MUSICAL NEIGHBORS
Occasionally philanthropic citizens express the wish that the
Philadelphia Orchestra was not conducted exclusively for a few idle
rich. Therefore, it is well to record some of the things that the
orchestra has done for the general public in this city.
The policy of the Association from the beginning has been to make the
orchestra the centre of Philadelphia’s musical life in an inclusive,
not an exclusive sense. Hence it has always been ready to reciprocate
any assistance rendered to it by giving its services free of charge
on numerous occasions. Often, of course, financial conditions had to
be considered first. Among the societies that have co-operated in
choral performances, without recompense, and, no doubt, at considerable
expense to themselves, are: the Eurydice Chorus, Fortnightly Club,
Jungermaennerchor Singing Society, Mendelssohn Club, Philadelphia
Choral Society. Outside of Philadelphia the Bach Choir of Baltimore,[37]
Schola Cantorum of New York, and Pittsburgh Chorus.
[37] See Appendix G.
On its part the orchestra has given a number of special performances
without remuneration, such as the concert for the Manuscript Music
Society in 1913, the concert in collaboration with the Mendelssohn Club
in honor of Dr. Wm. Wallace Gilchrist two years later; a performance
at Camp Dix and a concert for the benefit of the American Red Cross,
1918; a French War Relief Benefit the next year; the music at the
presentation of the Philadelphia Award for four years beginning in
1922, and the concert with the Mendelssohn Club to celebrate its
Fiftieth Anniversary in January, 1925. Special concerts were given for
the National Federation of Music Clubs in 1911, and for the National
Convention of Music Supervisors in 1920.
It must be remembered that such concerts undertaken in addition to the
regular engagements for the season have entailed special preparation
and have been an added burden to the busy conductor.
From the earliest days an effort was made to give music to the numbers
of people who enjoy lighter programmes. Popular concerts at low
prices were inaugurated by Mr. Scheel in 1903, at which time the name
“Popular” was such a misnomer that they had to be given in the form of
benefits on a fifty per cent basis of profit. Such concerts were given
at intervals after this for some years, and consecutively from 1909-10
to 1914-15 inclusive. In May, 1916, an effort was made to institute
“Pop” Concerts after the manner of the Boston Orchestra, at the close
of the regular season. The Academy parquet was floored over and light
refreshments were served at tables. The first season of eleven evenings
went off brilliantly, under the alternate leadership of Mr. Stokowski,
Dr. Rich and Mr. C. Stanley Mackey, and left a small surplus on hand.
Prices ranged from fifteen to fifty cents. The second season the
number was increased to eighteen, and for reasons not understood the
Association was left with a deficit, which caused the venture to be
abandoned.
An early enterprise of a philanthropic nature was the “People’s
Concerts” planned by the Executive Committee but placed in charge of
the Civic Club, with a committee composed of Mrs. Edward I. Keffer,
Chairman; Mrs. Spencer Ervin, Mrs. C. Howard Clark, Mrs. Frank
Rosengarten and Mrs. Walter Horstmann.
The first programme would have pleased the most fastidious of tastes:
Labor Lyceum Hall
Second and Cambria Streets
Tuesday Evening, December 15th, at 8.15 o’clock
First of the Series of
THE PEOPLE’S CONCERTS
by the
PHILADELPHIA ORCHESTRA
FRITZ SCHEEL, Conductor
Under the Auspices of the Civic Club
PROGRAMME
1. FELIX MENDELSSOHN-BARTHOLDY Wedding March from
“Midsummer Night’s Dream”
2. HECTOR BERLIOZ Le Carnaval Romain
3. JOSEPH GODEFROID Dance of the Sylphs
Solo for Harp, Alfred Kastner
4. JOHANN STRAUSS Blue Danube Waltz
5. JULES MASSENET Scènes Neapolitaines
6. GIOACHINO ANTONIO ROSSINI Overture “William Tell”
7. HENRI VIEUXTEMPS Fantaisie Appassionata
Solo for Violin and Orchestra, Hugo Olk
8. WEBER-BERLIOZ Invitation to the Dance
9. ALBERT FRANZ DOPPLER “Das Waldvoeglein”
Solo for Flute and Horn Quartette, August H. Rodemann
10. RICHARD WAGNER Overture “Tannhaeuser”
Admission 10 Cents
In the Annual Report of the Civic Club for 1904 this account is given:
“The first ‘People’s Concert’ was held in Kensington
at the Labor Lyceum Hall, Second and Cambria Streets,
admission being 10 cents. It was largely through
the co-operation of Mr. R. R. P. Bradford, of the
Lighthouse Lyceum, his Committee and Miss Esther Kelly,
that the concert proved to be such a great success. The
hall was crowded and the people most enthusiastic; Mr.
Scheel and his orchestra were greatly interested and
gave a number of encores.
“The receipts were $236.62 up to January 1st; expenses,
$103.02. We hope to have a balance of almost $100 when
all returns are made. This balance to be considered a
fund for the People’s Concerts. The second concert will
be given at Bethany Hall on January 11th, the third at
Tuxedo Hall in March.”
There was no doubt about the success of these concerts from the point
of view of the enjoyment of the audiences. The hall was crowded almost
to the danger point, and the enthusiasm was unrestrained. The Women’s
Committees were much interested and kept in touch with Mrs. R. R.
Porter Bradford of the Lighthouse, Kensington, who knew the value of
such music in a section where the shutting down of textile mills for
a winter often made the price of a ticket unavailable. The Committees
used their persuasive powers with the Board of Directors to continue
these concerts at considerable expense, until a fight between two
labor unions made it impossible to rent the hall, the only one in
the neighborhood, and the concerts were no longer given. They were
the means, however, of procuring a number of guarantors, who were
interested in the orchestra from a philanthropic, instead of from a
musical point of view.
From the first, special rates were offered to music students through
the music schools of Philadelphia, for the attendance of the young
was especially desired. Tickets were also distributed free, but the
response was not encouraging.
Special prices were offered to boarding schools in and near
Philadelphia, but they too were not eager to patronize symphony
concerts.
In 1909, through the Women’s Committee, about 43,000 circulars about
the orchestra were sent out by the music schools and other schools with
their prospectuses, a favor much appreciated.
Special Concerts were given for the students at Weightman Hall,
University of Pennsylvania, from 1909-1922. These were conducted
under the auspices of a committee composed of representatives of the
student body, of the Faculty Tea Club (of which professors’ wives were
the members) and of the West Philadelphia Women’s Committee for the
Philadelphia Orchestra. Although the hall was unsuited to orchestral
performances, and the stage inadequate in size, these concerts were
very popular, and the orchestra was always treated in college style.
Press of engagements combined with the unsatisfactory physical
conditions there caused the abandonment of these.
Through the generosity of Mr. Cyrus H. K. Curtis two series of eight
“Public Ledger Educational Concerts” were given for public school
children in 1915-16 and 1916-17.
Public School Concerts have been given at the Academy of Music, with
all tickets at fifty cents, during the last two seasons.
Also for many years the orchestra played for the benefit of the Stetson
Hospital under a special business arrangement.
Free Sunday Concerts were inaugurated at the Metropolitan Opera House
in 1915-16, with a series of three, and continued during the next
season.
The Public School Concerts given in 1915-16 and led by Dr. Rich must
not be forgotten. They took place at the Normal School, Wm. Penn High
School, Philadelphia High School for Girls, Boys’ Central High School,
Germantown, West Philadelphia, Frankford and Southern High Schools.
The Young People’s Educational Concerts should be mentioned. Such a
series of five concerts was first given by Fritz Scheel in 1902-03, at
the Broad Street Theatre, with lectures by Wm. J. Henderson, Wm. F.
Apthorp, Louis C. Elson, Hugh A. Clarke and Henry E. Krehbiel. During
1903-04 and 1905-06 they were continued, and after a long intermission
came to life again in the Children’s Concerts, instituted in 1921.
[38]A special committee was organized in which many associations were
represented and the concerts were so successful that a second series
is now given in order to meet the demand. There is no more inspiring
sight than to watch the Academy filling up with eager-faced children
or than to hear their quick response to Mr. Stokowski’s remarks. The
first series was devoted to an explanation of the instruments and the
programmes are progressing educationally year by year. The principal
difficulty so far encountered is to prevent grown-up children from
attending.
[38] See Appendix L.
COMPOSITIONS ON THE CHILDREN’S CONCERTS
“I want to tell you the lovely time I had at the
concert. I want to thank you for sending the tickets.
I adored the beautiful light in the Academy of Music.
The conductor’s name was Mr. Stokowski and he was a
very nice man. I liked the part when the little boy
only seven years old played the violin. He looked like
Jackie Coogan. He watched the leader all the time he
played. I wonder how long it took him to learn to play
the violin so well.
“Mr. Stokowski is a very pleasant man. He conducted
very well. He told a story of a little goat boy who
played on Sand Pipes. He asked the people to sing Auld
Lang Syne.”
* * * * *
“I thought the concert was fine. I think the little boy
played a good piece of music when he played his violin.
I would like to play a drum, because my brother plays
a drum, and I could easily learn. He used to play in a
band called the “Ardmore Band.” He was the best drummer
they had. People could hear him far away.”
* * * * *
“I enjoyed the concert so much. The orchestra was the
largest I have ever seen. It seemed as if there were at
least a hundred men on the stage. Mr. Stokowski looked
very gay in his medium blue suit. I liked to watch his hands.
“He said anyone could learn to play in an orchestra if
he wanted to, because it was up to the person himself.”
* * * * *
This short account demonstrates that the Philadelphia Orchestra is a
neighbor of much value to the community in which it dwells.