The officers and directors chosen on January 29th, 1820,
were:
Dr. William P. De Wees, _President_
Dr. Robert Patterson, _Vice-president_
Daniel Lammot, _Treasurer_
John K. Kane, _Secretary_
Managers of the Fund: James W. Barker, Thomas Artley, Francis G. Smith,
Edward Hudson, Benjamin Carr, William Strickland, Henry P. Barrekens,
William Hawkins, Charles A. Poulson, Benjamin Say, George Schetky and
Andrew Farrouihl.
The Charter states “That the essential objects of the said corporation
shall be the relief of decayed musicians and their families and the
cultivation of skill and diffusion of taste in music.” Four years
later Musical Fund Hall was built at Eighth and Locust streets.
For over thirty years this building was the centre of all music in
Philadelphia, except opera. The Society maintained an orchestra and a
chorus, and conducted an Academy of Music, which was the first school
in Philadelphia permitted by Charter to confer Academic degrees in
music. The orchestra of the Musical Fund Society was composed of its
members, professional and amateur, and there were strict regulations
as to rehearsals. They were players of no mean attainments for their
time, and it is to be regretted that the influx of dazzling foreign
performers was permitted to quench the ardor of the audiences and
finally their own. The quality of the music performed was of a high
order and compared favorably with that of Europe and of other American
cities of that period. The “Creation” was chosen for the first concert,
but the music could not be procured in Baltimore, New York or Boston,
or even in Europe, so the plan was abandoned. When it was first
produced trombone players were engaged to come from Bethlehem, as there
were none in this town. Indeed, the instrument itself was unknown and
aroused much curiosity. Later at these concerts (1845), Beethoven’s
Symphony No. 1 was given in full. It was announced as “The Entire Grand
Symphony of Beethoven,” and between the movements were vocal numbers
serious and comic. During the next season the Second Symphony was given
in the same way, and two years later came the “Eroica,” the Overture to
Oberon, and the Midsummer Night’s Dream.
When the period of the great visiting virtuosi, Jenny Lind, Henriette
Sontag, Vieuxtemps, Wilhelmj, Ole Bull, Sivori, Malibran, Lagrange,
Alboni, Hensler, Gottschalk and others arrived, the excitement over
their first appearances caused a decrease in interest in home talent
and achievements, and the activities of the Musical Fund Society were
maintained with less and less enthusiasm, until finally the Academy and
then the orchestra were abandoned. Another reason for this decline was
the growing popularity of opera, to the detriment of personal musical
effort by Philadelphians.
During the early years of the nineteenth century, as in the preceding
one, Philadelphia was the abiding place of a number of excellent
and hard working musicians. These carried on the labors of their
predecessors by teaching the young, leading choirs and guiding the
musical opinion of the city. Little recognition has been given these
men, who included among their number, Alexander Reinagle, George
Shetky, Benjamin Carr, Benjamin Cross, Raynor Taylor, Thomas Loud,
Charles P. Hupfeldt, and later Charles Jarvis and his son, Charles J.
Jarvis.
In our own time among the many musicians who have fostered music
here by their own example and by training others, four should be
particularly mentioned:
Dr. Hugh A. Clarke, for fifty years Professor of Music at the
University of Pennsylvania, whose sway has been felt through the many
students who have studied under him; Wm. W. Gilchrist, his pupil;
Michael H. Cross, and Richard Zeckwer. These men wielded so potent an
influence over music students and music lovers, that Philadelphians
owe them a heavy debt. They received the musical laying on of hands
and transmitted the traditions that have existed here for two hundred
years.
The important undertaking of the middle of the century was the building
of the American Academy of Music.
With the growth of population and the increasing number of visiting
opera companies, a demand arose for an opera house of adequate size and
equipment. In 1852 the project was launched and a Charter obtained,
but the amount of money needed, $400,000, was difficult to procure,
and it was not until January 26th, 1857, that the Academy was opened
with a grand ball. This eclipsed in size and brilliance any assemblage
hitherto seen in Philadelphia, and was followed on February 25th, by
the first performance of opera in the new house. “Il Trovatore” was
presented with Gazzaniga, Aldini, Brignoli and Amodio, and this marked
the beginning of the splendid career of the Academy of Music. Gradually
other musical events were transferred to the Academy, which became, and
still remains, the musical centre of the city.
Now the days of modern orchestral development are at hand. The first
visiting orchestra of note was the Steiermärkisches Orchestra, of
twenty musicians, under the leadership of Henri Riha, which came from
Germany in 1838.
Ten years later the Germania Musical Society, from Berlin, appeared
under the leadership of Carl Lenshow. Pecuniary losses caused it to
disband and the members scattered. Later the Society was reorganized
under Carl Bergmann. It had the honor of appearing at Sontag’s concert,
in 1852.
The Germania Orchestra, instituted in 1856 and incorporated in 1860,
succeeded this Society and for over forty years was an important
part of Philadelphia’s musical life. Carl Sentz, the drummer of the
Steiermärkisches Orchestra, became the first leader. Its concerts were
given on Friday afternoons at Musical Fund Hall, at the price of two
concerts for twenty-five cents, and packages of eight tickets for a
dollar, which price was later raised to twenty-five cents per concert.
Sentz was succeeded by Charles M. Schmitz, the cellist, who in turn was
followed by William Stoll, Jr. Unlike the custom of today the Germania
was governed by a conductor and officers chosen by its members. The
performances were not confined to classical concerts, but it played
engagements for private dances, balls, festivals, oratorios, fairs,
commencements, and other miscellaneous entertainments. Besides the
performances at Musical Fund Hall, concerts were given on Thursday
afternoons at the Pennsylvania Academy of the Fine Arts, from 1879
until 1895, inclusive. It was then customary to play one movement of
a symphony each week for four weeks and at the fifth concert to play
the whole. Charles M. Schmitz, who so long gave Philadelphians the
satisfaction of hearing symphonic music which was their own, was the
son of Adolph Schmitz, of Düsseldorf, player of the French horn. He
taught woodwind and brass instruments in the Academy of the Musical
Fund Society, and had the distinction of being the first musician
brought to America for the purpose of teaching.
The Germania Orchestra finally disbanded and orchestral ventures were
undertaken at Musical Fund Hall, Witherspoon Hall and the Academy of
Music. Mr. Henry Gordon Thunder and Mr. Wm. Stoll, Jr., were active
in these efforts, but lack of money hampered the results. Tickets
were sold at five for one dollar and twenty for four dollars. The
programmes included one or two movements of a symphony or concerto and
miscellaneous selections now no longer played.
An interesting enterprise in the musical world was the Philadelphia May
Festival, in 1883, of which Mr. S. Decatur Smith was President, Mr.
F. T. Sully Darley, Vice-president, and Mr. George Burnham, Jr. and
Mr. Hartman Kuhn among the directors. Wm. W. Gilchrist and Charles M.
Schmitz were the musical directors. Aside from the advantages derived
from this series of concerts, it is worthy of record that Mr. Darley
was the first Vice-president of the Philadelphia Orchestra Association
and Mr. Burnham and Mr. Kuhn were charter members, while Mr. Smith was
one of the original guarantors.
The Philadelphia Symphony Society 1893-1900.
The need of more orchestral concerts was evidently felt, for in 1893
the Philadelphia Symphony Society was organized by amateurs and
incorporated for the purpose of “the cultivation of the higher order of
Orchestral Work and the fostering of all matters tending to promote the
cause of music.”
The Society was fortunate in procuring as its first leader, Dr. Wm.
Wallace Gilchrist, founder of the Mendelssohn Club in 1875, and its
conductor for forty years. Members paid no fees or dues and the three
concerts given each year in the Academy of Music were supported by the
Associate membership. The two upper galleries were reserved for music
students in the public schools and conservatories, and about fifteen
hundred such tickets were distributed for each performance. The Society
possessed a musical Library and a Reading Room. Rehearsals were open
to accredited music students, much to the benefit of those who were
studying orchestration. It also fostered chamber music by bringing the
Kneisel Quartette to Philadelphia during sixteen seasons.
After the resignation of Dr. Gilchrist, Fritz Scheel became the
conductor. The list of works performed under both leaders was of the
highest standard and would do credit to any professional orchestra. The
place of this amateur orchestra in the symphonic succession is a noble
one and one of immense influence in this community. The incentive that
it gave to young players was worth all the expense and effort involved.
Scheel had hesitated when asked to become leader of an amateur
organization for fear of endangering his reputation. Therefore, when
the Philippine Concerts were arranged, a separate committee was formed
having no connection with the Philadelphia Symphony Society.
In 1900 the Society disbanded and sold to the Executive Committee of
the Philadelphia Orchestra its library, a set of kettledrums and its
music desks, and issued the following circular to its members:
“The Society, always active in promoting the musical
interests of Philadelphia, gave its earnest and hearty
assistance to the organizing of the Philadelphia
Orchestra, which, now established on a firm basis and
fortunate in its splendid personnel of professional
musicians, is in a position to continue orchestral
work in Philadelphia and carry it to a point beyond
the possibilities of amateurs. For this new orchestra,
which aims to do and can do so much for music in
Philadelphia, the Society asks from its associate
members the same generous support that heretofore has
been given to our amateur organization.”
Thus ended the only connection that ever existed between the
Philadelphia Symphony Society and the Philadelphia Orchestra, which
was that Fritz Scheel led this amateur orchestra for one season before
the formation of the Philadelphia Orchestra, composed entirely of
professional Philadelphia musicians.
Besides the impetus given to music in Philadelphia by the Musical Fund
Society, the Germania Orchestra, and the Philadelphia Symphony Society,
another group of musicians has been important in this community since
1893. The Manuscript Music Society founded by Dr. Gilchrist for the
encouragement of native composers, continues to have a far-reaching
effect on our musical life and is of fundamental value.
Years passed and the fact became more and more accentuated in the
minds of musicians that Philadelphia, a city of 1,500,000 people,
was dependent on visiting orchestras for the performance of great
orchestral works. But while they were despairing of ever seeing in
this city an orchestra akin to the modern ones in Europe and in
other American cities, a seed was germinating. Philadelphia had
had a taste of what a modern orchestra was, as far back as 1876,
when Theodore Thomas played at the Centennial Exhibition, under the
auspices of a Women’s Committee, headed by Mrs. E. D. Gillespie. The
concerts were given up for lack of support, but a sip of ambrosia
can never be forgotten. It is to Mr. Thomas and to Mrs. Gillespie,
pioneers in the modern orchestral world, that we owe the Philadelphia
Orchestra today. Mrs. Gillespie made another effort in 1881, on her
return from a sojourn in Germany, for she realized that there were
no musical advantages for students in Philadelphia to compare with
those in Germany or in Boston, where Mr. Higginson had lately founded
the Boston Symphony Orchestra. She invited Theodore Thomas to come
to Philadelphia, give a series of symphony concerts, and share the
profits. A few musicians supported this enterprise, but for the
majority the programmes were severe and boring, and when after four
seasons the profits were found to be $28.00, the attempt to establish a
large modern orchestra in this city was abandoned. Thomas was lost to
Philadelphia because the time was not ripe. This be said to our regret,
not to our shame. As Mrs. Cornelius Stevenson remarked many years
afterwards, one cannot feed meat to babes. Even twenty years later
the majority of Philadelphia citizens felt that the season was being
forced, when after a number of unsuccessful attempts the Philadelphia
Orchestra was founded.
However, memories of Theodore Thomas, father of American orchestras,
lingered in the minds of a few music lovers, and their longing was
increased by regular visits from the Boston Symphony Orchestra, which
gave five and later ten concerts each season. Many people can bear
witness to the joy that they felt when Gericke and Nickisch brought
that orchestra here. Soon the jealousy of Philadelphia was aroused at
hearing that Theodore Thomas was to settle in Chicago. The West had
seized the pioneer leader whom we might have had. Philadelphia’s eyes
also turned to New York City, where Dr. Leopold Damrosch and his son,
Walter, and Anton Seidl led orchestras; and where the Philharmonic
Society had long had an honorable career. Still Philadelphia made no
move. Then, in January, 1899, it occurred to a group of women to raise
a fund of $100,000 and bring to Philadelphia as a nucleus the New York
Symphony Society under Mr. Walter Damrosch; fill it out with the best
available musicians and call it the Philadelphia Orchestra. A circular
to this effect was issued with the result that a storm of protest arose
headed by another group of women, during which much newspaper publicity
was given to the subject of an orchestra for this city. Finally the
matter was adjusted and a committee of women issued a prospectus for a
Philadelphia Orchestra of which the principal points are quoted:[7]
[7] For full text of Prospectus, see Appendix M.
PROSPECTUS OF PHILADELPHIA PERMANENT ORCHESTRA
* * * * *
“In order to establish an orchestra such as would be a
distinct credit to the city, it is necessary to have a
paid-up fund of not less than $250,000.
* * * * *
“1. Subscribers shall not be bound by their
subscriptions unless the sum of $200,000 shall have
been subscribed.
“2. The fund shall be used only for the purpose of
establishing and maintaining a Permanent Philadelphia
Orchestra, and it shall be applied for that purpose by
the following Trustees:
C. WILLIAM BERGNER CHAS. C. HARRISON
JOHN H. CONVERSE C. HARTMAN KUHN
SAMUEL A. CROZER SIMON A. STERN
GEO. W. CHILDS DREXEL JAMES F. SULLIVAN
THOS. B. WANAMAKER
The Trustees shall invest $200,000 of the fund, using
only the interest thereof and the additional $50,000
shall be used for current expenses of the first few
years, when the expenses will be heavier and the
deficit greater.
“3. The orchestra shall be composed, first, of the best
musicians resident in Philadelphia; then, of the best
musicians obtainable either in this country or abroad.
* * * * *
“4. The Board of Trustees, when it considers that the
completion of the fund is assured, shall select the
leader upon the careful and unbiased consideration of
the merits and records of all candidates submitted to
it.”
* * * * *
Subscriptions towards this immense sum of money—$250,000[8]—did not
come in fast, and finally the proposition was abandoned under the
prospect of a Philadelphia Orchestra formed on a very different
and much more modest plan. There are two ways of embarking on an
enterprise, one is to procure the funds in advance on faith; the
other is to start the undertaking on faith and hope for the best to
pay the bills. The first plan failed, the second succeeded; and after
twenty years of effort, an orchestra was financially established in
Philadelphia.
[8] After a year of work the total sum promised was $50,000.
CHAPTER II
THE LAST TURN OF THE ROAD
The last turn of the road was a long one. It led from Germany to New
York, to the World’s Fair in Chicago, to San Francisco, back to New
York and to Woodside Park, Philadelphia. The turn was made by Fritz
Scheel.
The beginning of the Philadelphia Orchestra was the moment in July,
1899, when Mrs. Innes, wife of Bandmaster Frederic N. Innes, showed
some programmes to Dr. Edward I. Keffer and asked whether he had heard
Fritz Scheel and his orchestra at Woodside Park. At that moment the man
for whom Philadelphia had been waiting was found; and when the place
and the man come together the hour has come. Was it chance or was it
fate that caused that question to be asked? Who shall determine?
Dr. Keffer speedily went to Woodside Park[9] and was so pleased with
what he heard that he recommended his friends to go to hear Scheel’s
masterly leading and fine concerts, besides mailing several hundred
programmes to the musicians of his acquaintance. He found to his
surprise that in one week a Wagner Night, a Beethoven Night and a
Symphony Night were included. Many of the listeners were convinced
that Scheel was the man to organize an orchestra in Philadelphia. He
was competent to do it, he had no permanent position and he saw the
opportunity. Mr. John Fasshauer, an active member in Mr. Thunder’s
orchestra, succeeded in arranging a meeting of professional musicians,
who consented to enter into a liberal agreement as to salaries and
services. Still a guarantee fund seemed to be a necessity. The plan
proposed was to continue the Friday afternoon concerts, long a feature
here, under Fritz Scheel at the Academy of Music. A conference was held
at the University Club with Mr. John H. Converse, Mr. George Burnham,
Jr., and Mr. Thomas a’Becket. The question of a fund was discussed and
Mr. Converse, a trustee of the proposed Permanent Orchestra, suggested
that the Women’s Committee for that orchestra should co-operate. This
plan did not succeed, however, and the idea of a Friday afternoon
series was abandoned.
[9] At this time Willow Grove Park, fifteen miles out of Philadelphia,
was the foremost summer musical center.
[Illustration: © The Phillips Studio
ALEXANDER VAN RENSSELAER, ESQ.]
Finally, after much effort, terms were agreed to by which Mr. Scheel
consented to remain in Philadelphia. He was to conduct three different
enterprises during the winter:
1. The Philadelphia Symphony Society, a
well-established amateur orchestra organization (with
weekly rehearsals and three public performances).
2. The Opera Class (an amateur chorus meeting weekly at
Mrs. Alexander J. Cassatt’s house).
3. A week’s series of Popular Concerts during October
at the National Export Exposition at the Commercial
Museum in West Philadelphia.
He was to receive $1000 from each of these associations. He accepted
with the provision that at the end of the season he should be given the
opportunity to conduct two concerts with an orchestra of professional
musicians.
The winter passed and in the early spring Scheel asked to have this
part of the contract fulfilled. Like the ogre in the fairy tale, who
always claims the beautiful princess, it must have seemed to the men,
who had no idea how they were going to keep that promise. Scheel had
given this as his only reason for staying, for he wanted a chance to
show what he could do with professionals. However, having given their
word, a committee was formed consisting of Mr. John H. Ingham, Mr.
Oliver Boyce Judson, Dr. Edward I. Keffer, Mr. Edward G. McCollin
and Mr. Oscar A. Knipe. Scheel selected his players by visiting the
theatres and making notes each evening about the various musicians in
the orchestras. At this point his task was easy compared to that of the
Executive Committee who were responsible for the financial side of the
concerts. Various benefits were contemplated and finally a decision was
arrived at through the presence in Philadelphia of Lillie Langtry, who
was acting for the benefit of the families of soldiers fallen in the
Boer War. Why should not this undertaking be a patriotic one likewise?
Why not assist the families of soldiers and sailors fallen and disabled
in the Philippines? No sooner said than done. Mrs. Alexander J. Cassatt
had a son in the army, and was speedily interested in a plan to raise
money for the families of our own men in the service. She embraced
the idea with enthusiasm, formed a committee of prominent women and
carried the concerts through brilliantly and efficiently. The Executive
Committee managed the musical end, and Mrs. Cassatt’s Committee of
Women advertised the concerts, procured the support of musical and
social organizations, secured the patronesses, and filled the house.
The tickets were sold at auction with much profit.
The concerts were advertised as follows:
“Our Soldiers and Sailors.
Academy of Music
Thursday, March 29th and April 5th, 3.30 P. M.
Two Orchestral Concerts under the direction of
Mr. Fritz Scheel will be given for the Relief of
the Families of the Nation’s Heroes killed in the
Philippines.
Soloist for the first concert:
M. VLADIMIR DEPACHMANN
PROGRAMME
WEBER Overture “Euryanthe”
GOLDMARK Symphony, “A Rustic Wedding”
CHOPIN Concerto in F minor
SCHUMANN “Abendlied”
BIZET Scherzo, Suite Roma
LISZT Rhapsodie Ongroise, No. 2
Soloist for second concert:
M. EDOUARD DE RESZKE
Contributions to the Cause may be sent to Mrs. F. A.
Packard, Treasurer, No. 110 S. Eighteenth Street.“
“Our Soldiers and Sailors
On April 5th, at 3.30 P. M.
Second Concert by an Orchestra of Eighty
Philadelphia Musicians
Under the Direction of MR. FRITZ SCHEEL
For the Relief of the Families of men killed in the Philippines.
MR. EDOUARD DE RESZKE, the famous Basso, will sing.”
PROGRAMME
BEETHOVEN Symphony “Eroica”
MEYERBEER Aria, “O Jours Heureux” (from L’Étoile du Nord)
WAGNER Vorspiel, “Lohengrin”
HOFMANN “Im Sonnenschein”
VERDI Aria, “Infelice” (Ernani)
LISZT First Hungarian Rhapsody
“THE PHILIPPINE CONCERTS[10]
MARCH 29, 1900-APRIL 5
UNDER THE PATRONAGE OF
800 PHILADELPHIA MEN AND WOMEN
[10] Programme of March 27th and 28th, 1925.
“Philadelphians generally do not know that The
Philadelphia Orchestra first appeared in this City
of Brotherly Love in disguise, a patriotic one, but
none-the-less, a disguise. Had it tried to stalk boldly
through the city gates, it would have been riddled by
the guns of a critical public which disagreed at every
point when a permanent orchestra was discussed.
“The fact was not made public that these concerts for
the benefit of the families of American soldiers and
sailors fallen in the Philippines were a preliminary
experiment, but on November 16, 1900, as a result of
their success, the first concert of The Philadelphia
Orchestra took place.
“The Committee of Women which launched the concerts,
hardly realized that through their efforts a new era in
Philadelphia music was being inaugurated. The Executive
Committee of men behind the project had such an end in
view, but they preferred to remain unknown.
“The concerts were devoted to a popular benefit. They
were also the means of carrying out with Fritz Scheel,
leader of the amateur Philadelphia Symphony Society, a
contract that he should have a public appearance with
an orchestra of professional musicians.
“The concerts were brilliantly successful and realized
a net profit of $10,252.73. The musicians played at
less than Union rates for thirty-six rehearsals and two
performances, and Mr. Scheel gave his services.
“The attitude of the public during these years is
revealed in the fact that it seemed natural for a group
of women to sponsor concerts for war heroes; but in
1904 it seemed an unheard of innovation that women
should organize to further the interests of a permanent
orchestra.
“Many people who prize The Philadelphia Orchestra
as the greatest treasure we possess, remember only
too well the days when Philadelphia was dependent on
visiting orchestras. Young people today have the good
fortune to live in a town where an orchestra of the
highest artistic standards under a leader of world-wide
reputation is now firmly established. Music lovers and
citizens generally, are grateful to the men and women
of courage, who gave Fritz Scheel his first opportunity
in Philadelphia.”
“COMMITTEE OF WOMEN
Mrs. Alexander J. Cassatt, Chairman; Miss Harriet Buchanan, Secretary;
Mrs. Frederick A. Packard, Treasurer; Mrs. C. William Bergner, Mrs.
Henry C. Boyer, Mrs. Edward Coles, Mrs. Joseph G. Darlington, Mrs.
Frank H. Rosengarten, Mrs. Barclay H. Warburton, Mrs. Charles S.
Whelen, Mrs. J. B. Sands, wife of Captain Sands, of the Naval Home; and
Miss Meade, daughter of the late General George Gordon Meade.
“EXECUTIVE COMMITTEE
MR. JOHN H. INGHAM, of the Melody Club
MR. OLIVER BOYCE JUDSON, of the Operatic Society
MR. EDWARD I. KEFFER, of the Philadelphia Symphony Society
MR. EDWARD G. MCCOLLIN, of the Orpheus Club
MR. OSCAR A. KNIPE
The _Philadelphia Times_, March 30, 1900:
“When Johnny comes marching home again from the
Philippines he will find that the girl he left behind
him has had a place in the hearts of Philadelphia
matrons at least. That interest was evidenced in the
first of the two widely heralded concerts in the
soldiers’ and sailors’ aid, which took place at the
Academy yesterday afternoon. Society turned out bravely
and filled the whole of the auditorium and the balcony,
but there, unfortunately, it stopped, and the upper
part of the house, though the labors of the ladies
interested have been unflagging and strenuous, had
plenty of room.
“Pacing up and down the corridors were privates from
the Arsenal and tars from the Navy Yard. In braided
dress uniforms of brilliant blue, shining helmets and
buttons that glistened like molten gold, the soldiers
stalked to and fro, their belted waists giving pointers
to the masculine followers of the latest fad, and their
shoulders putting to shame the well cottoned ones of
the ‘swells’ standing near. The tars in their flapping
breeches and spreading collars, were a picturesque
element among so many landsmen, and they, too, sold
programmes, and made good salesmen. On the stage guns
were stacked at the sides and colors dipped from the
stacks.”
It is well to reiterate here that the Philadelphia Orchestra is not and
never was a continuation of the amateur Philadelphia Symphony Society.
Only one member of that organization played at the Philippine Concerts.
These concerts were so successful and so warmly received, that steps
were taken to organize a committee to continue concerts by Philadelphia
musicians. Later in the spring of 1900, a meeting was called in the
Orpheus Club Rooms by Dr. Richard J. Dunglison, President of the
Musical Fund Society. Officers of various musical organizations,
representatives of the press and prominent men in civic affairs were
present. A plan for organization was discussed and the necessity for
a Guarantee Fund was emphasized. The same committee of gentlemen
was appointed, with the addition of Mr. John C. Sims, as Treasurer.
Within four weeks of the second Philippine concert, the first circular
announcing the plan for forming a Philadelphia Orchestra was mailed by
this Committee:
“A PLAN TO DEVELOP THE ORCHESTRAL
RESOURCES OF PHILADELPHIA
“The plan briefly outlined herein is addressed to all
those people who are interested in good music and have
at heart a desire to propagate musical culture in
Philadelphia.
“Much interest has been aroused by the successful
result attained in the symphony concerts recently given
for the benefit of the sufferers through the Philippine
War. It is thought that these concerts proved the
availability or many of our resident players, and that
the experiment might well be followed by a series of
concerts during the season of 1900-1901, conducted upon
the same general plan.
“The project of a permanent Philadelphia Orchestra is
at present not sufficiently advanced to permit of the
hope that such a body can be organized in time to be
heard next season; therefore, the series of concerts
herein proposed will not conflict with, but will
further that movement, because it will provide the
resident players with a season’s training in symphonic
work and thus enable them better to fill positions
in the permanent orchestra when it shall need their
services.
“The proposed plan embraces a series of about six
evening and possibly two afternoon concerts, to be
given in the Academy of Music, at customary concert
prices. It has been ascertained that each concert with
its rehearsals will cost about $2000, an expense that
will be covered by a sale of two-thirds of the house.
“Hitherto it has been impracticable, when concerts have
been given by local orchestral players, to arrange for
a sufficient number of rehearsals. As a rule it has
been impossible to obtain more than a single rehearsal.
The present scheme contemplates at least five or six
rehearsals for each concert.
“Mr. Scheel’s reputation abroad, where he was a
colleague of von Bülow, Brahms, Joachim, Sarasate,
D’Albert and Wilhelmj, and conductor of orchestras in
Schwerin, Chemnitz and Hamburg, was a guarantee of what
was to have been expected of him here. The professional
musicians of Philadelphia are virtually unanimous in
expressing hearty admiration for his rare ability as
a leader; they acknowledge that his work among them
this winter has been a real stimulus to the advancement
of their art, and they therefore desire to secure the
advantage of his services next season.
“In order to insure the financial success of the
proposed concerts, it has been deemed advisable to
raise a guarantors’ fund of at least $10,000. No
payment of money is asked for at the present time; but
all who are willing to become guarantors are requested
to send in their names and addresses to the Secretary
of the Committee, Mr. John H. Ingham, 505 Chestnut
Street, stating the amount of their subscription,
which, however, shall not be binding until the total
sum of at least $10,000 shall be reached.
“As the Committee wishes particularly to obtain a large
number of subscribers to the fund, it will be glad to
accept contributions of any amount not less than five
dollars.
* * * * *
“Committee:
HENRY WHELEN, JR.
JOHN C. SIMS
EDWARD G. MCCOLLIN
OSCAR A. KNIPE
DR. EDWARD I. KEFFER
OLIVER BOYCE JUDSON
April 30, 1900 JOHN H. INGHAM”
A Guarantee Fund of $15,000 was raised from one hundred and twenty
people[11], a difficult task in those days, for an untried plan; and six
evening concerts were given during the winter of 1900-1901.
The Committee invited four thousand women to be patronesses, and issued
many circulars. It was the personal work, however, that accomplished
the result in 1900, and that has continued to accomplish results
during twenty-five years. Guarantors and patronesses were accorded the
privilege of securing seats, for which there was no demand, in advance.
PHILADELPHIA ORCHESTRA[12]
MR. FRITZ SCHEEL, _Conductor_
_First Concert_
Friday, November 16th, 1900, at 8.15 P. M.
PROGRAMME
CARL GOLDMARK Overture “In Spring,” Op. 36
LUDWIG VON BEETHOVEN Symphony No. 5, C minor, Op. 67
I. Allegro con brio 2-4
II. Andante con moto 3-8
III. Allegro 3-4
IV. Allegro 4-4
PETER ILITSCH TSCHAIKOWSKY Concerto for Pianoforte No. 1,
B flat minor, Op. 23
I. Allegro non troppo e molto maestoso 3-4
II. Andantino simplice 6-8
III. Allegro con fuoco 3-4
KARL MARIA VON WEBER “Invitation to the Dance,” Op. 65
Orchestration by Felix Weingartner
RICHARD WAGNER Entry of the Gods in “Walhalla,”
from “Das Rheingold.”
Soloist
MR. OSSIP GABRILOWITSCH
This concert was herald as a musical and social event and the
newspapers were highly commendatory and friendly in tone.
[11] See Appendix D.
[12] For remaining programmes see Appendix J.
“ORCHESTRA CONCERTS OPEN AUSPICIOUSLY
“PHILADELPHIA GETTING IN LINE WITH BOSTON, CHICAGO
AND NEW YORK IN HAVING HOME ORGANIZATION.
“OSSIP GABRILOWITSCH,
“The Russian pianist made his Philadelphia début last night.
“The series of concerts by the Philadelphia Orchestra opened under
notably happy auspices in the Academy of Music last evening. The
musical and social interests engaged constituted the occasion an
exceptional one.
“From the results evinced in the performance of the programme
under Mr. Scheel’s direction it must be regarded as well as marking a
distinct period in the musical advancement of the city. Not the least
interesting evidences of general sympathy with the movement to
place Philadelphia in line with Boston, Chicago, and other cities in
the possession of an established orchestra was the fact that Mr.
William Stoll, Jr., and Mr. Henry Gordon Thunder, both identified
with the endeavor to advance this branch of work in the past, figure
in the present movement, the one as a violinist in the organization,
the other as a guarantor.
“The Philadelphia Orchestra, as it exists, is, with slight
exception, what its name purports, engaging practically all the
best orchestral performers in the city. A portion of this material
was under disadvantage, both as to individual training and the
fact that a few men, fulfilling the demands of an orchestra in a
theatre, are mainly required to play as loud as possible, with
corresponding absence of any approach to phrasing.
“Considering these facts and in view of the works accomplished in
last evening’s programme, the results must be regarded as little
short of notable, not only as to the outcome of a training by a man
of exceptional thoroughness in this direction, but in the aspect of
an enthusiastic response on the part of the performers. It is only
in case of entire sympathy, between those engaged that an outcome
corresponding with that demonstrated in the first programme can be
attained.”
“THE ORCHESTRA AT THE ACADEMY
“PHILADELPHIA’S NEW ORGANIZATION UNDER HERR SCHEEL
MAKES ITS DÉBUT
“GABRILOWITSCH THE SOLOIST
“The Young Russian Heard in Tschaikowsky’s Concerto in B. Flat
Minor. A Brilliant Audience Greets Orchestra and Enjoys an
Interesting Program.
“With unequal forces at his command in the orchestral choirs, Herr
Fritz Scheel, by the sheer effect of personality, was able to carry
artistic conviction home to the brilliant audience at the Academy
of Music last evening, when the Philadelphia Orchestra made its
first appeal. By wise choice of program, by the happy selection
of a soloist and by the spirit which pervaded the interpretation
of the numbers read, the leader made a deep impression and the
orchestra, when at its best achieved a decided success. It has
in it the promise of a new era musically, and its work of
last evening is an earnest of better things to come. Certain
readjustments are inevitable. The strings show up finely. There is
high finish and excellent tonal quality in all they do. They are,
indeed, the backbone of the orchestra. The brasses, on the whole,
met the demands of the leader and music, but the horns need as keen
a concern for time as for tone, and while these choirs in no wise
seriously interfered with an adequate realization of the beauty of
the work so interpreted, the same cannot be said for the woodwind
which was not up to the standard in several particulars, though the
bassoons were notably efficient and in fine trim.
“HERR SCHEEL’S GOOD WORK
“All this was, however, to be expected. Every one present who is in
and of the new movement, which started off with such flying colors,
knew the limitations and accepted them in the right spirit. With
this said and understood one can speak enthusiastically of the
really amazing results obtained by Herr Scheel in so short a time.
There were moments when the orchestra played with a brilliancy
and dash and with a finish that was completely satisfying. Herr
Scheel’s dynamic range is extensive, his palette of color is rich
and his contrasts are striking and yet fully in the spirit of the
work. The orchestra was particularly effective in the Goldmark
overture, in the “Entry of the gods into Walhalla” and in the Weber
music. Weingartner, instead of paraphrasing the famous “Invitation
to the Dance” rondo for the ballet, as Berlioz did, has written
what is really a brilliant open-air concert version which taxes
the full orchestra, and which Herr Scheel carried out in splendid
spirit, giving a chance for all the choirs to do their best, the
harp coming in for some crisp work that was very brilliantly done.
All these three highly colored numbers were set off against the
more trying classical demands of the Fifth Symphony. It the reading
it received revealed the individual weaknesses of the orchestra
as now made up, it was at least a revelation of the great advance
the band has made. There was decision and emphasis and grace in
phrasing and a keen discrimination in the shading. If Herr Scheel
had his view of the traditional tempi the final effect was to
reveal the work in its noble proportions and to make every one feel
the true import of this great masterpiece.
“AUDIENCE ENTHUSIASTIC
* * * * *
“The enthusiasm of the audience was most unrestrained and generous.
It was marked at the close of the symphony and fairly overwhelmed
Gabrilowitsch, and this, with the splendid turnout from
top to bottom, was a tribute to the committee and the guarantors
who made the concert possible.”
The first venture having been successfully concluded, business matters
were attended to by issuing the first call of the Philadelphia
Orchestra to the guarantors, combined with which was the announcement
of the formation of The Philadelphia Orchestra Association, on May
17th, 1901, with the following officers and directors:
_President_
ALEXANDER VAN RENSSELAER
_Vice-president_
F. T. SULLY DARLEY
_Secretary_
JOHN H. INGHAM
_Treasurer_
HENRY WHELEN, JR.
_Board of Directors_
A. J. CASSATT C. HARTMAN KUHN
JOHN H. CONVERSE EDWARD G. MCCOLLIN
ECKLEY B. COXE, JR. THOMAS MCKEAN, JR.
F. T. SULLY DARLEY CLEMENT B. NEWBOLD
WILLIAM L. ELKINS JAMES W. PAUL, JR.
MISS MARY K. GIBSON MRS. F. H. ROSENGARTEN
CLEMENT A. GRISCOM EDGAR SCOTT
MRS. A. C. HARRISON SIMON A. STERN
JOHN H. INGHAM MISS ANNE THOMPSON
OLIVER B. JUDSON HENRY WHELEN, JR.
EDWARD I. KEFFER A. VAN RENSSELAER
OSCAR A. KNIPE P. A. B. WIDENER
_Executive Committee_
JOHN H. INGHAM EDWARD G. MCCOLLIN
OLIVER B. JUDSON A. VAN RENSSELAER
EDWARD I. KEFFER HENRY WHELEN, JR.
OSCAR A. KNIPE
Who was the conductor of this new orchestra, who until eighteen months
before was unknown in Philadelphia?
Fritz Scheel was born in Lübeck, Germany, in 1852. His father and
grandfather were orchestral conductors and his mother was a highly
talented singer, from whom he inherited his remarkable memory and fine
ear.
Fritz was the oldest of a large family and worked for his own and his
family’s support from an early age. He received his education from the
city, in return for playing in orchestras and at concerts and operas.
As a boy he often had to fill sudden vacancies, and he was also able to
play the horn, trumpet, trombone and tuba. He was the principal teacher
of his four brothers, all musicians. As his father was a practical
musician, Scheel had had from his childhood an intimate experience
with the details of orchestral instruments. As a boy he conducted an
orchestra of his own formation, giving subscription concerts in nearby
towns which were well attended. At fifteen he appeared as a violin
soloist.
Scheel’s first appearance as a conductor was when he was the youthful
trumpeter in the town band of Chemnitz. Like other municipal bands of
Germany, this one furnished the music for all occasions and happened
to be playing for the circus. The leader was taken ill, and one of the
men was selected as a substitute. When the ring master heard of it, he
said, “No, let that boy conduct. It is he who watches the horses’ feet,
when they dance, and it is he who sets the time for the music.” Scheel
became the leader of the band, and later on was employed by the town as
instructor of all the band and orchestral instruments. This experience
gave him an expert knowledge of technique, which proved valuable later.
In an interview given during the first season here, Scheel described
conducting his first opera, shortly after receiving a life appointment
as first violin in the Court Orchestra at Schwerin.
“Do I recall the first performance that I conducted?”
said Mr. Scheel. “Yes, and it was an opera. Meyerbeer’s
‘Robert Le Diable.’ I was exactly nineteen and a half
years old, and a lost orchestra score led to it. I
was the concertmaster then in the Chemnitz Orchestra,
which in summer played for the opera performances
in Bremerhafen at the Court Theatre. The opera of
‘Robert Le Diable’ was announced, and when the morning
of the first rehearsal came it was discovered that
the entire second act of the conductor’s score had
been lost. Herr Pohl, the conductor, a young man of
thirty-three, refused to go on with the opera. It was
too late to think of getting another score in time
for the rehearsals necessary for the performance. The
only way out of it seemed to be the withdrawal of the
opera. Some of the singers, who had noticed the cue
for their phrases that I had given them on the violin,
asked whether I would not conduct. ‘If the conductor
invites me I will,’ I said. When this was repeated to
the conductor he promptly gave the invitation, and it
was a pressing one, for they wished to give the opera
and keep faith with the public. That entire second act
I had to conduct from the first violin part, memory
supplying the rest. The performance went without a
break. That settled my career. Three days later I
conducted Gounod’s ‘Faust,’ and immediately afterward
‘L’Africaine,’ of Meyerbeer, Herr Pohl himself
supplying the harp part on a piano. In the years that
followed many were the performances that I conducted,
including the entire ‘Niebelungen Ring’ of Wagner. But
I never hear a fragment of Meyerbeer’s ‘Robert Le Diable’
without smiling to myself at the recollection of the time
when I conducted the second act from the first violin part.”
After nine years at Schwerin, Scheel went to Chemnitz as Kappelmeister,
winning the appointment over thirty-five competitors, as successor
to Hans Sitt. There he also played weekly solos and conducted for
the most famous virtuosi, such as Hans von Bülow, Sarasate, Wilhelmj
and Joachim. He once prepared the orchestra for a Beethoven Concert
under Von Bülow’s direction in an hour and a half, the programme being
the Leonore Overture No. 3, the Eroica Symphony and a Concerto. The
Chemnitz Orchestra was often called to different cities in Saxony,
such as Dresden, Leipzig, etc., to play before crowded houses. Scheel
was also elected leader of the Sitt Chor Gesangverein, a Chorus of
400 mixed voices. With this Chorus and the excellent City Orchestra
he obtained marvelous results, and produced among other great works,
Bach’s “Mattheus Passion” and “Trauer Ode”; Beethoven’s Ninth Symphony
and his Missa Solemnis; Schumann’s “Faust Scenes,” Liszt’s “Christus”
and Händel’s “Samson.” The Choral works of Mendelssohn, Schumann, and
Gade were also performed, as well as many small choruses. In 1885
a Music Festival lasting three days was given to celebrate the two
hundredth anniversary of Bach’s birth, and he kept in the vanguard of
musical events in Germany.
During this period, Scheel spent four summers in conducting opera at
a Russian watering place. Four different operas were given each week,
and the repertoire included: “Tannhäuser,” “Lohengrin,” “The Flying
Dutchman,” “Rienzi,” “Euryanthe,” “Der Freischütz,” “Faust,” the
standard Italian operas of Verdi, Rossini, etc., for which he also
trained the chorus.
After nine years at Chemnitz, Scheel was called by von Bülow to
Hamburg to drill the orchestra for concerts which he and the pianist
alternated in conducting. He was a devoted admirer of von Bülow and
the great pianist showed his appreciation in many ways. Years later,
after von Bülow had retired, he offered to play at a concert given in
honor of Scheel. “I do it once more,” he said, “as gratitude for a true
colleague and friend.” He played the piano Concerto in E flat major,
by Beethoven, and the Hungarian Fantasie, dedicated to him by his
father-in-law, Franz Liszt. This was one year before his death and was
his last public appearance as a pianist. Scheel also knew well Brahms,
Tschaikowsky and Rubinstein.
In 1892 Dr. Ziegfeld engaged Scheel to go to Chicago the next year and
give historical concerts at the World’s Fair. The enterprise failed. He
then took an orchestra to the Mid-winter Fair in San Francisco, under
the name of the “Vienna Prater Orchestra,” in the winter of 1893. Later
he gave daily concerts, and, during two seasons, cycles of Afternoon
Symphony Concerts. For a season he was engaged by Oscar Hammerstein
and then he became the first leader of the San Francisco Orchestra.
He introduced the great classical and modern works to the people of
that city, who still speak admiringly of him and remember his success.
After five years in San Francisco, Scheel came to Philadelphia, and was
discovered at Woodside Park, conducting his “New York Orchestra.” The
newspaper criticisms were most flattering.
The following pen picture of Mr. Scheel has been given by a man who
played under his leadership and saw him under many conditions.
“A tall man, robust, large-framed, something more than
spare, a little less than stout; a back and broad
shoulders in strikingly good proportion, and a head
poised upon them in easy dignity. The large hands
are full of character, delicately formed, refined,
noticeably plastic and adaptable.
“A dark-brown military moustache and a prominent
nose stand out clearly under a typical, high, German
forehead and coiffure.
“In his brown eyes an infinite variety of expressions
are lurking. From humorous twinkles that are
irresistible, to flashes of fire and scorn that never
miss the mark, they assume new and rapidly fleeting
phases with every phase of music or speech.”
Many stories are told of Fritz Scheel’s early efforts with amateurs
and with a group of musicians, strange to him, for in those days
the requirements for orchestral players were not the present ones,
and there were many obstacles to overcome. His ear was absolutely
correct, and he often told the players when tuning was needed. He was
on occasion obliged to use mechanical strategies to insure the proper
intonation. A close friend of his tells the following anecdotes:
“At the first rehearsal for the Philippine concerts,
one of the numbers contained a difficult trumpet part,
which seemed impossible for the first trumpet player,
to play. Scheel postponed the rehearsal of this number
until the next day, to allow him time to practice, but
next day he could do no better. So the part was given
to the second trumpet very much to the humiliation
of the first player. But though very stern, Scheel
was also very sympathetic with his musicians, and he
realized what the feelings of the man must be. He
therefore addressed the orchestra, in his usual formal
way, and called for the attention of the players. Then
turning to the first trumpet player, he remarked:
‘I have been listening to your playing for the last
two days, and I feel sure it is not your fault that
you could not play that one part in the composition.
I notice that whenever you play a note in which the
middle valve of your instrument is used, you have no
difficulty in playing the part which you were unable
to do before.’ This incident was told by the player,
who took his trumpet to his instrument-maker and had
one-sixteenth of an inch taken off the middle valve;
with the result that he could play parts that he never
could play before. He then remarked, ‘It matters not
what happens between Scheel and me; I will always take
off my hat to him, and say ‘Master’.’
“On another occasion the tympanum was not in tune.
Scheel stopped the orchestra and asked the tympanist to
tune his instrument. When the man started to turn the
keys, Scheel said, ‘No, it is not on that side; it is
on the right-hand side of the drum,’ showing that he,
at the distance of a great many feet, could tell that
the false vibrations were coming from the right side of
the drum.
“At one of the rehearsals the harp player had trouble
with her part. Scheel said, ‘Skip that one chord and
you will only have to change your pedals twice in place
of five times.’
“He also had the peculiar faculty of being able to
get the effect of instruments that were not in the
orchestra by the combination of other instruments that
would give the same tone. The writer remembers very
distinctly Scheel’s using the French horn and the
’cello together to play the third bassoon part.”
This brief account of the first leader of the Philadelphia Orchestra
explains why the Executive Committee pinned its faith to Fritz Scheel.
As the beginnings of the orchestra are recorded, how delightful it is
to music lovers to know that the Musical Fund Society, itself a bold
pioneer eighty years before, sponsored this most daring enterprise of
our musical history. Dr. Dunglison, its president, presiding in the
Orpheus Rooms on a spring afternoon in 1900, gave the blessing of the
first Philadelphia Orchestra to the present Philadelphia Orchestra.
Like Brünnhilde, herself shorn of godly powers, sending forth her hero
to do great deeds, so the Musical Fund Society, no longer composed of
active musicians, sent forth the young orchestra to conquer the musical
world. No magic rings, or swords, or helmets were given to aid it in
surmounting difficulties. The only magic formulas known to all the
people interested were hard work and an invincible spirit.
[Illustration: © Allen Drew Cook FRITZ SCHEEL]
CHAPTER III
EARLY YEARS
With the first steps safely passed and the Philadelphia Orchestra
organized, the period of financial difficulty began. In 1901-1902
fourteen pairs of concerts in the regular series, and a total of
fifty-two concerts for the season were given. The deficit jumped from
$14,000 to $72,000. Everything was quadrupled except the audience. That
remained almost stationary. Twenty years after Theodore Thomas’s time
Philadelphia was still not ready to attend symphony concerts or support
an orchestra at any general sacrifice to its own purse. The general
attitude was that such a project must be supported by a few persons who
had time and money to spend. Indifference was widespread.
Scheel early saw the need of traveling to make the orchestra known,
especially in New York and Boston, as he realized that the saying about
the prophet held good for orchestras as well as for persons. He was
faced with the fact that the Association could not see its way to send
the orchestra to large cities. Appearances out-of-town were undertaken
as early as 1901-02, in cities in Pennsylvania and New Jersey. During
the next season New York, Baltimore and Washington were visited.
He well knew, however, that his work with soloists would bring
the orchestra fame, and much effort was expended in preparing
accompaniments. A case in point was the time that Ysaye was the soloist
and was playing a Bach Concerto. At the end the violinist stood like
a statue until the orchestra had finished. When Scheel went off the
stage, Ysaye kissed him on both cheeks and said that the accompaniment
was the finest he had ever had. Shortly after this a member of the
Boston Orchestra told one of our violinists that Ysaye had been booked
to play the Bach Concerto with his orchestra; but after starting it he
stopped the rehearsal and said: “Not after the Philadelphia Orchestra
will I play the Bach Concerto,” and another concerto was substituted.
With artistic ambitions ever growing, it was discovered that some of
the needed instruments were not to be found in the city and in addition
to this a number of players would not accept the terms of the contract.
The situation became acute, so in the summer of 1901, and again in
1902, the conductor was commissioned to seek musicians in Europe.
When it became evident that the Philadelphia Orchestra was going to
be permanent, application was made in 1902 for a Charter[13] for the
Association, which was granted on January 5th, 1903, to the following
persons, only nine of whom are now living:
GEORGE BURNHAM, JR. EDWARD G. MCCOLLIN
A. J. CASSATT THOMAS MCKEAN
JOHN H. CONVERSE CLEMENT B. NEWBOLD
ECKLEY B. COXE, JR. JAMES W. PAUL, JR.
WILLIAM L. ELKINS MRS. FRANK H. ROSENGARTEN
MARY K. GIBSON RICHARD ROSSMÄSSLER
CLEMENT A. GRISCOM EDGAR SCOTT
MRS. ALFRED C. HARRISON SIMON A. STERN
JOHN H. INGHAM ANNE THOMSON
OLIVER B. JUDSON ALEXANDER VAN RENSSELAER
EDWARD I. KEFFER HENRY WHELEN, JR.
C. HARTMAN KUHN P. A. B. WIDENER
[13] For Charter see Appendix A.
From the beginning Scheel inaugurated the polity continued ever
since, of putting the orchestra in the lead artistically. “First,”
performances began almost immediately. Three years after the formation
of the orchestra he gave the first complete Beethoven Cycle ever
presented in Philadelphia. Five successive concerts were devoted
to this, ending with the Ninth Symphony, in which the Mendelssohn
Club participated. This event was preceded by a series of five Young
People’s Educational Concerts with lectures, by William J. Henderson,
William F. Apthorp, Louis C. Elson, Hugh A. Clarke and Henry E.
Krehbiel, whose subject was “Beethoven.” Other lectures were given on
the same subject on the days of the concerts.
PROGRAMMES OF THE BEETHOVEN CYCLE
First Concert, Friday, March 20th, 1903
1. Overture “Egmont,” E major, Opus 84
2. Symphony No. 8 F major, Opus 93
3. Symphony No. 3 E flat major (Eroica), Opus 55
Second Concert, Saturday, March 21st, 1903
1. Overture “Coriolanus,” C minor, Opus 62
2. Symphony No. 1 C major, Opus 21
3. Symphony No. 6 F major (Pastorale), Opus 68
Preceding lecture by HUGH A. CLARKE, MUS. DOC.,
at 3 o’clock, Saturday afternoon, at the Broad Street
Conservatory, 1329 South Broad Street,
GILBERT R. COMBS, _Director_
Third Concert, Tuesday, March 24th, 1903
1. Overture “Fidelio,” C major, Opus 72
2. Symphony No. 2 D major, Opus 36
3. Symphony No. 5 C minor, Opus 67
Preceding lecture by PHILIP H. GOEPP, at
3 o’clock, Tuesday afternoon, at the Assembly Hall
of the Sternberg School of Music, 10 South 18th Street
Fourth Concert, Wednesday, March 25th, 1903
1. Overture “Leonore” No. 2, C major, Opus 72
2. Symphony No. 4 B flat major, Opus 60
3. Symphony No. 7 A major, Opus 92
Preceding lecture by HUGH A. CLARKE, MUS. DOC.,
at 3 o’clock, Wednesday afternoon,
at the Broad Street Conservatory.
Fifth Concert, Thursday, March 26th, 1903
1. Overture “Leonore” No. 3, C major, Opus 72
2. Concerto for Piano and Orchestra E flat, Opus 73
Constantin von Sternberg
3. Symphony No. 9 D minor, Opus 125
Preceding lecture by PHILIP H. GOEPP, at
3 o’clock, Thursday afternoon,
at the Sternberg School of Music
* * * * *
_Musical Courier_, New York, March 25th, 1903:
“The cycle was to crown the third season of the
Philadelphia Orchestra’s successful existence, and for
many months, the leader, the orchestra, the manager
and the committees have been busy in the endeavor to
make these five concerts matchless in performance and
memorable in historical significance.
“The cycle was projected as an art undertaking pure
and simple. Profit was a secondary consideration.
Flamboyant advertisement was eschewed. There were
announcements dignified and to the point. The prices
were put within the reach of the student and the poor
lover of music. Society was asked to patronize at
the box office, but not on the programme. It is thus
apparent that never in the musical life of America
has there been conceived a project more ideal, more
artistic and more utilitarian than this Beethoven Cycle
in the City of Brotherly Love. Fritz Scheel is not
overshadowed even by the great Joseph Joachim, who
together with three famous fellow musicians, proposes
next summer to play all of Beethoven’s string quartets
at a musical festival in Germany.”
* * * * *
“Beethoven’s ‘Coriolanus’ overture was played by the
New York Philharmonic Orchestra this season. The
Filharmonic Fathers should have been provided with
free transportation to Philadelphia in order to learn
how one conductor can mar and another make the same
composition. This Philadelphia Coriolanus was a hero
indeed, who walked with erect head and proud chest.
There was no rheumatism in his knees and there was no
crick in his back. When his mother pleaded she spoke in
accents human and loving. Her voice was softly attuned.
It sang a song that Coriolanus did well to heed.
Scheel’s graphic characterization made the Philharmonic
performance appear in the memory like almost a
travesty.”
* * * * *
_Musical Courier_, April 1, 1903:
“At the end, when the composer abandons absolute music
and turns to song, Philadelphia’s own distinguished
choral body, the Mendelssohn Club, came to the support
of the musicians, and the beautiful ‘Hymn of Joy’ was
brilliantly sung. As a quartet for the solo part, Mrs.
Marie Kunkel-Zimmerman, Mrs. Osborne, Nicholas Douty
and Mr. Schurig did brilliant work. Altogether the
playing of this Ninth Symphony formed a fitting climax
to this memorable week devoted to the great master’s
own musical history.”
* * * * *
“After the performance of the overture, Scheel was
presented with a floral wreath, lyre and harp, and
John H. Converse on behalf of the Directors of
the orchestra, bestowed upon him a bronze bust of
Beethoven, in well chosen words of compliment and
congratulations.”
Scheel’s one thought was the artistic development of the orchestra.
The story is told of a time when new members of the Board found that
the concerts were being given at a tremendous loss. They at once
criticised the quality of the music, and said, “The programme must be
changed; you are giving too high-class music for the people, and they
won’t stand it.” The Executive Committee therefore decided that Mr.
Scheel should put waltzes on his symphony programmes; and a meeting
was arranged with him. This was in the early days when his English was
less fluent than later, and his understanding of the language less
keen. It took him some minutes to find out the real purpose of the
Committee. Then he expressed himself in a very formal way—somewhat in
this wise: “Gentlemen, I am the head of the department of music of this
association. I am elected by you. You represent the business end of
this association; I stand for art. I cannot allow any one to interfere
with my programme. If my programme and my management of the musical
side of the association does not meet with your approval, you may get
another conductor; but as long as I am conductor of the Philadelphia
Orchestra, waltzes will not be played on a symphony programme.” He
spoke so emphatically that there was no recourse and the subject of
waltzes at the regular series was dropped.
After this decision, however, Mr. Scheel suggested giving popular
concerts. The committee immediately accepted this offer, and plans were
made for five. At the last minute, when the sale at the box office was
found to be exceedingly small, it was considered necessary to call upon
outside organizations to make the concerts a financial success, so they
were given for the benefit of various charitable organizations, such as
the University Hospital, Hahnemann Hospital, St. Christopher’s Hospital
for Children, and others.
The first Popular Benefit Concert for the Men’s Medical Ward of the
University Hospital was put in charge of the “Benevolent Aid Society”
of that ward. This committee, with Mrs. William W. Arnett, as Chairman,
and Mrs. S. Naudain Duer, as Vice-chairman, at ten days’ notice secured
one thousand patronesses and sold out the house, David Bispham having
been secured as soloist, and a popular programme having been announced.
This was the first time people representing a so-called “Opera
Audience” had heard the Orchestra. In 1905 this same Committee secured
the orchestra and gave an afternoon of Music in the Horticultural Hall.
Tea was served at tables, and two programmes, with an intermission,
were given. In each of these events about one thousand dollars each
was cleared by the orchestra and the Men’s Ward. While these efforts
were not entirely consistent with the dignity of a great orchestra,
the financial situation in which the management found itself made such
overtures for money making and advertising advantageous.
_The Press_, November 12th, 1902:
“PHILADELPHIA ORCHESTRA
“FIRST POPULAR CONCERT A GREAT SUCCESS—BISPHAM THE SOLOIST
“The first popular concert of the Philadelphia
Orchestra at the Academy of Music last evening
was a great success, not only from the financial
point of view—the proceeds being for the benefit
of the University Hospital—but from the artistic,
the soloist, Mr. David Bispham, coming in for a
special word by reason of his familiar finesse as an
interpreter of aria and song.”
PROGRAMME
CARL GOLDMARK Overture “In Spring”
WAGNER Pilgrim’s Chorus from “Tannhäuser”
(a) WAGNER “Evening Star” from “Tannhäuser”
(b) VERDI Page Song from “Falstaff”
JOHANN STRAUSS “Danube Maiden’s Waltz”
BRAHMS Hungarian Dances Nos. 1 and 2
BEETHOVEN Overture “Leonore” No. 3, Op. 72
(a) SCHUMANN “The Two Grenadiers”
(b) SCHUBERT “Hark, Hark, the Lark”
GRIEG “Ase’s Death,” “Anitra’s Dance”
(_For String Orchestra_)
(a) GOUNOD “Oh That We Two Were Maying”
(b) H. H. WEIZLER “Killiekrankie”
(c) DAMROSCH “Danny Dever”
LISZT “Hungarian Rhapsody” No. 2
MR. DAVID BISPHAM, Soloist
In the early days rehearsals were held in the banquet room of Musical
Fund Hall, and in the room of the Commercial Museum, through the
courtesy of those organizations. Later Odd Fellows Hall was rented, but
since 1912 the rehearsals have been held at the Academy of Music, by a
special arrangement with the management, which has always co-operated
to the fullest extent with the Association.
THE STRAUSS CONCERTS
During the fourth season of the orchestra’s existence, the Executive
Committee took the bold step of engaging Richard Strauss to appear
with it in Philadelphia. Later, two appearances in Boston with the
Philadelphia Orchestra were added, as it was learned that no guest
conductor was permitted to conduct the Boston Symphony Orchestra.
Strauss’s first American concert was in New York, where the practice of
sending substitutes to rehearsals was common. In the middle of “Don
Juan” the orchestra broke down and they had to stop and begin again.
Therefore, when Dr. Strauss reached Philadelphia, he was prepared for
another such occurrence. He arrived for rehearsal in a perturbed state
of mind, and proceeded brusquely to the conductor’s stand. Mr. Scheel,
however, had spared no pains in preparation for the great event. The
rehearsal was held at Odd Fellows Temple, in a small room, where the
reverberations in the fortissimo passages were tremendous. After simply
bowing to Mr. Scheel, Dr. Strauss began to lead. He had played but a
few measures before he discovered an orchestra thoroughly proficient
and well-rehearsed in his numbers. After playing a few bars he dropped
his arms and allowed the orchestra to play on. There was an entire
change in his manner. He turned to Scheel, and, throwing both arms in
the air, exclaimed, “Famos!” Every few moments he cried, “Wunderschön!”
“Ausgezeichnet!” After making one or two corrections in the parts, he
stopped the rehearsal and became highly enthusiastic over the playing
of the orchestra.
THE PHILADELPHIA ORCHESTRA
FRITZ SCHEEL, _Conductor_
Increased to 100 Performers for these Occasions
DR. RICHARD STRAUSS
Conducting his own Compositions, and
FRAU STRAUSS-DE AHNA
Dramatic Soprano, accompanied by DR. STRAUSS
PROGRAMMES
Friday Afternoon, March 4, 1904
1. FRANZ LISZT A Faust Symphony in Three Pictures
(after Goethe)
I. Faust (Allegro)
II. Gretchen (Andante)
III. Mephistopheles (Scherzo, Finale)
2. RICHARD STRAUSS
Songs with Orchestra:
a. “Das Rosenband”
b. “Liebes-Hymnus”
c. “Morgen”
d. “Cäcilie”
FRAU STRAUSS-DE AHNA
Conducted by the Composer
3. RICHARD STRAUSS “Tod und Verklärung,” Tone Poem, Op. 24
Conducted by the Composer
Saturday Evening, March 5th, 1904
1. JOHANNES BRAHMS Symphony No. 2, D. major, Op. 73
I. Allegro non troppo
II. Adagio non troppo
III. Allegro grazioso (Quasi Andantino)
IV. Allegro con spirito
2. RICHARD STRAUSS
Songs with Orchestra:
Three Mother-Songs
a. “Meinem Kinde”
b. “Muttertändelei”
c. “Wiegenlied”
FRAU STRAUSS-DE AHNA
Conducted by the Composer
3. RICHARD STRAUSS “Till Eulenspiegel and his Merry Pranks,”
Op. 28
Conducted by the Composer
Great preparations were made for this event and much money was spent,
for Strauss not only received a large fee, but much had to be used for
advertising.
PHILADELPHIA INQUIRER, March 5th, 1904:
“RICHARD STRAUSS AT THE ACADEMY
“FIRST APPEARANCE OF THE FAMOUS COMPOSER MADE
YESTERDAY AFTERNOON. HE CONDUCTS A FINE PERFORMANCE
OF HIS OWN
“DEATH AND TRANSFIGURATION,” AND HIS WIFE SINGS
FOUR SONGS
“There was a very large audience at the Academy of
Music yesterday afternoon, when the Philadelphia
Orchestra gave its last Friday afternoon performance
for the current season. The occasion was made notable
by the first appearance in this city of the famous
composer, Richard Strauss, who had arranged to
guide the orchestra through the mazes of the tone
poem entitled, “Death and Transfiguration,” one of
his best and most characteristic works; and it was
rendered additionally interesting and important by the
Philadelphia début of Mme. Strauss-de Ahna, who has
the reputation of being an exceptionally skillful and
sympathetic interpreter of her distinguished husband’s
songs.”
* * * * *
“After his wife had finished her group of songs, and
the enthusiastic and long continued applause which her
work had elicited had died away, Mr. Richard Strauss
returned to the platform to conduct his own “Tod und
Verklaerung.” He is a singularly modest and unobtrusive
looking man, with an appearance more suggestive of a
school teacher than of a musician, and with nothing
about him to betray any large estimate of his own
consequence, but there can be no question as to his
ability as a conductor. That had already been indicated
in the manner he played the accompaniments to his
wife’s singing, but it was conclusively demonstrated by
the way in which he conducted the orchestral feature
of the programme. In its lucidity and balance, in its
delicate sense of proportion; in its wide and pregnant
variations of light and shade; in the splendor of its
climaxes and the salient force with which each detail
was projected and each nuance given its proper value,
his performance of “Death and Transfiguration” has
certainly never been equalled in this city. It was
a very great achievement and the audience rightly
recognized it as such.”
* * * * *
_Philadelphia Ledger_, March 5th, 1904:
“STRAUSS CONCERT A GREAT SUCCESS
“WARM GREETING FOR THE COMPOSER AND HIS WIFE
* * * * *
“Strauss has a very precise beat, ordinarily quiet
and undemonstrative and making very little use of his
left hand; but when he wants a big climax for the
brasses—and he is not afraid of noise—he conducts
with his whole person. The orchestra knew the music
perfectly and was absolutely responsive to every nuance.”
_City and State_, March 10th, 1904:
“The highest point, not only of the winter, but in
a certain sense of all previous musical seasons was
reached last week.
“To have the most eminent musician—we use the
word advisedly in the strictest sense—interpret
his compositions with our own orchestra in two
concerts, certainly marks Philadelphia as one of the
self-dependent musical centers of the world. But it
was much more significant to hear the unstinted praise
which Mr. Strauss bestowed on the orchestra after the
concerts. On Friday, after the exalting performance
of “Death and Transfiguration,” the composer seemed
to forget his audience in the heartiness of his
acknowledgments to the orchestra. Indeed, we see no
impropriety whatever in publishing the fact that Mr.
Strauss was immeasurably better pleased with the
work of our orchestra than with that of the New York
orchestra, which he conducted last Thursday evening.
On Tuesday he declared himself entirely contented
with the single rehearsal for the Friday concert. It
seems almost a pity that we Philadelphians cannot
discover for ourselves this excellence of our own
enterprise—that we must have the most distinguished
musician of the day come from Berlin to tell us that
we have a splendid orchestra, and, it may be added,
splendid conductor. At any rate, the fact ought not
only to be taken to heart by all of us, but we ought
not to hesitate to boast bravely of this advantage of
ours over New York.”
These concerts were repeated in Boston on March 7th and 8th, where
they had been well advertised and both houses sold out. But when the
programmes were announced there was a cry of protest from the critics
and musicians of that city. “Why should Boston have to listen to
Fritz Scheel conduct a symphony on each programme?” The Executive
Committee replied firmly that Boston had refused to have Dr. Strauss
lead the Boston Symphony Orchestra, and now the Philadelphia Orchestra
Association was giving Boston an opportunity to hear Dr. Strauss
conduct as guest conductor of the Philadelphia Orchestra. The programme
was not changed, but Philadelphia had to explain the stand she had
taken even after the orchestra had reached Boston.
Then a real contretemps occurred, trying enough to shake the strongest
nerves. In those days, either moving orchestras was more difficult, or
the Philadelphia Orchestra was still too inexperienced a traveler to do
so efficiently. When the hour for rehearsal in Symphony Hall arrived,
there was no music and there were no instruments. They had been lost
en route. The explanation arrived at after much telegraphing was that
these valuable possessions had been placed in a car too high to pass
under the bridges on the regular route, so it had been re-routed and
would probably not arrive until evening. This was a predicament for a
young orchestra, none too easy in its mind at the prospect of playing
in the city of the Boston Symphony Orchestra; and now deprived of
rehearsal in a hall new to the conductor, as well as to every player.
The day passed, evening came, the audience assembled, and still no
instruments. Twenty minutes after the concert hour, heavy teams were
heard outside. The day was saved, the instruments were hurriedly put
in place, the men went on, and the symphony, Brahms’ No. 2, began. The
Philadelphians present say that the orchestra never played so well,
and at the end of the symphony Scheel was recalled six times. Mr.
Elson, a most friendly critic, who had given a dinner for our conductor
the night before, rushed behind, saying, “Scheel, you have conquered
Boston.” At a reception given for the two conductors after the concert,
Mr. Philip Hale said of Scheel: “He has the right arm of Thomas and the
left arm of Nikisch.”
_Boston Herald_, March 8th, 1904 (Philip Hale):
“The performance of the orchestra under Mr. Scheel was
admirable.... Here is a conductor to be respected for
many qualities, for his mastery of mechanism and for
his genuine and poetic feeling.... There is no doubt
that Mr. Scheel is an accomplished drill master. His
patience and intelligence in rehearsal were shown by
the fine performance of the supple orchestra under his
direction.”
_Boston Evening Transcript_:
“Mr. Scheel is unquestionably a conductor of parts,
whom one would gladly know better.... The wonderful
beauties in the scoring of Liszt’s symphony were all
made the most of, and under the hands of Mr. Scheel the
dull passages became less hopeless than usual. Of the
dramatic points Mr. Scheel took full advantage and with
the advent of the Gretchen theme in the third movement
he made an electrifying effect.”
_Boston Daily Advertiser_ (Louis C. Elson):
“Musical Boston was waked up last night! Those who
braved the elements were rewarded by a concert which
for novelty, for excitement and for educational value
has seldom been equaled even in our symphonic city.
“The Philadelphia Orchestra proved itself to be the
best that has visited Boston since Theodore Thomas
brought his band here.
“Its conductor, Fritz Scheel, is an orchestral genius.
He evidently knows his Brahms thoroughly, and by the
time he had finished the first movement of the D major
symphony, he was clasped to the Bostonian heart. To win
a triumph in Brahms in a city where all our conductors
are Brahms scholars (and our auditors too, for the
matter of that), means very much. Mr. Scheel was
recalled with enthusiasm.... The Philadelphia Orchestra
has proved itself one of the important orchestras of
the United States.”
A delightful anecdote is told about this visit to Boston. After the
success of the evening concert, Dr. Strauss, full of enthusiasm, told
Mr. Scheel that he must play the Domestica Symphony at its first
performance in New York, and they arranged to play it together on the
piano from the orchestral score in Symphony Hall the next morning.
Scheel took the score home with him and the next morning the first
playing of the Domestica in America began, Dr. Strauss taking the
treble and Scheel the bass. In Strauss’s excitement he knocked the
music off the rack just as the fugue started in the bassoons, but
Scheel continued to play. Strauss turned to watch him, but still he
played. The music was replaced and they finished the symphony. Dr.
Strauss then discovered that Scheel had spread the score on a trunk and
studied it all night, only closing the book at daylight.
Shortly after this Dr. Keffer received the following letter:
“Esteemed Doctor Keffer:
“You wish from me a leaf for your Album. I could not
give same a more beautiful contents than to give again
expression of my greatest pleasure over the splendid
performance of the Philadelphia Orchestra, with which I
was so fortunate to obtain such extraordinary successes
in Philadelphia and in Boston.
“But the greatest merit of this success belongs to your
excellent Kapellmeister Fritz Scheel, who had trained
his young and music-loving orchestra so eminently, and
who had prepared so well for my concerts, that I was
able to give the performance, satisfying my strongest
wishes, of my difficult works, after _only one_
repetition. Therefore, to Mr. Scheel, my special
thanks and felicitation to which I join my heartiest
wishes for further flourishing and prospering of the
Philadelphia Orchestra under his energetic guidance.
“With especial esteem and best greetings also from my Wife,
“Yours sincerely devoted,
“(Signed) DR. RICHARD STRAUSS
“New York, the 28th of March, 1904.”
The next event out of the ordinary in which the orchestra took part was
the Special Concert conducted by Felix Weingartner, about a year later.
THE PHILADELPHIA ORCHESTRA
FRITZ SCHEEL, _Conductor_
Special Concert, February 16th, 1905
FELIX WEINGARTNER, _Guest Conductor_
LISZT Symphonic Poem “Triumph and Death of Tasso”
WEINGARTNER Symphony No. 2, E flat major
GLÜCK Overture “Iphigenia”
MOZART Overture “Zauberflöte”
WEBER Overture “Oberon”
He was well received by the audience and by the critics, one of whom
wrote thus:
_Public Ledger_, February 17th, 1905:
“WEINGARTNER CONCERT”
GERMAN COURT CONDUCTOR’S FIRST APPEARANCE HERE
DIRECTS PHILADELPHIA ORCHESTRA IN HIS OWN
“SECOND SYMPHONY” AND OTHER WORKS
“One of the incidental advantages of a permanent
concert orchestra is the opportunity afforded from time
to time to invite distinguished musicians to conduct
performances of their own compositions, or of other
works for which they may have a particular penchant.
We had an interesting example of this last season
in the concerts of the Philadelphia Orchestra at
which Richard Strauss directed that expert band of
executants in his own interpretation of some of his
tone poems. Last evening in the Academy of Music, Felix
Weingartner—less widely known as a composer than as a
chief orchestral authority in Germany at the present
day—similarly conducted the orchestra in a performance
of his latest symphony, with an accompanying programme
of his own choice, representing classic, romantic and
modern music.
“In the remarkable organization of accomplished and
enthusiastic musicians which has grown up within a few
seasons under Fritz Scheel’s masterful direction, the
leader of the Berlin Court Orchestra found a perfect
instrument of expression ready to his hand. It is not,
of course so large an orchestra as that to which he is
accustomed, but there could be no doubt that it played
the music exactly as the conductor wished it played.
While last evening’s concert was thus in one sense a
glorification of the Philadelphia Orchestra and its
distinguished leader, the interest of the occasion was
centered entirely in the guest and what he might have
personally to express.
“Herr Weingartner is a tall, slim man, erect and
precise, but with a winning personality that puts him
at once in harmony both with the orchestra and his
audience. His manner in conducting is usually quiet
and firm, but he employs a great variety of detailed
gesture that is expressive and obtains its results. He
plays everything with a strongly marked accent, with
more care for clarity and precision than for suavity,
and makes very strong and abrupt contrasts with
tremendous climaxes and with sharp periods. There is
not a great deal of attention to grace of phrasing or
delicacy of nuance, but evidently the strong effects he
gets are what he thinks important.”
* * * * *
“Weingartner owes much to Liszt and the Weimar days and
it is natural that he should give a fine performance
of the “Tasso” with which the concert opened. This
symphonic poem is one of so great dignity and beauty as
to deserve more frequent hearing. The illness of Saal,
the first ’cellist, left a note lacking in the beauty
of the performance, though the intrinsic worth of the
music made it a pleasure to hear.”
* * * * *
“After the concert a reception was given to the guest
conductor at the home of Mrs. Spencer Ervin.”
During this season Mr. Scheel presented his first programme of House
Music at a reception held in his honor, and the next winter he gave six
such concerts at the residence of Mrs. Spencer Ervin, as a compliment
to the Women’s Committee. These concerts much resembled the concerts
given by Francis Hopkinson and his friends in the early days of
Philadelphia, but were a complete and delightful novelty in 1905.
The most important evening of this kind was the concert given by Mr.
Scheel and Philadelphia Orchestra musicians for Mrs. Roosevelt and her
guests.
PROGRAMME
House-Music Concert
THE WHITE HOUSE, WASHINGTON, D. C.
Monday Evening, January 29th, 1906
VOLKMANN Serenade No. 3, D minor, Opus 67. Violoncello Solo:
Alfred Saal
BEETHOVEN Rondino for two Oboes, two Clarinets, two Horns
and two Bassoons
MOZART From the Quintet, Opus 108. For Clarinet and String
Quartet
SVENDSEN From the Octet, Opus 3, for four Violins, two Violas
and two Violoncellos
STRAUSS Serenade (E flat major) Opus 7, for two Flutes, two
Oboes, two Clarinets, four Horns, two
Bassoons, and Contra-Bass or Bass Tuba
* * * * *
“DIRECTOR SCHEEL AND THIRTY-TWO MEMBERS OF
PHILADELPHIA ORCHESTRA DELIGHT MR. AND MRS. ROOSEVELT
AND GUESTS AT WHITE HOUSE
CHARM PRESIDENT BY THEIR MUSIC
“Thirty-two members of the Philadelphia Orchestra,
and Director Fritz Scheel, made a big impression on
administrative, diplomatic and social Washington last
Monday evening, when they gave one of their house-music
concerts in the White House, and if you ask anyone of
those thirty-three men what they think of President
Roosevelt you will hear enough compliments to fill
several bulky volumes.
“They had a delightful time, did these Quaker City
symphony players, and so favorably were they received,
that it is probable that they will be heard in the
White House several times before the big orchestra
disbands for the summer and the members scurry away to
all parts of the earth.
“The full orchestra was not taken to the White House.
Instead Director Scheel took his baby orchestra,
consisting of six first violins, four violas, four
cellos, two double basses, two flutes, two oboes, two
clarinets, one bass clarinet, three bassoons and the
horn quartet, and in that party there was but one
American. Most of the players were Germans. The horn
players were Frenchmen.
“President and Mrs. Roosevelt gave a small dinner party
and afterwards a musicale. The dinner guests numbered
about twenty, while over four hundred came for the musicale,
including many of the most prominent men and women
in Washington. It was a gay scene with all the army
and naval officers, and the members of the various
Diplomatic Corps in their gaudy full evening dress. The
only Philadelphians there were Mrs. A. J. Dallas Dixon
and Miss Frances A. Wister.
“The orchestra men drove to the White House at 9.30 P.
M. and at 10.15 they entered the East Room, where all
the guests were assembled. President Roosevelt and Mrs.
Roosevelt sat in the front row and listened with the
gravest attention.
* * * * *
“Then Mr. Scheel played his rat-a-tat-tat baton solo on
his stand, and the thirty-two men broke into harmony as
easily and gracefully as a flock of sea gulls lights
upon the ocean.
“The concert was to last one hour—no more and no
less—and during that hour the audience was treated
to Volkmann, Mozart, Svendsen, Beethoven and Strauss
in solos, quintets, octets, sextets and altogethers.
Alfred Saal was the soloist—he with the long blonde
hair and the marvelous cello. He played as only Saal
can play and his serenade in D minor by Volkmann was
one of the most delightful numbers of the evening.
* * * * *
“Immediately after the closing number, President
Roosevelt expressed the wish to meet the musicians, and
so one by one the men marched up and shook hands with
the greatest American of the day. Each man received
some kind word from the President, especially Director
Scheel, and to the latter he expressed his deepest
thanks and congratulations for having furnished such a
delightful concert.”
* * * * *
“The next afternoon the full orchestra played a concert
in Columbia Theatre before an audience that crowded the
house and again won decided success. Just before the
concert, Director Scheel received a huge box of roses
and carnations from President and Mrs. Roosevelt.”
All was not smooth sailing during the early years or for years to come.
Scheel had enemies, so did the orchestra. Many people were not pleased
when plans other than their own succeeded, and there was unpleasant
comment from time to time. This was gradually overcome by the sincere
attitude and the industry of the conductor and the improvement in the
playing of the orchestra. The Beethoven Cycle, the Strauss concerts and
the appearance of Weingartner were helps to popularity, not a sudden
popularity, but one achieved by real worth. Scheel was fast making a
place for himself in the musical life of the city, and in 1905 he was
engaged as leader of the Orpheus Club and of the Eurydice Chorus to
succeed Dr. Frank Damrosch. This put added burdens onto him, but it was
not understood then that the strain of leading an orchestra is enough
for one man.
Recognition also came from outside of Philadelphia. Scheel had the
compliment paid him of being invited to lead two concerts in New
York in place of Theodore Thomas, who had recently died, which
concerts were to mark the semi-centennial of Thomas’s connection with
the Philharmonic Orchestra. Unfortunately, conflicting dates made
acceptance impossible. He was even spoken of as a possible successor to
Thomas by Mr. Louis Elson, of Boston, who said:
“There is a most thorough and progressive musician, who
is perfectly fitted for the Chicago position—Mr. Fritz
Scheel of Philadelphia. This conductor, although he has
been in America but a short time, has already won his
spurs and proved his right to the highest orchestral
position. He is not too conservative, an essential
point with an orchestral conductor of the present.”
In the meantime the concerts in Philadelphia were constantly improving,
and the number had increased from six single concerts to eighteen
pairs in six years. Out-of-town concerts in nearby places had been
attempted with varying financial results. The Board of Directors, the
Executive Committee and various Sub-committees worked hard to advance
the interests of the orchestra.
The standard of excellence was kept at a high point. Fritz Scheel, ever
ambitious for this venture in America, and possessing a keen artistic
sense, produced programmes of excellence, which equalled and sometimes
surpassed those of older American orchestras.
CHAPTER IV
THE WOMEN’S COMMITTEES FOR THE PHILADELPHIA ORCHESTRA
To the Philadelphia Orchestra Association belongs the distinction of
first having promulgated the idea of procuring assistance from Women’s
Committees.
These were formed to promote out-of-town concerts in Harrisburg,
Lancaster, Allentown and Trenton. In 1902-03, during the second season
of concerts in those cities, it became evident that help was needed to
increase interest in the concerts and procure a larger audience. Miss
Mary Sergeant, sister of Mrs. A. J. Dallas Dixon, of Philadelphia,
undertook this work in Harrisburg; Miss Hall became the Chairman in
Trenton; Mrs. A. J. Steinman, in Lancaster; and Mrs. Robert E. Wright,
in Allentown. These committees worked hard to make the Philadelphia
Orchestra concerts successful.
No help of this kind seems to have been thought of for Philadelphia
until the financial situation became so acute in 1904, as to endanger
the life of the orchestra.
THE WOMEN’S COMMITTEE FOR THE PHILADELPHIA ORCHESTRA AND THE FIRST TEN
THOUSAND
Each year had become more difficult financially and while the orchestra
was learning many tunes the Board of Directors could remember but one.
They constantly repeated the same question: “Where shall we get the
money?” with variations. The Academy was not sold out; if it had been
it would not have paid expenses. Nobody wanted to hear the Philadelphia
Orchestra. The general attitude was that there were too many concerts,
that even the Boston Symphony Orchestra gave only five in a series,
and that only a few extreme musical enthusiasts went to the two Boston
series, a total of ten. The Executive Committee and the Board of
Directors spent hours discussing means of procuring more guarantors to
meet the increasing deficit. Every improvement in players or special
soloists meant money.
The Guarantee Fund for a three-year term expired in the spring of 1904,
and there would be an extra deficit of $16,000. The Association was
facing a crisis. No contracts could be made without some financial
background.
Just at this moment an idea occurred to Mrs. Edward G. McCollin, wife
of a member of the Executive Committee. After approaching several
friends on this subject and failing to interest them, Mrs. McCollin
one day spoke to Mrs. A. J. Dallas Dixon, who persuaded Mrs. C. Stuart
Patterson to call a meeting. The result was that a number of women met
at Mrs. Dixon’s house, 709 Pine Street, to discuss plans to assist the
orchestra, on March 11th, 1904. Mrs. Dixon was elected president and on
March 13th, a Women’s Committee of twenty was formally organized. The
officers and directors were:[14]
MRS. A. J. DALLAS DIXON, _President_
MRS. SPENCER ERVIN, _First Vice-president_
MRS. THOMAS S. HARRISON, _Second Vice-president_
MRS. E. G. MCCOLLIN, _Corresponding Secretary_
MRS. E. COLEMAN LEWIS, _Recording Secretary_
MRS. ALFRED REGINALD ALLEN, _Treasurer_
_Directors_
MRS. S. NAUDAIN DUER MRS. GEORGE A. HUHN
MRS. THEODORE N. ELY MRS. EDWARD I. KEFFER
MRS. SAMUEL S. FELS MRS. W. L. MCLEAN
MRS. SIMON B. FLEISHER MRS. JOHN B. MILES
MRS. J. M. GAZZAM MRS. N. DUBOIS MILLER
MISS BEULAH HACKER MRS. MORRIS PFAELZER
MRS. WALTER HORSTMANN MRS. GEORGE D. WIDENER
MISS FRANCES A. WISTER
[14] For present membership see Appendix K.
Later the following Honorary Vice-presidents accepted:
Mrs. Wm. W. Arnett, Mrs. George F. Baer, Mrs. Alexander W. Biddle,
Mrs. John Cadwalader, Mrs. Alexander J. Cassatt, Mrs. Charles B. Coxe,
Miss Mary K. Gibson, Mrs. Austin S. Heckscher, Mrs. Charles Edward
Ingersoll, Mrs. Thomas McKean, Jr., Mrs. C. Stuart Patterson, Mrs.
Frank Rosengarten, Mrs. Cornelius Stevenson, Miss Anne Thomson, Mrs.
Alexander Van Rensselaer, Mrs. Henry Whelen, Jr.
[Illustration: MRS. ALEXANDER J. DALLAS DIXON]
The original of this letter is preserved in the archives of the
Committee:
“MRS. MCCOLLIN
“Dear Madam:
“I wish to say on behalf of the Executive Committee
of the Philadelphia Orchestra that our Committee is
in hearty sympathy with the effort to form a Women’s
Committee, and fully appreciates the kindness of the
ladies who propose to form such a Committee in coming
to the assistance of the Association, at a rather
critical time. We fully endorse any measures you see
fit to take in carrying out your plans.
Yours very truly,
JOHN H. INGHAM, _Secretary_
333 South 16th Street
“March 13, 1904.”
Committees on Guarantors, Boxes and General Subscriptions were formed
and their labors began.
The first work which the women undertook at the request of the
Executive Committee was to secure $10,000, in new guarantees within the
first month of its existence; the Executive Committee feeling that the
best indication of a desire to continue the orchestra would be shown by
an increase in the Guarantee Fund.
The Committee at once went to the musical critics of the various
Philadelphia newspapers and secured their hearty co-operation in the
work of rousing the public to an appreciation of the musical and civic
importance of the orchestra. Within the allotted time the Committee had
not only secured more than $10,000 in new guarantees, but had received
new orders for $5,000 worth of seats and boxes for the next season. The
Association thereupon decided to continue the orchestra for one more
year, hoping that public interest would continue to increase.
The Guarantee Committee appointed by Mrs. Dixon to raise this sum was
composed of Mrs. Spencer Ervin, now Mrs. Harold E. Yarnall, Chairman;
Mrs. Morris Pfaelzer, Mrs. Edward I. Keffer, Mrs. George D. Widener and
Miss Frances A. Wister, Secretary. A careful plan was made for this
attack upon the public purse and all the members of the Committee threw
themselves into the task of raising this large sum for a little known
and unpopular cause.
Lists of prospective guarantors were compiled and each woman was
assigned her quota of people to approach. The time was short, the pace
was quick and the excitement was great. To at least one member it was
a first experience at raising a large amount, but the novelty quickly
wore off in the face of the continuous needs of the Association.
The Committee on Seats and Boxes became active at once, and Mrs.
McCollin as Chairman of the Press Committee attended most ably to the
publicity. Numberless articles appeared describing the Committee and
its activities, and the help of the papers was very valuable.
Another way of making the orchestra and the Committee known was the
parlor meetings. These were held in various places, with speakers
of influence in the community. The first of these took place at the
residence of Mrs. Thomas S. Harrison. Addresses were made by Dr. Alfred
C. Lambdin, Mr. Constantin von Sternberg, Miss Esther Kelly and Miss
Wister. No money was asked for at these meetings which were held in
all sections of Philadelphia and vicinity during many seasons. The
fact that Philadelphia had an orchestra was the point emphasized, as
there was general ignorance of its existence. Then its importance to
the musical life of the city and its needs were mentioned. Perhaps
the most useful work next to procuring guarantors was the formation
of the Auxiliary. These women were elected and asked to become season
seat holders. The reports of the sale of boxes and season seats show
thousands of dollars secured in new orders during the first years and
frequent comment is made upon the improved appearance of the house
through the filling of the boxes. The Friday house has been sold out
for a number of years, but the Saturday house was a more difficult
problem and only recently has been filled by season subscribers.
The list of activities was never-ending, and included visits to music
schools, circulars, appeals, the co-operation of libraries, orchestra
clubs, special rates for students, parlor meetings, of which Mrs.
Keffer became Chairman in 1905, letters to friends in other cities
where the orchestra was to appear and many more. The results were
good. Between 1904-05 and 1907-08, the total sales of new orders for
seats and boxes amounted to $29,670.00, and new guarantees amounted to
$37,500.
THE GERMANTOWN AND CHESTNUT HILL WOMEN’S COMMITTEE
The activity of the Women’s Committee during its first year of
existence and the great need of the Association brought about the
formation of a second Committee in Germantown and Chestnut Hill, on
March 28th, 1905, under the leadership of Mrs. Francis Howard Williams,
a woman prominent in every good cause.
MRS. FRANCIS HOWARD WILLIAMS, _President_[15]
MISS ANNA HAZEN HOWELL, _Recording Secretary_
MRS. HENRY W. RAYMOND, _Corresponding Secretary_
MRS. AUGUSTUS STOUGHTON, _Treasurer_
MISS FRANCES A. WISTER, _Secretary_ for the Guarantee Fund
No sooner were these women organized than they threw themselves
enthusiastically into work in their section and have since co-operated
with the Women’s Committee in every undertaking. They raised $26,825
for the Million Dollar Endowment Fund.
Mrs. Williams declined to be a candidate for the presidency in 1916 and
was succeeded by the Countess of Santa Eulalia, who still holds that
office. The Committee has recently celebrated its Twentieth Anniversary.
THE WEST PHILADELPHIA WOMEN’S COMMITTEE
Shortly afterwards, on April 6th, 1905, the spirit moved the women of
West Philadelphia to form a third Committee. Mrs. C. Lincoln Furbush,
daughter of Mr. and Mrs. Wm. Burnham, staunch supporters of the
orchestra, organized it at her mother’s house, and became its first
president and the youngest of Women’s Committee presidents.
The officers were:
MRS. C. LINCOLN FURBUSH, _President_[16]
MISS MARGARETTA HINCHMAN, _Vice-president_
MISS HELEN FERGUSSON, _Corresponding Secretary_
MISS EDITH SCHOFF, _Recording Secretary_
MISS GRACE ATLEE, _Treasurer_
After one year of service Mrs. Furbush, Miss Schoff and Miss Atlee
resigned, and Mrs. Monroe Smith, now Mrs. L. Howard Weatherly, Mrs.
Charles L. Mitchell and Mrs. Samuel S. Fels succeeded them and still
hold those offices.
[15] For present membership see Appendix K.
[16] For present membership see Appendix K.
This active Committee has constantly been inaugurating new plans.
In 1915, to commemorate its Tenth Anniversary, it presented to the
Association the stage setting completed in 1918, which was used until
the new plans of Mr. Stokowski made a complete change of size and shape
necessary.
Entertainments of many kinds have been given and the Twentieth
Anniversary was celebrated in May, 1925.
THE MEDIA, CHESTER AND WEST CHESTER WOMEN’S COMMITTEE, SINCE 1923, THE
DELAWARE COUNTY WOMEN’S COMMITTEE
At the Annual Meeting of the Women’s Committees and their Auxiliaries
in April, 1911, Mrs. J. Claude Bedford, an active amateur musician,
then living in Media, proposed that a Women’s Committee should be
formed in Delaware County. She had become convinced that work of value
could be done there and with the help of Mrs. Arnett, she formed a
Committee with members from nine towns within twenty-five miles of
Philadelphia, including West Chester, Glen Mills, Media, Wallingford,
Swarthmore, Primos, Lansdowne, Darby and Chester.
The task was a hard one. Many residents of the district were unable,
on account of the distance and of poor train service, to attend the
concerts. Yet there was enthusiasm and much hard work in Delaware
County. After several years, Mrs. Bedford was obliged to relinquish
her position, and Mrs. Matthew H. Cryer, of Lansdowne, succeeded
to the office of President, which she still retains. The work of
this Committee has been extraordinary and beset with obstacles. No
enterprise has ever been entered into by the other Committees, in
which the Delaware County Committee has not done its share and more,
including bringing in its quota of $20,000 for the Million Dollar
Endowment Fund. The Tenth Anniversary was celebrated in May, 1911, by a
reception given at the house of Mrs. Cryer.
These four Committees are actively engaged in working for the
Philadelphia Orchestra in Philadelphia, but they have been instrumental
in helping the out-of-town concerts by persuading women in other places
to foster concerts given there. The first of these was formed in
Wilmington, Delaware.
WOMEN’S COMMITTEES IN OTHER PLACES
DELAWARE COMMITTEE
WILMINGTON
FORMED JUNE 29TH, 1905
OFFICERS
Mrs. Lewis C. Vandegrift, President; Mrs. Joseph Swift, Vice-president;
Mrs. William Betts, Secretary; Miss Annie T. Flinn, Treasurer.
Concerts were given in Wilmington as early as the season of 1902-03,
but they were not thriving as they should. The Women’s Committee
therefore sent a mission to Wilmington, where Mrs. Joseph Swift, a
composer and an amateur musician of prominence, called a meeting at her
house. Mrs. Dixon, Mrs. McCollin and Miss Wister were the emissaries
and the visit resulted in the formation of the Delaware Committee, with
the above officers and twenty-three Directors.
For fifteen years this Committee continued its active work under the
successive leadership of Mrs. Lewis C. Vandegrift, Mrs. Swift, and Mrs.
Robert B. Bird. It was active in selling seats, procuring the Guarantee
Fund for the Wilmington Concerts, without which the orchestra could
not appear, in arousing interest by giving receptions for our leaders
and in other ways. It was of immense help to have an organized group
of people furthering the interests of the orchestra in Wilmington. The
Committee continued its labors until the concerts had to be given up on
account of the press of engagements. This Committee was affiliated with
the Philadelphia Women’s Committee, and always sent a representative to
the Annual Meetings.
THE BALTIMORE COMMITTEE FORMED MAY, 1906
Baltimore and Washington were considered fruitful fields and
Philadelphia’s by right of propinquity. The Boston Symphony Orchestra
had established a large clientele in these cities, but it had years
of reputation, and of artistic achievement, with which to attract
audiences. Not so with a new and little known orchestra. Mrs. Dixon,
Miss Wister and Mrs. Thomas S. Kirkbride, Jr., paid a visit there in
December, 1905, on the occasion of an afternoon concert at the Arundell
Club, at which two members of the orchestra, with Mrs. Kirkbride at
the piano, played trios. In the following spring, Miss Mary B. Shearer
organized a Committee and became the Chairman[17].
THE WASHINGTON COMMITTEE
In Washington, Miss Aileen Bell, after a meeting at which Mrs. Dixon
spoke, organized a group of women to assist in popularizing the
orchestra, and also secured many patronesses.[18]
Washington, the abode of representatives of foreign countries and with
a fluctuating population, was an easier field than Baltimore. Neither
of these Committees has been active lately, because the necessity is
past, but their help was much appreciated then.
[17] See Appendix K.
[18] See Appendix K.
THE ATLANTIC COUNTY COMMITTEE
This Committee, which was affiliated with the Women’s Committee, was
formed in Atlantic City, after a concert by the Philadelphia Orchestra
in 1912, and was active until 1915.
A Committee of five women was appointed, with Mrs. Joseph H. Ireland as
President, to take charge of a permanent series of concerts in Atlantic
City. During the three years of its existence, they sold the tickets,
carried on educational work in the schools, arranged for special
students’ tickets, distributed programmes in advance as a basis for
study, managed the publicity and indulged in other forms of activity.
The Women’s Committees for the Philadelphia Orchestra have been an
important part of the work at home and abroad. There have been twelve:
1902: Women’s Committees in Harrisburg, Lancaster,
Allentown, Pennsylvania, and Trenton, New Jersey.
1904: The Women’s Committee for the Philadelphia Orchestra.
1905: The Germantown and Chestnut Hill Women’s Committee,
the West Philadelphia Women’s Committee, the Delaware
Committee.
1906: The Baltimore Committee, the Washington Committee.
1911: The Media, Chester and West Chester Women’s Committee
(now Delaware County Committee).
1912: The Atlantic County Committee.
THE TWENTIETH ANNIVERSARY OF THE WOMEN’S COMMITTEE
The Women’s Committee, pioneer of the four in Philadelphia, celebrated
its Twentieth Anniversary in March, 1924. The event was marked by
a series of entertainments, beginning with a luncheon given by the
Officers and Directors of the Philadelphia Orchestra Association
on March 11th. After a number of speeches an anonymous gift of one
thousand Dollars to the Pension Fund from a member of the Committee,
in honor of the occasion, was presented to the President of the
Association. By vote of the Board of Directors this has been placed in
a separate fund bearing the donor’s name and the Women’s Committee has
the privilege of designating a special use for the income each year.
The next event was the reception given by the Women’s Committee, in
the Foyer of the Academy of Music, on March 14th, in which the members
of the Auxiliary joined, and at which the guests of honor were the
Officers and Directors of the Association, Mr. Leopold Stokowski and
the members of the Philadelphia Orchestra.
The Treasurer’s Report at the Twentieth Annual Meeting in 1924, showed
that since 1904, for dues and subscriptions to special entertainments
and gifts by the Committee, $11,432.00 had passed through her hands.
While for special funds such as the Scheel Memorial Bas-relief,
the Philadelphia Orchestra Chorus and the Opera Supper Dances, an
additional amount of $25,335.00 was received and expended, making a
grand total in twenty years of $36,759.00. This does not include any
money for the Guarantee or Endowment Funds, or money for tickets sold
by the Committee. Two interesting items are those of $6,456.00 for the
Fritz Scheel Memorial raised by the three committees; and of $7770
raised for the Philadelphia Orchestra Chorus in 1921-22.
“The time has come to talk of many things” when an account of the work
of the women is to be given; for the things they have done have been
as diverse as the “ships and shoes and sealing wax and cabbages and
kings” which so puzzled “Alice in Wonderland.”
They have ranged from guarantors, ticket selling and parlor meetings,
to balls, dances and selling post cards. Not to mention the two
Endowment Funds and the silhouettes, the contribution toward the Chorus
in 1921, and the receptions for the various conductors and soloists
during twenty-one years. While thousands of dollars have passed through
the Women’s Committees for the maintenance of the orchestra, apart from
the tickets they have sold, the women had no fund to fall back on until
1921, when the Women’s Committees Fund was established, to which the
proceeds of the Opera Supper Dances are added each year.
In speaking of the Endowment Funds it should be recorded that the first
gift ever made for such a fund came to the Women’s Committee in 1906,
from Mr. Theodore N. Ely.
“RESOLUTION ADOPTED DECEMBER, 1906
“RESOLVED: That this Committee send to Mr.
Theodore N. Ely, their most sincere and appreciative
thanks for his most generous contribution towards the
cause for which this Committee exists.
“And further resolved, that the Committee appoint a
Sub-committee of four, to urge upon the Executive
Committee of the Philadelphia Orchestra, the
desirability and great appropriateness of starting the
Permanent Endowment Fund for the perpetuation of the
Philadelphia Orchestra, with this generous contribution
in memory of one of the first members of the Board of
Managers of the Women’s Committee, Mrs. Theodore N. Ely.
“And further resolved, that copies of this resolution
be sent to Mr. Ely, and to the Executive Committee of
the Orchestra.
“In pursuance of this, our President has appointed
the following ladies a Committee to confer with the
Executive Committee of the Orchestra concerning this
matter, Mrs. Yarnall, Mrs. Widener, Miss Wister and
Mrs. McCollin.”
THE AUXILIARIES
With the exception of raising money for the various funds the most
important feature of the four Women’s Committees is their Auxiliaries,
now numbering 1985 women, attending the three Philadelphia series. It
was through these that the Friday audience was built up, for Auxiliary
members must have season seats. There are no dues and no other duties;
but some of the best work done for the Endowment Fund and for the
Anniversary Ball, was done by Auxiliary members, who for years have had
a deep regard for the orchestra. All women season ticket holders are
eligible.
The Women’s Committees have given many entertainments, beginning with
a reception in honor of Fritz Scheel on March 6th, 1905, followed by
House Music under Mr. Scheel’s direction.
Others have been given in the following order:
Mr. Carl Pohlig, 1908;
Mme. Pohlig and her daughter Mme. Maillard, 1909.
Mr. and Mrs. Leopold Stokowski, 1912.
Luncheon to celebrate Tenth Anniversary of the Women’s Committee, March
6th, 1914.
Reception to Mr. Stokowski and soloists and members of the Mahler
Chorus, March 4th, 1916.
Supper for Mr. Stokowski and assisting artists, March 4th, 1916, at
which many out-of-town guests were present.
Receptions at the houses of Mrs. Alexander J. Cassatt, the Countess of
Santa Eulalia, Mrs. Weatherly and Mrs. Cryer, in the interest of the
Seven Year Endowment Fund, October, 1916.
Reception to Mlle. Guiomar Novaes, 1917.
Receptions for Mme. Olga Samaroff, M. Alphonse Catherine, M. Sergei
Rachmaninoff, 1919.
Luncheon to celebrate Fifteenth Anniversary of the Women’s Committee,
April 14th, 1919.
Reception at house of Mrs. Matthew H. Cryer, Lansdowne, to celebrate
Tenth Anniversary of the Media, Chester and West Chester Women’s
Committee, 1921.
Musicale and reception at the house of Mrs. L. Howard Weatherly, to
celebrate Tenth Anniversary of the West Philadelphia Women’s Committee,
May, 1915.
Luncheon for Mr. Frederick A. Stock, guest conductor, January 19th,
1924.
Reception to celebrate Twentieth Anniversary of the Women’s Committee,
March 14th, 1924.
Reception to Mr. Igor Strawinsky, January 30th, 1925.
Luncheon to celebrate Twentieth Anniversary of Germantown and Chestnut
Hill Women’s Committee, March 31st, 1925.
Reception to celebrate Twentieth Anniversary of West Philadelphia
Women’s Committee, May 13th, 1925.
Among the artists whom the Women’s Committees have entertained, the
most popular one is Mme. Olga Samaroff. She is beloved by all the
members, and admired, not only because she is a great artist, but on
account of her unusual and delightful personality. The women will never
forget what she did for the orchestra during her years of residence in
Philadelphia.
THE ANNIVERSARY BALL FOR THE BENEFIT OF THE CHORUS
No mention of the entertainments of the Committees would be complete
without an account of this. It was held January 24th, 1921, to mark the
Sixty-fourth Anniversary of the opening ball of the Academy of Music,
on January 26th, 1857. It should be called a study in co-operation, for
besides the four Women’s Committees, almost the whole city joined to
make it a beautiful affair and a success. The feature of the evening
was the quadrille in the costume of the period to which a number of
persons contributed sets, as well as the following organizations.
The Co-operating Societies were:
Matinee Musical Club, Mendelssohn Club, Musical Art Club, Musical
Fund Society, Philadelphia Music Club, Philadelphia Orchestra
Chorus, Philadelphia Choral Society, Treble Clef, Fortnightly Club,
Pennsylvania Academy of the Fine Arts, Sketch Club, School of
Industrial Art, School of Design for Women, Plastic Club, T Square Club.
Old trunks were overhauled and old papers assiduously read to get the
local color of the time, so that when row after row of the dancers
began to march down from the dais at the back of the stage and take
their places on the floor there was a scene of beauty which brought
forth rounds of applause. Mr. Charles S. Morgan, Jr., impersonated Mr.
Hlasko, Master of Ceremonies, and took charge of the quadrille which he
had trained.
A Loan Exhibition of much interest was held in the Foyer for which many
treasures were unearthed, including “Miss Ethel Newcome,” of London,
the doll dating from the Sanitary Fair. Various business firms assisted
by contributing materials and allowing the Committees to use their
windows for publicity of a unique kind, such as dolls and jewelry of
the period. Twenty years before such a joint undertaking would not have
been possible, and it was a mark of the general good will felt for the
Philadelphia Orchestra.
THE OPERA SUPPER DANCES
A word should be said about these Dances, the Sixth Series of which
has just begun. They are held in the Foyer of the Academy, after
performances of the Metropolitan Opera Company. The subscription and
supper are moderate in price and the affairs are much patronized. The
object is to raise money yearly and have a fund that can be used when
necessity arises.
* * * * *
When the war came a loss of interest might have been expected, but it
was the reverse. Not only the weekly respite at the concerts proved
a boon, but the activities of the Committees were a relief from the
anxiety and rush of war work.
The Women’s Committee has had good friends in the Board of Directors.
When they had no means of support, Mr. Richard Y. Cook for many years
contributed towards their expenses. Without his assistance they would
have been in a serious situation.
Mr. Wm. Jay Turner, the Vice-president, was an important person at the
Anniversary Ball which he led with Miss Frances A. Wister, president of
the Committee.
Mr. Edward W. Bok spurred the women on to victory for the Fund with
a kind but firm hand. Mr. Andrew Wheeler is always friendly and
interested, and so the story might go on naming every director.
First and last is Mr. Van Rensselaer, who has never lost an opportunity
to assist the women’s enterprises and who is regarded as the patron
saint of the Women’s Committees. Mrs. Van Rensselaer’s interest has
been a great help.
The members of the Committee deserve individual mention, but space is
lacking. In the early days Mrs. McCollin and Mrs. Keffer were untiring.
Mrs. Yarnall and Mrs. Allen have held office for twenty-one years.
Mrs. Henry is an adept at managing entertainments. Mrs. Cassatt was a
most valuable officer, possessing courage and judgment and her loss
is constantly felt.[19] Mrs. Arnett’s direction of the work for the
Auxiliary, passed on from Mrs. McCollin, has been a quiet labor with
little public notice. The Recording Secretaries, Mrs. Ashton and Mrs.
Wood, have been efficient in keeping the minutes.
[19] See In Memoriam.
The woman who bore most of the burden of the pioneers was Mrs.
Alexander J. Dallas Dixon, whose recent death has left a gap in
their ranks. Although she gave up the presidency some years ago, her
influence was always noticeable and her fulfillment of the task was
appreciated. A special meeting was held on October 8th, 1925, to pass
resolutions for Mrs. Dixon.[20] At the concert of October 16th, these
were inserted in the programme and the audience stood while the Chopin
Funeral March was played, in memory of the first president of the
Women’s Committee.
The four Committees and their Auxiliaries have an Annual Meeting each
April, and the President of the Women’s Committee presents a general
report to the Association in May. The names of some of the reports are
indicative of the work, for instance: “A Calm Sea and a Prosperous
Voyage,” “The Adventures of the Women’s Committees, or How We Financed
the Chorus,” “Twenty Years at Hard Labor, a Motion Picture, with a
Prologue and an Epilogue and Continuous Music by the Philadelphia
Orchestra.” Their work has been strenuous, but the women have had
many thrills and good times in the doing of it. There are pleasures
in the chase only known to those who hunt, even when the quarry is an
Endowment Fund.
Women are needed in every household to attend to the personal side of
life, the entertainment of guests, the timely gifts, the flowers and
many other things. They have even been known to help to support the
establishment when the struggle seemed too hard for the men. This has
been much the position occupied by the Women’s Committees during the
last twenty-one years. Their entertainments have made many artists
welcome to this city. Their gifts have come at just the right time:
the share in the loving cup to Mr. Van Rensselaer; the silver plates
to Mr. Stokowski on the completion of his tenth year as conductor; the
silver vase to Dr. Rich after eighteen years of service; the porringer
to little Sonia Marie Noël Stokowski, engraved with a verse from
Wordsworth, all give a human touch to the Association. And when the men
were spent in the battle, the women worked to support the establishment.
[20] See In Memoriam
The Women’s Committees rejoice in the work they have done for the
Philadelphia Orchestra, and in blazing the trail for women elsewhere.
When the first was formed twenty-one years ago it was a pioneer and a
unique organization, unknown anywhere in connection with a permanent
orchestra. Many persons looked on it with, at least, a question. Now
the questions are of a different nature, and come from other cities
where orchestras are being formed.
The value of women’s efforts in fostering music, and in making
orchestras popular, seems to be recognized. Women’s work for art in
America is rapidly expanding; the torch has been borne by the Women’s
Committees for the Philadelphia Orchestra.
CHAPTER V
THE GUARANTORS AND THE GUARANTEE FUND
There are a few satisfactory ways of financing an orchestra, but
there are a number of unsatisfactory ways, and maintaining or trying
to maintain a Guarantee Fund is one of them. The devotion of the
guarantors of the Philadelphia Orchestra through sixteen years of
financial embarrassment is a part of the story of which Philadelphia
may be proud. A group of one hundred and twenty men and women[21]
constituted the first guarantors in 1900-1901.
[21] See Appendix D.
At the close of the season this notice was issued:
“THE PHILADELPHIA ORCHESTRA
“FRITZ SCHEEL, _Conductor_
“CALL FOR THE FIRST GUARANTEE FUND
“Philadelphia, June 15th, 1901
“Dear Sir:
“The accounts of the Treasurer of the Philadelphia
Orchestra Association, for the season just closed,
shows a total expenditure for all purposes of
$27,729.33, and total receipts from all sources of
$14,429.85, leaving a deficit of $13,299.48, to be met
by the Guarantee Fund.
“A copy of the report of the Auditors is hereto
appended.
“The Guarantors are to be congratulated upon the
success of this experimental season—made possible only
by their generous support. The musical success of the
concerts has surpassed the most sanguine anticipation,
but the most important and far-reaching result of the
undertaking has been the formation of the recently
organized Philadelphia Orchestra Association, with
its well-assured plans for weekly concerts and public
rehearsals during the winter seasons of the next three
years.
“The total Guarantee Fund amounts to $15,720.00, upon
which a call of 84.61 per cent is necessary to meet the
above deficit. Will you, therefore, please mail to Mr.
John H. Ingham, Assistant Treasurer, No. 505 Chestnut
Street, your check drawn to his order, for $—— being
84.61 per cent of your subscription of $——
“Very truly yours,
“JOHN H. INGHAM
OLIVER B. JUDSON
EDWARD I. KEFFER
OSCAR A. KNIPE
EDWARD G. MCCOLLIN
HENRY WHELEN, JR.
“_Executive Committee_”
“REPORT OF THE AUDITORS
“Philadelphia, 12th June, 1901.
“The undersigned, being two of the Guarantors for the first series
of Concerts of the Philadelphia Orchestra, and having been requested
to act as Auditors, have examined the accounts of the Treasurer and
the vouchers for disbursements.
“We find same in order and correct, and are satisfied that the
business management of the Orchestra has been efficient, and that
the expenditures were proper and necessary.
“The accounts show receipts from sales of tickets and incidentals
amounting to $14,429.85, and payments as per receipted vouchers
amounting to $27,729.33, leaving a deficit of $13,299.48.
“JOHN H. CONVERSE
“C. HARTMAN KUHN
“_Auditors_”
When the business of this season was settled, a new fund had to be
procured; forty-three Philadelphians were found who were willing to
risk a three-year pledge for an untried experiment, and a number more
for shorter terms.
When this three-year guarantee expired the Association was facing a
crisis and was on the point of disbanding the orchestra. Then the newly
formed Women’s Committee was appealed to with the information that an
addition of ten thousand dollars to the Guarantee Fund, secured within
two weeks, was the only hope of saving the orchestra. An account of
this first effort by the women has been given in a previous chapter.
They succeeded in securing a number of new guarantors for one, two and
three-year terms, and completed the amount within the required time.
The story of the next sixteen years is one of constant begging on the
part of everybody connected with this institution. Many methods were
used to explain the financial condition. The Minutes, the programme
book, and the numerous letters issued bear witness to this fact. Many
were the meetings called “to consider the financial status of the
Association.”
“Dear Sir or Madam:
“At the end of the second season the Directors of the
Philadelphia Orchestra find that the deficit will
practically be the same as at the end of the first
year, viz: $68,000 or $70,000. The expense of managing
the organization has been reduced as much as possible,
and if the organization is to be maintained on the same
standard of excellence, the management feel that a
large guarantee fund is necessary.
“It is proposed to increase the guarantee fund from
$40,000 to $100,000, and by so doing we would not have
to call on the entire guarantee fund, possibly 50 per
cent of such fund would be necessary. The prices of
admission for boxes and seats in the various parts of
the house are as low as it is possible to make them, so
that the concerts are within easy reach of students of
music.
“The Orchestra during the past year has completed a
season of 20 weeks, having given 71 concerts in all,
43 in Philadelphia and 28 outside of the City. In
addition to these performances the orchestra or a large
number of them have appeared at concerts of the Orpheus
Club, the Choral Society, the Temple Chorus and the
Maennerchor under their several conductors.”
* * * * *
“The management have done their utmost to make the
orchestra a success, being aided in their efforts by
the excellent conductorship of Herr Scheel. Private
individuals and those interested in music have
generously contributed, but it is to the public that we
now look. By an increased season sale the receipts will
be greatly increased, and consequently there will be
more money to defray the expenses.
“If you have not as yet become a guarantor of the
Philadelphia Orchestra, will you not aid us by doing so
and communicate with Mr. John Ingham, Secretary, 505
Chestnut Street, who will furnish you blanks for that
purpose. The guarantee fund covers a period of three
years only.
“If the orchestra is to be continued, and it would be a
disgrace to Philadelphia to allow a fine organization
of its kind to slip away from us, two things are
necessary: a larger guarantee fund and the support of
the public by an increased season sale. The outlook for
the latter, we are glad to say, is most encouraging for
next season.”
* * * * *
“Of course, it must be understood, that unless a
sufficient guarantee fund be raised, they would
not feel justified in continuing the Orchestra
indefinitely.”
* * * * *
“Hoping you will, if you have not already done so, aid
us in furthering and maintaining this orchestra, we
remain
Yours truly,
“GEORGE BURNHAM, JR. A. J. CASSATT
JOHN H. CONVERSE ECKLEY B. COXE, JR.
WM. L. ELKINS MISS MARY K. GIBSON
JOHN H. INGHAM OLIVER B. JUDSON
EDWARD I. KEFFER C. HARTMAN KUHN
EDWARD G. MCCOLLIN THOMAS MCKEAN
CLEMENT B. NEWBOLD JAMES W. PAUL, JR.
MRS. F. H. ROSENGARTEN RICHARD ROSSMAESSLER
EDGAR SCOTT SIMON A. STERN
MISS ANNE THOMSON A. VAN RENSSELAER
HENRY WHELEN, JR. P. A. B. WIDENER
CLEMENT A. GRISCOM”
“To the People of Philadelphia: 1903
“The management of the Philadelphia Orchestra Association, at the end
of the third season of concerts, feel that they may now claim that they
have fulfilled their original promise to supply the community with an
orchestra of the first class. There are but three other orchestras of
this rank in the country, those of Boston, Chicago and Pittsburg.
“A great orchestra is as much a civic institution as a great library or
art museum. It is the backbone of the whole musical organism. No large
city can afford to be without one.”
* * * * *
“The artistic success of the past season is unquestioned, the work of
the orchestra under Mr. Scheel, a leader admittedly second to none in
the country, received flattering comment wherever it has been heard,
both at home and in other cities, New York especially envying us the
possession of an orchestra of the first rank.”
* * * * *
“The deficit is practically the same as that of the preceding season,
viz: sixty-eight to seventy thousand dollars. While this is a large
sum, it compares favorably with the deficits of the three other large
orchestras of the country during their initial seasons, and is not a
cause for discouragement.”
* * * * *
“An orchestra of the first class, however, can never be entirely
self-supporting, and must be dependent upon the guarantees or
contributions of those who take pride in their city and look upon its
work as necessary to the education of the community.”
* * * * *
“Up to the present time the amount of the deficit over and above the
guarantee fund has been paid by a few (three or four) generous and
public-spirited members of the Association. It is not fair, however,
that the burden of such an undertaking should be borne by a few when
the whole community is benefited, and the Directors appeal to the
public generally to aid in this work.
“In a city of the size, wealth and culture of Philadelphia, it does
not seem unreasonable to hope that a sufficient number of people can
be found to assist in retaining the orchestra and increasing its
usefulness. One hundred additional subscriptions of a Thousand or
Five Hundred Dollars each, per annum, for three years, would go very
far toward enabling the management to establish the orchestra on a
permanent paying basis, but without such support from the public, the
Directors do not feel that they would be justified in continuing the
orchestra indefinitely.”
* * * * *
“As it is impossible to ascertain and approach personally all who are
interested in the cause, those who wish to subscribe to the guarantee
fund are requested to write to the Secretary, Mr. John H. Ingham, 505
Chestnut Street, for blanks. The intention is to raise a fund for three
years.
“On the success of this appeal will depend the future of the orchestra.”
(_Signed as before._)
“PHILADELPHIA ORCHESTRA ASSOCIATION
“Philadelphia, April 15, 1905.
“TO THE GUARANTORS OF THE PHILADELPHIA ORCHESTRA ASSOCIATION:
“In closing the Fifth Season of the Philadelphia Orchestra, the
Executive Committee think it is proper to report the result of the
season to the Guarantors and to the members of the Association.”
* * * * *
“The total cost this season, including salaries
of musicians and conductor, office expenses,
rental of Academy of Music, etc.,
amounted to $99,746.28
“The total receipts from all sources were 45,877.57
----------
Showing a DEFICIT of 53,868.71
“The Guarantee Fund is 48,627.50
----------
Leaving a DEFICIT of $ 5,241.21[22]
[22] See Page 69.
which we have every reason to believe will be provided
for in the near future.
“The loss in season 1903-04 amounted to $58,530.23, so
that we can show a distinct gain this year of $4661.52.
The gain, however, was really much greater, inasmuch
as our fixed charges were increased nearly $5000 due
to increase in salary of conductor, increased rent of
Academy of Music and increased charges for advertising, etc.”
* * * * *
“Owing to the unflagging energy and enthusiasm of our
Women’s Committee, not only has our Guarantee Fund been
substantially increased, but the season’s sale of boxes
and seats, etc., was larger than for any previous year.”
* * * * *
“All this is very gratifying, but the fact remains that
an efficiently maintained orchestra will always cost in
the neighborhood of $100,000, with the possibilities of
only $60,000 _maximum_ receipts secured from full
houses at every performance.”
* * * * *
“There is no question whatever that the Orchestra is
gaining in prestige and popularity among the people of
this city, and it is the earnest hope of the Committee
that the work should spread and that the Orchestra
should be put on a permanent basis.
“It has been decided to re-engage Mr. Scheel, and
contracts have been authorized with the members of
the Orchestra, so that as far as possible the present
personnel may be retained.
“It is the hope of the Committee that you will continue
to favor the organization with your support as before,
and that you will renew your subscription to the
Guarantee Fund.
“By Order of the _Executive Committee_
“(Signed) A. VAN RENSSELAER, _President_”
PROGRAMME BOOK
“THE PHILADELPHIA ORCHESTRA ASSOCIATION
OWES MUCH OF ITS SUCCESS TO THE DEVOTED
LABORS OF THE FOLLOWING
WOMEN’S COMMITTEES
ANY MEMBER OF WHICH WILL BE GLAD TO RECEIVE
YOUR SUBSCRIPTION OF TWENTY-FIVE
DOLLARS, OR MORE, TO THE
GUARANTEE FUND
OF THE
PHILADELPHIA ORCHESTRA
“WHAT THE PHILADELPHIA ORCHESTRA IS DOING
FOR PHILADELPHIA”
“The breadth of a city’s culture is measured by its
point of view toward the arts that interpret life.
Music is one of them—with Painting and Literature. It
is the function of THE PHILADELPHIA ORCHESTRA
to carry forward the musical tradition that has been
Philadelphia’s for five generations—
“And more, to keep its musical consciousness alive
and virile, by presenting the noblest works of the
composers of today—composers who are expressing life
in the terms of the present day.”
* * * * *
“It has warm friends, enthusiastic audiences, the
appreciation of musicians. Its influence is far more
than local.
“But more than this—it needs financial support.
“It is not a private enterprise for private gain, but a
public organization for public service.
“In the nature of things such an institution cannot be
self-supporting. Its box office receipts are fixed by
the customary scale of prices—while its expenses are
the creatures of time and circumstance.
“The resulting deficit is made up each season by The
Philadelphia Orchestra Association, whose members
guarantee sums ranging from $25 to $5000 each,
annually, for this purpose.
“The Association is thus the instrument through which
any one may help to perform this public service. It
needs more members—of whom you are invited to be one.
“THE INFLUENCE OF YOUR NAME AND YOUR MONEY ARE NEEDED.”
PROGRAMME BOOK
“A CALL TO PATRIOTISM
“THE CALL TO CIVIC PRIDE IS IN THE AIR. ‘Learn
to know Philadelphia and work for her,’ is heard on
every hand, and our people are urged to form and join
‘Patriotic Societies,’ all of which is good, and well
worth-while.
“BUT DO YOU KNOW that for several years a
zealous Patriotic Society—one that evinces the truest
Patriotism, the Patriotism of the Pocket-book and Bank
Account—has been quietly at work doing all it could in
its own way for the good name of Philadelphia and for
the enjoyment and welfare of her citizens?
“THE MEMBERS OF THIS SOCIETY have demonstrated
the soundness of their Patriotism, the reality of their
Civic Pride, and their zeal for the people’s good,
without boasting and without complaint, by contributing
from their private means, in the past nine years,
approximately $468,000 to maintain and operate THE
PHILADELPHIA ORCHESTRA, an institution of which
every good Philadelphian has reason to be proud.
“THE MEMBERSHIP OF THIS SOCIETY of liberal and
public-spirited citizens known as THE PHILADELPHIA
ORCHESTRA ASSOCIATION, numbered 43 in the season
of 1901-02. Last season there were 263 members.”
* * * * *
“WILL YOU NOT SHOW YOUR PATRIOTISM, your Civic
Pride, your desire ‘to know and work for Philadelphia,’
by joining the honorable roll of this Association? A
subscription of Twenty-five Dollars, or more, toward
the Guarantee Fund, will make you a member.
“YOUR NAME AND MONEY ARE NEEDED!
“THEY ARE NEEDED NOW!
“Write today to the Manager for a Subscription Blank.”
One of the difficulties was the attitude of business men who felt
that after a few years the orchestra should be making a return on the
investment, or at least be self-supporting. Their opinion was that an
institution which was a constant expense did not deserve the support of
the community. Fortunately for music, the people of Philadelphia now
understand that an orchestra never can be anything but a public charge.
Beginning with 1904 the number of guarantors ranged from two hundred
and fifty to three hundred and sixty per season. The Guarantee Fund
ranged from forty-five to fifty thousand dollars. During some seasons
there was that most intolerable of all things, an extra deficit: during
a few, a certain per cent of the fund only was called upon.
The discouraging part of the Guarantee Fund method of financing an
orchestra lay in the fact that the work was never-ending. A certain
number of guarantees expired each season and the guarantors had to be
persuaded by all the arts of man and woman to renew their pledges. The
fact that their money was to be immediately spent, militated, in the
minds of many people, against the Fund. It is so much pleasanter to
think of one’s gift safely ensconced in a permanent fund yielding an
income year after year for a favorite cause.
The Women’s Committees worked hard for the Fund. Besides procuring
new guarantees each year for twelve years, amounting to thousands of
dollars, they obtained renewals of old guarantees or made good the loss
by new ones. In 1905, they defrayed the extra deficit of $5300.00; no
doubt taxing everybody’s generosity and patience to the utmost.
Much of the financial burden in the first years was borne by a few
men and women, who time after time put their hands deep into their
pockets. Among these may be named Mr. Alexander Van Rensselaer, the
president; Mr. Thomas McKean, Jr., for some years vice-president; Miss
Anne Thomson and Miss Mary K. Gibson, directors. The treasurer, Mr.
Henry Whelen, Jr., was always optimistic and advanced money constantly.
What the result would have been if Mr. Whelen had not done this is
problematical. His untimely death in 1907 robbed the orchestra of a
devoted friend.
Mr. Whelen was succeeded as treasurer by Mr. Arthur E. Newbold, of
Drexel and Company, who arranged loans and advanced money and took
endless trouble for the Association. The same can be said of Mr. Robert
K. Cassatt, the present treasurer, who attends to many details of
business.
From 1905-06 until 1910-11, Mr. Horace Churchman was the Controller
of the finances, which he administered with ability and much to the
satisfaction of the Board.
A glance at the figures is all that is needed to learn the story of
those years so discouraging from a business point of view.
Résumé of the Guarantee Fund, 1900-01-1915-16
Number of Amount Extra
Season Concerts Total Guarantors Collected Deficit
1900-01 6 $15,720 120 $13,299 (84%) $40,000
1901-02 14 pairs 32,000 43 32,000 30,000
1902-03 14 ” 38,000 113 38,000 16,000
1903-04 14 ” 42,000 137 42,000 5,300
1904-05 15 ” 48,000 259 48,000
1905-06 18 ” 50,000 315 47,000 (95%)
1906-07 20 ” 46,840 281 41,900 (90%)
1907-08 22 ” 42,285 273 40,100 (95%)
1908-09 22 ” 45,125 352 42,800 (95%)
1909-10 22 44,800 359 44,800
1910-11 25 42,400 311 42,400
1911-12 25 42,100 309 42,100
1912-13 25 43,200 314 43,200
1913-14 25 46,000 335 46,000
1914-15 25 45,300 323 45,300
1915-16 25 49,100 310 49,100
--------
Total $618,699
During these distressing days Scheel was asked to dine at the
Rittenhouse Club to meet some prominent men of affairs, at a time when
desperate efforts were being made to procure guarantors. The hour
arrived, but no Scheel and it was learned that he had not gone home
to dress. His friends started out to find him, and he was discovered
teaching the second bassoon player to play a syncopated passage in
a Tschaikowsky symphony. The dinner was entirely forgotten in the
absorption of the lesson, but he rushed home to dress and arrived only
thirty minutes late. The result of the dinner, however, was an addition
of several thousand dollars to the Guarantee Fund.
The total number of guarantors who defrayed the annual deficit
during sixteen years was about seven hundred and fifty, and to them
Philadelphia music lovers are deeply in debt. Many sighs of relief were
heard when this unstable way of financing an orchestra was ended by
the offer of the “Unknown Donor,” which made possible a more permanent
method.
CHAPTER VI
THE DEATH OF FRITZ SCHEEL
But while the Board of Directors was in a continuous state of anxiety
about the expenses; and the guarantors were being kept up to the mark;
and the three Women’s Committees then in existence were straining every
nerve to help; and the orchestra was constantly improving through
the untiring efforts of the conductor, all was not well with Fritz
Scheel. In looking back over his term of leadership of the Philadelphia
Orchestra, his friends realize now that his illness began at least one
year, and perhaps more, before the final breakdown came. He became
irascible with his players, erratic in conduct, and his good judgment
in matters musical seemed to forsake him. During the first months of
1907 his programmes had to be constantly supervised to guard against
excessive severity; and on one occasion he had to be restrained from
playing five symphonies at one concert.
The first knowledge the public had that he was in a peculiar
mental condition was at a concert of the Eurydice Chorus, held in
Horticultural Hall on February 6, 1907. He had been much upset by the
death of a violinist in the orchestra, who disappeared and was found
drowned. During the concert he asked the audience to rise and then
played a funeral march in memory of this man. He constantly talked to
the audience and to the singers. It was immediately seen that he was
not responsible for his actions, and a specialist was consulted. He was
taken to Atlantic City for a week, but did not improve.
The news of Scheel’s illness brought forth universal expressions of
regret, as witness the following:
March 3, 1907.
“FRITZ SCHEEL”
“Fritz Scheel’s illness is not only a personal tragedy;
it is a public calamity. The fine orchestra which he has
created for Philadelphia, and into which he has poured
to exhaustion his own nervous energy, remains the pliant
instrument he made it, ready to the hand of whatever
master may be found to carry on his work, if he should not
return to it. But the orchestra has been so peculiarly the
expression of Scheel’s artistic personality, that his
withdrawal at the end of what had been a most prosperous
and buoyant season leaves the great constituency built up
for it in these seven years with a sense of bereavement and
depression.
“Mr. Scheel is a remarkable instance of a concentrated
musical temperament, that views all life and thought through
its own medium alone. In the years that he has spent
in Philadelphia, he has been scarcely known beyond the
immediate circle of the orchestra and the musical societies
that he has directed.”
* * * * *
“It is not enough to refer to the wide field of modern
music that he has made familiar to us, through his lucid
presentation of the works of the French, the Russian and
other Continental composers, including the most recent
Germans, such as Strauss, whose recondite music he read
with a clearness and significance that the composer himself
failed to convey. Scheel’s peculiar insight is still more
expressed in that fact that he has made Brahms a popular
composer in Philadelphia, and he has triumphantly shown
that the great ‘classics’ are not antiquated, but that real
musical thought may speak to modern ears as well through
ancient as through modern forms, if felt and interpreted
with modern understanding.”
* * * * *
“The orchestra, of course, goes on, and the best present
hope is that Scheel may be restored to health before another
season. No doubt another conductor will be found if this
hope should fail, but he will necessarily be different and
there is no one now known in this country whom with an
equally broad musical outlook, could be counted upon to
make all the work of the orchestra so unfailingly and often
surprisingly interesting as Scheel has done. Such artists as
he are rare in any time or place, and it is to the honor of
Philadelphia that he has received not only from the few, but
from the many, some measure of the appreciation that is his
due.”
_Public Ledger_, February 10, 1907
“... Scheel’s collapse, however, came as a shock to
everyone connected with the orchestra, and yet they all
realized that he could not endure for a much longer
time. For three weeks he had been unable to sleep.
“Never a moment of freedom did he allow himself. In Odd
Fellows’ Temple each morning he rehearsed one group
of players, in the afternoon another group and in the
evening the entire orchestra. At his meals he arranged
the sugar bowl so that it would keep the score of some
symphony or other in an upright position where he could
study while eating.
“In Harrisburg, only three weeks ago, Scheel had the
grip, and when the business manager, Charles Augustus
Davis, went to see him, he found the leader lying in
bed with water bags over his heart and a score in front
of his eyes. All this time Scheel was also attending
to his work as leader of the Eurydice and the Orpheus
Clubs, rehearsing and leading at concerts.”
* * * * *
“LOOKS HAGGARD”
“Mr. Scheel was seen by the _Public Ledger_
correspondent as he returned to his hotel after a swift
stroll down the boardwalk with his physician. He looked
haggard and spoke in an excited, almost hysterical tone.
“‘Please tell my friends in Philadelphia that I am not
a sick man,’ and greeted the newspaperman effusively.
‘All this talk about my mental condition is absurd. I
needed a rest, that was all, and the directors very
kindly allowed me to come to the seashore. I will be
all right in a few days, won’t I, doctor?’
“The concluding sentence was directed to Doctor
Goodman in a tone of pitiful appeal. Dr. Goodman
nodded good-naturedly, as he does to all the proposals
and plans that the sick musician unfolds in his
illusions, when he talks about purchasing several beach
play-houses for great music festivals.”
After conducting a last concert in Reading, Scheel was taken to a
sanitarium where he died of paresis on March 13th, 1907.
One of his last hallucinations was to write letters to prominent
musicians in Europe, offering them large sums to come to Philadelphia
and teach in a conservatory that he was about to found. During his stay
at the sanitarium he organized the nurses and orderlies into a chorus
and made them sing part songs, grouped about his bed. This was a unique
occurrence in the conduct of sanitariums, and he was soon much beloved
by the attendants, whose tears at his funeral bore witness to their
feeling for him.
“Fritz Scheel, Fighter,” would have been a good name for the first
leader of the Philadelphia Orchestra. His death was generally
attributed to overwork, but modern psychologists insist that no man
ever came to his death by work. It was the strain of conquering,
handicapped by the financial condition of the Association, that killed
Scheel—conquering first his musicians, then the musical public, then
the opposition to a Philadelphia Orchestra, and last the general
apathy, most difficult foe of all to subdue. If he had not been a
fighter, the Twenty-fifth Anniversary of the Philadelphia Orchestra
would still be several years ahead.
_Philadelphia Inquirer_, March 14, 1907:
“SCHEEL, MARTYR TO ORCHESTRA HE CREATED, IS DEAD.
CONDUCTOR KNOWN THROUGHOUT THIS COUNTRY AND EUROPE
SUCCUMBS TO PNEUMONIA
“Fritz Scheel, conductor and creator of the
Philadelphia Orchestra, who during the seven years
which he headed that organization won the affection of
local music lovers as no other musician ever gained it,
died shortly before one o’clock yesterday afternoon in
Dr. Francis X. Dercum’s sanatorium, at 1929 Wallace
Street. Double pneumonia was the direct cause of his
death.
“There is little doubt that the real cause of the
sudden end of the brilliant career of Mr. Scheel was
his devotion to the orchestra, of which he was the
conductor, for had it not been for the nervous and
physical breakdown of a month ago, brought on by
overwork, his ordinarily sturdy constitution in all
probability would have shaken off the pneumonia which
conquered him in his weakened condition.
“During the month before his nervous breakdown, Scheel,
encouraged by the artistic and financial success which
was attending the season’s performances, redoubled his
efforts to make the remaining concerts even outshine in
brilliancy and attendance the preceding ones.
“There is no doubt that he would have succeeded, for he
had not only imbued both the musicians in the orchestra
with his zeal, but had also wrought the music lovers of
Philadelphia up to a high pitch of enthusiasm.”
_Philadelphia Press_, Thursday, March 14, 1907:
“MAGIC OF SCHEEL’S BATON STILLED BY LEADER’S
DEATH”
“Double pneumonia ends life of gifted musician who
brought the Philadelphia Orchestra to a high plane of
excellence.
“Philadelphia music lovers suffered perhaps the
severest loss in the city’s musical history yesterday,
when Fritz Scheel, director of the Philadelphia
Orchestra, succumbed to double pneumonia.”
* * * * *
“The news was received with sorrow among rich and
poor alike, among those who were regular subscribers
to the season of symphony concerts, as well as among
those, who loving music, waited patiently in line for
the doors to the family circle and amphitheatre of the
Academy of Music to open, to hear the diverse program
which it was Scheel’s wont to perform.
“The maestro had made a brave fight for his life, his
vitality, according to his physicians, having been
remarkable.”
* * * * *
“Mr. Scheel added to the technical equipment, which
is the natural product of German life and training,
a poetic temperament and a broad outlook on matters
musical, which not only gave great vivacity and variety
to his programmes, but which made for such insight in
the matter of the meaning of any given composition, as
to produce the most illuminating and inspiring results.
“A course of seven seasons under his baton was,
therefore, not only pleasurable in the highest sense
of the meaning of the word, but instructive and
educational to a marked degree, the entertainment
however, marked, being as it were, incidental to a
greater purpose of not only creating, but of satisfying
the desire for the higher things in the most glorious
of arts. In this sphere of endeavor Mr. Scheel’s
singleness of purpose was well known. His devotion to
musical ideals was manifest in everything he did, and
his concentration on what he considered his lifework
was of so energetic and absorbing a character as to
make serious inroads on his health and strength. His
death places the musical world peculiarly in his debt,
since he arrived in Philadelphia at a critical period
in our musical history and met the situation admirably.
“It is natural that those interested in music should
feel a personal loss, but there is also a larger loss,
in that every city must conserve those influences which
keep the fire burning for the finer things of life.
Hence, although those who are not of the musical world
may not so realize it, they are also the losers through
the passing of so striking a personality, for nothing
is more certain than that any community does not live
for or by bread alone, and it is a hopeful sign when
any city is the scene of activities which include men
and movements that look beyond mere material comforts.
“It is fortunate that at this juncture Philadelphia has
a large group of self-sacrificing citizens who realize
this. Mr. Scheel had his reward in life in their
support and appreciation, and the best tribute to him,
now that he is dead, will be that the good work will go
on on the lines laid down by him, so that what he stood
for shall not be lost, and the vantage ground attained
to be held in all certainty.”
Funeral services for Fritz Scheel were held on March 16th in the
Lutheran Church of the Holy Communion, on Chestnut Street above
Twenty-first. The immense gathering was a tribute to the conductor and
a proof of his personal, as well as musical, popularity in Philadelphia.
The list of honorary pall-bearers was a long one and included
representatives from almost every branch of musical activity in
Philadelphia:
Executive Committee of the Orchestra: Mr. Thomas
McKean, Mr. Henry Whelen, Jr., Mr. Richard Y. Cook, Mr.
John H. Ingham, Mr. Andrew Wheeler, Jr., Dr. Edward I.
Keffer, Mr. Edward G. McCollin, Mr. A. J. D. Dixon.
Orchestra Guarantors: Mr. F. T. S. Darley, Mr. S.
Decatur Smith, Mr. Richard S. Brock, Mr. John H.
Converse.
Business Office: Mr. Chas. A. Davis, Mr. Horace
Churchman.
Orchestra Members: Mr. Thaddeus Rich, Mr. Anton Horner,
Mr. Jan Koert, Mr. C. Stanley Mackey.
Philadelphia Symphony Society: Mr. Charles A. Braun,
Mr. J. H. Michener, Jr., Mr. Joseph M. Mitcheson.
Orpheus Club: Mr. Charles W. Baily, Mr. Arthur L. Church.
Eurydice Club: Mr. Louis F. Benson, Mr. F. H.
Rosengarten.
Mendelssohn Club: Dr. W. W. Gilchrist.
Choral Society: Mr. Henry Gordon Thunder.
University of Pennsylvania: Dr. Hugh A. Clarke.
Philadelphia Press: Dr. A. C. Lambdin, Mr. Max Heinrici,
Mr. George Rogers, Dr. Martin Darkow.
Philadelphia Musicians: Mr. Philip H. Geopp, Mr.
Maurice Leefson, Mr. Richard Zeckwer, Mr. Wassili Leps.
Personal Friends: Dr. Victor Leser, Dr. John H. Musser.
Besides these, the Board of Directors of the Association and the
Women’s Committees for the Philadelphia Orchestra attended in two large
groups.
Although the orchestra had disbanded for the summer enough of the
musicians were still in Philadelphia to play the slow movement of the
Eroica symphony as the cortège entered the church. The Orpheus Club
sang “The Long Day Closes,” by Arthur Sullivan, and “Holy Peace,” by
Abt. At the grave the horn quartette of the orchestra played Mozart’s
“Ave Verum.” His baton and the score of the Ninth Symphony were buried
with him.
Telegrams and messages of sympathy poured into the offices of the
Association from musicians in all parts of the country and from foreign
artists, sojourning here.
A special meeting of the Board of Directors was held on March 14th,
1907, and this resolution adopted:
“The untimely death of Fritz Scheel has deprived this
Association of the services of a Conductor, who, by
his genius and devotion to his art, has successfully
forwarded our efforts to establish an orchestra that is
a credit to Philadelphia and to the contributors whom
we represent.
“Artistic both by temperament and inheritance, the
devotion to his profession by which this community has
profited so much has been indirectly responsible for
the untimely ending of his career. Had he been less
insistent upon the full performance of every detail
involved in a complete and conscientious fulfillment of
his duties, the great drain upon his powers that left
him without sufficient vitality to withstand the attack
of his last illness, might have been avoided.
“If it be for us to write his epitaph, we would place
devotion to his art as his most prominent trait of
character, and loyalty to his orchestra and to our
Association as its closest companion.
“In many respects the Philadelphia Orchestra stands as
a monument to his work and memory, for he must long be
remembered as its first, and for seven years its only
Conductor.”
Scheel’s devotion to Beethoven was well known, and if he had been told
to arrange his last concert no doubt he would have chosen a Beethoven
programme. Was it more than coincidence that the following programme
was his last?
BEETHOVEN PROGRAMME
February 7 and 8, 1907
DR. OTTO NEITZEL, _Pianist_
QUARTET
MARIE KUNKEL-ZIMMERMAN, _Soprano_
EMILY STUART KELLOGG, _Contralto_
NICHOLAS DOUTY, _Tenor_
FREDERIC MARTIN, _Bass_
THE MENDELSSOHN CLUB
(Through the courtesy of Dr. W. W. Gilchrist, Director)
LUDWIG VON BEETHOVEN (1770-1827)
1. Phantasie for Piano, Orchestra and Chorus, Op. 80
Adagio _Piano_
Finale
Allegro
Allegro molto
Adagio ma non troppo
Marcia assai vivace _Piano and Orchestra_
Allegretto ma non troppo
Presto _Piano, Orchestra and Chorus_
Prefatory Remarks by Dr. Otto Neitzel
2. Quartet from “Fidelio” (“Mir ist’s so wunderbar”)
For Two Sopranos, Tenor and Bass
3. Symphony No. 9, in D Minor (Choral), Op. 125
Finale on Schiller’s “Ode to Joy”
For Soli, Chorus and Orchestra
Allegro ma non troppo, un poco maestoso
Molto vivace
Adagio molto e cantabile
Allegro assai _Quartet and Chorus_
Prefatory Remarks by Dr. Otto Neitzel
The predicament of the Board of Directors during Scheel’s illness and
after his death can hardly be described. Apart from the feeling of
personal loss, the Association was pledged to give a series of concerts
in Philadelphia and elsewhere. All the best conductors in America were
engaged in mid-season and the best European ones, if available, were to
be had only at impossible prices.
The concerts of February 7th and 8th during the first week of his
illness were conducted by August Rodemann, the assistant conductor and
first flutist; and Dr. Otto Neitzel, who was included in the programme
as lecturer, directed the Ninth Symphony. The remaining ones were led
in an atmosphere of sadness and apprehension by Leandro Campanari.
THE SCHEEL MEMORIAL TABLET
Immediately after the death of Fritz Scheel the Women’s Committee
proposed to raise a fund for a memorial to him to be placed in the
lobby of the Academy of Music. A committee was appointed with Mrs. Wm.
W. Arnett as Chairman. The circular printed below was sent out, to
which there was an immediate and generous response.
FRITZ SCHEEL MEMORIAL FUND
UNDER THE AUSPICES OF
THE WOMEN’S COMMITTEE FOR THE PHILADELPHIA ORCHESTRA
“The Women’s Committee for the Philadelphia Orchestra
has decided to erect in the Academy of Music a
life-sized bronze bas-relief portrait of the late Fritz
Scheel, three-quarters length figure, at a cost of
$5000; $2000 of which has already been contributed.
This memorial will have great value as a work of
art, as it will be executed by Mr. Charles Grafly,
of Philadelphia, the eminent American sculptor. It
will also be a lasting and visible monument to the
first conductor of the Philadelphia Orchestra, who was
beloved by the musical public not only of Philadelphia,
but of other neighboring cities. It is right and
fitting that so great a man, representing so great an
organization, should have an adequate monument in our
historic Academy of Music.
“The music-loving public is asked to help erect this
monument to Mr. Scheel, and all lovers of Art who have
the interest of the great enterprise of their city at
heart, will wish to have their part in this Memorial.
“Messrs. Drexel & Co., Fifth and Chestnut Streets, have
kindly consented to receive contributions to the ‘Fritz
Scheel Memorial Fund,’ as also have Heppe & Son, 1115
Chestnut Street, and Theodore Presser, 1712 Chestnut
Street. Contributions may also be sent to the office
of the Philadelphia Orchestra Association, Room 1313,
Pennsylvania Building, Fifteenth and Chestnut Streets,
or to Mrs. Alfred Reginald Allen, Treasurer, 111 South
Twenty-first Street, Philadelphia. Contributions of any
amount, large and small, are solicited.
“It is important that all contributions be made by June
1st in order that the bronze may be completed before
the termination of the next Orchestra season.”
* * * * *
Mr. Charles Grafly had taken a death mask of Scheel and produced a
fine work of art and a most excellent likeness of the man. The setting
was designed by Mr. Edgar V. Seeler. The Tablet cost six thousand
dollars, and enough money was raised in addition to purchase a lot in
West Laurel Hill Cemetery, and to place on Scheel’s grave a suitable
tomb-stone and some shrubbery. Perpetual care was arranged for, a great
satisfaction to Miss Scheel and to all his friends and admirers. For
many years the Women’s Committee has placed a wreath on the memorial
tablet on the anniversary of Scheel’s death, thus keeping alive the
memory of the man and what he did for music here.
One year after Scheel’s death a memorial meeting was held at the
Academy of Music at which time the tablet was unveiled.
PROGRAMME OF CEREMONIES
“FRITZ SCHEEL MEMORIAL
“ACADEMY OF MUSIC
WEDNESDAY, MARCH ELEVENTH
NINETEEN HUNDRED
AND EIGHT
AT THREE O’CLOCK”
“FRITZ SCHEEL
“A TRIBUTE
“By Florence Earle Coates
“He gave his life to Music—gave—
For love, not hire—himself denying;
His body rests, o’er wearied, in the grave,
But Music lives and gives him life undying.
“In the deep silence, may he hear
Such harmonies as he could wake,
And O, may some faint accents reach his ear
From the great City’s heart that sorrows for his sake!”
“IN MEMORIAM
“By Harrison S. Morris
“Broken in twain the ordered sum of years,
The baton fallen, the chords forever stilled;
Vanished the master, mourned of human tears,
Enduring what to Art his spirit willed.
“The hand that swept the strings
Like unto dust shall be;
The stricken chords vibrate
Eternally.”
“PROGRAM
“IN MEMORIAM
“FRITZ SCHEEL
“BORN LÜBECK, 1852; DIED PHILADELPHIA, 1907”
* * * * *
“RICHARD WAGNER—VORSPIEL, “PARSIFAL”
“ADDRESS
“MR. OWEN WISTER
“RICHARD STRAUSS, TONE POEM, OPUS 28,
“TOD UND VERKLÄRUNG,
“(Death and Transfiguration).”
* * * * *
“UNVEIL MEMORIAL TO FRITZ SCHEEL”
GREAT THRONG AT ACADEMY OF MUSIC TO PARTICIPATE IN
HONOR OF FIRST CONDUCTOR OF PHILADELPHIA ORCHESTRA
“One of the greatest tributes ever paid to a musician
in this city was the Fritz Scheel memorial celebration
at the Academy of Music yesterday afternoon. It was a
tribute to a man who was much beloved for the years
of hard work he had done in bringing the Philadelphia
Orchestra to its present perfection, as well as a
tribute to his own personality, which won for him hosts
of very warm admirers here.”
“GREAT CROWD GATHERED”
“The memorial services at the Academy yesterday, modest
and impressive as they were, were remarkable for the
vast crowd that assembled to honor the master. Long
before the doors were opened, hundreds of people had
gathered at each of the entrances, which were rapidly
increased to thousands and when admission was finally
gained, it was only a short time before every bit of
available space was taken, with sufficient people on
the outside to fill the place twice over.
“That the Academy was filled to capacity was announced
at the different entrances by attachés of the Academy,
and although hundreds turned away disappointed, an
equal number of them remained during the entire hour
of the memorial services, and to repay them for their
patience, they were finally allowed admission, not to
get a chance to hear any of the ceremonies, but to view
the handsome tablet.
“The tablet was unveiled while the audience listened to
the brief but impressive address of Mr. Owen Wister.”
* * * * *
“MRS. ROOSEVELT SENT A WREATH”
“Encircling the tablet was a festooning of laurel sent
by the Women’s Committee, and underneath a large wreath
of beautiful white roses sent by Mrs. Roosevelt.
“Mr. Wister’s address was a brief but eloquent effort.
After a few introductory remarks, he said among other things:
“‘Great poems survive the poets who wrote them; great
pictures and statues survive their creators, as
symphonies survive the masters who composed them. In
all these arts the work of genius lives on, while the
brain where it was born goes to dust. Not so is it
with another sort of artist, the interpreter. He who
interprets—the actor, the singer, the player—be he
never so great, be he Garrick, or Mario or Paganini,
still must he perish with the generation that heard
him, and sometimes he does not even leave a name.
“‘The lot of the orchestral conductor is the same,
for he belongs to the class of interpreters, with the
Garricks, the Marios, the Paganinis. No matter what
magic comes from the baton that he waves, once that
baton is laid down, the magic is dead.’
“REVIEWED MR. SCHEEL’S WORK”
“Mr. Wister then went on to sketch briefly the work of
Mr. Scheel from the time he came to this country and of
his residence in Philadelphia for nine years, beginning
with the conducting of the Amateur Symphony Orchestra
and including the years he was at the head of the
Philadelphia Orchestra. He said:
“‘Arduous were the pioneer steps, but between each one
lie many struggles, many examples of generosity, of
munificent giving on the part of private citizens; some
gave their time and some their purse and some both.
Without their persmission (for they would refuse it),
let the names of the pioneers be mentioned:
“‘Mrs. A. J. Cassatt and that hardworking committee
of four: Messrs. Edward Keffer, Edward McCollin,
John Ingham, Oliver Judson. Let us remember next the
boundless generosity of Alexander Van Rensselaer and
Thomas McKean, who poured their thousands out like a
royal gift; nor let us ever forget Miss Anne Thomson
and Miss Mary Gibson; to let any of these names go in
silence today, would be to fail in due appreciation.
And for Henry Whelen, his untiring devotion of time and
purse, let a special word of remembrance be said.’
“‘But for the loyal help of all these we might not be
here—nor should we, if, in a dark hour, when masculine
endurance gave out, feminine energy had not stepped in.’
“Mr. Wister then followed with a eulogy of Mr. Scheel,
the ‘artist’ as well as Mr. Scheel the ‘man.’ In
conclusion he said:
“‘So did his work end. Many must be sitting here today
who well remember those years when Theodore Thomas
played to a mere handful of listeners in this house;
when tickets were given away by the dozen and the
fifty, in order that there might not be a desert of
empty seats.
“‘But it was not a barren field that Theodore Thomas
sowed the seed in. He made it ready for the Boston
Orchestra, and thus at length arrived the man and the
hour for a Philadelphia Orchestra. We have grown to
understand the great value of such music, not only the
pleasure it gives, but its educational and civilizing
importance; and, although now and again some benighted
voice is raised against systematic musical instruction
in our schools, the day of the municipal savage draws
to its close!
“‘Older governments assist symphonic art, liberally
subsidizing it; but in our Republic it is proper for
the citizens to take this upon themselves, and all
over the country they are beginning to do so. But
Philadelphia’s progress since the days of Theodore
Thomas is the most extraordinary of all, and her
citizens will see that it goes on.
“‘And so Fritz Scheel passes from this desk into
bronze, where the artist has caught his look with
admirable and living skill; the very look he had so
often when he turned half round the moment before he
raised his baton. At this desk now stands his eminent
successor, worthy to perfect the work so worthily, so
loyally begun. At future concerts when we come in we
shall see Fritz Scheel looking down from his bronze,
and imagine upon his face a look of serenity and
approval.’
“Mr. Wister was heartily congratulated for his address,
and the ladies of the committee in charge of the
memorial celebration received many favorable comments
as to the admirable way in which they had carried out
their work, not only in the collecting of the money,
but in providing such a fitting tribute to the late
conductor.”
* * * * *
_Evening Bulletin_, March 11, 1908:
“THE MEMORIAL TABLET”
* * * * *
“The seats in the parquet circle, with the exception of
the boxes, had been reserved for the subscribers to the
Fritz Scheel Memorial Fund, and the Guarantors for the
Philadelphia Orchestra.
“The balcony and family circle were for the regular
ticket holders of both series of concerts, while
tickets for the amphitheatre had been distributed
to the music students of the various musical
conservatories.
“Proscenium Box No. 2 had been reserved for Mr. and
Mrs. A. J. Dallas Dixon, Miss Margaret Scheel, Mr. and
Mrs. Alexander Van Rensselaer, Mr. and Mrs. Andrew
Wheeler, Jr., Mr. and Mrs. Arthur Newbold, Dr. and Mrs.
Edward I. Keffer and Miss F. A. Wister.
“Proscenium Box No. 3 for Mr. and Mrs. Thomas McKean,
Mr. John H. Ingham, Mr. Clement B. Newbold, Mr. and
Mrs. Edgar Scott, Mr. E. T. Stotesbury, and Miss Anne
Thomson, representing the Board of Directors of the
Philadelphia Orchestra Association.
“Proscenium Box No. 4 had been allotted to the
following ladies representing the Honorary
Vice-Presidents of the Women’s Committee for the
Philadelphia Orchestra: Mrs. George F. Baer, Mrs.
Alexander W. Biddle, Mrs. John Cadwalader, Mrs. Charles
B. Coxe, Miss Mary K. Gibson, Mrs. Clement A. Griscom,
Mrs. Austin S. Heckscher, Mrs. C. E. Ingersoll, Mrs.
Frank H. Rosengarten, Mrs. Cornelius Stevenson, Mrs.
Theodore Voorhees and Mrs. L. C. Vandergrift and Mrs.
Oscar R. Jackson of Wilmington, Del.
“The parquet circle and balcony boxes were reserved
for the officers of the Women’s Committee for the
Philadelphia Orchestra and their guests. The list of
Philadelphia guests included the following: Mr. and
Mrs. John E. Reyburn, Mr. and Mrs. Edward H. Coates,
Mr. and Mrs. Charles Grafly, Mr. and Mrs. C. C.
Zantzinger, Mr. and Mrs. Charles L. Borie, Mr. and Mrs.
Edgar V. Seeler, Mr. and Mrs. Harrison S. Morris, Mr.
John Luther Long, Mrs. Owen Wister, Jr., Mr. and Mrs.
H. B. Fine, of Princeton, N. J., Miss Alice Nevin,
Lancaster, Pa., Mr. and Mrs. Frederick Martin, of
Harrisburg, Pa.
“The following ladies had charge of the memorial
services: Mrs. W. W. Arnett, chairman; Mrs. A. J.
Dixon, Mrs. H. E. Yarnall, Mrs. Thomas S. Harrison,
Miss Anne Thomson, Miss Nina Lea, Mrs. F. H.
Rosengarten, Mrs. George Widener, Mrs. John B. Miles
and Mrs. W. L. McLean.
THE FUTURE
The Board of Directors immediately began to look for a successor to
Fritz Scheel. Various proposals were made, among them one to Franz
Kneisel, who was forced to decline by a storm of protest from his
New York admirers. At the Annual Meeting held May 14, 1907, this
announcement was made:
“Though the association has sustained a great loss in the death of Mr.
Scheel, who labored with untiring zeal, achieving successful results
in bringing our orchestra to a high plane of musicianship, the public
may be assured that his place will be worthily filled. At the present
moment, however, the Executive Committee is compelled to face a
question of some embarrassment in selecting the successor to the late
Mr. Scheel. Fortunately, your committee is in receipt of applications
that include many of the representative conductors in the world of
music, and, in consequence of this wealth of material from which to
select a conductor, the question of arriving at a decision is rendered
somewhat puzzling. The public may rest assured, however, that a
conclusion may be speedily reached, and a conductor named who will meet
with the approval of all.”
THE MUSICAL RECORD
1900-1907
Fritz Scheel’s musical achievements were outstanding, considering that
he was organizing a new orchestra under difficulties, both artistic and
financial. The list of important works presented by him is of interest,
for besides the compositions of European composers, he also brought
forward those of American and Philadelphia musicians.
1900-01: Edward A. MacDowell: Concerto for Piano.
1901-02: Dvorak: “Heldenlied.”[23]
1902-03: Beethoven Cycle, including Ninth Symphony with
Chorus; Mozart, Aria for Contralto piano and orchestra.
Martinus’ Van Gelder[24] Symphony, A major (dedicated to
Mr. Scheel).
1903-04: Beethoven: Ninth Symphony; Jan Sibelius,
Swan of Tuonela;[25] Frank G. Cauffman,[26] “Salammbo;”
Camille W. Zeckwer,[27] Concerto for piano and orchestra
(composer at the piano).
1904-05: Vincent d’Indy, Second Symphony, B flat.[28]
1905-06: Mozart Programme:
One Hundred and Fiftieth Anniversary of the
Birth of Mozart.
January 26-27, 1906.
Soloist: Mme. Charlotte Maconda, Soprano
1. Symphony, G minor
2. Recitative and Aria from “The Marriage of Figaro”
3. A Short Serenade (Eine kleine Nachtmusik) for two
violins, viola, violoncello and bass
4. Aria from “The Magic Flute”
5. Overture to “The Magic Flute”
* * * * *
Wassili Leps;[29] “Andon” (poem by John Luther Long[30]).
1906-07: Beethoven: Ninth Symphony.
Scheel possessed a fine music library, which was an asset to an
orchestra just starting out in an almost penniless condition. It
contained standard orchestral scores of symphonies, overtures, violin
and piano solos with orchestra, as well as music suitable for popular
concerts, operatic selections, and smaller orchestral works. He was
never handicapped on account of the lack of music for besides this the
Association was constantly purchasing what was needed. In addition to
first performances in America, there were constant novelties at the
concerts and the artistic standard was high from the outset. A glance
over the programmes shows that while on occasion minor works were
presented which are now not generally played, the works of the great
masters predominated. In this way the taste of the audience was trained
and for this education Philadelphia owes to Fritz Scheel much of its
ability to appreciate and enjoy music today.
[23] First performance in America.
[24] Philadelphian.
[25] First performance in America.
[26] Philadelphian.
[27] First performance in America.
[28] Philadelphian.
[29] Philadelphian.
[30] Philadelphian.
[Illustration: SCHEEL MEMORIAL TABLET]
A TRIBUTE
“The man who really made The Philadelphia Orchestra
from a musical standpoint is Fritz Scheel. I never knew
him personally, but he must have had very high musical
ideals. They are evident in everything he did. Also,
he must have had a wonderful faculty for choosing the
highest type of artists for the orchestra; he set a
standard then which has been difficult to live up to
musically. Such artists as Rich, Horner, and Schwar (to
mention only a few of the many who are still remaining
in The Philadelphia Orchestra from Fritz Scheel’s time)
are absolutely in the first rank for their instrument,
not only in America but in the whole world. It was
Scheel’s vision that laid such a wonderful foundation
for this orchestra; that was very difficult, but in
most cases I feel that we have at last succeeded; but
we never can sufficiently recognize the debt we owe to
Fritz Scheel; the good work he did and the influence of
his ideals seem to live on forever.
LEOPOLD STOKOWSKI.”
PART II
CHAPTER I
THE NEXT STEP
The Board of Directors was now obliged to find a new conductor for the
Philadelphia Orchestra. A survey of America did not bring fruitful
results. Orchestral conductors were few in this country in those days,
and the Board was determined to engage no man but one competent to
carry on the work so well begun. Therefore it was decided to send
the business representative of the Association, Charles A. Davis,
abroad on this quest. After visiting Steinbach in Cologne and Mottl in
Munich, who both recommended Carl Pohlig, Mr. Davis went to Stuttgart,
where Pohlig was the director of the Court Orchestra of the King of
Würtemberg. After consultation with the officers, an offer was made to
him to become the leader of the Philadelphia Orchestra for a term of
three years, which was accepted.
Carl Pohlig was born at Teplitz, Bohemia, in 1864. Like Robert
Schumann, he was the son of a bookseller. His first musical studies
were at the piano. Early in life, while attending the gymnasium at
Weimar, the talented boy was cordially received by Franz Liszt, and was
permitted to accompany the master on his journeys to Rome, Budapest and
other cities, this privilege being shared only by Tausig, von Bülow and
Rubinstein. He thus learned many Liszt traditions.
After having toured Germany, Austria, Russia, Scandinavia and Italy,
he became Kapellmeister at Graz. Later he was associated with Mahler
at the Opera in Hamburg: then at Covent Garden, and Bayreuth, where
he trained artists for the Wagner Festival. Pohlig conducted symphony
concerts following this operatic experience and appeared in Coburg,
Stuttgart, Berlin, Frankfort, Munich and other cities. Finally he
was offered the position of First Court Kapellmeister to the King of
Würtemberg, whence he came, by permission, to Philadelphia.
The “Neue Musik Zeitung,” one of the best musical journals in Germany,
speaks thus of Carl Pohlig as conductor:
“In the symphony concerts he directs with equal fervor
the works of Beethoven, Mozart and Haydn, as well as
the creations of the later great masters. It goes
without saying that Liszt is especially dear to him.”
* * * * *
“Pohlig directs with fire and deep feeling, and with
a certain clearness that can only spring from a quiet
insight into the innermost content of the music; into
the finest fibre of its design.”
The new conductor entered upon his duties in Philadelphia in the autumn
of 1907, presenting for his first concert the following programme:
THE PHILADELPHIA ORCHESTRA
CARL POHLIG, _Conductor_
FIRST AFTERNOON SYMPHONY CONCERT
Friday Afternoon, October 18th, 1907, at 3.00
FIRST EVENING SYMPHONY CONCERT
Saturday Evening, October 19th, 1907, at 8.15
PROGRAMME
1. LUDWIG VAN BEETHOVEN (1770-1827)
1. Overture “Fidelio”
2. Overture “Leonore No. 3”
3. Symphony No. 5, in C minor, Op. 67
I. Allegro con brio
II. Andante con moto
III. Allegro-Allegro, Presto
2. RICHARD WAGNER (1813-1883)
4. Vorspiel, “Meistersinger”
5. “Siegfried Idyll”
6. Overture, “Tannhaeuser”
[Illustration: © Haeseler CARL POHLIG]
Pohlig was warmly received by the audience and acclaimed by the critics
as the following will show:
_North American_, October 19, 1907:
“SOCIETY, FASHIONABLE AND CULTURED, CHEERS POHLIG.
MUSIC LOVERS TURN OUT IN FORCE TO HEAR THIS
SEASON’S PHILADELPHIA ORCHESTRA’S FIRST CONCERT
“Conductor Carl Pohlig came, waved his baton and
conquered at the Academy of Music, yesterday
afternoon—the first concert of the Philadelphia
Orchestra’s regular season. The new musical director’s
local début was a brilliant success and an artistic
triumph.”
“The house was crowded. It was apparent almost from
the outset that Conductor Pohlig was a master artist
and craftsman. He knew his business—‘the first among
German conductors,’ as Felix Mottl styled him. The
great audience, representing fairly Philadelphia’s
highest artistic culture, quickly recognized the new
orchestral director’s high and rare quality. By the
time the ‘Leonore’ Overture was ended, mystic cords
of sympathy between conductor and audience were flung
out and firmly fastened. The immortal Fifth Symphony,
mightiest of musical creations—was awaited with
pleased expectation.”
* * * * *
INTERPRETATION OF WAGNER
“Mr. Pohlig’s initial programme was too long—two hours
of solid music. He does not think so—he broke his
watch crystal in an energetic explanation.
“There was some weariness over the Wagner music—Mr.
Pohlig has not yet got his band keyed up to the
marvelous complexion of the master of Bayreuth. But
again it was quite clear that conditions of Wagnerian
interpretation were as familiar to him as were the
canons of classical music.”
* * * * *
“There was no uncertainty of tempo, and when the
tremendous finale of the ‘Tannhaeuser’ prelude was
stilled, the people rose in their seats and acclaimed
the new conductor in vociferous accents.”
* * * * *
Name and date of newspaper unknown:
“CITY TAKES COMMANDING PLACE IN COUNTRY’S MUSICAL
GROWTH. CARL POHLIG, NEW SYMPHONY CONDUCTOR,
THINKS AMERICA’S FUTURE PLACE WILL BE FIRST
“A dozen years ago, a symphony concert in Philadelphia
meant the arrival of an out-of-town organization, and
the gathering of a sparse audience, dismally scattered
through the Academy of Music. The writer remembers when
on one occasion, in 1899, the Boston Symphony Orchestra
played to a handful of people in our city because of
inclement weather. The reports of the inception of
orchestras like the Pittsburgh, the Chicago, the New
York Philharmonic and others reveal what an uphill
struggle was forced upon these musical bodies because
of the lack of interest in music in the various large
communities.
“So different is the story today, that one is almost
puzzled to account for a change, which has led
Herr Pohlig, the new Conductor of the Philadelphia
Orchestra, to remark: ‘Musically speaking, Germany is
the land of the setting sun; America the land of the
rising sun.’ His enthusiasm is not the result of the
newcomer’s optimism, for Europe has kept track of our
musical progress, and is acquainted with the fact that
in a few years Philadelphia has been able to inaugurate
season upon season of successful concerts given by its
own orchestra, that Chicago’s magnificent organization
created by Theodore Thomas, is now on a self-supporting
basis, and that Pittsburgh, Boston, New York and
Minneapolis are musical communities of great
importance.”
* * * * *
“Asked about his plans for the concerts to be given
this winter, Mr. Pohlig talked unhesitatingly and with
enthusiasm. The first question put to him involved the
type of music he would arrange for Philadelphia music
lovers, and was a query whether this would be of the
same nature he would have furnished a German audience.
He said promptly: ‘Of course, Philadelphia should get
the best and previous programmes show it has been
getting it. And, of course, it must get everything. All
schools of music should be represented. If anything, a
modern conductor must be cosmopolitan.’
“His mode of arranging his programmes will be new to
Philadelphia concert-goers, who have been accustomed
to a programme with the symphony either at the opening
of the concert or at the end. Mr. Pohlig will have the
symphony divide the programme into two, where it serves
the purpose of balancing the music of the recital. He
intends, if the opportunity offers, to combine with
local singing organizations for the production of
music for chorus and orchestra hitherto unheard in
America. His belief in the great spirit of modern music
will give Philadelphians the chance of hearing the
compositions of European contemporaries....”
* * * * *
Pohlig’s first New York concert on November 5th, 1907, did not meet
with approval, which considering the programme presented is not
strange, but the comments were of such a nature as to call down the
wrath of at least one Philadelphia newspaper which retorted in kind. As
New York has since capitulated this can be inserted.
A Philadelphia Newspaper, November 7th, 1907:
“POHLIG IN NEW YORK. FLINGS BY MUSICAL CRITICS AT THE
PHILADELPHIA ORCHESTRA AND ITS NEW CONDUCTOR
“The views of the musical critics of New York
concerning Carl Pohlig upon his first appearance with
the Philadelphia Orchestra in that city on Tuesday
evening are not altogether flattering. The _Sun_,
as might be expected, leads in its light-hearted
attack. Pohlig ‘is employed in the pleasant city of
Philadelphia, where he conducts the local orchestra.
Its work was so rough as to cause wonder that the
organization should have been brought all the way
across the State of New Jersey.’
“The _Times_ says that ‘the orchestra is a good
assemblage of musicians that clearly brought all of Mr.
Pohlig’s intentions to realization. He is a strenuous
conductor of advanced view as to the treatment not only
of Liszt but also of Beethoven.’
“The _Tribune_ says: ‘It was a rather unfortunate
conjunction that of the Philadelphia Orchestra with its
new conductor, Carl Pohlig; Richard Buhlig, pianist;
and Carl Klein, violinist; at Carnegie Hall yesterday
afternoon. Coming alone, and at a more opportune time,
each might have won a more dignified hearing and more
serious consideration than were possible under the
conditions which prevailed yesterday.’
“The New York public is ‘already booked for three-score
and ten of the kind of concerts which it gives.’
However, Mr. Pohlig ‘presented himself as a conductor
of quite admirable capacities so far at least as
a command of the technics of his art is concerned
(leaving all questions of interpretation open).’
“The _World_ speaks of the incapacity of the
orchestra, who seriously hampered the soloist, by
as wicked an accompaniment as was ever heard at a
first-class concert.
“‘Provincial was writ large over the whole proceeding,
and one felt tempted to inquire: “Why Herr Pohlig; why
the Philadelphia Orchestra; why Richard Buhlig?”—at
any rate in New York.’
“In Beethoven’s Fifth Symphony, however, Herr Pohlig
‘effectually removed previous impressions and stamped
himself at once as a thorough musician, a graphic
conductor of real distinction, possessing authority,
temperament, magnetism, poetic feeling and imagination.
One could quarrel with his rather slow tempi and
liberties of phrasing, if inclined to be captious,
but the interpretation of this great work was so
well planned and coherent, that it aroused decided
enthusiasm.’”
EDITORIAL
The Same, November 7th, 1907:
“NEW YORK SNOBBERY”
“It is not pleasant to utter harsh judgments against
a neighboring city, but New York does much constantly
to deserve them at the hands of Philadelphians. The
smug self-sufficiency of the three or four millions
of people who reside on or in contiguity to Manhattan
Island, is comical to witness, and we are again
reminded of this attitude by the unjust criticism which
the newspapers have launched against the Philadelphia
Orchestra upon its first visit to New York under its
new conductor. This accomplished musician has had
the leadership of excellent organizations in Europe,
where this form of art was more or less known and
enjoyed while New York was inhabited by the Indians.
He came here not without some right to a respectful
hearing, and since his arrival has received it in this
city from a public, which, we venture to say, is as
discriminating as any that can be assembled upon the
tongue of land which is bounded by the Hudson River and
Long Island Sound. Remarks such as we reprint elsewhere
today do not fall under the head of criticism. They are
a form of cheap wit, which is supposed to be demanded
by the inhabitants of this arrogant and insular
community at the expense of the people, the products
and the institutions of Philadelphia.
“The slurs of the press at our music, books, art and
much besides, do this city no particular harm. We are
above any need of the endorsement of the self-centered
elements which congregate in New York. The support
which it gave to the Union during the war was notably
reluctant. Its patriotism was always in doubt. It was
the centre of disloyal conspiracy. A spirit of selfish
commercialism rules its affairs, and it was only by
force made to observe its national duty. Since that
time it has been under foreign government, and it is
without a doubt the least American of our cities. It
has less love for our history as a nation; it is more
willing to sell its birthright for a joke or a dollar
than any community which has yet been established
within American borders, and its swaggering air causes
it to be loved by the citizens of other portions of the
Union about as much as they love a produce market or a
Midway Plaisance.
“It is nothing at all to Philadelphians whether New
Yorkers like our orchestra, our books, our poets,
our historical personages, our pictures, our homes,
or anything else that is ours. They may go on their
sneering way amusing themselves from day to day, as
they see fit. They will find, if they make the effort
to inquire, that most of the mind and the soul, as well
as the body of this nation have lain and still lie in
lands that they do not dominate. They may say what they
will, but their manners might be mended to their own
conspicuous advantage. That is all.”
At the expiration of Pohlig’s contract the Association renewed it for
three years more.
Pohlig was a fine-looking man of German military style, more popular
in America previous to 1914 than it has been since. His platform
manner was excellent and his appearance was elegant, and he made a
good impression on his audience. He was, however, of a difficult
disposition, which made dealings between him and the musicians, and the
Board of Directors, trying and difficult. This was the final cause of
his resignation, presented on June 10th, 1912.
THE MUSICAL RECORD, 1907-1912
Under the direction of Carl Pohlig, the orchestra continued to develop
and improve. He was a competent and well-trained musician, and was on
his mettle to do his best in an artistic way to keep up the precedents
established by the first conductor. He continued to give unusual
performances and to keep abreast of the day by producing modern works,
among them his own symphony, “Per Aspera ad Astra” (“A Hero’s Death and
Apotheosis”), in which members of the Eurydice Chorus took part.
1907-08: Carl Pohlig, Symphony, “Per Aspera ad Astra.”
1908-09: Frank G. Cauffman[31], “Legende”; Philip H.
Goepp[32]: Academic March.
Feb. 26th-27th, 1909: Mendelssohn Centenary: Midsummer
Night’s Dream with Ben Greet Players. Chaminade:
Concertstück, piano and orchestra (composer at the piano).
1909-10: November 26th-27th, 1909: Rachmaninoff,
Symphony No. 2, E minor, conducted by the composer;
Moussorgsky, “La Nuit sur le Mont Chauve,”
Rachmaninoff, guest conductor; Wm. W. Gilchrist[33],
Symphony No. 1, C major, conducted by the composer.
1910-11: November 11th-12th: Schumann: to commemorate
the One Hundredth Anniversary of his birth 1810,
Symphony No. 1, B flat major; Henry Hadley,
guest conductor, Cantata “The Culprit Fay,” Op.
62, after Joseph Rodman Drake, conducted by the
composer; November 11th and 12th, 1910, St. Saëns,
Symphony No. 3, in honor of seventy-fifth birthday
of composer; Louis von Gaertner[34], Tone Poem “Macbeth,”
Celeste D. Heckscher[35], “Dances of the Pyrenees.”
1911-12: October 27th-28th: Liszt Centenary.
Henry Hadley, Symphony No. 3, B minor.
March 8th-9th: Brahms Symphony No. 3, F major, to celebrate
seventy-ninth anniversary of his birth,
March 7th, 1833. Herman Sandby, Prelude to
“The Woman and the Fiddler” (play by Mrs. Sandby).
[31] Philadelphian.
[32] Philadelphian.
[33] Philadelphian.
[34] Philadelphian.
[35] Philadelphian.
PART III
CHAPTER I
THE COMING OF LEOPOLD STOKOWSKI
The summer of 1912 brought the Board of Directors, for the second time
in five years, face to face with the problem of securing a conductor.
Again the place was waiting for the man, but under far different
conditions from those in the summer of 1899, when Fritz Scheel was
found at Woodside Park. Philadelphia had a good orchestra, a growing
audience tended carefully by the four Women’s Committees, and a
Guarantee Fund in a more or less satisfactory condition. It was an
opportunity. The Board of Directors looked around the field again. They
had heard of a young man, Leopold Stokowski, recently conductor of the
Cincinnati Orchestra, and heard well of him. Mr. Andrew Wheeler knew
him and suggested approaching him. He was then in Europe, so he was
cabled to, and accepted the position.
The first concerts under Mr. Stokowski took place on October 11th and
12th, 1912, with the following programme, which inaugurated the third
period of the Philadelphia Orchestra, and one which has been a story of
constant artistic development, until now this orchestra ranks with the
great orchestras of the world.
THE PHILADELPHIA ORCHESTRA ASSOCIATION
(INCORPORATED)
MAINTAINING
THE PHILADELPHIA ORCHESTRA
(Founded 1900)
LEOPOLD STOKOWSKI, _Conductor_
FIRST PAIR OF SYMPHONY CONCERTS
Friday afternoon at 3.00 Saturday Evening at 8.15
October 11th and 12th, 1912
PROGRAMME
1. LUDWIG VAN BEETHOVEN Overture, “Leonore No. 3”
(1770-1827)
2. JOHANNES BRAHMS Symphony No. 1, in C minor, Op. 68
(1833-1897)
I. Un poco sostenuto; Allegro (6/8)
II. Andante sostenuto (3/4)
III. Un poco allegretto e grazioso (2/4)
IV. Adagio-piu andante; Allegro non troppo,
ma con brio (4/4)
3. MICHAEL IPPOLITOW-IWANOW “Sketches from the Caucasus”
(1859- )
I. In the Mountain Pass
II. The Mountain Village
III. March of the Sirdar
(First Time at These Concerts)
4. RICHARD WAGNER Overture “Tannhäuser”
(1813-1883)
_Public Ledger_, October 12th, 1912.
“NEW CONDUCTOR OF PHILADELPHIA ORCHESTRA
TENDERED OVATION IN ACADEMY
“Leopold Stokowski made his début yesterday afternoon
at the Academy as conductor of the Philadelphia
Orchestra, in the opening concert of its thirteenth
season. Every seat was taken and the extra chairs
had been placed within the orchestra rail. There was
much enthusiasm, manifesting itself at the beginning
in prolonged applause as Stokowski came forward
with bowed head, evidently pondering the content of
his musical message. Those who went forth to see a
hirsute eccentricity were disappointed. They beheld
a surprisingly boyish and thoroughly business-like
figure, who was sure of himself, yet free from conceit,
who dispensed with the score by virtue of an infallible
memory, and held his men and his audience from first
note to last firmly in his grasp.
“Mr. Stokowski has known the players, and they have
known him, for only four days of actual rehearsal, and
it was not to be expected that the organization at the
outset would manifest the homogeneity to be expected
later. Yet in this brief time the new leader has been
surprisingly successful in welding the several choirs
into a single coherent entity. They played yesterday
with a unity of purpose—particularly among the first
violins—not usually attained until mid-winter. They
brought out the full value of the lights and shadows.
The climaxes were duly accentuated, the pianissimos
with the utmost delicacy and refinement were contrasted
with the full throated polyphony.
“METHODS OF CONDUCTOR
“Mr. Stokowski’s conducting is after the order of
Nikisch, whom he frankly admires. He does not tear a
passion to tatters. He holds his thunders and the winds
of Aeolus in a leash. His gestures are graphic, the arcs
and parabolas he describes tell of a kind of
geometrical translation going on in his mind, whereby
he visualizes the confluent rhythms in outward action.
At impassioned moments his movements have the freedom
of a violinist’s bow arm; at other instants he
brings his fists against his shoulders with vehement
concentration, or his uplifted eloquent left hand
pleads with some suppressed choir to come forward and
assert itself in power. There is, from first to last,
no languor or slackened moment; he directs with a fine
vigor and intensity that mounts to ecstasy yet does not
lose its balance or forget its sane and ordered method.
* * * * *
“TRIBUTE PRESENTED”
“At the close of the symphony a laurel wreath was laid
on the dais ere Mr. Stokowski found his way to the
footlights in response to the tumultuous applause. The
wreath was so large that he stood in it while he called
upon his musicians to rise, himself applauding their
efforts and modestly disavowing his leonine share of
the credit.”
[Illustration: © R. T. Dooner LEOPOLD STOKOWSKI]
It soon became apparent that Philadelphia had something very unusual in
Leopold Stokowski. He was young, but rarely gifted, and he dedicated
himself to reaching a high artistic goal for the Philadelphia
Orchestra. His plans were of a daring character and at times almost
took away the breath of the Board of Directors; for instance, when the
idea of giving Mahler’s Eighth Symphony was presented and Mr. Stokowski
announced that it would cost $14,000. There was much discussion, as the
Board was convinced that this performance would be unpopular and not a
success from a financial point of view. However, the desire to have the
name of the orchestra connected with productions of an unusual nature
and to keep ahead of the times musically, won the day, and it was
decided in 1915 to produce this gigantic choral work in March 1916.
The story of this production is dramatic from the moment that Leopold
Stokowski, after having secured the rights for the first American
performance, escaped from Munich in August, 1914, with the score in a
handbag, all he had time to pack. Mr. Stokowski was at that time still
a British subject, having only taken out his first papers for American
citizenship.
Having secured the consent of the Board of Directors to produce this
symphony, this announcement was issued.
THE PHILADELPHIA ORCHESTRA
LEOPOLD STOKOWSKI, _Conductor_
First Performances of the Mahler Eighth Symphony
Academy of Music, Philadelphia
Thursday Evening—Friday Afternoon—Saturday Evening
March 2, 3, 4, 1916
Metropolitan Opera House, New York
Sunday Evening, April 9, 1916
With Orchestral and Choral Forces of Over One Thousand
and the Following Soloists:
FLORENCE HINKLE, Soprano
INEZ BARBOUR, Soprano
SUSANNA DERCUM, Contralto
REINALD WERRENRATH, Baritone
ADELAIDE FISCHER, Soprano
MARGARET KEYES, Contralto
LAMBERT MURPHY, Tenor
CLARENCE WHITEHILL, Basso
First Chorus—The Philadelphia Orchestra Chorus, 400
Children’s Chorus, 150
Second Chorus—Philadelphia Choral Society, Mendelssohn Club
and the Fortnightly Club, 400
“The Philadelphia Orchestra Association takes pleasure
in announcing three performances in Philadelphia of
Gustav Mahler’s Eighth Symphony and, under the auspices
of the Society of Friends of Music, one performance in
New York. The first Philadelphia performance is the
first presentation of this work in America, and is
given under an exclusive contract with the publishers.
Although other famous organizations had approached
the Universal-Edition in Vienna, to the Philadelphia
Orchestra fell the honor and artistic responsibility of
presenting this work for the first time to the American
public. The production of the work, requiring three
choruses aggregating 950 voices, an orchestra of 110,
and 8 soloists, entails a cost for the Philadelphia
performances alone of approximately $15,000.”
* * * * *
“The New York performance owes its possibility to the
public spirit and generosity of the Society of Friends
of Music, and will be given with the complete forces
employed in Philadelphia. This single production will
cost approximately $12,000.
“Owing to the great magnitude of the work and the great
demand which it makes on the musical forces employed,
it is extremely doubtful whether it can receive many
performances in America. Two years have been spent
in preparation in order that the rendition of the
work might realize the ideals of the composer. That
the value of the work is appreciated is shown by the
fact that orders for seats have been received from
all over the eastern and middle western sections of
this country. The Friday and Saturday performances in
Philadelphia are sold out and many mail orders have
been received for Thursday night. An early application
for seats should be made.
“PRICES OF TICKETS FOR THE FIRST PERFORMANCE AT THE
ACADEMY OF MUSIC, THURSDAY EVENING, MARCH 2, AT 8.15
Parquet and Balcony Box Seats $3.00
Parquet and Parquet Circle, first two Rows in Balcony 2.50
Remainder of Balcony and first two Rows in Family Circle 2.00
Third and Fourth Rows, Family Circle 1.50
Remainder of Family Circle 1.00
Amphitheatre, First Two Rows 1.00
Amphitheatre (Unreserved) .50
* * * * *
(The Friday Afternoon and Saturday Evening performances being
already sold out, no orders can be taken for these two concerts.)
ARTHUR JUDSON, _Manager_ LOUIS A. MATTSON, _Asst. Manager_”
Work with the two choruses which sang in German and in Latin began in
October, 1915. Hitherto the orchestra had had no chorus of its own,
but was obliged to depend on the good will of Philadelphia choral
organizations to co-operate in producing choral works. Now for the
first time the name “Philadelphia Orchestra Chorus” appeared, and, as
the first chorus of 400 members, was trained by Mr. Stokowski. The
second chorus of 400 voices was rehearsed by Mr. Henry Gordon Thunder.
The requirements were severe as to personnel and rehearsals. The spring
was occupied in the selection of voices. When rehearsals began in
October, men and women were rehearsed separately until January. After
that they had weekly rehearsals together. Singers who were inattentive
or who skipped rehearsals were not retained, and towards the end
everybody was over-worked and wrought up to a pitch of excitement.
NINETEENTH PROGRAMME
Friday, March 3rd, at 3.00 Saturday, March 4th, at 8.15
THE PHILADELPHIA ORCHESTRA
LEOPOLD STOKOWSKI, _Conductor_
PROGRAMME
Symphony No. 8 GUSTAV MAHLER
(1860-1911)
Part I. Hymn, “Veni, Creator Spiritus”
Part II. Final Scene from Part II of Goethe’s “Faust”
(First performance in America)
ASSISTING FORCES:
Una Poenitentium, FLORENCE HINKLE, Soprano
Magna Peccatrix, INEZ BARBOUR, Soprano
Mater Gloriosa, ADELAIDE FISCHER, Soprano
Mulier Samaritans, MARGARET KEYES, Contralto
Maria Aegyptiaca, SUSANNA DERCUM, Contralto
Doctor Marianus, LAMBERT MURPHY, Tenor
Pater Ecstaticus, REINALD WERRENRATH
Pater Profundus, CLARENCE WHITEHILL, Basso
Augmented Orchestra of 110
First Chorus:
THE PHILADELPHIA ORCHESTRA CHORUS, 400
Second Chorus:
PHILADELPHIA CHORAL SOCIETY, MENDELSSOHN CLUB
and THE FORTNIGHTLY CLUB, 400
CHILDREN’S CHORUS OF 150
The English version (by Mr. Philip H. Goepp) of Specht’s Analysis
may be obtained in the lobbies of the Academy
MR. CONSTANTIN VON STERNBERG at the Piano
MR. HENRY GORDON THUNDER at the Organ
MR. WILLIAM SILVANO THUNDER at the Harmonium
MR. HEDDA VAN DEN BEEMT at the Celesta
While there were varying opinions about the musical value of this
symphony, the manner of producing it evoked but one. In order to make
the event national in character, prominent musicians from all parts
of America were invited to be present at the first performance. Among
the many notable persons from other cities were: Mr. and Mrs. Ossip
Gabrilowitsch, Mr. and Mrs. Harold Bauer, Mr. and Mrs. Josef Hofmann,
Mr. and Mrs. Ernest Hutcheson, Dr. and Mrs. Ernest Kunwald, Mr. and
Mrs. Harold Randolph, Mr. and Mrs. Ernest Schelling, Mr. and Mrs. David
Mannes, Mr. and Mrs. Samuel Untermeyer, Mr. and Mrs. Gustav Strube,
Judge and Mrs. J. Butler Woodward, Mr. and Mrs. J. Fred Wolle, Mrs.
Werrenrath, Mrs. William M. Bannard, Miss Kitty Cheatham, Dr. A. G.
Rolfe, Oscar G. Sonneck, Albert Spalding, Kurt Schindler and Theodore
Spiering.
[Illustration: © Bell & Fischer
THE PHILADELPHIA ORCHESTRA AND MAHLER CHORUS]
_Public Ledger_, March 3rd, 1916:
“MAHLER’S WORK AND STOKOWSKI SCORE TRIUMPH
THOUSANDS AT ACADEMY OF MUSIC AROUSED TO HIGH PITCH OF
ENTHUSIASM. NOTED MUSICIANS GIVE PRAISE TO PRODUCTION
PROMINENT PERSONS FROM ALL OVER COUNTRY ATTEND
RENDITION HERE
“Every one of the thousands in the great building was
standing, whistling, cheering and applauding, when
Leopold Stokowski, his collar wilted, and his right arm
weary, but smiling his boyish smile, finally turned to
the audience in the Academy of Music last night.
“He had scored, so famous musicians agreed, the
greatest triumph of his career, the greatest triumph
the Philadelphia Orchestra has known in its sixteen
years of life and he had done it on a stupendous scale
with the American première of Gustav Mahler’s Eighth
Symphony. He carried along with him to triumph an
orchestra numbering 110 pieces and a chorus of 958
singers, to say nothing of the city’s music lovers and
scores of musical pilgrims from other cities.
“For every one who is any one in musical America was
here for the Mahler American première last night or
will be here when the tremendous work is repeated this
afternoon and tomorrow night. The boxes were filled
with famous musicians and musical authorities. One and
all stood, applauding Mr. Stokowski and the symphony,
while the orchestra members blared a ‘touché’ in honor
of their leader.
“The scenes at the Academy set nerves tingling. Two
weeks before the performance every seat had been sold.
Fifteen minutes before Mr. Stokowski swung his baton
upon his augmented orchestra and upon the great chorus,
banked 24 tiers high, horns blew a fanfare in the foyer
of the Academy of Music, following an ancient custom at
Bayreuth. The curtain rose and the audience gasped.
“The 958 singers filled the great stage from footlights
to roof and the orchestra was upon an apron that has
been built out into the house.
“The first twelve rows of singers were women, dressed
in white. Above them were twelve rows of men, with a
gardenia-like spot of girls, members of the children’s
chorus, pinned, it seemed in their midst.”
* * * * *
“Alexander Van Rensselaer presented a wreath for the
orchestra. It was inscribed ‘To Leopold Stokowski in
commemoration of the first performance of Mahler’s
Eighth Symphony in America, March 2nd, 1916.’
MR. VAN RENSSELAER’S REMARKS
“In presenting the wreath, Mr. Van Rensselaer said:
“‘The directors of the Philadelphia Orchestra
Association feel that the presentation of this Eighth
Symphony of Mahler this evening, for the first time
in America, marks an epoch in the musical history of
Philadelphia to which no other event is comparable.
“‘This occasion is memorable not only because the
Mahler Symphony is such an extremely difficult work,
but because we have here in Philadelphia been able to
follow out the precise instructions of the composer in
welding into one vast instrument these great choral
and orchestral forces which are here assembled. These
two choruses of 400 trained voices each, together
with the large chorus of boys and girls selected from
the best choirs of this city, the eight soloists of
metropolitan reputation, and the augmented orchestra of
120 instruments, all have been trained into one vast
harmonious instrument by you.
“‘We of Philadelphia are indebted for the production
of this great work to you, our brilliant and talented
conductor. It was you who first conceived the idea
more than two years ago of producing this work; it was
you who made the arrangements with the publishers and
guaranteed to them that we would produce it in the
manner indicated by the composer and obtained from
them the rights for the first performance in this
country; it was you who chose and trained Chorus No.
1 and intrusted Chorus No. 2 to the able direction of
Henry Gordon Thunder, to whom our thanks are also due;
it was you who arranged with the best choirmasters of
Philadelphia to train this large body of boys and girls
in their respective parts and it was you who brought
together these large agencies and trained them in the
final ensemble of this great work.
“‘We feel that not only the musical public of
Philadelphia, but the entire city, owe you a debt
of gratitude that never can be repaid. And as a
testimonial from the Board of Directors of the
Philadelphia Orchestra Association, and as an
expression from them of their thanks to you for the
successful completion of this grand work, I have
pleasure in presenting the victor’s crown of laurel,
made in perpetual bronze.’
REPLY OF MR. STOKOWSKI
“Mr. Stokowski lifted the wreath, and when the applause
died down, turning to Mr. Van Rensselaer, said:
“‘It is impossible for me to put into words my emotions
tonight. This stupendous and noble work was written six
years ago. For six years I have been meditating the
possibility of its performance and hoping, some day, to
have the opportunity of giving it, although I knew the
requisite forces would be extremely difficult to obtain.
“‘Through a generosity for which I can never
sufficiently express my gratitude, Mr. Van Rensselaer
and the directors of the Philadelphia Orchestra
Association made the great undertaking possible at
last. The dream still would have remained unfulfilled,
however, had it not been for the hard work and
willingness of the orchestra; of all these dear people
in the chorus, who have worked for more than a year,
training for this night; of all the soloists, and of
Henry Gordon Thunder, who has supported and helped me
with most wonderful generosity. To the committee that
tried thousands of voices, choosing this magnificent
chorus, we are particularly indebted.
“‘My final and greatest debt, a debt so great that I
feel I never can express it, is to you, the public, for
your warmth and understanding at the first hearing of
this great work. It is a great inspiration.’
OFFERS OF $100 TO OBTAIN SEATS
“Popular interest in the Mahler Symphony’s American
première was evidenced by offers of $100 a seat,
reported from several of the large hotels, just
before the Academy doors were thrown open, and by
more than 1000 persons, lucky holders of general
admission tickets who stood in Locust Street, or sat
on newspapers spread on the Academy steps, for hours
before the performance was scheduled to start. At
least 100 persons were waiting at 3.30 o’clock in the
afternoon, braving the drizzle, for a chance at a good
seat.
“From 7 until 8 o’clock there was a steady stream
of automobiles stopping at the Academy doors. All
society and all musical Philadelphia streamed into the
building. The stage door was besieged by the nearly
1000 chorus members, who were marshaled without a
hitch or the raising of a voice into their places.
Necessary readjustments on and off the stage, seating
arrangements, provisions for the wardrobing of the
great chorus and the engaging of understudies for each
of the eight soloists cost, it was said, close to
$4000. This sum, of course, did not include the great
expense entailed in training the voices during the last
twelve months.
“Mr. Stokowski was given two great demonstrations;
the first during the intermission, the second at the
conclusion of the performance. Both lasted for more
than five minutes. The noise was so great that the
Academy doormen said it could be heard across Broad
Street in the foyer of the Walton.
MISS FLORENCE HINKLE APPLAUDED
“Mr. Stokowski bowed until it seemed his back would
break. Then he led forward Henry Gordon Thunder,
William Silvano Thunder, Constantin von Sternberg and
Hedda van den Beemt. The audience wanted more. They
wanted the soloists, so forward came the eight of
them, and as they went back Florence Hinkle, who was
being wildly applauded by the great chorus, kissed her
fingertips to them. Above the crescendo of applause
could be heard members of the chorus, crying, ‘Hinkle!’
“One of the most interested persons present was Mrs. J.
F. D. Lanier, president of the Society of Friends of
Music, the New York woman chiefly responsible for the
invasion of New York with the Mahler Symphony on April
9. She sat in the same box with the pianist, Harold
Bauer.
“In a nearby box was the pianist, Ernest Schelling.
Aline van Barentzen, the pianist, also was on hand.
Ernest Hutcheson, Harold Randolph, Joseph Hofmann,
Ossip Gabrilowitsch, Director Bodansky, of the
Metropolitan Opera and of the Cincinnati Symphony, are
expected to be present at today’s performance. Other
prominent guests were entertained last night and will
be entertained today by the Women’s Committee of the
orchestra.
“It was announced last night that all seats for the
extra performance of the Mahler Symphony on April 4th
have been sold.”
After the third performance the Women’s Committees
for the Philadelphia Orchestra gave a reception to
Leopold Stokowski, and the soloists, in the foyer
of the Academy. This was followed by a supper at
the Bellevue-Stratford in their honor and for a few
distinguished guests.
The news of this production spread over America and
Europe, and in Philadelphia created more excitement
than had arisen in a generation. The demand for seats
was so great, that it became necessary to announce
extra performances in this city, and four more were
given, making a total here of nine, including two
public rehearsals. After the last, orders for seats,
amounting to over $10,000 in Philadelphia alone, had to
be refused. The dress rehearsal on Wednesday was open
to the families of the performers and some others at a
special price. A dress rehearsal was later given for
public school children. The first performance was on a
Thursday night, and then followed two in the regular
season series. By the time four audiences had heard the
symphony, all who had not heard it were seized with an
overpowering desire to witness this extraordinary event.
THE NEW YORK PERFORMANCE
Such a journey was never before undertaken in musical
circles here or abroad. Twelve hundred people left
Philadelphia by private trains, totalling seventeen
cars, about noon on Sunday, April 9th, reached New
York in time to have a rehearsal and dine and dress at
a hotel and at 8.15 appeared before a packed audience
which included all the musicians then in America.
It was an inspiring occasion and one long to be
remembered. That evening New York unreservedly
acclaimed the Philadelphia Orchestra. Scenes of
enthusiasm followed the first half, after a tremendous
burst of applause when the curtain rose. But at the
end the audience let itself go in a way never seen in
Philadelphia.
There were many musicians in the house, including
Ignace Paderewski, the members of the Flonzaley
Quartet, Mme. Alma Glück and Efrem Zimbalist, Pablo
Fasals, Henry Hadley, Mr. and Mrs. Ossip Gabrilowitsch,
Rubin Goldmark, Dr. Frank Damrosch, Victor Harris,
Harold Bauer, George W. Chadwick, Mischa Elman, Emma
Eames, Leopold Godowsky, Rudolph Ganz, Arthur Foote,
David Bispham, Percy Grainger, Arthur Hinton, Alfred Hertz,
Franz Kneisel, Daniel Gregory Mason, Ernest Schelling, Walter
K. Spalding (Department of Music, Harvard University),
Josef Stransky, Arthur Whiting, Marcella Sembrich,
Antonio Scotti, Cornelius Rübner (Columbia University),
Fritz Kreisler, Mme. Schumann-Heink, and others.
_New York Sun_, April 10th, 1916:
“EIGHTH SYMPHONY BY MAHLER HEARD
“SOCIETY OF FRIENDS OF MUSIC GIVES CONCERT AT
THE METROPOLITAN. SENT BY PHILADELPHIA
“The Society of the Friends of Music, which has
performed a valuable function in the artistic musical
life of this metropolis by bringing to the notice of
a circle of trained listeners compositions not to
be heard at public entertainments, emerged from its
privacy to give an ambitious concert last evening in
the Metropolitan Opera House. The novelty chosen was
Gustav Mahler’s Eighth Symphony, which recently had its
first hearing in this country in Philadelphia.
“When the huge symphonic and choral creation of Mr.
Mahler was produced in Philadelphia, it was praised
with emotion and thanksgiving, the interpretation was
considered with reverence and rapture, and the concert
had to be—or at any rate was—repeated several times.
Upon the heels of this excitement, the whole show came
to New York.
“The entire cast, chorus, orchestra and conductor
were brought across New Jersey. The Philadelphia
Orchestra, numbering for this occasion 110 players; the
Philadelphia Orchestra Chorus, a Children’s Chorus, the
Philadelphia Choral Society, the Mendelssohn Club and
the Fortnightly Club, constituted the choral forces.
The presiding genius of all was Leopold Stokowski,
the gifted and accomplished young conductor of the
Philadelphia Orchestra.
“NOT A BOX OFFICE SYMPHONY
“Mahler’s Eighth Symphony quite properly belongs to
the class of compositions sought by the Society of
the Friends of Music. It does not court the attention
of musical directors, who must consider the wishes of
the general public or the demands of the box office.
New Yorkers may regret that a local orchestra and
local choruses were not chosen for the presentation
of the work; but only by preparing for more than one
performance could the projectors of this production
have hoped to complete their undertaking without
losses too heavy to confront. Mahler was not troubling
himself with practical considerations when he wrote the
composition. He had a purpose, which he carried out in
the seclusion of his study. And if Hector Berlioz might
write a requiem mass fit only for festival occasions,
why not Mahler an Eighth Symphony?”
“After the New York performance, W. J. Henderson
said: “If Philadelphia believes that Mr. Stokowski is
essential to her musical development, let her decline
to permit him to conduct great concerts in New York.
This is a piece of perfectly disinterested advice.
“The _Sun’s_ musical chronicler would be delighted
to see Mr. Stokowski a New York conductor. He has
personality, force, authority, temperament, scholarship
and imagination. His conducting of the Mahler Symphony
was masterly. He would be a valuable factor in the
musical life of New York.”
Although the Philadelphia Orchestra is a serious working organization,
it has its moments of relaxation and pleasure. Such a one was the
reception and dinner given by Mr. Van Rensselaer to the members of the
Mahler Chorus on March 16th, 1916, at which the following programme was
presented:
HORTICULTURAL HALL
BROAD STREET, PHILADELPHIA
PROGRAMME OF
MR. ALEXANDER VAN RENSSELAER’S
BUFFET DINNER
Thursday Evening, March 16th, at Seven o’Clock
Given to the Members of the Mahler Choruses and
the Philadelphia Orchestra
(dismembered)
Philadelphia Orchestra
Soloists
Horsecar Schwer!!! that’s all
Ham Byndler!! Solo-Killest
PROGRAMME
Symphony “Ein Musikalischer Spass” MOZART
1787, German
Allegro
Minuetto Maestoso
Adagio cantabile
Presto
(Ten Minutes Intermission at this Concert Only)
Concerto Brosso (1916) Composer unknown
Probably an American, Philadelphian Preferred
(First time at these concerts)
Adagio
Andante Soustenuto
Large-o
Tone Poem “Tausend Künstler” Schreiner
(Augmented Orchestra) 1850-1916, Bavarian
Conductor Sig ad Lib. RIDDEUS THATCH,
_Actor-conductor_
“Note—Owing to the exceptional acoustic properties of
the Hall, the Audience is requested to refrain from
hilarity as the slightest murmur might be disconcerting
to the performers. It is earnestly requested by the
‘Damagement’ and the ‘Board of Erectors’ that all
vegetable offerings and tokens be of a firm nature.
“The personality of the orchestra will be found on
the next page among the Programme notes composed by
Professor YEPP.
Yes, my dear! The Piano is a Steamway
“The next ‘Mahler-ia’ concert will take place next week
at 2 o’clock. Owing to the Philadelphia Blue-laws a
very limited number of tickets will be available. The
Knaben-chor will be heard to great advantage at this
concert.
“ANDREW WHEEL-HER, _Secretary_”
SPECIAL MAHLERATE PROFUNNYGRAM
HORTICULTURAL HALL
March 16, 1916
PROGRAMME NOTES
“Ein Musikalischer Spass” MOZART
Born 1756, died 1791.
“This symphony pictures Mozart in his most happy mood.
Where he got his inspiration from I do not know. What a
pity he cannot be with us tonight; he would surely have
an inspiration. But who knows what kind!
“The symphony, or, rather, first movement, opens with
‘_Some Chords_.’ However, they are in the key
of ‘C’, so we are pretty safe. These opening chords
are for the ‘FULL’ orchestra and are very
effective, provided they are ’FULL ENOUGH.
* * * * *
“The second movement is a minuet. You will notice that
there is three in a bar, but six in the orchestra, so
you see we are at least mathematically even, which
ought to insure a fine rhythm—SOMETIMES (?).
There is much fervor in this movement and some wrong
notes in the horns, but why worry; they are printed in
the score, and are consequently correct.
* * * * *
“Tausend Künstler” Schreiner
Bavarian
(First time in America)
“This work really requires ‘more men,’ but Herr Schwer
thinks he can handle it alone. The principal theme is
of a martial and military nature. Mr. Schwer only had
one rival, and that man died long ago. You will not
have much difficulty in following Mr. Schwer, for in
this work the performer is very much in evidence at all
times. He is very familiar with all of the instruments
required for this composition. He has ‘hit them’ very
often and possesses an unusual amount of originalitye.
‘TO SEE IT IS TO APPRECIATE IT.’ Mr. Schwer
will depict thunder claps, echoes, bombardments,
combats, cavalry charges, charge accounts, railroad
wrecks, and many other scenic effects while performing
this work.”
* * * * *
PERSONNEL OF ORCHESTRA
“Mozart Symphony
J. K. WITZEMANN, Schroon Lake, N. Y.
F. W. COOK, Hampton Beach, N. H.
EMIL HAHL, Willow Grove, Pa.
LOUIS BOEHSE, Profile House, N. H.
ANTON HORNER, Stone Harbor, N. J.
JOSEPH HORNER, Tent City, Cal.
“Conductors—(negotiations pending).”
This occasion was much enjoyed by about 1200 guests, to whom an evening
of musical fun was somewhat of a novelty.
After the production of the Mahler Symphony the Philadelphia Orchestra
became the most talked of orchestra in America. Its reputation was
made. This success, however, did not bring about any abatement in the
conductor’s zeal, or make him relinquish his aims for the perfection of
the orchestra.
On the part of the Board of Directors the result was a determination
to put the orchestra on a firm financial basis. This desire was so
great on the part of one of them, who wished to remain unknown, that he
planned a course of action which involved a large expenditure on his
part, but which with the co-operation of 1200 Philadelphians made it
possible to roll up in seven years a fund of approximately $800,000.
CHAPTER II
THE SEVEN YEAR ENDOWMENT FUND, 1916
The question of placing the Philadelphia Orchestra on a firm financial
foundation had been under consideration for a long time by the Board
of Directors. Each year the Guarantee Fund was becoming more difficult
to secure and more of a burden; besides which hand-to-mouth financing
is not a very creditable path to travel indefinitely. When these
discussions arose, the first question always was “How can we solicit
money for a permanent fund and beg for a Guarantee Fund at the same
time?” That question always ended against a blank wall. No answer
suggested itself until in May, 1916, Mr. Van Rensselaer received a
communication from a person who wished to remain unknown, so he later
received the title “Unknown Donor.”
The proposition was accepted by the Board and later by the Association,
and was issued in a circular of which a copy is printed below.
“ENDOWMENT FUND
“TO THE FRIENDS OF THE PHILADELPHIA ORCHESTRA:
“A friend of the Philadelphia Orchestra Association,
who desires to remain unknown, has offered to meet
any deficit of the Orchestra for each of five years,
beginning with the season of 1916-1917.
“The conditions under which this gift will become
available are as follows:
“1. That an Endowment Fund of $100,000 yearly for five
years shall be created by the Orchestra Association, so
that the total Fund may be $500,000 at the end of this
period.
“2. That the contract of the present conductor, Leopold
Stokowski, shall be extended to cover this period of
five years.
“3. It is earnestly desired that each friend of the
Philadelphia Orchestra will pledge a generous amount in
order to create this Endowment Fund. Heretofore, all
subscriptions to the Philadelphia Orchestra have been
spent year by year, to meet the annual deficit. Under
this offer the money now contributed will not be so
spent, but will be invested to insure the permanency of
the Orchestra as an institution of Philadelphia.
“The Orchestra is a civic asset. If it is to fulfill
its destiny and place Philadelphia in the front rank
among the musical cities of the world, it must be
endowed. In order to do this, the Orchestra Association
must depend upon the generosity of its friends. We ask
that the enclosed blank be signed and returned to us
at your earliest opportunity. While it is hoped that
all gifts may be for a period of five years, yearly
contributions will be gratefully accepted. Payment of
subscriptions will be on November 1st and March 1st of
each year, beginning with November, 1916.
“ALEXANDER VAN RENSSELAER
FRANCES A. WISTER
EDWARD W. BOK
_Endowment Committee_”
The way out was found—at least the beginning of the solution was in
sight.
The proposal was widely circulated and everybody connected with the
Association began to work to raise the amount, which was to reach
$500,000 in five years. This was later extended to seven years and now
bears the name of “Seven Year Endowment Fund.” All persons connected
with the Association threw themselves enthusiastically into the work of
fulfilling the agreement with the Unknown Donor.
A meeting was called of the four Women’s Committees and their
Auxiliaries, at the auditorium of the Curtis Building through the
courtesy of Mr. Bok; the plans were explained and met with a vigorous
response. The women were to raise money in two ways. One was to procure
five-year subscriptions of large sums. The other was to secure small
subscriptions by the Group Plan. This idea was suggested because the
business management could not arrange to take care of sums of less than
$25.00. The accumulation of such, therefore, was undertaken by the
women, with Mrs. Arnett as Chairman. This piece of work was as trying
as any ever entered upon, on account of the detail of keeping small
accounts yearly for so long a period.
A group might include any number of persons but the minimum amount for
each group could not be less than $25.00 yearly, for five years. The
sum of $14,632.00 was raised by seventy-nine Groups, including two
Junior Groups; but the most important feature of the plan was that it
secured the interest of a number of hundred people who would otherwise
have been deprived of the pleasure of assisting this cause. This was
of infinite value to the Association. To Group Captains, who kept up
their quotas of $25.00 yearly for five years, the orchestra owes much,
for members often had to be replaced. The Women’s Committees have long
acted on the principal that the active interest of many people was a
necessity in building up an orchestra, and never was their belief more
justified than at that time.
The work of the women was prosecuted with enthusiasm and the response
was remarkable, not only from Philadelphia, but from Pennsylvania towns
as far west as Harrisburg and in New Jersey as far south as Atlantic
City.
Other ways of raising money were resorted to, such as chains of card
parties, inaugurated by Mrs. John B. Thayer, Jr., whose own chain
amounted to $2870, and various entertainments and concerts given by
young people. These were necessarily gifts for one year and could not
be included in the required $100,000.
The amount including large subscriptions and groups collected by the
four Women’s Committees was a total for five years of $186,000, this
being twenty-five per cent of the Fund.
In November, 1916, it was announced that the amount guaranteed for
five years was over $500,000, more than stipulated under the contract
with the Unknown Donor. It was then decided to ask the contributors to
extend their yearly subscriptions two years longer, and many responded
heartily. The name was changed to Seven Year Endowment Fund, and in
1923, the total had reached $788,400. About twelve hundred individuals
contributed at this time, and through the groups over five hundred more.
The “Unknown Donor” disclosed himself in 1920, and proved to be Mr.
Edward W. Bok. The satisfaction was great of knowing at last the name
of this generous friend of music, who had enabled the Philadelphia
Orchestra to place itself on a firm foundation.
CHAPTER III
THE ORCHESTRA DURING THE WORLD WAR
One year after the offer of the Unknown Donor had been accepted by
the Board of Directors, the United States was in a state of war. The
condition of Europe during the past three years had in a way been
disturbing in orchestral circles, because no men could leave Europe
and players were scarce. Also, foreign men were called home, leaving
vacancies that were difficult to fill. Still, the orchestra had
flourished and continued to advance artistically under Mr. Stokowski’s
guiding hand.
In April, 1917, however, musical organizations in America were facing
a different and a serious situation. In everybody’s mind the questions
lingered and would not be put away: “How is the Philadelphia Orchestra
going to survive a war?” “Will there be any players, and will there
be any money for music?” Philadelphians spoke not these words aloud,
but they feared for the existence of the city’s most beloved art
organization.
In December, 1917, the four Women’s Committees were desirous of making
a patriotic demonstration with the orchestra, and at the suggestion of
Mrs. J. Sellers Bancroft, an American flag was presented at each of a
pair of concerts.
“PRESENTATION OF FLAG
To the Philadelphia Orchestra Association by the Women’s
Committees for the Philadelphia Orchestra
Presentation of Flag
MISS FRANCES A. WISTER, _President_
The Women’s Committees for The Philadelphia Orchestra
The audience is requested to join in singing the National Anthem:
The Star Spangled Banner
(1 verse)
Acceptance of Flag for The Philadelphia Orchestra Association:
MR. ALEXANDER VAN RENSSELAER, _President_
The Philadelphia Orchestra Association
Acceptance of Flag on behalf of the Orchestra:
MR. LEOPOLD STOKOWSKI, _Conductor_
The audience is requested to join in singing ‘America’
(2 verses)”
_Ledger_, December 23rd, 1917:
“Viewed in the light of all that has been written, said
and done regarding the relation of the musical art and
its interpreters to the war and the conception of the
majority as to what constitutes patriotism, the public
action of the Women’s Committee of the Philadelphia
Orchestra last week, on December 14th and 15th, when
their president, Miss Frances Wister, introduced by
Alexander Van Rensselaer, president of the Philadelphia
Orchestra Association, presented the orchestra with a
flag which was accepted by Leopold Stokowski, seemed
full of deepest significance. In presenting the flag,
Miss Wister made a graceful little speech about the
relation of patriotism and art and said, among other
things:
“‘In order to express our loyalty to our country’s
cause and to the Association which we have fostered so
long, and to testify to our belief in the necessity for
music as a mighty inspiration, a profound solace during
times of stress, we take pleasure in presenting to the
Philadelphia Orchestra Association and to the Orchestra
a flag.
“‘This is the visible demonstration of the patriotism
of this organization and of the Women’s Committees
during our period of national peril.’
“Both Mr. Van Rensselaer and Mr. Stokowski spoke words
of appreciation of the Women’s Committees’ offering.
The former read the resolutions adopted by the
Association, and the most popular of musical leaders,
Mr. Stokowski, on behalf of the orchestra announced
that he and the men meant to give their services in
a concert for the benefit of the American Red Cross,
which statement naturally was greeted with responsive
applause by the huge audience.
“The remarks by which Mr. Stokowski declared the
Orchestra’s loyalty to the United States were
gracefully made, and his action necessarily was
profoundly appreciated by his many friends and admirers
whose numbers have already increased accordingly.
“The ceremonies closed with two verses of ‘America’
in which everyone joined heartily. The effect was
thrilling. Many eyes were moist and many hearts were
moved.
“These are trying times that test men’s souls and
it does not take much to force to the surface deep,
pent-up emotions that long training had suppressed.”
* * * * *
At a special meeting of the Board of Directors, December 13th, 1917,
the following Resolution was unanimously adopted:
“WHEREAS the Women’s Committees for the
Philadelphia Orchestra are presenting to the
Philadelphia Orchestra Association and the Philadelphia
Orchestra two American flags as an expression of the
patriotic spirit animating their organization of two
thousand women,
“BE IT RESOLVED by the Board of Directors of
the Philadelphia Orchestra Association in behalf of the
fifteen hundred contributing members of the
Association, that these flags be accepted in the
spirit with which they are given, with the thanks of
the Association, and that the management be instructed
to display them on the stage of the Academy at each
concert given by the Orchestra.
“BE IT FURTHER RESOLVED by the Board of
Directors, that it pledges the loyalty of the
Association to the Government and people of the United
States in this crisis in the affairs of the nation,
and offers its services to be made use of in any way
in which the Government of the United States may deem
wise.”
The next patriotic demonstration was the concert at Camp Dix, N. J.
_Public Ledger_, January 3rd, 1918:
“ORCHESTRA PLAYS FOR CAMP DIX MEN
100 MUSICIANS UNDER LEOPOLD STOKOWSKI
ENTERTAIN 3000 SOLDIERS
“The Philadelphia Orchestra, led by Leopold Stokowski,
aroused more than 3000 khaki-clad men here in the big
Y. M. C. A. auditorium to outbursts of enthusiastic
applause, when they concluded an entire Tschaikowsky
programme, including the Symphony Pathétique, the
famous ‘Nutcracker’ Suite, and the stirring overture
Solennelle. The concert was made possible through the
courtesy of the Philadelphia Orchestra Association.
“The large auditorium was crowded to the doors with
the privates in training for the National Army, while
the officers occupied a square patch of seats in the
center. Alexander Van Rensselaer, President of the
Orchestra Association, and Edward Bok and Charles
D. Hart, directors, were among the officials who
accompanied the orchestra. With the party also was Noah
Swayne of the Orpheus Club. The party arrived in Camp
on a special train, and the musicians were escorted to
the Y. M. C. A. hostess house and served a luncheon by
society girls.
“Mr. Van Rensselaer, Mr. Bok, Mr. Stokowski and Mr.
Swayne were entertained at the division headquarters
mess.
“When Mr. Stokowski took his place at the stage, he was
given an ovation, and throughout the four movements of
the symphony, the men watched the discipline of the
players with an interested eye.
“The contrast of the dark evening suits of the
orchestra with the mud-stained puttees and brown
uniforms of the thousands of enlisted men formed a
novel sight. One officer was overheard saying to
another:
“‘How would you like to be captain of those collective
artistic temperaments?’
“After the first movement of the symphony was ended in
a crash of tympani, the same officer said:
“‘Well, if we can train a million men of the National
Army to such precision and such discipline as that, we
will have no trouble in beating the Huns.’
“During the intermission, the entire audience did
a sort of ‘eyes right’ when a group picture of the
concert was taken.”
Besides this concert, men in the service stationed at Philadelphia were
given many opportunities to enjoy the orchestra. Beginning in November,
1917, subscribers were requested through a notice in the programme to
send tickets that they could not use to the manager, to be placed at
the disposal of soldiers and sailors and it was a common sight to see
men in uniform at the Saturday evening concerts.
On January 23rd the promised Red Cross Concert was given at the
Metropolitan Opera House before a large audience. The affair was most
successful financially, the amount turned over being $7045.00.
LIBERTY LOANS
The subject of Liberty Loans was more and more occupying the public
mind and soon claimed the attention of musicians.
The first booth during the Third Liberty Loan of May, 1918, was in
front of 1427 Chestnut Street, and was presided over by Mr. and Mrs.
Stokowski on two Saturday mornings. A quartet of trombones from the
orchestra offered their services at the booth and attracted large
crowds. The result of these two mornings was $114,000.
During the next loan, the Fourth, the booth, which was a shell
dug-out in front of the Union League, was in charge of the four
Women’s Committees. For the first time in their existence the
Committees diverted their minds from the orchestra for a brief space
to participate in a patriotic act. This loan occurred at the time of
the influenza epidemic and the women who served did so at some risk.
No member, however, contracted the disease, or was the worse for the
experience.
The booth was open for two weeks only, but with the assistance of
members of the orchestra, the amount collected was $896,000.
When the Victory Loan was announced for May, 1919, the Women’s
Committees were asked to again take charge of a booth for three weeks
at the same place. Miss Frances A. Wister acted as Chairman for the
second time, and they were assisted by a Committee of Musicians from
the orchestra, when their engagements permitted; and a Committee from
the Business Management. Seventy-six members of the Women’s Committees
served during the Loan, as follows: Women’s Committee 27; Germantown
and Chestnut Hill, 13; West Philadelphia, 22; Media, Chester and West
Chester, 14. The total number of subscriptions received was 825,
amounting to $691,300.
This, added to the total of $896,000 for the Fourth Loan and that of
$114,000 at the Third Loan, made a grand total of $1,701,300.
Music at the booth was furnished without expense by members of the
Philadelphia Orchestra, and ten other well-known artists, including Mr.
David Bispham. Mr. Albert N. Hoxie gave a patriotic demonstration one
day, with a parade and a chorus of one thousand, and the First Regiment
Marine Corps Band.
THE TRIBUTE TREES
Another patriotic enterprise in which the Board of Directors and the
Women’s Committees took part was the planting of tribute trees in honor
of men in the service, on Fairmount Parkway, at the invitation of
the Civic Club of Philadelphia. Fifty-five trees were planted on the
Parkway at Twenty-second Street, and the Board and the Committees were
represented at the ceremonies on April 25th, 1919.
The Association did all in its power to assist in war time. Nearly
$300,000 of the Endowment Fund was invested in Liberty Loans. On
account of railroad congestion traveling was largely eliminated, but
this was the only American orchestra permitted to cross the Canadian
border, which journey was made for the Toronto Festival.
The audience was not allowed to forget the nation’s situation, as
Mr. Stokowski had at the first concert of the season inaugurated the
ceremony of playing the Star Spangled Banner, orchestrated by himself,
at the beginning of every concert, while the house stood. Later he
organized and led a band of nearly two hundred pieces at Franklin
Field, when funds were being raised for a special War Chest, and he did
the same for the Service Star parade.
Eight of the musicians went into the service.
To mark the signing of the Armistice, special ceremonies were held
at the concert of November 15th, 1918. Representatives of the Allied
Nations appeared on the stage with their flags while their national
anthems were played. The audience stood during the playing of
MacDowell’s “Dirge,” from the Indian Suite, which was played in memory
of those Americans who had died in the war.
When Philadelphia realized that the orchestra had survived in its
full strength and with little curtailment of its schedule, except for
out-of-town concerts, and the postponement of two pairs of Philadelphia
concerts on account of the epidemic, there was a sigh of gratitude.
After such labors to procure an orchestra for Philadelphia, its
abandonment would have been a tragedy and a calamity.
CHAPTER IV
THE TWENTIETH ANNIVERSARY
MILLION DOLLAR ENDOWMENT FUND, 1919
During the war the Seven Year Endowment Fund continued to be paid in
showing that Philadelphians were learning to prize what they had. But
the Board of Directors was now faced with another problem, the fact
that the increased cost of everything in life made it evident that even
the Seven Year Fund was going to be insufficient to meet the yearly
deficit. Mr. Edward W. Bok then suggested that the Association should
conduct a campaign to raise $1,000,000 during the month of October,
1919, in honor of the twentieth season of the Philadelphia Orchestra.
This was in January, 1919, and after the Board of Directors had decided
to take this bold step, a Campaign Committee was appointed by Mr. Van
Rensselaer, of which Mr. Bok was made chairman; in such fashion do
one’s sins return to one.
This Committee met at intervals during the winter, and Mr. Bok, fertile
in ideas, formulated his plan of action. This was to have a Committee
of Fifty Campaign Chairmen, men and women, each of whom should raise
$20,000. Luncheons were to be held twice each week during the month at
which reports were to be made. Chairmen having less than $2000 were
obliged to announce “No report.”
A circular was widely distributed in order to inform the public of the
plans of the Association.
“THE PHILADELPHIA ORCHESTRA ENDOWMENT CAMPAIGN
“The next season of the Philadelphia Orchestra marks
the Twentieth Anniversary. To mark this event, the
people of Philadelphia will be asked to complete the
Endowment Fund begun in 1915, which was interrupted by
the war. For nineteen years, a group of Philadelphia
men and women have sustained the annual deficit of the
Orchestra. This group has maintained the Orchestra
until it reached its present unquestioned position as
the leading symphony orchestra in the United States.
The Association now feels that the Philadelphia
public should place the Orchestra, once for all, on
a permanent financial basis. This can be done by
completing the Endowment Fund.”
“THE ENDOWMENT FUND AS IT STANDS
“The present Endowment Fund consists of $500,000. In
addition to this, there are pledges not yet matured
which will bring the amount, within two years, to
$800,000. Carefully invested, this total fund will
insure the Orchestra a net income of approximately
$36,000 a year. This is not sufficient to carry the
annual deficit.
“THE ORCHESTRA’S ANNUAL DEFICIT
The cost of the Orchestra per season is $304,000
The income per season is 238,000
Last year’s deficit was, therefore 66,000
“With increasing costs, the estimated deficit for
future years will be $80,000.
“WHAT THE COMPLETE ENDOWMENT FUND WILL MEAN
“To the present Endowment Fund, therefore, must be
added ONE MILLION DOLLARS. This would mean
an estimated income of $81,000, on a total fund of
$1,800,000.
“It is this additional
One Million Dollars
that it is now proposed to ask the Philadelphia public
to subscribe.
“It should be borne in mind that not a penny of this
amount is spent; all is permanently invested, and
only the interest therefrom is used to maintain the
Orchestra.
“WHERE THE MONEY GOES
“93 cents out of every dollar of income is spent on the
Orchestra; put back into the Orchestra, in other words,
in order to increase its efficiency:
Salaries of Orchestra members 55.61%
Expense of rentals, etc., of concerts at
Philadelphia and out-of-town 34.61%
Miscellaneous expenses (Orchestra music,
insurance, etc.) 2.78%
Administration expenses 7.00%
“THE SMALLNESS OF THE ORCHESTRA DEFICIT
“The annual deficit of the Philadelphia Orchestra of
$66,000 is one of the smallest of any of the large
symphony orchestras of the United States. These
deficits average from $85,000 to $125,000 per year. And
yet, with one exception, the Philadelphia Orchestra is
the largest symphony orchestra in number of musicians,
in the United States, and plays a longer season.
“THE DETAILS OF THE CAMPAIGN TO RAISE
ONE MILLION DOLLARS
“It will begin October 1st, 1919, and continue
throughout the month.
“The amount to be raised is One Million Dollars.
“There will be 50 Committees, each Committee to raise a
minimum of $20,000.
“These 50 Committees will be under the general
chairmanship of Dr. Charles D. Hart.
“The headquarters will be, during October, at the Hotel
Ritz-Carlton, Broad and Walnut Streets.
“The territory for the campaign will include the
counties of Philadelphia, Montgomery, Delaware, Chester
and Bucks.
“Pledges will be payable in cash (much preferred) or
50% payable January 1, 1920, and 50% payable May 1st,
1920.
“The Depository for the Fund will be Messrs. Drexel &
Company, to whom all checks should be drawn.
“All pledges should be delivered to Dr. Charles D.
Hart, or Miss Frances A. Wister, at the Ritz-Carlton
Headquarters.
“THE ENDOWMENT CAMPAIGN COMMITTEE
EDWARD W. BOK, _Chairman_
JOHN F. BRAUN
SAMUEL S. FELS
DR. CHARLES D. HART
EFFINGHAM B. MORRIS
ALEXANDER VAN RENSSELAER
MISS FRANCES A. WISTER
CHARLTON YARNALL
_General Chairman of Committees_
DR. CHARLES D. HART”
Mr. Joseph E. Widener provided the Campaign Headquarters in the
Ritz-Carlton Hotel where an office force was installed and the
bi-weekly luncheons held.
Dr. Hart worked hard to procure the fifty Chairmen and fifty-three
people consented to serve, but some dropped by the wayside. At the
opening campaign luncheon, on September 29th, 1919, there were in
actual service only forty-two. As was to be expected, some collected
more than their quotas and some less. Women chairmen predominated,
there being twenty-eight of these to fourteen men. Their names should
be recorded.
CHAIRMEN
Messrs. Edward W. Bok, John F. Braun, Charles D. Hart, Henry McKean
Ingersoll, Alexander Van Rensselaer and Andrew Wheeler of the Board of
Directors; and from outside, Messrs. Henry G. Brengle, W. W. Fry, J. B.
Henkels, Jr., George I. Bodine, G. H. Lang, Maurice Speiser, Herbert J.
Tily and Wm. Jay Turner.
WOMEN CHAIRMEN
Mrs. Alfred Reginald Allen, Mrs. Wm. W. Arnett, Mrs. Thomas G. Ashton,
Mrs. Charles Carver, Mrs. Herbert L. Clark, Mrs. Matthew H. Cryer,
Mrs. Joseph M. Gazzam, Mrs. Charles W. Henry, Mrs. Henry S. Jeanes,
Miss Lea, Mrs. Joseph Leidy, Mrs. Wm. S. Newcomet, Mrs. Thomas Robins,
Countess of Santa Eulalia, Mrs. Wm. A. Slaughter, Mrs. John B. Thayer,
3rd., Mrs. L. Howard Weatherly, Miss F. A. Wister, Mrs. Harold E.
Yarnall and Mrs. Camille Zeckwer, all members of the Women’s Committees.
In addition to these women, able assistance was given by Mrs A. J.
Dallas Dixon, Mrs. L. Chandler Williams, and six women who had not up
to this time been connected with the Philadelphia Orchestra, except as
enthusiastic patrons. These were Mrs. Frederic W. Abbott, in charge
of the Matinee Musicale Club Committee, Mrs. Frank T. Griswold, Mrs.
Joseph N. Snellenburg, Mrs. John B. Thayer, Mrs. J. William White, and
the Motor Messenger Service under Mrs. Thomas L. Elwyn.
The Germantown and Chestnut Hill and the Media, Chester and West
Chester Committees acted under their own presidents. The work of this
committee under Mrs. Cryer and that of Mrs. Wm. A. Slaughter in West
Jersey deserve special mention on account of the distances covered.
SYNOPSIS OF THE RESULTS:
Twenty members of the four Women’s Committees,
as individual chairmen $396,292.36
Women Chairmen outside of Women’s Committees 191,832.55
-----------
Total for 28 Women Chairmen $588,124.91
This was 53% of the Fund, but the women Chairmen were two to one
against the men.
Besides the collections made by the Committee of Fifty, amounts came
in from other sources, such as, members of the Philadelphia Orchestra
Chorus, the Van Rensselaer Tribute, the two Wister Tributes, the Van
Rensselaer-Bok Telegram to business firms, the Telephone Circular, the
Main Line Bonds, other Liberty Bonds, contributions received at the
office, etc.
A unique feature of the campaign was the memorials and tributes which
gave people an opportunity to place the names of family or friends on
special tablets to be placed in the Academy of Music. No less than
$1000 was accepted for each memorial.
MEMORIALS AND TRIBUTES
in
THE PHILADELPHIA ORCHESTRA ENDOWMENT FUND
1919
MEMORIALS TO THE FALLEN IN THE WORLD WAR
MAJOR ALFRED REGINALD ALLEN, U. S. A.
THE AMERICAN HEROES IN THE GREAT WAR, UNKNOWN AND UNSUNG
LIEUTENANT MORTIMER P. CRANE, B. A.
LIEUTENANT WILLIAM BOULTON DIXON, U. S. A.
ENSIGN GEORGE B. EVANS, JR., U. S. N. Air Service
LIEUTENANT ROBERT H. GAMBLE, U. S. A.
LIEUTENANT WILLIAM B. KUEHN, U. S. A.
LIEUTENANT PAUL BORDA KURTZ, U. S. A.
RALPH LESLIE MELVILLE, B. A.
MAJOR TALBOT MERCER PAPINEAU, M. C.
CORPORAL ABRAM K. STREET, U. S. A.
LIEUTENANT ARTHUR RICHMOND TABER, U. S. A.
MEMBERS OF STRAWBRIDGE & CLOTHIER CHORUS
ARTHUR HOWELL WILSON, U. S. A.
TWELVE PHILADELPHIA BOY SCOUT HEROES
TRIBUTES OF THANKSGIVING
for the safe return of
LIEUTENANT WILLIAM CURTIS BOK, U. S. N.
HAMILTON DISSTON CARPENTER, U. S. A.
LIEUTENANT LEONARD E. POWELL
LIEUTENANT SYDNEY THAYER, JR., U. S. M. C.
LIEUTENANT GEORGE BOWEN, U. S. M. C.
JOHN FREDERICK SIEBERLING, U. S. A.
HAROLD FRANCIS WESTON, B. A.
PERSONAL MEMORIALS AND APPRECIATIONS
In Memory of
JOSEPHINE L. S. ADAMS G. MARTIN BRILL
BLANCHE BALDWIN RICHARD VAUX BUCKLEY
BEULAH HECKER BANCROFT WILLIAM BURNHAM
GEORGE BARRIE LOIS BUCHANAN CASSATT
MAUDE ECKERT BENSON WILLIAM T. CARTER
RUDOLPH BLANKENBURG FREDERICK TAYLOR CHANDLER
JOSEPH B. BLOODGOOD MRS. ANNA L. COMEGYS
MARY FRANCES BLOODGOOD RICHARD Y. COOK
SIEKE GERTRUDE BOK HUGH CRAIG, JR.
ELIZABETH S. BRAUN MICHAEL H. CROSS
LOUIS BRÉGY CHARLES HOWE CUMMINGS
ARTHUR BROCK HARRY K. CUMMINGS
CHARLES HALL BROCK LOUISE KNAPP CURTIS
EDWARD TONKIN DOBBINS RICHARD ROSSMÄSSLER
FRANKLIN DUANE EDWARD COLLIN ROSSMÄSSLER
GEORGE W. ELKINS JOHN C. SCHAEFER
ADAM H. FETTEROLF, LL. D. FRITZ SCHEEL
SIMON B. FLEISHER MRS. FRANCIS SCHROEDER
ROBERT H. FOERDERER MRS. WILLIAM SIMPSON, JR.
REV. FREDERIC GARDINER HENRY M. STEEL
DR. W. W. GILCHRIST JOHN M. STEFFAN
ANNE STARR GRISCOM JOHN B. STETSON
HARRY B. HALL DR. REUEL STEWART
JOHN WILLIAM HALLAHAN, 3RD WILLIAM STOLL, JR.
GEORGE W. HARRAH ROLAND LESLIE TAYLOR, JR.
THOMAZINHA E. HARRAH ARCHIBALD GRAHAM THOMSON
MARIA AMES HARTE FRANK THOMSON
SARAH KENT HOW JAMES TILY
MAX LIVINGSTON S. LETITIA TILY
HARRIET ANNE LUCAS EDWARD K. TRYON, JR.
MABEL ELEANOR MCCAHAN ALICE DOUGLAS TURNER
JOHN R. MCDOWELL ISABEL G. WALKER
HENRY J. MARIS FREDERICK WEBER
DR. CHARLES MOHR J. WILLIAM WHITE, M. D.
JOHN PAUL MORRIS ELEANOR MERCER VANDERBILT
JOHN THOMPSON MORRIS WILLIAM F. VACHE
HARLAN PAGE MARY CHANNING WISTER
RIEHLÉ MEMORIAL FUND WILLIAM BREWSTER WOOD
HELEN HAMILTON ROBINS HAROLD ELLIS YARNALL
THEODORE ROOSEVELT
IN APPRECIATION OF
EDWARD W. BOK ALEXANDER VAN RENSSELAER
LEOPOLD STOKOWSKI FRANCES ANNE WISTER
OLGA STOKOWSKI
[Illustration: ENDOWMENT FUND MEMORIAL TABLET]
Miss Wister’s name was placed on the tablet by the contribution of
two large amounts, one from the Women’s Committee and one from the
Auxiliary.
The tablets beautifully designed by Mr. Paul Cret, the noted architect,
are placed on each side of the entrance to the inner lobby.
The delightful luncheons held bi-weekly instilled in the workers much
enthusiasm and were attended by from 300 to 400 people each time. At
these the following well-known public and private individuals and
artists appeared, all giving freely of their time and often of their
money to help the great cause:
Miss Margaret Anglin, Mr. David Bispham, Mrs. A. J. Cassatt, Mrs.
Edward H. Coates, Mr. Cyrus H. K. Curtis, Mr. Walter Damrosch, Mrs.
Minnie Maddern Fiske, Sir Johnston Forbes-Robertson, Mr. Walter
Hampden, Dr. John Grier Hibben, Mr. Josef Hofmann, Miss Estelle Hughes
(Winner of Stokowski Medal), Mr. Sascha Jacobinoff, Mr. Otto H. Kahn,
Mr. Hans Kindler, Rabbi Krauskopf, Mme. Matzenauer, Miss Violet Oakley,
Judge Patterson, Bishop Rhinelander, Dr. Thaddeus Rich, Mme. Samaroff,
Mr. Oscar Schwar and a group of men from the orchestra.
The thrill of these occasions will never be forgotten by the
campaigners. Only those who participated can have any idea of the
enthusiasm and excitement prevailing among the workers who eagerly
awaited the reports. After speeches and music of a very delightful
nature, the chairmen were called by name and saw their totals written
on a large black-board. Many of them went to bed the night before with
nothing in their pockets and arrived at headquarters in the morning to
find their able assistants had brought in the required two thousand and
more. It is marvellous that Mr. Bok could, besides running a campaign,
manage such brilliant affairs as these were, twice each week. It was no
unusual sight to see four hundred men and women come in exhausted and
discouraged, and go forth with renewed vigor to beg money. The spirit
of excitement ran through it all, for raising money is as uncertain as
gambling in that the pursuer never knows when he accosts a victim what
the outcome will be, large, small, or nothing, and many surprises were
experienced. The competition was great, for Mr. Bok had offered $1,000
each to the first ten committees to raise their quotas.
The Officers and Directors and the members of the Women’s Committees
and their Auxiliaries swarmed at the Ritz. Over it all was the
influence of Mr. Van Rensselaer, with a courteous and cheerful word for
all the harassed.
_Philadelphia Press_, September 28th, 1919:
“400 ENLISTED FOR CAMPAIGN TO SAVE PHILADELPHIA ORCHESTRA.
VOLUNTEER WORKERS WILL RECEIVE FINAL INSTRUCTIONS
AT RITZ-CARLTON LUNCHEON TOMORROW
$1,000,000 FUND THE GOAL
FAILURE MAY MEAN LOSS TO CITY OF ASSET
OF INCALCULABLE VALUE
“Musical Philadelphia is watching with a great deal of
interest and anxiety, the movement on foot to ‘make
the Philadelphia Orchestra safe for Philadelphia’ by
raising the endowment of $1,000,000, for otherwise,
it has been announced that this organization must be
seriously curtailed in its activities.”
* * * * *
[Illustration: ENDOWMENT FUND MEMORIAL TABLET]
“Many cities sustaining an orchestra are greatly aided
by the work and philanthropy of one or two men, but in
the case of the Philadelphia Orchestra, the burden of
making up the yearly deficit is distributed among a
number of people.
“The Committee of fifty Chairmen who will meet tomorrow
at the ‘get-together luncheon’ are each pledged to turn
in for his Committee a sum of $20,000. Each Chairman
has a group of co-workers, including prominent social
and philanthropic leaders of this city.
ORCHESTRA’S VALUE TO CITY
“The campaign to save the Orchestra for Philadelphia
has set loose a flood tide of arguments as to the
value of this organization to the city’s life. To
business men the argument that the Philadelphia
Orchestra is a great advertisement to the city will
make the strongest appeal, while to the great number
of people interested in the artistic life of the city
the argument that its pre-eminent place in the world
of music merits their greatest support will naturally
serve to stir them to action.”
* * * * *
“The realization that the possession of an orchestra
of high standing is a great commercial as well as a
great civic asset to a city, has caused a number of
cities to build up an organization similar to the one
Philadelphia already possesses.”
* * * * *
RANKS WITH WORLD’S BEST
“By a most consistent plan of development under the
direction of Alexander Van Rensselaer, the Philadelphia
Orchestra, now in its twentieth year, has earned the
reputation of being ‘the first orchestra in America.’
No less a critic than H. T. Parker, of Boston, writing
in the Boston _Transcript_ says, ‘there can no
longer be any doubt that the Philadelphia Orchestra is
today the first of all American orchestras. In fact, it
may be said now to rank among the five great orchestral
organizations in the world.’ Mr. Ossip Gabrilowitsch,
famous no less as a conductor than a pianist, says that
‘it is now a most important factor in the musical life
of this country, and has set a standard of excellence
which all other symphony orchestras in America, no
matter how famous, must bear in mind, if they wish to
maintain their places in the front rank.’”
* * * * *
“Under Stokowski the Orchestra has made a rapid step
forward. The first performance in America of the Mahler
Symphony, using a chorus of over one thousand singers,
made the whole country ‘sit up.’”
* * * * *
“One element that the committee in charge of this
endowment fund campaign must combat, is the confidence
that the $1,000,000 can be easily raised. This is
unpsychological. This same notion has frequently
spoiled some of the best organized campaigns for
endowing other worthy institutions in this city.”
The publicity for the campaign was brilliantly conceived and executed
by Mr. Bok.
In the spring “The Orchestra News” began to appear monthly, with
the idea of making the story of the organization much more widely
known than it had heretofore been. Its pages were “instructive and
entertaining” as the expression was in old times. So were the various
folders and leaflets sent out during the campaign itself. Persons of
importance in the business world helped with the publicity as well as
with large contributions.
“THE ORCHESTRA NEWS
“PUBLISHED EVERY ONCE IN A WHILE IN THE INTERESTS OF
THE PHILADELPHIA ORCHESTRA AT THE
PENNSYLVANIA BUILDING, PHILADELPHIA
“WHY I CAME TO PHILADELPHIA
“BECAUSE—America was fast becoming (and has since completely
become) the great music-making country of the world.
“BECAUSE—Fritz Scheel (with his instinct for choosing exactly the
right artist for each position in the orchestra) had laid the
foundation of a wonderful orchestra. Since then many fine artists
have been added but the main structure of the personnel remains as
Scheel created it.
“BECAUSE—I felt in Philadelphia the existence of a warm hearted
and genuinely music-loving public which I believed would grow.
This it has done amazingly in the last few years.
“It is my ardent hope that this development will continue, and
that we may soon welcome among us the great number of music lovers
in Philadelphia, who have not yet come to us.
“LEOPOLD STOKOWSKI”
“TO THE BUSINESS MEN OF PHILADELPHIA
“We are convinced that the Philadelphia Orchestra
is entitled to the support of the business men of
Philadelphia. The Orchestra is now the leading symphony
orchestra in the United States, and has become a
distinct civic asset of signal value to Philadelphia.
The impression made by the Orchestra in the largest
cities in America which it visits and where it plays
before 100,000 persons during each season has been
proven to be of the most pronounced advertising value
to our city. To place this Orchestra on a permanent
financial basis such as the Endowment Fund of One
Million Dollars now asked will accomplish, is a
distinct investment for the business interests of the
city. To compel so valuable a municipal asset to be
discontinued for lack of this fund cannot be considered.
“We ask, therefore, that the business men of Philadelphia will
join us in the support of the Orchestra in this campaign.
“SAMUEL REA “W. W. ATTERBURY
EFFINGHAM B. MORRIS E. PUSEY PASSMORE
JOHN GRIBBEL JOHN H. MASON
SAMUEL T. BODINE JAMES CROSBY BROWN
SAMUEL M. VAUCLAIN SAMUEL S. FELS
CYRUS H. K. CURTIS ELLIS A. GIMBEL
WILLIAM A. LAW WILLIAM P. GEST”
“WE DO IT IN NEW YORK
By OTTO H. KAHN
“A business man should realize that he makes a definite
investment, yielding interest to him and to his city in
civic and business advantage, when he supports a worthy
art organization in his community.
“In New York we have come more and more to realize the
value, the merit and the obligation of such investments.
“The Metropolitan Opera, for instance, and our several
symphony concert organizations were started and have
always been and are now being supported financially by
business men.
“These and similar art enterprises have become not
only genuine assets in the lives of the people who
support and patronize them, but distinct and profitable
business assets to the city.
“Of late, another organization, the Philadelphia
Orchestra, has entered into friendly and successful
rivalry with the old-established symphonic
organizations of New York.
“The public and press of New York are one in
acknowledging gladly and cordially that Philadelphia
has now in its Orchestra, under its eminent leader, one
of the greatest organizations of the kind in the United
States, or, indeed, anywhere.
“Its visits to New York are welcomed and looked forward to.
“It has taken an honored place in the musical life of
New York.
“In what it has achieved, it has served and proclaimed
Philadelphia.
“It carries the message of Philadelphia wherever it
appears: a high and fine message of credit and renown
to the city which gave it being and supports it.
“The civic value and the business value of the
investment which is represented by the Philadelphia
Orchestra are definite and great.
“The eminent position and conspicuous reputation which
it has attained are assets of great price to its home city.
“The business men of Philadelphia should take pride in
coming forward unhesitatingly and generously to the
full support of the splendid musical organization which
bears the name and enhances the fame of Philadelphia.
“OTTO H. KAHN.”
The newspaper publicity was very fine and the programme books were
also pressed into service, to further the campaign. Mr. Bok’s and Mr.
Stokowski’s clever appeals kept the subject well in the minds of the
audiences during that month by the following appeals:
“A PERSONAL INVITATION
“Much as we would like to do so, we cannot naturally
reach personally every resident of Philadelphia for
their contribution to the Million Dollar Endowment Fund
to save the Philadelphia Orchestra.
“In case we have not reached you, will you regard this
as a personal invitation to help in our efforts to save
our beautiful Orchestra by filling in the blank below
and mailing it to the address given?
“Please remember that not a penny of your money will
be spent: every dollar is carefully invested, and
will work year in and year out, for all time, only
the interest being used to pay the expenses of the
Orchestra. Your subscription, therefore, is a legacy to
yourself, your children, the Orchestra and the city.
“THE PHILADELPHIA ORCHESTRA ENDOWMENT CAMPAIGN COMMITTEE.”
* * * * *
Programme, October 17th, 1919:
“A PERSONAL MESSAGE FROM MR. STOKOWSKI
“We are facing two possibilities today:
“One: Shall we continue the Orchestra as it is?
“The other: Shall we reduce it?
“Let me tell you exactly what these two things mean,
so that we will know exactly what we are leading to.
“Suppose we reduce the orchestra: which we must do if
we do not raise this Endowment Fund. That means that
your first men in the orchestra, the chiefs of each
section, would not remain, because there are orchestras
being formed all over the country now, and these
orchestras will naturally take away the splendid first
men that we have in our Orchestra.
“You would naturally have to replace those men with
second-class men. You would have to do this because the
relation of supply and demand of orchestral players
is tremendously intense. There is far more demand
than there is supply of really great players. Having
second-class men in those positions—I must speak
frankly to you now—you would have a second-class
orchestra.
“Now, whoever you have for conductor cannot possibly
give you really first-quality results if he has a
second-quality orchestra. That is impossible.
“Then you could not allow such an orchestra to go
outside of Philadelphia. You could not permit a
second-class orchestra bearing the name of the city to
travel to the West, to New York, Washington, Baltimore,
Pittsburgh, Toronto, and the various places where we
play. It would be too much to our shame. We could not
do it. So all the tours would have to be cut out.
“In Philadelphia itself we should not be able to give
concerts of the first quality, and you would naturally
become dissatisfied. And after these second-rate
concerts had gone on for one or two seasons, you would
say to yourself, this must stop; we must have again an
orchestra like what we used to have; we must have a
first-class orchestra. You would begin all over again
to rebuild your Orchestra once more, and do you realize
how long it takes to build or rebuild an orchestra?
“Do you realize that it took me personally all the
seven years that I have been in Philadelphia to get
three first-class artists for just one section of
the Orchestra? And you have ninety-seven men in your
Orchestra! That gives you just an idea of the work
involved.”
* * * * *
“Will Philadelphia give its Orchestra its needed fund,
avoid the calamity I have tried to outline and let the
Orchestra go on as it is, and as the generations go
on, and we go from this life, we will have the feeling
that its influence will go on; that it will accumulate
tradition; that it will go on maturing; and that it
will become more and more beautiful.
“LEOPOLD STOKOWSKI.”
“P. S. In the above I have tried to tell you what must
happen if the Orchestra fails to secure the Endowment
Fund for which it asks.
“In the programme for next week’s concerts, I want to
tell you what will happen if we do get the Fund; the
plan that we have so long had in mind for the Orchestra
and Philadelphia.”
* * * * *
“TO THE FRIENDS OF
THE PHILADELPHIA ORCHESTRA
“We have reason to believe that it is in the hearts of
a number of the friends of the Philadelphia Orchestra
to leave a legacy in their wills to the Orchestra.
Appreciative as we are of this beautiful thought on
the part of these friends, we hope we may not be
misunderstood if we suggest the thought that were such
legacies now given to the Endowment Fund when the
Orchestra stands at the cross-roads of its career, and
when the next fortnight must determine its continuance
or its dissolution, the service rendered would be
greater than may be possible at any other period in
its history. If ever the Orchestra has need of the
kindliest thoughts of its friends it is at this time
when the prestige of this superb organization may be
maintained, its present excellence continued, and its
strength conserved: when it is here to support and when
the generosity of those who believe in it can save it
and make it the permanent institution of Philadelphia
that it deserves and should be.”
* * * * *
Programme, October 24th-25th, 1919:
“It is not a campaign-slogan: it is the truth when we say:
SAVE THE ORCHESTRA
“If the Endowment Fund fails, this will be the last
season that the Orchestra can remain at its present
strength of excellence.
“Is that to be your gift to it on its twentieth
birthday?”
“WHAT WILL HAPPEN IF WE SUCCEED
By LEOPOLD STOKOWSKI
“In last week’s programme I tried to tell you how we
would have to curtail the Philadelphia Orchestra, if we
failed to get the Endowment Fund for which we are all
striving; how we would have to let our best artists go;
how we would, for very shame, stop traveling to other
cities because we had a second-class orchestra. All
this is absolute.
“Just as absolute, however, is the other side of the
picture if Philadelphia will give its Orchestra this
fund.
“We would naturally not only continue the Orchestra as
it is, but we would go on developing it every season to
a higher quality, for in art there is no end, since, as
soon as you reach the horizon which you saw a year ago,
new horizons appear and new fields of beauty. The end
never comes, because you are never satisfied; that is
the wonderful thing about art.
“Let us in Philadelphia go forward; not backward! Let
us carry this fund through.
* * * * *
“We are not asking for a fund that is raised and
spent. Not a penny of the Million Dollars is to be
spent; every dollar is to be invested and put away.
Twenty, thirty, forty years from now it will still be
there, always working, bearing interest. And only this
interest is to be spent.
“Is this not a good investment for yourself, your
children and your city?
“Upon this twentieth anniversary I plead for this
birthday gift to the Orchestra.
“LEOPOLD STOKOWSKI.”
The appeal sent to telephone subscribers ran as follows:
“THE PRESENT YOU CAN MAKE WITH TWO DOLLARS
FOR YOURSELF AND CHILDREN
“A handful of people, for nineteen years, have paid
all the bills of the Philadelphia Orchestra; until now
the foremost artists and the leading music critics
have proclaimed it to be the greatest orchestra in the
United States, and one of the five great orchestras of
the world.
“The expense of the orchestra is now too great for a
few to continue to pay. This year the orchestra will
be twenty years old, and, as a birthday present, it is
now asked that the people of Philadelphia, as a whole,
will make the orchestra permanent by completing its
Endowment Fund, each contributing only two dollars,
making it in a true sense the orchestra of the people.
YOUR TWO DOLLARS WILL NEVER BE SPENT
“It will be carefully invested, and only the interest
used for the Orchestra. Your gift is, therefore, one
for all the years to come: a permanent gift to a
permanent institution.”
In December two concerts were given for these contributors who numbered
several thousand.
When October 31st arrived and the million dollars was neither in hand
nor in sight, the campaign was extended for one week. The appeals
became more and more urgent.
Programme October 31st, November 1st.
“FOR LACK OF HELP THE CAMPAIGN MAY FAIL!
“Owing to a lack of sufficient workers, the Million
Dollars necessary for the proper Endowment of the
Philadelphia Orchestra has not been raised.
“Tired, but full of courage, those who are working have
decided to extend the campaign for another week.
“Campaigns usually fail because the money cannot be
had. Here the money is in sight, but the friends of the
Orchestra have not come forth in sufficient numbers to
collect the funds.
“Is the campaign to fail for this unusual reason?
“Will you not, man or woman, give a day, two days of
this extra week to help us collect the last $250,000
necessary to complete the fund?
“You cannot, at this time, render a greater service to
the Orchestra. You can, at this most critical time, do
your part to
SAVE THE ORCHESTRA.”
* * * * *
“WILL YOU NOT?
“May we ask you, as a final appeal for the Orchestra,
to give to it
JUST ONE LIBERTY BOND
of any denomination, as your contribution to save the
Orchestra for yourself and the city at this critical
time in its history?
“Whether you have given previously or not, will you not
do this one more act?
“The Bond you give will not be sold: it will not be
spent. Not a penny of it. It will be put away under a
Deed of Trust, and only the interest on it will be used
to maintain the Orchestra.
“Could you put a Bond in a better, more permanent
place?”
“FACE TO FACE
“We now stand face to face with the question whether
our Orchestra is to be preserved as it is or reduced to
a second-class orchestra.
“The Million Dollars necessary for its preservation
have not been raised.
“The campaign will, accordingly, be extended for one
week.
“But the question, after all, is—Will you give? Will
you help?
“We need some $250,000 more.
“The workers have done their best. Hundreds of the
friends of the Orchestra have not done their part as
yet. Less than 5000 have contributed!
“Is the truth clearly realized without the mincing
of words: If this remaining sum is not raised, the
Orchestra must be reduced; it cannot remain the
glorious thing it is today.”
“THE TRUTH IS SIMPLE AND DIRECT
“We must tear down the beautiful Orchestra that has
been so patiently and skilfully built up unless the
Million Dollar Endowment Fund is raised. Only one week
remains in which to do it. Whatever that tells is the
answer.”
Finally the goal was won and the event was celebrated by a great dinner
at which there was much enthusiasm and rejoicing, when it was announced
that $1,100,000 had been contributed.
The twenty-eight women Chairmen expressed their appreciation of Mr.
Bok’s leadership in the following letter, which was read:
“PHILADELPHIA ORCHESTRA ASSOCIATION
COMMITTEE OF FIFTY
“EDWARD BOK, ESQ., _Chairman_,
Twentieth Anniversary Endowment Fund Campaign Committee
“Dear Mr. Bok:
“The Women Chairmen of the Committee of Fifty desire
to express their appreciation of your leadership as
Chairman of the Twentieth Anniversary Endowment Fund
Campaign for the Philadelphia Orchestra.
“The luncheons alone, as arranged and presided over by
you, have been the most unique and inspiring series of
affairs ever conducted in Philadelphia. But these have
been only a part of your labors and a detail in the
large plans which you have undertaken and carried out.
“We thank you for your unfailing courtesy toward us
and for your words of encouragement at moments when
the result of the battle seemed to be in doubt. Your
imagination and enthusiasm have led us to victory and
it has been a pleasure to co-operate with you in the
important work of placing the Philadelphia Orchestra on
a permanent foundation.
Yours sincerely,
(Signed)
HELEN WARREN ALLEN KATHARINE E. NEWCOMET
ELIZABETH H. ARNETT MARIE R. ROBINS
MARY L. H. ASHTON COUNTESS OF SANTA EULALIA
per E. V. W.
MARETTA VERNON CARVER IRENE H. SNELLENBURG
ELIZABETH CONWAY CLARK FLORENCE LEWIS SLAUGHTER
MARTHA G. CRYER MARIAN M. THAYER
MARGARETTA S. DIXON LOIS C. THAYER
NELLIE ANDREWS GAZZAM CAROLINE CLARK WEATHERLY
ALICE GRISWOLD LETITIA WHITE
SALLIE HOUSTON HENRY LOUISE CHANDLER WILLIAMS
CORA BAIRD JEANES FRANCES ANNE WISTER
NINA LEA ADÈLE G. YARNALL
HELEN C. LEIDY HORTENSE L. ZECKWER
Matinee Musical Club,
CLARA BARNES ABBOTT, _Chairman_
Motor Messenger Service,
NATALIE J. ELWYN, _Chairman_
Victory Dinner, Philadelphia
November 10th, 1919.”
The campaign under the able leadership of Mr. Bok was inspiring and
exciting to a degree. He gave time and money, but best of all, he
gave ideas, and he proved himself an accomplished beggar and a clever
general.
The Association was not unmindful of his masterly achievement. At
a meeting of the Board of Directors held November 26th, 1919, this
resolution was passed:
“WHEREAS the Directors of the Philadelphia
Orchestra Association recognize that the splendid
services of Mr. Edward Bok, Chairman of the Campaign
Committee of the Philadelphia Orchestra Endowment Fund,
were largely responsible for the triumphant success of
the Campaign,
“BE IT RESOLVED that the Directors of the
Philadelphia Orchestra Association place on record such
belief, and, further, their appreciation of the energy,
resourcefulness and self-sacrificing devotion with
which he led the Campaign to success, together with a
real expression of their regard for him.”
Also this one passed at the Annual Meeting of the Association, May
25th, 1920:
“Mr. Edward W. Bok as Chairman of the Twentieth
Anniversary Endowment Fund Campaign Committee was
successful, in October, 1919, in procuring from the
people of Philadelphia and vicinity, a fund of One
Million Dollars for the Philadelphia Orchestra. This
fund, when added to the Endowment Fund of 1916, will
place the Orchestra on a permanent foundation.
“In no piece of work hitherto undertaken by Mr. Bok
has he shown more decided talents of leadership,
executive ability and resourcefulness, than in this
brilliantly executed campaign. Future generations,
only, can measure the value of the establishment of a
great orchestra in this city, but certain it is that
the raising of this magnificent sum for music is an
achievement the like of which Philadelphia has not
previously witnessed.
“Therefore be it RESOLVED:
“That the thanks of the Philadelphia Orchestra
Association be hereby expressed to the Chairman of the
Endowment Campaign Committee, Edward W. Bok, together
with our appreciation of his great service to the
Philadelphia Orchestra, to the cause of music, and to
the people of Philadelphia.”
Gifts ranged from one penny, given by a blind child, to $100,000. Many
men and women of moderate means deprived themselves of necessities in
order that the orchestra might live. Others gave time and others again
gave both time and money, but never one word of regret has been heard.
The Chairman’s parting shot appeared in the programme book a week later:
November 14th-15th, 1919:
“THANK YOU!
“The Million Dollar Endowment for the Philadelphia
Orchestra has been secured with the goal passed by
a generous margin. The result ensures not only the
permanency of the present Orchestra but the expansion
of its influence.
“To each and all who worked and gave and encouraged, we
extend, individually and collectively, our heartfelt
thanks.
“We asked you to save the Orchestra!
“The Orchestra IS saved!
“Thank you!
THE PHILADELPHIA ORCHESTRA
ENDOWMENT CAMPAIGN COMMITTEE
November 14th, 1919.”
Thus the creation of an Endowment Fund was achieved by the most
extraordinary campaign ever conducted in Philadelphia, and through
the contributions of more than 13,000 people who wished to place a
Philadelphia musical institution on a permanent foundation.
CHAPTER V
TWENTY YEARS OF PROGRESS
The Twentieth Anniversary of the Philadelphia Orchestra was celebrated
on November 19th and 20th, 1920; and great was the rejoicing that this
city possessed an orchestra of such attainment, brought to its present
high state by a distinguished conductor, and endowed by a large number
of citizens of Philadelphia and vicinity. The long labors of the
officers and directors, and of the Women’s Committees, were bringing
their recompense. The occasion was celebrated by the playing of the
first programme given by Fritz Scheel in 1900; and the presentation
of a silver loving cup, bearing the following inscription, to Mr. Van
Rensselaer:
“ALEXANDER VAN RENSSELAER
First President of
The Philadelphia Orchestra Association
on the Occasion of the Twentieth Anniversary Concerts
November 19th and 20th, 1920
With gratitude and deep appreciation of his invaluable services
from
The Board of Directors, the Women’s Committees
The Philadelphia Orchestra, the Business Management”
* * * * *
THE PHILADELPHIA ORCHESTRA[36]
“With the concerts of November 19th and 20th, 1910,
the Philadelphia Orchestra celebrates its twentieth
year; a year auspiciously opened in November, 1919, by
completing the Endowment Fund.
“To have sustained an honorable career during twenty
years is no mean attainment for a business enterprise,
a school or an institution. But for a group of people
to support an orchestra for twenty years—years
artistically certain, but financially uncertain—is a
memorable achievement and a cause for congratulation
and rejoicing.
“The first concert of The Philadelphia Orchestra was
played on November 16th, 1900, and was one of the
series of six evening concerts given during the season
of 1900-1901. The names of the founders, Dr. Edward I.
Keffer, Mr. Edward G. McCollin, Mr. John H. Ingham,
Mr. Oliver Boyce Judson, and Mr. Oscar A. Knipe, who
formed the Executive Committee, did not appear on the
programme. Neither was it publicly known that this was
the Committee which had asked Mrs. Alexander J. Cassatt
to arrange the so-called Philippine Concerts about
six months earlier, which gave Fritz Scheel his first
opportunity to conduct in Philadelphia an orchestra
composed of professional musicians.
“On the programme for the second series of concerts,
consisting of fourteen pairs, during the season of
1901-02, the names of the above gentlemen appear with
the additional names of Mr. Alexander Van Rensselaer,
President, and Mr. Henry Whelen, Jr., Treasurer.
“The talents of Mr. Scheel, who died after seven
years of devotion to the cause, soon placed the new
organization among the first in America; and the work
thus begun has resulted in an orchestra which has
steadily and surely advanced to its present pre-eminent
position under the leadership of Leopold Stokowski.”
* * * * *
“The history of the Philadelphia Orchestra cannot be
written in this brief space. It is a story of the
pioneers who were inspired to found an orchestra; of
devotion, faithfulness and financial aid on the part
of the Officers and Board of Directors; of continuous
work by the four Women’s Committees; of an ‘Unknown
Donor,’ who is no longer ‘unknown’; of loyal support
from interested citizens, and of a group of artists,
whose music speaks for them and for their leader. In
short, the orchestra, which now speaks for Philadelphia
the world over, is the result of co-operation on the
part of all these groups; a co-operation which has made
Philadelphia one of the great musical centres of the
world.”
[36] Programme book, November 19th and 20th, 1920.
_Public Ledger_, November 20th, 1920:
“ORCHESTRA GIVES BIRTHDAY CONCERT
“Programme same as that presented at First Performance
Twenty Years Ago
“Players Warmly Greeted
“Silver Urn for Mr. Van Rensselaer After His Review
of Two Decades
“The Philadelphia Orchestra gave a concert yesterday
that was real music, all of it. There was nothing
‘modern’ in the programme, nothing that teased the ear
with puzzle-problems or geometric exercises wrought
ingeniously. The performance celebrated the Twentieth
Anniversary of the first concert and the programme was
the same as on that fundamental occasion.”
* * * * *
“After the symphony came the celebratory features.
Alexander Van Rensselaer made a graceful address in
brief review of the twenty years. The finished product
of the present, he held, was the outcome of united
effort. The chief credit must go to the indefatigable
women’s committees. The munificence of the until
recently ‘unknown donor,’ Mr. Bok, assured us five
years more of the inspiring leadership of Stokowski,
and has established the endowment fund.
“Dr. Stokowski declared that the music spoke for
itself and that the orchestra was heartily glad when
it gave pleasure to its hearers. Dr. Hart, in behalf
of a committee, made an eloquent and feeling speech in
deserved tribute to Mr. Van Rensselaer, and presented a
silver urn of enormous dimensions, together with a set
of resolutions.
“The members of the committee standing with Dr. Hart
were Miss Frances Wister, Miss Anne Thomson, Mr. Judson
and Dr. Rich, and the actual presentation was made by
Miss Thomson. The orchestra blew a fanfare and the
audience stood and applauded.”
* * * * *
_Public Ledger_, November 20th, 1920, Editorial:
“TWENTY YEARS IN MUSIC
“In signalizing its twentieth anniversary with a
revival of the original programme directed by Fritz
Scheel on November 16th, 1900, the Philadelphia
Orchestra has enabled its friends to indulge in
pleasurable reflections.
“It is difficult, of course, to recall accurately,
the artistry of any performance, musical or dramatic,
after a lapse of two decades. But a highly sensitized
memory is not needed in this instance. Between the most
pioneering effort of the orchestra, which ventured
upon only six concerts in its first season, and
the authority and artistic opulence of the present
organization, there is a disparity in which the whole
community can take the profoundest pride.
“Not only has the orchestra headed by Mr. Stokowski
attained to a position of splendid leadership in
the realm of music, but the esthetic standards of
Philadelphia have admirably kept pace. Without
affectation it may be said that the growth of musical
culture in this city during the last score of years has
been gratifyingly vigorous, unsurpassed here in any
previous period of similar length.”
* * * * *
“Cultural appreciation, it is said, usually follows
an era of fervent inspiration. Evidently it is an age
of the former in which we are now dwelling, hence
the abiding charm and appeal of a twenty-year-old
programme. The new honors, well worth an anniversary
observance, are for the interpreters.”
To those who had devoted years of effort to the orchestra, this
occasion was full of interest. Their thoughts flew back to memories
of Fritz Scheel and the early struggles; to the advent of Leopold
Stokowski and the advance of the orchestra to its present position; to
the changed attitude of the public. A procession of events seemed to
march down the years; the inauguration of a Pension Fund; the Mahler
Symphony and the Chorus; the Peoples’ Concerts; the University of
Pennsylvania Concerts; the effort for Popular and Sunday Concerts. Such
recollections made the life of the Philadelphia Orchestra seem full and
vigorous.
The twentieth season was especially fine musically. It marked the
inauguration of the Special Monday Evening Concerts, three in number,
which have gradually been increased to ten.
Other musical features of the year were Beethoven’s Ninth Symphony;
the playing in November, 1920, of “The Pilgrim Vision” by John Alden
Carpenter, commemorating the 300th anniversary of the landing of
the Mayflower: the three performances in March, 1921, of the Brahms
Requiem; and the presentation of Mahler’s Second Symphony, both with
the Chorus, trained by Mr. Stephen Townsend, of Boston.
It also marked the first appearance, as guest conductor, of the
celebrated leader, Willem Mengelberg, of Amsterdam.
The year was one of great satisfaction to all lovers of the
Philadelphia Orchestra. An organization founded on faith that it would
succeed artistically; and on faith that Philadelphia would eventually
cherish it to the extent of placing it on a permanent financial basis,
had justified the hopes of the founders in both these particulars. The
number of musicians had been augmented from eighty-five in 1900, to
ninety-six in 1920, and the audience had so increased that hundreds of
people were often turned away.
All persons therefore interested in the progress of music in the city
and especially the ones whose efforts had helped to bring about this
result rejoiced in the position now occupied by the orchestra.
In addition to delighting music lovers here and elsewhere, the
Philadelphia Orchestra was carrying the name of Philadelphia gloriously
around the world.
CHAPTER VI
MUSICAL NEIGHBORS
Occasionally philanthropic citizens express the wish that the
Philadelphia Orchestra was not conducted exclusively for a few idle
rich. Therefore, it is well to record some of the things that the
orchestra has done for the general public in this city.
The policy of the Association from the beginning has been to make the
orchestra the centre of Philadelphia’s musical life in an inclusive,
not an exclusive sense. Hence it has always been ready to reciprocate
any assistance rendered to it by giving its services free of charge
on numerous occasions. Often, of course, financial conditions had to
be considered first. Among the societies that have co-operated in
choral performances, without recompense, and, no doubt, at considerable
expense to themselves, are: the Eurydice Chorus, Fortnightly Club,
Jungermaennerchor Singing Society, Mendelssohn Club, Philadelphia
Choral Society. Outside of Philadelphia the Bach Choir of Baltimore,[37]
Schola Cantorum of New York, and Pittsburgh Chorus.
[37] See Appendix G.
On its part the orchestra has given a number of special performances
without remuneration, such as the concert for the Manuscript Music
Society in 1913, the concert in collaboration with the Mendelssohn Club
in honor of Dr. Wm. Wallace Gilchrist two years later; a performance
at Camp Dix and a concert for the benefit of the American Red Cross,
1918; a French War Relief Benefit the next year; the music at the
presentation of the Philadelphia Award for four years beginning in
1922, and the concert with the Mendelssohn Club to celebrate its
Fiftieth Anniversary in January, 1925. Special concerts were given for
the National Federation of Music Clubs in 1911, and for the National
Convention of Music Supervisors in 1920.
It must be remembered that such concerts undertaken in addition to the
regular engagements for the season have entailed special preparation
and have been an added burden to the busy conductor.
From the earliest days an effort was made to give music to the numbers
of people who enjoy lighter programmes. Popular concerts at low
prices were inaugurated by Mr. Scheel in 1903, at which time the name
“Popular” was such a misnomer that they had to be given in the form of
benefits on a fifty per cent basis of profit. Such concerts were given
at intervals after this for some years, and consecutively from 1909-10
to 1914-15 inclusive. In May, 1916, an effort was made to institute
“Pop” Concerts after the manner of the Boston Orchestra, at the close
of the regular season. The Academy parquet was floored over and light
refreshments were served at tables. The first season of eleven evenings
went off brilliantly, under the alternate leadership of Mr. Stokowski,
Dr. Rich and Mr. C. Stanley Mackey, and left a small surplus on hand.
Prices ranged from fifteen to fifty cents. The second season the
number was increased to eighteen, and for reasons not understood the
Association was left with a deficit, which caused the venture to be
abandoned.
An early enterprise of a philanthropic nature was the “People’s
Concerts” planned by the Executive Committee but placed in charge of
the Civic Club, with a committee composed of Mrs. Edward I. Keffer,
Chairman; Mrs. Spencer Ervin, Mrs. C. Howard Clark, Mrs. Frank
Rosengarten and Mrs. Walter Horstmann.
The first programme would have pleased the most fastidious of tastes:
Labor Lyceum Hall
Second and Cambria Streets
Tuesday Evening, December 15th, at 8.15 o’clock
First of the Series of
THE PEOPLE’S CONCERTS
by the
PHILADELPHIA ORCHESTRA
FRITZ SCHEEL, Conductor
Under the Auspices of the Civic Club
PROGRAMME
1. FELIX MENDELSSOHN-BARTHOLDY Wedding March from
“Midsummer Night’s Dream”
2. HECTOR BERLIOZ Le Carnaval Romain
3. JOSEPH GODEFROID Dance of the Sylphs
Solo for Harp, Alfred Kastner
4. JOHANN STRAUSS Blue Danube Waltz
5. JULES MASSENET Scènes Neapolitaines
6. GIOACHINO ANTONIO ROSSINI Overture “William Tell”
7. HENRI VIEUXTEMPS Fantaisie Appassionata
Solo for Violin and Orchestra, Hugo Olk
8. WEBER-BERLIOZ Invitation to the Dance
9. ALBERT FRANZ DOPPLER “Das Waldvoeglein”
Solo for Flute and Horn Quartette, August H. Rodemann
10. RICHARD WAGNER Overture “Tannhaeuser”
Admission 10 Cents
In the Annual Report of the Civic Club for 1904 this account is given:
“The first ‘People’s Concert’ was held in Kensington
at the Labor Lyceum Hall, Second and Cambria Streets,
admission being 10 cents. It was largely through
the co-operation of Mr. R. R. P. Bradford, of the
Lighthouse Lyceum, his Committee and Miss Esther Kelly,
that the concert proved to be such a great success. The
hall was crowded and the people most enthusiastic; Mr.
Scheel and his orchestra were greatly interested and
gave a number of encores.
“The receipts were $236.62 up to January 1st; expenses,
$103.02. We hope to have a balance of almost $100 when
all returns are made. This balance to be considered a
fund for the People’s Concerts. The second concert will
be given at Bethany Hall on January 11th, the third at
Tuxedo Hall in March.”
There was no doubt about the success of these concerts from the point
of view of the enjoyment of the audiences. The hall was crowded almost
to the danger point, and the enthusiasm was unrestrained. The Women’s
Committees were much interested and kept in touch with Mrs. R. R.
Porter Bradford of the Lighthouse, Kensington, who knew the value of
such music in a section where the shutting down of textile mills for
a winter often made the price of a ticket unavailable. The Committees
used their persuasive powers with the Board of Directors to continue
these concerts at considerable expense, until a fight between two
labor unions made it impossible to rent the hall, the only one in
the neighborhood, and the concerts were no longer given. They were
the means, however, of procuring a number of guarantors, who were
interested in the orchestra from a philanthropic, instead of from a
musical point of view.
From the first, special rates were offered to music students through
the music schools of Philadelphia, for the attendance of the young
was especially desired. Tickets were also distributed free, but the
response was not encouraging.
Special prices were offered to boarding schools in and near
Philadelphia, but they too were not eager to patronize symphony
concerts.
In 1909, through the Women’s Committee, about 43,000 circulars about
the orchestra were sent out by the music schools and other schools with
their prospectuses, a favor much appreciated.
Special Concerts were given for the students at Weightman Hall,
University of Pennsylvania, from 1909-1922. These were conducted
under the auspices of a committee composed of representatives of the
student body, of the Faculty Tea Club (of which professors’ wives were
the members) and of the West Philadelphia Women’s Committee for the
Philadelphia Orchestra. Although the hall was unsuited to orchestral
performances, and the stage inadequate in size, these concerts were
very popular, and the orchestra was always treated in college style.
Press of engagements combined with the unsatisfactory physical
conditions there caused the abandonment of these.
Through the generosity of Mr. Cyrus H. K. Curtis two series of eight
“Public Ledger Educational Concerts” were given for public school
children in 1915-16 and 1916-17.
Public School Concerts have been given at the Academy of Music, with
all tickets at fifty cents, during the last two seasons.
Also for many years the orchestra played for the benefit of the Stetson
Hospital under a special business arrangement.
Free Sunday Concerts were inaugurated at the Metropolitan Opera House
in 1915-16, with a series of three, and continued during the next
season.
The Public School Concerts given in 1915-16 and led by Dr. Rich must
not be forgotten. They took place at the Normal School, Wm. Penn High
School, Philadelphia High School for Girls, Boys’ Central High School,
Germantown, West Philadelphia, Frankford and Southern High Schools.
The Young People’s Educational Concerts should be mentioned. Such a
series of five concerts was first given by Fritz Scheel in 1902-03, at
the Broad Street Theatre, with lectures by Wm. J. Henderson, Wm. F.
Apthorp, Louis C. Elson, Hugh A. Clarke and Henry E. Krehbiel. During
1903-04 and 1905-06 they were continued, and after a long intermission
came to life again in the Children’s Concerts, instituted in 1921.
[38]A special committee was organized in which many associations were
represented and the concerts were so successful that a second series
is now given in order to meet the demand. There is no more inspiring
sight than to watch the Academy filling up with eager-faced children
or than to hear their quick response to Mr. Stokowski’s remarks. The
first series was devoted to an explanation of the instruments and the
programmes are progressing educationally year by year. The principal
difficulty so far encountered is to prevent grown-up children from
attending.
[38] See Appendix L.
COMPOSITIONS ON THE CHILDREN’S CONCERTS
“I want to tell you the lovely time I had at the
concert. I want to thank you for sending the tickets.
I adored the beautiful light in the Academy of Music.
The conductor’s name was Mr. Stokowski and he was a
very nice man. I liked the part when the little boy
only seven years old played the violin. He looked like
Jackie Coogan. He watched the leader all the time he
played. I wonder how long it took him to learn to play
the violin so well.
“Mr. Stokowski is a very pleasant man. He conducted
very well. He told a story of a little goat boy who
played on Sand Pipes. He asked the people to sing Auld
Lang Syne.”
* * * * *
“I thought the concert was fine. I think the little boy
played a good piece of music when he played his violin.
I would like to play a drum, because my brother plays
a drum, and I could easily learn. He used to play in a
band called the “Ardmore Band.” He was the best drummer
they had. People could hear him far away.”
* * * * *
“I enjoyed the concert so much. The orchestra was the
largest I have ever seen. It seemed as if there were at
least a hundred men on the stage. Mr. Stokowski looked
very gay in his medium blue suit. I liked to watch his hands.
“He said anyone could learn to play in an orchestra if
he wanted to, because it was up to the person himself.”
* * * * *
This short account demonstrates that the Philadelphia Orchestra is a
neighbor of much value to the community in which it dwells.
CHAPTER VII
THE SUPPORT OF THE PUBLIC PRESS
Long before the project of a permanent orchestra for Philadelphia
received any degree of public support, the newspapers of this city
in a body used their influence in favor of such an institution. Some
one has spoken of newspaper life as a “career for patriots,” and
surely the editors of the daily papers deserve this title, if any
newspaper men do. No stone was left unturned to further the effort
for a first-class modern orchestra in this city. Paid-for space
announcing performances is one thing. Editorials by the column and
general information, besides the work of the music critic for each
paper are another. In the orchestra archives are scrapbooks filled
with editorials of immense value to the cause. For the newspaper is
a marvelous teacher of public taste and a molder of public opinion.
What would the task have been for such a small number of people, first
five, then eight, then twenty-four, to which were presently added
twenty-one women, if such support had not been prompt and constant?
The gallant list of newspapers, some of which no longer exist is, the
_Evening Bulletin_, the _Evening Ledger_, the _Evening Telegraph_, the
_Item_, _The Inquirer_, the _North American_, the _Press_, the _Public
Ledger_, the _Record_, the _Times_. Not only was support given to the
orchestra itself, but to the Women’s Committees in every undertaking.
For this publicity the Philadelphia Orchestra is in deep debt to the
Philadelphia papers.
Of the music critics it can be said that they are human in their likes
and dislikes, but have always been really interested and friendly.
One newspaper writer must be mentioned. Mrs. Cornelius Stevenson, as
“Peggy Shippen” used her clever pen to further the cause and especially
the work of the Women’s Committees; and was an honorary vice-president
from the beginning until her death. She was also one of the original
guarantors. She was not a music critic, but in her youth she had
possessed a fine contralto voice and she was a devoted music-lover.
So many articles and extracts have already been given that only one
more will be added in order to prove that Philadelphia newspapers and
many others have been warm friends of the Philadelphia Orchestra.
_Evening Telegraph_, March 18th, 1901, Editorial:
“FOR A PERMANENT ORCHESTRA”
“A constituency of nearly 3,000,000 people within sight
of William Penn’s statue on the Public Buildings ought
to be able to support all the institutions pertaining
to a great modern metropolis. The newspapers,
the hotels, the theatres, the great stores, the
transportation facilities, and the institutions of
learning and of science in Philadelphia will compare
favorably with those of any other community of
2,000,000 in the world; while the Park attractions,
and the galleries and exhibitions of works of art are,
in some important respects, far above the standard
referred to. One factor of the metropolitan order of
civilization has, however, been lacking. Up to a very
recent period, Philadelphia has not kept pace with
the modern procession in the public recognition of
the value of music as a factor of civic life. While
several American cities of half the size and quarter of
the wealth have each maintained a permanent orchestra
of the first class, Philadelphia has not had such an
organization of any class. True, the Germania Orchestra
made a brave struggle for existence, aided by the
Pennsylvania Academy of the Fine Arts, and, for a time,
gave promise of building up a permanent orchestral
structure on a solid basis, but this endeavor was
made largely at the cost of the musicians. While the
Germanians and others who have devoted time and money
to the service of the community deserve and should be
given credit and honor for their labors, it yet remains
true that to establish a permanent orchestra worthy of
the city, the first requirement is a solid financial
foundation to build on.
“Such a foundation is the one thing we need to
provide at this hour. We can today secure a permanent
orchestra of the best type for our city by providing a
permanent basis for its support. We are fortunate in
having here at this time a musician who is at once a
thorough artist and an efficient drill master—a rare
combination of qualities that gave to the late Anton
Seidl the highest place among orchestral leaders. It
is not necessary to institute comparisons between Mr.
Fritz Scheel and other conductors, but it is proper to
say he has demonstrated the possession of these higher
qualities that go to the making of a great leader. He
has done wonders with the material at his command in
this city, and that, too, under conditions unfavorable
enough to discourage any less enthusiastic musician
or less energetic worker. In view of what he has
already accomplished in the comparatively short time
he has been at work here, it is a safe and reasonable
presumption that if given a guarantee of control for
five years, with means enough available to warrant
satisfactory contracts with competent musicians, Mr.
Scheel would create for us a permanent orchestra second
to none in this country. There is no question as to
his ability to undertake this task; the only thing
to be determined being whether we are wise enough
and farseeing enough to strengthen his hands for its
accomplishment.”
CHAPTER VIII
THE LISTENERS
The largest portion of this story has been devoted to the orchestra
itself, and the people who founded it, supported it and endowed it.
Now comes the turn of the party of the third part, the audience.
An orchestra may be wonderfully trained, superbly led, comfortably
supported, and yet miss the main point of existing. For without
listeners, even in the days of radio, an orchestra is incomplete.
In 1900 it was difficult to lure listeners into a concert hall, where
symphonic or severely classical music was to be played. Philadelphians
began by listening to symphonies in bits and in the late nineties it
was the custom for the Germania Orchestra to play one movement of a
symphony each week for four weeks, and play the entire work in the
fifth week. Theodore Thomas did not do this, but he could not get an
audience in 1876 or even in 1881.
It is an inspiring sight of a Friday afternoon or Saturday evening to
see the crowds bound for the Academy of Music. Equally inspiring, is
it to see the audience standing on the steps of the Academy and on
the street for two and three hours before admission can be had to the
Amphitheatre for fifty cents. True lovers of music these.
One of the methods employed to persuade people to take season seats was
the membership in the Auxiliary of the Women’s Committees. Another was
the lure of big soloists. Year by year, this musical organization was
obliged to attract by advertising the appearances of great artists.
But once the audience was procured, it stayed; and today soloists are
on the verge of becoming unpopular. Such is the influence of symphonic
music.
The right to interrupt the progress of a concert by demands for
repeated encores was one which the audience gave up with little grace.
In 1913 a paragraph appeared on the programme, stating that:
“The management has decided in no case to permit
more than one encore.”
And again:
“As encores tend to disturb the unity of an orchestral
programme the patrons of the Philadelphia Orchestra
Concerts are respectfully informed that encore demands
cannot be granted.”
The conductor had one or two bad experiences, which occupied some
minutes, but finally patience won the day and the audiences realized
that this pleasure, if it was a pleasure, was over forever at a
symphony concert.
Next came the hat question. It is not a new one, for in 1841 the
Musical Fund Society placed this notice in one of its programmes:
“Ladies are particularly requested not to wear their
bonnets in the concert room.”
This makes one realize that Philadelphia women were always devoted
to their hats. The war on hats was a merry one and began as early as
1906, at a time when hats were large. It is rumored that the fashion
at the moment required pinned on hair, so hats could not be removed.
This matter was taken up in the Women’s Committee, thought by some to
be like the complaint desk of a department store; a situation of which
they are proud, as it shows how the public turns to the women. Much
discussion arose and notices began to appear in the programmes:
“For the greater convenience of all concerned, it is
earnestly hoped that the women patrons of the Orchestra
WILL REMOVE THEIR HATS during the performance. In many
cities local ordinances compel, by legal means, the
removal of head coverings that obstruct the view in
places of amusement.”
“MADAME HOMER AS A HEROINE
“Louise Homer, the popular contralto of the
Metropolitan Opera Company, who was the soloist at
the Symphony Society’s concert in the New Theatre,”
writes a New York critic, “proved herself a heroine.
SHE TOOK OFF HER HAT! To herself and to every woman in
the house, probably, the big creation, or confection,
or whatever it is called, which she wore as she came
upon the stage was a triumph in the art of millinery.
Mere men knew only that it hid her lovely face. If the
audience hadn’t been as well bred as it was musical,
there would have been a demonstration when she pulled
out the pins, removed the hat and placed it at the
foot of the conductor’s stand. Instead there was only
an audible sigh of delight. Is it too much to hope
that Mme. Homer’s sister artists will hasten to follow
her example, and that the hosts of her sex who attend
concerts and recitals may be moved to accede to the
request of the managers: ‘Ladies will please remove
their hats’?”
The “hat question” would not down, but in Philadelphia the situation
was nothing to what it was in Boston, for the management was obliged to
put the following alarming announcement in the Programme Book:
“His Honor, the Mayor, has notified the Management of
Symphony Hall that, unless the law relating to the
wearing of hats by ladies at public entertainments is
obeyed at the Symphony rehearsals and concerts, he may
be forced to revoke the license of Symphony Hall!”
“THE HAT AT THE CONCERTS
“AN EARNEST REQUEST OF OUR WOMEN PATRONS
“A number of complaints have reached the Orchestra
Association regarding the practice of women wearing
their hats at the Orchestra Concerts, particularly
at the Friday afternoon concerts, despite the notice
printed each week in this program asking that for the
comfort of others the hats shall be removed. This
complaint has become so general that it now bids fair
to result in a city ordinance, the same as in Boston
and in Chicago, enforcing the removal of hats at all
occasions of public amusements. This legal enforcement
of what should be a matter of polite request ought not
to be made necessary and the Orchestra Association
earnestly asks of all its woman patrons that they will
not permit this very simple matter to reach this acute
stage. The Association would exceedingly regret to be
compelled to carry out such an ordinance and it is
within the power of each of our woman patrons to keep
what after all is a matter of simple thoughtfulness
within the bounds of politeness and consideration for
others.”
Hats today are small, but all the listeners are not yet converted.
The next most disturbing element was, and is, the restlessness of the
audience.
There is a mistaken idea that coming late and leaving early is peculiar
to the modern era, and this day of haste. Far back in 1882 we know that
people left concerts early from this notice in a programme of that year:
“NOTICE
“The patrons of the Germania Orchestra Concerts are
respectfully requested to be in their seats, on the
evenings of the concerts, by eight o’clock punctually.
“Those persons who are unable to comply with this
request, will kindly wait in the lobby until the close
of the First Movement of the Symphony, when a pause
will be made to enable them to reach their seats.”
Coming late is the habit of the American world at least, even when
taking trains. Being locked out does not remedy this habit, it only
evokes a few growls.
Again the management took up the subject through the programme:
“NOTES OF INTEREST
“The hat question is not the only question that arises
from time to time to prevent that serene enjoyment of
concerts, which is the ideal estate of things hoped for
by Management and concert-goers. Perhaps in the Elysian
fields, choirs armed with angelic harps, are listened
to without distractions furnished by late-comers and
early-goers, or by people whose views on the numbers
interpreted are as obstreperous as their hats, or the
numberless physical annoyances that make for confusion
and noise, that seem to be inevitable in concert
auditoriums the country over. And this is apropos of
the fact that a subscriber has written in to say that
‘The general confusion during the last number of the
concerts on Friday afternoons is most annoying,’ and
she continues, ‘I am wondering whether a request cannot
be put in the programme to stop this nuisance, as has
been done with regard to the wearing of hats. This
is what one meets with; almost as soon as the last
number begins, hats and coats are put on, veils are
arranged, and during the playing of the finale people
keep leaving, causing a general feeling of unquiet and
unrestfulness. This seems to me very discourteous, and
is most annoying to those who really want to enjoy the
concert from start to finish. I know that sometimes it
is necessary for a subscriber to leave early, but may I
suggest that the persons who have to leave before the
last number, vacate their seats before the Orchestra
starts to play.’
“All this seems reasonable enough, but it is a matter
entirely in the hands of the concert-goers, who form
their own ‘court of honor’ in these particulars.”
However, Philadelphia audiences have improved in concert manners since
the olden time. Then the audiences, although considered ill-behaved,
were much like European ones; they did throw things at the singers and
did not hesitate to express their opinions of the performance. But the
city has advanced, as can be seen by the following notice:
“Pistole Reward—To whoever can discover the person who
was so very rude as to throw Eggs from the Gallery upon
the Stage, last Monday, by which the Cloathes of some
Ladies and Gentlemen were spoiled and the performance
in some measure interrupted!”[39]
[39] Sonneck: “Early Concert Life.”
Now we do not throw things, the performance is only “in some measure
interrupted” when we cough and sneeze during concerts and operas and
occasionally come in late. Frequent interruptions of a performance
by the screams and calls of displeased listeners, to say nothing of
constant conversation were the order of the early days of public
music. Not worse here than elsewhere, but annoying just the same. Now
a whisper is hardly ever audible at concerts, and a hiss is called
forth only by a modern composition too terrible to allow to pass
unnoticed. A hiss every now and again is not an unhealthy sign. It
shows that someone is listening; and there are a few coughs but always
behind the conductor’s back.
Early in the life of the orchestra the public began to write letters of
complaint to the management and to the newspapers. The management feels
that this is a sign of healthy interest and welcomes these comments. It
shows how strong the sense of possession of the orchestra is with its
patrons.
Encores have vanished like the missiles of the past. Hats and
restlessness are going out of fashion. The audiences of the
Philadelphia Orchestra are wonderful groups of people, some of whom
have held seats continuously since 1900. Their regular attendance has
encouraged the Board of Directors and inspired the conductor and the
musicians to artistic achievements. The party of the third part is
doing its share toward making the concerts a success.
CHAPTER IX
THE TWENTY-FIFTH ANNIVERSARY
Anniversaries are times for reminiscences and a general survey of
affairs.
The Corporation known as “The Philadelphia Orchestra Association” today
consists of four parts:
First, the Association:[40] comprising the subscribers to the Endowment
Funds of $25.00 or more, and the yearly subscribers to tickets for the
regular series of concerts; and a Board of Directors elected by them
(one-third annually), who in turn elect the officers;
Second, the Philadelphia Orchestra;
Third, the four Women’s Committees;
Fourth, the Business Management.
[40] By-laws, 1920.
It is hardly necessary to mention the interdependence of this quartette
of activities, or to explain how many people have worked to procure an
orchestra for Philadelphia.
In 1900-1901 the Philadelphia Orchestra, composed of 85 musicians
gave six evening concerts. In 1925-26 this orchestra, composed of 106
musicians, will give performances as per the following schedule:
[41]ACADEMY OF MUSIC, PHILADELPHIA
Regular Series, 29 Friday afternoons, 29 Saturday evenings 58
Special Series, Monday evenings 10
Children’s Concerts, 2 series 8
Philadelphia Forum 3
Philadelphia Award 1
Out-of-town Concerts:
New York City 10
Washington 5
Baltimore 3
Pittsburgh, Dayton, Chicago, Cleveland, Toledo,
Detroit, Princeton, one each 7
——
TOTAL 105
RECORD OF PERFORMANCES
Total number of concerts, twenty-five years 2017
Number postponed 6
Number cancelled (Ottawa, 1924) 1
[41] For full list of performances, see Appendix E.
A more perfect fulfillment of obligations would be hard to find.
The regular series of symphony concerts in Philadelphia has been the
primary object and main concern of the Association. Other performances
have been included when the Philadelphia demand did not consume all the
time of the orchestra. Now a third series is being built up, consisting
of ten Monday evening concerts, at which the programmes are identical
with those of ten of the regular series. More and more this city is
absorbing its own orchestra.
During these twenty-five years much traveling has been done. The
first journey was to Reading in 1900. The next year concerts in five
Pennsylvania cities were added as well as in Trenton and Wilmington. In
1902-03 the first concerts in Baltimore and Washington were attempted
and the first New York appearance was made. Growing bolder with
advancing years appearances were made in new cities each year, of which
the following are the most important: Boston (1903-04); Baltimore and
Washington, five each (1906-07); Pittsburgh, one (1911-12), five pairs
(1916-17); New York City, five afternoon concerts (1918-19); Toronto,
three concerts (1919-20); New York City, ten concerts (1922-23).
The orchestra has traveled as far east as Portland, Maine; as far west
as Detroit and Ypsilanti, Michigan; as far south as Richmond, Virginia,
and as far north as Toronto, Canada. During the coming season Chicago
will be added to this list.
Traveling has been tinged with adventure. In 1908, when returning from
Wilmington, the special train carrying the orchestra was wrecked near
Chester. Mr. Pohlig and six musicians were injured, when the cars were
derailed and rolled down a steep embankment. Fortunately, there were no
serious injuries and all the instruments were unhurt.
Ten years later the orchestra reached Kalamazoo, Mich., with difficulty
during a severe blizzard, en route for Grand Rapids, where a concert
was to be played. The thermometer fell to 27° below zero in a sixty
mile gale. The concert was postponed but later given.
The last experience of winter weather was in Canada in 1924, when
the Ottawa concert was cancelled after the audience had waited in
perfect good humor for three hours, hoping that the train carrying the
orchestra could push through the snow.
In the past special trains were almost invariably used. Since railroad
transportation has more than doubled, and since the charge for a
special train has also been raised, the management wherever possible
has availed itself of regular trains, generally running as a second
section. Since the party now constitutes upwards of one hundred and
twelve people, five twelve-section drawing room cars and one baggage
car make up the equipment for night trips. Going to New York, two
coaches are attached to an early afternoon train, and a special train
home is provided after the performance.
* * * * *
The labors of the officers and directors have been continuous. The
Executive Committee, chosen from the Board in the early days; a
sub-committee composed of Dr. Keffer and Mr. McCollin; the Committee
of Three, consisting of Mr. Norris, Mr. Wheeler, and the late Mr.
Charles A. Braun, who with the president, met daily from 1908 until
1920, shouldered most of the responsibility. Under the new By-Laws
the Administration Committee composed of Messrs. Edward W. Bok, James
Crosby Brown, Samuel S. Fels, Charles D. Hart, Effingham B. Morris,
William Jay Turner, Alexander Van Rensselaer, and Andrew Wheeler,
perform the arduous task of meeting every week regularly to dispose of
the business of the Association.
In the early days Mr. Henry Whelen, Jr., made it possible to carry on
the orchestra under financial difficulties, from 1900 until his death,
which, coming so soon after the loss of Fritz Scheel, was a double
blow. On May 22nd, 1907, this resolution was passed by the Board of
Directors:
“The death of Mr. Henry Whelen, Jr., has deprived this
Board of a most capable and efficient officer, and
its members, of an esteemed and highly valued friend.
To an artistic temperament, he added rare qualities
of judgment and discretion inherent in a disciplined
mind, and coupled with a sense of duty and habit of
industry that continually and cheerfully placed his
valuable services at the disposal of the community.
The positions of member of the Board of Directors,
of the Executive Committee, and of Treasurer of this
Association, are but a few of the positions in which he
stood in an unselfish relation to his native city, in
an effort to discharge what he conceived to be his duty
in the development of Music and Art in the community in
which he lived.
“It is also with an acute sense of personal loss that
this minute is ordered in the sincere hope that it
may beguile those nearest and dearest to him from
something of the grief of so great a bereavement and
also serve to perpetuate his memory in a community that
has profited so much from his useful and unselfish
citizenship.”
* * * * *
Mr. Thomas McKean, for many years Vice-president, was one of the
officers who was always ready to assist in a financial crisis. Mr.
Richard Y. Cook and Mr. Theodore N. Ely were especially devoted members
of the Board, but all the membership should be included in this
category.
The social end, besides many others, has been taken care of by Mr. Van
Rensselaer, who has constantly given entertainments.
* * * * *
Of the many friends outside of the officers and directors, Mr. Philip
H. Goepp has worked as hard as any man. From 1901-1902 until 1920-1921
inclusive he was annotator of the programme and well fitted for the
task, as he is a musician, composer, and author of the series on
“Symphonies and their Meaning,” authoritative works on this subject.
He gave his time and his knowledge to the Association, at first
without remuneration, so great was his enthusiasm over the continued
development of the orchestra. Many days and nights through the years
were devoted to the study of the works performed, and the Association
is greatly in his debt.
* * * * *
During the period of his leadership Mr. Stokowski has had various
honors bestowed upon him. After the second performance of the Mahler
Symphony he was presented with a bronze wreath; on the completion of
ten years as conductor in 1922, by the Women’s Committees with a set
of twelve silver plates, and with a silver tankard by the Association;
the University of Pennsylvania conferred on him the Honorary degree of
Doctor of Music in 1920; and in 1922 he was the first recipient of the
Philadelphia Award of Ten Thousand Dollars. His appearances in Europe
in January 1923, when as guest conductor he led orchestras in France
and Italy were greeted with enthusiasm and with press notices of a
laudatory nature.
* * * * *
Although it is a rented building, the Academy of Music is the only
dwelling place the orchestra has known, and the auditorium with its
architectural beauty and perfect acoustics is a marvelous place for
orchestral concerts. Having been built in 1857, its traditions link the
past with the present and cast a spell over the music.
The present stage setting, which replaces the gift of the West
Philadelphia Women’s Committee, is from the design of Mr. Huger
Elliott, and was executed as a labor of love by the students of the
Pennsylvania Museum and School of Industrial Art for the Association.
* * * * *
A possession of the Association is the orchestral library that has
gradually been accumulated. Beginning with the purchase, for $600.00,
of the library of the Philadelphia Symphony Society and augmented in
1911 by Fritz Scheel’s collection, and by the constant addition of
new works, it is now suited to the needs of the orchestra and valued
as a great asset. It contains twelve hundred works with scores, and
orchestral parts for one hundred and ten men, besides four hundred and
thirty scores without orchestral parts.
* * * * *
Advantage is often taken of modern musical inventions. For some years
much care has been given to the making of Victor Records, which are
popular the country over. There is now a list of forty-six, all
exceptionally good, and they have brought the orchestra many friends.
Radio transmitters are not used at performances. The Board of Directors
feels that it is unfair to patrons of the orchestra, who pay for
tickets and take the trouble to attend the concerts in person, to
broadcast the music throughout the country.
Mr. Stokowski recently secured the rights for the first presentation
of the new Hammond Pedal, invented by John Hays Hammond, Jr. The
first public performance on the piano with this attachment was at the
Philadelphia regular series of concerts, on October 30th and 31st,
1925, when Lester Donahue played the Rachmaninoff Second Concerto. The
invention will also be used in Washington, New York City and on the
Western tour.
* * * * *
In looking back over the years, details come to mind. Much anxiety used
to be felt about Saturday nights, as bad weather meant a poor audience
and knocked the box office receipts. Now, the audience is anxious for
fear of uncomfortable delays on the steps during a storm, on account of
the crowd.
Another detail was the efforts that the women made long ago to brighten
up the appearance of the Saturday evening house, by asking their
friends in the boxes to wear gay clothes.
* * * * *
The policy of the Philadelphia Orchestra Association has always been
to sell tickets at moderate prices. Tickets for the best seats for the
first regular series of six concerts sold for $8.00. Students could
buy tickets for the amphitheatre for $1.75 for fourteen rehearsals
and $2.00 for fourteen concerts. The price of tickets has increased
seventy per cent and operating expenses have increased five hundred per
cent in twenty-five years, but considering this, the tickets are still
moderate. A story is told by Mr. George T. Haley, of the Academy of
Music Ticket Office, loyal friend to the orchestra, of how as a young
assistant agent he was in charge of the window on the first day of the
first sale for the Philadelphia Orchestra. He opened promptly at 8.30
a. m.; the first sale was about ten and the next about four in the
afternoon. Now, his principal business in connection with the orchestra
is to placate the people who cannot get the seats they want or get any
seats at all.
* * * * *
The Business Management of the Association has been since 1915 in the
hands of Mr. Arthur Judson, whose ability and that of the Assistant
Manager, Mr. Louis A. Mattson, is well known. Mr. Judson manages,
likewise, the Philharmonic Orchestra of New York and the Cincinnati
Orchestra. Mr. Mattson manages the summer concerts in Fairmount Park,
for which a number of Philadelphia Orchestra men are engaged. The ease
with which a large amount of business is conducted, and one in which
there is much detail, is due to the organizing talents of Mr. Judson
and to the devotion and long training of the office staff under him.
The Association is fortunate in having a manager of such rare business
acumen, whose talents have developed as necessity arose; until it is
safe to say that there is no more ably managed musical organization in
the country than this. To Mr. Mattson falls the task of distributing
the seats, no easy one in 1925, when there are almost none to dispose
of. No mention of the business end of this enterprise would be complete
without the names of Miss Ruth O’Neill, Miss Elizabeth M. Russell
and Miss Margaret E. Pringle, not to forget Mr. Stokowski’s private
secretary, Miss McGinty, who eases the thorny business path of an
artist.
* * * * *
Speaking of business, the Endowment Funds of the Association were at
first in the hands of three trustees but now are in the care of a
Corporate Trustee, the Girard Trust Company.
But enough of details! Many forces have combined to make it possible to
maintain an orchestra.
Some years ago Peggy Shippen wrote:
“This remarkable performance (Mahler Symphony),
which attracted music connoisseurs from many cities,
and which will remain a lasting credit to our town,
was the result of a combination of forces patiently
brought together by the will, power and genius of one
man—Leopold Stokowski.
* * * * *
“Such triumphs of art scored in this city do more than
all the advertising in the world to place Philadelphia
in the lead of the great American centers. The Mayor
has spoken of advertising this city; these things do
this legitimately by adding to its opportunities. The
sooner we realize that it is by honest work and the
real thing well done that we can impose respect for our
city and State, the better.
* * * * *
“It is in the last decade or so that those interested
have realized the necessity for ‘coming together.’
This policy seems to have been adopted since Alexander
Van Rensselaer accepted the presidency of the Board
of Directors. No one could be selected in this entire
city better calculated to bring together the elements
indispensable to the success of such an undertaking.
Himself a musician, all his life identified with
musical interests, he is one of the most widely popular
men in this community.
* * * * *
“As the audiences grew and became critical, exacting
a higher quality of music, Mr. Van Rensselaer and his
board rose to the occasion and met the requirements of
growth.
“The Women’s Committee, besides developing the interest
in the success of the orchestra, has helped with the
Guarantee Fund, which, of course, is the pivot upon
which turns the success of the undertaking. Without
the backing of money, to pay for the best procurable
talent, even the greatest genius is helpless to produce
adequately a great work of art.
“It was the combination of Mr. Van Rensselaer’s patient
and broad policy, of the women’s inconspicuous but
telling work of years upon the musical intelligence of
the community, first under Mrs. A. J. Dallas Dixon’s
direction and then under that of Miss Frances Wister,
that provided the fertile ground upon which the genius
of Mr. Stokowski brought out the almost superhuman
result of last week.
“The same success will attend similar methods in other
fields. The theory of ‘splendid isolation’ does not
apply to our epoch.”
* * * * *
The Philippine Concerts which occurred on March 29th and April 5th,
1900; and which were the forerunners of the Philadelphia Orchestra,
were commemorated at the concerts of March 27th and 29th and April
3rd and 4th, 1925, by a notice in the programme and by the playing
of certain numbers played at those concerts. They marked the first
appearance of Fritz Scheel with an orchestra of professional musicians
in Philadelphia.
The Twenty-fifth Anniversary of the first concert on November 16th,
1900, is being celebrated at the concerts of November 13th and 14th,
1925, by simple ceremonies and a repetition of the first programme.
It is a long way from the total of seven concerts in 1900, to the one
hundred and five concerts arranged for this season. The road has been
discouraging and difficult, but the twenty-fifth anniversary is a cause
for rejoicing to all lovers of the Philadelphia Orchestra.
Little did the small group of men in 1900 dream that the orchestra they
founded would twenty-five years later be known throughout America and
Europe.
The “Road One Hundred and Fifty Years Long” has been worth traveling
to Philadelphians, to reach the present milestone in the symphonic
succession, so far the most important achievement in the city’s musical
history. If Baedeker were to write a “Guide to Music in America” he
would put three stars against the Philadelphia Orchestra.
CHAPTER X
THE POINT OF THE STORY
“_Time Was unlocks the riddle of Time Is_.
_That offers choice of glory or of gloom_:
_The solver makes Time Shall Be surely his._”
The point of the story is the music that the Philadelphia Orchestra
makes. It would be a tragedy if after twenty-five years anyone could
ask “Why?” A tragedy for the officers and directors, for the Women’s
Committees, and for the reader and writer of this book. For the
musicians and for Leopold Stokowski it would be more than a tragedy,
the object of life would cease to exist.
Beginning in 1912 the musical record becomes more and more interesting.
The leader has poured out his talents for Philadelphia and the feast
has been lavish. Programme after programme of the works of the
great, interpreted by the brain of Leopold Stokowski have enthralled
his audiences. Only a few special selections and occasions can be
mentioned, but a perusal of the programmes for thirteen years shows
that the average of Philadelphia Orchestra concerts is far above the
usual average, for he is a master maker of programmes.
1912-13: Gustav Strube, “Puck”; Herman Sandby, Prelude to Act IV
“The Vikings of Helgenland”; Edward Elgar, Symphony No. 1; Guiseppe
Martucci, Symphony No. 1; Sigismund Noszkowski, “Die Steppen”; Richard
Strauss, “Liesbes Scene” from “Feursnot,” “Salome’s Tanz”; Henri
Rabaud, Symphony No. 2[42]; Ernest Schelling, “Légende Symphonic.”[43]
[42] First performance in America.
[43] First performance in America.
1913-14: Hans Erich Pfitzner, “Käthchen von Heilbronn,” overture;
Fernandez Arbos, “Guajiras,”[44] violin and orchestra; Florent Schmitt,
“Rapsodie Viennoise”[45]; Albert Roussel, Evocation No. 2 “La Ville
Rose”[46]; Henry Hadley, Symphony, “North, East, South and West”; Erich
Korngold, “Schauspiel” Overture; Otto Mueller, member Philadelphia
Orchestra, “Dramatic Overture”; Henry A. Lang[47], Symphony “Fantasies
of a Poet”; Beethoven, Ninth Symphony with Chorus.
[44] First performance in America.
[45] First performance in America.
[46] First performance in America.
[47] Philadelphian.
1914-15: Jan Sibelius, “Finlandia”; Bach, triple concerto, piano,
violin and flute; Paderewski, Symphony B minor[48], Special Concerts
for the Benefit of the Pension Fund; Mendelssohn, “Lobgesang Symphony”
with soloists and sixteen Choral Societies; Wagner Programme. Frederick
Stock, Symphony C minor; Feruccio Busoni, Indian Fantasy, piano and
orchestra;[49] Sandby, Suite from “The Woman and the Fiddler”; Mrs. H.
H. A. Beach, Symphony “Gaelic”; Georges Enesco, “Roumanian Rhapsody.”
1915-16: Gustav Strube, “Variations on an Original Theme”; Camille
Zeckwer[50], Symphonic Poem, “Sohrab and Rustum” (conducted by
composer); Enrique Granados, Intermezzo and Epilogue from Goyescas;
Gustav Mahler, Eighth Symphony for orchestra soli and chorus;[51]
Strauss “Alpensymphonie.”[52]
[48] First performance in America.
[49] First performance in America.
[50] Philadelphian.
[51] First performance in America.
[52] First performance in America.
1916-17: Frederick A. Stock: Violin Concerto, D minor; Arne Oldberg
“June” (conducted by composer); Gustav Mahler, “Das Lied von der
Erde,”[53] symphony for soli voices and orchestra; Max Bruch, Concerto
for two pianos written for Rose and Ottilie Sutro (first world
performance); Michel Dvorsky, “Chromaticon” piano and orchestra, Josef
Hofmann, pianist; Debussy, “The Blessed Damosel” after Rosetti for
soprano and Chorus of Women; Schelling, “Impressions,” variations
for piano and orchestra, composer at the piano; Liszt, Eine Faust
Symphonie, orchestra, tenor and bass soli and chorus; Bach, Matthäus
Passion, orchestra, soli, Philadelphia Orchestra Chorus, Chorus of
Girls from Philadelphia Normal School and Girls’ High School.
[53] First performance in America.
1917-18: American Programme, Edgar Stillman Kelley Symphony “New
England,” compositions by Philip H. Goepp, Arthur Foote; Skryabin,
“Poème de l’Extase”; Beethoven, Three Equali for four Trombones; Bach,
Concerto, three pianos and orchestra, Mme. Olga Samaroff, Bauer,
Gabrilowitsch; Sinding, Symphony; Ernest Chausson, “Poème” violin and
orchestra, Thaddeus Rich, violinist; Bloch Programme, concert conducted
by composer; Selim Palmgren concerto “The River,” piano and orchestra.
1918-19: MacDowell “Indian Suite” dirge in memory of fallen Americans;
Dvorsky, “The Haunted Castle”; Debussy “Sirènes,” orchestra and women’s
voices; Lorenziti, Suite for Viole d’Amour, Henri Casadesus, soloist;
Rachmaninoff, Air for a Choir of Solo Violins with orchestra; Programme
of four American composers, Frederic S. Converse, H. Clough-Leiter,
John Alden Carpenter, Cecil Forsyth; Leo Ornstein, piano soli, composer
at the piano; Chadwick, “Tam o’Shanter”; Ernest Bloch, Symphony No. 1;
Louis Garnier, “Vision” Poème for Orchestra.
1919-20: Beethoven, Choral Fantasy in C minor, piano, orchestra and
chorus, Mme. Samaroff, pianist; Malipiero, “Pause del Silenzio”;
Loeffler “A Pagan Poem” for Orchestra, with piano, English horn and
three trumpets obligato, Bauer pianist; Charles T. Griffes, four
compositions for orchestra; Rachmaninoff, Concerto No. 3, piano and
orchestra, composer at the piano; Symphony “The Bells”[54] (after Poe),
orchestra solo voices and Philadelphia Orchestra Chorus; Lorenziti,
Concerto for Viole d’Amour, double bass and orchestra, Thaddeus Rich
and Anton Torello, soloists; Weber, Concertino in F for bassoon and
orchestra, Richard Krueger, soloist; André Maquarre, two compositions
for orchestra; Mozart Opus 30, arranged as a Concerto for oboe and
small orchestra, Marcel Tabuteau, soloist; Beethoven, Ninth Symphony,
Philadelphia Orchestra Chorus, marking Ninety-sixth Anniversary of
first performance, 1824.
[54] First performance in America.
1910-21: Leo Sowerby “Comes Autumn Time”; J. Guy Ropartz, Symphony
No. 4; Cyril Scott, concerto piano and orchestra, composer at the
piano; John Alden Carpenter “A Pilgrim Vision” to mark Tercentenary of
Landing of the Mayflower; Beethoven, Ninth Symphony with Philadelphia
Orchestra Chorus; Brahms; double concerto violin and cello, Rich and
Penha, soloists; Brahms, “Requiem,” soprano and baritone soli, chorus
and orchestra; Gilchrist[55], Symphonic Poem, unveiling of Gilchrist
memorial; Mahler, Symphony No. 2, for orchestra, chorus and solo
soprano and contralto.
[55] Philadelphian.
1921-22: Sibelius, Symphony No. 5[56]; Alfredo Casello, “Pages of War”
for orchestra; Gregor Fitelberg, Polish Rhapsody[57]; Bloch, Suite
for viola and orchestra; Schoenberg, Five Orchestra Pieces; Vincent
d’Indy “Poème des Rivages,” d’Indy, guest conductor (first performed
on present tour); Bach Passacaglia, orchestrated by Leopold Stokowski
(first time); Strawinsky “Sacre du Printemps”[58]; Manuel de Falla,
excerpts from “El Amor Brujo”[59]; Otto Mueller, Carnival Overture
“Schlaraffiada.”
1922-23: Debussy “La Cour des Lys”; Ravel, “La Valse Choreographic,”
Poem for Orchestra; Strawinsky, “Feuerwerk”; Franck Centenary, Symphony
D minor. The orchestra was engaged by Dr. Richard Strauss for four New
York concerts of his own works exclusively. Dr. Strauss also conducted
one in Philadelphia.
1922-1923: Camille Zeckwer, “Jade Butterflies”; Strawinsky, “Trois
Poésies de la Lyrique Japonaise”; Enesco, Symphony E flat, Roumanian
Rhapsody, Enesco, guest conductor; Brahms, concerto for violin, Enesco,
violinist; January 26th and 27th, 1923, compositions by Milhaud,
Poulenc, Auric, Satie; Schelling, “A Victory Ball”; Pick-Mangiagali,
“Sortilegi,” Symphonic Poem, piano and orchestra; D. G. Mason, Prelude
and Fugue, piano and orchestra; Henry Eichheim, Oriental Impressions
for Orchestra; Schoenberg, “Kammersymphonie”.
1923-24: Strawinsky, “Chant du Rossignol”[60]; Bach concerto for
harpsichord; Händel, concerto for harpsichord, Wanda Landowska,
soloist; Strawinsky, “Symphonie d’Instruments à Vent”[61]; Josef
Hofmann, compositions for piano and orchestra, East and West,
Caliedescope, the Haunted Castle, “Chromaticon” (Dvorsky); Ottorino
Respighi, “Sinfonia Drammatica”; Deems Taylor, Suite “Through
the Looking Glass”; compositions by Magnard, Jean-Jules-Amable
Roger-Ducasse; Hand Krása; Strawinsky, “Renard,” burlesque for Chamber
Orchestra, two tenors, two basses; Beethoven, Ninth Symphony with
Toronto Choir.
[56] First performance in America.
[57] First performance in America.
[58] First performance in America.
[59] First performance in America.
[60] First performance in America.
[61] First performance in America.
1924-25: Nicholas Medtner, piano concerto, composer at piano; Edgar
Varese, “Hyperprisms”; Paul Hindemuth, Nusch-Nuschi Dances; Karl
Szymsanowski, violin concerto[62]; Kurt Atterberg, Symphony No. 2; Henry
Joslyn, War Dance from Suite, “Native Moments”; Strawinsky programme,
Strawinsky guest conductor; Prokokieff, Suite Scythe, “Ala and Lolli”;
Arthur Bliss, “Mêlée Fantasque”; Germaine Taillefer, Concerto[63] for
piano and orchestra; Isaac Albeniz, “Fête Dieu à Séville”; Edward
Burlingame Hill, Arthur Bliss, compositions for two pianos and
orchestra.
[62] First performance in America.
[63] First performance in America.
It must not be supposed from the above that the usual standard works
are not performed. The list is given to show the wide musical range to
which Philadelphians are treated. No mention has been made of the many
Wagner and Tschaikowsky programmes that have been presented. They have
occurred every year and are always a delight.
It is a pleasure to mention the principal players in the orchestra, who
are not generally known personally by the audience. It is a case of
“by their voices you shall know them,” and their voices enthrall the
listeners week by week. First comes Dr. Thaddeus Rich, most popular of
concertmasters and an assistant conductor of no mean attainments, who
is sometimes called to take the conductor’s place at the last minute,
where he acquits himself with honors. As we look farther there are:
David Dubinsky, first second violin; Samuel Lifschey, first viola;
Hanns Pick, violoncello; W. M. Kincaid, flute; Marcel Tabuteau, oboe;
Daniel Bonade, clarinet; Anton Horner, horn; Walter Guetter, bassoon;
Sol. Cohen, trumpet; Gardell Simons, Paul P. Lotz, C. E. Gerhard,
trombones; Philip A. Donatelli, tuba; Anton Torello, bass; Vincent
Fanelli, Jr., harp; and last but not least, Oscar Schwar, tympani.
These players all possess the requisites, which seem to be ability to
play and ability to obey, for the response of their wills to the will
of the leader is what makes success in an orchestra. One noticeable
feature about the musicians is their youth; this is patent to the eye,
and to the ear, from the virility of their performance.
To those who do not see farther than the Academy stage, it would be
useless to explain that the conductor’s activities are not confined to
stepping briskly onto the platform and leading concerts. People who
have given the matter thought must know that he is working all the
year round for the Philadelphia Orchestra. The rehearsals are very
exacting and the players are wonderfully prepared. Conducting a concert
means a physical, mental and emotional strain which is only understood
by those who have seen the conductor as he comes off the stage. Leading
without a score requires perfect concentration. Painstaking effort
and patience on the part of Mr. Stokowski bring their reward in the
finish of the performance, but it looks so easy! And therein is shown
his skill. Next there is the constant search for new works and the
mastering of them before rehearsals can begin. Much time is occupied
in hearing and selecting players, for no stone is left unturned to
find the best artists for each position. The mail is also a subject
of importance, as correspondence is kept up with individuals and
publishers and then there are letters of complaint or approval, all
to be answered. The conductor is a busy man, whose brain never stops
working, planning, devising for the orchestra.
Leopold Stokowski’s musical gifts are of a nature difficult to
describe. What thrills come to one at the remembrance of certain
moments, the first hearing of the Bach “Passacaglia,” the “Prelude
and Liebestod” from Tristan, the symphonies of Brahms, Schubert and
Tschaikowsky, Mahler’s Eighth, where the chorus “Alles Vergängliches
ist nur ein Gleichniss” soars aloft, Beethoven’s Seventh, and the Ninth
with the Mendelssohn Choir of Toronto. But why mention special moments?
The audiences have come to expect every concert to be a “special
moment.”
Philadelphia is to be congratulated that the orchestra bearing its name
is in the hands of Leopold Stokowski, master musician. It is constantly
advancing. When one peak on the climb is reached, the clouds roll away
and another comes into view. Let no man speak its doom by proclaiming
that the summit of Parnassus has been reached by the Philadelphia
Orchestra.
* * * * *
The name of Alexander Van Rensselaer, Esq., appears on the first page
of this book. It is fitting that it should also appear on the last,
for the president’s activities encircle the orchestra. Many records of
his deeds appear in the annals of the Association, and many more are
engraved in the hearts of his fellow-workers and fellow-townsmen. He is
the only person, however, who knows what sacrifices his devotion has
entailed. For although a president may appear to enjoy more sunshine
than other individuals, he also bears the shock of all the storms. The
responsibility of such a post for twenty-five unbroken years is a heavy
burden for a man to bear. To say that he has borne it and continued to
hold the respect and affection of Philadelphians is the finest tribute
that could be paid him.
The story told in this book has been made possible by the president of
the Philadelphia Orchestra Association.
IN MEMORIAM
THEODORE THOMAS
BORN OCTOBER 11, 1835; DIED JANUARY 4, 1905
“The death of the pioneer of American music, and a veritable Titan
of Conductors, Theodore Thomas, brings consternation to the world
of music, as this great man stood for all that is pure and noble in
his art. An event so calamitous, and peculiarly significant here in
Philadelphia, where he was well known and beloved, devolves upon me
the sad duty of giving an orchestral expression of our deep grief.
While it is true that an all-wise Providence saw fit to remove
from the field of action one who had probably reached the apogee
of his power and influence, yet keen regret must of necessity be
experienced, an emotion best expressed through the medium that
the great Thomas made his own—the orchestra. Therefore, I deem it
wise to change the programme for the Seventh Concert, selecting
such numbers as, in a sense, may be regarded as a mortuary mass.
In agreement with this idea, which I am sure my supporters
will endorse, I have made the following changes, substituting
such numbers that, were the lips now stilled in death able to
articulate, they would, I trust, unreservedly approve.
FRITZ SCHEEL
Conductor of the Philadelphia Orchestra.”
Philadelphia, January 6, 1905.
PROGRAMME
1. RICHARD WAGNER
Siegfried’s Death from “Die Götterdämmerung”
2. WOLFGANG AMADEUS MOZART Symphony, G minor
I. Allegro Molto 4/4
II. Andante 6/8
III. Menuetto: Allegro 3/4
IV. Finale: Allegro Assai 4/4
3. JULES DE SWERT Concerto for Violoncello and Orchestra,
No. 2, in C minor, Op. 38
Allegro moderato—Espressivo, 4/4
ALFRED SAAL
4. RICHARD STRAUSS Serenade, Opus 7, Andante, E flat major
For 2 Flutes, 2 Oboes, 2 Clarinets, 4 Horns,
2 Bassoons, and Contra Bassoon
5. LUDWIG VON BEETHOVEN Overture, “Leonore No. 3,” Op. 72
PROGRAMME OF CEREMONIES
FRITZ SCHEEL MEMORIAL
Academy of Music
Wednesday, March Eleventh
Nineteen Hundred and Eight
at Three o’Clock
In Memoriam
FRITZ SCHEEL
BORN LÜBECK, 1852; DIED PHILADELPHIA, 1907
RICHARD WAGNER Vorspiel “Parsifal”
Address
MR. OWEN WISTER
RICHARD STRAUSS Tone Poem “Tod und Verklärung”
BEETHOVEN Funeral March from Eroica Symphony
DR. S. WEIR MITCHELL
January 9-10, 1914
BEETHOVEN Slow Movement from Symphony No. 7, in A major
THEODORE N. ELY
November 3-4, 1916
BEETHOVEN Eroica Symphony Marcia Funèbre
HAROLD ELLIS YARNALL
April 7-8, 1917
MACDOWELL “Dirge” from Indian Suite
Tribute to the memory of our soldiers and sailors who
have fallen in the war
November 15-16, 1918
BEETHOVEN Eroica Symphony Marche Funèbre
THEODORE ROOSEVELT
January 17-18, 1919
* * * * *
“RESOLUTION PASSED AT MEETING OF BOARD OF
DIRECTORS, NOVEMBER 26th, 1919
“WHEREAS, the Directors of the Philadelphia
Orchestra Association note with deep sorrow the death
of Major Henry Lee Higginson,
“And WHEREAS, they recognize that by his death
the cause of good music throughout the country has
sustained an irreparable loss,
“And WHEREAS, they recognize their own deep
debt of gratitude to him for his pioneer work in the
said cause of music,
“BE IT RESOLVED that they place on record
their very real sense of this great loss and their
feeling of sympathy in it not only with the members of
his family, but with every officer and member of the
Boston Symphony Orchestra Association.
“It is further ordered that the Secretary of the
Philadelphia Orchestra Association transmit a copy of
this resolution to Mrs. Higginson and to the officers
and members of the Boston Symphony Association.”
“The Dirge from MacDowell’s ‘Indian Suite’
will be played
IN MEMORY
of
The Founder of the Boston Symphony Orchestra
MAJOR HENRY LEE HIGGINSON
November 18, 1834—November 14, 1919”
November 28-29, 1919
SCHUBERT Unfinished Symphony, Andante
GEORGE W. ELKINS
December 5-6, 1919
WAGNER Funeral March from “The Twilight of the Gods”
MRS. ALEXANDER J. CASSATT
January 23-24, 1920
Resolution passed by the Women’s Committee, January 20th, 1920.
MRS. ALEXANDER J. CASSATT
“Mrs. Cassatt was associated with the Women’s Committee
for the Philadelphia Orchestra, as an Honorary
Vice-president, at the time of its organization in
1904; in 1909 she was elected to the Board of Managers,
and in 1914 became a Vice-president, which position
she held until her death on January 9th, 1920. She was
Chairman of the Nominating Committee for many years
and conducted its affairs with discretion and ability.
She was also Chairman of a Committee, which during the
winter of 1912 devoted much time and thought to the
revision of the By-laws.
“Mrs. Cassatt gave her support to the cause of an
orchestra for Philadelphia, however, before the
Philadelphia Orchestra was organized as such, and
before the Women’s Committee had a reason for existing.
In the spring of 1900, she organized a committee
of women which carried through the two so-called
Philippine Concerts and gave Fritz Scheel his first
opportunity to appear in Philadelphia as a conductor of
an orchestra composed of professional musicians; as a
direct result the Philadelphia Orchestra was organized
in the fall of that year.
“In spite of failing health and physical suffering,
Mrs. Cassatt’s interest in the welfare of this
Committee and the orchestra never flagged; her wise
counsel was freely given, and her gracious presence was
always an inspiration. She gave to this Committee the
benefit of her wide knowledge of people and affairs,
and for this we have a deep sense of gratitude.
“Her last public appearance was at the Philadelphia
Orchestra Endowment Fund Campaign Luncheon on November
6th, 1919, on which occasion she presented the gift of
one thousand dollars to the Endowment Fund from the
Women’s Committee as a tribute to its President, Miss
Frances A. Wister.
“The influence of her loyalty will remain a rich
heritage for the Women’s Committee for the Philadelphia
Orchestra.
“THEREFORE, BE IT
“RESOLVED, That we, the members of the Women’s
Committee for the Philadelphia Orchestra, hereby
express our affection and respect for Mrs. Cassatt, and
our grief and sense of irreparable loss at her death.
“BE IT ALSO RESOLVED, That we record our
appreciation of Mrs. Cassatt’s interest in the affairs
of this Committee, of her work for the Philadelphia
Orchestra, and of her distinguished qualities of
leadership. We are profoundly touched by the fact
that Mrs. Cassatt’s last public appearance was in our
behalf, and are mindful of the privilege that has been
ours in working with her for the cause of music in
Philadelphia.
“BE IT ALSO RESOLVED, That this resolution
together with the preamble be spread upon the minutes
and that copies be sent to Mrs. Cassatt’s family as an
expression of our deep sympathy in their loss.
_Committee on Resolutions_
(Signed) FRANCES ANNE WISTER, _Chairman_
ADÈLE G. YARNALL
MRS. SIMON B. FLEISHER
SALLIE HOUSTON HENRY
ELIZABETH H. ARNETT”
January 20th, 1920.
WAGNER “Götterdämmerung” Funeral March
CHARLES A. BRAUN
October 27-28, 1922.
BEETHOVEN Symphony No. 7, Slow Movement
EDWARD G. MCCOLLIN
November 30, December 1, 1923.
WAGNER Funeral March from Götterdämmerung
WOODROW WILSON
February 8-9, 1924.
CHOPIN Funeral March
MRS. ALEXANDER J. DALLAS DIXON
October 16-17, 1925.
MRS. ALEXANDER J. DALLAS DIXON
“DIED SEPTEMBER 20, 1925
“RESOLUTION PASSED BY THE PHILADELPHIA ORCHESTRA
ASSOCIATION
“The officers and members of the Administration
Committee of The Philadelphia Orchestra Association
have learned with deep sorrow of the death of Mrs.
Alexander J. Dallas Dixon, who had been a member of
the Board of Directors of the Orchestra Association
since its very beginning, as well as first President of
the Women’s Committee for The Philadelphia Orchestra.
Her charming personality, sweet disposition and wise
judgment combined to make her endeared and respected by
all her associates.
“In her death we have lost a true and devoted friend
of music and a lady with whom it was a pleasure to be
associated.
“THE WOMEN’S COMMITTEE FOR THE PHILADELPHIA
ORCHESTRA
“MRS. ALEXANDER J. DALLAS DIXON
“Mrs. Alexander J. Dallas Dixon, the first President of
this committee, who died on September 20, 1925, was for
several reasons especially dear to our members.
“Captains of ships who take the helm for voyages over
uncharted seas, or leaders of expeditions across
unknown continents who bring such undertakings to
successful ends, receive the honor of their comrades.
How much more should we treasure the memory of a
pioneer leader, whose enterprise was so skillfully
planned that the work for a noble purpose has been able
to continue during twenty-one years.
“Long before Mrs. Dixon entered upon the difficult
position of President of this committee, however, she
was a force in the musical life of the city. As an
amateur pianist and singer, and as a member of the
Eurydice Chorus and of the Melody Club, she was a
well-known and important figure among the devotees of
this enchanting art.
“Mrs. Dixon taught the committee many lessons, although
some of us were unaware of this fact at the time,
and probably she was herself. Behind a delightful
simplicity of manner there lay courage, patience,
ability, firmness of purpose in an unpopular cause and
a shining soul. Therefore, personally and officially,
Mrs. Dixon was the greatest ornament that the committee
has possessed and the most beloved officer. It is
especially distressing to us to lose her from our
midst at a time when all friends of the Philadelphia
Orchestra are rejoicing in the Twenty-fifth Anniversary
of the first concert, which is to be celebrated in
November. So devoted a member of the Board of Directors
of The Philadelphia Orchestra Association will be much
missed on that occasion.
“It may be well said, ‘Her ways were ways of
pleasantness and her paths were paths of peace,’ for,
led by her, the Women’s Committee for The Philadelphia
Orchestra has wended its steps along the same road. Our
gratitude will endure while the committee continues to
exist.
“A committee composed of the officers has been
appointed to present a resolution for action at this
special meeting of the Women’s Committee for The
Philadelphia Orchestra.
RESOLUTION
“MRS. ALEXANDER J. DALLAS DIXON
“First President of the Women’s Committee for
The Philadelphia Orchestra—1904-1912
“Mrs. Alexander J. Dallas Dixon was the first President
of the Women’s Committee for The Philadelphia
Orchestra, which was organized at her house on March
11, 1904. Until 1912 she continued as its presiding
officer and during these years she held the esteem
and affection of the members of the committee and
administered its affairs with wisdom, justice and a
broad vision.
“Therefore, be it Resolved:
“That we, the officers and members of the Women’s
Committee, desire to record our deep sense of loss
in the death of a beloved former President and
late Honorary Vice-President, and to express our
appreciation of her fearless initiative, her unfailing
good judgment, her gentle but firm character, her wise
leadership.
“Be it also Resolved:
“That this resolution be spread upon the minutes and
that a copy be sent to her husband.
COMMITTEE
“FRANCES ANNE WISTER, _President_
ADÈLE G. YARNALL, _Vice-president_
SALLIE HOUSTON HENRY, _Vice-president_
HELEN WARREN ALLEN, _Treasurer_
ELIZABETH H. ARNETT, _Corresponding Secretary_
MARGARET S. WOOD, _Recording Secretary_”
October 8, 1925.
APPENDIX
APPENDIX A
CHARTER
OF
THE PHILADELPHIA ORCHESTRA ASSOCIATION
(Adopted November 1, 1902)
The subscribers hereto, all of whom are citizens of the Commonwealth
of Pennsylvania, have associated themselves together for the purpose
herein below set forth and being desirous of becoming incorporated
agreeably to the provisions of the Act of the General Assembly of the
Commonwealth of Pennsylvania, entitled, “An Act to provide for the
incorporation and regulation of certain corporations,” approved the
twenty-ninth day of April in the year of our Lord one thousand eight
hundred and seventy-four, and the supplements thereto, do hereby
declare, set forth and certify that the following are the purposes,
objects, articles and conditions of their said Association for and upon
which they desire to be incorporated.
ARTICLE 1.—The name of the corporation shall be The Philadelphia
Orchestra Association.
ARTICLE 2.—Its object is to encourage the performance of first-class
orchestral music in the City of Philadelphia and for that purpose to
establish and maintain The Philadelphia Orchestra.
ARTICLE 3.—The place in which the business of the said corporation is
to be transacted is the City of Philadelphia.
ARTICLE 4.—The said corporation is to exist perpetually.
ARTICLE 5.—The said corporation shall have no capital stock.
ARTICLE 6.—The number of Directors of the said corporation shall be
twenty-four, and the names and residences of those who are chosen for
the first year are as follows:
Name Residence
GEORGE BURNHAM, JR. Philadelphia, Pa.
A. J. CASSATT Philadelphia, Pa.
JOHN H. CONVERSE Philadelphia, Pa.
ECKLEY B. COXE, JR. Philadelphia, Pa.
WILLIAM L. ELKINS Elkins, Pa.
MISS MARY K. GIBSON Philadelphia, Pa.
CLEMENT A. GRISCOM Philadelphia, Pa.
MRS. ALFRED C. HARRISON Philadelphia, Pa.
JOHN H. INGHAM Philadelphia, Pa.
OLIVER B. JUDSON Philadelphia, Pa.
EDWARD I. KEFFER Philadelphia, Pa.
C. HARTMAN KUHN Philadelphia, Pa.
EDWARD G. MCCOLLIN Philadelphia, Pa.
THOMAS MCKEAN Philadelphia, Pa.
CLEMENT B. NEWBOLD Philadelphia, Pa.
JAMES W. PAUL, JR. Philadelphia, Pa.
MRS. FRANK H. ROSENGARTEN Philadelphia, Pa.
RICHARD ROSSMÄSSLER Philadelphia, Pa.
EDGAR SCOTT Philadelphia, Pa.
SIMON A. STERN Philadelphia, Pa.
MISS ANNE THOMSON Merion, Pa.
ALEXANDER VAN RENSSELAER Philadelphia, Pa.
HENRY WHELEN, JR. Philadelphia, Pa.
P. A. B. WIDENER Ashbourne, Pa.
_Witness_ the hands and seals of the subscribers this first day of
November, in the year of our Lord one thousand nine hundred and two
(1902):
A. VAN RENSSELAER (L.S.)
A. J. CASSATT (L.S.)
GEO. F. BAER (L.S.)
HENRY WHELEN, JR. (L.S.)
JOHN H. CONVERSE (L.S.)
C. HARTMAN KUHN (L.S.)
GEO. BURNHAM, JR. (L.S.)
EDWD. G. MCCOLLIN (L.S.)
CLEMENT B. NEWBOLD (L.S.)
JAS. W. PAUL, JR. (L.S.)
JOHN H. INGHAM (L.S.)
E. I. KEFFER (L.S.)
State of Pennsylvania
City and County of Philadelphia
Before me, the Recorder of Deeds for the County of
Philadelphia, on this twenty-first day of November A.
D. 1902, personally appeared Henry Whelen, Jr., John H.
Ingham and Edward I. Keffer, three of the subscribers
to the foregoing certificate of incorporation and duly
acknowledged the same to be their act and deed, and
desired that the same might be recorded as such,
_Witness_ my hand and official seal the day and
year aforesaid.
JOS. K. FLESCHER, Deputy Recorder of Deeds (L.S.)
DECREE
In the Court of Common Pleas No. 4, of the County of
Philadelphia of December Term 1902, N. 845.
And now this fifth day of January, A. D. 1903, the
within Charter and Certificate of Incorporation having
been presented to me, a Law Judge of said County,
accompanied by due proof of publication of the notice
of this application as required by the Act of Assembly
and rule of this Court in such case made and provided,
I certify that I have examined and perused the said
writing, and have found the same to be in proper form
and within the purposes named in the first class
specified in Section Second of the Act of General
Assembly of the Commonwealth of Pennsylvania, entitled
“An Act to provide for the Incorporation and Regulation
of Certain Corporations,” approved April 29th, 1874,
and the supplements thereto, and the same appearing
to be lawful and not injurious to the community, I do
hereby on motion of Edward G. McCollin and John G.
Johnson, Esquires, on behalf of the petitioners, order
and direct that the said Charter of The Philadelphia
Orchestra Association, aforesaid be and is the same
hereby approved, and that upon the recording of the
same and of this order, the subscribers thereto and
their associates shall be a corporation by the name
of The Philadelphia Orchestra Association, for the
purposes and upon the terms therein stated.
ROBERT N. WILLSON, Judge.
Filed in the office of the Prothonotary of the Court of Common Pleas
No. 4 as of December Term 1902 No. 845, on the Fourth day of December
A. D. 1902.
C. B. ROBERTS, Deputy Prothonotary.
Recorded in the office for recording Deeds etc. in and for the County
of Philadelphia in Charter Book No. 28, page 53 etc.
_Witness_ my hand and seal of office this seventh day of January A. D.
1903.
WM. S. VARE, Recorder of Deeds (L.S.).
APPENDIX B
EXECUTIVE COMMITTEE OF THE PHILADELPHIA ORCHESTRA ELECTED AT
THE ORPHEUS CLUB ROOMS, MAY, 1900
HENRY WHELEN, JR.
JOHN C. SIMS
EDWARD G. MCCOLLIN
OSCAR A. KNIPE
EDWARD I. KEFFER
OLIVER BOYCE JUDSON
JOHN H. INGHAM, Secretary.
APPENDIX C
OFFICERS AND DIRECTORS OF THE PHILADELPHIA
ORCHESTRA ASSOCIATION
1900-1925
1901-1902
OFFICERS
ALEXANDER VAN RENSSELAER, President
F. T. SULLY DARLEY, Vice-president
JOHN H. INGHAM, Secretary
HENRY WHELEN, JR., Treasurer
DIRECTORS
A. J. CASSATT C. HARTMAN KUHN
JOHN H. CONVERSE EDWARD G. MCCOLLIN
ECKLEY B. COXE, JR. THOMAS MCKEAN, JR.
F. T. SULLY DARLEY CLEMENT B. NEWBOLD
WILLIAM L. ELKINS JAMES W. PAUL, JR.
MISS MARY K. GIBSON MRS. FRANK H. ROSENGARTEN
CLEMENT A. GRISCOM EDGAR SCOTT
MRS. ALFRED C. HARRISON SIMON A. STERN
JOHN H. INGHAM MISS ANNE THOMSON
OLIVER B. JUDSON ALEXANDER VAN RENSSELAER
EDWARD I. KEFFER HENRY WHELEN, JR.
OSCAR A. KNIPE P. A. B. WIDENER
1902-1903
OFFICERS
ALEXANDER VAN RENSSELAER, President
THOMAS MCKEAN, Vice-president
JOHN H. INGHAM, Secretary
HENRY WHELEN, JR., Treasurer
DIRECTORS
GEORGE BURNHAM, JR. EDWARD G. MCCOLLIN
A. J. CASSATT THOMAS MCKEAN
JOHN H. CONVERSE CLEMENT B. NEWBOLD
ECKLEY B. COXE, JR. JAMES W. PAUL, JR.
WILLIAM L. ELKINS MRS. FRANK H. ROSENGARTEN
MISS MARY K. GIBSON RICHARD ROSSMÄSSLER
CLEMENT A. GRISCOM EDGAR SCOTT
MRS. ALFRED C. HARRISON SIMON A. STERN
JOHN H. INGHAM MISS ANNE THOMSON
OLIVER B. JUDSON ALEXANDER VAN RENSSELAER
EDWARD I. KEFFER HENRY WHELEN, JR.
C. HARTMAN KUHN P. A. B. WIDENER
1903-1904
OFFICERS
ALEXANDER VAN RENSSELAER, President
THOMAS MCKEAN, Vice-president
JOHN H. INGHAM, Secretary
HENRY WHELEN, JR., Treasurer
DIRECTORS
MRS. WILLIAM W. ARNETT THOMAS MCKEAN
GEORGE BURNHAM, JR. CLEMENT B. NEWBOLD
A. J. CASSATT JAMES W. PAUL, JR.
JOHN H. CONVERSE MRS. FRANK H. ROSENGARTEN
ECKLEY B. COXE, JR. RICHARD ROSSMÄSSLER
MISS MARY K. GIBSON EDGAR SCOTT
CLEMENT A. GRISCOM SIMON A. STERN
JOHN H. INGHAM MISS ANNE THOMSON
EDWARD I. KEFFER ALEXANDER VAN RENSSELAER
C. HARTMAN KUHN ANDREW WHEELER, JR.
EDWARD G. MCCOLLIN HENRY WHELEN, JR.
OLIVER B. JUDSON P. A. B. WIDENER
1904-1905
OFFICERS
ALEXANDER VAN RENSSELAER, President
THOMAS MCKEAN, Vice-president
JOHN H. INGHAM, Secretary
HENRY WHELEN, JR., Treasurer
DIRECTORS
GEORGE BURNHAM, JR. THOMAS MCKEAN
JOHN H. CONVERSE CLEMENT B. NEWBOLD
ECKLEY B. COXE, JR. JAMES W. PAUL, JR.
MISS MARY K. GIBSON MRS. FRANK H. ROSENGARTEN
CLEMENT A. GRISCOM RICHARD ROSSMÄSSLER
JOHN H. INGHAM EDGAR SCOTT
OLIVER B. JUDSON MISS ANNE THOMSON
EDWARD I. KEFFER ALEXANDER VAN RENSSELAER
C. HARTMAN KUHN ANDREW WHEELER, JR.
EDWARD G. MCCOLLIN HENRY WHELEN, JR.
1905-1906
OFFICERS
ALEXANDER VAN RENSSELAER, President
THOMAS MCKEAN, Vice-president
ANDREW WHEELER, JR., Secretary
HENRY WHELEN, JR., Treasurer
DIRECTORS
MRS. WILLIAM W. ARNETT EDWARD G. MCCOLLIN
GEORGE BURNHAM, JR. THOMAS MCKEAN
ALEXANDER J. CASSATT CLEMENT B. NEWBOLD
JOHN H. CONVERSE JAMES W. PAUL, JR.
RICHARD Y. COOK MRS. FRANK H. ROSENGARTEN
ECKLEY B. COXE, JR. EDGAR SCOTT
MRS. A. J. DALLAS DIXON MISS ANNE THOMSON
MISS MARY K. GIBSON ALEXANDER VAN RENSSELAER
CLEMENT A. GRISCOM ANDREW WHEELER, JR.
JOHN H. INGHAM HENRY WHELEN, JR.
EDWARD I. KEFFER P. A. B. WIDENER
C. HARTMAN KUHN MISS FRANCES A. WISTER
1906-1907
OFFICERS
ALEXANDER VAN RENSSELAER, President
THOMAS MCKEAN, Vice-president
ANDREW WHEELER, JR., Secretary
HENRY WHELEN, JR., Treasurer
DIRECTORS
MRS. WILLIAM W. ARNETT EDWARD G. MCCOLLIN
GEORGE BURNHAM, JR. CLEMENT B. NEWBOLD
JOHN H. CONVERSE JAMES W. PAUL, JR.
RICHARD Y. COOK MRS. F. H. ROSENGARTEN
ECKLEY B. COXE, JR. EDGAR SCOTT
MRS. A. J. DALLAS DIXON MISS ANNE THOMSON
MISS MARY K. GIBSON ALEXANDER VAN RENSSELAER
CLEMENT A. GRISCOM ANDREW WHEELER, JR.
JOHN H. INGHAM HENRY WHELEN, JR.
EDWARD I. KEFFER P. A. B. WIDENER
C. HARTMAN KUHN MISS FRANCES A. WISTER
THOMAS MCKEAN
1907-1908
OFFICERS
ALEXANDER VAN RENSSELAER, President
THOMAS MCKEAN, Vice-president
ANDREW WHEELER, JR., Secretary
ARTHUR E. NEWBOLD, Treasurer
DIRECTORS
MRS. WILLIAM W. ARNETT THOMAS MCKEAN
GEORGE BURNHAM, JR. ARTHUR E. NEWBOLD
JOHN H. CONVERSE CLEMENT B. NEWBOLD
RICHARD Y. COOK JAMES W. PAUL, JR.
ECKLEY B. COXE, JR. MRS. FRANK H. ROSENGARTEN
MRS. A. J. DALLAS DIXON EDGAR SCOTT
MISS MARY K. GIBSON E. T. STOTESBURY
CLEMENT A. GRISCOM MISS ANNE THOMSON
JOHN H. INGHAM ALEXANDER VAN RENSSELAER
EDWARD I. KEFFER ANDREW WHEELER, JR.
C. HARTMAN KUHN P. A. B. WIDENER
EDWARD G. MCCOLLIN MISS FRANCES A. WISTER
1908-1909
OFFICERS
ALEXANDER VAN RENSSELAER, President
THOMAS MCKEAN, Vice-president
ANDREW WHEELER, JR., Secretary
ARTHUR E. NEWBOLD, Treasurer
DIRECTORS
MRS. WILLIAM W. ARNETT THOMAS MCKEAN
CHARLES A. BRAUN ARTHUR E. NEWBOLD
GEORGE BURNHAM, JR. CLEMENT B. NEWBOLD
JOHN H. CONVERSE G. HEIDE NORRIS
RICHARD Y. COOK MRS. FRANK H. ROSENGARTEN
ECKLEY B. COXE, JR. EDGAR SCOTT
MRS. A. J. DALLAS DIXON E. T. STOTESBURY
MISS MARY K. GIBSON MISS ANNE THOMSON
CLEMENT A. GRISCOM ALEXANDER VAN RENSSELAER
JOHN H. INGHAM ANDREW WHEELER, JR.
C. HARTMAN KUHN MISS FRANCES A. WISTER
1909-1910
OFFICERS
ALEXANDER VAN RENSSELAER, President
THOMAS MCKEAN, Vice-president
ANDREW WHEELER, JR., Secretary
ARTHUR E. NEWBOLD, Treasurer
DIRECTORS
MRS. WILLIAM W. ARNETT C. HARTMAN KUHN
CHARLES A. BRAUN THOMAS MCKEAN
JAMES CROSBY BROWN ARTHUR E. NEWBOLD
GEORGE BURNHAM, JR. CLEMENT B. NEWBOLD
JOHN H. CONVERSE G. HEIDE NORRIS
RICHARD Y. COOK MRS. FRANK H. ROSENGARTEN
ECKLEY B. COXE, JR. EDGAR SCOTT
MRS. A. J. DALLAS DIXON E. T. STOTESBURY
THEODORE N. ELY MISS ANNE THOMSON
MISS MARY K. GIBSON ALEXANDER VAN RENSSELAER
CLEMENT A. GRISCOM ANDREW WHEELER, JR.
JOHN H. INGHAM MISS FRANCES A. WISTER
1910-1911
OFFICERS
ALEXANDER VAN RENSSELAER, President
THOMAS MCKEAN, Vice-president
ANDREW WHEELER, Jr., Secretary
ARTHUR E. NEWBOLD, Treasurer
DIRECTORS
MRS. WILLIAM W. ARNETT THOMAS MCKEAN
CHARLES A. BRAUN ARTHUR E. NEWBOLD
JAMES CROSBY BROWN CLEMENT B. NEWBOLD
RICHARD Y. COOK G. HEIDE NORRIS
ECKLEY B. COXE, JR. MRS. FRANK H. ROSENGARTEN
MRS. A. J. DALLAS DIXON EDGAR SCOTT
THEODORE N. ELY E. T. STOTESBURY
MISS MARY K. GIBSON MISS ANNE THOMSON
CLEMENT A. GRISCOM ALEXANDER VAN RENSSELAER
JOHN H. INGHAM ANDREW WHEELER
C. HARTMAN KUHN MISS FRANCES A. WISTER
1911-1912
OFFICERS
ALEXANDER VAN RENSSELAER, President
THOMAS MCKEAN, Vice-president
ANDREW WHEELER, Jr., Secretary
ARTHUR E. NEWBOLD, Treasurer
DIRECTORS
MRS. WILLIAM W. ARNETT ARTHUR E. NEWBOLD
CHARLES A. BRAUN CLEMENT B. NEWBOLD
JAMES CROSBY BROWN G. HEIDE NORRIS
RICHARD Y. COOK MRS. FRANK H. ROSENGARTEN
ECKLEY B. COXE, JR. EDGAR SCOTT
MRS. A. J. DALLAS DIXON E. T. STOTESBURY
THEODORE N. ELY MISS ANNE THOMSON
MISS MARY K. GIBSON ALEXANDER VAN RENSSELAER
CLEMENT A. GRISCOM MRS. L. HOWARD WEATHERLY
JOHN H. INGHAM ANDREW WHEELER
C. HARTMAN KUHN J. R. BARTON WILLING
THOMAS MCKEAN MISS FRANCES A. WISTER
1912-1913
OFFICERS
ALEXANDER VAN RENSSELAER, President
THOMAS MCKEAN, Vice-president
ANDREW WHEELER, Jr., Secretary
ARTHUR E. NEWBOLD, Treasurer
DIRECTORS
MRS. WILLIAM W. ARNETT ARTHUR E. NEWBOLD
CHARLES A. BRAUN CLEMENT B. NEWBOLD
JAMES CROSBY BROWN G. HEIDE NORRIS
RICHARD Y. COOK MRS. FRANK H. ROSENGARTEN
ECKLEY B. COXE, JR. EDGAR SCOTT
MRS. A. J. DALLAS DIXON E. T. STOTESBURY
THEODORE N. ELY ALEXANDER VAN RENSSELAER
MISS MARY K. GIBSON MRS. L. HOWARD WEATHERLY
CLEMENT A. GRISCOM[64] ANDREW WHEELER
JOHN H. INGHAM J. R. BARTON WILLING
C. HARTMAN KUHN MISS FRANCES A. WISTER
THOMAS MCKEAN
[64] Died during the season and his place filled by Mrs. Harold E.
Yarnall.
1913-1914
OFFICERS
ALEXANDER VAN RENSSELAER, President
THOMAS MCKEAN, Vice-president
ANDREW WHEELER, Jr., Secretary
ARTHUR E. NEWBOLD, Treasurer
DIRECTORS
MRS. WILLIAM W. ARNETT C. HARTMAN KUHN
EDWARD W. BOK THOMAS MCKEAN
CHARLES A. BRAUN ARTHUR E. NEWBOLD
JOHN F. BRAUN CLEMENT B. NEWBOLD
JAMES CROSBY BROWN G. HEIDE NORRIS
RICHARD Y. COOK EDGAR SCOTT
ECKLEY B. COXE, JR. E. T. STOTESBURY
CYRUS H. K. CURTIS ALEXANDER VAN RENSSELAER
MRS. A. J. DALLAS DIXON MRS. L. HOWARD WEATHERLY
THEODORE N. ELY ANDREW WHEELER
MISS MARY K. GIBSON MISS FRANCES A. WISTER
JOHN H. INGHAM MRS. HAROLD E. YARNALL
1914-1915
OFFICERS
ALEXANDER VAN RENSSELAER, President
EDWARD W. BOK, Vice-president
ANDREW WHEELER, Jr., Secretary
ARTHUR E. NEWBOLD, Treasurer
DIRECTORS
MRS. WILLIAM W. ARNETT JOHN H. INGHAM
EDWARD W. BOK C. HARTMAN KUHN
CHARLES A. BRAUN THOMAS MCKEAN
JOHN F. BRAUN ARTHUR E. NEWBOLD
JAMES CROSBY BROWN G. HEIDE NORRIS
RICHARD Y. COOK E. T. STOTESBURY
ECKLEY B. COXE, JR. ALEXANDER VAN RENSSELAER
CYRUS H. K. CURTIS MRS. L. HOWARD WEATHERLY
MRS. A. J. DALLAS DIXON ANDREW WHEELER
GEORGE W. ELKINS MISS FRANCES A. WISTER
THEODORE N. ELY MRS. HAROLD E. YARNALL
MISS MARY K. GIBSON
1915-1916
OFFICERS
ALEXANDER VAN RENSSELAER, President
E. T. STOTESBURY, Vice-president
ANDREW WHEELER, Jr., Secretary
ARTHUR E. NEWBOLD, Treasurer
DIRECTORS
MRS. WILLIAM W. ARNETT HENRY MCKEAN INGERSOLL
EDWARD W. BOK JOHN H. INGHAM
CHARLES A. BRAUN C. HARTMAN KUHN
JOHN F. BRAUN THOMAS MCKEAN
JAMES CROSBY BROWN ARTHUR E. NEWBOLD
RICHARD Y. COOK G. HEIDE NORRIS
ECKLEY B. COXE, JR. E. T. STOTESBURY
CYRUS H. K. CURTIS ALEXANDER VAN RENSSELAER
MRS. A. J. DALLAS DIXON MRS. L. HOWARD WEATHERLY
GEORGE W. ELKINS ANDREW WHEELER
THEODORE N. ELY MISS FRANCES A. WISTER
SAMUEL S. FELS MRS. HAROLD E. YARNALL
MISS MARY K. GIBSON
1916-1917
OFFICERS
ALEXANDER VAN RENSSELAER, President
E. T. STOTESBURY, Vice-president
ANDREW WHEELER, Jr., Secretary
ARTHUR E. NEWBOLD, Treasurer
DIRECTORS
MRS. WILLIAM W. ARNETT JOHN H. INGHAM
EDWARD W. BOK C. HARTMAN KUHN
CHARLES A. BRAUN ARTHUR E. NEWBOLD
JOHN F. BRAUN G. HEIDE NORRIS
JAMES CROSBY BROWN E. T. STOTESBURY
RICHARD Y. COOK ALEXANDER VAN RENSSELAER
CYRUS H. K. CURTIS MRS. L. HOWARD WEATHERLY
MRS. A. J. DALLAS DIXON ANDREW WHEELER
GEORGE W. ELKINS JOSEPH E. WIDENER
SAMUEL S. FELS MISS FRANCES A. WISTER
MISS MARY K. GIBSON CHARLTON YARNALL
CHARLES D. HART MRS. HAROLD E. YARNALL
HENRY MCKEAN INGERSOLL
1917-1918
OFFICERS
ALEXANDER VAN RENSSELAER, President
E. T. STOTESBURY, Vice-president
ANDREW WHEELER, Jr., Secretary
ARTHUR E. NEWBOLD, Treasurer
DIRECTORS
MRS. WILLIAM W. ARNETT C. HARTMAN KUHN
EDWARD W. BOK EFFINGHAM B. MORRIS
CHARLES A. BRAUN ARTHUR E. NEWBOLD
JOHN F. BRAUN G. HEIDE NORRIS
JAMES CROSBY BROWN E. T. STOTESBURY
CYRUS H. K. CURTIS ALEXANDER VAN RENSSELAER
GEORGE W. ELKINS MRS. L. HOWARD WEATHERLY
SAMUEL S. FELS ANDREW WHEELER
MISS MARY K. GIBSON JOSEPH E. WIDENER
CHARLES D. HART MISS FRANCES A. WISTER
HENRY MCKEAN INGERSOLL CHARLTON YARNALL
JOHN H. INGHAM MRS. HAROLD E. YARNALL
1918-1919
OFFICERS
ALEXANDER VAN RENSSELAER, President
E. T. STOTESBURY, Vice-president
ANDREW WHEELER, Jr., Secretary
ARTHUR E. NEWBOLD, Treasurer
DIRECTORS
MRS. WILLIAM W. ARNETT C. HARTMAN KUHN
EDWARD W. BOK EFFINGHAM B. MORRIS
CHARLES A. BRAUN G. HEIDE NORRIS
JOHN F. BRAUN E. T. STOTESBURY
JAMES CROSBY BROWN MISS ANNE THOMSON
CYRUS H. K. CURTIS ALEXANDER VAN RENSSELAER
MRS. A. J. DALLAS DIXON MRS. L. HOWARD WEATHERLY
GEORGE W. ELKINS ANDREW WHEELER
SAMUEL S. FELS JOSEPH E. WIDENER
CHARLES D. HART MISS FRANCES A. WISTER
HENRY MCKEAN INGERSOLL CHARLTON YARNALL
JOHN H. INGHAM MRS. HAROLD E. YARNALL
1919-1920
OFFICERS
ALEXANDER VAN RENSSELAER, President
E. T. STOTESBURY, Vice-president[65]
ANDREW WHEELER, Jr., Secretary
ARTHUR E. NEWBOLD, Treasurer
DIRECTORS
MRS. WILLIAM W. ARNETT C. HARTMAN KUHN
EDWARD W. BOK EFFINGHAM B. MORRIS
CHARLES A. BRAUN G. HEIDE NORRIS
JOHN F. BRAUN MISS ANNE THOMSON
JAMES CROSBY BROWN ALEXANDER VAN RENSSELAER
CYRUS H. K. CURTIS MRS. L. HOWARD WEATHERLY
MRS. A. J. DALLAS DIXON ANDREW WHEELER
GEORGE W. ELKINS[66] JOSEPH E. WIDENER
SAMUEL S. FELS MISS FRANCES A. WISTER
CHARLES D. HART CHARLTON YARNALL
HENRY MCKEAN INGERSOLL MRS. HAROLD E. YARNALL
JOHN H. INGHAM
[65] Resigned during the season.
[66] Died during the season and his place taken by William Jay Turner.
1920-1921
OFFICERS
ALEXANDER VAN RENSSELAER, President
WILLIAM JAY TURNER, Vice-president
ANDREW WHEELER, Jr., Secretary
ROBERT K. CASSATT, Treasurer
DIRECTORS
MRS. WILLIAM W. ARNETT C. HARTMAN KUHN
EDWARD W. BOK EFFINGHAM B. MORRIS
CHARLES A. BRAUN G. HEIDE NORRIS
JOHN F. BRAUN ROBERT K. CASSATT
JAMES CROSBY BROWN MISS ANNE THOMSON
CYRUS H. K. CURTIS ALEXANDER VAN RENSSELAER
MRS. A. J. DALLAS DIXON MRS. L. HOWARD WEATHERLY
WILLIAM JAY TURNER ANDREW WHEELER
SAMUEL S. FELS JOSEPH E. WIDENER
CHARLES D. HART MISS FRANCES A. WISTER
HENRY MCKEAN INGERSOLL CHARLTON YARNALL
JOHN H. INGHAM MRS. HAROLD E. YARNALL
1921-1922
OFFICERS
ALEXANDER VAN RENSSELAER, President
WILLIAM JAY TURNER, Vice-president
ANDREW WHEELER, Jr., Secretary
ROBERT K. CASSATT, Treasurer
DIRECTORS
MRS. WILLIAM W. ARNETT C. HARTMAN KUHN
EDWARD W. BOK EFFINGHAM B. MORRIS
CHARLES A. BRAUN G. HEIDE NORRIS
JOHN F. BRAUN ROBERT K. CASSATT
JAMES CROSBY BROWN MISS ANNE THOMSON
CYRUS H. K. CURTIS ALEXANDER VAN RENSSELAER
MRS. A. J. DALLAS DIXON MRS. L. HOWARD WEATHERLY
WILLIAM JAY TURNER ANDREW WHEELER
SAMUEL S. FELS JOSEPH E. WIDENER
CHARLES D. HART MISS FRANCES A. WISTER
HENRY MCKEAN INGERSOLL CHARLTON YARNALL
JOHN H. INGHAM MRS. HAROLD E. YARNALL
1922-1923, 1923-1924, 1924-1925
OFFICERS
ALEXANDER VAN RENSSELAER, President
WILLIAM JAY TURNER, Vice-president
ANDREW WHEELER, Jr., Secretary
ROBERT K. CASSATT, Treasurer
DIRECTORS
MRS. WILLIAM W. ARNETT C. HARTMAN KUHN
EDWARD W. BOK EFFINGHAM B. MORRIS
EVAN RANDOLPH G. HEIDE NORRIS
JOHN F. BRAUN ROBERT K. CASSATT
JAMES CROSBY BROWN MISS ANNE THOMSON
CYRUS H. K. CURTIS ALEXANDER VAN RENSSELAER
MRS. A. J. DALLAS DIXON MRS. L. HOWARD WEATHERLY
WILLIAM JAY TURNER ANDREW WHEELER
SAMUEL S. FELS JOSEPH E. WIDENER
CHARLES D. HART MISS FRANCES A. WISTER
HENRY MCKEAN INGERSOLL CHARLTON YARNALL
JOHN H. INGHAM MRS. HAROLD E. YARNALL
APPENDIX D
FIRST GUARANTORS OF THE PHILADELPHIA ORCHESTRA
1900-1901
MR. HORACE ALLEN MISS MARY K. GIBSON
MISS HELEN AUDENRIED MR. W. W. GILCHRIST
MR. LEWIS AUDENRIED MR. WM. GREW
MRS. A. W. BAIRD MISS MARY C. GRIFFITH
MR. W. J. BAIRD MRS. CLEMENT A. GRISCOM
MR. J. W. BAYARD MR. W. BENNETT GOUGH
MRS. E. F. BEALE MRS. R. EMOTT HARE
MRS. LOUIS F. BENSON MRS. J. CAMPBELL HARRIS
MRS. ARTHUR BIDDLE MR. AUSTIN S. HECKSCHER
MRS. GEORGE TUCKER BISPHAM MESSRS. C. J. HEPPE & SON
REV. CYRUS TOWNSEND BRADY MR. F. D. HOWELL
MR. JOHN F. BRAUN MRS. WARREN INGERSOLL
MISS FRANCES I. BROCK MISS M. H. INGHAM
DR. EDWARD BROOKS MR. W. H. JOYCE
MISS HARRIET BUCHANAN MRS. O. A. JUDSON
MRS. EDWARD S. BUCKLEY MR. O. B. JUDSON
DR. C. E. CADWALADER DR. EDWARD I. KEFFER
MISS F. E. CALDWELL MR. PHILIP F. KELLY
MRS. ALEXANDER J. CASSATT MR. OSCAR A. KNIPE
MRS. S. CASTNER, JR. MR. C. HARTMAN KUHN
MR. FRANK G. CAUFFMAN MRS. BIGELOW LAWRENCE
MISS KATE H. CHANDLER MISS NINA LEA
MRS. JAMES H. CHAPMAN MR. J. BERTRAM LIPPINCOTT
MR. CHARLES J. COHEN MRS. E. LYNCH
MR. JOHN H. CONVERSE MR. EDW. G. MCCOLLIN
MRS. ALEXANDER BROWN COXE MRS. H. PRATT MCKEAN
MRS. CHAS. E. COXE MR. THOMAS MCKEAN
MR. ECKLEY B. COXE, JR. MR. FRANK MCLAUGHLIN
MISS REBECCA COXE MESSRS. HENRY MILLER & SONS
MR. F. E. CRESSON MR. JOSEPH M. MITCHESON
MR. DAVID S. CRESSWELL MR. CLEMENT BUCKLEY NEWBOLD
MR. D. E. CROZIER MRS. THOMAS H. NEWTON
MR. H. B. CURRAN MISS ETHEL PARRISH
MR. CHAS. W. DANNEHAUER MRS. JOSEPH PARRISH
MR. FRANCIS T. S. DARLEY MISS M. PARRISH
MRS. SAMUEL G. DIXON HON. CLEMENT B. PENROSE
MR. GEORGE B. DREISLER MRS. ELI KIRK PRICE
MR. THEO. N. ELY MR. MAX RIEBENACK
MR. CHANCELLOR C. ENGLISH MRS. E. C. ROBERTS
MRS. SPENCER ERVIN MR. W. S. ROBINSON
MRS. WM. H. FARR MISS FANNIE ROSENGARTEN
MR. CHAS. H. FISCHER MRS. FRANK H. ROSENGARTEN
MR. J. G. ROSENGARTEN MR. HENRY GORDON THUNDER
MISS ELSÉ WEST RULON MR. ALEX. VAN RENSSELAER
MISS EMMA SCHUBERT MRS. T. H. WARREN
MR. EDGAR SCOTT MR. HENRY WATERS
MRS. THOMAS A. SCOTT MR. L. R. WELSH
MISS ELIZABETH SMITH MR. ANDREW WHEELER, JR.
MRS. EDWARD B. SMITH MISS GERTRUDE WHEELER
MISS E. K. SMITH, JR. MR. C. S. WHELEN
MR. S. DECATUR SMITH MRS. C. S. WHELEN
MRS. A. M. STARR MR. HENRY WHELEN, JR.
MR. SIMON A. STERN MISS ABBIE WINNERY
MESSRS. N. STETSON & CO. MR. ELLIS D. WILLIAMS
MRS. CORNELIUS STEVENSON MR. CHAS. WILLING
MR. W. R. STOBBE MR. DAVID D. WOOD
MISS M. D. TENBROOKE DR. C. S. WURTS
MR. J. B. THAYER, JR. MRS. CHARLTON YARNALL
MR. GEO. C. THOMAS MR. RICHARD ZECKWER
MR. HENRY J. THOURON MR. HARRY D. ZIEGLER
APPENDIX E
SUMMARY OF CONCERTS PLAYED BY THE PHILADELPHIA ORCHESTRA
SEASONS 1900-1901 TO 1924-1925, INCLUSIVE
1—SEASON 1900-1901:
Six Concerts 6
Reading, Penna. 1
——
TOTAL 7
2—SEASON 1901-1902:
Regular Series Concerts 14 } 28
Public Rehearsals 14 }
Allentown, Harrisburg, Lancaster, Reading, York,
Penna., Trenton, Wilmington, three (3) each 24
——
TOTAL 52
3—SEASON 1902-1903:
Regular Series Concerts 14 } 28
Public Rehearsals 14 }
Beethoven Cycle 5
Popular Concerts 5
Young People’s Educational Series 5
Allentown, Harrisburg, Lancaster, Reading, York,
Penna., Wilmington, three (3) each 18
Baltimore, Carlisle, Lebanon, Lock Haven, Scranton,
Wilkes-Barre, Williamsport, Penna., New York City,
Trenton, Washington, one (1) each 10
——
TOTAL 71
4—SEASON 1903-1904:
Regular Series Concerts 14 } 28
Public Rehearsals 14 }
Young People’s Educational Lecture Concerts 5
People’s Concerts 5
Special Concerts 2
Popular Concert 1
Special (Thibaud) Concert 1
Allentown, Harrisburg, Lancaster, Penna., Wilmington,
three (3) each 12
Boston 2
Reading, Lebanon, Penna., New York City, one (1) each 3
——
TOTAL 59
5—SEASON 1904-1905:
Regular Series Concerts 15 } 30
Public Rehearsals 15 }
People’s Concerts 5
Weingartner Concert, Special 1
Harrisburg, Washington, one (1) each 2
——
TOTAL 38
6—SEASON 1905-1906:
Regular Series Concerts 18 } 36
Public Rehearsals 18 }
Lecture Concerts 4
Baltimore, Washington, Wilmington, three (3) each 9
Lancaster, Reading, New York City, two (2) each 6
Trenton, Easton, Brooklyn, one (1) each 3
——
TOTAL 58
7—SEASON 1906-1907:
Regular Series Concerts 20 } 40
Public Rehearsals 20 }
People’s Concert, Kensington 1
Baltimore 5
Washington 5
Wilmington 4
Harrisburg 3
Trenton 2
Easton, Reading, Penna., one (1) each 2
——
TOTAL 62
8—SEASON 1907-1908:
Regular Series Concerts, 22 pairs 44
“In Memoriam” Concert, Fritz Scheel 1
Baltimore 5
Washington 5
Wilmington 4
Lancaster 2
New York City, Trenton, one (1) each 2
——
TOTAL 63
9—SEASON 1908-1909:
Regular Series Concerts, 22 pairs 44
University of Pennsylvania 2
People’s Concerts, Kensington 2
Baltimore 5
Washington 5
Wilmington 4
Lancaster 2
New York City, Brooklyn, Princeton, one (1) each 3
——
TOTAL 67
10—SEASON 1909-1910:
Regular Series Concerts, 22 pairs 44
Popular Concerts 10
University of Pennsylvania 6
People’s Concerts, Kensington 3
Stetson Concert 1
Baltimore 5
Washington 5
Wilmington 4
Princeton 2
——
TOTAL 80
11—SEASON 1910-1911:
Regular Series Concerts, 25 pairs 50
Popular Concerts 11
National Federation of Music Clubs, Special 1
People’s Concerts, Kensington 3
University of Pennsylvania 2
Stetson Concert 1
Camden 5
Wilmington 4
Norristown 2
——
TOTAL 79
12—SEASON 1911-1912:
Regular Series Concerts, 25 pairs 50
Two pairs of Concerts for the Guarantee Fund 4
Popular Concerts 6
People’s Concerts, Kensington 4
University of Pennsylvania Concerts 2
Germantown 1
Stetson Concert 1
Atlantic City 2
Camden 6
Wilmington 4
Akron, Cleveland, Easton, Norristown, Pittsburgh,
Reading, Penna., one (1) each 6
——
TOTAL 86
13—SEASON 1912-1913:
Regular Series Concerts, 25 pairs 50
Popular Concerts 6
People’s Concerts, Kensington 3
Germantown 1
Stetson Concert 1
University of Pennsylvania 2
Manuscript Music Society 1
Atlantic City 2
Camden 6
Wilmington 4
Akron, Cleveland, Toledo, Columbus; Detroit, Mich.;
Pittsburgh, Reading, Penna.; Springfield, Mass.;
Washington, one (1) each 9
——
TOTAL 85
14—SEASON 1913-1914:
Regular Series Concerts, 25 pairs 50
Special Concert in Afternoon Series 1
Popular Concerts 6
People’s Concerts, Kensington 3
University of Pennsylvania 2
Stetson Concert 1
Atlantic City 4
Princeton 2
Washington 3
Wilmington 4
Oberlin, Akron, Cleveland,; Ann Arbor, Detroit,
Boston, North Adams, Mass.; Meriden, Middlebury,
Bridgeport, Waterbury, Norwich, Conn.; New York
City, Pittsburgh, Easton, Reading, Scranton,
one (1) each 17
——
TOTAL 93
15—SEASON 1914-1915:
Regular Series Concerts, 25 pairs 50
Special “Pension Fund” Concerts 2
Concert for Young People 1
University of Pennsylvania 2
Richmond 3
Washington 3
Wilmington 4
Atlantic City 2
Reading 2
Oberlin, Akron, Ann Arbor, Detroit, Baltimore,
Buffalo, Cleveland, Erie, Indianapolis,
New York City, Princeton, one (1) each 11
——
TOTAL 80
16—SEASON 1915-1916:
Regular Series Concerts, 25 pairs 50
Mahler’s Eighth Symphony, extra performances 7
Public School (“Public Ledger”) Concerts 8
Free Sunday Afternoon Concerts 3
University of Pennsylvania 3
Stetson Concert 1
Washington 5
Wilmington 4
Atlantic City 2
Baltimore, Bryn Mawr, Buffalo, Oberlin, Cleveland,
Columbus, Dayton, Detroit, Ypsilanti, Mich.;
Jamestown, N. Y., New York City, Norristown, Easton,
Lancaster, Lebanon, Reading, Penna., Princeton,
one (1) each 17
——
TOTAL 100
17—SEASON 1916-1917:
Regular Series Concerts, 25 pairs 50
Special performance of Bach St. Matthew Passion 1
Public School (“Public Ledger”) Concerts 8
Free Sunday Afternoon Concerts 3
University of Pennsylvania Concerts 3
Stetson Concert 1
Five pairs of Concerts in Pittsburgh 10
Baltimore 3
Washington 5
Wilmington 5
Atlantic City 2
Albany, Buffalo, Cleveland, Oberlin, Lima, Springfield,
Columbus, Dayton, Detroit, Ypsilanti, Grand Rapids,
Jamestown, N. Y.; New York City, Portland, Maine,
Princeton, Lebanon, Reading, Penna.; Richmond,
Va.; Wheeling, W. Va.; Williamstown, Manchester,
Mass.; one (1) each 21
——
TOTAL 112
18—SEASON 1917-1918:
Regular Series Concerts, 25 pairs 50
Reformation Concert, Special 1
Aeolian Concert, Special 1
Red Cross Concert, Special 1
People’s Concert at Stetson Auditorium 1
Pittsburgh, 5 pairs 10
Baltimore 5
Washington 5
Wilmington 5
Oberlin 2
Cleveland 2
Toronto, Canada 3
Camp Dix, N. J.; Columbus, Dayton, Detroit, Grand
Rapids, Kalamazoo, Ypsilanti, Mich.; Buffalo,
Rochester, Ithaca, N. Y.; New York City, Princeton,
one (1) each 12
——
TOTAL 98
19—SEASON 1918-1919:
Regular Series Concerts, 25 pairs 50
French War Relief Benefit 1
Roosevelt Memorial Concert 1
Wanamaker Concert 1
Stetson Auditorium 1
University of Pennsylvania 2
Pittsburgh, 5 pairs 10
Washington 5
Baltimore 5
Wilmington 5
New York City (Afternoon) 5
New York City, Vacation Association Benefit 1
Cleveland 3
Toronto 3
Oberlin 2
Wheeling, W. Va.; Pottsville, one (1) each 2
House of Representatives, Harrisburg, Penna. 1
——
TOTAL 98
20—SEASON 1919-1920:
Concerts, 25 pairs 50
Endowment Fund Concerts (telephone subscribers) 2
Wanamaker, Special 1
Supervisors of Music, Special 1
Aeolian Concert, Special 1
Stetson Auditorium 1
University of Pennsylvania 5
New York City (Evening) 5
Pittsburgh, 5 pairs 10
Washington 5
Baltimore 5
Wilmington 5
Toronto 4
Cleveland 3
Harrisburg 2
Buffalo, Ithaca, Columbus, Oberlin, Detroit,
Pottsville, Princeton, one (1) each 7
——
TOTAL 107
21—SEASON 1920-1921:
Regular Series Concerts, 25 pairs 50
Monday Evening 3
People’s Concert at Stetson Auditorium 1
University of Pennsylvania 5
New York City (Series) 8
Froebel League, New York, Special 1
Washington 5
Baltimore 5
Wilmington 5
Pittsburgh, 5 pairs 10
Harrisburg 5
Toronto 4
Princeton, Pottsville, one (1) each 2
——
TOTAL 104
22—SEASON 1921-1922:
Regular Series Concerts, 25 pairs 50
Monday Evening Concerts 3
Children’s Concerts 3
Strauss Concert 1
Philadelphia Award 1
Stetson Auditorium 1
University of Pennsylvania 5
New York City (Series) 10
Strauss, New York, Special 4
Washington 5
Baltimore 5
Pittsburgh, 5 pairs 10
Harrisburg 5
Toronto 4
Princeton, Pottsville, one (1) each 2
——
TOTAL 109
23—SEASON 1922-1923:
Regular Series Concerts, 26 pairs 52
Monday Evening Concerts 4
Children’s Concerts, 3 pairs 6
Wanamaker Concert, Special 1
Stanley Theatre, Special 1
“Forum” Concert 1
(“Philadelphia Award”) Concert 1
Stetson Auditorium 1
New York City 10
Pittsburgh, 3 pairs 6
Pittsburgh Children’s Concerts 3
Washington 5
Baltimore 5
Toronto 4
Harrisburg 3
Princeton, Pottsville, one (1) each 2
——
TOTAL 105
24—SEASON 1923-1924:
Regular Series Concerts, 26 pairs 52
Monday Evening Concerts 6
Children’s Concerts, 4 pairs 8
Philadelphia “Forum,” Lecture Concerts 4
Public School Children 3
Teachers’ Convention, Special 1
Philadelphia Award 1
Mendelssohn Choir of Toronto, Philadelphia 1
New York City 10
Mendelssohn Choir of Toronto, Special, in New York 2
Washington 5
Baltimore 5
Toronto 4
Montreal, Princeton, one (1) each 2
——
TOTAL 104
25—SEASON 1924-1925:
Regular Series Concerts, 29 pairs 58
Monday Evening 8
Children’s Concerts, 4 pairs 8
Public School Children 3
Philadelphia “Forum” 3
Philadelphia Award Concert, Special 1
New York City 10
Washington 5
Baltimore 5
Toronto 4
Buffalo, Princeton, one (1) each 2
——
TOTAL 107
APPENDIX F
CONDUCTORS
PERSONNEL OF PHILADELPHIA ORCHESTRA 1900-1925
PERSONNEL OF PHILADELPHIA ORCHESTRA CHORUS 1920-1921
MANAGERS 1900-1925
OFFICE STAFF 1925
CONDUCTORS
FRITZ SCHEEL 1900-1907
CARL POHLIG 1907-1912
LEOPOLD STOKOWSKI 1912
PERSONNEL
S. ABAS Violin 1901-02
PHILIP ABBAS Cello 1916-17
HARRY ALEINIKOFF Violin 1915-25
PAUL ALEMANN Clarinet 1904-25
LOUIS ANGELOTY Violin 1908-22
P. ANTONELLI Horn 1920-23
RUFUS M. AREY Clarinet (Principal) 1923-24
BERNARD ARGIEWICZ Cello 1917-19
1924-25
WILLIAM L. ARKLESS Violin 1900-01
Viola 1915-18
J. ASCHKE Piccolo 1901-02
ANTON ASENMACKER Cello 1917-19
J. AYALA Trumpet 1916-17
F. V. BADOLLET Flute 1901-04
HARRY J. BAKER Battery 1923-24
IRVING J. BANCROFT Violin 1916-25
PHILIP BANSBACH Viola 1919-22
W. BARCHEWITZ Violin 1901-04
CLEMENTE BARONE Flute and Piccolo 1900-01
(Principal 1907-10) 1904-10
RICHARD BARONE Violin 1923-24
HERMAN BASSE Trumpet (Principal 1904-05, 1904-05
1914-15) 1914-17
GUS BATTLES Flute 1906-09
VICTOR BAY Violin 1922-23
JACOB H. BECK Trumpet 1900-01
WILLIAM J. BECK Violin 1906-09
MIRKO BELINSKI Cello 1904-09
J. F. BELLOIS Violin 1900-01
JOEL BELOV Violin 1912-20
1923-24
SAMUEL BELOV Viola 1908-20
JOSEPH BENAVENTE Cello 1917-18
AUGUST BENDER Trumpet 1901-03
F. BENETER Violin 1901-02
ISADORE BERV Horn 1923-25
FREDERICK BETTONEY Bassoon 1917-20
P. BIANCULLI Violin 1913-14
HENRY BIELO Bassoon 1920-22
JULIUS BIELO Bass 1920-22
ANTONIN BLAHA Violin 1906-08
1909-12
MAX BLEYER Trumpet (Principal 1903-04) 1903-08
MAX BLUMENFELD Violin 1904-06
H. BOBELL Violin 1903-04
GUSTAV BOEHM Violin 1900-01
LOUIS BOEHSE Bass 1904-07
1908-25
DANIEL BONADE Clarinet 1917-22
1924-25
MILTON BORNSTEIN Violin 1921-25
ROSARIO BOURDON Cello 1904-08
DOMENICO BOVE Violin 1917-23
1924-25
ISADOR BRANSKY Viola 1919-20
HORACE BRITT Cello (Principal) 1907-08
ROGER BRITT Violin 1914-20
JOSEPH BRODO Violin 1918-24
LEOPOLD BROECKAERT Flute 1904-05
H. I. BROWN Violin 1921-25
J. H. BURKARTMAEIR Violin 1900-01
NATHAN CAHAN Bass 1900-24
P. CAHON Cello 1901-02
L. CAILLIET Clarinet 1916-25
H. CAMPOWSKY Violin 1903-17
1920-23
HERMAN CAROW Violin 1916-18
HUGO CAROW Viola 1900-04
1908-21
S. H. CAUFFMAN Cello 1901-02
1903-04
HARRY CHAZIN Violin 1919-23
S. CHEIFETZ Viola 1924-25
JOSEF CHUDNOWSKY Violin 1913-24
JOHN A. CIANCIARULO Violin 1900-01
1903-05
GIUSEPPE CIMINO Horn 1918-19
DAVID COHEN Violin 1918-25
SOLOMON COHEN Trumpet 1918-25
LUCIUS COLE Violin 1905-19
FREDERICK W. COOK Violin 1906-24
CARLTON COOLEY Viola 1919-20
WILLIAM CONRAD Bassoon 1921-22
S. CORTADELLA Bass 1923-24
FRANCESCO CORTESE Harp 1900-01
R. CRAS Horn 1919-20
HENRI CZAPLINSKI Violin 1924-25
S. DABROWSKI Violin 1923-25
BENJAMIN D’AMELIO Violin 1919-24
J. DE BOER Violin 1901-02
GEORGE DECHERT Trombone 1901-04
GEORGE DE CLERCK Viola 1912-19
VICTOR DE GOMEZ Cello 1916-19
FRANK DELLI GATTI Viola 1920-21
Violin 1921-23
F. DEL NEGRO Bassoon 1922-25
EUGENE DEVAUX Oboe 1910-11
WILLIAM DIESTEL Viola (Principal) 1908-15
FRITZ DIETERICHS Clarinet (Principal) 1901-12
JOSEPH DI NATALE Violin 1917-18
WILLIAM F. DODGE Violin 1906-07
CARL DOELL Violin (Concertmaster) 1900-01
P. A. DONATELLI Tuba 1923-25
FREDERICK DONATH Viola and Celesta 1923-24
PAUL DONATH Violin 1903-04
1907-17
MAX DONNER Violin 1907-08
JOHN D’ORIO Horn 1910-18
1921-25
ALFRED DOUCET Oboe (Principal) 1902-13
DAVID DUBINSKY Violin 1900-01
Viola 1901-02
Violin (Principal 1912-25) 1908-25
VLADIMIR DUBINSKY Cello (Principal) 1906-07
A. DUPUIS Oboe 1916-18
W. B. EBANN Cello (Principal) 1901-02
SOL ECKSTEIN Bass Clarinet 1900-01
OSCAR EILER Cello 1912-14
BRUNO EINHORN Cello 1913-17
BENJAMIN EISENBERG Violin 1918-19
MAURICE EISENBERG Cello 1917-19
HENRI ELKAN Viola 1920-25
S. ELKIND Bass 1921-22
OTTO ELST Trombone (Principal) 1906-16
RUDOLPH ENGEL Viola and Trumpet 1904-25
DAVID EPSTEIN Viola 1922-25
LEONARD EPSTEIN Viola 1920-24
MEYER B. EPSTEIN Violin 1923-24
D. H. EZERMAN Cello 1901-02
PASQUAL FABRIS Violin 1924-25
RUDOLPH FAHSBENDER Bass 1920-23
JULIUS FALK Violin 1900-03
VINCENT FANELLI, JR. Harp 1913-25
CARL FASSHAUER Violin 1912-18
JOHN FASSHAUER Bass 1900-05
1907-21
HENRY W. FEHLING Violin (Principal) 1900-01
HARRY FELDMAN Violin 1923-24
W. FENSTEL Cello 1900-01
EMILE FERIR Viola (Principal) 1918-19
ANTONIO FERRARA Violin 1916-20
1921-23
1924-25
LUIGI FERRARA Violin 1917-18
1919-25
PAUL FILLSACK Violin and Clarinet 1901-24
JOHN FISNAR Bassoon 1922-25
JOHN A. FISCHER Flute and Piccolo 1909-25
R. FISCHER Cello 1902-03
CLARENCE FOGG Viola 1900-02
1903-04
1906-08
EMIL FLOGMANN Cello 1919-20
1921-25
C. FRANKE Violin 1901-02
GEORGE O. FREY Tuba 1921-23
Trombone and Euphonium 1923-24
NATHAN FREY Viola 1921-24
A. FRIESE Battery 1901-05
MAX FROELICH Cello 1918-20
JOHN FRUNCILLO Viola 1900-01
PAUL FUCHS Bassoon 1902-08
MARIO GARAFFONI Bass 1924-25
EDGAR A. GASTEL Violin 1900-01
ERWIN GASTEL Cello 1900-01
FRED GEIB Tuba 1904-05
EDWARD W. GEFFERT Trombone 1917-21
VICTOR GEOFFRION Bass 1922-25
C. E. GERHARD Trombone 1900-01
1904-09
1921-25
A. GINSBURG Violin 1924-25
ANGELO GIURATO Violin 1900-01
HARRY GLANTZ Trumpet 1915-17
BEAUMONT GLASS Violin 1910-17
JOSEPH GLASSMAN Bass 1917-18
ABRAM GOLDFUSS Violin 1918-21
JEROME GOLDSTEIN Violin 1917-21
A. GORODETZKY Violin 1920-25
CHARLES GREBE Cello 1900-01
1903-04
1908-17
FRED P. GREIMS Cello 1900-01
H. GREIMS Viola 1901-02
HERMAN GREVESMÜHL Violin 1902-03
WILLIAM S. GREENBERG Viola 1923-25
GEORGES GRISËZ Clarinet (Principal) 1922-23
JOHANN GROLLE Violin 1902-05
1907-11
R. GROSSMAN Cello 1901-02
HARRY F. GROVER Viola 1918-19
WILLIAM GRUNER Bassoon (Principal 1906-07) 1906-17
WALTER GUETTER Bassoon 1922-25
B. GUSIKOFF Cello 1920-25
ISADORE GUSIKOFF Cello 1921-25
WILLIAM H. GUSSEN Violin 1900-01
WILLIAM H. GUYON Flute and Piccolo 1907-09
CARL HAFERBURG Viola 1901-02
1903-05
L. M. HAFERBURG Viola 1902-03
EMIL HAHL Viola 1902-19
RAYMOND J. HALL Cello 1920-23
ERICH HALTENORTH Violin 1901-02
Viola 1904-24
H. HALTENORTH Violin 1903-04
CHARLES F. HAMER Cello 1919-20
SIDNEY HAMER Cello 1918-22
PAUL HANDKE Trumpet (Principal 1902-03) 1901-03
F. H. HARTMANN Trombone 1900-01
H. HARTMAN Bass 1900-01
A. HASE Bass 1904-06
1920-25
ALBERT HASE Bass 1901-04
OTTO HAUBENREISSER Violin 1905-09
GUSTAV HEIM Trumpet (Principal) 1905-07
A. HEINE Violin 1903-04
HERMAN HELLER Violin 1900-02
JOHN HELLBERG Bassoon 1900-01
P. HENKELMAN Oboe and English Horn 1901-25
OTTO HENNEBERG Horn 1905-25
RUDOLPH HENNIG Cello (Principal) 1900-01
DAYTON M. HENRY Violin 1918-25
A. HEYNEN Bassoon 1901-02
HANS HIMMER Cello 1904-14
H. J. HORNBERGER Violin 1900-04
ANTON HORNER Horn (Principal) 1902-25
JOSEPH HORNER Horn 1900-01
1902-25
ERNEST HUBER Bass 1919-20
A. HUSTER Violin 1901-02
L. HUTINET Trombone 1916-17
ROLAND HUXLEY Violin 1906-08
JOHN G. INGLE Violin 1900-01
WILLIAM JAEGER Trumpet 1900-01
JOSEPH A. JAKOB Horn 1909-10
SOL E. JARROW Viola 1905-06
LEWIS C. JOCHER Bass 1900-01
1907-13
CLARENCE JORDAN Violin 1924-25
ERNEST KAEHLER Violin 1900-01
1907-13
MAURICE KAPLAN Viola 1920-25
ALFRED KASTNER Harp 1901-02
1903-04
JOSEPH E. KEARNEY Viola 1903-04
OSCAR KELLER Clarinet 1902-04
GEOERGE WILLIAM KEYSER Viola 1908-19
CARL KIHLMAN Violin 1903-19
W. M. KINCAID Flute (Principal) 1920-25
HANS KINDLER Cello (Principal 1916-20) 1914-20
SAMUEL KLIACHKO Cello 1920-22
KARL KLUPP Horn 1901-04
CARL KNEISEL Cello 1908-17
1919-22
F. H. KNORR Bass 1900-01
HENRY KOCH Horn 1900-01
A. KOEHLER Trumpet 1903-04
H. KOENIG Violin 1903-04
JAN KOERT Violin 1900-02
Viola (Principal) 1902-08
BENJAMIN KOHON Bassoon (Principal) 1912-15
A. KORB Violin 1901-06
ELKAN KOSMAN Violin (Concertmaster) 1901-02
FABIEN KOUSSEVITZKY Bass 1923-25
BORIS KOUTZEN Violin 1924-25
HUGO KREISLER Cello 1906-07
EMIL KRESSE Violin, Tympani and Battery 1901-02
1904-25
GEORGE KRESSE Violin 1901-03
1906-07
CHRISTIAN KRIENS Viola 1902-04
RICHARD KRUEGER Bassoon (Principal) 1901-06
1907-08
1909-12
1915-22
E. KRUGER Violin 1903-05
OTTO KRUGER Violin 1905-17
PAUL KRUMMEICH Violin 1903-07
WILLIAM KRUSE, JR. Bassoon 1920-21
ALEXIS KUDISCH Violin 1918-19
JULIUS G. KUMME Viola 1900-01
MAX LACHMUTH Oboe and English Horn 1900-01
JOSEPH LA MONACA Flute 1910-25
F. M. LAPETINA Viola 1900-01
FRANCIS J. LAPITINO Harp 1911-13
EMILE LATISCH Bass 1910-17
VINCENT LAZARRO, JR. Bass 1921-25
H. C. LE BARBIER Trumpet (Principal) 1909-14
MORRIS LEIN Trumpet 1923-25
J. W. F. LEMAN Viola 1908-18
MILN LEMISCH Viola 1900-01
ALFRED LENNARTZ Cello 1902-16
B. F. LEVENTHAL Viola 1911-23
HARRY LEVY Violin 1918-19
ROBERT LINDEMANN Clarinet (Principal) 1913-17
A. LIPKIN Violin 1922-25
GEORGE LIVOTI Violin 1923-24
GUSTAVE A. LOEBEN Viola and Celesta 1919-25
ALFRED LORENZ Violin 1901-02
1903-17
Viola (Principal) 1917-18
Violin 1918-25
FRANZ LORENZ Cello 1909-17
PAUL P. LOTZ Trombone 1900-01
1909-25
H. LUCAS Viola 1901-02
ARTHUR LUCK Bass 1914-18
C. STANLEY MACKEY Tuba 1900-04
1905-15
ROBERT MÄDLER Bass 1902-07
E. MAESTRE Cello 1922-24
E. MALACH Bass 1918-19
THEODORE MANSFELT Cello 1904-05
ANDRÉ MAQUARRE Flute (Principal) 1918-20
DANIEL MAQUARRE Flute (Principal) 1910-18
ATTILLIO MARCHETTI Oboe (Principal) 1913-15
JOHN MARQUARDT Violin (Concertmaster) 1902-03
MRS. JOHN MARQUARDT Harp 1902-03
HERMAN MARTONNE Violin 1917-20
GUSTAV MAYER Battery 1916-23
HENRY MAYER, JR. Battery 1907-23
ALBERT MEICHELT Trumpet 1902-04
NICOLA MELATTI Violin 1922-24
EMILIO MERIZ Violin 1917-18
HERBERT G. MERTZ Violin 1919-20
J. MESSIAS Cello 1901-02
HARRY W. MEYER Violin 1904-15
JOHN A. MEYER Violin 1900-01
PAUL MEYER Violin 1914-21
HENRY J. MICHAUX Viola (Principal 1915-17) 1915-25
CHARLES S. MILLER Violin 1918-19
ROBERT MINSEL Horn (Principal 1901-02) 1901-04
OSKAR MODESS Bassoon (Principal) 1900-01
BERNHARD MOLLENHAUER Violin 1900-01
JOHN W. MOLLOY Violin 1920-25
ALBERT R. MORET Violin 1902-20
FRANK S. MORTON Violin 1906-07
HERMAN MUELLER Viola and Bassoon 1910-17
Bassoon 1917-25
MATTHEW J. MUELLER Violin 1922-25
OTTO MUELLER Violin 1907-14
1921-24
C. H. MULLER Bass 1900-01
G. MUNSCH Clarinet 1901-02
CHARLTON LEWIS MURPHY Violin 1900-01
EDWARD MURRAY Viola 1924-25
LUDWIG NAST Cello 1902-04
GENNARO M. NAVA Viola 1922-23
F. A. NICOLETTA Harp 1923-25
DAVID NOWINSKI Violin 1906-17
BRAM OBERSTEIN Cello 1923-24
W. OESTERREICH Flute and Piccolo 1903-04
MAX OLANOFF Violin 1918-19
GUSTAV OLK Viola 1903-04
HUGO OLK Violin (Principal) 1902-04
SAMUEL OLLSTEIN Violin 1920-22
GUSTAV PAEPKE Violin 1902-05
1922-23
MATYAS PAULI Bass 1918-23
L. PELLEGRINI Violin 1919-20
MICHEL PENHA Cello (Principal) 1920-25
WILLIAM PFANNKUCHEN Bassoon 1906-07
WALTER PFEIFFER Violin 1910-19
EARL PFOUTS Violin (Principal part of 1911-18
season 1911-12)
PAUL PIESCHEL Bassoon (Principal) 1908-09
STEPHEN PILLISCHER Violin 1924-25
PAUL PITKOWSKY Violin 1921-25
PAUL PLANERT Bass 1901-05
BENJAMIN PODEMSKI Battery 1923-25
ALEXANDER POPOFF Violin 1923-25
P. POPPERL Violin 1901-02
M. POTTAG Horn 1901-02
MILTON PRINZ Cello 1924-25
KARL QUERENGAESSER Bass 1901-15
PAUL RAHMIG Bass (Principal 1901-14) 1901-17
1919-20
1924-25
EDWARD RAHO Oboe 1913-25
LEWIS RAHO Oboe 1918-24
HOWARD F. RATTAY Violin 1905-06
HAROLD W. REHRIG Trumpet 1923-25
JOSEPH REITER Horn (Principal) 1900-01
A. RENSCH Oboe 1901-02
KALMAN REVE Violin 1923-24
J. RHODES Viola 1901-02
L. M. RICE Viola 1902-03
THADDEUS RICH Violin (Concertmaster) 1906-25
ALBERT RIESE Horn 1904-09
1910-25
HERMAN RIETZEL Oboe 1911-13
ALBERT RITTER Tympani 1902-03
A. RITZKE Clarinet 1900-01
AUGUST H. RODEMANN Flute (Principal) 1902-07
C. H. RODENKIRCHEN Trumpet (Principal 1907-09) 1907-09
1911-15
EDMOND ROELOFSMA Clarinet 1902-20
B. ROESCHMANN Violin 1900-01
1903-04
JEAN ROGISTER Viola 1923-24
SAM ROSEN Viola 1919-20
1921-25
M. ROTH Violin 1924-25
E. ROZANEL Trumpet 1917-18
R. RYKMANS Bass 1901-02
ALFRED SAAL Cello (Principal) 1904-06
HERMAN SANDBY Cello (Principal) 1902-04
1908-16
ADOLPH SAUDER Oboe 1900-01
HERBERT F. SAYLOR Violin 1904-05
FRITZ SCHAEFER Viola 1904-05
JULIUS SCHEEL Violin (Principal) 1901-12
PAUL SCHEELE Viola 1904-15
REINHOLD SCHEWE Violin 1900-01
1907-16
K. SCHINNER Horn 1901-02
WILLIAM SCHLECHTWEG Trombone 1904-15
HANS SCHLEGEL Flute and Piccolo 1916-25
ALEXANDER SCHMIDT Violin 1908-12
EMIL SCHMIDT Viola 1900-01
EMIL F. SCHMIDT Violin 1900-01
1903-04
1908-23
GEORGE SCHMIDT Viola 1902-11
HENRY SCHMIDT Violin 1920-25
RICHARD SCHMIDT Viola (Principal) 1900-01
WILLIAM A. SCHMIDT Cello 1903-04
1911-12
1914-25
CHARLES M. SCHMITZ Cello 1900-01
PHILIPP SCHMITZ Cello 1903-13
1919-25
CHARLES F. SCHOENTHAL Flute (Principal 1900-01) 1900-01
1909-10
GEROLD SCHON Cello 1918-20
JOHN G. SCHON Bassoon 1916-20
GEORGE SCHOTT Cello 1912-18
FRED SCHRADER Trombone (Principal) 1904-06
B. SCHREIBMANN Trumpet 1921-23
B. SCHUCH Violin 1901-02
EDMUND SCHUËCKER Harp 1904-09
JOSEPH SCHUËCKER Harp 1909-11
MAX SCHULZ Violin 1902-05
RICHARD SCHURIG Bass (Principal) 1900-02
OSCAR SCHWAR Tympani 1903-25
MICHEL SCIAPIRO Violin 1914-15
MAX SELINSKI Violin 1907-14
FRANK SELTZER Trumpet 1907-11
ERNEST SERPENTINI Oboe 1924-25
JULES J. SERPENTINI Clarinet 1920-25
DAVID SHAIEVITCH Flute 1905-06
J. BYRON SHANNON Bass 1920-24
MARCUS SHERBOW Violin 1900-04
JOSEPH SHERMAN Violin 1923-25
S. SIANI Bass 1924-25
ADRIAN SIEGEL Cello 1922-25
BERNARD SIEGERT Cello 1920-21
ISRAEL SIEKIERKA Violin 1924-25
HARRY SILBERMAN Violin 1917-18
EMILE SIMON Cello 1907-14
GARDELL SIMONS Trombone 1915-25
JACOB SIMKIN Violin 1920-23
1924-25
J. C. SMALL Piccolo 1900-01
JOSEF SMIT Cello 1924-25
ISADOR SOKOLOFF Cello 1914-18
MAX SOTTNEK Violin 1909-13
WILLY SPECKIN Bass 1903-04
1905-10
ALFRED SPEIL Violin 1901-03
S. SPOOR Violin 1919-20
GUSTAV STANGE Trombone 1902-04
L. STARZINSKY Viola 1901-02
1903-10
ROBERT STEIN Cello 1902-03
BRUNO STEINKE Cello 1919-20
BRUNO STEYER Viola 1924-25
KARL STIEGELMAYER Oboe 1901-10
WALTER H. STOBBE Battery 1900-01
WILLIAM R. STOBBE Tympani 1900-01
A. F. STOCKBRIDGE Violin 1906-07
LEON STOLL Viola 1900-01
WILLIAM STOLL, JR. Violin 1900-01
ALFONS STORCH Violin 1904-06
P. STRAHLENDORF Violin and Bass Clarinet 1901-02
K. STREUBER Bass 1901-02
EDWARD A. STRINGER Violin 1900-01
JACOB STROBLE Violin 1900-01
JULIUS STURM Cello 1902-04
MICHAEL SVEDROFSKY Violin (Concertmaster) 1904-06
MARCEL TABUTEAU Oboe (Principal) 1915-25
EDUARD TAK Violin 1905-06
MORRIS TARTAS Viola 1919-20
ALEXANDER J. THIEDE Violin 1920-25
ANDREW THOMAS Tuba 1915-21
HANS TIEDGE Violin and Battery 1902-17
ANTON TORELLO Bass (Principal) 1914-25
LUDWIG TREIN Cello 1900-02
1903-04
1907-11
R. UNGER Cello 1901-02
G. UNGLADA Violin 1908-12
EMIL URBASH Flute and Piccolo 1902-03
JAMES VALERIO Battery 1924-25
F. W. VAN AMBURGH Clarinet 1912-13
HEDDA VAN DEN BEEMT Violin (Principal 1906-07) 1901-07
1911-20
Celesta 1920-24
AUGUST VAN LEUWEN Flute 1901-02
ISRAEL S. VAN SCIVER Battery 1900-01
ALBERT VAN STRATUM Violin 1905-06
AMÉDÉE VERGNAUD Viola 1924-25
ROMAIN VERNEY Viola (Principal) 1920-25
A. VILLANI Bass 1922-23
ADOLPH VOGEL Cello 1921-25
J. VOGEL Trombone 1901-02
HENRY F. VOLMER Viola 1900-01
LOUIS VOLMER Cello 1900-01
ERNST WAGNER Trombone 1901-04
FREDERICK E. WAGNER Trumpet (Principal 1900-01) 1900-01
1917-21
JOSEF WALDMAN Violin 1912-16
ROBERT WALTER Violin 1903-06
HENRY WARNER Violin 1900-02
EMIL WASCHEK Viola 1905-06
FRANK S. WATSON Cello 1918-25
NELSON J. WATSON Bass 1923-24
HERMAN WEINBERG Violin 1919-25
KARL WEINELT Horn 1904-05
H. WEISSENBORN Clarinet 1900-01
WILLIAM WELKER Violin 1900-01
DANIEL R. WELLS Viola 1900-02
WILLIAM M. WELLS Cello 1900-04
M. F. WENNING Violin and Bassoon 1901-03
CHARLES R. WENZEL Cello 1904-06
FLORENZ WERNER Violin 1901-03
L. WERTHEIM Viola (Principal) 1901-02
CARL WHITAKER Bass 1900-01
G. WICKING Violin 1902-03
HEINRICH WIEMANN Bass 1924-25
ERNEST S. WILLIAMS Trumpet 1917-23
BENJAMIN H. WINTERSTEIN Violin 1916-18
FLORIAN WITTMAN Viola 1922-23
H. WITTMANN Bass 1900-01
JOHN K. WITZEMANN Violin 1900-17
M. WOLLENBERG Bass 1906-07
JOHN WULF Bass 1907-19
G. ZAPP Violin 1901-02
KARL W. ZEISE Cello 1922-24
LEON ZEITZEW Violin 1920-21
ALEXANDER ZENKER Violin 1916-25
PAUL ZIEROLD Cello 1905-07
L. ZIPORKIN Bass 1917-19
ALBERT ZOELLNER Horn 1900-01
NOTE—This list includes only those men who completed a season’s work.
PHILADELPHIA ORCHESTRA CHORUS[67]
DECEMBER 1920
[67] NOTE—Figures following names denote year of admission.
_First Sopranos_
MRS. G. W. ANDERSON ’19 MISS CLARA L. HOLDEN ’15
MRS. ANNABEL I. BELL ’19 MISS H. G. HULLSTRUNG ’20
MISS MILDRED S. BENNERS ’20 MRS. GERTRUDE M. JONES ’20
MISS HELEN G. BLAKELY ’19 MRS. A. H. KOEHL ’20
MRS. MILDRED S. CASCADEN ’19 MRS. H. C. KRESSLY ’19
MISS BLANCHE E. CASCADEN ’19 MRS. MILTON KUTZ ’19
MISS MILDRED CASTOR ’20 MISS ETTA C. LEVINE ’20
MISS DIANA A. CAUFFMAN ’19 MISS HELEN B. LEWIS ’15
MRS. M. CHRISTIE ’15 MRS. HOWARD MCMORRIS ’20
MRS. P. BENSON COLLARD ’19 MISS IRMA F. MALDONADO ’20
MISS GERTRUDE ELY ’15 MISS SOPHIA MALESON ’19
MRS. H. B. EWING ’15 MISS GRACE E. MAHORTER ’20
MRS. PEARL M. GILDAY ’20 MISS M. ELIZ. MORRISON ’19
MRS. ROBERT C. GLENN ’19 MISS CLARA A. NAGEL ’19
MISS WINFREY GLENN ’19 MISS ANNA L. NEIL ’15
MRS. HAROLD GREENE ’20 MISS IDA H. OETTER ’16
MISS NAOMI V. GROBE ’20 MISS DOROTHY E. PIERCE ’19
MRS. HAROLD H. HAPPOLD ’20 MISS ELIZABETH POWERS ’20
MISS AGNES M. HIGBEE ’16 MISS MARIAN M. RIDDLE '19
MISS ETHEL K. RIDGE ’20 MRS. LILIAN S. TOUDY ’20
MISS ALVA SERGEANT ’14 MISS VOLITA WELLS ’19
MRS. ALBERT E. SEYMOUR ’20 MRS. M. N. WILLIAMSON ’20
MRS. MABLE T. SHICK ’20 MISS FREEDA WOLLEY ’19
MRS. PHILIP STERLING ’20 MISS JOSEPHINE E. ZWICK ’19
MISS EMMA L. STRATTON ’19 MISS A. ELISE HARTMAN ’19
MRS. M. L. SUTTON ’20 MISS MARGARET S. LEWIS ’15
_Second Sopranos_
MRS. GILBERT P. ALBRECHT ’15 MISS JEAN P. MUMFORD ’19
MISS FAYE ATKINSON ’19 MRS. R. S. B. PERRY ’19
MISS CAROLINE AUSTIN ’20 MISS HELEN C. PHILIPS ’19
MISS HELEN M. BATTEN ’14 MISS JOANNA L. POTTER ’14
MISS AMELLA E. BEIN ’14 MISS EMMA M. REA ’19
MISS MILDRED E. CASCADEN ’20 MISS ELSIE G. RODGERS ’15
MRS. GRACE COLGAN ’20 MISS E. A. ROSSMÄSSLER ’15
MISS MARION W. EISENHART ’20 MISS BERNICE RUSSELL ’19
MISS THEO R. ELDREDGE ’19 MISS LOUISE P. SCHWARZ ’14
MRS. RUTH F. ELIASSON ’19 MISS C. EVELYN SMITH ’15
MISS MARY DALE HACKETT ’14 MISS MARGUERITE D. SMITH ’19
MISS ELSIE M. HAUCK ’19 MISS PHOEBE HART SMITH ’19
MISS MARIE L. HENRY ’20 MISS HELEN R. SNYDER ’19
MISS GEORDIE P. JOLINE ’15 MISS MILAVA STANKOWITCH ’14
MRS. ALBERT G. KLEEFELD ’15 MRS. JOHN B. THAYER, 3rd ’16
MISS KATH. W. MCCOLLIN ’16 MRS. ANNA M. WILT ’19
MISS EDITH M. MILLER ’20 MISS HELEN B. WINELAND ’15
_First Altos_
MISS OLIVE I. BERRY ’14 MISS CLARA A. JEWELL ’19
MISS ADA BESS ’20 MISS ELIZABETH K. JONES ’15
MISS J. R. BONNIWELL ’19 MISS ELIZA KANNEGIESER ’15
MISS JOYCE BOWERS ’19 MISS HELEN R. KERN ’19
MISS HELEN I. CHAMBERS ’19 MISS MILDRED E. LOCKE ’15
MISS FRANCES B. CODLING ’20 MISS MORTON J. MEYERS ’14
MISS MAY COLDRAN ’20 MISS MARGARET MONTGOMERY ’19
MISS ANNA E. ELLWANGER ’15 MISS SARIETA M. RENTON ’15
MISS ADELE L. FOX ’16 MRS. E. M. REYNOLDS ’20
MISS ANNE GEYER ’19 MISS CLARA L. RISTINE ’15
MISS CREDA GLENN ’19 MRS. R. J. ROBINSON ’19
MISS K. MARIE GOOD ’15 MISS CAROLINE L. ROTHMAN ’20
MISS MARGARET GREAVES ’20 MISS PAULINE C. RUMPP ’15
MISS FLORA E. GRUNING ’20 MRS. LEOPOLD SEYFFERT ’16
MISS MARION W. GUSHEE ’20 MISS LYDIA P. WISE ’15
MISS MARGUERITE E. INGRAM ’15 MISS OLIVE WOLF ’16
MRS. DAVID J. WRIGHT ’20
_Second Altos_
MISS MARIE M. BARR ’14 MISS FLORENCE H. BURK ’19
MRS. JOSEPH M. BECKETT ’19 MISS ADA V. CLOUDEN ’14
MISS EDITH M. BOYD ’14 MISS ANNA COHN ’15
MISS SUSIE J. DAILEY ’15 MRS. MAURICE MARKLEY ’16
MISS F. EDNA DAVIS ’15 MISS ANNETTA R. MASLAND ’20
MISS F. CAROLYN DEAVER ’19 MISS GEORGIA P. PALMER ’15
MISS M. P. EUCHELBERGER ’19 MISS MARY M. PEARSON ’19
MRS. CHARLES W. FOUST ’15 MRS. WILLIAM POLLOCK ’19
MISS IRENE F. GOENNER ’16 MISS RAY RAWLINGS ’20
MISS ALMA L. KELLMER ’20 MISS ETHEL H. STEWART ’14
MISS ROBERTA LAIRD ’15 MISS HELEN A. STRAUGHN ’15
MRS. JOHN H. MCCRACKEN ’14 MISS ALMA M. TEGGE ’19
MRS. IDA A. MCGIRR ’20 MISS JANE WHITEHEAD ’19
MRS. HARRY A. MACKEY ’15 MISS E. MAY WILLIAMSON ’14
_First Tenors_
MR. GILBERT P. ALBRECHT ’14 MR. J. MITCHELL HOOPER ’19
MR. A. W. ALLEN ’20 MR. CHAS. A. HUNSBERGER ’14
MR. DONALD G. BAIRD ’20 MR. WILLIAM JAMISON ’15
MR. HENRY W. CLAVIER, JR. ’15 MR. ADOLPH MEHNEN ’15
MR. ALAN C. CUNNINGHAM ’15 MR. SAMUEL ALBERT NOOK ’20
MR. ROBERT DEWAR ’20 MR. GEORGE D. PHILLIPS ’20
MR. CHARLES E. FREW ’15 MR. BENJAMIN W. PRICE ’15
MR. JOSEPHUS J. FROST ’15 MR. HAROLD C. RAWLEY ’14
MR. ALFRED H. GONZALES ’15 MR. ALBERT E. SEYMOUR ’14
MR. ARTHUR G. GRAHAM, JR. ’19 MR. GEO. H. STANIFORTH ’15
MR. HENRY K. HOLLINGER ’20 MR. ELMER E. TRAUB ’15
MR. J. HENRY WARREN ’19
_Second Tenors_
MR. JOHN E. ABNETT, JR. ’19 MR. WM. LLOYD HARDING ’19
MR. ADOLF BALOD ’20 MR. EUGENE MULLER ’16
MR. JOS. K. BARTHOLOMEW ’15 MR. THOMAS NELSON, JR. ’20
MR. EDWIN S. BARTLETT ’14 MR. ADAM H. PATTERSON ’19
DR. CHARLES A. BEHNEY ’20 MR. WILLIAM POLLOCK ’15
MR. JOHN W. CULP ’20 MR. J. R. SATTERTHWAITE ’19
MR. EDW. W. DIETSCH ’20 MR. REESE R. SMITH ’20
MR. C. SEYMOUR EVANS ’15 MR. ALEXANDER STEWART ’20
MR. L. J. FINNAN, JR. ’16 MR. ALLAN F. TITUS ’20
MR. WM. D. HAMILL ’15 MR. GEORGE R. TYSON ’19
_First Bassos_
MR. H. CARL ALBRECHT ’14 MR. GEORGE S. GENGENBACH ’19
MR. CHARLES A. BJORKLUND ’19 MR. ROBERT C. GLENN ’15
MR. GEORGE P. BOGGS ’20 MR. JAS. B. GREENWOOD ’20
MR. RAYMOND T. BOHN ’20 MR. J. COURTLAND HAMER ’15
MR. ALBERT W. BRAEUNINGER ’15 MR. RAYMOND E. HESS ’20
MR. JOHN A. BROOK ’20 MR. W. CHESTER HILL ’20
MR. HENRY T. DENBY ’20 MR. EDWARD E. HIPSCHER ’20
MR. BERTRAM F. EVERIT ’15 MR. ALVAH H. KOEHL ’20
MR. WM. H. FAVILLE ’19 MR. FREDERICK LANDSTREET ’15
MR. R. H. FLEMING ’14 MR. EUGENE MAES ’19
MR. WILLIAM MILLHAM ’15 MR. RICHARD M. SUTTON ’19
MR. HUGH R. PARRISH ’19 MR. ARTHUR SYNNESTVEDT ’15
MR. FRANCIS H. ROCKETT ’20 MR. FRANK B. TITUS ’20
MR. WM. J. SEARLE, JR. ’20 MR. EDWARD L. WALLACE ’20
MR. HOWARD F. STORY ’20 MR. BERNARD G. WISE, JR. ’20
MR. WILLIAM ZIMMERMANN ’19
_Second Bassos_
MR. JAS. H. W. ALTHOUSE ’15 DR. EUGENE K. KRAUSE ’16
DR. JOHN H. ARNETT ’20 MR. WM. MCGOWAN, JR. ’20
MR. HARRY BROESE ’15 MR. RAY MILLER ’20
MR. CLINTON M. CHRISTINE ’15 MR. CARL F. RUMPP ’19
MR. A. P. CHUTE ’14 MR. OLIVER F. SAYLOR ’19
MR. STEPHEN T. CONWAY ’20 MR. DENNIS SOSNOWSKI ’19
MR. W. R. CRAWFORD ’20 MR. MILTON B. STALLMAN ’16
DR. F. H. EATON ’20 MR. HUBERT SYNNESTVEDT ’16
MR. C. L. FARRADAY ’15 MR. GEO. B. WHIDDEN ’14
MR. FRANK A. HARTRANFT ’14 MR. FRANK J. WILLIAMS ’20
MR. WILLIAM C. HESS ’20 MR. FRANK D. WITHERBEE ’19
MR. HARRY K. KIRK ’16 MR. J. C. WRENSHALL, JR. ’19
NOTE—Figures following names denote year of admission.
MANAGERS OF THE PHILADELPHIA ORCHESTRA
1900-1925
OLIVER BOYCE JUDSON, 1901-02
GEORGE P. ECKELS, 1902-03
JOHN MAHNKEN, 1903-04, 1904-05
ERNEST J. LANIGAN, 1905-06
CHARLES AUGUSTUS DAVIS, 1906-07 to 1909-10
HARVEY M. WATTS, 1911-12, 1912-13
RALPH EDMUNDS, 1913-14, 1914-15
ARTHUR JUDSON, 1915-16
HORACE CHURCHMAN, 1910-11, Controller
OFFICE STAFF
1925
ARTHUR JUDSON, 1915
LOUIS A. MATTSON, 1907
ELIZABETH M. RUSSELL, 1917
MARGARET E. PRINGLE, 1916
MARY A. MCGINTY, 1917
RUTH M. O’NEILL, 1910
APPENDIX G
ASSISTANT CONDUCTORS
GUEST CONDUCTORS
ORGANIZATIONS THAT HAVE APPEARED WITH
THE PHILADELPHIA ORCHESTRA
SOLOISTS WHO HAVE APPEARED WITH THE
PHILADELPHIA ORCHESTRA
ASSISTANT CONDUCTORS
A. H. RODEMANN, 1907: Philadelphia, February 15-16, conducted regular
concerts during Scheel’s illness.
THADDEUS RICH, 1914: Assistant Conductor, Kensington, Philadelphia,
April 8; November 5-6, 1915, entire programme with exception
Schoenberg’s Kammersymphonie; November 9, 1915, Stetson concert;
Norristown, January 11, 1916; Philadelphia regular concerts, January
28-29, 1916; Philadelphia Girls’ High School, January 31, 1916;
Lancaster, Pa., February 1, 1916; Easton, Pa., February 17, 1916;
Reading, Pa., February 22, 1916; University of Pennsylvania, February
24, 1916; Boys’ Central High School, March 7, 1916; Germantown High
School, March 30, 1916; Frankford High School, April 13, 1916; Stetson
Concert, January 9, 1917; Atlantic City, N. J., January 22, 1917;
Reading, Pa., February 20, 1917; University of Pennsylvania, February
21, 1917; Stetson Concert, November 7, 1917; Pittsburgh, Pa., February
11, 1918; Oberlin, Ohio, February 13, 1918; Philadelphia, December 28,
1918; Toronto, February 22, 1919; Philadelphia, March 21-22, 28-29,
April 12-15-16, 1919; Stetson, March 25, 1919; Wilmington, March
24, 1919; Stetson, November 15, 1921; University of Pennsylvania,
January 18, 1922; Philadelphia regular concerts, January 20-21,
1922; University of Pennsylvania, February 8, 1922; University of
Pennsylvania, March 1, 1922; University of Pennsylvania, March 22,
1922; Pittsburgh, November 10, 1922, January 13, 1923, and March 23,
1913, conducted Children’s concerts; Stetson, November 14, 1922;
Harrisburg, March 22, 1923; Pittsburgh, March 23, 1923; Philadelphia
regular concerts, January 19-20, 1923; Philadelphia regular concerts,
January 11-12, 1924; Princeton, March 18, 1924; Philadelphia regular
concerts, January 23-24, 1925; Princeton, March 2, 1925.
GUEST CONDUCTORS
ERNEST BLOCH, 1918: Philadelphia, January 25-26, conducted programme of
his own works.
LEANDRO CAMPANARI, 1907: Philadelphia, February 22-23, March 1-2;
Harrisburg, February 19; Trenton, February 21; Reading, February 25;
Washington, February 26; Baltimore, February 27, during Scheel’s
illness.
ALFREDO CASELLA, 1921: Philadelphia, October 28-29, conducted his own
“Pages of War.”
ALPHONSE CATHERINE, 1919: Philadelphia, January 31-February 1,
conducted entire programme.
FRANK GUERNSEY CAUFFMAN, 1909: Philadelphia, March 5-6, conducted his
own “Legende.”
GEORGE W. CHADWICK, 1911: Philadelphia, March 29, conducted his own
Suite Symphonique at National Federation of Musical Clubs Concert.
VINCENT D’INDY, 1922: Philadelphia, January 6-7; Princeton, January 9;
Washington, January 10; Baltimore, January 11; Harrisburg, January 12;
Pittsburgh, January 13-14, conducted entire programme.
GEORGES ENESCO, 1923: New York, January 2; Philadelphia, January 5-6;
Washington, January 9; Baltimore, January 10; Harrisburg, January 11;
Pittsburgh, January 12-13; Pottsville, January 17, conducted entire
programme.
OSSIP GABRILOWITSCH, 1920: Philadelphia, April 3-5, conducted entire
programme.
PHILIP H. GOEPP, 1909: Philadelphia, March 5-6, conducted his own
Academic March; February 1, 1911, conducted his own Wedding March;
April 2, 1913, conducted his own Wedding March, one number by Wm.
Gerstley and one by H. Pfitzner—all Philadelphia.
SAMUEL GARDNER, 1919: Philadelphia, October 24-25, conducted his own
“New Russia.”
HENRY HADLEY, 1910: Philadelphia, November 25-26, conducted his own
“Culprit Fay”; New York, March 9, 1920, conducted his own overture,
“Othello.”
VICTOR HERBERT, 1912: Philadelphia, February 16-17, conducted the
prelude to Act III of his own “Natoma.”
HENRY ALBERT LANG, 1911: Philadelphia, March 1, conducted his own
Fantastic Dances (Popular Concert); Philadelphia, April 2, 1913,
conducted his “Fantasies of a Poet” (Manuscript Music Society Concert).
WASSILI LEPS, 1908: Philadelphia, February 21-22, conducted entire
Programme on account Pohlig’s injuries from railroad accident; also
Philadelphia, March 13-14, 1908, and March 5-6, 1909, conducted his own
“In the Garden of the Gods”; Philadelphia, February 15, 1911 (Popular
Concert), conducted Clarence Bawden’s “Ballade” for Piano; Wilmington,
February 5, 1912, conducted entire Wagner programme; Philadelphia,
April 2, 1913 (Manuscript Music Society Concert), conducted his own
aria for soprano and orchestra, “Nirvana.”
WILLEM MENGELBERG, 1921: Philadelphia, March 18-19, conducted entire
programme.
DARIUS MILHAUD, 1923: Philadelphia, January 26-27, conducted entire
programme.
OTTO MUELLER, 1913: Philadelphia, April 2, conducted his own Symphonic
poem “Atlantis,” at Manuscript Music Society Concert.
HORATIO PARKER, 1911: Philadelphia, March 29, conducted his own aria
“Crépuscule,” at National Federation of Musical Clubs Concert.
SERGEI RACHMANINOFF, 1909: Philadelphia, November 26-27, conducted his
own Symphony in E minor and Moussorgsky’s fantasy, “Une nuit sur le
mont chauve”; also played group piano soli.
HERMAN SANDBY, 1915: Philadelphia, February 19-20, conducted his own
orchestral suite, “The Woman and the Fiddler.”
CYRIL SCOTT, 1920: Philadelphia, November 5-6, conducted his own “Two
Passacaglias for Orchestra.”
FREDERICK STOCK, 1924: Philadelphia, January 18-19-21; Washington,
January 22; Baltimore, January 23, conducted entire programme.
RICHARD STRAUSS, 1904: Philadelphia, March 4-5; Boston, March 7-8;
conducted “Tod und Verklärung,” “Till Eulenspiegel,” also a group of
his own songs; Philadelphia, November 30, 1921; New York, October
31, 1921; November 15, 1921, December 13, 1921, December 27, 1921;
Philadelphia, December 23-24, 1921, conducted entire programme.
IGOR STRAWINSKY, 1925: Philadelphia, January 30-31, conducted entire
programme of own works.
GUSTAV STRUBE, 1915: Philadelphia, December 31-January 1, 1916,
conducted his own “Variations on an Original Theme.”
HEDDA VAN DEN BEEMT, 1913: Philadelphia, Manuscript Music Society
Concert, April 2, conducted his own “Introduction and Scene” for
orchestra, “Aucassin et Nicolette”; Philadelphia, April 3-4, 1914,
conducted same composition.
WILLEM VAN HOOGSTRATEN, 1925: Philadelphia, January 16-17-19;
Washington, January 20; Baltimore, January 21, conducted entire
programme.
LOUIS VON GAERTNER, 1910: Philadelphia, December 22-23, conducted his
own Tone Poem, “Macbeth.”
FELIX WEINGARTNER, 1905: Philadelphia, February 16, conducted entire
programme—special concert.
CAMILLE ZECKWER, 1916: Philadelphia, February 4-5, conducted his own
“Sohrab and Rustum.”
ORGANIZATIONS WHICH HAVE APPEARED WITH
THE PHILADELPHIA ORCHESTRA
BACH CHOIR OF BALTIMORE (1907), Baltimore.
EURYDICE CHORUS OF PHILADELPHIA (1908, 1912).
FORTNIGHTLY CLUB OF PHILADELPHIA (1908, 1916).
BEN GREET PLAYERS (1909).
JUNGER MAENNERCHOR SINGING SOCIETY OF PHILADELPHIA (1914).
MENDELSSOHN CHOIR OF TORONTO (1914), Philadelphia.
MENDELSSOHN CLUB OF PHILADELPHIA (1903, 1904, 1907, 1911, 1913,
1914, 1916, 1919).
PHILADELPHIA ORCHESTRA CHORUS (1916, 1917, 1919, 1920, 1921).
PITTSBURGH CHORUS, trained by Charles Heinroth (1921), Pittsburgh.
SCHOLA CANTORUM OF NEW YORK (1919), New York.
Organizations participating in the Lobgesang Symphony:
CANTAVES CHORUS, EURYDICE CHORUS, FELLOWSHIP CLUB, FORTNIGHTLY
CLUB, GERMANTOWN CHORAL SOCIETY, HAYDN CLUB, JUNGER MAENNERCHOR,
LYRIC CLUB, MATINEE MUSICAL CLUB, MENDELSSOHN CLUB,
ORPHEUS CLUB, PHILADELPHIA CHORAL SOCIETY, STRAWBRIDGE AND
CLOTHIER CHORAL SOCIETY, TREBLE CLEF CLUB, VOCAL ART SOCIETY,
WANAMAKER CHORAL SOCIETY.
Outside organizations participating in the performance of Bach’s
“St. Matthew Passion”:
GIRLS’ NORMAL SCHOOL and GIRLS’ HIGH SCHOOL CHORUSES.
SOLOISTS WHO HAVE APPEARED WITH THE PHILADELPHIA ORCHESTRA
1900-1925
PHILIP ABBAS Cellist 1917
MABELLE ADDISON Contralto 1914, 1915
FRANCES ALDA Soprano 1914
PERLEY DUNN ALDRICH Baritone 1910
MERLE ALCOCK Contralto 1921
PAUL ALEMANN Bass Clarinet 1923
ETHEL ALTEMUS Pianist 1907, 1911, 1916
PAUL ALTHOUSE Tenor 1916
HORACE ALWYNE Pianist 1924
PASQUALE AMATO Baritone 1910
RUFUS M. AREY Clarinetist 1924
ROBERT ARMBRUSTER Pianist 1912, 1916
PEPITO ARRIOLA Pianist 1910
ADÈLE AUS DER OHE Pianist 1903
CECILE AYRES Pianist 1914
WILHELM BACHAUS Pianist 1912, 1914, 1923
DELLA BAKER Soprano 1920
INEZ BARBOUR Soprano 1916, 1921
JOHN BARCLAY Baritone 1921, 1922, 1924
LOUISE BARNOLT Contralto 1911
MARY BARRETT Soprano 1915, 1918, 1919
VERA BARSTOW Violinist 1916
GEORGIA RICHARDSON
BASKERVILLE Pianist 1915
HAROLD BAUER Pianist 1902, 1908, 1914,
1916, 1917, 1918,
1919, 1920, 1922
EDNA HARWOOD BAUGHER Soprano 1912
CLARENCE BAWDEN Pianist 1910, 1911
DAN BEDDOE Tenor 1915
WASSILY BESEKIRSKY Violinist 1915, 1916
LOUIS BAILLY Viola 1921
DAVID BISPHAM Baritone 1903, 1904, 1911, 1921
LILLIAN BLAUVELT Soprano 1900, 1903, 1904
FANNIE BLOOMFIELD ZEISLER Pianist 1902, 1903, 1904, 1907,
1908, 1915, 1916
EDITH WELLS BLY Pianist 1910, 1916
GIUSEPPE BOGHETTI Tenor 1915
EDWARD BONHOTE Baritone 1910
ELIZABETH BONNER Contralto 1919, 1923
LEONARD BORWICK Pianist 1914
ROSARIO BOURDON Cellist 1907
DOMENICO BOVE Violinist 1916
SOPHIE BRASLAU Contralto 1915
JOHN F. BRAUN Tenor 1902, 1908, 1911,
1914, 1915
ROBERT BRAUN Pianist 1915
ELIZABETH PRITCHARD BREY Soprano 1922
BERTHA BRINKER Soprano 1912
HORACE BRITT Cellist 1907, 1908
VIOLA BRODBECK Soprano 1913, 1915
EDDY BROWN Violinist 1918, 1920
HELEN BUCHANAN Soprano 1914, 1915, 1919
RICHARD BUHLIG Pianist 1907, 1908
MRS. JOSEPH BUNTING Soprano 1904
ALOYS BURGSTALLER Tenor 1903
TOM BURKE Tenor 1922
RICHARD BURMEISTER Pianist 1902
FERRUCCIO BUSONI Pianist 1911, 1915
MME. CHARLES CAHIER Contralto 1922
GIUSEPPE CAMPANARI Baritone 1905, 1908
TERESA CARREÑO Pianist 1901, 1908, 1909,
1913, 1914
PABLO CASALS Cellist 1915, 1918, 1920
ANNA CASE Soprano 1911, 1917
MARIE CASLOVA Violinist 1916
ALFREDO CASELLA Pianist 1921, 1923
CECILE CHAMINADE Pianist 1908
KITTY CHEATHAM Interpreter of
Children’s Songs 1913, 1914
WALTER CLAPPERTON Basso 1922
JULIA CLAUSSEN Mezzo-Soprano 1918
ACHILLE COCOZZA Violinist 1910
DAVID COHEN Violinist 1917
SOL COHEN Trumpet 1923, 1925
FRANK M. CONLY Basso 1911
HORATIO CONNELL Bass-Baritone 1911, 1914, 1917
LUTHER CONRADI Pianist 1908
EMILIA CONTI Soprano 1914
ELSA LYONS COOK Soprano 1915, 1917, 1919
CARLTON COOLEY Violinist 1921
Winner of Stokowski Medal
ALBERT CORNFELD Violinist 1915
ALFRED CORTOT Pianist 1918, 1920, 1922,
1925
CHARLES M. COURBOIN Organist 1922
MARCELLA CRAFT Soprano 1916
JULIA CULP LIEDER Singer 1914, 1916
CLAUDE CUNNINGHAM Baritone 1906
ROYAL DADMUN Baritone 1920, 1921
EUGENE D’ALBERT Pianist 1905
MARGUERITE D’ALVAREZ Contralto 1922
MURRAY DAVEY Basso 1912
REBECCA DAVIDSON Pianist 1917
ELEANORE DE CISNEROS Mezzo-Soprano 1908
EMILIO DE GOGORZA Baritone 1907, 1915, 1916
JOSE DELAQUERRIERE Tenor 1924
F. DEL NEGRO Bassoon 1923, 1924
MARY HISSEM DE MOSS Soprano 1908
VLADIMIR DE PACHMANN Pianist 1904, 1907, 1911
SUSANNA DERCUM Contralto 1915, 1916
EMMY DESTINN Soprano 1915
MINA DOLORES Soprano 1923
P. DONATELLI Tuba 1923
ALFRED DOUCET Oboe 1910
NICHOLAS DOUTY Tenor 1905, 1907, 1914,
1918
VLADIMIR DUBINSKY Cellist 1907
MARCEL DUPRE Organist 1922
CLAIRE DUX Soprano 1922
W. B. EBANN Cellist 1902
MISCHA ELMAN Violinist 1909, 1912, 1913,
1914, 1915, 1916,
1917
MYRTLE ELVYN Pianist 1914
GEORGES ENESCO Violinist 1923, 1924
EDWIN EVANS Baritone 1915, 1919
MILDRED FAAS Soprano 1914, 1915, 1919
JULES FALK Violinist 1910
VINCENT FANELLI, JR. Harpist 1914, 1923
FRANK L. FARRELL Pianist 1914
GERALDINE FARRAR Soprano 1919
MAUDE FAY Soprano 1916
IDETTE FEINMAN Pianist 1917, 1922
MRS. LOGAN FELAND Soprano 1913
EMILE FERIR Viola 1918
ALICE FIDLER Contralto 1918, 1919, 1920
ADELAIDE FISCHER Soprano 1916
JOHN A. FISCHER Flutist 1922, 1923, 1925
CARL FLESCH Violinist 1914, 1923, 1925
FELIX FOX Pianist 1903
MARY WOODFIELD FOX Pianist 1911
CORNELIUS FRANKE Violinist 1902
OLIVE FREMSTAD Soprano 1917, 1918
CARL FRIEDBERG Pianist 1917
BLANCHE FRIEDMANN Soprano 1911
MME. POVLA FRIJSH Soprano 1918, 1919
RUDOLF FRIML Pianist 1905
CLARENCE FUHRMAN Pianist 1905
OSSIP GABRILOWITSCH Pianist 1900, 1902, 1907,
1915, 1916, 1917,
1918, 1919, 1920,
1923
JOHANNA GADSKI Soprano 1905, 1906, 1907,
1908, 1915
RUDOLPH GANZ Pianist 1913, 1920
SAMUEL GARDNER Violinist 1919
MABEL GARRISON Soprano 1916, 1917, 1924
EDITH L. GASTEL Soprano 1912
LUCY GATES Soprano 1916
EVA GAUTHIER Mezzo-Soprano 1922
ELENA GERHARDT Soprano and 1913, 1915, 1916,
Lieder Singer 1917, 1921, 1922
JEAN GERARDY Cellist 1901, 1905, 1922
JEANNE GERVILLE-RÉACHE Contralto 1912, 1913
DINH GILLY Baritone 1913
FRANK GITTELSON Violinist 1914, 1916
THELMA GIVEN Violinist 1920
ALMA GLÜCK Soprano 1910, 1911, 1914,
1915, 1916
LEOPOLD GODOWSKY Pianist 1912, 1916
DOROTHY GOLDSMITH Pianist 1912, 1917
EFFIE LELAND GOLZ Violinist 1915
KATHARINE GOODSON Pianist 1908, 1909, 1913,
1914, 1920
PERCY GRAINGER Pianist 1916
MRS. WILLIAM HOUSTON GREENE Soprano 1911, 1913
CHARLES GREGOROWITSCH Violinist 1901
HERMANN GREVESMÜHL Violinist 1903
DAVID GRIFFIN Baritone 1915
BONARIOS GRIMSON Violinist 1913
GEORGES GRISËZ Clarinet 1923
MAUD GROVE Contralto 1910
WALTER GUETTER Bassoon 1923, 1925
HENRY GURNEY Tenor 1915
ARTHUR HACKETT Tenor 1920, 1923
EMILY STOKES HAGAR Soprano 1915
MARGUERITE HALL Contralto 1904
MARIE HALL Violinist 1905
MARK HAMBOURG Pianist 1902, 1907
RACHEL HAMILTON Soprano 1917
VAHRAH HANBURY Soprano 1920
ELSIE STEWART HAND Pianist 1903
HAROLD HANSEN Tenor 1924
THEODORE HARRISON Baritone 1914, 1915
ARTHUR HARTMANN Violinist 1906
SUE HARVARD Soprano 1913
HUGO HEERMANN Violinist 1905
JASCHA HEIFETZ Violinist 1918
ALEXANDER HEINEMANN Baritone and
Lieder Singer 1912
ANTON HEKKING Cellist 1907
OTTO HENNEBERG Horn 1923
RUDOLPH HENNIG Cellist 1901
MYRA HESS Pianist 1922
FLORENCE HINKLE Soprano 1910, 1911, 1912,
1913, 1914, 1915,
1916, 1917, 1920,
1921, 1922
ALLEN C. HINCKLEY Basso 1909
JOSEF HOFMANN Pianist 1901, 1902, 1904,
1907, 1913, 1915,
1917, 1918, 1919,
1922, 1923, 1924
LOUISE HOMER Contralto 1905, 1908, 1913, 1914
HORACE R. HOOD Baritone 1913
ANTON HORNER Horn 1923
JOSEPH HORNER Horn 1923
HENRY HOTZ Basso 1918
MAE HOTZ Soprano 1917, 1919
BRONISLAW HUBERMAN Violinist 1922, 1923
CAROLINE HUDSON-ALEXANDER Soprano 1914
ESTELLE HUGHES Soprano 1919, 1920
Winner of Stokowski Medal
ELSA ALVES HUNTER Soprano 1920
ERNEST HUTCHESON Pianist 1906, 1908, 1910,
1915, 1921
MARIA IVOGUN Soprano 1922
SASCHA JACOBINOFF Violinist 1917, 1918
RAFAEL JOSEFFY Pianist 1904
CLARA YOCUM JOYCE Contralto 1913
FRANCESKA KASPAR-LAWSON Soprano 1908, 1909,
1911, 1912
ALBERT KASTNER Harpist 1901
EMILY STUART KELLOGG Contralto 1907
GRACE KERNS Soprano 1913
MARGARET KEYES Contralto 1911, 1914,
1916, 1917
W. M. KINCAID Flutist 1922, 1923,
1924, 1925
HANS KINDLER Cellist 1915, 1916, 1917,
1918, 1919, 1921,
1922, 1923, 1924,
1925
KARL KLEIN Violinist 1907
CHARLES E. KNAUSS Pianist 1905, 1906, 1907,
1911, 1913
PAUL KOCHANSKI Violinist 1921, 1923, 1924
TILLY KOENEN Contralto and
Lieder Singer 1910, 1916
AUGUSTA KOHNLE Contralto 1913
BENJAMIN KOHON Bassoon 1914
NINA KOSHETZ Soprano 1922, 1923, 1924
ELKAN KOSMAN Violinist 1901, 1902
FRITZ KREISLER Violinist 1901, 1902, 1905,
1907, 1908, 1910,
1913, 1915, 1917,
1920, 1921
RICHARD KRUEGER Bassoon 1920
JOSEPH LA MONACA Flutist 1925
FREDERIC LAMOND Pianist 1924
WANDA LANDOWSKA Pianist and
Harpsichordist 1923, 1924
EDWARD LANE Pianist 1922
Winner of Stokowski Medal
MARIE STONE LANGSTON Mezzo-Soprano 1911, 1913, 1914
EDWARD LANKOW Baritone 1920
FRANCIS LAPITINO Harpist 1911, 1912
EARLE LAROS Pianist 1914, 1916
FLORENCE LARRABEE Pianist 1915
HULDA LASHANSKA Soprano 1921, 1924
ROBERTA LEE Soprano 1919
MAURITS LEEFSON Pianist 1907
ALFRED LENNARTZ Cellist and
Organist 1915
WASSILI LEPS Pianist 1908, 1910, 1911, 1912
EMILIE FRICKE LESHER Pianist 1922
MISCHA LEVITZKI Pianist 1921
JOSEF LHEVINNE Pianist 1907, 1909
JOSEF AND ROSINA LHEVINNE Pianists 1922
JAMES LIEBLING Cellist 1914
ALBERT LINDQUEST Tenor 1917
HUBERT LINSCOTT Basso 1924
S. H. LIPSCHUETZ Basso 1912, 1913
CARLO LITEN DRAMATIC Reader 1918
ALFRED LORENZ Violinist 1904
WALDEMAR LUTSCHG Pianist 1905
MADELEINE MCGUIGAN Violinist 1915, 1916, 1917
J. CAMPBELL MCINNES Baritone 1920
MARGARET MCMULLIN Soprano 1919
GUY MAIER Pianist (with
Lee Pattison) 1924, 1925
ANDRÉ MAQUARRE Flutist 1919, 1920, 1921
DANIEL MAQUARRE Flutist 1911, 1912, 1913,
1914, 1915, 1916,
1918
MARVINE MAAZEL Pianist 1920
EDWARD MACDOWELL Pianist 1901
WILL C. MACFARLANE Organist 1917
C. STANLEY MACKEY Tuba 1914
FRANCIS MACMILLEN Violinist 1911
HELEN MACNAMEE-BENTZ Soprano 1911, 1913, 1914,
1915
CHARLOTTE MACONDA Soprano 1903
JOHN MARQUARDT Violinist 1903
MRS. JOHN MARQUARDT Harpist 1903
HELENA MARSH Contralto 1923
HENRI MARTEAU Violinist 1906
FREDERIC MARTIN Basso 1907
GURNEY MATTOX Violinist 1915
MARGARET MATZENAUER Contralto 1917, 1918, 1919,
1920, 1921
GEORGE MEADER Tenor 1921
NICHOLAS MEDTNER Pianist 1924
ELSA MEISKEY Soprano 1917
KATHRYN MEISLE Contralto 1918
YOLANDA MERÖ Pianist 1911, 1913, 1916,
1921, 1924
CAROLINE MIHR-HARDY Soprano 1904, 1905
GWILYN MILES Baritone 1901
LETITIA RADCLIFFE MILLER Pianist 1916
SELDEN MILLER Pianist and
Organist 1905, 1906
MARGARET ASHMEAD MITCHELL Soprano 1915
BENNO MOISEIWITSCH Pianist 1919, 1923
GRISHA MONASEVITCH Violinist 1924
Winner of Stokowski Medal
RUTH MONTAGUE Mezzo-Soprano 1923
Winner of Stokowski Medal
EDWARD MUMMA MORRIS Pianist 1914, 1915
LAMBERT MURPHY Tenor 1916, 1917, 1920
MARGUERITE NAMARA-TOYE Soprano 1912
HAROLD NASON Pianist 1907
AGNES THOMSON NEELY Soprano 1906
OTTO NEITZEL Pianist 1906, 1907
ANNA NEWHOFF Pianist 1920
FRANK A. NICOLETTA Harpist 1923
MITJA NIKISCH Pianist 1924
ELSIE NORTH Soprano 1911
GUIOMAR NOVAES Pianist 1917, 1921
MARGARETE OBER Soprano 1915
HUGO OLK Violinist 1902, 1903
SIGRID ONEGIN Contralto 1922
LEO ORNSTEIN Pianist 1919, 1921, 1925
ANNA OTTEN Violinist 1902
IGNACE JAN PADEREWSKI Pianist 1914
WILLIAM H. PAGDIN Tenor 1908
KATHLEEN PARLOW Violinist 1911, 1916, 1921
LEE PATTISON Pianist
(with Guy Maier) 1924, 1925
FREDERICK PATTON Basso 1920
MICHEL PENHA Cellist 1920, 1921, 1922,
1923, 1924
LOUIS PERSINGER Violinist 1912
ALEXANDER PETSCHNIKOFF Violinist 1906, 1908
MAY PETERSON Soprano 1916, 1921
FERNAND POLLAIN Violoncellist 1918
MILDRED POTTER Contralto 1915
JOHN POWELL Pianist 1917, 1923
MAUD POWELL Violinist 1914, 1916
MICHAEL PRESS Violinist 1924
RAOUL PUGNO Pianist 1903, 1906
ROBERT QUAIT Tenor 1920
AGNES CLUNE QUINLAN Pianist 1910
SERGEI RACHMANINOFF Pianist 1909, 1919,
1920, 1921
PAUL RAHMIG Double Bass 1914
HAROLD RANDOLPH Pianist 1906, 1909, 1910,
1913, 1915
ALFRED REISENAUER Pianist 1905
GERTRUDE RENNYSON Soprano 1911, 1914
THADDEUS RICH Violinist 1906, 1907, 1908,
1909, 1910, 1911,
1912, 1913, 1914,
1915, 1916, 1917,
1918, 1919, 1920,
1921, 1922, 1923,
1924, 1925
ALBERT RIESE Horn 1923
MRS. ALBERT M. RIHL Soprano 1904
EMMA ROBERTS Mezzo-Soprano 1915, 1920
CHRISTIAN RODENKIRCHEN Trumpet 1914
MAX ROSEN Violinist 1918
MORIZ ROSENTHAL Pianist 1906, 1907
ARTHUR RUBINSTEIN Pianist 1906, 1922
CORNELIUS RÜBNER Pianist 1908, 1910
ZIPPORAH ROSENBERG Soprano 1912, 1913
ELSA RUEGGER Violoncellist 1903, 1906
ELLA RUMSEY Contralto 1920
ALFRED SAAL Violoncellist 1905, 1906
CAMILLE SAINT-SAENS Pianist 1906
CARLOS SALZEDO Harpist 1918, 1919
CARLOS SALZEDO Pianist 1924
OLGA SAMAROFF Pianist 1905, 1906, 1907,
1909, 1914, 1915,
1916, 1917, 1918,
1919, 1920, 1921,
1922, 1925
HERMAN SANDBY Violoncellist 1902, 1904, 1908,
1909, 1910, 1911,
1912, 1913, 1914,
1915, 1916
EMIL SAUER Pianist 1908
EMILE SAURET Violinist 1905
ERNEST SCHELLING Pianist 1905, 1913, 1915,
1917, 1922
HANS SCHLEGEL Flutist 1925
EMIL F. SCHMIDT Violinist 1920
E. ROBERT SCHMITZ Pianist 1920
ALEXANDER SCHMULLER Violinist 1921, 1922
ARTUR SCHNABEL Pianist 1923
ALWIN SCHROEDER Violoncellist 1905, 1908, 1909
EDMUND SCHUËCKER Harpist 1909
MAX SCHULTZ Violinist 1904
ERNESTINE SCHUMANN-HEINK Contralto 1902, 1904, 1906,
1907, 1911, 1912,
1914, 1916
OSCAR SCHWAR Tympanist 1923
CYRIL SCOTT Pianist 1920
HENRI SCOTT Basso 1915
OSCAR SEAGLE Baritone 1915
VIVIENNE SEGAL Soprano 1915
MRS. F. A. SEIBERLING Contralto 1913
TOSCHA SEIDEL Violinist 1918, 1919
JOHANNES SEMBACH Tenor 1915, 1916, 1917
MARCELLA SEMBRICH Soprano 1902, 1913
ARRIGO SERATO Violinist 1921
JULES J. SERPENTINI Clarinet 1923
IRMA SEYDEL Violinist 1913
ARTHUR SHATTUCK Pianist 1918
OSCAR SHUMSKY Violinist 1924
ALEXANDER SILOTI Pianist 1922, 1923
BRUCE SIMONDS Pianist 1922
GARDELL SIMONS Trombone 1924
MARGARET SITTIG Violinist 1921
JEAN SKROBISCH Tenor 1915
MRS. FARRINGTON SMITH Soprano 1916
DAVID SOKOLOVE Pianist 1924
ALBERT SPALDING Violinist 1915, 1916
AUGUST SPANUTH Pianist 1903
JANET SPENCER Contralto 1908
THEODORE SPIERING Violinist 1917
MAUD SPROULE Contralto 1902
HELEN STANLEY Soprano 1921
EVELYN STARR Violinist 1915
GERTRUDE MAY STEIN Soprano 1902
FRIBDA STENDER Soprano 1906
S. TUDOR STRANG Organist 1910, 1911
G. RUSSELL STRAUSS Baritone 1909
PAULINE STRAUSS-DE AHNA Soprano 1904
HENRY SUCH Violinist 1912
ROSE AND OTTILIE SUTRO Pianists 1916
MICHAEL SVEDROFSKY Violinist 1905, 1906
NOAH H. SWAYNE, 2D Basso 1911
MARGUERITE SYLVA Soprano 1911
MARCEL TABUTEAU Oboe 1915, 1917, 1920,
1921, 1923, 1924
PASQUALE TALLARICO Pianist 1911, 1913
EMIL TELMANYI Violinist 1921
MAGGIE TEYTE Soprano 1919, 1920
JACQUES THIBAUD Violinist 1903, 1904, 1917,
1918, 1919, 1920,
1921, 1922
DOROTHEA THULLEN Soprano 1913
HENRY GORDON THUNDER Organist 1916
WILLIAM SYLVANO THUNDER Organ and 1915, 1916, 1917,
Harmonium 1920, 1921
ANTON TORELLO Double Bass 1914, 1917, 1920,
1921
RUTH TOWNSEND Mezzo-Soprano 1915
EVALYN TYSON Pianist 1919
ALINE VAN BARENTZEN Pianist 1916, 1917
MARCIA VAN DRESSER Soprano 1918, 1919
ELLISON VAN HOOSE Baritone 1903, 1912
HENRI VARILLAT Baritone 1912
FERENC VECSEY Violinist 1921
ROMAIN VERNEY Viola 1921, 1922, 1923
PAUL VOLKMANN Tenor 1904, 1908
CONSTANTIN VON STERNBERG Pianist 1903, 1905, 1910,
1916
JULIAN WALKER Basso 1904
HELEN WARE Violinist 1913, 1914
ALMA WEISSHAAR Soprano 1912
HUNTER WELSH Pianist 1914
FLORENZ WERNER Violinist 1902
REINALD WERRENRATH Baritone 1916, 1917,
1920, 1921
CLARENCE WHITEHILL Baritone 1911, 1916
CHARLOTTE DEMUTH WILLIAMS Violinist 1921
ERNEST WILLIAMS Trumpet 1921
EVAN WILLIAMS Tenor 1913
ARTHUR HOWELL WILSON Pianist 1910, 1911
FLORA WILSON Soprano 1910
ROSALIE WIRTHLIN Contralto 1917
HERBERT WITHERSPOON Basso 1915, 1917
JOHN K. WITZEMANN Violinist 1902, 1903, 1904,
1906, 1910, 1913,
1915, 1916
LUDWIG WÜLLNER Reader and
Liedersinger 1908, 1910
EUGENE YSAYE Violinist 1904, 1913
CAMILLE ZECKWER Pianist 1904, 1913, 1914
MARIE ZECKWER-HOLT Soprano 1907, 1908, 1910,
1917
EFREM ZIMBALIST Violinist 1912, 1914, 1916,
1918, 1919, 1921
MARIE KUNKEL-ZIMMERMAN Soprano 1902, 1905, 1906,
1907
AUGUSTA ZUCKERMANN Pianist 1902
APPENDIX H
SOME OF THE PRINCIPAL PLAYERS IN THE VARIOUS
SECTIONS OF THE PHILADELPHIA ORCHESTRA
1900-1925
THADDEUS RICH, _Assistant Conductor
and Concertmaster_
Dr. Thaddeus Rich, who has been the concertmaster of
the Philadelphia Orchestra since 1906, was born in
Indianapolis. He began to play the violin in 1893, and
when he was twelve years old showed such remarkable
talent that he was sent to Leipsig, where he entered
the Leipsig Conservatory, graduating with honors at the
age of fifteen. In 1901 he accepted a position as first
violinist with the famous Gewandhaus Orchestra under
Arthur Nikisch, and two years later he went to Berlin
as concertmaster of the Charlottenburg Opera. Here
he studied violin with Joachim and composition with
Pfitzner. In 1905 he returned to America, and Fritz
Scheel, who was then conductor of the orchestra, heard
him play and immediately engaged him as concertmaster.
At his performances in Philadelphia he has played
nearly every modern and classic concerto of value in
violin literature.
HANS KINDLER,
_First Violoncellist—1916-20_
Hans Kindler was born in Rotterdam, Holland, and was
educated in the High School and University of
that city. When he was nine years old he began to
play the ’cello, and later he attended the Rotterdam
Conservatory, where he studied under Mossel, Jean
Gerardy, and Casals. He was for two years solo cellist
with the Deutsches Opernhaus, Berlin-Charlottenburg,
and during his residence in Berlin he taught the
’cello at the Scharwenka Conservatory. Mr. Kindler
has appeared with the principal orchestras in Berlin,
Amsterdam, Birmingham, and Hanover, under such famous
conductors as Mengelberg, Kunwald, Schönberg, Landon
Ronald, etc. He has also played in joint recitals with
Julia Culp, Xaver Scharwenka, and Ferruccio Busoni, who
dedicated to him a transcription of a Chromatic Fantasy
by Bach. He has also played for the Queen of Holland
and for the Prince and Princess of Wied in Berlin.
DAVID DUBINSKY: _First second Violinist_,
was born in Odessa, Russia, educated in Philadelphia.
Began his musical education at the age of eleven.
Studied the violin under Schradieck and Sauret.
Original member of Philadelphia Orchestra. Four seasons
in Pittsburg Orchestra under Emil Paur, serving as
principal second violin. Played in Cincinnati Orchestra
in May Festivals of 1906 and 1914 Boston Festival
Orchestra. _Engaged for Philadelphia in 1908._
ROMAIN JOSEPH VERNEY: _First Viola_,
was born in Paris, France, graduated with honors
from the Paris Conservatory, where he studied under
Theophile Laforge, at the age of eighteen. Was one
of the principals at the Opera Comique and played in
the Concerts Colonne. Came to this country in 1906 to
be first viola with the New York Symphony Orchestra,
where he remained for five years, and from there went
to the Chicago Grand Opera Company. _Engaged for
Philadelphia Orchestra 1920._
WILLIAM MORRIS KINCAID: _First Flute_,
was born in Minneapolis, educated at Punahan, Honolulu,
also Columbia University. While living in Hawaiian
Islands began to study the piano at the age of seven,
flute at the age of eight, and after moving to the
United States, the organ. He studied the flute at
Institute of Musical Art with George Barrère, from
which he graduated in the regular and artist course.
He played with New York Symphony Orchestra for five
years. Soloist at concerts in and around New York and
on tour with New York Symphony and New York Chamber
Music Society. _Engaged for Philadelphia Orchestra in
1921._
MARCEL TABUTEAU: _First Oboe_, was born
at Compiègne (Oise), France. He began his musical
studies at the age of six, with his brother-in-law, a
well-known violinist. At the age of thirteen he became
a pupil at Paris Conservatory under Georges Hillet,
the famous master of the French Oboe School, where
he studied five years. In 1904 was awarded the first
prize at Paris Conservatory. His teacher advised him
to come to this country and recommended him to Walter
Damrosch, with whom he played for several seasons, and
in 1908 was engaged by Toscanini at the Metropolitan
Opera House. _Engaged for Philadelphia Orchestra in
1915._
ANTON HORNER: _First Horn_, was born in
Gossengrun, Bohemia. He began to play the violin at
the age of eight under his father’s instruction, who
was a professional musician; began to learn the horn
at thirteen, entered Leipsig Conservatory at fourteen
where he studied for over three years, violin under
Hans Becker, and horn under Frederick Gumbert. Three
years with Pittsburgh Orchestra. (Also plays violin.)
_Engaged for Philadelphia Orchestra in 1902._
RICHARD KRÜGER: _First Bassoon_, was born
in Berlin, Germany. Received private instruction in
violin and piano from the age of twelve to fourteen;
then four years at the Parlow Conservatory of Music,
Berlin, being a pupil of Otto Schoenberg in the study
of the bassoon. Played with Symphony Orchestra at
Aix-la-Chapelle and Cologne, and under the direction
of Richard Strauss, Felix Weingartner, Felix Mottl and
Fritz Steinbach, also with Theodore Thomas Orchestra in
Chicago. (Also plays piano and violin.) _Engaged for
Philadelphia Orchestra 1901._
ANTONIO TORELLO: _First Double Bass_, was
born at San Sadurni de Noya, Province of Barcelona,
Spain. Received his musical education at the Municipal
School of Music at Barcelona. Began to play bass at
the age of ten, played in an orchestra and at fourteen
was playing solos. Played in the following orchestras:
Associación? Musical de Barcelona, Boston Opera Orchestra,
Boston Festival Orchestra, has been heard as soloist in
Spain, Portugal and Madeira Island, and in the United
States during the Boston Festival Orchestra tour in
1911, all through the New England States, Pittsburgh,
Denver, Cleveland, etc. Came to America in 1909.
_Engaged for Philadelphia Orchestra in 1914._
DANIEL BONADE: _First Clarinet_, was born
in Geneva, Switzerland. Studied the clarinet under
M. Lefèbre (solo clarinet at Paris Opera) in 1904,
and won first prize at Paris Conservatory in 1913.
Played in Paris in Sechiari Symphony Orchestra and in
Monteux Symphonic Orchestra (Paris). _Engaged for
Philadelphia Orchestra in 1917._
SOLOMON COHEN: _First Trumpet_, was born
in New York City. Began studying trumpet in 1912 under
Mr. Schlossberg of the New York Philharmonic; then
studied harmony under Hedda van dem Beemt. _Engaged
for Philadelphia Orchestra 1918._
J. WALTER GUETTER: _First Bassoon_,
was born in Philadelphia. Studied violin from nine
to fourteen years of age; at fourteen began study
of bassoon and piano. From 1910 to 1914 studied at
Klindworth Scharwenka Conservatory of Music, Berlin,
under Adolf Guetter, principal bassoonist of former
Royal Opera. With Chicago Symphony Orchestra from
1915-22. Appeared as soloist with local Orchestra at
St. Marknerkirchen, Saxony, in 1914; in Chamber Music
Concerts in Chicago and Philadelphia; with Philadelphia
Orchestra at Children’s Concerts in 1923. _Engaged
for Philadelphia Orchestra in 1922._
MICHEL PENHA: _First Cellist_, 1920-1925,
was born in Amsterdam, Holland. He began his general
musical education at Amsterdam Conservatory, and
studied under Professors Mossel, Hugo Becker and Joseph
Salmen. Toured as soloist in Europe, Indies, South
America and United States. _Engaged for Philadelphia
Orchestra in 1920._
WILLIAM OSCAR SCHWAR: _Tympanist_,
was born in Bautzen, Saxony, Germany. Began to play
the violin at the age of ten. Studied tympani under
Mr. Heinemann, first tympani player at the Royal
Opera and teacher at Royal Conservatory at Dresden,
Germany. Was a member of the Royal Opera at St.
Petersburg, and has played in all the leading cities
of Germany and European countries under the following
musical directors and in the cities here cited:
Felix Mottl, Karlsruhe; Treckler, Dresden; Sauer,
Coblentz, Frischen, Hanover. Shortly after joining
the Philadelphia Orchestra he made a sensation by
his wonderful playing in the overture “Romeo and
Juliet” by Tschaikowsky. When he had finished, the
entire orchestra applauded him with great enthusiasm,
an action which is seldom accorded a member of an
orchestra in rehearsal by his colleagues. (Also plays
snare drum, bells and xylophone.) _Engaged for
Philadelphia Orchestra in 1903._
GARDELL SIMONS: _Trombone_, was born at
Allegan, Michigan. He began the study of the trombone
at the age of nine and a few years later commenced a
systematic course of study in Chicago. Since it was
difficult at that time to get instruction of a high
order from Trombonists he relied mostly upon singers
and instrumentalists of repute for his instruction in
breathing, phrasing, articulation and expression, and
at length became one of the originators of the Modern
School of trombone playing; also studied harmony and
composition to some extent. Played first trombone with
Philharmonic Orchestra, New York City, Arens “People’s
Symphony,” Volpe Symphony and others. Wide experience
as soloist with concert bands and concert companies,
etc., and plays mostly his own compositions or violin
music adapted by himself to the trombone. _Engaged
for Philadelphia Orchestra 1915._
DANIEL MAQUARRE: _First Flute_,
1910-1918, was born in Brussels. When five years old he
began the study of music in Paris, and in 1893, entered
the National Conservatory of Paris to study flute and
harmony; in 1896 he won the first prize for the flute.
Toured in the United States as soloist with Mme. Emma
Nevada in 1901, and was for two years soloist with
Longy Club, of Boston. In 1902 became member of the
Boston Symphony Orchestra, where he remained for seven
seasons; also one season with New York Philharmonic.
Organized the D. Maquarre Ensemble of Instruments
in fall of 1913 in Philadelphia. _Engaged for
Philadelphia Orchestra 1910._
ANDRÉ MAQUARRE: _First Flute_, 1918-1910,
was born in Brussels. Began his musical studies at the
age of eight at the Paris Conservatory, with Solfeggio
and Piano under Martini, also studied Harmony with
Landon, Flute with Henry Altes and Composition with
Massenet. Played in several orchestras in Paris,
also Opera. Joined the Boston Symphony Orchestra in
1898 as solo flute, and from 1906-1917 was conductor
of the Boston Symphony Orchestra during the period
of the “Pop” Concerts season at Symphony Hall. Wide
soloist experience in Symphony orchestras, chamber
music organizations, also obligato with singers, such
as Melba, Gilibert and others. Founded the Maquarre
Sextet in Boston in 1901. Composed three operas and
a number of orchestral pieces in Symphonic form, an
overture played by the Boston Symphony Orchestra; and
chamber music for wind choir and songs. _Engaged for
Philadelphia Orchestra 1918._
PETER HENKELMAN, _First English Horn and
Oboe_, was born in Heusden, Holland. Attended
school in Holland, and at the age of seven began to
study the violin. A few years later he began the study
of the piano, and at the age of thirteen entered the
Royal Conservatory at The Hague, where he started to
study the oboe and English horn, as well as continuing
his studies of the violin, piano and theory. He has
played with the City Symphony Orchestra at Haarlem and
Utrecht, the Winderstein Orchestra of Leipzig, the
Symphony Orchestra of Budapest, the City Orchestra
of Heidelberg, as well as with the Concertgebouw of
Amsterdam. _Engaged for the Philadelphia Orchestra
1901._
APPENDIX I
PARTIAL LIST OF “FIRST PERFORMANCES” IN AMERICA
AURIC—Nocturne (January 26-27, 1923)
BLISS—Mêlée Fantasque (February 27-28, 1925)
BRAUNFELS—Fantastic Variations (October 14-15, 1921)
CARPENTER—“A Pilgrim Vision” (November 26-27, 1920)
CONVERSE—“The Mystic Trumpeter” (March 3-4, 1905)
DE FALLA—Excerpts from “El Amor Brujo” (April 15-17, 1922)
D’INDY—Symphony No. 2, in B flat (December 30-31, 1904)
D’INDY—“Wallenstein” (December 19-20, 1902)
DVORAK—Heldenlied (December 27-28, 1901)
FITELBERG—Polish Rhapsody (November 4-5, 1921)
GLAZOUNOW—Scènes de Ballet (February 24-25, 1905)
GRANADOS—Intermezzo and Epiloque from “Goyescas”
(March 10-11, 1916)
HAUSEGGER—Symphonic Poem, “Wieland der Schmied”
(October 17-18, 1913)
MAHLER—Symphony No. 8 (March 2, 1916)
MAHLER—Das Lied von der Erde (December 16, 1916)
DANIEL GREGORY MASON—Symphony No. 1, in C minor
(February 18-19, 1916)
PURCELL—Trumpet Prelude (December 26-27, 1924)
RABAUD—Symphony No. 2, in E minor (October 24-25, 1913)
RACHMANINOFF—Symphony No. 3, “The Bells”
(February 6-7, 1920)
RIMSKY-KORSAKOW—Excerpts from “Kitesch” (Solitude and
The Battle), (October 26-27, 1923)
SCHELLING—A Victory Ball (February 23-24, 1923)
SKRYABIN—Symphony No. 3, “Le Divin Poème”
(November 19-10, 1915)
SIBELIUS—Symphony No. 5, in E flat (October 21-22, 1921)
RICHARD STRAUSS—Alpensymphonie (April 28-29, 1916)
STRAWINSKY—Le Chant du Rossignol (October 19-20, 1923)
STRAWINSKY—Symphonies d’Instruments à Vent, à la mémoire
de Claude Achille Debussy (November 23-24, 1923)
STRAWINSKY—Sacre du Printemps (March 3-4, 1922)
CONCERTOS
MAX BRUCH—Concerto for two Pianos and Orchestra
(December 29-30, 1916) First World Performance.
MEDTNER—Concerto in C minor for Piano and Orchestra
(October 31-November 1, 1924)
ORNSTEIN—Second Concerto for Piano and Orchestra
(February 13-14, 1925)
SZYMANOWSKI—Concerto for Violin and Orchestra
(November 28-29, 1924)
TAILLEFERRE—Concerto for Piano and Orchestra
(March 20-21, 1925)
Performances of the Ninth Symphony of Beethoven:
March 26, 1903; January 1-2, 1904; February 7-8, 1907; February
27, 1907 (Baltimore); March 13-14, 1914; May 7-8, 1920; December
3-4, 1920; April 8, 1921 (Pittsburgh); February 21, 1924 (Toronto);
March 4, 1924 (New York); March 6, 1924 (Philadelphia with Mendelssohn
Choir of Toronto)
APPENDIX J
PROGRAMMES OF SIX CONCERTS OF THE PHILADELPHIA ORCHESTRA
FIRST SEASON 1900-1901
PHILADELPHIA ORCHESTRA
MR. FRITZ SCHEEL, Conductor
FIRST CONCERT
Friday, November 16, 1900, at 8.15 P. M.
PROGRAMME
CARL GOLDMARK Overture, “In Spring,” Op. 36
LUDWIG VAN BEETHOVEN Symphony No. 5, C minor, Op. 67
I. Allegro con brio 2-4
II. Andante con moto 3-8
III. Allegro 3-4
IV. Allegro 4-4
Intermission of ten minutes
PETER ILITSCH TSCHAIKOWSKY Concerto for Pianoforte, No. 1,
B flat minor, Op. 23
I. Allegro, non troppo e molto maestoso 3-4
II. Andantino simplice 6-8
III. Allegro con fuoco 3-4
KARL MARIA VON WEBER “Invitation to the Dance,” Op. 65
Orchestration by Felix Weingartner
RICHARD WAGNER Entry of the Gods into “Walhalla”
MR. OSSIP GABRILOWITSCH, Soloist
SECOND CONCERT
Friday, December 14, 1900, at 8.15 P. M.
PROGRAMME
LUDWIG VAN BEETHOVEN Overture Leonore, No. 3
JOHANNES BRAHMS Symphony No. 2, D major, Op. 73
I. Allegro non troppo
II. Adagio non troppo
III. Allegretto grazioso (Quasi Andantino)
IV. Allegro con spirito
AMBROISE THOMAS “Mad Scene” (Hamlet)
Intermission of ten minutes
PETER I. TSCHAIKOWSKY Serenade for Strings, Op. 48
Andantino non troppo—Allegro Moderato
Moderato, Tempo di Valse—Larghetto
Elegiaco—Andante, Allegro con spirito
Songs
“Spring Has Come” (Hiawatha), Tyler
“Skylark,” Händel
“An April Birthday,” Ronalds
BEDRICH SMETANA “Vltava” (Moldau)
From Symphonic Poem “My Fatherland”
MME. LILLIAN BLAUVELT, Soloist
SELDEN MILLER, Accompanist
THIRD CONCERT
Friday, January 18, 1901, at 8.15 P. M.
PROGRAMME
RICHARD WAGNER A Faust Overture
LUDWIG VAN BEETHOVEN Symphony No. 4, Op. 60
I. Adagio—Allegro Vivace
II. Adagio
III. Allegro Vivace
IV. Allegro ma non troppo
Intermission
H. VIEUXTEMPS Concerto No. 2, Op. 19
I. Allegro
II. Andante
III. Rondo—Allegro
ENGELBERT HUMPERDINCK Moorish Rhapsody
I. Tarifa (Sunset Elegy)
II. Tanger (A Night in a Moorish Cafe)
III. Tetuan (A Ride in the Desert)
MR. FRITZ KREISLER, Soloist
FOURTH CONCERT
Friday, February 8, 1901, at 8 P. M.
PROGRAMME
WILLIAM W. GILCHRIST Symphony in C
I. Introduction, Vivace Impetuoso. Allegro Molto
II. Adagio, Andante Moderato
III. Scherzo, Vivace
IV. Finale, Molto Allegro
EDWARD MACDOWELL Concerto for Piano No. 2
I. Larghetto. Poco più Mosso e con Passione
II. Presto Giocoso
III. Largo. Molto Allegro
CARL MARIA VON WEBER Overture “Oberon”
EDWARD GRIEG Berceuse for Strings, from Op. 68
HEINRICH HOFFMANN Elves and Giants, from Op. 22
ANTON DVORAK Slavonic Dances III and VII
EDWARD MACDOWELL, Soloist
FIFTH CONCERT
Wednesday, March 6, 1901, at 8.15 P. M.
PROGRAMME
CARL GOLDMARK Overture “Sakuntala,” Op. 13
AUGUST LINDNER Concerto for Violoncello, E minor
a. Serenade—Andante
b. Tarantelle—Allegro Vivace
PETER TSCHAIKOWSKY Symphony “Pathétique,” Op. 74
I. Adagio—Allegro non troppo
II. Allegro con Gracio
III. Allegro Molto Vivace
IV. Finale—Adagio Lamentoso
FRANZ LISZT Les Préludes
MR. RUDOLPH HENNIG, Soloist
SIXTH CONCERT
Friday, April 19, 1901, at 8.15 P. M.
PROGRAMME
JOACHIM RAFF Symphony “Im Walde”
I. Allegro
II. Largo—Allegro Assai
III. Allegro
EDUARD GRIEG Concerto for Piano in A flat
I. Allegro Moderato
II. Adagio
III. Allegro Moderato
PETER TSCHAIKOWSKY Overture—Fantasie, “Romeo and Juliet”
MME. TERESA CARREÑO, Soloist
APPENDIX K
THE WOMEN’S COMMITTEES FOR THE PHILADELPHIA ORCHESTRA
1924-1925
(Formed March, 1904)
MISS FRANCES A. WISTER, President
MRS. HAROLD ELLIS YARNALL, Vice-president
MRS. CHARLES W. HENRY, Vice-president
MRS. CHARLES R. WOOD, Recording Secretary
MRS. WILLIAM W. ARNETT, Corresponding Secretary
MRS. ALFRED REGINALD ALLEN, Treasurer
MISS FRANCES A. WISTER, General Secretary for the
Endowment Fund
HONORARY VICE-PRESIDENTS
MRS. ALEXANDER W. BIDDLE MRS. ARTHUR E. NEWBOLD
MRS. JOHN CADWALADER MRS. MORRIS PFAELZER
MRS. A. J. DALLAS DIXON MISS ANNE THOMSON
MRS. GEORGE W. C. DREXEL MRS. WM. AUSTIN SLAUGHTER
MISS MARY K. GIBSON MRS. EDWARD T. STOTESBURY
MRS. AUSTIN S. HECKSCHER MRS. CHARLEMAGNE TOWER
MRS. CHARLES E. INGERSOLL MRS. ALEX. VAN RENSSELAER
MRS. C. HARTMAN KUHN MRS. J. WILLIAM WHITE
MRS. JAMES MCCREA MRS. CHARLTON YARNALL
MRS. THOMAS MCKEAN
DIRECTORS
MRS. THOMAS G. ASHTON MISS NINA LEA
MRS. RUSSELL DUANE MRS. JOSEPH LEIDY
MISS GERTRUDE ELY MRS. THOMAS ROBINS
MRS. SIMON B. FLEISHER MRS. JOHN B. THAYER, 3D
MRS. JOSEPH M. GAZZAM MRS. SYDNEY THAYER
MRS. FRANK T. GRISWOLD MRS. JOHN B. TOWNSEND
MRS. HENRY S. JEANES MRS. GEORGE F. TYLER
EX-OFFICIO
Germantown—COUNTESS OF SANTA EULALIA
West Philadelphia—MRS. L. HOWARD WEATHERLY
Delaware County—MRS. MATTHEW H. CRYER
GERMANTOWN AND CHESTNUT HILL WOMEN’S COMMITTEE
(Formed March, 1905)
COUNTESS OF SANTA EULALIA, President
MRS. CHARLES E. MORGAN, First Vice-president
MRS. HENRY W. RAYMOND, Second Vice-president
MRS. WILLIAM JAY TURNER, Third Vice-president
MISS ROSSMÄSSLER, Recording Secretary
MRS. W. BEAUMONT WHITNEY, Corresponding Secretary
MRS. RICHARD ROSSMÄSSLER, Treasurer
MISS FRANCES A. WISTER, General Secretary for the
Endowment Fund
DIRECTORS
MRS. FRANKLIN BAKER, JR. MRS. THERON I. CRANE
MRS. WM. L. BARCLAY MRS. NORTON DOWNS, JR.
MRS. GEORGE C. BOWKER MRS. WM. W. FRAZIER, 3D
MRS. WM. P. M. BRAUN MRS. FREDERIC GARDINER
MRS. HENRY W. BUTTERWORTH MRS. GEORGE HORACE LORIMER
MRS. CHARLES S. CHESTON MRS. JOSEPH A. LOUCHHEIM
MRS. J. HAMILTON CHESTON MRS. WM. PRICE NEWHALL
MRS. EDW. W. CLARK, 3D MRS. EDWARD A. SCHUMANN
MRS. MORRIS LLEWELLYN COOKE
WEST PHILADELPHIA WOMEN’S COMMITTEE
(Formed April, 1905)
OFFICERS
MRS. L. HOWARD WEATHERLY, President
MRS. C. LINCOLN FURBUSH, First Vice-president
MRS. WILLIAM S. NEWCOMET, Second Vice-president
MRS. ALFRED H. PEIFFER, Recording Secretary
MRS. CHARLES L. MITCHELL, Corresponding Secretary
MRS. SAMUEL S. FELS, Treasurer
MISS FRANCES A. WISTER, General Secretary for the
Endowment Fund
DIRECTORS
MRS. PERLEY DUNN ALDRICH MRS. JOHN S. W. HOLTON
MISS MARGUERITE BEMENT MRS. WYLLIS K. INGERSOLL
MRS. HAROLD BOERICKE MISS AMELIA JUSTI
MRS. JOHN J. BOERICKE MRS. JOHN M. KENNEDY, JR.
MRS. EDWARD W. BOK MRS. H. MCKNIGHT MOORE
MRS. JOHN F. BRAUN MRS. EDWARD L. PERKINS
MISS MARY BURNHAM MRS. FRANK READ, JR.
MRS. CHARLES CARVER MRS. HAROLD E. ROBERTS
MRS. LEWIS R. DICK MRS. A. M. STARR
MRS. F. W. FERGUSON MRS. WILLIAM A. SULLIVAN
MRS. G. W. B. FLETCHER MRS. W. MOSELEY SWAIN
MRS. COLLIN FOULKROD MRS. ARTHUR WILSON
MRS. JAMES WOODS FRY MRS. CAMILLE ZECKWER
MRS. HERBERT T. HERR
DELAWARE COUNTY WOMEN’S COMMITTEE
(Formed May, 1911)
BOARD OF MANAGERS
OFFICERS
MRS. MATTHEW H. CRYER, President
MRS. SAMUEL S. BURGIN, First Vice-president
MRS. J. S. C. HARVEY, Second Vice-president
MRS. HARRY H. BATTLES, Third Vice-president
MRS. HENRY VOLKMAR GUMMERE, Secretary
MISS BEULAH C. GARRETSON, Treasurer
DIRECTORS
MRS. FRANK AYDELOTTE MRS. S. LEONARD KENT, JR.
MRS. J. CLAUDE BEDFORD MRS. GIBSON MCILVAINE
MRS. WILLIAM H. BIESTER MRS. ROBERT L. MCLEAN
MRS. SAMUEL DYER CLYDE MRS. JOHN A. MILLER
MRS. MORTON P. DICKESON MRS. T. HALDEAN MOORE
MRS. WILLIAM EASBY MRS. CHARLES MUSSER
MRS. ALBERT FOX MRS. GEORGE BISPHAM PAGE
MRS. HAROLD C. GODDARD MRS. A. A. PARKER
MRS. EDWARD F. HITCHCOCK MISS EDITH PETERS
MRS. BENJAMIN R. HOFFMAN MRS. RICHARD PETERS, JR.
MRS. EDWARD K. INNES MRS. J. FREDERICK PETRY
MRS. ROBERT F. IRWIN MRS. J. LORD RIGBY
MRS. WILLIS D. JAMESON MRS. JOHN DAVID SHATTUCK
MRS. E. R. KELLER MRS. CHANNING WAY
MRS. N. B. KELLY MRS. HENRY M. WIRZ
COMMITTEES OUT-OF-TOWN
THE DELAWARE COMMITTEE (1907-1508)
(Wilmington)
for
THE PHILADELPHIA ORCHESTRA
Formed May, 1905
MRS. LEWIS C. VANDEGRIFT, President
MRS. JOSEPH SWIFT, Vice-president
MRS. WILLIAM BETTS, Secretary
MISS ANNIE T. FLINN, Treasurer
MRS. OTHO NOWLAND, Chairman Guarantee Fund
MRS. ELLWOOD C. JACKSON, Chairman Auxiliary Committee
MRS. A. H. BERLIN, Chairman Press Committee
MRS. JOHN BANCROFT MRS. ALFRED R. JONES
MRS. JOHN B. BIRD MRS. A. E. KRUSE
MISS MARTHA BRADFIELD MISS KURTZ
MRS. DANIEL M. BATES MISS LORE
MRS. T. LESLIE CARPENTER MRS. D. J. REINHARDT
MRS. ALLAN J. COLBY MRS. J. E. SMITH
MRS. W. F. CURTIS MRS. HARRY J. STOECKLE
MRS. WILLIAM K. DU PONT MRS. CALVIN SWAYNE
MRS. HARLAN GAUSE MRS. WILLIAM F. SELLERS
MRS CHARLES E. GRIFFITH MRS. HENRY B. THOMPSON
MRS. NORMAN HUXLEY MRS. JAMES P. WINCHESTER
THE WASHINGTON COMMITTEE (1907-1908)
for
THE PHILADELPHIA ORCHESTRA
Formed May, 1906
MISS AILEEN BELL, Acting Chairman
(The names of a large Committee and a list of Patronesses
are unavailable.)
THE BALTIMORE COMMITTEE (1907-1908)
FOR THE PHILADELPHIA ORCHESTRA
Formed May, 1906
LAWRASON RIGGS, ESQ., President
HIS EMINENCE CARDINAL GIBBONS
HIS EXCELLENCY GOVERNOR EDWIN WARFIELD
RIGHT REVEREND BISHOP WILLIAM PARET, D.D.
Vice-presidents
HON. CHARLES J. BONAPARTE MRS. BERNARD N. BAKER
BERNARD N. BAKER, ESQ. MRS. CHARLES J. BONAPARTE
FRANK FRICK, ESQ. MRS. DAVID L. BARTLETT
J. SWAN FRICK, ESQ. MRS. WILLIAM ELLICOTT
GAUN M. HUTTON, ESQ. MRS. T. HARRISON GARRETT
DR. HENRY BARTON JACOBS MRS. JOHN GILL
SIGNOR PIETRO MINETTI MRS. GAUN M. HUTTON
PHILIP OGDEN, ESQ. MRS. HENRY BARTON JACOBS
WILSON PATTERSON, ESQ. MRS. HOWARD MUNNIKHUYSEN
DR. THOMAS L. SHEARER MRS. WILLIAM PARET
R. MANSON SMITH, ESQ. MRS. WILSON PATTERSON
JOHN MARSHALL THOMAS, ESQ. MRS. NELSON PERIN
EDWIN L. TURNBULL, ESQ. MRS. R. MANSON SMITH
JERE H. WHEELWRIGHT, ESQ. MRS. JAMES MADISON THOMPSON
J. B. NOEL WYATT, ESQ. MRS. EDWIN WARFIELD
MRS. JERE WHEELWRIGHT
MISS SHEARER, Chairman
HONORARY MANAGERS ACTIVE MANAGERS
MRS. W. S. BELDING MISS BLOODGOOD
MRS. JOHN S. BERRY MISS BESSIE CAMPBELL CLARK
MISS OCTAVIA BATES MRS. ISAAC DIXON
MRS. FREDERICK M. COLSTON MRS. J. HAMSLEY JOHNSON
MRS. J. S. ELLARD MRS. ERNEST KNABE
MRS. CHARLES M. FRANKLIN MISS LURMAN
MRS. RICHARD GRIFFITH MRS. EDWARD H. MCKEON
MRS. PAUL HAUPT MRS. S. C. ROWLAND
MRS. DAVID HUTZLER MRS. SIGMUND SONNEBORN
MRS. GRIER HERSH MRS. OSCAR A. TURNER
MRS. CHARLES KEIDEL MRS. CLARENCE WATSON
MRS. C. MANIGAULT MORRIS MRS. ROBERT W. WOOD
MISS MARY L. PARKER MRS. GEORGE L. ZELL
MRS. FREDERICK B. STIEFF FREDERICK M. COLSTON, ESQ.
MRS. WILLIAM S. THAYER CHARLES E. DOHME, ESQ.
MRS. SIDNEY TURNER FREDERICK H. GOTTLIEB, ESQ.
REV. F. WARD DENYS DR. JOHN HEMMETER
MILES FARROW, ESQ. REV. OLIVER HUCKEL
DR. CHARLES M. FRANKLIN ERNEST JENKINS, ESQ.
EDWIN FRANK, ESQ. ROBERT OLIVER LEHR, ESQ.
MAURICE GREGG, ESQ. THEODORE MARBURG, ESQ.
DR. B. MERRILL HOPKINSON REV. JOHN TIMOTHY STONE
EDWIN SCHENCK, ESQ.
CHARLES WEBER, JR., ESQ.
THE WOMEN’S COMMITTEE FOR THE PHILADELPHIA ORCHESTRA
invites you to be present at a meeting in the interest of
THE PHILADELPHIA ORCHESTRA
to be held at the
ARUNDELL CLUB
1000 North Charles Street, Baltimore,
on
Thursday afternoon, December fourteenth (1905)
at half after three o’clock
Under the patronage of
MRS. JOSIAH LAW BLACKWELL
MRS. ALEXANDER BROWN
MRS. GEORGE DALLAS DIXON
MRS. S. NAUDAIN DUER
MRS. WILLIAM M. ELLICOTT
MRS. GEORGE T. GIBSON
MRS. DANIEL C. GILMAN
MRS. JOHN P. POE
MRS. HAROLD RANDOLPH
MISS MARY BUTLER SHEARER
MRS. W. PLUNKETT STEWART
MRS. JESSE TYSON
MRS. GEORGE L. ZELL
Music by
MRS. THOMAS S. KIRKBRIDE, JR., Pianist
and
MR. JOHN WITZEMANN, Violinist
and MR. ALFRED SAAL, Violoncellist
Members of the Philadelphia Orchestra
APPENDIX L
ANNOUNCEMENT OF CHILDREN’S CONCERTS
THE PHILADELPHIA ORCHESTRA ASSOCIATION
Founded 1900
Maintaining and Operating
THE PHILADELPHIA ORCHESTRA
104 Musicians
LEOPOLD STOKOWSKI, Conductor
Special Announcement
Children’s Concerts Season 1921-1922
Wednesday Afternoons at Four
December 14th, 1921
February 1st, 1922
March 8th, 1922
Academy of Music
In Answer to a Long-Felt Need
The Philadelphia Orchestra Association announces a
Series of Three Children’s Concerts
for the coming season under the auspices of:
THE MATINEE MUSICAL CLUB THE CITIZEN’S COMMITTEE
Mrs. Frederick W. Abbott, Mrs. Frederick Rosengarten,
Chairman Chairman
Mrs. Edwin B. Garrigues Mrs. Robert Von Moschzisker
Mrs. Helen Pulaski Innes Mrs. John Hampton Barnes
The Board of Education
Dr. Edwin C. Broome, Superintendent of Schools, Philadelphia
Dr. Enoch W. Pearson, Director of Music in the Public Schools
Dr. Hollis Dann, Director of Music, State Dept. of Education
The Women’s Committee for the Philadelphia Orchestra
The Germantown & Chestnut Hill Women’s Committee for The
Philadelphia Orchestra
The West Philadelphia Women’s Committee for The Philadelphia
Orchestra
The Media, Chester & West Chester Women’s Committee for
The Philadelphia Orchestra
The Civic Club of Philadelphia
The New Century Club
The Philomusian Club
The Pennsylvania Federation of Music Clubs
The Philadelphia Association of Settlements
These Concerts will be conducted by Mr. Stokowski,
who has arranged a series of programmes lasting one
hour, during which short talks will be given about the
instruments, as well as about the selections played.
The Concerts are for Children, and no adult will be
admitted unless accompanied by one or more children.
COMMITTEE ON CHILDREN’S CONCERTS
MISS FRANCES A. WISTER, Chairman
MR. EDWARD W. BOK DR. CHARLES D. HART
SCHEDULE OF PRICES Series of
(No Tax) Three
Concerts
Parquet and Balcony Boxes, seating six $18.00
Parquet and Balcony Boxes, seating four 12.00
Parquet, Parquet Circle and Balcony Seats 2.25
Family Circle 1.50
Amphitheatre .75
APPENDIX M
PHILADELPHIA PERMANENT ORCHESTRA
PROSPECTUS
March 3, 1899
The musical life of this city has reached a stage in its development
that must make it apparent to all who are interested in the advancement
of matters of art and education that if we are to continue the progress
of the past few years and take our place as a city of any musical
importance, the next and most necessary step is the founding of a
Permanent Philadelphia Orchestra. Such an undertaking is one that
requires serious consideration, and the co-operation not only of our
music-loving public but of all citizens who are interested in our civic
progress.
In order to establish an orchestra such as would be a distinct credit
to the city, it is necessary to have a paid-up fund of not less than
$250,000.
The following Committee, before issuing this circular, have given the
matter great consideration, carefully looked into various organizations
in other cities, and feel confident that if they meet with liberal
response Philadelphia will have in a few years an orchestra second to
none in America. When Boston, Chicago, Cincinnati, Buffalo, Pittsburgh,
and other cities, not nearly so large or so wealthy, have established
permanent orchestras, it is surely time that we should interest
ourselves and unite in aiding to form an organization in keeping with
our size and importance. This will not be possible with less than the
sum before mentioned, which they trust you will aid them in securing
upon the following terms and conditions:
1. Subscribers shall not be bound by their subscriptions unless the sum
of $200,000 shall have been subscribed.
2. The fund shall be used only for the purpose of establishing and
maintaining a permanent Philadelphia Orchestra, and it shall be applied
for that purpose by the following Trustees:
C. WILLIAM BERGNER C. HARTMAN KUHN
JOHN H. CONVERSE SIMON A. STERN
SAMUEL A. CROZER JAMES F. SULLIVAN
GEORGE W. CHILDS DREXEL THOMAS B. WANAMAKER
CHARLES C. HARRISON
or their successors. The discretion of such Trustees shall be absolute
as regards the administration of the fund, and they shall have power to
fill any vacancy occurring in their number, they having agreed to abide
by the conditions herein stated.
The Trustees shall invest $200,000 of the fund, using only the interest
thereof and the additional $50,000 shall be used for current expenses
of the first few years, when the expenses will be heavier and the
deficit greater.
3. The orchestra shall be composed, first, of the best musicians
resident in Philadelphia; then, of the best musicians obtainable either
in this country or abroad. In order to insure the success of the
enterprise, it is absolutely necessary that the highest standard be
maintained, that the reputation of the orchestra can be established in
other cities beside our own, for it is not possible for an orchestra to
become self-supporting that cannot command engagements outside the city
to which it belongs.
4. The Board of Trustees, when it considers that the completion of the
fund is assured, shall select the leader upon the careful and unbiased
consideration of the merits and records of all candidates submitted to
it. Such candidates, however, to be only men of the highest reputation
either in Europe or America, and the leader one whose name will add to
the prestige of the orchestra both here and in other cities.
5. The selection and placing of the musicians shall be made by the
leader, subject to conditions in paragraph three.
6. As the subscribers contribute to the fund solely for the benevolent
purpose of advancing the cause of music in Philadelphia and release all
control over said fund, they shall not be considered as partners with
each other, or with the Trustees in the conduct or management of said
orchestra.
7. The Board of Trustees shall never exceed nine in number.
8. Subscribers to the permanent fund shall have choice of seats in
advance of the general public for all Symphony Concerts.
The Committee earnestly requests all who are interested and who will
aid them by subscribing to the Fund, to kindly give the matter their
prompt attention, and send in any subscription or communication as soon
as possible, for if the Orchestra is to be established by next season,
it is necessary to push matters without delay.
COMMITTEE
Philadelphia Permanent Orchestra[68]
[68] The officers were: Chairman, Mrs. W. H. H. Robinson; Treasurer,
Mrs. Edward I. Keffer; Secretary, Miss Edith Lee Hutchinson.
MISS BALCH MISS MARY MOSS MRS. WILLIAM BURNHAM MRS. CLEMENT B. NEWBOLD
MRS. LOUIS F. BENSON MRS. CHARLES PLATT, JR. MISS BRIGHT MRS. JOHN
WILLIAMS PATTEN MRS. GEORGE W. C. DREXEL MISS ETHEL PARRISH MRS.
CHANCELLOR C. ENGLISH MRS. W. H. H. ROBINSON MRS. SIMON B. FLEISHER
MRS. CORNELIUS STEVENSON MISS M. K. GIBSON MRS. C. MORTON SMITH MRS.
ALFRED C. HARRISON MISS SUSAN STEVENSON MRS. JOHN HARRISON MRS. MONROE
SMITH MRS. EDWARD IUNGERICH KEFFER MRS. JOHN THOMPSON SPENCER MRS.
JOSEPH LEIDY, JR. MRS. WILLIAM PENN TROTH MRS. WILLIAM L. MCLEAN MISS
FRANCES WISTER MISS ADA ELIZABETH MILES MRS. CHARLES S. WHELEN.
MISS EDITH LEE HUTCHINSON, Secretary, 1936 Wallace Street
ENDORSERS
Mr. and Mrs. W. W. Arnett Miss Margaret Harvey
Mr. Francis R. Abbott Mr. Ellis Clarke Hammann
Mr. and Mrs. Samuel T. Bodine Mr. Alfred Curtin Hirsh
Mr. Richard S. Brock Mr. Max Heinrich
Mr. James M. Beck Mr. Samuel B. Huey
Mrs. William Bucknell Mr. James Hay
Mr. and Mrs. James M. Bennett Mr. H. H. Hallowell
Mr. Henry C. Blair Mr. John H. Ingham
Mr. David Bispham Mrs. Charles E. Ingersoll
Miss Emma M. Boyles Mr. Henry McKean Ingersoll
Dr. Edward Brooks Miss Hilda Justice
Blasius & Sons Mr. J. George Klemm
Mr. Charles A. Braun Dr. Edward Iungerich Keffer
Mrs. M. M. Baltz Mr. and Mrs. J. L. Ketterlinus
Mr. Samuel Castner, Jr. Mr. and Mrs. George B. Kester
Mr. Richard Y. Cook Miss Florence Keen
Mrs. Edward H. Coates Mr. Edward Knapp
Mrs. J. Gardner Cassatt Mr. and Mrs. Arthur Lea
Mrs. Edward Coles Mr. August B. Loeb
Mrs. William T. Carter Mr. Algernon Sidney Logan
Mr. Harrison K. Caner Mr. and Mrs. Thomas McKean
Mr. and Mrs. W. W. Curtin Mrs. Henry Pratt McKean
Miss Mary M. Cohen Mr. Edward Garrett McCollin
Mr. and Mrs. J. deW. Cookman Mr. James C. Miller
Dr. Hugh A. Clarke Mr. Selden Miller
Mr. Gilbert Raynolds Combs Miss Alice Lewis Murphy
Mr. and Mrs. Frederick S. Dickson Miss Agnes Morrison
Mr. F. T. Sully Darley Mr. and Mrs. Harrison S. Morris
Mr. Frederick Douredoure Mr. Charles T. Murphy
Mr. and Mrs. Stephen P. Darlington Mr. Frederick R. Meigs
Mr. Nicholas Douty Mrs. Markoe
Mr. William L. Elkins Miss Helen L. Murphy
Mr. Carl Edelheim Mrs. J. P. Mumford
Mr. Chancellor C. English Miss Mary Wanamaker Miller
Mr. Henry Erben Miss Adelaide Madeira
Mrs. Charles Este Mr. Edmond Morris
Mrs. George Harrison Fisher Mr. G. Heide Norris
Mr. and Mrs. Caleb Fox Mr. Charles E. Pugh
Mr. and Mrs. George C. Fletcher Miss Marie Virginia Peck
Mr. Charles N. Fahnestock Mr. Charles R. Peck
Mr. Charles Fearon Mrs. Frank Pleasanton
Miss Elizabeth Wilson Fisher Mrs. John Worrell Pepper
Mr. and Mrs. W. W. Gibbs Mr. Frederick Peakes
Mr. and Mrs. Wm. B. Gough Mr. Enoch Pearson
Mrs. J. Ernest Goodman Mr. Joseph Rosengarten
Mr. W. W. Gilchrist Mrs. Frank H. Rosengarten
Mrs. Charles W. Henry Dr. J. M. Reeves
Mr. and Mrs. Byerly Hart Mr. and Mrs. Richard Rossmaessler
Mr. Edward I. H. Howell Mrs. Harry B. Rosengarten
Dr. Henry C. Register Mrs. Eliza D. Turner
Miss Elsé West Rulon Mr. S. S. Thompson
Mrs. Thomas A. Scott Mr. and Mrs. W. H. Tenbrook
Mr. Justus C. Strawbridge Mr. Louis C. Whitney
Mr. N. A. Stout Mr. and Mrs. Owen Wister
Mr. Monroe Smith Dr. George Woodward
Mr. and Mrs. John Hasletine Shinn Mr. Massah M. Warner
Mr. A. M. Sheppard Mr. Clarence Wolf
Mr. Calvin Mason Smith Miss Woolman
N. Stetson & Co. Mr. Albert B. Weimer
Mr. Constantin von Sternberg Mrs. Wm. Rotch Wister
Mr. Frank Thomson Mr. Andrew Wheeler, Jr.
Mr. George C. Thomas Mr. E. Burgess Warren
Mrs. Charles Newbold Thorpe Mr. P. A. B. Widener
Miss Kate Tilge Mr. Richard Zeckwer
The following members of the Board of the Musical Fund Society:
MR. WM. F. BIDDLE MR. GEO. P. KIMBALL
MR. O. C. BOSBYSHELL DR. ALFRED C. LAMBDIN
MR. JOHN H. CARR MR. EDW. G. MCCOLLIN
MR. H. G. CLAY MR. R. P. ROBINS
DR. RICHARD J. DUNGLISON MR. CHARLES M. SCHMITZ
MR. JAS. W. HAZLEHURST MR. CHARLES P. TURNER
MR. WM. H. HOLLIS MR. C. WETHERILL
MANUSCRIPT SOCIETY OF PHILADELPHIA
W. W. GILCHRIST, President
THE SYMPHONY SOCIETY OF PHILADELPHIA
DR. E. I. KEFFER, President
* * * * *
A Philadelphia newspaper 1899:
“HOW TO GET AN ORCHESTRA”
“It need not be difficult in Philadelphia to form
as fine an orchestra as anybody is willing and able
to pay for. A permanent orchestra is a very costly
institution. It involves the permanent employment
of anywhere from fifty to a hundred good musicians,
at salaries sufficient to secure their constant and
exclusive services as orchestra players throughout the
active portion of the year. A simple calculation will
show that the expense of this mounts quickly by tens of
thousands.
“Even in a great city, with a very large public
interested in orchestral music, it is scarcely
possible to meet this expense by the receipts from
local concerts. There is a limit to the number of
concerts that can be prepared or that can find hearers
in one place, so that a large fixed orchestra can
hardly earn its living—unless in some great place
of popular resort, like the Crystal Palace at London
or the Trocadero at Paris. Boston, an exceptionally
self-reliant metropolis, provides two full audiences a
week for the symphony concerts in Music Hall for
twenty-four weeks in the year, but it is known that
this does not meet the expense of the orchestra.
Experience furnishes no evidence of any such hunger
for orchestral music among the general public of
Philadelphia as would justify a reliance on its
financial support for an orchestra of the class of
that which private generosity has maintained at Boston
and that has established a standard with which, as a
business enterprise, it would be necessary to compete.
“Clearly, therefore, such an enterprise, if undertaken
here, must be undertaken either in a missionary spirit
by those who regard music as an elevating influence
in the community, or for their own gratification, by
those who wish for greater musical opportunities for
themselves. In either case, or both, the promoters
must expect to pay the piper. And this being the case,
we should say that those who pay have an entire right
to choose their piper—to organize their orchestra in
their own way and put it in charge of whom they please.
“The discussion that has been going on recently upon
this subject has run wide of the mark. It is not a
question of the best way to organize an orchestra, but
simply whether there is anybody ready to put up the
money to have an orchestra at all. If there is not,
the whole discussion is futile; if there is, we cannot
see that the details concern anybody else. The rest of
us can pay for our tickets and find fault, or we can
let it alone, as we have done with so many excellent
orchestra concerts, past and present. Something beside
the purely musical appeal is required to attract
an audience, very few of whom can know the actual
difference between one band and another, except in size
and in some of the more meretricious technical effects,
and if this can be supplied by personal, social or
fashionable interest and influence, there is that much
gained.
“It is an old rule in Philadelphia, that when anybody
undertakes to do anything, everybody else proposes a
different way. This has always prevented the natural
development of a local orchestra, and always will do so
as long as the matter is open to public contention. The
first essential to the establishment of a high-class
orchestra is capital. If that is provided, the rest can
be obtained, and those who provide it have the right
to determine how to spend it, and the right also to
command appreciation an support. Without this we can
dispute till the cows come home with no more result
than at any other time in the past forty years, during
which time everybody has been agreed that Philadelphia
should have such an orchestra, but no two agreed as to
who should conduct it, or how it should be maintained.”
_Public Leger_, March 4, 1899:
“A PHILADELPHIA ORCHESTRA”
“The movement which has long been on foot to establish
a permanent symphony orchestra in this city, one
which should from its inception challenge favorable
comparison with any other orchestra in the United
States, and one in which all who take an interest
in music might feel a justifiable pride, has now
taken such definite shape that its accomplishment is
practically assured.
“A perusal of the prospectus of the Philadelphia
Permanent Orchestra which was issued yesterday by the
committee who have piloted the undertaking into its
present haven, an which will be found published in
full on another page, shows that a paid-up fund of
$250,000 is necessary for the work in hand. All who are
interested in the civic progress of the city, an those
in particular who are interested in music, are invited
to contribute to the fund.
“The details of the scheme speak for themselves, but
the pith of the understanding is that $200,000 of the
fund shall be permanently invested and the interest
used for the advancement of the orchestra, while the
$50,000 cash balance is to be devoted to the current
expenses of the first few years. Preference is to
be given to musicians resident in Philadelphia, and
the Board of Trustees is to select the leader from
conductors of acknowledged reputation at home or abroad.
“That such an institution will be of great and
permanent value to the city, there can be no possible
doubt. A symphony orchestra of the calibre proposed
is as essential to the musical taste of the rising
generation as a well endowed public library is to their
literary education. Without an acknowledged standard
to judge by, musical taste and musical judgment
become chaotic, and degenerate by feeding without
discrimination on what is inferior.
“That such an organization will draw full houses, those
who have seen the Academy packed to the ceiling at
every concert given by the Boston Symphony Orchestra
will not doubt, an the fact that Philadelphia has
enabled a grand opera company of the first magnitude
to give an extended season here with a large margin of
profit for the past two years, is another demonstration
of the existence of a large musical public. It must be
admitted that the musical public of Philadelphia is
peculiar in some respects; it has a rooted antipathy to
mediocrity and an invincible dislike of being managed
from New York. But the public know what they want. They
have long wanted an orchestra—a real orchestra—of
their own. Various obstacles have cropped up from time
to time in the way, but the last one—the war with
Spain—no longer exists; the way has been cleared and
the time is ripe for the accomplishment of its desire.
“The names of the committee who will direct the affairs
of the orchestra are substantial guarantees of an able,
impartial and business-like administration of its
affairs, and the names of those who have endorsed it
financially, a list that will be double and trebled in
a few days, are certain indications that the orchestra
will shortly be an accomplished fact.”
APPENDIX N
LITERATURE OF EARLY DAYS
FIRST CIRCULAR ANNOUNCING THE PHILADELPHIA ORCHESTRA
MAILED IN SEPTEMBER, 1900, TO ABOUT 4000 PEOPLE
THE PHILADELPHIA ORCHESTRA
85 Performers
MR. FRITZ SCHEEL, Conductor
A series of six Symphony Concerts will be given at the
Academy of Music during the season of 1900-1901, on the
following dates: Friday evening, November 16; Friday
evening, December 14; Friday evening, January 18;
Friday evening, February 8; Wednesday evening, March 6;
Friday evening, April 19.
Soloists of the first rank will assist at the concerts,
and names will be announced as soon as pending
engagements have been made.
The prices of season tickets, with reserve seats to the
six concerts, are: Boxes with six seats $75; boxes with
four seats $50; other seats $8, $6 and $4; proscenium
boxes on application.
Sale of seats to holders of Patronesses’ Cards will
begin at Miss Harris’s office, No. 1115 Chestnut
Street, on Wednesday morning, October 10, at 9 o’clock.
The series announced above is the outgrowth of two
Symphony Concerts given last winter for the benefit
of sufferers by the Philippine War. The committee in
charge was the auxiliary to the committee of ladies who
supervised the Philippine concerts, and it is intended
that the management of the series of the coming season
shall be generally the same. To cover expenses of the
concerts a guarantee fund has been subscribed, the
amount of which is sufficient to meet the requirements
of the present undertaking; but it is hoped that our
people will give the concerts such liberal support as
to prevent a deficit at the end of the season.
* * * * *
The Philippine concerts proved the availability of
many of our resident musicians for work of the highest
grade, and the committee has undertaken the task of
organizing this series of concerts because it believes
that with a sufficient number of rehearsals, under
capable direction, our home players will be able to
render great orchestral compositions efficiently and
acceptably.
Mr. Scheel will insist upon frequent and thorough
rehearsals of the music; and no labor nor expense will
be spared to make the work of preparation complete and
the musical results wholly satisfactory.
The committee feels, however, that without a widely
spread interest among the people of Philadelphia, its
chief object would not be realized. That object is
largely to promote the musical culture of the city, and
to improve its status as a center of musical effort.
Therefore, an appeal is made to every Philadelphian
who understands what this undertaking may mean to the
city’s future musical life for active interest and
co-operation.
Most useful help can be given to the movement by
making its object known to friends and acquaintances;
all personal effort will be an effective aid to the
committee’s work.
Whether or not the receipts equal the expenses of the
concerts, it is the hope of the committee that this
movement for music in Philadelphia will receive hearty
encouragement and support from every one who has a
pride in the city’s artistic life.
Committee:
HENRY WHELEN, JR.
JOHN C. SIMS
EDWARD G. MCCOLLIN
OSCAR A. KNIPE
DR. EDWARD I. KEFFER
OLIVER BOYCE JUDSON
JOHN H. INGHAM, Secretary,
508 Chestnut Street.
* * * * *
CIRCULAR LETTER MAILED TO PATRONESSES WHO HAD NOT
PURCHASED TICKETS ABOUT TEN DAYS BEFORE SALE
TO PUBLIC, OCTOBER, 1900:
THE PHILADELPHIA ORCHESTRA
85 Performers
MR. FRITZ SCHEEL, Conductor
The Management of the Philadelphia Orchestra wishes
to inform those interested in the concerts that the
sale of season tickets has progressed most favorably.
Of the forty-nine boxes forty-one have been sold, and
about thirteen hundred seats have been taken. There
now remain unsold but 140 seats in the Parquet, 103
in the Parquet Circle and 76 in the Balcony. Prompt
application at Heppe’s Piano Rooms, 1115 Chestnut
Street, will be necessary to secure choice places.
Should these seats be disposed of, there will, of
course, be no sale of reserved seats for single concerts.
Such widespread support is the best proof that the
public of Philadelphia has undoubted faith, not only in
the musical ability of Mr. Scheel and his men, but also
in the value of this effort to advance the cause of
orchestral music in our community. The attitude of the
musical profession toward the project is clearly set
forth in the enclose circular.
Committee:
HENRY WHELEN, JR.
JOHN C. SIMS
EDWARD G. MCCOLLIN
OSCAR A. KNIPE
DR. EDWARD I. KEFFER
OLIVER BOYCE JUDSON
JOHN H. INGHAM.
CIRCULAR ISSUE ABOUT OCTOBER 15, 1900,
FOR PRESS AND FOR SOLICITING PATRONESSES, TO
BE ENCLOSED WITH OTHER LITERATURE:
THE PHILADELPHIA ORCHESTRA
MR. FRITZ SCHEEL, Conductor
Believing that the public would be glad to hear what
the Musical Profession in Philadelphia thinks of this
undertaking, the committee in charge has written to a
few of the leading musicians, asking for their views.
Extracts from their replies are given below.
The intelligent and keen critical standpoint from which
their life’s training enables them to judge, gives
weight to their words, and the complete unanimity of
opinion which they express is noteworthy.
* * * * *
From Mr. Thomas a’Becket, President, Pennsylvania State Music Teachers’
Association:
“Without a doubt the best man who has taken up
residence in Philadelphia during the past forty years.
This opinion is shared by the older of our orchestral
musicians; also by men who have recently played under
his conducting. It has been fully demonstrated, first,
that Mr. Scheel has wonderful ability in handling
musicians—amateur as well as professional—and drawing
from them their best work; second, that there is in
Philadelphia—which I have maintained for twenty-five
years—the nucleus for a good orchestra. The great need
has been the proper man to bring together conflicting
elements. (The movement) has, indeed, my heartiest
support.”
* * * * *
From Dr. Hugh A. Clarke, Professor of Music, University of Pennsylvania:
“I believe Mr. Scheel to be a leader of first-rate ability in every
respect. His work during the past winter gives ample evidence of his
high standing as a musician and a conductor. The movement for the
establishment of an orchestra in Philadelphia has my most cordial
support, as I am convinced that it has now taken the right shape and is
in the hands of the right people.”
* * * * *
From Mr. W. W. Gilchrist, Principal of the Central Conservatory of
Music, Leader of the Mendelssohn Club, Leader of the Harrisburg
Oratorio Society, etc.:
“Those in whose judgment I have confidence speak very
highly of him. The movement has my cordial support.”
* * * * *
From Dr. Alfred C. Lambdin, Musical Editor, of “The Philadelphia Times.”
“To the broad musical knowledge, the imaginative
perception, the technical accomplishment that makes
up the interpretive artist of high rank, he seems to
add those peculiar personal qualities, the power of
expressing his musical ideas through the medium of
others, that differentiate the real ‘conductor.’ The
value of such a man in any musical community is
measured only by his opportunity. The great value of
Mr. Scheel’s work this winter has been in the fresh
and full artistic authority, which he has brought to
bear upon our disorganized musical forces here. The two
concerts at the Academy abundantly demonstrated what
can be done under such leadership and how it can be
done. The movement, therefore, to continue that work,
and develop it on the lines already laid down, commands
my most cordial support.”
* * * * *
From Mr. D. D. Wood, Organist of St. Stephen’s Church, Instructor at
Philadelphia Musical Academy, Teacher of Harmony, Counterpoint, etc.:
“Mr. Scheel is possessed of all those rare
qualifications which go to make up a great leader.
“He is most excellent musician of large and varied
experience, an earnest and conscientious worker, a man
of great personal magnetism, and thoroughly capable of
making the very best of the means at his disposal. As a
conductor he deserves a place in the very first rank.
“The work accomplished by Mr. Scheel during the past
winter has been eminently successful, and deserves the
cordial recognition of all true lovers of musical art,
and of all who are interested in the progress of that
art in our city.
“I am in hearty sympathy with the movement set forth in
your circular.”
[Illustration]
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