Part I. Hymn, “Veni, Creator Spiritus”

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.